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Archive for the ‘1981-1986 (vols. 1-5)’ Category

WINTER 1986

Featuring
PAUL METCALF

CONTENTS

The Excerner

Paul Metcalf, “The Prayers: A Documentary Comedy-Drama”

C. Mark Hurlbert and Joseph Bocchi, “An Interview with Paul Metcalf”

David Kadlec, “Apalache: The Restorative Context”

Andrew Campbell, “Paul Metclaf, Geology, and the Dynamics of Place”

The Vortex

Amos N. Wilder, “A Poet in the Depression: Letters of Kenneth Patchen, 1934-1941”

Peter Cole, “The Object and Its Edge: Rothko, Oppen, Zukofsky, and Newman”

Cid Corman, “A Poem by George”

Cover photograph provided by Paul Metcalf.


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FALL 1986

CONTENTS

The Vortex

Richard Jackson, “A Common Time: The Poetry of Denise Levertov”

Nancy J. Sisko, “To Stay Alive: Levertov’s Search for a Revolutionary Poetry”

Patrick D. Murphy, “Penance or Perception: Spirituality and Land in the Poetry of Gary Synder and Wendell Berry”

Harvey Feinberg, “The American Kora: Myth in the Art of William Carlos Williams”

The Biographer

Burton Hatlen, “Interview with Carl Rakosi”

Andrei Codrescu, “The Birth of a Corpse”

The Reviewer

Jenny Penberthy (From this Condensery: The Complete Writing of Lorine Niedecker, ed. Robert J. Bertholf)

The cover portrait of Denise Levertov is by Rollie McKenna for The Modern Poets (McGraw-Hill, 1970).

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SPRING 1986

CONTENTS

The Vortex

Meldoy M. Zajdel, “‘I See Her Differently’: H.D.’s Trilogy as Feminist Response to Masculine Modernism”

Scott Thomas Eastham, “‘by defective means – ‘: Poetic Diction and Divine Apparition in William Carlos Williams’s Later Poetry”

Paul Christensen, “Postmodern Bildungsromans: The Drama of Recent Autobiography”

Woon-Ping Chin Holaday, “Formlessness and Form in Gary Synder’s Mountains and Rivers without End

Cid Corman, “Working the Desert”

The Explicator

David McAleavey, “Oppen on Oppen: Extracts from Interviews”

Bruce Comens, “Soundings: The ‘An’ Song Beginning ‘A’-22”

D. M. Hooley, “Tropes of Memory: Zukofsky’s Catullus

The Reviewer

Marc Hashman (Gael Turnbull, A Gathering of Poems: 1950-1980)

Gary Lenhart (Michael Heller, Conviction’s Net of Branches: Essays on the Objectivist Poets and Poetry)

Don Wellman (Charles Bernstein, Islets/Irriatations)

This cover is a drawing by Kenneth Patchen, reproduced from What Shall We Do Without Us? (Sierra Club, 1984). Courtesy of James Laughlin and the Sierra Club. This 8 x 12 book contains dozens of many-colored drawings of Patchen and an account by Laughlin of his 35 year association with Patchen.

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FALL and WINTER 1985

ROBERT DUNCAN
Special Issue

CONTENTS

Dove Sta Memora

Robert Creeley, “For Robert”

Hayden Carruth, “Slow Worlds to ‘Stardust,’ an Ayre”

John Matthias, “Ley Lines”

Ronald Johnson, “For R.D.”

Robert Kennedy, “Class Note”

Michael McClure, “The Glade”

Jonathan Williams, “Euterpe Tears Off Five Clerihews to Amuse Mr. Duncan”

Jill Duerr, “Saussure Lecture: Duncan College”

Robert Kelly, “Lations: A Suite for Robert Duncan”

Ted Enslin, “Klangfarbenmelodie”

Thom Gunn, “Odysseus on Hermes”

The Vortex

Robert Duncan, “From the H.D. Book, Part II, Chapter 5″

Michael André Bernstein and Burton Hatlen, “Interview with Robert Duncan”

Robert Duncan, “‘Where as Giant Kings We Gathered’: Some Letters from Robert Duncan to William Everson, 1940 and After”

The Excerner

Michael André Bernstein, “Robert Duncan: Talent and the Individual Tradition”

Joseph G. Kronick, “Robert Duncan and the Truth that Lies in Myth”

Norman Finkelstein, “‘Princely Manipulations of the Real’ or ‘A Noise in the Head of the Prince’: Duncan and Spicer on Poetic Composition”

R. S. Hamilton, “After Strange Gods: Robert Duncan Reading Ezra Pound and H. D.”

De Villo Sloan, “‘Crude Mechanical Access’ or ‘Crude Personism’: A Chronicle of One San Francisco Bay Area Poetry War”

The Explicator

Carl D. Esbjornson, “Tracking the Soul’s Truth: Robert Duncan’s Revisioning of the Self in Caesar’s Gate

George F. Butterick, “Seraphic Predator: A First Reading of Robert Duncan’s Ground Work

Thomas Gardner, “‘Where We Are’: A Reading of Passages 1-12″

The National Poetry Award

The Reviewer

Susan Stanford Friedman (H.D., Hedylus; Perdita Schaffner, “A Sketch of H.D.: The Egyptian Cat;” John Walsh, “Afterword” and “Note on the Text”)

Lorrie Smith (Denise Levertov, Oblique Prayers)

Cover designed by Ariel.

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SPRING 1985

CONTENTS

The Excerner

Peter Makin, “Bunting and Swinburne”

Mark Karlins, “The Primacy of Source: The Derivative Poetics of Charles Olson’s The Maximus Poems (Vol. I)”

Paul A. Lacey, “The Poetry of Political Anguish”

Cyrena N. Pondrom, “H.D. and the Origins of Imagism”

The Explicator

Alan J. Peacock, “Basil Bunting’s Boastful Moments”

Gerald Burns, “In Medias [Olson’s] K”

Michele Leggott, “‘See How the Roses Burn!’: The Epigraph of Zukofsky’s 80 Flowers

The Biographer

Robert Franciosi, “Charles Reznikoff’s Privately-Printed Way”

Hayden Carruth, “What ‘Organic’ Means?”

Cover: “Three Arabs” by Wyndham Lewis (ca. 1925). This sketch in black ink was prepared for T. E. Lawrence’s The Seven Pillars of Wisdom, but never used. See Michel No. 673. Private Collection. Copyright the estate of Mrs. G. A. Wyndham Lewis. By permission.

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WINTER 1984

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FALL 1984

CONTENTS

Dove Sta Memora

E. P. Walkiewicz, “By Test of Time”

Robert Creeley, “A Visit with Dr. Williams”

Hugh Kenner, “The Rhythm of Ideas”

Diane Wakoski, “William Carlos Williams: The Poet’s Poet”

Patricia C. Willis, “William Carlos Williams, Marianne Moore, and The Dial

The Excerner

Linda W. Wagner, “The Outrage of Many Loves

Theodora R. Graham, “Myra’s Emergence in William Carlos Williams’s A Dream of Love

Thomas Kilroy, “Brecht, Beckett, and Williams”

Douglas Messerli, “A World Detached: The Early Criticism of William Carlos Williams”

Eleanor Berry, “The Williams-Oppen Connection”

The Gallery

Conference Program

Photographs

Program for Many Loves

The Reviewer

Stephen Cushman (William Carlos Williams)

Beverly Sauer Levy (William Carlos Williams, Many Loves)

George Butterick (The Autobiography of LeRoi Jones)

The drawing for this cover is entitled “WCW as artist.” The doctor said of it: “This is the best portrait of me extant. I am thinking of giving up writing for painting.” Copyright 1975 by Florence H. Williams.

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