American Writers, Supplement IX

SUPPLEMENT

IX

Nelson Algren to David Wagoner

American Writers

A Collection of Literary Biographies JAY PARINI Editor in Chief

SUPPLEMENT IX

Nelson Algren to David Wagoner

Charles Scribner's Sons an imprint of the Gale Group New York • Detroit • San Francisco • London • Boston • Woodbridge, CT

Copyright © 2002 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. 579

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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, c1998, 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 - Supplenment: 1, pt. 1. Jane Addams to Sidney Lanier. 1, pt. 2. Vachel Lindsay to Elinor Wylie. 2, pt.l. W.H. Auden to O. Henry. 2, pt. 2. Robison JefTers 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 73-001759 ISBN 0-684-80648-7 Acknowledgment is gratefully made to those publishers and individuals who have permitted the use of the following material in copyright. Rachel Carson Excerpts from The Edge of the Sea. Houghton Mifflin Company, 1955. Copyright © 1955 by Rachel L. Carson, renewed 1983 by Roger Christie. All rights reserved. Reprinted by permission of Houghton Mifflin Company and Frances Collins, Trustee. Excerpts from Silent Spring. Houghton Mifflin Company, 1980. Copyright © 1962 by Rachel L. Carson, renewed 1990 by Roger Christie. All rights reserved. Reprinted by permission of Houghton Mifflin Company and Frances Collins, Trustee. Amy Clampitt Excerpts from A Baroque Sunburst, A Hedge of Rubber Trees, A Hermit Thrush, A Procession at Candlemas, A Silence, Amherst, The August Darks, Black Buttercups, Fireweed, lola, Kansas, Losing Track of Language, Man Feeding Pigeons, Margaret Fuller, 1847, Marine Surface, Low Overcast, Meridian, The Olive Groves of Thasos, The Prairie, Salvage, The Spruce Has No Taproot, Syrinx, Thermopylae, Townhouse Interior with Cat, The Waterfall, Witness, in The Collected Poems of Amy Clampitt. Alfred A. Knopf, Inc., 1997. Copyright © 1997 by the Estate of Amy Clampitt. Used by permission of Alfred A. Knopf, a division of Random House, Inc. Zelda Fitzgerald Excerpts from the dedication in The Collected Writings. Edited by Matthew J. Bruccoli. Charles Scribner's Sons, 1991. Copyright © 1991 by The Trustees under agreement dated July 3, 1975, created by Frances Scott Fitzgerald Smith. All rights reserved. Reprinted with permission of Scribner, a division of Simon & Schuster. In the UK by permission of Harold Ober Associates, Inc. Excerpts from a letter to F. Scott Fitzgerald in February 1920; a letter to F. Scott Fitzgerald in March 1932; a letter to F. Scott Fitzgerald in June 1933; a letter to F. Scott Fitzgerald in March 1934, in The Collected Writings. Edited by Matthew J. Bruccoli. Introduction by Mary Gordon. Charles Scribner's Sons, 1991. Copyright © 1991 by The Trustees under agreement dated July 3, 1975, created by Frances Scott Fitzgerald Smith. All rights reserved. Reprinted with permission of Scribner, a division of Simon & Schuster. In the UK by permission of Harold Ober

Associates, Inc. Excerpts from Scandelabra, in The Collected Writings. Edited by Matthew J. Bruccoli. Introduction by Mary Gordon. Charles Scribner's Sons, 1991. Copyright © 1991 by The Trustees under agreement dated July 3, 1975, created by Frances Scott Fitzgerald Smith. All rights reserved. Reprinted with permission of Scribner, a division of Simon & Schuster. In the UK by permission of Harold Ober Associates, Inc. Excerpts from Save Me the Waltz. Southern Illinois University Press, 1967. Copyright 1932 by Charles Scribner's Sons. Copyright renewed 1960 by Frances Scott Fitzgerald Lanahan. Copyright © 1967 by Southern Illinois University Press. All rights reserved. Reprinted with permission of Scribner, a division of Simon & Schuster. In the UK by permission of Harold Ober Associates, Inc. Gordon, Mary. Excerpts, from the introduction to The Collected Writings by Zelda Fitzgerald. Edited by Matthew J. Bruccoli. Charles Scribner's Sons, 1991. Copyright © 1991 by The Trustees under agreement dated July 3, 1975, created by Frances Scott Fitzgerald Smith. All rights reserved. Reprinted with permission of Scribner, a division of Simon & Schuster. Fitzgerald, F. Scott. Excerpts from a letter to Edmund Wilson in January 1922; a letter to Maxwell Perkins on August 12, 1922; a letter to Maxwell Perkins on August 27, 1924; a letter to Zelda Fitzgerald in 1930; a letter to Dr. Squires on March 14, 1932; a letter to Adolf Meyer on April 10, 1933; a letter to Zelda Fitzgerald in 1935; a letter to Sara Murphy on March 30, 1936, in F. Scott Fitzgerald: A Life in Letters. Edited by Matthew J. Bruccoli. Scribner, 1994. Copyright © 1994 by the Trustees under agreement dated July 3, 1975, created by Frances Scott Fitzgerald Smith. Reprinted with permission of Scribner, a Division of Simon & Schuster. In the UK by permission of Harold Ober Associates, Inc. Robert Francis Excerpts from Biography, The Black Hood, Bronze, By Night, City, Fall, Glass, The Goldfish Bowl, Juniper, Come Out into the Sun, Old Man Feeding Hens, Sheep, The Sound I Listened For, The Spy, Two Words, Willow Woman, in Collected Poems: 1936-1976. University of Massachusetts Press, 1976. Copyright © 1976 by Robert Francis. All rights reserved. Reproduced by permission. Excerpts from The Brass Candlestick, Gray Squirrel, Play Ball, in Late Fire, Late Snow: New and Uncollected Poems. University of Massachusetts Press, 1992. Text copyright © 1992 by the Trustees for the Estate of Robert Francis. Reproduced by permission. Excerpts from Blood Stains and Silent Poem, in Like Ghosts of Eagles: Poems, 1966-1974. University of Massachusetts Press, 1974. Copyright © 1953, 1967, 1968, 1969, 1970, 1971, 1972, 1973, 1974 by Robert Francis. All rights reserved. Reproduced by permission. Tony Kushner. Excerpts from Theater Week, no. 1, January 14-21, 1991, for Look Back-and Forward-in Anger, by Tom Szentgyorgyi. Cohen, Rabbi Norman J. Excerpts from Wrestling with Angels. Minnie Petrie Synagogue, Hebrew- Union College-Jewish Institute of Religion. Excerpts from Characters, Production Notes, in A Bright Room Called Day. Theatre Communications Group, 1994. Copyright © 1987, 1992, 1994 by Tony Kushner. Excerpts from Angels in America: A Gay Fantasia on National Themes, Part Two; Peres troika. Theatre Communications Group, 1995. Copyright © 1992, 1994 by Tony Kushner. All rights reserved. Reproduced by permission. Excerpts from Thinking About the Longstanding Problems of Virtue and Happiness: Essays, a Play, Two Poems, and a Prayer. Theatre Communications Group, 1995. Copyright © 1995 by Tony Kushner. All rights reserved. Reproduced by permission. Vorlicky, Robert. Excerpts from Introduction: 'Two Not One' and Afterword, in Tony Kushner in Conversation. Edited by Robert Vorlicky. The University of Michigan Press, 1998. Copyright © by the University of Michigan, 1998. All rights reserved. Reproduced by permission. William Matthews Excerpts from Antaeus, v. 47, 1982 for The Interpretation of Dreams, by William Matthews/ autumn, 1991 for Mingus in Diaspora, by William Matthews. Both reproduced by permission. Excerpts from The Georgia Review, v. XLVI, winter, 1992 for Jazz and Poetry: A Conversation, by Yusef Komunyakaa and William Matthews. Copyright, 1992, by the University of Georgia. Excerpts from Missouri Review, v. 6, 1982 for We Shall All Be Born Again but We Shall Not All Be Saved, by William Matthews. Reproduced by permission. Excerpts from Moose, for Masterful, by William Matthews. Reproduced by permission. Excerpts from New England Review, v. IV, no. 1, autumn 1981 for Rosewood, Ohio, by William Matthews. Reproduced by permission. Excerpts from Ohio Review, v. 44, 1989 for It Don't Mean a Thing If It Ain't Got That Swing, by William Matthews/ v. 13, spring, 1972. Copyright © 1972 by the Editors of the Ohio Review. Both reproduced by permission. Excerpts from Poetry, v. 136, June, 1980 for That We Keep Them Alive, by Marvin Bell/ v. 161, February 1993 for Looking Toward the Fin de Siecle, by Alfred Corn/ v. 162, June, 1993 for Time, by William Matthews/ v. 174, May, 1999 for Late Night Music, by Bill Christophersen. Copyright 1980, 1993, 1999 Modern Poetry Association. Reproduced by permission of the publisher and the authors. Excerpts from Quarterly West, v. 49, autumn, 1999. © 1999 by Quarterly West. Reproduced by permission. Excerpts from Seattle Review, for Pissing off the Back of the Boat into the Nevernais Canal, by William Matthews. Reproduced by permission. Excerpts from A Happy Childhood, in A Happy Childhood. Little, Brown and Company, 1984. Copyright © 1984 by William Matthews. All rights reserved. Reproduced by permission. Excerpts from The Bar at the Andover Inn, Euphemisms, Mingus in Shadow, in After All: Last Poems. Houghton Mifflin Company, 1998. Copyright © 1998 by the Estate of William Matthews. Reprinted by permission of Houghton Mifflin Company. All rights reserved. Excerpts from Blue Notes, Hope, in Foreseeable Futures. Houghton Mifflin, 1987. Copyright © 1987 by William Matthews. All rights reserved. Reprinted by permission of Houghton Mifflin Company. Excerpts from Spring Snow, in Rising and Falling. Little, Brown and Company, 1979. Copyright © 1973, 1974, 1975, 1976, 1977, 1978, 1979 by William Matthews. All rights reserved. Reproduced by permission. Excerpts from Blues for John Coltrane, Dead at 41, The Search Party, in Ruining the New Road. Random House, 1970. Copyright © 1967, 1968, 1969, 1970 by William Matthews. All rights reserved. Reproduced by permission. Excerpts from Another Beer, The Cat, in Sleek for the Long Flight. Random House, 1972. © 1972, 1988 William Matthews. Reproduced by permission. Excerpts from The Waste Carpet, in Sticks & Stones. Pentagram Press,

1975. Copyright © 1970, 1972, 1973, 1974, 1975 by William Matthews. Reproduced by permission. Excerpts from A Night at the Opera, Money, in Time & Money: New Poems. Houghton Mifflin, 1995. Copyright © 1995 by William Matthews. All rights reserved. Reprinted by permission of Houghton Mifflin Company. Dorothy Parker Excerpts from A Fairly Sad Tale, A Portrait, A Telephone Call, Ballade at Thirty-Five, Big Blonde, Coda, Condolences, News Item, On Being a Woman, Oscar Wilde, Resume, The Standard of Living, Unfortunate Coincidence, in The Portable Dorothy Parker. The Viking Press, 1973. Copyright © 1973 by National Association for the Advancement of Colored People. Copyright © 1944 by Dorothy Parker. Copyright © renewed 1972 by Lillian Hellman. Used by permission of Viking Penguin, a division of Penguin Putnam. In the UK by permission of Gerald Duckworth & Co., Ltd. James Salter Excerpts from the New York Times, January 5, 2001. Copyright © 2001 by The New York Times Company. Reprinted by permission. Excerpts from Paris Review, v. 127, summer, 1993 for James Salter: The Art of Fiction: CXXXIII, by Edward Hirsch. © 1993 The Paris Review, Inc. Reproduced by permission of the author. Excerpts from Burning the Days: Recollection. Random House, 1997. Copyright © 1997 by James Salter. All rights reserved. Reproduced by permission. Louis Simpson Excerpts from The American Poetry Review, v. 8, 1979 for The Art of Storytelling, by Louis Simpson. Reproduced by permission of the author. Excerpts from Iowa Review, v. 13, winter, 1982 for Quiet Desperation, by Louis Simpson. Copyright © 1983, by The University of Iowa. All rights reserved. Reproduced by permission of the author. Excerpts from the New York Times Book Review, May 10, 1981. Copyright © 1981 by The New York Times Company. Reprinted by permission. Excerpts from Hot Night on Water Street, To the Western World, in A Dream of Governors. Wesleyan University Press, 1959. Copyright © 1959 by Louis Simpson. Reprinted by permission of the publisher. Excerpts from American Poetry, In California, Walt Whitman at Bear Mountain, in At the End of the Open Road. Wesleyan University Press, 1963. Copyright © 1960, 1961, 1962, 1963 by Louis Simpson. Reproduced by permission. Excerpts from Arm in Arm, The Battle, Carentan O Carentan, Song 'Rough Winds Do Shake the Darling Buds of May,' Summer Storm, in Collected Poems. Paragon House, 1988. Copyright © 1988 by Paragon House Publishers. All rights reserved. Reproduced by permission. Excerpts from Searching for the Ox, in There You Are. Story Line Press, 1995. © 1995 by Louis Simpson. All rights reserved. Reproduced by permission. Gerald Stern Excerpts from American Poetry Review, for Lucky Life by Gerald Stern/ The Thought of Heaven by Gerald Stern/ v. 7, 1978 for The Shirt Poem, by Gerald Stern/ v. 12, May-June, 1983 for Notes from the River by Gerald Stern/ v. 24, May-June, 1995 for Hot Dog, by Gerald Stern/ v. 27, July-August, 1998 for an interview with Gerald Stern by Gary Pacernick/ v. 28, March-April, 1999 for Paris, by Gerald Stern. All reproduced by permission of the authors. Excerpts from Iowa Review, v. 19, 1989 for An Interview with Gerald Stern by David Hamilton. Copyright © 1989, by The University of Iowa. All rights reserved. Reproduced by permission of the author. Excerpts from Literary Review, v. 40, 1997 for The Poetry of Gerald Stern, by Mark Hillringhouse. Copyright © 1997 by Fairleigh Dickinson University. Reproduced by permission of the author. Excerpts from Missouri Review, v. 5, 1981-1982. Copyright © 1981-1982 by The Curators of the University of Missouri. Reproduced by permission. Excerpts from New England Review, v. 15, 1993 for What I Have to Defend, What I Can't Bear Losing, by Gerald Stern. Copyright © 1993 by Middlebury College. Reproduced by permission of the author. Excerpts from Paris Review, v. 23, summer 1981 for The Red Coal, by Gerald Stern/ v. 24, spring 1982 for Father Guzman, by Gerald Stern. © The Paris Review, Inc. Both reproduced by permission. Excerpts from Ploughshares, v. 23, spring 1997 for Against the Crusades, by Gerald Stern. Reproduced by permission of the author. Excerpts from Poetry, for The Bull-Roarer by Gerald Stern. © Modern Poetry Association. Reproduced by permission of the publisher and the author. Excerpts from Some Secrets, in In Praise of What Persists. Edited by Stephen Berg. Harper & Row, Publishers, 1983. Copyright © 1983 by Stephen Berg. All rights reserved. Reproduced by permission. Excerpts from A Song for the Romeos, I Am in Love, in Lovesick. Harper & Row, Publishers, 1987. Copyright © 1987 by Gerald Stern. All rights reserved. Reproduced by permission. Excerpts from In Memory of W. H. Auden, Soap, Sycamore, in Paradise Poems. Vintage Books, 1984. Copyright © 1982, 1983, 1984 by Gerald Stern. All rights reserved. Used by permission of Random House, Inc. Excerpts from Rejoicings, in Rejoicing: Poems, J966-1972. Metro Book Co., 1984. Copyright © 1973 by Gerald Stern. All rights reserved. Reproduced by permission. Excerpts from Behaving Like a Jew in This Time: New and Selected Poems. W. W. Norton & Company, 1998. Copyright © 1998 by Gerald Stern. Used by permission of W. W. Norton & Company, Inc. David Wagoner Excerpts from From Hell to Breakfast, Getting Out of Jail on Monday, The Nesting Ground, 'Tan Ta Ra, Cries Mars. . . ' in New and Selected Poems. Indiana University Press, 1969. Copyright © 1969 by David Wagoner. All rights reserved. Used with permission of the poet. Excerpts from The Middle of Nowhere, in Riverbed. Indiana University Press, 1972. Copyright © 1972 by David Wagoner. All rights reserved. Used with permission of the poet. Excerpts from Elegy for My Mother, Eulogy for Richard Hugo, A Guide to Dungeness Spit, The Inexhaustible Hat, Lost, My Father's Ghost, On a Mountainside, The Singing Lesson, Song for the Coming of Smallpox, Song for the First People, Standing Halfway Home, Staying Alive, Talking to Barr Creek, Tracking,

Waiting in a Rain Forest, Water Music for the Progress of Love in a Life-Raft down the Sammaamish Slough, Who Shall Be the Sun?, The Words, Words Above a Narrow Entrance, in Traveling Light: Collected and New Poems. University of Illinois Press, 1999. Copyright © 1999 by David Wagoner. All rights reserved. Used with permission of the poet and the University of Illinois Press. Excerpts from Walking Around the Block with a Three-Year Old, Walt Whitman Bathing, in Walt Whitman Bathing. University of Illinois Press, 1996. © 1996 by David Wagoner. Reproduced by permission.

Editorial and Production Staff Managing Editor

ANNA SHEETS NESBITT Copyeditors

BARBARA C. BIGELOW MELISSA A. DOBSON JESSICA HORNIK EVANS GRETCHEN GORDON ROBERT JONES JEAN KAPLAN MICHAEL L. LEVINE MARCIA MERRYMAN MEANS Proofreaders

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FRANK MENCHACA

IX

List of Subjects

Introduction

xiii

JOHN MUIR Cornelius Browne

171

List of Contributors

xv

NELSON ALGREN James A. Lewin

1

DOROTHY PARKER Melissa Knox

189

RACHEL CARSON Cornelius Browne

19

RICHARD POWERS Joseph Dewey

207

AMY CLAMPITT Willard Spiegelman

37

HENRY ROTH Steven G. Kellman

227

ZELDA FITZGERALD Sylvia Shurbutt

55

JAMES SALTER Charles R. Baker

245

ROBERT FRANCIS Robert B. Shaw

75

LOUIS SIMPSON Steven P. Schneider

265

WILLIAM HUMPHREY Bert Almon

93

GERALD STERN Jonathan N. Barren

285

JEAN TOOMER Trade Church Guzzio

305

DAVID WAGONER Richard Wakefield

323

Cumulative Index

341

SHIRLEY JACKSON Carolyn Alessio

113

TONY KUSHNER Josef Raab and Melissa Knox

131

WILLIAM MATTHEWS Alexander Long

151

XI

Introduction

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 is also offered, giving a context for the work itself. The authors of these critical articles are mostly teachers, scholars, and writers. Most have published books and articles in their field, and several are well-known writers of poetry or fiction as well as critics. As anyone glancing through this volume will see, they are held to the highest standards of good writing and sound scholarship. The essays each conclude with a select bibliography intended to direct the reading of those who want to pursue the subject further. Supplement IX is mostly about contemporary writers, many of whom have received little sustained attention from critics. For example, William Humphrey, Shirley Jackson, Tony Kushner, Richard Powers, and James Salter 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. Some of the important writers from the past, such as John Muir, Zelda Fitzgerald, Dorothy Parker, Jean Toomer, Nelson Algren, Henry Roth, and Rachel Carson, have already attracted a good deal of sustained attention, and their work is often taught in college courses, but for various reasons their careers have not yet been discussed in American Writers. It is time they were added to the series.

In a book on Charles Dickens, G. K. Chesterton wrote: There is a great deal of difference between the eager man who wants to read a book, and the tired man who wants a book to read. This volume of articles on American writers is for eager readers who want a book to read. That is, it is for those with enough energy to pursue a book, to read it critically, and to examine its context as well as its content. My hope is that the eighteen articles included here will aid and abet serious readers in the work of interpretation and evaluation. This series had its origin in a remarkable series of critical and biographical monographs that appeared between 1959 and 1972. The Minnesota Pamphlets on American Writers were incisively 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 idea of reprinting these essays occurred to Charles Scribner, Jr. (19211995). The series appeared in four volumes entitled American Writers: A Collection of Literary Biographies (1974). Since then, eight supplements have appeared, treating well over two hundred American writers: poets, novelists, playwrights, essayists, and autobiographers. The idea has been consistent with the original series: to provide clear, informative essays aimed at the general reader and intelligent student. These essays often rise to a high level of craft and critical vision, but they are meant to introduce a writer of some

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xiv / AMERICAN WRITERS The poets included here—from Robert Francis (a contemporary of Robert Frost) to Amy Clampitt, William Matthews, Louis Simpson, Gerald Stern, and David Wagoner—are well known in the poetry world, and their work has in each case been honored with major literary 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 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 creation of culture involves the continuous reassessment of major texts produced by its writers, and my belief is that this supplement performs a useful service here, providing substantial introductions to American writers who matter, and it will assist readers in the difficult but rewarding work of eager reading.

—JAYPARINI

Contributors Carolyn Alessio. Prose editor of Crab Orchard Review, and teacher of English at Cristo Rey High School, a dual-language school in Chicago. Her work has appeared in the Chicago Tribune, TriQuarterly, Boulevard, and elsewhere. SHIRLEY JACKSON

Tracie Church Guzzio. Assistant Professor of English, State University of New York at Plattsburgh. Author of essays on Charles Chesnutt, Clarence Major, and John Edgar Wideman, and a forthcoming book on John Edgar Wideman's work. JEAN TOOMER

Bert Almon. Professor of English, University of Alberta. Author of eight collections of poetry and a critical biography, William Humphrey: Destroyer of Myths. WILLIAM HUMPHREY

Steven G. Kellman. Professor of Comparative Literature, University of Texas at San Antonio. Author of Loving Reading: Erotics of the Text, The Plague: Fiction and Resistance, The SelfBegetting Novel, and The Translingual Imagination. Editor of Perspectives on Raging Bull, and coeditor of Into the Tunnel: Readings of Gass 's Novel, Leslie Fielder and American Culture, and Torpid Smoke: The Stories of Vladimir Nabokov. HENRY ROTH

Charles R. Baker. Poet, essayist, and short story writer. Author of the short stories What Miss Johnson Taught, Christmas Frost, and A Peacock in a Pecan Tree. JAMES SALTER 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. GERALD STERN

Melissa Knox. Author of Oscar Wilde: A Long and Lovely Suicide and Oscar Wilde in the 1990s: The Critic as Creator. She has published articles about Henry James, Thomas De Quincey, William Butler Yeats, and Anai's Nin. DOROTHY PARKER, TONY KUSHNER James A. Lewin. Associate Professor of English, Shepherd College. He has published essays about Shakespeare's political ghosts and Nelson Algren. NELSON ALGREN

Cornelius Browne. Professor of English, Ohio University. He has published essays on John Steinbeck, Barry Lopez, and AmericanCanadian literary relations. He is currently at work on a book about Pragmatism, John Dewey, and American environmental writing. RACHEL CARSON, JOHN MUIR

Alexander Long. Graduate of the Writing Seminars at the Johns Hopkins University. His poetry, essays, and book reviews have appeared in such journals as Quarterly West, The Connecticut Review, Solo, Third Coast, The Prose Poem: An International Journal, and Montserrat Review. WILLIAM MATTHEWS

Joseph Dewey. Associate Professor of Contemporary American Literature, University of Pittsburgh. Author of In a Dark Time: The Apocalyptic Temper in the American Novel of the Nuclear Age, Novels from Reagan's America: A New Realism, and a forthcoming volume on Richard Powers. RICHARD POWERS

Josef Raab. Associate Professor of American Studies, University of Bielefeld, Germany. Author of Elizabeth Bishop's Hemisphere, edi-

xv

jcvi / AMERICAN tor of Das 20. Jahrhundert: Nachkriegszeit and Klassische Menschenbilder, and coeditor of Negotiations of America's National Identity. His other publications concern Mexican American literature, inter-American relations, popular culture, Benjamin Franklin, Emily Dickinson, Walt Whitman, Jose Marti, and twentiethcentury American poetry. TONY KUSHNER

WRITERS

Sylvia Shurbutt. Professor of English, Shepherd College. Author of articles published in such journals as Essays in Literature, Women's Studies, Southern Humanities Review, The Southern Literary Journal, Women and Language, and Victorian Poetry. ZELDA FITZGERALD

Steven P. Schneider. Professor of English, University of Texas, Pan American. Author of A. R. Ammons and the Poetics of Widening Scope and editor of Complexities in Motion: New Essays on A. /?. Ammons's Long Poems. His poetry has appeared in such journals as Critical Quarterly, Prairie Schooner, and The Literary Review. Louis SIMPSON

Wiilard Spiegelman. Hughes Professor of English, Southern Methodist University. Editor of Southwest Review, and author of Wordsworth's Heroes, The Didactic Muse: Scenes of Instruction in Contemporary American Poetry, and Majestic Indolence: English Romantic Poetry and the Work of Art. He is a frequent contributor to the Wall Street Journal. AMY CLAMPITT

Robert B. Shaw. Professor of English, Mount Holyoke College. Author of Below the Surface and other collections of poetry, as well as numerous articles on modern poetry. ROBERT FRANCIS

Richard Wakefield. Professor of American literature at The Evergreen State College, Tacoma Community College, and the University of Washington at Tacoma. He is the poetry critic for the Seattle Times. DAVID WAGONER

Nelson Algren 1909-1981

L KE THEBIBLICAL prophet and the Shakespear-

by an ex-priest, arrested on suspicion of passing phony checks, under the glare of a police line-up in The Man with the Golden Arm. Asked why he was defrocked, the anonymous ex-priest explains to Saloon Street District Captain "Record Head" Bednar: "Because I believe we are members of one another."

ean fool, Nelson Algren stood up to privilege and power even as he confirmed the foundation on which civilized culture is based. Challenging the authority of judges, officials, pundits, and promoters, he made enemies in the literary as well as the political establishment, and he paid for his defiance. With very few exceptions, academic critics have ignored Algren. Best known for The Man with the Golden Arm (1949), which received the National Book Award in 1950, Algren identified with the literary realism and radical politics of Stephen Crane, Jack London, Theodore Dreiser, Carl Sandburg, and Eugene V. Debs. Building on the Chicago school of literary realism, Algren represented slum dwellers, vagrants, and petty criminals as a reflection of the repressed soul of shallow materialism. In Chicago: City on the Make (1951), he defined literature as "a challenge . . . to the legal apparatus by conscience in touch with humanity." In outcasts of respectable society he found the humanism that an established legal and literary elite hypocritically espoused. For having created a literature based on compassion for misfits and rejects, individuals who live forever on the dark side of the American Dream, Algren has never been forgiven by his critics. But neither did Algren ever forgive those guardians of respectability who made such a studied effort to ignore him. Precisely because he wrote about outcasts, Algren was able to express the values lacking among the gatekeepers of literary officialdom. He defined the cultural establishment's limitations. The author's ideology is summed up in the confession made

ALGREN'S LIFE

Born in Detroit, Michigan, on March 28, 1909, Nelson Algren wrote about East Texas, New Orleans, the Far East, and other exotic locales. But he spent most of his life singing in poetic prose of Chicago. His relationship with his hometown was bittersweet, often cynical, but never condescending or blase. He called it, in Chicago: City on the Make, "the place built out of Man's ceaseless failure to overcome himself." A song of unrequited love by a writer for his source of inspiration, this essay in the form of a prose poem argues that Chicago does not belong to the big shots in the high-class offices, fancy restaurants, and exclusive clubs so much as to all the anonymous and homeless urban wanderers and lost souls on the street. He likens loving Chicago to "loving a woman with a broken nose," noting "you may well find lovelier lovelies. But never a lovely so real." According to Algren's unofficial history, the city's founding fathers "were all of a single breed. They all had hustler's blood." Reformers of the city, Algren writes, found themselves playing catch-up in a rigged ball game. "DoGooders" like Jane Addams "get only two outs an inning," while Hustlers like Hinky Dink and

1

2 / AMERICAN WRITERS Bathouse John "are taking four." The fight for the eight-hour day was won by workers, he suggests, only at the cost of living in a city ruled by a stifling spirit of corporate mediocrity. Thus, Chicago "is a drafty hustler's junction in which to hustle a while and move on out of the draft." But Chicago's "rusty heart," he admits, holds on to its own "for keeps and a single day." The author's paternal grandfather, Nels Ahlgren converted to Judaism in Stockholm and changed his name to Isaac Ben Abraham in the 1850s. Finding life difficult for a Jew in Sweden, he came to America. As a fur trader in Minnesota, however, Algren's grandfather found life could also be difficult in his new country. In Nelson Algren: A Life on the Wild Side (1989), Bettina Drew notes that his trading post "was burned out in the last Indian raid east of the Mississippi." After marrying a Jewish woman in Chicago, he tried running a store in Black Oak, Indiana. Failing as a storekeeper, his next stop was San Francisco, where the author's father was born before the family sailed to the Holy Land around 1870. The earliest memories of Algren's father, who later worked as a mechanic in the Yellow Cab Company in Chicago, were of Arabs on camels in Palestine. But life proved difficult in Jerusalem as well. As a self-proclaimed prophet, Algren's grandfather gathered a group of like-minded wise men around him and lived on a higher spiritual level while his wife kept house. Algren's grandmother decided, with monetary assistance from the American consulate, to return to America. At the last minute, her husband joined her. Once on board, Algren's grandfather decided that the consulate's money represented idol worship and made a show of throwing the graven images overboard. Other passengers raised a collection among themselves so the family could complete its journey back to the United States. The grandfather later became a socialist and simultaneously a convert to all religions and to none. However embellished,

the often-told tale of Algren's grandfather represented the author's own combination of iconoclastic faith and innocent skepticism. Proud of his namesake, whom he never met, Algren wondered aloud in an interview with Martha Heasley Cox and Wayne Chatterton: "Can pseudo-intellectualism be inherited?" Algren hid his Jewishness. He has never been included in a list of Jewish-American writers. But his itinerant grandfather left a trace of the wandering Jew. Born Nelson Algren Abraham, he dropped the family name of his secondgeneration immigrant parents because, as he said in an interview with H. E. F. Donohue, he did not think it "could get on a theater marquee." He described his parents as "neither Gentiles nor Jews." As a child, Algren went to a Congregationalist Sunday school on the South Side of Chicago because his mother "didn't like the Irish" who dominated the neighborhood. After the family moved to the North Side, Algren graduated from high school near the bottom of his class. With his sister's encouragement, however, he received a bachelor of science degree in journalism from the University of Illinois at Urbana-Champaign in 1931. He worked odd jobs and hoboed his way to Texas and back, collecting experiences he used as the basis of his short story, "So Help Me," published in Story magazine in 1933. Soon after, he received a letter from Vanguard Press asking if he was working on a novel. Algren hitchhiked to New York City and met James Henle, president of Vanguard, who offered him an advance. Both writer and publisher believed they had driven a fantastic bargain when Algren asked for, and received, $100 to be paid over a period of three months. Traveling by freight train and hitchhiking, Algren returned to Texas to gather material for his book. On the campus of Sul Russ State Teacher's College in Alpine, he discovered a roomful of typewriters. Nobody seemed to mind when Algren began working on "an old upright

NELSON ALGREN / 3 Royal" to which he became attached, so, he told Donohue, he "simply picked it up and walked . . . to the hardware dealer and got a box, packed it ... and mailed it" to himself in Chicago. Algren then got on a boxcar, intending to catch up with the typewriter, still thinking he had made a "shrewd move" until the sheriff arrested him and took him to be locked up. Unable to pay for bail, Algren remained in the Brewster County Jail until the circuit-riding judge came to Alpine. On advice of his public defender, Algren pled not guilty, although he had signed a confession. Algren's lawyer appealed for mercy. Using an argument based on English common law, he compared the young writer trying to obtain the tools of his craft to Jean Valjean in Victor Hugo's Les Miserables. Sentenced to two years on the pea farm in Huntsville, Algren was freed on condition that he leave Texas within twenty-four hours. His experience behind bars became the basis for Algren's lifelong fascination with the world of prisoners. Back in Chicago, Algren finished his first novel, Somebody in Boots, published in 1935. He worked for the Works Progress Administration Illinois Writers' Project and the Venereal Disease Control Program of the Chicago Board of Health. His second novel, Never Come Morning, was published in 1942. In the U.S. Army during World War II, he served in Wales, Germany, and France, never rising above the rank of private. The Neon Wilderness, a collection of short stories published in 1947, included five stories that had appeared in O. Henry Memorial Collections or Best American Short Stories, two of which, "A Bottle of Milk for Mother" (which encapsulates the saga of Lefty Bicek, the protagonist of Algren's Never Come Morning) and "How the Devil Came Down Division Street," were widely anthologized. In 1947 Algren received grants from the American Academy of Arts and Letters and the

Newberry Library to assist him in writing his masterpiece, The Man with the Golden Arm. Algren was disappointed, however, in the cinematic version, which he considered a mockery of his novel. The producer Otto Preminger made millions on the film, starring Frank Sinatra, while Algren received a total of $15,000 in royalties. Preminger claimed all the credit for breaking the taboo against portraying drug addiction, and Sinatra saved his acting career. But Algren felt betrayed by a Hollywood movie that sensationalized his distinctive vision of the struggle for survival on Chicago's Near Northwest Side. The year 1951 saw the publication of his Chicago: City on the Make, which began as a magazine article. His A Walk on the Wild Side (1956) was slashed by establishment critics. First, Alfred Kazin, writing for the New York Times Book Review, sniffed at Algren's "surrealist predilection" for the grotesque, dismissing the novel as an exercise in "puerile sentimentality." Then, in an article published in The New Yorker with the mocking title "The Man with the Golden Beef," Norman Podhoretz took offence because Algren seemed to find "bums and tramps" more worthy of attention than "preachers and politicians and the otherwise respectable." Finally, in a review printed in The Reporter, Leslie Fiedler skewered Algren with the sneering sobriquet "bard of the stumblebum." Algren, according to Fiedler, had become "almost a museum piece" because he refused to develop beyond the social protest novel. In rebuttal, Lawrence Lipton accused Algren's critics of betraying themselves. By renouncing the political activism of the 1930s as a sort of youthful indiscretion, Fiedler and company bowed to the idols of Cold War ideology, Lipton charged. By refusing to take Algren's writing seriously, they conformed to the commercialism of a shallow, materialistic culture— while using Algren as a whipping boy to emphasize their own smug superiority. Lipton,

4 / AMERICAN WRITERS however, published his scathing riposte in a little-noted edition of the Chicago Review, while the attacks on Algren's work appeared in periodicals influential among the intellectual elite. As a result, Algren was branded as a writer who had fallen out of step with mainstream readers. After the 1950s, when many professors were required to sign loyalty oaths, and New Critics espoused literary formalism to the exclusion of historical context and social critique, Algren was dropped from reading lists. As Carla Cappetti observed in Writing Chicago: Modernism, Ethnography, and the Novel (1993), Algren fell victim to a campaign that "exiled the whole urban sociological tradition from the hall of fame of American letters." Before his fall from favor, Algren's short fiction appeared in Short Story Masterpieces, Seventy-Five Short Masterpieces, Stories From World Literature, The Best American Short-Stories, 1915-1950, Stories of Modern America, Big City Stories of Modern American Writers and other anthologies. Nonetheless, in the current literary canon, he is nonexistent. The Norton Anthology of Short Fiction leaves Algren out. Standard textbooks such as The American Tradition in Literature omit him. Even The Heath Anthology of American Literature, which extends traditional limits to include more women, Native Americans, African Americans, and experimentalists can not find a place for Algren. For his part, Algren struck back at the formalist assumptions of New Criticism. In his introduction to the 1960 edition of The Neon Wilderness, he noted that the "new owners" of literature had arrived "from their respective campuses armed with blueprints to which the novel and short story would have to conform," abolishing "prewar mottoes" of the humanistic tradition. "Until that moment," he continued, "I hadn't known that sympathy for perverts and savages had gone out of style, yet the point was clear: compassion was just too good for some

people." Bettina Drew has noted that, for Algren, the artist's mission was to take risks by which if one fails, one fails alone, but "if one succeeds, one succeeds for all." This openended inclusion was in direct opposition to the notion that literature served as a buffer protecting the privileges of class. As Martha Cox and Wayne Chatterton have observed, Algren insisted that "the role of the writer is to stand against the culture he is in." The most celebrated love of his life, Simone de Beauvoir, the French writer and philosopher, also brought Algren heartbreak and humiliation. Beauvoir used her relationship with Algren to put her lifelong partnership with the philosopher Jean-Paul Sartre in perspective. She found passion with Algren yet remained devoted to her intellectual companionship with Sartre. It took Algren a long time to realize that he would never be her first priority, despite her avowals of love. The long-distance literary love affair depended on Beauvoir's finding time to visit Algren in Chicago. After his outspoken support of protests against the execution of Julius and Ethel Rosenberg, convicted of spying for the Soviet Union, Algren could not get a visa from the State Department to leave the country. Finally, in 1960, when the travel ban against him was lifted and he managed to go to Paris, Beauvoir gave Algren the keys to her apartment and announced that she had to accompany Sartre on a trip to Cuba. Algren remained loyal until Beauvoir expounded her theory of "contingent loves," specifically referring to her affair with Algren to rationalize her willingness to experiment despite her commitment to Sartre. Beauvoir published "A Question of Fidelity" and "An American Rendezvous" in the November and December 1964 issues of Harper's. In response, Algren published "The Question of Simone de Beauvoir" in the May 1965 issue of the same magazine. "Anybody who can experience love contingently has a mind that has recently

NELSON ALGREN / 5 snapped," he wrote, concluding that: "Procurers are more honest than philosophers." Increasingly disillusioned, Algren wrote journalism and travel books and indulged his weakness for betting on horse races and poker games. A few months before his death of a heart attack on May 9, 1981, in Sag Harbor, New York, Algren was inducted into the American Academy and Institute of Arts and Letters, which in 1974 had presented him with its prestigious Award of Merit for the novel, given only to a select handful of authors. This belated recognition confirmed the merit of Algren's work but did not prevent his books from going out of print. The Devil's Stocking, a novel based on the case of boxer Rubin "Hurricane" Carter, was published posthumously in 1983. SOMEBODY IN BOOTS

Algren began his first book with the projected title "Native Son," but when his publisher suggested a change, Algren let Richard Wright use it for his own work. When published in 1935, Algren's book was titled Somebody in Boots. In his preface to the 1965 reprint edition, the author called it "an uneven novel written by an uneven man in the most uneven of American times." Filled with images of cruelty, grisly scenes of horror and bottomless depths of alienation, the novel reads as an apprentice's effort to capture the lives of the dispossessed legions of the American Southwest during the 1930s. The book's protagonist, Cass McKay, is the ultimate underdog. Cowardly, selfish, and ignorant, he maintains a romantic yearning for impossible purity through every misadventure. Despite all the odds, Cass maintains his humanity in a world ruled by man's inhumanity to man: "Cass never became hardened to fighting. . . . He was to see men fight with guns and knives, with bare fists and with their teeth. . . . Yet not once in his young manhood was he to

see the shadow of pain cross a human face without being touched to the heart." Son of Stub McKay, a man who "felt he had been cheated with every breath he had ever drawn," Cass inherits a secret pain with no name other than "The Damned Feeling." Age fifteen in 1926, Cass is described as "lank . . . red-haired . . . somewhat cave-chested" and barely literate. Cass's brother Byron is a World War I veteran who has never recovered from having "been gassed at St. Mihiel." With no recollection of their mother, Cass looks to his sister Nancy as the only maternal figure and sole friend of his brutal childhood. He and his sister, however, grow apart as they calculate their different strategies for survival. When their father kills the man who has taken his job on the railroad, an angry mob surrounds the house. Cass escapes. Before he goes, however, he flippantly tells his sister to "go down valleyway like you said wunst, to get yo'self a job in a spik whorehouse in La Feria," and never forgives himself when his offhand curse comes true. For Cass, the shame his father brings the family as a murderer is insignificant compared to the embarrassment of his sister's becoming a whore, partly because of his repressed incestuous desire for her and also because she is the only gentle soul he has ever known. As a hobo riding the rails, Cass learns that for him, "there was no escape from brutality. The world was a cruel place, all men went alone in it. Each man went alone, no two went together. . . . There were only two kinds of men wherever you went—the men who wore boots, and the men who ran." Algren describes the "dark human tide" of anonymous masses of superfluous humanity, refugees in their own country, swept up by the waves of economic depression swirling them into the depths of the 1930s inferno: There was no standing still and there was no turning back. No place to go, and no place to rest. No time to be idling and nothing to do. He moved,

6 / AMERICAN WRITERS moved, everything moved; men either kept moving or went to jail. Faces like fence-posts seen from trains, passed swiftly or slowly and were no more. . . . From day to day faces appeared and passed, from hour to hour dimmed and died. . . . In a sullen circle they stared for an hour, neither hostile nor friendly nor kind. They too were of the hunted. They moved aside to make place for him or silently turned away; he stood among them in silence, he then too stared unhostile in his turn. Then it was move, move—Don't come here any more—and the faces were gone again.

Sentenced to ninety days in the El Paso County Jail, Cass finds that his punishment is to be administered by a kangaroo court of convicts, presided over by Judge Nubby O'Neill, who espouses "a highly-feigned hatred of everything not white and American." The one-handed barn boss threatens Cass with the greatest number of "swangs" he can imagine from the belts of all the prisoners in the tank, applied with force on the naked buttocks of the defendant, for the offense of relating to a black person as an equal. The court has mercy when Cass denounces his past and swears loyalty to all whites, granting Cass a suspended sentence of "ten thousernd swangs on his left butt an' five thousernd swangs on his right." The purpose of the jail is to support the jailers. Most of the inmates are not guilty of any crime. They had been "pulled out of box-cars for the sake of the feed-bill" that provide sixty cents per day per prisoner, allowing a larger profit margin when the cells are filled. The sheriff feeds them an oatmeal and turnip-green diet on both weekdays and Sundays. When one convict has the courage to protest, he is led out for a visit to the commissioner so he can officially register his complaint. But as soon as he steps out of the cell, the sheriff beats him with his ring of keys until the terrified and badly injured convict crawls back in meek submission. Before a grand jury comes to investigate conditions, the prisoners receive meat, milk, and potatoes three times a day and know better

than to utter a peep when the foreman asks if they have any complaints. Cass drifts to Chicago where he meets Norah Egan, a "haybag whore" who specializes in rolling drunks and trying to avoid extortion by the cops. They rob a drugstore together and make a haul of $500 that transforms the summer of 1932 into the only season of idyllic bliss in Cass McKay's life. Inevitably, Cass winds up in Cook County Jail and loses track of Norah. Cass takes a job as barker in the burlesque house where Norah had worked before they met. There he meets an intellectual black man, Dill Doak, a fellow worker who takes Cass to left-wing rallies in Washington Park and gives Cass a transient glimpse of radical ideology. But the search for the lost love of Norah leads to heartbreak. Cass hooks up again with Judge Nubby O'Neill who takes the role of surrogate father and spiritual guide, promising to turn Cass into "a real white man." Conventionally read as a proletarian protest novel, Somebody in Boots is not about the proletariat. Algren, instead, writes about what The Communist Manifesto calls the "'dangerous class,'" the lumpen proletariat, which is less likely to join a working-class revolution than to become criminals and tools of "reactionary intrigue." A born follower, Cass seems to need somebody stronger to lead him through the wilderness of American society. The dominant characters of the book, always "somebody in boots," either with a gun or a badge or both, represent a jungle world where survival is the only law. Lost in a wasteland of American capitalism, Cass seems destined to a life of petty crime and brokenhearted dreams of love. The book is especially effective in conveying a sense of individual isolation in the fragmented fraternity of the dispossessed that survives below the surface of America. Whether he develops as an individual seems doubtful, but Cass is definitely changed by the end of the novel, if only from an innocent victim of society to a guilty one,

NELSON ALGREN / 7 forced by circumstances into the criminal underworld that is the only place he feels at home. The novel received mixed reviews. In the New York Times Book Review, H. W. Boynton declared: 'There is a creative impulse at work here which declines to be subdued to the uses of mere realism or propaganda." But in the The New Republic, Otis Ferguson suggested that Somebody in Boots "would make a fair book only if its author had thrown it out and used what he has apparently learned to write another." Perhaps taking this advice seriously, it took Algren seven years to produce his second novel. NEVER COME MORNING

Algren's long-neglected Never Come Morning unveils the author's tragic "central vision," defined by George Bluestone as based on "the impulse to destroy love," leading to the living death of self-destruction. The flawed protagonist, a child of the slums named Bruno "Lefty" Bicek, can knock out an opponent in a boxing ring, but is unable to overcome his own moral weakness. Caught between inchoate feelings for Steffi Rostenkowski and the peer pressures of his fellow hoodlums, Bruno betrays his love in one of the most disturbing scenes of gang rape ever written. Unable to forgive himself, Lefty struggles to free himself of his past. Like other second-generation Polish immigrants in his neighborhood, Lefty lives in a shadow world under the supervision of an immigrant barber. An evil monster of insatiable greed and paranoid fear, the barber has ties to the interlocking criminal underworld and network of police protection that rules West Division Street. The barber arranges fixed boxing matches and controls a variety of criminal enterprises, including a neighborhood brothel. Under his influence, the "Twenny-six Ward Warriors Social 'n Athletic Club" members have their heads shaved by the barber and change

their name to the "Baldhead True-American S.A.C." Confined to a small ethnic enclave in a huge and impersonal metropolis, the world of Never Come Morning provides Algren with a canvas to etch miniature portraits of the juvenile delinquents in the story. The toothless, noseless, washed-out Casey Benkowski is Lefty's partner in crime and his manager in the boxing ring. "Finger" Idzikowski is Lefty's trainer; he puts his patented hex on Lefty's opponents in the ring or on the baseball field. Sly, insidious "Catfoot" Nowogrodoski walks and even laughs "noiselessly," "his face sallow and aquiline, with red dice hanging for luck from his belt and his hatbrim turned up in front." There is also the dangerous and demented "Fireball" Kodadek, who carries a spring-blade knife and is desperate enough to use it without warning. Fireball cannot forgive Lefty for replacing him as starting pitcher on the gang's baseball team, and gets his revenge by forcing the rape of Steffi. Intimidated by the threat of Fireball's switchblade, Lefty allows Catfoot to insinuate himself into a tryst between him and Steffi in the gang's hangout. As the rape proceeds, word spreads and everyone in the neighbornood lines up for their turn. When an unknown Greek tries to join the line, Lefty takes out his rage on the interloper and leaves him dead in the alley. While the police do not yet suspect him of killing the Greek, Lefty serves time in jail for a different crime. To cover up for his friend Casey, he takes the rap for mugging an elderly Polish man and stealing his welfare check. Lefty realizes, however, that his real guilt is for having "killed Steffi in his heart." Buried in his "muffled conscience" is the knowledge he "would pay all the rest of his life" for his abandonment of her and "the conviction that no punishment was too great for such a betrayal": Yet there was no way of paying for Steffi. . . . So he could not, even to himself, see his guilt clearly

8 / AMERICAN WRITERS toward her. According to his code he had done no more for Catfoot and the others than Catfoot and the others had at times done for him. He had been straight with the boys, he had been regular. And to be regular was all he had ever been schooled to accomplish. Beyond being regular there was nothing expected of a man. To give more wasn't regular. To give less wasn't straight.

In this novel, Algren also makes the first of his memorable depictions of the inside of a brothel, without either mawkish sentimentality or moralizing condescension. Stigmatized by the rape, Steffi finds herself with no other option than to go to work for the barber as a prostitute: "The enormity of being accessible to any man in the whole endless city came to her like a familiar nightmare. It was true. It was really true. It was true of herself, truly true; it was to herself this had happened and to none other. It was true." With Steffi trapped in the endless night of the Milwaukee Avenue brothel, Lefty defies the barber's stranglehold on him and tries to win enough money in the boxing ring to allow him to begin a new life with Steffi. In a finely described prizefight, Lefty, cast as the Polish White Hope, defeats "Honeyboy" Tucker, a black contender for the championship. But before he can leave the arena, the police arrest him and take him to the prison that has always awaited him as his fate. The novel transforms the Triangle between Chicago Avenue and Division Street, transected by the slanting Milwaukee Avenue running from Ashland Avenue to Damen Avenue, into a dreamscape city of the damned. In this book, says Carla Cappetti in Writing Chicago, Algren goes beyond sociological observation to represent the inner city as the repressed subconsciousness of capitalist psychology, revealing the contradictions that "make the slum and the criminal both margin and center of the city." The barber's favorite Polish saying is "When the thunder kills a devil, . . . then a devil kills a Jew." Two minor characters in the book are Jew-

ish: the doctor who checks the prostitutes for disease and Snipes, a survivor of shell shock from World War I who runs errands for Mama Tomek and listens to her endless litany of hard times in the big city. But metaphorically the Jew is Lefty, who is doomed by the consciousness of his own guilt for betraying his love to the peer pressures of the gang. Lefty's last words are the epitaph for all the lost children of the city of night who never have the chance to grow up: "'Knew I'd never get t' be twenty-one anyhow,' he said." In Lefty's tale Algren sums up the despair of all young people, of whatever ethnic or racial origin, who are trapped in the violence of doomed neighborhoods from which they cannot hope to escape. Algren's description of the dynamics of street gangs has lost none of its shocking truth and is even more relevant in the contemporary world than when the book was first published. As an epigraph, used to emphasize the universality he wishes to express, Algren cites Walt Whitman: I feel I am one of them— I belong to those convicts and prostitutes myself— And henceforth I will not deny them— For how can I deny myself?

After it was published in 1942, Never Come Morning received enthusiastic praise in the New York Times and The Saturday Review of Literature. The critics Philip Rahv and Clifton Fadiman gave the book glowing reviews. But the editors of Chicago's Polish daily newspaper, Zgoda, denounced the book as "Nazi propaganda" designed to discredit all people of Polish descent and accused Algren of being a paid agent of "Herr Goebbels." The furor raised by the Polish community resulted in the removal of Algren's book from the Chicago Public Library. In typically acerbic fashion, Algren not only refuted his critics but went on the offensive against them. In the author's preface to the 1962

NELSON ALGREN / 9 reprint of the book, he again cited Whitman as his authority, challenging all the guardians of respectability as one: "The source of the criminal act, I believed twenty years ago and believe yet, is not in the criminal but in the righteous man: the man too complacent ever to feel that he—even he—belongs to those convicts and prostitutes himself." As if in anticipation of the argument that he was defending the criminals against their victims, Algren accused his critics of a "failure of feeling": Nor all your piety nor all your preaching, nor all your crusades nor all your threats can stop one girl from going on the turf, can stop one mugging, can keep one promising youth from becoming a drug addict, so long as the force that drives the owners of our civilization is away from those who own nothing at all.

THE MAN WITH THE GOLDEN ARM

Poet laureate of the urban underworld, Algren broke new ground with the first serious literary treatment of drug addiction in the inner city. Yet The Man with the Golden Arm was never exclusively about illegal drugs. Conceived as a novel about a backroom card shark in the Division Street neighborhood of Chicago, the theme of heroin addiction entered the book as an afterthought. Algren was outraged when the movie version missed the point by concentrating on the agonies of an addict in withdrawal without taking the novel's characters seriously as people. Hollywood advertised the film as "Otto Preminger's Man with the Golden Arm' while cutting Algren out of both the credits and the profits. Rereading Algren's masterpiece confirms that the novel is about addiction as metaphor. Algren may have been the first to inscribe the phrase "monkey on his back" to signify the burden of addiction. Yet Algren also observed in the novel that "'the monkey never dies. When you kick him off he just hops onto somebody

else's back.'" The monkey on Frankie Machine's back becomes a symbol for the unfulfilled yearnings of men and women caught on an endless treadmill of poverty and ignorance. The novel takes a snapshot of a predominantly Polish neighborhood in Chicago just after World War II. Love, friendship, alienation, and betrayal are Algren's central themes. Frankie cannot kick his addiction because he cannot stop blaming himself for the car accident that has left his wife Sophie in a wheelchair. Having drunk too many of Owner Antek's "ABomb Special, made simply by pouring triple shots instead of doubles" in celebration of "what a single bomb had done on the other side of the world," Frankie had impulsively climbed behind the wheel of a car and "crashed into the light standard of the safety island." At first, Frankie's problems seem to be solved easily enough by Zygmunt the Prospector, a debarred lawyer who specializes in processing fraudulent insurance claims. Zygmunt can fix anything from a traffic ticket to a manslaughter rap. He sees himself as an idealist who dreams of making Chicago "the personal injury capital of the United States of America." Some weeks later, however, Sophie wakes up with paralysis in her legs. For Sophie, whose illness is psychosomatic, the accident "had truly married them at last. For where her love and the Church's ritual had failed to bind, guilt had now drawn the irrevocable knot so fiercely that she felt he could never be free of her again." Trapped by his guilt for Sophie's condition, Frankie stumbles on the hope of redemption in the arms of dark-haired Molly Novotny. Molly, herself a refugee from the abusive Drunkie John, offers Frankie refuge from the sickness of withdrawal and the loneliness of his guilt. But only in the "iron sanctuary" of County Jail is Frankie able to remove "the thirty-five pound monkey on his back." And by the time he is released, Molly has drifted away from him into the endless labyrinth of the city.

10 / AMERICAN Algren describes a world of dim half-lights where the blaze of the sun is lost in the glare of the lineup in the back room at the precinct station. Under the omnipresent elevated train or locked behind bars, Algren's characters live in the shadow of "a dull calamitous light like a madhouse light" that comes "filtering down from somewhere far above . . . down the disinfected corridors . . . down many a narrow long-worn wrought-iron way . . . into the dangers of the unfingered, unprinted, unbetrayed and unbefriended Chicago night." Daylight reveals the abject betrayal, the truth of corruption, and the ultimate horror, as expressed in the epigram taken from Alexandre Kuprin, "that all the horror is in just this—that there is no horror!" Mercy can be found, Algren suggests, only in the shadows out of which the darkness comes. And the only hint of redemption is in the furtive embrace of love, the privacy of anonymity, and the oblivion of drug or drink. From this dimly lit background emerges Nifty Louie Fomorowski with "amber eyes and twotone shoes, his sea-green tie and soft green fedora with the bright red feather in its band above the pale asthenic face touched faintly with violet talc." Louie, "the one junkie in ten thousand who'd kicked it and kicked it for keeps," knows the lies an addict lives by: "When I hear a junkie tell me he wants to kick the habit but he just can't I know he lies even if he don't know he does. He wants to carry the monkey, he's punishin' hisself for somethin' 'n don't even know it." Nifty Louie sends "God's medicine" via the sightless Blind Pig, who cannot see where he is going or how he is being used. Blind Pig never washes himself in order to be as disgusting to others as possible, exuding "an odor of faintly rancid mutton, moldering laundry, long dead perch and formaldehyde." Behind his "creamy, dreamy smirk" he harbors "veiled malice" for everyone who has sight—and repeats over and over his mantra of greed: "I take all I can get."

WRITERS Frankie deals cards in a backroom poker game run by Zero Schwiefka, who is described as "a paunch draped in a candy-striped shirt and a greasy black mortician's suit" with slackened jowls and a huge bulbous nose. When Frankie is arrested because the police have not been paid off in time, Zero rushes to bail him out, "rubbing his hands together breathlessly, clear to the elbows, like a great bluebottle fly preening its front legs." Regulars in the all-night card game include Umbrella Man, "who walked about the streets smiling gently, day after day, tinkling an old-fashioned school bell and bearing a battered umbrella strapped to his back." The others indulge Umbrellas because he is the brother to the "smartest cop on the street," Cousin Kvorka, "the captain's man," who is everybody's cousin "for a double saw"—twenty dollars. Another regular, Meter Reader, "once played sandlot baseball and now coached his employers' team, the Endless Belt & Leather Invincibles, an aggregation that hadn't won a game since Meter Reader had taken it over." In Algren's world there can be no winners: "'I hope I break even tonight' was the sucker's philosophy. 'I need the money so bad.'" Frankie and his sidekick Solly "Sparrow" Saltskin, who consider themselves "about as sharp as the next pair of hustlers," are defined by their function in the game. "Flat-nosed, buffalo-eyed" Frankie Machine is known simply as Dealer. "It's all in the wrist 'n I got the touch," Frankie was fond of boasting of his nerveless hands and steady eye. Sparrow, who guards the door and runs errands, earns the title of Steerer: "I'm a little offbalanced," Sparrow would tip the wink in that rasping whisper you could hear for half a city block, "but oney on one side. So don't try offsteerrin' me, you might be try in' my goodbalanced side. In which case I'd have to have the ward super deport you wit' your top teet' kicked out."

NELSON ALGREN / 11 Before teaming up with Frankie, Sparrow had been "a lost dog finder" who stole pets from neighborhood backyards and either sold them or returned them for a reward. Through "tortoiseshell glasses separating the outthrust ears" of his pointed head, Sparrow goggles in admiration at Frankie's car tricks, no matter how often repeated. "Half-Hebe 'n half crazy," as Frankie call him, Sparrow is willing to follow him through jail cells, barrooms, and back alleys, but does not know the secret guilt of Frankie's addiction until it is too late. Other faces in the crowd include the sadistic Drunkie John, "a man who didn't know what to do with himself, for he didn't yet know who he was" except as "a mouth at the end of a whisky glass"; the secretly good-hearted Landlord Schwabatski, known to the tenants of 1860 West Division Street as Jailer; Old Husband, who lives only for the joys of buying day-old bread at bargain rates and tearing the date off the calendar; his wife, Violet, who takes Sparrow as her lover, leading to the hilarious Great Sandwich Battle, when a sausage slips down the old man's pajama legs leading to a wild chain of events; and Antek "the Owner" Witwicki, proprietor of the Tug & Maul Tavern, where the neighborhood drunks congregate, who proudly displays a sign above the cash register that reads: "I'VE BEEN PUNCHED, KICKED, SCREWED, DEFRAUDED, KNOCKED DOWN, HELD UP, HELD DOWN, LIED ABOUT, CHEATED, DECEIVED, CONNED, LAUGHED AT, INSULTED, HIT ON THE HEAD AND MARRIED. SO GO AHEAD AND ASK FOR CREDIT I DON'T MIND SAYING

NO."

In Confronting the Horror: The Novels of Nelson Algren (1989), the sole book-length study of Algren published since his death, James R. Giles construes The Man with the Golden Arm as an existentialist novel: "Frankie's dream of playing drums in a jazz band . . . represents the 'authentic' 'Self that he might create." Frankie Machine has the talent to "go on the legit" as a drummer, but the reason salvation through

respectability remains beyond his reach may go back farther than a philosophy of Being-foritself, back to the Fall of Man. Frankie's failure is deeper than his fantasy of becoming a jazz drummer. Frankie's guilt is shrouded in indeterminacy; his mask of nonchalant indifference may be his original sin. In a momentary flash of anger, he kills Nifty Louie and cannot escape the consequences. The novel ends with the coroner's terse report on his apparent suicide. The characters in The Man with the Golden Arm inhabit an underworld of petty crime controlled by an invisible upper world of bigtime crime. Antek informs Frankie that because the alderman is up for reelection, the latter needs somebody to blame for the murder of Nifty Louie. So the alderman is putting pressure on the ward super and "the super is going to lose his job if Record Head don't clear the books on Louie." With Sparrow in the vise of police entrapment, it is a matter of time before he squeals on his pal. Algren's Chicago is a system of loyalty to corruption. Its legal apparatus depends on the betrayal of those you love. Algren revealed that the roots of Frankie's heroin habit cannot be separated from a society that blights trust with the confidence artist's wary suspicion and persecutes intimacy with the scourge of guilt. To cure the addict, Algren implied, it is necessary to heal the human relationships of a sick society. Francis Majcinek—known as Automatic Majcinek and then simply as Frankie Machine—cannot be cured of his addiction, Algren suggested, until society is cured of deceit, greed, and indifference. A WALK ON THE WILD SIDE

When Doubleday decided to capitalize on the success of A Man with the Golden Arm, the author was known as the Division Street Dostoevsky. But in Nelson Algren (1975), Martha Heasley Cox and Wayne Chatterton observed

12 / AMERICAN WRITERS that critics "had forgotten that Algren had begun as a chronicler of the South rather than as a Chicago novelist." Asked to edit his first novel for republication, the author instead made a complete revision. Somebody in Boots was politically and artistically crude, stringing together one atrocity after another with poetic and reportorial credibility but without more than a loosely picaresque plot and shallow character development. A Walk on the Wild Side emerged as an "accidental novel" that modulates outrage and subtlety beneath a surface of raunchy humor and exaggerated irony in the American tradition of the tall tale. In the reimagined 1930s of A Walk on the Wild Side, the world has turned topsy-turvy: "The Ladder of Success had been inverted, the top was the bottom and the bottom was the top." From this perspective, Dove is so far down in the hierarchy of respectability that he can claim to be the true prince of America. Dove is the last descendant of a long line of free spirits. Exiled from "some colder country," the first free Linkhorn landed on the "old Dominion shore" with a bad reputation: "Watch out for a wild boy of no particular clan, ready for anything, always armed. Prefers fighting to toil, drink to fighting, chasing women to booze or battle: may attempt all three concurrently." Dedicated to the solemn avoidance of manual labor, Dove's ancestors wished neither to own slaves nor to slave for others either as sharecroppers or mill workers. "Saying A Plague on both Your Houses," they renounced "Mr. Linkhorn's war" as concerning no "kin of our'n" and migrated westward from the Ozarks until— some sixty years after Appomattox—Dove's father Fitz "showed up in the orange-scented noon of the Rio Grande Valley." Saturday nights, with the help of a "little brown bottle he called his 'Kill-Devil,'" Fitz preaches from the courthouse steps against the evils of "modern dancing, modern dress, swearing, gambling, cigarettes and sin." To pro-

test the hiring of a Catholic principal, Fitz keeps Dove home from school. "But no one had protested his protest," and Dove remains illiterate. The only education Dove receives, apart from his father's sermons, comes from the hoboes in the train yard: Dove learned that Beaumont was tough. That Greensboro, in some place called Nawth Klina, was a right mean little town to get through. That Boykin, right below it, was even harder. That toughest of any was any town anywhere in Georgia. If you were caught ridin there your heard the long chain rattling. . . . Look out for Lima—that's in Ohio. And look out for Springfield, the one in Missouri. Look out for Denver and Denver Jack Duncan. Look out for Chicago. Look out for Ft. Wayne—look out for St. Paul—look out for St. Joe—look out—look out—look out—.

Yet looking is not the same as seeing, and A Walk on the Wild Side is a journey into the country of the blind. Dove finds success in a New Orleans brothel, located fittingly enough on Perdido Street, where "sometimes once a day, sometimes twice" the respectable customers pay ten dollars each "to achieve vicariously that ancestral lust: the deflowering of a virgin." Each "buyer puts his eye to the peep-hole for which he had paid" to see a "pale, demented girl, blonde braids bound tightly about her head, wearing a simple cotton frock" who is sexually violated, despite her protests, by "some kind of redheaded hayseed in a sheriff's hat with a flashy cord and boots that were all but spurred." As the male lead in this sordid ritual, Dove fulfills his innate certainty of being "a born world-shaker." After the performance itself, everyone returns to the downstairs parlor which is where "the fun really began. The sight of the fellow combing his hair or playing the juke, seemingly innocent that he had performed publicly, sent such glances of cold glee back and forth that soon

NELSON ALGREN / 13 every one had their money's worth." Had the suckers understood "that the dunce in the stetson was not only aware that he was watched, but was secretly proud to display his powers," they could have started a riot and torn Dove to pieces. Paid to be seen in the nakedness of his lust by citizens clothed in respectability, Dove seems all but blind to both the guilt and shame that gnaw within him. By the novel's end, however, Dove suffers literal blindness, being beaten to a sightless pulp in a gruesome barroom brawl, to finally achieve the insight of his own inviolable innocence. The "do-right daddies" who keep the sex show in business parallel the middle-class readers who vicariously walk on the wild side with Algren's lowlife characters. Compounding the irony, the acquisition of literacy is, for Dove, the hardest-won achievement of his unblinded days. The inversion of blindness and insight— where the sighted pay to look through peepholes at a projection of their own blindness—parallels the novel's treatment of an illiterate who could not read the book he inhabits. In a "seersucker suit and sea-green tie," Dove moves "as fast as his butter-colored shoes could make steps," choosing—when given a choice— the "nowhere road," because "that was the only place, in his heart of hearts, that he really wanted to go." Dove refuses to feign blindness to beg on the street. Nor is he slow at calculating sums up to and including the one-hundreddollar bill, conned off the diminutive pimp and master con artist who initiates Dove in the mysteries of his chosen profession. But whatever Dove's sexual prowess, only with the literary help of two women can he overcome the inferiority complex based on his inability to put letters together on a page. Terasina Vidarria, proprietress of the Hotel Davy Crocket in Dove's hometown of Arroyo, is the first person in his life "to try to see could I live up to the alphabet." But Terasina teaches Dove only the first two letters and a tale of a

one-legged tin soldier from a children's picturebook of fairy tales. Another copy of the same book with the same one-legged soldier turns up again on Perdido Street; it belongs to the former schoolteacher Hallie Breedlove, who not only teaches Dove to make letters into words but even initiates him into the joys of literature. Escaping the brothel together, they see a riverboat performance of Othello. Dove becomes intoxicated with the language of Shakespeare. At last, for one brief golden season, "all the anguish he had felt for his ignorance was gone." Dove's final tragic transcendence ends with him feeling his way, sightless and scarred— disfigured by the revenge of Achilles Schmidt, the double-amputee on wheels, his nemesis and rival for Hallie's affections—back to Terasina, to seek her forgiveness for seducing and abandoning her. Yet the issue at the novel's end is not whether Terasina will forgive Dove but the fact that he asks for forgiveness. Like the biblical harbinger of peace, Dove returns from a deluged world with an implicit hope for humanity despite all curses of destruction. In the end, he learns there are two kinds of people. Them that would rather live on the loser's side of the street with the other losers than to win off by theirselves; and them who want to be one of the winners even though the only way left for them to win was over them who have already been whipped.

In A Walk on the Wild Side, Dove transcends all levels of degradation, transforming revenge into a plea for mercy and progressing from the blindness of lust and ignorance to the insights of comic poetry. ALGREN'S NATURALISM

Algren crashed the banquet of American literature with two uninvited guests: the Shakespearean Fool and the Hebrew Prophet. Throughout his career, Algren remained faithful to the

14 / AMERICAN WRITERS naturalism that reaches back to Stephen Crane, Frank Norris, Jack London, and Theodore Dreiser, and that extends forward to Sherwood Anderson. But his protest against injustice derived from our oldest traditions of outspoken satire and our basic texts of guilt and redemption. Even though his heroes are neither idealists nor ideologues, Algren took seriously the struggle of the individual against the forces of social determinism. He anticipated the insight that both determinism and reformism exist in dynamic tension within the genre of naturalistic fiction, creating a historical dialectic between human fate and human hope. In The Man with the Golden Arm, Solly "Sparrow" Saltskin is the latter-day disadvantaged much younger brother to Feste in Twelfth Night and the Fool in King Lear, prototypes of Algren's street-wise clown. Sparrow learns to use his demented simplicity to create his own protective camouflage like the motley of the court Fool. In A Walk on the Wild Side, Algren created Dove Linkhorn as a worthy companion to Shakespeare's Falstaff with a pedigree in the literary tradition of Mark Twain. Algren's outcasts prove their noble patrons to be the real fools. And Algren the author calls down the high-and-mighty to the street level of the lowest of the low. Before passing judgment, Algren maintained, the judge should see things from the perspective of the accused. Algren's fooling is anything but harmless. He takes a stand against the repression of the individual, no matter how degenerate, by the crowd, no matter how respectable. Furthermore, Algren is just the kind of jester to joke darkly on the theme of impending doom. As spokesperson for the minority of one within the anonymous masses swallowed up by the darkness of the Chicago night, Algren's vision is related to the biblical man of truth who warns, in Amos 5:20: "Shall not the day of the Lord be darkness and not light? Even very dark and no brightness in it?" For Algren, the artificial light

of the city at night provides the harsh illumination for a terrible and hidden mortality. Yet on Algren's West Division Street, even the deity plays by Chicago rules: For here God and the ward super work hand in hand and neither moves without the other's assent. God loans the super cunning and the super forwards a percentage of the grift on Sunday mornings. The super puts in the fix for all rightthinking hustlers and the Lord, in turn, puts in the fix for the super. For the super's God is a hustler's God; and as wise, in his way, as the God of the priests and the businessmen. (The Man with the Golden Arm)

The Almighty is the Chief Hustler and heroin is ironically referred to as "God's medicine." In such an environment there can be no trust. Survival depends on hustling somebody before somebody can hustle you. Algren wrote about the need for redemption in a world without hope. He drew inspiration from the prophetic tradition of the Hebrew Bible and the Sermon on the Mount and took seriously the notion that the outcast and poor in spirit are blessed with the kingdom of heaven. But he himself could never believe in the blessing. In Algren's world the deity is distant, indifferent, and incompetent. For Algren, only spiritual salvation could transform the corruption of modern society. But that salvation never comes. In the endless parade of freaks and geeks in the routine police lineup, Algren sketched miniature portraits of Judgment Day. Emerging from the same shadows to which they return, naked souls step into the blinding light to stand before the wisecracking police captain. "Record Head" Bednar, like "the recording Angel of all men," knows the secret of all who are guilty with "the great, secret and special American guilt of owning nothing, nothing at all, in the one land where ownership and virtue are one." With a tone reminiscent of the Gravedigger in Hamlet, the narrator observes: "Indeed your

NELSON ALGREN / 15 query room is your only house of true worship, for it is here that men are brought to their deepest confessions." Only the captain is denied the purification of what Maxwell Geismar, in American Moderns: From Rebellion to Conformity (1958), called the "iron sanctuary," where victims of the system "rest their fevered and distorted hopes." Despite his facade of hard-boiled pessimism, the captain is finally forced to emerge from the safety of anonymous darkness and face the merciless glare of the light. In The Man with the Golden Arm, Algren makes the irony of the captain's dilemma explicit: "'Come down off that cross yourself,' he [the captain] counseled himself sternly, like warning another. But the captain couldn't come down. The captain was impaled." In an early evaluation of his work, Chester E. Eisinger describes Algren as a "naturalist who cares about style." Writing from a more complete perspective, Bluestone insists that "to read him in the naturalist tradition is to misread him." For Bluestone, Algren "is concerned with the living death that follows love's destruction." In Confronting the Horror (1989), James R. Giles argued persuasively that Algren advanced the dialectic of environmental determinism and social protest characteristic of earlier naturalist writers. Algren no longer looked at the urban lower depths as an internal colony, as had Frank Norris and Theodore Dreiser, who regarded their subjects with curious detatchment as sociological specimens. Removing the distance between the narrator and the narrative, Algren not only identified with the shared humanity of the urban lower classes. According to Giles, Algren became so intimately involved with his fictional characters that the assumption of a secure selfidentity in the middle-class readers is put into doubt. Algren explicitly rejected literary naturalism as social documentary for its own sake. In a book-length essay he wrote in the early 1950s

about the role of the writer in society— published in 1996 under the title Nonconformity—Algren identifies his approach with that of F. Scott Fitzgerald, who may seem an unlikely role model for an author who devoted himself to writing about the lowest classes. Yet, Algren writes: "What Fitzgerald risked"—as distinguished from writers of merely stenographic realism—was "an emotional sharing of the lives he recorded." Furthermore, like Fitzgerald, Algren also found himself becoming increasingly and inexorably "identified with the objects of my horror or compassion." Algren did not write about the dispossessed of American society as "those people" but as "We, the People." He held a funhouse mirror up to American society, showing us the inner souls of our high-profile trendsetters and power brokers through the negative light of our pariahs and panhandlers, deviants and backroom deal makers. Algren defined in his own terms a literary tradition associated with Abraham Lincoln, Walt Whitman, Carl Sandburg, and Eugene V. Debs, appreciated by those who can read him without condescension or squeamishness. As Algren remarked in a conversation with Donohue: American literature is the woman in the courtroom who, finding herself undefended on a charge, asked "isn't anybody on my side?" It's also the phrase I used that was once used in court of a kid who, on being sentenced to death, said, "I knew I'd never get to be twenty-one anyhow. . . . " I think American literature consists of these people. ALGREN'S NONFICTION

In Who Lost an American? (1963), the author identifies himself with all the "fighters who came up fast and couldn't be beat" but "then went down slow and finally didn't fight anymore." In this volume Algren, at the height of his powers, reveals the tensions and conflicts that tore his soul. Published in 1963, the book

16 / AMERICAN WRITERS is the self-deposition of an author who has given up creative literature and settled on the life of a "free-lance journalist," a label Algren used to describe himself in his later years. For the proud novelist, it was as if an honest boxer and contender for the world championship had become sideshow strongman in a traveling carnival. On the evidence of Who Lost an American? the tragic failure of Nelson Algren was that, at a certain point, he chose to withdraw from the ego-obsessed competition of the world of letters, much as a prizefighter who has taken too many punches retires from the ring. Yet Algren's decision to give up writing novels and retreat to occasional journalism and satirical essays was an act not only of resignation but of subversive rebellion against the literary marketplace, consistent with the radical stance of his fiction. In 1965 he published Notes from a Sea Diary: Hemingway All the Way, based on a tour of Korea, Bombay, Calcutta, and the Philippines, and interwoven with an exaltation of Ernest Hemingway as an antidote to the literary world that had rejected Algren and that he condemned. The Last Carousel an assortment of fiction and nonfiction, published in 1973, includes revisions of short pieces that had appeared previously in various books and periodicals. Published posthumously in 1983, Algren's last novel, The Devil's Stocking, still shows his distinctive power to challenge the smug assumptions of a complacent establishment. Based on the Rubin "Hurricane" Carter murder trials, it relates the rise and fall of an African-American prizefighter in terms of the cultural, legal, and personal dynamics of racism and sexism in a winner-take-all society. Because he was defiantly neither this-kind-ofAmerican nor that-kind-of-American but simply an American writer, Algren has been condemned to a strange kind of literary limbo. Algren's fictional world was never based on plodding social realism as much as on an upside-down reflection of a grotesque social order. In his

work there is the implicit sense that, even if individuals are doomed by forces of social determinism, still there is some chance that as a collective consciousness we might yet raise our cultural level by including the exceptions at both the bottom and the top of the spectrum. Whether Algren's work can be redeemed as a coherent alternative to mainstream values defined exclusively in terms of materialistic success depends on readers sympathetic to the underlying concerns he expounded. In an article in Rolling Stone titled "Perspectives: Is It Out of Control?" Ralph J. Gleason was the first to point out the debt that writers and musicians of the 1960s owed to "the fantasy/reality, inside/outside paradoxical view of the inversion of the American Dream" as first laid out by Algren in A Walk on the Wild Side: Up until Algren, no American writer had really combined a poetic gift for words and a vision of the truth about the textbook democracy. He saw it ... and he put it down in the one novel which blew the minds of hundreds of other writers.

What Algren and the 1960s had in common might be called the principle of inclusion. In the 1960s this meant inclusion of the excluded. For Algren it meant that the exception determines the rule; the outsider defines the values on which society is based. Despite progressive trends of multiculturalism, Algren at the turn of the twenty-first century is more of an outsider than when he lived and wrote. To explain why he did not fit any subcategory of American literature, Algren told Donohue of a sign he had seen on a door in Greenwich Village: "Non-Conformist Meeting at 8:30—Be On Time." His midwestern nonconformity does not belong in any of the preconceived categories of the literary canon. Because he insisted on recognizing the humanity of the anonymous bum on the street, Algren's work remains a litmus test for readers who seek to redeem the outcasts of established culture.

NELSON ALGREN / 17

He did not simply talk the talk about universality of the spirit and the dignity of the individual. Algren walked the walk. Never did he merely mouth platitudes about the universality of the spirit and the dignity of humanity; Algren meant it.

"The Question of Simone de Beauvoir." Harper's, May 1965, p. 134. The Last Carousel. New York: Putnam, 1973. (Includes some short fiction.) Nonconformity: Writing on Writing. New York: Seven Stories Press, 1996. MANUSCRIPTS

Selected Bibliography WORKS OF NELSON ALGREN NOVELS

Somebody in Boots. New York: Farrar, Straus & Giroux, 1935. Reprint with a new preface by the author, New York: Berkeley Publishing Corporation, 1965. Reprint, New York: Thunder's Mouth Press, 1987. Never Come Morning. New York: Harper and Brothers, 1942. Reprint, New York: Four Walls Eight Windows, 1987. The Man with the Golden Arm. New York: Doubleday, 1949. A Walk on the Wild Side. New York: Farrar, Straus and Cudahy, 1956. The Devil's Stocking. New York: Arbor House, 1983. SHORT STORIES

The Neon Wilderness. Garden City, N.Y.: Doubleday, 1947. Reprint, New York: Hill and Wang, 1960. The Texas Stories of Nelson Algren. Edited by Bettina Drew. Austin: University of Texas, 1995. NONFICTION

Chicago: City on the Make. Garden City, N.Y.: 1951. Reprint, Chicago: University of Chicago Press, 1987. Introduction to The Neon Wilderness. Reprint, New York: Hill and Wang, 1960. Who Lost an American? New York: Macmillan, 1963. Notes from a Sea Diary: Hemingway All the Way. New York: Putnam, 1965.

Algren's papers are located at the Algren Archive at the Ohio State University Library.

BIBLIOGRAPHY Bruccoli, Matthew J. Nelson Algren: A Descriptive Bibliography. Pittsburgh: University of Pittsburgh Press, 1985.

CRITICAL AND BIOGRAPHICAL STUDIES Anania, Michael. "Nelson Algren and the City," Writing in the First Person: Nelson Algren, 198081. Grand Army of the Republic Museum/The Chicago Public Library Cultural Center Catalog, 1988. Pp. 17-25. Bluestone, George. "Nelson Algren." Western Review 22:27-44 (autumn 1957). Boynton, H. W. "Somebody in Boots and Other Recent Works." New York Times Book Review, April 7, 1935, p. 6. Cappetti, Carl a. Writing Chicago: Modernism, Ethnography, and the Novel. New York: Columbia University Press, 1993. Chi corel, Marietta, ed. Chi core I Index to Short Stories in Anthologies and Collections. New York: Chicorel Library Publications, 1974. Cox, Martha Heasley, and Wayne Chatterton. Nelson Algren. New York: Twayne, 1975. Drew, Bettina. Nelson Algren: A Life on the Wild Side. New York: Putnam, 1989. Eisinger, Chester E. Fiction of the Forties. Chicago: University of Chicago Press, 1963. Ferguson, Otis. "Somebody in Boots." The New Republic, July 17, 1935, pp. 286-287. Fiedler, Leslie. "The Noble Savages of Skid Row." The Reporter, July 12, 1956, pp. 43-44. Geismar, Maxwell. American Moderns: From Rebellion to Conformity. New York: Hill and Wang, 1958.

18 / AMERICAN WRITERS Giles, James R. Confronting the Horror: The Novels of Nelson Algren. Kent, Oh.: Kent State University Press, 1989. Gleason, Ralph J. "Perspectives: Is It Out of Control?" Rolling Stone, August 6, 1970, p. 9. Howard, June. Form and History in American Literary Naturalism. Chapel Hill: University of North Carolina Press, 1985. (Does not mention Algren.) Kazin, Alfred. "Some People Passing By." New York Times Book Review, May 1956, pp. 4, 24. Lipton, Lawrence. "A Voyeur's View of the Wild Side: Nelson Algren and His Reviewers." Chicago Review Anthology, winter 1957, pp. 4-14. Podhoretz, Norman. "The Man with the Golden Beef." The New Yorker, June 2, 1956, pp. 132, 133-139. Rotella, Carlo. October Cities: The Redevelopment of Urban Literature. Berkeley: University of California Press, 1998.

INTERVIEWS Anderson, Alston, and Terry Southern. "Nelson Algren." Paris Review 11:37-58 (winter 1955).

Corrington, John William. "Nelson Algren Talks with NOR's Editor-at-Large." New Orleans Review 1:130-132 (winter 1969). Donohue, H. E. F. Conversations with Nelson Algren. New York: Hill and Wang, 1964. (A booklength series of extended interviews.) Pintauro, Joe. "Algren in Exile." Chicago, February 1988, pp. 93-101, 156-163. Ray, David. "Talk on the Wild Side: A Bowl of Coffee with Nelson Algren." The Reporter, June 11, 1959, pp. 31-33.

FILMS BASED ON THE WORKS OF NELSON ALGREN The Man with the Golden Arm. Screenplay by Walter Newman. Directed by Otto Preminger. United Artists, 1955. Walk on the Wild Side. Screenplay by John Fante and Edmund Morris. Directed by Edward Dmtryk. Columbia, 1962.

—JAMES A. LEWIN

Rachel Carson 1907-1964

INTHEMODERN Library's list of the one hundred

creed of the ecology movement: a vision of the unity of life, as taught by science, and a moral ideal of living cooperatively with all members of the natural community." Carson, who was named by Life magazine in September 1990 as among the one hundred most important Americans of the twentieth century, attained her status as an advocate for the environment through a lifelong love of nature first imbued in her as a child, and through a life committed to studying and writing about the natural world, a progression evidenced in particular by her three acclaimed books about the sea: Under the Sea-Wind: A Naturalist's Picture of Ocean Life (1941), The Sea around Us (1951), and The Edge of the Sea (1955). Carson claimed that she felt the powerful pull of the ocean before she ever traveled to the shore, after reading these lines from Alfred, Lord Tennyson's "Locksley Hall" as a young student:

best nonfiction books written in English during the twentieth century, Rachel Carson's Silent Spring (1962) ranks fifth, following Henry Adams's The Education of Henry Adams, William James's The Varieties of Religious Experience, Booker T. Washington's Up from Slavery, and Virginia Woolf's A Room of One's Own, thus locating Carson's book among the most respected and influential texts of the last century. With its searing indictment of corporate- and government-sanctioned pesticide use in the United States, Silent Spring is considered by many to have ushered in the modern environmental movement. In 1963, during Senate hearings on pesticide use initiated by public response to its publication, Silent Spring was compared with the most influential American book of the nineteenth century, Harriet Beecher Stowe's Uncle Tom's Cabin. Silent Spring not only condemned pesticide use but challenged the anthropocentric attitudes with which Western culture rationalizes its often destructive relationships to the natural environment. Like Uncle Tom's Cabin and A Room of One's Own, Silent Spring calls into question the basic underpinnings of a culture, in this case not racist or sexist cultural structures but those that allow human beings to use up and degrade natural systems as they deem fit. In all her work, Carson attempts to give the natural world a voice of its own, and argues for the extension of ethical consideration to all life-forms. In this, as Donald Worster wrote in Nature's Economy: A History of Ecological Ideas (1977), "the scientific conscience she symbolized became the central

Cramming all the blast before it, in its breast a thunderbolt. Let it fall on Locksley Hall, with rain or hail or fire or snow; For the mighty wind arises, roaring seaward, and I go.

As she later wrote in an autobiographical statement, quoted in Linda Lear's 1997 biography Rachel Carson: Witness for Nature, "That line spoke to something within me, seeming to tell me that my own path led to the sea—which then I had never seen—and that my own destiny was somehow linked with the sea."

19

20 / AMERICAN WRITERS BACKGROUND

Rachel Louise Carson was born in Springdale, Pennsylvania, on May 27, 1907, to Robert Warden Carson, an insurance salesman and parttime employee of West Penn Power Company, and Maria (MacLean) Carson. She had two older siblings, a sister, Marian, and a brother, Robert. At the time of her birth, Springdale was situated in a rural, wooded area in the lower Allegheny valley, and the Carson home was on sixty-four acres outside of town. Its orchards and the surrounding woods and hills proved a seminal influence on Carson, whose early love for the natural world was consistently fostered by her mother, who according to Carson held all life in reverence. Her mother's influence was deeply felt and long lasting. In fact, Carson cared for her aged and often ailing mother until her mother's death at nearly ninety years of age. Carson's upbringing in and around Springdale probably had an added effect on her that contributed to the critical edge found in all of her writing. Like that of so many small towns at the beginning of the century, Springdale's rural character succumbed to the mass industrialization and development of the times. Springdale was eventually sandwiched between two huge, sooty power plants, one belonging to West Penn Power Company and the other to Duquesne Light Company. Ultimately, the degradation of the place embarrassed Carson greatly. A critique of industrial culture's destruction of the natural world and its creatures is at least implicit through all of her writing. Encouraged by her mother, Carson began composing stories at an early age. Her first published work came when she was ten, in St. Nicholas magazine. A popular children's magazine of the time that featured the work of young authors, St. Nicholas also published such wellknown literary talents as William Faulkner, F. Scott Fitzgerald, Edna St. Vincent Millay, E. E. Cummings, and E. B. White. With her eye soon set on a writing career, Carson continued

publishing her juvenile work in St. Nicholas. After finishing high school she received a onehundred-dollar scholarship to attend Pennsylvania College for Women (now Chatham College) with firm plans to study English. Though lonely for much of her time at this institution, she proved a gifted student, publishing in the college's literary magazine and winning the admiration of both teachers and peers. Carson's commitment to English as a subject of study was shaken in 1926 when she came under the influence of Mary Scott Skinker, a brilliant science teacher at the college. Once Carson enrolled in Skinker's biology seminar, her enthusiasm for the subject quickly caught fire under Skinker's tutelage, and the trajectory of Carson's career was initiated. The course of her career from this point on roughly coincides with the development of the science of ecology. However, at the time, science writing for general audiences was not widely practiced, and Carson agonized over her decision to change her major to biology. Looking back on her choice, in an address delivered in 1954 ("The Real World around Us," included in the 1998 collection Lost Woods: The Discovered Writing of Rachel Carson, edited by Linda Lear), Carson wrote, "I had given up writing forever, I thought. It never occurred to me that I was merely getting something to write about." Carson graduated from the Pennsylvania College for Women magna cum laude in 1929. She then went on to earn her master's degree at Johns Hopkins in marine zoology with a thesis titled "The Development of the Pronephros during the Embryonic and Early Larval Life of the Catfish (Ictalurus punctatus)." At periods during her graduate study, Carson worked at the Marine Biological Laboratory, in Woods Hole, Massachusetts, which furthered her interest in the ocean and provided rich source material for her later books about the sea. Carson graduated from Johns Hopkins in 1932, entering the job market as a prospective

RACHEL CARSON / 21 female scientist in the thick of the Great Depression. During this difficult time she supported both her parents. Then her father died in 1935, and in 1937 her sister died, leaving two daughters whom Carson and her mother agreed to raise. After piecing together a living, Carson finally landed a job in Washington, D.C., with the Bureau of Fisheries (which became the Fish and Wildlife Service) in 1935 as a technical writer and often wrote scripts for bureau radio broadcasts. She was one of the few women hired by the bureau in a professional capacity, and she worked for the federal government for sixteen years, eventually rising to editor in chief of Fish and Wildlife Service publications. In fact, her first literary success stemmed from her government work. Carson's article "Undersea" was originally written as the introduction to a Bureau of Fisheries publication, but Carson's supervisor, Elmer Higgins, declared the work too literary for a government publication. He suggested that Carson submit it to the Atlantic Monthly, which she did, and it was published in the magazine's September 1937 issue. Carson stated in "The Real World around Us" that from "Undersea," "everything else followed." "Undersea" took up only four pages of the Atlantic Monthly, but most of Carson's concerns are clearly evident in this early piece. Primary among these concerns is the literary presentation of complex scientific information to a general reading public, indeed the rendering of scientific material into poetry, as much of Carson's writing about the sea attains the status of an extended prose poem. "Undersea" (also reprinted in Lost Woods) opens with the rhetorical question "Who has known the ocean?" Of course, no human being can know the ocean as its inhabitants do, and Carson employs in this piece the strategy she would hone in writing her first book, the attempt to narrate from an underwater perspective. "Undersea" is a poetic submarine grand tour in which Carson evokes the strangeness of

ocean life: "Dropping downward a scant hundred feet to the white sand beneath, an undersea traveler would discover a land where the noonday sun is swathed in twilight blues and purples, and where the blackness of midnight is eerily aglow with the cold phosphorescence of living things." While Carson's prose brings the undersea world vividly before the reader, she is careful to metaphorically link the sea world to the more familiar land world of her readers. The ocean is likened to pastures, and the shifting tides to night and day. Although she insists that "to sense this world of waters known to the creatures of the sea we must shed our human perceptions of length and breadth and time and place," the references to familiar phenomena such as "night," "day," and tides that "abandon pursuit" and "fall back" establish a connection between a habitat so strange as to be beyond the imagination and the quotidian experience of her readers. Further, she conveys scientific information in a way that sparks the imagination: "The sea performs a vital alchemy that utilizes the sterile chemical elements dissolved in the water and welds them with the torch of sunlight into the stuff of life." Carson's prose itself performs a "vital alchemy" by relaying to her land-dwelling readers the wonder of the sea, the "slow swells of mid-ocean," and its processes, in lines such as, "One by one, brillianthued flowers blossom in the shallow water as tube worms extend cautious tentacles." Carson's prose is exact, careful, and lyrical, and without overtly calling attention to the science of ecology, she nonetheless constructs a picture of a world in which "individual elements are lost to view, only to reappear again and again in different incarnations in a kind of material immortality." This is the great cycle of life that so fascinated Carson and that she so loved. This unmitigated love of the world and its creatures—from fish to insects to human beings (this last despite her belief that "chief, perhaps, among the plunderers is man, probing the soft

22 / AMERICAN WRITERS mud flats and dipping his nets into the shallow waters")—drives all Carson's work. Coupled with that love was Carson's unswerving belief that the human and the nonhuman worlds are part of the same system and that both warrant ethical consideration. Before her time, perhaps, she strove to see beyond the human. UNDER THE SEA-WIND

Picking up where "Undersea" left off, Carson's first book, Under the Sea-Wind, peers out beyond the human, and this book remained Carson's favorite throughout her life. It appeared in 1941, approximately one month before the Japanese attack on Pearl Harbor, and though well reviewed by top naturalists, Under the SeaWind sold only modestly. The three sections of the text narrate the life cycles of shore birds, mackerel, and eels from the animals' perspectives. The chief characters in the first section are a black skimmer named Rynchops, a couple of sanderlings named Blackfoot and Silverbar, a snowy owl called Ookpik, Pandion the osprey, and White Tip, a bald eagle. Section two traces the life of Scomber the mackerel, and the third section follows the destiny of Anguilla the eel. According to Lear, Carson believed that "taken together, the three narratives would weave a tapestry in which the ecology of the ocean and the interdependence of all its creatures would emerge." Under the Sea-Wind presents an interdependence of narratives. Tapestry is a traditional metaphor for text, and Carson extends the metaphor to include ecological ideas. In weaving her narratives, Carson is careful to avoid claiming human motivation, consciousness, and emotions for her nonhuman characters. Although she provides her fish and bird characters with human names, she struggles to see from their nonhuman perspective. Her narrative strategy is to provoke in her audience an emotional response to these creatures, in an

effort to establish a context that joins reader, text, and sea life. In the foreword to the 1941 edition of Under the Sea-Wind, interestingly omitted in reissues of the book, Carson writes: I have spoken of a fish "fearing" his enemies . . . not because I suppose a fish experiences fear in the same way that we do, but because I think he behaves as though he were frightened. With the fish, the response is primarily physical; with us, primarily psychological. Yet if the behavior of the fish is to be understandable to us, we must describe it in the words that most properly belong to human psychological states.

Carson employs literary strategies to help her readers identify with her animal characters and remains attentive to the scientific facts available to her. Not only her subject matter but her writing itself can be described as ecological. Her writing works to present the life-forms of the sea as honestly as possible. This is not to say that her presentation is photographic, but that she attempts to illustrate the life cycles of sea creatures with the skills that she has at hand, both literary and scientific. An excerpt from the chapter "Birth of a Mackerel" is a good example: The next three days of life brought startling transformations. As the processes of development forged onward, the mouth and gill structures were completed and the finlets sprouting from back and sides and underparts grew and found strength and certainty of movement. The eyes became deep blue with pigment, and now it may be that they sent to the tiny brain the first messages of things seen.

Carson selects accurate biological details of the physical development of a hatchling, and the sprouting of fins and gills is decidedly nonhuman. But Carson then sharpens her focus, concentrating on the deep blue eyes of the baby mackerel, zooming in on the most human-like characteristic of the profoundly other-than-

RACHEL CARSON / 23 human fish and leaving the reader with the suggestion that this tiny creature has an awakening perception distinctly its own. It is a perception beyond human knowledge, but no less important for that fact. Perhaps because of the subtle link Carson creates through her description of the fish's eyes, we find it at least plausible that the mackerel has some sort of consciousness. Yet the fish, with its dawning awareness, remains most fascinating precisely because it is something other than human. The nonhuman fish glances back at the human reader. Human beings appear in Under the Sea-Wind infrequently, usually taking on the role of predators. The book also has a minimum of authorial intrusions, and when they do occur, they function to emphasize the importance of the animals' context. For example, Carson has this to say about fish migrating from the sea back into the rivers: "By the younger shad the river was only dimly remembered, if by the word 'memory' we may call the heightened response of the senses as the delicate gills and the sensitive lateral lines perceived the lessening saltiness of the water and the changing rhythms and vibrations of the inshore waters." She again suggests an alignment of human "memory" and perception with the physical sense organs of the fish. Their world is one dominated by instinct, but just the same, that instinct is valued on a plane with human memory and perception. In this narrative of instinct and interconnections, often with fish in the subject position, the near universal privileging of human structures gives way to an aesthetic that values a realm of reality beyond full human understanding. This realm of reality, the sea, is an astonishing interface of ecosystems: There could be scarcely a stranger place in the world in which to begin life than this universe of sky and water, peopled by strange creatures and governed by wind and sun and ocean currents. It was a place of silence, except when the wind went whispering or blustering over the vast sheet of

water, or when sea gulls came down the wind with their high, wild mewing, or when whales broke the surface, expelled the long-held breath, and rolled again into the sea.

A world wholly governed by air, water, and light and inhabited by birds, fish, and mammals, the sea is a vast sheet from which human influence is absent or minimal, although the verbs "peopled" and "governed" function to create a verbal link between the human sphere and the "stranger" spaces of the nonhuman. The surface of the water serves as a metaphor for the interaction of wind and water, of flying and swimming creatures that, in breaking the surface of the sea, signify interdependence. Carson attempts to bring the creatures of the sea and their environment into common human experience. This happens in Under the Sea-Wind partly through a presentation of nonhuman subjectivity, and Carson's interwoven narratives about sea creatures introduce her readers to an experience of the sea itself. The sea becomes a universe—an experiential space—teeming with ecological and aesthetic meaning. For Carson, at least in 1941, these spaces of the sea—brimming with evolutionary and creative potential— seemed impervious to lasting human damage. THE SEA AROUND US

When Carson began to think about her next book, she envisioned a more comprehensive work, still clinging to the belief, as she stated early in The Sea around Us, that humans "cannot control or change the ocean as, in his brief tenancy of earth, he has subdued and plundered the continents." Although prematurely optimistic, perhaps, The Sea around Us is an attempt to grasp the whole of the ocean, and Carson is more inclusive than she was in her previous book. The text is divided into three sections: "Mother Sea," "The Restless Sea," and "Man and the Sea about Him." The Sea around Us,

24 / AMERICAN WRITERS with chapters within the sections such as "The Pattern of the Surface" and "Wind, Sun, and the Spinning of the Earth," is more objective in point of view than Under the Sea-Wind. Carson used thousands of sources during her research for the book, and The Sea around Us, parts of which were first serialized in The New Yorker, includes the most up-to-date science of her time as well as allusions to the literature and mythology of the sea. Moving beyond Under the Sea-Wind, the ecology of The Sea around Us involves not only landforms and inhabitants of the oceans but also human perceptions and representations of them. In fact, humans have much in common with the creatures of the sea: "Each of us begins his individual life in a miniature ocean within his mother's womb, and in the stages of his embryonic development repeats the steps by which his race evolved, from gill-breathing inhabitants of a water world to creatures able to live on land." Whereas in Under the Sea-Wind Carson sought an emotional connection, in The Sea around Us she insists also on a biological one. The Sea around Us functions as an integration of text, observer, natural phenomena, and reader—a mixture of fact and lore, of doubt and inquiry that weakens the subject-object barrier and envisions all entities in ecosystemic relationships. Though her prose most often celebrates these relationships, in this book Carson has become, nonetheless, more critical of the human destruction of ecosystems that goes hand in hand with our unexamined faith in science and reason. In "Heroines of Nature: Four Women Respond to the American Landscape" (in The Ecocriticism Reader: Landmarks in Literary Ecology, 1996), Vera Norwood writes, "Throughout The Sea Around Us Carson points out humankind's inability to live in terms of the grand natural cycles science has enabled us intellectually, at least, to know." A good example is the chapter "The Birth of an Island," in which Carson describes the process of island building and

comments on the human-induced tragedy of some Pacific Islands. When ships first visited these isolated places, Europeans introduced goats and cattle and exotic plants that decimated unique island ecologies. Even rats swimming ashore from a ship could by themselves destroy an ecosystem, as had happened as late as 1943. Writing about an Australian island where shipwrecked rats made land, altering the environment, Carson quotes an islander in an eerie echo of Silent Spring: "This paradise of birds has become a wilderness, and the quietness of death reigns where all was melody." Carson goes on to say: The tragedy of the oceanic islands lies in the uniqueness, the irreplaceability of the species they have developed by the slow processes of the ages. In a reasonable world men would have treated these islands as precious possessions, as natural museums filled with beautiful and curious works of creation, valuable beyond price because nowhere in the world are they duplicated.

Here she inverts what might be considered the dominant understanding of "reason" and "a reasonable world." It is, of course, reason that leads people to "improve" islands by introducing agricultural methods, animals, and plants. Carson would revise our conception of reason so that it recognizes the value of ecological relationships and the sanctity of all life-forms. To her mind, we should treasure these things as we treasure great art, and recognize their aesthetic value. In another echo of Silent Spring, Carson retains some hope for the inviolability of the sea—"There is the promise of a new spring in the very iciness of the winter sea"—and she remains on some levels caught up in the postwar optimism of America, praising advances in technology and oceanography spurred on by the war effort: "We seem on the edge of exciting new discoveries. Now oceanographers and geologists have better instruments than ever before to probe the depths of the sea, to sample

RACHEL CARSON / 25 its rocks and deeply layered sediments, and to read with greater clarity the dim pages of past history." Carson was never opposed to technology per se. She was, however, critical of an unexamined faith in technology: "Most of man's habitual tampering with nature's balance . . . has been done in ignorance of the fatal chain of events that would follow." She was deeply concerned about the consequences for the rest of creation as faith in science remained inviolable, as technology became powerful beyond all expectations, as rational knowledge and aesthetic perception became even more compartmentalized. Its blending of science and art in a style accessible to a wide readership constitutes much of the appeal of The Sea around Us. This book cemented Carson's fame and enabled her to leave her job with the Fish and Wildlife Service and to devote her time entirely to writing. It won the John Burroughs Medal for excellence in nature writing, as well as the National Book Award, and the 1952 documentary film version of the book (produced by RKO Radio Pictures) won an Oscar. The Sea around Us proved a key text in the development of Carson's ecological aesthetic, and its fame gave her ample opportunity to reflect on her creative process. On the occasion of accepting the National Book Award on January 27, 1952 (the speech is collected in Lost Woods), Carson had much to say about both her aesthetic and the ethical valence of her writing practice. Concerning the poetic nature of her book, she claimed: The winds, the sea, and the moving tides are what they are. If there is wonder and beauty and majesty in them, science will discover these qualities. If they are not there, science cannot create them. If there is poetry in my book about the sea, it is not because I deliberately put it there, but because no one could write truthfully about the sea and leave out the poetry.

Like Henry David Thoreau, who wrote, "Let us not underestimate the value of a fact, it will one

day flower in a truth," Carson felt that there was beauty in scientific information about the natural world. An accurate description of physical phenomena need not be mundane. Her poetry, she insisted, is manifest in her subject, in the fact that, for example, humans carry the chemical structure of seawater in their very blood: "Fish, amphibian, and reptile, warmblooded bird and mammal—each of us carries in our veins a salty stream in which the elements sodium, potassium, and calcium are combined in almost the same proportions as in sea water." The structure and rhythm of the sea must, then, be both in our veins and in our poetry. Carson was, of course, a highly skilled writer and a tireless reviser. She insisted upon hearing her work read aloud to her. It would be incorrect to think that she was unaware of her own poetic skill. But she makes no effort to impose an imaginative order upon the sea, in the style of the Romantic poets. On the contrary, her writing reveals the juncture at which literary harmony and natural harmony meet and interpenetrate. As Linda Lear so succinctly puts it, "Accuracy and beauty were never antithetical qualities in her writing." THE EDGE OF THE SEA

Writing about Carson in 1996 in American Nature Writers, edited by John Elder, Cheryll Glotfelty asserted that, after The Sea around Us, Carson "had become an authority whose opinions were quoted, rather than an unknown writer who quoted authorities." Carson's next book, The Edge of the Sea, is in some ways a companion piece to The Sea around Us. Where the earlier book attempts to grasp the entire sea, The Edge of the Sea engages the United States Atlantic shore and the three broad littoral habitats it provides, a rocky shoreline from Cape Cod north, a sandy one from Cape Cod south, and the coral reefs of the Florida Keys, and she

26 / AMERICAN WRITERS writes, according to Lear, "about each geological area as a living ecological community rather than about individual organisms." Each place is a life zone in itself, and each life zone contains a myriad of smaller divisions, each a world unto itself, yet influenced by and influencing all the others. Edges are places long known to ecologists, bird-watchers, and field biologists. The places where field and forest merge, riparian areas, and the littoral zones between tide lines are places of genetic exchange, places of extraordinary evolutionary potential. The Edge of the Sea was first proposed to her as a field guide to the shorelines, but Carson took the concept of a field guide and radicalized it. A field guide typically features photographs of birds or fish or trees followed by simple descriptions and tips toward field identification. Carson dismisses this format as inadequate. Things can be identified only in the context of their relationships to other animals and habitats. Her outlook is ecosystemic: early in the book she writes, "Nowhere on the shore is the relation of a creature to its surroundings a matter of single cause and effect; each living thing is bound to its world by many threads, weaving the intricate design of the fabric of life." In this book even more than in her previous one, her aesthetic depends upon ecological principles of interrelation. Further, Carson's ecosystemic view seems to have important ethical ramifications. In The Edge of the Sea Carson asks a series of questions: What is the message signaled by the hordes of diatoms, flashing their microscopic lights in the night sea? What truth is expressed by the legions of the barnacles, whitening the rocks with their habitations, each small creature within finding the necessities of its existence in the sweep of the surf? And what is the meaning of so tiny a being as the transparent wisp of protoplasm that is a sea lace, existing for some reason inscrutable to us—a reason that demands its presence by the trillion amid the rocks and weeds of the shore?

While these creatures in their own world have no "message," no "truth," and no "meaning" as we conceive of these terms, they exist in a relationship that possibly does have an ethical message, truth, or meaning. Carson does not answer her rhetorical questions because there are no answers, only a continuity of questions—the questions are open-ended and intended to contribute to ongoing experience. The meaning inherent in these creatures is the unreachable meaning of life, and each creature contributes to the integrity of life in an interrelational, ecological community. Meaning is in relationships. Many passages in The Edge of the Sea are perceptions of these centrally important connections and relationships. Carson's prose gears these perceptions to the physical environment and engages the reader with the ecology of facts and ideas contained in the book. Paul Brooks, in The House of Life: Rachel Carson at Work (1972), insists that "as a writer she used words to reveal the poetry—which is to say the essential truth and meaning—at the core of any scientific fact. She sought the knowledge that is essential to appreciate the extent of the unknown." The Edge of the Sea is a text in which the mental, physical, known, and unknown worlds interrelate. At the beginning of the book, Carson looks out over a cove on the western coast of Florida, and senses the following: The sequence and meaning of the drift of time were quietly summarized in the existence of hundreds of small snails—the mangrove periwinkles—browsing on the branches and roots of the trees. Once their ancestors had been sea dwellers, bound to the salt waters by every tie of their life processes. Little by little over the thousands and millions of years the ties had been broken, the snails had adjusted themselves to life out of water, and now today they were living many feet above the tide to which they only occasionally returned. And perhaps, who could say how many ages hence, there would be in their descendants not even this gesture of remembrance for the sea.

RACHEL CARSON / 27 For many people, perhaps, the snails on the mangrove roots would qualify as a curiosity. But Carson is able to translate their silent experience into a general experience of time and evolution, making it available to her readers. Carson insisted that the physical human being still retains some elements of the sea in her or his body, and through this subtle link, the relationship of human evolution and the evolution of the snails is established. We share a similar pattern of evolution and adjustment. We are linked, and through Carson's prose that link is clarified and concentrated. And Carson perceives further relationships. Her experience does not stop with her thoughts on the snails in isolation—it has continuity. She notices other shells on the beach, horn shells, and wishes that I might see what Audubon saw, a century and more ago. For such little horn shells were the food of the flamingo, once so numerous on this coast, and when I half closed my eyes I could almost imagine a flock of these magnificent flame birds feeding in that cove, filling it with their color. It was a mere yesterday in the life of the earth that they were there; in nature, time and space are relative matters, perhaps most truly perceived subjectively in occasional flashes of insight, sparked by such a magical hour and place.

In a flash of insight spurred by small shells in the sand, Carson imagines the beach as a swash of living color. Her vision is rendered even more compelling by the juxtaposition of the evolutionary scale of millions of years enjoyed by the periwinkles, animals that human beings have left alone, with the tragic fate of the flamingos, creatures that human beings have killed in large numbers. One feels a deep sense of loss, and the birds are raised to almost Homeric status through the epithet "flame birds." Her use of phrases such as "might see," "half closed my eyes," and "could almost imagine" lend a special poignancy to the sense of loss, as if the birds and the beauty they brought with them

were just out of reach. Carson also makes an interesting connection between the particular and the general by juxtaposing "time" and "space" with "hour" and "place." To be able to undergo a profound experience in a particular hour and place—to experience the local—is, paradoxically, to experience the world in its largest categories—those of time and space. Carson perceives relationships here in an ecological web that connects abstract and concrete, ocean and shore, present and vanished creatures, and past and present writers and painters of the natural world. In fact, the distinctions between these pairs begin to vanish, and dualistic thinking begins to drop away. To figure oneself—whether artist, critic, scientist, or philosopher—primarily as a subject gazing onto an objectified world elides the possibility of meaningful experience. It denies the subject's intimate and intricate relationship to the objectworld. The Edge of the Sea, more than the two books preceding it, draws Carson's personal experience into its discourse. The book is framed by Carson's personal observations and thoughts about the sea. This adds another layer to the texture of the book. But more importantly, it takes the human observer out of the background and foregrounds the human author in a position relative to her environment as both subject and object. She attempts to see objectively, but her own response to the world is a subject of the book. This integrates the human response into the ecosystem of the shoreline. For example, reflecting upon the book she has just written, Carson takes us both to the sea and to the site of writing: "Now I hear the sea sounds about me; the night high tide is rising, swirling with a confused rush of waters against the rocks below my study window." The writing subject and the subject of her writing are one. The sounds of the sea, the tides and water and rocks, find their way into Carson's study and onto the page— they are literally there with her. She is impli-

28 / AMERICAN WRITERS cated in a web of relationships that include the physical and the textual. The seashores are perhaps the most productive edges on earth, and Carson's book becomes a part of this rich, relational zone. The Edge of the Sea opens with an introductory section called "The Marginal World," in which Carson reveals herself to her readers. She tells us: Once, exploring the night beach, I surprised a small ghost crab in the searching beam of my torch. He was lying in a pit he had dug just above the surf, as though watching the sea and waiting. The blackness of the night possessed water, air, and beach. It was the darkness of an older world, before Man. There was no sound but the allenveloping, primeval sounds of wind blowing over water and sand, and of waves crashing on the beach. There was no other visible life—just one small crab near the sea. I have seen hundreds of ghost crabs in other settings, but suddenly I was filled with the odd sensation that for the first time I knew the creature in its own world—that I understood, as never before, the essence of its being. In that moment time was suspended; the world to which I belonged did not exist and I might have been an onlooker from outer space.

Alone with the crab on the night beach on the Georgia coast, Carson has an epiphany of sorts. She shares an eloquent awareness that although humans are related to all things, they remain emphatically different. This awareness surfaces periodically in her writing, but this time Carson draws readers into her own, very real, discomfort—into "the darkness of an older world"— where she is suddenly filled with the wonder of new discovery in a scene she had encountered hundreds of times before. She perceives a renewed relationship in experience, feels that she has seen into the essence of the crab, yet remains qualitatively different from it. This does not remove the crab to a transhistorical or transcendental realm, but rather, it momentarily privileges the crab's experience over that of the perceiving human. Carson undergoes a shiver of

realization that she somehow knows the world of the crab, and this in turn throws her world into question. Finding herself in a realm of intersubjectivity, she experiences a dissolution of ego. Carson insists that any ecological aesthetic or ethical structure must incorporate respect for other life-forms with whom we share this world, and that this respect entails relinquishing the belief that humans stand separate from the physical environment. We are among a myriad of subjectivities. From an environmental perspective, as we diminish these others, we deny other beings the right to evolve in their own ways, and we degrade the texture of the world for ourselves and for all living things. A purely human world would be profoundly void of the edges where both life and art are generated. As mentioned earlier, in Carson's work the surface of the sea suggests interrelationship, and in The Edge of the Sea, this idea becomes far more complex. Carson writes: For it is now clear that in the sea nothing lives to itself. The very water is altered, in its chemical nature and in its capacity for influencing life processes, by the fact that certain forms have lived within it and have passed on to it new substances capable of inducing far-reaching effects. So the present is linked with past and future, and each living thing with all that surrounds it.

The seawater drives life itself, and all forms of living things contribute to the power of the water to support life. The sea provides an interface not only of creatures and habitats, but of time. It contains the past, present, and future; indeed, in the cycle of things, the distinctions between these humanly defined temporal categories become blurred. Time does not seem linear—if anything it is cyclical, linked with the processes of living, dying, and decomposing of various life-forms. To take this cycle one step further, the creatures of the coral reefs blur distinctions between biology and geology, between living and nonliving things:

RACHEL CARSON / 29 All are important in the economy of the marine world—as links in the living chains by which materials are taken from the sea, passed from one to another, returned to the sea, borrowed again. Some are important also in the geologic processes of earth building and earth destruction—the processes by which rock is worn away and ground to sand, by which the sediments that carpet the sea floor are accumulated, shifted, sorted, and distributed. And at death their hard skeletons contribute calcium for the needs of other animals or for the building of the reefs.

The actual building of the earth happens within the sea, and the importance of these little creatures begins to rival the efforts of human beings. For all our massive construction projects, the tiny creatures of the sea are essential to building the world itself, and they contain the potential for its future. Carson's assertions here are admittedly subtle, but we begin to sense that we destroy these other worlds only at dire risk to ourselves. Along with the pleasure derived from and the beauty perceived in Carson's writing comes an ethical imperative that human beings handle themselves with renewed respect for and restraint toward the natural world. There are, of course, many reasons why people should behave in this respectful way toward the natural world. Many of them are practical—we may run out of wood and water. But Carson makes other reasons clear too. Part of her project seems to be the reconstitution of our sense of pleasure in our world. Simply, we are lucky to be living in a world that remains beautiful. We are participants in an ongoing process of life on earth about which we have no final knowledge. Carson takes this concept of interrelationship out of the laboratory, where, as Lawrence Buell comments in The Environmental Imagination, 'These arenas of biological interdependence can . . . be talked about in wholly clinical ways devoid of political or affective content." She casts the scientific fact of interrelationship in "affective," aesthetically

pleasing prose. An aesthetic appreciation of anything usually entails an enjoyment of that thing, and in renewing readers' capacity for joy and wonder in their interdependence with the biosphere, Carson takes an aesthetic and ethical position toward both human and other-thanhuman environments. Revising the dominant, bureaucratic scientific discourse of her time, Carson charts scientific facts and concepts in literary language. For example, she explains in the book's preface that The Edge of the Sea includes an appendix "for the convenience of those who like to pigeonhole their findings neatly in the classification schemes the human mind has devised." Carson's language is clearly dismissive of neat classification. She insists that "to understand the shore, it is not enough to catalogue its life. Understanding comes only when, standing on a beach, we can sense the long rhythms of earth and sea that sculptured its land forms." Carson tries to create an aesthetic experience that binds science and art. Aesthetic experience implies for her an interrelationship between reader, text, and world. She hopes to encourage a perception of the relationships between earth and sea, between the human and the environment. Looking into a tidepool "paved" with mussels, Carson sees the following: "The water in which they lived was so clear as to be invisible to my eyes; I could detect the interface between air and water only by the sense of coldness on my fingertips. The crystal water was filled with sunshine—an infusion and distillation of light that reached down and surrounded each of these small but resplendent shellfish with its glowing radiance." The edge here between air and water is invisible, yet cool to the touch, and in this passage Carson does not insist that we see this permeable boundary, but that we look at it not only with our eyes but with all our senses and our imaginations. She posits an ethical commitment

30 / AMERICAN WRITERS of the human organism to looking at the world beyond itself. This commitment does not release her from the bonds of language and culture. Carson employs metaphors deeply ingrained in the Western cultural tradition to evoke a sense of wonder at the world she looks into. The water is like a crystal chalice, full to the brim, in which light is infused and distilled, and the light "reached down" to the mussels in an image packed with religious overtones. The light is like the hand of a god, and the mussels are "resplendent" in its "radiance," haloed if you will. Further, the mussels provide a site of connection, and Carson, with her metaphor, sets the reader up to perceive what she seems to insist is a quality of sacredness in ecological interconnection: "The mussels provided a place of attachment for the only other visible life of the pool. Fine as the finest threads, the basal stems of colonies of hydroids traced their almost invisible lines across the mussel shells." Carson extends the metaphor of the "crystal water" to the description of the hydroids, whose "branches are enclosed within transparent sheaths, like a tree in winter wearing a sheath of ice," linking the ecosystem of the tide pool to the ecosystem of the land. She continues, "From the basal stems erect branches arose, each branch the bearer of a double row of crystal cups," and the metaphor is extended further with the connection to the cup-bearer, one who holds a profoundly important place in religious and heroic lore. Of course, the hydroids are predators, and because Carson cannot see any other life-forms in the water does not mean that they are not there. In fact, they must be there: Somewhere in the crystal clarity of the pool my eye—or so it seemed—could detect a fine mist of infinitely small particles, like dust motes in a ray of sunshine. Then as I looked more closely the motes had disappeared and there seemed to be once more only that perfect clarity, and the sense

that there had been an optical illusion. Yet I knew it was only the human imperfection of my vision that prevented me from seeing those microscopic hordes that were the prey of the groping, searching tentacles I could barely see.

Carson, one could say, is "groping" and "searching" too. The "crystal" metaphor is carried through, yet in spite of the limpid environment, Carson can "barely see." With this construction, "barely see," Carson sets the human being in relationship to the small ecosystem she has perceived in the tide pool. She realizes that she is not (or is only barely) a part of this little world, yet by casting it in affective prose, she draws herself and her readers into the life of the tide pools. However, we can read here a note of caution. This world is something we can barely see; for Carson, it is sacred in that it is an example of the ecological intricacy of life itself, yet the human apparatus can barely perceive it, cannot, certainly, understand it in its full complexity. In the face of such beauty and complexity, any approach should be one of restraint. Damage to these places and creatures damages life itself. Her aesthetic and ethical practice are distilled when she recalls her first sighting of a West Indian basket star: "For many minutes I stood beside it, lost to all but its extraordinary and somehow fragile beauty. I had no wish to 'collect' it; to disturb such a being would have seemed a desecration." Carson's experience with the starfish provides a marker for an ecological stance toward the entire biosphere. The star is not something for humans to "collect," though we have the right to enjoy it as long as we leave it as undisturbed as possible. Its beauty is wonderful, and we know theoretically that it and its habitat are extremely fragile, yet we cannot seem to put our theoretical knowledge to practical use. Alone, theory is little help. Again, the allusion to religion with the term "desecration" suggests that the degradation of the natural world is, for Carson, akin to the desecration of

RACHEL CARSON / 31 a temple. At its most radical sense—at its root— Carson's call is for respect and restraint concerning the natural world. Her ethical call, in large part grounded in aesthetic appreciation, still has an unpalatable ring in our dominant culture. In Speaking for Nature: How Literary Naturalists from Henry Thoreau to Rachel Carson Have Shaped America (1980), Paul Brooks describes how Carson's ethical and aesthetic position challenged the status quo. He writes that in her stance toward the scientific establishment, she declared "the basic responsibility of an industrialized, technological society toward the natural world. This was her heresy. In eloquent and specific terms she set forth the philosophy of life that has given rise to today's environmental movement[s]." Carson's philosophy is grounded in the interrelatedness of all things, in an ecology of values. At the close of The Edge of the Sea, she writes: Once this rocky coast beneath me was a plain of sand; then the sea rose and found a new shore line. And again in some shadowy future the surf will have ground these rocks to sand and will have returned the coast to its earlier state. And so in my mind's eye these coastal forms merge and blend in a shifting, kaleidoscopic pattern in which there is no finality, no ultimate and fixed reality—earth becoming fluid as the sea itself.

The state of the world is fluid, cyclical, and contingent. SILENT SPRING

Silent Spring grew in part from Carson's grudging awareness that the cycles of life had perhaps become all too contingent upon human behavior. In a revealing letter that she wrote to her friend Dorothy Freeman in February 1958, Carson acknowledged her concern that the natural world may not outlast human onslaught:

I suppose my thinking began to be affected soon after atomic science was firmly established. Some of the thoughts that came were so unattractive to me that I rejected them completely, for the old ideas die hard, especially when they are emotionally as well as intellectually dear to one. It was pleasant to believe, for example, that much of Nature was forever beyond the tampering reach of man—he might level the forests and dam the streams, but the clouds and the rain and the wind were God's. . . . It was comforting to suppose that the stream of life would flow on through time in whatever course that God had appointed for it—without interference by one of the drops of the stream— man. And to suppose that however the physical environment might mold Life, that Life could never assume the power to change drastically—or even destroy—the physical world.

Silent Spring is set against this stage of awareness, and coupled to the threat of nuclear devastation was the profound increase in the use of chlorinated hydrocarbon pesticides such as DDT and organic phosphorous compounds such as malathion, which Carson had noticed years before were taking a toll on the physical environment. As early as 1945, Carson had proposed an article on the toxic effects of DDT, but could find no venue. DDT was developed during World War II and was acclaimed as a wonder chemical. Its discoverer was awarded a Nobel Prize. Carson, then, found herself in a position not only challenging the purveyors of pesticides but confronting a cold war mentality that valued technological advance over environmental concerns. At the same time, she faced personal hardship. In 1957, following the death of her niece, she adopted her grandnephew, Roger Christie. Her mother died in 1958. Carson herself suffered from a number of physical problems, including an ulcer, debilitating arthritis, a painful eye infection, and chief among them, breast cancer, for which she had been initially misdiagnosed and inadequately treated. She underwent a mastectomy and radiation treatments while

32 / AMERICAN WRITERS she was researching and writing Silent Spring. The book is a testimony to her mental and physical courage. Carson's final decision to write Silent Spring was spurred on by a letter written to the Boston Herald by a local writer and editor, Olga Huckins. Aerial spraying of pesticides had been taking place on a large scale around the Boston area in the late 1950s, and concerned citizens had written to the newspaper to complain about loss to wildlife. In response to these letters and to a group who called themselves the Committee against Mass Poisoning, several letters appeared—one from R. C. Coleman, who was involved in the spraying—denying that wildlife had been harmed, and deriding the people who claimed that their backyards were full of dead and dying birds as "hysterical." After the publication of Silent Spring, Carson herself was widely attacked as a "hysterical" woman. Huckins, who had favorably reviewed The Sea around Us years before, wrote a scathing letter to the Herald in response to the denials of wildlife poisoning. She sent Carson a copy of the letter, which helped solidify Carson's commitment to producing an article on the use of DDT. Eventually Carson contacted E. B. White at The New Yorker, who showed interest, and Carson was on her way toward engaging a task she had no idea would grow to such enormity. On the acknowledgments page of Silent Spring, Huckins is the first person mentioned: "In a letter written in January 1958, Olga Owens Huckins told me of her own bitter experience of a small world made lifeless, and so brought my attention sharply back to a problem with which I had long been concerned. I then realized I must write this book." Silent Spring, like The Sea around Us, was initially serialized in The New Yorker. After two sections appeared in the magazine, several chemical producers tried to stop the third installment, and ultimately the publication of the book itself, with lawsuits and threats, but The New

Yorker and Carson's publisher at Houghton Mifflin, Paul Brooks, were unshakable in their support for Carson. In classic cold war bombast, the spokesman for Velsicol, maker of chlordane and heptachlor, in a letter to Houghton Mifflin, pinned Carson as part of a conspiracy with intent "to create the false impression that all business is grasping and immoral, and to reduce the use of agricultural chemicals in this country and the countries of western Europe, so that our supply of food will be reduced to east-curtain parity." Carson herself makes masterful use of cold war rhetoric, turning it ingeniously to her own use. Just as The Edge of the Sea begins with a personal anecdote of a small person in a large world, Carson begins Silent Spring with a fable about a small town in a big country. She uses this rhetoric to appeal to her largely suburban readership—to instill an awareness of and awaken a fear for the dangers posed to suburban communities by pesticide use. After describing an idyllic landscape—"There was once a town in the heart of America where all life seemed to live in harmony with its surroundings . . ."—she introduces silence and poison: There was a strange stillness. The birds, for example—where had they gone? Many people spoke of them, puzzled and disturbed. The feeding stations in the backyards were deserted. The few birds seen anywhere were moribund; they trembled violently and could not fly. It was a spring without voices. On the mornings that had once throbbed with the dawn chorus of robins, catbirds, doves, jays, wrens, and scores of other bird voices there was now no sound; only silence lay over the fields and woods and marsh. . . . In the gutters under the eaves and between the shingles of the roofs, a white granular powder still showed a few patches; some weeks before it had fallen like snow upon the roofs and the lawns, the fields and streams.

Carson brings the stark recognition of risk directly into the lives of average Americans,

RACHEL CARSON / 33 and she makes apparent the threat to that most cherished American symbol, the home. Having successfully set her readers on edge, Carson moves on in the next chapter to explain in general terms the environmental dangers of pesticide use, and to focus on the fact that employment of pesticides goes on without full public knowledge and often with disdain for public concern. In this, she takes her place among writers such as Harriet Beecher Stowe, John Muir, and John Steinbeck, whose calling has been to contribute to the public good. As mentioned earlier, a characteristic of the aesthetic Carson developed in her writing is the poetic presentation of scientific ideas to the general public. Although Silent Spring contains passages that are indeed lyrical, the emphasis of this book is far different from that of the other three. Although the earlier books too have a political underpinning, Silent Spring is a profoundly political book. In writing it Carson wanted something to happen, and it did. Silent Spring describes in detail the various types of chemicals used, their effects on the lives of all creatures, their misuse by uninformed or uncaring technicians and farmers. She investigates entanglements among the U.S government, large research units at statesupported universities, and chemical-producing industries. The work marks an interesting shift in her thought, one that still bears on ecological perception. In her earlier writing, Carson celebrated ideas of ecological interdependence, interrelationship, food chains, and webs. But now she reveals a dark side of interrelationship: the cycles of life that she so celebrated now undeniably contain billions of tons of man-made poisons. Carson is angry about this. And the ecology of the problem includes a whole linkage of characters. Suburbanites, in order to eliminate crabgrass according to neighborhood mores, administer astounding amounts of poison to their lawns:

Marketed under trade names which give no hint of their nature, many of these preparations contain such poisons as mercury, arsenic, and chlordane. Application at the recommended rates leaves tremendous amounts of these chemicals on the lawn. Users of one product, for example, apply 60 pounds of technical chlordane to the acre if they follow directions. If they use another of the many available products, they are applying 175 pounds of metallic arsenic to the acre. The toll of dead birds . . . is distressing. How lethal these lawns may be for human beings is unknown.

Such passages have a powerful rhetorical effect, given that "lawns" conjure images of the ground upon which one rolls and frolics with the children and the family dog. Carson goes on to morally question the marketing strategies used to sell chemicals. For instance, if one buys poison at the drugstore, one must sign a register, but one can buy any number of lethal poisons in the supermarket and hardware store without ever realizing the potency of what one buys. The poison is shelved next to the dishwasher soap and the lawn mower. The questions that Carson asks in this book force the American public into recognizing crucial links among scientific knowledge, commercial freedom, and morality. The needs of commerce and science seem always to take precedence, and Carson seeks to redress this myopia in Silent Spring. Her central inquiry remains pertinent: "The question is whether any civilization can wage relentless war on life without destroying itself, and without losing the right to be called civilized." The relationship of modern industrial culture to the natural world demands revision. Carson began with an aesthetic that grew from love of the natural world, and though she never lost the intensity of that love, environmental degradation caused her to demand answers to questions she would rather not have asked. "Who has decided—who has the right to decide—for the countless legions of people who were not consulted that the supreme value is a world

34 / AMERICAN without insects, even though it be also a sterile world ungraced by the curving wing of a bird in flight?" She insists that "beauty and the ordered world of nature still have a meaning that is deep and imperative." Carson was heard by many, and following the public outrage incited by Silent Spring, attitudes in the United States and around the world began to change. Despite the attacks against her, Carson was steadfast in her defense of her book, even to the point of concealing the fact as best she could that she was dying from cancer, because she feared her opponents would use that information against her. In 1963 Carson testified before a special Senate subcommittee convened to look into pesticide use and headed by Abraham Ribicoff. Within a year, forty states had passed pesticide bills. The Clean Air Act followed in 1963, the Water Quality Act in 1965, and many others were introduced directly or indirectly as a result of Carson's work. DDT was banned in 1972 in the United States, although U.S. companies continued to produce and export staggering amounts. On April 14, 1964, at her home in Silver Spring, Maryland, Carson died of heart failure after her long battle with cancer. She had worked right through to the end of her life on projects, left unfinished, that championed the integrity of the environment. Her life is a testament to life itself, and for this she was posthumously awarded, in 1980, the Presidential Medal of Freedom. Three decades earlier, during her acceptance of the John Burroughs Medal, Carson spoke these words, which at the beginning of the twenty-first century continue to offer both warning and hope: I myself am convinced that there has never been a greater need than there is today for the reporter and interpreter of the natural world. Mankind has gone very far into an artificial world of his own creation. He has sought to insulate himself, in his cities of steel and concrete, from the realities of earth and water and the growing seed. Intoxicated

WRITERS with a sense of his own power, he seems to be going farther and farther into more experiments for the destruction of himself and the world. There is certainly no single remedy for this condition and I am offering no panacea. But it seems reasonable to believe—and I do believe— that the more clearly we can focus our attention on the wonders and realities of the universe about us the less taste we shall have for the destruction of our race. Wonder and humanity are wholesome emotions, and they do not exist side by side with a lust for destruction.

Selected Bibliography WORKS OF RACHEL CARSON BOOKS

Under the Sea-Wind: A Naturalist's Picture of Ocean Life. New York: Simon and Schuster, 1941. Reprint, New York: Penguin, 1996. The Sea around Us. New York: Oxford University Press, 1951. Reprint, New York: Oxford, 1991. The Edge of the Sea. Boston: Houghton Mifflin, 1955. Reprint, Boston: Houghton Mifflin, 1998. Silent Spring. Boston: Houghton Mifflin, 1962. The Sense of Wonder. New York: Harper & Row, 1965. (Book version of Carson's 1956 article "Help Your Child to Wonder.") The Rocky Coast. New York: McCall, 1971. (Reprint of section three of The Edge of the Sea.) Lost Woods: The Discovered Writing of Rachel Carson. Edited by Linda Lear. Boston: Beacon, 1998. ARTICLES AND GOVERNMENT PUBLICATIONS

"A Battle in the Clouds." St. Nicholas Magazine 45:1048 (September 1918). "Undersea." Atlantic Monthly 160:322-325 (September 1937). Reprinted in Paul Brooks, The House of Life: Rachel Carson at Work, 1972, and in Lost Woods. Food from the Sea: Fish and Shellfish of New England, U.S. Department of the Interior, Office of

RACHEL CARSON / 35 the Coordinator of Fisheries, Fish and Wildlife Service, Conservation Bulletin 33. Washington, D.C.: Government Printing Office, 1943. Food from the Sea: Fishes of the Middle West, U.S. Department of the Interior, Office of the Coordinator of Fisheries, Fish and Wildlife Service, Conservation Bulletin 34. Washington, D.C.: Government Printing Office, 1943. Food from the Sea: Fish and Shellfish of the South Atlantic and Gulf Coasts, U.S. Department of the Interior, Office of the Coordinator of Fisheries, Fish and Wildlife Service, Conservation Bulletin 37. Washington, D.C.: Government Printing Office, 1944. "Ocean Wonderland." Transatlantic, March 1944, pp. 35-40. Food from the Sea: Fish and Shellfish of the Middle Atlantic Coast, U.S. Department of the Interior, Office of the Coordinator of Fisheries, Fish and Wildlife Service, Conservation Bulletin 38. Washington, D.C.: Government Printing Office, 1945. Chincoteague: A National Wildlife Refuge. Conservation in Action #1. Illustrated by Shirley A. Briggs and Katherine L. Howe. Washington, D.C.: U.S. Fish and Wildlife Service, Government Printing Office, 1947. Parker River: A National Wildlife Refuge. Conservation in Action #2. Photos and drawings by Katherine L. Howe. Washington, D.C.: U.S. Fish and Wildlife Service, Government Printing Office, 1947. Mattamuskeet: A National Wildlife Refuge. Conservation in Action #4. Illustrated by Katherine L. Howe. Washington, D.C.: U.S. Fish and Wildlife Service, Government Printing Office, 1947. (Reprinted in Lost Woods.) Guarding Our Wildlife Resources. Conservation in Action #5. Washington, D.C.: U.S. Fish and Wildlife Service, Government Printing Office, 1948. "The Great Red Tide Mystery." Field and Stream, February 1948, pp. 15-18. "Lost Worlds: The Challenge of the Islands." The Wood Thrush 4, no. 5:179-187 (May-June 1949). (Reprinted in Lost Woods.) Bear River: A National Wildlife Refuge. Conservation in Action #8. Coauthored by Vanez T. Wilson.

Illustrated by Bob Hines. Washington, D.C.: U.S. Fish and Wildlife Service, Government Printing Office, 1950. "The Birth of an Island." Yale Review 40, no. 1:112126 (September 1950). "The Sea" in "Profiles," The New Yorker, June 2-16, 1950. "Help Your Child to Wonder." Woman's Home Companion, July 1956, pp. 25-27, 46-48. "Our Ever-Changing Shore." Holiday 24:71-120 (July 1958). (Reprinted in Lost Woods.) "Vanishing Americans." Washington Post, April 10, 1959, p. 26. (Reprinted in Lost Woods.) "To Understand Biology." Humane Biology Projects. Washington, D.C.: Animal Welfare Institute, 1960. (Reprinted in Lost Woods.) "The Sea." Johns Hopkins Magazine 12, no. 8:6-20 (May-June 1961). "Of Man and the Stream of Time." Public address, Scripps College, Claremont, Calif., June 12, 1962. Printed in Scripps College Bulletin 36, no. 4 (1962). "Rachel Carson Answers Her Critics." Audubon 65:262-265, 313-315 (September-October 1963). Foreword to Ruth Harrison, Animal Machines: The New Factory Farming Industry. London: Vincent Stuart, 1964. MANUSCRIPTS, PAPERS, AND LETTERS

Rachel Carson Papers, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Conn. Rachel Carson History Project, Rachel Carson Council, Chevy Chase, Md. Always, Rachel: The Letters of Rachel Carson and Dorothy Freeman, 1952-1964. Edited by Martha Freeman. Boston: Beacon, 1995.

CRITICAL AND BIOGRAPHICAL STUDIES Bonta, Marcia Myers, Women in the Field: America's Pioneering Women Naturalists. College Station: Texas A&M University Press, 1991. Briggs, Shirley A. "Remembering Rachel Carson." American Forests 76:8-11 (July 1970). . "A Decade after Silent Spring." Friends Journal, March 1, 1972, pp. 148-149.

36 / AMERICAN WRITERS . "Twenty Years After Silent Spring." Garden, May 1982, pp. 10-15. . Silent Spring: The View from 1987. Chevy Chase, Md.: Rachel Carson Council, 1987. . "The Rachel Carson Legacy." Pesticides News 1:7 (September 1992). Brooks, Paul. The House of Life: Rachel Carson at Work. Boston: Houghton Mifflin, 1972. . Speaking for Nature: How Literary Naturalists from Henry Thoreau to Rachel Carson Have Shaped America. Boston: Houghton Mifflin, 1980. Buell, Lawrence. The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture. Cambridge, Mass.: Harvard University Press, 1995. "Courage of Rachel Carson." Audubon, January 1987, pp. 12-15. Fox, Stephen. The American Conservation Movement: John Muir and His Legacy. Madison: University of Wisconsin Press, 1985. Gartner, Carol B. Rachel Carson. New York: Frederick Ungar, 1983. Glotfelty, Cheryll. "Rachel Carson." In vol. 1 of American Nature Writers. Edited by John Elder. New York: Scribners, 1996. Pp. 151-171. Graham, Frank, Jr. Since Silent Spring. Boston: Houghton Mifflin, 1970. Hanley, Wayne. Natural History in America: From Mark Catesby to Rachel Carson. New York: Quadrangle, 1977. Hynes, Patricia H. The Recurring Silent Spring. New York: Pergamon, 1989. Kass-Simon, G., and Patricia Fames, eds. Women of Science: Righting the Record. Bloomington: Indiana University Press, 1990. Lear, Linda. Rachel Carson: Witness for Nature. New York: Henry Holt, 1997. Lyon, Thomas J., ed. This Incomperable Lande: A Book of American Nature Writing. Boston: Houghton Mifflin, 1989.

Marco, Gino J., Robert M. Hollingworth, and William Durham, eds. Silent Spring Revisited. Washington, D.C.: American Chemical Society, 1987. McCay, Mary. Rachel Carson. New York: Twayne, 1993. Nash, Roderick Frazier. The Rights of Nature: A History of Environmental Ethics. Madison: University of Wisconsin Press, 1989. Norwood, Vera L. "The Nature of Knowing: Rachel Carson and the American Environment." Signs 12, no. 4:740-760 (1987). . Made From This Earth: American Women and Nature. Chapel Hill: University of North Carolina Press, 1993. . "Rachel Carson." In The American Radical. Edited by Mari Jo Buhle, Paul Buhle, and Harvey J. Kaye. New York: Routledge, 1994, pp. 313318. . "Heroines of Nature: Four Women Respond to the American Landscape." In The Ecocriticism Reader: Landmarks in Literary Ecology. Edited by Cheryll Glotfelty and Harold Fromm. Athens: University of Georgia Press, 1996. Pp. 323-350. Sterling, Philip. Sea and Earth: The Life of Rachel Carson. New York: Crowell, 1970. Stewart, Frank. A Natural History of Nature Writing. Washington D.C.: Island Press, 1995. Waddell, Craig, ed. And No Birds Sing: Rhetorical Analyses of Rachel Carson's Silent Spring. Carbondale: Southern Illinois University Press, 2000. White, Fred D. "Rachel Carson: Encounters with the Primal Mother." North Dakota Quarterly 59, no. 2:184-197 (spring 1991). Worster, Donald. Nature's Economy: A History of Ecological Ideas. San Francisco: Sierra Club, 1977.

—CORNELIUS BROWNE

Amy Clampitt 1920-1994

A,

Clampitt's individual books are different from one another, as any constantly producing writer's works should be, but in part because of her sensibility and in part because she was over sixty when her first book was published, it seems easier and more effective to consider her work nonchronologically. There are few signs of growth or progress from one volume to the next, although her last book, published posthumously, contains poems written when the poet knew she was dying from cancer. These have in them unmistakable signs of mortality and of urgency to have a final say. The present essay will treat poems from throughout Clampitt's brief career without reference to their chronology. The effect of reading The Collected Poems of Amy Clampitt is one of inundation, and the poetry certainly will not suit everyone's taste. Aspects of Clampitt's poetry that were under attack at the end of the 1990s were her heavy syntax and decoration, her poetry's baroque and ornamental qualities, and her dramatic use of description. Clampitt habitually employs difficult diction—sometimes scientific, sometimes obscure. In an autobiographical essay, the title piece of her collected prose, Predecessors, Et Cetera (1991), Clampitt tells how new and unknown words, "tortfeasor" for instance, excite her. As other critics have observed, reading Clampitt's poetry requires having a good dictionary at hand. She is wonderfully allusive, though detractors call her pretentious or maddening. An attentive reader will come away from Clampitt's work knowing much about botanical nomenclature and such English and American

. MY KATHLEEN CLAMPITT occupies a unique position in American poetry. In the scant years between her late and enormously successful arrival on the poetry scene in the late 1970s and her death from ovarian cancer on September 10, 1994, Clampitt was both praised and condemned. Interestingly her admirers and detractors often agree in their characterization of her work. Everyone acknowledges its old-fashioned lushness; its frank interest in the lives and writing of the British Romantic poets; its indebtedness to such early American precursors as Emily Dickinson and Margaret Fuller; its flaunting of scholarly and scientific knowledge; its playful elegance; and its unashamed reveling in language at once arcane and precise. Readers tend to differ only in their evaluation of these characteristics. Some love the rich accretion of detail; others, suspicious of ornament, belittle Clampitt's elaborate style that seems to them a throwback to the late nineteenth century. Bemused by the constantly enthusiastic, often gushing quality of Clampitt's ready interest in almost all aspects of the world around us, what these readers seem to ignore is the method, as well as the spirit, of her vision. It is appropriate to take the measure of America's oldest young poet, whose five books of poetry, published between 1983 and 1994, were handsomely re-issued in 1997 in a single volume sympathetically introduced by her younger friend, the poet Mary Jo Salter. (All of Clampitt's poems quoted hereafter can be found in that volume, The Collected Poems of Amy Clampitt, published by Alfred A. Knopf in 1997.)

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38 / AMERICAN WRITERS writers as William and Dorothy Wordsworth, Samuel Taylor Coleridge, John Keats, George Eliot, and Emily Dickinson, who served as a constant source of inspiration for her. Like many well educated writers Clampitt makes little distinction between the lived life of her own outward experience and her richly imaginative inner life as a person committed to books and their authors. (Ironically, the beautiful sequence "Three Voyages: A Homage to John Keats" must be counted a poetic failure since only a reader with a grasp of the details of Keats's life and works can respond fully to these deeply referential poems.) Compared to the ornateness of Hart Crane and the plainness of William Carlos Williams roughly three-quarters of a century earlier, Clampitt's delicately powerful mingling of high and low, big and small, fancy and fact, the extravagant and the mundane, seems like a revolutionary stance for a late-twentieth-century American poet. Clampitt's readers must work hard, but the poems repay the effort. Ralph Waldo Emerson once wrote that nature "cannot be surprised in undress. Beauty breaks in everywhere." Few of her contemporaries are as attuned to beauty or reproduce it as lovingly as Clampitt does. And in an age much concerned with issues of gender, Clampitt is unique as a female poet who unashamedly tackles subjects and techniques ordinarily associated with the poet who was rightfully and peculiarly her truest precursor: not her beloved Keats, Wordsworth, or Hopkins, but Walt Whitman. Among women poets in the latter half of the twentieth century, only the younger and more flamboyantly abstruse Jorie Graham has anything approaching Clampitt's ambition. Amy Clampitt's intellectual and cultural appetite is easy to miss amid the sheer gorgeousness of her sounds, streaming off the page as though released after years of captivity. Clampitt had several unpublished novels stashed away in a drawer when her first volume of poetry, The

Kingfisher, appeared in 1983. Its publication was heralded as though it and its author had sprung full-blown like Athena from the head of Zeus—or from nowhere. Actually, of course, she had been writing poems for most of her life and for years had been appearing in little magazines before finally breaking into wider view in The New Yorker in the late 1970s. From the start Amy Clampitt sounds linguistically inebriated, as in her early poem "Losing Track of Language" when she moves eagerly from tongue to tongue, landscape to landscape, on a train into Italy from France: The train leaps toward Italy, the French Riviera falls away in the dark, the rails sing dimeter shifting to trimeter, a galopade to a galliard. We sit wedged among strangers; whatever we once knew (it was never much) of each other falls away with the landscape. Words fall away, we trade instead in flirting and cigarettes; we're all rapport with strangers.

Loss and losing, like all other processes of diminishment, are the original causes of accumulation in whatever form. As with this signature piece, Clampitt often builds her poems insouciantly from an anecdotal opening that broaches major themes (language, history, and culture) in the most offhand way. The delights of experience not only balance, but also depend upon, the losses we have suffered. And Clampitt is a poet well aware of loss. The details of her life—which she treats in thoughtful but unsentimental ways throughout her work—are significant because they demonstrate where, quite literally, she came from. Her parents, Roy and Pauline Clampitt, were farmers of pioneer stock who owned three hundred acres in New Providence, Iowa, a town of roughly two hundred people. The family was Quaker. Late in her life Clampitt could still recall details of the natural surroundings from her third year. In childhood she developed an interest in bird watching, which remained with

AMY CLAMPITT / 39 her for the rest of her life. And she wrote her first poems when she was nine years old. Because of the Great Depression the Clampitts lost their ancestral farm and moved to a smaller hardscrabble place, three miles away. For little Amy, age ten, the move felt like expulsion from Eden. For this reason, among others, the adult Clampitt could announce proudly, "I am a poet of place," by which she meant that because of early displacement she yearned for a stable center. As a watcher and a poet she always attended to details of landscape and to the lives of the people resident there. As intellectuals often do, Clampitt felt like something of a misfit. She said that England became important for her because, in the early 1950s when she first went there, she felt herself more at home among people in a country that prides itself on a populace of eccentrics. A bookish child growing up as the eldest of five in a Quaker household, Amy Clampitt, born June 15, 1920, had an independent streak, always knowing that she could not live a life of midwestern conformity. Essentially a religious nonbeliever, she retained throughout her life an interest in spirituality culled from her exposure to Society of Friends meetings, Methodist hymns, Episcopal (or Anglican) ritual, and, as a first poetic influence, the deeply religious and lushly lyrical poetry of Gerard Manly Hopkins. Everyone who knew her commented on the serious intellect and almost girlish glee that made her cheerful, earnest, astute, and thoughtful, often in quirky combinations. Clampitt was educated at Iowa's Grinnell College. After she was graduated in 1941 with honors in English and was inducted into Phi Beta Kappa, she headed for New York City where she began graduate studies at Columbia University. But soon she laid aside that pursuit in exchange for a quiet life working at Oxford University Press (1943-1951) as a secretary and then promotions director of the college textbook

division. Following her trip to Europe in 1951 she returned to New York and took up a job first as a reference librarian at the National Audubon Society (1952-1959) and then as a freelance writer (1960-1977). During this time she tried without success to write novels but eventually concentrated her attention on poetry. Clampitt was finally "discovered" as a literary figure—after the publication of her poetry chapbook Multitudes, Multitudes, in 1974—primarily by the late Howard Moss, himself a distinguished poet and longtime poetry editor of The New Yorker. From that time onward Moss published Clampitt's poetry regularly in The New Yorker. Although Amy Clampitt lived in Manhattan for her entire adult life, with extensive travels in Europe and the United States, she had an essentially midwestern consciousness, preferring to move through the country by bus (she hated planes) in order to experience the terrain. Jobs in publishing and in libraries, political work, and writing kept her occupied throughout the late 1960s. While campaigning for Eugene McCarthy's bid for the presidency in 1968 she met Harold Korn, a Columbia Law School professor, with whom she lived for the rest of her life. They spent summers in Maine, along a rocky coast that Clampitt loved and often wrote about. Several months before her death, she and Korn married at a home they had bought in the Berkshire Hills of Massachusetts. It was the only real estate she ever owned. She always kept her little flat in Greenwich Village as a means both symbolic and practical of maintaining her independence. Poems of place and poems of uprooting exist in equal measure within her pages and both types derive from the circumstances of the life she lived. The richness of diction, tone, syntax, and sentiment informing Clampitt's work from the start, like her love of Keats and the other Romantics, can be traced to her upbringing in the Midwest. Just as her passions stemmed from

40 / AMERICAN WRITERS early losses, so Clampitt as a richly decorative poet harbored a chilly persona beneath the exterior. Although she did not have a heart or mind of winter—like Wallace Stevens's "Snow Man"—she had been quite literally cold for a long time. In conversation she once said that no one who has never known viscerally what it is like to be cold to the bone can understand Keats's "The Eve of St. Agnes" with its ravishing, compensatory dreams of sensuous fulfillment, warmth, and escape to the southern moors. Amy Clampitt arrived at lushness from the chill of her childhood farmstead and from political and religious austerity bred into her by her Quaker forebears and developed through years of political awareness and activity. (Strangely, her detractors tend to ignore the serious poems of political protest in her work, and treat her poetry as if it were mere decoration.) The same distinction obtains with regard to style. She is a poet of the plain as well as the fancy. For every synesthetic embellishment and every hothouse bloom—take for example, "Mirrored among jungle blooms' curled crimson / and chartreuse, above the mantel, diva-throated / tuberoses, opening all the stops, deliver / Wagnerian arias of perfume" ("Townhouse Interior with Cat")— she gives us simple declarative sentences, aphoristic nuggets of wisdom, and moral principles from which some poems proceed and to which others often lead. "A Hermit Thrush," for instance, begins with a two-word sentence: "Nothing's certain." The stark certainty of this opening prepares us for her investigation of tenuousness and tenacity, focusing upon a "gustbeleaguered single spruce tree," the uncertainty of everything except "the tide that / circumscribes us," and the title figure, which serves as Clampitt's homage to the various race of Romantic birds, especially Thomas Hardy's "Darkling Thrush." The poem ends: Watching the longest day take cover under a monk's-cowl overcast,

with thunder, rain and wind, then waiting, we drop everything to listen as a hermit thrush distills its fragmentary, hesitant, in the end unbroken music. From what source (beyond us, or the wells within?) such links perceived arrive— diminished sequences so uninsistingly not even human—there's hardly a vocabulary left to wonder, uncertain as we are of so much in this existence, this botched, cumbersome, much-mended, not unsatisfactory thing.

All of the hallmarks of Clampitt's poetry are here: the parenthetical questions that sidetrack and amplify (a lesson learned from her predecessor Elizabeth Bishop); the long sentences; the personification of "the longest day" (with a reminder of its connection to her human observers, themselves taking separate but parallel cover); the skepticism in the face of happiness and wonder, tellingly arrived at in the extended adjectives of the last two lines; and the characteristic British understatement ("not unsatisfactory"), which articulates the sudden happiness that Clampitt is always surprised to encounter. In a world where nothing is certain except the tide that circumscribes all human and natural activity, Clampitt appropriately writes around her subject (a disgruntled reader might even call her poems periphrastic) and embodies her vision of the world within sentences that home in on, attack, retreat from, and then re-approach their main objects. For her a "thing in itself cannot exist; it will always invite another look, another "take," or it will require a supplemental effort to describe and present it. For all the richness in her poetry Clampitt is, like her contemporary James Merrill (who died five months after she did), an elegiac poet of loss and dislocation. "Losing Track of Language" examines one kind of loss and compensatory gain. "Midsummer in the Blueberry Barrens" begins with a nod in the direction of

AMY CLAMPITT / 41 Wordsworth, Bishop, and Frost ("Tintern Abbey," "Cape Breton," and "Directive," respectively) by conveying a pattern of disappearance within a landscape: "Away from the shore, the roads dwindle and lose themselves / among the blueberry barrens." Clampitt is sensitive to natural erosion and encroachment for more than merely ecological or aesthetic reasons. All evidence of change echoes personal instability. As early as "On the Disadvantages of Central Heating," which appears in the first section of The Kingfisher, she remarks "the farmhouse long sold, old friends / dead or lost track of." Later in that volume, in her first great long poem, "A Procession at Candlemas," Clampitt alludes to Native Americans as merely one of many migratory groups: The westward-trekking transhumance, once only, of a people who, in losing everything they had, lost even the names they went by, stumbling past like caribou, perhaps camped here.

Such renderings of loss, forgetting, unwrapping, returning, and unpeeling are the essential cause of all those accumulations—in imagery, metaphor, rhythm, and syntax—that annoy or fatigue Clampitt's thoughtless or lazy readers. Amy Clampitt always puts the weight of her style at the service of her sense of diminishment. She is, in fact, as likely to dismiss as to welcome ornament for its own sake; she disdains the merely cute, once referring condescendingly, in "The Nereids of Seriphos," to "Guido Reni, master / of those who prettify." Her Americanness reveals itself in those moments when she adheres to a Yankee's, or a farmer's, sense of value: she loves "all that / utilitarian muck down underfoot" ("The Local Genius"), or objets trouves that are dear for their fragility and their usefulness, like the straw ricks in "Stacking the Straw" that exemplify the biblical ephemerality of all flesh. Yet these "beveled loaves" also amount to "the nearest thing the region had / to

monumental sculpture." Like Walt Whitman ("This Compost"), Wallace Stevens ("The Man on the Dump"), and A. R. Ammons (Garbage), she bears witness to the beauty of accumulated masses of compost, as in "The Reedbeds of the Hackensack," a bravura sestina (itself a classic form of recycling) with overtones of John Milton's pastoral elegy "Lycidas," in which she meditates on "a poetry of the incorrigibly ugly." Or she contemplates "the pleasures of the ruined" in "Salvage": I find esthetic satisfaction in these ceremonial removals from the category of received ideas to regions where pigeons' svelte smoke-velvet limousines, taxiing in whirligigs, reclaim a parking lot. . . .

She abhors wastefulness, admiring the Darwinian elegance of destruction on the Serengeti plains where first lions, then "down-ruffed vultures," then "feasting maggots / hone the flayed wildebeest's ribcage / clean as a crucifix" ("Good Friday"). Of such natural selection does Clampitt build her own idiosyncratic theology. The study of biology, of all the forces of life, stimulates in Clampitt an almost religious reverence. One typical misunderstanding of ornament resents it for manufacturing false, unwarranted hullabaloo and for confusing mere excess with depth. In fact Clampitt proves everywhere that "Depth isn't everything," as she aphoristically announces in "The Spruce Has No Taproot." We can take this arboreal example as one of Clampitt's own talismans. Like all the weeds, seedlings, easily displaced persons, tribes, and species with which she identifies, it roots itself shallowly in order to adapt and to form a subtle community:

42 / AMERICAN WRITERS the spruce has no taproot, but to hold on spreads its underpinnings thin— a gathering in one continuous, meshing intimacy, the interlace of unrelated fibers joining hands like last survivors who, though not even neighbors hitherto, know in their predicament security at best is shallow.

Such shallowness makes freedom the reward for truancy. Thus the "pokeweed, sprung from seed / dropped by some vagrant" ("Vacant Lot with Pokeweed") seizes a temporary foothold; or, in the same group of poems, a set of bamboo curtains, "going up where / the waterstained old ones had been, and where the seedlings— / O gray veils, gray veils—had risen and gone down" in the apartment of a Greenwich Village eccentric ("A Hedge of Rubber Trees"). "Nothing stays put," she announces in a poem of that title in this series that celebrates as well as laments eternal impermanence: "All that we know, that we're / made of, is motion." No other contemporary poet except A. R. Ammons has such a grasp on the fact—dangerous and attractive at once—of entropy as a force operating microscopically, historically, and cosmically. Motion has political—as well as psychological—causes and effects. Clampitt cites the words of an Omaha Indian in her signature piece "The Prairie": "The white man does not understand America, / a red man wrote: the roots of the tree of his life / have yet to grasp it." Any good poet always strives to create a proper form and style for her vision, her subjects. The essence of motion has syntactic consequences, as will be discussed in greater detail later in this essay. What Clampitt calls the "interlace" of her spruce tree also applies to the meshings by which she—here and elsewhere—duplicates and represents other familial, cultural, and historical interlacings, the elaborately constructed networks that enable individual lives to flourish. Where uprooting and exile—even when tempo-

rarily denied or held at bay—pose a constant threat, the only home a poet might finally claim for herself is a strongly built, deeply involuted poetic structure. (A bit less compulsively than Merrill and the younger Mark Doty, Clampitt has a fondness for compact stanzaic "rooms" that offer one kind of refuge.) The early poem "Black Buttercups" exemplifies the wariness Clampitt learned as a child in the face of unhousing and exile. Although she never suffered, as Merrill did, from a home broken by divorce, her loss of the Edenic farmstead repeats a standard American pattern: families are always on the move. Disruption and exile were the lot of her ancestors. Nothing is permanent. Even the original farmstead gave onto a symbol of final menace: the terrain began to drop (the creek down there had for a while powered a sawmill, but now ran free, unencumbered, useless)— that not-to-be-avoided plot whose honed stones' fixed stare, fanned in the night by passing headlights, struck back the rueful semaphore: There is no safety.

Like Gerard Manley Hopkins, Robert Frost, and Seamus Heaney, other masters of rural pleasure and rural coldness, Amy Clampitt knows how to brace her Latinate syntax and vocabulary with a harsh, grim monosyllabic string ("plot whose honed stones' / fixed stare, fanned in the night . . .") for a maximally chilling effect. Once readers look closely at the relationship between levels of diction, or at kinds of syntax, they necessarily become aware of the consequences of Clampitt's stylistic choices. Her socalled "literariness" unites the political and aesthetic dimensions of her poetry: it proves that words, phrases, and even allusions are, like human beings, intricately enmeshed in greater units. Any reader, especially a younger one, who has not been trained in either Milton or Latin will have difficulty following the syntax of even a short poem such as "Witness," a single-

AMY CLAMPITT / 43 sentence bus-ride poem (discussed below), or understanding the use of "depends from" in its literal sense of "hanging" ("Savannah"), or being sensitive to the combination of the laconic and ascetic with the extensive and embellished at the end of "Thermopylae": we ponder a funneled-down inscription: Tell them for whom we came to kill and were killed, stranger, how brute beauty, valor, act, air, pride, plume here buckling, guttered: closed in from behind, our spears smashed, as, the last defenders of the pass, we fell, we charged like tusked brutes and gnawed like bears.

It is daring enough to make the grim epitaph of Leonidas move directly into the thrilling nouns of Hopkins's "The Windhover," but to move his falcon's "buckle" into the Spartans' "buckling, guttered," and to urge a reminder of beauty's brutality in the "tusked brutes" of carnage makes an even grander—and more resourceful—literary leap. And who else these days employs the Latin construction known as the ablative absolute, Clampitt's own learning having become a naturalized part of her, with as much ease, as this "old-fashioned" poet? "Our spears smashed" pushes us back into highschool memories not of Leonidas and his Spartans but of Caesar and Cicero. Far from being a merely ornamental poet, in other words, Clampitt has the artistry necessary to weigh, sometimes precariously, the trivial against the extraordinary. When thinking of the inevitable brevity of human life, she adjusts her syntax by relying on appropriate phrases instead of clauses, as at the end of her homage, "Margaret Fuller, 1847": What did she dol it would be asked (as though that mattered). Gave birth. Lived through a revolution.

Nursed its wounded. Saw it run aground. Published a book or two. And drowned.

Verbs with only an implicit subject, and a glaring rhyme ("aground / drowned") heighten the catastrophe of Fuller's early death. Clampitt snips her normally lengthy sentences to match her heroine's brief, thin-spun life. She knows, as did William Butler Yeats, that sometimes "there's more enterprise in going naked" but only because she knows the feeling of going clothed. It is no distortion to call her a religious poet, not just in her allegiance to a native Quaker spirit but also in her acknowledgment of many kinds of horror that threaten to undo the inner light and inner voice altogether except in rare moments of privilege, chance, or intuition. In "The August Darks" she cites a phrase from Middlemarch by George Eliot—another of her spiritual and cultural heroes—which probably represents her own belief better than any other passage alluded to by this most allusive of contemporary poets: "If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence." Always aware of "the dolor of the particular" ("High Noon"), from which she never shies away, Clampitt is also a sufficiently political poet to know a fundamental truth about Eliot's "roar," which she announces matter-of-factly at the end of "The August Darks": "Many / have already died of it." Even in poems not explicitly concerned with history or politics, Clampitt demonstrates her awareness of our common human destiny. Clampitt has restored ornament to poetry and has also relied on ambitious use of civilized scholarship, scientific learning, and bookish references. What is most important about her poetic work stylistically is the interplay between two seemingly antithetical aspects: their Keatsian lusciousness and Quaker austerity. We can

44 / AMERICAN WRITERS see this combination most clearly within a genre that Clampitt has made peculiarly her own—the one-sentence poem—of which she has written probably a larger number than any other contemporary poet adhering to conventional punctuation and sentence formation. Of the 193 poems in The Collected Poems, thirty-seven are one sentence long. In at least two others, one of which is discussed below, one extremely long sentence is followed by a clipped phrase or a short sentence or two; and there are countless poems with several very long sentences in them or several equal stanzas all comprised of a single sentence. The whole issue becomes more complicated when one takes into account the matter of punctuation. For example, "Or Consider Prometheus" consists of two sections, each of five quatrains. Each section has two sentences, both questions, divided by a question mark and a capital letter to signify the beginning of sentence two. Elsewhere in Clampitt the same rhetorical structure is delineated not by full stops but by colons or semicolons. This choice of punctuation is, of course, not logical or natural, but neither is it merely arbitrary or conventional. A reader with a feeling for Clampitt's syntax might hear each of the parts of this poem as a single sentence composed of equal parts. Likewise in "The Waterfall" two initial questioning sentences are succeeded by a longer declarative one that ends without firm closure ("everywhere, existences / hang by a hair"). Even the determination of sentence is not so easy as one might think. The issue of sentence formation links Clampitt to Whitman, that other Quaker Romantic, whom she resembles in more than her tendency to fuse lushness with a stern moral vision and her American commitment to the inhabitants' relationship to their land. Like Whitman's, Clampitt's sentences tend to welcome us and then set us loose us amid their elaborate extensions. From Whitman, the grand seigneur of

poems-as-lists, Clampitt has learned to construct entire poems, or large portions of them, by relying more on nouns and nominal constructions than on predicates and verbal ones. And as he does she often resorts to a poetic structure dominated by apposition or anaphora (the beginning of successive phrases, clauses, or lines with the same sound or word) rather than subordination. The full effect of a sometimes exhaustive (or exhausting) encyclopedic list depends not only on the nature of its items but also on its syntactic arrangements. Clampitt's syntax, far from self-indulgent display of intricacy, possesses a powerful dramatic force. More than her diction, her learning, or her subjects, poetic syntax—the sheer ordering of words—is the field in which Clampitt stakes her claims and makes her discoveries, while forcing her readers to make theirs. The drama of her syntax exposes and enacts a central pair of American obsessions: the need to stay put and the need to move on. These are mentioned obliquely and in a British context in a note appended to the one-sentence lyric "Fireweed." Clampitt quotes from John Donne's last sermon at St. Paul's Cathedral in London: "Whatsoever moved Saint Jerome to call the journies of the Israelites, in the wilderness, Mansions, the word . . . signifies but a journey, but a peregrination. Even the Israel of God hath no mansions; but journies, pilgrimages in this life." The passage is attached to a poem that defines a fastspreading weed: A single seedling, camp-follower of arson—frothing bombed-out rubble with rose-purple lotfuls unwittingly as water overbrims, tarn-dark or sun-ignited, down churnmilk rockfalls—aspiring from the foothold of a London roof-ledge, taken wistful note of by an uprooted prairie-dweller. . . .

Clampitt locates the fireweed within the detritus of urban blight, planting it in her poem, so to

AMY CLAMPITT / 45 speak, everywhere but really nowhere at all. Like the prairie-born poet, the weed is uprooted and easy-to-root at the same time. To understand the poem we must supply the missing verb "is" several times throughout its course. Thus "[Fireweed is] a single seedling"; "[it is] unwitting / of past devastation as of what / remains"; and so forth. The poem is itself like a journey, a continuous act of definition, and also like a mansion or a cluster of single items. The ubiquitous title plant appears, at least linguistically, in the seven tercets as an object of appositional phrasing, a sequence of present participles but with no main verb. Journeys and mansions, centrifugal and centripetal forces, exist in a delicate balance within Clampitt's ornate descriptions. Why would a poet write a one-sentence poem, one that is longer than, for example, a sonnet? And what are the effects of such a choice? A reader inevitably and automatically reduces a complex, lengthy unit into shorter experiential ones in order to take it all in. Among Clampitt's one-sentence poems, two kinds stand out. The first of these is visually conspicuous: the unpunctuated or sparsely punctuated poem, or the poem arranged with spatial designs on the page. Take for example "Easter Morning," which omits capital letters and a period, or "Let the Air Circulate," which lacks a real beginning and ending but which imagines "spaces between / things looked at" and within the air as blanks within its own typographical structure. Another sort of one-sentence poem may be identified not by its physical appearance but by its subject. This is what we might call the journey poem, Clampitt's homage to Elizabeth Bishop. Poems like Bishop's "The Moose"— whose first sentence is thirty-six lines long— consist of a long string of phrases and clauses that replicate the poet's movement through a shifting landscape. These poems-of-process originate not only in Bishop but also in Clampitt's imitation of the Romantic poets in

general, and of Keats in particular. Examples include "Witness," in which the mind, mirroring the landscape, actually tells the landscape how it looks, as the landscape itself becomes an abstraction; and "Dallas-Fort Worth: Redbud and Mistletoe," "lola, Kansas," and "The Subway Singer," the first about an airplane descent, the second about a bus ride, the third about a moving subway train. In "lola, Kansas" and "The Subway Singer" Clampitt dramatizes the same sense of community that Bishop's passengers acquire on their long move from Nova Scotia to Boston when stopped and confronted by that famous towering, antlerless, female moose. Like a bus or subway compartment, a sentence contains its own community of phrases, clauses, parts of speech instead of people, although (as explained below) this meeting place can harbor either equals or a hierarchy of members, some subordinate to others. The idea of a sentence as a community corresponds to the twin aspects of Clampitt's character and style. As a Romantic she responds to hierarchy and to highlights, whereas the Quaker in her notices the inner light shining equally through various parts of a sentence, as through a human populace. Our most famous poet-orphan, Elizabeth Bishop was deeply skeptical of happiness and wisdom in equal measure. "lola, Kansas" is an implicit homage to the Bishop of such poems as "Arrival at Santos" and "Cape Breton," in addition to "The Moose," which square the fear of the unknown with the thrill of adventure (even that of tourism), and which measure the satisfactions of a seldom achieved community of feeling against the relative unlikelihood that we will ever experience—let alone deserve—happiness, pleasure, and personal identity. "lola, Kansas," a one-sentence tour de force that reports an all-night bus ride through the heart of the country, begins by echoing "Arrival at Santos," which ends with the ominous flat statement, "We are driving to the interior," after

46 / AMERICAN WRITERS thirty-seven lines of wittily observed details. Clampitt's journey is more industrialized and more noun heavy: Riding all night, the bus half empty, toward the interior, among refineries, trellised and turreted illusory cities, the crass, the indispensable wastefulness of oil rigs offshore, of homunculi swigging at the gut of a continent. . . .

Having proceeded from Texas, through Oklahoma, and into Kansas, the bus pauses at a rest stop in the godforsaken town of the title, where the narrator "with something akin to reverence" eats a piece of home-baked boysenberry pie before piling back onto the bus with her fellow travelers: . . . then back to our seats, the loud suction of air brakes like a thing alive, and the voices, the sleeping assembly raised, as by an agency out of the mystery of the interior, to a community— and through some duct in the rock I feel my heart go out, out here in the middle of nowhere (the scheme is a mess) to the waste, to the not knowing who or why, and am happy.

Like the bus riders in "The Moose," stopped by a giant creature in the middle of the road, and then united by a "sweet / sensation of joy" before resuming their journey, Clampitt and her companions join together in one of those rare moments of what can only be called grace. Spiritual longing and an awareness of "the strangeness of all there is" inspire her, in spite of her religious, political, and emotional wariness, to be ready to relish such moments when they do—however infrequently—come. Rejoicing often takes place within a context of sharing

that is within a community of other people whose very presence assures greater pleasure— and it takes place as well within the syntactic equivalent of community: a long sentence. "Witness" (the title has overtones of both religion and various kinds of "looking") exemplifies the difficulty of understanding punctuation and its symbolic effects in Clampitt's work. Typically we might assume that a colon suggests both identity of the elements on either side of it and of linear progression. (A. R. Ammons, the contemporary poet most enamored of the colon, comes immediately to mind.) This poem, however, is somewhat more complicated. Its three parts, divided by colons, treat what the speaker in her bus sees first within and then outside a small town. In the third section she finally suggests what it all means. The three sections are part of "an ordinary evening in Wisconsin," somehow equivalent to one another. But the first two sections are more than merely balanced by the third; they are offset by it. Here are the last two-thirds: . . . outside town the barns, their red gone dark with sundown, withhold the shudder of a warped terrain— the castle rocks above, tree-clogged ravines already submarine with nightfall, flocks (like dark sheep) of toehold junipers, the lucent arms of birches : purity without a mirror, other than a mind bound elsewhere, to tell it how it looks.

Everything in the first two parts of the poem suggests that single details add up to an abstraction ("purity"). At the same time, the three parts of the poem are distinct, and nothing derives from or mirrors anything else, except the mind moving elsewhere, which reflects (in two senses: it mirrors and it considers) and "tells." In the world of these poems things often seem disjointed, superfluous, offhand, because randomly noticed or fitfully connected, as by the metaphorical associations of ravines with water

AMY CLAMPITT / 47 ("submarine"), junipers with sheep, and birches with human arms. The more difficult of the single-sentence poems can be defined rhetorically rather than thematically. They rely on the triple modes of apposition, enumeration, and subordination to make their points. The first two are overlapping but different. As a trope of definition, apposition moves by discerning deeper versions of the same thing. Its form follows a version of the paradigm: "X is equally A, which resembles B, which reminds me of C" and so on. Enumeration, the trope of democratic equality, makes Whitmanian lists of separate items. The whole is the sum of its parts. It may work, paradoxically, by accretion and subtraction simultaneously. In the early one-sentence poem "On the Disadvantages of Central Heating"—all phrasal, with no capital letters—Clampitt refers to "the perishing residue / of pure sensation," a residue clarified at last by a verb that supplies a definition: "what's salvaged / is this vivid diminuendo." A list poem works by accumulation. The title "On the Disadvantages of Central Heating" suggests the list that follows, but the poem works at the same time to reduce its enumerated objects to a stripped-down version of reality, since many of its details refer to a past "now quite forgotten" or "lost track of." As forms of listing, apposition and enumeration constitute what we might label Clampitt's poetry of "sensations," whereas subordination—a sentence composed of dependent and interrelated parts—produces her poetry of "thought," to revert to Keats's famous distinction between immediate effects and rational processes. Clampitt relies on apposition as invocation ("Athena") or on enumeration in the form of a list ("Kudzu Dormant") to suggest spiritual equality. This reliance may explain why so many of her poems lack simple independent verbs, developing instead through a gathering of nouns, noun phrases, objets trouves, and their equivalents. Like Bishop, whose astute line

"Everything only connected by 'and' and 'and'" ("Over 2,000 Illustrations and a Complete Concordance") could stand as her own borrowed motto, Clampitt often culminates her lists by articulating gratitude for simple gifts and truths. Romantic and baroque effects, rich imagery and syntactic complications (especially in the heavily subordinating poems that are discussed below) are reduced, distilled to their essences. A typical appositive poem is "Marine Surface, Low Overcast." Its seven seven-line stanzas risk losing the reader in a nonstop welter of revisions, some merely a phrase, others more elaborate. The opening demands an elliptical verb: Out of churned aureoles [comes?] this buttermilk, this herringbone of albatross, floss of mercury, deshabille of spun aluminum, furred with a veloute of looking-glass. . . .

All the images are equivalent ways of troping a specific scene. It is as though Clampitt has taken Wallace Stevens's "Thirteen Ways of Looking at a Blackbird," eliminated the numbers for the separate sections, and run together all of her figurations. The first three stanzas proceed with such metaphoric elaborations, and in the fourth the poem expands in two different ways: laminae of living tissue, mysteries of flex, affinities of texture, subtleties of touch, of pressure and release, the suppleness of long and intimate association. . . .

Clampitt continues with her "x of y" constructions, but they have now become largely

48 / AMERICAN WRITERS plural and grow from sensuous specificity to abstraction. By the end of the fifth stanza the poem's first enjambment spills over into the sixth, impulsively heightening a steady progress. And between the sixth and seventh stanzas an even more dramatic syntactic breach appears in order to move the poem out of apposition and into implicit subordination. Here is the beginning of the poem's last concerted image: cathedral domes that seem to hover overturned and shaken like a basin to the noise of voices, from a rustle to the jostle of such rush-hour conglomerations no loom, no spinneret, no forge, no factor, no process whatsoever, patent applied or not applied for, no five-year formula, no fabric for which pure imagining, except thus prompted, can invent the equal.

For all Clampitt's sensuousness—here evident in the accumulation of details, the reliance on Keatsian double-barreled adjectives, the insistent rhymes and half rhymes—there is something ascetic about the end of the poem. As Merrill does, Clampitt sometimes omits relative pronouns and conjunctions, thereby forcing us to make sense of the missed connections: "of such . . . conglomerations [that there is] no loom. . . for which pure imagining . . . can invent the equal." Whatever else could be said about the experimental nature of this sort of poem of definition, it is clear that Clampitt expects the structure of her sentence, as well as the substance of her images and the truthfulness of her thoughts, to carry the weight of the discovery she challenges us to make along with her. From single noun phrases, through extended varieties of plurals and abstractions, to an increasingly elaborate syntax, this poem deepens, becoming more mysterious than any simple experiment in imagism or listmaking. Having forayed into the

fog, she comes to realize the partiality of all attempts of "pure" or even impure imagining. Her poem's breathless, strung-together quality has its own expansiveness. The second type of single-sentence poems, poems of enumeration, also pays implicit homage to Bishop's and Whitman's habitual anaphora and polysyndeton (the accumulation of phrases or clauses divided by "and" and "and"), although Clampitt works less obviously and more deviously in her accumulations. An early enumerative poem, "Meridian," reflects the complexities of punctuation, verblessness, and the duplicity of equality and process mentioned above. Here it is complete: First daylight on the bittersweet-hung sleeping porch at high summer : dew all over the lawn, sowing diamondpoint-highlighted shadows : the hired man's shadow revolving along the walk, a flash of milkpails passing : no threat in sight, no hint anywhere in the universe, of that apathy at the meridian, the noon of absolute boredom : flies crooning black lullabies in the kitchen, milk-soured crocks, cream separator still unwashed : what is there to life but chores and more chores, dishwater, fatigue, unwanted children : nothing to stir the longueur of afternoon except possibly thunderheads : climbing, livid, turreted alabaster lit up from within by splendor and terror —forked lightning's split-second disaster.

Here enumeration is equivalent to process. Although such process often involves physical travel, it need not. In fact the most beautiful of these process-poems is the one-sentence "A Winter Burial" which chillingly charts birth, growth, death, and burial in twenty-seven haunting lines. It is tempting to call "Meridian" a description of a summer day, moving as it does from early

AMY CLAMPITT / 49 morning, through noon, to late afternoon, but it really has the quality of a conjuror's trick. The title announces a potential climax (noon as the day's high point), but this is undermined by the negation at the poem's heart—"no threat in sight"—which may well mean that noon and then afternoon never arrive in the poem but are merely inferred by the poet's reflecting mind that fills in absences. In other words, the poem seems to march through the day, but it also potentially never gets beyond the morning, in spite of its title. There is a hanging back in all those hung phrases: when does "the noon of absolute boredom" occur as something other than a part of an unclear sequence ("that apathy")? As often happens in her work, Clampitt's natural timidity or reluctance to specify (in this case the precise time at which noon strikes, or fails to, in the poem's rendering of time) coincides with her richly inventive descriptions. A haunting absence permeates the accumulations of the sentence-as-list. Where "Meridian" represents the peculiar poise of absence and presence within a natural process, "A Baroque Sunburst" plays with participles to skew our sense of action. Verbs, minimal in some of Clampitt's poems, are here of the essence. The title functions as the subject of the sentence and moves uninterruptedly into the first line: struck through such a dome as might await a groaning Michelangelo, finding only alders and barnacles and herring gulls at their usual squabbles, sheds on the cove's voluted silver the aloof skin tones of a Crivelli angel. . . .

What initially appears to be a simple preterite verb ("struck") turns out to be a past participle ("[having] struck through such a dome") that leads through an intervening present participle ("finding") to the simple present-tense "sheds": Clampitt's ingeniously deceptive verbal sequence replicates a natural temporal process.

Clampitt wants us to see reality in process and things as process: it's the old light-as-wave£md-particle syndrome. Like any work of literature, an Amy Clampitt poem progresses through time; additionally, it often treats time as a subject composed of stark, successive, and often nominal moments. Abidance and movement go hand in hand. In this matter Clampitt's syntax becomes, along with the luxuriousness of her sounds and images praised by partisans and condemned by critics, her sharpest tool, especially in the more complicated poems, which weave their way in and out of a final shape. Just as "Meridian" presents and also withholds the climax of noon, so "Man Feeding Pigeons" gives, though more complexly, with one hand and takes with the other. A twentyone-line description devolves from an opening generalization: "It was the form of the thing, the unmanaged / symmetry of it." The configuration of pigeons feeding in a circle reminds the poet of angels in a Ravenna mosaic, of colorful sculpted Delia Robbia fruit, of a "dance of freewheeling dervishes." After a colon the poem resumes but with a qualification: "it was the form / of the thing, if a thing is what it was, / and not the merest wisp of a part of / a process." And what we might have initially mistaken for artifacts, however rapidly transformed and transforming they are, is now reimagined not only as an unending sequence of events but also as a symbolic representation of spiritual conditions unrealizable except through bodily states: this unraveling inkling of the envisioned, of states of being past alteration, of all that we've never quite imagined except by way of the body: the winged proclamations, the wheelings, the stairways, the vast, concentric, paradisal rose.

Clampitt deploys the colon more conventionally here. It does not stand naked, between two equal spaces, but snug against the word it fol-

50 / AMERICAN lows and opening into that which comes after a polite, normal break. And she makes ingenious use of her participles, present as well as past, and gerunds (with the implicit uncertainty of "being," both participle and gerund) to present movement without time. These pseudoverbal words impel us into heavenly realms, those "states of being" in which we become beings, beyond alteration ourselves, and resembling the figures from the paradisal inner circle, "a 1'alta fantasia qui manco possa," as Dante has it at the end of the Paradiso. "Man Feeding Pigeons" embodies what John Hollander has described as the truth-giving fiction of any poem's form. We witness two takes on the same phenomenon, as though the poet wants us to feel the relative value of both but finally the superiority of the latter, in which process and spirituality transcend but simultaneously depend upon—quite literally—"the form of things." Like the spirals of incoming and outgoing flocks of pigeons making their ambiguous undulations, Clampitt's sentence pushes us in and speeds us out. Centripetal and centrifugal motions suggest mansions and then journeys to our true spiritual home. Justifying his own overfondness for parentheses, Samuel Taylor Coleridge once referred in a letter to the "drama of reason" contained within a style that could "present the thought growing, instead of a mere Hortus siccus." What parentheses enabled him to do, syntactic ramification does for Clampitt. Syntax (and not just in a single-sentence poem) serves a dramatic, indeed a mimetic, function. For this reason, a complex poem like "The August Darks" deserves to be included among any list of Clampitt's onesentence works. Thirty-four lines, one sentence, move to a conclusion, following which a sixword declarative sentence makes a chilling coda, climaxing and undermining the sinuous description of herring boats that set out in darkness before daylight appears.

WRITERS Although I have called the bulk of this poem a sentence, precisely speaking it is not. Once again Clampitt relies on the fiction of a completed utterance, but the combination of apposition, enumeration, and subordination weaves her readers through strung-out phrasing, and never leaves them in possession of anything more than glittering parts. Like Keats's "To Autumn," Clampitt's poetry of misconceived termination carries us along until we either forget our grammatical progress or mistakenly think that we have encompassed a series of discrete clauses. Like those other poems that take as their subject almost imperceptible temporal change, "The August Darks" works by slowly transforming its scope and focus. It does so by eliminating natural connectives—not just explicit verbs but also prepositions or conjunctions that might put things in perspective for us—and by replacing them with metaphors that subtly shift attention from one item in a sequence to the next. Here are the first six lines: Stealth of the flood tide, the moon dark but still at work, the herring shoals somewhere offshore, looked for but not infallible, as the tide is, as the August darks are— stealth of the seep of daylight. . . .

Even before the second stanza essentially restarts it, we are aware that the poem hangs upon missing statements. We must translate in order to fill the lacunae. Here is an expanded prose paraphrase: Here we have the stealth of the flood tide, in which the moon is dark but still at work, and the herring shoals, even when looked for, can't be found because they and we are not infallible, whereas the tide and the darks are always infallible. And at the same moment that the flood tide and darkness are stealthy, the light is with equal stealth seeping into the scene.

AMY CLAMPITT / 51 In this depiction of first light Clampitt's figuration complements her syntax. Just as the scene and the syntax move imperceptibly from darkness to daybreak, a central metaphor invades the poem, leaving us uncertain as to what represents what or, in an older critical vocabulary, what term is tenor and what is vehicle. The first fishing boat, ahead of the light, slips out into the opening aorta, that heaving reckoning whose flux informs the heartbeat of the fisherman—poor, dark, fallible-infallible handful of a marvel murmuring unasked inside the ribcage, workplace covert as the August darks are, as is the moon's work, masked within the blazing atrium of daylight, the margin of its dwindling sanguine as with labor, but effortless. . . .

"Aorta" initially looks like a rhetorical catachresis (a term misapplied, borrowed, or wrested from one thing in order to name something else that lacks its own). But it then merges with the actual vascular system within the fisherman ("informing" it in several senses). The invisible circulation of the blood within the ribcage parallels the external marine scene and the darkness of the moon, which is replaced by daylight in the shape of the sun, itself a bloody ("sanguine") ornament rising in the skies. Clampitt seems to have absorbed those poems of Percy Bysshe Shelley ("To a Skylark," "The Sensitive Plant") which revolve around the figure of a known but invisible lunar presence that is dimmed by the sun's light. The application of "fallibleinfallible" to the human heart recapitulates, of course, the opening of the poem, and it also mimics the systole-diastole sequence of a heartbeat. The paradox of an "effortless labor," as well as the vast hematological circulatory system within and between external and internal spaces, prepares us for the poem's conclusion, after an

intervening description of a cruise ship on the horizon, on which a performance of Tchaikovsky's Swan Lake might be taking place: . . . the heartbeat's prodigies of strain unseen, the tendons' ache, the bloodstained toe shoes, the tulle sweat-stained, contained out where the herring wait, beyond the surf-roar on the other side of silence we should die of (George Eliot declared) were we to hear it.

From the aorta of the ocean, to the fisherman's ribcage, to a stage set for dancers with bloodied feet, Clampitt ends her poem with the herring shoals with which she started. She brings it home and moves it out by reminding us of the revelations available through what George Eliot termed "a keen vision and feeling of all ordinary human life." This poem, whose theme is imperceptible borders (between darkness and light, outside and inside, work and pleasure, silence and sound), tests our own sense of borders by its leisurely pacing. The interlacing of image, diction, and syntax buoys and propels the poem until it reaches its philosophical conclusion. As often happens in Clampitt's expanded poems, however, this one retreats at its end to a statement of simple truth in the form of an anticlimactic sotto voce aside that balances the preceding thirty-four lines: "Many / have already died of it." After the expansion comes the reining in; after the artful spinning-out of detail comes the grim simplicity of a short declarative sentence. The rhythm of opening and closing belongs to rhetoric as well as to the human heart. Another intricate poem that deserves attention takes a stylistic cue from its subject, "The Olive Groves of Thasos," and depicts, within a deeply convoluted sentence, a gnarled, entwined landscape. It too is both a poem of process (harvesting the olive crop) and a stationing, an attempt to convert a scene into an object,

52 / AMERICAN WRITERS constantly transforming itself before our eyes. Syntax here dramatically replicates the shape of the trees and the depth of the landscape. A progressive subordination submerges us within the sentence that we never know quite where we are until, at the twenty-first line, a human action begins a human action but, as so often in Clampitt's poems, one without a main verb: this sentence, too, turns out to be a fragment. Beginning with a participle in the first line ('Thronging the warped treadmill / of antiquity"), twenty lines of apposition and enumeration capture the image of the trees, "these wards of turbulence" in their "burled stupor." A procession of harvesters appears, but within a subordinate clause so far removed from the poem's opening that we have forgotten that there has been no independent one: when from the villages along the shore, where in the evenings we watched the fishing boats go out in strings of three, in trinities. . . .

From line 21 to line 46, Clampitt begins to notice the various termini ("villages," "hill villages," "middle villages") from which, we are relieved to learn, "the whole populace / turns out, with tarpaulins and / poles, to bring in the harvest / of these trees." And the poem ends, rounding back to its beginning with a series of appositives concerning the trees, but now also with a backward glance at the previous human element in the poem: . . . this time-gnarled community of elders—so manyshaped, so warped, so densely frugal, so graceful a company, what more can we say, we who have seen the summer boats go out, tasted the dark honey, and savored the oil-steeped, black, half-bitter fruit?

In these lines that sound like a coda the humanized trees remain the genuine, permanent figures

of wisdom and authority, whereas people, whether native workers or American tourists, are merely transient passersby. As the poem began with the trees, so it ends with their fruit. Clampitt seldom uses so rapid a sequence of verbs ("say," "seen," "tasted," "savored") and rarely puts questions in terminal positions. I take the last line as an homage to a whole series of earlier poems that end inquisitively, such as Keats's "Ode to a Nightingale," Shelley's "Mont Blanc" and "Ode to the West Wind," and Yeats's "Among School Children" and "Leda and the Swan." "Frugal" might not be among the first adjectives one would apply to Clampitt's art, but at this point the relatively simple syntax, the clarity of construction, and the modest evasion of moralizing ("what more can we say?") conclude her poem economically as well as gracefully. These gestures have an effect comparable to that of the short declarative sentence at the end of "The August Darks," or the abstraction of "Man Feeding Pigeons," or the clarified residue of "On the Disadvantages of Central Heating." And one might also infer that, just as there is no legitimate independent clause in this sprawling one-sentence poem, neither is there any genuine independent universe, scene, community, or observation that is not organically, logically, or even partially dependent for its existence on a larger commonwealth of relationships. The truth at the heart of Clampitt's poetry is her updating of what Coleridge called the "one life within us and abroad" ("The Aeolian Harp"). Clampitt's poems challenge us to perform readerly gymnastics. Instead of feeling frustration readers must recognize the fact that more than any other contemporary poet—more than Merrill with his quicksilver delicacy, or John Ashbery with his perplexingly seamless transitions from one register of diction to another, or Jorie Graham with her abstruse metaphysical thinking—Clampitt uses her syntax to represent

AMY CLAMPITT / 53 the entire spectrum of processes that engage us within the world. Throughout her work Clampitt masterfully mingles the elegiac and the celebratory, the laconic and the baroque, the clipped and the expansive. Her finely honed style must ultimately be understood as her adjustment of technique to purpose. Her sensuous, deliciously embellished renditions of the natural, the artistic, and the human worlds come in many states of dress and undress. Her poetry gives more than decorative pleasures. It proves that we can appreciate richness without embarrassment. Such appreciation should become still greater because of Clampitt's turn away from syntax, indeed from language, from all sound but music, at the end. Her last volume, A Silence Opens, appeared just after her death in 1994. She knew she was dying as she composed much of it. For that reason as well as others, the book celebrates silence, paucity, lacunae, and diminishments as her earlier ones sometimes giddily celebrate accumulation and richness. Its opening and closing poems listen to the complexities of silence, before language adds its meaning to pure sound and after language disappears from hearing. "Syrinx"—neither the nymph chased by Pan nor the pipe into which she was transformed but "that reed / in the throat of a bird"—reminds us that significance is really an inconsequential, fortuitous part of sound, and that "syntax comes last." This "higher form of expression . . . / is, in extremity, first to / be jettisoned." Sheer breath comes first and is last to go. At the end Amy Clampitt, this poet of vast subordinating syntax, makes a symbolic gesture. "A Silence" abjures punctuation, sentence structure, and all capital letters except those in personal names— God, Joseph Smith, God, and George Fox. Clampitt writes with a refined wildness, delaying the independent clause with its main verb until the end of twenty lines of phrasal units that locate the place "past parentage or gender / beyond sung vocables / . . . beyond the woven / unicorn . . . past the earthlit / unearthly masquer-

ade" at which "a silence opens." Grace, nirvana, syncope, call it what you will: the complex religious impulse that drives poets, saints, and mountebanks alike encourages one's best efforts to define it but always at last thwarts them. The poem leaves us hanging: a cavernous compunction driving founder-charlatans who saw in it the infinite love of God and had (George Fox was one) great openings

The Collected Poems closes with this opening. The rest of course is silence. Such a final utterance testifies to Clampitt's place in American poetry in a religious as well as secular sense. More than anyone else she combines the legacy and the example of the symbolic father and mother of modern American poetry, Walt Whitman and Emily Dickinson. It is clear that Clampitt's quirky and heterodox religious sense puts her in league with Dickinson, a more austere eccentric, whose "breathless, hushed excess . . . stoppered prodigies, compressions and / devastations within the atom" ("Amherst"). Clampitt has studied, absorbed, and reinvented, although she never resorts to Dickinson's prim syncopations of hymn meter. To have combined so dramatically the models of our national poetic forebears gives Clampitt another claim on our attention. She has secured a place in America's literary history that is, quite simply, unlike that of any of her contemporaries.

Selected Bibliography WORKS OF AMY CLAMPITT POETRY

Multitudes, Multitudes. Limited edition. New York: Washington Street Press, 1974.

54 / AMERICAN WRITERS The Kingfisher. New York: Knopf, 1983. A Homage to John Keats. New York: Sarabande Press, 1984. What the Light Was Like. New York: Knopf, 1985. Archaic Figure. New York: Knopf, 1987. Westward: Poems. New York: Knopf, 1990. Manhattan: An Elegy, and Other Poems. Iowa City: University of Iowa Center for the Book, 1990. Predecessors, Et Cetera: Essays. Ann Arbor: University of Michigan Press, 1991. A Silence Opens. New York: Knopf, 1994. The Collected Poems of Amy Clampitt. New York: Knopf, 1997.

University of Notre Dame Press, 1999. Pp. 159175. O'Neill, Michael. "'The Knowledge of Contrast, Feeling for Light and Shade': Amy Clampitt's 'Voyages: A Homage to John Keats.'" KeatsShelley Review, no. 3:47-61 (1988). Ramazani, Jahan. "'Nucleus of Fire': Amy Clampitt's Elegies for her Parents." Verse 10, no. 3:47-55 (1993). Snively, Susan. "Amy Clampitt's Elegiac Witnessing." Verse 10, no. 3:56-62 (1993). Weisman, Karen A. "Starving before the Actual: Amy Clampitt's 'Voyages': A Homage to John Keats." Criticism 36:119-123 (1994).

CRITICAL AND BIOGRAPHICAL STUDIES Costello, Bonnie. "Amy Clampitt: Nomad Exquisite." Verse 10, no. 3:34-46 (1993). Goodrich, Celeste. "Reimagining 'Empire's Westward Course': Amy Clampitt's A Silence Opens." In Poets of the Americas: Toward a Pan-American Gathering. Edited by Jacqueline Vaught Brogan and Cordelia Chavez Candelaria. Notre Dame:

INTERVIEWS Huesgen, Jan, and Robert W. Lewis. "An Interview with Amy Clampitt." North Dakota Quarterly 58:119-128 (1990). Paschen, Elise. "An Interview." In Predecessors, Et Cetera. Pp. 158-64.

—WILLARD

SPIEGELMAN

Zelda Fitzgerald 1900-1948 "THEMOST ENORMOUS influence on me in

was given free reign in a household and family that ruled the quiet southern town of Montgomery, Alabama, a place steeped in traditions and manners of a bygone age. While Judge Sayre was distant and disconnected from Zelda and her siblings, Mrs. Sayre, with literary and artistic inclinations, encouraged a refined iconoclasm in each of her children; Zelda, particularly, was instilled with a spirit of adventure and demonstrated a proclivity to "go beyond the bourne." That the Sayres were socially prominent and politically important acted to shield Zelda from overt societal criticism. However, the tendency toward what would today be diagnosed as clinical depression in Judge Sayre and in Zelda's older sister Marjorie and brother Anthony, who as an adult committed suicide, was evidence of a family predisposition to bipolar disorder, or manic depression. A beautiful and impetuous child, fond of swimming and ballet, Zelda Sayre grew from a tomboyish daredevil to belle of every ball and relentless slayer of young men's hearts. By the summer of 1918 there had been an explosion in the population of Montgomery, due principally to the expansion of Camp Sheridan, where young recruits were brought for training before being shipped overseas to fight on the European front in World War I. Among these recruits was a young Irish Catholic from the Midwest, F. Scott Fitzgerald. Fitzgerald had already distinguished himself at Princeton, if not academically then artistically, writing skits and musicals for the Triangle Club, and when he arrived at Camp Sheridan, he joined the crew of other callow hopefuls who ensconced themselves on the Sayre front porch each evening,

the four + 1/2 yrs since I met her," wrote F. Scott Fitzgerald in a January 1922 letter to the American critic Edmund Wilson, "has been the complete fine and full hearted selfishness and chill-mindedness of Zelda." (Scott Fitzgerald's letters cited herein are collected in the 1994 text F. Scott Fitzgerald: A Life in Letters, edited by Matthew J. Bruccoli.) That this extraordinarily candid remark unlocks a door to Scott Fitzgerald's prose is certain; it is the key as well to comprehending the rich and complex art of his wife, Zelda. Zelda Fitzgerald became the heroine of her husband's novels—she became his objet d'art, the text that allowed him to define the Jazz Age, a "lost generation," in the words of Gertrude Stein, of expatriated young Americans who would rescript the world of their Victorian parents with both raw cynicism and exquisite style. Zelda Fitzgerald's work was in large part an attempt to reclaim herself—from "work of art" to artist, from novel to novelist— and in the process to write and paint her life according to her own vision, a vision complex, troubled, yet honest and fine. In the work of Zelda Fitzgerald, there are two overriding considerations: first, that she re-create herself as an artist; and second, that she tell her own story, write her own version of her life. Thus, the life and art of Zelda Fitzgerald are inseparable. LIFE AS ART

Born on July 24, 1900, to Anthony Dickinson Sayre, a lawyer who in 1909 became an Alabama Supreme Court judge, and Minnie Machen Sayre, Zelda, last of their six children,

55

56 / AMERICAN WRITERS vying for the attention of Zelda Sayre. For Scott, Zelda was completely different from any girl he had known—totally fearless, shamelessly confident, and absolutely free from the Victorian prudery of most of her female contemporaries. By the time Scott received his orders to prepare for shipment overseas, he had won a place on the porch swing beside Zelda and most of the spots on her dance card. The war taking him only as far as Camp Mills, New York, before Armistice, Fitzgerald returned to Montgomery to be with Zelda and await his discharge. Their courtship and the style and manner of Zelda provided material for the novel that he was writing, and when Scott left to secure a literary place for himself in New York and win Zelda for his wife, he carried with him not only the image of Zelda for his prose but her letters and her extraordinary diary, all of which were incorporated into the story that became his first novel, This Side of Paradise. Two years later, while writing a mock review for the New York Tribune of Scott's 1922 novel The Beautiful and Damned ("Friend Husband's Latest" in Zelda Fitzgerald, The Collected Writings [1991], edited by Bruccoli), Zelda playfully commented on Scott's habit of using her words in his stories: "It seems to me that on one page I recognized a portion of an old diary of mine which mysteriously disappeared shortly after my marriage, and also scraps of letters which, though considerably edited, sound to me vaguely familiar. In fact, Mr. Fitzgerald—I believe that is how he spells his name—seems to believe that plagiarism begins at home." This Side of Paradise published on March 26, 1920, and Zelda and Scott were married several days later, on April 3. Scott had pursued Zelda shamelessly, having written to her on February 22, 1919, that with her love "everything [was] possible" for him. Zelda at first had balked at marriage, but in a letter to Scott dated February 1920 (included in The Collected Writings} she admitted, "I do want to marry you—even if you

do think I 'dread' it. ... I'm not afraid of anything—To be afraid a person has either to be a coward or very great and big. I am neither." In the same letter, she expressed her belief that they would be happy, though she lamented their propensity toward "debates"; still, she liked being "very calm and masterful," while Scott was "emotional and sulky." Zelda was uncomfortably aware, even at this early stage of their relationship, of Scott's sense of proprietorship of her, and it rankled, particularly when he alluded to her as a princess he wished to keep locked in a tower. Although Zelda was aware of her own talent and even occasionally exhibited interest in pursuing some kind of artistic expression, she was schooled in an age that lent full acceptance to her functioning only as a muse, as a decoration, but not having a separate identity and artistic life apart from her husband. Years later, her daughter, Frances Scott "Scottie" Fitzgerald, wrote in an introduction to a catalog that accompanied a 1974 exhibition of Zelda's paintings in the Montgomery Museum of Fine Arts (reprinted in the dedication of The Collected Writings) that Zelda was "the classic 'put down' wife, whose efforts to express her artistic nature were thwarted by a typically male chauvinist husband (except that authors are the worst kind, since they spend so much time around the house)." In the next years, as Zelda and Scott traveled and gathered material for Scott's books and suffered a succession of knocks and bruises to their joint fame, Zelda was often put on display and expected to perform for an ever increasing and demanding audience, and she was not an unwilling actress on the stage that she and Scott had made for themselves. For three months after their marriage, the Fitzgeralds lived in Westport, Connecticut, where Scott was able to finish his collection of short stories Flappers and Philosophers (1920) and commence work on a new novel. It was during their stay in Connecticut that George

ZELDA FITZGERALD / 57 Nathan, who had published a number of Scott's stories in The Smart Set, discovered Zelda's diaries while visiting the Fitzgeralds in their Westport home. In a 1958 article in Esquire, Nathan recalled, "[The diaries] interested me so greatly that in my capacity as a magazine editor I later made her an offer for them. When I informed her husband, he said that he could not permit me to publish them since he had gained a lot of inspiration from them and wanted to use parts of them in his own novels and short stories." There is no record that Zelda objected to Scott's decision against publishing the diaries or his use of them. Shortly after Nathan's offer, the Fitzgeralds took an apartment in New York, at 38 West Fifty-ninth Street, where they were assured superb maid service, since Zelda, like the title character of her 1931 short story "Miss Ella," "was not a kitchen sort of person." In May 1921, with Zelda pregnant, they made their first trip to Europe. During this time, their friends, most of whom were primarily Scott's friends, began to note a pattern in Zelda and Scott's relationship that would color the rest of their lives together. Zelda, the heroine of his books, was acquiring a fictional life, whereas in real life, there were fantastic brawls marked by periods of extraordinary affection—all the while, Scott was becoming absorbed in Zelda's personality and increasingly given to heavy drinking. Scott freely admitted that Zelda was, at this point, the stronger of the two, that she was always new to him, and that she provided him with all of his copy for his women characters. And this "heroine" with whom he had fallen in love was ever persuaded by Scott to perform, to play the role that he was scripting for her. For Zelda's part, while she frankly enjoyed "starring" in his stories, the limitations of such a role, and the limitations inherent in simply being a woman in the early decades of the twentieth century, began to weigh heavily. When her only child, Scottie, was born, Zelda expressed frank disappointment that the baby was a girl.

After Zelda and Scott returned from Europe, they spent a brief period in Scott's hometown of Saint Paul, Minnesota, to await the birth of Scottie on October 26, 1921. By September 1922, both had grown tired of the Midwest and longed to go East. After the publication of The Beautiful and Damned and another collection of short stories, Tales of the Jazz Age (1922), Zelda and Scott found a house to rent in Great Neck, Long Island. There they remained while Scott had a brief fling writing for the theater, but after the failure of his play The Vegetable, they sailed again for France in April 1924, to live as expatriates for the next several years and to cultivate friendships and acquaintances with Ernest Hemingway, Gertrude Stein, Edith Wharton, and a host of other intellectuals and artists disenchanted with American culture and society after the war. It was in Europe that the fragile glue binding together these two remarkable individuals began to disintegrate. It was also in Europe that Zelda consciously began to long for something more meaningful to do with her life and to see herself, if only tentatively, as an artist, experimenting with both writing and painting. Also during this time, Scott began to be threatened by Zelda's creative transformation. Scott had come to think of himself and Zelda as almost a single entity, yet at the same time he acknowledged this fusion of identities as a threat to his artistic integrity. Writing to Maxwell Perkins (in a letter dated "c. August 12, 1922") concerning the proofs of The Jazz Age, he links his own aesthetic judgment with that of Zelda's; referring to a story that Perkins wished cut from the collection, Scott writes: "If you insist I will cut it out though very much against my better judgement and Zelda's." In another letter to Perkins (dated "c. August 27, 1924"), commenting on the progress of The Great Gatsby (1925), Scott alludes to the nature of his and Zelda's collaboration: "The novel will be done next week. That doesn't mean however that it'll reach America before October

58 / AMERICAN 1st, as Zelda + I are contemplating a careful revision after a weeks complete rest." Again and again Scott's letters reveal his dependence on Zelda, as well as the personal discomfort to him that such a partnership induced: writing to Perkins (in a letter dated "c. April 10, 1924"), he included among his "terrible" habits that he was determined to break his "referring everything to Zelda." Increasingly, Zelda found their continental wanderings and her own incipient existence hollow. She and Scott seemed to be endlessly waiting for something to happen, as if, in the words of David Knight, a character from her autobiographical novel Save Me the Waltz (1932), "somebody would come along to remind us about how we felt." More and more Zelda felt herself a mere appendage to Scott's fame, a character in someone else's play, a footnote in a novel. She mused through the protagonist of Save Me the Waltz, Alabama Knight, "Men . . . never seem to become the things they do, like women, but belong to their own philosophic interpretations of their actions." In June 1924 Scott and Zelda found themselves on the French Riviera. To occupy herself while Scott finished revising The Great Gatsby, she played in the sun and swam in the afternoons with a young French aviator, Edouard Jozan, whom she had met on the beach. Their relationship, whether sexual or not, caused Scott grief and precipitated a tangible crisis in their marriage; for Zelda, the event was directly connected with an attempted suicide. Three years later, Scott reciprocated with an extramarital relationship of his own. The following spring, 1925, found them in Capri, where Zelda began seriously to paint. That year, they moved to Paris, Antibes, and back to the Riviera by March 1926, where Scott cultivated his friendship with Ernest Hemingway, whom Zelda did not like and who did not care for Zelda. If nothing else, the Fitzgeralds lived with a certain style, cataloged in Scott's

WRITERS fiction, in Zelda's so-called girl stories, in "A Couple of Nuts," published in Scribner's Magazine in 1932, and in Save Me the Waltz. While their glamorous lifestyle was outwardly devil-may-care, while it carried them through the capitals of Europe in the decadent and lively period following the Great War, it also took a toll on their relationship and on their physical and mental health. During these years, Scott descended deeper into alcoholism, and Zelda began her own slow descent within herself, eventually to experience serious depression and finally schizophrenia. Scott and Zelda returned to the United States at the end of 1926 to live little more than a year near Wilmington, Delaware, with Scott resorting to a stint scriptwriting in Hollywood in order to pay the mounting bills. There he pursued a romantic relationship with a seventeen-year-old actress, Lois Moran, much to Zelda's chagrin and discomfort. During this period, in part as a response to the Moran incident, Zelda began to write in earnest and to study ballet, first in Philadelphia with Catherine Littlefield and then, after they returned to Paris in April 1928, with Lubov Egorova, a teacher with the Diaghilev ballet company. Zelda threw herself into ballet with uncharacteristic seriousness and absorption. For months she seemed to live and breathe dance, fearful that she had begun serious study far too late in life to achieve a career. As she looked back on her life from the vantage point of her late twenties, she saw only wasted time, spent effort, and few tangible accomplishments for herself. Her obsession with dance was painful for her friends to watch and more than a little irritating for Scott to endure, yet she was determined. Later in her life, Zelda produced sketches and oils of ballet figures presented as ponderous, heavy-limbed creatures with muscles tight and tortured from the endless physical labor required by the art of dance. She writes in Save Me the Waltz of her heroine's attempt to make herself,

ZELDA FITZGERALD / 59 at twenty-eight, into a first-rate ballerina: "Alabama's work grew more and more difficult. In the mazes of the masterful fouette her legs felt like dangling hams; in the swift elevation of the entrechat cinq she thought her breasts hung like old English dugs. It did not show in the mirror. She was nothing but sinew. To succeed had become an obsession. She worked till she felt like a gored horse in the bullring, dragging its entrails." The more Scott drank, the more Zelda danced, and the two, rarely apart since their marriage, gradually saw each other less and less in a day. Evidence of her talent, however, is found in the fact that Zelda was invited in September 1929 to join the San Carlo Opera Ballet Company in Naples and was scheduled to perform a solo in A'ida, with other solo performances to follow. It was an extraordinary opportunity, which she declined to take. A few days later, as she and Scott drove along the Grande Corniche, on a dangerous road winding along precipitous and picturesque escarpments, Zelda attempted to grab the steering wheel and force the car off the cliff. There is no record of the disappointment she felt at not taking the San Carlo offer, but her work must have meant a great deal by this point in her life. Shortly after this event, Zelda and Scott, following a script they would write for themselves again and again, tried to escape their unhappiness and themselves by taking a trip, in this case to North Africa. Their travels did not have the desired effect. On returning to Paris, Zelda was clearly no longer able to function, thus beginning a series of hospital and asylum visits until she entered Les Rives de Prangins, a clinic near Geneva. She wrote later of her journey to the asylum June 4, 1930: Our ride to Switzerland was very sad. It seemed to me that we did not have each other or anything else and it half killed me to give up all the work I had done. I was completely insane and had made a decision: to abandon the ballet and live quietly with my husband. . . . If I couldn't be great, it

wasn't worth going on with though I loved my work to the point of obsession. It was all I had in the world at the time.

Scott's version of Zelda's breakdown is found in Tender Is the Night (1934), while Zelda tells her story in Save Me the Waltz (at Scott's insistence, she limited her heroine to a physical breakdown so that his own book might deal exclusively with the mental). Their letters outline the raw details of what would become the final chapter in Zelda's story. Scott wrote to her in 1930, looking back on this difficult period: "You were going crazy and calling it genius—I was going to ruin and calling it anything that came to hand." He surmised, in a letter to one of her physicians in October 1932, that Zelda's illness was the result of "a rather clear-cut struggle of egos." "We ruined ourselves," he concluded. "I have never honestly thought that we ruined each other." Zelda remained in Prangins, battling depression, acute eczema, and asthma, and undergoing what Scott referred to as her "re-education," until September 15, 1931, after which she, Scott, and Scottie returned to the United States—Zelda to stay at a rented house on Felder Avenue in Montgomery while Scott went on alone to Hollywood, once more to work for Metro-GoldwynMayer. For a few months Zelda fared well in the quiet southern setting that supplied the backdrop for her childhood memories. During this period she painted, wrote, and renewed her relationship with her daughter, but the chasm between her and Scott continued to grow. In December 1931, one of her finest short stories, "Miss Ella," appeared in Scribner's Magazine. Just a few weeks before, her father died, and by the following February she had her second breakdown, entering the Phipps Clinic at Johns Hopkins in Baltimore. There, in a virtual paroxysm of creative energy, she wrote Save Me the Waltz in just six weeks, finishing the book in March 1932.

60 / AMERICAN WRITERS The manuscript was sent to Maxwell Perkins at Scribners and dedicated to her physician at Phipps, Dr. Mildred Squires. When Scott received word about the novel, he was livid, in large part because of her use of what he considered his "material." Writing to Dr. Squires in a letter dated March 14, 1932, Scott protested that he was not consulted about Zelda's book: "This mixture of fact and fiction is simply calculated to ruin us both, or what is left of us, and I can't let it stand. . . . My God, my books made her a legend and her single intention in this somewhat thin portrait is to make me a nonentity." For her part, Zelda wrote back to Scott in March 1932, apologizing for not sending the book first to him and explaining her intention: Purposely I didn't—knowing that you were working on your own and honestly feeling that I had no right to interrupt you to ask for a [perilous] opinion. . . . Scott, I love you more than anything on earth and if you were offended I am miserable. We have always shared everything but it seems to me I no longer have the right to inflict every desire and necessity of mine on you. / was also afraid we might have touched the same material Also, feeling it to be a dubious production due to my own instability I did not want a scathing criticism such as you have mercilessly—if for my own good given my last stories, poor things.

In her letters that followed in April, Zelda again apologized to Scott and agreed to submit to the cuts and revisions he had requested—most of which dealt with her portrayal of David Knight, the Scott Fitzgerald character—adding, however, in an effort to maintain some small degree of artistic control over her work, that any revisions be "made on an aesthetic basis." Later, Scott would admit to Maxwell Perkins (in a letter dated "c. May 14, 1932") his feeling that Save Me the Waltz was a "good novel . . . perhaps a very good novel."

Despite her mental breakdowns, Zelda was remarkably lucid and touchingly candid in her understanding and assessment of her skills and relationship to Scott. "I have often told you," she wrote to him in a letter in March 1932, shortly after checking in to the Phipps Clinic, "that I am that little fish who swims about under a shark and, I believe, lives indelicately on its offal. . . . Life moves over me in a vast black shadow and I swallow whatever it drops with relish, having learned in a very hard school that one cannot be both a parasite and enjoy selfnourishment without moving in worlds too fantastic for even my disordered imagination to people with meaning." In June 1932, after a little more than four months at the Phipps Clinic in Baltimore, Zelda was released and went to live with Scott in a house in Towson, Maryland, called La Paix. There she worked on the proofs of Save Me the Waltz and went to Phipps weekly. Scott and Dr. Thomas Rennie, Zelda's new physician, put her on a rigid schedule of exercise and painting, hoping that this structure would be beneficial to her state of mind. During this time Scott worked to complete Tender Is the Night, and Zelda began a play, Scandalabra; however, the industrious and artistic household of La Paix masked the unhealthy competition between the two that Scott's letters clearly reveal. Scott's letters also suggest his own need to control Zelda's life and her art and to manage her illness. In May 1933 Zelda and Scott underwent counseling sessions with Dr. Rennie at La Paix, which were transcribed by a stenographer. In the course of these discussions, excerpts of which are quoted in Nancy Milford's Zelda: A Biography (1970), Scott complained that he had not published for more than eight years, and he frankly blamed Zelda. Zelda reminded him of his propensity for drinking, whereupon Scott countered: "It is a perfectly lonely struggle that I am making against other writers who are finely gifted and talented. You are a third rate writer

ZELDA FITZGERALD / 61 and a third rate ballet dancer." Zelda responded that he had told her that before. Ignoring her words, Scott complained again: "I am a professional writer, with a huge following. I am the highest paid short story writer in the world. I have at various times dominated—" at which point Zelda broke in with, "It seems to me you are making a rather violent attack on a third rate talent then." Scott was clearly angered that Zelda had absconded with what he considered "his" material. Finally, the exchange came to an end when Zelda asked Scott simply to tell her what it was he wanted of her. "I want you to stop writing fiction," he declared. Zelda's words throughout the session revealed her to be remarkably calm, while Scott's statements seemed almost at times hysterical. Shortly afterward, there was a fire in La Paix, probably started by Zelda, which burned the roof of the house. Scott was able to rescue his manuscripts and most of his books, as well as an assortment of expensive items that Zelda cataloged in her autobiographical essay "Auction—Model 1934," which appeared in Esquire that year and later in The Crack-Up (1956). This was Zelda's second episode with fire; in 1927, she had burned some clothes in a bathtub after learning of Scott's liaison with the starlet Lois Moran. On June 25, 1933, a few weeks after the fire, Zelda's play Scandalabra premiered in Baltimore, performed by the Vagabond Junior Players at a theater on Read Street. Zelda designed the sets for the production, and Scott helped with rehearsals and did a last-minute rewrite to trim the four-hour satire. The play went badly and closed after a week. A few weeks later, in July 1933, Zelda heard from her mother that her brother Anthony had suffered a breakdown. After a short hospitalization, he committed suicide. In January of the following year, Zelda entered the Sheppard-Pratt Hospital outside Baltimore. Her third breakdown roughly coincided with the serialization of Scott's Tender Is

the Night in Scribner's Magazine. If Scott had felt incensed that Zelda had used events from her life in Save Me the Waltz, Zelda must have felt equally betrayed that he would expose her mental breakdown to the world in Tender Is the Night. He had used her life and her letters for the novel, and his April 26, 1934, letter indicates his concern as to how Zelda might react to his book; yet her response to Scott that same month, after having read the book, was confined to a short paragraph, in which she merely complimented Scott as a writer: "The book is grand. . . . and the prose is beautiful." During this period of Zelda's hospitalization, Scott wrote reams to her various doctors in an attempt to explain her illness, to justify his actions, and to recommend treatment. He was hard-pressed, however, to come up with the money to keep Zelda in good institutions, as well as Scottie in expensive finishing schools and later at Vassar. Zelda's letters to him indicate that she was painfully aware of the financial strain of her illness on him and that she was doing her best to cope with her situation and her crumbling life. Writing to Scott in March 1934, she attempted to assuage his discomfort with her beginning another novel: Dear: I am not trying to make myself into a great artist or a great anything. Though you persist in thinking that an exaggerated ambition is the fundamental cause of my collapse. . . . I do the things I can do and that interest me and if you'd like me to give up everything I like to do I will do so willingly if it will advance matters any. . . . As you know, my work is mostly a pleasure for me, but if it is better for me to take up something quite foreign to my temperament, I will—Though I can't see what good it does to knit bags when you want to paint pansies, maybe it is necessary at times to do what you don't like.

Zelda's letters at this time are filled with encouragement about the critical reception of Tender Is the Night and support for Scott, such as she could offer. Her admiration of his talent

62 / AMERICAN was sincere. Writing to him a year later, in June 1935, she sums up what he meant to her: "You have been so good to me—and all I can say is that there was always that deeper current running through my heart: my life—you." Zelda, however, had no illusions that their happiness was anything but forever gone. In the same letter, she goes on to write: "Now that there isn't any more happiness and home is gone and there isn't even any past and no emotions . . . it is a shame that we should have met in harshness and coldness where there was once so much tenderness and so many dreams." For his part, Scott would write during these years that Zelda's "will to power must be broken without that—the only alternative would be to break me and I am forewarned & forearmed against that." Earlier, in a letter dated April 10, 1933, to one of Zelda's doctors, Adolf Meyer, Scott seemed acutely aware that posterity might see Zelda in a more sympathetic light than it would see him: "The picture of Zelda painting things that show a distinct talent, of Zelda trying faithfully to learn how to write is much more sympathetic . . . than the vision of me making myself iller with drink." In this same letter he candidly admitted: "Possibly she would have been a genius if we had never met." From March 29 through April 30, 1934, twenty-eight of Zelda's paintings and drawings were exhibited at the Ross Gallery on East Eighty-sixth Street in New York. Zelda's paintings, many finished while she was confined in psychiatric hospitals, exhibit extraordinary talent and creative imagination. Their surreal quality also reflected, to many of her contemporary reviewers, the troubled mind that produced them; thus reviews were generally unfavorable and negatively affected sales. Most of the paintings were sold to friends of Zelda and Scott. One of the buyers was Dorothy Parker, with whom Scott had a brief affair that spring in New York. Another was Gertrude Stein, who bought two paintings and told Scott that she thought

WRITERS Zelda's talent remarkable. Zelda traveled from Craig House clinic in Beacon, New York (where she had been staying since the beginning of March), to see the show. She also took the opportunity to see the work of Georgia O'Keeffe while in New York: O'Keeffe's paintings moved Zelda in their grand and awesome simplicity, and the surety of O'Keeffe's immense talent characteristically made her doubt her own. After her short stint in Craig House, Zelda returned, in May 1934, to Sheppard-Pratt. During this time, she again attempted suicide. The incident occurred during Scott's visit, when the conversation took the usual combative turn as they walked about the grounds of the series of gothic buildings that made up the Pratt Institute. Zelda ran from Scott toward the sound of an oncoming train; Scott chased after her and grabbed her just before she would have flung herself before the train. Her life at this time seemed to her hopeless. Her acute manic depression could easily be exacerbated by Scott, who admitted to Dr. Forel in December 1932 that he could cause Zelda to become psychotic within a few minutes of a "well-planned conversation." Scott, on the other hand, turned to drink and to other women for consolation, yet he always kept Zelda between himself and any real relationship that he might form. By 1936, Zelda seemed to have climbed far into herself and pulled down the shades; no longer was she suicidal but neither were there many lucid moments. Scott, who had occasionally stayed in Ashville, North Carolina, and had thought the setting both quiet and more economical than Sheppard-Pratt, decided to bring Zelda down to the Highland Hospital nearby. Writing to his old family friend Sara Murphy, he describes, in words that reveal more about him than about Zelda, how he had long viewed his wife. "In an odd way," he wrote to Murphy on March 30, 1936, "perhaps incredible to you, she was always my child . . . my child in a sense that Scottie isn't. . . . I was her great real-

ZELDA FITZGERALD / 63 ity, often the only liaison agent who could make the world tangible to her." Dr. Robert Carroll ran Highland in strict accordance with his philosophy of treatment, which was a combination of rigorous if mindless exercise, wholesome diet, and intellectual stimulation. Scott moved from his Baltimore apartment to Ashville. Zelda, whose mental condition showed signs of some improvement by 1937, thrived physically, even as Scott deteriorated. His alcoholism and the financial burdens associated with Zelda's treatment and Scottie's Connecticut boarding school were by now beyond his ability to cope, so it was with relief that he accepted MGM's offer of $1,000 a week for a six-month contract. Almost immediately after arriving in Hollywood in July 1937, Scott met Sheilah Graham, a gossip columnist and transplanted Englishwoman. Graham offered Scott a reprieve from the emptiness of his life, and the following year, when Scottie entered Vassar, he undertook to outline for both Graham and his daughter courses of study that would constitute, in his mind, the ideal college education. As Scott negotiated a new contract with MGM, this time for $1,250 a week, Zelda was continuing to make steady improvement. She had been institutionalized now for almost four years. Though her painting offered some relief from the monotony of Highland's regimen, she longed to be free from what she considered little better than prison. What is more, Zelda's family in Montgomery was also pressuring Scott for her release. While there were occasional trips and holidays away from Highland—one notable adventure to Cuba found Scott drunk much of the time and Zelda returning to the hospital alone—Zelda's life for the most part was dreary and dull. The regimented routine of Highland was broken, however, in February 1939, when she was allowed to study painting for a month at the Ringling School of Art in Sarasota, Florida.

In October 1939 Scott began work on The Last Tycoon (1941). Frances Kroll Ring gives us an interesting and poignant account of Scott's last two years and an indirect portrait of Zelda in her 1987 memoir Against the Current: As I Remember F. Scott Fitzgerald. Kroll went to work for Scott as his secretary in April 1939, when she was twenty. Scott was then living in a cottage on the estate of Edward Everett Horton. Scott's health was already in marked decline, and he was feverishly trying to make headway on his new novel. Kroll's memories of Scott were that he was ill, living under stressful conditions, drinking too much, but usually a gentleman and always curious about her family and experiences. When Scottie came to visit for a summer, Kroll remembered that Zelda and Scott's only child seemed surprisingly levelheaded and well adjusted for having been parented primarily by means of Zelda and Scott's letters for the past decade or more. She noted Scottie's reminiscing about a life that was sprinkled with many good memories of both her parents. "I can remember nothing but happiness and delight in his company," Scottie said of her father, "until the world began to be too much for him when I was about twelve." She recalled that even the sad times were tempered for her by the love that both parents gave her. "Daddy never let me feel the tragedy of mother's illness," she told Frances, "and I never had a sense of being unloved." As for Zelda, Scottie remembered a wonderfully creative, natural, if sometimes nervous, mother, who cataloged her young life in paintings and paper dolls. By the end of 1940 Scott was experiencing recurrent episodes of dizziness and shortness of breath, and he moved in with Graham, who had a ground-floor apartment and spare bedroom. On the Saturday before Christmas, December 21, Kroll dropped by to deliver Scott's mail, including a letter from Scottie and one from Zelda. Kroll performed a few tasks for Scott,

64 / AMERICAN WRITERS whose mood was good, then drove home. When she arrived, she received a message asking her to return to Graham's immediately. There she found two hospital attendants standing next to Scott, who lay on the floor, dead. Graham told Kroll that Scott had dressed for lunch and was rising from a chair when he reached for the mantle and fell over. Some days later, Kroll received a phone call from Zelda, to whom she had never before spoken. Kroll writes, "She said she needed to talk to someone who had been with him at the end so that she could believe he was gone." The last time that Zelda had seen Scott was during their disastrous trip to Cuba. After the phone call, Kroll received a letter from Zelda, thanking the young woman for her service to Scott and promising her "some little testimonial" of her kindness when she had "access to any money." Kroll was touched by Zelda's graciousness. Writing a tribute to Scott for a 1941 posthumous collection of personal recollections that the editors of The New Republic wished to assemble, Zelda called him a "prophet destined to elucidate and catalogue" his times. "His poignancy," she wrote, "was the perishing of lovely things and people on the jagged edges of truncate spiritual purpose. . . . [His work] presented in poetic harmonies the tragically gallant stoicism so indispensable to traversing that troubled and turbulent epoch between world wars." Despite their difficult personal history, Zelda had retained an understanding of and appreciation for her husband and his work; the magazine, however, chose not to include her tribute in the collection. The April before Scott's death, Zelda had left Highland to go to Montgomery to live with her mother at 322 Sayre Street. There she lived quietly, if agitatedly, for eight more years— punctuated by recurring trips to Highland, where she would commit herself. Zelda spent these last years painting and working on a novel titled "Caesar's Things," finishing 135 pages of the

manuscript. She eventually made a studio in her mother's garage, and Minnie Sayre was very protective of her daughter's health and wellbeing. In May 1942 Zelda's paintings were exhibited at the Museum of Fine Arts in Montgomery and again the following December at the Montgomery Woman's Club. Zelda would give away many of her paintings over the years, and during World War II she donated many of her canvasses to be reused by wounded soldiers for art therapy. (After her death, her sister Rosalind had a yardman burn many of her paintings.) In February 1943, Scottie married a young naval lieutenant, Samuel Jackson Lanahan, in New York. Zelda did not attend the wedding but commemorated the event in a gouache on paper painting called "Scottie and Jack Grand Central Time." Three years later, Scottie's first child was born, and Zelda found another artistic outlet, constructing a series of paper dolls for her grandchildren, just as she had done for Scottie. On November 2, 1947, Zelda returned to Highland for the last time. Around midnight on March 10, 1948, a fire began in the kitchen of the main building and quickly spread through a dumbwaiter shaft to the top floor, where Zelda and several other women were staying. There were no fire alarms and no sprinkler system. Six of the women on the top floor were trapped, and nine women in all died in the incident. Zelda's body was identified by means of a charred slipper found beneath it. She was buried on Saint Patrick's Day beside Scott in the Fitzgerald family plot in Rockville, Maryland. The house at 819 Felder Avenue in Montgomery, where Zelda and Scott lived for a short time in 1931-1932, was turned into the Fitzgerald Museum. Twenty-six years after her death, the first large retrospective of her visual art was shown at the Montgomery Museum of Fine Arts, made possible in large part by Scottie's move to Montgomery with more than one hundred of her mother's paintings and paper

ZELDA FITZGERALD / 65 dolls. In June 1980, the National Portrait Gallery in Washington paid tribute to the Jazz Age with a series of portraits of the Fitzgeralds and their friends: "Zelda and Scott: The Beautiful and Damned." Again, in the summer of 1996, another retrospective of Zelda's painting was shown at the Montgomery Museum. Interest in Zelda's fiction prompted Scribners to publish The Collected Writings in 1991. The collection contains many of Zelda's letters to Scott, as well as her creative and nonfiction writing. A MATTER OF STYLE

If Scott were prone to criticize her prose somewhat zealously, one can understand the dissatisfaction, from his point of view, he may have found with Zelda's writing—dissatisfaction, that is, beyond his natural inclination to keep her life and its material solely for his own fictional purposes. Scott's classical linear style stands in stark contrast to Zelda's circular narrative approach, with its stream-of-consciousness technique and use of language yielding a profusion of color and imagery. Hers is a sensory rich, often surreal style that also characterizes her painting. Sara Mayfield, in Exiles from Paradise: Zelda and Scott Fitzgerald (1971), called Zelda's Save Me the Waltz "one of the best of the expressionistic novels," indicating that "its style was a generation ahead of its time." Zelda's is a style completely her own, in no way, as Dan Piper asserts in F. Scott Fitzgerald: A Critical Portrait (1966), imitative of Scott's. When Alabama Knight, Zelda's fictional heroine in Save Me the Waltz, lies prostrate as a result of blood poisoning, Fitzgerald captures, in her prose, a Freudian, surreal twilight between the conscious and unconscious: Sometimes her foot hurt her so terribly that she closed her eyes and floated off on the waves of the afternoon. Invariably she went to the same delirious place. There was a lake there so clear that she could not tell the bottom from the top. . . .

Phallic poplars and bursts of pink geranium and a forest of white-trunked trees whose foliage flowed out of the sky covered the land. Nebulous weeds swung on the current. . . . Crows cawed from one deep mist to another. The word "sick" effaced itself against the poisonous air and jittered lamely. . . . "Sick" turned and twisted about the narrow ribbon of the highway like a roasting pig on a spit, and woke Alabama gouging at her eyeballs with the prongs of its letters.

Edmund Wilson, Scott's Princeton classmate and a close family friend of the Fitzgeralds, gave a clear description of Zelda's writing style when he described her habit of conversation (quoted in the introduction to The Collected Writings}: "She talked with so spontaneous a color and wit—almost exactly in the way she wrote—that I very soon ceased to be troubled by the fact that the conversation was in the nature of free association of ideas and one could never follow up anything. I have rarely known a woman who expressed herself so delightfully and so freshly." Zelda Fitzgerald's sparse literary canon consists of one completed novel, Save Me the Waltz, unquestionably her masterwork and worthy of study with the best prose of her era; a dozen or so short stories, most published under Scott's byline or their joint authorship; a handful of articles and reviews, published in such magazines and newspapers as the New York Tribune, McCall's, and College Humor, a manners play, Scandalabra, after the wit and satiric style of Oscar Wilde; and an unfinished novel, "Caesar's Things," which Bruccoli, editor of The Collected Writings, calls fundamentally "incoherent." The similarities between Zelda's visual and literary art are apparent in both tone and style: the same intensity of color, lushness of imagery, fragmented, disjointed composition, and propensity toward the surreal. Fitzgerald's aesthetic embraces those modernist tendencies apparent in the art and literary worlds at the beginning of the twentieth century through World War II,

66 / AMERICAN WRITERS specifically her interest in the subconscious and the irrational and her stream-of-consciousness, fractious narrative style, with its lack of syntactic connectives and reliance on associative, vivid images. Thus the literary works informing Fitzgerald's prose are the texts of such modernist writers as Virginia Woolf and Gertrude Stein, while the visual techniques informing her painting belong to nineteenth- and twentieth-century French illustrational art, surrealism, set and theater design as found in the work of Natalya Goncharova and Leon Bakst, and the varied modernist work of Georgia O'Keeffe and such European painters as Picasso, Georges Braque, and Matisse, all of whom she either personally knew or with whose work she was intimately familiar. In addition to the colorful palette and fragmentation of design and composition that Fitzgerald employs in her writing and painting, her idea about the function of art is akin to that of Walter Pater, Wilde, and the proponents of fin de siecle aestheticism. She writes in a letter to Scott (dated "after 13 June 1934" in The Collected Writings), that the impetus for art is "all emotions and all experience" and that "the transposition of these into form [is] individual and art." She questions whether the "cerebral" is a more compelling approach to art than the "emotional," and she likewise asserts that one cannot rate "the purpose" of art over "the shape of the edifice." Fitzgerald believes that the business of the artist is "to take a willing mind and guide it to hope or despair" but without the intrusion of the artist's own interpretation. She writes: "I am still adamant against the interpretive school. Nobody but educators can show people how to think—but to open some new facet of the stark emotions or to preserve some old one in the grace of a phrase seem nearer the artistic end." The most the artist should do, according to Fitzgerald, is to present one story in time that may have happened to one isolated person, but without any incipient "judgment."

In other words, style and emotion, for Zelda Fitzgerald, precede essence or substance. These ideas are particularly prescient in Fitzgerald's Save Me the Waltz. SAVE ME THE WALTZ

Save Me the Waltz, Zelda's literary declaration of independence and equality (and her attempt to repossess both her life and her story from Scott) is a touching Kunstlerroman—a narrative of an artist's "becoming." The book details a young woman's struggle to find an identity and meaningful work separate from that of her famous artist husband. Alabama Knight, a Southern flower but, after her marriage at any rate, decidedly not a steel magnolia, is on a personal journey into the world of art as she attempts to make herself into a dancer. The book records Alabama's effort to create her own story, to write or "play" her life according to a script of her making rather than follow the one written for her by her father or her husband. To a friend who remarks to Alabama that she is as "good as a book," she replies, "I am a book. Pure fiction." The friend answers Alabama's cryptic assertion by asking, "Then who invented you?" Alabama's blithe response belies the fact that it has now become her painful task to create or script herself. In this respect then, Save Me the Waltz is almost a half-century ahead of such groundbreaking studies as Sandra M. Gilbert and Susan Gubar's The Madwoman in the Attic: The Woman Writer and the NineteenthCentury Literary Imagination (1979) and Carolyn G. Heilbrun's Writing a Woman's Life (1988). Zelda clearly saw the need for women to "write," as Heilbrun has asserted, their own stories and not "live their lives isolated in the houses and [in] the stories of men." The narrative that Alabama constructs as she and David wend their way through a series of adventures, from Birmingham to Paris, from the Riviera to the ruins of Rome, is a portrait of

ZELDA FITZGERALD / 67 marital dysfunction. It is clear that David adores Alabama as an appendage, a beautiful decoration or accoutrement, more than he admires and respects her for the complex person that she is. He displays her to friends and acquaintances "as if she were one of his pictures," and he insists that "a woman's place is with the wine," the perennial still life. Fitzgerald makes clear that Alabama has been objectified by her artist husband and that he considers her the "work of art" rather than the artist. David has no interest or advantage in encouraging Alabama's discovery of a sense of self apart from him or of her "artist" within; she is at one moment his "illusive possession" and at another "an aesthetic theory—a chemistry formula for the decorative." David tells her at one point, "my dear, you are my princess and I'd like to keep you shut forever in an ivory tower for my private delectation." Yet David is not blind to the emptiness of the still life he has sketched for Alabama. On a night he returns from an unchaste interlude, the night Alabama tells him that she wants to become a dancer, it is David who articulates the shallow dimensions of her life with him: "Poor girl," he says with candid compassion, "I understand. It must be awful just waiting around eternally." Alabama begins to compose a different script for herself when she comes to the realization that her "dance" with David is quite out of step. The two are waltzing at the Ritz, when David tries to bring her back in tow—both with his step to the music and with his life: "Listen, Alabama," he insists, "you're not keeping time." No, she shoots back and demands, "David, for God's sake will you try to keep off of my feet?" They cease to dance, and David sulks, acknowledging that he "never could waltz anyway." Later, in a less metaphoric and more direct moment, Alabama asserts that "no individual can force other people forever to sustain their own versions of that individual's character—that sooner or later they will stumble across the

person's own conception of themselves"—an important idea Fitzgerald will echo in her play, Scandalabra. Only in her work does Alabama find a sense of her own autonomous self. As she feverishly dedicates herself to dance, she becomes "gladly, savagely proud of the strength of her Negroid hips, convex as boats in a wood carving. The complete control of her body freed her from all fetid consciousness of it." When she dances, she understands clearly, for the first time, the limitations and meaninglessness of her life with David. "Work," she says, "is the only pretty thing . . . at least, I have forgotten the rest." Work begins to fill the emptiness in Alabama's life, replacing the mindless materialism that had pervaded her time with David: "Spending money," muses the narrator, "had played a big part in Alabama's life before she had lost, in her work, the necessity for material possessions." Very few in Alabama's life understand her need for work. A friend questions her new dedication to dance, and cannot comprehend, since Alabama already has a husband, why she should inflict such physical pain on herself and anger David as well; Alabama attempts to explain: "To sit this way, expectant of my lesson, and feel that if I had not come the hour that I own would have stood vacant and waiting. . . . Yes. He is so angry that I must be away even more to avoid rows about it." Later another woman friend laments Alabama's obsession for perfecting her art: "I think it's ridiculous to work like that. She can't be getting any fun out of it, foaming at the mouth that way!" And still another adds, "It's abominable! She'll never be able to get up in a drawing room and do that! What's the good of it?" Eventually, Alabama ceases trying to explain herself; what others think doesn't matter, because she "had never felt so close to a purpose" as when she dances. David's reaction to her work is at first grudgingly tolerant, then outright condescending. "I

68 / AMERICAN WRITERS hope that you realize that the biggest difference in the world is between the amateur and the professional in the arts," he snobbishly asserts. Alabama understands the full measure of his remark, replying: "You might mean yourself and me." In its portrayal of an individual's attempt to find the artist within, achieved as it was from the female perspective, Save Me the Waltz is a unique Kunstlerroman for its day. Alabama's joy in her work and new sense of autonomy are accompanied by profound feelings of guilt, particularly regarding her neglect of Bonnie, her young daughter. Brought to her mother's studio, Bonnie is asked by her nanny whether she too will become a dancer when she grows up. The child replies emphatically, "No, it is too 'serieuse' to be the way Mummy is. She was nicer before." At one point in the story, Bonnie lies ill for a week in Naples, where Alabama is rehearsing. The pressure of Bonnie's illness and the imminent performance make Alabama question herself both as a dancer and as a mother: "[Bonnie] was ghastly pale. . . . Alabama forgot to get the emetic [the doctor had] prescribed . . . and Bonnie lay in bed for a week, living on limewater and mutton broth while her mother rehearsed the waltz." Though Alabama, as did Zelda, comes admirably close to achieving success with dance, the family battles, exhaustion, illness, and guilt— not to mention David's endless "appropriation" of her—win the war. At the end of the story, after a physical breakdown and blood poisoning, she must give up dancing forever, while David commences a new series of paintings depicting the ballet, a series that becomes his most highly acclaimed work: "Nobody has ever handled the ballet with [such] vitality," an adoring critic declares. Alabama Knight forgoes the last waltz and with it ceases to write her own story, once again becoming the work of art rather than the artist.

SATIRE AND SURREALISM

Scandalabra, written when the Fitzgeralds were living at La Paix near Baltimore and performed six nights in June and July 1933 by the Baltimore Junior Vagabonds, exists in two three-act versions—a sprawling, ninety-one page script, probably the version used for the original production which Scott spent the night before opening cutting down to a playable length, and an edited sixty-one page version found among Zelda's papers at Princeton and included in Scribner's Collected Writings. Utilizing a motif found in Save Me the Waltz that portrays our perceptions of others as distorted or misleading and truth as nebulous and relative, Zelda develops her play as a surrealistic deconstruction of morality and marriage of the flapper fast set. In this zany satire, art imitates life, which imitates art, and it is clear that it is often difficult to discern the real from the surreal. In tone and style, Scandalabra follows the tradition of Restoration comedy, as it filters up to the works of Wilde and George Bernard Shaw. In particular, Scandalabra resembles John Dryden's Marriage A-la-Mode (1672), in which a happily married couple feigns an affair in order to be consistent with the connubial mode of the day. Most of the satiric conventions of the comedy of manners are present in Fitzgerald's play: the traditional battle of the sexes with a modern, flapper twist; ironic character names (Baffles the butler possesses a droll, epigrammatic wit and displays a propensity for making sense of the absurd); character types and tags (the sassy maid; the controlling Uncle Messogony, who works his will through his will; his country-come-to-town nephew Andrew; the foppish Peter Consequential; and Consequential's bored wife, Connie, who regales us with empty-headed malapropisms). There are also present in the play the witty repartee and the traditional "mask" motif, as characters attempt to get their way through insincerity and machination. The objects of

ZELDA FITZGERALD / 69 Zelda's satire include gossipmongering newspapers, the legal and medical professions, Zelda's notion of the frivolous French, and modern marriage. Set within the conventional framework of satire and manners plays, Scandalabra is a fairly successful script and an excellent vehicle for two of Fitzgerald's most important criteria for art: style and wit. Fitzgerald begins the play with a traditional prologue, which sets up the complex plot and presents the figure of the "leprechaun," a symbol for the mischievous genie Gossip. Uncle Andrew Messogony is about to pass on to his reward, but not before he has located his only heir, his nephew Andrew, described as "weak, but good," —"[which is] enough," says Uncle Messogony, "to incapacitate him for living." To assure that his control of the situation extends beyond the grave, the patriarchal uncle has written a will which stipulates that Andrew must cultivate every vice of life before he can "assume control of the money." Act 1 opens with Andrew, who is happily married to an ex-Follies girl, Flower. Both, however, are forced to pretend "dissolution" to satisfy the doctors and the lawyers overseeing implementation of Uncle Messogony's will. So Flower must lay down her knitting in the evenings and pretend "to be gay and frivolous" by paying court to the string of nightclubs that Baffles has listed for her, while Andrew must cultivate a taste for liquor and convince the lawyer he is a libertine. Flower laments: "Life's hardly worth living. Nothing but orchids and a Rolls-Royce," while Baffles tells his master, who prefers beer to champagne, that "in this world we have to consider the labels, Mr. Andrew." When doctor and lawyer arrive to check on the prescribed "devolution" of Andrew, he earnestly shows them his latest reading material—Treatise on Preserving the Disgraces of Life—while Baffles suggests helpfully, "Morals, sir, are the result of experience." The doctor diagnoses "character" as the culprit, declaring,

"Character is what people tell us about ourselves." This conversation takes us to the play's satiric point, as the doctor advises Andrew to simply play his part, since essentially "All life is a play"—to which Baffles answers that it is likely "Mr. Andrew will confuse life with reality." The lawyer warns Andrew, "If you want to keep your money and your wife we'll have to get down to [Uncle Messogony's version of] the truth [reality]." Andrew then responds, by referencing the motif of the mask or appearances: "I hate the truth when it's a lie! Flower's just out masking her virtue the best she could," and Andrew knows that he must follow suit if the money is to be theirs. When Flower returns from her unenthusiastic night on the town, she laments the fact that she must "pretend" to be what she is not, while Baffles answers, "Life without pretensions leaves us facing the basic principles, which are usually a good deal worse and harder to unravel." Act 1 closes with Flower resorting to the phone book to locate a posh address from which she can conjure a lover. A phone call to the Morning Incubator informs the newspaper that Mrs. Andrew Messogony is involved in a scandalous affair with Mr. Peter Consequential of 1066 Park Avenue. As act 2 opens, we meet the foppish Peter Consequential, who lives in less than matrimonial bliss with his wife, Connie, their relationship having suffered from the moment the bored and frivolous Connie uttered the words "I do." Peter lives in mortal fear that his wife is having an affair, while the maid assures him, "The great thing that love affairs all have in common, sir, is that they come out wrong." Nonetheless, Connie's attitude toward Peter miraculously alters when she reads the Morning Incubator, detailing, with photographs, the particulars of his "affair" with Flower Messogony. Connie becomes consumed with interest in a photograph of Flower and whether the "other" woman's profile is better than her own: "Is that a good

70 / AMERICAN WRITERS likeness, Peter? If it is, her nose is too alkaline"—Peter, by now, happily accustomed to his wife's unwitting malapropisms. A short scene with curious reporters bent on getting wrong the details of the "affair" closes the act. Scene 2 of the second act takes place ten days later on the French Riviera, where the two couples have fled to escape the press. Two French gendarmes follow Flower and Andrew on the beach, demanding that they not picnic in the area—until they learn that both are involved in a lascivious scandal, whereupon the city keys are handed them. Andrew is now under the impression that the affair is a reality, and he is jealously going through the papers for details. Flower coos to him, "Oh, I think jealousy sometimes keeps a marriage from going bad," whereupon Baffles adds with typical ironic clarity that jealousy certainly "acts as a sort of spiritual cellophane." As soon as Flower promises not to see Peter again, the Consequentials appear on the beach, and the thoroughly modern Messogonys invite them to join their picnic. After Peter shares the fact that Connie has been more congenial since his "affair" with Flower, Flower announces that she does indeed feel quite "creative" to have brought about such marital reform. Then Andrew flies off, "Creative! I s'pose you mean, Flower, you'd like us to believe what looks so like lies." "Whether you believe it or not," says Zelda's center of intelligence Baffles, "makes the only difference between fiction and reality." The surreal picnic progresses to a discussion of marital faithlessness—"Connie thinks monogamy is what the parlor chairs were made of in the Nineties," Peter deadpans—and Baffles cynically delivers what Zelda finds is the peculiar foundation for understanding between the sexes: "Sex, Madam, and climate. Our only real basis of communication!" At this point Flower maneuvers Peter into taking a walk, and the two "spurned" spouses, Connie and Andrew, are left alone to get to know each other. The act closes with the return of the two gendarmes, who arrest Connie and

Andrew when they ignore an order to leave the beach. Act 3 finds Peter and Flower on a completely blackened stage, having broken into Peter's villa in an attempt to discover whether Andrew and Connie, who were nowhere to be found when Peter and Flower returned from their walk, are having an affair themselves as retribution. They turn on the lights to find Baffles, who explains his presence by asserting cryptically, "There was the milkweed to milk . . . and there's dust on the parlor sky." Peter and Flower now regret their feigned affair: "We'll never set this thing to rights," says Peter; to which Flower responds, "Not till it's sold to the moving pictures." Peter hopes that his wife is not "living up to [his] reputation"; then he adds, "Maybe I was too quiet. Maybe other people's ideas of us are truer than our own"; Baffles clarifies, "Other People's ideas of us are dependent largely on what they've hoped for." The denouement occurs after Andrew and Connie appear from the balcony, and Andrew announces that he and Flower are "going back to the farm." "A man's got to choose sometimes between other people's ideas of himself and his own," asserts Andrew, giving up his claim on his inheritance. With that confession, Baffles announces that indeed all the money is now Andrew's, free from any restrictions by lawyers or doctors. "The will was drawn up as it was, sir, to ensure you the experiences of life before allowing you the full responsibilities. Now that you've profited so wisely . . . [the money] passes unprovisionally to Mr. Andrew." And so, with toasts to the phone book and a genial look to that mischievous leprechaun, now escaped from the stage into the audience, Baffles assures them all: "You never know what will turn out all right in the end." FICTION AND NONFICTION

Zelda Fitzgerald's literary canon includes a series of stories and sketches, seven of which

ZELDA FITZGERALD / 71 are known as the "girl stories" and a number of newspaper and magazine articles for the New York Tribune, Metropolitan Magazine, McCall's, Harper's Bazaar, Esquire, and College Humor. Some of these were published under Scott's byline, others jointly (with Scott giving Zelda credit in the meticulous ledger he kept), and a few under Zelda's own name. All exhibit the stylistic qualities consistent with Zelda's work: vivid description, ironic humor and sarcastic wit, original turns of phrases and a style that is essentially epigrammatic, and skillful use of parallelism, and occasional use of both zeugma (yoking the literal with the metaphoric) and chiasmus (inverting the relationship between the elements of parallel phrases). In "Eulogy on the Flapper," Zelda describes her subject as follows: "She flirted because it was fun to flirt and wore a one-piece bathing suit because she had a good figure; she covered her face with powder and paint because she didn't need it and she refused to be bored chiefly because she wasn't boring. . . . Mothers disapproved of their sons taking the Flapper to dances, to teas, to swim, and most of all to heart." In articles such as "What Became of the Flappers?" and "Paint and Powder" Zelda defends the outrageous acts of flappers and their flaunting of Victorian conventions, because, as she writes in the latter piece, their very rebellion empowered young women who "wanted to choose their destinies" for themselves. The sketches known as the girl stories have a common theme: how to be a full and complete person in a world no longer certain about the place of women. Whether the "girl" protagonists are hometown, slightly crass beauties like Grade Axelrod in "Our Own Movie Queen," the ill-fated Gay in "The Original Follies Girl," Harriet in "Southern Girl," Helena in "The Girl the Prince Liked," Eloise Everette Elkins in "Poor Working Girl," or Lou the dancer driven to succeed in "The Girl with Talent," they all represent a "type" of the time, spanning regional

and economic statuses during the period between the two world wars: young women bored with traditional values, ambitious, pulled between the will for work or fame and a longing for home and family. The stories are often rendered in Jamesian first-person narratives, with an observer speaker painting for the reader a portrait he discerns by means of glimpses at young women, pulling at the bit, "sick with spiritual boredom," and driven by a desire for success in a public world that often demanded, in the words of "The Original Follies Girl," "physical perfection" and stereotypical behavior. If Zelda's flappers and Southern belles seem shallow and overly absorbed in the material and the superficial, if they too often feel incomplete unless married to the "right" man, they have, nonetheless, followed the road to fame and power in about the only way society afforded them. Two of the best of Zelda's short fiction pieces are "Miss Ella" and "A Couple of Nuts," both published in Scribner's Magazine in 1931 and 1932, respectively. "Miss Ella" is the story of a Southern woman's quiet rebellion. The writing has a particularly rich lyrical quality, with prose awash in the smells and sights of Southern flowers. The narrator is a young child, enamored by the enigmatic persona of Miss Ella and her romantic past. At the beginning of the story, Miss Ella's life has settled into an acceptable and quiet Victorian sameness that belies the passion that once and perhaps still runs through her veins. The narrator recalls how she "twitter[ed] about on our hearth after supper, dodging the popping bits of blue flame from our bituminous coal," her elegance testimony to the fact that Miss Ella, like her creator, "was not a kitchen sort of person." There was about her a sense of rigid control, of barely contained energy, of imminent explosion. The narrator remembers Miss Ella sitting in the hammock, "holding tightly to the strings at one end and desperately straining her foot against the worn patch of clay in the

72 / AMERICAN grass underneath"—just managing "to preserve a more or less static position" as she opened letters and held her book with her free hand, "and scratched the itchings that always commence when stillness is imperative." Particularly fascinating to the children is the wooden playhouse in the garden, a "relic of Miss Ella's youth." Here, "buried in a tangle of jonquils and hyacinths dried brown from the summer heat, its roof strewn with the bruised purple bells of a hibiscus overhanging its tiny gables, the house stood like a forgotten sarcophagus, guarding with the reticent dignity that lies in all abandoned things." It was an "oasis apart from the rest of the orderly garden," and the playhouse holds the mystery of Miss Ella's story, one that "like all women's stories," writes Fitzgerald, "was a love story and like most love stories took place in the past." As the reader comes to learn, Miss Ella had once been engaged to her steady and staid suitor, Mr. Hendrix—that is, until the church social that brought young Andy Bronson to rescue her from the "fire" ignited by a firecracker that he threw, which set her dress aflame. Andy's attempts to make amends—the gifts brought from his travels, especially the star sapphire "which she tied about her neck in a chamois bag lest Mr. Hendrix should know"— work their will, and one night, he kisses her "far into the pink behind her ears and she folded herself in his arms, a flag without a breeze about its staff." On the afternoon Miss Ella and Andy are to be married, Mr. Hendrix commits suicide, calmly shooting himself in the head on the playhouse steps, his will intrusive and lasting in the end. The years pass, Miss Ella's beauty fades, the rims of her eyes grow "redder and redder, like those of a person leaning over a hot fire"—yet it is clear, as the narrator repeats, "she was not a kitchen sort of person." Thus the ending is cleverly ambiguous in terms of whether Miss Ella is mistress of her fate or mastered by the events of her life. In "A Couple of Nuts" Lola and Larry's story is told by another first-person narrator, a fellow

WRITERS

expatriate who encounters the American couple now and again as they travel across Europe, from the Champs-Elysees, Cannes, Monte Carlo, Paris, and finally to New York. Lola and Larry are musicians, troubadours, who hook up with a playboy whose affair with Lola brings the first rift in their marriage, only to be matched later by Larry's affair with the narrator's ex-wife, a wealthy socialite on whose yacht they encounter a storm that swallows them "like gulls pouncing on the refuse from an ocean liner." Theirs is the story of Jazz Age fallen angels, a lyrical portrait of the beautiful and damned, who could no more forgo their tragedy than could Zelda and Scott, whose story they reflect. Thus does Zelda Fitzgerald's art imitate her life, as her life was tragically shaped by fiction.

Selected Bibliography WORKS OF ZELDA FITZGERALD FICTION, DRAMA, AND COLLECTIONS

Save Me the Waltz. New York: Scribners, 1932. Bits of Paradise: Twenty-one Uncollected Stories by F. Scott and Zelda Fitzgerald. Edited by Matthew J. Bruccoli. New York: Scribners, 1973. Scandalabra: A Farce Fantasy in a Prologue and Three Acts. Bloomfield Hills, Mich.: Bruccoli Clark, 1980. The Collected Writings. Edited by Matthew J. Bruccoli. New York: Scribners, 1991. (Includes Save Me the Waltz, Scandalabra, the short stories and articles, and Zelda's letters to F. Scott Fitzgerald.) Zelda, An Illustrated Life: The Private World of Zelda Fitzgerald. Edited by Eleanor Lanahan. New York: Harry N. Abrams, 1996. CRITICAL AND BIOGRAPHICAL STUDIES Anderson, W. R. "Rivalry and Partnership: the Short Fiction of Zelda Sayre Fitzgerald." Fitzgerald/ Hemingway Annual, 1977, pp. 19-42.

ZELDA FITZGERALD / 73 Bruccoli, Matthew J., ed. F. Scott Fitzgerald: A Life in Letters. New York: Simon and Schuster, 1994. Davis, Simone Weil. "The Burden of Reflecting': Effort and Desire in Zelda Fitzgerald's Save Me the Waltz" Modern Language Quarterly 56, no. 3:327-361(September 1995). Gary, Meredith. "Save Me the Waltz as a Novel" Fitzgerald/Hemingway Annual, 1976, pp. 65-78. Castillo, Susan. "(Im)Possible Lives: Zelda Fitzgerald's Save Me the Waltz as Surrealist Autobiography." In Writing Lives: American Biography and Autobiography. Edited by Hans Bak. Amsterdam: VU University Press, 1998. Pp. 55-62. Fetterley, Judith. "Who Killed Dick Diver? The Sexual Politics of Tender Is the Night." Mosaic 17:111-128 (1984). Fitzgerald, F. Scott. The Crack-Up. Edited by Edmund Wilson. New York: J. Laughlin, 1956. Fryer, Sarah Beebe. "Nicole Warren Diver and Alabama Beggs Knight: Women on the Threshold of Freedom." Modern Fiction Studies 31:318-326 (summer 1985). Mayfield, Sara. Exiles from Paradise: Zelda and Scott Fitzgerald. New York: Delacorte, 1971. Mellow, James R. Invented Lives: F. Scott and Zelda Fitzgerald. Boston: Houghton Mifflin, 1984. Meyers, Jeffrey. Scott Fitzgerald: A Biography. New York: HarperCollins, 1994. Milford, Nancy. Zelda: A Biography. New York: Harper & Row, 1970. Nanney, Lisa. "Zelda Fitzgerald's Save Me the Waltz as Southern Novel and Kunstlerroman." In The Female Tradition in Southern Literature. Edited by Carol S. Manning. Urbana: University of Illinois Press, 1993.

Nathan, George Jean. "Memories of Fitzgerald, Lewis and Dreiser." Esquire, October 1958, pp. 148-149. Petry, Alice Hall. "Women's Work: the Case of Zelda Fitzgerald." In Literature, Interpretation, Theory. New York: Gordon and Breach, 1989. Piper, Henry Dan. F. Scott Fitzgerald: A Critical Portrait. New York: Holt, Rinehart, and Winston, 1966. Ring, Frances Kroll. Against the Current: As I Remember F. Scott Fitzgerald. San Francisco: Donald S. Ellis, 1985. Robertson, Elizabeth. "Speaking from the Place of the Other: Identity and Narrative Form in the Life and Art of Zelda Fitzgerald." Denver Quarterly 19:130-139 (summer 1984). Shurbutt, Sylvia Bailey. "Creating a Woman's Life through Words: A Language of Their Own." Women and Language 7:38-42 (spring 1994). . "Writing Lives and Telling Tales: Visions and Revisions." In Untying the Tongue: Gender, Power, and the Word. Edited by Linda Longmire and Lisa Merrill. Westport, Conn.: Greenwood Press, 1998. Tavernier-Courbin, Jacqueline. "Art as Woman's Response and Search: Zelda Fitzgerald's Save Me the Waltz" Southern Literary Journal 11:22-42 (spring 1979). Wagner, Linda W. "Save Me the Waltz'. An Assessment in Craft." Journal of Narrative Technique 12:201-209 (fall 1982). White, Ray Lewis. "Zelda Fitzgerald's Save Me the Waltz: A Collection of Reviews from 1932-1933." Fitzgerald/Hemingway Annual, 1979, pp. 163168.

—SYLVIA SHURBUTT

Robert Francis 1901-1987 C

tial in hand, he arrived in 1926 in the town of Amherst, Massachusetts, where he would live except for a few brief intervals for the rest of his life. His experience of high school teaching proved a disaster. Francis failed to win the attention or the respect of his students. He quit after a year and for the rest of his life made do without the security of regular employment. His mother had died a short time earlier, and his father, remarried, had settled in South Amherst. For the next few years Francis remained in the family home, earning money by giving violin lessons. As most of his students lived near the center of Amherst, he became a boarder in town with a series of elderly women, covering his rent by tending the coal furnace and doing yard work and other chores. Francis had by this time discovered that he wanted to be a writer. Shutting his door against the current landlady, or cloistering himself in a quiet corner of the Jones Library, he devoted his time seriously to both prose and poetry and began to have some modest success in placing his work in periodicals. For many years payments for short personal and literary essays in the Christian Science Monitor and Forum provided the most predictable part of his small income.

k-/Low IN STARTING but ultimately long and prolific, the writing career of Robert Francis is marked by many durable achievements and a number of quiet surprises. Often thought of as a quintessentially New England poet, Robert Churchill Francis was born in Upland, Pennsylvania, on August 12, 1901, to Ida May (Allen) Francis and her husband, Ebenezer Fisher Francis, who was then completing his studies at a Baptist seminary. Robert had a half-sister, Ruth, seven years older, from his father's first marriage. After the elder Francis was ordained, the family moved with him from pastorate to pastorate. In 1910 they arrived in Massachusetts, where Ebenezer Francis served congregations in a number of towns until his death in 1940, and where his son received most of his education. The younger Francis attended high school in Medford and went on to Harvard College, from which he graduated in 1923. By his own account, Francis was a timid, hypersensitive child who was unathletic and who found it hard to make friends. His social awkwardness and isolation persisted through high school. As a teen his favorite recreational reading was books on self-improvement with titles like Power of Will. A good student, he had little sense of what he might do with his life. At Harvard Francis was not particularly drawn to poetry, although later he enjoyed recalling encounters with the poet Robert Hillyer, who instructed him in English composition. Francis's father urged him to enter the ministry. Gently resisting, he taught for a year at the prep school of the American University in Beirut, then returned to Harvard to earn a degree from the Graduate School of Education. With this creden-

THE INFLUENCE OF ROBERT FROST

One of Francis's landladies, Mrs. Hopkins, introduced him to Robert Frost—an event Francis always viewed as a milestone. Not surprisingly, since at this stage Francis's poems had a

75

76 / AMERICAN WRITERS definite Frostian cast, the older poet was largely encouraging in his response. His negative comments on certain poems were welcomed by Francis as constructive. Francis noted candidly in his journal Frost: A Time to Talk (1972) that Frost "defined my greatest danger as preciousness." Besides offering sympathetic criticism, Frost showed Francis's poems to Louis Untermeyer and other editors. It was, however, another poet connected with Amherst College, David Morton, whose recommendation led Macmillan to publish Francis's first collection, Stand with Me Here, in 1936 after it had been rejected by several other publishers. Although Francis was later to extend his thematic and stylistic range, his first book illustrates several persistent aspects of his work. His almost exclusive use of rural New England settings and his preference for plainspokenness naturally led his first readers to connect his work with Frost's. In a few of these early pieces, the effect is almost one of ventriloquism, as the first lines of "Fall" show: Leave the bars lying in the grass. Let all wanderers freely pass Into the pasture now. Gone are the fawn-shy heifers, gone The little calf almost a fawn And the black two-year cow.

Still, differences between the poets are observable, both in style and outlook. Francis's better poems here are more terse and epigrammatic than most of Frost's pastoral lyrics. Often they develop a single image or metaphor. They sometimes sacrifice suggestiveness in their bid for declarative finality. Closure is enhanced by dutiful adherence to traditional verse forms, whether blank verse or tidily rhyming stanzas. Lacking some of the lordly ease of Frost's manner, these early pieces also view their subjects differently. This is especially noticeable in poems about people, who are typically contemplated from a distance. The poet's engagement is more esthetic than psychological, more

confined and picturesque than Frost's is in poems on rural work or leisure. At this stage there often was more charm than power in Francis's vignettes. Two very short poems forecast stronger and subtler tactics. "By Night" is memorably unsettling: After midnight I heard a scream. I was awake. It was no dream. But whether it was bird of prey Or prey of bird I could not say. I never heard that sound by day.

"Bronze," daringly unrhymed, infuses an erotic tinge into its descriptive delicacy: Boy over water, Boy waiting to plunge Into still water Among white clouds That will shatter Into bright foam— I could wish you Forever bronze And the blue water Never broken.

In The Trouble with Francis: An Autobiography (1971), Francis recalls that in 1937 he took leave of "the last in my series of old ladies" and rented a dilapidated house without electricity in the Cushman section of Amherst for ten dollars a month. The solitude informing so many of his poems became a primary condition of his life. He was no hermit; unlike many people he widened his circle of friends as he grew older. Yet he valued the independence of living on his own and came to view it as indispensable to his writing. His career as a poet was actively proceeding. When Macmillan published his second book, Valhalla and Other Poems (1938), Frost wrote him a letter (reprinted in The Trouble with Francis) expressing unalloyed praise: "I am swept off my feet by the goodness of your poems this time. Ten or a dozen of them are my idea of perfection." Frost does not specify titles, but one can

ROBERT FRANCIS / 77 imagine he would have appreciated "Sheep," a commandingly clear view of the animals at rest on a stony hillside: Two mingled flocks— The sheep, the rocks. And still no sheep stirs from its place Or lifts its Babylonian face.

Here the wit and strange accuracy of the exotic epithet fit effortlessly into the poem's homespun setting. Other pieces render the New England rural scene affectionately ("Mountain Blueberries," "The Stile," "Blue Winter") or with traces of bleakness or foreboding ("The Plodder," "Return," "Two Women"). "Biography," a twelve-line self-portrait, acknowledges that the poet has been "Slow to outgrow / A backward youth," but ends by asserting, "Yet being slow / Has recompense: / The present tense. / Say that I grow." The most conspicuous sign in this volume that Francis was ambitious to grow as a poet is the title poem. "Valhalla," a narrative in blank verse, is the longest poem he ever published, filling seventy-two pages when reprinted in his Collected Poems, 1936-1976 (1976). Francis spent almost three years writing it and never published anything similar in content afterward. He may well have decided, as most readers have, that his gifts were far more inclined toward lyric pieces than toward narrative ones. Much longer than any of Frost's narrative poems, "Valhalla" can be compared with works produced in the 1920s and 1930s by poets such as E. A. Robinson and Robinson Jeffers—short novels in verse, essentially, often with a strong regional interest. Francis chronicles the lives of a family whose remote upland farm is the Valhalla of the title. As the name suggests, the farm is a paradise removed from the turmoil and sorrow of the lower world; here parents, children, and servants work the land in blissful self-sufficiency. Over the course of the poem this charmed existence

is revealed to be, in fact, all too humanly fragile. The parents age and die; the elder daughter becomes pregnant, marries the man responsible, and moves away; the son goes to sea and drowns; and finally the younger daughter, diagnosed with cancer, commits suicide. This dolor carries little emotional impact. Characters remain opaque, the dialogue stiff. The sketchy symbolic connections with Norse mythology do little to add depth. "Valhalla" adds nothing to Francis's reputation, but it retains some fascination for being so profoundly anomalous. His poetic efforts from this point on were concentrated on shorter forms. Whatever the artistic shortcomings of "Valhalla," Francis was soon to realize the poem's ideal of self-sufficiency more fully in his own life. When his father died in 1940, he used the $1,000 insurance payment to buy a half-acre lot near the house he was renting and to build on the parcel a three-room cottage. Unlike his former residence, the new building had electricity and running water. Francis moved into the new home on Market Hill Road on December 5, 1940; for the rest of his life the place was as central to his imaginative efforts as it was serviceable in providing shelter. Thoreau's Walden experiment was an obvious model upon which Francis elaborated freely and resourcefully. Hearing of the fall of Singapore in 1942 and musing on the juniper shrubs surrounding his house, sturdy evergreens no wind could uproot, he christened his home "Fort Juniper." It was, he wrote in The Trouble with Francis, "the base of my defense not so much against distant Germans and Japanese as against the war [World War II] itself with all its looming involvements and disruptions." The disruptions in Francis's case were considerable. Within a few months of naming his house, he was drafted. A conscientious objector, he served for a short time as a noncombatant at Camp Breckenridge, Kentucky. For someone as shy and retiring as he was, the coarseness and

78 / AMERICAN WRITERS lack of privacy in army life proved an ordeal. Discharged on account of age, he was required to do government-approved work for the duration of the war. He worked on chicken and apple farms, then taught at a prep school and, for the 1944-1945 academic year, at Mount Holyoke College. With the end of the war Francis returned to Fort Juniper and to a renewed commitment to living on his writing. The years following the publication of Valhalla and Other Poems offered their share of accomplishment, despite the global distractions posed by World War II. Francis received the Shelley Memorial Award in 1939 and held the Golden Rose of the New England Poetry Club in 1942-1943. While Macmillan initially turned down his third collection, leading him to publish it privately in 1943 in a paper edition of 300 copies, in 1944 the publisher reversed course and brought out the book, with some additional poems included, under the same title: The Sound I Listened For. THE SOUND I LISTENED FOR

In this book the poet's mastery of his material is fully established; and a resulting confidence, perhaps, allows for more subtlety of tone, less constriction of form. These are differences of degree: the verse is still trim and traditional. Something deeper, though—a response, maybe, to his father's death as well as his own lengthening life experience—makes this volume as a whole more resonant than its predecessors. When Francis writes about people in these poems he does so with feelings that are complicated and intense, however compactly expressed. Two poems ("That Dark Other Mountain" and "The Laugher") are brief but affecting reactions to Ebenezer Francis's death. Several other poems offer vignettes of human adversity. In "Old Man Feeding Hens," the title character is a rustic image of loneliness and mortality, "The oldest-looking man, the slowest-moving, /

I ever saw." The speaker forecasts the day of the old man's death with a grim metonymy as "that day the hens may not be fed / Till noon or evening or the second morning." In "Willow Woman," a poem that recalls Thomas Hardy, the speaker asks the unsuccessful vendor of pussy willows, "don't you know / It's only winter in the marketplace / However springlike where the willows grow?" Still more intensely troubled, "If We Had Known" ponders a suicide, vainly imagining how it might been prevented: "He never would have reached the river / If we had guessed his going. Never." Less intimate but tinged with similar emotions are several poems touching on World War II: "Perspective," "I Am Not Flattered," "Where Is the Island?," and perhaps the most memorable, "The Goldfish Bowl." In this last poem Francis uses a numbed, documentary tone to survey a college swimming pool against a sinister backdrop of winter and war: The time is winter night, but in the swimming pool Is summer noontime, noon by the electric sun. The young men dive, emerge, and float a while, and fool, And dive again. The year is nineteen forty-one.

The last stanza effectively harks back to the title: The time is ten o'clock in nineteen forty-one. Somewhere a bell upon a tower begins to toll, While hour by hour the moon, its fat face warm with sun, Gloats like a patient cat above a goldfish bowl.

This is very different from what we tend to think of as war poetry of its period; its homefront setting and pacifist convictions set it apart. Its avoidance of any easy lapse into propaganda distinguishes it as well. Not all the poems in The Sound I Listened For are studies in dejection. The book includes

ROBERT FRANCIS / 79 a generous quantity of Francis's typical, finely etched pastoral lyrics. And some of its more ambitious poems exude a Wordsworthian sense of communion—both with nature and with the poet's fellow human beings. In the title poem the speaker overhears his neighbor plowing a nearby field; the farmer's voice recurrently telling the horses to turn becomes an image of the link between the two men, no less genuine for being known only to one of them. "The Reading of the Psalm" balances a sympathetic view of old age with elemental awe as it describes an old woman raptly following the progress of a thunderstorm. A more personal poem, which may be taken as a modest manifesto, is "Juniper." Here Francis celebrates the tough evergreens that gave his recently built house, Fort Juniper, its name. Their tenacity and groundhugging habit make them an emblem for the poet's own self-reliant and earth-loving life: Here is my faith, my vision, my burning bush. It will burn on and never be consumed. It will be here long after I have gone, Long after the last farmer sleeps. And since I speak for it, its silence speaks for me.

"Juniper" implies what Francis openly attested to in his prose: the vital importance of his home as the center of his life and writing. If Francis's poetry in this volume and henceforth was fueled by his ongoing adventure in homesteading, his only novel, published in 1948, looks back to the days before he won that independence. We Fly Away, from everything we know of Francis's life and by his own acknowledgment, is almost purely autobiographical. The character supplying the point of view throughout is a young, thus far unsuccessful writer named Robert. The novel chronicles his several months spent living, as his creator and alter ego sometimes did, as a resident chore man for an elderly woman. The landlady's character, Mrs. Bemis, is modeled in precise detail on Mrs. Boynton, with whom Francis

boarded from September 1935 to June 1936. Mrs. Boynton had a slightly less elderly housekeeper, Mrs. Kellogg, who is rendered with similar accuracy in the novel as Mrs. Teal. The only purely fictional character in the book is Henry, the other boarder, a carefree, heavydrinking college student fifteen years younger than Robert. We Fly Away is punctilious in description, sparing in action. By restricting himself to such a small corner of life and loading it with so much palpable detail, Francis adjusts the reader's gauge of significance. He immerses us in the rituals of domesticity: beating rugs, wrestling with storm windows, stoking a coal furnace. In this microscopically observed ambience, small triumphs and tragedies loom unexpectedly large. One is reminded of the narrative method of a novel like Elizabeth Gaskell's Cranford, or of regional vignettes by New England predecessors like Sarah Orne Jewett or Mary E. Wilkins Freeman. Francis, in pursuing this mode, differentiates himself by his more modern avoidance of sentimentality. The story is not without feeling, but it typically emerges through implication or understatement. Subsisting uncomfortably in Mrs. Bemis's white elephant of a house, Robert observes her well-worn routine with mingled amusement, admiration, and horror. Her courage and selfreliance in confronting old age are constantly being weighed in his mental balance against her less amiable traits: pettiness, parsimony, smallminded complacency. Her principal foil is Mrs. Teal, who easily matches her in self-absorption and lack of imagination. The two women's skirmishes end when Mrs. Teal leaves to accept a more comfortable position—a disruption that in the pared-down world of the novel exerts the force of an earthquake. The other two major turns in the action also concern departures. The first is that of Henry, the likable reprobate whom the older, sober, cautious Robert views with troubled fascination and envy. After some

80 / AMERICAN WRITERS awkward interaction that never becomes real friendship, Henry leaves in midwinter for Florida, having flunked out of college. A few months later Robert sees a newspaper story reporting the young man's death in a motorcycle accident. His regret and his decision not to pass the news along to Mrs. Bemis provide an emotional climax to the story. This is followed, however, by an equally important turning point, when Robert himself decides to move out and live on his own in a moldering old house, much as the author did after leaving his Amherst landladies behind. The protagonist's thoughts at this point express the central theme of the work: "Freedom—that was the word. . . . Freedom was walking out a road into the country, choosing your own direction, your own gait, your own time of going, and not having to think about coming back." For all its comic touches, the novel is moving in depicting the human yearning for independence, and discerning in its view of the widely varying ways people achieve it. It is charming as a record of a now-vanished way of life in New England small towns, and interesting for its autobiographical content. Out of print for decades, it deserves to be better known. Except for the publication of his novel, Francis's career for many years after World War II was marked with disappointment. "Lean years for a writer," he later called this period in his autobiography. Unable to find a publisher for his fourth collection of poems, The Face against the Glass, he finally published it himself in 1950. He put a great deal of effort into a nonfiction book describing his way of life at Fort Juniper. This manuscript, with a title taken from Thoreau, Travelling in Concord, was never published. When Forum (a magazine to which he had regularly contributed essays) ceased publication, Francis found his already meager income painfully reduced. Demoralized, he became despondent and reclusive for a time. Aside from

his financial plight, it can be assumed that he must have suffered from a sense of critical neglect. The years after the war were a time in which the modernist revolution in poetry became fully entrenched in both the academic and the literary realms; formalist poets dealing with rural subject matter were regarded as quaint, old-fashioned, inconsequential. Even a much better-known poet like Frost received his share of condescension during this period; Francis's profile being so much lower, he was all the more easily ignored. Perhaps reflecting its author's beleaguered state, The Face against the Glass seems muted in spirit and restless in technique. It is a brief collection, and is even briefer as it appears in Francis's Collected Poems, 1936-1976. (Having reprinted some pieces in a later volume, he chose in 1976 not to return them to their original position.) No poem in the book is longer than a page. Although still conservative in style, the book experiments more freely with form than previous collections. More than half of the poems do not rhyme; in others Francis uses widely separated occasional rhymes or slant rhymes. A poem like "Glass" indicates that issues of poetic style had come to be much on his mind: Words of a poem should be glass But glass so simple-subtle its shape Is nothing but the shape of what it holds. If the impossible were not, And if the glass, only the glass, Could be removed, the poem would remain.

Perhaps Francis's experiments with unrhymed forms were an effort to bring language closer to the sort of transparency he imagines here. Always inclined toward a plain style, he seems at this time to have grown more self-conscious in examining the esthetic preferences underlying his art. Glass is a recurrent image in the book, beginning with its appearance in the title. The title is

ROBERT FRANCIS / 81 taken from "The Spy," in which a solitary man peers in through the windows of his own empty house at night. Eerily trancelike, the piece seems to split the man's identity in two, into an inner and an outer self: ". . . the prowler peers in deeper / Spying upon the empty chair, spying / Upon the man who is and is not there." The touch of alarm here is intriguing in a poet so frequently prone to write in praise of solitude. The dark mood of "The Spy" surfaces in "The Amanita," about a poison mushroom; in "The Hawk," a Darwinian view of the raptor; in "Hide-and-Seek," about children playing in a graveyard; and in a number of other pieces brooding on mortality. There are a few not very successful attempts at social and political satire ("The Heiress," "The Big Tent"). Most readers will prefer lyrics in his more typical pastoral mode, whether nature vignettes or oblique selfportraits, such as "Squash in Blossom," "Thistle Seed in the Wind," or "Two Words," which plays with both landscape and language to achieve its chords: Two words are with me noon and night Like echoes of the solitude That is my home—half field, half wood, Feldeinsamkeit, Waldeinsamkeit. In words as quiet as the Psalms I hear, I overhear the tone Of Concord and of Emerson, And all the autumn mood of Brahms.

The Face against the Glass received almost no critical attention, though Francis attempted to provoke some by publishing a playfully negative review of it himself under a pseudonym. Throughout the 1950s he was unable to publish another book, and his ability to make a living was tenuous. There were a few bright spots, though. Francis was engaged to teach at the Chautauqua Writers Workshop for a once-a-year session from 1954 to 1958. In 1955 he was Phi Beta Kappa poet at Tufts University, and he took the same position at Harvard University in 1960. Most strikingly for a poet who had rarely

traveled, in 1957-1958 he lived in Rome as a recipient of the Prix de Rome Fellowship, awarded by the American Academy of Arts and Letters. (He would return more briefly to Italy, and tour ancestral sites in Ireland, in the spring of 1961.) In 1960 Francis's long publishing drought came to an end when Wesleyan University Press brought out a new collection of poems, The Orb Weaver. THE ORB WEAVER

This collection, Francis's fifth, projects a more confident air than its predecessor. Knowing the trials Francis had faced for the last decade leaves a reader impressed with his capacity for self-renewal. His choice of "The Orb Weaver" as a title poem is intriguing. The spider, "Devised of jet, embossed with sulphur, / Hanging among the fruits of summer," is seen as part and parcel of the beauty of nature. But the sight of a grasshopper entrapped in the web's "winding-sheet" leads to this reflection: The art, the craftsmanship, the cunning, The patience, the self-control, the waiting, The sudden dart and the needled poison. I have no quarrel with the spider But with the mind or mood that made her To thrive in nature and in man's nature.

Here Francis's troubled recognition of the presence of evil in creation is effectively concentrated in a single image. Both in imagery and theme the poem bears comparison with Frost's "Design." Though Francis had dealt with such material earlier, this was his first such piece to receive the emphasis carried by a title poem. It is as if, while his own misfortunes were receding, he did not wish his darker vision of the world to drop too far into the background. Even so, and even allowing for the presence of certain other darker poems, the overall mood of The Orb Weaver is far from bleak. Many pieces feature a sunny, buoyant, celebratory

82 / AMERICAN WRITERS tone. As Francis himself later put it in The Trouble with Francis:

And now, like a posy, a pretty one plump in his hands.

These poems, unlike my earlier ones which had been for the most part quiet, brooding, even melancholy, the month seemingly November, the color gray, had color, energy, action. Growing older I wanted to call up, like a magician, the vitality and exuberance of youth. More and more I craved the heat and brilliance of the noonday sun.

Two other baseball poems, "Pitcher" and "The Base Stealer," similarly play daringly with kinetic effects. Others, too, are alert to motion, even if somewhat more reserved in style: "High Diver," "Boy Riding Forward Backward," and "The Rock Climbers" fit into this category. Perhaps the most ceremonious of Francis's celebratory poems is his tribute to his father, "Hallelujah: A Sestina." There was something of a vogue for this exacting verse form in the late twentieth century; this sestina of Francis's predates the trend by a few decades. Francis handles the repeated six end-words of his stanzas with wit, resourcefulness, and feeling through their permutations. The result is praise that seems both powerfully incantatory and winningly personal:

Certainly this description fits "Come Out into the Sun," a chant that honors the first bright days of spring and invites the reader to share the poet's rapture: Come shed, shed now, your winter-varnished shell In the deep diathermy of high noon. The sun, the sun, come out into the sun, Into the sun, come out, come in.

Equally celebratory are such lyrics as "Gold," "Tomatoes," "Waxwings," and "The Seed Eaters," stressing nature's beauty and plenitude. Several poems focus on the human figure with a particular care for capturing physical action in words. Usually in these pieces the point is an implied or explicit metaphor. In "Swimmer," the relation of swimmer to sea is compared to that of a lover to love, which can either drown or uphold him. In "Apple Peeler," one of Francis's most often anthologized poems, the analogy seems to be with artistic creation: the "Virtuoso" produces a single "unbroken spiral" that is "like a trick sonnet in one long, versatile sentence." In "Catch," the metaphor is announced in the first line—"Two boys uncoached are tossing a poem together"—and developed with remarkable rhythmic inventiveness: Fast, let him sting from it, now, now fool him slowly, Anything, everything tricky, risky, nonchalant, Anything under the sun to outwit the prosy, Over the tree and the long sweet cadence down, Over the head, make him scramble to pick up the meaning,

A wind's word, the Hebrew Hallelujah. I wonder they never give it to a boy (Hal for short) boy with wind-wild hair. It means Praise God, as well it should since praise Is what God's for. Why didn't they call my father Hallelujah instead of Ebenezer?

Francis controls the complicated chiming patterns of this traditional form as deftly as he handles stanzas of his own devising. The Orb Weaver may well strike out in new emotional directions, as Francis observed, but it also displays an impressive versatility in stylistic strategies. Francis's career, at this point out of the doldrums, continued to flourish. He began to be invited more frequently to read at colleges, and this exposure increased the audience for his poems. He also was able, in the 1960s, to say farewell to his years of bad luck with publishers. The University of Massachusetts Press in Amherst took an ongoing interest in his work beginning in 1965, with the publication of his Come Out into the Sun: Poems New and Se-

ROBERT FRANCIS / 83 lected. Thereafter the university press published three more books of his poetry and three of his prose. In 1975 the publishing house established the Juniper Prize in his honor, an award to a poetry manuscript submitted to an annual open competition. For this Amherst poet to have found at last a supportive relationship with a publisher right in his own hometown seems a rare instance of poetic justice. Come Out into the Sun offers a generous selection from previous volumes while opening with a section of new poems. Of these, 'The Black Hood," Francis's Phi Beta Kappa poem for Harvard, is an exquisitely balanced mixture of lightness and profundity. The poem muses on how artists and thinkers attempt to reconcile beauty and truth, the ideal and the real, in ways that when strictly judged are deceptive or selfdeceiving. Yet the poet goes on to confess his own involvement with "the dark mysteries of Paradox": I marry freedom to fastidious form. I trust the spirit in the arms of sense. I can contrive a calm from any storm. My art, my business is ambivalence. In every poem by me on my shelf Confidentially yours I hide myself.

This subtle, extended argument marks an interesting change from Francis's usual short image-centered poems. There are, to be sure, many of these as well, including a few derived from his travels abroad. Several of the new poems in this volume are written in a form Francis originated, a versification system he called word-count. Rather than adhering to a regular number of syllables or metrical feet in a line, the poet counts whole words and maintains the same number of words per line throughout. Although this regular count is often unobtrusive to a reader, Francis thought its arbitrary demands could lead a poet to concentrate more intensely on choices of diction and control of rhythm. The form is highly

flexible in the effects it allows: "Dolphins," "Stellaria," "Museum Vase," and "Icicles" are all word-count poems, and each has its own distinctive sound. Word-count represents the sort of artistic paradox celebrated in "The Black Hood." It is indeed a marriage of "freedom to fastidious form." In 1967-1968 Francis was awarded the Amy Lowell Traveling Scholarship and visited Italy a third time. He spent most of his time living and writing in Florence. Shortly before his return to Amherst, his new publishers brought out a collection of critical prose, The Satirical Rogue on Poetry (1968). This book was reissued in a considerably expanded form by the University of Michigan Press in 1980 as Pot Shots at Poetry. As the latter title suggests, these prose pieces are short—often less than a page—and narrowly focused (or, one might say, targeted). Francis takes aim at the peculiarities, puzzles, and pretensions of the poetry world. Sometimes he is humorously cranky, as in "Lounge": God forbid I ever have to give a poetry reading in a lounge, a lounge where the listener sinks out of sight and sound in some deep-bosomed overstuffed divan. If anyone ever drops a pin during my reading, for God's sake let me be where I can hear it!

Sometimes he is bitter, as at the close of "No Poem So Fine": No poem is fine enough to be safe. A critic can always maul it or pooh-pooh it if he has a mind to. Poems have not learned jujitsu or karate. They go naked and trusting. On the other hand, no poem is too wretched for some critic (if he has a mind to) to hail as a gem.

And sometimes, as at the end of "Defense of Poetry," he is memorably shrewd: I would say that a poem worth defending needs no defense and a poem needing defense is not worth defending. I would say it is not our busi-

84 / AMERICAN WRITERS ness to defend poetry but the business of poetry to defend us.

Throughout, however the tone may vary, the perspective is that of a bemused outsider. The book received little notice. Looking back on it a few years after it appeared, he wrote ruefully in The Trouble with Francis: My hidden motive in writing The Satirical Rogue was to get even with the world of poetry which had caused me so much suffering over the years. To get even with it by pin-pricking and deflating it. Unknown to the reader and only partly known to myself, I was expressing my hostility in socially acceptable terms.

Francis was soon able to present himself to the reading public in two more substantial works of prose: his autobiography and a memoir of Robert Frost. A REVEALING AUTOBIOGRAPHY

The Trouble with Francis: An Autobiography (1971) is the indispensable source for information on the poet's life. Generous in circumstantial detail, it is, like Francis's poetry, somewhat guarded in its approach to the poet's emotional development. The dearly valued privacy of Fort Juniper is in some respects firmly maintained. Yet in the end it proves a revealing document. Its organization is quirky. Francis begins his life story at the point where his fictional treatment of it in We Fly Away ended—in 1937, when he left the last of his Amherst landladies to move into "the old house by the brook." He then proceeds chronologically to the present, filling eleven chapters. In Chapter 12 he circles back to his birth and brings us in the next several chapters from his childhood on through his early years in Amherst. This segmented approach to reminiscence tends to emphasize certain areas of the writer's

experience. The initial emphasis is on maturity: we witness Francis's struggle for personal autonomy, through the whole saga of the building of Fort Juniper and the literary career he pursued while leading a spartan, self-sufficient life. It is only after the image of his hard-won success has been placed before us that Francis turns to show us the timidity and awkwardness of his earlier self. It is like a before-and-after pair of pictures, viewed in reverse order. This structure, by impressing us with the great gap dividing the finished man from the uncertain youth, stresses Francis's ability, discovered over the years, to make himself into a stronger, more creative person. It presents his life, as much as any writing of his, as an esthetic work (and, at the time he was writing The Trouble with Francis, as a work in progress). In this regard it seems very much a poet's consciously shaped approach to autobiography. As one would expect from his poetry, Francis's descriptions are enlivened with telling detail. Whether writing of Amherst or of Italy, he shows an intuitive grasp of the texture of life in the place. We see his power of observation in his vignettes of his family and his Amherst neighbors, and his Thoreauvian way of life loses its air of quaintness as he exhibits it confidently and candidly to the reader. Some parts of the book smack of the manifesto, as Francis explains his extraordinary economies and also enthusiasms like his vegetarianism, which had an ethical as well as an economic basis. In an extended passage he sings the praises of the soybean. At the end of the book, with some signs of reluctance, he makes two disclosures. The first concerns sexual orientation. "Ever since adolescence," he writes, "I had been drawn erotically to members of my own sex and to them only." For most of his life, he tells us, his timidity and awareness of the possible social consequences kept him from expressing these feelings overtly. In 1958, however, he began a love affair with

ROBERT FRANCIS / 85 an Italian whom he had met on shipboard on his way back from his Rome fellowship year. This relationship continued over the next few years through occasional meetings and was renewed during Francis's second residence in Italy. Francis's discussion of his sexual preference and of this affair is reticent by present-day standards. He never reveals his lover's name, and he does not describe intimacies. This was apparently the only such relationship he engaged in over the course of his life. How much, a reader may wonder, should Francis's sexual nature figure in interpreting his poems? Sexuality seems more a significant absence than a major presence in his work. The self-control he exercised in life extended to his writing, in which erotic feelings are rarely expressed directly. When such feelings are hinted at, as in some poems describing young males engaged in athletic or other physical activity, the elegance of the language and the detachment of the observing speaker make the effect predominantly esthetic. Francis himself took this view of such poems. In 1976 he reprinted several of his poems about young males together with prose sketches in the same vein in a chapbook, A Certain Distance. In his foreword to this collection he wrote: Many an artist over the centuries has concentrated on the female form, using it sometimes as a finality and other times as a point of departure for all sorts of elaborations, abstractions, and speculations. The erotic impulse that stimulated the artist at the outset may at times be so far transcended as to be quite lost sight of. These pictures of the young male can be accounted for, I suppose, by the same psychology.

The second revelation at the close of Francis's autobiography concerns his religious outlook. In the book's final chapter he describes himself as an atheist, but his emphasis is not on particular problematic church doctrines. More sweepingly, he expounds his view of a world in which what he calls evil (or E, for much of the chapter) is a

chronic and inescapable reality. By E he means "all that is hostile to human life and its fulfillment," and believing such a malignant power to be pervasive, he finds it impossible to believe in a merciful God. Most of the chapter is devoted to his vision of the ubiquity of evil; in the end he is forced into a somewhat paradoxical vein when discussing how this worldview has affected his own life. He writes, "Though my view of the human situation is dark, in my own life I embrace all available brightness. Having faced intellectually the full force of evil, I want to face imaginatively the full possibility of good." And he ends by professing a system of values that, he argues, may be independent of religious belief: "truthfulness, justice, courage, mercy, and that most difficult of virtues: the putting of the interest of another person above the interest of oneself." Considering the full range of Francis's poetry, one would have to say that these ideas on evil are touched on numerous times but come to the forefront in a relatively small number of poems, "The Orb Weaver" being a prime example. It is no doubt because his poetry is so grounded in the particulars of a daily life he found happy and rewarding that Francis's pessimism is kept within bounds in his work. His bleak philosophical position, however sincerely held, does not mark his writing as deeply as a similar view does, for example, the work of Thomas Hardy. Francis remained bemused by this apparent contradiction, labeling himself "a happy pessimist." The Trouble with Francis was soon followed by a brief but absorbing memoir, Frost: A Time to Talk. We learn much about Francis as well as about Frost from this respectful but not uncritical portrait. In his autobiography Francis had written briefly of his friendship with the older poet and of his attraction to Frost's "power." "He was a poet and he had power; the combination was striking. . . . As for me, power, any kind of power, was notably what I didn't have."

86 / AMERICAN WRITERS Given this disparity, and the ease with which admiration can sour into envy, it is remarkable that Francis's memoir is not more barbed than it is. By the time he wrote it, he must have been thoroughly weary of seeing his work compared (usually to its disadvantage) with that of Frost. In Frost: A Time to Talk Francis for the most part transcribes from his journal the records he kept of his conversations with Frost. He usually refrains from retrospective judgmental comment, letting dialogue speak for itself. It is clear that, like others, he was at times repelled by Frost's egotism. Yet his view both of the man and the poet is balanced and without apparent prejudice. At the end of the memoir he declares his favorites among Frost's poems, in a list that shows much critical acuity. In an interesting passage he offers his opinion that Frost was at his best as a lyric poet. The very best of Frost's lyrics, he writes, are "cut and shining gems." While he admires some of the longer poems, he finds fault with Frost's blank verse: "the problem of sustaining the underlying iambic beat and doing it without monotony was sometimes too much for him." One may wonder if these comments reflect something of Francis's own earlier disaffection with the meter: after "Valhalla" blank verse was a form he returned to infrequently. The 1970s proved an active and fruitful decade for Francis. As his publication rate increased, he was more in demand for poetry readings and stints at writers' conferences. He had developed a winning platform manner, often reciting from memory rather than reading. An honorary degree from the University of Massachusetts (1970), a Creative Arts Award in Poetry from Brandeis University (1974), and the establishment of the Juniper Prize honored him and increased his visibility. He was at the same time active as a citizen in opposing the Vietnam War. From 1966 to 1973 he took part in a weekly vigil on Amherst Common to protest American involvement in the conflict.

In 1974 he brought out another collection, Like Ghosts of Eagles. Here his experiments with form branch out in new directions. Some poems consist of a single sentence or of sentences flowing into each other without punctuation. Others make use of a technique Francis called "fragmented surface." Such pieces are constructed of single words or brief phrases juxtaposed without conventional grammar, syntax, or punctuation. Francis thought the technique yielded "greater emotional impact." Some lines from "Blood Stains"—the beginning and the end—are representative: blood stains how to remove from cotton silk from all fine fabrics blood stains . . . headlines dispatches communiques history white leaves green leaves from grass growing or dead from trees from flowers from sky from standing from running water blood stains

Like some of the other more jagged and agitated pieces, this one reflects Francis's outrage at the Vietnam War. Surprisingly, the fragmented surface poem from this volume that has proved most memorable is anything but agitated. "Silent Poem" is a work of daring minimalism and amazing purity. Its twelve lines, each made up of four compound nouns, are arranged in six distichs. With this unadorned inventory Francis evokes an entire landscape—that of rural New England—and the life led in it. He begins, "backroad leafmold stonewall chipmunk / underbrush grapevine woodchuck shadblow"—and he ends with a more haunting sequence: "gravestone groundpine windbreak bedrock / weathercock snowfall starlight cockcrow." Few poems of the twentieth century display such simultaneous control of rhythm, assonance, and imagery as this one does. It reminds us in a startling way that a poem can be made in only one way: by placing one word after another. In this book and in his later work Francis shows a heightened sensitivity to single words;

ROBERT FRANCIS / 87 in certain pieces metaphor merges with wordplay of various kinds. "City" begins, "In the scare / city / no scarcity / of fear." "The Bulldozer," Francis tells us, "Bulls by day / And dozes by night." Some of these pieces settle for cleverness rather than depth. They are, however, outweighed by more substantial lyrics: "Three Old Ladies and Three Spring Bulbs," "The Half Twist," and "When I Come." "His Running My Running" achieves an imaginative identification similar to that in "The Sound I Listened For": Out of leaves falling Over leaves fallen A runner comes running Aware of no watcher His loneness my loneness His running my running.

Francis's impressive publishing record of the 1960s and 1970s was capped by the appearance of his Collected Poems, 1936-1976. This attractively designed volume includes all of his collections through Like Ghosts of Eagles and adds a brief section of "New Poems." Francis did not rewrite his earlier poems, but he frequently made changes in the order in which they had appeared in their separate volumes. It is clear from these reconfigurations that Francis saw artistic opportunities in the presence of certain recurring themes in his work. Setting poems side by side with new neighbors, he enlivened their conversation with each other. Except for a chapbook published in the mid1980s and one posthumous volume, Collected Poems, 1936-1976 provides the standard text of the writer's life work in poetry. The new poems provide more examples of formal experimentation. Unusual in Francis's work is a dramatic poem, "Two Ghosts," in which the two specters in dialogue are his two revered predecessors as poets of Amherst, Robert Frost and Emily Dickinson. Another new formal strategy appears in "Fire Chaconne," a sequence of twenty tiny poems all centered on

the image of fire. (Wallace Stevens's "Thirteen Ways of Looking at a Blackbird" may have provided a model.) "Poppycock" is one of the more entertaining of his poems that dwell on a single word. "Spell" and "Pedal Point" are delicate lyrics of a more traditional sort. Francis furnished Collected Poems, 19361976 with a short preface in which he highlights what he sees as evidence of progress in his work. He describes his early poems as having been written by "a serious young man whose most constant pleasure was a silent dialogue carried on with himself, a prolonged solitary brooding." Continuing in the third person, he asserts that "as he grew older his poems grew younger until, toward the end of this collection, some poems are positively frisky." It is true that Francis grew more inclined toward satire and light verse as he grew older. To judge from his comments, he prized such poems as an advance beyond the naive solemnity he saw in his younger self. A reader may accept his lighter pieces as a mark of emotional flexibility while still not ranking them on a par with his best work. Some of his humorous poems manage to be mildly amusing; but too many are strained bits of whimsy or self-indulgent triviality. Around this time Francis briefly attempted a change in his living arrangements. Now in his mid-seventies, he took an apartment in the center of Amherst, planning to stay there through the winters and return to Fort Juniper for the pleasanter parts of the year. After a few months he decided he had made a mistake and went home to Fort Juniper before his apartment lease expired. There he continued to live until the end of his life, regardless of the health problems that in his late seventies began to accumulate. He was occasionally afflicted by an irregular heartbeat and also suffered a series of small strokes. Both conditions were controlled by medication, though his speech was slightly affected by the strokes. In the 1980s Francis became legally blind from deterioration of the

88 / AMERICAN WRITERS retina. His last poems were not written down by him but dictated to friends. Throughout his last years Francis enjoyed a degree of celebrity, though he still treasured his solitude. The town of Amherst honored him with a Robert Francis Day and named a footbridge over a creek for him. He took pleasure in the visits of old friends and new, serving them his homemade dandelion wine while pursuing conversation on literature and much else. By now frequently anthologized and with a substantial body of work before the public, he felt fulfilled as a poet. His friends recall that he often spoke of his poems as his children and that he claimed to have no favorites among them. The Academy of American Poets named him a fellow in 1984. In the same year a chapbook, Butter Hill and Other Poems, was published. (Part of its contents were reprinted in the posthumous volume Late Fire, Late Snow: New and Uncollected Poems, 1992.) The last books of his to appear in his lifetime were two widely different works of prose: The Trouble with God (1984) and Travelling in Amherst: A Poet's Journal, 1931-1954 (1986). The Trouble with God, a short book published in an edition of a hundred copies, is a work of religious controversy. It goes over much the same ground as the chapter on religion in the author's autobiography but lodges many more detailed objections to theistic religion and to Christianity in particular. Compared with the argument in The Trouble with Francis, this one seems weary and rambling. Francis does not show much awareness of the historical development of the doctrines he attacks, or of the sometimes varying interpretations of them by communities of believers. As with all theological disputations, his is unlikely to convince anyone who is not already inclined to agree. The most puzzling and disheartening thing in the book is Francis's reaction to religious language. With a sort of cheerless sportiveness,

he takes a rationalistic ax to the symbolic language of the Bible. For example, he comments on the famous metaphor of separating the sheep from the goats at the Last Judgment: What an unfortunate simile! The shepherd does not separate his sheep from his goats to save the sheep and destroy the goats, but only for the convenience of counting them and taking care of them. Sheep and goats are presumably of equal value to him, with the goats having the advantage of being able to subsist on sparser diet than the sheep.

Many readers, whatever their religious opinions, will find something odd and ironic in the spectacle of a master of metaphor assailing metaphorical uses of language. In a final chapter, perhaps to forestall psychoanalytic speculations, Francis assures us that he did not by any means come to his views out of rebellion against his minister father. Travelling in Amherst makes pleasanter reading. These selections from his journals, with their spontaneous reactions to contemporary events, offer a confirming supplement to the retrospective account of his early life in The Trouble with Francis and in his Frost memoir. Most of the entries are brief and there are few surprises; yet the story gains some immediacy in this telling of it. One is impressed by how constant some of his preoccupations were. In 1931, years before the building of Fort Juniper, we find him musing on Thoreau: Thoreau went to Walden to escape the village, but not to escape himself. He went to find himself, to find life. Whenever a man cuts himself off partially or wholly from his fellows and simplifies his mode of life in order to have more of life and to become better acquainted with himself, he is following Thoreau.

Almost as far back, in 1933, he is pondering the problem of evil: I see all the evil of the world as a black tapestry against which and within which man is to weave

ROBERT FRANCIS / 89 the golden threads of his life. He can never blot out the black. He can only weave a more and more beautiful pattern. If he could blot out the black, where would his pattern be?

Throughout, there is a profound commitment to his artistic discipline. He writes, "I want form to be the perfect expression of the content. I want form to fit feeling as skin fits flesh." And elsewhere, wittily: "Writing poetry is like playing the harp: it often takes as long to get in tune as it does to play." Like Francis's other autobiographical works, this book suggests how enriching an embrace of simplicity can be, whether in life or in art. Although increasingly infirm and hindered by poor eyesight, Francis continued to compose poems and, with the help of his friend Henry Lyman, set about compiling a new volume of lyrics. Before he could complete this work, in the summer of 1987, he fell and broke a hip. Although the operation to repair it was a success, it left him too weak to go home. After lingering a few weeks, Francis died of pneumonia in the hospital in Northampton on July 14, 1987. He was a little less than a month short of his eighty-sixth birthday. In accordance with his wish, the trustees of his estate have since maintained Fort Juniper as a residence for writers, with tenancy customarily of a year. The year following Francis's death saw the publication of a brief prose work, Gusto, Thy Name Was Mrs. Hopkins: A Prose Rhapsody. Perhaps because of its brevity or the highly local nature of its material, Francis had trouble finding a publisher for this memoir, although he continued to hope for one. He mentions it as a completed work in 1971 in his autobiography. Finally, a young Canadian admirer and small press proprietor, Gordon Lawson McLennan, took it on with Francis's blessing, although the poet did not live to see the finished book. This tribute to the first of Francis's landladies, Margaret Sutton Briscoe Hopkins, is written in some of his most delightful prose. The redoubt-

able Mrs. Hopkins, an Amherst College professor's wife, was the woman who introduced Francis to Frost. Francis offers an amusing and affectionate description of her commanding ways and eccentricities, and he makes clear the appreciation he felt for the impetus she gave him at the outset of his career. It is a pity that this book, published in a small edition in Canada, has been almost unobtainable in the United States. Francis's late poetry is easier to come by. Lyman, his literary executor, edited the posthumous volume Late Fire, Late Snow. Starting with the manuscript Francis had been compiling with his assistance, Lyman augmented it with a number of uncollected poems, some retrieved from correspondence. Some poems from the chapbook Butter Hill are included. The result is a substantial collection of fifty-six poems. Both the chapbook and this final volume show that Francis maintained a remarkable vitality as an aging poet. His writing may have slowed, but its virtues did not fade. The poems are not dated, so it is not always certain which are early and which are late. In his later years Francis moved easily between more traditional and more innovative verse forms. As might be expected in a final volume, several pieces contemplate mortality, at times impersonally, at other times quite personally. He makes a grim nursery rhyme on the theme in "Play Ball!": Ball we were born on Ball that keeps turning Ball we will die on When life stops burning.

In "The Brass Candlestick," death is the ultimate separation, impervious to any human wish or ritual. The poet depicts a private rite of memory for his dead father. Time after time he has lit a single candle, And seen the flame in the still room shiver As in a ghost of wind, or moveless like

90 / AMERICAN WRITERS The tear-drop evening star, and with the black Iron box-snuffers trimmed the charred wick And in the candle's light have lived and breathed And still the old man would not come.

Other meditations of this sort, ranging widely in tone, include "The Old Peppermint Ladies," "Cadence," and "Columbarium." Equally typical and equally adept are poems focusing on vital energy, whether viewed in nature or in humanity. "Bravura," "Late Fire Late Snow," "The Far Northern Birch," "The Whippoorwill," "The Long Shower," and others explore the brighter end of the emotional spectrum. An extraordinarily vigorous feat of rhythm, "Gray Squirrel" begins, "Flighty as birds, fluid as fishes / He flies, he floats through boughs, he flashes," and ends, "How could I catch him, how can I match him / Except with a fast eye and my best wishes?" One finishes this book persuaded that the poet's eye was often fast enough and his sympathies large enough to capture fleeting perceptions and preserve them, through years of writing, in the permanence of art. By the end of his life Francis occupied an honored position in American letters. But although his readership has increased greatly, his work has yet to receive much close critical attention. Almost all the critical response to his poetry has come in the form of usually brief reviews of individual volumes. The exceptions to this, for the most part, have been articles in special issues of literary magazines devoted to his work, and many such pieces have offered more appreciation than interpretation, or have been confined in space and scope. That said, there are helpful comments on his work to be found in the issue of Field honoring his eightieth birthday (fall 1981) and the memorial issue of the Painted Bride Quarterly (1988). As of 2001, there was not yet a complete edition of Francis's poems in print, and a small amount of his verse remains uncollected in any

volume. A large number of his prose pieces have yet to be reprinted from periodicals. A booklength critical treatise, Francis on Poetry, remains in manuscript. He has thus left work to be done by editors as well as critics. The major gatherings of his papers are deposited in the Special Collections of three libraries: at Syracuse University, at the University of Massachusetts, and at the Jones Library in Amherst, where as a young man Francis labored over his poems every day at an upstairs desk. Francis's reputation is likely to increase with the scholarly and critical scrutiny time will bring. His appeal as a writer is not to one specialized audience but to a number of overlapping ones. Readers who ordinarily find modern poetry difficult appreciate the accessibility of his style. At the same time, his mastery of conventional verse forms and his creation of new ones draw the attention of those concerned with poetic techniques. At present, when formalist strategies in poetry are being reexamined and reinvigorated by younger poets, Francis provides many salient examples of what his mentor Frost called "the old way to be new." Other responses to the author are likely to be invited by content rather than by style. Francis was unapologetically a New England writer; his descriptive fidelity preserves an image of the place in a time now rapidly disappearing from living memory. His connections with earlier important writers of the region—Frost, Dickinson, Emerson, and Thoreau—are complex, and they stem not only from shared locality but from a wealth of ideas, some of which Francis embraced, others of which he debated. All this makes his writing of signal interest to students of New England's intellectual and literary history. Finally, Francis has attracted, and will no doubt continue to attract, certain readers with the compelling story of his pursuit of a life of simplicity and self-sufficiency. Thoreau occupied his cabin at Walden Pond for two years; Francis made Fort Juniper his home for close to half a century. Although he would have been

ROBERT FRANCIS / 91 most uncomfortable in the role of a guru, he was and remains an exemplary figure for many who dissent from conventional mores. Late in his life, without any calculation on his part, his antiwar views and his unencumbered lifestyle struck a chord with the counterculture. There is much in his work that speaks to the condition of those who are repulsed by the effects of militarism and consumerism upon society. Brief as the critical discussions of Francis tend to be, many of them sooner or later get around to a comparison of Francis with Frost. The consensus, unlikely to be changed, is that Frost is a major poet, Francis a minor one. Francis himself accepted the designation with good humor. "I am a poet, minor. Or I try," he wrote in "The Black Hood." Without disputing the label, one might note that Francis, unlike many minor poets, was not only keenly aware of his limitations but was eventually able, to the degree that it was possible, to turn them into strengths. The individualism of his outlook, the clarity of his perceptions, and the consistently high quality of his unshowy craftsmanship have few parallels in modern American poetry. His poems continue to remind his readers that the pleasures afforded by some minor poetry are anything but minor.

Selected Bibliography WORKS OF ROBERT FRANCIS POETRY

Stand with Me Here. New York: Macmillan, 1936. Valhalla and Other Poems. New York: Macmillan, 1938. The Sound I Listened For. Self-published, 1943. (Edition of 300 copies.) Reprint, New York: Macmillan, 1944. (Reprint contains additional poems.) The Face against the Glass. Self-published, 1950. (Edition of 300 copies.)

The Orb Weaver. Middletown, Conn.: Wesley an University Press, 1960. Come Out into the Sun: Poems New and Selected. Amherst: University of Massachusetts Press, 1965. Like Ghosts of Eagles: Poems, 1966-1974. Drawings by Jack Coughlin. Amherst: University of Massachusetts Press, 1974. Collected Poems, 1936-1976. Amherst: University of Massachusetts Press, 1976. Butter Hill and Other Poems, n.p.: Paul W. Carman, 1984. (Chapbook; edition of 400 copies.) Late Fire, Late Snow: New and Uncollected Poems. Amherst: University of Massachusetts Press, 1992. (Includes some of the contents of Butter Hill. A fine press edition, published in the same year, is available from the Estate of Robert Francis in Northampton, Massachusetts.) AUTOBIOGRAPHY AND MEMOIRS

The Trouble with Francis: An Autobiography. Amherst: University of Massachusetts Press, 1971. Frost: A Time to Talk. Amherst: University of Massachusetts Press, 1972. British ed. published under title Robert Frost: A Time to Talk—Conversations and Indiscretions Recorded by Robert Francis. Travelling in Amherst: A Poet's Journal, 1931-1954. Boston: Rowan Tree Press, 1986. Gusto, Thy Name Was Mrs. Hopkins: A Prose Rhapsody. Toronto: Chartres Books, 1988. (Virtually undistributed in the United States. Copies are available from the Estate of Robert Francis in Northampton, Massachusetts.) CRITICISM AND SATIRICAL COMMENTARY

The Satirical Rogue on Poetry. Amherst: University of Massachusetts Press, 1968. Pot Shots at Poetry. Ann Arbor: University of Michigan Press, 1980. (Reprints The Satirical Rogue on Poetry with many additional pieces.) The Satirical Rogue on All Fronts, n.p.: Paul W. Carman, 1984. (Chapbook; satirical miscellany.) UNCOLLECTED PROSE PIECES

Rome without Camera. Amherst: Jones Library, 1958. (Travel essay.) "Emily for Everybody." New England Review 1, no. 4:505-511 (summer 1979). (Comparison of the

92 / AMERICAN real Emily Dickinson with the portrayal of her in the play The Belle of Amherst.) OTHER WORKS

We Fly Away. New York: Swallow Press and William Morrow, 1948. (Fiction.) A Certain Distance. Woods Hole, Mass.: Pourboire Press, 1976. (Chapbook; combines prose sketches and selected poems.) Francis on the Spot: An Interview with Robert Francis. Interview conducted by Philip Tetreault and Kathy Sewalk-Karcher. Woonsocket, RI: Tunnel Press, 1976. (Later included in Pot Shots at Poetry.) The Trouble with God. West Hatfield, Mass.: Pennyroyal Press, 1984. (Religious controversy; edition of 100 copies.) Clarification of God. n.p., n.d. (Ten-page tract.) MANUSCRIPT ARCHIVES

The Robert Francis Collection, Jones Library, Amherst, Massachusetts; The Robert Francis Collection in the Library Archives, University of Massachusetts; The Robert Francis Papers, George Arents Research Library, Syracuse University; and Archive of the Canadian Friends of Robert Francis, Toronto.

CRITICAL AND BIOGRAPHICAL STUDIES Field 25 (fall 1981). (Special issue containing brief articles by David Young, Donald Hall, Robert Wallace, Alberta Turner, Richard Wilbur, and David Walker on individual Francis poems.) Gillman, Richard. "The Man Robert Frost Called The Best Neglected Poet.'" New York Times Book Review, March 10, 1985, p. 32. . Introduction to Travelling in Amherst, by Robert Francis. Boston: Rowan Tree Press, 1986. Pp. vii-xviii.

WRITERS . "Color, Energy, Action." Sewanee Review CII, no. l:xi-xii (winter 1994). Holmes, John. "Constants Carried Forward: Naturalness in Robert Francis's Poems." Massachusetts Review 1, no. 4:765-774 (summer 1960). McLennan, Gordon Lawson. Afterword to Gusto, Thy Name Was Mrs. Hopkins, by Robert Francis. Toronto: Chartres Books, 1988. Pp. 43-49. McNair, Wesley. "The Triumph of Robert Francis." Harvard Review 11:81-90 (fall 1996). Nelson, Howard. "Moving Unnoticed: Notes on Robert Francis's Poetry." The Rollins Critic 14, no. 4:1-12 (October 1977). Painted Bride Quarterly 35 (1988). (This "Robert Francis Issue" contains many poems later included in Late Fire, Late Snow, followed by essays by Joseph Langland, Mary Fell, Richard Bradley, David Graham, Jonathan Blunk, Robert Bly, and Wang Hui-Ming.) Phillips, Robert. "'Even Here . . .': Notes on Robert Francis." American Poet: The Journal of the Academy of American Poets, fall 1998, pp. 9-11. Shaw, Robert B. "Outside of Amherst." Poetry 121, no. 2:102-105 (November 1972). . "Coming Out into the Sun." Poetry 131, no. 2:106-110 (November 1977). . "Seers and Skeptics." Poetry 163, no. 1:39-42 (October 1993). Veenendaal, Cornelia. Afterword to Travelling in Amherst, by Robert Francis. Boston: Rowan Tree Press, 1986. Pp. 97-101. Wilbur, Richard. Introduction to Butter Hill and Other Poems, by Robert Francis, n.p.: Paul W. Carman, 1984. Unpaginated.

—ROBERT B. SHAW

William Humphrey

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1924-1997 Heaven (1977), which takes his life only as far as his departure from Clarksville at thirteen, the day after his father's funeral in July 1937. The book makes Clarksville and the Humphrey family extraordinarily vivid. A year after the author's death, a critical biography appeared. William Humphrey, Destroyer of Myths, by Bert Almon, was based on Humphrey's archives at the University of Texas and letters to his friends, Katherine Anne Porter and F. W. Dupee, and to Annie Laurie Williams, his film agent. Humphrey's memoir, which is considered in depth later in this study, is as much a family history as a self-portrait. His parents were upwardly mobile until the Depression undermined the father's business. Conflicts between his parents, brought about by financial difficulties and the father's increasing problems with alcohol, were left unresolved at the time of Clarence Humphrey's death in an automobile crash. Humphrey and his mother then left Clarksville for Dallas. The son did not return to Clarksville for thirty-two years, but his traumatic departure seemed to fix the town in his memory forever with a Joycean richness of detail. In Dallas, almost immediately, he won a scholarship to the Dallas Institute of Art and planned to become a painter. Only when he tried to join the army did he learn that he was in fact color blind. He attended Southern Methodist University in Dallas in 1940, then spent a year at the University of Texas, where he joined the Young Communists. Radical politics soon dropped away, but he remained a strong liberal and civil rights supporter all his life. After a year, he returned to Southern Methodist University and majored in German. He translated works by Freud, whose

ILLIAM HUMPHREY'S PLACE of birth and social origins had a profound effect on his writing. An obituary by Mel Gussow in the New York Times (August 21, 1997) was titled "William Humphrey, 73, Writer of Novels about Rural Texas." His finest work came out of northeast Texas, but he would not have appreciated any suggestion of his being a narrow regionalist. Humphrey was more a small-town writer than a rural one. His town was Clarksville, in Red River County, Texas. It was a market town where, as in the opening of his most successful novel, Home from the Hill (1958), the first bale of cotton, wrapped in red bunting, would sit on a platform after the harvest. The area was culturally southern rather than western. Clarksville's population was around three thousand when he left it. He was born there on June 18, 1924, to Clarence and Nell Humphrey. His father was a mechanic who owned his own business, and his mother was a housewife. His grandparents on both sides were sharecroppers, and Humphrey would carry the fear of being considered "poor white trash" into his old age. He would go very far from Clarksville, living in Italy and New York's Hudson River valley, but a loving ambivalence about the South with its racism and its cult of the hunter would help shape his writing. Humphrey was an obsessively secretive man who never went on promotional tours. He took jobs as a writer-in-residence only when he needed money and turned down permanent jobs teaching creative writing, preferring to work in relative solitude. Until his death in 1997, the major source of information about his life was his own memoir, the brilliant Farther Off from

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94 / AMERICAN views on family dynamics influenced him; his own oedipal currents run through the memoir and all of the novels except No Resting Place (1989). During the writing of his third novel, Proud Flesh (1973), he reshaped the work to fit the pattern of the Electra complex. In his teens Humphrey found a used copy of Don Quixote at a bookstall. The edition was in the Harvard Classics series, edited by Charles W. Eliot. Humphrey's notebooks make it clear that the inspiration for his literary career came from Norton's introduction to this work, in which he suggests that writers can achieve immortality and that a novel can achieve universality through the local. Cervantes wrote about a parochial part of Spain and created a timeless classic. Humphrey would try to do the same for Clarksville. His serious pursuit of a writing career began when he walked out of a German class—and Southern Methodist University—in 1944. He never lived in Texas again. Humphrey first went to Chicago, where he worked for the Chicago Screw Company, then to New York City, where he met W. H. Auden and Randall Jarrell, who gave him literary advice. While working as a shepherd on an estate near Woodstock, New York, he met Dorothy Feinman, a dancer and painter from Brooklyn who was also the married daughter of his employer. They decamped on his twenty-first birthday, hoping to make it to Mexico on seventy-five dollars. They wound up broke in Dallas and had to be rescued by his relatives. The couple eventually married, and remained so until Humphrey's death. Like Humphrey, she had been a Young Communist in her university days. Humphrey's literary career followed a familiar pattern for the period. He published stories that got him a job at Bard College in the Hudson River valley, an area where he spent much of his life. His first collection, The Last Husband, and Other Stories, appeared in 1953. The stories led to inquiries by publishers looking for new novelists, a traditional route for the start of a

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career. As James Ward Lee points out in the Dictionary of Literary Biography, some of the stories, especially the title work, appear to be attempts to write fiction in The New Yorker style. The title story, for example, deals with the cocktail parties and erotic intrigues of commuters who live in the suburbs and work in Manhattan. It is overcomplicated and unconvincing. Ironically, the one story by Humphrey that did appear in The New Yorker is the one which most clearly manifests his typical subject matter and attitudes. In "Quail for Mr. Forester," a southern family invites the last representative of a glamorous old lineage to dinner. As it turns out, he is interested in making a living; the past glories of the South and the Civil War mean little to him. The story is perhaps too Faulknerian in theme, but it foreshadows Humphrey's later interest in demolishing the aura of the Old South and the Lost Cause. Another story, "The Shell," echoes Ernest Hemingway but is still one of Humphrey's best, a touching treatment of his favorite father-son theme. The boy in the story suffers from grief over the death of his father. He keeps one shotgun shell belonging to the father, afraid of losing his link to the past. When he finally forces himself to use it, the shell turns out to be a dud: he has kept it for too long. The experience allows him to mature. In the remaining stories of The Last Husband, Humphrey is still an apprentice. Two of them, "In Sickness and in Health" and "Man with a Family," are heavily derivative of works by Katherine Anne Porter, one of the two American writers he most admired—and the only one he liked to acknowledge as an influence. In 1950 Humphrey invited Porter to the college for a reading. Porter, a fellow Texan who was born in Indian Creek and grew up in Kyle, towns even smaller than Clarksville, showed what could be done with people and places like those in his hometown. Her clear and precise style was a major influence on his own. She

WILLIAM HUMPHREY / 95 had a long correspondence with Humphrey, and they met often. Their mentor-disciple relationship, however, was sometimes stormy. Humphrey's other major influence, the one he often tried to deny, was William Faulkner, the greatest of southern novelists. The influence in this case was on subject matter: Humphrey's view of race relations and country life owed much to Faulkner. Humphrey, unlike his model, did not remain in the South. The novelist Joan Williams, who was Humphrey's student at Bard and later was mentored by Faulkner, has said that the young Texas writer was so vehement about repudiating Faulkner's influence that he refused to attend a reading by the Mississippian at Bard. Early in his correspondence with Katherine Anne Porter, Humphrey told her that he had an aversion to Faulkner's work, which astonished her, but later he admitted that the boar hunt in Home from the Hill owed much to Faulkner's "The Bear" in Go Down, Moses. Humphrey's first novel, Home from the Hill, was published by Alfred A. Knopf in 1958. Favorable reviews appeared in Life, Time, and the New York Times; the novel became a Bookof-the-Month Club selection and a best-seller, and was nominated for the National Book Award. The Gallimard firm issued a French translation, and interest in Humphrey's work in France persisted throughout his career. MGM bought the movie rights and made a film starring Robert Mitchum. Humphrey turned down an offer to be a technical adviser for the film, which was made in Clarksville. In fact, he refused to attend the premiere and always claimed never to have seen the movie. He and his wife sailed to Europe instead. In England the new novelist met his British publisher, Ian Parsons, who introduced him to Leonard Woolf and other famous writers. The Humphreys spent most of the years from 1958 to 1961 in Italy, where he worked on his second novel, The Ordways, published in 1965, and on a collection of stories, A Time and a Place

(1968). He also began a novel about a largerthan-life Texas family, the Renshaws. Over the years Humphrey occasionally took jobs as a writer-in-residence: at Washington and Lee University (1963-1964), MIT (1965-1966), and Princeton (1981-1982). He would spend most of his time at High Meadow, a house near Hudson, New York, built in 1795, which he and his wife filled with antiques. The Ordways was not as successful as his first novel; Humphrey was disappointed not to be nominated for major prizes, but it had respectable sales. Humphrey spent much of his time from 1961 to 1972 struggling to write Proud Flesh (1973), the Renshaw novel, eventually descending into alcoholism and drug abuse before finishing it. This third novel was a failure. The review by Christopher LehmannHaupt in the New York Times (April 4, 1973) was crushing. Lehmann-Haupt referred to Humphrey's "inexhaustible stock of cliches," compared his writing to a dust storm, and used the title of the novel—which refers to rotting flesh as well as family pride—as a way to ridicule the book as one that stinks. Other hostile reviews included D. B. Swope's in Best Seller (July 15, 1972), which suggested that the novel was "one of those books that will end up in great numbers on the bookstore discount tables where it should still be shunned by the discriminating purchaser." It did indeed end up on discount tables. Humphrey's subsequent career was devoted to recovering from the failure of this work. Much of his income came from his excellent essays about hunting and fishing, which appeared in magazines like Esquire and Sports Illustrated. Two of these, the amusing fishing tales, "The Spawning Run" and "My Moby Dick," were long enough to be issued subsequently as short books. They were also published, along with shorter pieces, in the collection Open Season: Sporting Adventures (1986). Humphrey still had major books to come,

96 / AMERICAN WRITERS namely Farther Off from Heaven (1977) and the fine Hostages to Fortune (1984), but his career as a famous American writer was over. Aside from an award from the National Institute of Arts and Letters in 1963, he received prizes only from the Texas Institute of Letters: the Carr P. Collins Award for nonfiction in 1977 for Farther Off from Heaven and the Lon Tinkle Prize for lifetime achievement in 1996. Humphrey's life took an even darker turn after the harsh reviews of Proud Flesh. Before Proud Flesh, Humphrey had a good circle of friends, including F. W. Dupee, Mary Lee Settle, Gore Vidal, and Theodore Weiss, the poet he had known since his Bard days. But in a moving tribute to Humphrey, the novelist Hilary Masters wrote that after the New York Times review of the novel appeared, Humphrey dropped all of his friends except Weiss and became a recluse. Certainly he dropped most of his literary friends. His isolation became more acute because of his growing deafness. Humphrey's late notebooks are certainly disturbing in their bitterness and melancholy. In one of them, Humphrey reflects that when he bought a new address book, he found that almost every person in the old book was dead or had ceased to be a friend. His wife, who was eight years older than he, was ill and went to live with her daughter. Humphrey was left alone as he died of cancer, cared for, according to Masters, by a hospice team. HOME FROM THE HILL

Humphrey's career as a major writer began with Home from the Hill, published in 1958. His first novel defines, to put it in Faulknerian terms, his postage stamp of soil: a town like Clarksville and the farming country around it. The body of the novel takes place in 1939, the year that war began in Europe, with a prologue set in 1954, the year that school segregation was overturned

by the U.S. Supreme Court. The novel exists in the last era of the traditional southern way of life. The town is typically southern, with a statue of a Confederate soldier on the town square. Under the shadow of the monument passes a hearse. Humphrey has an intricate story to tell, and he leaves the reader in doubt about many things until the end. Even in the prologue, pages pass before the body in the hearse is identified as that of Hannah Hunnicutt, who has died in an asylum and is to be buried in a grave between the headstones of her son, Theron, and her husband, both of whom died on May 28, 1939, according to their epitaphs. But the narrator says that there is no one buried in Theron's grave. The oddity is that Hannah has a headstone which says that she too died on May 28, 1939. These peculiar circumstances will be explained by the end of the novel. The early narration is collective, using the first-person plural, "we," to tell much of the story. The "we" is a kind of representation of the conservative community that has witnessed the fall of the Hunnicutts. This point of view is clearly modeled on Faulkner's "A Rose for Emily," which also deals with madness and the fall of a leading family. More particularly, the collective narrator seems to represent the men who whittle and talk on the town square, the males of a traditional, patriarchal society. Fairly early, however, the storytelling slides into the unobtrusive norm of third-person narration. Humphrey liked to describe his novel as a modern tragedy. His central character, Wade Hunnicutt, is presented as socially superior to everyone in the community, fulfilling the Aristotelian requirement that the tragic hero be better than other men. But he is deeply flawed, unable to leave other men's wives alone, a trait that leads to his downfall. His wife is flawed as well, an intelligent woman who deplores her husband but stays with him in a loveless marriage to raise her child; she undoes herself by blurting out the truth about the father to the

WILLIAM HUMPHREY / 97 son. Theron, the product of this blighted marriage, hardly understands the oedipal undercurrents in his family. He becomes a priggish idealist who marries for one of the worst possible reasons, to make an honest woman of someone he thinks his father has seduced; the oedipal aura is unmistakable. He has acquired his father's rigidity and his mother's Puritanism. The work moves in a leisurely way, indelibly portraying life in an East Texas town. The southern pastime of hunting for coons at night is brilliantly described; the traditional prank of a "snipe hunt" is used to develop Theron's character; and archaic customs like Graveyard Decoration Day, when the whole community turns out to clean and tend the community's graves, are skillfully depicted. Black-white relations are traditional, which is to say racist. The servants, Chauncey and Melba, are rather antebellum in their deference, but their speech is beautifully rendered, as is the scene in which Melba tells Theron's fortune using apple seeds and a hot shovel. After Theron proves his manhood (as his father had before him) by killing a marauding boar, they host a barbecue on a Homeric scale. The son has become a man, and a great hunter like his father. The killing of the rampaging boar is the apex for father and son both, yet it marks the beginning of their downfall. When Theron goes to pick up his date, Libby, her father, Albert Halstead, turns Theron away at the door because of Wade's reputation as a Don Juan. Theron and Libby eventually find their way into each other's arms, and the scenes depicting their affair are tender and marked by convincing symbolic details, such as the moment when Libby screws an earring too tightly into her flesh in Theron's presence. But Captain Wade, as Wade Hunnicutt is styled (although not quite a king, he has a kingly aura), in turn sends Halstead away when he comes to ask for Theron to take Libby after all. Hunnicutt suspects that Libby is no longer a virgin, and

the sexual politics of a traditional southern town emerge when he says that his family does not want any damaged goods. When Hannah learns that Theron has been rejected by Halstead, she blurts out to her son that Wade is a lecher: "Like father, like son," she says. The son not only turns against his father, but rejects his mother for telling him. Theron is not aware that Libby is pregnant by him, and in a classic Freudian way, he turns from the idealized love object, Libby, to a degraded one. He marries the pregnant Opal Luttrell, the daughter of a sharecropper, though he refuses to consummate the union. He believes that Wade is the father of her child and he wishes to make reparations and, of course, to punish his father by marrying downward on the social scale. Wade's downfall is almost complete, for he loves his son deeply and has been scorned by him; worse, the justice of the rejection is clear even to him. In their short works on Humphrey, James Ward Lee and Mark Royden Winchell have both criticized the complications and contrivances that accumulate as the plot accelerates. Libby marries a man in order to have a father for her baby, and the snickering, misogynist comments at the christening lead poor Albert Halstead to think that the real father of his grandchild is Wade Hunnicutt. The timid Albert kills Wade with a blast from his own shotgun at the moment that Wade has reached full tragic recognition of the isolation he has brought upon himself. Albert Halstead is not a hunter, which makes Hunnicutt's fall especially heavy. Albert is pursued into the legendary wilderness of Sulphur Bottom by Theron, who kills him a moment too late to recognize that he is shooting the father of the woman he loves. He has no choice but to disappear forever into the uncharted wilderness to die. We can imagine Libby's grief and hopelessness, and we know from the prologue that Hannah goes mad. None of the characters can transcend the patriarchal code of their society, a code that seems to

98 / AMERICAN WRITERS benefit Wade (who has fathered half the children of the town) but leads him to destroy the heir he loves and the wife that he does not love but admires for her devotion to the son. Critics have misunderstood Humphrey's portrait of Wade Hunnicutt. He is a confident and commanding presence, and it is often assumed (by Gary Davenport and Mark Royden Winchell, for example) that Humphrey admires him and wants readers to hold him in awe as well. Katherine Anne Porter recognized immediately that all three of the Hunnicutts were in fact suffering from neurosis and indeed were marred by a tragic flaw. A passage from Humphrey's notebooks written in 1965 comments bitterly on the assumption that he endorsed certain myths and mystiques of his region that he wished to destroy: the masculine myth of the hunter; the Glorious Lost Cause myths of the Civil War; the myth of oil; the myth of Texas; and the myths of the cowboy and the outlaw. By the myth of the hunter, he had in mind not so much actual hunting, which he himself loved, but the macho attitudes of a man like Wade Hunnicutt, for whom women are game to be bagged. Hunting functions as a symbol of a patriarchal society. As the collective narrator of Home from the Hill says, "it must certainly be owned that even those of us who have gone to college, lived in the East, and ought perhaps to know better, never quite get over admiring a man who is a mighty hunter— and who, for the two things go together, takes many trophies poaching in the preserves of love." The same narrator admits that women suffer from the mystique of the hunter, "in a place where even the womenfolks felt that no man was a man who was not a hunter." The demolition of myths is pervasive in Humphrey's work. The cowboy is a figure deep in American popular culture, as is the outlaw. In The Ordways, he takes on both figures through Sam Ordway, whose quest for his lost son is a parody of the Wild West, and he satirizes the

glorification of the Civil War in the figure of Thomas Ordway. In A Time and a Place, he ridicules the folk mindset of respect for the bank robbers of the Texas-Oklahoma border. The mystique of oil, which includes tales of flamboyant oil drillers and stories about great wealth bestowed on ordinary people, is particularly strong in Texas. The folklore of striking oil is not relevant merely to Texas; the strike-it-rich mentality has been part of American life since the California Gold Rush of 1849. The myth of Texas refers to the ideology of the Texas Revolution centered around San Jacinto and the Alamo. Humphrey was aware that the revolution—which was triggered by the adoption of an antislavery provision in the Mexican constitution—fostered chauvinism in Texas life. His suspicion of Texas chauvinism and expansionism applied to similar tendencies in American life in general, hence his profound antagonism toward Richard Nixon and the Vietnam War, an obsession that actually wrecked his unfinished novel of the late 1970s, "Horse Latitudes." THE ORDWAYS

Life-denying codes are transcended in Humphrey's second novel, The Ordways. The myths chosen for deconstruction are the glorification of the Civil War and the revenge code of the Old West. The novel puzzled Harding Lemay, Humphrey's editor at Knopf, who had difficulty with its loose structure, and critics have also questioned the unity of the work. In the picaresque tradition, which permits digressions and the mixture of comic and tragic, the novel deals with the wanderings and hard times of a protagonist who is on the road. But readers were not then familiar with the form; the novel's escapes from realism in the portions about Sam Ordway in fact seem to anticipate postmodernist fiction. Sam's wanderings enable Humphrey to cover a wide landscape and juxtapose two ways of

WILLIAM HUMPHREY / 99 life. As Craig Clifford has astutely observed, Texas itself brings together South and West, regions of the United States with distinct life patterns. On the first page of the novel, we are told that the Clarksville area is "where the South draws up to a stop." Humphrey enjoys creating a contrast between the South of the Thomas Ordway section of his novel (cotton farming, towns with squares) and the West, where Sam Ordway goes on a quixotic quest for his lost son (ranch country where the towns have one street, as in Western movies). The opening section of the novel, "In a Country Churchyard," uses the frame of a Graveyard Cleaning Day in Mabry, near Clarksville, to introduce the Ordway family and to tell the story of the first Thomas Ordway. The narrator is his great-grandson, also named Thomas. What better place to narrate the origins and history of a family than among the graves of the American Ordways? The graves are all in East Texas because the older Thomas Ordway took them with him when he left Tennessee at the end of the Civil War. Blinded at Shiloh, with shredded legs described as looking like "boiled soup shanks," he journeyed with his pregnant wife and their son and daughter to Texas in a wagon laden with the bones and gravestones of his ancestors. Southern piety toward the family is mocked by such an absurdity. Humphrey is trying here to purge himself of his Faulknerian influences by parodying As I Lay Dying. In Faulkner's novel, the Bundren family piously drag their mother's rotting corpse around Mississippi to carry out an absurd pledge to bury her with her family in Jefferson. Humphrey's characters take the graveyard with them, and the father of the family is the rotting corpse. Like the Bundrens, the Ordways struggle against flood and fire and have to cross a raging torrent, the Red River in the Ordways' case. They lose their son Dexter in the struggle, but the ancestral bones survive, so to speak, and a

new son, Sam Ordway, is born in Texas. He will be the subject of most of the novel. The myth of the glorious southern cause is mocked by the presence of Thomas Ordway in every Confederate Memorial Day celebration in Clarksville, for Ordway's wounded legs never heal and the blind and mutilated man is a disquieting presence among the Civil War pieties. The erection of a Civil War monument, a statue of a soldier, is followed by the death of Ordway; the elegant statue replaces the terrible reminder of the carnage and waste of the war. One of the pleasures of the description of Memorial Day celebrations is Humphrey's evocation of the lavish potluck dinner associated with the holiday. This feast will be balanced by the family barbecue at the end of the novel, a feast which celebrates life rather than death. The saga of the Ordway migration to Texas mixes pathos and satire, tragedy and farce. The remainder of the book, the quest of Sam Ordway for his stolen son, is heavily comic, making Sam a burlesque figure in a picaresque plot. After Sam, the son of the Civil War victim, loses his wife to death and remarries, he loses his son Ned to his neighbors, Will Vinson and his wife, who had come to love the child. Sam pursues the Vinsons all over Texas, leaving his wife behind. The quest for a missing family member is the stuff of Western novels and films, and Sam dutifully tries to play the role of powerful avenger as he goes westward to track down the kidnappers. John Wayne would have found them and taken immediate revenge. Ordway takes an ancient pistol with him, and rides away not on a fine horse but in a farm wagon pulled by a mare and a mule. His adventures are often hilarious and approach magic realism in their extravagance. After Sam is overheard rehearsing to kill Will Vinson, he is put on trial for attempted murder. He is acquitted, not because he is innocent, but because his lawyer quotes a famous jurist who said that "in a Texas murder trial the first thing to be established is whether or not

100 / AMERICAN WRITERS the deceased ought to have departed." Ordway turns out not to be a ruthless killer in spite of the great loss he wants to avenge; his bravado is imaginary. As Sam's adventures take him throughout Texas, he holds various absurd jobs, such as working in an orphanage worthy of Oliver Twist and a turn in a circus. He learns that Vinson has taken the name of Sam Ordway, and in turn adopts the persona of Will. He wanders through the Edward Plateau and into West Texas, where he visits the ghost town of Fort Griffin, which had been one of the wildest towns in the Old West, a haunt of Wyatt Earp and Bat Masterson, but had quickly become a pitiful ruin. The history of the town was one of extermination, of Indians, of the buffalo. Nothing about it seems admirable. In the barren windswept plains of far western Texas, he meets a pioneer woman so crazed by loneliness that she survives only by inventing an imaginary friend, Mrs. Blainey. Sam's understanding of women (which has never been very good) is enhanced, and he misses his second wife deeply. He finally reaches the Balcones escarpment at a point overlooking the Rio Grande valley. He gives up the quest at that point, realizing that Will Vinson must have loved his son more than he did. The old adage about walking in another man's moccasins leads him to human sympathies he had never before experienced. The ultimate blow to the mystique of the cowboy-gunfighter comes years later with the return of Ned, grown up and in need of his real father, like Telemachus coming to find Odysseus. But Ned does not return as an impressive cowboy, as the narrator of the novel, his cousin Tom, expected. Rather, he has become a goatherd down on the Mexican border, not a Western hero. Herding sheep is bad by cowboy standards, but goats rank even lower as pastoral charges. It is possible to go West and not become a cowboy. But the novel ends with family harmony and one of the feasts, in this case a barbecue, that Humphrey describes so well.

A TIME AND A PLACE

Although The Ordways was successful (a Literary Guild selection, with six printings), it did not have the impact of Humphrey's first novel. Columbia Pictures bought the movie rights but scriptwriters found it lacking in drama. Humphrey's novel about another family, the Renshaws, gave him enormous trouble. But meanwhile he had written short stories that were collected in A Time and a Place (1968), a work begun in Italy in the early 1960s and his best in the genre. The stories deal with greed, popular delusions about crime, and the devastating effects of sudden oil wealth. The stories, as the title of the collection implies, have a specific setting: the Red River valley in Texas and Oklahoma during the 1930s, the era of the Dust Bowl, which brought poverty to most, and the oil boom, which brought riches to a few. One of Humphrey's finest stories is "The Ballad of Jesse Neighbours," which deals in a comic way with the oil boom and the cult of the outlaw. The impoverished young Oklahoman of the title has the misfortune to see his sweetheart's family strike oil. The Childress clan indulges itself with luxuries, including a trip to the Neiman-Marcus department store, a Texas institution for the ostentatious rich. Humphrey enjoys presenting it as a place of Arabian Nights luxury to spoof the image of the rich Texan. After the strike, Jesse is no longer fit company for Naomi Childress. The 1930s fostered another myth that Humphrey deplored: the notion that outlaws like Pretty Boy Floyd and Bonnie and Clyde were noble Robin Hoods. Jesse in desperation turns to bank robbery, but his attempt to stick up a bank in Clarksville over the state line is a comic failure. It leads to the death penalty for armed robbery and Jesse, like a mournful outlaw in a ballad, goes to the electric chair. Humphrey was surprised that the story was nominated for an Edgar Award from the Mystery Writers' Association of America.

WILLIAM HUMPHREY / 101 Humphrey's other story about outlaws, "A Voice from the Woods," deals with an actual bank robbery in Blossom Prairie, near Clarksville. It was based on a story told to Humphrey by his mother, who was courted briefly by one of the outlaws. Although Bonnie and Clyde and Pretty Boy Floyd are mentioned in the story, the robbers do not enjoy the long careers of their models. They are betrayed by one of their number and killed with ease as they leave the bank. Humphrey skillfully has the mother in the story narrate it in the presence of her son and daughter-in-law. The daughter-in-law has no conception of the supposed glamour of figures like Bonnie and Clyde. She has never even heard of them; outside of a particular time and place, such figures may not seem important. In his memoir, Farther Off from Heaven, Humphrey discusses the wish fulfillment represented by the outlaw among the have-nots of the Depression and Dust Bowl, people who had no fondness for banks. His own father became fascinated with these figures as he became poorer. Stories of the oil industry in A Time and a Place include "A Home Away from Home," the account of a farmer whose daughter runs off on a motorcycle with one of the supposedly glamorous figures of the trade, an explosives expert. He looks like a bug in his motorcycling gear and has been deprived of his hair, beard, and eyebrows by explosions. The unsuccessful oil drilling on the farm leaves the family poorer than when they started, with only a dry hole to show for their experiences, the kind of story that rarely makes it into folklore. On the other hand, in "The Pump" an old farmer, Jordan Terry, becomes rich when oil is struck on his land but is destroyed by envy and suspicion when oil is also found on the neighboring farm of his friend Clarence Bywaters. The pumps on each farm draw from the same pool, and Terry finds sharing the riches unendurable. He sits on his porch in his rocker (which is a parody of a

pump, a sterile motion going nowhere), listening to the sound of pumping and fretting until he finally dies of bad feelings. His grave is fittingly described as a "dry hole." One of the best stories is "A Job of the Plains," which reverses the biblical story. A farmer named Chester Dobbs survives the privations and natural disasters of the Dust Bowl but is driven into despair after oil is struck on his land and his friends and family are corrupted by wealth. The story, like others in the collection, reflects a deepening tone of cynicism and despair in Humphrey's work, a tone that would reach its height in his last book, September Song (1992). The most effective story about the devastating drought of the Dust Bowl period is "The Rainmaker," a hilarious tale of a con man, Professor Orville Simms, who disastrously brings too much rain to his Red River valley clients. Race is an important subject in several stories. Two works with young protagonists, "Mouth of Brass" and "The Last of the Caddoes," are among Humphrey's best. "Mouth of Brass" is a story about the friendship between a black man and a white boy in Clarksville, in which the black man is murdered in the town square by a white racist. The story is Humphrey's most sensitive look at race relations in the segregated Texas of his youth. "The Last of the Caddoes" grows out of the author's craving to understand his own Native American background: his greatgrandfather was part Indian, but the name of the tribe was suppressed or forgotten by the family. In the story, a boy becomes obsessed with Native artifacts and finally recasts his identity as the last of the vanished Texas Caddo tribe. The story is not about Native Americans as such but about race as a symbolic focus for dysfunctional family life, a kind of fantasy escape from one's own identity. The work was made into a short film by Ken Harrison in 1981. Another work about Native Americans is "The Only Good Indian," narrated by a cynical

702 / AMERICAN WRITERS automobile dealer who loves to sell expensive cars to oil-rich Indians. One of his customers, a man named John who does not know how to drive, buys and wrecks two cars in one day, killing himself in the second wreck, to the amusement of the dealer. The story is the weakest in a fine volume, foreshadowing the cynicism of Humphrey's last collection, September Song. PROUD FLESH

After approximately twelve years of struggle, Humphrey finally finished Proud Flesh (1973), his novel about the Renshaw clan, the members of which live on a farm near a town similar to Clarksville. The work started as a short novel about the death of the clan matriarch, Edwina, and its impact on her children. The family is larger than life, made up of violent and emotional people who intimidate the inhabitants in their area. Humphrey found a symbolic structure to shape his material when he read the Oresteia trilogy of Aeschylus. It occurred to him that the family conflicts in his novel could be accounted for by the oedipal and Electra complexes of Freud, and that the plot of his book could be given a structure derived from Aeschylus, just as James Joyce's Ulysses was built on an armature of Homer's Odyssey. He also found some of his inspiration in Sophocles' Electra and in one of his favorite novelists, Fyodor Dostoyevsky, whose Brothers Karamazov deals with family enmities and parricide. He was particularly interested in Sigmund Freud's commentaries on Dostoyevsky's book. The six sons and four daughters of Edwina are competitors for her love. Unfortunately, there are too many of them to permit the novelist to define each as an individual. Edwina is the Clytemnestra of the novel; her husband is not literally killed like Agamemnon but simply reduced to a cipher in the family. One daughter, Amy, appears (as her name implies) to be the

most loving child, but like Electra, she secretly hates her mother. Northrop Frye has suggested that literature is displaced mythology, and Humphrey displaces the myth by rearranging the structure and altering details. The other child who hates the mother is the absent Kyle, who is not in literal exile like Orestes but in self-exile, possibly in New York City—the most distant place imaginatively from the provincial world of northeast Texas. His refusal to return as his mother lies dying is the rather weak basis of the plot of Humphrey's long novel. A hateful look from the ostensibly loving Amy triggers Edwina's final collapse. The family seeks Kyle's whereabouts to get him to the funeral; it is an attempt to compel him to honor her at least in death. Amy in remorse locks herself in the cellar and smears her breasts and fills her mouth with cow dung. The cellar locale is derived from the Electra of Sophocles, in which the title character in the end is in a dungeon. Amy's refusal to emerge makes the national news and she turns into a scapegoat figure-confessor for people all over the country. Humphrey was prescient about the confessional obsessions of television in contemporary America. The Electra pattern is never made explicit in the novel, and it has gone mostly unnoticed by critics. In theory the pattern could work subliminally, but it certainly did not save the novel. The book is loosely organized and the plot is full of contrivances. Its view of race relations in Texas is distorted by Humphrey's failure to reacquaint himself with his native state. The novel is set during the time of the civil rights movement (which Humphrey personally supported), but the black characters seem to be drawn from antebellum times, if not from sleazy novels like Mandingo. Humphrey no longer had a strong grasp of the Texas setting. One of the Renshaw children, Clyde, carries on an affair with a black woman named Shug and suffers deep guilt for being, as he says, a "Niggerlover." He even tries to castrate himself out of

WILLIAM HUMPHREY / 103 guilt and grief for his mother, an act that Christopher Lehmann-Haupt in his review thought absurd and hilarious. Shug is a flat character, as is her husband, Jug (a stereotyped shuffling drunk), and her brother, Archie. The black characters are meant to be choral figures (as are the black characters in The Sound and the Fury) who observe and comment on the action. They correspond to the chorus for whom the second play of the Oresteia, The Libation Bearers, is named. The book is also painfully Faulknerian. Humphrey's notebooks for the novel contain an entry reminding himself not to sound too much like Faulkner, especially in the portrait of Eulalie, the family's black housekeeper. But she comes across as a weak version of Dilsey in The Sound and the Fury. The key outsider in the book, Doctor Metcalf, who functions as a horrified observer, is similar to Faulkner's Doc Peabody. Faulkner's familiar device of transfixing observers in astonishment is used constantly in the novel. The story of the collision of Hugo Mattox's borrowed truck full of cotton with Mrs. Shumlin's cow could come out of The Hamlet (1940) or any number of stories by Faulkner. The most obvious derivation for Humphrey's novel is from As I Lay Dying (1930). The Bundrens, dominated by their mother after her death, take her rotten body with them wherever they go. The Renshaws are also overpowered by their mother's death, although they at least keep her body in the town icehouse to preserve it for the return of the prodigal Kyle. The absent Kyle keeps the wounds of the family open and festering. He does not return for the funeral, and at the end of the novel, two of his brothers are improbably searching for him from door to door in New York City. FARTHER OFF FROM HEAVEN

Humphrey's instincts and experience as a novelist seemed to have deserted him in the writing

of Proud Flesh. His next book renewed his imaginative contact with his native earth. Humphrey received an honorary doctorate from Southern Methodist University in 1969, and on that occasion he finally made a visit to Clarksville after an absence of thirty-two years. In Farther Off from Heaven (1977), he reached back into his past and recreated it in one of the finest American memoirs. The details are preternaturally vivid, the structure a marvel of elegant simplicity. The death of his father in a car crash was the overwhelming event of Humphrey's childhood, and the book is built around the accident and its aftermath: a death watch at the Paris, Texas, hospital and the funeral, which young Humphrey refused to attend. The book begins with the boy being awakened by his mother, Nell, on the night of July 5, 1937, so that he could accompany her and the injured father, Clarence, on the ambulance ride to Paris. Every chapter follows a stage of development in the days that followed, and each opens up in a skillfully articulated way to reveal the history of the extended family—his grandparents and their children—and of the nuclear family—with a focus on the intense and increasingly dysfunctional marriage of Clarence and Nell. A major protagonist of the work is Clarksville itself, with its social geography (Silk Stocking Street, "Niggertown," the town square, the "white trash" area near the cemetery) and its great landmark, Old Red, the clock on the courthouse. The chimes of Old Red run through the novel not only as a reminder of time passing but also as the profound symbol of home and belonging for the boy whose life was measured by them. Farther Off from Heaven creates and solves several mysteries and reveals some family secrets. The reader is told that the home where Humphrey first lived had mysteriously vanished and that the author had died in childhood. The "death" is a minor but intriguing mystery and involves a swimming accident and a drunken

104 / AMERICAN WRITERS medical examiner who filled out a death certificate before young Humphrey was revived. An important secret was that Humphrey was born with a deformed foot, something he only learned about years afterward. His mother felt she was somehow to blame for the defect and sought help for the infant from a specialist in Dallas (a bold step for an impoverished small-town woman). She kept the episode a secret from her son until he discovered it by chance. The vanished house of his birth and infancy was another mystery, one concealing a family secret: the low social status of the parents when they first married. On his visit to Clarksville, Humphrey learned that the house had not vanished: it still stood, in the poor white trash section of town. In the early days, the family had seemed upwardly mobile, and the mother had had great hopes for her son. Parents who began life as the children of sharecroppers would be reluctant to admit to their son that their marriage started in a poor white district. Young Humphrey was the only boy in town not permitted to hang around his father's garage, as if being there would lower him. Humphrey's notebooks reveal that he himself was marked by the white trash label; standard southern snobbery has always maintained that white trash rank below blacks on the social scale. The belittling or comic portraits of poor whites in some of his fiction are probably ways of creating distance from them. Opal Luttrell in Home from the Hill is a good example, as is the Hugo Mattox family in Proud Flesh. Farther Off from Heaven deftly portrays the relationship between Clarence Humphrey and his black employee, Wylie. The two men looked like black and white versions of each other and would have been friends had the social system not dictated a paternalistic relationship rather than an equal one. The memoir has scenes of comedy and pathos. Its tone is overwhelmingly elegiac and manages to be nostalgic without sentimentality, a rare achievement. The title is drawn from a

poem by the nineteenth-century Irish poet Thomas Moore, which describes a child's vision of the trees touching the sky. That vision has to be corrected by memory, but the correction leaves the adult "farther off from heaven." Humphrey's Clarksville was a kind of heaven for him before his parents sank into despair and conflict. Few towns have been so lovingly portrayed. The book was not actively promoted by Knopf, however, and Humphrey soon saw it on the remainder tables in New York bookstores, which undermined his confidence in his writing. From 1977 to 1979 Humphrey worked on a novel that turned out to be unpublishable, an extravagant picaresque satire sometimes called "The Last Refuge," sometimes "Horse Latitudes." It features a redneck protagonist, Cecil Smoot, who aims to corner the market in horses as a way to get rich when automotive civilization breaks down. The book, which betrays an obsession with satirizing Richard Nixon, failed to attain a fictional poise. His other work of the period, Ah, Wilderness!: The Frontier in American Literature (1977), is a pamphlet reprinting a minor lecture on American literature that he gave while a visiting writer at Washington and Lee University in 1963 and 1964. HOSTAGES TO FORTUNE

In 1984 Humphrey published Hostages to Fortune, his first novel set outside of Texas. It is a deeply moving book that received little attention; Humphrey's career was past its prime. He had ceased to be one of the writers who counted with reviewers and book clubs. In Hostages to Fortune, its title drawn from Francis Bacon's saying, "He that hath wife and children hath given hostages to fortune," Humphrey explores the impact of a son's suicide on a marriage. Fortune treats the protagonist, Ben Curtis, with great cruelty. Curtis is a novelist who lives in the Hudson River valley in an old house filled, like Humphrey's, with antiques.

WILLIAM HUMPHREY / 105 His son, Anthony, a seemingly happy young student at Princeton, commits suicide. Curtis's wife leaves him, unable to continue her old life, and he descends into alcoholism and near psychosis. The writing of Farther Off from Heaven, with its tremendous concentration, seems to have revived and honed Humphrey's technique. In the new novel he focuses on the return of Ben Curtis to his fishing club a year after his devastating plunge into despair. The action of the novel is conveyed in flashbacks as Ben resumes his place in the clubhouse and goes trout fishing. A great deal of research went into the novel, work that served Humphrey better than the study of Aeschylus, Dostoyevsky, and Freud in the writing of Proud Flesh. He looked into the causes of suicide among the young, and after the publication of the book, he received a number of letters from parents who had lost children. He also wished to make the breakdown of Ben Curtis a true foray into the pathologies of the inner life, and he read works on the doppelganger figure in literature and psychology, including Otto Rank's The Double (1925) and Ralph Tymms's Doubles in Literary Psychology (1949). Other influences were such classics of the double theme as Dostoyevsky's The Double (1846), Edgar Allan Poe's "William Wilson" (1839), Joseph Conrad's "The Secret Sharer" (1912), and Oscar Wilde's The Picture of Dorian Gray (1890). The double was a way to project self-alienation in a character. It could be argued that Humphrey's near-collapse in the late 1960s, when he sank into alcoholism and drug use during the struggle with Proud Flesh, served as another resource for him; he liked to tell people that Ben Curtis was himself. Humphrey also made use of what he knew about adolescent suicides in the families of two of his closest friends. The portrait of Anthony Curtis presents him from outside, through his father's eyes. We see him as a person who strives to achieve mastery

(specifically in hawking, another focus of Humphrey's research), the sort of perfectionist whose desire for control might take the form of choosing his own death over some frustration or psychic injury. Humphrey recognized that the portrait of Anthony was a more sophisticated version of Theron Hunnicutt. There are two other suicides offstage in the novel: the daughter of Ben's confidante, Tony Thayer, kills herself, and Thayer himself falls into despair and dies in a supposed ice-sailing accident on the Hudson. After his son's death and his wife's departure, Curtis sinks into lonely alcohol and drug abuse in his country home and tries to understand his son's motive for self-destruction, his search tinged by the Oedipus story along with its Freudian interpretations. Like Oedipus, Curtis is trying to solve a murder in the family. He is not sure if, like Oedipus, he himself is somehow the murderer; parents typically feel responsible for the suicides of children. He also thinks there may have been some oedipal neurosis in his son's relationship with the mother. Curtis himself comes close to suicide. He sees visions of his mocking son inviting him to die. And as his crisis reaches its height of tension, the ghost he sees is not Anthony but himself; he attempts suicide by a drug overdose. Saved by medical intervention, he feels that he is leading a posthumous existence. Those who see him at the fishing club are shocked by his transformation; he is a ghost of the man he was a year before. The depiction of the club is one of Humphrey's triumphs. Some of Curtis's most important experiences, like his courtship and wedding, are associated with it, but it is an institution that insists on the surfaces of life: good humor and no talk about controversial or painful subjects. The club has one of those lifedestroying mystiques that Humphrey deplores; it is not quite a myth, but a commitment to a sportsman's code of reticence and dignity. This

106 / AMERICAN WRITERS code is often identified with Ernest Hemingway, especially as it was formulated in the 1938 story "The Short Happy Life of Francis Macomber." Curtis wants the kind of emotional healing through fishing sought by Nick Adams after World War I, in Hemingway's "Big TwoHearted River," a story in In Our Time. Curtis has already made tentative progress toward renewal, but his real step forward comes when a fellow fisherman breaks the club's taboo on serious talk and insists on discussing Anthony's suicide. The man's own father killed himself. Curtis finds this contact a liberation; he had until then found himself in the position of someone who never had a son because no one has dared to mention Anthony. By the end of the novel he has gingerly moved toward rejoining the human race by abandoning the narrow code of the fishing club. The novel contains some of the author's best writing, with set pieces on herring fishing, ice sailing, and falconry, scenes as rich as the genre painting in Home from the Hill. It also has a deep measure of wisdom. The dark night of Curtis's soul is convincingly rendered. It works as felt life, not as theory turned into fiction. The myth satirized in the work, the stiff-upper-lip fisherman's code of the club, is more universal than the southern myths dealt with in the early work. Yet despite some respectful reviews, the novel had no great success in the market. In 1985, the year after Hostages to Fortune appeared, The Collected Stories of William Humphrey was published. It contains two new stories, neither of which has a Texas setting. "Dolce Far' Niente" compresses the life of an Italian immigrant couple into a short span through flashbacks from the husband's retirement dinner. Especially successful is "The Patience of a Saint," a tale of a handyman and gardener in the Hudson River valley who dedicated his life to taking care of his mother. Finally, as he discloses to the narrator, he killed her so that he could resume activities like card

playing. The matricide reminds the narrator of two of Humphrey's favorite classical myths, the story of Oedipus and the killing of Clytemnestra by Orestes. NO RESTING PLACE

William Humphrey's next project was to have been a book about a murder trial in his area, the Wyley Gates case. In 1986 the seventeen-yearold Gates and a friend murdered Gates's father and three other family members, events that call to mind one of Humphrey's favorite novels, Dostoyevsky's The Brothers Karamazov. Humphrey wanted to write an account of the murders and trial, but he found that his hearing was so bad that he could not follow the court proceedings. He then reverted to a plan he had made in 1979 to write a novel inspired by his Indian ancestry. The result was an account of the Trail of Tears of 1838 and 1839, the infamous removals of the Five Civilized Tribes from the South to the Indian Territory later known as Oklahoma. The trail followed by the Choctaws ended not far from Clarksville, as Humphrey knew from childhood. His focus, however, was on the much-better-known Cherokee Removal, with a Georgia family as central characters. He found a Texas connection for his story, No Resting Place (1989). Some of the Cherokees subject to the Removal went to Texas to join the loose federation of tribes led by Chief Diwali (also known as Colonel Bowles, Bold Hunter, Duwali, or the Bowl). Mirabeau Buonaparte Lamar, a hero of the Texas Revolution of 1836, drove them out by force in the Battle of the Neches in 1839. The incident is no credit to Texas or to Lamar, and Humphrey found it an opportunity to attack another myth, the image of the gallant Texans in the battles of the Alamo and San Jacinto. He had already dealt with the romance of the oil fields and the life of the cowboy; now he was ready to take on the early history of his state, in

WILLIAM HUMPHREY / 107 which every schoolchild in Texas used to be immersed. The novel is framed by fictional events set in 1936, the centennial of the Texas Revolution and two years before the centennial of the Cherokee removals. The Texas centennial generated a great deal of rhetoric about the glories of the revolution. Humphrey's narrator, Amos Smith IV, aged twelve, is to play Lamar in a school pageant marking the Battle of San Jacinto on April 21, 1836, the clash that secured Texas its independence from Mexico. His father, Amos Smith III, is outraged and takes him down to the Red River to explain why Lamar was an evil man. They sit among blooming Cherokee roses, flowers said to have been brought to Texas by the Cherokees. One symbolic contrivance of the novel is the improbable early blooming of the roses, on which even the narrator remarks. The father reveals to his son that the first Amos Smith was a Cherokee who was driven out of Georgia at thirteen and who witnessed the Battle of the Neches on July 16, 1839. The story has been handed down through the generations and is told again for the benefit of the latest Amos. As if the abundance of "Amos Smiths" were not confusing enough, the first Amos Smith has a number of names and nicknames, beginning with Noquisi. The name "Smith" is given to him at the end of the novel by one of the men who killed Noquisi's father as the two tried to escape across the Red River near Clarksville. The man assumes that Noquisi, who like many Cherokees was part white, is a captive of the Indians in need of rescue. At the start of the novel the boy has three names in Georgia: Amos Ferguson for the public world, Noquisi (Bright Star) at home, and Ajudagwasgi (Stays-Up-AilNight), his initiation name. The multiple names convey the complexity of Cherokee life, but they are a cumbersome device. Later NoquisiAmos is called in succession Tad, Cap, and Doc,

with each nickname conveying a new role for him in the story. The Civilized Tribes are rightly called civilized: they had quickly devised an alphabet, constitutions, newspapers, schools, and industries. They were well on the way to assimilation. Indeed, their success in emulating white ways may have provoked their expulsion as much as the desire of white settlers for their lands. In the novel, Cherokees who approximate whites are considered sinister by their neighbors, more dangerous than the stereotypical "redskins." They very readily accepted whites into their own communities; Noquisi's maternal ancestors are mainly white in origin. Humphrey's extensive readings in Native ethnography enabled him to present such customs as the initiation ceremony and to deal with the role of the paranormal in Cherokee life; Noquisi experiences telepathy on several occasions. These touches suggest that the Cherokees fused the best of Native culture with white civilization. The book suffers from an overabundance of detail. Humphrey's publisher, Seymour Lawrence, who had awaited it eagerly, thought that it should be marketed as nonfiction. This disturbed Humphrey, who had to defend the novelistic character of his work in a long letter. But the history is relatively undigested. Humphrey devotes part of his story to describing the legal maneuvers to save the lands of the Civilized Tribes. There were conferences and lawsuits before the U.S. Supreme Court, which ruled in favor of the tribes. But Andrew Jackson replied with his famous statement that "Chief Justice Marshall has made his decision, let him enforce it." Much attention is given to the men who might have helped the Cherokees but did not: Jackson, who won a major battle against the British with their help, and Sam Houston, the hero of San Jacinto, who had lived among them. This background often obscures the narrative.

108 / AMERICAN WRITERS The story is as tragic as the term "Trail of Tears" implies. The Cherokees described by Humphrey were deprived of their property by the state of Georgia and sent off with scant preparations. The state militia often committed violence against them. The U.S. forces that escorted them to the Indian Territory were less brutal, but promised supplies were either substandard or nonexistent, and many people died on the trip. The author seems to have created his characters to illustrate the sufferings on the journey, and most of them fail to achieve individuality. He relies on one major white character, the Reverend Malcolm Mackenzie, to offer an outsider's outraged view of events. More device than character, Mackenzie loses faith in the goodness of God after his wife dies on the journey with the Cherokees. The grandfather of Noquisi represents the old ways, and the presentation of Cherokee religious customs is stronger than that of the character. Noquisi's mother functions primarily to arouse pathos when Noquisi finds her grave on the trail; she is as shadowy a figure as Noquisi's grandmother. The father of Noquisi is absent through much of the story—he goes to Oklahoma before the rest of the family—and therefore has little chance to emerge. When Noquisi arrives in the Indian Territory, he and his father are the only members of the family still alive. They decide to join Chief Diwali in Texas. Diwali's branch of the Cherokees had come to Texas in 1819. Their presence in Texas was guaranteed by a treaty of 1836 when the Texan forces sought their neutrality in the war with Mexico. It appears that the Fergusons have reached safety until Mirabeau Buonaparte Lamar, the newly elected president of Texas, decides that the East Texas tribes led by Diwali must go and reneges on the treaty. Diwali, who is portrayed in keeping with contemporary sources as a man of dignity and peace, is forced to fight a hopeless battle; he is killed, and Noquisi and his father have to flee. The reader

soon learns how Niquisi became Amos Smith. In accepting his adoption by one of his father's killers, the weary boy gives up his heritage and receives the most generic surname in English. The novel ends with Amos IV's words: "And that is how I, Amos IV, of the clan of Smiths, author of this book, got my name there on the bank of that red river which gives its name to my home county in the northeast corner of Texas where the trail of Cherokee roses begins and ends." The good intentions of the novel are apparent: it is meant to bring the Cherokees back into the American consciousness, to reinscribe their names. But it is weak as fiction and shows a real decline from Hostages to Fortune. Humphrey's notebooks and letters from the period of its writing reveal a man who was deeply discouraged and exhausted. SEPTEMBER SONG

Humphrey's last book, September Song, is a collection of stories. He and his wife were ill and he had quarreled with his old friend, Nick Lyons; a sense of isolation and despair fills his notebooks. The tone of the stories is gloomy, marked by old age, sickness, and death (including three suicides). Great art can be made from despair, but in his last book he seems to jeer at his characters, to put them into hopeless situations as if to prove a proposition about life. In "An Eye for an Eye," he rewrites Edith Wharton's Ethan Frome (1911), making the plight of the trapped characters even worse than in his model. A blind wife regains her sight briefly and realizes that her husband is having an affair with her caregiver. She pours sulfuric acid in her rival's face, blinding her in turn; the husband is left to spend the rest of his wretched life taking care of them. Humphrey admired Thomas Hardy, and he seems to follow Hardy's example in contriving fates for his characters. The denouement, too, often seems imposed

WILLIAM HUMPHREY / 109 rather than an outcome arising plausibly from situation. In her excellent 1989 essay, "Irony as Art: The Short Fiction of William Humphrey," Elizabeth Tebeaux pointed to the mixture of irony and sympathy for trapped characters as a strength in Humphrey's stories, but September Song increases the irony while losing most of the sympathy. The longest effort in the book is "The Apple of Discord," a work in which an apple farmer, desperate to perpetuate the family business, uses King Lear-like tactics in an effort to force his daughters to accept his plans. When he fails, he sells his beloved apple trees to a developer out of spite. He then tries to kill himself, but failing pathetically, he loses all tragic dignity. Humphrey overdoes the symbolism of the apple and the fall from Eden. More effective are two stories about old hunters, "Mortal Enemies" and "Buck Fever," less ambitious stories in which mortality is accepted. The tone of the stories suggests that Humphrey was facing his own mortality. Two other stories clearly reflect on Humphrey's life: "A Portrait of the Artist as an Old Man," in which a reporter comes to interview a novelist in order to write his obituary for files, and "The Dead Languages," a story based on Humphrey's inability to follow the Wyley Gates trial because of his deafness. ASSESSMENTS

William Humphrey's strength lay in his depiction of rural and small-town Texas. He did not, however, aspire to be merely a local colorist but a great novelist. In Hostages to Fortune he demonstrated that he could write powerful fiction without mentioning his home state. He was interested in family and the influence of place, which are universal subjects, even if southern writers sometimes seem to have proprietorship of them in American fiction. His concern for the ways that glamorous myths delude and dam-

age was a constant in his career: every novel presents his critique of at least one myth or mystique. Texas was rich in examples for him, and the myths he deplored—the reverence for its past and its part in the Civil War, its storied wealth and the dangerous opportunity to strike it rich, and its admiration for outlaws—are versions of subjects common in American literature. He was never hypnotized by the glamour of these images. The first full treatment of Humphrey, a 1967 pamphlet in the Steck-Vaughn Southwestern Series by James W. Lee, concentrated on his qualities as a regionalist, with high but judicious praise given to Home from the Hill and with misgivings about the disunity of The Ordways. Lee expressed admiration for Humphrey's verisimilitude in his portraits of East Texas characters. In a 1980 essay for the Dictionary of Literary Biography, Lee called Proud Flesh a "failure" with a good style "but. . . little else to recommend it." But in the same essay he ranks Farther Off from Heaven with memoirs by James Agee and Virginia Woolf. Mark Royden Winchell's 1992 pamphlet in the Western Writers Series took a harsh view of most of Humphrey's fiction, with the exception of Hostages to Fortune, which Winchell praised for transcending the Texas setting. In contrast to Lee, he saw Humphrey's local color as a weakness, although voicing praise for Farther Off from Heaven. His Humphrey canon was very small. The work most deserving a revival is Farther Off from Heaven, which never received the attention given to the early novels. The popularity of the memoir genre in American publishing offers some hope that Humphrey's remarkably elegant and moving account of Clarksville and his family may find its proper readership. Humphrey's best work is contained in that book and in three novels—Home from the Hill, The Ordways, and Hostages to Fortune—along with several fine stories. Most of Humphrey's work

110 / AMERICAN WRITERS is set in the landscape of East Texas, but all of it is set in the landscapes of the human heart.

Selected Bibliography WORKS OF WILLIAM

HUMPHREY

NOVELS

Home from the Hill New York: Knopf, 1958. The Ordways. New York: Knopf, 1965. Proud Flesh. New York: Knopf, 1973. Hostages to Fortune. New York: Delacorte/Seymour Lawrence, 1984. No Resting Place. New York: Delacorte/Seymour Lawrence, 1989. SHORT STORIES

The Last Husband, and Other Stories. New York: Morrow, 1953. A Time and a Place: Stories. New York: Knopf, 1968. The Collected Stories of William Humphrey. New York: Delacorte/Seymour Lawrence, 1985. September Song. Boston: Houghton Mifflin/Seymour Lawrence, 1992. SPORTING STORIES

The Spawning Run: A Fable. New York: Knopf, 1970. My Moby Dick. Garden City, N.Y.: Doubleday, 1978. Open Season: Sporting Adventures. New York: Delacorte/Seymour Lawrence, 1986. NONFICTION

Ah, Wilderness!: The Frontier in American Literature. El Paso: Texas Western Press, 1977. Farther Off from Heaven. New York: Knopf, 1977. "Why Do I Write Fiction?" In Writing in the Southern Tradition: Interviews with Five Contemporary Authors. Edited by A. B. Crowder. Atlanta, Ga.: Rodopi, 1990. Pp. 183-189. MANUSCRIPTS AND PAPERS

extensive personal archives, consisting of letters, journals, and drafts. His correspondence with Katherine Anne Porter is held by the McKeldin Library, University of Maryland. The Rare Book and Manuscript Collection at Columbia University has his letters to his agent, Annie Laurie Williams, and his letters to F. W. and Barbara ("Andy") Dupee. The University of Mississippi Library has the letters of Humphrey to Seymour Lawrence.

The Harry Ransom Humanities Research Center at the University of Texas has William Humphrey's

BIBLIOGRAPHY Kich, Martin. Western American Novelists, vol. 1. New York: Garland, 1995. Pp. 707-802. (Annotated entries.)

CRITICAL AND BIOGRAPHICAL STUDIES Almon, Bert. "William Humphrey's Blue Heaven." Southwest Review 63:84-86 (winter 1978). "William Humphrey's 'Broken-Backed Novel': Parody in The Ordways." Southern Quarterly 32:107-116 (summer 1994). . William Humphrey: Destroyer of Myths. Denton, Tex.: University of North Texas Press, 1998. . "William Humphrey and Katherine Anne Porter: A Mentorship Reconsidered." In From Texas to the World and Back: Essays on the Journeys of Katherine Anne Porter. Edited by Mark Busby and Dick Heaberlin. Fort Worth: Texas Christian University Press, 2001. Pp. 164177. Bowden, Larry R. "A Lament for the Vanishing." Cross Currents 41:107-115 (spring 1991). Bowen, Elizabeth. "Texas beyond the Oil Wells." The Taller, March 12, 1958, p. 506. Chaney, L. Dwight. "William Humphrey, Regionalist: Southern or Southwestern?" Journal of the American Studies Association of Texas 19:91-98 (October 1988). Clifford, Craig Edward. In the Deep Heart's Core: Reflections on Life, Letters, and Texas. College Station: Texas A&M University Press, 1985. Clute, John. "Mooning over Genocide." The Times Literary Supplement, December 1, 1989, p. 1338. Cooper, Stephen. "William Humphrey." In Contemporary Fiction Writers of the South: A Bio-

WILLIAM HUMPHREY / III Bibliographical Sourcebook. Edited by Joseph M. Flora and Robert Bain. Westport, Conn.: Greenwood, 1993. Pp. 234-243. Davenport, Gary. "The Desertion of William Humphrey's Circus Animals." Southern Review 23:494-503 (April 1987). Giles, Molly. "The Insults of Old Age." New York Times Book Review, August 23, 1992, p. 18. Grammer, John M. "Where the South Draws Up to a Stop: The Fiction of William Humphrey." Mississippi Quarterly 44:5-21 (winter 1990-1991). Grider, Sylvia, and Elizabeth Tebeaux. "Blessings into Curses: Sardonic Humor and Irony in 4 A Job of the Plains/" Studies in Short Fiction 23:297306 (summer 1986). Gussow, Mel. "William Humphrey, 73, Writer of Novels about Rural Texas." New York Times, August 21, 1997, p. D19. Havighurst, Walter. "Prelude to Violence." Saturday Review, January 11, 1958, p. 15. Hiers, John T. "The Graveyard Epiphany in Modern Southern Fiction: Transcendence of Selfhood." Southern Humanities Review 9:389-403 (fall 1975). Hudziak, Craig. "William Humphrey." In Contemporary Novelists. 4th ed. Edited by D. L. Kirkpatrick. London: St. Martin's Press, 1986. Pp. 447-^48. Jane way, Elizabeth. "Journey through Time." New York Times Book Review, January 31, 1965, pp. 1, 40. Kappler, Frank. "Texas with Another Accent." Life, February 5, 1965, p. 17. Kilgo, James P. "Book Briefs." Georgia Review 40:1051-1052 (winter 1986). Lee, James W. William Humphrey. Southwest Writers Series, vol. 7. Austin, Tex.: Steck-Vaughn, 1967. . "William Humphrey." In Dictionary of Literary Biography. Vol. 6, American Novelists since World War II. Second series. Edited by James E. Kibler. Detroit, Mich.: Gale Research, 1980. Pp. 148-153. -. Classics of Texas Fiction. Dallas, Tex.: E-Heart, 1987. Lehmann-Haupt, Christopher. "More Meat for the Boycott." New York Times, April 4, 1973, p. 41. Maddocks, Melvin. "Ten-Gallon Gothic." Time, April 30, 1973, p. 74.

Masters, Hilary. "Proud Flesh: William Humphrey Remembered." Sewanee Review 108:254-258 (spring 2000). Morsberger, Robert E. "Reviews." Western American Literature 24:391-392 (winter 1990). Mullen, Patrick B. "Myth and Folklore in The Ordways." In Hunters and Healers: Folklore Types and Topics. Publications of the Texas Folklore Society, vol. 35. Edited by Wilson M. Hudson. Austin, Tex.: Encino Press, 1971. Pp. 133-145. Rubin, Louis D., Jr. The Curious Death of the Novel: Essays in American Literature. Baton Rouge, La.: Louisiana State University Press, 1967. Stevenson, David L. "Ceremony of Prose." Nation, February 22, 1958, pp. 172-174. Sullenger, Lee. "The Book Review." Library Journal, April 1, 1973, p. 1192. Sullivan, Walter. "The Continuing Renascence: Southern Fiction in the Fifties." In South: Modern Southern Literature in Its Cultural Setting. Edited by Louis D. Rubin Jr. and Robert Jacobs. Garden City, N.Y.: Dolphin/Doubleday, 1961. Pp. 376391. Swope, D. B. "Review of Proud Flesh." Best Seller, July 15, 1972, p. 86. Tebeaux, Elizabeth. "Irony as Art: The Short Fiction of William Humphrey." Studies in Short Fiction 26:323-334 (summer 1989). Williams, Joan. "Review of William Humphrey, Destroyer of Myths," by Bert Almon. Southern Quarterly 37:183-184 (winter 1999). Winchell, Mark Royden. "Beyond Regionalism: The Growth of William Humphrey." Sewanee Review 96:287-292 (spring 1988). . William Humphrey. Boise State University Western Writers Series, no. 105. Boise, Idaho: Boise State University, 1992.

INTERVIEWS Crowder, A. B., ed. Writing in the Southern Tradition: Interviews with Five Contemporary Authors. Atlanta, Ga.: Rodopi, 1990. (Collects "William Humphrey: Defining Southern Literature," Mississippi Quarterly 41:529-540 [fall 1988], and "History, Family, and William Humphrey," Southern Review 24:825-839 [autumn 1988].) Yglesias, Jose. "William Humphrey." Publishers Weekly, June 2, 1989, pp. 64-65.

772 / AMERICAN WRITERS FILMS BASED ON THE WORKS OF WILLIAM HUMPHREY Home from the Hill. Screenplay by Irving Ravetch and Harriet Frank. Directed by Vincente Minnelli.

MGM, 1960.

The Last of the Caddoes. Screenplay by Ken Harrison. Directed by Ken Harrison. Phoenix Films, 1981.

—BERTALMON

Shirley Jackson 1919-1965
the apartheid government of South Africa banned it, a fact that made the author proud. Although Jackson tended to dissociate herself from overly academic—and especially dark— interpretations of her work, she did admit to a San Francisco Chronicle columnist at the time of the story's publication, "I suppose I hoped, by setting a particularly brutal rite in the present and in my own village, to shock the readers with a graphic dramatization of the pointless violence and general inhumanity of their own lives." Asked about reader response, she stated dryly, "The number of people who expected Mrs. Hutchinson to win a Bendix washer at the end would amaze you" (quoted in Private Demons: The Life of Shirley Jackson, by Judy Oppenheimer, 1988). Until her death in 1965, Jackson remained closely linked with her 1948 story, which was the title story of her first collection, The Lottery; or, The Adventures of James Harris (1949). "The Lottery" was widely anthologized and pored over by critics, high school teachers and students, as well as the general reader. Jackson's obituaries testified to her close association with this tale: the New York Times headline referred to her as "Shirley Jackson, Author of Horror Classic." In an essay following Jackson's death, her husband, the literary critic Stanley Edgar Hyman, lamented such narrow assessments of her achievement, alluding to one death notice that dubbed Jackson the "Virginia Werewolf of seance-fiction writers." Taken in the context of her prolific career, Jackson's association with a single story is both understandable and misleading. The themes she touched upon in "The Lottery" resurface again

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114 / AMERICAN WRITERS and again in her writing—the concept of the scapegoat, prejudice, and the human capacity for everyday savagery. But she wrote more than one hundred other short stories, six novels, two humorous memoirs, three children's books (including a nonfiction account of the Salem witch trials), a play, and numerous nonfiction articles. In light of Jackson's relatively short life, her output was especially impressive. She published stories and essays in an array of publications with extremely different audiences, from The New Republic to Playboy to Ladies Home Journal. Reviews of Jackson's work were primarily positive. Four of her short stories were selected for the annual Best American Short Stories, "The Lottery" won an O. Henry Award, and several of her novels were listed as among the best fiction of the year by the New York Times Book Review. But some saw the recognition she received as incommensurate with her impact. Hyman wrote in the Saturday Evening Post shortly after her death in 1965, "For all her popularity, Shirley Jackson won surprisingly little recognition. She received no grants or fellowships; her name was often omitted from lists on which it clearly belonged, or which it should have led." Jackson's range of admirers attests to her work's deep and widespread appeal. Writers such as Bernard Malamud, Isaac Bashevis Singer, Dorothy Parker, and Dylan Thomas praised Jackson's work. Roald Dahl expressed the desire to collaborate on a project with her. The dedication of Stephen King's novel Firestarter reads, "to Shirley Jackson, who never had to raise her voice." Jackson's social circle was equally impressive: Ralph Ellison and Howard Nemerov were close friends and frequent guests in her home. Among literary critics, Jackson was compared with authors as diverse as Nathaniel Hawthorne and John Cheever for her insight into societal ills and persecution.

As the variety of Jackson's fans and publishing venues suggest, her work resists classification. While critics have attempted to label her a genre writer (her fiction was typically marketed as "horror," and even her husband referred to her family stories as "potboilers"), Jackson refused to be limited by labels. To her, writing was a job she engaged in every day, despite the demands of motherhood. Though she remained prolific during most of her professional life, Jackson struggled with emotional and physical problems. She suffered from anxiety, claustrophobia, and agoraphobia. She was morbidly obese, a condition that probably contributed to her death, of heart failure, on August 8, 1965. During times in her life, she also relied on liquor and prescription drugs. Jackson's personal demons found a place in her art. However disruptive her obsessions and fears were in her everyday life, they translated vividly into her writing. Many of her stories and most of her novels feature wounded female characters who feel threatened and displaced. Persecutors sometimes come in the form of family and lovers, even ghosts, but most often they are neighbors—native village people, smug suburbanites, college dorm-mates, or the members of academic families like the one Jackson created with her husband. BACKGROUND According to her biographers, Shirley Hardie Jackson seemed fated to develop an outsider status almost from the start. She was born on December 14, 1919, in San Francisco, to uppermiddle-class, socially conscious parents. Her father, Leslie Hardie Jackson, was a Britishborn lithograph company executive, and her mother, Geraldine Bugbee Jackson, descended from a family of notable San Francisco architects (an interesting lineage, considering that Shirley Jackson would come to demonstrate a fascination for old houses in her fiction).

SHIRLEY JACKSON / 115 According to Oppenheimer, Geraldine, twentyone when Shirley was born, "was far from domestic, and child-rearing held small interest for her." Jackson's mother found her young daughter willful and perplexing, and made little secret of her feelings. When Shirley was six and her brother, Barry, was four, the Jacksons moved from the Ashbury Park area of San Francisco to Burlingame, a white up-and-coming suburb about sixteen miles from the city. Burlingame was, as Jackson describes it in a memoir piece published in Life Among the Savages (1953), "far enough away from San Francisco to have palm trees in the gardens," but near enough to allow her and her mother to shop in the city. Jackson's first novel, the semiautobiographical The Road through the Wall (1948), is set in a similar California town the author calls Cabrillo. Pepper Street, where the novel's action takes place, is cordoned off from less desirable neighborhoods by a wall and gates: 'The sun shone cleverly on Pepper Street, but it shone more bravely still beyond the gates; when it rained on Pepper Street the people beyond the gates never got their feet wet . . . all the houses were marked 'No Trespassing.'" The inhabitants are self-satisfied and hypocritical. As a child, Shirley struggled with her circumscribed surroundings and her mother's emphasis on decorum and gender-appropriate activities. She balked at her mother's efforts to groom and prettify her, an attitude she carried into adulthood by rarely combing her hair and paying little attention to dress and weight. Throughout Jackson's life, her mother criticized what she saw as Shirley's tendency toward slovenliness; Geraldine Jackson once wrote her daughter a harsh letter after having seen an unflattering photo of Shirley published in Time (alongside a positive review of one of Shirley's novels). Shirley's relationship with her parents, especially her mother, was frequently strained, but Jackson wrote Geraldine and Leslie regular,

long letters and they, for their part, occasionally assisted their daughter's family financially. Jackson revealed her ambivalence about the relationship by dedicating her searing collection The Lottery to her mother and father. As a child Jackson learned to assert herself through her imagination and demonstrated a love for literature at a young age. Her grandmother, who lived with the family, sometimes read Edgar Allan Poe stories to her, and Jackson began to use the library often. At age twelve, she won a prize for a poem from Junior Home Magazine. In junior high, she began to keep a diary, and she found that regularly recording her thoughts offered solace from everyday woes. She wrote about her daily activities, including time spent playing the piano and with her best friend, Dorothy, as well as her desire to be thinner and kinder to others. She also recorded her earliest thoughts on superstition and the supernatural. Jackson may have questioned the values of the grown-ups she encountered in her native state, but she did grow to love the California climate, and her family's move from the area when she was sixteen was difficult for her. Her father was promoted to a position in Rochester, New York, a shift that affected his daughter profoundly. In Jackson's essay about that year, "All I Can Remember" (included in the 1997 collection Just an Ordinary Day), she writes: "Sixteen . . . was a particularly agonizing age; our family was in the process of moving East from California, and I settled down into a new high school and new manners and ways, all things that I believe produce a great uneasiness in a sixteen-year-old." The displacement did have some benefits, however; as she points out, it was after the move that she embarked upon writing her first full-length book. The result was an ill-fated mystery, mocked by her family (she never again pursued the genre), but the project offered a demonstration of her ability to create art under challenging conditions.

116 / AMERICAN WRITERS Jackson was an inquisitive teen who challenged conventional mores. Her youthful persona is perhaps reflected in the short story "The Intoxicated" (collected in The Lottery), in the figure of a high school senior who contemplates a grim future for the world while her parents throw a raucous party. The narrator is a friend of the girl's parents, who, though drunk, quickly realizes that she is unlike other teens. As the two talk in the kitchen over coffee, the narrator repeatedly tries to change the subject, but the girl persists with her apocalyptic visions: "Somehow I think of the churches as going first, before even the Empire State building. . . . The office buildings will be just piles of broken stones." The girl revels in her morbid precocity, yet surprises the man by giggling at the end of the conversation and assuring him that she still does her homework every night. At Brighton High School in Rochester, Jackson struggled between individual expression and social acceptance. She was rejected from membership in a sorority, an experience that stung, but she moved on to find a crowd of friends, eccentrics like herself. Her grades were unremarkable, but she wrote regularly and even completed some stories. After graduation in 1934, Jackson had hoped to attend college away from home, but her parents insisted that she enroll at the nearby University of Rochester. She spent two unhappy years there, feeling uninspired academically and socially bored—the classes were gender segregated. In later years, despite her proximity to academic life, she retained an uneasy attitude toward higher education and conveyed doubts about the academic environment in her work. The character Natalie in her second novel, Hangsaman (1951), is harassed by the female students at her liberal university and disappointed by her professors. The theme is echoed in several short stories and in one of Jackson's lighter pieces, "The Smoking Room" (collected in Just an Ordinary Day), in which the devil

appears to a coed as she types a paper. The two end up struggling to purchase each other's souls. At the University of Rochester, Jackson did make an important friend, a radical French exchange student who exposed her to the works of Frangois Villon and commedia dell'arte. This student also introduced Jackson to a young Russian pianist, with whom she fell briefly in love. Jackson began to develop imaginary characters around this time based on the figures of Pan and Harlequin. According to friends, she spoke of them as real. During Jackson's time at Rochester, she dealt with bouts of melancholy. She may even have tried to commit suicide; she refers in passing to a suicide attempt in an unpublished essay. Oppenheimer concluded in her biography of Jackson that she was probably not very serious in her intent; Jackson's parents may not even have known about the incident. Jackson ultimately left the University of Rochester in 1936 without a degree. Accounts vary, but it is likely that her poor grades forced her expulsion. In the year that followed, she experienced a nervous breakdown. She was treated by a psychiatrist and lived at home with her parents. Despite—or perhaps because of— Jackson's psychiatric problems, she wrote more than ever, setting as a goal one thousand words a day. At the end of the year, she informed her parents that she would be attending Syracuse University in the fall. Syracuse was geographically close to Rochester, but it offered Jackson a far more invigorating, less conventional environment. Socially, she became a member of an intellectual, politically radical group. Jackson also showed more interest in her studies. She enrolled in creative writing courses, where she wrote about mythical figures. One, based on an old Scottish ballad about a seaman, was to surface years later in her writing. "The Daemon Lover" (1949) appeared in The Lottery and focused on one James Harris, a shadowy figure. He proposes marriage

SHIRLEY JACKSON / 117 to a lonely woman in her thirties, then disappears. Throughout the story, it is never quite clear if Harris is an actual character or a figment of the woman's imagination. To underscore the eifect of unnerving ambiguity, Jackson used the name James Harris in several other stories in the collection, always attached to unreliable and mysterious men. In 1938 Jackson published her first story, "Janice," in Threshold, the anthology of her creative writing class. A short piece told mostly in dialogue, "Janice" centers on a college student, the title character, who nonchalantly informs her friends that she tried to kill herself earlier in the day; the narrator of the story describes Janice's tone as "almost whimsical, indifferent." Her friends respond with shock, but Janice brushes off their concern. She provides only a few details, about how she had locked herself in the garage and turned on a motor, but then returns to normal social chatter, repeatedly silencing herself by changing the subject. The story is scant, but Janice emerges as a young woman caught between the conflicting desires of her mother, her friends, and the disquieting region of the self. Ironically, this story of thwarted selfhood led to Jackson's meeting of her future husband. Hyman, who nearly thirty years later included the story in the posthumous collection of Jackson's work Come Along with Me, was only a freshman when he read the story. Jackson's prose so impressed him that he declared he was going to marry the author. He arranged to meet her immediately. Hyman and Jackson were a good match intellectually. Hyman, who was born and raised in Brooklyn, came from a Jewish family of modest means. He was a literary autodidact. His family was not particularly intellectual, but by the time Hyman was in high school, he was writing and coproducing the senior play and telling classmates he intended to become a drama critic for The New Yorker (he eventually did become a staff writer for the magazine). By

the time he became a student at Syracuse and read Jackson's story, Hyman already considered himself a literary critic. When they met, they became a couple almost immediately. Jackson and Hyman shared two important traits: a passion for literature and an early seriousness about their professional and artistic goals. They also believed strongly in social justice. Together, they became a formidable duo. In 1939 Jackson and Hyman founded and edited The Spectre, a campus literary magazine that became controversial for its provocative artwork and editorials on the race issue at the university. Hyman later referred to it as a "wild mimeographed literary magazine." Jackson was the author of some of the journal's most strident editorials. The magazine's mentor was professor Leonard Brown, and Jackson and Hyman found his encouragement indispensable. Jackson dedicated her penultimate novel, The Haunting of Hill House, to Brown in 1959, and upon Brown's death in 1960, Jackson wrote a eulogy that asserted her own creative values: "He taught us that the aim of reading and criticizing was to know and understand, not to like or dislike, and the aim of writing was to get down what you wanted to say, not to gesticulate or impress" (quoted in Shirley Jackson, by Lenemaja Friedman, 1975). When Jackson and Hyman announced their intention to marry after graduation in 1940, their parents were not pleased. The couple proceeded with their plans, though they also underwent personal turmoil due to Hyman's notorious flirtatiousness. The early relationship between Jackson and Hyman was as passionate and tumultuous as later periods of their twenty-fiveyear marriage. In many ways, Hyman was Jackson's literary champion; he encouraged her in her art and instilled in her the confidence that her family had often undermined. Until Hyman's death—at age fifty-one, five years after Jackson's—he continued to promote his wife's prose. Though he considered her family stories

118 / AMERICAN WRITERS of less serious quality, he recognized her wit in such pieces as "The Night We All Had Grippe" (published in Life Among the Savages), which in the preface to Come Along with Me, he likened to the work of James Thurber. Most important, Hyman recognized his wife's masterpieces immediately. In 1948, upon reading Jackson's newly written story, 'The Lottery," he wrote to a friend, "Shirley has written a story that just astounds me. . . . She's written a real masterpiece, and I don't know where it came from." According to Oppenheimer, Hyman had contributed to the story its chilling maxim, "Lottery in June, corn be heavy soon." But Hyman was also a relentless evaluator of his wife's work and it is clear that Jackson recognized this. Her dedication of The Road through the Wall reads, "For Stanley, a critic." Hyman began his career with The New Republic and later moved on to The New Yorker, but he spent the majority of his professional career teaching at Bennington College in Vermont. Jackson did not always take well to life in a small town, or to her husband's position at the then all-girls school. In later years, according to Oppenheimer, he became known for carrying on affairs with former students. Jackson, meanwhile, had competing concerns: she performed the bulk of the household chores and served as primary caretaker of their four children—Laurence Jackson, born in 1942; Joanne Leslie, born in 1945; Sarah Geraldine, born in 1948, and Barry Edgar, born in 1951. LITERARY THEMES

Jackson's most familiar characters are women on a quest. Often, they seek solace in an unjust world or relief from their own inner terrors. They also negotiate chaos and injustice with humor; Jackson's first nationally published story, "My Life with R. H. Macy" (collected in The Lottery), is a witty critique of bureaucracy. The piece begins with a humorous but loaded

line: "And the first thing they did was segregate me." The short, ironic story, which reads more like an essay or memoir, focuses on the layers of paperwork and procedure involved in working at an immense department store. Jackson, who did work briefly for Macy's, describes how she sold books, though not those that she might have chosen herself—the popular title for the Christmas season is The Stage-Struck Seal. Jackson's essay, which brought her $25, appeared in 1941 in The New Republic, where Hyman was working as an editorial assistant. The harried but humorous tone Jackson uses in "My Life with R. H. Macy" characterized her autobiographical prose. One piece, "My Recollections of S. B. Fairchild" (published in Just an Ordinary Day), mirrored the format and approach of the former. In this essay, Jackson describes how she and her husband celebrated their fifteenth wedding anniversary by buying a used tape recorder from a large New York department store. The tape recorder, with which they had hoped to record the voices of their children, soon breaks, and when Jackson brings it to the music store in their small town for repair, she is admonished for not buying it from there and told that the machine could not be fixed. Over a year passes, and despite having returned the faulty recorder to the original store and written numerous letters of complaint, Jackson and her husband receive neither a new instrument nor reimbursement. They end up buying a tape recorder from the music store in town, which functions beautifully but costs quite a bit more. Both essays are witty disparagements of administrative red tape, but as in much of Jackson's autobiographical work, they possess a more serious undercurrent. In "My Life with R. H. Macy," Jackson describes being isolated and anonymous, even when surrounded by books. In "My Recollections of S. B. Fairchild," she learns that she cannot circumvent the watch of her small-town neighbors by appealing to the

SHIRLEY JACKSON / 119 city. The incident with the tape recorder reminds her that she is beholden to her small town. Not even her formidable resources—her wit and writing skills—can mitigate the connection. This uneasy relationship between small-town obligations and big-city bureaucracy recurred in Jackson's work. Jackson's second national publication, "After You, My Dear Alphonse," ran in The New Yorker in 1943 and was the first of twelve of her stories to be published in the prestigious magazine. By that time, she had given birth to her first child, Laurence, and her husband was working at The New Yorker as a staff writer. "After You, My Dear Alphonse," examines the pernicious effects of subtle prejudice. As in several of her strongest short stories written during the 1940s, "After You, My Dear Alphonse," shows that Jackson's true subject is everyday cruelty. The story is about Mrs. Wilson, a Caucasian woman in a small town, who is surprised when her young son brings home a black playmate. She serves the child lunch and quizzes him about his family, making it clear that she assumes his father is a laborer in a factory (he is a foreman) and that he has many brothers and sisters (he has only one). Finally, Mrs. Wilson offers the black child a bundle of old clothes to take home to his family. When the child politely declines the offer, Mrs. Wilson responds with a rebuke: "There are many little boys like you, Boyd, who would be very grateful for the clothes someone was kind enough to give them." The bewildered child apologizes. Jackson returned to the theme of false charity in her next published story, "Come Dance with Me in Ireland" (collected in The Lottery). The story, which first appeared in The New Yorker in 1943, was selected for The Best American Short Stories of 1944. The tone is much the same as in "After You, My Dear Alphonse," and the story also examines issues of class and culture. Three well-off women are startled when a beggar rings the door of an apartment where they are gathered. The beggar purportedly is

selling shoelaces, but when he comes in, he collapses drunkenly. The women hesitate, confer, then decide to offer him a meal; after all, they won't have to go to too much trouble, given the man's station. (One of the women suggests that they feed him eggs and potatoes—"He won't care if they're half-raw," she says. "These people eat things like heaps of fried potatoes and eggs.") The man begins to eat, stops, then gets up to leave. When they question him, he quotes from the Irish poet W. B. Yeats (one of the women has inferred that the beggar is from Ireland) and offers a stinging blow: "I may have imbibed somewhat freely . . . but I never served bad sherry to my guests." The matrons in this story do not comprehend their clumsy and condescending offers of assistance. They remain concerned about their domestic responsibilities and routines, their duties to prepare supper for the men and watch the baby. They are vigilant, but, as Jackson seems to suggest, about the wrong things. Prejudice continued to figure heavily in Jackson's work, particularly in her short fiction published during the 1940s. In "Flower Garden" (in The Lottery) a widow and her son learn a shattering lesson about prejudice and ignorance when they move into a small New England town. At first, the neighbors are friendly—one woman, Mrs. Winning, finds the widow a refreshing addition to the stodgy town and seeks her out. Even the shopkeepers seem impressed by the new resident; the grocer speaks of her as a "lady." But the villagers are soon dismayed when the widow hires a black man to work as her gardener and allows her son to play with the gardener's son (whose mother is a local white woman). The villagers are so xenophobic, they fail to comprehend the injustice of their actions. In the end, both the widow and the friend who withdrew find themselves alone again, frightened and without reassurance. Jackson did not confine her social critiques to race-related issues. Through her relationship with Hyman, she became acutely aware of

720 / AMERICAN WRITERS anti-Semitism. Some critics, including Oppenheimer, have said that "The Lottery" enacted the anti-Semitism that Jackson and her family felt in Bennington. Jackson also addresses the topic through the Perlmans, a marginalized family in The Road Through the Wall, and in the chillingly underhanded story "A Fine Old Firm" (in The Lottery}. The latter tells of a meeting between the mothers of two young men from the same hometown who become good friends in the army. One of the young men is Jewish; the other Christian, and the Christian mother, Mrs. Concord, treats the Jewish mother, Mrs. Friedman, with wariness. When Mrs. Friedman mentions that Mrs. Concord's son might be interested in joining her husband's law firm, Mrs. Concord recoils and says that her son will work for a firm with a highly Anglo name; "a fine old firm," as the Christian woman puts it. Jackson's most effective novels and stories feature women displaced both by their own troubled minds and the troubling society that surrounds them. Yet despite the recurrent themes of discontent and quest, her protagonists, rather than becoming types, are distinct, fully developed characters. The root sources of their dissatisfaction may be similar, but their individual arcs of discovery offer as many diversions and complications as Quixote's or Candide's. In this sense, Jackson was a pioneer in writing the women's adventure story, one in which the psychological complications are just as potent and convincing as the literal. As the critic Carol Cleveland points out, "from the beginning to the end of her writing career, Shirley Jackson was at work mixing genres, confounding the expectations of the self-righteous and the placid, examining the lot of women, and exploring the differences between crime and evil." As ironic as it might seem, the supposedly sentimental realms of motherhood and marriage were crucial to Jackson's insight into societal ills. Several of her short-fiction narrators are mothers and wives who learn through criticism

from neighbors that they must suppress their desires for individuality and passion. One such character, Mrs. Walpole in "The Renegade" (collected in The Lottery}, is a housewife having a frustrating morning as she prepares her children for school and completes the chores. She performs these tasks efficiently, until the phone rings. A neighbor woman is on the line to deliver the chilling message that Lady, Mrs. Walpole's beloved family dog, has been killing her chickens. The dog will have to be put to sleep, the woman all but commands. Mrs. Walpole responds with horror—until then she had thought of her dog as a gentle member of the family. Her dismay deepens when her children return home, speaking blithely of a method to kill the dog by making it wear a spiked collar. As the children speak of punishment and gore, Mrs. Walpole reflects on "the murderous brutality a pretty dog like Lady could keep so well hidden in their home." In 1997 Laura Shapiro of Newsweek described the way Jackson mined the primal through the domestic in her review of Jackson's posthumous collection, Just an Ordinary Day: "[Jackson's] disquieting take on home life will still resonate when Martha Stewart is a memory." Home life, for Jackson, often meant tension between the natives of small communities and newcomers. Her interloper characters are often more wealthy and educated than the indigenous, but they lack a most crucial quality: the selfassurance that comes with having been born and raised in a particular area. In the short story "The Summer People" (collected in Come Along with Me), a city couple who have vacationed in a small eastern town each summer decide to extend their stay past Labor Day. They are retired, and enamored of the parochial village. But their country neighbors balk at the plan: local merchants and gas suppliers refuse to serve the out-of-towners; their phone line is severed and mail comes late. The locals' hostility reaches a climax when the tires on the couple's car are slashed.

SHIRLEY JACKSON / 121 Jackson often disparages village natives and their wariness of strangers and new customs, but she also displays a certain grudging respect for these characters. In an essay on writing titled "Experience and Fiction" (in Come Along with Me), she explained what she meant by the phrase "village women": "I do not mean by that that they are primitive, or uneducated, or unsophisticated; I think of them only as a tightly knit group, interested in their own concerns, and as resentful of outsiders as any of us." Though Jackson's characters often pervert and upend social customs, she herself was known for her hospitality. This quality is ironic, considering her lifelong obsession with social ostracization. Jackson's biographers often mention her skill as a hostess and how she served as a one-woman support system for other parents. Sometimes this impulse led to genuine connection with others and sometimes to selfdestructive behavior. Hospitality, to Jackson, could mean everything from making batches of brownies for neighbors to gorging herself. Food was a potent, loaded tool, involving both social and antisocial action. After publication of "The Lottery," readers and critics speculated about Jackson's interest in witchcraft. The tradition of mistrusting neighbors in the story seemed suspiciously close to practices in Salem, Massachusetts, in the late 1600s. It is true that Jackson nurtured a longterm interest in witchcraft and magic, though it is unlikely that she practiced either seriously. Jackson's interest in the working of the occult began when she was a teen and continued into adulthood. She owned a private library of books on the subject and in 1956, she published a nonfiction book for young adults, The Witchcraft of Salem Village. In a 1947 biographical sketch ("Notes on Shirley Jackson," in Shirley Jackson: A Study of the Short Fiction, by Joan Wylie Hall), Hyman wrote of his wife and her unusual hobby: "She . . . is perhaps the only contemporary writer who is a practicing amateur witch,

specializing in small-scale black magic and fortune-telling with a Tarot deck." Much has been made of Jackson's interest in the supernatural, particularly in her novel The Haunting of Hill House, yet the subject never became a facile plot device or narrative crutch. It is unclear how serious Jackson was in her efforts as an "amateur witch." Rumors circulated in the publishing world about the author's casting spells and using voodoo dolls. In her art, ghosts and mental maladies frequently converge in her characters. The supernatural elements in Jackson's writing rarely remain abstract—as the Times Literary Supplement said of The Haunting of Hill House, "Nowhere is there any whiff of pointless eerie-weerie detectable." Jackson addressed the matter in a 1962 lecture about writing ("Notes for a Young Writer," in Come Along with Me): "Suppose you want to write a story about what you might vaguely think of as 'magic.' You will be hopelessly lost, wandering around formlessly in notions of magic and incantations; you will never make any forward progress at all until you turn your idea, 'magic,' into a person, someone who wants to do or make or change or act in some way." Considering Jackson's seriousness as an artist, the author probably was drawn to the ways in which witchcraft and magic focused on revealing the terrors of the human psyche. For Jackson, as for Henry James, the supernatural and the subconscious worked in tandem; Jackson matter-of-factly included elements of both in her writing, even in her lighter-toned family memoirs. When explored together in darker works, such as We Have Always Lived in the Castle (1962), Jackson used the workings of the supernatural and subconscious to serve as the terrain of the ostracized. "To all the classic paraphernalia of the spook story she adds a touch of Freud to make the whole world kin," one writer observed in the New York Times Book Review in 1959. Stacey D'Erasmo, writing in The Nation, also remarked on Jackson's authentic use of the

722 / AMERICAN WRITERS terrifying: "In the strongest Jackson . . . strange calls to stranger in the guise of ghost stories: apparitions, bogymen, things that go bump in the night. They are cliches, really, that somehow add up to art, a consciousness not easily apprehended, written in a genre we think we know." From Jackson herself to the hounded Tessie Hutchinson in "The Lottery," the women in Jackson's work often grapple with the seeming injustice of their situations. Most conventional women protagonists in Jackson's short fiction attempt to escape their fates by taking journeys. Soon they become unrecognizable, both in body and demeanor. In "The Tooth" (in The Lottery) a woman deadened by the routines of marriage and motherhood becomes so disoriented while away from her family (and under the influence of pain medication) that when she looks in the mirror in a public bathroom, she cannot pick out her own face. In the 1961 story "Louisa, Please Come Home" (collected in Come Along with Me), winner of the Edgar Allan Poe Award, a young woman who ran away from her home years before changes so much in attitude that when she reunites with her family, they fail to recognize her and consider her a fortune-hunting imposter. Come Along with Me, Jackson's unfinished novel at the time of her death, focuses on a middle-aged woman who begins her life afresh after the death of her irksome husband. The woman, who adopts a new name—Angela Motorman—is almost giddy with relief at her freedom. The unfinished novel takes on a light, comic air absent from much of Jackson's later fiction. THE ROAD THROUGH THE WALL AND THE LOTTERY

In 1945 Jackson and her husband moved to North Bennington, Vermont, where Hyman had accepted a teaching position at Bennington College. The town was to become a perverse muse

for Jackson, a contrast to the urban life she was accustomed to living, and a source of social isolation and vulnerability. The critic Jonathan Lethem, who grew up in Bennington, writes, "It was Jackson's fate, as a faculty wife and an eccentric newcomer in a staid, insular village, to absorb the reflexive antisemitism and antiintellectualism felt by the townspeople toward the college. She and her children were accessible in a way that her husband and his colleagues and students, who spent their days on the campus, were not." In short order, Bennington became the setting for Jackson's most famous story. "The Lottery" opens innocuously, in Jackson's typically concise style. The June morning is "clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green." Jackson quickly pans across the village, population 300, introducing the rhythms of small-town life and an air of congenial expectancy such as might precede a civic parade. Selecting stones and setting them into a pile seems a harmless practice for young boys. Depicted early in the story, by the end this image has become shockingly horrific, with Davy Hutchinson, Tessie Hutchinson's youngest son, receiving pebbles from the other villagers as they gear up to chase and pummel Davy's mother to death. The critic Helen Nebeker, who calls "The Lottery" a "symbolic tour de force," discusses the importance of the wooden box from which the slips of paper are drawn and the lottery conducted. Black, old, likely constructed by the village's first settlers, the box "suggests the body of tradition—once oral but now written— which the dead hand of the past codified in religion, mores, government, and the rest of culture, and passed from generation to generation, letting it grow ever more cumbersome, meaningless, and indefensible." Notably, the box is handled only by the men of the village. As in much of Jackson's writing,

SHIRLEY JACKSON / 123 men make most of the decisions in "The Lottery." Mr. Graves and Mr. Summers, a matterof-fact civic leader, are in charge. We learn that Mr. Summers, who oversees the ominous black box, was given his position because he had no children and his wife was "a scold." Old Man Warner acts as the town archivist, judgmental and unreceptive to change. The men, the "heads of households," draw from the box; sons fill in for deceased fathers. Women are allowed to draw for their families only as a last resort. The women arrive wearing faded housedresses and sweaters, and remain physically removed from "the menfolk." Tessie Hutchinson arrives late; she appears both avoidant and flighty. She jokes with the other women and even makes a quip at the expense of her husband. The crowd laughs, but soon, when her name is drawn, her neighbors and allies turn on her. The women she had been chatting with earlier urge her to be a "good sport." Many critics view "The Lottery" as an enactment of the ideas from James Frazer's The Golden Bough, a text on anthropology and mythology, which examines the sacrificial killings of god-figures to ensure fecund harvests. Jackson certainly knew the book well—she read it in a college course on folklore and even alluded to it in her novel Hangsaman. Other critics have compared the story to a biblical parable, a parallel to the Salem witch trials, or merely a lesson about creating pariahs in communities. Still others suggest that the story is merely one town's archaic system of dealing with overpopulation. Regardless of the story's symbolic meanings, Tessie Hutchinson is an example of the kind of woman Shirley Jackson feared in life, and feared for in her writing. In many ways she was one of the "village women" Jackson derided as narrow-minded and hostile to outsiders, but in other ways, she represented the futility and danger of questioning tradition. Tessie's neighbors betray her, and then her family follows

suit. Two of her children even jump around in glee when they realize that they are not going to be killed. Worse, Tessie's reluctance to accept her sentence ensures that she will not be afforded martyr status. As critic Fritz Oehlschlaeger writes, "Tessie fails to be a heroine, and the way that she does so testifies to the success with which the male-dominated order has imposed itself upon her." The theme of women being controlled and even sacrificed by males would recur frequently in Jackson's work. In many ways, it is fitting that Tessie is Jackson's most famous character. She attempts to question the order of all that surrounds her— first with wit and flippancy, then anger and indignation. Soon she realizes that, even as an insider, she never was truly assured of her place. Her final line of dialogue might even be a mini ars poetica for Jackson and her concerns: "It isn't fair, it isn't right." The publication of "The Lottery" might have been enough to distinguish most authors' reputations for years, but it was only one event in an extremely productive year for Jackson. In 1948 she also published her first novel, several autobiographical essays, and gave birth to her first daughter. The Road Through the Wall, her first novel, both lampoons the suburbs and examines the parallel, isolated lives of the characters living in a well-appointed, conservative town. Lonely but imaginative, Harriet Merriam and Marilyn Perlman are the heroines of the novel, adolescent misfits who disappoint their mothers and seek solace at the library. Harriet is ostracized because she is overweight and bookish; Marilyn because she is from the only Jewish family in the neighborhood. Both girls read widely and write about their lives. Harriet labels her notebooks "Poems," "Moods," "Me," and "Daydreams." Marilyn reads Thackeray and copies vocabulary words into her journal, juxtaposing terms that might well describe her conflicting emotions, such as "adorable," "fearsome," "storied," and "grisly." The suburb,

124 / AMERICAN WRITERS meanwhile, experiences a crisis when a little girl disappears; her body is then found. She probably has been murdered, possibly by a loner adolescent boy in the suburb. The boy then kills himself. Both the boy and the girl become symbolic sacrifices for a group of adults who cannot see past their own hypocrisy. Reviewers generally praised The Road Through the Wall. The New Yorker extolled "the author's style, a supple and resourceful instrument that makes her shopworn material appear much fresher than it is." But the critical response to the novel hardly compared to the torrent of publicity and praise Jackson received the next year, in 1949, for the publication of her story collection, The Lottery. Almost immediately, the collection went into additional printings and delighted the publisher, Farrar, Straus & Giroux. One thing about the publicity campaign irked Jackson, however: her publisher sensationalized her and her writing, labeling it "terrifying" and including a blurb by Christopher Morley that warned readers about feeling "the tweak of ulcers." PSYCHOLOGICAL NOVELS

Jackson's second and third novels deal with the horrors of the subconscious, and the pernicious effects of mental and emotional illness. Hangsaman, published in 1951, and The Bird's Nest, which followed three years later, featured protagonists driven to distraction by their vivid and sometimes even psychotic imaginary cohorts. Natalie Waite, in Hangsaman, is a precocious young woman beginning college. A writer, she has a strong and even visceral imagination. The reader first encounters Natalie trying to tune out her ill-matched parents by conducting full conversations in her head with imaginary characters. One such made-up person, a detective, prods Natalie about a murder mystery. The juxtaposition between the suburban domestic scene and an interior monologue centering on a

murder is disquieting: "Will you talk now? . . . Do you think that you alone can stand against the force of the police, the might and weight of duly constituted authority, against we?" Some of the imagined dialogues are humorous and bear elements of an inquisitive young woman's fantasies, but they also have an alarming undertone. Away at college, Natalie struggles to combat loneliness. At one point, she even considers jumping from a bridge to her death. She becomes best friends with Tony, a character who may or may not be real. Jackson keeps the reader guessing throughout; Tony is a shadowy character. The two young women become close friends, and Tony introduces Natalie to new, mysterious realms of knowledge—for example, she loves Tarot cards. In one pivotal scene, Natalie, who is confused by Tony's ardent desire to be her friend, follows Tony into the woods armed for a confrontation. Reviewers' opinions differed about Tony's status as a character or figment of Natalie's imagination, but most commented on the disturbing possibilities of Natalie's inner realm. The New York Herald Tribune noted that "Miss Jackson writes with grace and precision of this tenuous borderland country of the emotionally disturbed." The Bird's Nest (1954) also centers around a troubled young woman, but she is more deeply ill than Natalie. Elizabeth Richmond is a timid, twenty-three-year-old woman who works in an uninspiring job in a museum. Her mother is dead, and she lives with her aunt. At first Elizabeth seems merely depressed, but then the reader begins to glimpse her other personalities. Soon she is sent to a doctor who specializes in hypnosis. To write this novel, Jackson researched multiple personalities extensively. She also worked with a psychologist at Bennington who provided her with case histories and advice. The resulting novel dips into alternate perspectives to provide

SHIRLEY JACKSON / 125 insights into the woman's psychological puzzle. Sometimes, through hypnosis, the personalities even confront each other. In one unsettling scene with the doctor, Bess and Betsy write each other acrimonious notes that reveal information about Elizabeth's relationship to her aunt. The book's title (and epigraph) is a variation on an old riddle that begins: "Elizabeth, Lizzie, Betsy and Bess / All went together to see a bird's nest." It becomes clear in the riddle that the four names, all variations of "Elizabeth," belong to one person. Each of Elizabeth's selves has her own trademark style: Beth is pleasant and social; Betsy mocks both Elizabeth and the doctor (she calls Dr. Wright "Dr. Wrong"); and Bess is calculating and stubborn. Through the alternating narration of the four selves and the doctor, we learn about different aspects of Elizabeth's past including her fear of her mother's boyfriend, her mother's death, and the fact that she soon would inherit money from her mother's will. The Birds Nest was made into a film called Lizzie by Metro-Goldwyn-Mayer in 1957, but it dismayed the author. Several of Jackson's works were adapted for film and television, but the only one that pleased her, or in her opinion stayed true to the script, was the 1963 film The Haunting, which starred Julie Harris and Claire Bloom. FAMILY MEMOIRS

During the 1950s, Jackson published two memoirs, Life Among the Savages (1953) and Raising Demons (1957). The accounts, comprised largely of autobiographical pieces first published in magazines, portray a zany household of imaginative individuals. These pieces poignantly reveal that, in contrast to her own mother, Jackson was accepting of her children's individual eccentricities. She writes vividly about her children's diverse interests and desires. Her oldest child, Laurie, for example,

desperately lobbies to play the trumpet (and does so with elan); Laurie and his father collect coins and become amateur numismatists. Her daughter Jannie convinces Jackson, against her will, to host a chaotic slumber party, and her younger daughter Sally speaks openly of magic. Jackson keeps the tone light and comic even when the situation is serious, but it is clear that she and her husband were fascinated by their children's various leanings and talents. These memoirs also reveal that Jackson's domestic responsibilities could be daunting, especially during difficult periods in her marriage with Hyman and bouts of emotional illness. The critic Carol Cleveland observed that Jackson's memoirs are "early and admirable examples of an American literary subgenre: the diary of the mad housewife. Jackson was among the first to admit publicly that, while motherhood might be a useful institution for children, it was not conducive to serenity in the mother." Despite this assessment, Jackson shows herself to be a mainly unflappable mother and wife who finds herself in funny and chaotic situations. "Charles," one of the most famous episodes from the memoirs, was first published in Mademoiselle and reprinted in The Lottery. It appears as a passage in Chapter 1 of Life Among the Savages, and describes the first year of kindergarten for Jackson's oldest son, Laurie. In this witty piece, Laurie comes home from school with reports of a hellion classmate, Charles. Soon Jackson's family looks forward to the scandalous stories of how Charles infuriated and sabotaged his teacher and classmates. The climax of the story occurs when Jackson attends a teacher-parent conference and realizes that there is no Charles in her son's class, and that Laurie probably was telling the story of his own difficult adjustment to school. Another, less humorous strain runs through Jackson's memoirs, particularly in Raising Demons. In this later memoir volume, Jackson

726 / AMERICAN WRITERS allows the occasional painful episode to slip into the jocular accounts. "Notes of a Faculty Wife," a piece included in Raising Demons, conveys Jackson's uneasy feelings about her husband's position as a professor. "A faculty wife is a person who is married to a faculty," she writes; "She has frequently read at least one good book lately, she has one 'nice' black dress to wear to student parties, and she is always just the teensiest bit in the way, particularly at a girls' college such as the one where my husband taught." Another episode in the same memoir demonstrates Jackson's feelings of displacement and jealousy. When Hyman is asked to serve as a judge for the Miss Vermont contest, Jackson writes that the community and his own family are surprised. "Daddy likes to look at girls," Jackson quotes one of their young children as saying. The episode maintains a humorous tone, but the undercurrent of pain remains. Jackson's writing shows evidence that she probably registered her feelings of jealousy. According to Oppenheimer, she suffered from her strong suspicions of her husband's infidelity. Yet with characteristic insight, Jackson's work also shows a sophisticated understanding of jealousy and betrayal, and a recognition of the fact that all affairs are not a simple story of villain and victim. In this sense, the memoirs can shed light on the fiction, and vice versa. One story in particular, "The Very Hot Sun in Bermuda" (published in Just an Ordinary Day), demonstrates pity for an errant husband. In the story, an attractive young coed walks through campus imagining how lovely she will look tanned and wearing a swimsuit. Meanwhile, her married lover, a professor and artist, waits for her in his studio, nervous and desperate. From the young woman's general self-absorption, though, it is clear to the reader that she considers her lover a passing fancy. Yet the professor agonizes over his situation, caught between his lust and sense of duty to his wife and children. By emphasizing the young woman's diffidence,

Jackson manages to strike a chord of sympathy for the anguished professor. LATER FICTION

Several of the more memorable protagonists in Jackson's novels are women seeking refuge in ancient, imposing houses. This is the conceit for Jackson's last three novels, The Sundial (1958); The Haunting of Hill House; and We Have Always Lived in the Castle (1962). In each, the protagonists take literal refuge in eerie old homes to stave off further trauma, but find that the ornate gates and walls will not insulate them against their own mental and emotional demons. The Sundial, Jackson's only novel to receive lukewarm reviews, is a combination farce and apocalyptic parable. The Hallorans are a wealthy family who live in a bizarre house built by the now-infirm father of the family. The peculiar sundial, which Mr. Halloran had had built with the house, bears an ominous slogan: "WHEN SHALL WE LIVE IF NOT NOW?" Early on in the novel, several of the characters experience visions and harbingers. Aunt Fanny, for example, insists that her dead father is warning her about a coming apocalypse, through which only the family and their house will survive. Aunt Fanny and the matriarch of the house, Mrs. Halloran, struggle for control of the home and family throughout the preparations for this catastrophe. Jackson examines two power struggles in the novel: the first is among the inhabitants of the house, and the second is between the inhabitants and the future. Jackson seems to suggest that both are naive and could even have fatal consequences. Much of the novel, written during the bombshelter craze of the 1950s, is spent preparing for the end of the world. The family stockpiles basic provisions, and even go so far as to burn books in order to provide more space in the mansion for essentials. The survivalist tale Robinson Crusoe is alluded to throughout;

SHIRLEY JACKSON / 127 Mr. Halloran, the elderly patriarch, listens to his nursemaid reading it aloud. Jackson also makes references to religion in the novel, especially to Catholicism and its promise of redemption. Critics expressed confusion about the novel, particularly its genre. Reviewers considered the book everything from a serious allegory to a high-spirited satire. "Miss Jackson mixes Gothic horror and suburban fun," wrote a reviewer in Commonweal. The New York Times took Jackson to task for the "preposterous" characters and predictable dialogue. Perhaps the book's real challenge is the weight of the ideas and traditions, specifically those of Catholics and apocalypse-oriented believers, that Jackson takes on. In this sense, the message presses too heavily on its characters. A Gothic mansion once again provides refuge in The Haunting of Hill House. Eleanor Vance, the protagonist, attempts to erase years of a servile existence in her family by moving into a menacing mansion to take part in a study of the occult. Eleanor was selected by Dr. Montague, the director of the study, because of an experience with an alleged poltergeist when she was young. Dr. Montague is a self-assured philosopher who studies the supernatural. While the inhabitants' experience chaos in the house, Montague entertains himself by speaking of poltergeists and ghosts and reading novels by Samuel Richardson (also a favorite of Jackson's). Soon, though, even Dr. Montague's preoccupations cannot keep the house's forces (and the residents' own demons) at bay. At Hill House, Eleanor feels liberated and valued for her mind. She meets and becomes infatuated with more worldly characters, including Theodora, an artist with psychic abilities, and Luke, the rich nephew of the house's owner. But soon even Theo and Luke cannot satisfy Eleanor's need for affirmation. The novel climaxes in a scene in which Eleanor walks into a tower, where the residents had been forbidden to go, and climbs a precarious iron staircase.

She scales it quickly, and soon ends up far above the stone floor. When the other residents discover her, they realize that the house and experiment has meant much more to Eleanor than to them. The moment foreshadows the distraught woman's suicide—when the group disbands and she is forced to return home, she kills herself by driving into a tree. Throughout the novel, as in The Sundial, the house reflects both the disquieting spirits of the past and the psychological terrors of the current inhabitants. Jackson imbues the architecture with texture and emotion. Chapter 2 of The Haunting of Hill House begins with the following passage: No human eye can isolate the unhappy coincidence of line and place which suggests evil in the face of a house, and yet somehow a maniac juxtaposition, a badly turned angle, some chance meeting of roof and sky, turned Hill House into a place of despair, more frightening because the face of Hill House seemed awake, with a watchfulness from the blank windows and a touch of glee in the eyebrow of a cornice.

In We Have Always Lived in the Castle, two sisters, Merricat and Constance, live sequestered in the family mansion. The neighbors, the village people, scorn them, both for their family's wealth and another, more troubling, reason: Constance served time for allegedly murdering most of her family with arsenic. Since the murders, the villagers have exhibited acrimony toward the young women, taunting them with cruel rhymes. At the beginning of the book, the story's narrator, Merricat, the more eccentric sister, describes doing errands in town, where she is subjected to jeers. But she remains firm in her belief that her home is true refuge. She adores her sister Constance, and generally treats her invalid Uncle Julian, who nearly died from arsenic poisoning, with deference. Yet she shows no sorrow over the gruesome deaths of her parents, brother, and aunt. It soon becomes clear that Merricat is the likely murderer. Her

728 / AMERICAN WRITERS fantasy is to live "on the moon" with Constance, where none of her hateful memories of the family can haunt her. When their cousin Charles shows up, however, and Constance begins to show signs of wanting to reenter society, Merricat suspects that he is seeking the family fortune and sets out to dissuade him from remaining. One of the pivotal scenes of the novel occurs when the house catches fire and the neighbors, after helping to put it out, smash the windows and wreck the remaining rooms. The young women return to their badly damaged home, however, and board up the windows and secure the doors around them. They remain there, living in greatly reduced circumstances. Merricat is mollified; she finally has her sister all to herself. CONCLUSION

One way that Jackson nurtured her creative life was by reading widely. Her formal education ended with graduation from Syracuse, but she continued to study the art of her literary ancestors. In addition to reading about witchcraft, she devoured the work of authors such as Samuel Richardson, Henry Fielding, Jane Austen, the Brontes, E. M. Forster, and Louisa May Alcott. She used work by the latter as a palliative after writing The Haunting of Hill House. Reading Little Women before bed, she said, helped ease the onslaught of disturbing, otherworldly thoughts. She also admired the contemporary writers Katherine Anne Porter and Elizabeth Bowen. Her favorite writer remained Richardson. Jackson's ardor for this eighteenth-century author might seem illogical, considering Richardson's arguably florid, long-winded style, so in contrast with Jackson's sparse, understated prose. But in an unpublished essay, "Notes on an Unfashionable Novelist," she answered her own question, "Why read Richardson, who was

certainly very moral and extremely long, and, not to put too fine a point on it, dull?" Jackson isolates three attributes that Richardson possessed, but which, she says, are lacking in modern, "distempered" times: "Peace, principle, kindness." Peace she identifies as the characters' leisure to think, to write letters, and to reflect on and consider their lives. Jackson praises the slow pace of Richardson's prose, and what she knew of him as a man—that he liked food and was overweight, that he had many concerns but still was able to gossip with friends and write. Principle, Jackson says, is the dignity and respect Richardson's heroes exhibit; how they honor their commitments regardless of temptations. Finally, kindness lies in Richardson's obvious sympathy for his characters, for all human beings. Jackson admits that kindness is an "outlandish word to use about a writer, or about writing, or about anything except people and the way they feel." Yet Richardson had it, she writes; his words reveal not that "'we are all from the same mind, Richardson's,'" but "'we are all from the same people, the mortal.'" The distinction is important in Jackson's work, as well. Though critics have often sought to emphasize the dark or Kafkaesque in her creative vision, hopeful elements exist in her writing. Even at their most misguided and desperate, characters such as Merricat reach out to others for solace. Some of Jackson's characters demonstrate through their obsession with the future a genuine concern for the future of humanity. In a sense, Jackson's narrative messages are warnings rather than indictments. Hyman articulated this idea in his posthumous article about his wife: "[Jackson's] fierce visions of dissociation and madness, of alienation and withdrawal, have been taken to be personal, even neurotic, fantasies. Quite the reverse: they are a sensitive and faithful anatomy of our times, fitting symbols for our distressing world of the concentration camp and the Bomb."

SHIRLEY JACKSON / 129

Selected Bibliography WORKS OF SHIRLEY

JACKSON

The Bad Children: A Musical in One Act for Bad Children. Chicago: Dramatic Publishing, 1959. Nine Magic Wishes. New York: Crowell-Collier, 1963. Famous Sally. New York: Harlin Quist, 1966.

NOVELS AND SHORT STORIES

MANUSCRIPT PAPERS

The Road Through the Wall. New York: Farrar, Straus, 1948. The Lottery; or, The Adventures of James Harris. New York: Farrar, Straus & Giroux, 1949. Reprinted as The Lottery and Other Stories. New York: Farrar, Straus & Giroux, 1982. Reprinted as The Lottery and Other Stories, with a preface by Patrick McGrath. New York: Modern Library, 2000. Hangsaman. New York: Farrar, Straus and Young, 1951. The Bird's Nest. New York: Farrar, Straus and Young, 1954. The Sundial. New York: Farrar, Straus and Cudahy, 1958. The Haunting of Hill House. New York: Viking, 1959. We Have Always Lived in the Castle. New York: Viking, 1962.

BIBLIOGRAPHIES Hall, Joan Wylie. "Shirley Jackson." In vol. 1 of Facts on File Bibliography of American Fiction: 1919-1988. Edited by Matthew Bruccoli et al. New York: Facts on File, 1991. Pp. 266-267. Herrick, Casey. "Shirley Jackson's The Lottery.'" Bulletin of Bibliography 46, no. 2:120-121 (June 1989). Phillips, Robert S. "Shirley Jackson: A Checklist." Papers of the Bibliographical Society of America 56, no. 1:110-113 (January-March 1962), pp. 110-113.

COLLECTIONS

Come Along with Me: Part of a Novel, Sixteen Stories, and Three Lectures. Edited with a preface by Stanley Edgar Hyman. New York: Viking, 1968. The Magic of Shirley Jackson. Edited with a preface by Stanley Edgar Hyman. New York: Farrar, Straus & Giroux, 1969. Just an Ordinary Day. Edited with a preface by Laurence Jackson Hyman and Sarah Hyman Stewart. New York: Bantam Books, 1997. NONFICTION

Life Among the Savages. New York: Farrar, Straus and Young, 1953. Raising Demons. New York: Farrar, Straus and Cudahy, 1957. JUVENILE BOOKS

The Witchcraft of Salem Village. New York: Landmark Books/Random House, 1956.

A collection of Jackson's manuscripts and correspondence is at the Library of Congress.

CRITICAL AND BIOGRAPHICAL STUDIES Allen, Barbara. "A Folkloristic Look at Shirley Jackson's 'The Lottery.'" Tennessee Folklore Society Bulletin 46:119-124 (December 1980). Breit, Harvey. "Talk with Miss Jackson." New York Times Book Review, June 26, 1949, p. 15. Brooks, Cleanth, and Robert Penn Warren. "The Lottery': Interpretation." In their Understanding Fiction. New York: Appleton-Century-Crofts, 1959. Pp. 72-76. Carpenter, Lynette. "Domestic Comedy, Black Comedy, and Real Life: Shirley Jackson, a Woman Writer." In Faith of a (Woman) Writer. Edited by Alice Kessler-Harris and William McBrien. Westport, Conn.: Greenwood Press, 1988. Pp. 143148. Cleveland, Carol S. "Shirley Jackson." In And Then There Were Nine . . . More Women of Mystery. Edited by Jane S. Bakerman. Bowling Green, Ohio: Bowling Green State University Popular Press, 1985. Pp. 199-219. Davenport, Guy. "Dark Psychological Weather." New York Times Book Review, September 15, 1968, p. 4.

130 / AMERICAN WRITERS D'Erasmo, Stacey. Review of Just An Ordinary Day. The Nation, December 23, 1996, p. 25. Frank, Elizabeth. "The Sorceress of Bennington." New York Times, August 7, 1988, pp. 6-7. Friedman, Lenemaja. Shirley Jackson. Boston: Twayne, 1975. Gates, David. "Hard Lives, Lasting Prose." Newsweek, August 22, 1988, pp. 66-67. Hall, Joan Wylie. Shirley Jackson: A Study of the Short Fiction. New York: Twayne, 1993. Hicks, Granville. "The Nightmare in Reality." Saturday Review XLIX, no. 38:31-32 (September 17, 1966). Hyman, Stanley Edgar. "Shirley Jackson: 19191965," Saturday Evening Post, December 18, 1965, p. 63. Janeway, Elizabeth. "The Grotesque around Us." New York Times Book Review, October 9, 1966, p. 58. Kittredge, Mary. "The Other Side of Magic: A Few Remarks about Shirley Jackson." In Discovering Modern Horror Fiction. Edited by Darrell Schweitzer. Mercer Island, Wash.: Starmont House, 1985. Pp. 3-12. Kosenko, Peter. "A Marxist/Feminist Reading of Shirley Jackson's 'The Lottery.'" New Orleans Review 12:27-32 (spring 1985). LainofT, Seymour. "Jackson's The Lottery.'" Explicator 12, item 34 (March 1954). Lethem, Jonathan. "Monstrous Acts and Little Murders." Salon (www.salon.com), January 1997.

Mukamel, Eran. "The Irrepressible Individual in the Works of Shirley Jackson" (http://www.bcsd.org/ BHS/ENGLISH/mag97/papers/jackson.htm), May 1999. Nebeker, Helen E. "The Lottery': Symbolic Tour de Force." American Literature 46:100-107 (March 1974). Oehlschlaeger, Fritz. "The Stoning of Mistress Hutchinson: Meaning and Context in The Lottery.'" Essays in Literature 15:259-265 (fall 1988). Oppenheimer, Judy. Private Demons: The Life of Shirley Jackson. New York: Putnam, 1988. Parks, John G. "The Possibility of Evil: A Key to Shirley Jackson's Fiction." Studies in Short Fiction 15:320-323 (summer 1978). . "Waiting for the End: Shirley Jackson's The Sundial." Critique 19, no. 3:74-88 (summer 1978). . "Chambers of Yearning: Shirley Jackson's Use of the Gothic." Twentieth Century Literature 30:15-29 (spring 1984). Pascal, Richard. "'Farther than Samarkand': The Escape Theme in Shirley Jackson's 'The Tooth.'" Studies in Short Fiction 19:133-139 (spring 1982). Shapiro, Laura. Review of Just an Ordinary Day. Newsweek, January 1997, p. 70. Warnock, Kathleen. "Meet the Author: Shirley Jackson." Literary Cavalcade 10 (February 1997). Woodruff, Stuart C. "The Real Horror Elsewhere: Shirley Jackson's Last Novel." Southwest Review 52:152-162 (spring 1967).

—CAROLYN ALESSIO

Tony Kushner 1956C

between the realistic and the surreal, the comic and the tragic. His wide-reaching interests are also reflected in his numerous adaptations of plays by an international range of authors, including Johann Wolfgang von Goethe, Pierre Corneille, Ariel Dorfman, Shloime Ansky, and Bertolt Brecht. The wide scope of his concerns and the passion with which he conveys them have won Kushner the applause of large, diverse audiences at his plays and public appearances. This author delights in a multiplicity of themes and forms. In his original dramatic work as well as in his adaptations, diverse elements appear side by side, sometimes merging, sometimes enlightening each other through their degrees of difference. He therefore has compared the desired outcome of his literary efforts to the "opulence" of lasagna, a dish he describes in "On Pretentiousness," an essay in Thinking about the Longstanding Problems of Virtue and Happiness, as "garlicky garrulous, excessively, even suspiciously generous, promiscuous, flirtatious, insistent, persistent overwhelming exhaustive and exhausting." To Kushner the perfect lasagna

kJiNCE THE EARLY 1990s and especially since he was awarded a Pulitzer Prize for drama, a New York Drama Critics Circle Award for best new play, and a Tony Award for best play, all in 1993, Tony Kushner has been considered one of America's foremost playwrights. His breakthrough came with Angels in America: A Gay Fantasia on National Themes (1992, 1995), a seven-hour play in two parts that seems reminiscent of Walt Whitman's desire to embrace all aspects of America. In the essay "With a Little Help from My Friends," in his Thinking about the Longstanding Problems of Virtue and Happiness: Essays, a Play, Two Poems, and a Prayer (1995), Kushner explains: When I started to write these plays, I wanted to attempt something of ambition and size even if that meant I might be accused of straying too close to ambition's ugly twin, pretentiousness. . . . Melville, my favorite American writer, strikes inflated, even hysterical, chords on occasion. It's the sound of the Individual ballooning, overreaching. We are all children of "Song of Myself."

Kushner refers to Walt Whitman's masterpiece "Song of Myself (1855), a long poem celebrating the American gay poet's self and sexuality that in the nineteenth century was shocking in its openness. Kushner credits his own openness about himself and his sexuality partly to Whitman's verbal intimacy. Whitmanesque in his expansive reflections on his own and others' humanity, Kushner brings onto the American stage explorations of the human condition and of national issues, and he presents them through an innovative mixture of genres, reality levels, and themes, a dramatic technique that wavers

effects a balance between fluidity and solidity, between architecture and melting. It is something between a pie and a melange, there are membranes but they are permeable, the layers must maintain their integrity and yet exist in an exciting dialectic tension to the molten oozy cheesy oily juices which they separate, the goo must almost but not completely successfully threaten the alwaysdiscernible-yet-imperiled imposed order. Baking lasagna has long been my own personal paradigm for writing a play. A good play I think should always feel as though it's only barely been 131

132 / AMERICAN WRITERS rescued from the brink of chaos, as though all the yummy nutritious ingredients you've thrown into it have almost-but-not-quite succeeded in overwhelming the design. . . . A good play, like a good lasagna, should be overstuffed: It has a pomposity, and an overreach: Its ambitions extend in the direction of not-missing-a-trick, it has a bursting omnipotence up its sleeve, or rather, under its noodles: It is pretentious food. Pretentiousness, overstatement, rhetoric and histrionics, grandiosity and portentousness are, as much as they are also the tropes of fascists and demagogues everywhere, American tropes, gestures of habitual florid overstep common among those practitioners of American culture to whom I have always been most instantly attracted. It is an aspect of American history and culture we have developed that I am keen to possess, to transform for my own purposes.

Such a celebration of diversity, in which the real tends to give way to the magical and in which even the most problematic characters are given some redeeming qualities, is Kushner's trademark. While he traces its roots to the pretentiousness and grandiosity of American history and culture, a more autobiographical basis for valuing diversity—and for dealing with center and margin, empathizing with both power mongers and outsiders—becomes apparent considering the diverse experiences that have characterized this author's life as well as his self-avowed attraction to public display. A gay man, a Jew, a writer of extreme political awareness, Kushner recognizes and articulates the fears of those who, like himself, feel marginalized by a larger culture and by a homophobic religious right wing. Yet an earmark of this cosmopolitan writer, who like most New York intellectuals feels deep affinities with psychoanalysis, has been to recognize his own ambivalence toward his sexuality as well as toward his personal, political, and religious feelings about Judaism. He has the courage to admit feeling infected by the idea of the Jew and the homosexual as deviants deserving punishment

and equally infected by the willingness to voice this ambivalence. In an interview with Rabbi Norman J. Cohen, published in Robert Vorlicky's interview collection Tony Kushner in Conversation (1998), Kushner remarks: Being gay, I can't help but have a deep ambivalence, because there is a fantastically powerful homophobic tradition within Judaism. When I was at the Wailing Wall with a gay journalist from Tel Aviv . . . I was looking at these varieties of orthodox and Hasidic Jews who were praying at the Wall. And I said, "You know, it hurts me that these people . . . it hurts me that they don't think of me as a Jew." And he said, "Oh, well, they think of you as a Jew. They think of you as a Jew who should be killed."

Kushner wrote that he went into psychoanalysis to change his sexuality, even though the analyst made it clear from the beginning that the treatment would not do so. In the brief play Terminating, or Sonnet LXXV, or "Lass Meine Schmerzen nicht verloren sein," or Ambivalence (2000), dedicated to his analyst, he presents her as a lesbian who is a soul mate in the sense of feeling as filled with despair as he is. At one point the character Hendryk—clearly based upon Kushner himself—remarks: "Ambivalence expands our options. It increases our freedom to, to ... tattoo. Our selves . . . makes us more ambivalent and more free. Which drives us crazy." In an afterword to Vorlicky's collection Kushner expands on this theme: "I often wish I was a Stoic, some sort of Roman who knew the virtue and value of suffering silently. But I'm not and I don't. I'm a modern man and I like to share—feelings, at any rate. Here, have some more, I have puh-lenty!" Sorrow and laughter hang in the balance in all of Kushner's work, and his recurrent sense of despair is woven into a recurrent fantasy of salvation and resurrection, namely the idea that death, decay, and corruption, literally as well as metaphorically or politically, can and do produce new life.

TONY KUSHNER / 133 LIFE AND VIEWS

Antony Robin Jeremy Kushner was born to Jewish American parents, Sylvia Deutscher and Bill Kushner, in New York City on July 16, 1956, and shortly thereafter the family moved to Lake Charles, Louisiana. Since both parents were classical musicians and Kushner's mother worked as an actress, it is not surprising that literature and the arts played an important role in the early lives of Tony and his siblings. As Kushner told Susan Cheever of the New York Times, he saw his mother on stage when he was four or five years old, a threshold experience that resulted in vivid dreams as well as a lifelong passion for the theater. Kushner also locates the discovery of his sexual preference in his childhood years. In an interview with Richard Stayton of the Los Angeles Times he confesses that around the age of six he discovered he was gay, a realization that had become a certainty by age eleven. However, he did not reveal his sexual identity then or during his adolescence. After finishing high school in Louisiana, Kushner returned to New York City to attend Columbia University. As an undergraduate he sought psychotherapy, which led to a gradual acceptance of his sexual identity, but not until his early twenties did he finally come out openly. In 1978 Kushner graduated from Columbia University with a bachelor's degree in medieval history. He then worked as a switchboard operator at the United Nations Plaza Hotel in New York City, a job he held for six years. Deciding to pursue a career in the theater, Kushner enrolled at New York University (NYU) and graduated with an M.F.A. in directing in 1984. By then he also was writing plays. As he later recalled, this was a difficult time in his life. His great-aunt died unexpectedly; a good friend was in a serious taxi accident; the theater collective he had cofounded fell apart; and his mentor at NYU, Carl Weber, left New York City for a position at Stanford University. In addition, the

reelection of Ronald Reagan to the U.S. presidency in 1984 depressed Kushner. "The desolate political sphere mirrored in an exact and ugly way an equally desolate personal sphere," he observes in retrospect in A Bright Room Called Day (1994). In 1985 Kushner left New York to become assistant director at the St. Louis Repertory Theatre for one season. There his first play, Yes, Yes, No, No (1987), was produced in 1985. His next play, Stella, an adaptation of Goethe's Stella (1776), was produced in New York two years later; it has not been published. Also in 1987 two more original plays by Kushner were staged, A Bright Room Called Day in San Francisco, following its 1985 workshop production in New York, and Hydriotaphia; or, The Death of Dr. Browne: An Epic Farce about Death and Primitive Capital Accumulation (2000) in New York City. Kushner was artistic director of the New York Theatre Workshop from 1987 to 1988, and he was director of literary services for the Theatre Communications Group from 1990 to 1991. Appointments as playwright-in-residence and as guest artist took Kushner to the Juilliard School of Drama in New York City, the New York University Graduate Theatre Program, Yale University, and Princeton University. Kushner, who settled in Brooklyn, New York, has used drama as one venue through which to plead for a more humane society and for communal values. Other venues include his appearances as a public intellectual at readings, at lectures, at protest rallies, or on talk shows. He considers drama and politics closely connected, and in interviews he has acknowledged the influences of William Shakespeare, Karl Marx, Bertolt Brecht, Walter Benjamin, and Tennessee Williams. While Kushner wants to reinvigorate language, storytelling, and the imagination, he sees his work in the theater primarily as an ethical responsibility, as a thought-provoking effort to contribute to social change.

134 / AMERICAN WRITERS Kushner's breakthrough as a playwright came in the early 1990s with the overwhelming success of Angels in America. His later plays did not recreate the audience appeal of that masterpiece, however. Kushner used the national and international reputation he gained with Angels to promote an awareness of AIDS and of how American culture deals with the disease. An active member of the AIDS Coalition to Unleash Power (ACT UP), Kushner has spoken out in many interviews, lectures, and essays on AIDSrelated issues. Above all he has asked for an unprejudiced approach to AIDS victims and for the compassion and support of those in power. In "A Prayer," written for the Episcopalian National Day of Prayer for AIDS, delivered at the Cathedral Church of St. John the Divine in New York City in 1994, and published in Thinking about the Longstanding Problems of Virtue and Happiness, Kushner asks God to Enlighten the unenlightened: The Pope, the cardinals, archbishops and priests, even John O'Connor, teach him how Christ's kindness worked: Remind him he's forgotten, make them all remember, replace the ice water in their veins with the blood of Christ, let it pound in their temples: The insurance executive as well as the priest, the congressional representative, the Justice and the judge, the pharmaceutical profiteer, the doctor, the cop, the anchorwoman and the televangelist, make their heads throb with memory, make them see with new eyes Christ's wounds as K.S. lesions. Christ's thin body AIDS-thin, his shrunken chest pneumonia-deflated, his broken limbs, his pierced hands: stigmata of this unholy plague. Let the spilled blood which angels gathered, Christ's blood be understood: It is shared and infected blood. Even John O'Connor, even Bob Dole, Giuliani and Gingrich, Jesse Helms and Pat Robertson—tear open their hearts, let them burn with compassion, stun them with understanding, ravish their violent, politick, cynical souls, make them wiser, better, braver people.

The passage illustrates Kushner's characteristic crossing of boundaries, for example, between Judaism and Christianity or between religion

and politics. It also demonstrates his wideranging critique of those who define public opinion in America, of those in positions that could exert a certain power over AIDS victims and public perceptions of the disease. Moreover, Kushner makes daring associations, for example, between Christ's blood and HIV-infected blood. Criticizing the irresponsible, inhumane exertion of political, economic, financial, religious, or media power is a key element of Kushner's life and work. This critique is substantiated through a reminder of the principles on which individual figures or institutions allegedly base their power, a reminder that usually reveals hypocrisy. In "A Prayer," Kushner includes God in the ranks of those in power, and he challenges God to act according to his principles, to be unlike "the monstrously indifferent, no better than a Washington politician." Kushner prays for an even distribution of God's grace and especially for an inclusion of AIDS victims in that grace. But he does not stop there, appealing for more equality and compassion in all areas: So a cure for AIDS. For racism too. For homophobia and sexism, and an end to war, to nationalism and capitalism, to work as such and to hatred of the flesh. Restore the despoiled world, end the pandemic of breast cancer too. . . . At least guarantee that loss is not irrecoverable, so that life can be endured.

As this passage infers, Kushner has Marxist leanings. He blames capitalism and profiteers for much of what he sees as wrong with contemporary American culture, especially for its pernicious hierarchies. Kushner's work suggests, however, that a large part of his version of socialism derives less from Marx than from Oscar Wilde's essaydialogue of 1891, The Soul of Man under Socialism, which opens with Wilde's observation, "The chief advantage that would result from the establishment of Socialism is, undoubtedly, the fact that Socialism would relieve us from that

TONY KUSHNER / 135 sordid necessity of living for others which, in the present condition of things, presses so hardly upon almost everybody." Wilde, a brilliant Irish playwright and a martyr and revolutionary for the rights of gay men, was sent to prison in 1895 ostensibly for breaking a law prohibiting so-called "indecent acts" between men. Actually he went to prison for parading his homosexual activities and lovers. Closeted gay men as a rule were not prosecuted. In his essay "A Socialism of the Skin (Liberation, Honey!)" in Thinking about the Longstanding Problems of Virtue and Happiness, Kushner quotes Wilde's Soul of Man as a means of taking to task two prominent conservative (or "neo-con") gay writers, Andrew Sullivan and Bruce Bawer. "A map of the world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which Humanity is always landing," Wilde writes. Had these neo-cons been Wilde's contemporaries, Kushner speculates, "Lord knows how they would have tut-tutted at his scandalous carryings-on." Kushner contends that Sullivan and Bawer disapprove of the flamboyant personal styles of some gay men, which they feel increases violence against homosexuals and gives homosexuals a bad image. Disgust with their views leads Kushner to Wilde's idea that Utopia is possible and thence to connections between a Utopia for homosexuals and Wilde's vision of socialism. Quoting John Cowper Powys's remark that Wilde's complaint against capitalism and industrialism is '"the irritation of an extremely sensitive skin . . . combined with a pleasure-lover's annoyance at seeing other people so miserably wretched,'" Kushner pounces. "If there is a relationship between socialism and homosexual liberation," he asserts, "perhaps this is it: an irritation of the skin." He then returns to Wilde's views about the benefits socialism holds for society: "'One's regret,' Oscar tells us, 'is that society should be constructed on such a basis

that man is forced into a groove in which he cannot freely develop what is wonderful and fascinating and delightful in him—in which . . . he misses the true pleasure and joy of living.'" "Socialism," Kushner concludes, "as an alternative to individualism politically and capitalism economically, must surely have as its ultimate objective the restitution of the joy of living we may have lost when we first picked up a tool." Morality and human values all too often give way to materialistic and egotistic interests in contemporary America, Kushner believes. In an interview with Tom Szentgyorgyi during the Gulf War (later included in Vorlicky's collection) Kushner said: Leaders like Reagan and Bush are essentially as morally debased as the people who followed Hitler. . . . Whether or not they sound as crazy or have the same mustache, these are people who fundamentally place all sorts of ideological agendas and personal success above human rights. I think one of the things pushing Bush toward his holocaust in the Gulf is a slip in his popularity. It may be the case that because of the media, and the pressures of public life, most of the people that we elect to public office are not morally fit to be in a position of leadership. That's terrifying.

Kushner also uses public lectures and appearances at demonstrations to voice his stance. For example, he participated in the ARTNOW demo-celebration in Washington, D.C., in April 1997 in favor of continued federal funding for the arts in the United States. As a public and literary figure Kushner is passionately outspoken about what he believes is the basis of the cultural malaise he has diagnosed. This gives him, as Vorlicky states, "a kind of 'poet laureate' position for many of the disenfranchised—for those who experience their lives as voiceless or marginalized—a position that Kushner fills (involuntarily but nonetheless graciously and knowingly) within the American media, if not the American psyche."

136 / AMERICAN WRITERS The themes of the disenfranchised, the powerful, hierarchies, and constructions of center versus margins figure prominently in Kushner's drama. They are combined with his recognition of America's diversity, in which, as a leftleaning homosexual Jew with a mixed southern and New York heritage, he occupies various outsider positions. He deals with his multiple marginalizations in his work as a playwright, director, essayist, artistic collaborator, and public speaker but also in his roles of son, brother, uncle, and lover. "I contain multitudes," said Whitman in "Song of Myself," and Kushner writes in the same spirit. Vorlicky concurs: Any single identification of Kushner fails to capture the breadth and depth of who he is and the value of his public presence. He is among the very few living Americans under the age of fifty who have been able to carve out a public space in contemporary American life for the many who otherwise feel unaddressed and unheard—a space in which he candidly speaks out for the marginalized communities from which he derives a sense of being and strength of purpose. Kushner names his otherness boldly, actively, and proudly. He affirms our potential as a people to recommit ourselves to the ideals of living dynamically and democratically on a global scale. . . . Kushner believes in and offers in his work a "hope" for humans to locate the space within, the soul without, to live and work beside one another cooperatively and peacefully, always mindful of both our differences and sameness. He is also aware of the ambiguities of life that constantly challenge this vision and the crises of experience that make one wary of utopianism while wholly embodying its hope.

Both Kushner's personal identity and that of his culture are characterized by a complex diversity, the intersection of areas, and the crossing of boundaries. For him the personal and the social converge with the political. And since in all these spheres the Other is inextricably connected to the Self, he shows that most facets of the contemporary America he represents, includ-

ing those of which he is most critical, have a certain justification and dignity. Rather than claiming any definitive truth for his own position, he values discussion and argument, preferring dialectics to dogmatism. Exclusion— whatever its basis—is what Kushner rejects for himself as an individual and for the nation at large. As he once remarked to Szentgyorgyi: Anyone who thinks that completely self-interested politics is going to get you anywhere in America is making a terrible mistake. Which is why I object to Louis Farrakhan. Which is why I object to gays and lesbians in ACT UP who say "I hate straights." Or to Jews who think that the only thing that matters is Israel and defense against anti-Semitism. People who don't recognize common cause are going to fail politically in this country. Movements that capture the imagination of people are movements that deny racism and exclusion. The country is too mongrel to do otherwise. KUSHNER'S WORK: HYDRIOTAPHIA

"Though I didn't realize it at the time," Kushner says in the introduction, "I think I wrote Hydriotaphia as a crash course in learning how to write jokes." This confession underscores the importance of humor as a weapon against despair in Kushner's work, dominated as it is by concern with discrimination against gays, the horrors of an early and often painful death from AIDS, as well as the social instability and revolution—especially revolutions in art, culture, and politics—spurred by the impact of such a disease. Kushner's title comes from an essay, "Hydriotaphia; or, Urne-Buriall" (1658), by a seventeenth-century English physician, Sir Thomas Browne, who is considered one of the great prose stylists of his age and who was by inclination a metaphysical theologian. While Browne's Hydriotaphia is an exploration of ancient burial rites, it also questions the nature

TONY KUSHNER / 137 of death and immortality, meditating on the contrasts between pagan and Christian attitudes toward death and weaving through a variety of reflections about friendship, death, and uncertainty. Browne asserts: But who knows the fate of his bones, or how often he is to be buried? who hath the Oracle of his ashes, or whether they are to be scattered? The Reliques of many lie like the ruines of Pompeys, in all parts of the earth; And when they arrive at your hands, these may seem to have wandred far, who in a direct and Meridian Travell, have but few miles of known Earth between your self and the Pole.

Christopher Bigsby notes that Kushner has remarked, "I firmly believe in using the Holocaust model, promiscuously" and "we should be very liberal with likening people to Nazis." As a gay Jewish man, Kushner's concern about the ultimate fate of his bones and his knowledge that human beings have no control over the disposal of their bodies after death or frequently during the dying process led to an overpowering despair. The result, a play filled with a humor that reveals the dark side of the human soul, is meant to highlight affinities between the social upheavals of Browne's day and our own. Everyone in Kushner's Hydriotaphia is driven by personal greed. "The play is semi-historical and semi-biographical," Kushner remarked in an online interview published on the Alley Theatre's website in conjunction with the production of his play, adding: Hydriotaphia chronicles a period of revolution in England on all sorts of levels, from the political to the social to the religious. . . . The moments in history that interest me the most are of transition. . . . Hydriotaphia is set after a revolution has occurred, in the Restoration. I am interested in periods in history that seem to be transitional, when an old social order is on its way out and new social orders are on their way in. These are very much representative of the period that I was born into—that we live in now—a period of

instability where we're turning some kind of a corner. The possibilities range from a vastly improved world to no world at all. The big question right now I think is up for grabs, and I think that's been true for most of this century. And so I think I'm drawn to other periods in history where that was the case.

The play opens on the day of Sir Thomas Browne's death, and the drama concerns his struggle between his will to live and his will to die. The real Browne died on his birthday, like a number of well-known Renaissance figures, among them, Shakespeare and the poet Andrew Marvell. Perhaps the orderliness of this exit, the apparent control of one's own extinction, appeals to Kushner, who sets the entire play in Browne's sickroom. In the first scene two of the "bumpkin" characters (as Kushner dubs them), Babbo and Maccabbee, are copulating on the floor beside the sickbed. They strike the play's keynote, later articulated by a Gothic character, Dr. Schadenfreude, who announces, "There is a vitality in putrefaction, a life in death." His German name, which has no exact translation in English, might be rendered "Harm-joy" and refers to the rush of delight felt when one's enemies suffer, an obviously pagan concept. If one message of the original Hydriotaphia is to accept life and death with the equanimity of the believing Christian surrendering himself or herself to God, Kushner's message is just the reverse. "NOT YET, GODDAMNIT!" Sir Thomas yells in the first act. No one in Kushner's world goes gently into that good night. Browne's dying, Kushner said in the online interview, is a very athletic process, and the other characters comment on it all the time. It's as Schadenfreude says: it was very much a notion of the period as well that death is not the end but the beginning—a new form of life basically. Existence was really coming into view rather than the cessation of existence.

138 / AMERICAN WRITERS Essentially all that follows extrapolates from this idea—at times in the form of a philosophy, at times the wish fulfillment of the generation afflicted with AIDS—of life arising out of decay and death. The play ends with the bursting of a maggot-filled rotting chicken that magically produces honey. The maggots turn into flies then into bees, and honey and clover run all over the floor. To drive the wish fulfillment home, the bronze nose of one of the bumpkins, whose real nose has been lost to "the clap," as he says, is miraculously replaced. The wheel comes full circle with the last scene echoing the first. Babbo and Maccabbee begin copulating as the lights fade. The struggle with AIDS, the desire to see a life rising out of death in the wake of this terrible plague, influences much if not all of Kushner's work. In Reverse Transcription (2000), a play produced in 1996, six playwrights secretly bury a seventh, who has died of AIDS, at the Abel's Hill cemetery on Martha's Vineyard. A character dubbed Happy, described by Kushner as "a little bored, but very happy," who possibly echoes the unhappy Happy of Arthur Miller's Death of a Salesman (1949), makes an unexpected connection: I remember being impressed when I learned that the HIV virus . . . reads and writes its genetic alphabets backwards, RNA transcribing DNA transcribing RNA, hence, retrovirus. I'm not gay but I am a Jew and so of course I, too, "read backwards, write backwards"; I think of Hebrew. . . . HIV, reverse transcribing, dust to dust, writing backwards, Hebrew. . . . Perhaps, maybe, this backwards-writing viral nightmare is keeping some secret, subterraneanly affianced to a principle of ... Reversals: good reversals and also very bad, where good meets bad.

Other characters say he is equating Hebrew with AIDS. The implication that a persecuted people—the Jew seems equated with the homosexual here—have a plague inscribed in their

culture and in their being is dismissed ultimately by Happy, who claims that he never meant to equate Hebrew with AIDS: "It's just the words: reverse transcription. Thinking about it. Something I can't help doing." Kushner here expresses the sad truth that those who are infected with AIDS feel irrational guilt.

A BRIGHT ROOM CALLED DAY

At New York University, Kushner was a student of the German emigre Carl Weber, a director and translator. Kushner wrote in A Bright Room Called Day that from Weber he "learned much of what I know about the theatre." Weber also may have been in part responsible for Kushner's interest in translating drama. Kushner's early adaptations of Goethe's Stella and Corneille's LIllusion comique (1635) as well as his joint adaptation with Ariel Dorfman of Dorfman's Viudas (1981) all were produced between 1987 and 1991. Kushner has not allowed the original text to restrict his options as a playwright. About his second adaptation, The Illusion (1992), he wrote in its acknowledgments: "This version of Corneille's L'Illusion comique contains several scenes and many speeches which do not appear in the French original. There are virtually no lines directly translated from the French." Kushner continued to adapt texts of world literature for the American stage. For example, he created A Dybbuk, or Between Two Worlds: Dramatic Legend in Four Acts (1997), set in late nineteenth-century Poland and adapted from Joachim Neugroschel's translation of Ansky's Yiddish text, and he translated Bertolt Brecht's Der gute Mensch von Sezuan (produced 1943; published 1953). When Weber departed New York, Kushner felt a need to write his play A Bright Room Called Day. He notes in A Bright Room Called Day that when Weber left, "I felt abandoned,

TONY KUSHNER / 139 and I compensated for Carl's departure by acquiring a huge appetite for histories, novels and plays about German refugees in the 1930s." At the same time he felt depressed about national and international developments in the mid-1980s. He continues: With a grim relentlessness that now seems almost magical, every day brought news of either global failure or some intimate loss. The literature about Germany I was voraciously consuming began to savor nastily of the prophetic. Brecht's description of his era, "When there was injustice only / And no rebellion," seemed frighteningly applicable to the present.

Through A Bright Room Called Day, Kushner tried to transform his disappointment into a raising of political awareness in the Reagan era. As he explains in his afterword, he considers it a task of the theater to oppose totalitarian power: Those who govern us, in whose hands power is most concentrated, have as their objective, if we can judge by their actions, to bring time to an end, to abolish past and future. That this is so, that these people are who they are, that we have permitted them to wield such power and may permit worse yet, is so fundamentally threatening that we reject immediate knowledge of it. In the grip of that knowledge, every human action, including the making of theatre, would have to be directed toward the abolition of such power and of the systems that maintain it. The brightest hope for the future would be any event, theatrical and otherwise, that presses this knowledge closer to home.

These political considerations and personal experiences are the background for the play, which is set in an apartment in Berlin in 1933. Kushner makes clear in his directions that he wants not a realistic set but one that is "wonderfully warm and inviting . . . verging on the fantastical," suggesting that, rather than giving a historical account, he is trying to convey emotional responses to external events. Those events are illustrated or announced through

slides. Fittingly the first series of slides shows a woman at a rally for Hitler. Unlike everyone around her, the woman is not giving the Nazi salute. This gesture announces the main tension explored in A Bright Room Called Day, principles and individual freedom versus compliance with dictates and norms. By concentrating on a group of outsiders, including two actresses, a homosexual man, an emigre cinematographer, and two functionaries of the Communist Party, in the Germany of 1932-1933, Kushner expresses his conviction that choices are possible even in the face of a seemingly unstoppable catastrophe. As he explains in his afterword: I concentrated on the history of the last phase of the collapse of the Weimar Republic, rather than on the crimes of the Third Reich, intending to rescue the play from hopelessness by showing a period of choices, when things might have turned out very differently if only. . . . The play's story ends before the worst nightmare begins, but its ending looks to the camps, the bombings, and even to the Bomb. . . . The play is intended as a warning signal, not a prediction, but I often ask myself: Is it politically effective? Will it galvanize an audience to action or, less ambitiously, will it make an audience think, argue, examine the present through the example of the past?

To stress that he sees parallels between Nazi Germany and Reagan-era America, Kushner introduces the figure of Zillah Katz, a nonconformist "contemporary American Jewish woman. . . . with Anarcho-Punk tendencies" who links the play's German past with the American present. Kushner's production notes specify, "There should be a continual updating of the specifics of Zillah's politics of paranoia, in the form of references to whatever evildoing is prevalent at the time of production." The present, Kushner believes, must be seen in the light of the past, which is why he prefaces the play with a historical note on the Weimar Republic. He has Zillah point out:

140 / AMERICAN WRITERS Ask yourselves this: it's 1942; the Goerings are having an intimate soiree; if he got an invitation, would Pat Buchanan feel out of place? Out of place? Are you kidding? Pig heaven, dust off the old tuxedo, kisses to Eva and Adolf. I mean just because a certain ex-actor-turned-President who shall go nameless sat idly by and watched tens of thousands die of a plague and he couldn't even bother to say he felt bad about it, much less try to help, does this mean he merits comparison to a certain fascist-dictator anti-Semitic massmurdering psychopath who shall also remain nameless? OF COURSE NOT! I mean I ask you— how come the only people who ever say "Evil" anymore are southern cracker televangelists with radioactive blue eyeshadow? None of these bastards look like Hitler, they never will, not exactly, but I say as long as they look like they're playing in Mr. Hitler's Neighborhood we got no reason to relax. . . . I hit the streets at three a.m. with my can of spray paint: REAGAN EQUALS HITLER! RESIST! DON'T FORGET, WEIMAR HAD A CONSTITUTION TOO!

Such sweeping judgments that do not explore the American present at all but simply use passing references are, Bigsby feels, in part responsible for the play's unenthusiastic critical reception. However, Kushner stressed to Szentgyorgyi that Zillah is "not me getting up on stage." In the 1991 New York Shakespeare Festival version of A Bright Room Called Day, Kushner had Zillah move to Berlin in 1990 and live in the same apartment in which the play's main action takes place in 1932 and 1933. In that version Zillah is with the young East German man named Roland, who speaks no English and whose German is, unintentionally on Kushner's part, unidiomatic and sometimes ungrammatical. A Bright Room Called Day offers little in terms of action. The play rests on conversations that analyze the course of historical events and the individuals' responses to them. The main characters struggle with the choices they have to make: sleeping with the Nazi enemy versus

active opposition; hiding from the world versus giving temporary refuge to persecuted communists; saving a friend from Nazi brutality versus accepting employment in the Nazi film industry; emigrating to Chicago, Moscow, or Switzerland versus staying in Berlin. That four members of this circle of artists, nonconformists, and political activists leave illustrates that resistance is failing. As seen in Agnes, the protagonist and the only character who stays in Berlin, choosing moral commitment creates a sense of disorientation and angst: I fear the end I fear the way I fear the wind Will make me stray Much farther than I want to stray Far from my home Bright room called day; past where deliverance or hope can find me.

The play offers no clear antidote to the main figures' sense of loss. As Bigsby notes: Not the least of the ironies of the play . . . lies in the fact that the characters . . . themselves inhabit fantasies. . . . Even while inhabiting an historical moment that demands action, they respond to it with political theories, sexual paradigms, adolescent ideas that have no bearing on the brute reality which confronts them. . . . [They are] blind to the fact that they inhabit an altogether more sinister world, which their own confusions . . . and those of the culture that they reflect, have conspired in creating.

Kushner reinforces the disorientation of individual dramatis personae through his dramatic techniques. From Brecht and to a lesser degree from Thornton Wilder, he takes over a Verfremdungseffekt (alienation). Kushner discussed Brecht's Mother Courage (1941), a play Kushner directed at the University of New

TONY KUSHNER / 141 Hampshire, with Carl Weber in an interview later published in Vorlicky's collection, noting "I loved the multifocal, the multiple perspective of it ... the complexity of signs." It is not mimetic depiction that Kushner is after but an illustration of the conflict's multiplicity. The division of A Bright Room Called Day into twenty-five scenes, a prologue, and an epilogue, the interruption of the plot through slides, and particularly the various intrusions of Zillah create a sense of alienation. But Kushner especially departs from realism by introducing the devil in a scene reminiscent of Goethe's Faust. The asthmatic, clubfooted prince of darkness, who has "taken up temporary residence in this country," is summoned and appears disguised as Herr Swetts, an Aryan "importer of Spanish novelties." Kushner also introduces Die Alte, a surreal figure reminiscent of Brecht's Mother Courage. Die Alte is "a woman, very old but hard to tell how old—somewhere between 70 and dead-for-20-years. White face and rotten teeth. Dressed in a nightgown, once white but now soiled and food-stained." She appears repeatedly in Agnes's apartment, asking for food and drink, challenging Agnes, and undermining Agnes's sense of reality. On a metaphoric level she is "a bad dream" and Agnes's alter ego. In their culminating standoff Agnes grabs the old woman and begins to drag her towards the door. Die Alte suddenly becomes very strong, and the two women begin to struggle. . . . Die Alte wraps Agnes in a fierce embrace, which transforms as Agnes stops struggling into a tender, enveloping hug. Die Alte rocks Agnes in her arms.

Symbolically, opposites merge in this scene, just as elsewhere in the play the contrasting choices that the characters can make are depicted as inextricably linked. This is also a common feature of Kushner's work in general. The road taken and the road not taken, the apparently good and the apparently evil, the ho-

mophobic and the humane are usually presented not as absolutes but in a dialectical tension. ANGELS IN AMERICA: A GAY FANTASIA ON NATIONAL THEMES

Kushner's claim to literary fame rests primarily on his seven-hour play Angels in America. The two parts of this epic drama, Millennium Approaches (1992) and Perestroika (1995), have been produced and published both separately and jointly, and debate continues on whether to think of Angels in America as one play or as two. This murkiness of boundaries is integral to the play as a whole, including its thematic and technical aspects. As the subtitle announces, this is A Gay Fantasia on National Themes. "Gay" is to be taken here in the double sense of "joyful" and "homosexual." The play is filled with (black) humor, and a central thematic concern is Americans' reactions to homosexuality. However, the play goes well beyond the topics of homosexuality and AIDS. It explores a multiplicity of "national themes," ranging from conservative politics and political corruption via religion, especially the attitudes of Jews and Mormons toward homosexuality, to homelessness to behavioral matters, like love, faithfulness, escapism, and hypocrisy. At the center of this masterpiece in American theater are human relationships. Exploring their complexities, the playwright appeals for replacement of hierarchies and hypocrisy with compassion and commitment. Kushner worked on Angels in America for about three and a half years before a first version was produced in San Francisco in May 1991. About six months before opening night he told Szentgyorgyi that this epic is about people being trapped in systems that they didn't participate in creating. The point being we're now in a new world in so many ways, we have to reinvent ourselves. It's the reverse of

142 / AMERICAN WRITERS Bright Room, the characters need to create their own myths to empower themselves. I think that's the whole point of liberation politics: to try to create new systems.

The titles of both parts, Millennium Approaches and Perestroika, Mikhail Gorbachev's term for the political changes initiated in the former Soviet Union in the early 1990s, underscore Kushner's conviction that massive transformations on a global scale are under way, and his play is a contribution to discussions shaping those transformations. In Angels, as in A Bright Room Called Day, he emphasizes that events and systems are not predetermined or inevitable but can be influenced by the choices an individual makes. In this way Angles in America is a Utopian play. In another, formal parallel to A Bright Room Called Day, Angels is divided into Brechtean scenes with several surreal characters from different times or spheres. While the production notes of A Bright Room ask for "something verging on the fantastical," Angels goes even further: "The moments of magic . . . are to be fully realized, as bits of wonderful theatrical illusion—which means it's OK if the wires show, and maybe it's good that they do, but the magic should at the same time be thoroughly amazing." Kushner creates Brechtean alienation through "a pared-down style of presentation, with minimal scenery and scene shifts done rapidly (no blackouts!), employing the cast as well as stagehands." The main technical device through which Kushner illustrates the blurring of boundaries is his frequent use of split scenes. On different parts of the stage two separate conversations occur simultaneously, thereby commenting on each other and illustrating the interconnection of seemingly separate issues or relationships. In his preface to Roderick Hudson (1876), Henry James states that "relations stop nowhere." The following scene from Angels in America part one illustrates how parallel and intertwined

the situations of different people in different locations can be. Louis has decided to leave his lover Prior, who is dying of AIDS, and Joe has decided to leave his wife Harper because he is starting to come to terms with his homosexuality. An added connection is that Joe and Louis have developed a romantic interest in each other. In the simultaneous conversations of the two couples on the verge of breaking up, many phrases are interchangeable. The following morning, early. Split scene: Harper and Joe at home; Louis and Prior in Prior's hospital room. Joe and Louis have just entered. This should be fast and obviously furious; overlapping is fine; the proceedings may be a little confusing but not the final results. HARPER: Oh God. Home. The moment of truth has arrived. JOE: Harper. Louis: I'm going to move out. PRIOR: The fuck you are. JOE: Harper. Please listen. I still love you very much. You're still my best buddy; I'm not going to leave you. HARPER: No, I don't like the sound of this. I'm leaving. Louis: I'm leaving. I already have. JOE: Please listen. Stay. This is really hard. We have to talk. HARPER: We are talking. Aren't we. Now please shut up. OK? PRIOR: Bastard. Sneaking off while I'm flat out here, that's low. If I could get up now I'd beat the holy shit out of you. JOE: Did you take pills? How many? HARPER: No pills. Bad for the ... (Pats stomach) JOE: You aren't pregnant. I called your gynecologist. HARPER: I'm seeing a new gynecologist. PRIOR: You have no right to do this. Louis: Oh, that's ridiculous. PRIOR: No right. It's criminal.

TONY KUSHNER / 143 JOE: Forget about that. Just listen. You want the truth. This is the truth. I knew this when I married you. I've known this I guess for as long as I've known anything, but . . . I don't know, I thought maybe that with enough effort and will I could change myself . . . but I can't . . . PRIOR: Criminal. Louis: There oughta be a law. PRIOR: There is a law. You'll see.

Apart from recalling Kushner's own earlier ambivalence about his homosexuality, the passage illustrates the pressures that conventionality places on those whom it labels "deviant." As the parallel situations show, such pressures affect a wide range of relationships, and any course of action is double-edged. Offering no prescribed or generally applicable ideal way of managing such pressures and systems, Kushner's utopianism asks for compassion, tolerance, openness, and the empowerment of individuals to make choices. The dramatic technique of the split scene suggests that issues have complex interrelations, that the boundaries people put up are artificial, and that to make the world a better place requires a diverse range of improvements. Kushner also transcends boundaries by specifically asking the same actor to play a variety of roles. In part one, for example, the twenty-one figures are played by eight actors, who also transcend gender boundaries. The same actor or actress, for instance, plays the widowed older Mormon woman Hannah, a male rabbi, a male doctor, and Ethel Rosenberg. In terms of narrative technique, Kushner uses the simultaneity of interrelated plot lines. Robert Altman, the director for whom Kushner wrote a screenplay version of Angels in America, employed this technique, for example, in the film Short Cuts (1993). Although Altman abandoned the idea of filming Angels, Kushner pointed out that Altman's Nashville (1975) was a narrative model for his play. The multiplicity of Kushner's plots, scenes, times, and realities corresponds to the play's themes. Kushner does

not concentrate exclusively on how American society confronts AIDS but addresses a whole range of "national themes." As he recalled in the interview with Cohen, Angels in America "was going to be a play about AIDS, gay men, Reagan, and Roy Cohn, and Mormons, and angels." The play's national issues are not discussed abstractly but are always shown in their impacts on individuals. In their complex diversity made personal, Kushner and Angels in America recall Whitman, another gay New Yorker concerned with national themes who presented himself in "Song of Myself," section 24, as follows: Walt Whitman, a kosmos, of Manhattan the son, Turbulent, fleshy, sensual, eating, drinking and breeding, No sentimentalist, no slander above men and women or apart from them, No more modest than immodest.

For both Whitman and Kushner the political is also the personal, and the one is always inextricably linked to the many, the individual to the community. Most of the characters in Angels in America deviate from what is conventionally deemed the WASP norm in America, or they have traits that contradict their performed identity. Joe is a Republican chief clerk at a federal court, a Mormon who moved from Salt Lake City to New York City, a closeted homosexual. He is married to Harper, "an agoraphobic with a mild Valium addiction" who has imaginary pregnancies and who escapes into media images of Antarctica with the help of an imaginary travel agent based on the man who sold them the airline tickets to come to New York City. Joe's mother Hannah, a Mormon living in Salt Lake City, decides to sell her house and move to New York City when she gets a 4:00 a.m. phone call from her son informing her that he is gay. She is conservative and compassionate, but her religion deviates from the American norm.

144 / AMERICAN WRITERS These are the main characters in one plot line concerned with Joe becoming more forthcoming about his sexual orientation. Joe is also a factor in two other plot lines, both of which concern AIDS and dying as well as Jewish identity. The first of these narrative strands revolves around Louis and Prior, who are a couple at the beginning of the play. They split up when Prior is hospitalized for AIDS and Louis develops an interest in Joe. Kushner told Cohen that Louis is "the closest character to myself that I've ever written." Louis struggles with his lover's imminent death and his own inability to deal with it. The relationship between Louis and Prior is further complicated when Belize, a former drag queen and an ex-boyfriend of Louis, becomes Prior's nurse. Kushner has Prior and Harper appear in each other's hallucinations to highlight the similarities in their victim statuses. The final plot line centers around Roy M. Cohn, a Jewish American New York lawyer and power broker based on a historical figure of that name who was instrumental in bringing about the controversial death sentences and executions of Julius and Ethel Rosenberg on espionage charges in 1953. On the one hand Roy is staunchly conservative and intolerant, and on the other he is a homosexual infected with AIDS. Having misappropriated a client's funds, Roy faces disbarment and therefore pulls all legal and illegal strings available to him. Both Roy and Louis are homosexual Jewish men struggling to find an adequate response to AIDS, but they are otherwise diametrically opposed, for example, with regard to their political leanings or their humanistic values. Consequently Angels in America is also about Jewish identity. In Vorlicky's collection Kushner admits this was not his original intention, but in the sort of thematic struggle . . . that was going on between Louis and Roy in the two plays, I think I guaranteed that the thing was going to be to a certain extent about being Jewish. And I'm

sort of mystified by that, because I didn't come from a religious family, and I grew up in a Jewish community in the South, but most of my friends were not Jewish. In fact, until I came to New York I had not had any Jewish friends.

As he does in other works, Kushner links Jewishness with unjust suffering and dying. But Kushner does not limit the outsider, victim status to a Jewish identity or to the present. For example, he introduces two characters named Prior Walter, which is also the name of one of the figures dying from AIDS in Angels. The first Prior is the ghost of a thirteenthcentury Yorkshire farmer; the second is the ghost of a sophisticated seventeenth-century Londoner. Both are ancestors of the contemporary Prior Walter in the play, and both ancestors died from pestilence, highlighting the "mortal affinities" among the family members. Much of the play's dynamics—the construction of outsider versus insider, of margin versus center, of deviant versus mainstream—rests on power relations and hierarchies, which are in turn upheld by labels. This becomes apparent when the doctor Henry diagnoses that Roy has AIDS. Henry hesitates to call Roy "homosexual" because this label would designate Roy as deviant, which would contradict and undermine the power Roy wields. ROY: So say it. HENRY: Roy Cohn, you are ... You have had sex with men, many many times, Roy, and one of them, or any number of them, has made you very sick. You have AIDS. ROY: AIDS. Your problem, Henry, is that you are hung up on words, on labels, that you believe they mean what they seem to mean. AIDS. Homosexual. Gay. Lesbian. You think these are names that tell you who someone sleeps with, but they don't tell you that. HENRY: No? ROY: No. Like all labels they tell you one thing and one thing only: where does an individual so identified fit in the food chain, in the pecking

TONY KUSHNER / 145 order? Not ideology, or sexual taste, but something much simpler: clout. Not who I fuck or who fucks me, but who will pick up the phone when I call, who owes me favors. This is what a label refers to. Now to someone who does not understand this, homosexual is what I am because I have sex with men. But really this is wrong. Homosexuals are not men who sleep with other men. Homosexuals are men who in fifteen years of trying cannot get a pissant antidiscrimination bill through City Council. Homosexuals are men who know nobody and who nobody knows. Who have zero clout. Does this sound like me, Henry? . . . I have sex with men. But unlike nearly every other man of whom this is true, I bring the guy I'm screwing to the White House and President Reagan smiles at us and shakes his hand. Because what I am is defined entirely by who I am. Roy Cohn is not a homosexual. Roy Cohn is a heterosexual man, Henry, who fucks around with guys. HENRY: OK, Roy. ROY: And what is my diagnosis, Henry? HENRY: You have AIDS, Roy. ROY: No, Henry, no. AIDS is what homosexuals have. I have liver cancer.

Kushner criticizes American society for being too wrapped up with labels and for using these labels hypocritically as instruments of power and exclusion. Kushner has a "flackman" of the Reagan administration proclaim the antithesis of the playwright's own political leanings: "It's really the end of Liberalism. The end of New Deal Socialism. The end of ipso facto secular humanism. The dawning of a genuinely American political personality. Modeled on Ronald Wilson Reagan." Kushner's humanism militates against the boundaries that labels reinforce. The playwright's response stresses the importance of connection and solidarity. As he told David Savran in Speaking on Stage, "I realized that the key is the solidarity of the oppressed for the oppressed—being able to see connecting lines—which is one of the things that AIDS has done, because it's made disenfranchisement incredibly clear across color lines and gender

lines." Kushner's theatrical construction of a less-divided world, however, remains tenuous and theoretical. An epitome of this Utopia is the play's angel, an ambivalent image of both death and salvation. Continuing in his conversation with Savran, Kushner said the image of an angel crashing through a bedroom ceiling was his point of departure for the play, and this image concludes part one. The directions describe the angel as "four divine emanations, Fluor, Phosphor, Lumen and Candle; manifest in One: the Continental Principality of America.''' After its triumphal entrance, the angel ends Millennium Approaches stating, "The Great Work begins: / The Messenger has arrived," thus stressing that an era of new beginnings and potential Utopias is opening. This idea continues in part two, Perestroika. Although both Prior and Roy die, the play celebrates the life force. Roy comes back to dominate with his demonic energy. Prior goes to heaven, where he rejects the role of prophet and the valorization of stasis. Instead, he asks for more life. The epilogue, dated February 1990, shows him at the Bethesda angel's fountain in New York City's Central Park, having lived with AIDS for five years. Prior, Louis, Belize, and Hannah are gathered around the fountain, having bridged the differences of gay and straight, victim and victimizer, progressive and conservative. They invoke a new era in which humanism and solidarity replace repressive hierarchies: "The Berlin Wall has fallen. The Ceausescus are out. He's building democratic socialism. The New Internationalism. Gorbachev is the greatest political thinker since Lenin. . . . Perestroika! The Thaw! It's the end of the Cold War! The whole world is changing!" The group shares a vision in which those suffering from AIDS are not ostracized; the healing waters of the fountain of life will flow again. The concluding vision makes Angels in America a celebration of the life force, an

146 / AMERICAN WRITERS exuberant Utopia, a plea for humanism and connection, an indictment of exclusionary hierarchies. Comedy and tragedy as well as realism and magic exist in a dialectical tension throughout both parts of the play, and the life-affirming principle gains the upper hand in the end. Angels in America has received much critical and scholarly attention, including two essay collections and a sizable number of individual articles. Literary scholarship, queer theory, cultural studies, and other approaches have explored aspects of performance and dramaturgy; literary and non-literary models and inspirations; Kushner's uses of history and politics; his concern with identities and boundaries; and the millennial, Utopian, and apocalyptic dimensions of Angels. Harold Bloom included the play in his Western Canon: The Books and Schools of the Ages (1994), and many have praised Angels in America as a milestone not only in gay theater but in the history of American drama. The diversity of critical approaches testifies to the complexity of Kushner's play. The overwhelmingly positive reception of Angels in America indicates the extent to which Kushner's optimism, outspokenness, and humanistic values appeal to audiences. SLAVS! THINKING ABOUT THE LONGSTANDING PROBLEMS OF VIRTUE AND HAPPINESS

In 1995 Kushner wrote and produced Slavs! Thinking about the Longstanding Problems of Virtue and Happiness, which he described as a "coda" to Angels in America. Set in a bleak post-perestroika Soviet world of snow, empty vodka bottles, and carcinogenic industrial and nuclear wastes, the play resembles Angels in America because, as Kushner related in an interview with Andrea Bernstein of Mother Jones, it reflects that, if you do not know where you are heading, it is difficult to move or to make choices. Inspired by Raymond Williams's statement in "Walking Backwards into the

Future," an essay from his collection Resources of Hope (1989), which provided an epigraph and the subtitle, the play attempts to put the "social" back into socialism. "The idea of socialism," Williams writes, "is based on the idea and the practice of a society." In the selection quoted by Kushner, Williams writes, "The very idea of a society—that is, a definite form of human relationships in certain specific conditions at a particular moment in history—is itself comparatively modern." This explains why people thinking about "virtue and happiness" did not "immediately refer the problems to a general human nature or to inevitable conditions of existence; they looked first at the precise forms of the society in which they were living, and at how these might, where necessary, be changed." Following Williams, Kushner gave nearly every highly individualized character a name revealing the "definite form of human relationships in certain specific conditions at a particular moment in history," such that the character's name defines while satirizing his or her role and function in the decaying Soviet society. First Babushka and Second Babushka, described by Kushner as snow sweeps of indeterminate age, seem to represent Mother Russia, depressed by the loss of her children. Alexsii Antedilluvianovich Prelapsarianov is, as his name suggests, both ''the world's oldest living Bolshevik, considerably older than ninety," in Kushner's words, and a man representing a time before the fall of communism, when faith in its virtues propelled the social changes leading to the defeated society of the characters. The play's comedy and tragedy stem from the inability of all characters to function apart from their socially defined roles. ABOVE AND BEYOND

Kushner's work continues with an autobiographical fiction tentatively titled "The Intelligent Homosexual's Guide to Socialism and Capitalism, with a Key to the Scriptures." A

TONY KUSHNER / 147 chapter from the unfinished manuscript was published in 1998; it emphasizes that life and work remain inseparable for this author, that his personal concerns are also those of his writing. In this fiction Kushner writes with his characteristic self-irony and sweeping Whitmanesque grandeur. In the afterword of Vorlicky's collection Kushner describes the work: The Intelligent Homosexual is midway through his fortieth year. I have been observing him all my life. He is busy with his life's work, a massive book running to many volumes entitled The Intelligent Homosexual's Guide to Socialism and Capitalism, with a Key to the Scriptures. He has been writing this book, day after day, for forty years; since parturition he's been writing it, he knows he is working himself to death—though he does not want to die. Every book he reads is fed into this book, which is insatiable. . . . If it reaches his ears it goes into his book: every droplet of conversation he overhears . . . every idea filched from friends, his lovers' chance observations about anything (in bed or out of it, an elegant British friend's shocking deficiencies in personal hygiene, the tricks he uses to catch the attentions of very young children, his nightmares, the death throes of his dearly beloved, newspaper accounts of calumny and torture, his weight, his bowels, his bibliomania, betrayals, loyalties, losses, generational shifts, night sweats, lapses in judgment and ethics and taste and kindness, films and television, wasted irretrievable hours, missed and misspent opportunities, laziness, cowardice, the lyrics to a thousand Tin Pan Alley tunes . . . , the panic over a face remembered and a name forgotten. . . . Well, you get the idea. . . .)

Selected Bibliography WORKS OF TONY

KUSHNER

PLAYS

Yes, Yes, No, No. In Three Plays for Young Audiences. Plays in Process, vol. 7, no. 11. New York: Theatre Communications Group, 1987.

Angels in America: A Gay Fantasia on National Themes. Part 1, Millennium Approaches. Toronto: Nick Hern, 1992. The Illusion. In Plays, New York: Broadway Play Publishing, 1992. New ed., New York: Theatre Communications Group, 1994. (An adaptation of Pierre Corneille's LTllusion comique.) A Bright Room Called Day. New York: Theatre Communications Group, 1994. Angels in America: A Gay Fantasia on National Themes. Part 1, Millennium Approaches, Part 2, Perestroika. New York: Theatre Communications Group, 1995. Slavs! Thinking about the Longstanding Problems of Virtue and Happiness. New York: Theatre Communications Group, 1996. A Dybbuk, or Between Two Worlds. New York: Theatre Communications Group, 1997. (Adapted from Joachim Neugroschel's translation of S. Ansky's Dybbuk.) Widows. With Ariel Dorfman. London: Nick Hern Books, 1997. (Adapted with Dorfman from Dorfman's Viudas.) Love's Fire: Seven New Plays Inspired by Seven Shakespearean Sonnets: Original Works. With Eric Bogosian et al. New York: Quill, 1998. Death & Taxes: Hydriotaphia & Other Plays. New York: Theatre Communications Group, 2000. (Contains Reverse Transcription: Six Playwrights Bury a Seventh', Hydriotaphia; or, The Death of Dr. Browne', G. David Schine in Hell; Notes on Akiba\ Terminating, or Sonnet LXXV, or "Lass Meine Schmerzen nicht verloren sein," or Ambivalence', and East Coast Ode to Howard Jarvis: A Little Teleplay in Tiny Monologues.) PLAYS PRODUCED (FIRST PRODUCTION)

Yes, Yes, No, No. St. Louis, Mo., 1985. A Bright Room Called Day. San Francisco, 1987. Hydriotaphia; or, The Death of Dr. Browne. New York City, 1987. Stella. New York City, 1987. (Adapted from Johann Wolfgang von Goethe's Stella.) The Illusion. New York City, 1988. (Adapted from Pierre Corneille's LTllusion comique.) Angels in America: A Gay Fantasia on National Themes. Part 1, Millennium Approaches. San Francisco, 1991.

148 / AMERICAN WRITERS Widows. With Ariel Dorfman. Los Angeles, Calif., 1991. (Adapted from Ariel Dorfman's Viudas.) Angels in America: A Gay Fantasia on National Themes. Part 2, Perestroika. New York City, 1992. Slavs! Thinking about the Longstanding Problems of Virtue and Happiness. Louisville, Ky., 1995. A Dybbuk, or Between Two Worlds. New York City, 1997. (Adapted from Joachim Neugroschel's translation of S. Ansky's Dybbuk.) Henry Box Brown, or the Mirror of Slavery. London, 1998. OTHER WRITINGS

A Meditation from "Angels in America." San Francisco: HarperSan Francisco, 1994. Thinking about the Longstanding Problems of Virtue and Happiness: Essays, a Play, Two Poems, and a Prayer. New York: Theatre Communications Group, 1995.

CRITICAL AND BIOGRAPHICAL STUDIES Bigsby, Christopher. "Tony Kushner." In his Contemporary American Playwrights. Cambridge: Cambridge University Press, 1999. Pp. 86131. (Occasionally inaccurate but an adequate overview.) Bottoms, Stephen J. "Re-Staging Roy: Citizen Cohn and the Search for Xanadu." Theatre Journal 48, no. 2:157-184 (1996). Brask, Per, ed. Essays on Kushner's "Angels." Winnipeg, Canada: Blizzard, 1995. (Somewhat mistitled since the collection is almost exclusively concerned with productions of the play in different countries.) Cohen, Peter F. Love and Anger: Essays on AIDS, Activism, and Politics. New York: Haworth, 1998. Fisher, James. "On the Front Lines of a Skirmish in the Culture Wars: Angels in America Goes to College." On-Stage Studies 21:6-30 (1998). . The Theatre of Tony Kushner: Living Past Hope. New York: Routledge, 2001. Frantzen, Allen J. Before the Closet: Same-Sex Love from "Beowulf to "Angels in America." Chicago: University of Chicago Press, 1998. Freedman, Jonathan. "Angels, Monsters, and Jews: Intersections of Queer and Jewish Identity in

Kushner's Angels in America." PMLA 113, no. 1:90-102 (January 1998). Geis, Deborah R., and Steven F. Kruger, eds. Approaching the Millennium: Essays on "Angels in America." Ann Arbor: University of Michigan Press, 1997. (The most comprehensive scholarly appraisal of Kushner's best-known play.) Kekke, Lasse. "Gay Male Identities in Tony Kushner's Play Angels in America." In After Consensus: Critical Challenge and Social Change in America. Edited by Hans Lofgren and Alan Shima. Goteborg, Sweden: Acta Universitatis Gothoburgensis, 1998. McNulty, Charles. "Angels in America: Tony Kushner's Theses on the Philosophy of History." Modern Drama 39, no. 1:84-96 (spring 1996). Montgomery, Benilde. "Angels in America as Medieval Mystery." Modern Drama 41, no. 1:596-607 (winter 1998). Muller, Ulrich. "Modern Morality Plays on Broadway: Jelly's Last Jam and Angels in America." In Trends in English and American Studies: Literature and the Imagination—Essays in Honor of James Lester Hogg. Edited by Sabine CoelschFoisner, Wolfgang Gortschacher, and Holger M. Klein. Lewiston, N.Y.: Edwin Mellon Press, 1996. Quinn, John R. "Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America." Theatre Journal 48, no. 1:79-90 (1996). Remschardt, Ralf Erik. " 'History Is about the Crack Wide Open': Kushner, Parks und die Geschichte im amerikanischen Theater der neunziger Jahre." In Transformationen: Theater der neunziger Jahre. Edited by Erika Fischer-Lichte, Doris Kolesch, and Christel Weiler. Berlin: Kothen, 1999. Savran, David. "Tony Kushner Considers the Longstanding Problems of Virtue and Happiness." American Theatre 11, no. 8:20-27 (October 1994). Tuss, Alex J. "Resurrecting Masculine Spirituality in Tony Kushner's Angels in America." Journal of Men's Studies: A Scholarly Journal about Men and Masculinities 5, no. 1:49-63 (August 1996).

INTERVIEWS Arons, Wendy. "Preaching to the Converted? You Couldn't Possibly Do Any Better!: An Interview with Tony Kushner on September 19, 1994." Com-

TONY KUSHNER / 149 munications from the International Brecht Society 23, no. 2:51-59 (fall 1994). Bernstein, Andrea. "Tony Kushner: The AwardWinning Author of Angels in America Advises You to Trust Neither Art nor Artists." Mother Jones, July-August 1995, p. 59. Hayes, Jarrod, Lauren Kozol, and Wayne Marat VanSertima. "'Stonewall: A Gift to the World': An Interview with Tony Kushner and Joan Nestle." Found Object 4:97-107 (fall 1994).

Savran, David. 'Tony Kushner." In Speaking on Stage: Interviews with Contemporary American Playwrights. Edited by Philip C. Kolin and Colby H. Kullrnan. Tuscaloosa, Ala.: University of Alabama Press, 1996. Vorlicky, Robert, ed. Tony Kushner in Conversation. Ann Arbor, Mich.: University of Michigan Press, 1998. (The most comprehensive collection of Kushner's own comments on his life and work.)

—JOSEF RAAB AND MELISSA KNOX

William Matthews 1942-1997

F0OR NEARLY THIRTY years readers of contempo-

Fourteen lines was no accident. I've written a number of pale sonnets, unrhymed and in a trimeter or tetrameter line that hovers somewhere between so-called free verse and metrically regular verse. It's a territory I've been attracted to by noticing how the two modes, so often poised against each other in neat and false opposition, want to be each other. . . . [This] satisfied both my need for familiarity and my need for surprise. With luck, then, the poem had a form to become, and I had both the comforts and challenges of an apt form. . . .

rary American poetry have come to recognize the poems of William Matthews for their wit and wisdom, attraction to paradox, liminal devotion to form, and diversity of subjects and interests. The Matthews signature consists of a terse line steered by precise diction that is equal parts colloquial, intellectual, and playful. His penchant for the epigram often riffs on idiomatic phrases or cliche, which in turn afford his work its swiftness, humor, and pathos. Matthews's poetry has been praised not only for its intellect and technical agility but also for its ability to reconcile and celebrate differences. "To see oneself as struggling," Matthews said in an interview with Molly McQuade collected in Stealing Glimpses, "and funny at the same time is the richer and more complicated view. " More often than not, Matthews's poetry moves seamlessly from the tragic to the comic, from benign vulgarity to tender irony, from the sardonic to the romantic. Honestly and poignantly, his works offer a complex but accessible confrontation and subsequent revelation of the self that relishes pleasure as much as it laments loss. A reliable word on Matthews's poetry may come from the poet himself. Here are the closing words from his short essay "Merida, 1969," from his collection of essays, Curiosities, in which he recalls both the details and processes that shaped the poem, a sonnet, of the same name:

What else should I say about the form? Content is often unsettling or painful in poems, but form is play, a residue of the fun the poet had while working. Of course, like form and content, pain and fun want to be each other. . . .

Matthews's poems are nothing if not ironic and democratic; they layer a collage of diverse obsessions and concerns rendered in a voice balancing casual and comic language with lyricism, eloquence, and intelligence. It should come as no surprise, then, that his poems contain his heroes and influences (Charles Mingus, Babe Ruth, Thelonious Monk, Bud Powell, Oscar Robertson, Vladimir Nabokov) as well as his sources of heartache and grief (his father's death, divorce, a spouse's cancer). The stories of his poems are often stories culled from his life, but they also serve as a representative biography, a cross-sectioning of a common humanity. Matthews's passions consistently bring to light what it means to grieve and celebrate the world of experience within the realm of poetic language. At first glance, his body of work might seem like a set of loosely connected ideas. A short list of Matthews's subjects and

My friend [the novelist Russell Banks], an able writer of stories, was coming to visit, and one of the things I was mulling was how stories work.

757

752 / AMERICAN WRITERS obsessions may draw attention to themselves for their illusion of unlikeness: music and language, play and work, Mingus and Freud (among others), idiom and eloquence, Nabokov and Bob Marley, melody and improvisation, humor and melancholy, opera and jazz, imagination and intellect. What unifies these themes are Matthews's diplomatic handling of them, his impeccable sense of rhythm, perfect timing, and mastery of simile and imagery. Moreover, in Matthews's treatment of his subjects one senses the thoroughness of his thought processes, which demonstrate a genuine concern for his readers. The Matthews poem basks in its contradictory nature, exhibiting an uncanny ability to fuse, refute, or merely point out the disparate nature of his world. At the same time, his incorporation of vernacular language into conditions that are equal parts comedic, serious, painful, and glorious places Matthews, as the critic Peter Stitt has noted, among the wisest and wittiest poets of his generation. The poet and critic Marvin Bell wrote: Matthews is from my generation, which is separating itself into those poets who try to recreate the mystery and depth of the inner life through lush and sometimes hermetic images, or through sophisticated talk about it, and those who try to locate it in the outer world. Because of all the loose talk about the inner life, my generation has had to rediscover the outer life—which is still the shape the psyche makes, out there. . . . When the exact and the unknown show up together, there is the chance to articulate an important quality of life and perhaps the mysterious basis for our certain yet indefinable emotional lives.

Indeed, Matthews's vision is rooted in the outer world (particularly New York City, where he lived the last fifteen years of his life) of modern life and all the anxieties and pleasures that come with it. This world for Matthews is often replete with irony. The mind at work in the poems never loses its composure and ear for the

musicality of language, always draws its conclusions from circumstance, individuals, and specific events. His intelligence in poems, frequently mitigated by self-effacement pointing toward our common frailties rather than selfpity, is sincerely human. And while critics have been unable to place him into one poetic "school" or style, his early work sometimes pays homage through imitation to middle-late James Wright, as well as Robert Ely, and W. S. Merwin. Matthews's later work has been compared to that of John Berryman for its wit and idiomatic speech, as well as for its love of jazz. By the time of his death from a heart attack at the age of fifty-five (he died the day after his fifty-fifth birthday), Matthews's oeuvre consisted of eleven books of original verse; various translations, including the French prose poems of Jean Follain (on which he collaborated with Mary Feeney) and works by the Latin poets Martial and Horace and the Bulgarian poets Ussin Kerim and Vasil Sotirov; and Curiosities, a collection of prose on poetry. LIFE AND CAREER

William Procter Matthews was born November 11, 1942, in Cincinnati, Ohio. At that time his father was in the U.S. Navy, and his parents traveled between bases, among them those in Bremerton, Washington, and Norman, Oklahoma. Matthews spent his first months of life with his father's parents in Cincinnati. In his essay "Durations," the poet recalls his first memory: There's a sandbox, a tiny swatch of grainy sidewalk, and—there! it's moving—a ladybug. I have tried again and again to construct a tiny narrative from these bright pops, but they won't connect. They lie there and gleam with promise but won't connect.

Here we can see the initial stimuli of Matthews's vision, the roots of his ironic organizing of contrasts, which blossom as wit and pathos.

WILLIAM MATTHEWS / 153 At the end of World War II, Matthews's father took a job with the Soil Conservation Service in Ohio. The poet's sister Susan was born soon after, and the family moved to Rosewood, Ohio. The next year they moved to Troy, Ohio. During these early years Matthews was taught to read by his mother. It was an activity he loved for the rest of his life; he was particularly fond of the Sunday comics. He attended local sporting events with his father. Matthews's fondness for baseball and basketball—two subjects that appear frequently in his poems— most likely stemmed from this early exposure. With characteristic honesty Matthews addresses the indelibility of childhood remembrances in "Durations": A child's world is small. . . . I don't remember it myself. In 1945 I remember I suddenly had a sister. I saw in the kitchen those puzzling afternoons how the cruelty of the official world, the world history records and by whose accounts I knew to write above that "the war ended," could come into the house and linger, itself a sort of odor. . . . There was a basket over the garage door and the solitude I didn't share with a dog or a pile of books from the library I spent with a basketball. These are, I now think, the imaginary friends a boy has when he is too old to admit to himself he wants an imaginary friend.

In 1954 Matthews traveled to Goteborg, Sweden, as part of the Children's International Summer Villages (CISV), a peace organization whose primary objective was to bring children from different countries together for one month during the summer. Matthews was one of four children selected from Miami County, Ohio. He spent time with children from seven other countries, "playing games I'd never heard of before. And singing, always a hallmark of CISV gatherings, I've learned since." To raise money for the trip, Matthews spoke to local community organizations such as the Lions Club, the Kiwanis, and others. "My presentation," Matthews said in his essay "Durations," "once I'd polished it a little, explained the CISV program, studded

the program with a few boyish jokes, and gave thumbnail sketches of the various delegates pictured in the slides. I taught myself, without ever quite naming the project, to become an effective public speaker." This eagerness to apply himself energetically to a given task would carry over into Matthews's adult and professional life, garnering him a stellar reputation as an instructor and administrator. In 1955 the Matthews family moved to Cincinnati, where Matthews's father accepted the head post with the U.S. branch of the CISV, a position he earned through volunteer work. This new position required the Matthews family to travel extensively, and by 1965 his parents had settled in England, where his father ran the CISV international office for the next twenty years. The young Matthews proved to be very bright and finished his high school education at the Berkshire School, near Great Harrington, Massachusetts. He served as the editor of the high school paper and literary magazine. Matthews played basketball while maintaining his commitment to academic excellence. Admitted to Yale in 1961, he studied literature with Cleanth Brooks and John Hollander. In his sophomore year he published poems in The Sewanee Review. "It now began to seem possible," Matthews said, "that my dreaminess, obsession, and love of words pointed toward writing or editing or teaching or some combination of the three." At Yale, Matthews met the poet Marie Harris. They married at the end of his sophomore year, and on December 8, 1963, they had their first child, William. In 1965 Matthews graduated from Yale, and he and his family moved to Chapel Hill, North Carolina. On August 25 of that year, their second son, Sebastian, was born. In 1966 Matthews completed his master's degree at the University of North Carolina. While at North Carolina, he founded, with Russell Banks, the literary magazine and press Lillabulero, which he ran and operated until 1974. It

154 / AMERICAN WRITERS was at North Carolina that Matthews had what he called "a crisis of faith." Here are the author's own words on the matter from "Durations": I was trying to balance family life and my literary ambitions, and uneasy about it because my work— and I could barely call it work, for I was a student—came first, and my family next. Also it seemed clear to me that my work—my studies— was not what I really wanted to do. I could "do scholarship," as the idiom had it, but not with excellence or passion. What seemed to my fellow graduate students the path (la via diretta) to the Ph.D. seemed to me a dark wood (una selva oscura). . . . My wife resented—how could she not?—the way I could name an obligation and leave the house to meet it. And so I scarcely relished telling her, and so I didn't, how little that obligation truly engaged me, day by day. And like anyone caught in a mess of his own making, I was angry. And so I began to write poems seriously. I had written and even published a few poems when I was in college. I cared about them furiously while I was writing them and then I was done. Now I wrote and the poems weren't good enough and I thought about them all the time. I was never done. It wasn't that I wrote poems because I knew that was what I really wanted to do. Indeed, I wrote poems to escape thinking about what I really wanted to do. But I wrote them as if some essential honesty in me were at stake—and I think now, as I did then, that it was—and as if writing them so seriously led me to understand that what I really wanted to do was to write poems.

Matthews's road to poetry, then, circumvented what has now become the standard graduateprogram-in-writing regimen. In 1970 Ruining the New Road was published by Random House, and Matthews began teaching at Wells College in Aurora, New York. The next year he moved to Ithaca, New York, as he began the first of four years at Cornell University. His second book, Sleek for the Long Flight, was written during that time and published in 1972, also by Random House. Matthews was

the writer-in-residence at Emerson College for the 1973-1974 academic year. Also during this time he served as a member of the editorial board for poetry with the Wesleyan University Press (1969-1974) and as an advisory editor for Tennessee Poetry Journal (1970-1972). By then, in Matthews's words, his eleven-year-long marriage to Harris had "exhausted itself and collapsed. The boys were brave but hurt." Matthews then moved to Colorado, where he taught at the University of Colorado at Boulder; his sons lived with him during the school year. In 1974 he was awarded the first of two grants from the National Endowment for the Arts. His third book, Sticks & Stones, was published in 1975 by Pentagram Press. For the next ten years Matthews would live on and off with the poet Sharon Bryan. In 1976 he was a visiting lecturer at the Iowa Writers Workshop and served as the poetry editor of the Iowa Review. From 1978 to 1983 he was a professor of English at the University of Washington in Seattle, where he ran the creative writing program. His first book of translations, Removed from Time (1977), on which he collaborated with Mary Feeney, translated the prose poems of French poet and jurist Jean Follain. In the early 1980s Matthews served on the panel for the National Endowment for the Arts, spent two years as a visiting professor at the University of Houston, and became a member of the board of directors for the Associated Writing Programs, for which he later served as president. In addition, Matthews was awarded fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the Ingram-Merrill Foundation. Two books, Rising and Falling (1979) and Flood (1982), were published while he was living in Seattle. When his son Sebastian left Seattle for college, Matthews moved to New York City. Or as Matthews put it: I could almost write "came back," for New York had been the preferred weekend destination from

WILLIAM MATTHEWS / 155 boarding school and then from college. . . . The large world, which had beckoned to me first from reading and then from the international outlook CISV and my parents fostered in me, had one of its major crossroads in New York. . . . The rich linguistic pool excited me—all those languages overheard on the streets, and all the dialects of English! . . . All those books, and I might read any of them.

His first year in New York he taught at Brooklyn College and the next at the City University of New York. He also taught at Sarah Lawrence College, Columbia University, and New York University and was a visiting writer at the University of Iowa, the Bread Loaf Writer's Conference, and the University of Michigan. At NYU and Columbia, Matthews taught the works of Dante, Freud, Nabokov, Horace, and Virgil, as well as classes on prosody. From 1984 to 1988 he served as president of the Poetry Society of America. The poet's mature style blossomed in these years. Matthews's affinity with Freud, in particular, informed A Happy Childhood (1984). The remaining collections—Foreseeable Futures (1987), Blues If You Want (1989), Time & Money (which won the National Book Critics Circle Award in 1995), and the posthumously released After All: Last Poems (1998), all from Houghton Mifflin—contain the poems for which Matthews is best known. During these years he received a grant from the Lila Wallace-Reader's Digest Fund, and in April 1997 he was awarded the Ruth Lilly Prize from the Modern Poetry Association, one of the United States' most prestigious awards for a poet. His work for organizations such as the Associated Writing Programs, the Poetry Society of America, and the National Endowment for the Arts; his devotedness to his writing peers and—as many pointed out at his memorial service on March 5, 1998—to his friends; and his generosity to students and young writers shed a favored light on the man as well as on his poetry.

RUINING THE NEW ROAD, SLEEK FOR THE LONG FLIGHT, AND STICKS & STONES

Matthews's first three collections—Ruining the New Road, Sleek for the Long Flight, and Sticks & Stones—work in a primarily neosurrealist mode that was prevalent during the 1960s and 1970s. Many of these poems explore the psyche's interior in what Robert Pinsky, writing in Poetry, called "gobbets of poetic diction . . . doing the wildly unexpected." Compressed and cerebral, these early poems move with a tentative self-possession; the casual speaking voice is immersed in immense subjects such as psychoanalysis and national identity. Wit and pathos, the trademarks of Matthews's mature style, are hard to come by in the early books. (The poems from these volumes were reassembled in Selected Poems and Translations: 1969-1991.) The poet himself wrote in "Moving Around" (1976, from American Poets in 1976) that these poems "were as opaque to the few who read them as they were transparent to me." Ruining the New Road exhibits elements of the contemporaneous popular style whose dominant figures were Ely, Wright, Merwin, and Mark Strand, among others. There are frequent attempts at deep imagery and by extension a heavy reliance on simile and metaphor. The unconscious is at the root of the poems' diversity of subjects (elegies for jazz masters, the Vietnam War, domestic and family experience). This neosurrealist mode for Matthews was a departure from the British and American canons he had been studying at Yale with Brooks and Hollander. Matthews explained in a 1973 interview in Ironwood: I didn't write at all for three and half years and I was in graduate school prepared to become a career academic when I started to thumb some copies of The Sixties, a magazine which convinced me that poetry could do other things, could be about things that were "interior" or "underground," to use Ely's vocabulary.

156 / AMERICAN WRITERS Ruining the New Road is comprised largely of tight, well-developed poems. Many of them confront and celebrate the natural world, human nature, and the relationship between the two. One such poem is "The Search Party," which opens the collection and displays Matthews's wit supported by an elaborate metaphorical structure. The poem's narrative details the speaker's fears and hopes as he and his community look for a lost child. In the second stanza we get to the heart of the poem: Reader, by now you must be sure you know just where we are, deep in symbolic woods. Irony, self-accusation, someone else's suffering. The search is that of art.

Through authorial intrusion, Matthews makes explicit the not-always-clear subtext one encounters when reading any poem, experiencing any art. In so doing, he has not only contrasted the "real" narrative on the page with the metanarrative in the minds of the readers; he has also widened the "interior" arena of discussion to include dialogues concerning his stance on the function of art. By the third stanza Matthews broadens this contrast by validating his initial conceit in writing the poem: You're wrong, though it's an intelligent mistake. There was a real lost child. I don't want to swaddle it in metaphor. I'm just a journalist who can't believe in objectivity. I'm in these poems because I'm in my life.

This volley between these two "stories" and how they mirror each other is one of the primary concerns and achievements of Matthews's poetry. The poet also focuses a fair amount of his attention on the reader, without whom, he

acknowledges, there would be no poem. The poem concludes: You've read this far, you might as well have been there too. Your eyes accuse me of false chase. Come off it, you're the one who thought it wouldn't matter what we found. Though we came with lights and tongues thick in our heads, the issue was a human life. The child was still alive. Admit you're glad.

Whether the story is "true" is, finally, immaterial; the poem's authenticity rests in the search and the processes by which we look for whatever truth exists. In an article for Poetry, Alfred Corn commented on "The Search Party": Matthews knows his disavowal of metaphor can't finally be accepted; the reader will concede that the event actually happened but will then see it in a context of wider possibilities as well. Neither reality nor interpretation is necessarily diminished by this Siamese connection. That's the way the author wants it, finally. . . . Matthews never again so nakedly spells out the problem of poet-reader relations, but almost every one of his poems is an implied dialogue with a future audience, and the courteous touch . . . where we are told our mistake was "intelligent," is reproduced in a thousand other forms.

As Corn points out, "The Search Party" serves as a sort of user's manual not only for Ruining the New Road but for Matthews's entire body of work. Matthews's ability to telegraph his audience's reaction—guided by metaphor— breaks open the interior landscape of the poem and transforms it into a social dialogue. This social, or communal, aspect in the poet's work, which more often than not explores the conditions of language and, to a large extent, the human condition, gives rise to such poems as "Bystanders" (from Flood), "Familial" (from A Happy Childhood), "Fellow Oddballs" (from

WILLIAM MATTHEWS / 157 Foreseeable Futures}, "107th & Amsterdam" (from Blues If You Want), "Self Help" and "President Reagan's Visit to New York, 1984" (both from Time & Money), and "Morningside Heights, July," "Oxymorons," and "Euphemisms" (all from After All). Some poems in Ruining the New Road are less ambitious in conceit but nevertheless carve a distilled image and evoke an emotional texture that is congruent with later poems. "Blues for John Coltrane, Dead at 41" is one such poem. Although my house floats on a lawn as plush as a starlet's body and my sons sleep easily, I think of death's salmon breath leaping back up the saxophone with its wet kiss. Hearing him dead, I feel it in my feet as if the house were rocked by waves from a soundless speedboat planing by, full throttle.

The poem aspires to convey emotion—and nothing more. The continuity of imagery— largely that of seascapes, the oceanic unconscious—gives the poem a singular, honed focus. The image of the soundless speedboat is typical of Matthews's early poems: the encroachment of modern life upon nature is addressed imagistically and emotionally rather than didactically. The soundless speedboat rumbles rather than roars and is suggestive of the now-silenced jazz master. Almost cinematic, the concluding lines have a touch of surrealism, but because they are mitigated by simile, the poem avoids slipping into a strictly interior realm. Matthews's poetry always has at least one foot in the daylight world, and with each successive book his poetry climbs out of the deep image into social and public discourse. What this elegiac vignette lacks, however, is perhaps the aspect of poetry Matthews loved the most: space in which one can move around.

Here are his words from the 1973 Ironwood interview: I like poems with certain holes in them and you go inside the poems first. Secondly you have the experience of knowing what it would be like to be that poem just for that period of time. I find this very important and so I dislike poems which have a resistant surface. I like poems which are more like a—well if they were like a ball they would be more like a lattice-work ball, or a ball made of wrought iron, so that you could move in and out of the thing and there would be enough holes in it. A way that you could swim into it and around.

The epigram—suffused with wit, brevity its primary objective—would supply Matthews the space he sought. The poems in Sleek for the Long Flight are more discursive, less celebratory of change than those in Sticks & Stones. The majority of them refer to sleep, night, and dreams; they explore various forms in an attempt to generate energy and fluidity. Matthews works in prose forms, one-line poems, odes, a letter, and a prayer. "The Cat" and "The Snake" pay homage to Pablo Neruda's odes. In these poems Matthews's own voice begins to take shape precisely because of this mimetic project. As in Neruda's odes, Matthews supplies a depiction of the cat that begins with physical detail and seamlessly moves into a metaphysical glow. What Matthews seems to have learned from Neruda is the ability to look long and hard at other beings in order to make psychic sense of their actions in reference to our own. Matthews creates an archetypal cat. What separates Matthews from Neruda is the voice that supplies these observations. The opening lines are characteristic of Matthews's maturing voice: While you read the sleepmoth begins to circle your eyes and then— a hail of claws lands the cat in your lap.

158 / AMERICAN WRITERS The little motor in his throat is how a cat says Me. He rasps the soft file of his tongue along the inside of your wrist. He licks himself. He's building a pebble of fur in his stomach. And now he pulls his body in a circle around the fire of sleep.

The short lines move quickly down the page, but the specificity of detail and freshness of imagination slow us down, encourage us to go back for rereadings. This tension of energy is a primary characteristic of Matthews's voice. Another is the precise diction that contains only traces now of the neosurrealist mode: the sleepmoth, a hail of claws, the fire of sleep. Matthews's phrasing is rooted in the exterior world of physical experience as well as within the unconscious. This is a crucial achievement in Matthews's style, for the later books involve themselves more and more with the social aspect of language, exhibiting a chatty casualness alongside a tightened syntax and experimentation with traditional forms. Pinsky argued that the language in Sleek for the Long Flight is mannered in places, symptomatic of what he called "a new orthodoxy" of "poetic diction of the Silence-Eating School." "Another Beer" possesses some of this language, but it also contains the first glimpses of Matthews's sense of humor and wit. The sixth stanza reads: Then a beer for the juke box. 1 wish it had a recording of a Marcel Marceau mime performance: 28 minutes of silence, 2 of applause.

The absurdity of listening to a mime performance is humorous enough, but Matthews deliv-

ers the necessary punch line, which puns off the expected connotations "silence" brought to poetry at that time, precisely the sort of connotations Pinsky argues against. The context of "silence" here is very much in the public realm—in a bar. The poem's reliance on "silence" shifts from the mysteriousness of the deep image, as it did in other poems, to serving as the setup line. The payoff is laughter and pleasure rather than a reverberation of something mystical inside the unconscious. In "The Waste Carpet," from Sticks & Stones, we see Matthews extending his tonal and conceptual range. With T. S. Eliot's "The Waste Land" (1922) as a backdrop, Matthews's voice immediately strikes the reader as one that is tongue-in-cheek. Again, this is due in large part to the details of the poem: No day is right for the apocalypse, if you ask a housewife in Talking Rock, Georgia, or maybe Hop River, Connecticut. She is opening a plastic bag. A grotesque parody of the primeval muck starts oozing out. And behold, the plastic bag is magic; there is no closing it. Soap in unsoftened water, sewage, asbestos coiled like vermicelli, Masonite shavings, a liquefied lifetime subscription to The New York Times delivered all at once. Empty body stockings, limp, forlorn, like collapsed lungs. A blithering slur of face creams, an army of photocopies travelling on its stomach of acronyms, tooth paste tubes wrung rigid and dry. Also, two hundred and one tons of crumpled bumpers wrapped in insurance claims, slag, coal dust, plastic trimmings, industrial excrementa. Lake Erie is returning our gifts.

Matthews himself is opening up a "grotesque parody." But he does not invoke "The Waste Land" for purely self-serving reasons. Rather, he does so tonally to juxtapose one larger theme

WILLIAM MATTHEWS / 159 of poetry, the crumbling of civilization. The lightness with which the poem begins, told in a voice that we might hear in a television advertisement or read on the covers of supermarket tabloids; the seemingly trivial nature of the contents of the "primeval muck," which grow more and more absurd and damaging; the bastardized Latin neologism "excrementa"—all of these show Matthews purposely riffing on Eliot. The begged comparison to the great master supports the humor, and the humor in turn relaxes us so we more easily accept the hyperbolic litany of which the waste carpet is comprised. As of 1975 this was Matthews at his wittiest. At nearly 140 lines, this is also the longest poem Matthews had published. He discussed longer poems in a 1972 interview in the Ohio Review: The short poem is like a flashbulb; it pokes a hole in time. It's like the opening of a lens—something is caught. While in the longer poem the relationship to time is like—I've never done it, but it's what I imagine it to be like on a surfboard. You sort of climb on a little ripple of time, and go as long as you can stay on it.

This is precisely how Matthews moves the waste carpet through the poem. The waste carpet sheds its literal muck, acquiring a mythic dimension in the second stanza, as it "took / the shape of the landscape / it rippled across." It travels west in the third stanza, which opens with echoes of James Wright, circa The Branch Will Not Break: Outside Ravenswood, West Virginia, abandoned cars shine in the sun like beetlebacks. The ore it took to make the iron it took to make the steel it took to make the cars, that ore would remember glaciers if it could. Now comes another grinding, but not— thanks to our new techniques—so slow.

The humor that introduced the poem is replaced with disdain for technology, how it abuses and

abandons that which it has produced. Matthews describes a cemetery for junked cars: The amiable cars wait still in their pasture. Three Edsels forage in the southeast corner like bishops of a ruined church. There are Fords and Dodges, a Mercury on blocks, four Darts and a Fierce-Arrow, a choir of silenced Chevrolets. And, showing their lapsed trademarks and proud grilles to a new westward expansion, two Hudsons, a LaSalle and a DeSoto.

If the landscape is James Wright's, the rhetoric is unmistakably Matthews's. The anthropomorphisms are surprising and specific, and the particular model names are purposely hung out across three lines so their meanings accrue and resonate musically and ironically. Eventually, the waste carpet engulfs the entire nation, and the telling of the final stages of the apocalypse comes from a voice that, if not calm, then at least is indifferently melancholic: While the rivers thickened and fish rose like vomit, the students of water stamped each fish with its death date. Don't let a chance like this go by, they thought, though it went by as everything went by—towers of water flecked by a confetti of topsoil, clucked tongues, smug prayers. What we paid too much for and too little attention to, our very lives, all jumbled now and far too big in aggregate to understand or mourn, goes by, and all our eloquence places its weight on the spare word goodbye.

For Matthews, the world strips itself down to language. What begins as a tongue-in-cheek parody evolves into a quasi-sermon and concludes with ironic pathos. As Bill Christophersen noted, "[Matthews's] refusal to play to expectations [in his later works] would outlast

160 / AMERICAN WRITERS the shaman's penchant for summoning up mindscapes [found in his earlier works]." RISING AND FALLING AND FLOOD

In Rising and Falling and Flood, poems on subjects such as child support, jazz legends, and professional athletes are next to those exploring and meditating on memory, language, life, and death. The language shows an authoritative control not previously seen in Matthews's work. Critics and reviewers noted the illusion of spontaneity that distinguishes the work in these volumes, and a tact Matthews acquired from his love of reading and teaching the classical Greeks and listening to jazz. Jazz's influence on Matthews is evident in Rising and Falling. The poems improvise imagistically, whereas poems in his earlier books would conjure one or two neosurrealist deep images. In these poems Matthews riffs on a central image, object, word, or phrase, supplying multiple but emotionally linked interpretations of that subject. "Spring Snow" is one such poem. In it, Matthews bridges childhood and death through a series of images that originate in falling snow: Here comes the powdered milk I drank as a child, and the money it saved. Here come the papers I delivered, the spotted dog in heat that followed me home and the dogs that followed her. Here comes a load of white laundry from basketball practice, and sheets with their watermarks of semen. And here comes snow, a language in which no word is ever repeated, love is impossible, and remorse. . . . Yet childhood doesn't end, but accumulates, each memory knit to the next, and the fields become one field. If to die is to lose all detail, then death is not

so distinguished, but a profusion of detail, a last gossip, character passed wholly into fate and fate in flecks, like dust, like flour, like snow.

The metamorphoses are quick, but not so quick that they pass by underdeveloped. The continuity of imagery is logically traceable through the voice, which is at once chatty and lyrical. The powdered milk, the newspapers, and the laundry are all coefficients for snow, which is finally a metaphor for language. And it is language that offers the signifiers for what is contained in memory. Like a jazz tune, snow serves as the head or melody, and the imagery and ruminations that follow are the solos borne from that opening. Finally, "Spring Snow" desires and searches not only for new ways of speaking and seeing but ultimately for a reclamation of childhood. Perhaps it is of particular interest because it also can be seen as a precursor to the larger conceit found in A Happy Childhood. In Flood, Matthews shifts his unit of measure from the image to the phrase. The poems begin in the outer world of observation and stay there most of the time; only occasionally do they move inward toward self-interrogation. "Bystanders" and "Good Company," for example, examine awkward social exchanges and the subsequent divided attention of social gatherings. Likewise, the language makes use of idiom and cliche and renders it fresh, as in "Rosewood, Ohio": But soon it's June usually rainy here, then summer arrives in earnest, as we say, with its long, flat light pulling like an anchor against the sun.

It is the aside, "as we say," embedded between images, that surprises the reader and reinforces the frustrating yet communal nature of language. Other times, Matthews deliberately inserts inelegance for comic effect, as he does in "Pissing off the Back of the Boat into the Nevernais Canal":

WILLIAM MATTHEWS / 161 It's so cold my cock is furled like a nutmeat and cold, for all its warm aspirations and traffic of urine. 37 years old and it takes me a second to find it, the poor pink slug, so far from the brash volunteer of the boudoir. I arc a few finishing stutters into the water.

For all its humor and crudeness, however, the poem is ultimately concerned with the schism between body and imagination and how the two mutually destroy and recover themselves: How much damage to themselves the body and imagination can absorb, I think as I drizzle to sleep, and how much the imagination makes of its body of work a place to recover itself.

The ending is anything but humorous, but without the humor and wordplay the poem would lose its complexity, the dimension of pleasure to be found in self-mockery. This seriousness of purpose at one end and sheer laughter at the other would define Matthews's vision. A HAPPY CHILDHOOD

A Happy Childhood, published in 1984, was Matthews's watershed book. Drawing upon Freud, Matthews embraces a more discursive and conversational mode as he investigates the psychological aspects of everyday life. David Lehman commented in a review that Matthews "emulates the poet in Freud, fastening on our errors and dreams and accidental patterns as badges of enchantment." David Wojahn wrote that "what saves his work from the stultifying prosiness that afflicts most poets who work in [this] mode is the agility of Matthews's mind and the pointedly didactic intentions of his poems." The poems' tone is relaxed, the syntax supple, while at the same time the diction is

precise and the attention to structure rigorous; at no point do the poems devolve into psychobabble. The elliptical sequence that contains the poems "Good," "Bad," "Right," and "Wrong" anchor and pace the collection's weighty subjects. Other poems have larger conceptual titles, borrowed from Freud as well, such as "Civilization and Its Discontents," "The Interpretation of Dreams," "The Psychopathology of Everyday Life," "Manic," and "Depressive." Still other poems in A Happy Childhood are Matthews's strongest lyrical poems, "Loyal," "Whiplash," and "We Shall All Be Born Again But We Shall Not All Be Saved" among them. Others contain compressed rage. "Masterful," quoted here in full, is one such poem: They say you can't think and hit at the same time, but they're wrong: you think with your body, and the whole wave of impact surges patiently through you into your wrists, into your bat, and meets the ball as if this exact and violent tryst had been a fevered secret for a week. The wrists "break," as the batting coaches like to say, but what they do is give away their power, spend themselves, and the ball benefits. When Ted Williams took—we should say "gave"— batting practice, he'd stand in and chant to himself "My name is Ted Fucking Ballgame and I'm the best fucking hitter in baseball," and he was, jubilantly grim, lining them out pitch after pitch, crouching and uncoiling from the sweet ferocity of excellence.

This is vintage mature Matthews. The loose sixbeat line is set up to create room so the poem can meditate—or think, to use the poem's language—on its given subject. That subject begins as baseball, specifically hitting, and more specifically, about arguably the best hitter the game has had, Ted Williams. As the poem

762 / AMERICAN WRITERS moves from couplet to couplet, the focus shifts ever so slightly from what is observed to what that observation represents. Matthews maps the road to excellence, and it is a trip not easily or frequently traveled. Paradox permeates the poem—thinking with the body, patient surges of that body transferred into an inanimate bat, the jubilantly grim Williams, the sweet ferocity of excellence—so strongly that irony becomes not the exception to experience's rule but rather the larger experience itself. An observation of such a world generates frustration in both Williams and Matthews. Both are engrossed in their given work—in the zone, as the sports idiom has it. Williams chants curses and hits long ball after long ball. Singing even as it communicates, the poem slides from sound to sound, the alliteration ("ballgame," "best," "baseball"; "crouch" and "uncoiling"), internal off-rhymes ("wrists" and "tryst"), and assonance ("stand" and "chant") making the poem hiss like a line drive. While the poem desires to amble, and it does, its force surfaces from this type of linguistic control. Finally, Matthews, in his method and message alike, uses baseball as a metaphor for writing. For all the serious subjects and elaborate conceits at work in Matthews's poetry up to this period, perhaps his most notable trait is his ability to find the good in the world he observes. Matthews's poetic territory contains as much light as it does darkness. In a section from "A Happy Childhood," the poet expounds upon the Wordsworthian theme of childhood commemorated in "Ode (Intimations of Immortality)" and its umbilical connection to the afterlife:

no Cream of Wheat, no rabbit in mustard sauce, nor even a single raspberry, can be eaten until the afterlife, which is only childhood in its last disguise, all radiance or all humiliation, and so it is forfeit a final time.

While the subject is not a new one, Matthews elegantly observes and interprets how childhood and the afterlife are at once different and the same, "all radiance or humiliation." The poet is keenly aware of the paradoxical condition of experience; while we may desire the fusion of certain polarities, they simply cannot be coupled practically and comfortably. Nevertheless, Matthews tries. Here are the concluding lines from "We Shall All Be Born Again But We Shall Not All Be Saved," in which the speaker describes his recuperation from a heart attack: In this one I'm untethered from my machines, my mild, green-faced flock, and can walk around weakly on my own, can pack my bags and pills and go out into Boston safe to die some other day. "How will this change your life?" My heart will push me along like a good rhythm section. I plan to notice everything.

Matthews's awareness of the destructive and fertile codependency of the body and the imagination lends much of his work its irony and pathos. One of A Happy Childhood's strongest achievements is Matthews's ability to carry such complex ideas in the most poignant and resonant of images, as he does in "The Interpretation of Dreams":

It turns out you are the story of your childhood and you're under constant revision, like a lonely folktale whose invisible folks

. . . "Let's go to Gubbio tonight and eat tortellini." How long it takes to make them right,

are all the selves you've been, lifelong, shadows in fog, grey glimmers at dusk. And each of these selves had a childhood

and how they flare up in the mouth like sunspots, both dense and evanescent.

it traded for love and grudged to give away, now lost irretrievably, in storage like a set of dishes from which no food,

Matthews is talking not only about pasta but about the activity of the mind, whether it is

WILLIAM MATTHEWS / 163 dreaming, fantasizing, or, in Matthews's case, writing poems. The tonal range of A Happy Childhood—lyrical, intellectual, controlled rage, humorous—led Stitt to write in 1984 in the Georgia Review that the volume "cleared the decks of this Freudian version of the past," allowing readers to "look forward to the truly significant work that may lie ahead." FORESEEABLE FUTURES AND BLUES IF YOU WANT

Foreseeable Futures and Blues If You Want are informed by the conversational modes initiated in A Happy Childhood. In Foreseeable Futures, Matthews employs a stringent approach to form, primarily five three-line stanzas. This book's achievement is that he maintains the loosely conversational tone within his assigned parameters. The wit and apparent lightness of many of the poems yield no easy laughs, but rather relax the readers' minds so we might think with a greater clarity, so we are properly prepared to receive Matthews's understanding of experience. "Wit should be an instrument of poise," Matthews said in an interview with Molly McQuade (published in Stealing Glimpses, 1999). "What's humorous should be discovered, rather than sought." Such is the case in the poem "Hope." Here is the poem in its entirety: Beautiful floors and a lively daughter were all he'd wanted, and then— that the dear pinata of her head not loose its bounty, the girl's father scored the soles of her new shoes with a pocketknife, that she not slide nor skid nor turn finally upsidedown on the oak floors he'd sanded and buffed slick long before she first gurgled from her crib. Now he's dead and she's eighty. That's how time works: it's a tough nut to crack and then a sapling, then a tree, and then somebody else's floor long after we ourselves are planted.

Matthews's ironic vision relies not only on the specificity of details but also on the anonymous nature of his characters, which are at once intimate and distanced. To describe one's head not only as a pinata, but as a "dear pinata," forges a voice that is simultaneously wise, idiosyncratic, and endearing. If "Hope" is a fable, then as readers we should not only enjoy the poem for its artistic merits—dexterity, levity, pathos, wit, imagery, rhythm—but we should also take heed of what Matthews is "saying": be wary of frivolous ambition, and be aware of the fact that time simultaneously cuts us down and lulls us along toward our most benevolent desires. All in fifteen lines, a testament to Matthews's nimble and sharp mind. The poem's enjambments and inverted syntax give it its leisurely energy, its illusion of calm spontaneity. In this and many other poems in the book, the loose tetrameter line paces the flourish of the sentences. The poems' economy, their epigrammatic quality, prevents them from slipping into something that could be dismissed as sentimental or histrionic. Behind a fa$ade of simplicity and nonchalance is a precision of craftsmanship that supports wit and irony. Blues If You Want, despite some of its clever titles—"Every Dog Has a Silver Lining," "Every Cloud Has Its Day"—is also essentially serious. Judith Kitchen commented that "humor is merely the medium through which Matthews can make his observations. It allows him to sidle up to the serious." Jazz surfaces as both the subject for some of his poems and the method in which he wrote the poems. In a 1992 interview Matthews discussed the parallel between jazz and poetry: It's a sense of procedure rather than subject matter that is the deep link between jazz and poetry. I happen to write frequently about jazz because I write about what I love, but it's the procedural link that interests me the most. . . . Jazz gave me permission to begin composing a poetic language based on the rhythms of the speaking voice: the

164 / AMERICAN WRITERS voice rationalizing to itself, jiving other people, trying to seduce a comparative stranger, explaining why a paper is not ready on time, doing puns and jokes and imitations—in sum, doing the real emotional business of daily life, full of weird quirks and odd lilts.

"It Don't Mean a Thing If It Ain't Got That Swing" is as much about language as it is about jazz, as its borrowed title from Duke Ellington implies. The very structure of the poem is arranged like a jazz tune: intro (including melody, chord structure, and, if sung, lyrics), solos, and outro (which is a repeated version of the intro). Matthews begins and ends the poem with a twenty-two-lined stanza, and in between are nineteen quatrains. Staying true to the jazz form, but in verse, he begins the poem with a straightforward narrative about lovers on the cusp of consummating their relationship. After a little scene setting the details—details that carry Matthews's signature acute observations and turns of phrasing—he begins his first "solo": From what follows we turn away, for we have manners and our lovers need privacy to love and talk and talk, for love is woven from language itself, from jokes, pet names and puns, from anecdote, from double entendre (already invaded by tendre), until our lovers are a kind of literature and sole mad scholiasts of it. Inventors at Work, a sign on the bedroom door might say.

The first riff leaps from love and modulates to language, the language of fun, love, laughter—in short, the language of pleasure, the pleasure of language. The self-conscious move found in the parenthetical subtly reinforces the poem's larger concern, a meditation on the birth and function of language. The shift in the fourth quatrain is a jarring one:

It wasn't from the gods fire was stolen, but from matter (decay burning so steadily who'd think to speed it up? . . .)

Searching for the origin of language, Matthews begins with the elemental (fire) and recreates the Prometheus myth. In this version Prometheus steals language from heaven, and with tongue in cheek Matthews speculates: . . . If I remember the story right, he sailed to the island of Lemnos, where Hephaestus kept his forge, stole a brand of fire and carried it back in a hollow stalk, like smuggling music in a clarinet. Who'd think to look for it there? . . .

In writing the poem—in its structure and subject—Matthews implicitly answers his own question. It's Matthews who looks for language in music, and like any good jazz tune, the language, too, has to swing, to use the idiom. Here "swing" pertains not only to the rhythm of the poetic line—the syncopated rhythms of casual conversation, everyday speech—but also to the swinging from one subject to the next and how each successive subject is part and parcel of the one that precedes it. Matthews concedes the poem is a fable, and in this one he makes language a "she." By anthropomorphizing language, the poet allows himself to riff a little further on the function of language, how it is used by and how it uses humans: . . . She could implore and charm, she could convince and scathe, pick laughter's lock, she could almost glow with her own powers, but she was the wind's, like jazz before recordings. . . .

Like any good poem, this one serves as its own commentary. The attributes Matthews assigns to

WILLIAM MATTHEWS / 165 his female lead, Language, are the same characteristics of his oeuvre. Finally, Language becomes memorable by making a deal with the devil, but in doing so: . . . she gave up pout, toss, crinkle, stamp and shrug, shiver, flout and pucker, the long, cunning lexicon of the body, and thus what we lazily call "form" in poetry, let's say, is Language's desperate attempt to wrench from print the voluble body it gave away in order to be read.

Rarely does Matthews so explicitly state his source of irony in a poem. In the concluding stanza he returns to the lovers who opened the poem, and from there he ruminates on his own condition: A snowflake sizzles against the window of my hotel room. Ann Arbor, late at night. My bonnie lies not over the ocean but over a Great Lake or two. Now I lay me down to sleep, I used to say, the first great poem I knew by heart. Could I but find the words and lilt, there's something I'd tell you, sweetie. I don't know what it is, but I'm on the case, let me tell you, the way convicts can tell you all about the law.

Matthews locates the poem in the "real" world, a place separate from fable. The references to nursery rhymes are suggestive of his own introduction to language, and to "find the words and lilt" is the assignment of every poet and every jazz musician. The concluding comparison to convicts is one last modulation; the obsessive and desperate nature in which criminals study the law in order to attain freedom, if not absolution, despite their largely irreversible convictions speaks to Matthews's vision of humanity's relationship with language. We know not what to say, Matthews says, but we keep talking, and at our best, we keep singing. This is the source

of the blues according to Matthews, full of irony, pathos, and provisional joy when we hit the notes we meant to hit. TIME & MONEY

Time & Money (1995), Matthews's tenth collection, won the National Book Critics Circle Award for Poetry. The poet Richard Jackson wrote that "the book moves from poems about isolation, depersonalization, dissatisfaction, malaise to an incredible sense of healing at the end. This is a book that faces squarely all our fears, frustrations, failures, and makes of them a triumph that is indeed rare." In this book the choices of language are the choices of life. The obsessions and subjects that readers of Matthews have come to recognize surface once more: a trio of Mingus poems, elegies for his father, and poems for his sons. We also see Matthews at the opera and in cheap seats at the old Cincinnati Gardens for a professional basketball game. In others Matthews tells an apocryphal story, serving as a ventriloquist of sorts in poems such as "Old Folsom Prison" and "New Folsom Prison." Most reviewers and critics of this book deemed it Matthews's strongest, citing a refined tightness of the line as well as a clarity and consistency of vision. This vision is a braver one that stares time directly in the eye, as the poet does in "Time": . . . You can't "save time" this way or any. Nor, since it can't be owned, can it be stolen, though afternoon adulterers add to the tryst's fevers— the codes and lies, the sunlight sieved by blinds, the blank sheets and the ink at the brim—the pleased guilt of having stolen time. What might they do for time, those from whom it got stolen?

As we might have come to expect, Matthews ruminates on the language we assign to time and how it surfaces in everyday life. For him it

166 / AMERICAN WRITERS is an exploration into the language of the condition, first and foremost: They bowl, they shop, they masturbate before a nap (a spot of body work at O' Nan's Auto Service), they finish their day's work. To begin thinking about time, we might take all the verbs we like to think we do to time, and turn those verbs on us, and say that time wastes us, and time saves and buys us, that time spends us, and time marks and kills us. We live as direct object of verbs we hoped we could command. . . .

Desire for control, however, is a waste of time because, "we must remember this: / dire time hectors us along with it, and so / we might consider thanks." Not all of the poems conclude with such optimism, however. Matthews writes in "Money": What's wrong with money is what's wrong with love: it spurns those who need it more for someone already rolling in it. ... Money's not an abstraction; it's math with consequences, and it's a kind of poetry, it's another inexact way, like time, to measure some sorrow we can't name. The longer you think about either, the stupider you get, while dinner grows tepid and stale. The dogs have come in like a draft to beg for scraps and nobody's at the table. The father works on tax forms. The mother folds laundry and hums something old and sweetly melancholy. The children drift glumly towards fracas. None of these usual doldrums will lift for long if they sit down to dinner, but there's hunger to mollify, and the dogs.

Matthews taps into the universal anxiety over money by focusing on the archetypal, albeit dysfunctional, American family. This family,

representing us all at one time or another, is in short supply, and aren't we all, Matthews implies. And the poem would not be Matthews's without a reference to language and the art of poetry. The Mingus poems also work on multiple levels. While they are elegies and homages to the great jazz bassist and composer, they are also self-portraits and ars poeticas. "Mingus in Diaspora" begins by riffing, or euphemizing, on how to phrase the demise of Mingus: You could say, I suppose, that he ate his way out, like a prisoner who starts a tunnel with a spoon, or you could say he was one in whom nothing was lost, who took it all in, or that he was big as a bus.

The level of imagination is engaged in something serious—death—but Matthews's witty linguistic agility makes it palatable. Humor here softens the inevitable blow time strikes not just on Mingus, but also on himself, on all of us. We'd better laugh, Matthews implies, because the joke, too, is on us. The words Matthews puts into Mingus's voice are more direct: "I just ruined my body." And there, Exhibit A, it stood, that Parthenon of fat, the tenant voice lifted, as we say, since words are a weight, and music.

Matthews teases yet more meaning out of the poem by talking about poetry itself. Again, jazz becomes a vehicle for Matthews to examine his craft and himself: You have to pick up The Bass, as Mingus called his, with audible capitals, and think of the slow years the wood spent as a tree, which might well have been enough for wood, and think of the skill the bassmaker carried without great thought of it from home to the shop and back for decades, and know what bassists before you have played, and know

WILLIAM MATTHEWS / 167 how much of this is stored in The Bass like energy in a spring and know how much you must coax out.

Replace "Bass" with "poem" and Matthews could well be describing himself. The parallel between jazz and poetry, between Mingus and Matthews, is "coaxed" out at the poem's conclusion: . . . Religious stories are rich in symmetry. You must release as much of this hoard as you can, little by little, in perfect time, as the work of the body becomes a body of work.

The control of language is masterful in that it does what it says. The mimesis is not just to dazzle, though. The poem finally takes us to the point in time when what we do becomes who we are. The symmetry here, too, is rich, as the last line shows. This is hard-won beauty borne from the knowledge of experience. Matthews may not call it beauty, however, as he says in Time & Money's concluding poem, "A Night at the Opera": . . . They have to hit the note and the emotion, both, with the one poor arrow of the voice. Beauty's for amateurs.

Whatever he dubs this soul-taxing, soul-making work—perhaps ". . . hope for accuracy / and passion, both . . . ," also from "A Night at the Opera"—Matthews's vision is one that stares at the thorniest issues of being human and refuses to be overtaken by them. AFTER ALL

Matthews's posthumous collection, After All (1998), contains poems centered largely on death. Christophersen wrote in Poetry: Throughout these poems, nature is nothing if not Darwinian. . . . The spectacle of life being eroded

by disease or shattered by sudden violence is the recurring nightmare of this collection. . . . After All registers in particular specters of urban paranoia and mortality. The book presents a world in which rage—the rage not only of jazz legends but of cabbies and bicycle messengers, jilted lovers, bereaved spouses, overwrought patients—is rampant and death is a slow burn or a hair trigger.

In characteristic Matthews style, however, the book is not one-dimensional. Love poems suffused with candidness, humor, and tenderness balance the book's darker poems. Others lean more toward the love of language, its capacity to communicate and please simultaneously. "Euphemisms" is a poem that jives on the language of, among other things, death: Let's skip those undertakers love, like pass away and join the majority. Likewise let's spurn the tittery genteel, like make water or ladies of the night. Why make water and not tinkle?

Under the humor is a desire not to sugarcoat one of the harshest realities we have: mortality. Then Matthews quickly reverts back to more mundane activities and inserts some cute, albeit sophomoric, humor before he takes on a headier subject: I like the uric whiff of Genesis, the combination of false modesty and grandeur. Instead, let's think how class works, and deference, on the British woman who spoke mildly to the police of "the gentleman who raped me." Is that what language is for, to bring us to our knees?

Such interrogation is anything but humorous, and the quick turn in subject, in true Sophoclean fashion, moves from levity (to relax and entertain) to seriousness (to evoke pathos and irony). There is nothing glib or trite about the conceit of this poem . . . anymore. The shift to

168 / AMERICAN WRITERS serious considerations, such as religious interpretation, social hierarchy, and violence, emphasizes Matthews's point: a matter of consequence is a matter involving language, and vice versa. But the poet does not allow himself, or us, to ruminate too long on such dire subjects and consequences: How about phrases without opposites, like legal ethics or natural worldl Also, surely, the right to bear arms. What fun it is to scorn those who'd rather sound right than think. I count among the charms of feeling superior to them that it makes us the same fools we think they are: one touch of smugness makes the whole world kin.

Again, humor is the vehicle that allows Matthews to set up his audience. Once more we are prepped to receive something serious, this time an invective on how we abuse language. Matthews is concerned about "language the tool of delight" as well as "language the carrier of information." If the poem is didactic, Matthews is certainly aware of it, as he attempts to defer responsibility by the conclusion: We need to unlearn what we think we know lest we spool on like answering machines until we choke on chatter. Who says so? Not I. English itself murmured this prayer.

The second reference to organized religion is no coincidence. Language is a religion of sorts for Matthews. And he is a master theologian. This fresh and painful realization typifies the brilliance of Matthews's later poems. The vacillation of emotion in "Euphemisms" is microcosmic of the book's larger movement. There are a number of sonnets—"The Place on the Corner," "Rocas del Caribe, Isla Mujeres, 1967," "Prescience," "Vermin," and "Le Quatre Saisons, Montreal, 1979" among them—whose intelligence and wordplay not only demonstrate his skill but also point toward a common suffer-

ing and pleasure. (See also "A Poetry Reading at West Point" and "Inspiration.") Others such as "Dire Cure" and "Defenestrations in Prague" are rooted only in suffering. Hope can be found in the sonnet "The Bar at the Andover Inn," in which Matthews refuses to brood over his marital mishaps and wishes his newly married son well. The right words and exact thoughts escape him, but that does little to deter him: The rueful pluck we take with us to bars or church, the morbid fellowship of woe— I've had my fill of it. I wouldn't mope through my son's happiness or further fear my own. Well, what instead? Well, something else.

Such tenacity of will allows Matthews to take on the harder subjects and render them with clarity and compassion. "Mingus in Shadow," the final installment of what was started in Time & Money, is a fine example: What you see in his face in the last photograph, when ALS had whittled his body to fit a wheelchair, is how much stark work it took to fend death off, and fail. The famous rage got eaten cell by cell. His eyes are drawn to slits against the glare of the blanched landscape. The day he died, the story goes, a swash of dead whales washed up on the Baja beach. Great nature grieved for him, the story means, but it was great nature that skewed his cells and siphoned his force and melted his fat like tallow and beached him in a wheelchair under a sombrero. It was human nature, tiny nature, to take the photograph, to fuss with the aperture and speed, to let in the right blare of light just long enough to etch pale Mingus to the negative. In the small, memorial world of that negative, he's all the light there is.

This is not about Mingus, the jazz genius, but rather Mingus, the man. And so Mingus becomes a symbol for the human struggle against nature. One master is paying homage to another

WILLIAM MATTHEWS / 169 as only a master can do; the language is precise and jazzy, the alliteration and assonance of "swash" and "washed" almost function onomatopoetically for the waves themselves. But it's also what Matthews says about human nature. The poet Christopher Buckley commented in Quarterly West: Our petty and mercenary ambitions make us small—that we would want to photograph someone in the final stages of his illness, that someone would want to get the setting right in that darkness, is what we come to understand by "tiny nature." And it's the memory, the "shadow" of his talent, which, despite the deteriorating exterior, shows us that the genius inside is the only light left shining through. The best tenors and sopranos sing of such tragic courage, the best jazz too embodies such final flickering of the spirit—the best lives sometimes come to that. "Mingus in Shadow," then, serves as one of Matthews's last great turns of irony. The poet, too, died too young, whittled by time, nature, and the spending of the body that creates good art. It's a poignant poem above all else, and poignancy is the thread that runs through After All', it is what unites the perceived dualities throughout Matthews's entire body of work, as he says in "Blue Notes," from Foreseeable Futures: . . . Each emotion lusts for its opposite— which is to say, for itself. Our water music every morning rains death's old sweet song, but relentless joy infests the blues all day.

Selected Bibliography WORKS OF WILLIAM

MATTHEWS

POETRY

Ruining the New Road. New York: Random House, 1970.

Sleek for the Long Flight. New York: Random House, 1972. Sticks & Stones. Drawings by Ray Kass. Milwaukee: Pentagram Press, 1975. Rising and Falling. Boston: Atlantic-Little, Brown, 1979. Flood. Boston: Atlantic-Little, Brown, 1982. A Happy Childhood. Boston: Atlantic-Little, Brown, 1984. Foreseeable Futures. Boston: Houghton Mifflin, 1987. Blues If You Want. Boston: Houghton Mifflin, 1989. Selected Poems and Translations: 1969-1991. Boston: Houghton Mifflin, 1992. Time & Money. Boston: Houghton Mifflin, 1995. After All: Last Poems. Boston: Houghton Mifflin, 1998. OTHER WORKS

"Moving Around." In American Poets in 1976. Edited by William Heyen. Indianapolis: BobbsMerrill, 1976. (Matthews's contribution to a collection of essays.) Removed from Time. Translation from the French with Mary Feeney of prose poems by Jean Follain. Tannersville, NY: Tideline Press, 1977. (Pamphlet.) A World Rich in Anniversaries. Translation from the French with Mary Feeney of prose poems by Jean Follain. Iowa City: Grilled Flowers Press, 1979. Curiosities. Ann Arbor: University of Michigan Press, 1989. (Essays on poetry.) The Poetry Blues: Essays and Interviews. Selected by Sebastian Matthews and Stanley Plumly. Ann Arbor: University of Michigan Press, 2001.

CRITICAL AND BIOGRAPHICAL STUDIES Bell, Marvin. "That We Keep Them Alive." Poetry 136:164-170 (summer 1980). Buckley, Christopher. "Ave Atque Vale." Quarterly West 49:238-248 (autumn 1999/winter 2000). Christophersen, Bill. "Late Night Music." Poetry 174, no. 2:99-107 (May 1999). Corn, Alfred. "Looking toward the Fin de Siecle." Poetry 161:286-291 (fall 1993).

170 / AMERICAN WRITERS Costello, Bonnie. "Orders of Magnitude." Poetry 142:106-113 (May 1983). Foy, John. "Jiving toward the Heart of Speech." Parnassus 21:257-272 (1996). Hicks, Jack. "William Matthews's Ruining the New Road." Carolina Quarterly 23:99-101 (spring 1971). Jackson, Richard. "William Matthews's Flood." American Book Review 6:16 (March-April 1984). . "A Reverie on What I Love: William Matthews and the Question of Style." Poetry Miscellany 26:1-4 (1998). Kalstone, David. "Lives in a Rearview Mirror." New York Times Book Review, July 1, 1984, p. 14. Kitchen, Judith. "William Matthews's Blues If You Want." Georgia Review 46:154-157 (September 1992). Lehman, David. "William Matthews's A Happy Childhood." Washington Post Book World, September 2, 1984. McQuade, Molly. "The Wit of William Matthews." In her Stealing Glimpses. Louisville, KY: Sarabande Books, 1999. Pp. 15-22. Pinsky, Robert. "Far from Prose." Poetry 123:241247 (January 1974). Reeve, F. D. "Forces at the Bottom." Poetry 118:237238 (July 1971). Seidman, Hugh. "William Matthews's Rising and Falling: Poems." New York Times Book Review, October 21, 1979. Shaw, Robert B. "Short Reviews." Poetry 150:234237 (July 1987). Smith, Dave. "The Second Self: Some Recent American Poetry." American Poetry Review 8:33-37 (November-December 1979).

Stitt, Peter. "Resemblances and Transformations." Georgia Review 34:428-430 (summer 1980). . "Poems in Open Forms." Georgia Review 36:675-685 (fall 1982). -. "Wisdom and Being in Contemporary Poetry." Georgia Review 38:859-861 (winter 1984). West, Paul. "Four Poets." Washington Post Book World, May 31, 1970. Wojahn, David. "Short Review." Poetry 146:178180 (June 1985).

INTERVIEWS "Talking about Poetry with William Matthews." Ohio Review 13:32-51 (spring 1972). "Interview with William Matthews." Ironwood 3:58-69 (1973). "An Interview with William Matthews." Words 2:6-11 (winter 1974). "A Conversation with William Matthews." Black Warrior Review 1:57-77 (spring 1975). "Interview with William Matthews." Aegis 3:50-58 (fall 1975). "Jazz and Poetry: A Conversation." Georgia Review 46:645-661 (winter 1992). "The Experience of Pleasure, the Pleasure of Experience: An Interview with William Matthews." Atlantic Monthly Unbound Poetry Pages (http:// www.theatlantic.com/unbound/poetry/antholog/ matthews/wmint/htm), October 29, 1997.

—ALEXANDER LONG

John Muir 1838-1914

J ttUST AS HENRY David Thoreau is seen as inseparable from Walden Pond, Mark Twain

and a national monument (Muir Woods) and an Alaskan glacier are named for him. Muir is a fascinating figure in a related way. His life and work can be seen as interlocking grids charting a more ecological way of living in the world. Muir, as well as he was able, wrote what he lived and vice versa. He claimed that he was a hiker first and a writer second, and writing did not come easily to him. In 1872 he noted in his journal, "No amount of word making will ever make a single soul to know these mountains" (John of the Mountains: The Unpublished Journals of John Muir, 1938). Nevertheless, he attempted in his prose to instill in his readers an appreciation for wilderness, and his writing is informed by his scientific understanding, his advocacy, and especially his wonder at the natural world. His scientific acumen and the genuine sense of awe with which he beheld all of nature combine to make Muir and his work compelling among a wide readership of mountaineers, the general public, ecologists, geologists, historians, and literary critics. His words have inspired many to try to know the natural world. And in a world of specialization, Muir provides an example of competence in many fields, of a "naturalist" in the truest sense of the word. Straddling the nineteenth and twentieth centuries, he is a nexus of many different intellectual, emotional, and material influences. As these influences coalesced, Muir was able to perceive the interrelation of all things. To his way of thinking, the ability to perceive the beauty of interrelationships allowed human beings to participate in them. Beauty was to Muir evidence that God, or some kind of deity, as Muir came to abandon the Calvinist God of his

from the Mississippi River, and John Steinbeck from the Dust Bowl of the 1930s, John Muir is inextricably linked with the Sierra Nevada of California. From the initial settlement of North America, the vexed relationship between European peoples and a continent they variably wished to exploit and worship has been a dominant theme in American writing and thinking. The theme persists to this day—public conflicts over the use of natural lands and books of nature writing surface at about the same rate. From among the canonized writers who celebrate the natural world—William Bartram, John James Audubon, Thoreau, and John Burroughs, to name a few—John Muir stands out as exerting the most lasting influence on American culture. Muir, for instance, presided over the political fight to carve a national park out of the region surrounding the Yosemite Valley in California, and in doing so he helped open the first nationwide public discussion in the United States about the protection of wilderness for its own sake. Whereas the world's first national park, Yellowstone, had been created primarily for recreational use, the justification for setting Yosemite aside was its wild nature. Muir took Thoreau's well-known cry, "In wildness is the preservation of the world," and put it into practice, often wielding his own writing as a tool or weapon in the fight for preservation of wild lands. He also cofounded the Sierra Club, which became the most powerful environmental advocacy group in the United States. His words can be found on calendars and greeting cards, 777

772 / AMERICAN WRITERS father, exists in the world. In his work, Douglas squirrels, water ouzels, dogs, glaciers, and bristlecone pines all participate in the abundance of life of which the human drama is but a small part. He weights human participation optimistically, and even when he condemns the abuses he saw heaped upon the natural world by the rapidly industrializing culture of his time, he always came back to celebrating the interrelatedness of the human and the nonhuman. Many commentators have seen Muir's coming to this ecological outlook as the result of a kind of conversion experience he underwent as he walked up into the Sierra Nevada for the first time in the summer of 1869 (the same year that Ernst Haeckel, a biologist at Friedrich Schiller University in Jena, Germany, coined the term okologie, or ecology). But a view of the world such as the one Muir came to possess is rarely, if ever, achieved in a burst of insight. It develops over a lifetime of experience. SCOTTISH BOYHOOD

John Muir was born in Dunbar, Scotland, to Daniel Muir and Ann Gilrye Muir. Daniel Muir was orphaned as a child and raised by relatives, and during his teens he underwent an intense religious experience. He eventually became a Campbellite, whose adherents later evolved into the Disciples of Christ. A strident fundamentalist, he subscribed, among other tenets, to a literal belief in the Bible. This deep belief in the sacredness of a text was passed down to Daniel's son John, although not always in a biblical context. Nature as book or palimpsest surfaces as a prominent metaphor in John Muir's work; in My First Summer in the Sierra (1911) he described his surroundings as "a grand page of mountain manuscript that I would gladly give my life to be able to read." In 1829 Daniel Muir was sent to Dunbar as a recruiting agent for the British army. He married shortly thereafter, bought his release from

the army, and upon the death of his first wife, he inherited a substantial amount of property and moved his feed and grain store to a prime business location on High Street. Across the street from his store lived the Gilrye family, and Daniel Muir courted one of the daughters, Ann. Her father had reservations about the marriage because of Daniel's religious zeal, but Ann prevailed and they were married in 1833. A daughter, Margaret, was born in 1834; Sarah followed in 1836; and John Muir was born on April 21, 1838, the first son. In 1840 his brother David was born and three years after that Daniel junior arrived in the world. Finally, in 1846, Ann Muir gave birth to twins, Mary and Annie. Muir offers his version of his early life in The Story of My Boyhood and Youth (1913). This book has been mined for clues as to how Muir developed his ecological worldview, and some interpreters have taken the book on its face value. It is essential to the understanding of both Muir and his work to keep in mind that many of the texts that contain seminal information about Muir's early life were actually written toward the end of his life or published posthumously. In the course of this essay, Muir's books will be discussed as their subject matter becomes relevant to the period under discussion, rather than chronologically by publication date. While there is little argument about the basic facts and time frame of a book like The Story of My Boyhood and Youth, students of Muir must remain alert to the fact that the mature ecological insights found in these books may well have been read back into the incidents Muir retells. To keep this in mind, as environmental biographer Steven J. Holmes insists that we do, is to acknowledge that Muir underwent a long development before he came to his most profound insights. Such acknowledgement enhances Muir's cultural status rather than diminishes it, because beneath the myth of ecological prophet that developed around Muir, useful as that myth may at times be, is the story

JOHN MUIR / 173 of a complex individual attaining over time an extraordinary awareness of the world around him. In The Story of My Boyhood and Youth, Muir recalls his childhood in and around Dunbar. From the opening paragraph we are told that, "When I was a boy in Scotland I was fond of everything that was wild, and all my life I've been growing fonder and fonder of wild places and wild creatures." In Scotland, Muir and his friends wandered the surrounding hills, roamed the stormy beaches, and played among the ruins of Dunbar Castle. But Daniel Muir worried that too much experience of the world would expose his children to evil, and Muir writes that he was "solemnly warned that I must play at home in the garden and back yard, lest I should learn to think bad thoughts and say bad words. All in vain. In spite of the sure sore punishments that followed like shadows, the natural inherited wildness in our blood ran true on its glorious course as invincible and unstoppable as stars." The "sure sore punishments" were intense. Muir's father dealt violently with any intransigence, and although it is clear that Muir loved and, to varying degrees, needed his father throughout his life, his father's incessant repression of his son's selfhood profoundly affected Muir and contributed to his eventual movement away from a rigid conception of human beings as sinful creatures inhabiting an evil world. In Muir's later years, his ecological perspective was to some extent achieved by setting his own views in opposition to what he remembered of his father's beliefs and behaviors, which followed Muir like shadows for most of his life. One of the more positive images that stuck with Muir throughout his lifetime was that of the garden in his Dunbar backyard. This garden seems to be one of the few things that Ann and Daniel Muir openly delighted in. His aunt too had a plot there, where she grew marvelous lilies; Muir, who as a boy was fascinated by flowers, became as an adult an avid botanist. In My

First Summer in the Sierra, he writes: "Columbine and larkspur grow on the dryer edges of the meadows, with a tall handsome lupine standing waist-deep in long grasses and sedges. Castilleias, too, of several species make a bright show with beds of violets at their feet. But the glory of these forest meadows is a lily (L parvum)" The lilies stand tall in Muir's memory, and some of the most pleasant times of his life seem to have been shared in the garden of his youth and among the Yosemite lilies. Elsewhere in My First Summer in the Sierra he describes "saunter[ing] along the river bank to my lily gardens. The perfection of beauty in these lilies of the wilderness is a never-ending source of admiration and wonder." Muir's maternal grandparents lived across the street from their Dunbar home, and Muir developed a close relationship with his nurturing grandfather, who read with him and took him for long walks in the country. In The Story of My Boyhood and Youth Muir recalls that during one such walk, he and his grandfather sat down to rest on a haystack. Muir "heard a sharp, prickly, stinging cry, and, jumping up eagerly, called grandfather's attention to it. He said he heard only the wind, but I insisted on digging into the hay and turning it over until we discovered the source of the strange exciting sound,—a mother field mouse with half a dozen naked young hanging to her teats." This passage identifies a few predominant themes and influences in Muir's writing. First, the experience takes place out of doors and involves animals. Muir claims that his discovery was "wonderful" to him, and central to the young child's wonder as presented in this image is his perception of the cycle of life suggested by the young mice clinging to their mother. Also, there can be little doubt that the Scottish poet Robert Burns's influence is felt in this recollection, and the echoes of Burns's poem "To a Mouse" underline Muir's identity as a Scot and suggest his debt to Romantic poetry;

174 / AMERICAN WRITERS at the same time, the poem hints at Muir's mature worldview in the lines "man's dominion / Has broken nature's social union," and with its insight that the poet is the mouse's "fellow mortal." Referring to the dog Stickeen in the 1909 book of the same name, Muir uses this very wording in writing about an expedition in southeastern Alaska: "Our storm-battle for life brought him to light, and through him as through a window I have ever since been looking with deeper sympathy into all my fellow mortals." But Muir's relationship to Scotland and to his extended family was to change abruptly. Muir writes in The Story of My Boyhood and Youth that one night in 1849 as he and his brother studied by their grandfather's fire, his father entered the room and told them, "You needna learn your lessons the nicht, for we're gan to America the morn!" and, good to his word, the next morning Daniel took three of his children— Sarah, who was thirteen, John, who was eleven, and David, nine years old—to Glasgow, and from there the four sailed to North America. They eventually traveled to Wisconsin, where Daniel established a farm near the town of Montello. Though thrilled by the move, John was sad to have left his elderly grandparents, and he could not have understood that the bulk of the farm work would fall to him at a very young age. In fact, the experience nearly killed him. WISCONSIN FARM LIFE

The family's first farm was called Fountain Lake, and although his father worked him mercilessly, Muir came to love the area to such an extent that in later life he tried unsuccessfully to purchase part of it from his brother-inlaw, with an eye toward preserving it. In one of the most distressing tales of his time on the frontier, Muir tells of an incident after the family had moved nearby to their second farm, Hickory Hill. When they struck sandstone while

digging a well, his father ordered Muir to continue the work with masonry tools. Muir describes the many days he spent working alone in the well: I had to sit cramped in a space about three feet in diameter, and wearily chip, chip, with heavy hammer and chisels from early morning until dark, day after day, for weeks and months. In the morning, father and David lowered me in a wooden bucket by a windlass, hauled up what chips were left from the night before, then went away to the farm work and left me until noon, when they hoisted me out for dinner. After dinner I was promptly lowered again, the forenoon's accumulation of chips hoisted out of the way, and I was left until night.

One morning he was lowered into the eightyfoot-deep hole and nearly suffocated from the carbonic acid gas, or "choke damp," that had settled in the well bottom. He claims that he held on to awareness through "glimpse of a branch of a bur-oak tree which leaned out over the mouth of the shaft." His father allowed him two days' recovery time and then lowered him down again until he finally struck water at ninety feet. Despite the fact that his "father never spent an hour in that well," the family drank from it "for many a day." It seems probable that on some level, this experience predisposed Muir to his ecstatic responses to the wide vistas of mountains, glaciers, and vast storms at sea. Muir's father devoted more and more time to Bible study and less and less time to the farm, and the family members performed most of the work—the rest of the family had long since joined Daniel, John, Sarah, and David in Wisconsin. For all his faults, however, Muir's father seemed at times attentive to the natural beauty of the world; he made sure that the family witnessed the aurora borealis, explaining to them in vivid language that the colors in the sky were God's clothing, and he marveled at the intricacy of God's work in the plumage of a

JOHN MUIR / 175 bird. At the same time, he was capable of riding his son's favorite horse to death in order to get to a prayer meeting on time. Throughout this confusing and troublesome time on the Wisconsin frontier, Muir also found time to wonder at the beauty around him, and his appreciation of the natural world led him to sense the foolishness of human attempts to subdue nature through endless, life-shortening toil, although he never lost a tendency toward hard work. While on the farm, Muir took to rising from bed at one o'clock in the morning in order to work on inventions that he thought about during the day as he plowed the fields. His father had forbidden him to sit up nights reading, but he had nothing against his son rising early, although he begrudged John the firewood he needed to read by. Tinkering in the basement in the early morning hours, Muir carved pendulum clocks out of wood, fashioned a bed that would automatically eject him in the morning, and contrived a combined thermometer, hygrometer, barometer, and pyrometer. He wanted to mount one of his clocks on the roof of the barn, but his father would not allow it because he was afraid of drawing a crowd—or unwilling to let Muir assert himself through his craft. One of Muir's inventions, a study desk that automatically placed books from a stack in front of the reader after a designated time, is on permanent display at the Wisconsin State Historical Society. EDUCATION AND EARLY WRITINGS

In the late 1850s the area around Hickory Hill became more populous, and Muir began to participate in a growing community. Of particular help to him was William Duncan, who lent him books, Sir Walter Scott's novels in particular, and Philip Gray, who set up a lending library in his home, giving Muir access to the classics of literature. His neighbors also began to take notice of him and his inventions, readily

acknowledging Muir as a brilliant young man. Muir had thoughts of apprenticing in a machine shop, and in late summer 1860 William Duncan suggested that to get exposure Muir exhibit his inventions at the state fair in Madison. Muir asked his father for monetary and, implicitly, moral support; both were refused, and Muir's brother David drove him part of the way to Madison. Met with praise at the fair, Muir and his inventions were so well received that he was persuaded to enroll at the new Wisconsin State University in Madison. Intellectually, Muir began to come into his own at the university. One of the primary influences on his life was Professor Ezra Carr, who taught classes in chemistry and geology. Muir became close to the professor, and he also came under the influence of Carr's wife, Jeanne, who was a friend of Ralph Waldo Emerson's. Muir and Jeanne Carr exchanged letters for years, and she appears to have been for a time both his mentor and his muse. His writing developed under the guidance of James D. Butler, whom Muir would encounter by chance in the Yosemite years later. During his studies, Muir was introduced to current scientific ideas about the creation of the earth and the depth of geological time; he was taken with the formal study of botany and was introduced to the thinking of Emerson and perhaps to Thoreau. As Thomas Lyon suggests, the transcendentalist thought of the time drew Muir away from his father's dark Puritanism, and introduced him to a philosophy of light and seeing in which all things are conceived as part of a larger reality. God is both in the world and in human beings. Muir's excitement at such a new latitude of thought must have been intense, and even if in later years Muir came to oppose much of Emerson's anthropocentric thought, Emerson's influence lingered. At this crucial time in his development, Muir's sense of wonder at the natural world, whether innate, acquired, or both, was underpinned by scientific theory and fact. The

176 / AMERICAN WRITERS interrelatedness he had sensed among the things of the world was now given scientific credence. Muir was to expand upon this nexus of emotional wonder, aesthetic perception, and scientific understanding for the rest of his life. This juncture of feeling, seeing, and fact led him also into the realm of ethics, and his corpus remains one of the clearest statements of an environmental ethic in Western literature. It took him some time to arrive at this ethical stance, but its underpinnings were certainly set in place at the University of Wisconsin. His thoughts on leaving the university are contained in a famous passage at the end of The Story of My Boyhood and Youth: "There with streaming eyes I bade my blessed Alma Mater farewell. But I was only leaving one University for another, the Wisconsin University for the University of the Wilderness." Of course, the situation was far more complex than that. At the time that Muir was at college, South Carolina seceded from the union, initiating the formal hostilities of the Civil War. Muir was opposed to war on all fronts, and he refused to volunteer for the army. By 1863, the draft had been instated, and anti-draft riots were breaking out in cities around the country. Muir was never drafted, but he left the United States for Canada in 1863. There he wandered the forests and worked for a time at a broom factory. He is reticent in his writing about his reasons for going to Canada, but, significantly, his first publication originates from this time. The article—'Tor the Boston Recorder. THE CALYPSO BOREALIS. Botanical Enthusiasm. From Prof. J. D. Butler"—was taken from a letter Muir wrote to Jeanne Carr, which was sent by Butler to the Boston Recorder and published on December 21, 1866. The letter details Muir's discovery of the rare orchid Calypso borealis, or "hider of the north," and Muir later claimed that the two great moments of his life were finding this flower and meeting Emerson in Yose-

mite. In the letter to Mrs. Carr, Muir reveals the ethical position he was then forming: How good is our Heavenly Father in granting us such friends as these plant-creatures, filling us wherever we go with pleasure so deep, so pure, so endless. I cannot understand the nature of the curse, "Thorns and thistles shall bring forth thee." Is our world indeed worse for this "thisly curse?" Are not all plants beautiful? Or in some way useful? Would not the world suffer by the banishment of a single weed?

Plants are afforded the ethical consideration normally reserved to humans, and Muir senses that "the curse" he refers to "must be within ourselves." The final question of the quoted passage is one Muir put directly or implied in all of his subsequent work. In the context of the war just ended in the United States, this passage is poignant. If the world is impoverished by the loss of one weed, what can organized mass carnage mean for the world? After the war, Muir left the Canadian woods. In 1866 he went to work at a manufacturing plant in Indianapolis, where he prospered and was a highly valued employee. He also underwent one of the most traumatic experiences of his life. While he worked on a machine in March 1867, the sharpened end of a file he was using caught in a belt and pierced his right eye, damaging the aqueous humor and temporarily blinding him. On the initial diagnosis, Muir was told that he would never see from the right eye again. However, after remaining in a darkened room for four weeks he regained imperfect sight in his right eye and full sight in the left. During this time he began to think about his love of wild places and to weigh his future options. Having almost lost the use of his eyes, he naturally wanted to see things. He considered traveling to the Amazon in the footsteps of Alexander von Humboldt, and according to his biographer Linnie Wolfe, "someone had given him an illustrated folder about the Yosemite

JOHNMUIR / 177 Valley." Upon his recovery, Muir took a trip botanizing on the Wisconsin River and spent some time with his family. Then, on September 1, 1867, Muir took the train to Jeffersonville, Indiana, and the next morning he crossed the Ohio to Louisville, Kentucky, from where he set out for the Gulf of Mexico. A THOUSAND-MILE

WALK TO THE GULF

A Thousand-Mile Walk to the Gulf (1916) narrates the story of Muir's journey through the South, still largely ravaged by the war. A Thousand-Mile Walk to the Gulf was published posthumously from the journal Muir kept during his trip, and once again caution must be exercised when reading the published text. There is ample evidence that the journals are revised, and that the book we have is, at least in part, a retelling of actual events inflected with Muir's later perspective. (Steven J. Holmes discusses the journals that provide the basis for A Thousand-Mile Walk to the Gulf and My First Summer in the Sierra in his The Young John Muir [1999]). Muir's route south took him through Kentucky, Tennessee, the western corner of North Carolina, Georgia, by steamer from Savannah to Fernandina, Florida, and then across Florida to Cedar Keys on the Gulf Coast. During this trip, Muir is consistently disturbed by the condition of the land and the people due to the war, and he is also dismayed by what he perceives as the backwardness of the population. It was in the South that, for the first time in his life, Muir encountered significant numbers of African Americans, and his sometimes racist comments are difficult to come to terms with—it is disappointing, at the very least, that someone who viewed the world in an ecological way would avail himself of contemporary cultural stereotypes of African Americans. Though his perceptions are often ambiguous—he sees a black family around a fire in the Florida woods and perceives them as both Edenic and Sa-

tanic—there is no way to explain his early racism away. Although he certainly opposed slavery, and although late in life he revised his early views on both African Americans and Native Americans, his comments in this book detract from its appeal. A Thousand-Mile Walk to the Gulf must be read as Muir's search for himself, and perhaps, as Holmes suggests, his reliance on racial stereotypes served as a foil in his own attempts at self-definition. Muir also came to a more immediate understanding of the cyclic nature of life when he camped for a few days in the Bonaventura cemetery outside of Savannah, awaiting money to be wired him and living off crackers. The beauty of the cemetery, with its live oaks draped with Spanish moss, caused Muir to reflect on mortality: But let children walk with Nature, let them see the beautiful blendings and communions of death and life, their joyous inseparable unity, as taught in woods and meadows, plains and mountains and streams of our blessed star, and they will learn that death is stingless indeed, and as beautiful as life, and that the grave has no victory, for it never fights. All is divine harmony.

Muir's focus on death is natural considering where he was, but it also seems either prescient or achieved through hindsight, because by the time he reached Cedar Keys he fell deathly ill with malaria. Perhaps his illness and near death caused him once again to see that "the universe would be incomplete without man; but it would also be incomplete without the smallest transmicroscopic creature that dwells beyond our conceitful eyes and knowledge." To Muir, he and the sporozoan parasites (Plasmodium) that caused his malaria exist on a level. A family in Cedar Keys nursed him back to health, and then in January 1868 he took a steamer to Cuba. He then returned to New York, boarded another ship for Panama, crossed the isthmus, and sailed for San Francisco.

778 / AMERICAN WRITERS There is a gap between the time frame of the journal that is the basis for A Thousand-Mile Walk to the Gulf and My First Summer in the Sierra, which corresponds to the time between Muir's arrival in California and his first hike into the mountains; the editor William Frederic Bade sought to bridge the gap by appending Muir's essay 'Twenty Hill Hollow" to the end of A Thousand-Mile Walk to the Gulf. The essay describes the area where Muir spent the summer of 1868 and the spring of 1869 and was first published in the July 1872 issue of the Overland Monthly. One of the most interesting aspects of the essay is that it allows us to track Muir in two passages as he works through the influence of Thoreau and Emerson. The essay as it appears in A Thousand-Mile Walk to the Gulf is edited, and one of the passages expunged is an almost verbatim echo of the opening to Thoreau's famous essay "Walking." As quoted by William F. Kimes and Maymie B. Kimes in John Muir: A Reading Bibliography (1986), Muir originally wrote, "I wish to say a word for the great central plain of California," whereas Thoreau in "Walking" wished "to say a word for Nature." Muir, following more closely the Thoreau of Walden, wished to say a word for a particular landscape, this time the landscape of California. The second passage, near the end of the essay, is an inversion of Emerson. Emerson wrote in Nature that "the currents of the Universal Being circulate through me; I am part or parcel of God." At the end of his essay, Muir writes, "Presently you lose consciousness of your own separate existence: you blend with the landscape, and become part and parcel of nature." Notice that in Emerson's version, the Universal Being is focused in the individual human being. Not so in Muir; he has reversed the relationship—the individual dissolves into the landscape; thus the emphasis shifts from an egocentric understanding of the Universal to an ecocentric understanding of a particular land-

scape. In Muir's essay, God becomes nature, perceivable in the California landscape. MY FIRST SUMMER IN THE SIERRA

Muir left Twenty Hill Hollow in the spring of 1869. That summer, Muir, then thirty-one years old, a shepherd named Billy, a Chinese and a Native American helper, and a Saint Bernard dog named Carlo helped drive a flock of two thousand sheep owned by the rancher Patrick Delaney to high pasture in the Sierra Nevada. This was Muir's first summer among the peaks of California, and over forty years later, in 1911, My First Summer in the Sierra appeared, drawn mostly from Muir's journals and notebooks and written when Muir was seventy-three. The original journals of the trip are lost, and My First Summer in the Sierra was drawn mostly from three notebooks dated 1887 that are either a revised, reworked, or totally rewritten version of Muir's entries from the summer of 1869. If not a faithful recording of an actual conversion experience, it may well be that with this text Muir attempted to create a conversion experience for the benefit of his readers. My First Summer in the Sierra is considered by many if not most commentators to be Muir's outstanding book, and in it can be traced most of Muir's characteristic prose strategies: a focus on process, an unbridled enthusiasm, a presentation of the natural world as flowing, an almost microscopic attention to natural detail, and a consistent use of personification. Muir celebrates a process enacted between human beings and the natural world, as in the following passage: We are now in the mountains and they are in us, kindling enthusiasm, making every nerve quiver, filling every pore and cell of us. Our flesh-andbone tabernacle seems transparent as glass to the beauty about us, as if truly an inseparable part of it, thrilling with the air and trees, streams and rocks, in the waves of the sun,—a part of all

JOHN MUIR / 179 nature, neither old nor young, sick nor well, but immortal.

The ability to participate in the beauty of the natural world was, for Muir, humankind's redeeming characteristic. This perception of beauty situated the human being in an ecological relationship with the physical environment. When writing about this ability to interrelate, most often conveyed through the example of his own person, Muir's stance is unabashedly joyous, and his prose functions to convince the reader of the possibility of engaging in an elevated process of interrelation. The American philosopher John Dewey said in a noted quote that the mountains are not separate from the earth—not on the earth—but rather, they "are the earth in one of its manifest operations"; similarly Muir, when looking out over the Sierra peaks, exclaimed, "How near they seem and how clear their outlines on the blue air, or rather in the blue air." Correcting himself in midstatement, Muir revised his observation, preferring to see the mountains not as a picture on a blue canvas, against a static background, but as they exist in a world process. To Muir, humans participate in a process that is philosophical, aesthetic, and ecological, and all expression is a form of interaction between an agent and its environment. This interaction is often imagined as dynamic and fluid. My First Summer in the Sierra retains the journal structure, and the entry for July 19 epitomizes both Muir's writing and his relationship to the world. Beginning the entry with a lyrical description of the dawn, Muir proceeds to describe one of his favorite natural occurrences, a mountain storm: "Now comes the rain, with corresponding extravagant grandeur, covering the ground high and low with a sheet of flowing water, a transparent film fitted like a skin upon the rugged anatomy of the landscape, making the rocks glitter and glow, gathering in the ravines, flooding the streams, and making

them shout and boom in reply to the thunder." The rain runs off the surface of the ground as if that surface were a giant skin, and the weight of the description focuses on the sheet of water in motion. The landscape is described metaphorically as having an anatomy—as a living body— but not necessarily a human one. Muir does not privilege the human body so much as he sees the landscape as a living thing in itself, a glittering, glowing, and gathering organism. Our bodies are our way of having a world, and by endowing the mineral world in this passage with a body, Muir creates a world with a medium for having us, if you will, a world with creative sentience. As the focus shifts from the water running over the ground to the water falling from the sky, Muir begins a marvelous meditation on raindrops: Some, descending through the spires of the woods, sift spray through the shining needles, whispering peace and good cheer to each one of them. Some drops with happy aim glint on the sides of crystals,—quartz, hornblende, garnet, zircon, tourmaline, feldspar,—patter on grains of gold and heavy way-worn nuggets; some, with blunt plapplap and low bass drumming, fall on the broad leaves of veratrum, saxifrage, cypripedium. Some happy drops fall straight into the cups of flowers, kissing the lips of lilies. How far they have to go, how many cups to fill, great and small, cells too small to be seen, cups holding half a drop as well as lake basins between the hills, each replenished with equal care, every drop in all the blessed throng a silvery newborn star with lake and river, garden and grove, valley and mountain, all that the landscape holds reflected in its crystal depths, God's messenger, angel of love sent on its way with majesty and pomp and display of power that make man's greatest shows ridiculous.

What is it about the rain that inspires such ebullience in Muir? These raindrops, and Muir and his readers through them, experience the world intimately, which leads to a sense of harmony and well-being. In Muir's almost microscopic

180 / AMERICAN WRITERS perception of rock crystals, the naming of the minerals becomes incantatory in itself. The raindrops know the cups of flowers, kiss the lips of lilies, and enter into an erotic, celebratory relation with the flora. They land in cells too small to be seen and in enormous lake basins, and the landscape itself binds this whole process together. Finally, the hydrologic cycle is transformed by Muir's imagination into an enormous living entity, and, ultimately, it is the natural, climatic function that gives and sustains life—if and when it ceases to function, so must life on the planet. Joy and beauty result from an ecological perception of the world. The hydrologic cycle— flow in the largest sense—becomes a messenger of God, something far greater than "man's greatest show." Muir attempts to create a living world of words that opens a new field of experience. At the very heart of this text exist Muir's words as an interface among the writer, the reader, the text, and the natural world upon which the first three depend. Facts and ideas are brought to life in an ecological relationship. The basic fact—the hydrologic cycle—is constellated with the idea—the angel of love—and both have equal value. The culture-based figure of the angel does not take precedence over the life-giving cycle of water. The nonhuman world and the world of the imagination create experience. Both are essential. It is important to pause here and examine Muir's use of personification. Throughout My First Summer in the Sierra and most of his work, Muir refers to plants, insects, and animals as people, insisting upon their integrity as living things in a community of living beings. As opposed to a sentimental, appropriative use of personification to induce an emotional response in the reader, Muir's use of personification seeks to be accountable to both the natural world and to literary expression. When Muir refers to "plant people," for instance, he often lists the plants' scientific names, which are usually

coupled to a detailed and ecologically correct description of the plants and their environment. Consistent with his view that human beings are participants in ecological processes, when Muir personifies flowers and bees and squirrels, he insists upon a horizontal relationship between humans and the rest of creation, avoiding a hierarchical perception of the world. Whether or not My First Summer in the Sierra is a faithful rendering of Muir's actual experience in the Sierra, it is certainly a most powerful evocation of the human potential to flourish in an informed, ecological relationship with the natural world. While Muir lived in the Yosemite he began to assemble scientific evidence that the Yosemite Valley was formed by glacial forces. One of the most widely held geological theories up to Muir's time was catastrophism, and the accepted explanation of the origin of the valley—voiced most prominently by Josiah Whitney, the head of the California State Geological Society—was that it was formed in one catastrophic event as the valley floor fell out after the Sierra fault block was tilted to the west. But Muir was familiar with more up-todate science. During his studies at the University of Wisconsin, he would have heard of the American naturalist Louis Agassiz's work on glaciation in the Alps through Professor Carr. Catastrophism had become dated after the Scottish geologist James Hutton and later the British geologist Charles Lyell advocated uniformitarianism, which holds that geological processes and natural laws now operating to modify the earth's crust have acted in much the same way and with essentially the same intensity throughout geologic time. By observation of geological events today, one can surmise what happened in the past. The past is apparent in the present. This view advocates a far deeper range of geological time, and it implies a continuity in the development of the physical structure of the earth. Charles Darwin read Lyell on his southern expeditions aboard the Beagle, and Darwin's

JOHN MUIR / 181 theories of evolution are part of the same shift in scientific understanding. Of course, these theories held great appeal to Muir, although he was put off by the idea of competition among species. He intuitively affirmed the continuity of the world, the cyclical nature of life. Also, this idea of process was amenable to the way Muir did his science. He had joined in the scientific discussion about the formation of the Yosemite by 1871 with his second publication, "Yosemite Glaciers: Ice Streams of the Great Valley," which appeared in the New York Daily Tribune. As he explained in this piece, "Two years ago when picking flowers in the mountains back of Yosemite I found a book. It was blotted and storm beaten; all its pages were mealy and crumbly." This "book" was a living glacier that Muir had discovered, which helped him cement his argument that the valley was formed by glacial excavation. His language makes evident his method of fusing scientific analysis with his characteristic literary flair. In an essay titled "Exploration in the Great Tuolumne Canon," published in August 1873 in the Overland Monthly, Muir had more to say about his research methods, and surely he must have infuriated conventional geologists like Josiah Whitney: This was my "method of study." I drifted about from rock to rock, from stream to stream, from grove to grove. Where night found me, there I camped. When I discovered a new plant, I sat down beside it for a minute or a day, to make its acquaintance and hear what it had to tell. . . . I asked the bowlders I met, whence they came and whither they were going.

Even though his main intent here seems to be in offering a challenge—Whitney would dismiss him as a "sheepherder" when it became apparent that Muir was correct about the origin of the valley—much of what Muir wrote here held true for him. He came to know the Yosemite Valley more intimately than any living person at the time, and the evidence supporting long

glacial excavation in the region was obvious to him. His findings grew out of sustained, intense attention to a local landscape. Muir continued the debate, writing seven articles in 1874-1875 on the glacial history of the Sierra, and his theory is still accepted today, although geologists now maintain that there was a succession of glaciations, not one massive glacial winter, as Muir believed. These essays have been reprinted as John Muir's Studies in the Sierra (1960). ENVIRONMENTAL ADVOCACY

By the middle of the 1870s, Muir had become a fixture around Yosemite Valley, and he was becoming well-known nationally for his writing. In 1872 the British author Theresa Yelverton published a novel, Zanita: A Tale of the Yosemite, whose much romanticized main character—Kenmuir—is obviously modeled after Muir. Also during this time, Emerson came to visit, spending time with Muir in his room above a sawmill, where Muir showed him his plant collections. Muir was disappointed when Emerson's entourage would not let the old philosopher camp out under the trees with him, but Muir still felt Emerson to be, as he noted toward the end of his life in his journal, "the most serene majestic, sequoia-like soul I ever met." Although he continued to correspond with Emerson for years (there are eight letters from Muir to Emerson extant), Muir makes clear in Our National Parks (1901) that he remained deeply disappointed in Emerson's refusal to camp: "The house habit was not to be overcome, nor the strange dread of pure night air, though it is only cooled day air with a little dew in it. So the carpet dust and unknowable reeks were preferred. And to think of this being a Boston choice! Sad commentary on culture and the glorious transcendentalism." By this time Muir had developed a philosophy that was a mixture of science and emotional and spiritual

182 / AMERICAN nearness to the natural world. He had clearly built on, yet moved beyond, Emerson's transcendentalism. After almost six years, Muir reluctantly came down out of the mountains to live in Oakland and San Francisco, and he committed himself to his writing. He made extended jaunts into the mountains, but never again lived in them except in spirit. By 1875, Muir had published over fifty articles in magazines, scientific journals, and newspapers. By 1879, he was nationally known and an established advocate of the natural world. In that year, Muir became engaged to Louie Strenzel, and they were married in 1880. They had two daughters, Annie Wanda, born in 1881, and Helen, born in 1886. His wife was the daughter of a successful fruit farmer from Martinez, California, and she and Muir settled down on the Strenzel farm, where by all accounts the extended family was close knit and happy. Between his engagement and marriage, Muir made a trip to Alaska, where he met his longtime friend S. Hall Young, a missionary who shared many of Muir's adventures in Alaska. Muir made seven trips to Alaska in all, and his famous dog story Stickeen originates in a near-death experience Muir and the dog shared on the Taylor glacier in 1880. The manuscript pages of Travels in Alaska (1915), taken from the journals of this trip, were at Muir's bedside when he died. Muir cruised back to Alaska aboard the Corwin in 1881, but for the larger part of ten years, he settled down to the life of a hardworking farmer, father, and husband. He was successful, having ample experience working a farm, and he proved as well to be a shrewd businessman. However, Muir's health and spirit had suffered from the years of hard farm work, and on a trip to the Northwest in July 1888, he received a letter from his wife that urged him to again take up his writing and advocacy. Within the next several years they sold or leased sections of the farm, and Muir turned back to his pen. In 1889 Robert Underwood Johnson, associate edi-

WRITERS

tor of the Century, formerly Scribner's Monthly, was in San Francisco looking for a story on the gold rush. He made contact with Muir, and the two men began talking about the Yosemite and eventually decided to take a trip up to the valley. The Yosemite was not what it had been when Muir first experienced it twenty years earlier. The land had been ceded to the state of California by the federal government in 1864, but the state had not looked after it, and it was heavily logged. Underwood was disappointed when he failed to see the wildflowers for which Yosemite was famous—many of its meadows and lily gardens were trampled by sheep, which Muir called "hoofed locusts." As the two men sat around their campfire they discussed the idea of petitioning the federal government to create a national park out of the Yosemite Valley and the surrounding areas. Muir agreed to write two articles in support of the idea for the Century, both of which appeared in 1890, and to draw up a set of proposed boundaries for the park. Johnson, for his part, lobbied in Washington, D.C. Both men were effective. On September 30, 1890, following Muir's specifications almost exactly, Congress passed the bill to create Yosemite National Park, and President Benjamin Harrison signed the bill the next day. The Yosemite Valley itself, however, remained adjacent to the park and under the control of the state of California. Even though the legislation had passed, Muir knew that simply giving Yosemite national park status would not necessarily protect it from utilitarian interests. Johnson came up with an idea for a preservation society, the Yosemite and Yellowstone Defense Association. At the same time, a group of professors from Berkeley and Stanford were attempting to form an alpine club. Muir immediately saw the possibility of merging the two ideas, and on June 4, 1892, the Sierra Club came into legal being. Muir was elected the first president of the club, and he remained in office until his death twenty-two years later.

JOHN MU1R / 183 Shortly after this time, Muir's first book, The Mountains of California (1894), appeared. The Mountains of California is a collection of previously published essays, and when it was published Muir was fifty-six. One of his most widely read essays, "A Near View of the High Sierra," remains one of the best-known mountaineering essays of all time, and it is a classic example of the nature essay. The title of the essay could just as well indicate Muir's life goal—to see nature as nearly as possible. In a famous passage, Muir describes being paralyzed with fear on the face of Mount Ritter. He recalls that at around 12,800 feet above sea level, about halfway up the cliff face, "I was suddenly brought to a dead stop, with arms outspread, clinging close to the face of the rock, unable to move hand or foot either up or down. My doom appeared fixed. I must fall. There would be a moment of bewilderment, and then a lifeless rumble down the one general precipice to the glacier below." Face-to-face with the mountain, Muir is plastered to rock, and this radical nearness initiates a shift in his consciousness. This shift occurs in the face of the seeming necessity marked by the emphasis on the word "must." Life asserts itself in the face of fear, but in this experience such assertion seems beyond will: When this final danger flashed upon me, I became nerve-shaken for the first time since setting foot on the mountains, and my mind seemed to fill with a stifling smoke. But this terrible eclipse lasted only a moment, when life blazed forth again with preternatural clearness. I seemed suddenly to become possessed of a new sense. The other self, bygone experiences, Instinct, or Guardian Angel,—call it what you will,—came forward and assumed control. Then my trembling muscles became firm again, every rift and flaw in the rock was seen as through a microscope, and my limbs moved with a positiveness and precision with which I seemed to have nothing at all to do. Had I been borne aloft upon wings, my deliverance could not have been more complete.

In this passage the relationship between "Guardian Angel" and the close observation that is key to Muir's entire canon surfaces again, recalling the image from My First Summer in the Sierra where Muir conceives the hydrologic cycle as a messenger from God. Muir is of course a firstclass observer of the natural world, and in this passage he is also an accomplished observer of his own process of coming into awareness of his relationship to the natural world. Part of what makes his literary revisions of these intense outdoor experiences so compelling is his close attention to detail—his shift from "Guardian Angel" to "every rift and flaw in the rock." On Mount Ritter he saw into the rock and described the texture of the crystals themselves. It is as if he looks at the world through a microscope, and through his focus on the rock, the self recedes and something else surfaces, crystallizes, guiding Muir upward toward safety. Muir is reticent in identifying exactly what this something is, but it leads him to safe haven and at the same time allows him to see into the structure of the rock; instead of "conquering" the rock face, Muir comes to identify with it. The experience on Mount Ritter might also be seen as a figure for Muir's method of writing generally. This radically close attention gears Muir onto a particular landscape, and the recasting of the experience attempts to gear his readers onto a world as well, a world of words that he hopes will lead people to the actual world. It is in this close contact that Muir finds deliverance, salvation, and it is because of the vital importance of this interface that the natural world, in his view, must be preserved. In 1891 Congress passed the Forest Reserve Act, allowing the president to create forest reserves now known as national forests, but the protection of public timberlands remained on paper only. Over this issue the split between preservationists and conservationists became and remains a deep cleft. Pressure from many

184 / AMERICAN WRITERS sides was brought to bear on the Cleveland administration to settle the question of forest use, and in 1896 Secretary of the Interior Hoke Smith responded by forming a commission to study the state of U.S. forests. Muir was an adjunct to the commission, whose most powerful voice was Gifford Pinchot. Pinchot would become head of the Interior Department's Division of Forestry in 1898 and was still chief when that agency became the U.S. Forest Service in 1905. While Muir believed in the preservation of wild lands for their own sake, Pinchot's loyalty was to progress and civilization. At first there was a warm friendship between the two men, but their differences came to a head when Pinchot publicly stated his view that grazing sheep did no harm to wild lands and should be allowed in the new forest reserves. These comments made Muir rancorous, and finally he broke off his association with Pinchot. In 1897 the Forest Management Act was passed, which granted timber, mining, and grazing interests access to the national forests. While the voices of preservation had suffered a setback, Muir did not remain silent on the issues of national parks and national forest lands. In 1901 he collected ten Atlantic Monthly articles and published them as Our National Parks. The opening of the first essay states Muir's position concisely: "The tendency nowadays to wander in wilderness is delightful to see. Thousands of tired, nerve-shaken, overcivilized people are beginning to find out that going to the mountains is going home; that wildness is a necessity; and that mountain parks and reservations are useful not only as fountains of timber and irrigating rivers, but as fountains of life." His voice was widely recognized, and on a trip to Yosemite in 1903, President Theodore Roosevelt requested that John Muir accompany him. Muir, of course, took the opportunity to bend Roosevelt's ear to his views on the negative effects of timbering and grazing on the forests. Muir also advocated federal protection

of the Grand Canyon and the Yosemite Valley. The battle to recede Yosemite Valley to the federal government was vitriolic, and some of the arguments over the rights of western states to control their own land free from federal regulations are strikingly similar to states' rights debates of the twenty-first century. State Senator John Curtin of California, an attorney for Yosemite concessionaires and a stockman who desired to graze cattle in the region, took his argument to a pitch that rings familiar to present-day Americans; because firearms are not permitted in national parks, he declared: "I would not live under a government that would not let me carry a gun." According to Robert Underwood Johnson in Remembered Yesterdays, during their camping trip in the Yosemite, Muir finally asked President Roosevelt about his avid participation in hunting: "Mr. Roosevelt, when are you going to get beyond the boyishness of killing things? . . . Are you not getting far enough along to leave that off?" Largely because of Muir's influence, Yosemite Valley was returned to federal control in 1906, and part of the Grand Canyon was declared a national monument in 1908. But Muir's success was eclipsed by his wife's death in 1905 and by his daughter Helen's worsening respiratory illness. Muir also entered into the last heartbreaking public battle of his life. Hetch Hetchy Valley is a neighboring valley to the Yosemite, and, according to Muir, nearly as marvelous. Hetch Hetchy was not included within the new national park borders, though it was a designated wilderness preserve. As early as 1882, the valley had been eyed as a site for a possible dam to provide hydroelectric power and drinking water for San Francisco. San Francisco had once before applied for and been denied permission to turn the valley into a reservoir. However, in 1906 the city suffered a great earthquake and fire, and public opinion on the matter shifted. The application was granted in 1908, and Robert

JOHN MUIR / 185 Underwood Johnson and Muir led a national campaign to save Hetch Hetchy Valley. Though Hetch Hetchy is not a name familiar to Americans today, the issues raised in this debate remained part of the political climate. As Roderick Nash wrote, "for the first time in the American Experience the competing claims of wilderness and civilization to a specific area received a thorough hearing before a national audience." In the heat of this fight, Muir published both My First Summer in the Sierra and The Yosemite (1912). The final essay in The Yosemite is titled "Hetch Hetchy Valley," and in the opening passage, Muir is careful to point out that although places like Hetch Hetchy and Yosemite are beautiful and unique in their own right, they are not exclusive in their need for protection: "Yosemite is so wonderful that we are apt to regard it as an exceptional creation, the only valley of its kind in the world; but Nature is not so poor as to have only one of anything." The implication is that people might benefit from paying more attention to their surroundings— there might be a Yosemite in one's backyard. As he moves along in this essay, as in all his work, Muir calls for a heightened awareness in human beings toward the world in which they live. For him, nothing in the natural world was to be taken for granted, and there is still something to be learned from Muir's stance. We have grown accustomed and resigned to seeing strip malls and parking lots where once were fields, impounded water where once rivers flowed. He praises the beauty of the national parks, whose mandate, according to the Act to Create a National Park Service (1916), is "to conserve the scenery and the natural and historic objects and the wild life therein and to provide for the enjoyment of the same in such manner and by such means as will leave them unimpaired for the enjoyment of future generations." He notes, however, that

like anything else worth while, from the very beginning, however well guarded, [the parks] have always been subject to attack by despoiling gainseekers and mischief-makers of every degree from Satan to Senators, eagerly trying to make everything immediately and selfishly commercial, with schemes disguised in smug-smiling philanthropy, industriously, shampiously crying, "Conservation, conservation, panutilization," that man and beast may be fed and the dear Nation made great.

Muir ends with a metaphor linking the natural world to religion: "Dam Hetch Hetchy! As well dam for water-tanks the people's cathedrals and churches, for no holier temple has ever been consecrated by the heart of man." However, as Muir was fond of saying, the moneychangers were in the temple, and in 1913 President Woodrow Wilson signed the Hetch Hetchy over to the city of San Francisco, and it remains submerged to this day. Muir was by this time an old man, and he was exhausted from the long fight over the Hetch Hetchy. On a trip to the Mojave Desert to visit his daughter Helen in 1914, he caught a cold that developed into pneumonia, and he died quietly in a Los Angeles hospital on Christmas Eve, December 24, 1914. Muir's work and his life are on one level a testimony to one individual's powerful love of the world. On another, his writing calls for a heightened level of human existence, one that respects and honors a natural world that Muir perceived as almost unbearably beautiful, not only in the majesty of its mountains but in the connections it manifests—between things, people, rocks, trees, animals, and snowstorms alike. His ecological understanding led him to appreciate these connections; as he writes in My First Summer in the Sierra, "When we try to pick out anything by itself, we find it hitched to everything else in the universe." As Muir sensed the importance of these connections, his perception shifted. He wrote in Travels in Alaska, "Every

186 / AMERICAN WRITERS thing, even the commonest, was seen in new light and was looked at with new interest as if never seen before." At the turn of the twenty-first century the writings of John Muir continued to be read in a new light, by readers who, in a technological age, felt more and more removed from wilderness. The awe with which Muir wrote about the natural world continued to resonate in readers whose exposure to wild places was increasingly limited to the natural parks that Muir helped create. And Muir's environmental ethic remained politically relevant: Muir inspired the passage in 1906 of the Lacey Antiquities Act, which allows the president to set aside land that is culturally or historically significant. In 1980 President Jimmy Carter used this act to set aside millions of acres of wilderness in Alaska. In 2001 President George W. Bush endorsed opening hitherto protected lands on the coastal plain of Alaska for oil exploration. The Sierra Club joined other environmental groups and activists in its opposition to drilling for oil in the Arctic National Wildlife Refuge.

Selected Bibliography WORKS OF JOHN MUIR BOOKS

The Mountains of California. New York: Century, 1894. Reprint, Garden City, N.Y.: American Museum of Natural History, 1961. Our National Parks. Boston and New York: Houghton Mifflin, 1901. Stickeen: The Story of a Dog. Boston and New York: Houghton Mifflin, 1909. Reprint, Berkeley, Calif.: Heyday Books, 1981. My First Summer in the Sierra. Boston: Houghton Mifflin, 1911. Reprint, New York: Penguin, 1997. The Yosemite. New York: Century, 1912. Edward Henry Harriman. New York: Doubleday, Page, 1912.

The Story of My Boyhood and Youth. Boston: Houghton Mifflin, 1913. Travels in Alaska. Boston: Houghton Mifflin, 1915. Reprint, San Francisco: Sierra Club, 1988. A Thousand-Mile Walk to the Gulf. Edited by William Frederic Bade. Boston: Houghton Mifflin, 1916. The Cruise of the Corwin. Edited by William Frederic Bade. Boston: Houghton Mifflin, 1917. Steep Trails. Edited by William Frederic Bade. Boston: Houghton Mifflin, 1918. COLLECTED WORKS

The Writings of John Muir: Manuscript Edition. 10 vols. Edited by William Frederic Bade. Boston: Houghton Mifflin, 1916-1924. The Wilderness World of John Muir. Edited by Edwin Way Teale. Boston: Houghton Mifflin, 1954. John Muir's Studies in the Sierra. Edited by William E. Colby. San Francisco: Sierra Club, 1960. South of Yosemite: Selected Writings of John Muir. Edited by Frederic R. Gunsky. Garden City, N.Y.: American Museum of Natural History, 1968. To Yosemite and Beyond: Writings from the Years 1863 to 1875. Edited by Robert Engberg and Donald Wesling. Madison: University of Wisconsin Press, 1980. John Muir Summering in the Sierra. Edited by Robert Engberg. Madison: University of Wisconsin Press, 1984. Muir among the Animals: The Wildlife Writings of John Muir. Edited by Lisa Mighetto. San Francisco: Sierra Club, 1986. Northwest Passages: From the Pen of John Muir in California, Oregon, Washington, and Alaska. Palo Alto, Calif.: Tioga, 1988. The Eight Wilderness Discovery Books. Seattle, Wash.: Mountaineers, 1992. John Muir: His Life and Letters and Other Writings. Edited by Terry Gilford. Seattle: Mountaineers, 1996. CORRESPONDENCE AND JOURNALS

Letters to a Friend: Written to Mrs. Ezra S. Carr, 1866-1879, by John Muir. Boston: Houghton Mifflin, 1915.

JOHN MUIR / 187 The Life and Letters of John Muir. 2 vols. Edited by William Frederic Bade. New York: Houghton Mifflin, 1924. John of the Mountains: The Unpublished Journals of John Muir. Edited by Linnie Marsh Wolfe. Boston: Houghton Mifflin, 1938. Dear Papa: Letters between John Muir and His Daughter Wanda. Edited by Jean Hanna Clark and Shirley Sargent. Fresno, Calif.: Panorama West, 1985. Letters from Alaska. Edited by Robert Engberg and Bruce Merrell. Madison: University of Wisconsin Press, 1993. MANUSCRIPTS AND PAPERS

The primary archive of Muir's papers is housed at the University of the Pacific, Stockton, California. See also The Guide and Index to the Microform Edition of the John Muir Papers, 1858-1957, edited by Ronald H. Limbaugh and Kirsten E. Lewis. Alexandria, Va.: Chadwyck-Healy, 1986, in collaboration with the University of the Pacific. BIBLIOGRAPHIES Kimes, William F., and Maymie B. Kimes. John Muir: A Reading Bibliography. Second ed., Fresno, Calif.: Panorama West, 1986. Lynch, Ann T. "Bibliography of Works by and about John Muir, 1869-1978." Bulletin of Bibliography 36:71-80, 84 (1979).

CRITICAL AND BIOGRAPHICAL STUDIES Bade, William Frederic. The Life and Letters of John Muir. 2 vols. New York and Boston: Houghton Mifflin, 1924. Branch, Michael. "'Angel Guiding Gently': The Yosemite Meeting of Ralph Waldo Emerson and John Muir, 1871." Western American Literature 32, no. 2:126-149(1997). Clarke, James Mitchell. The Life and Adventures of John Muir. San Francisco: Sierra Club, 1979. Cohen, Michael P. The Pathless Way: John Muir and American Wilderness. Madison: University of Wisconsin Press, 1984. Elder, John. "John Muir and the Literature of Wilderness." Massachusetts Review 22, no. 2:375-386 (1981).

Fleck, Richard F. Henry Thoreau and John Muir among the Indians. Hamden, Conn.: Archon, 1985. Fox, Stephen. John Muir and His Legacy: The American Conservation Movement. Boston: Little, Brown, 1981. Hansen, Arlen J. "Right Men in the Right Places: The Meeting of Ralph Waldo Emerson and John Muir." Western Humanities Review 39, no. 2:165172 (1985). Holmes, Steven J. The Young John Muir: An Environmental Biography. Madison: University of Wisconsin Press, 1999. Johnson, Robert Underwood. Remembered Yesterdays. Boston: Little, Brown, 1923. Jones, Holway R. John Muir and the Sierra Club: The Battle for Yosemite. San Francisco: Sierra Club, 1965. Limbaugh, Ronald H. "Stickeen and the Moral Education of John Muir." Environmental History Review 15, no. 1:24-45 (1991). Lyon, Thomas J. This Incomperable Lande: A Book of American Nature Writing. Boston: Houghton Mifflin, 1989. . "John Muir." In vol. 2 of American Nature Writers. Edited by John Elder. New York: Scribners, 1996, pp. 651-669. McKusick, James. "From Coleridge to John Muir: The Romantic Origins of Environmentalism." Wordsworth Circle 26, no. 1:36-40 (1995). Miller, Sally M, ed. John Muir in Historical Perspective. New York: Peter Lang, 1999. Nash, Roderick. Wilderness and the American Mind. New Haven, Conn.: Yale University Press, 1967. O'Grady, John P. Pilgrims to the Wild: Everett Ruess, Henry David Thoreau, John Muir, Clarence King, Mary Austin. Salt Lake City: University of Utah Press, 1992. Smith, Herbert F. John Muir. New York: Twayne, 1965. Stanley, Millie. The Heart of John Muir's World: Wisconsin, Family, and Wilderness Discovery. Madison, Wis.: Prairie Oak, 1995. Tallmadge, John. "John Muir and the Poetics of Natural Conversion." North Dakota Quarterly 59, no. 2:62-79 (1991). Turner, Frederick. Rediscovering America: John Muir in His Time and Ours. New York: Viking, 1985.

188 / AMERICAN WRITERS Wesling, Donald. "The Poetics of Description: John Muir and Ruskinian Descriptive Prose." Prose Studies 1800-1900 1, no. 1:37-44 (1977). Wilkins, Thurman. John Muir: Apostle of Nature. Norman: University of Oklahoma Press, 1995.

Wolfe, Linnie Marsh. Son of the Wilderness: The Life of John Muir. New York: Knopf, 1945. Young, Samuel Hall. Alaska Days with John Muir. New York: Fleming Revell, 1915. —CORNELIUS BROWNE

Dorothy Parker

w,

1893-1967 main character of her short story "Big Blonde," was undoubtedly Parker's own: "There was always something immensely comic to her in the thought of living elsewhere than New York." Hazel turns down marriage proposals from men because they live in Des Moines and Houston and Chicago and, to her, "even funnier places." Parker's reputation as the voice of the 1920s and the wittiest muse of Manhattan rests on a small but potent output: three slim volumes of poems and two volumes of short stories during her lifetime, and a series of irreverent book and theater reviews. A great strength of her work as a critic lies in her disdain for sentiment. Under her nom de plume Constant Reader she panned A. A. Milne's 1928 children's book The House at Pooh Corner, revealing her disgust with this summation: "Tonstant Weader Fwowed up." Tweaking Katharine Hepburn's performance in the 1933 play The Lake, Parker wrote that Hepburn "ran the whole gamut of emotions, from A to B." Parker also wrote plays and collaborated on screenplays, but these seldom showcased her originality and mordant humor. Her life and her remarks became a favorite topic of conversation among the urban smart set; a rhyme she wrote about Oscar Wilde (included in her 1928 book of poems, Sunset Gun) caught precisely the attitude of the public toward Parker herself:

ITH ITS DARKLY comic view of the human condition, "Resume," one of Dorothy Parker's most famous poems, evokes the period in the United States between the Allied Powers' bitter victory in World War I and the stock market crash of 1929: Razors pain you; Rivers are damp; Acids stain you; And drugs cause cramp. Guns aren't lawful; Nooses give; Gas smells awful; You might as well live.

The book of poems in which "Resume" appeared, Enough Rope, became a national bestseller in 1926, the year of its release, running to eight printings. Many of the poems have the spontaneity of Parker's memorable off-the-cuff remarks, although in reality she labored over them, writing with painstaking slowness. Like Oscar Wilde, Dorothy Parker's fame as a personality overshadows her fame as a writer; like Wilde, she seemed to spout bons mots and epigrams whenever she opened her mouth. She became an icon of popular as well as highbrow culture, so well known that the American composer and lyricist Cole Porter devoted a line of one of his songs to her: "As Dorothy Parker once said to her boyfriend: Fare thee well." Her wit and humor helped to establish the magazines Vanity Fair and The New Yorker, epitomizing an urbanely ironic perspective that came to characterize these publications. New York remained her spiritual and literary home all her life: the attitude of Hazel Morse, the

If, with the literate, I am Impelled to try an epigram, I never seek to take the credit; We all assume that Oscar said it.

An entire generation of college students assumed that Dorothy Parker said it, worshipping

189

790 / AMERICAN WRITERS her as a figure who created new directions for art and life in the late 1920s and early 1930s. Newspaper columnists recorded her remarks, practically every witticism of the day was attributed to her, two Broadway plays were written about her, and a third boasted a character based upon her. Her wit remained dry, selfdeprecating, original, the titles of her poems funny in themselves. In "News Item" (in Enough Rope), for example, she observes: "Men seldom make passes / At girls who wear glasses." To Parker's chagrin in later years, this poem seemed more remembered than what she considered to be her serious, and more accomplished, verse. The irony of the title, the piquant portrayal of men's and women's traditional roles, ensured that this light verse would be recited ad nauseum at cocktail parties. Parker, who was nearsighted and wore glasses herself, achieved notoriety for her tempestuously unhappy love life. According to John Keats in You Might As Well Live: The Life and Times of Dorothy Parker (1970), after a boyfriend left her, she affirmed that "she would give love another chance . . . but this time on her own terms. 'I require only three things of a man,' she said. 'He must be handsome, ruthless, and stupid.'" Her poetry bears out her lifelong sense of doom about love. In "Unfortunate Coincidence" (in Enough Rope), for example, she writes: By the time you swear you're his, Shivering and sighing, And he vows his passion is Infinite, undying— Lady, make a note of this: One of you is lying.

Her cynical humor both expressed and defined the experiences of the increasingly urban, increasingly cosmopolitan post-World War I generation. A rising star of the literary world in the 1920s, she honed her rapier wit as a member of the

famed Algonquin Round Table, a group of otherwise male writers to whom the American critic Edmund Wilson referred as an "all-star literary vaudeville." The historian James R. Gaines, in Wit's End: Days and Nights of the Algonquin Round Table (1977), remarked that the group was more than a clique of writers who enjoyed lunching together, having begun to "take shape as a public institution, one defined by the careers of its members and the cravings of a new public taste, of which all of them . . . were becoming public retailers." Situated in the Algonquin Hotel on New York City's West Forty-fourth Street, a short walk from Parker's office at Vanity Fair, the Round Table had evolved into a meeting place for some of the best-known journalists and writers of the day, including Alexander Woollcott, Heywood Broun, Franklin P. Adams, John Peter Toohey, Robert Benchley, George S. Kaufman, Marc Connelly, Robert Sherwood, and Harold Ross. In such society, Parker held court, queen of the repartee. "Wasn't the Yale prom wonderful?" she asked. "If all the girls in attendance were laid end to end, I wouldn't be at all surprised." Hearing that a friend had injured her leg in London, Parker is said to have voiced the suspicion that the woman had been injured while "sliding down a barrister." When a boyfriend ended their relationship after she became pregnant, she was quoted as saying that it served her right "for putting all my eggs in one bastard." Her quips, endlessly repeated, made her a household name. Over many a boozy lunch, Parker delighted literary companions and dropped lines that have been quoted ever since. Asked to use the word "horticulture" in a sentence, she said, "You may lead a horticulture but you can't make her think." As a young professional bored with writing fashion blurbs, she offered the following caption for a photograph of women's underwear in Vogue: "Brevity is the soul of lingerie."

DOROTHY PARKER / 191 In later years she downplayed the Round Table in her career, implying that its importance had been greatly exaggerated: "It was no Mermaid Tavern, I can tell you. Just a bunch of loudmouths showing off, saving their gags for days, waiting to spring them. The whole thing was made up by people who'd never been there. And may I say they're still making it up?" Although she is particularly known for depicting the disappointing love experiences of women, she excels at portraying the miscommunications between the sexes as well as the devil-may-care, ain't-we-got-fun drinking parties of the years of Prohibition. In the 1928 short story "Just a Little One," for example, a woman sits with her date in a smoky speakeasy. The story is styled as a monologue, and the reader experiences the scene through the comments of the woman speaker. Referring to the bar's atmosphere, for example, the woman quips, "They got the idea from the Mammoth cave." She goes on to praise the "real Scotch" in a highball: "Well, that will be a new experience for me. You ought to see the Scotch I've got home in my cupboard; at least it was in the cupboard this morning—it's probably eaten its way out by now." Parker joked about alcohol the same way she joked about everything that seriously concerned her: On one occasion, when a bartender asked what she was having, she remarked, "Not much fun." Another time, she cracked, "One more drink and I'd be under the host." In fact, her abuse of alcohol steadily eroded her ability to write. But since heavy drinking was in style throughout the 1920s as a socially acceptable challenge to Prohibition, for a time her alcoholism was not difficult to conceal. BACKGROUND Parker is an autobiographical writer whose chief subjects—drinking, women who have been jilted, suicidal despair, and death—reveal

her lifelong battle with depression, a condition that she may have first experienced following the unexpected death of her mother when Parker was five years old. Born Dorothy Rothschild (no relation to the banking family) on August 22, 1893, in West End, New Jersey, Parker lived much of her life in New York City, which would have been her place of birth had she not been two months premature. Her mother, Eliza Marston, of Scottish Presbyterian descent, and her father, J. Henry Rothschild, endured for over ten years the Marston family's opposition to Eliza marrying a German Jew; they were finally wed in 1880. Dorothy was their fourth and last child, born when her mother was forty-two. Her brothers Harold and Bertram were twelve and nine, respectively; her sister, Helen, was six. On July 20, 1898 (some biographers give 1897), Dorothy's mother died after an illness lasting about five days. The five-year-old Dorothy "screamed her head off," according to her biographer Marion Meade, and consoled herself with the thought of her mother listening to the rain as she died. Parker reflected on the experience in the poem "Condolence" (collected in Enough Rope), in which the speaker remembers relatives hastening to tell her "of that Other Side," and how "even then, you waited there for me." In the poem she describes the speaker as smiling, which causes the relatives to tell her how brave she is, prompting the following explanation: But I had smiled to think how you, the dead, So curiously preoccupied and grave, Would laugh, could you have heard the things they said.

Parker laughed much of her life to cheer herself up, but the howl of despair can be heard through every chuckle. "A girl's best friend is her mutter," she would one day say, perhaps realizing that her sotto voce sense of humor functioned as a best friend, protecting her from desolation of the kind she had experienced in childhood.

792 / AMERICAN WRITERS "Laughter and hope and a sock in the eye," were, she admitted in the poem "Inventory" (also in Enough Rope), the three things she would have until she died. It might have felt to her like a sock in the eye when her father married again, on January 3, 1900; his new wife, Eleanor Frances Lewis, was forty-eight, about the same age as Parker's mother at her death; both women were Scottish Presbyterian; and, like Parker's mother before her marriage, Eleanor was a Christian spinster schoolteacher. Like Parker's maternal grandparents, Lewis had a decidedly anti-Semitic attitude. Demanding love from the Rothschild children, who addressed her as "Mrs. Rothschild" by way of retaliation for their father's hasty marriage, she won only their scorn. Parker bore the brunt of her stepmother's religious zeal and stern ways, since the other children were by that time eighteen, sixteen, and thirteen years old, and would soon be away from her influence. The titles of Parker's three major collections of poems—Enough Rope, Sunset Gun, and Death and Taxes (1931)—all refer to death. The title of her collected poems, Not So Deep as a Well (1936), glumly begins with a negation, and titles she selected for collections of her stories proved funereal: Laments for the Living (1930) and Here Lies (1939). She attempted suicide at least four times: in 1923, after her first abortion; in 1925; in 1930, one year after winning the O. Henry Award for the year's best short story, "Big Blonde," the story of an alcoholic woman unhappy with her many lovers, congenitally depressed, and driven to a suicide attempt; and in 1932, a year after the publication of Death and Taxes. Parker finally died in 1967— some felt she had long outlived herself—of a heart attack in her room at the Hotel Volney in New York City. She had become by then a lonely, half-forgotten old woman, too often in her cups, whose fame had steadily dwindled since her heyday in the 1920s and 1930s. By

then she rarely wrote, and her writing remained out of tune with the times. The central theme of all her work, obsessively repeated, is the experience of being abandoned, or jilted. In "A Fairly Sad Tale" (from Sunset Gun), she observes, "A heart in half is chaste, archaic; / But mine resembles a mosaic—" In "Coda" (also from Sunset Gun) she remarks, This living, this living, this living Was never a project of mine . . . For art is a form of catharsis, And love is a permanent flop . . .

The poem ends with a question: "Would you kindly direct me to hell?" Hell was where she tragicomically conceived herself as living most of her life. In "Ballade at Thirty-five" she confesses her need to create situations in which she would be rejected by whomever she loved: Always knew I the consequence; Always saw what the end would be. We're as Nature has made us—hence I loved them until they loved me.

This final line embodies the crisis of her life: she could not bear to return love when love was offered. Her world-weary self-contempt, twinned with a girlish gaiety piping through nursery-rhyme rhythms, rendered her a complex figure, always admired yet illusory. "I don't care what they write about me as long as it isn't true," she remarked once, echoing Oscar Wilde's confession that he lived in terror of not being misunderstood. She, too, had her secrets, mostly sad secrets that she kept from herself, although her private life was always an open book. In the poem "A Portrait" (in Enough Rope)— which might as well have been titled "A SelfPortrait"—the experience of love inevitably leads to feelings of loss. In her poetry Parker's seeming compulsion to bring about rejection by the loved one is perhaps an attempt to relive symbolically the trauma of her mother's death, in hopes of changing the sad outcome. Parker

DOROTHY PARKER / 193 seemed driven to throw herself into doomed relationships, as she writes in these lines: You do not know how heavy a heart it is That hangs about my neck—a clumsy stone Cut with a birth, a death, a bridal-day. Each time I love, I find it still my own.

The birth (her own), the death (her mother's) and the bridal day (her disastrous marriage to the shell-shocked alcoholic and morphineaddicted Eddie Parker) proved to be the tragedies of Parker's life; the poem asserts that her birth "cut" her, initiating her many injuries of the heart. If her poems are filled with broken hearts, her short stories are replete with mothers who ignore their children or treat them badly. Marion Meade has observed that Hazel Morse's mother in "Big Blonde," described as a "hazy" woman who had died, resembled Parker's own. Female friends often play the role of bad mother, like the unnamed narrator of "Lady with a Lamp." The title alludes to Florence Nightingale, the great maternal nurse to soldiers during the Crimean War; Parker's narrator is ironically designated. Visiting a friend who has had, it is hinted, an illegal abortion, she torments her by disclosing the romantic infidelities of the man who impregnated her, and patronizingly criticizes her under the guise of offering comfort. Other bad mothers include Camilla in "Horsie," who says "Goodnight, useless," to her newborn daughter; Fan Durant, who lets her overbearing husband get rid of the children's puppy one night, after he has reassured them that they can keep it; Mrs. Ewing in "Lolita," who patronizes her plain daughter, expresses disbelief when the daughter marries a handsome, wealthy man, and assures her that when he rejects her she can always return to Mama; and Mrs. Matson in "Little Curtis," who adopts a four-year-old boy, beats him and harangues him in the manner of the proverbial wicked stepmother—much the same way that Dorothy's

stepmother treated her. Mrs. Matson is depicted as an extremely controlled, controlling woman, who enters every expenditure down to a few cents neatly in a little book, glares at beggars, whom she believes all have hefty bankrolls, and whose anger volcanically erupts at the drop of a hat. According to Meade, Parker hated her stepmother, who sent her to a strict Catholic school, the Blessed Sacrament Academy, and would ask upon Dorothy's return each day, "Did you love Jesus today?"—as if that could eradicate Dorothy's Jewishness. Meanwhile, she insisted that Dorothy was Jewish by virtue of her lineage, and voiced her disapproval of Jews. She lectured her stepdaughter about regular bowel movements, and made her say prayers. Dorothy defended herself, referring to the Immaculate Conception as "spontaneous combustion," and, if one can believe her, getting "fired" from that school. She later attended, but never graduated from, the academically demanding and socially exclusive Miss Dana's School in Morristown, New Jersey. She stopped attending at age fourteen, but by then had studied algebra, Greek, American history, French, Latin, physiology, and advanced English. "Because of circumstances, I didn't finish high school," she told a newspaper reporter when she was a visiting professor at California State College, "But, by God, I read." The circumstances she alludes to probably included the rapid decline of her father after his brother drowned in the sinking of the Titanic. When Parker was twenty, her father, who was about sixty, died of a heart attack. Her stepmother had died ten years before of a cerebral brain hemorrhage. CAREER In an interview with Marion Capron in 1959, Parker claimed, possibly exaggeratedly, that after her father's death she was practically destitute:

794 / AMERICAN WRITERS There wasn't any money. I had to work, you see, and Mr. Crowninshield [the editor of Vanity Fair], God rest his soul, paid twelve dollars for a small verse of mine and gave me a job at ten dollars a week. Well, I thought I was Edith Sitwell. I lived in a boarding house at 103rd and Broadway, paying eight dollars a week for my room and two meals, breakfast and dinner. Thorne Smith was there, and another man. We used to sit around in the evening and talk. There was no money, but Jesus we had fun.

Thorne Smith would later achieve fame as the author of Topper. At twenty, Parker had begun supporting herself by playing the piano at a dance school. The latest fad in the New York of 1914 was dancing; everywhere people were doing the tango, the Castlewalk, and the turkey trot. Purchasing quantities of sheet music, Parker practiced "The Floradora Glide" and "Everybody's Doin' It (Doin' What, Turkey Trot)." While memorizing song hits, she began to write light verse; as she later said, she had "fallen" into writing. She submitted some of her work to Vanity Fair, and one morning a check for twelve dollars and a letter of acceptance arrived. Seizing the opportunity, Parker put on her best suit and hat, sprayed herself with cologne, and, according to Meade, presented herself at Frank Crowninshield's office, where she claimed that the poem he had accepted, "Any Porch," was the first thing she had ever written, that she was an orphan whose father had recently died, that she was working at a dance school although she hadn't the slightest idea how to teach. Might Mr. Crowninshield have a job for her, since "the literary life" would suit her better? Crowninshield told her that he would keep her in mind, and she went back to the dance school. A few months later, when a position opened on the staff of Vogue, Vanity Fair's sister magazine, Parker was offered the job at a salary of ten dollars a week. Her assignment was to write captions for art and photographs. She gave up trying to sound literary and vented her ef-

forts in pieces such as the following, which, as explained by Meade, very nearly got published before an editor expunged it at the last moment. In it, Parker had dared to hint that Vogue readers were sexually active, an idea then considered too provocative for the magazine's readership: There was a little girl who had a little curl, right in the middle of her forehead. When she was good she was very very good, and when she was bad she wore this divine nightdress of rose-colored mousseline de soie, trimmed with frothy Valenciennes lace.

No wonder Alexander Woollcott (at the Algonquin Round Table) had referred to Parker as a combination of Little Nell and Lady Macbeth. During the summer of 1916 Dorothy met Edwin Pond Parker II, but their marriage in June 1917 posed no interruption to her career. Like her father, she chose a non-Jewish partner whose family disliked the idea of their child marrying a Jew. Eddie's family on both sides had been in the ministry for generations, and his grandfather had been Connecticut's leading Protestant clergyman. According to Meade, when Eddie brought Dorothy home, his grandfather called the family in for prayers, and then asked the Lord to "grant to the unbeliever in our midst the light to see the error of her ways." He went so far as to refer to Dorothy as "a stranger within our gates." Eddie himself was an atheist, but his family's attitude must have stung. To some extent Dorothy had internalized her stepmother's anti-Semitism; years later, according to Meade, she told friends that she had wanted to marry Eddie because he had a "nice clean name." She was never to use her family name, Rothschild, again. Long after her divorce from Parker, she made it clear that she wished to be addressed as "Mrs. Parker." Whenever people asked about her name, she airily assured them that there had indeed once been a Mr. Parker. Almost as soon as they were married— and both their families were barred from the

DOROTHY PARKER / 195 wedding—Eddie joined the Thirty-third Ambulance Corps, Fourth Division, and departed for Summit, New Jersey. World War I was raging, and like most able-bodied men, he rushed to the defense of his country. Dorothy, bereft, felt that she had been married "about five minutes" before he left. She wrote to him frequently, but he was often unable to reply. He eventually endured heavy combat in France. Driving his ambulance under intense bombardments to pick up the wounded, he risked his life to save men who sometimes died on the way back to the field hospital. A drinker before the war, Eddie resorted to morphine to calm his nerves under fire, because alcohol was not available. By the time he returned to the States he was a broken man, unable to resist either drink or morphine. The marriage was to end in much the same way the marriage ends in Parker's masterpiece, "Big Blonde." After a number of fights and reconciliations, Parker came home one day to find Eddie packing his bags In "Big Blonde," she paints a grim portrait of the way in which her own marriage may have fallen apart: He became annoyed by her misty melancholies. At first, when he came home to find her softly tired and moody, he kissed her neck and patted her shoulder and begged her to tell her Herbie what was wrong. She loved that. But time slid by. ... She was completely bewildered by what happened to their marriage. First they were lovers; and then, it seemed without transition, they were enemies. She never understood it. ... Each time he left the place in a rage, he threatened never to come back. She did not believe him. . . . One afternoon she came home . . . to find Herbie in the bedroom. . . . On the bed were two old suitcases, packed high. Only her photograph remained on his bureau, and the wide doors of his closet disclosed nothing but coat-hangers.

By the time Eddie had left for the front, Dorothy had joined the staff of Vanity Fair, as she had

longed to do for some time. When P. G. Wodehouse took a leave of absence from the magazine, Crowninshield made Parker New York's first female drama critic. She began her column with the April 1918 issue. In 1919 Robert Benchley, at twenty-nine an undistinguished newspaperman, publicist, freelance writer, and former editor of the Harvard Lampoon, was hired as managing editor of Vanity Fair. He shared an office with Parker and became one of her most loyal, trusted friends. Never romantic partners, Parker and Benchley enjoyed a close camaraderie grounded in their unspoken knowledge of the ways in which the depths of despair can produce scintillating laughter. According to Meade, they shared the experience of feeling abandoned by their mothers, and both battled depression and alcoholism. As a hobby, both read funeral industry trade magazines, a practice that inspired Parker to wear tuberose perfume, used by undertakers to mask the odor of corpses. Adopting the carpe diem philosophy of the Roaring Twenties, they frittered away time drinking and philandering, and in the process their verbal sparring helped create a new American sense of humor. Each must have sensed the other's secret, that the wisecracks the world perceived as the effusions of happy people sprang from a longing to cheer themselves up. After Parker's first suicide attempt, when she slashed her wrists with her husband's razor blade, Benchley reportedly advised her to "cut deeper" next time. After her second, when she swallowed a bottle of Veronal, a barbiturate, he visited her in the hospital. According to her biographer Keats, Parker asked the doctor, "May I have a flag for my [oxygen] tent?" Benchley could not resist a quip: "If you don't stop this sort of thing, you'll make yourself sick." Then he grew serious, describing what she had looked like when he found her lying comatose on the floor of her apartment. He lingered on the graphic details, perhaps in hopes of shaming her—if not frightening her—into

196 / AMERICAN WRITERS changing her behavior. "If you realized how repulsive you looked, you'd never try this again. You were a mess. You were lying there drooling, and if you had any consideration for your friends, you'd shoot yourself—but don't be this messy." Parker used these images—the ones Benchley had relayed to her—in writing, a few years later, in the scene in "Big Blonde" in which Hazel Morse tries to kill herself with Veronal and is saved by the chance arrival of the maid. Writing about Parker in An Unfinished Woman (1969), Parker's friend and confidante, Lillian Hellman, summed up the reasons for the artistic success of "Big Blonde" over some of Parker's other work: "The good short stories, like 'Big Blonde,' are her imaginative projections of what she knew or feared for herself, and have nothing to do with vengeance on the rich. Her putthem-in-their-place stories are often undigested, the conclusions there on the first page." Although the buxom, uneducated Hazel Morse differs outwardly from Parker, who was short, slim, dark-eyed, and intellectual, emotionally the resemblance is close. In portraying a woman who was physically and mentally her opposite, Parker may have reassured herself that her fictional character's emotions might not be so easily recognized as her own. But Parker's associates knew that she, like Hazel Morse, "could weep at anything in a play—tiny garments, love both unrequited and mutual, seduction, purity, faithful servitors, wedlock, the triangle." Wearing Hazel as a mask, it is assuredly Parker who confesses: "To her who had laughed so much, crying was delicious." Parker, like Hazel, was happy to be married, and bewildered, forlorn, and increasingly alcoholic as her marriage unraveled. Like Hazel, she drifted from man to man, "never noticeably drunk and seldom nearly sober. It required a larger daily allowance to keep her mistyminded. Too little, and she was achingly melancholy." Unlike Hazel, Parker was techni-

cally more capable of making a living, wellknown writer and wit that she was. But actually, her affairs remained in chaos unless friends, and eventually her second husband, Alan Campbell, took charge of them. Emotionally, she derived the same sense of security as Hazel from being told what to do and where to live, and from being handed presents as a trade-off for sex. If Hazel does so by virtue of necessity, Parker did so as part of a pattern of seeking relationships in which she could be exploited, or exploit her partner. Hellman observed that for Parker, respect seemed to cancel out romantic love. Like Hazel, the thought of death "came and stayed" with Parker "and lent her a sort of drowsy cheer." For both, death seemed to offer rest: "There was no settled, shocked moment when she first thought of killing herself; it seemed to her as if the idea had always been with her." The accident of being rescued drives Hazel to tears, bitter laughter, and the request for a drink; Parker, awakening in the hospital after her overdose, cursed her doctor for reviving her. Writing "Big Blonde" had seemed an exorcism of sorts, but the demons returned almost immediately, and the fame and financial success garnered by the story never seemed to bring Parker any measure of happiness. EMOTIONAL IMPACT OF PARKER'S FAMILY LIFE

From age fourteen until twenty Parker had remained at home as the sole caretaker of her increasingly weak and demanding father; her sister was married with a family of her own, and her brothers no longer lived at home. Accounts differ about Parker's relationship with her father. One biographer depicts him as an ogre who, when Parker was a child, hammered her wrists with a spoon if she were a moment late to dinner. Another claims that he showed her considerable affection, and cites poems that

DOROTHY PARKER / 197 he wrote to her. Whatever the reality, it seems likely that her father suffered after losing both wives and a loved brother, and having sole responsibility for his care must have weighed heavily on Parker's spirits. In the ironically titled story "The Wonderful Old Gentleman" (which first appeared in Pictorial Review, in January 1926), Parker revealed many resentments she bore her father, making it clear that being his nurse had created an enormous strain for her. The "old gentleman" in the story, an invalid dependent on his children to care for him, exhibits controlling ways resembling those of Dorothy's stepmother: he interrogates them constantly, asking how much they spend on eggs, why they go to a butcher he thinks is too expensive, and whom they spend so much time with on the telephone. If we understand the story to be autobiographical, her father left most of his money to Dorothy's sister, who had not cared for him in his last days. Parker was so concerned that her family might recognize themselves in "The Wonderful Old Gentleman" that she took pains to disguise them, aging her father twenty years, for example. She had wanted to develop the story to into a novel, but fear of family reprisal inhibited her. Apart from the care of her father, Parker was forced to contend with the remarkably similar losses of her mother and stepmother. Both women had died unexpectedly, and both had functioned partially as a means of social climbing for their German Jewish husband, eager to assimilate himself into the anti-Semitic American upper classes, self-consciously ambivalent about his Jewishness, and contemptuous of the hordes of impoverished Jewish immigrants living a mile or two away on New York's Lower East Side, even though their cheap labor had enabled his considerable success as a cloak manufacturer. The pernicious effects of her father's attitudes toward his ancestry, combined with the shock of unexpected deaths in the family, cannot be

exaggerated in their influence on Parker's life and career, and on the ways in which she exploited her deeply torn sense of self in her life and writings. Two mothers, remarkably alike, both non-Jewish, had died when she was young, and the second one had denigrated Dorothy's Jewishness, undermining the young girl's self-esteem. Summing herself up late in life, Parker carped, "I was just a little Jewish girl trying to be cute." She once said that she would title her autobiography—which was never written—Mongrel. Her sense of herself as a mutt, inferior to her pedigreed admirers, many of whom were listed in the Social Register, vied with her public image as a liberated sophisticate, the only woman in the man's world of journalism and the Algonquin Round Table. Her love of New York City, whose streets and hangouts she alludes to in her stories, perhaps grew also out of her identification with Manhattan as a mongrel in the best sense. Manhattan included Vogue, where the fashionable world she had glimpsed at the Episcopalian Miss Dana's School became something she could now help to create; she may not have been born into the privileged class, but as an adult she exemplified the "smart set," defining their clothes and their world with her breezy, wisecracking captions, and she could afford clothing that made her look like one of them. At the same time, racially and ethnically diverse Manhattan of the 1920s had become a mecca for black jazz composers, musicians, and poets. The dazzling era of the Harlem Renaissance was in full swing. No other American city of the 1920s encouraged black talent the way New York did. All-inclusive Manhattan, then as now, attracted writers, artists, and musicians from all walks of life. Profiling New Jersey-born Alexander Woollcott for Vanity Fair in 1934, Parker paused dramatically to remark: "Then he came to New York. Don't we all?" A racially mixed social scene was emerging, and

798 / AMERICAN WRITERS Parker wrote a story about it: "Arrangement in Black and White" exposes the racial prejudice of a white socialite invited to a party in honor of a black pianist. The socialite embarrasses the host with a barrage of remarks that reveal her bigotry. She congratulates herself for not having "any feeling at all because he's a colored man. I felt just as natural as I would with anybody," and exults over being able to tell her husband that she addressed the black musician as "mister." Parker's stories are filled with gimleteyed critiques of such social hypocrisies. In 1934 Parker married Alan Campbell, like her a "mongrel" of mixed Scottish and Jewish descent. His mother was the daughter of a kosher butcher; his father was rumored to be a "Virginia tobacco man." Parker was forty, and her marriage to Eddie Parker had been over since 1928, when her divorce was granted. Campbell's sexual preference allegedly was for men, and that added to his appeal; Parker had often socialized with gay men, saying that she needed the protection of "good fairies." Campbell enjoyed cooking and interior decorating and Parker appreciated this, and she liked the ways in which he organized her life, curtailed her drinking, cleaned up after her dogs, and in general took care of her. Marrying Parker boosted Campbell's career; he knew that in Hollywood her name would command a large salary for the screenplays he wanted the two of them to write together, and he was right. Eleven years her junior, Campbell was an actor and a writer, and the two of them made each other laugh. The couple became a Hollywood screenwriting team whose credits included the original A Star Is Born (1937), which was nominated for an Academy Award. They worked together on a number of screenplays, between 1933 and 1938 receiving screen credits for fifteen films, including Sweethearts, Here Is My Heart, One Hour Late, The Big Broadcast of 1936, Mary Burns, Fugitive, Hands across the Table, Paris in the Spring, Three Married Men,

Lady Be Careful, The Moon's Our Home, Suzy, Crime Takes a Holiday, and Flight into Nowhere. Liking the generous paychecks, Parker loathed her work in Hollywood and felt (as she did about reviewing) that screenwriting wasted energies that should have been invested in serious literary writing. She wrote stories and poems only occasionally in the 1930s and later years, and never reached the level of productivity to which she aspired nor wrote the novel she had always dreamed of writing. Parker and Campbell's relationship was complicated by economic woes as well as alcoholism, from which Campbell also suffered, and Parker's eventual need to provoke and insult him. In one account, Parker remarked at a dinner party, "What am I doing with him? He's queer as a goat," and asked her mother-in-law, "Where's my homo husband?" Ambivalent as always, Parker had swung from viewing Campbell's homosexuality as pleasantly unconventional to affecting or adopting a traditional disgust. They divorced in 1947 and remarried in 1950; about that wedding, according to Hellman, Parker observed that "the room was filled with people who hadn't talked to each other in years, including the bride and groom." The two separated in 1953, reconciled again in 1956, and remained together until Campbell's apparent suicide from an overdose of sleeping pills in 1963— incidentally, the same way Eddie Parker had died. In Dorothy Parker a constant duel waged between her strong sense of social justice for persons who were discriminated against because of their race, nationality, social class, or religion, and her longing to be just the sort of aristocrat lording it over those unfortunates whom she chose in other moods to defend. A good example of this mixed sense of self occurs in one of her best stories, "The Standard of Living," concerning two young, uneducated office workers, whom Parker sneers at, simultaneously envying

DOROTHY PARKER / 199 them: "Annabel and Midge came out of the tea room with the arrogant slow gait of the leisured," the story begins, immediately making it clear that these are not members of the leisured classes, but rather working girls: They had lunched, as was their wont, on sugar, starches, oils, and butter-fats. Usually they ate sandwiches of spongy new white bread greased with butter and mayonnaise; they ate thick wedges of cake lying wetly beneath ice cream and whipped cream and melted chocolate gritty with nuts. As alternates, they ate patties, sweating beads of inferior oil, containing bits of bland meat bogged in pale, stiffening sauce; they ate pastries, limber under rigid icing, filled with an indeterminate yellow sweet stuff, not still solid, not yet liquid, like salve that has been left in the sun.

Underscoring her aristocratically vast disapproval, Parker writes, "They chose no other sort of food, nor did they consider it." What ignoramuses! Then her envy breaks through: "And their skin was like the petals of wood anemones, and their bellies were as flat, and their flanks as lean as those of young Indian braves." So the girls are aristocrats after all. But quickly Parker downgrades them again. Describing their "thin, bright dresses," their use of makeup and "scent," Parker writes, "They looked conspicuous and cheap and charming." But within a few sentences the girls become aristocrats yet again: Ignoring the young men blowing wolf whistles at them as they walk down Fifth Avenue "with their skirts swirled by the hot wind," Annabel and Midge "held their heads higher and set their feet with exquisite precision, as if they stepped over the necks of peasants." In her depiction of Annabel and Midge, Parker has an almost Jeffersonian sense of the American ideal of an aristocracy of talent and genius, not birth and wealth. Just as Annabel and Midge are, at least in their own eyes, selfmade aristocrats, Parker strove for the assured, arrogant sense of belonging of America's wealthiest classes, the sort about whom F. Scott

Fitzgerald remarked: "The rich are different from you and me. They have more money." Parker socialized with the rich and famous frequently, especially after Hollywood successes bloated her bank account, although she often abruptly ended relationships with such associates. She loved and hated them. Wanting to belong, she nevertheless identified with the "mongrel" servants and the lower classes exploited by the wealth she cherished. The result, a constant maneuvering between conflicting values, made it possible for her to bequeath nearly all of her money to the National Association for the Advancement of Colored People (NAACP), to write two stories explicitly criticizing racial injustice ("Arrangement in Black and White," "Clothe the Naked,") several stories descrying the isolation and poor treatment of women and adopted children ("Horsie," "Little Curtis"), and numerous stories that rage against social snobbery, but then also to produce rhymes such as this: Higgledy Piggledy, my white hen; She lays eggs for gentlemen. You cannot persuade her with gun or lariat To come across for the proletariat.

Although she enjoyed the identification with the white hen who lays eggs only for gentlemen, Parker did in fact come across for the proletariat, and for those she deemed mongrels or underlings. She demonstrated for the fair treatment of Nicola Sacco and Bartolomeo Vanzetti, ItalianAmerican anarchists, a fish-peddler and a shoemaker, who had been accused of the 1920 murders of a paymaster and a guard in South Braintree, Massachusetts. Executed despite considerable public outcry, they may well have been guilty, but antianarchist sentiment, not hard evidence, led to their conviction. She joined committees in support of, and gave a dinner to raise money for the defense of, the Scottsboro boys, nine black youths who in 1931 were accused of raping two white girls on a train, one

200 / AMERICAN WRITERS of whom later recanted her testimony. She helped found the Hollywood Anti-Nazi League to propagandize against Hitler. She spoke out against Francisco Franco and fascism, giving speeches recounting her trips to war-torn Spain, where the sight of hungry, frightened children had greatly moved her. The FBI investigated her during the McCarthy years, and she denied then belonging to or having donated money to the Communist Party, although in fact she had had great sympathy with that movement because of her belief that it would help the poor. She felt traumatized by the effects of McCarthyism upon friends and writers she knew who were blacklisted and whose lives were destroyed, or who, like Ring Lardner and Dashiell Hammett, served prison terms. Parker's internal divisions remained so great, however, that her friends considered her politics mere theatrics, and were in part justified in doing so. When she started dressing as a proletariat—peasant blouse, babushka, baggy dirndl skirt, flat shoes—they laughed. She played proletariat in Hollywood after her income had ballooned into the thousands per week; when she had really been a proletariat in the financial sense, flat broke, she somehow managed to dress in designer outfits by Valentino and Hattie Carnegie. She became a heartfelt sympathizer with the proletariat at the point when she could consider herself an aristocrat as a self-made wealthy woman. Her impulses remained more those of a would-be Lady Bountiful than those of the Communist she declared herself to be in 1934. According to Keats, Parker's friend Beatrice Ames Stewart commented that once Parker had decided the party wanted to help suffering humanity, she could not criticize it. Ames Stewart remarked, "She didn't get it, you know, but she was not a personal friend of the multitudes. She was a very, very grande dame, and contrariness was the wellspring of her Communism. She was anti. She was anti the Establishment."

THE QUESTION OF PARKER'S FEMINISM

A young man announced that he could not bear fools. "That's funny," Parker is said to have mused, "Your mother could." Fending off a man she found unappealing, she reportedly snapped, "With the crown of thorns I wear, why should I worry about a little prick like you?" These remarks could be read as challenging male authority, and in that sense feminist, but Parker was equally capable of making sexist remarks about women (as in the often-quoted statement: "You know, that woman speaks eighteen languages? And she can't say 'No' in any of them.") What the remarks highlight is less an anti-male or a pro-feminist stance than a personal ambition of Parker's, discussed above, to be an aristocrat, and her intuition that her wit propelled her into the aristocracy. As a young woman she claimed to be in favor of women's rights, equal pay for equal work. She expressed her commitment to the cause by smoking— which was then a man's prerogative—renting her own apartment, writing verses about love, announcing her own opinions, and getting a job. Going about this apparent show of creating herself as a feminist, she had since she was "a woman of eleven," as she once said, idealized Becky Sharp, the heroine of William Makepeace Thackeray's 1848 novel, Vanity Fair. Subtitled "A Novel without a Hero," it had a heroine for Parker in the figure of the penniless orphan Becky, who manipulates her way into high society, even being presented to King George IV, flirting, cheating, lying, and, the text intimates, committing murder along the way. Becky is a courtesan par excellence. Late in life, Parker read and reread Vanity Fair, claiming, in her sixties, that she still found comfort in the novel, in particular in the slaying of the cad and bounder George Osborne; Parker relished the line in which he is found "lying on his face, dead, with a bullet through his heart." Lillian Hellman, in An Unfinished Woman, remembered that Parker had, "even in her best

DOROTHY PARKER / 201 days, clung to the idea that she was poor." She did not manage money well, giving generous gifts to friends and mislaying checks for large sums. More often, Hellman writes, Parker's demeanor regarding money came from an insistence on a world where the artist was the "put-upon outsider, the epate rebel who ate caviar from rare china with a Balzac shrug for when you paid." Using Becky as a blueprint, Parker revealed again her identification with her father, who was, like Becky, a social climber trying to worm his way into high society. The goal of becoming an aristocrat proved to be worth anything: prostituting herself, Becky uses others but is constantly being used herself. This seems to have been Parker's sad vision of her life, and of the only possibilities for life. The happenstance of the magazine she admired and wanted to write for being named Vanity Fair must have given her a frisson of confirmation that she had chosen the correct path. Breezing into Frank Crowninshield's office as an ambitious twentyyear-old eager to be admired but also pitied as an attractive orphan in a cloud of perfume, Parker had become Becky Sharp qua woman of the world, a subversive, a rebel, but hardly a feminist. By the time Parker had established herself as her own woman, independent and self-sufficient, she became eager to affect the life of the ladies of leisure she loved to lampoon in stories like "The Custard Heart" and "From the Diary of a New York Lady." For instance, after she moved out to Hollywood with Alan Campbell and was making $5,200 a week—during the depression—she was asked what more she could possibly want. "Presents!" she answered. She loved to be pampered and to appear helpless and doeeyed; when she was pregnant with Campbell's child, which she miscarried, she had herself photographed knitting baby clothes. Dorothy Parker's style of wit has a long and illustrious tradition; it is that of the social satirist

exposing a fool. It has—as the well-read Parker knew—particularly shining predecessors in ancient Roman times (Martial, Horace, Catullus) and in the eighteenth century (Jonathan Swift) and it assumes an anti-egalitarian stance: it slashes, pokes, and exposes for the purpose of asserting the primacy of one person or one group or one point of view over another. The fool Parker exposes in her work is frequently herself, coolly assessed from the standpoint of her author self, determined to digest a bad experience by writing about it. As her friend and fellow Algonquin Round Tabler Frank Sullivan remarked after her death, "All the digs she took at people, friend and foe alike, were really digs at herself." Hypocrisy was her enemy, and she was as ruthless in exposing her own as she was in exposing that of others. From Parker's point of view, women were often fools, as her poem "On Being a Woman" (in Sunset Gun) suggests: Why is it, when I am in Rome, I'd give an eye to be at home, But when on native earth I be, My soul is sick for Italy? And why with you, my love, my lord, Am I spectacularly bored, Yet do you up and leave me—then I scream to have you back again?

This attempt at self-analysis is also an indictment of her lifelong ambivalence, and what she views as the ambivalence of women in general. (In her memoir Hellman called Parker "a tangled fishnet of contradictions"). The man in the poem is addressed as "my love, my lord," which suggests a traditional—that is, nonfeminist because nonegalitarian—erotic enjoyment of the man as a being more powerful, to whom the woman thrillingly subjugates herself. The problem with finding a feminist ideology in Parker's work—as some studies do—is that she vehemently rejects, with the fervor of the would-be aristocrat, the egalitarianism of the

202 / AMERICAN WRITERS sexes and the classes that the more democratically inclined feminism endorses and occasionally credits her with. It is not unusual to find a feminist study of one of Parker's best and most frequently anthologized stories, "A Telephone Call," that portrays the tale as an indictment of patriarchy, a critique of gender stereotypes, a diatribe against the subjugation of women. Some critics have gone so far as to say that Parker wanted to transform thinking about gender. This last is perhaps true, in the sense that Parker wanted what she regarded as the inner turmoil of womanhood to be exposed and understood. She took it for granted that, in the language of a popular self-help book of the 1990s, men are from Mars and women are from Venus, and she wondered why other people had not perceived the fact as thoroughly as she had. Praising, in a 1927 review, Ernest Hemingway's collection of short stories Men without Women, she remarked as an aside that among what she considered to be the four greatest American stories is Ring Lardner's "Some Like Them Cold," a story, she confesses, "which seems to me as shrewd a picture of every woman at some time as is Chekhov's 'The Darling.'" This remark, like much of her poetry, announces that she saw men and women as entirely different creatures. Both of these stories may be read as reinforcing sexual stereotypes of women that feminism has long striven to demolish. In "Some Like Them Cold," a young woman sparks a conversation with a young man at a railway station just as he is leaving Chicago for New York. Charmed, he writes to her, but the letters are laced with frequent allusions to the fact that she attempted to pick him up, and that in the same situation other men might think her "trying to make them." By the end of the story, he is engaged to a different woman who attracted him by being "cold," and who doesn't object to his making only sixty dollars a week. In revenge, the jilted girl writes a letter making it clear that

he wasn't making enough money to suit her ambitions for a husband anyway. In "The Darling," Chekhov portrays a woman devoid of self-interest, whose sole longing in life is to devote herself to a man. Thrice married, she interests herself exclusively in the profession of the husband of the moment; when the last man dies she dreams only of her empty backyard, until the opportunity to lavish maternal love on a young boy again fills her life with meaning. In a 1928 review of a popular advice book, The Technique of the Love Affair, Parker wrote, "Despite its abominable style and its frequent sandy stretches, The Technique of the Love Affair makes, I am bitterly afraid, considerable sense. If only it had been written and placed in my hands years ago, maybe I could have been successful, instead of just successive." In the review, she sums up the advice given as follows: "You know how you ought to be with men? You should always be aloof, you should never let them know you like them, you must on no account let them feel that they are of any importance to you, you must be wrapped up in your own concerns, you may never let them lose sight of the fact that you are superior, you must be, in short, a regular stuffed chemise." In short, she subscribes to the status quo. She is not trying to alter what she regards as an essential condition. "A Telephone Call" is technically an interior monologue, but in effect it is an interior dialogue between two conflicting tendencies. In the story, a woman struggles with her urge to telephone a man who has promised to call her. As the story opens, Parker writes in the voice of the forlorn and abandoned child, helplessly dependent and pleading with the paternal deity for intervention. Please, God, let him telephone me now. Dear God, let him call me now. I won't ask anything else of You, truly I won't. It isn't very much to ask. It would be so little to You, God, such a little, little thing. Only let him telephone now. . . .

DOROTHY PARKER / 203 Please let me see him again, God. Please, I want him so much. I want him so much. I'll be good, God. I will try to be better. . . . Are You punishing me, God, because I've been bad?

The narrator then counts to five hundred by fives, makes desperate deals with God, threatens to pull the phone out by the roots, appeals to her own sense of pride, and then throws pride to the winds, reverting, in the last lines, to the ploy of counting to five hundred by fives as a means of fending off her urge to give in and telephone the man she well knows has no intention of bothering to phone her. Along the way, she mutters to herself lines that feminist critics have read as an expression of her ambivalence about being a woman: I know you shouldn't keep telephoning them—I know they don't like that. When you do that, they know you are thinking about them and wanting them, and that makes them hate you. But I hadn't talked to him in three days—not in three days. And all I did was ask him how he was; it was just the way anybody might have called him up.

The character has internalized a gender role that prevents her from taking positive action, from asserting her will. It is not inaccurate to say that Parker was ambivalent about being a woman, but it is incomplete. She was ambivalent about literally everything: the condition of feeling ambivalent overwhelms all aspects of her life and art. She loves; she hates. She wants to phone; she doesn't. It is this general freefloating ambivalence that captures her imagination. That is why she excels at monologues that are in actuality dialogues between two opposing internal voices; the dialogue form helped to give artistic expression to her personal chaos. Projecting her own extreme ambivalence onto all women, she captured enough of reality to provide glimpses of the complications wrought by human ambivalence. Some feminist critics have asserted that Parker's portrait of the woman in the story is

intended to be ironic, not realistic; one commented that no real woman could possibly talk the way the woman in "A Telephone Call" talks, that Parker is exaggerating for the purpose of attacking a gender stereotype, that the story is dedicated to producing language that masquerades as authentic, all for the political purpose of restoring gender equity. On the contrary, Parker might say, every woman talks like this: it is so exact a portrait of a distressed woman waiting for a man to call that it deserves to be canonized as wit. It is worth quoting here one of Parker's remarks about wit. Interviewed by the Paris Review in 1956, she said, "Wit has truth in it; wisecracking is simply calisthenics with words." Parker's truths are sometimes just what go unrecognized by feminist critics; when she is serious in her depiction of a woman longing for a man to call, they want to believe she must be being ironic, because they do not accept her acceptance of the idea that women are fundamentally, psychologically, essentially different from men. "The Telephone Call," Parker's wicked sendup of herself, is sometimes—like "Big Blonde," "The Waltz," and "Mr. Durant"—read as propaganda rather than as literature and autobiography. In the push to portray Parker as a feminist fighting the subjugation of women, other subjugated groups are occasionally enlisted. One study, for example, "foregrounds" the African American presence in "Big Blonde," asserting that it "discloses the real source of the story's power to disturb," the idea being that the black characters in the story, like the white female characters, are exploited by a white male hierarchy. However, since the story concerns a suicide attempt, it is questionable that one needs to look further for the "real" power to disturb. The African American figures in the text are there for realistic, one might say anthropological, reasons: Parker had a black maid who thwarted one suicide attempt by happening to arrive in time to save her from the effects of the

204 / AMERICAN WRITERS overdose she had taken. One of the few professions open to African Americans at the time of the writing of the story was that of domestic servant, so Parker's inclusion of a black maid seems entirely consistent with the world of her characters. Feminist critics often cast Parker in the role of victim, a role neither she nor Becky Sharp would find congenial. Reading her stories about women as revelations of female victimization by a male-dominated society, feminist critics interpret "The Waltz," for example, Parker's tale of a woman dancing with an undesirable partner, as an indictment of conventional gender roles that condemned women to speech that is deferential, tentative, qualified, apologetic. However, in the story, told as an interior monologue interrupted by the woman's actual responses to her dance partner's conversation, the narrator's unspoken objections to her partner focus almost exclusively on his social class, not his gender; when she wants to insult him, as she frequently does, she thinks to herself, "Get off my instep, you hulking peasant!" When she wants to make excuses for his poor dancing, she muses, "After all, the poor boy's doing the best he can. Probably he grew up in the hill country, and never had no larnin'." The story therefore concerns a self-styled aristocrat forced to dance with a man she considers her social and intellectual inferior. Her own failure is a matter of discretion, not gender; she has made the mistake of following the crowd instead of setting her own standard: "Everyone else at the table had got up to dance, except him and me. There was I, trapped. Trapped like a trap in a trap." Self-entrapped, as Parker well knew. Only one line in the story conforms to feminist interpretations of it as a tale of female victimization, but even that one is problematic: the narrator, accidentally kicked by her bumbling partner, casts herself as "Outraged Womanhood," but it is clear that at the same time she envisions herself as the queen sending the hapless offender to the gallows:

"Die he must, and die he shall, for what he did to me." Toward the end of the story, she philosophizes that she is better off stuck dancing than talking with this man whose extremely low intellectual capacity she is at pains to delineate: "Look at him—what could you say to a thing like that! Did you go to the circus this year, what's your favorite kind of ice cream, how do you spell cat?" CONCLUSION Parker lived out her last years as her own worst nightmare: Robert Benchley had once warned her that people become the thing they despise the most, and she loathed alcoholism and dependency. Relying on friends to feed her, get her through the day without drinking too much, and entertain her, she looked forward to death, but with her customary good humor. To her friend Lillian Hellman she said, "Lilly, promise me that my gravestone will carry only these words: 'If you can read this you've come too close,'" words that Hellman quoted at her funeral. To Robert Benchley, Parker suggested that her tombstone should read, "Excuse my dust." Her wit, Hellman remembered, "was so wonderful that neither age nor illness ever dried up the spring from which it came fresh each day. No remembrance of her can exclude it."

Selected Bibliography WORKS OF DOROTHY PARKER POETRY

Enough Rope. New York: Boni and Liveright, 1926. Sunset Gun. New York: Boni and Liveright, 1928. Death and Taxes. New York: Viking, 1931. FICTION

Laments for the Living. New York: Viking, 1930. After Such Pleasures. New York: Viking, 1933.

DOROTHY PARKER / 205 EDITED WORK AND CRITICISM

Short Story: A Thematic Anthology. Edited by Parker and Frederick B. Shroyer. New York: Scribners, 1965. Constant Reader. New York: Viking, 1970. DRAMA

Close Harmony. With Elmer L. Rice. New York: Samuel French, 1929. The Ladies of the Corridor: A Play. With Arnaud D'Usseau. New York: Viking, 1954. The Coast of Illyria: A Play in Three Acts. With Ross Evans. Iowa City: University of Iowa Press, 1990. COLLECTED WORKS

Not So Deep as a Well. New York: Viking, 1936. Here Lies: The Collected Stories of Dorothy Parker. New York: Viking, 1939. The Collected Stories of Dorothy Parker. New York: Modern Library, 1942. The Collected Poetry of Dorothy Parker. New York: Modern Library, 1944. The Portable Dorothy Parker. New York: Viking, 1944. The Best of Dorothy Parker. London: Methuen, 1952. Complete Stories. Edited by Colleen Breese. New York: Penguin, 1995. Not Much Fun: The Lost Poems of Dorothy Parker. Edited by Stuart Y. Silverstein. New York: Scribners, 1996. RECORDINGS

Dorothy Parker: Poems and "Horsie." Spoken Arts 726, n.d. The World of Dorothy Parker. Verve V-15029, n.d.

CRITICAL AND BIOGRAPHICAL STUDIES Barreca, Regina. Introduction to Dorothy Parker, Complete Stories. Edited by Colleen Breese. New York: Penguin, 1995. Capron, Marion. "Dorothy Parker." In Writers at Work. Edited by Malcolm Cowley. New York: Viking, 1959. Craig, Andrea Ivanov. "Being and Dying as a Woman in the Short Fiction of Dorothy Parker." In Per-

forming Gender and Comedy: Theories, Texts, and Contexts. Edited by Shannon Hengen. Amsterdam: Gordon and Breach, 1998. "Dorothy Parker, Compassionate Liberal." The American Enterprise, May/June 1995, p. 93. Douglas, Ann. Terrible Honesty: Mongrel Manhattan in the 1920s. New York: Farrar, Straus & Giroux, 1995. Ephron, Nora. "Dorothy Parker." In her Crazy Salad: Some Things about Women. New York: Knopf, 1975. Pp. 133-136. Frewin, Leslie. The Late Mrs. Dorothy Parker. New York: Macmillan, 1986. Gaines, James R. Wit's End: Days and Nights of the Algonquin Round Table. New York: Harcourt, Brace, Jovanovich, 1977. Gill, Brendan. Introduction to The Portable Dorothy Parker. New York: Viking, 1973, 1977. Hellman, Lillian. "Dorothy Parker." In her An Unfinished Woman: A Memoir. Boston: Little, Brown, 1969. Pp. 212-228. Hollander, John. "Poetry in Review." Yale Review 85, no. 1 (January 1997). Horder, Mervyn. Introduction to The Best of Dorothy Parker. London: Folio Society, 1995. Johnson, Ken. "Dorothy Parker's Perpetual Motion." In American Women Short Story Writers: A Collection of Critical Essays. Edited by Julie Brown. New York: Garland Publishing, 1995. Pp. 251265. Keats, John. You Might As Well Live: The Life and Times of Dorothy Parker. New York: Simon and Schuster, 1970. Kinney, Arthur F. Dorothy Parker, Revised. New York: Twayne, 1998. Lansky, Ellen. "Female Trouble: Dorothy Parker, Katherine Anne Porter, and Alcoholism." Literature and Medicine 17, no. 2:212-230 (fall 1998). Meade, Marion. Dorothy Parker: What Fresh Hell Is This? New York: Villard, 1988. Melzer, Sondra. The Rhetoric of Rage: Women in Dorothy Parker. New York: Peter Lang, 1997. Miller, Nina. Making Love Modern: The Intimate Public Worlds of New York's Literary Women. New York: Oxford University Press, 1999. Pollack, Ellen. "Premium Swift: Dorothy Parker's Iron Mask of Femininity." In Pope, Swift, and

206 / AMERICAN WRITERS Women Writers. Edited by Donald C. Mell. Newark: University of Delaware Press, 1996. Pp. 203-221. Simpson, Amelia R. "Black on Blonde: The Africanist Presence in Dorothy Parker's 'Big Blonde.'" College Literature 23, no. 3:105-116 (October 1996). Treichler, Paula A. "Verbal Subversions in Dorothy Parker: 'Trapped Like a Trap in a Trap.'" Language and Style 13, no. 4:46-61 (fall 1980).

Walker, Nancy A. "The Remarkably Constant Reader: Dorothy Parker as Book Reviewer." Stud ies in American Humor 3 (New Series), no. 4:1-14 (1997).

FILM BASED ON THE LIFE OF DOROTHY PARKER Mrs. Parker and the Vicious Circle. Directed by Alan Rudolph. Turner Entertainment Company, 1994.

—MELISSA KNOX

Richard Powers 1957-

I T is ANenchanting tale that since its publica-

he has given nuanced interviews on the state of contemporary fiction. His narratives are layered with dense informational passages on a wide range of specialized subjects, including genetic recombination, saponification, oncology, photographic reproduction, pediatric medicine, artificial intelligence, polyphonic music, corporate economic theory, medieval architecture, and tropical botany. Yet despite the breadth and complexity of his works, Powers has frequently centered his novels on stories of compelling simplicity, on fairy tales, among them Jack and the Beanstalk, Snow White, Sleeping Beauty, Peter Pan, Rapunzel, Pinocchio, the Pied Piper, and lesser known tales drawn from Far Eastern and Middle Eastern cultures. But Max from Where the Wild Things Are (which figures in Powers's fifth novel) suggests the theme critical to Powers's fictions: the seductive pull (and considerable risk) of the imagination. Powers celebrates the imagination, its expansive energy all but forgotten in an era of budget-busting Hollywood spectacles, garish audio-animatronic theme parks, and enclosing cyberscapes. Powers's characters discover that the imagination is a potent connecting force at once intensely private—at unexpected moments, characters are stunned into deep response by a chance encounter with a suggestive artifact—and yet splendidly communal, as, having been altered by their individual response, they assume their place within the larger interpretive community. Although Powers's characters negotiate the awkward ad-lib of relationships, they connect most passionately with objects of the creative imagination—with lines from an obscure poem,

tion in 1963 has become a classic of children's literature. In Maurice Sendak's Where the Wild Things Are, Max, a rambunctious child smarting from a disastrous brush with the real world (he has played too boisterously), is sent to his bedroom without supper. Thus exiled, he gleefully escapes into a magical environment, selffashioned and self-sustaining, wherein he cavorts with wild-eyed creatures of his own making. Empowered by the generous play amid his own shadow show, he is proclaimed king and thus touches an omnipotence denied him in the brutish world beyond his bedroom door. Yet even as he celebrates this resplendent position, he wearies of playing among shadows, feels the keen cut of loneliness, and understands that such retreat is given its wonder only because it is temporary. The child then "departs" his fanciful creatures and "returns" to his bedroom. At narrative's end, Max prepares to feast on the still-hot dinner waiting on his bedside table, the simple gift of someone who loves him "best of all." It may seem odd to use a children's tale as entrance to the novels of Richard Powers. After all, since 1985 Powers has produced fiction of considerable scope, architectural nerve, and linguistic daring, novels of ideas, or more specifically, novels about characters unafraid to tangle with ideas and to articulate that enterprise with wit and erudition, cerebral novels that have generated excitement among academics searching for the first major literary voice since Thomas Pynchon. Powers's novels have received sophisticated analysis in academic forums in both the humanities and the sciences;

207

208 / AMERICAN WRITERS a work hanging forgotten in a museum, a movement from an esoteric musical composition, a fairy tale heard long ago, a stylishly sentimental classic movie. Or they themselves fashion such remarkably affective constructs— they are irrepressible storytellers, amateur painters, weekend poets, avant-garde composers— enthralled by the detonating impact of art and by the marvelous reach of the imagination, able to forge an impromptu community with an unnamable but nevertheless real audience, a wonderfully accidental cooperation that defies the apparent limits of time and space. Given his career-long investigation into the mechanics of the imagination, Powers would seem to fit within the postmodern tradition that began in the mid-twentieth century. The works associated with this tradition are carnival texts of lexical daring that investigated with relentless self-awareness the interior worlds fashioned by the imagination. They foregrounded the process of encoding experience into language, often at the expense of developing character, theme, and plot. Such baroque texts dismissed as irrelevant—even unknowable—the environment outside the imagined; their fiercely introspective characters retreated from an irrational world where the individual had been brutalized into irrelevance, where death had become random and generic, and where we were left each to ourselves in a universe that two centuries of scientific probing had found vaster and emptier than any ever conceived. These structurally intricate texts—executed most notably by Pynchon, William Gaddis, William Gass, and John Earth—deliberately denied validity to the mimetic premise of the fiction of midcentury writers such as John Updike, John Cheever, William Styron, and John O'Hara, who probed the anxieties of the complicated business of living in such a difficult world. Not surprisingly, those fictions were decidedly descendant, revealing an oppressive sense of limitations and exhausted options; the real world was a distressing text-

site where even the noblest characters had whatever tender idealism they could sustain rudely shattered as the rich experiences of love and death, the traditional plotlines of realistic fiction, were exposed as disappointingly banal. Serious fiction at midcentury then either celebrated retreat into elaborate private worlds designed by the heated imagination (King Max amid his "monsters") or engaged the world in sobering endgames in which that stark environment crushed whatever slender aspirations characters dared harbor (the boy Max sentenced to bedroom exile). Powers, however, rejects as melodramatic this retreat-or-engage dilemma. He consciously occupies a refulgent middle ground and brings to contemporary fiction a disarmingly ascendant premise appropriate for the flush of a new millennium. Schooled in the late 1970s, he has acknowledged postmodernism's influence. His novels evidence elements of postmodern experiments: a fluid narrative structure, a delight in scale, a love of the elaborate sentence, an autodidactic command of arcane knowledge, a combination of fascination and dread regarding the metaphors of science, a resistance to narrative closure, a broad use of referents drawn from both high and low culture, and a keen interest in language and the bothersome distance between experience and the stories we tell. Yet few writers of his generation have demonstrated as well a command of the defining elements of traditional realism: rich storytelling; a robustness of theme; recognizable characters who struggle with familiar frustrations and aspirations; and especially, an abiding compassion for such pedestrian struggles. Powers sees the two camps as ultimately cooperative: we have only language to create purpose, direction, dignity. What emerges as the critical agency for this reconciliation is the imagination itself. Consider Sendak's tale of retreat and return. In Powers's novels, characters—damaged by love or unsettled by mortality—seek the refuge of the

RICHARD POWERS / 209 imagination. Like Max, such characters— wounded and in recoil—forsake even the urge to embrace the roiling give-and-take of the immediate and retreat into the secured, supple sanctuary of, say, a novel, a piece of music, a movie, a museum, a computer. But Powers insists that such withdrawal must be temporary, that the world outside such constructs— museums, movie houses, TV rooms, libraries, computer screens—can enrich us moment to moment with its unsuspected complexity, its engrossing spectacle, and its staggering density. Powers's fictions, grounded in the argument of the life sciences that he relished growing up, trigger a new alertness; reading becomes a strategy for recovering—rather than rejecting— the world, a defiant affirmation that we cannot afford to allow our fragile moment of living to expire without taking full measure of the world's depth and nuance, its complex dignity. Powers cautions that contemporary serious fiction, locked within academia and absorbed in propounding impenetrable theories about its own importance, has killed awe and no longer speaks to what it means to be alive. This is not to say that Powers is a sentimentalist. His novels have investigated the twentieth century's signature dilemmas—the arms race; civil strife; terrorism; environmental mismanagement; cancer. They have dealt with computer technologies that, despite the premise of World Wide Webbing, have left us more alone than we have ever been; the wrenching rhythm of economic booms and busts; the unsettling implications of the midcentury social revolution that left us free to deconstruct love into sexual indulgence. His characters engage that world with unflinching determination. Inevitably overwhelmed, they retreat to the pleasure cells fashioned by the imagination. It is a strategy, of course, necessarily shared by any reader. Beleaguered, overtired of engagement, we do not simply read texts (or watch movies or listen to symphonies); rather, we visit them. It is a

logic familiar to any child who has needed the calmative of a bedtime story. Rekindled within the generous space apart that the imagination provides, reassured by the premise of order and the possibility of clean lines, readers nevertheless understand that, like children come morning, they must reengage the freewheeling chaos of the world. It is, finally, the twin pulls of escape and engagement that define the imagination—and us. If the imagination is the energy that refurbishes the interior world and benevolently structures safe harbor, it is as well that infixed capacity for wonder that disturbs our complacency, wills us to violate our isolation, and insists on wonder, even reverence, for the real world. It is, then, necessarily centripetal and centrifugal. To deny either impulse is to diminish our fullest capacities. Powers is fond of relating a Dutch fairy tale in which an innkeeper's wife in Zeeland, a country town, dreams that she finds a fortune outside a bank in Amsterdam. When she wakes, she is so taken by the vividness of the dream that she spends her savings to travel to the city. Once at the bank, however, she despairs when she finds no fortune. A broker coming out of the bank stops to ask why she is weeping. When she tells him, he laughs, saying, "You must never believe such things. I dreamed that I found treasure under the bed of a little inn in Zeeland where I dreamed I was staying." The woman rushes home, tears up the floorboards of her inn, and indeed finds the treasure. One dream needed the other to complete it. The urgent need to escape makes sense only with the equally urgent need to return. Typically in Powers's novels, two central characters are juxtaposed: one who engages the world and one who retreats from it. One character is compelled to attempt the trick of trust with a needful other, to accept the implications of vulnerability amid the unfolding of chance, to tap the reassuring animation of the

270 / AMERICAN WRITERS living earth, and ultimately to accept the irresistible pull of mortality; another devises a strategy of wholesale retreat, and amid protective isolation and uncontested self-sufficiency is empowered by the satisfying order of the symbolic transcriptions of the real world. Deliberately, Powers alternates privileging as the heroic center those who retreat and those who engage, careful not to endorse entirely either strategy but rather to point out that, like Max (like the innkeeper's wife), we find the treasure only through their cooperation. To appreciate his take on the imagination, then, Powers's novels must be read as a single unit that moves as a twinpiston engine. He is fascinated not so much by withdrawal or engagement but rather by the necessary movement between these strategies. Each of his books interrogates loopholes raised by the previous work—thus, Powers's novels form an unbroken dialogue on the complex engine of the imagination. That respect for complexity extends to the novels themselves. Powers's daunting fictions do not inspire immediate affection. The novels are formidable constructs. Restless with the notion of specialization and deeply committed to the widest range of intellectual play, Powers's narratives deftly coordinate their plots with meditations on a range of topics, an interplay that can quickly frustrate readers more compelled by action and character. In The Gold Bug Variations (1991), for instance, the reader is quickly drawn from characters passionately stealing a kiss to a lengthy aside on the mechanics of DNA recombination complete with genetic tables. For some readers, the frequent intrusions of such static passages of arid specialized information—intended to inspire the reader with the same cerebral excitation as the author and to give unsuspected depth to the characters' actions—can prove bewildering, even infuriating. Powers's prose can be equally frustrating. His evident fondness for language contributes to a

razzle-dazzle style that can astonish with its rich verbal play and its complex system of allusions but can also become the focal point of the reading experience. Powers's passionate concern with the sound and suasion of language, his commanding gift for verbal rifts compelled by an immensely rich vocabulary and a sure-hand for elegantly terraced sentences, can upstage the unfolding action. For some, Powers tries too hard to dazzle. Novels like Powers's, the argument runs, are admired but not loved, for they are considered too cerebral and overly written to allow for character sympathy and plot involvement. Even so, as novels of ideas, Powers's fictions do involve, intrigue, even astound with their ambitious investigations into the infinite capacities of the mind. And because, as Powers is fond of reminding his readers, there is nothing the mind cannot master, patient readers ultimately come to glimpse a provocative conception of the contemporary technological world that is both complex and engaging. BIOGRAPHY

Powers has lived—like his characters (like all of us)—between the complex responsibility to engage and the sweet impulse to escape. Born June 18, 1957, in Evanston, Illinois, he was the fourth of five children (two older sisters and two brothers, one younger and one older). In the mid-1960s, his father, Richard, a high school principal with a working-class background, moved the family to the North Chicago suburb of Lincolnwood. In an unpublished interview with Joseph Dewey, Powers described Lincolnwood as an older neighborhood that was heavily Jewish. "My sisters and brothers and I would be about the only kids in school for the high holy days. I always had the sense that we weren't quite native." This sense of dislocation was compounded when, in 1968, Powers's father accepted an appointment with the International School of Bangkok and Powers

RICHARD POWERS / 211 commenced five eye-opening years in Thailand during the height of the American military presence in Southeast Asia. Amid such a dramatic relocation, the young Powers discovered the aesthetic sanctuary: he tapped into both a sustaining love of music (an accomplished student of vocal music, he trained in the cello but also plays guitar, clarinet, and saxophone) and a curiosity fed by voracious reading. He recounts the impact of both the Iliad and the Odyssey (testimony again to a position between engagement and retreat: on the one hand, the historian's meticulous transcription; on the other, the poet's fanciful license). His earliest reading passion, however, was for nonfiction, specifically biographies and science (he has cited particularly Charles Darwin's Voyage of the Beagle, a text that combines exotic escapism with exploratory science). He recalls the assumption, largely because of the panicked surge of interest in science following the Soviet Union's launch of Sputnik, the first artificial satellite, that he was somehow destined to be a scientist. Thus, after returning with his family to De Kalb, Illinois, to finish high school, he weighed careers in paleontology, oceanography, and archaeology before ultimately selecting physics. During his formal studies, however, Powers found himself pulled between science and the arts. In 1975 he enrolled as a physics major at the University of Illinois at Urbana-Champaign. Increasingly frustrated over the specialization demanded by the sciences and more interested in a broader view, Powers changed his major to English and rhetoric (with a minor in math and physics). Complicating the decision to switch disciplines was Powers's father, who valued literature but argued for the social usefulness of the sciences. Powers has expressed regret about never being able to put one of his books in his father's hands—his father died from cancer during the first year of Powers's graduate work.

Powers's mother, Donna, went to work as a secretary to support the family. In his university literature studies, Powers was drawn to the first-generation European modernists (particularly the intricate narrative structurings of Marcel Proust, Thomas Mann, and James Joyce) and to the churning (melo)dramas of Thomas Hardy—again positioned in between, drawn to both experimental modernism with its strident conception of the novel as a self-justifying architectural form and to the compelling tradition of narrative realism. Powers completed his master's degree in late 1979 but elected not to pursue his doctorate, as he feared literary study, like the sciences, would prove too specialized. Powers moved to Boston in January 1980 and worked as a computer programmer and freelance data processor, utilizing skills he had developed during off-hours spent learning the massive computer systems at Illinois. By night he continued his eclectic reading program, ingesting volumes of history, sociology, political science, aesthetics, and science theory, as well as a wide range of European novels and poetry, with an emerging emphasis on the era of World War I. He lived near the Museum of Fine Arts, where he would spend Saturdays (admission was free before noon), and where, one week, he viewed an exhibit that included a 1914 blackand-white photograph by August Sander that depicted three Westerwald farmboys heading, according to the title, to a dance. The image inexplicably enthralled Powers. It seemed that his year's random reading suddenly coalesced in that single photographic image. Within days, he quit his job to devote himself to producing his first (and what he assumed would be his only) novel, which took more than two years to write. That book, Three Farmers on Their Way to a Dance (1985), explores the obsessions triggered by an accidental encounter with Sander's haunting photograph among characters across the twentieth century. The novel met with

2/2 / AMERICAN WRITERS significant critical success. Hailed as a dazzlingly inventive debut, it was named a National Book Critics Circle Award finalist and won the American Academy and Institute of Arts and Letters, award as well as a special citation from the PEN/Hemingway competition. Distracted by the implications of finding himself suddenly a writer, Powers (Max-like) retreated and moved to southern Holland—in part because of a romantic entanglement he would later use as the subject of his fifth novel but more to immerse himself in that region's rich play of multiple languages. He also secured the distance necessary to finish the draft of his second novel, Prisoner's Dilemma (1988), his most American work, which audaciously linked Disney and nuclear warfare. The critical response to this second novel compared Powers, at thirty-one, to the elite voices in American fiction—to Pynchon, Vladimir Nabokov, Saul Bellow, Don DeLillo. In 1989 Powers became one of the youngest recipients ever of the MacArthur Foundation "genius" Fellowship, a fiveyear award whose generous annuity provided Powers sufficient freedom to pursue work on what would become his most ambitious and influential work to date. Still in the Netherlands, Powers completed The Gold Bug Variations, a dense and luminous story of two disastrous love affairs separated by more than twenty-five years, a work that intricately braided the metaphor systems of genetics, computer science, and polyphonic music. Two years after The Gold Bug Variations, a Circle Award finalist as well as Time magazine's outstanding novel of 1991, Powers released Operation Wandering Soul which chronicled the slow-motion meltdown of a young residentdoctor confronting the nightmarish realities of a pediatric ward in an East Los Angeles public hospital. Although critics found the novel unrelentingly bleak, the work was short-listed for the National Book Award. Work on that manuscript was done during a yearlong stay in

Cambridge and then completed when Powers returned stateside in 1992 to accept a position as artist-in-residence at Illinois. Powers would use this academic experience to fashion Galatea 2.2 (1995), an ingenious retelling of the Pygmalion story in which an eccentric neurologist (assisted by a young, successful novelist named Richard Powers) attempts to teach a computer network to respond to literature. Galatea 2.2's theorizing on the implications of the reader/writer contract, as well as its confident deployment of the metaphors of artificial intelligence, garnered renewed critical respect for Powers. In a pattern that has come to define Powers's work—in the odd-numbered books, characters tap into expansive confidence; in the even-numbered books, they struggle with chilling anxieties—his follow-up effort, in 1998, was a disturbing look at a twentieth-century pandemic. In Gain Laura Bodey, engaged fulltilt in the unexamined busyness of being a divorced mother, must come to terms at midlife with ovarian cancer, caused by the environmental carelessness of a nearby chemical corporation, whose absorbing two-hundred-year economic history Powers relates in alternating chapters. Largely on the strength of that fabricated chronicle, Gain received the James Fenimore Cooper Prize from the Society of American Historians as the outstanding American work of historical fiction. That same year, Powers was named a Fellow of the American Academy of Arts and Sciences for his significant explorations of knowledge and culture. In 1999, just after his forty-second birthday, Powers received one of the prestigious Lannan Literary Awards that annually honor "writers of exceptional quality." Past winners have included John Hawkes, Grace Paley, and Alice Munro. As he has indicated in interviews, Powers conceives of Plowing the Dark (2000) as a summary text that closes off the first phase of his evolving career. The work chronicles in contrapuntal fashion the emotional devastation of Adie

RICHARD POWERS / 213 Klarpol—a former artist who joins the efforts of a Seattle-based computer research company to produce the first self-contained virtual reality environment—and the emotional revival of Taimur Martin, an Iranian-American English teacher held hostage in Beirut for four years, who is left to the stunning devices of his imagination. Like Sendak's tale, Plowing the Dark is both a celebration of the splendid realms that, back to the cave paintings at Lascaux, have been constructed by the inexhaustible imagination (and given new possibilities by the commanding muscle of virtual technologies) as well as a sobering meditation on the loneliness at the heart of the aesthetic enterprise. In 1996 Powers was named to the Swanlund Chair in English at the University of Illinois, and at the beginning of the new millennium he continued to write (he was at work on a novel with the characteristically ambitious themes of time, music, and race), to teach (a graduate seminar in multimedia authoring as well as an undergraduate course in the mechanics of narrative), and to travel and give interviews (a change from a time, after his early success, when his resistance to engaging the public drew comparisons with the notoriously reclusive Pynchon). After a lifetime of shifting between exotic neighborhoods and diverse cultures, at midlife he had found, appropriately, a home in the university—a traditionally protected preserve between engagement and withdrawal. THREE FARMERS ON THEIR WAY TO A DANCE AND PRISONER'S DILEMMA

Powers's novels are accomplished exercises in contrapuntal narration. To this author, form is visceral; how the story is shaped reveals character and theme. Drawn by the elegant solidity of architecture and the exuberant mathematics of music, Powers executes each novel with a design he hopes will hover about the reader's awareness. Two (and sometimes

three) narrative braids are offered polyphonically, told side by side, creating a narrative harmony that is as much vertical as horizontal (like the staggered chorus of "Row, Row, Row Your Boat"). The narrative lines often do not touch or are only lightly linked—indeed, to the unprepared reader they may initially appear to be incompatible. Yet they come to complement, even deepen, each other. Powers's first novel is perhaps best approached as an invitation to the reader to participate in the exuberant work/play of creating narratives. Three Farmers on Their Way to a Dance is comprised of three narratives, each centering on the Sander photograph, which is reproduced in the novel's frontispiece. In one, and of the three the only first-person account, a nameless stockbroker is inexplicably moved, while passing time in a Detroit museum, when he sees the Sander photograph. Unable to shake the image, he begins researching the era. Frustrated in his attempts to learn about the photo, he meets an elderly immigrant cleaning woman from his office who eventually reveals her ties to one of the men in the photograph (a copy of which she has enshrined in her bedroom), ties the narrator suspects may be the woman's imaginings. Since her lover's death in the Great War, she has been comforted by the photo, which she apparently purchased from Sander himself before she left for America; if she squints, one of the farmers resembles her lost lover. The narrator is rejuvenated by the revelation of the power of the imagination and departs eager to pore anew over the photograph and to cull from that haunting image his own stories about its characters. In the second narrative braid, Peter Mays, a technical writer for a Boston computer magazine, is captivated by an actress he glimpses in a Veterans' Day parade. He tracks her to a theater where she is playing a succession of influential women from history in a one-woman mixed-media show. During the show, Mays is

214 / AMERICAN WRITERS surprised when he sees projected above the stage a photograph of Henry Ford with a man who resembles himself. Curious, he returns to his family's Chicago home and there discovers that he is related to one of the men in the Sander photo, a copy of which Peter finds in the attic. Along with the photograph is a signed letter from Ford, bequeathing Peter's family a trust fund derived from the Model T. The gesture was based on Ford's immense respect for Peter's relative (the middle figure in the photo), a journalist Ford met during his quixotic Peace Ship mission to end World War I. Although Mays discovers that the trust fund is worthless, along the way he becomes involved with a waitress, who is unexpectedly left an inheritance by an eccentric restaurant patron whose dead wife the waitress happens to resemble. At novel's end, the two embark on their own relationship. Yet a third narrative tracks each of the three farmers in the Sander photograph. In effect we step into the photograph. Presumably, these are the narrator's speculations, a convincing virtual reality unlicensed by historic sanction. Two die in absurd circumstances, appropriate to a war sustained by horrific pointlessness; the third survives the war, but his family is given a rich array of possible narrative outcomes. Clearly the reader is invited to exercise creative authority, to spin their own take, Powers willingly sharing the empowerment that comes from the engaged imagination (Powers glosses Jack and the Beanstalk throughout to suggest the magic brought forth from unpromising sources). In what would become a pattern in Powers's novels, then, we are given two characters—in this case, the nameless narrator and Peter Mays. While the narrator discovers the exhilarating rush of the ignited imagination, and withdraws from the narrative to fashion the engaging stories presented to the reader (King Max amid his shadows), Peter Mays abandons his early position of aloofness and cynicism, responds to

the pull of the heart; rediscovers his neglected family history; engages the absurdities of the immediate; and prepares to discover his fullest self in shared territory, with the one who, to paraphrase Sendak, loves him best. We are given then a character who is apart and a character who is a part, a dichotomy of withdrawal and engagement reflected in the cooperative enterprise of Powers and his reader. While rooting about in his attic, Peter Mays finds a stereoscopic camera and a box of old photos. With the handheld viewer, two-dimensional photos, placed side by side, are coaxed into the living magic of a third dimension, suggesting the cooperative enterprise of the writer and reader in bringing to its fullest life an otherwise lifeless artifact. We participate in the narrative, renew it, keep it viable. And once released from its tender trap, once we close up the book, we reengage the immediate, impressed by what Powers has revealed—the unsuspected architecture of chance, the grace of the heart stumbling toward its desire, the dignity of the individual as part of the unfolding complex of history. Powers's second novel, however, tempers both the narrator's celebration of disengagement and Peter's embrace of engagement. Prisoner's Dilemma centers on a charismatic high school history teacher, Eddie Hobson, who is dying from the effects of radiation poisoning suffered thirty years earlier when he witnessed the first blast of the atomic age at Trinity Test Site. As the novel opens, Eddie's condition is worsening: fainting spells, weight loss, bleeding gums, purplish lesions. Pressured by his family, he agrees to check in to a hospital. As the family struggles to help the ailing father, Powers offers in counterpoint a fantastic mock-historic narrative in which the American film producer Walt Disney, eager to help the propaganda effort during World War II, conceives of an experimental cinematic project, combining live action and animation, designed to inspire the home front. A cross between It's a Wonderful

RICHARD POWERS / 215 Life and Fantasia, it would follow a young boy guided by Mickey Mouse through personal setbacks and brutal encounters with the twentieth century but would ultimately affirm that his life—and, by extension, ours—mattered. Such unearned optimism underscores the strategy of disengagement that dominates Eddie Hobson's life. Powers provides the necessary counterargument to the tonic vision of his first novel: the imagination, for all its energy, can isolate us from a complex reality that we too easily abandon, forgetting how much the imperfect world justifies wonder. Although the center of the family's emotional dynamic, Eddie has never been comfortable with affection. Overwhelmed by the implications of the nuclear arms race, by the slow creep of his own death, and by the death of an older brother in a fluke wartime training accident, Eddie has retreated. Such isolation is only heightened by his eccentric thirty-year obsession: inhumed in a back room, he has dictated into an old tape recorder the details of a private world, Hobstown, an imaginary community that draws its fantastic premise from Eddie's fascination with the 1939 World's Fair. The novel, with its generous use of Hollywood feel-good productions both real and imagined, explores the tension between the horrors of our history and the parallel growth in our entertainments. Eddie Hobson, the Great Dictator with his boxful of tapes, and Disney, with his complex of inviting theme parks, both endorse the therapy of escape. Not surprisingly, when he feels death near, Eddie runs. He checks himself out of the hospital and heads back to the New Mexico wastes. When his youngest son goes in search of him, he understands that his tormented father has made peace with his difficult century in the only way he could: by disappearing. No body is ever found. To emphasize the absurdity of such strategic disengagement, Powers resurrects Eddie in the closing pages, a specter who casually joins his family for a card game, as he was in life, a haunted absence accepted as a presence.

It is that youngest son who offers the balancing testimony to the pull of engagement. Eddie Hobson Jr. is a misfit among the Hobsons. Much younger than his siblings, he does not have their intellectual prowess, but he displays a remarkable capacity for generosity and sympathy. We follow his first date with Sarah, a sweet evening in which the youngest Hobson revels in the unrehearsed immediacy of the heart's attraction; his family members are by contrast unimpressed by their experiences with love. But in addition to love, this Hobson has a scientist's enthusiasm for the world about him. He speaks glowingly of fungi and nourishing spring rain; he turns over rocks to watch the fury of the exposed insect life. He is dumbfounded by the elegant drama of the earth itself, its architecture of chance, the inevitable stroke of death (which so terrifies his father). Driven to connect with others and with his world, the young Eddie provides Prisoner's Dilemma its slender centrifugal impulse. Otherwise the book is relentlessly centripetal, nested narratives that explore the impulse that drives us to fashion insular protective spaces. The dominant gloss here is to Boccaccio's Decameron, where storytellers escape a poisoned world to fashion an enticing place apart. Against that comforting impulse, Powers sets the tale of Snow White, who, invaded by life-threatening forces, must learn the reassurance that alone comes from others. That need is exemplified by the gametheory problem from which Powers draws his title: two prisoners separated in a threatening environment and exposed to harsh interrogation must learn to trust each other if they are both to survive, must reject the logic of self-interest that dominated the Cold War. But engagement is the descant narrative line here. The dominant impulse is withdrawal. As Disney ironically speculates during World War II, "The side that comes through this final fight still loving this exhausted, ruined world, the side with more delight, will be the winning side." Save for the

276 / AMERICAN WRITERS slender presence of young Eddie, delight here is too cheaply confected from pixie dust, love too appallingly fragile, death too unnervingly thick. THE GOLD BUG VARIATIONS AND OPERATION WANDERING SOUL

In his third novel, The Gold Bug Variations, Powers locates another character at the epicenter of a scientific revolution. If Eddie Hobson is deconstructed after witnessing the experiment in quantum physics conducted at Trinity, Stuart Ressler, a promising molecular biologist unraveling the mysteries of genetic coding in the aftermath of Francis Crick and James Watson's discovery of DNA, is energized by the midcentury revolution in genetics that confirmed how, generation to generation, relentless continuity defies the melodrama of apocalypse culled too easily from the metaphors of physics. But as we may suspect, such delight can prove difficult to sustain. In one narrative thread set in 1957, Ressler, part of a university project working on genetic coding, conducts a brief, incendiary affair with a married colleague, who introduces him to Bach's Goldberg Variations by making a gift of the pianist Glenn Gould's classic 1955 recording. When she decides to forsake Ressler for the banality of her conventionally doting husband, a devastated Ressler abandons his career, even as he is on the brink of cracking the genetic coding sequence, and in effect disappears. Twenty-five years later, Jan O'Deigh, a Manhattan librarian, is approached (in a second narrative thread) by a stranger, Franklin Todd, who is seeking information about an eccentric coworker. This coworker is Ressler, now an anonymous graveyard-shift computer programmer for a vast New York financial-data-retrieval system, where each night, surrounded by glowing consoles, he hums along to a tape of Bach's Variations. Todd, a perpetual graduate student contentedly toiling away on an unfinishable dissertation on an

obscure Renaissance artist, is curious about the lonesome figure, certain only that he was nearly famous once, and enlists the librarian's assistance in unearthing information on him. In the process, Jan, drifting through a stale relationship of her own, falls disastrously in love with Franklin and, along the way, comes under the mesmerizing spell of the brilliant Ressler. In a third narrative thread, nearly a year after Franklin and Jan's relationship ends due to Franklin's infidelity, Franklin contacts Jan by postcard to tell her that Ressler has died. Her emotions unexpectedly churned, Jan quits her job to live off her savings and devote her time to studying genetics, a subject not only vast enough to justify such an undertaking but one that would offer a closeness to the lonely, charismatic figure now lost to her. Yet Jan's notebooks record as well her lingering desire for Franklin Todd, a nagging pull outward toward the one she loves best of all. She begins to track him down, using only the postmarks of his few correspondences. Ultimately her savings dwindle and, as she prepares after nearly a year to reenter the job market, she affects a charged reunion with Franklin himself. Powers uses the revolution in life sciences not only to counter the human compulsion to withdraw from a doomed world, which Eddie Hobson succumbed to, but also to explore the implosive force of desire, the dicey struggle to bond that articulates the most powerful force in the universe—the mysterious will of the natural world to continue itself. Genetics here is an expression of wonder, a reverence for the natural world. When Franklin Todd queries Ressler about genetic engineering and its promise of "fixing" nature, Ressler dismisses it: It's not science. Science is not about control. It is about cultivating a perpetual condition of wonder in the face of something that forever grows one step richer and subtler than our latest theory about it. It is about reverence, not mastery. It might, from time to time, spin off an occasional miracle

RICHARD POWERS / 217 cure of the kind you dream about. The world we would know, the living, interlocked world, is a lot more complex than any market. . . . The human marketplace has about as much chance of improving on the work of natural selection as a per diem typist has of improving Bartlett's Familiar Quotations.

Yet when the experience of desire leaves them cold, both Ressler and Jan exile themselves to long stretches of denied life, like Eddie—or Max—locked in his room. But here we track their return. Something in the maddeningly indirect courtship of Jan and Franklin stirs Ressler into thinking happiness might be attainable this time. He encourages them but must watch helplessly, as he did twenty-five years earlier, the rich possibility of desire selfdestruct. It will be Ressler, dead more than a year, who will revive that connection. Before he leaves Manhattan to check into a Midwestern cancer facility, Ressler will program into the financial network a message keyed to Jan's bank card. At the close of her sabbatical, more than a year after Ressler's death, when she finally uses her card (she has husbanded her savings), to her amazement on the ATM screen appears a message telling her, "He is a man. Take him for all in all." Even as it advises her, "Please enter your transaction," Jan suddenly intuits that Franklin is near and rushes back to her apartment to find him waiting for her—and, indeed, enters her transaction. The energy here is relentlessly centrifugal. Whether reviewing in ecstatic set pieces the excesses of the natural world or following the excruciating negotiation of human hearts, Powers limns the benediction of engagement. The imaginative impulse cannot sustain the same wonder. (Similar to Eddie Hobson in his back room, dictating into a tape recorder, Ressler has spent much of his monastic antilife composing experimental musical scores that no one ever hears; Jan composes cryptic poetry; Franklin prowls art museums.) The most dramatic exercise of the imagination here is defiantly connec-

tive. Jan and Franklin—unable to have children because long ago Jan, fearing the blind roulette of birth defects, had a tubal ligation—have cooperated, it turns out, to produce the text we have been reading, a braiding of heryearlong notes on genetics and his dissertation, refashioned into a speculative biography on Ressler based on lengthy talks they had shared before Ressler died. And, ultimately, even the reader is invited in. The closing round, the next variation as it were, is ours—we are given the possibilities of the closing reunion and asked, in effect, to add to the round, to speculate over the outcome of this iteration of love. Not surprisingly, given this celebration of animation and (re)generation, Powers turns in his follow-up work to the paradox central to the natural world that so enthralls Ressler: that nature's bold drama of animation is achieved only because its every individual bit dies. Powers shifts from the wide-open eyes of a scientist to the bloodshot eyes of an ER doctor. In Operation Wandering Soul Powers presents a case study of an overwhelmed heart. As a surgical resident in the pediatric ward of a public hospital in East Los Angeles, Richard Kraft, sensitive and openhearted, must sift through the appalling evidence of human disregard, the children left to die unloved, some victims of violence, others of genetic mishaps. Thus engaged in the world (he abandons a career playing the French horn after he witnesses a vicious mugging), he wallows in its irreparable chaos and in his helplessness, delivering lengthy screeds against a junk culture whose end he greedily anticipates. When at a discount store, he contemplates a bank of "demonic" televisions, each set on a different station. Kraft seethes with hyperprophetic rage as he absorbs this "shock-wave assault of images": This brief cross-sectional spin through the dial's mandala suffices to remind Kraft of what incontestable research continuously discovers and covers back up: the species is clinically psychotic.

218 / AMERICAN WRITERS Pathetic, deranged, intrinsically, irreversibly mercury-poisoned by nature, by birth. And what more could one expect of a cobbled-up bastard platypus, a creature whose spirit is epoxied to its somatic foundation? Mental thalidomide cases, every last mother's son, as far back as accounts take things.

In the narrative present Kraft turns to a ward psychotherapist, Linda Espera, herself molested as a child but who has recovered sufficiently to respond to the impulse to heal. With the ward children, she practices recovery therapy, centered on sharing songs and stories. She undertakes a similar reclamation effort with Kraft, but her tender ministrations, asserted against Kraft's resistance to emotional attachment, remain stubbornly physical. Yet Kraft does find that, despite the necessity of closing his heart against the sadness of his ward, he is profoundly moved by a young Laotian refugee, a fragile girl named Joy. As he monitors the bone cancer that gnaws through her system (including conducting amputations of both her legs), he struggles to introduce the shy, studious girl to the soft shimmer-worlds of children's books (The Secret Garden, Peter Pan, the Alice books, The Wizard of Oz) that speak of fantastic magic kingdoms, certain that escape is what the dying child needs. Ironically, Joy resists retreat. She wants only to share her anxious helplessness; she struggles to understand how exactly she is to go about this business of dying. Eventually, she tires of Kraft's campaign to ignore the obvious, both through his persistent (and futile) surgeries and his sunny fairy tales. She hungers only for the comfort of company, to complete the self at its most vulnerable moment by sharing it. (She writes a poignant love letter to another child in the ward, and during a ward field trip she and Kraft share a halting dance.) Her death devastates Kraft. During a particularly grueling ER shift (repairing school children shot by a sniper armed with an assault rifle) Kraft's mind quietly implodes. He looks up to the observation seats that overlook the operat-

ing theater and there sees Joy, alive and fully limbed, preparing to depart with a legion of ghost-children for a splendid kingdom far away. Kraft determines that he will be their guide. We last see Kraft on the hospital roof in full mental collapse, confirming what we have suspected since our engagement with Eddie Hobson and his tape recorder: that the imagination, torn free of its responsibility to engage the imperfect world, leads to madness. Coming hard upon the resplendent affirmation of The Gold Bug Variations, we need Kraft's story; his misanthropic vision of the species as damaged beyond repair reminds us what we risk when we abandon the willingness to engage with the immediate. Structurally, Powers suggests such jarring disjunction by abandoning the easy shifting of contrapuntal narration. Here the disintegration of Kraft is cut into by narratives that recount tales—historic and fictional—of exploited children, tales Joy evidently is reading in her hospital bed, each tale moving toward a happy ending in which the children escape to some sweet other-place. This rude shifting from engagement to escapism is executed with violence. Not surprisingly, at narrative's close, we are summarily pulled out of the engaging cell of the novel itself. Powers himself steps into the narrative. Fretting that his novel had become too heavy, he has sent the manuscript to his brother, a doctor who did residency in Watts. He hopes the brother might offer a happier ending. The brother tells him that a cancer patient Joy's age has, in fact, responded to treatment and suggests that, even if Joy must die, she might donate her organs and thus participate in nature's sprawling recycling system. It is a far more balanced sense of the real world than any offered by the poisoned Kraft. In a final narrative gambit, Powers closes with a set piece about a young father just beginning to appreciate the "killing responsibility" of caring for his children. Our last glimpse is of his daughter, long dispatched to bed, who comes

RICHARD POWERS / 219 downstairs, clutching a blanket, her wide eyes wet with excitement, having just finished a gripping read. Kraft's is just such a gripping tale, told, like the grimmest children's story (the young father's son had begged for a scary story before lights out), to reenchant the world we temporarily departed. If The Gold Bug Variations celebrates the delight of engagement, Operation Wandering Soul reminds us that such engagement can easily break even the most resilient heart—but that this fact cannot justify abandoning the world for our invented places apart. GALATEA 2.2 AND GAIN

If in Operation Wandering Soul Powers suggests that the retreat encouraged by the imagination leads to madness, appropriately, in his next work, he once again defends the strategic disengagement of the imaginative enterprise. In Galatea 2.2 we trace the reclamation of a writer via two tightly braided contrapuntal narratives. Richard Powers, a successful novelist who at midlife finds himself suddenly out of stories, accepts a yearlong appointment as humanist-inresidence at the Center for the Study of Advanced Sciences at his midwestern alma mater. Even as he struggles to reignite his narrative powers, he spends his days assessing the calamitous experiences of his heart (particularly his uneven relationship with his dead father, an alcoholic, and a long affair with a former student, a relationship that had only recently ended). But while he is remembering things past (colleagues at the center nickname him "Little Marcel," a reference to Proust, author of In Search of Lost Time), he is drawn into a bizarre research project that starts as a bar wager: to construct within ten months a computer program able to mimic the response tactics of a reader, specifically to produce a graduate-level commentary on a randomly selected passage of

canonical literature. The project is patently absurd, like some science-fiction premise, but Richard becomes caught up in the endeavor and eventually becomes the chief programmer for the neural net that the project team assembles. As the computer program, which he names Helen, learns the fundamentals of language and literature and begins to respond to literary passages in cryptic ways, suggesting to Richard a depth that we resist attributing to software, she also develops a sense of her own identity. But, like Pinocchio, Helen comes most to understand her limits, how she can never fully appreciate the breadth of literature because she cannot engage the world that it interprets. Although Helen falls short of the goal laid out in the wager, Richard reclaims his enthusiasm for narration and departs this narrative pursuing with infectious joy the same protective hibernation that had damned Eddie Hobson, Stuart Ressler, and Richard Kraft. But there is a difference. Like each of those characters, Richard has lived an antilife. At midlife, he has no wife, no ties to his family, no friends, no lover, no children. Like Max delighted within his bedroom exile, Richard has since childhood drawn his emotional sustenance from imaginings, from books, those he reads and now those he writes. The long affair with the woman he identifies only as C. eventually collapses when the woman suggests, after six years, that they marry and have children, an invitation to engagement that Richard (who has already begun to explore narrative worlds of his own making) coolly rejects. Ink-fed and bookfat, Richard has been empowered by the imagination, a lifelong self-sustaining act of calculated withdrawal uncomplicated by the intrusion of love. Thus, in middle age, suddenly stripped of the heavy insulation of his imagination, he feels at odds with his own life and with a world that has never justified wonder. He struggles to establish the slimmest sort of connection, first with a single-mother colleague and then with a

220 / AMERICAN WRITERS beautiful graduate student (both efforts fail) but finds himself most taken by Helen. But we see what Richard does not—that, like Gepetto, Victor Frankenstein, Prospero, Pygmalion (each of whom Powers introduces), Richard is a closet misanthrope unavailable to the simplest pull of the heart, who exerts control over a helpless object in a ghastly parody of love. It is Helen who comes to tire of artifacts. She asks Richard about the world not encoded in the books that she ingests nightly. Reluctantly, he programs into her five years' worth of news articles. Overwhelmed by the evidence of the violent world outside the neat sanctuary of her reading list, she simply shuts down. Richard revives her only by telling her that it is no trick to celebrate the soul fastened to the dying animal but rather the trick is to celebrate the animal, its "miraculous banality." Richard, who has spent a life in careful retreat, argues here that the artist must engage the imperfect world. Such stark confession convinces Helen to return, but she understands now that she can never be a reader, not in the fullest sense. In her painfully brief commentary to lines spoken by Shakespeare's monster Caliban, Helen writes, "I never felt at home here. This is an awful place to be dropped down halfway." Then, like Eddie in his back room, Stuart Ressler amid his computer consoles, and Kraft on the hospital rooftop, Helen shuts herself down, committing a sort of virtual suicide. For his part, Richard has discovered that the story he most needs to tell is his own—his previous novels had drawn their exotic narrative lines from others' lives or had been entirely invented. We are, as Richard decides, the stories we tell. And thus he relates his own emotional life, its dreary ordinariness elevated to art simply by the act of telling it. He has learned what Max intuits cavorting among his own monsters—such escape is meaningless without the premise of return. Thus Richard Powers does what no previous Powers character has

done: savaged by experience, he recovers its complicated density to make from it the deeply affective stuff of the aesthetic enterprise. But what happens to a character similarly savaged by experience but who does not have the requisite faith to seek out the protective sanctuary of the imagination? Gain's Laura Bodey is deeply involved with the busy life of a single mother, raising two conventionally (un)happy teenagers and pursuing significant professional satisfaction as a realtor, the very business suggesting her investment in the immediate. She has little interest in the arts; she cannot even help her son puzzle through Walt Whitman's "Crossing Brooklyn Ferry" for an English assignment. We will watch Laura confront, at forty-two, the unscripted invasion of mortality—within fifty pages of the opening, she is diagnosed with ovarian cancer, caused, she comes to suspect, by the careless dumpings of the Clare International, a chemical conglomerate headquartered in her Illinois town. Given such an unpromising story line—one offering as plot only the stage-by-stage ordeal of chemotherapy—Powers nevertheless fashions a difficult affirmation (keyed to Whitman's poem): the press of dying alone justifies a greedy embrace of every morning for exactly what it is, a reprieve. Laura, and by extension the chemical corporation that poisons her, suffers under a damning illusion: that somehow we can cheat death, ironically the only thing that gives living its sweet urgency. Powers affirms Laura's fragile presence by means of a vital natural context, the resiliency of which gives depth to her fastapproaching absence. Hard on the heels of Galatea's celebration of the vitality of disengagement, Gain provides Powers's fiction its most dramatic celebration of engagement. Thus, Laura's agonizing movement toward inevitability is not the final word, nor is the record of the amorality of capitalism as recorded in Powers's recreation of the growth of Clare. Gain is more

RICHARD POWERS / 22J about the natural envelope and its logic of incessant change. Within that logic, Laura's death is part of an organized system of perpetual replenishment that, like her beloved backyard garden, is driven by the muscle of a natural world. Although that world may lack the poetry of Christianity, it does furnish reassuring patternings and the evidence of resilience. That world, Powers shows, is pure process; it will not recognize diminishment, nor permit waste— saponification itself (Clare began as a soapmaking enterprise) takes animal fat and ashes and renders from it soap. The rise of Clare is a parable about the diminishment of wonder over such natural abundance in favor of mercenary exploitation. Even as we manage the natural world into commodities—when Laura inventories her own closets, she finds them crowded with Clare products—we sanction its eventual mismanagement as bottom-line anxieties thin our respect for it. Eventually such estrangement leads Clare to promote synthetic products that baldly distort scientific data, to sell products that promise to defy the natural consequences of time—artificial dyes, home perms, skin care creams, insecticides, chemical defoliants, phosphate detergents, furniture restorers, cosmetics—in an effort to deny our place in the natural world itself. Thus even as Laura spirals downward into her too-early death, even as we share the agonies of her chemical scourings, she is involved with the world from which Clare retreats. Powers has maintained since Prisoner's Dilemma that delight belongs to those willing to engage the world and, despite such open eyes, to maintain wonder. The regret, Powers offers, is that it takes the advent of harsh closure for Laura to see her world for what it has been even as she hurried about her busy days. In the earned lucidity of her final days, Laura spends her every painful moment taking in her bedroom, its every angle, its every shadow. Laura's life, unexamined, appears to confirm the worst

of Whitman's fears, that life is simply a crossing from nowhere to nowhere. But, as in Frank Capra's It's a Wonderful Life, which Laura watches with her family on her last Christmas Eve, she comes to see the unsuspected glory of a world each of us can only begin to appreciate in the splinter of time we are given to relish its feel. Thus Laura does what the character Richard Powers cannot—engages the natural world, participates in that bruising enterprise, without seeking the sweet shelter of the imagination. PLOWING THE DARK

The twinned narrative threads that make up Powers's seventh novel, Plowing the Dark, take place almost entirely within two tiny rooms. In one, a white-walled chamber, a "glorified walk-in closet" nicknamed the Cavern (an acronym for computer-assisted virtual environment), is converted with cutting-edge virtual reality software into a three-dimensional environment in which familiar works of art are given surface, depth, nuance, and sound. Magically, flat artifacts become interactive worlds as fully realized as any theme park attraction. Save for the cumbersome goggles and wirings required by participants, such spectacular playscapes prove remarkably accessible. Adie Klarpol, a graphics designer who ten years earlier had abandoned a promising art career, is enlisted by a software giant to lend her aesthetic expertise to creating the virtual reality prototype. She is stunned by the power of computer technology and by the comforting insulation of actually escaping into works of art. One of the first experiments the team undertakes is to recreate Henri Rousseau's haunting jungle canvas The Dream. When Adie completes the work on the software and first steps into the painting, she is stunned by the simulation and responds in vocabulary that recalls Eden:

222 / AMERICAN WRITERS Here is the shape of reforestation, eons in germinating. Till this novel test patch, more flexible than the original starter bed. Speed the green revolution. . . . Fuse the fact of the branch to its depiction. Join stump and symbol into a single thing, a tree you can walk around, prune, replicate. The tree you came down from. The one you'd happily climb up again. . . . Here you can shed your wood skeleton and travel at will through groves of pure notion. Here you can gather up the pieces of something that shattered once, long ago, in childhood's childhood. Here you can reassemble all lost growth, and even back it up onto magnetic tape.

She is revived by the experience—a voluntary celibate, she conducts a passionate affair with a colleague and even makes a difficult peace with an estranged dying ex-husband. After her most ambitious programming achievement, she soars—virtually—about the vaulted dome of a stone-by-stone true-scale simulation of the Hagia Sophia, the great domed Turkish church. It is the triumph of the imagination sought since the cleaning woman in Three Farmers on Their Way to a Dance, technology finally empowering the imagination to fashion actual worlds apart. Adie is crushed, however, to learn that the software she has helped develop has been marketed to the Defense Department and is part of the spectacle of the Gulf War, whose joystick execution she watches in horror. Brutalized by the intrusive cut of the real, she opts to disappear—she abandons both the project and the colleague she had come to love—another of Powers's virtual suicides. But, in a contrapuntal narrative, we follow the revival of another such virtual suicide. After a tempestuous eight-year relationship finally collapses, Chicagoan Taimur Martin accepts, in a gesture of radical disengagement, an eightmonth position to teach English in Beirut. He wants only to be alone, even when his former girlfriend, Gwen, calls Beirut to tell him she may be pregnant. When local terrorists, believing him to be a CIA operative, kidnap Taimur,

he endures isolation for more than four years, blindfolded, chained for twenty-three and a half hours a day to a radiator in an unfurnished room that, in its spartan appointments, clearly parallels Adie's Cavern. Taimur gradually rediscovers the only energy not diminished by the routine indignities of imprisonment: the imagination. Like Max, he makes his exile resplendent. Blindfolded, he plows the dark. Initially, he merely reconstructs memories or meticulously retells novels he studied years earlier. As time slips into irrelevancy, Taimur moves to more accomplished exertions of the imagination, including an elaborate reconstruction of a long-ago visit to the Chicago Art Institute that complements Adie's extravagant technological projects. Taimur and Gwen had been captivated by a Van Gogh painting. Now, years later and chained to a Beirut radiator, he reconstructs that canvas and imagines stepping into its warm sunshine, stepping into a virtual reality entirely fashioned by his unassisted imagination. Like all artists, Taimur conjures without assurance of audience, conjures (like Max) to make tolerable an oppressive immediate to which he must inevitably return. It is a familiar posture. Indeed, to this point Powers's fictions have only tapped the isolating power of the imagination, characters left unchallenged within their private spaces. Before closing out this first stage of his career, however, Powers attempts to show in Plowing the Dark how the imagination can forge a virtual community, by audaciously bringing together Adie and Taimur although they are separated by time and space. At a heartbreaking moment of his absurd captivity, when he is certain, three years into his torment, that he will never be released, Taimur closes his blindfolded eyes and for a brief moment in that twice-darkness imagines he is in the entranceway of an ornate temple. On impulse, he looks up and spies in its vast

RICHARD POWERS / 223 dome a beautiful angel hanging for a moment before dropping down, not sweetly but in inexplicable terror. That mesmerizing, mysterious vision sustains Taimur for what turns out to be another full year of confinement. Under entirely different circumstances, Adie Klarpol is also despairing. Unable to accept the military applications of the technology she has helped devise, she prepares to abandon her work after indulging in one last tour of her Hagia Sophia. She straps on her goggles and soars into the dome. Suddenly, she spies far below her a movement, a shadow she did not program. Startled, she clumsily shifts the wand, the device that enables her to move within the virtual space, and feels herself plummet earthward. She departs Seattle haunted by the apparition. We understand that in a lexical feat of razzle-dazzle Adie and Taimur have met in the vast protective space of the imagination, apart yet a part. Like readers of the same book or visitors to the same art gallery or strangers sitting side by side in a theater, Adie and Taimur collide, suddenly, wonderfully, within the tight world of the imagination. But even that fantastic connection is not sufficient to deny validity to the world itself. We last glimpse Taimur getting ready, finally, to rejoin the real world, preparing to meet Gwen, who has championed his release, and a daughter he has never met. As the novel ends, Taimur heads uncertainly across a tarmac toward those who love him best of all, a tearful Gwen and a young girl who clutches a crayoned picture as a gift. Taimur stands on that tarmac much like the rest of us stand every morning: uncertain of the next step, grateful only that we are able to take it. Comforted, indeed sustained by an imagination that has taught him about his own complicated heart, he is as ready as any of us to reengage the real world, ready to commence what will surely be a relationship necessarily invented moment to moment; rocked by disappointment; sustained by expectations; and,

inevitably, ended by the gentle cut of death—in short, he prepares to engage the life we all must. It is a risky ending that borders (as all of Powers's novels do) on the sentimental. Critics have long been wary of Powers's evident optimism; such affirmation, uncut by irony, is not only out of sync with contemporary literary fiction but is claimed to be unseemly for a writer of Powers's evident intelligence, as if intellect and affirmation cannot coexist. Powers has steadfastly refused to concede to the bugaboos that have haunted serious fiction of the latter half of the twentieth century. Against the fear that our technology has robbed us of our humanity, Powers reassures that we are far more complicated than any machine we assemble; against the disheartening discovery again and again of the sheer futility of love, he shows that it is love's very impossibility that sustains our driving need for each other; against the jeremiads concerning the steady destruction of our ecosystem, Powers recovers a natural world compelled by the furious energy of generation and bursting with uncountable species, from the thinnest scratch of bacterial life upward; against the fears of the tedious grind of the routine, Powers affirms that the ordinary is simply the extraordinary unexamined, that the most assimilated facts, considered for a moment, would blow us away with their complexity; and against the terror of our inevitable death, Powers asserts that the terror of mortality is unsustainable amid a world where every ending is a beginning, a species-wide system that operates relentlessly in the black. For Powers, then, it is the work of the imagination to remind us to relish our capacity, singular among animal species, not merely to be aware of the unfolding processes of living and dying but to record those processes. Narratives serve to remind us that matter matters. Thus we depart a Powers novel revived. Despite critical caveats, Powers actually resists happy endings—and unhappy endings, for that matter.

224 / AMERICAN WRITERS He rejects endings entirely, in favor of improvisational narratives that invite us to continue the story, to step within the ever changing virtualreality hideaway that is the novel, and to join in the play until (like Max) it is time for us to head home.

Selected Bibliography WORKS OF RICHARD POWERS FICTION

Three Farmers on Their Way to a Dance. New York: Beech Tree/Morrow, 1985. Prisoner's Dilemma. New York: Beech Tree/Morrow, 1988. The Gold Bug Variations. New York: Morrow, 1991. Operation Wandering Soul. New York: Morrow, 1993. Galatea 2.2. New York: Farrar, Straus & Giroux, 1995. Gain. New York: Farrar, Straus & Giroux, 1998. Plowing the Dark. New York: Farrar, Straus & Giroux, 2000. BIBLIOGRAPHY Dodd, David. "Richard Powers: A Bibliography" (http://arts.ucsc.edu/ GDead/AGDL/powers. html). University of California, Santa Cruz, Division of the Arts, December 2000. Revised January 17, 2001.

CRITICAL AND BIOGRAPHICAL STUDIES Birkerts, Sven. "American Fictions: Mapping the New Reality." Wilson Quarterly 16:102-110 (spring 1992). Dewey, Joseph. "Dwelling in Possibility: The Fiction of Richard Powers." Hollins Critic 33:2-16 (April 1996). . "'Humming the (In)Sufficient Heart Out': Richard Powers' The Gold Bug Variations." In his

Novels from Reagan's America: A New Realism. Gainesville: University Press of Florida, 1999. Hayles, N. Katherine. "The Posthuman Body: Inscription and Incorporation in Galatea 2.2 and Snow Crash" Configurations 5:241-266 (1997). (Slightly revised version appears as Chapter 10 in her How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press, 1999.) Herman, Luc, and Geert Lernout. "Genetic Coding and Aesthetic Clues: Richard Powers's Gold Bug Variations." Mosaic 31:151-163 (December 1998). Hermanson, Scott. "Chaos and Complexity in Richard Powers's The Gold Bug Variations." Critique 38:38-52 (fall 1996). Hurt, James. "Narrative Powers: Richard Powers as Storyteller." Review of Contemporary Fiction 18:24-41 (fall 1998). Labinger, Jay. "Encoding an Infinite Message: Richard Powers's The Gold Bug Variations.''' Configurations 1:79-93 (1995). Lantos, John D. "Stories of Biology and Medicine: The Novels of Richard Powers." Hastings Center Report 26:17-20 (May/June 1996). LeClair, Tom. "The Prodigious Fiction of Richard Powers, William Vollman, and David Foster Wallace." Critique 38:12-37 (fall 1996). Lindner, April. "Narrative as Necessary Evil in Richard Powers's Operation Wandering Soul.''' Critique 38:68-80 (fall 1996). Marsh, Kelly. "The Neo-Sensation Novel: A Contemporary Genre in the Victorian Tradition." Philological Quarterly 74:99-123 (winter 1995). Pancake, Ann. "'The Wheel's Worst Illusion': The Spatial Politics of Operation Wandering Soul." Review of Contemporary Fiction 18:72-83 (fall 1998). Saltzman, Arthur M. "The Poetics of Elsewhere: Prisoner's Dilemma and The MacGuffin" In his The Novel in the Balance. Columbia: University of South Carolina Press, 1993. . "The Trope in the Machine." In his This Mad "Instead": Governing Metaphors in Contemporary American Fiction. Columbia: University of South Carolina Press, 2000. (Discussion of Galatea 2.2.)

RICHARD POWERS / 225 Scott, A. O. "A Matter of Life and Death: Richard Powers's Gain." New York Review of Books, December 17, 1998, pp. 38, 40, 41-42. Snyder, Sharon. "The Gender of Genius: Scientific Experts and Literary Amateurs in the Fiction of Richard Powers." Review of Contemporary Fiction 18:84-96 (fall 1998). Updike, John. "Novel Thoughts." The New Yorker, August 21/28, 1995, pp. 105-114. (Review of Galatea 2.2.)

INTERVIEWS Archer, Neil. "Mapping the Here and Now: An Interview with Richard Powers." Tamaqua 5:10-23 (fall 1995). Berube, Michael. "Urbana Renewal: A Conversation with the Powers That Be." Voice Literary Supplement, June 6, 1995, pp. 8-10. Birkerts, Sven. "An Interview with Richard Powers." Bomb, summer 1998, pp. 59-63.

"A Dialogue: Richard Powers and Bradford Morrow." Conjunctions (http://www.conjunctions .com/archives/c34-rp.htm), spring 2000. (Published by Bard College, Annandale-on-Hudson, N.Y.) Miller, Laura. "The Salon Interview: Richard Powers." Salon (http://www.salon.com/books/int/1998/ 07covsi23inta.html), July 1998. Neilson, Jim. "An Interview with Richard Powers." Review of Contemporary Fiction 18:13-23 (fall 1998). Stites, Janet. "Bordercrossings: A Conversation in Cyberspace." Omni, November 1993, pp. 39+. (E-mail interview with UCLA literary critic N. Katherine Hayles, California Institute of Technology chemistry professor Jay Labinger, and Powers.) Williams, Jeffrey. "The Last Generalist: An Interview with Richard Powers." Cultural Logic (http:// www.eserver.org/clogic/2-2), spring 1999.

—JOSEPH DEWEY

Henry Roth 1906-1995

I N THEAUTUMN of

American Jewish authors, the reading public anointed Henry Roth an exemplary ancestor to Saul Bellow, Bernard Malamud, and Philip Roth. Although Call It Sleep was preceded by Mary Antin's The Promised Land (1912), Abraham Cahan's The Rise of David Levinsky (1917), and Samuel Ornitz's Haunch, Paunch, and Jowl (1923), it had by the end of the twentieth century become the earliest book by a Jewish author to enter the canon of American literature. At the age of fifty-eight, Roth abruptly became famous for being unknown. Thirty years after its publication, Call It Sleep was rediscovered as the classic of immigration fiction, a brilliant attempt to adapt Joycean techniques and Freudian insights to American experience, the finest of the proletarian novels of the 1930s, and a harbinger of the flowering of American Jewish literature after World War II. Roth himself was thrust out of obscurity as a duck and geese farmer in Maine and into the literary pantheon, a figure revered by readers and scholars not just in the United States but in Italy, Spain, Germany, Israel, and many other countries as well. After failing to make a mark with his first novel, Roth abandoned the literary life, ostensibly becoming a textbook demonstration of F. Scott Fitzgerald's quip that American lives lack second acts. But the belated acclaim for Roth's novel reawakened his creative ambitions, and after several false starts he eventually published his second novel, A Star Shines over Mt. Morris Park, in 1994, sixty years after his first. In his eighties and suffering from rheumatoid arthritis so severe that creating prose became not just a psychological challenge but a physical one,

1956, The American Scholar published a symposium titled "The Most Neglected Books of the Past Twenty-five Years." Among several candidates nominated by the eminent literary critics whom the magazine solicited, only one book, Call It Sleep, was mentioned more than once. Although it had generally received very favorable reviews, Henry Roth's first novel had gone out of print when its publisher went bankrupt shortly after bringing the book out in 1934. In the symposium twenty-two years later, Alfred Kazin praised the unfamiliar work as "a wonderful novel about a little boy's first years in a Brooklyn jungle" and "the deepest and most authentic, and certainly the most unforgettable, example of this muchtried subject that I know." Nor had Leslie Fiedler forgotten what he called the "sheer virtuosity" of Call It Sleep. "No one has reproduced so sensitively the terror of family life in the imagination of a child caught between two cultures," he insisted. "To let another year go by without reprinting it would be unforgivable." In fact, Call It Sleep was reprinted, without much reaction, in 1960. But when a paperback edition appeared in 1964, it made—and reshaped—American literary history. Reviewing the new edition on the front page of the New York Times Book Review (October 25, 1964), Irving Howe proclaimed it a masterpiece, "one of the few genuinely distinguished novels written by a 20th-century American." Call It Sleep became a belated best-seller of more than one million copies, and its author an overnight success (if three decades can be thought a long, dark night). Amid newfound fascination with

227

228 / AMERICAN WRITERS Roth managed to overcome the longest writer's block of any notable American author. His life is a case study in the fickleness of literary renown and in the redemptive powers of verbal art. Although he was born in Europe and spent most of his adult life in Maine and New Mexico, Roth became the twentieth century's preeminent laureate of the ethnic tumult of New York City. CHILDHOOD AND YOUTH

Henry Roth was born on February 8, 1906, in Tsymenica, Galicia, a town at the edge of the Carpathian Mountains that was then part of the Austro-Hungarian Empire and eventually became part of Ukraine. A year after emigrating to the United States in 1902, his father, Herman Roth, returned to Tsymenica and married Leah Farb in 1905. In 1907 Herman went off alone to America again, but his wife and only son joined him in New York City in 1908. They formed part of the vast wave of immigration, mostly from eastern and southern Europe, that within the first decade of the twentieth century added nine million newcomers to the population of the United States, which in 1900 stood at only seventy-six million. One of the strengths of Call It Sleep, which draws directly from its author's own early childhood, is its ability to render the historic national experience of massive dislocation and absorption. New York City was the most common port of entry, and it was there, within sight of the Statue of Liberty, that young Henry Roth, along with most of the other two million Jewish greenhorns who abandoned Europe between the assassination of Czar Alexander II in 1881 and the outbreak of World War I in 1914, confronted America. The family settled in Brownsville, an inexpensive area in Brooklyn, but in 1910 they moved to Avenue D and East 9th Street on Manhattan's Lower East Side. It was a crowded, bustling neighborhood of cheap, crude tenements inhab-

ited mostly by working-class Jews recently arrived from Europe. Herman Roth, a querulous, domineering figure, held a series of jobs as a printer, a milkman, and a waiter. In 1914 the Roths moved to East 114th Street, in a largely Jewish section of Harlem, to be near Leah's parents and siblings, who had recently arrived in the United States. But they soon moved again, to East 119th Street, a part of Harlem then populated mostly by Irish and Italians. Although he declared himself an atheist at fourteen, Roth would for much of his life regret the Roths' abandonment of the Lower East Side when he was in only the third grade, depriving him at an impressionable age of membership in a vibrant Jewish community, one that he considered essential to his work as a writer. As a pupil receiving after-school religious instruction on the Lower East Side, Roth had barely begun his formal initiation into Judaism, and he would later also lament that the move to Harlem forever severed this vital connection as well. Roth attended the City College of New York, a free public institution, with ambitions of becoming a biology teacher. However, an assignment in a freshman English class resulted in his first publication and early intimations of a literary calling. "Impressions of a Plumber" drew on Roth's own experience in a summer job as a plumber's assistant, and despite receiving a "D" for not responding to the assignment, it was recommended by his instructor for publication in Lavender, the City College literary magazine. At about the same time Lester Winter, a former classmate at DeWitt Clinton High School, introduced Roth to Eda Lou Walton, a faculty member at New York University who was both Winter's instructor in freshman English and his lover. Walton, who was twelve years older than Winter and Roth, was an energetic and unconventional figure active as poet, critic, essayist, and mentor. She regularly befriended, nurtured, and fell in love with promising young men, and Roth soon became a

HENRY ROTH / 229 protege, displacing Winter in her affections. Walton introduced Roth to the works of James Joyce, T. S. Eliot, and other moderns, and it was at her Greenwich Village apartment that the uncouth undergraduate met many of the city's leading artists and intellectuals, including Leonie Adams, Ruth Benedict, Louise Bogan, Kenneth Burke, Hart Crane, Horace Gregory, Margaret Mead, and Thomas Wolfe. In 1928, the year that he graduated (belatedly, due to poor grades) from City College, Roth moved in with Walton. Although she openly maintained sexual relationships with other men even while sharing her bed with him, Walton supported Roth psychologically and financially. In 1930, in pencil and on empty blue books that Walton had on hand to administer exams at NYU, Roth began writing what he at first planned as an autobiography. Insulated by Walton's generosity from the hardships of the Depression, Roth worked for three-and-a-half years on his manuscript, both in their Greenwich Village apartment and in a farmhouse in Maine, where he rented a room during the summer of 1932. Although he concentrated on the childhood experiences of an immigrant Jewish boy, David Schearl, who was much like himself, Roth increasingly fictionalized his account. For example, although Roth had a younger sister, Rose, who was born in New York City two years after her brother's birth, David is depicted as an only child. Through David's eyes his father, Albert, looms as an overbearing monster, although Roth's own father, Herman, was five feet one inch tall and scrawny, albeit no less oppressive to his son. Insecure about his artistry, the novice author showed his work in progress to no one until it was finished. But when Walton finally read Roth's book, she was enormously impressed and prevailed on another of her lovers, David Mandel, a labor lawyer who later married her, to get it published by Robert O. Ballou, a small

company that also published John Steinbeck and Meyer Levin and in which Mandel was a partner. Call It Sleep is dedicated to Walton, and its deeply resonant title was chosen out of exasperation. When earlier possibilities, including "Ankle Deep in Lightning" and "East Side Inferno," were rejected, Roth, who was traveling to and from California while Walton handled details of publication in New York City, wrote her: "About that damned title again, just call it anything you like from A Pain in the Neck to Sleep. I'm too thoroughly confused and demoralized about it to know what I like anymore." They, of course, ended up calling it Call It Sleep. CALL IT SLEEP

The novel begins with a short prologue, set in May 1907, that describes the arrival of twoyear-old David Schearl and his mother Genya at the busy immigration center on Ellis Island. David's father had already settled in America, and suspicious about the date of birth of a son he had not seen before, offers a harsh reception to the new arrivals. The prologue serves to alert its reader to the fact that this is to be a story about outsiders, a dysfunctional immigrant family in which the young son seeks refuge in his mother's arms from the hostility of his father. Call It Sleep consists of four sections, each defined by a different image: "The Cellar," "The Picture," "The Coal," and "The Rail." A comingof-age story about a hypersensitive Jewish boy who is forced to cope alone with the mysteries of sex, religion, and love, the novel focuses on David's troubling experiences during the years from 1911 through 1913 as a stranger in a strange land. Not the least of his troubles is the enmity of his father, Albert, a surly, abusive man who is embittered by disappointment. Albert is forever falling out with fellow workers and forced to seek new employment, as a printer and then as a milkman, and he is particularly

230 / AMERICAN harsh toward David, about whose paternity he has doubts. A bead of water falling ominously from the kitchen faucet is the first image in the first chapter, and throughout the book what might otherwise seem casual details are magnified by refraction through the mind of an anxious child. Roth uses stream of consciousness to intensify the sense of an unformed mind trying to assimilate the varied sensations that assault it. The family apartment on the crowded Lower East Side is a haven for David, as long as his father is not home and his doting mother can lavish her affections on him. When the boy ventures out into the clamorous streets of New York City, he encounters threats from both rats and humans. He is frightened and confused by sexual advances from a little girl named Annie and, later, by the attempts of an older Christian boy named Leo to use him to gain access to David's female cousins in order to "play dirty" with them. David is sent to cheder, a drab religious school where Jewish boys are given rote instruction in a Hebrew Bible they cannot understand, and he is both confused and inspired by Isaiah's account of the angel with a burning coal. Eavesdropping on fragments of a conversation, mixing Polish and Yiddish, between his mother and her sister Bertha, he misconstrues an explanation for why Genya, disgraced after being jilted by a Gentile, married Albert. Out of Genya's account of her forbidden romance in eastern Europe, young David, a protonovelist, concocts a sensational story of his own origins. And when the Polish boy, Leo, persuades David to introduce him to his cousin Esther, David is overwhelmed by shock and guilt over the sexual liberties that his older friend takes. He is also fascinated by Leo's rosary and crucifix and by the symbolism of Christian salvation. By the final section of the novel, intricately constructed by crosscutting among different characters who ultimately converge and collide, Albert's sim-

WRITERS

mering rancor toward David is dramatically intensified. Esther's father, complaining about David's collusion with Leo, arrives at the apartment at the same time as David's cheder teacher, who has come to investigate the boy's fantastic claim that he is an orphan. When Albert then sees David holding an alien rosary, he erupts in violent rage. Fleeing his brutal father, David is shocked into unconsciousness after touching the live rail of a streetcar. Faced, like the reader, with sensory overload, David might as well call it sleep, embracing temporary oblivion as restoration after a long, disorienting day. To explore the tensions among Albert, Genya, and David, a clanging family triangle rife with resentments and recriminations, Roth appropriates the then-recent theories of Sigmund Freud, particularly in describing the powerful oedipal bond between mother and son as well as the almost patricidal strife between Albert and David. The authority of James Joyce asserts itself, not only in that Roth's account of David Schearl, a surrogate for the author himself, is in effect another portrait of the artist as a young man, but also in his lavish use of consciousness and his meticulous, symbolist deployment of recurrent imagery. A pattern of images of radiance, as well as of biblical allusions, supports the story of a little boy who manages to transcend the shocks and horrors of everyday life into mystical illumination. Call It Sleep records the traumas experienced when the Old World meets the New, as it did for millions of new Americans during the four decades surrounding the turn of the twentieth century. Particularly remarkable is the character of Reb Yidel Pankower, the cheder instructor who might have been an illustrious scholar in the old country but is convinced that he is wasting his life in a New York City slum trying to teach savage boys who are indifferent to the riches of Jewish tradition. Within his dreary classroom, Pankower is a pedant and a tyrant who earns the contempt of the children in his

HENRY ROTH / 231 charge, provoking both fear and ridicule. But through an interior monologue in which he reflects on his own blighted opportunities, Pankower becomes a pathetic and even sympathetic figure. Many of Roth's immigrants are inspired by the American Dream of enlarged opportunity, while others are repulsed by an urban nightmare. Call it, too, sleep. Although the Schearls are Polish Jews, the eclectic slum in which they live also serves as home to immigrants and natives from many other backgrounds. Not the least of Roth's accomplishments is his success at rendering the diversity of David's environs. Call It Sleep is attentive to physical details of life among the tenements of the Lower East Side, a tumult of conflicting impressions that make it easy for little David Schearl to become lost when he wanders just a few blocks away from home and cannot make himself understood to the kindly Irish cop who tries to help him out. But the book is most memorable as a cacophonous record of culture clash, one that makes its English into a subtle instrument for rendering the collision of languages. Yiddish is the first language of the Schearls, but English, German, Hebrew, Italian, and Polish are also spoken, and in varying registers, by characters in the story. In a novel designed for an Anglophonic reader, it would be misleading and demeaning to put fractured English into the mouths or minds of fluent Yiddish speakers when they are assumed to be using their native tongue. Instead, Roth fashions English prose supple enough to represent the varying speech and thoughts of those who speak and think in other languages and dialects. In his afterword to the 1964 paperback edition, the British critic Walter Allen, noting the many disparate voices that clamor throughout the work, observes that Call It Sleep "must be the noisiest novel ever written." Roth, whose own first language was Yiddish, remained sensitive to the unique ways in which particular languages refract experience

and thus to the arbitrariness of verbal expression. The title he gave to the first manuscript version of his final work, the four-volume Mercy of a Rude Stream (1994-1998), was "Advanced English for Foreigners." In a sense, Roth's texts are always meant to be read as if in translation, as if the words are never entirely transparent or spontaneous. Not inconsistent with the serious artistic ambitions of Call It Sleep is the humor that pervades a novel in which outsiders are continually blundering their way through circumstances they do not quite understand. The most notable comic figure in the book is Bertha, Genya's younger sister, who stays with the Schearls for a while after arriving alone in New York. While Genya and Albert are, for different reasons, withdrawn, sharp-tongued Bertha is exuberant and loquacious, and even during her clumsy attempts to find a husband, she is a vibrant presence amid the dismal tenements. An episode in which Bertha, along with her nephew David, ventures uptown to visit the labyrinthine Metropolitan Museum of Art is a comic gem. Exhausted and lost within the building's endless galleries and corridors, Bertha, thinking to find her way out by following a couple who seem more at ease in this American temple to high culture, discovers they are just as bewildered as she. Call It Sleep is significant sociologically; it reflects a momentous phenomenon that transformed the United States into a multicultural nation, a phenomenon that was ignored by most of Roth's respectable literary contemporaries. But in its vivid rendition of a child's-eye view, its dramatic exposure of family tensions, and its creation of a rich linguistic texture, Roth's first novel is also an artistic triumph. FLIGHT FROM THE LITERARY LIFE

Most reviewers were enthusiastic about the novice author's literary achievement. Writing in

232 / AMERICAN WRITERS the New York Herald Tribune, Fred T. Marsh hailed Call It Sleep as "the most compelling and moving, the most accurate and profound study of an American slum childhood that has yet appeared in this day when, be it said to the credit of our contemporary critics, economic color-lines are no longer drawn in our literature." The few negative reactions to the novel came from the then-influential Marxist press, which faulted its young author for ignoring important social issues in favor of aesthetic selfindulgence. "It is a pity that so many young writers drawn from the proletariat can make no better use of their working class experience than as material for introspective and febrile novels," complained the reviewer for New Masses. By 1934 Roth had joined the American Communist Party and, in common with many of the most notable intellectuals and artists of the period, was determined to use his talents to serve its Utopian cause. He was hurt by the accusation that his first novel distracted from the global struggle for social justice. Under contract to Scribner's and under the supervision of its legendary editor, Maxwell Perkins, he began a second novel very different from his first one: the story of an illiterate German-American laborer from Cincinnati who loses his right hand in an industrial accident and is converted to Marxism. However, after about 125 pages Roth, whose strongest creative impulses were always autobiographical, found himself unable to continue writing about a tough Midwestern Gentile whose life was so remote from the author's own experience. Although part of the aborted novel was eventually published in 1936 as a story called "If We Had Bacon," Roth burned most of the rest in May 1936, on the same day that he got his nose broken during an effort to organize longshoremen on the New York docks. Discouraged and unfocused, Roth split from Walton in 1938 when, during a summer at Yaddo, the artists' colony in Saratoga Springs,

New York, he met Muriel Parker, a gifted composer and pianist. After the couple married in 1939, Roth worked for two years in New York City as a substitute high school teacher. Taking advantage of a World War II industrial training program, he became a precision metal grinder and labored at that trade, first in New York City and then in Providence and Boston, until 1946, when he purchased inexpensive land in Maine. Although Roth at first made sporadic efforts to continue his writing and even succeeded in placing a few short stories in The New Yorker, by the end of the 1940s he had essentially abandoned his literary ambitions. He lost contact with the authors and intellectuals he knew in New York City and gave himself up to an obscure rural existence under relatively primitive conditions. Apprehensive about persecution during the anti-Communist purges of the period, he even took most of his manuscripts out to a hilltop and burned them. Call It Sleep was long out of print and generally forgotten, and the people around Augusta, Maine, had no reason to think of Roth except as a crusty, thrifty neighbor. Muriel had studied piano in Paris under the legendary Nadia Boulanger. However, she abandoned her own promising career and became a teacher to provide basic financial support for the family, which now included two sons: Jeremy, who was born in 1941, and Hugh, who was born in 1943. Her affluent old-line Protestant family broke with her when she married an indigent, immigrant Communist Jew. After a brief, unhappy experience teach- ing in a one-room schoolhouse, Roth helped out by chopping wood, picking blueberries, gathering maple syrup, fighting forest fires, tutoring Latin and math, and serving as an attendant at a mental hospital. From 1953 to 1963 he ran a waterfowl operation out of their house near Augusta, raising and slaughtering geese and ducks. Out of discarded washing machines, burners, stoves, and metal shelves that he salvaged from an Augusta junkyard, he

HENRY ROTH / 233 constructed the only plant in Maine equipped to slaughter and pluck geese and ducks. Convinced that his artistry was dead, Roth, mired in personal depression, became an artist of death, the self-taught scourge of waterfowl. In 1954, fourteen years after his last publication—a short story called "Many Mansions," published in Coronet (September 1940)—Roth appeared in the Magazine for Ducks and Geese (August 1954). His article, "Equipment for Pennies," is a brief primer on how he created a viable business in waterfowl out of abandoned metal scraps. Roth despised the work, especially the killing. It was as far as he could imagine from the humane task of writing prose that could change the world. But immediately after the rediscovery of Call It Sleep in 1964, Roth resented the wide attention he received. He was indignant over journalistic attempts to portray him as a literary freak, and he was anxious over questions about his future as a writer. Now a celebrity, he could no longer evade what seemed his calling by immersing himself in menial rustic labor. The ambitions that led to the creation of Call It Sleep thirty years before gradually began to revive. In 1965 he traveled to Spain to do research for a novel about the Inquisition. The novel was never completed, but the trip resulted in a short story, "The Surveyor," that was published in The New Yorker (August 6, 1966). In June 1967 Roth was still exploring Spanish persecution of crypto Jews in Guadalajara, Mexico, when, avidly following news of the Six-Day War in the Middle East, he became obsessed with the drama of Israel's survival. The war traumatized him and made him a Zionist. Rejecting the Marxist universalism that he had embraced for more than thirty years as well as the Communist Party's pro-Arab stance, he now saw his identity inextricably bound with that of the Jewish people. Roth would later claim that his alienation from the Jewish community, which began with his family's move from the Lower East

Side to Harlem, was responsible for his silence after Call It Sleep. He complained that he had lost the cultural continuity with his own people that would have sustained his career beyond a single book and would have enabled him to take his protagonists beyond the childhood of David Schearl. Roth's identification with the Jewish state in 1967 marked the beginning of his redemption as a writer. SHIFTING

LANDSCAPE

In 1968 Roth accepted an invitation from the University of New Mexico to spend the summer at the 160-acre D. H. Lawrence ranch near Taos. He and Muriel liked the area so much that they abandoned Maine for a mobile home in Albuquerque. There, far from the gritty urban landscape in which he grew up and that had provided the raw materials for his most compelling fictions, Roth began to reemerge as an active presence in American literature. Mario Materassi, a young, admiring scholar from the University of Florence who had translated Call It Sleep into Italian, visited its author in New Mexico and became a trusted friend. After persuading Roth to allow publication of his short, uncollected work, Materassi put together a volume of miscellaneous texts, Shifting Landscape: A Composite, 1925-1987 (1987). The title reflects the kaleidoscopic discontinuities in Roth's career. Arranged chronologically according to when the sections were written or first published, the book consists of thirty-one pieces. They include Roth's short stories and essays, as well as excerpts from letters and interviews, with running commentary by Materassi that establishes the context for each contribution. Shifting Landscape was designed to satisfy readers who knew Roth only as the author of Call It Sleep and were curious to know what else he had written and what direction his life had taken since 1934. It might have served

234 / AMERICAN WRITERS as Roth's autobiography, at least until the publication of Mercy of a Rude Stream. Shifting Landscape begins with Roth's first published piece of writing, "Impressions of a Plumber," the account of a summer job he had written for an English class at City College. The volume also contains "If We Had Bacon," a portion of the novel about a tough proletarian from Cincinnati that Roth had abandoned. The fragment survived only because it was published separately in 1936 in a small magazine called Signatures: Works in Progress. Also in the volume are three short stories, "Broker," "Somebody Always Grabs the Purple," and "Many Mansions," that were published in commercial magazines during the fallow period after Roth broke up with Walton. Roth's sojourn in Maine is represented in the collection by his article for the Magazine for Ducks and Geese. The beginnings of a literary comeback are apparent in "Petey and Yotsee and Mario," a short story that first appeared in The New Yorker on July 14, 1956, about a Jewish boy growing up in Harlem who is sensitive to the anti-Semitism of his three Gentile friends. In "At Times in Flight: A Parable," published in Commentary in July 1959, Roth, who almost always derives his fiction from autobiography, recounts an incident that occurred in 1938 during his residence at an artists' colony he calls Z but which very much resembles Yaddo. While courting a musician he calls Martha but who very much resembles Muriel, the narrator takes her to watch a horse race on the track adjoining the colony. Roth's description of how one horse suddenly breaks its leg and has to be shot is meant as an analogy to the death of Pegasus, to the demise of literary ambition within the author himself. However, the steady, if not prodigious, output of short fiction over the lean times represented in Shifting Landscape demonstrates that, even during the years of obscurity before the rediscovery of Call It Sleep, Roth's artistic aspiration and inspiration were never entirely extin-

guished. "The Surveyor," the story that he wrote and published in 1966 in the wake of belated acclaim for his first book, reflects Roth's renewed determination to write another novel. Set in Seville, the story concerns an American Jew who insists on laying a wreath in memory of conversos martyred by the Inquisition for their refusal to renounce the faith of their ancestors. The surname he gave to the protagonist of his story, Stigman, is the same as the name of his alter ego in Mercy of a Rude Stream, the formidable sequence of novels that he did manage to complete just before his death. Also included in Shifting Landscape are occasional essays that reflect Roth's evolving attitudes toward his identity and his art and that offer some clues to the mystery of his legendary silence as a novelist between 1934 and 1994. "Where My Sympathy Lies," a brief statement published in 1937, endorsed Joseph Stalin's efforts to purge Soviet society of Trotskyite dissidents and reflects the ideological commitment that made Roth question whether Call It Sleep was sufficiently revolutionary. One revealing thread in the nonfiction selections included in Shifting Landscape is the change in Roth's perspective on his Jewishness. As late as March 1963, in a contribution to a symposium on Diaspora culture published in the American Zionist magazine Midstream, he still espoused the universalist aversion to ethnic particularism that he had embraced as a Communist thirty years before. Impatient with such parochial symposia, Roth, known then as an obscure American Jewish novelist, if at all, proclaimed: "I can only say, again, that I feel that to the great boons Jews have already conferred upon humanity, Jews in America might add this last and greatest one: of orienting themselves toward ceasing to be Jews" (Shifting Landscape). Yet four years later, traumatized by the possibility that Arab armies would overwhelm and exterminate the Jews of Israel, Roth expressed solidarity with his threatened people, the victors of the

HENRY ROTH / 235 Six-Day War. "I felt at last that Jews had redeemed themselves by self-sacrifice and sheer valor," he explained. "From that point on, and there were other reasons, I experienced a resurgence of my long dormant literary vocation." Far from ceasing to be a Jew, Roth now took pride in and inspiration from his ethnic identity. His new sense of community even caused him to repudiate James Joyce, the novelist who had most influenced the style and texture of Call It Sleep. Roth's reverence for the author of A Portrait of the Artist as a Young Man and Ulysses had been evident not only in explicit statements but in his adaptation of the stream-ofconsciousness technique and in his celebration of the sensitive, alienated individual. The later selections in Shifting Landscape rejected Joyce, who abandoned his native Ireland for artistic cosmopolitanism, as a dangerous model. In its authorial commentary, Roth's final, redemptive fictional project, Mercy of a Rude Stream, would explicitly condemn Joyce, blaming his influence for Roth's own artistic impasse. And he would at last embrace the untidy details of an American Jewish life that spanned much of the twentieth century. FINAL OPUS In 1979 Roth began writing a vast fictional sequence that was a very thinly disguised version of his own life, closely paralleling his own experiences growing up in Harlem, attending City College, and becoming involved with Eda Lou Walton. A woman very much like Walton is named Edith Welles, and the narrator, an aging, autobiographical novelist living in Albuquerque, calls his wife M instead of Muriel, his older son Jess instead of Jeremy, his younger son Herschel instead of Hugh. Roth does not even bother to change his mother's maiden name, Farb. Although he names his protagonist Ira Stigman rather than David Schearl, the new work is in effect a continuation of Call It Sleep.

Among the most elusive of literary figures, Roth—who withdrew from public attention by moving to Maine and then New Mexico—is also one of the most confessional, and he deemed the material in his final opus so sensitive and potentially painful to those he loved that he did not intend to publish it, at least as long as his wife Muriel was still alive. Because of failing health that sent him to the hospital several times, Roth expected Muriel to survive him; in fact, his beloved wife of fifty-one years died of congestive heart failure in 1990, a loss that plunged him into profound depression and drove him to attempt suicide. Ultimately his resolve to conclude his final literary task was strengthened, and he also felt free to publish the work while he still lived. In an Albuquerque house designed in the 1930s as a funeral parlor, the former Latin teacher composed a fictional sequence, Mercy of a Rude Stream, whose acronym, MORS, means death and whose tone throughout is valedictory. Roth appropriated the title itself from a soliloquy in act 3, scene 2, of Shakespeare's Henry VIII. In the passage, which Roth appropriates as an epigraph to his novel, Cardinal Wolsey describes himself, "weary and old with service," as abandoned "to the mercy of a rude stream that must for ever hide me." Yet, suggesting the theme of redemption that is central to his final fiction if not his entire career, Roth concludes the epigraph by commenting that: "The rude stream did show me Mercy." Mercy of a Rude Stream is the redeeming legacy of a troubled man who was touched by what Requiem for Harlem (1998), the last volume of the work, calls "that unique, unutterable afflatus of creativity." That touch returned sixty years after the publication of his first book. Suffering from rheumatoid arthritis so crippling that it was agony even to hold a pencil, Roth found the keyboard of a personal computer more hospitable to his physical frailties. With the aid of a young assistant who served as a

236 / AMERICAN WRITERS copyeditor and general factotum, the ailing octogenarian managed to turn out 3,200 manuscript pages before his death in Albuquerque at the age of eighty-nine, on October 13, 1995. In his preface to the 1960 edition of Call It Sleep, Harold Ribalow quotes Roth as telling him: "There is one theme I like above all others, and that is redemption." Redemption is certainly a recurring theme within Roth's final work, as it is in the twilight revival of his literary powers. The first two volumes of Mercy of a Rude Stream—A Star Shines over Mt. Morris Park and A Diving Rock on the Hudson—were published in 1994 and 1995, respectively, before their author's death. Robert Weil, who served as Roth's editor at St. Martin's Press, carved two more volumes out of his final manuscripts and published them as From Bondage in 1996 and Requiem for Harlem in 1998. Left unpublished from the author's final literary outpouring was enough material to constitute two additional volumes. "You are not required to finish," declares the Talmudic dictum that Roth, struggling against the failure of his body if not his spirit as he tapped out every word, adapted as the epigraph to Requiem for Harlem even as he refuted it. This authorization for insufficiency, from Mishnah Abot 2:16, appears at the outset of Requiem for Harlem. His provisional title for it was "Portrait of the Artist as an Old Fiasco," and in an unpublished letter to Robert Manning, the editor of the Atlantic Monthly, dated May 6, 1969, its despondent author slighted his last, autumnal effort as "a rambling, interminable multivolume opus." Yet Roth was the Rip Van Winkle of modern authors, a major figure in both the 1930s and the 1990s, and it was not hyperbole for Vanity Fair in 1994 to have hailed his resurgence as "the literary comeback of the century." For all his notorious procrastination, Roth was an artist of exitry; the prose lullaby that closes Call It Sleep is one of the most plangent finales in all of American literature:

It was only toward sleep one knew himself still lying on the cobbles, felt the cobbles under him, and over him and scudding ever toward him like a black foam, the perpetual blur of shod and running feet, the broken shoes, new shoes, stubby, pointed, caked, polished, buniony, pavementbeveled, lumpish, under skirts, under trousers, shoes, over one and through one, and feel them all and feel, not pain, not terror, but strangest triumph, strangest acquiescence. One might as well call it sleep. He shut his eyes.

Requiem for Harlem, too, concludes with the beginning of a dream. Like A Portrait of the Artist as a Young Man, Roth's parting tetralogy ends with the start of a writing career. "Ira boarded the train, his cold fingers still aching, and strait was the route, and strait the rails—the IRT swerved, squealing on the tracks of the long curve westward as it repaired downtown and the hell out of Harlem." A STAR SHINES OVER MT. MORRIS PARK

The first volume of Roth's autobiographical tetralogy begins in 1914, on the eve of World War I, when his protagonist and alter ego, Ira Stigman, is eight years old. When Ira's mother's parents arrive in New York City from Galicia, Ira, Chaim (Herman), and Leah Stigman move from the Lower East Side to live near the newcomers in a Jewish section of Harlem. However, because Leah is unhappy with their rear apartment, the Stigmans soon move again, to a cold-water flat in a largely Irish area of Harlem. Ira is tormented by local anti-Semitic bullies, but when he visits his old neighborhood on the Lower East Side the boy realizes that he no longer belongs there either. He also feels estranged from his newly arrived relatives, who speak Yiddish and do not adapt to American ways. Rambling and anecdotal, A Star Shines over Mt. Morris Park introduces members of Ira's extended family, including its patriarch, his

HENRY ROTH / 237 grandfather, Ben Zion Farb. After being drafted into the army, Uncle Moe returns as a local hero from combat in Europe. Uncle Louie, a socialist postman, impresses Ira as "a real American, a Yankee," but does not impress Leah Stigman enough to reciprocate his romantic attentions while her husband is away in St. Louis looking for a job. Ira's truculent father, Chaim, avoids the war by finding brief employment as a streetcar conductor, which is classified as essential work, before taking a position as a waiter. As ineffectual a provider as he is a father, Chaim Stigman is, like Albert Schearl, a moody, menacing figure to his young son, who finds he must make his way in an ominous world alone. Because of their move out of a Jewish neighborhood and because of the family's limited means, Ira does not attend Hebrew school. Although he does, at thirteen, undergo bar mitzvah, a ritual initiation into the community of Jewish men, Ira feels no meaningful connection to it. He is convinced that "he was only a Jew because he had to be a Jew; he hated being a Jew; he didn't want to be one, saw no virtue in being one, and realized he was caught, imprisoned in an identity from which there was no chance of his ever freeing himself." In the eighth grade, when he gets a job as a stock boy at Park & Tilford, gourmet grocers, he feels liberated by exposure to nonkosher foods. Delivering expensive baskets to wealthy customers, Ira is also initiated into the intricacies of American social stratification. A Star Shines over Mt. Morris Park follows Ira into the early 1920s, but it alternates between the experiences of its young protagonist and miscellaneous commentary, in different and smaller type, by a weary, octogenarian Ira. To this and the three subsequent volumes in the series, Roth appends a glossary of Yiddish terms to assist the Anglophonic reader in making sense of expressions his immigrant characters employ. Looking back on his life, the older Ira Stigman, who, like Roth himself, suffers from

rheumatoid arthritis and lives in Albuquerque, addresses his computer directly, personifying it and naming it Ecclesias. Many of the critics who reviewed the novel when it appeared in 1994 faulted these authorial interpolations for being superfluous and tendentious. While marveling at Roth's astonishing return to booklength fiction after a silence of sixty years, many were disappointed by what seemed an artistic chasm between A Star Shines over Mt. Morris Park and Call It Sleep. Written in a straightforward, naturalistic style consistent with Roth's deliberate rejection of Joycean flourishes, the new novel seemed episodic and inconclusive. Before the publication of the remaining three volumes, it was difficult to discern the achievement in this first installment of Roth's tetralogy. A DIVING ROCK ON THE HUDSON

The second volume of Mercy of a Rude Stream, like the first, alternates between the aged, ailing Ira Stigman speaking to Ecclesias and episodes from his youth more than seventy years earlier. It begins with facing charts of Ira's paternal and maternal family trees. At the outset of A Diving Rock on the Hudson, the year is 1921, and its protagonist is just entering Stuyvesant High School. In the novel's final pages the year is 1925, and although he receives a "D" in his college English class, Ira, a student at City College, is encouraged to continue writing when an essay he produces on assignment, "Impressions of a Plumber," is published in the literary magazine, The Lavender. In A Star Shines over Mt. Morris Park, Ira is an only child, but a sister two years his junior named Minnie suddenly and sensationally appears in the second volume of Mercy of a Rude Stream—as Ira's partner in incest. So, too, is his younger cousin, Stella. "This is a work of fiction," announces the book's copyright page. "This novel is certainly not an autobiography, nor should it be taken as such." But because A

238 / AMERICAN WRITERS Diving Rock on the Hudson seems so patently derived directly from Henry Roth's life, the apparent disclosure by its venerable, elderly, "fictional" author of sexual transgressions during his adolescence immediately brought its actual author more attention than he had received for anything else since 1964. It was reasonable to speculate that paralyzing guilt over incest was—in addition to alienation from the Jewish community as well as Marxist allegiances that failed to elicit his most powerful emotions—one of the reasons for his notorious writer's block. If Roth, whose fictional inspiration was almost always autobiographical, were to continue beyond Call It Sleep, he would have to take his protagonist through adolescence. And if he were to be true to his own experience, he would be obliged to confront his own shameful behavior with his sister and his cousin. Roth was not prepared to do that until he was in his eighties and embracing his own extinction, when most of the people who could be hurt by his shocking revelations were gone. Although his sister, Rose, was still alive, Roth paid her an indemnity of $10,000 for the right to divulge dark family secrets. Like much of the rest of the tetralogy, A Diving Rock on the Hudson is a document of selfloathing in which the aging narrator finds many reasons to despise his awkward, erring younger self and welcomes his own imminent demise. The novel derives its title from a moment in which young Ira, caught stealing fountain pens at school, is tempted to drown himself in the Hudson River. He becomes convinced that his father's contempt for him is justified and that he is an unworthy companion to Farley Hewin, a celebrated track star who was his loyal friend until Ira, disgraced, stopped seeing him. Nor does his friendship with Billy Green, an energetic Protestant who seems to lack Ira's Jewish neuroses and with whom he enjoys boating and camping, survive their high school graduation. Friendship with Larry Gordon lasts a bit longer

and introduces Ira, a blue-collar immigrant who spends his summers hawking soft drinks at the Polo Grounds and Yankee Stadium, to the ways of a stable, middle-class family. When Ira is a student at City College, Larry, who is enrolled at New York University, introduces his friend to his teacher and lover, Edith Welles. And that is just the beginning of more torment and more text. FROM BONDAGE

The third volume of Mercy of a Rude Stream begins and concludes with allusions to Samuel Taylor Coleridge, under the sign of the Ancient Mariner. It starts with an epigraph from the famous poem about an aging, obsessive storyteller and ends with a discussion of the line, "He prayeth best, who loveth best." Like Coleridge's Wedding Guest, readers will be spellbound by ancient Ira's vivid evocations of assignations, conversations, and job assignments seventy years earlier. The opening scene of From Bondage recalls an exhilarating summer that Ira spent sharing a cottage in Woodstock, New York, with Edith and Larry. Ira covets his buddy's lover, although he fears that shabby domestic lechery has rendered him unworthy of the older, more sophisticated Gentile. Ira envies Larry's facile talents, as well as his assimilation into middleclass America. "Larry could relate his adventures; they slipped easily through regular channels. His didn't, his were deformed, fitted no channel, could never be told." They are told, of course, many years later, in From Bondage, a novel very much like the one that Ira, dying, struggles over in his agonizing, solitary sessions with Ecclesias. It is a book that, more than Larry's kind of conventional writing, overpowers with the force of delayed revelation and the hope of ultimate but earthly redemption. Although he expects Edith to tire of the shallow Larry, who suffers from premature ejaculation,

HENRY ROTH / 239 he does not count on her involvement with other men, including Lewlyn Craddock, a sociology instructor and Anglican priest. Ira is both delighted and dismayed to find himself treated as a neutral confidant, a mere and mediocre undergraduate made privy to remarkable romantic triangulations within Edith's cosmopolitan circle of artists and intellectuals. Before Edith and Ira become lovers, Edith serves as the uncouth young Jew's mentor, initiating him into the mysteries of James Joyce and T. S. Eliot, whose arcane texts he admires and then despises for their emotional sterility. Despite their dazzling stylistic virtuosity, the modernist masters abandoned, Ira comes to realize, the common people from whom art derives its power. His initial rapture over Ulysses, an outlawed work that he reads in a copy that Edith smuggles back from Europe, is undercut by his recognition that the novel was "an evasion of history; its author resolved to perceive nothing of the continuing evolution of Ireland, refusing to discover anything latent within the seeming inane of a day in 1904. History may have been a nightmare, but the ones who could have awakened him were the very ones he eschewed: his folk." Ira resents his feckless father, Chaim, a failed milkman turned waiter, for having forced the family to move away from the Jewish community of the Lower East Side. Although he flirted with Marxist abstractions, the older Ira comes to understand that he can overcome his creative aridity only by returning to the kindred ordinary Jews whom he has sought to transcend and some of whom he has sexually abused. Late in life, he realizes that incest is a symptom of the arrested development that enabled him to devise a child's-eye masterpiece but obstructed other writing. Ira attributes his inability to achieve a sexual relationship with a mature woman outside his family to the same cause that prevented him from following up on his youthful novel of prepubescence: "his contin-

ued, his prolonged infantilism." From Bondage diagnoses the emotional captivity from which Ira learns to liberate himself only much later, through his writing. Like Roth himself, Ira puzzles over the "grave and disabling discontinuity" following the publication of his ambitious first novel. Although both the author and his fictional alter ego have for decades been trying to explain to others and themselves why they failed to follow up on an early masterpiece, Ira spends much of From Bondage attempting to justify this shocking, shameful book. He asks himself: "Why was he doing this, demeaning himself—and perhaps jews, the multitude of jews who had transformed one previous novel into a shrine, a child's shrine at that—to the extent he was?" Is writing this lacerating good for the Jews? From an initial ambition to transcend the limitations of his origins in a poor family of immigrant Jews, Ira eventually learns that the only way to attain the universal for which he yearns is through embrace of the parochial. He credits the renewal of literary creativity in his eighties to his belated identification with the Jewish people, particularly with the revived Jewish state, what he calls "the midwife of his rebirth: Israel." He explains that "it was Israel that had rescued him from Joyce, had rescued him from alienation, modified him even to tolerating the Diaspora. It was late in happening, true, but it had happened, and it succeeded in altering the orientation of the once withdrawn individual." From an individualist aesthete, Ira sees himself transformed into a voice for his people, and it is by discovering and cultivating that voice that he is able to overcome his artistic and human obstructions, to write a novel very like the one that Roth constructs about him. From Bondage is not nearly as schematic or tendentious as this outline might suggest. It immerses its reader in the felt life of an earnest bounder, compelled to move beyond the meager cold-water tenement of his uneducated

240 / AMERICAN WRITERS parents into the enchanted intellectual bohemia that he imagines Edith inhabiting. A tense nocturnal scene in Aunt Mamie's apartment, in which Ira slinks past Zaida—his pious grandfather—and Mamie after an illicit tryst with his cousin Stella, is consummately constructed. Also memorable is a sequence in which Ira accompanies Edith to the pier in Hoboken—to see her lover Lewlyn off to England, where he intends to join another woman—and returns to sleep chastely beside Edith in her Greenwich Village bed. Ira's menial jobs as a clerk in a fancy candy shop and as a grease monkey on a repair crew of the New York subway system are vividly rendered. So is the old man's frank desire for death; the Cumaean Sibyl's announcement, "Apothanein thelo" ("I wish to die"), is what the aging author asks to be inscribed and hung in his study in New Mexico. Yet suffusing and exalting all is Ira's literary mission and his love for M, the musician he met at Yaddo so long ago, from whom he has been widowed for five years, and who is the object of what, in the novel's final words, Ira refers to as "the passionate homage he now so keenly felt." REQUIEM FOR HARLEM

Requiem for Harlem concludes the four-volume Kunstlerroman (artist-novel) that serves as Roth's scathing portrait of the artist as young wretch. Even more than the previous installments, this book both recounts and enacts its protagonist's humiliation, with Ira as the literary voodoo doll for his tormented author, Roth. Roth's novel begins in gluttony and dyspepsia, wallows in revulsion, and concludes with the prospect of redemption. Yet its title, Requiem for Harlem, suggests nostalgia for a troubled adolescence in the lowly uptown neighborhood on which the final pages close the book. It is an elegy for anguished youth. The year is 1927, and Ira Stigman, twenty-one years old, is attending his senior year at City College. The

opening pages recount Ira's arduous journey— with weary feet and, after gorging himself on pasta, a bloated stomach—from Harlem, in upper Manhattan, all the way down to Greenwich Village, near the lower tip of the island. When he arrives at Edith Welles's apartment, she is occupied with another man, and Ira returns to his room up on East 119th Street. However, in the final pages of Requiem for Harlem, he again makes his way down to Edith's house, to stay. In the novel's parting, plangent words, Ira, brooding on infernal guilt, takes a squealing subway "downtown and the hell out of Harlem." He has, at least, been transported into purgatory. A college exam on Paradise Lost forces the immigrant scholar, afflicted with his own "sinister cyst of guilt that was within the self, denigrating the yontif [holiday], denigrating everything within reach, exuding ambiguity, anomaly, beyond redemption now," to ponder the vile connections between Satan and his daughter Sin. Yet Ira, who had earlier ceased sexual relations with his younger sister, Minnie, begun when she was only ten, continues his incestuous relationship with his sixteen-year-old cousin, Stella, even as his sentimental apprenticeship to Edith, who is older and more accomplished, deepens into something resembling mature love. After one last brazen act of self-degradation, Ira moves out of his family's Harlem flat and into a Greenwich Village apartment with Edith. With a narrower palette of character and incident than the other volumes, Requiem for Harlem offers an excruciating focus on Ira's guilty desperation after learning that Stella might be pregnant. Anxiety and shame cause him to break, rudely, with Larry Gordon, by spurning his beneficent invitation to Thanksgiving dinner. The novel also provides revelations about further foulness within the Stigman family, about vile actions by Ira's father. Although they are fewer and shorter than in the previous

HENRY ROTH / 241 three volumes, occasional interludes describe an elderly Ira, "goofiest of all scriveners," struggling, like Roth himself, to record his lacerating memories on his word processor, Ecclesias. Requiem for Harlem is a document of the 1920s that happens to have been written seventy years later, in a style by turns supple and wooden, that recalls both Yiddish melodrama and the audacity of the post-World War I avantgarde. The narrative adopts the form by which the elder Ira imagines life itself: "full of chaotic fragments, discreet, in the mathematical sense, disparate, often dull and banal, but often fiercely engrossing, disparate but often desperate. And as often unexpected and unforeseen." But the book acquires intensity from its searing focus on Ira's dreadful burden, and from its confinement to a single week in November 1927. In the days preceding Thanksgiving, Ira concentrates his energies on freeing himself from the toxic snares of family. While trying to study Milton at the kitchen table, Ira is helpless witness to the ferocious squabbles between his mother and his father. Like Albert Schearl in Call It Sleep, Chaim Stigman is a violent bundle of festering resentments, a man possessed of a permanent sense of personal abuse. Disappointed in his ambitions, unsuccessful in his business schemes in Galicia, St. Louis, and New York, Ira's father cannot hold a job for very long before he antagonizes his latest employer. He tyrannizes and terrorizes his only son, who sees him as "a mean, stingy, screwy little louse" yet is afraid to cross him. It is difficult for Ira to understand why his longsuffering mother did not leave her abusive husband many years ago. It is easier for Ira to guess why Zaida, his maternal grandfather, moves away from Aunt Mamie's apartment in Manhattan in order to live with other relatives in Queens. In From Bondage, Ira, concluding a late-night visit to Mamie's place, had brazenly had his way with Cousin Stella within a few feet of their grand-

father's bedroom door. Ambiguous statements uttered by Zaida lead Ira to conclude that the pious old man knew exactly what was going on between his two grandchildren and was too horrified to remain within that polluted household any longer. Ira begins to panic at the possibility that the entire family will soon learn of his depravity. His most immediate concern, however, is over the fact that Stella, a pudgy girl who does not even appeal to him either physically or intellectually, is four days late for her menstrual period. Ira confides his fears to Edith, who has earlier aborted the fetus resulting from her own affair with the married Lewlyn, and she generously arranges to have her physician examine Stella. When Ira arrives at Stella's secretarial school in order to escort her to her appointment, she informs him that the pregnancy was a false alarm. Ira's elation at this unexpected news soon turns to lust and its satisfaction. Compounding the author Ira's revulsion over his sordid relations with his cousin is the memory of how deliverance from the horror of Stella's pregnancy was not enough to cure him of his incestuous compulsions. Like Zaida's decision to move out of Mamie's apartment, Ira's departure from the Stigman household in Harlem is—albeit belated—an assertion of will, the feckless young man's emergence, as suggested in the title to volume 3, From Bondage. Ira's continuing servitude to family—his mother and his cousin—has infantilized him, and his departure for Greenwich Village marks a coming-of-age. Under the tutelage of the Gentile Edith, a mature woman and a writer, he can look forward to advancing outside the constrictive circle of Jewish immigrants and to developing the literary talents already manifested in his college compositions. The elder Ira looks back on a successful first novel that sounds very much like Call It Sleep, even as he struggles to write the cathartic new book whose awful secrets kept him for sixty

242 / AMERICAN years from extending his literary career and whose successful completion will provide him with "the Promethean catalytic exercising of his consciousness." In the final pages of the cycle's final book, Requiem for Harlem, Ira bids farewell to his dysfunctional, debilitating family and his loathsome sexual compulsions by moving down to Greenwich Village to live with Edith. The apprentice artist is finally ready to write a novel very much like Call It Sleep. And, after disburdening himself of excruciating secrets, the eighty-nine-year-old Roth was finished writing and prepared at last to call it sleep. REQUIEM FOR ROTH

After the rediscovery of Call It Sleep, Roth was the recipient of many prestigious honors. In 1965, in addition to a grant from the National Institute of Arts and Letters, he was given a medal for outstanding achievement by an alumnus of City College, the institution from which he had graduated, barely, with mediocre grades, in 1928. In 1994 Roth even collected an honorary doctorate from the University of New Mexico. The celebrity and esteem he attracted, if not enjoyed, at the end offered a stark contrast to the obscurity in which, even after publishing his extraordinary first novel, Roth lived for most of his eighty-nine years. He offers a dramatic lesson in the vicissitudes of reputation, in how fallible and changeable are an era's assessments of literary merit. Roth was a harsher judge of himself than any reader is likely to be. Shame is the engine that drives much of his later fiction, and a quest for continuity is the only thread he found to link the episodes of a patchy life. So disappointed in himself that he welcomed death, Roth used his later fiction to exorcise his revulsion. From Galicia to New York to Maine to Albuquerque, the arc of Roth's eighty-nine years was classically Greek in both abomination and cathartic

WRITERS

redemption. His final, excruciating effort at expression gave life to his self-loathing, even as it put to rest an old man's mortal pain.

Selected Bibliography WORKS OF HENRY ROTH NOVELS

Call It Sleep. New York: Robert O. Ballou, 1934. A Star Shines over ML Morris Park. New York: St. Martin's, 1994. (Vol. 1 of Mercy of a Rude Stream.) A Diving Rock on the Hudson. New York: St. Martin's, 1995. (Vol. 2 of Mercy of a Rude Stream.) From Bondage. New York: St. Martin's, 1996. (Vol. 3 of Mercy of a Rude Stream.) Requiem for Harlem. New York: St. Martin's, 1998. (Vol. 4 of Mercy of a Rude Stream.) NONFICTION

Nature's First Green. New York: William Targ, 1979. Shifting Landscape: A Composite, 1925-1987. Edited by Mario Materassi. Philadelphia: Jewish Publication Society, 1987. MANUSCRIPTS

Sixty-eight boxes of Henry Roth's papers are housed at the archives of the American Jewish Historical Society in New York City. The manuscript of Call It Sleep is held in the Berg Collection of the New York Public Library.

CRITICAL AND BIOGRAPHICAL STUDIES Adams, Stephen J. "'The Noisiest Novel Ever Written': The SoundScape of Henry Roth's Call It Sleep." Twentieth Century Literature 35:43-64 (spring 1989). Allen, Walter. Afterword to Call It Sleep, by Henry Roth. London: M. Joseph, 1964.

HENRY ROTH / 243 Altenbernd, Lynn. "An American Messiah: Myth in Henry Roth's Call It Sleep." Modern Fiction Studies 35:673-687 (winter 1989). Diamant, Naomi. "Linguistic Universes in Henry Roth's Call It Sleep." Contemporary Literature 27:336-355 (fall 1986). Halkin, Hillel. "Henry Roth's Secret." Commentary, May 1994, pp. 44-47. Howe, Irving. "Life Never Let Up." New York Times Book Review, October 25, 1964, pp. 1, 60. Kellman, Steven G. "Requiem for Henry Roth." USA Today Magazine, March 2000, pp. 75-76. . "The Midwife of His Rebirth': Henry Roth and Zion." Judaism 49:342-351 (summer 2000). Lesser, Wayne. "A Narrative's Revolutionary Energy: The Example of Henry Roth's Call It Sleep." Criticism 23:155-176 (spring 1981). Lyons, Bonnie. "After Call It Sleep." American Literature 45:610-612 (January 1974). . Henry Roth: The Man and His Work. New York: Cooper Square, 1976. Marsh, Fred T. "A Great Novel about Manhattan Boyhood." New York Herald Tribune, February 17, 1935, p. 6. Materassi, Mario. "The Return of Henry Roth: An Inside View." In Their Own Words: European Journal of the American Ethnic Imagination 1:47-55 (1983). Mehegan, David. "Call It Writer's Block." Boston Globe, February 1, 1994, pp. 49, 52. Michaels, Leonard. "The Long Comeback of Henry Roth: Call It Miraculous." New York Times Book Review, August 15, 1993, pp. 19-21.

Redding, Mary Edrich. "Call It Myth: Henry Roth and The Golden Bough." Centennial Review 18:180-195 (spring 1974). Ribalow, Harold. Preface to Call It Sleep, by Henry Roth. Paterson, N.J.: Pageant Books, 1960. Rifkind, Donna. "Call It Irresponsible." The New Criterion 6:75-76 (February 1988). Rosen, Jonathan. "The 60-Year Itch." Vanity Fair, February 1994, pp. 36-46. Samet, Tom. "Henry Roth's Bull Story: Guilt and Betrayal in Call It Sleep." Studies in the Novel 7:569-583 (winter 1975). Studies in American Jewish Literature (University Park, Pa.) 5 (spring 1979). (The issue is devoted entirely to studies of Henry Roth.) Wirth-Nesher, Hana, ed. New Essays on Call It Sleep. New York: Cambridge University Press, 1996. "Henry Roth." In Contemporary JewishAmerican Novelists: A Bio-Critical Sourcebook. Edited by Joel Shatzky and Michael Taub. Westport, Conn.: Greenwood, 1997. Pp. 327-334.

INTERVIEWS Bronsen, David. "A Conversation with Henry Roth." Partisan Review 36:265-280 (spring 1969). Freedman, William. "Henry Roth in Jerusalem: An Interview." Literary Review 23:5-23 (fall 1979). Friedman, John S. "On Being Blocked and Other Literary Matters: An Interview." Commentary, August 1977, pp. 27-38. Lyons, Bonnie. "An Interview with Henry Roth." Shenandoah 25:48-71 (fall 1973).

—STEVEN G. KELLMAN

James Salter 1925-

J0

He was a moderately successful builder in New Jersey when he married Mildred Sheff in 1924. The birth of their son stirred Horowitz to seek greater financial rewards, and he moved his family to New York City in 1927. There, Salter grew up in a series of apartment buildings, moving from one to another as the rise and fall of his father's fortunes as a real estate broker allowed or necessitated. The family was Jewish, but that religion played a minor, if any, role in their lives. Indeed, Christmas was celebrated in grand style, complete with tree, presents, and parties. "Then as now, the best weeks of the year were at Christmas," Salter wrote in Burning the Days. "Colored by those Christmases, perhaps, others have all seemed to me exciting, like some glamorous invitation." In 1929, the year of the Great Crash on Wall Street, Salter's father suffered a financial catastrophe presaging those that would ruin his health and bring about his death thirty years later. A man named Lignante convinced Horowitz to join him in a venture, the building of Hampshire House on Central Park South. For a share in the completed building, Horowitz loaned Lignante seventy-five thousand dollars with no collateral. The stock market crash destroyed Lignante and his hopes of Hampshire House. The money was never repaid. Somehow, the Horowitz family survived this tremendous loss and, by the time Salter began grammar school, had taken up residence on the Upper East Side, only a few blocks from the Metropolitan Museum of Art and Central Park. In spite of the family's financial upheavals, Salter appears to have enjoyed a relatively carefree childhood. He did well in grammar

OSEPH CAMPBELL WROTE in The Power of Myth (1988): People say that what we're all seeking is a meaning for life. I don't think that's what we're really seeking. I think that what we're seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our innermost being and reality, so that we actually feel the rapture of being alive.

Any serious student, or even casual reader, of the life and works of James Salter will recognize that Salter has long held a similar belief. EARLY YEARS AND PREP SCHOOL James Salter was born James Horowitz on June 10, 1925 in Passaic, New Jersey. He was the only child of Louis George Horowitz and Mildred Scheff. In his Burning the Days: Recollections (1997), Salter described the day of his birth as being the hottest imaginable, although the evening brought welcome relief in the form of a fierce thunderstorm. He wrote, "I would like to think I somehow remember it and that my love of all storms proceeded from that first one, but more likely I was sleeping." In later life, Salter was fond of the fantasy that perhaps, given the date and location of his birth, he was delivered by the renowned poet and doctor William Carlos Williams. In fact, the doctor attending his mother was named Carlisle. George Horowitz (Salter has written that his father never liked his first name and preferred to be called George) earned degrees from the U.S. Military Academy at West Point and MIT.

245

246 / AMERICAN school and was usually at the head of his class. He was liked by his peers and enjoyed the camaraderie of summer camp and trips to the beach at Atlantic City. In addition, a large and colorful extended family of grandparents, aunts, uncles, and cousins dispelled the loneliness that sometimes attends an only child. Salter also took pleasure in the private pastimes of drawing and reading. His reading ability was such that, in 1930, his mother bought him a six-volume set of books from a door-to-door saleswoman. The set, My Bookhouse, was a richly illustrated collection of classic literature modified for young readers. Here Salter read Charles Dickens, Leo Tolstoy, the Bible, poetry, and folktales. A poem by Rudyard Kipling, "Ballad of East and West," made a lasting impression on the young boy with its story of heroism and danger, virtue and fortitude. Salter attended Horace Mann, a prep school in the northern outskirts of New York City, from 1938 to 1942. The curriculum was demanding, based on the classics and required courses in Latin. In addition, the students, all males, were taught a tough ethic of personal responsibility. Salter recalled in Burning the Days, "We were not what unknown forces made of us but rather what we made of ourselves." He enjoyed a wellrounded life at Horace Mann, writing for school publications, playing football, and going to parties with girls from Horace Mann's sister school, Lincoln. Another boy who submitted work to the school's literary magazine and played on the football team was Jack Kerouac. Salter knew him then but, as Kerouac was three years older, a tremendous span for adolescent boys, they were not friends. His best friend at Horace Mann was Wink Jaflfee. An added attraction to this friendship was Jaffee's mother, Ethel Reiner, a woman of great beauty and style. Salter wrote of her in Burning the Days: She was a regal figure to me, affected but smiling, her ash-blonde hair heaped on her head, the silk of her dresses whispering. I never saw her in the

WRITERS kitchen—there was a cook—or with a vacuum cleaner in her hand or even changing a shoe, legs crossed, slipping it oif and putting on another. Perhaps there were weekend mornings when, in a peignoir with fur cuffs she might scramble eggs to put on a breakfast tray and carry down the hallway to her husband. She suggested the sumptuous.

Clearly, she was an early inspiration and model for the exotic, beautiful women who appear in Salter's novels. In the 1950s Jaffee, who had become a successful stockbroker, advised Salter on how best to invest his money. As a result, he tripled the amount he had received from the movie sale of his first novel, The Hunters (1956). WEST POINT

Salter graduated from Horace Mann in 1942, winning the School Poet award. Although no collection of Salter's poetry has been published, there does exist a privately printed poem to New York City entitled Still Such (1992). The poem is a rapid-fire list of recollections that moves like a speeding taxi through Manhattan. Salter had been accepted at Stanford but his father, who had graduated first in his class at West Point, arranged a second alternate's appointment at his alma mater for his son. Salter took the exam as a favor to his father but felt his chances of attending West Point were remote. He was spending the summer working on a farm in Connecticut, daydreaming about life on the West Coast, when word came that, against all odds, the principal appointee had failed the physical and the first alternate had failed the written exam. Salter knew that this was his father's "dream come true" and accepted the appointment. He wrote in Burning the Days, "Seventeen, vain, and spoiled by poems, I prepared to enter a remote West Point. I would succeed there, it was hoped, as he had." Initially, however, success seemed unlikely. Salter rebelled against the rigid demands of

JAMES SALTER / 247 cadet life and, in his first year, his name appeared on the punishment lists several times a week. He felt himself divided, split in two. One half was the boy who was fond of literature and wrote poetry and the other half was the unquestioning figure he knew he had to become to survive and succeed at West Point. "I began to change, not what I was truly but what I seemed to be. Dissatisfied, eager to become better, I shed as if they were old clothes the laziness and rebellion of the first year and began anew." Early in 1944 Salter passed the examinations required for acceptance into flight training and was sent to Pine Bluff, Arkansas. Though less formal, the regimen was every bit as demanding as it was at West Point. A trainee was expected to be able to fly solo after no less than four and no more than eight hours of instruction in open cockpit airplanes, with the instructor seated in the rear and the trainee in the front. If the trainee could not solo after eight hours, he was dismissed and returned to West Point. In addition to hands-on instruction, there were weeks of classes and briefings. Within the required hours, Salter experienced the exaltation of solo flight, an experience he had longed for since reading Antoine de Saint-Exupery's Wind, Sand, and Stars (1939). Returning to West Point in the fall of 1944, Salter encountered an experience as exhilarating as flying: his first serious love affair. She, the eighteen-year-old daughter of a prosperous New York family, had known Salter before he entered West Point, and it was difficult for her to accept the man he had become. Eventually, however, Salter prevailed. They based their romance on a recently published and popular novel of young love and passion during World War II: Shore Leave (1944), by Frederic Wakeman. They enjoyed football weekends and dances together. Other, more amorous activities were enacted in borrowed rooms. During the uncertain times of the war years young couples, most in their late teens, were rushing to the altar. No one knew

what tomorrow might bring and an opportunity postponed might very well be an opportunity lost. Salter received a telegram from his sweetheart that went straight to the question: Would he or would he not marry her? Salter's answer was indecisive and she, as she had threatened to do, married his rival. This had a tremendous impact on Salter, who has written that he realized he had turned his back on marriage, money, and the past, never to face them wholeheartedly again. Indeed, he has expressed the feeling that all he has experienced since sometimes seems less vital than the brief passion he shared with this girl. When Salter graduated from West Point in 1945, the war in Europe had ended. Although he had missed the opportunity to prove himself in that war's great forge, an incident occurred that required every flying skill he had mastered. In May 1945, on a routine night navigation flight out of Stewart Field near West Point, he became lost. As darkness fell, he desperately tried to establish his position. With his fuel tanks almost empty, Salter flew low, looking for any open area where he might land. Over the outskirts of Great Barrington, Massachusetts, he found a dark area that he knew was small for an emergency landing, but his fuel was gone and he had no choice. As the plane neared the ground, one of its wings struck a tree and Salter crashed into a house. Fortunately, the residents had come outside, thinking that the low-flying plane was honoring a family member, a recently returned prisoner of war, and no one was hurt. The plane was demolished but, since the gas tanks were empty, there was no explosion and Salter escaped with only minor injuries. Salter received more flight training throughout the summer of 1945 and entered the Army Air Force as a second lieutenant. In January of the following year, with the war in the Pacific over, he was assigned to fly transport planes there. For most of the next two years he was based at Hickam Field, Hawaii. Although Salter dedi-

248 / AMERICAN WRITERS cated himself completely to the Air Force, he never gave up his long-held desire to become a writer. While in the Pacific, he read widely and worked on writing his first novel. Since such pursuits were likely to mark him as a maverick, he wrote during the night and on weekends and adopted a nom de plume, James Salter. He explained his choice in Burning the Days: "Salter was as distant as possible from my own name. It was essential not to be identified and jeopardize my career. . . . I wanted to be admired but not known." There were two other reasons for the new name; first, he sought to avoid military censorship, and second, he did not want to be stereotyped as a Jewish-American writer. Such identification, he felt, would create certain expectations in the reading public, limiting the scope of his work. The first reason seems plausible but does not explain why, as a teenager, he wrote poetry under the name James Arnold. Perhaps that merely fulfilled an adolescent boy's wish to distance himself from his father. The second reason is a bit more difficult to understand. In his review of Burning the Days for the New York Review of Books, A. Alvarez opined, "Being a Jew called Horowitz can't have made his difficult life any easier, though he doesn't mention it because Jewishness was not something he had been brought up to think important." Indeed, while at West Point, Salter attended a few services for Jewish cadets on Friday nights but in the end he opted to attend Sunday morning chapel with the majority of the corps. Salter sent a letter to Alvarez expressing his appreciation for the review. In it he attempted to answer the name change question this way: "The really Great Jews, Singer, Bellow, Malamud, Mailer, Roth, and in their wake many lesser, Heller, Potok, Levin, Brodkey had overwhelmed American literature, and I didn't belong, in any sense, among them. It wasn't my category." Salter returned to the United States in 1948 and as an officer entered Georgetown University

in Washington, D.C. That same year he submitted the manuscript of the novel he had been working on for the past two years to Harper Brothers. It was not accepted, but Salter was encouraged by their expressed desire to see future work. After earning his master's degree in international affairs at Georgetown, Salter made his first trip to Europe in 1951. A fellow officer and West Pointer, Kelton Farris, who was stationed in Wiesbaden, had written to Salter extolling the glories of Paris. Salter joined Farris and, together with another officer, made a car trip to that city. Paris did not, as it had so many other American writers, enchant Salter on his first visit. He found it, in its postwar condition, dark, grimy, and somewhat disheveled. A few years later, in a small tobacco shop, Salter discovered a display of books unavailable in America. They were books of highly charged eroticism, such as Our Lady of the Flowers (1949), Tropic of Cancer (1934), The Ginger Man (1955), and The Story of O (1954). The stories were a revelation to Salter; they presented a new vision of living and loving and writing. FIRST MARRIAGE AND KOREA

In 1951 Salter married Ann Altemus, whom he had met when she was visiting Honolulu. He had little to say in Burning the Days about her or their nearly twenty-four years of married life other than that his mother and her father disapproved of the union. He added that although friends thought she was perfect for him and had great hopes for their future, he felt that the marriage would last five years at most. Nevertheless, the couple married in the chapel at Fort Meyer, Virginia. At this time Salter was serving as an aide-de-camp to General Robert M. Lee. Lee was instrumental in securing an assignment for Salter in a fighter squadron at Presque Isle, Maine. There he found his true calling, flying the best combat plane the Air Force had at

JAMES SALTER / 249 that time, the F-86. When the opportunity presented itself, Salter and his classmate and fellow flyer, William Wood, volunteered for combat duty in Korea. Nearly twenty-sevenyears old and having missed out on active duty during World War II, Salter felt that chances to achieve glory were passing him by. When he arrived in the Korean arena, he was determined to prove himself. From February to July 1952, Salter flew in over one hundred combat missions against the Russian-made MIG-15s. Despite the number of sorties, Salter downed only one plane and disabled another, a total short of the five "kills" necessary to become an "ace." When Salter ended his tour of duty and returned to a fighter squadron in the United States, he was greatly disappointed with himself. In 1954 he was assigned to duty in Germany, where he served as a squadron operations officer and led an acrobatic team. The long-sought glorious achievements seemed far beyond his reach. FIRST CHILD AND FIRST NOVEL

In 1955 Salter's first child, a girl the couple named Allan, was born. Also that year, Salter completed his Korean War novel The Hunters. He submitted the manuscript to Harper Brothers, where it was accepted and published in 1956. (The names and scenes described here will be from the slightly revised, more readily available 1997 Counterpoint Press edition.) All the desires and disappointments that Salter experienced in Korea are embodied in the novel's protagonist, Cleve Connell. Cleve arrives in Korea determined to achieve the legendary goal of downing five enemy aircraft and thereby earning recognition as an ace. His reputation as a skilled flyer has preceded him and he is soon made a flight commander. However, successful encounters with the enemy elude him, and his dismay is further exacerbated by the seemingly effortless conquests of a brash,

cocky younger pilot named Pell. Cleve feels that Pell's arrogant disregard for the tactical rules of aerial combat is endangering the other flyers. Nevertheless, as Pell's number of kills increases, so does his celebrity among the men and officers. Finally, the day comes when Cleve shoots down an enemy aircraft and earns a mark on the group tally board. Although he is far behind many others, Cleve marks the occasion by taking a celebratory trip to Tokyo with his friend DeLeo. The lyricism of the Tokyo interlude stands in marked contrast to the stoic, Spartan existence that has dominated the first half of the novel and provides a glimpse of the writer Salter would become. Cleve and DeLeo waste no time diving headfirst into the many pleasures that were to be found in Tokyo in the years following World War II. Determined visits to brothels and bars give way to more muted pleasures when Cleve pays a visit to a brother of a friend of his father's, the painter, Mr. Miyata. The two days Cleve spends with Miyata and Eiko, Miyata's shy, virginal nineteen-year-old daughter, are intellectually and emotionally stimulating for him. When he hears Miyata's story of losing all of his paintings to Allied bombing raids during World War II, he is impressed by the courage it took for the painter to start over. Cleve enjoys a chaste dalliance with Eiko by an idyllic lakeside. He is reluctant to leave, but duty calls. He and DeLeo learn that there has been a fierce air battle in Korea during their holiday, and he abruptly packs up and heads back to the action, leaving a hastily written note for Eiko. With the time of his tour of duty running out, Cleve is desperate to prove himself. Pell has surpassed him in kills and has become an ace. Cleve realizes that his achieving five kills in the time he has left is unlikely, but he still dreams of a greater prize: downing the enemy pilots' champion, a brilliant Russian flyer nicknamed Casey Jones. On a mission with his wingman, Billy Hunter, Cleve encounters Casey Jones,

250 / AMERICAN WRITERS stunningly outmaneuvers him, and shoots him down. The battle and the long flight back to the air base seriously deplete their fuel supply and Hunter is killed when his plane crashes short of the runway. Cleve lands unhurt, but without Hunter's confirmation of the downing of Casey Jones, he has no proof of victory. Pell is contemptuous of Cleve's claim that their renowned enemy has been eliminated, citing lack of any kind of proof. Hunter is dead and the camera in Cleve's plane has malfunctioned. Cleve looked at them, one by one. Nothing was real. He heard a short, insane cough of contempt leave his lips. He did not know what he was thinking, only that he was far removed, farther than he had ever believed possible. "Oh yes, there is," he said blindly. "Who?" "I can confirm it." He drew a sudden breath. "Hunter got him." It had come out almost subconsciously. Malice had brought it, and protest, and the sweeping magnanimity that accompanies triumph, but, as soon as he said the words, he realized there were no others that would have made it right. Billy Hunter would have his day as a hero, and in memory be never less of a man than he had been on his last flight. Cleve could give him that, at least—a name of his own. It was strange. In all that had passed, he had never imagined anything faintly like it, to have searched the whole heavens for his destiny and godliness, and in the end to have found them on earth.

This could have been the book's final chapter, with Salter-Cleve realizing that his "destiny and godliness" are not to be found in the Air Force, but Salter took the next step. Thoughts of resigning his commission may have been in his mind when he killed his fictional self in a final, vicious air battle. On a routine mission, Cleve is suddenly surrounded by enemy aircraft and cut off from his wingman. For Cleve, the war had ended in those final minutes of solitude he had always dreaded. He was carried as "missing in action." If there had

been a last cry, electrically distilled through air, it had gone unheard as he fell to the multitudes he feared. They had overcome him in the end, tenaciously, scissoring past him, taking him down. Their heavy shots had splashed into him, and they had followed all the way, firing as they did, with that contagious passion peculiar to hunters.

George Barrett had this to say about the novel in the New York Times Book Review: "James Salter, a West Pointer who went to Korea as a jet fighter pilot, has written a novel of that Far Eastern event that has none of the hokum that (for the sake of specific comparison with recent popular Korean war tales) marks James Michener's output." Hollywood's Dick Powell produced and directed a film version of The Hunters starring Robert Mitchum and Robert Wagner. Although the screenplay by Wendell Mayes bore little resemblance to Salter's story, the movie brought Salter to the attention of a wider audience. RESIGNATION, A SECOND NOVEL, AND DOCUMENTARIES

Encouraged by the publication and warm critical reception of The Hunters (and the $60,000 he received from Paramount for the movie rights), Salter resigned his commission in the Air Force with the rank of major on June 10, 1957, his thirty-second birthday. The decision was difficult and acting on it was even harder. He had been in uniform since the age of seventeen, nearly half his life. He wandered the Pentagon, stalling, feeling ill, before he submitted his papers. Salter has said it felt like a divorce and that he was the spouse who had failed. With his wife and Allan and a second daughter, Nina, who was born in 1957, Salter settled into uneasy suburban life in the town of Grandview, north of New York City. In 1958 the family moved to a more rural setting, New City, in Rockland County, New York. Salter found it

JAMES SALTER / 251 difficult to write in his busy home so he rented a room for himself in the Peck Slip neighborhood of southeastern Manhattan. He commuted daily to this threadbare room for the solitude he needed to work on his second novel, The Arm of Flesh (1961). The neighborhood housed other writers and artists. One in particular became a good friend, the sculptor, Mark di Suvero. Salter submitted the manuscript of The Arm of Flesh to Harper Brothers in 1959 and returned to life in the Hudson Valley. While awaiting publication, Salter supplemented his income by selling swimming pools. This seemingly unrewarding venture (Salter recalls selling only three pools) brought him into contact with Lane Slate, a television writer who lived in nearby Piermont, New York. The two men, finding they were kindred spirits, formed a production company and made documentary films. Their first effort was a social commentary on New York City titled "Daily Life in Ancient Rome," but it was never finished. They did, however, complete several others. One in particular, a twelve-minute documentary about college football titled Team Team Team, released in 1959, surprised its creators by winning first prize at the Venice Film Festival in 1960. Encouraged, the pair went on to produce a series on the circus for PBS and a film on contemporary American painters for CBS. Although Salter had resigned his commission in the Air Force, he remained active in the Air National Guard, flying on weekends and attending summer camps in Virginia and Cape Cod. In 1961, at the height of the Berlin crisis, Salter's unit was called up for service. For the next ten months he was stationed in France. While there, Salter met the man who was to be a major influence on his life as a writer, the American literary lion, Irwin Shaw. Salter and Shaw had the same agent, Max Wilkinson, who suggested to Shaw that he should meet the promising newcomer. Shaw invited Salter to join him for a drink at the Hotel Plaza Athenee

in Paris, and a friendship began that lasted until Shaw's death twenty-eight years later. Salter devoted an entire chapter, "Forgotten Kings," in Burning the Days to their relationship. Indeed, their closeness was such that Salter named one of his children Theo Shaw. A TWICE-TOLD TALE

While Salter was in France, making notes for what would become his third novel, Harper published The Arm of Flesh (1961). For this novel Salter again used his Air Force experiences to provide the plot. Set in Germany in the 1950s, it tells the story of the lives and loves of members of a peacetime American fighter squadron, their wives, mistresses, and others. Salter employs a technique used by William Faulkner in As I Lay Dying (1930), that of using numerous narrators. Each of the seventeen narrators provides his or her perspective of daily events. Without the sustained suspense of combat found in The Hunters, The Arm of Flesh is essentially a novel about boredom. Everyone seems to be waiting for something to happen and, except for several tense scenes of low-fuel landings on fog-enshrouded runways and a trip to Africa for gunnery practice, nothing of much consequence does. Although reviewers reacted favorably to the book, Salter, always his own harshest critic, considered it a failure. He felt that so strongly that he refused requests from such publishers as North Point and Counterpoint to reissue it. Although he abandoned the novel, he did not abandon the story. In the foreword to Cassada (2000), he wrote: This novel about flying is drawn from another, earlier one, The Arm of Flesh, published in 1961 and largely a failure. . . . I had revised The Hunters slightly for its second appearance. The Arm of Flesh, however, had serious faults and needed to be rewritten completely. Even the title deserved to be changed to, in this case, one of the principal characters. It may have been a mistake to try to

252 / AMERICAN WRITERS stand on its feet again a failed book, but there were elements in it that continued to be interesting. . . . This new version, then, is meant to be the book the other might have been.

In Cassada, Salter added some new characters and changed the names of others, but the most striking difference between the two versions is the dropping of the multi-narrator device in favor of a crisp, straightforward narrative. Other changes are less evident but important to note. A good example can be found by comparing the following scene from both novels. Captain Isbell realizes he must eject from his plane or he is sure to die in an unavoidable crash. Just as Salter had found acting on his decision to resign his commission in the Air Force as difficult as making the decision in the first place, Isbell hesitates to take the action that will release him from certain death. In The Arm of Flesh, the passage reads, I sit there, trying to think. There is noise I don't hear. There are things I don't see. I've taken hold of the forked grip. I barely start to squeeze when there's another pause, mortal, abrupt. With a surge though it catches again. My fingers tightening, I force my head back against the plate, tense my legs, bring them close, then before I know what has happened, with a shock, a hunching jolt, I am—my fist still holding the two leaves together, the pale lights vanished beneath me—gone. Departed. Into the black air.

The same scene in Cassada reads, He sits there trying to think. He has hold of the forked ejection grip and is beginning to squeeze when there's another hesitation, mortal, abrupt. A surge as the engine catches again. The last of the fuel. He forces his head back against the heavy plate, tenses his legs bringing them close, and before he knows what had happened, with a shock, a hunching jolt, his fist holding the two leaves tight together, he is gone, through the darkness, into the black air.

Although the two versions are equally suspenseful, the writing in Cassada is leaner, more descriptive. The story concerns the trials and tribulations of a new member of the Forty-fourth Air Force Fighter Squadron stationed in postwar Germany. The newcomer, Lieutenant Robert Cassada, is out of step with the seasoned veterans of the squadron. He loses his breakfast on his initial flight and is mildly ridiculed by the squadron commander, Major Davis Dunning, for preferring tea to coffee. However, Captain Isbell sees promise in the new man. Clearly, Cassada has skill and ambition and only needs the discipline of good leadership. Isbell is determined to provide that and shape Cassada into the pilot Isbell knows he can be. He fails. Nearing their home airfield on a return flight from an assignment in Tripoli, Cassada and Isbell encounter low clouds. The runway lights are not visible to the two pilots. Isbell's plane loses radio contact with the squadron's air tower and Cassada must take the lead in his plane and guide Isbell to a safe landing. After three botched attempts Isbell, low on fuel, loses sight of Cassada and must bail out. Cassada makes another attempt to land but is unsuccessful and is killed. The novel ends with Isbell leaving Germany at the end of his tour of duty. He carries with him the sense that he will someday be haunted by the memory of Cassada, the pilot who tried his best to achieve acceptance and failed. "It was too soon for him to reappear; that would come years after when all of it was sacred and he had slipped in with all the other romantic figures, the failed brother, the brilliant alcoholic friend, the rejected lover, the solitary boy who scorned the dance." This story could be read as just another account of military life with a sad ending, but what Salter has done is provide a picture of the essence of leadership. He separates the posturing, career military men from those who have the qualities and characteristics of true leaders; those officers who are willing and able to give

JAMES SALTER / 253 all that they have to those whom they command. Richard Bernstein, in a review in the New York Times, wrote of the "quiet power of this wonderful little book." Bernstein states that Cassada naturally brings to mind the best of Antoine de Saint-Exupery, a writer to whom Mr. Salter has been compared before, especially the Saint-Exupery of Night Flight (in which we find the phrase, "We always act as if something had an even greater price than life." Which is consistent with Mr. Salter's vision). But while Night Flight is about loneliness and danger, Cassada is about the company of men and the Sophoclean notion of character as tragedy. Mr. Salter is a master at delineating the pressures, the rejections, the mockery and the cruelty that spin within the male community; especially within a male community whose members are competitive, cliquish and defensive and live with a heightened possibility of death. TWINS AND SCREENWRITING

Salter returned home after his tour of duty in Germany and found that his family was about to increase by two. In 1962 he became the father of twins, a daughter named Claude and a son, James Owen. Now with four children and a wife to support, Salter returned to documentary work with Lane Slate. Salter's first opportunity to write a screenplay for a feature film came in 1963 at the request of Howard Rayfiel, a junior member of Weissburger and Frosch, a law firm that specialized in the theatrical arts. His effort, "Goodbye, Bear," was not filmed, but the screenplay attracted the attention of a new talent on Broadway, Robert Redford. The two met for lunch and discussed the possibility of working together on a film. The possibility became a reality when Salter was hired in 1968 to write the screenplay for a movie about an American ski team, with Redford starring as the central character. Salter and Redford traveled with the U.S. ski team and attended the 1968 Winter

Olympics in Grenoble, France, researching all aspects of the lives of competitive skiers. The character Salter created for Redford, David Chapplett, has characteristics similar to those of Connell and Cassada. In the movie, Downhill Racer (1969), Chapplett is called to Europe to replace an injured member of the U.S. team. Chapplett arrives filled with egotism and a determination to excel but has little success and returns home to Colorado. The remainder of the movie follows Chapplett for two more years as he struggles with his coach, teammates, girlfriends, and rival skiers to win the gold medal. The movie concludes with Chapplett achieving his goal. Salter's screenplay ended quite differently. Salter had the not entirely admirable Chapplett finish an outstanding and, to that point, winning run down the mountainside to the finish line. As Chapplett raises in arms in triumph and the American team begins its victory celebration, a little-known competitor from the Austrian team streaks down the slope and beats Chapplett's time. Salter had hoped that this ending would show what he called "the justice of sport," and celebrate the type of modest hero who has almost vanished from sports in this country. Hollywood, however, had another idea. In its version the quiet, talented, unknown Austrian crashes before crossing the finish line and the brash, swaggering American egoist takes home the gold. Salter was disappointed in the final version but he learned a valuable lesson about the limits of attention paid to the screenwriter's vision. Despite his misgivings, Downhill Racer was a popular success and drew a positive review from critic Pauline Kael in her book Deeper into Movies: The Essential Kael Collection from '69 to 72 (1973). Undeterred, Salter continued to write screenplays. Only three of them became finished films: The Appointment (1969), directed by Sidney Lumet and starring Omar Sharif and Anouk Aimee; Three (1969), directed by Salter and starring Sam Waterston and Charlotte Rampling;

254 / AMERICAN WRITERS and finally, Threshold (1981), directed by Richard Pearce and starring Donald Sutherland and Jeff Goldblum. Screenwriting certainly held attractions for Salter: the money was good (he was well paid even if his scripts never made it to the screen), he traveled throughout Europe in style, and he worked with the best and brightest and most glamorous in the business. Eventually, however, it lost its allure. After more than ten years of it, Salter decided to take another direction. There was another final script, which in fact ascended a bit before crashing as the result of a director's unreasonable demands, and I suppose there might have been another and another, but at a certain point one stands on the isthmus and sees clearly the Atlantic and Pacific of life. There is the destiny of going one way or the other and you must choose. And so the phantom, which in truth I was, passed from sight.

Movie offers continued to come his way, however. To fend off these temptations, Kay Eldredge, a journalist Salter met in 1976 and who would eventually become his second wife, had business cards printed in 1980 that read, "Mr. James Salter regrets he is far too occupied to: Write a Movie Script. Polish a Movie Script. Read a Movie Script. Take a Meeting." His disdain for motion pictures is perhaps best expressed in an interview published in the summer 1993 issue of the Paris Review. In it he said: If you have been writing movies you have been accommodating other people. . . . I tend to talk about them disrespectfully, but no matter what is said they have assumed the paramount position in American culture. They are unquestionably the enemy of writing, and this is something that is unresolvable. That is the way it is. A SPORT AND A PASTIME

Of course, the screenwriting and documentary work of the 1960s and late 1970s did not keep

Salter from more literary pursuits. In his Paris Review interview he said, "At that period of life I felt I could write anything: a sonnet, a libretto, a play." In 1961, while stationed in France, Salter met a young French woman who would become a central character in what many consider his best novel. Together they toured the French countryside, visiting sites of architectural splendor, dining in provincial restaurants, and living in small hotels. They parted company when Salter returned to the United States. In 1964 Salter rented a ground-floor room on Downing Street in Greenwich Village with a film editor, Ed Nielsen, and from the notes he had taken in France, began to write what would become A Sport and a Pastime (1967). The title comes from chapter fifty-seven, line nineteen, in the Koran that reads: "Remember that the life of this world is but a sport and a pastime . . ." The story begins in September with an unnamed narrator, who is vacationing in France, leaving Paris by train to visit and photograph the town of Autun. His Paris friends, Billy and Cristina Wheatland, have loaned him their house there, deep in the heart of what the narrator considers "the real France." He settles immediately and contentedly into the life and atmosphere of the town. "A town still rich with bicycles. In the morning they flow softly past. In the streets there's the smell of bread." Waking early on his first morning in Autun, he lies in bed and listens to the bells of the countryside ringing the three-quarter hour: "They flood over me, drawing me out of myself. I know where I am suddenly: part of this town and happy." The narrator returns to Paris briefly to attend a dinner party. There he is introduced to a young American, Phillip Dean, who is traveling through Europe with his family. Dean, who has been in Spain and is on his own, expresses some interest in the area where the narrator is living. They exchange some dinner party pleasantries and part. The narrator is surprised when, a few

JAMES SALTER / 255 weeks later, Dean arrives at his door. Dean is driving a splendid automobile loaned to him by a friend. It is a 1952 Delage, a product of a rather exclusive French manufacturer. Only thirty-eight thousand were made between 1905 and 1953, when production ceased. The car is important to the story. It lends an aura of independence and wealth to Dean, neither of which he has, and it provides greater mobility to the narrator, who has been quite content to travel the countryside on foot. Before Dean even sets foot in the narrator's house, the two go for a drive around the town, stopping at a cafe for a drink and then on to a hotel for dinner. Thus begins a pattern of drinking and dining that continues until Dean meets a young lady and a new element is added to the routine. The narrator readily agrees to let Dean stay with him for a few days. He stays much longer, using the house in Autun as his home base for several months. This young man, who he learns has quit Yale University twice because it was too easy for him, fascinates the narrator. He had always been extraordinary in math. He had a scholarship. He knew he was exceptional. Once he took the anthropology final when he hadn't taken the course. He wrote that at the top of the page. His paper was so brilliant the professor fell in love with him. Dean was disappointed, of course. It only proved how ridiculous everything was.

They drive to Dijon one night to enjoy some drinks and music at a bar, La Rotonde. There the narrator sees an attractive young French woman at a table with several black American soldiers. "Suddenly I am in anguish, I don't know why—she obviously cares nothing—but somehow because of her predicament. She looks sixteen. Her young arms flash softly in the gloom." However, he says nothing of his concern about the safety of this vulnerable girl to Dean and they drive home. Several days later Dean announces that he has a surprise for the narrator and whisks him away to dinner in town.

There to join them is the young woman from the bar in Dijon, Anne-Marie Costallat. It becomes evident that the narrator is in love with the girl. He dotes upon her every move. However, he does not challenge Dean's obvious intention to possess her. Perhaps it is the age difference that causes the narrator to stand aside; Dean is twenty-four and the narrator is ten years older. Perhaps he is reluctant to participate in any physical relationship, preferring to be an observer instead. He tells the reader, "I am only the servant of life. He is an inhabitant." It is important to note that the narrator is a photographer by profession. He has come to France on an impulse, inspired by the photographs of a now-vanished Paris made by Eugene Atget in the early 1900s. Like Atget, he is a man who creates pictures in which he is not included. For the remainder of the novel, roughly the last three-fourths of the story, the narrator presents the reader with images of the liaisons between Dean and Anne-Marie that he has developed in the darkroom of his imagination. Indeed, he goes so far as to state that everything he is relating is make-believe. "None of this is true," he claims, adding: "I am not telling the truth about Dean, I am inventing him. I am creating him out of my own inadequacies, you must always remember that." This is puzzling. Asked in the Paris Review interview about the narrator's role, Salter said, This book would have been difficult to write in the first person—that is to say if it were Dean's voice. It would be quite interesting written from Anne-Marie's voice, but I wouldn't know how to attempt that. On the other hand, if it were in the third person, the historic third, so to speak, it would be a little disturbing because of the explicitness, the sexual descriptions. The question was how to paint this, more or less. I don't recall how it came to me, but the idea of having a third person describe it, somebody who is really not an important part of the book but merely serving as an intermediary between the book and the reader, was perhaps the thing that was going to make it

256 / AMERICAN WRITERS possible; and consequently, I did that. I don't know who the narrator is. You could say it's me; well, possibly. But truly, there is no such person. He's a device. He's like the figure in black that moves the furniture in a play, so to speak, essential, but not part of the action.

He approached the question again in his introduction to the 1995 Modern Library edition of the book: The question of the novel's narrator is often posed, and how much of what he relates is invented or imagined. Very little, in my opinion. I am impressed by his powers of observation and tend to trust his description of scenes. If he—and he is almost certainly not the author—expresses a degree of disbelief and longing, I can understand it in view of the position in which he has been placed. He has many of my sentiments but the experience is his own.

Neither of these statements adequately addresses the question of how the narrator could know the very intimate details of Dean and Anne-Marie's adventure. Reynolds Price has commented: "I think Sport is one of the finest of all American novels, though almost nobody ever seems to comment on how mysterious it is. ... The narrator apparently invents all the narration of the young couple's love affair—otherwise how could he know the details?" In the first phase of their mutual enchantment, Dean and Anne-Marie travel in the Delage throughout France, visiting sites of architectural or historical significance, planning where to stay, deciding what to eat. What keeps this from becoming a tedious slide show for the reader is the inclusion of that which is forbidden: a voyeuristic view of the couple's erotic explorations and experimentation. Their romance takes off like a bottle rocket and they enjoy long days and nights of mutual gratification for several months before the brilliance inevitably fades. Dean's money begins to run out and he borrows from his father, his

sister, and his sister's friend and finally sells his return flight ticket to fund the life without consequences he leads with Anne-Marie. However, Anne-Marie begins to annoy him: she shuts the door of the Delage too hard; she wears too much lipstick; her feet are dirty. Eventually, he decides to return home to America. He tells the narrator that he must go back to "organize myself a little. I've even been thinking about going back to school." The narrator loans him the money for his plane fare and agrees to look after the Delage, which is packed with things Dean does not want to take with him. Dean meets with Anne-Marie for the last time, promising to return for her when he has raised some money. Anne-Marie knows better. They part silently the morning of his departure. The narrator learns that soon after his arrival in America, while driving to visit his sister, Dean was killed in an automobile accident. Anne-Marie meets the narrator in a cafe and he expresses his concern about her future. She is clearly in shock and responds to his questions and offers of help in flat monosyllables. At the novel's end the Delage sits under the trees near the narrator's house, "like a very old man fading, it has already begun to crumble before one's eyes." Salter gives the novel this sad, somewhat ironic closing: "As for AnneMarie, she lives in Troyes now, or did. She is married. I suppose there are children. They walk together on Sundays, the sunlight falling upon them. They visit friends, talk, go home in the evening, deep in the life we all agree is so greatly to be desired." Salter offered A Sport and a Pastime to Harper Brothers but they refused it, saying it was repetitive and uninteresting. Other refusals followed. Salter was ready to give up hope of ever seeing it published when a friend, William Becker, showed it to George Plimpton, the editor of the Paris Review. Plimpton eagerly accepted the book, and in 1967 Doubleday published it as one of its Paris Review editions.

JAMES SALTER / 257 Webster Schott wrote this in his review for the New York Times Book Review: "It's a tour de force in erotic realism, a romantic cliff-hanger, an opaline vision of Americans in France. . . . A Sport and a Pastime succeeds, as Art must. It tells us about ourselves." Doubleday, however, did not know quite what to make of the book. It was not well publicized. It sold only a few thousand copies in that edition. Bantam, followed by Penguin, then published it, and for the next eighteen years the novel circulated among writers and curious readers, creating a cult of admirers. In 1985 North Point Press published it as a trade paperback, and in 1995 The Modern Library recognized the novel's importance by adding it to its list of literary classics and publishing a hardcover edition. One of the novel's greatest admirers was Reynolds Price, who in a review for the New York Times Book Review wrote, "Of living novelists, none has produced a book I admire more than A Sport and a Pastime, by James Salter. In its peculiar compound of lucid surface and dark interior, it's as nearly perfect as any American fiction I know." LIFE IN THE SOUTH OF FRANCE

In 1967 Salter booked passage on the France for himself, his wife, their four young children, and the family cat and dog. Salter intended to spend a year in France writing. An old, unheated, sparsely furnished stone farmhouse, La Moutonne, near the village of Grasse in Provence, was available for lease and Salter wrote to its previous tenants, Robert Penn Warren and his wife, Eleanor Clarke, for their assessment of the dwelling. Clarke responded that it was paradise with a distant view of the sea. She added that he would enjoy the most wonderful year of his life there if he could avoid freezing to death. The farmhouse had a resident white goat named Lily, who was a source of delight and companionship for the children as well as a

provider of fresh milk. Except for the cold, the Salters found the place ideal and extended their stay an additional year. In this idyllic setting Salter wrote outside at a table he placed on the second-floor balcony. He was still working on screenplays at this time but he also began to write short stories. The Paris Review had published a chapter of A Sport and a Pastime as a story, "Sundays," in 1966, and they published four new stories over the next six years: "Am Strand von Tanger" (1968), "The Cinema" (1970), "The Destruction of the Goetheanum" (1971), and "Via Negativa" (1972). Another story from this period, "Cowboys," later changed to "Dirt," was published in the Carolina Quarterly in 1971. LIGHT YEARS AND DIVORCE

When the Salters returned to America in 1969, they settled in Aspen, Colorado, where they owned a small house that had been used for summer visits since 1962. Here Salter put aside short stories for a while and turned his attention to writing Light Years (1975), his novel about conjugal life. Coming as it did directly after A Sport and a Pastime, it is tempting to read Light Years as a sequel to that equally lyrical and episodic book. It could be considered the story of "the life we all agree is so greatly to be desired." Indeed, in this novel of surface appearances and the dark depths beneath, the life of Nedra and Viri (Vladimir) Berland seems quite desirable. In 1958, when the novel opens, Viri is a thirty-year-old architect who yearns for that one glorious project that will bring him fame. His wife, Nedra, is stunningly attractive and intelligent. They have two daughters, Franca and Danny, and live on an estate in a large Victorian house on the banks of the Hudson River with a variety of animals and family pets. They indulge themselves in the best: the best books, the best art and music, the best shops that sell the best

258 / AMERICAN WRITERS food and wine. Even their friends are the best sort: artistic, exotic, foreign. The children are loved and loving, and the house is filled with the joys of parties, holiday gatherings, birthdays. The security and happiness of this marriage seems unassailable. However, there is one unavoidable attacker poised to disrupt all this perfection and contentment: the passage of time. What was once spontaneous becomes a routine and boredom sets in. Viri drifts into a briefly satisfying but ultimately humiliating affair with a young woman from his office. Nedra, in her turn, has a longerlasting and more satisfying involvement with a family friend, Jivan. Time and familiarity bring it to an end. "In Jivan she noticed for the first time things which were small but clear, like the faint creases in his face which she knew would be furrows one day; they were the tracings of his character, his fate. . . . She would always have affection for him, but the summer had passed." She coolly brings the affair to an end. While shopping for wineglasses with a friend, she proclaims her strength and courage, saying, "The only thing I'm afraid of are the words, 'ordinary life.'" Nedra soon begins another affair—this time with the poet, Andre Orlosky, whom she has met at Jivan's home. Viri's suspicions about her relationship with Andre and his concerns about the effect that their mother's open infidelity may have on Franca and Danny are answered by Nedra: "Viri," she said through the doorway, "but isn't it better to be someone who follows her true life and is happy and generous, than an embittered woman who is loyal? Isn't that so?" He did not answer. "Viri?" "What?" he said. "I'm afraid it makes me ill." "It all evens out in the end, really." "Does it?"

"It doesn't make that much difference," she said.

Despite her emotional distance from Viri, Nedra accompanies him on a vacation to England. Their two weeks together only reinforce Nedra's need to be away from her husband, and she tells him that she does not want to go back to their old life. They live together a few more months until the divorce is final. Nedra, now forty, leaves for Europe, where she dines with interesting men and reads Madame de Stael. Viri stays in the house with his daughters, who are now grown and involved in questionable relationships. He tries to hold his life together by doing those things he had done with his wife. He goes to a performance of Ibsen's The Master Builder. He drinks too much at dinner parties and guests ask, "Who is that pathetic man?" However, he is unable to hold the pieces of his old life together, so he sells the house and flees to Rome, hoping to start fresh. Soon after arriving, he meets and soon marries a beautiful and desperately needy younger woman who works as a receptionist for an architectural firm. Although her dependence upon him and her constant desire to satisfy his every sexual wish annoy him, she helps him survive the torturous process of forgetting what had passed from his life. Nedra, after her short time in Europe, returns to New York City and lives in an apartment near the Metropolitan Museum. "She formed her life day by day, taking as its materials the emptiness and panic as well as the rushes, like fever, of contentment. I am beyond fear of solitude, she thought, I am past it. The idea thrilled her. I am beyond it and I will not sink." However, in the spring of her forty-seventh year, she becomes ill: A voice of illness had spoken to her. Like the voice of God, she did not know its source, she only knew what she was bidden, which was to

JAMES SALTER / 259 taste everything, to see everything with one long, final glance. A calm had come over her, the calm of a great journey ended.

She leaves the city and takes a small house near the sea where Franca comes to visit. They sit in the dunes, drink wine, and Franca reads a life of Tolstoy to her mother. Nedra realizes happiness is not to be found in "that sumptuous love which makes one drunk. . . . But to be close to a child, for whom one spent everything, whose life was protected and nourished by one's own, to have that child beside one, at peace, was the real, the deepest, the only joy." She dies the following autumn. Her daughters and a few friends attend her funeral. In the novel's final chapter, Viri returns alone to the scene of his finest days. He wanders the grounds near his old home. Amid the decaying reminders of the full life once lived there— rotten branches, worm-eaten tools, the children's fort collapsed in the tall grass—he discovers an old tortoise, once a family pet, on whose shell he can still make out initials carved there many years ago. He walks to the river's edge and realizes, "It happens in an instant. It is all one long day, one endless afternoon, friends leave, we stand on the shore. Yes, he thought, I am ready, I have always been ready, I am ready at last." As with A Sport and a Pastime, Salter had difficulty finding a publisher for Light Years. Farrar Straus and Scribners turned it down. Finally, Random House editor Joe Fox, the editor for such authors as Paul Bowles and Truman Capote, accepted the book and it was published in 1975. Critical reviews ranged from adoration to sarcastic contempt. Although James Wolcott in Esquire called it "an unexpectedly moving ode to beautiful lives frayed by time," Robert Towers announced in the New York Times Book Review that it was "an overwritten, chi-chi, and rather silly novel." Sales were disappointing, but the book never went out of print and eventually found itself in Harold Bloom's modern canon.

DIVORCE AND SOLO FACES In 1975 the Salters' twenty-four-year marriage ended in divorce. The following year Salter began sharing his life with playwright and journalist Kay Eldredge. In about 1969 Robert Redford discussed with Salter a screenplay about mountain climbing. Salter, never an armchair expert, took up the sport seriously, climbing with and interviewing experts in the United States and Europe. Redford did not like the screenplay and it was shelved until Robert Ginna, a good friend and the editor-in-chief at Little, Brown, offered Salter fifty-thousand dollars to transform the screenplay into a novel. Salter based Solo Faces (1979) on the exploits of Gary Hemming, an American mountain climber who was famous in the 1950s and 1960s. When Salter began his research, Hemming had been dead for a year from a selfinflicted gunshot. He relied on interviews with Hemming's friends and a careful study of his voluminous correspondence to create Vernon Rand. A loner and drifter, Rand has one passion, mountain climbing. Women find him mysterious and attractive and, indeed, Rand enjoys the pleasures of several, but gives his heart only to the next climb. He travels to Europe, supporting himself by menial jobs, in search of greater challenges to his skills. In France he encounters fellow climber and friendly rival, John Cabot. Together they complete an extremely difficult climb up the West Face of the Dru, a forbidding mountain near the town of Chamonix, France. Few climbers have successfully scaled the Dru from that direction, and when Rand and Cabot arrive back in town, a reporter from a Geneva newspaper who has heard of their daring attempt comes to interview them. His story turns the pair into minor celebrities. Soon thereafter, Cabot and Rand part company. Rand makes a few solo climbs in the region. During one of these, he learns that two Italian climbers, a man and a woman, are trapped high on the West Face

260 / AMERICAN WRITERS of the Dru. A rescue party has been trying to reach them by taking the far easier ascent on the North Face, but Rand knows this will take too long. The couple has been stranded on a narrow ledge for days already. Rand enlists three other amateur climbers, leads them on a direct climb up the West Face, and rescues the injured man and his fiancee. "When he woke he was famous. His face poured off the presses of France." He is the toast of Paris. People recognize him on the street. If he stops to speak to someone, a crowd gathers. Women take him to their beds. Soon, however, he returns to the mountains feeling old, out of shape, and discarded. Rand attempts another solo climb but something has gone out of him. He loses his courage and turns back. He tells reporters watching his climb that he has not prepared well and would perhaps return to America for a rest. One of the reporters tells him that he had heard that Cabot was seriously injured in a fall while climbing in Wyoming. Rand makes his way back to California and finds his old friend paralyzed from the waist down and confined to a wheelchair. Rand stays with Cabot and his wife for a few days, refusing to accept Cabot's physical condition. He insists that it is only a lack of will and courage that keeps Cabot from standing and walking. After a night of drunken gunplay, Rand borrows Cabot's car and disappears into the realm of legend. Over the years there are stories told of a lone climber who resembles Rand seen in Yosemite and Baja and Colorado. "They talked of him, however, which was what he had always wanted. The acts themselves are surpassed but the singular figure lives on." Rand achieved the glory that escaped Cleve Connell and Robert Cassada, but like Nedra and Viri Berland he fell victim to the powers of time and nature. Reviews of the novel, particularly that of Vance Bourjaily in the New York Times Book Review, were favorable, and it became Salter's best-selling book.

THE SHORT STORIES

The 1980s were a time when Salter's literary output took the form of short stories and journalistic pieces. It was also a time of overwhelming personal tragedy. The decade began with the accidental death of his oldest daughter, Allan. Salter found her lying in the shower of his Colorado home. The cause of death was electrocution. She was in her midtwenties. Salter left Aspen, the town he had called home since 1969, and returned to New York. In Burning the Days he wrote, "At the end of the summer of 1980 we drove East. I had been living, toward the end divorced, in Colorado and after the death of my daughter decided, more or less, to go home. I was drawing a line beneath ten years." In 1982 Salter received the prestigious American Academy and Institute of Arts and Letters Award, and in 1985 Theo Shaw Salter, son of Salter and Eldredge, was born. The couple had carefully planned a trip to Paris so that their child would be born there. Construction was completed on their home in Bridgehampton, Long Island, in 1986. During this time of great change and challenge, Salter saw six of his short stories published. Three appeared in Esquire: "Foreign Shores" (1983), "The Fields at Dusk" (1984), and "American Express" (1988). The other three were published in Grand Street: "Akhnilo" (1981), "Lost Sons" (1983), and "Twenty Minutes" (1988). These six, together with four of the five previously published in the Paris Review (all but "Sundays") and "Dirt" from the Carolina Quarterly, were published as Dusk and Other Stories in 1988. Each story in the collection has what Salter has called the three essentials of greatness: style, structure, and authority. These compact, lean tales are as memorable as the best of Chekhov, Hemingway, or Isaac Babel. Salter's personal favorite is "American Express." It tells the story of two young New York City lawyers, Frank and Alan, who achieve success and wealth by

JAMES SALTER / 261 abandoning their ethics. They engage in nothing criminal, no overt scandalous behavior; they just allow themselves those small betrayals of the heart and conscience that so often lead to moral corruption. On vacation in Europe, they pick up a schoolgirl, Eda, who agrees to travel with them. She clearly belongs to Frank, but at the story's end he offers to share her with Alan, who is showing signs of dismay. Alan is ashamed but takes her to his bed. Early the next morning, looking out the window of the hotel room, he sees a man leaving on an errand. "He was going to get the rolls for breakfast. His life was simple. The air was pure and cool. He was part of that great, unchanging order of those who live by wages, whose world is unlit and who do not realize what is above." What the reader brings to this story will determine if Alan is contemptuous of the man or envious. The most unusual story in the collection is "Dirt," unusual in that it is not set in New York City or Europe as the others are, but in the desert Southwest. The two main characters, old Harry Mies and his helper Billy, are day laborers who hire out to do odd jobs. They are poor but exceptionally skilled and make enough money to get by. Their satisfaction in life is the knowledge they have done a job well, and have received fair pay for their efforts, and that once in a while there is a cold beer waiting for them at the end of a hot day. When Harry dies after finishing a long, difficult job, the most valuable thing he leaves behind is the stories of his life he has shared with Billy. A. R. Gurney, in his review of Dusk and Other Stories in the New York Times Book Review, wrote, "Lest it seem that Mr. Salter confines himself only to the concerns of the privileged, it should be added that the final story, 'Dirt,' is about a relationship that is cemented through common manual labor, and evokes in some ways the world of Robert Frost." Indeed, reading Frost's "Two Tramps in Mud Time" (1936) or "The Death of the Hired Man" (1914) after reading Salter's "Dirt" is a

revelation. Salter exhibits in this collection a profound sympathy and understanding for all people in all walks of life. Dusk and Other Stories brought Salter more critical acclaim than any of his previous books, and in 1989 it won the PEN/Faulkner Award. BURNING THE DAYS

Over the years, Salter had supplemented his income by writing articles for several different magazines and accepting teaching positions at Vassar, the Iowa Writers' Workshop, the University of Houston, and Williams College. In the 1970s Salter interviewed Vladimir Nabokov and Graham Greene for People magazine. It was the death of a very close friend, the man he calls Leland in Burning the Days, that prompted Salter to write the autobiographical essay "The Captain's Wife," which appeared in Esquire in June 1986. He had considered making a piece of fiction of the story of his relationship with the captain ("Leland") and the captain's wife ("Paula"), but in the end decided to tell their story truthfully. When Joe Fox, Salter's editor at Random House, saw the piece in 1986, he encouraged Salter to write similar pieces about the world he had known. Salter reluctantly agreed. His reluctance was based in part on his private nature; however, his military training, in which one is taught that the self counts for nothing, certainly played a part as well. He took his time revisiting places of personal history, interviewing old friends, and pouring over his vast correspondence. The result, Burning the Days, was published by Random House in 1997, eight years after the originally contracted publication date. He wrote in the preface, "Wearied by self-revelation, I would stop for months before starting in again." What is contained in this recollection is the story of a life lived fully. The sheer number of people he knew, adventures he pursued, dangers he challenged, losses he survived, rivals those

262 / AMERICAN WRITERS of anyone who ever lived including Hemingway, who perhaps only had better press coverage. Salter's own words provide the best description of the book: If you can think of life, for a moment, as a large house with a nursery, living and dining rooms, bedrooms, study, and so forth, . . . the chapters which follow are, in a way, like looking through the windows of this house. Certain occupants will be glimpsed only briefly. Visitors come and go. At some windows you may wish to stay longer, but alas. As with any house, all within cannot be seen.

The book was well received by critics, though some, who may have expected a racy confessional, were, as Richard Bernstein wrote in the New York Times, "annoyed by his secretiveness." THE DAYS YET TO BURN

Salter and Eldredge postponed getting married until they could have the service performed in Paris. The forty-day residency requirement was a stumbling block, but they held fast to their desire for twenty-two years and were wed in Paris in 1998. That same year, Salter was presented the Edith Wharton Citation of Merit from the New York State Writers Institute and the John Steinbeck Award. In 2001 Salter and his wife still lived in the heart of a literary community on Long Island, occasionally getting away to Aspen, Colorado. The idea of retirement is foreign to most writers. In a phone conversation on January 5, 2001, Salter, then seventy-five years old, said that he was working on another collection of short stories and a new novel. The answer to why he continues to work on what Hemingway called "the roughest trade of all" can be found at the conclusion of a Paris Review interview. The interviewer, poet Edward Hirsch, asked Salter, "What do you think is the ultimate impulse to write?" Salter answered,

To write? Because all this is going to vanish. The only thing left will be the prose and poems, the books, what is written down. Man was very fortunate to have invented the book. Without it the past would completely vanish, and we would be left with nothing, we would be naked on earth.

Selected Bibliography WORKS OF JAMES SALTER NOVELS

The Hunters. New York: Harper, 1956. The Ann of Flesh. New York: Harper, 1961. A Sport and a Pastime. Garden City, New York: Doubleday, 1967. Light Years. New York: Random House, 1975. Solo Faces. Boston: Little, Brown, 1979. Cassada. Washington, D.C.: Counterpoint, 2000. SHORT STORIES

"Sundays." Paris Review 38:140-148 (summer 1966). Dusk and Other Stories. San Francisco: North Point, 1988. "Comet." Esquire, July 1993, pp. 74-76. "My Lord You." Esquire, September 1994, pp. 150156. POETRY

Still Such. New York: William Drenttel, 1992. NONFICTION

"The Captain's Wife." Esquire, June 1986, pp. 130135. Tasting Paris: An Intimate Guide. Hopewell, N.J.: Ecco Press, 1996. Burning the Days: Recollections. New York: Random House, 1997.

CRITICAL AND BIOGRAPHICAL STUDIES Alvarez, A. "High Flier." New York Review of Books, January 15, 1998, pp. 37-39.

JAMES SALTER / 263 Barrett, George. "Death's Equals." New York Times Book Review, March 4, 1956, p. 36. Bernstein, Richard. "Many Rooms in the Life of a True Writer's Writer." New York Times, August 25, 1997, p. B6. . "A Writer's First Effort Gets a New (and Altered) Life." New York Times, January 5, 2001, p. B45. Bourjaily, Vance. "Different Points of View." New York Times Book Review, August 5, 1979, p. 11. Dowie, William. James Sailer. New York: Twayne Publishers, 1998. Gurney, A. R. "Those Going Up and Those Going Down." New York Times Book Review, February 21, 1988, pp. 9, 11. Hynes, Samuel. "A Teller of Tales Tells His Own." New York Times Book Review, September 7, 1997, p. 9. Kael, Pauline. Deeper into Movies: The Essential Kael Collection from '69 to 72. Boston: Atlantic Monthly Press, 1973. Price, Reynolds. "Famous First Words: Well Begun Is Half Done." New York Times Book Review, June 2, 1985, p. 3. Schott, Webster. "Toujours 1'amour." New York Times Book Review, April 2, 1967, p. 47. Smith, Dinitia. "A Fighter Pilot Who Aimed for Novels but Lives on Films." New York Times, August 30, 1997, pp. 13-14. Towers, Robert. "For Devotees of Scott Fitzgerald? Edward Fitzgerald?" New York Times Book Review, July 27, 1975, pp. 6-7. Wolcott, James. "Great Escapes." Esquire, July 1982, pp. 119-120.

. "Me, Myself, and I." Vanity Fair, October 1997, pp. 212+.

INTERVIEWS Baker, Charles R. Letter from James Salter. December 21,2000. . Telephone conversation with James Salter. January 5, 2001. Hirsch, Edward. "James Salter: The Art of Fiction: CXXXIII." Paris Review 127:54-100 (summer 1993). Stern, Daniel. "Writers Talk: George Plimpton, James Salter, Daniel Stern." Hampton Shorts 2:252-276 (1997).

FILMS BASED ON SCREENPLAYS BY JAMES SALTER The Appointment. Screenplay by James Salter. Directed by Sidney Lumet. MGM, 1969. Downhill Racer. Screenplay by James Salter. Directed by Michael Ritchie. Paramount, 1969. The Hunters. Screenplay by Wendell Mayes. Directed by Dick Powell. Paramount, 1957. (Based on Sailer's novel of the same name.) Three. Screenplay by James Salter. Directed by James Salter. United Artists, 1969. Threshold. Screenplay by James Salter. Directed by Richard Pearce. Twentieth Century Fox, 1981.

—CHARLES R. BAKER

Louis Simpson 1923-

L

praised were paved over and that the prairie had become a subdivision or shopping mall. He captures these ironies in his poem "Walt Whitman at Bear Mountain" and in many of the other poems in this collection. As Hank Lazer has noted in his essay "Louis Simpson and Walt Whitman: Destroying the Teacher," "His encounter with Whitman is pivotal in Simpson's development from an Audenesque, formal, ironic poet into a writer of free verse, dramatic narratives of ordinary life." This transformation continued throughout the 1960s and became refined through the influence of the Russian dramatist and short story writer Anton Chekhov and the Romantic poet William Wordsworth, writers whom Simpson read closely. Simpson especially admired Chekhov's short stories and his tragicomic vision of life. In an essay entitled "Rolling Up" (A Company of Poets, 1981), the poet notes:

/GUIS SIMPSON, POET, critic, memoirist, translator, and novelist, won the Pulitzer Prize for poetry in 1964 for his collection At the End of the Open Road (1963). He is best known for his work as a poet, and his writing often is divided by critics into three major phases. In the decades of the 1940s and 1950s, Simpson wrote and published primarily formal poems about his experiences as a soldier in World War II and about love. These poems are collected in his first three volumes, The Arrivistes: Poems 19401949 (1949), Good News of Death and Other Poems (1955), and A Dream of Governors (1959). As the decade of the 1950s wound down, he began a major shift in his aesthetic approach, however. The formal decorum of his earlier poems is abandoned in favor of free verse and a more conversational voice. Simpson was influenced at the time by the translations and poetry of Robert Ely, who, along with James Wright, pioneered a body of striking new American poetry in the early 1960s referred to as "deep imagism." These changes bore fruit in At the End of the Open Road. Critics have pointed out that Simpson at this time felt a need to reenvision America. This reenvisioning was, in part, a consequence of the poet's reaction to Walt Whitman's exuberant view of America, as expressed in Leaves of Grass (1855). As a Jamaican who immigrated to the United States, Simpson always has had a keen eye and ear for his adopted country. The title of his fourth collection is a variant of the title of Whitman's poem "Song of the Open Road." By the end of the 1950s, Simpson recognized that the open roads Whitman had

I have tried to bring into poetry the sense of life, the gestures that Chekhov got in prose. . . . I have mixed humorous and sad thoughts in my poems, because this is the way life is. People want the sights and sounds of life; they ask for life in poetry. They ask for bread, but instead they have been given stones.

Simpson admires Wordsworth for his emotional intensity and for "writing with the sound of speech." In his short essay "To Make Words Disappear," also published in A Company of Poets, Simpson discusses the rationale for this approach to writing poetry: "Emotional intensity—this, as far as I can tell, is what

265

266 / AMERICAN poetry consists of." In the same essay, he goes on to say: I would like to write poems that made people laugh or made them want to cry, without their thinking that they were reading poetry. The poem would be an experience—not just talking about life, but life itself. I think that the object of writing is to make words disappear.

The three collections that followed At the End of the Open Road reflected these influences on Simpson's work. In Adventures of the Letter I (1971), the poet explores his mother's Russian ancestry and Chekhovian storytelling abilities. In Searching for the Ox (1976), Simpson applies the Wordsworthian emphasis on the poetry of common speech to his earlier life in the tropics and to the experiences of urban and suburban Americans. In Caviare at the Funeral (1980), he combines several of these elements, writing poems about the old country, Russia, and the New World, America. In the third phase of Simpson's career, which covers the decades of the 1980s and 1990s, the poet increasingly emphasized the narrative quality of his verse. In "The Death of the Lyric: The Achievement of Louis Simpson," the contemporary poet-critics Mark Jarman and Robert McDowell praise Simpson as "an American original" because of his narratives of suburban American life. Simpson's late work has spurred critical discussion that places him in the American narrative tradition of Edwin Arlington Robinson and Robert Frost. SIMPSON'S FORMATIVE EDUCATION

Louis Aston Marantz Simpson was born in Kingston, Jamaica, in the British West Indies on March 27, 1923. His father, Aston, who was of Scottish ancestry, was a lawyer and a sportsman. Simpson's mother, Rosalind Marantz, was a Russian Jew whose family had immigrated to the United States. Rosalind, who had worked in

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the garment district of New York City and later became an actress, went to Jamaica "on location" for a film, where she met Aston. He followed her back to New York and returned to Kingston with her as his wife. When he was about six, Simpson's parents divorced. His father remarried several years later and moved with Simpson's stepmother to Bournemouth, an area to the east of Kingston. At the age of nine, Simpson began attending Munro College, a private preparatory school in the mountains that his older brother Herbert also attended. The school was a hundred miles to the west of Kingston, where Simpson attended Anglican services twice a day and became an avid reader. Simpson's mother left the island. She moved to Toronto, then traveled for the Helena Rubenstein company, selling cosmetics. In 1940, following the death of his father and his graduation from Munro College, Simpson left Jamaica for New York City and enrolled in Columbia College. There he studied with the professors Lionel Trilling and Mark Van Doren. He took Trilling's humanities course, which emphasized the great books, ranging from works by Homer to those of Franz Kafka. In his memoir, The King My Father's Wreck (1995), he credits this course with having "made a great difference," broadening and deepening his knowledge of Western literature and culture and, at the same time, sharpening his critical perspective on modern and contemporary literature. Simpson preferred Van Doren, however, who was a poet and expressed a spontaneous love for literature in the classroom. Simpson's years at Columbia were interrupted by World War II. He enlisted in the U.S. Army in 1942, served with the 101st Airborne in Europe until 1945, and received the Purple Heart and was twice awarded a Bronze Star. After the war Simpson returned to Columbia University, where he received his bachelor of science degree in 1948 and a master of arts degree in 1950. Meanwhile, Simpson had

LOUIS SIMPSON / 267 married Jeanne Rogers in 1949. The couple had one child, Matthew, and divorced in 1954. His wartime experiences had a major impact on his work as a poet. Many of the poems he published in his first three books grew out of his experiences of combat. The poet's wartime experiences also helped shape his aesthetics and, in particular, his theory of poetic language. In his essay "Lessons of the Body," printed in The King My Father's Wreck, he notes that "words to me were pale in comparison with experience, mattered only in so far as they transmitted experience." As a result, Simpson was distrustful of poststructuralist literary theory. In the same essay, he criticized "those who have taken their text from [the Swiss linguist Ferdinand de] Saussure and who teach that there is no direct connection between words and life, only between one word and another, one 'sign' and another." POEMS OF WAR AND LOVE

Simpson's first collection of poetry, The Arrivistes: Poems 1940-1949, is distinguished by a number of striking poems of war and love. One of the more famous of these early poems, "Carentan O Carentan," written in the form of a ballad, describes a dream where he is "walking with other shadowy figures along what seemed to be the bank of a canal, when bullets slashed the trees and shells were falling" ("Lessons of the Body"). This dream occurred a few years after the war, while Simpson was living in Paris. One effect of his combat experience had been to block memories of the war. But upon awakening from this dream, he wrote it down and realized that it was an event which really had happened. The scene of the carnage had once been peaceful and serene: Trees in the old days used to stand And shape a shady lane Where lovers wandered hand in hand Who came from Carentan.

The idyllic innocence described in this stanza, however, is disrupted violently by the ambush of an American platoon. Machine guns "aimed between the belt and boot / And let the barrel climb." The fire shatters the calm and maims and kills the speaker's fellow soldiers. It is a poem of initiation into the horrors of warfare and the resultant loss of innocence, summarized in the poem's concluding stanza: Carentan O Carentan Before we met with you We never yet had lost a man Or known what death could do.

The poem's simple diction and its depth of emotion and clarity of statement continued to characterize Simpson's poetry, but he came to see the ballad form as too restrictive. As an infantryman in combat, Simpson had seen the dead and dying all around him. He was all too familiar with the precarious existence of a foot solider, and, in his memoir The King My Father's Wreck, he describes his feet freezing in a foxhole. In another poem from The Arrivistes, "Arm in Arm," he writes of the dead lying in a ditch in Holland, where the 101st Airborne had fought: Arm in arm in the Dutch dyke Were piled both friend and foe With rifle, helmet, motor-bike: Step over as you go.

This poem, like "Carentan O Carentan," is written in carefully constructed quatrains with a regular abab rhyme scheme. The carnage the speaker observes, however, stands in sharp contrast to the neat and orderly stanzas. Early in his career Simpson employed form to bear testimony to the tragedies of war. The lyrical quality of each stanza belies the brutality of the scene, yet at the same time it works to emphasize through the use of end rhyme the pathos of the fallen dead. Simpson often employs form in

268 / AMERICAN WRITERS his early war poems as an ironic counterpoint to the tragic fate of the victims, who, like the fallen Captain in this poem, can no longer be of use: O, had the Captain been around When trenching was begun, His bright binoculars had found The enemy's masked gun!

While several other poems in this first collection address Simpson's wartime experiences, the volume also contains witty love poems. In the frequently anthologized "Song: 'Rough Winds Do Shake the Darling Buds of May,'" the poet evokes the sexual awakening of a sixteen-year-old girl. Formally, the poem is strikingly different from all the other poems in the collection. It is composed primarily of triadic stanzas, arranged on the page like many of William Carlos Williams's free verse poems. It is one of Simpson's early experiments in free verse. Of the subject's erotic awakening, he writes: She is sixteen sixteen and her young lust Is like a thorn hard thorn among the pink Of her soft nest.

In the poem "Summer Storm" Simpson also writes about sexual awakening, but he reverts to the traditional quatrains of several other poems in The Arrivistes: In that so sudden summer storm they tried Each bed, couch, closet, carpet, car-seat, table, Both river banks, five fields, a mountain side, Covering as much ground as they were able.

He describes the "couple" just about everywhere possible, including parks and fields. Yet for all their libidinous activity, the sonnet concludes on a note of domestication: "God rest them well,

and firmly shut the door. / Now they are married Nature breathes once more." In these two poems Simpson seems more interested in sexuality than he is in romantic love. In a third love poem, "A Witty War," the poet speaks to the chasms that can develop between lovers. A relationship that begins in kisses and closeness develops into something far more treacherous: "Between us two a silent treason grows. / Our eyes are empty, or they meet with tears." The Arrivistes, the publication of which was paid for by the poet, was met with generally favorable reviews. Randall Jarrell, writing in a 1950 issue of Partisan Review, noted that "Louis Simpon is as promising a new poet as I've read in some time." From 1950 to 1955 Simpson worked as an associate editor for the Bobbs-Merrill Publishing Company, where his job was to review submitted manuscripts. He had been divorced and was renting an apartment in the East Fifties. Good News of Death and Other Poems was the second volume published in Scribner's Poets of Today series, edited by John Hall Wheelock. A few months before the publication of the volume, Simpson received a letter dated July 25, 1955, from Mark Van Doren, his former teacher at Columbia. In this correspondence (quoted in Ronald Moran, Louis Simpson), Van Doren notes: "Good News of Death is better than ever. I mean the whole collection, though I mean the pastoral too. You have a wonderful wit that never, I swear, stops playing. It is the seed of your seriousness, but meanwhile a joy forever; and so I know you will always be a fine poet, however many changes you go through." Although Simpson's poetry underwent many "changes," for now he seemed content to build upon the formal poems of his earlier volume and pursue the subjects of war and love. One of the strongest poems in Simpson's second collection is "The Battle," a poem

LOUIS SIMPSON / 269 composed of four tightly constructed quatrains. In this poem the poet evokes in powerful detail the terror of combat, again seen from the perspective of an infantryman. The poem's second stanza describes their digging of foxholes: They halted and they dug. They sank like moles Into the clammy earth between the trees. And soon the sentries, standing in their holes, Felt the first snow. Their feet began to freeze.

No matter how intent the soldiers may be on living, the poet registers the inevitable devastation of war in the following stanza: At dawn the first shell landed with a crack. Then shells and bullets swept the icy woods. This lasted many days. The snow was black. The corpses stiffened in their scarlet hoods.

"The Battle" is an account of the 101st Airborne's defense of Bastogne. The English poet and critic Thorn Gunn praised "The Battle" in a 1957 Spectator review, in which he wrote: "I know of almost no other poem about war which, soberly, without either hysteria or irony, is as convincing." Gunn also notes that the formal control of the poem adds to its emotional depth. The poet's second collection contains several other striking war poems, including "Memories of a Lost War," "The Heroes," and "The Ash and the Oak." Although poems of love and war dominate the poet's second collection, one can see in the poems "West," "Mississippi," "American Preludes," and "Islanders" the inception of Simpson's poetic absorption with his adopted country, America. His interest in the culture and people of America never abated, and later volumes, especially At the End of the Open Road, largely comprise such poems. Reviewers, including John Ciardi, Phillip Booth, and Donald Hall, praised Simpson's second volume. Mona Van Duyn, writing in the

August 1956 issue of Poetry, notes: "These are suave and polished poems, very fine ones. One would have to search hard to find any stumbling in metrics or imagery. To describe them, one thinks of such terms as intellectual, witty, understated." In 1955 Simpson began teaching at Columbia University. That year he also married his second wife, Dorothy M. Roochvarg, in a union that lasted twenty-four years and produced two children, Anne and Anthony. His reputation as a poet was growing, and in 1957 he was appointed a Hudson Review Fellow in Poetry and was awarded a Prix de Rome fellowship, which led to his spending the year 1957-1958 in Rome. While in Italy, the poet wrote his doctoral dissertation, James Hogg: A Critical Study, published in 1962. After the year abroad, Simpson returned to Columbia University to complete the requirements for his doctorate in comparative literature, which he received in 1959. This proved to be a very successful year for the poet, during which he published his third book of poems, A Dream of Governors, and was appointed to a position in the Department of English at the University of California, Berkeley. In several important ways, A Dream of Governors more fully anticipated the new direction of Simpson's poetry. The volume contains a group of poems entitled "My America," important not only for its individual poems but also because, as a group, they deepen the poet's ongoing imaginative engagement with America. Two of these poems, "To the Western World" and "Hot Night on Water Street," later were placed by the poet in "A Discovery of America," one of seven thematic groupings in People Live Here: Selected Poems 1949-1983 (1983). A third poem, "The Boarder," became the initial poem in a section entitled "Modern Lives" in People Live Here. In addition to these poems about America, A Dream of Governors is distinguished by "The Runner," a long blank verse narrative; "The

270 / AMERICAN WRITERS Bird," a shorter narrative about the Holocaust; and several poignant antiwar lyrics. "To the Western World" and "Hot Night on Water Street," companion poems, are written in carefully constructed rhyming stanzas. The subject of the first of these poems is the European conquest of the Americas: We crossed the sea from Palos where they came And saw, enormous to the little deck, A shore in silence waiting for a name.

To the conquistadors and later the settlers and explorers of North America, the lands before them seemed both uninhabited and unnamed. The concluding four lines of "To the Western World" express the tragic consequences of conquest: In this America, this wilderness Where the axe echoes with a lonely sound, The generations labor to possess And grave by grave we civilize the ground.

The deaths of those who "civilize the ground" give it a history and a value. This process is a tragic one. "Hot Night on Water Street" addresses this legacy of settlement. It is an autobiographical lyric about the poet's impressions of a small town on the border of West Virginia and describes in a wry and humorous way the poet's encounter with the place. He is out walking on "a hot midsummer night on Water Street," where he observes teenagers flirting with one another. Water Street has "three hardware stores, a barbershop, a bar" and a movie theatre, where the poet has gone to watch The Star, a Western film. Simpson writes: Some day, when this uncertain continent Is marble, and men ask what was the good We lived by, dust may whisper "Hollywood."

In "Hot Night on Water Street," Simpson's ironic observations of small-town American life

are epitomized by a western film that valorizes the "dream of horses" and the settlement of the West. Simpson's first three volumes of poetry are characterized primarily by finely tuned lyrics, yet in these two poems about America we find the germ of narrative. It is telling that as his career developed, Simpson increasingly turned to writing narrative poems. Two of the strongest of these, "The Runner" and "The Bird," are World War II poems published in his third collection of poetry. "The Runner" is a long blank verse narrative about the twists in fortune of a character named Dodd, who is a runner, or messenger carrier, during the war. In his note to the poem, Simpson tells the reader that the poem is a fiction but is based upon the story of a solider of the 101st Airborne division of the U.S. Army. Simpson himself was wounded and yet still carried out his duties as a runner, much like the character Dodd in the poem. Simpson describes his own experiences as a runner during the war in two essays: "The Making of a Soldier USA," published in Harper's Magazine in 1966, and "In the Forest," from his memoir The King My Father's Wreck. Dodd, however, is a fictional character who represents the vicissitudes of war. He is seen as a hero and then as a goat by his fellow soldiers. He performs bravely under duress early in the poem and dishonorably in a later section of the poem. He is relegated to the humiliating task of digging latrines, yet toward the end of the poem he seems to regain respect. "The Runner" is an important poem because of its ambition to tell a war story in blank verse. Robert McDowell and Mark Jarman, in their essay in The Reaper Essays entitled "The Death of the Lyric," praise "The Runner" as a "highly dramatic" poem that successfully adheres to narrative conventions in "dialogue, description, and characterization." It must be noted, however, that "The Runner" has not fared nearly as

LOUIS SIMPSON / 27J well as Simpson's more recent free verse narrative poems. Perhaps the most stinging critique of the poem was made by Robert Ely, who commented in his journal Sixties that "The Runner" "gives the impression of an experience of great depth, brought up into very awkward poetry." He goes on to say, "The effect is of an unfinished work." Ely's criticism of "The Runner" and other formalist poems by Simpson influenced the poet to make his break with form in his next book. NEW POETIC FORMS

After the publication of his third book, Simpson moved to California to begin teaching at the University of California, Berkeley. His apprenticeship as a poet was now over. His work was widely published, both in little magazines and prestigious quarterlies like the American Scholar and Hudson Review. By the late 1950s, The New Yorker had signed a first-reading contract with Simpson, whereby the magazine retained the first right of refusal on Simpson's poetry. He had begun to receive major awards for his work and was ready to launch a long and successful academic career. Despite his professional successes, Simpson continued to seek a new form of expression for his poetry. Of the change in his work at this time, Simpson told Steven Schneider in an interview: I was developing and changing. Few poets stay the way they were. I decided I needed to change in order to get a different voice and material into my poetry. I felt that I could no longer fit into the traditional poems I had written. I was developing a more individual, colloquial voice.

The poet's fourth volume was written largely in free verse, and some of its most memorable poems take as their subject the poet's relationship to the land and people of America.

Simpson's friendships with Robert Ely and James Wright also played a role in his transformation as a poet. As early as 1958, Ely had commented in his journal Fifties that Simpson should "search for a form as fresh as his content." By this time, Simpson was corresponding with both Ely and Wright, and together with them and several other poets he formed a loose association of poets whose aesthetics became known as "deep imagism." Although Simpson's work became associated with this movement, it was Robert Bly who was its leading theorist. In Ely's reviews and essays published in Fifties and Sixties, he cajoled American poets into considering the influence of South American surrealistic poets, such as Cesar Vallejo and Pablo Neruda. Bly called for a new poetry based upon inwardness and the Jungian notion of the collective unconscious. The deep image, according to Bly and others, would arise from the depths of the psyche. The opening poem of Simpson's At the End of the Open Road establishes the focus and tone for the volume. "In California" is an account of the poet's perceptions of the "dream coast," where he had moved to teach. Out of place with his "New York face" among the realtors and tennis players, the poet addresses his muse, the epic bard of America: "Lie back, Walt Whitman, / There, on the fabulous raft with the King and the Duke!" The reference here echoes the earlier poem, "Mississippi," where the poet invoked Huck Finn's river raft, only now the poetic lines are more relaxed and colloquial. Just as in the earlier poem, Simpson laments the loss of pastoral innocence: Lie back! We cannot bear The stars any more, those infinite spaces. Let the realtors divide the mountain, For they have already subdivided the valley.

The poet laments that we have lost our ability to contemplate "those infinite spaces" between stars that the French mathematician and

272 / AMERICAN WRITERS philosopher Blaise Pascal had described. Whitman's expansive vision of America has been "contracted," literally and figuratively, by the realtors who are parceling out the subdivisions of the California landscape. The pioneering spirit has been transformed into gross materialism and the bulldozing of natural landscapes. "In California" introduces a "dark preoccupation" of the poet, one that he will take up elsewhere in the volume. One of his best known poems, "Walt Whitman at Bear Mountain," also registers the poet's disappointment in how the American Dream has played itself out in the middle of the twentieth century. The poem begins with the poet describing a statue of Whitman at Bear Mountain State Park in New York State. In keeping with a long line of American poets who have felt compelled to come to terms with Whitman, the speaker of the poem, presumably Simpson, addresses the statue: "Where is the Mississippi panorama And the girl who played the piano? Where are you, Walt? The Open Road goes to the used-car lot."

Simpson laments the contraction of Whitman's expansive vision of America. Simpson's reading of America has produced a very different interpretation than Whitman's, and the "open road" that Whitman used as a metaphor for expansiveness has been transformed by Simpson into simply another road down the path of commercialism. In "Walt Whitman at Bear Mountain," Simpson does not blame Whitman for the decadence found in American society. Indeed, the problem may be that the "pickpockets, salesmen, and the actors" have turned a "deaf ear" to Whitman's idealism in selling out to a materialistic version of the American Dream. The poem's concluding stanza, with its mysterious reference to "the angel in the gate . . . imagining red," lifts the poem from its narrative base to a more imagina-

tive transrational dimension, reflecting the influence of surrealism and Jungian psychology: The clouds are lifting from the high Sierras, The Bay mists clearing. And the angel in the gate, the flowering plum, Dances like Italy, imagining red.

The poet has suggested that the final image, which critics have puzzled over, is one of the grace that comes with acceptance of "the given" world and realization that the dream of empire is dangerous and illusory. "Walt Whitman at Bear Mountain" unquestionably stands out as one of Louis Simpson's major poems. It bears the signature of his quest to come to terms with America and represents the synthesis of many stylistic elements that would henceforth characterize his work. Both the poetic line and stanza have been relaxed, and the poet's voice is colloquial, the tone more casual. Simpson learned to perfect these features in the many collections of his work that followed this one. At the End of the Open Road contains many other poems that have become "contemporary classics." Simpson's short poem "American Poetry" serves as the introduction to one of the most well-known anthologies of post-World War II American poetry, Contemporary American Poetry, edited by Al Poulin Jr. The first stanza of the poem speaks to the nature of American poetry in the latter half of the twentieth century: Whatever it is, it must have A stomach that can digest Rubber, coal, uranium, moons, poems.

Although much of Simpson's fourth collection focuses on American life, it also has one of the strongest of the poet's war poems, "A Story about Chicken Soup." This poem is divided into three sections, each separated by an asterisk, a typographical device Simpson came to depend

LOUIS SIMPSON / 273 on to indicate transitions in his free-form narrative poems. The first section of "A Story about Chicken Soup" recalls "talk of the old country" in Simpson's grandmother's house. The "old country" is Russia, where Simpson's maternal grandmother had lived. The first section ends with the recollection that the Germans had killed those relatives left behind in Russia. In the poem's second section, the poet recalls seeing a young German girl whose brothers had been killed by American soldiers. She is described as "all skin and bones— / Not even enough to make chicken soup." In the concluding section of the poem, the poet reflects on the legacy of such tragedies, and though the sun is shining, presumably in California, he knows that he must "live in the tragic world forever." "A Story about Chicken Soup," like "Walt Whitman at Bear Mountain," has been anthologized often and is a pivotal poem in the corpus of Simpson's work. At the End of the Open Road received many strong reviews and was awarded the Pulitzer Prize for poetry in 1964. Writing in a May 1964 issue of Poetry, William Stafford notes that "again and again the poems confront new, grim aspects of America's formative traditions. It is as if treasured documents like the Declaration of Independence should glow under a certain light and reveal odd skeletons." Duane Locke, in an article in the journal dust entitled "New Directions in Poetry," comments upon the stylistic changes evidenced in this collection: In Open Road the style loosens, the lines become uneven, and the movement of the natural voice and phrasal breaks replace preconceived measurement. The imagery tends toward inwardness, and the result is a more phenomenal poetry, one in which the subjective imagination transforms by its own operations the objective into what constitutes genuine reality.

Adventures of the Letter 7, Simpson's fifth collection of poetry, develops the poet's inheritance from his mother of Jewish storytelling—he

did not know of his Jewish ancestry until he moved from Jamaica to New York City and met his mother's family—and his continuing commitment to write poems about America and its people. He discussed his mother's influence on his work in a New York Times Book Review essay, "My Beginnings," reprinted in The Character of the Poet (1986): I trace my beginnings as a writer to the stories my mother read to me—Oscar Wilde's "The Happy Prince" was one of her favorites—and the stories she told about her childhood in Russia. She spoke of Cossacks and wolves, of freezing in winter, and rats. In Volhynia rats carried the typhus bacilli that had killed her sister Lisa and almost killed her.

The first section of Adventures of the Letter I is inspired by the stories his mother told him about Russia. Mostly fictional, they describe life in Volhynia, the part of Russia where his mother was born. There Jews who had been drafted into the czar's army hid under mattresses and inside ovens to escape searches by the police. These poems, "Adam Yankev," "A Son of the Romanovs," "A Night in Odessa," "Isidor," and others, form a cluster of poems linked thematically by their evocation of life in the Russian Jewish Pale. The characters in these poems are imagined by Simpson, yet they are inspired by stories told to him by his mother and the experiences she shared about the life of his maternal grandmother in Russia. Each character lives a life of great pathos. In "A Son of the Romanovs," Avram, the "cello-mender," who is "the only Jewish sergeant / in the army of the Tsar," marries "a rich widow / who lived in a house in Odessa." The speaker of the poem relates this story: "One night in the middle of a concert / they heard a knock at the door." It turned out to be a beggar who claimed to be the natural son of the "Grand Duke Nicholas." He stays with Avram and his wife for years, working as a footman. The poem's humorous tone is undercut, however, by

274 / AMERICAN WRITERS the arrival of the Germans, who march them off to the death chambers, including Nicholas, who they saw as feebleminded. In "Dvonya" the poet imagines a romantic relationship with a cousin twice removed. They drink tea together in the garden and talk about the plays of Chekhov. As quickly as the poet imagines this lovely encounter, he soon acknowledges that "this is only a dream." Simpson's Volyhnia poems are both humorous and tragic, much like the fiction of Chekhov that Simpson admired. His poem "The Foggy Lane" is perhaps the clearest expression of this poetry collection's aesthetic, which blends tragicomic elements. In the poem he declares: "I try to keep my attention fixed / on the uneven, muddy surface." This is a metaphor for the poet's sense of life, with its ruts, mud puddles, and unevenness. Life, as Simpson suggests in "The Foggy Lane," is not to be idealized or politicized. He rejects the view of the radical in the poem, who says that "everything is corrupt" and wants to live in a pure world. The world, as Simpson describes it, is rather like a bottle of sludge with all the various components mixed together, not distilled and separated. He has learned this from Chekhov, whose characters experience life as bitter and sweet. While Chekhov looms as an influence behind many of the poems in Adventures of the Letter /, the volume also has strong imaginative poems about America. These include "Indian Country" and "American Dreams." In the first of these two poems, Simpson addresses the tragedies perpetrated against Native Americans in the name of Manifest Destiny. He describes senseless acts of violence against innocent victims, like old Black Kettle, who was shot at the massacre of Sand Creek while "tying the Stars and Stripes to his tent pole." The poem "American Dreams" has been published frequently in antiwar anthologies and was twice published in 1966 in publications ad-

dressing America's involvement in Vietnam. Curiously, the poem was written in 1960, long before the escalation of America's involvement there. The poem was Simpson's warning shot against what he saw as America's increasing hegemony over Russia and Asia, yet it proved to be prescient in predicting America's tragic war in Vietnam. Later, in the 1970s, the poet published his sixth collection of poetry, Searching for the Ox. By this point in his career he had made the transition from formalist poet to free verse poet. In addition to Whitman and Chekhov, Simpson found William Wordsworth to be an important figure in helping him refine his treatment of the people who inhabited America's cities and suburbs. In his essay "Rolling Up" (A Company of Poets), Simpson wrote that Wordsworth "shows the way to the future, a community built on human feeling and sympathy." He also suggests that Wordsworth "wished to reveal the deep springs that join one man to another and constitute a real nation." Subsequently, in a 1982 interview with Steven Schneider published in The Wordsworth Circle, Simpson explained that like Wordsworth, he "bases poetry in experience and in common life. I have been putting a lot of people into my poems and a lot of human situations." In Searching for the Ox, he entitled one section of poems "The Company of Flesh and Blood," a phrase borrowed from Wordsworth, who wrote in his 1802 "Preface" to Lyrical Ballads: "I have wished to keep my reader in the company of flesh and blood." In a letter written in 1982, Simpson stated that "The Middleaged Man" and the other poems in this section "are an attempt to find poetry in the life of the average man." Tim Flanagan, who is the subject of "The Middleaged Man," is referred to by friends as "Fireball," because "every night he does the rocket-match trick." "'Ten, nine, eight . . .' On zero / p f f t! It flies through the air." Simpson walks with Flanagan to the subway and learns

LOUIS SIMPSON / 275 that he lives with his sister in Queens. The poet imagines Flanagan's life, with its moments of loneliness, staying up late to watch television, looking out the window at deserted streets, "wearing an old pair of glasses / with a wire bent around the ear / and fastened to the frame with tape." Flanagan, a sympathetic and lonely character, is representative of several other characters who peopled Simpson's work in the third stage of his poetic development. Although the poet increasingly put other people into his poems, some of his strongest poems continued to be first-person autobiographical narratives. One of the strongest of these is the title poem of his sixth collection, "Searching for the Ox." The poet reflects in each of the five sections of this poem on his journey through life, which is symbolized by the poem's title. In Buddhism the ox represents transcendence and Enlightenment. In "Searching for the Ox" Simpson thinks back on those he has encountered on the journey: urban "ghosts" who single him out to tell him their stories, engineers and lawyers whose technical expertise propels their careers, cultists and survivalists who live underground, and women seen in the cafes of Alexandria, the city where C. P. Cavafy wrote his poetry. All of these experiences, however, are fleeting and illusory from the Buddhist perspective, which teaches that true knowledge resides within oneself. In the concluding section of the poem, the poet contemplates the path of Buddhism and discovers, paradoxically, that in "Following in the Way / that 'regards sensory experience as relatively unimportant'" and teaches the renouncement of attachments, his awareness of the world has increased. The poem ends with a transcendent epiphany, wherein the poet achieves a heightened receptivity to the relative world by virtue of his learning how to transcend it. He has come to understand the Buddhist drawing of searching for the ox: "I seem to understand what the artist / was driving at; every

leaf stands clear / and separate." Ever since childhood, the poet has "always felt that there is a power and intelligence in things" ("My Beginnings"). In "Searching for the Ox" he discovers a way to heighten his already acute sense of the physical world. Although Simpson's career is most distinguished by his work as a poet, he also published a novel, Riverside Drive (1962); a critical study of the Scottish writer James Hogg; two critical studies of modern poetry; an autobiography, North of Jamaica (1972); and a memoir, The King My Father's Wreck. In addition, several of his shorter essays on being a poet and on the craft of poetry, along with numerous book reviews, can be found in various collections of his prose writings, most notably A Company of Poets, The Character of the Poet, and Ships Going into the Blue: Essays and Notes on Poetry (1994). Simpson's first forays as a prose writer were made as a schoolboy living in Jamaica, where he won prizes for his essays and short stories. It was not until after he had published three volumes of poetry that his first and only novel was published. Riverside Drive is the story of Duncan Bell, a writer of fiction and translator of the works of the French dramatist Jean Racine. Simpson describes the novel as being "thinly autobiographical," yet the parallels between Duncan, the narrator-protagonist, and Simpson are striking. Duncan comes to New York City from Jamaica, enrolls in a university there, serves in the 101st Airborne during World War II, suffers a mental breakdown upon his return, spends a year abroad, and returns to work in a New York publishing house. Moreover, the relationships treated in the novel, especially the loveless marriage between Duncan and Libby, mirror the circumstances of Simpson's first marriage. There are significant differences between Duncan and Simpson, most strikingly that his fictional protagonist is a "loser" who fails to

276 / AMERICAN WRITERS make his mark in the world. The novel is valuable in that it takes up several of Simpson's ideas about war and life in America. Reviewers of the novel discovered in it several qualities that also distinguish Simpson's poetry. John K. Hutchens, writing in the New York Herald Tribune, commented on the novel's "firm intelligence, a spare, intense way with words, a gift for images used with a difference." The poet learned from his only novel that his true genius was best expressed in poetry, although the narrative impulse was still strong. Simpson's doctoral thesis, James Hogg: A Critical Study, was published the same year as his novel. Hogg was a Scotsman who wrote poems, stories, and novels at the beginning of the nineteenth century. Simpson was particularly impressed by Hogg's only novel, The Private Memoirs and Confessions of a Justified Sinner (1824), which Simpson describes as a "masterpiece." Simpson published two additional critical studies. The first of these, entitled Three on the Tower: The Lives and Works of Ezra Pound, T. S. Eliot, and William Carlos Williams (1975), is an important study of three major figures of literary modernism. This volume was followed by A Revolution in Taste: Studies of Dylan Thomas, Allen Ginsberg, Sylvia Plath, and Robert Lowell (1978). In this book Simpson examined the shift toward a more direct kind of writing, a poetry in which the maker was no longer detached from the poem. The best accounts of Simpson's life as a writer are chronicled in North of Jamaica and The King My Father's Wreck. The former book, an autobiography, covers his early years in Jamaica, his university days at Columbia University, his wartime experiences, and his development as a poet up through his years of teaching at the University of California at Berkeley. It is especially insightful about his formative years in Jamaica and contains many revealing anecdotes about his literary friend-

ships and teaching career. Although it is less comprehensive in scope, The King My Father's Wreck also is a colorful treatment of some of the key events in Simpson's life, including the death of the poet's mother; memorable excursions the poet took with his third wife, Miriam Butensky Bachner, whom the poet married in 1985 (and divorced in 1998); and additional insights into his poetry. Caviare at the Funeral, Simpson's seventh collection of poetry, won the Jewish Book Council award for poetry in 1981. The collection is composed of four sections. The first contains such poems as "Working Late" and "Sway," about the poet's early life. "Sway" is a narrative about a beautiful waitress with whom Simpson flirts and to whom he reads poetry. It is one of the strongest of his autobiographical poems. Mark Jarman and Robert McDowell, in their essay "The Death of the Lyric," single out this poem for its narrative strengths and for linking Simpson to a tradition of American narrative poetry that dates back to Edwin Arlington Robinson. They praise the "richness of Sway's characterization" and "the originality of Simpson's narrative style." The memorable character study, the compression of time, the intimate sense of humor and understatement, and the vivid locale of this and other narrative poems are strengths that have been admired by numerous other critics as well. The second section of Caviare at the Funeral includes the poems "American Classic" and "The Beaded Pear," which reflect the poet's ongoing commentary on American life. "The Beaded Pear" is representative of many of the poems that portray life in the American suburbs, where shopping at the mall is a family ritual, daydreams of living someplace exotic are common, and watching television is a cultural pastime. While narrative poems like "The Beaded Pear" and "Sway" are characteristic of Simpson's fascination with modern American lives,

LOUIS SIMPSON / 277 poems from the third section of this collection, such as "Typhus" and "The Art of Storytelling," return the reader to the Russia of Simpson's mother's family. He explains this interest quite clearly at the beginning of the poem "Why Do You Write About Russia?" He notes: "When I was a child / my mother told stories about the country / she came from." One of the stories Rosalind told her son was about the time she almost died during a typhus epidemic. In "Typhus," Simpson tells us that she takes to her bed and is nursed back to life by "the woman who lived next door / who cooked for her and watched by the bed." Afterward, she is taken to Odessa, where she stays with relatives. The most memorable part of this poem is the train ride back from Odessa, when the poet's mother has to eat a basket of plums she bought as a present for her family, to prevent them from spoiling in the heat. Rosalind's sister, Lisa, is not so fortunate; she dies of typhus and is carried to the cemetery in a box that is later returned to the family because they are so poor. If the poem "Typhus" speaks to the tragic nature of his family's life in Russia, the poem "The Art of Storytelling" addresses the more comic side of their existence. This short lyric contains the germ of a larger story, as do so many of Simpson's poems. The narrator, presumably one of Simpson's relatives who has made it to the New World, recalls the story of a shocket, or kosher butcher, who is impressed into the navy, sails around the world, and eventually makes it back to the village, where he resumes his occupation as a butcher. Toward the end of the account, the storyteller says: "This shocket-sailor / was one of our relatives, a distant cousin." The poem turns on the gloss the poet provides on the art of storytelling, in the final stanza of the poem: It was always so, they knew they could depend on it.

Even if the story made no sense, the one in the story would be a relative— a definite connection with the family.

Simpson's connection to his mother's family and the stories he heard as a young boy in Jamaica and later from relatives gathered around the dinner table on Friday nights in New York City have continued to inspire some of his most interesting work. THE LATTER PHASE OF THE POET'S CAREER Caviare at the Funeral was followed in 1983 by People Live Here and The Best Hour of the Night. People Live Here is especially revealing because of its thematic organization, which groups together Simpson's best poems on the subject of war, his discovery of America and the people who inhabit it, and Russian Jewish family life. In the volume's afterword, the poet explains his reasons for writing poetry: "With poetry I could express an idea or tell a story in a brief space, and it would hang together. Besides, I loved the rhythm and the sound of words for their own sake." The Best Hour of the Night builds on the poet's previous efforts to evoke life in the American suburbs. More so than previous collections, however, this one focuses on characters, who, in the words of Henry David Thoreau, live lives of "quiet desperation." The diminishment of the American Dream into materialism has irked Simpson since At the End of the Open Road. In his eighth major collection of poetry, the poet seems especially interested in the various strategies used by his characters to overcome boredom and loneliness. In the poem "Quiet Desperation," Simpson describes the life of a suburbanite, whose wife is angry with the wife of a friend because she has disclosed damaging confidential information about a mutual friend. In the protagonist's living room, his son is watching television, a

278 / AMERICAN WRITERS movie about the battle of I wo Jima. The television is often a symbol of quiet desperation in Simpson's poems, and the father has seen the film and walks out of the room. He has a feeling of desperation, triggered by a sense that his life is passing quickly by him, as his son sits alone watching a rerun of an old film the father has seen. At the beginning of the next section, Simpson writes a group of lines that might work equally well in describing several of his characters in this book: A feeling of pressure . . . There is something that needs to be done immediately. But there is nothing, only himself. His life is passing, And afterwards there will be eternity, silence, and infinite space.

The sense that one must do something without knowing exactly what to do characterizes several of these suburban portraits. The characters feel an internal pressure because their lives seem to be passing away without meaning. Simpson describes this experience as "unfocused anxiety" in an interview, "Off the Cuff," published in The Character of the Poet. He says: "You suddenly realize you're getting old, that you're alone in the universe, that between you and space there is nothing, and your pulse starts to accelerate for no reason really." In this poem the protagonist, out of desperation, goes outside to cut a pile of firewood, and then returns and "looks around for something else to do / to relieve the feeling of pressure." He seizes upon the dog and takes it for a walk along a cove, where he observes litter along the beach. He cannot find solace in his activity or his environment, and the poem ends with "the trees and houses vanishing / in quiet every day." The quiet they vanish into is the restless consciousness of Simpson's isolated suburban characters. In poem after poem in this collection Simpson presents the reader with the quirks and

anxieties of living in the suburbs. In "Physical Universe" the protagonist is another husband and father, who awakens at five in the morning and reads through his son's science book while the rest of the family sleeps. The poem hinges upon the dramatic description in the book of how the universe came into being, juxtaposed against the more mundane recollection that the garbage needs to be taken out. He dutifully carries the garbage can out to the street, empties the wastebaskets in the house, and then makes a second trip outside to empty trash into the can once again. Having fulfilled his obligation, he climbs back into bed, where his wife, half-asleep, inquires whether he has taken out the garbage. He replies affirmatively and asks her a question about evolution, triggered by the reading of his son's textbook. She does not acknowledge his question but shoots back again with the query; "Did you take out the garbage?" The poem concludes with the husband pondering whether her question, like a zen koan, has something of the sublime in it. The "suburban sublime," however, has been reduced to taking out the garbage and leaves little room for contemplating the mysteries of the physical universe. While many of the poems in this collection are mid-length narratives or shorter lyrics that contain the germ of narrative, the volume includes a long narrative poem entitled "The Previous Tenant" that runs fourteen pages. It is the story of Hugh McNeil, a physician at Mercy Hospital who has an affair with the wife of one of his patients. The narrator is the current tenant of the cottage McNeil had rented after his separation from his wife. McNeil, the "previous tenant," has left town after being mugged by the brothers of Irene Davis, the woman with whom he has been having the affair. This poem is a sordid tale of suburban sexual intrigue and snobbish WASP culture, filtered through the consciousness of the narrator, who is a second-rate novelist. Published in the early

LOUIS SIMPSON / 279 1980s, the poem has been important in terms of its influence on a younger generation of "new narrative" poets. "New narrative" is an umbrella term for a revival of interest in narrative poetry by contemporary American poets. Since the early 1980s, leading proponents of this movement, like Robert McDowell, Dick Allen, and Dana Gioia, have argued for a more expansive narrative poetry, with emphasis upon telling other people's stories. In the 1980s and 1990s, these poets looked to Simpson as a poet who pioneered a new kind of narrative of the American suburb. The decade of the 1980s also saw the publication of Simpson's Collected Poems (1988). This volume is organized chronologically, with poems that Simpson selected from each of his previous eight collections of poetry, including The Best Hour of the Night. In a note at the head of the volume's table of contents, Simpson writes: "These are not all my poems—they are the poems I would like to be remembered by." For this reason the collection is particularly valuable. In the 1990s, Simpson published his ninth and tenth collections of poetry, In The Room We Share (1990) and There You Are (1995). Of these two books, There You Are has fared better among reviewers than In The Room We Share, which drew criticism for being "uneven." Genevieve Stuttaford, writing for Publishers Weekly, suggests that "some poems remain little more than dressed-up anecdotes; others are superficial character sketches." The poet's mother is again the subject of many of the poems in the first section of In the Room We Share. Simpson is fond of retelling in these poems the story of how his mother was "discovered" by a motion picture producer while working as a seamstress for seventy-five cents a day in New York City. Both the opening section of poems and the concluding prose piece, "Villa Selene," are about family. The latter poem is a long account

of a trip Simpson took with his third wife, Miriam, to Italy to visit his ninety-two-year-old mother, who was bedridden. The tone of this essay is nostalgic, just as the poems in the opening section are reminiscent of the poet's childhood in Jamaica. In the middle two sections of the book, "Something Human" and "Homeland," the poet strikes a nostalgic, reminiscent tone of a different sort when he writes about peace marches in Berkeley during the 1960s in "The Peace March" or gives his reflections on being a family man in "The People Next Door." In "Pursuit of Happiness" the poet muses about his failed attempt to achieve lasting happiness. He describes trying transcendental meditation, becoming bored with it, and then joining a fitness center, only to grow tired of the machines. He accounts for other seekers' attempts to find happiness, including Jimmy, who ascends every morning over Aspen, Colorado, "in a balloon with colored panels." In this and other poems in the collection, the poet, now entering the latter stage of his life, is meditative about the pursuit of happiness, which he suggests may be experienced temporarily but is often elusive. In There You Are Simpson regained his earlier mastery of narrative poetry and drew on his experiences in publishing and academia and his travels. The title poem of this collection, however, is about the Holocaust, a subject he has returned to again and again. "There You Are" describes the dramatic turn of events that led to the Jews of Paris being rounded up and put on trains that eventually would take them to Auschwitz. "There You Are" appears in the first section of the book, "Objects of the Storm," which also contains "Remembering the Sixties," a poem in which the poet recalls "the voice of Mario Savio" and the Free Speech movement. Simpson's teaching days in Berkeley have long been a source of material for him, both in his prose writings and in his poetry. In "An Academic Story," a poem that appears in the

280 / AMERICAN WRITERS concluding section of There You Are, the narrator tells the story of an assistant professor of English, Henry, who is married and having an affair with a student, Merridy. They attend a departmental party, after which they sleep together. Henry and Merridy travel to a Modern Language Association convention, where they enjoy dinners and the theater. When it comes time for Henry to be considered for tenure, he is denied it, because the host of the departmental party, who had made both pot and acid available to the partygoers, complains that Henry cannot be trusted. The poem is a rich blend of satire and humor, a scathing critique of English department politics. It is one of the strongest dramatic poems in a collection that contains many, including "The Indian Student," another wry commentary on the life of an English professor. The middle section of the book, "The Walker on Main Street," is testimony to Simpson's ongoing Wordsworthian commitment to record the life of ordinary men and women, characters whom the poet meets in his daily life. "The Dental Assistant," for example, records a conversation between him and his hygienist about the problems she is having with her boyfriend. In "The Iverson Boy," Simpson describes his encounters with Tommy Iverson, a slow-witted thirty-year-old man whose father is an admirer of Richard Nixon and whose mother is a television game show fanatic. These are the characterizations of "American Lives" Simpson created throughout the 1980s and 1990s. The concluding poem in There You Are, "A Clearing," is as memorable as earlier, widely anthologized autobiographical poems like "Walt Whitman at Bear Mountain" and "Searching for the Ox." It is an account of the poet's trip to Australia, the record of his attempt to start a new life after a divorce, and his impressions of the people and the countryside. Toward the end of the poem the poet walks out from a party late one night into a clearing in the trees.

There, looking up at the sky "glittering / with unknown constellations," he seems to merge with infinite space. He writes: "Everything I had ever known / seemed to have disappeared." The concluding lines of the poem describe this "clearing" of the mind, an experience of transcendence reminiscent of his poem "Searching for the Ox": there has been a place in my mind, a clearing in the shadows, and above it, stars and constellations so bright and thick they seem to rustle. And beyond them . . . infinite space, eternity, you name it.

Louis Simpson has always been a seeker of truth in his poetry. In his essay "Rolling Up," Simpson writes, "There was never as great a need for the poetry of feeling as there is in the United States at the present time. By this I mean poetry that addresses itself to the human condition, a poetry of truth, not dreams." The poetic truth Simpson has pursued has led him to poetry of emotional intensity, written in the words of common speech, evoking the bittersweet nature of life and its mysteries. Simpson retired from his full-time teaching position in the English department at the State University of New York at Stony Brook in 1992, which he joined in 1967 after choosing to leave Berkeley because of his preference to live and teach on the East Coast. He continues to publish poems, however, in the American Poetry Review, the Hudson Review, and many other prestigious journals. He has become a consummate master of the contemporary narrative poem and the brief, yet poignant lyric that tells a short and revealing story about someone the poet has met. One of the finest of these is "Grand Forks," a poem published in the spring 2001 issue of Critical Quarterly. The poet describes a woman he met who cares for a variety of wounded animals. She once performed in the musical Hello Dolly! on Broadway but now lives alone in Grand Forks, South Dakota. He concludes the poem by writing:

LOUIS SIMPSON / 281 The old woman who lives out here all alone, who has seen and known so much, is taking a course in writing. She told me so herself. In this place it is clear that the word is with us, and nowhere else.

Louis Simpson, the poet who has loved words for their own sake, continues to dedicate himself to poems of human sympathy in common speech, poetry that distinguishes him as one of our great social commentators.

Selected Bibliography WORKS OF LOUIS

SIMPSON

POETRY

The Arrivistes: Poems 1940-1949. New York: Fine Editions Press, 1949. Good News of Death and Other Poems. New York: Scribners, 1955. A Dream of Governors. Middletown, Conn.: Wesleyan University Press, 1959. At the End of the Open Road. Middletown, Conn.: Wesleyan University Press, 1963. Selected Poems. New York: Harcourt, Brace, & World, 1965. Adventures of the Letter I. New York: Harper & Row, 1971. Searching for the Ox. New York: William Morrow, 1976. Caviare at the Funeral. New York: Franklin Watts, 1980. People Live Here: Selected Poems 1949-J983. Brockport, N.Y.: BOA Editions, 1983. The Best Hour of the Night. New Haven, Conn.: Ticknor & Fields, 1983. Collected Poems. New York: Paragon House, 1988. In the Room We Share. New York: Paragon House, 1990.

There You Are. Brownsville, Ore.: Story Line Press, 1995. TRANSLATIONS

Modern Poets of France: A Bilingual Anthology. Ashland, Ore.: Story Line Press, 1997. Francois Villon's i(The Legacy" and uThe Testament." Ashland, Ore.: Story Line Press, 2000. LITERARY CRITICISM

James Hogg: A Critical Study. New York: St. Martin's, 1962. Three on the Tower: The Lives and Works of Ezra Pound, T. S. Eliot, and William Carlos Williams. New York: William Morrow, 1975. A Revolution in Taste: Studies of Dylan Thomas, Allen Ginsberg, Sylvia Plath, and Robert Lowell. New York: Macmillan, 1978. A Company of Poets. Ann Arbor: University of Michigan Press, 1981. The Character of the Poet. Ann Arbor: University of Michigan Press, 1986. Ships Going into the Blue: Essays and Notes on Poetry. Ann Arbor: University of Michigan Press, 1994. AUTOBIOGRAPHIES

Air with Armed Men. London: London Magazine Editions, 1972. Republished as North of Jamaica. New York: Harper & Row, 1972. The King My Father's Wreck. Brownsville, Ore.: Story Line Press, 1995. OTHER WORKS

New Poets of England and America. Edited by Louis Simpson, Donald Hall, and Robert Pack. New York: Meridian, 1957. Riverside Drive. New York: Atheneum, 1962. An Introduction to Poetry. Edited by Louis Simpson. New York: St. Martin's, 1986.

CRITICAL AND BIOGRAPHICAL STUDIES Bly, Robert. "The Work of Louis Simpson." Fifties 1:22-25 (1958). . "Louis Simpson's New Book." Sixties 4:58-61 (fall 1960).

282 / AMERICAN WRITERS Cox, C. B. "The Poetry of Louis Simpson." Critical Quarterly 8:72-83 (spring 1966). Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 193-208. Dunn, Douglas. "Poetry of Inclusion." Times Literary Supplement, June 5, 1981, p. 645 (Review of Caviare at the Funeral). Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 143-146. Gray, Yohma. "The Poetry of Louis Simpson." TriQuarterly 5:33-39 (spring 1963). Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 173-192. Gunn, Thorn. "American Examples." Spectator, March 27, 1957, p. 442. Hungerford, Edward, ed. Poets in Progress: Critical Prefaces to Thirteen Modern American Poets. Evanston, 111.: Northwestern University Press, 1967. Hutchens, John K. "Riverside Drive." New York Herald Tribune, May 9, 1962, p. 27. Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 50-51. Jarman, Mark, and Robert McDowell. "The Death of the Lyric: The Achievement of Louis Simpson." In their The Reaper Essays. Brownsville, Ore.: Story Line Press, 1996. Jarrell, Randall. "Poetry Unlimited." Partisan Review 17:189 (February 1950). Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. P. 27. Lazer, Hank. "Louis Simpson and Walt Whitman: Destroying the Teacher." Walt Whitman Quarterly Review 1:1-21 (December 1983). , ed. On Louis Simpson: Depths Beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Lensing, George S., and Ronald Moran. Four Poets and the Emotive Imagination: Robert Ely, James Wright, Louis Simpson, and William Stafford. Baton Rouge: Louisiana State University Press, 1976. Locke, Duane. "New Directions in Poetry: The Work of Louis Simpson." dust 1:67-69 (fall 1964). Reprinted in On Louis Simpson: Depths beyond

Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 63-65. Moran, Ronald. Louis Simpson. New York: Twayne, 1972. Plumly, Stanley. "Showing a Story." American Poetry Review 5:42-43 (July/August 1976). Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 120-123. Poulin, Al, Jr., and Michael Waters, eds. Contemporary American Poetry, 7th ed. Boston: Houghton Mifflin, 2001. Roberson, William H. Louis Simpson: A Reference Guide. New York: G. K. Hall, 1980. Smith, Dave. "A Child of the World." American Poetry Review 8:11-15 (January/February 1979). Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 258-274. Stafford, William. "From 'Terminations, Revelations.'" Poetry 104:104-105 (May 1964). Reprinted in On Louis Simpson: Depths beyond Happiness. Ann Arbor: University of Michigan Press, 1988. Pp. 61-62. Stitt, Peter. The World's Hieroglyphic Beauty: Five American Poets. Athens: University of Georgia, 1985. Stuttaford, Genevieve. Review of In the Room We Share. Publishers Weekly, January 12, 1990, p. 55. Van Duyn, Mona. Poetry 88:332-333 (August 1956). Wojahn, David. "'I Might Live Here Myself: On Louis Simpson." Tar River Poetry 24:41-51 (fall 1984).

INTERVIEWS Dodd, Wayne, and Stanley Plumly. "Capturing the World as It Is: An Interview with Wayne Dodd and Stanley Plumly." Ohio Review 14:34-51 (spring 1973). Reprinted in A Company of Poets. Ann Arbor: University of Michigan Press, 1981. Pp. 223-251. Josephi, Beate. "A Race That Has Not Yet Arrived: An Interview with Beate Josephi." Opinion 8 (May 1979). Reprinted in A Company of Poets. Ann Arbor: University of Michigan Press, 1981. Pp. 328-338.

LOUIS SIMPSON / 283 Keller, Edith. "Off the Cuff." Minetta Review 3 (1984). Reprinted in The Character of the Poet. Ann Arbor: University of Michigan Press, 1986. Pp. 166-171. Rompf, Kraft. "Everyone Knows But the Poet (What Poetry Is)" Falcon 1 (spring 1976). Reprinted in A Company of Poets. Ann Arbor: University of

Michigan Press, 1981. Pp. 273-305.

Schneider, Steven P. "An Interview with Louis Simpson." The Wordsworth Circle 13:99-104 (spring 1982). Smith, Lawrence R. "A Conversation with Louis Simpson." Chicago Review 27:99-109 (summer 1975).

—STEVEN P. SCHNEIDER

Gerald Stern 1925-

D,

E SCRIBING HIS POETIC technique in a 1998 interview, Gerald Stern referred to his "associative way of writing. . . . I begin with an image or an idea or a concept or a group of words and just move along as the spirit, if you will, takes me. God knows what that spirit is. Call it the muse, call it unconsciousness, guilt, shame, love, hope, memory." In part because of this approach to writing, Stern's poetry possesses a startling immediacy and emotional urgency. Elsewhere he has cited Judaism and the political ideals of the Left as major influences; these can be seen in his concern for justice and for the ways in which collective history and one's personal past shape one's life. "Loss," "polarities," "nostalgia," "the Sabbath," and "caves" are key terms for understanding Stern's work. Each of the essays in the series collectively titled "Notes from the River" (1983, 1984, 1987) examines one of these terms as a grand theme winding its way through Stern's books. In the first essay, on "loss," the poet describes what he calls "two kingdoms," the earthly life of the present time and paradise. He says he writes a poetry of loss, lamenting the loss of paradise, the second kingdom. The essay on "polarities" gives a context to his twin themes of loss and paradise. Stern depicts a scene of a poor African American woman gathering dandelion weeds for soup and a white man in a window watching her. From this scene the poet extrapolates a system of contraries that define the world as he sees it. The man, as a "god at the window . . . is opposed to the goddess on the hillside." The man represents

organization, tolerance, willingness to delay, ruthlessness, equability, consistency, skill in record keeping, ability to live in the future, efficiency, addiction to logic, belief in the mind, distrust of alms, dependence on technology, dislike of mystery, indifference to religion, uniformity, denial.

The woman, by contrast, represents Belief in emotions, living by the senses, commitment to the heart, concordance with nature, indifference to time, love of religion and mystery, adaptability, sensitivity to weather, suspicion of the law, secrecy, addiction to children, love of singing, friendliness, practicality, generosity, love of beauty, willingness to share, sensuality, fear of machines, passion, concrete knowledge, terror of paper, love of family, kinship with other women, deep intelligence.

The poles represented by these two figures contextualize, and so explain, Stern's poetic vision. They define the world in which he lives; his poetry cannot help but grow out of them. In the third "Notes from the River" essay, Stern turns his attention to "the pain of separation." This pain, nostalgia, comes from the loss of paradise itself: "I think nostalgia is not, in its profoundest sense, unprogressive. I don't think it prevents revolution or change." From Stern's perspective, to live in the modern world is to be at once in exile from paradise and firmly dedicated to creating paradise anew. If, for Stern, the modern world of polarities is a fall from paradise, it is also the source of justice itself: the desire to make paradise once more. In a figurative, metaphorical way, then, Stern makes himself and his readers Jewish. For

punctuality, love of form, skill in planning, use of reason, love of abstraction, foresight, capacity for

285

286 / AMERICAN WRITERS exile—the consummate Jewish theme—is also, says Stern, the theme of contemporary life. It explains the social urge to create a just world. Fittingly, then, when Stern describes paradise he chooses the Sabbath as his figure: "The Sabbath can be seen not only as an anticipation of Messianic time but as a nostalgic reminder of Gardenic time, the time before the expulsion." Thus, as influences, the Left represents Stern's attraction to an egalitarian urge to establish justice for all, and Judaism represents his persistent fascination with exile, paradise, the Sabbath. In his final essay in the "Notes from the River" series, he turns to the "caves" of his life, the places he has lived in and the pockets of time he particularly remembers. A few facts from Stern's biography offer a fuller sense of those "caves." Born the second of two children in Pittsburgh, Pennsylvania, on February 22, 1925, Gerald Stern grew up in that city's rougher neighborhoods. In a 1984 interview with Mark Hillringhouse he told the story of his early life: his mother, Ida Barach Stern, was born in Bialstock, "a city in what is now Poland and was then Polish Russia, but which the Jews identify with ancient Lithuania, in their crazy archaic way." In Bialstock, Stern's maternal grandfather was a kosher butcher and a learned man: he "wrote essays on Tolstoi and Goethe." Stern's father, Harry Stern, was born on a farm in the Ukraine. As he explained in a 1993 essay titled "What I Have to Defend, What I Can't Bear Losing," his father was a manager and buyer for a men's and boy's clothing department in a credit store. "My father was a Truman democrat," Stern writes. "He was a manager but he loved unions and always respected working men and women. I never heard him express words of bigotry or racial or religious hatred." Stern went to religious school every day from the age of five until his bar mitzvah. He lived for a memorable time under the supervision of his observant grandmother, attending synagogue both Friday

night and Saturday. But, as Stern remarks, "I was raised Orthodox and quit when I was thirteen years and one day." In his early years he was subjected to antiSemitic slurs and suffered from physical abuse on account of his faith. Of all the childhood events that would affect him, by far the most awful and life-transforming was his sister's death, at age nine, of spinal meningitis. Stern was only eight. In "Some Secrets," he recalls that his mother would hold him in bed, crying his sister's name while his father worked late on Saturday nights: "If anything came close to being a direct influence over me it was this, and it caused me the most pain and confusion, although I still don't fully understand its connection with my writing." The Great Depression did not take a heavy toll on the Stern family's lifestyle. "We had a maid, owned our own house, bought a new car every two or three years, saved money, and had some hopeful and vague plans for my future," he remarked in "What I Have to Defend." In fact, Stern did not expect to go to college. He claims that he discovered the University of Pittsburgh only by mistake when he came across a line of students waiting to register for class. Despite the scholarly interests of his grandfather (who in any case rarely spoke of them), aside from prayer books Stern did not grow up in a house of books. At college he did not major in English but rather chose philosophy and political science, expecting a career in either the latter or labor law. In "Notes from the River" Stern admits, "I had come to my 'place' without training or support or any kind of preparation or conditioning." During his freshman year at Pittsburgh he wrote his first poems. As Stern wrote in "Some Secrets," "I don't think I knew what a bohemian was. I did carry a little notebook around with me in which I wrote my poems. . . . I wore white shirts, ties, wing-tip shoes, doublebreasted suits. I was on the football team, then

GERALD STERN / 287 the debate team. I played nine-ball. I didn't know one was or could be an actual poet." He was also immersed in political issues, explaining in "What I Have to Defend": "The 'natural' sentiment, for me and my friends, was for the left, and the left then meant two things only— pro-labor stance and an anti-fascist state. We hated the bosses, whom we never saw, and we loved the workers, whose children, if we were Jewish, often treated us with contempt, hatred and violence. . . . I made a kind of package out of my belief in justice, my unspeakable naivete, and my hope for perfection." In 1946 Stern joined the U.S. Army Air Corps, where a conflict with a provost-sergeant led to a court-martial. In "Notes from the River," he says this eventually led to a "stint in the guard house." His job was hauling garbage cans of dead animals to an underground incinerator. He later labored ten to twelve hours a day breaking fieldstone with a sledgehammer under the watch of an armed guard. During this time Stern found that he had begun "to think a little like a poet." Although he had been writing poetry since he was a freshman, only now did it take on the resonance of art. Following his army days, he met a young artist, Patricia Miller, the woman he would eventually marry; she had gone to college at what is now Carnegie-Mellon University in Pittsburgh. Stern took the GI Bill's offer of "twenty dollars a week for fifty-two weeks" to read and educate himself in a literary way. As he puts it in "Notes from the River": "My dear President [Harry Truman], the little scholar from Missouri, gave me twenty dollars a week to read old books and transform my life." After that year, Stern enrolled at Columbia University in New York City and in 1949 received his master's degree. Following his graduation, he traveled to Europe with Jack Gilbert and Richard Hazley, two Pittsburgh friends from his college debating team days. Significantly, both men were poets. Stern's journey,

which led him for a time to graduate work at the Sorbonne, would prove to be a rich seedbed for his future poetry. Poetry, Stern said, "had become our religion." It was during his year in Paris that Stern wrote his first serious poem, an epic entitled "Ishmael's Dream." He sent it to the poet W. H. Auden, who responded by inviting Stern to visit upon Stern's return to New York. Stern naturally assumed that an invitation from so famous and important a poet was going to be an auspicious event. But, as Stern told Gary Pacernick, it proved otherwise, with the topics of discussion being mainly "theater and cheese. . . . I knew Velveeta cheese. I mean, what did I know about cheese, coming from Pittsburgh. . . . Finally I said to him, 'Mr Auden, what about my poem?' He looked at me, and he said, 'Oh, I really liked the last ten lines.' A kind of a lyric at the end of the poem. And I was furious at him for years after that." Despite Auden's dismissal and Stern's frustration, this first serious effort laid the thematic groundwork for his future poetry. In "Some Secrets," he says: "The subject, which I never consciously thought about, was the regeneration and transformation of the world, and myself as religio-politico-linguistic hero, a common enough theme for a first generation American Jew only son." After returning to New York, Stern enrolled in the Ph.D. program at Columbia. There he studied with the renowned literary scholar Lionel Trilling. After one year, however, he left the program and began supporting himself by teaching. His first job was as headmaster of a private school in New York. But in 1953 Stern, by then married, decided to make another trip to Europe, this time with his wife. They stayed three years, eventually settling in Glasgow, Scotland, where Stern taught high school. When Stern returned to the United States, he began a career of teaching in colleges and universities: seven years at Temple University in Philadelphia (1956-1963), five years at

288 / AMERICAN WRITERS Indiana University of Pennsylvania (19631967), fourteen years at Somerset County College in Somerset, New Jersey (1968-1982). He also held numerous visiting professorships and chairs in creative writing throughout the country. Stern and his wife had two children, David and Rachel. In addition to his teaching and writing careers, Stern led the life of a politically committed activist. He wrote in "What I Have to Defend": I suppose I was myself a latterday Utopian socialist; although part of me was a good social democrat . . . I fought tooth and nail, with three college presidents, with committees, with department chairmen, with deans. I lost tenure once and was threatened twice more because of my political activities. . . . I fought the governor of Pennsylvania . . . when he censored a deeply moving photography exhibition on the walls of the state house. . . . I organized and led civil rights marches in Indiana, Pennsylvania. . . . I headed a teacher's union in the state of New Jersey. I wrote contracts, I negotiated, and led two strikes.

Stern's activist life waned, however, as his poetic career waxed. Eventually, in 1982, he was offered a position in the nation's oldest and most prestigious creative writing program, the Writer's Workshop at the University of Iowa. He taught there until his retirement in 1995. Stern was divorced from his wife in the 1980s. A shooting that occurred during a holdup in Newark, New Jersey, nearly killed Stern, and for the rest of his life he would carry a bullet in his neck as a frightening reminder of the attack. As the disappointing meeting with Auden had ironically foretold, Stern would define his poetic voice through lyric rather than through epic forms. The road to that lyric paradise, however, would be hard won as Stern learned to combine—as Auden's own verse combines—the intellectual, the political, and the passionate in his work. Eventually, thirty years after that first meeting, Stern wrote about his early mentor in the poem "In Memory of W. H. Auden" (in

Paradise Poems, 1984). There, Stern casts himself as Caliban and Auden as Prospero. He laments their first meeting when "the stick / of that old Prospero would never rest / on my poor head." Nonetheless, now that he has become a poet, Stern can admit that Auden was just the "magician" he needed. In the poem Stern looks to Auden and says that he "could release me now, whom I release and remember." LOSS AND RUIN: THE FIRST POEMS, 1950-1971

Stern had high hopes that his first major publication, an epic entitled "The Pineys," would be his ticket to Mount Parnassus. The poem, in four sections, establishes a mythic contest between good and evil set in the context of American history. In the 1984 interview with Hillringhouse, Stern explained: I deal with two poles. It's a poem about . . . the White House and the 'Black House/ The White House is a perfect example of ... the age of reason, the age of order. And just behind and under all that order is chaos and destruction and disorganization and timelessness and simplicity and primitivism and childlessness. . . . I think of the Pineys, the so-called inhabitants of the Pine Barrens of southern New Jersey . . . as the symbol of the one order and the White House, or its inhabitants, as the symbol of the other.

By the end of the poem, Stern sets his landscape ablaze and concludes in a kind of ecstatic apocalypse: "Plunged the house in blazing ferocious incandescence." If the poem did not make his reputation, it was for no other reason than Stern's own loss of faith in it. In "Some Secrets," he notes: One day, while rewriting the very last section, I realized the poem was a failure, that it was indulgent, that it was tedious, that it no longer interested me. It was either 1964 or '65; I was going on forty, living in Indiana, Pa., and teaching at

GERALD STERN / 289 the state college there. I was devastated. I had been a practicing poet for almost two decades and I had nothing to show. I suddenly was nowhere; I had reached the bottom.

From this crisis would emerge the lyrical, prophetic, ecstatic voice that readers have to come to identify as Stern's own. Stern understood that he had to start over. He began a series of lyrics that would ultimately be published in his first book, Rejoicings: Selected Poems, 1966-1972 (1973). Intriguingly, rather than put "The Pineys" away and never look back, the poet returned to it several years after his creative crisis, publishing it in 1969. Describing this decision in "Some Secrets," he says that after he "got rid of a lot of dead wood . . . it didn't look that bad. Wasn't it just the last stage of an endless series of rejections and abandonments that had plagued me since my early twenties?" Stern's first significant poem, then, must be read as if it were already an abandoned site. His first poem, like his first subjects, is itself a ruin, a step on the way to paradise. VISIONS OF PARADISE: REJOICINGS, LUCKY LIFE, AND THE RED COAL

Responding to a query from Contemporary Authors (1978), Stern wrote: "If I had to explain my art I would talk about it in terms of staking out a place that no one else wanted, because it was not noticed, because it was abandoned or overlooked." He then elaborates: "I am talking about weeds, and waste places and lovely pockets, and in my poems I mean it on a literal as well as on a psychological and symbolic level." Stern asks that his poetry be understood as a nostalgic look into the past, as well as a present examination of the loss and ruin such a look back reveals. Rather than provoke despair, however, such nostalgia often prods him into founding, if not finding, paradise. Stern's first book, Rejoicings, should be read in light of this theme. The book was published

in three different editions (the first a fine-arts press limited edition entitled The Naming of Beasts, the second and third trade editions under the title Rejoicings.) This collection marks the first appearance of what would become his poetic persona, a voice at once overly—even outrageously—emotional and profoundly intellectual and critical. Stern takes his title from the name of the tractate on mourning in the Talmud, where "rejoicings" refers to loss and bereavement, an ironic twist to the standard English dictionary definition of the term. Jane Somerville, in a book-length study of Stern's poetry, says that Stern's speaker attempts "to reconcile the extremes of intellect and emotion, mind and body. His reverence for learnedness is a strong presence throughout the corpus, but his respect for the physical/emotional is just as serious." The title poem, set on the beach in Atlantic City, begins: I put the sun behind the Marlborough Blenheim so I can see the walkers settling down to their evening of relaxation over the slimy piers.

In these lines, Stern organizes his world; he "puts" the sun in its place. Yet even as he watches others enjoy themselves, he is aware of "the slimy piers," of the equal proportion of muck and flowers. Later in the poem, Stern draws a figure on the sand. Again, the speaker is attempting to achieve a certain order and control, but emotion is given its place: a good circle before digging so I can close the world in my grip and draw my poor crumbling man so that his tears fall within the line.

The "crumbling man" is Stern's friend Robert Summers, a playwright, who died in the 1970s. In the poem Stern calls his friend "Nietzsche," identifying the man with the German philosopher. But the speaker has more to do at the shore

290 / AMERICAN WRITERS than to bury his friend, or to memorialize his tears: After twenty years of dull loyalty I have come back one more time to the shore, like an old prisoner—like a believer— to squeeze the last poetry out of the rubbish.

He is determined to redeem the ritual of going to the sea's edge, to make sense of his double vision of the rubbish (or "the slimy piers") and the beauty that can be culled from it. At the end of "Rejoicings," Stern writes: "I am burying our Nietzsche; / I am touching his small body for the last time." An angry, wild prophet/philosopher—and a friend keenly missed—is now ritually buried, properly mourned. For it is out of such a ritual farewell that one expects a rebirth, and the poems in this volume represent Stern's coming into his own as a lyric poet. Stern sent Rejoicings to Robert Ely, an important American poet and editor. Bly, along with W. S. Merwin, James Wright, and Louis Simpson, had been advocating the use of a more spiritually intense poetic image. Eventually, he would herald a new poetic movement known as Deep Image Poetry. Bly was enthusiastic about Stern's lyrics and encouraged him to write more. As it happened, the first two editions of Rejoicings received no substantial reviews; even the trade publication was printed in an edition of less than 500 copies. Therefore, when Stern's second book, Lucky Life, appeared in 1977, it seemed as if he had burst on the scene from out of nowhere, fully formed. In theme and style the two books are very similar. Published by Houghton Mifflin, Lucky Life won the Academy of American Poets' Lamont Prize, which recognizes achievement by a poet in a second published collection, and earned Stern a secure place in the American poetry world. Particularly striking in Lucky Life are the New Jersey beach poems: "I Need Help," "On the Island," the title poem, and the last poem,

"Something New." Each of these poems announces Stern's desire to find paradise, to find some measure of peace and mercy in a world of ruins. As he puts it in "This Is It": "Everyone is into my myth! The whole countryside / is studying weeds, collecting sadness, dreaming." In the title poem, as in "Rejoicings," Stern's speaker is on the beach, on the margins, once more. He addresses the waves: Dear waves, what will you do for me this year? Will you drown out my scream? Will you let me rise through the fog? Will you fill me with that old salt feeling?

Through six more lines he asks questions, but rather than finding some kind of "poetic" answer, he lets his questions float over the surf. In the concluding stanza of the poem, he simply praises the fact that he can even ask such questions at all: Lucky life is like this. Lucky there is an ocean to come to. Lucky you can judge yourself in this water. Lucky the waves are cold enough to wash out the meanness. Lucky you can be purified over and over again. Lucky there is the same cleanliness for everyone. Lucky life is like that. Lucky life. Oh lucky life. Oh lucky lucky life. Lucky life.

Asking questions, feeling pain and hope for a hint of redemption, of paradise, makes him a lucky man. Here, Stern addresses himself as "you" rather than the reader and, as a result, enters into a dialogue with himself—a turn inward that enables him to confront his own personal nostalgia, his own losses and gains. Some of Stern's most well-regarded and wellknown poems appear in this book: "Lucky Life," "Straus Park," "At Bickfords," "Behaving Like a Jew." Indeed, "Behaving Like a Jew" is perhaps Stern's "signature" poem, the most anthologized and discussed of all of his works. As if to underline its importance, Stern, in This

GERALD STERN / 291 Time (1998), a volume of new and selected poems, placed the poem as the first in the Lucky Life section, whereas in the original volume it was the thirty-eighth. The poem describes the moment when Stern finds a dead opossum on the side of the road. He takes it and throws it into the woods. Following this act, Stern says: "I am sick of the spirit of Lindbergh over everything / that joy in death, that philosophical / understanding of carnage." He declares that he will "be unappeased at the opossum's death." He says: "I am going to behave like a Jew / and touch his face, and stare into his eyes." In the 1998 interview with Pacernick, Stern recalled the poem's origin: I was in a waiting room in a hospital . . . and I was reading a greasy Reader's Digest, and there was an essay, an article by [Charles] Lindbergh about death. . . . I had just passed, driving my wife to the hospital, a dead opossum on the road with a bullet hole in its head and had helped it off the road. Reading the article by Lindbergh, I thought of the opossum as a kind of Jew. Perfectly absurd. And I thought of Lindbergh's antiSemitism, and I thought of the whole view of death that's expressed in that Reader's Digest article, almost a kind of mystic love of death, as being totally alien to Judaism.

The poem's Jewish view of death is a refusal: "I am not going to . . . / praise the beauty and the balance." To be Jewish one must refuse certain conventions: the speaker refuses to "lose [him]self in the immortal lifestream." Instead, he will forgo mystical connection in favor of a frank recognition of the physical brutality of death: "My hands are still a little shaky / from his stiffness and his bulk." The book, and particularly the poems "Lucky Life" and "Behaving Like a Jew," met with widespread enthusiasm, from the influential New York Times Book Review to obscure literary journals. In the Georgia Review, Peter Stitt offered a prayer: "Thank God, or Houghton Mifflin, for Gerald Stern." Writing in Harper's, the

poet Hayden Carruth also praised Stern: "Because he is close to the dailiness of American life he speaks for us all in our own voices." The poet Patricia Hampl went even further, declaring that "Lucky Life is the most beautiful and genuine new book I've read in a long time." Despite this chorus of praise, however, there were also dissenters. Indeed, certain complaints would dog Stern throughout his career. In Parnassus, for example, the reviewer Lawrence Kramer attacked Stern's relentlessly emotional, even excessive poetic voice, writing that his "investment in himself is arbitrary, justified perhaps only by a certain ruthless candor; it therefore seems sentimental." Stern's raw emotionalism, so new when compared to the poetry of the 1970s, was celebrated by some but rejected by others. Undeniably, however, he had established a unique voice and would remain true to it. Stern published a third collection, The Red Coal, in 1981. It continues Stern's exploration of ruin, justice, loss, and paradise. The book's cover featured a photograph of Stern and his friend, the poet Peter Gilbert, walking down a street in Paris in 1950, foretelling the nostalgic urgency of the poems within. The photograph is the focus of the book's title poem: Sometimes I sit in my blue chair trying to remember what it was like in the spring of 1950 before the burning coal entered my life.

"The burning coal" is his symbol for poetry; it is also a metaphor for the kind of life he has chosen: a life of intensity, imagination, profound meditation, and passion. Stern now adds poetry to his sense of "paradise." The poem also connects Stern and Gilbert to the generation of the modernist poets William Carlos Williams and Ezra Pound. Stern compares the Paris photograph to one of Williams visiting Pound at St. Elizabeth's Hospital in Washington, D.C., where Pound had been confined in lieu of going to trial for treason after World War II.

292 / AMERICAN WRITERS "The Red Coal" is one of Stern's more complex and difficult works because of its many resonances and polarities: here poetry opposes politics, public life opposes private art. The poem is also a journey of self-discovery: Stern goes back to a time when he made his choice to accept "the red coal." If his time in Europe was a mix of paradise and exile—a life of poetry and a rejection of the 1950s professional and corporate ideal for making a living—Stern's poetics of nostalgia assumes that everyone is, on some level, also in exile from paradise. The book makes clear that, at age 56, the poet is willing to embrace the choices he had made twenty-five years earlier. Stern's poetic images often have a personal resonance that makes them surreal. They retain their emotional intensity even while being bizarre or indecipherable. One poem from The Red Coal "For Night to Come," begins, "I am giving instructions to my monkey / on how to plant a pine tree," and goes on to describe how the monkey is trained for the task. Through the image of the monkey Stern explores a basic polarity between bestial instinct and civilized behavior, between nature and art. By treating his seemingly absurd subject without ironic distance, Stern presses the opposition under scrutiny to its limits. In addition to its affecting lyrics, The Red Coal is also a triumph of Stern's narrative imagination. In long poems such as "The Shirt Poem," "Joseph Pockets," "The Angel Poem," "The Poem of Liberation," and "The Red Coal," the twin themes of loss and paradise clash. In "The Shirt Poem," for example, Stern brings to life a series of shirts in a closet: "they shake their empty arms / and grow stiff as they wait for the light to come." These surreal dancing shirts allow Stern to enter the lost world of labor organizers and to conceive political dreams of social justice: "I want to write it down before it's forgotten, / how we lived, what we believed in." The connection is as public as it is personal:

"What is my life if not a substitute for yours, / and my dream a substitute for your dream?" In "Joseph Pockets," Stern recalls another paradise—not of social justice, but of familial love, remembering tender moments with his sister. From memories of her death emerges a long, meandering meditation on many subjects. In "The Angel Poem," Stern's speaker is a fallen angel who finds himself wandering in New York City. And in "The Poem of Liberation," Stern contrasts a public garden in New York City with the biblical garden to be found outside New York's Cathedral of St. John the Divine. Paradise is as likely to be stumbled upon on the next block as summoned from the personal past of a fifty-something-year-old poet. Compared to Walt Whitman, praised for his spirituality and his range of subjects, Stern also met with renewed criticism. The poet Mary Jo Salter found Stern's poems "baffling" and his references "wearying." Vernon Shetley, reviewing the book in the New York Times Book Review, summarized it thus: Intensely personal without being autobiographical, Stern's poems lay bare his emotions while revealing almost nothing about their origins. Alternating between conversational speech and slightly surreal outbursts, Stern's work achieves its effects through accumulations of rhetorical weight or sudden flashes of disjunctive imagery. . . . The first person pronoun is ubiquitous, the free verse rarely strays far from a loose iambic. Famous names appear frequently, but more as part of Stern's mental furniture than as a test of the reader's erudition.

Stern's embrace of polarities, his placing intellectual allusions and personal stories side by side, was a stylistic trademark; moreover, it signaled the poet's refusal to follow what he saw as unsatisfactory poetic conventions. Acknowledging the complaints about Stern's style, the poet David Wojahn wrote: "While some may find the bewildering accumulation of details and events in Stern's poems meandering and bothersome, a careful reading will reveal

GERALD STERN / 293 their function: everything Stern sees is filtered through the process of memory, and in doing so is given clarity and integration." He added that "it's Stern's spirit that makes him a significant figure, and with this collection he's become one of the finest poets of his generation, a group that includes such formidable figures as Philip Levine and James Wright." Stern was having a very real impact on a younger generation of poets, Wojahn himself included. To a new group of poets Stern represented a commitment to unadulterated emotionalism in poetry. He showed that one could be passionate in poetry without being either sentimental or antiintellectual. The critic Sanford Pinsker argued that Stern's themes and techniques are particular to Jewish tradition, specifically "East European, rather than . . . American." Raising another sort of polarity that appears in Stern's work, Pinsker adds: "Stern is either tagged as an urban (read: Jewish) poet who lives in the country, or a country poet who often writes about the city." Pinsker sees the poet as both urban and rural in a particular sense: "Stern is unashamedly bookish, but at the same time he gives himself freely to the senses; he is half bourgeois . . . half proletarian hero." Pinsker, like many of Stern's admirers, appreciates the way in which Stern, in his poetry and in his personal life, embraces and even embodies the contradictions of his poetry. FINDING PARADISE: "FATHER GUZMAN" AND PARADISE POEMS

Following The Red Coal, Stern published a long poem, "Father Guzman," in the Paris Review. It won that journal's Bernard F. Conners Poetry Prize (1982). In three sections, this long poem relates a dialogue between a boy and a Jesuit priest. It begins with the two characters in a swamp at a port in Venezuela; they are watching a cruise ship depart the harbor. In the sur-

real dialogue that constitutes the poem, the boy and the priest symbolize sexuality and spirituality, the city and nature, earthly politics and heavenly dreams. Throughout the poem, the characters debate various forms of paradise, of Utopian society. As if allegorizing Stern's own nostalgic obsessions, the boy expresses youth's carnality and desire for justice, while the older man thinks only of ruin, of what has been lost. At one point the boy even blesses, out of a kind of pity, the priest who no longer believes: Oh dearest precious man, oh lovely priest, oh brother of mine, oh brother and father and teacher, so worn out from your life, so sad and exhausted; you I love more than my own flesh and blood.

In the second section, Father Guzman admits: "I do long for a world / where souls can live with other souls I ... I without authority or subordination." The poem goes on to take a surreal, allegorical turn, moving through complex identity shifts and power relationships; finally, it returns to its main theme, the search for paradise. Near the end of the poem, Stern alludes to his earlier image of "the red coal." The two characters had been discussing how the Spaniards confused the mythical paradise of El Dorado with a sacred lake of an Indian tribe. The priest says of that lake: . . . Do you know it was a giant meteor dropping out of the sky that made the hole in the first place? Think of that! The myth of paradise begun by a hot stone hitting the ground. . . .

Stern suggests that without that fiery stone, without the descent of God into the material plane, there would be no paradise at all. It should come as no surprise that Stern called his fourth book Paradise Poems (1984). In this

294 / AMERICAN WRITERS book the familiar places of ruin, loss, and occasional redemption are now almost singularly praised for revealing paradise, if only temporarily. Here are poems that take place in New York City: "The Same Moon above Us," "Three Skies," "The Expulsion"; and in Pittsburgh and Raubsville, Pennsylvania: "Christmas Sticks," "Leaving Another Kingdom," "Groundhog Lock," "Fritz." Here, too, are poems set in Stern's new home of Iowa City: "Dubuque Street" and "Sycamore." The book is also peppered with verses on places like Mexico ("Clay Dog"), the American Southwest ("One Bird to Love Forever"), Crete ("John's Mysteries"), Alabama ("Red Bird"), and California ("Berkeley"). Paradise, such a geographical range suggests, does not exist in one specific place. "Sycamore" is perhaps the poem most representative of the complexity involved in locating paradise in present times here on earth. Set in Iowa City, the poem addresses a sycamore tree outside the poet's window. He says: "I want to live here / beside my tree and watch it change." Using images of rebirth and spring, Stern's poem then enacts a moment of paradise in his life. It is at once a tour of his own personal "promised lands" (New York City, Pennsylvania) and a more general cultural meditation on the American "errand into the wilderness," of America as every immigrant's imagined promised land. By the end of the poem, Stern becomes the tree, naturalizing himself: . . . I am the only one in this house, I do my reclining all alone, I howl when I want, and I am, should anyone come in, a crooked tree leaning far out, I am a hundred feet tall, I am a flowering figure. . . .

Meanwhile, as if to prove just how necessary paradise is—and to make sure that no one, least of all the poet himself, confuses a glimpse of it with the eradication of hell—Stern includes a

harrowing series of Holocaust poems: "The Dancing," "Soap," "Adler." Indeed, "Soap," with "Behaving Like a Jew," has since become one of Stern's best-known poems. Referring to gruesome reports that the Germans had made soap out of the corpses of murdered Jews, Stern imagines a store stocked with such Jewish goods: "Here is a green Jew / with thin black lips. / I stole him from the men's room." In the second stanza, he says: "And here is a blue Jew. / It is his color, you know." This long discursive poem concludes in a strange dialogue with the soap that he ultimately buys. This poem sparked a small controversy, with some critics indicting it as self-serving rather than honoring the dead or coping with past evil. But the Holocaust poems must not be seen merely as attempts to deal with "survivor's guilt"; they should be seen also as engaged responses to the horrors that make the need for paradise so urgent. AFTER PARADISE: PROSE AND THE LYRICS OF LOVESICK

Throughout the 1980s the literary community paid a great deal of attention to Stern's work. Numerous interviews and critical assessments appeared. In this decade Stern published many prose pieces, including the essay series "Notes from the River," autobiographical pieces, and analyses of his own poems. In an apt assessment, an article by Frederick Garber in American Poetry Review identified Stern's major theme as "the purest possible rendering of the conditions of the self," with one's place and one's language constituting fundamental features of a person's identity. By concentrating on the poetic speaker of Stern's work, Garber touched on a controversy that characterized American poetry in the 1980s. The problem of voice divided critics from poets and poets from each other. Competing ideas of the self, of what constituted identity in the first

GERALD STERN / 295 place, caused many critics and poets to deny each other's claims to be writing poetry at all. If one did not accept someone else's philosophical premise about selfhood, then the poetry dependent on that premise was rejected out of hand. The argument, in effect, depended as much on theories of language as on theories of the self, of "personality." Essentialism, the belief that a fundamental core or "soul" lay at the root of human existence, particularly divided poets and critics. The more experimental and avant-garde camp rejected the very idea of an "essence," finding in such mostly religious beliefs a political agenda that often excluded entire categories of people who did not share similar ideas about "the soul," "the sacred," or "essence" itself. To the avant-garde community, in particular, poetry that relies on a single voice speaking from "the heart," is considered more often pernicious and exclusionary than inclusive and welcoming. In the final panel discussion of a literary symposium held in the late 1980s on the subject of voice in poetry, Stern described poetry as "a sacred state," adding: "I'll use that word, if you'll forgive me, a sacred state." That he felt the need to apologize for using the word "sacred" shows what it meant to be writing his sort of poetry in those years. This sense of the sacred also drives his essay series "Notes from the River," as well as his two major autobiographical essays: "Some Secrets" (1983) and "What Is This Poet?" (1987). Stern published his fifth collection, Lovesick, in 1987, reflecting on his own divorce, as well as on a new lover, to whom this collection is dedicated. Like its predecessor, Paradise Poems, this book takes joy as its dominant theme. Several of the poems recreate the thrill of listening to music: "Stopping Schubert," "I Am in a Window" (about Franz Liszt), "Bela" (about Bartok), "A Slow and Painful Recovery" (about Richard Strauss). In this book people are more likely to sing and dance than they are to weep

and wail. Nonetheless, given its ecstatic tone, it is still very much a private, sealed, even hermetic collection of lyrics. In an essay about the poem "I Am in Love," Stern reveals the details behind its "secret language." Describing his general poetic strategy, he writes: "If anything characterizes my mode it is the absence of sections; and it is seeing the poem through, pursuing the logic, even as it's a trap." Writing poetry, in other words, is an act of self-discovery. Writing "I Am in Love" teaches him about himself, about the nature of love, as he follows it through. On the surface, "I Am in Love" is a strange love poem. There is no one but Stern in the poem. It begins with the poet standing in front of a library's card catalog: "My scholarship / is hectic, I can start with an O and stray / to everything in sight." From there, the poem really does "stray," moving from Italy to Pennsylvania until, at the end, Stern admits: "I have / a helpless fascination with myself." Then, in the very last line, Stern declares—"I am in love." So elusive does this "love" seem to be that one might conclude he is speaking of self-love, or love of life in general. Stern himself (in "A Few Words on Form," Poetry East, 1986), claims that the poem is very much about Diane Freund, to whom the book is dedicated: "I remember I was sitting alone in Diane's living room. . . . I was [being] super sensitive and melodramatic towards everything I did. The line, 'I have a helpless fascination with myself is a quotation from Diane." According to Stern, the poem is really his way of asking for her forgiveness. By putting the line she had uttered into the verse, "I merely threw it back at her, as I asked forgiveness in the poem," the poet explained. Stern then admits that the poem's last line—"I am in love"—"surprised me when it happened. . . . And the reason it worked as a title for the whole poem, and as a subject, was that the state of soul, I suddenly realized, was not so different in the first part [of the poem] as it was in the second."

296 / AMERICAN WRITERS Such is the sort of emotional logic Stern's poetry had begun to teach. Another representative poem from this collection, "A Song for the Romeos," is about a particular kind of shoe called the Romeo. It illustrates just how simple the occasion for joy can be. In the second stanza, Stern writes: I'm wearing my romeos with the papery thin leather and the elastic side bands. they are made for sitting, or a little walking into the kitchen and out, a little tea in the hands, a little Old Forester or a little Schenley in the tea.

Dedicated to two poets, James Wright and Richard Hugo, the poem is also a larger celebration of their world and their people—hardpressed, working-class America—and of a bygone, longed-for era in American life. In these lines one can see how nostalgia, for Stern, is often a return to a lost paradise: I'm singing a song for the corner store and the empty shelves; for the two blocks of flattened buildings and broken glass; for the streetcar that still rounds the bend with sparks flying through the air.

In the final stanza, in a characteristic embrace of opposites, he praises "the woman with a shopping bag, / and the girl with a book / walking home one behind the other." Such emotionally invested lyrics are usually combined with intellectual themes, as in the poem "Knowledge Forwards and Backwards." This poem, illustrative of Stern's discursive method, shows just how fundamental his theme is to his style. Since knowledge and passion define his sense of paradise, it only makes sense that his meandering poetic lines and occasionally surreal imagery should be necessary to get him there.

In a 1989 interview with David Hamilton, recorded shortly after this book was published, Stern defined poetry: It's a faith in life. It's a faith in the presence of the meaningful things, even if temporarily meaningless. Even if transient, even if they'll not be understood ever again, even if they won't ever reappear in that same order. There was order. There was form. There was love. There was joy. There was meaning. There was life, whether for a minute or a year or a century. And that's enough. That's about all we're going to get of Paradise.

WORKS SINCE 1990

In 1990 Stern published Leaving Another Kingdom: Selected Poems and Two Long Poems (a reprint of both 'The Pineys" [1969] and "Father Guzman" [1982]). Also in 1990 the first scholarly book on Stern's poetry, Jane Somerville's Making the Light Come: The Poetry of Gerald Stern, appeared. By this time Stern's poetic voice, and a number of his poems in particular, had become central to contemporary American poetry. Somerville takes a thematic approach to Stern's first five collections (through Lovesick), arguing for the importance of his poetic speaker's emotionalism. To her, "Stern's eccentric speaker" has "a voice and character which I see as the controlling principle in a poetry of performance." Somerville chooses to read the voice as a character and not as Stern speaking autobiographically. Discussing that voice's literary influences, Somerville writes that "biblical literature, in particular the kabbalistic and Hassidic reinterpretations of Talmud and the Midrashim" are more central than any particular poet or poetic tradition: "Thus the Bible—and more importantly the commentaries that readjust and even reverse biblical material—can be taken as his precursor." Specifically, Somerville examines four major images

GERALD STERN / 297 alive in each of Stern's books: the garden, the rabbi, the wanderer, and the angel. Around the time he published Lovesick, Stern was shot in the neck during a holdup in Newark, New Jersey. He has never been willing to say much about the shooting; he has acknowledged that his reticence on the subject was to avoid the pitfalls of self-pity. The traumatic experience may explain why, after Lovesick, his poetry becomes less and less interested in distinct polarities. Having experienced firsthand the thin line between life and death, Stern was perhaps more willing to find unity, not disparity, and kinship, not opposition, in his poetry. After 1990 Stern's work is concerned with what he identifies as "pre-Socratic philosophy"—knowledge mixed with love and desire. Rather than become the isolated "man in the window" watching a woman who is different from him in enumerated ways, Stern now becomes even more a poet of paradise. In his later books, the man and the woman are increasingly joined as one. Beginning with Bread without Sugar (1992), each of Stern's books manifests an interest in an emotional, passionate knowledge. These books also contain more and more long poems. The new narrative urge allows him to combine the two spheres, passion and knowledge, so that they no longer clash but complement one another. (This sixth new collection of poetry also, for the first time, divides his poems into numbered sections). Of the poems in Bread without Sugar, "Sylvia," an elegy to his sister, and "The BullRoarer," an elegy to his father, stand out. "The Bull-Roarer" recalls a childhood visit to an uncle's farm in Pennsylvania. It recreates the time when Stern's father, uncle, and other men butchered a calf and played with the calf's tail. The tail is then compared to a child's toy, a "bull-roarer," which Stern saw years later in Italy. Looking back on the experience and using the toy as his metaphor, Stern writes:

I saw children throwing it over their heads as if they were in central Australia or ancient Europe somewhere, in a meadow, forcing the gods to roar. They call it Uranic, a heavenly force, sometimes almost a voice, locked up in that whirling stone, dear father.

These lines are emotionally charged and at the same time intellectually rich. Stern himself tells his readers about this new direction in "The Thought of Heaven." The poem begins as a meditation on "one blossom on my redwood table." Eventually, it queries Stern's own intellectual commitments: . . . I have to find the pre-Socratic, that is for me what thought should be, I am a sucker still for all of it to hang together, I want one bundle still. . . .

In these lines, Stern tells his readers two things. First, thought needs to be understood as at once an emotive and a rational phenomenon. Second, polarities are no longer interesting to him: unity is his real subject, how things "hang together." The poems in this collection contain elements of the surreal, as in his earlier work. In "The Founder," for example, a bronze head of a "captain of industry" exerts a powerful, mysterious hold on the poet and his friends. Others launch typically Sternian voyages into the past. One such poem, "The Age of Strolling," returns to a lost decade, the 1930s, and muses on American ideals of social justice. It concludes: "I spent / a lifetime doing this, grieving and arguing." Several characters, themselves "bundles" of both heart and mind, people the poems: friends, fellow poets, and Stern's new lover, Judy Rock, to whom the book is dedicated. The title poem, "Bread without Sugar," a long discursive elegy to his father, is an inquiry into the emotional logic of his relationship to his father. As the poem proceeds it becomes a means of understanding his own children's relationship to him.

298 / AMERICAN WRITERS Reactions to Bread without Sugar noted its attention to intellectual subjects and the everweaker basis for comparing Stern's work, with its self-questioning and its urgency, to Whitman. David Baker summed things up in a pithy remark: "This poet drives without brakes." On the other side of the critical divide, the poet Calvin Bedient, identified Stern's embrace of an anti-Enlightenment, anti-rational, "pre-Socratic" tradition as a flaw in his work and an undesirable path for American poetry to follow. To make the case for the pre-Socratic tradition, Stern himself published two important essays in the early 1990s. One offers an extended treatment of Jewish American poetry (in JewishAmerican History and Culture: An Encyclopedia, 1992), while the other is an autobiographical reflection on his influences. In "What I Have to Defend," Stern says Matthew Arnold taught him, when he was still a young man, that art was compatible with the need for social justice. In Arnold, Stern found a definition of culture, of literature that "should have as its purpose, the 'love of perfection,' that is motivated not merely, or primarily, by the passion for pure knowledge, but also by the moral and social passion for doing good." Also, says Stern, this lesson related to his sense of Judaism: "I think it is the idea of the Jew I cling to ... I think what I have to defend, what I can't bear losing, is either contained or symbolized, in a significant way, in that idea." For Stern, in other words, neither art nor Jewishness can be understood only in the harsh light of reason or only in the more sympathetic light of the heart. Stern's poetry is also a hybrid, mixing heart and mind. In 1995 Stern published Odd Mercy, his seventh collection of new poems. The following year Odd Mercy won the prestigious and lucrative Ruth Lilly Poetry Prize. Half of the volume is devoted to one poem, "Hot Dog." At fortyfive pages and more than a thousand lines, it is by far Stern's longest poetic work. While many

other poems deserve attention and analysis ("Odd Mercy," "Ida," "Only Elegy," "Blacker than Ever," and "Sixteen Minutes" in particular), "Hot Dog" must be treated as his masterpiece. In keeping with Stern's turn to a poetry that fuses knowledge with an impassioned plea for social justice, "Hot Dog" also resembles a prophetic book of the Bible. In this poem, Stern suffers and records suffering: he is like Job and Amos. In seventeen sections, Stern's poem travels backward and forward in time. He moves from Iowa to New York to Pennsylvania and New Jersey, sometimes without so much as a line break. Each section of the poem tells a specific story, with its own plot, based on a specific event. At once personal and public, the seventeen distinct episodes, when taken together, form a larger story. "The poem," Stern declared in 1995, "is about salvation. It's about God. It's about redemption. It's a comic poem too." In the first section, for example, Stern, in lower Manhattan around Tompkins Square Park, centers his meditation on an African American woman—a street person named Hot Dog. She becomes for him the consummate image of exile, of social wrongs, of the need for both mercy and justice. In sections two and three, the poem meditates on biblical strictures—the laws of Kashruth, or keeping kosher, of distinguishing the sacred from the profane—as well as on two men—Saint Augustine and Walt Whitman. These two figures come to measure how such needs as justice and mercy are to be met. In section four Stern writes: Augustine fought one battle—although he fought many—we all fight one battle, one a life—I think that's mostly right. Whitman fought one. For which he is denounced. Sometimes. I'm amazed at my own battle. . . .

Stern takes his place alongside Augustine andWhitman and, as he suggests all of their

GERALD STERN / 299 associations with Hot Dog, makes of his poem a moral meditation; it becomes an ode on ethics and justice. In many ways this is a capstone poem: here one finds Stern's narrative gift wedded to his lyric impulse, while bringing his characters, particularly marginalized figures like Hot Dog, to life. Equally at home in frank realism as in more outrageous flights of surrealism, "Hot Dog" is a compendium of what is best in Stern's work. It reiterates Stern's lifelong poetic journey from ruin to paradise. As the poet Delmore Schwartz once said, "It is always darkness before delight." The poem ends in delight with Stern declaring: ... I felt young today, what with the rain what with the wind what with a rolling bottle that won't let me alone and yesterday morning's news still underfoot and all those trees still bare but starting to turn a little and two or three birdlets getting ready again for the next eternity.

Describing the poem in the 1998 interview, Stern commented: "It is the longest poem I've ever written, and it's as if I have been preparing to write that poem all my life." Mark Hillringhouse suggested that "Hot Dog" depended on a struggle between "two opposite poles, from self-burial, or some low form of animal death, to rebirth on a higher plane." Referring to the philosophical implication of "Hot Dog," Hillringhouse wrote: "He seems to want to return to the foundations of philosophy, to the pre-Socratics, when it was possible to reduce matter and existence to a single permanent substance." In Uncertainty and Plenitude: Five Contemporary Poets (1997), Peter Stitt argues that Stern's poetry is a plea for mythic order, for meaning, and so poses a challenge to the new orthodoxy in intellectual life that reads only uncertainty and chance in the world of nature and humanity. Stern's work, Stitt suggests, is finally a grand attempt to resolve such

uncertainty. However, in 1997 Jonathan Barron argued that this uncertainty was not resolved in Stern's poetry but was, in fact, also a part of it. Barron demonstrates how Stern's poetry incorporates uncertainty as part of the ancient Jewish textual tradition of commentary known as midrash. In 1998 Stern published This Time: New and Selected Poems. It contains representative poems from each of his previous volumes, including Odd Mercy, and adds fourteen "new poems," the title poem among them. Reading the new poems, one is struck by their familiar themes and images, but also by their renewed social and political interests. "December 1, 1994," "Swan Legs," and "Personal" are pointed poems on matters of social justice. Several of the poems are even more self-revealing than previous work and specifically autobiographical. "Eggshell" is a moving elegy to a poet friend, Larry Levis, and, invoking Walt Whitman's elegy to Abraham Lincoln ("When Lilacs Last in the Dooryard Bloomed"), Stern offers his own "Lilacs for Ginsberg," an elegy for the poet Allen Ginsberg, who died in 1997. This Time won the 1998 National Book Award in poetry, a prize that essentially recognized Stern's entire career. Notably, the book sold extremely well, no mean feat for a volume of poetry published in the United States. Its success points to the immediacy of Stern's poetry, but more than that, to its emotional truth. As Deborah Garrison wrote, "It isn't often you come across poetry that makes you want to turn to the stranger next to you on the bus, grab him by the collar, and say, 'You have to read this.' But that's how I felt." As a sign of Stern's popularity, three times in 1999 Stern was invited to be a guest on National Public Radio's Weekend Edition. Stern's Last Blue, published in 2000, contains fifty-two new poems divided into six sections. It opens with "One of the Smallest," a visionary, even apocalyptic, tale of death, rebirth, and

300 / AMERICAN WRITERS regeneration. A four-page poem, it concludes with an ecstatic declaration: "I turned / garish for a while and burned." In the poems that follow, readers are invited into this fire, where Stern, now in his mid-seventies, looks backward and forward, weeps, wails, and sings. Of the book's themes, one of the most central is announced in "Someone to Watch Over Me," where Stern states, "I am taking care of the things I love." One can read these poems as examples of how Stern "takes care." In them, he alternately blesses, praises, curses, and angrily defends "the things I love," sometimes doing all at once. In "Against the Crusades," for example, he depicts a paradise of inclusion, not exclusion: God bless the Lucca Cafe. God bless the green benches in Father Demo Square and the dear Italian lady carrying a huge bouquet of red and white roses

Not all is "sweetness and light." Here, too, one finds the poetry of loss, ruin, and alienation. In "Visiting My Own House in Iowa City," he visits the house that he has rented to the poet Mark Doty. Arriving too early to take charge of his own home, and finding that Doty is absent but that his dogs are there, Stern looks in the window and then simply returns to his hotel room "to watch the telephone blinking." A poignant poem of self-reflection, it is also a meditation on the meaning of "home." Perhaps the most delightful "care" taken in the book, however, is the series of love poems to Anne Marie Macari, to whom the book is dedicated. To understand the ways in which Stern's most recent work carries his poetic project full circle, one has only to look at the book's Paris poems: "Whatever Paris Meant," "The Sorrows," and "Paris." Stern read "Paris" on National Public Radio and designated it for inclusion in an anthology of Jewish American poetry. The poem begins in nostalgia, as Stern recalls a dinner he shared with Peter Gilbert at a Paris restaurant.

It then tells the story of how Stern sold an Underwood typewriter to a Polish victim of the Germans—"whose teeth the Germans had smashed / at Auschwitz." He remarks that he and the man "had the same / name in Hebrew." This memory feeds into another: "I went / to Italy on that money, it was my first / grant." Thinking of his time in Italy, Stern recalls it as a time when he "practiced deprivation . . . ketchup / with beans, seven pounds of lamb for a dollar, / bread eight cents a loaf." He concludes: . . . It was more loyal that way, I was so stubborn I did it ten years too long, maybe twenty, it was my only belief, what I went there for.

The specific memory that began the poem has, by the end, transformed into a visionary choice proudly made. The poem becomes a celebration and a defense of his poetic life. He insisted on "deprivation"—he had the courage to believe in the purity and power of art, of its ability to transform. Beyond the centrality of two Jews—him and the man to whom he was selling black market goods—to the poem, and its taking place in a Jewish restaurant, "the poem is Jewish in a deeper sense," Stern wrote: "in the passionate and even obstinate devotion to an idea in which one's whole life is committed, or sacrificed, or put at risk much in the manner of Talmudic devotion" (Jewish American Poetry). Stern's fidelity to this idea was so strong that he felt the need to "sacrifice" to unite "with Him who is the God of poetry and Him who is the God of Mercy. Or Her." As it was in 1950, so too in 2000: for Stern, poetry is a sacred art. Defining poetry in a brief essay for American Poetry Review (1999), Stern wrote: "Poetry helps people live their lives through its music." What is poetry's music? Stern answers this question: "It's the exquisite interpenetration of these two things, moral force and tenderness, or

GERALD STERN / 301 brute power and tenderness." Although he is speaking of poetry in general, the words aptly describe his own work. Stern has throughout his poetic career been faithful to the notion that poetry is a sacred act, that by participating in his spiritual journeys, the reader will experience his or her own. His poetry invites each reader to seek a wonderful and necessary paradise, at once deeply personal, worldly, and profoundly spiritual—a glimpse of the world to come.

Selected Bibliography WORKS OF GERALD STERN POETRY

The Naming of Beasts, and Other Poems. West Branch, La.: Cummington Press, 1972. Reprinted as Rejoicings: Selected Poems, 1966-1972. Fredericton, New Brunswick: Fiddlehead Poetry Books, 1973. Reprinted as Rejoicings: Poems, 1966-1972. Los Angeles: Metro Book Co., 1984. Lucky Life. Boston: Houghton Mifflin, 1977. The Red Coal. Boston: Houghton Mifflin, 1981. Paradise Poems. New York: Random House, 1984. Lovesick. New York: Harper & Row, 1987. Leaving Another Kingdom: Selected Poems. New York: Harper & Row, 1990. Two Long Poems. Pittsburgh: Carnegie-Mellon, 1990. (Contains "The Pineys," 1969, and "Father Guzman," 1982.) Bread without Sugar. New York: Norton, 1992. Odd Mercy. New York: Norton, 1995. This Time: New and Selected Poems. New York: Norton, 1998. Last Blue. New York: Norton, 2000. ESSAYS

"Gerald Stern." In Contemporary Authors. Vols. 8184. Detroit: Gale Research, 1978. Pp. 535-536. "Some Secrets." In In Praise of What Persists. Edited by Stephen Berg. New York: Harper & Row, 1983. Pp. 257-258.

"Notes from the River." American Poetry Review 12, no. 1:20-22 (1983). (This essay is about the meaning of loss.) "Notes from the River." American Poetry Review 12, no. 3:42-44 (1983). (This essay is about the meaning of polarities.) "Notes from the River." American Poetry Review 12, no. 5:36-38 (1983). (This essay is about the meaning of nostalgia.) "Notes from the River." American Poetry Review 13, no. 1:17-19 (1984). (This essay is about the meaning of the Sabbath.) "'Sycamore': Poem and Commentary." Poesis 5, no. 4:1-11 (1984). "For Night to Come." In 45 Contemporary Poems: The Creative Process. Edited by Alberta T. Turner. New York: Longman, 1985. Pp. 213-218. (This is Stern's analysis of the poem.) "A Few Words on Form." Poetry East 20-21:146150 (1986). (This is Stern's analysis of his poem "I Am in Love.") "Notes from the River." American Poetry Review 16, no. 3:41-46 (1987). (This is an autobiography; it uses the figure of caves.) "What Is This Poet?" In What Is a Poet?: Essays from the Eleventh Alabama Symposium on England and American Literature. Edited by Hank Lazer. Tuscaloosa: University of Alabama Press, 1987. Pp. 145-156. (Also includes panel discussion, pp. 185-225.) "Living in Ruin." Poetry East 26:21-31 (1988). (This is Stern's analysis of his poems "Delaware East" and "East of Kilmer.") "Poetry." In Jewish-American History and Culture: An Encyclopedia. Edited by Jack Fischel and Sanford Pinsker. New York: Garland, 1992. Pp. 485497. "What I Have to Defend, What I Can't Bear Losing." New England Review 15, no. 2:94-103 (1993). "How Poetry Helps People to Live Their Lives." American Poetry Review 28, no. 5:21-28 (1999). "'Paris': Poem and Commentary." In Jewish American Poetry. Edited by Jonathan N. Barren and Eric Murphy Selinger. Hanover, N.H.: University Press of New England/Brandeis, 2000.

302 / AMERICAN WRITERS CRITICAL AND BIOGRAPHICAL STUDIES Baker, David. "Ecstasy and Irony." Poetry CLXI, no. 2:99-113 (1992). (Review of Bread without Sugar.) Barron, Jonathan N. "New Jerusalems: Contemporary Jewish American Poets and the Puritan Tradition." In The Calvinist Roots of the Modern Era. Edited by Aliki Barnstone, Michael Tomasek Manson, and Carol J. Singley. Hanover, N.H.: University Press of New England, 1997. Pp. 231-249. . "At Home in the Margins: The Jewish American Voice Poem in the 1990s." College Literature 24, no. 3:104-123 (1997). Bedient, Calvin. "American Latitude." Southern Review 29, no. 4:782-787 (1993). (Review of Bread without Sugar.) Behrendt, Stephen C. Review of Paradise Poems. Prairie Schooner 60, no. 1:109-111 (1986). Boruch, Marianne. "Comment: The Feel of a Century." American Poetry Review 19, no. 4:17-18 (1990). (Review of Leaving Another Kingdom.) Carruth, Hayden. "The Passionate Few." Harper's 256, no. 1537:86-88 (1978). (Review of Lucky Life.) Chess, Richard. "Stern's Holocaust." Poetry East 26:150-158 (1988). Clewell, David. "In Blue Light." The Chowder Review 10-11:159-162 (1978). (Review of Lucky Life.) Daniels, Kate. "Boys to Men: Recent Poetry in Review." Southern Review 34, no. 4:736-753 (1998). (Review of This Time.) deNiord, Chard. "Gerald Stern." In vol. 105 of Dictionary of Literary Biography. Edited by R. S. Gwynn. Columbia, S.C.: Bruccoli, Layman, Clark, 1991. Pp. 231-240. Garber, Frederick. "Pockets of Secrecy, Places of Occasion: On Gerald Stern." American Poetry Review 15, no. 4:38-47 (1986). Garrison, Deborah. "Lyricism Unpluggled: A Dazzling Poet Conies to the Fore." The New Yorker 74, no. 35:103-104 (1998). (Review of This Time.) Gregorson, Linda. Poetry 105, no. 3:233-236 (1980). (Review of Lovesick.) Grosholz, Emily. "Family Ties." Hudson Review 37, no. 4:647-655 (1984-1985). (Review of Paradise Poems.)

Gwynn, R. S. "Subject Matters." Hudson Review 52, no. 2:323-327 (1999). (Review of This Time.) Hampl, Patricia. Ironwood 12:103-107 (1978). (Review of Lucky Life.) Hillringhouse, Mark. "The Poetry of Gerald Stern." Literary Review 40, no. 2:346-358 (1997). Hirsch, Edward. "A Late Ironic Whitman." The Nation 240, no. 2:55-58 (1985). (Review of Paradise Poems.) Kitchen, Judith. "For the Moment: Essential Disguises." Georgia Review 46, no. 3:554-566 (1992). (Review of Bread without Sugar.) Kramer, Lawrence. "In Quiet Language." Parnassus 6, no. 2:101-117 (1978). (Review of Lucky Life.) McDowell, Robert. Hudson Review 40, no. 4:677680 (1988). (Review of Lovesick.) Michaels, Leonard. "Talk and Laments." New York Times Book Review, October 9, 1977, pp. 15, 34. (Review of Lucky Life.) Miller, Jane. "Working Time." American Poetry Review 17, no. 3:9-16 (1988). (Review of Lovesick.) Pinsker, Sanford. New England Review 4, no. 3:494497 (1982). (Review of The Red Coal.) . "Weeping and Wailing: The Jewish Songs of Gerald Stern." Studies in Jewish American Literature 9, no. 2:186-196 (1990). "The Poetry of Gerald Stern." Poetry East 26 (fall 1988). (This issue contains 15 essays and poems about Stern's work. It also contains an essay by Stern and an interview with the poet.) Salter, Mary Jo. "Poetry." Washington Post Book World 11, no. 27:7, 10 (1981). (Review of The Red Coal.) Sandy, Stephen. "Experienced Bards." Poetry, August 1982, pp. 293-303. (Review of The Red Coal) Schulman, Grace. "Dance, Song and Light." The Nation 266, no. 17:49-50 (1998). (Review of This Time.) Shetley, Vernon. "Nature and the Self." New York Times Book Review, May 10, 1981, pp. 12, 41. (Review of The Red Coal.) Siedlecki, Peter A. "Gerald Stern's Mediation of the I and the I." In World, Self, Poem: Essays on Contemporary Poetry from the "Jubilation of Poets." Edited by Leonard M. Trawick. Kent, Oh.: Kent State University Press, 1990. Pp. 110-119.

GERALD STERN / 303 Simpson, Louis. "Facts and Poetry." Gettysburg Review 1, no. 1:158-160 (1988). (Review of Lovesick.) Somerville, Jane. "Gerald Stern among the Poets: The Speaker as Meaning." American Poetry Review 17, no. 6:11-19(1988). . "Gerald Stern and the Return Journey." American Poetry Review 18, no. 5:39-46 (1989). . Making the Light Come: The Poetry of Gerald Stern. Detroit: Wayne State University Press, 1990. Stitt, Peter. Review of Lucky Life. Georgia Review 32, no. 1:243-248 (1978). . "Engagements with Reality." Georgia Review 35, no. 4:874-881 (1981). (Review of The Red Coal.)

Wojahn, David. Poetry East 6:96-102 (1981). (Review of The Red Coal.)

INTERVIEWS Abbate, Francesca, Karin Schalm, and Robert Firth. "Five Questions: An Interview with Gerald Stern." Cutbank 43:88-102 (1995). Hamilton, David. "An Interview with Gerald Stern." Iowa Review 19, no. 2:32-65 (1989). Hillringhouse, Mark. "Gerald Stern: An Interview." American Poetry Review 13, no. 2:26-30 (1984). Kelen, Leslie. "Explaining, Explaining: A Conversation with Gerald Stern," part one. Boulevard, spring 1992, pp. 100-115. . "Explaining, Explaining: A Conversation with Gerald Stern," part two. Boulevard, fall 1992, pp. 193-210.

. "My Fingers Clawing the Air: Versions of Paradise in Contemporary American Poetry." Georgia Review 39, no. 1:188-193 (1985). (Review of Paradise Poems.)

Knight, Elizabeth. "A Poet of the Mind: An Interview with Gerald Stern." Poetry East 26:32-48 (1988).

. "To Enlighten, To Embody." Georgia Review 11, no. 4:800-812 (1987). (Review of Lovesick.)

Pacernick, Gary. American Poetry Review 27, no. 4:41-48(1998).

. "Gerald Stern: Weeping and Wailing and Singing for Joy." In Uncertainty and Plenitude: Five Contemporary Poets. Iowa City: University of Iowa Press, 1997. Pp. 119-144.

Pinsker, Sanford. "An Interview with Gerald Stern." Missouri Review 5, no. 2:53-67 (1981-1982).

Vollmer, Judith. Prairie Schooner 73, no. 3:139-143 (1999). (Review of Odd Mercy.)

Zwerdling, Daniel. Weekend Edition, National Public Radio (NPR), March 27-28, 1999; May 2, 1999.

—JONATHAN N. BARRON

Jean Toomer 1894-1967

L

the land were all inevitably leading to the end of a time and a place. The work could be considered a communal autobiography of an era and a culture on the edge of collapse. Cane appeared shortly after T. S. Eliot's The Waste Land (1922), a work that is also about cultural loss. Like Eliot, Toomer returns to the past of a people in order to find ways to combat the anomie of a modern world that is losing its normative forms and traditions. By recovering the past and traditions of the African American South, Toomer also is recovering himself. Toomer's identity as a biracial young man, who did not learn of his African American ancestry until he was a young adult, determines the tone of Cane. The imminent loss of the past echoes Toomer's own fear that he will never fully know the part of himself that was hidden for most of his life. Toomer's African American heritage tied him to a father he never knew and to a powerful, but enigmatic grandfather. In trying to find his African American identity, Toomer also was trying to recover relationships with the most important men in his life. Toomer was determined to confront the burden of the past, one that continued to enslave African Americans through oppression, poverty, feelings of mental inferiority, and racial violence. He believed that African Americans could fully reach their potential and realize their dreams only by addressing their painful history—thereby surviving the present and salvaging the future. By embracing a new artistic form in Cane, Toomer sought a way to offer African Americans a new cultural myth that celebrated their history and identity. He presented this "new story" in a manner that freed

/IKE ITS PREDECESSOR, W. E. B. Du Bois's The Souls of Black Folk (1903), Jean Toomer's Cane (1923) evokes the lives and souls of African Americans living in the rural and poor South. In a collection of sketches, epigraphs, poems, short stories, and songs, Cane animates a world that is beautiful and violent, earthy and mystical. Today, Cane defies categorization, as it did in its own time. Composed of fifteen poems, six prose vignettes, seven stories, and a closet drama, Cane has been called a novel, a prose poem, and even a short story cycle. More accurately, it is an artist's search for a form that will capture the humanity, the yearning for meaning, the diversity, and the collective voice of the African American "folk." As such, the work weaves spirituals, vernacular stories, blues myths, imagist poetry, and expressionistic drama into a lyrical tapestry. The variety of genres used in the text necessitates its modernist collage, or montage, but it also honors the African American literary and musical traditions that have always been marked by their hybridity. Unlike other portraits of the South with which most Americans at the time were familiar, Cane presented a picture that was free of stereotypical sentimentality. Toomer depicted the harshness and the turmoil of the land and its people. He wrote realistically of relationships between men and women and of the dangers that African American men, in particular, faced in the South. Toomer's impetus for Cane was to capture a culture on the verge of change. He referred to Cane as his "swan song" for the South and a way of life rooted in the traditions of the African American past. Encroaching modernization, the destruction of agrarian life, and the depletion of

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306 / AMERICAN WRITERS African Americans to reflect on their individual desires and dreams and gave them license to pursue them. It is no wonder that Cane was an important text to Harlem Renaissance writers and also to the artists, students, and scholars of the Black Arts movement of the 1960s, who would rediscover and reclaim Cane and Toomer. Like other experimental works of its era, including Sherwood Anderson's Winesburg, Ohio (1919), Hart Crane's The Bridge (1930), Gertrude Stein's Three Lives (1909), and Edgar Lee Masters's Spoon River Anthology (1915), Cane sparked literary debates over its content (including the exploration of sexuality in women) and its form. But unlike those works, Cane went out of print and remained largely unread for many years despite its stated importance to the development of modern and contemporary African American literature. The poet and critic Arna Bontemps, a contemporary of Toomer's, credited Cane with igniting the Harlem Renaissance in his essay "The Negro Renaissance: Jean Toomer and the Harlem of the 1920s." He suggested that the work "marked an awakening" in young African American writers. The poets Countee Cullen and Claude McKay corresponded with Toomer, and Langston Hughes admitted to knowing Cane. Whatever the degree of its impact, it is clear that Cane helped liberate the African American artist by paving the way for exploring new forms and new voices, by revisiting past traditions, and by describing through poetry, rather than propaganda, the richness and humanity of African American life. Even after the book went out of print, the African American scholar and philosopher Alain Locke declared in his essay "From Native Son to Invisible Man" that Cane, along with Richard Wright's Native Son (1940) and Ralph Ellison's Invisible Man (1952), was one of the three most important historical events in African American fiction. The contemporary African American novelist Alice Walker, in her work In Search of

Our Mothers' Gardens (1983), confessed that Toomer was one of the writers most responsible for her own development. In Cane she found women such as she had known growing up, who embodied the pain and the strength of the African American female in the South. Despite the amount of study that Cane generated, Toomer never saw another major work published in his lifetime. A few poems and essays found distribution, but the critical success of Cane was not matched. While the moral ambiguities of the work and its complex form were the center of critical controversy and disagreement in his own time, later scholarship focuses a great deal of attention on Toomer's own ambiguity and ambivalence about his racial identity. After the publication of Cane, Toomer struggled with his African American heritage, uncomfortable with being considered a "Negro" writer. Refusing to "choose" either his European or African roots, he later disavowed his "blackness" and argued that he was of a "new race" of human being that was neither black nor white. He once wrote that he was "divided." Like many of his characters and the images in Cane, Toomer's life manifests the double consciousness, "the divided self," of African Americans so poignantly described by Du Bois in The Souls of Black Folk. CHILDHOOD AND YOUTH

Nathan Eugene Pinchback Toomer was born in Washington, D.C., on December 26, 1894, to Nathan Toomer and Nina Pinchback Toomer. A year later, Nathan Toomer, who fancied himself a gentleman planter, deserted the family. Toomer never saw his father again. Toomer's maternal grandfather, Pinckney Benton Stewart (known as P. B. S.) Pinchback had opposed the marriage, yet he took his daughter and grandson into his home when Nathan Toomer left the family. Pinchback was a wealthy man and had

JEAN TOOMER / 307 once been the acting lieutenant governor of Louisiana during Reconstruction. Life in the Pinchback household was difficult for mother and son. By most accounts, Pinchback was a domineering figure, who early on decided to take over responsibility for young Jean. Pinchback was also a compulsive gambler and by 1904 had lost most of his fortune. The family moved around often, living in many different types of neighborhoods, some white and upper class and others middle class African American or racially mixed. In 1905 Toomer's mother remarried. Nathan Toomer was biracial (the illegitimate son of a white man), but Nina Pinchback Toomer's second husband was white. At this time, Toomer was unaware of his mother's own mixed racial identity. The newly married couple moved to Brooklyn, New York, taking the young Toomer with them. Toomer was miserable in his stepfather's home, but he enjoyed and excelled in school. In 1909 his mother died from complications of an appendectomy. Toomer returned to live with his grandparents in Washington, D.C., where he attended an African American high school, Dunbar High (then M Street High). Apparently, it was during these adolescent years that Pinchback revealed to his grandson that Nathan Toomer had been biracial and that Pinchback himself had African ancestry. Pinchback had embraced this heritage before Toomer was born. Toomer later claimed that his grandfather had fabricated this lineage in order to gain political standing during the time of Reconstruction in the South. Pinchback's "passing" threw into question Toomer's own identity. This question plagued Toomer for the rest of his life, whether it was asked by him or by the outside world. Toomer lived a short while with his Uncle Bismark, an intellectual and a scholar. Bismark influenced Toomer early on, suggesting to him that a person could earn a living "laying in bed" reading books. Stimulated by his uncle's life-

style, Toomer began to read voraciously. Throughout his life, Toomer pursued varied disciplines and interests, largely because of his insatiable intellectual curiosity. After he graduated from high school in 1914, Toomer could not settle on a single path. He attended the University of Wisconsin, Madison, where he worked on a degree in agriculture. He was inspired by his love of nature but also by his desire to better understand his father, who had been a farmer. He dropped out the next semester and returned the following fall, only to drop out again at the end of 1915. In 1916 he began a course of study at the University of Chicago. Believing that he wanted to be a medical doctor, Toomer enrolled in biology courses but grew tired of this discipline and left the university. Before that, he had enrolled at the American College of Physical Training. Toomer had always loved gymnastics and bodybuilding. During this time, he discovered yoga and meditation and pored over volumes of philosophy and psychology. His years in Chicago provided material for the short story "Bona and Paul" in Cane. Like Paul, he began a relationship with a white girl that was complicated by racial differences. It was also at this time that Toomer had difficulty with the Catholicism that he had known as a boy. For a time, he declared himself an atheist. He likewise denounced capitalism and embraced socialist doctrine. Unable to believe that he would be happy being a physical education instructor the rest of his life, he left Chicago and moved to New York City. There, in 1917, he registered for sociology classes at New York University. Within a short time, however, he abandoned these courses and began studying history and then psychology at the City College of New York. By then, America had become involved in World War I. Toomer was at first fearful that he would have to fight but then was disappointed when he could not join the armed forces because of a hernia. In 1918 he switched

308 / AMERICAN WRITERS to courses in pre-law at City College. Shortly afterward, Toomer dropped out of college for the final time. His inability to decide on a course of study and stick with it did little to improve his already strained relationship with his grandfather. Pinchback decided that Toomer should get a job. Toomer worked for a few months in New York City and, for a time, sold cars in Chicago. Then he moved to Milwaukee, where he became a substitute physical education instructor. These moves from city to city and job to job took place within a few short months. By the fall of 1918, he was settled in Milwaukee, working the substitute job, studying music and literature on his own, writing, and lecturing at local youth groups about "improving" oneself. Overworked and exhausted, and possessed by a manic need to find a vocation that would satisfy his mind and soul as well as his grandfather's wishes, Toomer had a nervous breakdown. After recuperating in Washington, D.C., with his grandparents, Toomer moved to New Jersey to become a shipyard worker. He believed that he could organize his fellow workers in the socialist cause. The job lasted a week. Toomer continued to practice and study music, deciding that he could become a composer. His grandfather supported Toomer's musical endeavors, and, for this reason, Toomer returned to New York. Within a few short months, however, he met a group of people who would change his life by encouraging him to pursue writing full time. CANE

While he was always interested in writing, Toomer had never considered it a career option until his move to New York City. There he was introduced to Lola Ridge, the editor of Broom magazine; Waldo Frank, the author of Our America (1919); and Edwin Arlington Robinson. Each proved to have a profound influence

as editors and inspirations for Toomer's work. It was also at this time that Toomer decided on the name Jean Toomer. He had been known at various times as Eugene Toomer and Eugene Pinchback, as well as by a host of other nicknames. "Jean Toomer" sounded like a writer's name to him. These various names and acts of naming represent Toomer's problems with identity throughout his life. The process of establishing his own identity indicated for Toomer that he had finally wrestled away control of his own life from his grandfather. Moreover, by reclaiming "Toomer," he established a link to his unknown father. To prepare for a career as a writer, Toomer dove into reading as he never had before. He consumed everything: Sigmund Freud, Victor Hugo, Johann Wolfgang von Goethe, Edgar Lee Masters, Carl Sandburg, Robert Frost, George Bernard Shaw, Robinson, James Joyce, Theodore Dreiser, Sinclair Lewis, Walt Whitman, imagist poetry, philosophy, and anything on the occult. He also read the major literary magazines of the day, in many of which he later published his own work. In the years between 1920 and 1922, he immersed himself in writings about race. In any way he could, he explored the African American consciousness. In 1920 Toomer was forced to return to Washington, D.C., when his grandfather fell ill. Once an imposing figure and the dominating force in Toomer's life, Pinchback was now reduced to a physically and mentally frail man. The effect devastated Toomer, but rather than deal openly with his grandfather's deterioration, he lost himself in writing and reading. He studied Sherwood Anderson's Winesburg, Ohio, which, he later admitted to Anderson, greatly influenced his own writing. He spent the rest of his time caring for his grandparents—nursing his ill grandfather and tending to family finances and household duties. The strain was immeasurable. Soon Toomer needed an escape, and the

JEAN TOOMER / 309 family needed money. Rescue came in the form of a job opportunity. Late in the summer of 1921, Toomer was asked to act as the temporary head of an agricultural school for African Americans in Sparta, Georgia. Toomer jumped at the chance. The job combined his interests in teaching and agriculture. Moreover, it would take him to Georgia, away from the burdens of the Pinchback household and to the birthplace of both Pinchback and Toomer's father. The trip back to his ancestral soil transformed Toomer and his art. Here he found the lyrical substance of African American life. He wrote in a letter to Anderson (quoted in Cane: An Authoritative Text, Backgrounds, Criticism}: "My seed was planted in the cane-and-cotton fields, in the souls of the black and white people in the small southern town. My seed was planted in myself down there. Roots have grown and strengthened. They have extended out." Yet Toomer was also profoundly saddened by a culture that he perceived was dying out. He stated that it was the first time he ever heard folk songs and spirituals. Moved by what he saw and heard, Toomer discovered the roots of his tradition and realized that the past was in danger of being lost. Toomer stayed only a few months in Sparta, and before he left he sent the poem "Georgia Dusk" to The Liberator. On the train home, he began several other sketches and poems that later found their way into Cane. He returned to Washington, D.C., in late November and devoted all of his energy, beyond his family responsibilities, to completing the work that he had started in Georgia. Shortly afterward, he traveled to Georgia again with Waldo Frank, who was collecting material for his own writing. Toomer worked feverishly on the sketches and poems. He finished the last draft of Cane's closet drama, "Kabnis," the day before his grandfather died. Pinchback never saw his

grandson achieve the success that he had always hoped for him. Toomer returned to his work with renewed passion and dedication. By September of 1922, parts of Cane had been published by The Double Dealer, The Crisis, Little Review, Broom, and Modern Review. Many of the pieces had elicited high praise from reviewers, including Anderson. During this time, Toomer also helped his uncle manage the Howard University theater, a job that gave him material for the story "Theater" in Cane. By the beginning of 1923, the publisher Boni and Liveright solicited the manuscript from Toomer that came to be known as Cane. Written during the period of American history that saw Prohibition, the rise in prominence of the Ku Klux Klan, and an increase in lynching and riots following the return of African American soldiers from World War I, Cane is an answer to a country that still could not openly accept the humanity of all of its citizens. Five hundred copies of Cane were printed. The book was reprinted in 1927 and then went out of print until 1967. Despite the small number of volumes available, the work summoned response from writers and reviewers from all quarters. Frank wrote the foreword to the first printing, complimenting his friend on depicting the beauty of the South and bringing attention to its themes. African American poets and critics were also positive. Countee Cullen, Arna Bontemps, William Stanley Braithwaite, and Charles S. Johnson (the editor of Opportunity) all praised the work and believed that Toomer was the new voice of the race. Alain Locke included two sketches from Cane in his anthology called The New Negro (1925). Toomer's most urgent objective was to capture the spirit and essence of the folk and the art that was dying in the South. In a letter to Frank (quoted in Cane: An Authoritative Text, Backgrounds, Criticism), he mourned that loss: "The Negro of the folk song has all but passed

310 / AMERICAN WRITERS away: the Negro of the emotional church is fading. A hundred years from now these Negroes, if they exist at all will live in art." Toomer's "swan song" to the past sought, artistically, to preserve that way of life. Cane begins with the following lines: Oracular. Redolent of fermenting syrup, Purple of the dusk, Deep-rooted cane.

Many of these images repeat and reverberate throughout the text. Toomer reveals that the words of his text are "oracular," or prophetic. Printed on the book's title page, they act as an ancient signpost foretelling imminent danger. Unless we pay attention and read on, the past (the "deep roots") will be lost. The sugarcane is certainly the most important image of the text. Its purple hue, sweet taste, and sometimes acrid smell (when it is being processed) seep into the work. The cane fields and the factory are the places where most of the violence occurs, where most of the blood in the work is shed. But the cane fields are also open spaces of immeasurable beauty. The fields act as an "objective correlative" of the African American traditions and life in the South that not only survived the painful days of slavery but even transformed those experiences into divine art, full of both the beauty and the bloodshed of the past. Toomer wanted to illustrate that the past, though painful, also held moments of hope and joy, embodied by the connections between the land and African Americans and by the traditions that had sustained the race during slavery. The cane is one of the many images in the text that have double, if not several, associations. In fact, doubleness is itself a trope. Divisions are central to Cane. Barriers are found in all the stories—physical and mental, between men and women, between classes, between races. Humankind's inability to cross the barriers to communication and interaction is

usually at the center of the descriptions. The work also reflects the Du Boisian notion of double consciousness. Nearly all of the African American men and northerners suffer from the division. This is emphasized in the women by their biracial identity or by their double status in the community, as in the case of Becky (in the short story "Becky"). Other images also are imbued with a double quality. Trees in the South are beautiful figures of nature, but they are all symbols of terrible violence, haunted with the bodies of African American men. The soil denotes the life that has bled into the ground as well as the place of ancestry. Water gives life and drowns. Purple is the color of the cane and the sky as well as of deep contusions and bleeding wounds. Hazy mornings and evenings are the result of either the burning cane or a burning man, and the work is set in two opposite locales: the South and the North. The South is rich with its folk and is characterized through pastoral pictures of nature, intuition, and ripe sexuality. In the North, people are cut off from the land, imprisoned by streets, houses, buildings, and their own minds. Reason and middle-class morality keep people in the North from truly knowing themselves or each other or nature. These settings serve as opposite and double locales for African American life. The work's multiple genres echo in its structure. A tripartite division separates Cane. The first section takes place in the South (though its narrator is from the North), and the next section is set in the northern cities of Chicago and Washington, D.C. (though many of its characters are southern immigrants). The action of the final section, "Kabnis," takes the reader back to the South. Here both Kabnis and Lewis are northerners. There is a tension throughout each of the three parts between the locale and the observers. They are always regionally opposed. Cane is printed with three different arcs that appear before the beginning

JEAN TOOMER / 311 of each section. Toomer told Frank that the curve indicated the "design" of the book. The arcs represent the movements between North and South. According to Toomer (quoted in Cane: An Authoritative Text, Backgrounds, Criticism), the circular design drawn by the arcs is also essential to the work's structure: "Cane's design is a circle. Aesthetically from simple forms to complex ones, and back to simple forms. Regionally from the South, up into the North, and back into the South again. Or, from the North down into the South, and then a return North." The circle implies the communal voices that permeate the text as well, and the three-part structure signifies the African American musical tradition that Toomer encountered on his trip to the South. The blues stanza is a three-line form (AAB) distinguished by repetition and revision. Character types repeat in Cane, and some are revised. The work as a whole resembles a jazz piece in its variations on a theme. The critic Barbara Bowen points out that Cane shares other characteristics with African American music. She asserts that the work is a "record of Toomer's discovery that call and response—the drama of finding authority through communal voice—has enabled the creation of a distinctively Afro-American literary form." Cane is also a modernist text, replete with the period's celebration of sexuality and primitivism. With Toomer, unlike many of his European American contemporaries, primitivism is not a sideshow that sells tickets to a privileged white audience. It is a celebration of peasant life, orality, and folk tradition. As a harbinger of the Harlem Renaissance, Cane exemplifies the artistic and polemic qualities that mark that movement. There are also references to Africa. At the time, few writers of African American ancestry publicly characterized Africa as a source of artistic racial pride. African Americans are at the center of the stories (in fact, only two stories in Cane have any white characters). Like

other works of the Harlem Renaissance, it protests, sometimes subtly, sometimes openly, the treatment of African Americans. It is also frank in its treatment of the folk. The first sketch in the work embodies many of these characteristics. Set in the South (all the stories in the first section are set in the fictional town of Sempter, Georgia), the story provides a brief glimpse of Karintha, the title character whose beauty is as "perfect as dusk when the sun goes down." Throughout Cane women are characterized by their relationship to nature. They are compared to images of the cane fields, the sun, cotton. Women's intuition and spirituality in the work are linked to the character's ties to nature. In almost every instance, it is the woman who is the most spiritual, emotional, and, hence, natural. Alice Walker's assessment of women in Cane suggests this same idea: "When the poet Jean Toomer walked through the South in the early twenties, he discovered a curious thing: black women whose spirituality was so intense, so deep, so unconscious, that they were themselves unaware of the richness they held." This is certainly true of the portrait of Karintha. It is this deep connection to the land and to her own soul that separates Karintha from men; they do not understand "that the soul of her was a growing thing ripened too soon. They will bring their money; they will die not having found it out." Men in "Karintha" fail to realize her true beauty and know only that they want to possess something, in the same way that they do not understand the land (yet want to own it), their history, or their own hearts. Karintha grows up too soon, giving birth to a child in the woods, onto a "bed of pineneedles." This image illuminates Karintha's naturalness but also her isolation from the community. Karintha, like other women in the text, is an example of a "blues" woman, a figure popularized in ballads and blues songs, especially in the years that Toomer was conceiving

312 / AMERICAN WRITERS and writing Cane. These women suffered (usually at the hands of men) but survived the circumstances of their lives. One of the poems that follows "Karintha," "November Cotton Flower," implies a similar theme. The cotton flower blooms despite the drought, the boll weevil, and the surrounding desolation. Karintha is described as a November cotton flower, and the flower in this poem is said to have "brown eyes that loved without a trace of fear." Like Karintha, the flower survives the harshest circumstances and retains its beauty. This poem is a counterpoint to "Reapers," which precedes it. If "November Cotton Flower" paints the resilience and beauty of nature, "Reapers" portrays its violent and indifferent temperament. The reapers kill a rat while harvesting, and the observer tells us that he sees "the blade, / Blood-stained, continue cutting weeds and shade." The reapers also seem to be victims of the system of the South. Their movements are mechanical. They are referred to only as "the reapers"; they have no separate identity. Taken together, "November Cotton Flower" and "Reapers" represent Toomer's double imagery and his structural arc. Both are poems of the fall or harvest months, yet each represents an opposite picture of the South and of the cane fields. "Becky" is also a "blues woman." In this story, Becky is an isolated figure; she lives in a house deep in the woods, cast off from the community. Her offense is that she is the mother of two boys whose fathers were African American men, and she is white. The boys, too, are estranged from the community. Finally, after shooting two men, the boys leave town, and their mother. Becky is thought by some to be a "hant," or ghost. Nobody has seen her for years, but they know that she is still there in the woods by the smoke emanating from the chimney. The narrator of the story and his friend, Barlo, are even a little frightened about approaching her house in the woods. When the house collapses, presumably killing her, Barlo tosses a Bible on

the rubble, and the narrator tells us that they "got away." The community's description of Becky and of Barlo and the narrator's attitude imply that Becky is some sort of ghost. Like other women in the work, she represents the South, the land, haunted by the past and by its racial tensions. "Cotton Song" follows "Becky" and, like the previous poems, acts as a transition between or comments on the longer works thematically. "Cotton Song" is Toomer's rendition of a slave spiritual. It speaks of a "Judgment Day" and is populated by images of "cotton bales" and "shackles." Certainly, Toomer is trying to preserve the folk culture that he feels is being lost in the South, but another layer of the poem, which echoes some of the themes of "Becky," is the specter of the past that still haunts the South. Why should workers in the 1920s still be singing work songs replete with slave imagery? Toomer argues that the answer lies in the South's inability to treat its African American citizens as human. They are considered by some to be little more than the rat killed in the fields by the reapers. The short prose piece "Carma" traces the difficult relationships between men and women on a more intimate scale than we have seen previously in Cane. Carma's husband has had to take a job out of town, and in his absence, Carma takes a series of lovers. Upon her husband's discovery of her infidelity, the two fight. Carma runs into the cane fields, where she makes it seem as if she has killed herself. Her husband becomes enraged when he figures out that she has deceived him again, and he tries to kill another man. He is put on a chain gang for his crime. The narrator holds Carma responsible, but the rest of the community does not ostracize her. It is suggested that Carma's indiscretion is natural. It is the narrator, the northerner, who is judgmental, calling her story the "crudest melodrama." He does not comprehend Carma, her connection to the land or to the past: "Her

JEAN TOOMER / 313 body is a song. She is in the forest, dancing. Torches flare . . . juju men, greegree, witchdoctors . . . torches go out. . . . The Dixie Pike has grown from a goat path in Africa." Carma is connected in a direct line from her ancestors to America, signified by the image of the Dixie Pike growing from the goat path. One of the most significant pieces in the collection is the "Song of the Son," the poem that follows "Carma." Thematically, its images echo Toomer's overall intent in Cane. The poet describes an "epoch's sun" declining, but "though the sun is setting on / A song-lit race of slaves, it has not set." Toomer's remarks to Frank about the work being a "swan song" reverberate here. The poet realizes that traditions are passing away, though they are not completely lost. The poet also says of this song: Passing, before they stripped the old tree bare One plum was saved for me, one seed becomes An everlasting song, a singing tree, Caroling softly souls of slavery, What they were, and what they are to me.

Toomer receives the "seed," the songs of the past that tell the stories of slavery, which he must preserve and pass along to others. While the poem is a lament for what is being lost, it is also a guide to the ways in which the artist can recover the past and history, even in the face of pain. The tree is not simply the place from where the seed comes; it also symbolizes the suffering of the slaves' past. The tree has been "stripped . . . bare," and it sings "souls of slavery." In these lines, the tree symbolizes the slave. We also should see the tree in the context of Toomer's time as haunted by the victims of lynching. Again, Toomer uses an image to represent the dual character of the South. The tree is the thing that will save African American traditions and, at the same time, a painful reminder of the more horrific moments of the African American past. Religious imagery punctuates "Fern." Fern is described as biracial, in terms that might imply

that she is African American and Jewish. (When the narrator first sees Fern he is reminded of a Jewish cantor, and her last name is Rosen.) Besides the image of the cantor, there is also a story about a black Madonna, and Fern has fainting spells and visions. It is during these moments that Fern cries out to Christ. Fern's relationship to religion or spirituality is never clear, but it is evident that she is in touch with the sacred. It is important to note that Fern's visions occur when she is out in the woods. When she is in town, she has a vacant look and seems uninterested, as if she lives for those moments when she can return to nature and experience the divine. When she looks at the sunset, the narrator imagines that "God" and the "countryside" "flow into" Fern's eyes. It is only through nature that Fern connects to the world around her. Because of her almost divine relationship with nature, men "idolize" or "fear" her, since they cannot comprehend her essence. The narrator wants to take care of her, but he is unable to express why. All he can offer her, he realizes, is "talk." Like other male figures in the work, the narrator is too rational and too isolated from himself and his surroundings to connect to the woman in the story. In her story, Esther, too, suffers from visions, though not quite of the same religious nature as Fern's. There are religious allusions to the Virgin Mary, and the story of the black Madonna is repeated here, but Esther, more than any of the other female characters, is distanced from nature. She dreams about motherhood and Barlo, a member of her community. Esther first sees Barlo when he stumbles into the street while he is in the grip of a quasi-religious vision of an African past. Esther is only nine years old, but she is drawn to him. The narrator implies that it is because Esther is a "near white" African American and Barlo is "Black. Magnetically so." Ambivalent about her heritage, Esther imagines that her baby by Barlo will be "black, singed, woolly." Her dreams of

314 / AMERICAN WRITERS motherhood continue throughout the work, over a period of years. Barlo leaves town after Esther first sees him, and he does not return until she is twenty-seven years old. Her life has been wasted waiting for the image that Barlo represents and the well-defined identity that she believes he will bring her. When she grasps Barlo's true character—that he drinks too much and womanizes—she loses hope and wanders out into the empty streets. A typical "tragic mulatta" figure, Esther is isolated from both worlds, unable to find love or acceptance in either. The baby stands as her need for love and identity. She is left at the end with no connection to the world or the people around her. The poem "Portrait in Georgia" comes after "Esther" and develops the patterns of violence that have been latent in the text thus far. Most of the violence has been hinted at or alluded to, but this poem draws our attention directly to the history of lynching in the South. The braided hair of a woman is "coiled like a lyncher's rope." We see further descriptions of this woman in the poem: her breath smells of cane and her body is as "white as the ash / of black flesh after flame." Clearly, the lines suggest miscegenation and lynching, the history of the South that must be dealt with in recovering past traditions. The poem's violence and its symbolic representation in the land and in the lives of men and women also stand in the foreground of the last story of the first section of Cane, "Blood-Burning Moon." "Blood-Burning Moon" takes place in Toomer's present, but the setting is a mill that was an antebellum cotton factory. On the evening that the story unfolds, while she is walking home, Louisa notices the "bloodburning moon," an omen of death. The images of the cotton factory and the moon indicate that the violence of the past continues to haunt the present. Louisa vaguely feels that the omen speaks directly to her and her two lovers, Tom Burwell and Bob Stone. She is secretly seeing

both men. Stone is a white man, the son of the owners of the factory, and Burwell is an African American who works at the factory. Like Louisa, we sense menace in the picture of the moon. Women in the fields and on their porches begin singing folk songs that will ward off the danger of the omen. Some characters in the story might scoff at the superstition, as might the reader, but in Toomer's South, where myth and history breathe in the very soil of the land, it is clear that the power and the reality of an ancient way of seeing the world will prevail. Louisa strains to pull herself away from such feelings of dread. We understand quickly that she is an independent woman, eager for the community to afford her the same privileges as any man, in this case, the freedom to have more than one lover and to embrace her sexuality. We realize, even if Louisa does not, that she will pay for her modern conceptions of male/female relationships. One of Toomer's projects throughout the book is to find ways to free his female characters from society's controls over their sexuality. As in many of Toomer's stories, it is the man who remains fixed to the rules of the community governing sexual behavior. Carma's husband is such a character, as are characters in later sketches. Here both Burwell and Stone react to Louisa's independence with violent behavior. Their reactions, however, are dictated in part not only by gender roles but also by the complicated fusion of race and sexuality. The history of these forces in the South, the reader senses, will be the sources of the "blood-burning moon." The red soil of Georgia and the red in the moon foreshadow the violence we realize will come. The cane in the fields and their roots symbolically remind us that the roots of racism, of lynching, and of bloodshed in the South reside in the factory, where cotton was processed during the days of slavery. The echoes of slavery and its aftermath directly affect the relationship that Louisa has with Burwell and Stone. Both men are angered

JEAN TOOMER / 315 when they hear rumors that Louisa has been with the other. Each man is as upset about the race of the other as he is about the fact that Louisa has been with another man. Stone, in particular, is disgusted by the possibility that any woman he is with, even if she is African American, would be with an African American man. Stone's anger over Burwell and Louisa's relationship is heightened by further contemplation of how far his family has fallen. They now depend on northern financial support, and they have lost the aristocratic standing they once had in the community. Of course, Stone was not alive when his family owned slaves, but he bemoans the past, at least his version of how good things used to be. The description of his visit to Louisa even reads like an account of a master going to the slave quarters to sleep with one of his female slaves. The past continues to define how people in the South interact with one another, even in their personal relationships. Burwell confronts Louisa about her relationship, but she offers little explanation of her behavior. It is her life, and she intends to do what she wishes. When Stone arrives at her home, however, he sees Burwell and recognizes the truth. Unable to live with the "scandal," he attacks Burwell. In the ensuing fight, Burwell "slashes" Stone. Stone crawls into the streets to proclaim Burwell as his murderer, and the result is not surprising to students of history. White men in the community capture Burwell, who has not yet left the scene of the crime, because he feels "rooted" to the place. He is dragged to the factory, tied to a stake, and burned alive. The murder happens at the site of the past, and Burwell is its sacrificial victim (as are Stone and Louisa, to a lesser degree). Toomer's double imagining is evident in this story as well. The color red, seen earlier in the story in the soil and in the moon, is found again in the flames that kill Burwell, an emblem of the forces of passion and destruction. Toomer's careful managing of these images argues that it

is not Louisa's desires that ignite the tragedy, but the past and the ghosts that still haunt the South. The second part of Cane arcs away from the South to the North and provides a counterpoint to the images and themes of the first section. The two sections each represent a region and act as a reflection of each other, serving as another reminder of Toomer's duality in the work. The first section focuses on the inner lives of women, while the second concentrates on the inner lives of men. The differences between men's reactions and women's reactions in these two sections further emphasize Toomer's interest in doubles and dichotomies. Men in the North are unable to act upon their feelings. This is clear even in the first section, when we consider that the narrator for most of stories (the one, for example, who cannot do anything but talk to Fern) is from the North. Men in the North are paralyzed by thought, preferring analysis to human interaction. Because men are so disconnected from their feelings, they are unable to express their true desires. Women in the South seem very cognizant of their desires. The difficulty for the reader is that what these women want is unknown or mysterious to the narrator, so we are left with ambiguous sketches that rarely get to the essence of each woman. We probably comprehend Louisa the best, and it is noteworthy that this is one of the few third-person narratives in Cane, uninterrupted by an authorial voice. The narrator's confusion over women is missing in "Blood-Burning Moon." Male characters in the second section of the book are not any better at understanding women in the North than they were at comprehending women in the South. A primary difference that distinguishes women in the North is that they are cut off from the land and from nature and as such are much less aware of their inner selves. Middle-class values and the rules of society thwart self-knowledge for women as well as for men in the North.

316 / AMERICAN WRITERS Images of containment amplify the constraints of society in the second section. The stories, poems, and sketches are rife with metallic houses, gates, locked windows and doors, and "box" seats. In fact, Dan Moore in "Box Seat" sees the community governed by "zoorestrictions" and "keeper-taboos." The world here is categorized by confinement and manmade works that cause the characters to feel disconnected from their surroundings. Many critics argue that this is evidence of Toomer's modernism. The alienation that the characters feel is a sign of the times. In terms of African American history, however, this feeling of isolation is much more. Millions of African Americans arrived in the North during the "Great Migration" that occurred between the years following World War I and leading up to World War II. Many writers of the Harlem Renaissance describe characters that have made such a journey from the South only to find that their community, their past, and their sense of self have been left behind. With all the promises that the North seemed to offer, nothing could replace the soil or the "roots" that many African Americans associated with the South. This feeling of alienation worsened when many immigrants realized that the "Promised Land" of northern cities was an illusion. These images appear in the work of such writers as Langston Hughes, Richard Wright, and Ralph Ellison. Toomer's work was no exception. His grandfather had lived in the South and moved to Washington, D.C., the site of most of the stories in the second section of Cane. In fact, many of the northern stories, like their southern counterparts, have autobiographical elements. The southern immigrants, already shown to have problems communicating in the South, fare much worse in the North, where the city complicates, confines, and distorts their lives. "Seventh Street," the first sketch of this section, is such a "Great Migration" portrait. There

are images of the city, jazz, World War I, theaters, clubs, and alcohol. These pictures capture the spirit of the age and emphasize the difference between the pastoral, if less than ideal, world we left behind in the first section. Images of blood flow through the street. Unlike the blood that soaks into the soil in Georgia, this blood tries to penetrate the "soggy wood." This wood is not from the trees of the South but is the processed wood of the North. The blood also serves as a transition between "Blood-Burning Moon," the final tale of the first section, and this section. Here, however, the blood does not return to the land; instead it is wasted along the streets. While the blood is always a violent image in the southern section, it is also the "life" of the African American. Here that life "eddies" into corners. Toomer's doubling usually provides us with two ways of seeing something, but we are not allowed this perspective within the boundaries of this single story. We have to connect the image between sections, which makes us realize how northern life is both dependent on and isolated from its southern roots. The short piece "Rhobert" furthers the depiction of life in the North, especially isolation and middle-class sensibility. Rhobert is an individual figuratively defined by his separation from the land and nature and his association with the city. He is described as wearing his house on his head. It is a "dead thing that weights him down." He is mentally a prisoner of those values that make the house the center of his universe. The house and what it represents consume him to the extent that he neglects his family. Other images indicate that Rhobert is in some way starving; the rules of the middle class control him to the point that a part of him is hungry. Toomer's other portraits of the city suggest that Rhobert is most hungry for spiritual fulfillment. This vignette is full of water imagery. The speaker refers to water's life-giving qualities, and by the end of the sketch, the house seems

JEANTOOMER / 317 to "drown" Rhobert. The speaker says that we should sing the spiritual "Deep River" as Rhobert sinks. The image of water expresses the duality that Toomer has been interested in elsewhere. The water can be a source of life and the river a symbol of a spiritual journey or baptism—these are the associations that the speaker wants to invoke by singing the spiritual, but in the North the characters are too removed from the source of the river. The narrator in "Avey" also wishes that someone would sing "Deep River." When he hears only silence, he starts to hum a folk tune. The music represents a need in the narrator to reconnect to the South, to the land. Other images in the story suggest this desire in the narrator, including his attraction to Avey. As we have seen elsewhere, women are associated with the land and often are used to symbolize humankind's need to reconnect to nature. Avey is described as smelling like clover, and the narrator associates her with a cow. At first this seems like a derogatory comment, but it is a pastoral image, and her sleepiness and vagueness, which the narrator complains about, seem like the ease in which many of the women in the South lived. He tells us that Avey is not ambitious, that she is indifferent to him, and that she has had many lovers—all characteristics that could easily be applied to someone like Karintha or Fern. The narrator looks for the "crimson-splashed beauty of the dawn" in her face, but removed as she is from nature, it should not surprise us that Avey has become "pale." It is the narrator's isolation in the North, accompanied by his middle-class value system, that truly separates him from Avey. Earlier, we are told, the narrator and the neighborhood boys used to whittle the young trees that were planted in boxes alongside his street. The images of the trees and the boys being "boxed" in, or controlled, contrast with images of trees that we saw in the South. They serve as tools for the

boys, who strip the trees of all of their representations, negative and positive. The narrator feels that Avey should be interested in him, especially when he proves his masculine prowess. When she does not return his attentions in the manner he wishes, he implies that she is "simple." Because Avey will not fit his definitions, he begins to criticize her. Then the narrator, again embracing a middleclass vision of how men and women should interact, begins to believe he will save Avey from her life. This is emphasized when Avey falls asleep in the park. Like the prince in "Sleeping Beauty," the man assumes that he is the only one who can awaken her. The picture of Avey's sleepiness contrasts sharply with the tone of the short poem that follows, "Beehive." The busyness of bees represents the lives of the city habitants, and their silver color reminds us of the metallic contours of the city. The speaker associates himself with the bees, calling himself a "drone" and wishing that he could fly off past the moon to some country flower. The narrator's need for reconnection to the land is emphasized even in this short lyric. Images of the need of characters to remember their southern roots are explored further in "Theater." John, a theater manager's brother, becomes attracted to Dorris, a dancer who is practicing her routines. In her movements and her singing he is reminded of "canebrake loves." Her dance releases natural sexual impulses that are found in the first section of Cane. John and Dorris's thoughts are expressed about each other in the manner of a drama. Even with the help of stage directions, they are unable truly to communicate. They are not capable of breaking the barriers imposed by their middle-class morality: Dorris's dreams of marriage and stability and John's own divided feelings. The lights of the theater depict John's double consciousness: "One half his face is orange. . . . One half his face is in shadow." The action in the theater emphasizes the illusions of the northern

318 / AMERICAN WRITERS characters' lives and the roles that they are forced to play. The theater is a significant setting in "Box Seat" as well. Dan Moore tells us that he was born in a "canefield." He sees himself in spiritual terms, sensing the relationship between nature and God. Moore resembles the women of the South in this realization, and he clearly does not fit into his surroundings. The beginning of the story illustrates this through the images of metallic, glass, or closed houses, bolted seats, and iron gates. The source of these images of confinement is the community as well as the man-made structures. Cut off from nature, northern African Americans have embraced middle-class values. Mrs. Pribby, the owner of the boarding house where Muriel lives, best exemplifies this attitude. Dan is attracted to Muriel, because the "zoo-restrictions" have not yet affected her. But she tells him that the "Mrs. Pribbys" of the world will not let her love him. Muriel has become a slave to convention; she is afraid even to take her hat off in the theater, because teachers are not supposed to "have bobbed hair." Dan has fought against such conventions by remembering spirituals in his head. The music keeps him connected to the South and to his true self. Dan follows Muriel to the theater to show her how to break free from society. The theater was often the site of congregation for southern immigrants, and Dan realizes that many of his race need to be saved from the social conventions that have enslaved them in the North. He wants to "reach up and grab the girders of this building and pull them down," He notices another woman in the theater, who, like Dan, has remained connected to the South. A "soil-soaked fragrance comes from her. Through the cement floor her strong roots sink down. They spread under the asphalt streets . . . her strong roots sink down and spread under the river and disappear in blood-lines that waver south." But even this woman does not acknowl-

edge Dan. The community is separated, symbolized by their bolted-down "box seats." Dan roars to the crowd that "JESUS WAS ONCE A LEPER." Instead of understanding the implications of society's role in Christ's isolation and death, patrons in the theater threaten Dan. In the end, Dan (to an extent like Christ) remains an outsider, with a message that few people want to hear. "Prayer," which follows "Box Seat," also comments on the lack of self-understanding of people in the North. The poem is characterized by images of division, especially between the body and the soul. The body and soul are "opaque" to each other. Without this mutual understanding, the characters of Cane cannot comprehend their inner desires. In the next story, "Bona and Paul," Paul also suffers from a lack of self-awareness caused by his double consciousness. A southerner living in the North, he is hiding his biracial identity. His consciousness is still in the South. In his mind, he sees the sun on the hills of Georgia and hears folk songs. He follows the image of the sun "into himself." A young woman at school, Bona, is attracted to Paul. The relationship is complicated by Paul's ambiguity about his racial identity and by the fact that Bona is white. The two have trouble communicating; they find understanding only through their intimate dance at a club while they are on a date. Paul has mixed feelings for Bona but leaves with her to consummate their passion. As they go outside, Paul feels compelled to explain himself and his attraction to Bona to an African American doorman. By the time he returns to Bona, she has left. In The Negro Novel in America, Robert Bone argues that it is "not his race consciousness which terminates the relationship, as one critic has suggested, but precisely [Paul's] 'whiteness,' his desire for knowledge, his philosophical bent. If he had been able to assert his Negro self—that which attracted Bona to

JEAN TOOMER / 319 him in the first place—he might have held her love." The problems of double consciousness also plague the main character of the drama "Kabnis" in the final section of Cane. The third section completes Toomer's arc, taking the action back to the South. The voice shifts to an omniscient point of view. In Toomer's philosophy, our dualities should find resolution, and this final section is the synthesis of the themes and images presented in the first two, opposing sections. The action of the drama concerns Kabnis's inability to reconcile his feelings about the South. A northerner, he has willingly moved to the South. While he finds a connection to the soil, he is also horrified at southern history. He does not know how to deal with the history of slavery and the legacy of racism in this country. The work is an account of Kabnis's quest for identity and peace. He unconsciously returns to the South, his racial homeland, to discover himself and to understand his past better. Early on, Kabnis is so disconnected from nature and history that he fears both. The winds "sing" to him, telling stories of burned black children. The spiritual aura that Toomer creates here emphasizes Kabnis's sense that everything in the South is deadly. Kabnis hears something outside and imagines that "they" have come for him. Or he hears ghosts, who, since they do not have chains, "drag trees." The images of the ghost and the tree, yoked together here, convey how slavery and lynching haunt the South. Kabnis looks under the bed and "sees" a rope. While the South is indeed full of the terrors that Kabnis fears, it is so much more. Kabnis's inability to see this further alienates him from the community, the nature around him, and even himself. Kabnis is introduced to another visitor from the North, Lewis. Lewis has had trouble with the white population of the town, because he has not "bowed" to them. The possibility of being lynched is stronger for Lewis (though, of

course, no one is safe). Nonetheless, Lewis accepts the paradox of the past and the South and his own duality. Lewis is described as a man who is a "stronger" version of Kabnis and in a sense "resembles" him. Lewis comprehends Kabnis's fears and tries to help him reconcile his double consciousness as well as his inability to see the South beyond its horrors: KABNIS: My ancestors were Southern bluebloods— LEWIS: And black. KABNIS: Aint much difference between blue an black. LEWIS: Enough to draw a denial from you. Cant hold them, can you? Master; slave. Soil; and the overarching heavens. Dusk; dawn. They fight and bastardize you.

Lewis realizes that Kabnis cannot face his own duality and therefore does not comprehend or accept the duality of the South. In the drama Lewis is one instrument of salvation for Kabnis. The other two are Carrie and Father John. An important female figure in the text, Carrie is similar to other female characters in her intuition and naturalness, but she is controlled more by a middle-class sensibility. We see in her a synthesis of images from the first two sections of Cane. She helps bring Kabnis out of the darkness at the end of the work. It is her light that leads him out of his fears and may eventually lead him to other types of enlightenment. Father John, who lives in a basement, is a symbol of the African American past. Practically mute, his inability to speak represents the imminent loss of the "voice" of tradition. Unless Kabnis connects to him and helps him speak, this voice will be lost. The fact that Father John is kept in the basement implies that Toomer's present is isolated from, or ashamed of, its past. Kabnis ends up in the basement as well, and his brief and mysterious communication with Father John, followed by Carrie's tenderness and help in leading him out, signal the artist's uncovering and revealing of

320 / AMERICAN WRITERS traditions and the past. For Kabnis, it suggests that he is going to come to self-awareness. AFTER CANE

Despite the critical success of Cane, the work generated only moderate sales. It also drew unwanted attention to Toomer's racial identity. He told Waldo Frank and his publishers that he was uncomfortable with questions about his race. In 1922 he spoke openly about being composed of "seven blood mixtures," including "Negro." But within a few years he announced that "though I am interested in and deeply value the Negro, I am not a Negro" (quoted in Turner, In a Minor Chord: Three Afro-American Writers and Their Search for Identity). Toomer's disassociation from his African American heritage may have hurt his career in an era when Harlem Renaissance authors enjoyed popularity. Further complicating his career problems, Toomer became a follower of Georges Gurdjieff, the Russian founder of unitism. Gurdjieff and his Institute for the Harmonious Development of Man provided Toomer with a method for unifying the "differences in oneself," but Gurdjieff's principles also began to influence his work. According to many critics, Toomer's voice and style were consumed by the philosophy. His characters were little more than mouthpieces. While Toomer was at a Gurdjieff commune, he met the writer Margery Latimer. They married in 1931. The wedding caused controversy when Time magazine brought attention to their interracial marriage in an article titled "Just Americans." America was still not comfortable with either the lifestyle or the marriage of the Toomers. The prevalent conservative attitudes of the time did further damage to Toomer's career. Within a year, however, Toomer had more to deal with than his failing career. His wife, Margery, died in 1932 while giving birth to their daughter, Margery.

Toomer wrote constantly during these years, even if his work did not reach a wide audience. Many of these works, including "Withered Skin of Berries," a short story, "Earth Being," an unfinished autobiographical piece, and "The Sacred Factory," an incomplete play, are now available in collections. Some short stories and poems found publishers, and he privately printed Essentials: Definitions and Aphorisms in 1931. His long poem "Blue Meridian" was the only other significant work published in his lifetime. Appearing in 1936, the 739-line poem is heavily indebted to Walt Whitman and Hart Crane. The work describes a "new America" and a "new race." This new race was the "blue man / the purple man," which was a spiritual mixture of the old races. The poem emphasized Toomer's growing refusal to choose his racial identity. Instead, he created a new one. The poem also illustrated Toomer's hunger for spiritual fulfillment. He broke from Gurdjieff in 1936. In 1934 Toomer married Marjorie Content. The two traveled to India in 1939, where Toomer studied spirituality. In the same year he returned to America, moving to Bucks County, Pennsylvania, where he began attending Quaker meetings. He lived the rest of his life in relative seclusion. He never again seemed to capture the imagination of his readers as he had with Cane. After a long illness, Toomer died of arteriosclerosis on March 30, 1967.

Selected Bibliography WORKS OF JEAN TOOMER SHORT STORIES, POETRY, DRAMA, AND APHORISMS Cane. New York: Boni and Liveright, 1923. Reprinted as Cane: An Authoritative Text, Backgrounds, Criticism. Edited and with an introduction by Darwin T. Turner, New York: Norton, 1988.

JEAN TOOMER / 321 Essentials: Definitions and Aphorisms. Chicago: Lakeside Press, 1931. Reprint, edited by Rudolph P. Byrd, Athens: University of Georgia Press, 1991. COLLECTED WORKS

The Wayward and the Seeking: A Collection of Writings by Jean Toomer. Edited and with an introduction by Darwin T. Turner. Washington, D.C.: Howard University Press, 1980. The Collected Poems of Jean Toomer. Edited by Robert B. Jones and Margery Toomer Latimer. Chapel Hill: University of North Carolina Press, 1988. A Jean Toomer Reader: Selected Unpublished Writings. Edited by Frederik L. Rusch. New York: Oxford University Press, 1993. MANUSCRIPT PAPERS

The personal archives of Jean Toomer, including drafts of his autobiography, are held at the Beinicke Rare Book and Manuscript Library of Yale University.

CRITICAL AND BIOGRAPHICAL STUDIES Baker, Houston A., Jr. "Journey toward Black Art: Jean Toomer's Cane." In Afro-American Poetics: Revisions of Harlem and the Black Aesthetic. Madison: University of Wisconsin Press, 1988. Pp. 11-44. Benson, Brian Joseph, and Mabel Mayle Dillard. Jean Toomer. Boston: Twayne, 1980. Bone, Robert. The Negro Novel in America. New York: Knopf, 1965. Bontemps, Arna. "The Negro Renaissance: Jean Toomer and the Harlem of the 1920's." In Anger and Beyond: The Negro Writer in the United States. Edited by Herbert Hill. New York: Harper & Row, 1966. Pp. 20-36. Bowen, Barbara E. "Untroubled Voice: Call and Response in Cane." In Black Literature and Literary Theory. Edited by Henry Louis Gates Jr. New York: Methuen, 1984. Pp. 187-203. Byrd, Rudolph. "Jean Toomer and the Afro-American Literary Tradition." Callaloo 8, no. 2:310-319 (summer 1985).

. Jean Toomer's Years with Gurdjieff: Portrait of an Artist, 1923-1936. Athens: University of Georgia Press, 1990. Christensen, Peter. "Sexuality and Liberation in Jean Toomer's 'Withered Skin of Berries/" Callaloo 11, no. 3:616-626 (summer 1988). Davis, Charles T. "Jean Toomer and the South: Region and Race as Elements within a Literary Imagination." In Harlem Renaissance Reexamined. Rev. ed., Edited by Victor A. Kramer and Robert A. Russ. Troy, N.Y.: Whitson Publishing, 1997. Pp. 215-227. Durham, Frank, ed. The Merrill Studies in Cane. Columbus, Ohio: Merrill, 1971. Fabre, Genevieve, and Michel Feith. Jean Toomer and the Harlem Renaissance: Dream Fluted Cane. New Brunswick: Rutgers University Press, 2000. Foley, Barbara. "Jean Toomer's Washington and the Politics of Class: From 'Blue Veins' to SeventhStreet Rebels." Modern Fiction Studies 42, no. 2:289-321 (summer 1996). . "'In the Land of the Cotton': Economics and Violence in Jean Toomer's Cane." African American Review 32, no. 2:181-198 (summer 1998). Gates, Henry Louis, Jr. "The Same Difference: Reading Jean Toomer, 1923-1982." In Figures in Black: Words, Signs, and the "Racial" Self. New York: Oxford University Press, 1987. Pp. 196224. Hajek, Friederike. "The Change of Literary Authority in the Harlem Renaissance: Jean Toomer's Cane." In The Black Columbiad: Defining Moments in African American Literature and Culture. Edited by Werner Sollors and Maria Diedrich. Cambridge, Mass.: Harvard University Press, 1994. Pp. 185-190. Hutchinson, George B. "Jean Toomer and American Racial Discourse." Texas Studies in Literature and Language 35, no. 2:226-250 (summer 1993). Jones, Robert B. "Jean Toomer's Lost and Dominant: Landscape of the Modern Waste Land." Studies in American Fiction 18, no. 1:77-86 (spring 1990). . Jean Toomer: Selected Essays and Literary Criticism. Knoxville: University of Tennessee Press, 1996. Kerman, Cynthia Earl, and Richard Eldridge. The Lives of Jean Toomer: A Hunger for Wholeness.

322 / AMERICAN WRITERS Baton Rouge: Louisiana State University Press, 1987. Larson, Charles R. Invisible Darkness: Jean Toomer and Nella Larsen. Iowa City: University of Iowa Press, 1993. Locke, Alain. "From Native Son to Invisible Man: A Review of the Literature for 1952." Phylon 14, no. 1:34-44 (spring 1953). MacKethan, Lucinda H. "Jean Toomer's Cane: A Pastoral Problem." Mississippi Quarterly 35, no. 4:423-434 (fall 1975). McKay, Nellie Y. Jean Toomer, Artist: A Study of His Literary Life and Work, 1894-1936. Chapel Hill: University of North Carolina Press, 1984. McKeever, B. F. "Cane as Blues." Negro American Literature Forum 4:61-64 (July 1970). O'Daniel, Therm an B., ed. Jean Toomer: A Critical Evaluation. Washington, D.C.: Howard University Press, 1988. Rusch, Frederik L. "Form, Function, and Creative Tension in Cane: Jean Toomer and the Need for

the Avant-Garde." Melus 17:15-28 (winter 19911992). Solard, Alain. "Myth and Narrative Fiction in Cane: 'Blood-Burning Moon/" Callaloo 8, no. 3:551560 (fall 1985). Turner, Darwin T. In a Minor Chord: Three AfroAmerican Writers and Their Search for Identity. Carbondale: Southern Illinois University Press, 1971. Wagner, Linda Martin. "Toomer's Cane as Narrative Sequence." In Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Edited by J. Gerald Kennedy. New York: Cambridge University Press, 1995. Pp. 19-34. Walker, Alice. In Search of Our Mothers' Gardens: Womanist Prose. New York: Harcourt Brace Jovanovich, 1983. Woodson, Jon. To Make a New Race: Gurdjieff, Toomer, and the Harlem Renaissance. Jackson: University Press of Mississippi, 1999.

—TRACIE CHURCH GUZZIO

David Wagoner 1926-

A.

workshop taught by Theodore Roethke, who later won the Pulitzer Prize for The Waking (1953). In The World of David Wagoner (1997), Ron McFarland discusses Roethke's influence on Wagoner's poetry. However, Richard Hugo, another student of Roethke's and a close friend of Wagoner's, says that Wagoner deliberately stepped out of his teacher's shadow. Roethke did influence Wagoner to familiarize himself with the work of his predecessors. In an interview with Richard Wakefield, Wagoner explained that Roethke, upon learning that Wagoner was working on a poem about Chicago, asked if he had read any of a number of poems about cities; Wagoner admitted that he had not. Roethke, directing him to the library, said, "Your assignment this term is to read the bulk of poetry written in English." Wagoner demands the same of his own students. In 1949 and 1950 Wagoner was an instructor at DePauw University and from 1950 to 1954 at Penn State. In 1950 he married Elizabeth Arensman; they were divorced in 1953. In the latter year he published his first book, Dry Sun, Dry Wind, poems that show Roethke's influence but all of which Wagoner would later exclude from his Collected Poems: 1956-1976 (1976). In 1954 Wagoner was invited to come to the University of Washington, in Seattle, through the influence of Roethke, who was teaching there. The Pacific Northwest was a revelation, Wagoner would say later, in an interview with Nicholas O'Connell; "Where I grew up there was no natural place, everything was either dying or already dead. So I had to come to terms with other growing things for the first time— nonhuman growing things."

L S A POET David Wagoner is strongly identified with the Pacific Northwest, where he has lived and taught for most of his adult life. It is fair to say that in the decades he has been publishing poetry set in that part of the country he has helped to define its literary identity, yet at the same time his work has found a worldwide audience. As a novelist, however, Wagoner reaches back to the geography of his childhood, placing his fiction in the Midwest. The contrast between the two regions represents the contrast between the two poles of Wagner's sensibility. David Russell Wagoner was born June 5, 1926, in the small town of Massillon, Ohio. At the age of seven he moved with his family to Whiting, Indiana, near Gary, where his father worked in a steel mill. Industrial Indiana contrasted sharply with rural Ohio, and Wagoner felt a great loss. He also sensed the contrast between his father's education and his career: Walter Wagoner, although a mill worker, had graduated magna cum laude from Washington and Jefferson College with a bachelor of arts degree in classical languages. In a 1986 autobiographical piece, David Wagoner described his father as short-tempered and taciturn, and his mother, Ruth Banyard Wagoner, as—perhaps in compensation—"almost pathologically selfeffacing." From 1944 to 1946 David Wagoner was a midshipman in the Naval Reserve Officer Training Corps. He earned his bachelor of arts degree in English from Pennsylvania State University in 1947 and his master of arts degree in creative writing from Indiana University in 1949. At Penn State, Wagoner attended a poetry writing

323

324 / AMERICAN WRITERS Although Wagoner does not define himself as a Northwest poet, the environment of the Pacific Northwest pervades his work. Sometimes the prolific vegetation is almost animate, as in the opening of "Standing Halfway Home" (from Traveling Light: Collected and New Poems}, written soon after his arrival: At the last turn in the path, where locust thorns Halter my sleeve, I suddenly stand still For no good reason, planting both my shoes.

The pun on "planting" suggests his kinship and his commitment. The year he arrived in Seattle, Wagoner's first novel, The Man in the Middle (1954), was published, beginning his parallel careers as poet and novelist. (Unlike his poetry, however, none of his novels is set in the Northwest.). In the next few years he published two more novels— Money, Money, Money (1955) and Rock (1958)—and in 1956 won a Guggenheim Fellowship in fiction, which allowed him to travel to England, France, and Spain. Around this time, however, he also published another collection of poems, A Place to Stand (1958), and although his fiction earned respectful reviews, his poetry brought greater recognition. In 1961 Wagoner married Patricia Lee Parrott; their marriage would last over twenty years. He became friends with other Northwest poets, including Richard Hugo and Nelson Bentley. Wagoner wrote plays and won a Ford Foundation Fellowship in drama in 1964, and was playwright in residence at the Seattle Repertory Theater. However, he was viewed primarily as a poet, and his third collection, The Nesting Ground (1963), earned the admiration of prominent critics, including the poet Richard Howard. Wagoner's 1965 novel The Escape Artist, which draws upon his lifelong interest in magic, became his biggest commercial success. In his poem "Filling Out a Blank," he remembers listing career preferences on a high school

achievement form: "1) Chemist 2) Stage Magician. . . ." (Collected Poems, 1956-1976). In 1980 the novel was made into a film, but the movie was not a commercial success. In 1966 Wagoner published Staying Alive, was promoted to full professor, and became the editor of Poetry Northwest, a post that earned him a Pels Prize in editing in 1975 from the Coordinating Council of Literary Magazines. These achievements indicate the breadth of Wagoner's contribution to poetry as writer, editor, and teacher. Poetry magazine awarded Wagoner its Zabel Prize in 1967, and since then the various aspects of his work have frequently been recognized for excellence: a National Council on the Arts grant in 1969; the Blumenthal-Leviton-Blonder Prize, from Poetry magazine, for poetry, in 1974; a Pels Prize for poetry (in addition to the prize the same year for editing) in 1975; a Pushcart Prize, the Tietjens Prize from Poetry magazine, for poetry, and a nomination for the National Book Award (for Collected Poems 1956-1976), all in 1977; election as one of twelve chancellors of the Academy of American Poets in 1978; a second nomination for the National Book Award (for In Broken Country) in 1979; the Sherwood Anderson Award for fiction and the English-Speaking Union Award from Poetry magazine, both in 1980; a second Pushcart Prize in 1983; and the Charles AgnoflF Prize in poetry from Literary Review in 1985. In June 1982 Wagoner and his second wife divorced, and the following month he married Robin Seyfried, a poet and his coeditor at Poetry Northwest. They have two daughters. THE POETRY: A PLACE TO STAND AND THE NESTING GROUND

From his two volumes of collected poems, Wagoner omits all of the poems from his first book, Dry Sun, Dry Wind (1953). Although John Ciardi reviewed it favorably, it has little connection with the bulk of Wagoner's work.

DAVID WAGONER / 325 In the 1950s so-called confessional poetry, by such writers as Robert Lowell, won acclaim with its focus on the darker emotions. A Place to Stand (1958), while by no means light, avoids the excesses of confessional poetry, largely because Wagoner's language play conveys delight even when the subject matter is dour. Wagoner says in the O'Connell interview that "the sound and rhythm come first; everything else is secondary," and the music of his "'Tan Ta Ra, Cries Mars . . .'" (the title quotes Thomas Weelkes, a seventeenth-century composer of English madrigals) illustrates his conviction. While indulging a love of pure sound, the poem also links sound with image: . . . The mace And halberd, jostled together, ring on the cobblestones, While straight with the horde, blue flies and pieces of wings Sail to the war. . . .

The sound of weapons against cobblestones echoes in the consonants; the parallel verb phrases ("ring on the cobblestones" and "sail to the war") give order to a chaotic scene. "Words above a Narrow Entrance" expresses Wagner's emotional commitment to the Northwest. The first of two perfectly balanced stanzas begins, "The land behind your back / Ends here . . ." and explores images of death, concluding, The country that seemed Malevolence itself Has gone back from the heart.

The second stanza begins, "Beyond this gate, there lies / The land of the different mind. . . ." He acknowledges that the ominous images will remain part of him, but he concludes that something better lies ahead: "Nothing will be at ease, / Nothing at peace, but you." Wagoner's next collection establishes the Northwest as his inner landscape. The title poem

of The Nesting Ground (1963) tells of two people drawn by the cry of birds protecting a nest. They glimpse two chicks but cannot find the nest, and the adult birds lead them away. Suddenly the birds fly back to where the people had searched for the nest, and the family of birds is reunited as "The young spring out of cover, / Piping one death was over." Wagoner does not analyze the mystery of instinct and survival; rather, he stands in awe of it. Only in glimpses (like the glimpse of the chicks) does he suggest a larger meaning: The people seeking the nest feel a need "to stir what we love"; the birds, having led the people away "by pretending injuries," take flight "To sail back to the source." The two people recognize that the nest is a manifestation of love, and that the birds' return is to some "source" of human love as well. "A Guide to Dungeness Spit" further explores the sources and expressions of love. Dungeness Spit, extending seven miles from the mountainous Olympic Peninsula into the Strait of Juan de Fuca, is a wildlife refuge almost unchanged from when George Vancouver first described it, in 1792, as teeming with countless varieties of birds. "First, put your prints to the sea, / Fill them, and pause there," our guide tells us, and then directs our attention both to the nearby wildlife and to his own knowledge of it: "Those whistling overhead are Canada geese; / Some on the waves are loons." Unlike "The Nesting Ground," "A Guide to Dungeness Spit" overtly ponders the meaning of the landscape and people's place in it. The walk through the nesting grounds is a passage through life: "Those are called ships. We are called lovers. / There lie the mountains." These seemingly obvious statements, uttered in short, declarative sentences verging on the incantatory, express the wonderment that the speaker of the poem finds in their very simplicity. An earlier line refers to the ocean as "the spit and image of our guided travels," the pun

326 / AMERICAN WRITERS on "spit" suggesting that their journey into love corresponds to their exploration of their surroundings. Of a bird that dies he says, "the others touch him with webfoot or with claws, / Treading him for the ocean," suggesting that death cannot hinder the birds from their course. The lovers reach their destination, not the ocean itself but the lighthouse at the end of the spit: All our distance Has ended in the light. We climb to the light in spirals, And look, between us we have come all the way, And it never ends In the ocean. . . .

Unlike the birds that will trample their dead in pushing to the sea, these people will ascend together toward enlightenment. STAYING ALIVE AND NEW AND SELECTED POEMS

The poet and critic Richard Howard comments in Alone with America that in Staying Alive (1966) Wagoner finds "the true Northwest Passage this explorer has been looking for." In these poems life, language, and landscape are fully integrated. "The Words" specifically addresses the limits and latitude of language: In "half of what I write," he says, "the same six words recur": "Wind, bird, and tree, / Water, grass, and light." He ponders how much these words omit, but he finally celebrates their power: "I set loose, like birds / In a landscape, the old words." Words, "like birds," have great freedom. The other "half of what he writes is the human presence, which readers must provide in their experience of the poem. "Staying Alive" extends the human presence into Wagoner's beloved wilderness, which, like a poem, must be completed by our experience of it. We

survive by discovering our own harmony with our surroundings: It may be best to learn what you have to learn without a gun, Not killing but watching birds and animals go In and out of shelter At will. Following their example, build for a whole season.

A "whole season" means a season of wholeness; from nature (and perhaps from a poem) we learn to be whole. "Water Music for the Progress of Love in a Life-Raft Down the Sammamish Slough" adds another note to this harmony. Instead of the solitary soul of "Staying Alive," two people ride an "inflated life-raft" along the slough (pronounced "slew," a channel, not a swamp or bog) beside which Wagoner and his wife Pat once lived. The poet rows and therefore faces backward, dependent on his companion's guidance: "My love, upstream, / Be the eyes behind me, saying yes and no." From navigating the slough they will learn to live together: We begin our lesson here, our slight slow progress, Sitting face to face, Able to touch our hands or soaking feet But not to kiss As long as we must wait at opposite ends, Keeping our balance . . .

Wagoner's first retrospective collection also includes new poems that focus more sharply on domestic life (and strife). The earlier poem, "Water Music," acknowledged marital tension but also its resolution; in New and Selected Poems (1969), "From Hell to Breakfast" paints a less hopeful picture of a couple at breakfast after a fight. The third-person narrative distances the poet from the poem, but the people in the poem also use a distancing device: "they seem / To remember someone screaming. / Was it next door? In the street?" The speaker of the poem uses the third person as a window to look in on

DAVID WAGONER / 327 himself; so the couple in the poem cast their own fight as having happened between others. Here Wagoner's wordplay becomes sardonic. As the couple sits down to breakfast we are told that "She put her face on straight, / He had a close shave" and that they "got in / On the wrong side of bed. . . ." They leave the house through "a brief passage of arms." Far from making light of the situation, Wagoner's verbal play perfectly suits his subject, as his twists of language mirror the couple's effort to keep up appearances while every word carries multiple meanings. Another subject largely new with this book is the Native American. Wagoner once told an interviewer that as he came to feel at home in the Northwest he also became aware of those who had lived there before him. "Searching in the Britannia Tavern" translates into contemporary terms Clallam Indian myths of the passage to the land of the dead. Addressing an Indian man in a tavern, the poet says this unlikely place can be the beginning of his passage. He must go "To the curb, across the sidewalk, stumbling, to the hunting ground." The city can be traversed, the "hunting ground" reached. But as the poem continues, myth and reality collide more than they integrate. A phantasmagoria of images reflects the Indian's intoxication, suggesting that alcohol is a poor substitute for the old myths. In "Getting Out of Jail on Monday," as the poet goes to pay a fine for "driving and walking crooked," he sees an Indian man just being released from jail. He accompanies "this husky, bowlegged, upright, sockless Indian / Who's singing, going downhill as straight as an arrow." They spend the day in taverns, the poet paying and observing the Indian (for example, his "flat obsidian eyes") and the workaday world ("Machines are cranking mimeographed Tuesdays") That afternoon the poet leaves to fulfill his original errand: "I put the touch on

myself and start uphill, / A solid citizen, going to pay on time." In this poem the wordplay sometimes seems glib, not integral to the subject, as it is in, say, "From Hell to Breakfast." The irony of "going downhill as straight as an arrow," for example, seems to be at the Indian's expense. Perhaps, however, irony is the only tone suitable for a poem about someone in an environment so foreign to his sensibilities. RIVERBED AND COLLECTED POEMS: 1956-1976

In his book on Pacific Northwest writers Sanford Pinsker writes that in Riverbed (1972) the dominant emotion is "surprise." Ron McFarland, in his work on Wagoner, calls it "astonishment." We might better use one of Wagoner's words: "wonder." Indeed, as Riverbed went to press he was at work on his novel, The Road to Many a Wonder (1974). "The Inexhaustible Hat" looks with wonder at a magician's revitalization of a hackneyed trick. "The incomparable Monsieur Hartz in 1880" pulls objects "from a borrowed hat": lighted lamps, scarves and other articles of clothing, empty boxes, a cage containing "a lovely, stuffed, half-cocked canary," and "lastly a grinning skull." The poet concludes, "Oh Monsieur Hartz, / You were right, you were absolutely right! Encore!" The flurry of vanities has led to a memento mori, and the magician's performance is itself a poem. "Encore!" is plaintive; the reality that the trick represents—the journey to death—allows no encore. In "The Middle of Nowhere," the poet is lost in that journey. "To be here, in the first place, is sufficiently amazing," Wagoner writes. The phrase "in the first place" revitalizes a cliche (as "Monsieur Hartz" revitalized the old magic trick), suggesting that wonder transports us to a primordial "first place." The means of finding one's literal way are useless: maps, compasses, sextants, angles of the sun. "The middle of

328 / AMERICAN WRITERS nowhere / Is portable, reusable, and indispensable." Not physical, it is a place in the heart, and "the problem of being / Here is not deducible." McFarland points to the effect of the line break after "the problem of being": any "Here" is as mysterious as any other. Although different in tone, Wagoner echoes Walt Whitman, in section 29 of "Song of Myself: "To be in any form, what is that?" And like Whitman, Wagoner hears truths that cannot be reduced to words. Whitman's mystical poem concludes with the cry of a hawk; Wagoner's poem ends with the "squawk" of a bird: This is the place where we must be ready to take The truths or consequences Of which there are none to be filched or mastered or depended on, Not even, as it was in the beginning, the Word Or, here, the squawk of a magpie.

The syntax mimics the disorienting experience and, like the experience, returns the reader to the beginning ("the first place"), at truths beyond paraphrase. In "Lost," the poet rediscovers the Native Americans' view of the puzzle of being. "Wherever you are is called Here," he says, and when we respect "Here" it reveals wonders Drawing on Indian myths, the poet suggests we emulate "Raven" and "Wren," who recognize the individuality of every tree and branch. If what a tree or a bush does is lost on you, You are surely lost. Stand still. The forest knows Where you are. You must let it find you.

Here we see Wagoner's continuing fascination with the Northwest Indians, who experienced nature as an equal. As McFarland points out, in Wagoner's poems we are truly lost when we believe we can live apart from nature. The critic James K. Robinson has said that Sleeping in the Woods (1974) records Wagoner's

greatest harmony with nature and his rage at those who exploit it. "Talking to Barr Creek," in which the poet asks the creek to "Teach me your spirit, going yet staying, being / Born, vanishing, enduring," expresses that harmony, and "Report from a Forest Logged by the Weyerhaeuser Company," which concludes "I mourn with my back against a stump," voices the rage. However, the book is also about poetry. Each of its four sections begins with a poem about the poet's art. Introducing the first section, "The Singing Lesson" compares poetry with music: For your full resonance You must keep your inspiring and expiring moments Divided but equal. . . .

Poetry, a form of song, becomes a metaphor for life, and the phrase "inspiring and expiring" foreshadows the poems that follow. In "The Bad Fisherman," the poet gives up fishing after a rainbow trout in his hands literally expires; in "The First Place," two lovers wade in icy water, "singing, welcoming the wonder / Of the river," and are inspired by the realization that they are "not alone." The final section, "Seven Songs for an Old Voice," explores the ethos of the Native Americans. Among them, "Song for the First People" expresses the poet's awe for the Native Americans' unity with nature: "Change me. Forgive me. I will learn to crawl, stand, or fly / Anywhere among you, forever, as though among great elders." Collected Poems: 1956-1976 (1976), published in the year of Wagoner's fiftieth birthday, looks forward as well as back. In addition to its twenty-year retrospective, it includes four groups of new poems, two of which groups would be included later in Who Shall Be the Sun? Poems Based on the Lore, Legends, and Myths of the Northwest Coast and Plateau Indians (1978), the book that most fully realizes what Robert Cording calls Wagoner's "Indian

DAVID WAGONER / 329 cosmology." Another of the new poems, 'Traveling Light," provides the title for a volume of collected poems almost a quarter-century later. "Waiting in a Rain Forest" describes the receptive passivity that Wagoner poses as the proper attitude toward nature. Its setting is the Olympic rain forest, where the air is so humid that the "rain does not fall" but rather "stands in the air around you / Always, drifting from time to time like breath." We would do well, the poem suggests, to learn to "drift . . . from time to time." Plants grow as spontaneously as the rain condenses: . . . Whatever lies down, like you or a fallen nurselog, Will . . . learn without fear or favor This gentlest of undertakings. . . .

The play on "undertakings" acknowledges the presence of death, while "gentlest" softens it. "A fallen nurse-log," itself a human metaphor for something found in nature, is further compared to a person lying down, thus enhancing the sense that life is a continuity. "Tracking" develops some of the imagery from Wagoner's 1975 novel, Tracker. Observing nature, living, and writing are forms of "tracking" something undefinable. Wagoner offers guidance: Not even long excursions across bedrock Should trick your attention. If you come to running water, head upstream: Everything human Climbs as it runs away and goes to ground later.

Like the lovers in "A Guide to Dungeness Spit" who climb toward the light, we ascend even though we must eventually go "to ground." Our lives are spent pursuing some unseen "other," perhaps deus absconditus, the god who hides: The other, staring Back to see who's made this much of his footprints,

To study your dead-set face And find out whether you mean to kill him, join him, Or simply to blunder past.

WHO SHALL BE THE SUN? AND THROUGH THE FOREST: NEW AND SELECTED POEMS, 1977-1987

The Author's Note for Who Shall Be the Sun? (1978) states Wagoner's intention to express the ethos of the Native Americans, who "did not place themselves above their organic and inorganic companions on earth." The book is dedicated to Franz Boas, a nineteenth-century ethnographer of Pacific Northwest Indians who asserted that civilized and so-called primitive peoples do not differ fundamentally in their thinking. In these poems, Wagoner seeks the commonality that Boas claimed is possible. The title poem recounts the efforts of Raven, Hawk, Coyote, and Snake to be the sun. The first three, unable to be anything but themselves, fail. Snake succeeds, however, because in shedding his skin he renews himself, much as the sun renews itself: Slowly he shed the Red Skin of Dawn, The Skin of the Blue Noontime, the Skin of Gold, And last the Skin of Darkness, and the People Slept in their lodges, safe, till he coiled again.

Snake's way of knowing is important: He learned of his ability to be the sun in dream. He knows his place not through logic, but by intuition. "Song for the Coming of Smallpox" and "Song of a Man Who Rushed at the Enemy" recount the European conquest, but the conquerors are as indistinct as a virus, and as deadly. Both poems refer to "the Iron People," whose weapons are "harder than bone." That is, their weapons are harder than the bone tools of the

330 / AMERICAN WRITERS native people, and also harder than the bones of the Indians themselves. In "Song for the Coming of Smallpox," these weapons . . . burn, making holes As deep as bone, Setting fire to our bodies.

Whether done by a gun, a knife, or a disease, the devastation is the same. Yet even in death, the Indians retain their identity with nature. In "Song for a Man Who Rushed at the Enemy," a man refuses to flee before the Iron People's "smoke and firesticks,. . . their splitting stones," and he thus affirms his kinship with "Bear Mother and Badger / Who know already how to sleep under the ground." Wagoner published three books between 1978 and 1987—In Broken Country (1979), Landfall (1981), and First Light (1983)—all largely incorporated into Through the Forest: New and Selected Poems, 1977-1987 (1987), along with approximately thirty new poems. The book indirectly recounts much of what was happening in Wagoner's life. Now in his early sixties, he had married for the third time and had lost his parents. His friend and fellow poet, Richard Hugo, had died in 1982. In "My Father's Ghost," Wagoner reflects on his father's life in the steel mills. He tries to Recall him burned by splashing steel each shift Of his unnatural life . . . . . . his eyes half-blinded . . . his ears deafened,

but he will not return in that form. Instead, . . . I dream him Returning unarmed, unharmed. Words, words. I hold My father's ghost in my arms in his dark doorway.

As any honest reconciliation must do, this poem acknowledges the estrangement, albeit

obliquely. The "half-blinded" eyes and the "deafened" ears were the toll of Walter Wagoner's work, but they also symbolize his disengagement from his son's life. The phrase "unnatural life" further establishes how far apart father and son were, the father a mill worker, the son a nature poet. The rhyming pair "unarmed, unharmed" suggests that the father would be unable to harm his son had he not borne the harm done to him by his life. "Words, words" may be the poet's dismissal of his own profession, and yet at the poem's conclusion he succeeds; the necessary step was to move beyond words, the poet's medium, as he wishes his father could have moved beyond the limits of his own life. "Elegy for My Mother" describes a woman who focused entirely on others: "life after life / Kept happening to others, but not to her." Wagoner sees a sad harmony between her life and her death: And it was no surprise to forget herself One morning, to misplace wherever she was, Whoever she was, and become a ghostly wonder

He sees that as her vitality waned she lost her hold on her self, tentative to begin with. Although Hugo and Wagoner write in different modes, both poets linger upon the natural landscape of the Pacific Northwest. In "Eulogy for Richard Hugo (1923-1982)," Wagoner does not write in Hugo's key, but he does depart from his own most familiar manner. The poem is written in rhymed couplets of iambic pentameter, a rare instance of Wagoner's using consistent meter. Like "Elegy for My Mother," the poem discovers parallels between a way of life and the ensuing death. As a poet Hugo had developed a persona or mask with which he faced the world, and he had learned to be alert to the danger of words used carelessly. Now, as he lies near death, Wagoner visits, and the masks are literal:

DAVID WAGONER / 33J We both wore masks. Mine over my mouth Was there to catch each word, each dangerous breath Before it reached the man sitting in bed And found its way through his defenseless blood.

Wagoner describes what lay beneath Hugo's figurative mask: "For thirty years I'd known a starving child / Inside him, tough and subtle, shrewd and squalid." He enumerates the "struggling selves" of Hugo's poetry, "beggar boys and family ghosts" among them, and in the final stanza lists the things Hugo eschewed: "The gibberish of God, grudge-matching wit, / The urge to pose or maunder, prattle or preach." By letting these various selves speak, leaving out egotism and didacticism, Hugo . . . sang blunt beautiful American speech In voices none of us had heard before, Whose burden was "We can grow up through fear."

"Burden" means both the theme of a poem and a heavy load. The equivocation works. Hugo carried the weight of his fears but also made them the material of his poetry; moreover, the sentence "We can grow up through fear," through the equivocation of the word "through," allows two equally appropriate meanings: that we grow past fear and that we grow because of it. WALT WHITMAN BATHING

In a quieter, much less bumptious voice than Whitman's, Wagoner also seeks the confluence of the human and the natural worlds. But unlike Whitman, he rarely asserts a conclusion, almost never reduces his findings to a lesson. His poem in tribute to Whitman is in Wagoner's mode but is faithful to the themes they share. The title poem in Walt Whitman Bathing (1996) describes Whitman after he was partly paralyzed by a stroke. He

. . . would walk into the woods On sunny days and take off all his clothes Slowly, one plain shoe And one plain sock at a time.

He bathes in a pond and then emerges, shuffling awkwardly, all the while "murmuring / And singing quietly." Wagoner suggests that Whitman's poetry poured through him even when he was no longer able to write; his greatest poem was his way of being in the world. Wagoner, although still vigorous at seventy, was at the age when Whitman had been in his final decline, and here he looks at an aging poet's life through and beyond his verse. Wagoner rarely writes about his children, but it is fitting that in a book named for Walt Whitman he includes "Walking around the Block with a Three-Year-Old." In Whitman's "Song of Myself a child asks what the grass is, and the search for an answer is a theme of that poem. In Wagoner's poem the child sees not grass but a dead starling, then a dead earthworm: "What's wrong with them? she says. I tell her they're dead." The child does not understand, and they continue around the block, the child asking further questions that touch on the timeless themes of poetry: She stomps on a sewer grid where the slow rain Is vanishing. Do you want to go down there? I tell her no. Neither do I, she says.

The grown man cannot miss the metaphorical weight of the vanishing rainwater, or the child's unintentional allusion to mortality when she asks if he wants "to go down there." After they circle the block the dead bird is gone. She asks, "Where did it go?" and speculates, "/ think it's lost." She asks him if he can find it: "I tell her I don't think so." In reply to the grownup's fatalism, she suggests that they go look for it. The conclusion is an image of compensation: "I show her my empty hands, and she takes one." Showing her his empty hands is a gesture of

332 / AMERICAN WRITERS helplessness in the face of the absolute, but her spontaneous affection contradicts it. This small revelation is complemented later by one on a scale nearer Whitman's. In "On a Mountainside" the poet gazes from a height he has attained with much effort. Instead of "Wagnerian grandeur" (a self-referential pun), he feels That the earth is much more stony than motherly. That the closer you come To any mountain, the harder it is to see. That lightheadedness is not illumination.

Yet all this bleak observation gives way at the end of the poem, when The late afternoon sun comes rushing and skimming Toward you, through your eyes, And through your trembling, stiffening fingers In a dazzle of light, a burnt-gold avalanche.

Like the child's affection that refuted his gesture of futility, the sunset does, ironically, bring illumination to his dark musings. THE NOVELS: THE MAN IN THE MIDDLE AND MONEY, MONEY, MONEY

Like his verse, Wagoner's fiction has a deceptively natural sound that arises, not surprisingly, from scrupulous effort. Because his language never seems forced or contrived, it gives an impression of spontaneity. However, in both modes he indulges in subtle word play and striking musicality. Despite these similarities, his fiction, unlike his poetry, often portrays people who live out of harmony with nature and, therefore, out of harmony with their own nature. Published in 1954, The Man in the Middle is an accomplished novel in which Wagoner's style is fully developed, austere but expressive. Although the novels generally recognized as important in that era tended to be social in their

focus, pondering, for example, the loss of shared belief, Wagoner follows a single, insular character who shows little sign of ever having had any ideals. His protagonist—certainly not a hero—is Charlie Bell, a middle-aged man who works as a night guard at a railroad crossing. The opening establishes Charlie's emptiness as he stares at the rubble-strewn landscape. As the result of an accident in which his legs were broken, he can no longer work on the trains themselves, and their power contrasts with his weakness. Ready for a change, he will prove incapable of rising to the challenge of the change that comes. Charlie is too pathetic to be a comic figure, but he never rises high enough for his failure to be tragic. In his lack of introspection beyond his vague sense of discontent, he is more like the trains than he suspects: put into motion by forces beyond his control or comprehension, trapped in meaningless repetition. In this sense Charlie has much in common with the characters in the naturalistic novels of an earlier era, such as the title characters in Theodore Dreiser's Sister Carrie (1900) and Frank Norris's McTeague (1899). Charlie sees, on a passing train, a woman being beaten up by a man as she struggles to keep a briefcase from him. She and the briefcase fall from the train, and the man apparently judges that it is too dangerous to jump after her. As Charlie helps the woman and gathers up the scattered contents of the briefcase, he is caught in an underworld conflict that he never comprehends. In each episode he thinks he will soon be through with her: "He'd get her to the phone, then fade out," but he fails to extricate himself. Charlie learns that he now possesses evidence of criminal involvement in politics, but his only impulse is to go to a bar where "he wished he were somebody else. Somebody bigger, different, who had fists like jugs and legs like fireplugs, who wasn't afraid of trains and things." Yet he is drawn along as surely as a

DAVID WAGONER / 333 train along a track: "When he saw the telephone on the far wall, he didn't know at first that he'd already started to think." Two hundred pages later he will continue to be borne along without conscious intent, wishing he were "able to cancel a couple days and hand them back for a refund." The novel concludes back at the shanty where Charlie had been a crossing guard, and he has exerted no influence on his own life. At the end of the novel, as he approaches the point at which he began, "The train went a little faster, jerking itself from side to side, like a dream that wouldn't go the way you wanted it to." Within a year after The Man in the Middle, Wagoner, not yet thirty years old, published his second novel, Money, Money, Money (1955). Beyond its clean, workmanlike prose, the novel has strong similarities to his first. Willy Grier, the protagonist, though far more likable than Charlie Bell (and even admirable, as Charlie is not), is also a man nearing middle age who is drawn unwittingly into corruption, and like Charlie, he never fully understands it. But unlike Charlie, Willy has no desire for a change. Willy is simpleminded, perhaps mildly retarded, although various critics have noted that his mental capacity is inconsistent. He usually thinks at the level of a grade-schooler. In the opening scene, for example, as he goes for a swim, he runs his hands over his body and is relieved to find he isn't growing fat: "Some big people got flabby," he thinks. Willy is physically big, but by "big people" he means adults. The attraction of swimming is that he can feel "the pleasant chill take his body away from him." Yet in other situations Willy shows an adult intelligence. At one point, as he tries to think of a word, he reflects "it was often in the newspapers like a mistaken anagram for yeoman or woman or no one," and some of his favorite reading is the encyclopedia. McFarland suggests that these inconsistencies can be reconciled

if we assume that his retardation, or mental age, is a psychological adaptation to the traumatic death of his parents when he was a child. Willy lives on the income from an inherited trust fund but does not understand money. He works without pay, tending the trees in a neighborhood park, and he routinely treats the local children to soda and ice cream. An early scene in which the children go into a frenzy at the refreshment stand as their selections are added to Willy's tab foreshadows the avarice that motivates nearly everyone he encounters. Only Willy, with his intense pleasure in the immediacy of the physical world ("The discovery of an itch was more meaningful than a department store") is immune to avarice. Willy is disgusted at the ways in which people degrade themselves with greed. In the first scene, as he goes for his swim, he finds the body of a man who he later learns was murdered—for money—and the decay of the dead body mirrors the corruption of greed. Later, in a bank, he feels even more revulsion than at the sight of the dead body: "He realized with a shock that this was a real bank, one of those awful places that made money or did something equally foreign and astonishing." We hear the contradiction in Willy's character, the childlike "real" along with the sophisticated "equally foreign and astonishing"; more important, we have the visceral "awful." Later, caught up in a scheme, he rebels and holds the conspirators at gunpoint. As he throws a pile of cash from a boat, his speech is ineffectual: "You lie all the time and you hate people, and nobody listens to anybody. I think you're all crazy, and if you happen to want some money, there it is." Underscoring his ineffectuality, he discovers the gun is not loaded, and although he escapes, he is wounded and nearly delirious by the time he gets back to his beloved park. Like Charlie Bell, Willy ends up where he began. He has, however, learned the power of

334 / AMERICAN WRITERS money, as real as the blood flowing into his "cupped fingers." ROCK, THE ESCAPE ARTIST, AND BABY, COME ON INSIDE

Rock, published in 1958, is Wagoner's first novel wholly composed after his move to the Pacific Northwest. Wagoner has discussed the ways in which his new home influenced him, and those influences seem to be at work in Rock. As Wagoner told Nicholas O'Connell, in the area where he grew up (and which is the setting for Rock), "everything has a great deal of difficulty making it to adulthood." When he arrived in the Northwest, however, he found himself in "a place where almost anything would grow, where growing things had a kind of furious life about them, a kind of lavishness that I admired a lot"; he describes his experience as "a real crossing of a threshold, a real change of consciousness," including "the discovery of the ability to love." Where Charlie Bell and Willy Grier end up even less able to make it "to adulthood," Max Fallon in Rock flourishes. Max has returned to his native Chicago suburb after a divorce, leaving a business career behind. Still only twentyeight years old, he is in many ways similar to Biff Loman, the older son in Arthur Miller's Death of a Salesman: uncertain of his role in life; disillusioned with the pointlessness and hypocrisy of the world; and yearning for his childhood, when he was the family's pride. He works as a lifeguard, a boy's job. Symbolizing the choice he must make between adulthood and childhood are Delia, a teenage girl who openly flirts with him, and Kate, a divorced woman, about Max's age, with a six-year-old daughter. He also observes a man named O'Tool, older than Max but pathetically fixated on remaining an adolescent. Max's infatuation with Delia creates conflict with his younger brother, who angrily destroys

the mementos of Max's actual youth: diaries, pictures, model airplanes. Similarly, a gang of teenagers burns his lifeguard tower. The cutting of Max's ties to his youth sets him free, and when he transfers his affection to Kate, he chooses to recommence the life that his divorce truncated. The ending, while not unambiguously happy, is optimistic. Max discovers his "ability to love." The most comic of his novels up to this point, The Escape Artist (1965) is Wagoner's only book to have been made into a motion picture, and it draws heavily upon his lifelong interest in magic, which (like writing) is based upon illusion and requires an audience's willingness to believe. Sixteen-year-old Danny Masters, an accomplished magician, has to choose how much he will be corrupted by the adult world; although his specialty is illusion, it is an illusion distinct from falsehood, whereas the world is steeped in lies. An orphan, he comes to an unnamed Midwestern city to develop his art and to find an adult he can respect. The novel opens with Danny's observation of an inept magician. No one will listen to his criticism, so as a gesture of contempt he lifts the man's wallet only to find later that it contains thousands of dollars. It is far too much money for the man to have obtained honestly, Danny knows. Danny stole the wallet to demonstrate his prowess, not out of greed, but this small act of dishonesty draws him into sordidness. Much later Stu, the man from whom he stole the wallet, becomes his mentor. He may not be much of a magician, but he knows the ways of the world and he manipulates Danny into helping in a scam. Introducing him by an assumed name, Stu says of him, ironically, "A completely honest kid, believe it or not, one of the wonders of nature." Danny is attracted to Stu in part because of the contrast between him and Danny's Uncle Burke. He came to the city in the first place to

DAVID WAGONER / 335 find his uncle and aunt, a pair of third-rate magicians, but Burke's lack of talent is exceeded only by his cynicism and his alcoholism. "You think you score any points being able to do that stuff? Try to impress somebody. Go up to the first person you meet and start doing all that for him and see what it gets you." Back in the first scene of the novel, of course, it got Danny a wallet full of money, although Burke does not know that; it also tainted the pure art of his magic. The novel concludes with Danny's severing his ties to both men. Having hidden in a mailbox from Stu, he frees himself with his lock-picking tools and emerges into morning light that symbolizes his rebirth. He is determined to pursue his art without Burke's cynicism or Stu's greed, and the novel suggests that he will succeed. Like Max in Rock, Danny has touched corruption without becoming corrupt. Popsy Meadows, the protagonist of Wagoner's fifth novel, Baby, Come on Inside (1968), is another kind of performer, a popular singer who has returned to his native Midwestern city in pursuit of a woman and to celebrate his fiftieth birthday. Deteriorating physically, artistically, and emotionally, he hands out money to placate those he offends. Even his parents, from whom he has been estranged for thirty years, accept his cash in place of emotion. He has only one friend, a comedian: "They could put their arms around each other's shoulders, on camera or off, without checking for knife holes later. You could even call them friends, and they'd both done it from time to time." Popsy stays drunk throughout his visit. When he impulsively phones one of his three ex-wives to tell her "something's wrong . . . something's breaking up inside me," she makes a diagnosis: "Maybe it's that glass heart. It wouldn't show up on an X-ray." He attempts to reconnect with his parents, asking his father, "Can't we start over from scratch?" but he learns that his parents adopted

a boy who is now twenty years old, the age at which Popsy left home. There is no room for the son who left them. Popsy tries desperately to mend whatever is "breaking up inside" and finally impulsively marries an aspiring singer half his age. At their honeymoon hotel she warns him not to "expect too much"—because they are drunk? because their marriage is a sham?—and he promises not to: "But he did, he always did." The book is funny and bleak. Popsy's reckless desperation leads him to cynical gestures, like inviting the audience at a cabaret to a nonexistent birthday party for himself. It is a gesture of affection, but unsustainable: "The good feeling, which he couldn't trust, which he was learning to be scared of, was dwindling fast now and turning screwy, turning mucky in his chest like imitation bronchitis." Unlike Danny Masters, Popsy Meadows never earns the reader's affection or respect. NOVELS OF THE AMERICAN WEST

Beginning with Where Is My Wandering Boy Tonight? (1970), Wagoner wrote four novels set in the American West of the nineteenth century, first-person narratives by young men in their late teens and with whom we empathize. Yet despite their differences from the earlier novels, these stories, too, are about the perils of venality; the protagonists come through largely unsullied, but they see their share of corruption. Junior Holcomb, of Where Is My Wandering Boy Tonight?, is the son of a judge in the town of Slope, Wyoming, in the 1890s. His father's greed and violence recall Huck Finn's Pap, and Junior's innocence and quick wit likewise recall Huck. Junior's friend, Fred Haskell, is the son of the town preacher, a man as abusive as the judge. So, as in much American literature, the representatives of law and religion are discredited. Junior and Fred will be guided not by rules but by their own native decency.

336 / AMERICAN WRITERS Only two adults, a banker named Flint and an old cowboy named Greasy Brown, are honest but also savvy. Two despicable characters, Pinkus and Mauger, are hired to tutor Junior and Fred, but their real education comes from observing the rapacious behavior of their fathers. Like Huck Finn, Junior learns that the more he can discard the more free he becomes: "So I used my brains and headed for the depot, traveling light, with nothing but what I stood up in, no horse, no bicycle, no home, no old man, and nothing to worry about except the future." Junior's father disappears, and Junior finds him living in a brothel and married to a prostitute. He learns that Mauger is his illegitimate half-brother and that Pinkus is Fred's. Even Junior's name is a sham: the con man Mauger is the direct continuation of their father. Junior chooses Greasy as his true forebear, learning from him to be a cowboy. When Mauger claims the family wealth, Junior says, "You're welcome to it. ... I'm going to make something for my own self." Junior and Fred "headed out west of town to start scraping the green off our horns." Here, the West is a new world, uncorrupted by greed. Like Huck Finn lighting out for the territories, Junior embodies the optimism of youth in a young country. Ike Bender, protagonist of The Road to Many a Wonder (1974), has Junior's optimism and integrity, and considerably more foresight. (He is also nineteen or twenty, a few years older than Junior.) As the novel begins, in the spring of 1859, Ike's abusive father has sold the family farm in the Nebraska Territory and is about to take the family to Missouri, which they left only five years before. Ike, however, has other plans. He has been working as a well digger, getting stronger to go west in search of gold and his brother Kit. Setting out with a wheelbarrow to haul his few belongings, Ike seeks adventure more than gold, and this distinguishes him from almost everyone he meets.

Others are undone by their greed, while Ike seems protected by his good heart. He is not immune to trouble, but obstacles yield to his simple determination to keep going. Two robbers blunder so badly that one accidentally shoots the other, and Ike, instead of losing what little he has, ends up with their plunder. But human frailty is not the only wonder Ike sees; he also finds devotion and warmth. His girlfriend, Millie, whom he left behind, catches up and proposes marriage, saying, "'I aim to sleep in your arms.'" Ike thinks, "Miss Wilkerson, when she was teaching the both of us, claimed there wasn't but Seven Wonders of the World, but she must of quit counting too soon." Ike himself is one of the wonders. When they meet Indians, Ike sizes up their leader as intending no harm: "There was just something too manly about him, and I think that's what he was looking for in me." By reciting poetry Ike and Millie inspire wonder in the Indians, but what really saves them is the Indians' respect for Ike's bravery. Ike hadn't suspected his own courage, and this discovery is another wonder. When he and Millie strike it rich, the gold is incidental: "And the mystery of it has stuck with me strong as any wonder: now that I went and found gold, I feel like I ought to be able to go back and do my journey all over and not find gold and feel just as good and grand and full of spring and summer sweetness." Eli Clendennon, the protagonist of Tracker (1975), is a seventeen-year-old orphan working as a stable hand in Sheepshank, Colorado, in 1889. One morning, as he practices his harmonica in a hayloft, the nearby bank explodes and causes a shower of coins. Eli scoops up a few, but his nonchalance distinguishes him from the other townsfolk. Seeing a boy grovel for coins as if he "had been turned out to pasture in the Promised Land," Eli thinks, "Well, I'd felt like that about coins once, so I didn't blame him none. But I got over it, same as you quit

DAVID WAGONER / 337 sucking your thumb when you finally figure out you ain't going to get what you want out of it." What Eli wants is knowledge, especially of the natural world. Even though he knows who the robbers are, he lets the sheriff form a posse (which will include Lud and Sooger Worley, the robbers), and goes to get Tracker Boyd, who has promised to teach his secrets to Eli. Like Ike Bender, Eli seeks his own kind of treasure. As Tracker explains the signs that enable him to track across bare rock, Ike tells us, "I followed every word and kept my eye on everything he pointed at and knelt down when he knelt and was having a grand time shoveling all this information into my long torn where I'd be washing it down for gold for many a year." That is the gold Eli seeks. Eli learns not only about nature, but also about how the destruction of nature mirrors human degradation. A beautiful young woman is involved in the robbery and attempts to swindle her own father. The sheriff, the embodiment of order, is also corrupt. But those who live close to nature escape degradation. Tracker was written about the same time that Wagoner was working on his book of poems Who Shall Be the Sun? (1978), which draws on American Indian lore. In the novel an Indian saves Eli's life and tends Tracker's wounds, and we learn that Tracker learned his skills from the Indians. 'This here's Arapaho land," Tracker says, "and you better do some thinking like them or you won't find nothing up here but a bellyful of flint." Eli and Tracker literally ride off into the sunset, "not needing no crock of gold at the end of a rainbow but holding up one end of it our own selfs and taking it along." Nature's beauty outweighs the gold for which people degrade themselves and nature. The last of Wagoner's novels about young protagonists up against the vicissitudes of the West, Whole Hog (1976) also has the most sinister villain and the most violence. Zeke

Hunt, twenty years old, is accompanying his mother and father, herding hogs from Missouri to California. His antagonist is a Bible-quoting shape-shifter called "the buckskin man" who sees himself as an agent of God. Although he is glad to line his pockets with gold (or fill his belly with pork), his attacks on Zeke and his family are, in his mind, divine retribution— although for what is never clear. The buckskin man is not alone in his biblical allusions. As the family prepares to cross the Platte River, Zeke objects because of the danger to the hogs, but his father insists that they continue. Zeke's reaction is that "if it'd been the River Jordan and us and them [the hogs] the Lost Tribes, it might of made some sense." His mother admonishes him, "'You'd best starting reading the Ten Commandments.'" The next moment brings their first meeting with the buckskin man and his gang, as if they are a manifestation of the family's strife. In crossing the river Zeke's parents die (or are murdered—Zeke, knocked unconscious when a bullet fired by one of the gang members grazes his head, does not know for sure). He is on his own, like all of Wagoner's Western heroes. He never finds his parents' bodies, but he rounds up a few surviving hogs and continues, soon meeting a kindly, worldly-wise whiskey dealer named Casper. Zeke's father never touched whiskey, but Casper solemnly advises the young man that '"whiskey stops a whole lot more turmoil than it starts, and it's less expensive.'" In contrast to Zeke's father, Casper spreads peace. Soon after meeting this kindly father figure, Zeke tells us, "I felt like a newborn baby that's just been swatted and might not like it but was squalling for his own good. I valued my life better than ever and most everybody's and everything else's life too." McFarland has pointed out that most of Wagoner's protagonists have abusive, immoral fathers or no father at all. Unlike Zeke's real father, Casper does not

338 / AMERICAN WRITERS care about wealth: '"I don't want to be rich, boy . . . I want to be smart. Which means I want to find out why I was born.'" Although Zeke thinks this sounds "stupid," Casper will guide him into his new life. Zeke falls in love with Peggy, a prostitute, and loses his virginity to her. But before he can propose to "make an honest woman out of her," the buckskin man reappears. At crucial moments in Zeke's journey he meets this nemesis. Zeke comments, "He smelt of burnt gunpowder (or was my nose just trying to turn him into a devil?)." Zeke learns that the buckskin man murdered his parents and intends to do the same to him. After the buckskin man captures Zeke, Casper attempts to rescue him but fails; Zeke must save himself. The buckskin man takes Zeke to an Indian camp, intending to establish himself as their ruler, but the Indians kill him and mean to kill Zeke as well. When Zeke sees that they intend to butcher one of his hogs, he unleashes a hog call that brings the animal running; the Indians, impressed with Zeke's "special kind of power," release him and the hog. Having passed the test of physical selfpreservation, Zeke must pass another test. He finds Casper and Peggy and learns that Peggy has a wagonload of stolen jewels and cash. She offers herself and the plunder to Zeke if he will defend her from the outlaws from whom she stole it; Casper wants no part of the loot. Zeke must choose between Peggy and Casper, and Casper advises him, "'You'd best pick your poison very, very careful, boy.'" Zeke wants to save Peggy, but he does not want the riches: "'I'd be glad to defend you,' I says. 'But I'm not going to defend that trash you're hauling.'" She refuses to leave it and goes with the outlaws. Zeke has chosen wisely. He had thought Casper's desire to be smart rather than rich was stupid, but no longer. Zeke has wrestled with the devil and kept his integrity.

THE HANGING GARDEN

Like Wagoner's other protagonists, Simon Burrows in The Hanging Garden (1980) is trying to create an emotional nexus for which he has no model. At the age of forty-nine, Simon has resigned as mayor of an unnamed city and is divorcing his wife, who in turn is running for the office Simon has just vacated. Simon is starting over. He has bought a place in the country where he intends to breed show dogs, a complete departure from his recent past. And he begins a relationship with a woman half his age. The country place, which he says he bought because it reminded him of his "grandmother's place in the country," and the woman are ways of obliterating twenty-five years of emotional isolation. But as he reveals, his childhood was no more fulfilling than his adulthood. His abusive, alcoholic father was a judge; Simon says, '"I had to face a drunken judge every night for years. He made some very bad decisions and imposed some very strange sentences on me.'" Ironically, his emotional estrangement will become part of his bond with Diane, a part-time caterer and professional dog handler who has severed ties with her family. He asks if her parents are dead, and she replies, '"Yes, but they don't think so.'" They meet a sinister knot of people in and around the little town near Simon's country place. Dorff, the caretaker, is an alcoholic. Dorff's son, Scratch, the local dog catcher, is a sadist who is also involved in some way with Mrs. Cutter, head of the historical society, and her daughter, Amy. These four turn out to be interrelated, but even before their relationships become explicit they are a revolting parody of family. Simon and Diane must find emotional sustenance without guidance from their own pasts and in a world of grotesquely distorted families. Simon and Diane define themselves against a world that thrives on the perversion and misuse

DAVID WAGONER / 339 of emotion. After the miscreants are dealt with, Simon asks Diane if she wants to leave. Her answer: "I couldn't leave the dogs. I want to go on being useful. I want to stay here. I don't want to go back to helping other people have a good time and teaching pedigreed pooches how to hold still and behave. I don't mind doing the dirty work, but from now on I want something to be clean after I do it." Simon wants that too. They will take care of homeless animals: '"All right. An animal shelter. And I promise you won't have to cater to me, and I also promise not to be too obedient.'" The provisionally happy ending in The Hanging Garden signals a convergence between Wagoner's fiction and his poetry. Throughout his novels we meet characters who are distracted from the natural life by the influence of a materialistic society; in his poetry, on the other hand, we hear the voice of someone either very close to nature or very aware of the need to be close. When, at the end of The Hanging Garden, Simon and Diane resolve to make a life together taking care of homeless animals, they effectively turn their backs on avarice and turn instead toward nature, becoming in spirit very much like the persona of Wagner's poetry.

Selected Bibliography WORKS OF DAVID

WAGONER

POETRY

Dry Sun, Dry Wind. Bloomington: Indiana University Press, 1953. A Place to Stand. Bloomington: Indiana University Press, 1958. The Nesting Ground: A Book of Poems. Bloomington: Indiana University Press, 1963.

Staying Alive. Bloomington: Indiana University Press, 1966. New and Selected Poems. Bloomington: Indiana University Press, 1969. Riverbed. Bloomington: Indiana University Press, 1972. Sleeping in the Woods. Bloomington: Indiana University Press, 1974. Collected Poems: 1956-1976. Bloomington: Indiana University Press, 1976. Who Shall Be the Sun? Poems Based on the Lore, Legends, and Myths of the Northwest Coast and Plateau Indians. Bloomington: Indiana University Press, 1978. In Broken Country: Poems. Boston: Atlantic-Little, Brown, 1979. Landfall: Poems. Boston: Little, Brown, 1981. First Light: Poems. Boston: Little, Brown, 1983. Through the Forest: New and Selected Poems, 19771987. New York: Atlantic Monthly Press, 1987. Walt Whitman Bathing: Poems. Urbana: University of Illinois Press, 1996. Traveling Light: Collected and New Poems. Urbana: University of Illinois Press, 1999. NOVELS

The Man in the Middle. New York: Harcourt Brace, 1954. Money, Money, Money. New York: Harcourt Brace, 1955. Rock: A Novel. New York: Viking, 1958. The Escape Artist: A Novel. New York: Farrar, Straus & Giroux, 1965. Baby, Come on Inside. New York: Farrar, Straus & Giroux, 1968. Where Is My Wandering Boy Tonight? New York: Farrar, Straus & Giroux, 1970. The Road to Many a Wonder: A Novel. New York: Farrar, Straus & Giroux, 1974. Tracker. Boston: Little, Brown, 1975. Whole Hog. Boston: Little, Brown, 1976. The Hanging Garden. Boston: Little, Brown, 1980. AUTOBIOGRAPHY

"David Wagoner." In vol. 3 of Contemporary Authors Autobiography Series. Edited by Adele Sarkissian. Detroit: Gale Research, 1986. Pp. 397412.

340 / AMERICAN WRITERS CRITICAL AND BIOGRAPHICAL STUDIES Carruth, Hayden. "Poetic Tradition and Individual Talent." Harper's, May 1979, pp. 88-90. Ciardi, John. New York Times Book Review, June 26, 1953, p. 10. Cording, Robert K. "David Wagoner." In vol. 5, part 2 of Dictionary of Literary Biography. Edited by Donald J. Greiner. Detroit: Gale Research, 1980. Pp. 348-355. Howard, Richard. Alone with America: Essays on the Art of Poetry in the United States since 1950. New York: Atheneum, 1969. Hugo, Richard. The Triggering Town: Lectures and Essays on Poetry and Writing. New York: Norton, 1979. McFarland, Ron. The World of David Wagoner. Moscow, Idaho: University of Idaho Press, 1997. Pinsker, Sanford. Three Pacific Northwest Poets: William Stafford, Richard Hugo, and David Wagoner. Boston: Twayne, 1987. Robinson, James K. "Sassenachs, Palefaces, and a Redskin: Graves, Auden, MacLeish, Hollander,

Wagoner, and Others." Southern Review 14:348358 (spring 1978). Sale, Roger. "Fooling Around, and Serious Business." Hudson Review 27:623-635 (winter 1974). Stitt, Peter. "Knowledge, Belief, and Bubblegum." Georgia Review 33:699-706 (fall 1979).

INTERVIEWS O'Connell, Nicholas. "David Wagoner." In At the Field's End: Interviews with 20 Pacific Northwest Writers. Seattle, Wash.: Madrona Publishers, 1987. Pp. 39-57. Wagoner, David. Unpublished interview by Richard Wakefield. August 18, 2000. FILM BASED ON A WORK BY DAVID WAGONER The Escape Artist. Screenplay by Melissa Matheson and Stephen Zito. Directed by Caleb Deschanel. Zoetrope Studios, 1982.

—RICHARD

WAKEFIELD

Index

Index Arabic numbers printed in bold-face type refer to extended treatment of a subject.

"A" (Zukofsky), Supp. Ill, Part 2, 6 1 1 , 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 Abbey, Edward, Supp. VIII, 42 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 Abeles, Sigmund, Supp. VIII, 272 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" (Cluck), Supp. V, 82 Abolitionism, Supp. I, Part 2, 405, 418, 587, 588, 590, 682, 683, 685690, 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 About Town: "The New Yorker" and the World It Made (Yagoda), Supp. VIII, 151 "Above Pate Valley" (Snyder), Supp. VIII, 293 Above the River (Wright), Supp. Ill, 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, 587-589, 590 Abraham Lincoln: The Prairie Years and the War Years (Sandburg), HI, 588, 590 Abraham Lincoln: The War Years (Sandburg), HI, 588, 589-590 "Abraham Lincoln Walks at Midnight" (Lindsay), Supp. I, Part 2, 390-391 Abraham, Nelson Algren. See Algren, Nelson "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; Supp. V, 261

343

"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 Abysmal Brute, The (London), II, 467 "Academic Story, An" (Simpson), Supp.IX 279-280 Accent (publication), III, 337-338; IV, 485 "Accident" (Minot), Supp. VI, 208209 "Accident, The" (Strand), Supp. IV, Part 2, 624 Accident/A Day's News (Wolf), Supp. IV, Part 1, 310 Accidental Tourist, The (Tyler), Supp. IV, Part 2, 657, 668-669; Supp. V, 227 Accordion Crimes (Proulx), Supp. VII, 259-261 "Accountability" (Dunbar), Supp. II, Part 1, 197, 204 "Accusation, The" (Wright), Supp. Ill, 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, 63-64 "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"

344 / AMERICAN WRITERS (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, 255-256, 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, Part 1, 211 Acuff, Roy, Supp. V, 335 "Ad Castitatem" (Bogan), Supp. HI, 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 P., Supp. IX 190 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. 1, Part 1, 299-300, 301, 314, Part 2, 417, 492, 543, 644; Supp. II, Part 1, 93-94, 105; Supp. Ill, Part 2, 613; Supp. IV, Part 1, 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, 16-17; Supp. I, Part 2, 685, 686 Adams, John R., Supp. I, Part 2, 601 Adams, Leonie, Supp. I, Part 2, 707; Supp. V, 79; Supp. IX 229 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; Supp. VIII, 124 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, 1-26 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, 106-107, 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 "Address with Exclamation Points, A" (Simic), Supp. VIII, 283 "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, 486-488 "Admonition, An" (Brodsky), Supp. VIII, 33

"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), I, 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; Supp. VIII, 234, 236-237 Adventures of Captain Bonneville (Irving), II, 312 Adventures of Huckleberry Finn (Twain), I, 307, 506; II, 26, 72, 262, 266-268, 290, 418, 430; III, 101, 112-113, 357, 554, 558, 577; IV, 198, 201-204, 207; Supp. IV, Part 1, 247, 257, Part 2, 502 ; Supp. VIII, 198 Adventures of Roderick Random, The (Smollett), I, 134 Adventures of the Letter I (Simpson), Supp. IX 266, 273-274 "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; Supp. I, Part 2, 456, 470 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, 41^2, 45, 46; Supp. IV, Part 1, 90, 284 "Advertisements for Myself on the Way Out" (Mailer), III, 37 "Advice to a Prophet" (Wilbur), Supp.

INDEX / 345 III, Part 2, 555-557 Advice to a Prophet and Other Poems (Wilbur), Supp. Ill, Part 2, 554558 "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 and Dido" (Brodsky), Supp. VIII, 24-25 "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. 1,278 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), I, 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

IV, Part 2, 645 African Silences (Matthiessen), Supp. After the Fall (Miller), III, 148, 149, V, 203 156, 161, 162, 163-165, 166 African Treasury, An (ed. Hughes), "After the Fire" (Merrill), Supp. Ill, Supp. I, Part 1, 344 Part 1, 328 "Afrika Revolution" (Baraka), Supp. After the Fox (film), Supp. IV, Part 2, II, Part 1, 53 575 "AFRO-AMERICAN LYRIC" After the Genteel Tradition (Cowley), (Baraka), Supp. II, Part 1, 59 Supp. II, Part 1, 143 After All: Last Poems (Matthews), After the Lost Generation: A Critical Supp. IX 155, 167-169 Study of the Writers of Two Wars After and Before the Lightning (Ortiz), (Aldridge), Supp. IV, Part 2, 680 Supp. IV, Part 2, 513 "After Apple-Picking" (Frost), Retro. "After the Night Office—Gethsemani Abbey" (Merton), Supp. VIII, 195Supp. I, 126, 128 196 After Experience (Snodgrass), Supp. "After the Persian" (Bogan), Supp. Ill, VI, 314-316, 317 Part 1, 64 "After great pain, a formal feeling comes" (Dickinson), Retro. Supp. "After the Pleasure Party" (Melville), III, 93 1,37 "After Hearing a Waltz by Bartok" "After the Surprising Conversions" (Lowell), I, 544, 545; II, 550 (Lowell), II, 522 After Henry (Didion), Supp. IV, Part After the Stroke (Sarton), Supp. VIII, 264 1, 195, 1*96, 199,207,208,211 "After Henry" (Didion), Supp. IV, "After the Tranquilized Fifties: Notes on Sylvia Plath and James Baldwin" Parti, 211 (Cox and Jones), Supp. I, Part 1, "After Holbein" (Wharton), IV, 325; 69, Part 2, 548 Retro. Supp. I, 382 After I's (Zukofsky), Supp. Ill, Part "After Twenty Years" (Rich), Supp. I, Part 2, 559-560 2, 628, 629 After Ikkyu and Other Poems "After Working Long" (Kenyon), Supp. VII, 170 (Harrison), Supp. VIII, 42 After-Images: A utobio graphical "After You, My Dear Alphonse" (Jackson), Supp. IX 119 Sketches (Snodgrass), Supp. VI, "After-image" (Caldwell), I, 309 314, 319-323, 324, 326-327 "After Reading Barely and Widely," Afterlife (Updike), Retro. Supp. I, 322 (Zukofsky), Supp. Ill, Part 2, 625, Aftermath (Longfellow), II, 490 "Aftermath" (Longfellow), II, 498 631 "After Reading Mickey in the Night "Afternoon" (Ellison), Supp. II, Part 1, 238 Kitchen for the Third Time before Bed" (Dove), Supp. IV, Part 1, 249 "Afternoon at MacDowell" (Kenyon), "After Reading Tu Fu, I Go Outside to Supp. VII, 159 the Dwarf Orchard" (Wright), Supp. "Afternoon Miracle, An" (O. Henry), V, 343 Supp. II, Part 1, 390 "After Reading Wang Wei, I Go Out- Afternoon of a Faun (Hearon), Supp. VIII, 63-64 side to the Full Moon" (Wright), Supp. V, 343 "Afternoon of a Playwright" (Thurber), "After Song, An" (Williams), Retro. Supp. I, Part 2, 620 Supp. I, 413 Afternoon of an Author: A Selection of After Strange Gods (Eliot), I, 588 Uncollected Stories and Essays "After the Alphabets" (Merwin), Supp. (Fitzgerald), II, 94 HI, Part 1, 356 "Afternoon With the Old Man, An" "After the Burial" (Lowell), Supp. I, (Dubus), Supp. VII, 84 Part 2, 409 "Afterwake, The" (Rich), Supp. I, "After the Curfew" (Holmes), Supp. I, Part 2, 553 Part 1, 308 "Afterward" (Wharton), Retro. Supp. "After the Death of John Brown" 1,372 (Thoreau), IV, 185 "Again, Kapowsin" (Hugo), Supp. VI, "After the Denim" (Carver), Supp. Ill, 141 Part 1, 144 Against Interpretation (Sontag), Supp. "After the Dentist" (Swenson), Supp. Ill, Part 2, 451,455

346 / AMERICAN WRITERS "Against Interpretation" (Sontag), Supp. Ill, Part 2, 456-458, 463 "Against Modernity" (Ozick), Supp. V, 272 Against Nature (Updike), Retro. Supp. I, 323 "Against the Crusades" (Stern), Supp. 1X300 Against the Current: As I Remember F. Scott Fitzgerald (Kroll Ring), Supp. 1X63 Agapida, Fray Antonio (pseudonym), see Irving, Washington "Agassiz" (Lowell), Supp. I, Part 2, 414,416 Agassiz, Louis, II, 343; Supp. I, Part 1, 312; Supp. IX 180 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, 299301 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 "Age of Strolling, The" (Stern), Supp. 1X297 Agee, Emma, I, 26 Agee, Hugh James, I, 25 Agee, James, I, 25-47, 293; IV, 215 ; Supp. IX 109 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, 354355 "Ah! Sun-flower" (Blake), III, 19 Ah, Wilderness! (O'Neill), III, 400401; Supp. IV, Part 2, 587 Ah, Wilderness!: The Frontier in American Literature (Humphrey), Supp. IX 104 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, 466^68 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 Aimee, Anouk, Supp. IX 253 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 "Airs above the Ground" (Sarton), Supp. VIII, 261 "Airwaves" (Mason), Supp. VIII, 146 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; Supp. VIII, 20, 21, 25, 27,30 Akhmatova Translations, The (Kenyon), Supp. VII, 160 "Akhnilo" (Salter), Supp. IX 260 Aksenev, Vasily P., Retro. Supp. I, 278 "Al Aaraaf' (Poe), III, 426-427 Al Aaraaf, Tamerlane, and Minor Poems (Poe), HI, 410 Al Que Quiere! (Williams), Retro. Supp. I, 414, 416, 417, 428 Alabama Law Review (publication), Supp. VIII, 127 Alabama Review (publication), Supp. VIII, 124 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; Supp. VIII, 331 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. Ill, 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; Retro. Supp. I, 217; Supp. I, Part 1, 28, 29-32, 35, 39, 41, 45; Supp. II, Parti, 290 Alcott, Anna, see Pratt, Anna Alcott, Louisa May, IV, 172; Supp. I, Part 1, 28-46; Supp. IX 128 Alcott, May, Supp. I, Part 1, 41 Alcott, Mrs. Amos Bronson (Abigail May), IV, 184; Supp. I, Part 1, 29, 30, 31, 32, 35 Alcott family, IV, 177, 178 Alcotts as I Knew Them, The (Cowing), 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 1, 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

INDEX / 347 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; Supp. VIII, 189 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 "Ales Debeljak" (Simic), Supp. VIII, 279 "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. I, 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 Algonquin Round Table, Supp. IX 190, 191, 197 Algren, Nelson, I, 211; Supp. V, 4; Supp. IX 1-18 Alhambra, The (Irving), II, 310-311 Ali, Muhammad, Supp. VIII, 330 "Alice Doane's Appeal" (Hawthorne), II, 227 Alice in Wonderland (Carroll), Supp. 1, 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. Ill, Part 1, 182, 188, 189 "Alki 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 Chilian Got Wings (O'Neill), 111,387,391, 393-394 "All Hallows" (Gliick), Supp. V, 82 "All I Can Remember" (Jackson), Supp. IX 115

"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 A//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, 160-162 "All Souls" (Wharton), IV, 315-316; 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, 1956-1964 (Zukofsky), Supp. Ill, Part 2, 630 ALL: The Collected Short Poems, 1923-1958 (Zukofsky), Supp. Ill, Part 2, 629 All the Dark and Beautiful Warriors (Hansberry), Supp. IV, Part 1, 360, 374 All the Days and Nights: The Collected Stories (Maxwell), Supp. VIII, 151, 158, 169 "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; Supp. VIII, 126 All the Little Live Things (Stegner),

Supp. IV, Part 2, 599, 604, 605, 606,609-610, 611, 613 All the Pretty Horses (film), Supp. VIII, 175 All the Pretty Horses (McCarthy), Supp. VIII, 175, 182-183, 188 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, HI, 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, Brooke, Supp. VIII, 153 Allen, Charles G., Ill, 455 Allen, Dick, Supp. IX 279 Allen, Don Cameron, I, 542 Allen, Donald, Supp. VIII, 291 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, III, 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; Supp. IX 231 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

348 / AMERICAN WRITERS 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, 570571

Almon, Bert, Supp. IX 93 Alnilam (Dickey), Supp. IV, Part 1, 176, 186, 188-189 "Alone" (Levine), Supp. V, 184, 185, 186 "Alone" (Singer), IV, 15 "Alone" (Winters), Supp. II, Part 2, 786,811 Alone with America (Howard), Supp. IX 326 Aloneness (Brooks), Supp. Ill, Part 1, 85, 86 "Along the Color Line" (Du Bois), Supp. II, Part 1, 173 Along the Illinois (Masters), Supp. I, 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 Altieri, Charles, Supp. VIII, 297, 303 Altman, Robert, Supp. IX 143 "Altra Ego" (Brodsky), Supp. VIII, 31-32 Alvares, Mosseh, Supp. V, 11 Alvarez, A., Supp. I, Part 2, 526, 527,

548; Supp. II, Part 1, 99; Supp. IX 248 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 "Am Strand von Tanger" (Salter), Supp. IX 257 Amacher, Richard E., II, 124, 125 "Amanita, The" (Francis), Supp. IX 81 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), I, 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, 457458 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), III, 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), I, 266 American Democrat, The (Cooper), I, 343, 346, 347, 353 American Diary (Webb), Supp. I, Part

1,5

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, 7476, 77, 89, 94 "American Dreams" (Simpson), Supp. 1X274 American Earth (Caldwell), I, 290, 308 "American Emperors" (Poirier), Supp. IV, Part 2, 690 American Exodus, An (Lange and

INDEX / 349 Taylor), I, 293 American Experience, The (Parkes), Supp. I, Part 2, 617-618 "American Express" (Salter), Supp. IX 260-261 "American Fear of Literature, The" (Lewis), II, 451 American Fictions, 1940-1980 (Karl), Supp. IV, Part 1, 384 American Film (publication), Supp. IV, Part 2, 576; Supp. V, 228 "American Financier, The" (Dreiser), II, 428 American Folkways (book series), I, 290 American Heritage (magazine), Supp. I, Part 2, 493 American Heroine: The Life and Legend of Jane Addams (Davis), Supp. I, Parti, 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, Part 1, 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, I I I , 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 Literary History (Harrison), Supp. VIII, 37 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. II, Part I, 69; Supp. IV, Part 1, 166 American Mind, The (Commager), Supp. I, Part 2, 650 American Moderns: From Rebellion to Conformity (Geismar), Supp. IX 15 American Museum (publication), III, 412 American Nature Writers (Elder, ed.), Supp. IX 25 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 Original, An: Learning from a Literary Master" (Wilkinson), Supp. VIII, 164, 165, 168 American Places (Porter, Stegner and Stegner), Supp. IV, Part 2, 599 "American Poet" (Shapiro), Supp. II, Part 2, 701 "American Poetry" (Simpson), Supp. 1X272 "American Poetry and American Life" (Pinsky), Supp. VI, 239-240 American Poetry Review (magazine), Supp. IV, Part 2, 552; Supp. V, 182, 186; Supp. IX 280, 294, 300 American Poetry Since 1900 (Untermeyer), Supp. I, Part 2, 730 American Poetry since I960 (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 Procession, An: The Major American Writers from 1830-1930—

the Crucial Century (Kazin), Supp. VIII, 105-106, 108 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 Rendezvous, An" (Beauvoir), Supp. IX 4 American Revolution, The: Explorations in the History of American Radicalism (ed. Young), Supp. I, Part 2, 525 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; Supp. VIII, 238 "American Scholar, The" (Emerson), I, 239; II, 8, 12-13; Retro. Supp. I, 62, 74-75, 149, 298; Supp. I, Part 1, 147, Part 2, 420; Supp. IX 227, 271 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 Tradition in Literature, The, Supp. IX 4 American Tragedy, An (Dreiser), I, 497, 498, 499, 501, 502, 503, 511515, 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),

350 / AMERICAN WRITERS Supp. II, Part 1, 256, 257 American Writers, 206, Retro. Supp. 1,212 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 Americas (periodical), Supp. VIII, 89 "Amerika" (Snyder), Supp. VIII, 301 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 Ames Stewart, Beatrice, Supp. IX 200 Amiable Autocrat: A Biography of Dr. Oliver Wendell Holmes (Tilton), Supp. I, Part 1, 319 Amiel, Henri R, I, 241, 243, 250 Amis, Kingsley, IV, 430; Supp. IV, Part 2, 688; Supp. VIII, 167 Amis, Martin, Retro. Supp. I, 278 Ammons, A. R., Supp. Ill, Part 2, 541, Supp. VII, 23-24; Supp. IX 41,42,46 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; Supp. IX 52 "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: Portrait of the Poet in Her Time (Gregory), II, 512 "Amy Lowell of Brookline, Mass." (Scott), 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. HI, Part 1, 342, 346 "Anabasis (II)" (Merwin), Supp. Ill, 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. III, Part 2, 422-423, 425 Anatomy of Melancholy (Burton), III, 78 Anatomy of Nonsense, The (Winters), Supp. II, Part 2, 8 1 1 , 8 1 2 Anaya, Rudolfo A., Supp. IV, Part 2, 502 Ancestors (Maxwell), Supp. VIII, 152, 168 "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, 489-491,492,493 Ancient Law, The (Glasgow), II, 179180, 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), 1,63 "And That Night Clifford Died" (Levine), Supp. V, 195 "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. I, 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; Supp. VIII, 39, 152; Supp. IX 14, 309 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

INDEX / 35 J "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 of Bethesda, 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 Poem, The" (Stern), Supp. IX 292 "Angel Surrounded by Paysans" (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, Katharine Angell, Roger, Supp. I, Part 2, 655; Supp. V, 22; Supp. VIII, 139 Angelo 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 in America: A Gay Fantasia on National Themes (Kushner), Supp. IX 131, 134, 141-146 "Angels of the Love Affair" (Sexton), Supp. II, Part 2, 692 "Anger" (Creeley), Supp. IV, Part 1, 150-152 Anger (Sarton), Supp. VIII, 256 "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, 610-611 "Angle of Repose and the Writings of Mary Hallock Foote: 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; III, 107, 121, 408; IV, 23 "Angola Question Mark" (Hughes), Supp. I, Part 1, 344 Angry Wife, The (Sedges), Supp. II, Parti, 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 "Animal Acts" (Simic), Supp. VIII, 278 Animal and Vegetable Physiology Considered with Reference to Natural Theology (Roget), Supp. I, Part 1, 312 Animal Dreams (Kingsolver), Supp. VII, 199, 204-207 "Animal, Vegetable, and Mineral" (Bogan), Supp. HI, 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 I, 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. HI, 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, 184186, 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, 207-209 "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. Ill, Part 1, 326 "Another Beer" (Matthews), Supp. IX 158 Another Country (Baldwin), Supp. I, Part 1, 51, 52, 56-58, 63, 67, 337; Supp. II, Part 1, 40; Supp. VIII, 349 "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

352 / AMERICAN WRITERS 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, 286288, 297 Ansky, S., IV, 6 Ansky, Shloime, Supp. IX 131, 138 "Answer, The" (Jeffers), Supp. Ill, Part 2, 423 "Answer of Minerva, The: Pacifism and Resistance in Simone Weil" (Merton), Supp. VIII, 204 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 (journal), Supp. VIII, 39 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 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 Antin, David, Supp. VIII, 292 Antin, Mary, Supp. IX 227 Antiphon, The (Barnes), Supp. HI, Part 1, 43-44 "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), 1,285 "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 Porch" (Parker), Supp. IX 194 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; III, 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), I, 572

Appel, Alfred, Jr., Ill, 266; IV, 284 "Appendix to 'The Anniad'" (Brooks), Supp. Ill, Part 1, 77 Apple, Max, Supp. VIII, 14 "Apple, The" (Kinnell), Supp. Ill, Part 1, 250 "Apple of Discord, The" (Humphrey), Supp. IX 109 "Apple Peeler" (Francis), Supp. IX 82 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, The (film), Supp. IX 253 Appointment in Samarra (O'Hara), III,

361, 363-364, 365-367, 371, 374,

375, 383 "Approach to Thebes, The" (Kunitz), Supp. Ill, Part 1, 265-267 "Approaches, The" (Merwin), Supp. Ill, Part 1, 350 "Approaching Artaud" (Sontag), Supp. III, Part 2, 470-471 "Approaching Prayer" (Dickey), Supp. IV, Part 1, 175 "Apres-midi d ' u n faune, L"' (Mallarme), III, 8 "April" (Williams), Retro. Supp. I, 422 "April" (Winters), Supp. II, Part 2, 788 "April Galleons" (Ashbery), Supp. Ill, Part 1, 26 April Galleons (Ashbery), Supp. Ill, Part 1, 26 April Hopes (Howells), II, 285, 289 "April Lovers" (Ransom), III, 489-^90 "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,

INDEX / 353 Part 2, 584, 599; Supp. IV, Part 1, 1 "Araby" (Joyce), I, 174; Supp. VIII, 15 Aragon, Louis, I, 429; III, 471 Aramco World Magazine, Supp. IV, Part 2, 599 Arana-Ward, Marie, Supp. VIII, 84 Ararat (Gliick), Supp. V, 79, 86-87 Arbuthnott, John (pseudonym), see Henry, O. Arch, The (magazine), Supp. IV, Part 1, 168 Archaeologist of Morning (Olson), Supp. II, Part 2, 557 "Archaic Maker, The" (Merwin), Supp. III, Part 1, 357 "Archaically New" (Moore), Supp. I, Part 1, 97 Archer, William, IV, 131; Retro. Supp. 1,228 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; Supp. VIII, 98, 99, 100, 243 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, 137-138 Ariel (Plath), Supp. I, Part 2, 526, 539, 541; Supp. V, 79 "Ariel" (Plath), Supp. I, Part 2, 542, 546

"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, Part 1, 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 "Arm in Arm" (Simpson), Supp. IX 267-268 Arm of Flesh, The (Salter), Supp. IX 251 "Armadillo, The" (Bishop), Supp. I, Part 1, 93 Armadillo in the Grass (Hearon), Supp. VIII, 58-59 "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 A rna Bontemps Langston 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, Edwin T, Supp. VIII, 189 Arnold, George W., Supp. I, Part 2, 411 Arnold, Marilyn, Supp. IV, Part 1, 220 Arnold, Matthew, I, 222, 228, 275; II, 20, 110, 338, 541; III, 604; IV, 349;

Retro. Supp. I, 56, 325; Supp. I, Part 2, 416, 417, 419, 529, 552, 602; Supp. IX 298 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), I, 290 "Arrangement in Black and White" (Parker), Supp. IX 198 "Arrival at Santos" (Bishop), Supp. IX 45-46 Arrivistes, The: Poem 1940-1949 (Simpson), Supp. IX 265, 267-268 "Arrow" (Dove), Supp. IV, Part 1, 250 Arrow smith (Lewis), I, 362; II, 445446, 449 Arrowsmith, William, III, 289 "Ars Poetica" (Dove), Supp. IV, Part 1,250 "Ars Poetica" (MacLeish), III, 9-10 "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. 1,226 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 Art of Living and Other Stories, The (Gardner), Supp. VI, 72 "Art of Storytelling, The" (Simpson), Supp. IX 277 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

354 / AMERICAN WRITERS Art of the Novel (James), Retro. Supp. 1,227 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. I, 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), 111,343,351,356,358 Artist, The: A Drama without Words (Mencken), III, 104 "Artist of the B e a u t i f u l , 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 Does New Hampshire and Other Poems (Sarton), Supp. VIII, 259 "As Flowers Are" (Kunitz), Supp. Ill, Part 1, 265 "As I Ebb'd with the Ocean of Life" (Whitman), IV, 342, 345-346; Retro. Supp. I, 404, 405 As I Lay Dying (Faulkner), II, 60-61, 69, 73, 74; IV, 100; Retro. Supp. I, 75, 82, 84, 85, 86, 88, 89, 91, 92; Supp. IV, Part 1, 47; Supp. VIII, 37, 178; Supp. IX 99, 103,251 "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. Ill, 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 of F6, The (Auden), Supp. II, Part 1, 11, 13 Ascent to Truth, The (Merton), Supp. VIII, 208 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, 574575, 578-579, 580, 582, 584, 585; Retro. Supp. I, 64 "Ash Wednesday" (Garrett), Supp. VII, 109-110 "Ash Wednesday" (Merton), Supp. VIII, 199 Ashbery, John, Retro. Supp. I, 313; Supp. I, Part 1, 96; Supp. Ill, Part 1,1-29, Part 2, 541; Supp. IV, Part 2, 620; Supp. VIII, 272; Supp. IX 52

"Ashes" (Levine), Supp. V, 188 Ashes: Poems Old and New (Levine), Supp. V, 178, 188-189 "Ashes of the Beacon" (Bierce), I, 209 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 Journal of Thomas Merton, The (Merton), Supp. VIII, 196, 206, 208 "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 Me Tomorrow (Cozzens), I, 365367, 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; Supp. VIII, 155 "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. 1,59 "Ass" (Cisneros), Supp. VII, 67 Assante, Armand, Supp. VIII, 74 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, 455-456 Assembly (O'Hara), III, 361 Assistant, The (Malamud), Supp. I, Part 2, 427, 428, 429, 431, 435, 441-445, 451 Assommoir, U (Zola), II, 291; III, 318 Assorted Prose (Updike), IV, 215-216, 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), HI, 413, 420 Astraea (Holmes), III, 82 Astre, Georges-Albert, 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 Lecture" (Brodsky), Supp. VIII, 33 "At a March against the Vietnam War" (Bly), Supp. IV, Part 1, 61 "At Cheniere Caminada" (Chopin), Supp. I, Part 1, 220 "At Chinese Checkers" (Berryman), I, 182 At Eighty-Two (Sarton), Supp. VIII, 264 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

INDEX / 355 "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 Sunset" (Simic), Supp. VIII, 282 "At That Time, or The History of a Joke" (Paley), Supp. VI, 229-230 "At the Birth of an Age" (JefTers), 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 the Open Road (Simpson), Supp. IX 265, 269, 271273, 277 "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, 265266; 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

"At Times in Flight: A Parable" (H. Roth), Supp. IX 234 "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, 207-208 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, 397-398, 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; Supp. VIII, 12, 124, 139, 189, 314; Supp. IX 21, 184, 236; 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 "Atticus Finch and the Mad Dog: Harper Lee's To Kill a Mockingbird" (Jones), Supp. VIII, 128 "Atticus Finch—Right and Wrong" (Freedman), Supp. VIII, 127-128 Attitudes toward History (Burke), I, 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 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" (Simic), Supp. VIII, 278 "Auction, The" (Crane), I, 411

"Auction Model 1934" (Z. Fitzgerald), Supp. IX 61 Auden, W H., I, 71, 381, 539; II, 171, 367, 368, 371, 376, 586; III, 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. II, Part 1, 1-28; Supp. Ill, 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; Supp. VIII, 19, 21, 22, 23, 30, 32, 155, 190; Supp. IX 94, 287, 288 "Audition" (Alvarez), Supp. VII, 10 Audubon (magazine), Supp. V, 199 Audubon, John James, III, 210; IV, 265; Supp. IX 171 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 Darks, The" (Clampitt), Supp. IX 43, 50-51, 52 "August 1968" (Auden), Supp. II, Part 1, 25 August Snow (Price), Supp. VI, 264 Augustine, Saint, I, 279, 290; II, 537; III, 259, 270, 292, 300; IV, 69, 126; Retro. Supp. I, 247; Supp. VIII, 203 "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. 1, 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. I, 390 Aurora Leigh (Browning), Retro. Supp. I, 33 "Auroras of Autumn, The" (Stevens), Supp. Ill, Part 1, 12; Retro. Supp.

356 / AMERICAN WRITERS 1,311,312 Auroras of Autumn, The (Stevens), Retro. Supp. I, 297, 300, 309-312 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; Supp. VIII, 125, 167; Supp. IX 128 "Austen and Alcott on Matriarchy" (Auerbach), Supp. I, Part 1, 46 "Austerities" (Simic), Supp. VIII, 277 Austerities (Simic), Supp. VIII, 276278, 283 Austin, George L., II, 509 Austin, Mary, Retro. Supp. I, 7; Supp. IV, Part 2, 503 Austin, Neal E, 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 'Beltraffic,' 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), III, 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), III, 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, Parti, 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 of LeRoi 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 Autobiography of My Mother, The (Kincaid), Supp. VII, 182, 188-190, 191, 192, 193 Autobiography of Upton Sinclair, The (Sinclair), Supp. V, 276, 282 Autobiography of W. E. B. Du Bois, The (Du Bois), Supp. II, Part 1, 159, 186 Autobiography of William Carlos Williams, The (Williams), Retro. Supp. 1,51,428 Autocrat of the Breakfast-Table, The (Holmes), Supp. I, Part 1, 306-307 "Automotive Passacaglia" (Miller), HI, 186 "Autopsy Room, The" (Carver), Supp. Ill, Part 1, 137 "Autre Temps" (Wharton), IV, 320, 324 "Autumn Afternoon" (Farrell), II, 45 "Autumn Begins in Martins Ferry, Ohio" (Wright), Supp. Ill, Part 2, 599 "Autumn Courtship, An" (Caldwell), I, 309 Autumn Garden, The (Hellman), Supp. I, Part 1, 285-286, 290 "Autumn Garden, The: Mechanics and Dialectics" (Felheim), Supp. I, Part 1,297 "Autumn Holiday, An" (Jewett), II, 391 "Autumn Musings" (Harte), Supp. II, Part 1, 336 "Autumn Within" (Longfellow), II, 499 "Autumn Woods" (Bryant), Supp. I, Part 1, 164 "Autumnal" (Eberhart), I, 540-541

"Aux Imagistes" (Williams), Supp. I, Part 1, 266 Avedon, Richard, Supp. I, Part 1, 58; Supp. V, 194 "Avenue" (Pinsky), Supp. VI, 248 Avenue Bearing the Initial of Christ into the New World: Poems 19461964 (Kinnell), Supp. Ill, Part 1, 235, 239-241 "Avenue of the Americas" (Simic), Supp. VIII, 278 Avery, John, Supp. I, Part 1, 153 "Avey" (Toomer), Supp. IX 317 Avon's Harvest (Robinson), III, 510 Awake and Sing! (Odets), Supp. II, Part 2, 530, 531, 536-538, 550; Supp. IV, Part 2, 587 Awakening, The (Chopin), Retro. Supp. I, 10; Supp. I, Part 1, 200, 201, 202, 211, 220-225; Supp. V, 304; Supp. VIII, 198 Awful Rowing Toward God, The (Sexton), Supp. II, Part 2, 694-696 Awiakta, Marilou, Supp. IV, Part 1, 319,335 Awkward Age, The (James), II, 332; Retro. Supp. I, 229, 230-231 Axe Handles (Snyder), Supp. VIII, 303-305 Axel's Castle: A Study in the Imaginative Literature of 1870 to 1930 (Wilson), I, 185; II, 577; IV, 428, 431, 438, 439, 443; Supp. VIII, 101 "Ax-Helve, The" (Frost), Retro. Supp. I, 133 Axthelm, Peter M., I, 165 Ayn Rand Column, Supp. IV, Part 2, 532-533 Ayn Rand Letter, The, Supp. IV, Part " 2, 527 Azikewe, Nnamdi, Supp. IV, Part 1, 361 B. F. 's Daughter (Marquand), III, 59, 65, 68, 69 Babbitt, Irving, I, 247; II, 456; III, 315, 461, 613; IV, 439; Retro. Supp. I, 55; Supp. I, Part 2, 423 Babbitt (Lewis), II, 442, 443^45, 446, 447, 449; III, 63-64, 394; IV, 326 Babcock, Elisha, Supp. II, Part 1, 69 Babel, Isaac, IV, 1; Supp. IX 260 Babel to Byzantium (Dickey), Supp. IV, Part 1, 177, 185 Babeuf, Frangois, Supp. I, Part 2, 518 "Babies, The" (Strand), Supp. IV, Part 2,625 "Baby, The" (Barthelme), Supp. IV, Part 1, 49 Baby, Come on Inside (Wagoner), Supp. IX 335

INDEX / 357 Baby Doll (Williams), IV, 383, 386, 387, 389, 395 "Baby Face" (Sandburg), III, 584 "Baby or the Botticelli, The" (Gass), Supp. VI, 92 "Baby Pictures of Famous Dictators" (Simic), Supp. VIII, 276 "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), III, 4 Bacchae, The (Euripides), Supp. VIII, 182 Bach, Johann Sebastian, Supp. I, Part I, 363; Supp. Ill, Part 2, 611, 612, 619 Bache, Richard, Supp. I, Part 2, 504 Bachelard, Gaston, III, 431 Bachmann, Ingeborg, Supp. IV, Part 1,310; Supp. VIII, 272 Bachofen, J. J., Supp. I, Part 2, 560, 567 Back Bog Beast Bait (Shepard), Supp. Ill, Part 2, 437, 438 Back Country, The (Snyder), Supp. VIII, 296-299 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; Supp. IX 104 Bacon, Leonard, II, 530 Bacon, Roger, IV, 69 "Bacterial War, The" (Nemerov), III, 272 Bad Boys (Cisneros), Supp. VII, 58 "Bad Dream" (Taylor), Supp. V, 320 "Bad Fisherman, The" (Wagoner), Supp. IX 328 Bad Man, A (Elkin), Supp. VI, 47

Bad Man Blues: A Portable George Garrett (Garrett), Supp. VII, 111 "Bad Music, The" (Jarrell), II, 369 Bade, William Frederic, Supp. IX 178 Badger, A. G., Supp. I, Part 1, 356 "Badger" (Clare), II, 387 Badley, Linda, Supp. V, 148 Baeck, Leo, Supp. V, 260 Baecker, Diann L., Supp. VIII, 128 Baender, Paul, II, 125 Baez, Joan, Supp. IV, Part 1, 200; Supp. VIII, 200, 202 Bag of Bones (King), Supp. V, 139, 148, 151 "Baha'u'llah in the Garden of Rid wan" (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 Bailey's Cafe (Naylor), Supp. VIII, 226-228 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, David, Supp. IX 298 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 Bakst, Leon, Supp. IX 66 Bakunin, Mikhail Aleksandrovich, IV, 429 Balakian, Nona, II, 608; HI, 48-49; 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, HI, 47; IV, 496; Supp. I, Part 1, 47-71, 337, 341; Supp. II, Part 1, 40; Supp. Ill,

Part 1, 125; Supp. IV, Part 1, 1, 10, 11, 163, 369; Supp. V, 201; Supp. VIII, 88, 198, 235, 349 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 "Baldwin'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 East and West" (Kipling), Supp. IX 246 "Ballad of Jesse Neighbours, The" (Humphrey), Supp. IX 100 "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 Ruby, The" (Sarton), Supp. VIII, 259-260 "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, 169170, 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"

358 / AMERICAN WRITERS (McCullers), II, 586, 587, 588, 592, 595, 596-600, 604, 605, 606 "Ballad of the Sixties" (Sarton), Supp. VIII, 259 "Ballad of Trees and the Master, A" (Lanier), Supp. I, Part 1, 370 "Ballade" (MacLeish), III, 4 "Ballade at Thirty-Five" (Parker), Supp. IX 192 "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 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), HI, 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; HI, 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 Banderas, Antonio, Supp. VIII, 74 Banfield, Raffaello de, IV, 400

Bang the Drum Slowly (Harris), II, 202, 205; Supp. I, Part 1, 69, 341, 424-425 346 "Banjo Song, A" (Dunbar), Supp. II, Barlow, Joel, Supp. I, Part 1, 124, Part 1, 197 Part 2, 511, 515, 521; Supp. II, "Bank of England Restriction, The" Part 1, 65-86, 268 (Adams), I, 4 Barlow, Ruth Baldwin (Mrs. Joel Bankhead, Tallulah, IV, 357; Supp. IV, Barlow), Supp. II, Part 1, 69 Part 2, 574 Bam Blind (Smiley), Supp. VI, 292Banks, Russell, Supp. V, 1-19, 227; 293 Supp. IX 153 "Barn Burning" (Faulkner), II, 72, 73; Banta, Martha, II, 292 Supp. IV, Part 2, 682 "Banyan" (Swenson), Supp. IV, Part Barnaby Rudge (Dickens), III, 421 2, 651, 652 Barnard, Ellsworth, III, 525 Baptism, The (Baraka), Supp. II, Part Barnard, Frederick, Supp. I, Part 2, 684 1, 40, 41-42, 43 Baptism of Desire (Erdrich), Supp. IV, Barnes, Djuna, Supp. Ill, Part 1, 31Part 1, 259 46; Supp. IV, Part 1, 79, 80 "Bar at the Andover I n n , The" Barnes, John S., IV, 472 (Matthews), Supp. IX 168 Barnett, Samuel, Supp. I, Part 1, 2 Barabtarlo, Gennady, Retro. Supp. I, Barnouw, Erik, III, 167 278 Barnstone, Willis, Supp. I, Part 2, Baraka, Imamu Amid (LeRoi Jones), 458, 477 Retro. Supp. I, 411; Supp. I, Part Barnum, P. T, Supp. I, Part 2, 703 1, 63; Supp. II, Part 1, 29-63, 247, Baroja, Pio, I, 478 250; Supp. Ill, Part 1, 83; Supp. "Baroque Comment" (Bogan), Supp. IV, Part 1, 169, 244, 369; Supp. Ill, Part 1, 56, 58 VIII, 295, 329, 330, 332 "Baroque Sunburst, A" (Clampitt), Supp. IX 49 "Barbara Frietchie" (Whittier), Supp. "Baroque Wall-Fountain in the Villa I, Part 2, 695-696 "Barbarian Status of Women, The" Sciarra, A" (Wilbur), Supp. Ill, (Veblen), Supp. I, Part 2, 636-637 Part 2, 553 Barbarous Coast, The (Macdonald), Barr, Robert, I, 409, 424 Supp. IV, Part 2, 472, 474 Barracks Thief, The (Wolff), Supp. Barbary Shore (Mailer), III, 27, 28, VII, 344-345 Barren Ground (Glasgow), II, 174, 30-31,33,35, 36,40,44 175, 178, 179, 184-185, 186, 187, Barber, David, Supp. IV, Part 2, 550 188, 189, 191, 192, 193, 194 Barber, Rowland, Supp. IV, Part 2, Barres, Auguste M., I, 228 581 Barrett, Elizabeth, Supp. IV, Part 2, Barber, Samuel, Supp. IV, Part 1, 84 430 "Barclay of Ury" (Whittier), Supp. I, Barrett, George, Supp. IX 250 Part 2, 693 Bard of Savagery, The: Thorstein Ve- Barrett, Ralph, Supp. I, Part 2, 462 blen and Modern Social Theory Barron, Jonathan, Supp. IX 299 Barrow, John, II, 18 (Diggins), Supp. I, Part 2, 650 "Bare Hills, The" (Winters), Supp. II, Barrus, Clara, I, 220 Barry, Philip, Retro. Supp. I, 104; Part 2, 790 Supp. IV, Part 1, 83; Supp. V, 95 Bare Hills, The (Winters), Supp. II, Bartas, Seigneur du, IV, 157 Part 2, 786, 788 "Barefoot Boy, The" (Whittier), Supp. Barth, John, I, 121-143; Supp. I, Part 1, 100; Supp. Ill, Part 1, 217; I, Part 2, 691, 699-700 Supp. IV, Part 1, 48, 379; Supp. V, Barefoot in the Park (Simon), Supp. 39, 40; Supp. IX 208 IV, Part 2, 575, 578-579, 586, 590 Barely and Widely (Zukofsky), Supp. Barth, Karl, III, 40, 258, 291, 303, 309; IV, 225; Retro. Supp. I, 325, HI, Part 2, 627, 628, 635 326, 327 Barfield, Owen, III, 274, 279 Barthelme, Donald, Supp. IV, Part 1, "Bargain Lost, The" (Poe), III, 411 39-58, 227; Supp. V, 2, 39, 44; Barishnikov, Mikhail, Supp. VIII, 22 Supp. VIII, 75, 138 Barker, Clive, Supp. V, 142 Barthes, Roland, Supp. IV, Part 1, 39, Barker. George, I, 47 119, 126 Barksdale, Richard, Retro. Supp. I,

INDEX / 359 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, II, 171 Bartlett, Lee, Supp. VIII, 291 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, II, 313; Supp. IX 171 Barzun, Jacques, II, 556 "Base of All Metaphysics, The" (Whitman), IV, 348 "Base Stealer, The" (Francis), Supp. 1X82 Basil Stones, The (Fitzgerald), Retro. Supp. I, 109 Basin and Range (McPhee), Supp. Ill, 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 Bataille, Georges, Supp. VIII, 4 "Batard" (London), II, 468-469 Bate, W. J., II, 531 Bates, Arlo, Retro. Supp. I, 35 Bates, Sylvia Chatfield, II, 586 "Bath, The" (Carver), Supp. Ill, Part 1, 144, 145 "Bath, The" (Snyder), Supp. VIII, 302 "Batter my heart, three person'd God" (Donne), Supp. I, Part 2, 726 "Battle, The" (Simpson), Supp. IX 268-269 Battle and the Books, The (Stone), Supp. I, Part 2, 626 "Battle Hymn of the Republic" (Sandburg), III, 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 LovelTs 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, I, 58, 63, 384, 389, 420, 569; II, 543, 544-545, 552; HI, 137, 141-142, 143, 144, 409, 417, 418, 421, 428, 432, 448, 466, 474; IV, 74, 79, 80, 87, 211, 286; Retro. Supp. I, 56, 90; 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; HI, 242, 243, 360; IV, 118; Supp. I, Part 2, 452 Bausch, Richard, Supp. VII, 39-42 Bawer, Bruce, Supp. VIII, 153; Supp. IX 135 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 "Beaded Pear, The" (Simpson), Supp. 1X276 Beaman, E. O., Supp. IV, Part 2, 604 Bean Eaters, The (Brooks), Supp. Ill, 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; Supp. IX 95 Bear, The (Faulkner), Supp. VIII, 184 "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

Beard, James, I, 341, 356 Beard, Mary, Supp. I, Part 2, 481 "Bearded Oaks" (Warren), IV, 240 Bearden, Romare, Retro. Supp. I, 209; Supp. VIII, 337, 342 Beardsley, Aubrey, II, 56; IV, 77 "Beast" (Swenson), Supp. IV, Part 2, 639 Beast God Forgot to Invent, The (Harrison), Supp. VIII, 37, 46, 51-52 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 Beatles, Supp. VIII, 202 "Beatrice Palmato" (Wharton), Retro. Supp. I, 379 Beats, Supp. VIII, 236 Beattie, Ann, Supp. V, 21-37 Beatty, General Sam, I, 193 Beatty, Richard Croom, II, 221; Supp. I, Part 2, 425 Beaty, Jerome, Supp. IV, Part 1, 331

360 / AMERICAN WRITERS 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 Damned, The (Fitzgerald), II, 88, 89-91, 93, 263; Retro. Supp. I, 103, 103-105, 105, 106, 110; Supp. 1X56, 57 "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. III, 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; Supp. IX 4 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; HI, 387; IV, 95; Retro. Supp. I, 206; Supp. IV, Part 1, 297, 368369, 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; Supp. 1X312 "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 "Bed in the Sky, The" (Snyder), Supp. VIII, 300 Beddoes, Thomas Lovell, III, 469; Retro. Supp. I, 285 Bedichek, Roy, Supp. V, 225 Bedient, Calvin, Supp. IX 298 Bednarik, Joseph, Supp. VIII, 39 "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, 580581, 582, 583, 587, 588, 599 Beecher, Mrs. Lyman (Roxanna Foote), Supp. I, Part 2, 580-581, 582, 588, 599 "Beehive" (Toomer), Supp. IX 317 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; HI, 118; IV, 274, 358; Supp. I, Part 1, 363; Supp. VIII, 103 Befo' de War: Echoes in Negro Dialect (Gordon), Supp. II, Part 1, 201 "Before" (Snyder), Supp. VIII, 301 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), HI, 15 "Before the Altar" (Lowell), II, 516 "Before the Birth of one of her children" (Bradstreet), Supp. I, Part 1, 118 "Begat" (Sexton), Supp. II, Part 2, 693 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, 420-421, 424 "Beginning of Decadence, The" (Jeffers), Supp. II, Part 2, 420 Beginning of Wisdom, The (Benet), I, 358 "Begotten of the Spleen" (Simic), Supp. VIII, 277 "Behaving Like a Jew" (Stern), Supp. IX 290-291, 294 "Behavior" (Emerson), II, 2, 4 Behavior of Titans, The (Merton), Supp. VIII, 201 Behind a Mask (Alcott), Supp. I, Part 1, 36-37, 43-44 "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 Beige Dolorosa (Harrison), Supp. VIII, 40, 51 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 and Time (Heidegger), Supp. VIII, 9 Being There (Kosinski), Supp. VII, 215, 216, 222-223 Belcher, William E, 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, 301-302 "Belinda's Petition" (Dove), Supp. IV, Part 1, 245 "Belita" (Rios), Supp. IV, Part 2, 541 Belkind, Alan, I, 496 Bell, Arthur, IV, 401 Bell, Clive, IV, 87

INDEX / 361 Bell, Daniel, Supp. I, Part 2, 648 Bell, George E., Supp. I, Part 1, 69 Bell, George Kennedy Allen, Retro. Supp. I, 65 Bell, Marvin, Supp. V, 337, 339; Supp. IX 152 Bell, Michael D., Supp. I, Part 1, 148 Bell, Millicent, IV, 329 Bell, Quentin, Supp. I, Part 2, 636 Bell Jar, The (Plath), Supp. I, Part 2, 526, 527, 529, 531-536, 539, 540, 541, 542, 544 "Bell Tower, The" (Melville), III, 91 Bell, Vereen, IV, 234 Bell, Whitfield J., Jr., II, 123 Bellafante, Gina, Supp. VIII, 85 Bellamy, Edward, II, 276; Supp. I, Part 2, 641 Bellamy, Gladys C, IV, 213 "Belle Dollinger" (Masters), Supp. I, Part 2, 463 "Belle Zoraide, La" (Chopin), Supp. I, Part 1, 215-216 Belles lettres (periodical), Supp. VIII, 223 Belleforest, Frangois de, IV, 370 Belloc, Hilary, III, 176; IV, 432 Bellow, Saul, I, 113, 138-139, 144166, 375, 517; II, 579; III, 40; IV, 3, 19, 22, 217, 340; Supp. I, Part 2, 428, 451; Supp. II, Part 1, 109; Supp. IV, Part 1, 30; Supp. V, 258; Supp. VIII, 98, 176, 234, 236-237, 245; Supp. IX 212, 227 "Bells, The" (Poe), III, 593; Supp. I, Part 2, 388 "Bells, The" (Sexton), Supp. II, Part 2,673 "Bells for John Whiteside's Daughter" (Ransom), III, 490 "Bells of Lynn, The" (Longfellow), II, 498 "Bells of San Bias, The" (Longfellow), 11,490-491,493,498 Beloved (Morrison), Supp. Ill, Part 1, 364, 372-379; Supp. IV, Part 1, 13-14; Supp. V, 259; Supp. VIII, 343 Beloved Lady: A History of Jane Addams' Ideas on Reform and Peace (Farrell), Supp. I, Part 1, 24, 27 Ben Franklin's Wit and Wisdom (Franklin), II, 111 Benchley, Nathaniel, Supp. I, Part 2, 626 Benchley, Robert, I, 48, 482; II, 435; III, 53; Supp. IX 190, 195, 204 Bend Sinister (Nabokov), III, 253-254; Retro. Supp. I, 265, 266, 270 Benda, W. T, Retro. Supp. I, 13

Benedetti, Anna, I, 70 Benedict, Ruth, Supp. IX 229 Benefactor, The (Sontag), Supp. Ill, Part 2, 451,455, 468, 469 "Benefit Performance" (Malamud), Supp. I, Part 2, 431 Benet, Rosemary, Supp. I, Part 2, 626 Benet, Stephen Vincent, I, 358; II, 177; III, 22, 24; IV, 129; Supp. I, Part 2,626 Benet, William Rose, II, 530; Retro. Supp. I, 108; Supp. I, Part 2, 626, 709, 730 Ben-Hur (film), Supp. IV, Part 2, 683 Benito Cereno (Lowell), II, 546 "Benito Cereno" (Melville), III, 91; Retro. Supp. I, 255 Benjamin Franklin (Van Doren), Supp. 1, Part 2, 486 "Benjamin Pantier" (Masters), Supp. I, Part 2, 461 Benjamin, Walter, Supp. IX 133 Bennett, Anne Virginia, II, 184 Bennett, Arnold, I, 103; II, 337 Bennett, Elizabeth, Supp. VIII, 58 Bennett, George N., II, 294 Bennett, John C., Ill, 313 Bennett, Mildred R., I, 333 Bennett, Patrick, Supp. V, 225 Bennett, Paula, Retro. Supp. I, 29, 33, 42 Bennett, Whitman, Supp. I, Part 2, 705 Bennett, William, Supp. VIII, 245 Benson, A. C., II, 340 Benson, Ivan, IV, 213 Benson, Jackson J., II, 270; Supp. IV, Part 2, 613 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, Nelson, Supp. IX 324 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; Retro. Supp. I, 55, 57, 80; Supp. IV, Part 1, 42 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 of Clairvaux, Saint, I, 22; II, 538 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, Andrea, Supp. IX 146 Bernstein, Burton, Supp. I, Part 2, 626

362 / AMERICAN WRITERS 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 Bernstein, Richard, Supp. IX 253, 262 "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 Berry, Wendell, Supp. VIII, 304 "Berry Feast, A" (Snyder), Supp. VIII, 289, 297 "Berry Territory" (Snyder), Supp. VIII, 304 Berryman, John, I, 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, 179-180, 337; Supp. IX 152 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, 463^64 Best American Essays 1988, The (ed. Dillard), Supp. VIII, 272 Best American Essays 1997, The (ed. Frazier), Supp. VIII, 272 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; Supp. IX 114 Best American Short Stories, 19151950, The, Supp. IX 4 Best American Short Stories of 1942, The, Supp. V, 316 Best American Short Stories of 1944, The, Supp. IX 119 Best American Short Stories of the Eighties, The (ed. Ravenal), Supp.

IV, Part 1, 93 Best Hour of the Night, The (Simpson), Supp.IX 277-279 Best Man, The: A Play About Politics (Vidal), Supp. IV, Part 2, 683 Best Seller (publication), Supp. IX 95 Best Short Plays, The (Mayorga), IV, 381 Best Short Stories, The (ed. O'Brien), 1,289 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 Bestiaire, Le (Apollinaire), IV, 80 Bestiary, A (Wilbur), Supp. Ill, Part 2, 552 "Bestiary for the Fingers of My Right Hand" (Simic), Supp. VIII, 274, 275 Bestsellers (publication), Supp. VIII, 113 "BETANCOURT" (Baraka), Supp. II, Part 1, 33, 34 Bete humaine, La (Zola), III, 316, 318 "Bethe" (Hellman), Supp. I, Part 1, 293 Bethea, David, Supp. VIII, 27 Bethel Merriday (Lewis), II, 455 Bethune, Mary McLeod, Retro. Supp. I, 197; Supp. I, Part 1, 333 Bethurum, Dorothy, IV, 121 "Betrayal" (Lanier), Supp. I, Part 1, 364 "Betrothed" (Bogan), Supp. Ill, 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. II, Part 2, 703, 711 Beyond Culture (Trilling), Supp. Ill, 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, 300303 Bezanson, W. E., Ill, 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, 308309, 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;; Retro. Supp. I, 91; Supp. I, Part 1, 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 1, 284; Supp. VIII, 20; Supp. IX 246; see also New Testament; Old Testament; Psalms; names of biblical books 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

INDEX / 363 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, 1808-1972, 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, III, 384 Bierce, Albert, I, 191,209 Bierce, Ambrose, I, 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 Blonde" (Parker), Supp. IX 189, 192, 193, 195, 196, 203 Big Bozo, The (Glaspell), Supp. Ill, Part 1, 182 Big City Stories of Modern American Writers, Supp. IX 4 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-^87, 489; Supp. I, Part 2, 646, 647 "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, 610-611 Big Sea, The (Hughes), Retro. Supp. I, 195, 197, 199, 201, 204; Supp. I, Part 1, 322, 332, 333; Supp. II, 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. HI, Part 1, 230 Big Sur and the Oranges of Hieronymous Bosch (Miller), III, 189-190 "Big Two-Hearted River" (Hemingway), II, 249; Retro. Supp. I, 170171 Big Town, The (Lardner), II, 426, 429 "Big Two-Hearted River" (Hemingway), Supp. IX 106 "Big Wind" (Roethke), HI, 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. 1, Part 2, 406, 407, 408, 410, 411412,415,417,424 Bigelow Papers, Second Series, The (Lowell), Supp. I, Part 2, 406, 415416 Bigsby, C. W. E. (Christopher), I, 95; Supp. I, Part 1, 69; Supp. IX 137, 140 "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, HI, 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 of Langston Hughes, 1902-1967, A (Dickinson), Supp. I, Part 1, 348 Biographia Literaria (Coleridge), II, 10; Retro. Supp. I, 308 "Biography" (Francis), Supp. IX 77 "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 a Story" (Jackson), Supp. IX 113 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, The" (Simpson), Supp. IX 269270 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 BirdofT, Harry, Supp. I, Part 2, 601 Bird's Nest, The (Jackson), Supp. IX 124-125 Birds of America (McCanhy), II, 579583 "Bird-Willed" (Moore), III, 214 Birkerts, Sven, Supp. IV, Part 2, 650; Supp. V, 212; Supp. VIII, 85 Birkhead, L. M., Ill, 116 "Birmingham Sunday" (Hughes), Supp. I, Part 1, 343 Birney, James G., Supp. I, Part 2, 587, 588 Birstein, Ann, Supp. VIII, 100 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; Supp. VIII, 182 "Birth of Venus, The" (Botticelli), IV, 410 "Birth of Venus, The" (Rukeyser), Supp. VI, 281 "Birthday Cake for Lionel, A" (Wylie),

364 / AMERICAN WRITERS Supp. I, Part 2, 721 "Birthday of Mrs. Pineda, The" (Rfos), 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; 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; Supp. IX 40, 41, 45, 47, 48 Bishop, Ferman, II, 413 Bishop, John Peale, I, 119, 432, 440; II, 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 Passes), 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 Morris, 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 ; Supp. IX 306 Black Bart and the Sacred Hills (Wilson), Supp. VIII, 330, 331 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 Buttercups" (Clampitt), Supp. 1X42 Black Cargo, The (Marquand), III, 55, 60

Black Cargoes: A History of the Atlantic Slave Trade (Cowley), Supp. II, Part 1, 140 Black Cat (publication), II, 465, 479 "Black Cat, The" (Poe), III, 413, 414, 415 "Black Christ, The" (Cullen), Supp. IV, Part 1, 170, 171-172 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 Hood, The" (Francis), Supp. IX 83, 91 Black House, The (Theroux), Supp. VIII, 319 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. III, 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 19611967 (Baraka), Supp. II, Part 1, 45, 49-50 Black Manhattan (Johnson), Supp. IV, Part 1, 169 Black Mask (magazine), Supp. IV, Parti, 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 "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), HI, 170, 175, 178, 180-182, 183, 184 "Black Swan, The" (Jarrell), II, 382 Black Swan, The (Merrill), Supp. Ill, Part 1,319, 320 "Black Tambourine" (Crane), I, 387388; II, 371 Black Troubadour: Langston Hughes (Rollins), Supp. I, Part 1, 348 "Black Tuesday" (Swenson), Supp. IV,

INDEX / 365 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, 121122 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; Supp. VIII, 26, 99, 103 Blamires, Harry, I, 590 Blanc-Bentzon, Mme. Therese, II, 405 Blanck, Jacob, II, 148, 294; Supp. I,

Part 1, 173 Blanes, Les (Hansberry), Supp. IV, Part 1, 359, 364, 365, 369, 372374 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, III, 176 "Blazing in Gold and Quenching in Purple" (Dickinson), Retro. Supp. 1,30 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; Supp. VIII, 153,201 Blitzstein, Marc, Supp. I, Part 1, 277 Blix (Norris), HI, 314, 322, 327, 328, 333 Blixen, Karen Denisen Baroness, see Dinesen,Isak "Blizzard in Cambridge" (Lowell), II, 554 Block, Anita, III, 407

Block, Maxine, III, 455 Blocker, Joel, IV, 23 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 Meridian; or, The Evening Redness in the West (McCarthy), Supp. VIII, 175, 177, 180-182, 188, 190 "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 Stains" (Francis), Supp. IX 86 "Blood-Burning Moon" (Toomer), Supp. HI, Part 2, 483; Supp. IX 314-315 Bloodlines (Wright), Supp. V, 332, 335, 340 Bloodshed and Three Novellas (Ozick), Supp. V, 259-260, 261, 266-268 Bloody Crossroads, The: Where Literature and Politics Meet (Podhoretz), Supp. VIII, 241-242 Bloom, Alice, Supp. IV, Part 1, 308 Bloom, Claire, Supp. IX 125 Bloom, Harold, Retro. Supp. I, 67, 193, 299; Supp. I, Part 1, 96; Supp. IV, Part 2, 620, 689; Supp. V, 178, 272; Supp. VIII, 180; Supp. IX 146, 259 Bloom, Leopold, I, 27, 150; HI, 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 Blouin, Lenora, Supp. VIII, 266 "Blue Battalions, The" (Crane), I, 419420 Blue Calhoun (Price), Supp. VI, 265266 Blue City (Macdonald, under Millar), Supp. IV, Part 2, 466-467 Blue Dahlia, The (Chandler), Supp. IV, Part 1, 130 Blue Estuaries, The: Poems, 19231968 (Bogan), Supp. Ill, Part 1, 48, 57, 66

366 / AMERICAN WRITERS Blue Guide, III, 504 Blue Hammer, The (Macdonald), Supp. IV, Part 2, 462 "Blue Hotel, The" (Crane), I, 34, 415416, 423 Blue Jay's Dance, The: A Birth Year (Erdrich), Supp. IV, Part 1, 259260, 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. Ill, Part 2, 476, 487; Supp. IX 320 "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 Notes" (Matthews), Supp. IX 169 Blue Pastures (Oliver), Supp. VII, 229-230, 245 "Blue Ribbon at Amesbury, A" (Frost), Retro. Supp. I, 138 "Blue Sky, The" (Snyder), Supp. VIII, 306 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 John Coltraine, Dead at 41" (Matthews), Supp. IX 157 Blues for Mister Charlie (Baldwin), Supp. I, Part 1, 48, 61-62, 63 Blues If You Want (Matthews), Supp. IX 155, 163-165 "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, Part 1, 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. Ill, Part 1, 362, 363-367, 379; Supp. IV, Part 1, 2, 253; Supp. VIII, 213, 214, 227

Bluestone, George, I, 47; Supp. IX 7, 15

Blum, Morgan, I, 169, 189; II, 221 Blum, W. C (pseudonym), see Watson, James Sibley, Jr. Blumenthal, Nathaniel, see Branden, Nathaniel Blumenthal, Sidney, Supp. VIII, 241 Blunt, Wilfrid Scawen, III, 459 Bly, Robert, I, 291; Supp. Ill, Part 2, 599; Supp. IV, Part 1, 59-77, 177, Part 2, 623; Supp. V, 332; Supp. VIII, 279; Supp. IX 152, 155, 265, 271, 290 Blythe, LeGette, IV, 473 "Boarder, The" (Simpson), Supp. IX 269 Boarding House Blues (Farrell), II, 30, 43, 45 Boas, Franz, I, 214; Supp. I, Part 2, 641; Supp. VIII, 295; Supp. IX 329 "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; Supp. VIII, 133, 135, 137 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 I, 257 "Bodies" (Oates), 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 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;

Supp. VIII, 171, 265; Supp. IX 229 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" (Cather), 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. I, 36 Bombs Away (Steinbeck), IV, 51-52 "Bona and Paul" (Toomer), Supp. IX 307, 318-319 Bonaparte, Marie, III, 418, 432 "Bon-Bon" (Poe), III, 425 Bone, Robert, Supp. IX 318-319 Bone by Bone (Matthiessen), Supp. V, 199,212,213,214 "Bones of a House" (Cowley), see "Blue Juniata" Bonetti, Kay, Supp. VIII, 47, 152, 159, 160, 165, 168, 170, 223 Bonfire of the Vanities, The (Wolfe), Supp. Ill, Part 2, 584-586 Bonhoeifer, Dietrich, Supp. VIII, 198 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; Supp. IX 306, 309 Book, A (Barnes), Supp. Ill, Part 1, 36, 39, 44 Book about Myself, A (Dreiser), I, 515

INDEX / 367 "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. HI, Part 1, 97, 103 Book of Burlesques, A (Mencken), III, 104 Book of Common Prayer, A (Didion), Supp. IV, Part 1, 196, 198, 203205, 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 Gods and Devils, The (Simic), Supp. VIII, 281 "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 Booklist (magazine), Supp. VIII, 86, 125 Bookman (magazine), Retro. Supp. I, 104

"Books Considered" (Bloom), Supp. I, Bostonians, The (James), I, 9; II, 282; IV, 202; Retro. Supp. I, 216, 225 Part 1, 96 Books in My Life, The (Miller), II, 176, Boswell, James, IV, 431; Supp. I, Part 2, 656 189 Boswell: A Modern Comedy (Elkin), "Boom" (Nemerov), III, 278 Supp. VI, 42, 44-45, 57 Boom! (Williams), IV, 383 Bosworth, Patricia, Supp. IV, Part 2, "Boom Town" (Wolfe), IV, 469 573, 591 Boom Town (Wolfe), IV, 456 Boone, Daniel, II, 207; III, 444; IV, Botticelli, Sandro, IV, 410; Retro. Supp. I, 422 192, 193 "Botticellian Trees, The" (Williams), Boorstin, Daniel, I, 253 Retro. Supp. I, 422 Booth, Bradford, III, 431 "Bottle of Milk for Mother, A" Booth, Charles, Supp. I, Part 1, 13 (Algren), Supp. IX 3 Booth, General William, Supp. I, Part "Bottle of Perrier, A" (Wharton), IV, 2, 384, 386 316 Booth, John E., IV, 401 "Bottles" (Kenyon), Supp. VII, 171 Booth, John Wilkes, III, 588 Booth, Philip, I, 522, 542, 543; II, 390 Bottom: On Shakespeare (Zukofsky), Supp. Ill, Part 2, 622, 624, 625, Booth, Phillip, Supp. IX 269 626, 627, 629 Booth, Wayne C, III, 243 "Bottom Line, The" (Elkin), Supp. VI, Borah, William, III, 475 52, 53 Borden, Lizzie, II, 5 Border Trilogy (McCarthy), Supp. Boucher, Anthony, Supp. IV, Part 2, 473 VIII, 175, 182 Boulanger, Nadia, Supp. IV, Part 1, Borel, Petrus, III, 320 81 Borges, Jorge Luis, I, 123, 135, 138, 140, 142; Supp. Ill, Part 2, 560;"Boulot and Boulette" (Chopin), Supp. Supp. IV, Part 2, 623, 626, 630; I, Part 1,211 Supp. V, 238; Supp. VIII, 15, 348,Boulton, Agnes, III, 403, 407 Bound East for Cardiff (O'Neill), III, 349 388 "Born a Square: The Westerner's Dilemma" (Stegner), Supp. IV, Part "Bouquet, The" (Stevens), IV, 90 "Bouquet of Roses in Sunlight" 2, 595; Supp. V, 224 (Stevens), IV, 93 "Born Bad" (Cisneros), Supp. VII, 62 Born in the U.S.A. (music album), Bourdin, Henri L., Supp. I, Part 1, 251 Supp. VIII, 143 Bourgeois Poet, The (Shapiro), Supp. Borroff, Marie, IV, 95 II, Part 2, 701, 703, 704, 713, 714"Boston" (Hardwick), Supp. Ill, Part 716 1,201 Boston (Sinclair), Supp. V, 282, 288- Bourget, James, IV, 319 Bourget, Paul, II, 325, 338; IV, 311, 289 Boston Advertiser (newspaper), II, 274 315; Retro. Supp. I, 224, 359, 373 "Boston Common" (Berryman), I, 172 Bourjaily, Vance, III, 43; IV, 118; Supp. IX 260 Boston Evening Transcript (newspaper), I, 570; II, 449; III, 53 Bourke-White, Margaret, I, 290, 293295, 297, 311 Boston Globe (newspaper), Supp. Ill, Part 2, 629; Supp. VIII, 73, 79, 88 Bourne, Charles Rogers, I, 215 Boston Herald (newspaper), Supp. IX Bourne, Mrs. Charles Rogers, I, 215 32 Bourne, Randolph, I, 214-238, 243, Boston Herald American (publication), 245, 246-247, 251, 259; Supp. I, Part 2, 524 Supp. IV, Part 1, 205 Boutroux, Emile, II, 365 "Boston Hymn" (Emerson), II, 13, 19 "Boston Nativity, The" (Lowell), II, Bowditch, Nathaniel, Supp. I, Part 2, 482 538 Boston News-Letter (newspaper), II, Bowen, Barbara, Supp. IX 311 103; IV, 149 Bowen, Croswell, III, 407 Boston Recorder (publication), Supp. Bowen, Elizabeth, Retro. Supp. I, 351; Supp. IV, Part 1, 299; Supp. IX 176 Boston Sunday Herald (newspaper), VIII, 65, 165, 251, 265; Supp. IX 128 Supp. I, Part 2, 529

368 / AMERICAN WRITERS Bowen, Francis, Supp. I, Part 2, 413 Bowen, Louise de Koven, Supp. I, Part 1, 5 Bowen, Merlin, III, 97 Bowen, Michael, Supp. VIII, 73 Bowers, Claude G., II, 317 "Bowl of Blood, The" (Jeffers), Supp. II, Part 2, 434 Bowles, Jane (Jane Auer), II, 586; Supp. IV, Part 1, 89, 92 Bowles, Paul, I, 211; II, 586; Supp. II, Part 1, 17; Supp. IV, Part 1, 79-99 Bowles, Samuel, I, 454, 457; Retro. Supp. I, 30, 32, 33 "Bowls" (Moore), HI, 196 Bowman, James, I, 193 "Bows to Drouth" (Snyder), Supp. VIII, 303 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. HI, Part 2, 484; Supp. IX 316, 318 Boy, A (Ashbery), Supp. Ill, Part 1, 5 "Boy in France, A" (Salinger), III, 552-553 "Boy Riding Forward Backward" (Francis), Supp. IX 82 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 Boyle, T. C. (Thomas Coraghessan), Supp. VIII, 1-17 Boyle, Thomas John. See Boyle, T. C. Boynton, H. W., Supp. IX 7 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 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; II, 308-309, 313 Bracher, Frederick, I, 378, 380; Supp. 1, 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, 288-289; II, 221; III, 502; IV, 130, 135, 142, 258

Bradbury, Malcolm, Supp. VIII, 124 Bradbury, Ray, Supp. I, Part 2, 621622; Supp. IV, Part 1, 101-118 Braddon, Mary E., Supp. I, Part 1, 35, 36

Bradfield, Scott, Supp. VIII, 88 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, Bill, Supp. VIII, 47 Bradley, F. H., Retro. Supp. I, 57, 58 Bradley, Francis Herbert, I, 59, 567568, 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. I, 131 Braithwaite, William Stanley, Supp. 1X309 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; Supp. IX 159 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; Supp. IX 66 Brashear, M. M., IV, 213 Brasil, Emanuel, Supp. I, Part 1, 94 "Brasilia" (Plath), Supp. I, Part 2, 544, 545 "Brass Candlestick, The" (Francis), Supp. IX 89 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; Supp. VIII, 42, 43 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

INDEX / 369 Bravo, The (Cooper), I, 345-346, 348 "Bravura" (Francis), Supp. IX 90 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 in the Wilderness (Merton), Supp. VIII, 197, 208 Bread of Idleness, The (Masters), Supp. I, Part 2, 460 Bread of Time, The (Levine), Supp. V, 180 Bread without Sugar (Stern), Supp. IX 297-298 Breadloaf Writer's Conference, Supp. V, 239; Supp. VIII, 252; Supp. IX 155 "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 Ranks: A Political Memoir (Podhoretz), Supp. VIII, 239-241, 245 "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 "Breasts" (Simic), Supp. VIII, 275 "Breath" (Levine), Supp. V, 185 Breathing Lessons (Tyler), Supp. IV, Part 2, 669-670 Breathing the Water (Levertov), Supp. III, 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; Supp. IX 131, 133, 140 Breen, Joseph I., IV, 390 Breit, Harvey, I, 47, 433, 449; III, 47,

Supp. I, 427; Supp. V, 342; Supp. 72, 242, 384, 575; Supp. I, Part 1, IX 306 69, 198 Bremer, Fredrika, Supp. I, Part 1, 407 "Bridge Burners, The" (Van Vechten), Supp. II, Part 2, 733 Brenner, Gerry, IV, 234 Brent, Linda, Supp. IV, Part 1, 12, 13 Bridge, Horatio, II, 226, 245 Bridge of San Luis Rey, The (Wilder), Brentano, Franz, II, 350 I, 360; IV, 356, 357, 360-363, 365, Brer Rabbit (tales), Supp. IV, Part 1, 366 11, 13 Bridge of Years, The (Sarton), Supp. Breslin, James E., IV, 424 VIII, 253 Breslin, James E. B., Retro. Supp. I, Bridges, Harry, I, 493 430 Breslin, John B., Supp. IV, Part 1, 308 "Bridges" (Kingsolver), Supp. VII, 208 Breslin, Paul, Supp. VIII, 283 Bresson, Robert, Supp. IV, Part 1, 156 Bridges, Robert, II, 537; III, 527; Supp. I, Part 2, 721; Supp. II, Part "Bresson's Movies" (Creeley), Supp. 1,21 IV, Part 1, 156-157 Bridgman, P. W, I, 278 Bretall, Robert W., Ill, 313 Bridgman, Richard, Supp. I, Part 2, Breton, Andre, III, 425 477 Brett, George, II, 466; Supp. V, 286 "Bridle, The" (Carver), Supp. Ill, Part Brevoort, Henry, II, 298 1, 138 Brew, Kwesi, Supp. IV, Part 1, 10, 16 "Brief Debut of Tildy, The" (O. Henry), "Brewing of Soma, The" (Whittier), Supp. II, Part 1, 408 Supp. I, Part 2, 704 "Brief Encounters on the Inland WaterBrewsie and Willie (Stein), IV, 27 way" (Vonnegut), Supp. II, Part 2, Brewster, Martha, Supp. I, Part 1, 114 760 "Briar Patch, The" (Warren), IV, 237 Briefings (Ammons), Supp. VII, 29 Briar Rose (Coover), Supp. V, 52 "Briefly It Enters, and Briefly Speaks" "Briar Rose (Sleeping Beauty)" (Kenyon), Supp. VII, 174 (Sexton), Supp. II, Part 2, 690 Briffault, Robert, Supp. I, Part 2, 560, Brice, Fanny, II, 427 567 "Brick Layer's Lunch Hour, The" "Brigade de Cuisine" (McPhee), Supp. (Ginsberg), Supp. II, Part 1, 318 III, Part 1, 307-308 Brickell, Herschel, III, 72 Brigadier and the Golf Widow, The "Bricks, The" (Hogan), Supp. IV, Part (Cheever), Supp. I, Part 1, 1841,413 185, 192 "Bridal Ballad, The" (Poe), III, 428 Briggs, Austin, II, 148 Bridal Dinner, The (Gurney), Supp. V, Briggs, Charles F., Supp. I, Part 2, 109, 110 411 "Bride Comes to Yellow Sky, The" "Bright and Morning Star" (Wright), (Crane), I, 34, 415, 416, 423 IV, 488 "Bride in the 30's, A" (Auden), Supp. Bright Book of Life: American NovelII, Part 1, 9 ists and Storytellers from Hemingway to Mailer (Kazin), Supp. I, Bride of Lammermoor (Scott), II, 291 Bride of Samoa (film), Supp. IV, Part Part 1, 198; Supp. VIII, 102, 104 1,82 Bright Center of Heaven (Maxwell), "Bride of the Innisfallen, The" (Welty), Supp. VIII, 153-155, 164 IV, 278-279; Retro. Supp. I, 353 Bright Procession (Sedges), Supp. II, Bride of the Innisfallen, The (Welty), Part 1, 125 IV, 261,275-279 Bright Room Called Day, A (Kushner), Bride of the Innisfallen, The, and Other Supp. IX 133, 138-141, 142 Stories (Welty), Retro. Supp. I, Brighton Beach Memoirs (Simon), 352-353, 355 Supp. IV, Part 2, 576, 577, 584, Brides of the South Wind: Poems 1917586-587, 590 1922 (Jeffers), Supp. II, Part 2, 419 Brignano, Russell, IV, 496 "BRIDGE, THE" (Baraka), Supp. II, "Brilliant Leaves" (Gordon), II, 199 Part 1, 32, 36 "Brilliant Sad Sun" (Williams), Retro. Bridge, The (Crane), I, 62, 109, 266, Supp. I, 422 385, 386, 387, 395-399, 400, 402; "Bring the Day!" (Roethke), III, 536 IV, 123, 341, 418, 419, 420; Retro. "Bringing Back the Trumpeter Swan"

370 / AMERICAN WRITERS (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 1, 176 "British Poets, The" (Holmes), Supp. 1, 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, 586-587, 590 Broadway, J. William, Supp. V, 316 Broadway Journal (publication), III, 413 Broadway Magazine, I, 501 "Broadway Sights" (Whitman), IV, 350 Brodkey, Harold, Supp. VIII, 151 Brodskii, losif Alexsandrovich. See Brodsky, Joseph Brodsky, Joseph, Supp. VIII, 19-35 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. III, 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, 401-102 "Broken Vessels" (Dubus), Supp. VII, 90 Broken Vessels (Dubus), Supp. VII, 90-91 "Broker" (H. Roth), Supp. IX 234 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; Supp. IX 128 Bronte, Emily, I, 458; Supp. IV, Part 2, 430; Retro. Supp. I, 43; Supp. IX 128 "Bronze" (Francis), Supp. IX 76 "Bronze" (Merrill), Supp. HI, 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 (Glaspeil), Supp. Ill, Parti, 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; Supp. IX 153, 155 Brooks, David, Supp. IV, Part 2, 623, 626, 630; Supp. VIII, 232 Brooks, Gwendolyn, Retro. Supp. I, 208; Supp. Ill, Part 1, 69-90; 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, Paul, Supp. IX 26, 31, 32 Brooks, Phillips, II, 542 Brooks, Van Wyck, I, 24, 106, 117, 119, 213, 215, 222, 228, 230, 231, 233, 236, 237, 239-263, 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 ; Supp. VIII, 98, 101 Broom (magazine), Supp. II, Part 1, 138; Supp. 1X308, 309 "Brooms" (Simic), Supp. VIII, 275 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; Supp. IX 102, 106 Broughton, Rhoda, II, 174; IV, 309, 310 Broun, Hey wood, I, 478; II, 417; IV, 432; Supp. IX 190 Broussais, Francois, 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; HI, 415; Supp. I, Part 1,124-149; Supp. II, Part 1, 65, 292 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; Supp. VIII, 204 Brown, John Mason, III, 407; IV, 376 Brown, Joseph Epes, Supp. IV, Part 2,487 Brown, Leonard, Supp. IX 117 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 (Mum ford), Supp. II, Part 2, 475, 478, 491492 Brown Dog (Harrison), Supp. VIII, 51

INDEX / 371 "Brown Dwarf of Riigen, 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, Roscoe Lee, Supp. VIII, 345 Browne, Sir Thomas, II, 15-16, 304; III, 77, 78, 198, 487; IV, 147; Supp. IX 136 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 Barrett, I, 458, 459; Retro. Supp. I, 33, 43 Browning, Robert, I, 50, 66, 103, 458, 460, 468; II, 338, 478, 522; III, 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; Supp. VIII, 140 Bruccoli, Matthew, II, 100; Retro. Supp. I, 98, 102, 105, 114, 115, 359; Supp. IV, Part 2, 468, 470 Bruce, Lenny, Supp. VIII, 198 Bruce-Novoa, Juan, Supp. VIII, 73, 74 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 Brueli, Edwin, Supp. VIII, 126 Brunner, Emil, III, 291, 303, 313 Bruno's Bohemia (publication), I, 384 Bruno's Weekly (publication), I, 384 Brustein, Robert, I, 95; III, 407; Supp. VIII, 331 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, Sharon, Supp. IX 154 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, 3 1 1 ; 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; HI, 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 "Bubbs Creek Haircut" (Snyder), Supp. VIII, 306 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 Fever" (Humphrey), Supp. IX 109 Buck, Gene, II, 427 Buck, Pearl S., Supp. II, Part 1, 113134 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 Bucke, R. M., IV, 353 Bucke, Richard Maurice, Retro. Supp. 1,407 Buckingham, Willis J., I, 564 Buckley, Christopher, Supp. IX 169 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 Budding Prospects: A Pastoral (Boyle), Supp. VIII, 8-9 Buechner, Frederick, III, 310 Buell, Lawrence, Supp. V, 209; Supp. 1X29 "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 Buffett, Jimmy, Supp. VIII, 42 Buffington, Robert, HI, 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 "Build Soil" (Snyder), Supp. VIII, 304 Builders, The (Glasgow), II, 183-184, 193 Builders of the Bay Colony (Morison), Supp, I, Part 1, 123, Part 2, 484485 "Builders of the Bridge, The" (Mumford), Supp. II, Part 2, 475 "Building" (Snyder), Supp. VIII, 305 "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 "Bulldozer, The" (Francis), Supp. IX 87 "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 "Bull-Roarer, The" (Stern), Supp. IX 297

372 / AMERICAN WRITERS "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 Bufiuel, 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. HI, 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; Supp. VIII, 105; Supp. IX 229 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, III, 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, 277-278; 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 Burning the Days: Recollections (Salter), Supp. IX 245, 246, 248, 260, 261-262 "Burning the Small Dead" (Snyder), Supp. VIII, 298 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; Supp. IX 173 Burnshaw, Stanley, Retro. Supp. I, 298, 303; Supp. Ill, Part 2, 615 "Burnt Norton" (Eliot), Retro. Supp. 1,66 Burnt Norton (Eliot), I, 575, 580-581, 582, 584, 585; III, 10 Burnt-Out Case, A (Greene), Supp. VIII, 4 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; Supp. IX 171 Burroughs, William S., Ill, 45, 174, 258; Supp. II, Part 1, 320, 328; 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), 11,418-419,421 Bushman, Richard L., I, 564 "Business Deal" (West), IV, 287 Buss, Helen M, Supp. IV, Part 1, 12 "But Only Mine" (Wright), Supp. Ill, Part 2, 595 "But What Is the Reader to Make of This?" (Ashbery), Supp. Ill, Part 1,25 "Butcher Shop" (Simic), Supp. VIII, 273 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, James D., Supp. IX 175 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; Supp. VIII, 171 Butscher, Edward, Supp. I, Part 2, 526, 548 Butter Hill and Other Poems (Francis), Supp. IX 88, 89 Butterfield 8 (O'Hara), III, 361 Butterfield, R. W, I, 386, 404 Butterfield, Roger, III, 72 Butterfield, Stephen, Supp. IV, Part 1, 3, 11 "Butterfly, The" (Brodksy), Supp. VIII, 26 "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,

INDEX / 373 365, 372-374, 375, 376, 377, 378, 379 "By Morning" (Swenson), Supp. IV, Part 2, 642 "By Night" (Francis), Supp. IX 76 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 "Bystanders" (Matthews), Supp. IX 160 "C 33" (Crane), I, 384 Cabala, The (Wilder), IV, 356, 358360, 369, 374 Cabbages and Kings (O. Henry), Supp. II, Part 1, 394, 409 Cabell, James Branch, II, 42, 195; HI, 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 Cables to the Ace; or, Familiar Liturgies of Misunderstanding (Merton), Supp. VIII, 208 Cabot, James, II, 14, 23; IV, 173 Cabot, John, Supp. I, Part 2, 496, 497 "Caddy's Diary, A" (Lardner), II, 421422 "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 Caesar, Julius, II, 12, 502, 561-562; 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, Part 1, 251 Cage of Spines, A (Swenson), Supp. IV, Part 2, 641-642, 647 Cagney, James, Supp. IV, Part 1, 236 Cahan, Abraham, Supp. IX 227 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), HI, 64 Calamity Jane (Martha Jane Canary), Supp. V, 229-230 "Calamus" (Whitman), IV, 342-343; 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, Part 1,211 Caldwell, Erskine, I, 97, 211, 288-311; 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, 290291,297 Call It Sleep (Roth), Supp. VIII, 233; Supp. IX 227, 228, 229-231 "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, 470-471,472,481 "Call of the Wild, The" (Snyder), Supp. VIII, 301 "Call to Arms" (Mumford), Supp. II, Part 2, 479 Call to Arms, The (film), Retro. Supp. 1,325 Callaghan, Morley E., II, 100 Callahan, North, III, 598 "Called Back" (Kazin), Supp. VIII, 104 Calley, Captain William, II, 579 Calligrammes (Apollinaire), I, 432 "Calling Jesus" (Toomer), Supp. Ill, Part 2, 484 Calling Myself Home (Hogan), Supp. IV, Part 1, 397, 399, 400, 401, 413 Callow, James T, Supp. I, Part 1, 173 "Calloway's Code" (O. Henry), Supp. II, Part 1, 404 Calvert, George H., Supp. I, Part 1, 361 Calverton, V. E, Supp. VIII, 96 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 K 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 "Cameo Appearance" (Simic), Supp. VIII, 283 Camera Obscura (Nabokov), III, 255 Cameron, Elizabeth, I, 10, 17

374 / AMERICAN WRITERS 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; Supp. IX 196, 198, 201 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; Supp. IX 245 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 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; Supp. VIII, 272 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; Supp. VIII, 11, 195,241 Camuto, Christopher, Supp. V, 212213 "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 (Voltaire), Supp. I, Part 1, 288-289 Candide (Voltaire, trans. Wilbur), Supp. Ill, Part 2, 560 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, 481-486, 488; Supp. IV, Part 1, 164, 168; Supp. IX 305, 306, 307, 308-320 "Cane in the Corridor, The" (Thurber), Supp. I, Part 2, 616 Canfield, Cass, Supp. I, Part 2, 668 Canfield, Dorothy, Retro. Supp. I, 4, II, 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-^73, 474, 475, 476, 492; Retro. Supp. I, 284, 292, 292-293, 293, 427; Supp. I, Part 1, 272; Supp. II, Part 1, 5, Part 2, 420, 557, 564, 644; Supp. IV, Part 1, 153; Supp. V, 343, 345; Supp. VIII, 305 "Cantus Planis" (Pound), III, 466 Cantwell, Robert, I, 311; IV, 448; Retro. Supp. I, 85; Supp. VIII, 96 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 I, 92; Supp. IX 45 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; Supp. VIII, 105 Capouya, Emile, Supp. I, Part 1, 50 Cappetti, Carla, Supp. IX 4, 8 Capps, Jack, I, 473 Capron, Marion, Supp. IX 193 "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), HI, 491 Captain Craig (Robinson), III, 508, 523; Supp. II, Part 1, 192 "Captain Jim's Friend" (Harte), Supp. II, Part 1, 337 "Captain Jones's Invitation" (Freneau), Supp. II, Part 1, 261 "Captain's Son, The" (Taylor), Supp. V, 314, 325, 327 "Captain's Wife, The" (Salter), Supp. 1X261 "Captivity and Restoration of Mrs. Mary Rowlandson, The" (Howe), Supp. IV, Part 2, 419, 431, 434

INDEX / 375 "Captivity of the Fly" (MacLeish), III, 19 "Captured Goddess, The" (Lowell), II, 520 Caputi, Jane, Supp. IV, Part 1, 334, 335 Carabi, Angels, Supp. VIII, 223 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 "Carentan O Carentan" (Simpson), Supp. IX 267 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 Carle ton 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; Supp. IX 312-313 "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 Carolina Quarterly, Supp. IX 257, 260 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, David, Supp. VIII, 297 Carpenter, Frederic L, II, 20, 23; III, 243, 407 Carpenter, George Rice, Supp. I, Part 2,706 Carpentered Hen and Other Tame Creatures, The (Updike), IV, 214; Retro. Supp. I, 320 Carpenter's Gothic (Gaddis), Supp. IV, Part 1, 288, 289-291, 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), 111,212 Carrie (King), Supp. V, 137 Carrier of Ladders (Merwin), Supp. Ill, Part 1, 339, 346, 350-352, 356, 357 Carried Away (Harrison), Supp. VIII, 39 "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; HI, 289; Supp. IV, Part 1, 66; Supp. VIII, 39; Supp. 1X291 "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; Supp. IX 19-36 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 Carter family, Supp. V, 334-335 Cartesian Sonata and Other Novellas (Gass), Supp. VI, 92-93 Cartier, Jacques, Supp. I, Part 2, 496, 497 Cartier-Bresson, Henri, Supp. VIII, 98 "Cartographies of Silence" (Rich), Supp. I, Part 2, 571-572 Carver, Raymond, Supp. Ill, Part 1, 135-151; Supp. IV, Part 1, 342; Supp. V, 22, 23, 220, 326; Supp. VIII, 15 Cary, Richard, II, 413 "Casabianca" (Bishop), Supp. I, Part 1,86 Casablanca (film), Supp. VIII, 61 Case of the Crushed Petunias, The (Williams), IV, 381 Case of the Officers of Excise (Paine), Supp. I, Part 2, 503-504 Casements (magazine), IV, 286 Cash, Arthur, Supp. IV, Part 1, 299 "Cask of Amontillado, The" (Poe), II, 475; 111,413 Casper, Leonard, IV, 258 Cass Timberlane (Lewis), II, 455-456 Cassada (Salter), Supp. IX 251-252 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; HI, 282 "Castilian" (Wylie), Supp. I, Part 2, 714 Castle Sinister (Marquand), III, 58 "Castles and Distances" (Wilbur),

376 / AMERICAN WRITERS Supp. Ill, Part 2, 550 Castro, Fidel, II, 261, 434 "Casual Incident, A" (Hemingway), II, 44 "Cat, The" (Matthews), Supp. IX 157158 "Cat in the Hat for President, The" (Coover), Supp. V, 44, 46-^7 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 "Catch" (Francis), Supp. IX 82 Catcher in the Rye, The (Salinger), I, 493; III, 551, 552, 553-558, 567, 571; Retro. Supp. I, 102; Supp. I, Part 2, 535; Supp. V, 119; Supp. VIII, 242 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. 1,289 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 2,407,416-417 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. I, 1-23, 355, 382; Supp. I, Part 2, 609, 719; Supp. IV, Part 1, 31; Supp. VIII, 101, 102, 263 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. HI, Part 2, 758, 759, 767-768, 770, 771, 772; Supp. V, 1

"Cat's Meow, A" (Brodsky), Supp. VIII, 31 "Catterskill Falls" (Bryant), Supp. I, 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, 10-11 Cause for Wonder (Morris), III, 232233 "'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 Cavafy, C. P., Supp. IX 275 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, 306307, 309 Cavender's House (Robinson), III, 510 Caviare at the Funeral (Simpson), Supp. IX 266, 276-277 "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 "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 "Censors As Critics: To Kill a Mockingbird As a Case Study" (May), Supp. VIII, 126 "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; Supp. IX 182 Century Illustrated Monthly Magazine, Retro. Supp. I, 362 Century of Dishonor, A (Jackson), Retro. Supp. I, 31 "Cerebral Snapshot, The" (Theroux), Supp. VIII, 313 "Ceremonies" (Rukeyser), Supp. VI, 279 Ceremony (Silko), Supp. IV, Part 1, 274, 333, Part 2, 557-558, 558559, 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 Distance, A (Francis), Supp. 1X85 "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

INDEX / 377 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, 341342 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. Ill, Part 1, 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. 1, 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, Laurie, Supp. VIII, 128 Champion, Myra, IV, 473 "Champion" (Lardner), II, 420-421, 428, 430 Champollion-Figeac, Jean Jacques, IV, 426 Chance, Frank, II, 418 "Chance" (Doolittle), Supp. I, Part 1, 271 Chance Acquaintance, A (Howells), II, 278 "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, 463464

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. 1,62 "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, 319,323,327,332,335-336 "Changing Same, The" (Baraka), Supp. II, Part 1,47, 51,53 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, I, 336; II, 224, 495; IV, 172, 173, 176, 177, 189; , Retro. Supp. I, 54; 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. 1, Part 1, 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; HI, 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 Character of the Poet, The (Simpson), Supp. IX 273, 275, 278 "Characters in Fiction" (McCarthy), II, 562 Charlatan, The (Singer), IV, 1 "Charles" (Jackson), Supp. IX 125 "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 Simic: Essays on the Poetry (Weigl), Supp. VIII, 269 Charles the Bold, Duke of Burgundy, III, 487 Charleville, Victoria Verdon, Supp. I, Part 1, 200-201, 205, 206, 210

378 / AMERICAN WRITERS 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, 571574 Charnel Rose, The (Aiken), I, 50, 57, 62 Charney, Maurice, Supp. I, Part 1, 69 Charon's Cosmology (Simic), Supp. VIII, 276-278 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 Chateau, The (Maxwell), Supp. VIII, 152, 160, 165-167, 168, 169 Chattanooga News (newspaper), II, 197 Chatterbox (publication), III, 101 Chatterton, Thomas, Supp. I, Part 1, 349, Part 2, 410, 716 Chatterton, Wayne, Supp. IX 2, 4, 11-12 Chatham, Russell, Supp. VIII, 40 Chatwin, Bruce, Supp. VIII, 322 Chaucer, Geoffrey, I, 131; II, 11, 504, 516, 542, 543; HI, 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 Chavez, Denise, Supp. IV, Part 2, 544 Chavez, Lydia, Supp. VIII, 75 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, Part 1, 174-199; Supp. V, 23, 95; Supp. VIII, 151; Supp. IX 114,208 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; Supp. VIII, 153, 332; Supp. IX 260, 265, 274 "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; Supp. VIII, 153 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. HI, Part 1, 71

Chicago (Shepard), Supp. Ill, Part 2, 439 Chicago Chronicle (newspaper), Supp. I, Part 2, 455 Chicago: City on the Make (Algren), Supp. IX 1,3 Chicago Daily Globe (newspaper), I, 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. III, 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 Loop (Theroux), Supp. VIII, 324 "Chicago Picasso, The" (Brooks), Supp. Ill, Part 1,70-71,84 Chicago Poems (Sandburg), III, 579, 581-583, 586 Chicago Renaissance: The Literary Life in the Midwest, 1900-1930 (Kramer), Supp. I, Part 2, 402, 478 Chicago Renaissance in American Letters, The: A Critical History (Duffey), Supp. I, Part 2, 402, 478 Chicago Review (publication), Supp. VIII, 271; Supp. 1X4 Chicago Sun Times (newspaper), Supp. VIII, 271 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; Supp. VIII, 80 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

INDEX / 379 Chickamauga (Wright), Supp. V, 333, 343-344 "Chiefly about War Matters" (Hawthorne), II, 227; 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 "Child of Courts, The" (Jarrell), II, 378, 379, 381 Child of God (McCarthy), Supp. VIII, 177-178 "CHILD OF THE THIRTIES" (Baraka), Supp. II, Part 1, 60 "Child on Top of a Greenhouse" (Roethke), III, 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. Ill, 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, 491^492, 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, 164-169 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, 392-393, 394 Chinese Nightingale and Other Poems, The (Lindsay), Supp. I, Part 2, 392 "Chinoiseries" (Lowell), II, 524-525 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, 206207 "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 Choson (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; Supp. VIII, 124, 125 Christian Dictionary, A (Wilson), IV, 153 "Christian in World Crisis, The" (Merton), Supp. VIII, 203 "Christian Minister, The" (Emerson), II, 10 Christian Philosopher, The (Mather), Supp. II, Part 2, 463^64 Christian Realism and Practical Problems (Niebuhr), III, 292, 308 Christian Register (publication), I, 471^72 "Christian Roommates, The" (Updike), IV, 226-227; Retro. Supp. I, 319, 323 Christian Science Monitor (newspaper), Supp. I, Part 2, 530; Supp. IV, Part 2, 441; Supp. VIII, 125, 313; Supp. 1X75 Christianity and Crisis (publication), III, 292 Christianity and Power Politics (Niebuhr), III, 292, 303 Christiansen, Carrie, I, 210 Christie, Agatha, Supp. IV, Part 1, 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 Card, A (Theroux), Supp. VIII, 322 Christmas Carol, A (Dickens), Retro. Supp. I, 196; Supp. I, Part 2, 409410 "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, 252253 "Christmas Greeting, A" (Wright), Supp. Ill, Part 2, 601

380 / AMERICAN WRITERS "Christmas Hymn, A" (Wilbur), Supp. Ill, Part 2, 557 Christmas Memory, A (Capote), Supp. Ill, Part 1, 118, 119, 129 "Christmas 1944" (Levertov), Supp. III, Part 1, 274 "Christmas, or the Good Fairy" (Stowe), Supp. I, Part 2, 586 Christmas Story (Mencken), III, 111 "Christmas to Me" (Lee), Supp. VIII, 113

Christographia (Taylor), IV, 164-165 "Christopher Cat" (Cullen), Supp. IV, Part 1, 173 Christopher Columbus, Mariner (Morison), Supp. I, Part 2, 488 Christophersen, Bill, Supp. IX 159, 167 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 Chuang-Tzu, Supp. VIII, 206 "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; Supp. IX 269, 324 "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

"Cinema, The" (Salter), Supp. IX 257 Cinema and Fiction (periodical), Supp. VIII, 129 Cinthio, IV, 370 C1OPW (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. I, Part 1, 85 Cisneros, Sandra, Supp. IV, Part 2, 544; Supp. VII, 57-59 Cities of the Plain (McCarthy), Supp. VIII, 175, 186-187 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" (Francis), Supp. IX 87 City and the Pillar, The (Vidal), Supp. IV, Part 2, 677, 680-681 "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 Cify of God, The (St. Augustine), IV, 126 City of the Living and Other Stories, 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 Claiming of Sleeping Beauty, The (Rice), Supp. VII, 301 Clampitt, Amy, Supp. IX 37-54 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. 1,257 Clarissa (Richardson), II, 111; Supp. 1, 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 Classic Ballroom Dances (Simic), Supp. VIII, 271, 276-278, 283 Classical Tradition, The (Highet), Supp. I, Part I, 268 Classical World of H. 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

INDEX / 381 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" (Cluck), Supp. V, 88 "Clear Night" (Wright), Supp. V, 341 Clear Pictures: First Loves, First Guides (Price), Supp. VI, 253, 254, 255, 256, 265 Clear Springs (Mason), Supp. VIII, 134-136, 137-138, 139, 147 "Clear, with Light Variable Winds" (Lowell), II, 522 "Clearing, A" (Simpson), Supp. IX 280 "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, Part 1, 114 "Clepsydra" (Ashbery), Supp. Ill, Part 1, 10-15 "Clerks, The" (Robinson), III, 517518 Cleveland, Carol, Supp. IX 120, 125 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 Clifford, Craig, Supp. IX 99 Clift, Montgomery, III, 161 Climate of Monastic Prayer, The (Merton), Supp. VIII, 205, 207 "Climber, The" (Mason), Supp. VIII, 140-141 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, 176177 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, 332333 Close Range: Wyoming Stories (Proulx), Supp. VII, 261-265 Close the Book (Glaspell), Supp. Ill, Part 1, 179 "Close the Book" (Lowell), II, 554 Closer Look at Ariel, A (Steiner), Supp. I, Part 2, 549 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 Closset, Marie, Supp. VIII, 251, 265 "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, Joseph, Supp. VIII, 80 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. HI, Part 1, 148 Cobwebs From an Empty Skull (Bierce), I, 195 Cock Pit (Cozzens), I, 359, 378, 379 "Cock Robin Takes Refuge in the Storm House" (Snodgrass), Supp. VI, 319 "Cock-a-Doodle-Doo!" (Melville), III, 89 "Cockayne" (Emerson), II, 6 "Cock-Crow" (Gordon), II, 219 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; HI, 584; Supp. V, 230 Coffey, Michael, Supp. V, 243 Coffey, Warren, III, 358 Coffin, Charles, III, 577 Coffin, R. P. T, III, 525

382 / AMERICAN WRITERS 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 I, 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, Norman J., Supp. IX 132, 143 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 Feet (Harrison), Supp. VIII, 39 "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, 696697 Cole, Nat King, Retro. Supp. I, 334 Cole, Thomas, Supp. I, Part 1, 156, 158, 171 Coleman, D. C, I, 95 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, 8384, 424, 461, 488, 523; IV, 74, 173, 250, 349, 453; Retro. Supp. I, 65, 308; Supp. I, Part 1, 31, 311, 349, Part 2, 376, 393, 422; Supp. IV, Part 2, 422, 465; Supp. IX 38, 50 Coles, Katharine, Supp. IV, Part 2, 630 Coles, Robert, III, 243; Supp. I, Part 1,69 Colette, Supp. VIII, 40, 171 "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 1940-1960 (Levertov), Supp. Ill, Part 1, 273, 275 Collected Essays (Tate), IV, 133-134 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, 396-397, 400 Collected Poems (Moore), III, 194, 215 Collected Poems (Price), Supp. VI, 267 Collected Poems (Simpson), Supp. IX 279 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. HI, 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, 1936-1976 (Francis), Supp. IX 77, 80, 87 Collected Poems: 1940-1978 (Shapiro), Supp. II, Part 2, 703, 717 Collected Poems: 1951-1971

(Ammons), Supp. VII, 24, 26-29, 32, 33 Collected Poems: 1956-1976 (Wagoner), Supp. IX 323, 328-329 Collected Poems of Amy Clampitt, The (Clampitt), Supp. IX 37, 44, 53 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. Far re 11, The, II, 45 Collected Poems of Langston Hughes, The (Rampersad and Roessel, ed.), Retro. Supp. I, 194, 196, 212 Collected Poems of Muriel Rukeyser, The (Rukeyser), Supp. VI, 274 Collected Poems of Thomas Merton, The, Supp. VIII, 207, 208 Collected Poetry (Auden), Supp. II, Part 1, 18 Collected Prose (Wright), Supp. Ill, 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, 136137 Collected Stories, The (Paley), Supp. VI, 218 Collected Stories, The (Price), Supp. VI, 266 Collected Stories, The (Theroux), Supp. VIII, 318 Collected Stories, The (Wharton), Retro. Supp. I, 361 Collected Stories, 1939-1976 (Bowles), Supp. IV, Part 1, 92 Collected Stories ofEudora 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. I, 75 Collected Stories of William Humphrey, The (Humphrey), Supp. IX 106 Collected Works (Bierce), I, 204, 208210 Collected Works of Buck Rogers in the 25th Century, The (Bradbury), Supp. IV, Part 1, 101 Collected Writings, The (Z. Fitzgerald; Bruccoli, ed.), Supp. IX 65, 68

INDEX / 383 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 I, 141-142 College Humor (magazine), Supp. IX 65,71 Collier's (magazine), II, 433, 467; III, 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 Collinson, Peter (pseudonym), see Hammett, Dashiell Colloque 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. III, 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, 525-529, 532-537; Supp. VIII, 141 "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 Coltrane, John, Supp. VIII, 197 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, 75-77, 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 Along with Me (Jackson), Supp. IX 117, 118, 122 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 Dance with Me in Ireland" (Jackson), Supp. IX 119 "Come In" (Frost), Retro. Supp. I, 139 "Come on Back" (Gardner), Supp. VI, 73 "Come Out into the Sun" (Francis), Supp. IX 82 Come Out into the Sun: Poems New and Selected (Francis), Supp. IX 82-83 "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), I, 31 Comer, Cornelia, I, 214 Comerchero, Victor, IV, 307 "Comforts of Home, The" (O'Connor),

111,349,351,355 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. Ill, 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. HI, Part 2, 526 "Coming into Eighty" (Sarton), Supp. VIII, 262 Coming into Eighty (Sarton), Supp. VIII, 262 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 Address, A" (Brodsky), Supp. VIII, 31 "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 (magazine), HI, 452-453; Supp. I, Part 1, 51; Supp. V, 45, 272; Supp. VIII, 231, 232, 239, 240, 241, 242, 243, 244, 246; Supp. 1X234

384 / AMERICAN WRITERS Commercial Appeal (newspaper), Retro. Supp. I, 341 Commins, Saxe, Retro. Supp. I, 73 "Committed Writer, The: James Baldwin as Dramatist" (Bigsby), Supp. I, Part 1, 69 Commodity of Dreams, A, & Other Stories (Nemerov), III, 268-269, 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 1954-1987 (Price), Supp. VI, 264-265, 267 "Common Sense" (Bailyn), Supp. I, Part 2, 525 Common Sense (Paine), II, 117; Supp. I, Part 1, 231, Part 2, 505, 506508, 509, 513, 516, 517, 521 Commons, John, Supp. I, Part 2, 645 Commonweal (publication), III, 358; Retro. Supp. I, 19; Supp. IV, Part I, 286; Supp. V, 319; Supp. VIII, 124, 238; Supp. IX 127 "Communion" (Dubus), Supp. VII, 91 Communism, I, 505, 515; II, 26, 3839,40,41,454,562 Communist Manifesto, The (Marx), II, 463 Communities of Women (Auerbach), Supp. I, Part 1, 46 Comnes, Gregory, Supp. IV, Part 1, 283, 284, 291 "Companions, The" (Nemerov), III, 269, 278, 287 Company of Poets, A (Simpson), Supp. IX 265, 275 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. III, 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. 1,418 Complete Collected Poems of William Carlos Williams, 1906-1938, 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, 590592, 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), II, 512, 516-517 Complete Works of Kate Chopin, The (ed. Seyersted), Supp. I, Part 1, 212, 225 Complete Works of the Gawain-Poet (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, 495-496, 498 "Condolence" (Parker), Supp. IX 191 "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 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), I, 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, 113-117 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, 255256, 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 Hispanic a de Cultura y Literatura (journal), Supp. IV, Part 2, 544; Supp. VIII, 73 Confronting the Horror: The Novels of

INDEX / 385 Nelson Algren (Giles), Supp. IX 11, 15 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 "Congress of the Insomniacs, The" (Simic), Supp. VIII, 281-282 Congreve, William, III, 195; Supp. V, 101 Coningsby (Disraeli), II, 127 Conjectures of a Guilty Bystander (Merton), Supp. VIII, 197, 206, 207 "Conjugation of the Paramecium, The" (Rukeyser), Supp. VI, 271 "Conjuration" (Wilbur), Supp. Ill, Part 2, 551 Conjure Woman, The (Chesnutt), Supp. II, Parti, 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, III, 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; Supp. IX 190 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. I, 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; Supp. VIII, 4, 310 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 Conroy, Frank, Supp. VIII, 145 Conscience with the Power and Cases thereof (Ames), IV, 158 "Conscientious Objector, The" (Shapiro), Supp. II, Part 2, 710 "Consciousness and Dining" (Harrison), Supp. VIII, 46 "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, 170172 "Constructive Work" (Du Bois), Supp. II, Part 1, 172 "Consumption" (Bryant), Supp. I, Part 1, 169-170 Contact (publication), IV, 287, 304; Retro. Supp. I, 418 "Contagiousness of Puerperal Fever, The" (Holmes), Supp. I, Part 1, 303-304 "Contemplation in a World of Action" (Merton), Supp. VIII, 204 "Contemplation of Poussin" (Sarton), Supp. VIII, 261 "Contemplations" (Bradstreet), Supp. I, Part 1, 112, 113, 119-122

Contempo (publication), IV, 286, 287, 288 Contemporaries (Kazin), Supp. VIII, 102, 103-104 Contemporary American Poetry (Poulin, ed.), Supp. IX 272 Contemporary Authors, Supp. IX 289 Contemporary Literature (publication), Supp. IV, Part 2, 423 "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, 111, 173, 373, Part 2, 475, 478, 706 Continuous Life, The (Strand), Supp. IV, Part 2, 630, 631-633 "Contract" (Lardner), II, 432 "Contraption, The" (Swenson), Supp. IV, Part 2, 643 "Contrition" (Dubus), Supp. VII, 84 "Control Burn" (Snyder), Supp. VIII, 301 Control of Nature, The (McPhee), Supp. Ill, Part 1,310-313 "Conventional Wisdom, The" (Elkin), Supp. VI, 52-53 "Convergence" (Ammons), Supp. VII, 28 "Convergence of the Twain, The" (Hardy), Supp. VIII, 31,32 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, 542543

386 / AMERICAN WRITERS "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 "Coole Park" (Yeats), Supp. VIII, 155, 159 "Coole Park and Ballylee" (Yeats), Supp. VIII, 156 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,

Longfellow), II, 488, 492 Coppee, Fran£ois Edouard Joachim, II, 325 Copper Sun (Cullen), Supp. IV, Part 1, 167, 168 Copperhead, The (Frederic), II, 134135 "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, 354-355, 528 Cording, Robert, Supp. IX 328 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,

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; HI, 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), 644-645 Supp. I, Part 2, 429, 437 Corke, Hilary, Supp. I, Part 1, 198 Costner, Kevin, Supp. VIII, 45 "Corkscrew" (Hammett), Supp. IV, Cott, Jonathan, I, 189 "Cottage Street, 1953" (Wilbur), Supp. Part 1, 345, 347 Ill, Part 2, 543, 561 Corkum, Gerald, I, 37 Gotten, Joseph, Supp. IV, Part 2, 524 Corliss, Richard, Supp. VIII, 73 Corman, Cid, IV, 425; Supp. Ill, Part Cotton, John, Supp. I, Part 1, 98, 101, 110, 111, 116 2, 624, 628, 626, 627, 625; Supp. IV, Part 1, 144; Supp. VIII, 292 Cotton, Seaborn, Supp. I, Part 1, 101 "Corn" (Lanier), Supp. I, Part 1, 352, "Cotton Song" (Toomer), Supp. IX 312 353, 354, 356-361, 364, 366 Coughlin, Ruth Pollack, Supp. VIII, Corn, Alfred, Supp. IX 156 45 Corneille, Pierre, Supp. I, Part 2, 716; Coulette, Henri, Supp. V, 180 Supp. IX 131 "Council of State, A" (Dunbar), Supp. Cornell, Esther, I, 231 669 II, Part 1-211,213 Cornell, Katherine, IV, 356 Co-op (Sinclair), Supp. V, 290 Cornell Sun (newspaper), Supp. I, Count Frontenac and New France Cooper, Gary, Supp. IV, Part 2, 524 Under Louis XIV (Parkman), Supp. Part 2, 652 Cooper, James Fenimore, I, 211, 257, II, Part 2, 607, 609-610 335-357; II, 74, 277, 295-296, 302, Cornhill Magazine, Retro. Supp. I, Count of Monte Cristo, The (Dumas), 306, 309, 313, 314; III, 51; IV, 205, 223 111, 386, 396 333; Retro. Supp. I, 246; Supp. I, Cornhuskers (Sandburg), III, 583-585 Part 1, 141, 147, 155, 156, 158, "Corn-Planting, The" (Anderson), I, "Countee Cullen at 'The Heights'" (Tuttleton), Supp. IV, Part 1, 166 114 171, 372, Part 2, 413, 495, 579, Counterfeiters, The (Gide), Supp. IV, 585, 652, 660; Supp. IV, Part 1, 80, Coronet (publication), Supp. IX 233 Part 1, 80, Part 2, 681 Part 2, 463, 469; Supp. V, 209-210; "Corporal of Artillery" (Dubus), Supp. "Countering" (Ammons), Supp. VII, VII, 84, 85 Supp. VIII, 189 28 Cooper, Mrs. James Fenimore (Susan "Corpse Plant, The" (Rich), Supp. I, Counterlife, The (Roth), Supp. Ill, Part 2, 555 A. De Lancey), I, 338, 351, 354 Part 2, 424^26 Corradi, Juan, Supp. IV, Part 1, 208 Cooper, Mrs. William, I, 337 Counter-Statement (Burke), I, 270Cooper, Susan Fenimore, I, 337, 354, Corrector (publication), II, 298 272; IV, 431 "Correspondences" (Baudelaire), I, 63 356 Corrigan, Robert W., Ill, 169; IV, 376 "Countess, The" (Whittier), Supp. I, Cooper, William, I, 337-338, 351 Part 2, 691, 694 Corrington, J. W, III, 47 Cooperman, Stanley, III, 336 Coover, Robert, Supp. IV, Part 1, 388; Corso, Gregory, Supp. II, Part 1, 30; "Counting Small-Boned Bodies" (Bly), Supp. IV, Part 1, 62 Supp. IV, Part 1, 90 Supp. V, 39-55 Copland, Aaron, II, 586; Supp. I, Part "Corsons Inlet" (Ammons), Supp. VII, "Counting the Mad" (Justice), Supp. VII, 117 25-26 1, 281; Supp. Ill, Part 2, 619; Corsons Inlet (Ammons), Supp. VII, "Country Boy in Boston, The" Supp. IV, Part 1, 79, 80-81, 84 (Howells), II, 255 25-26, 28-29, 36 Coplas de Don Jorge Manrique (trans.

INDEX / 387 Country By-Ways (Jewett), II, 402 Country Doctor, A (Jewett), II, 391, 392, 396, 404-405 "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, 409-411; Retro. Supp. I, 6; Supp. VIII, 126 "Country Printer, The" (Freneau), Supp. II, Part 1, 269 Coup, The (Updike), Retro. Supp. I, 331,334,335 "Coup de Grace, The" (Bierce), I, 202 Couperin, Francois, III, 464 "Couple of Hamburgers, A" (Thurber), Supp. I, Part 2, 616 "Couple of Nuts, A" (Z. Fitzgerald), Supp. 1X58, 71,72 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 "'Courtin', 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 Coward, Noel, I, 95; Retro. Supp. I, 65; Supp. I, Part 1, 332; Supp. V, 101 "Cowardice" (Theroux), Supp. VIII, 313 Cowboy Mouth (Shepard), Supp. Ill, Part 2, 441-442 "Cowboys" (Salter). See "Dirt" (Salter) 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; HI, 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, 135156; Supp. VIII, 96 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; Supp. IX 133 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, Martha Heasley, Supp. IX 2, 4, 11-12 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, 358-380; 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, 277-278 "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; Supp. IX 61 "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; Supp. VIII, 165 Craft of Peter Taylor, The (MeAlexander, 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, 123124, 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 1, 20, 63, 350; Supp. V, 342; Supp. VIII, 39; Supp. IX 38, 229, 320 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,

388 / AMERICAN WRITERS 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; Supp. VIII, 98, 105; Supp. IX 1, 14 Crane, Verner W., II, 124, 125 Crane, William, I, 407 Cranford (Gaskell), Supp. IX 79 Crashaw, William, IV, 145, 150, 151, 165 Crater, The (Cooper), I, 354, 355 Cratylus (Plato), II, 10 "Craven Street Gazette" (Franklin), II, 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 about her Shrimp" (Simic), Supp. VIII, 282 "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 "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 1, 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, 1, 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, Part 1, 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; Supp. VIII, 282 Crisis (publication), Retro. Supp. I, 195, 198; Supp. I, Part 1, 321, 322, 323, 325, 326, 327; Supp. II, Part 1,157, 158, 170, 173-174, 175, 181; Supp. IV, Part 1, 166, 170; Supp. IX 309 Crisis papers (Paine), Supp. I, Part 2, 508-509, 510 "Criteria of Negro Arts" (Du Bois), Supp. II, Part 1, 181 Criterion (publication), I, 565; Retro. Supp. I, 63, 65, 66; 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 "Critic's Task, The" (Kazin), Supp. VIII, 103 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, 511512, 527, 529-530 Critical Guide to Leaves of Grass, A (Miller), IV, 352 Critical Quarterly, Supp. IX 280 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 (McCarthy), Supp. VIII, 175, 184-186 "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. HI, Part 1, 347, 348 Cross-Section (Seaver), IV, 485 Crouse, Russel, III, 284

INDEX / 389 "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; Supp. 1X201 "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 Cruz, Penelope, Supp. VIII, 175 Cry, the Beloved Country (Paton), Supp. VIII, 126 Cry to Heaven (Rice), Supp. VII, 300301 Cryer, Dan, Supp. VIII, 86, 88 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. III, Part 1, 258 "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; Supp. IX 306, 309 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 I, 149 Cultural Life of the New Nation, 17761830, The (Nye), Supp. I, Part 1, 149 "Culture" (Emerson), III, 2, 4 "Culture, Self, and Style" (Gass), Supp. VI, 88 Culture of Cities, The (Mumford), Supp. II, Part 2, 492, 494-495 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. HI, Part 1, 73; Supp. IV, Part 2, 637, 641; Supp. 1X20 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 Curiosities (Matthews), Supp. IX 151, 152 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, Part 1, 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, 261264, 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 Curtin, John, Supp. IX 184 Curtis, George William, Supp. I, Part 1,307 Curve of Binding Energy, The (McPhee), Supp. Ill, Part 1, 301 Curzon, Mary, III, 52 Gushing, Caleb, Supp. I, Part 2, 684, 686 Cushman, Howard, Supp. I, Part 2, 652 Cushman, Stephen, Retro. Supp. I, 430 "Custard Heart, The" (Parker), Supp. IX 201 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, 375376 "Cut-Glass Bowl, The" (Fitzgerald), 11,88 Cutler, Jonathan D., I, 47 Cutting, Bronson, III, 600 "Cuttings, later" (Roethke), HI, 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

390 / AMERICAN WRITERS 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, Part 1, 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 "Daemon Lover, The" (Jackson), Supp. IX 116-117 "Daffy Duck in Hollywood" (Ashbery), Supp. Ill, Part 1, 18 Dagonet family, IV, 318 Dahl, Roald, Supp. IX 114 Dahlberg, Edward, I, 119, 231, 237; Retro. Supp. I, 426; Supp. Ill, Part 2, 624 Daiches, David, I, 333; III, 289; Supp. I, Part 2, 536 Daily Eagle (newspaper), Retro. Supp. 1,390 Daily Express (newspaper), Supp. IV, Part 1, 120 Daily Mail (London) (newspaper), I, 296; Retro. Supp. I, 63; Supp. IV, Part 1, 135 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" (Gluck), 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 Dali, Salvador, II, 586; Supp. IV, Part 1,83 Dalibard, Thomas-Francois, II, 117 Dallas Morning News (newspaper), Supp. V, 225; Supp. VIII, 76 Dallas Times Herald (newspaper), Supp. V, 225 "Dallas-Fort Worth: Redband and Mistletoe" (Clampitt), Supp. IX 45 "Dalliance of Eagles, The" (Whitman), IV, 348 Dalva (Harrison), Supp. VIII, 37, 45, 46, 48-49 Daly, Carroll John, Supp. IV, Part 1, 343, 345 Daly, John, II, 25, 26 Daly, Julia Brown, II, 25, 26 "Dalyrimple Goes Wrong" (Fitzgerald), 11,88

"Dam, The" (Rukeyser), Supp. VI, 283 Damascus Gate (Stone), Supp. V, 308311 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, Matt, Supp. VIII, 175 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. III, 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 A u t h o r s h i p , The" (Blackmur), Supp. II, Part 1, 147 Dangling Man (Bellow), I, 144, 145, 147, 148, 150-151, 153-154, 158, 160, 161, 162, 163; Supp. VIII, 234 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, III, 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, 35^1 "Dans le Restaurant" (Eliot), I, 578, 554 Dans I' ombre des cathedrales (Ambelain), Supp. I, Part 1, 273, 275 Danse Macabre (King), Supp. IV, Part 1, 102; Supp. V, 144 "Danse Russe" (Williams), IV, 412413 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; Supp. VIII, 27, 219-221 "Dante of Suburbia" (Gilman), 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),

INDEX / 39J Supp. II, Part 1, 179, 181-182 Dark Room, The (Williams), IV, 381 "Dark Summer" (Bogan), Supp. Ill, Part 1,51,53 Dark Summer: Poems (Bogan), Supp. III, 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 TV Screen" (Simic), Supp. VIII, 282 "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, 255-257 "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 "Darkling Thrush" (Hardy), Supp. IX 40 "Darkness on the Edge of Town" (O'Brien), Supp. V, 246 Darkwater: Voices from Within the Veil (Du Bois), Supp. II, Part 1, 178, 180, 183 "Darling, The" (Chekhov), Supp. IX 202 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; Supp. IX 180 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 Dave, R. A., Supp. VIII, 126 Davenport, Abraham, Supp. I, Part 2, 699 Davenport, Gary, IV, 425; Supp. IX 98 Davenport, Herbert J., Supp. I, Part 2, 642

Davenport, James, I, 546 Daves, E. G., Supp. I, Part 1, 369 "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, Michael, Supp. VIII, 290, 293, 294, 302-303 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 R, 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, III, 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, Katie, Supp. VIII, 83

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 I, 155 "Day for Poetry and Song, A" (Douglass), Supp. Ill, Part 1, 172 "Day longs for the evening, The" (Levertov), Supp. Ill, Part 1, 274 Day of a Stranger (Merton), Supp. VIII, 203 "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, 428-429, 430 "Daybreak" (Kinnell), Supp. Ill, Part 1, 250 "Daybreak in Alabama" (Hughes), Supp. I, Part 1, 344; Retro. Supp. 1,211 "Day-Dream, A" (Bryant), Supp. I, Part 1, 160 "Days" (Emerson), II, 19, 20 "Days and Nights: A Journal" (Price), Supp. VI, 265

392 / AMERICAN WRITERS 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, 1987-1989 (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 la Valdene, Guy, Supp. VIII, 40, 42 De Lancey, James, I, 338 De Lancey, Mrs. James (Anne Heathcote), I, 338 De Lancey, Susan A, see Cooper, Mrs. James Fenimore De Lancey, William Heathcote, I, 338, 353 De reducation 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; HI, 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 by the Side of the Road, The" (Snyder), Supp. VIII, 301 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 Languages, The" (Humphrey), Supp. IX 109 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, us, 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 Juliette (Sarton), Supp. VIII, 265 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. I, 422

"Death and Absence" (Gliick), Supp. V, 82 Death and Taxes (Parker), Supp. IX 192 "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, 328-330; Retro. Supp. I, 16-18, 21 Death in the Afternoon (Hemingway), II, 253; IV, 35; Retro. Supp. I, 182 ; Supp. VIII, 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, 111112, 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; HI, 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. I, 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

INDEX / 393 "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 Death of Life, The (Barnes), Supp. Ill, Part 1, 34 Death of Malcolm X, The (Baraka), Supp. II, Part 1, 47 "Death of Me, The" (Malamud), Supp. 1, 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; Supp. IX 261 "Death of the Kapowsin Tavern" (Hugo), Supp. VI, 137, 141 Death of the Kapowsin Tavern (Hugo), Supp. VI, 133-135 "Death of the Lyric, The: The Achievement of Louis Simpson" (Jarman and McDowell), Supp. IX 266, 270, 276 "Death of Venus, The" (Creeley), Supp. IV, Part 1, 143, 144-145 "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 Debeljak, Ales, Supp. VIII, 272 "Debriefing" (Sontag), Supp. Ill, Part 2, 468^70 Debs, Eugene, I, 483, 493; III, 580,

581; Supp. I, Part 2, 524; Supp. IX 1, 15 Debt to Pleasure, The (Lanchester), Retro. Supp. I, 278 Debusscher, Gilbert, I, 95 "Debuts du roman realiste americain et 1'influence f r a n c a i s e , Les" (Arnavon), Supp. I, Part 1, 226 Decameron (Boccaccio), III, 283, 411; Supp. IX 215 DeCasseres, Benjamin, III, 121 "Deceased" (Hughes), Retro. Supp. I,

208 "December" (Oliver), Supp. VII, 245 "December 1, 1994" (Stern), Supp. IX 299 "December Eclogue" (Winters), Supp. II, Part 2, 794 Deception (Roth), Supp. Ill, Part 2, 426-427 "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), 1,4 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, 201202 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, 224225 Deep South (Caldwell), I, 305, 309, 310

"Deep Water" (Marquand), III, 56 "Deep Woods" (Nemerov), III, 272273, 275 Deeper into Movies: The Essential Kael Collection from '69 to 72 (Kael), Supp. IX 253 Deephaven (Jewett), II, 398-399, 400, 401,410,411 "Deer at Providencia, The" (Dillard), Supp. VI, 28, 32 Deer Park, The (Mailer), I, 292; III, 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 in Prague" (Matthews), Supp. IX 168 Defenestration of Prague (Howe), Supp. IV, Part 2, 419, 426, 429430 Defense, The (Nabokov), III, 251-252; Retro. Supp. I, 266, 268, 270-272 "Defense of James Baldwin, A" (Gayle), Supp. I, Part 1, 70 "Defense of Poetry" (Francis), Supp. IX 83-84 Defiant Ones, The (film), Supp. I, Part 1,67 "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 Deitch, Joseph, Supp. VIII, 125 "Dejection" (Coleridge), II, 97 DeJong, David Cornel, I, 35, 47 Delacroix, Henri, I, 227 Delakas, Daniel L., IV, 473

394 / AMERICAN WRITERS 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; Supp. IX 212 Delineator (publication), I, 501, 509 DeLisle, Anne, Supp. VIII, 175 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, 268271, 273, 281; Retro. Supp. I, 349350, 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, 8-11 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; Supp. V, 123 DeMott, Robert, Supp. VIII, 40, 41 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 "Dental Assistant, The" (Simpson), Supp. IX 280 "Departure" (Gliick), Supp. V, 89 "Departure" (Plath), Supp. I, Part 2, 537 "Departure, The" (Freneau), Supp. II, Part 1, 264 Departures (Justice), Supp. VII, 124127 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 Jager (Burger), II, 306 D'Erasmo, Stacey, Supp. IX 121 Derleth, August, Supp. I, Part 2, 465, 472, 477 Deronda, Daniel, II, 179 Derrida, Jacques, Supp. IV, Part 1, 45 Derry, John, Supp. I, Part 2, 525 Derzhavin, Gavrila Romanovich, Supp. VIII, 27 Des Imagistes (Pound), II, 513; Supp. I, Part 1, 257, 261, 262 Descartes, Rene, I, 255; III, 618-619; IV, 133 Descendents, The (Glasgow), II, 173, 174-175, 176 Descending Figure (Gliick), 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" (Boyle), Supp. VIII, 14 Descent of Man (Boyle), Supp. VIII, 1, 12-13 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

"Description without Place" (Stevens), Retro. Supp. I, 422 Deseret News (newspaper), Supp. IV, Part 2, 638 "Desert" (Hughes), Retro. Supp. I, 207 "Desert Music, The" (Williams), Retro. Supp. I, 428, 429 Desert Music, The (Williams), IV, 422; 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; Supp. 1X81 "Designated National Park, A" (Ortiz), Supp. IV, Part 2, 509 "Desire" (Beattie), Supp. V, 29 Desire under the Elms (O'Neill), III, 387, 390 "DesireVs 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

INDEX / 395 Destruction of the European Jews, The (Hilberg), Supp. V, 267 "Destruction of the Goetheanum, The" (Salter), Supp. IX 257 "Destruction of the Long Branch, The" (Pinsky), Supp. VI, 239, 240, 243244, 245, 247, 250 Destructive Element, The (Spender), Retro. Supp. I, 216 "Detail & Parody for the poem 'Paterson'" (Williams), Retro. Supp. I, 424 Detective Tales (magazine), Supp. IV, Part 1, 102 Detmold, John, Supp. I, Part 2, 670 Detroit News (publication), Supp. VIII, 45 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 1, 104 "Development of the Modern English Novel, The" (Lanier), Supp. I, Part I, 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 M a n u s c r i p t , 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 Devil's Stocking, The (Algren), Supp. IX 5, 16 "Devising" (Ammons), Supp. VII, 28 "Devout Meditation in Memory of Adolph Eichmann, A" (Merton), Supp. VIII, 198, 203 Dewey, John, I, 214, 224, 228, 232, 233, 266, 267; II, 20, 23, 27, 34, 52, 229, 361, 365; III, 112, 294295, 296, 303, 309-310, 599, 605, 622; IV, 27, 429; Supp. I, Part 1, 3, 5, 7, 10, 11, 12, 24, Part 2, 493,

I, Part 2, 656 641, 647, 677; Supp. V, 290; Supp. Dickens, Charles, I, 152, 198, 505; II, IX 179 98, 179, 186, 192, 271, 273-274, Dewey, Joseph, Supp. IX 210 288, 290, 297, 301, 307, 316, 322, Dewey, Thomas, IV, 161 559, 561, 563, 577, 582; III, 146, Deyo, C. L., Supp. I, Part 1, 226 247, 325, 368, 411, 421, 426, 572, Dhairyam, Sagari, Supp. IV, Part 1, 577, 613-614, 616; IV, 21, 192, 194, 329, 330 211, 429; Retro. Supp. I, 33, 91, Dharma Bums, The (Kerouac), Supp. 218; Supp. I, Part 1, 13, 34, 35, III, Part 1, 230, 231; Supp. VIII, 36, 41, 49, Part 2, 409, 523, 579, 289, 305 590, 622, 675; Supp. IV, Part 1, D'Houdetot, Madame, Supp. I, Part 293, 300, 341, Part 2, 464; Supp. 1, 250 VIII, 180; Supp. IX 246 "Diabetes" (Dickey), Supp. IV, Part Dickey, James, I, 29, 450, 535, 542; I, 182 II, 390; III, 268, 289, 525, 550; Diaghilev, Sergei, Supp. I, Part 1, 257 Supp. Ill, Part 1, 354, Part 2, 541, Dial (publication), I, 58, 109, 115, 116, 597; Supp. IV, Part 1, 175-194; 215, 231, 233, 245, 261, 384, 429; Supp. V, 333 II, 8, 430; III, 194, 470, 471, 485; IV, 122, 171, 427; Retro. Supp. I, Dickinson, Donald, Retro. Supp. I, 206, 212 58; Supp. I, Part 2, 642, 643, 647; Supp. II, Part 1, 168, 279, 291, Dickinson, Donald C., Supp. I, Part 1,348 Part 2, 474; Supp. Ill, Part 2, 611 "Dialectic of 'The Fire Next Time,' Dickinson, Edward, I, 451-452, 453 Dickinson, Emily, I, 384, 419, 433, The" (Gayle), Supp. I, Part 1, 70 Dialectical materialism, I, 275, 279 451-473; II, 272, 276, 277, 530; III, 19, 194, 196, 214, 493, 505, 508, "Dialogue" (Rich), Supp. I, Part 2, 556, 572, 576; IV, 134, 135, 331, 560 444; Retro. Supp. I, 25-50; Supp. Dialogue, A (Baldwin and Giovanni), I, Part 1, 29, 79, 188, 372, Part 2, Supp. I, Part 1, 66 "Dialogue Between Franklin and the 375, 546, 609, 682, 691, 705; Supp. II, Part 1, 4; Supp. Ill, Part 1, 63, Gout" (Franklin), II, 121 Part 2, 600, 622; Supp. IV, Part 1, "Dialogue Between General Wolfe and 31, 257, Part 2, 434, 637, 641, 643; General Gage in a Wood near BosSupp. V, 79, 140, 332, 335; Supp. ton, A" (Paine), Supp. I, Part 2, 504 VIII, 95, 104, 106, 108, 198, 205, "Dialogue between Old England and New" (Bradstreet), Supp. I, Part 1, 272; Supp. IX 37, 38, 53, 87, 90 105-106, 110-111, 116 Dickinson, Gilbert, I, 469 "Dialogue between the Writer and a Dickinson, Lavinia Norcross, I, 451, Maypole Dresser, A" (Taylor), IV, 453, 462, 470 155 Dickinson, Mrs. Edward, I, 451, 453 Dialogues (ed. Bush), III, 4 Dickinson, Mrs. William A. (Susan Dialogues in Limbo (Santayana), III, Gilbert), I, 452, 453, 456, 469, 470 606 Dickinson, William Austin, I, 451, 453, "Diamond as Big as the Ritz, The" 469 (Fitzgerald), II, 88-89 Dickinson and the Strategies of RetiDiamond Cutters and Other Poems, cence (Dobson), Retro. Supp. I, 29, 42 The (Rich), Supp. I, Part 2, 551, 552, 553 Dickson, Helen, see Blackmur, Helen "Diamond Guitar, A" (Capote), Supp. Dickson III, Part 1, 124 Dickstein, Morris, Supp. I, Part 1, 70 "Diana and Persis" (Alcott), Supp. I, "DICTATORSHIP OF THE PROLEPart 1, 32, 41 TARIAT, THE" (Baraka), Supp. II, Diary of a Yuppie (Auchincloss), Supp. Part 1, 54 IV, Part 1,31,32-33 Dictionary of American Biography, Diary of "Helena Morley," The (trans. Supp. I, Part 2, 486 Bishop), Supp. I, Part 1, 92 Dictionary of Literary Biography Dias del Castillo, Bernal, III, 13, 14 (Kibler,'ed.), Supp. IX 94, 109 Dick Gibson Show, The (Elkin), Supp. Dictionary of Modern English Usage, VI, 42, 48-49 A (Fowler), Supp. I, Part 2, 660 "Dick Whittington and His Cat", Supp. "Dictum: For a Masque of Deluge"

396 / AMERICAN WRITERS (Merwin), Supp. Ill, Part 1, 342343 "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 Ohm 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 Dig-rent (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, 2439; Supp. VIII, 272 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 Dime-Store Alchemy: The Art of Joseph Cornell, Supp. VIII, 272 "Dimout in Harlem" (Hughes), Supp. I, Part 1, 333 Dinesen, Isak, IV, 279, 284, Supp. VIII, 171 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, 667668 "Dinner at Uncle Borris's" (Simic), Supp. VIII, 272 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 DiPrima, Diane, Supp. Ill, Part 1, 30 "Dire Cure" (Matthews), Supp. IX 168 "Directive" (Frost), III, 287; Retro. Supp. I, 140; Supp. VIII, 32, 33 "Dirge" (Dunbar), Supp. II, Part 1, 199 "Dirge without Music" (Millay), III, 126 "Dirt" (Salter), Supp. IX 257, 260, 261 "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" (Bly), Supp. IV, Part 1, 71 Discerning the Signs of the Times (Niebuhr), III, 300-301, 307-308 "Discordants" (Aiken), I, 65 Discourse on Method (Descartes), I, 255 "Discovering Theme and Structure in the Novel" (Schuster), Supp. VIII, 126 "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, 54-55 Discovery! The Search for Arabian Oil (Stegner), Supp. IV, Part 2, 599 "Discrete Series" (Zukofsky), Supp. III, 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" (Rfos), Supp. IV, Part 2, 552

Dismantling the Silence (Simic), Supp. VIII, 273-274, 275, 276 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, 437-438 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 Passos), I, 478, 489^90, 492 Disturber of the Peace (Manchester), III, 103 "Diver, The" (Hayden), Supp. II, Part I, 368, 372, 373 "Divided Life of Jean Toomer, The" (Toomer), Supp. Ill, Part 2, 488 Divina Commedia (trans. Longfellow), II, 490, 492, 493 "Divine Collaborator" (Simic), Supp. VIII, 282 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

INDEX / 397 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, 157158 "Diving into the Wreck: Poems 19711972" (Rich), Supp. I, Part 2, 550, 559-565, 569 Diving Rock on the Hudson, A (H. Roth), Supp. IX 236, 237-238 "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 (Gates), 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 "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. I, 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 "Documentary" (Simic), Supp. VIII, 282 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, 449-450, 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. HI, 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: A Boyhood" (Updike), IV, 218; Retro. Supp. I, 318, 319 Doings and Undoings (Podhoretz), Supp. VIII, 236-237 "Dolce Far' Niente" (Humphrey), Supp. IX 106 Dolci, Carlo, HI, 474-475 Dole, Nathan IL, III, 431 Doll's House, A (Ibsen), HI, 523; IV, 357 Dolmetsch, Arnold, III, 464 Dolores Claiborne (King), Supp. V, 138, 141, 147, 148, 149-150, 152 "Dolph Heyliger" (Irving), II, 309

"Dolphins" (Francis), Supp. IX 83 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 Dominguez, Robert, Supp. VIII, 83 Dominique, Jean. See Closset, Marie 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, Supp. IX 94 Dona Perfecta (Galdos), II, 290 Donahue, Francis, IV, 401 Donahue, H. E. E, 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. HI, Part 2, 614, 619; Supp. VIII, 26, 33, 164; Supp. IX 44 Donoghue, Denis, I, 165, 473, 537, 542; II, 390; IV, 424; Supp. IV, Part 1, 39; Supp. VIII, 105, 189 Donohue, H. E. E, Supp. IX 2, 3, 15, 16

Don't Ask (Levine), Supp. V, 178 Don't Ask Questions (Marquand), HI, 58 Don't You Want to Be Free? (Hughes), Retro. Supp. I, 203; Supp. I, Part 1, 339 "Doodler, The" (Merrill), Supp. HI, Part 1, 321 Dooley, D. J., II, 460 Doolittle, Charles Leander, Supp. I, Part 1, 253, 254 Doolittle, Hilda (H. D.), II, 517, 520521; HI, 194, 195-196, 217, 457, 465; IV, 404, 406; Retro. Supp. I,

398 / AMERICAN WRITERS 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 I, 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. III, Part 1, 283, 284 "Door of the Trap, The" (Anderson), I, 112 "'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, Ariel, Supp. IX 131, 138 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; HI, 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; Supp. VIII, 101, 105 Dos Passos, John Randolph, I, 474475 "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; III, 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; Supp. VIII, 175 Doty, Mark, Supp. IX 42, 300 Double, The (Dostoevski), Supp. IX 105 Double, The (Rank), Supp. IX 105 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; Supp. IX 309 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. Ill, 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 Doubles in Literary Psychology (Tymms), Supp. IX 105 '"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, 588589; 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. III, Part 1, 153-174; Supp. IV, Part 1, 1, 2, 13, 15, 256; Supp. VIII, 202 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 Downhill Racer (film), Supp. IX 253 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), I, 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 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,

INDEX / 399 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 Avenue" (Simic), Supp. VIII, 282 "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 of Balso Snell, The (West), IV, 286, 287, 288-290, 291, 297 Dream of a Common Language, Poems 1974-77, The (Rich), Supp. I, Part 2,551,554,569-576 Dream of Arcadia: American Writers and Artists in Italy (Brooks), I, 254 Dream of Governors, A (Simpson), Supp. IX 265, 269-270 "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, 234235, 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, Theodore, I, 59, 97, 109, 116, 119, 355, 374, 375, 475, 482, 497520; II, 26, 27, 29, 34, 38, 44, 74, 89, 93, 180, 276, 283, 428, 444, 451, 456457, 467-468; 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. HI, Part 2, 412; Supp. IV, Part 1, 31, 236, 350, Part 2, 689; Supp. V, 113, 120; Supp. VIII, 98, 101, 102; Supp. IX 1, 14, 15, 308 "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" (Rfos), Supp. IV, Part 2, 548 Dressing Up for the Carnival (Shields), Supp. VII, 328 Drew, Bettina, Supp. IX 2, 4 Drew, Elizabeth, I, 590 Dreyfus, Alfred, Supp. I, Part 2, 446 Drift and Mastery (Lippmann), I, 222223 "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, 365-367, 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, 247250, 252 "Drugstore in Winter, A" (Ozick),

Supp. V, 272 "Drum, The" (Alvarez), Supp. VII, 7 "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 Dry Sun, Dry Wind (Wagoner), Supp. IX 323, 324 Dry den, 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; Supp. IX 68 Du Bartas, Guillaume, Supp. I, Part 1,98, 104, 111, 118, 119 Du Bois, Nina Corner (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 Maurier 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; Supp. VIII, 146 Dubreuil, Jean, Supp. IV, Part 2, 425 Dubus, Andre, Supp. VII, 75-78, 91-92 Duchamp, Marcel, IV, 408; Retro.

400 / AMERICAN WRITERS Supp. I, 416, 417, 418, 430; Supp. IV, Part 2, 423, 424 "Duchess at Prayer, The" (Wharton), Retro. Supp. I, 365 Duchess of Malfi, 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. III, Part 2, 452, 456 "Duet of Cheevers, A" (Cowley), Supp. I, Part 1, 198 "Duet, With Muffled Brake Drums" (Updike), Retro. Supp. I, 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), III, 411,425 "Duke in His Domain, The" (Capote), Supp. Ill, Part 1, 113, 126 Duke of Deception, The (Wolff), Supp. II, Part 1, 97 "Duke's Child, The" (Maxwell), Supp. VIII, 172 Dukore, Bernard R, 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. HI, 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, 191219; Supp. Ill, Part 1, 73; Supp. IV, Part 1, 15, 165, 170 Duncan, Bowie, III, 289 Duncan, Isadora, I, 483 Duncan, Robert, Supp. HI, Part 2, 625, 626, 630, 631; Supp. VIII, 304 Dunciad, The (Pope), I, 204 Dunford, Judith, Supp. VIII, 107 Dunlap, Leslie W, III, 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; Supp. VIII, 231; Supp. IX 93, 96 DuPlessis, Rachel Blau, Supp. IV, Part 2, 421,426, 432 Duplicate Keys (Smiley), Supp. VI, 292, 294-296 Durable Fire, A (Sarton), Supp. VIII, 260 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 "Durations" (Matthews), Supp. IX 152-153, 154 Durer, Albrecht, III, 212 "During Fever" (Lowell), II, 547 Durkheim, Emile, I, 227; Retro. Supp. 1, 55, 57; Supp. I, Part 2, 637, 638 Durrell, Lawrence, III, 184, 190, 191, 192; IV, 430 Diirrenmatt, Friedrich, Supp. IV, Part 2, 683 Duse, Eleonora, II, 515, 528 Dusk and Other Stories (Salter), Supp. IX 260-261 Dusk of Dawn: An Essay Toward an Autobiography of a Race Concept (Du Bois), Supp. II, Part 1, 159, 183, 186 dust (journal), Supp. IX 273 "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 "Dusty Braces" (Snyder), Supp. VIII, 302 "Dutch Nick Massacre, The" (Twain), IV, 195 Dutchman (Baraka), Supp. II, Part 1, 38, 40, 42-44, 54, 55 Dutton, Clarence Earl, Supp. IV, Part 2,598 Dutton, Charles S., Supp. VIII, 332, 342 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 "Dvonya" (Simpson), Supp. IX 274 Dwellings: A Spiritual History of the Living World (Hogan), Supp. IV, Part 1, 397, 410, 415^16, 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, A, or Between Two Worlds: Dramatic Legend in Four Acts (Kushner), Supp. IX 138 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, Bob, Supp. VIII, 202 "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

INDEX / 401 Eagle (newspaper), Retro. Supp. I, 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 Eakin, Paul John, Supp. VIII, 167, 168 Eames, Roscoe, II, 476 "Earl Painter" (Banks), Supp. V, 14-15 "Early Adventures of Ralph Ringwood, 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 Elkin (Elkin), Supp. VI, 42-43, 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 Being" (Toomer), Supp. IX 320 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), II, 226, 231, 232, 242; III, 82; Retro. Supp. I, 152 "East Coker" (Eliot), Retro. Supp. I, 66; Supp. VIII, 195, 196

East Coker (Eliot), I, 580, 581, 582, 585, 587 "East European Cooking" (Simic), Supp. VIII, 277 East Is East (Boyle), Supp. VIII, 1-3 East Lynne (Wood), Supp. I, Part 1, 35, 36, Part 2, 459, 462 East of Eden (Steinbeck), IV, 51, 5657, 59 "East of the Sun and West of the Moon" (Merwin), Supp. Ill, Part 1,344 East West Journal (magazine), Supp. VIII, 304 East Wind (Lowell), II, 527 East Wind: West Wind (Buck), Supp. II, Part 1, 114-115 "Easter" (Toomer), Supp. HI, Part 2, 486 "Easter, an Ode" (Lowell), II, 536 "Easter Morning" (Ammons), Supp. VII, 34 "Easter Morning" (Clampitt), Supp. IX 45 "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 Eastwood, Clint, Supp. VIII, 184 "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, 521-543; 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 Eccle^ siae (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 1, 397, 400, 402 "Ecologue" (Ginsberg), Supp. II, Part 1, 326 Eclogues (Virgil), Supp. VIII, 31 "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, 338339, 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 SleepWalker (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),

402 / AMERICAN WRITERS Supp. I, Part 2, 478 Edge, Mary E., II, 316 "Edge" (Plath), Supp. I, Part 2, 527, 547 "Edge of the Great Rift, The" (Theroux), Supp. VIII, 325 Edge of the Sea, The (Carson), Supp. IX 19, 25-31, 32 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. 1,370 Edith Wharton's Argument with America (Ammons), Retro. Supp. I, 364 Edith Wharton's Brave New Politics (Bauer), Retro. Supp. I, 381 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 Edson, Russell, Supp. VIII, 279 "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 Harriet Hat field, The (Sarton), Supp. VIII, 257-258 Education of Henry Adams, The (Adams), I, 1, 5, 6, 11, 14, 15-18, 19, 20-21, 111; II, 276; III, 504; Retro. Supp. I, 53, 59; Supp. IX 19

"Education of Jane Adams, The" (Phillips), Supp. I, Part 1, 27 "Education of Mingo, The" (Johnson), Supp. VI, 193, 194 "Education of Norman Podhoretz, The" (Goldberg), Supp. VIII, 238 Education of Oscar Fairfax, The (Auchincloss), Supp. IV, Part 1, 25, 36 "Education of the Poet" (Gliick), Supp. V, 78, 80 Education sentimentale (Flaubert), III, 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; Supp. VIII, 205 Edwards, Sarah, I, 545 Edwards, Timothy, I, 545 Edwards-Yearwood, Grace, Supp. VIII, 81 "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 "Egg, The" (Snyder), Supp. VIII, 302 "Eggplant Epithalamion, The" (Jong), Supp. V, 119 "Eggshell" (Stern), Supp. IX 299 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 Egorova, Lubov, Supp. IX 58 "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 Eichmann in Jerusalem (Arendt), Supp. VIII, 243 "Eidolon" (Warren), IV, 239 Eight Cousins (Alcott), Supp. I, Part 1, 29, 38, 42, 43 Eight Harvard Poets: E. Estlin Cum-

mings, 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. III, Part 1, 323, 328 1876: A Novel (Vidal), Supp. IV, Part 2, 677, 684, 688, 689, 691, 692 "Eighth Air Force" (Jarrell), II, 373374, 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, 1011, 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; Supp. IX 15 Eissenstat, Martha Turnquist, III, 168 El Bernardo (Balbuena), Supp. V, 11 El Greco, I, 387; III, 212 "El libro de la sexualidad" (Simic), Supp. VIII, 283 "El Round up" (Alvarez), Supp. VII, 11 "El Salvador: Requiem and Invocation" (Levertov), Supp. Ill, Part 1, 284 Elbert, Sarah, Supp. I, Part 1, 34, 41, 46 Elder, Donald, II, 417, 426, 435, 437, 438 Elder, John, Supp. IX 25 Elder, Lonne, III, Supp. IV, Part 1, 362 Elder Statesman, The (Eliot), I, 572, 573, 583; Retro. Supp. I, 53, 65

INDEX / 403 Eldredge, Kay, Supp. IX 254, 259 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 Elective Affinities (Goethe, trans. Bogan and Mayer), Supp. Ill, Part 1, 63 Electra (Euripides), III, 398 Electra (Sophocles), III, 398; IV, 370; Supp. IX 102 "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 My Mother" (Wagoner), Supp. IX 330 "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, Part 1, 9 1 , 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. 1, 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. 1, Part 2, 479; Supp. IX 94 Eliot, Charles William, Retro. Supp. I, 55 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, Part 1, 31, 297, Part 2, 677; Supp. V, 258; Supp. IX 38, 43,51 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, 567-591; II, 65, 96, 158, 168, 316, 371, 376, 386, 529, 530, 532, 537, 542, 545; III, 1, 4, 5, 6, 7-8, 9, 10, 11, 14, 17, 20, 21, 23, 26, 34, 174, 194, 195-196, 205-206, 216, 217, 220, 236, 239, 269, 270-271, 277278, 301, 409, 428, 432, 435, 436, 453, 456-457, 459-460, 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, 62-64, 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; Supp. VIII, 19, 21, 93, 102, 105, 182, 195, 205, 290, 292; Supp. IX 158-159, 229 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 "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 Ella in Bloom (Hearon), Supp. VIII, 70-71 Ellen Rogers (Farrell), II, 42-43 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,

404 / AMERICAN WRITERS 360; Supp. IX 164 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, Ralph, I, 426; IV, 250, 493, 496; Supp. II, Part 1, 33, 221-252; Supp. IV, Part 1, 374; Supp. VIII, 105, 245; Supp. IX 114,316 Ellmann, Maud, Supp. IV, Part 1, 302 Ellmann, Richard, IV, 424; Supp. VIII, 105 Elman, Richard, Supp. V, 40 Elman, Richard M, IV, 23 "Elmer" (Faulkner), Retro. Supp. I, 79,80 Elmer Gantry (Lewis), I, 26, 364; II, 447-449, 450, 455 Elmer the Great (Lardner), II, 427 "Elms" (Gliick), Supp. V, 85 "Eloquence of Grief, An" (Crane), I, 411 "Elsa Wertman" (Masters), Supp. I, Part 2, 462-463 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, 207-208 "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. 1,229 Embezzler, The (Auchincloss), Supp. IV, Part 1, 24, 30-31 Embree, Lester E., II, 366 "Emerald, The" (Merrill), Supp. Ill, Part 1, 328 Emerson, Ellen, Supp. I, Part 1, 33

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, 576-577, 606, 614; IV, 60, 167, 169, 170, 171, 172, 173174, 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, 148-149, 152153, 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; Supp. VIII, 42, 105, 106, 108, 198, 201, 204, 205, 292; Supp. IX 38, 90, 175, 176, 181 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. 1,67 Emery, Clark, III, 478 "Emily Dickinson and Class" (Erkkila), Retro. Supp. I, 42-43 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; 111,391,392 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

"Empires" (Simic), Supp. VIII, 282 "Emporium" (Shapiro), Supp. II, Part 2,705 Empress of the Splendid Season (Hijuelos), Supp. VIII, 86-89 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, 313314, 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 "Encounter in April" (Sarton), Supp. VIII, 259 Encounter in April (Sarton), Supp. VIII, 259 Encounters with Chinese Writers (Dillard), Supp. VI, 19, 23, 31, 32, 33 Encounters with the Archdruid (McPhee), Supp. Ill, Part 1, 292294, 301 Encyclopaedia Britannica, The, IV, 91, 440 "End of Books, The" (Coover), Supp. V, 53 "End of Season" (Warren), IV, 239240 "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), 111,8 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), III, 349,351,357

INDEX / 405 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, 443-444; 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, Parti, 127

Enough Rope (Parker), Supp. IX 189, 192 Enquiry Concerning Political Justice (Godwin), Supp. I, Part 1, 126, 146 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 Entertainment Weekly (publication), Supp. VIII, 73 "Entropy" (Pynchon), Supp. II, Part 2,619,621 Environmental Imagination, The (Buell), Supp. V, 209; Supp. IX 29 "Envoys, The" (Merrill), Supp. Ill, Part 1, 326 "Envy; or, Yiddish in America" (Ozick), Supp. V, 263, 265-266 "Eolian Harp, The" (Coleridge), I, 284 "Ephemera, The" (Franklin), II, 121 Ephesians (biblical book), Supp. I, Part 1, 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 Epoch (magazine), Supp. VIII, 12 Epstein, Jason, Supp. VIII, 233 Epstein, Joseph, Supp. IV, Part 2, 692; Supp. VIII, 236, 238 "Epstein" (Roth), Supp. Ill, Part 2, 404,406-407,412,422 "Equal in Paris" (Baldwin), Supp. I,

Part 1, 52 "Equilibrists, The" (Ransom), III, 490, 494 "Equipment for Pennies" (H. Roth), Supp. IX 233 "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 Erisman, Fred, Supp. VIII, 126 Erkkila, Betsy, Retro. Supp. I, 42 "Ernest: or Parent for a Day" (Bourne), 1,232 "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 Escape Artist, The (Wagoner), Supp. IX 324, 334-335 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, Part 1, 50, 295, 329, Part 2, 664; Supp. IV, Part 1, 102, 198, 201, 205, 383, Part 2, 678; Supp. V, 237, 238; Supp. VIII, 12, 39, 231, 314; Supp. IX 57, 61, 71, 95, 259, 260, 261 Essais (Renouvier), II, 344-345 Essay Concerning Human Understanding, An (Locke), I, 554; II, 8, 348349 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

406 / AMERICAN WRITERS 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, 12-13, 15,21 Essays in Anglo-Saxon Law (Adams), 1,5 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 Essence (magazine), Supp. VIII, 214 Essential Haiku, The (Hass), Supp. VI, 102 Essential Keats (Levine, ed.), Supp. V, 179 "Essential Oils—are wrung" (Dickinson), I, 471; 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 Essentials: Definitions and Aphorisms (Toomer), Supp. IX 320 "Essentials of Spontaneous Prose" (Kerouac), Supp. Ill, Part 1, 227228 Essex Gazette (newspaper), Supp. I, Part 2, 683, 684 Esslin, Martin, I, 95 Estess, Sybil, Supp. IV, Part 2, 449, 452 Esther (Adams), I, 9-10, 20 "Esther" (Toomer), Supp. IX 313-314 "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, 544545 "Ethan Brand" (Hawthorne), II, 227 Ethan Frome (Wharton), IV, 316-317, 327; Retro. Supp. I, 372-373; Supp. IX 108 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 "Eulogy for Richard Hugo (19231982)" (Wagoner), Supp. IX 330331 "Eulogy on the Flapper" (Z. Fitzgerald), Supp. 1X71 Eumenides (Aeschylus), Retro. Supp. 1,65 "Euphemisms" (Matthews), Supp. IX 167-168 Eureka (Poe), III, 409, 424, 428-429 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 I, 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, 279280 Eustace, Saint, II, 215 "Euthanasia" (Tate), IV, 122 Evangeline (Longfellow), II, 489, 501502; 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, 224-225, 441; IV, 149, 225, 291, 371; Supp. I, Part 1, 113, 120, Part 2, 567 "Eve" (Williams), Retro. Supp. I, 423 "Eve of St. Agnes, The" (Clampitt), Supp. IX 40 Eve of Saint Agnes, The (Keats), II, 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, 204-205, 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. HI, Part 1, 56 Evening Star, The (McMurtry), Supp. V, 230 Evening Star, The (screenplay) (McMurtry), Supp. V, 232

INDEX / 407 "Evening Sun" (Kenyon), Supp. VII, 168 "Evening Wind, The" (Bryant), Supp. 1, 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. HI, Part 1, 195-196 "Evening's at Seven, The" (Thurber), Supp. I, Part 2, 616 "Event, An" (Wilbur), Supp. Ill, Part 2, 547, 554 "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 Evergreen Review (publication), Supp. VIII, 292 Evers, Medgar, IV, 280; Supp. I, Part I, 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-Friends: Falling Out with Allen Ginsberg, Lionel and Diana Trill-

ing, Lillian Hellman, Hannah Arendt, and Norman Mailer (Podhoretz), Supp. VIII, 239, 242244 "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. HI, 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, Part 1, 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 Exiles from Paradise: Zelda and Scott Fitzgerald (Mayfield), Supp. IX 65 Exile's Return (Cowley), Supp. Ill, Part 1, 136, 138, 140, 141, 144, 147, 148 "Exile's Return, The" (Lowell), II, 539 Existentialism, I, 123, 128, 206, 294; II, 244, 373; HI, 35, 37-38, 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, 227-228, 230 Expensive People (Oates), Supp. II, Part 2, 509, 510-511 "Experience and Fiction" (Jackson), Supp. IX 121 "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 1 (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. 1,367 "Explaining Evil" (Gordon), Supp. IV, Part 1, 310 "Explanation" (Stevens), IV, 79 Explanation of America, An (Pinsky), Supp. VI, 237, 241-243 "Exploit" (Wharton), IV, 324 "Exploration in the Great Tuolumne Canon" (Muir), Supp. IX 181 "Explorer, The" (Brooks), Supp. Ill, Part 1, 79-80 "Exploring the M a g a l l o w a y " (Parkman), Supp. II, Part 2, 591 Expositor's Bible, The (Smith), III, 199 Expressions of Sea Level (Ammons), Supp. VII, 24, 28, 36

408 / AMERICAN WRITERS "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 for an Eye, An" (Humphrey), Supp. IX 108 "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. 1, 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 F. Scott Fitzgerald: A Critical Portrait (Piper), Supp. IX 65 Faas, Ekbert, Supp. VIII, 292 "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" (Gliick), 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, 412413, 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-^4 Fabulators, The (Scholes), Supp. V, 40 Face against the Glass, The (Francis), Supp. IX 80-81 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 "'Fact' 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, 231-232 "Facts" (Snyder), Supp. VIII, 301 "Facts, The" (Lardner), II, 431 Facts, The: A Novelist's Autobiography (Roth), Supp. Ill, 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; Supp. IX 8 Faerie Queen, The (Spencer), III, 487; IV, 253 Faery, Rebecca Blevins, Retro. Supp. 1,374 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, 107-109, 110, 113 Faint Perfume (Gale), Supp. I, Part 2, 613 Fair, Bryan K., Supp. VIII, 128

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 "Fairly Sad Tale, A" (Parker), Supp. IX 192 Faith and History (Niebuhr), III, 308 Faith and the Good Thing (Johnson), Supp. VI, 187, 188-190, 191, 193, 194, 196 Faith for Living (Mumford), Supp. II, Part 2, 479-480 "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 Falcoff, Mark, Supp. VIII, 88 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" (Francis), Supp. IX 76 "Fall in Corrales" (Wilbur), Supp. Ill, 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

INDEX / 409 "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 Fallows, James, Supp. VIII, 241 "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 Arsenal, The (Theroux), Supp. VIII, 322 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, 570571, 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 HackaboutJones (Jong), Supp. V, 115, 127 Fanny Hill (Cleland), Supp. V, 48, 127

Fanshawe (Hawthorne), II, 223-224; 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 Northern Birch, The" (Francis), Supp. IX 90 "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, 125-126, 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, 248249, 252-253, 254, 255, 262, 265; Retro. Supp. I, 171, 178, 180-182, 187, 189; Supp. IV, Part 1, 380381,381; Supp. VIII, 179 "Farewell to Miles" (Berryman), I, 173 Farewell to Reform (Chamberlain), Supp. I, Part 2, 647 "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

Farmer (Harrison), Supp. VIII, 39, 44-45 "Farmers' Daughters, The" (Williams), Retro. Supp. I, 423 Farmers Hotel, The (O'Hara), HI, 361 "Farmer's Wife, The" (Sexton), Supp. II, Part 2, 676 Farnham, James F, III, 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; Supp. VIII, 96, 97 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), 11,26 Farrell, Mrs. James T. (Hortense Alden), II, 26, 27, 45, 48 Farther Off from Heaven (Humphrey), Supp. IX 93, 96, 101, 103-104, 105, 109 "Fascinating Fascism" (Sontag), Supp. III, 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, 128-129, 130 "Fatality" (Bausch), Supp. VII, 54 "Fate" (Emerson), II, 2-3, 4, 16 "Fate of Pleasure, The" (Trilling), Supp. HI, 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

410 / AMERICAN WRITERS I, 137, 140 "Father Abraham" (Faulkner), Retro. Supp. I, 81,82 "Father and Daughter" (Eberhart), I, 539 Father and Son (Gosse), Supp. VIII, 157 "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 Guzman" (Stern), Supp. IX 293, 296 "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, 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. HI, 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; Supp. VIII, 37, 39, 40, 104, 105, 108, 175, 176, 180, 181, 183, 184, 188, 189, 215; Supp. IX 20, 95 Faulkner: A Collection of Critical Essays (Warren), Retro. Supp. I, 73

Faulkner at Nagano (ed. Jelliffe), I, 289; II, 63, 65 Faulkner-Copley File, The: Letters and Memories 1944-1962 (Cowley, ed.), Retro. Supp. I, 73, 92; Supp. II, Part 1, 140, 141 "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 Fausset, Hugh I'Anson, IV, 354 Faust (Goethe), I, 396; II, 489; III, 395; Supp. II, Part 1, 16; Supp. IX 141 Faust, Clarence H., I, 564, 565; II, 20, 23 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 Mid life 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 Feather Crowns (Mason), Supp. VIII, 146-147 "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, 283284, 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 Feeney, Mary, Supp. IX 152, 154 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 "Female Voice in To Kill a Mockingbird, The: Narrative Strategies in Film and Novel" (Shakelford), Supp. VIII, 129 "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 "Fence Posts" (Snyder), Supp. VIII, 304 Fences (Wilson), Supp. VIII, 329, 330, 331, 334-337, 350 "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 Affair, The (Macdonald), Supp. IV, Part 2, 473 Ferguson, Alfred Riggs, II, 23 Ferguson, J. DeLancey, IV, 213 Ferguson, James, Supp. I, Part 2, 503

INDEX / 411 Ferguson, Otis, Supp. IX 7 Fergusson, Francis, I, 265, 286, 440, 450; III, 408; IV, 143, 376 Ferlinghetti, Lawrence, Supp. IV, Part I, 90; Supp. VIII, 290, 292 Ferment of Realism, The (Berthoff), Supp. I, Part 2, 477 "Fern" (Toomer), Supp. IX 313 Fern, Fanny, Retro. Supp. I, 246; Supp. V, 122 "Fern" (Toomer), Supp. Ill, Part 2, 481 "Fern Hill" (Thomas), IV, 93 Fernandez, Enrique, Supp. VIII, 73 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, 261-262 "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 Forties (Eisinger), I, 302; II, 604 "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; Supp. IX 3, 227 Field (publication), Supp. IX 90 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), HI, 226228, 229, 232, 233, 238 Fielding, Henry, I, 134; II, 302, 304305; III, 61; Supp. I, Part 2, 421, 422, 656; Supp. IV, Part 2, 688; Supp. V, 127; Supp. IX 128 "Field-larks and Blackbirds" (Lanier), Supp. I, Part 1, 355 Fields, Annie, see Fields, Mrs. James T. "Fields at Dusk, The" (Sailer), Supp. IX 260 Fields, James T., II, 274, 279, 402403; 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. III, 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; ), Supp. IX 271 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. III, 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, Part 1, 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 "Filling Out a Blank" (Wagoner), Supp. IX 324 Fillmore, Millard, III, 101 Film Flam: Essays on Hollywood (McMurtry), Supp. V, 228 Films of Ayn 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

412 / AMERICAN WRITERS "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 Report, A" (Maxwell), Supp. VIII, 169 "Final Soliloquy of the Interior Paramour" (Stevens), Retro. Supp. I, 312 "Finale" (Longfellow), II, 505, 506507 Financier, The (Dreiser), I, 497, 501, 507, 509 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, 9192, 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 "Fine Old Firm, A" (Jackson), Supp. IX 120 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, David, Supp. VIII, 106-107 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), 11,71 "Fire Chaconne" (Francis), Supp. IX 87 Fire Next Time, The (Baldwin), Supp. I, Part 1, 48, 49, 52, 6O-61 "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. Ill, Part 1, 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, 238-239 "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, 419^20 Firestarter (King), Supp. V, 140, 141, 144; Supp. IX 114 "Fire-Truck, A" (Wilbur), Supp. Ill, Part 2, 556 "Fireweed" (Clampitt), Supp. IX 44-45 "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 Firm age, George J., I, 449 "Firmament, The" (Bryant), Supp. I, Part 1, 162 Firmat, Gustavo Perez, Supp. VIII, 76, 77,79 "First American, The" (Toomer), Supp. Ill, Part 2, 480, 487 First Book of Africa, The (Hughes), Supp. I, Part 1, 344-345 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 Light (Wagoner), Supp. IX 330 "First Love" (Welty), IV, 264; Retro. Supp. I, 347 First Man, The (O'Neill), III, 390 "First Meditation" (Roethke), III, 545546 "First Passover" (Longfellow), II, 500501 "First Person Female" (Harrison), Supp. VIII, 40, 41, 48 "First Place, The" (Wagoner), Supp. IX 328 First Poems (Merrill), Supp. Ill, Part 1,318-321,323 First Poems 1946-1954 (Kinnell), Supp. Ill, Part 1, 235, 238-239 "First Praise" (Williams), Retro. Supp. 1,413 First Principles (Spencer), Supp. I, Part 1, 368 "First Seven Years, The" (Malamud), Supp. I, Part 2, 431 "First Snow in Alsace" (Wilbur), Supp. III, Part 2, 545, 546, 559 "First Song" (Kinnell), Supp. Ill, Part 1,239 First Things (journal), Supp. VIII, 245

INDEX / 413 "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 Fishburne, Laurence, Supp. VIII, 345 Fisher, Alexander Metcalf, Supp. I, Part 2, 582 Fisher, Craig, Supp. V, 125 Fisher, Dorothy Canfield, Retro. Supp. 1, 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, E 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, 458-459, 482, 560; III, 2, 26, 35, 36, 37, 40, 44, 45, 69, 106, 244, 284, 334, 350351, 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; Supp. VIII, 101, 103, 106, 137; Supp. IX 15, 20, 55, 57-63, 199 Fitzgerald, Robert, I, 27-28, 47; II, 390; III, 338, 348, 359, 360; IV, 142; Supp. IV, Part 2, 631 Fitzgerald, Zelda (Zelda Sayre), I, 482; II, 77, 79, 82-85, 88, 90-91, 93, 95; Supp. IV, Part 1, 310; Supp. IX 55-73; see also Sayre, Zelda "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 Hundred Scorpions (Hearon), Supp. VIII, 57, 65, 66 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, 88 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; Supp. IX 56 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; HI, 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. III, 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,

414 / AMERICAN WRITERS 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, 537-538 "Flight from Byzantium" (Brodsky), Supp. VIII, 30-31 Flight of the Rocket, The (Fitzgerald), 11,89 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 (Barth), I, 121, 122-126, 127, 129, 130, 131 "Floating Poem, Unnumbered, The" (Rich), Supp. I, Part 2, 572-573 Flood (Matthews), Supp. IX 154,160161 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-^62 Flournoy, Theodore, II, 365 "Flowchart" (Ashbery), Supp. HI, Part 1, 26 Flow Chart (Ashbery), Supp. VIII, 275 Flower Fables (Alcott), Supp. I, Part 1,33 "Flower Garden" (Jackson), Supp. IX 119 "Flower Herding on Mount Monadnock" (Kinnell), Supp. Ill, 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, 450451 Flowering Judas and Other Stories (Porter), III, 433, 434 Flowering of New England, The (Brooks), IV, 171-172; Supp. I, Part 2, 426; Supp. VIII, 101 Flowering of the Rod (Doolittle), Supp. I, Part 1, 272 Flowering Peach, The (Odets), Supp. II, Part 2, 533, 547, 549-550 "Flowering Plum" (Gltick), 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 "Fly, The" (Simic), Supp. VIII, 278 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 "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 "Foggy Lane, The" (Simpson), Supp. 1X274 Fogle, Richard H., II, 245 Folded Leaf, The (Maxwell), Supp. Ill, Part 1, 62; Supp. VIII, 159162 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 Follain, Jean, Supp. IX 152, 154 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 Fonda, Peter, Supp. VIII, 42 Foner, Eric, Supp. I, Part 2, 523 Foner, Philip S., II, 484 Fong and the Indians (Theroux), Supp. VIII, 314, 315, 316-317 Fontanne, Lynn, III, 397 Fool for Love (Shepard), Supp. Ill, Part 2, 433, 447, 448 Fools (Simon), Supp. IV, Part 2, 584585 "Foot Fault" (pseudonym), see Thurber, James Foote, Horton, Supp. I, Part 1, 281; Supp. VIII, 128, 129 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 "Footnote to Weather Forecasts, A" (Brodsky), Supp. VIII, 32 Footprints (Hearon), Supp. VIII, 69-70 Footprints (Levertov), Supp. Ill, Part I, 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), HI, 508, 513, 517 "For a Lamb" (Eberhart), I, 523, 530, 531 "For a Marriage" (Bogan), Supp. Ill, Part 1, 52 "For a Southern Man" (Cisneros), Supp. VII, 67 "For All" (Snyder), Supp. VIII, 304 "For All Tuesday Travelers" (Cisneros), Supp. VII, 67-68 "For an Emigrant" (Jarrell), II, 371 "For Anna Akmatova" (Lowell), II, 544

INDEX / 415 "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 I, 145 For Love (Creeley), Supp. IV, Part 1, 139, 140, 142-145, 147-149, 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 Night to Come" (Stern), Supp. IX 292 "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 Lovers of the Absolute" (Simic), Supp. VIII, 278-279 "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 S a n i t a r y A s s o c i a t i o n , 1860" (Holmes), Supp. I, Part 1, 307 For the New Intellectual (Rand), Supp. IV, Part 2, 521, 526-527, 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 "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 West" (Snyder), Supp. VIII, 299 "For the Word Is Flesh" (Kunitz), Supp. HI, Part 1, 262-264 "For Theodore Roethke: 1908-1963" (Lowell), II, 554 For Whom the Bell Tolls (Hemingway), II, 249, 254-255, 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; Supp. VIII, 107 Ford, Harrison, Supp. VIII, 323 Ford, Harry, Supp. V, 179 Ford, Henry, I, 295, 480-481; III, 292, 293; Supp. I, Part 1, 21, Part 2, 644; Supp. HI, Part 2, 612, 613; Supp. IV, Part 1, 223; Supp. V, 290 Ford, John, Supp. I, Part 2, 422; Supp. Ill, Part 2, 619 Ford, Newell E, 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 "Fording and Dread" (Harrison), Supp. VIII, 41 Fordyce, David, II, 113 Foregone Conclusion, A (Howells), II, 278-279, 282 "Foreign Affairs" (Kunitz), Supp. HI, Part 1, 265 "Foreign Shores" (Salter), Supp. IX 260

"Foreigner, The" (Jewett), II, 409-410 Forensic and the Navigators (Shepard), Supp. Ill, Part 2, 439 Foreseeable Future, The (Price), Supp. VI, 265 Foreseeable Futures (Matthews), Supp. IX 155, 163, 169 "Forest" (Simic), Supp. VIII, 273 "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 "For/From Lew" (Snyder), Supp. VIII, 303 "Forgotten Novel, A: Kate Chopin's The Awakening" (Eble), Supp. I, Part 1, 226 Forgotten Village, The (Steinbeck), IV, 51

Forgue, Guy J., HI, 118, 119, 121 "Fork" (Simic), Supp. VIII, 275 "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

416 / AMERICAN WRITERS "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; Supp. VIII, 155, 171; Supp. IX 128 Forster, John, II, 315 Fort, Paul, II, 518, 528, 529; Retro. Supp. I, 55 Fortnightly Review (publication), III, 466

"Fortress, The" (Gliick), 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, 3536, 37, 38; III, 2; Supp. VIII, 99 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; Supp. IX 75, 80 Foscolo, Ugo, II, 543 Foss, Sam Walter, Supp. II, Part 1, 197 "Fossils, The" (Kinnell), Supp. Ill, 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 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, 100101, Part 2, 699

Foucault, Michel, Supp. VIII, 5 "Founder, The" (Stern), Supp. IX 297 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; Supp. VIII, 330 "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 in Hand: A Quartet of Novels (Warner), Supp. VIII, 164 "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; Supp. VIII, 182, 195 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 "Four Skinny Trees" (Cisneros), Supp. VII, 64 4-H Club (Shepard), Supp. Ill, Part 2, 439 "400-Meter Free Style" (Kumin), Supp. IV, Part 2, 442 Fourier, Charles, II, 342 Fourteen Hundred Thousand (Shepard), Supp. Ill, Part 2, 439 Fourteen Sisters of Emilio Montez O'Brien, The (Hijuelos), Supp. VIII, 82-85 "14: In A Dark Wood: Wood Thrushes" (Oliver), Supp. VII, 244 "14 Men Stage Head Winter 1624/ 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, Gene, Supp. VIII, 290 Fowler, Henry Watson, Supp. I, Part 2,660 Fowler, Singrid, Supp. VIII, 249, 258 Fowler, Virginia C, Supp. VIII, 224 Fowler and Wells, Retro. Supp. I, 393 Fowlie, Wallace, III, 217 "Fox, The" (Levine), Supp. V, 181, 189 Fox, Dixon Ryan, I, 337 Fox, Joe, Supp. IX 259, 261 "Fox of Peapack, The" (White), Supp. I, Part 2, 677 Fox of Peapack, The (White), Supp. I, Part 2, 676, 677-678 Fox, Ruth, Supp. I, Part 2, 619 Fox-Genovese, Elizabeth, Supp. IV, Part 1, 286 Fraenkel, Michael, III, 178, 183, 191 "Fragility" (Shields), Supp. VII, 318 "Fragment" (Ashbery), Supp. Ill, Part 1, 11, 13, 14, 19,20 "Fragment" (Lowell), II, 516 "Fragment" (Ortiz), Supp. IV, Part 2, 507 "Fragment of a Meditation" (Tate), IV, 129

INDEX / 417 "Fragment of a Prologue'* (Eliot), I, 579-580 "Fragment of an Agon" (Eliot), I, 579580 "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, 600-605,607,613-614 Franchere, Hoyt C, II, 131 Franchiser, The (Elkin), Supp. VI, 5152,58 Francis I, King, I, 12 Francis, Lee, Supp. IV, Part 2, 499 Francis, Robert, Supp. IX 75-92 Francis of Assisi, Saint, III, 543; IV, 69, 375, 410; Supp. I, Part 2, 394, 397,441,442,443 Franco, Francisco, II, 261 Franconia (Eraser), Retro. Supp. I, 136 "Franconia" tales (Abbott), Supp. I, Part 1, 38 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; Supp. IX 308, 309, 311, 320 Frank Leslie's Illustrated Newspaper (periodical), Supp. I, Part 1, 35 "Frank O'Connor and The New Yorker" (Maxwell), Supp. VIII, 172 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, 101125, 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; Supp. VIII, 202, 205 Franklin, Cynthia, Supp. IV, Part 1, 332

Franklin, H. Bruce, III, 97 Franklin, R. W., I, 473; Retro. Supp. 1,29,41,43,47 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, 565-566 Franny and Zooey (Salinger), III, 552, 564-567; IV, 216 Fraser, Joe, III, 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, Sir James G., I, 135; II, 204; III, 6-7; IV, 70; Retro. Supp. I, 80; Supp. I, Part 1, 18, Part 2, 541 Frazier, David L., II, 294 Frazier, Ian, Supp. VIII, 272 "Freak Show, The" (Sexton), Supp. II, Part 2, 695 Freddy's Book (Gardner), Supp. VI, 72 Frederic, Harold, I, 409; II, 126-149, 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, Monroe H., Supp. VIII, 127 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), III, 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, The (publication), I, 245 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; Supp. IX 79 Freeman's Journal (periodical), Supp. II, Part 1, 260, 261 Freinman, Dorothy, Supp. IX 94 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. I, 220 "French Scarecrow, The" (Maxwell), Supp. VIII, 169, 170 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, 253-277 Frenz, Horst, I, 95; III, 408 Frescoes for Mr. Rockefeller's City (MacLeish), III, 14-15 Fresh Air Fiend: Travel Writings, 1985-2000 (Theroux), Supp. VIII, 325 Freud, Sigmund, I, 55, 58, 59, 66, 67, 135, 241, 242, 244, 247, 248, 283; II, 27, 365, 370, 546-547; 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; Supp. VIII, 103, 196; Supp. IX 102, 155, 161, 308 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 "Freud and Literature" (Trilling),

418 / AMERICAN WRITERS Supp. Ill, Part 2, 502-503 Freudian Psychology and Veblen's Social Theory, The (Schneider), Supp. I, Part 2, 650 Freudian Wish and Its Place in Ethics, The (Holt), I, 59 Freudianism, I, 66, 152, 192, 248, 273, 365; II, 261, 272, 355, 380; III, 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 "Fried Sausage" (Simic), Supp. VIII, 270 Friedenberg, Edgar Z., Supp. VIII, 240 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 Earth (Boyle), Supp. VIII, 12, 16 "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 Non-Conformist, 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 Heraclitus, The" (Simic), Supp. VIII, 284 "Friends of the Family, The" (McCarthy), II, 566 "Friendship" (Emerson), Supp. II, Part 1, 290 "Frigate Pelican, The" (Moore), HI, 208,210-211,215

Frobenius, Leo, III, 475; Supp. HI, Part 2, 620 "Frog Pond, The" (Kinnell), Supp. Ill, Part 1, 254 Frohock, W. M., I, 34, 42, 47, 311; II, 53; IV, 259 Frolic of His Own, A (Gaddis), Supp. IV, Parti, 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, 565567 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 Bondage (H. Roth), Supp. IX 236, 238-240 "From Chicago" (Anderson), I, 108109 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 Gorbunov and Gorchakov" (Brodsky), Supp. VIII, 26 "From Grand Canyon to Burbank" (Miller), III, 186 "From Hell to Breakfast", Supp. IX 326-327 From Here to Eternity (Jones), I, 477 From Jordan's Delight (Blackmur), Supp. II, Part 1, 91 From Morn to Midnight (Kaiser), I, 479 "From Native Son to Invisible Man" (Locke), Supp. IX 306 "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, 512-513 "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" (Oates), Supp. II, Part 2, 510 "From the Diary of a New York Lady" (Parker), Supp. IX 201 "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; Supp. VIII, 196 "Front, A" (Jarrell), II, 374 Front, The (film), Supp. I, Part 1, 295 "Front and the Back Parts of the House, The" (Maxwell), Supp. VIII, 169 "Front Lines" (Snyder), Supp. VIII, 301 Frost: A Time to Talk (Francis), Supp. IX 76, 85-86 "Frost Flowers" (Kenyon), Supp. VII, 168 Frost, Isabelle Moodie, II, 150, 151 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; Supp. VIII, 20, 30, 32, 98, 100, 104, 259, 292;

INDEX / 419 Supp. IX 41, 42, 75, 76, 80, 87, 90, 266, 308 Frost, William Prescott, II, 150-151 "Frost: A Dissenting Opinion" (Cowley), Supp. II, Part 1, 143 "Frost: He Is Sometimes a Poet and Sometimes a Stump-Speaker" (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), II, 516 "Fruit of the Flower" (Cullen), Supp. IV, Part 1, 167 Fruit of the Tree, The (Wharton), IV, 314-315; Retro. Supp. I, 367, 370371, 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, 319-321, 323 Fuertes, Gloria, Supp. V, 178 Fugard, Athol, Supp. VIII, 330 Fugitive, The (magazine), HI, 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, Part 1, 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; Supp. IX 37 Fuller, Thomas, II, 111, 112 Fullerton Street (Wilson), Supp. VIII, 331 "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 "Funeral of Bobo, The" (Brodsky), Supp. VIII, 27, 28 Funke, Lewis, IV, 401 "Funnel" (Sexton), Supp. II, Part 2, 675 Fur Person, The (Sarton), Supp. VIII, 264-265 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. HI, 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; 111,525

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 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; Supp. IX 208 Gaer, Joseph, II, 484 Gagey, Edmond M., Ill, 407 Gain (Powers), Supp. IX 212, 220221 Gaines, James R., Supp. IX 190 Gaines, Jim, IV, 401 Galamain, Ivan, Supp. Ill, Part 2, 624 Galantiere, Lewis, I, 119 "Galatea Encore" (Brodsky), Supp. VIII, 31 Galatea 2.2 (Powers), Supp. IX 212, 219-220 Galbraith, John Kenneth, Supp. I, Part 2, 645, 650 Galdos, Benito Perez, see Perez Galdos, Benito Gale, Zona, Supp. I, Part 2, 613; Supp. VIII, 155 "Gale in April" (Jeffers), Supp. II, Part 2, 423 Galignani> Giovanni Antonio, II, 315 Galileo, I, 480-481 Gallant, Mavis, Supp. VIII, 151 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,

420 / AMERICAN WRITERS 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. III, Part 2, 552 "Games Two" (Wilbur), Supp. Ill, Part 2, 550 "Gamut, The" (Angelou), Supp. IV, Part 1, 15 Gandhi, Mahatma, III, 179, 296-297; IV, 170, 185, 367; Supp. VIII, 203, 204 Gandhi on Non-Violence (Merton, ed.), Supp. VIII, 204-205 "Gang of Mirrors, The" (Simic), Supp. VIII, 283 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 Garber, Frederick, Supp. IX 294-295 Garbo, Greta, Supp. I, Part 2, 616 Garcia, Cristina, Supp. VIII, 74 Garcia Lorca, Federico, see Lorca, Federico Garcia Garcia Marquez, Gabriel, Supp. V, 244; Supp. VIII, 81, 82, 84, 85 "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 Gardener's Son, The (McCarthy), Supp. VIII, 187 "Gardens, The" (Oliver), Supp. VII, 236 "Gardens of Mont-Saint-Michel, The" (Maxwell), Supp. VIII, 169 "Gardens of Zuni, The" (Merwin), Supp. Ill, Part 1, 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. 1, 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, Deborah, Supp. IX 299 Garrison, Fielding, III, 105 "Garrison of Cape A n n , The" (Whittier), Supp. I, Part 2, 691, 694 Garrison, William Lloyd, Supp. I, Part 2, 524, 588, 683, 685, 686, 687 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, 41-42 Gaskell, Elizabeth, A., Supp. I, Part 2, 192, 580 Gass, W. H., IV, 48 Gass, William, Supp. IX 208 Gass, William H., Supp. V, 44, 52, 238; Supp. VI, 77, 78-80, 81-96 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 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, Part 1, 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 of Zion, 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, 439440, 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 Gazzara, Ben, Supp. VIII, 319 Gazzo, Michael V., Ill, 155 Geddes, Virgil, III, 407; Supp. I, Part 2,627 "Geese Gone Beyond" (Snyder), Supp. VIII, 304 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; Supp. IX 15 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)

INDEX / 421 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 "Gen" (Snyder), Supp. VIII, 302 "General Aims and Theories" (Crane), 1,389 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, 385-388, 389, 392, 399 General William Booth Enters into Heaven and Other Poems (Lindsay), Supp. I, Part 2, 379, 381, 382, 387388, 391 "Generations of Men, The" (Frost), Retro. Supp. I, 128 Generous Man, A (Price), Supp. VI, 259, 260, 261 Genesis (biblical book), I, 279; II, 540; Retro. Supp. I, 250, 256 "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. HI, 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 Crafter, 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, 211-212 "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 Geo-Bestiary (Harrison), Supp. VIII, 53 "Geode" (Frost), II, 161 Geographical History of America, The (Stein), IV, 31, 45 Geography and Plays (Stein), IV, 2930, 32, 43, 44 Geography of a Horse Dreamer (Shepard), Supp. Ill, Part 2, 432 Geography of Lograire, The (Merton), Supp. VIII, 208 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, 305306, 308, 309, 310 "Georgia Dusk" (Toomer), Supp. IX 309 "Georgia: Invisible Empire State" (Du Bois), Supp. II, Part 1, 179 "Georgia Night" (Toomer), Supp. Ill, Part 2, 481 Georgia Review, Supp. IX 163, 291 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, 4950,51,52 "Geraldo No Last Name" (Cisneros), Supp. VII, 60-61 Gerando, Joseph Marie de, II, 10 Gerber, Dan, Supp. VIII, 39 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), I, 35 Germer, Rudolf, I, 590 Germinal (Zola), HI, 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, HI, 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 "Gestalt at Sixty" (Sarton), Supp. VIII, 260 Getlin, Josh, Supp. V, 22; Supp. VIII, 75, 76, 78, 79 "Getting Born" (Shields), Supp. VII, 311 "Getting Out of Jail on Monday" (Wagoner), Supp. IX 327 "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.

422 / AMERICAN WRITERS III, 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 Giacometti, Alberto, Supp. VIII, 168, 169 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; Supp. VIII, 151 "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; Supp. VIII, 40 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), III, 512,517,518-521,524 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, Jack, Supp. IX 287 Gilbert, Peter, Supp. IX 291, 300 Gilbert, Sandra M., Retro. Supp. I, 42; Supp. IX 66 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 Corey of the Salem Farms (Longfellow), II, 505, 506 Giles Goat-Boy (Barth), I, 121, 122123, 129, 130, 134, 135-138; Supp. V, 39 Giles, H. A., Retro. Supp. I, 289 Giles, James R., Supp. IX 11, 15 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. 1, 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, 42-43 Gingerbread Lady, The (Simon), Supp. IV, Part 2, 580, 583-584, 588

Gingerich, Willard, Supp. IV, Part 2, 510 Gingrich, Arnold, III, 573; Retro. Supp. I, 113 Ginna, Robert, Supp. IX 259 Ginsberg, Allen, I, 183; Retro. Supp. I, 411, 426, 427; Supp. II, Part 1, 30, 32, 58, 307-333; Supp. HI, 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; Supp. VIII, 239, 242243, 289; Supp. IX 299 Gioia, Dana, Supp. IX 279 Giorgi, Amedeo, II, 365 Giotto, Supp. I, Part 2, 438 Giovanni, Nikki, Supp. I, Part 1, 66; Supp. II, Part 1, 54; Supp. IV, Part 1, 11; Supp. VIII, 214 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, 182-183 "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 Sleuth, The: A Feminist Guide (Mason), Supp. VIII, 133, 135,139, 142 "Girl the Prince Liked, The" (Z. Fitzgerald), Supp. IX 71 Girl Who Loved Tom Gordon, The (King), Supp. V, 138, 152 "Girl with Silver Eyes, The" (Hammett), Supp. IV, Part 1, 344, 345 "Girl with Talent, The" (Z. Fitzgerald), Supp. IX 71 Girls at Play (Theroux), Supp. VIII, 314,315,316,317 "Girls at the Sphinx, The" (Farrell), II, 45 Girodias, Maurice, III, 171 Giroux, Robert, Supp. IV, Part 1, 280; Supp. VIII, 195 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

INDEX / 423 "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. III, 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 Glanville, Brian, IV, 23 Glanville-Hicks, Peggy, Supp. IV, Part 1,84 Glare (Ammons), Supp. VII, 35-36 Glasgow, Gary, II, 173, 182 Glasgow, Ellen, I, 333; II, 173-195; IV, 328 Glaspell, Susan, Supp. Ill, Part 1, 175-191 "Glass" (Francis), Supp. IX 80 Glass Bees, The (Jiinger, trans. Bogan and Mayer), Supp. HI, 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 Glazer, Nathan, Supp. VIII, 93, 243 "Gleaners, The" (Merwin), Supp. HI, Part 1, 346 Gleanings in Europe (Cooper), I, 346 Gleason, Jackie, Supp. IV, Part 2, 574 Gleason, Ralph J., Supp. IX 16 Glebe (magazine), III, 465 Gleckner, Robert E, I, 427 Glenn, Eunice, IV, 284 Click, Nathan, III, 72 Glicklich, Martha, IV, 22 Glicksberg, Charles I., I, 263; II, 53;

III, 48; IV, 117 Glimcher, Arne, Supp. VIII, 73 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, 144-145 Gloria Naylor (Fowler), Supp. VIII, 224 Glory of Hera, The (Gordon), II, 196197, 198, 199, 217-220 Glory of the Conquered, The (Glaspell), Supp. Ill, Part 1, 176 Glotfelty, Cheryll, Supp. IX 25 Glover, Danny, Supp. IV, Part 1, 367 Glover, William, IV, 401 Cluck, Christoph Willibald, II, 210, 211 Gluck, Louise, Supp. V, 77-94; Supp. VIII, 272 "Glutton, The" (Shapiro), Supp. II, Part 2, 705 Gnadiges 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 and the American Writer (Kazin), Supp. VIII, 108-109 God Bless You, Mr. Rosewater (Vonnegut), Supp. II, Part 2, 758, 767,768-769,771,772 "God in the Doorway" (Dillard), Supp. VL 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), HI, 495-496, 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, 326327; Retro. Supp. I, 382 God's Country and My People (Morris), HI, 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 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,

424 / AMERICAN WRITERS 26; Supp. Ill, Part 1, 63; Supp. IX 131, 308 Gogol, Nikolai, I, 296; IV, 1, 4; Retro. Supp. I, 266, 269; Supp. VIII, 14 Going, William T., Supp. VIII, 126 Going After Cacciato (O'Brien), Supp. V, 237, 238, 239, 244-246, 248, 249 Going All the Way (Wakefield), Supp. VIII, 43 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, 62-63 "Going to Naples" (Welty), IV, 278; Retro. Supp. I, 352, 353 "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" (Francis), Supp. IX 82 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 Bug Variations, The (Powers), Supp. IX 210, 212, 216-217, 219 "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 Goldberg, S. L., Supp. VIII, 238 Goldblum, Jeff, Supp. IX 254 Golde, Miss (Mencken's Secretary), III, 104, 107 Golden, Harry, III, 579, 581, 598; Supp. VIII, 244 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, 350-351, 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; Supp. IX 123 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, 429^30, 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 "Goldfish Bowl, The" (Francis), Supp. 1X78 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, Part 1, 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 Goncharova, Natalya, Supp. IX 66 Goncourt, Edmond de, II, 325, 328; Retro. Supp. I, 226 Goncourt, Jules de, II, 328 Goncourt brothers, III, 315, 317-318, 321 Gone with 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 Gonzalez, David, Supp. VIII, 85 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 Company" (Matthews), Supp. IX 160 "Good Country People" (O'Connor), 111,343,350,351,352,358 Good Day to Die, A (Harrison), Supp. VIII, 42-44, 45, 47 Good Doctor, The (Simon), Supp. IV, Part 2, 575, 585 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, 509510,514 Good Luck in Cracked Italian (Hugo), Supp. VI, 133, 137-138 "Good Man Is Hard to Find, A" (O'Connor), III, 339, 344, 353 Good Man Is Hard to Find, A

INDEX / 425 (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 News of Death and Other Poems (Simpson), Supp. IX 265, 268-269 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. III, Part 2, 401, 404, 408-409, 411 Goodbye, Columbus (Roth), Supp. Ill, 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; Supp. VIII, 239-240 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, Parti, 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, 297317 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; Supp. VIII, 157 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 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, 467-468, 477; Retro. Supp. I, 55 Gouverneurs de la Rosee (Roumain), Supp. IV, Part 1, 360, 367 "Governors of Wyoming, The" (Proulx), Supp. VII, 264 Cowing, 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, Jorie, Supp. IX 38, 52 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; Supp. 1X63 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 Grain of Mustard Seed, A (Sarton), Supp. VIII, 259-260, 263 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

426 / AMERICAN WRITERS Grand Design, The (Dos Passes), I, 489-490 "Grand Forks" (Simpson), Supp. IX 280-281 "Grand Inquisitor" (Dostoevski), IV, 106 Grand Street (publication), Supp. IX 260 "Grande Malade, The" (Barnes), Supp. III, 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, 333334 "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. III, Part 1, 4 "Grass" (Sandburg), III, 584 Grass, Giinter, Supp. VIII, 40 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 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, Parti, 150, Part 2, 422, 716 Gray, Thomas A., Supp. I, Part 2, 710, 730 "Gray Heron, The" (Kinnell), Supp. III, Part 1, 250 "Gray Squirrel" (Francis), Supp. IX 90 Greasley, Philip, Supp. I, Part 2, 478 "Greasy Lake" (Boyle), Supp. VIII, 15 Greasy Lake (Boyle), Supp. VIII, 14-15 "Great Adventure of Max Breuck, The" (Lowell), II, 522 Great American Novel, The (Roth), Supp. Ill, Part 2, 414-416 Great American Short Novels (Phillips, ed.), Supp. VIII, 156 Great Battles of the World (Crane), I, 415 Great Christian Doctrine of Original Sin Defended, The . . . (Edwards), I, 549, 557, 559 Great Circle (Aiken), I, 53, 55, 57 "Great Class-Reunion Bazaar, The" (Theroux), Supp. VIII, 312

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 Elegy for John Donne" (Brodsky), Supp. VIII, 21, 23 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; Supp. IX 57, 58 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 Infirmities" (Simic), Supp. VIII, 277 Great Jones Street (DeLillo), Supp. VI, 2,3,8-9, 11, 12,14 "Great Lawsuit, The: Man versus Men: Woman versus Women" (Fuller), Retro. Supp. I, 156; Supp. II, Part 1,292 "Great Men and Their Environment" (James), II, 347 "Great Mississippi Bubble, The" (Irving), II, 314 Great Railway Bazaar, The: By Train through Asia (Theroux), Supp. VIII, 318,319,320-321,322 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

INDEX / 427 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, 284285 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 Lampshade" (Simic), Supp. VIII, 283 Green Memories (Mumford), Supp. II, Part 2, 474, 475, 479, 480^81 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. III, Part 1, 340, 344-346 Greenberg, Eliezer, Supp. I, Part 2, 432 Greenberg, Samuel, I, 393 Greene, A. C., Supp. V, 223, 225 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; Supp. 1X261 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 R, 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; Supp. IX 229 Gregory, Lady, III, 458 Grenander, M. E., I, 213 Grendel (Gardner), Supp. VI, 63, 67, 68, 74 "Gretel in Darkness" (Gltick), 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, John Howard, Supp. VIII, 208 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, 481-482 Griffiths, Clyde, I, 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 I., 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 "Ground on Which I Stand, The" (Wilson), Supp. VIII, 331 "Groundhog, The" (Eberhart), I, 523, 530-532, 533 Group, The (McCarthy), II, 570, 574578 "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 Group Therapy (Hearon), Supp. VIII, 64-65 Groves of Academe, The (McCarthy), 11,568-571 "Growing Season, The" (Caldwell), I, 309 Growing Up Gay: A Literary Anthology (ed. Singer), Supp. IV, Part 1, 330 "Growing Up Good in Maycomb" (Shaffer), Supp. VIII, 128 "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, 370-372, 375, 376-377, 378, 379 Guardian Angel, The (Holmes), Supp. I, Part 1, 315-316 Gubar, Susan, Retro. Supp. I, 42; Supp. IX 66 Guerin, Maurice de, I, 241

428 / AMERICAN WRITERS "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 Guevara, Martha, Supp. VIII, 74 Guide in the Wilderness, A (Cooper), I, 337 "Guide to Dungeness Spit, A" (Wagoner), Supp. IX 325-326, 329 Guide to Ezra Pound's Selected Cantos' (Kearns), Retro. Supp. I, 292 Guide to Kulchur (Pound), III, 475 Guide to the Ruins (Nemerov), III, 269, 270-271, 272 Guillen, Nicolas, Supp. I, Part 1, 345; Retro. Supp. I, 202 Guillevic, Eugene, Supp. HI, 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 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, Thorn, Supp. IX 269 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, Georges, Supp. V, 199; Supp. IX 320 Gurko, Leo, III, 62, 72, 384 Gurney, A. R., Supp. V, 95-112; Supp. 1X261 Gurney, Mary (Molly) Goodyear, Supp. V, 95 Gurwitsch, Aron, II, 366 Gussow, Mel, I, 95; IV, 401; Supp. IX 93 Gustavus Vassa, the African (Vassa),

Supp. IV, Part 1, 11 Gusto, Thy Name Was Mrs. Hopkins: A Prose Rhapsody (Francis), Supp. 1X89 Gute Mensch von Sezuan, Der (Brecht), Supp. 1 X 1 3 8 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 I., II, 75; III, 574 Gypsy Ballads (trans. Hughes), Supp. I, Part 1, 345 "Gyroscope, The" (Rukeyser), Supp. VI, 271 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 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, 482-483; 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 "HaTta 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, Nancy, Supp. VIII, 151, 171 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" (Rfos), Supp. IV, Part 2, 552 Half Moon Street: Two Short Novels (Theroux), Supp. VIII, 322, 323 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, 441-442 "Halfway" (Rich), Supp. I, Part 2, 553 Halfway to Silence (Sarton), Supp. VIII, 261 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; Supp. 1X269 Hall, James, I, 542; II, 313; Supp. I, Part 2, 584, 585 Hall, Max, II, 125 Hall, Timothy L., Supp. VIII, 127, 128 Hall of Mirrors, A (Stone), Supp. V, 295, 296-299, 300, 301 Halleck, Fitz-Greene, Supp. I, Part 1, 156, 158 "Hallelujah: A Sestina" (Francis), Supp. IX 82 Haller, Robert S., IV, 95

INDEX / 429 "Haller's Second Home" (Maxwell), Supp. VIII, 169 Hallock, Rev. Moses, Supp. I, Part 1, 153 Halloween Tree, The (Bradbury), Supp. IV, Part 1, 102, 112-113 Hallwas, John E., Supp. I, Part 2, 402, 454, 478 Halpern, Daniel, Supp. IV, Part 1, 9495,95 Halsey, Theresa, Supp. IV, Part 1, 330,331 "Halt in the Desert, A" (Brodsky), Supp. VIII, 24 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, David, Supp. IX 296 Hamilton, Hamish, Supp. I, Part 2, 617 Hamilton, Kenneth, I, 95; HI, 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; III, 7, 11, 12, 183; IV, 116, 131, 227; Supp. I, Part 1, 369, Part 2, 422, 457, 471; Supp. IV, Part 2, 612; Supp. IX 14 Hamlet, The (Faulkner), II, 69-71, 73, 74; IV, 131; Retro. Supp. I, 82, 91, 92; Supp. VIII, 178; Supp. IX 103 "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, Part 1, 120, 121, 341357, Part 2, 461, 464, 468, 469, 472, 473; Supp. IX 200 Hammond, Karla, Supp. IV, Part 2, 439, 442, 448, 637, 640, 644, 648 Hampl, Patricia, Supp. IX 291 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; Supp. VIII, 40 Hanau, Stella, III, 406 Hancock, John, Supp. I, Part 2, 524 "Hand of Emmagene, The" (Taylor), Supp. V, 314, 325-326 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, W. C, Supp. VIII, 337 Handy Guide for Beggars, A (Lindsay), Supp. I, Part 2, 376-378, 380, 382, 399 Hanging Garden, The (Wagoner), Supp. IX 338-339 "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 Hangsaman (Jackson), Supp. IX 116, 123, 124 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 Hannah's House (Hearon), Supp. VIII, 58, 60-61 Hanneman, Audre, II, 259, 270 Hanoi (McCarthy), II, 579 Hansberry, Lorraine, Supp. IV, Part 1, 359-377; Supp. VIII, 329 Hansel and Gretel, Supp. I, Part 2, 597 Hansen, Erik, Supp. V, 241 Hansen, Harry, I, 119; IV, 366, 376 Han-shan, Supp. VIII, 292 "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, 582-583 Happiness of Getting It Down Right, The (Steinman, ed.), Supp. VIII, 172 Happy Birthday, Wanda June (Vonnegut), Supp. II, Part 2, 759, 776-777 Happy Childhood, A (Matthews), Supp. IX 155, 160, 161-163 Happy Days (Beckett), Retro. Supp. I, 206 Happy Days, 1880-1892 (Mencken), HI, 100, 111, 120 "Happy End" (Simic), Supp. VIII, 276-277 "Happy Failure, The" (Melville), III, 90 Happy Families Are All Alike (Taylor), Supp. V, 322-323, 325 Happy Isles of Oceania, The: Paddling the Pacific (Theroux), Supp. VIII, 324 "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. 1, 200 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,

430 / AMERICAN WRITERS 433; Supp. I, Part 1, 24 Hardwick, Elizabeth, Supp. I, Part 1, 196, 198; Supp. Ill, Part 1, 193215; 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; Supp. VIII, 32; Supp. IX 40, 78, 85, 108,211 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; Supp. VIII, 213 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; Supp. IX 197, 306, 311, 316 "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. 1, 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; Supp. VIII, 12, 231, 236; Supp. IX 4, 270, 291 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; Supp. 1X71 Harper's Monthly (magazine), Retro. Supp. I, 362; see also Harper's 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; Supp. IX 125

Harris, Marie, Supp. IX 153 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, Jim, Supp. VIII, 37-56 Harrison, Ken, Supp. IX 101 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. HI, 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, 248-250, 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 Hartman, Geoffrey, Supp. IV, Part 1, 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 Harvard Review (publication), Supp. VIII, 281 "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 Haselden, Elizabeth Lee, Supp. VIII, 125 Hasley, Louis, Supp. I, Part 2, 627, 681 Hass, Robert, Supp. VI, 97, 98-99, 100-111; Supp. VIII, 24, 28 Hassan, lhab, I, 166; II, 608; III, 48, 192, 243; IV, 99-100, 115, 119; Supp. I, Part 1, 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 Haunch, Paunch, and Jowl (Ornitz), Supp. IX 227

INDEX / 431 "Haunted Landscape" (Ashbery), Supp. Ill, Part 1, 22 "Haunted Mind" (Simic), Supp. VIII, 282 "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 Haunting, The (film), Supp. IX 125 Haunting of Hill House, The (Jackson), Supp. IX 117, 121, 126, 127 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 Havens 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, 169-170 "Hawk, The" (Francis), Supp. IX 81 Hawk in the Rain, The (Hughes), Supp. I, Part 2, 537, 540 Hawk Moon (Shepard), Supp. Ill, Part 2,445 "Hawk's Cry in A u t u m n , The" (Brodsky), Supp. VIII, 29 Hawke, David Freeman, Supp. I, Part 2,511, 516 Hawkes, John, I, 113; III, 360; Supp. III, Part 1, 2; Supp. V, 40; Supp. 1X212 Hawkins, William, II, 587 Hawks, Howard, Supp. IV, Part 1, 130 "Hawk's Shadow" (Gluck), Supp. V, 85 Hawk's Well, The (Yeats), HI, 459460

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; HI, 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, 223246, 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, Part 1, 38, 147, 188, 197, 317, 372, Part 2, 420, 421, 545, 579, 580, 582, 587, 595, 596; Supp. Ill, Part 2, 501; Supp. IV, Part 1, 80, 127, 297, Part 2, 463, 596; Supp. V, 152; Supp. VIII, 103, 105, 108,153, 201; Supp. IX 114 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 Hayes, Rutherford B., Supp. I, Part 2, 419 Hayford, Harrison, III, 95, 96 Haygood, Wil, Supp. VIII, 79 Hayman, Ronald, III, 169 Hayne, Paul Hamilton, Supp. I, Part 1, 352, 354, 355, 360, 372 Hayward, John, Retro. Supp. I, 67 Haywood, "Big" Bill, I, 483; Supp. V, 286 Hazard, Grace, II, 530

Hazard of New Fortunes, A (Howells), II, 275, 276, 286-297, 290 Hazel, Robert, I, 311; Supp. VIII, 137, 138 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 Hazzard, Shirley, Supp. VIII, 151 "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. III, Part 1, 124 Headlines (Williams), IV, 381 Headlong Hall (Peacock), Supp. I, Part 1, 307 Headmaster, The (McPhee), Supp. Ill, Part 1, 291, 294, 298 Headsman, The (Cooper), I, 345-346 "Headwaters" (Momaday), Supp. IV, Part 2, 486 Heal, Edith, IV, 423 Healy, Tim, II, 129, 137 Heaney, Seamus, Supp. IX 41, 42 "Hear the Nightingale Sing" (Gordon), II, 200 Hearn, Lafcadio, I, 211; II, 311 Hearon, Shelby, Supp. VIII, 57-72 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. HI, 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,

432 / AMERICAN WRITERS 578; II, 595 Heart of Darkness (Conrad), Supp. V, 249, 311;Supp. VIII, 4, 316 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 I, 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), 111,8 "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 Heath Anthology of American Literature, The, Supp. IX 4 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 Hebrew Bible, Supp. IX 14 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 I., II, 311-312, 318 Hedylus (Doolittle), Supp. I, Part 1, 259, 270 "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; Supp. VIII, 9 Heidenmauer, The (Cooper), I, 345346 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 Heilbrun, Carolyn G., Supp. IX 66 Heilman, Robert B., II, 222; IV, 425 Heim, Michael, Supp. V, 209 Heimert, Alan, I, 565, 566; HI, 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; Supp. VIII, 245 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; Supp. VIII, 243; Supp. IX 196, 198, 200201,204 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. HI, 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" (Barth), 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, 484-485, 487, 488, 489, 491, 495, 504, 517; II, 27, 44, 51, 58, 68-69, 78, 90, 97, 100, 127, 206, 247-270, 289, 424, 431, 456, 457, 458-459, 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,

INDEX / 433 237, 240, 244, 250, 336; Supp. VIII, 40, 101, 105, 179, 182, 183, 188, 189, 196; Supp. IX 16, 57, 58, 94, 106, 260, 262 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, III, 121 Henderson, Jane, Supp. VIII, 87 Henderson, Katherine, Supp. IV, Part 1, 203, 207 Henderson, Linda, see Hogan, Linda Henderson, Robert W., Supp. VIII, 124 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 Henfrey, Norman, III, 622 Henle, James, II, 26, 30, 38, 41; Supp. IX 2 Henri, Robert, IV, 411; Supp. I, Part 2, 376 Henry VI, King, II, 379 Henry VIII (Shakespeare), Supp. IX 235 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 ; Supp. VIII, 164 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 Hepburn, Katharine, Supp. IX 189 "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), 111,21,22 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, Zbigniew, Supp. VIII, 20 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. Ill, Part 1, 275, 276 Here at the New Yorker (Gill), Supp.

I, Part 2, 626, 681 Here Lies (Parker), Supp. IX 192 "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 "Hermit Thrush, A" (Clampitt), Supp. 1X40 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 "Heroines of Nature: Four Women Respond to the American Landscape" (Norwood), Supp. IX 24 Herod, King, III, 353; IV, 138 Herodiade (Mallarme), I, 66 Herodotus, Supp. I, Part 2, 405 Heroes, The (Ashbery), Supp. Ill, Part 1, 3

434 / AMERICAN WRITERS Heroic Ideal in American Literature, The (Gross), Supp. I, Part 1, 70 Herold, David, Supp. I, Part 2, 500 "Heron, The" (Roethke), III, 540-541 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 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 "Hetch Hetchy Valley" (Muir), Supp. IX 185 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; 11,26 Hiatt, David E, II, 294 Hiawatha (Longfellow), Supp. I, Part 1, 79; Supp. Ill, Part 2, 609, 610 "Hibernaculum" (Atnmons), 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 Hickok, 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; Supp. VIII, 96, 124 "Hidden Gardens" (Capote), Supp. Ill, Part 1, 125 "Hidden Name and Complex Fate" (Ellison), Supp. II, Part 1, 245 "Hide-and-Seek" (Francis), Supp. IX 81 "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, 1,451452, 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 Diver" (Francis), Supp. IX 82 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; Supp. VIII, 73-91 Hike and the Aeroplane (Lewis), II, 440^41 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 Hiller, Hilaire, III, 191

Hill-Lubin, Mildred A., Supp. IV, Part 1,13 Hillman, Sidney, Supp. I, Part 1, 5 Hillringhouse, Mark, Supp. IX 286, 288, 299 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; Supp. IX 75 "Hilton's Holiday, The" (Jewett), II, 391 Him (Cummings), I, 429, 434-435 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. 1, Part 1, 270 Hippolytus Temporizes (Doolittle), Supp. I, Part 1, 270 "Hips" (Cisneros), Supp. VII, 61, 62 Hirsch, Edward, Supp. V, 177; Supp. 1X262 Hirsch, Sidney, see Mttron-Hirsch, Sidney Hirschorn, Clive, Supp. IV, Part 2, 577, 579 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

INDEX / 435 (Berryman), I, 169, 170, 183, 184186 "His Words" (Roethke), III, 544 Histoire comparee des systemes de philosophic (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 I, 251 "History" (Emerson), II, 13, 15 "History" (Hughes), Supp. I, Part 1, 344 "History" (Simic), Supp. VIII, 279 "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), II, 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, 300303, 304, 310 History ofPendennis, The (Thackeray), II, 291 "History of Red, The" (Hogan), Supp. IV, Part 1,411

History ofRoxbury Town (Ellis), Supp. I, Parti, 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), 11,310,314 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 "Hitch Haiku" (Snyder), Supp. VIII, 297 Hitchcock, Ada, see MacLeish, Mrs. Archibald (Ada Hitchcock) Hitchcock, Alfred, IV, 357; Supp. IV, Parti, 132; Supp. VIII, 177 "Hitch-Hikers, The" (Welty), IV, 262 Hitchins, Christopher, Supp. VIII, 241 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; HI, 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, Agnes, Supp. VIII, 251 Hocking, William Ernest, HI, 303 Hodgson, Captain Joseph, III, 328 Hoeltje, Hubert, II, 23, 245 Hoffa, Jimmy, I, 493 Hoffding, Harold, II, 364 HofTer, Eric, Supp. VIII, 188 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 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 Hofstadter, Richard, Supp. VIII, 98, 99, 108 Hogan, Charles Beecher, III, 525 Hogan, Linda, Supp. IV, Part 1, 324, 325, 397-418 Hogg, James, I, 53; Supp. I, Part 1, 349; Supp. IX 275 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, 201202, 204 "Holding the Mirror Up to Nature" (Nemerov), III, 275, 276 "Hole in the Floor, A" (Wilbur), Supp. III, 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; Supp. IX 50, 153, 155 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

436 / AMERICAN WRITERS "Hollow Tree, A" (Ely), 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. I, 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, 440441 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, Steven J., Supp. IX 172, 177 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, 437^38, 447 "Holy Innocents, The" (Lowell), II, 539 Holy Sonnets (Donne), IV, 145; Supp. I, Part 1, 367; Supp. HI, Part 2, 619 "Holy Terror, A" (Bierce), I, 203 "Holy Terror, The" (Maxwell), Supp. VIII, 169 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, 170-171, 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. Ill, 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 Home as Found (Cooper), I, 348, 349, 350, 351 "Home Away from Home, A" (Humphrey), Supp. IX 101 "Home Burial" (Frost), Retro. Supp. I, 124, 125, 128, 129-130; Supp. VIII, 31 Home from the Hill (film), Supp. IX 95 Home from the Hill (Humphrey), Supp. IX 93, 95, 96-98, 104, 106, 109 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, The (Wilson), Supp. VIII, 330 Homecoming Game, The (Nemerov),

III, 268, 282, 284-285 "Homeland" (Merwin), Supp. Ill, Part 1, 351 Homeland and Other Stories (Kingsolver), Supp. VII, 199, 202204, 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, 416-417, 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, 594596 "Honey Babe" (Hughes), Supp. I, Part 1,334 "Honey Tree, The" (Oliver), Supp. VII, 236 "Honey, We'll Be Brave" (Farrell), II, 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; Supp. VIII, 96, 100 "Hook" (Wright), Supp. Ill, Part 2, 604 Hooker, Adelaide, see Marquand, Mrs. John P. (Adelaide Hooker)

INDEX / 437 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" (Matthews), Supp. IX 163 "Hope A t h e r t o n ' 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, Part 1, 79, 81, 94; Supp. Ill, Part 2, 551; Supp. IV, Part 1, 178, Part 2, 637, 638, 639, 641, 643; Supp. V, 337; Supp. IX 39,42 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; Supp. IX 152 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 Horner, George R, II, 125 Horowitz, James. See Salter, James 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 Has Six Legs, The (Simic), Supp. VIII, 272 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, 112113, 114 "Horses and Men in Rain" (Sandburg), III, 584 Horses Make a Landscape More Beautiful (Walker), Supp. Ill, Part 2, 521,533 Horsford, Howard C., Ill, 96 "Horsie" (Parker), Supp. IX 193 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, Part 1,311-302 Hospital Sketches (Alcott), Supp. I, Part 1, 34, 35 Hostages to Fortune (Humphrey), Supp. IX 96, 104-106, 109 "Hot Dog" (Stern), Supp. IX 298-299 "Hot N i g h t on Water Street" (Simpson), Supp. IX 269, 270 "Hot Time, A" (Gunn Allen), Supp. IV, Part 1, 333 "Hot Times in the Catbird Seat" (Braunlich), Supp. I, Part 2, 626 Hotel Insomnia (Simic), Supp. VIII, 280, 281-282 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), I, 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 at Pooh Corner, The (Milne), Supp. IX 189 House, Bridge, Fountain, Gate (Kumin), Supp. IV, Part 2, 448, 449,451,454 House by the Sea, The (Sarton), Supp. VIII, 264 House Divided, A (Buck), Supp. II, Part 1, 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 in Winter, The" (Sarton), Supp. VIII, 259 House Made of Dawn (Momaday), Supp. IV, Part 1, 274, 323, 326, Part 2, 479, 480, 481-484, 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. III, Part 1, 123 House of Incest (Nin), Supp. Ill, Part 1,43 House of Life, The: Rachel Carson at Work (Brooks), Supp. IX 26 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, 367-370, 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,

438 / AMERICAN WRITERS 244; Retro. Supp. I, 63, 149, 160162, 163, 164; Supp. I, Part 2, 579 House of the Solitary Maggot, The (Purdy), Supp. VII, 274-275 "House on 15th S.W., The" (Flugo), Supp. VI, 140 "House on Mango Street, The" (Cisneros), Supp. VII, 59 House on Mango Street, The (Cisneros), Supp. VII, 58, 59-64, 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), I, 231 Houseman, John, Supp. IV, Part 1, 173 "Houses" (Hogan), Supp. IV, Part 1, 402 "Houses, The" (Merwin), Supp. Ill, 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; Supp. VIII, 58 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 "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 Poetry Comes to Me" (Snyder), Supp. VIII, 305 "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 (Pound), Supp. VIII, 291 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), 11,430,431 "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; HI, 97; Supp. I, Part 1, 148, Part 2, 408, 422, 423, 426 Howard, Richard, Supp. IV, Part 2, 624, 626, 640; Supp. VIII, 273; Supp. IX 324, 326 Howards, J. Z., Supp. VIII, 178 Howarth, Cora, I, 408, 409 Howarth, Herbert, I, 590 Howbah Indians (Ortiz), Supp. IV, Part 2, 513 "How the Devil Came Down Division Street" (Algren), Supp. IX 3 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; Supp. VIII, 93, 232; Supp. IX 227 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, 419-438 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, 331-332, 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. 1, Part 1, 306, 318, 357, 360, 368, Part 2, 414, 420, 645-646; Supp. II, Part 1, 198, 352; Supp. IV, Part 2, 678; Supp. VIII, 98, 101, 102 Howells, Winifred, II, 271 "Howells as Anti-Novelist" (Updike), Retro. Supp. I, 334 Howells: His Life and World (Brooks), 1,254 Howgate, George W., Ill, 622 Howl (Ginsberg), Retro. Supp. I, 426;

INDEX / 439 Supp. Ill, Part 1, 92; Supp. IV, Part 1, 90; Supp. V, 336; Supp. VIII, 290 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 E, 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 Hubbell, Jay B., Ill, 431; Supp. I, Part 1, 372 "Hubbub, The" (Ammons), Supp. VII, 35 Huber, Francois, II, 6 Huckins, Olga, Supp. IX 32 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; Supp. 1X271,280 Hudson River Bracketed (Wharton), IV, 326-327; Retro. Supp. I, 382 "Hudsonian Curlew,The" (Snyder), Supp. VIII, 302 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 Hug Dancing (Hearon), Supp. VIII, 67-68 Huge Season, The (Morris), III, 225226, 227, 230, 232, 233, 238 "Hugh Harper" (Bowles), Supp. IV, Part 1, 94 Hugh Selwyn Mauberley (Pound), I, 66, 476; III, 9, 462-463, 465, 468; Retro. Supp. I, 289-290, 291, 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, H. Stuart, Supp. VIII, 240 Hughes, James Nathaniel, Supp. I,

Part 1,321,332 Hughes, Langston, Retro. Supp. I, 193-214; Supp. I, Part 1, 320-348; Supp. II, Part 1, 31, 33, 61, 170, 173, 181, 227, 228, 233, 361; Supp. III, Part 1, 72-77; Supp. IV, Part 1, 15, 16, 164, 168, 169, 173, 243, 368; Supp. VIII, 213; Supp. IX 306,316 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, 131-134, 135-148; Supp. IX 296, 323, 324, 330 Hugo, Victor, II, 290, 490, 543; Supp. IV, Part 2, 518; Supp. IX 308 Hui-neng, III, 567 Huis Clos (Sartre), Supp. IV, Part 1, 84 Huizinga, Johan, I, 225; II, 416-417, 418,425 Hud-House Maps and Papers, Supp. I, Part 1, 7 Hull-House Settlement, Supp. I, Part 1, 1, 2, 3, 4, 7, 11, 12, 16, 17, 19, 21,22 Hulme, Thomas E., I, 68, 69, 475; III, 196, 209, 463-464, 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, 11-12 "Human Things" (Nemerov), HI, 279 "Human Universe" (Olson), Supp. II, Part 2, 565, 567 Human Universe (Olson), Supp. II, Part 2, 571 Human Wishes (Hass), Supp. VI, 105106, 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; 111,618 Humes, Harold, Supp. V, 201 "Hummingbirds, The" (Welty), IV, 273

Humphrey, William, Supp. IX 93-112 Humphreys, Christmas, Supp. V, 267 Humphreys, David, Supp. II, Part 1, 65, 69, 70, 268 Humphries, Rolfe, HI, 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 Hungry Ghosts, The (Oates), Supp. II, Part 2, 504, 510 Hunnewell, Susannah, Supp. VIII, 83 Hunt, John W, Jr., Ill, 243 Hunt, Leigh, II, 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, The (film), Supp. IX 250 Hunters, The (Salter), Supp. IX 246, 249-250 "Hunters in the Snow" (Brueghel), I, 174; Retro. Supp. I, 430 "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 R, 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,

440 / AMERICAN WRITERS 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; Supp. VIII, 214 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, Part 1, 102, 116, 355 "Huswifery" (Taylor), IV, 161; Supp. I, Part 2, 386 Hutchens, John K., Supp. IX 276 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; Supp. VIII, 202, 205 Hutchison, E. R., Ill, 192 Hutton, James, Supp. IX 180 Huxley, Aldous, II, 454; III, 281, 428, 429-430, 432; IV, 77, 435; Supp. I, Part 2, 714 Huxley, Julian, Supp. VIII, 251 Huxley, Juliette, Supp. VIII, 251, 265 Huxley, Thomas, HI, 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 "Hydriotaphia; or, Urne-Buriall" (Browne), Supp. IX 136-137 Hydriotaphia, The; or, Death of Dr. Browne: An Epic Farce about Death and Primitive Capital Accumulation (Kushner), Supp. IX 133, 136-138 Hyman, Stanley Edgar, I, 129, 143, 264, 286, 287, 363, 377, 379, 380; III, 360; IV, 23, 235, 448; Supp. I, Part 1, 198; Supp. IX 113, 114, 117, 118, 121, 122, 128 Hymen (Doolittle), Supp. I, Part 1, 266

"Hymie's Bull" (Ellison), Supp. II, Part 1, 229 "Hymn Books" (Emerson), II, 10 "HYMN FOR LAME 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, 491-492, 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 / 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 "'I 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 "I Am in Love" (Stern), Supp. IX 295 "I Am Not Flattered" (Francis), Supp. 1X78 / 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 / Forgot to Go to Spain (Harrison), Supp. VIII, 39, 52-53 "I Had Eight Birds Hatcht in One Nest" (Bradstreet), Supp. I, Part 1, 102, 115, 117, 119 "I had no time to Hate" (Dickinson), Retro. Supp. I, 44^5, 46 "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 / Knew a Phoenix (Sarton), Supp. VIII, 249, 251-252 "I Know a Man" (Creeley), Supp. IV, Part 1, 147-148, 149 / Know Why the Caged Bird Sings (Angelou), Supp. IV, Part 1, 2-4, 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 / 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

INDEX / 441 "I/Myself (Shields), Supp. VII, 311 "I Need Help" (Stern), Supp. IX 290 "I Need, I Need" (Roethke), III, 535536 "I never saw a Moor" (Dickinson), Retro. Supp. I, 37 "I Only Am Escaped Alone to Tell Thee" (Nemerov), III, 272, 273-274 / Ought to Be in Pictures (Simon), Supp. IV, Part 2, 584 / Promessi Sposi (Manzoni), II, 291 "I Remember" (Sexton), Supp. II, Part 2, 680 / 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 / 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, 121122 "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; 11,263 "I Was Born in Lucerne" (Levine), Supp. V, 181, 189 "I Went into the Maverick Bar" (Snyder), Supp. VIII, 301 "I Will Lie Down" (Swenson), Supp. IV, Part 2, 640 / Wonder As I Wander (Hughes), Retro. Supp. I, 196, 203; Supp. I, Part 1, 329, 332-333 "I years had been from home" (Dickinson), 1,471 Ibsen, Henrik, II, 27, 276, 280, 291292; 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), II, 83, 88; Retro. Supp. I, 103 "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 ; Supp. VIII, 345 "Ichabod" (Whittier), Supp. I, Part 2, 687, 689-690 "Icicles" (Francis), Supp. IX 83 "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), IV, 89-90; Retro. Supp. I, 302, 303, 313 "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 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 // Beale 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 ///rD^(Gide), I, 290 If Morning Ever Comes (Tyler), Supp. IV, Part 2, 658-659 // the River Was Whiskey (Boyle), Supp. VIII, 15-16 "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 Had Bacon" (H. Roth), Supp. IX 232, 234 "If We Had Known" (Francis), Supp. 1X78 "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 He (O'Neill), III, 388 Iliad (Homer), II, 470; Supp. IV, Part 2, 631; Supp. 1X211 Iliad (trans. Bryant), Supp. I, Part 1, 158 Iliad (trans. Pope), Supp. I, Part 1, 152 /'// 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 comique, L' (Corneille), Supp. IX 138 "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.

442 / AMERICAN WRITERS 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 'Tm 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 and 'Images'" (Simic), Supp. VIII, 274 "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, 473474 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), II, 515516 "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; Supp. VIII, 156 "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: An Anthology of the Imagists (ed. Pound), HI, 465, 471; Retro. Supp. I, 288 "Imago" (Stevens), IV, 74, 89 Imitations (Lowell), II, 543, 544-545, 550, 555 "Imitations of Drowning" (Sexton), Supp. II, Part 2, 684, 686 "Immaculate Man" (Gordon), Supp. IV, Part 1,311 "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), II, 17; Supp. I, Part 2, 673 "Imp of the Perverse, The" (Poe), HI, 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 Imperial Way, The: By Rail from Peshawar to Chittagong (Theroux), Supp. VIII, 323 "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 "Impressionism and Symbolism in Heart of Darkness" (Watt), Supp. VIII, 4 "Impressions of a European Tour" (Bourne), I, 225 "Impressions of a Plumber" (H. Roth),

Supp. IX 228, 234 "Impressions of Europe, 1913-1914" (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 Broken Country (Wagoner), Supp. IX 330 "In California" (Simpson), Supp. IX 271 "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, 125-131, 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 Country (Mason), Supp. VIII, 133, 142-143, 146

INDEX / 443 In Defense of Ignorance (Shapiro), Supp. II, Part 2, 703, 704, 713714 In Defense of Reason (Winters), Supp. 1, 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 Interims: Outlyer" (Harrison), Supp. VIII, 38 "In Limbo" (Wilbur), Supp. Ill, Part 2, 544, 561 In Love and Trouble: Stories 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; 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 Memory of W B. Yeats" (Auden), Supp. VIII, 19, 30 "In Memory of W. H. Auden" (Stern), Supp. IX 288 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 "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 1, 52, 53 In Our Time (Hemingway), I, 117; II, 68, 247, 252, 263; IV, 42; Retro. Supp. I, 170, 173, 174, 178, 180; Supp. IX 106 "In Our Time" (Wolfe), Supp. Ill, Part 2, 584 In Pharaoh's Army: Memories of the Lost War (Wolff), Supp. VII, 331334, 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; Supp. VIII, 23 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 of Bisco (Caldwell), I, 296 "In Search of Our Mothers' Gardens" (Walker), Supp. Ill, Part 2, 520532, 524, 525, 527, 529, 532-533, 535, 536; Supp. IX 306 "In Search of Thomas Merton" (Griffin), Supp. VIII, 208 "In Search of Yage" (Burroughs), Supp. HI, Part 1, 98 "In Shadow" (Crane), I, 386 "In Sickness and in Health" (Auden), Supp. II, Part 1, 15 "In Sickness and in Health" (Humphrey), Supp. IX 94 "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 Beginning . . ." (Simic), Supp. VIII, 270, 271 "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. I, 229 "In the City Ringed with Giants" (Kingsolver), Supp. VII, 209 "In the Clearing" (Brodsky), Supp. VIII, 32 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 Story-Teller" (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 Forest" (Simpson), Supp. IX 270 "In the Forties" (Lowell), II, 554 In the Garden of the North American Martyrs (Wolff), Supp. VII, 341342 In the Garret (Van Vechten), Supp. II, Part 2, 735 "In the Grove: The Poet at Ten" (KenyonX 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, 82-83, 84, 85, 93 "In the Heart of the Valley: Bernard Malamud's A New Life" (Astro),

444 / AMERICAN WRITERS 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, 200203, 204, 206, 208, 212 "In the Miro District" (Taylor), Supp. V, 323 In the Miro District and Other Stories (Taylor), Supp. V, 325-326 In the Money (Williams), Retro. Supp. I, 423 "In the Naked Bed, in Plato's Cave" (Schwartz), Supp. II, Part 2, 646649 "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, 491493, 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 Room We Share (Simpson), Supp. IX 279 "In the Shadow of Gabriel, A.D.I550" (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, 133-134, 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, 387-388 "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, 102103 "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), 1,541 Incorporative Consciousness of Robert Ely, The (Harris), Supp. IV, Part 1, 68 "Incredible Survival of Coyote, The" (Snyder), Supp. VIII, 297 "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. Ill, Part 2, 618 "Indian at the Burial-Place of His Fathers, An" (Bryant), Supp. I, Part I, 155-156, 167-168 "Indian Burying Ground, The" (Freneau), Supp. II, Part 1, 264, 266 "Indian Camp" (Hemingway), II, 247248, 263; Retro. Supp. I, 174-175, 176, 177, 181 Indian Country (Matthiessen), Supp. V, 211 "Indian Country" (Simpson), Supp. IX 274 "Indian Manifesto" (Deloria), Supp. IV, Part 1, 323 "Indian Student, The" (Freneau), Supp. II, Part 1, 264 "Indian Student, The" (Simpson), Supp. IX 280 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 Inevitable Exiles (Kielsky), Supp. V, 273 "Inevitable Trial, The" (Holmes), Supp. I, Part 1,318 "Inexhaustible Hat, The" (Wagoner), Supp. IX 327 "Infancy" (Wilder), IV, 375 "Infant Boy at Midcentury" (Warren), IV, 244-245, 252 Infante, Guillermo Cabrera, Retro. Supp. I, 278

INDEX / 445 Inferno (Dante), IV, 139; Supp. V, 338 ; Supp. VIII, 219-221 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. I, 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., Ill, 431 Inhabitants, The (Morris), III, 221222 Inheritors (Glaspell), Supp. HI, 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 Inmost Leaf, The: A Selection of Essays (Kazin), Supp. VIII, 102, 103 Inner Landscape (Sarton), Supp. VIII, 259 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, 148-149 "Instruction Manual, The" (Ashbery), Supp. Ill, Part 1, 6-7, 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, 643-644 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 Dreams, The" (Matthews), Supp. IX 162-163 Interpretation of Music of the XVIIth and XVIIIth Centuries, The (Dolmetsch), III, 464 Interpretations and Forecasts: 19221972 (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), 111,9 "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 "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, 297-298, 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 "Intoxicated, The" (Jackson), Supp. IX 116 "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

446 / AMERICAN WRITERS "Introduction to William Blake, An" (Kazin), Supp. VIII, 103 Introitus (Longfellow), II, 505, 506507 Intruder in the Dust (Faulkner), II, 71, 72 "Intruder, The" (Dubus), Supp. VII, 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 "Inventory" (Parker), Supp. IX 192 "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, 241245; Supp. IX 306 Invisible Spectator, An (SawyerLau£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 Kali" (Sarton), Supp. VIII, 260 "Invocation to the Social Muse" (MacLeish), III, 15 "lola, Kansas" (Clampitt), Supp. IX 45-46 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; Supp. VIII, 201 Iowa Review (magazine), Supp. IV, Part 2, 540; Supp. IX 154 Iowa Writers Workshop, Supp. IX 154, 288 "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), HI, 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 Ironwood (publication), Supp. IX 155, 157 "Irony as Art: The Short Fiction of William Humphrey" (Tebeaux), Supp. IX 109 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, 167183 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 "Is Verse a Dying Technique?" (Wilson), IV, 431 Isaac (biblical person), IV, 152, 296 "Isaac and Abraham" (Brodsky), Supp. VIII, 21 "Isaac and Archibald" (Robinson), III, 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 Ishi Means Man (Merton), Supp. VIII, 208 Ishiguro, Kazuo, Supp. VIII, 15 "Ishmael's Dream" (Stern), Supp. IX 287 Isis (review), Supp. VIII, 249 "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), III, 411 It (Creeley), Supp. IV, Part 1, 157, 158 IT (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 Don't Mean a Thing If It Ain't Got That Swing" (Matthews), Supp. IX 164-165 // 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, 470-471 "It Was When" (Snyder), Supp. VIII, 300 Italian Backgrounds (Wharton), Retro.

INDEX / 447 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" (Gliick), 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. I, 184 "Iverson Boy, The" (Simpson), Supp. 1X280 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, 337-338 "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 J. B.: A Play in Verse (MacLeish), II, 163, 228; III, 3, 21-22, 23; Supp. IV, Part 2, 586 J 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., III, 213 Jackson, James, Supp. I, Part 1, 302, 303 Jackson, Joe, Supp. I, Part 2, 441 Jackson, Katherine Gauss, Supp. VIII, 124 Jackson, Lydia, see Emerson, Mrs. Ralph Waldo (Lydia Jackson) Jackson, Michael, Supp. VIII, 146 Jackson, Richard, II, 119; Supp. IX 165 Jackson, Shirley, Supp. IX 113-130 Jackson, Thomas J. ("Stonewall"), IV, 125, 126 "Jackson Square" (Levertov), Supp. HI, Part 1, 276 "Jackstraws" (Simic), Supp. VIII, 283 Jackstraws (Simic), Supp. VIII, 280, 282-283 Jacob (biblical person), II, 284; IV, 13, 152; Supp. I, Part 2, 594 "Jacob" (Garrett), Supp. VII, 109-110 "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, 276-278, 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 K i n c a i d ' s New York" (Kincaid), Supp. VII, 181 James I, King, Supp. I, Part 1, 116 James II, King, IV, 145 James Hogg: A Critical Study

(Simpson), Supp. IX 269, 276 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, 319341, 365, 398, 404, 410, 415, 427, 444, 542, 544, 547-548, 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. Ill, 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; Supp. VIII, 98, 102, 156, 166, 168; Supp. IX 121 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, Part 1, 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

448 / AMERICAN WRITERS "James Baldwin: A Checklist, 19471962" (Kindt), Supp. I, Part 1, 70 "James Baldwin: A Checklist, 19631967" (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 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: // 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 DogArtist" (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. 1,55 "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 "Janice" (Jackson), Supp. IX 117 Jantz, Harold S., Supp. I, Part 1, 112, 123 "January" (Barthelme), Supp. IV, Part 1,54 "Janus" (Beattie), Supp. V, 31 Janus (magazine), Supp. VIII, 289 Janzen, Jean, Supp. V, 180 Jara, Victor, Supp. IV, Part 2, 549 Jarman, Mark, Supp. IV, Part 1, 68; Supp. IX 266, 270, 276 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; Supp. VIII, 31, 100, 271; Supp. IX 94, 268 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

INDEX / 449 Jaspers, Karl, III, 292; IV, 491 Jay, William, I, 338 "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; Supp. VIII, 33, 292; Supp. IX 77 Jeffers, Una Call Kuster (Mrs. Robinson Jeffers), Supp. II, Part 2, 414 Jefferson, Blind Lemon, Supp. VIII, 349 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, 294-295, 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, 296297, 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, 396397,402 Jewett, Mary, II, 396, 403 Jewett, Rutger, Retro. Supp. I, 381 Jewett, Sarah Orne, I, 313; II, 391414; Retro. Supp. I, 6, 7, 19; Supp. I, Part 2, 495; Supp. VIII, 126; Supp. IX 79 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 of Forslin, The: A Symphony (Aiken), I, 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 Biggins (Sinclair), Supp. V, 288 Jim's Book: A Collection of Poems and Short Stories (Merrill), Supp. Ill, Part 1, 319 Jitney (Wilson), Supp. VIII, 330, 331, 351 Joachim, Harold, Retro. Supp. I, 58 Joan of Arc, IV, 241; Supp. I, Part 1, 286-288, Part 2, 469 Joan, Pope, IV, 165 Joanna and Ulysses (Sarton), Supp. VIII, 254-255 Joans, Ted, Supp. IV, Part 1, 169 Job (biblical book), II, 165, 166-167, 168; III, 21, 199, 512; IV, 13, 158; Supp. I, Part 1, 125 Job (biblical person), Supp. I, Part 2, 458, 722 Job, The (Burroughs and Odier), Supp. Ill, Part 1, 97, 103 Job, The: An American Novel (Lewis), 11,441 "Job History" (Proulx), Supp. VII, 262 "Job of the Plains, A" (Humphrey), Supp. IX 101 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 Joe Turner's Come and Gone (Wilson), Supp. VIII, 334, 337-342, 345 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, 310-311 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

450 / AMERICAN WRITERS 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 1, 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, 705706 "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 Whittier's 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. I, 257 John Muir: A Reading Bibliography (Kimes and Kimes), Supp. IX 178 John Muir's Studies in the Sierra, Supp. IX 181 John of the Cross (Saint), I, 585; Supp. IV, Part 1, 284 John Paul Jones: A Sailor's Biography (Morison), Supp. I, Part 2, 494495 "John Redding Goes to Sea" (Hurston), Supp. VI, 150 John Sloan: A Painter's Life (Brooks), 1, 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 Apple seed and Other Poems (Lindsay), Supp. I, Part 2, 397 "Johnny Bear" (Steinbeck), IV, 67 "Johnny Ray" (Rfos), Supp. IV, Part 2, 543 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, Charles S., Supp. IX 309 Johnson, Claudia Durst, Supp. VIII, 126-127 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, III, 121 Johnson, J. W, III, 455 Johnson, James Weldon, Supp. I, Part I, 324, 325; Supp. II, Part 1, 33, 194, 200, 202-203, 206-207; Supp. Ill, Part 1, 73; Supp. IV, Part 1, 7, I I , 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; Supp. VIII, 15, 134 Johnson, Robert K., Supp. IV, Part 2, 573, 584 Johnson, Robert Underwood, Supp. IX 182, 184, 185 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, 470-471, 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

INDEX / 451 "Jolly Corner, The" (James), I, 571; Retro. Supp. I, 235 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, Carolyn, Supp. VIII, 128 Jones, Claude E., Ill, 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, Imamu 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, James Earl, Supp. VIII, 334 Jones, Jennifer, Supp. IV, Part 2, 524 Jones, John Paul, II, 405-406; Supp. I, Part 2, 479, 480, 494-495 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

Jordan, Barbara, Supp. VIII, 63 Jordy, William H., I, 24 Jo's Boys (Alcott), Supp. I, Part 1, 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 "Joseph Pockets" (Stern), Supp. IX 292 "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 Joslin, Katherine, Retro. Supp. I, 376 Journal (Emerson), Supp. I, Part 1, 309 Journal (Thoreau), IV, 175 Journal (Woolman), Supp. VIII, 202 "Journal for My Daughter" (Kunitz), Supp. Ill, Part 1, 268 "Journal of a Solitary Man, The" (Hawthorne), II, 226 Journal of a Solitude (Sarton), Supp. VIII, 256, 262-263 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, 284-285, 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. 1,364 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. HI, 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. Ill, 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, 302304, 307, 309 "Joy" (Singer), IV, 9 Joyce, James, I, 53, 105, 108, 130, 174, 256, 285, 377, 395, 475-476, 478, 480, 483, 576; II, 27, 42, 58, 73, 74, 198, 209, 264, 320, 569; HI, 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; Supp. VIII, 14, 40, 103; Supp, IX 211, 229, 235, 308 "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

452 / AMERICAN WRITERS 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), 1,420 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. I, 247 "Julian Vreden" (Bowles), Supp. IV, Part 1, 94 Julier, Laura, Supp. IV, Part 1, 211 Julip (Harrison), Supp. VIII, 51 Julius Caesar (Shakespeare), I, 284 "July Midnight" (Lowell), II, 521 Jumel, Madame, Supp. I, Part 2, 461 "Jump-Up Day" (Kingsolver), Supp. VII, 203 Jumping Out of Bed (Bly), Supp. IV, Part 1, 71 "June Light" (Wilbur), Supp. Ill, Part 2,545 June Moon (Lardner and Kaufman), II, 427 "June Recital" (Welty), IV, 272-273 "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; Supp. VIII, 45 Junger, Ernst, Supp. Ill, Part 1, 63 Jungle, The (Sinclair), III, 580; Supp. V, 281-284, 285, 289 Jungle Lovers (Theroux), Supp. VIII, 314, 315, 316,317 "Junior Addict" (Hughes), Supp. I,

Part 1, 343 Junior Home Magazine, Supp. IX 115 "Juniper" (Francis), Supp. IX 79 "Junk" (Wilbur), Supp. HI, 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 a Little One" (Parker), Supp. IX 191 "Just Americans" (Time), Supp. IX 320 Just an Ordinary Day (Jackson), Supp. IX 120 Just and the Unjust, The (Cozzens), I, 367-370, 372, 375, 377, 378, 379 Just Before Dark: Collected Nonfiction (Harrison), Supp. VIII, 41, 45, 46, 53 "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. 1,83 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, 115117 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; Supp. IX 309, 310, 319320 Kachel, Elsie, see Stevens, Mrs. Wallace (Elsie Kachel) "Kaddish" (Ginsberg), Supp. II, Part 1,319,327

Kaddish and Other Poems, 1958-1960 (Ginsberg), Supp. II, Part 1, 309, 319-320 Kael, Pauline, Supp. IX 253 Kafka, Franz, II, 244, 565, 569; III, 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; Supp. VIII, 14, 15, 103 Kahane, Jack, III, 171, 178 Kahn, Otto, I, 385; IV, 123 "Kai, Today" (Snyder), Supp. VIII, 300 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; Supp. VIII, 81, 84, 86, 88, 141 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, 573-576, 580, 581 Kane, Patricia, II, 148-149 Kanellos, Nicolas, Supp. VIII, 82 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; HI, 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 "Karintha" (Toomer), Supp. IX 311

INDEX / 453 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 "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; Supp. IX 190 Kaufmann, Donald L., Ill, 48 Kaufmann, R. J., IV, 448-449 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; Supp. VIII, 93-111; Supp.

IX 3, 227 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, 317318, 385, 401, 448; II, 82, 88, 97, 214, 368, 512, 516, 530-531, 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; Supp. VIII, 41, 273; Supp. IX 38, 39, 45 Keats, John (other), Supp. IX 190, 195, 200 "Keela, the Outcast Indian Maiden" (Welty), IV, 263 "Keen Scalpel on Racial Ills" (Bruell), Supp. VIII, 126 "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 (Sards), 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, Murray, Supp. VIII, 104 Kempton-Wace Letters, The (London and Strunsky), II, 465 Kendle, Burton, Supp. I, Part 1, 199 Kennan, George E, Supp. VIII, 241 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 E, 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; Supp. VIII, 98, 104, 203 Kennedy, John Pendleton, II, 313 Kennedy, Mrs. John E, I, 136 Kennedy, Raymond A., IV, 425 Kennedy, Richard S., IV, 472, 473 Kennedy, Robert, Supp. V, 291 Kennedy, Robert E, I, 294; Supp. I, Part 1, 52 Kennedy, William, Supp. VII, 131133 Kennedy, William Sloane, Supp. I, Part 2, 705 Kennedy, X. J., Supp. V, 178, 182 Kenner, Hugh, I, 590; HI, 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; Supp. VIII, 272 Kenyon Review (publication), I, 170, 174; II, 536-537; III, 497, 498; IV, 141; Supp. IV, Part 2, 550; Supp. V, 187, 324 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 Kerim, Ussin, Supp. IX 152 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.

454 / AMERICAN WRITERS 1, 102; Supp. II, Part 1, 3 1 , 307, 309, 318, 328; Supp. Ill, Part 1, 91-94, 96, 100, 217-234; Supp. IV, Part 1, 90, 146; Supp. V, 336; Supp. VIII, 42, 138, 289, 305; Supp. IX 246 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, 399-402 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, S0ren Aabye, II, 229; III, 292, 305, 309, 572; IV, 438, 491; Retro. Supp. I, 326; Supp. V, 9; Supp. VIII, 7-8 Kiernan, Robert E, 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), II, 249; Retro. Supp. I, 188, 189 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 Kilvert, Francis, Supp. VIII, 172 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)

Kimes, Maymie B., Supp. IX 178 Kimes, William R, Supp. IX 178 "Kin" (Welty), IV, 277; Retro. Supp. 1,353 Kincaid, Jamaica, Supp. VII, 179-182 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 Kinds of Love (Sarton), Supp. VIII, 253-254, 256 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, Jr. Supp. I, Part 1, 52, 60, 65; Supp. IV, Part 1, 5; Supp. V, 291; Supp. VIII, 204 King, Starr, Supp. II, Part 1, 341, 342 King, Stephen, Supp. IV, Part 1, 102, 104, Part 2,467; Supp. V, 137-155; Supp. IX 114 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 1, 104 King Lear (Shakespeare), I, 538; II, 540, 551; Retro. Supp. I, 248; Supp. IV, Part 1, 31, 36; Supp. IX 14 King Leopold's Soliloquy (Twain), IV, 208 King My Father's Wreck, The (Simpson), Supp. IX 266, 267, 270, 275, 276 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, 240241 "King of the Clock Tower" (Yeats), III, 473 "King of the Desert, The" (O'Hara), HI, 369

King of the Mountain (Garrett), Supp. VII, 96, 97 "King of the River" (Kunitz), Supp. III, Part 1, 263, 267-268 "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 King, The (Barthelme), Supp. IV, Part 1, 47, 52 "King Volmer and Elsie" (Whittier), Supp. I, Part 2, 696 Kingdom by the Sea, The: A Journey around Great Britain (Theroux), Supp. VIII, 323 Kingdom of Earth (Williams), IV, 382, 386, 387, 388, 391, 393, 398 "Kingdom of Earth, The" (Williams), IV, 384 \Kingfisher, The (Clampitt), Supp. IX 38, 41 "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, 197199 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; Supp. VIII, 39 Kinsey, Alfred, IV, 230 Kipling, Rudyard, I, 421, 587-588; II, 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

INDEX / 455 Kirk, Russell, I, 590 Kirkham, Edwin Bruce, Supp. I, Part 2, 601 Kirkland, Jack, I, 297 Kirkpatrick, Jeane, Supp. VIII, 241 Kirkus Review, Supp. V, 62; Supp. VIII, 124 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; Supp. IX 163 "Kitchenette" (Brooks), Retro. Supp. 1,208 Kittel, Frederick August, see Wilson, August Kittredge, Charmian, see London, Mrs. Jack (Charmian Kittredge) Kittredge, William, Supp. VIII, 39 "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 Kline, George, Supp. VIII, 22, 28 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 "Knife" (Simic), Supp. VIII, 275 "Knight in Disguise, The" (Lindsay), Supp. I, Part 2, 390 Knight, Karl E, III, 502 Knightly Quest, The (Williams), IV, 383 Knight's Gambit (Faulkner), II, 72 "Knights in Disguise: Lindsay and Ma-

iakovski as Poets of the People" (Chenetier), Supp. I, Part 2, 402 "Knock" (Dickey), Supp. IV, Part 1, 182 Knock, Stanley, E Jr., Ill, 289 "Knocking Around" (Ashbery), Supp. III, 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 "Knowledge Forwards and Backwards" (Stern), Supp. IX 296 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, 42-46 Knudson, R. Rozanne, Supp. IV, Part 2,648 Kober, Arthur, Supp. I, Part 1, 292 Koch, Frederick, IV, 453 Koch, John, Supp. VIII, 88 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 Kon-Tiki (Heyerdahl), II, 477 Konvitz, Milton, II, 23 Koopman, Harry Lyman, Retro. Supp. 1,40 Kora and Ka (Doolittle), Supp. I, Part 1,270 Kora in Hell (Williams), Retro. Supp. 1,416,417-418,419,430,431 Koretz, Gene, I, 404 Korges, James, I, 311 Kosinski, Jerzy, Supp. VII, 215-219

Kosofsky, Rita Nathalie, Supp. I, Part 2,452 "Kostas Tympakianakis" (Merrill), Supp. Ill, Part 1, 326 Kostelanetz, Richard, I, 95, 189; III, 47 Koteliansky, S. S., Supp. VIII, 251, 265 Kowloon Tong (Theroux), Supp. VIII, 325 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; Supp. VIII, 239 Kramer, Lawrence, Supp. IV, Part 1, 61,65,66; Supp. IX 291 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 Kristol, Irving, Supp. VIII, 93, 244 Kroll, Jack, Supp. IV, Part 2, 590 Kroll, Judith, Supp. I, Part 2, 541543, 544, 546, 548 Kroll Ring, Frances. See Ring, Frances Kroll Kroner, Richard, HI, 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; HI, 407, 425, 432; IV, 70, 175, 189; Supp. I, Part 2, 627, 681 "Ku Klux" (Hughes), Retro. Supp. I, 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 Kundera, Milan, Supp. VIII, 241 Kunitz, Stanley, I, 70, 179, 180, 181, 182, 189, 521; II, 390, 545, 557; III, 242, 289, 550; Supp. Ill, Part 1,

456 / AMERICAN WRITERS 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 Kushner, Tony, Supp. IX 131-149 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 Gallienne, Eva, Supp. VIII, 251 "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, Francois de, I, 279; II, 111 "La Rose des Vents" (Wilbur), Supp. III, 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; Supp. VIII, 5 Lachaise, Gaston, I, 434 "Lackawanna" (Merwin), Supp. HI, Part 1, 350 Lackawanna Elegy (Coll, trans. Kinnell), Supp. Ill, Part 1, 235, 243-244

Laclede, Pierre, Supp. I, Part 1, 205 "Lacquer Prints" (Lowell), II, 524-525 Ladder, The (publication), Supp. IV, Part 1, 365 Ladder of Years (Tyler), Supp. IV, Part 2, 657, 671-672 Ladies Almanack (Barnes), Supp. Ill, Part 1, 37-39, 42 Ladies' Home Journal (magazine), III, 54, 491; Supp. I, Part 2, 530; Supp. IX 114 "Ladies in Spring" (Welty), IV, 276277; Retro. Supp. I, 353 Lady Audley's Secret (Braddon), Supp. 1, Part 1, 35, 36 "Lady Barberina" (James), Retro. Supp. I, 227 "Lady Bates" (Jarrell), II, 380-381 Lady Chatterley's Lover (Lawrence), III, 170; IV, 434 "Lady from Redhorse, A" (Bierce), I, 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 a Lamp" (Parker), Supp. IX 193 "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, 405-106; Supp. I, Part 2, 510, 511, 683 Laforgue, Jules, I, 386, 569, 570, 572573, 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, The (play), Supp. IX 189 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 Lalic, Ivan V., Supp. VIII, 272 L'Alouette (Anouilh), Supp. I, Part 1, 286-288 Lamantia, Philip, Supp. VIII, 289 Lamb, Charles, III, 111, 207; Supp. VIII, 125 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 Laments for the Living (Parker), Supp. IX 192 Lamia (Keats), II, 512; III, 523 Lamm, Martin, III, 407 Lament, Corliss, II, 52 Lamp for Nightfall, A (Caldwell), I, 297 Lampoon (magazine), III, 52, 600; IV, 218; Retro. Supp. I, 319 Lampton, Jane, see Clemens, Mrs. John Marshall (Jane Lampton) "Lance" (Nabokov), Retro. Supp. I, 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), 1,209 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 Vnlikeness (Lowell), II, 537-

INDEX / 457 538, 539, 547 Landess, Thomas H., II, 222 Landfall (Wagoner), Supp. IX 330 "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 (ScarberryGarcia), Supp. IV, Part 2, 486 Landon, Harold R., Ill, 313 Landor, Walter Savage, HI, 15, 469; Supp. I, Part 2, 422 "Landscape" (Sarton), Supp. VIII, 259 "Landscape as a Nude" (MacLeish), III, 14 "Landscape Chamber, The" (Jewett), II, 408-409 "Landscape Painter, A" (James), II, 322; Retro. Supp. I, 219 "Landscape Symbolism in Kate Chopin's 'At Fault'" (Arner), Supp. I, Part 1, 226 "Landscape: The Eastern Shore" (Earth), 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 Langston Hughes (Emanuel), Supp. I, Part 1, 348 Langston Hughes, a Biography (Meltzer), Supp. I, Part 1, 348 Langston Hughes, American Poet (Walker), Supp. Ill, Part 2, 530531 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), 1, 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, Francois, 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; Supp. IX 200 "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, 299-300 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, 362-363, 364, 368, 375, 377, 378, 379 Last Analysis, The (Bellow), I, 152, 160, 161 Last and Lost Poems of Delmore Schwartz (ed. Phillips), Supp. II, Part 2, 661,665 Last Blue (Stern), Supp. IX 299-300

458 / AMERICAN WRITERS Last Carousel, The (Algren), Supp. IX 16 "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. Ill, Part 2, 493, 499 "Last Demon, The" (Singer), IV, 15, 21 Last Exit to Brooklyn (Selby), Supp. III, Part 1, 125 Last Flower, The (Thurber), Supp. I, Part 2, 610 Last Gentleman, The (Percy), Supp. III, Part 1, 383-388, 392-393 "Last Good Country, The" (Hemingway), II, 258-259 Last Good Time, The (Bausch), Supp. VII, 45^6 "Last Hiding Places of Snow, The" (Kinnell), Supp. Ill, Part 1, 252 Last Husband and Other Stories, The (Humphrey), Supp. IX 94 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 Caddoes, The" (Humphrey), Supp. IX 101 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. Ill, 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), 1,468 "Last River, The" (Kinnell), Supp. Ill, Part 1, 236

Last Tycoon, The: An Unfinished Novel (Fitzgerald), II, 84, 98; Retro. Supp. I, 109, 114, 114-115; Supp. IV, Part 1, 203; Supp. IX 63 Last Word, The: Letters between Marda 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 I, 248-249 "Late" (Bogan), Supp. Ill, Part 1, 53 "Late Air" (Bishop), Supp. I, Part 1, 89 "Late Autumn" (Sarton), Supp. VIII, 261 Late Child, The (McMurtry), Supp. V, 231 "Late Encounter with the Enemy, A" (O'Connor), III, 345 Late Fire, Late Snow (Francis), Supp. IX 89-90 Late George Apley, The (Marquand), II, 482-483; 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 Snow & Lumber Strike of the Summer of Fifty-Four, The" (Snyder), Supp. VIII, 294 "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), II, 515 Latimer, Hugh, II, 15 Latimer, Margery, Supp. IX 320 "Latter-Day Warnings" (Holmes), Supp. I, Part 1, 307 Laud, Archbishop, II, 158 "Lauds" (Auden), Supp. II, Part 1, 23 "Laughing Man, The" (Salinger), HI, 559 Laughing to Keep From Crying (Hughes), Supp. I, Part 1, 329-330 Laughlin, J. Laurence, Supp. I, Part 2, 641 Laughlin, James, III, 171, 242; Retro. Supp. I, 423, 424, 428, 430, 431; Supp. VIII, 195 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 Lavender (magazine), Supp. IX 228 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 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, 546547; 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; Supp. VIII, 237 Lawrence, Rhoda, Supp. I, Part 1, 45 Lawrence, Seymour, I, 70; Supp. IX 107 Lawrence family, II, 513 Lawrence of Arabia (Aldington), Supp. I, Part 1, 259

INDEX / 459 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, 132133, 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 Lazer, Hank, Supp. IX 265 Le Bien Informe (newspaper), Supp. I, Part 2, 518 Le Glair, Robert C, II, 365 Le Conte, Joseph, II, 479; III, 227228 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 19291942" (Wolfe), Supp. Ill, Part 2, 568 League of Brightened Philistines and

Other Papers, The (Farrell), II, 49 Leaks, Sylvester, Supp. I, Part 1, 70 Leaning Forward (Paley), Supp. VI, 221 Leaning Tower and Other Stories, The (Porter), III, 433, 442, 443-447 "Leaning Tower, The" (Porter), III, 442, 443, 446-447 "Leap, The" (Dickey), Supp. IV, Part I, 182 "Leaping Up into Political Poetry" (Bly), Supp. IV, Part 1, 61, 63 Lear, Edward, III, 428, 536 Lear, Linda, Supp. IX 19, 22, 25, 26 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 Love: Exploring Solitude and Freedom (Merton), Supp. VIII, 200 "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, 392395, 406, 407, 408; Supp. I, Part 1, 365, Part 2, 416, 579; Supp. Ill, Part 1, 156; Supp. V, 170; Supp. VIII, 275; Supp. IX 265 "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. Ill, Part 2, 563 Leaving Another Kingdom: Selected

Poems (Stern), Supp. IX 296 Leaving Cheyenne (McMurtry), Supp. V, 220, 221-222, 224, 229 "Leaving Town" (Kenyon), Supp. VII, 163 Leavis, F. R., I, 263, 522; III, 462463, 475, 478; Retro. Supp. I, 67; Supp. I, Part 2, 536; Supp. VIII, 234, 236, 245 "Leavis-Snow Controversy, The" (Trilling), Supp. Ill, Part 2, 512 Leavitt, David, Supp. VIII, 88 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; Supp. IX 52 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, Harper, Supp. VIII, 113-131 Lee, James W, III, 574; Supp. IX 94, 97, 109 Lee, James Ward, Supp. VIII, 57 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), 11,88 LeFevre, Louis, II, 318 Left Front Anvil (publication), IV, 476 Left Out in the Rain: New Poems 19471985 (Snyder), Supp. VIII, 305 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), I, 5 Legal Times (publication), Supp. VIII, 127 "Legend of Duluoz, The" (Kerouac),

460 / AMERICAN WRITERS 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 Fall (Harrison), Supp. VIII, 38, 39, 45-46, 48 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 Lehman, David, Supp. IX 161 Lehmann, Paul, III, 311,313 Lehmann-Haupt, Christopher, Supp. IV, Part 1, 205, 209, 306; Supp. IX 95, 103 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, Harding, Supp. VIII, 125; Supp. IX 98 Lemay, J. A. Leo, II, 125 Lemercier, Eugene, Retro. Supp. I, 299 Lenin, V. L, I, 366, 439, 440; III, 1415, 262, 475; IV, 429, 436, 443-444; Supp. I, Part 2, 647 "Lenore" (Poe), III, 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 Less than One (Brodsky), Supp. VIII, 22, 29-31 Lesser, Wendy, Supp. IV, Part 2, 453 Lessing, Gotthold, Supp. I, Part 2, 422 "Lesson, The" (Dunbar), Supp. II, Part 1, 199 "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 "Lessons of the Body" (Simpson), Supp. IX 267 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 "Let the Air Circulate" (Clampitt), Supp. IX 45 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 Lethem, Jonathan, Supp. IX 122 Letter (publication), I, 206 "Letter . . ." (Whittier), Supp. I, Part 2,687 "Letter, A" (Bogan), Supp. HI, 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, 435-436 "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. III, 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

INDEX / 461 "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, 227251 "Letters from Maine" (Sarton), Supp. VIII, 261 Letters from Maine (Sarton), Supp. VIII, 261 Letters from the Earth (Twain), IV, 209 Letters from the East (Bryant), Supp. I, Part 1, 158 "Letters from the Ming Dynasty" (Brodsky), Supp. VIII, 28 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 Vac he I 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), 1,421 "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. III, Part 1, 292, 294, 301 Levenson, J. C., I, 24 Levertov, Denise, Retro. Supp. I, 411; Supp. Ill, Part 1, 271-287; Part 2, 541; Supp. IV, Part 1, 325; Supp. VIII, 38, 39 "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 Levine, Philip, Supp. Ill, Part 2, 541; Supp. V, 177-197, 337; Supp. IX 293 Levis, Larry, Supp. V, 180; Supp. IX 299 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. I, 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; Supp. IX 308 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; Supp. IX 103 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. 1, Part 1, 321% Part 2, 588, 688; Supp. IX 309 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 (magazine), Supp. V, 14; Supp. VIII, 89 Library of America, Retro. Supp. I, 2 "Library of Law, A" (MacLeish), III, 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

462 / AMERICAN WRITERS Lie of the Mind, A (Shepard), Supp. III, Part 2, 433, 435, 441, 441-449 Liebestod (Wagner), I, 284, 395 Liebling, A. J., IV, 290, 307; Supp. VIII, 151 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; Supp. VIII, 125, 137; Supp. IX 19, 95 "Life" (Wharton), Retro. Supp. I, 372 Life along the Passaic River (Williams), Retro. Supp. I, 423 Life Among the Savages (Jackson), Supp. IX 115,125 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, 480481 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 Life Estates (Hearon), Supp. VIII, 68-69 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 Gal latin, The (Adams), I, 6, 14 "Life of Charles Brockderi 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 of Phips (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 (Hewlett), 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 Beekman Place, A" (Naylor), Supp. VIII, 214 Life on the Hyphen: The CubanAmerican Way (Firmat), Supp. VIII, 76 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, 63-64, 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 Light Years (Salter), Supp. IX 257259 "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 Ghosts of Eagles (Francis), Supp. 1X86 "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 Li 7 Abner (Capp), IV, 198 "Lilacs" (Lowell), II, 527 "Lilacs, The" (Wilbur), Supp. Ill, Part 2, 557-558 "Lilacs for Ginsberg" (Stern), Supp. 1X299 Lillabulero (magazine), Supp. V, 5; Supp. IX 153 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),

INDEX / 463 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, 547-550, 553 "Limits" (Emerson), II, 19 Lincoln: A Novel (Vidal), Supp. IV, Part 2, 677, 684, 685, 688, 689690,691,692 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. 1, 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; Supp. VIII, 108; Supp. IX 15 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, Stanton J., Ill, 242 "Linden Branch, The" (MacLeish), III, 19,20 Linden Hills (Naylor), Supp. VIII, 214,218,219-223 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, 374-403, 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. I, 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 francais 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 I, 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; Supp. VIII, 104 Lipton, James, Supp. IV, Part 2, 576, 577, 579, 583, 586, 588 Lipton, Lawrence, Supp. IX 3 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 "Listening to the Mockingbird" (Woodard), Supp. VIII, 128 Listen, Sonny, III, 38, 42 "Litany" (Ashbery), Supp. Ill, Part 1, 21-22, 25, 26 "Litany" (Sandburg), HI, 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 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 Essays of Thomas Merlon, The, Supp. VIII, 207 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; 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 Reg-

464 / AMERICAN WRITERS ister, 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 I, 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), II, 49 "Literature and Place: Varieties of Regional Experience" (Erisman), Supp. VIII, 126 "Literature as a Symptom" (Warren), IV, 237 "Literature of Exhaustion, The" (Barth), Supp. IV, Part 1, 48 "Lithuanian Nocturne" (Brodsky), Supp. VIII, 29 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 Curtis" (Parker), Supp. IX 193 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, 375-376 Little, George T, II, 509 "Little Gidding" (Eliot), I, 582, 588; II, 539; Retro. Supp. I, 66 "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, 481-482 "Little Lion Face" (Swenson), Supp. IV, Part 2, 651 "Little Lobelia's Song" (Bogan), Supp. HI, 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), 1,408 Little Review, The (publication), I, 103, 106, 384; II, 68; HI, 194, 471; Retro. Supp. I, 359; Supp. I, Part 1, 256, 257; Supp. IX 309 "Little Road not made of Man , A" (Dickinson), Retro. Supp. I, 44 Little Sister, The (Chandler), Supp. IV, Part 1, 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; Supp. IX 128 Littlebird, Harold, Supp. IV, Part 2, 499

Littlebird, Larry, Supp. IV, Part 2, 499, 505 Littlefield, Catherine, Supp. IX 58 "Liturgy and Spiritual Personalism" (Merton), Supp. VIII, 199 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, Part 1, 182-183 "Living with a Peacock" (O'Connor), III, 350 Livingston, Luther S., II, 509; Supp.

INDEX / 465 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 Lizzie (film), Supp. IX 125 "L'Lapse" (Barthelme), Supp. IV, Part 1, 45-47, 48 Lloyd, F. V., II, 318 Lloyd George, Harold, I, 490 Lloyd, Henry Demarest, Supp. I, Part 1,5 "LMFBR" (Snyder), Supp. VIII, 302 "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; Supp. IX 306, 309 Locke, Duane, Supp. IX 273 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 "Locksley Hall" (Tennyson), Supp. IX 19 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, 11-12, 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; Supp. VIII, 133 "Lolita" (Parker), Supp. IX 193 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; Supp. IX 1, 14 London, Joan, II, 484 London, John, II, 464, 465 London, Mrs. Jack (Bessie Maddern), II, 465, 466, 473, 478 London, Mrs. Jack (Charmian Kittredge), II, 466, 468, 473, 476, 478,481,484 London Embassy, The (Theroux), Supp. VIII, 323 London Magazine (Plath), Supp. I, Part 2, 541 London Snow: A Christmas Story (Theroux), Supp. VIII, 322 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 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. III, 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; Supp. V, 105 Long Day's Journey into Night (O'Neill), III, 385, 401, 403-404; 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 Hair" (Snyder), Supp. VIII, 300 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. Ill, 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 Shower, The" (Francis), Supp. 1X90 "Long Summer" (Lowell), II, 553-554 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 Wads worth, 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

466 / AMERICAN WRITERS 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, Part 1, 352; Supp. V, 44 Look (magazine), Supp. IV, Part 1, 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, 455456, 461, 462, 463, 464, 468, 471 Look, Stranger! (Auden), Supp. II, Part 1, 11 "Looking at Each Other" (Rukeyser), Supp. VI, 280, 285-286 "Looking at Kafka" (Roth), Supp. Ill, Part 2, 402 "Looking Back" (Merwin), Supp. Ill, 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 Forward to Age" (Harrison), Supp. VIII, 49 "Looking from Inside My Body" (Bly), Supp. IV, Part 1,71 "Looking Glass, The" (Wharton), Retro. Supp. I, 382 "Lookout's Journal" (Snyder), Supp. VIII, 291 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 Lopez, Rafael, Supp. IV, Part 2, 602 Lorca, Federico Garcia, IV, 380; Supp. I, Part 1, 345; Supp. IV, Part 1,

83; Supp. VIII, 38, 39 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, Part 1,325 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 Loire, 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; Supp. VIII, 75, 82, 88; Supp. IX 133 Los Angeles Times Book Review (publication), Supp. IV, Part 1, 208, 294 Los Angeles Times Magazine, Supp. VIII, 75, 77 Losey, Joseph, IV, 383 "Losing a Language" (Merwin), Supp. Ill, Part 1, 356 Losing Battles (Welty), IV, 261, 281282; Retro. Supp. I, 341, 352, 353354 "Losing the Marbles" (Merrill), Supp. Ill, Part 1, 337 "Losing Track of Language" (Clampitt), Supp. IX 38, 40 "Loss of Breath" (Poe), III, 425-426 "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, 373-375, 376, 377, 380-381 "Losses" (Jarrell), II, 375-376 Lossky, N. O., Supp. IV, Part 2, 519 "Lost" (Wagoner), Supp. IX 328 "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, 466^67 "Lost Decade, The" (Fitzgerald), II, 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 Self-Help 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" (Hass), Supp. VIII, 28 "Lost in Translation" (Merrill), Supp. III, Part 1, 324, 329-330 Lost in Yonkers (film), Supp. IV, Part 2,588 Lost in Yonkers (Simon), Supp. IV, Part 2, 576, 577, 584, 587-588, 590-591 Lost Lady, A (Gather), I, 323-325, 327; Retro. Supp. I, 15-16, 20, 21, 382 "Lost Lover, A" (Jewett), II, 400-401, 402 "Lost Loves" (Kinnell), Supp. HI, 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, 530532, 533 "Lost Sons" (Salter), Supp. IX 260 "Lost World, A" (Ashbery), Supp. Ill, Part 1, 9 Lost World, The (Jarrell), II, 367, 368, 371, 379-380, 386, 387 "Lost Young Intellectual, The" (Howe), Supp. VI, 113,115-116 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 "Lottery, The" (Jackson), Supp. IX 113, 114, 118, 120,122-123 Lottery, The; or, The Adventures of

INDEX / 467 James Harris (Jackson), Supp. IX 113, 115, 116, 124, 125 Lotze, Hermann, III, 600 "Louie, His Cousin & His Other Cousin" (Cisneros), Supp. VII, 60 Louis XIV, King, I, 345 Louis XVI, King, Supp. I, Part 2, 511, 512,514,521 Louis XVIII, King, I, 345 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 Simpson and Walt Whitman: Destroying the Teacher" (Lazer), Supp. IX 265 "Louis Zukofsky: All: The Collected Short Poems, 1923-1958" (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 "Louisa, Please Come Home" (Jackson), Supp. IX 122 Louisville Courier-Journal (newspaper), Supp. VIII, 139 "Lounge" (Francis), Supp. IX 83 Lounsbury, Thomas R., I, 335, 357 Love, Deborah, Supp. V, 208, 210 "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), 111,228, 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. Ill, Part 2, 544, 552-553 Love Course, The (Gurney), Supp. V, 98 Love in Buffalo (Gurney), Supp. V, 96

"Love—In Other Words" (Lee), Supp. VIII, 113 "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 Life" (Mason), Supp. VIII, 145-146 Love Life (Mason), Supp. VIII, 145146 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 of Landry, 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 the Wild Swan" (Jeffers), Supp. VIII, 33 "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, Part 1 , 3 1 1 "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 I, 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 Lovesick (Stern), Supp. IX 295-296 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 1, 257-259, 261263, 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,

468 / AMERICAN WRITERS 404-426; Supp. II, Part 1, 197, 291, 352 Lowell, Mrs. James Russell (Maria White), Supp. I, Part 2, 405, 406, 414, 424 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. III, 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; Supp. VIII, 27, 100, 271; Supp. IX 325 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, Part 1, 209,211 Lowth, Richard, II, 8 Loy, Mina, III, 194 Loy, Myrna, Supp. IV, Part 1, 355 Loyola, Ignatius, IV, 151 Lu Ji, Supp. VIII, 303 "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; Supp. VIII, 165 Lubin, Isidor, Supp. I, Part 2, 632

Lubow, Arthur, Supp. VIII, 310 Lucas, Victoria (pseudonym), see Plath, Sylvia Luce, Dianne C, Supp. VIII, 189 "Lucid Eye in Silver Town, The" (Updike), IV, 218 Lucid, Robert R, III, 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, 345347 Lucky Life (Stern), Supp. IX 290-291 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 of Cape Cod" (Brodsky), Supp. VIII, 27-28 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; Supp. IX 253 "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; Retro. Supp. I, 60; Supp. I, Part 1, 370; Supp. IX 41 Lydenberg, John, I, 380 Lyell, Charles, Supp. IX 180 Lyell, Frank H., Supp. VIII, 125; 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, The" (McKay), Supp. I, Part 1, 63 "Lynching Song" (Hughes), Supp. I, Part 1, 331 Lynd, Staughton, Supp. I, Part 1, 27, Part 2, 525; Supp. VIII, 240 Lynen, John, II, 125 Lynn, Kenneth S., II, 294; III, 336; IV, 213 Lyon, Kate, I, 409; II, 138, 143, 144 Lyon, Thomas, Supp. IX 175 "Lyonnesse" (Plath), Supp. I, Part 2, 541 Lyons, Bonnie, Supp. V, 58; Supp. VIII, 138 Lyons, Charles R., I, 95 Lyotard, Jean-Frangois, Supp. IV, Part I, 54 Lyric Theatre, Retro. Supp. I, 65 Lyric Year, The (journal), Retro. Supp. 1,414 Lyrical Ballads (Wordsworth), III, 583; IV, 120; Supp. IX 274 Lyrics of Love and Laughter (Dunbar), Supp. II, Part 1, 207 Lyrics of Lowly Life (Dunbar), Supp. II, Parti, 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 Ma Rainey's Black Bottom (Wilson),

INDEX / 469 Supp. VIII, 331, 332-334, 346, 349, 350 Mabbott, Thomas O., Ill, 431 McAlexander, Hubert H., Supp. V, 314, 319, 320, 323 McAlmon, Mrs. Robert (Winifred Ellerman), HI, 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 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 McCaffery, Larry, Supp. IV, Part 1, 217, 227, 234; Supp. V, 53, 238; Supp. VIII, 13, 14 McCall, Dan, IV, 497 McCall's (magazine), III, 58; Supp. IV, Part 1, 102, 383; Supp. VIII, 58, 113; Supp. 1X65, 71 McCarthy, Charles Joseph, Jr. See McCarthy, Cormac McCarthy, Cormac, Supp. VIII, 175192 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; Supp. VIII, 96, 99, 100 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; Supp. VIII, 289 McClure, S. S., I, 313; II, 465; III, 327; Retro. Supp. I, 5, 6, 9 McClure's (magazine), I, 313, 322; Retro. Supp. I, 5, 6, 7, 9 McCluskey, John, Supp. I, Part 1, 70 McConnell, Fanny, see Ellison, Fanny McConnell McCormack, T, III, 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; Supp. VIII, 124 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 Macdonald, Dwight, I, 47, 233, 372, 379, 380; HI, 39, 48; Supp. V, 265 MacDonald, Jeanette, II, 589 Macdonald, Ross, Supp. IV, Part 1, 116, 136, Part 2, 459-^77 MacDougall, Allan Ross, HI, 144 MacDowell, Edward, I, 228; HI, 504, 508, 524 McDowell, Frederick P. W., II, 194, 195 McDowell, Mary, Supp. I, Part 1, 5 McDowell, Robert, Supp. IX 266, 270, 276, 279 McDowell, Tremaine, Supp. I, Part 1, 173 Macebuh, Stanley, Supp. I, Part 1, 69 McElderry, B. R., Jr., IV, 473 McElroy, Joseph, Supp. IV, Part 1, 279, 285 McEuen, Kathryn, II, 20, 23 McEwen, Arthur, I, 206 McFarland, Ron, Supp. IX 323, 327, 328, 333 McGann, Jerome, Retro. Supp. I, 47 McGirTert, 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 MacGowan, Christopher, Retro. Supp. I, 430 MacGowan, Kenneth, III, 387, 391 McGrath, Patrick, Supp. IX 113 McGuane, Thomas, Supp. V, 53, 220; Supp. VIII, 39, 40, 42, 43 MacGuffin, 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 McHugh, Robert, III, 121 Mcllwaine, Shields, I, 311 Maclnnes, Colin, Supp. I, Part 1, 70 Mclntire, Holly, Supp. V, 338 Mclntosh, Maria, Retro. Supp. I, 246 Mackail, John William, Supp. I, Part

1, 268, Part 2, 461 McKay, Claude, Supp. I, Part 1, 63; Supp. Ill, Part 1, 75, 76; Supp. IV, Part 1, 3, 79, 164; Supp. IX 306 McKay, Donald, Supp. I, Part 2, 482 McKenney, Eileen, see West, Mrs. Nathanael (Eileen McKenney) McKenney, Ruth, IV, 288, 307 MacKenzie, Agnes, I, 199 Mackenzie, Captain Alexander, III, 94 McKenzie, Barbara, II, 584 Mackenzie, Compton, II, 82; Retro. Supp. I, 100, 102 MacKenzie, Margaret, I, 199 McKinley, William, I, 474; III, 506; Supp. I, Part 2, 395-396, 707 MacLachlan, John, I, 311 MacLaurin, Lois Margaret, II, 125 Maclean, Alasdair, Supp. V, 244 McLean, Albert F., Jr., Supp. I, Part I, 173 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), HI, 1 McLennan, Gordon Lawson, Supp. IX 89 McLeod, A. W, Supp. I, Part 1, 257 McLeod, James R., Ill, 550 McLuhan, Marshall, Supp. IV, Part 2, 474 Macmahon, Arthur, I, 226 McMahon, Helen, Supp. IV, Part 2, 579 McMaster, John Bach, II, 125 McMichael, George, Supp. VIII, 124 McMichael, Morton, Supp. I, Part 2, 707 McMillan, James B., Supp. VIII, 124 Macmillan Company, Retro. Supp. I, 220; Supp. V, 281, 286 Macmillan's (magazine), II, 329 McMurray, William, II, 294 McMurtry, Josephine, Supp. V, 220 McMurtry, Larry, Supp. V, 219-235 MacNair, Harley Farnsworth, II, 533 McNamara, Robert, IV, 377 MacNeice, Louis, II, 586; III, 527; Supp. II, Part 1, 17, 24; Supp. IV, Part 2, 440 McNeese, Gretchen, Supp. V, 123 McNeil, Claudia, Supp. IV, Part 1, 360, 362

470 / AMERICAN WRITERS McPhee, John, Supp. Ill, Part 1, 289316 MacPherson, Aimee Semple, Supp. V, 278 McPherson, Dolly, Supp. IV, Part 1, 2 , 3 , 4 , 6 , 8 , 11, 12 MacPherson, Kenneth, Supp. I, Part 1,259 McPherson, William, Supp. I, Part 1, 199 McQuade, Molly, Supp. VIII, 277, 281; Supp. IX 151, 163 McQuillan family, II, 79, 80 Macrae, John, I, 252-253 McRobbie, Angela, Supp. IV, Part 2, 691 McShane, Frank, II, 222; Supp. IV, Part 2, 557 "MacSwiggen" (Freneau), Supp. II, Part 1, 259 McTaggart, John, I, 59 McTeague (Morris), III, 314, 315, 316320, 322, 325, 327-328, 330, 331, 333, 335; Supp. IX 332 Me Williams, Carey, I, 213; II, 149 Mad Dog Blues (Shepard), Supp. Ill, 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 Treymes (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; Supp. IX 125 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 "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 Madwoman in the Attic, The: The Woman Writer and the NineteenthCentury Literary Imagination (Gilbert and Gubar), Supp. IX 66 "Maelzel's Chess-Player" (Poe), III, 419, 420 "Maestria" (Nemerov), III, 275, 278279 Maeterlinck, Maurice, I, 91, 220 Magazine for Ducks and Geese, Supp. IX 233, 234 "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. Ill, Part 1, 220-221, 225, 227, 229, 232 "Magi" (Plath), Supp. I, Part 2, 544545 "Magi, The" (Garrett), Supp. VII, 97 "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, 43CM34 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 Magiirs Survey of Cinema (publication), Supp. VIII, 73 Magnalia 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 "Magpie's Song" (Snyder), Supp. VIII, 302 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, Part 1, 302; Supp. IV, Part 1, 90, 198, 207, 236, 284, 381, Part 2, 689; Supp. VIII, 236 "Maimed Man, The" (Tate), IV, 136 Main Currents in American Thought: The Colonial Mind, 1625-1800 (Parrington), I, 517; Supp. I, Part 2,484 Main Street (Lewis), I, 362; II, 271, 440, 441-442, 447, 449, 453; III, 394 "Maine Roustabout, A" (Eberhart), I, 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

INDEX / 471 "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 It (Podhoretz), Supp. VIII, 231, 232, 233, 237-238, 239, 244 "Making of a Soldier USA, The" (Simpson), Supp. IX 270 Making of Americans, The (Stein), IV, 35, 37, 40-42, 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 the Light Come: The Poetry of Gerald Stern (Somerville), Supp. IX 296-297 "Making Up Stories" (Didion), Supp. IV, Part 1, 196,203,205 "Mai Paso Bridge" (JefTers), Supp. II, Part 2, 415, 420 Malady of the Ideal, The: Oberman, Maurice de Guerin, and Amiel (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, 427-453; Supp. IV, Part 1, 297, 382; Supp. V, 257, 266; Supp. IX 114,227 Malamud, Mrs. Bernard (Ann de Chiara), Supp. I, Part 2, 451 "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. HI, Part 2, 629 Malatesta, Sigismondo de, III, 472, 473 Malcolm (Purdy), Supp. VII, 270-273, 277 "Malcolm Cowley and the American

"Man" (Herbert), II, 12 "Man Against the Sky, The" (Robinson), III, 509, 523 Malcolm, Donald, Supp. I, Part 1, 199 "MALCOLM REMEMBERED (FEB. "Man and a Woman Sit Near Each Other, A" (Bly), Supp. IV, Part 1, 77)" (Baraka), Supp. II, Part 1, 60 71 Malcolm X, Supp. I, Part 1, 52, 63, 65, 66; Supp. IV, Part 1, 2, 10; Man and Boy (Morris), III, 223, 224, 225 Supp. VIII, 330, 345 "Maldrove" (JefTers), Supp. II, Part 2, "Man and the Snake, The" (Bierce), I, 203 418 Male Animal, The (Thurber), Supp. I, "Man and Wife" (Lowell), III, 550 "Man and Woman" (Caldwell), I, 310 Part 2, 605, 606, 610-611 "Man Bring This Up Road" (Williams), Male, Roy, II, 239, 245 IV, 383-384 "Malediction upon Myself" (Wylie), "Man Carrying Thing" (Stevens), IV, Supp. I, Part 2, 722 90 Malefactors, The (Gordon), II, 186, "Man Child, The" (Baldwin), Supp. I, 199, 213-216; IV, 139 Part 1, 63 "Malest Cornifici Tuo Catullo" Man Could Stand Up, A (Ford), I, 423 (Ginsberg), Supp. II, Part 1, 315 Malin, Irving, I, 147, 166; III, 360; "Man Eating" (Kenyon), Supp. VII, 173 IV, 23 "Man Feeding Pigeons" (Clampitt), Malkoff, Karl, III, 550 Supp. IX 49-50, 52 Mallarme, Stephane, I, 66, 569; II, 529, 543; III, 8, 409, 428; IV, 80, "Man in Black" (Plath), Supp. I, Part 2,538 86; Part 2, 630; Retro. Supp. I, 56; Supp. I, Part 1, 261; Supp. II, Part Man in the Black Coat Turns, The (Bly), Supp. IV, Part 1, 66-68, 71, I, 1; Supp. Ill, Part 1, 319-320 73 Mallon, Thomas, Supp. IV, Part 1, "Man in the Brooks Brothers Shirt, 200, 209 The" (McCarthy), II, 563-564 Maloff, Saul, Supp. VIII, 238 Maloney, Russell, Supp. I, Part 2, 681 "Man in the Drawer, The" (Malamud), Supp. I, Part 2, 437 Malory, Thomas, II, 302; III, 486; IV, Man in the Gray Flannel Suit, The 50, 61; Supp. IV, Part 1, 47 (Wilson), Supp. IV, Part 1, 387 Malraux, Andre, I, 33-34, 127, 509; II, 57, 376; III, 35, 310; IV, 236, Man in the Middle, The (Wagoner), Supp. IX 324, 332-333 247, 434; Retro. Supp. I, 73; Supp. Man in the Mirror, The: William II, Part 1,221,232 Maltese Falcon, The (film), Supp. IV, Marion Reedy and His Magazine (Putzel), Supp. I, Part 2, 402, 478 Part 1, 342, 353, 355 Maltese Falcon, The (Hammett), IV, "Man Made of Words, The" (Momaday), Supp. IV, Part 2, 481, 286; Supp. IV, Part 1, 345, 348351 484-485, 486, 487, 488 "Mama and Daughter" (Hughes), Man Nobody Knows, The (B. Barton), Retro. Supp. I, 179 Supp. I, Part 1, 334 Mama Day (Naylor), Supp. VIII, 223- Man of Letters in New England and 226, 230 the South, The (Simpson), Supp. I, Part 1, 149 "Mama Still Loves You" (Naylor), Supp. VIII, 214 "Man of No Account, The" (Harte), Mambo Kings, The (film), Supp. VIII, Supp. II, Part 1, 339 73, 74 "Man of the Crowd, The" (Poe), III, Mambo Kings Play Songs of Love, The 412, 417; Retro. Supp. I, 154 (Hijuelos), Supp. VIII, 73-74, Man on Spikes (Asinof), II, 424 79-82 "Man on the Dump, The" (Stevens), "Mamie" (Sandburg), III, 582 IV, 74; Retro. Supp. I, 306 Mammedaty, Novarro Scott, see Mo- "Man on the Train, The" (Percy), maday, N. Scott Supp. Ill, Part 1, 387 "Mammon and the Archer" (O. Henry), "Man Splitting Wood in the Daybreak, Supp. II, Part 1, 394, 408 The" (Kinnell), Supp. Ill, Part 1, 254 Mammonart (Sinclair), Supp. V, 276277 Man That Corrupted Hadleyburg, The Writer" (Simpson), Supp. II, Part 1, 147

472 / AMERICAN WRITERS (Twain), I, 204; IV, 208 "Man That Was Used Up, The" (Poe), 111,412,425 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 Gave Up His Name, The (Harrison), Supp. VIII, 45, 52 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, 485-487, 492 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 a Family" (Humphrey), Supp. IX 94 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; Supp. IX 1, 3, 9-11, 14, 15 Man with the Golden Arm, The (film), Supp. IX 3 "Man with the Golden Beef, The" (Podhoretz), Supp. IX 3 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; Supp. VIII, 21,22, 23, 27

"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, 482484, 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; Supp. IX 21 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 Manning, Robert, Supp. IX 236 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" (JefTers), 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, 185-186 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 " ' M a n t i s ' : An Interpretation" (Zukofsky), Supp. Ill, Part 2, 617618 Mantrap (Lewis), II, 447 Manuductio Ad Ministerium (Mather), Supp. II, Part 2, 465-467 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. 1,424 "Many Mansions" (H. Roth), Supp. IX 233, 234 Many Marriages (Anderson), I, 104, 111, 113 "Many of Our Waters: Variations on a Poem by a Black Child" (Wright), Supp. HI, 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, 103-104 Mapson, Jo-Ann, Supp. IV, Part 2, 440, 454 "Mara" (JefTers), Supp. II, Part 2, 434 Marat, Jean Paul, IV, 117; Supp. I, Part 2, 514, 515, 521

INDEX / 473 "Marathon" (Gliick), Supp. V, 85 Marble Faun, The (Faulkner), II, 55, 56; Retro. Supp. I, 79 Marble Faun, The; or, The Romance of Monte Beni (Hawthorne), II, 225, 239, 242-243, 290, 324; IV, 167; Retro. Supp. I, 63, 149, 163, 164165; Supp. I, Part 1, 38, Part 2, 421,596 Marbles (Brodsky), Supp. VIII, 26-27 "March" (Williams), Retro. Supp. I, 418 March, Frederic, III, 154, 403; IV, 357 March Hares (Frederic), II, 143-144 Marchand, Ernest, III, 336; Supp. I, Part 1, 148 "Marche aux Oiseaux" (Wilbur), Supp. Ill, Part 2, 550 "Marchen, The" (Jarrell), II, 378-379 Marching Men (Anderson), I, 99, 101, 103-105, 111 "Marching Music" (Simic), Supp. VIII, 281 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; Supp. VIII, 196 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 "Margaret Fuller, 1847" (Clampitt), Supp. IX 43 Margin of Hope, A: An Intellectual Autobiography (Howe), Supp. VI, 113-114, 117, 125, 128 "Marginalia" (Wilbur), Supp. Ill, Part 2,544 "Margins of Maycomb, The: A Rereading of To Kill a Mockingbird" (Phelps), Supp. VIII, 128 Margolies, Edward, IV, 496, 497; Supp. I, Part 1, 70 "Margrave" (Jeffers), Supp. II, Part 2, 426 "Maria Conception" (Porter), III, 434435, 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 "Marine Surface, Low Overcast" (Clampitt), Supp. IX 47-48 Marinetti, Tommaso, Retro. Supp. I, 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 I, 302 "Mark, The" (Bogan), Supp. Ill, Part 1,52 Mark Twain in Eruption (Twain), IV, 209 Mark Twain's America (De Voto), I, 248 Mark Twain's Autobiography (Twain), IV, 209 Marker, Chris, Supp. IV, Part 2, 434, 436 "Market" (Hayden), Supp. II, Part 1, 368, 369 Marketplace, The (Frederic), II, 145146 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 Marley, Bob, Supp. IX 152 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, Part 1, 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 A-la-Mode (Dryden), Supp. 1X68 "Marriage in the 'Sixties, A" (Rich), Supp. I, Part 2, 554 "Marriage of Heaven and Hell, The" (Blake), III, 544-545; Supp. VIII, 99 "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. 1,416 Marsden, Malcolm M., Ill, 574 Marsena (Frederic), II, 135, 136-137 Marsh, Edward, Supp. I, Part 1, 257, 263 Marsh, Fred T, Supp. IX 232 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 Maria y Maria (Valdes), II, 290 Marthe, Saint, II, 213 Martial, II, 1, 169; Supp. IX 152 Martian Chronicles, The (Bradbury), Supp. IV, Part 1, 102, 103, 106107 Martien, Norman, III, 48 Martin, Benjamin, Supp. I, Part 2, 503 Martin, Carter W, III, 360 Martin du Gard, Roger, Supp. I, Part 1, 51

474 / AMERICAN WRITERS Martin Eden (London), II, 466, 477481 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. Ill, Part 2, 619; Supp. IV, Part 1, 355; Supp. VIII, 196; Supp. IX 133 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, 297298, 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 "Marxism and Monastic Perpectives" (Merton), Supp. VIII, 196 Marxist Quarterly (publication), Supp. I, Part 2, 645

Mary (Jesus' mother), IV, 152; Supp. I, Part 2, 581 Mary (Nabokov), Retro. Supp. I, 267268, 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. III, Part 1,339,341,342 Maslow, Abraham, Supp. I, Part 2, 540 Mason, Bobbie Ann, Supp. VIII, 133149 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 M u m m e r s , The" (MacLeish), III, 18 Masque of Pandora, The (Longfellow), II, 490, 494, 506 Masque of Poets, A (ed. Lathrop), Retro. Supp. I, 31; 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), 111,412,419,424 "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 "Massacre and the Mastermind, The" (Bausch), Supp. VII, 49 "Massacre at Scio, The" (Bryant), Supp. I, Part 1, 168

"Massacre of the Innocents, The" (Simic), Supp. VIII, 282 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, Parti, 117 "Master of Secret Revenges, The" (Gass), Supp. VI, 93 "Master Player, The" (Dunbar), Supp. II, Part 1, 200 "Masterful" (Matthews), Supp. IX 161-162 "'Masterpiece of Filth, A': Portrait of Knoxville Forgets to Be Fair" (Howards), Supp. VIII, 178 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; Supp. 1X308 Masters, Ellen Coyne, Supp. I, Part 2, 478 Masters, Hardin W., Supp. I, Part 2, 468, 478 Masters, Hilary, Supp. IX 96 "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 Materassi, Mario, Supp. IX 233 Materialism, I, 383; II, 202, 282; III, 394, 396-397,610, 611 Mather, Cotton, II, 10, 104, 302, 506, 536; HI, 442, 455; IV, 144, 152153, 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 , 3 1 7

INDEX / 475 Mathews, Shailer, III, 293 "Matinees" (Merrill), Supp. Ill, Part 1, 319, 327 "Matins" (GlUck), Supp. V, 88 Matisse, Henri, III, 180; IV, 24, 90, 407; Supp. I, Part 2, 619; Supp. VIII, 168; Supp. IX 66 "Matisse: The Red Studio" (Snodgrass), Supp. VI, 316-317 Matlock, Lucinda, Supp. I, Part 2, 462 Matson, Peter, Supp. IV, Part 1, 299 Matson, Suzanne, Supp. VIII, 281 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; Supp. IX 151-170 Matthiessen, F. O., I, 254, 259-260, 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, 807808, 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. HI, Part 2, 581 Maverick in Mauve (Auchincloss), Supp. IV, Part 1, 26 "Mavericks, The" (play) (Auchincloss), Supp. IV, Part 1, 34 "Mavericks, The" (story) (Auchin-

closs), 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, 457^58 Maximus Poems 1-10, The (Olson), Supp. II, Part 2, 571 Maximus Poems IV, V, VI (Olson), Supp. II, Part 2, 555, 580, 582584 Maximus Poems, The (Olson), Retro. Supp. I, 209; Supp. II, Part 2, 555, 556, 563, 564-580, 584; Supp. VIII, 305 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 "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; Supp. VIII, 151-174 May, Abigail (Abba), see Alcott, Mrs. Amos Bronson (Abigail May) May, Jill, Supp. VIII, 126 May, John R., Supp. I, Part 1, 226 May Alcott: A Memoir (Ticknor), Supp. I, Part 1, 46 "May Day" (Fitzgerald), II, 88-89; Retro. Supp. I, 103 "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 "May 24, 1980" (Brodsky), Supp. VIII, 28

May Sarton: Selected Letters 19161954, Supp. VIII, 265 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 Mayes, Wendell, Supp. IX 250 Mayfield, Julian, Supp. I, Part 1, 70 Mayfield, Sara, Supp. IX 65 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, 525-526, 527 Mazzaro, Jerome, II, 390, 557 Mazzini, Giuseppe, Supp. I, Part 1, 2, 8; Supp. II, Part 1, 299 "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 Howells, 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; Supp. IX 229 Meade, Marion, Supp. IX 191, 193, 194, 195 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, 416-417 "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 I n s t i t u t i o n , A" (Ginsberg), Supp. II, Part 1, 313 Mearns, Hughes, HI, 220 "Measure" (Hass), Supp. VI, 99-100, 101 "Measuring My Blood" (Vizenor), Supp. IV, Part 1, 262

476 / AMERICAN WRITERS "Mechanism" (Ammons), Supp. VII, 28 "Mechanism in Thought and Morals" (Holmes), Supp. I, Part 1, 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, 154-155 "Meditation 40" (Second Series) (Taylor), IV, 147 "Meditation 2.68A" (Taylor), IV, 165 "Meditation, A" (Eberhart), I, 533-535 "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, 564-565 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 (Ely), 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 the Mountains" (Snyder), Supp. VIII, 300

"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 "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, 440-441,443, 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, 561562; II, 27, 74, 224-225, 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, 243262; 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; Supp. VIII, 48, 103, 104, 105, 106, 108, 156, 175, 181, 188 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, 600-604, 605,606; Supp. VIII, 124 "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, 516-517 Memoir of Mary Ann, A, (O'Connor), III, 357 Memoirs of Arii Taimai (Adams), I, 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, 261-262; 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, 363365, 368, 375, 378, 379

INDEX / 477 "Men and Women" (Ely), Supp. IV, Part 1, 72 "Men at Forty" (Justice), Supp. VII, 126-127 "Men Deified Because of Their Cruelty" (Simic), Supp. VIII, 282 "Men in the Storm, The" (Crane), I, 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 Brewster Place, The (Naylor), Supp. VIII, 213, 228-230 "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 Passes), I, 485 Men Without Women (Hemingway), II, 249; Retro. Supp. I, 170, 176; Supp. IX 202 Men, Women and Ghosts (Lowell), II, 523-524 "Men, Women, and Thurber", Supp. I, Part 2, 627 Menaker, Daniel, Supp. VIII, 151 Mencius (Meng-tzu), IV, 183 Mencken, August, III, 100, 108 Mencken, August, Jr., Ill, 99, 109, 118-119 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; HI, 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, 153-154; Retro. Supp. I, 128, 130 Mendocino Review (journal), Supp. IV, Part 2, 542 Menikoff, Barry, Supp. I, Part 1, 319

Merry Widow, The (Lehar), III, 183 Mennes, John, II, 111 Mennoti, Gian Carlo, Supp. IV, Part "Merry-Go-Round" (Hughes), Retro. Supp. I, 194, 205; Supp. I, Part 1, 1,84 333 Men's Journal (publication), Supp. Merry-Go-Round, The (Van Vechten), VIII, 39 Supp. II, Part 2, 734, 735 "Menstruation at Forty" (Sexton), Merry's Museum (magazine), II, 397 Supp. II, Part 2, 686 "Mental Hospital Garden, The" Mertins, Louis, II, 172 Merton, Thomas, III, 357 ; Supp. (Williams), Retro. Supp. I, 428 VIII, 193-212 Mental Radio (Sinclair), Supp. V, 289 "Merced" (Rich), Supp. I, Part 2, 563 Merwin, W. S., Supp. Ill, Part 1,339360, Part 2, 541; Supp. IV, Part 2, "Mercenary, A" (Ozick), Supp. V, 267 620, 623, 626; Supp. V, 332; Supp. Merchant of Venice, The (Shakespeare), IX 152, 155, 290 IV, 227 Meryman, Richard, Supp. IV, Part 2, Mercury Theatre, Retro. Supp. I, 65 579, 583 Mercy, The (Levine), Supp. V, 194Meserve, Frederick H., Ill, 598 195 Mercy of a Rude Stream (H. Roth), Meserve, Walter, Supp. I, Part 1, 70 Meserve, Walter J., II, 292, 293 Supp. 1X231,234, 235-242 Mercy Philbrick's Choice (Jackson), Mesic, Michael, Supp. IV, Part 1, 175 "Message in the Bottle, The" (Percy), Retro. Supp. I, 26, 27, 33 Supp. Ill, Part 1, 388 Mercy, Pity, Peace, and Love (Ozick), Message in the Bottle, The (Percy), Supp. V, 257, 258 Supp. Ill, Part 1, 387-388, 393, Mercy Street (Sexton), Supp. II, Part 397 2, 683, 689 "Message of Flowers and Fire and "Mere Pochette" (Jewett), II, 400 Flowers, The" (Brooks), Supp. Ill, Meredith, George, II, 175, 186; Supp. Part 1, 69 IV, Part 1, 300 Messenger (publication), Retro. Supp. Meredith, Mary, see Webb, Mary I, 198; Supp. I, Part 1, 328 Meredith, William, I, 189; II, 390, 545 "Merely to Know" (Rich), Supp. I, Messiah (Vidal), Supp. IV, Part 2, 677, 680, 681-682, 685, 691, 692 Part 2, 554 "Merger II, The" (Auchincloss), Supp. Messiah of Stockholm, The (Ozick), Supp. V, 270-271 IV, Part 1, 34 Metamorphic Tradition in Modern Po"Mericans" (Cisneros), Supp. VII, 69 etry (Quinn), IV, 421 "Merida, 1969" (Matthews), Supp. IX Metamorphoses (Ovid), II, 542-543; 151 III, 467, 468 Merideth, Robert, Supp. I, Part 2, 601 "Meridian" (Clampitt), Supp. IX Metamorphoses (trans. Pound), HI, 468-469 48-49 Meridian (Walker), Supp. HI, Part 2, Metamorphosis (Kafka), IV, 438; Supp. VIII, 3 520, 524, 527, 528, 531-537 Metaphor & Memory: Essays (Ozick), Merimee, Prosper, II, 322 Supp. V, 272 Meriweather, James B., Retro. Supp. "Metaphor as Mistake" (Percy), Supp. I, 77, 91 Meriweather family, II, 197 III, Part 1, 387-388 Meriwether, James B., I, 380; II, 76; "Metaphors of a Magnifico" (Stevens), IV, 92 Retro Supp. I, 77, 91 "Meriwether C o n n e c t i o n , The" "Metaphysical Poets, The" (Eliot), I, 527, 586 (Cowley), Supp. II, Part 1, 142 Metaphysicism, I, 384, 396, 447; II, "Merlin" (Emerson), II, 19, 20 Merlin (Robinson), III, 522 40, 211, 542; III, 4, 13, 18, 32, 37, "Merlin Enthralled" (Wilbur), Supp. 38, 115, 173, 204, 245, 252-253, Ill, Part 2, 544, 554 255, 263, 348, 392, 393, 394, 405, Merrill, Bob, III, 406 481, 493, 541, 611; IV, 28, 100, 115, Merrill, James, Retro. Supp. I, 296; 137, 144, 151, 152, 154, 165, 283, Supp. Ill, Part 1, 317-338, Part 2, 333, 349, 433, 482, 485, 487, 488, 541, 561; Supp. IX 40, 42, 48, 52 493, 495, 496; Supp. I, Part 1, 261, Merrill, Ronald, Supp. IV, Part 2, 521 366, Part 2, 421, 634, 635, 661, 679, 704 Merritt, Theresa, Supp. VIII, 332

478 / AMERICAN WRITERS "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; Supp. 1X71 "Metzengerstein" (Poe), III, 411, 417 Metzger, Arnold, II, 365 Mewshaw, Michael, Supp. V, 57 "Mexico" (Lowell), II, 553, 554 Mexico City Blues (Kerouac), Supp. III, 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, 358-359, 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 "Mid-August at Sourdough Mountain Lookout" (Snyder), Supp. VIII, 292-293 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 Nowhere, The" (Wagoner), Supp. IX 327-328 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, 337338; Retro. Supp. I, 235 "Middleaged Man, The" (Simpson), Supp. IX 274-275 Middlebrook, Diane Wood, Supp. IV, Part 2, 444, 451 Middlemarch (Eliot), I, 457, 459; II, 290, 291; Retro. Supp. I, 225; Supp. I, Part 1, 174; Supp. IX 43 Middlesex Standard (publication), Supp. I, Part 2, 687 Middleton, Thomas, Retro. Supp. I, 62 " M i d n i g h t C o n s u l t a t i o n s , 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 Magic" (Mason), Supp. VIII, 146 Midnight Magic: Selected Stories of Bobbie Ann Mason (Mason), Supp. VIII, 148 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 Midstream (magazine), Supp. IX 234 "Midsummer in the Blueberry Barrens" (Clampitt), Supp. IX 40-41 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 Mihailovitch, Bata, Supp. VIII, 272 Miklitsch, Robert, Supp. IV, Part 2, 628, 629 Mila 18 (Uris), Supp. IV, Part 1, 379 Miles, Jack, Supp. VIII, 86 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; Supp. IX 60

Milhaud, Darius, Supp. IV, Part 1, 81 Miligate, Michael, II, 76; III, 48, 7273, 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 Mill Hand's Lunch Bucket (Bearden), Supp. VIII, 337 Millar, Kenneth, see Macdonald, Ross Millar, Margaret (Margaret Sturm), Supp. IV, Part 2, 464, 465 Millay, Cora, III, 123, 133-134, 135136 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; Supp. 1X20 Millennium Approaches (Kushner), Supp. IX 141, 142, 145 Miller, Arthur, I, 81, 94; III, 145-169; Supp. IV, Part 1, 359, Part 2, 574; Supp. VIII, 334 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

INDEX / 479 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), HI, 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; Supp. VIII, 101 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 Millroy the Magician (Theroux), Supp. VIII, 325 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. A., Supp. IX 189 Milne, A. J. M., I, 278 Milosz, Czeslaw, Supp. Ill, Part 2, 630; Supp. VIII, 20, 22 Milton, Edith, Supp. VIII, 79 Milton, John, I, 6, 138, 273, 587-588; 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; Supp. VIII, 294 Milton, John R., Supp. IV, Part 2, 503 "Milton by Firelight" (Snyder), Supp. II, Part 1, 314; Supp. VIII, 294 "Miltonic Sonnet, A" (Wilbur), Supp. III, 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), HI, 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. HI, 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. Ill, 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 Mingus, Charles, Supp. IX 152 "Mingus in Diaspora" (Matthews), Supp. IX 166 "Mingus in Shadow" (Matthews), Supp. IX 168-169 "Minimal, The" (Roethke), III, 531532 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 Minister's Wooing, The (Stowe), II, 541 "Ministration of Our Departed Friends, The" (Stowe), Supp. I, Part 2, 586587 "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 "Minotaur Loves His Labyrinth, The" (Simic), Supp. VIII, 270, 279, 281 "Minstrel Man" (Hughes), Supp. I, Part 1, 325 "Minting Time" (Sarton), Supp. VIII, 259 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" (Buck), Supp. II, Part 1, 128 "Miranda Over the Valley" (Dubus), Supp. VII, 81-83 "Miriam" (Capote), Supp. Ill, Part 1, 117, 120, 122 "Miriam" (Whittier), Supp. I, Part 2, 691,703 "Mirror" (Merrill), Supp. Ill, Part 1, 322 "Mirror, The" (Gliick), Supp. V, 83 Mirrors (Creeley), Supp. IV, Part 1, 156 Mirrors and Windows (Nemerov), HI,

480 / AMERICAN WRITERS 269, 275-277 "Mirrors of Chartres Street" (Faulkner), 11,56 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 Ella" (Z. Fitzgerald), Supp. IX 57, 59, 71-72 "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, 290297, 300, 301, 305, 306 Miss Mamma Aimee (Caldwell), I, 308, 309, 310 "Miss Mary Pask" (Wharton), IV, 316; Retro. Supp. I, 382 Miss Ravenel's 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 "Missing Child" (Simic), Supp. VIII, 282 "Mission of Jane, The" (Wharton), Retro. Supp. I, 367 Mission to Moscow (film), Supp. I, Part 1, 281 "Mississippi" (Faulkner), Retro. Supp. 1,77 "Mississippi" (Simpson), Supp. IX 271 "Missoula Softball Tournament" (Hugo), Supp. VI, 132 Missouri Review (publication), Supp. IV, Part 1, 402, 407, 410, 412, 414; Supp. VIII, 152 "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

Mitchum, Robert, Supp. IX 95, 250 Mitgang, Herbert, III, 598; Supp. IV, Part 1, 220, 226, 307; Supp. VIII, 124 "Mixed Sequence" (Roethke), III, 547 Miyazawa Kenji, Supp. VIII, 292 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

Mobilio, Albert, Supp. VIII, 3 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, 28-29, 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; Moby-Dick (Melville), Supp. VIII, 106, 188, 198 "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, 282-283, 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 Review (publication), Supp. 1X309 Modern School, The (publication), I, 384 "Modern Sorcery" (Simic), Supp. VIII, 283 "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, 573-574 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 Paper-Currency, A (Franklin), II, 108-109 "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; Supp. VIII, 292, 306 Moliere (Jean-Baptiste Poquelin), III, 113; Supp. I, Part 2, 406; Supp. HI, Part 2, 552, 560; Supp. IV,

Part 2, 585; 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, 479496, 504, 557, 562 Moments of the Italian Summer (Wright), Supp. Ill, Part 2, 602 "Momus" (Robinson), III, 508 "Mon Ami" (Bourne), I, 227

INDEX / 481 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), 111,385,401,403,404 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, 471 270 Mooney, Harry John, Jr., Ill, 455 Montgomery, Marion, I, 590 Montgomery, Robert, Supp. I, Part 2, Mooney, Tom, I, 505 "Moon-Face" (London), II, 475 611; Supp. IV, Part 1, 130 Moon-Face and Other Stories Month of Sundays, A (Updike), Retro. (London), II, 483 Supp. I, 325, 327, 329, 330, 331, "Moonlight Alert" (Winters), Supp. II, 333, 335 Part 2, 801,811, 815 Monthly (publication), I, 26 Moony's Kid Don't Cry (Williams), IV, Monthly Anthology (publication), II, 381 302; Supp. I, Part 1, 152, 300 Moore, Arthur, Supp. I, Part 1, 49 Monthly Magazine and American Re- Moore, Dr. Merrill, III, 506 view, The, Supp. I, Part 1, 133, 140, Moore, George, I, 103 144 Moore, Harry, II, 608; III, 49, 241 Moore, John Milton, III, 193 Monti, Luigi, II, 504 Moore, John Rees, Supp. I, Part 1, 70 Montoya, Jose, Supp. IV, Part 2, 545 "Montrachet-le-Jardin" (Stevens), IV, Moore, Lorrie, Supp. VIII, 145 82 Moore, Marianne, I, 58, 70, 285, 401, I, 127 428, 450; II, 390; III, 193-217, 514, Mont-Saint-Michel and Chartres Monroe, Harriet, I, 235, 384, 390, 393; (Adams), I, 1, 9, 12-14, 18, 19, 21; 592-593; IV, 48, 74, 75, 76, 91, 96, II, 533; III, 458, 581, 586; IV, 74, Supp. I, Part 2, 417 402, 424; Retro. Supp. I, 416, 417; 96; Retro. Supp. I, 58, 131; Supp. Montserrat (Hellman), Supp. I, Part Supp. I, Part 1, 84, 89, 97, 255, I, Part 1, 256, 257, 258, 262, 263, 1, 283-285 257, Part 2, 707; Supp. II, Part 1, 267, Part 2, 374, 387, 388, 464, Montserrat (Robles), Supp. I, Part 1, 21; Supp. Ill, Part 1, 58, 60, 63, 610,611,613,614,615,616 283-285 Part 2, 612, 626, 627; Supp. IV, Monroe, James, Supp. I, Part 2, 515, "Monument, The" (Bishop), Supp. I, Part 1, 242, 246, 257, Part 2, 454, 517 640, 641 Part 1, 89 Monroe, Marilyn, III, 161, 162-163 Monument, The (Strand), Supp. IV, Moore, Mary Tyler, Supp. V, 107 Monroe, N. Elizabeth, II, 195 Moore, Mary Warner, III, 193 Part 2, 629, 630 Monroe's Embassy; or, the Conduct of "Monument Mountain" (Bryant), Moore, Steven, Supp. IV, Part 1, 279, the Government in Relation to Our Supp. I, Part 1, 156, 162 283, 284, 285, 287 Claims to the Navigation of the Mis- "Monument to After-Thought Un- Moore, Sturge, III, 459 sissippi (Brown), Supp. I, Part 1, veiled, A" (Frost), Retro. Supp. I, Moore, Thomas, II, 296, 299, 303; III, 146 124 191, 192; Supp. IX 104 "Monster, The" (Crane), I, 418 Moo (Smiley), Supp. VI, 292, 303- Moore, Virginia, Supp. I, Part 2, 730 Monster, The, and Other Stories 305 Moos, Malcolm, III, 116, 119 (Crane), I, 409 Moods (Alcott), Supp. I, Part 1, 33, "Moose, The" (Bishop), Supp. I, Part "Mont Blanc" (Shelley), Supp. IX 52 34-35, 43 I, 73, 93, 94, 95; Supp. IX 45, 46 Montage of a Dream Deferred Moody, Anne, Supp. IV, Part 1, 11 "Moose Wallow, The" (Hayden), Supp. (Hughes), Retro. Supp. I, 194, 208- Moody, Mrs. William Vaughn, I, 384; II, Part 1, 367 209; Supp. I, Part 1, 333, 339-341 Supp. I, Part 2, 394 "Moral Bully, The" (Holmes), Supp. I, Montagu, Ashley, Supp. I, Part 1, 314 Moody, Richard, Supp. I, Part 1, 280, Part 1, 302 Montaigne, Michel de, II, 1, 5, 6, 8, 298 "Moral Character, the Practice of Law, 14-15, 16, 535; III, 600; Retro. Moody, William Vaughn, III, 507; IV, and Legal Education" (Hall), Supp. Supp. I, 247 26 VIII, 127

Monaghan, Charles, IV, 119 Monet, Claude, Retro. Supp. I, 378 "Monet's 'Waterli lies'" (Hayden), Supp. II, Part 1, 361-362 Money (Amis), Retro. Supp. I, 278 "Money" (Matthews), Supp. IX 166 "Money" (Nemerov), HI, 287 Money, Money, Money (Wagoner), Supp. IX 324, 333-334 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, 199-200, 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 Monkey Wrench Gang, The (Abbey), Supp. VIII, 42 Monkeys (Minot), Supp. VI, 203-205, 206-210 "Monkeys, The" (Moore), III, 201, 202 "Monocle de Mon Oncle, Le" (Stevens), IV, 78, 84; Retro. Supp. 1,301; Supp. Ill, Part 1,20 Monro, Harold, III, 465; Retro. Supp.

"Montaigne" (Emerson), II, 6 Montale, Eugenio, Supp. HI, Part 1, 320; Supp. V, 337-338; Supp. VIII, 30 "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,

482 / AMERICAN WRITERS "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 Theology of Atticus Finch, The" (Shaffer), Supp. VIII, 127 "Moral Thought, A" (Freneau), Supp. II, Part 1, 262 Moralism, I, 148, 415; III, 298 Moralites Legendaires (Laforgue), I, 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 Moran of the Lady Letty (Morris), II, 264; III, 314, 322, 327, 328, 329, 330, 331, 332, 333 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. Ill, Part 1, 1 More Poems to Solve (Swenson), Supp. IV, Part 2, 640, 642, 648 More Stately Mansions (O'Neill), III, 385, 401, 404-405 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. I, Part 2, 483 Morison, Mrs. Samuel Eliot (Priscilla Barton), Supp. I, Part 2, 493, 496, 497 Morison, Samuel Eliot, Supp. I, Part 1, 123, Part 2, 479-500 Morituri Salutamus (Longfellow), Supp. I, Part 2,416 "Morituri Salutamus" (Longfellow), II, 499, 500 "Moriturus" (Millay), III, 126, 131132 Morley, Christopher, III, 481, 483, 484; Supp. I, Part 2, 653; Supp. IX 124 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. Ill, Part 1, 337 Morning Glory, The (Bly), 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, 39-42 "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. HI, Part 1, 361-381; Supp. IV, Part 1, 2, 13, 14, 250, 253, 257; Supp. V, 169, 259; Supp. VIII, 213, 214 "Morro Bay" (JefTers), 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 Enemies" (Humphrey), Supp. IX 109 Mortal No, The (Hoffman), IV, 113 Morte D'Arthur, Le (Malory), Supp. IV, Part 1, 47 Morton, David, Supp. IX 76 "Mosaic of the Nativity: Serbia, Winter 1993" (Kenyon), Supp. VII, 173 Moscow under Fire (Caldwell), I, 296 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 Mosquito Coast, The (film), Supp. VIII, 323 Mosquito Coast, The (Theroux), Supp. VIII, 321,322-323 Mosquitos (Faulkner), II, 56; Retro. Supp. I, 79, 81 Moss, Howard, III, 169; HI, 452; Supp. IV, Part 2, 642; Supp. IX 39

INDEX / 483 "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 Passes), 1,491 "Most Neglected Books of the Past Twenty-five Years, The" (American Scholar), Supp. IX 227 "Most of It, The" (Frost), Retro. Supp. I, 121, 125, 129, 139 Motel Chronicles (Shepard), Supp. Ill, Part 2, 445 "Mother" (Paley), Supp. VI, 222-223 "Mother" (Snyder), Supp. VIII, 298 Mother (Whistler), IV, 369 Mother, The (Buck), Supp. II, Part 1, 118-119 "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; Supp. IX 140 "Mother Earth: Her Whales" (Snyder), Supp. VIII, 302 Mother Jones (magazine), Supp. IX 146 Mother Love (Dove), Supp. IV, Part 1, 250-251, 254 Mother Night (Vonnegut), Supp. II, Part 2, 757, 758, 767, 770, 771 "Mother Rosarine" (Kumin), Supp. IV, Part 2, 442 "Mother to Son" (Hughes), Retro. Supp. I, 199, 203; Supp. I, Part 1, 321-322, 323 "Mother Tongue" (Simic), Supp. VIII, 283 "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, 29-30 "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. I, 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. I, 372 Mott, Michael, Supp. VIII, 204, 208 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 and Rivers without End (Snyder), Supp. VIII, 295, 305-306 "Mountains grow unnoticed, The" (Dickinson), Retro. Supp. I, 46 Mountains of California, The (Muir), Supp. IX 183 "Mount-Joy: or Some Passages Out of the Life of a Castle-Builder" (Irving), II, 314 "Mourners, The" (Malamud), Supp. I, Part 2, 431,435, 436-^37 Mourners Below (Purdy), Supp. VII, 274, 280 "Mourning and Melancholia" (Freud), Supp. IV, Part 2, 450 Mourning Becomes Electra (O'Neill), 111,391, 394, 398-400 "Mourning Poem for the Queen of Sunday" (Hayden), Supp. II, Part 1, 379-380 "Mouth of Brass' (Humphrey), Supp. IX 101 Moveable Feast, A (Hemingway), II, 257; Retro. Supp. I, 108, 171, 186187 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 Life (magazine), Supp. VIII, 137 "Movie Magazine, The: A Low 'Slick'" (Percy), Supp. Ill, Part 1, 385 Movie Stars (magazine), Supp. VIII, 137 Moviegoer, The (Percy), Supp. Ill, Part 1, 383-385, 387, 389-392, 394, 397 "Moving Around" (Matthews), Supp. IX 155 "Moving Finger, The" (Wharton), Retro. Supp. I, 365 Moving On (McMurtry), Supp. V, 223224

Moving Target, The (Macdonald), Supp. IV, Part 2, 462, 463, 467, 470,471,473,474 Moving Target, The (Merwin), Supp. III, Part 1, 346, 347-348, 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; Supp. VIII, 331 Moynihan, Daniel Patrick, Supp. VIII, 241 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), II, 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 "Mr. Cornelius Johnson, Office-Seeker" (Dunbar), Supp. II, Part 1, 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, 47^8, 51-52 "Mr. Flood's Party" (Robinson), III, 512 "Mr. Forster's Pageant" (Maxwell), Supp. VIII, 172 "Mr. Frost's Chickens" (Oliver), Supp. VII, 232-233 Mr. Hodge and Mr. Hazard (Wylie), Supp. I, Part 2, 708, 709, 714, 721724 "Mr. Hueffer and the Prose Tradition" (Pound), III, 465 Mr. Ives' Christmas (Hijuelos), Supp. VIII, 85-86 "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"

484 / AMERICAN WRITERS (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. Wilsons War (Dos Passos), I, 485 Mrabet, Mohammed, Supp. IV, Part 1, 92, 93 Mrs. Albert Grundy: Observations in Philistia (Frederic), II, 138-139 "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; Supp. VIII, 5 "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. Stevens Hears the Mermaids Singing (Sarton), Supp. VIII, 252-253, 256-257 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, 484-485 "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 Muir, John, Supp. VIII, 296; Supp. IX 33, 171-188

Mujica, Barbara, Supp. VIII, 89 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 Mulligan, Robert, Supp. VIII, 128, 129 Mullins, Eustace, III, 479 Mullins, Priscilla, II, 502-503 Multitudes, Multitudes (Clampitt), Supp. IX 39 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, 406-107 Munro, Alice, Supp. IX 212 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 Mount Holly (Theroux), Supp. VIII, 315-316 Murder in the Cathedral (Eliot), I, 571, 573, 580, 581; II, 20; Retro. Supp. 1,65 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 Murdoch, Iris, Supp. VIII, 167 Murdock, Kenneth B., II, 340 Murphy, Francis, IV, 165 Murphy, Gardner, II, 365 Murray, Edward, I, 229; III, 169 Murray, Gilbert, III, 468-469 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 "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. III, 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 "Museum Vase" (Francis), Supp. IX 83 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. III, Part 1, 120, 125-127, 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, 453454 "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, Part 1, 281, 282, Part 2, 618; Supp. V, 290 "Must the Novelist Crusade?" (Welty), IV, 280 "Mutability of Literature, The"

INDEX / 485 (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 Argument with the Gestapo: A Macaronic Journal (Merton), Supp. VIII, 207 "My Arkansas" (Angelou), Supp. IV, Part 1, 15 "My Aunt" (Holmes), Supp. I, Part 1, 302, 310 "My Beginnings" (Simpson), Supp. IX 273 My Bondage and My Freedom (Douglass), Supp. Ill, Part 1, 155, 173 My Brother (Kincaid), Supp. VII, 191193 "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" (ReznikorT), Supp. Ill, Part 2, 616 My Days of Anger (Farrell), II, 34, 3536, 43 My Emily Dickinson (Howe), Retro. Supp. I, 33, 43; Supp. IV, Part 2, 430-431 "My English" (Alvarez), Supp. VII, 2 "My Extended Family" (Theroux), Supp. VIII, 311 "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 Friends" (Maxwell), Supp. VIII, 171 "My Father's Ghost" (Wagoner), Supp. IX 330 "My Father's Telescope" (Dove), Supp. IV, Part 1, 246, 248 "My Favorite Murder" (Bierce), I, 205 My Favorite Plant: Writers and Gar-

deners on the Plants They Love (Kincaid), Supp. VII, 193-194 "My First Book" (Harte), Supp. II, Part 1, 343 My First Summer in the Sierra (Muir), Supp. IX 172, 173, 178-181, 183, 185 My Friend, Henry Miller (Perles), HI, 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, 237-239, 243; Retro. Supp. I, 153-154, 158, 160, 161 My Kinsman, Major Molineux (Lowell), II, 545-546 "My Last Afternoon with Uncle Devereux Winslow" (Lowell), II, 547548 "My Last Drive" (Hardy), Supp. VIII, 32 "My Life" (Strand), Supp. IV, Part 2, 627 My Life a Loaded Gun: Dickinson, Plath, Rich, and Female Creativity (Bennett), Retro. Supp. I, 29 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, 417-418 "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 Life with R. H. Macy" (Jackson), Supp. 1 X 1 1 8 "My Little Utopia" (Simic), Supp. VIII, 283 My Lives and How 1 Lost Them (Cullen), Supp. IV, Part 1, 173 "My Lost City" (Fitzgerald), Retro. Supp. I, 102

"My Lost Youth" (Longfellow), II, 487, 499 My Love Affair with America: The Cautionary Tale of a Cheerful Conservative (Podhoretz), Supp. VIII, 232, 233, 237, 244-246 "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 Moby Dick" (Humphrey), Supp. 1X95 My Mortal Enemy (Cather), I, 327328; Retro. Supp. I, 16-17; 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, 290291 "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. III, Part 1, 259 My Movie Business: A Memoir (Irving), Supp. VI, 164 "My Name" (Cisneros), Supp. VII, 60 "My Negro Problem—And Ours" (Podhoretz), Supp. VIII, 234-236 "My Old Man" (Hemingway), II, 263 My Other Life (Theroux), Supp. VIII, 310, 324 "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 Recollections of S. B. Fairchild" (Jackson), Supp. IX 118-119 "My Roomy" (Lardner), II, 420, 421, 428, 430 "My Sad Self (Ginsberg), Supp. II, Part 1, 320 My Secret History (Theroux), Supp. VIII, 310, 324 "My Shoes" (Simic), Supp. VIII, 275

486 / AMERICAN WRITERS "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 Weariness of Epic Proportions" (Simic), Supp. VIII, 276 My Weekly Reader (magazine), Supp. IV, Part 2, 501 "My Wicked Wicked Ways" (Cisneros), Supp. VII, 58, 64-66 My Wicked Wicked Ways (Cisneros), Supp. VII, 58, 64-68, 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), I, 414 "Mystery of Marie Roget, The" (Poe), 111,413,419 "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 1, 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, 281282 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 Myths and Texts (Snyder), Supp. VIII, 295-296 Nabokov, Peter, Supp. IV, Part 2, 490 Nabokov, Vera, Retro. Supp. I, 266, 270 Nabokov, Vladimir, I, 135; HI, 244266, 283, 286; Retro. Supp. I, 263281, 317, 335; Supp. I, Part 1, 196; Supp. II, Part 1, 2; Supp. IV, Part 1, 135; Supp. V, 127, 237, 251, 252, 253; Supp. VIII, 105, 133, 138; Supp. IX 152,212,261 Nabokov's Dozen (Nabokov), Retro. Supp. I, 266 Nabokov's Garden: A Guide to Ada (Mason), Supp. VIII, 138 Nadel, Alan, Supp. IV, Part 1, 209 Naipaul, V. S., Supp. IV, Part 1, 297; Supp. VIII, 314 Naked and the Dead, The (Mailer), I, 477; III, 26, 27, 28-30, 31, 33, 35, 36, 44; Supp. IV, Parti, 381 Naked Lunch (Burroughs), Supp. Ill, 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 Naming of the Beasts, The (Stern). See Rejoicings: Selected Poems, 19661972 (Stern) Nana (Zola), III, 321 "Nancy Culpepper" (Mason), Supp. VIII, 141 Nancy Drew stories, Supp. VIII, 133, 135, 137, 142 "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, Part 1, 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; Supp. VIII, 202 "Narrative Stance in Kate Chopin's The Awakening" (Sullivan and Smith), Supp. I, Part 1, 226 Narrenschi/, 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, Roderick, Supp. IX 185

INDEX / 487 Nash, Thomas, Supp. Ill, Part 1, 387388 Nashe, Thomas, I, 358 Nashville (film), Supp. IX 143 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. HI, Part 2, 484-486 Nathan, George Jean, II, 91; III, 103, 104, 106, 107, 408; IV, 432; Supp. IV, Part 1, 343; ; Supp. IX 56-57 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; Supp. IX 121 "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 Public Radio, Supp. VIII, 83 National Review (publication), Supp. IV, Part 1, 197, 198, 201, Part 2, 526 ; Supp. VIII, 88 "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 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, 482-484, 485, 487, 488, 491, 495; Supp. I, Part 1, 51, 64, 67, 337; Supp. II, Part 1, 170, 235236; Supp. IX 306

"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 Some Poems, A" (Harrison), Supp. VIII, 53 "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. III, Part 1, 387; Supp. IX 178 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 Morte (Brodsky), Supp. VIII, 25 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 Nature's Economy: A History of Ecological Ideas (Worster), Supp. IX 19 Nausea (Sartre), Supp. VIII, 7 "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, Gloria, Supp. VIII, 213-230 Naylor, Paul Kenneth, Supp. IV, Part 2,420 Nazimova, III, 399 Nazism, 1,492, 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 View of the High Sierra, A" (Muir), Supp. IX 183 Near-Johannesburg Boy and Other Poems, The (Brooks), Supp. Ill, Part 1, 86 Nebeker, Helen, Supp. IX 122 Nebuchadnezzar, King, I, 366 Necessary Angel, The (Stevens), IV, 76, 79, 89, 90 Necessities of Life (Poems 1962-65) (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, 486489, 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 "Needle" (Simic), Supp. VIII, 275 Neff, Emery, III, 526 Negligible Tales (Bierce), I, 209 "Negro" (Hughes), Supp. I, Part 1, 321-322 Negro, The (Du Bois), Supp. II, Part I, 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,

488 / AMERICAN WRITERS 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 Novel in America, The (Bone), Supp. IX 318-319 Negro Publication Society of America, Retro. Supp. I, 205 Negro Quarterly (periodical), Supp. II, Part 1, 237 "Negro Renaissance, The: Jean Toomer and the Harlem of the 1920s" (Bontemps), Supp. IX 306 "Negro Schoolmaster in the New South, A" (Du Bois), Supp. II, Part I, 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, 135136 "Neighbors" (Carver), Supp. Ill, Part 1, 135, 139, 141

"Neighbors" (Hogan), Supp. IV, Part 1,405 "Neighbour Rosicky" (Gather), I, 331332 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 Nelson Algren (Cox and Chatterton), Supp. IX 11-12 Nelson Algren: A Life on the Wild Side (Drew), Supp. IX 2 Nemerov, David, II, 268 Nemerov, Howard, I, 542; III, 267289; IV, 137, 140, 143; Supp. Ill, Part 2, 541; Supp. IV, Part 2, 455, 650; Supp. IX 114 NemirofT, Robert Barren, Supp. IV, Part 1, 360, 361, 365, 369, 370, 374 Neoclassicism, II, 558, 571, 579; III, 40; IV, 145 Neoconservative Criticism: Norman Podhoretz, Kenneth S. Lynn, and Joseph Epstein (Winchell), Supp. VIII, 241 Neon Wilderness, The (Algren), Supp. IX 3, 4 Nephew, The (Purdy), Supp. VII, 271, 273, 282 "Nereids of Seriphos, The" (Clampitt), Supp. IX 41 Neruda, Pablo, Supp. I, Part 1, 89; Supp. IV, Part 2, 537; Supp. V, 332; Supp. VIII, 272, 274; Supp. IX 157, 271 Nesbit, Edith, Supp. VIII, 171 Nesbitt, Robin, Supp. VIII, 89 Nest of Ninnies, A (Ashbery and Schuyler), Supp. Ill, Part 1, 3 Nesting Ground, The (Wagoner), Supp. IX 324, 325-326 "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 Neugroschel, Joachim, Supp. IX 138 Neuhaus, Richard John, Supp. VIII, 245 Neumann, Erich, Supp. I, Part 2, 567; Supp. IV, Part 1, 68, 69 "Never Bet the Devil Your Head" (Poe), III, 425 Never Come Morning (Algren), Supp. IX 3, 7-9 "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 1, 135 New American Literature, The (Pattee), II, 456 New American Poetry, The (Allen, ed.), Supp. VIII, 291,292 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, 277-279; New and Selected Poems (Oliver), Supp. VII, 240-241,245 New and Selected Poems (Wagoner), Supp. IX 326-327 New and Selected Things Taking Place (Swenson), Supp. IV, Part 2, 648650, 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, 1415, 16 New Criterion, The (publication), Supp. Ill, Part 2, 611, 613; Retro. Supp. I, 108; Supp. VIII, 153 New Criticism, I, 267, 273, 276, 280, 281, 282, 283, 517; III, 591; IV, 236, 237, 331, 433; Supp. II, Part 1, 87-88, 90, 103, 106-107, 135, 136, 137, 318, Part 2, 416, 639, 698, 703, 713 Supp. VIII, 104, 108; Supp. IX 4 New Criticism, The (Ransom), III, 497-198, 499, 501 "New Day, A" (Levine), Supp. V, 182

INDEX / 489 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" (D. Locke), Supp. IX 273 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 "New England" (Lowell), II, 536 "New England" (Robinson), III, 510, 524 "New England Bachelor, A" (Eberhart), 1,539 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), I, 114 New Era in American Poetry, The (Untermeyer), Supp. I, Part 2, 402 "New Folsom Prison" (Matthews), Supp. IX 165 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, 154155; 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; Supp. VIII, 236 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 Man, The (Merton), Supp. VIII, 208 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; Supp. VIII, 96; Supp. IX 232 "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 (Locke, ed.), Supp. II, Part 1, 176; Supp. IX 309 New Negro, The: An Interpretation (ed. Locke), Retro. Supp. I, 199; 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, 548549 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; Supp. VIII, 85, 96, 99, 102, 231, 239; Supp. IX 7, 64, 114, 118 "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 Seeds of Contemplation (Merton), Supp. VIII, 200, 208 New Song, A (Hughes), Retro. Supp. I, 202; Supp. I, Part 1, 328, 331332 "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 New Statesman (publication), I, 253; II, 445; Supp. IV, Part 2, 691; Supp. VIII, 124,241 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

490 / AMERICAN WRITERS "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, 656-657 "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 (magazine), Supp. VIII, 74, 82 "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; Supp. VIII, 83 New York Daily Tribune (newspaper), Supp. IX 181 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; Supp. 1X124, 232,276 New York Herald Tribune Book Review (publication), Supp. IV, Part 1, 22; Supp. VIII, 125 New York Herald Tribune Books (publication), III, 473 New York Independent (magazine), II, 151 New York Intellectuals, Supp. VIII, 93 "New York Intellectuals, The" (Howe), Supp. VI, 120 New York Jew (Kazin), Supp. VIII, 95, 97-100 New York Journal (newspaper), I, 207, 208,408,409,411,425 New York Morning Chronicle (publication), II, 297 New York Post (newspaper), I, 54; HI, 395; IV, 123, 196 New York Press (publication), I, 407, 416 New York Quarterly (publication), Supp. IV, Part 2, 642, 649; Supp. VIII, 290 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; Supp. VIII, 102; New York Review of Books (publication), Supp. IX 248 New York Sun (newspaper), I, 407; III, 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. HI, Part 2, 624; Supp. IV, Part 1, 30, 68, 196, 205, 209, 220, 300, 354, Part 2, 444, 447, 586, 680, 683; Supp. V, 141, 226, 227, 237, 240, 285, 319; Supp. VIII, 73, 79, 81, 83, 85, 86, 88, 96, 102, 140, 141, 145, 302, 312, 324, 331; Supp. IX 8, 93, 95, 96, 113, 127, 133, 253, 262 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 ; Supp. VIII, 3, 5, 13, 14, 79, 84, 124, 125, 145, 310, 321; Supp. IX 3, 7, 114, 121, 227, 250, 257, 259, 260, 261, 273, 292 New York Times Magazine (publication), IV, 392; Supp. IV, Part 1, 200, 309, 314, Part 2, 583; Supp. V, 169, 219, 241; Supp. VIII, 312 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; Supp. IX 56, 65, 71 New York World (newspaper), I, 409, 500; IV, 432 New York World-Telegram (newspaper), II, 587 New Yorker (magazine), II, 437; III, I I I , 246, 337, 361, 452, 552, 559, 564; IV, 214, 215, 218, 261, 274, 280, 429, 430, 437-439; Retro. Supp. I, 266, 317, 318, 319, 320, 334; Supp. I, Part 1, 60, 174, 175, 195-196, 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; Supp. VIII, 12, 102, 124, 139, 151, 156, 164, 170, 172, 231, 236; Supp. IX 3, 24, 32, 38, 39, 94, 113, 117, 118, 119, 124, 189, 232, 233, 234, 271 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), I, 341 Newer Ideals of Peace (Addams), Supp. I, Part 1, 11-12, 15, 16-17, 19, 20-21 Newman, Charles, III, 266; Supp. I, Part 2, 527, 546-548 Newman, Edwin, Supp. IV, Part 2, 526

INDEX / 491 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 "News Item" (Parker), Supp. IX 190 Newsday (newspaper), Supp. VIII, 78, 83, 86 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; Supp. VIII, 125, 238; Supp. IX 120 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-Wave Format, A" (Mason), Supp. VIII, 141, 143, 147 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), HI 269, 275, 278, 279280, 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. III, 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, Colin, Supp. VIII, 129 Nicholson, Jack, Supp. V, 26 ; Supp. VIII, 45 Nick Adams Stones, 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

Night Light (Justice), Supp. VII, 126127 'Night, Mother (Norman), Supp. VIII, 141 Night Music (Odets), Supp. II, Part 2, 541, 543,544 "Night of First Snow" (Bly), Supp. IV, Part 1, 71 Night of January 16th (Rand), Supp. 616, 623 IV, Part 2, 527 Nielsen, Ed, Supp. IX 254 Nielson, Dorothy, Supp. I, Part 2, 659 "Night of the Iguana, The" (Williams), IV, 384 Nietzsche, Friedrich Wilhelm, I, 227, 283, 383, 389, 396, 397, 402, 509; Night of the Iguana, The (Williams), IV, 382, 383, 384, 385, 386, 387, II, 7, 20, 27, 42, 90, 145, 262, 462, 388, 391, 392, 393, 394, 395, 397, 463, 577, 583, 585; III, 102-103, 398 113, 156, 176; IV, 286, 491; Supp. Night Rider (Warren), IV, 243, 246I, Part 1, 254, 299, 320, Part 2, 247 646; Supp. IV, Part 1, 104, 105"Night Shift" (Plath), Supp. I, Part 2, 106, 107, 110, 284, Part 2, 519; 538 Supp. V, 277, 280; Supp. VIII, 11, "Night Sketches: Beneath an Umbrella" 181, 189 (Hawthorne), II, 235-237, 238, 239, Nietzscheanism, I, 54, 104, 383, 388, 242 506-507, 532; II, 47, 478, 480-481; Night Thoughts (Young), III, 415 III, 602 Night Traveler, The (Oliver), Supp. Niflis, N. Michael, Supp. IV, Part 1, VII, 233 175 "Night Watch, The" (Wright), Supp. V, Nigger Heaven (Van Vechten), Supp. 339 II, Part 2, 739, 744-746 "Night We All Had Grippe, The" (Jackson), Supp. IX 118 Nigger of the "Narcissus," The (Conrad), II, 91; Retro. Supp. I, " N i g h t - B l o o m i n g Cereus, The" 106 (Hayden), Supp. II, Part 1, 367 "NIGGY THE HO" (Baraka), Supp. Night Blooming Cereus, The (Hayden), II, Part 1, 54 Supp. II, Part 1, 367, 373 "Night above the Avenue" (Merwin), Night-Born, The (London), II, 467 "Nightbreak" (Rich), Supp. I, Part 2, Supp. Ill, Part 1, 355 "Night among the Horses, A" (Barnes), 556 "Nightmare" (Kumin), Supp. IV, Part Supp. Ill, Part 1, 33-34, 39, 44 2,442 Night at the Movies, A, or, You Must Remember This: Fictions (Coover), "Nightmare Factory, The" (Kumin), Supp. IV, Part 2, 445, 453 Supp. V, 50-51 "Night at the Opera, A" (Matthews), Nightmare Factory, The (Kumin), Supp. IX 167 Supp. IV, Part 2, 444-447, 451 Nights (Doolittle), Supp. I, Part 1, Night Dance (Price), Supp. VI, 264 270, 271 "Night Dances, The" (Plath), Supp. I, Part 2, 544 Nights and Days (Merrill), Supp. Ill, "Night, Death, Mississippi" (Hayden), Part 1, 319, 320, 322-325 Supp. II, Part 1, 369 "Nights and Days" (Rich), Supp. I, "Night Dream, The" (MacLeish), III, Part 2, 574 15 "Night-Side" (Oates), Supp. II, Part Night in Acadie, A (Chopin), Supp. I, 2,523 Part 1, 200, 219, 220, 224 Night-Side (Oates), Supp. II, Part 2, 522 "Night in June, A" (Williams), Retro. Supp. I, 424 "Night-Sweat" (Lowell), II, 554 "Night in New Arabia, A" (Henry), "Night-Talk" (Ellison), Supp. II, Part Supp. II, Part 1, 402 1,248 Night In Question, The: Stories (Wolff), Nightwood (Barnes), Supp. HI, Part Supp. VII, 342-344 1, 31, 32, 35-37, 39-43 "Night Journey" (Roethke), Supp. HI, Nigro, August, IV, 119 Part 1, 260 Nihilism, I, 104, 124, 126, 128, 130,

NicololT, 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,

492 / AMERICAN WRITERS 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. 1,266 Nine Stories (Salinger), III, 552, 558564 "Nine Years Later" (Brodsky), Supp. VIII, 32 "1945-1985: Poem for the Anniversary" (Oliver), Supp. VII, 237 7979 (Dos Passos), I, 482, 485-486, 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 7933 (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), HI, 466 Nitchie, George W., II, 172; III, 217 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, 451-452, 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), III, 9 No Laughing Matter (Heller and Vogel), Supp. IV, Part 1, 384, 389 No Love Lost, a Romance of Travel (Howells), II, 277 No Man Is an Island (Merton), Supp. VIII, 207 No Name in the Street (Baldwin), Supp. I, Part 1, 47, 48, 52, 65-66, 67 No Nature: New and Selected Poems (Snyder), Supp. VIII, 305 "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 Poem So Fine" (Francis), Supp. 1X83 No Resting Place (Humphrey), Supp. IX 94, 106-108 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 Noi vivi, see We the Living (film) "Noiseless Patient Spider" (Whitman), III, 555; IV, 348; Supp. IV, Part 1, 325 Noises Off (Frayn), Supp. IV, Part 2, 582 Noland, Richard W, I, 143 Nonconformist's Memorial, The (Howe), Supp. IV, Part 2, 434, 435-436 Nonconformity (Algren), Supp. IX 15 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, 437438, 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, Parti, 175, 186-187 "Normal Motor Adjustments" (Stein

INDEX / 493 and Solomons), IV, 26 Norman, Charles, I, 450; III, 479 Norman, Marsha, Supp. VIII, 141 Norna; or, The Witch's Curse (Alcott), Supp. I, Part 1, 33 Norris, Charles, III, 320; Retro. Supp. I, 100 Norris, Frank, I, 211, 355, 500, 506, 517, 518, 519; II, 89, 264, 276, 289, 307; III, 227, 314-336, 596; IV, 29; Retro. Supp. 1,100, 325; Supp. Ill, Part 2, 412; Supp. VIII, 101, 102; Supp. IX 14, 15 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 (publication), I, 1, 4, 5, 6; II, 322-323, 345; IV, 209; Part 2, 406, 413, 418, 420; Retro. Supp. I, 155, 362; Supp. I, Part 1, 154, 155, 300; Supp. IV, Part 2, 540; Supp. VIII, 1 "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 Beach" (Snyder), Supp. VIII, 289 "North Labrador" (Crane), I, 386 North of Boston (Frost), II, 152, 153154, 527; Retro. Supp. I, 121, 125, 127, 128-130, 131; Supp. I, Part 1, 263 North of Jamaica (Simpson), Supp. IV, Part 2, 448; Supp. IX 275, 276 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 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, Jody, Supp. VIII, 297 Norton, John, Supp. I, Part 1, 99, 110, 112, 114 Norton, Robert, IV, 329 Norton Anthology of Short Fiction, The, Supp. IX 4 Norton Lectures, Retro. Supp. I, 65 Norwood, Hayden, IV, 473 Norwood, Vera, Supp. IX 24 "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 Leaving the House" (Snyder), Supp. VIII, 300 "'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 Deep as a Well (Parker), Supp. IX 192 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, 553555 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 a Sea Diary: Hemingway All the Way (Algren), Supp. IX 16 "Notes from the Childhood and Girlhood" (Brooks), Supp. Ill, Part 1, 77 "Notes from the River" (Stern), Supp. IX 285, 287, 294, 295 Notes from the Underground (Dostoevski), III, 571; IV, 485 "Notes of a Faculty Wife" (Jackson), Supp. IX 126 "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 I, 163 Notes of a Son and Brother (James), II, 337; Retro. Supp. I, 235 "Notes on a Departure" (Trilling), Supp. Ill, Part 2, 498 "Notes on Babbitt and More" (Wilson), IV, 435 "Notes on 'Camp'" (Sontag), Supp. III, 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,

494 / AMERICAN WRITERS 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), IV, 87-89; Retro. Supp. I, 300, 306, 306-309, 311; Supp. I, Part 1, 80 "Nothing Gold Can Stay" (Frost), Retro. Supp. I, 133 "Nothing Missing" (O'Hara), HI, 369 Nothing Personal (Baldwin), Supp. I, Part 1, 58, 60 "Nothing Song, The" (Snodgrass), Supp. VI, 326 "Nothing Stays Put" (Clampitt), Supp. 1X42 "Nothing Will Yield" (Nemerov), III, 279 Notions of the Americans: Picked up by a Travelling Bachelor (Cooper), I, 343-345, 346 "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 fran$aise, 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 Re-Interpretation" (Holmes), Supp. I, Part 1, 319 Novels of Theodore Dreiser (Pizer), Supp. I, Part 2, 478 "Novel-Writing and Novel-Reading" (Howells), II, 276, 290 "November Cotton Rower" (Toomer), Supp. IX 312

"Novices" (Moore), III, 200-201, 202, 213 "Novogodnee" ("New Year's Greetings") (Tsvetayeva), Supp. VIII, 30 "Novotny's Pain" (Roth), Supp. Ill, Part 2, 403 Now and Another Time (Hearon), Supp. VIII, 58, 61-62 "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, 368369 Nowell, Elizabeth, IV, 472, 473 Nowell-Smith, Simon, II, 341 Nowhere Is a Place: Travels in Patagonia (Theroux and Chatwin), Supp. VIII, 322 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 Nunc Dimittis (Brodsky), Supp. VIII, 25-26, 28 "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 "O" (Dove), Supp. IV, Part 1, 245 O Canada: An American's Notes on Canadian Culture (Wilson), IV, 429-430 O Carib Isle!" (Crane), I, 400-401 "O Daedalus, Fly Away Home" (Hayden), Supp. II, Part 1, 377378 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; Supp. IX 3 "O Lull Me, Lull Me" (Roethke), III, 536-537 0 Pioneers! (Gather), I, 314, 317-319, 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, 566-568 Oates, Joyce Carol, Part 2, 447, 689; Supp. I, Part 1, 199, Part 2, 548; Supp. II, Part 2, 503-527; 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, Part 1,315, 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 Objectivist, 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

INDEX / 495 "Objects" (Wilbur), Supp. Ill, Part 2, 545-547 Oblique Prayers (Levertov), Supp. Ill, 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; HI, 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 (Gather), I, 331332; 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, 195196, 197, 199, 203, 205, 215 Observations: Photographs by Richard Avedon; Comments by Truman Capote, Supp. HI, 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, Nicholas, Supp. IX 323, 325, 334 O'Connell, Shaun, IV, 119 O'Connor, Edward F., Jr., Ill, 337 O'Connor, Flannery, I, 113, 190, 211, 298; II, 221, 606; III, 337-360; IV, 4, 217, 282; Supp. I, Part 1, 290; Supp. HI, Part 1, 146; Supp. V, 59, 337; Supp. VIII, 13, 14, 158 O'Connor, Frank, III, 158; Supp. I, Part 2, 531; Supp. VIII, 151, 157, 165, 167, 171 O'Connor, Mary, II, 222 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; HI, 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, 207208, 214 "Octopus, The" (Merrill), Supp. Ill, Part 1, 321 Octopus, The (Norris), I, 518; III, 314, 316, 322-326, 327, 331-333, 334, 335 "OD and Hepatitis Railroad or Bust, The" (Boyle), Supp. VIII, 1 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. I, 334 Odd Mercy (Stern), Supp. IX 298-299 "Ode" (Emerson), II, 13 "Ode for Memorial Day" (Dunbar), Supp. II, Part 1, 199 "Ode (Intimations of Immortality)" (Matthews), Supp. IX 162 "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), HI, 609

"Ode to a Nightingale," (Keats), II, 368; Supp. IX 52 "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 "Ode to the Virginian Voyage" (Drayton), IV, 135 "Ode to the West Wind" (Shelley), Retro. Supp. I, 308; Supp. I, Part 2, 728; Supp. IX 52 "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; Supp. VIII, 96 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 "Odysseus to Telemachus" (Brodsky), Supp. VIII, 25 Odyssey (Homer), III, 14, 470; Retro. Supp. I, 286, 290; Supp. I, Part 1, 185; Supp. IV, Part 2, 631; Supp. 1X211 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 Oehlschlaeger, Fritz, Supp. IX 123 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. III, Part 2, 610 "Of 'Father and Son'" (Kunitz), Supp. Ill, Part 1, 262

496 / AMERICAN WRITERS "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 Cuff" (Simpson), Supp. IX 278 Off the Map (Levine), Supp. V, 178 Offenbach, Jacques, II, 427 "Offering for Mr. Bluehart, An" (Wright), Supp. Ill, Part 2, 596, 601

"Offerings" (Mason), Supp. VIII, 141 "Official Piety" (Whittier), Supp. I, Part 2, 687 "Off-Shore Pirates, The" (Fitzgerald), 11,88 O'Flaherty, George, Supp. I, Part 1, 202, 205-206 O'Flaherty, Kate, see Chopin, Kate (Kate O'Flaherty) 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; Supp. VIII, 151, 156; Supp. IX 208 "Ohio Pagan, An" (Anderson), I, 112, 113 Ohio Review (publication), Supp. IX 159 Ohio State Journal (newspaper), II, 273 Ohlin, Peter H., I, 47 Oil! (Sinclair), Supp. V, 276, 277-279, 282, 288, 289 "Oil Painting of the Artist as the Artist" (MacLeish), III, 14 O'Keeffe, Georgia, Supp. IX 62, 66 "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), 1,331 Old Bruin: Commodore Matthew C. Perry, 1794-1858 (Morison), Supp. I, Part 2, 494-495 "Old Cracked Tune, An" (Kunitz), Supp. Ill, Part 1, 264 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 Folsom Prison" (Matthews), Supp. IX 165 "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, 545546, 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. Ill, Part 2, 595 "Old Man Feeding Hens" (Francis), Supp. IX 78 "Old Man on the Hospital Porch" (Rfos), Supp. IV, Part 2, 546-547 Old Man Rubbing His Eyes (Bly), 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, 438-441,442,445,446 "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 Patagonia Express, The: By Train through the Americas (Theroux), Supp. VIII, 322 "Old People, The" (Faulkner), II, 71-72 "Old Poet Moves to a New Apartment 14 Times, The" (Zukofsky), Supp. III, 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, 608609, 612 "Old Saws" (Garrett), Supp. VII, 96-97

INDEX / 497 322, Part 2, 420, 421, 423, 426; Old Testament, I, 109, 181, 300, 328, Supp. VIII, 290, 291 401, 410, 419, 431, 457, 458; II, 166, 167, 219; HI, 270, 272, 348, O'Malley, Frank, II, 53 390, 396; IV, 41, 114, 152, 309; Omar Khayyam, Supp. I, Part 1, 363 Retro. Supp. I, 122, 140, 249, 311, Omensetter's Luck (Gass), Supp. VI, 80-82, 87 360; Supp. I, Part 1, 60, 104, 106, 151, Part 2, 427, 515, 516; see also "Ominous Baby, An" (Crane), I, 411 Ommateum, with Doxology (Ammons), names of Old Testament books Supp. VII, 24-26, 27, 28, 36 "Old Things, The" (James), Retro. "Omnibus Jaunts and Drivers" Supp. I, 229 (Whitman), IV, 350 "Old Times on the Mississippi" Omoo: A Narrative of Adventures in (Twain), IV, 199 the South Seas (Melville), III, 76"Old Trails" (Robinson), III, 513, 517 77, 79, 84; Retro. Supp. I, 247 "Old Tyrannies" (Bourne), I, 233 "On a Certain Condescension in ForOld Vic, Retro. Supp. I, 65 eigners" (Lowell), Supp. I, Part 2, "Old West" (Bausch), Supp. VII, 48 419 "Old Whorehouse, An" (Oliver), 235 "Old Woman" (Pinsky), Supp. VI, 238, On a Darkling Plain (Stegner), Supp. IV, Part 2, 598, 607 239 "Old Word, The" (Simic), Supp. VIII, "On a Hill Far Away" (Dillard), Supp. 282 VI, 28 "On a Honey Bee, Drinking from a Olderman, Raymond M, I, 143 Glass and Drowned Therein" Old-Fashioned Girl, An (Alcott), Supp. (Freneau), Supp. II, Part 1, 273 1, Part 1,29, 41,42 Oldtown Folks (Stowe), Supp. I, Part "On a Mountainside" (Wagoner), Supp. IX 332 2, 587, 596-598 "On a Proposed Trip South" Oldys, Francis, see Chalmers, George (Williams), Retro. Supp. I, 413 Olendorf, Donna, Supp. IV, Part 1, "On a Tree Fallen across the Road" 196 "Olga Poems, The" (Levertov), Supp. (Frost), Retro. Supp. I, 134 "On a View of Pasadena from the III, Part 1, 279-281 "Olive Groves of Thasos, The" Hills" (Winters), Supp. II, Part 2, 795, 796-799, 814 (Clampitt), Supp. IX 51-52 Oliver, Bill, Supp. VIII, 138 "On Acquiring Riches" (Banks), Supp. Oliver, E. S., Ill, 95 V,5 Oliver, Mary, Supp. VII, 229-231 "On an Old Photograph of My Son" (Carver), Supp. Ill, Part 1, 140 Oliver, Sydney, I, 409 Oliver Goldsmith: A Biography On Becoming a Novelist (Gardner), (Irving), II, 315 Supp. VI, 64 Oliver Twist (Dickens), I, 354; Supp. "On Being a Woman" (Parker), Supp. IV, Part 2, 464 1X201 "Oliver Wendell Holmes" (Leary), "On Being an American" (Toomer), Supp. I, Part 1, 319 Supp. Ill, Part 2, 479 "Oliver Wendell Holmes" (Menikoff), On Being Blue (Gass), Supp. VI, 77, Supp. I, Part 1, 319 78, 86, 94 Oliver Wendell Holmes (Small), Supp. "On Burroughs' Work" (Ginsberg), I, Part 1,319 Supp. II, Part 1, 320 Olivieri, David (pseu. of Wharton, "On Certain Political Measures ProEdith), Retro. Supp. I, 361 posed to Their Consideration" (Barlow), Supp. II, Part 1, 82 Ollive, Samuel, Supp. I, Part 2, 503 Olmsted, Frederick Law, Supp. I, Part "On First Looking Out through Juan 1, 355 de la Cosa's Eyes" (Olson), Supp. Olsen, Lance, Supp. IV, Part 1, 54, II, Part 2, 565, 566, 570, 579 Part 2, 623 "On First Opening The Lyric Year" Olsen, Tillie, Supp. V, 114, 220 (Williams), Retro. Supp. I, 414 Olson, Charles, III, 97; Retro. Supp. "On Freedom's Ground" (Wilbur), I, 209; Supp. II, Part 1, 30, 328, Supp. Ill, Part 2, 562 Part 2, 555-587; Supp. Ill, Part 1, On Glory's Course (Purdy), Supp. 9, 271, Part 2, 542, 624; Supp. IV, VII, 275-276, 279, 280 Part 1, 139, 144, 146, 153, 154, On Grief and Reason (Brodsky), Supp.

VIII, 31-32 "On Hearing a Symphony of Beethoven" (Millay), III, 132-133 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. III, Part 2, 541-542 On Native Grounds: An Interpretation of Modern American Prose Literature (Kazin), I, 517; Supp. I, Part 2, 650; Supp. VIII, 93, 96-97, 98, 100-102 "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. Ill, 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 Pretentiousness" (Kushner), Supp. IX 131-132 "On Reading Eckerman's Conversations with Goethe" (Masters), Supp. 1, Part 2, 458 "On Reading to Oneself (Gass), Supp. VI, 88, 89 On Revolution (Arendt), Retro. Supp. 1,87 "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.

498 / AMERICAN WRITERS 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 Death of Zhukov" (Brodsky), Supp. VIII, 27 "On the Disadvantages of Central Heating" (Clampitt), Supp. IX 41, 47,52 "On the Edge" (Levine), Supp. V, 181182 On the Edge and Over (Levine), Supp. V, 178, 180-182, 186 On the Edge of the Great Rift: Three Novels of Africa (Theroux), Supp. VIII, 316 "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 Island" (Stern), Supp. IX 290 "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 "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 Under-

standing" (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, 276-277 "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. HI, Part 1, 92, 218, 222-224, 226, 230-231; 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, Part 1,11 "On Time" (O'Hara), III, 369-370 "On Top" (Snyder), Supp. VIII, 304 "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, 673-675 "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, Part 1,81, 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. III, 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 "1 January 1965" (Brodsky), Supp. VIII, 23-24 One Hundred Days in Europe (Holmes), Supp. I, Part 1, 317 100 Faces of Death, The, Part IV (Boyle), Supp. VIII, 16 158-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.

INDEX / 499 1, 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 One Man's Initiation (Dos Passos), 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. Ill, 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, 201202 "One of the Smallest" (Stern), Supp. IX 299-300 "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) (Gummings), I, 430, 436, 438-439, 441, 446, 447, 448 "One Touch of Nature" (McCarthy), II, 580 "One Trip Abroad" (Fitzgerald), II, 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" (Rfos), 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. 1,427 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. III, Part 1, 177-180, 189; Supp. IV, Part 1, 359, Part 2, 587, 607; Supp. V, 277; Supp. VIII, 332, 334 One-Way Ticket (Hughes), Retro. Supp. I, 206, 207, 208; Supp. I, Part 1, 333-334 Only a Few of Us Left (Marquand), III, 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 Good Indian, The" (Humphrey), Supp. IX 101 Only in America (Golden), Supp. VIII, 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), 1,408 "Open Boat, The" (Crane), I, 408, 415, 416-417, 423; Retro. Supp. I, 325 "Open House" (Roethke), III, 529 Open House (Roethke), III, 529-530, 540 "Open Letter" (Roethke), III, 532, 534 "Open Letter to Surrealists Everywhere, An" (Miller), III, 184 Open Meeting, The (Gurney), Supp. V, 98

"Open Road, The" (Dreiser), II, 44 Open Sea, The (Masters), Supp. I, Part 2, 471 Open Season: Sporting Adventures (Humphrey), Supp. IX 95 "Open the Gates" (Kunitz), Supp. Ill, Part 1, 264-265, 267 "Opening, An" (Swenson), Supp. IV, Part 2, 639 Opening of the Field, The (Duncan), Supp. Ill, Part 2, 625 Opening the Hand (Merwin), Supp. Ill, Part 1,341,353, 355 "Opera Company, The" (Merrill), Supp, HI, Part 1, 326 "Operation, The" (Sexton), Supp. II, Part 2, 675, 679 Operation Sidewinder (Shepard), Supp. HI, Part 2, 434-435, 439, 446-447 Operation Wandering Soul (Powers), Supp. 1X212, 217-219 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. Ill, Part 2, 614, 615, 616, 626, 628 Oppenheim, James, I, 106, 109, 239, 245 Oppenheimer, J. Robert, I, 137, 492 Oppenheimer, Judy, Supp. IX 1 1 5 , 116, 118, 120, 126 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. III, 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 "Or Consider Prometheus" (Clampitt), Supp. IX 44 Oracle at Stoneleigh Court, The (Taylor), Supp. V, 328

500 / AMERICAN WRITERS "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, Part 1, 6, 7, 11, 18-19 Orb Weaver, The (Francis), Supp. IX 81-82, 85 "Orchard" (Doolittle), Supp. I, Part 1, 263-264, 265, 266 "Orchard" (Eberhart), I, 539 Orchard Keeper, The (McCarthy), Supp. VIII, 175-176 Orchestra (Davies), III, 541 "Orchids" (Roethke), III, 530-531 Ordeal of Mansart, 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. 1,297,300,311,312 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 Ordways, The (Humphrey), Supp. IX 95, 98-100, 109 "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 Oresteia (Aeschylus), Supp. IX 103 "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 Passes), 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 Child Bomb: Points for Meditation to Be Scratched on the Walls of a Cave (Merton), Supp. VIII, 203 Original Essays on the Poetry of Anne Sexton (George), Supp. IV, Part 2, 450 "Original Follies Girl, The" (Z. Fitzgerald), Supp. IX 71 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), Supp. I, Part 2, 557 O'Riordan, Conal Holmes O'Connell, III, 465 Orlando (Woolf), Supp. I, Part 2, 718; Supp. VIII, 263 Ormond; or, The Secret Witness (Brown), Supp. I, Part 1, 133-137 Ormonde, Czenzi, Supp. IV, Part 1, 132 Orne, Sarah, see Jewett, Sarah Orne Ornitz, Samuel, Supp. IX 227 Orphan Angel, The (Wylie), Supp. I, Part 2, 707, 709, 714, 717, 719721,722,724 Orpheus (Rukeyser), Supp. VI, 273 "Orpheus" (Winters), Supp. II, Part 2, 801 "Orpheus Alone" (Strand), Supp. IV, Part 2, 632 "Orpheus, Eurydices, Hermes" (Rilke), Supp. VIII, 31, 32 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; Supp. VIII, 241 Osborn, Dwight, III, 218-219, 223 "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 Ostanovka v Pustyne (A halt in the wilderness) (Brodsky), Supp. VIII, 21 Ostriker, Alicia, Supp. I, Part 2, 540, 548; Supp. IV, Part 2, 439, 447, 449 OstrofT, Anthony, I, 542-543; III, 550 Ostrom, Hans, Retro. Supp. I, 195 Ostrom, John W, III, 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), I, 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, 130131 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

INDEX / 501 "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), III, 194, 199; IV, 76; Retro. Supp. I, 416, 418, 422, 424 Others (Shields), Supp. VII, 310 "Otherwise" (Kenyon), Supp. VII, 172, 174 Otherwise: New and Selected Poems (Kenyon), Supp. VII, 167, 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; Supp. IX 308 Our America (Michaels), Retro. Supp. 1,379 "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), I, 223, 228 "Our Father Who Drowns the Birds" (Kingsolver), Supp. VII, 208-209 "Our First House" (Kingston), Supp. V, 169 Our Gang (Roth), Supp. HI, 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, 450452 Our House in the Last World (Hijuelos), Supp. VIII, 73, 76-79, 87,88

"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 National Parks (Muir), Supp. IX 181, 184 Our New York: A Personal Vision in Words and Photographs (Kazin), Supp. VIII, 106-107 "Our Old Aunt Who Is Now in a Retirement Home" (Shields), Supp. VII, 310 Our Old Home: A Series of English Sketches (Hawthorne), II, 225; Retro. Supp. I, 163 "Our Own Movie Queen" (Z. Fitzgerald), Supp. IX 71 "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. I, 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 "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. I, 235 Outer Dark (McCarthy), Supp. VIII, 176-177 Outerbridge Reach (Stone), Supp. V, 306-308 Outermost Dream, The: Essays and Reviews (Maxwell), Supp. VIII, 171172 "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 Out Iyer and Ghazals (Harrison), Supp. VIII, 41 Outre-Mer: A Pilgrimage beyond the Sea (Longfellow), II, 313, 491 Outside (magazine), Supp. VIII, 39 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. HI, Part 1, 326 "Oval Portrait, The" (Poe), III, 412, 415 "Oven Bird, The" (Frost), Retro. Supp. I, 131 "Over by the River" (Maxwell), Supp. VIII, 169, 170 "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, 90-91 "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; Supp. IX 178, 181 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,

502 / AMERICAN WRITERS 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; HI, 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 Owning Jolene (Hearon), Supp. VIII, 66-67 Oxford Anthology of American Literature, The, III, 197; Supp. I, Part 1, 254 Oxford Book of American Verse (Matthiessen, ed.), Retro, Supp. I, 40 Oxford History of the American People, The (Morison), Supp. I, Part 2, 495^96 Oxford History of the United States, 1783-1917, The (Morison), Supp. I, Part 2, 483^84 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; Supp. VIII, 141 O-Zone (Theroux), Supp. VIII, 323324 "Pacific Distances" (Didion), Supp. IV, Part 1, 211 Pacernik, Gary, Supp. IX 287, 291 Pack, Robert, IV, 96; Supp. IV, Part 2,621 "Packed Dirt, Churchgoing, a Dying Cat, a Traded Cat" (Updike), IV, 219 Pajko 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, 263265

Pagan Spain (Wright), IV, 478, 488, Supp. VIII, 157 495 "Pale Pink Roast, The" (Paley), Supp. Pagany (publication), Supp. Ill, Part VI, 217 2,613 Paley, Grace, Supp. VI, 217-218, 219Page, Kirby, III, 297 222, 223-233; Supp. 1X212 Page, Thomas Nelson, II, 174, 176, Paley, William, II, 9 194 Palgrave, Francis Turner, Retro. Supp. Page, Walter Hines, II, 174, 175; Supp. I, 124 I, Part 1, 370 Palgrave's Golden Treasury (Pal"Pages from Cold Point" (Bowles), grave), IV, 405 Supp. IV, Part 1, 85, 86, 87 Palimpsest (Doolittle), Supp. I, Part Paid on Both Sides: A Charade 1, 259, 268, 269, 270-271 (Auden), Supp. II, Part 1, 6, 18-19 "Palingenesis" (Longfellow), II, 498 Paige, Satchel, Supp. I, Part 1, 234 "Palm, The" (Merwin), Supp. Ill, Part Paige, T. D. D., Ill, 475 1, 355 Pain, Joseph, Supp. I, Part 2, 502 Palmer, Charles, II, 111 Paine, Albert Bigelow, I, 249; IV, 213 Palmer, Elihu, Supp. I, Part 2, 520 Paine, Thomas, I, 490; II, 117, 302; Palmer, Michael, Supp. IV, Part 2, HI, 17, 148, 219; Retro. Supp. I, 421 390; Supp. I, Part 1, 231, Part 2, Palmerston, Lord, I, 15 501-525 Palms (publication), Supp. IV, Part 1, "Pain has an Element of Blank" 166 (Dickinson), Retro. Supp. I, 44 "Palo Alto: The Marshes" (Hass), "Paint and Powder" (Z. Fitzgerald), Supp. VI, 100 Supp. IX 71 Palpable God, A: Thirty Stories TransPainted Bird, The (Kosinski), Supp. lated from the Bible with an Essay VII, 215-217, 219-221, 222, 227 on the Origins and Life of Narrative Painted Bride Quarterly, Supp. IX 90 (Price), Supp. VI, 262, 267 Painted Dresses (Hearon), Supp. VIII, Paltsits, V. H., Ill, 96 63 Pamela (Richardson), Supp. V, 127 "Painted Head" (Ransom), III, 491, "Pan versus Moses" (Ozick), Supp. V, 494; Supp. II, Part 1, 103, 314 262 Painted Word, The (Wolfe), Supp. Ill, Pan-African movement, Supp. II, Part Part 2, 580-581,584 1, 172, 175 "Painter, The" (Ashbery), Supp. Ill, "Pandora" (Adams), I, 5 Pandora: New Tales of Vampires Part 1,5-6, 13 Painter Dreaming in the Scholar's (Rice), Supp. VII, 295 "Pangolin, The" (Moore), III, 210 House, The (Nemerov), III, 269 Panic: A Play in Verse (MacLeish), III, "Painters" (Rukeyser), Supp. VI, 281 2,20 "Painting a M o u n t a i n Stream" (Nemerov), III, 275 Panic in Needle Park (film), Supp. IV, Part 1, 198 "Pair a Spurs" (Proulx), Supp. VII, 263-264 Pantagruel (Rabelais), II, 112 "Pair of Bright Blue Eyes, A" (Taylor), "Pantaloon in Black" (Faulkner), II, 71 Pantheism, Supp. I, Part 1, 163 Supp. V, 321 Pal Joey (O'Hara), III, 361, 367-368 Panther and the Lash, The (Hughes), Retro. Supp. I, 204, 211; Supp. I, "Pal Joey" stories (O'Hara), III, 361 Part 1, 342-344, 345-346 Palace at 4 A.M. (Giacometti), Supp. "Papa and Mama Dance, The" VIII, 169 (Sexton), Supp. II, Part 2, 688 "Palantine, The" (Whittier), Supp. I, "Papa Who Wakes Up Tired in the Part 2, 694, 696 Dark" (Cisneros), Supp. VII, 62 Pale Fire (Nabokov), III, 244, 246, 252, 263-265; Retro. Supp. I, 264, Pape, Greg, Supp. V, 180 265, 266, 270, 271, 272, 276, 278,Paper Boats (Butler), Supp. I, Part 1, 275 335; Supp. V, 251, 253; Retro. "Paper Dolls Cut Out of a Newspaper" Supp. I, 335 (Simic), Supp. VIII, 282 "Pale Horse, Pale Rider" (Porter), III, 436, 437, 441-442, 445, 446, 449 "Paper House, The" (Mailer), III, 42-43 Pale Horse, Pale Rider: Three Short Novels (Porter), III, 433, 436^42; Papers on Literature and Art (Fuller),

INDEX / 503 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" (Gliick), Supp. V, 89 "Parable of the King" (Cluck), 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 Paradise Poems (Stern), Supp. IX 293-294, 295 Paradiso (Dante), Supp. IX 50 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. Ill, Part 2, 544, 550 "Parents' Weekend: Camp Kenwood" (Kenyon), Supp. VII, 169 Pareto, Vilfredo, II, 577 Paretsky, Sarah, Supp. IV, Part 2, 462 "Paris" (Stern), Supp. IX 300 "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; Supp. VIII, 13, 14, 157, 160, 163, 168; Supp. IX 203, 254, 255, 256, 257, 260, 262, 293 "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; Supp. IX 62, 114, 189-206 Parker, Hershel, III, 95, 97 Parker, Muriel, Supp. IX 232 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; 11,23; Supp. I, Part 2, 617 Parkinson, Thomas, II, 557 Parkman, Francis, II, 278, 310, 312; IV, 179, 309; Supp. I, Part 2, 420, 479, 481-482, 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; Supp. IX 291 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, Ian, Supp. IX 95 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 Part of Speech, A (Brodsky), Supp. VIII, 22 "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, 337338; IV, 128; Retro. Supp. I, 137, 303, 309; Supp. I, Part 1, 58, 89; Supp. IV, Part 1, 70, 84, 286; Supp. V, 319; Supp. VIII, 96, 231, 234, 236, 239; Supp. IX 268 Partisans (Matthiessen), Supp. V, 201 "Partner, The" (Roethke), III, 541-542 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, Parti, 310 Parts of a World (Stevens), Retro. Supp. I, 305-306, 307, 309, 313 Party at Jack's, The (Wolfe), IV, 451452, 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 I, 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. I, 218 Passionate Pilgrim, A (James), Retro. Supp. I, 219 Passionate Pilgrim, The, and Other Tales (James), II, 324

504 / AMERICAN WRITERS 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. III, Part 1, 261-264 Past and Present (Carlyle), Supp. I, Part 2, 410 "Past Is the Present, The" (Moore), III, 199-200 "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; Supp. IX 66 Paterna (Mather), Supp. II, Part 2, 451 Paterson, Isabel, Supp. IV, Part 2, 524 "Paterson" (Ginsberg), Supp. II, Part 1, 314-315, 321, 329 Paterson (Williams), I, 62, 446; IV, 418-423; Retro. Supp. I, 209, 284, 413, 419, 421, 424-428, 428, 429, 430; Supp. II, Part 2, 557, 564, 625; Supp. VIII, 275, 305 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 "Patience of a Saint, The" (Humphrey), Supp. IX 106 Patinkin, Mandy, Supp. IV, Part 1, 236 Paton, Alan, Supp. VIII, 126 Patria Mia (Pound), III, 460-461; Retro. Supp. I, 284 "Patria Mia" (Pound), Retro. Supp. I, 284 "Patriarch, The" (Alvares), Supp. V, 11 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; Supp. VIII, 100 "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, 573-574 "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, 314-315; 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, 443-444, 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; Supp. VIII, 272 Peabody, Elizabeth, Retro. Supp. I, 155-156, 225 Peabody, Elizabeth R, Supp. I, Part 1, 46 Peabody, Francis G., Ill, 293; Supp. I, Part 1, 5 Peabody, Josephine Preston, III, 507 Peace and Bread in Time of War (Addams), Supp. I, Part 1, 21, 22-23 "Peace March, The" (Simpson), Supp. 1X279 "Peace of Cities, The" (Wilbur), Supp. Ill, Part 2, 545 "Peaches—Six in a Tin Box, Sarajevo" (Cisneros), Supp. VII, 67 Peacock, Doug, Supp. VIII, 38 Peacock, Gibson, Supp. I, Part 1, 360 Peacock, Thomas Love, Supp. I, Part I, 307; Supp. VIII, 125 "Peacock, The" (Merrill), Supp. Ill, Part 1, 320 "Peacock Room, The" (Hayden), Supp. II, Part 1, 374-375 Pearce, Richard, Supp. IX 254 Pearce, Roy Harvey, I, 357, 473; II, 244, 245; IV, 354; Supp. I, Part 1, I I I , 114, 173, 373, Part 2, 475, 478, 706 Pearl of Orr's Island, The (Stowe), Supp. I, Part 2, 592-593, 595 Pearl, The (Steinbeck), IV, 51, 62-63 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, Gregory, Supp. VIII, 128, 129 "Peck of Gold, A" (Frost), II, 155 "Pedal Point" (Francis), Supp. IX 87 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 ofBronson

INDEX / 505 Alcott (Shepard), Supp. I, Part 1, 46 Peikoff, Leonard, Supp. IV, Part 2, 520, 526, 529 Peirce, Charles Sanders, II, 20, 352353; 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" (Gliick), Supp. V, 89 Penhally (Gordon), II, 197, 199, 201203, 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 Penny, Rob, Supp. VIII, 330 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; Supp. VIII, 243 "Peonies at Dusk" (Kenyon), Supp. VII, 171 People (magazine), Supp. VIII, 239, 310; Supp. 1X261 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 Live Here: Selected Poems 1949-1983 (Simpson), Supp. IX 269, 277 "People Next Door, The" (Simpson), Supp. IX 279 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. Ill, Part 2, 623 Percy, Walker, Supp. Ill, Part 1, 383400; 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, S. J., IV, 286; Retro. Supp. I, 342; Supp. IV, Part 1, 353 Perenyi, Eleanor, IV, 449 Peret, Benjamin, Supp. VIII, 272 Perestroika (Kushner), Supp. IX 141, 142, 145 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 Mid-Thirties" (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 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; Supp. IX 57, 58, 60, 232 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), I, 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, 494^95 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" (Stern), Supp. IX 299 "Personal and Occasional Pieces" (Welty), Retro. Supp. I, 355

506 / AMERICAN WRITERS Personal Narrative (Edwards), I, 545, 552, 553, 561, 562; Supp. I, 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 "Perspective" (Francis), Supp. IX 78 Perspectives by Incongruity (Burke), I, 284-285 "Perspectives: Is It Out of Control?" (Gleason), Supp. IX 16 Perspectives on Cormac McCarthy (Arnold and Luce, eds.), Supp. VIII, 189 PeserofT, Joyce, Supp. IV, Part 1, 71 "'Pet Negro' System, The" (Hurston), Supp. VI, 159 Pet Sematary (King), Supp. V, 138, 143, 152 Peter, John, III, 48 Peter, Saint, HI, 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, 728729, 731, 735, 738-741, 749 Peterkin, Julia, Supp. I, Part 1, 328 Peters, Cora, Supp. I, Part 2, 468 Peters, Margot, Supp. VIII, 252 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 "Petey and Yotsee and Mario" (H. Roth), Supp. IX 234 "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 Petry, Ann, Supp. VIII, 214 Pettengill, Richard, Supp. VIII, 341, 345, 348 PfafT, Timothy, Supp. V, 166 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. I, 299 Phases of an Inferior Planet (Glasgow), II, 174-175 "Pheasant, The" (Carver), Supp. Ill, Part 1, 146 Phelps, Robert, I, 47; II, 390 Phelps, Teresa Godwin, Supp. VIII, 128 "Phenomenology of Anger, The" (Rich), Supp. I, Part 2, 562-563, 571 Phenomenology of Moral Experience, The (Mandelbaum), I, 61 "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, William, Supp. VIII, 156 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), 11,114 "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 of Friedrich 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 Philoxenes, Supp. VIII, 201 "Phocion" (Lowell), II, 536 Phoenix and the Turtle, The (Shakespeare), I, 284 "Phoenix Lyrics" (Schwartz), Supp. II,

INDEX / 507 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 "Physical Universe" (Simpson), Supp. 1X278 "Physicist We Know, A" (Shields), Supp. VII, 310 "Physiology of Versification, The: Harmonies of Organic and Animal Life" (Holmes), Supp. I, Part 1, 311 Physique de I'Amour (Gourmont), III, 467-^68 Piaf, Edith, Supp. IV, Part 2, 549 "Piano Fingers" (Mason), Supp. VIII, 146 Piano Lesson, The (Bearden), Supp. VIII, 342 Piano Lesson, The (Wilson), Supp. VIII, 342-345 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; Supp. IX 66 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 Picker, Lauren, Supp. VIII, 78, 83 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 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 Dorian Gray, The (Wilde), Supp. IX 105 "Picture of Little J. A. in a Prospect of Flowers, A" (Ashbery), Supp. Ill, Part 1, 3 Picture Palace (Theroux), Supp. VIII, 322 Picture This (Heller), Supp. IV, Part I, 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. I, 429-431 "Pictures of Columbus, the Genoese, The" (Freneau), Supp. II, Part 1, 258 Pictures of Fidelman: An Exhibition (Malamud), Supp. I, Part 2, 450451 "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. III, 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 Rit (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, 209-210 Pike County Ballads, The (Hay), Supp. 1, 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, The" (Maxwell), Supp. VIII, 169, 171 Pilgrimage of Festus, 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 Pillars of Hercules, The: A Grand Tour of the Mediterranean (Theroux), Supp. VIII, 325 "Pilot from the Carrier, A" (Jarrell), II, 374 Pilot, The (Cooper), I, 335, 337, 339, 342-343, 350 "Pilots, The" (Levertov), Supp. Ill,

508 / AMERICAN WRITERS Part 1, 282 "Pilots, Man Your Planes" (Jarrell), II, 374-375 "Pimp's Revenge, A" (Malamud), Supp. I, Part 2, 435, 450, 451 Pinball (Kosinski), Supp. VII, 215, 226 Pinchot, Gilford, Supp. IX 184 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 "Pineys, The" (Stern), Supp. IX 288, 296 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; Supp. IX 293, 327 Pinsky, Robert, Supp. VI, 235-236, 237-251; Supp. IX 155, 158 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 Pipe Night (O'Hara), III, 361, 368 Piper, Dan, Supp. IX 65 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 of Penzance, 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 "Pissing off the Back of the Boat into the Nevernais Canal" (Matthews), Supp. IX 160-161 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" (Francis), Supp. IX 82 "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), 1,313 Pittsburgh Dispatch (newspaper), I, 499 "Pity Me" (Wylie), Supp. I, Part 2, 729 Pius II, Pope, III, 472 Pius IX, Pope, II, 79 "Piute Creek" (Snyder), Supp. VIII, 293 Pixley, Frank, I, 196 Pizer, Donald, I, 424; III, 240-242, 321, 335, 336; Supp. I, Part 2, 478 "Place at the Outskirts" (Simic), Supp. VIII, 282 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. III, Part 1, 281 "Place to Stand, A" (Price), Supp. VI, 258 Place to Stand, A (Wagoner), Supp. IX 324, 325 "Place (Any Place) to Transcend All Places, A" (Williams), Retro. Supp. 1,422 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 (Harrison), Supp. VIII, 38-39 "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, 117119 Plaint of a Rose, The (Sandburg), HI, 579 "Planchette" (London), II, 475-^76 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 Plant Dreaming Deep (Sarton), Supp. VIII, 250, 263 "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, 527528, 529, 530, 531, 535, 536, 541 Plath, James, Retro. Supp. I, 334 Plath, Otto, Supp. I, Part 2, 527-529, 531,533 Plath, Sylvia, Supp. I, Part 2, 526549, 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, Part 1, 391, Part 2, 526 "Plato" (Emerson), II, 6 "Platonic Relationship, A" (Beattie), Supp. V, 22 Platonic Scripts (Justice), Supp. VII, 115 Platonov, Dmitri, Supp. VIII, 30 Platt, Anthony M., Supp. I, Part 1, 13-14, 27 Plautus, Titus Maccius, IV, 155; Supp. III, Part 2, 630 "Play Ball!" (Francis), Supp. IX 89 Play Days: A Book of Stories for Children (Jewett), II, 401-402 Play It as It Lays (Didion), Supp. IV, Parti, 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), HI, 40; Supp. IV,

INDEX / 509 Part 1, 235, Part 2, 517; Supp. IX 114 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 "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), II, 8 "Pleasures of Formal Poetry, The" (Bogan), Supp. Ill, Part 1, 51 Plimpton, George, IV, 119; Supp. IV, Part 1, 386; Supp. V, 201; Supp. VIII, 82, 157; Supp. IX 256 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 Plowing the Dark (Powers), Supp. IX 212-213,221-224 "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; Supp. VIII, 93, 231-247; Supp. IX 3 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; Supp. VIII, 105; Supp. IX 115 "Poem" (Bishop), Supp. I, Part 1, 73, 76-79, 82, 95 "Poem" (Harrison), Supp. VIII, 38 "Poem" (Justice), Supp. VII, 125 "Poem" (Kunitz), Supp. Ill, Part 1, 263 "Poem" (Wright), Supp. HI, Part 2, 590 Poem, A, Spoken at the Public Commencement at Yale College, in New Haven; September I, 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. HI, 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 Liberation, The" (Stern), Supp. IX 292 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, Part 1, 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 "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), III, 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

510 / AMERICAN WRITERS 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. I, 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 & South—A Cold Spring, (Bishop), Supp. I, Part 1, 83, 89 Poems of a Jew (Shapiro), Supp. II, Part 2, 703, 712-713 Poems of Anna Akhmatova, The (trans. Kunitz and Hayward), Supp. HI, 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 Frangois 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. HI, 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. HI, Part 2, 506-507 "Poet at Seven, The" (Rimbaud), II, 545 Poet at the Breakfast-Table, The (Holmes), Supp. I, Part 1, 313-314 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 or the Growth of a Lit'ry Figure" (White), Supp. I, Part 2, 676 "Poet Turns on Himself, The" (Dickey), Supp. IV, Part 1, 177, 181, 185

"Poete contumace, Le" (Corbiere), II, 384-385 Poetes negres des Etats-Vnis, Les (Wagner), Supp. I, Part 1, 348 Poetic Achievement of Ezra Pound, The (Alexander), Retro. Supp. I, 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 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, 465-466, 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. III, Part 2, 610-616, 621, 623, 624, 627-630; Supp. IV, Part 1, 166, Part 2, 644; Supp. V, 182; Supp. VIII, 251, 283; Supp. IX 155, 156, 167, 269, 273, 324 Poetry: A Magazine of Verse, Supp. IV, Part 1, 176 "Poetry: A Metrical Essay" (Holmes), Supp. I, Part 1,310 "Poetry, Community and Climax" (Snyder), Supp. VIII, 290 "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 Primitive: Notes on Poetry as an Ecological Survival Technique" (Snyder), Supp. VIII, 291, 292, 299, 300 "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 as Survival" (Harrison), Supp. VIII, 45

INDEX / 511 "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 Northwest (magazine), Supp. 1X324 Poetry of American Women from 16321945, The (Watts), Supp. I, 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, Part 1, 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), HI, 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), HI, 269 "Poet's View, A" (Levertov), Supp. III, 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), HI, 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, 197-198, 202, 210-213 Poitier, Sidney, Supp. IV, Part 1, 360, 362 "Polar Bear" (Heller), Supp. IV, Part I, 383 "Pole Star" (MacLeish), III, 16 Police (Baraka), Supp. II, Part 1, 47 "Police Dreams" (Bausch), Supp. VII, 47 Politian (Po&\ 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-^34 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, 351352 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, 110-111 "Poor Working Girl" (Z. Fitzgerald), Supp. IX 71 Poore, Charles, III, 364 Poorhouse Fair, The (Updike), IV, 214, 228-229, 232; Retro. Supp. I, 317, 320 Popa, Vasko, Supp. VIII, 272 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, Sycamore" (Wilbur), Supp. Ill, Part 2, 549 Popo and Fifina ( H u g h e s and

572 / AMERICAN WRITERS 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 "Poppycock" (Francis), Supp. IX 87 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 "Populist Manifesto" (Ferlinghetti), Supp. VIII, 290 "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. Ill, Part 1, 106 "Port Town" (Hughes), Retro. Supp. I, 199 Portable Blake, The (Kazin, ed.), Supp. VIII, 103 Portable Faulkner, The (Cowley, ed.), II, 57, 59; 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, Cole, Supp. IX 189 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; Supp. VIII, 156, 157; Supp. IX 93, 94, 95, 98, 128 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. HI, Part 1, 345 Portnoy's Complaint (Roth), Supp. Ill, Part 2, 401, 404, 405, 407, 412414,426; Supp. V, 119, 122 "Portrait, A" (Parker), Supp. IX 192193 "Portrait, The" (Kunitz), Supp. Ill, Part 1, 263 "Portrait, The" (Wharton), Retro. Supp. I, 364 "Portrait d'une Femme" (Pound), Retro. Supp. I, 288 Portrait in Brownstone (Auchincloss), Supp. IV, Part 1,21,23, 27, 31 "Portrait in Georgia" (Toomer), Supp. 1X314 "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, 224225, 232, 233, 381 "Portrait of an Artist" (Roth), Supp. III, Part 2, 412 Portrait of Baseom 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-^76; III, 471, 561; Retro. Supp. I, 127; Supp. IX 236 "Portrait of the Artist as an Old Man, A" (Humphrey), Supp. IX 109 "Portrait of the Artist with Hart Crane" (Wright), Supp. V, 342 "Portrait of the Intellectual as a Yale Man" (McCarthy), II, 563, 564-565 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, HI, 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 I, 173 Pot of Earth, The (MacLeish), III, 5, 6-8, 10, 12, 18 "Pot Roast" (Strand), Supp. IV, Part 2,629 Pot Shots at Poetry (Francis), Supp. IX 83-84 "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, 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 Poulin, Al, Jr., Supp. IX 272 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, 283-294, 298, 299, 359, 411, 412, 413, 414, 417, 418, 419, 420, 423, 426, 427, 430, 431; Supp. I, Part 1, 253, 255-258, 261-268, 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; Supp. VIII, 39, 105, 195, 205, 271, 290, 291, 292, 303; Supp. IX 291 Pound, Louise, Retro. Supp. I, 4 Pound, T. S., I, 428 Pound Era, The (Kenner), Supp. I, Part 1, 275 "Pound Reweighed" (Cowley), Supp. II, Part 1, 143 Pound/Joyce: The Letters of Ezra

INDEX / 513 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, Dick, Supp. IX 250 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 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 Myth, The (Campbell), Supp. 1X245 "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. E, III, 360; Supp. V, 319 Powers, Kim, Supp. VIII, 329, 340 Powers, Richard, Supp. IX 207-225 Powers of Attorney (Auchincloss), Supp. IV, Part 1 , 3 1 , 3 2 , 33 "Powers of Darkness" (Wharton), Retro. Supp. I, 379 Powys, John Cowper, Supp. I, Part 2, 454, 476, 478; Supp. IX 135 "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 Practice of Reading, The (Donoghue), Supp. VIII, 189 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 "Praire, The" (Clampitt), Supp. IX 42 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 (Hass), Supp. VI, 104-105, 106 Predecessors, Et Cetera (Clampitt), Supp. IX 37 "Praise for an Urn" (Crane), I, 388 "Praise for Sick Women" (Snyder), Predilections (Moore), III, 194 Preface to a Twenty Volume Suicide Supp. VIII, 294 Note. . . . (Baraka), Supp. II, Part "Praise in Summer" (Wilbur), Supp. 1,31,33-34,51,61 III, Part 2, 546-548, 560, 562 "Praise of a Palmtree" (Levertov), Prefaces and Prejudices (Mencken), 111,99, 104, 106, 119 Supp. Ill, Part 1, 284 "Praise of the Committee" (Rukeyser), "Preference" (Wylie), Supp. I, Part 2, 713 Supp. VI, 278 "Praise to the End!" (Roethke), III, "Prejudice against the Past, The" (Moore), IV, 91 529, 532, 539 "Praises, The" (Olson), Supp. II, Part Prejudices (Mencken), Supp. I, Part 2, 630 2, 558, 560, 563, 564 Praisesong to the Widow (Marshall), Prejudices: A Selection (ed. Farrell), III, 116 Supp. IV, Part 1, 14 Prejudices: First Series (Mencken), Prajadhipok, King of Siam, I, 522 III, 105 Pratt, Anna (Anna Alcott), Supp. I, Preliminary Check list for a BibliograPart 1, 33 phy of Jane Addams (Perkins), Pratt, Louis H., Supp. I, Part 1, 70 Supp. I, Part 1, 26 Pratt, Parley, Supp. IV, Part 2, 603 Prelude, A: Landscapes, Characters "Prattler" (newspaper column), I, 207 and Conversations from the Earlier "Prattler, The" (Bierce), I, 196 Years of My Life (Wilson), IV, 426, Pravda (newspaper), IV, 75 427, 430, 434, 445 "Pray without Ceasing" (Emerson), II, Prelude, The (Wordsworth), III, 528; 9-10 IV, 331, 343; Supp. I, Part 2, 416, "Prayer" (Toomer), Supp. IX 318 676 "Prayer, A" (Kushner), Supp. IX 134 "Prayer for Columbus" (Whitman), IV, "Prelude to an Evening" (Ransom), III, 491,492-493 348 "Prayer for My Daughter" (Yeats), II, "Prelude to the Present" (Mumford), Supp. II, Part 2, 471 598 "Prayer for My Grandfather to Our "Preludes" (Eliot), I, 573, 576, 577; Retro. Supp. I, 55; Supp. IV, Part Lady, A" (Lowell), II, 541-542 2, 436 Prayer for Owen Meany, A (Irving), Preludes for Memnon (Aiken), I, 59, Supp. VI, 164, 165, 166, 175-176 "PRAYER FOR SAVING" (Baraka), 65 "Premature Burial, The" (Poe), HI, Supp. II, Part 1, 52-53 "Prayer in Spring, A" (Frost), II, 153, 415,416,418 164 Preminger, Otto, Supp. IX 3, 9 "Prayer on All Saint's Day" (Cowley), "Preparations" (Silko), Supp. IV, Part 2,560 Supp. II, Part 1, 138, 153 "Prayer to Hermes" (Creeley), Supp. Preparatory Meditations (Taylor), IV, 145, 148, 149, 150, 152, 153, 154IV, Part 1, 156, 157 "Prayer to Masks" (Senghor), Supp. 155, 164, 165 IV, Part 1, 16 Prepositions: The Collected Critical "Prayer to the Good Poet" (Wright), Essays of Louis Zukofsky Supp. Ill, Part 2, 603 (Zukofsky), Supp. Ill, Part 2, 630 "Prayer to the Pacific" (Silko), Supp. "PRES SPOKE IN A LANGUAGE" IV, Part 2, 560 (Baraka), Supp. II, Part 1, 60 Prayers for Dark People (Du Bois), Prescott, Anne, Supp. IV, Part 1, 299 Supp. II, Part 1, 186 Prescott, Orville, III, 384; Supp. IV, Praz, Mario, IV, 430 Part 2, 680 Preacher and the Slave, The (Stegner), Prescott, William, Retro. Supp. I, 123 Supp. IV, Part 2, 599, 608, 609 Prescott, William Hickling, II, 9, 310, "Preacher, The" (Whittier), Supp. I, 313-314; IV, 309; Supp. I, Part 1, Part 2, 698-699 148, Part 2, 414, 479, 493, 494 Precaution (Cooper), I, 337, 339 "Prescription of Painful Ends" (Jeffers), "Preconceptions of Economic Science, Supp. II, Part 2, 424 The" (Veblen), Supp. I, Part 2, 634 "Presence, The" (Gordon), II, 199, 200

514 / AMERICAN WRITERS "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 Danger, The: Do We Have the Will to Reverse the Decline of American Power? (Podhoretz), Supp. VIII, 241 "Present Hour" (Sandburg), HI, 593594 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 "President and Other Intellectuals, The" (Kazin), Supp. VIII, 104 Presidential Papers, The (Mailer), III, 35, 37-38, 42, 45 "Presidents" (Merwin), Supp. Ill, Part 1,351 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 "Previous Tenant, The" (Simpson), Supp. IX 278-279 Price, Alan, Retro. Supp. I, 377 Price, Reynolds, Supp. VI, 253-258, 259-262, 263-268, 269-270; Supp. IX 256, 257 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 Colors, The (A. Theroux), Supp. VIII, 312 "Primary Ground, A" (Rich), Supp. I, Part 2, 563 "Prime" (Auden), Supp. II, Part 1, 22 Primer for Blacks (Brooks), Supp. Ill, 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. I, 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 Prince of a Fellow, A (Hearon), Supp. VIII, 58, 62-63 Princess, The (Tennyson), Supp. I, Part 2, 410 Princess Casamassima, The (James), II, 276, 291; IV, 202; Retro. Supp. 1,216,221,222,225,226-227 "Princess C a s a m a s s i m a , The" (Trilling), Supp. Ill, Part 2, 502, 503 "Principles" (Du Bois), Supp. II, Part I, 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, Part 1, 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 Prisoner's Dilemma (Powers), Supp. IX 212, 214-216, 221 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; Supp. VIII, 171 "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 Memoirs and Confessions of a Justified Sinner, The (Hogg), Supp. IX 276 "Private Theatricals" (Howells), II, 280 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 "Procession at Candlemas, A" (Clampitt), Supp. IX 41 Processional (Lawson), I, 479 Proclus, Retro. Supp. I, 247 "Prodigal" (Ammons), Supp. VII, 29 Prodigal Parents, The (Lewis), II, 454-455 "Prodigal, The" (Bishop), Supp I, Part 1, 90, 92 "Prodigy" (Simic), Supp. VIII, 278 "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, 418^20 "Professor Veblen" (Mencken), Supp. I, Part 2, 630 Professor's House, The (Cather), I, 325-336; Retro. Supp. I, 16 Proffer, Carl R., Supp. VIII, 22 Proffer, Karl, III, 266

INDEX / 515 Profile of Vachel Lindsay (ed. Flanagan), Supp. I, Part 2, 402 Profits of Religion, The (Sinclair), Supp. V, 276 "Prognosis" (Warren), IV, 245 "Progress Report" (Simic), Supp. VIII, 278 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; Supp. VIII, 290 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 2,609610 "Prologue" (MacLeish), III, 8, 14 "Prologue to Our Time" (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), 1,229 Promise of Rest, The (Price), Supp. VI, 262, 266 "Promise This When You Be Dying" (Dickinson), Retro. Supp. I, 44, 46 Promised Land, The (Antin), Supp. IX 227

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. III, 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), 1,491 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 "Proud Farmer, The" (Lindsay), Supp. I, Part 2, 381 Proud Flesh (Humphrey), Supp. IX 94, 95, 96, 102-103, 104, 105, 109 "Proud Flesh" (Warren), IV, 243 "Proud Lady" (Wylie), Supp. I, Part 2,711-712 Proulx, Annie, Supp. VII, 249-251 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. III, Part 1, 10, 12, 14, 15; Supp. IV, Part 2, 600; Supp. VIII, 103;

Supp. 1X211 "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" (Simic), Supp. VIII, 282 "Psalm and Lament" (Justice), Supp. VII, 116, 117-118, 120-122, 124 "Psalm of Life, A: What the Heart of the Young Man Said to the Psalmist" (Longfellow), II, 489, 496; Supp. I, Part 2, 409 "Psalm of the West" (Lanier), Supp. I, Part 1, 362, 364 "Psalm: Our Fathers" (Merwin), Supp. III, 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 Psychoanalytic Review (publication), Supp. VIII, 39 Psychological Review (publication), IV, 26

"Psychology and Form" (Burke), I, 270 Psychology: Briefer Course (James), 11,351-352 Psychology of Art (Malraux), IV, 434 Psychology of Insanity, The (Hart), I, 241-242, 248-250 " Psychophysiks (Fechner), II, 358 "Public Bath, The" (Snyder), Supp. VIII, 298 Public Burning, The (Coover), Supp. IV, Part 1, 388; Supp. V, 44, 45, 46-47,48, 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 " P u b l i c a t i o n is the A u c t i o n "

516 / AMERICAN WRITERS (Dickinson), Retro. Supp. I, 31 Publishers Weekly (magazine), Supp. VIII, 80, 82, 89, 277; Supp. IX 279 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, The" (Humphrey), Supp. IX 101 Pump House Gang, The (Wolfe), Supp. Ill, Part 2, 575, 578, 580, 581 Punch (periodical), Supp. I, Part 2, 602; Supp. VIII, 124 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, Charles, Supp. VIII, 330 Purdy, James, Supp. VII, 269-270 Purdy, Rob Roy, IV, 143 Purdy, Theodore, Supp. VIII, 153 "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, 98-101, 103-117, 122, 123, 197, 253, 271,

Part 2, 375, 400, 421, 479, 484, 485, 496, 505, 521, 522, 593, 600, 672, 698, 699 Puritans, The (Miller), Supp. VIII, 101 "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 Happiness" (Simpson), Supp. IX 279 Pursuit of the Prodigal, The (Auchincloss), Supp. IV, Part 1, 25 Pushcart at the Curb, A (Dos Passos), 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, 146147 "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 Magazine, III, 88, 89,90,91; Retro. Supp. I, 255 Puttenham, George, Supp. I, Part 1, 113 Puttermesser Papers, The (Ozick), Supp. V, 269 "Putting on Visit to a Small Planet" (Vidal), Supp. IV, Part 2, 683 Putzel, Max, Supp. I, Part 2, 402, 478 Puzo, Mario, Supp. IV, Part 1, 390 "Puzzle of Modern Society, The" (Kazin), Supp. VIII, 103 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; Supp.

VIII, 14; Supp. IX 207, 208, 212 Pyrah, Gill, Supp. V, 126 "Pyramid Club, The" (Doctorow), Supp. IV, Part 1, 234 "Pyrography" (Ashbery), Supp. Ill, Part 1, 18 Pythagoras, I, 332 Pythagorean Silence (Howe), Supp. IV, Part 2, 426, 428-429 Quai d'Orleans" (Bishop), Supp. I, Part 1, 89 "Quail for Mr. Forester" (Humphrey), Supp. IX 94 "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 Quarterly West (publication), Supp. IX 169 Quartermain, Peter, Supp. IV, Part 2, 423, 434 "Quaternions, The" (Bradstreet), Supp. 1, Part 1, 10^106, 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, 345346 "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 Fidelity, A" (Beauvoir), Supp. IX 4

INDEX / 517 "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 "Question of Simone de Beauvoir, The" (Algren), Supp. IX 4 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 w i t h o u t Answers" (Williams), IV, 384 Quevedo y Villegas, Francisco Gomez, Retro. Supp. I, 423 "Quies," (Pound), Retro. Supp. I, 413 Quiet Days in Clichy (Miller), III, 170, 178,183-184, 187 "Quiet Desperation" (Simpson), Supp. IX 277-278 Quill, Quire (publication), Supp. IV, Part 1, 68 Quinn, Arthur Hobson, HI, 431, 432 Quinn, John, III, 471 Quinn, Kerker, I, 542 Quinn, Patrick F, III, 432 Quinn, Paul, Supp. V, 71 Quinn, Sister M. Bernetta, II, 390; HI, 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 Quinzaine for 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 of Lud, 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. 1,334 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, Francis, 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. 1, 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 Rachel Carson: Witness for Nature (Lear), Supp. IX 19 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, 363-364 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 (Derry), Supp. I, Part 2, 525 Radicalism in America, The (Lasch), I, 259 "Radio" (O'Hara), HI, 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; Supp. VIII, 96; Supp. IX 8 "Raid" (Hughes), Retro. Supp. I, 208 Raids on the Unspeakable (Merton), Supp. VIII, 201, 208 "Rain and the Rhinoceros" (Merton), Supp. VIII, 201 "Rain in the Heart" (Taylor), Supp. V, 317,319 Rain in the Trees, The (Merwin), Supp. III, 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 "Rainmaker, The" (Humphrey), Supp. IX 101 Rainwater, Catherine, Supp. V, 272 "Rainy Day" (Longfellow), II, 498 "Rainy Day, The" (Buck), Supp. II, Part 1, 127 "Rainy M o u n t a i n 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, 567-569, 571 Raise High the Roof Beam, Carpenters; and Seymour: An Introduction (Salinger), HI, 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; Supp. VIII, 343 Raisin in the Sun, A (television film: American Playhouse), Supp. IV, Part 1, 367, 374

5J8 / AMERICAN WRITERS Raisin in the Sun, A (unproduced screenplay) (Hansberry), Supp. IV, Part 1, 360 Raising Demons (Jackson), Supp. IX 125-126 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 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. I, 196, 200, 201, 204; Supp. IV, Part 1, 244, 250 Rampling, Anne, Supp. VII, 201; see also Rice, Anne Rampling, Charlotte, Supp. IX 253 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; Supp. IX 105 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 "Raskolnikov" (Simic), Supp. VIII, 282 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. 1, Part 1, 148 "Rationale of Verse, The" (Poe), III, 427^28 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, 421-422, 426 "Raven Days, The" (Lanier), Supp. I, Part 1, 351 Raven, The, and Other Poems (Poe), 111,413 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. I, 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, Constant. See Parker, Dorothy 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; Supp. VIII, 113 Reader's Guide to William Caddis's The Recognitions, A (Moore), Supp. IV, Part 1, 283 "Reading" (Auden), Supp. VIII, 155 "Reading Lao Tzu Again in the New Year" (Wright), Supp. V, 343 "Reading Late of the Death of Keats" (Kenyon), Supp. VII, 169 "Reading of the Psalm, The" (Francis), Supp. IX 79 "Reading Myself (Lowell), II, 555 Reading Myself and Others (Roth), Supp. V, 45 "Reading of Wieland, A" (Ziff), Supp. I, Part 1, 148 "Reading Philosophy at Night" (Simic), Supp. VIII, 272 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 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, 422-423 "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

INDEX / 519 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 "Real World around Us, The" (Carson), Supp. IX 21 "Realities" (MacLeish), III, 4 "Reality! Reality! What Is It?" (Eberhart), I, 536 "Reality in America" (Trilling), Supp. III, Part 2, 495, 502

Reality

Sandwiches,

1953-60

(Ginsberg), Supp. II, Part 1, 315, 320 Reaper Essays, The (Jarman and McDowell), Supp. IX 270 "Reapers" (Toomer), Supp. Ill, Part 2, 481; Supp. 1X312 "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, 710-711 "Recencies in Poetry" (Zukofsky), Supp. HI, 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. Ill, 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 Recovering (Sarton), Supp. VIII, 264

"Recovery" (Dove), Supp. IV, Part 1, 248 Rector of Justin, The (Auchincloss), Supp. IV, Part 1, 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 Coal, The (Stern), Supp. IX 291292 "Red Cross" (Hughes), Retro. Supp. 1,205 Red Cross (Shepard), Supp. Ill, Part 2, 440, 446 Red Dust (Levine), Supp. V, 178, 183184, 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, 342-343, 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; Supp. VIII, 59 "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 Redford, Robert, Supp. IX 253, 259 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 "Reedbeds of the Hackensack, The" (Clampitt), Supp. IX 41 Reedy, William Marion, Supp. I, Part 2,456,461,465 Reef, The (Wharton), IV, 317-318, 322; Retro. Supp. I, 372, 373-374 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: Thinking Part I (Arendt), Supp. I, Part 2, 570 Reflections at Fifty and Other Essays (Farrell), II, 49 "Reflections by a Fire" (Sarton), Supp. VIII, 259 Reflections in a Golden Eye (McCullers), II, 586, 588, 593-596, 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 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 Regarding Wave (Snyder), Supp. VIII, 299-300 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

520 / AMERICAN WRITERS 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 Rein, Yevgeny, Supp. VIII, 22 "Reincarnation" (Dickey), Supp. IV, Part 1, 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: A Reminiscence (Faulkner), I, 305; II, 57, 73; Retro. Supp. I, 74, 82, 91 "Rejoicings" (Stern), Supp. IX 289290 Rejoicings: Selected Poems, 1966-1972 (Stern), Supp. IX 289-290 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 Remembered Yesterdays (Johnson), Supp. IX 184 "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 "Remembering the Sixties" (Simpson), Supp. IX 279 Remembrance of Things Past (Proust), Supp. IV, Part 2, 600 Remembrance Rock (Sandburg), HI, 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, Part 1, 350, 351 Removed from Time (Matthews and Feeney), Supp. IX 154 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 Renard, Jules, IV, 79 "Renascence" (Millay), III, 123, 125126, 128 Renault, Mary, Supp. IV, Part 2, 685 "Rendezvous, The" (Kumin), Supp. IV, Part 2, 455 "Renegade, The" (Jackson), Supp. IX 120 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, 645646

"Reply to Mr. Wordsworth" (MacLeish), III, 19 "Report from a Forest Logged by the Weyhaeuser Company" (Wagoner), Supp. IX 328 "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), HI, 292; Supp. VIII, 165, 236 Reporter, The (publication), Supp. IX 3 "Repose of Rivers" (Crane), I, 393 "Representation and the War for Reality" (Gass), Supp. VI, 88 Representative Men (Emerson), II, 1, 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), I, 526 "Requiem" (Akhmatova), Supp. VIII, 20 Requiem for a Nun (Faulkner), II, 57, 72-73 Requiem for Harlem (H. Roth), Supp. IX 235, 236, 240-242 "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

INDEX / 521 "Reservations" (Taylor), Supp. V, 323 "Reserved Memorials" (Mather), Supp. II, Part 2, 446, 449 Resources of Hope (Williams), Supp. IX 146 "Respectable Place, A" (O'Hara), HI, 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, Parti, 311 Rest of Life, The: Three Novellas (Gordon), Supp. IV, Part 1, 310312 Restif de La Bretonne, Nicolas, III, 175 Restoration comedy, Supp. I, Part 2, 617 "Result" (Emerson), II, 6 "Resume" (Parker), Supp. IX 189 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, The" (Pound), Retro. Supp. 1,288 "Return, The" (Roethke), III, 533 "Return, The: Orihuela, 1965" (Levine), Supp. V, 194 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 to a Place Lit by a Glass of Milk (Simic), Supp. VIII, 274, 276, 283 "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" (Gltick), 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 (Harrison), Supp. VIII, 39, 45 "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 Reverse Transcription (Kushner), Supp. IX 138 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 Revolution in Taste, A: Studies of Dylan Thomas, Allen Ginsberg, Sylvia Plath, and Robert Lowell (Simpson), Supp. IX 276 "Revolution in the Revolution in the Revolution" (Snyder), Supp. VIII, 300 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, Part 1, 307, Part 2, 436; Supp. Ill, Part 2, 625, 626; Supp. IV, Part 1, 145-146; Supp. VIII, 289 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, Parti, 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 "Rhobert" (Toomer), Supp. IX 316317 "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 Ribalow, Harold, Supp. IX 236 Ribbentrop, Joachim von, IV, 249 Ribicoff, Abraham, Supp. IX 33 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, 160-161 Rice, Howard C., Supp. I, Part 1, 252 Rice, Mrs. Grantland, II, 435 Rice, Philip Blair, IV, 141 Rich, Adrienne, II, 390; Retro. Supp. 1, 8, 36, 42, 47, 404; Supp. I, Part 2, 546-547, 550-578; Supp. Ill, Part 1, 84, 354, Part 2, 541, 599; Supp. IV, Part 1, 257, 325; Supp. V, 82 ; Supp. VIII, 272 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, 99100, 105 "Richard Hunt's 'Arachne'" (Hayden), Supp. II, Part 1, 374 Richard I, King, I, 22 Richard III (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

522 / AMERICAN WRITERS Richards, Laura E., II, 396; III, 505506, 507 Richards, Lloyd, Supp. IV, Part 1, 362; Supp. VIII, 331 Richards, Rosalind, III, 506 Richardson, Alan, III, 295, 313 Richardson, Dorothy, I, 53; II, 320; Supp. Ill, Part 1, 65 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, I I I , 322; Supp. V, 127; Supp. IX 128 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, 82-83 Riders to the Sea (Synge), III, 157 Ridge, Lola, Supp. IX 308 Riding, Laura, I, 437, 450; IV, 48 Riding the Iron Rooster: By Train through China (Theroux), Supp. VIII, 324 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. HI, 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 Rigney, Barbara Hill, Supp. VIII, 215 "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, Rainer Maria, I, 445, 523; II, 367, 381, 382-383, 389, 543, 544; HI, 552, 558, 563, 571, 572; IV, 380, 443; Supp. I, Part 1, 264, Part

2, 573; Supp. Ill, Part 1, 239, 242, 246, 283, 319-320; Supp. IV, Part 1, 284; Supp. V, 208, 343; Supp. VIII, 30, 40 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; Supp. VIII, 39, 40 "Rimbaud" (Kerouac), Supp. Ill, Part 1, 232 Rinehart, Stanley, III, 36 Ring, Frances Kroll, Supp. IX 63, 64 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, 304306; Supp. I, Part 1, 185 Ripley, Ezra, II, 8; IV, 172 Ripostes (Pound), Retro. Supp. I, 287288, 413 Ripostes of Ezra Pound, The, Whereunto Are Appended the Complete Poetical Works of T. E. Hulme, with Prefatory Note (Pound), HI, 458, 464, 465 "Riprap" (Snyder), Supp. VIII, 293294 Riprap (Snyder), Supp. VIII, 292-294, 295 Rise of David Levinsky, The (Cahan), Supp. IX 227 Rise of Silas Lapham, The (Howells), II, 275, 279, 283285; IV, 202 "Rise of the Middle Class" (Banks), Supp. V, 10 Rising and Falling (Matthews), Supp. IX 154, 160 Rising from the Plains (McPhee), Supp. Ill, Part 1,309-310 Rising Glory of America, The (Brackenridge and Freneau), Supp. I, Part 1, 124; 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 Ristovic, Aleksandar, Supp. VIII, 272 "Rita Dove: I d e n t i t y 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" (RuofT), Supp. IV, Part 2, 559 "Ritual for Being Born Twice, A: Sylvia Plath's The Bell Jar" (Perloff), Supp. I, Part 2, 548 Riven Rock (Boyle), Supp. VIII, 5-6 "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 Riverbed (Wagoner), Supp. IX 327328 Rivers, Larry, Supp. Ill, Part 1, 3 Rivers and Mountains (Ashbery), Supp. Ill, Part 1, 10, 26 Riverside Drive (Simpson), Supp. IX 275-276 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, The (Farrell), II, 29, 38, 39-40 "Road Between Here and There, The" (Kinnell), Supp. Ill, Part 1, 254

INDEX / 523 "Road Home, The" (Hammett), Supp. IV, Part 1, 343 Road Home, The (Harrison), Supp. VIII, 37, 45, 48, 49-50, 53 "Road Not Taken, The" (Frost), II, 154; Retro. Supp. I, 131 Road through the Wall, The (Jackson), Supp. IX 115, 118, 120, 123-124 "Road to Avignon, The" (Lowell), II, 516 Road to Many a Wonder, The (Wagoner), Supp. IX 327, 336 Road to the Temple, The (Glaspell), Supp. Ill, Part 1, 175, 182, 186 Road to Wellville, The (Boyle), Supp. VIII, 6-8 Road to Xanadu, The (Lowes), IV, 453 Roads of Destiny (O. Henry), Supp. II, Part 1, 410 "Roan Stallion" (Jeffers), Supp. II, Part 2, 428-429 "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; Supp. VIII, 14 "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: The Poet and His Critics (Davis), Supp. IV, Part 1, 63 "Robert Bly and the Trouble with America" (Mitchell), Supp. IV, Part 1,70 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, Parti, 341,346 Roberts, J. M., IV, 454 Roberts, Kenneth, HI, 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, David, Supp. VIII, 305 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; Supp. IX 77, 266, 276, 308 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, James K., Supp. IX 328 Robinson, Margaret G., Supp. IV, Part 2,597,601,604 Robinson, Sugar Ray, Supp. IV, Part 1, 167 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 (Wagoner), Supp. IX 324, 334, 335 "Rock Climbers, The" (Francis), Supp. 1X82 Rock Garden, The (Shepard), Supp. Ill, Part 2, 432, 447 Rock Springs (Ford), Supp. V, 57, 5859, 68-69 Rock, The (Eliot), Retro. Supp. I, 65 "Rock, The" (Stevens), Retro. Supp. 1,312 Rock, The (Stevens), Retro. Supp. I, 309, 312 Rock-Drill (Pound), Retro. Supp. I, 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; Supp. IX 142 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, 171-172, 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; Supp. IX 323 "Roger Malvin's Burial" (Hawthorne),

524 / AMERICAN WRITERS 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 "Role of Society in the Artist, The" (Ammons), Supp. VII, 34 Rolfe, Alfred, IV, 427 "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; Supp. IX 16 Rolling Stones (O. Henry), Supp. II, Part 1, 410 Rolling Thunder Logbook (Shepard), Supp. Ill, Part 2, 433 "Rolling Up" (Simpson), Supp. IX 265, 274, 280 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 Elegies" (Brodsky), Supp. VIII, 29 "Roman Fever" (Wharton), Retro. Supp. I, 382 "Roman Fountain" (Bogan), Supp. Ill, 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. 1,218 "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), II, 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 "Romantic Regionalism of Harper Lee, The" (Erisman), Supp. VIII, 126 "Romanticism and Classicism" (Hulme), III, 196 "Romanticism Comes Home" (Shapiro), Supp. II, Part 2, 713 "Rome" (Williams), Retro. Supp. I, 420 Rome Brothers, Retro. Supp. I, 393 Romeo and Juliet (Shakespeare), Supp. V, 252; Supp. VIII, 223 Romola (Eliot), II, 291; IV, 311 Romulus: A New Comedy (Vidal), Supp. IV, Part 2, 683 Romulus der Grosse (Diirrenmatt), 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; Supp. IX 19 "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; Supp. IX 184 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), III, 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 "Rosalia" (Simic), Supp. VIII, 278 Roscoe, Will, Supp. IV, Part 1, 330 Rose, Alice, Sister, III, 348, 360 Rose, Philip, Supp. IV, Part 1, 362 Rose, Pierre la, II, 340 inline"Rose" (Dubus), Supp. VII, 88 "Rose for Emily, A" (Faulkner), II, 72; "Rose for Emily, A" (Faulkner), Supp. 1X96 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, 392-393, 394, 397, 398 "Rose, The" (Roethke), III, 537 "Rose, The" (Williams), Retro. Supp. 1,419 "Rose-Johnny" (Kingsolver), Supp. VII, 203 "Rose-Morals" (Lanier), Supp. I, Part 1, 364

INDEX / 525 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 1, 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, Lois, Supp. VIII, 258 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 "Rosewood, Ohio" (Matthews), Supp. IX 160 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; Supp. VIII, 151, 170; Supp. IX 190 Ross, John E, 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; Supp. VIII, 233; Supp. IX 227-243 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; Supp. VIII, 88, 236, 245; Supp. IX 227 Roth, Russell, IV, 425 Rothenberg, Jerome, Supp. VIII, 292 Rothstein, Mervyn, Supp. VIII, 142 Rothermere, Lady Mary, Retro. Supp. 1,63 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 "Rough Outline" (Simic), Supp. VIII, 276 Roughing It (Twain), II, 312; IV, 195, 197, 198 Roughing It in the Bush (Shields), Supp. VII, 313 Rougon-Macquart, Les (Zola), II, 175176 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; HI, 170, 178, 259; IV, 80, 173, 440; Supp. I, Part 1, 126, Part 2, 637, 659; Supp. IV, Part 1, 171 Roussel, Raymond, Supp. HI, Part 1, 6, 7, 10, 15, 16, 21 "Route Six" (Kunitz), Supp. HI, Part I, 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. I, 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 Ruas, Charles, Supp. IV, Part 1, 383 Rubdiydt (Khayyam), I, 568 Rubaiyat of Omar Khayyam (Fitzgerald), Supp. I, Part 2, 416; Supp. HI, 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-^63, 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 Ruining the New Road (Matthews), Supp. IX 154, 155-157 "Ruins of Italica, The" (trans. Bryant), Supp. I, Part 1, 166 Rukeyser, Muriel, Supp. VI, 271-274, 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

526 / AMERICAN WRITERS 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, 277-278 Rungless Ladder, The (Foster), Supp. 1, 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, 465466 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, 139-140; Supp. I, Part 2, 446; Supp. V, 288-289; Supp. IX 199 Sachs, Hanns, Supp. I, Part 1, 259 Sacks, Peter, Supp. IV, Part 2, 450 "Sacks" (Carver), Supp. Ill, Part 1, 143-144 Sackville-West, Vita, Supp. VIII, 263 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 Factory, The" (Toomer), Supp. IX 320 Sacred Fount, The (James), II, 332333; 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, 435^36 "Sailing after Lunch" (Stevens), IV, 73 Sailing through China (Theroux), Supp. VIII, 323 "Sailing to Byzantium" (Yeats), III, 263; Supp. VIII, 30 "Sailors Lost at Sea" (Shields), Supp. VII, 318 "St. Augustine and the Bullfights" (Porter), III, 454 St. Elmo (Wilson), Retro. Supp. I, 351-352 Saint-Exupery, Antoine de, Supp. IX 247 "St. Francis Einstein of the Daffodils" (Williams), IV, 409-411 St. George and the Godfather (Mailer), III, 46 "St. George, the Dragon, and the Virgin" (Bly), Supp. IV, Part 1, 73 Saint Jack (Theroux), Supp. VIII, 319 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 "Saint John and the Back-Ache" (Stevens), Retro. Supp. I, 310

INDEX / 527 "San Francisco Blues" (Kerouac), Supp. Ill, Part 1, 225 San Francisco Call (newspaper), IV, 196 664 San Francisco Chronicle (newspaper), "Sally" (Cisneros), Supp. VII, 63 I, 194; Supp. VIII, 124; Supp. IX Salmagundi; or, The Whim-Whams and 113; San Francisco Examiner Opinions of Launcelot Lang staff (newspaper), I, 198, 199, 200, 206, Esq., and Others (Irving), II, 299, 207, 208 300, 304 San Francisco News-Letter (newsSalome (Strauss), IV, 316 paper), I, 193 Salon (magazine), Supp. VIII, 310 Salt Cedar (journal), Supp. IV, Part 2, San Francisco Wave (publication), III, 315, 327 542 "Salt Garden, The" (Nemerov), HI, Sanborn, Franklin B., II, 23; IV, 171, 172, 178, 188, 189; Supp. I, Part 1, 267-268 46 Salt Garden, The (Nemerov), III, 269, Sanborn, Ralph, III, 406-407 272-275, 277 Sanchez, Carol Anne, Supp. IV, Part Salt, Henry S., IV, 188, 189 I, 335 Salter, James, Supp. IX 245-263 Salter, Mary Jo, Supp. IV, Part 2, 653; Sanchez, Carol Lee, Supp. IV, Part 2, 499, 557 Supp. IX 37, 292 Sanchez, Sonia, Supp. II, Part 1, 34 Saltpeter, Harry, IV, 377 "Salts and Oils" (Levine), Supp. V, Sanctified Church, The (Hurston), Supp. VI, 150 190 "Salut au Monde!" (Whitman), Retro. "Sanction of the Victims, The" (Rand), Supp. IV, Part 2, 528 Supp. I, 387, 396, 400 Sanctuary (Faulkner), II, 57, 61-63, "Salute" (MacLeish), III, 13 72, 73, 74, 174; Retro. Supp. I, 73, Salvador (Didion), Supp. IV, Part 1, 198, 207-208, 210 84, 86-87, 87; Supp. I, Part 2, 614 Sanctuary (Wharton), IV, 311 "Salvage" (Clampitt), Supp. IX 41 "Salvation in the Suburbs" (Nicol), "Sanctuary" (Wylie), Supp. I, Part 2, 711 Supp. I, Part 1, 199 "Sanctuary, The" (Nemerov), III, 272, Salyer, Sandford, Supp. I, Part 1, 46 274 Sam Lawson's Oldtown Fireside Stories (Stowe), Supp. I, Part 2, 587, "Sand Dabs" (Oliver), Supp. VII, 245 596, 598-599 "Sand Dunes" (Frost), Retro. Supp. I, 137 Samachson, Dorothy, III, 169 Samachson, Joseph, III, 169 Sand, George, II, 322; Retro. Supp. I, 235, 372 Samain, Albert, II, 528 Same Door, The (Updike), IV, 214, Sand Rivers (Matthiessen), Supp. V, 219, 226; Retro. Supp. I, 320 203 "Same in Blues" (Hughes), Retro. "Sand Roses, The" (Hogan), Supp. IV, Supp. I, 208 Part 1, 401 "Sampler, A" (MacLeish), III, 4 "Sandalphon" (Longfellow), II, 498 Sampoli, Maria, Supp. V, 338 Sandbox, The (Albee), I, 74-75, 89 Sampson, Edward, Supp. I, Part 2, Sandburg, August, III, 577 664, 673, 681 Sandburg, Carl, I, 103, 109, 384, 421; Sampson, Martin, Supp. I, Part 2, 652 II, 529; III, 3, 20, 575-598; Retro. Samson (biblical person), IV, 137 Supp. I, 133, 194; Supp. I, Part 1, Samson Agonistes (Milton), III, 274 257, 320, Part 2, 387, 389, 454, "Samson and Delilah" (Masters), Supp. 461, 653; Supp. Ill, Part 1, 63, 71, I, Part 2, 459 73, 75; Supp. IV, Part 1, 169, Part Samuel de Champlain: Father of New 2,502; Supp. IX 1, 15,308 146, 151 France (Morison), Supp. I, Part 2, Sandburg, Helga, HI, 583 Salinas, Luis Omar, Supp. V, 180 496^97 Sandburg, Janet, III, 583, 584 Salinas, Omar, Supp. IV, Part 2, 545 "Samuel Eliot Morison and the Ocean Sandburg, Margaret, III, 583, 584 Salinger, Doris, III, 551 Sea" (Herold), Supp. I, Part 2, 500 Sandburg, Mrs. A u g u s t (Clara Salinger, J. D., II, 255; III, 551-574; Samuels, Charles Thomas, I, 96, 143; Anderson), III, 577 IV, 190, 216, 217; Retro. Supp. I, IV, 235; Retro. Supp. I, 334 Sandburg, Mrs. Carl (Lillian Steichen), 102, 116, 335; Supp. IV, Part 2, Samuels, Ernest, I, 24 III, 580

Saint John de Crevecoeur: Sa vie et ses ouvrages (Crevecoeur, R.), Supp. I, Part 1, 252 "Saint Judas" (Wright), Supp. Ill, Part 2, 595-599 Saint Judas (Wright), Supp. Ill, Part 2, 595-599 St. Louis Daily Globe-Democrat (newspaper), Supp. I, Part 1, 200 St. Louis Globe-Democrat (newspaper), 1,499 St. Louis Post-Dispatch (newspaper), IV, 381; Supp. I, Part 1, 200; Supp. VIII, 74, 87 St. Louis Republic (newspaper), I, 499 St. Louis Woman (Bontemps and Cullen), Supp. IV, Part 1, 170 St. Mawr (Lawrence), II, 595 Saint Maybe (Tyler), Supp. IV, Part 2, 670-671 St. Nicholas (magazine), II, 397; Retro. Supp. I, 99, 341, Supp. IX 20 "Saint Nicholas" (Moore), III, 215 "St. Roach" (Rukeyser), Supp. VI, 286 "Saint Robert" (Dacey), Supp. IV, Part 1, 70 "St. Thomas Aquinas" (Simic), Supp. VIII, 281 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 Salamun, Tomaz, Supp. VIII, 272 Salazar, Dixie, Supp. V, 180 Saldfvar, Jose David, Supp. IV, Part 2, 544, 545 Sale, Richard, Supp. IV, Part 1, 379 Sale, Roger, Supp. V, 244 "Sale of the Hessians, The" (Franklin), II, 120 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,

502; Supp. V, 23, 119; Supp. VIII, 151 Salisbury, Harrison, Supp. I, Part 2,

528 / AMERICAN WRITERS Sander, August, Supp. IX 211 "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 Sandperl, Ira, Supp. VIII, 200 "Sand-Quarry and Moving Figures" (Rukeyser), Supp. VI, 271, 278 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 Clam: A Morality (Cummings), I, 430, 441 "Santa Fe Trail, The" (Lindsay), Supp. I, Part 2, 389 "Santa Lucia" (Hass), Supp. VI, 105106 "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. I, Part 2,428; Supp. II, Part 1, 107 Santayana, Senora Josefina, III, 600 "Santorini: Stopping the Leak" (Merrill), Supp. Ill, Part 1, 336 Santos, Sherod, Supp. VIII, 270 Sapir, Edward, Supp. VIII, 295 Sapphira and the Slave Girl (Gather), 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 Sargent's New Monthly Magazine (publication), II, 232, 233 Saroyan, William, I, 119; HI, 146-147,

191; IV, 393; Supp. I, Part 2, 679; Supp. IV, Part 1, 83, Part 2, 502 Sards, Greg, Supp. IV, Part 1, 329, 330 Sarton, George, Supp. VIII, 249 Sarton, May, Supp. Ill, Part 1, 62, 63; Supp. VIII, 249-268 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; II, 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; Sartre, Jean-Paul, Supp. VIII, 11; Supp. IX 4 Sassoon, Siegfried, II, 367 Satan in Coray (Singer), IV, 1, 6-7, 12 Satanstoe (Cooper), I, 351-352, 355 "Sather Gate Illumination" (Ginsberg), Supp. II, Part 1, 329 "Satire as a Way of Seeing" (Dos Passes), III, 172 Satires ofPersius, The (trans. Merwin), Supp. Ill, Part 1, 347 Satirical Rogue on Poetry, The (Francis). See Pot Shots at Poetry (Francis) 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, Part 1, 102, 121, 195, 198, 200, 205, Part 2, 440; Supp. IX 114 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; Supp. VIII, 124 Saturday Review of Literature (publication), Supp. I, Part 1, 332, 344, Part 2, 654; Supp. VIII, 153 ; Supp. IX 8 "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 (Z. Fitzgerald), II, 95; Retro. Supp. I, 110; Supp. IX 58, 59, 65, 66-68 Saving Private Ryan (film), Supp. V, 249 Savings (Hogan), Supp. IV, Part 1, 397, 404, 405, 406, 410 Savo, Jimmy, I, 440 Savran, David, Supp. IX 145 Sawyer, Julian, IV, 47 Sawyer-Lauganno, 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 F., II, 125; Supp. I, Part 1,71, 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), II, 80-81; Retro. Supp. I, 99 Scandalabra (Zelda Fitzgerald), Supp. 1X60,61,65,67,68-70 Scarberry-Garcfa, 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, 239-240, 241, 243, 244, 255, 264, 286, 290, 291, 550; Retro. Supp. I, 63, 145, 147, 152, 157-159, 160, 163, 165, 220, 248, 330, 335; Supp. I, Part 1, 38; Supp. II, Part 1, 386; Supp. VIII, 108, 198 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.

INDEX / 529 III, 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, 210211 Schapiro, Meyer, II, 30 Schary, Dore, Supp. IV, Part 1, 365 Schaumbergh, Count de, II, 120 Schechner, Richard, I, 96 Scheffauer, G. H., I, 199 "Scheherazade" (Ashbery), Supp. Ill, Part 1, 18 Scheick, William, Supp. V, 272 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, 290291,309 Schlesinger, Arthur, Jr., Ill, 291, 297298, 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 Schneider, Steven, Supp. IX 271, 274 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. III, 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; HI, 71, 455; Retro. Supp. I, 115; Supp. I, Part 1, 68, 199; Supp. IV, Part 1, 197, 203, 211 Schott, Webster, Supp. IX 257 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, III, 48 Schumach, Murray, III, 169 Schumann, Dr. Alanson Tucker, III, 505 Schuster, Edgar H., Supp. VIII, 126 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; Supp. VIII, 98; Supp. IX 299 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, III, 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., Ill, 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. 1, Part 2, 579, 580, 685, 692; Supp. IV, Part 2, 690 Scott, Walter, Supp. IX 175 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 Scottsboro Limited (Hughes), Retro. Supp. I, 203; Supp. I, Part 1, 328, 330-331,332 Scoundrel Time (Hellman), Supp. I, Part 1, 294-297; Supp. IV, Part 1, 12 ; Supp. VIII, 243 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

530 / AMERICAN WRITERS Scribner's Magazine, Retro. Supp. I, 5, 101, 110, 181, 362, 363, 370; Supp. IX 58, 59, 61, 71 Scribner's Monthly (publication), I, 289, 408, 458; II, 87, 407; IV, 456; Supp. I, Part 1, 353, 361, 370, Part 2, 408; Supp. VIII, 96; See also Century 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 Scrutiny (journal), Supp. VIII, 236 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" (Rfos), 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 around Us, The (Carson), Supp. IX 19, 23-25 Sea around Us, The (film), Supp. IX 25 "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 I, 257, 259, 266, 269, 272 "Sea Lily" (Doolittle), Supp. I, Part 1,266 Sea Lions, The (Cooper), I, 354, 355 Sea of Cortez (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 Seabrook, John, Supp. VIII, 157 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 Seaman, Donna, Supp. VIII, 86 "Seance, The" (Singer), IV, 20 Seance and Other Stories, The (Singer), IV, 19-21 "Search for Southern Identity, The" (Woodward), Retro. Supp. I, 75 Search for the King, A: A TwelfthCentury Legend (Vidal), Supp. IV, Part 2, 681 "Search Party, The" (Matthews), Supp. IX 156 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 for the Ox (Simpson), Supp. IX 266, 274-275 "Searching for the Ox" (Simpson), Supp. IX 275, 280 "Searching in the Britannia Tavern" (Wagoner), Supp. IX 327 Searching Wing, The, (Hellman), Supp. I, Part 1, 277, 278, 281-282, 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 Celebration (Merton), Supp. VIII, 199, 208 "Seasons of the Soul" (Tate), IV, 136140 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; Supp. VIII, 24 Second Decade, The, see Stephen King, The Second Decade: "Danse Macabre" to "The Dark Half" (Magistrale) Second Dune, The (Hearon), Supp. VIII, 58, 59-60 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 Swimming, The" (Boyle), Supp. VIII, 13, 14 "Second Tree from the Corner" (White), Supp. I, Part 2, 651 Second Tree from the Corner (White), Supp. I, Part 2, 654 Second Twenty Years at Hull-House, 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 Secondary Colors, The (A. Theroux), Supp. VIII, 312 "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 Courts of Men's Hearts, The: Code and Law in Harper Lee's To Kill a Mockingbird" (Johnson), Supp. VIII, 126 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, 425-426 "Secret Integration, The" (Pynchon), Supp. II, Part 2, 624 "Secret Life of Walter Mitty, The"

INDEX / 531 (Thurber), Supp. I, Part 2, 623 "Secret Lion, The" (Rfos), 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" (Rfos), Supp. IV, Part 2, 549 "Secret Sharer, The" (Conrad), Supp. IX 105 "Secret Society, A" (Nemerov), III, 282 Secrets and Surprises (Beattie), Supp. V, 23, 27, 29 Secular Journal of Thomas Merton, The, Supp. VIII, 206 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 Eaters, The" (Francis), Supp. 1X82 "Seed Leaves" (Wilbur), Supp. Ill, Part 2, 558 "Seeds" (Anderson), I, 106, 114 Seeds of Contemplation (Merton), Supp. VIII, 199, 200, 207, 208 Seeds of Destruction (Merton), Supp. VIII, 202, 203, 204, 208 Seeing through the Sun (Hogan), Supp. IV, Part 1, 397, 400, 401-402, 402, 413 "Seele im Raum" (Jarrell), II, 382-383 "Seele im Raum" (Rilke), II, 382-383 "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, 69-71 Selected Poems (Brodsky), Supp. VIII, 22 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. HI, Part 1, 235, 253 Selected Poems (Levine, 1984), Supp. V, 178, 179 Selected Poems (Lowell), II, 512, 516 Selected Poems (Merton), Supp. VIII, 207, 208 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 Selected Poems (Strand), Supp. IV, Part 2, 630 Selected Poems, 1923-1943 (Warren), IV, 241-242, 243 Selected Poems, 1928-1958 (Kunitz), Supp. HI, Part 1, 261, 263-265 Selected Poems 1936-1965 (Eberhart), 1, 541

Selected

Poems:

1957-1987

(Snoderass), Supp. VI, 314-315, 323, 324 Selected Poems, 1963-1983 (Simic), Supp. VIII, 275 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 Baraka/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 of Djuna 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), III, 8 "Self (James), II, 351 Self and the Dramas of History, The (Niebuhr), HI, 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"

532 / AMERICAN WRITERS (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, Part 1, 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; Supp. IX 207, 208, 213, 214 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. 1,321 "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; Supp. VIII, 30, 32 September Song (Humphrey), Supp. IX 101, 102, 108-109 Sequel to Drum-Taps (Whitman), Retro. Supp. I, 406 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. HI, Part 1,331 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. Ill, 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, 371-373, 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, 169-170 Setting the Tone (Rorem), Supp. IV, Part 1, 79 Settle, Mary Lee, Supp. IX 96 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 Guitars (Wilson), Supp. VIII, 331,348-351 Seven Mountains of Thomas Merton, The (Mott), Supp. VIII, 208 "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 Seven Storey Mountain, The (Merton), Supp. VIII, 193, 195, 198, 200, 207, 208 "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),

INDEX / 533 Supp. V, 178, 181, 188-189 Seven-League Crutches, The (Jarrell), II, 367, 372, 381, 382, 383-384, 389 Seven-Ounce Man, The (Harrison), Supp. VIII, 51 Seventeen (magazine), Supp. I, Part 2, 530 "Seventh of March" (Webster), Supp. I, Part 2, 687 "Seventh Street" (Toomer), Supp. IX 316 Seventies, The (magazine) (Bly), Supp. IV, Part 1, 60 Seventy-Five Short Masterpieces, Supp. IX 4 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 Sewali, Richard, Retro. Supp. I, 25 Sewall, Samuel, IV, 145, 146, 147, 149, 154, 164; Supp. I, Part 1, 100, 110 Sewanee Review (publication), II, 197; III, 206, 292, 337-338; IV, 126; Supp. V, 317 ; Supp. VIII, 168; Supp. IX 153 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, 669700; Supp. Ill, Part 2, 599; Supp. IV, Part 1, 245, Part 2, 439, 440441, 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 Seyfried, Robin, Supp. IX 324 "Seymour: An Introduction" (Salinger), III, 569-571, 572 Seymour, Miranda, Supp. VIII, 167 Shackford, Martha Hale, II, 413 Shacochis, Bob, Supp. VIII, 80 "Shadow" (Creeley), Supp. IV, Part 1, 158 "Shadow, The" (Lowell), II, 522 "Shadow A Parable" (Poe), III, 417418 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, 312-314, 315 Shadow of a Dream, The, a Story (Howells), II, 285, 286, 290 Shadow on the Dial, The (Bierce), I, 208, 209 "Shadow Passing" (Merwin), Supp. Ill, Part 1, 355 Shadow Train (Ashbery), Supp. HI, Part 1, 23-24, 26 Shadows (Gardner), Supp. VI, 74 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 Shaffer, Thomas L., Supp. VIII, 127, 128 Shaftesbury, Earl of, I, 559 Shakelford, Dean, Supp. VIII, 129 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, William, I, 103, 271, 272, 284-285, 358, 378, 433, 441, 458, 461,573, 585, 586; 11,5, 8, 11, 18, 72, 273, 297, 302, 309, 320, 411, 494, 577, 590; HI, 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; Supp. VIII, 160, 164; Supp. IX 14, 133 "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 Shalit, Gene, Supp. VIII, 73 Shall We Gather at the River (Wright),

Supp. HI, Part 2, 601-602 "Shame" (Gates), Supp. II, Part 2, 520 "Shame" (Wilbur), Supp. HI, Part 2, 556 Shamela (Fielding), Supp. V, 127 "Shampoo, The" (Bishop), Supp. I, Part 1, 92 Shange, Ntozake, Supp. VIII, 214 Shankaracharya, III, 567 Shanks, Edward, III, 432 Shanley, James Lyndon, IV, 189 Shannon, Sandra, Supp. VIII, 333, 348 Shannon, William V., Ill, 384 "Shape of Flesh and Bone, The" (MacLeish), HI, 1819 Shape of the Journey, The (Harrison), Supp. VIII, 53 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. HI, Part 2, 623; Supp. IV, Part 2, 645 Shapiro, Laura, Supp. IX 120 Sharif, Omar, Supp. IX 253 "Shark Meat" (Snyder), Supp. VIII, 300 Shatayev, Elvira, Supp. I, Part 2, 570 Shattuck, Charles, I, 542 Shaviro, Steven, Supp. VIII, 189 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; Supp. IX 68, 308 Shaw, Irwin, IV, 381; Supp. IV, Part 1, 383; Supp. IX 251 Shaw, Joseph Thompson "Cap", Supp. IV, Part 1, 121, 345, 351 Shaw, Judge Lemuel, HI, 77, 88, 91 Shaw, Robert, Supp. I, Part 2, 578 Shaw, Sarah Bryant, Supp. I, Part 1, 169 "Shawl, The" (Ozick), Supp. V, 271272 Shawl, The (Ozick), 260; 271; Supp. V, 257 Shawn, William, Supp. VIII, 151, 170 "Shawshank Redemption, The" (King),

534 / AMERICAN WRITERS 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; Supp. IX 51 Shellow, Sadie Myers, Supp. I, Part 2,608 "Shell, The" (Humphrey), Supp. IX 94 Sheltered Life, The (Glasgow), II, 174, 175, 179, 186, 187-188 Sheltering Sky, The (Bowles), Supp. IV, Part 1, 82, 84, 85-86, 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 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, 431450 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, 246-247; II, 460; Supp. I, Part 2, 423 Sherman, Susan, Supp. VIII, 265 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 Sherwood, Robert, Supp. IX 190 Shestov, Lev, Supp. VIII, 20, 24 Shetley, Vernon, Supp. IX 292"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, 307-310 Shifting Landscape: A Composite, 1925-1987 (H. Roth), Supp. IX 233-235 Shifts of Being (Eberhart), I, 525 Shigematsu, Soiko, Supp. Ill, Part 1, 353 Shih-hsiang Chen, Supp. VIII, 303 "Shiloh" (Mason), Supp. VIII, 140 Shiloh and Other Stones (Mason), Supp. VIII, 133, 139-141, 143, 145 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, III, 408 Shipping News, The (Proulx), Supp. VII, 249, 258-259 "Ships" (O. Henry), Supp. II, Part 1, 409 Ships Going into the Blue: Essays and Notes on Poetry (Simpson), Supp. IX 275 "Shipwreck, The" (Merwin), Supp. HI, Part 1, 346 "Shirt" (Pinsky), Supp. VI, 236-237, 239, 240, 241, 245, 247 "Shirt Poem, The" (Stern), Supp. IX 292 "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 Shore Leave (Wakeman), Supp. IX 247 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-^14 Short Cuts (film), Supp. IX 143 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; Supp. IX 106 Short History of American Poetry, A (StaufTer), 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 Masterpieces, Supp. IX 4 "Short Story, The" (Welty), IV, 279 Short Studies of American Authors (Higginson), I, 455 Shostakovich, Dimitri, IV, 75; Supp. VIII, 21 "Shots" (Ozick), Supp. V, 268 "Should Wizard Hit Mommy?" (Updike), IV, 221, 222, 224; Retro. Supp. I, 335

INDEX / 535 "Shovel Man, The" (Sandburg), III, 553 Show (magazine), Supp. VIII, 236 Showalter, Elaine, Retro. Supp. I, 368; Supp. IV, Part 2, 440, 441, 444 "Shower of Gold" (Welty), IV, 271272 "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. I, 53 "Shut a Final Door" (Capote), Supp. III, 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, 128-129 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 t r a n s i t gloria m u n d i ' " (Dickinson), Retro. Supp. I, 30 "Sick Wife, The" (Kenyon), Supp. VII, 173, 174 "Sicilian Emigrant's Song" (Williams), Retro. Supp. 1,413 Sid Caesar Show (television show), Supp. IV, Part 2, 575 Siddons, Sarah, II, 298 Side of Paradise, This (Fitgerald), Supp. IX 56 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, 180181 Sievers, W. David, III, 408 Sigg, Eric, Retro. Supp. I, 53 "Sight" (Merwin), Supp. HI, 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 Sign of Jonas, The (Merton), Supp. VIII, 194-195, 195, 197, 200, 206, 207 "Signals" (Carver), Supp. Ill, Part 1, 143 "Signature for Tempo" (MacLeish), III, 8-9 Signatures: Works in Progress (magazine), Supp. IX 234 "Signed Confession of Crimes against the State" (Merton), Supp. VIII, 201 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, A" (Clampitt), Supp. IX 53 "Silence—A Fable" (Poe), III, 416 "Silence Before H a r v e s t , 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 Opens, A (Clampitt), Supp. IX 53 "Silent in America" (Levine), Supp. V, 183 "Silent Poem" (Francis), Supp. IX 86 Silent Life, The (Merton), Supp. VIII, 208

Silent Partner, The (Odets), Supp. II, Part 2, 539 "Silent Slain, The" (MacLeish), III, 9 "Silent Snow, Secret Snow" (Aiken), I, 52 Silent Spring (Carson), Supp. V, 202; Supp. IX 19, 24, 31-34 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; Supp. VIII, 39, 269-287 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, 573594 "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 (Raubert), I, 504 Simple Speaks his Mind (Hughes), Retro. Supp. I, 209; Supp. I, Part 1, 337

536 / AMERICAN WRITERS 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 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. HI, Part 2, 541; Supp. IV, Part 2, 448, 621; Supp. VIII, 39, 279; Supp. IX 265283, 290 Sinatra, Frank, Supp. IX 3 Since Yesterday (Allen), Supp. I, Part 2,681 Sincere Convert, The (Shepard), IV, 158 Sincerely, Willis Wayde (Marquand), 111,61,63,66,67-68,69 Sincerity and Authenticity (Trilling), Supp. Ill, Part 2, 510-512 Sinclair, Mary Craig (Mary Craig Kimbrough), Supp. V, 275, 286, 287 Sinclair, Upton, II, 34, 440, 444, 451; III, 580; Supp. V, 275-293; Supp. VIII, 11 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; Supp. IX 114 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 (Sarton), Supp. VIII, 251,265 Single Hound, The: Poems of a Lifetime (Dickinson; Bianchi, ed.), Retro. Supp. I, 35 "Single Sonnet" (Bogan), Supp. Ill, Part 1, 56-58 Singley, Carol, Retro. Supp. I, 373 Singular Family, A: Rosacoke and Her Kin (Price), Supp. VI, 258-259, 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, 552-553, 559, 562 Sinning with Annie, and Other Stories (Theroux), Supp. VIII, 318 "Sins of Kalamazoo, The" (Sandburg), III, 586 Sintram and His Companions (La Motte-Fouque), III, 78 "Siope" (Poe), III, 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 Sir Vadia's Shadow: A Friendship across Five Continents (Theroux), Supp. VIII, 309, 314, 321,325 "Sire" (Cisneros), Supp. VII, 62-63, 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; Supp. IX 332 "Sisters, The" (Whittier), Supp. I, Part 2,696 Sister's Choice (Showaiter), 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, 528529 "Six Persons" (Baraka), Supp. II, Part 1, 53 Six Sections from Mountains and Rivers without End (Snyder), Supp. VIII, 305 "Six Variations" (Levertov), Supp. Ill, Part 1, 277-278 "Six Years Later" (Brodsky), Supp. VIII, 26, 28 Sixties (Bly), Supp. IX 271 "Sixteen Months" (Sandburg), III, 584 7607, or Conversation as It Was by the Fireside in the Time of the Tudors (Twain), IV, 201 "Sixth-Month Song in the Foothills" (Snyder), Supp. VIII, 297 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 Sizwe Bansi Is Dead (Fugard), Supp. VIII, 330 Skaggs, Merrill Maguire, Supp. I, Part 1,226 "Skaters, The" (Ashbery), Supp. Ill, Part 1, 10, 12, 13, 18, 25 "Skaters, The" (Jarrell), II, 368-369 Skeeters Kirby (Masters), Supp. I, Part 2, 459, 470, 471 Skeleton Crew (King), Supp. V, 144 "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 for a Job-Application Blank" (Harrison), Supp. VIII, 38 Sketch of Old England, by a New England Man (Paulding), I, 344

INDEX / 537 Sketches of Eighteenth Century America (Crevecoeur), Supp. I, Part 1, 233, 240-241, 250, 251 Sketches of Switzerland (Cooper), I, 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 Skinker, Mary Scott, Supp. IX 20 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 1979-1987 (Gunn Allen), Supp. IV, Part 1, 321,331 "Skipper Ireson's Ride" (Whittier), Supp. I, Part 2, 691, 693-694 "Skirmish at Sartoris" (Faulkner), II, 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, 548-550 "Sky Line" (Taylor), Supp. V, 316 "Sky Line, The" (Mumford), Supp. II, Part 2, 475 "Sky Valley Rider" (Wright), Supp. V, 335, 340 "Skyscraper" (Sandburg), III, 581-582 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 Slate, Lane, Supp. IX 251, 253 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, 47-49, 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 Slavs! Thinking about the Longstanding Problems of Virtue and Happiness (Kushner), Supp. IX 146 Sledge, Eugene, Supp. V, 250 Sleek for the Long Flight (Matthews), Supp. IX 154, 155, 157-158 "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, 55-58 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 in the Woods (Wagoner), Supp. IX 328 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, Beraice, I, 404 Slouching towards Bethlehem (Didion), Supp. IV, Part 1, 196, 197, 200201,202,206,210 "Slow Down for Poetry" (Strand), Supp. IV, Part 2, 620 "Slow Pacific Swell, The" (Winters), Supp. II, Part 2, 790, 793, 795, 796, 799 "Slumgullions" (Olsen), Supp. IV, Part 1, 54 Small, Albion, Supp. I, Part 1, 5 Small, Miriam Rossiter, Supp. I, Part I, 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 Room, The (Sarton), Supp. VIII, 252, 255-256 Small Town, A (Hearon), Supp. VIII, 65-66 Small Town in American Drama, The (Herron), Supp. I, Part 2, 478 Small Town in American Literature, The (Herron), Supp. I, 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 (publication), Supp. VIII, 39 "Smart Cookie, A" (Cisneros), Supp. VII, 64

538 / AMERICAN WRITERS Smart Set (magazine), II, 87; III, 99100, 103, 104, 105-106, 107, 113; IV, 380, 432; Retro. Supp. I, 101; Supp. IV, Part 1, 343 Smart Set, The, Supp. IX 57 "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, 293309 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; Supp. VIII, 330 Smith, Carol H., I, 590 Smith, Chard Powers, III, 526 Smith, Dave, Supp. V, 333 Smith, Dinitia, Supp. VIII, 74, 82, 83 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 E, 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, Patrick, Supp. VIII, 40, 41

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, Part 1, 11 Smith, Simeon M., II, 608 Smith, Stevie, Supp. V, 84 Smith, Stewart, Supp. I, Part 1, 226 Smith, Sydney, II, 295 Smith, Thorne, Supp. IX 194 Smith, William, II, 114 Smith's Magazine, I, 501 Smoke and Steel (Sandburg), III, 585587, 592 "Smokers" (Wolff), Supp. VII, 340341 "Smoking My Prayers" (Ortiz), Supp. IV, Part 2, 503 "Smoking Room, The" (Jackson), Supp. IX 116 Smoller, Stanford, Supp. I, Part 1, 275 Smollett, Tobias G., I, 134, 339, 343; II, 304-305; III, 61 Smuggler's Bible, A (McElroy), Supp. IV, Part 1, 285 Smugglers of Lost Soul's Rock, The (Gardner),' Supp. VI, 70 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, 553-554 Snapshots of a Daughter-in-Law (Rich), Supp. I, Part 2, 550-551, 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 "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, 8283; 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. I, 321 "Snows of K i l i m a n j a r o , The" (Hemingway), II, 78, 257, 263, 264; Retro. Supp. I, 98, 182 "Snowstorm, The" (Oates), 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; Supp. VIII, 39, 289-307 Snyder, William IL, IV, 473 "So Forth" (Brodsky), Supp. VIII, 33 So Forth (Brodsky), Supp. VIII, 32-33 So Little Time (Marquand), III, 55, 59, 65, 67, 69 So Long, See You Tomorrow (Maxwell), Supp. VIII, 156, 160, 162, 167-169 "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

INDEX / 539 "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 "Socialism of the Skin, A (Liberation, Honey!) (Kushner), Supp. IX 135 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, 1,136, 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, 550-551 "So Help Me" (Algren), Supp. IX 2 "Soiree in Hollywood" (Miller), III, 186 "Sojourn in a Whale" (Moore), III, 211, 213 "Sojourns" (Didion), Supp. IV, Part 1, 205 SokolofT, 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 Solo Faces (Salter), Supp. IX 259-260 Solomon (biblical person), Supp. I, Part 2, 516 Solomon, Charles, Supp. VIII, 82

Solomon, Eric, I, 427 Solomon, Henry, Jr., Supp. I, Part 2, 490 Solomons, Leon, IV, 26 SolotarofT, Robert, III, 48 SolotarofT, Theodore, III, 360, 452453; Supp. I, Part 2, 440, 445, 453 "Solstice" (Jeffers), Supp. II, Part 2, 433, 435 "Solstice, The" (Merwin), Supp. Ill, Part 1, 356 Solt, Mary Ellen, IV, 425 "Solus Rex" (Nabokov), Retro. Supp. 1,274 "Solutions" (McCarthy), II, 578 Solzhenitsyn, Alexandr, Retro. Supp. 1, 278; Supp. VIII, 241 "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 Some Imagist Poets (Lowell), III, 511, 518, 520; Supp. I, Part 1, 257, 261 "Some keep the Sabbath going to Church" (Dickinson), Retro. Supp. 1,30 "Some Like Indians Endure" (Gunn Allen), Supp. IV, Part 1, 330 "Some Like Them Cold" (Lardner), II, 427-428, 430, 431; Supp. IX 202 "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" (Bly), Supp. IV, Part 1, 61 "Some Notes on Miss Lonely-Hearts" (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. III, 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 Secrets" (Stern), Supp. IX 286, 287, 288, 289, 295 Some Sort of Epic Grandeur (Bruccoli), Retro. Supp. I, 115, 359 "Some Thoughts on the Line" (Oliver), Supp. VII, 238 "Some Trees" (Ashbery), Supp. Ill, 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), HI, 425 "Some Yips and Barks in the Dark" (Snyder), Supp. VIII, 291 "Somebody Always Grabs the Purple" (H. Roth), Supp. IX 234 Somebody in Boots (Algren), Supp. IX 3, 5-7, 12 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" (Stern), Supp. IX 300 Someone to Watch Over Me: Stories (Bausch), Supp. VII, 53 "Someone's Blood" (Dove), Supp. IV, Part 1, 245 Somers, Fred, I, 196 Somerville, Jane, Supp. IX 289, 296297 "Something" (Oliver), Supp. VII, 236 Something Happened (Heller), Supp. IV, Part 1, 383, 386-388, 389, 392 "Something Happened: The Imaginary, the Symbolic, and the Discourse of the Family" (Mellard), Supp. IV, Part 1, 387 Something in Common (Hughes),

540 / AMERICAN WRITERS Supp. I, Part 1, 329-330 "Something New" (Stern), Supp. IX 290 "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, Part 1, 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, The" (Dove), Supp. IV, Part 1, 245 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, 176-179 "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 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

"Song for Simeon, A" (Eliot), Retro. Supp. I, 64 "Song for the Coming of Smallpox" (Wagoner), Supp. IX 329, 330 "Song for the First People" (Wagoner), Supp. IX 328 "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, 93-94, 96 "Song for the Romeos, A" (Stern), Supp. IX 296 "Song: Love in Whose Rich Honor" (Rukeyser), Supp. VI, 285 "Song of Advent, A" (Winters), Supp. II, Part 2, 789 "Song of a Man Who Rushed at the Enemy" (Wagoner), Supp. IX 329, 330 "Song of Courage, A" (Masters), Supp. I, Part 2, 458 Song of Hiawatha, The (Longfellow), 11,501, 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; Supp. IX 131, 136, 143, 328, 331 Song of Russia (film), Supp. I, Part 1, 281, 294 Song of Solomon (biblical book), III, 118; IV, 150 Song of Solomon (Morrison), Supp. III, 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 ; Supp. IX 265 "Song of the Redwood Tree"

(Whitman), IV, 348 "Son of the Romanovs, A" (Simpson), Supp. IX 273-274 "Song of the Sky Loom" (traditional Tewa poem), Supp. IV, Part 1, 325 "Song of the Son" (Toomer), Supp. HI, Part 2, 482^83; Supp. IX 313 "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 Three Smiles" (Merwin), Supp. Ill, Part 1, 344 "Song of Wandering Aengus, The" (Yeats), IV, 271; Retro. Supp. I, 342, 350 "Song of Welcome" (Brodsky), Supp. VIII, 32 "Song on Captain Barney's Victory" (Freneau), Supp. II, Part 1, 261 "Song to David" (Smart), III, 534 "Song to No Music, A" (Brodsky), Supp. VIII, 26 "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 "Song: 'Rough Winds Do Shake the Darling Buds of May'" (Simpson), Supp. IX 268 "Sonnet" (Rukeyser), Supp. VI, 284 "Sonnets at Christmas" (Tate), IV, 118, 135 "Sonnet-To Zante" (Poe), III, 421 "Sonny's Blues" (Baldwin), Supp. I,

INDEX / 541 Part 1, 58-59, 63, 67 Sons (Buck), Supp. II, Part 1, 117118 Sons and Lovers (Lawrence), III, 27 Sontag, Susan, IV, 13, 14; Supp. I, Part 2, 423; Supp. Ill, Part 2, 451473; Supp. VIII, 75 "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; Supp. VIII, 332 "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 "Sorghum" (Mason), Supp. VIII, 146 Sorokin, Pitirim, Supp. I, Part 2, 679 Sorrentino, Gilbert, Retro. Supp. I, 426; Supp. IV, Part 1, 286 Sorrow Dance, The (Levertov), Supp. III, 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 Sotirov, Vasil, Supp. IX 152 Soto, Gary, Supp. IV, Part 2, 545; Supp. V, 180 "Sotto Vbce" (Kunitz), Supp. Ill, Part 1,265 Sot-Weed Factor, The (Barth), I, 122, 123, 125, 129, 130, 131-134, 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 Man under Socialism, The (Wilde), Supp. IX 134-135 Soul of the Far East, The (Lowell), II, 513

"Soul selects her own Society, The" (Dickinson), Retro. Supp. I, 37 "Souls Belated" (Wharton), Retro. Supp. I, 364 Souls of Black Folk, The (Du Bois), Supp. II, Part 1, 33, 40, 160, 168170, 176, 183; Supp. IV, Part 1, 164; Supp. IX 305, 306 "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; Supp. VIII, 215; Supp. IX 103 "Sound Bites" (Alvarez), Supp. VII, 11 Sound I Listened For, The (Francis), Supp. IX 78-79; Supp. IX 87 "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. 1,418 "Source, The" (Porter), III, 443 Source of Light, The (Price), Supp. VI, 262, 266 "Sources of Soviet Conduct, The" (Kennan), Supp. VIII, 241 "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 Girl" (Zelda Fitzgerald), Supp. IX 71 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 Quarterly (publication), Supp. VIII, l2$Southern Review (publication), I, 170, 294; II, 20; III, 442, 443; IV, 236, 261; Supp. V, 316; Supp. VIII, 189 "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, 424-425 Southwell, Robert, IV, 151 Southworth, E. D. E. N, Retro. Supp. 1,246 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

542 / AMERICAN WRITERS "Spanish-American War Play" (Crane), 1,422 Spanking the Maid (Coover), Supp. V, 47, 48, 49, 52 Spargo, John, Supp. I, Part 1, 13 "Spark, The" (Wharton), Retro. Supp. 1, 381 "Sparkles from the Wheel" (Whitman), IV, 348 Sparks, Jared, Supp. I, Part 1, 156 Sparrow, Henry, III, 587 Sparrow, Mrs. Henry, III, 587 "Spawning Run, The" (Humphrey), Supp. IX 95 Speak, Memory (Nabokov), III, 247250, 252; Retro. Supp. I, 264, 265, 266, 267, 268, 277 Speaking and Language (Shapiro), Supp. II, Part 2, 721 Speaking for Nature: How Literary Naturalists from Henry Thoreau to Rachel Carson Have Shaped America (Brooks), Supp. IX 31 "Speaking of Counterweights" (White), Supp. I, Part 2, 669 Speaking of Literature and Society (Trilling), Supp. HI, Part 2, 494, 496, 499 Speaking on Stage (Kolin and Kullman, eds.), Supp. IX 145 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, 104-105, 106 Spectator (London) (publication), II, 314 Spectator (publication), Supp. IV, Part 2, 685; Supp. IX 269 Spectator Bird, The (Stegner), Supp. IV, Part 2, 599, 604, 606, 611-612 Spectorsky, A. C, IV, 235 Spectre, The (magazine), Supp. IX 117

"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. III, Part 1, 79, 86 "Speech to Those Who Say Comrade" (MacLeish), III, 16 Speed of Darkness, The (Rukeyser), Supp. VI, 274, 281 "Spell" (Francis), Supp. IX 87 Spence, Thomas, Supp. I, Part 2, 518 Spence + Lila (Mason), Supp. VIII, 133, 143-145 Spencer, Edward, Supp. I, Part 1, 357, 360, 373 Spencer, Herbert, I, 515; II, 345, 462463, 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 Spengier, 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 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), III, 470; Retro. Supp. I, 286 Spirit of Youth and the City Streets, The (Addams), Supp. I, Part 1, 6-7, 1213, 16, 17, 19 "Spirits" (Bausch), Supp. VII, 46-47 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

INDEX / 543 "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 ofPoynton, The (James), I, 463; Retro. Supp. I, 229-230 Spokesmen (Whipple), II, 456; Supp. I, Part 2, 402 Spook Sonata, The (Strindberg), HI, 387, 392 "Spoon, The" (Simic), Supp. VIII, 275 Spoon River Anthology (Masters), I, 106; III, 579; Supp. I, Part 2, 454, 455, 456, 460-465, 466, 467, 471,

472, 473, 476; Supp. IX 306 Spoon River Revisited (Hartley), Supp. I, Part 2, 478 Sport and a Pastime, A (Salter), Supp. IX 254-257 Sport of the Gods, The (Dunbar), Supp. II, Part 1, 193, 200, 207, 214-217 Sporting Club, The (McGuane), Supp. VIII, 43 Sports Afield (magazine), Supp. VIII, 39 Sports Illustrated (magazine), II, 259; III, 50; Retro. Supp. I, 186; Supp. IV, Part 2, 475; Supp. V, 58; Supp. VIII, 39; Supp. IX 95 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 Snow" (Matthews), Supp. IX 160 "SPRING SONG" (Baraka), Supp. II, Part 1, 60 "Spring Strains" (Williams), Retro.

Supp. 1,416 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 Springsteen, Bruce, Supp. VIII, 143 Springtime and Harvest (Sinclair), Supp. V, 280 Spruance, Raymond, Supp. I, Part 2, 479, 491 "Spruce Has No taproot, The" (Clampitt), Supp. IX 41-42 "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" (Francis), Supp. IX 81 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 "Squash in Blossom" (Francis), Supp. 1X81 "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, 360-362, 370, 378, 379 "Stacking the Straw" (Clampitt), Supp. 1X41 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; Supp. IX 273 "Stage All Blood, The" (MacLeish), III, 18 Stalin, Joseph, I, 261, 490; II, 39, 40, 49, 564; III, 30, 298; IV, 372, 376; Supp. V, 290

"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 "Standard of Living, The" (Parker), Supp. IX 198-199 Stand, The (King), Supp. V, 139, 140141, 144-146, 148, 152 Stand in the Mountains, A (Taylor), Supp. V, 324 Stand Still Like the Hummingbird (Miller), III, 184 Stand with Me Here (Francis), Supp. 1X76 Slander, Lionel, Supp. I, Part 1, 289 "Standing Halfway Home" (Wagoner), Supp. IX 324 Standish, Burt L. (pseudonym), see Patten, Gilbert Standish, Miles, I, 471; II, 502-503 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; Supp. IX 198 "Star of the Nativity" (Brodsky), Supp. VIII, 33 Star Rover, The (London), II, 467 Star Shines over Mt. Morris Park, A (H. Roth), Supp. IX 227, 236, 236237 Starbuck, George, Supp. I, Part 2, 538; Supp. IV, Part 2, 440 "Stare, The" (Updike), Retro. Supp. I, 329 "Starfish, The" (Ely), Supp. IV, Part 1,72

544 / AMERICAN WRITERS "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 I, 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 Starting Out in the Thirties (Kazin), Supp. VIII, 95-97 "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 Passes), 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, 283-284 "Statements on Poetics" (Snyder), Supp. VIII, 291,292 "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. Ill, Part 1, 281 Staying Alive (Wagoner), Supp. IX 324, 326 "Staying at Ed's Place" (Swenson), Supp. IV, Part 2, 648 Stayton, Richard, Supp. IX 133

Steadman, Goodman, IV, 147 "Steak" (Snyder), Supp. VIII, 301 Stealing Beauty (Minot), Supp. VI, 205 Stealing Glimpses (McQuade), Supp. IX 151 "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. 1, Part 2, 468 Stearns, Harold, I, 245 Stedman, Edmund Clarence, HI, 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 Steffens, Lincoln, II, 577; III, 580; Retro. Supp. I, 202; Supp. I, Part 1,7 Stegner, Page, HI, 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, 594-595 Steichen, Lillian, see Sandburg, Mrs. Carl (Lillian Steichen) Steier, Rod, Supp. VIII, 269 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, Part 1, 11, 79, 80, 81, 322, Part 2, 468; Supp. V, 53; Supp. IX 55, 57, 62, 66 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; Supp. VIII, 10; Supp. IX 33, 171 Steinbeck, Olive Hamilton, IV, 51 Steinberg, Saul, Supp. VIII, 272

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

Steinman, Michael, Supp. VIII, 172 Steinmann, M., Jr., I, 286 Steinmetz, Charles Proteus, I, 483 Stekel, Wilhelm, III, 554 Stella (Goethe), Supp. IX 133, 138 Stella (Kushner), Supp. IX 133 Stella, Joseph, I, 387 "Stellaria" (Francis), Supp. IX 83 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, 405^06 Stephen King: The Art of Darkness (Winter), Supp. V, 144 Stephen King, The Second Decade: "Danse Macabre" to "The Dark Half (Magistrale), Supp. V, 138, 146, 151 Stephens, Robert O., II, 270 Steps (Kosinski), Supp. VII, 215, 221222, 225 Steps to the Temple (Crashaw), IV, 145 "Steps Toward Poverty and Death" (Bly), Supp. IV, Part 1, 60 Sterling, George, I, 199, 207, 208, 209, 213; II, 440; Supp. V, 286 Sterling, John, II, 22 Stern, Daniel, Supp. VIII, 238 Stern, Gerald, Supp. IX 285-303 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, 304-305, 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

INDEX / 545 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. Ill, 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; Supp. VIII, 21, 102, 195, 271, 292; Supp. IX 41 "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 ; Supp. VIII, 125 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, Part I, 151, 159, Part 2, 422 Stewart, John L., II, 222; III, 502 Stewart, Randall, II, 244, 245, 246 Stewart, Stanley, II, 607 Stickeen (Muir), Supp. IX 182 Sticks & Stones (Matthews), Supp. IX 154, 155, 157, 158 Sticks and Stones (Mumford), Supp. II, Part 2, 475, 483, 487-488; Stieglitz, Alfred, Retro. Supp. I, 416; Supp. VIII, 98 "Stigmata" (Gates), Supp. II, Part 2, 520 Stiles, Ezra, II, 108, 122; IV, 144, 146, 148 Still, William Grant, Retro. Supp. I, 203 "Still Here" (Hughes), Retro. Supp. I, 211 "Still Just Writing" (Tyler), Supp. IV, Part 2, 658

"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, Part 1, 141, 150, 158 "Still Moment, A" (Welty), IV, 265; Retro. Supp. I, 347 Still Such (Salter), Supp. IX 246 "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; Supp. IX 152, 163, 291, 299 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, Edward, III, 479; Supp. I, Part 2,626 Stone, Geoffrey, HI, 97 Stone, Irving, II, 463, 466, 467, 485; III, 384 Stone, Phil, II, 55 Stone, Robert, Supp. V, 295-312 Stone, Ronald H., Ill, 312, 313 Stone, Wilmer, Supp. I, Part 1, 49 "Stone City" (Proulx), Supp. VII, 251253 Stone Diaries, The (Shields), Supp. VII, 307, 315, 324-326, 327 "Stone Dreams" (Kingsolver), Supp. VII, 203

"Stone Walls" (Sarton), Supp. VIII, 259 Stonemason, The (McCarthy), Supp. VIII, 175, 187 "Stones" (Kumin), Supp. IV, Part 2, 447 "Stones, The" (Plath), Supp. I, Part 2, 535, 539 "Stones in My Passway, Hellhounds on My Trail" (Boyle), Supp. VIII, 15 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 Store, The (Stribling), Supp. VIII, 126 "Store and Mockingbird: Two Pulitzer Novels about Alabama" (Going), Supp. VIII, 126 Storer, Edward, Supp. I, Part 1, 261, 262 Stories, Fables and Other Diversions (Nemerov), III, 268-269, 285 Stories From World Literature, Supp. 1X4 Stories of F. Scott Fitzgerald, The (Cowley, ed.), Retro. Supp. I, 115 Stories of F. Scott Fitzgerald, The (Fitzgerald), II, 94 Stories of Modern America, Supp. IX 4 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 (magazine), III, 28, 442, 551; Supp. I, Part 1, 174; Supp. IX 2 "Story, A"(Jarrell), II, 371 "Story about Chicken Soup, A" (Simpson), Supp. IX 272-273

546 / AMERICAN WRITERS "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. 1, 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, 147148 "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 My Boyhood and Youth, The (Muir), Supp. IX 172-174, 176 Story of Our Lives, The (Strand), Supp. IV, Part 2, 620, 628-629, 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, 483^86, 495 Story on Page One, The (Odets), Supp. II, Part 2, 546 Story, Richard David, Supp. IV, Part 2, 575, 588 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. Ill, Part 1, 154, 168, 171; Supp. 1X33 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 Straits Times (publication), Supp. VIII, 79 Strand, Mark, Supp. IV, Part 2, 619636; Supp. V, 92, 332, 337, 338, 343; Supp. IX 155 Strand, Paul, Supp. VIII, 272 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), HI, 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; Supp. VIII, 11 "Stranger, The" (Rich), Supp. I, Part 2, 555, 560 "Stranger, The" (Salinger), III, 552553 "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 Straus, Roger, Supp. VIII, 82 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. HI, Part 1, 74-78 "Street Musicians" (Ashbery), Supp. III, Part 1, 18 "Street off Sunset, A" (Jarrell), II, 387 Streetcar Named Desire, A (Williams), IV, 382, 383, 385, 386, 387, 389390, 395, 398; Supp. IV, Part 1, 359 Streets in the Moon (MacLeish), III, 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 Passes), 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 Stribling, T. S., Supp. VIII, 126 Strickland, Joe (pseudonym), see Arnold, George W. "Strictly Bucolic" (Simic), Supp. VIII, 278 Strictly Business (O. Henry), Supp. II, Part 1, 410 Strindberg, August, I, 78; III, 145, 165, 387, 390, 391, 392, 393; IV, 17 "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

INDEX / 547 Minds" (Dickinson), Retro. Supp. 1,46 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 Strunk, William, Supp. I, Part 2, 652, 662,670,671, 672 Strunsky, Anna, II, 465, 484 "Strut for Roethke, A" (Berryman), I, 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. III, 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), II, 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, Sefiora Josefma Sturgis, Susan, III, 600 Sturm, Margaret, see Millar, Margaret

Stuttaford,Genevieve, Supp. IX 279 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; Supp. IX 208 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. HI, 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 "Subway Singer, The" (Clampitt), Supp. IX 45 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, 395-396, 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 otf Egg Rock" (Plath), Supp. I, Part 2, 529, 538 "Suicide's Note" (Hughes), Retro. Supp. I, 199 "Suitable Surroundings, The" (Bierce), 1,203 "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; Supp. VIII, 219 Sulfur (publication), Supp. IV, Part 2, 421,426,431,432 Sullivan, Andrew, Supp. IX 135 Sullivan, Frank, Supp. IX 201 Sullivan, Harry Stack, I, 59 Sullivan, Noel, Retro. Supp. I, 202; Supp. I, Part 1, 329, 333 Sullivan, Richard, Supp. VIII, 124 Sullivan, Ruth, Supp. I, Part 1, 226 Sullivan, Walter, II, 222; Supp. VIII, 168 "Sullivan County Sketches" (Crane), I, 407, 421 Suma Genji (Play), III, 466 Sumac (magazine), Supp. VIII, 39 "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" (Hughes), Supp. I, Part 1, 325

548 / AMERICAN WRITERS "Summer Night, A" (Auden), Supp. II, Part 1, 8 "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" (Jackson), Supp. IX 120 "Summer People, The" (Merrill), Supp. Ill, Part 1, 325-326 "Summer Ramble, A" (Bryant), Supp. I, Part 1, 162, 164 "Summer Storm" (Simpson), Supp. IX 268 "Summer: West Side" (Updike), Retro. Supp. I, 320 Summers, Claude J., Supp. IV, Part 2, 680-681 Summers, Robert, Supp. IX 289 "Summer's Reading, A" (Malamud), Supp. I, Part 2, 43O-431, 442 "'Summertime and the Living . . .'" (Hayden), Supp. II, Part 1, 363, 366 Summertime Island (Caldwell), I, 307308 "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), I, 107; II, 68, 90, 249, 251-252, 260, 600; III, 36; IV, 35, 297; Retro. Supp. I, 171, 177-180, 181, 189; Supp. I, Part 2, 614 "Sun and Moon" (Kenyon), Supp. VII, 168 Sun at Midnight (Soseki, trans. Merwin and Shigematsu), Supp. Ill, 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 Rising" (Donne), Supp. VIII, 164 "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), II, 231-232 "Sunday Morning" (Stevens), II, 552; III, 278, 463, 509; IV, 92-93; Retro. Supp. I, 296, 300, 301, 304, 307, 313 "Sunday Morning Apples" (Crane), I, 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" (Salter), Supp. IX 257 "Sundays of Satin-Legs Smith, The" (Brooks), Supp. Ill, Part 1, 74, 75 "Sundays, They Sleep Late" (Rukeyser), Supp. VI, 278 "Sundays Visiting" (Rfos), Supp. IV, Part 2, 541 Sundell, Carl, Supp. I, Part 2, 627 Sundermann, K. H., Ill, 97 Sundial (magazine), Supp. I, Part 2, 606 Sundial, The (Jackson), Supp. IX 126127 Sundog (Harrison), Supp. VIII, 46-48 "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 Sunrise with Seamonsters: Travels and Discoveries, 1964-1984 (Theroux), Supp. VIII, 311, 313, 323, 325 "Sunset" (Ransom), III, 484 "Sunset from Omaha Hotel Window" (Sandburg), III, 584 Sunset Gun (Parker), Supp. IX 192

Sunset Limited (Harrison), Supp. VIII, 51 "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, 415-416 Super Science Stories (magazine), Supp. IV, Part 1, 102 "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; Supp. VIII, 274 "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 "Surveyor, The" (H. Roth), Supp. IX 233, 234 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.

INDEX / 549 IV, Part 1, 177 "Susto" (Rios), Supp. IV, Part 2, 553 Sut Lovingood's Yams (Harris), II, 70 Sutcliffe, Denham, HI, 525 Sutherland, Donald, IV, 38, 44, 48; Supp. IX 254 Sutherland, Efua, Supp. IV, Part 1, 9, 16

Sutton, Walter, III, 479 Sutton, William A., I, 120 Suttree (McCarthy), Supp. VIII, 178180, 189 Suvero, Mark di, Supp. IX 251 Swallow Barn (Kennedy), II, 313 Swan, Barbara, Supp. IV, Part 2, 447 Swan, Bradford F., Ill, 121 Swan, Jon, Supp. IV, Part 1, 176 Swan Lake (Tchaikovsky), Supp. IX 51 "Swan Legs" (Stern), Supp. IX 299 Swanberg, W A., I, 520 Swann, Brian, Supp. IV, Part 2, 500 Swann (Shields), Supp. VII, 315, 318323, 326 Swann, Thomas B., Supp. I, Part 1, 275 Swanson, Gloria, II, 429 Swanton, John Reed, Supp. VIII, 295 "Sway" (Simpson), Supp. IX 276 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, 335-336 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),

(Symons), I, 50, 569; Retro. Supp. 1,55 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 Symposium: To Kill a Mockingbird 663 (Alabama Law Review), Supp. VIII, "Swimmer" (Francis), Supp. IX 82 127, 128 "Swimmer, The" (Cheever), Supp. I, Symptoms of Being 35 (Lardner), II, Part 1, 185, 187 434 "Swimmer, The" (Gluck), Supp. V, 82 Synge, John Millington, I, 434; III, "Swimmers, The" (Fitzgerald), Retro. 591-592; Supp. HI, Part 1, 34 ; Supp. I, 110, 111 Supp. VIII, 155 "Swimmers, The" (Tate), IV, 136 Swinburne, Algernon C, I, 50, 384, Synthetic Philosophy (Spencer), II, 462-463 568; II, 3, 4, 129, 400, 484, 524; IV, 135; Retro. Supp. I, 100; Supp. "Syringa" (Ashbery), Supp. Ill, Part 1,19-21,25 I, Part 1, 79, Part 2, 422, 552 "Syrinx" (Clampitt), Supp. IX 53 "Swinburne as Poet" (Eliot), I, 576 Swinger of Birches, A: A Portrait of "Syrinx" (Merrill), Supp. Ill, Part 1, 328 Robert Frost (Cox), Retro. Supp. I, System of Dante's Hell, The (Baraka), 132 Supp. II, Part 1,39-41,55 Swope, D. B., Supp. IX 95 Sword Blades and Poppy Seed "System of Dante's Inferno, The" (Baraka), Supp. II, Part 1, 40 (Lowell), II, 518, 520, 522, 532 Sybil (Auchincloss), Supp. IV, Part 1, "System of Doctor Tarr and Professor Fether, The" (Poe), III, 419, 425 25 System of General Geography, A "Sycamore" (Stern), Supp. IX 294 (Brown), Supp. I, Part 1, 146 "Sycamore, The" (Moore), HI, 216 "Sycamores, The" (Whittier), Supp. I, "System, The" (Ashbery), Supp. Ill, Part 1, 14, 15, 18, 21-22 Part 2, 699 Sylvester, Johnny, Supp. I, Part 2, 438 Szentgyorgyi, Tom, Supp. IX 135, 136, 140, 141-142 Sylvester, Joshua, I, 178, 179; II, 18; III, 157; Supp. I, Part 1, 98, 104, T. S. Eliot and American Philosophy 114, 116 (Jain), Retro. Supp. I, 58 Sylvester, William A., Ill, 455 T. S. Eliot's Silent Voices (Mayer), Retro. Supp. I, 58 Sylvia (Gurney), Supp. V, 105 "T-2 Tanker Blues" (Snyder), Supp. "Sylvia" (Stern), Supp. IX 297 VIII, 294 Sylvia Plath: Method and Madness (Butscher), Supp. I, Part 2, 526, "Table of Delectable Contents, The" 548 (Simic), Supp. VIII, 276 Sylvia Plath: Poetry and Existence Tacitus, Cornelius, I, 485; II, 113 ' (Holbrook), Supp.' I, Part 2, 526- Tadic, Novica, Supp. VIII, 272 527, 548 "Tag" (Hughes), Supp. I, Part 1, 341 "Sylvia's Death" (Sexton), Supp. II, Taggard, Genevieve, III, 144; IV, 436 Part 2, 671, 684,685 Taggart, John, Supp. IV, Part 2, 421 "Symbol and Image in the Shorter Tagore, Rabindranath, I, 383 Poems of Herman Melville" "Tailor Shop, The" (Miller), HI, 175 (Dickey), Supp. IV, Part 1, 176 Taine, Hippolyte, I, 503; II, 271; III, Symbolist Movement in Literature, The 323; IV, 440, 444

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), I, 310 Swenson, May, Supp. IV, Part 2, 637655 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,

550 / AMERICAN WRITERS "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 Self-Dispossessed, 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, 309310 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; Supp. IX 57 Talisman, The (King), Supp. V, 140, 144, 152 "Talisman, A" (Moore), III, 195-196

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), I, 151 "Talking" (Merwin), Supp. Ill, Part 1, 354 Talking All Morning (Bly), Supp. IV, Part 1,59, 60, 61,62, 64, 65 "Talking Horse" (Malamud), Supp. I, Part 2, 435 "Talking to Barr Creek" (Wagoner), Supp. IX 328 "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 Mayfair Witches (Rice), Supp. VII, 299-300 "Tarn O'Shanter" (Burns), II, 306 "Tamar" (Jefifers), 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 Tannhduser (Wagner), I, 315

Tanselle, G. Thomas, I, 119; III, 95; Supp. I, Part 2, 402, 426 "Tan Ta Ra, Cries Mars . . .'", Supp. IX 325 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), 1,98, 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 Tarpon (film), Supp. VIII, 42 Tarumba, Selected Poems of Jaime Sabines (tr. Levine and Trejo), Supp. V, 178 "Tarzan Is an Expatriate" (Theroux), Supp. VIII, 313 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; Supp. VIII, 39, 279 Tate, John Allen, IV, 127 Tate, Mary Barbara, III, 360 Tate, Michael Paul, IV, 127

INDEX / 55 J Tate, Mrs. Alien (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. III, 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, HI, 138 Taylor, Edward, III, 493; IV, 144-166; 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, Katherine, Supp. VIII, 251 Taylor, Kezia, IV, 148 Taylor, Larry E., IV, 235 Taylor, Mrs. Edward (Elizabeth Fitch), IV, 147, 165 Taylor, Mrs. Edward (Ruth Wyllys), IV, 148 Taylor, Nathaniel W., Supp. I, Part 2, 580 Taylor, Paul, I, 293 Taylor, Peter, II, 390; Supp. V, 313329 Taylor, Richard, IV, 146 Taylor, Robert, Supp. I, Part 1, 294 Taylor, Thomas, II, 10 Taylor, Walter, E, III, 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, 433-434

Tchelitchew, Peter, II, 586 Tea and Sympathy (Anderson), Supp. 1, 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 Team Team Team (film), Supp. IX 251 Teasdale, Sara, Retro. Supp. I, 133; Supp. I, Part 2, 393, 707 Tebeaux, Elizabeth, Supp. IX 109 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" (Bly), Supp. IV, Part 1, 63, 68, 73 Teggart, Richard, Supp. I, Part 2, 650 Teilhard de Chardin, Pierre, III, 359; Supp. I, Part 1, 314 "Telephone Call, A" (Parker), Supp. IX 202-203 "Telephone Number of the Muse, The" (Justice), Supp. VII, 124-125 Telephone Poles and Other Poems (Updike), IV, 214, 215 "Television" (Beattie), Supp. V, 33 "Tell Me" (Hughes), Supp. VIII, 213 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 It in Black and White: The Importance of the Africanist Presence in To Kill a Mockingbird"

(Baecker), Supp. VIII, 128 "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 (Shakespeare), I, 394; II, 12; III, 40, 61, 263; Retro. Supp. I, 61; Supp. IV, Part 2, 463 ; Supp. V, 302-303 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 Bly and Ten Poems of Robert Bly Inspired by the Poems by Francis Ponge (Bly), Supp. IV, Part 1, 71 "Tenancy, A" (Merrill), Supp. Ill, Part 1, 322, 323 Tenants, The (Malamud), Supp. I, Part 2, 448-450

552 / AMERICAN WRITERS 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-^3 Tender Is the Night (Fitzgerald), I, 375; II, 79, 84, 91, 95-96, 97, 98, 420; Retro. Supp. I, 105, 108, 109, 110112, 114; Supp. 1X59, 60, 61 "Tender Offer, The" (Auchincloss), Supp. IV, Part 1, 34 'Tenderloin" (Crane), I, 408 Tennent, Gilbert, I, 546 Tennessee Day in St. Louis (Taylor), Supp. V, 324 Tennessee Poetry Journal (publication), Supp. IV, Part 1, 62 Tennessee Poetry Journal, Supp. IX 154 "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, 587-588; 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; Supp. IX 19 "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 1, 356-357 Terminating, or Sonnet LXXV, or "Lass Meine Schmerzen nicht verloren sein, or Ambivalence" (Kushner), Supp. IX 132 Terminations (James), Retro. Supp. I, 229 "Terminus" (Emerson), II, 13, 19 "Terminus" (Wharton), Retro. Supp. 1,371

"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. Ill, 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. III, Part 1, 269 Testing-Tree, The (Kunitz), Supp. Ill, 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; Supp. IX 200 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 Tham, Claire, Supp. VIII, 79 "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" (Gliick), 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, 359-360 "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 Thayer and Eldridge, Retro. Supp. I, 403 Thayer, Scofield, I, 231; Retro. Supp. 1,58 "Theater" (Toomer), Supp. IX 309, 317-318 "Theater Chronicle" (McCarthy), II, 562 Theatricals (James), Retro. Supp. I, 228 "Theft" (Porter), III, 434, 435 Their Eyes Were Watching God (Hurston), Supp. VI, 149, 152, 156157 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), II, 277-278; Retro. Supp. I, 334 Thelen, Mary Frances, III, 313

INDEX / 553 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, 488-489, 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. Ill, Part 1, 125, 131 Theocritus, II, 169; Retro. Supp. I, 286 "Theodore the Poet" (Masters), Supp. I, Part 2, 461 Theological Position, A (Coover), Supp. V, 44 Theophrastus, I, 58 "Theory and Experience in Crevecoeur's America" (Rapping), Supp. 1, Part 1, 252 Theory and Practice of Rivers and Other Poems, The (Harrison), Supp. VIII, 47, 49 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, 475-476; 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 You Are (Simpson), Supp. IX 279-280

"There You Are" (Simpson), Supp. IX 279 "There's a certain Slant of light" (Dickinson), Retro. Supp. I, 38 Therese de Lisieux, Saint, Supp. VIII, 195 "Thermopylae" (Clampitt), Supp. IX 43 Theroux, Alexander, Supp. VIII, 312 Theroux, Marcel, Supp. VIII, 325 Theroux, Paul, Supp. V, 122; Supp. VIII, 309-327 "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 IIlogic 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 Came Like Swallows (Maxwell), Supp. VIII, 155-159, 168, 169 "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, 184-185, 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. Ill, 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. III, Part 2, 552-555 Things Themselves: Essays and Scenes (Price), Supp. VI, 261 Things They Carried, The (O'Brien), Supp. V, 238, 239, 240, 243, 248250 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 Longstanding Problems of Virtue and Happiness: Essays, a Play, Two Poems, and a Prayer (Kushner), Supp. IX 131, 134, 135 "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. III, Part 2, 459-460 "Thinking Back Through Our Mothers: Traditions in Canadian Women's Writing" (Shields), Supp. VII, 307308 "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

554 / AMERICAN WRITERS "Third Thing That Killed My Father Off, The" (Carver), Supp. Ill, Part 1, 144 Third Violet, The (Crane), I, 408, 417418 Thirlwall, John C., IV, 425; Retro. Supp. I, 430 Thirteen Hands: A Play in Two Acts (Shields), Supp. VII, 322-323 Thirteen Other Stories (Purdy), Supp. VII, 278 "Thirteen Ways of Looking at a Blackbird" (Stevens), IV, 94; Supp. IX 47 "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 Is It" (Stern), Supp. IX 290 This Journey (Wright), Supp. Ill, Part 2, 605-606 This Man and This Woman (Farrell), 11,42 "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 Wa-

ters (MacLeish), III, 21 This People Israel: The Meaning of Jewish Existence (Baeck), Supp. V, 260 "This Place in the Ways" (Rukeyser), Supp. VI, 273-274 This Property Is Condemned (Williams), IV, 378 This Proud Heart (Buck), Supp. II, Part 1, 119-120 This Quarter (publication), II, 26 "This Sandwich Has No Mayonnaise" (Salinger), III, 552-553 This Side of Paradise (Fitzgerald), I, 358; II, 77, 80, 81, 82-83, 84, 8587, 88; Retro. Supp. I, 99-100, 101-102, 103, 105, 106, 110, 111 This Time: New and Selected Poems (Stern), Supp. IX 290-291, 299 "This Tokyo" (Snyder), Supp. VIII, 298 "This, That & the Other" (Nemerov), III, 269 This Tree Will Be Here for a Thousand Years (Bly), Supp. IV, Part 1, 6566, 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 'Thistle Seed in the Wind" (Francis), Supp. IX 81 "Thistles in Sweden, The" (Maxwell), Supp. VIII, 169 Thoens, Karen, Supp. V, 147 Thomas, Brandon, II, 138 Thomas, D. M., Supp. VIII, 5 Thomas, Dylan, I, 49, 64, 382, 432, 526, 533; HI, 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; Supp. VIII, 21; Supp. IX 114 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 I., Supp. I, Part 2, 641 Thomas Aquinas (Saint), Supp. IV, Part 2, 526 Thomas and Beutah (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

Thomas-a-Kempis, Retro. Supp. I, 247 Thomas Merton on Peace, Supp. VIII, 208 Thomas Merton Studies Center, The, Supp. VIII, 208 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. I, 55 Thompson, Frank, II, 20, 23 Thompson, George, Supp. I, Part 2, 686 Thompson, Hunter S., Supp. VIII, 42 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, Part 1, 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, 273274, 295, 312-313, 321, 457-458, 540, 546-547; III, 171, 174, 186187, 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; Supp. VIII, 40, 42, 103, 105, 198, 201, 204, 205, 292,303; Supp. IX 25, 90, 171

INDEX / 555 Thoreau, John, IV, 171, 182 Thoreau, Mrs. John, IV, 172 "Thoreau" (Lowell), Supp. I, Part 2, 420, 422 "Thorn, The" (Gordon), Supp. IV, Part 1, 314 Thornton, Billy Bob, Supp. VIII, 175 Thornton, Lionel, III, 291 "Thorofare" (Minot), Supp. VI, 209210 "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. 1, 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" (Bly), 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, A" (Sarton), Supp. VIII, 262 Thought and Character of William James (Perry), II, 362 "Thought of Heaven, The" (Stern), Supp. IX 297 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 in Solitude (Merton), Supp. VIII, 207 "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 Thousand-Mile Walk to the Gulf, A (Muir), Supp. IX 177-178 "Thread, The" (Merwin), Supp. Ill, Part 1,351 Three (film), Supp. IX 253 "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 Three Comrades (Remarque), Retro. Supp. I, 113 Three Essays on America (Brooks), I, 246 Three Farmers on Their Way to a Dance (Powers), Supp. IX 211-212, 213-214, 222 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; Supp. IX 306 "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 on the Tower: The Lives and Works of Ezra Pound, T. S. Eliot, and William Carlos Williams (Simpson), Supp. IX 276 Three Roads, The (Macdonald, under Millar), Supp. IV, Part 2, 466, 467 "Three Sisters, The" (Cisneros), Supp. VII, 64 Three Soldiers (Dos Passos), I, 477478, 480, 482, 488, 493-494 "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), III, 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. III, 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 Threshold (film), Supp. IX 254 Threshold (Jackson), Supp. IX 117

556 / AMERICAN WRITERS 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 Forest: New and Selected Poems, 1977-1987 (Wagoner), Supp. IX 330-331 Through the Ivory Gate (Dove), Supp. IV, Part 1, 242, 243, 251, 252, 253254, 254 "Through the Smoke Hole" (Snyder), Supp. VIII, 299 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, 602-627, 653, 654, 668, 672, 673, 679, 681; Supp. II, Part 1, 143; Supp. IV, Part 1, 349; Supp. IX 118 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, Part 1, 110, Part 2,519 "Ti Demon" (Chopin), Supp. I, Part 1,225 Ticket for a Seamstitch, A (Harris), II, 424-425 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. Ill, Part 1, 179 Ticknor, Caroline, Supp. I, Part 1, 46 Ticknor, George, II, 488; Supp. I, Part 1,313

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; Supp. VIII, 26 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 1, 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 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 Tun 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; Supp. VIII, 73, 124, 129; Supp. 1X95, 115,212,320 "Time" (Matthews), Supp. IX 165-166 "Time" (Merrill), Supp. HI, Part 1, 325 Time and a Place, A (Humphrey), Supp. IX 95, 98, 100-102 Time & Money (Matthews), Supp. IX 155, 165-167 "Time and the Garden" (Winters), Supp. II, Part 2, 801, 809 "Time and the Liturgy" (Merton), Supp. VIII, 199 Time in the Rock (Aiken), I, 65 Time Is Noon, The (Buck), Supp. II, Part 1, 129, 130-131 "Time of Friendship, The" (Bowles), Supp. IV, Part 1, 90-91 "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 Time Will Darken It (Maxwell), Supp. VIII, 159, 162-164, 169 "Times" (Beattie), Supp. V, 31 "Times, The" (Emerson), II, 11-12 Times Literary Supplement (publication), Supp. IX 121 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; Supp. VIII, 124, 167 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, 507508, 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

INDEX / 557 '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, 729730 "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 Mouse" (Burns), Supp. IX 173 "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, Part 1, 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 Autumn" (Keats), Supp. IX 50 To Be Young, Gifted, and Black: Lorraine Hansberry in Her Own 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. Ill, 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), 11,516 "To Elsie" (Williams), Retro. Supp. I, 419 "To E. T." (Frost), Retro. Supp. I, 132 To Have and Have Not (Hemingway), I, 31; II, 253-254, 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 Kill a Mockingbird (film), Supp. VIII, 128-129 To Kill a Mockingbird (Lee), Supp. VIII, 113-129 "7b Kill a Mockingbird: Harper Lee's Tragic Vision" (Dave), Supp. VIII, 126 To Kill a Mockingbird: Threatening Boundaries (Johnson), Supp. VIII, 126 "To Light" (Hogan), Supp. IV, Part 1, 402 "To Lose the Earth" (Sexton), Supp. II, Part 2, 684, 685

"To Lu Chi" (Nemerov), HI, 275 "To M, with a Rose" (Lanier), Supp. I, Part 1, 364 To Make a Prairie (Kumin), Supp. IV, Part 2, 440, 441 "To Make Words Disappear" (Simpson), Supp. IX 265-266 To Mix with Time (Swenson), Supp. IV, Part 2, 637, 643-645, 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 Please a Shadow" (Brodsky), Supp. VIII, 30 "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), HI, 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 Ends of the Earth: The Selected Travels of Paul Theroux, Supp. VIII, 324L 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

555 / AMERICAN WRITERS 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; Supp. VIII, 155 "To the Man on Trail" (London), II,

Toby Tyler: or, Ten Weeks with a Circus (Otis), III, 577 Tocqueville, Alexis de, HI, 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, 328 466 "To the Memory of the Brave Ameri- Todd, Mabel Loomis, I, 454, 470, 472; Retro. Supp. I, 33, 34, 35, 39, 47 cans Under General Greene" (Freneau), Supp. II, Part 1, 262, Toffler, Alvin, Supp. IV, Part 2, 517 274 Toilet, The (Baraka), Supp. II, Part 1, 37, 40-42 "To the Muse" (Wright), Supp. Ill, Toklas, Alice B., IV, 27, 48; Supp. IV, Part 2, 601 Part 1,81, 91 "To the New World" (Jarrell), II, 371 "To the One of Fictive Music" Toledo Blade (newspaper), I, 515 (Stevens), IV, 89; Retro. Supp. I, Tolkien, J. R. R., Supp. V, 140 Toller, Ernst, I, 479 297, 300 "To the One Upstairs" (Simic), Supp. Tolson, Melvin, Retro. Supp. I, 208, 209, 210 VIII, 283 "To the Peoples of the World" (Du Tolstoy, Leo, I, 6, 7, 58, 103, 312, 376; II, 191-192, 205, 271, 272, 275, Bois), Supp. II, Part 1, 172 276, 281, 285, 286, 320, 407, 542, "To the Pliocene Skull" (Harte), Supp. 559, 570, 579, 606; III, 37, 45, 61, II, Part 1, 343-344 323, 467, 572; IV, 17, 21, 170, 285; "To the Reader" (Baudelaire), II, 544Retro. Supp. I, 91, 225; Supp. I, 545 Part 1, 2, 3, 6, 20; Supp. IV, Part "To the Reader" (Levertov), Supp. Ill, I, 392; Supp. V, 277, 323; Supp. Part 1, 277 1X246 "To the River Arve" (Bryant), Supp. I, Tom (Cummings), I, 430 Part 1, 163 "To the Snake" (Levertov), Supp. Ill, "Tom" (Oliver), Supp. VII, 232 "Tom Brown at Fisk" (Du Bois), Supp. Part 1, 277 II, Part 1, 160 "To the Stone-Cutters" (Jeffers), Supp. Tom Brown's School Days (Hughes), II, Part 2, 420 Supp. I, Part 2, 406 "To the Western World" (Simpson), "Tom Fool at Jamaica" (Moore), III, Supp. IX 269, 270 215 To the White Sea (Dickey), Supp. IV, Tom Jones (Fielding), I, 131; Supp. V, Part 1, 186, 190-191 127 "To the Young Who Want to Die" "Tom Outland's Story" (Gather), I, (Brooks), Supp. Ill, Part 1, 85-86 325-326 "To Train a Writer" (Bierce), I, 199 To Urania (Brodsky), Supp. VIII, 22, Tom Sawyer (musical) (Gurney), Supp. V, 96 28-29 "To Whistler, American" (Pound), III, Tom Sawyer (Twain), see Adventures of Tom Sawyer 465-466 "To Wine" (Bogan), Supp. HI, Part 1, Tom Sawyer Abroad (Twain), II, 482; IV, 19, 204 57,58 "Toast to Harlem, A" (Hughes), Supp. Tom Sawyer Detective (Twain), IV, 204 Tom Swift (Stratemeyer), III, 146 I, Part 1, 338 Tobacco Road (Caldwell), I, 288, 289, "Tom Wolfe's Guide to Etiquette" (Wolfe), Supp. HI, Part 2, 578 290, 295-296, 297, 298, 302, 307, Tomas, Vincent, I, 565 309, 310; IV, 198 "Tomatoes" (Francis), Supp. IX 82 Toback, James, III, 48 Tobias, Richard C, Supp. I, Part 2, "Tomb Stone" (Dickey), Supp. IV, Part 1, 185 626 "Tobin's Palm" (O. Henry), Supp. II, Tomcat in Love (O'Brien), Supp. V, 238, 240, 243, 252-254 Part 1, 408 Tomkins, Calvin, II, 100 Tobit (apocryphal book), I, 89

Tomlinson, Charles, III, 217 Tommy Gallagher's Crusade (Farrell), 11,44 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 Passes), I, 493 Tompson, Benjamin, Supp. I, Part 1, 110, 111 Tone, Aileen, I, 21-22 Tongues (Shepard and Chaikin), Supp. 111, Part 2, 433 Tongues of Angels, The (Price), Supp. VI, 265 "Tonight" (Lowell), II, 538 Tony Kushner in Conversation (Vorlicky, ed.), Supp. IX 132 "Too Anxious for Rivers" (Frost), II, 162 "Too Blue" (Hughes), Retro. Supp. I, 207 "Too Far 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 Toohey, John Peter, Supp. IX 190 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; Supp. IX 305-322 Toomer, Nathan Eugene Pinchback. See Toomer, Jean "Tooth, The" (Jackson), Supp. IX 122 Tooth of Crime, The (Shepard), Supp. Ill, Part 2, 432, 441-445, 447 "Top of the Hill" (Jewett), II, 406 Topper (Smith), Supp. IX 194 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), HI, 504 Torrents of Spring, The (Hemingway),

INDEX / 559 I, 117; II, 250-251 Torres, Louis, Supp. IV, Part 2, 529, 530 Torrey, Bradford, IV, 188, 189 Torsney, Cheryl, Retro. Supp. I, 224 Tortilla Curtain, The (Boyle), Supp. VIII, 9-10 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 Touching the World (Eakin), Supp. VIII, 167 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 Touron the Prairies, A (Irving), II, 312-313 "Toward Nightfall" (Simic), Supp. VIII, 277 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, 19691982" (Saldivar), Supp. IV, Part 2, 544 Towards an Enduring Peace (Bourne), 1,232 "Tower" (Merwin), Supp. HI, Part 1, 343 "Tower Beyond Tragedy, The" (JerTers), Supp. II, Part 2, 429-430 Tower of Ivory (MacLeish), III, 3—4 Towers, Robert, Supp. IX 259 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), HI,

272,275,281 Town Topics (publication), Retro. Supp. I, 362 "Townhouse Interior with Cat" (Clampitt), Supp. IX 40 "Townies" (Dubus), Supp. VII, 86 "Towns in Colour" (Lowell), II, 523524 Town send, 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 Tracker (Wagoner), Supp. IX 329, 336-337 "Tracking" (Wagoner), Supp. IX 329 "Track Meet, The" (Schwartz), Supp. II, Part 2, 665 Tracks (Erdrich), Supp. IV, Part 1, 259, 262-263, 269, 272, 273-274, 274, 275 "Tract" (Williams), Retro. Supp. I, 414 "Tract against C o m m u n i s m , 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. 1,218 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. HI, 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 1, 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. III, Part 1, 320-321 Transformations (Sexton), Supp. II, Part 2, 689-691; Supp. IV, Part 2, 447 transition (publication), HI, 434; IV, 31; Supp. HI, Part 2, 611; Supp. IV, Part 1, 80 "Translation and Transposition" (Carne-Ross), Supp. I, Part 1, 268269, 275 "Translation of a Fragment of Simonides" (Bryant), Supp. I, Part 1, 153, 155 "Translations" (Rich), Supp. I, Part 2, 563 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" (Simic), Supp. VIII, 282 Transport to Summer (Stevens), IV, 76, 93; Retro. Supp. I, 309-312 Transtromer, Thomas, Supp. IV, Part 2,648

560 / AMERICAN WRITERS "Traps for the Unwary" (Bourne), I, 235 Trash Trilogy (McMurtry), Supp. V, 225-226, 231 Traubel, Horace, IV, 350, 353 "Travel: After a Death" (Kenyon), Supp. VII, 169 "Travel Writing: Why I Bother" (Theroux), Supp. VIII, 310 "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 "Traveling Light" (Wagoner), Supp. IX 329 Travelling in Amherst: A Poet's Journal, 1931-1954, Supp. IX 88-89 Travels in Alaska (Muir), Supp. IX 182, 185-186 "Travels in Georgia" (McPhee), Supp. III, 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, 422423 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 Poetry" (Milosz), Supp. VIII, 20 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), HI, 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. 1,139 "Tretitoli, Where the Bomb Group Was" (Hugo), Supp. VI, 138 Trial, The (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. I, 104 Tribune-Herald (newspaper, Waco), Supp. VIII, 68 "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, 4849; 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; Supp. VIII, 93, 98, 190, 231, 236, 243; Supp. IX 266, 287 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, 460-462 Triple Thinkers, The: Ten Essays on Literature (Wilson), IV, 428, 431; Supp. II, Part 1, 146 "Triplex" (Doolittle), Supp. I, Part 1, 271 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), 1, 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

INDEX / 561 Troian Horse, The: A Play (MacLeish), III, 21 Troilus and Criseyde (Chaucer), Retro. Supp. I, 426 Trois contes (Flaubert), IV, 31, 37 "Trojan Women, The" (Maxwell), Supp. VIII, 169 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), HI, 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 I, 328 "Trouble of Marcie Flint, The" (Cheever), Supp. I, Part 1, 186 Trouble with Francis, The: An Autobiography (Francis), Supp. IX 76, 77, 82, 84- 85 Trouble with God, The (Francis), Supp. IX 88 Troubled Island (opera; Hughes and Still), Retro. Supp. I, 203 "Trout" (Hugo), Supp. VI, 135 Trout Fishing in America (Brautigan), Supp. VIII, 43 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, HI, 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, 257258, 259, 260-263 Trust Me (Updike), Retro. Supp. I, 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, Parti, 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 Chih" (Pound), III, 466 Tsvetayeva, Marina, Supp. VIII, 30 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 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; Supp. VIII, 167 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,

562 / AMERICAN WRITERS 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 Turtle Island (Snyder), Supp. VIII, 300-303 Tuscan Cities (Howells), II, 280 Tuskegee movement, Supp. II, Part 1, 169, 172 Tuten, Frederic, Supp. VIII, 75, 76 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 TV Star Parade (magazine), Supp. VIII, 137 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, 190213, 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; Supp. VIII, 40, 189; Supp. IX 14, 171 Twelfth Night (Shakespeare), Supp. IV, Part 1, 83; Supp. IX 14 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. 1,304

"Twenty Hill Hollow" (Muir), Supp. IX 178 "Twenty Minutes" (Salter), Supp. IX 260 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, 11, 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. 1, 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 "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 Ghosts" (Francis), Supp. IX 87 "Two Hangovers" (Wright), Supp. Ill, 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 Long Poems (Stern), Supp. IX 296 "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, 182183 "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. Ill, 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 Trains Running (Wilson), Supp. VIII, 345-348 "Two Tramps in Mudtime" (Frost), II, 164; Retro. Supp. I, 137; Supp. IX 261 "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 Words" (Francis), Supp. IX 81 Two Years before the Mast (Dana), I, 351 Two-Character Play, The (Williams),

INDEX / 563 IV, 382, 386, 393, 398 Two-Ocean War, The (Morison), Supp. I, Part 2, 491 Tyler, Anne, Supp. IV, Part 2, 657675; Supp. V, 227, 326; Supp. VIII, 141 Tyler, Parker, IV, 259 Tyler, Royall, I, 344; Retro. Supp. I, 377 Tymms, Ralph, Supp. IX 105 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 "Typhus" (Simpson), Supp. IX 277 "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; Supp. IX 102 "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, Part 1,200,211,212 Uncertain Certainty, The: Interviews, Essays, and Notes on Poetry (Simic), Supp. VIII, 270, 273, 274 Uncertainty and Plenitude: Five Contemporary Poets (Stitt), Supp. IX 299 "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 I, 170; Supp. Ill, Part 1, 154, 171; Supp. IX 19 Uncle Tom's Children (Wright), IV, 476, 478, 488; Supp. II, Part 1, 228, 235 "Uncle Wiggily in Connecticut" (Salinger), III, 559-560, 563 "Unclouded Day, The" (Proulx), Supp. VII, 254-255 "Uncommon Visage" (Brodsky), Supp. VIII, 31 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. Ill, Part 2, 558 "Under Forty" (Trilling), Supp. Ill, 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. II, Part 2, 620 Under the Sea-Wind: A Naturalist's Picture of Ocean Life (Carson), Supp. IX 19, 22-23 "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 Undercli/: 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 "Undersea" (Carson), Supp. IX 21 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), IV, 236; Retro. Supp. I, 40,41 Understanding Tim O'Brien (Kaplan), Supp. V, 241 Understanding To Kill a Mockingbird: A Student Casebook to Issues, Sources, and Documents (Johnson), Supp. VIII, 127 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 Unending Blues (Simic), Supp. VIII, 278-279 "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; Supp. IX 196, 200-201 "Unfortunate Coincidence" (Parker), Supp. IX 190 Unframed Originals (Merwin), Supp. III, Part 1, 341 Ungaretti, Giuseppe, Supp. V, 337 Unger, Leonard, I, 591 Unguided Tour (Sontag), Supp. Ill,

564 / AMERICAN WRITERS 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, 41-42, 44, 46 Universal Passion (Young), HI, 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 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), HI, 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. III, 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; Supp. IX 76 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; Supp. IX 19 "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; Supp. VIII, 151, 167, 236; Supp. IX 208 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 Rood" (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. I (Rukeyser), Supp. VI, 272, 278, 283, 285

INDEX / 565 U.S.A. (Dos Passes), I, 379, 475, 478, 482-488, 489, 490, 491, 492, 493, 494, 495; Supp. I, Part 2, 646; Supp. Ill, Part 1, 104, 105 USA Today (newspaper), Supp. VIII, 82 Use of Fire, The (Price), Supp. VI, 265 "Use of Force, The" (Williams), Retro. Supp. I, 424 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 "Using Parrots to Kill Mockingbirds: Yet Another Racial Prosecution and Wrongful Conviction in Maycomb" (Fair), Supp. VIII, 128 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 S. Naipaul: An Introduction to His Work (Theroux), Supp. VIII, 314, 318 "V. S. Pritchett's Apprenticeship" (Maxwell), Supp. VIII, 172 "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 Passes), I, 487-488 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 "Valhalla" (Francis), Supp. IX 77 Valhalla and Other Poems (Francis), Supp. IX 76 Valhouli, James N., Supp. I, Part 1, 199 Vallejo, Cesar, Supp. V, 332 Vallejo, Cesar, Supp. 1X271 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. III, 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; II, 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; Supp. VIII, 96-97 Van Doren, Mark, I, 70, 168; II, 245; HI, 4, 23, 589, 598; IV, 143; Supp.

1, Part 2, 604, 626; Supp. Ill, Part 2, 626; Supp. VIII, 231; Supp. IX 266, 268 Van Duyn, Mona, Supp. IX 269 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, 509-510 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), III, 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; Supp. IX 189, 190, 194, 195, 197, 201,236 Vanity Fair (Thackeray), I, 354; II, 91; III, 70; Supp. IX 200 "Vanity of All Wordly Things, The" (Bradstreet), Supp. I, Part 1, 102, 119 Vanity of Duluoz (Kerouac), Supp. Ill, 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; Supp. IX 199 "Vapor Trail Reflected in the Frog Pond" (Kinnell), Supp. Ill, Part 1, 242-243 "Vapor Trails" (Snyder), Supp. VIII, 298 "Variation: Ode to Fear" (Warren), IV, 241 "Variation on a Sentence" (Bogan), Supp. Ill, Part 1, 60 "Variation on Gaining a Son" (Dove),

566 / AMERICAN WRITERS 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 I, 90, 92 Varieties of Metaphysical Poetry, The (Eliot), Retro. Supp. I, 65 Varieties of Religious Experience, The (William James), Supp. IX 19 Varieties of Religious Experience, The: A Study in Human Nature (James), II, 344, 353, 354, 359-360, 362; IV, 28, 291 Variety (publication), Supp. VIII, 129 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 Vassall Morton (Parkman), Supp. II, Part 2, 595, 597-598 Vasse, W W, III, 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, 475476, 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" (Adonio), Supp. I, Part 2, 650 Vechten, Carl Van, Retro. Supp. I, 199 Vedas, IV, 183 Vega, Lope de, Retro. Supp. I, 285; Supp. Ill, Part 1,341,347 Vegetable, The (Fitzgerald), Retro. Supp. I, 105; Supp. IX 57 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 Vencloca, Thomas, Supp. VIII, 29 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, 717719,721,724 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. I, 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 (Zawacki), Supp. VIII, 272 "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 on the Death of T. S. Eliot" (Brodsky), Supp. VIII, 19

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 Hot Sun in Bermuda, The" (Jackson), Supp. IX 126 Very, Jones, III, 507 Very Old Bones (Kennedy), Supp. VII, 133, 148, 150-153 "Very Proper Gander, The" (Thurber), Supp. I, Part 2, 610 "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 "Via Negativa" (Salter), Supp. IX 257 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, 507-508, 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 1908-1917 (Harmer), Supp. I, Part 1, 275 "Victory of the Moon, The" (Crane), I, 420

INDEX / 567 Vidal, Gore, II, 587; IV, 383; Supp. IV, Part 1, 22, 35, 92, 95, 198, Part 2, 677-696; Supp. IX 96 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, 159-160 View of My Own, A: Essays in Literature and Society (Hardwick), Supp. HI, 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), 111,349,351,358 "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 "Villa Selene" (Simpson), Supp. IX 279 "Village Blacksmith, The" (Longfellow), Supp. I, Part 2, 409 Village Hymns, a Supplement to Dr. Watts's Psalms and HymnsNS (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; Supp. IX 116 "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, 48-49,

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; 11,522 "Virgin Violeta" (Porter), III, 454 Virginia (Glasgow), II, 175, 178, 181182, 193, 194 "Virginia" (Lindsay), Supp. I, Part 2, 398 "Virginia Britannia" (Moore), III, 198, 208-209 Virginia Quarterly Review (publication), III, 292, 443 "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, 530-532 "Virtuoso" (Francis), Supp. IX 82 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, 3 1 1 , 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. HI, 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, 28-29 "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 "Visiting My Own House in Iowa City" (Stern), Supp. IX 300 "Visitors, The/Los Visitantes" (Kingsolver), Supp. VII, 208 Vistas of History (Morison), Supp. I, Part 2, 492 Vita Nova (Gliick), Supp. V, 90-92 Vital Provisions (Price), Supp. VI, 262-263 "Vitamins" (Carver), Supp. Ill, Part 1, 138 Vittorio, the Vampire (Rice), Supp. VII, 295-296 Viudas (Dorfman), Supp. IX 138 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. I, 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; Supp. VIII, 1 1 3 ; Supp. IX 194, 197 "Voice from the Woods, A"

568 / AMERICAN WRITERS Part 1, 51 (Humphrey), Supp. IX 101 316; Retro. Supp. I, 5, 8 "Voice from Under the Table, A" "Voyage" (MacLeish), III, 15 "Wagnerians, The" (Auchincloss), (Wilbur), Supp. Ill, Part 2, 553, "Voyage, The" (Irving), II, 304 Supp. IV, Part 1, 23 554 Voyage dans la Haute Pennsylvanie et Wagoner, David, III, 549; Supp. IX dans I'etat de New-York Voice of Reason, The: Essays in Objec323-340 (Crevecoeur), Supp. I, Part 1, 250- Wahl, Jean, II, 366 tivist Thought (Rand), Supp. IV, 251 Part 2, 527, 528, 532 Waid, Candace, Retro. Supp. I, 360, "Voice of Rock, The" (Ginsberg), Voyage of the Beagle (Darwin), Supp. 372, 373 1X211 Supp. II, Part 1, 313 "Waif of the Plains, A" (Harte), Supp. Voice of the City, The (O. Henry), Voyage to Pagany, A (Williams), IV, II, Part 1, 354 Supp. II, Part 1, 410 404; Retro. Supp. I, 418^19, 420- Wain, John, IV, 449 421, 423 "Voice of the Mountain, The" (Crane), "Wait" (Kinnell), Supp. Ill, Part 1, 1,420 "Voyages" (Crane), I, 393-395 250 Voice of the Negro (Barber), Supp. II, "Voyages" (Levine), Supp. V, 190 "Waiting" (Dubus), Supp. VII, 87 Part 1, 168 Voyages and Discoveries of the Com- "Waiting" (Williams), Retro. Supp. I, panions of Columbus (Irving), II, Voice of the People, The (Glasgow), II, 418 310 175, 176 "Waiting by the Gate" (Bryant), Supp. Voice of the Turtle: American Indian Voznesensky, Andrei, II, 553; Supp. I, Part 1, 171 III, Part 1, 268, Part 2, 560 Literature 1900-1970 (ed. Gunn Waiting for God (Weil), I, 298 Allen), Supp. IV, Part 1, 332, 334 Vrbovska, Anca, Supp. IV, Part 2, 639 Waiting for Godot (Beckett), I, 78, 91, Voiced Connections of James Dickey, "Vulgarity in Literature" (Huxley), HI, 298; Supp. IV, Part 1, 368-369 429-430 The (Dickey), Supp. IV, Part 1, 177 Waiting for Lefty (Odets), Supp. I, Voices from the Moon (Dubus), Supp. "Vultures" (Oliver), Supp. VII, 235 Part 1, 277; Supp. II, Part 2, 529, W (Viva) (Cummings), I, 429, 433, 530-533, 540; Supp. V, 109 VII, 88-89 434, 436, 443, 444, 447 "Voices from the Other World" "Waiting in a Rain Forest" (Wagoner), Supp. IX 329 "W. D. Sees Himself Animated" (Merrill), Supp. Ill, Part 1, 331 (Snodgrass), Supp. VI, 327 Voices in the House (Sedges), Supp. "Waiting to Freeze" (Banks), Supp. V, "W. D. Sits in Kafka's Chair and Is 5,6 II, Part 1, 125 Interrogated Concerning the As- Waiting to Freeze: Poems (Banks), Voices of the Night (Longfellow), II, sumed Death of Cock Robin" Supp. V, 6, 8 489, 493 Waits, Tom, Supp. VIII, 12 (Snodgrass), Supp. VI, 319 "Voices of Village Square, The" (Wolfe), Supp. Ill, Part 2, 571-572 "W. D. Tries to Warn Cock Robin" "Wake, The" (Dove), Supp. IV, Part (Snodgrass), Supp. VI, 319 1,250 Voisin, Laurence, I, 450 "Wake Island" (Rukeyser), Supp. VI, Volney, Constantin Frangois de Chas- Wade, Allan, II, 340 Wade, Grace, I, 216 273 seboeuf, Supp. I, Part 1, 146 Wade, John D., I, 263 Wake Up and Live! (Brande), Supp. I, Volpe, Edmond L., II, 76; III, 49 Part 2, 608 Voltaire, I, 194; II, 86, 103, 449; III,Wade, S. J., IV, 188-189 420; IV, 18; Supp. I, Part 1, 288- "Wading at Wellfleet" (Bishop), Supp. Wakefield, Dan, Supp. VIII, 43 "Wakefield" (Hawthorne), Retro. I, Part 1, 80, 85, 86 289, Part 2, 669, 717 Wadsworth, Charles, I, 454, 470; Supp. I, 154, 159 Von Abele, Rudolph, I, 450 Wakefield, Richard, Supp. IX 323 Retro. Supp. I, 32, 33 Von Frank, Albert J., Supp. I, Part 2, Wakeman, Frederic, Supp. IX 247 Wadsworth, M. C, II, 364 705 Waking, The (Roethke), III, 541 Vonnegut, Kurt, 244; Retro. Supp. I, Wadsworth family, II, 486 "Waking Early Sunday Morning" 170; Supp. II, Part 2, 557, 689, Wagenheim, Allen J., Ill, 49 753-816; Supp. IV, Part 1, 227, Wagenknecht, Edward, II, 245, 317, (Lowell), II, 552 508, 510; III, 432; IV, 213; Supp."Waking in the Blue" (Lowell), II, 547 392; Supp. V, 40, 42, 237, 296 I, Part 2, 408, 426, 584, 706; Supp. "Waking in the Dark" (Rich), Supp. I, "Voracities and Verities" (Moore), III, Part 2, 559 IV, Part 2, 681 214 Waggoner, Hyatt H., I, 404; II, 245, "Waking Up the Rake" (Hogan), Supp. Vore, Nellie, I, 199 414, 533, 557; III, 289, 550; Supp. IV, Part 1, 415^16, 416 Vorlicky, Robert, Supp. IX 132, 135, Wakoski, Diane, Supp. V, 79 I, Part 1, 173, Part 2, 478, 706 136, 141, 144, 147 Vorticism, II, 517; III, 463, 465, 466,Wagner, Jean, Supp. I, Part 1, 341, Walcott, Charles C., I, 120, 427, 520; II, 53,149, 485; III, 336 346, 348; Supp. IV, Part 1, 165, 475; Supp. I, Part 1, 257 Walcott, Derek, Supp. VIII, 28 167, 171 "Vorticism" (Pound), Retro. Supp. I, Walcott, Jersey Joe, Supp. V, 182 Wagner, Linda Welshimer, IV, 425 288 Wald, Lillian, Supp. I, Part 1, 12 Wagner, Philip M., Ill, 121 Voss, Arthur, Supp. I, Part 2, 426 Wagner, Richard, I, 284, 395; II, 425; Walden, Daniel, Supp. IV, Part 2, 584, Voss, Richard, I, 199-200 591; Supp. V, 272 III, 396, 507; Supp. IV, Part 1, 392 Vow of Conversation, A: Journal, Walden; or, Life in the Woods 1964-1965 (Merton), Supp. VIII, Wagner, Robert, Supp. IX 250 (Thoreau), I, 219, 305; II, 8, 142, 206 "Vowels 2" (Baraka), Supp. II, "Wagner Matinee, A" (Gather), I, 315-

INDEX / 569 159, 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; Supp. VIII, 296 Waldhorn, Arthur, II, 270 Waldmeir, Joseph, III, 45, 360; IV, 119 Waldmeir, Joseph J., Supp. I, Part 2, 476, 478 Waldo (Theroux), Supp. VIII, 313, 314, 314-315 Waldron, Edward, Supp. I, Part 1, 348 Waley, Arthur, II, 526; III, 466; Supp. V, 340 "Walk, A" (Snyder), Supp. VIII, 297 "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; Supp. IX 3, 12-13, 14 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, 517-540; Supp. IV, Part 1, 14; Supp. VIII, 141, 214; Supp. IX 306, 311 Walker, C. L., Supp. I, Part 2, 627 Walker, David, Supp. V, 189 Walker, Franklin D., II, 485; HI, 321, 335, 336 Walker, Marianne, Supp. VIII, 139 Walker, Obadiah, II, 113 Walker, Warren S., I, 357 Walker, William E., II, 221 Walker, Williston, I, 565, 566 Walker in the City, A (Kazin), Supp. VIII, 93-95, 99 "Walking" (Hogan), Supp. IV, Part 1, 416 "Walking" (Thoreau), Supp. IV, Part 1,416; Supp. IX 178 "Walking Along in Winter" (Kenyon), Supp. VII, 167 "Walking around the Block with a Three-Year-Old" (Wagoner), Supp. IX 331-332 "Walking Backwards into the Future" (Williams), Supp. IX 146 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), HI, 215 Walking the Black Cat (Simic), Supp. VIII, 280, 282-284 "Walking to Sleep" (Wilbur), Supp. HI, 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 Wall Street Journal (newspaper), Supp. VIII, 241 Wallace, Emily M., IV, 424 Wallace, Henry, I, 489; HI, 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. I, 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 E, 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 at Bear Mountain" (Simpson), Supp. IX 265, 272 Walt Whitman Bathing (Wagoner), Supp. IX 331-332 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 "Waltz, The" (Parker), Supp. IX 204 "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, 273274 "Wandering Jew, The" (Robinson), III, 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 "Wanted: An Ontological Critic" (Ransom), III, 498 "Wanting to Die" (Sexton), Supp. II, Part 2, 684, 686 "Wants" (Paley), Supp. VI, 219 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" (Simic), Supp. VIII, 282 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

570 / AMERICAN WRITERS War Games (Morris), III, 238 War in Heaven, The (Shepard and Chaikin), Supp. Ill, Part 2, 433 "War Is Kind" (Crane), 1,419 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, 135136 Ward, Aileen, II, 531 Ward, Artemus (pseudonym), see Browne, Charles Farrar Ward, Douglas Turner, Supp. IV, Part 1,362 Ward, Henry, Supp. I, Part 2, 588 Ward, J. A., IV, 235 Ward, Leo R., Supp. VIII, 124 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, Harry R., Ill, 243; Supp. I, Part 1, 148, 366, 373 Warlock (Harrison), Supp. VIII, 45, 46 Warner, Charles Dudley, II, 405; IV, 198 Warner, John R., Ill, 193 Warner, Oliver, I, 548 Warner, Susan, Retro. Supp. I, 246 Warner, Sylvia Townsend, Supp. VIII, 151, 155, 164, 171 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, 55-56, 60,68 Warnke, 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; III, 134, 310, 382-383, 454, 455, 482, 485, 490, 496, 497, 502; IV, 121, 122, 123, 125, 126, 142, 236-259, 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. Ill, Part 2, 542; Supp. V, 261, 316, 318, 319, 333; Supp. VIII, 126, 176; Supp. 1X257 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, 313314; Supp. I, Part 2, 399, 485, 508, 509, 511, 513, 517, 518, 520, 599 Washington, D.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; Supp. VIII, 80, 84, 241 Washington Square (James), II, 327, 328; Retro. Supp. I, 215, 220, 222223 "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 Carpet, The" (Matthews),

Supp. IX 158-159 Waste Land, The (Eliot), I, 107, 266, 298, 395, 396, 482, 570-571, 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; Supp. IX 158, 305 "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, 279-281, 283284; 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 Music (Boyle), Supp. VIII, 1, 3-5, 8, 14 "Water Music for the Progress of Love in a Life-Raft Down the Sammamish Slough" (Wagoner), Supp. IX 326 "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 "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 "Waterfall, The" (Clampitt), Supp. IX 44 Waterhouse, Keith, Supp. VIII, 124

INDEX / 571 "Waterlily Fire" (Rukeyser), Supp. VI, 285, 286 Waterlily Fire: Poems 1935-1962 (Rukeyser), Supp. VI, 274, 283, 285 Waterman, Arthur E., Ill, 243 Watermark (Brodsky), Supp. VIII, 29 Waters, Ethel, II, 587 Waters, Muddy, Supp. VIII, 345 Waters of Siloe, The (Merton), Supp. VIII, 196, 208 "Watershed" (Kingsolver), Supp. VII, 208 "Watershed" (Warren), IV, 239 "Watershed, The" (Auden), Supp. II, Part 1, 5 Waterston, Sam, Supp. IX 253 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 Watrous, Peter, Supp. VIII, 79 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 Watt, Ian, Supp. VIII, 4 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" (Snyder), Supp. VIII, 299 "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 "Waxwings" (Francis), Supp. IX 82 Way, Brian, I, 96 Way, The (eds. Steiner and Witt), Supp. IV, Part 2, 505 "Way Down, The" (Kunitz), Supp. Ill, 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 Chuang-Tzu, The (Merton), Supp. VIII, 208 "Way of Exchange in James Dickey's Poetry, The" (Weatherby), Supp. IV, Part 1, 175

Way Out, A (Frost), Retro. Supp. I, 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, 485486,487-489,491,493 Way to Wealth, The (Franklin), II, 101102, 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, 478481,484,487 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 Fly Away (Francis), Supp. IX 7980,84 We Have Always Lived in the Castle (Jackson), Supp. IX 121, 126, 127128 "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. Ill, Part 1, 80 "We Shall All Be Born Again But We Shall Not All Be Saved" (Matthews), Supp. IX 162 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. 1,430 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 Web of Earth, The (Wolfe), IV, 451452, 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, Supp. IX 133, 138, 141 Weber, Carl J., II, 413-414; 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, C. M., II, 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;

572 / AMERICAN WRITERS Supp. II, Part 1,11 Webster's Seventh New Collegiate Dictionary, II, 525 Wector, Dixon, II, 103; IV, 213 "Wedding in Brownsville, A" (Singer), IV, 15 Wedding in Hell, A (Simic), Supp. VIII, 280, 282 "Wedding of the Rose and Lotus, The" (Lindsay), Supp. I, Part 2, 387 "Wedding Toast, A" (Wilbur), Supp. Ill, Part 2, 561 Wedekind, Frank, III, 398 Wedge, George F, HI, 360 Wedge, The (Williams), Retro. Supp. 1,424 "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 Weekend Edition (National Public Radio), Supp. IX 299 Weekly Magazine, Supp. I, Part 1, 126 Weekly Spectator (publication), II, 300 Weekly Standard (publication), Supp. VIII, 232 Weeks, Edward, III, 64, 73 Weeks, Jerome, Supp. VIII, 76 "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 Weigl, Bruce, Supp. VIII, 269, 274 Weil, Robert, Supp. IX 236 Weil, Simone, I, 298 Weinberg, Helen, I, 166 Weinberger, Eliot, Supp. IV, Part 1, 66 ; Supp. VIII, 290, 292 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; Supp. IX 96 Weissman, Philip, III, 408 Welch, James, Supp. IV, Part 1, 404, Part 2, 503, 513, 557, 562 Welch, Lew, Supp. V, 170; Supp. VIII, 303 "Welcome from War" (Rukeyser), Supp. VI, 286 "Welcome Morning" (Sexton), Supp. II, Part 2, 696 "Welcome the Wrath" (Kunitz), Supp. III, 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; Supp. VIII, 46 "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, 463-464, 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; Supp. VIII, 94, 151, 171 Wendell, Barrett, III, 507; Supp. I, Part 2, 414 Wendell, Sarah, see Holmes, Mrs. Abiel (Sarah Wendell) Wept of Wish-ton-Wish, The (Cooper), I, 339, 342, 350 "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; Supp. VIII, 156 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, 285307; Supp. IV, Part 1, 203; Supp. VIII, 97 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, 608609 "West Marginal Way" (Hugo), Supp. VI, 131, 135 "West Real" (Rios), Supp. IV, Part 2, 539, 540 "West Wall" (Merwin), Supp. Ill, Part I, 355 "West Wind" (Oliver), Supp. VII, 246 "West Wind, The" (Bryant), Supp. I, Part 1, 155 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 Canon: The Books and Schools of the Ages (Bloom), Supp. IX 146 Western Humanities Review (publication), Supp. I, Part 1, 201; Supp. V, 22

INDEX / 573 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 Westward Ho (Harrison), Supp. VIII, 51,52 "Wet Casements" (Ashbery), Supp. III, 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 Whalen, Philip, Supp. VIII, 289 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, 359-385; Supp. IV, Part 1, 23, 31, 35, 36, 80, 81, 310; Supp. 1X57 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, 230232 What Are Masterpieces (Stein), IV, 30-31 "What Are Years?" (Moore), III, 211, 213 What Are Years (Moore), III, 208-209, 210,215 "What Became of the Flappers?" (Zelda Fitzgerald), Supp. IX 71 "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 Every Boy Should Know" (Maxwell), Supp. VIII, 169 "What Feels Like the World" (Bausch), Supp. VII, 46 "What God Is Like to Him I Serve" (Bradstreet), Supp. I, Part 1, 106107 "What Happened Here Before" (Snyder), Supp. VIII, 302 What Have I Ever Lost by Dying? (Ely), 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 Have to Defend, What I Can't Bear Losing" (Stern), Supp. IX 286, 287, 288, 298 "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), I, 216 "What Is Exploitation?" (Bourne), I, 216 "What Is It?" (Carver), Supp. Ill, Part 1, 139 What Is Man? (Twain), II, 434; IV, 209 "What Is Poetry" (Ashbery), Supp. HI, 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 "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 Gypsies Told My Grandmother While She Was Still a Young Girl" (Simic), Supp. VIII, 283 "What the Prose Poem Carries with It" (Bly), Supp. IV, Part 1, 64 "What Is This Poet" (Stern), Supp. IX 295 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. Ill, 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, 460461 "What's in Alaska?" (Carver), Supp. HI, 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; Supp. IX 268 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"

574 / AMERICAN WRITERS (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, 347-348, 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 the Peace Corps Was Young" (Theroux), Supp. VIII, 314 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 Finally See Them': The Unconquered Eye in To Kill a Mockingbird" (Champion), Supp. VIII, 128 "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 My Wandering Boy Tonight? (Wagoner), Supp. IX 335-336

"Where Is the Island?" (Francis), Supp. 1X78 "Where Is the Voice Coming From?" (Welty), IV, 280; Retro. Supp. I, 355 "Where Knock Is Open Wide" (Roethke), III, 533-535 "Where My Sympathy Lies" (H. Roth), Supp. IX 234 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 the Wild Things Are (Sendak), Supp. IX 207 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, 30-31 "Wherever Home Is" (Wright), Supp. Ill, Part 2, 605, 606 Which Ones Are the Enemy? (Garrett), Supp. VII, 98 "Which Theatre Is the Absurd One?" (Albee), I, 71 "Which Way to the Future?" (Rehder), Supp. IV, Part 1, 69 Whicher, George E, 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), HI, 513 Whipple, Thomas K., II, 456, 458; IV, 427; Supp. I, Part 2, 402 "Whippoorwill, The" (Francis), Supp. 1X90 "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, 540-541, 544, 545 "Whispers in the Next Room" (Simic), Supp. VIII, 278 "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; Supp. VIII, 171; Supp. IX 20, 32 White, Elinor, see Frost, Mrs. Robert (Elinor White) White, Elizabeth Wade, Supp. I, Part 1, 100, 103, 111, 123 White, Henry Kirke, Supp. I, Part 1, 150 White, Joel, Supp. I, Part 2, 654, 678 White, Katharine. (Katharine Sergeant Angell), Supp. I, Part 2, 610, 653, 655, 656, 669; Supp. VIII, 151, 171 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, 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., III, 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" (Simic), Supp. VIII, 275-276 "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, 144145 White Deer, The (Thurber), Supp. I, Part 2, 606 White Fang (London), II, 471-472, 481 White Goddess, The (Graves), Supp. IV, Part 1, 280 "White Gods and Black Americans" (O'Brien), Supp. I, Part 1, 70

INDEX / 575 "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 Manof-War (Melville), III, 80, 81, 84, 94; Retro Supp. I, 248, 249, 254 "White Lights, The" (Robinson), III, 524 "White Lilies, The" (Gliick), Supp. V, 88 White Man, Listen! (Wright), IV, 478, 488, 489, 494 "White Mulberry Tree, The" (Gather), I, 319; Retro. Supp. I, 7, 9, 17 White Mule (Williams), Retro. Supp. 1,423 White Negro, The (Mailer), III, 36-37 "White Night" (Oliver), Supp. VII, 236 White Noise (DeLillo), Supp. VI, 1, 3-4,5-1, 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 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, 450451, 457, 463, 464, 469, 470, 471; Retro. Supp. I, 8, 52, 194, 254, 283, 284, 333, 387-410, 412, 417, 427; Supp. I, 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. Ill, 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; Supp. VIII, 42, 95, 105, 126, 198, 202, 269; Supp. IX 8, 9, 15, 38, 41, 44, 48, 53, 131, 292, 298, 299, 308, 320 Whitman (Masters), Supp. I, Part 2, 473, 475, 476 "Whitman: The Poet and the Mask" (Cowley), Supp. II, Part 1, 143 Whitmarsh, Jason, Supp. VIII, 283 Whitney, Blair, Supp. I, Part 2, 403 Whitney, Josiah, Supp. IX 180, 181 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; Supp. VIII, 202, 204 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 Whittle Hand: 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., Ill, 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 Lost an American? (Algren), Supp. IX 15-16 Who Owns America? (publication), IV, 237 "Who Puts Together" (Hogan), Supp. IV, Part 1, 403, 405, 412-413 Who Shall Be the Sun? Poems Based on the Lore, Legends, and Myths of the Northwest Coast and Plateau Indians (Wagoner), Supp. IX 328, 329-330, 337 "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 Hog (Wagoner), Supp. IX 337338 "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. I, 343 Who'll Stop the Rain (film), Supp. V, 301 Who's Afraid of Virginia Woo If? (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

576 / AMERICAN WRITERS "Why Do the Heathens Rage?" (O'Connor), III, 351 "Why Do You Write About Russia?" (Simpson), Supp. IX 277 "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 Were in Vietnam (Podhoretz), Supp. VIII, 241 Why We Behave Like Microbe Hunters (Thurber), Supp. I, Part 2, 606 "Why Write?" (Updike), Retro. Supp. 1,317 "Wichita Vortex Sutra" (Ginsberg), Supp. II, Part 1, 319, 321, 323325, 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 Wigglesworth, Michael, IV, 147, 156; Supp. I, Part 1, 110, 111 Wilbur, Richard, II, 557; III, 527; Supp. Ill, Part 1, 64; Part 2, 541565; Supp. IV, Part 2, 626, 634, 642; Supp. V, 337; Supp. VIII, 28 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 of Aveyron, 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 Rowers" (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; Supp. IX 65, 66, 68, 189, 192 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; Supp. IX 140 "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 Wiley, Craig, Supp. VIII, 313 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 Wilkinson, Alec, Supp. VIII, 164, 168, 171 Wilkinson, Max, Supp. IX 251 "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, 557559 "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 Humphrey. Boise State University Western Writers Series (Winchell), Supp. IX 109 William Humphrey, Destroyer of Myths (Almon), Supp. IX 93 "William Humphrey Remembered" (Masters), Supp. IX 96 "William Humphrey, 73, Writer of Novels about Rural Texas" (Gussow), Supp. IX 93 William Humphrey, Southwestern Series (Lee), Supp. IX 109 William I, King, IV, 148 William HI, 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 William Carlos Williams and AI ferity (Ahearn), Retro. Supp. I, 415 William Carlos Williams and the Meanings of Measure (Cushman), Retro. Supp. I, 430 William Carlos Williams: The Ameri-

INDEX / 577 can 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. I, 80 "William Faulkner: The Stillness of Light in August" (Kazin), Supp. VIII, 104 "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. I, 235 William Wilson (Gardner), Supp. VI, 72 "William Wilson" (Poe), II, 475; III, 410, 412; Supp. IX 105 Williams, Ames W, I, 426 Williams, Annie Laurie, Supp. IX 93 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, Joan, Supp. IX 95 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; Supp. IX 146 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; Supp. IX 162 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; Supp. IX 133 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; Supp. VIII, 195, 269, 272, 277, 292; Supp. IX 38, 268, 291 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, 290-291 Willis, Nathaniel Parker, II, 313; III, 431; Supp. I, Part 2, 405 Williwaw (Vidal), Supp. IV, Part 2, 677, 680, 681 "Willow Woman" (Francis), Supp. IX 78 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, August, Supp. VIII, 329-353 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; Supp. VIII, 93, 95, 96, 97, 98-99, 100, 101, 103, 105, 162; Supp. IX 55, 65, 190 Wilson, Edmund (father), IV, 441 Wilson, Reuel, II, 562 Wilson, Sloan, Supp. IV, Part 1, 387 Wilson, T. C., Ill, 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 Winchell, Mark, Supp. VIII, 176, 189 Winchell, Mark Royden, Supp. VIII, 241; Supp. 1X97, 98, 109 Wind Remains, The (opera) (Bowles), Supp. IV, Part 1, 83 Wind, Sand, and Stars (Saint-Exupery), Supp. IX 247 Windham, Donald, IV, 382, 399 "Windhover" (Hopkins), I, 397; II, 539; Supp. IX 43 "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

578 / AMERICAN WRITERS "Wine of Wizardry, A" (Sterling), I, 208 Winer, Linda, Supp. IV, Part 2, 580 Winesburg, Ohio (Anderson), Supp. IX 306, 308 Winesburg, Ohio: A Group of Tales of Ohio Small Town Life (Anderson), 1, 97, 102, 103, 104, 105-108; III, 112, 113, 114, 116; III, 224, 579; Supp. V, 12 Winfrey, Oprah, Supp. VIII, 218 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, 341342 Wings of the Dove, The (James), I, 436; II, 320, 323, 333, 334-335; Retro. Supp. I, 215, 216, 217, 232, 233234; 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 Burial, A" (Clampitt), Supp. 1X48 Winter Carnival (film), Retro. Supp. I, 113 "Winter Daybreak at Vence, A" (Wright), Supp. Ill, Part 1, 249250 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. Ill, 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. I, Part 1, 150, 155 "Winter Rains, Cataluna" (Levine), Supp. V, 182 "Winter Remembered" (Ransom), HI, 492^93 "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 Winterset (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 Desert, The: Sayings from the Desert Fathers of the Fourth Century (Merton), Supp. VIII, 201 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

"Wiser Than a God" (Chopin), Supp. 1, 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, 154155; 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 Witchcraft of Salem Village, The (Jackson), Supp. IX 121 Witches of Eastwick, The (Updike), Retro. Supp. I, 330, 331 Witching Hour, The (Rice), Supp. VII, 299-300 "With a Little Help from My Friends" (Kushner), Supp. IX 131 "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, 276277 "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, 249250 "Withered Skins of Berries" (Toomer), Supp. Ill, Part 2, 485, Supp. IX 320 Witherington, Paul, I, 96; Supp. I, Part 1, 148 Witherspoon, John, Supp. I, Part 2, 504 Without a Hero (Boyle), Supp. VIII, 16 Without Stopping (Bowles), Supp. IV, Part 1,79, 81,85, 90, 91,92

INDEX / 579 "Without Tradition and within Reason: Judge Horton and Atticus Finch in Court" (Johnson), Supp. VIII, 127 "Witness" (Clampitt), Supp. IX 4243, 45, 46"Witness" (Dubus), Supp. VII, 89 "Witness, The" (Porter), III, 443-444 Witness Tree, A (Frost), II, 155; Retro. Supp. I, 122, 137, 139 Mr's End: Days and Nights of the Algonquin Round Table (Gaines), Supp. IX 190 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 "Witty War, A" (Simpson), Supp. IX 268 "Wives and Mistresses" (Hardwick), Supp. Ill, Part 1,211-212 Wizard of Oz (Baum), Supp. IV, Part 1, 113 Wodehouse, P. G., Supp. IX 195 Woiwode, Larry, Supp. VIII, 151 Wojahn, David, Supp. IX 161, 292, 293 Wolcott, James, Supp. IX 259 Wolf, Christa, Supp. IV, Part 1, 310, 314 Wolf, William John, III, 313 Wolf: A False Memoir (Harrison), Supp. VIII, 40, 41-42, 45 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, Linnie, Supp. IX 176 Wolfe, Mabel, IV, 454 Wolfe, Mrs. William Oliver (Julia Elizabeth Westell), 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; Supp. 1X229 Wolfe, Tom, Supp. Ill, Part 2, 567588; 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 Wolfert'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, Part 1, 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, 574-575 "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), 1,310 Woman in the Nineteenth Century (Fuller), Retro. Supp. I, 156 Woman in White, The (Collins), Supp. I, Part 1, 35, 36 Woman Lit by Fireflies, The (Harrison), Supp. VIII, 50-51 Woman of Andros, 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 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, 327-328 "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. Ill, 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, 430-431 Women in Love (Lawrence), III, 27, 34 Women in the Nineteenth Century (Fuller), Supp. II, Part 1, 279, 292, 294-296 Women of Brewster Place, The: A Novel in Seven Stories (Naylor), Supp. VIII, 213, 214-218 Women of Trachis (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" (Bly), Supp. IV, Part 1, 66 "Women We Never See Again" (Bly), Supp. IV, Part 1, 66

580 / AMERICAN WRITERS 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 Old Gentleman, The" (Parker), Supp. IX 197 "Wonderful Pen, The" (Swenson), Supp. IV, Part 2, 650 Wonderful Words, Silent Truth: Essays on Poetry and a Memoir (Simic), Supp. VIII, 270 Wonderland (Gates), Supp. II, Part 2, 511,512,514-515 Wonders of the Invisible World, The (Mather), Supp. II, Part 2, 456459, 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, Calvin, Supp. VIII, 128 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 "Wooing the Inanimate" (Brodsky), Supp. VIII, 32 Woolcott, Alexander, Supp. IX 197 Wooley, Bryan, Supp. V, 225 Woolf, Leonard, Supp. IX 95 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; Supp. VIII, 5, 155, 251, 252, 263, 265; Supp. IX 66, 109 Woollcott, Alexander, IV, 432; Supp. I, Part 2, 664; Supp. IX 190, 194 Woolman, John, Supp. VIII, 202, 204, 205 Wool son, Constance Fenimore, Retro. Supp. I, 224, 228 Worcester, Samuel, I, 458 "Words, The" (Wagoner), Supp. IX 326 "Word about Simple, A" (Jackson), Supp. I, Part 1, 348 Word of God and the Word of Man, The (Barth), Retro. Supp. I, 327 "Word out of the Sea, A" (Whitman), IV, 344 "Wordplay of James Thurber, The" (Eckler), Supp. I, Part 2, 627 "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 above a Narrow Entrance" (Wagoner), Supp. IX 325 "Words for a Bike-Racing, OspreyChasing Wine-Drunk Squaw Man" (Gunn Allen), Supp. IV, Part 1, 325 Words for Dr. Y (Sexton), Supp. II, 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, 370371 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, Dorothy, Supp. IX 38 Wordsworth, William, I, 283, 522, 524, 525,588; 11,7, 11, 17, 18,97, 169, 273, 303, 304, 532, 549, 552; III, 219, 263, 277, 278, 511, 521, 523, 528, 583; IV, 120, 331, 343, 453, 465; Retro. Supp. I, 121, 196; Supp. I, Part 1, 150, 151, 154, 161, 163, 312, 313, 349, 365, Part 2, 375, 409, 416, 422, 607, 621, 622, 673, 674, 675, 676, 677, 710-711, 729; Supp. II, Part 1, 4; Supp. Ill, Part 1, 12, 15, 73, 279; Supp. IV, Part 2, 597, 601; Supp. V, 258; Supp. VIII, 273; Supp. IX 38, 41, 265, 274 Wordsworth Circle, The (publication), Supp. IX 274 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 Shading, The" (Simic), Supp. VIII, 277-278 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, 223224, 225, 233 "World, The" (Simic), Supp. VIII, 282 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, 184-185 "World and the Door, The" (O. Henry), Supp. II, Part 1, 402 World Book Encyclopedia, Supp. IV, Part 2, 539 World Doesn't End, The (Simic), Supp. VIII, 272, 279-280 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 1 Live In, The" (Williams), IV, 388

INDEX / 581 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, 655-656, 657 World Is a Wedding, The (Schwartz), Supp. II, Part 2, 643, 654-660 "World Is Too Much with Us, The" (Wordsworth), Supp. I, Part 1, 312 World of Apples, The (Cheever), Supp. I, Part 1, 191, 193 World of David Wagoner, The (McFarland), Supp. IX 323 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. Ill, Part 1, 62; Supp. VIII, 249, 253, 262 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 End (Boyle), Supp. VIII, 11-12 World's End and Other Stories

(Theroux), Supp. VIII, 322 "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 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, Part 1, 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 Worster, Donald, Supp. IX 19 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 Stones (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 Stones, A (Garrett), Supp. VII, 99-101 "Wreath of Women" (Rukeyser), Supp. VI, 280 "Wreck of R i v e r m o u t h , The" (Whittier), Supp. I, Part 2, 694, 696-697 Wreckage of Agathon, The (Gardner), Supp. VI, 63, 65-66 Wrenn, John H., I, 496 Wright, Austin McGifTert, I, 120 Wright, Bernie, I, 191, 193 Wright, Celeste T., Supp. I, Part 2, 730 Wright, Charles, Supp. V, 92, 331346; Supp. VIII, 272 Wright, Chauncey, II, 344 Wright, Conrad, I, 566 Wright, Donald P., Supp. I, Part 2, 706

Wright, Frank Lloyd, I, 104, 483 Wright, George, III, 479 Wright, Harold Bell, II, 467-468 Wright, Holly, Supp. VIII, 272 Wright, James, I, 291; III, 289; Part 2, 541, 557, 558, 561, 566, 571, 589-607, 623; Supp. Ill, Part 1, 249; Supp. IV, Part 1, 60, 72; Supp. V, 332; Supp. IX 152, 155, 159, 265, 271, 290, 293, 296 Wright, Mrs. Richard (Ellen Poplar), IV, 476 Wright, Nathalia, II, 317; III, 98; IV, 155, 166 Wright, Philip Green, III, 578, 579, 580 Wright, Richard, II, 586; IV, 40, 474497; Supp. I, Part 1, 51, 52, 64, 332, 337; Supp. II, Part 1, 17, 40, 221, 228, 235, 250; Supp. IV, Part 1, 1, 11, 84, 374; Supp. VIII, 88; Supp. IX 316 Wright, Sarah, Supp. IV, Part 1, 8 "Wright, Ellison, Baldwin —Exorcising the Demon" (Bryant), Supp. I, Part 1, 69 "Wright, the Protest Novel, and Baldwin's Faith" (Kim), Supp. I, Part 1,70 Writer, The (magazine), Supp. V, 57 "Writer, The" (Wilbur), Supp. Ill, Part 2, 561,562 Writer in America, The (Brooks), I, 253, 254, 257 Writer in America, The (Stegner), Supp. IV, Part 2, 597, 599, 607 "Writers" (Lowell), II, 554 Writer's America, A: Landscape in Literature (Kazin), Supp. VIII, 106 Writer's Capital, A (Auchincloss), Supp. IV, Part 1,21,23, 24, 31 Writer's Eye, A: Collected Book Reviews (Welty), Retro. Supp. I, 339, 354, 356 Writers on the Left (Aaron), IV, 429; Supp. II, Part 1, 137 "Writer's Prologue to a Play in Verse" (Williams), Retro. Supp. I, 424 "Writer's Quest for a Parnassus, A" (Williams), IV, 392 Writers' Workshop (University of Iowa), Supp. V, 42 "Writing" (Nemerov), III, 275 Writing a Woman's Life (Heilbrun), Supp. IX 66 "Writing American Fiction" (Roth), Supp. I, Part 1, 192, Part 2, 431, 453; Supp. Ill, Part 2, 414, 420, 421; Supp. V, 45 Writing Chicago: Modernism, Ethnog-

582 / AMERICAN WRITERS raphy, and the Novel (Cappetti), Supp. IX 4, 8 "Writing here last autumn of my hopes of seeing a hoopoe" (Updike), Retro. Supp. I, 335 "Writing Lesson, The" (Gordon), Supp. IV, Part 1, 306 Writing Life, The (Dillard), Supp. VI, 23, 31, 33 "Writing of Apollinaire, The" (Zukofsky), Supp. Ill, Part 2, 616, 617 Writing on the Wall, The, and Literary Essays (McCarthy), II, 579 Writings to an Unfinished Accompaniment (Merwin), Supp. Ill, Part 1, 352 "Written History as an Act of Faith" (Beard), Supp. I, Part 2, 492 Wroth, Lawrence C, II, 124 "Wunderkind" (McCullers), II, 585 Wundt, Wilhelm, II, 345 Wurster, William Wilson, Supp. IV, Part 1, 197 WUSA (film), Supp. V, 301 Wuthering Heights (Bronte), Supp. V, 305 Wyandotte (Cooper), I, 350, 355 Wyatt, Bryant N., IV, 235 Wyatt, Robert B., Supp. V, 14 Wyatt, Thomas, Supp. I, Part 1, 369 Wycherly Woman, The (Macdonald), Supp. IV, Part 2, 473 Wylie, Belle, see O'Hara, Mrs. John (Belle Wylie) Wylie, Elinor, IV, 436; Supp. I, Part 2, 707-730; Supp. Ill, Part 1, 2, 63, 318-319 Wylie, Horace, Supp. I, Part 2, 708, 709 Wylie, Philip, III, 223 Wyllys, Ruth, see Taylor, Mrs. Edward (Ruth Wyllys) "Wyoming Valley Tales" (Crane), I, 409 Xaipe (Cummings), I, 430, 432-433, 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 Yagoda, Ben, Supp. VIII, 151 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, Morris 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" (JefTers), 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, 476477, 521, 523, 524, 527, 528, 533, 540, 541, 542, 543-544, 591-592; 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. Ill, Part 1, 59, 63, 236, 238, 253; Supp. IV, Part 1, 81, Part 2, 634; Supp. V,

220; Supp. VIII, 19, 21, 30, 155, 156, 190, 239, 262, 292; Supp. IX 43, 119 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 Yelverton, Theresa, Supp. IX 181 "Yentl the Yeshiva Boy" (Singer), IV, 15,20 Yerkes, Charles E., 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, 243244 Yes, Yes, No, No (Kushner), Supp. IX 133

Yesenin, Sergey, Supp. VIII, 40 "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 jYo! (Alvarez), Supp. VII, 1, 15-17 Yohannan, J. D., II, 20, 24 Yonge, Charlotte, II, 174 "Yore" (Nemerov), III, 283 "York Beach" (Toomer), Supp. Ill, Part 2, 486 Yorke, Dorothy, Supp. I, Part 1, 258 Yorkshire Post (publication), Supp. VIII, 323 Yosemite, The (Muir), Supp. IX 185 "Yosemite Glaciers: Ice Streams of the Great Valley" (Muir), Supp. IX 181 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

INDEX / 583 "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" (Tall Mountain), Supp. IV, Part 1, 324325 "You Can Have It" (Levine), Supp. V, 188-189 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. Ill, 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 Might As Well Live: The Life and Times of Dorothy Parker (Keats), Supp. IX 190 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 E, 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), HI, 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, The (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, 217-222, 232 Youth and the Bright Medusa (Gather), I, 322; Retro. Supp. I, 14 Youth's Companion, The (magazine), II, 397; Retro. Supp. I, 123 Yiigen (periodical), Supp. II, Part 1, 30 Yurka, Blanche, Supp. I, Part 1, 67 Yvernelle: A Legend of Feudal France (Morris), III, 314 Zabei, 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 Zanita: A Tale of the Yosemite (Yelverton), Supp. IX 181 "Zapatos" (Boyle), Supp. VIII, 15 Zarathustra, III, 602 Zaturenska, Gregory, I, 404 Zaturenska, Horace, I, 404 Zaturenska, Marya, I, 404; II, 533; III, 144, 217 Zawacki, Andrew, Supp. VIII, 272 "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 Zelda: A Biography (Milford), Supp. 1X60 "Zelda and Scott: The Beautiful and Damned" (National Portrait Gallery exhibit), Supp. IX 65 Zen and the Birds of Appetite (Merton), Supp. VIII, 205-206, 208X Zend-Avesta (Fechner), II, 358 Zeno, Retro. Supp. I, 247 "Zeus over Redeye" (Hayden), Supp. II, Part 1, 380 Zevi, Sabbatai, IV, 6 Zgoda (newspaper), Supp. IX 8 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 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, 319320, 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, 332333, 342-343

584 / AMERICAN WRITERS "Zoo Revisited" (White), Supp. I, Part 2,654 Zoo Story, The (Albee), I, 71, 72-74, 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 Epi-

logue (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