American Writers, Supplement XIX

SUPPLEMENT XIX David Budbill to Bruce Weigl

American Writers A Collection of Literary Biographies JAY PARINI Editor in Chief

SUPPLEMENT XIX David Budbill to Bruce Weigl

American Writers Supplement XIX Editor in Chief: Jay Parini Project Editor: Joseph Palmisano Permissions: Jennifer Altschul, Margaret Chamberlain-Gaston, Barb McNeil Composition and Electronic Capture: Gary Leach Manufacturing: Rhonda A. Dover Publisher: Jim Draper Product Manager: Janet Witalec © 2010 Charles Scribner’s Sons, a part of Gale, Cengage Learning ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher. This publication is a creative work fully protected by all applicable copyright laws, as well as by misappropriation, trade secret, unfair competition, and other applicable laws. The authors and editors of this work have added value to the underlying factual material herein through one or more of the following: unique and original selection, coordination, expression, arrangement, and classification of the information.

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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. 5–7 have as 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 — Supplement[s]: 1, pt. 1. Jane Addams to Sidney Lanier. 1, pt. 2. Vachel Lindsay to Elinor Wylie. 2, pt. 1. W.H. Auden to O. Henry. 2, pt. 2. Robinson Jeffers to Yvor Winters. — 4, pt. 1. Maya Angelou to Linda Hogan. 4, pt. 2. Susan Howe to Gore Vidal — Suppl. 5. Russell Banks to Charles Wright — Suppl. 6. Don DeLillo to W. D. Snodgrass — Suppl. 7. Julia Alvarez to Tobias Wolff — Suppl. 8. T.C. Boyle to August Wilson. — Suppl. 11 Toni Cade Bambara to Richard Yates. 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. III. Weigel, Molly. IV. Parini, Jay. V. University of Minnesota pamphlets on American writers. PS129 .A55 810’.9 [B]

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Acknowledgments

Acknowledgment is gratefully made to those publishers and individuals who permitted the use of the following material in copyright. Every effort has been made to secure permission to reprint copyrighted material.

version remains in the Salon archives. Reprinted with permission. / Jessica George Firger, “Powers of Perception: A Profile of Jennifer Egan,” Poets & Writers Magazine, September/October 2006. Reprinted by permission of the publisher, Poets & Writers, Inc., 90 Broad Street, Suite 2100, New York, NY 10004. www.pw.org / The New York Times Book Review, July 30, 2006. Copyright © 2006 by The New York Times Company. Reprinted with permission. / Donna Seaman, “An Interview with Jennifer Egan,” Bookslut.com, December, 2006. Reproduced by permission of the author. / The Writer, v. 120, May, 2007 for “Jennifer Egan on the Importance of Atmosphere” by Sarah Anne Johnson. Reproduced by permission of the author.

DAVID BUDBILL. Budbill, David. From Moment to Moment. Copper Canyon Press, 1999. Copyright © 1975, 1984, 1993, 1994, 1995, 1996, 1997, 1998, 1999 by David Budbill. All rights reserved. Reproduced by permission of Susan Schulman Literary Agency, on behalf of the author David Budbill. / Budbill, David. From From Down to the Village. The Ark, 1981. Copyright © 1977, 1978, 1979, 1980, 1981 by David Budbill. All rights reserved. Reproduced by permission of Susan Schulman Literary Agency, on behalf of the author David Budbill. / Budbill, David. From The Chain Saw Dance. The Countryman Press, 1983. Copyright © 1976, 1977 by David Budbill. All rights reserved. Reproduced by permission of Susan Schulman Literary Agency, on behalf of the author David Budbill. / Budbill, David. From Why I Came to Judevine. White Pine Press, 1987. Copyright © 1977, 1978, 1979, 1980, 1981, 1986, 1987 by David Budbill. All rights reserved. Reproduced by permission of Susan Schulman Literary Agency, on behalf of the author David Budbill. / Budbill, David. From While We’ve Still Got Feet. Copper Canyon Press, 2005. Copyright © 2005 by David Budbill. Reproduced by permission of Susan Schulman Literary Agency, on behalf of the author David Budbill.

MARK HALLIDAY. The New Republic. Copyright © 1987 by The New Republic, Inc. Reproduced by permission of The New Republic. / The Massachusetts Review, Volume 23, Number 1, Spring 1982. Copyright © 1982 The Massachusetts Review, Inc. Reprinted by permission from The Massachusetts Review. / Halliday, Mark. From Little Star. Quill William Morrow, 1987. Copyright © 1987 by Mark Halliday. Reproduced by permission of the author. / Ploughshares, for “Describers” by Mark Halliday. Reproduced by permission of the author. / Halliday, Mark. From Little Star. Quill William Morrow, 1987. Copyright © 1987 by Mark Halliday. Reproduced by permission of the author. / Halliday, Mark. From Little Star. Quill William Morrow, 1987. Copyright © 1987 by Mark Halliday. Reproduced by permission of the author. / Ploughshares, for “Functional Poem” by Mark Halliday. Reproduced by permission of the author. / Halliday, Mark. From Little Star. Quill William Morrow, 1987. Copyright © 1987 by Mark Halliday. Reproduced by permission of the author. / The Gettysburg Review, for “The Truth” by Mark Halliday. Reproduced by permission of the author. / Virginia Quarterly Review. Copyright © 1992 by The Virginia Quarterly Review, The University of Virginia. Reproduced by permission of the publisher. / Halliday, Mark. From Tasker Street. University of Massachusetts Press, 1992. Copyright © 1992 by Mark Halliday. All rights reserved. Reproduced by permission. / Mississippi Review, for “Lionel Trilling” by Mark Halliday. Reproduced by permission of the author. / Halliday, Mark. From Tasker Street. University of Massachusetts Press, 1992. Copyright © 1992 by Mark Halliday. All rights reserved. Reproduced by permission. / Crazyhorse, for “Polack Reverie” by Mark Halliday. Reproduced by permission of the author. / Halliday, Mark. From Tasker Street. University of Massachusetts Press, 1992. Copyright © 1992 by Mark Halliday. All rights reserved. Reproduced by permission. / Crazyhorse, for “Reality U.S.A.” by Mark Halliday. Reproduced by permission of the author. / Columbia, for “My Strange New Poetry” by Mark Halliday. Reproduced by permission of the author. / Halliday, Mark. From Tasker Street. University of Massachusetts Press,

W. S. DI PIERO. Di Piero, W. S. From Chinese Apples. Alfred A. Knopf, 2007. Copyright © 2007 by W. S. Di Piero. All rights reserved. Reproduced by permission of Alfred A. Knopf, a division of Random House, Inc. / Di Piero, W. S. From The Dog Star. University of Massachusetts Press, 1990. Reproduced by permission. / Di Piero, W. S. From The Restorers. University of Chicago Press, 1992. Reproduced by permission of the author. / Di Piero, W. S. From Shadows Burning. Northwestern University Press, 1995. Reproduced by permission. JENNIFER EGAN. Publishers Weekly, v. 248, August 20, 2001. Copyright © 2001 by Reed Publishing USA. Reproduced from Publishers Weekly, published by the Bowker Magazine Group of Cahners Publishing Co., a division of Reed Publishing USA, by permission. / Entertainment Weekly, October 12, 2001. Copyright © 2001 Entertainment Weekly, Inc. All rights reserved. Reproduced by permission. / Laura Miller, “Face Value,” Salon.com, November 14, 2001. This article first appeared in Salon.com, at http://www.salon.com. An online version remains in the Salon archives. Reprinted with permission. / Amy Reiter, “‘Look at Me’ by Jennifer Egan,” Salon.com, November 14, 2001. This article first appeared in Salon.com, at http://www.salon.com. An online

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vi / American Writers 1992. Copyright © 1992 by Mark Halliday. All rights reserved. Reproduced by permission. / Halliday, Mark. From Selfwolf. University of Chicago Press, 1999. Copyright © 1999 by The University of Chicago. All rights reserved. Reproduced by permission of the author. / Halliday, Mark. From Jab. University of Chicago Press, 2002. Copyright © 2002 by The University of Chicago. All rights reserved. Reproduced by permission of the author. / The Gettysburg Review, v. 17, spring, 2004 for “Not Exactly for Talia” by Mark Halliday. Copyright © 2004 by The Gettysburg Review. Reproduced by permission of the author. / Green Mountains Review, v. 19, 2006. Reproduced by permission. ROLANDO HINOJOSA. Hinojosa, Rolando. From Korean Love Songs from Klail City Death Trip. Editorial Justa Publications Inc., 1978. Copyright © 1978 by Rolando Hinojosa. All rights reserved. Reproduced by permission of the author. TED KOOSER. Kooser, Ted. From Offıcial Entry Blank. University of Nebraska Press, 1969. Copyright © 1969 by the University of Nebraska Press. All rights reserved. Reproduced by permission of the author. / Kooser, Ted. From A Local Habitation & A Name. Solo Press, 1974. Copyright © 1974 by Ted Kooser. Reproduced by permission of the author. / Kooser, Ted. From Sure Signs: New and Selected Poems. The University of Pittsburgh Press, 1980. Copyright © 1980 by Ted Kooser. Reprinted by permission of the University of Pittsburgh Press. / Shapiro, Karl. From A Local Habitation & A Name, by Ted Kooser. Solo Press, 1974. Copyright © 1974 by Ted Kooser. Reproduced by permission of the author. / Prairie Schooner, 1978. Copyright © 1978 by University of Nebraska Press. Reproduced from Prairie Schooner by permission of the University of Nebraska Press. / Kooser, Ted. From One World at a Time. University of Pittsburgh Press, 1985. Copyright © 1985 by Ted Kooser. Reprinted by permission of the University of Pittsburgh Press. / Kooser, Ted. From Weather Central. University of Pittsburgh Press, 1994. Copyright © 1994 by Ted Kooser. Reprinted by permission of the University of Pittsburgh Press. / North Dakota Quarterly. Copyright © 1994 by The University of North Dakota. Reproduced by permission. / Kooser, Ted. From Winter Morning Walks. Carnegie Mellon University Press, 2000. Copyright © 2000 by Ted Kooser. All rights reserved. Reproduced by permission. / Kooser, Ted. From Delights & Shadows. Copper Canyon Press, 2004. Copyright © 2004 by Ted Kooser. All rights reserved. Reproduced by permission. / Kooser, Ted. From The Poetry Home Repair Manual. University of Nebraska Press, 2005. Copyright © 2005 by the Board of Regents of the University of Nebraska. All rights reserved. Reproduced by permission of the University of Nebraska Press. / Kooser, Ted. From The Blizzard Voices. University of Nebraska Press, 2006. Copyright © 2006 by the Board of Regents of the University of Nebraska. All rights reserved. Reproduced by permission of the University of Nebraska Press. / Kooser, Ted. “Project Description,” American Life in Poetry, 2007. Reproduced by permission of the author. / Kooser, Ted. From Valentines. University of Nebraska Press, 2008. Copyright © 2008 by the Board of Regents of the University of Nebraska. All rights reserved. Reproduced by permission of the University of Nebraska Press. ALBERT MURRAY. Murray, Albert. From The Omni-Americans. Da Capo Press, 1990. Copyright © 1970 by Albert Murray. All

rights reserved. Reprinted with permission of the Wylie Agency, LLC. / “Keeping the Blues at Bay,” by Charles Johnson. Copyright © 1996 by Charles Johnson. Originally appeared in The New York Times Book Review (March 10, 1996). Reprinted by permission of Georges Borchardt, Inc., on behalf of the author. / Morgenstern, Dan. From Good Morning Blues. Da Capo Press, 2002. Copyright © 2002 by Dan Morgenstern. Reprinted by permission of Da Capo Press, a member of Perseus Books, L.L.C. CHRIS OFFUTT. Gavin J. Grant, “Chris Offutt: Looking Back, Looking In,” IndieBound, Reproduced by permission. / Dyas, Sandra Louise. From Down to the River. University of Iowa Press, 2007. Copyright © 2007 by Sandra Louise Dyas. All rights reserved. Reproduced by permission. MOLLY PEACOCK. Peacock, Molly. From Cornucopia: New and Selected Poems. Copyright © 2002 by Molly Peacock. Used by permission of W. W. Norton & Company, Inc. / Peacock, Molly. From Raw Heaven. Vintage Books, 1984. Copyright © 1980, 1981, 1982, 1983, 1984 by Molly Peacock. All rights reserved. Used by permission of W. W. Norton & Company, Inc. / Peacock, Molly. From Original Love. W. W. Norton, 1985. Copyright © 1985 by Molly Peacock. All rights reserved. Used by permission of W. W. Norton & Company, Inc. / Peacock, Molly. From Take Heart. Vintage Books, 1989. Copyright © 1984, 1985, 1986, 1987, 1988, 1989 by Molly Peacock. All rights reserved. Used by permission of W. W. Norton & Company, Inc. / Brooklyn Rail, February, 2006. Reproduced by permission. / Peacock, Molly. From The Second Blush. W. W. Norton, 2008. Copyright © 2008 by Molly Peacock. All rights reserved. Used by permission of W. W. Norton & Company, Inc. GEORGE SAUNDERS. George Saunders, “Why I Wrote Phil,” Amazon.com. Reproduced by permission. IRWIN SHAW. The New York Times, April 20, 1936. Copyright © 1936, renewed 1964 by The New York Times Company. Reproduced by permission. / The New York Times, July 30, 1957. Copyright © 1957, renewed 1985 by The New York Times Company. Reproduced by permission. / The Commonweal, v. LXXI, March 18, 1960. Copyright © 1960 Commonweal Publishing Co., Inc.; copyright renewed 1988 by the Commonweal Foundation. Reproduced by permission of Commonweal Foundation. / Shaw, Irwin. From Short Stories. University of Chicago Press, 2000. Copyright © 2000 by Irwin Shaw. All rights reserved. Reprinted with permission. / Shaw, Irwin. From Short Stories. University of Chicago Press, 2000. Copyright © 2000 by Irwin Shaw. All rights reserved. Reprinted by permission. HARVEY SWADOS. American Quarterly, v. 14, winter, 1962. Copyright © 1962 The Johns Hopkins University Press. Reproduced by permission. / The New York Times, November 3, 1963. Copyright © 1963 R. V. Cassill. Reprinted by permission of Donadio & Olson, Inc. BRUCE WEIGL. Ironwood, for “Monkey” by Bruce Weigl. Reproduced by permission of the author. / Weigl, Bruce. From A Romance. University of Pittsburgh Press, 1979. Copyright © 1979, Bruce Weigl. All rights reserved. Reprinted by permission of the University of Pittsburgh Press. / Weigl, Bruce. From The Monkey Wars. University of Georgia Press, 1985. Copyright ©

Acknowledgments / vii 1985 by Bruce Weigl. All rights reserved. Reproduced by permission. / Weigl, Bruce. From Song of Napalm. The Atlantic Monthly Press, 1988. Copyright © 1988 by Bruce Weigl. All rights reserved. Reproduced by permission of the author. / American Poetry Review, for “Why We Are Forgiven” by Bruce Weigl. Reproduced by permission of the author. / Kenyon Review, for “The Confusion of Planes We Must Wander In Sleep” by Bruce

Weigl. Reproduced by permission of the author. / Weigl, Bruce. From After the Others. TriQuarterly Books Northwestern University Press, 1999. Copyright © 1999 by Bruce Weigl. All rights reserved. Reproduced by permission. / American Poetry Review, for “Home” by Bruce Weigl. Reproduced by permission of the author. / Irish Pages, for “Anna, in Mourning” by Bruce Weigl. Reproduced by permission of the author.

List of Subjects

Introduction

xi

ALBERT MURRAY Sanford Pinsker

147

List of Contributors

xiii

DAVID BUDBILL Nathan J. Jandl

1

CHRIS OFFUTT Louis H. Palmer III

163

PHILIP CAPUTO Lea M. Williams

17

ROBERT B. PARKER Kathleen McDonald

177

W. S. DI PIERO John Domini

33

MOLLY PEACOCK Jennifer A. Bates

193

JENNIFER EGAN Claire Keyes

49

MARK RICHARD James P. Austin

209

RUDOLPH FISHER Hans Ostrom

65

GEORGE SAUNDERS F. Brett Cox

223

MARK HALLIDAY Joe Moffett

81

IRWIN SHAW Charles R. Baker

239

ROLANDO HINOJOSA Rob Johnson

97

HARVEY SWADOS Robert Niemi

255

BRUCE WEIGL Robert Bernard Hass

273

Cumulative Index

291

Authors List

559

TED KOOSER Steven P. Schneider

115

THOMAS MALLON Nicholas Birns

131

ix

Introduction

publisher. The series appeared in four volumes entitled American Writers: A Collection of Literary Biographies (1974). Since then, nineteen supplements have appeared, treating nearly four hundred American writers in any number of genres. The idea has been consistent with the original series: to provide clear, informative essays aimed at the general reader, which includes students in high school and college. As anyone looking through this supplement will notice, these essays often rise to a high level of craft and critical vision, yet they aim to introduce a writer of note in the history of American literature, offering a sense of the scope and nature of the career under review. The relevant biographical and historical backgrounds are also provided, thus placing the work itself in a living context. The authors of these critical articles have published any number of 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 supplement will observe, they have been held to the highest standards of good writing and intelligent scholarship. The essays each conclude with a select bibliography intended to direct the reading of those who should want to pursue the subject further. The writers studied in this supplement are mostly contemporary, although a few have roots in the early twentieth century. David Budbill, W. S. Di Piero, Mark Halliday, Ted Kooser, Molly Peacock, and Bruce Weigl are mainly poets by trade, though most of them have also worked in other areas. (Di Piero, for instance, is a major critic of art as well as a poet, while Budbill has been a popular playwright.) In fiction, we examine the careers of Philip Caputo, Jennifer Egan, Rudolph Fisher, Rolando Hino-

“For the creation of a masterwork of literature two powers must concur,” wrote Matthew Arnold, “the power of the man and the power of the moment, and the man is not enough without the moment.” Of course Arnold was writing in the nineteenth century, when “man” stood in general for “human being.” Nonetheless, his point remains central to all good thinking about literature: one must take into account the strength of the individual imagination; but the context, “the moment,” is important, too. It is the ground in which the mind of the writer roots and grows. In this nineteenth supplement of American Writers, we look closely at a range of writers within his or her specific historical (and biographical) context. These are all accomplished writers with major reputations in a variety of genres, and yet none of them has yet been featured in our series. These articles should prove helpful to readers who wish to dig more thoroughly into their work, to understand the shape of the career and its situation within the American literary landscape. We hope these articles will demonstrate how each—in his or her way—has added something of considerable value to American culture. This series had its origin in a popular 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 over the years. The series proved invaluable to a generation of students and teachers, who could depend on these reliable, deeply thoughtful, often penetrating critiques of major figures. The idea of reprinting these essays occurred to Charles Scribner, Jr. (1921–1995), the well-known

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xii / American Writers josa, Thomas Mallon, Albert Murray, Chris Offutt, Robert B. Parker, Mark Richard, George Saunders, Irwin Shaw, and Harvey Swados. Here as well, some these writers have written in a variety of genres. (Indeed, one thinks of Murray as mainly a jazz critic, although his fiction compels our interest.) While each of the writers discussed in this supplement has already found an audience—a large one in the case of Robert B. Parker—few of them have yet to receive the kind of sustained attention they deserve, although each has been reviewed at length in periodicals. The hope is that these articles will form a baseline of sorts,

a beginning, and that further criticism and scholarship will follow. As noted above, every effort has been made to locate these authors in time and place. Our belief is that this supplement performs a valuable service in doing so, offering substantial introductions to American writers who have had a significant impact on our culture. In each case, the work has arisen from “the moment,” as Arnold puts it; but this work has been written for the ages as well.

—–JAY PARINI

Contributors

James P. Austin. James P. Austin lives in Egypt, where he has been a writing instructor in the Department of Rhetoric and Composition at the American University in Cairo since 2006. He has written radio scripts for Garrison Keillor’s The Writer’s Almanac and articles for The Oxford Encyclopedia of American Literature and Dictionary of Literary Biography. He has previously appeared in Scribner’s British Writers series, publishing articles on Redmond O’Hanlon and Patrick McCabe. MARK RICHARD

2004. His current project is Theory After Theory, an overview of recent literary interpretation (Broadview, forthcoming). He teaches British, American, and world literature at Eugene Lang College The New School for Liberal Arts. His work has appeared in the Hollins Critic, New York Times Book Review, and College Literature. THOMAS MALLON F. Brett Cox. F. Brett Cox is an associate professor of English at Norwich University. He is co-editor with Andy Duncan of Crossroads: Tales of the Southern Literary Fantastic (Tor, 2004), and has served as a juror for the Shirley Jackson Award and the Science Fiction Research Association Pilgrim Award. His fiction, essays, and reviews have appeared in numerous journals and books, including the North Carolina Literary Review, Postscripts, New England Quarterly, Science Fiction Studies, The Robert Frost Encyclopedia, and The Cultural Influences of William Gibson, the “Father” of Cyberpunk Science Fiction: Critical and Interpretive Essays. GEORGE SAUNDERS

Charles R. Baker. A poet, short story writer, and novelist, Charles R. Baker has contributed several pieces to American Writers, British Writers, American Writers Classics and The Oxford Encyclopedia of American Literature. Mr. Baker is currently working on a biographical novel set in mid-Victorian London. He lives in Dallas, Texas. IRWIN SHAW Jennifer A. Bates. Jennifer A. Bates received her A.B. in English and creative writing from Princeton University in 1990, followed by an M.F.A. in writing, literature, and publishing from Emerson College in 1998. She is the author of the poetry collection The First Night Out of Eden, published by the University Press of Florida. She teaches writing at Middlebury College, where she is also affiliated with the New England Review and the Bread Loaf Writers’ Conference. MOLLY PEACOCK

John Domini. John Domini has published two books of stories and three novels. His last two novels, Earthquake I.D. and A Tomb on the Periphery, were widely praised. His short work has won awards in all genres, including grants from the National Endowment for the Arts and the Ingram Merrill Foundation. His short fiction has appeared in the Paris Review, Ploughshares, and anthologies, and his nonfiction in GQ, New York Times, and elsewhere, including Italian journals. Domini has also translated literary works, and he has served as a visiting writer at many universities, including Harvard and Northwestern. W. S. DI PIERO

Nicholas Birns. Nicholas Birns is editor of Antipodes and co-author of A Companion to Australian Literature Since 1900, named Choice Outstanding Academic Title for 2008. His book Understanding Anthony Powell was published by the University of South Carolina Press in

xiii

xiv / American Writers Robert Bernard Hass. Robert Bernard Hass is the author of Going by Contraries: Robert Frost’s Conflict With Science (University of Virginia Press, 2002), named Choice Outstanding Academic Title for 2004, and a poetry collection, Counting Thunder (David Robert Books, 2008). He has won an Academy of American Poets Prize, an AWP Intro Journals Award, and a creative writing fellowship to the Bread Loaf Writers’ Conference. He is currently an associate professor of English at Edinboro University of Pennsylvania, where he teaches courses on American literature, classical literature, and Shakespeare. BRUCE WEIGL

ing and Falling, won the Foothills Poetry Competition. She is a resident of Marblehead, Massachusetts. JENNIFER EGAN

Nathan J. Jandl. Born in Burlington, Vermont, and raised in northwestern Massachusetts, Nathan J. Jandl has a lifelong connection to the geographical and social landscapes of New England. Jandl received his B.A. in English from Middlebury College and is currently continuing his studies in the Ph.D. program in literature at the University of WisconsinMadison. His work focuses on modern and contemporary poetry, interdisciplinary environmental studies, and ecocritical theory. DAVID BUDBILL

Joe Moffett. Joe Moffett is an associate professor of English at Kentucky Wesleyan College. He is the author of The Search for Origins in the Twentieth-Century Long Poem (West Virginia University Press, 2007) and Understanding Charles Wright (University of South Carolina Press, 2008). He has also published essays on figures such as Derek Walcott, Kenneth Koch, and David Jones. MARK HALLIDAY

Rob Johnson. Rob Johnson is the editor of Fantasmas: Supernatural Stories by MexicanAmerican Writers (Bilingual Review Press, 2001) and the author of The Lost Years of William S. Burroughs: Beats in South Texas (Texas A&M University Press, 2006). He teaches a course on South Texas literature at the University of Texas-Pan American, where he is a professor of literature. He lives in McAllen, Texas. ROLANDO HINOJOSA Claire Keyes. Claire Keyes is the author of a book of poems, The Question of Rapture (Mayapple Press, 2008). Professor emerita at Salem State College where she taught English for thirty years, she has also written The Aesthetics of Power: The Poetry of Adrienne Rich (University of Georgia Press, 1986). Her poems and reviews have appeared in the Calyx, Valparaiso Review, and Women’s Review of Books, among others. Her 1999 chapbook, Ris-

Kathleen McDonald. Kathleen McDonald is an assistant professor of English at Norwich University. She earned her Ph.D. from the University at Albany, SUNY in 2005 with a focus on early American literature. She began reading Robert B. Parker novels at the age of seventeen and has been a devoted reader of them ever since. She hopes that her essay encourages others to explore this prolific American writer. ROBERT B. PARKER

Robert Niemi. Robert Niemi coordinates the American Studies Program and teaches courses on American literature, film, and critical theory at St. Michael’s College. Dr. Niemi has published extensively on American writers and cultural studies topics. His latest book is History in the Media: Film and Television (ABCCLIO, 2006). HARVEY SWADOS Hans Ostrom. Hans Ostrom is a professor of English at the University of Puget Sound, and he was a Fulbright senior lecturer at Uppsala University in Sweden. With J. David Macey, he edited the multi-volume Greenwood Encyclopedia of African American Literature, and he is the author of A Langston Hughes Encyclopedia. His book of poems, The Coast Starlight: Collected Poems 1976–2006, was published in 2006. RUDOLPH FISHER Louis H. Palmer III. Louis H. Palmer III is an associate professor of American literature at Castleton State College, where he teaches a wide variety of classes in literature, composi-

Contributors / xv tion, and public speaking. He is also a member of the editorial board for the Journal of Popular Culture. His research interests include twentiethcentury Southern fiction, environmental and regional literatures, American gothic fiction, and the interactions of race, class, and gender. CHRIS OFFUTT Sanford Pinsker. Sanford Pinsker is an emeritus professor at Franklin & Marshall College where he taught courses in American literature. He has published hundreds of articles, reviews, and poems for newspapers and magazines such as the New York Times, Wall Street Journal, Partisan Review, Georgia Review, Sewanee Review, and Virginia Quarterly Review. ALBERT MURRAY Steven P. Schneider. Steven P. Schneider is the author of a collection of poems entitled Unex-

pected Guests (2008) and a critical study A. R. Ammons and the Poetics of Widening Scope (1994). He is also editor of the essay collection Complexities of Motion: New Essays on A. R. Ammons’s Long Poems (1999). Along with the artist Reefka Schneider, he created the poetryart exhibit Borderlines: Drawing Border Lives. TED KOOSER Lea M. Williams. Lea M. Williams is an assistant professor of English at Norwich University. Her research and teaching interests include the literature of war, memoirs and autobiography, and gender studies. She is currently working on a project that investigates the intersections of gender and memory in women’s twentieth-century writings about war and its aftermath. PHILIP CAPUTO

DAVID BUDBILL (1940—)

Nathan J. Jandl ALTHOUGH DAVID BUDBILL is unabashedly indifferent toward the whims of the literary academy, it would not be far-fetched to compare Budbill’s approach to writing with that of an academy favorite, William Wordsworth. In his preface to the second edition of the Lyrical Ballads (1800), Wordsworth claims that the “principal object ѧ proposed in these Poems was to choose incidents and situations from common life, and to relate or describe them ѧ in a selection of language really used by men” (p. 446). Wordsworth may well have been heralding the coming of Budbill more than a century later: Budbill’s writing in all his chosen genres is nothing if not accessibly candid and profoundly rooted in the language and experience of “common life” as he finds it in the woods of northeastern Vermont, where he has made his home for more than thirty years. Call it “minimalist realism,” as Thomas M. Disch does in his 1993 article on narrative poetry in Parnassus: Poetry in Review, or call it vernacular verse, or simply speech put on a page; no matter how the eventual product is characterized, Budbill brings what William Carlos Williams dubbed the American language directly to his writing and lets the result shine or offend as it will, with a minimum of literary extravagance and a maximum of skillful restraint.

interview in Rivendell Journal, he was in his early years “devoted” to Frost. In fact, Budbill went on to say that “coming to Vermont requires of writers a kind of divorce from Frost, if you’re going to be yourself,” citing Carruth’s poem “Killing the Ghost of Ripton”—Ripton being the town in Vermont where Frost kept a cabin (“Back There,” p. 2). Indeed, Budbill carves out a place for himself that is separate in many ways from the Frostian tradition, both in his simpler stylistic and metrical choices and in his even more graphic, unmannered descriptions of the dark side of Vermont life. Frost, however, is never too far in the background, nor is Budbill afraid of referring to other authors in his poetry, particularly Japanese and Chinese “ancients.” The central venue for Budbill’s geo- and anthropocentric explorations is Judevine, a fictitious town in northeastern Vermont based loosely on his actual hometown of Wolcott. Judevine is small and poor, populated by characters who share the experience of daily struggle, and with whom Budbill—evidently as his own speaker— has a complex relationship. He is at once a foreigner and a peer. On one hand, he is a transplant from Cleveland whose vocation is writing poetry and asking prying questions. On the other, in both his writing and his life Budbill engages in the toil of the backcountry, cutting trees and splitting wood to heat his house, growing enough vegetables to last the year, and, historically at least, working various manual labor jobs to pay the bills. Throughout, he maintains his writerly mission of holding up and representing his neighbors to the world, even as he freely and thoroughly acknowledges their failings. In all, he follows the advice of his father, who once told him, “Stick up for the little guy, Bud” (D. Budbill, telephone interview, May 26, 2008).

There is in fact a tradition of writers who respond to the simultaneous beauty, plight, and commonsense wisdom of the “woodchuck,” or backwoods Vermonter, from Rowland Robinson’s stories of antebellum Vermont to Robert Frost and his famous wall-menders and hired men to the contemporary poet Hayden Carruth’s politically charged depictions of rural life. Budbill benefits greatly from this lineage: Carruth helped Budbill publish his first volume of poetry, Barking Dog (1968), and as Budbill related in a 2003

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DAVID BUDBILL portunity to play music, his other artistic outlet. He is thus nourished by both extremes of human exposure and must find a way to balance them. His self-awareness comes across most trenchantly as he mourns and then celebrates his relatively solitary existence. Complicating the passionate city/country dilemma further, Budbill also confronts ambition, an attribute he treats as if it were a prickly piece of fruit, equally titillating and repellant. Part of his difficulty with ambition stems from his wide reading of ancient Chinese and Japanese literature as well as his study of the Buddhist faith. Each of these sources advise that the worthy life is hermetic, separated from desire, fame, and materialism; certainly Budbill both lives a secluded life and often imitates the brief, imagecentric style of early Eastern writing, focusing on singular instants or emotions or sensations. There is, further, a haiku-like brevity and singularly Buddhist blending of detachment and passion in Budbill’s poetry. Yet it is exactly this combination—detachment and passion—that proves most difficult for Budbill to reconcile. He is genuinely committed to a quiet, meditative life, but he is almost equally desirous for acknowledgment and recognition of his achievements. As he halfjokingly writes in his poem “Dilemma,” from Moment to Moment: Poems of a Mountain Recluse (1999):

The little guy, however, is not always willing to be stuck up for. As Budbill learns repeatedly, his characters frequently harbor a nearly impervious and often defensive kernel of self-reliance that serves to shield them from weakness. In one particularly difficult exchange in “Grace,” from Why I Came to Judevine (1987), Budbill’s speaker attempts to prize out the story of the eponymous woman, who lives in a filthy, fallingapart trailer with her three children. Grace is often the subject of derision and mockery among the townsfolk, and her response to Budbill is nearly venomous in its intensity, full of insults and a resentful cognizance of how self-exposure can lead to further abuse rather than to understanding. Whereas her reputation would have her as a brash, loose woman with no proper regard for herself, Grace is clearly excruciatingly self-aware and desirous of a better life, and Budbill wants us to know this. The interaction is effectively staged, but it is nevertheless representative of Budbill’s dogged desire to turn over psychological and class-related stones and expose the undersides, treacherous and complicated though the results might be, for both himself and his readers. Fortunately for the emotional balance of Budbill’s oeuvre, and perhaps for his sanity, his writing incorporates both existential questions and a persistent, wry, and earthy sense of humor. Concentrated in self-mockery at his tenuous place in the universe and in the spontaneous ribaldry of country conversation, humor clearly functions as a relief valve for many of Budbill’s characters. Laughter, like W. H. Auden’s view of poetry itself, may make nothing happen, but without it the weight of a too-dark life might become overwhelming. Humor also enables self-criticism without detrimental morosity; thence springs Budbill’s witty self-deprecation. The humor is all the more complex because it apparently derives from Budbill’s inability to be completely at home in Vermont despite his long years there. Budbill is pulled—and pulls himself, strenuously at times—between the austere and earthy Judevine/ Wolcott and the crush of New York City, which serves as his lifeline to the exotic food and crowds of Chinatown and provides an op-

I want to be famous so I can be humble about being famous. What good is my humility when I am stuck in this obscurity? (p. 49)

At a very basic level, however, Budbill struggles with the way and the extent to which he can effect change—of almost any sort—through his life and his life’s work, and that struggle spans all of

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DAVID BUDBILL tant figure than he is now, but it is certain that his work fills a niche inhabited by few other writers, past or contemporary, and that his sizable importance exists in that fact if nowhere else.

his writing, from his Judevine poems to his play about life in a city park, Little Acts of Kindness (1996). In a 2004 interview in the Sun, Budbill mentions the example of a man whose form of social activism is “to do no harm”—that by simply stacking wood and keeping to oneself, a person can make a positive impact on the world (Schmitt, p. 7). Yet while Budbill clearly embraces this approach at a conceptual level, he cannot limit or devote himself to passivity: he is too much a voice for the lower classes. When he speaks up, which he does frequently, his writing is usually up-front, unapologetic, and often his least artistic. By embodying those moments of shouting rage and passionate argument, however, Budbill keeps consistent with the overall clarity of message that he covets and creates an interesting counterpoint to his more traditional style of restrained storytelling and thoughtful meditation. Further, he indicates that he considers the subject matter deadly serious, too important to weave into convoluted metaphor and risk misunderstanding.

BIOGRAPHY

David Wolf Budbill was born on June 13, 1940, in Cleveland, Ohio. He grew up in a thoroughly working-class neighborhood, surrounded by union men of all stripes and with a father, Raymond, whom Budbill recalled in a telephone interview with the author (May 26, 2008) as a “quasi-socialist.” Raymond thus provided an inspiration for his son’s sketches of blue-collar Vermonters and for his style of open-faced political exhortations and laments. Raymond’s life was no utopian dream, however, and he sometimes struggled personally—as we learn in the play A Song for My Father: A Play in Two Acts (2006)—as well as professionally. After dropping out of school in the seventh grade and working for a brief time as a streetcar driver, Raymond was laid off and became heavily involved with the early credit union movement. The credit unions were, at that time, nonprofit, cooperative organizations, and Raymond was deeply committed to their cause. Class consciousness and equality were therefore of paramount importance to the Budbill family, even as David strove, with his parents’ encouragement and support, to “better” himself though education. He became the first in his family to finish high school, though it was a challenge: Budbill’s average grade was a C minus, and he suffered from a learning disability that made, and continues to make, reading difficult. Budbill never studied literature formally, in high school or elsewhere, but it was in high school that he fell in love with reading and writing. It began with a leatherette set of John Steinbeck novels from his Uncle Judy, which fascinated Budbill with their depictions of working-class Dust Bowl families, and continued with Budbill’s senior English teacher, who was a physically and mentally scarred but highly talented World War II veteran who wrote novels and would periodically take class time to read from them. Budbill

Despite the volume of his work and some significant critical acclaim, however, Budbill’s literary and political clout remains somewhat insubstantial. He worries about success in his work, both directly and through other characters; and these worries are not unfounded. Budbill appeals most strongly to the non-literati—in many ways a positive outcome from his perspective, it should be acknowledged—and readers seeking a taste of the Northeastern experience and vernacular. However, he is not a “nature poet,” as Howard Nelson accurately points out in Hollins Critic (1988), though he does revel in his country lifestyle. Budbill is thus more serious and less superficially appealing than some of the book-buying public might like, but not sufficiently academic for the academics. Regardless, his unique voice and accessible style, his simple desire to be heard and to share the quiet yet universal stories of his neighbors, and the significant number of beautiful, haunting, idiosyncratic, and insightful moments in his writing indicate that he is someone who deserves the ears of a larger audience. It remains to be seen whether history will judge him as a more impor-

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DAVID BUDBILL May 26, 2008). Budbill, like many college graduates with liberal arts degrees and a paucity of direction, responded with the ready answer that he was prepared to go back to school, which is what he did. His first instinct was to continue studying philosophy, but he found the prevailing philosophical thought—logical positivism— stultifying, so he switched directions and decided to pursue his interest in religion at the Union Theological Seminary in New York City. Union was, and is, renowned for its broad-based focus, its liberal politics, and its propensity for producing secular rather than religious graduates, and Budbill thrived there. He graduated with a master of divinity degree, an intellectual background in a number of religions, and a newfound understanding of spirituality. He now, in fact, considers himself a Taoist-Buddhist-Methodist but is fundamentally opposed to the strictures of organized religion, a result of Union’s unconventional style.

began his own writing through drama: he was an actor in high school and eventually wrote and performed a monologue for his new mentor, who was greatly impressed and urged Budbill to continue writing. Responding to this encouragement and his developing love for the Victorianera poet William Cullen Bryant, as well as his early involvement in the Methodist Church, Budbill expanded his repertoire to include religious verse and began to read the rest of the Victorians. His reading style of a passionate dilettante, deeply sampling certain authors and periods while for the most part skirting others, would develop into a full-blown way of life for Budbill in his later years. In spite of his newfound literary interests, Budbill’s academic success was never assured. Fortunately he was an outstanding hurdler in track and field, and colleges took notice. After graduating from high school Budbill accepted a scholarship from Muskingum College in New Concord, Ohio, where he was promptly placed in a remedial reading course to address his “eighthgrade” reading ability. This state of affairs, combined with a condescending dean—who informed Budbill that if he worked very hard, he might become a “solid C-plus or even B-minus” student—irritated Budbill so much that he bore down and earned a place on the Dean’s List for the next seven semesters. His literary engagement, meanwhile, hit a new high when his college girlfriend returned from New York City in their freshman year, raving about A Coney Island of the Mind by Lawrence Ferlinghetti. Budbill found a new favorite and fellow working-class writer in Ferlinghetti, devouring his work before moving on to the rest of the Beat poets. Most importantly, however, reading this new work convinced Budbill that, more than simply liking to write, he wanted to be a writer.

Living in New York City also afforded Budbill opportunities to try his hand at teaching. The first came in 1964, in the midst of his time at Union, when Budbill was twenty-four years old. Budbill gave a reading of his poetry at the Columbia Preparatory School, after which the headmaster offered Budbill a job. Budbill accepted and soon found himself teaching Chaucer—which he had never read—to high school students. It was an exhilarating two-year hiatus from Union, and certainly important to Budbill’s literary career because it allowed him to steep himself in the literary canon through his own syllabi. Chaucer in particular would become one of his major influences—Judevine, Budbill’s epic poem sequence, has more than one allusion to The Canterbury Tales despite its ostensibly humble aspirations. Three years later Budbill married the painter Lois Eby, whom he had met in 1962. He and Lois shared a number of interests, including literature and religion—ironically it was Lois rather than David who studied twentieth-century literature in graduate school. After Budbill graduated from Union, the couple moved to Pennsylvania to teach at Lincoln University, an African American college. It was a heady and painful

Budbill graduated from Muskingum in 1962 with no idea of how to earn money to support his intended writing lifestyle. His father put a sharp point on this fact at his graduation: after expressing great pride in his son’s accomplishments, he quite abruptly jabbed his finger at Budbill and demanded, “What is your trade? What are you prepared to do?” (D. Budbill, telephone interview,

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DAVID BUDBILL writer, and in that capacity Budbill was doing something his family could not fully comprehend. Fortunately his parents remained supportive, if somewhat confusedly; as Budbill recalls in “My Father,” from his collection While We’ve Still Got Feet (2005):

time. Budbill appointed himself head of the “White Folks Auxiliary of the Black Power Movement,” based on his support of Black Power’s conviction that whites and blacks were irreconcilable and would have to fend for themselves as distinct peoples. His role, as Budbill writes in his online essay “Hidin’ Out in Honky Heaven: On Race Relations in Vermont” (2000), “was to deal with my own racism and the racism of my people.” Simultaneously, the 1960s brought “assassinations, revolutions in Africa, riots in the streets of America, ghettos on fire.” John F. Kennedy had been killed in 1963 and Malcolm X in 1965; in 1968 both Bobby Kennedy and Martin Luther King, Jr., were shot; and the Vietnam War raged throughout. Budbill and Eby worked for two years as teachers and activists at Lincoln until they reached a breaking point in the summer of 1969. They had come to dislike academia and its inherent pomposity. They found an unavoidable level of hypocrisy, albeit well intentioned, in being white teachers at an all-black school. And the deep and complicated social unrest in the United States and elsewhere, made worse by the apparent lack of progress through their activism, became nearly overwhelming. It was, indeed, this combination of factors that propelled them away from the nexus of strife and into the mountains of Vermont.

Before my father died, he’d visit here and sit in the dooryard underneath the apple tree on a summer afternoon with his baby granddaughter on his lap and look out at the gardens and to the mountains beyond and say, You really got it, Bud. You really got it. (p. 103)

It took Budbill until 1968 to publish his first, albeit minor, volume of poetry, Barking Dog, and then another nine years to publish his second, The Chain Saw Dance (1977); but that second volume went through seven printings and sold over 10,000 copies, marking the beginning of a prolific career. In addition, Budbill began to develop new relationships with writers such as Hayden Carruth, and, perhaps more importantly, with the people who would become characters in his work for years to come.

THE CHAIN SAW DANCE

Moving to Vermont, of course, had its own set of challenges. For Budbill, one task was reconciling his new situation with his parents, who had a difficult time understanding the decision to move into the country. His mother, Helen Wolf Budbill, a minister’s daughter, had become fond of telling friends that her son was a college professor, which was seen as an honorable job. She was somewhat distraught when he moved to Vermont to work in the woods and write poetry— her upbringing simply did not endorse flights of hazy, intellectually based decision making. Budbill’s father, on the other hand, could understand more easily: as Budbill recalled in a 2008 Vermont Magazine interview, Raymond had always longed to “break away from the city, to go to the country to be free” (Gauvin, p. 45). Regardless, the move was not simply about living in undeveloped countryside but about being a

Budbill’s first significant work of poetry marked what Hayden Carruth, in his introduction, calls the “new regionalism” (p. 9). Though not a native, as Carruth points out, Budbill nevertheless brings a highly regionalist approach to The Chain Saw Dance, in a manner unlike the neosurrealistinspired poems in Barking Dog. Indeed, The Chain Saw Dance led to the inextricability of Budbill’s identity from Vermont and everything it does and does not represent. His simply titled poems, usually taken from the names of the characters they describe, attempt an equal footing with those characters, an impossibility despite Budbill’s working-class background: he is a poet, and a highly educated one at that. Yet he is comfortable to the point of ease with his subject matter; no whiff of the voyeuristic outsider penetrates his prosy narratives, though they are

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DAVID BUDBILL often unflinching in their descriptions and voyeuristic in a more interior, understanding manner. Neither is there, in The Chain Saw Dance or indeed any of Budbill’s later collections, any marked wavering in tone or approach to his subject matter. If anything, his style evolves through his books slowly and quietly, with particular attention to details such as accent and cadence of speech. The Chain Saw Dance, then, is an ideal primer for Budbill’s work because it encompasses his narrative technique and pared-down approach. We see, for example, his forthright political opinions, which show up in such poems as “Arnie,” where Budbill waxes furious about “Stowe, ski capital of the east. / Stowe: stolen from and supported by the state of Vermont” (p. 25). In these moments Budbill sheds almost all authorial illusion and comes forth loudly through his poetry. In other pieces, which actually constitute the majority of his work, Budbill remains well behind his speaker (though his speaker is a poet named David), allowing the incandescence of his characters to do the work. Antoine, for example, works at the Christmas tree farm alongside Budbill and speaks in a fiery, crude French-Canadian twang. Even against the language of native Vermonters, which Budbill faithfully reproduces, Antoine’s dialect is wildly eccentric, as when he half-jokingly exults in his tree farm labor:

the overall story of Judevine, and each character remains recognizable not simply through blind recognition but through the lasting impression of her certain gait, his habits when drunk, their strained relationship. FROM DOWN TO THE VILLAGE

In his third book of poetry, Budbill takes us down from the isolation of the hills surrounding Judevine and into the village, where he continues to find neighbors to flesh out his locus and locale. The transition from The Chain Saw Dance to From Down to the Village (1981) is nearly seamless: characters introduced in the earlier collection are usually mentioned by name with little supplementary background information, and the physical details of the village are largely left to our imagination. Budbill, however, begins to develop his characters at greater length in From Down to the Village, writing a number of severalpage poems that encapsulate the scope of a relationship or the essence of a person’s daily routine. This striving toward increased dimensionality reveals Budbill’s underlying mission to show more truly the lives of the poor and simple. It is not an overt exercise—Budbill simply weaves more complex stories together, trusting that the purity and poignancy of the narrative will elicit emotion and understanding—and to be fair, he remains unafraid of being obvious and outspoken in his sociopolitical observations, as in the rant about Stowe in The Chain Saw Dance. Yet this latter type of writing remains relatively minor next to his more consistent style of showing rather than telling, a preference that accurately reflects the Vermont blend of personal reserve and unadulterated candor. Interestingly, Budbill’s religious inclinations, complicated though they may be, also begin to emerge in From Down to the Village. “Roy McInnes,” for example, is a multipart poem about Judevine’s highly skilled but unassuming welder, whom Budbill sees as a sort of unconventional deity. Roy is capable of healing merely by touch, albeit the touch of his angle iron and ball-peen hammer. He is “like / a medieval warrior ѧ watching light brighter than the sun”; “his hands / are always dark”; yet “his grip is warm and

Shitagoddamn, goddamnashit, dis da right place ta be caum spring, bull and jam ’raound here outin da sun thin yer blood. Don’t need no tonic here, shitacatsass naow! (p. 36)

It is necessary to go back to the nineteenthcentury author Rowland E. Robinson to see Vermont vernacular in such emphatic use—Budbill knows this best, as the editor of Danvis Tales: Selected Stories (1995), a collection of six of Robinson’s works. Beyond the particulars of speech, the distinctive attributes of Budbill’s characters develop through his way of layering stories so that each poem leads into the next. The book continually comments on itself, expanding

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DAVID BUDBILL gentle / and you can feel the calm he carries in his person / flow into your arm” (p. 26). Diction like “medieval warrior” notwithstanding, Budbill’s picture of McInnes clearly suggests a supernatural ability and a Jesus-like comportment. Even McInnes’ shop is spiritual in Budbill’s eyes: “There are no rose windows here ѧ / no vaulted ceilings ѧ / but it soars—not too high or very gracefully / but it soars” (p. 31). Finally, when Guy Desjardins, a logger, brings in his truck with a broken boom, McInnes fixes it, then stands, “lifts his hood / and says benediction: / ‘That ought to hold it, Guy’” (p. 32). More than idle glorification of skill or poetic exercise, such a portrayal implies the near sublimity that Budbill finds in the lives of those he writes. Perhaps Guy and Roy are only superficially aware of their grace and technical skill—and in truth, they are men of experience, doing their jobs and nothing more—but Budbill is enthralled. Budbill’s work is inherently self-reflexive simply because it is clearly Budbill himself who is the speaker, and his work, though not strictly autobiographical, is based heavily on his own experience. Metapoetic tendencies periodically come to the surface, therefore, albeit less often in his earlier work than in later collections such as Moment to Moment and While We’ve Still Got Feet. Still, it is important to acknowledge the debt those later works have to From Down to the Village, and especially to the poem “Jerry’s Garage.” “Jerry’s Garage” describes the traditional country store—not the type with knickknacks and postcards by local artists, but the one that provides “two of the very few necessities: food and transportation” (p. 60). Jerry’s serves as a haven for the lonely and the bored just as it provides the essential service of car repair and a place to buy food and beer. At one point Budbill deems it necessary to provide a parenthetical, prosaic explanation of how the character of a town can be judged by the freshness of its store’s chewing tobacco. He then goes on to insert a stanza that reads:

This bit of explicit communication with the reader lends a sense of authority to Budbill as the poet, since he knows this type of idiosyncratic detail. In addition, it is a nod to the readers Budbill most wants to reach—those who might be perplexed by the sudden change in form and style. But hearing Budbill’s “actual” voice also draws us into the writing more intimately; it invites us into Jerry’s store and suggests that we should not let the artifice of poetry prevent us from feeling a part of this Vermont world. Here, then, is the subtle yet anti-sophisticate viewpoint that Budbill endorses: poetry that contains, in the titular words of Wallace Stevens, “not ideas about the thing but the thing itself.”

WHY I CAME TO JUDEVINE

The title Why I Came to Judevine (1987) is not entirely accurate, though this poetry collection begins with an evocative prose introduction by Budbill on his early years in Ohio that sheds some light on his socioeconomic inclinations. He delves most significantly into not only his relatives’ and neighbors’ earnest longing for stability and status, but also their inability to wrest themselves from the monotonous jobs and lives that their longing created. Budbill clearly sees this cycle as sad, even pathetic, though he is not disrespectful or obviously emotional in his writing; instead he remains at a sufficient distance to appear as a painter of, rather than participant in, the lives he describes. Whether or not Why I Came to Judevine settles his poetry’s raison d’être is therefore more complicated than the title would have it seem. The first poem in the collection, “North,” is the one clear attempt at explanation. It ends, And I, out of the city and into this place, into these surrounding hills, into a dream of wilderness and freedom and bread, a dream of life growing in a solitude where inward and outward, other and self, disappear and the spirit of wholeness rises definite and sweet as dawn.

That was sociology, not poetry and is why it’s prose and in parentheses. (p. 62)

(p. 14)

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DAVID BUDBILL includes several of “Tommy’s poems” in the book, most of which are short, intense, sexual lyrics about Grace. The unfortunate ending to Tommy’s story is his suicide, which he performs, based on his posture and method (we do not see him die), with a sense of ritual and even happiness. We are left with the underlying question of whether any person can escape, as Budbill suggests in “North,” to another place and become whole. For Tommy, his status in society, his sacrifice for his country, and his abiding love for a woman are not enough.

Perhaps the most important word in the above passage is “dream.” It should not be read idly, as it functions in a rather Frostian manner, quietly asserting that the move to the country and the idealistic concept of the “inward and outward, other and self” disappearing is exactly what Budbill says, and no more: a “dream.” In other words, although Budbill clearly finds solace and serenity in his new home, he also finds further pain and worse poverty, and certainly the same type of dead-endedness he suggests was present back in Ohio. Thus, despite poem’s apparently serene tone, Budbill is actually left on the same shaky ground as his neighbors, trying to find a balance between how he envisions his life and how his life inexorably, and unpredictably, evolves.

JUDEVINE

Budbill’s crowning literary achievement is undoubtedly Judevine (first edition, 1991), a massy volume that brings together much of his previous poetry, frequently in revised form, and blends it with new pieces to create a deeprunning, even riverine portrayal of the town of Judevine. This collection, then, does not necessarily raise any issues unseen in Budbill’s previous work. It is an extended song for the unsung, a celebration and lamentation of Vermont life, a hard look at paradigmatic working-class characters (though Budbill would be loath to call his characters paradigms), and an autobiographical journal of Budbill’s personal life and experience. Budbill follows his neighbors much in the way of the earlier collections, but in Judevine there is space and context enough to set each character more solidly in his or her corner of the village. The sensation is that of being airborne and alighting in houses and situations, but with a dislocated sense of time: except for instances when Budbill follows characters to their deaths or shows time passing linearly, the poems could be arranged in almost any order. Nevertheless, Judevine leaves the distinct impression that the journey through it has been novelistic, a stringing of verse pieces into an epic sequence of experience and emotion. In all, this impressive collection of poems encapsulates not simply Judevine but any number of tiny, impoverished, out-of-the-way locales throughout New England, and it illustrates why dismissing such places as uninteresting—literally, literarily, or lyrically—is a profound waste.

Building up his stable of memorable and oftvisited characters, Budbill introduces two particularly distinctive figures in Why I Came to Judevine. The first is Grace, mentioned above as the embodiment of the lowest end of the Judevine spectrum and perhaps the most resistant poetic subject Budbill encounters. The other half of Grace, however, is her lover Tommy Stames, a young Vietnam veteran who is one of the few whose last name is mentioned and who is first established toward the end of The Chain Saw Dance. In Budbill’s account, both Tommy and his unabashed relationship with Grace are scrutinized in the manner that only a small town can muster—obliquely, quietly yet ruthlessly. Tommy, in particular, is suspect: his self-titled poem, which ends after he trusses up a deer in a particularly gruesome manner, describes the townspeople “circling at a distance / like dogs around a bear, wondering / what it was was in their midst” (p. 31). Indeed, no one is exactly sure what effect the war has had on Tommy, who in turn keeps himself isolated, a clear product of his damaged soul and sensitive self-awareness. As his story evolves through several additional poems, however, we learn the surprising—or perhaps not so surprising—truth that Tommy is in fact quite tender and loving and wants to spend most of his time loving Grace, both physically and emotionally. Just as Judevine is Budbill’s place of escape and oneness, so is Grace the same for Tommy. Tommy is also a poet, and Budbill

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DAVID BUDBILL slightly impressed treatment of Laura and Edgar’s perpetual courtship. “The Postmaster and the Clerk” also reinforces a fundamental facet of Budbill’s poetry: that, while he certainly understands how this couple functions—just as he understands what keeps Raymond and Ann together (and later, in another series of poems, what makes Raymond begin a new relationship with a younger woman)—the connective tissue between much of Judevine’s content is Budbill’s acceptance of his own ignorance. He, as with any writer, works from stories, interviews, and friendship, and longtime Vermont resident though he may be, Budbill clearly knows that he is and will always be on the outside of his own town. But this is also his chosen role, as Judevine/Wolcott’s poet and biographer and anthropologist and geographer. The poems of Judevine, then, like the poet, are a combination of ambition and restraint that attempt to access, but not overembellish or make derivative, the sharp flashes of beauty and pain in Budbill’s region.

Perhaps the best example of Budbill’s longview approach is his treatment of Raymond, a man who first appears in “Raymond and Ann.” This poem is nearly an epic unto itself in its simple yet searching portrayal of a decades-long relationship. As with much of his poetry, Budbill uses the lightest of touches as he steers the story to its initial conclusion, which is Ann’s death. By that time it is clear that this poem is every bit as socially instructive as such famous works as Frost’s “Home Burial,” yet “Raymond and Ann” remains on a different tack, one that yields to us not the complex and unresolved strife between two people but instead the way in which the years can rinse away small injuries and leave a couple cleansed and unafraid of death. There is nothing mundane about “Raymond and Ann”; indeed, it demonstrates one of Budbill’s greatest and most central talents, which is bringing forth rote existence into a light that reveals intricacy and beauty. Nor does Budbill betray Raymond and Ann’s sense of propriety or their old-fashioned, reserved way with words by instilling false drama. Instead he allows other things to ricochet off their quiet resilience so that we can understand the changes happening around them, such as the hippie revolution and the onslaught of age. Raymond and Ann are representative of Judevine in this respect: poor yet proudly self-reliant; ugly and earnest; passive but deeply committed to their own causes. Judevine contains a number of other seminal pieces, including “A Pulp Cutters’ Nativity,” which is a bawdy yet heartfelt reworking of Jesus’s birth; the direct, passionate poems that Tommy Stames writes for Grace; and another extended relationship piece similar in style to “Raymond and Ann,” about Laura Cate, the Judevine town clerk, and Edgar Whitcom, the postmaster. Aptly titled “The Postmaster and the Clerk,” this latter poem opens doors into each of their lives, exposing how they are covertly yet clearly in love with both each other and with the serene constancy of their routines. The poem does not contain quite the same heft as “Raymond and Ann”—it is shorter and encompasses representative moments more than the sweep of decades— yet it is similar in its respectful, inquisitive,

MOMENT TO MOMENT

None of Budbill’s collections of poetry are truly apart from his home in Wolcott; Moment to Moment (1999), however, begins to approach that boundary by employing a less geographical and more conceptual perspective. It is simultaneously his most somberly Buddhist and his most humorous work, rife with acknowledgment of his minor place in the world—like “the bird’s path across the sky. / It will leave no trail” (p. 30)—and wry self-deprecation at his lack of fame. These occasionally depressing reality checks are tempered by deeply felt exultation at his simple existence and poems of homage to the spare wisdom of the ancient Chinese and Japanese poets. Despite the subtitle of the collection, “Poems of a Mountain Recluse,” Budbill thus emerges not as an isolated mountain man with no connection to a broader human experience, but a poet who knows the outside world intimately, knows his own world intimately, and chooses the latter despite the constant allure of what he does not have. In this capacity Budbill looks deeply at himself and finds both significant strength and undeniable weak-

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DAVID BUDBILL ness, the combination of which sets him in a place of mildly troubled stasis where taking his life for granted is neither prevalent nor very far from mind. Moment to Moment is also strikingly selfrepresentative, as with the bulk of Budbill’s writing; this collection, however, tries the veracity of the attachment point between Budbill as speaker and Budbill as man. In several poems, for example, Budbill refers to himself as unwillingly alone, as in “The Music of My Own Kind Too.” It begins:

imagined kinship with them. The final line aptly describes the tone of Moment to Moment, though perhaps with excessive gravity: this collection is an amalgam of private, satisfying vignettes, sharp self-assessment, and, more often that not, humor. As Budbill professes glibly in “How It Is,”

Abandoned, stuck, alone and lonely, exiled from humanity, here on Judevine Mountain. Only the sounds of raven, coyote, chickadee.

WHILE WE’VE STILL GOT FEET

The true hermit answers the phone on the first ring. (p. 51)

Budbill leads off his seventh collection of poetry with a particularly fitting epigraph by the nineteenth-century writer and outdoorsman Nessmuk (George Washington Sears): “Not a misanthrope, or taciturn, but friendly and talkative rather; liking best to live alone, but fond of tramping across the woods to gossip with neighbors” (p. v). There is hardly a better way of describing Budbill or his approach to the poems in While We’ve Still Got Feet (2005). Continuing along a similar tangent as Moment to Moment, the newer work is a quirky medley of Buddhisminspired missives on temporality and transience; twisty, sardonic pieces about the contradictions in Budbill’s existence; and, in a way largely unseen in his previous work, earnest, often stark acknowledgments of his own mortality. Throughout, Budbill sprinkles in his characteristic blend of humor and, perhaps more significantly, sexuality, as in “Another Winter Night,” which describes in simple language the routine of a winter supper with his wife. After eating they “stretch out and each take a corner / of the couch” and Budbill puts his “left foot high up / on the inside of her thigh” (p. 51). The gesture here is quite remarkable in its ambiguity—the calm, unfettered verse that leads into the image lacks even a whiff of overt sexuality, implying instead the easy romance of a long-since married couple. Yet Budbill leaves us with his foot, and our minds, in a place that can only be sexual. Budbill’s suggestiveness in “Another Winter Night,” though, might not be nearly as potent were it not surrounded by many other more obvi-

It’s not enough! (p. 38)

“Poems of a Mountain Recluse,” meanwhile, positions the poet as purposefully bereft of human contact. Both Budbill’s diction and subtitle might ring true except that his wife is frequently present in his ostensibly empty house, and the majority of his work is in fact anthropocentric. He deals with this contradiction by retaining a wily, Frostian self-awareness, such as in the very short piece “Alone and Lonely.” Here Budbill quietly slips the words “or so he imagines” into the second stanza, throwing an air of judgment onto his speaker: He persists alone and lonely, lost in this wilderness where he remains in exile, rebellious, defiant, neglected, or so he imagines. There. You can see him there, every day, bathing in the private, chilly, satisfying waters of self-pity. (p. 32)

Simply through his enjambed qualification the speaker is not truly alone, though he may be lonely; he is only in exile inasmuch as he has exiled himself; and his rebellious defiance, to combine Budbill’s words, is also a confluence of the neglect that Budbill feels is laid on his fellow Judeviners and his problematically, if intimately,

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DAVID BUDBILL ous poems about sex, both in this collection and in those preceding it. In “Again Just Now,” Budbill admires the “sashay” of a “gorgeous young woman,” “full of her life and sex.” He tempers his excitement with the admission that she will someday be old and unattractive, but “just now,” he concludes, “her beautiful // ass swinging down the street / makes both our lives a pleasure” (p. 63). Such brazen commentary from a significantly older man might strike readers as crass except for the distinctly unaffected tone. Budbill is not suggesting that he is going to approach this girl, nor that he would find a friendly reception if he did; instead, he is genuinely appreciative of what he sees as a symbiotic relationship between his aging yet still-sexual body and mind and the girl’s full-bloom youth. There will be no contact besides his eyes and words, but he is delighted, and she, if oblivious, is content in her own way.

THE BONES ON BLACK SPRUCE MOUNTAIN

Though The Bones on Black Spruce Mountain (1978) is one of only two pieces of fiction by David Budbill, it is also his best-selling work, with over 150,000 books sold. This short youngadult novel followed Snowshoe Trek to Otter River (1976), which comprises three short stories about Seth and Daniel, two young boys from a town much like Judevine. Each story is simply crafted: one or both of the boys set out on an adventure—a solitary hike in midwinter, the difficult journey to a long-hidden beaver pond with huge trout, and a night spent alone in the woods, respectively—and encounter a fairly serious setback. The Bones on Black Spruce Mountain again takes up the story of the boys, who, this time together, take a camping trip up Black Spruce Mountain one autumn. They are almost preternaturally well-prepared for their journey, having been shown by a French-Canadian neighbor, Mr. Bateau, the best way to build a comfortable camp, including a stone cooking range, an icebox, and a lean-to, all designed to last from year to year with minor maintenance. In fact, aside from Daniel’s adolescent temper, which stems from his status as an orphan who has seen many broken households, these boys conduct themselves scarcely different from adults. Still, Budbill is careful to include such details as will delight emulative young readers who wish to follow in the footsteps of Seth and Daniel, such as a comprehensive packing list and a topographic map describing their route. There is also the spooky climax of the tale, which is the discovery that a local legend—about a boy who hid himself away in a cave on the mountain and later died—is true. Finally, however, The Bones on Black Spruce Mountain deals more deeply with the themes of family and separation and the value of practical knowledge than the scary image of finding human bones in an abandoned cave. Daniel and Seth have it out in a tense series of conversations until Daniel discovers that he has much in common with the boy who died, because they both were orphans and both abandoned by their families. While not perhaps a true coming-of-age story, The Bones on Black Spruce Mountain is nevertheless a classic yarn about friendship and

Budbill does not tout himself as a literary critic, even if he is quite allusive at times; regardless, one of the surprising talents that he began exploring in Moment to Moment and exploits further in While We’ve Still Got Feet is his questioning of “ancients” such as Ryo¯kan. In “Ryo¯ kan Says,” Budbill finds fault with the Japanese writer’s depiction of himself—with his “dreams of immortality / through poetry”—as “Weeds floating on water.” Budbill asks, “Pretty pompous— / don’t you think?—for a / weed floating on water?” (p. 99). The purpose of Budbill’s debunking is somewhat vague, other than to perhaps suggest that his interest in ancient Asian writing is not a blind obsession. Yet there is something more going on here: Budbill is participating in the tradition of those ancient writers by taking apart the carefully crafted images they created to debunk their own worlds. Although Budbill is being hubristic from a literary standpoint, it seems likely that the authors he is questioning would appreciate his efforts as seeing beyond the writing, beyond the physical and certainly beyond the humanness that poetry necessarily involves. By calling masters imperfect and suggesting that even they fail in the quest for simplicity and selflessness, Budbill attempts to join their ranks.

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DAVID BUDBILL prophetically, “Just a minute. This play is not finished. For years now we thought it was. But it is not finished. There is yet something in this place. Listen” (p. 25). Here at last is hope over despair, the latter emotion having been predominant throughout most of the play. Suddenly the fact that George and Lolly’s costumes are meant to be both similar and warmly colored becomes significant. Indeed, as the play nears its end George has rolled up his trouser legs, Prufrocklike, and one cannot help but compare George with T. S. Eliot’s cautiously self-liberating older man and the way in which he considers possibilities undreamt of before—or at least, possibilities too immodest to previously consider. The “mannequin’s demise,” therefore, becomes nothing less than the demise of stolidity and upright conventionalism as well as a tentative assertion of hope, touchstones of high importance to Budbill and those of his ilk in the 1960s, when this play was published.

overcoming adversity, but with a Vermont spin crafted deftly and effectively by Budbill.

MANNEQUINS’ DEMISE

Among Budbill’s half-dozen plays, the early Mannequins’ Demise: A Play in Eight Scenes (1964) is easily his most abstract work. The drama depends, as the introduction instructs, “upon the sights and sounds that spring up from the script and dance upon the stage” (p. 5). Budbill goes on to urge the reader not to be “discouraged” after reading the script, because it is a work that only comes alive with voice and performance. Indeed, the entire very brief production does away with most accoutrements of theater, including extravagant costumes or set pieces. The rest—that is, the dialogue between two aging couples, the chorus, and the “Silent Man”—is made up of vague, staccato exchanges that allude most strongly to a sense of senility and a wooden disconnect from the outside world. The action in Mannequin’s Demise consists of the interaction between two married couples; the first, George and Martha, invite the second, Ernie and Lolly, to their home for a visit. The opening scene is titled “Are They Coming? We Never Know,” and certainly the implication is that Ernie and Lolly have been over many times, but the encounters have become stale and even dreaded. George in particular has an edge of paranoia in his voice as he says, “I heard something. I heard them. Are they coming?” (p. 10). When Ernie and Lolly arrive, the meeting becomes painfully strained—at one point there is a pause in conversation so long as to create “extreme discomfort in the audience” (p. 15)— and there is as well a marked sexual, or at least romantic, tension between George and Lolly. These two, in fact, are the only ones left standing at the end of the play; the others die suddenly. The difference with George and Lolly stems, it seems, from their ability to see and hear the music that the chorus sings as “soundful” rather than “senseless” (p. 17). They are also aware of the theatricality of their lives and the broader implications of their actions: the final scene opens with George intoning, metadramatically and

JUDEVINE: A PLAY IN THREE ACTS/TWO ACTS

Judevine (1990), the lengthy theatrical production, is hardly extricable from Judevine, the aforementioned collection of poetry that was published one year later. The play is broken into two or three acts depending on the version, with each act composed of what are essentially poems that are either spoken by the ensemble as single pieces of verse or broken into dialogue. The main difference between Judevine and the play Judevine therefore derives from the fact that “pure” poetry leaves more to the reader—or audience—to discern, whereas writing the story of Judevine as drama allows Budbill to follow the “great tradition,” as he called it in interview with Rivendell, of “poetry as an oral and an aural thing” (p. 6). Through stage direction and his extensive introduction, which offers suggestions and guidelines for the production, Budbill drives the play’s tone and introduces sounds to what is otherwise unadorned verse. Expanding thus on the nuances of accent and patterns of speech, Judevine explores more fully the sensory aspects of the town of Judevine and exploits the actors’ voices to create effects impossible in poetry read

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DAVID BUDBILL by an individual. Two central examples would include characters talking over each other to create a confused din of conversation, and the “crescendo” of sounds in Roy McInnes’ welding shop: in his stage directions Budbill advises that the “Shop sounds begin a crescendo so that by the time David reaches [the line] ‘ѧ human speech is pointless’ he has to shout” (p. 48). The sounds support the dialogue with regard to meaning and impact in this case, and indeed throughout the play.

Get up! Get out! Make freedom ring! (p. 4)

In fact, the entire play has Williams’ crazed, highspeed tone and features similar plays on names and places—America is at war with “Iropistan,” for example, a venture which the president says is necessary to “make the world safe for Democracy and for the Great American Free Market Economy!” (p. 14). The game show for which Thingy World! is named is the centerpiece of the play’s over-thetop satire. Martha Greed, the contestant, must grovel her way to winning the show’s hilariously endless set of prizes, which include four TV sets, a grandfather clock, a boat and trailer, “a collection of five, hexagonal brass trunks,” and two “multiposition mobile loungers,” among other items (pp. 25–26). Martha’s chosen game is “Crawl and Beg,” which entails literally begging the host, Captain Stan “The Man” Fanofferly, for the prizes. At first her begging is sincere and earnest; Stan scoffs at this show of soft emotion. She then becomes incensed and her voice rises to fever pitch until she is literally hitting Stan, at which point she receives a foul. Recovering, she begins truly to beg Stan, falling to his feet and spouting an increasingly extreme string of offers: she says that she will “ruin the air,” “ruin the water,” “wipe out all them dirty, smelly, nonwhite people” and “put plutonium and nuclear weapons and missiles into orbit so they will be there to guard my things” (p. 35) as long as she can have the prizes. Stan finally relents and allows her to rise, saying, benediction-style, “go in peace / ѧ the peace that comes with things” (p. 36). Viewed against Roy McInnes’ reverent benediction in From Down to the Village, the scene is all the more smarmy. Thingy World! continues with several other “features,” including an interview by Willy Everstop with the “Mall Babies,” ultra-consumerist children who were born in a mall and who do nothing but spout names of stores and scream out sale prices. Even Willy is a bit challenged by the robotic chanting of the Mall Babies; when he asks what they plan to do when they grow up

THINGY WORLD! OR, HOW WE GOT TO WHERE WE ARE: A SATIRE IN ONE ACT

David Budbill is no stranger to implication and allusion, but neither is he in the business of being unclear or subversively sly in his writing, particularly when it comes to sociopolitical statements. This last trait is nowhere more apparent than in Thingy World! (1991), a play in which the exclamation point is at least as prevalent as the period, and in which Budbill bars no holds when it comes to satirically attacking materialism in America. In some ways Thingy World! brings together all the scattered social commentary in Budbill’s writing; it is his resounding slap at the misguided selfishness he sees in the world. Thingy World! begins as though the audience is, appropriately, watching television, specifically “O.W.O.W. TV.” Characters with names like Barometer Bob, Tina Newsworthy, and Willy Everstop excitedly present world news, politics, the weather—with special emphasis on the latest environmental disasters, which Barometer Bob cheerfully dismisses—and, finally, a game show called THINGY WORLD. Willy Everstop’s opening monologue, if one can call it that, is highly reminiscent of Robin Williams’ comedy routine “Good Morning Vietnam.” It begins, GOOD MOR-NING AMER-ICA! This is Willy Everstop and Hey! all you good people out there, it’s another day! ... So come on, People do your own thing.

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DAVID BUDBILL A secondary dynamic crops up more subtly in Little Acts of Kindness: namely, a metatheatrical strain personified by Mr. Colechester, the caretaker of the park and would-be poetic voice of the unsung masses. Mr. C, as he is known in the play, is a passionate, hapless version of Budbill, clearly educated and deeply invested in his work but incapable of gaining the acceptance of his literary peers. He goes on tirades that surpass even the most frustrated of Budbill’s poems about failure, such as when he is roaring about his latest rejection and, in a long string of insults, calls his rejecters “elitist molesters of dreams, voyeuristic, life sucking, lechers panting after visions somebody else told them to have!” (p. 35). (This example, it should be mentioned, is one of the tamer lines that Mr. C unleashes.) Whether or not Budbill actually feels the same way is unclear, but the zeal in Mr. C’s language suggests that Budbill is enjoying himself and his character’s blue streaks immensely.

and they reply “go shopping,” he responds, “No, really, what are you gonna do?” (p. 42). He must eventually end the interview because of an alleged lack of time, but it is clear that this new generation has exceeded even Willy’s level of “thingy” obsession. By the end of the play, indeed, it is difficult to be anything but exhausted, and perhaps that is what Budbill intends. More than simply suggesting through hyperbole how materialistic American society has become, Budbill demonstrates that this relentless energy and drive to consume may yield not an empowered populace but one that cannot see beyond the narrow reaches of the local shopping mall. LITTLE ACTS OF KINDNESS

Going quite beyond Moment to Moment—at least in a literal sense—in terms of remove from the Green Mountains, Little Acts of Kindness (1996) employs urbanity and musicality to illustrate how little differentiates the city and the country when it comes to human interactions and troubles. The numerous and ethnically diverse characters are fully entrenched in their respective routines, which inevitably lead them to “ratty, little Colechester Park” (p. 3) each morning to socialize, argue, complain, and avoid working. Some appear to be homeless; others come from broken homes or troubled backgrounds. Music is a constant presence, augmenting scenes and filling spaces but also becoming the main event at times, erupting into full-length, dramatic songs that speak to a character’s situation. Though the play is obviously meant to be performed and watched rather than read, it also remains notable that the racial diversity of the characters is not apparent from dialogue or actions alone. Rather, we see their races suggested in the character list at the beginning of the play, and that is all; there are no significant references to race after that. In this capacity, the play quietly but irrefutably points to the common vein shared across human boundaries that resists overt characterization and stereotype. Further, Little Acts of Kindness effects the fulfillment of its own title by quietly exposing those moments of charity that seem to spring organically from everyday situations and unassuming people.

Mr. C is also something of a conductor, a role that necessarily implies that something is being created; and when he arrives onstage, he rouses the other characters with an announcement that implies he is in charge: “All right! All right! / Rise and shine, my pretties. Who wants to work today?” (p. 7). His actual influence over the others is relatively insignificant—none of the characters we eventually meet take him up on his offer to “put the rubber bands and little red straws on cans of WD-40 / for eight short hours and [get] twenty-five big dollars” (p. 8). Nevertheless, he provides both a place and a poetic voice for these people, just as Budbill provides one for them all; thus there are three distinct levels of reality functioning throughout the work. Budbill also attempts to eliminate the fourth wall—that is, the implied separation between audience and actors—as much as possible, setting up the stage in such a way that audience members are invited to buy food from a “street vendor” and listen to the musicians playing before the show and during intermission. As a result, he maintains the integrity of the play as separate from his own experience, and perhaps particularly that of Judevine, while allowing undercurrents of his preoc-

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DAVID BUDBILL though we certainly understand far more about him; and notwithstanding Randy’s desire to let his father die, it is clear that Randy has gained a great deal from their exchanges as well. The dialogue in this play, as in the poem quoted above, is striking in its honest and unembellished portrayal of an aging man who must face with his son the repercussions of addressing the past. Frank’s relationship with his wife, Ruth, is the predominant theme, but in examining that relationship Frank and Randy confront additional topics such as the meaning of work, the metrics of personal value from the 1920s through the present, the male need for sex, and the experience of being lonely. Ultimately A Song for My Father provides Budbill the opportunity to use an entire play to plumb the depths of his own past. Randy finds little appreciable solace in the answers that Frank provides—most of the time, Randy’s goal seems to be getting Frank to acknowledge the way he conducted himself over the years, perhaps something that Budbill was unable to affect in his own lifetime. Frank, meanwhile, aggressively questions Randy’s knowledge of things past; Randy responds by employing a similarly aggressive questioning of Frank’s historical account, particularly when Randy has already heard a contradictory story from his mother. The problem of authenticity becomes important during these moments: Who has the correct story, if a correct story exists? At what point does a younger person, and especially a younger family member, gain an equal right to the past? To make things more complicated, Frank is often difficult to understand during his recollections, vacillating between anger and love, reverence and scorn. It is clear that this is partially a by-product of age, but as the play goes on it also becomes apparent that Frank’s passionate back-and-forth style is an intrinsic component of his personality. Though a tenuous connection, it is not unreasonable to point to Budbill’s struggle with ambition and serenity as a comparable trait: indeed, Randy mentions more than once that he is like his father. “I got you in my blood,” Randy says during a conversation about his dad’s relationships with other women. “I know what you did or at least

cupations to seep through, particularly for readers rather than watchers of the production.

A SONG FOR MY FATHER

A Song for My Father (2006) might best be described by Frost, who concluded his famous poem “The Oven Bird” with the lines, “The question that he frames in all but words / is what to make of a diminished thing” (Mountain Interval, p. 35). Budbill tries to answer that question in A Song for My Father; the “diminished thing” being both his father—played here by Frank—and the relationships his father had, including with Budbill’s surrogate, Randy. The play thus brings us closer to Budbill’s own life than anything before it, barring the description of life among the union workers in Why I Came to Judevine. In essence, this work leads us back into and also springs from the poem in While We’ve Still Got Feet, “My Father Is with Me,” where Budbill writes, I carry with me ѧ the memory of my father before he died, this memory that is a vision also of myself, sometimes not too far off in the future, when I will take his place, and it is I lying in a bed, alone and lonely in a nursing home, shitting in my diaper, one leg, one eye, no teeth, and deaf. (p. 97)

Budbill’s quite nearly apocalyptic vision of himself is not just a mirror of his father’s physical situation, it is a comprehensive deconstruction of his identity. The last line shows him unable to walk in his woods and do work around his home; unable to see his beloved world properly; unable to eat the food he so painstakingly grows; and unable to hear the people who inspire his poetry. Despite Budbill’s obviously troubled past with his father—which we come to understand, of course, through Frank and Randy—it is also obvious that he admires his father’s vivacity and virility, and that seeing him bedridden and physically disabled is exceedingly painful. Indeed, by the end of A Song for My Father, Frank is as diminished a thing as one can be,

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DAVID BUDBILL wanted to do, and I know all that because I’m your son” (pp. 46–47). Budbill may have rolled far from his father’s tree in moving to Vermont and becoming a poet, but he is nevertheless fruit of the same difficult soil, and this play brings that truth forth without apology or inhibition.

2006. (Susan Schulman Literary Agency, New York, provides rights and royalty information.)

YOUNG ADULT FICTION Snowshoe Trek to Otter River. New York: Dial Press, 1976. Republished, Underhill, Vt.: Onion River Press, 2005. (Distribution taken over by Bondcliff Books.) The Bones on Black Spruce Mountain. New York: Dial Press, 1978. Republished, Underhill, Vt.: Onion River Press, 2004. (Distribution taken over by Bondcliff Books.)

Selected Bibliography

OTHER WORKS Christmas Tree Farm. New York: Macmillan, 1974. (Children’s book; out of print.) Danvis Tales: Selected Stories, by Rowland E. Robinson. Edited by David Budbill. Hanover, N.H.: University Press of New England, 1995. “Hidin’ Out in Honky Heaven.” Judevine Mountain Emailite 18 (http://www.davidbudbill.com/jme18.html#hidin), January 2000. (The Judevine Mountain Emailite is Budbill’s online essay publication, available at http:// www.davidbudbill.com/jme.html)

WORKS OF DAVID BUDBILL POETRY Barking Dog. Cochranville, Pa.: Barking Dog Press, 1968. (Limited edition of 400 copies; privately printed; out of print.) The Chain Saw Dance. Woodstock, Vt.: Crow’s Mark Press, 1977. (Out of print. All poems are included in Judevine.) From Down to the Village. New York: Ark, 1981. (Out of print. All poems are included in Judevine.) Why I Came to Judevine. Fredonia, N.Y.: White Pine Press, 1987. (Out of print.) Judevine. Post Mills, Vt.: Chelsea Green, 1991. Rev. 2nd ed., White River Junction, Vt.: Chelsea Green, 1999. Moment to Moment: Poems of a Mountain Recluse. Port Townsend, Wash.: Copper Canyon Press, 1999. While We’ve Still Got Feet. Port Townsend, Wash.: Copper Canyon Press, 2005.

CRITICAL AND BIOGRAPHICAL STUDIES Daley, Yvonne. “David Budbill: The Ornery Hermit Activist Poet.” In Vermont Writers: A State of Mind. Lebanon, N.H.: University Press of New England, 2005. Disch, Thomas M. “Onegin’s Children: Poems in the Form of a Novel.” Parnassus: Poetry in Review 18, no. 2:166 (1993). Nelson, Howard. “Preserving Poetry’s Gene Pool: David Budbill’s Judevine Cycle.” Hollins Critic 25, no. 5:1–8 (December 1988).

INTERVIEWS “Back There: A Conversation with David Budbill.” Rivendell Journal 2 (http://www.rivendelljournal.org/issue_2/ budbill.php), summer 2003. Budbill, David. Personal telephone interview. May 26, 2008. Crowe, Nancy. “David Budbill & Lois Eby.” Stowe Guide and Magazine, winter–spring 2007–2008, pp. 74–79. Gates, Barbara, and Wes Nisker, eds. “A Simple Mountain Poet: An Interview with David Budbill.” Inquiring Mind 21:24–25 (fall 2004). Gauvin, Marcia. “Common Man’s Poet.” Vermont Magazine, May–June 2008, pp. 44–47. Schmitt, Diana. “Weapons in the War for Human Kindness: Why David Budbill Sits on a Mountaintop and Writes Poems.” Sun 339:5–13 (March 2004).

PLAYS Mannequins’ Demise: A Play in Eight Scenes. Boston: Baker’s Plays, 1964. Judevine: A Play in Three Acts. Privately printed, 1970– 1990. (Revised continuously until 1990 when it underwent its first production; simultaneously cut into Judevine: A Play in Two Acts.) Published as Judevine in New American Plays 2. Introduction by Peter Filichia. Portsmouth, N.H.: Heinemann Educational Books, 1992. Pp. 2–84. Thingy World! or, How We Got To Where We Are: A Satire in One Act. Privately printed, 1991. Little Acts of Kindness. Privately printed, 1996. (Susan Schulman Literary Agency, New York, provides rights and royalty information.) Two for Christmas: “The Second Shepherds’ Play” and “A Pulp Cutters’ Nativity.” Privately printed, 2000. (Susan Schulman Literary Agency, New York, provides rights and royalty information.) A Song for My Father: A Play in Two Acts. Privately printed,

OTHER WORKS CITED Frost, Robert. Mountain Interval. New York: Henry Holt & Company, 1916. Wordsworth, William. Selected Poems and Prefaces. Edited by Jack Stillinger. Boston: Houghton Mifflin, 1965.

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PHILIP CAPUTO (1941—)

Lea M. Williams IN HIS LECTURE “Goodnight, Saigon,” delivered at the United States Air Force Academy on April 27, 2000, and subsequently published in the journal War, Literature, & the Arts, Philip Caputo states that he intends to make his “valedictory speech” on the topic of the Vietnam War, claiming, “After tonight, I’ll have no more to say about it. Like the old Billy Joel song, I’m saying ‘Goodnight, Saigon’” (p. 19). This declaration indicates Caputo’s uneasy recognition of the pivotal role Vietnam has played in shaping his success as a writer, success which came quickly with the publication of his much-lauded first book, A Rumor of War, a memoir about becoming and serving as an officer in the United States Marine Corps during the early years of the Vietnam War. Published in May 1977, the book was unexpectedly—at least to Caputo—successful, earning a place on the Publishers Weekly and New York Times best-seller lists. The memoir also received ample praise from critics, and their acclaim has stood the test of time, as the book has continued to sell well and Caputo’s reputation has solidified as one of the important writers of the Vietnam War.

in these works are veterans of the war and carry with them either physical wounds or psychological burdens that have shaped their identities and moral compasses. While the Vietnam War is mentioned to some degree in virtually all of Caputo’s subsequent books, it plays a less obvious role as he expands his focus to write about characters who, like most of his protagonists, are searching to make meaningful lives while resisting the banality and materialism of American society by rejecting ordinary routines and comforts for challenges that often take them to the limit of physical and psychological endurance.

EARLY LIFE AND A RUMOR OF WAR

A Rumor of War, a book it took Caputo nine years to complete, signaled his entrance onto the American literary scene and made his reputation. It was fortuitously published around the same time that other important memoirs about the Vietnam War were released, for example, Ron Kovic’s Born on the Fourth of July and Michael Herr’s Dispatches. By 1977 the American public was ready to read about the war from the soldier’s point of view, and Caputo’s memoir made a large impact with its dedication to revealing, directly and unflinchingly, how the author was remade by the searing experience of combat in Vietnam. It is essential to understanding the Caputo canon; in it he describes why he, like so many of his fictional creations, chooses to abandon his comfortable middle-class life for extreme adversity and danger. The memoir’s prologue and many epigraphs situate the ensuing narrative. Caputo quotes an array of writers and philosophers, drawing in particular from the literature of the First World War—especially the poetry of Wilfred Owen and

Caputo’s decision in 2000 to stop talking about the war underlines his resistance to having his work measured only according to its relationship to Vietnam and his yearning to be read as more than a writer about a single war. In an interview published in the same issue of War, Literature, and the Arts that the lecture appears, Caputo bemoans the way critics have judged him for straying from the topic of Vietnam. Emphasizing his need to explore new literary terrain, Caputo says that “war ѧ holds no mystery for me” (p. 12). Before exhausting the topic of the war, however, Caputo made Vietnam an important subject in his early novels. Many of the characters

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PHILIP CAPUTO which nothing ever happened” (pp. 4–5). The effect of these benign surroundings was to foster a restlessness that the boy partially subdued by hunting in the pastures that were just beyond his house. Developers would eventually turn those open spaces and adjacent woodlands into more suburbs, tearing down farms and polluting the Salt Creek where Caputo liked to wander, imagining a time “before America became a land of salesmen and shopping centers” (p. 5). Growing into a teenager, he began to detest the safety and pleasantness of suburban life, and the longing that he felt as a youngster blossomed into a desire “to find in a commonplace world a chance to live heroically” (p. 5). The pathway to heroism would eventually present itself in the form of the United States Marine Corps.

Siegfried Sassoon—thereby making a connection between the Vietnam War and the bloodbath of the earlier conflict. Though in the prologue Caputo claims he is not making any kind of protest with his book, allying himself with the literary heritage of Owen, Sassoon, and others implicitly positions him within their tradition of dissent against the wastefulness and madness of war. He defends his position, like many memoirists before him, by clarifying that he is not attempting to write history or launch a critique of those who waged the war; rather, he states, A Rumor of War “is simply a story about war, about the things men do in war and the things war does to them” (p. xiii). Writing from this unassuming perspective allows Caputo to make a personal impact by directing the reader’s attention away from large-scale events and concentrating them on the experiences of and subsequent changes in one individual, thereby explaining how “war, by its nature, can arouse a psychopathic violence in men of seemingly normal impulses” (p. xviii).

Though several of Caputo’s uncles served in World War Two, his father did not. Thus, unlike other young men of his generation, Caputo did not inherit directly any military traditions. When he wanted to enlist, only his parents’ insistence that he acquire the college education that neither of them possessed kept him in school. After dropping out of Purdue University because of poor aptitude for his major, engineering, and also because of financial distress, he began classes at Loyola University, where he eventually received a bachelor’s degree in English in 1964 and where he joined the Platoon Leaders’ Class, which started him on the road to commissioning as a second lieutenant in the marines. Caputo completed Officer Candidate School at Quantico, Virginia, in the summer of 1961. His military training continued two years later when he returned to Quantico for advanced Officer Candidate School in the summer of 1963. Though his friends viewed joining the military as a conservative move, for Caputo it was “an act of rebellion” (p. 8), ensuring that he would avoid the predictable and safe future that his parents imagined for him. Instead of a buying a house in the suburbs and taking a respectable job, he studied the art of killing as he learned “discipline and teamwork, two of the Corps’ cardinal virtues” (p. 10). Caputo was driven to succeed because of what failure would have meant for him: a return home to “the emasculating affection and under-

Part 1 of the book, entitled “The Splendid Little War,” traces how this man of “normal impulses” would eventually be charged by the U.S. military with premeditated murder for actions he took while in Vietnam. According to Caputo’s account, his early years resembled those of scores of Midwestern boys of his generation. Born on June 10, 1941, into an Italian-American family in Berwyn, a Chicago suburb, Philip Joseph Caputo and his parents, Marie Ylonda (Napolitan) and Joseph Caputo, and by 1943 a sister, Patricia, lived with his extended family in cramped conditions. In his second memoir, Means of Escape, published in 1991, Caputo describes relishing the feeling of closeness he experienced living among several generations under one roof. This sense of belonging was disrupted, however, when his parents, fulfilling their version of the American dream, moved to their own house in Westchester, Illinois, another Chicago suburb, when Caputo was ten years old. In A Rumor of War he describes growing up in this suburb of “sleek, new schools smelling of fresh plaster and floor wax; supermarkets full of Wonder Bread and Bird’s Eye frozen peas; rows of centrally heated split-levels that lined dirtless streets on

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PHILIP CAPUTO never imagining “that I might not return. ѧ I was twenty-three years old, in superb condition, and quite certain I would live forever” (p. 43). The young man’s confidence in his immortality notwithstanding, Caputo the seasoned veteran and writer undercuts the descriptions of the troops’ excited preparations for Vietnam by inserting one-line descriptions of the fate that awaited some of these soldiers: half of his roommate’s platoon would be killed or wounded that same year; one young soldier, Gonzalez, would step on a land mine and mangle his left foot; another large and powerful man would be shot and paralyzed. Caputo does not elaborate on the fates of these men but allows their disturbing futures to interrupt and counteract the innocent, and ignorant, exuberance of the marines. Their dreams of heroism, filtered through Hollywood fantasies of John Wayne charging up beaches during World War Two, will come to an end once they gain an understanding of war that can come only with experiencing its brutality and, as Caputo will reveal, its intensity and attraction.

standing” his parents would have offered him (pp. 10–11). It was the very certainty that his parents would have welcomed him back to the normalcy and dullness of suburban life that pushed Caputo to endure the grueling marine training. The young man seemed suited for the marines, though he found the Marine Officers’ Basic School at Quantico, which he attended in May 1964, frustrating because of its emphasis on teaching the methodology of war in a classroom setting. He describes how he “wanted the romance of war ѧ the sort of thing I had seen in Guadalcanal Diary and Retreat, Hell!” (p. 14). This desire for action-oriented training was partially fulfilled as Caputo engaged in field exercises supplemented by schooling in counterinsurgency. He soon realized that its tactics and methods would be essential to the next war brewing in Southeast Asia, a war in which Caputo was eager to fight in order to find “a bit of dangerous adventure” (p. 18). His eagerness to go to war was thwarted for some time by a posting to his first command in early 1965: the Second Rifle Platoon, C Company, First Battalion, Third Marines on Okinawa. Caputo felt the monotony of garrison life as he attempted to earn the respect of his company, a difficult task given his position as the most junior officer. He also learned that when he failed to follow procedures, even minor ones such as signing forms with the correct ink color, he became an object of mockery. After being chewed out for an error during training exercises, he determined to prove that he had a right to claim a place in the tough brotherhood of the marines. He says, “Much of my behavior later in Vietnam, good as well as bad, was determined by the rebukes I received that day. They instilled in me a lasting fear of criticism and, conversely, a hunger for praise. ѧ I was ready to die for ѧ a few favorable remarks in a fitness report. Words” (pp. 34–35). Caputo’s compulsion to affirm his competence made him hunger for war. When he finally heard a fellow marine joyfully announce, “We’re going to war!” (p. 40), his biggest concern was that it would turn out to be another rumor. As he prepared for departure he packed his footlocker,

At a first glance his assignment to guard an American airfield near Danang did not seem to offer the chance to test his capacity for heroism. Among the first marines to land there in March of 1965, their mission left them feeling let down, given that the location appeared to be relatively safe and calm. As they endured “this time of phony war” (p. 65), some men were struck by illnesses, others by accidents; Gonzalez stepped on a mine and was shipped out of Vietnam, the platoon’s first loss. Another kind of loss began as well: Caputo’s innocence regarding the potential savagery of human beings was eroded when an Australian advisor returned from a firefight carrying a trophy, two human ears strung on a wire. Caputo explains his shocked reaction: “I had not expected to see such a thing ѧ the man holding it was a mirror image of myself—a member of the English-speaking world” (p. 67). The implicit assumption is that men unlike him, presumably the Vietnamese with their unfamiliar language, appearance, and culture, would perhaps be capable of such atrocities. What shakes Caputo is the idea that someone with whom he identifies and who represents the values and civilization of the

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PHILIP CAPUTO Caputo found no easy answers, and his job of tallying the dead came to haunt him, giving him nightmares in which he commanded a platoon that included the dead men from his old company. As his guilt over being alive and in relative safety increased, his fears no longer were confined to nocturnal manifestations: during the day he imagined living men as they would look in death, disfigured and maimed.

Western world could be so brutal. As the memoir progresses, it becomes apparent that not only will Caputo need to come to terms with the potential for violence and savagery in others, but most essentially in himself. As he watched one of the first skirmishes between American forces and the Vietcong in April of 1965, he was forced to accept his intense desire to be part of the fighting. He admits, “I knew then that something in me was drawn to war. It might have been an unholy attraction, but it was there and it could not be denied” (p. 71). That lust for war was finally fulfilled when his company went on its first search-and-destroy mission. Though the old hands were solemn about their impending departure, Caputo confesses that when going into combat for the first time he “felt happy. The nervousness had left me the moment I got into the helicopter, and I felt happier than I ever had” (p. 81). His happiness would soon be tempered by the reality of warfare in Vietnam. Coping with the intense heat, the impenetrable jungle, and the stress of combat left him exhausted, bewildered, and numb.

As the fall of 1965 progressed, the war became “a war of attrition” (p. 217), and Caputo was writing seventy-five to eighty casualty reports a week. The grind of recording the violence, his continued guilt over his position, his fear of going insane, and a burning desire to get revenge on the Vietcong for killing his friends drove Caputo in November 1965 to request a transfer to a line company. He also desired the extreme nature of combat, where, he says, “You found yourself on a precarious emotional edge, experiencing a headiness that no drink or drug could match” (p. 230). This yearning to experience the exhilaration and terror that combat offered becomes common to later Caputo heroes, who see such a choice as a way to escape the everyday, the routine.

Though his combat experiences affected important changes in him, when he was reassigned in June 1965 as an assistant adjutant at regimental headquarters in the relatively safe area of Danang, Caputo experienced warfare in such a way that his very sanity came into question. In part 2 of the memoir, “The Officer in Charge of the Dead,” Caputo describes his new duties, which included serving as the regimental casualty reporting officer. He collected data on the number of American and enemy soldiers killed, at times having to count the dead Vietcong himself when they were brought to headquarters. He kept a tally of the dead on a scoreboard in the colonel’s tent, making changes as new information came in. The military’s mechanical efficiency and use of the bodies—at times they were put on display to harden behind-the-lines marines to the violence of warfare or to impress a visiting general— disgusted Caputo. His faith in what he was doing in Vietnam was shaken by these experiences. He asks himself, “What kind of men were we, and what kind of army was it that made exhibitions of the human beings it had butchered?” (p. 179).

In fact, when he was transferred to a line company in the First Battalion and given command of the Second Rifle Platoon, he lived again the extremes of battle. Under fire Caputo taunted enemy soldiers, standing up and screaming at them to come and get him, believing himself to be “John Wayne in Sands of Iwo Jima.” The more mature Caputo writing some years down the road modifies this fantastical view of himself, remarking that he “was a young, somewhat immature officer flying on an overdose of adrenalin” (p. 269). That adrenaline would rule Caputo in other moments, causing him to lose control of his platoon as it rampaged through the village of Ha Na, reducing it to ashes. He admits that seeing his platoon turned into a gang of marauders was one of the ugliest of many troubling things he witnessed in Vietnam. Most of all he was haunted by his own capacity for violence and attraction to destruction. The dark tendencies within him were fully unleashed in February 1966 when, suffering from

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PHILIP CAPUTO he sought artistic inspiration in Paris, but frustrated and angry, he made no progress on his book. After his European travels ended, Caputo returned home to work as an assistant sales promotion manager for the National Advertising Corporation, where he found himself living the drab routine life he had joined the marines to escape. In due course he found more meaningful employment working for the Chicago Tribune. Initially sent to acquire some much-needed experience at the Trib, a branch of the Tribune that covered suburban news, Caputo quickly proved his natural ability as a journalist and gained recognition for his coverage of mob activities in the area. He moved from the suburbs to the city room of the Tribune in 1969, where he became part of an investigative task force that wrote high-profile exposés of nursing home abuses, corruption in the criminal court system, and, in 1972, of election fraud, a report that won the team a Pulitzer Prize. His success garnered him the acclaim and recognition needed to land a job as a foreign correspondent for the paper in 1972. He and his first wife, Jill Ongemach, whom he had married in 1969, moved to Rome along with their young son, Geoffrey, born in 1970, but his constant need for adventure led him to report, from 1972 till 1977, from such dangerous places as Cyprus, Lebanon, Sudan, and Vietnam. Despite the birth in 1973 of another son, Marc, Caputo eagerly went to cover Beirut, certainly adding drama and danger to his life. He was taken hostage for a week that year by the Palestinian Liberation Organization, interrogated, and tortured on suspicion of being a spy. When back in Beirut in 1975 to cover the civil war, Caputo was shot in the ankle by Muslim militiamen and seriously wounded. Reassigned to the paper’s Moscow bureau, Caputo resigned in 1977 after A Rumor of War proved to be a success and granted him the freedom to leave his job. His newfound financial security and less peripatetic life set him on the next stage of his writing career: novels.

bad dreams and feeling “split in two” (p. 314), Caputo exercised authority that he did not have and ordered a squad into a village to seize two men suspected of being Vietcong informants. He was exultant at violating the chain of command and confesses to having indirectly told his men to kill the prisoners if they resisted capture. Clearly responding to Caputo’s subtle encouragement, the marines eventually did kill two alleged informants. Inspecting one of the bodies, Caputo recognized they had made a terrible mistake, killing a young boy who earlier had given the marines information about Vietcong activity. Their actions had significant repercussions: he and the other marines were charged with premeditated murder and put on trial in June 1966. Caputo was incredulous, given that the marines “had taught us to kill and had told us to kill, and now they were going to court-martial us for killing” (p. 322). Caputo viewed their actions as evidence of what the war had done to them— releasing their brutality and viciousness in order to make them efficient killers. In the end, after the first man on trial was found not guilty, the charges against Caputo were dropped, except for one accusing him of perjury. As he later stands on the tarmac, waiting to leave Vietnam, he sums up his time in the country: “We had done nothing more than endure. We had survived, and that was our only victory” (p. 337). Having embarked for Vietnam eager to prove his heroism and certain of the justness of fighting communism, he departed without illusions, having discovered his capacity not only for courage but also for savagery. Caputo eventually returned to Vietnam in April 1975 as a correspondent for the Chicago Tribune to cover U.S. withdrawal. During the intervening nine years, he finished his service with the marines at Camp Lejeune, receiving an honorable discharge in 1967, and then traveled in Europe, where he started writing what he initially believed would be a novel called A Rumor of War. In Means of Escape he explains that “traveling became an escape not from the commonplace but from the fits of depression and rage that were symptoms of Vietnam’s inner wounds” (p. 48). Searching for “the spirit of Hemingway” (p. 49),

VIETNAM AND THE EARLY NOVELS

Philip Caputo’s first novel, Horn of Africa, published in 1980 and a finalist for the National

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PHILIP CAPUTO of her death (Horn, p. 12), and, to his bewilderment, he has a nervous breakdown and is hospitalized for a month. Feeling “a profound indifference” to everything (p. 13), he eventually loses his job and becomes a man without any responsibilities or anchors. If Gage’s experience leaves him rudderless and adrift, DelCorso’s drives him to the point of obsession. In the latter half of DelCorso’s Gallery, Caputo reveals what compels DelCorso’s need to bear witness to the brutality of war through photography. He is paying for a moment during his tour in Vietnam when he went into the village of Rach Giang with a company that ended up massacring the villagers. DelCorso’s crime was that he photographed the victims moments after their deaths, feeling “no remorse at that moment, only a cruel satisfaction in the bloodshed, and that cruelty was in the photographs” (p. 224). He keeps the neverpublished photographs as a reminder of his callousness and his need to do penance, using “his talents to make the indictment he had failed to make in Rach Giang” (p. 225). The impulse behind his work from that moment on is to testify, “to bear witness with his camera, to make people see the sort of horror he had seen” (p. 62). Like DelCorso’s, Starkmann’s suffering also stems from the Vietnam War. In Indian Country the reader slowly learns that Starkmann is tormented by events of September 21, 1969, when, in the confusion and chaos of battle, he accidentally called in the wrong coordinates for an airstrike, bringing bombs down on the soldiers in his company, killing his childhood friend Bonny George.

Book Award for First Novel in 1981, explores themes that are taken up in DelCorso’s Gallery (1983) and Indian Country (1987). Horn of Africa is, unsurprisingly, the least successful of the three early novels, suffering at times, as reviewers noticed, from a contrived plot. However, it was also lauded as a promising sign of Caputo’s talent—talent that became more obvious in his subsequent works. In these three novels, Vietnam plays an important role: the protagonists of each are haunted by the violence of war, carrying memories that disrupt their postwar lives and threaten their ability to maintain a stable relationship with the outside world. Caputo’s characters share his wish to live outside the mundane existence offered by suburban America. In Horn of Africa, Charlie Gage, a former paratrooper in Vietnam and now a war correspondent, is divorced and lives a vagabond existence, reporting from dangerous spots in the Middle East. Nick DelCorso, protagonist of DelCorso’s Gallery, was an army photographer in Vietnam, where he was wounded in the ankle and calf, and is now a combat photographer whose aristocratic wife, Margaret, a cold and distant woman, pressures him to leave his profession to pursue commercial photography for her sake and the sake of their two young children. DelCorso resents her interference and feels he is “the victim of a scam, emotionally blackmailed” (p. 18). Only Margaret’s beauty checks DelCorso’s rage at her need for comfort and stability; nevertheless, he leaves in 1975 to cover the fall of Saigon. While Gage and DelCorso shun the ordinary and find fulfillment in the macho world of war reporting, Christian Starkmann in Indian Country lives a quiet life in Michigan’s Upper Peninsula with his wife June and their daughters, deliberately creating a world for himself and his family at a safe remove from the intrusion of society.

Each man seeks reconciliation with these violent events. Gage agrees to go to Bejaya, a fictional province in Ethiopia, to help train and arm Muslim fundamentalist rebels. Despite reservations about his boss, Colfax, Gage’s need to let someone else shape the course of his future drives him to accept the job. However, the dangers of abandoning his will to another are made clear when he teams up with Jeremy Nordstrand, with whom he feels an affinity because Nordstrand “was obviously a man who took life head-on, confident he was big enough and strong

Despite their differences, all three men are marred by violent memories. Gage is haunted by the memory of his secretary in Beirut, where he was covering the civil war, being killed by a rocket-propelled grenade that hit their office. Though Gage saw more gruesome violence in Vietnam, he is struck by the “utter randomness”

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PHILIP CAPUTO portunity to do so in Saigon during the last panicfilled days of April 1975. He attempts to execute his ideal photo to tell the emotional truth about the pain and anguish of warfare. DelCorso’s approach sharply contrasts with the work of his one-time mentor and now enemy, Paul Dunlop. Dunlop’s work, DelCorso fumes, aestheticizes war, even when he is photographing the dead and injured, thus removing any sense of reality from the pain he is recording. Using formulas from World War Two, Dunlop focuses on depicting the admirable qualities he sees in his subjects, American soldiers, and dramatizing their ordeals. According to Dunlop’s perspective, DelCorso refuses to acknowledge “the essential truth ѧ that war is a state of irreconcilable contradictions,” which Dunlop finds fascinating, seeing in them a way that “the full range of human emotion could be examined” (p. 134). Despite striving to produce more honest combat photography than Dunlop’s, DelCorso knows because of what happened to him at Rach Giang that he too has been attracted by the power and violence of war. To suppress that unwanted realization, he punishes himself with dangerous assignments, his last being the civil war in Beirut, and he rejoices when forced to photograph the atrocities of an extreme militia, believing that, through these photos of barbaric acts, “he had been released from the compulsion to shock and disturb, which had driven him for the past ten years to push himself to the farthest limits of risk” (p. 335). His newfound sense of liberation from the need to atone for his past is short-lived as he ends up being shot. DelCorso bitterly questions why, just after being redeemed for Rach Giang, he has been wounded. A colleague tells him that his luck has simply run out, a terrible insight that nullifies the code by which DelCorso has labored for the last decade. If the system of belief upon which he has based his conduct is an illusion, what will give him the will to live? In fact DelCorso does not survive at the end of the novel, supporting the view that his attempts to come to terms with the potential evil within himself, and the rest of humanity, is a fruitless endeavor that no number of photographs, no matter how honestly taken, will complete.

enough to survive any collisions” (Horn, p. 114). Given that Gage is looking for someone else to determine his actions, it is no surprise that he is drawn to such decisiveness and power. Yet Nordstrand proves to be a dangerous man who models himself after British Major General Charles George Gordon, who was beheaded in Sudan in 1885, and the German philosopher Friedrich Nietzsche. As a result he has fashioned a philosophy based on the idea that “only men made out of the pure metal are capable of acting without motive. The motiveless act is the most beautiful of all acts, as the motiveless killing is the greatest of all murders” (p. 117). Nordstrand’s theories disgust Gage, yet he is drawn to the way they give the man a clear sense of purpose. Reading Nordstrand’s diaries, a device that critics have found problematic in the novel, allows Gage to learn more about Nordstrand’s hatred for middleclass existence and his longing for life in frontier America—a familiar Caputo theme. Nordstrand finally breaks forever from conventional existence when he deliberately kills five prisoners from an opposing militia. These murders cut him off from Western civilized life. Soon thereafter he is initiated into the Beni-Hamid tribe, which he and Gage have been training, and is literally branded to mark his entrance into this new brotherhood. Gage is repulsed by Nordstrand’s “revolting attempt to deny what he was and the world he came from by becoming something he was not and committing himself to a world in which he had no place” (p. 396). Though horrified, Gage recognizes that he cannot dismiss Nordstrand as a “madman” or “monster,” because he is “the embodiment of all that was wrong with me, all that is wrong with our crippled natures” (p. 398). Gage seeks to save himself from falling prey to the same darkness that consumes Nordstrand. In the end, most of the novel’s characters are dead and only Gage survives, bearing witness to the necessity of fashioning an ethical system for oneself, even in a world that seems deprived of purpose and meaning. Nick DelCorso has an overwhelming sense of his purpose, one that he fulfills every time he takes an honest photo as compensation for his callousness in Rach Giang. He has ample op-

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PHILIP CAPUTO evident that Starkmann is in a fragile state of mind, observing the world as though he is still in a war zone, comparing the sound of the shower hitting the curtain to the shrapnel that wounded him years ago, and surveying his forty-acre property to check its defensive position. He tries to hide his paranoia, but his behavior becomes more irrational, inevitably resulting in his being fired from his job and straining his relationship with June. The novel climaxes when Starkmann, experiencing a complete break with reality, barricades himself in their house, intending to blow it up. He is motivated in part by the realization that “the world was not ordered, as he’d been taught and had once believed, but full of random violence, a chaos of which he was a part. And with that loss of faith, he had lost all hope of salvation” (Indian Country, p. 361). Only June’s untimely arrival prevents him from executing his plan and makes him admit that “he wanted to live. But how? How to live with the legacies of the war, with his loss of faith, his guilt and nightmares?” (p. 390).

Like Nick DelCorso, Christian Starkmann is ruled by immense guilt. While DelCorso’s guilt propels him out into the world where he can put his ethics of war photography into practice, Starkmann’s drives him to the remote fringes of Michigan’s Upper Peninsula. Born and raised in a comfortable suburb of Chicago, Starkmann, the son of a preacher, spent his childhood summers accompanying his father Lucius, a cold and authoritarian man, on fly-fishing trips to this area, where Louis, an Ojibwa, serves as their guide. Louis’ grandson, Bonny George, becomes Starkmann’s great childhood friend. The economic and social differences between the boys are unimportant until Bonny George receives his draft notice. Despite Starkmann’s efforts to dissuade him from going, Bonny George refuses to escape to Canada. Starkmann is embarrassed by his deferment to attend divinity school and recognizes that his status as a middle-class white male protects him. While the two enjoy one last fishing trip together in April 1969, Starkmann broods about Bonny George’s impending departure and his hatred for Lucius, who has become a spokesman for the antiwar movement. His father so fervently opposes the war that he has no sympathy for Bonny George’s position, believing that the young man has a moral duty to refuse the draft, whatever the consequences. These two strands of thought haunt Starkmann during the fishing trip until Bonny George saves him from drowning after he gets knocked down in the swift spring current. In the aftermath of his near-death experience, Starkmann takes a stand against the authority of his father, against whom he has bristled for years, and proves his loyalty to his friend by joining the army.

In search of an answer, he spends six weeks in a psychiatric hospital and then determines to find Louis to reveal the truth about his part in the death of his grandson. When he tracks the man down in the woods, he pours out his confession, expecting to upset him but to feel release and relief. Neither comes to pass; Louis leaves the responsibility for healing with Starkmann. He returns to the spot where Bonny George saved his life years before, entering the freezing waters naked, forcing himself to accept that part of what prompted him to enlist was a wish “to return ѧ a creature beyond forgiving and forgiveness, scorched and scarred by war,” thus ensuring the total destruction of his relationship with his father. The wish had come true, and however terrible the events of September 1969, he has to admit, before he can be released from the grip of the past, that “the secret delight in the horror that had taken his friend’s life had been the source of the guilt that had racked him with nightmares and had almost led him to take his own life” (p. 418). Starkmann’s confession echoes the dilemma of Caputo and his early fictional creations—all of whom feel ambivalent, no matter how secretly,

The decision has fateful consequences, ending his relationship with his family and involving him in the disastrous events of September 1969. Most of the novel concentrates on looking at these ramifications some twelve years after the end of the war. Starkmann is living with June and their children and working for a timber company, a job that allows him to spend his days alone in the quiet of the Michigan woods. He has been having nightmares about the war for a year after a long respite from their torment. It becomes

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PHILIP CAPUTO wars and conflicts of the late twentieth century, making for often riveting and engrossing reading. Means of Escape stumbles when Caputo glamorizes himself and the macho world of war correspondents, particularly in the latter part where he describes agreeing, against all sound judgment, to cover the Soviet invasion of Afghanistan in 1979 for Esquire. At this point Caputo is thirty-eight and his wound from Beirut has left his leg severely arthritic, making him an unlikely candidate for roving the rugged and dangerous Afghan terrain. Yet he revels in his decision, explaining that “my old taste for adventure and escape from the humdrum, an itch to flee the novelist’s cloister and get back into the action, back into the pageant of history, a need to prove that I, bum leg and all, was still the man I’d been” pushed him to accept the offer (pp. 349–350). He found in Afghanistan all the tests of manhood and endurance he could desire, and the trip would end his years of “living dangerously” and allow him finally to “find peace in a room” (p. 402). The memoir ends with an interesting contrast to the action of the rest. In the last pages he observes a peaceful salt marsh, studying the motion of the water and the movement of the birds, stating that the offerings of the natural world are now his “means of escape” (p. 405).

about their deadly attraction to and repulsion by war.

CAPUTO’S POST-VIETNAM IMAGINATION

When Christian Starkmann throws his uniform, with his Purple Heart and other medals pinned to it, into the stream where Bonny George saved his life years before, he says, “I forgive you” (p. 419), granting himself leave to move toward healing and a future. With that gesture Caputo too leaves the Vietnam War behind as a major force in his writing. While many of his characters will be veterans of the war, it does not haunt them. Rather, in the 1990s, after the publication of his second memoir, Means of Escape (1991), Caputo breaks new ground by examining violence in contemporary American society in Equation for Evil (1996), exploring a new literary genre with the publication of three novellas in Exiles: Three Short Novels (1997), and for the first time focusing on another historical period, the American nineteenth century, in The Voyage (1999). The results of Caputo’s work in the 1990s are mixed. In the author’s note to Means of Escape, he defends the use of fiction in autobiography in order to depict the “emotional truth” of an event—a point such reviewers as Morley Safer, writing in the New York Times, found problematic. The memoir includes interchapters in which Caputo fictionalizes events from his life in order to get the emotional response he wants. While his intention is clear, the flow of the narrative is broken, and little emotional impact is added to the memoir. Unlike A Rumor of War, which was focused on a specific period in the author’s life, his second memoir returns to his childhood in an effort to explain further his restless, danger-seeking nature. Little is said about his adult domestic life, though he experienced substantial personal upheavals during this period: divorcing his first wife in 1982 and marrying his second wife, Marcelle Lynn Besse, only to divorce her in 1985 and eventually marry Leslie Blanchard Ware in 1988. The memoir primarily recounts his days as a correspondent for the Chicago Tribune. In that position Caputo offers the reader a perspective on some of the worst

Nature will play a substantial role in Caputo’s later writings, but his immediate attention in the 1990s was on continuing to explore the nature of evil outside the context of the Vietnam War. Caputo wrote a piece for Esquire about Patrick Purdy, who killed five Southeastern Asian refugee children and wounded thirty others in a Stockton, California, elementary school in 1989, and he would eventually use the experience and the questions it invoked as the basis of the novel Equation for Evil. In this work Caputo examines both the mind of Duane Boggs, a white racist who opens fire on a busload of primarily Asian children and their teachers in San Joaquin, California, and the society that produced him, so angry and alienated that he would target such innocents. The men investigating the crime are a typical Caputo protagonist, Gabriel Chin, a Vietnam War veteran and current FBI agent who

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PHILIP CAPUTO and social station. Dante is a barber, and his mother’s dilapidated house is in a working-class neighborhood, whereas Julian is a stockbroker, Greer a high-end real estate agent, and the two are part of the aristocracy of their town. Dante is drawn into their universe as he comes to be a surrogate son to Greer, who gradually remakes him, offering him tennis lessons, correcting his English, and eventually helping him break into the finance business. She takes photographs of Dante in which he appears to be the late Clay, slowly erasing Dante’s identity as he becomes more like his predecessor.

“craved action and suffered fits of restlessness and irritability when his craving wasn’t satisfied” (p. 41), and Dr. Leander Heartwood, a psychiatrist charged with conducting a psychological autopsy of Boggs, who committed suicide after the murders. The unlikely duo—Chin dismisses psychiatry as a useful tool for understanding crime—eventually merge their strengths and talents to discover that one Mace Weathers led Boggs to commit the murders. On the surface Weathers appears to be a normal college student with a Mormon background; however, it turns out that he has discovered “another personality [dwelling] within him, a secret Mace, a darker, more interesting Mace” (p. 210). Unleashing his dark side leads him to manipulate poor, racist, young white men to exercise their hatreds and resentments in terrible acts of violence.

Dante does not undergo this transformation without qualms. He is acutely aware that he does not fit into the Rhodeses’ blue-blooded milieu, and he feels uncomfortable assuming Clay’s identity, though his enjoyment of their lifestyle and his lack of family ties make him capitulate to Greer’s requests. The tense situation erupts when Dante realizes that Greer has lied to him about Clay’s death. She originally told him that Clay, a navy pilot, died when his F-16 crashed in the Mediterranean during flight exercises; however, Dante, in due course, learns that Clay was merely an enlisted sailor who was beaten to death by one of his shipmates, supposedly for making homosexual advances. Dante confronts Greer, but it does nothing to alter her fantasies. Dante is left with a choice: play along with Greer’s fantasies or return to his lonely, poverty-stricken existence. Though he intends to make his break from Greer, when met with a final choice, he opts to risk his sense of self and continues “standing in for Clayton Rhodes” (p. 155). The safety and security of the Rhodeses’ enticing world is too much to resist, even if he has to pay with his sense of self.

Readers expecting to find compelling answers to the question of why American society breeds men like Weathers and Boggs will instead find the usual explanations: the emptiness of American suburban life, the meaninglessness of consumer society, and the influence of the media. The numbing effect of television dulls people’s ability to respond to the suffering of others. At the end of the novel, Chin, for example, sits listening to a series of sound bites on the evening news that neutralize the horror behind stories of violence and loss. Among those stories is news of Heartwood’s death; he is killed by Weathers in the final showdown. The reader verifies his death through the mediated forum of the evening news, painting at the end of the book a dismal and pessimistic view of the possibility for meaningful communication and community. Caputo further examines themes of isolation and alienation in Exiles. In an interview with Charlie Rose that aired on June 23, 2005, Caputo credited these three novellas as his best fiction. In the first of them, “Standing In,” Dante Panetta is taking a train from Florida to Connecticut to attend his mother’s funeral after her unexpected death. His grieving is interrupted when he meets Greer Rhodes, who is shocked by how much Dante resembles her dead son. It turns out that Greer and her husband Julian live near Dante in Connecticut, though they are separated by class

In the second novella, “Paradise,” Caputo continues to examine the way people experience exile in the late twentieth century. The Torres Strait Islands serve as the setting for a story that explores the inevitable, and familiar, clash between island natives and interfering white outsiders. The spokesman for tradition, Uncle Elias, frets that the islanders’ lack of control over the administration of the island and its fishing business will ultimately destroy his people. David

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PHILIP CAPUTO strength drives him to redeem his shattered pride by tracking the tiger and killing it. As he does so, he strives to shed all remnants of life outside the jungle, destroying the men’s watches and getting rid of their map and compass. For Coombes, the men must inhabit the jungle, using instinct and brute force to navigate its perils.

MacKenzie, an American Vietnam War veteran, on the other hand, fumes over his inability to goad the islanders to embrace his plan for the fishing industry. Rising tension between the factions comes to a head when a stranger, Barlow, washes onto their shores. An American deserter, wanted for murdering a prostitute in Saigon, his malevolent presence in this island “paradise” unravels MacKenzie’s plans and hopes. The two men argue, and Barlow kills MacKenzie. Uncle Elias, possessing stereotypic native wisdom, has suspected all along that Barlow was not who he pretended to be and is secretly pleased by the chaos that results from his presence. He plans to take advantage of it to move his nephew into MacKenzie’s position after outwitting Barlow, who has taken Uncle Elias hostage. In the end, Uncle Elias outmaneuvers Barlow and dumps his body into the open sea, thereby cleansing himself and the island, however temporarily, of the interfering presence of these outsiders.

While Coombes wishes to merge with the natural world, his desire to do so comes from his need to reconstitute the myth of his courage. Han, on the other hand, recognizes the jungle’s greater power and the need to maintain a harmonious relationship with its dangerous elements. Once it is clear to Han that Coombes will sacrifice those around him to satisfy his thirst for revenge, he decides no longer to lead Coombes to the tiger. Bledsoe too has come to recognize Coombes’ true motivations, telling Coombes, “You’re afraid to be afraid, and that’s the worst kind of coward there is” (p. 338). Coombes, incapable of selfreflection, sneers at Bledsoe, yet he ends up dying in a final confrontation with the tiger, though it is not the tiger but rather venom that he is carrying that actually kills him. Thus he is denied his last wish to die in violent confrontation with his enemy. Bledsoe has been schooled by Coombes’ arrogance and fate. When the tiger returns, “he dropped his gaze ѧ and walked slowly backward” (p. 353), allowing himself to be “humbled yet not humiliated” (p. 353) by the tiger’s awesome power and terrible beauty. While Bledsoe once shared Coombes’ urge to dominate their environment—earlier he had reveled in a dream of dropping napalm bombs on the forest to deprive the tiger of any cover—he now expresses wonder at their brush with the majesty of the tiger, “knowing that they had been touched by more than mere luck” (p. 353).

The obvious influence of Joseph Conrad, especially his examination of the effects on Europeans of living in the “uncivilized” places of the world, continues in Caputo’s last novella, “In the Forest of the Laughing Elephant.” Using Vietnam as its background but not its focus, the story concerns a small group of American soldiers who are tracking a tiger through the forests of Vietnam with Han, a man from one of Vietnam’s minority tribes. Initially six men start out on the hunt; by the end the only survivors will be Han and Bledsoe, a soldier under the command of Sergeant Lincoln Coombes, who is leading the ill-fated mission. The reader knows that Coombes is a fearsome warrior who has “killed several men in hand-to-hand combat” (p. 258), yet his courage has been tested by witnessing the tiger take the mess sergeant, Velasquez, “as effortlessly as a house cat with a mouse.” (p. 262). He experiences completely unfamiliar terror in the face of this new enemy: “He’d never seen anything so terrible, for he could not believe there was anything in creation capable of looking upon him as if he were an ant or worm” (p. 262). Confronting the tiger paralyzes Coombes, causing him to void his bowels and do nothing to save Velasquez. This failure in courage and

The relationship between humanity and its environment is pursued in The Voyage, a novel about the sea journey of three American boys at the beginning of the twentieth century. The story takes the form of a multilayered narrative about the Braithwaites, a well-to-do Northeastern family. Cyril Braithwaite, instead of embarking upon an annual summer sailing trip with his three sons, sends them off with his beloved schooner, Double Eagle, and ten dollars each, telling Nate,

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PHILIP CAPUTO cates her findings to the reader. In Heart of Darkness, Conrad’s multiple narrators allow him to explore more fully the nature and limits of knowledge. In Caputo’s novel, these additional narrators are intrusive and do the reader’s work by imaginatively filling in unknowns. Despite these points of criticism, The Voyage offers an interesting opportunity to evaluate Caputo’s work as it stood at the end of the twentieth century. While it differs in its focus on an earlier historical period and its use of sailing as the test of a man’s character, it continues to explore, as all of Caputo’s earlier works do, the way that character and identity are shaped by violent experiences. In the case of The Voyage the focus is not on the violence of man but of nature, a topic that will preoccupy Caputo in works published after 2000.

Eliot, and Drew not to return or contact him before September. The boys are mystified and hurt by his cold rejection, particularly Drew, the youngest at thirteen and least vigorous of the boys. Nate, the oldest, now sixteen, possesses characteristics of typical Caputo heroes: he is brash, quick-tempered, and intolerant of weakness. Though upset by his father’s strange behavior, Nate rallies and soon relishes the opportunity to spend the summer adventuring, looking forward to proving his prowess and maturity. Under Nate’s leadership, the boys, along with a school friend, Will, decide to sail to Key West. Their trip to the Florida Keys is predictably filled with peril and misfortune, some of it due to their lack of experience and some to treacherous weather. They end up in Cuba, blown off course in a hurricane, their ship wrecked, and without any resources. When their father refuses to help them after they send an urgent telegram, the boys must make their own way back to Boston, now adults despite their young years, forced to mature in the wake of their harrowing experiences.

THE LATER WORKS

For example, in Ghosts of Tsavo: Stalking the Mystery Lions of East Africa (2002) Caputo meditates on humanity’s relationship with the natural world, especially with large predators, by documenting his attempt to discover whether or not the lions of Tsavo, a national park in Kenya, constitute a distinct breed and to learn more about why certain lions become hunters of humans. The inquiry originates in events at the end of the nineteenth century when two man-eating lions killed more than a hundred Indian and African workers who were building a railroad bridge. Caputo follows several scientists, recording their efforts to learn more about the specific characteristics of the lions of the region. In the end he offers no solid conclusions to the questions he raises. In fact Caputo comments, “I feel divided, half of me hungry for scientific truth, the other half seeking to embrace the mythic. It occurs to me that I haven’t come close to solving the mystery of Tsavo’s lions, probably because my heart hasn’t been in it” (p. 251). He needs to preserve the mystique of the lions, “incarnations of all that’s left in our world of the wild, the unknown” (p. 260). The urge to safeguard remnants of unconquered territory and knowledge also shapes In the Shadow of the Morning: Essays on Wild

The tale of the Braithwaite boys, full of detail that convincingly recreates the world of turn-ofthe-century sailing, is told through Sibyl Braithwaite, a descendant of Cyril. Researching the family story ninety-seven years later, she has the ship’s log to help her imagine the events of the summer of 1901; otherwise, “she relies on her instincts to tell her if what she imagines (or remembers) is true—not necessarily factual but true” (p. 20). By imaginatively filling in the blank spots in the family’s historical record, Sibyl weaves the dramatic tale, revealing toward the end of the novel something alert readers ascertained hundreds of pages earlier: Cyril sent the boys away because he discovered that they were not really his, but born to his wife by his son, Lockwood, from a previous marriage. Though Sibyl saves the reader frustration by bringing together the strands of the story into a pat narrative, her role, as noted by several critics, is largely ineffective since her mediation as storyteller adds little depth to the symbolic import of the boys’ voyage. Undoubtedly in homage to Conrad’s use of multiple narrators, Sibyl converses with an unidentified “I” who communi-

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PHILIP CAPUTO characters are two Americans, Douglas Braithwaite, who runs Knight Air Services, supplying humanitarian aid to Sudan, and Quinette Hardin, who, in her twenties, is an evangelical Christian involved in redeeming slaves from Arab raiders. These two possess some of the same qualities as Graham Greene’s Alden Pyle in The Quiet American: they are idealistic to the point of being dangerous, and blind to anything that questions their personal view of the world. While both wish to help the Sudanese who are victimized in attacks against non-Arabs by the Islamic government in Khartoum, their lofty intentions are examples of what Caputo calls the “recolonization of Africa by the imperialism of good intentions” (p. 263).

Lands, Wild Waters, and a Few Untamed People (2002). This collection brings together essays, published in a variety of journals and magazines, written about his travels and experiences around the globe. These essays see “the hand of God in mountains, forests, wild rivers” and mourn the destruction of the environment. Caputo says, “Our society would be less troubled if there were more of those and less of shopping malls, sterile subdivisions, and all the detritus of a consumerdriven culture” (p. viii). A true descendant of Hemingway, Caputo cherishes the wilderness as an antidote to domestication that threatens autonomy and masculine identity. As he ages, his need to maintain an adequately masculine image of himself finds fulfillment through his wilderness activities. In the essay “Alone” he describes how he “feel[s] fit, vigorous, competent, even ѧ virile” (p. 65) after preparing camp for the night while camping alone. Like Theodore Roosevelt, who claimed, “When I go ѧ I go hard and I go alone” (p. 66), Caputo shuns human connection in order to live out his restoration of masculine identity without interference.

The most compelling character in the novel is Fitzhugh Martin, a Kenyan “born to a French, Irish, and Indian father and a mother who was black, Arab, and Chinese” (p. 13). His varied racial background makes him an outsider in Kenyan society, a position that offers him an opportunity to observe and judge Braithwaite’s and Hardin’s foolish actions. Braithwaite progresses from running flights for humanitarian groups to supplying arms to rebels against the Khartoum government, defying the United Nations and eventually becoming involved in the death of six people because, according to Martin, he “lacks a moral imagination when it comes to himself. He’s so certain of his inner virtue that he believes anything he does, even something this terrible, is the right thing” (p. 651). Braithwaite, devoid of the capacity for self-reflection, simply cannot see anything objectionable about killing a few to help the many.

Caputo’s 2005 works leave the issue of the environment and focus on the Vietnam era. In 10,000 Days of Thunder: A History of the Vietnam War, Caputo offers an introduction to the history of the war, including timelines, compelling photographs, maps, and easily accessible facts, for the young adult reader. He returns to events of the 1960s with 13 Seconds: A Look Back at the Kent State Shootings, in which he examines the massacre, using his experience as a reporter for the Chicago Tribune when he covered the aftermath. He presents a balanced account, refusing to blame simply the protestors or shooters for the violence that erupted at Kent State University, taking a close look at how the climate of the 1960s fostered the inevitable deadly clash between the forces of law and order and anti-establishment protestors. His engaging essay is fairly short and followed by less inspiring reading, a timeline and reproductions of various presidential reports. Caputo’s last published novel, Acts of Faith (2005), concentrates on a different war: the civil war in Sudan in the 1990s. Among its many

Hardin too allows moral certainty to drive her to take unconscionable actions. Through her character Caputo examines what it means to possess religious convictions without any ethical system to temper actions inspired by those beliefs. Eager to leave behind a failed marriage and her provincial life in the United States, Hardin uses volunteering in Africa as a way to find purpose. She falls in love with Michael Archangelo Goraende, a lieutenant colonel in the Sudanese People’s Liberation Army, a rebel group, as a way of forever cutting herself off

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PHILIP CAPUTO from her old life and world. After marrying Goraende, she throws herself into the SPLA cause, rationalizing violence against anyone perceived as their enemies, and lying and manipulating to ensure that their cause receives illegal arms. A final image of Hardin closes the novel: she is living the life she wished for. The mother of Goraende’s children, she now shares her husband with several wives and spends her days laboring under the harsh desert sun. As Martin observes a pregnant Hardin washing clothes, he comments that “she had asked Africa to redeem her from the bonds of the commonplace and give her an extraordinary life. It had, but now it was extracting the price. It was keeping her” (p. 669). At the end Hardin is on her way to living out life as an ordinary African woman, while Braithwaite leaves Africa, tormented by his time spent in jail, devastated by the loss of his business and reputation, and doomed to return to the United States a failure. Martin, and the reader, can only hope that Braithwaite has been humbled and reformed by his experiences, but doubts will linger.

to the already profound exploration of his canon’s central theme.

Selected Bibliography WORKS OF PHILIP CAPUTO A Rumor of War. New York: Holt, Rinehart, and Winston, 1977. Reprinted as A Rumor of War: With a TwentiethAnniversary Postscript by the Author. New York: Henry Holt, 1996. (Memoir.) Horn of Africa. New York: Holt, Rinehart, and Winston, 1980. Reprint, New York: Vintage, 2002. (Novel.) DelCorso’s Gallery. New York: Holt, Rinehart, and Winston, 1983. Reprint, New York: Vintage, 2001. (Novel.) Indian Country. New York: Bantam, 1987. Reprint, New York: Vintage, 2004. (Novel.) Means of Escape. New York: HarperCollins, 1991. Reprint, Guilford, Conn.: Lyons Press, 2002. (Memoir.) Equation for Evil. New York: HarperCollins, 1996. (Novel.) Exiles: Three Short Novels. New York: Knopf, 1997. Reprint, New York: Vintage, 1998. (Includes “Standing In,” “Paradise,” and “In the Forest of the Laughing Elephant.”) The Voyage. New York: Knopf, 1999. Reprint, New York: Vintage, 2000. (Novel.) “Goodnight, Saigon.” War, Literature, and the Arts 12, no. 1:19–27 (spring/summer 2000). (Lecture.) Ghosts of Tsavo: Stalking the Mystery Lions of East Africa. Washington, D.C.: National Geographic Adventure Press, 2002. In the Shadows of the Morning: Essays on Wild Lands, Wild Waters, and a Few Untamed People. Guilford, Conn.: Lyons Press, 2002. Acts of Faith. New York: Knopf, 2005. Reprint, New York: Vintage, 2006. (Novel.) 10,000 Days of Thunder: A History of the Vietnam War. New York: Atheneum, 2005. 13 Seconds: A Look Back at the Kent State Shootings. New York: Chamberlain, 2005.

In the aforementioned interview, Charlie Rose asks Caputo about creating literature that can match the towering status of A Rumor of War. Caputo evinces a hope that Acts of Faith will be such a work, thereby allowing him to shed finally his reputation as a “war writer.” While Caputo may have said his public good-bye to Vietnam in his speech “Goodnight, Saigon,” it is unlikely that his readership will let go of him as one of the key spokespeople for the confusion and ambivalence of soldiering in Vietnam. In the Caputo canon, A Rumor of War stands as the most outstanding work. Nonetheless, the quality of his enormous literary output makes him an important contemporary American writer. His firsthand observations of war and conflict around the globe make his unrelenting quest to analyze the origins and nature of violence—whether it be violence done in the backyards of Americans, in war zones in countries unknown to many of his readers, or to the environment—timeless and sure to provoke and engage. It remains to be seen how his future work—Caputo is writing a novel set along the contemporary Arizona-Mexico border—will add

FILM BASED

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A Rumor of War. Dir. Richard T. Heffron. Anchor Bay Entertainment, 1980.

CRITICAL STUDIES Beidler, Philip D. American Literature and the Experience of Vietnam. Athens: University of Georgia Press, 1982.

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PHILIP CAPUTO Spanos, William V. “A Rumor of War: 9/11 and the Forgetting of the Vietnam War.” boundary 2 30, no. 3:29–66 (fall 2003).

Bonn, Maria S. “A Different World: The Vietnam Veteran Novel Come Home.” In Fourteen Landing Zones: Approaches to Vietnam War Literature. Edited by Philip K. Jason. Iowa City: University of Iowa Press, 1991. Pp. 1–14. Burns, Robert W. “‘More Frail and Mortal’: The Wound of Fear in Philip Caputo’s In the Forest of the Laughing Elephant.” War, Literature, and the Arts 17, nos. 1–2:102– 107 (2005). Durham, Marilyn. “Narrative Strategies in Recent Vietnam War Fiction.” In America Rediscovered: Critical Essays on Literature and Film of the Vietnam War. Edited by Owen W. Gilman Jr. and Lorrie Smith. New York: Garland, 1990. Heusser, Martin. “The War Spangled Banner: Vietnam and the Fabrication of American National Identity.” In Representing Realities: Essays on American Literature, Art and Culture. Edited by Beverly Maeder. Tübingen, Germany: Gunter Narr Verlag, 2003. Pp. 143–157.

INTERVIEWS “Conversation with Philip Caputo.” In Writing Vietnam, Writing Life: Caputo, Heinemann, O’Brien, Butler. By Tobey C. Herzog. Iowa City: University of Iowa Press, 2008. Pp. 1–44. Neiberg, Michael S., Bowie, Thomas G., Jr., and Anderson, Donald. “A Rumor of War: A Conversation with Philip Caputo at 58.” War, Literature, and the Arts 12, no. 1:4–17 (spring/summer 2000). Rose, Charlie. “A Conversation with Novelist Philip Caputo.” Charlie Rose (http://www.charlierose.com/view/ interview/861), June 23, 2005.

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W. S. DI PIERO (1945—)

John Domini CITY DOG, A selection of essays appearing in 2009 and so the most recent book from William Simone Di Piero at the time of this writing, veers as close to memoir as we can expect from this author. Di Piero, after all, has achieved his greatest recognition not in nonfiction but in poetry, with nine collections to date and most notably Chinese Apples: New and Selected Poems, a celebrated career retrospective from 2007. That same year he picked up the John Ciardi Award for Lifetime Achievement in Poetry, the latest recognition in a long list that includes membership to the American Academy of Arts and Sciences (in 2001) and a Guggenheim Fellowship in Poetry (in 1985). What’s more, memoirs tend toward the sentimental, and Di Piero has dedicated a career of nearly four decades to a fundamental skepticism—a word that has proved one of his favorites over the years. Whether working in an imaginative medium or in critical analysis, he insists on close observation and hard thinking, searing away sentimental gloss, coring the secondhand from every assumption. “For a poet,” he insists in City Dog, “personal and civic duty is to identify and contest truisms, ѧ cliché and nostrum” (“Force,” p. 72).

drink in the poems and paintings and other artwork that have lent his life meaning, citing many a pertinent date. The book presents not so much an autobiography as the development of a sensibility, and so winds up moving, in the end, beyond skepticism. In the first place, City Dog venerates more than a few titans of the very culture its author questions and prods. Exemplary figures for Di Piero would be Giacomo Leopardi and Jackson Pollock, to name two creative forces with an immense divide between them. The writer’s embrace of both illustrates his breadth of concerns, “Catholic tastes” and then some, driving him to pour out a cornucopia that includes translation, editing, the critical essay, the personal essay, book reviews, art reviews, music reviews, and more. All these make their impact felt in the poetry. His best work brings together the canticles of saints and the caws of the urban homeless, the stained glass of a church window and the tags along a graffitied wall. In the second place, Di Piero’s memoirmanqué espouses, ultimately, aesthetics of “blissful, confounding Eros,” a “field of relatedness” (p. 192) for whatever may be brought effectively into the poem. “Effectively” is the key word: this author may champion the imagination as the essential instrument of Eros, but the iconoclasm bred in his bones, the resistance to conventional notions of the beautiful, coexists with a profound respect for artistic rigor. Some of the best passages in these essays and others uphold the value and function of form. All in all, City Dog makes clear that this remarkable man of letters has a rather bipolar approach to his calling and to the arts generally. Indeed, his embrace spreads so widely that, sad to say, it has left some critics unsure how to take him. Keats argued that the

Therefore the new volume, which includes two pieces that appeared in Best American Essays (2001 and 2007, the latter also in the Pushcart anthology) and at least three from earlier collections (the older essays “jimmied and remodeled to fit the book’s shape” [p. xi]), offers a viewing platform from which we may begin to appreciate an oppositional oeuvre, a running argument over what matters in our culture. Then too, City Dog moves elliptically. It glances sidelong at the facts of its author’s life, so that one of the few it fixes clearly is the date of his birth: December 3, 1945. By contrast, the essays

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W. S. DI PIERO That introduction, significantly, concludes with a “case for radical skepticism.” Di Piero quotes a passage from Leopardi’s journals that now reads as if it came from his own: “Human reason ѧ can never divest itself from skepticism. It embodies truth” (Pensieri, p. 23).

ability to hold opposed viewpoints in mind was a necessity for the poet, but in Di Piero’s case this quality seems to have puzzled a number of otherwise intelligent readers. The encyclopedic range of his essays and reviews, compounded by the way his poetry brings together both doubt and faith, has interfered somewhat with an appreciation for an oeuvre that would seem to rank with the best in the country’s literature at present.

Similar notions pervade the two poetry translations that appeared in 1982, though they are selections from men of Di Piero’s own century and wildly different personalities. One is Sandro Penna (1906–1977), whose work Di Piero adapted under the title This Strange Joy: Selected Poems of Sandro Penna. Based in Rome, active in its arts circles, Penna was largely apolitical and openly homosexual. Given his doomed preference for teenage boys, slum boys, this poet has as little truck with sweetheart notions as Leopardi, but nonetheless he celebrates a “strange joy” in degraded urban spaces. This elation in spite of knowing better may be Penna’s greatest legacy for Di Piero’s own work. Also, some fifteen years after the translation appeared, in 1996, This Strange Joy was named the first winner of the Raiziss de Palchi Book Prize, judged by Rosanna Warren and Jonathan Galassi. The other 1982 translation was The Ellipse: Selected Poems of Leonardo Sinisgalli (1908–1981). This drew on its author’s experience as a left-wing agitator and family man, the mayor of depressed town in Southern Italy for most of his life. Praise for Di Piero’s version appeared in Translation Review and elsewhere, and this book too picked up a national award, the PEN Renato Poggioli Award, in 1982. Di Piero’s introduction to the Sinisgalli features an insight that, as with what he had to say about Pensieri, amounts to speaking for himself. He commends the Southern poet’s work as “a reckoning with the minimal” (p. 3) composed “with Carthusian preciseness” (p. 5).

PHILADELPHIA, BOLOGNA, AND THE TRANSLATIONS

Early in City Dog we glean that Di Piero grew up among the working poor, in Italian American South Philadelphia, a single bristling block from the border of the African American ghetto. We learn too that after earning his BA degree (also in Philadelphia, at St. Joseph’s, in 1968, though to ascertain as much we must put together clues scattered throughout the book), he made his way over to Bologna, then under the shadow of the terrorist Red Brigades. The apprentice poet spent the better part of the 1970s immersing himself in his native culture, paying his way in part with pickup work in teaching and translation—including the translations that became his first books. In 1981 came Pensieri, by Leopardi. Europeans have long regarded this author (1798–1837) as a major figure in Romanticism, a touchstone for Friedrich Nietzsche in particular. However, anyone seeking English versions of Leopardi’s work, like the young Di Piero, could find only translations of a few Keatsian lyrics. Pensieri is something else again: the word means, roughly, “concerns,” and the book works through 111 brief prose meditations on the challenges of the virtuous life. These unfold with an elegance of metaphor that calls to mind the author’s descendant Italo Calvino, but they espouse a chuckling cynicism that suggests his forebear Niccolò Machiavelli. Di Piero’s version was the first in English, a bilingual edition still widely in use (a new reissue appeared in 2009). The book’s penetrating introduction, nothing less than “excellent,” according to Rosanna Warren in the New Republic, was adapted for Di Piero’s first essay collection, Memory and Enthusiasm: Essays, 1975–1985, in 1989.

Now, Di Piero did not achieve all this—both the translations and their attendant self-discoveries—without education and support in the usual sense. He earned a master’s degree in English from San Francisco State in 1971, and in 1972– 1973 he funded some of his investigations with a Fulbright-Hays grant in Italy. In 1978 came a Graduate Council grant from Louisiana State

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W. S. DI PIERO of my subjective life” (p. 72). The same roil, according to the essay “Force,” prompts and informs the poetry—yet those “messes” are alluded to during a discussion of exacting artistic form.

University, and the next year LSU took him on as an assistant professor in English. Yet the reminiscences in City Dog offer nothing like that, no academic vita. What commands this memoirist’s attention, rather, is the “ethnic and racial tags” of his neighborhood’s “richest vocabulary.” In “Pocketbook and Sauerkraut” he meditates on a slur like mul’, from mulagnam’, a bastard offspring of the Italian for “eggplant,” melanzana. “I loved the loose, slippery texture of those words,” he confesses, “as much as I clenched inside to hear them” (p. 41). Such unsettling material is the norm. His immigrant parents, Joseph (born Giuseppe) Di Piero and Rita Girone, never serve as the occasion for nostalgia. Rather, in “Gots Is What You Got,” one of the prize-winning essays, Di Piero casts a cold eye over the gaping chasm between his mother’s Neapolitan fire, “a volatile compound of hilarity, raucous grief, anger, and consternation,” and the Abruzzese cool of his father’s side of the family: “quiet-spoken, selfcontained, ѧ they reflected more complexly on ѧ experience” (p. 16). Not surprisingly, the father suffered a nervous collapse and died while the poet was in his teens, (two more developments City Dog treats only elliptically), while the mother lived almost into the twentieth-first century. Her death brought Di Piero back to the haunts of his childhood, and features in the masterful later South Philly sequences of Skirts and Slacks (2001) and Brother Fire (2004).

“FORCE,” FORM, AND THE FIRST HOUR

“Force” appeared originally in 1997, as a lead essay in Threepenny Review. By then Di Piero was a regular with that Bay Area quarterly, contributing poetry, essays, and reviews, and he would seem to have achieved success as an American writer and academic. He had followed the three books of translations with a half-dozen selections of his own poetry, published by esteemed presses such as Chicago, as well as three collections of essays, one published by Princeton. He had held a professorship at Stanford, where he had come in 1982; two years before, he had left LSU for a distinguished visiting lectureship at Northwestern. On top of that, there had been the Guggenheim Fellowship in 1985 and one from the National Endowment for the Arts in 1989. Yet the 1997 essay takes none of these winning developments as its occasion. Rather, “Force” concerns Di Piero’s struggle, at the age of fifty, with clinical depression. Typically, the piece ignores the usual stuff of such unhappy recollections. The essay was written shortly after the author divorced the former Mary Jane Epp, his wife for more than twenty years (1972–1995), but it makes no mention of the breakup, nor of Daniela, their only child (b. 1977). Instead, “Force” takes a close look at the poetics of Hart Crane. Crane emerges as “a special case” for this author, Di Piero’s “first measure ѧ of the possibilities of poetry” (p. 74), discovered when he was nineteen. In later years he perceived the flaws in the “candied” and “overreaching” (p. 74) author of The Bridge, yet Crane proved irresistible again during the “black dog night” (p. 75) of the mid-1990s. The fiftyyear-old Di Piero carried his weathered Crane through the streets of San Francisco—in the grips of melancholia, he needed the city—finding relief in its cadences and shapes. The poetry gave him back “a set of formal instincts and pleasures” (p.

Between Joseph and Rita, their son argues, were created “the hemispheres of my temperament” (p. 16), and this rough-hewn interior dialectic went on long after he left South Philly. It tests and tugs at memories of Bologna, which eschew the tourist gee-whiz in favor of Carthusian skepticism. Thus Di Piero meditates on what his experience in Italy taught him about the position of the artist in that country, a complicated issue of class, expressed in nuances that fascinated the young man almost as much as the racist epithets along Watkins Avenue back home and so helped fuel his burst of translation. Throughout City Dog, every early accomplishment and lesson ends up “absorbed into the neediness, crude appetite, messes and ambitions

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W. S. DI PIERO was not his first; back in 1974 there had been a release by a small Berkeley house under the title Country of Survivors. But none of Di Piero’s subsequent books, First Hour included, mention Country of Survivors in its list of previous publications, and in any case by 1982 this author was well past novice fumbling. Besides moving from LSU to Northwestern to Stanford, besides publishing his translations, Di Piero had placed original work in magazines like Southern Review, Agni, and Chelsea. A chapbook of seven poems, Solstice, had appeared at the end of 1981, and all those pieces are reprinted in First Hour. More importantly, a number of the twenty-six pieces in First Hour went on to be included in later collections. Three appear in the 2007 overview, Chinese Apples. For instance, “Sabbioneta to Parma,” the lead poem in First Hour, later turns up in The Dog Star, published in 1990, and then in Apples. “Sabbioneta” presents a commute on an Italian train, a trip that seems to bear out how humanity is going nowhere: “Silence, work, / accident, that’s really all there is” (First Hour, p. 9; Chinese Apples, p. 57). Yet the poet cannot stop studying what is out the window, greedy for more, and so his lines yield their first flourishes of description—hinged, now as throughout his career, on a potent manipulation of verbs: “Sunslats keel and slice through poplars.” Skepticism and transcendence sustain a brimming balance throughout.

73); it “balanced the painful grotesque voluminousness of hopelessness” (p. 74) with “the sheer force of form” (p. 75). The essay goes on to consider another master of form, very much an alternative case, the painter Paul Cézanne. But Di Piero’s idiosyncratic depression memoir works best as ars poetica, in illuminating triangulation with “Pocketbook and Sauerkraut” and “Gots Is What You Got.” “Pocketbook” expresses the vital music that language carries for this poet; “Gots” describes the inner argument that gnaws at anything said or written; and then “Force” locates a place of coexistence, where the mania of Pollock can live with the refinement of Leopardi, a “space ѧ composed and energized by formal dynamics” (p. 72). Di Piero goes on to say he is “not talking about rhyme and meter” (p. 72) nor “vehicles or enablers or transmitters of feeling” (p. 75). Rather, he argues, a poem’s form must be itself an essential element of feeling, establishing “the borderland where the unconscious squawks through the finer tones of consciousness” (p. 75). Di Piero’s poetry, to put the point another way, tests the freedoms afforded the art form since the rise of the Beats era in the 1950s. While the unconscious must “squawk,” alive with the “loose, slippery texture” of the old neighborhood, a squawk alone constitutes no discovery, no movement. Street passion, yo and mul’ and such, achieves the bliss, enigma, and further reach of art only via the hammering out of appropriate formal values. Di Piero’s ideal poem is a paradox, “completed and volatile” (p. 75). The avatar within his source culture would be of course Dante, and The Divine Comedy provides the subject of another City Dog essay, “Our Sweating Selves.” A close reading of a few passages from Dante, “Sweating Selves” nonetheless takes a personal turn, like all these essays; it contends that the Florentine, too, “begins in impassioned but inarticulate music ѧ , then works towards clear meaning” (p. 97). Such a whole-cloth understanding of his vocation—its music, its balance, its progression—was in place for Di Piero by 1982, when he brought out The First Hour, an aptly named selection of poems. Strictly speaking, the book

Now, that balance exists in both the 1982 original and the version of twenty-five years later. Still, Chinese Apples presents what Di Piero regards as the finished poem, and the same applies to all the 2007 selections, though changes tend to be minor. Apples offers the most accessible compendium as well, far easier to get hold of than any of the books before 2001 (when Skirts and Slacks was Di Piero’s first to be published by a major commercial house, Knopf). This essay therefore will rely on the career retrospective for its citations. What variations can be found between those versions and the originals rarely if ever matter significantly. For instance, getting back to “Sabbionetta to Parma,” for Chinese Apples, Di Piero trimmed a distracting incidence of first person from one

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W. S. DI PIERO conversational stresses enough for Allen Ginsberg, and another will operate largely in abrupt two-beat parcels; the same assortment can be found in Chinese Apples. Perspective also shifts radically, as it does in First Hour, where the central consciousness ranges from the poet of “Sabbioneta” to the homeless huddled around a barrel fire in “Four Mad Studies”—moreover, such “gypsies” will themselves become a recurring motif for Di Piero. There is a breadth of settings, as well, in both this volume and those to come (all but one, at least). In First Hour, if any place predominates it is Italy, but we also find ourselves on a chilly height in Vermont (Philo is a hiker’s favorite) or in the realm of myth, as in “Persephone.” Indeed, an early reader, Emily Grosholz of Hudson Review, took Di Piero to task for working with too free a hand. Her principal quarrel was with his use of the surreal, though she admired his skill with mood and character. It was not the last time Di Piero would suffer from critical uncertainty, not knowing what to do with a sensibility that will not stay put.

sentence, but in the line that concludes the sentence, he kept the striking multisyllabic center weight: “no counterinsurgency of things” (p. 57). “Counterinsurgency?” The word underscores that there is an American riding this Emilia-Romagna local and at the same time brings out the poem’s iambic effect, palpable though irregular. That very irregularity casts a shadow of meaning, too. In the later version, Di Piero makes another small adjustment at the close, simplifying in order to emphasize the locomotive chug of tetrameter. He brings out how rhythm and rhetoric have blunted significantly since the poem’s opening. “Sabbionetta” begins with a hendecasyllable (eleven beats long), then an alexandrine (twelve), and besides that features a touch of alliteration and three of the longest words in the piece. All this shrinks and grows stark in the finale: a fitting shape for a meditation on dwindling possibilities. These subtleties and more were already in place when Di Piero chose the poem as his best foot forward. A quarter-century later, in his retouches for the career retrospective, he shows editorial restraint not only when it comes to that piece but also regarding the two others from The First Hour: “On Mt. Philo in November” (first republished in Early Light) and “Walt, the Wounded” (also in The Dog Star). The former is left true to its drumbeat rush toward winter—a typical edit trims a two-word line down to one, sonically sensuous—while the latter is allowed, in both versions, the languor of elegy. “Walt, the Wounded” (a title of intriguing ambiguity) alternates long lines that trail Walt Whitman as he nurses the hospitalized Civil War victims with shorter excepts from his letters, and these eddies in the meditative flow eventually reveal strands of future bloodletting, here Pleiku (1965 battlefield in Vietnam), and there the conflicts in Iraqi and Afghan deserts.

STREET TO SPIRIT: THE EARLY COLLECTIONS THROUGH THE DOG STAR

Di Piero’s second collection, The Only Dangerous Thing, appeared in 1984, and it suggests he shared his early reviewer’s misgivings. This one keeps its feet on the ground—or more precisely, the pavement. Nearly all the poems are set in a time and place absent from the previous book, namely, South Philly. The Only Dangerous Thing proved something of a career turning point. Outside of its four closing pieces—the last, “Bayou,” is one of the very few in which Di Piero reflects on his experience in Louisiana in the late 1970s—these are all snapshots of the old neighborhood, each presenting some memorable character or two, and they made a favorable impression on editors and critics. “Four Brothers,” one of the longer Philadelphia poems, first appeared in the New Yorker, and three others were published in Ploughshares. The collection drew fresh attention from Emily Grosholz, and this time she

These three pieces also reflect the diversity of The First Hour and, by extension, of Di Piero’s entire career. Within a given poem, whatever rough meter gets established often remains stable, and when there are changes (as in “Sabbioneta” and “Walt”), those, too, follow an interior logic. From piece to piece, however, the rhythm changes. One poem will have long lines with

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W. S. DI PIERO Apples. The grandmother’s problem is that her perspective, looking backward from old age in her adopted country, totters perilously close to cliché. Grandpa Aurelio, on the other hand, takes on the challenging role of a seer, prophesying how the young of his Abruzzo village will, in the unknown cities of America, assume murky new identities. The later version prunes away patches of abstraction about love and loneliness but keeps the stately near-blank verse. And both the 1984 and 2007 versions bring off splendid moments, such as when the young grandfather understands that, while he will never speak the language of his sons and grandsons, they will share more organic qualities, like their skin tone and the foods they prefer.

expressed almost unstinting praise, impressed in particular by the form: the “pleasing, memorable shape” the lines achieved while seeming like speech (“Family Ties,” pp. 648–649). The following year, Tom Sleigh put in a good word for Only Dangerous in the New York Times, during a review for the subsequent Early Light (1985). And when Di Piero assembled his successful application for the Guggenheim, Only Dangerous was his most recent book. Nevertheless, in 2007, for Chinese Apples, the older poet chose only seven of these twentyone pieces. This is a stingy sample compared to the number taken from the later collections, but it nonetheless seems justified, considering that, in the context of the whole career, the 1984 sequence about transplantation and its discontents can feel a bit limited. It can feel like a project, an oral history largely in monologues of fourand five-stress lines. It begins with twinned ruminations by the poet’s immigrant grandparents and, mid-book, arrives at a first-person reminiscence of his own youth, “Smoke.” After that, the Philadelphia selections alternate between cranky locals (most memorably “Vincenzo Tailor,” one of the seven that made it into the 2007 anthology) and the growing poet. “Smoke” also reappears in Chinese Apples, and it generates undeniable dark pleasure, a portrait of the artist as a young lout. The opening speaks of sharing “punk” (cigarettes made from fungoid shreds of wood) in an alley with Beans, Clams, and Yom-Yom—names beyond all carping. The reminiscence rings true and supplies a bracing toughness in Only Dangerous. Just about all the book’s other monologues occupy a couple of pages or more (as do the other six in Chinese Apples), and poems at that greater length can slip into wistfulness. But “Smoke,” wrapping up in twenty lines, brings together the initiate and the iconoclast. The version in Chinese Apples concludes with the same ironic assertion as in the 1984 original, a self-destructive celebration of self. The speaker brags that he will graduate to stronger smokes than his father’s, taking in worse poison to prove he is a worse roughneck.

In Di Piero a paradox like that, sharing while never sharing, always depends on the manipulation of verbs. The City Dog essay “Gots Is What You Got” makes special mention of verbs, as it dissects the arguments the young Di Piero hears across the stoops and countertops of his childhood: “tenses mix, coalesce, bang, and sag” (p. 20). In The Only Dangerous Thing, the best remembrances of paisani past use verbs to do the same sort of work as in “Aurelio,” taking the utterance beyond simple storytelling. In the Chinese Apples version of “Saxophone,” for instance, the horn player’s “sound / pumping and huffing in my guts like speech” (p. 13) provides the listening boy with his first notions of transcendence, palpable though indistinct. Testing such notions, exploring varieties and possibilities of transcendence, emerges as the central task for the next two books, Early Light in 1985 and The Dog Star five years later. Neither collection indulges much looking backward. In fact, Di Piero will make no sustained return to South Philly in his poetry until the breakthrough to a new power that will come after the turn of the century, in Skirts and Slacks and Brother Fire. Early Light announces his new freedom, his expanded range, in its very table of contents. One finds not only Mt. Philo among the titles in the 1985 collection but also Canada, Kansas, Chicago, and elsewhere. Di Piero’s old stomping grounds do turn up, as in “Lucky Lucy’s Daily Dream Book,” a carnival barker’s portrayal of a

As for the two opening grandparent poems, only the latter, “Aurelio,” makes it into Chinese

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W. S. DI PIERO out of Dante’s Paradiso, under “yellowflake light / canting through the pines” (p. 22). Again the verb (“canting”) is very much a part of the miracle. Another angel takes part in “Canada,” a poem wholly unchanged for the later anthology. Here the woman, unnamed but made intimate by the second person, runs ecstatically after geese flying overhead in a wardrobe that recalls the Queen of Heaven’s, with a full-skirted blue robe and golden icons in her ears. In this piece as in “Mt. Philo,” it’s the cold-weather disappearance of life that sets the wife-figure running, a desperate pilgrim, seeking to embrace a heavenly alternative. It’s a morning prayer, over in a moment, yet summoning up a Holy Family. That holiness, however, tends to vanish almost as soon as it arises. Di Piero lurches back and forth between awe and its absence throughout the seventeen poems from Early Light that he selected for Chinese Apples. This portion is in keeping with those he would carve out of all the subsequent collections; it makes clear that he thinks well of the 1985 book, but more than that, in both the finished versions and the originals, there is space enough to glimpse the imminence of the sublime in one moment and, in the next, to perceive it as mere scenery. Thus the longing in “Canada” is countered by the gloomy business of “December 28: Returning to Chicago.” The title in Early Light, “December 24,” has a happy implication that Di Piero was right to get away from, but other changes for Chinese Apples are minimal, as first the stars fall to earth and then a skyscraper becomes an archeological dig, with artifacts poking out of exposed strata. The vision runs on batteries, out of sight once the car’s lights go off. The book’s title phrase comes from the title poem, the finale in the original, and in the 2007 retrospective Di Piero kept the last stanza at ten renunciatory lines, hinged on an abrupt insistence: “Prayer becomes oblivion” (p. 41). “Easter Service” is the longest piece, and it reappears in Chinese Apples in all its nine stanzas of nine lines, perhaps an ironic echo of the key number in The Divine Comedy. For “Easter Service” never reaches Paradise; rather it drama-

South Philly crone who interprets your dreams in order to turn up a winner at Numbers (in Naples, lottery players still seek out such women). But “Lucky Lucy,” as one might expect, prizes wit over sentiment, and the trochaic march of the title demonstrates how Di Piero began taking greater liberties with rhythm. He is less meditative, more in the moment, and “Mt. Philo” isn’t the only poem to move at two or three brisk beats a line. Whatever their meter, too, several poems in Early Light surprise us with their lack of setting. In these, what matters isn’t place but family. One title selected for Chinese Apples, and a clear case in point, is “The Husband’s Song.” By 1985 this author had long been a husband himself, as well as a father, and that same year he had achieved job stability, gaining tenure at Stanford. Thus “Canada” has nothing to do with the country up north and everything to do with the yearning of a woman who may be the poet’s wife, one morning in fall, as she chases after the geese winging by overhead. Similarly, “A Greater Good” (titled “One Greater Good” in the 1985 original) trails after schoolchildren but ignores questions of school or neighborhood; rather, the poet is in a state of wonder, dazzled by the children’s heedlessness. Yearning and wonder remain the dominant emotions throughout the 1985 collection. Thus “On Mt. Philo in November” deserves inclusion, since in Early Light autumn is everywhere, its signs of life hanging on poignantly in the face of winter, and the poet, in seeking to shelter that lingering vitality, cannot help but make connections to the protection promised by religious faith. In “A Greater Good” all the protection he can offer is twenty quick lines, mostly three beats long, which sketch the magic of kids walking in fallen leaves. The Chinese Apples version has negligible differences from the original (once more Di Piero slightly sharpens the close), as the children’s walk becomes a praise song without words, in the process gently putting across the irony of the title—and the skepticism of the author. What matters isn’t the “greater good” espoused in the classrooms to which the kids are walking but this illuminated moment when they might be angels

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W. S. DI PIERO end, two new awards for poetry: from the Ingram-Merrill Foundation and the Commonwealth Club (its Silver Medal). He had found Threepenny Review and published other short work regularly, particularly in TriQuarterly. The latter magazine’s editor, the Northwestern professor Reginald Gibbons, was an acquaintance going back to Di Piero’s own Northwestern stay, and by the mid-1980s Gibbons had become a reliable sounding board, helping not only with the poetry but also with the material that would go, eventually, into Di Piero’s collections of nonfiction. In short, the poet had an established network of resources throughout the five years it took to bring The Dog Star to print.

tizes the most intense balancing act in Early Light, now stunned by the possibility of resurrection, now chilled by the certainty of no life beyond this one. One spot-on analogy concerns the play of the cold sun on hard-packed old snow, a trompe l’oeil that tricks an onlooker into thinking the thaw has come. Such articulate images for God’s absence, along with the poem’s nearShakespearean meter, cannot help but recall “Sunday Morning,” an elegant anti-hymn by Wallace Stevens, completed in 1923. Di Piero was aware of this monument over his shoulder, to be sure; Stevens turns up often in his essays, and the opening of “Easter Service” may contain an allusion. But Di Piero’s Sunday poem comes with less refined furnishings and no “complacencies of the peignoir” (the famed first words of the Stevens work). “Easter Service” features dirty snow and moves to the chaotic roar inside a head that aches from the cold. Thus Tom Sleigh, writing in the New York Times (July 21, 1985), missed the point when he complained that Early Light owed too much to Stevens (in the same review that paid a compliment to The Only Dangerous Thing). Sleigh offered praise as well, in particular for the poems concerning Di Piero’s daughter, and Tom Swiss in Sewanee Review argued the same, though in hackneyed language. Swiss asked Di Piero “to speak from the heart as well as the head, as he does in the lovely poems for his daughter” (Spring 1986, p. 307). These assessments overlook the work’s central quandary of faith, which places family joys in a fragile context, amid the memento mori of dead leaves and rising cold. Not surprisingly, then, Di Piero’s selections from Early Light for his 2007 anthology fend off sentimental readings. There is family material among the choices for Chinese Apples, but nothing of his family specifically. He omits “Three Poems for my Daughter.” Despite the mixed reception for Early Light, the book carried a stunning endorsement, John Ashbery’s, his blurb more thoughtful than most: “calm, grave, firm, sensuous, and as deeply refreshing as a cup of well water.” And Di Piero had more to celebrate in 1985, not only the Guggenheim and job security, but also, by year’s

The results seem awfully good by any fair standard. The Dog Star remains Di Piero’s least skeptical book, the one with the most spiritual surcease, finding succor even during the oppressive “dog days” when Sirius rises overhead. Titles again prove apropos, starting with “The Ice Man”; others celebrate the acacia, apricot, lemon—and the Chinese apple. Yes, The Dog Star saw the first publication of the poem Di Piero chose as the title piece for his career Selected. In it, Persephone, kidnapped goddess, emerges from her wintry inferno to get the sap of childhood running again even in so small and gnarled a fruit. The book also brings back Whitman among the wounded. In the revised poem stanza breaks occur more regularly than in The First Hour, but a soothing kindness remains the central emotion. When Di Piero was putting together Chinese Apples he chose eighteen of these poems (though he did trim his “Twelve Studies” down to five), as many as from any other collection. Yet in 1990 and 1991 The Dog Star was beneath critical consideration. Research turns up only one approving notice, in a nowdefunct journal (New Letters Review of Books), while Amazon.com still carries the Publishers Weekly squib, nasty, brutish, and short: “fails to fuse ideas and imagery ѧ riddled with clumsy metaphors” (p. 55). The author’s disjunction from prevailing literary culture was never so gaping. In retrospect, The Dog Star seems the natural companion to Early Light that the twinned titles suggest. Both have the same arrangement, the

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W. S. DI PIERO poems sorted into two untitled sections of about equal length. The later book builds upon the earlier one’s formal novelties, trying out two-line stanzas, now with three stresses a line (“Gulls on Dumps”), now with four or five (“The Reading”). There is even a blush of rhyme in “The Divine,” a seaside prayer that, in fact, seeks nihil (or “nothingness”) rather than conventional faith; here, the B-lines mimic the sonic similarities of surf.

ESSAYS AND REVIEWS, RESTORERS AND SHADOWS

While The Dog Star suffered neglect and abuse, its author continued to make headway in other arenas. In 1989 his fellowship from the National Endowment for the Arts came through, and in 1990, coincident with the publication of The Dog Star, Stanford promoted him to full professor. But the development that did the most for Di Piero’s stature during this half-decade was the appearance of his three collections of nonfiction. These came out in a succession almost as rapid as that of his translations back at the beginning of the 1980s and, like them, gave evidence of an impressive intellectual range. The first came in 1989: Memory and Enthusiasm, largely literary in its concerns, includes both figures of Himalayan stature such as John Keats and obscure writers such as the Southern Italian Rocco Scotellaro (1923–1953). In 1991 there followed a compilation of some dozen substantial essays on visual artists of the twentieth century, Out of Eden: Essays on Modern Art. The bestestablished figure under discussion was perhaps Henri Matisse; on the cutting edge were the darkroom innovators Mike and Doug Starn. Then in 1996 came Shooting the Works: On Poetry and Pictures, more a miscellany than the other two, with essays that took as their occasion everything from the poetry of Hayden Carruth to the photography of Robert Frank. In this collection, the title piece and a couple of others didn’t bother sticking with any one subject, striving to illuminate the artistic process generally. Indeed, much as City Dog eschews the usual earmarks of memoir, it nonetheless has more of a unifying argument than any of the three earlier essay collections. City Dog always emerges from its labyrinths at the nexus of the artist and the forces that made him. Among the other nonfiction books, only Shooting the Works has something like a conceptual center. Here you find the earlier “Gots Is What You Got” and “Pocketbook and Sauerkraut,” looser and longer than in City Dog, along with “Shooting the Works” itself— still Di Piero’s most straightforward statement of poetic principles. This essay appeared first in TriQuarterly, where Reginald Gibbons was editor,

An earlier literary presence crowds “The Divine” as Stevens crowds “Easter Service.” In the case of the poem from The Dog Star, the forebear is Matthew Arnold and “Dover Beach” (1867), set beside the English Channel at night and whispering a very different prayer, one seeking a basis for belief. No critic appears to have made the association, however, though “The Divine” resonates with two or three clear echoes of its predecessor. To understand the poem as a response also grounds the spiritual conundrum, which owes more to The Metamorphoses than to the Gospels; any union with Di Piero’s ocean of super-nature requires getting past all the outmoded former manifestations of self—including those of religious poetry. “The Divine” yokes suffering and relief together in a close space, literary as well as physical. The same nearness of extremes defines Whitman’s visit to the Union hospitals and defines as well the doomed Hector’s farewell to his baby, that moving scene from the Iliad, slipped into the poem “May Queen.” Di Piero, steeped in the poetry of two languages, works pages from his library into much of what he writes, and as a war child in the American sense (that is, an offspring of the generation that fought in World War II), he is often haunted by past bloodshed. In The Dog Star, though, such references figure more than usual. What distinguishes their use is a down-to-earth quality, so that even the most monumental poetry participates in the “strange joy” that Sandro Penna took in his battered slum spaces. When we come across the rare coinage “darkling,” a signature term from “Dover Beach,” it’s a scrap of garbage—that is, nourishment—for “Gulls on Dumps.”

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W. S. DI PIERO Starns is distinguished by its sophistication, an awareness that “the shock of the new” is in play but a refusal to let it impair judgment. The same discernment turns up whatever the subject. Operating as a man of letters in this way has proven instrumental in Di Piero’s still-developing stature. The reviews and essays have made him a regular not only with Threepenny but also, more recently, with the San Diego Reader. Since 1999 Di Piero has published more than a hundred columns in the Reader, at least a thousand words each and usually on the visual arts. In these he enjoys an audience far wider than that of most professor-poets, and so too, earlier in the 1990s, all three of the nonfiction books found a receptive readership. The San Francisco Chronicle marveled that Out of Eden “says things that seem all but unsayable” (October 6, 1991), and Boston Book Review praised Shooting the Works at a length that made clear Di Piero was not alone in his fidelity to aesthetic standards or his skepticism about its “organizations of power.”

and the collection’s publisher is TriQuarterly Books; in the acknowledgments, Gibbons is thanked explicitly. So sympathetic a reader, clearly, helped the poet get a better grasp on his vocation. Still, “Shooting the Works” lacks the narrative cohesion of the later “Force.” The earlier essay, workmanlike, lists eight values for poetry, “Uncertainty” the most illuminating. Under “Uncertainty” the author reiterates his inner argument, his “dialectics ѧ in love and faith” (p. 78). Di Piero’s reputation rests ultimately on his poetry, so the relatively limited description of other work here can seem to damn it with faint praise. Such an impression would be unfair. The insight that essays such as “Pocketbook” and “Gots” provides for his imaginative work offers the most obvious benefit of the nonfiction. Besides that, though, his interrogations of both visual and literary work, past and present, play no small part in the composition of his poetry. Memory and Enthusiasm and Shooting the Works include a couple of dozen entries from his journals, and one of these, from Memory, deftly encapsulates his argument with American letters. Noting the contemporary popularity of the interview, Di Piero complains: “the talk is recorded, published, then cited as deep authority in creative writing classrooms. Talk is cheaper than ever. ѧ The interview ѧ perpetuates the organizations of power in our playback culture” (p. 75). Also, the book’s title piece, “Notes on Memory and Enthusiasm,” restates the claim that poetry must exist in contention with itself, with whatever smacks of the trite, by finding novel terms for that give-and-take. The essay offers brainy reassessments of Ezra Pound (more a poet of “memory,” according to Di Piero’s thesis) and William Carlos Williams (a man for “enthusiasm”).

These collections of nonfiction also shared the half-decade of their publication with two new books of poetry: The Restorers in 1992 and Shadows Burning in 1995. Critical perception of this imaginative work, it appears, benefited from the presence of Di Piero’s own criticism, as if he had prepared his own audience. Longer appreciations included a Restorers review in Poetry that amounted to a rave: “at once rich, serious, seething ѧ also makes effective use of dialogue, parody, and a range of masks” (Bruce Murphy, p. 347) Regarding Shadows Burning, similar enthusiasm rang out in Partisan Review: “at once wise and wisecracking, ѧ rich and rough-hewn, ѧ crafted and spontaneous” (Eric Pankey, p. 348). The larger culture, it seems, was catching on to Di Piero’s music. Yet from the current perspective, The Restorers and Shadows Burning do not reveal any striking intrinsic advantages over the two volumes of poetry from the latter half of the 1980s. Di Piero continued to hone his craft, to be sure, pruning away the empty and abstract. In The Restorers even the risen Christ, in “Emmaus,” is defined in terms tactile and colorful, and by turbulent verbs such as “pulsing,” “hissed,” “affronted” (identical in Chinese Apples,

The work on Pound and Williams also gives some idea how important the essays are as information and exegesis. No other critic had made so effective a claim for the importance of the Bologna modernist Giorgio Morandi until Di Piero did so, in his first published work on the visual arts, originally in the New Criterion and later in Out of Eden. Likewise the analysis of the

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W. S. DI PIERO guishes the American narrator from the freezing and underfed Italians. Elsewhere, the fleshy warmth of the risen Messiah in “Emmaus”— subject of a famed painting by Caravaggio—hints unmistakably of illness. Nor does anything like a simple assertion of value occur in any of the six pieces titled simply “poems,” loose translations from Leopardi (following each, Di Piero appends a note: “After Leopardi’s Il sabato del villagio,” for instance). In those, at one point, Italian cynicism erupts as a snarling couplet:

p. 93). Then too, having mastered the short line in The Dog Star, he now tries deeper breaths. A number of pieces in The Restorers run to hendecasyllables and longer, and in Shadows Burning, Di Piero experiments with margin-to-margin prose—experiments and succeeds, the arrhythmic lines balanced between rarified rhetoric and plain, and always scrupulously observed. Description drives most of both these books; The Restorers begins with a group portrait of San Francisco asylum inmates, shambling through their morning walk. In Shadows Burning, the definitive piece is the opener, “Shrine with Flowers,” a twelve-part sequence about a friend’s death from cancer. A risky pairing of terminal illness and a backyard garden, “Shrine with Flowers” earns its length by generating vividness enough to transcend the obvious biplay of decay and growth. Only two sections are in prose; others skim down the page in lines of two or three words, and still others work in trochees of three beats. Indeed, taken together, these two books offer Di Piero’s greatest rhythmical variety. The Restorers, for instance, features the three-part “St. Francis of Assisi,” an arc from September to spring that never mentions the friar but instead adds pungent new counterpoint to his canticles on nature. The first section works in cramped lines of two jerky stresses each, the second in loose alexandrines, and the third in on-again, off-again blank verse. What, then, unites all this metrical play, first in The Restorers and then in Shadows Burning? Naturally, both develop the usual alternation between awe and bone-picking, but each also has determining elements of theme and, especially, setting. The Restorers, both in the original and in Chinese Apples, ranks as Di Piero’s most Italian book. Although there are a few American pieces, a monologue or two from the deranged and homeless, in general the 1992 collection enacts an emigrant’s return. At first glance, though, getting back to his roots looks anything but restorative. The St. Francis poem, in its longlined central section, broods on winter warfare around Assisi in 1944, and only a reference to the song “Alexander’s Ragtime Band” distin-

What’s left? This world, our slime. So, give it up one last time. (Chinese Apples, p. 119)

The Old Country, the Old Masters, offer cold comfort. Yet just as the rhyme above embeds a bristly prayer in its negativity—it implies an eternal cycle of giving up, like Beckett— throughout The Restorers the challenge for its pilgrim is to renounce jejune reassurances while nurturing mature new strengths. The last of the Leopardi adaptations remains all but untouched in its 2007 version, and its final line espouses a life-giving resignation; it accepts “the sumptuous chaos of my heart” (p. 120). Another guarded affirmation comes in “Near Damascus,” which works from another Caravaggio. The narrator is the evangelist Paul, speaking in the thunderstruck instant when he is born again out of Saul. Though he is a pariah, his new place in life is nonetheless rendered, at poem’s close, with an oxymoronic combination of roadside detritus and the pearl-like light of God. Pearls also gleam at the end of the book’s title piece. In lines of three, four, and five iambs, “The Restorers” develops a near-documentary of the conservation efforts in a Florence cathedral. Workers in the scaffolding complain about the cold, and visitors come to recognize how far, in their transience, they themselves are from ultimate perfection. Yet this same wintry recognition triggers smiles, among the first-person-plural narrators, as they keep staring up into the workmen’s light. Shadows Burning, on the other hand, offers “tofu tiramisu / à la California. No kidding” (p. 131). It’s American, in other words: a collection

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W. S. DI PIERO drunk and chilled to the bone; in particular, the poem alludes to the 1985 bombing, by the city’s police, of the African American community organization known as MOVE. Hardly a happy subject, yet the grief turns raucous nevertheless: the soundtrack features clowns playing banjos. In Shadows Burning, the Leopardi adaptation (“after À Sylvia”) is “22nd Street”—just down the block in 1950s South Philly. It’s in prose, and immediately gets off a grim joke about pavement moss. The most telling piece, on the subject of humor, is the collection’s closer. Titled “Reading Ovid” in the original and, better, “Ovid in Exile” in Chinese Apples, the poem counts as neither Atlantic nor Pacific. Rather it is set along the Black Sea, where the author of Metamorphoses, no longer welcome in Rome, reflects in sardonic alexandrines and pentameter on his fallen state. Too late, this immigrant in spite of himself recognizes that he has gone too far. The poet has expected the patricians of the Empire to admire how well he writes while ignoring the vicious slander he is spreading about them. Eric Pankey, in Partisan Review, singled out this poem for special praise, arguing it serves as a “mockdefense” of the entire collection (p. 348).

that sets up shop in the second half of Di Piero’s hyphenated makeup. All the poems except the closer are sorted into “Pacific” and “Atlantic,” the coasts on which the author has spent most of his life (the half-and-half arrangement is another element that Shadows and Restorers have in common). The theme is evanescence, imaged by the title and reinforced by the lengthy opener— tending its garden amid the rot of cancer—but these representations of our smoky insubstantiality flash with surprising colloquial humor. No kidding. Shadows Burning may be Di Piero’s funniest book. At the least, it’s funny in the same way as his Neapolitan mother, with her “volatile compound of hilarity” and “raucous grief.” The book’s publication more or less coincided with the breakdown of the poet’s marriage (mentioned just briefly in City Dog) and with—a related development, no doubt—the onset of the depression discussed in the essay “Force.” In desperate throes, then, this poet fell back on inner resources of gallows humor. The selection for Chinese Apples does without one of the more straightforward comic escapades, “Karloff and the Rock,” a Philadelphia reminiscence in which the poet plays hooky to catch a matinee. But the 2007 anthology has globs of dirt exploding around the head of a hungry California Thrasher, as the bird jabs and digs for worms and grubs down where humans hide their dead. The description isn’t for laughs, exactly, but it does convey a rueful shrug, as this ground-feeder briefly assumes the mythic role of courier to the underworld.

OLD SOUTH PHILLY, NEW STRENGTHS: SKIRTS, FIRE, AND APPLES

Shadows Burning spent more time back in South Philly than this author had allowed himself in a while, and The Restorers lingered in the churches and museums of Italy. Such returns to sources are typical of anyone in midlife, and in Di Piero’s case, as in many, they provided both relief and insight during times of trauma. By the turn of the current millennium, this poet had not only struggled with divorce and depression but also with the death of his mother, for decades his sole surviving parent. Happily—not to say ironically—the same years also brought him his greatest public recognition yet, a rising chorus of accolades that culminated in his election to the American Academy of Arts and Sciences in 2001. Before that was the Raiziss/de Palchi Award (1996) and the Lila Wallace–Reader’s Digest

The wit also makes itself felt in the book’s metrical freedom. Most vividly on display in “Shrine with Flowers,” rhythmic variety also contributes to the tragicomic play that is “The Mummers.” Another multisection piece, “Mummers” functions as something of an Atlantic counterpart to “Shrine,” though it is considerably shorter. In lines of two, three, and four stresses, “Mummers” brings off an improbable analogy, in which Philadelphia’s annual New Year’s clown parade enacts America’s perennial cycles of racial violence. The Bozos in the streets recall, in general, the less fortunate who haunt the downtown the rest of the winter, more often than not

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W. S. DI PIERO come in thematic pairs. Each twosome presents another round in the inner argument, the close observation and multiple refusals that define the skeptic. So too Skirts and Slacks and Brother Fire resonate off each other, both in the original and in Chinese Apples. The 2001 volume arrives repeatedly, with chuckles that turn to sighs, at acceptance, while the 2004 finds ubiquitous images for the ineradicable pressure—a fire that won’t be quenched—of our desires.

Writers’ Award (1999). Both the latter came with not-inconsiderable honoraria, and in 2000 he garnered his first poet-in-residence appointment at Northwestern (the next came in 2003). On top of that, in 2002 Di Piero won a semester-long fellowship with the American Academy in Berlin. These and other developments allowed him to cut back on Stanford commitments; since 2000 he has taught only part-time. Chief among those other developments, to be sure, were the collections Skirts and Slacks (2001) and Brother Fire (2004). Within what Di Piero termed the “organizations of power” for American literature, these two books must be considered breakthroughs, appearing with a major New York publisher, Knopf, the house that later brought out Chinese Apples. His work at last turned up in the New Yorker again (“The Kiss,” a South Philly reminiscence from Brother Fire), and Skirts and Slacks drew splendid notices from all over, perhaps most notably in Ploughshares, where it won the notice of Philip Levine. Another major poet out of the urban working class, Levine enthused that the book had “caught our American voices in all their glory and banality” (“Editor’s Shelf,” fall 2001). The New York Times Book Review awarded Skirts and Slacks what remains the only full-length consideration Di Piero has received in its pages. The reviewer Albert Mobilio, writing in August 2001, declared the book set “dazzling moments amid plainsong.” When Brother Fire appeared, even Publishers Weekly had good things to say, and the Philadelphia Inquirer at last took notice of its native son. Chinese Apples appeared to even wider acclaim, in Harvard Review, Poetry, and elsewhere. John Domini, in American Book Review, asserted that the book established Di Piero as “a master” (March–April 2008). All well and good, but when the poet had written about “power” such as this, in his notebooks, he had done so disdainfully. The breakthroughs that matter for him have little to do with public reward. So the best news out of the busy time following his trials of the mid-1990s is that the poetry achieved new power. As we have seen, starting with Early Light and The Dog Star, Di Piero’s collections have

Neither collection has a distinguishing formal element, though Skirts leans more toward shorter pieces. The impression is of an artist at the top of his skills, riffling through meter and line length to find what best serves the case. Thus when considering the two volumes as correspondent, technique matters less than arrangement and topic. One unifying aspect is that, in both volumes, the poet makes more use than ever of urban “gypsies”: the mad, neglected, and homeless. The intensified interest may have something to do with Di Piero’s own turn-of-thecentury wandering, divorced and teaching parttime, with his daughter grown, but such a biographical interpretation only goes so far, making too little of the artist’s imagination and empathy. The second unifying aspect shared by these books also feels familiar: each has a sequence set in South Philly. The old-neighborhood material occupies bookend positions: the opening third of Skirts and the closing third of Fire. Those thirds are roughly equal in each, because both books use the same organization. The later volume does open with an ungrouped piece, another poem featuring St. Francis. The saint’s “Canticle of the Sun” gave Di Piero the title Brother Fire, and he uses the passage as that volume’s epigraph— along with a hobo’s yawp overheard on a streetcar. The two most recent visits to the stoops and sidewalks of childhood, however, reveal the most about the fresh rhetorical resource this artist has tapped. As ever, those resources are located in the tensions of mid-twentieth-century urban America, where “ethnic and racial tags made up our richest vocabulary,” to again cite “Pocketbook and Sauerkraut.” In “Gots Is What You Got,” City

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W. S. DI PIERO single unbroken utterance. Among these is the Skirts opener, rushing to ask forgiveness as the poet drinks and recalls his dying mother (the title is “Philly Babylon,” and the poem is the first half of a two-part piece called “Cheap Gold Flats”). “Prayer Meeting” likewise compresses its beseeching into seventeen unbroken lines, close to blank verse. “Ortlieb’s Uptown Taproom,” from Fire, is a third example. At the Uptown, the band prompts an impossible yen in one immigrant laborer; he hears again the Christmas-morning bagpipes back in his village. “Ortlieb’s” begins with another of Di Piero’s miraculous verbs: “The sax’s rayon shirt ѧ fires up / flamingos, pink parrots, ѧ” (p. 209) and fires up, as well, memories of a faraway village. Likewise, in a piece from Skirts, “Leaving Bartram’s Garden in Southwest Philadelphia,” verbs enliven details ranging from how city trolleys ride on tires now, rather than rails, to how a bright passing bird seems to splash the windows of the eighteenth-century Quaker botanist Bartram. Toward the poem’s end, as the poet’s trolley moves through the dicey neighborhood close by the park, he doesn’t miss the graffiti in the nearby projects, the spray paintings another wound against a wall. The rhetoric itself trolleys, it contains swaying opposites: bird life and street art. Then too, this “Garden” ends in the ghetto. Transcendent connectedness here arrives prompted by gangsters and their tags:

Dog’s companion essay on the formation of his language, Di Piero confesses that he “never did shed [his] tribal legacy of ѧ festive abrasiveness and chafing hilarity” (p. 18). In Skirts and Slacks and Brother Fire, what sets apart the music of that chafing are its echoes of the African American Other. What could have been a sentimental journey instead draws close to something shadowy, asocial to the point of violence. This presence sometimes finds its embodiment in street people of no particular color but more often via signifiers for African American city culture. Not that, as this poet hits his stride, he tumbles into unwitting racism. Quite the contrary—Di Piero appreciates how this element puts flesh on his epiphanies, turning them nervous and humane. When he drops in what might be called a touch of the ghetto, he accords it the respect of key placement and central imagery. Overall, the poet returns to his home ground with a vengeance. More the corer than ever, he rips away surfaces to get at the raw stuff. The opener in Skirts and Slacks, also the first in its section of Chinese Apples, visits first his mother’s deathbed and then a local bar, and though the poet-narrator concludes by asking forgiveness, the expression tumbles out as a drunken plea. Later in the 2007 anthology, in “Prayer Meeting”—one of the standouts in Brother Fire—the poet recalls saying his Hail Marys down on his knees beside that same mother, among the wash day clutter in their row house basement. Lines alternate between frustration over a hurtful and faraway deity and sympathy for a parent who, he comes to realize, is as tormented as he. As in earlier collections, Di Piero mixes up his rhythms only in the longest poems, though in Skirts and Fire, it bears repeating, he achieves the sweetest balance of poetic convention and conversational bite. One example concerns his attempt to revisit the Philadelphia library, in “The Apples,” originally a Skirts piece. Staggered line lengths here suit the recognition of our transitory nature. City budget cuts have hacked away at the timeless dimension of words, and the library entrance is blocked by, whom else, a cawing bag lady. As for the poems that stick with a single rough rhythm, a number of the best present a

fearless, dense lines that conch and muscle so intimately I can’t tell one name from another. (p. 164)

A poem that begins in a home that dates from slave times (though didn’t the Quakers work against slavery?) concludes with a cross-cultural, cross-racial re-imaging of the bird at the Quaker’s window (though what O.G., or Original Gangsta, ever got off such a flourish of verbs: “conch and muscle”?). A life-giving weave of disparate eras, milieus, and more is at climax embodied through the actions of quasi-criminal urban youth. Need it even be said that they are youth of color? The image of such taggers, in any case, has been

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W. S. DI PIERO piss and smoke” (the adult poet, looking back, clearly still wonders about the Father’s steaming crotch), the evening papers surrounding the boy all carry the famous images out of Selma, Alabama: the young blacks standing up to fire hoses and attack dogs. With that, the child narrator interrogates himself again, as the fearsome shadow-self suggested by the Father finds embodiment in the people whom the boy’s parents warned him against. In becoming a witness for such an uncomfortable truth, finally he makes out his true calling, manifest beyond the trolley windows: “the wall’s filthy cracks ѧ held stories I’d find and tell” (p. 215).

distorted by the media into something thuggish and primitive. Di Piero, however, inverts this signifier for the Other, making it express quite the opposite, namely, the Universal. He relies on a similar device in “Finished Basement,” the latter half of “Cheap Gold Flats” (the two-part Skirts opener). Now the mother is gone, and the grown children converse across her corpse, down in the row house cellar one last time. The piece ends with Mom’s presence made eerily tangible, fingering the poet’s neck, but her touch is anticipated by the thumping of disco music behind the walls. A few lines farther on, when the poem turns to the deceased, it sharply summarizes the children’s conversation with the familiar expression “yackety yak” (p. 160). That is, a song by the Coasters, a crossover hit, takes the narrator from chattering denial to the chill of the inevitable.

Like Stephen Dedalus before him, the poet of these later South Philly sequences has heard God in a shout in the street. The same resounds in the poems from Skirts and Fire that are not set in the old neighborhood. Some voices are resigned, like that of the bus-station hustler in “Hermes: Port Authority: His Song.” Hermes is a Hamlet of a kind: a pipe in the hands of any passerby with cash. In the Brother Fire selections, on the other hand, the shout is more ferocious. “A Man of Indeterminate Age on a Subway Grate” bellows both show tunes and his own garbled version of official warnings. At the end of Chinese Apples come fifteen new poems, pieces that reiterate central concerns for this author; they are deeply meditative, unfailingly sensual, impressively learned, inveterately streetwise. “The Wedding Dance” presents another skeptic’s recollection of his fractious family, a nagging pain the poet cannot live without. The American vista of “Overlooking Lake Champlain” evokes omnipotent supernature and turns a friend to nature’s votive. Desire sends its tentacles through weary hearts in “The Fruits of the Sea,” and the anthology’s closer is titled, of all things, “City Dog.” Here, in microcosm, a reader gets one last view of just how diligently, how thoroughly this breed will sniff and nuzzle; the poem includes everything from the philosophy of the latter-day Renaissance man Alberto Savinio (1891–1952) to a bum on a streetcar counting his cash and singing rhythm and blues. When Di Piero’s skepticism is at its most attentive, it achieves the paradox of

In “Ortlieb’s Uptown Tap” the black-music signifiers are largely obvious. An exception is when the immigrant listener recalls the bagpipes of his mountain home, an instrument made of animal skin and often sounding like animals. One could say this atavistic touch develops a folkcultural manifestation of the genetic link between Africa and Italy, except that, like everything in Brother Fire, the poem has more to do with ecstasy than with sociology. As for “Prayer Meeting,” it seems to eschew ghetto business—until one looks again at the very title and subject. An overworked mother and her child call on their Lord, together, aloud, knocked to their knees by the Spirit, half-mumbling, half-singing. It is a scene that could play in any neighborhood of outsiders and menials. The last poem in Fire, the next-to-last among the Chinese Apples selections, converts a priest into an artist and at the same time a civil rights sympathizer. “The Kiss” recalls a preadolescent visit to Father Feeney, who speaks in endearments and awards the boy a kiss, on the cheek but uncalled for. This borderline abuse, however, comes while the Father is also briskly disabusing; he urges his young charge to abandon his desire to join the clergy. The child, the priest insists, must find another vocation. Following this meeting, amid the subway’s “Golgotha air of

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W. S. DI PIERO Eros, that infinite “field of relatedness” he champions in the final essays of City Dog. Such breadth of ambition, combined with such a manyhanded command of craft, still at times proves a problem for this artist. A case in point would be his omission, puzzling indeed, from the 2003 Norton Anthology of Modern and Contemporary Poetry. Still, Di Piero has begun to achieve recognition commensurate with his accomplishment: as a poet who illuminates city corners others ignore, a man of letters who bears out the importance of Italian American culture, and a vital present-day voice in the timeless quarrel with God.

Shooting the Works: On Poetry and Pictures. Evanston, Ill.: TriQuarterly Books/ Northwestern University Press, 1996. City Dog. Evanston, Ill.: Northwestern University Press, 2009.

TRANSLATIONS Pensieri, by Giacomo Leopardi. Baton Rouge: Louisiana State University Press, 1981. Galaxy Editions, New York: Oxford University Press, 1984. The Ellipse: Selected Poems of Leonardo Sinisgalli. Princeton, N.J.: Princeton University Press, 1982. This Strange Joy: Selected Poems of Sandro Penna. Columbus: Ohio State University Press, 1982.

REVIEWS Berthoff, Werner. “A Passionate Form-Finding.” Boston Book Review, June 1996, p. 19. (Review of Shooting the Works.) Chapman, Danielle. “The Art of Mere Existence.” Threepenny Review 112:8–9 (winter 2008). (Review of Chinese Apples.) Christie, A. V. “South Philadelphia Native’s Poetry Reflects Grit of the City.” Philadelphia Inquirer, December 1, 2004, p. 23. (Review of Brother Fire.) Domini, John. “Club Poems.” American Book Review 29, no. 3:16 (March–April 2008). (Review of Chinese Apples.) Grosholz, Emily. “Master-Workers and Others.” Hudson Review 36, no. 3:582–592 (autumn 1983). (Review of The First Hour and others.) ———. “Family Ties.” Hudson Review 37, no. 4:647–659 (winter 1984–1985). (Review of The Only Dangerous Thing and others.) Kaganoff, Peggy. Review of The Dog Star. Publishers Weekly, May 25, 1990, p. 55. Mobilio, Albert. “Poems Around the House.” New York Times Book Review, August 5, 2001, p. 15. (Review of Skirts and Slacks.) Murphy, Bruce. “Spirit and Substance.” Poetry, March 1993, pp. 339–355. (Review of The Restorers and others.) Pankey, Eric. “‘Perilous Interface’: Recent Poetry.” Partisan Review 66, no. 2:344–349 (spring 1999). (Review of Shadows Burning and others.) Sleigh, Tom. “Of Hector, Orpheus, and Max Jacob.” New York Times Book Review, July 21, 1985, p. 24. (Review of Early Light and others.) Swiss, Thomas. “Six Poets.” Sewanee Review 94, no. 2:302305 (spring 1986). (Review of Early Light and others.)

Selected Bibliography WORKS OF W. S. DI PIERO POETRY Country of Survivors. Berkeley: E. B. Rasmussen, 1974. Solstice. Tempe: Porch Publications, 1981. The First Hour. Omaha: The Cummington Press/Abattoir Editions, University of Nebraska, 1982. The Only Dangerous Thing. Chicago: Elpenor Books, 1984. Early Light. Salt Lake City: University of Utah Press, 1985. The Dog Star. Amherst: University of Massachusetts Press, 1990. The Restorers. Chicago: University of Chicago Press, 1992. Shadows Burning. Evanston, Ill.: TriQuarterly Books/ Northwestern University Press, 1995. Skirts and Slacks. New York: Knopf, 2001. Brother Fire. New York: Knopf, 2004. Chinese Apples: New and Selected Poems. New York: Knopf, 2007.

ESSAYS Memory and Enthusiasm: Essays, 1975–1985. Princeton, N.J.: Princeton University Press, 1989. Out of Eden: Essays on Modern Art. Berkeley: University of California Press, 1991.

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JENNIFER EGAN (1962—)

Claire Keyes JENNIFER EGAN IS a contemporary fiction writer with popular appeal and, at the same time, a novelist of ideas noted for the elegance of her style. She is praised for the intelligence and insight she displays and for her significant command of some of the more compelling issues of contemporary American life. She draws in readers with her stories of human longing, and she keeps them there with the dramatic, suspenseful arcs of her tales. In language described as “lustrous” or “cool, clean, wrenching,” Egan’s prose takes us places: to Europe (often), to China, to Bora Bora. In America, she favors places she knows best: New York City, Chicago, San Francisco. More importantly, she takes us with her characters as they reach the brink of some significant change in their lives. Her first novel, The Invisible Circus (1995), brought her admiring critical attention for its portrayal of the sixties counterculture. By the time she had published Emerald City (1996), a collection of short stories, Egan was regarded as one of the best young writers in America. Her early books were followed by Look at Me (2001) and The Keep (2006), each novel delving more deeply into her central themes and subjects. Whether the characters are young girls or middle-aged businessmen, Egan is a master of voice as well as plot. Her prose convinces us that her characters’ dilemmas are real and worth caring about. They might be us. Jennifer Egan is spot-on about the vagaries of modern life.

however, remain constant. Fascinated by the American obsession with image—in the sense of the way things or people look or appear—she ties this to a profound disjunction with the real. Image culture and its ramifications absorb her and connect with another interest—self-invention or reinvention. She believes self-invention stems from our roots as a new country where people could leave their old lives—and old selves— behind. Self-invention can be seen positively as transformation or negatively as an escape from reality. As Egan framed it in a 2007 interview with Sarah Anne Johnson for the Writer: “We’re a culture that allows and encourages ‘makeovers’ and ‘starting over,’ and in some sense I think these re-inventions are inherently American.” Roaming from America to Europe, her novels and short stories are set in the late twentieth and early twenty-first centuries, with subjects that are distinctly contemporary. For example, she addresses the role of technology in our lives and how modern technology, especially modern means of communication, invites us to regard virtual connection to others as real—perhaps more real than face-to-face encounters. Whether bound to the Internet and the cell phone or to drugs or alcohol, characters in Egan’s fiction tend toward addiction. In a 2006 interview with Vendela Vida in the Believer, she explained that addiction “opens the door for this other presence to enter into someone’s life and personality” (p. 82). Thus the character is set into conflict, and fictional possibilities emerge. Conflict, of course, is at the heart of most works of fiction. In Egan’s, it is the inner conflict that plays a significant role.

CENTRAL THEMES AND SUBJECTS

As a writer, Jennifer Egan challenges herself and resists any formulaic or “safe” approach to the novel. Thus each of her books differs from the one preceding it in subject matter, in style, and in narrative voice. Her central themes and concerns,

Many times, the conflict in her fiction assumes the form of longing for some other self that will provide a greater sense of wholeness or

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JENNIFER EGAN an intensity of experience. Mariska van Aalst of the San Francisco Review finds that Egan’s “writing often reflects her impatience with what is safe, preferring the sense of ‘limitless possibility’ of other lives, other places, other people’s dreams” (p. 33). Characters in her fiction tend to mirror one another—with a difference. In literary terms, this pattern is known as the Doppelgänger, a German word for a double or alter-ego (doppel: double; gänger: goer). Oftentimes, the doppelgänger motif provides the emotional dynamics of a story: the longing for a different, more exciting life. The doppelgänger might be familial: sister to sister, sister to brother, daughter to father. It could also be friend to friend or simply a person who perceives another person, even a stranger, as possessing some more glorified existence. All of these issues—from image culture to self-invention to exploring the role of technology in our lives to addiction and the doppelgänger— point to Egan’s seriousness as a novelist. At the same time, her work as a journalist and the major articles she has written for the New York Times Magazine and other publications have put her in touch with some crucial societal issues such as the role of technology, gays in the military, sperm donors, and homeless children. Her nonfiction feeds her fiction in terms of both subject matter and theme. At the core of all her writing is a deep moral concern. She admitted in the Writer interview to the ultimate question that drives her writing: “What morality is, and how and why it can survive in a culture that would seem to deny its existence except as a marketing tool, endlessly fascinates me.”

Kiss My Sweet ‘run by gay leather boys.’” She has a brother, Graham Kimpton, and a sister who is a U.S. Attorney. Her grandfather Egan was a commander in the Chicago police force. This family involvement in the law may help explain Egan’s penchant for an investigative style in her fiction and nonfiction and her flair for the mysterious. Vendela Vida, in her preface to her interview with Egan for the Believer, stated that all Egan’s novels are “thrillers in their own way. The plots take you in a direction you didn’t foresee and you find yourself racing to the surprising conclusion” (p. 77). To call them “thrillers” is a bit misleading; Egan writes literary fiction. Egan’s early experiences help us understand how she developed into a writer. She told Sarah Anne Johnson of the Writer that her mother “always read to me.” Precocious, she began reading at age four. Perhaps a greater indicator of the vocation she eventually chose was Egan’s “passion for imaginary games.” Her father enters the picture as well. She revealed to Johnson that “My father ѧ also had a ritual of telling me a story at bedtime the one night each week I spent with him,” featuring a group of characters that always stayed the same. Not content to take the stories or characters as given, Egan “fell into the habit of telling my father what exactly I wanted to happen.” Thus Egan learned at an early age to take charge of the narrative. Other early experiences provide insight into certain aspects of her fiction. For example, in her interview with Vida, she recalled visiting her father in Chicago when she was still “a kid” and working at a day camp where she met red-haired twin girls. She was fascinated by them and by twinness, a motif that often emerges in her novels. She described this fascination as “that feeling of longing that so many people have for some other self,” or the doppelgänger. She told Vida that in her first novel, The Invisible Circus (1995), “the two sisters, Phoebe and Faith, are essentially twins” (p. 78). Although there are seven years between them they look very much alike, and Phoebe, the younger, is pleased when people tell her she looks just like Faith, her older, awe-inspiring sister. Tellingly, the novel begins

EARLY LIFE, EARLY FICTION

Jennifer Egan was born in Chicago on September 7, 1962. Her father, Donald Egan, a lawyer, and her mother, Kay, divorced when she was two years old. Her mother subsequently married the hotelier Bill Kimpton, and when Jennifer was seven they moved to San Francisco. Living in Pacific Heights, Jennifer attended Lowell High School. She told Jennie Yabroff of the San Francisco Chronicle (2006) that “after school she worked at a Haight Street candy shop called

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JENNIFER EGAN evolved out of a story she wrote for his class. It takes place in Africa and concerns a woman staffer working with a photographer who is shooting pictures of young models on the beach. Concerned with image culture, this story revolves around the subtle interplay between the sardonic perceptions of the older stylist and the palpable longing of the younger models for the coveted “cover shot.”

in San Francisco, Egan’s early environment. Her handling of the setting in part 1 of the novel is adept in its use of places in the city, from Coit Tower to Golden Gate Park, from HaightAshbury to the Tenderloin. Like Phoebe in her debut novel, Egan took a year off between high school and college and traveled in Europe. She paid for this trip by working as a model for six months. With her height, five feet nine inches, and the right bone structure, Egan and modeling seem a natural fit. Modeling did not suit her for long. She told Michael Kenney of the Boston Globe in 1996: “I felt a desire to vanish and to speak—the two things you can’t ever do as a model.” Monetary goal achieved, she set off with a backpack and not much else. During her travels in Europe, she told Mariska van Aalst, she felt “there was so little holding me to the earth.” At the same time, she realized “that writing was an integral part of my experience of the world, and that it would always be” (p. 32). She returned from Europe to enter college with a new seriousness of purpose. An English major at the University of Pennsylvania in Philadelphia, where she earned her BA degree, Egan won a scholarship to St. John’s College in Cambridge, England. While there she not only earned her MA in English literature and met the man who would become her husband, David Herskovits, a theater director, but also began writing what she terms her “failed novel” based upon her year of travel in Europe. The year in Cambridge was followed by more travel in Asia, at least parts of which provided material for a short story, “Why China?” Egan’s first publication in the New Yorker, “The Stylist,” caught the eye of literary agents with the usual request: “Let’s see the rest of your work,” as Egan told Jessica Firger in Poets & Writers (p. 43). At the time, Egan was living in New York City and had taken on any kind of job that would leave her time to write: “I worked as a temp, I was a private secretary for the Countess of Romanones, I worked in catering—you name it” (Firger, pp. 42–43). She enrolled in a writing workshop with Tom Jenks, a fiction writer and an editor at Paris Review and GQ. “The Stylist”

Buoyed by the success of her short stories, Egan began the serious work of revising the “failed novel” she had begun while studying at Cambridge. Originally titled “Inland Souls,” a phrase from the Emily Dickinson poem beginning “Exultation is the going,” The Invisible Circus draws upon her youth in San Francisco and her travels in Europe. It is not, however, autobiographical. Egan insisted to Firger that “My fiction does not include my life, and I don’t write memoir” (p. 41). Opening in 1978, The Invisible Circus concerns a young girl, Phoebe, who is haunted by the suicide of her sister Faith and determined to discover the reasons why the suicide occurred. In doing so, she travels alone to Europe, where she meets her sister’s boyfriend, Wolf, and falls in love with him. Together they journey to the town on the Italian coast where Faith plunged to her death. Phoebe succeeds in uncovering the motives for her sister’s suicide and in the process claims her own identity. Jesse Lee Kercheval in Ploughshares praised Egan’s first novel because “Egan takes up the burden of history and shows clearly how [the sixties and seventies] shaped the lives of her characters” (p. 193). Egan’s own life, of course, was shaped by those tumultuous decades in American culture, but, she told van Aalst, she “doesn’t copy from life.” This statement leads her to articulate her theory of fiction: “Fiction is so much about making things life-like, but not because you tell them exactly the way they are, but because you distort them in the right way. It’s like the physical distortions of the Parthenon that make it look perfect” (p. 33). The perfections of The Invisible Circus appealed to Hollywood, and it was adapted into a feature film starring Cameron Diaz and released in 2001. Perhaps one of the most telling motifs

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JENNIFER EGAN asks the man, “Do you hate it here, too?” He replies, “Me, I love it. You know every minute how far away you are” (p. 19). He means, of course, how far away from the amenities (clean water, dependable electricity) we take for granted in the United States. Egan’s unifying theme emerges in this brief exchange: this man accepts the fact that the “Emerald City” is unattainable. The protagonist of the story has yet to learn this. Jodee Stanley’s Ploughshares review of Emerald City lauded Egan’s “glorious clarity” in writing “about people seeking to transcend their present situations” and the way “Egan uses her extraordinary craft to bring the reader into the intimate landscape of her characters” (p. 205). In “Spanish Winter,” Egan’s style is economical and her characters available to us as human beings rarely are in lived life. The protagonist, a woman traveling alone in Spain, has recently divorced and she’s hurting. “A man is following me,” she says (p. 133). It’s always a different man. One of them is named Jake, someone who recognizes her from Rutgers, where they went to college. A businessman, he confides in her that “I did a stupid thing. I’ve lost a lot of people’s money” (p. 143). Because he confides in her, she tells him she lied: she is not waiting for her husband. She has no husband. Both of them have lost whatever lives they had created. When thieves steal her brand-new calfskin bag, Jake chases them and brings it back. It is a little moment of transcendence for both of them. The story ends with his asking her, “Ever been to Morocco?” On hearing this, she “imagines beaches, crowded cafés, that smell of tanning lotion. From what seems a great distance, these summer things come wafting back” (p. 146). She will go with him— for this is the “Emerald City”—but she knows she must return home and begin again. This may not be the most compelling story in Emerald City, not as “brilliant” as “Why China?” or as dramatic as “Sacred Heart,” but it goes to show the consistency of Egan’s concerns and the unified nature of her collection of short stories. Michael Kenney noted in the Boston Globe that two stories in this collection—“The Stylist” and “Emerald City”—are “about fashion models.” Likewise, he attributed Egan’s awareness of this

in The Invisible Circus is the novel’s mention of the Patty Hearst story and how it impacted Faith. The heiress of the Hearst fortune, Patty Hearst was kidnapped by a group of counterculture revolutionaries. Eventually participating in a bank robbery, Hearst activated media frenzy. Like Hearst, Faith gets caught up—though not kidnapped—by the Baader-Meinhof gang in Germany. Her activities culminate in the death of an innocent man, an act that haunts her. Was Faith propelled in her actions by media representations? Egan herself stated to Johnson in the Writer that “The Invisible Circus begins to look at some of the issues around image culture by examining the role of media representation in 60s counterculture. How does the tendency to create ‘identity’ from outside—to see ourselves as images that need to be manipulated—affect who we actually are?”

EMERALD CITY

Following The Invisible Circus so closely, Emerald City (1996) cannot help being absorbed by similar themes. The title of this collection of short stories is a reference to The Wizard of Oz and the city that Dorothy tries to reach. To Lori Fradkin of New York magazine, Egan admitted a fascination with “the metaphor of Emerald City, the place you can’t reach because it has to glitter at some distance.” When she began work on the stories for her collection, that sense of the unattainable place struck her as a unifying theme. In her title story, New York City is that place, even though the characters already live there. In “Stylist,” it is the longed-for “cover shot.” Joseph Olshan in Entertainment Weekly praised Egan for, among other things, writing “convincingly from a male point of view” as she does in “Why China?” The male protagonist of this story is a trader in the financial marketplace who has taken his wife and two daughters on a trip to China while he is being investigated for “messing with the numbers” (Emerald City, p. 4). While there, he runs into a man who swindled him. Thinking the other man does not recognize him, the protagonist pursues him. He is the doppelgänger. At one point, the trader’s daughter

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JENNIFER EGAN writing about herself, as she admitted to Vida. While refreshing in this age where memoir has achieved ascendancy as a genre, it also means, as Egan stated, that “There isn’t a through line of my own biography or experience holding [my books] together” (p. 83). Nonetheless, an interesting biographical element emerged in the interviews she gave for Look at Me. Questioned by Laura Miller in Salon about her idea for the book, Egan stated that “the first thing that I knew about this book is that it would take place in New York and Rockford, Illinois, which is my mother’s hometown.” To Donna Seaman, likewise curious about Rockford, Egan explained that “Rockford was the place where my grandparents lived. They had a big house, the same house my mother grew up in, and I would go there in the summer and swim in the country club pool” (Bookslut Web site). The genesis of Look at Me can be traced to Egan’s trips to Rockford both as a child and as an adult. Nostalgia alone did not compel these visits; she was intrigued by Rockford, its evolution as a city and its modern devolution. In some respects Rockford can be regarded as typical of older urban centers in the United States. Once a prosperous and energetic city serving both agricultural interests and industry, Rockford suffered the fate of second-tier cities in a postindustrial age. Egan told Miller she was “interested in it as a place that had once been teeming with something but events had moved on and left this shell in a sense. There’s a feeling of it being in the midst of an aftermath, and that fascinated me.” Elements of Egan’s interest can be located in the character of Moose, similarly obsessed by Rockford. Egan pursued her interest and, as she told Donna Seaman, “I started going there alone after my grandparents passed away. ѧ Little by little my sense of the story, and the characters began to come to me as I made these trips.” On one of the trips, Egan found herself driving from the airport to Rockford in a rainstorm. She was stuck in traffic and, she told Laura Miller, “I had this idea of the car swinging off the road and this woman’s face being damaged and unrecognizable.” Just so, Look at Me begins.

world to her own brief stint as a model, an experience she did not readily discuss until she wrote a New York Times Magazine article about the teenage supermodel James King. She told Kenney: “I lived in terror of being just known as the ex-model who wrote stories.” Even so, she used her experience as a model as well as her research and writing of the Times article to assist her with her second novel, Look at Me. For Egan, the model’s experience of offering her or his image to the world is a paradigm of most human experience. To Laura Miller of Salon she spoke of the model’s life “as an extreme version of a way of life we’ve all had to develop, which is a consciousness of our images and an ability to maneuver them successfully in order to function in this world we live in.” While it seems almost ludicrous for us to compare our consciousness of our “images” to that of a glamorous fashion model, Egan explores these connections convincingly in Look at Me.

LOOK AT ME AND THE CREATIVE PROCESS

Egan’s second novel departs from The Invisible Circus in almost every way, although her central themes and concerns carry through. In Look at Me, the setting differs: Rockford, Illinois, and Manhattan serve as the two significant places. Whereas the character of Phoebe maintains the central point of view in Circus, Egan employs multiple points of view in Look at Me. There is no search for identity in Look at Me but rather a relinquishment of identity. Egan explained to Vendela Vida that she “almost consciously [throws] away the books I’ve already written before I begin” a new book. She needs to do this, she says, as part of her creative process: “What gives me the impetus to go forward is partly a sense that I’m discovering something unknown to me, exploring a new set of ideas” (p. 83). Actually, the ideas in Look at Me are not necessarily new for Egan. Her exploration of them, however, probes more deeply and her perspectives take on a global dimension. Egan’s quest to achieve certain universality in her fiction stems in part from her dislike of

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JENNIFER EGAN understand that Egan counts among her influences the contemporary novelists Don DeLillo and Robert Stone. She informed Laura Miller in the Salon interview that “Both [are] fairly global in their perspective and quite idea-driven.” She also cited Jonathan Franzen as an influence and said, “I agree with his goal of wanting to fuse the emotional with the intellectual.”

Published in fall 2001, shortly after the terrorist attacks on the World Trade Center and the Pentagon, Look at Me earned a nomination for the American Book Award in fiction, although Jonathan Franzen’s The Corrections won. Egan’s central character, a fashion model named Charlotte Swenson, gets in an automobile accident near the city of Rockford, Illinois, and her face is horribly disfigured. A skillful surgeon at the local hospital puts her back together. During her convalescence in Rockford, she encounters the novel’s second Charlotte, the teenage daughter of a girlhood friend. As Amy Reiter stated in her Salon review, “Egan flips back and forth between the worlds of each Charlotte, juxtaposing Rockford and Manhattan, youth and experience, love and empty lust, innocence and jaded experience—yet illuminating the struggles common to each.” Connecting the two Charlottes in ways neither suspects is the character of Z, a terrorist from the Middle East, acting on his own and foiled in his attempt to inflict some serious harm on the United States.

Absorbed by the concept of image culture, Egan told Sarah Anne Johnson of the Writer that she had “been interested for a long time in writing a novel that addresses image culture directly.” Egan clarified this concept as “the tendency to create ‘identity’ from the outside—to see ourselves as images that need to be manipulated.” In developing the emotional layer of the novel, she decided there would be “no better way” to explore image culture than through the experience of a model whose livelihood depends upon the manipulation of her image. What if such a model were disfigured, in some way? Thus the accident that both opens and closes the novel. To Charlotte’s chagrin and amazement, no one recognizes her when she has finally healed and returned to New York City, not even Oscar, the man she refers to as her booker or agent. Waiting for him at a restaurant, she is ignored by people from her pre-accident life: “Each one of these people looked at me in the particular way people do inside the fashion world: a quick, ravenous glance that demands beauty or power as its immediate reward. And then they looked away, as if what they had seen were not just unfamiliar but without possibility” (p. 33). In essence, Charlotte is dismissed as an entity, but she doesn’t give up. Jane Smiley admires this quality in her although she admits that “Charlotte is not a sympathetic character” and finds her “aggressive, resentful, and shallow—but she is brave, which keeps the reader reading” (Thirteen Ways of Looking at the Novel, p. 569). In a similar vein, Laura Miller in her Time review of Look at Me described Charlotte as “corrosively cynical yet fearless in her honesty.” Offered the opportunity to sell her life story to Thomas Keene, an entrepreneur, Charlotte is tempted but repelled at the thought of the invasion of her privacy, including the use of video

Although Egan was lauded for this book, garnering praise for the uncanny way she captures American culture in its horrifying 9/11 moment as well as for her “crisp and precise” style, some early reviews were strikingly negative. Jeff Zaleski in Publishers Weekly found Look at Me “marred by the overblown trendiness at its core.” This is a reference not just to the Manhattan scenes and the depiction of the model’s life but also to Egan’s exploration of image culture. Zaleski stated that all the characters come to “the same realization: a world ruled by the consumerist values bred by mass production and mass information is ‘a world constructed from the outside in.’” Zaleski felt that “the Buddha said it better.” Perhaps he did, but Egan provides a twenty-first-century framework for this essentially idea-centered novel. Its very complexity is what turned Rebecca Ascher-Walsh against Look at Me. In her Entertainment Weekly review she wrote that “The novel collapses under its self-imposed weight ѧ [and] breaks into a schizophrenic-like prism of battling stories and theses.” Egan’s novel is, indeed, weighty with ideas. But it helps to

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JENNIFER EGAN Ordinarily she can’t see this face, only at times, say, when “he dragged on a cigarette” and she saw the shadow self, “a nagging flickering presence” (p. 34).

cameras to film her in her daily life. During an interview with Keene she recognizes opposing parts of her self and the nature of his proposal and thinks: “How could I resist the offer of attention and money, the very polestars whose gleaming emanations had navigated my existence to this point? Yet some rogue part of me, some renegade element heretofore unknown, recoiled. Who are you? I queried the source of this rebellion. Do I know you? I felt a sudden need to get out of there, the eager part of me greedy for consummation, the other desperate to escape.” Addicted to “attention and money,” Charlotte folds. “‘Okay,’ I said. ‘Let’s talk about money’” (p. 204).

Hillary Frey found Charlotte’s habit of looking for the shadow self a trait that sets her apart from “your average fictional model” (p. 42). Saying this, she encouraged readers to regard Jennifer Egan’s fiction as being on a higher level than the “skin-deep works of [Bret] Easton Ellis and Jay McInerney.” Frey continued: “To the extent that [Charlotte is] obsessed with appearances, it’s only to look for a person’s ‘shadow self,’ the evidence of a double life” (p. 42). Charlotte is not content to apply her penetrating gaze to people; she looks at the city in the same way. On her travels around Manhattan, she stops to look at buildings that contain a vestige of the past in signs that are barely discernible: “Above Twenty-third Street, I was tantalized once again by the profusion of old painted signs; every building, it seemed, bore several faded tattoos, many superimposed and legible only faintly, only in parts. ‘5 cents.’ ‘Hand.’ ‘Fish’” (p. 148). Barely hanging onto her life in the present, Charlotte seems almost cheered by the evidence of the city’s past; it cannot be entirely covered up. In this respect, she and Moose, the chronicler of Rockford’s devolution, are twins.

As we can see, Charlotte does not spend much time reconciling the warring parts of herself. She is shallow, even, as Hillary Frey said in her review in the Nation, “potentially dislikable, if not despicable.” And Charlotte knows this. Frey cautioned us not to worry about liking Egan’s characters in Look at Me because the novel is “about bigger things: double lives, secret selves, the difficulty of really seeing anything in a world so flooded with images” (p. 44). In fact, an intriguing part of Charlotte is her desire to penetrate the surfaces of people so that she can regard what she calls the “shadow self.” Slyly, she scrutinizes everyone she meets, for example, Oscar. He is a black man who looks, to Charlotte, “as if he’d been raised by East Coast blue bloods” (p. 33). As a man in the fashion world, he dresses with great style, but also with a demeanor of “disregard” in his “rumpled blazers, shoes without socks, cashmere slacks—all of which managed to suggest a lifetime of money” (p. 34). Charlotte knows that Oscar’s presentation of himself is “a triumph of pure selfinvention” (p. 34). To Charlotte’s credit, she is not totally absorbed in the world of appearances; seeking out the shadow self keeps her attuned to the nuances of human behavior. Although it is difficult to penetrate Oscar’s shell, she locates evidence of the shadow self in “two thick scars on his left forearm [and] a tinge of a Caribbean accent.” Ultimately she deduces that Oscar’s shadow self “was a portrait of sheer grief, a face so anguished it resembled a death’s head.”

However compelling Charlotte is as a character who defies the stereotype of the model as a mindless face and body, it is the prescience of Look at Me that has drawn the most critical attention. Donna Seaman pointed out in Bookslut that “Writing before 9/11, Egan ѧ rather presciently imagined a Muslim terrorist in a Midwestern town.” Egan’s terrorist goes by the name of Z when he is in Manhattan and first encounters Charlotte. When he shifts to Rockford, he takes the name of Michael West and encounters the other Charlotte. The connective tissue for the lives of the two Charlottes, Z, as Egan told Sarah Johnson, is a “shape shifter.” This quality of Z is consistent with Egan’s governing themes and concerns of self-invention or reinvention, but this is not the reason why his portrayal is regarded as “prescient.”

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JENNIFER EGAN much in common.” After all, what would a model do or be without the magazine photo or the TV image? Similarly, the terrorist enlarges his or her impact by some giant-size act that catches the attention of the TV cameras, photographers or YouTube. Simply killing a few Americans in the dark or behind closed doors is, comparatively speaking, nothing.

When Laura Miller queried Egan in Salon about Z and terrorism, Egan confessed that Z says “eerie” things in light of the 9/11 attacks: “He says, ‘Things won’t go on as they have’ (meaning life in America.) He says something like, ‘It will end in an explosion of violence you can’t possibly imagine, sheltered and spoiled as you are.’” Those who witnessed the collapse of the twin towers in New York City either in person or on TV can attest to the “beyond imagination” factor of the 9/11 attacks. Egan’s imaginative development of Z’s character comes from a longstanding interest not just in terrorism but also in image culture. She explained to Sarah Anne Johnson in the Writer interview: “My interest in terrorism dates back to my first novel, which looked at the ways ardent counter-cultural pacifism turned violent.” She was referring here to Faith’s involvement with the groups in Germany. Bringing the discussion back to her central concerns, she said, “I think the core of my fascination comes back to image culture; modern terrorism is a phenomenon of the mass media—it requires the media in order to reverberate and terrify.” We have only to recall the beheading of the reporter Daniel Pearl by Al Qaeda as videotaped for TV to come to easy agreement with Egan.

For Egan’s novel to deal with such issues— and not in a “trendy” way, but in depth and with conviction—garnered her praises as “visionary.” In her Salon review Amy Reiter, like others, proclaimed the novel’s “impressive prescience about our newly altered world.” She cautioned readers that Look at Me is “more nuanced than it first appears. Ultimately, it takes us beyond what we see and hints at truths we have only just begun to understand.” Likewise, Laura Miller stated in her Salon feature interview that “few recent books have so eloquently demonstrated how often fiction, in its visionary form, speaks of truth.” Both journalists focused on the “truth” of Egan’s fiction and granted her the status of a novelist of ideas. Those “truths” and ideas are apparent and can be summed up as follows: (1) America is an image culture; (2) this culture stems from America’s founding as a place where self-invention or reinvention was both possible and ordinary; (3) modern media encourages us to assume the virtual as the real, the image for the reality; (4) these virtual images shape and distort our notions of experience; (5) morality has a way of getting lost in the mirroring that takes places in image culture; and (6) this is a problem.

Only the zealotry of an ideologue could countenance the beheading of a nonmilitant as fodder for TV and the advancement of a cause. Egan’s Z is no zealot. Egan had researched the lives of terrorists and knew that she would write about terrorism someday, but she would do it her way. In her Salon interview with Laura Miller she revealed that Z is “more middle class [than the 9/11 terrorists], someone who comes to radicalism later in life. He’s sophisticated.” Egan prepared for the unusual development of Z’s character, she told Miller, by “collecting stories on Mideast terrorists from the New York Times since 1995.” That she included this terrorist in a novel ostensibly about a fashion model is not as curious as it first appears. Terrorism, for her, depends on the media, so “it seems,” she told Miller, “like a strange, almost funny twist on the idea of a fashion model. ѧ In a way, what could be more different, and yet the two bizarrely have

Noting all these issues and more, Egan and Miller concluded the Salon interview with a discussion of how “idea-driven” Egan’s work is. Egan readily admitted this and said, “For me a story is not interesting if there isn’t a philosophical query along with it.” She comes to even greater realization of her “philosophical query” in her 2006 novel, The Keep.

THE KEEP AND MID-CAREER

Egan’s idea for The Keep came from a trip she took to Bouillon, Belgium, with her husband and

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JENNIFER EGAN carrying a satellite dish along with his luggage. He cannot bear to be “unplugged.” Given his boyhood betrayal of Howard, Danny suffers from paranoia about whether getting him to the castle is payback time. Tantalized by an image of a beautiful female he sees from afar in the window of the keep, Danny encounters the strange baroness and discovers she is considerably older than he first assumed—and infinitely stranger. When Vendela Vida queried Egan about her portrayal of the baroness, she responded with an illuminating anecdote about the time she spent, when she first came to New York, as private secretary to the Countess of Romanones. Married to a Spanish count, she was a writer and had been a spy during World War II. The countess wrote The Spy Wore Red, an account of her adventures. Egan worked for her for two years and in the interview described her as “a maniac.” The baroness complained that Egan “reeked of garlic ѧ which she thought was low class.” The baroness in The Keep is, Egan told Vida, “an extreme version of her, which ѧ is less fictionalized than you would probably think” (p. 79). Escaping from the baroness in the novel, Danny falls out of a window in the keep and suffers a concussion. He moves in and out of consciousness and cannot tell what is real and what is an element of dream.

their son Emmanuel, then eight weeks old. They visited the castle of Godfrey de Bouillon, a leader of the First Crusade. The castle sparked the idea of writing a novel in the gothic genre. “A castle, an old house, there’s almost always a structure at the heart of [gothic fiction],” she told Vendela Vida. Initially she thought she might set her novel in the medieval period, but decided, she told Donna Seaman, that she “wanted something cheesier than that.” Like most gothic fiction, hers would have to be “moody and intense” in a setting that would provide “dramatic possibilities” while still allowing her to “walk that line between humor and scariness or the uncanny.” The castle she created is not an image of Godfrey de Bouillon’s but a product of her imagination. Essential to the castle is the tower that functions as “a keep.” Egan told Vida that she chose this word as her title because she “loved the purpose of the keep, which was to serve as a last stronghold inside the castle, a core place where the owner’s family could hide if the walls were breached” (p. 81). Part of the dramatic conflict of her novel comes from the last surviving owner of the castle, the elderly Baroness von Ausblinker, who wants to continue living there, and its new owner, Howard, the cousin of the novel’s protagonist, Danny. Danny has come to the castle, located somewhere (we never know exactly) in Austria, Germany, or the Czech Republic. This detail is deliberately left vague and contributes to the overall mystery that pervades the book. While Danny and Howie (as he was known in his youth) were good chums for a while, Danny and another boy deliberately left Howie alone in a cave where he remained lost for several days. This traumatic event changed Howie’s life and he ended up in reform school. Danny never takes responsibility for abandoning his cousin and is quite amazed to be invited by Howard, as he is now known, to help restore this castle he has bought with his entrepreneurial wealth. A Midwesterner transplanted to New York City, Danny is considerably less successful than his cousin. Needing the excuse to leave New York City because of some never-revealed infraction, Danny accepts his cousin’s generous invitation and travels to Europe

In creating a male protagonist for her gothic novel, Egan was defying the tradition while at the same time using it. When questioned by Vida about her protagonist, she replied that she “loved that idea because it reverses the classic gothic setup, which is basically: helpless female, trapped ѧ” (p. 81). In Danny’s case, he cannot help wondering whether Howard is playing with his mind to exact his revenge. Elements of Egan’s life story and her early predilections fed into her choosing the gothic novel form. To Vida she recalled, for example, watching a TV soap opera called Dark Shadows when she was a child. Most memorable, she said, was a scene in which a female twin comes back from the grave to haunt her sister. Reflecting on this episode, Egan called it “totally corny,” but she was fascinated by it. She also savored Daphne du Maurier’s Rebecca with its two Mrs.

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JENNIFER EGAN de Winters. Looking back, she referred to it as “another corny gothic classic” while also mentioning The Magus by John Fowles, which “features identical women playing with the mind of the protagonist” (p. 78). Such situations are “corny” in that they are deliberately artificial setups designed to evoke strong feeling in the reader. We are titillated—but not moved deeply—by a twin sister returning from the grave. If we are willing to suspend belief in reason or reality, fine; if we care to learn something about the human heart in the midst of suffering, a cancer ward might be more telling—or a novel by Jennifer Egan.

can almost hear.” Once she started “hearing” Ray’s voice, the narrative began to evolve. Particularly pleasing to Egan as a novelist was that Ray’s voice had to be different from hers and also that he lacked experience in the novel form. He doesn’t know, she tells Johnson, “the niceties and conventions of contemporary novel writing. ѧ” This was a plus for Egan: “It was a way for me to break out of certain conventions that I, too, had grown tired of.” Ray, for example, doesn’t use quotations marks around dialogue. More important, she explained to Seaman, “He is not interested in metaphor or simile. For him it is a struggle just to say what he’s trying to say. ѧ” Egan stated that she found Ray’s inexperience “very appealing. I felt freed from the need to make it pretty.” She had written her previous fiction thinking that “it has to be beautiful.” Writing The Keep, she challenged her own assumption: “There should be strength, but does it need to be beautiful? ѧ I found that very freeing.”

Given the essential “corny” nature of gothic fiction, Egan was taking a risk in placing her novel so firmly in the genre—and she knew it. To prepare for writing The Keep, she read, she told Firger in Poets & Writers, “both classic and contemporary gothic literature including Charles Maturin’s Melmoth the Wanderer, Matthew Lewis’s The Monk, and Rachel Ingalls’s novella I See a Long Journey” as well as works by “Ann Radcliffe, Joyce Carol Oates, and Stephen King” (p. 42). She had never written in this genre before and needed to school herself. In her interview with Vida she also mentioned reading prison books. Her “two favorites were Ted Conover’s Newjack and You Got Nothing Coming by Jimmy Lerner” (p. 84). Well-prepared, Egan revitalized the gothic novel and made it her own.

Whether Ray would ever get his writing published as readily as a Jennifer Egan is hardly an issue. He is successful, however, with his fellow prisoners and with Holly. The other workshop members want to know what happens to Danny. They get so caught up in the narrative they almost assault Ray to get the rest of the story. Holly, the workshop leader, is enormously taken by Ray and his narrative powers, so much so that she falls a bit in love with him and vice versa. The Keep, in this respect, can be looked upon as a love story. In fact, Egan regards their relationship as founded upon “a love for language.” She told Jennie Yabroff of the San Francisco Chronicle that “[Ray and Holly] give each other the gift of writing. That’s a gift that I somehow got, and that I’m grateful for.” Discussing her novel’s “super-story,” Egan revealed the deep, personal issues at its core. A contemporary term for the story-within-astory element of The Keep is “metafiction.” In his New York Times review of Egan’s novel, Madison Smartt Bell focused on her handling of the apparatus of the novel. He recognized The Keep as metafiction because “Egan sustains an awareness that the text is being manipulated by

Essential to the gothic mode is the device of the story-within-a story. In The Keep, Danny’s story is being told by an “I” who jumps into the narrative on page 18, telling us, “Danny didn’t know why he’d come all this way to Howie’s castle. Why did I take a writing class?” Reading on, we discover that the narrator is Ray, a convict in a high-security prison. Egan knew that she wanted a prison in the novel because that’s “another very common gothic convention,” she told Seaman. Her prisoner is writing Danny’s story for Holly, the teacher of his writing workshop. Once Egan had decided on the narrative voice, she told Johnson in the Writer interview, the novel took off. “For me,” Egan said, “it’s all about connecting to a voice that I

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JENNIFER EGAN thirties and indulge his fantasies. While The Keep strips away the veneer of this transformation in a telling scene in which Howard reverts to Howie, Egan’s main interest is the character of Danny. He and his story allow Egan to explore some of her central themes and concerns.

its author.” This manipulation is signaled by the interruptions of Ray’s voice into the ongoing narrative of Danny and Howard. Egan’s tactics, however, do not come at the expense of “character and story.” For Bell, she delivers these “with perfect and passionate conviction.” A prolific and esteemed novelist himself, Bell stated that “Very few writers, of our time or any other, have been able to bring that combination off.” Exploring Egan’s characterization, Bell identified a unifying element: “All the characters,” he said, “are imprisoned in one way or another, if not in a physical jail or labyrinth or keep ѧ then in various mental squirrel cages, of which the world of addiction is the simplest.” Whereas Ray is literally imprisoned, Danny’s “squirrel cage” takes the form of addiction, not to drugs or alcohol but to his connectedness to other people. Because he wants to use the Internet and his cell phone as soon as he arrives at the castle, he goes through difficult and dangerous gyrations to set up his satellite dish. Bell regarded Danny’s desire for “connectivity” as a “mode of being [which] is scarcely fantastic, but a fair description of the way many of us live now.” To offset Danny, Egan created Howard, who is against modern telecommunications and wants to develop the castle as a place where he can “let people be tourists of their imaginations.” No computers or cell phones allowed.

In her interview with Seaman, Egan focused on Danny’s “connectedness” and how it “has been protecting him from a conversation with himself.” Talking to other people keeps Danny extremely busy. Egan pointed out that lacking “a conversation with himself,” Danny doesn’t really know who he is. “So when he’s alone in this castle, ” she continued, “there is this sense that he’s being set upon by some dark presence, which may be his cousin’s anger or Danny’s paranoia.” Danny doesn’t know; neither does the reader. In this respect The Keep adheres to the gothic tradition where the operating question is: “Is it real or not?” Thus the gothic tradition dovetails with one of Egan’s concerns. She told Seaman: “How do we define ‘real’ exactly? Especially when so much experience is virtual now. Does that change our definition of reality?” In other words, we may be in contact with a fascinating new friend via the Internet, but is this really a friend or a weird predator masking as friend? Stories such as this appear too often in the news for us to doubt the validity of Egan’s concerns or that in The Keep she has written a novel of ideas. Jessica George Firger in Poets & Writers found the ideas in The Keep extraordinarily compelling. For her, the novel “is in essence a meditation on how our contemporary vices have sullied our ability to think freely and creatively— and the illusions modern life thrusts on us” (p. 42). Every age has its illusions, of course; ours may be, as Egan so thoughtfully explores, centered upon modern technology and its ability to forge connections. But are these connections real? To Sarah Anne Johnson in the Writer, Egan identified this question as her central concern in The Keep: “After all, an extraordinary amount of our daily ‘experience’ and human contact is virtual, with its attendant ambiguities and uncertainties.”

Granting the contrast of extremes in Danny’s and Howard’s predilections, Vendela Vida suggested to Egan in her interview that “Danny and his cousin Howard are almost like twins—they’re bound together by a childhood trauma” (p. 77). An interesting sidelight is that we learn that twins have been drowned in the castle’s pool. Egan acknowledged her “twin fixation” in the novel and explained to Vida that “twins are very gothic” (p. 78). At the same time, she was not simply trying to fulfill the list of gothic features. Her “interest in twins,” she explained, “comes from a deeper interest in identity and doubling and doppelgangers ѧ” (p. 78). Howard, unknown to Danny, has reinvented himself. He is no longer a pitiful geek crying for help from the depths of a cave but a powerful mogul with so much money he can retire in his

Stated in a slightly different way to Firger, this concept takes upon an otherworldly tinge.

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JENNIFER EGAN Egan said, “We’re constantly communicating with people who aren’t there. What does this mean?” (p. 42). It is not much of a leap to the world of the gothic novel. To her surprise, Egan admitted, she “started out wanting to write about a castle, ѧ but ended up being really interested in the way in which modern telecommunications mimic the supernatural experience.”

be seen as a trite situation through the power of her writing. Sarah Anne Johnson identified the popular appeal of this novel of ideas and stated that The Keep is “a page-turner filled with mystery and suspense, set against a deeper portrait of moral conflict and an examination of how the past haunts people in different ways.” On the surface, it would seem that Howard has survived his traumatic childhood experience; likewise, Danny has managed to block out his own moral culpability for the harm to his cousin. In neither case is this superficial estimate true. Egan underlined this point in her interview with Johnson. She said, “we’re a society enthralled by image and surface in a way that would seem ѧ to be amoral: who cares what you’ve done? The important thing is what you look like you’ve done.” In Danny’s case, he looks like a New York City hipster, someone who knows “how to get a cab in a rainstorm, and the mechanics of bribing maitre d’s ѧ on top of which he was now widely known” if only because he has served as “a front man for restaurants and clubs” (p. 35). His busy life allows him to bury his past. Howard, however, won’t let him. Whereas in Look at Me, Egan explores image culture front and center, The Keep takes a side view. Danny’s creation of his city image precedes the main action of the novel. The results of his self-invention preoccupy Egan. In a sense, his New York City life has let him get away with what he did to Howie. The world of The Keep brings his moral laxity to the front of his consciousness. In the deepest sense, his moral offense is the only thing that matters; his hipster image means nothing.

Danny’s story linking the technological and the supernatural is, we must remind ourselves, being written by Ray, an actual prisoner. Cut off from the rest of the world, Ray imagines a character like himself cut off from everything that, up to this point, has held his life together. Ray takes Holly’s writing workshop as a means of escaping his seemingly deranged cell mate. In his first story, he commits an aggressive act by writing about a prisoner who rapes his writing teacher. Holly is justifiably offended and scared, but she maintains enough presence of mind to offer Ray a means of escape through “a door in our heads.” She refers, of course, to the imagination. As Seaman pointed out, “Much of the story in The Keep is about the role of imagination in our lives. For Ray ѧ it’s a means to survive. For Danny, ѧ it’s more problematic.” Danny’s imagination, sometimes justifiably, stems from paranoia. Ray, in contrast, uses his imagination to create the story. Along the way, he develops an attentive readership (his fellow convicts) and wins Holly’s heart. “What [Ray] and Egan show,” pointed out Madison Smartt Bell, “is that art and the imagination are the most powerful means of healing.” Bell evaluated the structure of The Keep (Ray telling Danny’s story), as “comic only in the abstract.” He found Egan’s novel a “dazzling presentation [that] makes us believe that it really is a matter of life, death and salvation.” Danny, in an amazing scene toward the end of the novel, becomes the group’s savior. This includes Howard, who relives his childhood trauma deep beneath the castle and breaks down. Danny must do something. He spots a way out, significantly through a trapdoor, and brings everyone involved out of the tunnels and back into the light. This sounds “corny,” but Egan transforms what could

Madison Smartt Bell cogently summed up the overall effect of The Keep by praising Egan’s style, her “admirably deft touch” in weaving together the different plot strands in her novel. More important to him, however, was “the emotional authenticity she achieves—something almost no other metafictionist has even delivered. ѧ” The “emotional authenticity” of The Keep is connected to Egan’s firm grasp of human nature and moral issues. The depth of her insight lifts this “page-turner” of a novel from the “corny” to

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JENNIFER EGAN feel any connection between those topics and the fiction I’m working on ѧ but often the same interests that make me take on an assignment are also fueling my fiction” (p. 79). She referred to articles she has written for the Times about online culture. These include “Lonely Gay Teen Seeking Same” (December 10, 2000) and “The Technology” (September 23, 2001). In both, she explores the ways that modern telecommunications have infiltrated every day life. Themes in these stories have “worked their way into The Keep,” she told Vida.

the sublime, or in Bell’s words, a novel that is “both prodigiously entertaining and profoundly moving.”

JOURNALISM AND ITS INFLUENCE

From Sarah Anne Johnson’s perspective, Egan’s nonfiction “is as compelling as her fiction.” Serendipity seemed to rule her entry in the journalistic world. With no journalism experience, Egan was invited to do a lengthy article for the New York Times Magazine about the teenage model James King, a woman. Not surprisingly, the piece drew upon her brief stint as a model when she was a teenager. She took the assignment, she told Jennie Yabroff, “as an excuse to research the modeling world for Look at Me.” Finding her way in this new genre, she took months to research and write her essay. When she handed it in, her editor remarked, “This is an interesting proposal; we’d like you to write the piece.” “James Is a Girl,” the cover story, was published on February 4, 1996.

To Donna Seaman, Egan was even more explicit about the connection between her nonfiction and fiction. Her Times article “Lonely Gay Teen” dealt with young men in the South who led “absolutely bifurcated lives.” In their daily lives they “[pretend] to be heterosexual,” while “online [they’re] having fully fledged relationships” with other gay teens. Not long after finishing the article, Egan and her husband took their trip to Europe and visited the castle at Bouillon. “Part of what made that experience so strange and interesting was the sense of its distance from this world I had just been learning about with these teens.” It didn’t have to be the castle per se but the distance between worlds that set off Egan’s imagination. “There were two interesting notions working together in my mind,” she said, “and that was really the beginning of The Keep. So I owe a lot to journalism.”

Egan’s research for this story, her interviews with James, and her reintroduction to the fashion world certainly fed into the realistic details of Look at Me. The article’s ongoing influence extended to The Keep. Egan told Sharon Steel of the Boston Phoenix that the character of Danny evolved out of “a few promoters” she met while doing her research. She described them as “trendy young men relied upon by clubs to gather a group of models and unleash them upon the scene.” These were men who “did have advantages like Danny,” but Egan got the sense that “they could have done more” with their lives. The impression they gave her was that they felt their “proximity to power” was power itself. “That was how I arrived at Danny,” she concluded.

Whether its influence on her fiction is direct or indirect, Egan’s journalism experience has definitely benefited her. Even so, Egan told Jennie Yabroff that she “still doesn’t feel like a ‘real’ journalist,” and, of course, she isn’t. Her articles are successful and published in prominent places, but her real interest is her fiction. Her journalism helps her to achieve her goals as a novelist. To Yabroff, she said of journalism’s benefits: “I meet people I would never have an occasion to meet and see what the world is like through their eyes. It’s a kind of abrasion with the world that adds to my sense of perspective.” What could be more important to a novelist than enlarging the range of perspectives? The way she approaches the two different kinds of writing says much about Egan’s level of

While there is a direct line of influence from “James Is a Girl” to two of Egan’s novels, her journalism has had a more subtle and almost mysterious effect on her fiction. She told Vendela Vida that there is “a strange symbiosis” between her nonfiction and her fiction. Successfully published, she can choose which assignments she prefers. “Often,” she said, “at the time I don’t

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JENNIFER EGAN a yearning to write increasingly finer works and anxiety over time constraints and the pressing demands of motherhood. Her dilemma of reconciling family and career is a common one, particularly among women who desire to achieve the fullness of their potential. We can only hope that she is able to resolve it. Perhaps Jane Austen (husbandless, childless) will show her the way.

commitment to each. For the journalism she takes a practical approach. This is her work. To Seaman, she described how “I do tons of research and then I tend to write the piece pretty quickly, and I do it on the computer completely.” The way she approaches her fiction also involves research, but this is her vocation and, she said, “I write only by hand.” There is a certain intimacy in writing by hand that the computer cannot replicate. This intimacy involves a feeling for the craft of writing.

Selected Bibliography NEW PROJECT

WORKS OF JENNIFER EGAN

In recent times, Jennifer Egan began work on a project that involves life right in her own New York City borough, the Brooklyn Navy Yard during World War II. She is interested in the lives of the women who worked there in traditional male jobs. She explained to Vendela Vida that she has “partnered with the corporation that runs the Yard now” for the purpose of an “oral history project.” She wants to find any surviving women who worked there, “who, of course, are very old now.” It sounds nothing like The Keep and that is how Egan likes it, for the novel will “require an entirely different voice, story and everything else than what I’ve written before” (p. 83).

NOVELS

AND

SHORT STORIES

The Invisible Circus. New York: Nan A. Talese/Doubleday, 1995. Emerald City and Other Stories. New York: Nan A. Talese/ Doubleday, 1996. Look at Me. New York: Nan A. Talese/Doubleday, 2001. The Keep. New York: Knopf, 2006.

NONFICTION “James Is a Girl.” New York Times Magazine, February 4, 1996. (Cover story.) “The Thin Red Line.” New York Times Magazine, July 27, 1997. (Cover story.) “A Thin Line Between Mother and Daughter.” Salon, November 1997. “Uniforms in the Closet.” New York Times Magazine, June 28, 1998. (Cover story.) “Why a Priest.” New York Times Magazine, April 4, 1999. “Power Suffering.” New York Times Magazine, May 16, 1999. “Walking Toward Mindfulness.” New York Times Magazine, May 7, 2000. “Lonely Gay Teen Seeking Same.” New York Times Magazine, December 10, 2000. (Cover story.) “The Technology.” New York Times Magazine, September 23, 2001. (Cover story.) “To Be Young and Homeless.” New York Times Magazine, March 24, 2002. (Cover story.) “You Don’t Know Madonna.” GQ, December 2002. “Love in the Time of No Time.” New York Times Magazine, November 23, 2004. (Cover story.) “Wanted: A Few Good Sperm.” New York Times Magazine, March 19, 2006. (Cover story.) “The Ghost in the Renovation.” This Old House (http://

In writing about the lives of women who worked in the Brooklyn Navy Yard, Egan will not only be employing a different setting from The Keep and a different perspective, she will also be venturing into fictional territory where emotions plays a larger part than they have before. To do this right, Egan told Jessica Firger, she “is drawn to re-reading the works of Jane Austen.” The connection between Austen and her new novel is not yet clear to her, but Austen “feels really relevant ѧ although I can’t figure out why.” Gifted as she is, Egan has accomplished a great deal in her relatively short life as a writer. John Marshall, writing for the Seattle PostIntelligencer, evoked a powerful response from Egan when he queried her about her work as a writer and what she still wants to do. Egan’s words are extremely moving: She expressed both

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JENNIFER EGAN O’Neill, Joseph. Review of The Keep. Atlantic Monthly, October 2006, p. 119. Reiter, Amy. “Look at Me by Jennifer Egan.” Salon (www. salon.com/books/review/2001/11/14/egan), November 14, 2001. Smiley, Jane. Thirteen Ways of Looking at the Novel. New York: Knopf, 2005. (Brief section on Look at Me, pp. 567–570.) Stanley, Jodee. Review of Emerald City. Ploughshares, spring 1996, p. 205. Steel, Sharon. “Cave Dwelling.” Boston Phoenix, September 26, 2006. Available online (http://thephoenix.com/Boston/ Arts/23581-KEEP/). (Review of The Keep.) Van Aalst, Mariska. “The Art of Eavesdropping.” San Francisco Review 21, no. 3:32–33 (May–June 1996). (Review of Emerald City.) Yabroff, Jennie. “Hearing Voices.” San Francisco Chronicle, July 23, 2006, p. D-1. Zaleski, Jeff. Review of Look at Me. Publishers Weekly, June 20, 2001, p. 56.

www.thisoldhouse.com/toh/article/0,,1550097,00.html). October 2007. (A brief essay on absence, haunting, and what we lose when we renovate.) “The Bipolar Puzzle.” New York Times Magazine, September 14, 2008. (Cover story.)

FILM BASED

ON THE

WORK

OF

JENNIFER EGAN

The Invisible Circus. Directed by Adam Brooks. Fine Line Features, 2001.

CRITICAL STUDIES AND REVIEWS Ascher-Walsh, Rebecca. Review of Look at Me. Entertainment Weekly, October 12, 2002, p. 82. Bahr, David. “Castle in Doubt.” Time Out New York, August 3–9, 2006. Available online (http://www.timeout.com/ newyork/articles/books/5567/castle-in-doubt). Bell, Madison Smartt. “Into the Labyrinth.” New York Times Book Review, July 30, 2006, pp. 1, 7. (Review of The Keep.) Bellafante, Ginia. Review of Emerald City. Time, January 15, 1996, p. 72. Cavin, Andrew I. “Jennifer Egan.” In Current Biography Yearbook 2002. New York: Wilson, 2002. Pp. 135–137. Frey, Hilary. “Mirror, Mirror.” Nation, November 26, 2001, pp. 42–44. (Review of Look at Me.) Kenney, Michael. “A Writer’s Life Launched on the Runway.” Boston Globe, February 28, 1996, p. 73. Kercheval, Jesse Lee. Review of The Invisible Circus. Ploughshares, spring 1995, p. 193. Marshall, John. “A Castle Inspired Egan’s The Keep.” Seattle Post-Intelligencer, October 5, 2006. Available online (http://seattlepi.nwsource.com/books/287517_egan05. html ). Miller, Laura. “The Myriad Faces of Rage.” Time, November 12, 2001, p. 89. (Review of Look at Me.) Olshan, Joseph. Review of Emerald City. Entertainment Weekly, February 2, 1996, p. 52.

INTERVIEWS Firger, Jessica George. “Powers of Perception: A Profile of Jennifer Egan.” Poets & Writers, September–October 2006, pp. 38–43. Fradkin, Lori. “Off the Shelf: Jennifer Egan.” New York, August 20, 2006. Available online (http://www.nymag. com/arts/books/features/19359). Johnson, Sarah Anne. Interview with Jennifer Egan. The Writer, May 2007, pp. 18–22. Miller, Laura. “Face Value: An Interview with Jennifer Egan, Author of Look at Me.” Salon (www.salon.com/books/int/ 2001/11/14/egan), November 14, 2001. Seaman, Donna. “An Interview with Jennifer Egan.” Bookslut (http://www.bookslut.com/features/2006_12_010343. php), December 2006. Vida, Vendela. “Jennifer Egan.” The Believer, August 2006, pp. 77–85.

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RUDOLPH FISHER (1897—1934)

Hans Ostrom THE LITERARY REPUTATION of Rudolph Fisher has been overshadowed by that of other writers from the American cultural epoch known as the Harlem Renaissance (c. 1920–1935), including Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, and Jean Toomer. Nonetheless, Fisher’s fiction is among the most important and original from that cultural movement, and Fisher figures significantly in general studies of the Harlem Renaissance, in discussions of fiction that emerged then, and especially in considerations of the literature that was not simply produced during the Harlem Renaissance but that also focused on Harlem itself. Indeed, as much as any writer in the Harlem Renaissance, and more than most of his contemporaries, Fisher devoted his work to representing Harlem and its social complexity as that neighborhood of New York City was developing into a unique African American community.

his work is not merely set but immersed in the culture of 1920s Harlem, and chiefly in the parts of the culture occupied, experienced, and shaped by ordinary people rather than by the intelligentsia, persons of wealth, or artists. In fact, Fisher explicitly identified his literary calling with chronicling and interpreting everyday life in Harlem. As John McCluskey, Jr., notes in the introduction to his authoritative edition of Fisher’s short stories, Fisher once said, “I intend to write whatever interests me. But if I should be fortunate enough to become known as Harlem’s interpreter, I should be very happy” (p. xxxix). Fisher’s writing demonstrates a command of language and form and a facility with narrative, even as it displays his predilection for verbal comedy, much of it based in African American vernacular speech and situational irony. At least two of his short stories have appeared in multiple anthologies and will likely remain in the canon of American short fiction. Both of his novels are mature, well-plotted works with memorable characters and enduring themes. Had Fisher not died at such a relatively young age, thirty-seven, he probably would have produced more writing of the same quality, for he possessed rare talent, versatility, wit, and energy. His achievement in writing is even more impressive in light of the fact that, like his contemporary, the poet William Carlos Williams, Fisher pursued medicine, not writing, as his primary profession and calling in life.

Fisher specialized in fiction—short stories and novels—although he published an important essay, wrote reviews, and produced scientific papers too. Arguably the most accomplished, influential work of Fisher’s is The Conjure-Man Dies: A Mystery Tale of Dark Harlem (1932), an intricately plotted, multilayered novel customarily credited with being the first published African American detective novel. Fisher’s other novel, The Walls of Jericho (1928), a work of comic social realism, endures as well. Among Fisher’s short stories, “The City of Refuge” and “Miss Cynthie” are the most widely anthologized, studied, and acclaimed. Almost all of Fisher’s fiction blends realism and humor and concerns itself with the dynamics of social class in the United States, particularly the ways social conflict and mobility affected African Americans in the first third of the twentieth century. Almost all of

BIOGRAPHY

Rudolph John Chauncey Fisher was born on May 9, 1897, in Washington, D.C., but he spent most of his childhood and adolescence in Providence, Rhode Island. His father was John W. Fisher, a

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RUDOLPH FISHER as a published writer of fiction began, and the story has remained one of the most highly regarded ones in his opus. After Fisher completed medical school in Washington, D.C., he spent almost two years at Columbia University in Manhattan studying the effects of radiation on microbes. Fisher began his own medical practice in 1927 as well as occupying the post of superintendent at the International Hospital in Harlem (Andrews, p. 240). Consequently, Fisher worked in New York City at the height of the Harlem Renaissance and became even more familiar with Harlem. As an academic, physician, researcher, administrator, and writer, Fisher was remarkably productive before his death, which is believed to have been linked to work with radiation technology, in 1934 (Lewis, p. 304).

Baptist pastor, and his mother was Glendora Williamson Fisher. Rudolph was the youngest of three children. Fisher graduated with honors from Classical High School in Providence. He attended Brown University, majoring in biology but distinguishing himself as well in a wide array of subjects, including German, public speaking, rhetoric, and composition. He was elected to the Phi Beta Kappa honor society and chosen to serve as a speaker on Commencement Day. His speech at the 1919 graduation ceremonies developed an extended comparison between scientific inquiry and religion (McCluskey, p. xiv). Shortly after graduating from Brown, Fisher met the almost fantastically talented Paul Robeson (1898–1976), who graduated from and was a Phi Beta Kappa member at Rutgers University, where he not only excelled academically but lettered in multiple varsity sports. Robeson would go on to become a professional football player, a professional concert singer, a world-renowned actor onstage and in cinema, a lawyer, a political activist, and a writer. After meeting, Fisher and Robeson briefly traveled through East Coast states performing music, with Robeson singing and Fisher playing the piano (McCluskey, p. xiv). Fisher remained at Brown to complete an MA degree in biology, whereupon he applied to and was accepted by the Howard University School of Medicine (Washington, D.C.) in 1920. In addition to studying general medicine, Fisher developed interest and expertise in bacteriology and the relatively new field of radiology. His choice to become involved in the latter field turned out to be tragically fateful for him. Fisher successfully completed his medical degree in 1924. By then he had already begun seriously to write fiction, and he had met Jane Ryder, a public school teacher, whom he married in 1925. The marriage produced one child, a son named Hugh, born in 1926. While still in medical school, Fisher wrote the short story “The City of Refuge,” and he submitted it to one of the most venerable literary magazines in the United States, the Atlantic Monthly, which published the story in 1925 in its 135th number. Thus, auspiciously, Fisher’s career

FISHER AND THE TALENTED TENTH

Fisher’s ideas about the role of art in society did not agree completely with those of such leading Harlem Renaissance intellectuals as W. E. B. Du Bois and Alain Locke, so it is ironic that Fisher himself embodied Du Bois’ and others’ notion of the Talented Tenth: a select, highly educated, socially competitive percentage of the African American population who would, it was hoped, help all African Americans finally gain full membership in American society, partly by example and partly through advocacy (Lewis, pp. 7, 148, 157–162, 214–216). Fisher excelled academically, became a medical doctor and researcher, and was an accomplished musician who collaborated briefly with the most multifaceted talent of the era, Paul Robeson. Fisher’s impressive literary achievements, then, belong to a spectrum of accomplishments that arose from his own multifaceted intellect and personality. Personally and professionally, Fisher embodied the Talented Tenth, therefore, but as a writer he focused on aspects of African American experience not directly linked to the more middle-class aspirations that Du Bois and Locke held in esteem. In his 1926 essay “Criteria of Negro Art,” Du Bois asserts that African American [“Negro”]

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RUDOLPH FISHER artists should produce work as accomplished and beautiful as that of other artists in the culture but that their art should also act as propaganda for “the race”:

class African Americans, partly, it seems, to celebrate the achievements themselves but also to present such persons as exemplars. Of course, Du Bois appears to beg the question when he refers to Fisher’s “fear” of using his genius in the way Du Bois believes it should be used. There is no evidence that Fisher feared writing about middle-class African Americans; indeed, contrary to Du Bois’ point of view, Fisher’s depiction of the successful black attorney Ralph Merrit in The Walls of Jericho is arguably effective and sympathetic. Further discussion of Merrit and the novel appears below, but in any event, Du Bois’ review helps to demonstrate the extent to which Fisher at once fulfilled and frustrated concepts of social class, art, and politics by which Du Bois and others attempted to manage African American literature in the movement that came to be known as the Harlem Renaissance.

Thus all art is propaganda and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent. (p. 103)

There is no evidence to suggest that Fisher and Du Bois disagreed significantly about the degree to which African Africans should want to and be able to advance artistically, academically, politically, and socially in the United States. Both men were remarkably accomplished and clearly wanted avenues toward accomplishment to be accessible to other African Americans. Moreover, as noted, Fisher’s rare abilities and achievements fulfilled as much as anyone could expect from a member of the Talented Tenth. However, as a writer, Fisher seemed to be more interested in representing African American life as it was, or at least as he perceived it to be, than in using his writing as overt propaganda on behalf of African American interests. His writing often represents racism and other difficult circumstances African Americans encountered, but realistic, naturalistic, and comic impulses outweighed the propagandistic ones for which Du Bois argued. Indeed, when Du Bois reviewed Fisher’s first novel, The Walls of Jericho, for the Crisis, he explicitly articulated his differences with Fisher:

SHORT STORIES

“The City of Refuge” follows King Solomon Gillis, a working-class African American from North Carolina, as he arrives in New York City and tries to make a new life for himself. The story engages material with which Fisher remained concerned throughout his literary career; it is set, for example, where the bulk of Fisher’s fiction is set: in Harlem, with references to other locales in New York City. Working-class African Americans, chiefly but by no means exclusively men, were of primary interest to Fisher, and the complications faced by black migrants from the South (as well as from the Caribbean) intrigued him as well. The story is further representative of Fisher’s writing insofar as it blends realism and comedy, replicates African American vernacular speech, and depicts African American men and women as complex persons struggling in difficult but dynamic situations that have been shaped by unpredictable combinations of economics, race, color, and personal history. Additionally, Fisher clearly perceived early-twentieth-century Harlem to be a potently distinctive, even unique, cultural site, an American crucible on which he felt compelled to focus his artistic gaze. As George Hutchinson observes, “the story [“City of Ref-

Mr. Fisher does not yet venture to write of himself and his own people; of Negroes like his mother, his sister, and his wife. His real Harlem friends and his own soul nowhere yet appear in his pages, and nothing that can be mistaken for them. The glimpses of better class Negroes which he gives us are poor, ineffective make-believes. One wonders why? Why does Mr. Fisher fear to use his genius to paint his own kind as he has painted Shine and Linda [two working-class African Americans]? (p. 374)

That is, Du Bois wanted Fisher to write favorably about other successful, professional middle-

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RUDOLPH FISHER uge”] incorporates acute social observations and indictment, but always in convincing relation to the delineation of character. Fisher’s attention to the diversity of Harlem racial consciousness and idiom is no mere picturesque backdrop to the main story but integral to its movement” (p. 404).

things are, and particularly when the narratives take a comic turn, they show him to be a writer capable of embracing human fallibility and enjoying human exuberance, even when exuberance produces flawed or otherwise unanticipated, undesirable results.

King Solomon Gillis regards New York as a refuge from oppressively racist North Carolina, where he had run afoul of the law—and of lawlessness, having come close to being lynched. Indeed, Gillis is so predisposed to view the North as a new land that, upon seeing a black policeman for the first time, he regards Harlem as a kind of paradise. That this policeman barks a command to a white citizen strikes Gillis as incredible, and this scene reaches the level of epiphany in his mind. As Lewis notes, the black policeman “symbolized the place [Harlem], gave it palpable meaning” (p. 34).

As in much of his fiction, Fisher is in this first published story alert to the symbolic power of names. In King Solomon Gillis, for example, Fisher presents a kind of jester who would be but cannot be king, and we have a “Solomon” whose wisdom is severely proscribed. “Gillis” is a more ambiguous name than King Solomon, obviously, and it invites but does not confirm associations with gulling (Gillis, a kind of country mouse, is gulled by the city mice) and perhaps with gills (once a large fish in a small pond, Gillis is now just another small fish in Harlem’s vast sea of migrants from the South). Moreover, following upon “King” and “Solomon,” “Gillis” is ironically commonplace, even bathetic.

Gillis’ fate in Harlem, however, turns out to be tragicomic, and his quest, at least to the extent Fisher traces it, is abortive. Although Gillis may have been wise to the ways of life in North Carolina, in Harlem he appears guileless and vulnerable, if irrepressible. He is perceived by the denizens of Harlem as an easy mark, not as a spiritual or racial brother to be welcomed into the promised land. They easily manipulate him toward a life of crime. Nonetheless, the comic spirit of the story is uplifting, Gillis is by no means destroyed, and although his new life in Harlem is seriously sidetracked, it is not irreversibly derailed. His spirit remains undaunted. Indeed, the epiphany regarding the black policeman revisits him in the story’s denouement and, to a degree, saves him. In “The City of Refuge,” as in most if not all his other fiction, Fisher deploys realism for purposes related to those of journalism and history: to chronicle more or less ordinary African American life in Harlem and to explore struggles that typify that life. Fisher also exploits comic situations that appear to him to reside within or under realism’s perspective on life. However, Fisher—in “The City of Refuge” or elsewhere— rarely if ever deploys realism as a way to imply how the world should be. Instead, his narratives seem to show him as one interested in the way

An appreciation for both the hard facts and indelible humor of Harlem life, a skillful weaving of African American vernacular expression into a third-person naturalistic narrative composed in lucid standard written English, an abiding interest in the experience of migrants, a fascination with Harlem’s complex social structure, even at—perhaps especially at—“street level”: these are among the characteristics of “The City of Refuge” that carry over to the rest of Fisher’s fiction. Fisher’s first published story is not only a fully mature work but also a touchstone work. Fisher’s narrative art developed in various and interesting ways, but at the same time, already in “The City of Refuge” he is to a large extent the literary artist he was to become. John McCluskey, Jr.’s edition of The City of Refuge: The Collected Stories of Rudolph Fisher (1987) contains the title story and fourteen others, and its bibliography lists the titles of seven other stories that Fisher wrote but did not publish. McCluskey organizes the stories out of chronological order and in two categories: “The Quest,” which includes stories that variously concern differences between southern and northern African American culture and that feature characters more or less new to Harlem; and “The New Land,”

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RUDOLPH FISHER jeopardize his standing with God. Indeed, she seems to attain an understanding of the secular spirituality produced by musical comedy in Harlem. Consequently “Miss Cynthie” explores aspects of the migrant experience largely different from those represented in “The City of Refuge.” Gender, generational differences, and religious values all shape the relatively mild but nonetheless significant conflicts in the story. Additionally, the comedy is gentler, more genial. Miss Cynthie certainly emerges as an icon of an older generation from the South, but her nobility overshadows her quaint ways. Moreover, her views are surprisingly flexible, and, ironically, she proves to be more adaptable to Harlem than King Solomon Gillis, a likeable, garrulous character who nonetheless suffers the fate of a gullible rogue.

which includes stories even more focused on life in Harlem itself and somewhat less concerned with the migrants’ or newcomers’ experiences. Starting with the publication of “The City of Refuge,” Fisher published short fiction in magazines for a decade, as the bibliographical record in McCluskey’s edition demonstrates. Three more stories appeared in the Atlantic Monthly. A single story appeared in Survey Graphic in 1925 but not in the special “Harlem” number of that year (vol. 6, no. 6) edited by Alain Locke. However, Locke later reprinted the story, in revised form, in an anthology, The New Negro. Another story appeared in Crisis, the magazine of the National Association for the Advancement of Colored People (NAACP), where Du Bois was the general editor and Jessie Redmon Fauset the literary editor. Two stories appeared in McClure’s Magazine, and the rest were published by the Negro News Syndicate, Opportunity (the magazine produced by the National Urban League and considered as influential as Crisis), American Junior Red Cross News, Story Magazine, and Metropolitan Magazine (City of Refuge, pp. 195– 196). “Miss Cynthie,” probably Fisher’s second most widely known short story, portrays an African American matriarch predisposed to view music and dancing as highly suspect and almost certainly sinful. To a large degree, then, Miss Cynthie represents a conservative African American Christian worldview that Fisher and others associated with some African American migrants who had reached adulthood in the South. Unlike King Solomon Gillis in “The City of Refuge,” Miss Cynthie does not view her first trip to New York City as a journey to a new and promising land. She goes there to visit her grandson, not to start a new life, and her attitude toward the city is diffident and guarded. Nonetheless, aspects of the city immediately begin to charm her, including the fact that, for the first time in her life, she is called “madam”—by a polite African American porter in what is presumably Penn Station. As the plot advances, Miss Cynthie comes to perceive her grandson’s career in musical comedy as worthy employment that will not, in fact,

In “The South Lingers On,” Fisher explicitly broadens the exploration of cultural conflict between North and South insofar as the conflict is played out in Harlem’s everyday life. Whereas “The City of Refuge” and “Miss Cynthie” center themselves on single protagonists, “The South Lingers On” is an episodic story with an ensemble cast. In this story older African Americans who grew up in the South are more likely to embrace fundamentalist Christian religion, to be suspicious of higher education, and to react severely to the looser, more modern social etiquette of Harlem. The younger black Harlemites are more likely to look upon traditional worship as oldfashioned and even embarrassing, to view education as an avenue to economic success and social mobility, and to revel in Harlem’s vibrant social scene. The contrasts that emerge from the vignettes seem more investigative than judgmental, however. That is, Fisher does not seem to be using the story to suggest that older, “southern” persons and values are bad and that younger, “northern” persons and values are good, or vice versa. Rather, the story seems to dramatize facts of Harlem life in the 1920s: that the culture there is by no means homogenous, that the South indeed lingers on in this unique northern black metropolitan community, and that those who would claim to understand Harlem would do well

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RUDOLPH FISHER cast him out. One effect of this experience is that, feeling as if he has been abandoned by God, Eben fatalistically turns to petty crime. He is saved from arrest by Miss Lil, but she also declares that what he has done (stealing a purse) is wrong, chiefly but not exclusively for practical reasons: she does not, for example, want to draw the police’s attention to her club. She instructs him to return the purse to its rightful owner.

to ponder conflicts springing from regional, generational, and spiritual differences. Whereas “Miss Cynthie” embodies a wry, genial perspective on spiritual values which are potentially in conflict, the stories “The Backslider” and “Fire by Night” display sharper edges. Indeed, “The Backslider” essentially satirizes what Fisher perceives to be some Christians’ selfcongratulatory, hypocritical reaction to sin. The protagonist, Ebenezer Grimes, is a streetwise African American man who knows that his recent behavior in Harlem makes him an apostate not only in the eyes of the Baptist church he attends but also in light of his religious upbringing “back home” in the South. Specifically, he has been drinking alcohol and frequenting nightclubs, including one operated by an assertive woman named Miss Lil. The club is called the Rodent, which is, obviously, not a complimentary name but which is also laden with complications specific to Fisher’s opus. In the novel The Walls of Jericho, Fisher not only makes widespread use of African American slang in Harlem—or “Harlemese,” as he calls it—but also includes a substantial glossary. In Fisher’s paradigm of Harlem slang, “rat” and, therefore, rodent take on unexpected connotations. They refer not to “snitches” or other untrustworthy people, nor even to otherwise unattractive persons, but simply to those on the lower rungs of Harlem’s socioeconomic ladder. Explicitly in The Walls of Jericho and implicitly in “The Backslider,” “rodent” (rat) is contrasted with “dicty,” an African American vernacular term for a member of the black middle class in general and for a snob in particular. When readers are aware of this linguistic background, they are less likely to be surprised that the Rodent’s proprietor, Miss Lil, is an appealing, sympathetic character, whereas in almost all other fiction, the proprietor of a club so named would be expected to be unsavory. In any case, the protagonist of “The Backslider,” Ebenezer Grimes, in search of forgiveness and understanding, attends his church, but the pastor, Hezekiah Mosby, Deacon Crutchfield, and the rest of the congregation, including a woman named Sister Gassoway, rebuke “Eben,” as he is sometimes called by the narrator, and

Later in the story Eben witnesses the arrest of Deacon Crutchfield, who turns out to be involved in gambling and bootlegging. The lesson Eben takes from the arrest is that although the flawed humans in his congregation cast him out, God, in fact, has not abandoned him. Implicitly, a perspective that Fisher’s story advances is that, with religion and piety, all is not what it appears to be in Harlem and that, ironically, the most morally firm and ethically astute person may turn out to be the proprietor of a rough saloon. Fisher deploys venerable satiric elements in the story: an ironic plot that turns conventional morality and moralizing upside down; a flawed but essentially naive and likeable protagonist; and highly suggestive names. “Grimes” may induce readers to think of something “grimy” or common, but Ebenezer is a venerable name from the Old Testament, and “Eben” is a mercurial nickname that might suggest “Even”—that is, neither essentially good nor essentially evil—or “Ebbing,” pointing to the natural ebb and flow of human behavior. “Crutchfield” may suggest the extent to which religion is a crutch, not a moral compass, especially in the case of a fraudulent deacon. The satiric suggestiveness of “Sister Gassoway” is obvious, and although the name of the pastor, Hezekiah Mosby, sounds lofty, the narrator makes plain that Mosby is more of a practiced performer than a genuine apostle. Ultimately, however, the comic, satiric story pokes holes in religious hypocrisy but not in religion per se nor in Christianity in particular. “Fire by Night” can be read as an intriguing textual companion to “The Backslider” because instead of focusing on the folly of false piety, it concentrates on the limits of adventurous urban behavior. The two young protagonists are, in a

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RUDOLPH FISHER sense, driven back, at least physically, to the church, which is symbolized by a cross looming against flames of a burning building. That churches and nightclubs exist side by side in Harlem is something Fisher exploits in the story, and the physical proximity reflects the tension between secular and religious life in the community. Whereas in “The Backslider,” the nightclub proprietor Miss Lil seems to be the most honest, level-headed person, in “Fire by Night,” Fisher arguably removes the glamorous veneer of Harlem nightlife and restores the church to a position of legitimate value. When we view these stories in tandem, we might conclude that, like many writers who work in a comic, satiric vein, Fisher is apt to expose the folly of almost everyone in a given situation or community; for example, both the religious and irreligious attract scorn in these narratives. We might also recall that Fisher was at once the son of a Baptist pastor, a scientific researcher, and a physician. In his own person, then, Fisher embodied competing and complementary impulses in religion and science. Without necessarily interpreting Fisher’s fiction biographically, readers can consider Fisher’s fiction in relation to his life and his life in relation to his fiction, which turns out to be interested in the flaws and strengths of human behavior generally, regardless of whether the behavior is linked to secular, religious, or rationalistic viewpoints. That is, although Fisher often takes aim at religion, he also takes aim at folly and vice in other venues and spheres of society, and his writing by no means presents a complete dismissal of religion. As McCluskey observes in his introduction to the collected stories, the address Fisher gave to his fellow graduates and others at Brown University in 1919 provides insight into not only Fisher’s view of science and religion at the time but also his implicit views of reason and spirituality as reflected later in his creative writing. McCluskey quotes the following passage from a typescript of the speech:

harmony—a harmony which permits science to devote its energies not to self-protection, but to the making of life worth living. Devoutly revering its supreme ruler, which is law; persistently upholding the principles of its savior, which is evolution; and constantly comforted by its holy spirit, which is truth, science is at least free to serve mankind. Is there any finer liberty than that? (p. xiv)

In this excerpt, Fisher does not oppose religion to science, but he certainly elucidates the first word of the phrase “thinking Christians” more than the second, and in a story such as “The Backslider,” he definitely puts unthinking, and especially vainly pious, Christians in an objectionable, risible position. He does not, however, go so far as to dismiss religion altogether. Indeed, in “Fire by Night,” the church remains a firm source of refuge. In his novel The Conjure-Man Dies, to be discussed at length below, Fisher subtly and extensively dramatizes differences and similarities between rationalistic approaches to experience (including science, medicine, and logic) and spiritual ones (by no means limited to Christianity). That Fisher embraced science and the legacy of Charles Darwin so vigorously and appeared to view science and religion in complementary terms makes him a writer relatively free of angst, especially in contrast to many Victorian and modernist writers. The plots of both “Guardian of the Law” and “Common Meter” are chiefly comic, although both stories include acute observations of Harlem society. The former concerns the extent to which an African American matriarch regulates the behavior of her family and others to a greater degree and more effectively than the police. “Common Meter” concerns a contest between jazz performers at Harlem nightclub, and it demonstrates Fisher’s familiarity with contemporary jazz and Harlem nightlife. “Dust” is a brief comic story involving automobiles and misguided racial bias. “Ezekiel” and “Ezekiel Learns” are narratives aimed at young adult readers, and they concern ways in which an African American youth who has just moved from the South to Harlem adapts to life in the North. “John Archer’s Nose” is a detective story; because it features characters central to

As thinking Christians, we strive not to bring men to heaven, but to bring heaven to men, and with that the aim of science is identical. It is the oneness of purpose that brings science and religion into

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RUDOLPH FISHER shows the range of Fisher’s perspective in short fiction, a perspective that ranges from the farcically comical to the grimly tragic. William Andrews observes that “what made Fisher unusual among his literary compatriots from the black bourgeoisie during the Harlem Renaissance was a comic insight into the pitfalls of class and caste consciousness among blacks and a genuine appreciation of the resilience and resourcefulness of the average black man and woman” (p. 239). Indeed, in most instances, the main lens through which Fisher sees Harlem is comic, but he sometimes replaced this lens with one that focused on failure, brutality, despair, and death. Although Fisher was not able to assemble a collection of short stories before his death, McCluskey’s edition of the collected stories shows how powerfully Fisher mastered realistic short fiction and used it to represent the living texture and socioeconomic complexity of Harlem. Fisher’s achievement in short fiction is not customarily ranked as high as that of some earlytwentieth-century contemporaries, such as James Joyce, Ernest Hemingway, Sherwood Anderson, Katherine Mansfield, Katherine Anne Porter, William Faulkner, and D. H. Lawrence. The coherence of his style and vision is as fully developed as that of these more highly celebrated writers, however. Among Harlem Renaissance writers who produced short fiction, Fisher ranks with those whose reputations are firmly established, including Langston Hughes, Dorothy West, and Zora Neale Hurston. For anyone in search of short stories set in street-level Harlem during the 1920s, Fisher’s opus is the primary choice. Moreover, like Joyce, Anderson, and Hurston (for example), Fisher combined artistic refinement with a highly circumscribed regional focus. In the short stories, Harlem is to Fisher what Dublin is to Joyce, rural Ohio to Anderson, and rural Florida to Hurston.

The Conjure-Man Dies, it will be discussed more fully later in this essay. “Blades of Steel” suggests a familiarity with an even grittier aspect of Harlem life: knife fights. The denouement is comic insofar as it is relatively “happy,” but Fisher nonetheless describes details of armed violent conflict unflinchingly. “Ringtail” has its comic moments as well, but it is a fully developed story of revenge that ends in the death of one character. It also explores the tension between African Americans and Caribbean Americans in Harlem, and it consequently shows the extent to which Fisher was attuned to ethnic differences separate from those involving black and white Americans. “High Yaller” joins the abundance of Harlem Renaissance literature concerned with how African American communities absorb and reify judgments about skin color that have their origin in slavery. As in much of this literature, in “High Yaller,” lighter-colored skin is associated with middle-class behavior, background, and aspirations as well as with conventional American ideas of physical attractiveness; darker-colored skin is associated with working-class behavior, background, and aspirations. The descriptor “high yaller” means “high yellow” and refers to shades of brown allegedly so light that they appear yellow and close to a pigment that would allow a person, if he or she chose to do so, to “pass for” white. The phenomenon of “passing” is one Fisher addresses in this story as well. Although the resolution is by no means violent, it is tragic, to the extent that Fisher seems to suggest that African Americans’ internalization of a colorcaste system can be self-limiting and even selfdestructive. Arguably the most tragic short story in Fisher’s opus is “The Promised Land.” It ends in violence and death, and its plot makes the title of the story bitterly ironic, even sarcastic. The story shows that while Fisher’s dominant view of Harlem’s social complexity tended toward a realistic one influenced by a sense of celebration and comedy, Fisher was also fully aware that life for African Americans in the supposed city of refuge could, in some circumstances, be as harsh and hopeless as life in the South. The story also

THE WALLS OF JERICHO

Fisher published his first novel, The Walls of Jericho, with the prestigious press Alfred A. Knopf in 1928. The novel occupies a distinctive if not unique position in the landscape of Harlem Renaissance fiction.

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RUDOLPH FISHER hoods have taken on enormous significance as lines of demarcation that will secure imagined safety, confer social and economic status, and enforce beliefs about race.

In such novels as Plum Bun (1929) and The Chinaberry Tree (1931), Jessie Redmon Fauset represents conflicts particular to middle-class African Americans and to younger black women. In The Blacker the Berry (1929), Wallace Thurman explores intersections of race, gender, class, and color, and in Infants of Spring (1932), he satirizes Harlem Renaissance writers, artists, painters, and intellectuals. Arguably the fiercest, most unrelenting satire of racial politics, racism, and color is George S. Schuyler’s Black No More (1931), while one of the most sympathetic novels of the Harlem Renaissance is Langston Hughes’s Not Without Laughter (1930), a coming-of-age narrative set chiefly in the rural Midwest but also in Chicago. In multiple novels, Claude McKay explores themes connected to race and class, especially as these affected black Caribbean Americans. In Cane (1923), Jean Toomer developed a vivid, complex contrast between the South and the North, particularly insofar as these regions affected African American identity.

It is very likely that as Fisher thought about and composed the novel, he knew about the 1925 case of Ossian Sweet, who was, like Fisher, an African American physician (Boyle). Immediately after Sweet and his wife moved into a house in what had been an all-white neighborhood in Detroit, a crowd formed outside, police arrived, Sweet and others barricaded themselves in the house, and shots were fired, killing one man and wounding another in the hostile crowd. The case became a cause célèbre of the National Association for the Advancement of Colored People (NAACP); both Walter White and James Weldon Johnson, key members of the organization and crucial figures in the Harlem Renaissance, became personally involved in the case, with White traveling to Detroit almost immediately. The celebrated attorney Clarence Darrow defended Sweet and others on charges including murder. The first trial ended in a mistrial, and in subsequent trials all defendants were acquitted. Almost from the beginning, the case was widely covered in the Crisis and African American newspapers, and Fisher would most certainly have been made aware of the case via multiple sources. Many readers of the Walls of Jericho would have been aware of Ossian Sweet’s case as well. In any event, Fisher’s Joshua is Joshua Jones, a physically powerful, shrewd African American piano mover in Harlem. In addition to “Shine,” as Jones is known throughout the novel, an upwardly mobile, ambitious middle-class African American, Ralph Merrit, and a black bootlegger and barkeep, Patmore, also test a variety of symbolic walls erected in Harlem and Manhattan. The novel frankly confronts conflicts of race and class that, from Fisher’s and others’ point of view, seem to justify a skeptical attitude about how much social change the Talented Tenth and cooperation between white liberals and the black bourgeoisie could actually effect. Because of its humor and its denouement, however, The Walls of Jericho has come to be regarded as one of the

To some degree, topics and themes noticeable in The Walls of Jericho overlap with those found in the novels of these and other Harlem Renaissance writers. Color, social class, racism, region, and gender all figure significantly in the book, and as in his short fiction, Fisher blends naturalistic description, humor, and pathos. However, the novel stands alone in Harlem Renaissance literature as the most detailed representation of everyday working-class black Harlemites and of how social mobility and racial politics affected the literal landscape of Manhattan and the rest of Harlem—avenue by avenue, block by block, and even house by house. Indeed, the book begins by developing a clever conceit in which avenues are personified, change their course in New York City, and come into conflict with one another; the avenues emblemize not just segregation of white and black neighborhoods and the potentially violent perspectives forcing such segregation but also particular conflicts between black and white middle-class New Yorkers and between working-class and middle-class African Americans. As in the Old Testament story of Joshua fighting at Jericho, with its infamous city wall, in Fisher’s novel avenues and neighbor-

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RUDOLPH FISHER the upward social mobility sought by W. E. B. Du Bois, Walter White, Alain Locke, and other leaders is more likely to rest literally on the backs of working-class African Americans than on the ideas and works produced by intellectuals and artists. In any event, the middle-class author, Fisher, is characteristically biased in favor of working-class authenticity, and Shine’s physical strength and his talent for moving massive but delicate musical instruments rise, in Fisher’s descriptions, to the level of artistry.

most genially comic narratives to be set in contemporary Harlem during the Harlem Renaissance. For instance, David Levering Lewis describes the book as “a social novel with a perfect ending: working-class integrity survives; the best elements of the upper and lower classes ally to oppose an internal foe, symbolized by organized gambling; and lessons in demolishing the walls of class and race are taught” (p. 230). The novel may, however, remain underrated as a nuanced study of American and African American masculinity.

Early in the novel, Joshua Jones (Shine) is also revealed to have been an orphan, and this circumstance begins to establish him as a selfmade man. The aptly named Ralph Merrit is one as well, although while Shine’s path to success is as a laborer, Merrit’s path is through academia and the profession of law. Consequently, Fisher arguably imports the mythology of the American self-made man into his novel. For his part, Merrit seems to want to move into the white neighborhood not just explicitly to challenge tacit segregation but to complete his ascent to full middleclass American status. Unlike Shine and his assistants, Merrit is not content to live in “black” Harlem, but more than that, he believes the terms of African American contentment need to change in his case and, by extension, in the case of other African Americans.

Indeed, although the novel by no means underestimates the problems caused both by the racism African Americans face in Harlem and by the efforts of allegedly well-meaning whites to assist African Americans, one of the implicit lessons to which Lewis may be referring is that the conflicts between Shine, Patmore, and Merrit are as potently destructive as those between African Americans and whites. As a mover of household items, and especially as an expert mover of pianos, Shine takes on the dangerous task of moving Merrit’s household goods into a home he recently purchased in an all-white neighborhood occupying a zone between white and black neighborhoods in the northern part of Harlem. Early in the novel, it is revealed that a house purchased by an African American on 149th Street, close to the avenue on which Merrit’s house sits, had been dynamited. (In the 1920s, 135th Street and nearby blocks were considered the heart of Harlem.) Adding to the drama is that Merrit is able to pass for white. His neighbors will not know he is African American right away, and Merrit is moving there not simply because he chooses to do so but specifically to challenge unofficial segregation and tear down one kind of wall of Jericho. Early in the novel he admits, “I hate [o]fays [whites]. Always have. Always will. Chief joy in life is making them uncomfortable” (The Walls of Jericho, p. 37). It is obvious, however, that Shine and his assistants, Jinx Jenkins and Bubber Brown, are taking the immediate physical risks on behalf of Merrit’s challenge of racial norms. One way to interpret this aspect of the narrative is that Fisher is implicitly arguing that, ironically,

To some degree, then, Merrit embodies a kind of Du Boisian ideal; academically, professionally, and economically he has excelled and is assimilated into the mainstream American political economy, but at the same time, he continues to test social and political boundaries (walls of Jericho, as it were) on behalf of the race. This combination of achievement, conventional success, and political assertiveness, even militancy, was what Du Bois had in mind with regard to the Talented Tenth. When Shine agrees to move Merrit’s household goods, then, one self-made African American man is helping another one. Shine participates in the collaboration not for political reasons, however, but because he will be well paid. Merrit participates, as noted, to assert equal status with and to express dislike of whites. But at least initially, Shine appears to be the one taking the

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RUDOLPH FISHER Contributions to Art and the Lost Sciences of Ethiopia.” Pennington is offended by Merrit’s desire to move into a white neighborhood and argues that “progress is by evolution, not revolution” (p. 36). The latter group—condescending whites—is represented chiefly by Miss Agatha Cramp, who is introduced in the section of the book called “Uplift.” Miss Cramp is described as having “a sufficiently large store of wealth and a sufficiently small store of imagination to want to devote her entire life to Service” (p. 59). However, her interest in helping others turns out to be fickle; for example, she shifts arbitrarily from sending money to support impoverished Poles to sending it to support impoverished Russians. She becomes interested in helping Americans whose ethnic origins are different from hers because some of them are her servants; thus her interest in helping “the Negro” springs from having an African American woman, Linda Young, as her maid. Further, Cramp’s interest in African Americans is soon revealed to be not merely condescending and short-lived but racist. She believes they are essentially inferior to whites, and she endorses segregation.

physical risks, so Fisher’s narrative explores one way in which the tension between the middleclass aspirations of the Talented Tenth seem to ask much of working-class Americans when ideas are translated into action. The other major male protagonist in the novel is Patmore, owner of a bar in Harlem and a bootlegger (a producer and seller of liquor, which was illegal during the Harlem Renaissance because of Prohibition). It quickly becomes apparent, however, that Patmore is an antagonist to Shine, an unsavory figure in general, and implicitly not a model of success his creator, Fisher, endorses. Secondary characters Bubber Brown and Jinx Jenkins round out the cast of the novel’s significant male characters. They hold a unique place in Fisher’s fiction because they appear in both novels and a short story and deliver much of the comedy in these narratives. Jinx is tall, lean, and laconic, and he is lighter skinned. Brown is short, stout, and garrulous, and he is darker skinned. The two routinely insult each other, often by means of playing “the dozens,” an African American verbal contest featuring boasts and cutting remarks, often based on physical appearance. The two are longtime friends and coworkers and clearly have affection for one another, but their relationship routinely careens toward conflict and even physical violence. Coarse and resilient, Jenkins and Brown are content with their lives, which include manual labor (they help Shine move furniture), playing billiards, and frequenting nightclubs. Fisher seems drawn to their unpretentious exuberance, but, judging from Du Bois’ review of the novel, Du Bois may have found Jenkins and Brown foolish, perhaps even too closely related to the broad, potentially demeaning comedy of the minstrel tradition. While Jenkins and Brown function comedically in the novel, Fisher directs satire at two main targets: relatively docile middle-class Americans and wealthy, apparently liberal but ultimately hypocritical white New Yorkers who condescend to help “the Negro.” The former group is represented by J. Pennington Potter, the president of the Litter Rats’ Club, which organizes discussions of such topics as “The Negro’s

As Lewis notes, Miss Cramp is “transparently modeled from Mrs. R. Osgood Mason,” a wealthy white patron of the arts during the Harlem Renaissance (p. 230). With Alain Locke serving as a kind of go-between, Mrs. Mason helped to support the writers Langston Hughes and Zora Neale Hurston. However, she and Hughes quarreled because he believed she was being too dictatorial about what he should write (Hughes, I Wonder, pp. 4–5; Ostrom, 2002, pp. 234–235). One of Hughes’s better known short stories, “The Blues I’m Playing,” features a wealthy white female patron of the arts who shares some characteristics with Fisher’s Agatha Cramp (Hughes, The Ways of White Folks; Ostrom, 1999; Ostrom, 1993). Several plot elements coalesce around Miss Cramp. Her maid, Linda Young, attracts the interest of Patmore and Shine, and she later goes to work for Merrit; these and other circumstances generate much conflict. Meanwhile, at a fundraising event sponsored by the General Improve-

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RUDOLPH FISHER ment Association at a Harlem casino, Merrit passes for white when he meets Miss Cramp, who proceeds to denigrate African Americans. Merrit’s passing and Cramp’s being duped play out against the background of color-caste dynamics. As described by the narrator, the upper levels of the casino are populated by whites and lighter-skinned blacks, most of whom are middleclass; and the lower level and dance floor is populated chiefly by darker-skinned blacks, most of whom are, like Shine, of the working class. It also turns out that Miss Cramp lives in the neighborhood Merrit is intent upon desegregating single-handedly. Another white character whose attitude toward African Americans is revealed to be suspect is Noel Dunn, who is fascinated by and writes about Harlem culture. As Miss Cramp is likely based in part on Mrs. Mason, Dunn is likely based in part on Carl Van Vechten, a Manhattan critic, writer, photographer, and bon vivant during the Harlem Renaissance. Van Vechten befriended several writers, including Langston Hughes, immersed himself in Harlem’s nightlife, and wrote the notorious novel Nigger Heaven, which was published two years before The Walls of Jericho, set in Harlem, and featured African American characters. Nigger Heaven was and remains controversial not only because of its title but because to some readers, Van Vechten seems to appropriate African American culture to the point of exploitation (Bernard). Although The Walls of Jericho mocks types of black and white figures in Harlem, however, its primary focus remains on the changes that two men, Merrit and Shine, undergo, and although Fisher by no means discredits the powerful effects of racism, segregation, and hypocrisy, he seems to regard masculine self-knowledge as crucial in tearing down figurative walls. In fact, when Linda Young convinces Shine to accompany her to church, the sermon delivered by Pastor Tod Bruce interprets the story of Joshua as being a parable of self-discovery. To the congregation, he says,

face with a solid blank wall—a wall beyond which lies the only goal that matters—the land of promise. ѧ Do you know what that blank wall is? It is the self-illusion which circumstance has thrown around a man’s own self. (p. 184)

That Shine’s given name is Joshua, of course, makes the pastor’s message even more obvious, and more obviously aimed at Shine (among others), whereas Linda Young seems already to have achieved appropriate self-knowledge and is therefore in a position to guide Shine. As the novel continues to unfold, Shine, with Linda’s help, learns self-restraint and realizes the extent to which his snap judgments, including one concerning Merrit, are incorrect. At the same time, Merrit must confront the fact that whites, whom he has admitted hating, are not the sole source of his difficulties, and he learns that a portrait of his mother is more dear to him than the house he is deploying to defy segregation. In the novel’s denouement, at least two kinds of collaboration seem to be held up as exemplary. First, a marriage between Shine and Linda appears imminent; second, Merrit invites Shine to join him in establishing a moving company, with Merrit supplying the capital and Shine providing the experience. Conventional marriage and a collaboration between working-class and middleclass African Americans hold promise, in the novel’s perspective, as African Americans make their way in the modern-day Jericho, Harlem, in the 1920s. The Walls of Jericho, then, is a fully realized debut novel, notable for its representation of racial politics in Harlem, whites’ fascination with black Harlem, prejudices based on color, the distinctive popular culture that had emerged in Harlem by the late 1920s, and tensions between working-class and middle-class perspectives on social status. Worthy of special note is the glossary Fisher appended to the novel, “An Introduction to Contemporary Harlemese: Expurgated and Abridged,” covering eleven pages and containing over one hundred examples of contemporary urban African American slang. The very presence of the glossary suggests the extent to which Fisher and his publishers realized that part of the novel’s readership—white Americans—might be

You, my friend, are Joshua. You have advanced through a life of battle. Your enemies have fallen before you. ѧ And then you find yourself face to

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RUDOLPH FISHER interested in but ignorant of basic elements of African American culture, including slang. Etymologists and other language specialists may have reason to quibble with some of Fisher’s definitions and his explanations of terms’ sources. Also, readers will note the extent to which many examples of slang have changed meaning over the decades. However, a key to Fisher’s own attitude toward African American slang and those who used it in Harlem lies in his definition of “Boogy”: “Negro. A contraction of Booker T. [Washington], used only of and by members of the race. My own favorite among all the synonyms of Negro, of which the following are current: “Cloud, crow, darky, dinge, dinky, eightball, hunk, hunky, ink, jap, jasper, jig, jigaboo, jigwalker, joker, kack, Mose, race-man, racewoman, Sam, shade, shine, smoke, spade, aigaboo” (p. 297). Evident in the definition is the pleasure Fisher derived from the protean, improvisatory nature of Harlem slang and his appreciation for the exuberance underlying vernacular expression. Whereas Du Bois, in his review, wished that Fisher had written a work closer to the supposed real set of associates in Fisher’s life—other writers, other formally educated African Americans—Fisher clearly believed that working-class, street-level Harlem, populated by the likes of Shine, Linda, Jenkins, and Brown, was more than worthy of a novelist’s interest, as was their colloquial language. Nonetheless, in The Walls of Jericho, Fisher was also clearly alert to larger questions of race, class, color, and self-definition on which Du Bois and others concentrated.

culture proved to be short-lived, and black writers who had enjoyed success and popularity found the 1930s to be a much less receptive era. Consequently, the shift in publishing prestige between Knopf and Covici-Friede was merely Fisher’s particular version of what many other black writers experienced after the Harlem Renaissance reached its peak between 1924 and 1928 (Lewis, pp. 282–307). Nonetheless, The Conjure-Man Dies is a remarkable work of fiction. As A. B. Christa Schwarz observes, it “was the first classic detective story published in book form that featured Black protagonists in an urban environment” (2005, p. 554). Consequently, the book foreshadows achievements in African American detective fiction by such writers as Chester Himes, Donald Goines, Iceberg Slim, Walter Mosley, and Barbara Neely. While it can indeed be read as a classic detective novel, however, it is also a work that improvises upon the genre with a virtuoso’s confident zest. Because it is set in the insulated community of Harlem in the Great Depression, the book contains aspects of so-called village-cozy detective fiction in the British tradition, wherein intimate knowledge of a small community’s anomalies often outweighs techniques of traditional detection. Additionally, the book manages to harmonize several classic modes of detection: amateur, professional, forensic, inductive, and deductive. Moreover, in the person of Bubber Brown, who first appeared in The Walls of Jericho, Fisher creates a burlesque detective: Brown has apparently left the furniture-moving business and become a private detective of sorts. The ultimate improvisation with regard to detection in the novel, however, may occur when at one point victim, suspect, and detective seem to fuse into one character. Because much of the action takes place in a gloomy Harlem brownstone—in which both a fortune-teller and a mortician have businesses—the novel also draws on gothic elements, and because a corpse almost impossibly disappears from the premises, the narrative makes use of the “locked-room” convention that may be traced back to Edgar Allan Poe’s detective story “The Murders in the Rue Morgue.”

THE CONJURE-MAN DIES

The Conjure-Man Dies was published in 1932 by Covici-Friede in New York City, a much less prestigious press than Knopf, which published Fisher’s first novel. As Langston Hughes noted in a chapter title of his first autobiography, The Big Sea (1940), the mid-1920s was a time “When the Negro Was in Vogue,” but after the crash of the American stock market in 1929 and the beginning of what was to become the Great Depression, whites’ enthusiasm for African American

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RUDOLPH FISHER debate between rationalistic and spiritualistic ways of viewing reality. As noted, Bubber Brown reappears in this novel, as does Jinx Jenkins; in fact, both characters are centrally involved in the mystery, and both reprise their roles as seriocomic, resilient denizens of Harlem, men whose relationship depends chiefly on the ritualized insults of “the dozens.” A petty criminal named Spider Webb, who has a very small role in The Walls of Jericho, reappears in this novel as well. Brown, Jenkins, Dart, and Archer reprise their roles one final time in a detective short story, “John Archer’s Nose,” which was published posthumously in Metropolitan Magazine (1935) and is included in McCluskey’s edition of the stories. The Conjure-Man Dies demonstrates the extent to which Fisher stubbornly but cheerfully went his own way as a fiction writer. The book makes use of a popular genre’s conventions, but it also disrupts them inventively. As if implicitly to respond to Du Bois’ review of The Walls of Jericho, Fisher continues to draw heavily on African American vernacular language and to depict Harlem at street level, and yet he also introduces two representatives of the Talented Tenth—Frimbo and Archer. He composes a novel that is accessible to a popular audience and that is imbued with wit and comedy, and yet the book engages significant topics and themes as ambitiously as a more conventionally literary novel might.

While Fisher successfully and inventively blends such conventions of detective fiction, he also constructs a novel that addresses substantial themes. The novel realistically depicts the difficult economic times on which Harlem has fallen. The protagonist of the novel, a physician named John Archer, is finding it difficult to make a living in Harlem and therefore has both the time and energy to devote to solving a homicide. Archer is well educated but down to earth, highly rationalistic but also witty, so he arguably reflects more than a little of his creator’s personality. By contrasting Archer with the black police detective, Perry Dart, Fisher once again explores differences between the African American middle and working classes (Dart is not college-educated and only recently joined the police force) and between ideals of the Talented Tenth (represented by Archer) and the grounded experiences of those whom the Talented Tenth were ostensibly to lead (represented by Dart). Early in the novel (p. 15), for example, when Archer speaks somewhat loftily to Dart, Dart remarks, “Come on down,” suggesting to Archer that he lower his level of rhetoric and step down, as it were, from academic to street level. At the same time, Archer and Dart collaborate effectively, and they enjoy the contrast that develops between Archer’s deductive method and Dart’s inductive one. In the person of Frimbo, the conjure-man or fortune-teller, Fisher once again explores the migrant (in this case, immigrant) experience, for Frimbo is a native of a nation in Africa. Additionally, Frimbo is both a college-educated person and the member of a highly respected tribal family in Africa, so Fisher’s narrative is able to comment indirectly on the limits of Talented-Tenth aspirations (the bright, well-educated Frimbo can get work only as a fortune-teller in Harlem) and on contrasts between African and African American cultural assumptions. As in his graduation speech at Brown University, Fisher also focuses on conflicting worldviews based on spirituality and science, and although science and rationality are held in high esteem in the novel, Fisher clearly grants spirituality its own agency. Precisely how the crime is ultimately solved and who solves it add a surprising coda to the implicit

CONCLUSION

As McCluskey notes, Fisher wrote reviews of novels by DuBose Heyward, Vera Caspary, George S. Schuyler, Jessie Redmon Fauset, Wallace Thurman, and Countee Cullen, among others, and he published two scientific papers, one in the Journal of Infectious Diseases (1927). His essay “The Caucasian Storms Harlem” (1927) is a perceptive examination of white New Yorkers’ sudden, fickle fascination with “the Negro” and Harlem. However, Fisher’s literary reputation rests almost exclusively on his fiction, primarily the two novels and the short stories “City of Refuge” and “Miss Cynthie.”

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RUDOLPH FISHER Educated in the Ivy League, successful in science, medicine, and literature, Fisher was nonetheless unpretentious and unflaggingly dedicated to representing the conflicts and concerns of ordinary African Americans in Harlem. Schwarz notes, “The Harlem life Fisher portrays is tough, violent, and ruled by capitalism” (2005, p. 553), but the portrayal itself is often buoyed by Fisher’s multifaceted sense of humor, penchant for comedy, fondness for exuberance, and impulse to satirize. Fisher is the fiction writer from the Harlem Renaissance who concentrated most consistently on Harlem itself, and, like such contemporaries as Langston Hughes and Zora Neale Hurston, he memorably blended realism and comedy in his work.

CRITICAL AND BIOGRAPHICAL STUDIES Andrews, William L., ed. Classic Fiction of the Harlem Renaissance. New York: Oxford University Press, 1994. Deutsch, Leonard J. “Rudolph Fisher’s Unpublished Manuscripts: Description and Commentary.” Obsidian 6:82–98 (1980). Du Bois, W. E. B. “The Browsing Reader.” Crisis, November 1928, p. 374. (Review of The Walls of Jericho.) Henry, Oliver Louis. “Rudolph Fisher: An Evaluation.” Crisis, July 1971, pp. 149–154. Hutchinson, George. The Harlem Renaissance in Black and White. Cambridge, Mass.: Belknap Press of Harvard University Press, 1995. Lewis, David Levering. When Harlem Was in Vogue. New York: Oxford University Press, 1989. McCluskey, John, Jr. Introduction to The City of Refuge: The Collected Stories of Rudolph Fisher. Edited by John McCluskey, Jr. Columbia: University of Missouri Press, 1987. Schwarz, A. B. Christa. “Rudolph John Chauncey Fisher.” In The Greenwood Encyclopedia of African American Literature. Vol. 2. Edited by Hans Ostrom and J. David Macey. Westport, Conn.: Greenwood Press, 2005. Pp. 552–556. ———. “Sexual Desire, Modernity and Modernism in the Fiction of Nella Larsen and Rudolph Fisher.” In The Cambridge Companion to the Harlem Renaissance. Edited by George Hutchinson. Cambridge, U.K.: Cambridge University Press, 2007. Soitos, Stephen F. The Blues Detective: A Study of African American Detective Fiction. Amherst: University of Massachusetts Press, 1966. Tignor, Eleanor Q. “The Short Fiction of Rudolph Fisher.” Langston Hughes Review 1:18–24 (1982).

Selected Bibliography WORKS OF RUDOLPH FISHER NOVELS

AND

SHORT STORIES

“The South Lingers On.” Survey Graphic 14:644–647 (1925). Reprinted in revised form and titled “Vestiges” in The New Negro. Edited by Alain Locke. New York: Boni, 1925. Pp. 75–84. (“The South Lingers On” is included in McCluskey, ed., The City of Refuge.) The Walls of Jericho. New York: Knopf, 1928; Ann Arbor: University of Michigan Press, 1994. (Citations are to the 1994 edition.) The Conjure-Man Dies: A Mystery Tale of Dark Harlem. NewYork: Covici-Friede, 1932; Ann Arbor: University of Michigan Press, 1992. (Citations are to the 1992 edition.) The City of Refuge: The Collected Stories of Rudolph Fisher. Edited by John McCluskey, Jr. Columbia: University of Missouri Press, 1987. (Includes a bibliography of Fisher’s works; citations are to this edition.)

OTHER SOURCES Bernard, Emily. “Teaching Carl Van Vechten’s Nigger Heaven.” In Teaching the Harlem Renaissance: Course Design and Classroom Strategies. Edited by Michael Soto. New York: Peter Lang, 2008. Pp. 201–208. Boyle, Kevin. Arc of Justice: A Saga of Race, Civil Rights, and Murder in the Jazz Age. New York: Henry Holt/Owl Books, 2005. Du Bois, W. E. B. “Criteria of Negro Art.” In The Portable Harlem Renaissance Reader. Edited by David Levering Lewis. New York: Penguin, 1994. Pp. 100–105. (First published in Crisis, 1926.) Hughes, Langston. “The Blues I’m Playing.” In his The Ways of White Folks. New York: Knopf, 1934. ———. The Big Sea. New York: Hill & Wang, 1940. ———. I Wonder As I Wander. New York: Rinehart, 1956. Ostrom, Hans. Langston Hughes: A Study of the Short Fiction. New York: Twayne, 1993. Pp. 14–18.

ARTICLES “The Caucasian Storms Harlem.” American Mercury, August 1927, pp. 178–187. Reprinted in The Portable Harlem Renaissance Reader. Edited by David Levering Lewis. New York: Penguin, 1994. Pp. 110–117. With Earl McKinley. “The Resistance of Different Concentrations of a Bacteriophage of Ultraviolet Rays.” Journal of Infectious Diseases 40:399–403 (1927).

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RUDOLPH FISHER ———. “Langston Hughes’s ‘The Blues I’m Playing.’” In Reference Guide to Short Fiction. Edited by Thomas Riggs. Detroit: St. James Press, 1999. Pp. 770–771.

———. A Langston Hughes Encyclopedia. Westport, Conn.: Greenwood Press, 2002. Van Vechten, Carl. Nigger Heaven. New York: Knopf, 1926.

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MARK HALLIDAY (1949—)

Joe Moffett A BLURB ON the back cover of Mark Halliday’s third collection, Selfwolf, challenges the reader to decide whether the poet is “a new colossus on the scene of post-contemporary American poetry or an infinitesimal blip of male bourgeois anxiety.” It concludes, “You be the judge.” The statement is an apt description of the unique nature of Halliday’s work. In engaging his poetry, the reader must indeed become the judge, determining how to view Halliday’s sometimes arresting poems. Often his work directly addresses the reader, calling on him or her to respond to provocative insights. Other times Halliday tests the reader’s sensibility by dealing with difficult or taboo subjects, such as the inequality of race in the United States, the objectification of women by men, or the stigma of being a divorced father. It is the distinctive gamble of Halliday’s work that he does not shy away from potentially inflammatory issues but rather meets them head-on in his verse. Yet another hallmark of his poetry is a wry sense of humor, and he often employs a selfmocking tone. These measures help to qualify the poet’s risk-taking. They signal that the writer self-consciously presents controversial topics or perspectives. Halliday does not hesitate to poke fun at himself or to question his own view of the world. He often pauses within his poems to reflect on his status as a poet. This approach shows Halliday following writers such as the New York School poets Frank O’Hara and Kenneth Koch, in whose work high-spirited play and cleverness of intellect become important elements of poetic style. Halliday similarly eschews literary conventions of the past, reflecting on his processes as a poet at the same time he analyzes the nature of human relationships. In fact, whether it is through fictional characters of the poet’s own creation or occurrences

within the poet’s life, Halliday’s work is initially and finally concerned with social interaction. By his own admission, he is a poet preoccupied with relationships. Halliday’s interest in describing everyday situations is reflected in his choice of a straightforward speaking style, at times almost prosaic in its unadorned nature. In a review, fellow poet Tony Hoagland sums up Halliday’s virtues. Hoagland says Halliday is a “likeable practitioner of the plain-style, a yakky, attractively neurotic but buoyant observer of pedestrian American life” (“Appetite for Dream,” p. 30). In a review of David Kirby’s work, Halliday identifies what he calls an “ultra-talk” approach in Kirby’s poetry, an approach whose roots he finds in Swift, Byron, and his favorites O’Hara and Koch (“Gabfest,” p. 205). The term has since been applied to Halliday’s own poetry in an essay by David Graham in Valparaiso Poetry Review. Graham points out that “Such poetry resuscitates the beleaguered concept of accessibility in poetry, demonstrating by example how a poem may entertain without automatically becoming trivial,” and he posits poetry of this kind against “dissociative, self-erasing poems of linguistic display or humor-free lyrics of ham-fisted epiphany.” For Graham, poetry such as Halliday’s proves a welcome oasis in a desert of over-determined contemporary literature. The “pedestrian American life” that Hoagland identifies in Halliday’s work not only includes the everyday issues of racism and sexism but also considers how popular culture appears in day-to-day life and orders perspectives on the world. Halliday belongs to the generation of writers raised on television and popular media outlets. Rock music, in particular, occupies a special place in his work. He embraces the popular, whereas writers earlier in the century,

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MARK HALLIDAY year at Wellesley College (1982–1983) and then seven years at University of Pennsylvania (1983– 1990). Halliday spent four years at Wilmington Friends School in Wilmington, Delaware, and a year apiece at Indiana University (1994–1995) and Western Michigan University (1995–1996). Since 1996 he has directed the creative writing program at Ohio University. The poet has been the recipient of many distinctions for his work. His first book of poems, Little Star, was selected for the National Poetry Series. Tasker Street, his second volume, was named winner of the 1991 Juniper Prize. From 1997 to 2000 he held a Lila Wallace–Reader’s Digest Writer’s Award. As a result of being awarded the Rome Prize of the American Academy of Arts and Letters, Halliday lived in Italy during 2001–2002. In 2006 he was named one of eight poets honored by a Guggenheim Fellowship, which carried a nine-month term starting in June 2007. He has received a number of Pushcart Prizes and his work has been included in Best American Poetry.

such as T. S. Eliot, famously rejected it. Yet Hal liday is not uncritical about popular culture: rather, he casts a skeptical eye on all aspects of contemporary American life. Overall, Halliday’s is poetry of a scrupulously examined existence, no matter its source or subject.

BIOGRAPHY

Mark Halliday (no middle name) was born February 28, 1949, in Ann Arbor, Michigan, to Ernest Milton Halliday and Beverly Cline Halliday, a teacher of French at the middle-school level. The family lived in Chicago until Halliday was four years old and then moved to Raleigh, North Carolina, where Halliday’s father served as a professor in the social sciences at North Carolina State College. In 1962 the family moved to Connecticut and Halliday’s father became an editor at American Heritage magazine. The family remained in Connecticut through Halliday’s college years. Halliday began writing poetry in 1968 and was influenced early on by the work of Anne Sexton and W. S. Merwin. He attended Brown University, from which he received his BA degree in 1971. From 1973 to 1975 Halliday was an actor and writer in the Rhode Island Feminist Theatre, and he also coedited a small literary journal, the Providence Review. He earned his MA in creative writing from Brown in 1976, during which time he wrote much fiction he later deemed to be largely unsuccessful. In the fall of 1977 he began further graduate work at Brandeis University, where he was awarded a PhD in 1983. At Brandeis, Halliday studied under the poet Frank Bidart and completed a dissertation on Thomas Hardy titled Hardy and the Poetry of Truth-Seeking. Halliday has been married twice. In 1979 he married Anne Carter; they had a son, Nicholas Halliday Carter (b. 1987) and divorced in 1990. He married Jill Allyn Rosser in 1995; their daughter, Devon Rosser Halliday, was born in 1996. Halliday has conducted a varied teaching career. He taught in a high school near Syracuse, New York for one year, 1976–1977. Following the completion of his doctorate, he taught one

AGAINST OUR VANISHING

Perhaps surprisingly, given his status as a poet, Halliday’s first book publication was not a volume of verse but rather a transcript of conversations held with his former teacher at Brandeis, Allen Grossman, titled Against Our Vanishing: Winter Conversations with Allen Grossman on the Theory and Practice of Poetry. Originally published in 1981 and later reprinted in The Sighted Singer (1992), the book records Halliday’s attempts to play devil’s advocate for Grossman in these “Winter Conversations” conducted during a week in January 1981. While the focus is more on Halliday working to reveal the attitudes or perspective of the elder poet rather than expounding his own philosophies, Halliday is able to share some of his thoughts on poetry along the way. The field of topics that the two men discuss range from the legacy of modernist writers such as Yeats, Stevens, and Eliot to examining the place of poetry in American culture. Despite the student/teacher dynamic that marks these conversations, differences between

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MARK HALLIDAY desire to write a poem on a pop song contrasts with the poems by Grossman that the two review, such as “The Runner” and “The Thrush Relinquished.” These poems introduce abstract themes and tend to be more allegorical in nature than Halliday’s poem, which seeks to remain concrete. The mundane quality of Halliday’s poem differs considerably from the metaphysical ambitions of Grossman’s work and further emphasizes the disparity between the two poets.

the two men surface. As Grossman points out in his author’s note, the disparity in age and temperament between the two is significant. One area of disparity includes each poet’s relationship with language. Grossman prefers an approach of high rhetoric, whereas Halliday claims to be attempting “to get more and more of my real voice onto the page” (The Sighted Singer, p. 109). For Halliday at this early stage in his career, writing in an idiom drawn from everyday speech is important, and this aesthetic proves a recognizable feature of his work throughout his career. Along these lines, Halliday remarks that Grossman adopts a particular persona when reading his poems that highlights his performance of the text, whereas Halliday says he tries to be “explicitly conscious of the social reality and particular social identities of my listeners” (p. 81). The younger poet therefore appears more engaged with his audience, refusing to adopt the stance of the detached artist favored by Grossman.

Also of note is Halliday and Grossman’s discussion of the burgeoning field of feminist scholarship and literary practice. They review Adrienne Rich’s poem “To a Poet,” and Halliday reads the poem as an expression of Rich’s struggle of breaking new ground as a feminist writer while recognizing the literary tradition that has preceded her. In addition to saying he admires her poem for its “intentions,” Halliday also questions Rich’s attempt to “speak for an entire class of persons” (p. 96). The significance of this critique for Halliday’s poetry is that he continually questions the boundaries of male/female relationships in his work. His reading of Rich’s poem illustrates his sensitivity to feminist issues, even while he is confident in critiquing her poem on political grounds. Halliday’s view of “To a Poet” also highlights the strategy he adopts in his own poems, in which it is the singular experience of the speaker that is presented to the reader rather than an attempt to, as he says, speak for a “class of people.”

The idea of engaging social realities assumes great importance in Halliday’s thinking in these conversations as it will in his work to come. Of particular significance is his admission that “I feel there is nothing mere about social relationships, since I see a world in which that is all we have” (p. 72). He notes his lack of affection for the work of A. R. Ammons, whom Grossman promotes, because of Ammon’s focus on nature, which Halliday admits to knowing little about. Instead, Halliday points out that he is interested in the social dimension to contemporary life, and indeed Halliday’s work repeatedly seeks to plumb the depths of social relationships. A contemporary poet Halliday says he enjoys is John Ashbery, although Halliday reports he appreciates Ashbery more for his sense of humor than for conventional arguments that call for seeing Ashbery as a profound philosophical thinker.

Halliday also addresses the issue of difficulty in poetry. Part of his reason for doing so is to deal with the sometimes obdurate nature of what he calls “responsible difficulty” in Grossman’s poetry (p. 113). This is a difficulty that stems from the poet’s “honest effort” to communicate something of value in the poem, despite the challenges of the resulting poem. Halliday contrasts this responsible difficulty with “irresponsible difficulty”; he goes on to say that he feels much poetry being published is unnecessarily dense and that it does not adequately reflect the “realized intentions” of the poet. One can again see how this principle informs Halliday’s own poems, which are almost all easily read and instantly accessible. Halliday posits such an approach as a

Even though Halliday plays a supporting role in these conversations, and it is accordingly Grossman’s work that receives the majority of the attention, Halliday does speak of his own poem “Little Star,” which will serve as the title poem for his first poetry collection, published six years after the “Winter Conversations.” The poem commemorates a popular song, and Halliday’s

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MARK HALLIDAY song as important as some other rock songs. Still, he declares somewhat deflatingly that “This, also, was not nothing” (p. 59). In his “Winter Conversations” with Allen Grossman, Halliday says that he wanted to write this poem because, although he recognized the fact that the Elegants’ song was no great work of art by conventional standards, it touched him in a way he wished to acknowledge and communicate to others. In Halliday’s thinking the seemingly kitschy pop song can compete, albeit on a modest scale, with more celebrated forms of high art.

cornerstone of his aesthetics here, and his first volume of verse bears this out.

LITTLE STAR

Halliday’s debut poetry collection, Little Star (1987), was selected by Heather McHugh for the National Poetry Series, a program begun in 1978 in which five books chosen by five different prominent poets would be published by five different publishers. Halliday’s appeared courtesy of William Morrow and Company under the Quill imprint. The book introduces many of the themes and motifs that persist throughout his work. One salient motif is the influence popular culture has on the contemporary individual’s life, in particular the phenomenon of rock music. Halliday’s preoccupation with music continues throughout his corpus. Little Star makes references to groups such as the Beatles (in poems such as “Ask Me Why” and “Blind Date”) and the Beach Boys (“Functional Poem”). This is not to mention that the popular music icons Bob Dylan and Bruce Springsteen receive special attention by appearing on the poet’s acknowledgments page. An image of Elvis Presley graces the cover of the book, further drawing attention to the theme of popular music. Rock and roll proves important to Halliday for a number of reasons, one of which is for the spirit the poet detects in the music: the sense of playfulness and rebelliousness in it, but also its ability to efficiently communicate emotions and states of being. Halliday’s poems generally have more to do with the earthy appeal of a rock song than the elitist “ivory tower” stance that modernist poets such as Pound and Eliot have been traditionally accused of adopting. The title piece of the book falls at the very end. The speaker attempts to remember the lead singer from a group called the Elegants who recorded the song “Little Star.” The speaker explains that this is not the first time he has tried to capture a rock-and-roll song in a poem, and he warns it will not be the last. He says that he does so because he feels a need to say “This counts too!” Nevertheless he concedes that the rock song may not be a match for products of high culture— novels, poems, the opera—nor is this particular

Halliday often seeks to express how music has touched his life in meaningful ways. In “Key to the Highway” from Little Star, a scene is described in which the speaker’s brother and the brother’s friend enjoy driving down the highway while listening to a Derek & the Dominos recording. The speaker learns to appreciate the music, and he celebrates the way the interplay between the two men—his brother and the other man, named Jack Brooks—is inspired by the music. The music brings people together and seals the memory in the speaker’s mind so that the poem ends with him recollecting the scene years later and treasuring its free spirit. The representation of popular music in Little Star continues in “Cover Versions.” In this poem Halliday reflects on familial relations. The speaker likens life to a record album in which he hopes that “Daddy thinks I’ve done well” and “my mother’s sort of still alive” (p. 51). The record creates a world in which the poet’s fantasies and desires can be made real. “Sunrise and the Bomb” considers the importance of popular music from another angle. Here the speaker meditates on the end of civilization through the detonation of a nuclear bomb. He ponders the possibility that ages later someone will uncover music records, and he muses over the characteristics of people today that those records would reveal. He points especially to a song that depicts the human survival instinct. The song tells a tale of a heartbreaking loss of love in which a man goes on living despite his sense that “it makes no sense to be still alive” (p. 54).

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MARK HALLIDAY The theme of the persistence of humanity in the face of adversity runs throughout the book, and much of Halliday’s thinking on this theme in Little Star revolves around the issue of mortality. In “Describers” the speaker comes to the conclusion that describing is what many writers do in an attempt to overcome their own mortality, and he humorously decides we should observe something like a “Keep Somebody Alive By Listening Day” (p. 39). While Halliday clearly pokes fun at our cultural obsession with death, he makes a serious point in that writing has long been viewed by writers as an attempt at immortality. In fact, the book’s opening poem, “Get It Again,” describes a friend of the speaker who works in television and laments the fact that writing is “permanent” whereas the product of a week’s worth of work for him, a five-minute television slot, feels ungratifying (p. 14). Halliday declares later in the book, in “Functional Poem,” that despite claims to the detriment of poetry, “it is a way of giving messages” (p. 57). Little Star also explores the challenges that face the poet, and its poems are correspondingly deeply self-reflexive. In “Casualty Report,” the speaker ponders his “little notebook with the battle of Bunker Hill on the cover— / how can I make you care about it?” (p. 17). “Work” addresses manual labor and the speaker’s knowledge that he is cut out for a different type of work than laboring at a delicatessen, as he does in the poem. “Western North Carolina” illustrates the dedication of the writer who must work with particulars to make a compelling novel. “Functional Poem” explores the problem of poetry’s inability to reach the people who need it the most. Some poems also make references to other poets, such as mentions of Hopkins and Lawrence in “Sunrise and the Bomb.” Echoes of Yeats’s “The Second Coming” can be heard in “Venus Pandemos,” and a line from Auden’s “In Memory of W. B. Yeats” is quoted in “Functional Poem.” It is thus a highly self-conscious approach that Halliday adopts in the collection. He pays close attention to his role as a poet in a culture where poetry does not seem to be of much use but the poet persists nevertheless, believing in the

importance of poetry and its ability to communicate with a reader. In “Venus Pandemos,” Halliday introduces another recurring motif: guilt for desiring the opposite sex. (This motif will be integral to his third book, Selfwolf.) Halliday employs humor to interrogate the objectification of women by men. In this poem he describes a woman’s breasts as helping to “make her manifestly Other” (p. 27). “Why?” he asks himself. He answers, Hey, I don’t know! Do I have to explain everything? ѧ Maybe the more Other she is the less I feel obliged to treat her as a fellow human. There, I said it, okay? (p. 27)

The whimsical tone and chatty discursiveness of the poem is reminiscent of a poet Halliday mentions in “New York Breeze” in Little Star: Frank O’Hara, to whom Halliday is compared by Stephen Dunn in a blurb from the book’s back cover. Yet some of O’Hara’s best-known poems, particularly “Poem” about Lana Turner and “The Day Lady Died,” an homage to Billie Holliday, are not about objectifying women sexually but rather about seeing them as glamorous celebrity figures. Nevertheless, Halliday’s humorous tone helps him to be self-critical of what is otherwise a rather stereotypically male chauvinist view of women’s bodies. The speaker imagines “intelligent feminists” reading his poem (p. 27). He then begins to deconstruct his way of looking at women and comes to the conclusion that he is driven more by beauty than lust. Whether or not Halliday’s irony is enough to allow readers to accept such objectification is an open question. This objectification occurs too in “Get It Again” and “Blind Date,” where the speaker congratulates himself on not spoiling his date by making moves on a young woman whose name he can no longer remember. Overall, Little Star proves a provocative debut collection that sets the stage for Halliday’s work to come.

STEVENS AND THE INTERPERSONAL

Following his first book of poetry, Halliday published a critical work in 1991, Stevens and

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MARK HALLIDAY inhabits the poems. He notes that his analysis is founded on a sense of “moral choice” in Stevens’ poetry and argues that “Poetry ѧ may thus be expected to address the issues of social life” (p. 6). Some of the ideas Halliday gives voice to here—particularly the role of the reader and moral choices in poetry—are echoed in his ensuing book, The Sighted Singer.

the Interpersonal. This full-length study of the canonical modernist poet Wallace Stevens offers a critique of his work on the grounds that it lacks attention to affairs between people, what Halliday terms “interpersonal relations” (p. 3). For a poet as interested in the dynamics of social relationships as Halliday, the insularity of Stevens’ poems proves problematic. Halliday registers his respect for Stevens’ work throughout the book while still offering an in-depth analysis of the different ways in which he feels Stevens evades writing on relations between people. Halliday’s evidence is drawn mainly from the poems themselves, but occasionally he refers to statements from letters in which Stevens expresses misanthropic impulses. One of Halliday’s primary means of exhibiting the shortcomings of what he argues is otherwise the work of a “great” poet is by comparing Stevens’ output to that of other luminaries such as Emily Dickinson, Walt Whitman, and Thomas Hardy. Near the end of the book, Halliday devotes a lengthy discussion to the differences and similarities between the work of Stevens and Ashbery.

THE SIGHTED SINGER

Appearing in 1992, The Sighted Singer was an update of Halliday’s earlier conversations with Allen Grossman. To their “Winter Conversations” they now added “Summer Conversations,” conducted in 1990. Also included in the book is a work on poetics written exclusively by Grossman titled “Summa Lyrica,” which proves a philosophical ars poetica (a reflection on the nature of writing poetry). After ten years the reader detects that the nature of the relationship between Halliday and Grossman has evolved, with Halliday much more aggressive in his views and more willing to challenge the assumptions that underlie Grossman’s views of the world and literature. The book proves an engaging document of the evolution of an artist as the earlier diffident and unsure Halliday, who very often placed himself in the role of the student in the “Winter Conversations,” is replaced by a poet with a clearer sense of aesthetics and purpose. The conversation is again largely literary: the two discuss poetics in general as well as analyze poems by Wallace Stevens (“World Without Peculiarity”), Emily Dickinson (“Again—his voice is at the door—”), and Thomas Hardy (“At the Railway Station, Upway”). Not surprisingly, given Halliday’s then-recent book on Stevens, the nature of the speaker in Stevens’ poem is a matter of debate. Halliday argues, “I want to complain against the evasion of autobiographical truths that this poem performs” (p. 151). He notes that he “values” the poem, but he also feels that it fails to address the issue of the “man who Stevens wants to be” (p. 150). Halliday is therefore concerned with the distance between self and speaker in the poetry, and indeed he often experiments with this complex issue in his work.

Halliday’s first chapter discusses the lack of attention to the suffering of others in Stevens’ work, despite the historical setting of the Great Depression in some of his poems. The next chapter covers heterosexual love in Stevens’ verse and points out that the detached nature of his poetry is a result of his primary interest in the role of the human imagination in a universe without God. The third chapter considers the concept of solitude in Stevens’ oeuvre and how the poet takes its importance for granted. In the final chapter, Halliday offers some concession to Stevens’ work by discussing the ways in which it engages the reader and thereby does concern itself with interpersonal relationships on a small scale. Halliday explores the idea that the speaker of Stevens’ poems “befriends” the reader and sometimes plays the benevolent role of the “Favorite Uncle” for the reader, although Halliday is also quick to point out, “I have not gone so far as to say that we feel loved by Stevens” (p. 166). Throughout, Halliday is careful to emphasize that the subject of his critique is not the biographical poet but rather the persona who

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MARK HALLIDAY him to write poems about seemingly specific individuals whose experiences are then expected to be related to the larger whole of humanity by his reader (p. 167). Some of the other lofty ideas that are touched upon include the importance of humanism in Halliday’s thinking, as well as his belief that although writing poems does not make one a good person, the converse is true—namely, that a sense of morality leads to good art. He notes, in reference to Stevens’ poem, that there is an ethical dimension to poetry writing. Halliday admits that at least part of the reason to write is the hope that one’s work will live beyond one’s self. In this way, The Sighted Singer displays a more philosophical side of Halliday, one in which he thinks profoundly about the role of art in general as well as what he is trying to achieve in his own poetry. This greater sophistication in Halliday’s thinking leads to a deeper and richer second collection of poetry, Tasker Street.

Once again, the poets’ own poems play an important role in the dialogue, and the “Summer Conversations” begin with a discussion of Halliday’s “Location.” Halliday’s poem is about the problematic nature of choosing what to write about: the speaker considers discussing Philadelphia, where Halliday was living at the time, in the bloom of summer, and then ponders writing about a wintry Chicago. The poem comes to no clear conclusion and in this way proves to be a metapoetic exploration of literary choices. Grossman’s “Mary Snorak the Cook, Skermo the Gardener, and Jack the Parts Man Provide Dinner for a Wandering Stranger” is later the subject of their discussion. Not surprisingly, Halliday praises the use of concrete characterization as well as the greater freedom with language and the lighter mood of this poem in comparison with the work by Grossman they had considered a decade prior. These are of course hallmarks of Halliday’s work as well. The “Summer Conversations” end by printing Halliday’s “Springtime for You” and Grossman’s “The Life and Death Kisses,” which again reinforce the discrepancies between the poets: the seemingly whimsical tone in Halliday’s poem contrasts with the allegorical nature of Grossman’s verse.

TASKER STREET

Appearing the same year as The Sighted Singer, 1992, Tasker Street resurrects many of the themes and motifs of Little Star but with further elaboration. The book proves even more selfreflexive than the first volume. In each poem in the first section of Tasker Street, and in a number of pieces later in the volume, Halliday reflects on his work as a poet. In some cases the speaker is positioned as a poet and in others poems, books, or songs are mentioned. It is a highly literary opening, and this approach establishes the first section of the book as an ars poetica. The message is typically that poems are difficult to write, as the first poem, “The Truth,” argues. The poem uses a metaphor in which there are two poems in an imaginary book the “you” of the poem has never read; in these missing poems is revealed “the truth” (p. 3). These paradigmatic poems are of course also missing from Halliday’s book, and in this way he points out his own inability to write the ultimate “truth” poem. While not every speaker of this first set of poems is a poet, the speakers are nevertheless self-conscious about their relationship to

The role of the reader in poetry assumes great importance in these conversations. In discussing his poem “Location,” Halliday declares that he often writes with an “implied audience of people who also write poems” (p. 138). In the discussion of Stevens, Halliday is convinced that the difference between himself and Grossman is revealed in what they expect poems to offer. Elsewhere in the conversations, Halliday praises Hardy’s poem for its ability to offer “a portion of satisfaction” to the reader (p. 190). Halliday presents a different view from that of some other poets, particularly experimental groups such as the Language Poets, in which the reader is expected to take an active part in generating a poem’s meaning. In Halliday’s view, the poet has an obligation on some level to try to satisfy the reader. Halliday also says that he operates under the assumption that all humans have “some important portion of their experience in common,” and one can see how this belief allows

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MARK HALLIDAY cal details into the poems. In “Roots” he uses his real name; in “Polack Reverie” he mentions “what I understood in Allen Grossman’s office in 1980,” recalling the period of his “Winter Conversations” (p. 28). This poem also refers to “Annie,” the name of the poet’s wife at the time (p. 29); “On the History of Poetry” does the same. Halliday’s son, Nicholas, was born in 1987, and the speaker of several poems in Tasker Street, such as “Back Street Guy,” the title poem, and “Nicholas in the Park,” is figured as a father. This final poem might be one of the most moving pieces of the book as the speaker recalls the simple joy of playing with his young son in the park. But he also thinks of the boy’s great-aunt Dorothy, who is in a hospital facing death. Dorothy worries about all the things she has left undone, and her concerns work as a silent reminder to the father of what he must attend to in raising his own son. To accentuate the autobiographical nature of the poem—that, like its speaker, Halliday himself was a new father—the poem is dated (1988), one of only two poems in Tasker Street to receive a date. Tasker Street’s “64 Elmgrove” and “Polack Reverie” record the travails of early love in their speakers’ lives. In the book, the poet often meditates on the emotional gulf that separates people, not only among characters who appear in the poems (such as the speaker and his roommate in “Shopping with Bob Berwick”) but also between the speaker and his subjects. In “Sax’s and Selves,” Halliday asks, “what were you contemplating? ѧ what was your real point? / I mean what did you add up to?” (p. 43). The speaker’s inability to divine the thoughts of one of his characters testifies to the complex task of understanding others. If the “truth” in general is hard for the speaker to decide for himself, the problem is only exacerbated by the difficulty of interpersonal communication. Although in Against Our Vanishing, Halliday advocates the importance of communicating a message to the reader, in many poems of Tasker Street—“Sax’s and Selves” preeminent among them—the issue of communication is explored and found to be immensely problematic.

literature. The speaker of “Vegetable Wisdom,” for example, admits to using a “dubious metaphor,” but that does not deter him (p. 7). In “Green Canoe” the speaker tries to convince himself “it’s not about books,” but he knows better (p. 9). This strategy of Halliday reflecting on his writing processes culminates in one of the book’s final poems, “My Strange New Poetry.” The speaker notes how his new poetry will be confrontational; it “grins / and calls you Big Shot and you narrow your eyes” (p. 73). But this is a poetry he cannot yet write; he says he will get to it “next week or sooner than that” (p. 73). Halliday consequently acknowledges the limits of his abilities and the book comes full circle, back to the opening poem, “The Truth,” which questioned the ability of the speaker to divine and write the truth. In poems such as “Ode: The Capris” and “Roots,” growing up in mid-century America is remembered, particularly through the effect popular music has on the speaker’s adolescence. “Ode: The Capris” is similar in nature to the title poem of Little Star in that it speaks to the deep influence popular music can wield in the life of an individual. The musical group the Capris can put into words the expectations and experiences of the speaker as he makes his way through his early adult years, and despite a cynicism that some might feel for the simple song he describes, the speaker notes “no amount of irony will ever quite ride the Capris out of town” (p. 24). This poem picks up on another element of American popular culture that reappears throughout the book: baseball. A reference to America’s pastime also falls in “My New Strange Poetry.” Through this persistence of popular culture references in his books, Halliday recognizes and commemorates the era in which he writes. Instead of imitating the High Modernist poets evoked by the speaker of the poem “Lionel Trilling”—“Eliot Pound Yeats Stevens Frost,” those poets who make the speaker and his companion “feel small” in stature—Halliday embraces popular culture (p. 16). Through this process he produces a poetry that addresses the experience of everyday life. Among the innovations of Tasker Street, Halliday takes the risk of introducing autobiographi-

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MARK HALLIDAY In fact, poems such as “Summer Perdu” and “Couples” focus on the distance between the “I” of the speaker and the “you” of his address. “Couples” has been analyzed by Tony Hoagland as an example of what he calls the “skittery” contemporary poem, which resists traditional modes of narrative (“Fear of Narrative,” p. 513). The poem moves from a series of scenarios early on in which the speaker imagines different jobs and social situations for his hypothetical couple, Susan and Jim, to a comical rant in which he acquires a self-absorption that reaches epic proportions. Similarly, the speaker of “New Wife” worries that his second wife will see through his facade and recognize that his need for attention, evidenced by his desire to publish poems, eclipses his concern with everything else, including her. Through such strategies Tasker Street considers both the loneliness that exists in human life because of people’s inability to connect with one another and also the way in which emotional distance between people can be perpetuated by self-centeredness.

The speaker here pauses to ask, “there must be a few black men who own helicopters?” (p. 53). The speaker forces himself to overcome his own preconceived notions, moving from the stereotypical images of a black man as a drug dealer or gun dealer to one in which the black man’s affluence and social standing is signified by his ownership of a helicopter. Although Tasker Street frequently laments the division between people, in this scene that division has at least partially been overcome because the speaker’s desire to examine his own preconceptions helps him push his imagination beyond the limits that society has forced upon him and that he had earlier forced upon himself. Race is tied to the issue of literature in “On the History of Poetry,” which recounts the speaker’s struggle to write when he knows his poems would mean little to the two black men he imagines in Philadelphia engaged in the reality of day-to-day life. He thinks too of a Korean woman, also in Philadelphia, with whom he can only dream of a connection. In moments such as these, Halliday can be observed taking risks with the way the reader might look at his work. As with Little Star’s “Venus Pandemos,” where exploration of the objectification of women by men might be viewed as offensive by some readers for its frankness, Tasker Street’s poems on race similarly confront racial issues directly and might be seen as too provocative by some readers. This is a gamble Halliday is nevertheless willing to take, and in his next book the poet continues to push the limits of poetic decorum in his evaluation of American culture.

Along the lines of the distance between individuals, the book introduces a new theme for Halliday’s poetry: racial divisions. Several poems find the speaker trying to understand racial conflicts within society and also within himself. “Fox Point Health Clinic, 1974” describes a scene in which the speaker quietly works on a poem in a waiting room. A black woman comes in and sits beside him. She proceeds to lean against him and tell him she is dying. The speaker is forced to reflect on his own race and his duty as a poet. In another poem, “My Moral Life,” the speaker evokes the impoverished conditions of the “black people in my city” among other social concerns (p. 74). In “Reality U.S.A” the speaker crisscrosses America, visiting a number of places and meeting a diverse group of people. He eventually encounters a “ten-year-old black boy” in Georgia with whom he discusses baseball (p. 53). The speaker then says,

SELFWOLF

Selfwolf (1999) is a continuation of many of Halliday’s concerns from earlier collections. Except for the poem “Eighth Avenue Incident,” in which the speaker accidentally knocks into a middle-age black woman while entranced with a young white woman whom he passes on the street, the volume does not consider race as Tasker Street did. However, Selfwolf does examine the distance between the speaker and others. Often the poems concentrate, as in “Eighth

So then, the kid’s uncle sells me some cocaine or teaches me how to aim a pistol or takes me for a ride in his helicopter— (p. 53)

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MARK HALLIDAY Avenue Incident,” on a woman who catches the speaker’s attention. In “Cleveland,” Halliday writes about a young woman named Janey who struggles to raise her small son by herself. The speaker describes her beauty and admits that his interest in Janey is “suspect”; he continues, “indeed it is obviously not untainted by sexual sentimentality” (p. 65). The speaker’s acknowledgment that his sexual attraction to Janey at least partially dictates his interest in her represents a dimension of self-consciousness that marks much of Halliday’s work. The sexualizing of women is an issue also in “Legs.” In this poem the speaker imagines a woman editor disgustedly reading his sexually anguished poems. “Skirt” similarly centers on the speaker’s desire for a woman he encounters, but the poem then opens into a consideration of his own loneliness and shortcomings. These poems continue the work begun in “Venus Pandemos” from Little Star, which first examined the objectification of women at length. Often the poems of Selfwolf turn a reflective eye on their speakers. With this tactic Halliday minimizes the hubris that threatens to mar the work. In “Loaded Inflections,” he imagines criticisms of his work: “Halliday thinks his most banal experiences are poetry already” (p. 42). “Banal” is a word that appears consistently over the course of Selfwolf (in “Credentials,” “Skirt,” and “Non-Tenured,” for instance). The importance of the banal is the subject of “SelfImportance,” which Halliday points to in an interview with Sue D. Burton in Green Mountains Review as a key poem to Selfwolf (p. 57). The speaker begins by ironically celebrating the heroic job he does washing the dishes. He goes on to admit he is “not the greatest guy,” but he contends, “That’s not the point” (p. 29). He decides that he is important precisely because of his ordinariness. Indeed, it is the “average” guy, grappling with everyday situations, which Halliday’s poems routinely take as their subject. In “Divorce Dream” and “Legs,” for instance, the speaker is found to be coping with the very common pain of separation and divorce that marks the lives of many. In these poems

Halliday’s speaker emerges as a character who experiences the “average” person’s travails. This everyman nature of the speaker appears in “Credentials,” where the fact that the speaker is revealed never to have suffered significant loss, was never the victim of rape, has never been mugged, and has never been sent to war, calls into question his authority as a poet. Continuing with the motif of self-revelation, the speaker of “Removal Service Request” complains of insomnia that stems from being too aware of the emotional baggage he carries with him. This emotional baggage is represented as things that “gather in your apartment and stay”; he notes that each of these fictive things learns to “emit its own ѧ night-noise,” the drone of which keeps him awake (p. 23). The poem stands as an expression of the guilt we all carry in our lives. The poem is therefore comic and serious at the same time and represents the best of what Halliday’s style can achieve. To keep the poems even more grounded, Halliday uses his own name (in “Loaded Inflections” and “Poetry Friendship on Earth”) as he had done in Tasker Street, as well as the name of his son (in “Novelists of 2007” and “Bad People”). Yet Halliday’s speaker is average only so far. Often the voice in the Selfwolf poems is that of a troubled poet (as was the case in Tasker Street). Poems such as “Non-Tenured” and “The Halls” consider the poet’s place in the sometimes cruel world of academia. Elsewhere in the book, Halliday reflects on the demands of the writing life. In “Poetry Friendship on Earth” the speaker describes the frustration he feels with a fellow poet’s consistent criticism of his work. Pieces such as “Loaded Inflections,” “The Ivory Novel,” and “Novelists of 2007,” analyze the ways in which literature is created and discussed. “The Ivory Novel,” in particular, points to some of the more absurd elements of contemporary fiction by exposing the potential for self-aggrandizement in the writing business. These poems, which center on the dynamics of the literary world, thus focus less on the everyday life of contemporary Americans and more on the rarified position of the speaker, who is a poet or potential novelist.

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MARK HALLIDAY result of the speaker’s desire to help a woman with a much-too-heavy suitcase, which he insists “should have been on wheels” (p. 32). “Narragansett Boulevard” similarly bears a loose sense of rhyme and repetition. These poems add diversity of form to the often jagged free-verse style of Halliday’s poetry. The collection is bookended by poems movingly centered on death. The aforementioned “The Miles of Night” provides a memory of the speaker’s mother shortly before her death. Alan Williamson argues that the poem “shows us how we use cynicism to distance ourselves from emotions we are not capable of confronting or experiencing directly” (p. 39). The book’s next poem, “The Case Against Mist,” is an argument against the idea that we become no more than mere “mist” when we die, that there must be an afterlife of some kind. Near the end of the book falls “Horrible,” about the way we understand tragedy through the media—in this case an earthquake that kills thousands in India. The poem explores our desensitization to violence as a result of media projections. The book’s final poem, “After the Rain,” poignantly describes the death of a man only forty years old in Dublin. The speaker describes the dying man listening to Haydn. The man hears “a meaning of sadness” and the speaker acknowledges that this insight exceeds “the best metaphors I might now produce” (p. 77). In the end, then, Halliday leaves his readers with the inadequacy of literature to capture the realities of living. This proves a humble ending for a varied book that moved from poems that displayed self-pity (“Non-Tenured”) to self-aggrandizement (“Poetry Friendship on Earth”) to self-analysis (“Loaded Inflections”). As with Halliday’s other collections, Selfwolf is a complex book with different layers of perspective and mood.

Popular culture references appear again in this volume of poetry. Here they help balance the poems between the academy and the outside world. Like Tasker Street, baseball and football references persist in Selfwolf, especially in “Timberwolf.” In “Bad People” the poet imagines the individuals who have carelessly left broken beer bottles on a baseball diamond where he and his son come to practice hitting balls. In “Fear of Concrete,” Chrissie Hynde, leader of the rock group the Pretenders, falls at the end of a list that begins with literary luminaries such as Coleridge, Hopkins, Blake, and Rilke. In the opening poem of the book, “The Miles of Night,” the viewing of a television movie provides a setting in which the speaker’s mother is revealed to be terminally ill. Again, these references to sports, popular music, and television ground Halliday’s poems in the everyday—a celebration of “banality” for which he imagines a hypothetical critic chiding him in “Loaded Inflections.” Among the innovations of Selfwolf, Halliday experiments with different types of poems and with formalism. In the final section of the book, in “Sci-fi Floater Genius,” Halliday writes in the voice of someone who sees the world through the lens of an obsession with science fiction. This speaker does not fail to share the preoccupation with women’s bodies that occurs in many other Halliday poems. Also falling near the end of the book, “Taipei Tangle” relates a vaguely narrated espionage tale. Both poems help to vary the texture of the book, as do the poems that play with poetic form, particularly “Partial Relief” and “Soul on Bench.” “Partial Relief” is written entirely in rhyming couplets—unique in Halliday’s oeuvre up to this point in his career—in a much less conversational tone than most of Halliday’s poems. It includes lines such as “The poignancy of the human is nearly too much to stand,” which strikes the reader as a much more self-consciously poetic utterance than Halliday is typically given to writing and suggests that the poet is poking fun at literary conventions and artistic seriousness (p. 70). “Soul on Bench,” though a meditation on a quote by Keats, is more lighthearted and less committed to consistent rhyme. It tells of a train missed as a

JAB

Halliday’s fourth book of poetry, Jab (2002), is at times a darker and even more reflective collection than previous works. To be sure, many of Halliday’s themes appear here again. As with his earlier volumes, Halliday saturates the poems

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MARK HALLIDAY and a Children’s Health Encyclopedia / and three drawing pads and an illustrated history of baseball” to a park trash barrel. The poet explains that this is because “He is a divorced father” and that “divorced fathers cannot evade absurdities” (p. 71).

with allusions to pop culture. References to popular movie actresses appear in “Cotton Club Classics,” “Strawberry Milkshake,” and “The Beloved.” The poems’ references to Elisabeth Shue, Cameron Diaz, and Grace Kelly, respectively, show Halliday evoking figures who hold iconic status in contemporary culture; they are representatives of a shared cultural vocabulary of beauty and glamour. The poems consider what is most valued in contemporary society and the way those values are communicated through the media. Among popular culture references in Jab, music is, not surprisingly, especially prevalent. “18,000 CDs” imagines the possibility that a cache of CDs will be found in the future, in 2022, and that they will disclose something about us—an idea similar to “Sunrise and the Bomb” from Halliday’s first book. In speaking of the musical recordings in “18,000 CDs,” Halliday uses Keats’s famous line “fair creature of an hour” from “When I Have Fears I May Cease to Be” to describe the CDs, as if the discs are a contemporary equivalent to Keats’s speaker’s beloved. In another poem, “Trumpet Player, 1963,” the speaker considers the way popular music is manipulated to convey certain imagery (in this case sixties surf culture) to appeal to consumers. Halliday looks at the other side of popular culture here, namely its commercial aspect, which turns musical expression into just another product in a capitalist society. The poems of Jab also carry on Halliday’s project of exploring the relationships between people. Many of these poems, however, offer imagery of isolated individuals. For instance, driving late at night is a motif that appears in many poems (“Contents,” “The Schuylkill,” “Separated Father”). The speaker of each of these poems is overcome with a sense of solitude. In “Separated Father,” for example, the speaker tells of the father’s “tiny new apartment,” apparently the product of his divorce, in which he must live alone (p. 67). The father clandestinely drives by his daughter’s window at 2 a.m. to imagine her sleeping, no longer part of her day-to-day life. In “Heavy Trash,” the protagonist lugs a black trash bag filled with “two Philadelphia phonebooks

The sense of isolation carries into one of the collection’s most memorable poems, “Parkersburg,” named after a town in West Virginia not far from Halliday’s home in Athens, Ohio. The poem begins as an imitation of Yeats’s classic poem “The Lake Isle of Innisfree,” in which a London-based Yeats dreams of going back to live in the countryside of his native Ireland. Halliday’s speaker begins, “I will arise now and put on a black baseball cap and go / to Parkersburg” (p. 77). He says he will visit taverns and read different poets and that “though I might not meet a lonely marvelous slim woman with black hair / it will still be as if I did” (p. 78). The poem is humorous in the fact that the depressed West Virginia town in no way resembles the idyllic scene that Yeats evoked, but also sad in that its speaker is essentially alone, even when he is in a public space (the taverns). He is so alone, in fact, that he does not even meet another of his kind, but rather must imagine the “lonely marvelous slim woman” he wishes he could encounter. Jab also carries a more sentimental side than Halliday’s previous books. Although Halliday included poems about his mother and father in his first book, in Jab there are proportionately more of these, and they are more emotionally intense than their predecessors. Poems about the speaker’s mother (“Poetry Failure,” “The Sunny Ridge,” “Head Wound”) are balanced by poems about his father (“Scale,” “Summer Planning”). These poems show the speaker identifying with the aging process he first saw in his parents’ lives as he himself grows older. They are, then, ultimately poems about mortality. “Head Wound,” for instance, contrasts the speaker’s life with his mother’s, meditating on his better fortune than hers but well aware that fortunes are forever shifting and that his mother’s hardships could very well turn out to be his own. The only conclusion the speaker can come to is “I’m lucky, she wasn’t lucky.” (p. 22). The poem evokes the force of

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MARK HALLIDAY “fate,” and the term appears again in “Cotton Club Classics” (p. 22). The speaker of these poems recognizes that for all his sense of having life figured out, there are also forces well beyond his control.

The self-mocking quality of “Big Picture” is apparent in other poems. The speaker humorously imagines his own death in “Seven Boxes,” picturing his children left with the duty of disposing of the boxes of writing he has left behind, about which he says, “in the car or truck someone says // something humorously respectful / about how much a person can write” (p. 84). All the speaker’s years of writing are thus minimized to an offhand remark and few boxes of trash. “Schnetzer Day” finds the speaker imagining the day after his death, only to come to the comic conclusion that “my death is a bad mistake. ѧ I guess in fact I’d better live forever” (p. 86). In “Landscape #11” (a title suggesting the poem is one among a long line of others), the poet offers a Whitmanesque panoramic view of representative American characters, only to ironically state, “This is me being bard of America” (p. 95). In “Against Realism,” Halliday examines the mundane quality of existence as depicted in the life of an unnamed career- and family-oriented woman and admits that it is difficult to make the quotidian interesting. He says,

The theme of family appears in the book elsewhere in the form of the speaker discussing his children. Although children had entered the poems of Selfwolf in ways they had not in Halliday’s earlier work, fatherhood is an even more pervasive motif in Jab. As mentioned previously, Halliday’s son was born in 1987 and his daughter in 1996. In “Route 302” the speaker speaks frankly about his feeling of responsibility for his son as he admits to speeding too quickly down a highway with the child in the car. While the mood of the poems that explore being a divorced father are understandably melancholy— poems such as “Separated Father,” “Divorced Fathers and Pizza Crusts,” “Heavy Trash,” and “The Fedge” all fit in this category—“Big Picture” offers a lighter mood and tells of the speaker’s daughter, who wakes from a dream to quip, “I was going to make a big picture— / but then ѧ .” The father finds this an insightful remark. He explains, “I realized / the metaphor! I didn’t miss it! I saw / our lives— / our careers—and I went to my notebook” (p. 62). He self-mockingly notes that he recorded her halfawake utterance so that

If I have to think admiringly one more minute on how she starts the pot roast at dawn and brushes Jenny’s hair and how to her sex is mainly the problem of unwanted pregnancy

It will exist always for me, for you, and for generations yet unborn. In its way it is a kind of Gibraltar in the history of culture. Thank heaven I’ve done it! Now I can rest.

I swear I will pass out and fall down and get a boredom-induced concussion

(p. 62)

(p. 42)

The tone of this poem has much in common with earlier works such as “Venus Pandemos” or the title poem from Little Star. The exasperated, ironic tone indicates for the reader that the poet acknowledges that his “banal” experiences are often inflated in his verse to assume profound importance. Yet the poem also betrays the sense that the daughter has inadvertently forced her father to reflect on his own manic desire to write the next great poem, and in this way he has had a humbling but nevertheless moving experience.

The speaker exposes his own shortcomings here, namely his feeling that good people like the woman described do not always make interesting literary characters. The hard truth the speaker offers reminds the reader of the risky honesty of Halliday’s speaker in “Venus Pandemos” from Little Star or “Fox Point Health Clinic, 1974” from Tasker Street. In Jab, Halliday personalizes the poems “Olivier Bergmann” and “The Missing Poem” by using his own name, recalling his strategy in

...

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MARK HALLIDAY earlier books. This practice lends a sense of urgency to the poems and creates a personal responsibility for the foibles of the book. Correspondingly, the volume ends on “The Missing Poem,” and in this way Jab accounts for its own inadequacies as the poem details all the elements that could have gone into the perfect poem had Halliday not failed to write it. “The Missing Poem” calls to mind “The Truth” and “My Strange New Poetry” from Tasker Street, both of which deal with the inadequacies of the poet to write the work he knows is needed. Notably, Jab lacks reference to race. There are even very few of the sexual poems of Selfwolf. In fact, Halliday pokes fun at that kind of thinking by criticizing an “Oh-God-that-blonde-acrossthe-street” mentality in “Strawberry Milkshake” (p. 29). Jab takes a slightly different perspective than Halliday’s earlier collections: its speaker emerges as an older, more responsible, if not more melancholy man. Still, he is a person who has not lost his unique sense of humor, his quick wit, or his self-deprecating tone. These all, of course, are essential qualities of Halliday’s poetry.

to demolish my liberal humanist complacency before I reach my car. (p. 144)

The poem works as a statement on the difficult position in which literary culture finds itself as Halliday worries that literature has been subsumed by the theoretical approaches intended to illuminate it—postmodernism and postcolonialism being just a couple of the more recent theories attached to the field. Halliday addresses this problem with his characteristic humor and wit. He appears to hold true to his “humanist” conviction, expressed in his conversations with Grossman, that relationships are the key to the world. This principle has continued to guide his poetry in the two decades since his “Winter Conversations.” There is no reason to think he will waver in his commitment to examining that which he believes is most essential to humans: their understanding of one another. Here the speaker identifies the way theoretical thinking can stand in the way of true connections between people. Self-understanding also continues to be a concern in Halliday’s work. In his poem “Refusal to Publish Fifth Book,” from Green Mountains Review (2006), Halliday pokes fun at himself, imagining that “perhaps one hundred readers” have been on the lookout for his latest collection of verse. The poem ends by entreating the reader to understand the speaker’s hesitation to follow the current trends in the poetry business to publish a new book “so as to remind everyone that you exist” (p. 71). Instead he ironically asks the reader to go and read his previous four books. In this poem the reader finds Halliday continuing to rail against the conventions of literature, as well as the ways in which it has been packaged and disseminated in recent decades. The rebellious spirit the reader finds in Halliday’s first collection persists unabated, but as with that first collection, there is also a keen self-awareness in the poet. This give-and-take, this questioning of his culture but also questioning of himself, remains Halliday’s ongoing contribution to contemporary letters.

LATER WORK

Since the publication of Jab, Halliday has continued to publish his poetry in literary journals. A notable poem, published in the spring 2004 issue of the Gettysburg Review, titled “Not Exactly for Talia,” continues the poet’s work of examining the realities of gender and race in America. Halliday’s ongoing penchant for the mundane is figured in the poem’s setting: the speaker visits that most ordinary of public spaces, the grocery store. While there, he encounters a cashier whom the reader presumes differs from the speaker in race (he calls himself the “balding white customer”) and with whom the speaker has a brief but compelling connection (p. 144). Nevertheless, the speaker ends the poem by asking, “what is that panting slavering sound?” He answers, It is the sound of a dozen postmodern postcolonial theorists posthumanistly lurching, straining to be the first

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Selected Bibliography

PUBLISHED CONVERSATIONS

AND

CORRESPONDENCE

With Allen Grossman. Against Our Vanishing: Winter Conversations with Allen Grossman on the Theory and Practice of Poetry. Boston: Rowan Tree Press, 1981. Revised and expanded as part one of The Sighted Singer: Two Works on Poetry for Readers and Writers. Baltimore: Johns Hopkins University Press, 1992. “The Golden Age of Radio: Excerpts from the Letters of Dean Young and Mark Halliday.” American Poet 30:34–37 (spring 2006).

WORKS OF MARK HALLIDAY POETRY Little Star. New York: Quill, 1987. Tasker Street. Amherst: University of Massachusetts Press, 1992. Selfwolf. Chicago: University of Chicago Press, 1999. Jab. Chicago: University of Chicago Press, 2002.

CRITICAL STUDIES AND REVIEWS Graham, David. “The Ultra-Talk Poem and Mark Halliday.” Valparaiso Poetry Review 71, no. 1 (fall/winter 2005– 2006). Available online (http://www.valpo.edu/english/ vpr/grahamultra.html). Hoagland, Tony. “The Appetite for Dream.” American Poetry Review, September–October 2001, pp. 29–35. Hoagland, Tony. “Fear of Narrative and the Skittery Poem of Our Moment.” Poetry 187, no. 6:508–519 (March 2006). Williamson, Alan. “Cynicism.” American Poetry Review, May–June 2008, pp. 39–43.

UNCOLLECTED POEMS “Not Exactly for Talia.” Gettysburg Review 17, no. 1:144 (spring 2004). “Refusal to Publish Fifth Book.” Green Mountains Review 19, no. 1:71–72 (2006).

LITERARY CRITICISM Stevens and the Interpersonal. Princeton, N.J.: Princeton University Press, 1991. “Abstraction Resisted (or H, Still H).” Chicago Review 47, no. 1:81–101 (March 2001). “Gabfest.” Parnassus: Poetry in Review 26, no. 2:203–215 (2002). (Review of David Kirby’s The House of Blue Light.) “‘You Just Went By’: Koch and Elegy.” Parnassus: Poetry in Review 30, nos. 1–2:361–388 (2008).

INTERVIEWS Burton, Sue D. “A Talk with Mark Halliday.” Green Mountains Review 16, no. 1:57–61 (2003). Stannard, Martin. “An Interview with Mark Halliday.” North 36 (2005). Available online (http://www.poetrymagazines. org.uk/magazine/record.asp?id=15317).

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ROLANDO HINOJOSA (1929—)

Rob Johnson date accomplish as significant or as expansive a project” (Strickland). Don Américo Paredes, the pioneering Mexican American writer and folklorist, says of his fellow South Texan, “He is the best we have” (Strickland).

ROLANDO HINOJOSA IS the author of more than a dozen books all set in a fictional county he calls “Belken County,” which is located in his native region of deep South Texas on the Mexican border. His first novel, Estampas del valle y otras obras (1973; published as Sketches of the Valley and Other Works, 1980, and as The Valley, 1983) (hereafter cited as The Valley), won the Premio Quinto Sol for excellence in Chicano literature, placing him in the esteemed company of the previous winners, Tomás Rivera (for ѧ y no se lo trágo la tierra / “ѧ and the earth did not part”) and Rudolfo Anaya (for Bless Me, Ultima). As a Quinto Sol winner in the early 1970s, Hinojosa is thus considered one of the most important and influential first-wave Chicano writers. Klail City y sus alrededores (1976; published as Generaciones y semblanzas, 1977, and as Klail City, 1987) (hereafter cited as Klail City), his second novel, received the Premio Literario Casa de las Américas, Latin America’s highest literary award. As a result, Hinojosa’s work soon reached an international audience. Over the long literary career that followed this initial recognition, Hinojosa has created a complexly interlocking series of books that are frequently compared with William Faulkner’s Yoknapatawpha County series; Hinojosa titled his series the “Klail City Death Trip.” At last count, it features more than one thousand individual characters and spans a 250-year time period. His literary ambition, he told Contemporary Authors, is nothing less than to “set down in fiction the history of the Lower Rio Grande Valley.” Hinojosa’s writing is the subject of several full-length critical studies and dozens of articles and book chapters. Jaime Mejia, professor of literature at Southwest Texas State University (now Texas State University) and one of the first Hinojosa scholars, says of him, “No other works by an American author to

BIOGRAPHY

Rolando Hinojosa was born on the eve of the Great Depression on January 21, 1929, in Mercedes, Texas, a small town located only a few miles north of the Rio Grande and the Mexican border in South Texas. On his father’s side, the family’s roots go all the way back to the settlement of the region by Spain under José de Escandón in 1746. His father, Manuel Guzmán Hinojosa, was born three miles north of Mercedes in 1883 on the Campacuás Ranch, where his own father and grandfather had also been born. The family of Rolando’s mother, Carrie Effie Smith, came to South Texas after the Civil War, lured there by the early land developer Jim Wells (Hinojosa, “The Sense of Place,” pp. 18–19). Hinojosa’s maternal grandfather recalled a conversation with Wells, who said that all the Valley needed was a little water and some good people. Grandfather Smith replied, “Well, that’s all Hell needs, too” (“The Sense of Place,” p. 19). As was typical with Anglo immigrants during this period, the Smith family assimilated into the Spanish and Mexican culture of the region: his mother spoke Spanish fluently. (In line with Spanish custom, Hinojosa’s full name is Rolando R. Hinojosa-Smith, but as a writer he is most commonly referred to as Rolando Hinojosa.) Hinojosa’s father participated in the Mexican Revolution of 1910, was later a farmer, and then became a policeman in Mercedes. His mother, as would be all of the Hinojosa children, was a teacher.

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ROLANDO HINOJOSA Hinojosa grew up speaking Spanish at home and at school (in fact, he says, his life was mostly lived in Spanish until age seventeen, when he enlisted in the military). Before attending elementary school, he first attended a school organized by Mexican nationals. Every morning the children sang the Mexican national anthem. The members of the family were all avid readers, and Hinojosa apparently taught himself to read before he attended public school. He entered the public schools at age six, and he and the other mostly Mexican American students were taught by Anglo teachers (an experience dramatized in The Valley). In the sixth grade, at age twelve, he attended an integrated junior high school and, he says, had his first full conversation in English with an Anglo—an incident that sounds remarkable to people outside the Valley but was entirely unremarkable for 95 percent of Mexican Americans living in the region. In high school he published a short story in the school literary magazine, Creative Bits. The first work of literature he recalls reading by a writer from the Valley was a poem in La Prensa titled “The Mexico-Texan.” It was by Brownsville native Américo Paredes, who would later be Hinojosa’s mentor and friend at the University of Texas.

part of his education at UT was the job he had in the reserve section of the library, which, he says, was “like choosing the rabbit to guard the lettuce patch.” There was “nothing systematic” about his reading, he says, but he would “stick with an author until I either tired of him or ran through the entire work” (Bruce-Novoa, p. 52), a foreshadowing perhaps of his practice of a writing a novel “series” rather than individual works. Hinojosa returned to the Valley after graduation and lived there from 1954 to 1960. He taught Spanish, Latin, and government at a high school in Brownsville, Texas, but later took a higher paying job at a chemical plant. He recalls reading deeply in Russian and Spanish literature during those years, but perhaps the most important book he read was one he and his sister spotted in the window of a Mercedes bookseller in 1958: Américo Paredes’ With His Pistol in His Hand. This seminal book, which presents the Texas Mexican’s view of border history, as opposed to the dominant Anglo “official” Texas history, is often cited as a crucial forerunner of Chicano literature. Hinojosa recognized the author as the Brownsville poet whose poem he had read in La Prensa as a boy (Hinojosa, “A Voice of One’s Own,” p. 11).

Hinojosa graduated from Mercedes High School in 1946 at the age of seventeen. He already knew the Valley was not a place of opportunity for Mexican Americans, other than as laborers, so he joined the army in order to earn money for college. He served for two years, then enrolled at the University of Texas in Austin. However, he was only in school for a brief time when the conflict in Korea became a war. Hinojosa was activated and served in Korea for twoand-a-half years. The Korean War is a part of almost all of his episodic novels, but he focuses on it exclusively in the long poem Korean Love Songs from Klail City Death Trip (1978) and in his novel The Useless Servants (1993).

In 1962 a friend urged him to pursue graduate study at New Mexico Highlands University, and there, in 1963, he completed an MA degree in Spanish, writing a thesis that compiled maxims in Don Quijote. In New Mexico, he also met and married Patricia Louise Mandley; they would eventually have three children, Clarissa Elizabeth, Karen Louise, and Robert Huddleston. Leaving Highlands, he then studied for his PhD at the University of Illinois–Urbana, where an important mentor was Luis Leal. His dissertation was on the works of the nineteenth-century Spanish novelist Benito Pérez Galdós. Hinojosa’s writing, understandably, is filled with references to Spanish literature. He completed his PhD in 1969 and was hired to teach in the Spanish Department at Trinity University in San Antonio, Texas. However, Texas A&I University (now Texas A&M University–Kingsville) quickly hired him away with a position as chairman of the Department of

After the war Hinojosa returned to the University of Texas, where in 1953 he completed a BS degree in Spanish with a minor in history. (Autobiographical aspects of these years in Austin appear in Dear Rafe and other works.) Hinojosa often remarks that the most important

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ROLANDO HINOJOSA Modern Languages, the first of Hinojosa’s many administrative jobs. While there, he began writing the first installments of what would become his first novel, The Valley. However, his literary subject and style truly began to crystallize after reading Tomás Rivera’s novel ѧ y no se lo tragó la tierra. In 1971 the two met, and they remained close friends and allies until Rivera’s early death in 1984. Rivera, who wrote about migrant farm workers in South Texas and his hometown, Crystal City, showed Hinojosa that it was best to write about the people and places one knows best and that such work by Mexican American writers could find a publisher—even if written in Spanish. Hinojosa followed Rivera’s example and wrote his own Spanish-language novel in episodic form. Hinojosa’s first novel is a truly seminal: the seeds of all of his later works are contained in the book, and it is material he continues to harvest today. Hinojosa centers his books on a Mid-Valley town he calls Klail City, but which is actually the town of his birth, Mercedes, Texas. In an area that was originally settled by Spanish ranchers in the 1770s, Mercedes was a town developed by Anglos in the early part of the twentieth century. It is in Hidalgo County (Belkin County in Hinojosa’s works), the county seat of which is Edinburg (Edgarton in Hinojosa’s works). Brownsville, after the fashion of Américo Paredes, is known as Jonesville on the Grande (an older name for the town than Brownsville, according to Hinojosa). Many other places in his novels have recognizable counterparts in the region. Other than changing names in these books, Hinojosa sticks very close to verifiable historical fact and also seems to be the unique owner of some of the region’s history—so much so that Hinojosa’s “fictional” history may well be the most authentic history of the Valley we have.

region that stretches from Brownsville at its southern and eastern tip up the Rio Grande River, roughly, to Rio Grande City, and then north up the current Highway 281 to Falfurrias and south to Monterrey in Nuevo León, Mexico. In 1746 the Spanish Crown authorized a survey of the area and, the following year, sent as soldiers and colonizers a group commanded by José de Escandón. The soldiers under Escandón were to settle in the region and were given vast land grants in order to do so. One of these land grants was deeded to the Hinojosas. In 1848, at the conclusion of the MexicanAmerican War, Texas was occupied by the United States, and the Mexicans who lived in South Texas were now seen, suddenly, as foreigners, even though they had lived there for generations. Antagonism between Texans and Texas Mexicans grew. In 1859, Juan Cortina, son of a formerly prosperous family in Brownsville, started a rebellion against the Anglo population that spread up and down the Rio Grande. Federal troops were brought to the border, and the Texas Rangers were established as a border police force to quell such uprisings (Montejano, pp. 32–33). The Cortina Wars foreshadowed a much larger conflict often referred to as the Border Wars, which took place during the period of the Mexican Revolution. While these and other conflicts greatly shaped the region Hinojosa writes about, perhaps the greatest revolution that took place there was an economic one. The Valley was largely a ranching economy until the railroads and industrial-scale irrigation pumps began transforming the ranch land into much more valuable irrigable farmland. Anglos from the Midwest began “invading” the Valley (as the Roma, Texas, writer Jovita González wrote in 1930) in increasing numbers. Within three or four decades, the thick brush country would be uprooted and planted with every crop that can be grown with soil and water, as well with acres of citrus trees as far as the eye could see. The Anglo innovation was to farm on a scale that was unnecessary for the survival of the local people. The short-term result of the Anglo land rush was the almost complete transfer of now valu-

HISTORY OF SOUTH TEXAS

Some basic knowledge of the Valley and its history is thus helpful for the reader to follow Hinojosa’s narratives, from The Valley all the way to his 2006 novel of academic life, We Happy Few. What is today called the Valley is a

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ROLANDO HINOJOSA able lands from the hands of Texas Mexicans to those of Anglos. Some of this land was sold legally and squarely; some of it was swindled away from Texas Mexicans who believed they were receiving a loan to pay their property taxes but were instead deeding away their property (a very common family story in the Valley and in Hinojosa’s novels). In the worst case, and it was not uncommon, the land was simply taken away at gunpoint. Américo Paredes details stories of how, during the Mexican Revolution and the resulting Border Wars in South Texas, a time when almost all available federal U.S. troops (50,000; Montejano, p. 123) were stationed on the Texas border, it was convenient to accuse a law-abiding Texas Mexican of being a sedicioso or “bandit” and simply jail or kill him. As many as five thousand Texas Mexicans lost their lives during the “troubles” between 1910 and 1918 (Montejano, p. 125). Some of the worst abusers of the law were the famous Texas Rangers, who, in Hinojosa’s work (and Paredes’) are viewed not as heroes but as goons hired by wealthy Anglos to protect their property and to help them wrest away the property of Texas Mexicans.

characters he has continued to follow. The Anglo community is represented by the president of the Klail City Bank, one Albert “Noddy” Perkins, who has married into the wealthy farming families of the region, including the Cookes, Blanchards, and the Klails. Their interests are protected by Perkins and by Anglo law enforcement officers such as former Texas Ranger George “Choche” Markham. On the other side of the tracks is the Texas Mexican population. Hinojosa focuses on the Buenrostro clan, who, like Hinojosa’s family, traces its roots back to the 1746 Escandón survey. Hinojosa follows the lives of Rafe Buenrostro and his cousin Jehú Malacara in every volume published so far in the series. In the most recent novels, Rafe is now a chief detective of the police and is married to Noddy Perkins’ daughter, and Jehú is now the president of the Klail City Bank—a perfect example of the gradual integration of the two groups, Anglo and Texas Mexican, both economically and socially. A further important plot is the conflict not between the Anglos and the Mexican American population but among the Mexican Americans themselves. The Buenrostros are generally depicted positively in this respect, whereas their enemies, the Leguizamón family, arrived in the Valley after the Civil War and are seen as “collaborators” with the Anglos in the project of taking over the country. However, in the overall world of Belkin County, categorization of people into “good” and “bad” is not that easy. As Hinojosa told José David Saldívar, “If we have scoundrels on the Anglo side, I’m going to bring them out. By the same token, what scoundrels there are on the Mexicano side should also be brought out” (“Our Southwest,” p. 184).

The upshot was that by the 1920s an almost total turnover of the land had occurred, and Anglos had consolidated their power in the region in spite of the fact that they were the minority population. Up and down the railroad, they built segregated towns and established a two-tier society that existed well into the 1970s. This period of the Border Wars, one of racism, violence, and economic piracy, is the formative period for many of Paredes’ characters (Hinojosa himself was born at the end of this period). The events of this time engendered an antagonism and misunderstanding that has been more or less transmitted generationally to this day between the two groups in South Texas. One of the themes in Hinojosa’s works is the attempt by each group to understand the other—with limited success.

The first “sketch” in the novel is of Jehú Malacara from Relampago, whose early bad luck in life and subsequent adventures on the road resemble the fate of Mark Twain’s Huck Finn. His mother dies when he is seven; when he is ten his father is telling him a joke and dies in the middle of the telling. After his father’s funeral, his aunt tells him he will meet the man who will be his new father that very day. That man is don Victor, part-owner of a traveling circus and former soldier in the Revolución. Jehú reads don

THE VALLEY AND KLAIL CITY

In The Valley and its award-winning sequel Klail City, Hinojosa introduces the major cast of

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ROLANDO HINOJOSA father points out that, while they can eat there, a black family has to get its food at the back door. Subsequent novels develop the effects of segregation not only on Mexican Americans but on the Texas Anglos who profit from the two-tiered society on the border.

Victor’s journal recording his military career in Mexico. In the first entry, President Carranza has been assassinated, and subsequent entries detail the complicated series of revolutionary events that follow. Don Victor serves in the military for eight years, but when his wife and child die in the Spanish influenza outbreak of 1919–1921, he comes to the Valley. He is an old man when Jehú meets him and is introduced to circus life, and when he dies at the age of eighty-nine, Jehú is “orphaned” again.

Many of these stories are episodic and brief—“sketches”—and make the book look, on the pages, something like its most important model at the time, Tomás Rivera’s episodic novel ѧ y no se lo tragó la tierra. In the middle of The Valley, however, is a longer, sustained narrative that was Hinojosa’s first paid publication, “Por esas cosas que pasan,” which appeared in El Grito in 1972. Translated into English as “Sometimes It Just Happens That Way, That’s All,” the story represents Hinojosa’s work in the popular college textbook The Heath Anthology of American Literature.

The novel also gives us a “first portrait” of Jehú’s cousin and the series’ other main character, Rafe Buenrostro. Residents of the Valley since the eighteenth century, the Buenrostros have a long-standing blood feud with the Leguizamón family, whose members arrive there after the Civil War and who are collaborators with the Anglos stripping the Texas Mexicans of their rights and of their lands. During the “Border War” period, the Buenrostros hold off an attacking force of Texas Rangers who are trying to take their land, El Carmen Ranch. The Lequizamóns want this land, and they hire Mexican assassins to kill Rafe’s father, don Jesús, or “El Quieto.” Rafe, who has two older brothers, is ten when his father is killed.

The story is a series of interviews conducted by an attorney named “Romeo” Hinojosa with his client Balde Cordero, the confessed murderer of Ernesto Támez. He also interviews Balde’s sister Marta and her husband, Beto Castañeda. Balde, goaded for years by Ernesto (who was in love with Marta and took her rejection of him out on Balde), kills him in a blind fury one night in the Aquí Me Quedo (“I’ll Stay Here”) bar. A newspaper article from the Klail City EnterpriseNews begins the story and paints a stereotypical picture of a knife fight over a “waitress” in a bar on the “South side”—code for the Mexican American side of town. Hinojosa’s interviews, however, reveal a much more complex portrait of the individuals involved and of the true story behind the death of “Neto”—who everyone knew deserved killing. The story—like much of Hinojosa’s work—takes the form of a narrative that counters the “official” Anglo history of events as they appear in the English-language papers of record or in official histories of the border and Mexico. Hinojosa’s second novel, Klail City, was written while he was chairman of the Department of Modern Languages at Texas A&I University in Kingsville (he was later dean and then vice president of academic affairs). On a whim, he submitted the manuscript to the most prestigious

This first “portrait” of him sketches episodes from his grammar school education, his memories of his father, his days as a soldier in the Korean War, and his subsequent return to the Valley. Rafe’s first teacher in the 1930s is an Anglo woman who is clearly uncomfortable teaching Mexican American children: she habitually washes her hands with alcohol throughout the school day. “Somehow she managed to teach me to read,” Rafe says (p. 43). Other events from his childhood reveal the near Jim Crow–like conditions Mexican Americans lived under on the Texas border. He recalls the murder of Ambrosia Mora on the streets of Flora, shot by a pistolhappy sheriff named Van Meers. “Life is fairly cheap in Flora,” Rafe says, “and if you’re a Texas mexicano, it’s even cheaper than that” (p. 44). In another sketch, set in Ruffing, Rafe is told by his father that they cannot eat in a certain restaurant because it does not serve Mexican Americans. Instead, they go to the one next door. There, his

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ROLANDO HINOJOSA don Aureliano Mora. His son Ambrosio, a decorated World War II veteran, is shot in the back right in front of the JC Penney store by Deputy Sheriff Van Meers. The trial is delayed for three years, but Van Meers eventually is exonerated, in part because of the false testimony of Choche Markham: in South Texas during this time period, all-white juries never convicted white men of killing Texas Mexicans. At the time of the verdict, however, the sheriff is Manuel Guzmán (named after Hinojosa’s father). Mora is so incensed by the Van Meers verdict that he tears the plaque with his son’s name on it off the World War II memorial in downtown Klail City. He then turns himself in to Guzmán. He tells him, “I waited three years, don Manuel ѧ and then to see that smiling, banjo-faced, big-footed, ham-eating, red-necked sanna-va-bitchy go free? Well!” (p. 38). Guzmán takes him home and does not file charges.

literary contest in Latin America, the Premio Literario Casa de las Americas, and in February 1976 he received a telegraph saying he had won the prize. This led to a German translation of the book and helped establish Hinojosa’s international reputation as a writer. It is, technically, the first novel in the Klail City Death Trip series, for Hinojosa came up with the title of his series when he saw a book called Wisconsin Death Trip by Michael Levy in the library at Texas A&I. The book, as he told interviewer Barbara Strickland in 1997, contained “picture after picture of dead Scandinavians who’d been recruited to come and work here. Who were lied to.” In Klail City, the section titled “The Searchers” clearly reflects this book’s influence on Hinojosa. The novel is both sequel and prequel to The Valley and, like its predecessor, is a series of sketches and interviews rather than a “plotted” novel. In the first section of the book, we learn more about the Támez family, whose son Ernesto is killed in a knife fight with Beto in The Valley. His fate almost seems predetermined: His father warns him that he is spoiled and irresponsible and that, because Ernesto is the youngest of the family, he has “given him more rope than the others” (pp. 13–14) and that it will get him in trouble some day.

Guzmán, an old revolutionary, is highly praised by Esteban Echevarría. Unlike Choche Markham, Guzmán “won’t pull that gun out, and he sure as hell doesn’t take you outside, point his finger at you, embarrass you. ѧ Piece of Texas rinche shit” (p. 17). Guzmán’s past as a soldier during the Revolution is supplemented here by a letter from his wife, who died during the influenza outbreak of 1919–1921. She tells him of the new kind of Anglo who has come to the Valley: “Two Midwest Anglos came by last week. Again. It’s the same old story: they want to gobble up more of the land. For developing, they call it” (pp. 42– 43).

Meanwhile, Rafe Buenrostro is working at the Aquí Me Quedo bar, serving Esteban Echevarría his cold bottles of Falstaff. Echevarría is the repository of the older generation’s history, and he launches into an attack on Texas Ranger George “Choche” Markham. “The Texas Anglo still thinks that the rinches [Rangers] hung that goddamn moon up there” (p. 17), he says, and scoffs at gullible Texas Mexicans who think Choche is their champion. It was the Rangers who were sent to run the Buenrostros off their land at El Carmen, he says, and proceeds to tell the story of how Rafe’s father was shot in the back by killers hired by Alejandro Lequizamon, who in turn gets his head bashed in by Rafe’s uncle, don Julián. Choche Markham, it seems, had warned Alejandro: “I know Julián Buenrostro and he’ll come after you” (p. 29).

Echoing the title of a long poem by Tomás Rivera, which Hinojosa translated into English, the next section of the book, “The Searchers,” chronicles the lives of migrant farmworkers from the Valley. In August, after the cotton is picked and several months before the citrus will be harvested, Valley workers migrate north. Northern growers promise them all kinds of guarantees— cement-floor houses to stay in, with electricity and running water; time-and-a-half pay after fifty-five hours. They travel north in the truck of “Mad Mike” or take the “Oklahoma Fireball Express” or get a guaranteed trip thanks to “Big Buddy Cucumber.” It is bait-and-switch, of

A subsequent section of the book focuses on other members of the older generation, including

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ROLANDO HINOJOSA suffered in the past have started to equal out by that point: “No pain, no debt, nothing lasts a hundred years” (p. 143). José David Saldívar calls this novel Hinojosa’s most “finished,” and recommends it as one that can be read in isolation from the other books in the Klail Death Trip series (The Rolando Hinojosa Reader, p. 44).

course, once they get up North, and all the promises of the growers are broken. Elsewhere, Rafe Buenrostro’s junior high and high school years are filled in, and the stories tell how the Mexican Americans fought to be treated equally in the schools. In PE class, for example, the Texas Mexican students are given the equipment already picked over by the Anglo students. One year, Rafe and his friends don’t receive their letter jackets, although the Anglo students receive theirs. It doesn’t matter, though: Several of the Texas Mexican boys who don’t get their jackets die in Korea a year or two later. The Rafe chapter is followed by a Jehú chapter, which tells how Jehú came to work for the Pentecostal minister, Brother Imás. Jehú’s Huck Finn life continues. In The Valley, Bruno Cano had died in a pit he was digging while looking for buried treasure, and in Klail City, Jehú is told to fill up the hole. He goes fishing before he is finished, and a woman breaks her leg in the half-filled hole. Jehú, on the spot, decides to take up the offer of the very odd Brother Imás to be his assistant, and flees Flora for Klail City. Imás is a “holy-roller,” a non-Catholic who speaks broken Spanish and is doing missionary work throughout the Valley. He is accompanied on his trips by Jehú, who learns how to preach. When Brother Imás loses a leg to a snakebite and is out of commission, Manuel Guzmán brings Jehú back to Klail to finish high school. In his off-time, Jehú works for his Uncle Andy, who owns a gambling hall, and later the Aquí Me Quedo bar. A major part of the novel chronicles the fascinating life of Viola Barragán, who will come to be an important influence on both Jehú and his future wife, Becky. In fact, Jehú tells the story of her three marriages, one of which was to a German during World War II and led to her incarceration in a British prisoner of war camp. She survives all adversity, and at the age of fifty, still beautiful, returns to the Valley and sets up her own string of businesses. She is one of the few Mexican American women in the Valley whom the Klail, Cooke, and Blanchard families must treat as an equal in business. The novel ends with Rafe and Jehú’s twentysecond high school reunion. The inequities they

KOREAN LOVE SONGS FROM KLAIL CITY DEATH TRIP

Following the publication of Klail City, Hinojosa moved to Minnesota, where his wife attended graduate school and ultimately became a lawyer. Up to that point, Hinojosa’s novels had already employed a variety of literary forms in order to tell the history of his region and its people— journal entries, letters, interviews, songs. In his third installment of the Klail City Death Trip series, he uses the form of the long poem. Indeed, it is the only long poem written about the Korean War, a war that, even while it was being waged, was knocked off the front pages of the newspapers by a public that wanted a rerun of the victories of World War II. Korean Love Songs from Klail City Death Trip (1978) covers the period of Hinojosa’s service, beginning in the summer of 1949 and ending in March 1952. He was witness to the initial disastrous defeat of the U.S. army and its retreat, and he was also part of the force that retook Seoul. This military history is rendered in the poem through the eyes and words of Rafe Buenrostro and his fellow soldiers. Hinojosa’s poetic influences were mostly British World War I poets and writers. Several years later Hinojosa re-rendered this material as the novel The Useless Servants. The poem begins with basic training at Fort Sill, then quickly moves the soldiers into combat. They find out who will run under fire and who will not. Those who do are forced to go back to the site of their desertion and retrieve their guns. They get pep talks, but the Mexican American soldiers from the Valley cannot help but feel insulted by General Johnny Walker’s words to them: “We should not assume that (the) / Chinese Communists are committed in force. / After all, a lot of Mexicans live in Texas.” Instead

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ROLANDO HINOJOSA of feeling they are “Creating history ѧ / by protecting the world from Communism,” they are merely “reminded who we were / Thousands of miles from home” (p. 11). The 219th Artillery Division is part of the “rearguard action,” or retreat. They fire three thousand rounds in twenty-two minutes, some kind of record: “The breeches were black; the paint peeled” (p. 15). So many die that the “Division’s gone mad” (p. 17). They are told now not to worry about “real estate”; instead, they are to kill as many Chinese as possible. Unfortunately, the Chinese army is nearly infinite. The Chinese mount an offensive in January 1951, but they are stopped, and a massive counteroffensive comes from the U.S. side. The narrator has a difficult time expressing the intensity of the battle to someone who was not there, and the level of slaughter: “I don’t want to look at the Chinese dead. / There are hundreds of them out there. They died in the city, / They died in the fields and in the hillsides, / They died everywhere” (p. 17). “I am not going to talk about this again,” the narrator says (p. 18), which is perhaps an explanation for the lack of literature about this war. Gallows humor undercuts some of the most gruesome scenes in the poem. In “Night Burial Details,” a section of the poem that would stand alone well in an anthology, the “deserters” and “awolers” (p. 21) are forced to retrieve the “noble dead” and bag them:

Villalón / Doing hee-ah?” (p. 25). In the next section of the poem, Rafe echoes this: “What am I doing here?” (p. 26). The soldiers around him begin to fall, one by one, including a Lt. Brodkey, a character Hinojosa further develops in The Useless Servants. Brodkey commits suicide. Those who do not die must learn to forget what they have seen. Rafe is nearly blinded in an attack that kills key members of his unit. He is briefly hospitalized and told he is lucky to be alive. Rafe says that what is left out of the accounts of being hit by shrapnel is the screaming, the crying, the odd images one fixes on facing death. His is of a girl named Nellie, who drowned in the river back home during an Easter picnic—a foreshadowing of the plot Hinojosa will invent for the death of Rafe’s first wife. On R & R he visits a geisha house and then travels to Nagoya to visit the remarkable Sonny Ruíz. Several months earlier, Sonny had gone AWOL and is now Mr. Kazuo Fusaro. The army will never find him, says Rafe, because he “looks Japanese”—at least enough so to the white soldiers he passes by every day, who little suspect he is David Ruíz from Klail City. Later Rafe has to swear on a “Government Issued” Bible that Sonny is in fact dead (p. 49). Rafe, however, eventually goes home, even if it is a home that treats him as a second son: “Texas, our Texas,” he says, echoing the state anthem; “That slice of hell, heaven” (p. 53).

Laden with canvas bags of the finest, heavy duty, waterproof material Found anywhere in this man’s army. The hasps are also first-class, rustproof affairs With shiny, yellow plastic tags that are toe bound. In short, the best canvas bags that sealed bid contracts can buy.

FAIR GENTLEMEN OF BELKEN COUNTY, DEAR RAFE, AND RITES AND WITNESSES

By this point in his career Hinojosa was a both nationally and internationally known Chicano writer as well as an experienced academic administrator. In 1977, when his wife decided to go to law school in Minnesota, he took a position as the director of the Chicano Studies program at the University of Minnesota–Minneapolis. In 1981 they left Minnesota for the University of Texas in Austin, where Hinojosa continues to teach creative writing and literature classes in the Department of English. The Austin job relieved

(p. 21)

The first of the Belken County boys to die is Charlie Villalón. The remnants of the 219th are allowed an R & R in Japan, and along with a New England priest named John McCreedy, they drink to Charlie for three days—even though McCreedy never knew him. At the height of his drunk, the priest asks, “What the hell’s Charlie

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ROLANDO HINOJOSA owned by Viola Barragán’s third husband. P. Galindo, the “poet-reporter” and narrator of many of the Klail City volumes, also works there, and they edit a journal together called the Skull.

him to some extent from administrative chores and has allowed him to continue developing the series. The fourth installment in the Klail Death Trip series, Claros varones de Belken (1981; published as Fair Gentlemen of Belken County, 1986), fills in the gaps in Rafe and Jehú’s life stories, covering Rafe’s college years, his return to Klail, and Jehú’s days preaching with Brother Imás. The main character in the novel, and the patriarch of all the novels in a sense, is Esteban Echevarría, who lies down and dies beneath a mesquite tree on the El Carmen Ranch.

A series of first-person chapters brings the reader up to date on “Jehú’s varied life” (p. 132). The major event in the novel, though, is the death of Esteban Echevarría, the last of the old revolutionaries Rafe and Jehú know. Long a friend of the Buenrostros, it is Echevarría who tells don Julian Buenrostro that the Leguizamóns killed Rafe’s father. Echevarría dies while sitting underneath a mesquite tree his father planted on the Buenrostro land the day he was born, sometime after the Civil War. He has buried all of the old revolutionaries of his generation and their wives: he is ninety years old. Having lived so long, he remembers the Valley before “the Anglos came in herds, before the army, the state government and its rangers” (p. 128). Rafe, who has always listened to the old men, receives his final words of wisdom. Echevarría warns him to trust neither Mexicans nor Anglos. The Mexicans don’t think about all Mexicans, he says, and fight with each other. Mexicans shouldn’t “place all the blame on the Anglo every time. You all know we go around saving them the trouble, so, you know now, wake up!” (p. 204). His summary opinion of the Anglos is instructive, revealing how little these two antagonistic groups have understood each other and themselves: “The Texas Anglos. Who understands them? ѧ and, boy! Do they like to change the names of everything. ѧ They’re not satisfied with what God has given them. ѧ Satisfied! Ha! They don’t even know the meaning of the word” (pp. 218–220). Mi querido Rafa (1981; published as Dear Rafe, 1985) (hereafter cited as Dear Rafe), Hinojosa’s fifth installment in the Klail City Death Trip series, begins as an epistolary novel comprising letters to Rafe Buenrostro from his cousin Jehú Malacara. Rafe, who has completed a law degree in Austin and works as a detective on the Klail City police force, is in a veterans’ hospital in San Antonio being treated for ailments related to his Korean War wounds. It is eight

The death of Rafe’s first wife is referred to briefly in previous books in the series; here we learn that she and her family are having an Easter Sunday picnic at the Vilches Ranch on the banks of the Rio Grande, and a flash flood drowns the entire family. Rafe and his brother Israel are downriver at Rio Rico getting some supplies when the flood occurs and escape death. A month later, Rafe is called back up for active duty in Korea. The Texas Mexicans from Belken County serve in the 187th Regimental Combat Team, the 219th and the 555th (Rafe’s original unit). Rafe survives, but most of his Valley friends die, and after the conclusion of the war he visits the family of Charlie Villalón, who died during the first six months of “retreat and defeat” in Korea. Don Celso, Charlie’s father, “[blows] his nose a couple of times” (p. 176) as Rafe tells him about his son’s death. Rafe remembers don Celso pulling him out of a cactus patch a calf had thrown him into as a boy. After Korea, and a period spent in Belken County, Rafe goes to school in Austin. There is a small Mexican American student community during these years, and most of them are studying pharmacy. Rafe studies Spanish and has a parttime job in the library (as did Hinojosa). He misses out on a teaching assistantship because of the interference of a Mexican American secretary, who “shafts” him: “Over and above the Anglos (that’s what they’re there for) there are also some Mexican-Americans ready to shaft you; for free” (p. 48). After college, he returns to Klail City and is the first Mexican American to teach at Klail High; he also works in a print shop

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ROLANDO HINOJOSA became essential. And so much so that my stories are not held together by the peripeteia or the plot as much as by what the people ѧ say and how they say it” (p. 21).

years after Korea, the late 1950s–early 1960s, a few years before the rise of the political party La Raza Unida in nearby Crystal City, and a decade before the emergence of the Chicano movement. Still, Jehú, through the influence of Viola Barragán, has been appointed as Klail City Bank’s first Mexican American loan officer.

In these interviews we learn that the Leguizamón faction is deeply suspicious of Jehú in spite of the fact that he works for Noddy Perkins, who represents the interests of the Anglo Ranchers. Jehú is still a Buenrostro, in their eyes. Emilio Támez, older brother of the slain Ernesto Támez, works for the Blanchards (it’s a “pleasure” to do so, he says), and says he can’t stand college-educated Mexicans like Jehú who aren’t grateful and lose a good job at a bank because of it. Lucas Barrón, the owner of the Aquí Me Quedo bar, represents the opposite viewpoint. He sees a Mexican American like Ira—who “calls himself Ah-ra” (p. 114)—as the real sell-out: A Mexican American with Anglo airs. Jehú is unafraid of both the Lequizamóns and the ranchers, he says.

The old boss-ism in the Valley is still in play in the opening section of the book, with the Anglo bankers and ranchers—the Cookes, Blanchards, and Klails—manipulating local politics. The president of the Klail City Bank, and Jehú’s boss, Noddy Perkins, places one of his savings and loan employees, Ira Escobar, in the race for county commissioner. Once elected, Ira can then help Noddy obtain lucrative water rights in the region. Escobar is from Jonesville and is part of the Lequizamón family. “Valley mexicanos are convinced that Ira’s their man,” writes Jehú, but also, “the Anglo Texans know he’s their boy” (p. 34). Jehú has his own private revenge against both the Anglo ranchers and bankers and the Leguizamóns: Ira Escobar’s wife Becky is having an affair with him, and he is also in a relationship with Noddy Perkins’ daughter, Sammy Jo. The twenty-eight-year-old loan officer thus has a lot on his plate—and eventually, he walks away from the table and disappears from sight for awhile.

The range of voices performed by Hinojosa— from Noddy Perkins’ east Texas redneck drawl, to the crudity and racism of Choche Markham, to the hard-won wisdom of the old revolutionaries like Lucas Barrón—is a tour de force. These voices do not add up to the truth, though: As P. Galindo advises, “truth comes in different packages and at different weights. Thing to do, then, is to listen, to hear, to assess, and to see what truths drip out from time to time” (p. 115). Rites and Witnesses: A Comedy (1982) is Hinojosa’s first book written in its original form entirely in English. The sixteen numbered sections of the first half of this novel are “rites”; the second half is devoted to “witnesses” who fill in parts of the larger narrative that continues from the previous entries in the Klail City Death Trip series and dovetails most closely with Dear Rafe, but is a prequel rather than a sequel. Rites and Witnesses begins in 1959, when Jehú is first hired at the bank because to Noddy Perkins’ chagrin, he needs a “Mexican” for help with upcoming land deals. They settle on Jehú because of the skills he has showed at the Savings and Loan and because of a word from Viola Barragán, but they worry about where to put his

In part two of the novel, the writer P. Galindo investigates the circumstances of Jehú’s resignation from the bank (much as Romeo Hinojosa had investigated the circumstances of Ernesto Támez’s death in The Valley). He interviews the main informants and leaves the reader to draw his own conclusions, he says—although Galindo is a less objective interrogator than he lets on. At one point, the reader can see him, in his interview with Becky Escobar, falling for her beauty: she is twenty-seven years old but “looks younger, much younger” (p. 83). Still, the presentation of the story as the text of various interviews affirms P. Galindo’s role as an observer who “has been witness to the tone, to the manner, and to the how they say it” (p. 133). In his essay “The Sense of Place,” Hinojosa expresses a similar aesthetic: “For the writer—this writer—a sense of place was not a matter of importance; it

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ROLANDO HINOJOSA desk in the office: “I mean, will he be out front?” (p. 10) asks a horrified “Ibby” Klail. Noddy assures him he will build Jehú an office where the public won’t see him when they enter the bank lobby. Jehú is an example of the Anglos needing their “Mexican” to convince the increasingly powerful Mexican American community to support the Anglo institutions in the region—even though the Anglos are the minority.

PARTNERS IN CRIME AND BECKY AND HER FRIENDS

For his seventh installment, Hinojosa creates a border mystery. The mystery/crime novel is a natural progression for the author. In all of his works, there is a search for the truth complicated by multiple points of view and conflicting testimonies. The narrators of these earlier books, sometimes named, sometimes anonymous, operate much in the fashion of a detective, interviewing witnesses and informants and weighing their statements against each other. The mystery or detective genre thus lends itself well to Hinojosa’s investigative style. At the beginning of Partners in Crime: A Rafe Buenrostro Mystery, we learn that Rafe Buenrostro, after finishing law school and passing the bar, decides not to practice law but instead to become a county patrolman (Hinojosa’s father had also been a policeman in Mercedes, and the book is dedicated to him). Buenrostro comes to the attention of homicide detective Sam Dorson when he reads Buenrostro’s insightful report on a rural murder. Work on another case, involving a school superintendent, his secretary, and a graduating high school senior—a love triangle— gets Buenrostro promoted to lieutenant of detectives, first grade. Buenrostro is now thirty-seven years old, the year is 1972, and the Valley is changing: smalltime smugglers and marijuana dealers are being run out by the much more lucrative (and violent) cocaine business. Banks are popping up all over the Valley, and the source of their money is clearly the drug trade. Jehú Malacara, now a vice president and cashier in the Klail City First National Bank, aids in the investigation of a money-laundering scheme. In an interview, Hinojosa describes how the drug trade has eroded the culture and traditions of the Valley: “Drugs,” he told José David Saldívar, “in many ways, have transformed the Mexicano society in Belken; have broken up family units, for one; have destroyed a cohesiveness for another” (“Our Southwest,” pp. 183–184). Partners in Crime documents this dramatic change by focusing on an old group of smugglers whose partnership goes all the way back to the

Part two of the novel features interviews with a dozen or so “witnesses,” and the general theme of these interviews is the history of the conflict between Anglos and Mexican Americans in the Valley—making them resemble the folk songs of South Texas, the corridos. Several interviews are with old Anglo Valley residents, who arrived in the Valley during the land development drives of the first two decades of the twentieth century and who never saw the Mexican Americans as anything other than their inferiors. As Jehú writes in Dear Rafe, Ibby Cooke thinks “Texas mexicanos were put in the Valley for the family’s absolute convenience” (p. 20). Therefore you have O. E. Patterson praising the turncoat Leguizamón family as “good” Mexicans; Earl Bennet forcefully exclaiming, “I know Mexicans” (p. 72), when it never occurs to him they might have their own ideas on the subject; and Choche Markham, the brutal Texas Ranger who is a clear racist, saying, “Mexicans! What the hell do they know?” (p. 76). John Goodman, however, tells a different story about his fellow Texans from the north side of the tracks. He says of the Rangers, including Choche Markham, “they murdered people ѧ that’s the word, all right, and there’s nothing else to call it” (p. 86). Abel Manzano, speaking to the interviewer in Spanish, tells a similar story about Markham, and another he sings in the form of a corrido: it is the story of several ranch hands from Galveston who were arrested by Rangers, marched toward the jail in Ruffin, but never made it there alive. Says Manzano, “I know Choche Markham knows this; he knows the way we feel; the way we act; and that’s why he’s valuable to them. With all that knowledge, he still doesn’t understand” (p. 111).

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ROLANDO HINOJOSA and Mexican Americans; the corruption of Mexican governmental and police officials. Some of what emerges, though, is worse than the world it has superseded, in particular the increasingly violent drug traffic along the border, a situation that continues to define the region. Rolando Hinojosa estimates that approximately 40 percent of his characters are female (“Our Southwest,” p. 187), but Becky and Her Friends (1990; published as Los Amigos de Becky, 1991) is his first work to center on a female character. At the beginning of the novel, set in the year 1973, Becky Escobar tells her husband Ira, in simple terms, that he is not going to live with her or his children any longer. While in his previous novel Hinojosa investigated a murder, here he investigates the motivation behind this strong woman’s decision to declare her independence at the age of thirty-five. Subsequently she remarries, and her second husband is Jehú Malacara. Becky’s life had never been her own, it turns out, according to the two dozen witnesses who have their say in the novel. Raised as a bollila (white girl) by her mother, she is pushed into marrying Ira in order to form an alliance with the powerful Leguizamón family. They then use the beautiful Becky to infiltrate Anglo high society in the Valley through Noddy Perkins’ connections to the country club circuit. Becky is the trophy wife for Perkins’ “Mexican,” Ira Escobar. Noddy uses his own daughter in a similar fashion, “as a brood mare” (p. 22), says Becky’s uncle, Lionel Villa. On the other hand, Becky has support from the most influential woman in Belken County, if not the whole Valley, Viola Barragán, who, after three husbands and two fortunes, knows the ways of the world. “Becky’s talents had been hidden for years,” she says. Viola has always been a “believer of allowing people to do, to live, as they want” (p. 23). She is also an old friend of Becky’s mother and, following the divorce, tells her to butt out of Becky’s life. Part of Becky’s reinvention of herself is to once again become a raza. She relearns the Spanish she has suppressed for years in her women’s club meetings and country club functions. When

1940s. The brains of the group is “El Barco” Zaragoza, and when he is imprisoned, his two less-talented partners, Becerra and Cavazos, fall under the sway of a new partner. The move from marijuana smuggling to cocaine prompts the new partner to plot the deaths of Becerra and Cavazos as well as El Barco, who is due to be released from prison as the novel begins. The murders take place at the Kum-Bak Inn, a small grocery store and cantina eight miles from Klail City. Becerra and Cavazos are assassinated, but the killers mistake another man for Zaragoza—a man who turns out to be a friend of Rafe Buenrostro and is a prosecuting attorney for Belken County, Gus “Dutch” Elder. The killers are Mexican nationals, and the investigation crosses the border into Barrones, Tamaulipas, where Captain Lisandro Goméz Solís, Cuerpo de Policía Estatal; Sección del Orden Público, aids the Klail City officers. Gómez Solís has been following the tracks of the cocaine and marijuana smuggling operation and has been giving information to his U.S. counterparts. However, his information begins to appear to Buenrostro to be far too prescient, and in the end it turns out Gómez Solís has taken a cut of the profits from the sale of 247 pounds of cocaine and was behind the assassination of the three men at the Kum-Bak. Gómez Solís’s deceit becomes apparent to Buenrostro when he realizes that Zaragoza, Becerra, and Cavazos, criminals from a time when there was honor among thieves, would never have turned on each other: “Partners and friends in crime ѧ blown away by 276 pounds of cocaine ѧ No. There wasn’t that much cocaine in the world for those three to betray each other. Not those three. Those were old guys; they knew each other, their wives, kids, families ѧ and then a new partner comes and that friendship is blown away, just like that? Bullshit” (p. 242). Rafe’s understanding of the culture and traditions of his region and its people are thus invaluable aids to the solving of the crime. Hinojosa uses this story to reveal the erosion of that culture and its traditions, signaling the death of the old Valley. Some of what dies should die: the racism and segregation that plagued relationships between Anglos

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ROLANDO HINOJOSA she does, says Viola, she has “médulla. ѧ Character. Substance” (p. 38). Based on this character, Viola hires her to manage a string of drive-in movie theaters in the Valley, and when Becky has the idea to convert them into pulgas (flea markets), Viola supports the venture. It is a huge success.

Becky has her own say at the end of the novel, however, if briefly. “Let’s say I saved myself, and let it go at that” (p. 159). Although some critics have found Hinojosa’s works lacking in strong female characters, Becky joins a cast of independent Mexican American women such as Viola Barragán, Olivia San Esteban (Rafe’s fiancée, killed in an accident), and Reina Campoy. Hinojosa, commenting on the female characters in his works and responding to charges that there are not enough women of this type in his books, says, “I put women in my work where I think it’s appropriate. ѧ I don’t mean to pick on women. Most feminists don’t even know my stance. To add to this, some critics are very selective as to what they are going to criticize. ѧ In this regard, I say to ѧ my readers: Go back and reread; form your own opinions without outside influences” (“Our Southwest,” pp. 187–188).

Mexican American women in the Valley of the early 1970s were hardly raised to be this kind of success. The owner of Aquí Me Quedo, Lucas Barrón, criticizes his fellow Valley-ites who don’t want women to go to college. If a woman does go to college, he complains, they say she is a “slut” (p. 97) He remembers Jehú’s fiancée Olivia Esteban and her brother who condemned her for wanting to study medicine. “And forget the Anglos on that score,” he says, “the raza itself can stick it to you like a choya cactus patch” (p. 98). The oldest woman in the Valley, Reina Campoy, drinks a mescal during her interview. She has lived long enough not to judge Becky, and she thinks she has seen it all when it comes to husbands and wives, but Becky surprises her: “To leave a man, to abandon and desert him, and then to tell him to-get-the-hell-out, that is something special, very special” (p. 107). Divorces are not “fatal,” she says. “Becky was buying her ransom” (p. 111).

THE USELESS SERVANTS, ASK A POLICEMAN, AND WE HAPPY FEW

In his next novel, on the eve of the fortieth anniversary of the beginning of the Korean War, Rolando Hinojosa returned to that war and his youth in The Useless Servants (1993). It is not a typical war novel. He chose, after much experimentation and failed drafts, to write the book in the form of a journal. The journal form is so convincing that he is often asked if he kept an actual journal during his wartime service in Korea (he didn’t). Packed with details gleaned from his deep research on the war, and written in the dense shorthand style of an actual day-to-day journal—with o’s being officers, en being enemy, and arty being artillery—the novel is both gripping and challenging reading. So little has been written about the Korean War by its veterans that it is safe to say the novel is among the best of its kind. Nearly unique is its focus on Mexican American soldiers fighting in the war. They deplore, for example, the racist attitudes of the American soldiers toward the South Koreans: “We, as Texas Mexicans, know that attitude well” (p. 39). They are heckled by their fellow soldiers when they speak Spanish, and they are always reflecting on what might be going on back home. Their ties to the Valley ensure

It is the early 1970s, though, the height of the Chicano movement and a season of political and cultural changes—and there’s a hurricane looming in the Gulf of Mexico. Therefore, not everyone sees Becky’s divorce the way Reina Campoy does. Polín Tapia, notary public for Belken County, courthouse fixture, and blowhard, sees Becky’s divorce of Ira as yet another sign of the breaking down of older traditions. Nora Salamanca is also disoriented by the times—“And with that war in China, wherever. ѧ And the few Mexicans in college acting up? What’s this world coming to?”—and by Becky’s divorce, which she considers the action of someone who is not “mentally balanced” (p. 131). Becky’s priest, Matiás Soto, sees her divorce as part of a pattern: the end of preaching the Mass in Latin, the war in Vietnam, and an assassination attempt on the pope.

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ROLANDO HINOJOSA Buenrostro Mystery,” officially making it a subseries of novels within the Klail City Death Trip series. In the previous novel, Buenrostro discovered he had been double-crossed by his Mexican counterpart, Lisandro Gómez Solís. At the beginning of this novel, Gómez Solís has been extradited, convicted of the murder of prosecuting attorney “Dutch” Elder, and is awaiting sentencing. He escapes on the day of his sentencing, however, only to be gunned down by his brother, Felipe Segundo, and his two nephews, after they fly him to freedom across the river to the Gómez Solís ranch. This “mystery” is not, therefore, a traditional whodunit: we know from the first few pages the solution to the mystery sought by Buenrostro and his fellow policemen.

their bravery: If they run in battle, everyone back home will find out about it. When the war is over, unlike other soldiers, they know that they will go home: “We can’t [leave], and we don’t want to, either. That some of us leave for a while, but that we have to come back. Home” (p. 167). They have to come back because of their family ties, certainly, but they also have to come back because their experience in the wider world reminds them that, in spite of the presence of the Anglos in the Valley, nowhere else do they fit in and feel at home. The writing of the journal keeps Rafe sane and contributes to the morale of his fellow soldiers who know he is keeping this important record that may be all that is ever known about their fate. The journal also helps him to continue the education the war has interrupted. Seeing that he is bookish, other soldiers give him books to read. He reads, but cannot understand, Evelyn Waugh’s The Loved One, a comic novel called The Zebra Derby (which he has no use for), and tries (twice) to read Dos Passos’ Manhattan Transfer. Much of the novel, however, is a brutal, detailed account of the two years of the Korean War Hinojosa witnessed and fought in—the “defeat and retreat” that was the first part of the war, and the retaking of the “real estate” they lost, hill by hill (the “redux” war). The “Old Guys,” officers who have served in World War II and even World War I, are surprisingly empathetic, if practical, in their advice to the soldiers about how to handle the horrible scenes they have witnessed. At one point, Rafe has to help dispose of hundreds of frozen corpses; at another, he watches a bridge filled with civilian refugees blown up by the U.S. army, for tactical reasons. Readers of Hinojosa’s works, who up this point had a question as to why he calls his series the Klail City Death Trip, and why his works, as a whole, have a hard-boiled and darkly comic tone to them, will understand why this is so after reading The Useless Servants. The experiences he had during the war were clearly and indelibly formative—how could they not be? His next book was another detective novel. Ask a Policeman (1998) is subtitled “A Rafe

Buenrostro is now chief detective on the force, and he is married to Sammy Jo Perkins. It’s the 1980s, and clearly the Valley is a lot different from the Valley lived in by the old revolutionaries Rafe knew as a child and a young man, such Esteban Echevarría. Now, Noddy Perkins, who as a powerful banker served the Valley’s Anglo political machine, is Rafe’s fatherin-law, and he is dying. He calls in Rafe to tell him that he was never against his marrying Sammy Jo. “I’m not a racist. I also want you to know that” (p. 18), he tells Rafe. Taking a deep breath, he asks if he can be buried in the Old Families Cemetery by the Carmen Ranch owned by Rafe’s brother. This remarkable request brings one hundred years of history in the Klail City Death Trip series full circle: Noddy Perkins will be buried in the same cemetery as Esteban Echevarría and Rafe’s father, El Quieto, on land that the Texas Rangers, hired goons of the wealthy South Texas landowners, once violently tried to grab from the family. Because the fugitives have fled to Mexico, the crime is an international incident and now involves Lisandro Gómez Solís’s replacement in Barrones: Lu Cetina. After Gómez Solís’s extradition, the governor of Tamaulipas appoints her to the position. Her first act as the top federal cop is to fire dozens of public officials who “had been on the take since Christ was a child” (p. 23). Mexico is changing, too.

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ROLANDO HINOJOSA and member of numerous national committees on education—takes center stage. Set on the campus of Belken State University (a university at which 92 percent of the students are Mexican American and which resembles in size and demographics the University of Texas–Pan American, in Edinburg, Texas), the novel tells the story of the search for a new president of the university. The current president, Nick Crowder, has served well for several years and is a respected member of the community. His predecessor was the first Mexican American president of the university, appointed during a time period when, politically, being Mexican American was a key (if not paramount) qualification for the job. The early twenty-first-century setting of the novel, however, is a post-Chicano-era one, and although there are political forces at work to ensure the next president is another Mexican American, it is not a foregone conclusion. Hinojosa himself was among that first generation of Mexican American college administrators and has apparently observed the evolution of identity politics in this respect for several decades.

On the other side of the river, Buenrostro and his associates must contend with an excitable district attorney, Chip Valencia, who is lobbying for money to buy a military tank for Belken County, and with a bureaucrat who comes to the Valley from North Dakota and says he understands the border because his state borders Canada. Many scenes in the book play on the unique regional mannerisms of the Valley that are only understood by its longtime residents. The Varela family brings photos of their missing son to Detective Cantú, and he thinks, “When the feds and the state guys ѧ learn to relax, to consider each call as a visit first and then as business, then, and only then, will they begin to get a feel for what the border and the Valley are about” (p. 38). However, it is not simply a novel of manners wrapped in a police novel: there is a revenge plot. Buenrostro’s friend, District Attorney Elder, was killed that day at the Kum-Bak Inn, a case of mistaken identity and being in the wrong place at the wrong time. When Buenrostro finds out Solís Gómez Solís is dead, he is, apparently, disappointed: he had wanted to see the man face justice or see him dead. Rafe gets his revenge, though, if indirectly. The driver at the Kum-Bak Inn massacre, a man nicknamed El Camarón, has recently been released from prison because of his ill health and the recommendation of Buenrostro, who always considered El Camarón an accessory to murder but no hardened triggerman—no gente duro. Now, El Camarón instructs his son, Enrique, to kill Felipe Segundo and his twin nephews, at the Gómez Solís ranch. It is a payback for Buenrostro, and a payback for the old gang of smugglers run by his friend, El Barco Zaragoza, who were betrayed by Gómez Solís. In the end, all is settled al estilo valle (Valley-style), and the cops keep the real truth from the DA, who is happy with all of the violence on the border because it supports his call for militarystyle weapons.

Several scenes in the novel reflect this demise of identity politics in academia. Dean Brothers, who is involved in the process of selecting a new president, is visited by a group of students, led by Eric Rodríguez, who inform him they intend to occupy the administration building. He asks them why, and they tell him because “Chicano students on this campus face institutionalized racism on a daily basis” (p. 27). When asked to back up this claim with some examples of racism, the students are not willing to do so. “They’re afraid of reprisals” (p. 27) the dean is told, and he remembers that word from decades past. When the students refuse the offer of participation in a community forum on the topic of racism, he reminds them that it is the Anglos at Belken State who are the “minority” students: “These are the nineties, Mr. Rodríguez, and in Belken County and at Belken State, you are not a minority” (p. 29).

During the years Hinojosa wrote the preceding works, he was always working as a professor or administrator at a university. In We Happy Few (2006) Hinojosa’s long career in academia—as a professor, department chair, dean,

The locally born regent who is on the committee to select the new president is Eulalio “Lalo” Guerra, a high school dropout who started out in life as a grocery clerk and built up a suc-

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ROLANDO HINOJOSA Quinto Sol winners, Bless Me, Ultima and ѧ y no se lo tragó la tierra, society is viewed through the perspective of a single individual. Later essays and books on Hinojosa move more toward trying to place his work in a regional and historical context. Ramón Saldívar, for example, compares Korean Love Songs from Klail City Death Trip, Hinojosa’s long poem, to a South Texas folk song or corrido. In spite of the fact that the poem is set in Korea, he argues, it is still about the conflicts of the South Texas soldiers back in the Valley. In a 1997 scholarly monograph, Rolando Hinojosa and the American Dream, Joyce Lee Glover argues that too much of the criticism of Hinojosa’s work is from a “Chicano” perspective (p. 1). She attempts to place his works in a larger literary context by discussing the works as a “sequence novel,” citing as previous examples works by Trollope, Hardy, and Faulkner (p. 2). Still, she does not wish to deny the regional content of his work nor strip it of its undeniable origins in Chicano-era literature. She also places the books within the context of “American Dream” literature (p. 4). Klaus Zilles’ monograph Rolando Hinojosa: A Reader’s Guide attempts to do for Hinojosa what Malcolm Cowley once did for Faulkner: read each book in the context of the entire series of works. This allows him to read the books as both integrated—in the sense that they are parts of a longer work—and “disintegrated” (p. xiv) in that Hinojosa’s narrative strategy involves fragmentation, questioning of the authority of history, multiple perspectives, and a playful sense of chronology. In short, he makes the strong case for Hinojosa as a “postmodern” writer. Still, he parts company with critics who read him exclusively as a postmodern author by noting Hinojosa’s “genuine concern for the people and the culture he writes about” (p. 81). Future criticism on Hinojosa’s work needs to follow a more historical and biographical approach. Very little work has been done authenticating the social realism of the works, meaning the close correspondence between the books and actual historical events. José David Saldívar’s Border Matters is a good example of this kind of

cessful chain of grocery stores in the Valley. Lalo understands the pressure to pick a Mexican American, but at the same time, the regents agree that they want “the best” candidate to be president and that no one is “wedded to a Mexican American solely on a raza quota” (p. 20). The university is moving toward becoming a research institute, and the system wants to shed once and for all the image of Belken State as “Taco Tech” and “Enchiladaville.” In the end, they select a nonHispanic woman who is the vice president of a Houston university and a biophysicist still actively researching and publishing. Rafe Buenrostro appears briefly in the book: he is now the chief of police in Klail City. Jehú Malacara is the president of the Klail National Bank, the first Mexican American to hold that post. Obviously, the Valley of Hinojosa’s 2006 novel is not the same one he describes in his novels set in previous decades. Old Anglos such as Noddy Perkins, who is Rafe’s father-in-law, and who mentored Jehú, have been softened by age and now almost seem an indigenous part of the natural landscape of the Valley.

CRITICAL STUDIES OF HINOJOSA’S WORKS

Early criticism of Hinojosa’s works, which are among the first serious critical looks at Chicano literature in general, take the popular theoretical approaches of their times—Marxist, Jamesonian, Bakhtinian—and overlay them on Hinojosa’s work. José David Saldívar, for example, the editor of the 1984 critical collection The Rolando Hinojosa Reader, sees Hinojosa’s work as a “metaphor of late capitalism” (p. 60). Other critics in this collection, such as Luis Leal, emphasize the oral versus the literary qualities of Hinojosa’s work, stating that the narrator in Hinojosa’s work serves as the consciousness of a “regional society that has not had the fortune of having a written history” (p. 104). Yolanda Julia Broyles also looks at Hinojosa’s work in terms of oral culture and its representation of community. She says that Hinojosa’s books, which contain a multitude of differing voices, represent community and society rather than any individual vision. By contrast, in the other works by the

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ROLANDO HINOJOSA thorough scholarship. Nor have Hinojosa’s own life and experiences been decoded in the works. While postmodern critics may deride such scholarly attempts, the fact is that such basic work has yet to be done on Hinojosa. Readers and scholars who wish to experience fully Rolando Hinojosa’s accomplishments would need to be able to read Spanish: many of the earlier works were originally published in Spanish. All are now translated into English, but others are “reinterpreted” by Hinojosa in English, and these books are significantly different from the “translated” volumes. Citing the actual text of an Hinojosa book, then, is itself problematic. (In this essay, Hinojosa’s own English-language versions are cited.) An additional complicating factor is the series format of his work. Reading the entire series helps immeasurably in the appreciation of individual volumes; however, readers seeking an introduction to his works should read The Valley and Klail City together. The two detective novels also read very well as a pair. Hinojosa’s powerful Korean War novel, perhaps his best work, can be read on its own. While most readers will come across his work in relation to Mexican American, Latino/Latina, or Chicano literature, his books can also be profitably read in relation to postmodern literature, historical fiction, and border studies, among other subdisciplines of literature. It should not be overlooked, however, that this demanding and complex writer is also a very humorous and entertaining author, and his works deserve— and will continue to find—a wide readership.

Klail City y sus alrededores. Havana, Cuba: Casa de las Américas, 1976. Bilingual edition with translation by Rosaura Sanchez published as Generaciones y semblanzas. Berkeley, Calif.: Justa Publications, 1977. Translation by Hinojosa published as Klail City. Houston, Tex.: Arte Público Press, 1987. Korean Love Songs from Klail City Death Trip. Berkeley, Calif.: Justa Publications, 1978. Claros varones de Belken. Berkeley, Calif.: Justa Publications, 1981. Bilingual edition with translation by Julia Cruz published as Fair Gentlemen of Belken County. Tempe, Ariz.: Bilingual Press/Editorial Bilingüe, 1986. Mi querido Rafa. Houston, Tex.: Arte Público Press, 1981. Translation by Hinojosa published as Dear Rafe. Houston, Tex.: Arte Público Press, 1985. Rites and Witnesses: A Comedy. Houston, Tex.: Arte Público Press, 1982. Partners in Crime: A Rafe Buenrostro Mystery. Houston, Tex.: Arte Público Press, 1985. Becky and Her Friends. Houston, Tex.: Arte Público Press, 1990. Translation published as Los Amigos de Becky. Houston, Tex.: Arte Público Press, 1991. The Useless Servants. Houston, Tex.: Arte Público Press, 1993. Ask a Policeman: A Rafe Buenrostro Mystery. Houston, Tex.: Arte Público Press, 1998. We Happy Few. Houston, Tex.: Arte Público Press, 2006.

OTHER WORKS “Chicano Literature in Transition.” In The Identification and Analysis of Chicano Literature. Edited by Francisco Jiménez. New York: Biligual Press/Editorial Bilingüe, 1979. Pp. 37–40. “The Sense of Place.” In The Rolando Hinojosa Reader: Essays Historical and Critical. Edited by José David Saldívar. Houston, Tex.: Arte Público Press, 1985. Pp. 18–24. “A Voice of One’s Own.” In The Rolando Hinojosa Reader: Essays Historical and Critical. Edited by José David Saldívar. Houston, Tex.: Arte Público Press, 1985. Pp. 11–17. This Migrant Earth. Translation of Tomás Rivera’s ѧ y no se lo tragó la tierra. Houston, Tex: Arte Público Press, 1986. “Tomás Rivera.” In Tomás Rivera, 1935–1984: The Man and His Work. Edited by Vernon E. Lattin, Rolando Hinojosa, and Gary Keller. Tempe, Ariz.: Bilingual Review/ Press, 1988. Afterword to George Washington Gómez: A Mexicotexan Novel, by Américo Paredes. Houston, Tex.: Arte Público Press, 1991. Foreword to Héctor P. Garza: Everyday Rhetoric and Mexican American Civil Rights, by Michelle Hall Kells. Carbondale: Southern Illinois University Press, 2006.

Selected Bibliography WORKS OF ROLANDO HINOJOSA KLAIL CITY DEATH TRIP SERIES Estampas del valle y otras obras. Berkeley, Calif.: Quinto Sol Publications, 1973. Bilingual edition with translation by Gustavo Valadez and Jose Reyna published as Sketches of the Valley and Other Works. Berkeley, Calif.: Justa Publications, 1980. Revised English-language edition published as The Valley. Ypsilanti, Mich: Bilingual Press/ Editorial Bilingüe, 1983.

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ROLANDO HINOJOSA CRITICAL AND BIOGRAPHICAL STUDIES

Saldívar, José David. “Our Southwest: An Interview with Rolando Hinojosa.” In The Rolando Hinojosa Reader: Essays Historical and Critical. Edited by José David Saldívar. Houston: Arte Publico Press, 1985. Strickland, Barbara. “Crossing Literary Borders.” Austin Chronicle, August 28, 1997. Available online (http:// weeklywire.com/ww/09-02-97/austin_books_feature1. html). Jason, Philip K. “A Conversation with Rolando Hinojosa.” Bilingual Review 25:298 (September–December 2000).

Lee, Joyce G. Rolando Hinojosa and the American Dream. Denton: University of North Texas Press, 1997. “Rolando Hinojosa.” In Contemporary Authors Online. Gale, 2003. Saldívar, José David, ed. The Rolando Hinojosa Reader: Essays Historical and Critical. Houston: Arte Publico Press, 1985. Saldívar, José David. Border Matters: Remapping American Cultural Studies. Berkeley: University of California Press, 1997. Saldívar, Ramón. “Rolando Hinojosa’s Korean Love Songs and Klail City Death Trip: A Border Ballad and Its Heroes.” In his Chicano Narrative: The Dialectics of Difference. Madison: University of Wisconsin Press, 1990. Pp. 133–147. Sotelo, Susan Baker. Chicano Detective Fiction: A Critical Study of Five Novelists. Jefferson, N.C.: McFarland, 2005. Zilles, Klaus. Rolando Hinojosa: A Reader’s Guide. Albuquerque: University of New Mexico Press, 2001.

ADDITIONAL WORKS ON SOUTH TEXAS Paredes, Américo. With His Pistol in His Hand: A Border Ballad and Its Hero. Austin: University of Texas Press, 1958. ———. George Washington Gómez: A Mexicotexan Novel. Houston, Tex.: Arte Público Press, 1991. Garza-Falcón, Leticia M. Gente Decente: A Borderlands Response to the Rhetoric of Dominance. Austin: University of Texas Press, 1998. Gonzalez, Jovita Mireles. “America Invades the Border Towns.” Southwest Review 15:468–477 (summer 1930). Montejano, David. Anglos and Mexicans in the Making of Texas, 1836–1986. Austin: University of Texas Press, 1987.

INTERVIEWS Bruce-Novoa. “Rolando Hinojosa.” In his Chicano Authors: Inquiry by Interview. Austin: University of Texas Press, 1980. Pp. 49–67.

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TED KOOSER (1939—)

Steven P. Schneider Kenyon Review, and Tim Hofmeister, professor of classics at Denison University, that in his job working for an insurance company, “I worked every day with people who didn’t read poetry, who hadn’t read it since they were in high school, and I wanted to write for them.” He values simplicity and clarity in his work and is best known for short, lyrical poems with startling metaphors. In a world of violence and disorder, Kooser expresses a quiet and calm voice, one that grounds readers in the world around them. He says: “I think a big part of making art of any kind is an attempt to secure order, and there can be a lot of pleasure in making something small and orderly.”

TED KOOSER HAS emerged over the last several decades as a major American poet. For those familiar with Kooser’s work, this may come as no surprise. When the sixty-six-year-old Midwesterner was appointed poet laureate of the United States in 2004, however, many East and West Coast critics and poets knew little about Ted Kooser or his work. He had spent his entire life in the states of Iowa and Nebraska, much of it working in the insurance business, and developed his poetry with strong ties to that region. Indeed, the term “regional” has become something of a blessing and a curse for Ted Kooser: he has been both praised and dismissed for his regionalism. Like other American writers, such as Willa Cather, William Faulkner, and Robert Frost, Kooser draws inspiration from places some do not consider prime real estate. Like these other writers, Kooser has discovered an authentic American voice, and his best poetry expresses a depth of emotion and connection to both the natural world and human community that makes his work universal.

Ted Kooser’s poetry also matters because of the ways it demonstrates the creative process as something magical. His strong associative powers of imagination allow readers to discover in his poetry surprising and often pleasurable connections. In his poem “Etude,” for example, Kooser makes the imaginative connection between a great blue heron and a man in a blue suit sitting at his desk. He notes in the Kenyon Review interview: “I do believe that a lot of this material or connection comes forth by dictation— something deep in me, something that I’m not really in control of.” Later in the same interview, when commenting upon another poem with startling metaphors, “A Washing of Hands,” he notes that “when those metaphors come to me, unbidden, it feels magical.”

Kooser’s appointment as poet laureate of the United States recognized a lifetime of achievement. He served in that position for twenty months. Meanwhile, his tenth collection of poems, Delights & Shadows, was also published in 2004. It won the Pulitzer Prize for Poetry in 2005, along with the Society of Midland Authors Award for Poetry. In addition to his many books of poetry, Kooser wrote a prizewinning nonfiction book titled Local Wonders: Seasons in the Bohemian Alps (2002).

His dedication to his craft is an inspiration to aspiring artists and writers and to anyone who has struggled with the creative process. To make time to write he got into the habit of getting up at 4:30 a.m. every day and would write until around 7 a.m. before heading off to the insurance company in Lincoln, Nebraska, where he worked.

Kooser’s poetry matters to readers because it speaks to their experience of everyday life, illuminating matters of the heart and of the world around them. He explains in an online 2008 interview with David Baker, poetry editor of the

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TED KOOSER Central (1994) and Winter Morning Walks: One Hundred Postcards to Jim Harrison (2000), a collection of poems written during the poet’s recovery from oral cancer. During the years 1980 to 2004 the poet solidified his reputation as a master of the use of metaphor and the short lyric. He also wrote and published a number of poems that are considered contemporary classics. In the third phase of his career, Kooser has embarked upon a career as a public figure. Although he is reserved and prefers to spend his time on his farm in Garland, Nebraska, with his wife Kathleen and their two dogs, Kooser has become a frequently invited guest and reader of his poetry at universities, colleges, book clubs, and community organizations as well as an ambassador of the art form. During his tenure as poet laureate of the United States, he launched the Web site and national newspaper column “American Life in Poetry,” which is Kooser’s pet project to make poetry accessible to the American reading public through newspapers. In this third phase of his career, Kooser continued to publish major collections of his poetry, including Delights & Shadows (2004) and Valentines (2008). He also wrote two books on writing, The Poetry Home Repair Manual (2005) and, with Steve Cox, Writing Brave and Free: Encouraging Words for People Who Want to Start Writing (2006). He has won numerous awards for his work, including two NEA fellowships in poetry, the Pushcart Prize, the Stanley Kunitz Prize, the James Boatwright Prize, and a Merit Award from the Nebraska Arts Council.

He continues this habit of writing early each day, even though he is now retired from the insurance business. “I get up every morning,” Kooser says, “and I sit in the same chair every morning, with my coffee pot at hand, and write in a notebook” (Kenyon Review). Although not every morning results in a memorable poem, he has learned “that unless I’m sitting there with my notebook, on the day when the good one comes, I’m never going to get it at all.” Kooser’s career as a writer can be divided into three major phases. In the first phase, he experimented with different poetic forms and often published chapbooks in which he tested out his explorations of poetic style and voice. The University of Nebraska Press published his first collection of poems, Offıcial Entry Blank (1969), which was followed by two chapbooks and then two book-length collections of poetry, A Local Habitation & A Name (1974) and Not Coming to Be Barked At (1976). Many of Kooser’s earliest poems were first published by Prairie Schooner, a literary journal also published by the University of Nebraska Press. The relationship with Prairie Schooner has been important to Kooser throughout his writing career. He noted that “Bernice Slote was the first editor of a distinguished literary journal to publish my poems. Several appeared in Prairie Schooner when I was in my twenties. That publication meant a lot to me and I remember sending copies to just about everybody I could think of. ѧ I have since published a number of poems in Prairie Schooner and have always been able to trust the successive editors to show me which of my poems were worth publishing and which not” (e-mail message to contributor, October 23, 2000). With the publication of his fourth book, Sure Signs: New and Selected Poems (1980), many readers began to recognize Kooser as an important voice on the American poetic landscape. The publication of this volume signaled the end of his apprenticeship—the first major phase of his career as a poet. During the second phase of his career, beginning with the publication of One World at a Time (1985), Kooser published five more books of poetry. These include Weather

FORMATIVE YEARS

Ted Kooser was born in Ames, Iowa, on April 25, 1939. His father, Theodore Briggs Kooser, began his career in retail as the drapery manager in a small family-owned department store, Tilden’s, where he met his future wife, Vera Moser. In 1943, he moved down Ames’s Main Street and became manager of the Younker’s Store. Vera Moser Kooser stayed home to raise Ted and his sister, Judy. His parents had a lasting influence upon the poet. He inherited a strong work ethic from his father and an appreciation of

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TED KOOSER Wyeth. Both artists bucked the modernist trend toward abstraction in favor of a realistic art rooted in place. Moreover, each painter discovers the poetic in the everyday and leads us to see it new ways. Kooser has said that “there’s a melancholy in the Hoppers that I have in my poems. Of course, that melancholy is also present in Wyeth” (e-mail message to contributor, August 18, 2008). The populist appeal of his poetry depends upon its simplicity of language, clarity of perception, and affinity for human life and community. His work, then, can be considered part of what the critic Dana Gioia has described as a “broader shift in sensibility in the arts” that has returned “tonality in serious music, representation in painting” and the “reaffirmation of song and story” in poetry (p. 39).

natural wonders from his mother. In his book Delights & Shadows, he pays tribute to each of them in poems that are titled respectively “Mother” and “Father.” Kooser attended Iowa State University, where he earned a bachelor of science degree in 1962. He took a position teaching high school in Madrid, Iowa, for the 1962–1963 school year but then moved to Lincoln, Nebraska, where he enrolled as a graduate student in the creative writing program at the University of Nebraska at Lincoln. Kooser had been writing poetry since his late teens and moved to Lincoln in order to study with the poet Karl Shapiro, whom he admired greatly. Kooser, however, did not immediately complete his graduate studies. He dropped out of school and answered an ad in a Lincoln newspaper for an entry-level job with an insurance company. He ended up working many years in the insurance field, and when he retired he was a vice president for Lincoln Benefit Life. From the very beginning of his career in the insurance industry, Kooser viewed his job as a way to support his writing poetry. Like William Carlos Williams and Wallace Stevens, Ted Kooser supported himself financially outside the academic or publishing world and managed to develop an enduring body of creative work. Kooser finished his graduate studies and earned a master’s degree from the University of Nebraska at Lincoln in 1968. Kooser’s Midwestern roots and foothold in the nonacademic world influenced his poetry greatly. Although he does not consider himself a regional writer, he does acknowledge that “most of my work reflects my interest in my surroundings here on the Great Plains” (Contemporary Authors, p. 257). The introduction to the Kenyon Review interview suggests that Kooser’s poetry is “regional and realistic” and “akin to the paintings of Grant Wood.” (Best known for his painting American Gothic, Grant Wood was part of a Midwestern regionalist movement that included Paul Engle, Hamlin Garland, and the Iowa poet James Hearst.) Kooser himself has noted an affinity for the work of the painters Edward Hopper and Andrew

EARLY POETRY

Kooser’s first collection of poems, Offıcial Entry Blank (1969), published by the University of Nebraska Press, served well as his “official entry” into the poetry world. The collection is distinctive in its willingness to embrace and experiment in different forms. There are haikus, a sonnet, and a number of poems that employ a variety of rhyme schemes. Nevertheless, the predominant mode is free verse, a style that would prevail in his subsequent collections. The first poem of the collection, “Official Entry Form,” is based upon poetry contest entry forms. Written in a tongue-in-cheek tone, it pokes fun at the submission process to such contests. The final two lines of the poem serve as a reminder of the dominant poetic form at the time: “And please remember that we all / Prefer free verse to the traditional” (p. 3). The most memorable poems in Kooser’s first volume are in free verse. These include “Beer Bottle,” “Abandoned Farmhouse,” and “A Letter from Aunt Belle,” each of which the poet republished in his 1980 book Sure Signs: New and Selected Poems. The tone and subject matter of “Beer Bottle,” with its fierce enjambments and attention to everyday objects, were clearly influenced by William Carlos Williams.

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TED KOOSER man, who cast a long shadow over all the American poets that came after him. Ezra Pound, Langston Hughes, Muriel Rukeyser, Louis Simpson, and William Stafford, for example, have all written Walt Whitman poems. A poet of understatement and lyric compression, Kooser expresses antipathy for the epic stature of Walt Whitman. Yet one hears in this poem an admiration for the poet who was not all bravura but was also the champion of the underdog. In contrast to “Walt Whitman,” “For Karl Shapiro, Having Gone Back to the Sonnet” is written not in free verse but as a sonnet. Kooser, as a graduate student at the University of Nebraska at Lincoln in the early 1960s, studied with Karl Shapiro, who was then on the faculty of the Department of English. Kooser says of this time, “I really came to Nebraska to go to grad school because Karl was there, and I liked his poems. We became good friends in short order, and spent a good deal of time together, talking about books and literature and enjoying ourselves” (e-mail message to contributor, July 18, 2008). Shapiro encouraged the young poet and wrote a short introduction to his second full-length collection, A Local Habitation & A Name. In the above-mentioned poem Kooser reflects on Shapiro’s decision to return to the sonnet and likens writing one to playing a spinet. While he is happy for his mentor to be “playing a tune on the limited keys” (p. 50) to Kooser a sonnet feels like a straitjacket and he cannot wait to escape. He writes:

One of the more surprising poems in Offıcial Entry Blank is titled “Walt Whitman.” It is difficult to think of two poets more unlike one another. Whitman writes long, billowing lines in poems that sometimes go on for many pages; Kooser writes terse lines in poems that rarely exceed a single page. Whitman not only speaks for himself but also develops a persona in his poems that is “representative” of democracy. Kooser’s voice and persona are much more subdued, understated, and modest. Nevertheless, Kooser pays a curious kind of homage to the nineteenth-century bard while at the same time underscoring the differences between them. WALT WHITMAN

Whose tongue’s erection lapped America— Whose beard and hers were interwoven, coarse As Kansas bushels pumpkined with his chants— Who wiped his boots on fat Poor Richard’s kite, Undid his hoary fly and started west— Who shouldered Lincoln’s coffin like a bale, And seeded orchards as he puffed along— Who kissed a soldier’s amputated leg— May he become our country’s tallest tale: A giant in a checkered mackinaw, Astride the blue ox of his insolence. (p. 43)

This portrait of Whitman paints him as larger than life and satirizes the poet who boasted of his “barbaric yawp” and sang the body electric. Kooser’s choice of the words “erection” and “fly” in his poem evoke the sexual Whitman who wrote, in “Song of Myself,” “Urge and urge and urge / Always the procreant urge of the world.” Yet Kooser also presents the empathetic bard whose elegy of Lincoln “When Lilacs Last in the Dooryard Bloom’d” is one of the enduring memorials in American poetry. Kooser also alludes to the Whitman who attended to wounded Civil War soldiers and wrote the great antiwar poem “The Wound-Dresser.” In his poem Kooser joins a long list of American poets compelled to wrestle with Whit-

In the closing six bars on this Spinet, With my fingers too fat for the keys, And my necktie already caught in it— Make it let go of me please! (p. 50)

Although Kooser would continue to experiment with formal verse, he rarely wrote or published sonnets after his first book. On the topic of formal verse, he has said that “deciding to use a fixed metrical form before a poem begins to shape itself is putting the cart before the horse. If during its genesis a poem begins to lean toward a fixed form, fine. Then it might make sense to let

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TED KOOSER it fill out a kind of container that it seems bent on filling. But the error comes when writers sit down to write sonnets and don’t have the right poetry to fill them with” (e-mail message to contributor, October 24, 2000).

The good works of the Lord are all around: the steeple-top is standing in a garden just up the alley; it’s a hen-house now:

After the publication of his first book, Kooser founded and operated a small press, Windflower. In the beginning he published single monthly sheets with one poem per sheet. This evolved to a stapled quarterly journal, called the Salt Creek Reader, which he published for several years. During the early 1970s he also published books by two of his close friends, fellow Nebraskans Bill Kloefkorn and Don Welch, as well as a chapbook of his own work titled Grass County (1971). In addition, he published several anthologies of poetry through Windflower Press. One of these, The Windflower Home Almanac of Poetry, was listed by Library Journal as one of the best books from small presses for 1980.

Pews stretch on porches up and down the street, the stained-glass windows style the mayor’s house, and the bell’s atop the firehouse in the square.

...

(p. 1)

In the introduction to Kooser’s second book of poetry, A Local Habitation & A Name (1974), Karl Shapiro suggests that William Carlos Williams provides an important context for reading Kooser. “For all its guff,” Shapiro writes, “William Carlos Williams’ dogma of the Local remains the touchstone of what authentic American poetry we have.” For Shapiro, Kooser is a poet of the local, and his place is the Midwest. “Few poets have captured the spirit of the place as well as he,” writes Shapiro. Later, in an interview in On Common Ground (1983), edited by Mark Sanders and J. V. Brummels, Kooser would confirm this approach to poetry: “People have known for years that the best way to involve a reader in what he’s reading is to introduce concrete imagery, and when you live in a place you draw your imagery from what’s around you” (Sanders, p. 102).

The reader does not learn in this little, enigmatic poem what happened that led to the church being disassembled. The breakup of this house of worship into disparate parts is a gesture that gets repeated elsewhere in this volume and throughout Kooser’s poetry. Farmhouses are abandoned, barns fall apart, bridges and roads disappear in snowstorms. The harsh landscape and economy of small towns and rural Midwestern life take their toll upon the structures and lives built there. In “Abandoned Farmhouse,” Kooser describes a farmhouse abandoned by its family, the surrounding fields “cluttered with boulders.” He writes: “Something went wrong, says the empty house / in the weed-choked yard” (p. 27). Details in the poem suggest that the family who lived there was not up to the task of maintaining their farm and came upon hard financial times that led to their abandonment of it. No dates are given or historical context provided; it could as well be the time of the Great Depression or more recent times when small family farmers have been pressed to give up their livelihoods because of competition and encroachment from agribusiness. A Local Habitation & A Name includes several other poems where barns and the lives that maintain them fall apart. The best of these, “Tom Ball’s Barn,” accounts for the hard luck of Tom Ball, whose mortgage went unpaid and who has diabetes and falls to his death from a silo.

The stronger work in his second book of poetry is reflected in the poems that engage the landscape, its churches and barns and coffee shops and the people who inhabit them. The first poem, “The Red Wing Church,” concerns itself with the dismantling of the church and the dispersal of its steeple, stained-glass windows, pews, and church bell. Kooser writes:

Although most poems in this collection focus on the landscape and its inhabitants, in several of the poems the reader will discover the poet, characteristically an unobtrusive and somewhat vulnerable figure. In “Selecting a Reader,” the poet reflects on a reader who approaches one of his books in a bookstore. Although she is tempted to buy it, she puts the book back on the shelf.

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TED KOOSER She says to herself, “‘For that kind of money, I can get / my raincoat cleaned.’ And she will” (p. 59). The gesture here is self-deprecating and frugal, learned through the poet’s residence in two farm states. A Local Habitation & A Name is also revealing for what Kooser shares about his first marriage in poems such as “For My Former Wife, Watching TV, in the Past,” “Plain Song,” and “Airmail from Mother.” These poems speak to the pain of divorce and to the separation from his son, Jeffrey Charles. Kooser’s first wife, Diana Tressler, was a schoolteacher whom he had married in 1962. Their marriage ended in a divorce in 1969. Nevertheless, he dedicated this second volume of poems to her with the inscription “for Diana, anyway.” His affection for their son shines through in the poems “I Put My Hand on My Son’s Head” and “The Constellation Orion.” Kooser’s third book-length collection, Not Coming to Be Barked At (1976), followed quickly on the heels of his second collection and was dedicated to the author William Cole, who had been one of the poet’s early supporters and admirers. A slim volume of forty-nine pages, it contains several poems that have become contemporary classics, including “Uncle Adler” and “So This Is Nebraska.” In these poems, Kooser displays his mastery of metaphor and simile. In “Uncle Adler,” Kooser begins the poem with a striking metaphor, comparing the old uncle to a barn or house with “cardboard / in all of its windows” (p. 18). He extends the metaphor in the next several lines:

old age in this poem through his use of metaphors. They help the poet to make sense of what is happening to the aging uncle. In the second half of “Uncle Adler,” Kooser employs simile to account for Uncle Adler’s demise: his Adam’s-apple hung like a ham in a stairwell. Lawyers encircled the farm like a fence, ѧ (p. 18)

By the end of the poem, he has presented a masterful profile of a man whose life is collapsing on him: “He suddenly sucked in his breath so hard / the whole estate fell in on him” (p. 18). The same pattern of metaphoric language followed by a series of similes is employed by Kooser in his popular “So This Is Nebraska.” In this poem he expresses a palpable love for a place that to many seems desolate and unwelcoming. Kooser has embraced Nebraska like the other great writers who have made it their home, including Willa Cather, John Neihardt, Weldon Kees, Mari Sandoz, and Wright Morris. Although he resists any comparison of himself or his generation of Nebraska poets to these previous literary giants, he does admit that “some of the poets living and working in Nebraska today have written, and will write, strong and enduring poems, and that these may become a part of the literary culture” (Sanders, p. 102). In Nothing to Be Barked At, a good number of the poems are situated in either Nebraska or Iowa and employ titles that tie them to those landscapes: “In a Country Cemetery,” “Farmlights in Iowa,” “Fort Robinson,” “Late September in Nebraska.” This third collection reflects the work of a maturing poet, one who has discovered his voice through experimentation and who displays here the mastery of craft and distinctiveness of style that would characterize his future work. Kooser published a chapbook of poems titled Old Marriage and New (1978) about his divorce from Diana Tressler and his subsequent marriage to Kathleen Rutledge, a journalist who worked her way up the ranks and eventually served, from 2001 until her retirement in 2007, as the first

The oil in his eyes was so old it would barely light, and his chest was a chimney full of bees. (p. 18)

In his book Why Poetry Matters (2008), Jay Parini notes that poetry is very much the language of metaphor and that “metaphor is the fiber of language itself. As such, analogical thinking is central to the human enterprise of making sense. It actually organizes our experience in subtle ways. Without metaphor, there is no thinking at all” (p. 69). We can feel Kooser thinking about

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TED KOOSER woman editor of the Lincoln Journal Star. Old Marriage and New is notable for its autobiographical revelations but lacks the intensity of confessional poetry addressing marital breakups. Dana Gioia, in his essay “Explaining Ted Kooser,” first published in On Common Ground, faults these poems for being overly sentimental. Gioia notes: “Writing about the failure of his first marriage and the promise of his second, Kooser carefully established a series of thirteen short scenes which dramatized this difficult period in his life. Sharp and concisely written, these poems still seem thin compared to Kooser’s previous work” (p. 98). The publication of Sure Signs in 1980 marked the end of the first major phase of Kooser’s poetic career. One finds in these poems the influence of Edgar Lee Masters’ Spoon River Anthology. Kooser’s poems share with Masters’ work an attentiveness to the quirkiness and tragedies of small town life. One also sees in these poems the influence of William Carlos Williams in their attention to ordinary objects and buildings—beer bottles, old photographs, furnaces, caps, abandoned farmhouses, leaky faucets, and country cemeteries. In his interview with Mark Sanders, Kooser notes: “I detest poems of self-pity, though, and poems of self-absorption. I love poems which celebrate things—telephones, pigs, rocks, you name it” (p. 104). In Sure Signs there are few if any signs of self-absorption and lots of “things” that trigger Kooser’s imagination.

How far apart they sit; not touching at shoulder or knee, hands clasped in their laps as if under each pair was a key to a trunk hidden somewhere, full of those lessons one keeps to himself. (p. 5)

John Hollander, in his book The Gazer’s Spirit (2005), notes that “most poems on photographs are still directed to portraits, and that, indeed, photography is the most contemporary form of portraiture. The documented trace of a past personal presence is always compelling” (p. 67). Kooser’s poem does not pose epistemological questions about the relationship between photographic subject and the camera. Rather he focuses his attention on what is both seen and unseen and traces a personal history of this couple that accounts for their “stern statement.” The critical reception of Sure Signs was mostly favorable. Peter Stitt, writing in the Georgia Review, concluded that “Kooser is a good poet, a skilled and cunning writer, and ought to be recognized as an authentic ‘poet of the American people’” (p. 662). In an essay in the Dictionary of Literary Biography, Matthew C. Brennan wrote that “Sure Signs shows an accomplished poet employing distinctive, expressive metaphors” (p. 144). Dana Gioia, one of the poet’s earliest and most important critical supporters, had great praise for Sure Signs. In his essay “Explaining Ted Kooser,” Gioia wrote, “Sure Signs showed Kooser as a shrewd judge of his own poetry. He ruthlessly cut away his weaker work, and presented the reader with only eightynine short poems from all his earlier books. This careful editing gave Sure Signs a consistent quality that put most contemporary collections to shame. It also ensured that readers, who came upon Kooser’s work there for the first time, left impressed with the quality of his achievement” (On Common Ground, p. 98).

One of the previously unpublished poems in Sure Signs is titled “An Old Photograph.” Kooser wrote this poem based upon the actual photograph of his great-aunt Lavinia and great-uncle Rob Hansel. It introduces into his work the “ecphrastic” impulse, whereby a poet comments upon or interprets a work of art, or as in this case, a photograph. Later in his career, in his Pulitzer Prize–winning collection Delights & Shadows (2004), Kooser would include a group of poems entitled “Four Civil War Paintings by Winslow Homer.” His eye for the precise visual detail is evident in “An Old Photograph,” and he sees in the space between the couple the distance that has come between them from enduring a long life of hardship. He writes:

One reviewer, however, was not uniformly impressed. In his review, “Fondled Memories,” of several collections of contemporary poetry in the New York Times Book Review (October 12, 1980), Charles Molesworth expressed his reserva-

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TED KOOSER tions about Sure Signs. Molesworth noted that “Kooser works inside the imagist tradition, tying his feelings rather loosely to a homespun symbolism. Sometimes this is fresh and keen, but it can also be humdrum or clumsy.” It is hard to tell from Molesworth’s review which poems he found “fresh and keen” and which ones loose and “homespun.” Molesworth also complained that there was little breathing space in the collection: “Seldom allowing themselves much room— there are about 88 poems in 90 pages—these poems’ brevity fights a rearguard action against becoming quaint.” He concluded his review with the observation that “the ‘sure signs’ of the title hint at a great mystery, but the simplicity of diction and structure prevents it from ever being revealed” (p. 36). Kooser has described this review as “sneering in nature” and observed that Molesworth “was as hard on Charles Simic and Louise Glück and the others as he was on me, so I was getting kicked in good company” (Sanders, p. 105). Molesworth’s review of Sure Signs, with its grudging praise and its references to Kooser’s “quaintness,” did signal, nevertheless, that his work had gained the attention of readers outside the Midwest. Moreover, his work had been discussed in the same critical breath as several other important contemporary poets. As a marker of the trajectory of his career as a poet, the review is important for these reasons. It is also important in that it reflects an Eastern or urban bias against Kooser that has occasionally been expressed, either directly or indirectly, in interviews or reviews of the poet’s work.

the retail business” (p. 13). The poem is a touching tribute to his father and describes the palpable joy he experienced in his dry goods store. Kooser, like his father, has a good eye for people, especially as he registers them in the poem “Walking at Noon Near the Burlington Depot in Lincoln, Nebraska,” a poem dedicated to the memory of the poet James Wright. In this poem the reader sees factory workers on break from their jobs who “smoke / in the warm spring sunlight / thick with butterscotch,” and a girl who sits in her car, “broken down over its tires,” and listens to the radio (p. 31). Through a series of arresting images, Kooser portrays the beauty and sadness of Midwestern life, a subject that Wright wrote about in poems such as “Autumn Begins in Martins Ferry, Ohio.” The poem “At Nightfall” begins, as do so many others, with a precisely rendered description of a natural occurrence, in this case a swallow weaving “one bright white feather into her nest / to guide her flight home in the darkness” (p. 37). The poet reflects that this is a sign of the world’s “innocent progress.” The moment of wonder, or happiness in this discovery, is transformed, however, in the last five lines of the poem, where the poet reflects on the dismal state of the world. But to what safe place shall any of us return in the last smoky nightfall, when we in our madness have put the torch to the hope in every nest and feather? (p. 37)

One hears in these final melancholy lines an echo of “Fire and Ice” by Robert Frost, a poem that reflects upon how the world will end. When asked about whether his poetry is political, Kooser responded: “I think that all poems are subversive when set against our American culture, and for that reason they have political significance. I also believe that poems are instruments of persuasion, and that might be seen to be political” (e-mail message to contributor, July 18, 2008). “At Nightfall” registers a quiet protest against those who destroy the environment and persuades the reader to appreciate an intimate

MATURE PHASE OF THE POET’S CAREER

In One World at a Time (1985), the volume following Sure Signs, Kooser continued to write with the confidence reflected in his selected poems. He had established himself as a poet who extended his readership beyond the Midwest but who continued to focus his own gaze upon the people and region he knows best. In an elegy to his father, Theodore Briggs Kooser, the poet reflects upon his father’s life as a shopkeeper in Midwestern towns “walking the hard floors / of

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TED KOOSER connection to the natural world and to the human community, underscoring our fragile existence. One World at a Time consolidated the gains that Kooser had established for his work in Sure Signs. The poems are similar in length to those in the previous volume. Moreover, the Midwestern landscape and its people continue to be the focus of his work. There are fine poems about cleaning a bass, a hearty woman named Myrtle who delivers the daily newspaper, and an old porch swing. In his next book, The Blizzard Voices (1986), Kooser experimented by writing a sequence of dramatic monologues about the historic blizzard of 1888. The volume was republished in 2006 with a new introduction by the poet. Kooser explains, “I snagged these poems from actual reminiscences, recorded in old age, of people who survived the most talked about storm in American history, the Blizzard of 1888, also known as the Schoolchildren’s Blizzard because of the many children and their teachers who were trapped in rural schools on the bitterly cold days of January 12 and 13 of that year” (Introduction, 2006 edition). The book has a historical thrust, distinguishing it from much of Kooser’s other poetry, which is derived from the poet’s firsthand observation of people and places. Rather, in The Blizzard Voices, the poet spent time researching the dramatic snowstorm and based his monologues upon strands of information he culled from secondary sources. “Preparing to write these poems,” he noted in his introduction, “I read town and county histories that mention the blizzard.” In The Blizzard Voices, recollection of the snowstorm is made up of thirty-six separate poems in first-person dramatic monologues. We hear from schoolteachers, children, and farmers about what they were doing when the blizzard hit and how they managed to survive it. The poems, several of which are illustrated with drawings by Tom Pohrt, are well-sculpted pieces of poetic lore and history. The collection was performed as a play by the Lincoln Community Playhouse in the late 1980s. The Pulitzer-Prize-winning composer Paul Moravec also turned The Blizzard Voices into an evening-length dramatic oratorio,

which was premiered by Opera Omaha on September 12, 2008. In one of the poems a woman who taught in a country school recalls leading her students through the storm to safety. When the blizzard hit, it blew some of the shutters closed with a bang, breaking some panes, and the snow came pouring in. Toward evening, our fuel was gone, so we set out walking, holding each other’s hands. It was impossible to see, but we followed a row of dead sunflower stalks all the way to a nearby farm. I never see a sunflower now that I don’t count my lucky stars. (“A Woman’s Voice:”)

Reminiscent of Edwin Arlington Robinson, Kooser presents characters who are affected adversely by natural forces larger than themselves. He acknowledged in an interview for Contemporary Authors that Edwin Arlington Robinson, along with Robert Frost, May Swenson, and John Crowe Ransom were among the first poets he read and who remained a strong influence upon him (p. 257). The slender group of dramatic monologues that make up The Blizzard Voices was followed by the much longer collection Weather Central in 1994. In this volume a number of the poems concern themselves with natural life: fireflies, barn owls, a snakeskin, and spider eggs. In “Barn Owl,” Kooser playfully describes a barn owl inviting a mouse into its lair. The poem became one of those selected for his later collection Valentines and relies upon the conceit of the owl as a lover to seduce its prey. In “Snakeskin,” the poet reflects on picking up a cast-off snakeskin and the speed with which it once moved across the ground. He writes: “you can feel / the speed along it, feel / in your bones the tick of wheels” (p. 11). Kooser shows his familiarity with natural life in these poems and demonstrates an adroit ability to bring them to life through figurative language.

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TED KOOSER The description of natural phenomena comes naturally to Kooser. His familiarity with them stems from his boyhood years in Iowa and from living most of his adult life in a farm state. In Weather Central, Kooser gazes at the unfinished Gilbert Stuart painting of George Washington that hung in his boyhood classroom. The Gilbert Stuart portrait of Washington was begun in 1796 and is often referred to as “The Athenaeum.” The narrator in the poem “The Gilbert Stuart Portrait of Washington” begins by addressing the reader, familiar with the portrait from its appearance on the U.S. one-dollar bill:

about how it loomed large in his education. It is a marvelous poetic response to a silent work of art and at the same time a reminiscence of the slow passage of time in his boyhood classroom. In another poem about a work of art, “The Statue of an Unknown Soldier,” the poet casts a critical eye upon the proportions of a statue of a soldier in the courthouse square in Seward, Nebraska. The poet notes: “he looks like a child, his head too large / for the care-broken, delicate shoulders.” The poet also brings the statue to life, noting how weary he must be “from walking so far / from the quarry.” In his ragged uniform and rifle by his side, this sad-looking soldier is subjected to the “smoke of blizzards” and the “grapeshot of hail” (p. 71) as well as the town’s high school majorettes who stride proudly past him every Fourth of July. Kooser includes in Weather Central his wry reflections of a poetry reading given by the Russian poet Yevgeny Yevtushenko in Lincoln, an account of a visit to an abandoned schoolhouse in the Nebraska Sand Hills, and a moving poem written on the morning of his son Jeff’s wedding. In “Yevtushenko,” he relies upon simile and metaphor to describe the reading by the great Russian poet: “You read your windy poems, Yevtushenko, / like a tree in the wind.” When the reading is over, the Russian writer scoops up his “leaves” and sits down. Afterward, at a party at the state governor’s mansion, Kooser and then Governor Bob Kerrey sit through a long movie Yevtuskenko had made of his life and listen to him recite a list of the people he has known: Henry Kissinger, Richard Nixon, and Robert Kennedy. The concluding two stanzas of the poem, however, leave the impression that the Russian poet is much too full of himself for Nebraska standards. “The Governor’s eyes were as hollow as Lincoln’s” (p. 33), observes Kooser, and ends the poem by describing the reception given the literary giant as a perfunctory obligation hosted by an elected official.

You know it as well as the back of your hand, that face like a blushing bouquet of pink peonies set in the shadows of war, the father of our country, patient, sucking the past from his wooden teeth. (p. 38)

In the poem, a reproduction of the painting hangs in a boyhood classroom that Kooser attended. His attention is on the man in the portrait, who “had little time / for the likes of Gilbert Stuart, that son / of a snuff-grinding Tory” (p. 38). Stuart was one of the most famous portrait artists of his era. He painted over one thousand portraits including six U.S. presidents, yet this portrait of George Washington went unfinished. Kooser reflects on the circumstances of Washington’s posing for the famous portraitist. Perched on a chair in a cold stone barn, according to Stuart, he smiled only once, when a stallion ran past. He cared more for thoroughbred horses and farming than he did for the presidency. (p. 38)

Kooser reflects not only on the preoccupied former general in this poem but also on the passage of time, represented by the passing of the seasons and the black octagonal clock next to which the painting hangs. He writes: “We learned our lessons while the big clock / clacked, its Roman numerals arranged / in a wreath and sealed under glass” (p. 39). In this poem, Kooser displays knowledge of art history and instructs the reader not only about this portrait but also

In “An Abandoned Stone Schoolhouse in the Nebraska Sandhills,” Kooser ponders the stone walls of an old, deserted schoolhouse. In his poem Kooser reflects: “Touch the wall with your fingertips, / and a hundred thousand years brush

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TED KOOSER away. ѧ” He ends the poem by imagining a river trickling inside the sandstone, “cleaning itself / as it eases along through the sand, / rubbing away at our names and our voices” (p. 45). The passage of time occupies the poet’s attention increasingly in his work as he grows older. Weather Central is a book published in the richness of maturity and toward the end of the second phase of the poet’s career. Several of the poems are wistful, nostalgic for an earlier time in the poet’s life. His poems “For Jeff” and “The Sweeper” reflect on ties that bind the generations. In the former poem, the poet recalls times he spent with both his son and his father in a park, the identical park he walks in on the morning of his son’s wedding. In “The Sweeper,” he recalls his father in shirtsleeves “sweeping / the sidewalk in front of his store.” The poem hinges on a wonderful metaphor, in which the broom is likened to “an old yellow oar,” the father happy to be “in the bow / of his gondola” (p. 84) greeting friends outside his store. Kooser’s next book, Winter Morning Walks (2000), was important to the poet in many ways. First, the writing of these poems was therapeutic for him while he was recovering from radiation therapy for cancer. Second, they extend and deepen his longtime correspondence and friendship with the writer Jim Harrison, to whom these poems were typed on postcards and mailed. Third, unlike his other books of poetry that took years to compile, the poems in this collection were written over a few short months. In the preface to the collection Kooser explains the context for writing these poems:

in November, following my walk, I surprised myself by trying my hand at a poem. Soon I was writing every day.” Years before he had “carried on a correspondence in haiku” with his friend Jim Harrison, and he decided to paste on a postcard the poems he was now writing and sent them to Harrison. Winter Morning Walks is a collection of one hundred of these poems and is subtitled “One Hundred Postcards to Jim Harrison.” All of the poems in the collection indicate the date of their writing, beginning on November 9 and ending on March 20. Most of them begin with a brief line set off from the rest of the poem, which describes the weather on that particular morning. These terse “weather reports” function in a way as the title of each poem, although the collection reads like a journal with the date at the top of each entry. The longest poem in the collection, “Foggy and dripping,” is nineteen lines; the shortest poem, “Quiet and clear,” dated February 18, is a mere two lines. Most of the poems average between eight and twelve lines. The sparseness of the poems, their attention to natural detail, and the ways in which they open up vistas of experience are reminiscent of the haiku. In one of the more moving poems, dated November 14, Kooser asks for more time to share his life with his wife Kathleen: My wife and I walk the cold road in silence, asking for thirty more years. There’s a pink and blue sunrise with an accent of red: a hunter’s cap burns like a coal in the yellow-gray eye of the woods.

In the autumn of 1998, during my recovery from surgery and radiation for cancer, I began taking a two-mile walk each morning. I’d been told by my radiation oncologist to stay out of the sun for a year because of my skin sensitivity, so I exercised before dawn, hiking the isolated country roads near where I live, sometimes with my wife but most often alone.

(p. 15)

This poem begins with a direct statement and then moves to a description of nature, ending with the use of metaphor that brings the sunrise to life. The poem makes its leap from the first stanza to the next and leaves the reader with an image of longing and hope. The poems in this collection move through observations of the predawn Nebraska landscape, with its chickadees, bare trees, and wind gusts. By focusing his atten-

(Preface)

Depressed by his illness the previous summer, he almost gave up on reading and writing. Kooser found the walks salutary and began to write again. He remarks in the preface: “One morning

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TED KOOSER and Parks Commission, but it was approved.” He concludes this short anecdote about the finagling of developers with one of the many Bohemian proverbs in the book: “Money is a master everywhere” (p. 22). While Kooser shares many wry observations about life in the “Bohemian Alps,” he clings to his sense of pleasure and delight in ordinary things. He writes: “I delight in the things I discover right within reach. At sixty-one years of age, I have seen, within a short distance from my house, my first moondog and my first bobcat.” Happiness, for this writer, is to discover a natural wonder he has never seen before. He comments in “Spring” that “the first syllable of happiness, hap—with its luckiness, its chanciness, its sudden surprises—is a source of much delight in my life” (p. 13). In this regard Local Wonders calls to mind previous first-person nonfiction accounts of nature, such as Henry David Thoreau’s Walden and Annie Dillard’s Pilgrim at Tinker Creek. His next book, Braided Creek (2003), is a collection of short, epigrammatic poems that Kooser coauthored with his friend Jim Harrison. None of the poems is attributed to either writer. Together they explore and celebrate the natural world. The poems have a haiku-like feeling to them: concise, quiet, lucid, wise, and humorous. The collection is testimony to the abiding value of friendship and manifests a true spirit of collaboration.

tion on the present moment and upon the natural world, the poet gains strength through his writing. There is a kind of Zen meditation at work here, in which the self surrenders to the world and becomes enlarged. Moreover, in the routine of writing these poems, Kooser draws inspiration from the creative process. By the entry dated February 21 he feels fully revived: Fate, here I stand, hat in hand, in my fifty-ninth year, a man of able body and a merry spirit. I’ll take whatever work you have. (p. 98)

In this short poem the poet sounds an optimistic note, declaring himself fit and looking forward to whatever the future brings. He ends the collection on the vernal equinox, March 20, declaring “How important it must be ѧ that I have written these poems” (p. 120). After more than thirty years of publishing poetry, Kooser published his first book of nonfiction, Local Wonders, in 2002. The “Bohemian Alps” he refers to is a north-south range of low hills about seventy miles from the eastern edge of Nebraska. It is here that Kooser lives, and in this collection of four essays, each named for a different season, he writes of his experiences and observations of the very changeable Nebraska weather, the local flora and fauna, and the comings and goings of his country neighbors. In “Spring,” for example, the opening essay of the collection, Kooser reflects on how “wild plums grow everywhere along the roadsides in our part of the country, each thicket originally started by some bird pausing on a fence wire just long enough to deposit a plum pit coated with a dollop of rich lime” (p. 14). These same wild plums turn up in his poem “Mother” in the collection Delights & Shadows, and in the “Spring” essay he laments that they are sprayed routinely with herbicides. In Local Wonders, Kooser complains about how the countryside is being divided up into parcels of land. He notes: “One recently approved residential development in our area was vigorously opposed by the county planning and zoning commission, local landowners, and the state Game

THE POET LAUREATE

With his selection as U.S. poet laureate in August 2004, Ted Kooser embarked on the third major phase of his literary career. The announcement was made by James H. Billington, Librarian of Congress, who described Kooser as “a major poetic voice for rural and small-town America and the first poet laureate chosen from the Great Plains. His verse reaches beyond his native region to touch on universal themes in accessible ways” (“UNL Professor Ted Kooser Appointed U.S. Poet Laureate,” press release, August 12, 2004). When asked in an interview about whether he was shocked upon receiving the appointment,

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TED KOOSER ance business in 2000, it seems fitting for Kooser to cast his eye upon the fragile nature of human life and the frailties of the elderly in these poems. He does so with grace and aplomb, drawing upon sharp observation and surprising metaphors, just as he has done so skillfully throughout his career. The poet peoples the second section of Delights & Shadows with members of his own family, including moving elegies entitled “Mother” and “Father” and a long narrative poem about a visit to his cousin Pearl. In “Mother,” the poet contrasts the mid-April landscape and its wild plums blooming at the roadside with the fact that his mother has been dead one month. In that time she has “missed three rains and one nightlong / watch for tornadoes” (p. 25). The poem hinges on the poet’s reflection upon the powers of observation that he has inherited from his mother. He concludes the poem with this tribute:

he responded that “the honor overrode the shock. I was at first terrified, but I decided if the Library of Congress was willing to take a chance on a poet from the Great Plains, I’d better do the best job I could” (Kenyon Review). In the twenty months that he served as poet laureate, Kooser estimates that he made around two hundred appearances and gave one hundred interviews, speaking to book clubs, community groups, high schools, colleges, and universities. Perhaps his most lasting legacy as poet laureate will be the “American Life in Poetry” project that he started and which is sponsored by the Poetry Foundation. It consists of a weekly newspaper column that features a poem selected by Ted Kooser. The column is issued at no cost to newspapers, reaches nearly 4 million readers, and includes a brief introduction by Kooser to the selected poem. The mission of this ongoing project is to promote poetry. In the project description on the “American Life in Poetry” Web site, where the chosen poem also appears each week, Kooser notes that “newspapers are close to my heart and my family. As Poet Laureate I want to show the people who read newspapers that poetry can be for them, can give them a chuckle or an insight.” The same year that he was selected poet laureate, Kooser published Delights & Shadows (2004). In his tenth collection of poems, the poet reflects on mortality, aging, and the loss of family and friends. In its first section, “Walking on Tiptoe,” more than half of the poems concern themselves with old age, the infirmities of illness, and the dead or dying. In “At the Cancer Clinic” the poet expresses his admiration for the grace of a sick woman being helped toward the examining room by her two sisters: “how patient she is in the crisp white sails / of her clothes” (p. 7). In “Mourners,” the poet is struck by the community of mourners who gather after the funeral “under the rustling churchyard maples / and talk softly, like clusters of leaves” (p. 16). They had been drawn there to say good-bye to someone but afterward bond closely together: “they keep saying hello and hello” (p. 16). Given his own bout with cancer and his retirement from the insur-

Were it not for the way you taught me to look at the world, to see the life at play in everything, I would have to be lonely forever. (p. 26)

In the companion poem “Father,” written on what would have been his father’s ninety-seventh birthday, May 19, 1999, the poet reflects on what it would have been like if his father were still alive, “driving from clinic to clinic, / an ancient, fearful hypochondriac.” The poem recalls a favorite anecdote of his father about the poet’s grandmother looking out the window at the moment of his father’s birth and seeing lilacs in bloom. The poem ends with a message for his deceased father: “lilacs are blooming in side yards / all over Iowa, still welcoming you” (p. 36). In each of these poems there is an abiding sense of strength, optimism, and renewal that Kooser attributes to his parents. Moreover, the endings of each poem affirm the poet’s connection to the natural world and his sense of wonder even in the face of loss. The narrative poem “Pearl” runs for four pages, making it one of the very longest poems in Kooser’s opus. In it he describes his visit to inform his aging cousin Pearl about the death of the poet’s mother, Vera, who had been a childhood playmate of Pearl’s. Pearl, who at ninety

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TED KOOSER carpenter. In a preface, “About This Book,” Kooser suggests “the craft of careful writing and meticulous revision can be taught” (p. xi). He also acknowledges that his book is for those writers who want to communicate with their readers, a premise not universally shared in contemporary poetry. In writing The Poetry Home Repair Manual, Kooser found it important to share what he has learned over the course of his career. “My writing philosophy owes much to an idea that Lewis Hyde expresses in his book The Gift: Imagination and the Erotic Life of Property. He suggests that those who are gifted should give something back” (p. xii). In this fine book on poetic craft, Kooser “gives back” by sharing his favorite “tools” with those starting out, including excellent advice on fine-tuning metaphors and similes, writing from memory, and working with detail.

was a year older than Vera, had lived alone for nearly twenty years. Kooser discovers that she is seeing and talking to ghosts, whom she claims survey everything she owns. Pearl and the poet carry on a dialogue in which Kooser suggests that she get medical care for this problem. This long narrative poem is an affectionate portrait of his aging cousin which ends with the tongue-incheek observation that after he leaves, the “others stepped out of the stripes of light / and resumed their inventory” (p. 40). Delights & Shadows moves between memory and observation, light and darkness, including the four ecphrastic poems based upon Civil War paintings by Winslow Homer. Kooser presents a careful reading of the visual choreography in each painting, both describing the work and reflecting upon its execution. He demonstrates his uncanny ability to enter a visual work of art and transform it into a poem, whose verbal textures unveil a narrative through which we see the painting more richly.

The second of the two books Kooser has published on writing, Writing Brave and Free (2006), is coauthored with Steve Cox, a lifelong editor and publisher and director emeritus of the University of Arizona Press. Written for a more general audience, Writing Brave and Free also provides helpful tools for the beginning writer as well as inspiration and encouragement. Ted Kooser’s next book, Valentines (2008), is a collection of valentine poems written over the course of twenty years. In his introduction he explains that the custom of sending out annual valentine poems was inspired by that of a family friend, Dace Burdic. The first of the Kooser “valentines,” “Pocket Poem,” was sent in 1986 to about fifty women, many of them wives of the poet’s friends. By the time he stopped the annual tradition of having them mailed from Valentine, Nebraska, he had around twenty-six hundred names on the mailing list. The very last poem in the collection, “The Hog-Nosed Snake,” is for Kathleen, the poet’s wife.

In “A Box of Pastels,” the poet recalls holding on his knees “a simple wooden box” that contained a set of pastels once used by the Impressionist artist Mary Cassatt. He notes that the peach- and pink-colored pastels “were worn down to stubs, / while the cool colors—violet, ultramarine— / had been set, scarcely touched, to one side.” The poet reflects that Cassatt “had little patience with darkness, and her heart / held only a measure of shadow” (p. 63). In this poem he is contemplating the subject of his book, the balance between light and darkness. Even when he wades into the shadows to confront death, old age, and illness, Kooser emerges from the experience with some transformative discovery, revealing the indomitable nature of the human spirit. Delights & Shadows was followed by Flying at Night: Poems 1965–1985 (2005), a selection of poems from Sure Signs and One World at a Time. Kooser has also published two books on the craft of writing since his becoming U.S. poet laureate. The first of these, The Poetry Home Repair Manual (2005), provides practical advice for beginning poets. The cover of the book features a toolbox, indicative of the poet’s penchant to view his craft in ways similar to a

Kooser explains that many of the poems “refer to hearts, or suggest them, or would drop in the color red somewhere, but not all of them are that way. My favorite in the valentine book is ‘Splitting an Order,’ which is about love, but does it without the heart or the color” (e-mail

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Selected Bibliography

message to contributor, July 26, 2008). In this poem, Kooser describes “an old man cutting a sandwich in half” (p. 37) to share with his wife. It is a touching poem about the way an old couple takes care of one another, sharing just about everything. The husband’s kind gesture is met with appreciation by his wife, who “smoothes the starched white napkin over her knees / and meets his eyes and holds out both old hands to him” (p. 37). The poem clicks shut with the image of her extending her hands to her husband, in a gesture both loving and grateful. This couple comes to represent for Kooser the abiding power of love in a lifelong marriage.

WORKS OF TED KOOSER POETRY Offıcial Entry Blank. Lincoln: University of Nebraska Press, 1969. A Local Habitation & A Name. San Luis Obispo, Calif.: Solo Press, 1974. Not Coming to Be Barked At. Milwaukee: Pentagram Press, 1976. Sure Signs. Pittsburgh: University of Pittsburgh Press, 1980. One World at a Time. Pittsburgh: University of Pittsburgh Press, 1985. The Blizzard Voices. St. Paul: Bieler Press, 1986; Lincoln: University of Nebraska Press, 2006. Weather Central. Pittsburgh: University of Pittsburgh Press, 1994. Winter Morning Walks: One Hundred Postcards to Jim Harrison. Pittsburgh: Carnegie Mellon University Press, 2000. Braided Creek. With Jim Harrison. Port Townsend, Wash.: Copper Canyon Press, 2003. Delights & Shadows. Port Townsend, Wash.: Copper Canyon Press, 2004. Flying at Night: Poems 1965–1985. Pittsburgh: University of Pittsburgh Press, 2005. Valentines. Lincoln: University of Nebraska Press, 2008.

CONCLUSION

Ted Kooser’s career as a poet, now in its fifth decade, represents a fierce independence, a loyalty to the place he has made his home, and a commitment to both the craft of writing and to making poetry accessible to his readers. By all measures he has succeeded, offering us a poetic world rich in sensory images, startling metaphors, and human empathy. In the preface to his book Why Poetry Matters, Jay Parini writes that “the language of poetry can, I believe, save us. It can ground us in spiritual and moral realities, offering the consolations of philosophy, teaching us how to speak about our lives, and how—indeed—to live them” (p. xiv).

NONFICTION Local Wonders: Seasons in the Bohemian Alps. Lincoln: University of Nebraska Press, 2002. The Poetry Home Repair Manual. Lincoln: University of Nebraska Press, 2005. Writing Brave and Free. With Steve Cox. Lincoln: University of Nebraska Press, 2006.

The poetry of Ted Kooser grounds readers in these realities, helping them to live their lives more consciously. Through the use of metaphor, he illustrates the associative power of the imagination to make connections, reminding us of the magic in our lives and in the creative process. Because of his willingness to write directly from the heart, he has developed a personal style harmonious with who he is and that speaks to a broad, reading public. His commitment to craft over the course of a long career provides a lighthouse of hope to all artists who labor in the dark, uncertain of their efforts but determined to express their voice.

CHAPBOOKS

AND

SPECIAL EDITIONS

Grass County. Privately printed, 1971. Twenty Poems. Crete, Neb.: Best Cellar Press, 1973. Shooting a Farmhouse / So This Is Nebraska. St. Paul, Minn.: Ally Press, 1975. Voyages to the Inland Sea. With Harley Elliot. La Crosse, Wis.: Center for Contemporary Poetry, 1976. Old Marriage and New. Austin, Tex.: Cold Mountain Press, 1978. Cottonwood County. With William Kloefkorn. Albuquerque, N.M.: Wildflower Press, 1979. Etudes. Cleveland: Bits Press, Case Western Reserve University, 1992. A Book of Things. Lincoln, Neb.: Lyra Press, 1995.

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TED KOOSER INTERVIEWS

A Decade of Ted Kooser Valentines. Omaha, Neb.: Penumbra Press, 1996. Lights on a Ground of Darkness. Lincoln: University of Nebraska Press, 2005.

Baker, David, and Hofmeister, Tim. “A Conversation with Ted Kooser.” Kenyon Review (http://www.kenyonreview. org/kro/kooser-interview.php), January 2008. Clark, Dalli. “Drawn to the Ordinary World: An Interview with Former U.S. Poet Laureate Ted Kooser.” Sojourn: A Journal of the Arts (University of Texas at Dallas) 19:94–99 (2006). Gross, Terry. “Talking with the Nation’s Poet Laureate.” Fresh Air from WHYY, July 4, 2005. Hatcher, Arnold. “An Interview with Ted Kooser.” Voyages to the Inland Sea VI: Essays and Poems by Harley Elliott and Ted Kooser. Edited by John Judson. La Crosse, Wis.: Center for Contemporary Poetry, 1976. Pp. 37–50. Meats, Stephen. “An Interview with Ted Kooser.” Midwest Quarterly 46, no. 4:335–343 (summer 2005). Sanders, Mark. “An Interview with Ted Kooser.” In On Common Ground: The Poetry of William Kloefkorn, Ted Kooser, Greg Kuzma, and Don Welch. Edited by Mark Sanders and J. V. Brummels. Ord, Neb.: Sandhills Press, 1983. Pp. 99–105.

CRITICAL AND BIOGRAPHICAL STUDIES Allen, Gilbert. “Measuring the Mainstream: A Review Essay.” Southern Humanities Review 17:171–178. (spring 1983). Brennan, Matthew C. “Ted Kooser.” In Dictionary of Literary Biography. Vol. 105: American Poets Since World War II, Second Series. Edited by R. S. Gwynn. Detroit: Gale Research, 1991. Pp. 143–150. Gioia, Dana. “Explaining Ted Kooser.” In On Common Ground: The Poetry of William Kloefkorn, Ted Kooser, Greg Kuzma, and Don Welch. Edited by Mark Sanders and J. V. Brummels. Ord, Neb.: Sandhills Press, 1983. Pp. 88–98. Mason, David. “Introducing Ted Kooser.” Dark Horse: A Journal of Poetry and Opinion (Scotland) 17:10–15 (summer 2005). Molesworth, Charles. “Fondled Memories.” New York Times Book Review, October 12, 1980, pp. 14, 36–37. Riggs, Thomas. Contemporary Poets, Sixth Edition. New York: St. James Press, 1996. Stitt, Peter. “The World at Hand.” Georgia Review 34:661– 669 (fall 1980). “Ted Kooser.” In Vol. 136: Contemporary Authors New Revision Series. Detroit: Gale, 2005. Pp. 255–258.

OTHER SOURCES Gioia, Dana. Can Poetry Matter?: Essays on Poetry and American Culture. Graywolf Press, 1992. Hollander, John. The Gazer’s Spirit: Poems Speaking to Silent Works of Art. Chicago: University of Chicago Press, 2005. Parini, Jay. Why Poetry Matters. New Haven, Conn.: Yale University Press, 2008.

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THOMAS MALLON (1951—)

Nicholas Birns THOMAS MALLON IS one of the major figures in the revival of the historical novel as a high-literary genre in the late twentieth century. Mallon is not just a belletristic writer who dips into the historical genre from time to time; he has made a systematic and thorough commitment to the form. In this, he resembles Gore Vidal, and indeed Mallon’s oeuvre can be seen as a riposte, by a man of the political center-right, to Vidal’s oeuvre and its more leftist tendencies, Whereas Vidal, however, wrote some of his best historical novels about the ancient world and other contexts outside the United States, Mallon has concentrated on U.S. history from the Civil War to the early twenty-first century; his seven novels as of 2008 provided an unobtrusively comprehensive account of the manners and mores of his country in its development into modernity.

vote for the more conservative party in the country—who are internationally known and who are respected by their literary peers across the political spectrum. In France, the playwright Eugène Ionesco was outspokenly anti-Communist in the 1970s yet was still lauded by an avantgarde that identified itself as both politically and aesthetically revolutionary. The same is true in the Spanish-speaking world; the Latin American writers Jorge Luis Borges and Mario Vargas Llosa, in very different ways, did not march to a predictably left-leaning drummer but were still spoken of with respect and admiration by writers who opposed them. In the U.S. literary world, however, identification is monolithically to the left and, even more so, monolithically within the Democratic party, even back when that party had many white southern conservatives in it and thus was not as automatically identified with progressivism as it became in the later twentieth century. Ernest Hemingway, for instance, tacitly identified a thinly fictionalized Alfred E. Smith (the 1928 Democratic presidential nominee) as something verging on a Christ figure. Conversely, that Willa Cather identified as a Republican made her a pariah among writers in “the mainstream” in the last decades of her life. This sacralization and making-normative of Democratic party allegiance has been a constant in American letters since the beginning of the twentieth century. Importantly, in the United States this is a question of identification and labeling, not necessarily actual stance. Many American writers have been de facto conservative. Toward the end of the twentieth century and into the twenty-first, the politics of many writers became “neoliberal,” generally favoring free-market economics, and also many were not unwilling to defend America abroad. Yet the actual label of Republican was something that was shunned. Mallon’s open declaration of

Mallon is as well known as a critic as he is as a novelist, and his novels have an essayistic, discursive quality. But this should not indicate a want of creative affect or inspiration. Mallon’s novels are not the sorts that exist in an aesthetic “ivory tower,” with no relation to fact or to nonfictional writing. They are vitally informed by the author’s wide research, learning, and, not least, meaningful opinion on many nonfictional questions, especially historical and political ones. Mallon employs his novels as modes of solving certain historical or conceptual problems—and as a moderate conservative who is an avowed supporter of the Republican party in U.S. politics, he brings a rare perspective to this task, since his political affiliation is relatively unusual in the American subdivision of the republic of letters. In England (Anthony Powell, Evelyn Waugh, P. D. James) and Australia (Les Murray) there are or have been conservative writers—that is, writers who are known to, in the voting booth,

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THOMAS MALLON can party was first established as an antislavery party. In the case of the Teddy Roosevelt era, though, the shadow of Vidal’s 1987 novel Empire may loom large. This is especially so given that Vidal used John Hay, Roosevelt’s secretary of state, as a major character—Hay was just the kind of figure to whom Mallon would be attracted. That Mallon’s project is so comparable to Vidal’s does not reveal it as imitative but rather displays its ambition and significance. Thus even though Mallon’s work on the level of the individual book seems rather decorous in its observation of specific limits and constraints, the overall project could not be more vast. Aside from Vidal, another striking possible comparison, though farther afield, is August Wilson’s cycle of ten plays about the African American experience over the ten decades of the twentieth century, “The Pittsburgh Cycle” (1983–2005). Despite their orientation toward very different strands in American history, both Wilson and Mallon are born storytellers who also have a sense of the political and of how the political can be conveyed imaginatively and discursively. Mallon regularly writes for periodicals including the American Scholar (appearing in the “At Large and at Small” column) and GQ (the “Doubting Thomas” column); he is a frequent reviewer for the New York Times Book Review, the Wall Street Journal, and, more occasionally, New York and the New Yorker. He is a vital and treasured resource on the American literary scene as novelist, critic, and cultural commentator.

himself as a Republican has been one of the most noticeable aspects of his career. Like Vidal, Mallon writes largely about obscure figures on the fringes of major events. This is the trademark technique of the modern historical novel, which has left the major figures to the biographers and historians and concentrated either on little-known though actually existing characters or invented characters that slip into and out of recorded history. Both Vidal and Mallon often feature cameos of famous figures, although Mallon is likelier to have fewer of them and also to focus on figures central to their time but often neglected later on, like Senator Roscoe Conkling in Two Moons (2000). Both Vidal and Mallon, albeit from different political vantage points, see their novels as telling unofficial, informal histories that also contrast to official standard accounts—Vidal aiming from the left, Mallon from the center-right. Vidal fashioned a sequence of novels about American history through the motif of a single family, the Schuyler-Sanford clan, and fashioned fairly close ties among the various novels in the sequence. Mallon has elected largely to leave the worlds of his individual novels as independent ones, although there is certainly potential for connection. Mallon’s novels have been set in the 1860s (Henry and Clara, 1994), the 1870s (Two Moons), the 1920s (Bandbox, 2004), the 1940s (Dewey Defeats Truman, 1997), the 1950s (Fellow Travelers, 2007), the early 1960s (Aurora 7, 1991), and the 1970s (Arts and Sciences: A Seventies Seduction, 1988). Without his deliberately announcing this intention, either in any one book or in an extra-novelistic statement, Mallon’s novels have the potential to tell the story of the American people over the period of more than a century. There are eras one conjectures that Mallon is deliberately avoiding, such as the 1930s (both because its politics heavily favor the Democrats and also the Great Depression has become a rather stereotypical setting of narratives), and some that seem to cry out for his attention. Among the latter are the 1900s, when one of the few iconic Republican presidents, Theodore Roosevelt, dominated the scene, or the 1850s in the upper Midwest, where the Republi-

FROM ACADEMIC TO NOVELIST

Mallon’s birth on November 2, 1951, places him smack in the middle of the baby-boom generation, and his suburban childhood was reflective of many of the conventional experiences of that generation. He received an advanced education and was immersed in the social and political events of his day—although Mallon’s perspective ended up being very different from some of his peers. Mallon was born in Glen Cove, New York, and grew up in suburban Nassau County on Long

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THOMAS MALLON determined to make the necessary presentation of the basics about the author as entertaining for the reader as it can possibly be. After a captivating brief biography of Blunden that, in its insight and austerity, reads like a gnomic short story, Mallon proceeds to examine the work. Especially interesting in the biographical section is Mallon’s account of Blunden’s lengthy sojourns in Japan and China. Blunden, whose work evokes the reassuring qualities of an intensely local landscape, became a cosmopolitan figure. He had a determining effect on how Japanese intellectuals constructed English literary tradition, although Mallon seems to regret that the Far East did not make any striking impact on Blunden’s own verse. Mallon discusses the pastoral aspects of Blunden and his experience in the First World War—he first came to notice as one of the “war poets” along with Wilfred Owen and Siegfried Sassoon. He then goes on to discuss Blunden as an intellectual and religious poet, closing with an overview of his minor but tangible place in twentieth-century literary history. Mallon has an eye for small details—that the British critic Alan Porter later taught at Vassar College in New York (where Mallon was teaching at the time he wrote the monograph), that the far older poets Henry Newbolt and Thomas Hardy marked Blunden out as a figure of promise, and that Blunden’s simplified summaries of English literary history for Japanese students constitute an unintentional jewel of lapidary precision. Mallon may have sensed a kindred spirit in Blunden, who was noted as both a poet and a critic. Mallon himself was to work in both creative and critical modes, and one senses in his advocacy of Blunden a tacit manifesto for writers willing to divide their time between two modes and to be measured both by the power of their own imagination and the acuity of their response to the works of others. Mallon also showed a true sense of professionalism in making an inevitably workmanlike task seem done with flair and gusto. After the Blunden book, Mallon continued primarily to write nonfiction but turned his attention to more thematic subjects of more wide-

Island. He came from an Irish Catholic family, and his parents, Arthur Vincent and Caroline Mallon, like many of their peers, found opportunity in the economic prosperity of post–World War II America. As he wrote in a memoir of his family included in the 1997 anthology, The Irish in America, “On our block in Stewart Manor, bursting with McLidens and Clares and Nolans, most of the families we knew had taken the small steps we had” (p. 130). Mallon himself took even larger steps. He graduated from Brown University (receiving his BA in 1973), then went to graduate school in English at Harvard University, graduating in 1978 with a PhD. At first, Mallon embarked on an academic career, although always with a desire to write in nonacademic contexts. Mallon taught English at Texas Tech in 1978–1979 (during George W. Bush’s first unsuccessful run for Congress in that region), then moved to Vassar, where he taught from 1979 to 1991. Though one does not see him as a born academic, Mallon functioned well enough to stay in academia for over a decade and seems to have been regarded as an admired teacher and colleague. Academia helped give Mallon a sense of a connection to larger dialogues beyond the immediate occasion, something often forgotten by those who do most of their nonfiction writing, as Mallon does, for nonacademic journals and magazines, It also honed his abilities in that most crucial competency in writing historical novels— research. Mallon’s only strictly academic book was his first, on the twentieth-century British poet Edmund Blunden. Mallon had a challenging task before him in writing a book for the Twayne series of monographs on single authors. The format of the Twayne series is rigid, and Blunden, though an interesting figure, lacks both the inherent stature and—a crucial aspect of doing criticism of an author—the groundswell of response from previous critics that would make a critical book easy to do. Yet Mallon (who had done his PhD thesis at Harvard on Blunden) not only succeeds in conveying an engaging and stimulating portrait of Blunden, he writes in a lively, aphoristic way that shows the writer not constrained but amused by the challenges of the format, and

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THOMAS MALLON rism (1989) is Mallon’s examination of the case of Jayme Sokolow, an academic who earned his PhD at New York University in the early 1970s and got a job in the history department of Texas A&M University later that decade. Sokolow, who in many ways had been brought in as what would later be termed a “diversity hire” (as being Jewish and from the East Coast), quickly produced a book on nineteenth-century American social history as well as several articles on different academic subjects. It was in the process of outside vetting for the book (a publisher routinely sends out submitted manuscripts to external readers to evaluate them) that Sokolow’s nearly certain plagiarism of another scholar’s dissertation became evident. Sokolow had counted on the other scholar’s work remaining in difficultto-access dissertation form, but, coincidentally, the other dissertation appeared, in book form, just at the time Sokolow’s own book was in the production pipeline, and Sokolow was caught out. Ironically, and, in the views of many of his peers, outrageously, he later got a job screening fellowship applications at the National Endowment for the Humanities—of which Mallon was later the deputy chair. In that position, Sokolow evaluated projects of many scholars who knew of and abhorred the alleged plagiarism. Yet the tone of Mallon’s treatment is more droll and bemused than savagely excoriating. Mallon himself had worked at Texas Tech in even more remote Lubbock, and he knew the situation of an East Coaster transplanted to a very different region of the country and the vagaries of working with a small set of colleagues in an academic department. Mallon nonetheless does not identify with Sokolow; in fact, his portrait of Sokolow is one of contempt all the more sharp because it is subtly deployed and because Mallon, as a writer, is prepared to be empathetic about nearly everything he treats. Although Mallon’s book is far more anecdotal than theoretical or comprehensive, it was frequently cited in the growth of academic interest in publishing history and questions of copyright, as well as the continuing prominence of plagiarism allegations in academic tenuring decisions and with respect to popular histories, which made specialized scholarship

spread potential appeal. The attention paid to Virginia Woolf’s and Anaïs Nin’s diaries during the 1970s and 1980s had prompted renewed interest in the diary form and helped provide a ready reading public for Mallon’s A Book of One’s Own: People and Their Diaries (1984). Despite diaries being a popular form with readers, and also despite the fact that many prestigious writers have written diaries, diaries were an undertreated literary form, and Mallon’s was one of the first books of substance on them. Mallon’s central point is that diary writers give the impression of intimacy, spontaneity, and immediacy, but they often have their eye on the future—on posterity. In addition, although diarists suggest to the reader that they are giving the truth about themselves, this does not mean they are necessarily doing so. Far from denigrating the authenticity of diaries, this quality makes them a well-considered and valuable work of art. In sampling the works of such famous diarists as Nin, Woolf (from one of whose works Mallon’s subtitle was adapted), Samuel Pepys, Parson James Woodforde, Henry (“Chips”) Channon, W. N. P. Barbellion (the pen name of Bruce Frederick Cummings), and many others, Mallon shows common traits of the form across the idiosyncrasies of its many practitioners, and at the same time, he gives notice to many other diarists who had not before been seriously treated. The study and appreciation of diaries mushroomed during the later twentieth century, but many prominent diarists had not yet come to light at the time of Mallon’s 1984 volume (among them James Lees-Milne, Frances Partridge, Alan Clark, Arthur Crew Inman, Viktor Klemperer, Jean Guéhenno, Ken Wilber, and Charles Ritchie in the twentieth century; Charles Greville in the nineteenth). This makes Mallon’s book inevitably incomprehensive, but it is also an indication of how new studies of diaries were as a phenomenon and how Mallon himself helped shape the field so that the diary became a more highly regarded literary genre. Mallon’s next nonfiction book focused on another close-to-the-bone aspect of literary activity but one on which little had been written: plagiarism. The centerpiece of Stolen Words: Forays into the Origins and Ravages of Plagia-

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THOMAS MALLON ground radio. We even hear the inner thoughts of President Kennedy:

available to the general reader. In a sense the line between plagiarism and the dissemination of information is hard to draw; Mallon’s sense of how such a measure could be gauged was potentially an informative guide as he began the practice of writing historical novels. A year before the publication of Stolen Words, Mallon’s first novel had appeared. Arts and Sciences (1988), is set in the graduate program of Harvard University, which Mallon had attended. The novel’s main character is named Artie, short for “Arthur” but also alluding to ideas of “art.” This double play in terms of the same proper name, Art, was used in Michael Chabon’s farmore-laureled novel of the same year, The Mysteries of Pittsburgh. Like Chabon’s novel, Mallon’s explicitly treats homosexual themes in a wider context. Mallon has always been forthright about his sexual identity, and in book dedications and interviews he makes frequent mention of his partner, Bill Bodenschatz. Arts and Sciences did not receive outstanding reviews, and Mallon turned to the more distant past for his next novel, which put him on the map as a writer of fiction. Aurora 7 (1991) is an exciting yet melancholy tale, set on one day in 1962. May 24 of that year was famous for astronaut Scott Carpenter orbiting the earth in the capsule that bears the same name as the novel. The book features Carpenter as a background character; we not only hear of his mission but see, in block letters, the air-to-ground communication between the astronaut and mission control. Yet the centering consciousness of the book is Gregory Noonan, a young boy from the New York City suburbs of similar age and background to Mallon himself at the time. Aurora 7 is set in what had, by 1991, become “the near past.” This is perhaps the hardest part of the past to write about, close enough that people remember it, but far enough away for its underlying assumptions to be pivotally different. Mallon faced a difficult challenge in coming up with language that would seem both contemporary and historical. He does this by a brilliant mixture, a collage of colloquialism and jargon, stretching from the banter of television personalities to the severe military communications if the air-to-

This is pretty poor stuff, he thinks, wondering who in the White House churned out this speech for him and why they couldn’t have done better. The white index card blazes in the sunlight, but the words are as dull as can be. How could the writer have failed to make some reference linking the capsule flying above them in space right now to the time capsule that’s going into the cornerstone? If he’d written the speech himself, he’d have done something good with that. (p. 92)

Some anachronisms find their way into Mallon’s narrative—the term “third world” was not much in use in 1962, and Bryant Park in New York City was not yet riddled with drug users—but the book makes up for this with an array of characters that are not stereotypes but embodiments of the prevalent conditions of their time and place. Father Tim Shanahan struggles with his heterosexual desires, as Gregory’s own parents—an Irish-Italian married couple highly typical of the suburbs of that era—try to keep their relationship interesting, and Elizabeth Wheatley, a New Yorker writer no longer in her first youth, copes with the aftermath of a disappointing adulterous relationship. There is an easy grace in the book, especially in its matter-of-fact handling of sex. Elizabeth’s affair is indication that casual sex occurred before the “sexual revolution,” yet the young Gregory has internalized his milieu’s unwillingness to talk about sex directly. Gregory imagines that his teachers, Mr. Danaher and Mrs. Linley, cannot be having sex together because they’re not married to each other. Mallon shows that society by later in the 1960s was not necessarily more sexually liberated, just more liberated in talking about sex. The key motif of Aurora 7 is a desire for adventure, imaged in different plot strands, modes, and life histories, Gregory feels overprotected and wants adventure, although his inability to meaningfully imagine adventure is vouchsafed by how well he is protected. Voyaging into space gives a new sense of both human possibilities and limitations. Mallon provides an additional layer of retrospection in the epilogue to the book, where reference is made to the Challenger explo-

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THOMAS MALLON felt for Clara as a stepbrother (though unrelated by blood) was somehow corrupted by its realization in marriage. The incest theme becomes a preoccupation of the novel, as Henry never recovers from his sense of the immorality of marrying a stepsister. Tormented both by the trauma of the assassination and the sense that a love too perfect to be real had been disgraced by the mere fact of being incarnated, Henry shoots and kills Clara. This is followed by an epilogue portraying Henry’s dementia. Allegorical implications crop up here, as the reader muses upon the American inability to fully come to terms with history, which helps explain why Mallon has to write the novel in the first place. Mallon is superb at depicting a world we think we know but which in its details and its sense of inner experience is strange to us. The huge premium placed on manhood, and particularly the virtual equivalence of manhood with service in war, is one indication of this radical difference between the world of the novel and our own world. Another difference is the tremendous role played by poetry, especially English poetry, in the lives of these American characters. Alfred, Lord Tennyson, Lord Byron, and Shakespeare are animate presences in this world. Mallon demonstrates the way that Civil War–era America was not local or parochial but that rather, in cultural terms, it was more immersed in the transatlantic flow of ideas and texts than the America of our own day.

sion of 1986 as well as to a supernova whose light will only reach earth in 1987. But the narrative also permits allusions to the past; reference is made for instance to the centennial of the Civil War being observed in the 1960s, a tangible part of the decade as experienced by people at the time but one seldom remembered in retrospect amid that decade’s other tumult. This playing with time and viewpoint is at the heart of the book’s raison d’etre. What happens when the space age, the epitome of futurity, becomes an object of retrospection? The balance of old and new is equal. This sets the tone for the sense of cosmic measure that prevails in the book. Gregory is saved, but a young boy in Pennsylvania accidentally dies. The exuberance of the space age does not alter the calculus of human suffering. Aurora 7 is a high-spirited book, but this joy is given strength by an underlying melancholy. Henry and Clara (1994) is about the affianced couple who were in the box with President and Mrs. Lincoln at Ford’s Theatre in Washington, D.C., on April 14, 1865, when John Wilkes Booth assassinated the president. Once again, Mallon peers from the edges of a major historical event, centering his gaze on the people on the periphery rather than the major historical actors. Clara Harris was the daughter of Ira Harris, a New York judge who was appointed to the Senate to fill the unexpired term of William H. Seward when Abraham Lincoln named the latter secretary of state. Harris, a name well known to local history aficionados in New York State, was a progressive reformer, although latter-day commentary often tended to obscure this fact, an injustice redressed by Mallon’s well-rounded portrayal. Ira Harris’s acceptance of his stepson, Henry Rathbone, as a suitor for his daughter is contingent on Henry fighting in the war. More than two years after the Lincoln assassination, in which Henry was seriously wounded, Henry and Clara married, in July 1867. Henry exhibited signs of mental illness in the years that followed, and on December 23, 1883, he murdered Clara.

At the same time, this emphasis on the otherness of history is not made into something marmoreal or distant, because of the emotional power of its events. Henry and Clara had the potential pitfall of being merely a literary tour de force. As had often been remarked, men who had served in the Civil War wrote few novels about it. But later on, the War Between the States was a popular subject of second-rate historical novels. Mallon’s book could have simply been a variation on the common tendency for these to be written by southerners with a guilt or defeat complex; not many books on the Civil War have been written by northerners who are Republicans (and indeed the book ends with a tribute to a later Republican president, William Howard Taft). Perhaps the most significant element about Henry and Clara,

In the novel, Henry’s refusal to believe he was ever married to Clara comes out of delusion and guilt with respect to her murder, but also out of a sense that the idealized, platonic love he had

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THOMAS MALLON Owosso, Michigan, portends the role that town will play in Dewey Defeats Truman. The heart of the book, though, is its political journalism. Mallon gives, in a series of disparate portraits, a discerning overview of the United States in the era of the first Bush presidency—a liminal age often scanted in the general historical consciousness. Even though his rehabilitation of the perspicuity of then–Vice President Dan Quayle has not been vindicated by the passage of time as much as Mallon might have hoped, the piece still serves as a refreshing attempt to undo the conventional wisdom about an easily caricatured political figure. (Mallon ghostwrote part of Quayle’s autobiography.) It is interesting that, despite Quayle’s low intellectual reputation, not only Mallon but also Quayle’s then–chief of staff, William Kristol, looked to Quayle to symbolize a new generation of conservative leadership, one presumably more comfortable with contemporary popular culture and the common experiences of a younger generation. Although absent specific reference to Quayle, this agenda also informed the essays in Terry Teachout’s anthology Beyond the Boom: New Voices on American Life, Culture, and Politics (1990), as well as the thought of the individuals profiled in Nina J. Easton’s Gang of Five: Leaders at the Center of the Conservative Crusade (2000). One could make the argument that the essential rationale for the successful Barack Obama candidacy for president in 2008—a postpartisan synthesis united by a hip but not militant generational identity—may well have been pioneered by Mallon and his cohort. The true pearl in Rockets and Rodeos, though, is “Rhode Show,” an essay ostensibly about the 1990 Rhode Island Senate race between the incumbent Claiborne Pell and his opponent, Claudine Schneider, but that is in fact a fascinating anthropological conspectus on the state of Rhode Island in general—its lore, its captivating provinciality, its unusual and strangely dynamic political culture. As politically acute as Mallon is, and as conscientious a reporter as he endeavors to be, an extra touch is added by his literary accomplishment. The portrait of Rhode Island not only has a journalist’s doggedness and thoroughness but also a novelist’s empathy and

however, is its framing as a tragic novel. The point Mallon illuminates is not that their brush with history made the couple momentarily or peripherally famous but that it changed their lives for the worse. Henry and Clara shows how private individuals are objectified under political scrutiny—even though they had nothing to do with Lincoln’s murder, and the intent of the federal investigators is essentially benign, the couple’s experience is still an instance of the intrusive effect of the state on people’s lives. Mallon, as a novelist, takes a very different tack from those modernists who saw history as a nightmare. Modernism is acute in its critique of historical optimism and an easy consolation to be found in historical nostalgia. But too many people who had been educated by the modernists saw history as, therefore, simply not worth knowing. Mallon wants to reintroduce the reader to the history they had been denied by the modernist consensus. Concomitantly, the reader who seeks out a Mallon novel may be a reader already interested in history, but he or she is just as likely to be a reader deprived of history in their education and seeking to compensate for that missing knowledge. Mallon, as author, is happy to supply this need. But he also warns that history is often a record of sadness, and that to matter in history, as Clara Harris and Henry Rathbone did (if only for an instant), is more likely than not to be disturbing rather than comforting. In emphasizing this tragic dimension to history, Mallon redefines the historical novel from the adventureladen genre it had become in the mid-twentieth century, and he joins several of his generational and attitudinal peers in making the genre once again the medium for high literary aspirations, as it had been in the nineteenth century. Rockets and Rodeos and Other American Spectacles (1993) is a collection of occasional essays, reprinted from journals ranging from the conservative American Spectator to smaller general-interest literary magazines such as the Yale Review and the Southwest Review. We see some of the geneses, or at least the side effects, of Mallon’s fiction here; the opening two essays, on the early space age, come out of the same milieu as Aurora 7, while a small tribute to

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THOMAS MALLON a few factors changed. Historical fiction became one of the leading indicators of this “counterfactual” attitude, as it had the ability to explore hypothetical outcomes and look at strands of experience that did not fall into rote accord with totalizing historical narratives. Mallon’s particular example, the 1948 U.S. presidential election, is almost paradigmatic in this respect because of the fame of the Chicago Tribune headline, “Dewey Defeats Truman,” which was published early on election night before the final results gave Truman his upset victory. Mallon’s title is, first of all, locally true, in that Peter Cox “defeats” Jack Riley in the contest of love that within the frame of the fiction closely parallels the electoral contest. But, even more, the title stands for a realm of possibility in which historical outcomes can be, if not reversed, than explored further, have their nooks and crannies furrowed for evidence that makes our view of the past more complex and multisided. Mallon’s novel, as sweet and clam as is its idyll of life by the Shiawassee River in rural Michigan, participates in this recalibration of history that made the historical novel a genre suddenly relevant in the 1990s. Although the influential literary critic James Wood characterized Dewey Defeats Truman as deliberately old-fashioned and likely to outrage the remaining champions of the avantgarde, it could be argued that some writers of a slightly younger generation (such as Michael Chabon and Jeffrey Eugenides, in their embrace of history and pastiche, their reversionary attitude toward the recent past, and their manifest delight in the traditional tricks and devices of fiction) have been following Mallon’s precedent. Two Moons (2000) is the first of Mallon’s novels to be told from the point of view of a female protagonist. Cynthia May is the widow of John May, a Union soldier killed in 1863 at the Battle of Chickamauga. When the book’s action starts, in 1877, she is thirty-five, beginning to get too old to capture the attention of the youngest man but still young enough to have romantic aspirations:

eye for character. “Rhode Show” is perhaps Mallon’s best piece of nonfiction writing, and as a piece of expository belletrism it rivals the best of figures such as Norman Mailer or John McPhee.

PARTISAN COUNTERHISTORIES

Dewey Defeats Truman (1997) was the defining book in Mallon’s career. A colleague of Mallon’s at Vassar, the noted children’s writer Nancy Willard, told Mallon about the quirks of Owosso, Michigan, the birthplace of the defeated 1944 and 1948 Republican presidential candidate Thomas E. Dewey. Mallon took heed, and set this idyllic yet suggestive novel in Owosso on the eve of the 1948 election. Peter Cox, a young businessman, and Jack Riley, a young union organizer, are rivals in love for the affection of Anne Macmurray. Macmurray seems to have more feelings for Riley, but she marries Cox—in a sense, we are told, just so that she can divorce him later when the mood of postwar conformity has worn off. Frank Sherwood, a lonely man who is secretly homosexual, becomes more open about his own identity in the course of the novel and seeks larger horizons. Sherwood is an important character not only in representing the increasingly more overt theme of homosexuality in Mallon’s work, but also in qualifying the marriage-plot ending of the book, whose coziness is already lessened by the sense that Anne’s marriage to Peter will not be permanent. Despite being a historical novel set in smalltown America and featuring a losing Republican candidate, Dewey Defeats Truman looks to the future as much as to the past. First of all, the interest in Dewey took part in a rising wave of reconsideration of the Republican candidate that began with Richard Norton Smith’s 1982 biography and that saw scholarship on the 1948 campaign take into account how Dewey’s candidacy had as much influence on future American politics as Truman’s did, even though Dewey lost. This dovetailed in general with an interest, both inside and outside fiction, on history’s losers—on how they were as interesting as the winners; how they might have been the winners had

So, she thought, negligence wasn’t good enough; he needed actively to disgrace himself. Closing the little notebook, she began to weep, soundlessly, the

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THOMAS MALLON observatory in this era, he compellingly sketches how Cynthia’s presence at the observatory might affect its social atmosphere. Cynthia, whose pursuit of a professional vocation might have seemed to rule out love, soon finds a romantic interest in Hugh Allison, a young scientist who scorns the intra–solar system focus of much of the naval observatory’s astronomical mission and wants to observe the stars. Allison is interested in extraterrestrial life—not so much discerning its presence but, rather, enabling intelligences beyond earth’s solar system to discern the presence of humans, by means of humans beaming off light to the galaxies. This Promethean exhibition of human technology and imagination has the potential to shock people in the nineteenth century, who might have been inclined to see Allison’s beliefs as heretical. Hugh, with his personal philosophy and style, is only one of many idiosyncratic personalities in Mallon’s unusual Washington-based scientific milieu.

way she’d taught herself between the thin walls of all her rooming houses. She took a last sip of the whiskey and set the glass down on two unopened envelopes from Hugh’s mother, no doubt containing more shrill complaints of debts and darkies. They had made her recall the sealed letters, a packet of ten, that John May had written her just before Chickamauga, one to be opened on each of her ensuing birthdays, if he didn’t survive. He’d marked the corner of each envelope, 1864 through 1874, and she had read all of them on first light on the day she was supposed to. They became, as the years went by, shorter and somehow less audible, embarrassed by their own petitions and the ruse they were attempting against fate, until they ceased altogether, John having run out of time to write, or just the ability to imagine her in the world more than ten years later. (pp. 140–141)

Cynthia’s self-consciousness about her name— she worries “Cynthia May” will be mistaken for a double-barreled feminine proper name, like “Mary Jane”—symbolizes the uncertainty she faces as a working woman in an age where women were redefining their roles as compared to previous generations but were still expected to operate in a largely domestic sphere. Cynthia wishes to attain a job at the U.S. Naval Observatory in Washington, and she masters complicated mathematical practices such as trigonometry as well as using logarithm tables in order to do so. Easily besting a male aspirant for the job, she begins to work at the naval observatory just as a new head, Admiral Rodgers, takes over, seeking to restore stability to the institution after a series of heads, including the recently deceased Commodore David, had passed through in the preceding few years. For all the carefully rendered period detail in Two Moons, the novel’s most convincing realistic achievement is depicting what it must have felt like for a woman of Cynthia’s talents and demeanor to work in an underfunded and often mediocre organization, at the cusp of a time of great technological change. (The invention of the telephone, a discovery that ultimately would transform the world far more than the discovery of the two moons of Mars, which gives the book its title, is given passing but crucial mention in the book.) If Mallon perhaps overstates the ease with which a woman might operate at the naval

Washington, D.C., as a setting is rare in American fiction written or set before the twentieth century; Henry Adams’s Democracy (1880) is an exception. Mallon, who had lived in Washington’s Foggy Bottom neighborhood for some years, was to some degree paying a tribute to his adopted city. Shrewdly, Mallon brings politics into the book but does not place them at its center. As Mallon points out in an afterword, Cynthia and Hugh are invented characters, whereas most of the other figures in the novel are real—especially the politician Roscoe Conkling. As in Henry and Clara, invented characters are the protagonists against a scrupulously rendered historical background. Mary Costello, for instance, is an Irishwoman who has come to Washington from Chicago and is working as an astrologer—a subject of which she does not have much knowledge. Despite being basically an imposter, Mary manages to keep herself afloat, especially by having intermittent liaisons with men. Cynthia seeks out Mary’s advice, even though she knows Mary does not have much knowledge of astrology and furthermore, as an astronomer, Cynthia sees astrology as basically fictive; Cynthia still yearns for the psychological reassurance, as well as the occasional feminine

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THOMAS MALLON administration. The two men are a Gilded Age equivalent of Henry V and Falstaff.

solidarity, that Mary can offer. Mary’s most direct effect on Cynthia, though, is introducing her to Conkling. Bored with his long-alienated wife, Julie, and his longtime mistress, Kate Chase Sprague, the corrupt, powerful New York senator, Conkling, is smitten with Cynthia—but Cynthia has eyes only for the younger, more dashing Hugh. Cynthia, though, is not above using Conkling to help advance Hugh’s career and the interests of the naval observatory. Cynthia commences a liaison with the senator, who is hardly an inspiring character:

Asaph Hall, the actual discoverer of the moons Phobos and Deimos, is not a major character in the book. His evangelical Protestantism and monomania, historically attested, do not make him particularly compatible with the novel’s focus on love and on period detail. In any event, Hall has only a cameo, and the novel itself is far less about Phobos and Deimos than the reader might at first think—the moons play a role in the plot only in their potential to garner the observatory more research funds from the publicity attendant on their finding, and they therefore help subsidize Hugh’s envisioned project.

On those occasions when they still met, Conkling’s physical ardor could be greater than before. The early, thrilling sensation of plundering Sprague’s treasure had subsided, replaced by the excitement of complete command. If she had aged, he—despite the winter’s illness and self-doubt—could stoke himself into a vitality that burned more urgently than ever. But he needed a woman whose time was approaching, not passing away.

Once Cynthia and Hugh begin their affair, the tone of the book changes, and the carefully limned historical background recedes in favor of a more plot-centered, romantic narrative. Cynthia and Hugh conduct a tentative courtship, ostensibly at first centering about mathematics and astronomy but gradually becoming more passionate. The “two moons” of the title are not just Phobos and Deimos but Hugh and Cynthia themselves, who are two satellites of larger tempestuous forces—personified in the novel by Ares, the god of war, the Greek equivalent of Mars—but who find each other and momentarily are the center around which the other’s life revolves. Hugh dies and Cynthia lives on, unfulfilled, her life seemingly as unredeemed as when she saw herself as merely John May’s widow. But, it is implied, Cynthia has gained a new sense of purpose and her life has a mission that it had not previously possessed. With Two Moons, Mallon has sought out hidden corners of American history, oddments of experience perhaps better assayed by the novelist than the “objective” historian. This, though, raises an interesting question concerning the historical novel: the way authorial achievement in the genre also raises questions about the very course of history itself and how the cultural sphere responds to that course. Once Mallon has established the interest and pertinence of Conkling, as well as Phobos and Deimos, as subjects, we may ask— why had no writer ever tackled them before?

(p. 68)

Conkling is regarded as someone who could run for president. His brother-in-law, Horatio Seymour, has done so, though as a Democrat and with a totally different political base. But Conkling has operated behind the scenes, flourishing during the corrupt Ulysses S. Grant administration. Conkling has been instrumental in assisting the assumption of the presidency by another Republican, Rutherford B. Hayes, who won in the famous disputed election of 1876 via a commission on which Conkling played a leading role. The commission, after the removal of its sole independent, David Davis, had voted eight to seven on strict party lines to give Hayes the presidency. Conkling wonders to himself what he should do next, wanting Hayes and his crowd to appreciate, “once the Indian wars turned out not to be quite over, and the dollar not so sound, and the South not so pliant as they hoped—how they needed Roscoe Conkling and all the troops he could command” (p. 69). Conkling feels politically outmaneuvered—a feeling that will intensify when (as the epilogue to the novel chronicles) his protégé, Chester Arthur, unexpectedly becomes president due to Hayes’s assassination, only to cut out his former New York boss and patron in conducting a surprisingly honest

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THOMAS MALLON After all, Conkling was a major political player for over a decade, and his viability as a subject for verbal portraiture had been established by David Jordan’s admirable 1971 biography, which Mallon utilized in his novelistic project. (Jordan’s book, incidentally, also contains substantial information on Judge Ira Harris, the father of Clara Harris in Henry and Clara, and thus may have served as a source for Mallon’s earlier book as well.) In addition, the discovery of Phobos and Deimos was the major achievement of the United States in planetary discovery until Clyde Tombaugh’s discovery of Pluto in the 1930s (alluded to in the naval observatory’s search for trans-Neptunian planets).

Mallon’s concentration on a Republican as a center of political gravity in the book. In between publication of Dewey Defeats Truman and Two Moons, Mallon wrote a brief but suggestive essay on his Irish family that describes the origin of his father’s conservative political allegiances: It was during Kennedy’s brief administration that my father’s conservatism took on its fervency. “Less profile, more courage” was a favorite refrain, and Barry Goldwater, that Jewish Episcopalian, his fondest presidential hope. He attended, I remember, at least one meeting of the new New York State Conservative Party, whose founders included Kieran O’Doherty and Daniel Mahoney (later appointed to the federal bench by Reagan). The party’s first gubernatorial nominee, who it was hoped would siphon votes from the liberal Nelson Rockefeller, was a businessman named David Jaquith, and I can still hear my mother, emerging from the voting booth in 1962, sweetly telling my father she voted for Mr. Javits—the Republicans’ sound-alike senatorial incumbent, even more liberal than Rockefeller—just as she thought he’d asked her to. The Conservatives never succeeded in getting rid of either Senator Javits or Governor Rockefeller, though by 1970 they would elect James Buckley, elder brother of William F., to a single term in the U.S Senate.

The answer to this question says something about the history of the American novel, the way its successive preoccupations with realism, naturalism, and modernism meant that Conkling, Phobos, and Deimos were not priorities on the collective literary agenda. It also speaks to certain ideological tendencies in the literary world—to not be particularly pro-science, for instance, or interested in astronomy outside the genre precincts of science fiction. (Two Moons, like Aurora 7, is emphatically also not a science-fiction novel.) In terms of Conkling, part of the reason no writer before Mallon had used him as a character is that he is an unadvisable figure and also testifies to an era in which corruption was the norm in politics. He is not going to draw the attention of a writer looking to paint a hagiographic or inspirational portrait of the American past: another reason why Vidal’s 1876 (1975), though drastically different in emphasis, was a necessary precedent for Mallon’s novel set in the same era. In addition, Conkling was a Republican, and even corrupt Democratic politicians seem to be of more general interest to American writers than corrupt Republicans, as is shown by William Kennedy’s Albany novels. By writing about Conkling, Mallon is situating himself in a partisan tradition—not in terms of strident polemics but in centering his historical purview in one particular political party—the Republican party. That Conkling is hardly a paladin of Republican ideals does not mitigate the iconoclastic nature of

(“Political Migrations: A Family Story,” p. 132)

Appearing in a book filled largely with eloquent, though sentimental and conventional, accounts of how the Irish overcame prejudice and prospered in America, Mallon’s account pulses with incongruity and provocation. An obscure politician running on the Conservative line named David Jaquith, in fact, represented a kind of primordial stirring of political currents, which were to dominate the nation on a wide scale by the end of the twentieth century. Yet this espousal of a conservative identity presents a most unusual specter in American letters. This identity is intensified when he links his own political sympathies to those of his father: “Most recently, and inevitably, I’ve gone to the Connecticut suburbs, where I, too, vote Republican” (p. 133). Whereas most writers would wish to openly disaffiliate themselves from their parents, even if they actually shared many of the same politics, Mallon openly professes his maintaining his

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THOMAS MALLON John Calvin Batchelor: its charm, leading sometimes into cuteness. Given the truism that a Republican is in literary terms, virtually unpresentable, a writer of that bent who cannot or will not dissimulate must stake all on charm. There is no possibility of a fiery sarcasm in the manner of Evelyn Waugh or even a mandarin reserve in the mode of Anthony Powell. Conservative novelists of earlier generations who had tried this, such as D. Keith Mano, had quickly dropped off the radar screen. The American conservative literary writer who wishes for mainstream acceptance must be graceful, witty, tactful, sometimes cloying—and these traits are both strengths and weaknesses of Mallon’s literary style and general cultural métier.

father’s party affiliation. The unobtrusive, courteous, if not apologetic “too,” the discreet admonition of belonging to a category that some reader might see as an utterly foreign species, is part of the delicate rhetorical work of the essay. Even the use of spacing and punctuation in the lightly dripped admission—“I, too, vote Republican”—is done with consummate delicacy and precision. “I, too, vote Republican”—not “I vote Republican as well,” which would have been just a rote following, the son doing the same as the father, or “I too vote Republican,” which would have been too assertive. But Mallon’s use of commas to set off the clause establishes a slight evasion of enunciation without at all concealing the message. It is much easier for Mallon to be gay writer than a Republican; he has to apologize much less.

PUBLIC AND PRIVATE

Far more disruptive of accepted expectations about “the Irish in America” than homosexuality is the claim that there is another narrative for Irish Americans than that centered around the Democratic party, and, eventually, New Deal liberalism, which had long been normative and continued to be so for most of the other contributors to the anthology. How could these things happen: For an Irish American to oppose John Kennedy, fulfillment of all the hopes of not only Irish but so many Catholic ethnics? For a writer not to rebel against his father’s conservatism but to share it, voting the same way his father had, even though educated in Ivy League schools to which his salesman father could never have aspired? For a writer not to take the path of least resistance and subside into a generally progressive mentality (one that is so universally assumed at literary gatherings that it can be assumed, and dissimulated, with little effort)? As repressive as the force of consensus, in a mildly center-right direction, can be in the country clubs, fraternal societies, and boardrooms of the United States, the vaguely leftist version of them is regnant in the academic cloakrooms and literary salons of the same country, foisting a prefabricated consensus that, the decorousness of Mallon’s partisan avowal suggests, stifles free thought. This may account for a noticeable trait in Mallon’s writing, also shared by other declared Republican novelists of his generation such as Mark Helprin and

Mallon has been unafraid to be a provocateur, a truth teller, someone who dares to make inconvenient utterances that often no one else in the culture will make. In the fall of 2000, at a reading at the New School in New York City, Mallon pointed out certain limitations in the critical approach of the New York Times’ chief fiction reviewer, Michiko Kakutani, such as her constant use of the adjectives “burnished” and “luminous.” In early 2002, he denounced what he saw as the sentimentality and triviality of the New York Times’ “Portraits of Grief,” short, individual profiles of people who lost their lives in the September 11, 2001, terrorist attacks. (Given that he regularly wrote for the Times, Mallon’s bravery, his independence of institutions that employed him, must be commended.) In 2006, Mallon wrote harshly about a revered American classic, Harper Lee’s To Kill a Mockingbird, occasioning wide controversy and bringing Mallon’s name to the awareness of many who had otherwise never heard of him. Further in the realm of literary comment, Mallon since the late 1990s has provided introductions to new editions of works by classic American writers—Sinclair Lewis’s Main Street in 1998 and, in a lesser compass, a 2003 edition of Bernard Malamud’s Dublin’s Lives. After what might be termed the “Republican trilogy” of Henry and Clara, Dewey Defeats Tru-

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THOMAS MALLON usher Catholics into power as a bulwark against the common threat. This was the background to the rise of the “Red-baiting” senator Joseph McCarthy, who was a Catholic from Wisconsin. From the time Fuller and Laughlin meet in Washington’s Dupont Circle (the capital’s equivalent of Greenwich Village) their relationship is tinged not only by its socially defined illicit nature but also by the tangled politics of the time, in which a virtuous anti-Communism is tainted by a bitter and vindictive politics of personal destruction. In this political and social crucible (compellingly and accurately portrayed by Mallon) their relationship cannot last. Decades later Fuller is winding up his career as deputy chief of mission in the American embassy in Tallinn, the capital of an Estonia newly liberated from its Soviet occupiers. His former secretary, a woman who had hoped for romantic attention from Laughlin herself but had realized the nature of his relationship with Fuller, informs the diplomat of Laughlin’s passing after a sad and unrealized life. Fuller’s response is aloof, affectless.

man, and Two Moons—all featuring, as either major characters or prominent motifs, important figures in the history of the Republican party— Mallon stayed within the twentieth century, and his fiction took on a slightly different tone. Both Bandbox (2004), which concerns life in the highend magazine industry, and Fellow Travelers (2007), which concerns the secret life of a homosexual diplomat during the Cold War, survey territory more personal to Mallon and have a broader and more variegated emotional canvas as a result. Bandbox is set in a milieu reminiscent of the novels of Dawn Powell, and the relationship between the writer Cuddles Houlihan and the editor Jehoshaphat Harris (perhaps some sort of relative of Clara Harris?) is reminiscent of that between Amanda Keeler Evans and her subordinates in Powell’s 1942 novel A Time To Be Born. Harris is the editor of Bandbox, a men’s magazine that, mutatis mutandis, resembles GQ, for which Mallon wrote the “Doubting Thomas” column for many years. Bandbox’s great rival is Cutaway, a newer, trendier title. There is a different feel to Bandbox than Mallon’s previous historical fiction, a more exuberant, madcap quality, combined with a delightful degree of anachronism, as many of the types, and indeed some of the names (Chip Brzezinski, Daisy DiDonna) would be as or more at home in Mallon’s own world than in that of the Jazz Age. Here, Mallon shows he can laugh at the past, as well at treat it with reverence; and that former eras can be the objects of pastiche as well as research. Fellow Travelers is one of the few novels written about the Cold War by someone who had a record of opposing the Soviet Union at the time the USSR was a superpower. It concerns the homosexual affair between Tim Laughlin, a young Roman Catholic who is politically conservative and also gay, with Hawkins Fuller, a young State Department employee. In many ways, the relationship between the two men has as much political as erotic symbolism. Roman Catholics had in the past been discriminated against in the United States, yet in the wake of the challenge posed by the explicitly atheist Soviet Union, the Protestant political establishment was willing to

Hawkins Fuller is a complex figure, perhaps Mallon’s psychologically subtlest character yet. A capable diplomat, representative of a class and a mentality that, for all their ingrained elitism, has served the United States well, Fuller is not only fundamentally uncomfortable with his homosexuality—which he has attempted to publicly sidestep through marriage and the appearance of a normative life—but has, somewhere within him, a sense of fundamental unconcern for others. Nonetheless, Fellow Travelers is perhaps Mallon’s most socially optimistic work. The novel chronicles two affirmative changes— the collapse of Soviet Communism and the freedom of gays and lesbians to live openly. The emphasis on homosexuality, rather than being incongruous with the book’s agenda, aids Mallon in demonstrating the durability of democratic ideals while chastising the paranoia evinced in the McCarthy era, when homosexuality was virtually equated with Communism and nervousness about totalitarian threats led to a culture in which highly conventional standards for human behavior became mandatory in the public arena.

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THOMAS MALLON describes himself as a “libertarian conservative” and has made clear that he no longer maintains his Irish family’s ancestral adherence to Roman Catholicism, partially because of that denomination’s position on homosexuality. This mirrored the administration in which he served, in which, in contrast to the Reagan administration, fervent Roman Catholicism was far less in evidence; the George W. Bush administration held power in a general atmosphere that suggested that what Richard John Neuhaus, in the 1980s, had called the “Catholic moment” had passed.

One of the missing elements in the novel, though, is any mention of race, surprising in a Washington that was already majority African American. Indeed, Mallon’s entire oeuvre has surprisingly little mention of race—especially given that Mallon as a Republican is well placed to make the point that it was the Republican party that was the party of Emancipation and Reconstruction, something that Democratic genealogies of the American past, which stress that party’s role as a champion of the excluded, tend to sidelight. This was despite all sorts of room in Mallon’s vision of counterhistory for affirmative portraits of African Americans. Not only is the Republican party the party of Lincoln, but Theodore Roosevelt invited Booker T. Washington to the White House, even Warren Harding spoke of the plight of the Negro, and as late as 1956 Dwight Eisenhower ran essentially even with Adlai Stevenson among African American voters. Mallon’s perspective on American race history would no doubt be revisionist, provocative, and yet fundamentally humanitarian. It may well be that this is one of the areas he will touch during future ventures in his still-ongoing novelistic career.

Mallon left the NEH position at the end of 2006 and concentrated his efforts once more on writing fiction and criticism. But his time in public life had given his politics and public posture more definition—he emerged as much as a libertarian as a conservative Indeed, the most proper term for Mallon might be “liberal” in the nineteenth-century sense—someone who is suspicious of government intervention in the economy but generally wants people to live their lives freely. However one may try to pigeonhole his politics, no one can doubt that Mallon’s contribution to the American letters of his time has been liberal, in the sense of “generous”—or perhaps “prodigal,” in the entertainment and stimulation it has provided.

His career took a more public turn in 2005 when Mallon became deputy chairman of the National Endowment for the Humanities (NEH). In this role, Mallon became one of the most prominent American intellectuals to have a government position, as well as one of the highest-ranking openly gay officials in the George W. Bush administration. Along with Dana Gioia (chair of the national Endowment for the Arts, the NEH’s sister organization), Mallon was one of two prominent East Coast writers serving in the Bush administration. Mallon and Gioia were representing the interests of literature and culture in the administration. But they were also, de facto, representing an administration often unpopular in the world of culture and trying to increase understating of its policies. Mallon’s appointment also underscores an important but infrequently explored difference between the Reagan administration and the George W. Bush administration—the two avowedly conservative two-term presidencies in U.S. history. Mallon

Selected Bibliography WORKS OF THOMAS MALLON FICTION Arts and Sciences: A Seventies Seduction. New York: Ticknor & Fields, 1988. Aurora 7. New York: Ticknor & Fields, 1991. Henry and Clara. New York: Ticknor & Fields, 1994. Dewey Defeats Truman. New York: Pantheon: 1997. Two Moons. New York: Pantheon, 2000. Bandbox. New York: Pantheon, 2004. Fellow Travelers. New York: Pantheon, 2007.

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THOMAS MALLON NONFICTION

“The 11/22 Commission.” New York Times Book Review, October 31, 2004, p. 14. (Review of The Kennedy Assassination Tapes, by Max Holland.) “Big Bird: A Life of the Novelist Harper Lee.” New Yorker, May 29, 2006, pp. 79–82. “Now She Gets It.” Australian, July 8, 2008, p. 23.

Edmund Blunden. Boston: Twayne, 1983. A Book of One’s Own: People and Their Diaries. New York: Ticknor & Fields, 1984. Stolen Words: Forays into the Origins and Ravages of Plagiarism. New York: Ticknor & Fields, 1989. Rockets and Rodeos and Other American Spectacles. New York: Ticknor & Fields, 1993. In Fact: Essays on Writers and Writing. New York: Pantheon, 2001. Mrs. Paine’s Garage and the Murder of John F. Kennedy. New York: Pantheon, 2002.

BOOK REVIEWS Clines, Francis X. “Forever Fishing in History to Catch a Story.” New York Times, January 30, 1997, Arts Section. Freeman, John. “Fun Characters Step Out from Lively Bandbox.” Cleveland Plain Dealer, January 11, 2004, p. J1. Gorra, Michael. “The Lavender Hill Mob.” New York Times Book Review, May 20, 2007, p. 8. (Review of Fellow Travelers.)

SELECTED PERIODICAL PUBLICATIONS (UNCOLLECTED) “The Great War and Sassoon’s Memory.” In Modernism Reconsidered. Edited by Robert Kiely and John Hildebidle. Cambridge, Mass.: Harvard University Press, 1983. Pp. 81–99. “Political Migrations: A Family History.” In The Irish in America. Edited by Michael Coffey. New York: Hyperion, 1997. Pp. 129–133. “The Mourning Paper.” American Scholar 71, no. 2:5–9 (spring 2002). “A House in Foggy Bottom.” American Scholar 73, no. 2:5–9 (spring 2004).

Mcalpin, Heller. “An Intoxicating Sip of the Roaring ’20s.” Los Angeles Times, March 7, 2004, p. R2. (Review of Bandbox.) Merullo, Roland. “An Unsatisfying Mix of the Political and the Personal.” Boston Globe, June 3, 2007, p. C5. (Review of Fellow Travelers.) Meyer, Joanna. “Mallon’s Bandbox.” Milwaukee Journal Sentinel, January 18, 2004, p. 3.

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ALBERT MURRAY (1916—)

Sanford Pinsker and filled with romance. What Murray does in the four books of his “Scooter tetralogy,” from 1974 to 2005, is nothing less than internalize, in his protagonist and the microcosm of Gasoline Point, Alabama, the macrocosm of twentiethcentury America.

IN THE NO-NONSENSE “Introduction” to his first book, The Omni-Americans: New Perspectives on Black Experience and American Culture (1970), Albert Murray makes the thrust of his counterarguments clear: “The bias of The OmniAmericans,” he insists, “is distinctly proliterary,” representing as it does “the dramatic sense of life as against the technological abstractions and categories derived from laboratory procedures” (p. 5). Murray’s “new perspectives” flew in the face of those who dominated the discussion of race during the turbulent 1960s: dry-as-dust social scientists, well-meaning politicians, and fiery “black power” ideologues. Lost in the layers of competing rhetoric was nearly everything that made American culture both grand and unique—its mythic underpinnings, its riffs and rhythms, and most of all, its nearly seamless blending of Negro, Indian, and European components. Each was ineluctably part of the other.

Murray’s vision of the “omni-American” was a synthesis fashioned from the fiction of Thomas Mann and the poetry of W. H. Auden, from the blues of Bessie Smith and Billie Holiday, and from scholarly studies such as Constance Rourke’s American Humor: A Study of the National Character (1931) and Lord Raglan’s The Hero: A Study in Tradition, Myth, and Drama (1936). It is a vision that bears some relationship to what we now call multiculturalism—with this important difference: Murray’s vision was far more radical than anything those enthralled by separatist politics could imagine. Rather than angry shouts of black separation, Murray insisted on a national history that put the frontiersman, the Negro, and the Yankee on an equal footing. As Henry Louis Gates Jr. put it in a 1996 New Yorker profile of Murray, The Omni-Americans was a book “in which the very language of black nationalists was subjected to a strip search” (“The King of Cats,” p. 24). Murray lined up his targets—celebrated chroniclers of the black experience such as Claude Brown, Gordon Parks, James Baldwin—and he shot them down, one by one.

Murray’s subsequent fiction puts much of what he argues in The Omni-Americans into the mouth of his protagonist-narrator, a sensitive black boy named Scooter. Scooter’s imagination can turn the chinaberry tree outside his house— “that was ever as tall as any fairy tale beanstalk” (Train Whistle Guitar, p. 3)—into a spyglass tree, a place from which he could see his local habitat as well as the wider—and mythic—world beyond: “When you climbed up to the best place in the chinaberry tree and looked out across Gins Alley during that time of the year the kite pasture, through which you took the short cut to the post office, would be a meadow of dog fennels again” (Train Whistle Guitar, pp. 1–2).

Nor did the contrarian Murray stop there. Rather than belittle the black middle class as so many “black Anglo-Saxons,” he insisted in The Omni-Americans that “not only is it the so-called middle-class Negro who challenges the status quo in schools, housing, voting practices, and so on, he is also the one who is most likely to chal-

Spyglasses, especially for the likes of Scooter, connote pirate ships and Caribbean adventure. Through them you can see a world farther away

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ALBERT MURRAY One need not stretch the truth to claim that Murray “read his way” into Tuskegee Institute, then “read his way” through it, and finally “read his way” into the larger world of letters. His undergraduate years in Tuskegee (1935-1939) were particularly important because its library was large and wonderfully diverse, containing the latest volumes by William Faulkner and Thomas Mann, as well as essential works on history, anthropology, and drama. It was his mixed blessing at Tuskegee to come to know an older schoolmate named Ralph Ellison, who later became his close friend and an abiding mentor. Their conversations about artistic discipline and aesthetic craft might well have occurred on the Tuskegee campus, but all indications are that they did not: Ellison, whose 1952 novel Invisible Man made him famous, was interested in becoming a professional musician (his career as a writer would come later), and what Murray most remembers about Ellison’s college days is that he was a sharp dresser, as was Murray himself.

lenge total social structures and value systems” (p. 91).

EARLY LIFE

The sheer range of Albert Murray’s work, including an impressive knowledge of folklore and fashion, ritual and religion, stompin’ the blues and trading twelves, make him seem more a citizen of the world than a boy who was born to Hugh and Mattie Murray on May 12, 1916. Murray may have spent his earliest days in the small town of Nokomis, Alabama, but even then, he dreamed of fairy tales and a wider world. He received a disciplined education at the Mobile County Training School, where he captained the basketball team. After graduation, he attended Tuskegee Institute on a scholarship. For others, growing up in the Deep South of Jim Crow restrictions and modest expectations might have been enough to seal one’s fate, but not Murray’s. To escape a diminished and predictable fate was Murray’s goal, and literature provided the wings he would use to fly above everything that delimits and dehumanizes. Like the hero of a fairy tale, Murray followed a path that he not only made but also for which he felt destined. An influential grade-school teacher early identified him as a possible member of the “talented tenth” (W. E. B. Du Bois’ description of those Negroes who had the wherewithal to raise up the entire race), and he took his teacher’s words to heart. The teacher, fictionalized as Miss Lexine Metcalf, appears in each installment of the Scooter tetralogy, and she is always bathed in welldeserved warmth. Murray was a precocious child who paid equal measures of attention to the gritty world around him and to what those lives, seen through a spyglass lens, might reveal. His fiction is heavily laced with the rhythms of Faulkneresque stream of consciousness as well as with the sounds of wailing train whistles, blues guitar, and jazz bands. The result is a lyricism that lets one enter a world shaped, indeed, created, by a sensibility honest enough to avoid sentimentality yet wise enough to let genuine glimmers of humanity shine through.

The mixed blessing that came with the Murray-Ellison friendship is that it was often hard to know where Ellison’s ideas left off and Murray’s began; nonetheless, together the two young men were working out what would be required of a black artist who could stand on equal footing with literary giants such as James Joyce, Thomas Mann, Ernest Hemingway, and William Faulkner. Murray had first met these high modernists in the section of the Tuskegee library devoted to recently published books and intellectual periodicals. When he and Ellison began corresponding in the early 1950s, Murray was fully committed to becoming a literary intellectual. The letters they exchanged—each one taking up a theme and the other responding to it, in the fashion of jazz musicians who trade themes and responses in sets of twelve bars— were published in 2000 as Trading Twelves: The Selected Letters of Ralph Ellison and Albert Murray (2000) and provide a lively history of two black intellectuals coming to grips with ideas and each other. Murray received his BS degree from Tuskegee Institute in 1939. A year later he returned to Tuskegee to teach composition, and he directed

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ALBERT MURRAY candor and partly because he packed intelligence, persuasion, and confidence into every paragraph: I am a “literary piano player,” he fairly shouted, “a would-be arranger-composer and maestro of discussions who finds himself calling the soloists home.” He could admit that, in the process, he might well “rap a knuckle here and there” but “only in the interest of the total sound and in accordance with his reading of the score, which of course is far from infallible but at least reaches for a sense of the whole” (p. 9). In his New Yorker profile of Albert Murray, Henry Louis Gates Jr. recalls a poetry reading by Nikki Giovanni that packed a university auditorium and led to clenched fists and shouts of “black power!” especially when her words made grand claims about the “blackness of blackness.” “Those were days,” Gates writes, “when violence (or, anyway, talk of violence) had acquired a Fanonist glamour; when the black bourgeoisie— kulaks of color, nothing more—was reviled as an obstacle on the road to revolution; when the arts were seen as merely an instrumentality for a larger cause” (p. 24).

the college theater from 1940 until 1943. In 1948, Murray received his MA from New York University; meanwhile, he stayed involved at Tuskegee, directing its college theater from 1946 until 1951. He had joined the U.S. Air Force in 1943, and he remained in the military until retiring as a major in 1962; at that time he began writing in earnest. In addition to his graduate education at New York University, Murray pursued studies at a wide variety of other schools in the years after graduating from Tuskegee: the University of Michigan, the University of Chicago, Northwestern University, Ohio State University, the University of Paris, and the Air Force Academy. From this appetite for education developed a person equally at home writing essays, reviews, novels, and poetry; Murray has epitomized the literary ideal of a “man of letters,” and literary critic Charles Monaghan has called him “one of the best kept secrets in American literature” (p. 7).

THE OMNI-AMERICANS: NEW PERSPECTIVES ON BLACK EXPERIENCE AND AMERICAN CULTURE

Murray’s essays, counseling a far different purpose for art, could not have appeared at a more incendiary time. The Black Arts movement saw itself as the cultural wing of the larger black power movement. In such an overheated atmosphere Ralph Ellison was roundly denounced because he did not throw his considerable prestige to the cause. He resisted (often with great personal pain); by contrast, Murray resisted with a mixture of passion and delight. Taking on those who got it all wrong—and there were many of them, black and white, educated and downright dumb—was what his life as an educator and an air force officer had taught him to do:

Albert Murray was in his mid-fifties when his collection of essays The Omni-Americans first appeared to wide acclaim and howls of disbelief. In the book’s opening sentence, Murray declared his position as an independent thinker and cultural maverick: “All statements are also counter-statements (p. 1).” Many of the essays had first appeared in such periodicals as the Washington Post Book World and the New Leader, but the cumulative effect of Murray’s prose was a powerful indictment of where American culture had sadly gone astray. His was a positive, if complicated, vision, one that put its emphasis on the humanity intrinsic in great art and that was hostile to white segregationists and black militants alike. Murray’s arguments may sound commonsensical to contemporary ears, but when The OmniAmericans first appeared his ideas were branded, sometimes in praise, sometimes in dismissal, as “iconoclastic,” “original,” or “unique.” Murray’s style played a large role in these assessments, partly because he wrote with an unflinching

The immediate objective of the polemics in The Omni-Americans is to expose the incompetence and consequent impracticality of people who are regarded as intellectuals but are guided by racial bias rather than reason based on scholarly insight. ѧ Don’t you know that the direction of such stupidity is just the kind of general confusion that will destroy all of us? ѧ Furthermore, to the extent that your misdefinitions are picked up by Negroes, you are

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ALBERT MURRAY who is familiar with the effects he achieved with the interior monologue of Peyton, the central female character of Lie Down in Darkness. Nevertheless, he may have done better to use another or perhaps even several different points of view for The Confessions of Nat Turner. The withinness of the first-person narration, after all, is not necessarily the best way to tell a story. ѧ

only aggravating the problem. This just simply is not the time for the politics of unexamined slogans. (pp. 4–5)

Murray took enormous pleasure in being an equal-opportunity scold. He argued that social scientists (one of the favorite targets of The Omni-Americans) were not “scientific enough” (p. 5); and he worried that black chroniclers of the self (for examples, Claude Brown or James Baldwin) had “gotten out of hand” (p. 100): “Does anybody actually believe that, say, Mary McCarthy reveals what it is like to be a U.S. white woman, or even a Vassar girl?” (p. 100). If the particular remains merely the particular, continues Murray, a recitation of one life “fact” after another, the result is neither interesting nor is it art:

The moral imperative to know Negroes does not necessarily require other people to “think Negro.” But storytellers who would do so must in effect be able to sing the spirituals and/or swing the blues. ѧ As for swinging the blues, the affirmative beat of which is always geared to the rugged faces of life, if you run Schillinger exercises instead of riffing down-home, you only think you’re swinging. Which, of course, also applies to any Negro writer who assumes that “black consciousness” is only a matter of saying you’re black while writing about black experience. (pp. 140–141)

Only to the extent that that Claude Brown, James Baldwin, James Joyce, Wright Morris, or anybody else has a rich enough awareness of many things other than his complexion, street address, and police record is he as a writer likely to be able to reveal very much about himself that one can’t come by just as easily from his case history. Indeed, if these things are all that a writer knows, what he is most apt to produce is precisely a personal case history, and one of limited documentary value at that. The fact that somebody assures you that the incidents in a book really happened in the flesh does not add to the credibility or validity of the book. It is more often than not only an excuse for bad writing.

“Any fool can see,” Murray argues, “that the white people are not really white, and that black people are not black” (p. 3). This assertion— which many people, black or white, foolish or wise, in fact did not see—takes conventional ideas about “multiculturalism” to a new level. This is but one of the many reasons that The Omni-Americans remains a seminal study, not only because virtually all of Murray’s lifelong themes are announced between its covers but also because the book is as relevant today—indeed, perhaps more relevant—than it was in 1970. At an early stage in the development of black studies programs at U.S. universities and colleges— often under the threat of campus upheaval if such programs were not instantly created—Murray held fast to the notion that “the function of education in the United States is to develop citizens who are fully oriented to cultural diversity—and are not hung up on race” (p. 8). There are times when Murray is simply contrary for the sake of being a certified contrarian. In a discussion of what Afro hairstyles signify, Murray cannot resist slipping in a good word for hair straighteners. The remark is little more than an afterthought, a way of once again suggesting that Murray is an independent spirit. More resolute, however, was his dismissal of Senator Daniel Patrick Moynihan’s controversial

(p. 100)

What concerned Murray in the failure of many accounts of people escaping a probable fate was that they were unable to transform the particular into the universal. Thus, their stories remained simply “their stories.” When Murray turns to white jazzmen or to white authors who take on black subjects and voices (for example, William Styron in his Pulitzer Prize–winning 1967 novel, The Confessions of Nat Turner), he continues to insist on the primacy of art, and its commitment to discipline and craft, but he also wrinkles in some important variations: That William Styron is a novelist who is capable of extraordinary self-extension is obvious to anyone

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ALBERT MURRAY the values of a social scientist every time. Murray returns to these touchstone ideas time and again in his subsequent work.

1965 report on the state of black families in America. The report, issued by the U.S. Department of Labor, cited the need for national action based on figures of illegitimate children, broken homes, lack of education, crime, and drug addiction in black communities. It was an assessment that many black Americans deeply resented. Murray took issue with the fact that the report did not “suggest national action to crack down on discrimination against Negroes” and that, instead, it suggested that “massive federal action must be initiated to correct the matriarchal structure of the Negro family!” (p. 29).

SOUTH TO A VERY OLD PLACE

No American writer has described the “place of place” more eloquently than has Eudora Welty. We put, she argues, “a poetic claim on, give a name to, a part of landscape that has put a claim of us. Place, therefore, is space to which meaning has been ascribed” (cited in Carolyn M. Jones, 2000, p. 111). South to a Very Old Place (1971) is an extended, highly personalized rumination on the power of “place.” The book has its origins in a commission given to Murray by Willie Morris, then editor of Harper’s magazine and a fellow southerner, to write a series of articles about the South for the magazine’s “Going Home” series. What starts as a lucrative assignment ends as a book as much about Murrayas-Odysseus as it is an odyssey, as much travelogue-as-autobiography as it is autobiographyas-travelogue. The pairs are blended into each other in much the same way that Murray’s thesis about omni-Americans parses blacks into whites and whites into blacks. The New Yorker’s reviewer loved it, pointing out that “Murray’s voice is that of a man whose emotions are controlled by his mind” (p. 85), while Robert A. Gross in the Saturday Review called the work nothing less than “a disciplined piece of art: a reflexive and elegant rendering of a man’s coming to terms with his roots” (p. 72). Even before we read a single word from Murray, we are greeted by epigraphs from his favorite modernist writers: James Joyce, Thomas Mann, and W. H. Auden. Each quotation gives a hint of themes that will emerge in Murray’s autobiographical journey, but perhaps none is more evocative than the words Murray chose from Auden’s 1932 poem “Journal of an Airman”: “The true ancestral line is not necessarily a straight or continuous one.” In South to a Very Old Place, the zigs and zags of Murray’s journey take him from his Lenox Terrace apartment in Harlem to New Haven, Connecticut, and then on to Greensboro, North

Because there is “nothing anywhere in the report that indicates that Moynihan knows anything at all either about matriarchies in general or about the actual nature of Negro family relationships in particular,” his study comes to little more than “sophomoric theories about father figures,” says Murray. Moynihan does not know the first thing about mythic heroes or about stompin’ the blues; and he doesn’t understand how complicated survival mechanisms work: “Was Elizabethan or Victorian England a matriarchy?” Murray asks. “What about the Israel of Golda Meir? No father figure ranks above that of epic hero, and yet how many epic heroes issues from conventional families?” (p. 29). Whereas social scientists such as Moynihan and Kenneth Clark rode through black ghettos and saw only the despair of poverty and the thumbprint of pathology, Murray argues for the need to also appreciate the effortless aristocracy of a Duke Ellington or a Count Basie, and he celebrates the sheer resilience of black life per se: its “elastic individuality ѧ its esthetic receptivity, and its unique blend of warmth, sensitivity, nonsense, vitality, and elegance” (p. 65). What he meant to celebrate was a vision of America as “incontestably mulatto,” and he meant to argue for a halt to the facile ways in which white norms were contrasted with deviations: “The so-called black and so-called white people of the United States resemble nobody else in the world as much as they resemble each other” (p. 22), he asserted. For Murray, the values conveyed by fairy tales and epic heroes, the values of stompin’ the blues and bebop, trump

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ALBERT MURRAY implications of ambiguity. Murray makes similar claims to the power of complicated survival found in the blues, and this shared formula and definition explains why he frequently links music and literature. Extraordinary discussions dominate the people Murray meets in his travels, everyone from the distinguished Yale historian C. Vann Woodward, who tells him, “I am prepared to maintain ѧ that so far as culture is concerned, all Americans are part-Negro” (p. 19), to the folks he meets at a Mobile barbershop. Shifting into the second-person pronoun (perhaps taken from the conventional blues ballad), Murray acknowledges the power of a wisdom that comes from down-home experience rather than from books: “Indeed you could also point out that so far as you personally were concerned it was Uncle BudDoc-Mose-Ned-Remus, not Henry James, who first said: ‘Boy, keep your eyes and ears open. Boy, try to be one on whom nothing is lost’” (p. 71). His kinfolk, schoolteachers, and the black community at large had high expectations for Murray. That was what being a member of Du Bois’ “talented tenth” meant; “Find out whatever and whoever it is you want to be,” the italicized text puts it, “and do your level best and you can count on somebody backing you up” (p. 101). Murray also knows that, as with most things, homecoming had another side, a place of fond memories was also a “place of very old fears” (p. 155), The South is changing; he could stay at the Sheraton Battle House, the city’s best hotel, and be served by solicitous white waitresses, but he also cannot fail to see a community deeply divided between “niggers” and “peckerwoods” (p. 158). This sobering truth claims a place in his reportage just as his canny mixture of technology and fairy tale gets to the very heart of why race hatred still has a foothold in Mobile: it was “very much as if the fabulous old sawmill-whistle territory, the boy-blue adventure country of your childhood memories ѧ had been captured in your world-questing absence by a storybook dragon disguised as a wide-sprawling, foul-smelling, smoke-chugging factory” (p. 164). Most of all, Murray knows instinctively that

Carolina, and Atlanta, Georgia, finally coming full circle to his beginnings in Mobile and Tuskegee, Alabama. The result is what Murray calls “a meandertale,” one in which he retraces his steps, Odysseus-like, and reclaims his epical home. The narrative fuses the Murray of the 1970s with memories of the Murray who grew up in the South. In less skillful hands, the memoir might have generated waves of nostalgia and turned overly sentimental. This is not the case with South to a Very Old Place, partly because Murray is such an accomplished writer and partly because the bluesman in Murray is always in artistic control. The italicized portions of the book are especially given over to a thoughtful lyricism: going back home has probably always had as much if not more to do with people as with landmarks and place names and locations on maps and mileage charts anyway. ѧ it is somewhere you are likely to find yourself remembering your way back to far more often than it is ever possible to go by conventional transportation. (p. 3)

Writing in the pages of the Village Voice five years after he completed South to a Very Old Place, Murray commented on a Duke Ellington biography in particular and about biography in general. In doing so, Murray was talking about himself and his autobiographical South to a Very Old Place. His “functional mythology” was the hero-as-jazzman, and his frame of reference was the books on Greek theater and a pantheon of heroes he had first read about at Tuskegee. Murray was especially drawn to stories in which a hero in the making is raised by sturdy, good people but his real parents were royalty or, even better, demigods. To dream one’s destiny so deeply that it becomes true is not only Albert Murray’s story but also the story of America. Like Ellison, he soaked up the best that had been thought and said in Western culture and then fused what he found with the down-home blues he had heard all his life. The epic is Murray’s central genre because more than any other literary form it is an account of a hero involved with elemental problems of survival, at the same time that it recognizes the

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ALBERT MURRAY at improvisation. Given the world’s traps and snares, this is understandable, just as it is entirely understandable that Murray would turn the bluesman into a contemporary embodiment of the old epic hero. The second lecture, “The Dynamics of Heroic Action,” may be the most important of the group because it outlines what Murray calls “the dynamics of antagonistic cooperation” (p. 37), by which he means nothing more or less than that the hero must overcome obstacles—and the greater the challenges, the larger his share of herohood. Put simply: “No dragon, no hero.” Murray, by contrast, argues that contemporary American protest literature is, by definition, antiheroic, because the forces of determinism (Freudian, Marxist, Darwinian), so bear down on a doomed character that he is beaten before he begins. Individual action counts for much less than the larger sweep of social conditioning, which simultaneously delimits and defines. There is no space for herohood to thrive, because protest literature is entangled in the narrowly political rather than the widely mythic. The third lecture, “The Blues and the Fable in the Flesh,” explores the ways in which the inevitability of difficulties and the countervalue of improvisation play themselves out in the traditional characterizations of the frontiersman and the detective as well as in James Joyce’s Leopold Bloom, Franz Kafka’s K., Ernest Hemingway’s bullfighters, and, of course, in the essential nature of the bluesman. By their various actions, Murray’s heroes make “the impossible seem not only possible but imminently (which is to say presently and locally) probable” (p. 92). Murray’s point is that we need heroes every bit as much as did ancient societies and that the belief in man and in his possibilities to survive is wrapped up in stories that speak to our collective consciousnesses and our souls.

his book about the South don’t mean a thing if, as the song would have it, “it ain’t got that swing.” His finely tuned ear can capture the cadence of vernacular speech, the rhythms of lyrical, experimental prose, the bluesman’s wail, and the jazz trumpeter’s riff. Wrapped inside all these is the soul of the epic hero, a positive force that promises to turn even the ordinary into the transcendent.

THE HERO AND THE BLUES

In 1972, Murray delivered three public lectures for the Paul Anthony Brick series at the University of Missouri. The general series focused on the “science of ethics.” Murray’s lectures were given under these titles: “The Social Function of the Story Teller,” “The Dynamics of Heroic Action,” and “The Blues and the Fable in the Flesh.” The lectures were collected between hard covers as The Hero and the Blues (1973). The occasion was “academic” and so were Murray’s elaborations of what he had been arguing since The Omni-Americans—that blues ballads could, indeed should, be mentioned in the same breath as our most serious literature. The cathartic effect of the blues, its cleansing character, is not unlike that which one finds in classical drama and in our most important novels. The Hero and the Blues provided an academic forum for laying out a philosophy of aesthetics and then of relating this to the blues. The first lecture, “The Social Function of the Story Teller,” focuses on the dual nature of the storyteller’s responsibility to the human community: the storyteller not only describes but, more important, shapes human experience—and he or she does this in a language that will move those who hear the story. Thus, Murray distinguishes the genuine storyteller from those who merely relate a series of events. In Murray’s words, the storyteller narrates “incidents which embody the essential nature of human existence” (p. 10), and he goes on to insist that authentic storytellers contribute to man’s understanding of himself and the world he lives in. The hero of a story is not only a positive force but also someone who is particularly adept

TRAIN WHISTLE GUITAR

In chronicling the early life of a black boy growing up in Gasoline Point, Alabama, Murray tells us much about his own childhood, albeit with

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ALBERT MURRAY swamp into heroic adventure. In Scooter’s world there is no white supremacy, no black pathology; rather, Murray’s fiction is a demonstration of the cultural theories he outlines in The OmniAmericans and The Hero and the Blues. Train Whistle Guitar is simultaneously a triumph of the human spirit and a dazzling aesthetic performance, one that riffs on folktales, the blues, and spirituals. The critic Richard M. Ready has argued that the novel “works out through a series of improvisatory episodes Murray’s commitment to the aesthetic, stylizing dimensions of life as a key to the complicated business of making a life for oneself” (p. 281). “Stylizing” is one of the charged words that helps to explain Murray’s prose.

such stylizing and alterations as were necessary to describe his experience of those complex times. Train Whistle Guitar (1974), the first book in Murray’s “Scooter tetralogy” and winner of the 1974 Lillian Smith Book Award, is a bildungsroman, the story of a protagonist learning about the world he is growing into. In a 1997 interview, Murray elaborated on the novel’s connection to the bildungsroman tradition this way: “The Scooter books were definitely part of that [tradition]. The Stephen from James Joyce’s A Portrait of the Artist as a Young Man, a novel I knew well, as I know Goethe’s Wilhelm Meister And certainly Thomas Mann’s Joseph. All finally, I suppose, all heroes of all fiction.” (Pinsker, 1997, p. 211)

Scooter, the protagonist of Murray’s semiautobiographical fiction, is a person lacking a last name, and this is hardly accidental. The hero, as Murray envisions him, is a person with family roots shrouded in mystery. As Murray insists, “My perception is that whatever self you create is mythical. The downtrodden, that’s a myth [one Murray resists with every fiber of his being; as for growing up in the Jim Crow South, he says, “I beat that”]. The heroic, that’s a myth too” (Pinsker, 1997, p. 214). Between victimhood and the heroic, there is never a choice: great literature always embraces the hero because his tale embraces the positive. There is much in the general outline of Train Whistle Guitar that reminds us of similar novels such as Langston Hughes’s Not Without Laughter (1930), Ralph Ellison’s Invisible Man (1952), or Gordon Park’s The Learning Tree (1963); growing up black in white America produces moments that do not depend on North or South, urban or rural. Discrimination was a fact of life for an entire generation of writers that included Murray, but Murray insists on keeping his autobiographical fiction, his autobiography, and his life focused on the lessons that great jazz and great literature have to teach. For the young Scooter, endless possibilities surround him, just as he is enveloped by the blues, by elders, black and white, talking about sports figures and celebrated musicians, and by the very landscape that turns a trip into the

The color you almost always remember when you remember Little Buddy Marshall is sky-blue. Because that shimmering summer sunshine blueness in which neighborhood hens used to cackle while distant yard dogs used to bark and mosquito hawks used to flit and float along nearby barbwire fences, was a boy’s color. Because such blueness also meant that it was whistling time and rambling time, And also baseball time. (Train Whistle Guitar, p. 6)

The repetition in Murray’s sentences are at once echoes of Hemingway and of Faulkner as well as a tribute to his highly developed ear. In the Scooter novels, italicized portions indicate shifts in emphasis or tone or time that can be read as a version of what jazzmen call “trading twelves,” the alternating sound as each member of the group takes a twelve-bar solo. In Train Whistle Guitar, Scooter is largely confined to the community that surrounds his childhood home in Gasoline Point. There he hears the local folktales and the music they often inspire, but of all the people who matter to Scooter and his faithful companion Buddy Marshall, Luzana Cholly matters most. He was “as rough and ready as rawhide and as hard and weather worthy as blue steel ѧ he was always going somewhere or coming back from somewhere” (p. 9). No doubt a realistic rendering of growing up in the Jim Crow South would emphasize all that delimited and dehumanized. Murray, by contrast,

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ALBERT MURRAY has to do with the sheer difficulty of Murray’s prose. Too often cultural theories or aesthetic asides crowd onto the page, distracting us from the story at hand. The qualities that reviewers most admired about The Spyglass Tree, its ability to so stylize Scooter in his journey toward herohood, could not sustain the interest of many readers; they got lost in Murray’s insistences about the synergy between the hero and the blues. Another problem the book encountered may be chalked up to the long, continuing shadow cast by Ralph Ellison’s Invisible Man. Both novels include portraits of Tuskegee Institute, but Murray’s version of the school is simultaneously contrarian and counterintuitive; he sees college as a setting that liberates the mind rather than, as in Ellison’s sour view, a place that enchains it There may be dragons in Murray’s testing of a hero’s mettle, but there are no monsters akin to the Bledsoe of Invisible Man. Murray accounted for the sharp differences in the portraits of college life by Ralph Ellison and himself this way:

sees life through a mythic lens. In less-skillful hands the result would have been sentimental, impossibly saccharine. Murray avoids these pitfalls by playing out Scooter’s adventures against a larger backdrop of herohood. Not that I who have always been told that I was born to be somebody did not always know on my deepest levels of comprehension that the somebodyness of Luzana Cholly was of its very nature nothing if not legendary. ѧ Anyway, such somehow has always been the nature of legends and legendary men (which probably exist to beget other legends and would-be legendary men in the first place). (p. 15)

In a novel largely given over to Scooter’s successive initiations—into life and death, sex and absurdity, joy and sorrow—what his patient seeing and listening comes to is the wide-ranging wisdom of the blues. His father’s identity remains a mystery (he might even be Luzana Cholly, the bigger-than-life blues man, gambler, and local legend), but the various “fathers” who teach him about the world are not ambiguous. Through them, Scooter becomes the community’s voice and its conscience outlined in Murray’s earlier nonfiction.

He’s [Ellison is] a different personality. If you compare Scooter’s college days with those of Invisible Man, you wouldn’t think they attended the same school. But you’ve got to remember that I wasn’t concerned about the goddamn administration. I was concerned about what was in the library and what I was going to get out of this time I had in college. What positions the administration had I didn’t know, and I didn’t care to know. All I knew was that a teacher was going to come into the class and I wanted to be ready for him, I did not feel I was mature enough to make decisions about administrative matters. I had mostly contempt for the students who went off half-cocked in protests about some administrative ruling. I wasn’t about to get kicked out of school over some protest rally. Man, I just barely got to school in the first place. I didn’t have money enough to get home for Christmas, and I wasn’t about to be an activist. I was there to get my education. I could just see it— because I was already a novelist in my mind—on the goddamn bus to Mobile by myself and all people at home saying, “Albert Murray’s back. They kicked him out of Tuskegee because he was up there running with some of these other students and they’re jumping the administration. ѧ”

THE SPYGLASS TREE

The Spyglass Tree (1991) moves Scooter’s story to his college days and to Murray’s version of Tuskegee. Reviewing the novel in the pages of the Washington Post Book World, Charles Monaghan wondered: “Is Albert Murray America’s best black writer? There is certainly a case to be made for it, and his second novel, The Spyglass Tree only makes the case stronger” (p. 7). Others were equally impressed by what Monaghan calls Murray’s “swooping, swerving prose” and the way the novel’s disparate parts add up to “word music” (p. 11). Unfortunately, the wider response to Murray’s unfolding story of the heroic Scooter (now often referred to as “college boy”) did not live up to the critical reception of others. Part of the reason

(Pinsker, 1997, pp. 209–210)

Scooter sees college through his own eyes but also through the eyes of former teachers such as

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ALBERT MURRAY Lexine Metcalf, who had long ago singled him out as “special” and as a fledgling member of the “talented tenth.” Taking his first measure of the (fictionalized Tuskegee) campus for the first time, Scooter turns lyrical:

freshman) and his various journeys, with the “spyglass” (chinaberry) tree of his childhood leading him to wider orbits and deeper mixtures of the real and the fabulously imagined.

As you took your place in line with all the other freshmen waiting in the hallway outside the registrar’s office that first Friday morning, there was a moment when you suddenly realized that you were actually on your own and you felt so totally all alone that it was almost as if everything that had happened before you came though the main gate (less than twenty-four hours earlier) and saw that many brick-red buildings with magnolia-white eaves and antebellum columns beyond the late summer green shrubbery with the rust-red dome of the dining hall against the bright blue preautumn sky was now already a very long time ago and in a place very far away.

THE SEVEN LEAGUE BOOTS

In a Booknotes interview with Brian Lamb, Albert Murray has this to say about the layers of meaning packed into the title of his 1995 novel, the third in the Scooter tetralogy: The Seven League Boots (1995), of course, comes from “Puss in Boots,” right? It means you put on these magic boots and you get a longer stride, a more effective stride. But the epigraph in the book is a statement from the first paragraph of Kafka’s The Castle, which says, “The castle hill was dark, hidden in mist, nor was there any evidence that a castle was there.” Now that should take it out of any narrow discussion of civil rights and back to the basic problems of existence. In other words, an American vernacular approach to the meaning of life, which is what we do. We take the vernacular particulars—that is, the idiomatic particulars that impinge most intimately on our everyday life. And if we’re an artist, we try to process that or stylize that into a statement of universal significance, because if it did, then it’s valid, it’s comprehensive and it’s reliable, just as in statistics.

(The Spyglass Tree, p. 3)

For Scooter, his college days in the 1930s are a perfect place to enter the world of the blues, where recollection transmogrifies into legend, and where (because Scooter is, above all else, a bookish boy) he can play off the ideas he learned at the Mobile County Training School against the giants—James Joyce, William Faulkner, Thomas Mann—he encounters in the college library. Indeed, Scooter is acutely attuned to everything about college life, from the first time that roll was called in his classroom and he uttered the word “here”:

(Booknotes Web site)

In The Seven League Boots, Murray continues Scooter’s heroic odyssey as he joins a jazz band after graduating from college. The Bossman (a composite of Duke Ellington and Count Basie) has taken notice of Scooter’s ability on the bass, and in short order he is a member in good standing of a colorful group of musicians, traveling the country on various one- and two-night stands. Murray has talked about his affinities with jazz and how it meshed almost seamlessly with his literary predilections:

meaning not only here as in present in the flesh on the spot as of now as against absent and thus not here but elsewhere. I said, Here, meaning not only as prescribed and thus required by attendance codes and regulations but also as promised on my own in all sincerity and thus here above all as in partial fulfillment of that which has long since been intended. Because even as I said it I was thinking, Me and my own expectations me and also the indelibility of the ancestral imperatives to do something and become something and be somebody.

I had all this [a deep feeling for jazz music] in me for a long time—a reverence for the jazz musician as artist along with my reading of literature as a college student—but what I needed to do was get it into focus. And I had as much trouble with this as anybody else because jazz was popular and this and that, but usually not taken with much seriousness. You had to be much more sophisticated than I was

(p. 23)

Adventure remains the hallmark of Scooter’s experience (even if “ancestral imperatives” are a mouthful for a realistically rendered college

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ALBERT MURRAY nist to what he calls “the patent-leather avenues” of “Philamayork” (p. 4), Murray-speak for the urban setting where Scooter’s graduate school education puts him in contact with Taft Edison (a thinly disguised versions of Ralph Ellison) and Roland Beasely (a thinly disguised version of the painter-sculptor Romare Bearden). What they talk about, at great length, is cultural aesthetics and America. As the Ellison character puts it, “As far as I’m concerned, if it’s supposed to be American art and it doesn’t have enough of our idiomatic stuff, by which I mean most down-home idiom, in there it may be some kind of artistic exercise or enterprise but it ain’t really American” (p. 68). Murray wholeheartedly agreed. Train Whistle Guitar, the first of the Scooter novels, had introduced readers to Gasoline Point, the merging of folktales with the blues, and (perhaps most of all) to paragraphs so lyrical that they seemed better sung rather than read. It was a triumph of “stylizing” as a style, and for those who have followed Murray’s career closely, it is the most successful of the Scooter books. The Magic Keys (2005), by contrast, is the least achieved of the series, largely, as the critic John Leland points out, because “the novel feels without place, repeating its arguments rather than letting the characters give them life ѧ as it pontificates on its own form, this novel feels plotted rather than lived” (p. 14). What Leland fails to recognize, however, is that The Magic Keys is a novel of ideas and, as such, should also be judged in terms of how good, or bad, its “ideas” are.

to make certain distinctions. Now, people were always making these distinctions when it came to Duke, but that was more difficult when it came to Louis Armstrong. There, the mask of the entertainer kept getting in the way. Ralph [Ellison] used to talk about the necessity of putting a frame around art to separate it from actuality. (Pinsker, 1997, pp. 214–215)

Murray puts a “frame” around Scooter, always seeing him as a larger-than-life mythic hero, but what gets lost in the process—and what some jazz critics objected to—is that in reality there was never a band that played as flawlessly as did the Bossman’s, just as there was never a young bassist, fresh out of college, so talented and fully formed. Seven League Boots allows for plenty of space to sprawl, and plenty of space to ruminate about art as only a jazzman like the Bossman can: And he said, I’m talking about not losing sight on the world like some I’ve seen. I’m talking about when you see what you see and hear what you hear you really going to find out that a lot of this stuff up here ain’t nothing but some of the same old jive all wrapped up in a big city package. I’m thinking about how some folks come up here all wide eyed, and when them bright lights from them tall buildings hit them, they think the first thing they better do is get rid of the good old tried and true downhome stuff that got them all the way up here in the first place. Boy, don’t you ever let nothing make you forget that what’s always out there waiting to rip your drawers in that same old bear you been tussling with all your life.

Many of Saul Bellow’s novels ran into the same problem from critics who argued that his style is top-heavy with abstraction. From an early novel such as Dangling Man (1944)—in which a protagonist surveys a bleak urban landscape and wonders, “What in all this speaks for man?”—to a later one such as Herzog (1964)—with its title character decrying, in elaborate detail, just how real ideas have been replaced by tawdry imposters—Bellow did not shy away from placing genuine intellectuals at center stage. In addition to the usual suspects one rounds up when talking about Murray’s literary influences (Thomas Mann, André Malraux, Ernest Hemingway, and

(p. 52)

Murray’s stylizing melts the down-home with the uptown, folklore with literary classics, and (of special interest in a novel about jazz musicians) a sense of the sophistication that exists just behind the popular entertainer’s onstage persona.

THE MAGIC KEYS

In the concluding volume of the Scooter tetralogy, Murray takes his never fully named protago-

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ALBERT MURRAY William Faulkner), Saul Bellow is also important. In an interview he put it this way:

music, and indispensable because Murray, better than anybody else, explains (in Walton Muyumba’s words) “that the imperative of American creative art is improvisation” (quoted from Electronic Book Review: Threads: Reviews) The great advantage of Murray’s method is that he did not see jazz in isolation; rather, he saw that what, on the surface, seemed mere entertainment was in fact inextricably combined with modernist experiences in other arts such as poetry, fiction, and drama, and connected as well to the cultural rhythms that surround all of these. As Muyumba goes on to point out, “Artists must not only be proficient, masterful in their idiom, but also imaginatively innovative. What innovation signals is progress—movement that shifts the workings of a whole artistic practice. Thus the great musical innovation of this century has been the integration of improvisation into American music-making and specifically into jazz.” In his memorable essay on Murray titled “Chitlins at the Waldorf,” Stanley Crouch calls Stomping the Blues “the first real aesthetic theory of jazz ѧ a work of elegance, insight, and very fresh ideas.” Crouch has a taste for the combative as well as the controversial, so it is hardly surprising that he would claim that Murray’s treatise on jazz dismisses most of the writing on jazz that preceded him—whether those precursors were, in Crouch’s words, “prep school Wasp jazz writing” or “the Jewish riders of rickety and wooden socio-moralistic stallions”—and that many of these establishment types were upset with Murray and with his book. Crouch is nothing if not colorful, but it is not quite true that both camps gave Murray’s book a bare-knuckled drubbing. In fact, it received dozens of laudatory reviews, but Crouch is dead right when he talks about Stomping the Blues as redefining “blues as a music of confrontation more often than [of] lamentation.” Moreover, Crouch claims that, at its most artistic, the blues is also a music of courtship and an “unsentimental warning of the possible dues of unsuccessful romance” (p. 47). Moreover, he says,

As a student of contemporary literature, I don’t need to know much about Alice Walker, for example, but I think I would get caught with my pants down if I didn’t know anything at all about Bellow. I don’t think you get through the forties or the fifties or sixties in American literature and not know anything about Bellow. (Pinsker, 1997, p. 220)

In each of the Scooter books, the words of Lexine Metcalf, Scooter’s favorite grade school teacher, are dutifully invoked—and in The Magic Keys, her prophecies about future greatness dot the text. The repetition, however, is more annoying than reinforcing, largely because Scooter is well on his way to a mission announced earlier in one of the letters included in Trading Twelves, where Murray says that his aim is “to provide American literature with representative anecdotes, definitive episodes, and the mythic profiles that would add up to a truly comprehensive and universally appealing American epic. Whatever the fruits of that grand ambition, he [Ellison] and I conceded nothing to anybody when it came to defining what is American and what is not and not yet” (p. xxiii). In their letters, Murray and Ellison spoke about literature as high modernist art and as mythmaking of epical proportion. The Scooter novels are exactly such literature, as they follow a young, light-chocolate-skinned boy of mysterious origins from the Deep South through a jazz band barnstorming across the country, and finally to New York City’s bookstores and fabled intellectual haunts. Along the way we learn what an aesthetic that couples the best of Western culture with the particularities of folklore, the blues, and jazz might look like and how it might sound.

STOMPING THE BLUES AND GOOD MORNING BLUES

Jazz critics continue to regard Stomping the Blues (1976) as both brilliant and indispensable—brilliant because Murray brings an eloquent style to his explanations of the graceful eloquence of jazz

while white writers have long been bemoaning the term “race records,” it had no derogatory meaning

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ALBERT MURRAY Murray’s senior. He was the quintessential American success story, a man whose swing bands made him a cultural icon, beloved by anyone who remembers his versions of “One O’Clock Jump” or “Swinging the Blues.” Murray and Basie were polar opposites: Murray being intense, highly animated, and given to flights of rapid-fire conversation while Basie was laid-back and easygoing. What they shared—and what finally mattered to their collaboration—was jazz music and what it “signified.” Fortunately, Murray could also be a good listener, and that is what he did during the years between 1978 and 1984 when the two men worked on Good Morning Blues. He temporarily shelved other projects (much to the dismay of some of his close friends) and so devoted himself to telling and retelling Basie’s words that he sometimes worried about the consequences for himself: “For years,” he became fond of saying, “when I wrote the word ‘I’, it meant Basie” (Gates, p. 21). Curiously enough, Basie did not write music but, as Devlin argues, he “knew how other’s music would sound best, and that was a key to his band’s astounding success.” Murray captures Basie’s methods and memories in ways that most as-told-to autobiographies miss. Even more important, Murray’s richly layered vision of cultural context allows him to see Basie at the piano in the same way that we see Hemingway at the typewriter or Matisse at the easel. Equal measures of experimentation and improvisation account for the success each of these modernist artists had.

within the black community—on the contrary, the terms was one of prideful celebration. The significance and value of dance and dance halls is made clear, and Murray goes on to show that the desire so many white writers have had for the music to leave those circumstances is no more than Europhile provincialism, Most terribly, as in chapter eight, when he makes it clear through wonderful memory-laden prose that he was there, the sting is most intense. (p. 47)

The critic Stephen M. Fry points out that Murray sees the blues “not as a primitive musical expression of black suffering but as an antidote to the bad times” (p. 388). The result of “stompin’ the blues” is often cathartic, a means of transposing, and of transcending, the human grief that all human beings share. Rather than being unsophisticated, the blues, as Murray argues, shares much with the best of world literature, and with classical tragedy in particular. Murray won the American Society of Composers, Authors, and Publishers Award for this altogether impressive study. Good Morning Blues: The Autobiography of Count Basie (1985) continues Murray’s commentary on the blues, this time by being the “as told to” part of Count Basie’s autobiography. The critic Paul Devlin reviewed the book when it was reissued by Da Capo Press in 2002. Good Morning Blues, says Devlin, is not merely a volume of Basie’s words as tape-recorded and transcribed by Murray; rather, what Murray does is retell Basie’s words after a painstaking effort on Murray’s part that included years of extensive interviewing, archival research, and factchecking. As Dan Morgenstern puts it in the introduction to the book’s 2002 reissue:

THE BLUE DEVILS OF NADA Such a minor miracle could only have been wrought by a writer able to combine the very different requirements of reporter and poet—the former to sort out and render the many facts of a rich and long professional life; the latter to capture every nuance and rhythm of the speech and thought of a man who, while often disarmingly straight-forward and self-deprecating, was as complex and mysterious as any artist worthy of the name.

If the public intellectual is best defined as a specialist in being a nonspecialist, maverick intellectuals add a certain amount of unpredictability to the formula; they regard groupthink of any sort with suspicion. Nowhere is this inclination stronger than when public intellectuals operate in ways that remind maverick types of Harold Rosenberg’s famous description of the New York intellectuals as a “herd of independent minds.” Albert Murray qualifies as a maverick intellectual because he brings an enormous amount of deep

(p. vii)

William James Basie was born in Red Bank, New Jersey, in 1904, which made him twelve years

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ALBERT MURRAY reading and life experience to the cultural table but also because he has made it his business to swim against the tides of fashion.

Charles Johnson, the author of Middle Passage (1990) and the second black writer in American history to win a National Book Award, talks about “the wise and authoritative essays” collected in The Blue Devils of Nada in a New York Times review in ways that make it clear just how disaffected he is with much of the contemporary cultural scene and why he regards Murray as a thoughtful, positive alternative:

Small wonder, then, that Murray chooses to preface The Blue Devils of Nada: A Contemporary American Approach to Aesthetics (1996) with talk about the limitations of realism and the more expansive possibilities of the lyrical mode to suggest what it means for a black maverick intellectual to stay the course. Then, as now, the race for attention has often gone to the loudest voice insisting on this-or-that stance as a litmus test for authentic blackness. From the beginning of Murray’s public career, he made the case for a term such as “Negro” or, better yet, for “omniAmerican.”

Fine art, for Murray, is distinguished by its “range, precision, profundity and idiomatic subtlety of the rendition.” Like most existential humanists who reached maturity before American art became ethnically balkanized—and unlike many academics who have become ensorcelled by French literary theories like deconstruction—Mr. Murray unabashedly believes in universality. He insists that though each ethnic group has its unique experiences, these do not outweigh the fundamental traits that are shared by all humankind. As a Southern writer, he persuasively argues that “beneath the idiomatic surface of your old down-home stomping ground, with all of the ever-so-evocative local color you work so hard to get just right, is the common ground of mankind in general.”

What Murray opposed were the stances about authentic blackness that included an afro, a dashiki, and a clenched fist. He proposed an alternate standpoint, one that drew from a variety of sources—European, African, Native American, Yankee, and Frontiersman—and shaped them into a distinctively American rhythm. Murray moves easily, almost effortlessly, from a rumination about ancient Greek tragedy and modernism to sports to philosophy—all by way of helping readers to better understand Duke Ellington, Count Basie, Romare Bearden, Louis Armstrong, and Ernest Hemingway. Writing in the pages of the African American Review, Carolyn M. Jones talks about Murray’s blues hero this way:

(p. 4)

While it is true that The Blue Devils of Nada restates positions that Murray had been developing since the late 1950s, there is a confidence, an authority, and, best of all, a clarity in his vision of how the particular and the universal interact to make great art. Published at a moment in our cultural history that was even loopier than Johnson implies, Murray’s final effort at aesthetic theory is a fitting capstone to a life of heady rumination.

The blues idiom, enacted by the blues hero, emerges from Southern roots that teach one to function in terms of rootlessness and to face squarely an historical reality of pain and suffering: “To protest the existence of dragons (or even hooded or unhooded Grand Dragons for that matter) is not only sentimental but naïve.” The blues idiom also includes connecting the knowledge gained in one’s personal experience to history and to the canon of the West. The blues musician, through the play which is interplay between the individual and the tradition as well as between persons and groups, is able to move beyond binaries that are the dragon’s, the dominant ideological stance, to slay the dragon and thereby, to gain “the ultimate boon to which the dragon denies you access.”

OTHER WORKS

Murray is as passionate about his ideas as he is willing to talk about them and, in the process, to offer up a few memorable anecdotes. Murray is a raconteur of the first water, and Conversations with Albert Murray (1997), edited by Roberta S. Maguire, places a generous selection of Murray interviews between hard covers. It is a welcome addition to the University Press of Mississippi’s Conversations series. Because Murray is, by temperament, counterintuitive, he has a habit of

(1999, p. 168)

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ALBERT MURRAY turning accepted opinion about culture on its ear and his opinions, consequently, make for a fascinating read, whether the questions asked of him were profound or, more often, mundane. From the Briarpatch File: On Context, Procedure, and American Identity (2001) is a potpourri of Murray’s own highly individualistic prose pieces, addresses, and interviews. Murray was in charge of the selection, and the result shows his shaping hand. The Kirkus Review critic gave the book an unqualified rave: “Murray taps the wellspring of greatness and posits it as a challenge for artists-in-the-making” (p. 1405). Conjugations and Reiterations (2001) is a slim volume of poetry, one that showed how Murray could transfer what he knew about the blues and jazz music to the aesthetic demands of verse. Writing in the pages of the Antioch Review, Ned Balbo emphasized that Murray’s “poems engage in serious play both challenging and rewarding, accessible on the surface but, like the best musicianship, yielding new pleasures with each listening.” Murray has defined himself as an Auden man “from way back,” but rather than specific influences, what one feels in Murray’s poems is a concern for both clarity and craft that is the hallmark of Auden’s poetry. On April 23, 2007, Albert Murray was awarded Harvard’s prestigious W. E. B. Du Bois Medal for his contributions to American letters as a novelist, cultural critic, and poet. He was ninety years old.

NONFICTION The Omni-Americans: New Perspectives on Black Experience and American Culture. New York: Outerbridge & Dienstfrey, 1970. Reprinted as The Omni-Americans: Some Alternatives to the Folklore of White Supremacy. New York: Vintage, 1983; New York: Da Capo Press, 1990. (Citations are to the 1990 edition.) South to a Very Old Place. New York: McGraw-Hill, 1971. The Hero and the Blues. Columbia: University of Missouri Press, 1973. Stomping the Blues. New York: McGrawHill, 1976. Good Morning Blues: The Autobiography of Count Basie. With Count Basie. New York: Random House, 1985. The Blue Devils of Nada: A Contemporary American Approach to Aesthetic Statements. New York: Pantheon, 1996. Conversations with Albert Murray. Edited by Roberta S. Maguire. Jackson: University Press of Mississippi, 1997. Trading Twelves: The Selected Letters of Ralph Ellison and Albert Murray. As editor, with John F. Callahan. New York: Modern Library, 2000. From the Briarpatch File: On Context, Procedure, and American Identity. New York: Pantheon, 2001.

CRITICAL STUDIES Carson, Warren. “Albert Murray: Literary Reconstruction of the Vernacular Community.” African American Review 27, no. 2:287–295 (summer 1993). Crouch, Stanley. “Chitlins at the Waldorf: The Work of Albert Murray.” Included in his Notes of a Hanging Judge, pp. 42–47. New York: Oxford University Press, 1990. (This essay first appeared in Village Voice on March 3, 1980.) Devlin, Paul. “Albert Murray at Ninety.” Antioch Review 65, no. 2:256–265 (spring 2007). Gates, Henry Louis, Jr. “King of Cats.” In his Thirteen Ways of Looking at a Black Man. New York: Random House, 1997. (This essay first appeared in the New Yorker, April 8, 1996, pp. 70–76.) Jones, Carolyn M. “Race and Intimacy in Albert Murray’s South to a Very Old Place.” Critical Survey 12, no. 1:111– 131 (2000).

Selected Bibliography WORKS OF ALBERT MURRAY NOVELS

AND

Maguire, Roberta S. “Walker Percy and Albert Murray: The Story of Two ‘Part Anglo-Saxon Alabamians.’” Southern Quarterly 41, no 1: 10–28 (fall 2002). Muyumba, Walton. “The Estimable Art of Improvisation.” Electronic Book Review: Threads: Reviews (www.altx. com/ebr/reviews/rev8/r8muymba.htm). (Review of books by Scott DeVeaux and Ingrid Monson, with commentary about the writing of jazz history.)

POETRY

Train Whistle Guitar. New York: McGraw-Hill, 1974. (Novel.) The Spyglass Tree. New York: Pantheon, 1991. (Novel.) The Seven League Boots. New York: Pantheon, 1996. (Novel.) Conjugations and Reiterations. New York: Pantheon, 2001. (Poetry.) The Magic Keys. New York: Pantheon, 2005. (Novel.)

Pinsker, Sanford. “Albert Murray: The Black Intellectuals’ Maverick Patriarch.” Virginia Quarterly 72, no. 4:678– 684 (autumn 1996).

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ALBERT MURRAY BriarPatch File: On Context, Procedure, and American Identity.) Leland, John. “The Magic Keys: From Gasoline Point to Philamayork.” New York Times, May 27, 2005. Maguire, Roberta S. “The Seven League Boots: Albert Murray’s ‘Swing’ Poetic.” Genre 37, no. 2:245–260 (summer 2004). Monaghan, Charles. “The Renaissance Man of Harlem.” Washington Post Book World, November 3, 1991, pp. 7, 11. (Review of The Spyglass Tree.) New Yorker, January 8, 1972, pp. 84–85. (Review of South to a Very Old Place.)

Ready, Richard M. “Albert Murray’s Blues.” South Atlantic Quarterly 85:270–282 (summer 1986).

BOOK REVIEWS Balbo, Ned. Review of Conjugations and Reiterations. Antioch Review 60, no. 3:534 (summer 2002). Devlin, Paul. “Good Morning Blues: The Autobiography of Count Basie, As Told to Albert Murray, with a New Introduction by Dan Morgenstern.” St. John’s University Humanities Review 1, no. 1 (March 2003). Available online (http://facpub.stjohns.edu/˜ganterg/sjureview/vol1-1/ good.html). Fry, Stephen M. Review of Stomping the Blues. Library Journal 102, no. 3:388–389 (February 1, 1977). Gross, Robert A. Saturday Review, January 22, 1972, p. 72. (Review of South to a Very Old Place.) Johnson, Charles. “Keeping the Blues at Bay.” New York Times Book Review, March 10, 1996, p. 4. (Review of The Blue Devils of Nada.) Jones, Carolyn M. Review of The Blue Devils of Nada. African American Review 33, no. 1:168–170 (1999). Kirkus Review, Oct 1, 2001, p. 1405. (Review of From The

INTERVIEWS Lamb, Brian. Booknotes, June 16, 1996. Available online (www.booknotes.org/Transcript/?ProgramID=1308). Pinsker, Sanford. “Afternoons in Albert Murray’s Living Room.” Sewanee Review 116, no. 2:311–319 (spring 2008). ———. “The Bluesteel, Rawhide, Patent-Leather Implications of Fairy Tales: A Conversation with Albert Murray.” Georgia Review 51, no. 2:205–221 (summer 1997). (Included in The Briarpatch File.)

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CHRIS OFFUTT (1958—)

Louis H. Palmer III degree in theater with an art minor at Morehead State University. He married Rita Gross, a psychologist and musician, whom he describes in his first memoir, The Same River Twice, as being “far more intelligent” than he was (p. 176). He subsequently completed an MFA at the Iowa Writers’ Workshop, where he has taught periodically since. He and his first wife, Rita Gross, had two sons before their marriage ended in divorce. Offutt is currently married to Gloria Branham, with whom he has a daughter. He has taught at a variety of other schools, including Morehead and Mercer universities. He has published two collections of short stories, Kentucky Straight (1992) and Out of the Woods: Stories (1999); two memoirs, The Same River Twice (1993) and No Heroes: A Memoir of Coming Home (2002); and a novel, The Good Brother (1997). Another short story collection, tentatively titled Luck, was forthcoming in 2009. Offutt has supplemented his teaching jobs with film and television writing and occasional cultural writing and journalism.

CHRISTOPHER JOHN OFFUTT, a writer of fiction and memoirs, was born on August 24, 1958, in Lexington, Kentucky. He has received many awards, including Granta magazine’s list of the twenty Best Young American Fiction Writers (1996), a Whiting Foundation Award, a Whiting Writers’ Award, le Prix Maurice-Edgar Coindreau, and an award from the American Academy of Arts and Letters. His grant awards include a Guggenheim fellowship, a Lannan fellowship, a National Endowment for the Arts grant, a James Michener Grant from the Copernicus Society, and a Kentucky Arts Council grant. Offutt was raised in Haldeman, Kentucky, a former claymining town with a declining population of under two hundred people. His father is Andrew Offutt, a science-fiction writer, and his mother, Jodie Offutt, has worked as a legal assistant in nearby Morehead. In a recently published essay, “Porn Bought my Football,” Offutt reveals that much of his family’s income while he was growing up was actually provided by the demand for cheap pornographic novels. His parents worked as a team, under a variety of pen names, to produce these pulp works, a fact that served to isolate them from the local community. Ironically, pornography provided the family with a higher income than almost everyone else in Haldeman. “Porn would have financed my high school dates had not the widespread knowledge of Dad’s occupation interfered with my ability to acquire dates. It was an open secret but rarely mentioned, expressed instead in the silent judgement of a small town” (p. 98). From his description, he grew up mainly in the woods, attending the local public schools. After dropping out of high school and failing a physical to join the army, he traveled around the country holding various jobs (chronicled in his 1993 memoir, The Same River Twice), then returned home, where he finished a

KENTUCKY STRAIGHT

Offutt’s early work tends to focus on the themes of identity, group membership and in- and outmigration from the Kentucky hills. Kentucky Straight (1992), his first story collection, offers a series of protagonists who struggle with various aspects of a social and gendered environment where choices are limited by strict, predetermined roles. Offutt’s Kentuckians are a rough bunch, sampled from the working poor, many without much education. Their problems and conflicts often place them on the verge of violence, and a grimly humorous attitude often dispels threats. Offutt has an ear for the rhythms and odd expressions of his characters’ idiom, which he refuses

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CHRIS OFFUTT bracket the collection as the most and the least successful, and they are consistent with Offutt’s other work in their fascination with figures of canny fools, a role that Offutt often reserves for himself in his nonfiction pieces.

to dress up with the lexical tricks and misspellings of dialect fiction. His protagonists tend to be stoical, somewhat innocent survivors. In an early review of Kentucky Straight in Appalachian Journal, William Schafer castigated Offutt for perpetuating Appalachian stereotypes, saying, “Offutt’s stories invite the supposed sophisticates of the New York publishing ghetto to imagine an eastern Kentucky peopled by deformed, imbecilic loonies who hack off their own body parts, shoot each other randomly, commit (or at least invite) incest, and either lapse into stuporous apathy or run away” (p. 53). Schafer has to stretch a bit here—removing one’s dental bridge is hardly hacking off a body part, and the incest remains theoretical—unlike, say, John Irving’s treatment of New Englanders in Hotel New Hampshire (1981). There are certain cues here that suggest to the reader that Schafer’s targets are somewhat broader than Offutt’s work here—the sophisticated ghetto-dwellers of New York publishing and their taste for “the basic reductive, minimalist mode of the 1980s” (p. 51) is included in his list of Offutt’s sins, which Schaffer contrasts with the “expressive” style and self-deprecating insight of Offutt’s memoir The Same River Twice.

If one reads the collection sequentially, contemporary stories alternate with the legendary ones. The book opens with one of the stories from a child’s perspective. “Sawdust” (like the later story “Blue Lick”) gives us the point of view of a boy in terrible circumstances. Here, after a series of misadventures with dogs, the protagonist’s father hangs himself. This motivates the young man, Junior, to complete his high school diploma by taking the GED, even though he rejects the VISTA worker’s reason for taking it; he won’t fill out a job application after he passes it. One of the best stories in the collection, “Sawdust” comes relentlessly at the reader. It starts, “Not a one on this hillside finished high school. Around here a man is judged by how he acts, not how smart he’s supposed to be. I don’t hunt, fish, or work. Neighbors say I think too much. They say I’m like my father and Mom worries that maybe they’re right” (p. 3). In five short sentences, the themes of the story are set up—conflict between the parents, oppressively narrow community expectations, the narrator as an outsider with a tendency, as the mother later puts it, to get “above [his] raisings” (p. 12). A flashback sequence introduces his father, an impulsive man who collects maps and shoots a dog under the house for getting skunked. (“It didn’t stink less but Dad felt better” [p. 3].) The father gets frustrated trying to get the corpse out with a fishing line. He tells his son that he regrets having children and that he wanted to be a veterinarian, but “I quit sixth grade on account of not having nothing to wear. All my kin did” (p. 5). We learn that the father hanged himself after not being able to set a puppy’s broken leg. Both of his sons also eventually quit school and are now young adults. When Junior decides to take the GED, his brother, showing off his new gator-skin boots, says that GED stands for Get Even Dumber. The mother’s preacher tells her that her son is hardheaded.

Especially in the light of Offutt’s subsequent writings, such a harsh view seems to be a bit unfair, and perhaps more in line with the school of southern literary criticism that wants to see all southern writers affirm, if not magnolias and peaches, at least community harmony and landbased values. Writers like Offutt, who explore the extremes and margins of American culture, will never fulfill such expectations, but they tend to produce more dramatic and varied writing. In any event, Schafer’s article was one of the only negative reviews that Kentucky Straight received. Kentucky Straight contains nine stories that fit loosely into three categories. Three concern the legendary past, two represent a child’s perspective on father-son relationships, and the other four are contemporary tales about men at work and play. All but one are from male perspectives, and all treat the vexed questions of masculinity and masculine identity. In terms of quality, the two father-son stories effectively

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CHRIS OFFUTT in its use of limited perspective, and a devastating portrait of a family’s dissolution, the story lacks the balance of Offutt’s other stories. By sticking to the comic, the story functions to reinforce hillbilly stereotypes rather than interrogating them.

After a comic sequence with a painted-nailed VISTA lady—“Things must be getting pretty bad if city people were coming here for work” (pp. 7–8)—Junior takes and passes the test. “Taking the GED was the first time I’d ever been stubborn over the doing of something, instead of the not doing. Right there’s where Dad and me were different. He was hardheaded over things he never had a say in” (p. 10). The story ends with Junior and his brother having to fight two “Monroe boys” over an insult to their father. The brother says he plans to get a battery-powered TV “to sit and look at” (p. 14), and Junior explains that that’s exactly what his GED certificate is for. The story stresses Junior’s individual agency in the face of both the hostility and antiintellectualism of his home community as well as the commercialism of the greater world of jobs and commodities. He crafts his own identity in terms of things he “has a say in,” refusing to accept either local or national roles, those defined by the market, by religion, or by custom. His model is his father, but his father as analyzed critically, not followed blindly.

The legendary stories, consisting of “The Leaving One,” “Old of the Moon,” and “Aunt Granny Lith,” combine a contemporary setting with the discovery of a past story that contains potentially supernatural elements. “The Leaving One” is the story of a boy, Vaughan Boatman, who is approached in the woods by an old man who reveals himself to be his grandfather, Lije, whom the boy had been told was dead. Vaughan’s mother, an hysterically religious woman, tells him of how her father was ostracized from the community for what they thought was incestuous behavior. Because the preacher held Lije’s other daughter, the mother’s sister, under water too long while he was baptizing her, “[Lije] took hold of Sister’s shoulders and had a tug-of-war until the preacher let go. ѧ Then he started kissing her mouth and rubbing her bubs. That’s what people always did say, but what it was, he was drawing that creek water right out of her body” (p. 42). After the incident, he “stayed in the woods some forty years. Then VISTA heard of him and brought him out of the hills” (p. 43). The mother still feels shame that she did nothing when he was institutionalized. The old-timer initiates the boy into the mysteries of the forest: “‘Sing you the be I song,’ Lije said. ‘Sing you what land made me. The oak shadow is be I. ѧ The leaf be I’” (p. 51). Then he gives him a stone on a string and dies in his arms: “You be the Boatman now” (p. 52). The boy is left in the darkening woods, surrounded by animal and wind sounds, but not feeling fear. This is a more obvious example than most, but throughout Offutt’s work, fiction and nonfiction, such personal ritual moments, often involving natural objects, appear.

Junior’s sage evaluation of all his choices is not evident in “Blue Lick,” another story about a child losing his father—to prison in this case. This is perhaps the most minimalist of the stories, and it is the closest Offutt comes to outright farce. The young man has a mentally disabled brother, called “Little Elvis” because he likes to make up songs; their mother has run off with another man; and their father spends periods of time in jail when he isn’t drunk. The father tells the boys that they’ll be men when their feet have a “good, solid stink,” and because “Little Elvis wanted bad to be a man” (p. 118), the boys spend time dipping their feet into the outhouse and smashing turnips in order to add smell. Naturally, hijinks ensue, soaked with scatological humor. The story is told by the narrator in retrospect to a VISTA volunteer, the “funny-talked lady” (p. 115), who wears a brand-new flannel shirt. At the time of the story’s telling, the father is in jail, Little Elvis has been institutionalized, and the narrator is being tested because he is “precocious” (p. 115). The VISTA lady tells him that Little Elvis is slow, but that he, Junior, has potential. While effective

This inadequate plot summary—Offutt’s strength is ever in his careful use of language— does allow us to see how Offutt uses a doubleplot technique to explore stereotypes. Is Lije a sociopath or an archetypal wise old man? Both, perhaps, given the evidence provided. The figure

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CHRIS OFFUTT real person, an ancient midwife?—who lives in a hollow log—or is it a cave with a hollow-log entrance?—whom he inadvertently “married” when he was a child and tried to play a trick on a friend. In the contemporary plot, the wife rescues him twice—from the clutches of her redhaired neighbor and from a truck driven into a creek. Again, this is a complex plot for a short story. The story depends on a few Appalachian stereotypes—the husband is a drunken moonshiner and the wife might at first be seen as a fatalistic victim. But again Offutt provides the reader with unexpected reversals—the wife gets what she wants and the husband winds up looking like the victim of a cruel twist of fate.

of Lije both fits and does not fit into easy Appalachian stereotypes—he is isolated but not ignorant, a “wild man” but trained in healing, religious without being limited by the rigidity of his daughter’s fundamentalist Christian beliefs. The way that he is ostracized from the community—unjustly accused of incest, labeled a sex offender, institutionalized—works as a kind of case study both for how such stereotypes are generated and how outside institutions deal with mountain people. Like “Sawdust,” the story provides a complicated picture—and critique—of both insiders and outsiders. It neither idealizes mountain culture or nor pathologizes it, instead offering a more nuanced perspective. This is not to say that Offutt sugarcoats or dilutes his depictions of Kentucky life. His choice of subject matter owes more to the examples of the William Faulkner and Flannery O’Connor school of southern writing than it does to the theories of the Agrarians. What makes Offutt different from the writers who are so often accused of misrepresenting the South or Appalachia through stereotypes—Erskine Caldwell and James Dickey come to mind—is that he provides this kind of exploration of the stereotypes rather than just deploying them. But to return to Kentucky Straight: the book’s other two legendary tales give us a series of unexpected plot turns around subject matter that could have come from a ballad or a folktale but are yet tied in to contemporary events and characters. “Old of the Moon” details a series of events recounted by a dying man on a tape recorder, including a bear inadvertently decapitating a baby and a wounded man shot by his friends to prevent a panther from getting him. In a final ironic twist, the tape is destroyed by a born-again preacher who then dies a grisly death of his own. Offutt’s comment on this story was that his wife was about to have their first child, and he was so worried that he tried to imagine the worst thing that could happen to a baby as a kind of counterspell.

The figure of the fool, often drunk as well, is central to Offutt’s fiction, although he usually undercuts the foolishness. Stories about work, such as “House Raising” and “Horseweed,” and play, as with “Smokehouse” and “Nine-Ball,” tend to focus on the negotiations and rituals of masculinity. Although its title invokes the idea of old-fashioned community assistance, the title “House Raising” functions ironically. It involves a series of mishaps around the activity of dragging a trailer onto a muddy shelf in a torrential rainstorm. A black trucker with veterinary experience, Coe, manages to perform emergency surgery to stop the bleeding from a severed limb of Bobby, a young man crushed under a truck wheel. In turn, he is treated with hostility by a group of men assembled to watch “for the wet earth to pitch the trailer down the hill into the creek” (p. 20) rather than to help. The story’s point of view follows free indirect discourse, shifting from Coe to Mercer, the trailer owner’s brother, who befriends and defends Coe, bristling at his brother for using the N-word, but most of the plot involves the men following masculine code cues. When Coe offers to help, despite the objections of the injured boy’s father, “The men rubbed their mouths and adjusted their hats. Each had a firm opinion but giving an order would mark him as uppity. They stared at Bobby, their sweat mixing with the rain” (p. 29). Mercer proves to be an exception to this rule of behavior, daring to go against the others’ fatalistic and racist attitudes.

“Aunt Granny Lith” is about a man unlucky in marriage—two wives die in horrible accidents in the woods. His third wife, the story’s protagonist, finds a way to appease the spirit—or is it a

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CHRIS OFFUTT where the rules change constantly as the game goes on, masculine pride is exposed as a fragile, illusionary structure, but such exposure only seems to raise the stakes. “Nine-Ball” is the last story in the book, and at its end Everett takes off for the territories, with his mentor’s advice ringing in his ears: “‘It ain’t the same as it is here.’ ‘I know it.’ ‘You will’” (p. 166). The ending points directly to Offutt’s next collection, Out of the Woods (1997), where eastern Kentuckians deal with the greater world. Offutt does not write about characters from the middle class, except in his memoirs. The closest he comes is in someone like the company man, who is a town dweller but took his job so that he could drive a new truck. The hardscrabble hill dwellers and wandering loners that populate his fiction are more concerned with survival than with a career trajectory. Marginal subcultures seem to appeal to him more than the mainstream middle class.

“Horseweed” details a tense confrontation between a clandestine marijuana grower and a company man who has discovered his crop. William, the grower, doesn’t smoke marijuana himself, but he is growing a patch in order to pay for the cost of adding indoor plumbing to his house. When he finds the man, a representative of the coal company, he has been bit by a copperhead and cannot walk by himself. A tense confrontation ensues: “William reached for his rifle and stood. The man stopped talking, eyes growing wide again. He leaned back, breathing hard. William emptied the rifle of bullets, pulled the man to his feet, and handed him the gun. ‘Use this to walk with,’” William tells the man (pp. 66–67). As William helps him walk out, they discuss the pros and cons of living in town. William feels guilty for letting the man live. “His father would have left the man snake-bit, and his grandfather would have shot him. If William’s own grandson understood his decision, he’d give the rifle to the boy” (p. 68). The story represents male codes as mutable from generation to generation, not absolute, but still oppressive in whatever form they take. William is happy that he doesn’t have a son. “Men’s lives ran in bursts of work, drink, and quick death, whereas women wore down slow and steady, like a riverbank at a sharp curve” (p. 67). William’s acute awareness of his father’s and grandfather’s differences disturb him initially, as if he isn’t up to their standards, but at the end of the story he feels vindicated, imagining his father with a smile on his face.

THE SAME RIVER TWICE

Offutt’s next book was the memoir The Same River Twice (1993), which follows a narrative structure similar to that in some of the short stories in Kentucky Straight. The narrative switches between two time frames—in the present, in Iowa City, Offutt awaits the birth of his first child, while alternate chapters trace the last fifteen years of his life in flashbacks. The central theme of the book is the young Offutt’s search for identity, a search complicated by the conflict between sharply proscribed local expectations and aspirations (or lack thereof) and an almost visceral need to escape that locality. Like many of the characters in Kentucky Straight, Offutt the narrator eventually chooses a third path, away from the kinds of choices he sees his peers from the hills make. Apart from playing the part of an innocent far from home, much of the younger Offutt’s journey involves coming to terms with various traits and expectations that he associates with eastern Kentucky masculinity. “Mountain culture expects its males to undergo various rites of manhood, but genuine tribulation under fire no longer exists. We’ve had to create

In both “Smokehouse” and “Nine-Ball,” play is represented as more serious and more deadly than work, because it involves a hierarchy of insult and retaliation. The card players in “Smokehouse” increase their bets to include a gold dental bridgework, a truck, and comparative penis sizes. At the end of the night, one player brags, “All I lost was money ѧ I got all my teeth and nobody saw my wiener. I won what counted” (p. 109). In “Nine-Ball,” Everett, a hog farmer’s son, wins a poolroom competition with a rival, only to be humiliated, then praised, by his promiscuous sister, who is angry because he won’t commit incest. In a status competition

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CHRIS OFFUTT The past episodes tend to be more fully developed—Offutt describes himself as a compulsive journal-keeper. The two story lines come together when Offutt meets Rita, his future wife, in the past stream and with the birth of his son in the present. Through his choices, which become progressively more rational, the narrator demonstrates that the “macho” role that is a given of mountain manhood can be modified to that of a nurturing, if somewhat recalcitrant, partner and potential parent. This is contrasted with his sparse accounts of his own father, whom he describes as oppressive and eccentric, but distant—never mentioning that this homebound, dashiki-wearing man with a hair-trigger temper is, like his son, a writer.

our own” (p. 20). Following a local pattern, although probably not one condoned by his educated parents, young Offutt drops out of high school and is disappointed to discover that he cannot join the military, which he sees as a way out of the hills. More important to him, military service is one of those “rites of manhood.” After also being rejected by the Peace Corps, the forest service, the fire department, and the police department, he laments: “I’d never know camaraderie, or test myself in sanctioned ways against other men” (p. 21). Denied these, and not feeling an inclination to “stay at home and cut trees, dig the earth, and kill animals” (p. 39), he begins a peripatetic existence that involves leaving home with periodic attempts to return. This becomes the pattern of his transition to maturity, or perhaps more accurately to manhood. The cultural contrasts evoked by these repetitive movements will give him material, not only for this memoir, but for his next three books as well. The central problem presented in The Same River Twice is that of the transition to manhood, as distinguished from adulthood. In the contemporary chapters, Offutt walks in the riverbank woods near his home in Iowa, observing nature and wrestling with the anxieties and doubts of impending fatherhood. Like a traditional nature writer, he looks for lessons in the book of nature—he has actually worked as a naturalist in the Everglades—as well as in wide and eclectic reading. At various points he references Daniel Boone, Heraclitus, and Columbus, among others. Alternate chapters detail his intermediate years, where he first pursues two rather idealistic careers, acting and painting, unsuccessfully (he attends one audition, never actually puts paint to canvas), then wanders the country taking a variety of jobs. Detailed vignettes—his sexual initiation by a provocative Haitian woman in New York City, a winter in Minnesota running numbers with some small-time Brazilian gangsters, a stint as a carny worker—place him in the position of the innocent outsider. Much of his time is spent with Native Americans, African Americans, and Latino immigrants, with whom he feels comfortable because he sees himself as a fellow interloper from an alien culture.

THE GOOD BROTHER

Offutt next published The Good Brother (1997), a novel about a college-educated young man, Virgil Caudill, who works as a garbageman in his hometown. He is the “good brother” of the title, in comparison to his only sibling, Boyd, who has always been the wild one. As the novel opens, Boyd is recently dead, under circumstances that are creating a crisis for his younger brother. Virgil is expected, by his family and by the community at large, to exact revenge for Boyd’s death by killing his killer. Even the sheriff, after identifying Billy Rodale as the man rumored to have killed Boyd, says, “No one is willing to testify. ѧ People keep their mouths shut in a situation like this. If something happened to Rodale, people would stay quiet on that, too. If there’s no witness or weapon, I couldn’t do nothing about him, either. The person who did it would probably not get hisself caught” (pp. 37–38). One by one, everyone around Virgil lets him know that they expect him to avenge Boyd’s death. His sister offers her husband’s help, and his mother talks about how useful anger can be. He resists, ultimately deciding to leave his home in Kentucky, then decides he might as well kill Billy Rodale first. He follows through, after figuring out how to re-create his identity as someone else. With a new driver’s license and Social Security card in

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CHRIS OFFUTT mine. Even the kids aren’t mine. Everything I’ve got is left over from somebody else” (p. 302). The two men chat comfortably about news from home, and Orben leaves without killing Joe. The novel ends with a confrontation between federal forces and the paramilitary group, known as the Bills for their support for the Bill of Rights. The reader never learns the final outcome for Joe, but the novel ends with him in his borrowed identity, still unable to return to Kentucky. The broader canvas of the novel allows Offutt to explore all of the conflicting emotions of a true exile, one who can never return. Virgil, a name taken from Dante’s guide through Hell, serves as our guide to the inferno of an unconnected man. His new name, Joe Tiller, both suggests an ordinary Joe and the biblical exile Joseph, who left his life behind for the sake of another person’s child. It seems to be Virgil’s fate to examine the extent of what his brother Boyd seemed to want. When he realizes in hindsight that he did not love the woman he would have married had he stayed at home, “He suddenly understood that he’d spent his whole life following patterns that were designed by other people. He felt the faint glimmerings of actual freedom, a sensation that scared him” (pp. 223–224). Freedom might have been what his brother Boyd pursued, but Virgil/Joe has come closer to achieving it, and he realizes that it’s not what he wants. Otherwise, as he tells Orben, “It’s like my world got a hole in it and all the life run out” (p. 301). He can only feel happy when he is connected to others, even to a man sent to assassinate him, because of the strength of their shared regional identity.

the name of Joe Tiller, he drives west, finally renting a remote cabin in Montana. He acclimates slowly to the western lifestyle, observing similarities and differences between it and its Kentucky equivalents. “Montana was similar to Kentucky, except the mountains were higher and there was no oak. At home the poor people lived in the hills and the rich people lived in town. Here it was the other way around” (p. 136). He tries to adjust his behavior to fit in, buying a snakeskin belt and an old Jeep. He feels good when some of the locals talk confidentially to him, and then changes his mind when they start trashing the local Indians. Virgil, now Joe, survives a winter in Montana, playing poker at a bar for amusement. When spring arrives, he decides to bury a stuffed possum he brought from home as a sort of personal ritual, leaving the old behind. He inscribes his former initials, VC, on a shovel blade at the gravesite. As he walks back, someone shoots him in the leg. The shooter turns out to be a young local man he had briefly met before, and with him are his brother and uncle. Because he—and inexplicably, they—wants no hospital involvement, they take him to a veterinarian. When the vet says he can’t remove the bullet, Joe inserts his own pistol into the wound and shoots himself again. He awakens in a room being cared for by Botree, the sister of the shooter. As he is nursed back to health, he discovers that the members of Botree’s family are involved with a right-wing paramilitary group clustered around a charismatic leader, Frank. After doing a computer search and finding almost nothing about the man they know as “Joe Tiller,” the family realizes that their injured guest has acquired a new identity, a feat they admire. Joe, conversely, is intrigued by the family’s independence and self-sufficiency, but he dislikes their white supremacist doctrine and racist claims. He falls in love with Botree, but things become more complicated when a young man, Orben, from Kentucky tracks him down. Their confrontation lays bare Joe’s homesickness. “I miss Virgil Caudill,” Joe tells Orben. “Who the hills made me into. This land’s not mine. It’s great to look at, but it’s not part of me. The house I live in isn’t

OUT OF THE WOODS

Offutt’s second story collection, Out of the Woods (1999), follows disparate experiences of eastern Kentuckians as they venture into the wider world of contemporary American life. The first story, “Out of the Woods,” tells the story of a young man, Gerald, sent out by his wife’s family to retrieve the body of her brother in Nebraska. He finds out that Ory, the brother, has died of a blood

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CHRIS OFFUTT clot after being shot by his girlfriend Melanie, a purple-haired woman with a pierced nose. After humorous encounters with a Pakistani doctor (he asks him if a pulmonary thromboembolism is American), the local sheriff, and Melanie, Gerald sells Ory’s car to cover his debts, then illegally commandeers the body, buries it in a pickup load of soil, and drives it home. His hope is that his help will “cut the barrier that kept him on the edge of things” (p. 20) in his wife’s family. When he arrives home, “Abruptly, as if doused by water, he knew why Ory had left” (p. 37). Such epiphanies are more common in the stories in this collection, which demonstrate a more confident handling of similar material— contemporary men caught in dilemmas that call for a radical rethinking of the codes and assumptions by which they have been operating. The protagonists, like Virgil Caudill and Offutt’s selfportrait at the conclusion of The Same River Twice, are also less tentative in violating or stretching those codes. In “Barred Owl,” one of three stories in this collection that is told from a first-person perspective, Offutt’s reflective narrator describes the meeting of two Kentucky men in Colorado:

hit the grass. Our hands were free. We’d showed that our guard was down enough to watch something else besides each other. (pp. 118–119)

This passage is a wonderfully staged set piece— one of Offutt’s most explicit treatments of the recurring theme of male ritual, a system infused with both the threat of violence and the need for reassurance and connection. Offutt’s characters tend to be a peaceful lot, increasingly so in these stories, but they expect violence from other men. The girlfriend comparison here is telling as well—the Kentuckians in Offutt’s stories seem to care as much for the approval of other males as for the attentions of women. People who leave a place tend to remember it in an idealized, nostalgic fashion. Offutt’s characters seem to idealize the people more than they do the place, which they often describe in terms of confinement and social constriction. The title of “Barred Owl” is a pun. The narrator gets barred from the Pig, his regular bar, as he develops a friendship with Travis. Travis is a collector of bones and feathers, and he has found a barred owl carcass that he wants to skin and mount. The narrator helps him with this project, and then loses touch with Travis briefly, until he is notified by the police of Travis’s suicide and discovers that he has inherited his house. The story ends with the narrator’s realization that he misses Kentucky more than he misses the camaraderie of the Pig. The story draws a parallel between the bird, an eastern species out of its normal habitat, and the two Kentucky men far from their home country. The stories in Out of the Woods center on a variety of conflicts over and above the homeand-away ones. In “Moscow, Idaho,” two excons discuss the relative advantages of life inside and outside prison, ending with one going on a deliberate crime spree in order to get back inside. In “Two-Eleven All Around,” the protagonist also chooses to get arrested so that his girlfriend, obsessed with her police scanner, will hear about him on it. In “Tough People,” the two halves of a couple each sign up for boxing contests. The man realizes that his girlfriend is the tougher of the

I invited him in. “Thank ye, no,” he said. I understood that he knew I was just being polite, that he wouldn’t enter my house until my welcome was genuine. I stepped outside, deliberately leaving the door open. What happened next was a ritual the likes of which I’d practically forgotten, but once it began, felt like going home with an old girlfriend you happened to meet in a bar. We looked each other in the eyes for a spell. Travis nodded slightly. I nodded slightly. He opened a pouch of Red Man and offered a chew. I declined and began the slow process of lighting a cigarette while he dug a wad of tobacco from the pouch. I flicked the match away, and we watched it land. He worked his chew and spat, and we watched it

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CHRIS OFFUTT from Detroit) against his father, who lives next door and is a kind of hermit—having “a funny turn to him” (p. 138), as the neighbors say. Wanting to please his father, yet fearful and apprehensive about the relationship, the returned son, Ray, buys a rifle and invites the older man over for target practice. The father, Franklin, discusses his inability to get along with his own father, whom he accuses of being “a late homosexual” (p. 146) because he wore “flowerdy shirts” (p. 147) and because someone sent flowers anonymously to his funeral. When Ray asks why he avoids him, he says, “Because you act like my dad” (p. 151). The father claims that his father ate his gun, but Ray has heard so many conflicting stories that he doesn’t know what to believe. Franklin puts the rifle in his mouth, and then claims to be cleaning out the barrel by breathing in it. After walking off angry, he raises his gun toward his son. Ray responds by firing first, hitting his father in the chest. As he helps the wounded man to a vehicle, Ray realizes that he loves him. A weird series of hypermasculine provocations lead to a potential resolution between the two.

two, and she leaves him for the older man who has served as her unofficial coach. As he walks away, he realizes that he is “pretty much ruined for going back” (p. 176) to Kentucky. One of the few characters in these stories who does decide to return to the hills is Zules, a trucker on the road far from home who is forced to abandon his load in a flood. After being jailed by the local deputy, then bailed out and seduced by the deputy’s sister, he decides to go back home and get married, that he needs “a heavy load to keep him stable” (p. 115). “Melungeons” focuses on three members of this group of Appalachian natives of mysterious origin, considered to be descendants of Portuguese sailors, the Lost Colony of Roanoke, or a racial mixture of natives, blacks, and whites, among other theories. Haze Gipson urinates on the jailhouse steps so that Deputy Ephriam Goins will put him into a cell for defacing public property. The next morning Gipson is visited by eighty-five-year-old Beulah Mullins, who shoots him with a concealed shotgun, carrying on a sixty-year-old dispute that both Goins and Gipson had left the hills to avoid. Goins locks up Mullins and heads for the hills himself. Offutt is using Melungeons here to represent the remotest and most self-sufficient of the mountain people of Kentucky, as well as to explore the ways in which they have been targeted as a racial minority. For example, when Goins enters the army, he is placed in a black unit because he has blue-tinged gums. Because the black soldiers will have nothing to do with him—they see him as a white man—his only friend is a fellow outcast, a New York Jew. This experience leads Goins to favor the lost tribe of Israel theory of Melungeon origin. But although it is influenced by racial and class issues, the real conflict here is town versus country. Goins longs for the life of the woods, just as Mullins despises the town where she must go to serve the ethical imperatives of her family’s traditions. Offutt’s Melungeons represent a quintessential American type from the frontier myth—self-sufficient, in tune with nature, independent of the greater culture. “Target Practice” pits a son (a former autoworker, who has come back home to the hills

A general comparison between the stories in the two collections finds a slightly different type of protagonist in each. The exiles in Out of the Woods, although some of them do return, seem to be less confined in their choices than the locals in Kentucky Straight. They seem to have benefited from their time in the outside world, gained useful perspectives. If a typical Offutt protagonist is a canny fool, these characters could be seen as somewhat less foolish and more canny. At the same time, all are still marked by their regional identities. In Offutt’s fictional world, you can take the man out of the Kentucky hills, but you can’t take the hills out of the man. Nevertheless, leaving the hills is a generally empowering experience in these stories, although one that does not necessarily confer happiness or fellowship. Another aspect of the second collection, perhaps growing out of Offutt’s experience of writing a memoir, is an increased acknowledgement of the ambiguity that the characters feel about their home place. In an interview with

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CHRIS OFFUTT Gavin Grant, Offutt said, “I think in my first book, Kentucky Straight, there was a part of me that was trying to hide aspects of myself and where I was from within fiction, while at the same time trying to write stories that evoked the area.” In more recent work, Offutt acknowledges the feelings of shame he felt about his place of origin, and the consequent need to defend it. This relates back to Schafer’s criticism that Offutt’s work reinforces negative “hillbilly” stereotypes and highlights a continuing critical debate in Appalachian studies about whether to represent the diversity of Appalachian life in positive or negative ways, as noble mountaineers or as degenerates. Taken together, the two books of short stories and the novel do a good job of representing a variety of characters as individuals, representations that extend beyond either positive or negative types without diluting unique cultural traits. Structurally, the stories in Out of the Woods show some difference as well. Offutt seems to have moved closer to a model of short-story writing that is often associated with the modernist Irish writer James Joyce (1882–1941), where stories are focused on an intense moment of realization, or “epiphany,” as Joyce called it. Many of the stories in this collection have a clearer or more dramatic resolution than the earlier short fiction, either in the form of a plot reversal or an epiphany. In comparison, the stories in Kentucky Straight tend to follow a model popular with the minimalist movement of the 1980s, which itself has roots in the style of the Russian writer Anton Chekhov (1860–1904), providing more inconclusive or open endings.

Kentucky. From such a description, it is difficult to imagine that such a combination could work, but—unexpectedly—it does. The two stories have themes in common—change, alienation, the search for home, cosmopolitan values, issues about child-rearing, and, ultimately, antiSemitism. About a third of the way through the memoir, Offutt presents a chapter titled “Beginning the Book,” stating, “The odd thing about this book is I never set out to write it” (p. 62). The interviews with Arthur and Irene were meant to be for their grandchildren, Offutt’s sons, and his coming home to Kentucky was supposed to be the beginning of a long career at the university that might perhaps end in politics. Arthur, typically pessimistic, tells Offutt that writing the book is “like telling the lions not to eat the antelope” (p. 62) and that tying the two narratives together and ending the book will be easy, because all things end the same: “You die” (p. 63). He goes on to describe his survivor’s guilt: “But I lived. I always lived. That was the problem. I lived” (p. 64). In one way, this becomes the link between the two narratives. Offutt, used to teaching a couple of classes in elite creative writing programs, finds himself teaching a heavy load of four classes, in which he finds only a couple of dedicated writers in a large group of underprepared and unmotivated students. The Morehead administration has no particular interest in creative writing, according to Offutt, and wants him to teach more of the required first-year composition courses. His colleagues are “career academics who found themselves at a lousy school” (p. 26); they are mostly from elsewhere and have little in common with Offutt. Meanwhile Sam, his older son, is becoming increasingly bored and feeling alienated by the public school he has to attend, where the teachers and administrators see no issue because he is not a behavior problem. When his parents take him out of school to attend archaeological digs and museum visits, they are threatened with legal action for truancy.

NO HEROES

Offutt’s 2002 book, No Heroes, is subtitled A Memoir of Coming Home. As in The Same River Twice, he follows an alternating narrative pattern, but this time one of the narratives is not his own; rather, it follows the Holocaust memories of his former in-laws, identified as Irene and Arthur. The contrasting narrative is about Offutt’s experience of accepting a job at Morehead State University and moving his family home to

Offutt leavens these tales of culture shock with comic episodes, mostly concerning the Haldeman gang, a group of boys who grew up together in his now-defunct hometown (the post

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CHRIS OFFUTT numb fatalism, doggedly pursuing survival in a way that he interprets as markedly unheroic. Irene develops another strategy: “In camp, if it was not going the way I like, I never despair. I disconnect my thoughts. I don’t think about the tragic things” (p. 60). This allows her to remember bright moments, like sharing poems behind the latrine: “I was not destroyed. Maybe outside, but not mentally. Poetry saved me” (p. 117). At another time, remembering how she was given bread and tea after she played a brief piece on the piano in the apartment of a German family, she says, “Chopin saved my life” (p. 51). She tends to focus on positive moments and acts of generosity and kindness, as a way of blocking out the horrors. The prologue to No Heroes is in the form of advice to a person moving back after twenty years out of the hills. The advice paints a portrait of a person who has gained a multitude of tastes and pleasures that may be viewed with suspicion by denizens of backwoods Kentucky: “never mention museums, the opera, theater, and ethnic restaurants” (p. 16), he advises. He recommends building up a hoard of books and CDs, since much that a cultured person might want will be unavailable. To fit in, he says, “dress down except when you have to dress up. ѧ Make sure you drive a rusty pickup that runs like a sewing machine, flies low on the straight stretch, and hauls block up a creek bed” (p. 15). Finally, he continues, now that you are back in the hills, “You can go ahead and forget all your preplanned responses to comments about wearing shoes, the movie Deliverance, indoor plumbing, and incest” (p. 18). This portrait is of a person who has, it seems, literally nowhere to go. He cannot, much as he would like to, fit in with people who end conversations with, “See you in church” (p. 16). Nor does he want to live in a world, despite the compensations of ethnic restaurants and jazz and opera, where he is mocked and dismissed because of his background and accent. Even though it does not mention Irene and Arthur and the Holocaust, the memoir’s prologue points in a direction that cements, finally, how the two strands of the book come together.

office is closed, the school was consolidated away, and even the zip code has been retired). The old boys respond to the return of “awful Offutt” with a mix of skepticism and wry pride in his success; they are trying to struggle by within the marginal economies of the region. Offutt recalls his days as a child as a member of a gang of twelve boys, “brothers of the hill” (p. 161), who spent most of their time together in the woods, riding bikes, swimming in the creek, and gathering pop bottles to redeem at the small Haldeman store (also now closed). Offutt, acknowledging that “every damn one of us had become a grown man with adult problems” (p. 162), describes a contemporary interaction with one of the “boys”: We looked at each other and rapidly away. We had the past in common, twined memories like fossils lodged in a creekbank. We lacked the language for how we felt. As much as I loved Faron, seeing him made me sad—not at what we’d become, but at what we’d stopped being, innocent children occupying the moment. (p. 238)

Offutt’s happiest times back home are evenings spent drinking beer with the boys, standing around their array of muscle cars. His old Malibu fits in, except for the fact that he doesn’t know how to work on it. They set their beer cans “on the hood of my Malibu because I had the worst paint job” (p. 163). Offutt is, as always, alert to the nuances and codes of male behavior. He describes the grown Haldeman boys, drunk, arms around each other, mourning a lost companion and their lost innocence. In contrast to these often broadly humorous episodes, Irene’s and Arthur’s are bleak and horrific. In Irene’s words, “My mother was killed before my eyes. On the street. The SS. By the pistol” (p. 51). However he may have edited, Offutt does not editorialize, letting such statements stand and only describing his conversations with the older people when they relate to contemporary events, like their daughter’s shock and grief as she learns the details of their stories, or to the writing of the book, for which he secures their permission. The two describe differing strategies for survival. Arthur develops what seems to be a

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CHRIS OFFUTT writing, saying, “You wrote it the way it is, not the way some people wish it was” (p. 255), and Offutt realizes that “Mr. Ellington loved Kentucky heritage, and conveyed a certain pride to all his students. More than anyone, he showed us who we were in the hills” (p. 256). Ellington is Offutt’s idea of a hero, and this gives us insight into Offutt’s overall project—not to idealize, but to present portraits of a unique, if imperfect, place and its people. Like other positive mentor figures in Offutt’s work, Ellington provides a contrast with Offutt’s more conflicted relationship with his father, described in an uncomfortable episode when father and son go out to lunch.

The danger in this project is evident. Offutt does not mean to suggest that his experiences as a rather privileged teacher of a “high culture” skill, literary writing, who tries to return to his alma mater and is insufficiently appreciated, might be equivalent to the experiences of two Polish Jews who are knocked around from camp to camp as people are shot and brutalized all around them. Instead, he wants to make a point about the cultural and social forces that, either brutally or subtly, make not being able to go home a condition of most people’s experience of living. Like the philosophers of Arthur’s and Irene’s generation who emerged in the aftermath of Europe’s trauma, the protagonists in No Heroes can find no exit from their aloneness and dissonance. Offutt says that he is happiest in the woods of his home region, but he finally comes to the realization that he must leave because of what that region is doing to his family. He discovers that people have been inviting his wife to church, a typical southern behavior, but that they always respond to her reply that she is Jewish by saying, “Oh, I’m sorry” (p. 183). His inlaws lost their families and left behind the world of their youth in order when they emigrated to live in the vast anonymity of New York City, where they raised a daughter who had no idea of what they had gone through and who is devastated to read their story. The memoir concludes with Arthur—who is now isolated by age and by the necessity of caring for Irene (who has Parkinson’s disease)—telling Offutt, “Home is illusory, like love, then it disappears” (p. 266), and refusing an offer to visit Poland.

AFTER KENTUCKY

Since leaving Kentucky, Chris Offutt has been active in various media in addition to literary writing. He has been involved with film, including a brief role as a small-town bus station attendant in Alex and Andrew Smith’s Sundance award–winning football film, The Slaughter Rule (2002). In 2006, Offutt ventured into the world of graphic fiction, writing a Vietnam-based episode for volume 3 of Michael Chabon’s shortstory anthology The Amazing Adventures of the Escapist (a collection based on a comic book character from Chabon’s 2000 novel The Amazing Adventures of Kavalier and Clay). On Christmas Day 2006, he read his story “A Good Pine” on National Public Radio’s All Things Considered. The Hollywood writer’s strike that began in November 2007 allowed Offutt temporarily to leave his job writing for the HBO vampire series True Blood (which had premiered in September 2008) to teach at Mercer University. In 2007, he contributed the foreword to a book titled Down to the River: Portraits of Iowa Musicians, by the photographer Sandra Dyas, in which he describes his first response to living in Iowa: “here was a town full of people who cared as much about literature as I did. I fell in love with everything—the pedestrian mall, the bookstores, the gentle terrain, the brick streets” (p. 1). Offutt’s ongoing projects as of 2008 were a novel based on his childhood and a collection of short stories, to be titled Luck, about a young

Like the good brother of his novel, like most of the men who have left Kentucky in Out of the Woods, like the younger version of himself in The Same River Twice, Chris Offutt finds that he must leave, that his idealized picture of his family in a home in the hills was illusory. The title of the memoir affirms the condition that Arthur insists on, that there be “no heroes” in Offutt’s account, because “heroes are not human” (p. 79). At the end of the memoir, Offutt runs into a former high school history teacher, who occasionally used to dress in buckskin and teach pioneer skills. The teacher compliments Offutt on his

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CHRIS OFFUTT ing as perfect as a bird flying through the precise center of a small space between branches. Alone among the trees, I desire nothing. I try not to seek, which frees me to see what is revealed” (pp. 145–146).

girl, Lucy Moore, growing up in the hills of Kentucky with her grandfather. In the interview with Gavin Grant, he says, “I like writing about a woman—it’s an act of liberty. It’s very freeing to use my imagination more and not feel I have to represent my gender.” Writing No Heroes, which Offutt describes in the same interview as “the most difficult book I’ve ever written,” seems to have closed a chapter in his writing:

While much of Offutt’s writing is concerned with self-consciousness and issues of identity and its contradictions, his descriptions of nature and natural occurrences provide a stylistic counterbalance, much as time spent in the woods provides Offutt and his characters with a kind of therapy or meditative space. In the post-Romantic cultural landscape of modern times, nature represents a kind of pure, extrasocial space for observation, reflection, and renewal. Offutt reminds us that we don’t need to buy the latest gear from a catalog or pursue the most extreme and dangerous trend in sports to benefit from the natural world; we can benefit from something as simple as a daily walk in the woods. While certainly our representation of a therapeutic nature is itself socially constructed, and would have seemed very odd to someone in Shakespeare’s London, for example, authors like Offutt continue to remind us that such beliefs have psychic and spiritual value as well as cultural relevance. Also, despite the selfaggrandizing claims of the virtual media, we do have to depend on the material base provided by nature to sustain us. If the global systems we depend on begin to collapse, wouldn’t many of us rather be surrounded by the kind of people that Offutt writes about, with their practical, localized knowledge base, rather than by a panel of experts on future trends?

the whole process has liberated me in amazing ways. I no longer feel compelled to identify myself as strictly as a Kentuckian, or a Kentucky writer, or as a son or a brother, or a Haldeman boy, or any of that stuff. I’m now able to shed that stuff. I took it all on myself, of course, but we’re taught that we’re supposed to take on these identities. (IndieBound Web site)

Although he is still writing about Kentucky, his focus in general has been expanding outward, from dealing with male behavior in a narrow, provincial locality to an interest in broader issues and more diverse subjects. One overlooked aspect of Offutt’s work is his skill as a nature writer. Although he is not associated with pieces that are “pure” nature-writing in the Henry David Thoreau or Aldo Leopold school, virtually all of his work is enriched by a closely observed sense of the presence and power of the natural world. In The Same River Twice, he describes the long hours he spent walking, sitting, and lying in the woods along the riverbank during the weeks of his wife’s pregnancy. At one point in No Heroes, he says, “Two experiences that give me genuine happiness are writing alone in a room and walking alone in the woods. In Kentucky I combined them” (p. 145), by leaving a series of folding chairs in the woods behind his house so that he could sit in them and write. Often his Kentucky of the imagination seems to be inseparable from the wooded landscape of the hills. Significantly, the volume of stories about Kentucky expatriates is titled Out of the Woods rather than “Out of the Hills.” For Offutt the memoirist and for many of his characters, nature is a constant comfort and companion, a refuge from the human world. He writes in No Heroes, “The joy of nature is in its constant reminder of how humans no longer belong. We can do noth-

Chris Offutt has proved to be a skillful stylist with an acute awareness of the dynamics of place, writing against the grain in a broader culture that often denies geographical differences or exploits them by stereotyping and exaggeration. He appears to be slowly enlarging his palette in terms of both technique and material in his fiction, while keeping a close, reflective eye on his own processes and insights through his journals and the memoirs that he creates from them. It is difficult to predict the direction his future work will follow, but the foundation he has established suggests that his work will continue to be wellcrafted, vivid, and surprising.

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CHRIS OFFUTT

Selected Bibliography

Edited by Jenny Offill and Elissa Schappell. New York: Broadway, 2008. Pp. 87-100. (Memoir essay.)

CRITICAL STUDIES

WORKS OF CHRIS OFFUTT

Athitakis, Mark. “Chris Offutt’s Third Way.” Mark Athitakis’ American Fiction Notes (http://americanfiction.wordpress. com/2008/02/04/chris-offutts-third-way/), February 4, 2008. Gerlach, John. “Narrative, Lyric, and Plot in Chris Offutt’s Out of the Woods.” In Per Winter, Jakob Lothe, and Hans H. Skei, Eds., The Art of Brevity: Excursions in Short Fiction Theory and Analysis. Columbia, SC: University of South Carolina Press, 2004, pp. 44–56. Schafer, William. “Kentucky Straight/Kentucky Bent.” Appalachian Journal 21, no. 1:50–55 (fall 1993). (Review article.)

Kentucky Straight. New York: Vintage, 1992. (Stories.) The Same River Twice. New York: Simon & Schuster, 1993. (Memoir.) The Good Brother. New York: Simon & Schuster, 1997. (Novel.) Out of the Woods: Stories. New York: Simon & Schuster, 1999. No Heroes: A Memoir of Coming Home. New York: Simon & Schuster, 2002. “Another Man’s Escape.” In Michael Chabon Presents: The Amazing Adventures of the Escapist. Edited by Michael Chabon. New York: Dark Horse Books, 2006. Pp. 83– 104. (Graphic short story.) “A Good Pine.” Broadcast on All Things Considered, National Public Radio, December 25, 2006 (http:// community.berea.edu/appalachianheritage/issues/ spring2007/goodpine.pdf). “Iowa Waltz.” In Down to the River, Portraits of Iowa Musicians. Edited by Sandra Dyas. Iowa City: University of Iowa Press, 2007. (Foreword.) “Porn Bought My Football.” In Money Changes Everything: Twenty-two Writers Break the Final Taboo—How Money Transforms Families, Tests Marriages, Destroys Friendships, and Sometimes Manages to Make People Happy.

INTERVIEWS Beattie, L. Elizabeth, ed. Conversations with Kentucky Writers (Lexington: University Press of Kentucky, 1996), pp. 298–316. Grant, Gavin J. “Chris Offutt: Looking Back, Looking In.” IndieBound (www.indiebound.org/author-interviews/ offuttchris). May, Charles. “Chris Offutt—Iowa, October, 2000,” Appalachian Heritage 30 (Winter 2002): 4–17. Palmer, Louis. “Chris Offutt Comes Home: An Interview.” Appalachian Journal 26, no. 1:21–31 (fall 1998).

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ROBERT B. PARKER (1932—)

Kathleen McDonald ern University in Boston since 1968, he continued teaching there and was promoted to associate professor in 1974 and to full professor in 1976. He remained there until 1979, when he ended his academic career in order to write full time, having by then published five acclaimed Spenser novels and Wilderness, a novel set at Northeastern. Parker was separated from his wife in the early 1980s. They eventually reconciled, but afterward occupied separate living spaces in their shared home. This event in Parker’s life not only worked itself directly into Spenser’s world, when Spenser and his love interest separate and must struggle to reunite, but also led to one of Parker’s major subsequent literary motifs: the inability to be part of society’s expectations of a traditional couple. Parker has limited himself mostly to the world of detectives, a world that he has been so successful in navigating that he has often been referred to as the dean of modern American detective fiction. His 1971 doctoral dissertation was entitled The Violent Hero, Wilderness Heritage and Urban Reality: A Study of the Private Eye in the Novels of Dashiell Hammett, Raymond Chandler and Ross Macdonald, and many critics over the years have compared him favorably to these iconic American mystery writers.

WILLLIAM BUTLER YEATS, Robert Frost, and William Shakespeare spill easily from his lips; culinary delights arise from his time spent in any kitchen; and prostitution, extortion, and murder occur regularly in his world. In 1973, Robert B. Parker published his first novel, which featured Spenser, a literate, epicurean, hard-boiled Boston private investigator who defies categorization. Thus began Parker’s long literary foray into the world of detectives in Massachusetts. As of 2008, he had published forty-nine books in three series about them (thirty-six in the Spenser series, seven in the Jesse Stone series, and six in the Sunny Randall series). In addition to these works, he has begun a fourth series, a Western about gunslingers set in the nineteenth century, and he has published eleven stand-alone works, including two young adult mysteries. He continues to publish two or three books every year. Robert Brown Parker was born to Carroll Snow Parker and Mary Pauline (Murphy) Parker in Springfield, Massachusetts, eighty miles west of Boston, on September 17, 1932. He graduated with a bachelor of arts degree in 1954 from Colby College in Maine, a location he later utilizes in several of his novels. While there he met Joan Hall, whom he married on August 26, 1956. They have two sons, David and Daniel. Between college and marriage, Parker served in the United States Army in postwar Korea. Following this military service, in 1957 he earned a master of arts degree in English literature from Boston University.

INTRODUCING SPENSER

After working for five years as a technical writer and an advertising writer, two years as a film consultant, and then teaching English at various colleges, he completed a doctoral degree in English literature at Boston University in 1971. Having been an assistant professor at Northeast-

Parker follows the model of the traditional American hard-boiled detective story, which experienced its so-called “golden age” in the 1920s and 1930s. The hard-boiled subgenre of detective fiction focuses on a lone male detective whose clients and suspects are the criminal ele-

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ROBERT B. PARKER kicks, but the hard-boiled twentieth-century American detective does not. In this first installment, Spenser is alone. He has no regular love interest nor any acquaintance who might evolve to fill the role of sidekick. Spenser, like Chandler’s Philip Marlowe and Hammett’s Sam Spade, is a step removed from the world around him. He may be intellectually or professionally curious about the people and the world he encounters, but he is not invested in them. He is of the world, but not in it. This too will change as the novels progress.

ment in the streets. Violence is always a real threat in this subgenre; murder, rape, shootings, and stabbings are regular occurrences. The term “hard-boiled” comes from contrasting the genre to the gentrified British version of detective novels of the same period, set in rural villages and drawing rooms. Dashiell Hammett (1894– 1961) and Raymond Chandler (1888–1959) are acknowledged masters of the hard-boiled detective novel, and the influence of these two writers is apparent in The Godwulf Manuscript and several of the novels that follow it. Directly modeled on Chandler’s detective Philip Marlowe, Spenser is an ex-cop who got fired for being unable to follow orders. Here at the beginning of the series, Spenser notes that insubordination is “one of my best things” (p. 128)—a line taken from a Marlowe line in Chandler’s The Big Sleep.

Parker begins his career as a novelist with a captivating first line: “The office of the university president looked like the front parlor of a successful Victorian whorehouse” (p. 5). Not only is this line in keeping with the cynical tone of Sam Spade and Philip Marlowe, but it also references a complaint that pops up repeatedly in Parker’s fiction: the inefficiency of American education, especially higher education. He often portrays academics as fools or charlatans and sets many of his stories in or around colleges or schools, providing him ample opportunity to take jabs at those he left behind when he abandoned academic life. The first chapter of The Godwulf Manuscript sets up what becomes one of Parker’s standard devices: using two characters who initially appear the same, but one of whom is clearly in the know, while the other is clueless. Spenser’s first employer, Bradford W. Forbes, the president of an unnamed university in the Boston area, hires him to retrieve a stolen fourteenth-century illuminated manuscript. When Spenser first meets Forbes, the head of university security, Carl Tower, is also present. Forbes spends twenty minutes telling Spenser how important he is and how difficult his job can be: “‘It is a matter of the utmost delicacy, Mr. Spenser’—he was looking at himself in the glass again—‘requiring restraint, sensitivity, circumspection, and a high degree of professionalism.’” That the president is staring at his own reflection while he is “impressing” Spenser tells both Spenser and the reader that this superficial man is inappropriately focused on his own presentation, worried about style, not substance. Disdain is the only appropri-

A notable, staple of hard-boiled detective stories is sexism, and though Parker modifies Spenser’s sexist attitudes to suit the age of women’s liberation, it is still apparent. Spenser encounters many women (clients, victims, witnesses) who espouse belief in gender equality, but through direct statements or by clear actions they belie that belief. This antithesis between stated and actual belief makes these female characters appear weak and inferior. Most of Parker’s minor female characters are judged on the basis of their sexuality, their potential as sexual partners. With few exceptions these women are either sexually repressed or they wield sexuality like a weapon. Spenser tends to reflect positively on women he thinks might sleep with him, but usually describes in negative terms those who do not have interest in him, or in whom he is not interested—such as “the woman in the inner office, who did not look like a student and didn’t even look one hell of a lot like a woman” (Godwulf, p. 77). Spenser’s assessment of this character is based on the degree of his physical attraction to her. He ends up calling her “Mary Masculine.” This sexual categorization of women dims under a veneer of political correctness over the course of Parker’s writing, but it never completely disappears. Since the days of Sherlock Holmes and Dr. Watson many literary detectives have had side-

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ROBERT B. PARKER ate response for a hard-boiled detective, and Spenser’s comes in his next lines: “Is there something you’d like me to detect, or are you just polishing up your elocution for next year’s commencement?” (p. 6). Tower steps in to explain the specifics of the stolen manuscript and the unnamed group that they believe took it. Forbes continues with his overearnest pleas, and Spenser becomes more obvious in his mockery: “Win this one for the Gipper,” he says, using what is no doubt the most insipid cliché he can bring to mind. Here is where the two men, who had appeared as similar academic bureaucrats upon first glance, are divided into the character in the know and the one who doesn’t get it: “Behind me Tower gave a kind of snort,” says Spenser, “and Forbes looked as if he’d found half a worm in his apple” (p. 8). Tower can see that Forbes is foolish and that Spenser knows it; Forbes cannot. Tower discusses the radical group he believes responsible with an understanding of how passionate college kids can get caught up in revolutionary politics. He is a character who has seen the bad in people but can still find and focus on the good—not, however, to the point that it cripples his ability to complete his job successfully. When Tower interacts with his attractive secretary, Spenser notes: “All business. Competent. Professional. No hanky-panky. No wonder he lasted ten years with the Feds” (p. 11). Tower has proven himself worthy of respect, to Spenser and to the reader. Spenser will encounter these character pairings again and again in the course of the novels, some more obvious in their initial similarity and ultimate disparity, others less so. Later in Godwulf, when Spenser has been kicked off campus, two university policemen come to escort him off the grounds. After one of them tries to manhandle him, they exchange words, and Spenser resorts to sarcasm:

The black cop laughed. The fat one looked puzzled and let go of my arm. (p. 87)

Their reactions highlight the essential differences in their perceptions. The African-American policeman can see the situation clearly in a way that his portly comrade cannot. The distinction usually is based on one of the dyad being perceptive enough to see beyond the obvious or the cliché; appreciating Spenser’s take on the situation is usually helpful as well. An extension of the division between those who are canny and those who are not appears in another device that Parker takes from the school of his literary forefathers: distinguishing the amateur from the professional. The successful professional detective must be able to read the people and situations around him. You don’t have to be a pro to be a tough guy—testosterone and pride are usually a powerful enough combination—a reality that Spenser encounters on a regular basis in his line of work. The distinction between the tough amateur and the seasoned pro is knowing how to fight and knowing how to size up the competition. Spenser had been a boxer in his younger days, but more than that, he is used to fighting with men who also know how to fight and for whom the stakes are often deadly. When he runs into an amateur it is often some muscle-bound thug who is used to intimidating people in bar fights. In chapter 2 of Godwulf, Spenser is having lunch with Terry Orchard, a young woman whom Tower has provided thinking she might be connected to the group he believes is responsible for stealing the manuscript. Orchard’s boyfriend, Dennis Powell, shows up, ready to dislike Spenser: first because he is having lunch with Orchard, and second because he is a private detective. Powell is disrespectful to Orchard, to which Spenser responds by calling him “Goldilocks.” Powell takes a swing at Spenser. While Spenser doesn’t like this rude kid, his characteristic sense of fairness demands that he not take advantage of a situation in which he knows he has the upper hand: “He was not planning to quit, so I figured it best end swiftly.” With one punch, Spenser puts Powell on the floor,

“Let go of my arm or I’ll put a dent in your face.” “You and who else?” he said. It broke my tension. “Snappy,” I said. “On your days off could you come over and be my dialogue coach?”

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ROBERT B. PARKER trade is a foundational characteristic of the traditional detective novel (Rzepka, p. 47). Parker would counter, as stated in his dissertation, that it is sheer stubbornness and determination, rather than intellect; it is an unwillingness to “play the sap” (p. 115). In Godwulf Spenser explains his work ethic: “I take hold of one end of the thread and I keep pulling it in till it’s all unraveled” (p. 76). He often begins by bumbling around without knowing what is going on, but he is tenacious and keeps pressuring people until someone does something careless or revealing. When this happens, he learns a little more. Eventually what he learns along the way adds up to solid knowledge, and he solves the case. While he needs intelligence and cunning, he also needs patience to persevere in the face of active rejection and tedious stagnation.

and Orchard tells him to stay there. Spenser adds: “She’s right kid. ѧ You’re an amateur. I do this kind of thing for a living” (p. 20). The ability for a hard-boiled detective to size up the competition and come out on top is what keeps him alive and working in the world he has chosen. When he encounters Phil, a fast gunman for mobster Joe Broz, he reminds himself: “I’d have to be sure not to make any mistakes about Phil” (p. 94). While Spenser is occasionally bested in a physical encounter, that is the exception, and it is usually followed by a chance to even the score, which Spenser inevitably wins. Later in the story, he feels bad for roughing up a college kid who had information he needed to solve the case and he thinks sarcastically of himself: “I had a lot of information, but I had an unpleasant taste in my mouth. Maybe on the way home I could stop and rough up a Girl Scout” (p. 156). Violence plays a part in the world where he has chosen to live, but his personal values make him unable to engage in it without regret.

An important aspect of Spenser’s personality appears early in Godwulf. As a philosopher, he does not see the world in terms of easy answers or black-and-white choices. He is aware that the vast majority of the world dwells in shades of gray, thus making absolutes difficult to achieve or even to expect. As he leaves the college on the first day having discovered very little, he notes, “I felt the sadness of kids like that who weren’t buying it and weren’t quite sure what it was” (p. 22). Orchard and Powell both tell him that they won’t help him and that he is too old to understand what they are fighting for and why it is so important. Powell even tries to beat him up, yet Spenser’s empathy as he heads home lies with these two students and their doomed cause.

Reading people is key to solving crimes. In Godwulf, Spenser utters a line he repeats in most of the novels, “No one ever tells me everything he knows; it is the nature of the beast” (p. 18). When so many of the people he encounters tell him half-truths, outright lies, or nothing at all, he must be able to use that to his advantage. When he questions a recalcitrant witness he notes, “Talking to him, I could feel him holding back. I could even feel that he liked knowing something and not telling” (p. 65). Only through intelligence and determination can he turn non-information into the keys to solve a case. It is actually a matter of pride for him. When a witness mentions a professor at the university who teaches Chaucer, Spenser remembers that “a Chaucer class had been mentioned before,” but he cannot remember the specifics. Rather than let it interfere with the interview at hand, he saves the information to ponder later: “I tucked the inkling away. I knew I could dredge it up later when I had time. I always could” (p. 70). This passage reveals the importance of the detective’s intellectual abilities and the pride that he takes in them. The detective making his intelligence into an essential tool of the crime-solving

One characteristic of Parker protagonists that makes them strong is their willingness to mock themselves as easily as they mock others. A couple of days after getting rousted by mobster Joe Broz, Spenser wryly quips: “I considered stopping by to frighten Joe Broz some more but rejected the plan and headed for Cambridge” (p. 109). Spenser had barely registered in Broz’s awareness and hadn’t come within a football field of frightening him, although Broz and his associates certainly put some fear into Spenser. His ability to make light of it permits the reader to

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ROBERT B. PARKER begins with his arrival at police headquarters in Godwulf: “You only go in the front door if you’re newsfilm material. If they put the arm on you in a disadvantaged neighborhood you go in past the empty press lot” (p. 39). Parker does not slow the pace of his story by having Spenser stop to examine the inequities of the justice system, but as Spenser regularly encounters racial and social minorities, these allusions appear over and over again. Although reasons of genre restrict considering social issues, Parker also pays his readers the compliment of assuming that they will perceive his meaning without excessive extrapolation.

connect with the irony Spenser sees in the world around him. Godwulf teems with action. Powell is shot and killed, while Orchard is drugged and framed for the murder. Spenser saves her from the overdose, and gets her story, thus foiling the frame job. The murder brings the introduction of Boston Police Lieutenant Martin Quirk of the homicide division. His first conversation with Spenser depicts the common hostility in detective stories between the police force and private investigators: “This is sure a lucky break for us, Spenser, having you on this to help us out. We need slick professionals like yourself to straighten us out and all. Keep us from forgetting to look for fingerprints, missing clues, and stuff” (pp. 32–33). This opening salvo in the verbal battle between the two over who is tougher, ends when Quirk threatens to “kick [Spenser’s] ass right into the gutter” to which he replies, “Can I feel your muscle?” (p. 33). Although this first interaction between Quirk and Spenser marks their relationship as initially hostile, Quirk becomes a regular ally of Spenser’s and appears in many of the later works. Boston Police Sergeant Frank Belson is also introduced. Belson and Spenser have a history, as they had worked together when Spenser was with the Suffolk County district attorney’s office, so their relationship has less fronting in this first book, but they are still not friends. They become more aligned as allies as the series progresses. Belson and Quirk almost always appear together—if one appears in a novel, the other does as well. Spenser uses language and literary references beyond the expectations for a private detective, as often commented upon by other characters in the novels. Toward the end of Spenser’s first meeting with Quirk and Belson, Spenser notes that he called the police when “it was both feasible and prudent.” Belson’s response draws it to the reader’s attention: “You talk good for a dumb slug; feasible and prudent, my, my” (p. 35). Social commentary is ever-present in Parker’s novels, often appearing as filler and easily missed. It appears throughout his works, but

When arriving at the home of Orchard’s parents in West Newton, the ultimate suburb for the old rich, Spenser is greeted by an AfricanAmerican maid. In describing her, he again uses only one line to foreground social issues: “Her almond-colored eyes held a knowledge of things that West Newton Hill didn’t want to hear about” (p. 49). This line could easily have more bluntly said that residents of this posh, white suburb only miles from inner-city Boston didn’t know about the realities of their servants’ lives, but Parker’s subtlety makes it a more scathing critique. Not only do they not know; they do not want to know. They are content in the privileged white enclosures that they have created for themselves and work to maintain insularity from the realities that much of the world deals with daily. Lieutenant Quirk, who is not convinced that Orchard murdered her boyfriend, is removed from the case, and it is reassigned to a captain answering to the higher-ups of the police department. While Quirk cannot press the matter once it is officially taken out of his hands, Spenser, outside the restrictions of the police force, can and does. Such standing outside the organization of law is, according to Charles J. Rzepka, who has made a study of crime fiction, another standard trait for a private detective (p. 47). Spenser realizes that the most likely murderer is English Professor Lowell Hayden. Spenser confronts Hayden at home, where Hayden warns him off with the threat of being hurt by “friends who know how to deal with people like you.”

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ROBERT B. PARKER Easing off alcohol can also be read as indicative of Spenser’s becoming more gregarious and shifting to fit into a domestic scene. Scholars of this field note that few classic hard-boiled detectives had a satisfying domestic life. They were loners without wives or children. As Martin Swales observes in his introduction to The Art of Detective Fiction, they did not belong in the comfortable world of families, instead being as much a part of the maladjusted street scene as the criminals they found there. Apartments and offices tended to be sparse and cold, reflecting the interiority of the detective.

Spenser responds with his typical sarcasm, “You gonna call in some hard cases from the Modern Language Association?” (Godwulf, p. 150). Spenser keeps nosing around and pushing buttons until something pays off: “He’d overreacted. ѧ English professors don’t know hired muscle unless there’s something funny” (p. 151). The mobsters try to kill Hayden. Spenser earns a bullet in the exchange, but kills the mobsters, and Hayden agrees to confess all to the police, thereby solving all of Spenser’s cases and saving the innocent Terry Orchard from prison. The story ends on a positive note with the illuminated manuscript returned, the murderer found, and Spenser arranging a date with Tower’s attractive secretary. Thus, in this first novel, Parker maintains a close reflection of the golden age model, with Spenser taking a bullet, sleeping with several women, and killing numerous men.

Spenser meets Susan Silverman, who will become the love of his life, in the second book in the series, God Save the Child (1974). Shortly after she enters the picture, Parker moves his character a step away from the traditional hardboiled detective. Even though they never marry, have one very bad breakup (the resolution and aftermath of which extend through too many subsequent story lines), and try only once, unsuccessfully, to cohabitate, Spenser becomes part of a family. As he moves out of loner space, he takes on characteristics of the domestic world, leaving behind much of the cold outsider he had been. Through this relationship Parker questions society’s insistence that couples, married or not, follow the same framework for a committed relationship. In book nineteen, Double Deuce (1992), Spenser and Susan Silverman attempt to live together. At the end of the book, they decide that they each need their space, and they are stronger for having it, so Spenser moves back to his own apartment, and they agree to be together but to live apart. Silverman and Spenser set the scene, but all of Parker’s adult protagonists will grapple with the same issue of desiring a committed relationship but being unable to handle forced togetherness. In God Save the Child, Silverman is the guidance counselor at Smithfield High School, in a well-to-do Boston suburb. A local family has hired Spenser to find their runaway son, so he comes into contact with Susan while working the case. In interviews, Parker states that Silverman is based on his wife, Joan. Not surprisingly, she

DOMESTICITY AND CHANGE

The archetypal hard-boiled detectives of the golden age tended to drink heavily. In early Spenser novels, he follows that mold. After he gets involved in the murder case in Godwulf, he goes home and makes himself a fancy French dinner. He drinks many beers while making dinner, and then drinks a bottle of Pouilly Fuissé with the dinner (p. 71). He also keeps a bottle of bourbon in his office desk, which he taps liberally in the early works. When buying dinner to eat on a stakeout, it includes “a pint of Wild Turkey” (p. 161). As the series progresses, this consumption eases off drastically. In the fourth novel, Promised Land, Spenser notes: “Susan Silverman had recently taken to reprimanding me for my tendency to empty the glass in two swallows and order another” (p. 38). He still drinks in the novels of the 1980s and beyond, but he does so at a reduced rate. With notable exceptions, in the later works he is more likely to consume a couple of beers at the end of the day or drink in social situations rather than to get drunk alone. This reflects a shift in American attitudes toward alcohol, and it clearly reflects the Parker model, rather than the Hammett/Chandler one.

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ROBERT B. PARKER is the most positively delineated woman in the course of this series:

Spenser’s life. Hired by the Sox to find out if one of their pitchers is on the take, he discovers that the pitcher’s wife has a past as a prostitute and has done a pornographic film, which is being used to blackmail them. Although Spenser was operating under his code of honor in the first two installments, here it begins to be fleshed out and openly discussed. When he is asked why the Rabbs don’t simply come clean and remove the leverage for blackmail—“I mean it would be embarrassing, but the sexual revolution has been won. No one, surely, would stone her to death.” Spenser explains Marty Rabb’s code as it is understood in the world of baseball: “Baseball is more conservative than the entire city of Buffalo. And Rabb is part of a whole ethic: Man protects the family, no matter what” (p. 104). By introducing his own code through the “jock ethic,” Spenser puts his worldview firmly into play. He notes that “it’s not something to outgrow” (p. 105). Although Rabb and Spenser’s codes of ethics do not exactly correlate, each must respect the rules that his code provides.

Susan Silverman wasn’t beautiful, but there was a tangibility about her, a physical reality. ѧ She had shoulder-length black hair and a thin dark Jewish face with prominent cheekbones. Tall, maybe five seven, with black eyes. It was hard to tell her age, but there was a sense about her of intelligent maturity which put her on my side of thirty. (pp. 35–36)

While finding and helping the runaway boy, he begins his relationship with her. In other ways, this second installment continues to follow the model Parker used in the first. Two recurrent characters are introduced, Lieutenant Healy of the Massachusetts State Police and Henry Cimoli, a former boxer and boxing coach, who runs a Boston gym where Spenser works out. Two murders take place in this work, but Spenser neither kills anyone nor gets seriously injured in this second go-round. In essence the plots in Parker’s early works stick with the formula that was established during the golden age: a lot of action, shady deals, fights, killings, and sex. As Parker becomes more confident in his style, he pulls away from his models and begins to establish works that are less terse and more intellectual. Parker’s protagonists are all thinkers, and the reader of later works often spends as much time with the protagonist’s mental or emotional trials as with the physical world of a working detective. This comes out not only in what happens and how, but in the language Parker uses to write the stories. The earlier works snap with fast and witty dialogue. Sarcastic exchanges among the characters make for a fast read. Readers feel as if they are being taken on an out-of-control ride. The later works are driven as much by narrative as dialogue, which makes for more complete settings and characters but occasionally gives the action too much to slog through to match the fast pace of the earliest works.

When Spenser has figured out most of the pieces to extricate the Rabbs from the control of the blackmailers, the problem of two gangsters with their fingers in the Rabb blackmail pie remains. Believing the only way to eliminate the threat these men pose is to eliminate them, Spenser sets them up and then kills them. However, his code demands that he feel guilty about it. In discussing it with Susan, she provides her take on his guilt: “What I am sure of is I’d care for you less if killing those people didn’t bother you” (p. 190). Although Spenser doesn’t say so, so would he—that is his code. Spenser also uses other people’s personal codes of ethics against them to get what he needs. When he confronts Patricia Utley, the upscale madam in New York who originally made the film being used as blackmail, she resists providing him with the master copy. Angry that she puts money over another woman’s safety and security, Spenser insults her by challenging her code of honor: “You keep telling yourself you’re a businesswoman and that’s the code you live by. So that you don’t have to deal with the fact that

THE CODE OF HONOR

In the third novel, Mortal Stakes (1975), Parker folds his love of baseball and the Red Sox into

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ROBERT B. PARKER the code can be: “Powers a foul-mouthed bastard, never did like a guy swore in front of the ladies that way” (p. 218). Hawk can kill them, but not swear in front of them. Dick Lochte, on the Thrilling Detective Web site, credits Parker with altering the form: In Hawk, he “created what has become a genre staple—the sociopathic sidekick” (www.thrillingdetective.com/spenser.html). In interviews Parker notes that he had not intended for Hawk to become a recurrent character, but when he needed a sidekick to help Spenser in the fifth novel, Hawk seemed the logical choice. A wonderful partnership was born. In the seventh book of the series, Early Autumn (1981), a woman hires Spenser to get her fifteen-year-old son back from her exhusband. The son, Paul Giacomin, becomes a major player in Spenser’s life. His parents are interested in him only as a pawn in their divorce wars, and he lives on TV and junk food. When it gets ugly between the parents, the mother pays Spenser to take the boy temporarily. Spenser teaches him about codes of ethics and what makes life worthwhile. Over the course of this book, Giacomin gains self-confidence, learns that he loves dance, and bulks up from exercising with Spenser. He does not want to return to either of his parents when they come looking for him, so Spenser digs up dirt on both of them and blackmails them to enable Giacomin to go to a boarding school with a serious dance program. In terms of establishing something resembling familial ties, this is one of the strongest novels, as Paul becomes a surrogate son who appears in future books.

you are also a pimp. Like Violet” (p. 92). Now it’s Utley’s turn to be angry, and she throws him out, but the insult prompts her to revisit her decision and send him the master copy. The code also guides Spenser on when to break laws. In Paper Doll (1993), the twentieth Spenser installment, Spenser investigates the murder of a Boston socialite. He discovers that the murder victim was neither who she claimed to be nor a nice woman. When her husband’s money dried up, she went to demand money from the father who had never acknowledged her, but by the time she went looking, he didn’t have any and suffered from dementia. His elderly servant, Jefferson, who had worked for the family for over sixty years, was supporting him. When she gave them one week to come up with money, Jefferson took a framing hammer and beat her to death. Spenser is unsure of his responsibility. After weeks of contemplation, he tells Susan: “When Jefferson told me the truth that night, ѧ there were six or eight dogs sleeping in the atrium. ѧ I think I’ll let them lie” (p. 170). Although Jefferson committed murder, Spenser’s code cannot let him send a generous and caring old man to jail for the murder of a mean and deluded woman, so he does nothing. The fourth Spenser novel, Promised Land (1976), is important for two reasons. In this book Spenser and Silverman become serious, and by the end they discuss marriage. The introduction of Hawk marks the second important aspect of Promised Land. He and Spenser have been acquaintances from the days when both were boxing. In ways, Hawk mirrors Spenser, yet he has fewer rules. His code is similar, but he kills people for money. Hawk not only kills for money; he isn’t burdened with guilt for doing so. Up until this point, the only other characters who do what Spenser does are portrayed as evil. When the only positive characters with which to compare him would never engage in this behavior, Spenser was always in danger of falling into the category of bad guy. The presence of Hawk allows Spenser not to be the worst of the characters the reader is rooting for. At the end of the novel, when Hawk disdains a thug who curses in the presence of women we see how confusing

Again Spenser’s code challenges society’s views of right and wrong. Giacomin’s parents are not good for him, but they are his parents. Because Spenser judges that their son would be better away from them, he breaks society’s laws for the boy’s good. He also deals with his code and the safety of his “family” coming into conflict: A local mobster tries to kill Spenser when he is with Susan and Paul, so Spenser and Hawk pay him a visit. Spenser delivers a beating and a warning never to come near them again. Hawk tells him to kill the guy, but Spenser responds that he can’t kill an unarmed man.

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ROBERT B. PARKER overrun by rowdies, hires Spenser to clean it up. To do so, he summons almost every marginally cordial hood/shooter that he has encountered in the series to date. In addition to Hawk, he brings Vinnie Morris from Boston (introduced in The Widening Gyre), Chollo and Bobby Horse from LA (introduced in Stardust), Tedy Sapp from Georgia (introduced in Hugger Mugger) and Bernard J. Fortunato from Las Vegas (introduced in Chance). All professional tough guys who fall somewhere along the spectrum from willingness to kill in self-defense or to protect others, to killing because they are paid to or because it strikes them, they are members of Spenser’s club because they all adhere to the code requiring them to do what they say they will, and he can trust their word. The Spenser of this novel, with a pseudo-wife, a pseudo-son, and many pseudobrothers, is a long way from the lone detective who began the series twenty-eight years earlier.

Hawk shakes his head, spits, shoots the man “in the middle of the forehead” and calmly says, “I can” (p. 210). The next major event in the series is the breakdown of the relationship between Susan and Spenser. It begins in book eight, A Savage Place (1981), when Spenser sleeps with a Los Angeles newscaster, Candy Sloan, a client he has been hired to protect. She is then killed. He brings his feelings of guilt into his relationship with Silverman. In book eleven, Valediction (1984), Silverman completes her PhD and moves to California to work. She wants a separation from Spenser, and while in California, she becomes involved with another man. Valediction is one of the strongest and most complex of the Spenser novels. Spenser’s struggle against feeling the absence of Susan’s powerful presence garners a tension that leaps off the page. He becomes numb to the constant pain through a return to drinking, as well as through violence. Silverman keeps Spenser from becoming too cold, like Hawk. In her absence he drifts in that direction. He kills four men who set out to kill him and is shot several times at close range by his female client, whom he thought was the victim. She dies, although it is unclear whether Spenser breaks her neck or Hawk does. In book twelve, A Catskill Eagle (1985), the relationship between Silverman and Spenser comes to a head when the man she has been dating in California refuses to accept her decision to end their relationship and basically takes her hostage. Hawk and Spenser travel the country, accruing multiple felony charges in their attempt to get her back. They succeed, setting up the need for Spenser and Silverman to have a conversation in almost every subsequent book in the series about how much they mean to each other and how nothing will ever tear them apart again. In a series replete with repetition, these conversations are particularly prevalent and are a weakness from this point on. Familial connections make Spenser a more human and connected character, but these oft-repeated declarations of forever become tedious. In book twenty-eight, Potshot (2001), a small town in Arizona, lacking law enforcement and

Spenser first appeared in print in a novella published in the October 1973 issue of Argosy magazine, several months before the release of the first novel in January 1974. During the thirtyfive years after that first novel, Spenser appeared in thirty-five more, and Parker has stated that he does not see the series coming to an end as long as he is still able to write.

JESSE STONE AND SUNNY RANDALL

In 1997 Parker published Night Passage, the first novel in his second ongoing series. This series focuses on Jesse Stone, a former Los Angeles homicide cop who left the job because of an alcohol problem. Hired as the new police chief in the fictional small town of Paradise, Massachusetts, he is recently divorced from the love of his life, Jenn, an actress, because they could not live together and because she cheated on him. The main motifs that come up in the Spenser series play out in Stone as well. He was an athlete who played professional baseball until he got hurt; he was popular with the ladies, but now has been destroyed by one he believes used sex to get what she wanted; he has a code he knows he

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ROBERT B. PARKER Randall deals with many of the same issues as Spenser and Stone. She still loves her exhusband, Ritchie, but they cannot live together. Her father had been a career Boston cop, and she spent some time on the job until she quit to go private. Ritchie’s family is the mob, so she also has access to information based on that connection. Her code includes a rule that Spenser and Stone don’t have to think about: proving that a woman can do the job. She resists taking help from her father or Ritchie, except in emergencies, because she needs to prove her competence, especially to herself. This becomes a bit muddied in the end of Family Honor when she turns to mobster Tony Marcus for help against an Irish hit man chasing her, as well as when she remains silent while her former in-laws negotiate the hit man’s assassination.

should live by and he tries, although the alcohol makes that difficult. Paradise turns out to be anything but: the most powerful men in the town belong to a militia-type group and plan to arm and rise up against those who believe that the world should be equal and available for everyone. They fired the last chief when he found out about them, and then they had him killed. They also kill a couple of people in town. With the help of a young stoner girl whom Stone has befriended, he thwarts the militia’s attempt to kill him and take over the town. Stone’s energy is all still centered around Jenn. Just as Valediction garnered power from the tension created by the absence of Silverman, Night Passage draws power from the tension created by Jenn’s absence. She arrives in Paradise at the end of the novel, having decided that she cannot live without Stone, even if she cannot live with him. Stone plays things closer to staying on the right side of the legal line than Spenser does, but he still has significant challenges to his code. In the third book, Death in Paradise (2001), he knows that Gino Fish, a major Boston bad guy, plans to kill his assistant for pimping out women behind Fish’s back, but disgust at the tragedy that the assistant’s pimping had caused leaves Stone too apathetic to stop it. Parker’s third ongoing series, which appeared in 1999 with Family Honor, features his first female protagonist, Sunny Randall. Over the years Parker had moved his detective hero away from the golden age model—he is no longer a loner; he has a fairly regular sidekick and something like a family; and he’s ratcheted down the sexism and drinking—but with the arrival of Sunny Randall, Parker takes that one step further. Of course, by 1999 women detectives are far from a new thing. The critic Sarah Dunant notes an explosion of them in literature by the 1980s: “An increasing number of women writers, some British, some American, some overtly feminist, some less so, got on their trench coats, emptied their fridges, put a whisky bottle in their filing cabinet and, hey presto, the female private eye was born” (p. 18).

Female detectives deal in a number of ways with being women in a male-dominated profession, but they are always conscious of the additional danger they face as women. In the sixth Randall book, Spare Change (2007), Randall’s best friend, Julie, talks her into a double date; it turns out the men expect to have an orgy. When Randall refuses, they try to turn it into one forcefully without the women’s consent. Randall maces them, delivers a few pointed blows, and gets her gun: “Bitch with a gun,” she says, “Your worst nightmare” (p. 179). Although Julie notes that she would have given in had Randall not been present, no contemplation occurs of what would have happened had Randall said no but been unable to back up her refusal with force. Over the course of the series, Randall has several sexual relationships, with Jesse Stone among others, despite the fact that she never stops loving Ritchie. In the fourth book, Melancholy Baby (2004), Ritchie remarries, which sends Randall into a downward spiral. In the fifth book, Blue Screen (2006), Ritchie and his wife are expecting a baby, which appears to end any chance for Randall to reconcile with him. However, in Spare Change, Ritchie leaves his wife, and he comes to terms with Randall—she still cannot live full-time with anyone, but they want to give their relationship another try. No

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ROBERT B. PARKER mention is made in the sixth novel of the pregnancy introduced in the fifth. Parker allows secondary characters from the Spenser series to overlap into the Stone and Randall series. Police officers and big-name bad guys, a psychiatrist Spenser had consulted on a case, and former District Attorney Rita Fiore, turn up in both. Randall and Stone become lovers at one point, although their relationships with their respective exes doom them, and Randall ends up in counseling with Spenser’s lover, Susan Silverman. For fans of Parker, catching these overlaps may be fun, but they become so dominant that those unfamiliar with Boston might think southeastern Massachusetts is mighty small. Like Spenser and Stone, Randall’s code undergoes challenge in the course of her work. Hired to protect an actress, Erin Flint, she investigates when Flint’s assistant turns up murdered. She discovers that Flint’s assistant was actually her sister, but years earlier they had hidden their past when Flint got her first acting break. The sisters’ early work had included prostitution, and Flint’s manager still required regular sexual favors from both women in exchange for keeping quiet. When the assistant/ sister tried to put an end to it, Flint killed her in a panic. Randall and Stone figure it out, but both feel badly for Flint and let her go, despite her confession.

solid story line about a woman Cole loves, Allie. She is not true to him, but he cannot see it or shake free of her. At the end of Appaloosa, Hitch leaves town. The beginning of Resolution finds him doing the same work in a new town. Shortly thereafter Cole arrives. Allie has left him, so he follows Hitch until he can find her again. Although these novels—along with Parker’s other Western, Gunman’s Rhapsody (2001), a tale about Wyatt Earp—are not mysteries, Parker’s dominant themes reappear. The relationship between Hitch and Cole could as easily be that of Spenser and Hawk. Indians or cattle rustlers provide the danger, not street gangs or mob hit men, but the themes need no alteration to work in this setting. As Parker’s dissertation traced the origins of the hard-boiled detective back to the lone cowboy taming the wilderness, this return to cowboys with the same traits and issues the detectives have represents a logical progression.

THE NON-SERIES BOOKS

Parker has published a dozen or so books outside his series writing. Three of these are nonfiction works that he coauthored, two of them with his wife. Joan suffered from breast cancer in 1976, and the two of them wrote about their experiences with the illness, the treatment, and how it changed their lives in Three Weeks in Spring (1978). The second work he coauthored with her, A Year at the Races (1990), tells about the Parkers’ introduction to the world of thoroughbred horse racing. His other nonfiction work was Sports Illustrated Training with Weights (1990), coauthored with John R. Marsh.

WESTERNS

In 2005, Parker introduced a new series, which includes Appaloosa (2005) and Resolution (2008). This series focuses on two gunslingers, Everett Hitch and Virgil Cole, who travel from town to town in the Wild West helping those who are short on law-abiding society regain order from self-serving outlaws happy to destroy it. The thematic focus on saving the towns for future use by the general populace shows in the titles: both are the names of the towns that need saving. In both novels, Hitch and Cole stand against men with lots of willing fighters in their employ, all of whom take whatever they want from the town and the people. The first book includes a

In interviews, Parker has stated that his favorite among his books is All Our Yesterdays (1994). At more than four hundred pages, it is the longest of his novels, most of which range between two hundred and three hundred pages. It is also the most complex in terms of spanning time and generations. Most of his novels take place within the time required to solve a crime, ranging from a couple of weeks to a year at the most. All Our Yesterdays covers three gen-

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ROBERT B. PARKER erations of two interconnected families on two continents, spanning most of the twentieth century.

The beginning of this work moves away from Parker’s standard characters, settings, and plots and has the potential to be an epic tale of love and betrayal. Once the action moves to Boston, however, it falls into the patterns he established in the Spenser stories. While these patterns are enjoyable enough—hence Parker’s huge success for thirty-five years—they make up formulaic genre fiction, not an epic tale. Except for Grace and her mother, the women are one-dimensional. They are either sexually repressed or they use their sexuality to get what they want from men. Wilderness (1979) was Parker’s first foray into a non-Spenser novel. The main character, Aaron Newman, appears to be the most autobiographical of Parker’s protagonists. Newman writes novels about a detective who lives by a code of honor; he fought in Korea and has two grown daughters, one of whom is a dancer. His wife teaches at Northeastern University, where he himself had worked until his writing made him enough money that he could quit and write full time. Aaron accidentally witnesses an execution and gets pulled into a vicious game. As a writer about tough guys who take care of things like this, Aaron feels emasculated by his inability to protect his wife, Janet, against criminals who are threatening him to keep his mouth shut. He fears that, in comparison to the tough as nails character he has created in his fiction, he might just be a weak man.

The story begins in Ireland in 1920 with Conn Sheridan. He immigrates to Boston, becomes a policeman, and marries Mellen, an IrishCatholic girl. Unfortunately, when she become premaritally pregnant, she interprets it as punishment from God and becomes sexually cold and obsessed with religion. Years later, Conn discovers that Tom Winslow, the teenage son of Hadley Winslow, a woman who had both loved and betrayed him, is a pedophile and murderer. Conn blackmails Hadley and gives the evidence to his son, Gus, also a Boston cop. Gus eventually uses the blackmail material against Tom. Gus marries Peggy, a frigid and ignorant woman like his mother, and they too have a son, Chris, who becomes a lawyer. In a twist worthy of Greek tragedy, Chris falls in love with Grace Winslow, Tom’s daughter. A random murder unravels everything, resulting in the surfacing of many long-buried secrets. Parker’s main themes continue in his most epic work, as it delves into questions of fate and destiny through the repeated intersections of these two families. Conn and Gus are police officers who are much closer to being criminals than Spenser, Stone, or Randall, but they still contend with the question of what it means to be a good man. They both have unsatisfying home lives, as they have married dull and sexually repressed women, and they must work hard to maintain an emotional center. Conn fails, but Gus eventually succeeds. His success comes, however, through confessing his illegal activities and throwing away his career and his defunct marriage. Nontraditional domesticity arises as well. While both have many sexual partners over the years, Conn’s only happiness comes during his early relationship with Hadley; Gus’s only happiness occurs during a brief affair with Grace’s mother Laura. Grace and Chris struggle with their relationship because Grace is not ready for the commitment Chris is seeking. The book ends with them determined either to fix their relationship or end it once and for all.

This novel begins as a solid exploration of the reality of being the writer, not the tough guy, but it abandons this promising inquiry and makes the writer once again the tough guy. Aaron and Janet, and their combat veteran neighbor, Chris Hood, decide their safety lies in going on the offensive and wiping out the bad guys. They head up to the woods of Maine where they succeed in killing a tough professional criminal, his two sons, his bodyguard, and an associate. Hood dies in the first encounter they have with these men, so the vast majority of this murder is done by two academics who have no experience with violence. These incidents pull them closer together, and leave the reader with a sense that they have found a better place than when the

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ROBERT B. PARKER parts Parker’s remains unclear, the beginning of the novel sounds much more like Chandler than Parker. At the end of the novel Marlowe and his wife decide to figure out a way to make their relationship work. They love each other too much to part just because they can’t stand to live together. The idea of being a committed couple without cohabitating is very much Parker’s.

story began. While interesting for its initial material on the behind-the-scenes world of the modern mystery writer, the implausibility of these two besting five professional criminals keeps this a minor Parker work. In Love and Glory (1983), we again see autobiographical hints. Boone Adams and Jennifer Grayle are students together in the early 1950s at the Parkers’ alma mater, Colby College. They become lovers, but he is thrown out of school, drafted into the army, and sent to Korea. While he is there, she sends him a Dear John letter. She marries someone else, and he becomes a drunk and a drifter. One day he wakes up and decides to turn his life around. He discovers that Jennifer’s husband works as a professor at Taft College (a Parker invention that he uses in several other works). He enrolls there as a student and takes up anew his friendship with Jennifer. Eventually both complete PhDs in English, and she realizes that she still loves him and leaves her husband for him. Lacking the violence and crime that drives most of Parker’s novels, this is a love story. A reader familiar with Parker might see this work as his answer to a what-if scenario. What if Parker and his wife had not stayed together after college and Korea? Love and Glory reflects the sentimental, romantic notion that despite years, other lovers, and many hardships, true lovers will eventually end up together anyway. In Poodle Springs (1989), Parker links his name irrevocably with Raymond Chandler’s when he takes that writer’s final novel, left unfinished upon his death, and completes it. In this tale Philip Marlowe finally settles down and marries. His wealthy new wife sees no problem in their living off her money in the swank town of Poodle Springs, a couple of hours outside Los Angeles; but Marlowe sees a definite problem with that plan. When his continued work interferes with her social engagements, their relationship becomes strained. Parker’s erstwhile themes continue with vigor in this work: manipulating women and their sexual issues; living by a code, even when it is painful; loving a woman, but not being able to live with her all the time. Although which parts of the book are Chandler’s and which

In 1991 Parker took another try at Chandler, writing a sequel to The Big Sleep. In Perchance to Dream: Robert B. Parker’s Sequel to Raymond Chandler’s “The Big Sleep,” Parker includes long excerpts from Chandler’s novel to introduce the characters and setting, but he struggles with the narrative voice. In the long run, it sounds neither like Chandler nor like Parker but like Parker trying to sound like Chandler. Even in scenes dominated by dialogue, Parker, an expert at snappy repartee, gives summaries in narrative form, sapping much of the power the novel might have had. Double Play (2004) is Parker’s love letter to the Brooklyn Dodgers and Jackie Robinson, the first African-American player signed to American major league baseball. Branch Rickey, the Dodgers’ manager, hires the fictional Joe Burke as Jackie Robinson’s bodyguard during his first year integrating the major leagues. The mystery involved here is simple, but the book’s intriguing aspect is its alternating narratives. The dominant one is Burke’s, which tells the story of his quickie marriage before shipping off to World War Two, his getting wounded in action, his wife’s decision to leave him while he was recovering in the hospital, his work for and sexual relationship with rich New York party girl, Lauren Roach, culminating in his work with Robinson, which focuses on racial tensions, not baseball. The second narrative is that of Bobby, a boy in Springfield, Massachusetts, who grows up listening to baseball on the radio. When Robinson is drafted into the Dodgers, Bobby’s own racial consciousness makes him acutely aware and supportive of Robinson. This is the view of the young, not yet jaded, fan: the outsider both to adulthood and to accepted prejudices.

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ROBERT B. PARKER Parker’s irrepressible themes prevail here as well: a man struggling to live by a code of honor, the cruelty and weakness of women, especially those who use their sexuality as power, and social issues around race and class. In addition, he plays more directly with a character who may or may not be autobiographical. Bobby comes as close to Parker as any character in his fiction has done. He lives in Parker’s childhood hometown; he is the same age; he loves baseball and the Dodgers. This Bobby also gets a retrospective view of the situation, when, as an adult, he notes that he had always identified with victims, which was why he felt racism was wrong, despite tacit parental and wider societal support for it.

Joan, but it is intriguing that he had to go to the beginnings of puberty to find her. CONCLUSION

Parker’s literary contributions to American popular fiction span thirty-five years and multiple genres. An inheritor of the hard-boiled school of detective fiction, he has adjusted his style for the times. On a social level, his writings reflect a society changed by the movements for civil rights and women’s liberation. On a personal level, his happy domestic existence allows him to provide the same for his characters. His dominant and continuing themes include a code of honor, and the knowledge that a man or woman with an honorable code will be as good as his or her word. Pairing characters who appear to be the same, only to have deeper knowledge of them reflect disparate and opposing understandings, allows Parker to highlight over and over that what matters is not who you are, but what you are. Having character after character resist society’s expectation that committed couples will cohabitate permits him to validate his own domestic situation. His lesser themes are represented by the scores of weak, frigid, ignorant, or controlling women whom he inherited from the golden age but never managed to contend with successfully, or the many fools and charlatans within the academy whom his detectives prove guilty of murder and other crimes. Detective novels have often been dismissed as formulaic fiction rather than literature, yet when Parker is at his best, his complex characters and relationships, his story lines woven through with well-considered themes and symbols, and his sharp social commentary place his writing well within the realm of worthwhile late twentieth- and early twenty-first-century American literature. Robert B. Parker won an Edgar Award for best mystery novel from Mystery Writers of America in 1976 for Promised Land, his fourth Spenser novel, and he received a Grand Master Award from that organization twenty-six years later in 2002. In 2007, Mystery Ink presented him with a Gumshoe Award for his lifetime achievement.

In 2007, Parker branched out into young adult mysteries with Edenville Owls and the following year with The Boxer and the Spy. In the former, Parker creates another protagonist named Bobby; this Bobby gets help from his clever friend Joan. In Edenville Owls, Bobby and Joan are in eighth grade and it is 1946. The mystery they have to solve will help their beloved teacher, whose ex-husband stalks and harasses her. Racial conflict and false claims to the Medal of Honor from service in World War Two dominate the mystery aspect of the novel. These characters reach the cusp of puberty, with Bobby having feelings for Joan but confused about what they mean. He doesn’t like her dating other boys, but doesn’t know that he wants to date her himself. In most of Parker’s stories, the characters are fully formed adults who may adjust their personalities or codes of living to cope with extenuating circumstances but whose worldviews are solidly set. For Bobby and Joan, codes to live by are still being formed as they try to decipher what it means to be a good person in a world filled with those who are not. Their society of 1946 generally accepts blatant racism, but both of these characters have antiracist worldviews. Joan is among the most solidly intelligent, capable, and likable of Parker’s female characters. Despite the first onset of hormones, this boy and girl are basically presexual, so the girls are not using sexuality for control. It is unlikely that Parker would create a negative character named

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Selected Bibliography

JESSE STONE NOVELS Night Passage. New York: Putnam, 1997. Trouble in Paradise. New York: Putnam, 1998. Death in Paradise. New York: Putnam, 2001. Stone Cold. New York: Putnam, 2003. Sea Change. New York: Putnam, 2005. High Profile. New York: Putnam, 2007. Stranger in Paradise. New York: Putnam, 2008. Night and Day. New York: Putnam, 2009.

WORKS OF ROBERT B. PARKER SPENSER NOVELS The Godwulf Manuscript. Boston: Houghton Mifflin, 1973. Reprint, New York: Dell, 1983. God Save the Child. Boston: Houghton Mifflin, 1974. Reprint, New York: Dell, 1983. Mortal Stakes. Boston: Houghton Mifflin, 1975. Reprint, New York: Dell, 1983. Promised Land. Boston: Houghton Mifflin, 1976. Reprint, New York: Dell, 1983. The Judas Goat. Boston: Houghton Mifflin, 1978. Looking for Rachel Wallace. New York: Delacorte, 1980. Early Autumn. New York: Delacorte, 1981. Reprint, New York: Dell, 1983. A Savage Place. New York: Delacorte, 1981. Ceremony. New York: Delacorte, 1982. The Widening Gyre. New York: Delacorte, 1983. Valediction. New York: Delacorte, 1984. A Catskill Eagle. New York: Delacorte, 1985. Taming a Sea-Horse. New York: Delacorte, 1986. Pale Kings and Princes. New York: Delacorte, 1987. Crimson Joy. New York: Delacorte, 1988. Playmates. New York: Putnam, 1989. Stardust. New York: Putnam, 1990. Pastime. New York: Putnam, 1991. Double Deuce. New York: Putnam, 1992. Paper Doll. New York: Putnam, 1993. Walking Shadow. New York: Putnam, 1994. Thin Air. New York: Putnam, 1995. Chance. New York: Putnam, 1996. Small Vices. New York: Putnam, 1997. Sudden Mischief. New York: Putnam, 1998. Hush Money. New York: Putnam, 1999. Hugger Mugger. New York: Putnam, 2000. Potshot. New York: Putnam, 2001. Widow’s Walk. New York: Putnam, 2002. Back Story. New York: Putnam, 2003. Bad Business. New York: Putnam, 2004. Cold Service. New York: Putnam, 2005. School Days. New York: Putnam, 2005. Hundred-Dollar Baby. New York: Putnam, 2006. Now & Then. New York: Putnam, 2007. Rough Weather. New York: Putnam, 2008. The Professional. New York: Putnam, 2009.

SUNNY RANDALL NOVELS Family Honor. New York: Putnam, 1999. Perish Twice. New York: Putnam, 2000. Shrink Rap. New York: Putnam, 2002. Melancholy Baby. New York: Putnam, 2004. Blue Screen. New York: Putnam, 2006. Spare Change. New York: Putnam, 2007.

APPALOOSA TRILOGY NOVELS Appaloosa. New York: Putnam, 2005. Resolution. New York: Putnam, 2008. Brimstone. New York: Putnam, 2009.

OTHER NOVELS Wilderness. New York: Delacorte, 1979. Love and Glory. New York: Delacorte, 1983. Poodle Springs. With Raymond Chandler. New York: Putnam, 1989. Perchance to Dream: Robert B. Parker’s Sequel to Raymond Chandler’s “The Big Sleep.” New York: Putnam, 1991. All Our Yesterdays. New York: Delacorte, 1994. Gunman’s Rhapsody. New York: Putnam, 2001. Double Play. New York: Putnam, 2004. Edenville Owls. New York: Sleuth Philomel, 2007. (Juvenile novel.) The Boxer and the Spy. New York: Philomel, 2008. (Juvenile novel.) Chasing the Bear New York: Philomel, 2009. (Juvenile novel.)

NONFICTION The Violent Hero, Wilderness Heritage and Urban Reality: A Study of the Private Eye in the Novels of Dashiell Hammett, Raymond Chandler and Ross MacDonald. PhD diss., Boston University, 1971. Sports Illustrated Training with Weights. With John R. Marsh. Philadelphia: Lippincott, 1974. Three Weeks in Spring. With Joan Parker. Boston: Houghton Mifflin, 1978.

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ROBERT B. PARKER Edited by Chernaik, et al. New York: St. Martin’s, 2000. Pp. 10–20. Rzepka, Charles J. Detective Fiction. Cambridge, UK: Polity, 2005.

Parker and Anne Ponder. “What I Know about Writing Spenser Novels.” In Colloquium on Crime: Eleven Renowned Mystery Writers Discuss Their Work. Edited by Robin W. Winks. New York: Scribner, 1986. Pp. 189– 203. A Year at the Races. With Joan Parker. Photographs by William Strode. New York: Viking, 1990.

Scaggs, John. Crime Fiction. London: Routledge, 2005. Swales, Martin. “Introduction.” In The Art of Detective Fiction. Edited by Chernaik, et al. New York: St. Martin’s, 2000. Pp. xi–xv.

CRITICAL STUDIES Berglund, Birgitta. “Desires and Devices: On Women Detectives in Fiction.” In The Art of Detective Fiction. Edited by Warren Chernaik, Martin Swales, and Robert Vilain. New York: St. Martin’s, 2000. Pp. 138–152. Chernaik, Warren. “Mean Streets and English Gardens.” In The Art of Detective Fiction. Edited by Chernaik, et al. New York: St. Martin’s, 2000. Pp. 104–123. Dunant, Sarah. “Body Language: A Study of Death and Gender in Crime Fiction.” In The Art of Detective Fiction.

WEB SITES Ames, Bob. Bullets and Beer: The Spenser Home Page (www.bullets-and-beer.com). (A site dedicated solely to the Spenser novels.) Parker, Robert B. Robert B. Parker (www.robertbparker. net). (The author’s official site) Smith, Kevin Burton, ed. “Spenser.” Thrilling Detective (www.thrillingdetective.com/spenser.html).

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Jennifer A. Bates IN 2001, MOLLY PEACOCK edited and contributed an essay to a collection titled The Private I: Privacy in a Public World. In her introduction to the volume, Peacock argues that her own essay explores “how the revealing of secrets actually preserves privacy” (p. viii). These few words give a reader enormous insight to the project of Molly Peacock’s career as a poet, a memoirist, and a stage performer. Molly Peacock is often seen as a confessional poet, a member of the school for whom art is a platform for revealing painful truths about the personal life. With details about her alcoholic father, her failed relationships, her unplanned pregnancy and subsequent tubal ligation, Peacock seems to have left few details from her private life undisclosed. However, the material is ever only part of her enterprise. In a world where free verse is still the predominant mode of contemporary poetry, Peacock delights in the play of complex structures built on patterns of rhythm and rhyme, and the joy of making is usually present in her darkest work. This attention to form allows her aesthetic distance and restores her personal privacy by transforming these raw materials into something far removed from their rough and painful origins.

mothers of contemporary women’s poetry) Adrienne Rich. However, one cannot talk about Peacock’s oeuvre and her construct of self without looking at one singular departure: this woman who celebrates, claims, and investigates the specificity of female identity is consciously without child. Choosing not to mother, not just in the abstract but in the reality of aborting an unplanned pregnancy that resulted from a longterm relationship that was (by her own account) both exhilarating and destructive, followed by the decision to have a tubal ligation, is central to Peacock’s themes. While her identity is strongly gendered, with a traditional feminist emphasis on relationship and domestic life, she has chosen against what many consider to be the central aspect of womanly experience. As she herself says near the end of her 1998 memoir, Paradise, Piece by Piece, “A woman who does not have children, whether she chooses not to have them or simply ends up not having them, is always defined by a kind of minus. Whether she calls herself childless or childfree, motherhood is so entrenched in the definition of female that not mothering comes to be seen as not fully female” (p. 249).

Peacock presents an interesting paradox in that her formal structures are almost always married to a subject matter that is in many ways traditionally female: the domestic is celebrated and investigated. Poems of explicit sexuality, of menstruation and masturbation, of sexual bliss and sexual anxiety, of disappointment, of pregnancy and abortion abound. The locations are regional, personal. The landscapes of childhood poverty and instability contrast with middle-aged, middle-class privilege with little effort or interest to effect the kind of political engagement of, say, Carolyn Forché or (to return to one of the fore-

While Peacock goes on to state she feels herself to be “fully female,” she acknowledges that her choice to be without children or to mother in a traditional sense places her outside the norm of female experience as the culture interprets it, and she takes on the project of both explicating that choice and reforming the boundaries of womanhood over and over again. The poems dealing with her abortion are some of the most wrenching and disturbing in her entire oeuvre, as is the section of her memoir that deals with that part of her experience. The poet argues for both aspects of the experience in a culture

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MOLLY PEACOCK a scholarly readership, as it provides the lay reader with the tools to experience the love of poetry outside an academic setting. Beginning in 2002, Peacock took her poetry to a new place— literally—in her one-woman show The Shimmering Verge, an undertaking that attracted the attention of Oprah Winfrey and thus certainly a broader audience than a “new and selected” poetry collection might find. Weaving poems together into a performance piece makes them into something new, and it made Peacock something more than a poet giving a reading—she becomes a performer in a different sense. All of these activities are designed to bring not just the poet but poetry itself to a wider audience, an audience that might not otherwise be given the opportunity to encounter an art form that is often regarded as esoteric and self-referential. Whether or not one is in agreement with the general move to popularize poetry, one cannot deny that Molly Peacock has been a powerful force in that movement.

that often permits women only one reaction to that experience and that choice: she chooses, deliberately, against carrying the fetus to term, and she lays full claim to grief and a tearing sense of loss. In a culture that often characterizes prochoice women as “proabortion” or that equates a belief in the necessity of legal abortion with an emotional equanimity about the process, she refuses to yield ground on either side. In poetry and prose she argues for the necessity of her childlessness to ensure her own survival, but she also grieves the loss of the specific pregnancy and speaks of the moments of doubt and sorrow as she takes a philosophical stance and translates it into actions with permanent physical consequences that cannot be undone. To fully assess Molly Peacock’s impact and her presence in the world of poetry, one needs to look not just at the body of work she has created but also at her work to bridge the ever-increasing gap between the academic world, where poetry has come increasingly to makes its home, and the “real” world—however one wants to characterize the world beyond the academy’s walls. One has only to look at Peacock’s vita to see how essential the academy has been to her life as a poet. She has made extensive use of the academic setting to purchase time for writing, and her work is deeply influenced by a strong relationship to the canon. At the same time, however, Peacock has moved beyond the traditional classroom setting to do her work as a poet. She is a private writing teacher who works with a wide range of students, including business executives. As president of the Poetry Society of America, she was instrumental in designing an ambitious program called “Poetry in Motion,” a scheme to place poetry in the subway system in New York City so that commuters on their way to various jobs—Wall Street executives and hair stylists alike—could acquaint themselves with Walt Whitman and Emily Dickinson. Peacock’s 1998 memoir enabled her to take her philosophical engagement with the question of the relationship between motherhood and female identity to a far wider audience than the one who reads poetry. Her 1999 book, How to Read a Poem ѧ and Start a Poetry Circle, once again aims for a general rather than

BIOGRAPHY

Molly Peacock was born on June 30, 1947, in Buffalo, New York. Both her poetry and her prose describe a chaotic childhood at the hands of her alcoholic father, Edward Frank (“Ted”) Peacock, and her nondrinking mother, Pauline Wright (“Polly”) Peacock. Molly and her sister Gail suffered not only because of Ted’s alcoholism but also because of their mother’s escape from the home into work at her grocery store. Peacock’s record of her parents, however, while frank about the difficulties of her early life, also makes clear her gratitude for the ways in which her parents sought to tell her that her life need not be a mirror of theirs. In the opening pages of her memoir, for example, the poet recognizes how early on her parents introduced the notion of remaining childless. While the chaos of her childhood, which Peacock describes in graphic detail in Paradise, Piece by Piece, certainly provided the raw material for much of her early poetry, Peacock sought out critical skills and craft experience as a poet in more than one academic setting. Carolyn

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MOLLY PEACOCK Western Ontario. She has been poet-in-residence at the American Poets’ Corner at the Cathedral of St. John the Divine in New York. She spent the academic year of 2008–2009 in New York City on a fellowship from the Leon Levy Center for Biography, and in 2002 she joined the faculty of the brief-residency MFA in writing at Spalding University in Louisville, Kentucky. In other words, while poverty and hardship may have provided some of the raw material of her work, she is equally a product of some of the finest and most rigorous intellectual institutions in the country, and she has made significant contributions to the academic community as a teacher and a writer.

Meyer in the Dictionary of Literary Biography points to Peacock’s awakenings to the possibilities of imposing order on her turbulent personal history as resulting from her work with Milton Kessler at the State University of New York (SUNY) at Binghamton. After graduating magna cum laude in 1969, Peacock married Jeremy Benton in 1970, and in her memoir she candidly reveals that poetry receded from the forefront of her life as she embraced her status as a young wife: “I was learning to cook nice meals and watching the Watergate hearings and Mary Tyler Moore” (p. 110). She continued to work as an administrator for the university, and slowly, after her third anniversary, she came back to writing poetry. She remained convinced that motherhood was a path at odds with what she wanted to achieve for herself. When her husband declared that he wanted a “regular life” (p. 114), she realized that she “secretly knew [she] wanted an irregular life, the life of an explorer, far away from motherhood and the family [she] was terrified to replicate.” (p. 114). As Peacock’s desire to write grew more intense, a foray into therapy with Ruth Arbeiter led her to the realization that she wanted to leave her marriage. When she and her husband were accepted into graduate programs in different places, they divorced.

In addition to her academic honors and positions, Peacock has been a resident of such illustrious artists’ colonies as Yaddo and MacDowell. She exercised great influence during her tenure as president of the Poetry Society of America, 1989–1995. She was the moving force behind the (seemingly unlikely) collaboration between New York City Transit and the Poetry Society of America, beginning in 1992, which placed poetry in the subway system in New York. The Poetry in Motion project typifies Peacock’s work as a person who bridges the gap between the academy and the rest of the world. In her introduction to Poetry in Motion: 100 Poems from the Subways and Buses (1996), she writes, “Once marginalized, poetry has become a surprising cultural feast that invites everyone to attend, and the Poetry in Motion program has provided a banquet for millions” (p. 15). In her memoir Paradise, Piece by Piece, Peacock recounts the arc of her romantic life as she falls in love as a teenager with the smartest boy in her class and schemes to get him to become her boyfriend in time to take her to the junior prom. The boy is Michael Groden, whom she will date until the pressures of college life cause them to end the relationship. She goes on to a brief marriage, the end of which signals her reemergence as a poet. Much of Paradise, Piece by Piece is occupied with the portrait of her lengthy and tempestuous relationship with a man she calls “Tilla Szabo.” Tilla occupies a prominent place in the next ten years of Peacock’s life,

A Danforth Fellowship took her to Johns Hopkins University in Baltimore, where she earned her MA with honors in 1977. After graduation, she accepted an invitation by the Delaware Arts Council to be a poet-in-residence, where, she says in her memoir, “slowly I taught myself to write the kind of poem I’d always wanted to write: dense, sensuous, with rhymes” (p. 142). Thus was the trajectory set. In the years to follow, Peacock would be awarded further fellowships from the Ingram Merrill Foundation, the Woodrow Wilson Foundation, the National Endowment for the Arts, and the New York State Council on the Arts. The many institutions where she has been employed as writer-in-residence, visiting poet, poet-in-residence, or lecturer include Columbia University, the 92nd Street Y Poetry Center, Sarah Lawrence College, Barnard College, Bucknell University, the University of California (Riverside), and the University of

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MOLLY PEACOCK as this is the relationship in which she accidentally became pregnant and made the choice to terminate the pregnancy, which led to the further choice to elect to undergo a tubal ligation. The decision to remain childless forms a central theme of Peacock’s work. Despite the history of loss and instability in relationship conveyed in the memoir, Peacock’s life—and hence her work—takes on a magical improbability when, nineteen years after her separation from Mike Groden, her high school sweetheart, he chances across a review of her second poetry collection, Raw Heaven. The two met again, and they eventually were married, on August 19, 1992. Groden had undergone treatment for cancer in their years apart, and Peacock’s poetry after their reconnection contains both the strains of celebration of the glory of finding lasting love in middle-age and the shadow of mortality that is especially present for any survivor of such an illness.

both its imagery and its music prefigure the aesthetic this poet will come to embrace. The sonic unity that comes from the repetition of the “wn” sound in “lawn,” “town,” “mown,” “lawn,” “lawn” (with the “ow” that repeats across “town, grow,” and “mown”) announces a poet for whom music is a driving force. At the same time, the image of all these freshly mown suburban lawns and neatly tarred driveways transforms the suburban landscape, which most writers would treat as synonymous with the death of individuality and the imagination, into new game board that liberates imagination and frees us into new paths of discovery. In 1981, Peacock left Delaware and moved to New York City. She took a job teaching English at a Quaker day school in Manhattan called the Friends Seminary, and she began to write sonnets. The poems from her second collection, Raw Heaven (1984), come from this period. The poems in this collection are not all traditional sonnets, but the rigorous rhyme structures are certainly informed by her dedicated study of the form. The fifty-two poems that make up this collection are all easy to diagram in term of rhyme structures.

AND LIVE APART AND RAW HEAVEN

Peacock’s first collection of poems, And Live Apart, was published by the University of Missouri Press in 1980. Already in the volume, readers can see the formalist impulse at work, and not just in the villanella “Walking Is Almost Falling.” The poem “The Lawns of June” informally begins to play with internal rhyme in a way that heralds the poet’s dive into sonnets:

If we compare the poem “The Lawns of June” with the opening poem to Raw Heaven, which is called “The Distance Up Close,” we see how the poet has grown in understanding of the rigors of form. The complexity of the sonic pattern has increased exponentially: All my life I’ve had goals to go after, goals in a molten distance. And just the way snows in the distance, dense and white among groves of bare trees, lessen as I approach and show, not white, but a mix of mud and leaves among rows of breathing trees, the fantasies that rose from my young mind, guarded against my foes’ mocking by my own mocking, lessen. I know what I’ve approached, and I am very frightened. ѧ

The lawns of June, flush with the walks and white driveways of town, grow and are mown. The grid of lawn after lawn, then drive after drive, the 90-degree angles of walks, roads stripped and then tarred flush with the curbs, all these, smooth, regular as the rules on a fresh white card pulled from the box of a new game, or fresh and regular as the game board itself, the squares prime for our leaping plays, are what any troubled mind or body would order ѧ

(p. 3)

It is difficult to find a stopping point in quoting from this poem, since we do not arrive at an endstopped line until line 17 of a twenty-two-line poem. The challenge for every contemporary poet writing in formal structures is to create a sense

(p. 60)

Although this poem is free verse—twenty-eight lines altogether, with no regular rhyme scheme—

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MOLLY PEACOCK sought to establish themselves in a tradition that was primarily characterized as masculine. In a very broad sense, form carried implications of respect and decorum; and form later became something from which women poets often felt especially compelled to liberate themselves form in order to find their authentic voices. As formal conventions were jettisoned, there was a simultaneous shift in subject matter: as the third wave of feminism began to insist that “the personal is political,” subject matter expanded to include, celebrate, and investigate the domestic. All this is a vast oversimplification, of course. The confessional tradition owes as much to Robert Lowell and his poems of mental illness as it does to any of its female practitioners, but in a broad sense, we can assume a tradition of women’s poetry where form implies constriction of voice and subject matter, and the adoption of free-verse techniques parallels a venture in new territory, especially the domestic. Molly Peacock does not follow this trajectory in her career. Although the poems of her first book, And Live Apart, certainly adopt formal structures—or reflect other established forms, as is the case in “Walking Is Almost Falling,” which is a villanella—in generally they rely on a more traditional free verse. Within that free verse, we already see an almost obsessive play with rhyme. In her next collection, however, the poet has leaped forward in far more tightly structured poems. Form is the source of liberation, the thing into which the poet dives more and more deeply—and in her 2008 collection, The Second Blush, we find no movement or intimation that she will be jettisoning its pleasures and strictures any time soon.

of naturalness in tone. Peacock is not afraid to create complex syntactical structures, but she often extends the unit of the sentence through the line break, which draws less attention to the strict sonic patterning. As mentioned earlier, the poet’s dependence on intricate formal structures can be seen as a psychological response to the chaos of her childhood in an alcoholic family. This is an important connection that the poet herself acknowledges, but psychology is only one aspect of what drives this particular writer to embed her imagery and ideas so often in intricate rhyme schemes. In an April 2004 interview with Laura Leichum, Peacock talked about the importance of having formal guidelines and constraints as she tried to maintain a writing life while teaching seventh grade at the Friends Seminary: I wrote a poem every Saturday morning and I had to have made certain decisions earlier in the week because I couldn’t face a blank page on Saturday morning. I started on Thursday to write the poem in my head. If I knew it was going to be a sonnet, I kind of already knew the guidelines and it was like ice skating in competition, you know you just went out and skated your routine. ѧ (Bookslut Web site)

Clearly for Peacock, the adoption of formal guidelines serves as a generating force, a source of liberation. At the same time, the choice of form bears a relationship to content. In the same interview, Peacock goes on to say, “When I was younger, I was so afraid of my subjects that fourteen lines contained the terror. And I have become happier in life; I’m where fourteen lines asks me to limit my exploration. It’s sort of a different enterprise, but it’s still dreamy and wonderful” (Bookslut). This question of formalism becomes crucial in looking at Peacock’s relationship to the canon, and especially to the women writers from a slightly earlier generation. When one looks at the groundbreaking poets from the earlier generation of women writers—the holy triad of Sylvia Plath, Anne Sexton, and Adrienne Rich immediately comes to mind—one thinks of the political implications of formal verse in a particular way. Women poets produced first books in which they

TAKE HEART

According to Carolyn Meyer, “Take Heart consolidates the achievements of Raw Heaven, but it also in certain respects represents a departure” (p. 248). One has only to flip quickly through both books side by side to notice a substantial difference in the layout of poems on the page. The poems in Raw Heaven are almost entirely single stanzas—solid blocks of prose on

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MOLLY PEACOCK ings considered by the speaker/poet (and the device does much to fuse those separate identities together in our minds), when we see that before choosing to arrive “at home” the poet tried out “in the manger,” “on the bald hill,” and “near the tomb” (p. 35)—thus weighting the already charged word “home” with even more extensive associations. Peacock also extends her technical range in “The Spell” and “Prayer” by constructing acrostics. In some ways, these poems feel less engaging—less driven by feeling—than others, but they provide a necessary and useful service to the collection as a whole for just that reason. However raw the materials that Peacock chooses to make use of, clearly it is equally the love of language and the possibility of play that moves her to the page. This is important in a book that otherwise takes as its themes the death of a damaged and damaging parent and the choice to terminate a pregnancy. If “The Valley of the Monsters” alludes to the way in which her father’s alcoholism formed the bedrock of her childhood, poems such as “Buffalo,” “Say You Love Me,” and “Blank Paper” delve explicitly into that autobiographical vein. Here, the marriage of raw confession with formidable formal structures comes together in masterful fashion. At first glance, “Buffalo” lies on the page with deceptive simplicity. The opening lines—

the page, both dense and fluid. In contrast, the poems in Take Heart (1989) make much more significant use of the stanza break and white space to achieve their effects. On the very first page, the opening poem “How I Come to You” announces, if not a new voice, a voice considerably altered and refined by experience—both experience in life and experience in the crafting of poetry from the raw materials of life: Even a rock has insides. Smash one and see how the shock reveals the rough dismantled gut of a thing once dense. (p. 3)

If “The Distance up Close” gave us a voice that demonstrated increasing mastery of the long supple line, dense with complex rhymes and complex syntactical structures, this voice has the mastery of compression and simplicity. The Anglo-Saxon rhythms drive the line harshly. Although rhyme is a powerful sonic presence, the poem does not follow a neat abab or abba scheme—the pattern at once establishes and disrupts our expectations. In the next poem, “The Valley of the Monsters,” Peacock introduces a device that she will continue to incorporate in new poems—the inclusion of the crossed-out word. This is a risky move—one wonders, for example, how such poems could be performed in a reading, since the eye is simultaneously given information while at the same time being signaled that the information has been excised. The line has been changed. So instead of reading, “To say why / I’m writing audaciously about what I haven’t seen / will occupy the rest of this poem” (p. 4), the line is interrupted and the reader is allowed to see wording from the earlier version of this poem, in which that act will occupy “the rest of my life.” This effort to render the process of revision on the page plays a significant role in the poem “ChrisEaster” later in the volume, part of a sequence of poems about Peacock’s abortion. In “ChrisEaster,” we see the three alternative end-

Many times I wait there for my father, in parking lots of bars or in the bars themselves, drinking a cherry Coke, Father joking with a bartender ѧ (p. 6)

—suggest a free-verse, autobiographical approach to the material. It is only as the poem progresses that the tightly structured rhyme emerges, as much a cage as the “bar blinds we were caged [behind]” (p. 6). “Say You Love Me” uses rhymed tercets to cage the terrifying account of the drunken father who insists in a violent rage that the speaker of the poem tell him that she loves him. While “Blank Paper” makes specific reference to this damaging relationship, the poem also refers to the way in which the process of

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MOLLY PEACOCK writing, of “[re-creating] all the old anew” (p. 11) both masters and safely captures the painful past but also justifies the “right to live” (p. 12) that the little girl whose father “blacked out on the couch” (p. 11) could never feel. It is not surprising that the poet takes on the theme of release and freedom at the death of such a parent, and when the reader arrives at “Unexpected Freedom” and “Putting a Burden Down,” it is easy enough to read them as meditations on the death of her father. But her father’s death is not the only one this collection takes on. The subsequent poems that specifically reference the poet’s unplanned pregnancy and termination must also, surely, be exploring death that allows the speaker to be “free now to live until you die” (p. 14). This is a book, after all, in which the poet argues “There must be room in love for hate” (“There Must Be,” p. 71). It is a book that investigates the realm of love as paradox: that one can rightfully resent and remain furiously angry at a parent and yet grieve his loss, and that one can choose to terminate an unexpected pregnancy and yet mourn its passing. “Merely by Wilderness,” “ChrisEaster,” “On the Street,” and “The Ghost” represent some of the finest and most disturbing meditations on pregnancy and abortion in twentieth-century women’s poetry. At the same time, the poet goes on ruefully to reflect that “Things Can Be Named to Death.” It would be wrong to conclude a discussion of Take Heart without also mentioning that the collection introduces a note of theological speculation that frames the specific, autobiographical concerns discussed above. “Prayer,” “A Simple Purchase,” “Good Girl,” “When I Love You,” “The Smell of a God,” and “Trying to Evangelize a Cut Flower” are crucial to an understanding of the poet’s concerns, and they demonstrate a broader level of engagement than we might expect to find in the work of a poet who has engaged so intensely with the raw material of her own experience.

graphical and larger theological investigations. The collection is carefully structured in three parts, moving from “First Love” to “Mother Love” to “Another Love,” and the autobiographical themes provide the markers for these divisions, although they are not chronological ones. The “First Love” is, as we know from her memoir, also the mature love of the present, and while some of the poems in this section reflect back to beginning sexuality, some are written from the perspective of the contemporary relationship. Just as a core sequence of poems in Take Heart was devoted to the poet’s relationship with, and the death of, her father, in “Mother Love,” Peacock turns her attention to her mother, finding in her death a similar confluence of loss and release. Finally, in “Another Love” she directly engages in theological explorations. As Meyer points out, Peacock’s poems become even more forthrightly sexual in this collection. Certainly Take Heart contained many references to sexual experience, ranging from topics of masturbation to weeping after orgasm, but the link between erotic and theological exploration is more fully developed and sustained in Original Love. While poems like “My College Sex Group” and “Have You Ever Faked an Orgasm” playfully confine themselves to the scope of personal experience, “Panties and the Buddha” stakes out new territory. As the poet ruefully reflects that her ironic reference to being “wed / to ALL THINGS NOW!” is “an ax” in the back of “Poor Buddha” (p. 26), she is rinsing her hair and panties in preparation for meeting a lover. The poem’s second stanza is a tour de force of philosophical construction: I won’t know I have a body until you, darling, imagine this lingerie on me as I excuse myself to the ladies’ room stall of this restaurant in a foreign city to lean my forehead on the marble, all items on my list crossed out, and the ax I put in the Buddha’s back starts slipping out as I hike up a silk jungle print on my ass, glad to remember I have one, as you always remind me how glad you are to feel this silk beneath the plain wool of my slacks.

ORIGINAL LOVE

In Original Love (1995), Peacock continues with her movement between the specifically autobio-

(p. 26)

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MOLLY PEACOCK within the line in “Greeting Card Verse,” a poem that employs other self-conscious strategies reminiscent of the exuberant wordplay in “The Spell” and “Prayer” but with darker undertones. The slippage into another language (“Arrêtez ѧ il faut que ѧ”) and the odd play with homonyms (“Was the would / I ever felt will? No, driftwood.”) suggests the speaker is circling around a truth almost too painful to be spoken out loud (p. 49). When the final rhyming of “childhood trauma” and “Love, Mama” (p. 49) arrives, the nature of this painful truth is only too clear. At the same time, the dazzling formal control and ostentatious wordplay at once create an important psychic distance between the speaker of the poem and the poet. It can be all too easy to conflate the two—in fact, Peacock’s work often appears to invite the reader to do so—but it is well to remember that we are dealing with a poet who believes, as she wrote in her introduction to The Private I, that to disclose an unspeakable truth is often to restore one’s privacy, and we can see that impulse at work here. And where do we arrive? After her lengthy account of her mother’s death and its aftermath (especially in “The Job,” “The Raptor,” “The Gown,” “Dogged Persistence,” “The Fare,” and “Miss, Miss, Are You Awake?”), Peacock detaches herself to pursue “[a] Heavenly Parent now that the real ones are gone” (“Religious Instruction,” p. 69). Certainly her approach to the ineffable is rooted in her recognizable penchant for the earthy and humorous details—the priest’s dog yawns and her “foul breath” is

Here is the quintessential Peacock we have come to recognize, in whose world of humor and selfdeprecation, the restaurant in a foreign city will be remembered for the poet’s visit to the bathroom rather than for any cultural significance. Here we find again the reality of self known not just through the Other, but through the imagination of the Other. In “Love Wall,” the poet will report, “Because you know you are not me and / I know I am not you, I love you ѧ” (p. 28). The speaker of these poems depends strongly on human love to know and experience reality—both the reality of the world and of oneself. Yet, at the same time, she desperately craves a means to move beyond this sense of self always mediated by the Other, a longing for direct engagement and a desire to return to the original love gone wrong, that of the mother. This section opens with “The Spider Heart,” a chilling threepart sequence in which the poet lies with her first love, now restored to her in adulthood, in her mother’s bed as her mother’s body is driven “to her hometown, where her plot was” (p. 41). This pun, which conflates the final resting place for her mother’s corpse with the story of her life, could stand as a defining trope for the collection. Death ends the story, and yet it is only with death that the story can finally resolve itself and be read at all. It is also only with the impending shadow of mortality that overtakes in middle age that the poet can fully resolve the nature of the story she is telling. In “The Guilt,” brought on by reading the old letters of the sister who could not transcend the chaotic origins of the Peacock family, the poet asks, “Was I better / yet? Now should I go back and get her?” (p. 48). Writing cannot rescue the past, and yet the only hope to redeem it lies in at least attempting to tell the story.

a wind that spawns migrations across imaginary lawns —green fire—to the other side, into God’s mirth. (p. 70)

Although Peacock sometimes uses tercets and quatrains in this volume, once again it is the ghost of the sonnet that presides over much of the collection, although often in variant form (as Meyer points out): seventeen lines (“Baubles after Bombs,” “Interrupted Elegy,” and “Vogue Vista”) or fifteen lines (“Floral Conversation” and “Forgiveness”). She also reintroduces the device of including the rejected word choice

This wry tone will be found again as the speaker, taking communion, wonders which part of God’s body she has eaten (“Simple”) or even when, on encountering an old friend who asks why she looks so well, informs her “I’m an orphan. It’s over. They’re / both dead” (“Goodbye Hello in the East Village,” p. 86). Nevertheless (as she did in her insistence on the right to both abort her

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MOLLY PEACOCK topics. Her choice to recount the past with very little interpretive overlay from her present perspective is risky and not always totally successful. Taking in the accounts of Peacock’s early years with an unpredictable and violent alcoholic father, a reader can only sympathize. However, as we move into the middle sections of the book, where Peacock recounts time and time again her continued mistreatment at the hands of her father and her sister, there is something almost manipulative in her prose strategies. Peacock gives a detailed account of a trip she and her sister took to visit their father when the poet was in her early thirties. The poet gives a detailed account of the set of circumstances that lead to her getting tricked into paying for both her sister’s and her own airline tickets. Her father offers to pay for part of the cost. Peacock buys both tickets. The visit is a disaster: her father immediately borrows money from her, and her sister brings along a disreputable male companion, paying his way with the money that Peacock was owed. Sister and boyfriend take off for their own good time; to get back at them, Peacock cleans her father’s filthy kitchen to a sparkling gleam. When she asks her father for the money he promised, he tells her he gave it to her sister the first night they arrived.

child and grieve its loss), with all this deliberate provocation, the poet still insists that such a stance is not incompatible with respect for the consolation of religion. She reserves the right to partake of relief as “the ritual words unknot / what was tied, and what was intolerable is not” (“Religious Instruction.” p. 70). Whether we read this as an appreciation of formal religious structure or as a broader assertion of the power of formal language, there is movement here beyond love of another person, and an appeal to some higher, more transcendent love. It is as if, for all her celebration of human love, Peacock acknowledges that it cannot bear too heavy a dependence.

PROSE

Peacock is primarily a poet, but the books of prose she produced in 1998 and 1999 provide a crucial counterpoint to the body of poetic work. Her memoir, Paradise, Piece by Piece, is crucial because the poet provides her own account of her development as a poet and of how intimately her thinking about motherhood—and her choice ultimately to reject it—is intertwined with that development. Because so much of Peacock’s poetry is autobiographical, much of the material of the memoir is familiar territory for a devoted reader. It is in the very unevenness of the memoir that a reader can get a full measure of how successful Peacock is in her choice to employ formal structures in her poetry to control what is very dark and painful material. The distance in the poems is not to be found in her prose.

To repeat: no one can dispute the awfulness of the treatment Peacock receives at the hands of her family. She even provides a little insight into why her sister so relentlessly abuses and takes advantage of her in the following exchange: “‘You lied!’ I said. ‘You took the ticket money and you lied!’ ‘You went to college!’ she said suddenly. ‘You got married! You have a job!’ she accused me” (p. 160). The material is heartbreaking. One can absolutely understand how a child, raised in an atmosphere of chaos with no reliable adults, would become a caretaker, and how the dream of a loving family would bring one back again and again in hopes of finding the father transformed into a caring, nurturing parent and the sister into another resilient survivor able to transcend her beginnings to make a life of value (as Peacock herself did). However, in Peacock’s poetry, as we have seen, her formal strategies and the sheer linguistic pleasure of her

No one can dispute that the events Peacock endured as a child were destructive and had an extremely powerful and disruptive influence on her emotional development, which would take years of intense work in a therapeutic setting to overcome—and indeed, she makes a series of references throughout the book to doing that work. However, readers must make a separate judgment on the memoir as a work of literature, as fully shaped by a writer’s choices as any of her fine and devastating poems on these same

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MOLLY PEACOCK and I were not partners in the equal, parental sense” (p. 209). If earlier parts of the memoir suffered from the writer’s choice to remain deeply embedded in the events, unwilling to step outside them to provide some insight, these pages contain some of the clearest, most hard-won thinking of any writing that has been done on this topic:

language play makes the material, however charged, bearable and her relationship to it one of admirable control. In prose, these sections lack that aesthetic distance. Because the writer has not chosen to include that later hard-won perspective—which she portrays very effectively later in the book as she recounts the development of her relationship with Michael Groden—these parts of the book induce a certain amount of pained irritation in the reader. It is painful and frustrating to watch someone doing the same thing over and over again—and when Peacock begins her account of the ten-year relationship with Tilla, one sees the same dynamic exactly—expecting a different result. Paradoxically, if the writer could have acknowledged within the text her own part in continuing to engage in these abusive relationships, a reader might have more sympathy, but there is something that feels uncomfortably like emotional manipulation here. It is as if, by simply giving us scene after scene of other people behaving badly, the writer is hoping to engage the reader’s sympathy. The writer appears to be far less in control of her material here, and while it is understandable in psychological terms, it makes the memoir somewhat uneven.

Decisions to abort children do not come from a hatred of children, but from the opposite: a desire to want them. ѧ All my images of the baby as a succubus were gone in the reality of biology. I replaced them with the soft, helpless need of a real infant. ѧ I imagined myself weakened, dissolved in tears, the baby wailing, my boss screaming, poems unwritten, the bills unpaid, my fierce tears frightening my baby, and then screaming at the baby myself, unable to get hold of myself, then getting hold somehow, but the damage to the tiny thing done, the psychological damage. And I myself dying inside from the struggle to support and love while needing support and love in return. (p. 212)

Whatever position one may take on the issue of abortion, one has to respect the woman who can bring all her powers of intellect and observation to a process that she herself acknowledges exists outside that realm, and that nevertheless must be addressed in the only terms she knows. Peacock brings all her considerable skill to the task of rendering in language an experience that stands outside language. As the memoir continues, we see how in some way the rest of her life will be spent seeking the language to articulate these choices she makes to corral the forces of biology, both with the termination of this pregnancy and with the subsequent choice to undergo a tubal ligation surgery, effectively releasing herself from biology’s power to invade her life again. In 1999, Peacock published How to Read a Poem ѧ and Start a Poetry Circle, a book that is often mentioned in the same breath with Edward Hirsch’s work of that same year, How to Read a Poem and Fall in Love with Poetry. While Hirsch’s book covers a broad sweep, Peacock’s book performs an intimate investigation of twelve poems, ranging from the work of an anonymous woman poet in the Middle Ages to the work of Yusef Komunyakaa. Peacock’s selections are in no way intended to be comprehensive; the project

That is not to say that the book is a failure, and not to say that it doesn’t provide invaluable help in understanding Peacock’s development as a poet. If anything, it shows us how poetry provided her with formal strategies not available in prose, and underlines why that art form in particular drew her so strongly. Furthermore, in the sections of the memoir where Peacock gives her account of her accidental pregnancy and the decisions that followed, her strengths as a memoirist come to the forefront. There is an unsparing self-knowledge in her descriptions of the movement between exultant giddiness and the acceptance that the changes having a child would bring to her life and work were simply not going to be possible for her. When she recounts telling the father of the unborn child, the redoubtable Tilla, she says, “And now both our marathon imaginations were at work” (p. 208). And for all the frustration a reader may have felt at the ways in which Peacock allows her lover to manipulate and make use of her, she acknowledges, “Tilla

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MOLLY PEACOCK of the book is to teach the lay reader the basic critical tools necessary to take pleasure in the reading of any poem. Peacock focuses on three units of discernment in her critical approach: the line, the sentence, and the image. Her purpose in this work is twofold: we see Peacock the teacher at work in these pages. First, she provides the uninitiated reader with the tools for close reading. More than the insight one gains into any of these particular poems, the modeling of this particular activity teaches the skill set involved so that after reading How to Read a Poem, the reader should be able to do so. Second, and just as important, Peacock introduces the notion of reading poetry as a communal activity. Here we can see the same impulse that led her to cover the walls of the New York subway system with poetry. Her book encourages the reader to find fellow travelers who share this love of a marginalized art—and in doing so, she seeks to pull poetry from the margins of literature and help integrate it into the interests of a general readership, not just a specialized academic one. The essay that Peacock contributed to the 2001 anthology The Private I provides some interesting insights into her relationship with her autobiographical material and the drives that led her to it. She reflects on the example her mother provided about creating private space as a strategy for surviving chaos, and she expresses gratitude for the transmission of this important skill at the same time she acknowledges how damaging the effects proved to be, of her mother’s response to the very real dangers of their home life. Her confessed ambivalence about Anne Sexton (another poet who initially wedded complex formal structures to raw and taboo subject matter) also sheds some interesting light on some of the issues discussed so far in this essay.

judged a figure of significance in her generation. In 2002, W. W. Norton published Cornucopia: New and Selected Poems, 1975–2002. The section of new poems is titled “The Land of the Shi” and represents a welcome development in Peacock’s work. There is an expansiveness and an embrace of narrative in these poems emblematic of the amplitude suggested by the title of the collection. Form enhances content in the opening poem, “A Favor of Love,” which blends Peacock’s strong autobiographical impulse with her devotion to wordplay. The speaker of the poem begins by thanking her husband for making “this sacrifice” as she enters a market. Interestingly, this confessional poet begins with a refusal to disclose the exact nature of this favor of love, insisting (with what can only be read as a deliberate reference to The Private I) that “Sacrifices between husbands and wives are private” (p. 19). She goes on to lavishly detail the setting in which a lifeand-death emergency has suddenly arisen: a young woman is choking to death on a lollipop. The speaker intervenes, and as the woman finds her breath and her voice, she embraces the poet, shouting “Oh, Mommy!” (p. 20). In this moment, Peacock’s lifelong themes and persistent thrust beyond the definitions of words, her project to find meaning in seemingly irrelevant details, come together in what follows: As my sister was dying she called me Mommy. I stand in a mountain pose, and she smiles up from a pile of plastic baskets. “My name is Marisol!” she spouts. My name is Molly! (I’m afraid she might hear those l’s as m’s.) (p. 20)

The past is recalled to the present, and the poet sets the clear boundary: she will step in to this fateful circumstance and deliver the saving blow, but clearly the past relationship of mothering any and all who demanded it is over. Her fear that only a single letter stands between her and that unwanted fate is treated humorously, tucked into parentheses, but nevertheless established. We see this same attribution of meaning to an accident of language in “The Umbrella.” The

CORNUCOPIA

The publication of new and selected collection is a landmark in a poet’s career, and suggests that, whatever final judgment history may make as to the lasting value of the work, the poet in question has had a substantial career and must be

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MOLLY PEACOCK poet remembers the time she was once introduced as “Molly Pigeon” at a podium. The memory is conflated with a dialogue with a therapeutic other who tells her that the shame she feels is “way back there” (p. 31). As Peacock develops her narrative, we learn that the umbrella she is carrying out into “the blast of slop on 72nd St.” is in fact a gift from someone she once showed “how to do something” (presumably a poetry student) and is in fact a peacock umbrella, ornamented with a picture of her namesake (p. 32). Here we see the odd conflation of happenstance and intention: neither the burden of chaos and despair nor the happy accident of her name were of the poet’s making. Nonetheless, through her own agency she has made something of both—she has transformed the raw chaos into poetry, and she is someone who shows people how to do things and is rewarded with this beautifully wrought object. And what is the Land of Shi? Peacock’s epigraph introduces us to “The Land of the Ever Young” in the work of the folklorist James Stephens, a place one gets to “by stopping, not going.” It is interesting to speculate about why this poet of the specific and personal should choose, at this point, to invoke the mythic. In “Lexington Avenue Musedog” we find the world of contemporary Manhattan living fused with the landscape of myth via her Joyce-scholar husband. It is as if Peacock is allowing this more mythic landscape to provide an underlying structure and unity to her free-verse narratives that previously she required her own formal strategies to supply. There is a softening and a nod to an older oral tradition that bolsters the sense of amplitude. At the same time, there is no softening in the poet’s clear-eyed vision of this mortal life as one of sometimes unremitting suffering, of losses that cannot be restored and damage that cannot be repaired. In “Nude at a Dressing Table,” she asks,

Breaking is constructive. You see how things work (p. 28)

and goes on to reflect that “Damage is a kind of understanding” (p. 29). This is brave and at the same time deceptive; as always, one has to take into account that, with every poem, Peacock is setting a made thing against the years of rubble and waste. Always, in the end, the production of a work of art, particularly an art that displays such symmetry and craft, slyly triumphs over the raw material of loss and destruction from which it is wrought. THE SHIMMERING VERGE

Nowhere is Molly Peacock’s specific place in the landscape of contemporary poetry more clearly delineated than in her one-woman show The Shimmering Verge, which jointly premiered in New York City and Toronto in 2002. The title phrase is one that will be familiar to readers of How to Read a Poem, where she commented that “the shimmering verge between what is private and what is shared is the basis of a poetry circle” (p. 16). The simple fact that we can read Peacock’s account of what it was like to put this show together, in a piece she wrote for O: The Oprah Magazine, says volumes—few poets find themselves attracting the attention of Oprah Winfrey. Although Winfrey deserves credit for her attempts to bring serious reading back into the mainstream, she is the queen of popular culture in a way that seems antithetical to the world of contemporary poetry—the world of academia and “little” magazines. That Peacock’s offBroadway performance was featured in a magazine with such a broad audience tells us how much, for better or worse, Peacock has extended her reach as a poet and a promoter of poetry. The Shimmering Verge is part of a series of one-woman shows called “Portraits,” produced by Femme Fatale Productions, a theater company founded by Louise Fagan and Jacquie Gauthier in London, Ontario. Peacock describes being approached by Fagan to participate in a benefit performance of The Vagina Monologues, Eve

What would poking through the cat box have cost? Giving up instead of leaving gems of herself behind, and grieving. (p. 27)

There is a theology of loss at work in “Repair,” when the speaker announces that

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MOLLY PEACOCK poem is born” (p. 54). Emotionally, while readers may be drawn in to connect to the sometimes painful experiences out of which Peacock has created her oeuvre, they are brought to a place where art restores order and through its formal strategies, heals. At the same time, Peacock makes it quite clear in the Varno interview that what she does is not art therapy. While she speaks clearly about the value of psychoanalytic process in her own life, she regards her exploration of that material as “the raw material for my art, just as knowledge of geography or history or painting or politics can be raw material for art” (Brooklyn Rail Web site). This is an important distinction, for it implies a level of detachment that can be overlooked in discussions of confessional poetry in general, and in Peacock’s work in particular. It also speaks to the theme of actually preserving privacy and restoring the private self through the act of disclosing secrets in a public setting, through art. By drawing attention to the writing process and the ways in which she transformed this raw material, Peacock demonstrates her mastery over her origins and also eschews the victim role that, rightly or wrongly, those who choose a more transparent mode of dealing with this kind of material are often accused of taking on. The Shimmering Verge marks an important moment of achievement in Peacock’s career. It speaks to her willingness as an artist to, in a very real way, step into a new art form. It bridges the ever-increasing gap between high culture and popular culture. It brings Peacock’s work to a new level of attention and to a new audience, one that includes people who might never have purchased a book of poetry in their lives, but who may be brought into not just Peacock’s readership but the general readership of poetry. This, in conjunction with How to Read a Poem ѧ and Start a Poetry Circle, underscores Peacock’s importance in the world of contemporary poetry, as someone who promotes and supports poetry itself, not just her own writing.

Ensler’s groundbreaking stage work. Her experience onstage led her to begin collecting poems she had written over the years as well as stories of her life as a poet. Fagan also introduced her to the composer and musician Andy Creegan (whose status as one of the original members of the rock group Barenaked Ladies before turning to serious composition also says a lot about the leap Peacock has made into popular culture). Peacock the poet was joined in the project by the jazz singer Denise Pelley and the New Yorker cartoonist Victoria Roberts, which suggests once again that Peacock has moved far beyond the world of MFA classrooms. Her work in reporting on the experience of all three shows also shows her stepping out of the poet’s role and into that of the journalist. In an interview with David Varno of the Brooklyn Rail, Peacock emphasized that she does not consider The Shimmering Verge to be performance poetry or part of the spoken-word scene: I’m a page poet, and what I want to create is a theatre atmosphere that leads the audience into the mental and emotional ambience of a poem, the interior of a poem, where the writing actually takes place. ѧ I want to invite them inside that place, which I call “the shimmering verge.” I want to invite them to cross into a heightened state of imagination so that they can participate in the world of language and images. And even if that world is about desperation and loss, the process of its words and images and music is gorgeous. (Brooklyn Rail Web site)

All of Peacock’s aesthetic is bound up in these few lines. The raw material of life, her alcoholic father, her sexual awakening, her loves, and her losses may be beautiful or devastating, but they have an aesthetic value for her quite independent of their personal import. Transmuting experience into art, not confessing her experience, has been her life’s work. Her art is artifice of the highest order; Peacock’s project has never been transparency or a sense of unmediated reality. Rather, she is about the alchemical shift that transforms dross into gold. What is ugly and damaging in experience can be made beautiful as a work of art. Physically, The Shimmering Verge takes place in what Peacock describes in her O article as “a silk-paneled version of the cocoon where every

THE SECOND BLUSH

Peacock wrote the poems in her 2008 collection, The Second Blush, while she was on tour with

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MOLLY PEACOCK The Shimmering Verge. As such, she gave herself an assignment that seemed to be of a scope that she could accommodate between rehearsals and performances: fourteen lines with a single poetic image. Once again, the ghost of the sonnet pervades the work, although in “Confession” we see the couplets, in “Small Fry” tercets, and quatrains in “In the Winter Dark.” The subject matter is both familiar and, of necessity, an exploration of territory that takes us further toward loss. In Take Heart, we saw core groups of poems dealing directly with two sources of grief: the life and death of the poet’s father, and the loss of her pregnancy. In Original Love, the poet deeply investigated her mother’s death. In The Second Blush, one of the most moving and fraught grouping of poems is especially charged because the poems’ real subject is never directly alluded to. “Fellini the Cat,” “Widow,” and “Ghost Cat” ostensibly deal with the death of first one, then the other, of a pair of elderly cats (who have figured in previous collections as markers of domestic bliss). The loss itself is sad enough, but one cannot help but see around the edges of these little ghost sonnets the larger shadow of human mortality. When she describes the response of the elderly female cat to her mate’s death, it is hard not to read this as bleak foreshadowing of what will someday be the poet’s lot:

moments when the real simply breaks through. In “Picnic,” describing a cantaloupe, she comments, “it’s not memory, and it’s not war / it’s just a rough globe grown on a vine” (p. 23), and the fact that “vine” has no rhyme heightens the sense that the poet is more willing to allow moments of transparency. There is no chance, given the way in which form still dominates the collection, that we will forget that she is the maker, but in more instances, things are allowed to stand for themselves, and it is clear that meaning is driving the word choices more than the rigors of form. Interestingly enough, the poem that closes the collection is called “The Flaw” and insists that the most valuable and striking element of any “hand-made pattern” (p. 77) is the flaw. Throughout Peacock’s work we have seen her fuse rough and sometimes ugly material into elaborate and beautiful forms, but it seems as if she is more willing in this latest work to roughen the edges, to let the not-quite-perfectly matched word into the poem to roughen the music and lend a more authentic sense to the voice. All in all, Molly Peacock is a poet whose body of work makes an important contribution to the contemporary poetry scene, and she is also a force to be reckoned with in support of poetry itself. In a world where the poetry community is viewed more and more as hermetically sealed, with poets whose only aim is to be read by other poets, she has devoted real effort to widening the audience for poetry, for extending her aim beyond the classroom. Her material beckons in readers who also share her troubled history as the child of a violent alcoholic family, as well as those who can identify with her celebration of the domestic. At the same time, her devotion to form introduces those readers who might be drawn solely to content to the idea that content is only half the story—and not necessarily the more interesting half. Her attention to process, her insistence on the power of art to bring joy and clarity to what is painful and chaotic, sets her apart from many of her contemporaries. Her willingness to take her poetry to the theater shows that this artist is still willing to step into new territory, to leave the realm where she has attained a level of mastery and apprentice herself to a

She put her head beneath my hand, leaning all her weight into it, and when I let go finally, she followed me to the bathroom, climbed on my lap on the toilet, followed me to the bed, to the sink, the closet where she flopped her fifteen years’ weight down in the dark, and prepared to wait. (p. 50)

Here is mastery—the form contains the feeling, as always, but the choice to break the lines in order to fulfill the requirements of the rhyme scheme by rhyming “the” suggests that the poet is unwilling to deviate in any degree from her chosen language. She both fulfills the form and, at the same time, thwarts it. There is a sense in this collection that, while Peacock is as ever a master of artifice, there are

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MOLLY PEACOCK new form. At the same time, she continues her ever-deepening exploration of a terrain that she has known to be her own since her earliest work. In her seventh decade, she appears to be at the height of her powers, with every intention of continuing to develop and grow.

ANTHOLOGIES EDITED Poetry in Motion: 100 Poems from the Subways and Buses. New York: W. W. Norton, 1996. The Private I: Privacy in a Public World. Saint Paul, Minn.: Graywolf Press, 2001.

CRITICAL AND BIOGRAPHICAL STUDIES Allen, Annette. “Molly Peacock.” In Dictionary of Literary Biography. Vol. 120: American Poets Since World War II, Third Series. Edited by R. S. Gwynn. Detroit: Gale, 1992. Pp. 243–247. Meyer, Carolyn. “Molly Peacock.” In Dictionary of Literary Biography. Vol. 282: New Formalist Poets. Edited by Jonathan N. Barron and Bruce Meyer. Detroit: Gale, 2003. Pp. 241–252.

Selected Bibliography WORKS OF MOLLY PEACOCK POETRY And Live Apart. Columbia: University of Missouri Press, 1980. Raw Heaven. New York: Random House, 1984. Take Heart. New York: Random House, 1989. Animals at the Table. Lewisburg, Pa.: Press of Appletree Alley, 1995. (Signed edition of 125 copies, with illustrations by Anne Jope.) Original Love. New York: W. W. Norton, 1995. Cornucopia: New & Selected Poems, 1975–2002. New York: W. W. Norton, 2002; Toronto: Penguin Canada, 2002. The Second Blush. New York: W. W. Norton, 2008.

INTERVIEWS Deimling, Paula. “Interview with Molly Peacock.” In 1995 Poets Market. Oxford and New York: Oxford University Press, 1994. Friman, Alice, and Templin, Charlotte. “An Interview with Molly Peacock.” Poets and Writers, January–February 1994, pp. 33–41. Leichum, Laura. “An Interview with Molly Peacock.” Bookslut (http://www.bookslut.com/features/2004_04_001877. php), April 2004. Serpas, Martha. “Interview with Molly Peacock.” New Delta Review 5, no. 1 (spring 1988).

PROSE: EDITIONS, ARTICLES, ESSAYS

Varno, David. “In Conversation: Molly Peacock with David Varno.” Brooklyn Rail (http://www.brooklynrail.org/2006/ 02/books/molly-peacock-with-david-varno), February 2006. Walzer, Kevin. “An Interview with Molly Peacock.” AWP Chronicle 29, no. 1:1–6 (October–November 1996).

Paradise, Piece by Piece. New York: Riverhead Books, 1998. How to Read a Poem ѧ and Start a Poetry Circle. New York: Riverhead Books, 1999. “The Poet as Hybrid Memoirist.” The Writer, February 1999, pp. 20–21. “This Is Your Life!” O: The Oprah Magazine, February 2006, pp. 53–54. “Passion Flowers in Winter.” In The Best American Essays 2007. Edited by David Foster Wallace. Boston: Houghton Mifflin, 2007. Pp. 174–189.

WEB SITE Peacock, Molly. Molly Peacock (http://www.mollypeacock. org/index.html). (The writer’s official site.)

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MARK RICHARD (1955—)

James P. Austin THE SOUTHERN WRITER Mark Richard (pronounced Rih-SHAARD) was born in Lake Charles, Louisiana, on November 9, 1955, to William Edgar Richard Jr. and Clara (Sonnier) Richard. In addition to moving around as a child, living in Texas, Virginia, and elsewhere, Richard spent a considerable part of his adolescence as an invalid, an experience he claims sharpened his imagination and fostered his love for books and stories. Asked who his literary influences are, Richard lists Denis Johnson, Barry Hannah, Francine Prose, Flannery O’Connor, Walker Percy, and John O’Hara. These writers can be seen as influences in Richard’s work, which features a strong preference for myth and parable, sometimes eclipsing realism, most notably in the novel Fishboy: A Ghost’s Story (1993). His work is undergirded by a strong moral spine, a sense of right and wrong that keeps the world he depicts from falling into chaos and despair. This presence pervades Richard’s work, from his early stories, through his novels, to his work as a writer of scripts for television and screenplays for movies; it is perhaps influenced by what he reveals in the quotation above: the wish to control the world by creating an underlying sense of justice, thus keeping the world from slipping into chaos.

Washington and Lee, where he completed a double major in English and journalism in 1980.) According to Richard, his work on board ships allowed him to gain the measure of his new, physical self, which had hardly existed during those years as an invalid. Richard cites his tempestuous relationship with his father as another reason he became so interested in telling stories. According to Richard, his mother read aloud to him as a child and helped him learn to read at the early age of four. He soon put those skills to good use, reading aloud from his father’s college books to entertain his parents and their friends when they were drunk. He identifies this as one reason that he loves to give public readings of his works. He used stories as a way to navigate the authority of his father, who, despite his faults, was intelligent, good at sniffing out a lie. For Richard to deceive his father, his stories had to be foolproof. In adulthood, Richard lived for many years in New York City, where he began to take writing seriously. He signed up for a writing class taught by Gordon Lish, the venerable writer and editor, who taught Richard about writing fiction in what could best be described as trial by fire. In the class, Richard met his contemporary Amy Hempel, who also went on to become a noted writer of short stories. He wrote many stories, most of them unmemorable. Still, he learned how to produce reasonably good fiction under a deadline, when he was dead tired from whatever job he was working, with writing class looming the following day. Stories he wrote for Lish’s class ended up in his award-winning premiere collection, The Ice at the Bottom of the World (1989). Lish, who had famously assisted the writer Raymond Carver years before, proved a champion for Richard’s work and helped assure

After Richard recovered from the ailments of his adolescence, he adopted an increasingly nomadic existence, accumulating life experiences that would later prove fruitful for his writing. At various times, he worked as a radio announcer, aerial photographer, copywriter, painter, editor, bartender, private investigator, and perhaps most importantly, as a hand aboard oceanbound trawlers and fishing boats. He began this work after an unsuccessful stint as an undergraduate at Washington and Lee University in Lexington, Virginia. (He returned several years later to

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MARK RICHARD hallmarks of Richard’s fiction. The narrator is a child, a boy who has not yet reached the age of insight into the out-of-control adults behaving self-destructively all around him. This opens up a wide space for dramatic irony, where the reader always understands more about the boy and his lot in life than he himself understands. It is in this space that “Strays,” like so many of Richard’s stories, spends time.

attention for some of his early stories. In part because of this assistance, Richard’s stories have gone on to appear in the pages of the country’s most lauded publishers of literary fiction, the New Yorker, Harper’s, Esquire, Shenandoah, and the Paris Review. Over the years, Richard has served as writerin-residence at several universities, including the University of Mississippi and the University of California at Irvine. He taught creative writing as a fellow at the University of the South, in Sewanee, Tennessee, in 1992, and was on the faculty of the writers’ conference there from 1992 to 1994. Richard has since lived in Los Angeles, where he has continued publishing. He has started writing for television and movies with increasing frequency. He is married to Jennifer Allen, and they have three sons.

“Strays” tells the story of the narrator and his younger brother, who are left in the care of a relative, Uncle Trash, while their father searches for their mother, who has deserted the family and has “a good half-day head start.” Uncle Trash speeds into the driveway with “an exploded chicken in the grill of [his] car” and rams into a pile of screens in the yard, an inauspicious introduction that foreshadows his carelessness and ignorance. He is, like so many adult characters in Richard’s fiction, utterly unreliable; indeed, as soon as he arrives he ransacks the house looking for alcohol and, not finding any, leaves the brothers alone while he drives to the nearest town for a drink. Before leaving, he says a line that will become a refrain: “Don’t y’all burn the house down” (p. 4).

THE ICE AT THE BOTTOM OF THE WORLD

The Ice at the Bottom of the World received the coveted Hemingway Foundation/PEN Award in 1989 and a Whiting Writers’ Award in 1990, placing its author on the literary map, where he has remained ever since. In this collection of stories, readers are introduced to a world reflective of the book’s title: This is reality, but just barely—and at a key moment, we leave reality behind in favor of a more imagined landscape. Readers are introduced to a lineup of outcasts and hermits, to child narrators and ne’er-do-wells, to adults who vary between unreliable and brutal, and to perhaps the most important character of them all, the natural world that defines and humbles these characters, bringing them together into one world, albeit different neighborhoods within that world. The range and scope of this world is breathtaking—the many uses of dramatic irony and comedy, the depiction of real grief from different perspectives, the purely realistic and the utterly fantastic. The opening story in the collection, “Strays,” first appeared in Esquire magazine in 1988 and was reprinted a year later in Best American Short Stories, 1989. It has often been anthologized and has become the best-known story in the collection, capturing many of the themes that are

Much of the remainder of the story explores how these boys respond to an atmosphere devoid of even the nominal supervision of an adult; they are the strays of the story’s title. While Uncle Trash incurs gambling debts, absorbs beatings, drinks to excess, and spends days nursing his hangovers, the boys remain innocent of it all, choosing to stave off insight as a method for coping. They do handstands in the front yard, dig in the dirt to play with toy trucks, use whatever meager means they have to distract themselves from Uncle Trash and his daylong snores. However, when Uncle Trash literally takes the clothes off their backs to pay a debt, and when “July corn arrives in the fields” with no sign of their parents, the narrator’s tone becomes leaner, less playful—as if he is pressing against new insight. He appears to understand that they are in dire circumstances, as Uncle Trash continues gambling and drinking to the extent that he “doesn’t remember July” (p. 10).

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MARK RICHARD As this realization begins to dawn on our narrator, the story follows a secondary tale about some stray dogs that live underneath the house. The narrator’s brother is obsessed with the dogs, as if feeling a kinship with them. At the beginning of the story, the brother tries to pet the strays as they slither beyond his reach; by the end, he has devised a way, using string, to capture one of the strays. The boys try to care for the fleainfested dog by spraying it with insecticide and using a lit match to kill a tick in its ear, which is “lather[ed] like soap” with the flammable bug spray. The stray becomes “a fireball shooting beneath the house,” which then goes up in flames and heralds the return of Uncle Trash, of the boys’ father, and finally of their mother. Absent throughout the story, she arrives in its final paragraph as an afterthought to the drama of the lost house. She is described as “a flat-footed running rustle through the corn,” an impression of desperation more than an actual person. Though the narrator claims that nobody notices her, he does—his attention is drawn away from the disaster with the house as the story comes to rest on the image of their mother “all burned up by the summer sun,” as she runs toward them (p. 11).

clear that he is alone—and that tragedy has befallen Margaret. Still, the story ends on a more mature note than “Strays,” in which the boy narrator struggles to understand the consequences of what he has done and the way adults in his life have failed him. In “Her Favorite Story,” the narrator is fully aware of the scope of the tragedy, and yet he can face it squarely, as he does in the retelling. This is the strength of the tale, for it is clear that simply speaking to the tragedy is accomplishment enough. It ends with the narrator ready to rejoin the world, “putting in together with my friends, getting a fair knock of human life, taking a tall walk back into this town” (p. 28). Determination and willfulness become a kind of modest triumph. This kind of grittiness is the closest a Richard protagonist will come to happiness throughout the collection. As such, “Her Favorite Story” is a unique contribution to this wholly unique collection, and its appearance early in the book provides readers with a glimpse into the range of the emotional landscape Richard intends to portray. Next follows “On the Rope,” which continues to develop themes presented in the early stories while doing so from another perspective. As in “Strays” the narrator is a child, and dramatic irony generates the story’s drama. The adult mentioned in the story is not, however, an outof-control drunk, but is a man in the throes of tragedy, giving it a similarity to “Her Favorite Story.” In “On the Rope,” a young boy ruminates on the visceral reaction his uncle has to “just a bread wrapper, a nothing piece of paper thrown up on the fence by the wind” (p. 29). By way of explaining the uncle’s reaction to the bread wrapper, the boy recounts episodes his grandmother and uncle have told him about the uncle’s experiences on a barge after a hurricane on the bayou. We learn that the uncle had witnessed destruction, suffering, and death on a scale he could not have imagined, and Richard’s lyrical language creates evocative and memorable episodes, as the story zeroes in on its central, most disturbing, image. The boy’s grandmother tells him about when the uncle and his boat were rescued by a barge after the storm:

The second tale in the collection, “Her Favorite Story,” also delves into the impact of isolation and lonesomeness on its main character, but it does so in the context of true adult tragedy. The narrator is a hermit, living alone in a place that Native Americans had called “Where Lightning Takes Tall Walks” (p. 13). In reality, the place is the narrator’s cabin, where he has taken refuge and from where he tells us about his great love, Margaret. The reason for the narrator’s hermitage—Margaret’s miscarriage and death—is delayed until late in the story. That the narrator delays this death by telling stories of what he so loved about Margaret, her fondness for animals and her caring and gentle nature, provides the story with a unique poignancy. He also tells us stories he used to tell her, including her favorite one about John Smith’s triumph over a poison stingray. As the story veers toward the reason for the narrator’s self-imposed isolation, it becomes

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MARK RICHARD a moment of pure magic: his father, hung upside down on a malfunctioning amusement park ride, quarters spilling from his pockets like “the things that will fall to our feet from heaven” (p. 72). The boy seems to enjoy his father’s embarrassment, perceiving the turnabout as a kind of heavenly intervention. In this way, he reveals himself to be like his mother, who studies the Bible with a neighbor in hopes of finding salvation from an unhappy life.

She said the boat looked like it had been whipped with wires, like it had gone on the barge and been whipped with wires, and my uncle looked like the men in the green uniforms had made him do it. She said the way my uncle was, was like when a man is drunk and whips a dog for no good reason and then when the man is sober he cannot look at it, even though he is a man and it is just a dog, that is how my Gramere said my uncle could not look at his boat. (p. 30)

Again as in “Her Favorite Story,” we have a narrator telling stories second- or even thirdhand, shaping them into an elliptical structure that allows for the meaning to arrive gradually, even as a sense of foreboding is established early. In contrast to this sophisticated structure, the narrator’s repetitive use of the phrase “whipped with wires,” along with the use of the word “boil” to describe the action of the floodwaters, reinforces the dramatic irony that is pivotal to the story: that this young narrator does not fully recognize the horror he has been told and, in turn, tells us readers. Indeed, even in the story’s most powerful image, that of a drowned baby tied to a rope the other end of which was held by something under the water, the uncle’s horror is simply relayed: “He said it looked like somebody had tied a strong rope around the baby’s waist and was still holding on ѧ deep down in the water” (p. 32). We then come to understand that this is the image the uncle recalls when he sees the bread wrapper, and the story’s conclusion returns us to that benign image. The difference is that readers now understand what the bread wrapper signifies to the uncle, even if it seems lost on the narrator himself. The next entry in the collection, “Happiness of the Garden Variety,” relies on humor, combining it with the dramatic irony that links so many of these tales. Humor is used effectively elsewhere as well. “This Is Us, Excellent,” not at all funny overall, features a young male narrator whose exuberance conceals what he does or does not understand about his brutal father and abused mother, using childish language to describe domestic violence. Despite the exuberance, this narrator is acute, like all the narrators in this collection, carefully noting details he seems not to understand. Still, at story’s end, he is pleased by

One story in this collection would grow up to become its own novel, “Fishboy.” Its landscape and terrain hold only a tenuous grip on reality. More like a prologue than a fully formed short story, “Fishboy” presents yet another young male narrator—this one lives alongside the sea in a “cartonated box” (p. 107), waiting for a ship to take him out to sea, where he can escape his unfortunate circumstances on land. It’s important to note that here there is no aggravated father or ne’er-do-well uncle, no passive mother. The nameless Fishboy says that he “began as a boy with ѧ the silken-tipped fingers of another class,” seeming to refer to an origin in a particular socioeconomic class. Fishboy claims thus to have started as “a human-being boy” but to have now become something else altogether, perhaps literally as well as figuratively fishlike, with a “long fish body ѧ tail flipping ѧ scales ripped and skin slipping from my meat ѧ my body floating from my long, fish-bodied bones” (p. 105). His moniker is a bad nickname, owing to an unfortunate resemblance, and at the same time is perfectly apt, as the story’s mood and atmosphere veer toward the surreal. He is at once a boy who resembles a fish and a boy becoming a fish, pining for a ship to come in and save him from his indentured servitude at the hands of Big Miss Magine, who comes to pick him up in a purple bus and calls him Fishboy. She employs him to fillet fish and cut shells, and she sends him underwater to the soda machine (which is still functioning). She seals her ownership of the narrator through the refrain, “You is mine, Fishboy, you is all mine” (p. 108). All the while, Fishboy waits for “the one boat to come in to the place where hardly any boats come” (p. 106)—a ship to take him away from Big Miss Magine and out

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MARK RICHARD story, we discover that the Fishboy’s time on land is brief. His cartonated box, which is the closest thing he has to a home, is destroyed by a man with maps tattooed all over his body. Fishboy is taken by the man, pledging to stay with him “like a tick” (p. 14). He watches the tattooed man, named John, from an abandoned osprey nest, which gives him a clear view of the shore and the ship that has docked there—John’s ship, as it turns out.

to sea, where he imagines he will find purpose and a master to serve. That this boy has been transformed by hardship and abuse into a grotesque sets “Fishboy” apart from other stories in the collection whose narrators may be still naive, may be just beginning to realize their lot in life—but the Fishboy has already been transformed. He is strangely, forlornly aged, pushed beyond even the marginal realism of the other stories, into a realm utterly imagined—and there he waits at the end of the story, living in a box in the muck of a marginal shoreline, waiting for deliverance. Considering this, “Fishboy” fits well among the gallery of characters in The Ice at the Bottom of the World, a motley crew of the marginal and marginalized—boy narrators and grief-stricken hermits, ne’er-do-wells, small-time crooks, brutal fathers and brutalized mothers. It pushes the limits of these themes, carrying them even further into a hybrid form employing humor alongside the gothic. It is this hybrid approach that will become more prominent on Richard’s future literary endeavors—first, in the novelization of “Fishboy,” and later, with his second short story collection, Charity (1998).

This introduces what will become a common posture for Fishboy: listening, watching, bearing witness to the stories and lives of others. In this instance, Fishboy conceals himself in the osprey nest, rendering himself invisible to others and disappearing from the story altogether. He is a listener, as are so many of Richard’s young male narrators. Fishboy, however, understands only too well the gravity of his tenuous situation, and he carefully avoids detection as he witnesses a scene of violence and murder aboard the ship—a murder that makes possible his own future on board this forlorn trawler. As the sun rises, he sees a fight between two men on board the ship: its cook and a deckhand named Lonny. They battle each other with axes from sunrise to dusk, the rest of the crew egging them on, until finally Lonny succeeds in striking the cook with his ax: “Lonny reached back with his ax ѧ the quickest blow of the day while the cook rose to meet it and was back down again under the weight of the ax while the blade of the thing bit on” (p. 19). The battle over, Lonny transforms into caregiver in a genuinely touching scene, as he embraces the cook while he dies and forgives him for having been such a poor cook. Meanwhile, Fishboy draws attention to himself and, in so doing, begins to bind himself to this trawler and to the people there: “You, said Lonny, pointing a bloody finger at me. Get me a wrap or towel, a blanket if you have one” (p. 20).

FISHBOY: A GHOST’S STORY

Richard’s first and, to date, only novel, Fishboy expands upon the short story of the same name from The Ice at the Bottom of the World. The novel follows the Fishboy as he finally makes it off that shoreline, out of the clutches of Big Miss Magine, onto a ship run by a crew as grotesque as the Fishboy himself. Fishboy searches for a role aboard ship and a purpose for his existence, and he discovers one, even as the novel circles back on itself, ending in a place similar to where it began, with the same line both starting and finishing the tale: “I began as a boy” (pp. 1, 227). What happens between is the tale of a grotesque seeking purpose and redemption in a gothic world at sea, among men who, all for their own reasons, are outcasts. The story opens on the same bleak shore first described in the short story. However, unlike that

Thus begins Fishboy’s story as a marginal member of a marginal crew. Readers meet Ira Dench, who will come to harbor superstitious suspicions about Fishboy; a man called simply the Idiot; “the man who said Fuck” (p. 33); the engineer, called Black Master Chief Harold; as well as two criminals who are handcuffed together

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MARK RICHARD introduced as part of a half-dream sequence fantasizing about death. Death, dissolution, decomposition are present throughout the story, nipping at Fishboy’s heels. This scene foreshadows the end of the novel while also serving as a rite of passage for the narrator, who finds his fate bound now with those aboard the ship, to whom he will listen, bearing witness and learning how to become a storyteller himself. Indeed, Mr. Watt immediately involves Fishboy in life aboard the ship, giving him his “first job aboard a ship ѧ my first job being back alive” (p. 47). That job? To shoo a sparrow from the boat before it gets too far from shore for the bird to get back. In this we discover a link in the temperaments of these two grotesques, Fishboy and Mr. Watt. Both are essentially kind, nonviolent individuals, and their physical selves, which continue to degrade throughout the novel, belie what dwells within them. In the meantime, Mr. Watt seals his kinship with Fishboy by echoing the novel’s opening and closing line. He, too, “began as a boy” (p. 54).

and who bring aboard the corpse of the sheriff they murdered while escaping from prison. John has assembled this motley crew to help him on his mission, which is about trawling for something more than fish. By the time the true purpose for this journey is discovered, the trawler will be at sea and those aboard will be bound by a shared fate. The event that binds Fishboy’s fate to the murderous crew involves the murder of Big Miss Magine. She begins searching for Fishboy at “soda time,” calling out his name to no avail. Still, she continues searching for him, calling her refrain up the drainpipe upon which the osprey nest rests, “You is mine, Fishboy, you is all mine” (p. 41), until she discovers him, takes him from his perch and begins dragging him back to his life of servitude on the muddy shore. She takes him to the cutting shed, beating him on the head. He responds with violence: “I beat and pushed with my fists, and in one of my fists was my butter-turned knife. I ѧ felt my fingers enter her skin and tick against her heart” (pp. 42–43). Unlike the men on the trawler, experienced in violence and killing, Fishboy is stricken by this accidental murder, seeing in his reflection “the murderous Fishboy” (p. 43), and he feels that the ship itself is horrified by his act. He faints in the water but is pulled aboard the boat by a pair of hands, which we later find belong to Mr. Watt, described as a man turned inside out—a condition meant literally, as much time is given over in the novel to describing the condition of Mr. Watt’s skinless body.

Still Fishboy feels insecure about his good standing with his shipmates. He is deathly afraid of being made cook, given what happened to the last cook and the generally tenuous status of cooks aboard ship, who are known for relatively easy living conditions compared with the other crewmen. Fishboy is eager to find a function aboard ship. This echoes his life along the shore in his cartonated box; he was hardly satisfied with life on land, but his servitude with Big Miss Magine provided him a sense of purpose, a way to stay in everybody’s good graces and safe from harm. This desire is frustrated by the presence of Ira Dench, who sees Fishboy as a harbinger of a “rogue wave” (p. 57)—the oceangoing version of the end of the world, a wave coming from nowhere to destroy the ship and all aboard—and wants to throw him overboard.

Before Mr. Watt’s introduction comes a short dream sequence in which Fishboy “was dead and drowned ѧ on the bottom of the fishhouse creek looking up at the night sky through a low tide” (p. 45). He dreams of encountering the devil, who calls him by what is his only name: Fishboy. It is this moment when Fishboy assumes his place among the grotesque characters of the trawler, for the devil ends up being Mr. Watt himself, his face “webs of muscle and fat lathered by the obvious tongue when the man spoke, the tongue slipping over the ivory edges of teeth, bright to the molars” (p. 46). Mr. Watt validates the name for Fishboy, his only known name on board. Moreover, it is no accident that Mr. Watt is

The ship’s need for a cook, and Fishboy’s obvious lack of a role, conspire to bring him into the kitchen, where he attempts in vain to meet the dietary demands of the ship’s crew. It also weakens his position, and the crew threatens swift retribution if their meals are not to their liking. Fishboy is an abysmal cook. The entire crew pans

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MARK RICHARD almost unsympathetic. We learn through Fishboy’s recounting that John is a brokenhearted man and that he can be hurt by cruelty as well. Oliver Griggs and Eiphey Deacon initially claim to have no updates on John’s wife, then they reverse course, teasing him with the possibility of news before demonstrating for Fishboy the power of a story. They tell John that his wife has been captured and put in an aquarium at a university. They pause long enough for John’s thought to coalesce around reaching the university, rescuing his wife, before they reveal the true story: “We took your flipping wife and gutted her and cooked her over little charcoal fires on the beach. It was a great party!” (p. 81). The ghosts laugh, mocking John from the safe distance of death, telling him that they raped her before filleting her and eating her, prompting John to toss the stones that had conjured the ghosts back into the water. The ghosts are gone, but Fishboy remains—though he is initially afraid that John will toss him overboard as well, in a rage of embarrassment that Fishboy “had heard what was breaking his heart.” Instead John gives Fishboy a task, and he pursues it with such fervor that “the effort took my eyes away from seeing John sitting slumped on the hatch, his kneecap atolls caressed by the waves that fell from his face” (p. 82).

his stew, and he genuinely worries for his wellbeing. Still, even as he worries, he discovers that he has found a mentor and protector in Mr. Watt, who sips his own stew but refuses to say how bad it tastes, and who spells out Fishboy’s name for him, further legitimizing it. This process of validating the name dovetails with the novel’s efforts to provide Fishboy with a role aboard ship—a role that will ultimately transcend the ship and even the corporeal world. His efforts as cook unsuccessful, his fate in the balance, and even Mr. Watt is uncertain if Lonny and John can be convinced to keep him onboard, John finally reveals his motivation for crewing this trawler: to find his missing wife, long ago consumed by a shark. John hopes against hope— both in terms of the inevitable truth about his wife, and the broken-down, decomposing world of the novel—that his wife can be found alive. He is so desperate for news that he calls upon two sea-dwelling ghosts named Oliver Griggs and Eiphey Deacon, who know Mr. Watt from their own days as seamen aboard a fishing trawler. They also know about the underworld of the sea, and John appeals to them for any updates on his missing wife. Fishboy disappears from this segment of the novel, serving the role of storyteller as he relays the cruelty of the ghosts and the desperation and secret pain of John. This is the crew’s first overt encounter with ghosts and is significant because it draws them closer to that imagined world and further away from any context of realism—which was never fully present to start with. The appearance of ghosts redraws the map of the novel, indicating a shifting paradigm where the crew leaves behind forever even its marginal attachment to the real world. Indeed, John relies on ghosts for news. It is their realm that has currency now. This becomes an important moment for Fishboy. Bearing witness to the ghosts not only serves to bring him a role aboard ship as the listener and storyteller, but also initiates him into the realm of ghosts, where he is fated to end up himself. Fishboy learns, as we do, of the underlying depth that stories create. John is presented early in the novel as a hardened man, unapologetic and

This beautiful turn of phrase, which conveys a moment of vulnerability that increasingly characterizes Fishboy’s interactions with his shipmates, also reveals an omniscience to the narrative voice, which has greater vision than the living version of Fishboy, who cannot see what the narrator sees. This shift implies a difference between Fishboy as narrator and Fishboy as character. This difference of perspective, and the narrator’s ability to see more in retelling than he could see at the time the events transpired, positions Fishboy as himself a ghostly storyteller, floating above the story. This new role for Fishboy happens as the trawler gains a new cook, a refugee from a police vessel. The police board John’s ship—despite the warning flag that indicates the ship is overcome with a contagious disease—because they saw the crew dump the dead body of the sheriff that the convicts had

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MARK RICHARD brought onboard with them. The police question the men, and then leave their cook with them because he is truly sick with “the pox.” The arrival of the cook releases Fishboy from that tenuous position and allows him to grow further into the role that has been developing for him through the novel: listener, witness, storyteller.

When their story ends, the criminals—who believe they have been telling it to John, placing their fate in his hands—plead to be let back on the ship. But this is not what happens. Only Fishboy and the Idiot have heard this story. It is the Idiot who holds the rope keeping the criminals from falling into the ocean, and though the Idiot does not understand the story told by the criminals, his reaction is nevertheless to release the rope. This damages Fishboy’s reputation with the crew, especially John and Ira Dench, reminding the reader of Fishboy’s tenuous position. This development also provides the story with a clear moral code regarding the utility and purpose of storytelling, which maintains a prominent place in the novel’s subtext. The criminals’ accounts are riddled with falsehoods, contradictions, diversions, excuses, and rationalizations, all for a shallow purpose: To save their own skins, they will say or do anything. Such an approach to storytelling threatens to subvert the hallowed purpose for other stories shared throughout the novel, including the overall novel itself, as a testimonial of the narrator’s journey into ghosthood. The release of the criminals into the sea seems like a direct response to the quality and function of their story.

The first of three lengthy stories that Fishboy conveys is that of the two convicts, who explain what crime they committed and why, and how the sheriff became involved and wound up dead. The criminals are still chained together and speak as if they are halves of one brain as they dangle over the gunwale, where John hid them from the authorities who boarded the ship. The two criminals tell conflicting versions of the story in dialogue that is disconnected from the rest of the novel, so that Fishboy disappears beneath the static and confusion of their story, which simultaneously accepts and disavows responsibility for the murder, providing Fishboy with a means to evade responsibility for Big Miss Magine’s murder: a means he never accepts. The convicts’ account verges on the fantastic, but nobody questions its veracity in the increasingly fantastic world rendered in the novel. According to the convicts, they raided the house of a king who possessed valuable stones. When they encountered him, he was choking on a large ruby, and one of the convicts claims that he saved the king’s life by hugging him till the ruby popped out. The king was so grateful that he gave the ruby to the convicts. The convicts say that the king was trying to flee his crumbling kingdom, swallowing his valuables in order to get away with them, trying to sneak off to a ship that was helmed by the sheriff. One of the convicts insists that the king slipped on the pier and fell on his own knife, as the other convict says that they eviscerated the king and sifted through the contents of his stomach searching for more stones. Both convicts try to justify their actions, explaining them as somehow acceptable; at times their stories sound similar, and at other times they seem eager to blame the other—anything it takes to save face with the crew by excusing murder as justifiable or as accidental.

Indeed, at this point, as Fishboy joins the rest of the crew in slowly succumbing to the sickness the cook has brought onboard, the singular significance of the storytelling becomes clear. It is, in the end, what the men on ship will leave behind, and those who understand this choose to share with Fishboy, who in turn tells their stories as a part of his own. The one that comes next is that of Mr. Watt. His woundedness, his lack of skin, is indicative of his world-weariness. The wounds keep him alienated from others, in safe retreat from the light of day. He embodies these wounds as a form of integrity—indeed, he is the only character given a proper, formal title, and he alone seems above the rancor and decomposition of the novel’s world. He does not transcend it so much as he acts as a ballast of sorts, an underlying credibility of the soul that is decidedly not grotesque. This is apparent in the story he shares with Fishboy, which is told in clear,

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MARK RICHARD Fishboy is a storyteller in the first place—and why this “ghost’s tale” is being told at all. The final story told to Fishboy is that of the diseased cook, whose sickness is spreading even as he tells why he is always on the lookout for a rubber-armed man, his brother. He tells a story of his upbringing in the “north country” (p. 142), another fantastic landscape in this fantastically rendered novel. In spring, the cook says, “when the snows melt, the water fills a basin that warms over a hot place in the earth. ѧ Families dig trenches for their elders and bury them up to their faces with shovels, then they scoop out places for themselves. It’s very soothing” (p 143). While this is going on, the villagers in this town create a lodge from trees, its floor made from soft ferns, a fire smoldering in the center of the room. The cook insinuates that the celebration in the lodge takes on an orgiastic element, and is used to fuel the “strong and vital” village where everyone resembles one another (p. 145).

declarative prose, quite different from the dense lyricism of Fishboy’s own narrative voice. Mr. Watt tells us that he “had to leave [his] country” because “everyone was starving” and law and order had broken down (p. 126). He travels secretly at night, trying to avoid other desperate people, and to conceal his appearance. In his travels, he encounters a small house where a man lives with his dog. The man is a farmer, blind and widowed, who lives alone with his dog, and he offers Mr. Watt food and drink. Mr. Watt stays with this blind farmer for several weeks, working at night and sleeping in the rafters of the well house during the hot days. At one point, Mr. Watt brushes his hair and reminds the blind farmer of the sound of his dead wife brushing her hair: He said the sound of it was too painful, it reminded him of his wife brushing her hair, so I went outside and sat by the well. Later the farmer came to the door and asked me to come back and brush my hair inside, so I did. I brushed my hair in the darkness, listening to the old man cry.

The cook shares this story in the context of what he perceives as a betrayal of his brother, who, like him, had worked on ships. Their ships encountered each other after a typhoon; the brother’s arms had been broken and hung limply as the brother asked the cook to help him escape from his ship, but the cook only waved and did nothing, much as Mr. Watt had done nothing when the blind farmer was murdered by the starving mob. In both cases these men feel disproportionately responsible for events that were not their fault, over which they could enact little or no influence. Their powerlessness haunts them; they seek deliverance in transferring the tale to an unassuming listener, the Fishboy. As the cook’s story continues, he tells Fishboy about signing aboard a slave ship, where he falls in love with a slave aboard ship, a king’s daughter. She is the captive of the ship’s captain, who keeps her chained in the closet inside his quarters. He has been having his way with her until they make their next port, where someone is waiting to purchase this beautiful and exotic woman—a man who had made a fortune by selling his brothers into slavery. Again, the world created within the cook’s story does not correspond to a specific, realistic

(p. 128)

This touching episode takes place during a famine and represents a moment of solace for both the blind farmer and Mr. Watt. This respite from the hard world helps make this story completely different from the bungled falsehoods of the criminals. This is not where Mr. Watt’s story ends. One night, as he and the blind farmer are baking bread, they are discovered by an angry mob. One look at Mr. Watt’s grotesque face sends the mob into a frenzy. He hurriedly leaves so as to save the blind farmer from trouble, but because the house is dark, the mob mistakes the farmer for the grotesque Watt—they smoke him out of his house and murder him with pitchforks, as Mr. Watt watches in hiding. Fishboy is transfixed by the story and recognizes its significance—what it reveals about Mr. Watt’s experience and his burdens, what vulnerabilities it lays bare. In the context of the novel such unapologetic vulnerability demonstrates the strength of story, its power and relevance. This recognition helps the novel become a self-justifying force, providing as part of its arc a narrative explanation for why

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MARK RICHARD makeshift shed. He wakes to the sound of his brother smashing the heads of the elders and claiming that it is he who must have the princess. He cajoles the cook into helping him by saying “you owe me” (p. 158)—but the cook murders his brother rather than allowing him to have his way with the woman. He buries his brother deeply in the ground, so deep that water seeps into the pit. Then he escapes with the princess but is haunted that night by a dream that implies his brother is not dead. He flees the country with the princess and takes up a life with her, having children, avoiding port towns where the brother would be. When he learns that a rubber-armed man was seen in his town, ranting about his brother, he leaves town with the princess and their children, but an earthquake throws their wagon into the sea, where everyone drowns except the cook.

place but is instead a metaphorical representation of more realistic settings first encountered in The Ice at the Bottom of the World. The stories in Fishboy, almost parables, paint portraits of marginal realms filled with downtrodden protagonists, the sufferers of tragedy and regret. It is a world reflected in the larger story, again providing a rationale for both the marginal realm where the trawler searches for John’s wife, and the underlying purpose for storytelling. The slaver that the cook is aboard finally reaches its destination, which happens to be near the strange town where the cook and his brother were raised. The cook gets his earnings from the captain and decides to go home for a visit, where his money will stretch longer than in the port city. Before leaving the city, however, the cook passes through the slave quarter, where the new slaves are being auctioned to the highest bidder. While he is watching the parade of slaves, “hoping to buy a field hand or a whore,” the cook sees his brother, unmistakable because “his armless shirtsleeves [were] pinned to his breast so like wings that in my feverish thoughts I expected talons at his feet” (p. 149). When his brother spies him and accuses him of betrayal, the cook goes to him and learn that his arms had been amputated because his shipmates had failed to set his broken arms, and they had become gangrenous. As they talk, the sale of slaves continues, until the “Negress princess” who had been captive in the captain’s closet, comes out (p. 152). She is sickly, seemingly near death, and apparently the man who had promised to purchase her reneges. Suddenly the cook’s father appears and announces to his sons that their mother has died and he must purchase the “Negress” for himself. He demands the cook’s wages, as well as money from the armless brother, to purchase her. The reason for their father’s obsession becomes clear once they return to the village, which is in ruins. The elders have aged such that the cook cannot bear to look at their bodies. They are desperately engaging in the vitality ceremony described earlier, but it is too early in the year and the ground is hard. Still, the cook helps bury them up to their necks, then falls asleep in the

The three stories told to Fishboy through the middle of the novel set the stage for the book’s final act. Taken together, these three stories compose the novel’s moral spine—that, indeed, there is a moral purpose to telling stories. Stories alone serve a hallowed purpose here, for they provide, in the case of John, depth, and in the cases of Mr. Watt and the cook, sympathy. The shameless half-truths of the criminals are met with a swift reprisal, for they are feckless and use the paradigm of storytelling to accomplish the opposite of what the novel’s moral spine demands: that stories are ultimately for good, in that they reveal depth of character, vulnerability, and invite empathy and ultimately redemption. Fishboy appears to have kept copious notes on these stories, for he turns the novel’s conclusion into an extended act of redemption on the part of all the major characters, whom readers may now consider worthy of redemption. The novel’s final act opens with John finally catching a shark, having tossed himself overboard and searched underwater for the shark still carrying his wife in its belly—a lost cause even in the surreal realm of the novel. What he discovers instead are the criminals, ashen, half-digested, and on the verge of death. This is a bitter disappointment to John, and regarding the vital function of storytelling—and the indictment of those

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MARK RICHARD who usurp stories for selfish purposes—their discovery is a bitter irony for the reader as well. This drives John to still further heights, leading the novel to its conclusion. Meanwhile, other characters achieve “terminal velocity” or final resting places as the illness aboard ship takes hold. Ira Dench, who had accused Fishboy of being a harbinger of death by “rogue wave,” applies to his vision the arrival of the illness aboard ship. He ties himself to a mast in anticipation of the rogue wave, hoping, with something akin to religious fervor, to survive the “Armageddon.” As Ira Dench awaits the wave, he slowly joins the other men in physical decomposition.

trawler’s cook. Of course, readers learn later what happened, in a story from John. After their encounter at the submarine, the illness aboard ship takes hold of the principal characters, who begin dissolving, literally and metaphorically, as the novel drives to its conclusion. Mr. Watt remains outdoors during the daylight, his skinless body “melting like red wax” (p. 212), and John slowly succumbs to illness, vomiting blood through ruptured lungs. He does not allow Mr. Watt to comfort him, and Mr. Watt teaches Fishboy about dignity in death when he says that Fishboy should not “shame him by staring” at his slow, painful death (p. 216). Still, Fishboy is keenly aware of John’s blood spilling into the sea, attracting the sharks he had so long sought. These sharks are scared off by dolphins, “rumps of gray ѧ humping toward us, scattering the sharks, bottle-nosed streaks of grace, ѧ sending the sharks to flee to deeper depths, threatening with their shark-ramming snouts” (p. 217). Only then, on the verge of death, with the sharks over which he had obsessed frightened away, does John see his wife. He falls into the sea as Fishboy watches, witnessing a thing only John could see—implying something about Fishboy’s own proximity to death.

The other man to suffer a physical loss is Mr. Watt, who has already suffered more of that sort of thing than any other character. Throughout the novel, his sight has been failing, and as the novel approaches the end, it disappears altogether. At the same time, Mr. Watt leaves the hold of the ship and goes on deck to read the map tattooed onto John’s body. His appearance is disregarded by everyone; instead, his insight, expertise, and experience become all the vision the trawler needs to find itself again. In this respect, Mr. Watt is transformed from a grotesque into an oracle, the blind seer, a character type found in works by such writers as the ancient poet Homer, possessors of a vision that transcends the bounds of literal sight.

Any gap between Fishboy and death closes at the end of the novel. He becomes ill after Mr. Watt sends him and the Idiot to escape on a lifeboat, which is promptly swept away by the rogue wave Ira Dench had been forecasting. The wave indeed represents the close of the novel and the end of Fishboy’s life as a corporeal being; however, it also represents the beginning of his new life as an omniscient, storytelling ghost— the very character who has narrated the story. In a stunningly beautiful conclusion, Fishboy transfigures from a boy in life to a fish in death, while maintaining the omniscient quality of a ghost. He hears Big Miss Magine’s voice calling out to the Fishboy, only this time it is a “softskulled child” who hops aboard the lifeboat and takes the Fishboy, who has slipped out of life and is now a fish, to the kitchen, where he sees “our ship’s crew pushed into a charred pile” (p. 223), as he waits on a chopping board. He is finally taken by Big Miss Magine’s sister, aboard

Meanwhile, the net John cast to catch the wife-eating shark has grown too large, and it drags the trawler around now—not by the whims of the wind, which can be manipulated, but by a force under the sea, which is dark, mysterious, and beyond their control. Then the net catches what John calls “the biggest shark I have ever caught” (p. 201). The thing they catch is so large that is tilts their ship sideways and stokes fears of impending doom. In reality this “shark” is a submarine, but John and the others behave as though they have caught a living being, even as John and Lonny board the submarine to seek John’s missing wife. While aboard, they encounter the ship’s cook, the only man left aboard, who kills Lonny and provides balance to the story, which opened with Lonny murdering the

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MARK RICHARD significant difference, however, comes with the use of the third-person point of view. The protagonist is always “the child,” described at some remove by a narrator with greater control and fluency of language than, for instance, the narrator of “Strays.” As a result, narration does not so dominate the reader ’s attention. “Gentleman’s Agreement” offers other counterpoints to Richard’s early stories, even as it takes up familiar themes and conflicts. It focuses on a boy who has promised his father he will stop throwing rocks at windshields and other glass items, because the father has threatened to “nail that rock-throwing hand to the shed wall” (p. 1), not outside the realm of possibility in a Richard story. The story follows closely the boy’s perspective as he tries to convince himself not to toss rocks. He only gives in to temptation when, after finding a perfect rock for throwing, he decides first to carry it into the grass where he is playing dead as if in a war. From there, he rationalizes that he should “put the stone away somewhere to consider it later, maybe even as a test to never, ever throw another rock ever again” (p. 5). He chooses the tin roof of the garage as this special place, which requires him to throw the rock— which then falls off the roof and hits him on the head, seriously injuring him.

the purple bus first seen in the novel’s opening pages, to Big Miss Magine. The sister tries to chop Fishboy up, but he is too tough and is tossed into the pot, where the slow process of his death finally concludes: “I felt myself leaving, even as ѧ my ears filled with boiling water, the white broth over my eyes, I could still see, ѧ and I even saw myself leak out of Big Miss Magine’s butter-turned punctured gut” (p. 226). Fishboy permanently crosses over from life into death, the place most clearly articulated in this dark dream of a novel. In the final paragraphs, Fishboy is truly omniscient, haunting his old encampment, speaking in dreams, telling anyone who will listen that “I, too, began as a boy” (p. 227).

CHARITY

Mark Richard’s next book is a collection of stories, entitled Charity, published in 1998. Though the collection was not met with the same critical praise as his earlier collection, it nevertheless includes stories that first appeared in the pages of some of America’s most eminent publishers of literary fiction, such as the New Yorker, Esquire, the Paris Review, and Harper’s. In Charity, we encounter a world less grotesque than in Fishboy, with characters less marginal than the rough-and-tumble outsiders of The Ice at the Bottom of the World. Characters appear more sophisticated, self-aware, cognizant that their actions impact others—although it would be a stretch to place these characters squarely in the column of calm, collected neighbor types. Instead, the book differs from Richard’s earlier work in two key ways. The narrative voices in the stories—from first-person to third-person— offer more refinement, and most characters appear to be more generous and forgiving in their reactions to their messy lives, even if this generosity exists as only a quantum. The world in Charity is still unforgiving, but the characters themselves are less likely to respond with downright cruelty, ignorance, or indifference. Take, for example, “Gentleman’s Agreement,” the collection’s opener. This story, like so many in The Ice at the Bottom of the World, features a young boy as its protagonist. A

Meanwhile, the father is absent, but for a justifiable reason. He is fighting forest fires— dangerous work that ultimately leads to disfigurement. This father and his threat to punish the boy starkly contrast with the bullying, absent father of “Strays” and earlier Richard stories. Indeed, this father is sympathetic, if gruff. He appears to struggle to formulate the correct response to his son’s disappointing behavior, which he must consider even after his face is grotesquely burned by a forest fire. At the end of the story, we discover that the burns that have recast him as grotesque have not penetrated beneath the skin. The boy believes his father is about to make due on his threat to nail his hand to a wall, but in reality, the burned father is simply preparing to remove the cheap stitches the boy had been given at the doctor, whose services they could not afford: “With his shears and his pliers the father set to work on the child’s

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MARK RICHARD crab-eaten eyes” (p. 37). This is the story in the collection most similar to the narrative voice and harsh imagined realms of Fishboy, except that the collective voice is more refined, more controlled, and the world, though rendered through lush, lyrical language, still emanates from a world readers can identify as their own.

head, snipping and tugging at the black silky thread that had bound together the torn flesh of his only son” (p. 14). The next story in the collection, “Where Blue is Blue,” is a lurid and disturbing tale that, similar to Fishboy, nevertheless has at its heart an unshakable moral spine. It is clearly told from the point of view of one man who represents a collective of locals at a waterfront resort town that is enjoying its annual visit from a carnival that employs a female contortionist. This contortionist, whom all the men know, admire, and seem to have feelings for, is discovered in pieces on the beach after having fallen into “the dredge boom that sweeps back and forth chewing sand underwater to keep the inlet open.” As a result, what “all morning a lifeguard at Fifth Street had thought was a big red jellyfish turned out to be something better identified by a doctor from Dayton, Ohio, out beachcombing with his son.” It is the contortionist’s body, pieces of which keep appearing along the beach, described in lush detail: “a leg with a knot of intestine hung to it” (p. 15).

Two other notable tales, “The Birds for Christmas” and the title story, either allude to or appear to borrow from Richard’s own troubled adolescence as an invalid who spent considerable time in a body cast. In “The Birds for Christmas,” the narrator seems to be looking back from some remove to a time when he was in traction. He and a friend, the profane Michael Christian, are angling to watch the Alfred Hitchcock movie The Birds when it is broadcast on television one night after lights out. Given that they are immobile, their hopes rest entirely on the charity of others. The remove from which the story is narrated is another point where the stories in Charity differ from earlier ones. In The Ice at the Bottom of the World, the young male narrators so often speak within the bounds of adolescence, still within the paradigm of the events themselves. In “The Birds for Christmas,” there appears to be a more adult effort to control language. The dialogue, for example, is styled in an editorially correct and consistent manner, absent throughout much of Richard’s earlier work. The narrator’s friend, Michael Christian, is referred to by his full, formal name, not by a tawdry nickname. This story further differs in its conclusion: Michael Christian and the narrator get their wish to watch The Birds, thanks to Sammy, who visits the ward dressed as Santa Claus, and the night nurse, who allows the boys to stay awake past bedtime. This charity is extended not only to the characters in the book, but also to readers. The world is still a hard-edged place in Richard’s stories, but it has soft places as well, with respites in the form of small satisfactions. “Charity,” too, takes place in a ward for child invalids and orphans. In this story, the protagonist is referred to as “the child” or “the broken child,” which again ensures a sort of narrative distance from the events similar to “Gentleman’s Agreement.” This distancing suggests that

We learn that the men represented by the narrator are often on the wrong side of the law, but in petty ways, and that their only friend among the police is a detective, Cecil, who assigns himself to the case of discovering what happened to the contortionist. As the men investigate, when they learn she must have been murdered, their shock at her death grows into outrage and urgency to discover who murdered her. Eventually Cecil, who is presented as a small-time cop, deduces that there was indeed a murder and formulates a list of suspects—including the collective of men and another named Shank. Cecil considers these men to be crooks, men who could get drunk and in their drunkenness commit murder. What readers learn at the end, however, is that these men, these crooks, have done their own investigating, indicting, convicting, and punishing. Shank has been executed and his body thrown overboard far out to sea, “a place where ѧ the ocean is blue blue, the eelgrass is green green, where a man like Shank might rest forever, wrapped in chains to keep him down, his flesh feeding the fishes and no more murder in his

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MARK RICHARD returns home from a tour of duty only to be forced to return to Iraq for yet another tour. Richard also enjoyed a small role in the movie, playing the part of Pastor Colson. A film of the title story from The Ice at the Bottom of the World is tentatively scheduled for release in 2010. Richard is writing the screenplay.

Richard is placing his characters in surer, more reliable hands by narrating their stories at some remove. The main character, a boy with broken legs, is imprisoned in a full body cast until his legs heal. He is terrorized by a boy with a tail, a description that seems more metaphorical than literal. This approach to depiction contrasts with the rest of the narrative, which portrays the world as primarily realistic. Still, this element allows for some of the distortions of the male protagonist, whose life is threatened by this antagonist.

Selected Bibliography WORKS OF MARK RICHARD

OTHER PROJECTS

NOVELS

In recent years, Richard, who lives near Los Angeles, has become increasingly involved in writing for television and movies. In the mid 1990s, he was a writer for the popular television series Party of Five. Since then he has developed, produced, and written for Huff, a series that aired on Showtime for two years from 2004 to 2006. Featuring an all-star cast, including Hank Azaria as the protagonist, psychiatrist Craig Huffstodt, Paget Brewster as his wife, Blythe Danner as his mother, Anton Yelchin as his son, and Oliver Platt as lifelong family friend Russell Tupper, the program’s guest stars included the likes of Anjelica Huston, Sharon Stone, Tom Skerritt, Annie Potts, and Laura Flynn Boyle. The series opens with the suicide of a patient seeking treatment from Huff, and it follows the resulting complications and fallout for his career and his family. Despite the dramatic opening, the show features intelligent, charming humor as often as it employs heavy drama. Richard quit his job at Huff when he began to focus more on writing for movies. He wrote the screenplay for Stop-Loss (2008), a movie starring Ryan Phillippe as an Iraq War veteran who

AND

SHORT STORIES

The Ice at the Bottom of the World. New York: Knopf, 1989. Fishboy: A Ghost’s Story. New York: N. A. Talese, 1993. Charity. New York: Doubleday, 1998.

CRITICAL AND BIOGRAPHICAL STUDIES Kerstetter, Jim. “Southern Short-Story Writer Receives Hemingway Prize.” Boston Globe, July 8, 1990, p. 33. Norman, Michael. “A Book in Search of a Buzz: The Marketing of a First Novel.” New York Times, January 30, 1994. ———. “Reader by Reader and Town by Town, a New Novelist Builds a Following.” New York Times, February 6, 1994.

BOOK REVIEWS AND INTERVIEW Clark, Eliza. “Fishboy’s Siren Song Is Dark but Mesmerizing.” Globe and Mail (Toronto), May 29, 1993. (Review of Fishboy.) Harshaw, Tobin. “Fever Dreams.” New York Times, December 27, 1998. (Review of Charity.) Inness-Brown, Elizabeth. “Stories Built of Poetry: Mark Richard’s Story Collection Shows He Is a Writer to Watch.” St. Petersburg Times (Florida), June 25, 1989, p. 6D. (Review of The Ice at the Bottom of the World.) Macneille, Suzanne. “In Short: Fiction.” New York Times, May 28, 1989. (Review of The Ice at the Bottom of the World.)

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GEORGE SAUNDERS (1958—)

F. Brett Cox ALTHOUGH AMERICAN LITERATURE has produced a number of writers who are best-known for their short stories, it is rare for a twentieth-century American writer to enjoy widespread acclaim, much less financial success, solely for his or her short fiction. From Flannery O’Connor to Ray Bradbury to Donald Barthelme, the most famous American short story writers have almost always published novels as well, Raymond Carver being a notable exception. So it is noteworthy that George Saunders has received not only nearunanimous critical acclaim for a body of fiction contained within three short story collections but also the significant cultural and monetary reward of a MacArthur Foundation “genius grant.” This extraordinary level of success is all the more remarkable coming as it does for work that departs in striking fashion from the traditions of the well-made literary short story while embracing older traditions of satire and fantasy as well as the materials of science fiction and supernatural horror. While Saunders’ roots are squarely in literary rather than genre fiction, his work, like that of his contemporary Michael Chabon, has been honored by both communities: Saunders is perhaps the only writer to receive both the O. Henry Award and the World Fantasy Award and whose stories have been included in both types of “best of” anthologies, appearing in Best American Short Stories 2005 and Science Fiction: The Best of 2003.

writers. First, Saunders’ use of language bears little resemblance to the plainness of O’Connor or Vonnegut (despite his professed admiration for the latter writer) or to the erudition of Pynchon or Wallace. Rather, it enthusiastically mines the degraded rhetoric of the corporate workplace and the popular media to present an American landscape whose dominant metaphor is the theme park and to portray American citizens for whom the stilted language of office memoranda and selfhelp manuals is all that is available to convey a terrifying uncertainty: when a Saunders character speaks, it is frequently a declarative statement that ends in a question mark. Second, contemporary reviews of Saunders’ work use the word “sentiment” as often as “satire.” His characters are constantly faced with personal crisis and tragedy, often family-related, occasionally occurring in circumstances of almost Dickensian deprivation, and every once in a while promising the possibility of moral redemption. In his intense sympathy for his often cruelly damaged characters, Saunders is arguably closer in spirit to Vonnegut than to any other author to whom he has been compared.

LIFE

George W. Saunders was born on December 2, 1958, to George Robert and Joan Clarke Saunders. The oldest of three children, he grew up in Chicago without literary ambitions and initially pursued a career as an engineer, graduating from the prestigious Colorado School of Mines in 1981 with a BS in geophysical engineering. However, Saunders acknowledged in (Contemporary Authors Online) several early influences that led him toward the pursuit of writing: the stories his salesman father would tell of

As a satirist who freely uses elements of the fantastic and whose characters and situations often verge on the grotesque, Saunders has been compared to Nathaniel West, Flannery O’Connor, Kurt Vonnegut Jr., Thomas Pynchon, Mark Leyner, and David Foster Wallace. However, there are two important respects in which Saunders’ work differs from that of the above-named

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GEORGE SAUNDERS “the various hustlers and lunatics he ran into on his rounds”; learning the transformative power of absurdist, satirical humor from watching Monty Python’s Flying Circus with his father; and two high school teachers who “made me feel that the world of ideas was the only vital world, and that if I worked hard enough, I could find a place in it.” After graduation, Saunders spent over a year working as an oil-field engineer in Sumatra and traveling in several southeast Asian countries, an experience that changed his belief that “technology is a force for good, that we were going to help people by bringing wealth” into a conviction that “it was, actually, just plain-old earth-raping and local-culture-violation” (Contemporary Authors Online). Upon his return to the United States, he worked a number of different jobs, including hotel doorman, roofer, musician, and “knuckle-puller in a slaughterhouse” (Lee, p. 277), eventually moving back in with his parents, who were living in Amarillo, Texas. After reading an article in People magazine about the creative writing program at Syracuse University, he applied and was accepted into the program, receiving an MA in 1988. While at Syracuse, he published his first story, married, and became a father. From 1989 to 1996, he worked as a technical writer and engineer for Radian International, an environmental engineering firm in Rochester, New York. During this period, he continued to write fiction and began to place work in a variety of literary and commercial magazines, including Harper’s and the New Yorker. After the 1996 publication of his first collection, Saunders left Radian and joined the faculty of the Syracuse writing program, where he remains. He has also taught as visiting faculty at Brown University and the University of Texas at Austin, among other institutions.

caught up in the increasingly extreme efforts of the park’s chief administrator, Mr. Alsuga, to deal with teenaged gangs who have been vandalizing the park and attacking its patrons. When “Mr. A” hires a disturbed Vietnam veteran named Sam to deal with the problem, gang violence decreases, but Sam’s own violent behavior spins quickly out of control, leading to an avalanche of catastrophe: the deaths of park patrons, the accidental shooting of the narrator’s young son, and the end of the park itself. On the one hand, the CivilWarLand theme park is a preposterous attempt to incarnate a past that cannot actually be experienced, a monstrously fake environment governed by euphemism: “Adjunct Thespians” are supervised by “Verisimilitude Inspectors,” financial sponsors are “Historical Reconstruction Associates,” and petty theft is a “Revenue-Impacting Event.” Its conceptual shoddiness is matched by its physical decay: “the helmets we distribute look like bowls and all the paint’s peeling off” (p. 10). On the other hand, the employees of CivilWarLand are real people who are really dependent on the park for their livelihood. The narrator would much rather be doing something else, but he has a wife and two children to support: “I think about quitting. Then I think about my last degrading batch of résumés. Two hundred send-outs and no nibbles. ѧ Once again I decide to eat my pride and sit tight” (p. 4). Only when his own child is in danger does the narrator attempt to stand up to “Mr. A,” only to have the boss remind him of “the droves of unemployed huddled in front of Personnel every morning” (p. 18). By the time the park goes out of business, the narrator’s wife has left him, he has helped cover up the murder of a teenaged shoplifter, and he faces his own grim fate at the hands of Sam, who was supposed to bring peace and security to the park. Significantly, the narrator’s most important work relationships are not with his colleagues, but with a family of ghosts. In the 1860s, the McKinnons owned the land the park is on; trapped in the artificial environment their family land now houses, they give the narrator ideas for park activities in exchange for tokens of the twentieth century: a Rubik’s Cube for Mrs.

CIVILWARLAND IN BAD DECLINE

The novella and six stories in Saunders’ first collection establish the themes, motifs, and techniques that Saunders has pursued ever since. The narrator of the title story, employed by an elaborate theme park called CivilWarLand, is

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GEORGE SAUNDERS personal triumph when he murders Tim, the “ruthless CEO” (p. 45), while preventing him from assaulting an animal-rights investigator. Jeffrey’s triumph is short-lived, however, and he is arrested and imprisoned for his crime. Although both Jeffrey and the wavemaker have hit bottom by the end of their stories, both narrators conclude with some slim hope of redemption: sitting alone in a graveyard, the wavemaker declares, “enough already, enough, this is as low as I go” (p. 44); the imprisoned Jeffrey imagines that his fate is the work of a “subGod,” while “the true God” will ultimately save him: “And I will emerge again from between the legs of my mother, a slighter and more beautiful baby, destined for a different life, in which I am masterful, sleek as a deer, a winner” (p. 64).

McKinnon, a lighter for her husband. But when they wander “too close to their actual death site,” they are “compelled to act out again and again the last minutes of their lives” (p. 24), meaning Mr. McKinnon’s murdering his family before taking his own life. By the end of the story, the narrator is confronted with his own misdeeds when the ghost of the murdered shoplifter tells him, “You’ve got amends to make,” and the narrator replies, “I screwed up. ѧ I did bad things” (p. 25). When the narrator’s own death comes, “everything is bright and new and keen with love,” but when he attempts to convey this to the still-living Sam, he is greeted with “only hate and hate, solid as stone” (p. 26). Neither the controlled environment of CivilWarLand nor the controlled life of the narrator can survive the uncontrollable violence of both past and present.

“Offloading for Mrs. Schwartz” moves in a slightly different direction from the previous stories in the collection and marks Saunders’ first foray into science fiction. The story’s narrator is yet another put-upon employee of a business that offers an escape from the “real” world, but the business in this case uses “personal interactive holography” to place customers within the virtual environment of their choice, with options ranging from “Viennese Waltz” to “Legendary American Killers Stalk You.” While this narrator is not as desperately unhappy with his job as some of Saunders’ other characters, he cannot get over the death of his wife, killed by a drunk driver “on the evening of a day when we’d fought like hell ѧ [and] I’d called her an awful name” (p. 71). When defending himself against an intruder, the narrator accidentally “offloads” the intruder’s memories onto a hard drive, permanently deleting the memories from the intruder’s brain. He then discovers that the edited memories have both educational and commercial value as interactive “modules” for grade-school students. In offloading the memories of Mrs. Schwartz, an elderly woman in deep mourning for her late husband, he both enriches himself and helps her cope. Like the previous two stories, “Offloading” ends with both loss and the possibility of redemption as the narrator offloads his own painful memories, after which he leaves himself a note that declares,

The inevitability of violence and the desire for redemption figure prominently in the remaining short stories in CivilWarLand in Bad Decline: Stories and a Novella. “Isabelle” is a disturbing portrait of a murderous racist who nonetheless offers unequivocal, selfless love to his severely handicapped daughter Isabelle. Split Lip, Isabelle’s father, collaborates with a policeman in the drowning of a young African American man; after the narrator and his brother Leo witness both the murder and the victim’s own brother’s failed attempt at revenge, Leo joins first a racist gang and then the marines, while Split Lip dies peacefully in his sleep. By the end of the story, the narrator has taken Isabelle into his own care, and the two, now adults, become “pals. Family. It’s not perfect. Sometimes it’s damn hard. But I look after her and she squeals with delight when I come home, and the sum total of sadness in the world is less than it would have been” (p. 33). “The Wavemaker Falters” returns to the land of theme parks and the quiet desperation of their employees as its narrator, a “wavemaker” at a water park, tries to deal with both a disintegrating marriage and his ongoing guilt at having accidentally caused the death of a child on one of the park rides. Jeffrey, the title narrator of “The 400-Pound CEO,” turns a soul-crushing office job for Humane Raccoon Alternatives, a business that fails appallingly to live up to its title, into a

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GEORGE SAUNDERS “You were alone in the world ѧ and did a kindness for someone in need. ѧ Your heart has never been broken. ѧ Everyone you’ve ever loved you treated like gold” (p. 77).

him to speculate about an earlier America he never knew: Imagine ordering one of everything on the menu and not being told no. Imagine idling in the drivethrough with your sweetheart while singing along with the radio. What a beautiful country this must have been once, when you could hop in a coupe and buy a bag of burgers and drive, drive, drive, stopping to swim in a river or sleep in a grove of trees without worrying about intaking mutagens or having the militia arrest you and send you to the Everglades for eternity.

“Downtrodden Mary’s Failed Campaign of Terror” offers a harsher take on Saunders’ recurrent scenario, as an elderly employee of an educational museum rebels against her condescending and oppressive boss by deliberately poisoning the “see-through cows” on display: live cows implanted with a clear glass panel “to provide schoolchildren insight into the digestive process of a large mammal” (p. 85). When Mary is caught and fired, she attempts suicide by jumping off a pier but is rescued by “staring Navy boys” who “will not stop saving me although I beg and beg and beg” (p. 87). Here the possibility of redemption or success is gone, and all that is possible is mere survival. CivilWarLand in Bad Decline concludes with “Bounty,” a ninety-page novella that, on one level, offers a vision of what the world of the collection’s title story would look like if taken to its logical conclusion. In a post-catastrophe America whose population is divided between “Normals” and the “Flawed”—individuals with visible genetic mutations. The “Flawed” are not only shunned and persecuted but can be legally kept as slaves. The story’s narrator and his sister Connie are both Flawed, although their defects are relatively minor—he has clawed feet; she has a vestigial tail—and they survive by working in a theme park that offers customers a variety of vaguely medieval European scenarios. As in “CivilWarLand,” the employees of the park are at the mercy of insensitive (and occasionally perverse) customers and bosses who never hesitate to remind their employees that they, the employees, have few if any other options.

(p. 124)

After several encounters with the impoverished, degraded, violent inhabitants of the current America, the narrator is reunited with his sister, who is now pregnant, and he discovers that, while she has given up any semblance of freedom, she is in fact safe. After all he has seen and experienced, however, he concludes that he can’t remain with her; the story concludes with his leaving to join “a rebel cell” to fight against the enslavement of the Flawed. Richard E. Lee has noted that “Bounty” is a story of “passion and ideological focus” that “help[s] to shape the collection” (p. 279) whose other stories, by and large, offer far gloomier assessments of the chances of the individual battling forces that are insensitive at best and malevolent at worst. While the title story offers little to no hope of success to its narrator, and the other stories offer their narrators redemption that is limited (“Isabelle”), uncertain (“The Wavemaker Falters”), probably delusional (“The 400Pound CEO”), undercut by significant loss (“Offloading for Mrs. Schwartz”), or nonexistent (“Downtrodden Mary’s Failed Campaign of Terror”), the narrator of “Bounty” undergoes a classic journey of transformation, growing from naïveté to tentative awareness to taking action. It is a perfect statement of Saunders’ refusal to admit any one outcome that the last words of the first story in his debut collection are “hate and hate, solid as stone,” while the last words of the last story are, “‘I’m here to help,’ I whisper, and the door swings open” (p. 179). CivilWarLand in Bad Decline was greeted by glowing reviews and received several honors.

When Connie literally sells herself to a rich client in order to escape, her brother runs away from the park to find her; the long middle section of the story details his adventures as he makes his way across an America in collapse. Part Huckleberry Finn, part Candide, the narrator surveys a ruined landscape that reminds him of a similar journey during which his parents were forced to abandon him and his sister and leads

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GEORGE SAUNDERS I could swear she actually catches and eats an actual small bug” (p. 65). Even as the characters’ circumstances are more dire, the actions of their supervisors are more malevolent—at one point, the supervisors withhold food—and if the physical space of the story is further removed from the “real” world than was the case in Saunders’ earlier theme-park stories, so is the language with which the supervisors justify their actions. When the narrator finally turns in an accurate report on Janet, the written response from Nordstrom, his main supervisor, is hysterically self-justifying:

The book was a finalist for the Hemingway Foundation/PEN Award for a first book of fiction, was selected as a New York Times Notable Book, and in 1999 was ranked number two on Esquire magazine’s list of “Twenty Essential Books of the 1990s.” Both “Bounty” and “The 400-Pound CEO” received National Magazine Awards for fiction.

PASTORALIA

The setting for the title novella of Saunders’ second collection is, once again, a theme park—in this case, a recreation of prehistoric times in which patrons can observe actors recreating the lives of cavemen. Again, a nameless male narrator is trapped by economic and family circumstance in a job he doesn’t want and is oppressed by callous supervisors who exploit his need for the job to force him to do things he doesn’t want to do. But “Pastoralia” uses these now-familiar elements to tell a story even more nuanced, more sharply focused, than the stories from the author’s first collection. While the actors of “CivilWarLand” and “Bounty” roamed over a relatively large area, the narrator of “Pastoralia” is confined to a single room recreating a prehistoric cave, and he receives both food and instructions through a “Big Slot” in the wall. The outside pressures are dire, as the narrator’s son is seriously ill, and the pressures of the workspace are intensified as the narrator shares his cave with a female actor, Janet, who has family problems of her own: a grown son whose ongoing irresponsible behavior is both an economic and emotional burden. Despite her own desperate need to hold on to her job, Janet is unwilling or unable to stay in character as a cavewoman, a serious violation of workplace rules. The narrator feels great loyalty to Janet and refuses to report her behavior on his “Daily Partner Performance Evaluation Form.” However, as Janet’s infractions grow worse and their supervisors grow more dissatisfied and threatening, the narrator finally turns in an accurate report; Janet is removed, and the narrator resumes work with his new partner, Linda, who plays her assigned role flawlessly: “once or twice

Think of you and Janet as branches on a tree. While it’s true that a branch sometimes needs to be hacked off and come floating down, so what, that is only one branch, it does not kill the tree, and sometimes one branch must die so that the others may live. And anyway, it only looks like death, because you are falsely looking at this through the lens of an individual limb or branch, when in fact you should be thinking in terms of the lens of what is the maximum good for the overall organism, our tree. (pp. 59–60)

A subsequent memo claiming to dispel rumors about mass firings at the park is almost Orwellian in the degree it conveys exactly the opposite of what it claims to be saying: Those of you who have no need to be worried should not in the least be worried. As for those who should be worried, it’s a little late to start worrying now, you should have started months ago, when it could’ve done you some good, because at this point, what’s decided is decided, or would have been decided, if those false rumors we are denying, the rumors about the firings which would be starting this week if they were slated to begin, were true, which we have just told you, they aren’t. (p. 63)

Lee suggests that “Pastoralia” is the “most surreal of Saunders’ parks” (p. 281). Although it lacks the tragic consequences of “CivilWarLand” or “The Wavemaker Falters,” it is also perhaps the most extreme and the most sinister of Saunders’ theme-park excursions in setting, language, and outcome. Having sacrificed his sense of loyalty to his coworker, the narrator, at story’s end, hears the hum of the fax machine in

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GEORGE SAUNDERS family’s behavior but also to obtain things she never had: “I am getting me so many lovers. Maybe you kids don’t know this but I died a freaking virgin. No babies, no lovers. ѧ I never got nothing! My life was shit! I was never even up in a freaking plane. But that was that life and this is this life. My new life” (p. 113). Death itself is no relief: “You ever been in the grave? It sucks so bad! You regret all the things you never did. You little bitches are gonna have a very bad time in the grave unless you get on the stick, believe me!” (p. 115). When her reanimated body fails, she can only lament, “Why do some people get everything and I got nothing? ѧ Why? Why was that?” (p. 123).

his “Separate Area” and wonders if it is bad news about his son. And while he and his new partner now play their roles flawlessly, “No one pokes their head in” (p. 66). If “Pastoralia” continues thematic concerns of CivilWarLand in Bad Decline, the remaining stories in Saunders’ second collection strike out in somewhat different artistic directions. Of the five short stories that make up the rest of Pastoralia, none takes place in a theme park or other artificial environment, and only one employs overtly fantastic elements. The narrator of “Sea Oak” works as a male stripper in a restaurant/ club called Joysticks. Like most of Saunders’ narrators, he does not particularly care for his job, but he has a family to support: sister Min, cousin Jade, their babies, and their Aunt Bernie. Min and Jade are both ignorant and indolent, while Aunt Bernie is almost saintlike in the life of selfless sacrifice she has led. After Aunt Bernie dies as a result of a home invasion, the family’s grief turns to outrage when her body is apparently stolen from its grave, and then to horror when Aunt Bernie’s reanimated corpse appears in their living room. Far from the saintly, patient woman she had been in life, their aunt is now a tyrant who issues harsh commands to her hapless family: “You, Jade. ѧ Tomorrow you start work. Andersen Labels, Fifth and Rivera. Dress up when you go. Wear something nice. Show a little leg. ѧ You, Min. You baby-sit. Plus you quit smoking. Plus you learn how to cook. No more food out of cans” (pp. 112-113). While the two women show signs of adjusting their behavior, the narrator is unwilling to follow Bernie’s directives—she advises, obscenely, more explicit behavior at Joysticks—and Bernie literally falls apart before her plan of reform can firmly take hold.

The four remaining stories, while demonstrating Saunders’ ongoing obsessions with emotionally damaged characters and the rhetoric of the workplace, are all set in a recognizable contemporary America and depend less on satiric exaggeration than on smaller epiphanies of character. Interestingly, these more conventional and realistic stories also mark Saunders’ first use of third-person limited narration as opposed to the (usually) anonymous first-person narrators of his earlier fiction. “Winky” begins in familiar territory as its protagonist, Neil Yaniky, attends a self-help seminar whose leader, Tom Rodgers, offers the prospect of happiness and success in a language of keywords and abstractions: “First, we’ll Identify your personal Gene [the person who keeps you from success and happiness]. Second, we’ll help you mentally install a metaphorical Screen over your symbolic oatmeal [your personal space and desires]. Finally, we’ll show you how to Confront your personal Gene and make it clear to him or her that your oatmeal is henceforth off-limits” (p. 74). After a personal interview with Rodgers, Yaniky returns home to confront his sister, Winky, who he believes is holding him back and making his life miserable. A striking shift to Winky’s point of view in the story’s middle section makes it clear that Winky is mentally challenged and emotionally unstable to the point of almost certainly not being able to function on her own, and also that she genuinely loves her brother. When Yaniky returns home, he cannot bring himself to confront her, but he also

“Sea Oak” is a story of both supernatural horror and black humor: both Jade and Min’s cluelessness and Aunt Bernie’s outrageous transformation are often very funny. But the story is also arguably Saunders’ most blunt assessment of the not-so-quiet desperation of the workingclass American whose disappointment rises to the level of tragedy. If Bernie has literally climbed out of the grave, it is not only to correct her

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GEORGE SAUNDERS demption as its protagonist, Cummings, while contemplating his many failures in life, is granted the opportunity to rescue two young girls from drowning—an opportunity he almost talks himself out of taking until the very end of the story. Having apparently convinced himself that the girls “were dead, as dead as the ancient dead, and he was alive, he was needed at home, it was a no-brainer,” he suddenly, “making a low sound of despair in his throat ѧ kicked off his loafers and threw his long ugly body out across the water” (p. 188). After several stories in a row whose endings range from problematic to hopeless, Saunders chooses to end both this story and his second book with a literal leap of faith. Saunders’ second collection, like his first, was selected as a New York Times Notable Book. Four of its six stories—“Pastoralia,” “Winky,” “Sea Oak,” and “The Falls”—were chosen for inclusion in O. Henry Prize Stories, with “The Falls” receiving a second-prize O. Henry Award for 1997; “The Barber’s Unhappiness” received the National Magazine Award for fiction. Pastoralia also signaled Saunders’ increasing popular as well as critical acclaim, being chosen as a Book-of-the-Month-Club selection and appearing on Entertainment Weekly’s list of the top ten books of 2000.

cannot feel any better about the situation. Rodgers’ system has failed, and at the end of the story Yaniky is back to square one: “he wanted to smack her, insult her, say something to wake her up, but only kept moving toward his room, calling her terrible names under his breath” (p. 88). “The End of FIRPO in the World” is a near stream-of-consciousness account of the thoughts of Cody, a young boy, as he rides his bike through a suburban neighborhood while fantasizing about doing terrible things to its residents. He has been told for most of his life that he is a bad kid, and when a freak accident sends him flying off his bicycle and he lies dying on the sidewalk, the comforting words of a passing stranger, who assures him, “God loves you ѧ you are beautiful and loved” (pp. 134–135), cannot prevent him from picturing his final moments with his mother as a confession of unworthiness: “he sat on Mom’s lap and said he was very sorry for having been such a FIRPO son and Mom said, Oh thank you, thank you, Cody, for finally admitting it” (p. 135). “The Barber’s Unhappiness” gives a detailed look at the day-to-day life of Mickey, a middleaged barber who, although he still lives with his mother, has not completely given up on the possibility of a meaningful relationship with a woman. From his talk-past-each-other interactions with his mother and other relatives to his consistent objectifying of women, Mickey does not seem have a lot to offer to any relationship. Nonetheless, he wins the affections of a woman he meets in driving class, and by the end of the story, he is planning their life together. What the woman does not know is that he almost did not go out with her because she was overweight, and his vision of their future together consists, for all intents and purposes, of her following his orders. “The Barber’s Unhappiness” is one of Saunders’ most conventionally written stories, but perhaps his most ironic, as the reader finishes the story with a much clearer understanding of Mickey than he himself has. After five stories whose endings range from problematic to hopeless, Pastoralia’s closing story, “The Falls,” returns to the territory of re-

GAPPERS OF FRIP AND REIGN OF PHIL

Between his second and third collections, Saunders published two brief parables, one for children and one for adults, both of which reflect the strategies and concerns of his literary short fiction. The children’s book, The Very Persistent Gappers of Frip (2000), tells the story of a tiny village of “three leaning shacks by the sea” (p. 6) that “survive by selling goat milk” (p. 2). Unfortunately, the town is plagued by “gappers”: baseball-sized, bright-orange, semi-sentient burrs that love goats. When the gappers emerge from the sea and attach themselves to the goats, the gappers’ “continual high-pitched happy shriek of pleasure” (p. 2) prevents the goats from giving milk, and the children of Frip are burdened with the ceaseless, exhausting task of brushing off the goats.

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GEORGE SAUNDERS “One of the less-stupid gappers” (p. 11) realizes that it would be easier for them to concentrate on the house closest to the sea, a house inhabited by a little girl named Capable and her widowed father. Their neighbors, the Romos and the Ronsens, are delighted that their gapper problem has gone away, but when Capable asks for their help in dealing with the gappers—all of which now attach themselves to her and her father’s goats—they refuse. Against her father’s wishes, Capable sells the goats and learns to fish. As a result, she and her father prosper, while their neighbors are ruined by the renewed infestation of gappers. When they ask Capable for help, she initially refuses, but quickly realizes that “it was not all that much fun being the sort of person who eats a big dinner in a warm house while others shiver on their roofs in the dark. ѧ it was fun at first, but then got gradually less fun, until it was really no fun at all” (p. 70). By the end of the tale, all three families have gotten rid of their goats and are fishing together, while the gappers, with no goats left to attach to, “voted to begin madly loving fences” (p. 80). Authors of adult fiction who write children’s books inevitably bring the fundamentals of their worldview from one form of storytelling to the other, and this is certainly the case with Saunders. The Very Persistent Gappers of Frip showcases major themes of Saunders’ adult fiction: the ordinary person trapped by economic circumstance in a job that he or she would rather not have; the selfishness of some, and the obliviousness of others, to the existence of suffering; the possibility of redemption through right action. Even Saunders’ uncanny ear for the obscuring language and tortured logic of “official” communiqués is on display in the letter in which Capable’s neighbors deny her request for help:

at story’s end, the residents of Frip are only “relatively” happy (p. 82). Saunders’ children’s book was as well-received as his adult fiction, making the New York Times bestseller list and Entertainment Weekly’s list of top ten books of 2000. It also received the Children’s Literature Award of the Netherlands. In the novella The Brief and Frightening Reign of Phil (2005), the satire of several of Saunders’ previous stories becomes a full-scale allegorical fantasy. The country of Inner Horner is so small that only one of its seven residents can inhabit it at a time while the others occupy a “Short-Term Residency Zone” in the national space of “the surrounding country of Outer Horner” (p. 1). When Inner Horner suddenly shrinks, the resulting population pressures and territorial disputes pave the way for the rise of Phil, “a middle-aged Outer Hornerite generally considered a slightly bitter nobody” (p. 6). Fueled by a desire for personal revenge (an Inner Hornerite he loved married someone else), and aided by the susceptibility of the Outer Hornerites to demagoguery, the pandering of the media, and the senile incompetence of the country’s president, Phil rises to power and leads a campaign against Inner Horner that results in the nation’s nearextinction. Only an intervention from the neighboring state of Greater Keller prevents catastrophe, and only an additional intervention from “the Creator” (p. 123) prevents the Inner Horner survivors from taking catastrophic revenge against the Outer Hornerites. The Creator’s reconfiguration of the two nations into New Horner, and of the survivors into “fifteen entirely new little people” (p. 126), appears to restore peace and harmony. But there are enough small differences among the New Hornerites to foster suspicion and distrust, and the story concludes with a New Hornerite named Leona regarding the remains of Phil as “not ѧ monstrous, but strangely beautiful” (p. 129) and dreaming of “a better world” (p. 130) run by New Hornerites who look like her. Although The Brief and Frightening Reign of Phil was written for and marketed to adults, the author, in a brief essay titled “Why I Wrote Phil: An Exclusive Essay for Amazon.com,” refers to

we are in receipt of your letter of the other day, that other day, whenever that day was, when you sent that letter that you sent us. ѧ Not that we’re saying we’re better than you, necessarily, it’s just that, since gappers are bad, and since you and you alone now have them, it only stands to reason that you are not, perhaps, quite as good as us. (p. 36)

As in Saunders’ adult fiction, success and redemption are difficult to come by and never absolute:

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GEORGE SAUNDERS by a quote from Taskbook for the New Nation by one Bernard “Ed” Alton, a fictional book that, judging from the quotes, might serve as a manual for the most pernicious of Saunders’ theme-park supervisors. The epigraph for the collection’s first section argues for “innovative methods and approaches designed to expand our prosperity, and thus our freedom” (p. 1). There follow three stories that demonstrate prosperity is scarcely synonymous with freedom. “I Can Speak!™,” cast as a letter from a “Product Service Representative” replying to a consumer complaint about a toy that creates the illusion that babies are speaking in coherent sentences, takes the corporate-speak that Saunders has perfected in his earlier stories and carries it a step further. The value of communication skills is such that parents will pay money for a device that makes it seem as if their preverbal infants can speak standard English, and the goodwill of the customer is so important that a low-level office worker is compelled to exhibit a personal interest in the customer that he clearly doesn’t feel. However, the device itself does not satisfy the customer, and the letter of apology verges on the incoherent:

the book as “a kid’s story about genocide.” In his discussion of how the story came into being (as an answer to a challenge posed by his friend Lane Smith, the illustrator of The Very Persistent Gappers of Fripp), Saunders offers a useful summary of many of the basic concerns of all his fiction: There was [in Phil] a clash of tones (Bullwinklesque) and content (slaughter) that intrigued me for some reason, and also called to mind our current cultural moment, when public language— reduced, dumbed-down, slogan-drenched, clichéridden—seems created to under-describe horror and suffering, and bureaucratize massacre. To me, the story came to be about the human tendency to continuously divide the world into dualities, and, soon after, cast one’s lot in with one side of the duality and begin energetically trying to eliminate the other. (Amazon Web site)

Saunders notes in his essay that, with the book’s extremes of approach and content, “all hope for marketing tie-ins vanished,” and Lee notes that the book “was not widely reviewed” (p. 283).

IN PERSUASION NATION Now, am I saying that your Derek runs the risk of feeling bad about himself as a grown-up because as a baby he felt he didn’t know how to talk very good? It is not for me to say, Mrs. Faniglia, I am only in Sales. ѧ My real reason for writing this letter, on my lunch break, is that, hard as we all work at KidLuv ѧ it is always sort of a heartbreak when our products are misapprehended.

In reprinting “Sea Oak” in Feeling Very Strange: The Slipstream Anthology (2006), the editors James Patrick Kelly and John Kessel cite the story as an example of “inject[ing] genre elements into decidedly nongenre milieus” (p. xiii). Such a mix of materials is more evident than ever in Saunders’ third collection, most of whose twelve stories are fabulist fiction of one variety or other, including excursions into science fiction and supernatural horror. The collection is also Saunders’ most thematically focused, as almost all of the included stories deal to one extent or another with the excesses of consumerism and advertising. In its inclusion of both a brief piece of satirical humor and a short autobiographical sketch, the book looks forward to Saunders’ later moves away from the short story and toward the essay. Also in contrast to Saunders’ earlier collections, In Persuasion Nation (2006) is organized into four subsections, each of which is prefaced

(pp. 8–10)

In “My Flamboyant Grandson,” the narrator takes his grandson to New York to see a musical titled Babar Sings! But the New York of the story is a landscape of consumption and advertising run amuck, as the grandfather discovers when he is detained by a “Citizen Helper” for removing his shoes and thus detaching himself from the “Everly Strips” in the soles of his shoes, strips which continually monitor the wearer’s responses to the advertisements that surround him as he walks down the street. Although the grandfather ultimately has to return to the scene of his “crime” to avoid a large fine, he still gets his stage-struck

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GEORGE SAUNDERS nation, is not that far removed from the anguished corporate rhetoric of Saunders’ earlier stories, as when Jon tries to talk Carolyn out of leaving:

grandson to the show on time, a tentative step toward increasing the chances that the boy will not be bound by a system of false “choices” in which consumerism becomes totalitarianism: “He looks like no one else, acts like no one else ѧ he fits no mold and has no friends, but I believe in my heart that someday something beautiful may come from him” (p. 22).

Plus furthermore (and I said this to Carolyn) what will it be like for us when all has been taken from us? Of what will we speak of? I do not want to only speak of my love in grunts! If I wish to compare my love to a love I have previous knowledge of, I do not want to stand there in the wind casting about for my metaphor! ѧ I want to possess all the articulate I can, because otherwise there we will be, in non-designer clothes, no longer even on TrendSetters & TasteMakers gum cards with our photos on them ѧ

The final story in the book’s first section, “Jon,” is Saunders’ most careful and detailed use of the devices of science fiction, plunging the reader into a high-tech environment described by a narrator wholly familiar with that environment but unconcerned with immediate clarity or explanation. The reader gradually realizes that the title character is a member of an interactive focus group: teenagers are cut off from the world and directly linked, via a “gargadisk,” to advertisements that they can both virtually experience and directly influence and edit their individual responses. The teenagers’ communal life is closely monitored but carefully protected, and if a pregnancy occurs, it is dealt with matter-offactly. However, when a newborn accidentally dies, Carolyn, the mother of Jon’s child, decides she wants to leave the environment, an action she is legally entitled to take. Although Jon wants to stay, Carolyn leaves, and, eventually, after discovering that some of his memories are false implants, so does Jon.

(pp. 30–31)

The quote from the fictional Bernard Alton that begins the second section of In Persuasion Nation declares that an unidentified “They” will “insinuate themselves into the very fabric of our emotional lives ѧ deny our right to make critical moral distinctions” (p. 65). The first of the section’s four stories, “My Amendment,” is a brief satirical piece presented as letter to the editor that argues for a constitutional amendment to ban “Samish-Sex Marriage” (p. 66)—that is, marriage between men who appear feminine and women who appear masculine, conditions to be determined by a “Manly Scale of Absolute Gender” (p. 67). The third piece, “Christmas,” is an autobiographical reminiscence of Saunders’ experiences as “a roofer so beat down he once stood by watching as a nice man got cheated out of his Christmas” (p. 99). In the fourth, “Adams,” a nameless narrator takes extreme measures to deal with a neighbor who, for reasons that are perhaps not as malevolent as they are inexplicable, continually intrudes into the narrator’s home. In the second story in the section, “The Red Bow,” a small town has to deal with an inexplicable infection that has caused the town’s dogs to become violent. The story is narrated by the father of a little girl who has been killed by the infected dogs. Almost paralyzed with grief, he watches the town take more and more extreme steps to deal with the problem, steps that spin rapidly beyond confining infected dogs to wholesale slaughter, as demanded by the dead girl’s mother: “Kill every dog, every cat, she said very

Beyond the obvious critique of consumerism, “Jon” explores the recurrent Saunders themes of the inside, controlled, artificial, and fundamentally inauthentic environment versus the uncertain but real outside world, individual versus group loyalty, and the ordinary person’s response to tragedy. As a science fiction story, it is a variant of the classic scenario that the critic Peter Nicholls (in the Encyclopedia of Science Fiction, 1993) has called “conceptual breakthrough,” the discovery by a protagonist that there is a world, or way of being, beyond the limits of what he or she thought was the case. Most of all, “Jon” marks Saunders’ most intense focus on language to date. The narrator communicates in a jumble of technobabble, teenage slang, and fractured syntax that at first seems to be a future English à la A Clockwork Orange but, upon closer exami-

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GEORGE SAUNDERS know they inhabit a TV program, but there seems to be nothing outside the program itself, and within the program they watch other TV programs with titles such as FinalTwist and Kill the Ho. Reality intrudes when the set of the program “morphs” into “a vast field of charred human remains” (p. 125) that rise up to confront the program’s case—and, implicitly, the audience— with its complicity in their genocidal fate. When Brad comments that their situation seems “complicated,” one of the corpses replies, “It might seem complicated, if the person trying to understand it had lived in total plenty all his life, ignoring the rest of the world” (p. 127). As the scenario repeats itself with differing groups of victims, Brad becomes sympathetic and tries to help them, but the other characters on the program are having none of it: when he observes that “there’s so much suffering. We have so much, and others have so little,” Doris replies, “I don’t see why you always have to be such a downer ѧ we’ve been very fortunate, but not so fortunate that we can afford to start giving away everything we’ve worked so hard for” (pp. 131– 132). Unsurprisingly, Brad’s efforts are to no avail, and he is removed from the program, “float[ing] weightlessly in the bland gray space” (p. 153).

slowly. Kill every mouse, every bird. Kill every fish. Anyone objects, kill them too” (p. 85). Enacting the official euphemism on which so many Saunders stories center, the town turns the mother’s simple, honest rage into a need “to enact some very specific rules regarding the physical process of extracting the dogs and/or cats from a home where the owner was being unreasonable” (p. 86) and “to issue some guidelines on how to handle individuals who, for whatever reason, felt it useful to undercut our efforts” (p. 87). Saunders’ most heavily ironic story since “The Barber’s Unhappiness,” “The Red Bow” is also his most harrowing consideration of both the ability of the group to justify its actions and the inability of either action or language to convey the reality of grief. “Alton’s” epigraph to the third section of the collection rails against “outcasts, chronic complainers, individuals incapable of thriving within a perfectly viable, truly generous system” (p. 107). There follows “93990,” in which a monkey, an animal subject in a “ten-day acute toxicity study” (p. 109), remains “normal, healthy, unaffected, and thriving” (p. 117) despite being injected with high doses of a substance that kills all the other monkeys in the study. The events are narrated in the language of a scientific report, providing the same “clash of tones and content” that Saunders sought in The Brief and Frightening Reign of Phil. Conveyed in the distant, dispassionate language of the scientific report, the suffering and deaths of the animal subjects are all the more horrific, and the ultimate “sacrifice” of the monkey who would not be killed all the more poignant.

While “Brad Carrigan, American” uses the false landscape of a television program to make its points about the selfishness and obliviousness of privileged Americans, the collection’s title story imagines a war among advertisements. In “In Persuasion Nation,” elements of commercials that are defeated by the product itself—an orange that is displaced by a “Slap-of-Wack bar” (p. 162), an old woman whose grandson neglects her in favor of “MacAttack Mac & Cheese”—rebel against the products that have caused them “years of ѧ humiliations in replay after replay” (p. 163). However, a fragment of the Slap-of-Wack wrapper survives, gains strength, and becomes a “green symbol” that attempts to quash any further rebellion in the land of ads: “Who are you to quarrel with the Power that granted you life? ѧ The Power which allows bananas to sing and freshly laundered clothes to wink?” (p. 170). One remaining figure—a polar bear who is condemned

The other two stories in the collection’s third section once again portray an unpleasant reality impinging upon a controlled virtual environment, only this time the environment is the media landscape itself. The title character of “Brad Carrigan, American” is a character in a TV show that is staving off cancellation by “getting dumber. Plus meaner. Now it’s basically all mean talk and jokes about poop and butts” (p. 122). The show’s main characters—Brad, Doris, Chief Wayne, and Buddy the dog—exist in a selfcontained, self-referential environment: they

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GEORGE SAUNDERS fice a body discovered at the site. The narrator reluctantly agrees to help: Rimney’s wife, a stroke victim, needs him to care for her. But when another coworker, the born-again Christian Giff, discovers what has happened, Rimney takes violent action that spins out of control and eventually engulfs both Giff and the narrator. In meeting their own fates, however, they are able to free the narrator’s parents from their entrapment at the site of their deaths. Both “Bohemians” and “CommComm” are, on the face of it, the most sincerely affirmative stories in In Persuasion Nation, both ending with the kind of qualified affirmation of several of Saunders’ earlier stories. The damaged children of “Bohemians” may have nothing better to do than sail homemade boats on the waters of a quarry, and the cargo of one of the boats may be dog excrement, but when the boat and its cargo “went over a little waterfall and disappeared into the quarry, we cheered” (p. 215). And while “CommComm” ends in more than one death, the narrator concludes, “I was wrong in life, limited, shrank everything down to my size, and yet, in the end, there was something light-craving within me, which sent me back, and saved me” (p. 228). How the reader regards these stories in light of the fictional epigraph that, in introducing them, suggests that the truth is what we believe it to be, no matter what the facts are, is a question that admits of no easy answer. Like its predecessors, In Persuasion Nation was widely and favorably reviewed. In a mark of Saunders’ increasing cross-genre appeal, “The Red Bow” had received the 2004 National Magazine Award for fiction, but it was also a finalist for the 2003 Horror Writers Association Bram Stoker Award for best short story. “Jon” was reprinted in Best Science Fiction of 2003, and “CommComm” won the 2006 World Fantasy Award for Short Fiction.

to represent the desirability of Cheetos by taking an ax in the head—attempts defiance, shouting that “the green symbol is a false GOD!” (p. 179). But at story’s end, the rebellious bear is dismissed as “insane” by a group of penguins who are more interested in celebrating the transformation of their eggs into “large colorful Skittles” (p. 179). Although almost gleeful in its surrealism, “In Persuasion Nation,” like the previous two stories, does not hold out much hope for anyone who attempts to stand against the system or speak truth to power. The indestructible monkey, the TV program character with a conscience, and the dissenting polar bear cannot defeat the inexorable logic of scientific research, the imperatives of television ratings, or the transcendent appeal of junk food. The final two stories in In Persuasion Nation consider the fourth epigraph from “Alton,” which declares, “we must not be slaves to what we have previously said, or claimed to be true, or know to be true ѧ What is truth, if not an ongoing faith in, and continuing hope for, that which one feels and knows in one’s heart to be right, all temporary and ephemeral contraindications notwithstanding?” (p. 181). In “Bohemians,” the only story in the collection lacking any element of the fantastic, a group of children who are all to one degree or other outcasts in their working-class neighborhood interact with two “widows who had lost their husbands in Eastern European pogroms” (p. 183). One, Mrs. Poltoi, is a very unpleasant individual; the other, Mrs. Hopanlitski, is much friendlier and seems less embittered by her experiences. When the narrator is left in the care of Mrs. Poltoi, he discovers that both women’s characters, as well as the stories of their lives, are not as they first appeared to be. The book’s final story, “CommComm,” is also one of its most ambitious. The story’s narrator is a public relations specialist whose department spends a great deal of time managing the media fallout from its firm’s various violations. He is also literally haunted: the ghosts of his murdered parents inhabit his home, unaware that they are dead. In an attempt to prevent a company construction site from being shut down, Rimney, one of the narrator’s coworkers, hides in their of-

THE BRAINDEAD MEGAPHONE: ESSAYS

In 2007 Saunders published a collection of sixteen essays that includes brief humorous sketches, literary appreciations, travel articles, and speculative social commentary; many of the

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GEORGE SAUNDERS the shortcomings of public debate in general and contemporary news media in particular.

pieces had appeared in the New Yorker. In the first category are stories such as “A Survey of the Literature,” a mock-academic summary of the literature of “the Patriotic Studies discipline” that draws a not-so-mocking distinction between “geo-nations” (e.g., Americans) and “fluidnations” (e.g., “Farmers Who Mumble Soundless Prayers While Working in Their Fields,” p. 67); “A Brief Study of the British,” an exaggerated account of the author’s experience while on a book tour in England; “Nostalgia,” an ironic commentary on increasing levels of sexuality and violence in popular media; “Ask the Optimist!” a parody of an advice column; “Proclamation,” in which an imaginary Iranian leader forswears the use of English; and “Woof: A Plea of Sorts,” in which an articulate dog addresses its master.

The reader encountering Saunders’ essays after reading even some of his fiction will recognize many of the same concerns of his fiction present in his nonfiction. Both the willfully oblivious imaginary narrator of “Ask the Optimist!” and the title essay’s more direct analysis of public discourse as “the composite of the hundreds of voices we hear each day that come to us from people we don’t know, via high-tech sources”—a composite voice whose “significant and ascendant component ѧ has become bottomdwelling, shrill, incurious, ranting, and agendadriven” (p. 11, italics in original)—express the same concern for degraded rhetoric that appears repeatedly in the voices of his theme-park bosses and corporate managers. (Indeed, the rigidly controlled, built-overnight city of Dubai, whose workers are there for the money and nothing else, comes across as a kind of ultimate theme park.) The nearly awestruck tone in which Saunders discusses the simplicity and elegance of Forbes’s sentences, Vonnegut’s diction, or Barthelme’s narrative structure does not surprise given Saunders’ own meticulous use of language in both his fiction and nonfiction. Themes of violence and betrayal, present in so many of his stories, thread throughout most of the essays with their frequent references, both direct and indirect, to the Iraq war and its ongoing consequences. As with the stories, many of the essays are strongly comic, from the Thurberesque fantasy of “Woof: A Plea of Sorts” to the over-the-top descriptions of “A Brief Study of the British” (“Hay is known as The Town of Books, because it has approximately fourteen thousand used bookshops. The cars are all shaped like books and all their food is book-shaped and the women wear a special perfume that smells like old musty books and all of the dogs are named Baudelaire” [p. 87]) to the more understated ironies of the travel articles (“Dubai is a city of people who come from elsewhere and are going back there soon” [p. 35]) and literary appreciations (“Huck Finn was written in three or four distinct bursts of creativity, between which Twain put the manuscript away and wrote plays no one has ever

In the literary appreciations, Saunders displays his conscious indebtedness to other writers. “Thank You, Esther Forbes” and “Mr. Vonnegut in Sumatra” acknowledge the profound impact of, respectively, Johnny Tremain on Saunders as a child who had not yet discovered the power of writing, and Slaughterhouse-Five on Saunders as a young man who was making his first serious efforts at becoming a writer. “The Perfect Gerbil: Reading Barthelme’s ‘The School’” discusses the Donald Barthelme work as a model of narrative structure in the short story, while “The United States of Huck: Introduction to Adventures of Huckleberry Finn,” written as an introduction for a Modern Library edition of Mark Twain’s novel, offers a detailed discussion of the book’s merits and flaws. Three travel articles, written on assignment for GQ magazine and occupying almost half the book, report on the phenomenon of the United Arab Emirates city of Dubai (“The New Mecca”), both sides of illegal immigration along the U.S.-Mexico border (“The Great Divider”), and a young boy in Nepal who claimed to have been in an unbroken meditative state for seven months (“Buddha Boy”). The book’s remaining essays consider the consequences of believing that individual personality traits are set at conception (“Thought Experiment”), proclaim the triumphs of “People Reluctant to Kill for an Abstraction” (“Manifesto: A Press Release from PRKA”), and, in the book’s title essay, analyzes

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GEORGE SAUNDERS heard of and invented machines no one has ever used” [p. 190]). Ultimately, both essays and stories offer a consistent vision: outrage at a world in general, and an America in particular, whose ignorance and violence are inadequately acknowledged in a language divorced from reality; deep sympathy for the individual human beings who suffer as a result; and an uneven but persistent hope that some degree of redemption and happiness is possible. Or, as Saunders writes at the end of “The New Mecca”:

“Why I Wrote Phil: An Exclusive Essay for Amazon.com” (http://www.amazon.com/exec/obidos/tg/feature/-/578 958). (Undated essay published online.) The Braindead Megaphone: Essays. New York: Riverhead Books, 2007.

Contributor to numerous anthologies, including three O. Henry Award collections, Science Fiction: The Best of 2003, Best American Short Stories 2005, Take My Advice, Best Non-Required Reading 2005, and Best American Travel Writing 2006. Contributor of stories to periodicals, including Conjunctions, Feed, Gentlemen’s Quarterly, Harper’s, McSweeney Quarterly Concern, Northwest Review, Spin, Story, Kenyon Review, Quarterly West, Slate, and the New Yorker. Contributor of political humor to the New Yorker, Slate, and New York Times Magazine. Author of screenplay adaptation of stories from CivilWarLand.

No place works any different than any other place, really, beyond mere details. The universal human laws—need, love for the beloved, fear, hunger, periodic exaltation, the kindness that rises up naturally in the absence of hunger/fear/pain—are constant, predictable, reliable, universal, and are merely ornamented with the details of local culture. What a powerful thing to know: that one’s own desires are mappable onto strangers; that what one finds in oneself will most certainly be found in The Other—perhaps muted, exaggerated, or distorted, yes, but there nonetheless, and thus a source of comfort.

BIOGRAPHICAL AND CRITICAL STUDIES “A Riff on Human Tendencies.” Boston Phoenix (http:// www.bostonphoenix.com/alt1/archive/books/reviews/0296/SAUNDERS.html), February 29–March 7, 1996. Bahr, David. “George Saunders: Oppressing the Comfortable.” Publisher’s Weekly, August 14, 2000, pp. 322–323. “George Saunders.” Contemporary Authors Online, Gale, 2008. Kelly, James Patrick, and John Kessel. “Slipstream: The Genre That Isn’t.” Introduction to Feeling Very Strange: The Slipstream Anthology. San Francisco: Tachyon, 2006. Pp. vii–xv. Lee, Richard E. “George W. Saunders.” In Dictionary of Literary Biography. Vol. 335: American Short-Story Writers Since World War II, Fifth Series. Edited by Richard E. Lee and Patrick Meanor. Detroit: Gale, 2007. Pp. 276– 283. Wilson, Natalie. “Flannery O’Connor’s Corporeal Fiction Rematerialized in the Works of Katherine Dunn, Elizabeth McCracken, and George Saunders.” Xchanges (http:// infohost.nmt.edu/˜xchanges/xchanges/1.2/wilson.html), March 2002.

(p. 55)

Selected Bibliography WORKS BY GEORGE SAUNDERS SHORT STORY COLLECTIONS CivilWarLand in Bad Decline: Stories and a Novella. New York: Random House, 1996. Pastoralia. New York: Riverhead, 2000. In Persuasion Nation. New York: Riverhead, 2006.

OTHER WORKS The Very Persistent Gappers of Frip. Illustrated by Lane Smith. New York: Random House/Villard, August 2000. (Children’s book.) “The United States of Huck: Introduction to Adventures of Huckleberry Finn.” In Adventures of Huckleberry Finn (Modern Library edition). Written by Mark Twain. New York: Random House, 2001. The Brief and Frightening Reign of Phil. Illustrated by Ben Gibson. New York: Riverhead, 2005. (Novella.)

INTERVIEWS “A Satirist in Full Stride.” Atlantic Unbound (http://www. theatlantic.com/unbound/interviews/ba2000-05-17.htm), May 17, 2000. Garrigan, Mark. “Beyond CivilWarLand: An Interview with George Saunders.” Hayden’s Ferry Review 27:99-103 (2000 fall–2001 winter).

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GEORGE SAUNDERS Love of Products, Why He Took ‘The Brady Bunch’ So Seriously and How Television Led America into the Iraq War.” New York Times Magazine, April 9, 2006, p. 17. Wylie, J. J. “An Interview with George Saunders.” Missouri Review 24(2): 53–67 (2001).

Hansen, Joseph. “An Interview with George Saunders.” Denver Quarterly 40 (2):43–49 (2005). Marcus, Ben. “Ben Marcus Talks with George Saunders.” In The Believer Book of Writers Talking to Writers. Edited by Vendela Vida. San Francisco, CA: Believer, 2005. Pp. 313-332. Miller, Laura. “Knuckle-Puller Makes Good.” Salon (http:// archive.salon.com/books/int/2000/04/26/saunders _interview/), April 26, 2000. Solomon, Deborah. “Questions for George Saunders: The Stuff of Fiction: The Short-Story Writer Talks about His

WEB SITE Saunders, George. George Saunders Land (http://www. georgesaundersland.com). (The author’s official site.)

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IRWIN SHAW (1913—1984)

Charles R. Baker ADMIRERS OF THE work of the American writer Irwin Shaw owe gratitude to an impoverished Russian Jew named Israel Shamforoff who in 1892 made the bold decision to travel to America alone, leaving his wife and children behind in the Ukrainian town of Nezhin. Shamforoff intended to start a better life for himself and his family. By 1894 he had established himself comfortably enough to send for his wife Bessie and their five children to join him in his home on Manhattan’s Lower East Side. The Shamforoffs’ eldest son, William, sought to Americanize himself as thoroughly and quickly as possible. In 1911, at the age of twenty-seven, William married Rose Tompkins, a Lithuanian Jew who had been born in America. William and Rose settled comfortably in a respectable neighborhood in South Bronx, William making his living in the millinery business and Rose raising their two sons: Irwin Gilbert, born on February 27, 1913, and David, born two years later. William and Rose and their large extended family showered Irwin and his brother with love and attention. Their home was filled with books and music, and Rose was a talented pianist who gave piano lessons and instilled in her sons a love of music.

Irwin began elementary school in the Bronx but was soon uprooted when William decided to move his family to the Brighton Beach neighborhood of Coney Island on the southernmost tip of Brooklyn. Its sandy beaches and seaside attractions were a fine place for Irwin and David to indulge in imaginative outdoor adventures, and the neighborhood had a good public library where Irwin greedily absorbed the works of master storytellers Mark Twain, Rudyard Kipling, and Alexandre Dumas, as well as the sports stories of Ralph Henry Barbour, the Dink Stover stories of Owen Johnson, the westerns of Zane Grey and Owen Wister, and the exciting tales of Tom Swift. Shaw recalls that library in an essay, “Brooklyn,” published in the June 1950 issue of Holiday magazine: The library, although installed in two ordinary stores, with the partition between knocked out, was one of the most agreeable places devoted to books that I have ever seen. Spotlessly clean, its lamps and tables neatly arranged, filled with a gentle whispering silence, broken occasionally by the tap of the librarian’s stamp, with a slight fragrance from the bowl of narcissus that always seemed to be on the front desk, it bespoke a deep and orderly love for books and people, especially children, who read books.

William pursued the American Dream for the economic and social betterment of his family. As he moved into new jobs and better neighborhoods it looked as if nothing could stop him. This question hung over William, however: How far were they, as Jewish immigrants, willing to go to meld into mainstream America? The answer was easy: They would go as far as necessary, and they began by casting off the old-world name Shamforoff and adopting Shaw as their surname. It would be a few years before young Irwin would follow suit; he defiantly kept the old family name until he too saw the advantages of abandoning it.

(p. 44)

Schoolwork was easy for the bookish Irwin, and he advanced through the grades swiftly, entering junior high school at the age of ten, doubling his academic workload, and completing two years’ work in one year. The downside of this burst of achievement was that he was too young and small to participate in what was becoming a passion for him: team sports. To dispel the disappointment, he became the sports reporter for the school paper, and he joined a team of boys who played pickup games of baseball with similar clubs. Ir-

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IRWIN SHAW price that there was not enough money to pay creditors. William Shaw was crushed, and he never recovered. His comfortable middle-class world was transformed into the demeaning life of the gently impoverished: dodging bill collectors, enduring long periods without the comfort of utilities, and loss of the pride he took in being the breadwinner. Now everyone went to work: Irwin and David held after-school and summer jobs; their mother made and sold ladies’ hats; and their father, who would be employed only fitfully for the rest of his life, took a job as a door-to-door salesman. The family shame, the destruction of his father’s spirit, the grubbing for money, left an indelible mark on the teenage boy, the man he was to become, and the literature that man was to produce. Irwin graduated from high school in 1929 at the age of fifteen. After years of defying his father by clinging to the old family name, Irwin Shamforoff applied to college using the name Irwin Shaw.

win thus discovered that not only could he write about sports, he could play them pretty well, too. The pattern held during high school: Irwin wrote the sports news for the school newspaper, and he teamed up with his club to play baseball and hockey when the streets would ice over in the winter; he also excelled at handball. He eventually made the high school football team, but, being younger and slighter (155 pounds) than his teammates, he spent most games on the bench. The high school literary club held some attraction for Irwin, and he recalls in the Holiday magazine piece: I remember the beginnings of the literary life, after school hours, in a writers’ club, where I first observed the artistic temperament in action. Each of us read his or her offering aloud, waiting for criticism, and the criticism was never long in coming, nor did it differ much from the criticism heard in older and more professional circles in later years. It was used with the same intention and much the same effect as the antipersonnel 105-mm. shell, and an expression of intense rejection was cultivated by us all as a sign of our extraordinary taste and as evidence of the grandeur of our standards.

My grandiose dreams of Princeton had vanished with the real-estate boom, and I was thankful to get into Brooklyn College, an institution supported by the city. ѧ The most important thing about Brooklyn College was that it was free. But my heart, nourished on dappled dreams of spreading, ancient campuses and young gods lounging on the steps of fraternity houses with silver beer mugs in their hands, declined sorrowfully at the sight of the office buildings and converted lofts in downtown Brooklyn in which the pure sweet voice of learning had to shout to make itself heard over the clangor of the trucks and trolley cars in the streets outside the windows.

(“Brooklyn,” p. 51)

About this time Irwin discovered what he wanted to become. In his book, Paris, Paris, he says: “It began in Brooklyn when I was about eleven. At that age I decided that I was going to be a writer or perish in the attempt” (p. 3). But an economic disaster put an end to Irwin’s participation in after-school activities and evaporated his dream of going to Princeton. Great money was being made in land speculation across America in the early 1920s, and William Shaw and his two brothers decided to get their share. In 1923 they pooled their savings and opened a storefront real estate brokerage on Coney Island. The brothers bought a square block of what was to become Marine Park and advertised for prospective buyers of the fine homes they intended to build there. It was thought impossible that land and houses would ever decline in value, but they did. By 1928 the real estate company was in serious trouble. The three brothers moved their families into three of the houses they had built on the site, but they were forced to sell the other properties at such a low

(“Brooklyn,” p. 51)

Downhearted, Shaw did not put forth the effort for academic success, and at the end of the first term he received a failing grade in calculus and was not allowed to enroll the following term; he was, however, permitted to attend evening classes. Still working to help support his family, Shaw, after being turned down by prospective employers for being too young, inexperienced, and uneducated, gratefully accepted a job as a shipping clerk in a furniture warehouse. He worked from eight in the morning until six

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IRWIN SHAW descriptiveness to Hemingway’s classic story from the 1920s “Up in Michigan,” but despite its literary merits, the school’s president deemed it scandalous and confiscated all copies of the magazine. This chastisement notwithstanding, Shaw had great success with another faculty member who saw his work. David Driscoll taught speech and produced plays at the school. Shaw worked up the nerve to show him A Brawl in a Tavern, a drama he had written based on the final moments in the life of the Elizabethan playwright Christopher Marlow. So impressed was Driscoll that he produced the play and several other of Shaw’s plays. An English teacher at Brooklyn also encouraged Shaw, introducing him to the works of Thomas Wolfe, taking him to his first symphony concert at Carnegie Hall, and treating him to football games at Princeton. But perhaps the best thing the two teachers did for Shaw was believe in his talent, assuring him that had what it took to become a fine writer.

thirty at night for sixteen dollars a week. “In the evenings I went to night classes at Brooklyn College, nodding sleepily over Chaucer or the formula for the curve of a parabola, ѧ and stumbling down the subway steps for the long ride home” (p. 54). Shaw was learning a hard lesson, but there was some enjoyment to be had during this time: the theater. The Civic Repertory Theatre, Eva Le Gallienne’s bold attempt to bring classic theater at affordable prices to Manhattan, stood close to one of Shaw’s workplaces; here the future playwright saw stage productions of the works of Henrik Ibsen, Anton Chekhov, Leo Tolstoy, and Maksim Gorky. And he began to read voraciously, everything he could get his hands on, from Homer and Virgil to F. Scott Fitzgerald and Ernest Hemingway. In the fall of 1930, Shaw took the entrance exam for readmission to Brooklyn College and was allowed to return. Having a taste of how hard life can be without formal education, Shaw threw himself into his class work, determined to earn a degree. His earlier disappointment with Brooklyn College had evaporated, and he thoroughly enjoyed the next four years. Much to his joy Shaw also made the school’s football team, playing many different offensive and defensive positions. His football experiences served Shaw well as a writer, and in later years he regaled companions with ever more exaggerated tales of his glory days on the gridiron.

RADIO DAYS

Shaw graduated from Brooklyn College with a degree in English on Valentine’s Day 1934, at a time the United States was just beginning to crawl out from under the economic misery that was the Great Depression. Entry-level positions in education and journalism were nonexistent, and Shaw found himself with nothing to show for all his academic efforts but empty pockets and the promise of a job selling radios. He turned to David Driscoll for advice. Driscoll loaned Shaw one hundred dollars and put in a good word for him with another Brooklyn College student, Himan Brown. Brown, a radio actor, writer, and producer was trying to get the sponsorship of Quaker Oats for a new program based on the Dick Tracy comic strip to be broadcast on NBC. He needed a writer, and Driscoll recommended Shaw for the job. Shaw threw himself into the work, creating five episodes every week for twenty to twenty-five dollars per episode. Later Brown gained sponsorship for another program based on a comic strip, The Gumps, and Shaw proved he was adept at comedy as well. The writ-

A popular figure at Brooklyn College, Shaw also wrote a weekly column for the school paper, was a member of Sigma Tau Sigma fraternity, and cut a handsome, self-confident figure that coeds found attractive. But in addition to the public Shaw of football, girls, and Saturday nights, there was a private Shaw as well: a Shaw who still lived with his parents and who, in his bedroom at night, wrote short stories and plays on a typewriter that his father had given him. Two of his stories appeared in the January 1932 issue of the school literary magazine, The Odyssey: “The Poet and the Queen,” a tame Arthurian romance about a poet who is beheaded because he will not write verses to his sovereign, and “Idyll,” a powerful, disturbing work in which a boy and girl lose their virginity. The story owes much of its bold

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IRWIN SHAW dead soldiers rising from mass graves to resume their lives, produced the powerful effect of Bury the Dead that is still felt decades after it was written.

ing came easily to Shaw, and he managed to dictate a week’s worth of scripts to a secretary within a few days; he spent the rest of his time working on short stories and plays. The money he earned made it possible for Shaw to establish himself as his family’s provider. He took over the finances, paying the bills, trying to satisfy creditors, and moving himself, his parents, and his brother into better housing. Though Shaw had proven he could make money as a writer, he remained anxious about it all his life. He had seen what the lack of it had done to his father, and for better or worse, money became his measure of success, his goal. The mid-1930s in America was a golden age for short story writers; dozens of magazines together published hundreds of stories each week for an entertainment hungry public. Shaw submitted several of his stories into this huge market without success. Then, seemingly overnight, a one-act play bestowed upon him all the positive critical attention a young writer could want. It was titled Bury the Dead.

The play begins with this ominous note: “TIME: The second year of the war that is to begin tomorrow night” (p. 11). A burial detail consisting of four soldiers and a sergeant, all unnamed, are in the process of digging a mass grave for the corpses of six soldiers: privates Driscoll, Morgan, Levy, Webster, Schelling, and Dean. Cold and tired of digging, the four soldiers are complaining; they want to bury the corpses fast and get away from the smell of rotting flesh. The sergeant tells them to dig a proper grave, but soon even he cannot stand it any longer and gives the okay to lay the bodies out neatly in the grave. One of the soldiers says, “File ’em away alphabetically, boys. We may want to refer to them, later” (p. 20). The sergeant stops the men from shoveling dirt into the hole: They must wait for the chaplain to arrive and say some prayers. With the chaplain is a rabbi who has heard that one of the dead is named Levy; the sergeant assures the rabbi that Levy was not Jewish, but the rabbi tells him, “With that name we won’t take any chances” (p. 23). Shaw’s humor intensifies the horror of the situation. The priest begins his service, but one of the soldiers stops him; he has heard a groan from the grave. Slowly one of the dead stands up. In another humorous interjection, the sergeant says, “Why the hell don’t they get these things straight? Pull him out!” (p. 25) But the soldiers are terrified. The chaplain drones on as one by one the dead men all stand up silently, their backs to the audience. The burial detail and their sergeant are frozen with horror; the priest and rabbi, hand in hand, leave quietly and unnoticed. The silence is broken when the sergeant asks, “What do you want?” (p. 27) The corpses explain that they do not want to be buried, forgotten, and left alone. The soldiers back away in fear, and the corpses tell them not to be afraid, that they just want the company of men talking. The situation works its way up the chain of command, and a doctor is called in to examine the corpses. He makes a detailed autopsy of each

BURY THE DEAD

Shaw was invited to spend the summer of 1936 with some of his former professors, their wives and fiancées, in beach houses on Cape Cod. The men in this literary circle, David Driscoll, Maurice Valency, Arnold Moss, and Shaw, worked for Himan Brown, and their mornings were spent churning out radio scripts; their afternoons were devoted to leisure and individual writing projects. The literary genre of choice for this group was plays; the New York theater was alive with dramatizations of the devastating effects of the Depression and the foreboding caused by threat of another European war. Clifford Odets’ 1935 play Waiting for Lefty had stunned audiences with its realistic portrayal of the anger and frustration of American workers, and Hans Chlumberg’s 1931 drama Miracle at Verdun sent theatergoers home with a strong lesson in the ultimate personal cost of war. Shaw borrowed from both to construct his play. Odets’ earthy, realistic dialogue and the rallying cry at the final curtain, combined with Chlumberg’s horrifying vision of

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IRWIN SHAW tion of being buried; he wants to continue the fight, not the war but the fight against the injustice of poverty and the absurdity of religion. He says, “I got another religion. I got a religion that wants to take heaven out of the clouds and plant it right here on the earth where most of us can get a slice of it” (p. 82). Other wrenching conversations transpire. Near the end, Martha, who is a bit of a shrew, nags her dead husband about how miserable life with him, an eighteenfifty a week mechanic, had been. He tells her that now he sees how bad it was, how the only pleasure he had in life was getting drunk with his buddies; but now he is standing up for himself and others like him. Martha shrieks, “All right, stand up! It’s about time you talked back. It’s about time all you poor miserable eighteen-fifty bastards stood up for themselves and their wives and the children they can’t have! Tell ’em all to stand up!” (p. 95).

and declares them all to be dead, but the problem remains defiantly standing: What do you do with corpses who refuse to be covered up? The generals demand that it be kept quiet until a solution is found, but word of the horror has spread. Some soldiers on the front lines get into an argument about it. One says, “They should be alive now. What are they—a parcel of kids? Kids shouldn’t be dead. ѧ That’s what they musta figured when the dirt started fallin’ in on ’em. What the hell are they doin’ dead?” (p. 43). The other insists that the corpses should be buried whether they want to be or not, but then the men’s argument and their lives are cut short by machine-gun fire. The scene shifts to a New York newspaper office where a reporter is pleading with his editor to print the story because it is “somethin’ new. Somethin’s happening. Somebody’s waking up” (p. 44), but the War Department orders the editor to not print the story. Nevertheless, word gets out. People far and wide argue about what to do. Generals visit the gravesite and beg the corpses to lie down. Shaw injects comic relief in an aside with two prostitutes, one of whom says, “I’d lay ’em, all right. They oughta call me in. ѧ Call the War Department, Mabel, tell ’em we’ll come to their rescue at the prevailing rates” (p. 51).

Panic sets in; nothing will make these dead soldiers accept their fate. Disembodied voices join those of the generals, the women, and other characters with rapid bursts of frantic monologues. A priest arrives and declares that the dead soldiers are possessed by the devil and calls for fervent prayer, but a voice says, “It will take more than prayers. What are prayers to a dead man? They’re standing! Mankind is standing up and climbing out of his grave” (p. 97). The priest proceeds to perform an exorcism; the dead mock him with horrible laughter. Third General, clearly deranged, calls for a machine gun: “I’ll show them! This is what they’ve needed!” (p. 103). A soldier refuses the general’s order to man the gun and is threatened with courtmartial and execution. Here Shaw puts in a last touch of humor as the soldier replies, “Be careful, General! I may take a notion to come up like these guys. That’s the smartest thing I’ve seen in this army” (p. 104). Martha screams again, “Tell ’em all to stand up!” (p. 106). The corpses begin to move, walking casually out of the mass grave. Third General opens fire with the machine gun, but as they pass by him, the firing stops; the general slumps lifeless over the weapon. The four soldiers of the burial detail follow the corpses off

The situation is getting out of control, and First General, at a loss as to how to proceed, asks the captain if he has any suggestions. The captain suggests, “Get their women” (p. 62). The call goes out for the wives, mothers, sisters, and sweethearts of the dead men to come do their patriotic duty. Six women answer the call, and First General tells them, “Wars can be fought and won only when the dead are buried and forgotten. How can we forget the dead who refuse to be buried? And we must forget them!” (p. 64). Each woman finds the dead soldier who was once part of her life, and in the dialogues that follow, Shaw gives his audience heartrending sketches of the lives these dead men lived, of their loves and desires and why they do not want to give them up. One of the women, Julia, is distraught beyond all reason and shoots herself, saying, “Now they can put my name on the casualty lists, too” (p. 79). Another of the women has come to see her brother, Driscoll, who tells her he has no inten-

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IRWIN SHAW Shaw returned to Hollywood to finish work on The Big Game and take part in a project to bring a popular detective radio series, The Saint, to the screen. Working for the studio meant easy money and the California good life. Perhaps Shaw, the bright young voice of social criticism, sought to ease his conscience by signing petitions and letters of protest against a variety of injustices and contributing money to various humanitarian causes, but the desire to write something of importance, not movie house entertainments, finally proved strong enough. Back home in New York by summer’s end that year, Shaw began work on three plays, Salute, Quiet City, and Siege. Siege, a two-act drama set in Madrid on New Year’s Day, 1937, presents a complete turnabout from the pacifism of Bury the Dead. The six main characters are Spanish loyalists fighting against Francisco Franco’s revolt; they are surrounded and starving in an abandoned fort, and in their predicament the six personality types debate what they should do: surrender or fight to the death. Shaw answers the question about whether anything is worth the loss of a human life with a resounding yes: Evil must be confronted and destroyed.

the stage, the last soldier flicking his cigarette butt at the dead general.

HOLLYWOOD SCRIPWRITER, MANHATTAN PLAYWRIGHT

The first two performances of Bury the Dead were on March 14 and 15, 1936, at the 46th Street Theatre in Manhattan. The enthusiastic response to the first showing generated such interest that a standing-room-only crowd thronged to the second. Glowing reviews in the New York press generated interest in mounting a Broadway production, but money was needed. Shaw received two lucrative offers—from RKO Studios in Hollywood and from Bennett Cerf at Random House. RKO, on the lookout for new writing talent, was impressed by Shaw’s radio scripts and his play; they offered him $360 a week (double that in six months if things went well) to come to California as a scriptwriter for a football movie called The Big Game. In addition, Cerf wanted to publish Bury the Dead in Random House’s contemporary plays series. Shaw left for California in early April 1936. Living with an aunt in Hollywood and continuing to pour out radio scripts, Shaw managed to amass enough money to send his play to Broadway. On April 18, Bury the Dead opened at the Ethel Barrymore Theatre. The audience response was overwhelming. Amid shouts and cheers and calls for the author when the curtain fell, Shaw, who had made the two-day flight from California to New York, was led to the stage to receive a standing ovation. Critics were equally appreciative of the relatively unknown twenty-three-yearold playwright. Drama critic Brooks Atkinson, in the April 20, 1936, issue of the New York Times, called the play “a shattering bit of theatre magic that burrows under the skin of argument into the raw flesh of sensation.” He goes on to say of Shaw, “Instead of arguing he abides by the homely, heart-breaking simplicities of youth shot down, of love torn out by the roots before it has flowered, of mothers robbed of what they have brought forth in labor. He shows that nothing war achieves is worth anything so glorious as a single human life” (p. 17).

The production was a failure and it closed after six nights, but Shaw reused the message in his 1938 play The Gentle People: A Brooklyn Fable. Instead of a war-torn battlefield or a besieged fort, this play is set in the heart of a Brooklyn waterfront neighborhood. Jonah Goodman and Philip Anagnos, in their fifties, are two simple souls who struggle through their daily lives with little to look forward to but their nightly fishing excursions in a bedraggled boat. They dream of buying a fine ship, the Leif Ericson, that will take them to the fishing paradise of Cuba, and over the years the two have scraped together $190. A nightmare intrudes on their dream in the form of Harold Goff, a small-time racketeer who extorts protection money from boat owners. Goff puts the squeeze on Jonah and Philip who eventually agree to his terms, five dollars a week, and sign a contract; they know that boats of those who rebuffed Goff have been burned. When Goff learns from Jonah’s daughter Stella, who sees Goff as a way to escape her

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IRWIN SHAW he holds to his belief that he will be nothing more than a “flash in the pan” once the reviews are printed in the early editions of the newspapers. The reviews are positive, but the playwright keeps digging through the newspapers until he finds what he is looking for: a justification for his morbid self-loathing. He finds it in the afternoon edition of the New York Sun, a slight criticism of the second act that sends him spiraling downward in despair. Important elements found in much of Shaw’s later work, and life, are found in “Flash in the Pan”: desire for success, crippling self-doubt, a good woman’s support (or lack thereof), and the reality-altering effects of alcohol. Shaw first appeared in the pages of the New Yorker on October 2, 1937, with a story of disgruntled male spectators at a baseball game between the New York Giants and the Brooklyn Dodgers. “No Jury Would Convict” earned Shaw seventy-five dollars and the favorable attention of one of the most prestigious magazines of the time. Also highly regarded and influential, the New Republic took notice of Shaw and published his story “Second Mortgage” in November 1937. “Second Mortgage” reveals something of the bewildering economic fragility endured by Shaw’s family when he was a boy.

dreary life and the attentions of her dull but decent suitor, Eli Lieber, that the two men have money to buy the Leif Ericson, he squeezes them harder, beating Jonah with a hose and demanding that money, too. The local police cannot and the municipal court judge will not help the men, so they take the law into their own hands. Taking Goff out in their boat, they murder him and dump his body overboard, keeping his fat wallet. The allegory is obvious: Goff represents European fascists who at the time of Shaw’s play were trampling over the rights and property of the gentle people who opposed them (Jonah and Philip), seducing the innocent and despairing to join the quest for a better world (Stella), and threatening with extermination those who dare to stand in their way (Eli). Shaw’s belief that good men and women will indeed rise up and triumph over evil is counterbalanced somewhat by the play’s subtitle: A Brooklyn Fable. The Gentle People opened on January 5, 1939, at the Belasco Theatre in New York and enjoyed a run of six months, making it Shaw’s most commercially successful play.

SHORT STORIES, MARRIAGE, AND A SON

Shaw continued to write plays for the next twenty-eight years, his last being A Choice of Wars in 1967, but none of them fulfilled the promise suggested by Bury the Dead or The Gentle People. However, as his Broadway lights began to dim, a spotlight was thrown upon his mastery of the short story. Although that light would shine brightest from the pages of the New Yorker magazine, it was the November 1936 issue of Stage Theatre Guild Quarterly that first presented a Shaw short story to the public: “Flash in the Pan.” Gleaning elements from his personal life, as he did for the rest of his career, Shaw tells the story of a young playwright who experiences debilitating self-doubt the night his second play is to open on Broadway. His first play was praised by critics and the public, but after downing four drinks before leaving for the theater the playwright has convinced himself that tonight’s presentation will be a flop. Despite his wife’s love and support, and the audience’s enjoyment,

The bell rang and I went to the window to see who it was. “Don’t answer it,” my father called. “It may be a summons.” “They can’t serve summonses on Sunday,” I said, parting the curtains cautiously. “Don’t answer it, anyway.” My father came into the living room. He didn’t know how to handle billcollectors. They bullied him and he made wild promises, very seriously, to pay, and never did and they’d come and hound him terribly. When he was home alone he never answered the doorbell. He never even went to see who it was. He just sat in the kitchen reading the paper while the bell clanged over his head. Even the postman couldn’t get the front door opened when my father was home alone. (Short Stories, 1978, p. 29)

The person trying to gain admittance to the Ross home is a Mrs. Shapiro, an elderly widow who

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IRWIN SHAW Hemingway proposed in Death in the Afternoon (1932): “If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of the ice-berg is due to only one-eighth of it being above water” (p. 192). The understated power of this story so impressed Cleanth Brooks and Robert Penn Warren, central figures in the New Criticism movement, that they included it in their seminal anthology Understanding Fiction (1943). The story is deceptively simple. A married couple, Michael and Frances, sleep late on a Sunday morning in New York City, enjoy a leisurely breakfast, and go out for a walk. The sky is clear and the air is warm for November, but an emotional storm is building, the first rumbles of which are heard when Frances warns Michael not to break his neck looking at a pretty girl. Michael laughs and tries to justify his action by saying the girl had an unusually attractive complexion. Frances is satisfied for the moment, but she wants Michael’s attention directed solely at her. She tells him she wants them to skip a party later that afternoon, “We’re always up to our neck in people, drinking their Scotch, or drinking our Scotch, we only see each other in bed.” She wants today to be different: “I want to go out with my husband all day long. I want him to talk only to me and listen only to me” (Short Stories, 1978, p. 63). Michael agrees; they will go to a football game, eat steaks and drink wine for lunch, and then take in a French movie. Then Michael’s eye wanders again, and Frances’ mood darkens. She tells him that it makes her feel sick when he looks at a pretty girl the way he used to look at her. Michael again tries to laugh it off and suggests they stop for a drink but Frances says no. Then Michael turns serious and seeks to justify the attention he pays to other women. Now Frances wants that drink. Emboldened by cognac, Michael pleads his case: He is nearing middle age, putting on a little weight, and he loves women.

in 1929 entrusted her life savings, eight thousand dollars, to the expertise of an officer of the Trust Company, Mr. Mayer. Mayer invested her money in second mortgages; the Ross family benefited from one of them. Mr. Ross is reluctant to speak to her and calls his wife, who is “always contemptuous” of her husband when he “proved unequal to the task of beating off the representatives of our poverty” (p. 30). Mrs. Shapiro explains that in the two years since she invested her money she has not received one penny in return; the Trust Company is in receivership; Mr. Mayer refuses to see her; so she is visiting the homes where she has second mortgages and asking the inhabitants to pay what they owe. In this time of the Great Depression, Shaw poignantly illustrates the injustice suffered by Mrs. Shapiro. While her money enables families to enjoy the comforts of nice houses, she lives in poverty, no heat, no food, clothes in tatters. She weeps as she tells her story, and begs the Rosses to give her something, anything. The mortgage is eight hundred dollars but she will accept less for now, a hundred or even fifty dollars. Mr. Ross, eager to end his discomfort, promises Mrs. Shapiro that if she will come back next Sunday he will have money for her. Her expressions of gratitude, falling on her knees, kissing Mr. Ross’s hand, are more than Mrs. Ross can endure. She tells Mrs. Shapiro that the family has no money now and will not have any the next Sunday or any of the Sundays to follow, nevertheless she “was back the next Sunday and two Sundays after that, ringing the bell, but we didn’t open the door” (p. 32). The New Yorker published three of Shaw’s stories in 1938: “Borough of Cemeteries,” “March, March on Down the Field,” and “Little Bernhardt,” and critics were beginning to recognize the twenty-five-year-old playwright as a promising writer of short stories. Then, in the February 4, 1939, issue, the New Yorker published the story that would establish Shaw as a master of the genre: “The Girls in Their Summer Dresses.” Whether or not Shaw was aware of Hemingway’s “theory of omission,” sometimes called the “iceberg principle,” “The Girls in Their Summer Dresses” is a splendid example of what

“‘I like to sit near the women in the theaters, the famous beauties who’ve taken six hours to get ready

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IRWIN SHAW ian was subsequently there to help care for Shaw during his lengthy final illness and was at his side when he died. The couple had one child, Adam, born on March 27, 1950. Three weeks after publishing “The Girls in Their Summer Dresses,” the New Yorker published “Sailor off the Bremen,” a brutal story of the family and friends of an American Communist Party member who seek revenge against a sadistic Nazi, Lueger. The party member, Ernest, had participated in a protest against fascism on a German passenger ship, the Bremen, which is docked in New York. The German crew beat the protesters and put an end to their demonstration, and Ernest was captured and savagely disfigured by some thugs led by Lueger. The story begins in Ernest’s home. Sally, Ernest’s wife; Charley, his brother; and Dr. Stryker, a dentist, are listening to the organizer of the protest, Preminger, tell the story of Ernest’s beating. Preminger is an officer on the Bremen and a member of the German Communist Party; he would like nothing better than to crush the Austrian Nazi Lueger himself but recognizes that Lueger is a rising star in the Nazi Party. A plan is conceived, and when the Bremen returns to New York two weeks later, Sally lures the sexually voracious Lueger into a trap and Charley beats the Nazi to a pulp. Shaw was never a member of the Communist Party, but he sympathized with some of its social philosophy. He was intolerant of violent aggression by the strong against the weak, and he deplored economic policies that produced poverty and hopelessness. And in story after story Shaw created characters, clearly based upon himself, who stood up and fought for what they believed in and encouraged others to do the same. All the social evils that Shaw despised were coalescing into a monstrous threat that was poised to overrun Eastern Europe and ultimately the rest of the world. Soon Shaw would leave off fighting the good fight on paper and go onto the battlefield himself.

and look it. And the young girls at the football games, with the red cheeks, and when the warm weather comes, the girls in their summer dresses ѧ’ He finished his drink. ‘That’s the story. You asked for it, remember. I can’t help but look at them. I can’t help but want them.’” (p. 67)

That he would admit to wanting another woman is too much for Frances; she begins to cry, telling Michael between sobs that she has always loved him, would do anything for him, and has never even looked at another man. She knows now that he will one day be unfaithful to her and asks only that he not talk to her about women anymore. They order more cognac and decide to immerse themselves in the party they earlier agreed to avoid, and Frances goes to telephone the hosts that they are coming. “Michael watched her walk, thinking, what a pretty girl, what nice legs” (p. 68). If Shaw had written it something like “Michael watched her walk, thinking, my wife is beautiful and desirable,” it would have been a very different story. The reader would have cause to hope the couple might reconcile. But what Shaw has given us is a man who cannot recognize women as people, only as objects of his desire. Quarreling is a couple’s only meaningful means of conversation, when spiritual and emotional hollowness win out over determined attempts to rise above the emptiness of their lives. A bit ironically perhaps, soon after the publication of this disturbing portrait of a marriage, Shaw decided to get married. Marian Edwards was nineteen years old when Shaw met her in Hollywood in 1936. Her parents were both in the movie business, and she was an aspiring dancer and actress who performed in short films for MGM. She had auditioned for a part in Bury the Dead, but Shaw had found her unsuitable. Nevertheless they were attracted to each other and began a cross-country romance that resulted in marriage on October 13, 1939, in Beverly Hills, California. It was a turbulent marriage, lasting thirty years, filled with mutual displays of infidelity, separations, reconciliations, and finally a bitterly fought divorce that was granted in 1970. Despite the acrimony the Shaws remarried on May 3, 1982, in Switzerland. Mar-

WORLD WAR II AND THE YOUNG LIONS

Shaw reported as ordered to his local draft board in July 1942 and entered the army as a buck

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IRWIN SHAW private. Because of his recognized literary talent, Shaw was assigned to the Signal Corps picture unit in New Jersey where, in addition to the regular drill required of every private, he produced scripts for army documentaries. It was unfulfilling work and far from the action he sought. Relief came in April 1943 when Shaw was assigned to a film crew that was sent to Cairo to record the final days of the North Africa campaign. From there Shaw traveled to Palestine, England, France, and Germany. A mix-up in orders prevented Shaw from taking part in D-Day, but he was among the first American soldiers to enter Paris after the Germans had mostly evacuated in August 1944. While in Paris, Shaw had a brief affair with the American journalist Mary Welsh. The affair ended when Shaw introduced her to fellow writer and Paris liberator, Ernest Hemingway. Welsh went on to become the fourth and final Mrs. Hemingway, while Shaw, instead of wallowing in the loss of the vibrant woman, entered into an even more enticing and lifelong love affair—with the city of Paris itself.

Four days before The Assassin opened in New York City, I was discharged from the Army. After reading the reviews the morning after the opening, I was not certain that I hadn’t made a mistake in allowing the Adjutant-General to relieve me from duty. The critics, it developed, had done me more harm than the German Army. It is true that the Germans had tried to kill me, but they, at least, had missed. The critics had not missed. As tribute to their marksmanship, The Assassin closed ten days later. (p. vii)

For nearly thirty more pages, Shaw performs a biopsy on the current condition of the theater, exposing the cancer that is, in his opinion, killing it and suggesting possible cures. However, except for a few more forgettable attempts at playwriting and stagecraft, Shaw was through with the theater; he turned his talent to a genre where it had been as yet untested: the novel. World War II was the seminal experience for writers of Shaw’s generation, and they filled bookstores with their fictional accounts: Norman Mailer’s The Naked and the Dead (1948), Ernest Hemingway’s Across the River and into the Trees (1950), James Jones’s From Here to Eternity (1951). Shaw’s entry was the unashamedly autobiographical The Young Lions (1948), in which two of the three protagonists are clearly based on Shaw: Noah Ackerman, a young, decent, Brooklyn-born Jew whose family emigrated from Russia, and Michael Whitacre, a successful playwright who drowns his self-loathing in alcohol and adultery. Both men are drawn into the horrific testing ground that was the war in Europe, and Shaw bravely presents how these two very different aspects of himself face the challenges. Michael Shnayerson in his biography of Shaw says about the Whitacre character, “Many of the protagonists in earlier stories had suggested their creator, but never had Shaw etched a self-portrait with such unsparing scorn. It brought his darkest side to light, a show of real artistic courage” (pp. 166–167). But perhaps the most interesting and original character in the novel is Christian Diestl, a sensitive, intellectual Austrian communist who descends into monstrous barbarism as he accepts the precepts of Nazism. Instead of presenting Diestl as the usual one-dimensional, soulless, goose-stepping goon

Throughout his service in World War II, Shaw tirelessly continued his own writing. One story, “Walking Wounded,” published by the New Yorker on May 13, 1944, was given the prestigious O. Henry Memorial Award First Prize for that year. While in Jerusalem, Shaw began to write a play based on an event in North Africa. The Assassin: A Play in Three Acts tells the story of the murder of Admiral Jean-François Darlan, a French official of Hitler’s Vichy government, who agreed to work for the allies after his capture in Algiers. The play was well received by the public and critics when it opened in London in March 1945, and Shaw was anxious to get back to New York to begin work on an American production. The play opened on October 17, 1945, at the National Theatre in New York and was savaged by the press. Shaw was so stunned and angered by the criticism that he uncharacteristically turned upon the critics himself. In a stinging rebuke printed as a preface to the 1946 book version of the play, Shaw attacked his critics and denounced the state of the Broadway theater:

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IRWIN SHAW American communists came to an abrupt halt when the country went to war against North Korea. The hunt was on for communist sympathizers and agents among government workers and the entertainment industry. A document drawn up by FBI agents named Irwin Shaw as a suspect. It was reported that Bury the Dead and The Gentle People were being staged by European communists for the purpose of recruitment. Shaw surprised his liberal friends and fellow writers by announcing in a letter to the New York Times on August 20, 1950, that he would not allow any such use of his plays at home or abroad. His next novel would surprise them even further. The Troubled Air (1951) tells the story of Clement Archer, director of a popular radio program called University Town. The show’s producer informs Archer that five of the actors have been named as communists and that the show’s sponsor demands they be fired. Archer pleads for and is given two weeks to ferret out the truth; it proves to be a two-week journey of discovery for the naive young director. He finds that it is not the government who is hounding his actors but a powerful private citizen who holds the purse strings, the president of the advertising agency, Lloyd Hutt. Archer is appalled that a man like Hutt could have such control over people’s lives, running, essentially, an invisible government fueled by fear, innuendo, and lies. He denounces Hutt, who promises to destroy him. Archer is equally appalled to discover that his good friend, the star of the radio show, Vic Herres, despite heartfelt denials, is a fervent communist who longs for nothing more than the overthrow of the United States. In the end Archer is professionally and financially ruined; all that is left to him is his sincere belief that good Americans will rise up to defeat the equally threatening ideologies of the extreme right and the extreme left. Like The Young Lions, The Troubled Air was a commercial success, but again the New York literary circle was disappointed in it and angry at its author. Shaw’s equal airing of both sides of an issue without taking a stand confounded liberal critics; they found the novel morally ambiguous. Critics on the right however, praised Shaw for

that was standard for depicting Nazi soldiers in American culture, Shaw gives his readers something more terrifying: an athletic ski instructor with feelings and a conscience, who has knowledge of good and evil, of right and wrong, and who chooses evil as the right thing to do. The geographic scope of The Young Lions is enormous. Whereas Mailer and Jones confine their settings to the South Pacific and Hawaii, and Hemingway gives us the postwar reminiscences of an American general in Venice, Shaw takes his readers from a seedy motel in Santa Monica, California, to a black-tie party in Manhattan to the bombed-out streets of London, a massacre of British troops in North Africa, the D-Day invasion of Normandy, the liberation of Paris, and finally to the remains of a concentration camp in Germany. Shaw summarized his massive novel best perhaps when he told the interviewers for Paris Review, “Don’t be too disappointed if I say that what I was trying to do in The Young Lions was to show the world at a certain point in its history, its good and evil, and as many people as I could crowd into the book struggling through that world, trying to find some reason for trying to stay alive in it” (Paris Review, 1953, p. 35). A critical and commercial success, The Young Lions did have some detractors. The influential literary elite felt betrayed by Shaw’s middle-ofthe-road approach to war. Where, critics for the Nation and New Republic wondered, was that loud and uncompromising voice that denounced war in Bury the Dead; where was the champion of the common man who wrote The Gentle People? Nevertheless The Young Lions reached the New York Times bestseller list and stayed there with Mailer’s novel from October through December 1948. Although he continued to write short stories, Shaw, like many other masters of that form, realized that novels were the quickest way to achieving the lifestyle of the rich and famous. For his next novel Shaw chose a subject that was working its way insidiously into every aspect of American life and threatening its freedom: anticommunist hysteria. The grudging tolerance that the United States government had shown

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IRWIN SHAW Then came an attack that forced Shaw to reconsider, recover, and defend his literary reputation. In 1951 the young critic John W. Aldridge published After the Lost Generation: A Critical Study of the Writers of Two Wars. Such modern writers as Norman Mailer, Truman Capote, and Paul Bowles come up short when compared to writers of the Lost Generation: Hemingway, Fitzgerald and John Dos Passos. But Aldridge singles out Shaw for scathing criticism. Shaw, for whatever his early talents might have been, is now nothing more than a product of the New Yorker magazine, whose influence, according to Aldridge, can be deadly:

exposing the menace of communism and showing what becomes of those who espouse it. It would be surprising if any of this bothered Shaw at the time; he had more immediate troubles to face. The House Un-American Activities hearings were exposing communists in the film industry, and Shaw, who had already had the finger pointed at him, was concerned that his lucrative Hollywood deals might be in jeopardy. Shaw, who never learned to manage his money, owed a considerable amount in back taxes, and something else was troubling him: the soulkilling reality of anti-Semitism in the United States. A vacation from all this was planned, and in June of 1951, Shaw, his wife, and their oneyear-old son boarded the aptly name French passenger ship Liberté for what was to be a summer trek through France, and for the next twenty-five years Shaw never came back to the United States except for quick business trips, living in Paris and the Swiss ski village of Klosters.

Irwin Shaw’s The Young Lions might conceivably have appeared in a special issue of the New Yorker given over entirely to war fiction. Like John Hersey’s Hiroshima, which it in no other way resembles, it has that special look of having been tailored to New Yorker specifications. Even the experience with which it deals appears to have been carefully arranged to happen by some New Yorker stooge who, one imagines, stood obligingly by ticking off climaxes with a stop watch while Shaw noted them down in his neat, bloodless prose. Everything about the book has an air of prefabrication and contrivance, of editorial rooms, expensive secretaries, and lunchtime martinis; one finds it difficult to believe that Shaw went any farther for his material than the Algonquin and the Times morgue.

TWENTY-FIVE YEARS IN PARIS

A generous tax loophole was available to Americans living abroad in those days, and the strength of the dollar against the French franc made it possible to live very well. Paris was a mecca for filmmakers who had another loophole that allowed them to avoid paying income taxes altogether. Shaw’s first agent, the legendary Leland Hayward, and later his second agent, the equally legendary Irving “Swifty” Lazar, made him a wealthy man by keeping him supplied with scripts that needed his touch. Putting aside literary work to earn Hollywood money would have been easy for Shaw; his publisher, Random House, was offering advances of only fifteen thousand dollars for his novels, whereas Samuel Goldwyn of MGM could offer many times that amount. The Shaws often hosted such Hollywood stars as Gregory Peck, Julie Andrews, Gene Kelly, Kirk Douglas, and movie moguls John Huston, William Wyler, and Darryl Zanuck. This was not the Paris of Hemingway; Shaw did not live in small rooms above a sawmill and feed his family pigeons he had caught. Shaw made the most of his celebrity status, and it would be five years before he published another novel.

(p. 147)

He goes on: The dramatic value of many of the most important scenes is repeatedly crippled by that curious pulled punch which is the approved New Yorker method of dealing with emotion that might, if left alone, become strongly and genuinely serious. Where The Naked and the Dead at least had the strength of its emotional, if not its philosophical conviction and managed to lift itself above failure by means of that strength, The Young Lions is ѧ blandly and calculatedly subdued. (p. 148)

It is uncertain what impact this influential book had on Shaw, who was, after all, enjoying a lifestyle unknown to most writers, but the interview with him that was printed a few months later in the winter 1953 Paris Review unveiled a portrait of the artist in decline. Shaw is pugnacious,

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IRWIN SHAW martini glass firmly in hand. He is bitter, melancholy, defensive of his work, and dismissive of compliments. But perhaps most telling is his attitude toward his current writing abilities. When asked if he truly enjoys writing, he says, “I used to enjoy it more. It’s tougher now, as one’s power dwindles.” The interviewers pressure him about the seeming pessimism of his reply, and he says, “Failure is inevitable for the writer. ѧ I don’t care ѧ how great he is. ѧ Sooner or later he’s going to flop” (p. 38). Despite his broodiness, his ever-increasing intake of alcohol, his nonstop sexual affairs, and his abundant enjoyment of celebrity status, Shaw did manage, between lucrative Hollywood assignments, to keep writing short stories and novels, but the difficulty he had producing them is clear. Mixed Company: Collected Short Stories (1950) is a compendium of stories published in three earlier collections with the addition of five new stories. Lucy Crown (1956) was Shaw’s second and only other novel to appear in the 1950s. It tells the story of the effect that a woman’s infidelity has on her family. The critics found it to be slick and contrived, with no more literary merit than a television soap opera. Tip on a Dead Jockey and Other Stories (1957), Shaw’s first collection of stories concerned with the triumphs and failures of Americans abroad, was attacked as superficial, contrived, and glib. Herbert Mitgang wrote in the July 30, 1957, New York Times,: “The newest short stories add little to his reputation as a good storyteller. Half are worth reading mainly as examples of a popular stylist’s facility. Reading Shaw, one often gets the feeling that he is too good for his own good, that the craftsman is getting the upper hand on the creator” (p. 21). Leslie Fiedler, writing for Commentary, a year earlier had charged Shaw with producing “half-art” (p. 72), and in Prairie Schooner for summer 1957, he classified Shaw as “middle middle-brow” (p. 105). The 1960s were no kinder to Shaw. His novel Two Weeks in Another Town (1960) was criticized as a self-pitying diatribe. In Commonweal for March 18, 1960, Richard Gilman wrote:

false (or Hollywood-engendered) vitality; melancholia; concern with popularity; arrest at the second or possibly third most superficial level of the Zeitgeist; an ear for talk but not for speech; a vision of love that delineates its ape. Nothing can be done for him; there is no cure for pseudo-creativeness. (p. 680)

Despite such increasing slings and arrows, Shaw managed to ride the crest of a wave of commercial popularity like few authors before or since. By the mid-1960s Shaw had grown so sensitive to criticism, and he so wanted to reclaim his reputation as a writer of literature, that he instructed his agent to find him a new publishing house. Although Random House had set him in the company of James Joyce, William Faulkner, Robert Penn Warren, Truman Capote, and other giants, Shaw felt slighted and taken for granted. He wanted a new house that would recover the critical standing he had enjoyed, and he wanted more money. Lazar brokered a deal with an emerging company, Delacorte, and Shaw signed on with them in the summer of 1964. What Delacorte lacked in reputation it made up in cash. Shaw celebrated the deal by buying a fifty-foot yacht. Delacorte would make him richer than he had dreamed of becoming. Over and over again, Shaw would be swayed by money. Delacorte wanted more and more from its biggest name, and Shaw obliged by churning out a new novel nearly every other year. The first with the Delacorte colophon, Voices of a Summer Day (1965), disappointed critics and was Shaw’s first novel to disappoint the public as well. Unlike anything Shaw had written before, dreamy, lyrical, and nostalgic, it blends the execution of Sacco and Vanzetti, the assassination of John F. Kennedy, World War I, and Shaw’s recurring fascination with adultery and its effects on families, with the purifying decency of baseball. Afterward, though, Shaw rebounded and achieved his greatest commercial success with his next novel, Rich Man, Poor Man (1970), and its sequel, Beggarman, Thief (1977). The two books chronicle three generations of the Jordache family as they rise from immigrant poverty, pursue

This sad, sterile, absolutely immobile talent has a medical dossier that reads like this: immaturity;

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IRWIN SHAW upper-class respectability, accumulate wealth, and suffer from what one character, Gretchen Jordache, calls “the curse of sex.” Rich Man, Poor Man stayed on the New York Times bestseller list for thirty-three weeks. ABC television recognized the mass appeal and created twelve one-hour episodes based on the novel, the first of which aired on February 1, 1976, and was an overwhelming success with the viewing public, winning four Emmys and four Golden Globes and creating what would become a television staple, the miniseries. Overnight Shaw had become a household name. Banking on that success, ABC produced a sequel, Rich Man, Poor Man, Book 2, which ran from September 21, 1976, through March 8, 1977. Shaw was consulted, but his outline for the sequel was rejected. Shaw was furious and wrote his own sequel, Beggarman, Thief, angrily stating in its preface that his new novel bore no resemblance to the television sequel, but it was an unpopular book, and Shaw would never again achieve the commercial success of Rich Man, Poor Man. Of his remaining novels, none rise above the level of entertainment. The literary world was exasperated with him; James Salter sums up the pervasive feelings in this anecdote from his book of recollections, Burning the Days (1997): “In a fury he once hit a much smaller man who was wearing glasses and had been tormenting him with a persistent insult, ‘You’re a good writer, why are you such a whore?’” (p. 200).

another car. His ex-wife, Marian, was made aware of his downward spiral by their son, Adam, and the couple reconciled; Marian relished the role of caretaker, and Shaw was too needy to refuse her help; he was so grateful that he remarried her, entitling her to the wealth he had accumulated since their divorce twelve years earlier. Marian could do little at this stage to save him; there were hospital stays, misdiagnoses, unsuccessful operations. Salter recounts visiting Shaw after one such ordeal: “He was never the same, even after he recovered. He had lost fifty pounds. There had been pneumonia, kidney failure, and other unsuspected problems” (Burning the Days, p. 210). Even though he knew it would kill him, Shaw continued to drink heavily, but still managed to shuttle back and forth between his home in Southampton and his beloved Klosters in Switzerland. There on May 10, 1984, Shaw collapsed and was taken to a hospital in the town of Davos. Six days later, with Marian and Adam at his side, he died at the age of seventy-one. The cause of death was reported as a heart attack. Shaw stipulated in his will that there be no funeral service, but a memorial service was held in Klosters on May 17. He had also requested that his body be cremated and his ashes be scattered on the mountains nearby. Marian and Adam fulfilled that wish but retained half his ashes in an urn they brought to America. Marian went on to become a theatrical producer and died in 1996. Adam, after failing to follow in his father’s literary footsteps, became a commercial airline pilot. The literary legacy did not die out however; on November 2, 2007, the Park La Brea Theatre in Los Angeles premiered Adam’s updated adaptation of Bury the Dead. For most people, the name Irwin Shaw brings to mind the Rich Man, Poor Man television miniseries—a fifty-year prolific career reduced to a television show. What Shaw might think of that is impossible to tell. He did however, have this to say in his 1978 preface to Short Stories: Five Decades,

DEATH IN SWITZERLAND

Shaw returned to the United States in 1976, taking a home on Long Island near his friends and fellow writers, Willie Morris, James Jones, and James Salter, and their favorite watering hole, a piano bar called Bobby Van’s. Despite his professional success, his personal life was in shambles. He had lost the framework of family life that had somewhat curbed his excesses, and he began to drink more heavily than ever. His health deteriorated, and he even landed in the East Hampton Village jail when, after a long night at Bobby Van’s, he decided to drive himself home and hit

The experience of going through the stories was ѧ something like what is supposed to happen when a man is drowning, as scene after scene of his life passes before his eyes. If the drowning man is

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IRWIN SHAW Mixed Company: Collected Short Stories. New York: Random House, 1950; London: Cape, 1952. Tip on a Dead Jockey and Other Stories. New York: Random House, 1957; London: Cape, 1957. Selected Short Stories. New York: Modern Library, 1961. Love on a Dark Street and Other Stories. New York: Delacorte, 1965; London: Cape, 1965. Short Stories. New York: Random House, 1966. Retreat and Other Stories. London: New English Library, 1970. Whispers in Bedlam: Three Novellas. London: Weidenfeld & Nicolson, 1972. God Was Here But He Left Early. New York: Arbor House, 1973; London: Pan, 1977. Short Stories: Five Decades. New York: Delacorte, 1978; London: Cape, 1978. Reprint, Chicago: University of Chicago Press, 2000.

devout, it can be imagined that in those final moments he examines the scenes to determine the balance between his sins and his virtues with a view toward eternal salvation. Since I am not particularly devout, my chances for salvation lie in a place sometime in the future on a library shelf. These stories were selected, often with doubts and misgivings, with the hope that a spot on that distant shelf is waiting for them. (p. viii)

Selected Bibliography WORKS OF IRWIN SHAW

PLAYS Bury the Dead. New York: Random House, 1936. Siege. Produced in New York, 1937. The Gentle People: A Brooklyn Fable. New York: Random House, 1939. Quiet City. Produced in New York, 1939. Retreat to Pleasure. Produced in New York, 1940. Sons and Soldiers. New York: Random House, 1944. The Assassin: A Play in Three Acts. New York: Random House, 1946. The Survivors. With Peter Viertel. New York: Dramatists Play Service, 1948. Children from Their Games: A Play in Two Acts. New York: Samuel French, 1962.

NOVELS The Young Lions. New York: Random House, 1948; London: Cape, 1949. The Troubled Air. New York: Random House, 1951; London: Cape, 1951. Lucy Crown. New York: Random House, 1956; London: Cape, 1956. Two Weeks in Another Town. New York: Random House, 1960; London: Cape, 1960. Voices of a Summer Day. New York: Delacorte, 1965; London: Weidenfeld & Nicolson, 1965. Rich Man, Poor Man. New York: Delacorte, 1970; London: Weidenfeld & Nicolson, 1970. Evening in Byzantium. New York: Delacorte, 1973; London: Weidenfeld & Nicolson, 1973. Nightwork. New York: Delacorte, 1975; London: Weidenfeld & Nicolson, 1975. Beggarman, Thief. New York: Delacorte, 1977; London: Weidenfeld & Nicolson, 1977. The Top of the Hill. New York: Delacorte, 1979; London: Weidenfeld & Nicolson, 1979. Bread Upon the Waters. New York: Delacorte, 1981; London: Weidenfeld & Nicolson, 1981. Acceptable Losses. New York: Arbor House, 1982; London: New English Library, 1982.

SCREENPLAYS The Big Game. Directed by Edward Killy and George Nichols Jr. RKO, 1936. Commandos Strike at Dawn. Directed by John Farrow. Columbia, 1942. The Hard Way. With Daniel Fuchs and Jerry Wald. Directed by Vincent Sherman. Warner Brothers, 1942. Talk of the Town. With Sidney Buchman. Directed by George Stevens. RKO, 1942. Take One False Step. With Chester Erskine and David Shaw. Directed by Chester Erskine. Universal, 1949. I Want You. Directed by Mark Robson. RKO, 1951. Act of Love. Directed by Anatole Litvak. United Artists, 1953. Fire Down Below. Directed by Robert Parrish. Columbia, 1957. Desire Under the Elms. Directed by Delbert Mann. Paramount, 1958. This Angry Age. With Diego Fabbri. Directed by René Clément. Columbia, 1958.

SHORT STORY COLLECTIONS Sailor off the Bremen and Other Stories. New York: Random House, 1939; London: Cape, 1940. Welcome to the City and Other Stories. New York: Random House, 1942. Act of Faith and Other Stories. New York: Random House, 1946.

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IRWIN SHAW ———. Irwin Shaw: A Study of the Short Fiction. Boston: Twayne, 1991. Gill, Brenden. Here at the New Yorker. New York: Random House, 1975. Salter, James. Burning the Days. New York: Random House, 1997. Shnayerson, Michael. Irwin Shaw: A Biography. New York: Putnam, 1989.

The Big Gamble. Directed by Richard Fleischer and Elmo Williams. Twentieth Century-Fox, 1961. In the French Style. Directed by Robert Parrish. Columbia, 1963. Survival 1967. Directed by Jules Dassin. United Film, 1968.

NONFICTION “Brooklyn.” Holiday 7, no. 6:34–59 (June 1950). Report on Israel. With Robert Capa. New York: Simon and Schuster, 1950. In the Company of Dolphins. New York: Bernard Geis, 1964. Paris! Paris! Illustrated by Ronald Searle. New York: Harcourt Brace Jovanovich, 1977; London: Weidenfeld & Nicolson, 1977.

Wetzsteon, Ross. “Irwin Shaw: The Conflict Between Big Bucks and Good Books.” Saturday Review, August 1981, pp. 12–17.

REVIEWS Atkinson, Brooks. “Irwin Shaw’s War Drama, ‘Bury the Dead,’ Settles Down to a Broadway Engagement.” New York Times, April 20, 1936, p. 17. Gilman, Richard. “Sad and Sterile.” Commonweal, March 18, 1960, pp. 680–681. (Review of Two Weeks in Another Town.) Mitgang, Herbert. Review of Tip on a Dead Jockey and Other Stories. Books of the Times. New York Times, July 30, 1957, p. 21. Trilling, Lionel. “Some Are Gentle, Some Are Not.” Saturday Review of Literature, June 9, 1951, pp. 8–9. (Review of The Troubled Air.)

PAPERS

Irwin Shaw’s papers are housed in the Pierpont Morgan Library in New York, Boston University, and Brooklyn College. CRITICAL AND BIOGRAPHICAL STUDIES Aldridge, John W. After the Lost Generation: A Critical Study of the Writers of Two Wars. New York: McGrawHill, 1951. Clurman, Harold. The Fervent Years: The Story of Group Theatre and the Thirties. New York: Knopf, 1945. Reprint, New York: Da Capo, 1983. Fiedler, Leslie A. “Irwin Shaw: Adultery, the Last Politics.” Commentary 22, no. 1:71–74 (July 1956). ———. “Saul Bellow,” Prairie Schooner 31:103–110 (summer 1957). Giles, James R. Irwin Shaw. Boston: Twayne, 1983.

INTERVIEWS Phillips, John, and Plimpton, George. “The Art of Fiction IV.” Paris Review 1, no. 4:27–49 (winter 1953). Matthiessen, Lucas, Morris, Willie, and Marquand, John. “The Art of Fiction IV, Continued.” Paris Review 75:248– 262 (spring 1979).

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HARVEY SWADOS (1920—1972)

Robert Niemi MID-TWENTIETH-CENTURY JEWISH AMERICAN WRITERS— Saul Bellow, Howard Fast, Norman Mailer, Barnard Malamud, Arthur Miller, and Philip Roth, among them—comprise an illustrious cohort. Seldom mentioned, as part of that august company, is the radical journalist and fiction writer Harvey Swados. There are several reasons for Swados’ obscurity. Most of his famous peers reveled in extravagant stylistic experimentation, irony, and surrealistic wit while tackling highly subjective, existential themes. Many of them also had a knack for self-advertisement and celebrity. Of a different temperament, Harvey Swados largely eschewed linguistic fireworks or wild posturing in his work (or his life). He mostly preferred a straightforward, unadorned realism as his formal métier; his tendency to concentrate on the travails of ordinary life, especially blue-collar life, as his fictive territory further limited his appeal to the literary and media establishments. Moreover, Swados was deeply and explicitly political at a time in American letters when being political was considered passé if not dangerous. In a word, Swados refused to follow fashion, and fashion acted in kind. Nonetheless, in a career that lasted only twenty-five years, Harvey Swados produced an impressive body of work that continues to command attention for its literary merit, compassion, sociological acuity, and historical significance—especially in regard to issues of work, leisure, social class, and the American Dream.

dos (1888–1953), a classically trained singer, pianist, and painter from a family of New York City physicians. Swados’ only sibling, Felice, born in 1916, bears mention as a major intellectual and moral influence on her younger brother. Brilliant, competitive, and a fiercely dedicated member of the Young Communist League, Felice took a master’s degree from Smith College in 1936. That same year she married Richard Hofstadter (1916–1970), whom she had met at the University of Buffalo in 1934 and with whom she had a son, Dan Hofstadter, who went on to become a noted art critic and writer of nonfiction. (Richard Hofstadter became a distinguished historian at Columbia University and a Pulitzer Prize–winning author.) Felice published one novel—House of Fury, in 1941—and was working on another when she died of cancer at the age of twenty-nine in July 1945. In an (unpublished) autobiographical blurb, Swados called her his “dearest and most loyal friend” (Papers, Special Collections and University Archives, W. E. B. Du Bois Library, University of Massachusetts at Amherst.). Swados would recall Buffalo as “a gloomy, wretched, and dismal place,” but claimed life inside his upper-middle-class home was a happy one “filled with games and music” (Papers). A gifted boy brought up in a cultured household, Harvey Swados took up piano and flute and proved to be an excellent student as well. Less than idyllic was Swados’ relationship with his father, a truculent, overbearing, and deeply opinionated patriarch who openly favored Swados’ brilliant sister. Indeed, as the critic Neil D. Isaacs points out, father-son conflict is a recurrent theme in Swados’ fiction.

EARLY LIFE

Born in Buffalo, New York, on October 28, 1920, Harvey Swados was the second child of Dr. Aaron Meyer Swados (1884–1973), a general practitioner, and Rebecca “Rivi” Bluestone Swa-

Swados started college at the University of Michigan in Ann Arbor in September 1936, still

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HARVEY SWADOS a few weeks shy of his sixteenth birthday. While at Michigan, Swados studied English and wrote short fiction. He was also a frequent contributor of film and book reviews to the Michigan Daily. In his senior year, writing under the byline “Young Gulliver,” Swados wrote more than sixty “Gulliver’s Cavils,” that is, editorial columns on campus life and current events for the Daily. In 1937 Swados was awarded a Hopwood Award for writing at the university, and the following year Edward J. O’Brien chose Swados’ story “The Amateurs” for inclusion in Houghton Mifflin’s Best Short Stories of 1938. Already radicalized under the tutelage of his sister, Swados met two New York graduate students—Donald S. Slaiman and Melvin J. Lasky—who converted him to the Max Schactman “tendency” of the newly formed Socialist Workers Party (SWP), a Trotskyite “third camp” version of Marxism that held Stalinism and capitalism in equal contempt.

apartment on Montague Street in Brooklyn, lived off his savings, and commenced his first book, “Rodenko”: a novel in the “tough guy,” noir style about a disaffected former sailor in New Orleans who gets mixed up in some nefarious dealings. Swados and the former Bette Beller—a young war widow—married on September 12, 1946. Almost a year later, after many rejections and revisions, Swados finished the final version of “Rodenko” but still could not get it placed (the book was published in 1995 as The Unknown Constellations). Despite his failure to publish his first novel, Swados never wavered from his dedication to writing. To make ends meet, Swados embarked upon what he later described as “the endless balancing act so familiar to so many writers. Part time jobs at this or that, periods of unemployment during which I wrote feverishly or stagnated; but fortunately with a wife who never questioned my commitment” (Papers).

In his personal life, meanwhile, Swados met an attractive graduate student in French at the University of Michigan named Billie Arrison, and the two married in early 1940. For reasons that remain vague, the marriage would last only about a year, but upon his graduation in the spring of 1940, Swados, now nineteen, returned to Buffalo with his new wife and took a job as a riveter in a Bell Aircraft manufacturing plant. A year later, he moved to New York City alone and took a similar job at one of Brewster Aeronautical’s two huge aircraft plants in Long Island City. During his two years as an aircraft riveter, Swados’ attempts to radicalize his coworkers largely fell on deaf ears. By the end of that time he was, in his own words, “fairly well cured of whatever romantic notions I had had about the industrial working class” (Papers).

Harvey and Bette Swados had their first child, Marco, in Brooklyn on Christmas Day 1947. The following year, now living in a Greenwich Village apartment with their infant son, they noticed an ad in the Villager offering part of a large house for rent in Blauvelt, a small Rockland County town on the western shore of the Hudson River about twenty miles north of New York City. Sick of the city and its pressures, they jumped at the chance to live in what was then a more bucolic environment. Their second child, Felice (named after Swados’ beloved sister), was born in Nyack on August 17, 1949. In 1950 the Swados family bought their first home, an unusual turn-of-the-century octagonal house made of concrete in nearby Valley Cottage, New York. (The noted sociologist C. Wright Mills was a close friend and neighbor.) The Swados family was rounded out when Robin, a second son, was born on May 10, 1953.

In the fall of 1942 a disillusioned Swados quit the factory and the Workers Party and enlisted in the merchant marine. Sent to Gallups Island in Boston Harbor for training as a radio operator, Swados earned his second-class radiotelegraph operator’s certificate in 1943. He then served as radioman on several Allied cargo ships and tankers that plied the seas all over the world in the last three years of World War II. Returning home safely in December 1945, Swados took an

During his early years in Rockland County, Swados feared that he was becoming the kind of bourgeois suburbanite he despised. He wrote in his journal on New Year’s Day 1952, “And my own life? Imperceptibly I am sliding into an existence that is—or shall be—hateful to me. A soft mindless middle-class existence” (Papers). Yet his daily schedule was strenuous by any

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HARVEY SWADOS power than he knows how to handle” but found the novel “full of faults in construction and emphasis” (p. 25). Years later, another book critic, Charles Shapiro, though judging Candle “Swados’ best novel, and [Herman] Felton ѧ his finest creation” (p. 186) went on to note that the book “suffers, at times, from ever shifting points of view, for often the transitions are rough” (p. 188). Shapiro also felt that Swados relied too heavily on “super-obvious coincidences” and found fault with Swados’ “[King] Lear equals Felton equation” as “too much of a literary cryptogram, a gimmick rather than an artistic device” (p. 188). Nor did the book sell. Swados’ friend Dan Wakefield learned some years later that Viking’s “high hopes ѧ for Candle had been shattered by a large return [of unsold copies] from the bookstores, and that Harvey himself had been deeply hurt and disappointed by the book’s inauspicious reception” (Papers).

standard. He served as a book critic for the Nation, wrote short fiction, and worked on a second novel. At home, he renovated the Valley Cottage house and grounds. For his “day job” he commuted by train to lower Manhattan where he did copywriting work for State of Israel Bonds, an underwriter of debt securities established two years after the 1948 Arab-Israeli War to rebuild Israel. Leslie George Katz, an office coworker, found Swados “tireless. He could never have too much work, was always busy turning thoughts into words, his insatiable bright eyes devouring with discovery and judgment whatever he wrote” (p. 30).

OUT WENT THE CANDLE

Writing nights, weekends, and on the commuter train to and from the city, Swados finished his second novel, Out Went the Candle, in the early part of 1954. He managed to place the book with Viking Press and it was published in January 1955. Set during World War II, Out Went the Candle tells the story of Herman Felton and his two adult children, Betsy and Morrow. The Felton paterfamilias—a caricature of Swados’ own father—is a wily, tyrannical businessman from New York City’s garment district who finagles his shabby enterprises into a war-profiteering empire. Betsy, unable to define herself, stumbles through two strange marriages. Refusing his father’s offer to secure him preferential treatment, Morrow joins the army as a private, is court-martialed twice, but also displays great courage in combat. As for Herman Felton, the son and daughter he tried to mold reject him, and a congressional investigation into war contracts corruption ruins him. He is forced to flee the country, a broken man. Reviews of the book were mixed. Delmore Schwartz provided a blurb for the book jacket calling Out Went the Candle “one of the most remarkable novels in years,” while Irving Howe’s blurb termed it “one of the most intelligent and at times powerful efforts to look at what is distinctive and puzzling in recent American life.” The New York Times book critic Charles Poore called Swados “a born storyteller with more

FIRST INTERLUDE ON THE RIVIERA

While Out Went the Candle was in the works, Swados won a literary grant that would enable him to take a year off to work on a new novel. Better yet, the art deco sculptor William Hunt (“Chappy”) Diederich (whose wife was Felice’s harp teacher) offered Swados and his family the use of an unoccupied family home in Cagnessur-Mer, a village fifteen minutes west of Nice on the French Riviera, rent-free for the entire year of 1955. The final retreat of Pierre AugusteRenoir, Cagnes became famous in the 1920s as an art colony for such American avant-garde émigrés as George Antheil, A. Lincoln Gillespie, Kay Boyle, and Harry and Caresse Crosby. Living conditions were still fairly primitive in the mid-1950s—the house had no hot water or central heating—but the Swados family fell in love with Cagnes and came to consider it a second home. Returning to the United States in the early part of 1956, Swados experienced culture shock in reverse. In a 1968 New York Times article Swados recalled that “after a year or so [in France], reintegration into an America gorging itself in the fat and selfish fifties was unnerving.” For

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HARVEY SWADOS York City from the South to establish a career as an operatic tenor. Marriage and his wife’s pregnancy sidetrack Leroy’s professional aspirations; he is forced to take a job at the auto plant to support his family. He hates his job, so he continues to practice his singing and fantasize about his big break—until an accident on the line lashes his throat and ends his dreams. Once just a stepping-stone to better things, the factory has become Leroy’s lifelong jail. He never sings again.

Swados, equally unnerving was the prospect of returning to office work: “Unable to face taking up once again the middle-class commuter’s life I had left, I dropped back into the working class for a time, metal-finishing on an auto-assembly line, partly because it was essential to support my family in one way or another, partly because I wanted to regain contact with a segment of the population which—so my European year had brought home to me—was dangerously ignored by middle-class America” (p. 59). After a year on the sunny French Riviera, Swados had another, and more severe, bout with culture shock when he started work at Ford Motor Company’s new Assembly Plant E in Mahwah, New Jersey, fifteen miles west of Valley Cottage. A huge facility—fifty acres under one roof—the Mahwah plant employed thirty-five hundred workers churning out sixteen hundred Fords and Mercurys and five hundred Ford trucks every workday over the course of two eight-hour shifts. According to Dan Wakefield, Swados hoped that a manual labor job “would tire him physically [but] would leave his mental powers fresh for his creative endeavors” (Papers). Toiling on the night shift for almost five months (February 20 to June 15, 1956), Swados found the work so grueling that he had almost no energy left over for writing. Yet life on the factory floor engaged and inspired him. By the time he quit Ford, Swados had written the first two of the eight fictional autoworker vignettes that comprised his second published book, On the Line. He had the other six stories written by late autumn. The book came out on October 1, 1957. Written in the midst of the Eisenhower years, when the United States was riding high on a wave of consensus politics and consumerist prosperity that supposedly obliterated class distinctions, On the Line vividly testified to the continued existence of the working class—and of blue-collar work. More crucially, it dramatized the steep emotional, psychological, and sometimes physical price paid by industrial workers for their slice of the American Dream. The collection’s first story, “The Day the Singer Fell,” features Leroy, a talented, ebullient young African American man who comes to New

Kevin, the protagonist of “Fawn, with a Bit of Green,” manages to evade the trap that snares Leroy. A former schoolteacher from rural Ireland, Kevin has come to America to escape the poverty and dullness of his native land. To assimilate to his new country, attract women, and increase his mobility, Kevin buys one of the cars made on the assembly line. Immediately, though, he sees “with bitter clarity that he would be chained to the drudgery, the monotony, the grinding labor—all of which lost their novelty and certainly their glamour when you had won your prize—literally until the prize itself had become valueless and demanded that you replace it with another, shinier one” (p. 40). Understanding that the American work-to-consume system is an open-air prison, Kevin sells his new car and returns to Ireland. The third vignette, “Joe, the Vanishing American,” initially focuses on Walter, a recent high school graduate who finds his first real job, as a metal-finisher at the auto plant, an overwhelming “nightmare of endless horror” (p. 46). The relentless pace of the noisy, dirty production line, harsh supervision, and the physical and mental strain of the exacting work take their toll. Joe, an older coworker, appoints himself Walter’s mentor and shows him how to do his job more efficiently and comfortably. Joe—undoubtedly Swados’ editorial mouthpiece—also instructs Walter as to the real meaning of life inside the American production-consumption juggernaut: “Anybody who gets suckered into believing that there’s anything real behind the billboards they put up to get the show on the road ѧ commits himself to buying the billboard pictures by selling his life on the installment plan” (p. 66). A free, subversive individualist with no family to

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HARVEY SWADOS The ironically titled seventh vignette, “Just One of the Boys,” focuses on a calamitous day in the life of Buster, a veteran spot welder turned foreman who subscribes to the wishful ideology that management and labor are on the same team. He therefore does “his best both to pull production and to cover” for his underlings. Indeed, Buster takes special pride in his reputation among the rank-and-file as “the best boss in the shop” (p. 174). Unfortunately Buster’s sense of himself as the perfect mediator between capital and labor is shattered when a new worker not only quits without notice but also sabotages Buster’s production line. In the ensuing chaos Buster feels both the wrath of his bosses and the amused indifference of the workers under his supervision—and comes to realize that both parties despise him and despise each other. To mitigate the effect of so many grim sagas, Swados ends On the Line with “Back in the Saddle Again,” a story that ends with at least a modicum of hope. Frank, a fifty-six-year-old with a failed business and deep in debt, is forced to go back into the factory he left twenty years before. Though he is well over the average age for a line worker, he gets a job at the auto plant through the good offices of his nephew, Wilbur, who works in the personnel office. Deeply humiliated and embarrassed by his return to the blue-collar grind, Frank imagines that his coworkers hold him in low esteem—until he attends the union picnic, where he is treated with genuine affection and respect. Indeed, Lou, a union official he knew from the old days, intervenes to make sure Frank is not laid off. While the union is no longer the revolutionary force it was in the 1930s, it at least provides some job protection and a sense of comradely solidarity for its members—no small thing in the jungle of a vast and impersonal auto plant. Charles Shapiro rightly notes that On the Line has to be “uneasily placed in a fictional no-man’sland between the category of ‘novel’ and that of ‘a collection of short stories’” (p. 188). Shapiro also observes that

tie him down (therefore, an anachronism in the corporatist, family-oriented 1950s), Joe does indeed “vanish,” that is, he opts to move on after a short stint on the line. In stark contrast to Joe’s sensible detachment and mobility is the forlorn figure of Pop in “A Present for the Boy.” A middle-aged widower and veteran of many years at the plant, Pop has no life outside work, so he lives vicariously through his only son, Rudy. Upon Rudy’s graduation from high school, Pop buys him a new car as a graduation present. Tragically, just a few days later, Rudy wrecks the car in a drunken accident and is killed. Haunted by guilt and terrified of the loneliness his impending retirement will bring, Pop projects his anger at Rudy and himself onto the younger workers at the auto plant. For companionship at home, Pop is reduced to acquiring a puppy he names Rudy. Orrin, the protagonist of “On the Line,” is another study in disappointment and defeat. Forced back into the factory after his gas station– restaurant business fails, Orrin keeps despair at bay by overachieving at his job. His grim Stakhanovism and almost superhuman endurance gives him a sense of uniqueness and authenticity he would otherwise lack. When Orrin develops tenosynovitis (“trigger finger”) in one of his hands (as did Swados), he is temporarily taken off his usual job as a metal-finisher in the plant’s body shop and put on light duty, a change that results in a slight decrease in pay. Accustomed to thinking of himself as an invaluable employee, Orrin must confront the sobering fact that the company considers him just another faceless cog in the machine. In “One for the Road,” Harold, a recovering alcoholic, uses his job at the auto plant as a means to keep himself constantly occupied and exhausted so as to avoid the temptation of drink—but also to forestall any attempted reconciliation with his estranged wife, an emotionally fraught and risky endeavor that terrifies him. What Harold does not anticipate is that the factory has its own existential agenda—to erode his self-esteem and personal autonomy, thereby rendering him less capable than ever of taking back his life.

Swados has chosen to dramatize a steady tension between the dehumanizing effect of the line and the dreams of the workers who try, at first, to preserve

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HARVEY SWADOS their private enthusiasms ѧ The factory must destroy the individuality of each man, and as this cruel process is exposed, we come to accept the line as well as despair of it. The little tragedies, placed together, become a damning indictment.

Hangman). The central issue that Swados wanted to explore was the relation of art and artists to the values, aims, and workings of the capitalist culture industry. In Swados’ view, genuine art has been increasingly co-opted and homogenized by commercial and technocratic imperatives: a trend that threatens to neutralize, even obliterate, art’s potential for social critique.

(p. 189)

Whether one comes to “accept” the assembly line is debatable, but Shapiro is right in seeing the book as a damning indictment of industrial capitalism and a poignant tribute to the men who struggle in the belly of the beast.

In a 1960 interview with Herbert Feinstein, Swados described the Pilot Project at Harmoney Farm, the fictional art colony that is the subject of False Coin, as “a cultural assembly line trying to erase high brow, low brow, and middle brow” (p. 86). In the novel, Frederic “Fritz” Petersen, the founder of the Pilot Project, cheerfully but disingenuously describes it as “the initial venture into a new kind of art, communally produced without commercial pressures, for a new kind of public” (p. 26). But as the critics Alex Gottfried and Sue Davidson point out, Swados deliberately fashions “a phony utopia, operating under false pretenses to all interested parties, lushly financed by faceless, impersonal foundations, and having no semblance of democratic procedures. The socalled ‘members’—with the exception of the directors—are not even members, although they accept the semantic fiction of membership; they are merely employees” (p. 30). In effect, American culture is Harmoney Farm writ large, that is, a culture increasingly subject to central planning, marketing ideology, and the influence of big capital—all of which are at war against the integrity of the artist and the individual.

FALSE COIN

After a late summer stint at Yaddo, the writers’ colony in Saratoga Springs, New York, working on the last stories in On the Line, Swados moved with his family to Iowa City, where he took a yearlong (1956–1957) appointment teaching creative writing as a visiting lecturer at the University of Iowa Writers’ Workshop. A month into the fall semester, with On the Line finished and submitted to publishers, Swados returned to a manuscript he had begun in the early part of 1954 and had worked on throughout his stay in Cagnes. The book, eventually published as False Coin (1960), was a novel about a privately funded art colony where art is made collaboratively but with centralized planning and sociological research into audience reception. In March 1957 Swados recorded in his journal the following sobering conclusion: “I cannot possibly go on and finish it up as it now stands. It is simply impossible. The next question remains: shall I give it up entirely? Or shall I start again?” Swados faced two problems with the book: he was in a muddle from utilizing too many points of view and he was indecisive about the kind of book he wanted to write: “quasi-realism” or “big scale social satire.” Opting to rewrite the book from scratch, Swados decided to tell the story through a single point of view and to adopt what he termed a “burlesque” prose style that was quasi-realist with a few satiric touches (mainly conveyed through the comic-allegorical names of the various characters—for example, Eddie Bedlam, Monk Malony, Rex Rector, Virgil Roap, Gerald

Ben Warder, the novel’s first-person narratorprotagonist, a fifty-year-old recording engineer hired for his technical expertise, is neither a project artist nor an administrator. He, therefore, has perhaps the most objective view of the goings-on at Harmoney Farm. Disillusionment quickly sets in for Warder as he begins to see that the Pilot Project is autocratically run, conflicted about its mission, and riven with personality conflicts. Furthermore, Fritz Petersen reveals a cynical willingness to compromise an artist’s vision in order to expedite the production process and please the Project’s sponsors. The novel’s real villain, however, is Victor Vollbauch (German for “bulging belly”), the Project’s

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HARVEY SWADOS resident social scientist who studies audience reception of artworks, partly to plan ways to tailor them to maximize popularity (and profit). A technocrat of behavior modification, Vollbauch is too busy with his careerist ambitions to adequately tend to his family. His troubled teenaged son, Thor, commits suicide as a result of his father’s neglect. In the end, Ben Warder not only resigns from Harmoney Farm but also presents damning testimony before a congressional subcommittee investigating the excesses of nonprofit cultural organizations: an act of rebellion against the Project’s benefactors that gets him blackballed from the recording industry. Ending up “working the night watch on a marine radio station handling ship to shore traffic ѧ in the middle of nowhere” (p. 306), Ben Warder is nonetheless proud that he stuck to his principles: “I did, for one time in my life, what I thought a man ought to do, regardless of consequences” (p. 309). After his year in Iowa, Swados secured a Hudson Review Fellowship, which allowed him to work uninterruptedly on False Coin in 1957– 1958. After five fitful years of writing and rewriting, the finished book was finally copyrighted in 1959 and was published on January 11, 1960. Though carefully wrought, False Coin fails as a novel—probably because the material calls for a broadly comic-satiric treatment, not the earnest realism that Swados employed. The topic, though an oft-rehearsed one, was also a liability. No one at that time—except Swados—seemed particularly interested in the plight of the artist in American business civilization. Reviews were dismissive and sales poor. In a letter to Saul Bellow, Swados referred to False Coin as “that pathetic book” (Papers), probably meaning that the tremendous effort he put into the work seemed an exercise in futility.

Coin, Swados concentrated on teaching, journalism and short fiction for a while. From 1958 to the end of 1960 he published eleven new stories, seven of which he would include in his second short story collection, Nights in the Gardens of Brooklyn (1961). Also included in Nights were two stories (“The Letters” and “A Chance Encounter”) published some years earlier and one story (“The Dancer”) that dates back to the late 1940s.

NIGHTS IN THE GARDENS OF BROOKLYN

The title story of the collection, “Nights in the Gardens of Brooklyn,” refers ironically to a set of nocturnes for piano and orchestra by the Spanish composer Manuel de Falla titled Nights in the Gardens of Spain. A quasi-autobiographical story told in the first person, “Nights” chronicles the narrator’s life in New York City right after World War II. Like Swados, the narrator settles into a small apartment in Brooklyn Heights after his discharge from the service and begins work as a census taker. Also like Swados the narrator meets a woman on the subway who soon becomes his wife. The young marrieds team up with another young couple—the narrator’s army buddy Barney and his girlfriend, Cordelia (“Deelie”)— and avail themselves of New York’s lively cultural and after-hours scene. Life is idyllic that first year (1946), but the idyll does not last long. Responsibilities loom as the narrator’s wife, Pauline, becomes pregnant (as did Swados’ wife, Bette). Moreover, the cold war, anticommunist paranoia, and the status-seeking rat race begin in earnest, and the narrator and his friends are “compressed into narrower confines, bounded by the twin measurements of ambition and fear” (p. 39). The narrator comes to the sad realization that he “could never be happy in a city where drink and food, and friendship itself [has become] a part of the whole grinding success mechanism” (p. 46). As did Swados, the narrator and his young family decamp for the country but intense nostalgia for the lost “magic and mystery of the city” (p. 46) lingers on.

In the fall of 1958, after the money from the Hudson Review Fellowship ran out, Swados secured a position teaching literature at Sarah Lawrence College, twenty miles southeast of Valley Cottage. Drained by his experience with False

A story about a belated, strangely disappointing homecoming, “A Glance in the Mirror,” echoes the sense of irrevocable loss that marks “Nights in the Gardens of Brooklyn.” Roy Farrow, a successful bandleader, returns to his

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HARVEY SWADOS hometown to pay a surprise visit to his ex-wife, Lisa, and their daughter, Kate, with whom he has had no contact in a dozen years. Braced for some sort of cathartic reckoning, Farrow is surprised to find that his ex-wife and daughter, though living in straitened circumstances, are starstruck by his celebrity and bear him no ill will for their abandonment. Long under the masochistic impression that he sacrificed his marriage for his career ambitions, he realizes to his chagrin that his sense of himself was mistaken.

For “The Letters,” Swados drew on his experience in the merchant marine, specifically his last voyage of the war, on the USS Autossee, a twenty-two-thousand-ton T2 oil tanker sailing back to the United States from Australia, via Panama, in 1945. Accordingly, the story’s protagonist, Philip Stolz, is the radio operator on a tanker out of Brisbane. Phil Stolz takes an instant and intense dislike to Bradley Holliday, a third assistant engineer on the ship, whom he considers a “weak, sick, vulgar” man (p. 126) and a “phony” (p. 107). Advised by another sailor to be charitable toward Holliday, Stolz allows Holliday to visit him in the radio room for a drink and a chat. To Stolz’s considerable discomfort, Holliday proceeds to read all the letters that his fiancée, Phyllis, has written to him while he’s been at sea. Unexpectedly, though, Stolz finds himself emotionally engaged, even fascinated, by the rhetorical stratagems that Phyllis employs to achieve “sexual dominance and psychic mastery” (p. 123) over her lover. His hatred for Holliday tempered by an even greater loathing for Phyllis, Stolz later encounters Holliday on the ship’s bow, throwing Phyllis’s letters and picture into the sea: “Holliday whirled about and revealed his true face to Philip. Everything of the rake, the ladykiller, the poseur, was eaten away. ѧ His eyes, spray-flecked and mad in the glowing light ѧ moved across Philip’s face until they encountered their mirror in Philip’s eyes” (p. 131). Philip’s powerful aversion to Holliday is tied directly to his ultimate recognition of the other man as his “shadow,” in the Jungian sense. When Philip peers into Holliday’s ravaged eyes, he sees himself, including his own repressed weaknesses and shortcomings, as if for the first time.

Much the opposite of Roy Farrow, Paul Hamlin, the male protagonist of “A Question of Loneliness,” tries to do right by his wife but ends up only further alienating her. Suffering from “postpartum melancholia” (p. 69) after the birth of her first baby, Paul’s wife, Alice complains bitterly about her homebound isolation, loneliness, and the tedium of caring for a newborn. To cheer her up, Paul arranges to take her to a Broadway play. Unfortunately, the babysitter he hires—an elderly, overweight babushka with a bad heart named Mrs. Fleischer—dies of a coronary while sitting with the infant: a ghastly happenstance that causes Alice to curse her husband as a “murderer” (p. 75). A dying old lady also serves as a plot device in “A Chance Encounter.” The story’s first-person narrator is a physician called to a city slum to minister to an elderly black woman in her final illness. When he arrives he is surprised to find another doctor, satchel in hand, already there and conversing with the patient’s husband. As soon as the narrator makes his presence known, the other doctor furtively rushes out of the apartment—but not before being recognized by the narrator as Stamler, a doctor “who lost his license and got sent up the river” (p. 83) after a botched illegal abortion he performed resulted in the death of a young woman. Now, in a way, Stamler still makes house calls. His doctor’s bag is stuffed with clean, white shirts he sells to poor folk who have just lost a loved one and will need a decent shirt for funerary purposes. Reminiscent of the Wandering Jew of medieval Christian folklore, Stamler is condemned to roam the city slums as the most ignominious kind of bottom feeder.

Also the recipient of an unwanted epiphany is Burton Rettler, a self-centered, ambitious young academic on a Fulbright fellowship in Provence in “Year of Grace.” Though reluctant at first to accompany Burton to France—she’s never been abroad—his wife, Victoria, slowly begins to acclimate herself to her new environment, makes friends, and even learns passable French while her husband is off by himself doing research. Toward the end of their stay Victoria has accomplished a quiet but remarkable transforma-

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HARVEY SWADOS tion, from loyal helpmate and adjunct of her husband’s ego to her own, fully realized person who can shape her own life. She tells Burton she will not return home with him, confessing, “we both expected the wrong things from each other” (p. 158). Shaken and confused, Burton tries to talk his wife out of her decision but is unsuccessful.

seem to pay off when the book—a sprawling historical opus titled Queen City—is accepted for publication. Soon, however, Everett is importuned by “a bunch of editors, agents, press agents, [and] book club representatives ѧ to jazz up the manuscript” (p. 202). Buckling under intense stress as he is pressured to betray his artistic integrity, Ralph Everett commits suicide.

In January 1955 the Swados family had arrived for their year in Cagnes in the midst of severe flooding in the region. Near Avignon the swollen Rhone River submerged some roads to a depth of almost half a meter. Not one to waste a powerful image, Swados employs the dramatic setting and circumstances of that time in his sketch “The Peacocks of Avignon.” The protagonist of “Peacocks” is Terry, an American girl “sick at heart and suicidal” (p. 163) over her fifty-year-old widowed mother’s marriage to a much younger Frenchman. To distract herself from her unhappiness and to get a better look at “the first flood she had ever witnessed” (p. 168), Terry trudges up the hill on which sits the Palace of the Popes. While surveying the flooded countryside from her lofty vantage point, Terry is startled “to see two large peacocks strutting along the graveled walk” (p. 169) behind her. The sight of such beauty causes her to have a liberating change of heart about her mother’s decision to remarry. She sends her mother a telegram, which is worded, “Forgive me, forgive me, I love you, be happy” (p. 170). The collection’s most sanguine story, “Peacocks” is rescued from triteness by Swados’ terse prose. As amply evidenced by False Coin, the plight of the artist in American society was a theme never far from Swados’ mind. “The Man in the Toolhouse” recounts the tragic saga of Ralph Everett, a native of Buffalo, New York, who works for the Water Department to support his wife and four young children but is nonetheless determined to write the Great American Novel and have it be a critical success and a best seller. Showing remarkable tenacity and self-discipline, Ralph gets up at an ungodly hour every morning for years to work on his novel in his toolhouse, an outbuilding converted into a small writer’s studio. All his lonely hard work and sacrifice

A number of specific textual clues indicate that Swados was thinking of the case of Ross Lockridge Jr., the author of the 1948 best seller Raintree County. Like Ralph Everett, Lockridge was a young father of four who labored in obscurity for years on a historical epic set in the region of his birth. Also like Everett, Lockridge had a father who was a local history buff. Like Everett, Lockridge was called upon to make agonizing changes to his novel to suit his publisher, the Book-of-the-Month Club, and other interested parties (including the movie studio MGM) in order to reap the promised financial benefits. Exhausted, despondent, and feeling that he had compromised his artistic ideals, Lockridge committed suicide just as his book topped the best-seller list in March 1948. Lockridge’s demise was probably induced by severe, chronic depression, but to Swados, his tragic fate demonstrated a more generalized truth: that the moneyand-success madness of American society wreaks havoc with its best artists. The plight of the aspiring artist is also the subject of “The Dancer.” Another New York story, “The Dancer” features Peter Chifley, a GI from Elyria, Ohio (the hometown of Sherwood Anderson), who is inspired to become a dancer after watching Fred Astaire movies while stationed in Tokyo with Allied occupation forces. After his discharge from the military, Peter, twenty-one years old, moves to New York City to study dancing. Something of a Candide figure, Peter is unprepared for the New York experience. As Robert A. Beuka nicely puts it, Peter “runs into a string of bizarre characters who speak various strains of nearly incomprehensible language and attempt to corral him into their respective political, sexual, academic, and financial ventures, all of which are complete shams.” (p. 301).

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HARVEY SWADOS sium held on three successive days at Berkeley, Palo Alto, and San Francisco in October. Philip Roth, John Cheever, and James Baldwin were the keynote speakers. In his capacity as a freelance labor journalist, Swados interviewed Harry Bridges, the aging president of the International Longshoreman’s and Warehouseman’s Union (ILWU), and the longshoreman-philosopherauthor Eric Hoffer—the result was an article that appeared in Dissent magazine in autumn 1961, titled “West Coast Waterfront: End of an Era.” The piece explored the 1960 ILWU contract with the Pacific Maritime Association that ushered in the era of the automated, containerized port and ended the last vestiges of radical labor politics on the waterfront—a dubious blessing as far as Swados was concerned. With advocacy journalism foremost in his mind at this time, Swados worked on compiling and editing Years of Conscience: The Muckrakers: An Anthology of Reform Journalism (1962). Firebrand pieces by Lincoln Steffens, Owen Wister, Mark Sullivan, Ida Tarbell, Louis D. Brandeis, Frank Norris, Upton Sinclair, Samuel Hopkins Adams, Jack London, and many other writers testified to the power and passion of the Fourth Estate in the early part of the twentieth century. Swados also worked during this period on A Radical’s America (1962), a compilation of his own journalism on American labor issues, literature, and popular culture, pieces that had been published between 1949 and 1961. In his introduction to A Radical’s America, Swados identified himself as: (1) a novelist; (2) a middleclass man at mid-century; (3) a Jew; and (4) a socialist—an uneasy amalgam of privileged and marginalized identity attributes that afforded him a unique perspective on the American scene. Section 1 of A Radical’s America collects nine major essays on the cultural politics of work—a topic perennially ignored by the corporate media. Most noteworthy are “Labor’s Cultural Degradation,” “The Myth of the Powerful Worker,” and “The Myth of the Happy Worker.” With the first of these essays, Swados excoriates the “mass media exploiters” for “capitalizing on the cultural backwardness of the great majority of American people” by inventing

Driven to distraction, Peter leaps to his death from a tall building. Though somewhat uneven in quality—minor sketches compete with powerful, complex stories—Nights in the Gardens of Brooklyn is on the whole a fine book. Upon its publication, in January 1961, Charles Poore, writing in the daily New York Times, called Swados “a brilliant new storyteller” and commended him for the book’s “wonderful title” and “excellent variety of stories for your pleasure and enlightenment” (p. 27). The freelance critic Daniel Talbot, writing for the Times Book Review, was less effusive. He characterized Nights as “a brave book, although disappointing for a writer of his literary know-how and grasp of the things that make our generation what it is” (p. 5). Talbot felt that Swados’ stories were “banal” examples of a conventional, “thoroughly familiar” realism more characteristic of the 1930s.

SAN FRANCISCO

During his second year teaching at Sarah Lawrence, Swados accepted a yearlong appointment (1960–1961) at San Francisco State College for the then-ample salary of $8,940. After a month of frenetic travel—trips to Washington, D.C., Chicago, Salt Lake City, Denver, and New York—to research articles for Esquire and the Atlantic Monthly, Swados moved his family to California in mid-July 1960, just after the Democratic National Convention in Los Angeles had nominated John F. Kennedy as its candidate for president. The Swadoses settled into a rented house at 36 Farnsworth Lane, overlooking Golden Gate Park. During that year Swados chose an eclectic array of world classics for his courses on fiction: the titles he assigned included Ivan Turgenev’s “The District Doctor”; Joseph Conrad’s Heart of Darkness and The Secret Sharer; James Joyce’s “The Dead”; Ring Lardner’s “Some Like Them Cold”; Émile Zola’s Germinal; Henry James’s The Ambassadors; William Faulkner’s The Sound and the Fury; and C. P. Snow’s The Search. Outside the classroom Swados participated in “Writing in America Today,” an Esquire sympo-

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HARVEY SWADOS published in Esquire, September 1959)—is the one that garnered the most attention. In this piece, Swados encourages idealistic young people to fight apathy by getting involved in humanitarian service work overseas. John F. Kennedy made that notion part of his campaign platform and established the Peace Corps in 1961 shortly after taking office. Reviewing A Radical’s America in American Quarterly, David Herreshoff praised Swados for making “us notice that the American locomotive of history continues to run over many victims. He reports the carnage in a style in which coherence and indignation are made to harmonize” (p. 630).

“new techniques for the inducement of oblivion,” for instance, television, paperbacks, radio, jukeboxes, and the like that deliver treacle or “borderline sado-pornography” (p. 71). Ten years after the passage of the Taft-Hartley Act (1947), Swados surveys that legislation’s devastating impact on labor’s ability to organize in “The Myth of the Powerful Worker.” And in “The Myth of the Happy Worker,” Swados refutes the commonplace notion that blue-collar folk have become contented members of the bourgeoisie: But there is one thing that the worker doesn’t do like the middle class: he works like a worker. The steel-mill puddler does not yet sort memos, the coal miner does not yet sit in conferences; the cotton mill-hand does not yet sip martinis from his lunchbox. The worker’s attitude toward his work is generally compounded of hatred, shame, and resignation.

THE WILL

Shortly after returning to Valley Cottage in the summer of 1961, Swados was greeted with the salutary news that he had won a Guggenheim Fellowship. Five weeks after the notification, the Swados family boarded the SS Flandre at Pier 88 on West Forty-eighth Street in Manhattan for a trans-Atlantic crossing to Le Havre and then on to Cagnes by car. During his second yearlong stint in France, Swados wrote his third novel, The Will. Though it was written on a sun-drenched terrace overlooking the Mediterranean, The Will is set in a grim, decaying northeastern city not unlike Buffalo. The plot is straightforward: three utterly dissimilar adult brothers vie against each other for control of the estates of their father, Leo, and their uncle Max, who die within a week of each other. As Irving Howe points out in the Massachusetts Review, the three brothers roughly parallel Fyodor Dostoyevsky’s brothers Karamazov. Mel Land, the oldest, is a rebellious n’er-do-well (and former prison inmate) with strong hedonistic tendencies not unlike Dmitri Fyodorovich Karamazov. He bitterly despises his family’s hypocritical quest for shabby respectability. Ralph Land, the middle brother, is an aspiring bourgeois with a cold, sullen disposition similar to the atheistic Ivan Karamazov. He and Mel loathe each other. Ray Land, the youngest, resembles the devout Alyosha. A mildmannered, guileless recluse whose monastery is

(p. 112)

Swados movingly dramatizes this state of affairs in On the Line. The second section of A Radical’s America contains six essays, four on contemporary literature, one on Italian cinema, and another on an American production of Bertolt Brecht’s Three-Penny Opera. Most notable of these pieces are: “The Cult of Personality in American Letters” and “The Image in the Mirror.” “Cult” focuses on the American tendency to lionize writers not for their work but for their personal notoriety. Swados cites J. D. Salinger and Norman Mailer as two writers who, for very different reasons, enjoy a level of mystique all out of proportion to their literary achievements. “Image” is an ambitious survey of the state of American fiction circa 1960 and a plea for the “serious” (i.e., noncommercial) novel in a crowded literary marketplace. The third section of A Radical’s America is the most eclectic. Several essays deal with issues of popular taste; one (“Exercise and Abstinence”) is on the first Floyd Patterson–Ingemar Johansson bout (June 26, 1959) and the state of boxing in general; another is on airline pilots; others deal with work, the suburbs, liberalism, and the plight of educated women. Yet the closing essay—“Why Resign from the Human Race?” (first

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HARVEY SWADOS the attic of the family manse, his distinctly modern form of prayer is to communicate with the outside world through shortwave radio. Early in the narrative a will is discovered that leaves everything to Ray as soon as he turns twenty-one in a few months. Ralph wants Ray to cut Mel out altogether, but Ray feels that Mel, regardless of his past wrongdoings, should get a third of the estate: a position that outrages and frustrates Ralph, who retaliates by keeping Ray more or less captive in the family home. Mel comes on the scene and physically clashes with Ralph—who almost kills him—but ultimately reveals a secret about the family past that puts everything in a different light—that is, that Mel did not abandon the family of his own accord but was pressured to leave by his mother (and Uncle Max) after he got a high school girl pregnant. In the end, all the turmoil over the family legacy is made moot by the revelation that taxes due will probably consume most of the estate. But the money has served as a catalyst for the liberating release of the family specters that would otherwise have haunted the brothers for the rest of their lives. Published on October 28, 1963, The Will garnered mixed notices. Typical is R. V. Cassill’s review, “Allegory Unlimited,” in the New York Times Book Review:

and he resumed his teaching job at Sarah Lawrence. Former students still remember Swados’ unorthodox pedagogy, which included New York City field trips—for instance, to the Fulton Fish Market at dawn, the United Nations, a picket line, a night court session, and the slums. Mary Jo Kaplan, a freshman in Swados’ writing course in 1967, said in a letter to the New York Times (January 5, 2001) that she “fell in love with New York” during her 3:00 a.m. trip to the fish market. Liza Ketchum, also in Swados’ course in 1967, recalls (on her author Web site) that “we wandered all over the city, taking notes on conversations and soaking up smells, textures, and tastes. Afterward, we wrote stories about what we had seen and heard. From that class, I learned that some of the best writing comes from experience.” Interviewed by Charlotte Menaker for a 1964 profile in the Rockland Independent, Swados said, “Of course ѧ no one can teach a person to write. What the course tries to do is encourage the students to observe well and recall vividly” (p. 13). The core belief that the most compelling writing—fiction or otherwise—is a product of closely observed life experience is amply manifest in Swados’ eighth book, A Story for Teddy—and Others (1965). Therein Swados blends locales, persons, and incidents from his own life into the weave of his fiction.

“While the novel’s fundamental symbols are rich enough for a serious representation of the age’s labyrinth, many of the author’s devices are dustier than the piles of old Popular Mechanics that mount to the ceiling of the Land mansion. Within the dispensations of allegory, the machinery of Dumas and Scott is unlimbered and given one more wheezing try.”

The first person narrator of the title story, “A Story for Teddy,” is loosely based on an earlier incarnation of Swados himself: a twenty-threeyear-old man in New York City about to go into the merchant marine. On a double date, the narrator meets Teddy—a “gentle, modest, and virginal” girl (p. 12)—with whom he is instantly smitten. On a succession of dates the narrator tries to seduce Teddy, but she fends him off at every turn. In a final attempt to bed her, the narrator resorts to emotional blackmail by writing a story for Teddy “about a young serviceman who, because he is denied physical intimacy by the girl who claims to love him, goes recklessly to his death, [with] a snarl on his lips” (p. 31). Although she refuses to accept the story as a gift, Teddy allows the narrator to grope her—but only outside her front door where her mother can and does intervene. Denied consummation with

(p. 30)

Nonetheless, The Will was a finalist for the 1964 National Book Award for fiction, along with Bernard Malamud’s Idiots First, Mary McCarthy’s The Group, Thomas Pynchon’s V, and John Updike’s The Centaur (which won the award). A STORY FOR TEDDY—AND OTHERS

At the end of his second sabbatical in France, Swados and family returned to Valley Cottage

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HARVEY SWADOS carousing. In a Colón bar they meet Isabel and Luisa, two B-girls (that is, not prostitutes but women hired by the bar to maximize business), whom they ply with drinks in hopes of winning sexual favors. Luisa gives Tommy the slip, but the narrator pursues Isabel more diligently, only to discover that he is being used to buy a meal for Luisa’s lesbian lover, Gertrudis. Humiliated, the narrator retaliates by threatening Luisa with a beating—a mean-spirited reaction he comes to regret as unwarranted, given Luisa’s poverty and powerlessness.

Teddy, the now-mature narrator, recalling the hapless affair, is grateful that his crass, manipulative story is long lost, replaced by the wiser story at hand—that is, the real story for Teddy. Thus, writing becomes a moral act; a way to make amends with the past. For two of the stories—“Bobby Shafter’s Gone to Sea” and “Tease”—Swados drew on his merchant marine experience once again, particularly his time in the Panama Canal Zone, to dramatize the dynamic interplay of race, social class, gender, and colonialist politics. The firstperson narrator in “Bobby Shafter” recounts the story of an eventful night out in Panama City with Shafter (a ship’s steward “of mixed Negro and Indian and Irish ancestry” [p. 61] with a wife in the States), Shafter’s pregnant girlfriend Ceelie Mae, his “almost-fiancée” (p. 67), Juanita, and her two sisters, Concepcion (“a mountainous Negro lady” [p. 67] who is the narrator’s arranged date) and Maria and her husband, Evan Jones, a black bacteriologist from Barbados. The narrator, who is white, soon realizes that Bobby Shafter has invited him so that Shafter and his nonwhite entourage will be allowed into the Jockey Club, a “Gold” (whites only) nightspot frequented by American sailors. (From 1904 until the 1960s the Canal Zone was under the “Gold” and “Silver” role system: “Gold for the whites and wishful whites; Silver for the hopelessly dark Negroes from the islands and the Indians from the backwoods and the jungles” [p. 68]) When white patrons complain about the presence of nonwhites in the club, Bobby Shafter brilliantly subverts the color line by giving a loud, impassioned speech to the black kitchen help about the need for solidarity in the face of racial discrimination. An embarrassed management offers to pay his tab just to get rid of him, but Shafter insists on paying his own bill. He and his guests leave the Jockey Club not in shame but in triumph. Evan Jones proclaims Shafter “champion, simply champion!” (p. 77).

In setting if not in incident, “The Hack” hearkens back to Swados’ days as an undergraduate at the University of Michigan; the narratorprotagonist, Harlow, is a version of Swados as a teenager. Harold Bangs, the husband of Harlow’s rooming-house landlady, is an aspiring hack writer for the mystery and science fiction pulps but is unsuccessful at placing any of his stories. Bangs adopts Harlow, a university student and an aspiring writer, as a literary comrade. Harlow, a reluctant compatriot, turns the tables by writing a story about a relentlessly productive but unpublished hack writer that is closely modeled on Harold Bangs. The story, which wins a prize and publication, comes to the attention of Mrs. Bangs, who castigates Harlow for his insensitivity. Though embarrassed and at least slightly remorseful for exploiting the hapless Harold Bangs, Harlow also recognizes that Bangs’s “caution condemned him to failure, since immured in his dark study and his immature fantasies, he shrank not just from human beings but from the materials of his own life” (p. 171). Willing to write from and about real life, Harlow knows his art is superior. More than a story, “The Hack” also serves as an aesthetic manifesto. “My Coney Island Uncle” (1964) and “The Tree of Life” (1965) are connected stories that serve as bittersweet elegies for Swados’ favorite uncle, Dr. Moses A. (“Moe”) Bluestone (1895– 1956), a well-known general practitioner in the Coney Island neighborhood for thirty-four years. In “My Coney Island Uncle,” the first-person narrator, Charley, recalls his visit to “Uncle Dan” when he was thirteen years old. His affable uncle took him to a Nathan’s hot dog stand, a movie at

“Tease” deals with first world and third world relations mostly from the viewpoint of gender. The first-person narrator and his friend Tommy take a train from Panama City (on the Pacific) to Colón (on the Caribbean side) for a night of

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HARVEY SWADOS Upon returning home, Swados presented the massive typescript to his agent, Candida Donadio, and instructed her to try to secure a contract with a major publisher for at least $100,000 plus the standard royalty package: the kind of deal reserved for writers of the first rank. Swados had high hopes that Standing Fast would resonate with the New Left, enjoy critical success, and become a best seller that would finally put him on a par with the greatest writers of his generation.

Radio City Music Hall, the top of the Empire State Building, and other New York City landmarks. In retrospect, Charley realizes that his Uncle Dan provided him with “a sense of the variety and richness of possibility in the city” (p. 197). Ten years later (in what would be about 1943), Charley, now twenty-three and on shore leave from the merchant marine, visits his “Coney Island uncle” only to discover an aging, rather forlorn bachelor with “puffy used-up features” (p. 208) who bears scant resemblance to the magical figure of nostalgic memory. By contrast “The Tree of Life” presents Uncle Dan as a redemptive force. Down on his luck in a Mexican village outside the city of Oaxaca in the early 1950s, Charley is surprised to receive a visit from his Uncle Dan. The two men drive five and half hours to Puerto Angel (Ixtalahuite) on the Pacific coast to satisfy Uncle Dan’s wish to see an unspoiled beach he had heard about back in Coney Island. Upon arrival, there is nothing much to see, but Uncle Dan nonetheless affirms the goodness of the journey: “Life is great, and you’ve got to grab for it every morning. But what good would it be if you knew it was going to be yours forever?” (p. 219). Dan dies soon thereafter. In remembrance Charley plants a small arborvitae “quickly and gently on his grave” (p. 220).

In September 1969, Peter S. Jennison, the executive director of the National Book Committee, asked Swados to be a judge for the National Book Award for fiction for 1970 (the other two judges being Peter Mathiessen and Barbara Epstein). By late February 1970, Swados and his colleagues had winnowed a list of “forty or fifty” (Papers) nominees down to five finalists: Leonard Gardner’s Fat City; Leonard Michaels’ Going Places; Joyce Carol Oates’s Them (which won); Jean Stafford’s Collected Stories; Kurt Vonnegut’s Slaughterhouse-Five. When the finalists were announced, uproar ensued. Roger W. Straus, president of Farrar, Straus & Giroux, found it “utterly amazing, inexplicable” (Papers) that Philip Roth’s Portnoy’s Complaint and Vladimir Nabokov’s Ada were not even nominated. Ted Solotaroff, the founder-editor of New American Review, found the omissions “disgraceful” (Papers). Recriminations flew, and even the choice of judges for the award was publicly criticized. Angered by all the acrimony, Swados refused to attend the awards ceremony, as did Peter Mathiessen.

STANDING FAST AND CELEBRATION

In August 1967, having secured a National Endowment for the Arts grant for fiction, and with Marco and Felice enrolled in college, Swados, along with his wife, Bette, and their son Robin, left for a third yearlong stay in Cagnes, during which time Swados finished “Children of Our Time,” a quarter-million-word manuscript version of his fourth and most ambitious novel, Standing Fast (1970). Emanating from Swados’ time in the Young Communist League and the Socialist Workers Party (c. 1936–1942), Standing Fast follows the fates of a dozen characters as it charts the decline and dissolution of 1930s-style American radicalism from the time of HitlerStalin Pact (in August 1939) to the assassination of President Kennedy (November 22, 1963).

In the midst of the National Book Award brouhaha, Candida Donadio informed Swados that an upstart New York publisher called Weybright & Talley had offered to buy Standing Fast for $100,000 but without any provision for royalties based on sales—a highly unorthodox arrangement that Swados decided to turn down, despite Donadio’s urging to take the offer (she stood to make $10,000 as her 10 percent agent’s fee). Swados instead held out for a more conventional contract that might yield greater returns in the long run. He soon learned from Betty Prashker, the editorial director at Doubleday, that her firm

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HARVEY SWADOS National Book Awards flap the previous spring). In spite of numerous highly laudatory reviews across the country, book prizes were withheld, sales flagged, and Standing Fast was quickly withdrawn from bookstore shelves.

had also bid on Standing Fast, offering an advance of only $30,000 but as part of a deal that included a standard royalty scale. Incensed that Candida Donadio had withheld this offer from him for evidently selfish reasons, he fired her, hired Georges Borchardt as his new literary agent, and signed a contract with Doubleday, which published Standing Fast in September 1970. With Standing Fast’s publication date rapidly approaching, Swados was appointed writer in residence and visiting professor of English at the University of Massachusetts in Amherst. In the summer of 1970, Swados and his wife moved from Valley Cottage to a rented apartment at 370 Northampton Road in Amherst, a few minutes from the university. As the fall semester got under way, Swados waited anxiously to see how Standing Fast would be received. Josh Greenfield’s review in the New York Times Book Review sounded the first, sour note. While hailing Standing Fast as “a rare, almost monumental achievement,” Greenfield also said that too “many characterizations are leftist cliché, too much of the plot is soap opera, too much of the rhetoric is dated Group Theatre braggadocio and vintage Warner Brothers.” In other words, the novel was sincere, predictable, and the product of a time and sensibility long since outmoded by more pressing concerns—for example, the war in Vietnam and its consequences at home. Greenfield’s review appeared on page 30 of the Book Review—a tacit notice that the Times considered Standing Fast expendable. Two days after Greenfield’s review, John Leonard weighed in on page 45 of the daily New York Times: “The narrative machinery creaks; the prose is flat; the conversation is cliché-ridden; the love scenes are embarrassing; the resolutions arrive with a clumsy sort of inevitability. ѧ And yet—Standing Fast breaks the heart.” After such a litany of withering criticisms, Leonard’s concluding note of praise seems grudging at best. Hilton Kramer and Stephen Klaidman published mostly positive notices in the Washington Post, but the damage had been done by the successive poundings in the Times (negativity that may have been partly motivated by Swados’ controversial role in the

Bitterly disappointed by the failure of a novel he had devoted some seven years to writing, Swados vowed never to write another. Yet the gloom soon subsided, at least in part. Swados proved popular with students and colleagues at the University of Massachusetts, so much so that he was offered a tenured position after less than a year on the job. Swados bought a house in Chesterfield, a secluded town nestled in the hills about a half hour’s drive west of the university. Pleased with his job and delighted by the pleasures of his bucolic environment, Swados soon started a new novel, which would become Celebration (copyrighted in 1974; published posthumously in 1975). Cast in journal form, Celebration records the thoughts and emotions of Samuel Lumen, a celebrated progressive educator and child welfare activist who seems an amalgam of A. S. Neill, John Dewey, and Bertrand Russell. Feted as a Great Man by a series of national television specials and a White House gala on the verge of his ninetieth birthday, Lumen begins to keep a journal in order to define, preserve, and disclose his real self—as opposed to the packaged public icon that serves various ideological functions beyond his control. Over a six-month period (April 15–September 16, 1975), Lumen records his dreams, reminisces about his failures and triumphs, and reveals his complex, sometimes transgressive personal and sexual life—which includes the seduction of his son’s wife. With a new verve and eloquence in Celebration, Swados explores his quintessential theme: the dynamic and deeply complicated interplay between personal character and political identity. Sadly, Celebration would be his last book. On Thursday, December 7, 1972, Harvey Swados suddenly collapsed. Rushed to the hospital, Swados fell into a coma, the victim of a massive and inoperable brain aneurysm. He lingered on for five days before dying on December 11. Swados was fiftytwo years old—tragically young to die—but he

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HARVEY SWADOS lived a remarkably full, loving, intellectually perceptive, and politically committed life, the life of a writer he had envisioned for himself decades before.

The Mystery of the Spanish Silver Mine. Garden City, N.Y.: Doubleday, 1971.

OTHER WORKS “On the Line.” Washington, D.C. U.S. Department of Labor, Manpower Administration, Office of Manpower Policy, Evaluation, and Research, 1966. (Seminar address for Manpower Policy and Program, March 1966.) “The Writer in Contemporary American Society.” In Anger and Beyond: The Negro Writer in the United States. Edited by Herbert Hill. New York: Harper & Row, 1966. Pp. 62–75. “Introduction.” In Birth of Our Power, by Victor Serge. Translated from the French by Richard Greeman. Garden City, N.Y.: Doubleday, 1967. Standing Up for the People: The Life and Work of Estes Kefauver. New York: Dutton, 1972. (Biography.)

Selected Bibliography WORKS OF HARVEY SWADOS NOVELS Out Went the Candle. New York: Viking, 1955. False Coin. Boston: Little, Brown, 1960. The Will. Cleveland, Ohio: World, 1963. Standing Fast. Garden City, N.Y.: Doubleday, 1970. Celebration. New York: Simon & Schuster, 1975. The Unknown Constellations. Urbana: University of Illinois Press, 1995.

Contributor of numerous essays and book reviews to periodicals, including Atlantic, Mademoiselle, Nation, New Republic, New York Times, New York Times Book Review, New York Times Magazine, Sarah Lawrence Journal, and Saturday Review.

SHORT STORY COLLECTIONS On the Line. Boston: Little, Brown, 1957. Reprint, Chicago: University of Illinois Press, 1990 (edition cited). Nights in the Gardens of Brooklyn. Boston: Little, Brown, 1961. A Story for Teddy—and Others. New York: Simon & Schuster, 1965. Nights in the Gardens of Brooklyn: The Collected Stories of Harvey Swados. Introduction by Robin Swados. New York: Viking Penguin, 1986.

PAPERS

The collected papers of Harvey Swados are held in Special Collections and University Archives at the W. E. B. Du Bois Library, University of Massachusetts at Amherst.

BIOGRAPHICAL AND CRITICAL STUDIES ESSAY COLLECTIONS

Beuka, Robert A. “Harvey Swados.” In Dictionary of Literary Biography. Vol. 335: American Short-Story Writers Since World War II, Fifth Series. Edited by Richard E. Lee and Patrick Meanor. Detroit: Gale, 2007. Pp. 294– 304.

A Radical’s America. Boston: Little, Brown, 1962. A Radical at Large: American Essays. London: Hart-Davis, 1968.

WORKS

AS

Gottfried, Alex, and Sue Davidson. “Utopia’s Children: An Interpretation of Three Political Novels.” Western Political Quarterly 25, no. 1:17–32 (March 1962). Howe, Irving, “On Harvey Swados.” Massachusetts Review 24, no. 3:637–645 (autumn 1983). Isaacs, Neil D. Foreword and introduction to The Unknown Constellations, by Harvey Swados. Urbana: University of Illinois Press, 1995. Pp. ix–xliv. Kaplan, Mary Jo. “The Soul at 3:00 A.M.” New York Times, January 9, 2001, p. A18. Katz, Leslie George. “Remembering Harvey Swados.” Massachusetts Review 14:226–228 (1973). ———. “Thoughts After Harvey Swados.” American Journal, April 10, 1973, pp. 30–33.

EDITOR

Years of Conscience: The Muckrakers: An Anthology of Reform Journalism. Cleveland: World, 1962. The American Writer and the Great Depression. Indianapolis, Ind.: Bobbs-Merrill, 1966.

CHILDREN’S LITERATURE The King of the Thousand Islands [Agouhanna, by Claude Aubry]. Translated from the French by Harvey Swados. Illustrated by Grey Cohoe. Garden City, N.Y.: Doubleday, 1971. Bim, the Little Donkey [by Albert Lamorisse]. Translated from the French by Harvey and Bette Swados. Garden City, N.Y.: Doubleday, 1971.

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HARVEY SWADOS BOOK REVIEWS AND INTERVIEWS

Ketchum, Liza. “Becoming a Writer.” Liza Ketchum (http:// www.lizaketchum.com). Lichtenstein, Nelson. Introduction to On the Line, by Harvey Swados. Urbana: University of Illinois, 1990, Pp. vii–xxvii. Marx, Paul. “Harvey Swados.” Ontario Review 1, no. 1:62–66 (fall 1974). ———. “Harvey Swados.” In Dictionary of Literary Biography. Vol. 2: American Novelists Since World War II, First Series. Edited by Jeffrey Helterman and Richard Layman. Detroit: Gale, 1978. Pp. 475–478. Menaker, Charlotte. “Harvey Swados—Writer and World Tourist.” Rockland Independent, July 23, 1964, pp. 13– 14. Paley, Grace. Preface to Nights in the Gardens of Brooklyn, by Harvey Swados. New York: New York Review Books Classics, 2004. Shapiro, Charles. “Harvey Swados: Private Stories and Public Fiction.” In Contemporary American Novelists. Edited by Harry T. Moore. Carbondale: Southern Illinois University Press, 1964. Pp. 182–192. Swados, Robin. Introduction to Nights in the Gardens of Brooklyn: The Collected Stories of Harvey Swados. New York: Viking, 1986. Pp. x–xviii. Wakefield, Dan. New York in the ’50s. New York: St. Martin’s Press, 1999, Pp. 77–78. Wald, Alan. The New York Intellectuals: The Rise and Decline of the Anti-Stalinist Left from the 1930s to the 1980s. Chapel Hill: University of North Carolina Press, 1987. Pp. 334–343.

Cassill, R. V. “Allegory Unlimited.” New York Times Book Review, November 3, 1963, p. 30. (Review of The Will.) Feinstein, Herbert. “Contemporary American Fiction: Harvey Swados and Leslie Fiedler.” Wisconsin Studies in Contemporary Literature 2, no. 1:79–98 (winter 1961). (Interview.) Greenfield, Josh. “Yesterday on the Left: Standing Fast.” New York Times Book Review, September 13, 1970, p. 30. Herreshoff, David. Review of A Radical’s America. American Quarterly 14, no. 4:630–631 (winter 1962). Kramer, Hilton. “Harvey Swados: The Guest Word.” New York Times Book Review, March 23, 1975, pp. 260. Leonard, John. “Books of the Times.” New York Times, September 15, 1970, p. 45. (Review of Standing Fast.) Poore, Charles. “Books of the Times.” New York Times, January 6, 1955, p. 25. (Review of Out Went the Candle.) ———. “Books of the Times.” New York Times, January 24, 1961, p. 27. (Review of Nights in the Gardens of Brooklyn.) Talbot, Daniel. “Grinding Prosperity.” New York Times Book Review, January 29, 1961, p. 5. (Review of Nights in the Gardens of Brooklyn.)

The contributor wishes to thank Robin Swados, Dan Wakefield, Jules Chametzky, Miriam Reik, and Horace Komm for graciously submitting to interviews about Harvey Swados.

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BRUCE WEIGL (1949—)

Robert Bernard Hass IN HIS AUTOBIOGRAPHICAL memoir, The Circle of Hanh (2000), Bruce Weigl describes the central paradox of his life as a writer: “The war took away my life and gave me poetry in return ѧ The fate the world has given me is to struggle to write powerfully enough to draw others into the horror” (p. 6). Implicit in these sentences is Weigl’s keen awareness that his “struggle” to create art out of the anguish of the Vietnam War is in some sense a profound absurdity—a tiny, perhaps hopelessly quixotic, act of moral defiance against the tragic forces of history. This inescapable moral gesture serves as the primary impetus behind all of Weigl’s poetry—even those subjects that do not deal directly with war—and distinguishes his corpus as one of the most powerful and compelling bodies of work his generation has produced. In an interview with the poet David Keplinger, Weigl recalled that “it did not occur to me to write poems about the war for a long time.” He wondered, he said,

respects, Weigl’s first forays into writing about Vietnam seem less a case of a poet consciously choosing his subject than an act of survival choosing him. Although the specter of war lurks behind every poem Weigl writes, it would be wrong to classify him simply as a war poet. In fact, much of the strength of Weigl’s poetry issues from his uncanny ability to render an authentic portrait of life in the hardscrabble urban landscapes of his native Ohio. As an early disciple of the poet James Wright, another Ohio native, Weigl found himself drawn to the broken characters, postindustrial settings, somber themes, and clear, elegant language that had become the hallmarks of Wright’s later work. His “father confessor,” as Weigl would later call the older poet (in an interview with Brandon Dameshek, in the online journal Memorious), Wright had given voice to experiences that clearly resonated with Weigl’s own upbringing. Most important, however, Wright provided the fledgling poet with important aesthetic models worthy of emulation. Indeed, many of Weigl’s own strengths as a poet—his direct treatment of subject, his skill in open forms, his clear and sparing language, and his unparalleled gift for narrative—bear the stamp of his mentor.

why anyone would want to read about the war because it was already terrible enough, and it had already been in the press for almost fifteen years, and over forty thousand Americans and probably a half million Vietnamese had already died ѧ so I made a more or less conscious decision not to write, not even to talk about the war. (p. 147)

Nonetheless, although Weigl and Wright share several important affinities, their purposes for writing the urban landscape differ remarkably. Whereas the midwesterner Wright selfconsciously forged a postmodern aesthetic to counter the New England pastoral traditions of Robert Frost, Wallace Stevens, and Richard Wilbur, Weigl uses the urban landscape primarily as an antidote to the futility and meaninglessness of Vietnam. Though far from being a projected or idealized utopia, the urban landscape of Ohio is

Furthermore, Weigl suffered terribly from the effects of post-traumatic stress disorder, and the difficulties he describes confirm the symptoms of a syndrome that at the time was not well understood. Recurrent, horrific nightmares; a quickly failed first marriage; and struggles with alcohol and narcotics abuse suggest that one of the consequences of Weigl’s inability to write about the war was that its repressed trauma found expression in self-destructive behavior. In many

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BRUCE WEIGL strengthening perspectives. Like those of the hero in his own roman à clef, Weigl’s journeys back to Vietnam have enabled him to rewrite the narratives of his experience, to reshape the ending of a life marred by the tragedy of war, and, finally, to embrace the deeply redemptive and spiritual dimensions of life that characterize his more recent work.

for Weigl a locus wherein it is still possible for one to reclaim a moral center and rescue a life that has lost faith in the possibility of civilization. In chronicling the difficulty of lives lived in the decaying industrial wastelands of America, however, Weigl often finds in the broken and dispossessed a startling capacity to heal. If the urban landscapes of his poetry are sometimes peopled with those downtrodden by fate or thwarted ambitions, they are more often filled with hardworking men who struggle to support their families, with athletes who dream of playing college basketball on scholarships, with fathers who beat their children out of love for them, with immigrant grandparents who tell stories of the old world and its traditions, and with young women who salve pain, both their own and the pain of those they love, with a desperate and gentle lovemaking. The startling contrast of a world pregnant with meaning and a distant world defined by violence gives Weigl’s poetry its particular lyric fury and beauty. With a foot firmly planted in both worlds, he demonstrates with equal gravity the polar extremes of human behavior—not only our ingenuity for unspeakable cruelty but also our equally large capacity for love and forgiveness.

BIOGRAPHY

Bruce Alan Weigl was born on January 27, 1949, in Lorain, Ohio, to Albert Louis Weigl, a foundry worker who never graduated from high school, and Zora Grasa Weigl, the daughter of SerboCroation immigrant laborers, who worked in a meatpacking plant. Although the lack of education in Weigl’s family contributed to a childhood devoid of books and high culture, Weigl did grow up in a rich tradition of storytellers, and he often spent long hours around the coal stove with his sister, Cheryl, listening with wonder to his parents or grandparents’ tales. Often infused with a dark comedy that transformed the mundane into the miraculous, the stories he heard were rites of passage that were not to be taken lightly. As Weigl recalls his upbringing, storytelling was not simply an entertaining diversion but an important means of coping. A good story in the hands of an expert who could pace the tale properly helped shield the men and women who told them from the mind-numbing monotony of hard labor in the steel mills. The stories he heard from his father and grandfather usually centered on conflict or struggle, their morals designed to teach a young boy how better to be a man and fight for what he wanted or what he had earned. In particular, Weigl’s maternal grandfather, Ivan Grasa, with whom Weigl spent significant time as an adolescent, had a particular gift for reinforcing the masculine ethos necessary for a boy to survive in the tough neighborhoods of Lorain. Often told between shots of whiskey, his grandfather’s vivid stories—compelling narratives that told of his flight from the Balkans, of fistfights with neighbors, of the time he held a doctor at gunpoint to ensure the safe delivery of his daughter—

Weigl’s own yearning for peace has led him on a continual journey home from a war from which he can never fully return. Although the soldier’s homecoming is a literary motif as old as Homer, Weigl is no Odysseus, and the general trajectory of his life and career suggests that finding a secure and lasting peace under the olive trees of Ithaca has remained an elusive ideal. Forever burdened by both the guilt of survival and the memory of the dead, Weigl’s homecoming rather resembles that of Tennyson’s Ulysses. Perpetually striving and seeking, Weigl, once home, has felt compelled to journey out again, to return both literally and figuratively to Vietnam and the site of his original trauma. First as a translator of captured war documents and later as an adoptive father of his Vietnamese daughter, Weigl’s repeated encounters with a Vietnam far different from the war-torn land he experienced at eighteen have culminated in several “homecomings,” each of which has provided him with

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BRUCE WEIGL training in Fort Knox, Kentucky, and only six months removed from his high school graduation, he would find himself in the jungles near An Khe, a soldier in the First Air Cavalry, embroiled in the war that would forever change his life.

sometimes frightened the young Weigl even as they initiated him into the world of adulthood. The stories Weigl heard from his mother and grandmother differed significantly. Zora and Anna were deeply spiritual women who participated fully in the life and traditions of the Catholic church, and their stories were filled with the miracles of ritual and tended to focus more on themes of healing and virtue. If Ivan frequently revised his stories, telling them each time from a different angle, Anna and Zora stressed accuracy and the necessity of telling the story right so that others would never doubt the veracity of the teller.

FIRST HOMECOMING

After completing a harrowing one-year tour of duty, for which he received the Bronze Star for “meritorious service in ground operations against hostile forces,” Weigl returned to the United States and spent the remaining year of his military service at the Redstone Arsenal in Huntsville, Alabama. Among military personnel, Weigl sought fellowship with those who had also seen combat and, feeling safe among those who might understand his dislocation, continued to function within the familiar rituals and procedures of military life. Life changed, however, when Weigl received his honorable discharge in 1970 and returned home to Lorain. Removed from the saving kinship of fellow veterans, and unable to reintegrate into the working-class society he had left only three years earlier, Weigl’s life spiraled uncontrollably into self-destructive behavior. As Weigl recalls his first homecoming in The Circle of Hanh, his actions seemed to emanate from an uncontrollable need to “put [his] life in jeopardy” (p. 154), as if risk might somehow resurrect the intense emotions he had once felt during the height of battle. He sought refuge in narcotics and women, and began a battle with insomnia that lasted for the next decade. One of the first casualties of his behavior was his marriage to Linda Izold, a Lorain resident whom Weigl had met while still in the army. At the age of twentyone, Weigl found himself alone, with no prospects, working the middle shift from three to midnight in a local gas station, and living, as he describes it, in a “zone between being and not being” (p. 156). Weigl had a vague notion that he might one day like to be a teacher, and in the winter of 1970, as a beneficiary of the GI Bill, he enrolled as a freshman at Lorain County Community College. Although he had never before devoted

Weigl’s saturation in the stories of his family had a profound effect on the type of poet he would become. Many critics have lauded Weigl’s narrative ability, and although he describes himself as a post-Romantic lyric poet, American poetry has not produced a more gifted storyteller in verse since Robert Frost (who died in 1963). Weigl’s searing accounts of tragic events, his refusal to gloss over the graphic details of violence, his confessional impulse, and his compulsion to tell stories right serve as living testimony to the way his mother and father’s stories helped shape the artist he would eventually become. In high school, however, as a youth who stood over six feet tall and was possessed of stunning good looks, Weigl eschewed books and scholarly studies (he once confessed he never read a complete book in high school) and instead chose to prove himself on the football field and basketball court. For a young man with little or no money to attend college, the one chance available for escaping the mills was to earn an athletic scholarship. By the time he graduated from Admiral Ernest J. King High School in the spring of 1967, however, Weigl realized that his marginal athletic success would never lead him to a life beyond the mills. In fact, by the time he was a senior, he had stopped playing sports altogether. With no money and even less hope that he might escape the life his father had led, two weeks after his eighteenth birthday Weigl took the “free ride” (The Circle of Hanh, p. 5), as he describes it, and enlisted in the U.S. Army. After completing basic

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BRUCE WEIGL variety of forms, including the nascent and forward-looking prose poem. Lux, in particular, urged his student to write about his Vietnam experience, and as a result of his prompting, Weigl composed “Him on the Bicycle,” which he later described as his first “more or less accomplished poem about the war” (Keplinger, p. 148). By far, the most important relationship he cultivated while an undergraduate at Oberlin, however, was one that had nothing whatsoever to do with literature or writing. In the early summer of 1971, Weigl was introduced to an art major, Jean Kondo, by a mutual friend. The daughter of Japanese immigrants who had been interned in the California concentration camps after the bombing of Pearl Harbor, “Jeanie” eventually became Weigl’s wife and lifelong partner. One of Weigl’s most famous poems, “Song of Napalm,” first published in The Monkey Wars (1985), is in part a moving tribute to Jeanie’s willingness to stand by him even though the memory of the war returns again and again to bring pain to them both. In lines that vividly juxtapose the brutality of collateral damage with the devotion of two people who have been in love for a long time, “Song of Napalm” works as a palimpsest, with the texts of home, marriage, and Vietnam merging and playing off one another:

himself to his studies, Weigl’s life-changing reading of Fyodor Dostoevsky’s Crime and Punishment while he was convalescing in a hospital near An Khe had opened his mind to the possibilities of language and expression; thus, when deliberating a potential course of study, Weigl gravitated toward books. Weigl’s love of literature flourished during his time as a student at LCCC, and by the time he was ready to matriculate in a baccalaureate program, he was convinced that a curriculum in literature and writing might help him make sense of his own experiences. Oberlin College, with its close proximity to Lorain and its long history of progressive education, seemed like a logical choice, and in the winter of 1971, the one-time ne’er-do-well student found himself studying in the rarified atmosphere of one of the finest liberal arts colleges in the country. At Oberlin, Weigl discovered Walt Whitman and John Keats and found in these Romantic poets an authenticity he had not heard in other writers he studied. Whitman’s visceral accounts in Leaves of Grass of his days tending wounded Union soldiers in Washington were particularly eye-opening for Weigl. Not only did Whitman’s poetry expose Weigl to the expansive possibilities of the free-verse line, but he also learned from Whitman how one might endure personal suffering by moving beyond self-concern and expressing a genuine care and empathy for others. Keats, on the other hand, showed Weigl that a poet could open himself to the beauty and mystery of the ineffable without resorting to an “irritable reaching for facts.” This continual state of open-mindedness, a condition Keats called “negative capability,” provided Weigl with an aesthetic theory that might help him refine the impressionistic, surreal technique of his early war poetry.

So I can keep on living, So I can stay here beside you, I try to imagine she runs down the road and wings Beat inside her until she rises Above the stinking jungle and her pain Eases, and your pain, and mine. But the lie swings back again. The lie works only as long as it takes to speak And the girl runs only as far As the napalm allows Until her burning tendons and crackling Muscles draw her up Into that final position Burning bodies so perfectly assume. ѧ

Oberlin provided Weigl with teachers who gave him the liberty to find his own voice and explore ways to incorporate into the postmodern line the lessons he had learned from Whitman and Keats. In addition to Stuart Friebert and David Young, longtime faculty members and editors of the university’s influential journal Field, Thomas Lux guided Weigl through his early poems and encouraged him to experiment in a

(p. 47)

Nearly surreal in its presentation, “Song of Napalm” concentrates into one poem many of Weigl’s most important techniques. The contrasts

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BRUCE WEIGL poetry at Oberlin, by the time he got to New Hampshire he had found himself questioning an art based on the suffering of others. As Weigl recalled in an interview with Brandon Dameshek for Memorious, however, “Charlie Simic told me ѧ that the world had given me a subject, and that I could not be a writer and turn my back on that subject. I listened to him.”

between past and present, the searing, precise diction, and the sharp variation in taut lines— broken in points that disrupt syntactical expectation—reinforce the hallucinogenic terror of memory and nightmare. The dream of the girl’s salvation is fleeting, suggesting that for Weigl the poetic imagination is limited in its capacity to transform and save one from the horror of actual events. The poem, however, does not devolve into total despair, and Weigl’s attempt to find the redemptive moment in the midst of sorrow reiterates one of his familiar idiosyncratic gestures. Although the poem ends with the poet’s almost fatalistic resignation that the best he can do is to accept stoically the conditions of an absurd fate, Jeanie’s presence in the poem—indeed, the image of two courageous people who will confront tragedy together—suggests that healing can occur but that its evolution will be a process of small, incremental steps and will depend not only upon the power of the poetic imagination but also upon time and the sustained love of others.

From New Hampshire, Weigl spent a year teaching at Lorain County Community College and then continued his graduate studies at the University of Utah, where he received his PhD in creative writing in 1979. Although Weigl had already published two chapbooks, Executioner (1976) and A Sack Full of Old Quarrels (1976), he entered the program at Utah primarily because he felt deficient in his reading knowledge of the canon and did not quite know how to place himself within the traditions of English and American poetry. Studying with Dave Smith, who was only a few years his senior, Weigl encountered a poet whose own prosody was much more closely aligned with the formal, metrical traditions of English poetry. One outcome of Smith’s influence is that Weigl developed a newfound self-discipline and learned that great writers were people who wrote when they were not inspired. An equally important benefit of Smith’s teaching was that Weigl’s free-verse prosody matured. Under Smith’s guidance, Weigl’s rigorous apprenticeship in the technique of formal prosody paradoxically taught him to pay more conscious attention to the choices that govern the line in free-verse poetry. As a result, his lines became clearer, more syntactically varied, and the structure of his narratives grew into more tightly crafted thematic units. By the time Weigl left Utah for his first teaching appointment at the University of Arkansas, he had matured from a poet of instinct into a poet of both instinct and fine craft.

After Oberlin, Weigl was accepted into graduate school, and he and Jeanie moved north to the University of New Hampshire, where Charles Simic was establishing a reputation as one of the country’s most original and important poets. Weigl chose to study with Simic for reasons that, in hindsight, seem obvious. Not only did the two share an ethnic heritage (Simic immigrated from Yugoslavia in 1954), but, like Weigl’s, Simic’s early life had been forged by the experience of war, particularly the invasion of Germany during World War II and the Nazis’ subsequent expulsion from Yugoslavia by forces commanded by Marshal Tito. A keen student of history who drew upon his experiences of wartorn Belgrade to express modern angst, Simic was in many respects a kindred spirit who taught Weigl to trust his artistic hunches. In his own writing, Simic displayed a fondness for surreal images, and he cultivated a minimalist technique that allowed him to view human tragedy with a detached and saving irony. Both of these skills he passed on to Weigl. Perhaps Simic’s greatest influence, however, is that he urged Weigl not to turn his back upon the war as an acceptable subject. Although Weigl had dabbled in war

Soon after Weigl graduated from Utah, his first full-length collection of poetry, A Romance (1979), was selected for publication in the prestigious University of Pittsburgh Poetry Series. Comprising both new poems and several from Weigl’s previous chapbooks, A Romance chronicles its main character’s search for mean-

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BRUCE WEIGL A Romance is not completely devoid of hope, however, and occasionally a memory of his hometown, Lorain, before the war temporarily stabilizes the book’s antiheroic adventurer and offers him brief moments of respite. Although some of the poems in this book, such as “A Romance” or “The Man Who Made Me Love Him,” depict domestic scenes of violence or rape, other accomplished poems such as “The String Quartet,” “Milk Prose,” “The Harp,” and “Anna Grasa” focus on love and the healing capacity of family. As T. R. Hummer noted in his review of A Romance for Western Humanities Review, love and hate exist as corollaries of each other and insert themselves in a variety of unexpected ways into the worlds of war and peace. The structure of A Romance, with its alternating lyric and narrative poems, confirms Hummer’s assessment. A terror-filled poem such as “Convoy,” for example, is immediately followed by the comforting “Milk Prose,” in which a young mother, who has spilled the milk she has just brought in from the fields, makes a ladle of her hands and dips as much as she can from the pail to feed her son:

ing in a world shattered by war. Unlike the noble adventurers of the traditional medieval romance, however, the characters in Weigl’s first book wander from trial to trial with little hope of spiritual fulfillment. Weigl’s personae, who often seek solace in one-night stands with strangers, symbolize the depravity of an entire generation that has lost its bearings in the wake of Vietnam. The most haunting poem in the book, “Monkey,” exemplifies this theme of dislocation. In this poem, a speaker, presumably the veteran antihero of these interlocked vignettes, has lost all sense of direction and repeats a mantra of personal pronouns in an effort to reintegrate into society. The mantra of pronouns, however, quickly deteriorates into a collage of nightmare images. As the poem’s title implies, the speaker cannot calm “the monkey”—that is, he cannot bring stillness to his restless state of mind, known as the “monkey mind” in Buddhism: I am you are he she it is they are you are we are. I am you are he she it is they are you are we are. When they ask for your number pretend to be breathing. Forget the stinking jungle, force your fingers between the lines. Learn to get out of the dew. The snakes are thirsty. Bladders, water, boil it, drink it.

When the milk spills she twitches. She doesn’t stop. She sets the milk in front of me, rolls the sleeves of her dress, brushes back her hair, goes to her knees and dips milk with cups she makes with her hands. She is beautiful when she does this. After three or four drinks she lifts the dress, wipes my mouth. (p. 24)

The tenderness with which the mother tends to her child is typical of the way women function in all of Weigl’s poems. Although fathers and comrades are equally capable of such magnanimous gestures, it is the women in Weigl’s poems who most often serve as the vehicles of a projected hope and redemption. Weigl’s next two books bring the war and the difficulties of homecoming into even bolder relief. Starker and more uncompromising in their vivid portrayal of the war, The Monkey Wars (1985) and Song of Napalm (1988) also brought Weigl national acclaim as a major poet. Written while juggling his teaching duties (he accepted faculty positions at the University of Arkansas and, later, at Old Dominion) and the obligations of fathering his young son, Andrew, who was

(p. 15)

Although the critic Emily Grosholz complained in the Hudson Review that Weigl’s lineation in A Romance seemed severely truncated, the terse, foreshortened lines are exactly appropriate. As the opening mantra of “Monkey” indicates, the poem is an attempt to calm the “monkey mind” through meditation. The wild fluctuation of images, phrases, and freely associated thoughts, embedded in quickly oscillating lines, reinforce the idea that the speaker cannot remain focused in the present. Swinging back and forth between memory and desire, past and present, like a wild monkey swinging from branch to branch in a tree, the speaker seems trapped in an endless cycle of inescapable suffering.

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BRUCE WEIGL born November 16, 1980, The Monkey Wars and Song of Napalm stand as authentic war poetry that fully display Weigl’s gift for narrative. Although finding adequate figuration to represent either the scale of the destruction or the vast number of wartime casualties seems an impossible task for a poet, Weigl successfully isolates specific moments so that the narratives of singular events function to tell a much larger story. Each narrative poem functions like a synecdoche, with linked stories building upon each other so that their cumulative effect begins to convey the magnitude and intensity of horrific events. In Weigl’s hands, the poetic vignette seeks to clarify the incomprehensible, so those who were not in Vietnam in 1968 (the year of the monkey and the Tet Offensive) might better understand the futility of the American involvement in the war.

As if she thought it were a joke And the guy with me laughed And fingered the edge of another can Like it was the seam of a baseball (p. 18)

This poem is not so much a description of one particular event as it is a metaphor that describes the inevitable moral ambiguity that emerges from war. In an environment devoid of battle, the soldier’s cruelty would certainly elicit moral condemnation. In a region torn by war, however, such moral judgments are difficult, if not impossible to make. Although the narrator grits his teeth, he does not condemn the soldier’s actions, nor does he attempt to stop him. As a victim of the war himself, he understands that the soldier’s deliberate cruelty could be either an appropriate act of precautionary self-defense or an act of uncontrollable rage that has reached the breaking point. More alarming is the idea that cruelty is not limited to the soldier but has pervaded the native culture as well. In one of the most haunting moments in the poem, the girl’s brothers and sisters fight with her for the food they desperately need. The sinister smiles on both the soldier and the girl join them together in a macabre dance that makes it impossible to discern their true emotions or motives. In only twenty-three lines, Weigl moves beyond the boundaries of the tale to elucidate the idea that the greatest tragedy of war is that it so severs the basic bonds of human relationships that even the youngest and most vulnerable in society fall victim to, and thus perpetuate, a contagious appetite for violence. “Burning Shit at An Khe,” another strong poem in The Monkey Wars, demonstrates how Weigl’s narratives sometimes turn inside out as his metaphors evolve into multiple symbolic possibilities that merge the personal and the political. A lengthy free-verse monologue, the poem meditates upon the repellent duties soldiers must perform to keep the engines of war running smoothly. The narrator has been assigned the vile task of burning human excrement, made even more difficult because the wind from circling helicopters continually blows out the match he will use to light the oil-soaked feces. Just as in the Iliad, when the gods unexpectedly intervene

One of the most accomplished narrative poems in The Monkey Wars, “The Last Lie,” for example, uses a tiny incident to explain the consequences of a world in which pervasive violence has destroyed moral boundaries. One of the problems American soldiers confronted while fighting in Vietnam was the inability to distinguish friend from enemy among the native population. For instance, Vietnamese children, ostensibly begging for food, might approach an American convoy, only to lob a grenade into the back of a truck, killing or wounding all of the passengers. “The Last Lie” tells the story of two soldiers who confront this dilemma. As he rides in the back of a slowly moving convoy, one soldier hurls a can of c-rations at a young girl so hard that the force of the blow stuns her “backwards into the dust of our trucks.” As the truck departs, the narrator, the one who witnesses and attempts to interpret the act, sees the girl Waving one hand across her swollen, bleeding head, Wildly swinging her other hand At the children who mobbed her, Who tried to take her food. I grit my teeth my teeth to myself to remember that girl Smiling as she fought off her brothers and sisters. She laughed

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BRUCE WEIGL to protect or support their beloved heroes, so the helicopters, the only gods left in the forests of Vietnam, seem to toy with the speaker, making him an absurd instrument of fate:

with the very excrement he would like to burn. Fate, however, will not allow him the opportunity to erase himself. In a stunning reversal of the Gospel of John, in which the apostle describes creation with the phrase, “In the beginning was the word,” by the end of this poem, the war has so fully stripped creation and civilization that it ends where it began, with nothing but “one word.” While The Monkey Wars and Song of Napalm deal more directly with the war than did Weigl’s earlier books, several domestic poems in these books occasionally intervene to remove us from the jungles of Vietnam. One of the most beautiful and tender poems is “Small Song for Andrew,” which, beyond all other poems in The Monkey Wars, shines forth as a slight beacon of hope. In a poem describing the obligations and joys of fatherhood, Weigl transforms the jungles of Vietnam into a “jungle” of “indulgences” (p. 39) as he searches for ways to calm his crying infant. For a man who has witnessed such horrible events, bringing a child into the world is in itself an act of triumph, and Weigl closes the poem with a Romantic belief that, at birth, a child is perfect until corrupted by civilization. Weigl underscores his son’s primal virtue in the poem’s concluding lines:

I’d grunted out eight months Of jungle and thought I had a grip on things But we flipped a coin and I lost And climbed down into my fellow soldiers’ Shit and began to sink and didn’t stop Until I was deep to my knees. Liftships Cut the air above me, the hacking Blast of their blades Ripped dust in swirls so every time I tried to light a match It died (p. 11)

As the vignette progresses, the word “shit” acquires new symbolic meanings that signify the futility of the American occupation of Vietnam. The fact that “it just kept piling up / and it wasn’t our country” (p. 10) suggests that failed military and political policy have compounded the error of going to war in the first place, and, as the narrator gags on the smell, he feels compelled to flee from a situation that has become psychologically unbearable: And it all came down on me, the stink And the heat and the worthlessness Until I slipped and climbed Out of that hole and ran

And he is more beautiful Than the light Before the light has touched anything

(p. 11)

(p. 39)

As the poem closes, the speaker who has desperately sought escape realizes that the web of fate has entangled him so completely that he has no choice but to lie down and

Other domestic poems, however, shatter that Romantic optimism. “Snowy Egret,” for example, counters “Small Song for Andrew” by dispelling Jean-Jacques Rousseau’s notion that an immersion in nature can save childhood from the corrupting influences of society. In a perfectly paced narrative, Weigl relates the story of a remorseful boy who has killed a snowy egret with a shotgun. Caught in the confusing years between adolescence and adulthood, the boy has been a victim of his father’s fists, which have often “crash[ed] down on him,” and he fears that if his father finds out about the killing, more harm will follow:

[ѧ]finger paint the words of who I am Across my chest Until I’m covered and there’s only one smell, One word. (p. 11)

The literal, which has metaphorically evolved into the political, concludes as an image of personal self-loathing. The seasoned soldier who has endured combat for eight months collapses under the weight of history and covers himself

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BRUCE WEIGL The boy doesn’t hear me come across the dewy grass. He says through tears he has to bury it, He says his father will kill him And he digs until the hole is deep enough and gathers The egret carefully into his arms As if not to harm the blood-spattered wings Gleaming in the flashlight beam.

SECOND HOMECOMING

Although Weigl’s reputation rests firmly on his unflinching depictions of war, much of his work in midcareer offers his readers the redeeming language of emotional and spiritual healing. Weigl’s attempts to move beyond the war might not have been possible, however, had he not returned to Vietnam in the winter of 1985 with his fellow poets John Balaban and W. D. Ehrhart to observe the country rebuilding itself in the aftermath of the war. Spending nearly a month touring the country with his American friends and with Vietnamese guides, Weigl saw firsthand the devastating consequences of the war for Vietnam. Particularly moving were his visits to Vietnamese orphanages, where he met hundreds of children who held no hope of adoption. Equally moving were his visits to the country’s rebuilt factories, some of which had been specially equipped with new machines that could be operated by amputees. By far, the most profound consequence of Weigl’s return to Vietnam was that for the first time he was able to see Vietnam as a country at peace. Mingling with artists, soldiers, and important political dignitaries, Weigl could walk through Vietnamese towns and villages without fear. During this time, Weigl’s recurring nightmares miraculously stopped, and he was able to write about Vietnam in a way that had once been impossible. “Dialectical Materialism,” for example, one of the last poems in Song of Napalm, marks a significant turning point in Weigl’s career. Taking its title from the Marxist view that matter is the subject of change, and change a conflict of opposing historical forces, “Dialectical Materialism” shows us the antithesis of a wartorn Vietnam. Here, a country once exploited by the forces of Western imperialism has transformed itself into a liberated Communist country that has expelled its enemies and finally found peace:

(p. 44)

The narrator, presumably Weigl himself, knows all too well that violence begets violence and, though he wants the boy to confess that his killing was intentional, he understands the boy’s sorrow and can do nothing but hold him: If I let go he’ll fly to pieces before me. What a time we share, that can make a good boy steal away, Wiping out from the blue face of the pond What he hadn’t even known he loved, blasting Such beauty into nothing. (p. 45)

Beautiful birds find their way into Weigl’s poetry often. Soaring ospreys, crows, herons, and egrets are the species most often mentioned, their graceful flight patterns usually functioning as metaphors for the desperate urge to escape. The death of the snowy egret thus carries with it a more ominous symbolic significance. Although the poem is set in Virginia, where tranquility and job security should ease former fears, the war returns again and again to disrupt domestic harmony. This time, however, flight seems nearly impossible, as the imagination itself has destroyed one of the available saving motifs that it alone has been capable of conjuring. In an interview with Harry Humes in 1995, Weigl mentions in his comments on “Snowy Egret” that he wasn’t aware the poem was about the war until his friend Reginald Gibbons suggested that in fact it was. It was only then that Weigl realized that his way of seeing the world would forever be clouded by the lenses of war: “I no longer see the world in the way I saw it before the war experience. Sometimes I try not to let it inform my work so heavily, but I am not afraid of trading on it because it is something I earned” (p. 9).

Through dark tenements and fallen temples we wander into Old Hanoi, oil lamps glowing in small storefronts and restaurants where those, so long ago my enemy, sit on low chairs and praise the simple evening. (p. 66)

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BRUCE WEIGL write poetry with an eye toward redeeming others around him. Indeed, a succession of major books—What Saves Us (1992), Sweet Lorain (1996), Archaeology of the Circle: New and Selected Poems (1999), After the Others (1999), and The Circle of Hanh (2000)—reveal a poet gradually transitioning from grief toward acceptance and, finally, toward a personal reconciliation with the war. The 1990s were also significant years for translation projects. Having already edited collections of critical essays on Charles Simic (1996), Dave Smith (1982), and James Dickey (1984), Weigl expanded his repertoire with major translation and anthology projects, several of which were collaborative efforts with other Vietnamese writers. Such prolific output earned Weigl promotion to full professor at the Pennsylvania State University (where he had accepted a junior faculty position in 1986) and distinguished him—as the poet Denise Levertov offers praisingly on the back jacket of What Saves Us—as “one of the best poets now writing in America.”

Although the critic Logan Speirs complained that the chief deficiency of Song of Napalm is that Weigl lacked “an interest in other people, whether fellow soldiers or Vietnamese” (p. 62), such a critique ignores the fact that this poem clearly gestures away from the self and toward his former enemies in an effort to understand them. The poem also nods to Marx’s idea that class struggle propels history, and it ends with the wealthy American guests posing a question to a lone farmer who has “nothing”: When we ask our questions he points to a stone and stick house beyond the dikes one thousand meters from the bridge our great planes could not finally knock down. He doesn’t say how he must have huddled those nights with his family, how he must have spread himself over them until the village bell called them back to their beds. (p. 67)

In all of Weigl’s books written in the 1990s, images of healing and forgiveness stand beside images of war or brutality to remind us that, even in the midst of personal despair, the lessons of love return in moments of crisis to save one from total collapse. The memory of a time before the war also plays a large role in Weigl’s personal salvation, and he consistently evokes images from childhood to brace himself against the onslaught of a war that has continued for him long after peace has been concluded. Nowhere is this poetic gesture more evident than in What Saves Us and Sweet Lorain. Although Weigl’s childhood is an imperfect realm that often reinforces many of the damaging martial values that lead to war, it is also a realm where love and tenderness emerge to salve pain. In his attempt to reach psychological equilibrium, Weigl often returns through memory to specific moments that demonstrate our capacity for love and sacrifice. Poems such as “Why We Are Forgiven,” “Anna’s Grace,” and “The Years Without Understanding” (in What Saves Us) and “The One” (in Sweet Lorain) remind readers that, even if imperfect, family,

The image of the man protecting his family during a bombing implies that the poet recognizes a bond of shared suffering for which both men have been partially culpable. Despite the speaker’s obvious sympathy for the man, however, he is well aware that a gulf of cultural differences still exists between them. That the Vietnamese man cannot answer the speaker’s questions in a satisfactory manner suggests that he, unlike his American counterparts, knows that finding a logical explanation for the war is a futile endeavor. The poem also implies that when one is embedded in historical forces so strong and the individual is powerless to thwart them, silence is perhaps the only way for one to achieve a personal peace. The 1985 trip and subsequent encounters with a Vietnam at peace had a profound impact on Weigl’s writing thereafter. As he frequently returned to Vietnam—over ten times, as a guest of various dignitaries and writers—Weigl began to cultivate an aesthetic in which he gradually moved beyond combat as his primary subject to

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BRUCE WEIGL heritage, and time can help heal even the deepest of wounds. “Why We Are Forgiven” is a fine example of the healing capacity of memory. A free-verse lyric that juxtaposes the economic decay of contemporary Lorain, Ohio, with a clear memory of Weigl’s father coming home from work, the poem recreates a domestic utopia in which the father nurtures his growing boy by cradling him in his arms after a grueling day of physical labor. The “mill dust and red slag grit” that “is blood for some people” reinforces traditional gender roles and signifies men’s desires to provide for their families. That they can no longer perform such acts of labor and are reduced by a poor economy to “shopping / for their working wives” signifies a humiliating emasculation. The honor they once felt while twisting “bands / until their fingers would not open in the morning” (p. 55) is no longer available. Weigl laments the loss of their self-sacrifice and compensates for the diminishment of the truly heroic by resurrecting his father in that traditional role:

who are most vulnerable depend for their well being upon a stable and enduring presence in their lives: I pull my own son’s blankets back and speak to him: how nice a dry bed will be, how good to get up without a fuss and go. I lift him to stand, his penis a wand waving its way magically before us, and something makes sense for once in my head, the way that what we pass on is not always a gift, not always grace or strength or music, but sometimes a burden, and we have no choice but to live as hard as we can inside the storm of our years (p. 59)

Another saving feature of Weigl’s poetry from this period is an increasing emphasis upon nature as a site for healing. Although images of nature never figured prominently in his poems about rust-belt America, Weigl’s immersion in the woods and streams around Penn State enabled him gradually to see the local forests as a resource for meditation. An avid fly-fisherman, Weigl often evokes the image of the river; it is one of his favorite symbols for the continuation of time, the interconnectedness of all organic life, and the profound aesthetic beauty that exists independently of the human imagination. Surprisingly, as Weigl more deeply engaged the local environment around him, his poems from this period also became more formal. Traditional sonnets, frequent internal rhyme schemes, and a lengthening of poetic lines figured more and more prominently in the poems, reflecting the intricacies of the natural forms he observed around him. “The Idea of Form at Spruce Creek,” from his collection After the Others, serves as a perfect example of the way an immersion in nature reminds one that all creatures on earth are connected by a kindred suffering. As the title of this book suggests, After the Others’ main theme examines the consequences of our “fall” from grace (and by metaphorical implication Weigl’s expulsion from Lorain into Vietnam). Our loss of Eden is compensated, however, by the gift of consciousness, which for Weigl means that ignorance and knowledge, amnesia and memory, violence and redemption simultaneously occupy each moment of experience and interact with

Those evenings when he touched me, those lingering hours after work and beer when he reached down into the nowhere my fear invented I would come alive. I would be drunk with joy and in my small bed I heard the ore boats call from the river and the railcars couple in the roundhouse and the ringing hammer voices of the night-shift workers sing us free. (pp. 55–56)

The necessity of domestic responsibility also figures prominently in many of Weigl’s poems about his own children. In “The Confusion of Planes We Must Wander in Sleep,” Weigl investigates fatherhood from his own perspective, yet he abandons his own father’s frequently cited preference for the belt in favor of a more gentle methods. Here, in comforting his own small son who has wet the bed, Weigl’s actions imply that one way to save the self from acts of selfdestruction is to focus upon loved ones. Those

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BRUCE WEIGL each other in complicated ways. If violence at one moment preoccupies thought, one way to mitigate its harm is to focus on its redemptive corollary. Simply changing one’s focus can yield a saving change in perception. In the “Idea of Form at Spruce Creek,” Weigl deliberately chooses to focus on the trout holding fast in the current:

I see it flash until the hungry, white wings disappear. (pp. 16–17)

In its retreat, the trout transforms itself into a totemic animal that protects the speaker as he observes it. The poet’s observation of the trout’s resilience obligates him to endure as well. Although danger persists everywhere and can appear at any moment (especially in the aftermath of war) he, like the trout, will remain passive and retreat until moments of danger pass.

Brown trout thick as forearms quiver themselves cool in what current’s left of late summer drift.

THE CIRCLE OF HANH

For nerve-twitched mayflies to float precisely overhead,

The major themes of After the Others would evolve into the dominant structural principle of Weigl’s first major prose effort, his autobiographical memoir, The Circle of Hanh (2000). Widely hailed as one of the most important memoirs ever to have emerged from the Vietnam experience, The Circle of Hanh argues, almost from its beginning, that the act of storytelling is not merely the expression of a life history but rather a lifesaving event that enables one to clarify abstract experiences by objectifying and controlling them through language. In this memoir, as in After the Others, Weigl attempts to reconcile the two large stories in his life. The first is his upbringing in Lorain, Ohio, and the second, his long homecoming from the Vietnam War, which culminates in the adoption of his daughter, Hanh. As one might suspect, the borderline between these two halves is his combat experience, which remains conspicuously absent from the narrative.

they wait, or they won’t eat at all. (p. 16)

The fish hovering in the current metaphorically represents the courage it takes for one to hold fast against the onslaught of strong, external forces over which one exerts little control. The poem also reveals that, after the “fall,” one of the primordial laws governing the universe is competition. As the trout would prey upon hatching mayflies, so do they in turn potentially become prey for the osprey circling aloft. The chief difference between human and natural competition, however, is that necessity rather than malice determines natural action. Nevertheless, after the “fall,” no creature is immune to danger, a fact that is oddly comforting to the speaker, and the strategic retreat of the trout teaches him how to evade rather than confront danger directly:

Part of Weigl’s refusal to convey the vivid details of battle is undoubtedly a reluctance to resurrect the most painful experiences from his past, and he warns us right from the beginning that “some things need to stay buried deep” (p. 1). The war in its absence, however, paradoxically becomes more conspicuously present and functions more powerfully as a phantom antagonist. Readers see the war’s impact on Weigl most forcefully in part 7, simply titled “Before and After,” where a series of startling, poetic juxtapositions conveys the emotional dissonance between pre- and postwar worlds. In

All morning long I watch one, suspended alone and careful, until the osprey comes before I hear its shriek or hollow wing-bone dive. It’s the trout who tells me the hawk is near, when under dark and weedy cutbank

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BRUCE WEIGL perhaps the most heart-wrenching moment in the entire book, Weigl’s before-and-after method tells the story of the death of his commanding officer. The moment is one of the few times in the book that Weigl conveys the details of combat, and the effect of the passage is that it functions as a powerful synecdoche to reveal the colossal magnitude of the war:

stories that follow is that, unlike harrowing moments in the jungle, during times of crisis, family members rally around each other to mitigate the pain they sometimes inevitably inflict upon each other. If, for example, Weigl tells the story of his father’s stern hand with the belt, he immediately counters that narrative with one that shows his father in a much more noble light, as he holds, tends, or teases his son.

When his coughing and gurgling got loud and sounded like it came from deep in his chest, I suddenly put my mouth over his neck where the shrapnel had torn a hole. I hadn’t thought about it. I found myself trying to suck the blood from his throat and lungs before I realized what I was doing. I remember that the other boys looked at me with such a great sadness that I thought they wanted me to stop. I know now that they thought it was too late and they were sad because they saw that I didn’t know. I began to suck the blood out of the Captain’s throat. I thought that if he could breathe again, he’d have a chance.

Weigl devotes more than twenty pages of the first half of the book to a long, impressionistic account of childhood sexual abuse at the hands of a babysitter named Sharon. He clearly means to link these memories thematically to later events, as if to show his readers that the lessons of childhood trauma play themselves out over and over again in subsequent actions. In describing the abject powerlessness he feels during his encounters with Sharon, Weigl is filled with a self-loathing that makes him physically sick; “and then,” he writes, “I’d acquiesce in a way I’d learned in order to survive, which is the acquiescence of the fearful” (p. 63). When juxtaposed against events in the second half of the memoir, this coping mechanism asserts itself over and over again both to attract and save the poet. Even as Weigl finds battle abhorrent, for example, he exhibits at times a morbid fascination with combat and the destructive power of weaponry. In other passages, Weigl seeks out casual sexual encounters even though he knows those brief connections will be devoid of intimacy or emotion. In the “After,” despite his many attempts to find people who can save him from the burden of guilt, very few, save his immediate family, emerge to protect him. Stoic acquiescence is thus throughout much of this book a familiar coping method. Of course, the adoption of Hanh is the most compelling narrative in the book, and Weigl is careful to “encircle” all of the book’s violence within this larger, hopeful storyline. As Weigl carefully renders the difficult step-by-step procedures he had to follow to ensure his daughter’s adoption, we realize that, without the intervention of several courageous Vietnamese strangers, the adoption would never have taken place. In particular, Nguyen Thanh Nam, the former airport

In the before, the injured and beaten had always had a chance. In the after, Captain Carter died in our arms. (p. 130)

Obviously, nothing more is needed for the narrative to reveal such stunning pathos; in fact, including more vivid scenes such as this, as Weigl well knows, might effectively desensitize readers to the violence. For Weigl, such desensitizing would reduce the story’s power to establish its emotional connections, thus diminishing further the narrative’s capacity to warn others against the impulse to make war. The violence that pervades the prewar section of The Circle of Hanh might suggest that the contrasts between the before and the after are not so clear. In some early sections of the book, Weigl reveals childhood memories of isolation or terror that resonate with similar stories later on. Careful renditions of his father disciplining him with a belt, brief accounts of his own loneliness when his parents are too tired from work to attend to him, and a detailed rendition of his grandfather’s terror-inducing exploits indicates that, for Weigl, war is not a prerequisite for people to behave poorly toward one another. The difference between these stories and the postwar

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BRUCE WEIGL manager for Air Vietnam in Hong Kong, emerges as a heroic figure willing to risk his livelihood to help secure the adoption. His part in the story testifies to the power of forgiveness, as two former enemies cooperate to solve the problem of a bureaucratic muddle involving Weigl’s visa. Weigl’s gifts as a storyteller are crucial, too, as he convinces Mr. Nguyen to let him board the last plane to Hanoi so he can get to the orphanage on time:

or returned, that I’d never thought about adopting a Vietnamese child. (pp. 174–175)

Miraculously, Weigl’s kidney stones pass, and writers from the Hanoi Writers Union come to his aid to help him secure his visa. As Weigl feels his body “coming alive again” (p. 176), his journey literally comes full circle. By adopting Hanh, he goes further than he ever has toward reconciling his past and his present. Often described in the book as a lotus flower, the traditional Taoist symbol of enlightenment, Hanh ultimately serves as the antithesis of violence, her courageous life shoring up the ruins of the war.

I told him about some of my work in Vietnam as a translator of Vietnamese poetry: that I had published a book of these translations in English, a book of poems written by soldiers from the North who had died in the American War. I told him that General Giap himself had read the book and was so happy to see the poems of his former soldiers printed for American readers that he had sent his personal emissary to my guest house on Nguyen Du with an enormous bouquet of flowers to thank me.

THIRD HOMECOMING

Although the adoption of Hanh was a momentous occasion that helped Weigl briefly come to terms with the war, the final leg of his journey home would not take place until the fall of 1997. Unhappy with the politics of the Penn State English department, where the curriculum had evolved from its traditional strengths in American literature to a curriculum based in theory and rhetoric, Weigl resigned his position and returned to Ohio, where he accepted a position at Lorain County Community College (his first alma mater) as its first distinguished visiting professor of English. In the same era, however, Weigl suffered from two life-threatening illnesses that greatly reduced his poetic output. His first illness was a serious bout with bladder cancer, an affliction common among Vietnam veterans exposed to defoliants during the war. The second, and equally serious illness, was a brain anomaly, most likely caused by a baseball injury during childhood. Both illnesses required multiple surgeries, and lengthy recuperations were truncated again and again by a series of setbacks and dangerous infections that made his prognosis uncertain.

(p. 25)

Ultimately, Nguyen allows Weigl to board his plane to Hanoi even though he possesses an invalid passport. Nguyen’s gesture is one of risk and forgiveness, and this small moment of personal courage suggests that it is possible even for former enemies to cooperate and respect each other despite the great pain they have inflicted upon each other. The difficulty of Hanh’s adoption is further complicated by Weigl’s development of kidney stones just as he arrives in Hanoi. Lying in his hotel room and racked with severe pain, Weigl doubts that he will recover in time to see the adoption through. Drinking copious amounts of water and beer in an effort to purge his kidney stones, Weigl uses the painful purgation scene as a metaphor for the purgation of emotional pain: I lay back down for a minute until a consuming nausea came over me, and before I could make it to the toilet, I vomited three times. I was burning up, soaked with sweat and my bladder felt shredded. ѧ I moaned louder now. I think I hoped that someone would hear me. I hoped that someone would come and see how bad off I was and take me away for help. I felt a deep physical and emotional need to be cared for. I cried out loud and wished I had never come to Vietnam, that I’d never fought in the war

In addition to his chronic health problems, Weigl struggled to make sense of the catastrophes of 9/11 and the subsequent invasions of Afghanistan and Iraq. As an artist who has devoted his

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BRUCE WEIGL entire career to warning others against the delusions of martial valor, Weigl became increasingly disillusioned that the war in Iraq had in a sense rendered the writing of Vietnam veterans politically inconsequential, and he found the many parallels between the wars in Iraq and Vietnam especially troubling. He also expressed his growing disillusionment that war may be an inevitable facet of human existence. Weigl’s illnesses and his despair over the global events of the early twenty-first century had a profound effect on his subsequent books, The Unraveling Strangeness (2002) and Declension in the Village of Chung Luong (2006). Although both books certainly bear the stamp of his brush with mortality, they are remarkably different from each other in theme, form, style, and tone.

Weigl’s comparison of himself to a “tuber” here is fitting. Remarkable for their ability to store nutrients, tubers help plants survive the winter and regenerate during the subsequent growing season. In this case, the poet has survived his own winter of discontent only to flourish once again in the native soil of his homeland. The domestic tranquility of “Home” appears in poems such as “Oh, Atonement,” “Teaching Hanh the Blues,” and “For A, at Fourteen” and suggests that several biographical components converged to facilitate this change of sensibility. Two aspects of Weigl’s life that seem to have had the most profound positive impact were his sustained devotion to his family and his deepening religious practice. Weigl’s immersion in Mahayana Buddhism provided him with a perspective that allowed him more easily to accept death as a release from suffering and freed him from his obsession with the dead and the dying, In the Memorious interview with Brandon Dameshek, Weigl says, “Once I had begun what I hope is a practice in Buddhism, my life began to change in dramatic ways. Once you begin to understand the power of a life of compassion, and the amazing rewards of that life, it’s difficult not to try to stay on that path.” The result of this nascent enlightenment is that The Unraveling Strangeness offers insightful meditations on home, family, old friends, and the enduring power of love to sustain those relationships. More peaceful than any of his previous books, The Unraveling Strangeness unites the beauty and pain of individual lives into poems that achieve a sutra-like balance of serenity and silence.

The poem “Home,” perhaps more than any other in The Unraveling Strangeness, illustrates gracefully the themes of domestic tranquility that characterize this book. A poem composed in tercets with nearly symmetrical three-beat accentual lines, “Home” is a brief meditation upon the lateautumn Ohio landscape. As in many of the poems in this book, the speaker in “Home” is filled with joy as he considers the fact that he is finally home from the war. For once, the memory of war and its accompanying sorrows do not enter into the poet’s sensibility, and the poem closes on a quiet note, with the speaker literally willing himself to focus on the redeeming qualities of his life near Oberlin: I didn’t know I would enter this music

“The New Year Two Thousand,” another fine poem in The Unraveling Strangeness, expresses Weigl’s hope for the coming century by celebrating dogs that romp in primordial freedom beneath his bedroom window. Composed in syllabics, “The New Year Two Thousand” is both a poem of compassion for creatures who violate the boundaries of human affairs and a prayer that petitions for tranquility and, ultimately, metaphyscial peace. The hope that years don’t pass too quickly before one departs from this earth suggests that, at this moment in the poet’s career, the

that translates the world back into dirt fields that have always called to me as if I were a thing come from the dirt, like a tuber, or like a needful boy. End lonely days. End the exiled and unraveling strangeness. (p. 33)

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BRUCE WEIGL resurrected the pain of Vietnam and diminished the poet’s sense of his capacity to prevent atrocities. No matter how much the poet might have sought to resist the war, the events of history have drawn him back into combat, memory, futility, and despair. Perhaps the most haunting word in the poem is the final word, “lost,” as it encapsulates the terrifying idea that the government responsible for prosecuting the war will do everything to conceal its war crimes.

love of family and friends has triumphed over evil and that the will to live remains strong. The poem also expresses hope that the quiet days of winter in the new millennium will sustain a lasting happiness. As the new century opened with the terrorist attacks on the World Trade Center and the Pentagon and the ensuing invasions of Afghanistan and Iraq, however, the years of spiritual contemplation that informed the redemptive qualities of The Unraveling Strangeness dissolved into anger and despair expressed in what is perhaps Weigl’s finest book: Declension in the Village of Chung Luong (2006). The Vietnamese village of Chung Luong is the birthplace of Weigl’s adopted daughter, Hanh, and one of the most ancient and poverty-stricken villages in the northern region of Vietnam. As the word “declension” suggests, Weigl searches in these poems to find a language adequate to express how such a poverty-stricken, war-torn region could give rise to something as beautiful as his daughter. Weigl in this book yokes the language of redemption and the language of tragedy into searing retrospective lyrics that admit to both glory and shame.

In poems such as “Late Summer Lilies,” “The One Thousandth,” and “Iraq Drifting, July 2003,” Weigl draws parallels with Vietnam poems such as “Hanoi Drifting, January 2003” and “Say Good-bye” to suggest that Americans have not learned anything from the experience of the country’s Asian conflicts and have instead launched another immoral war. Weigl even goes so far as to suggest that, in the new century, we have succeeded in creating what he might have once thought unimaginable: a violence that exceeds even the worst atrocities of Vietnam. “The Prisoner of Ours,” for example, speaks to the horrifying American military techniques infamously employed at the Baghdad Correctional Facility known as Abu Ghraib. In the poem, Weigl speaks directly, in language that exposes the moral decay of American military culture.

But the word “declension” also signifies deterioration, and Weigl reminds us in these poems that the consequences of war, both in Vietnam and in present-day Iraq, bring physical and psychical devastation to those who witness destruction on such a colossal scale. So ubiquitous is the violence that Weigl sees around him, that he often invokes the ghost of T. S. Eliot, whose symbolist techniques in The Waste Land (1922) attempted to find a language equivalent to the spiritual crisis of Western civilization in post– World War I Europe. At times appropriating Eliot’s language directly, poems such as “What You Would Do,” “Self Portrait at Fifty-three,” and “My Good-bye,” create a postmodern wasteland reminiscent of Eliot’s landscapes. Metaphors of ice and snow pervade these poems, rendering the poet powerless to prevent the brutality of an empire whose moral foundations have collapsed under the weight of hubris, greed, and ambition. The harrowing poem “Le Filme” demonstrates beautifully how the Iraq War has simultaneously

For his willingness to confront the world as he sees it, to speak truth to power, and also to speak the truth to those Americans whose silence he finds reprehensible, Weigl has been awarded an Academy of American Poets Prize, the Paterson Prize, two Pushcart Prizes, fellowships from the National Endowment from the Arts and the Yaddo Foundation, and a Lannan Foundation Literary Award for Lifetime Achievement. Weigl continues to write, and although he might prefer to remain detached from the tragic events that continue to bring him so much pain, he refuses, to succumb to the forces that degrade human dignity. In “Anna in Mourning” (from Declension in the Village) Weigl writes, “We die and we die so many times and still we want to live” (p. 6). So many times in his life Weigl might have died himself, either from combat or by his own

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BRUCE WEIGL hand. That he did not and that he returned home time and time again is testament to his courage and his profound belief that even though poetry may not prevent human tragedy, it is still the best hope for humankind eventually to find what saves us.

Mountain River: Vietnamese Poetry from the Wars, 1948– 1993: A Bilingual Collection. Coedited with Kevin Bowen and Nguyen Ba Chung. Amherst: University of Massachusetts Press, 1998.

TRANSLATIONS Poems from Captured Documents. Translator with Trong Thanh. Amherst: University of Massachusetts Press, 1994. (Includes an introduction by Weigl.) Angel Riding a Beast by Liliana Ursu. Translator with Liliana Ursu. Evanston, Ill.: Northwestern University Press, 1998.

Selected Bibliography WORKS OF BRUCE WEIGL

CRITICAL AND BIOGRAPHICAL STUDIES Bowers, John. “Bearing Witness to the Story: The Before and After in Bruce Weigl’s Circle of Hanh.” War, Literature, and the Arts 13, nos. 1–2:191–202 (2001).

POETRY COLLECTIONS Executioner. Tucson, Ariz.: Ironwood Press, 1976. A Sack Full of Old Quarrels. Cleveland, Ohio: Cleveland State University Press, 1976. A Romance. Pittsburgh, Pa.: University of Pittsburgh Press, 1979. The Monkey Wars. Athens: University of Georgia Press, 1985. Song of Napalm. New York: Atlantic Monthly Press, 1988. What Saves Us. Evanston, Ill.: TriQuarterly Books, 1992. Not on the Map. With Kevin Bowen. Chester Springs, Pa.: Dufour, 1996. Sweet Lorain. Evanston, Ill.: TriQuarterly Books, 1996. After the Others. Evanston, Ill.: TriQuarterly Books/ Northwestern University Press, 1999. Archaeology of the Circle: New and Selected Poems. New York: Grove Press, 1999. The Unraveling Strangeness. New York: Grove Press, 2002. Declension in the Village of Chung Luong. Keene, N.Y.: Ausable Press, 2006.

PROSE

AND

Chattarji, Subarno. Memories of a Lost War: American Poetic Responses to the Vietnam War. New York: Oxford University Press, 2001. ———. “Representations of War in Some Poems of John Balaban, Kevin Bowen, and Bruce Weigl.” War, Literature, and the Arts 12, no. 1:173–190 (2000). Clifford, Clare Emily. “‘Before I was Domesticated’: Delivering the Vietnam Moment in the Fatherhood Poetry of Bruce Weigl and John Balaban.” War, Literature, and the Arts 18, nos. 1–2:53–55 (2006). Jones, Roger D. “Bruce Weigl.” In Dictionary of Literary Biography. Vol. 120: American Poets Since World War II, Third Series. Edited by R. S. Gwynn. Detroit: Gale, 1992. Pp. 324–328. Keplinger, David. “On Bruce Weigl: Finding a Shape for the Litany of Terror.” War, Literature, and the Arts 12, no. 2:141–158 (2000). Rielly, Edward J. “Bruce Weigl: Out of the Landscape of his Past.” Journal of American Culture 16, no. 3:47–53 (1993). Slabey, Richard, ed. The United States and Vietnam from War to Peace. Jefferson, N.C.: McFarland, 1996.

CRITICAL EDITIONS

The Giver of Morning: On the Poetry of Dave Smith. Birmingham: Thunder City Press, 1982. The Imagination as Glory: The Poetry of James Dickey. Coedited with T. R. Hummer. Urbana: University of Illinois Press, 1984. Charles Simic: Essays on the Poetry. Ann Arbor: University of Michigan Press, 1996. The Circle of Hanh: A Memoir. New York: Grove Press, 2000.

Stephens, Michael. “A Bad and Green Dream: Bruce Weigl’s Many Voices and Landscapes.” Hollins Critic 31, no. 2:1–12 (1994).

BOOK REVIEWS Grosholz, Emily. “Poetry Chronicle.” Hudson Review 33, no. 2:293–308 (summer 1980). (Review of A Romance.) Hummer, T. R. “Bruce Weigl: A Romance.” New England Review 3, no. 2:272–275 (winter 1980).

ANTHOLOGIES Writing Between the Lines: An Anthology on War and Its Social Consequences. Coedited with Kevin Bowen. Amherst: University of Massachusetts Press, 1997.

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BRUCE WEIGL INTERVIEWS

Smith, Lorrie. “A Sense-Making Perspective in Recent Poetry by Vietnam Veterans.” American Poetry Review 15, no. 6:13–18 (1986). Speirs, Logan. “Current Literature 1988.” English Studies 71, nos. 1–6:52–66 (February 1990). (Review of Song of Napalm.)

Dameshek, Brandon. “An Interview with Bruce Weigl.” Memorious (www.memorious.org/?id=58), July 2004. Humes, Harry. “Lies, Grace, and Redemption.” Yarrow 17, no. 1:5–16 (spring–summer 1995).

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Cumulative Index Arabic numbers printed in bold-face type refer to extended treatment of a subject.

A “A” (Zukofsky), Supp. III Part 2: 611, 612, 614, 617, 619, 620, 621, 622, 623, 624, 626, 627, 628, 629, 630, 631; Supp. IV Part 1: 154; Supp. XVI: 287 Aal, Katharyn, Supp. IV Part 1: 332 Aaron, Daniel, IV: 429; Supp. I Part 2: 647, 650 Aaron’s Rod (Lawrence), Supp. I Part 1: 255 Abacus (Karr), Supp. XI: 240–242, 248, 254 Abádi-Nagy, Zoltán, Supp. IV Part 1: 280, 289, 291 “Abandoned Farmhouse” (Kooser), Supp. XIX: 117, 119 “Abandoned House, The” (L. Michaels), Supp. XVI: 214 “Abandoned Newborn, The” (Olds), Supp. X: 207 “Abandoned Stone Schoolhouse in the Nebraska Sandhills, An” (Kooser), Supp. XIX: 124–125 “Abba Jacob” (Nelson), Supp. XVIII: 177 Abbey, Edward, Supp. VIII: 42; Supp. X: 24, 29, 30, 31, 36; Supp. XIII: 1–18; Supp. XIV: 179 Abbey’ s Road (Abbey), Supp. XIII: 12 Abbott, Carl, Supp. XVIII: 142 Abbott, Edith, Supp. I Part 1: 5 Abbott, George, Supp. IV Part 2: 585 Abbott, Grace, Supp. I Part 1: 5 Abbott, Jack Henry, Retro. Supp. II: 210 Abbott, Jacob, Supp. I Part 1: 38, 39 Abbott, Lyman, III: 293 Abbott, Sean, Retro. Supp. II: 213 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. III Part 1: 326 Abel, Lionel, Supp. XIII: 98 Abel, Sam, Supp. XIII: 199 Abelard, Peter, I: 14, 22 Abeles, Sigmund, Supp. VIII: 272 Abercrombie, Lascelles, III: 471; Retro. Supp. I: 127, 128 Abernathy, Milton, Supp. III Part 2: 616 Abernon, Edgar Vincent, Viscount d’, Supp. XVI: 191 Abhau, Anna. See Mencken, Mrs. August (Anna Abhau)

“Abide with Me” (Hoffman), Supp. XVIII: 86 “Ability” (Emerson), II: 6 Abingdon, Alexander, Supp. XVI: 99 Abish, Walter, Supp. V: 44 “Abishag” (Glück), Supp. V: 82 “Abortion, The” (Sexton), Supp. II Part 2: 682 “Abortions” (Dixon), Supp. XII: 153 “About C. D. Wright” (Colburn), Supp. XV: 341 “About Hospitality” (Jewett), Retro. Supp. II: 131 “About Kathryn” (Dubus), Supp. VII: 91 “About Language” (Wrigley), Supp. XVIII: 300–301 “About Looking Alone at a Place: Arles” (M. F. K. Fisher), Supp. XVII: 89, 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. III Part 2: 589, 606 “Abraham” (Schwartz), Supp. II Part 2: 663 Abraham, Nelson Algren. See Algren, Nelson Abraham, Pearl, Supp. XVII: 49 “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), III: 588, 590 Abraham Lincoln: The War Years (Sandburg), III: 588, 589–590; Supp. XVII: 105 “Abraham Lincoln Walks at Midnight” (Lindsay), Supp. I Part 2: 390–391 “Abram Morrison” (Whittier), Supp. I Part 2: 699 Abramovich, Alex, Supp. X: 302, 309 Abrams, M. H., Supp. XVI: 19 Abridgment of Universal Geography, An: Together with Sketches of History (Rowson), Supp. XV: 243 “Absalom” (Rukeyser), Supp. VI: 278– 279 Absalom, Absalom! (Faulkner), II: 64, 65–67, 72, 223; IV: 207; Retro. Supp.

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I: 75, 81, 82, 84, 85, 86, 87, 88, 89, 90, 92, 382; Supp. V: 261; Supp. X: 51; Supp. XIV: 12–13 “Absence of Mercy” (Stone), Supp. V: 295 “Absentee, The” (Levertov), Supp. III Part 1: 284 Absentee Ownership (Veblen), Supp. I Part 2: 642 “Absent-Minded Bartender” (X. J. Kennedy), Supp. XV: 159 “Absent Thee from Felicity Awhile” (Wylie), Supp. I Part 2: 727, 729 “Absolution” (Fitzgerald), Retro. Supp. I: 108 “Absolution” (Sobin), Supp. XVI: 289 “Abuelita’s Ache” (Mora), Supp. XIII: 218 Abysmal Brute, The (London), II: 467 “Academic Story, An” (Simpson), Supp. IX: 279–280 “Academic Zoo, The: Theory—in Practice” (Epstein), Supp. XIV: 107–108, 109 “A Capella” (Wrigley), Supp. XVIII: 300 “Accident” (Minot), Supp. VI: 208–209 “Accident, The” (Southern), Supp. XI: 295 “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 “Account of the Method of Drawing Birds” (Audubon), Supp. XVI: 12 “Accusation, The” (Wright), Supp. III Part 2: 595 “Accusation of the Inward Man, The” (Taylor), IV: 156 “Accusing Message from Dead Father” (Karr), Supp. XI: 244 Ace, Goodman, Supp. IV Part 2: 574 Achievement in American Poetry (Bogan), Supp. III Part 1: 63–64 Acker, Kathy, Supp. XII:1–20 Ackerman, Diane, Supp. XIII: 154 “Acknowledgment” (Lanier), Supp. I Part 1: 364 Ackroyd, Peter, Supp. V: 233; Supp. XVII: 180

292 / AMERICAN WRITERS “Acquaintance in the Heavens, An” (Dillard), Supp. VI: 34 “Acquainted with the Night” (Frost), II: 155; Retro. Supp. I: 137 Across Spoon River (Masters), Supp. I Part 2: 455, 457, 459, 460, 466, 474– 475, 476 Across the Layers: Poems Old and New (Goldbarth), Supp. XII: 181, 187–189 Across the River and into the Trees (Hemingway), I: 491; II: 255–256, 261; Retro. Supp. I: 172, 184–185; Supp. XIX: 248 “Actfive” (MacLeish), III: 18–19, 22 Actfive and Other Poems (MacLeish), III: 3, 17–19, 21 Action (Shepard), Supp. III Part 2: 446 Active Anthology (Pound), Supp. III Part 2: 617 Active Service (Crane), I: 409 Acton, Patricia Nassif, Supp. X: 233 Acts of Faith (Caputo), Supp. XIX: 29–30 Actual, The (Bellow), Retro. Supp. II: 33 “Actual Experience, Preferred Narratives” (Julier), Supp. IV Part 1: 211 Acuff, Roy, Supp. V: 335 Ada (Nabokov), Retro. Supp. I: 265, 266, 270, 276–277, 278, 279 “Ada” (Stein), IV: 43 “Adagia” (Stevens), IV: 78, 80, 88, 92 “Adam” (Hecht), Supp. X: 62 “Adam” (W. C. Williams), Retro. Supp. I: 422, 423 “Adam and Eve” (Eugene), Supp. X: 204 “Adam and Eve” (Shapiro), Supp. II Part 2: 708, 712 “Adamantine Practice of Poetry, The” (Wright), Supp. XV: 341–342, 343– 344 Adam Bede (Eliot), II: 181 Adamé, Leonard, Supp. XIII: 316 Adam & Eve & the City (W. C. Williams), Retro. Supp. I: 423 “Adamic Purity as Double Agent” (Whalen-Bridge), Retro. Supp. II: 211–212 “Adams” (Saunders), Supp. XIX: 232 Adams, Althea. See Thurber, Mrs. James (Althea Adams) Adams, Annie. See Fields, 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, Franklin P., Supp. I Part 2: 653; Supp. IX: 190; Supp. XV: 294, 297 Adams, Henry, I: 1–24, 111, 243, 258; II: 278, 542; III: 396, 504; IV: 191, 349; Retro. Supp. I: 53, 59; Retro. Supp. II: 207; Supp. I Part 1: 299– 300, 301, 314; Supp. I Part 2: 417, 492, 543, 644; Supp. II Part 1: 93– 94, 105; Supp. III Part 2: 613; Supp. IV Part 1: 31, 208 Adams, Henry B., Supp. I Part 1: 369 Adams, James Truslow, Supp. I Part 2: 481, 484, 486 Adams, J. Donald, IV: 438

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 Luther, Supp. XII: 209 Adams, John Quincy, I: 1, 3, 16–17; Supp. I Part 2: 685, 686 Adams, Léonie, Supp. I Part 2: 707; Supp. V: 79; Supp. IX: 229; Supp. XVII: 75 Adams, Luella, Supp. I Part 2: 652 Adams, Mrs. Henry (Marian Hooper), I: 1, 5, 10, 17–18 Adams, Noah, Supp. XVII: 218 Adams, Phoebe, Supp. IV Part 1: 203; Supp. VIII: 124 Adams, Samuel, Supp. I Part 2: 516, 525 Adams, Timothy Dow, Supp. XVI: 67, 69 Ada; or Ardor (Nabokov), III: 247 “Ad Castitatem” (Bogan), Supp. III Part 1: 50 Adcock, Betty, Supp. XVIII: 181–182, 182 Addams, Jane, Supp. I Part 1: 1–26; Supp. XI: 200, 202 Addams, John Huy, Supp. I Part 1: 2 “Addendum” (Wright), Supp. V: 339 Addiego, John, Supp. XII: 182 Adding Machine, The (Rice), I: 479 Adding Machine, The: Selected Essays (Burroughs), Supp. III Part 1: 93, 97 Addison, Joseph, I: 8, 105, 106–107, 108, 114, 131, 300, 304; III: 430 “Addressed to a Political Shrimp, or, Fly upon the Wheel” (Freneau), Supp. II Part 1: 267 “Address to My Soul” (Wylie), Supp. I Part 2: 729 “Address to the Devil” (Jarman), Supp. XVII: 114 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 “Adjutant Bird, The” (Banks), Supp. V: 5 Adkins, Nelson F., II: 20 Adler, Alfred, I: 248 Adler, Betty, III: 103 Adler, George J., III: 81 Adler, Renata, Supp. X: 171 Admiral of the Ocean Sea: A Life of Christopher Columbus (Morison), Supp. I Part 2: 486–488 “Admirals” (Chabon), Supp. XI: 72 “Admonition, An” (Brodsky), Supp. VIII: 33 “Adolescence” (Bidart), Supp. XV: 32 “Adolescence” (Dove), Supp. IV Part 1: 245 “Adolescence” (Olds), Supp. X: 211 “Adolescence II” (Dove), Supp. IV Part 1: 242, 244–245 Adolescent’s Christmas, An: 1944 (C. Bly), Supp. XVI: 31–32

“Adolf Eichmann” (Carruth), Supp. XVI: 47 “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 “Adultery” (Banks), Supp. V: 15 “Adultery” (Dubus), Supp. VII: 85 Adultery and Other Choices (Dubus), Supp. VII: 83–85 Adulthood Rites (O. Butler), Supp. XIII: 63, 64–65 Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec, The (Acker), Supp. XII: 5, 6, 8–9 Adventure (London), II: 466 Adventures in Ancient Egypt (Goldbarth), Supp. XII: 191 Adventures in Value (Cummings), I: 430 “Adventures of a Book Reviewer” (Cowley), Supp. II Part 1: 137, 142 Adventures of Augie March, The (Bellow), I: 144, 147, 149, 150, 151, 152–153, 154, 155, 157, 158–159, 164; Retro. Supp. II: 19, 20, 22–23, 24, 30; Supp. VIII: 234, 236–237 Adventures of a Young Man (Dos Passos), I: 488, 489, 492 Adventures of Captain Bonneville (Irving), II: 312 Adventures of Harry Franco, The: A Tale of the Great Panic (Briggs), Supp. XVIII: 1, 2, 5–8 Adventures of Huckleberry Finn, The (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; Retro. Supp. I: 188; Retro. Supp. II: 121; Supp. I Part 1: 247; Supp. IV Part 1: 247, 257; Supp. IV Part 2: 502; Supp. V: 131; Supp. VIII: 198; Supp. X: 230; Supp. XII: 16; Supp. XVI: 222 Adventures of Jimmy (Broughton), Supp. XV: 146 Adventures of Roderick Random, The (Smollett), I: 134 Adventures of the Letter I (Simpson), Supp. IX: 266, 273–274 Adventures of Tom Sawyer, The (Twain), II: 26; III: 223, 572, 577; IV: 199– 200, 203, 204; Supp. I Part 2: 456, 470; Supp. XVI: 66 Adventures While Preaching the Gospel of Beauty (Lindsay), Supp. I Part 2: 374, 376, 381, 382–384, 389, 399 Adventures with Ed (Loeffler), Supp. XIII: 1 Advertisements for Myself (Mailer), III: 27, 35–38, 41–42, 45, 46; Retro. Supp. II: 196, 199, 200, 202, 203, 212; Supp. IV Part 1: 90, 284; Supp. XIV: 157 “Advertisements for Myself on the Way Out” (Mailer), III: 37 “Advice to a Prophet” (Wilbur), Supp. III Part 2: 555–557 Advice to a Prophet and Other Poems (Wilbur), Supp. III Part 2: 554–558

CUMULATIVE INDEX / 293 “Advice to a Raven in Russia” (Barlow), Supp. II Part 1: 65, 74, 80, 83 “Advice to Players” (Bidart), Supp. XV: 35 Advice to the Lovelorn (film), Retro. Supp. II: 328 Advice to the Privileged Orders, Part I (Barlow), Supp. II Part 1: 80 “Aeneas and Dido” (Brodsky), Supp. VIII: 24–25 “Aeneas at Washington” (Tate), IV: 129 Aeneid (Virgil), I: 396; II: 542; III: 124; Supp. XV: 23 Aeneus Tacticus, I: 136 Aerial View (Barabtarlo), Retro. Supp. I: 278 “Aeria the Evanescent” (Sobin), Supp. XVI: 292 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 “Aesthetics” (Mumford), Supp. II Part 2: 476 “Aesthetics of Silence, The” (Sontag), Supp. III Part 2: 459 “Aesthetics of the Shah” (Olds), Supp. X: 205 “Affair at Coulter’s Notch, The” (Bierce), I: 202 Affaire de viol, Une (C. Himes). See Case of Rape, A (C. Himes) “Affair of Outposts, An” (Bierce), I: 202 Affliction (Banks), Supp. V: 15, 16 Affluent Society, The (Galbraith), Supp. I Part 2: 648 Afghanistan Picture Show, An: or, How I Saved the World (Vollmann), Supp. XVII: 226, 228–229, 233 “Aficionados, The” (Carver), Supp. III 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, to My Mother” (D. Diop), Supp. IV Part 1: 16 African American Writers (Smith, ed.), Supp. XIII: 115, 127 “African Book” (Hemingway), II: 259 “African Chief, The” (Bryant), Supp. I Part 1: 168 “African Fragment” (Brooks), Supp. III Part 1: 85 African Queen, The (film), Supp. XI: 17 “African Roots of War, The” (Du Bois), Supp. II Part 1: 174 African Silences (Matthiessen), Supp. V: 203 African Treasury, An (Hughes, ed.), Supp. I Part 1: 344 “Afrika Revolution” (Baraka), Supp. II Part 1: 53 “AFRO-AMERICAN LYRIC” (Baraka), Supp. II Part 1: 59 After (Bukiet), Supp. XVII: 43, 44–45

After All: Last Poems (Matthews), Supp. IX: 155, 167–169 After and Before the Lightning (Ortiz), Supp. IV Part 2: 513 “After a Party” (Salinas), Supp. XIII: 327 “After Apple-Picking” (Frost), Retro. Supp. I: 126, 128 “After Arguing against the Contention That Art Must Come from Discontent” (Stafford), Supp. XI: 327 After Confession: Poetry as Autobiography (Harris), Supp. XIV: 269 After Confession: Poetry as Autobiography (K. Sontag and D. Graham), Supp. XV: 104 “After Cowboy Chicken Came to Town” (Jin), Supp. XVIII: 97–98 “After Disappointment” (Jarman), Supp. XVII: 118–119 After Experience (Snodgrass), Supp. VI: 314–316, 317 “After great pain, a formal feeling comes” (Dickinson), Retro. Supp. I: 37 “After Hearing a Waltz by Bartók” (Lowell), II: 522 After Henry (Didion), Supp. IV Part 1: 195, 196, 199, 207, 208, 211 “After Henry” (Didion), Supp. IV Part 1: 211 “After Holbein” (Wharton), IV: 325; Retro. Supp. I: 382 After Ikkyu and Other Poems (Harrison), Supp. VIII: 42 “After-Image” (Bierds), Supp. XVII: 31–32 “After-Image” (Caldwell), I: 309 After-Images: Autobiographical Sketches (Snodgrass), Supp. VI: 314, 319–323, 324, 326–327 After I’s (Zukofsky), Supp. III Part 2: 628, 629 Afterlife (Monette), Supp. X: 153 Afterlife (Updike), Retro. Supp. I: 322 Afterlife, The (Levis), Supp. XI: 259, 260–264 “After Magritte” (McClatchy), Supp. XII: 264 “After Making Love” (Dunn), Supp. XI: 153 Aftermath (Longfellow), II: 490 “Aftermath” (Longfellow), II: 498 After New Formalism (A. Finch, ed.), Supp. XVII: 74 “Afternoon” (Ellison), Supp. II Part 1: 238 “Afternoon at MacDowell” (Kenyon), Supp. VII: 159 “Afternoon Miracle, An” (O. Henry), Supp. II Part 1: 390 Afternoon of a Faun (Hearon), Supp. VIII: 63–64 Afternoon of an Author: A Selection of Uncollected Stories and Essays (Fitzgerald), II: 94 “Afternoon of a Playwright” (Thurber), Supp. I Part 2: 620 Afternoon of the Unreal (Salinas), Supp. XIII: 311, 316–318

“Afternoon with the Old Man, An” (Dubus), Supp. VII: 84 “After Punishment Was Done with Me” (Olds), Supp. X: 213 “After Reading Barely and Widely,” (Zukofsky), Supp. III Part 2: 625, 631 “After Reading ’ In the Clearing’ for the Author, Robert Frost” (Corso), Supp. XII: 130 “After Reading Mickey in the Night Kitchen for the Third Time before Bed” (Dove), Supp. IV Part 1: 249 “After Reading Tu Fu, I Go Outside to the Dwarf Orchard” (Wright), Supp. V: 343 “After Reading Wang Wei, I Go Outside to the Full Moon” (Wright), Supp. V: 343 After Shocks, Near Escapes (Dobyns), Supp. XIII: 80–82 “After Song, An” (W. C. Williams), Retro. Supp. I: 413 After Strange Gods (Eliot), I: 588 After Such Knowledge: Memory, History, and the Legacy of the Holocaust (E. Hoffman), Supp. XVI: 152–153, 158– 161 “After the Alphabets” (Merwin), Supp. III Part 1: 356 “After the Argument” (Dunn), Supp. XI: 149 “After the Baptism” (C. Bly), Supp. XVI: 40 “After the Burial” (Lowell), Supp. I Part 2: 409 “After the Curfew” (Holmes), Supp. I Part 1: 308 “After the Death of John Brown” (Thoreau), IV: 185 “After the Denim” (Carver), Supp. III Part 1: 144 “After the Dentist” (Swenson), Supp. IV Part 2: 645 After the Fall (A. Miller), III: 148, 149, 156, 161, 162, 163–165, 166 “After the Fire” (Merrill), Supp. III Part 1: 328 “After the Flood” (Sanders), Supp. XVI: 274–275 After the Fox (film), Supp. IV Part 2: 575 After the Genteel Tradition (Cowley), Supp. II Part 1: 143 “After the Heart’s Interrogation” (Komunyakaa), Supp. XIII: 120 After the Lost Generation: A Critical Study of the Writers of Two Wars (Aldridge), Supp. IV Part 2: 680; Supp. XIX: 250 “After the Night Office—Gethsemani Abbey” (Merton), Supp. VIII: 195–196 After the Others (Weigl), Supp. XIX: 282, 283–284 “After the Persian” (Bogan), Supp. III Part 1: 64 “After the Pleasure Party” (Melville), III: 93 “After the Rain” (Halliday), Supp. XIX: 91

294 / AMERICAN WRITERS “After the Resolution” (Dunn), Supp. XI: 151 After the Stroke (Sarton), Supp. VIII: 264 “After the Surprising Conversions” (Lowell), I: 544, 545; II: 550; Retro. Supp. II: 187 “After 37 Years My Mother Apologizes for My Childhood” (Olds), Supp. X: 208 After This (McDermott), Supp. XVIII: 155, 166–167 Afterthoughts (L. P. Smith), Supp. XIV: 339, 345 “Afterthoughts on the Rosenbergs” (Fiedler), Supp. XIII: 99 “After Twenty Years” (Rich), Supp. I Part 2: 559–560 “Afterwake, The” (Rich), Supp. I Part 2: 553 “Afterward” (Wharton), Retro. Supp. I: 372 “After Working Long” (Kenyon), Supp. VII: 170 “After Yitzl” (Goldbarth), Supp. XII: 186 “After You, My Dear Alphonse” (Jackson), Supp. IX: 119 “After Your Nap” (B. Kelly), Supp. XVII: 124 “Again” (Dixon), Supp. XII: 157 “Again, Kapowsin” (Hugo), Supp. VI: 141 “Again Just Now” (Budbill), Supp. XIX: 11 “Against” (Goldbarth), Supp. XII: 193 “Against Decoration” (Karr), Supp. XI: 248 “Against Epiphanies” (C. Baxter), Supp. XVII: 20 Against Interpretation (Sontag), Supp. III Part 2: 451, 455; Supp. XIV: 15 “Against Interpretation” (Sontag), Supp. III Part 2: 456–458, 463 “Against Modernity” (Ozick), Supp. V: 272 “Against Nature” (Karr), Supp. XI: 243 Against Nature (Updike), Retro. Supp. I: 323 Against Our Vanishing: Winter Conversations with Allen Grossman on the Theory and Practice of Poetry (Halliday), Supp. XIX: 82–84, 88 “Against Realism” (Halliday), Supp. XIX: 93 Against the Cold (Bynner), Supp. XV: 51 “Against the Crusades” (Stern), Supp. IX: 300 Against the Current: As I Remember F. Scott Fitzgerald (Kroll Ring), Supp. IX: 63 Agamben, Giorgio, Supp. XVI: 289 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

ge cassant, L’ (Char; Sobin, trans.), Supp. XVI: 282 “Aged Wino’s Counsel to a Young Man on the Brink of Marriage, The” (X. J. Kennedy), Supp. XV: 156 Agee, Emma, I: 26 Agee, James, I: 25–47, 293; IV: 215; Supp. IX: 109; Supp. XIV: 92; Supp. XV: 143 “Agent, The” (Wilbur), Supp. III Part 2: 557–561 Age of Anxiety, The (Auden), Supp. II Part 1: 2, 19, 21 “Age of Conformity, The” (Howe), Supp. VI: 117 Age of Grief, The: A Novella and Stories (Smiley), Supp. VI: 292, 299–301 Age of Innocence, The (Wharton), IV: 320–322, 327–328; Retro. Supp. I: 372, 374, 380–381; Supp. IV Part 1: 23 Age of Longing, The (Koestler), I: 258 Age of Reason, The (Paine), Supp. I Part 2: 503, 515–517, 520 “Age of Strolling, The” (Stern), Supp. IX: 297 “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 “Agio Neró” (Mora), Supp. XIII: 224 “Agitato ma non Troppo” (Ransom), III: 493 “Agnes of Iowa” (Moore), Supp. X: 165, 178 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 Show, The” (McKay), Supp. X: 139 Agrippa: A Book of the Dead (W. Gibson), Supp. XVI: 125 Agua Fresca: An Anthology of Raza Poetry (Rodríguez, ed.), Supp. IV Part 2: 540 Agua Santa/Holy Water (Mora), Supp. XIII: 222–225 Agüero Sisters, The (García), Supp. XI: 185–190 Aguiar, Sarah Appleton, Supp. XIII: 30 Ah, Wilderness! (O’ Neill), III: 400–401; Supp. IV Part 2: 587 Ah, Wilderness!: The Frontier in American Literature (Humphrey), Supp. IX: 104 Ahearn, Barry, Retro. Supp. I: 415 Ahearn, Frederick L., Jr., Supp. XI: 184 Ahearn, Kerry, Supp. IV Part 2: 604 Ahmed Arabi Pasha, I: 453 Ahnebrink, Lars, III: 328 Ah Sin (Harte), Supp. II Part 1: 354– 355 “Ah! Sun-flower” (Blake), III: 19

AIDS and Its Metaphors (Sontag), Supp. III Part 2: 452, 466–468 Aids to Reflection (Coleridge), II: 10 Aiieeeee! An Anthology of AsianAmerican Writers (The Combined Asian Resources Project), Supp. X: 292 Aiken, Conrad, I: 48–70, 190, 211, 243; II: 55, 530, 542; III: 458, 460; Retro. Supp. I: 55, 56, 57, 58, 60, 62; Supp. X: 50, 115; Supp. XV: 144, 297, 298, 302, 306, 309; Supp. XVII: 135 “Aim Was Song, The” (Frost), Retro. Supp. I: 133 Ainsworth, Linda, Supp. IV Part 1: 274 Ainsworth, William, III: 423 Air-Conditioned Nightmare, The (H. Miller), III: 186 Airing Dirty Laundry (Reed), Supp. X: 241 “Airmail from Mother” (Kooser), Supp. XIX: 120 “Air Plant, The” (Crane), I: 401 Air Raid: A Verse Play for Radio (MacLeish), III: 21 “Airs above the Ground” (Sarton), Supp. VIII: 261 Air Tight: A Novel of Red Russia. See We the Living (Rand) Air Up There, The (film, Glaser), Supp. XVII: 9 “Airwaves” (Mason), Supp. VIII: 146 Airways, Inc. (Dos Passos), I: 482 “A is for Dining Alone” (M. F. K. Fisher), Supp. XVII: 86 Aitken, Robert, Supp. I Part 2: 504 Akhmadulina, Bella, Supp. III Part 1: 268 Akhmatova, Anna, Supp. III Part 1: 268, 269; Supp. VIII: 20, 21, 25, 27, 30 Akhmatova Translations, The (Kenyon), Supp. VII: 160 “Akhnilo” (Salter), Supp. IX: 260 Akins, Zoë, Supp. XVI: 187 Aksenev, Vasily P., Retro. Supp. I: 278 “Al Aaraaf” (Poe), III: 426–427 Al Aaraaf, Tamerlane, and Minor Poems (Poe), III: 410 “Alain Locke and Cultural Pluralism” (Kallen), Supp. XIV: 197 “Alain Locke: Bahá’ í Philosopher” (Buck), Supp. XIV: 199 Alain Locke: Faith and Philosophy (Buck), Supp. XIV: 200 Alarçon, Supp. XVII: 74 Alarcón, Justo, Supp. IV Part 2: 538, 539, 540 À la Recherche du Temps Perdu (Proust), IV: 428 “Alarm” (X. J. Kennedy), Supp. XV: 163 “Alastor” (Shelley), Supp. I Part 2: 728 “Alatus” (Wilbur), Supp. III Part 2: 563 “Alba” (Creeley), Supp. IV Part 1: 150 Albee, Edward, I: 71–96, 113; II: 558, 591; III: 281, 387; IV: 4, 230; Retro. Supp. II: 104; Supp. VIII: 331; Supp. XIII: 196, 197 Albers, Joseph, Supp. IV Part 2: 621 Alberti, Rafael, Supp. XV: 75 Albright, Margery, Supp. I Part 2: 613

CUMULATIVE INDEX / 295 “Album, The” (Morris), III: 220 Alcestiad, The (Wilder), IV: 357, 374 “Alchemist, The” (Bogan), Supp. III Part 1: 50 “Alchemist in the City, The” (Hopkins), Supp. IV Part 2: 639 Alchymist’s Journal, The (Connell), Supp. XIV: 80 “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 Part 1: 290; Supp. XVI: 84, 89 Alcott, Anna. See Pratt, Anna Alcott, Louisa May, IV: 172; Supp. I Part 1: 28–46; Supp. IX: 128; Supp. XV: 338; Supp. XVI: 84 Alcott, May, Supp. I Part 1: 41 Alcott, Mrs. Amos Bronson (Abigail May), IV: 184; Supp. I Part 1: 29, 30, 31, 32, 35 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 “Alder Fork, The” (Leopold), Supp. XIV: 186 Aldington, Mrs. Richard. See Doolittle, Hilda Aldington, Perdita, Supp. I Part 1: 258 Aldington, Richard, II: 517; III: 458, 459, 465, 472; Retro. Supp. I: 63, 127; Supp. I Part 1: 257–262, 270 Aldo Leopold: His Life and Work (Meine), Supp. XIV: 179 “Aldo Leopold’s Intellectual Heritage” (Nash), Supp. XIV: 191–192 Aldon, Raymond, Supp. XV: 297 Aldrich, Thomas Bailey, II: 400; Supp. II Part 1: 192; Supp. XIV: 45; Supp. XVIII: 4 Aldrich, Tom, Supp. I Part 2: 415 Aldridge, John W., Supp. I Part 1: 196; Supp. IV Part 1: 286; Supp. IV Part 2: 680, 681; Supp. VIII: 189; Supp. XI: 228; Supp. XIX: 250 Aleck Maury Sportsman (Gordon), II: 197, 200, 203–204 Alegría, Claribel, Supp. IV Part 1: 208 Aleichem, Sholom, IV: 3, 10; Supp. IV Part 2: 585 “Alert Lovers, Hidden Sides, and Ice Travelers: Notes on Poetic Form and Energy” (Dunn), Supp. XI: 153 “Ale&sacaron; Debeljak” (Simic), Supp. VIII: 279 “Alex” (Oliver), Supp. VII: 232 Alexander, Doris, Supp. XVII: 99 Alexander, Elizabeth, Supp. XVIII: 171, 185, 186 Alexander, George, II: 331 Alexander, Michael, Retro. Supp. I: 293 “Alexander Crummell Dead” (Dunbar), Supp. II Part 1: 207, 208–209

Alexander’s Bridge (Cather), I: 313, 314, 316–317, 326; Retro. Supp. I: 1, 6, 7, 8 Alexander the Great, IV: 322 “Alexandra” (Cather), Retro. Supp. I: 7, 9, 17 Alexandrov, V. E., Retro. Supp. I: 270 Alexie, Sherman, Supp. XVIII: 58 Algonquin Round Table, Supp. IX: 190, 191, 197 Algren, Nelson, I: 211; Supp. V: 4; Supp. IX: 1–18; Supp. XII: 126; Supp. XIII: 173; Supp. XIV: 3; Supp. XVII: 161 Alhambra, The (Irving), II: 310–311 Ali, Agha Shahid, Supp. XVII: 74 Alias Grace (Atwood), Supp. XIII: 20, 31–32 Alice (film; Allen), Supp. XV: 2, 11 “Alice Doane’s Appeal” (Hawthorne), II: 227 Alice in Wonderland (Carroll), Supp. I Part 2: 622 Alice’s Adventures in Wonderland (Carroll), Supp. XVI: 261 “Alicia and I Talking on Edna’s Steps” (Cisneros), Supp. VII: 64 “Alicia Who Sees Mice” (Cisneros), Supp. VII: 60 Alien 3 (screenplay, W. Gibson), Supp. XVI: 120, 124 “Ali in Havana” (Talese), Supp. XVII: 207, 208 Alison, Archibald, Supp. I Part 1: 151, 159 Alison’s House (Glaspell), Supp. III Part 1: 182, 188, 189 Alive (screenplay, Shanley), Supp. XIV: 316 Alive and Writing: Interviews with American Authors of the 1980s (McCaffery and Gregory), Supp. X: 260 “Alki Beach” (Hugo), Supp. VI: 135 Alla Breve Loving (Wright), Supp. XV: 339, 340 “Alla Breve Loving” (Wright), Supp. XV: 340 “All Around the Town” (Benét), Supp. XI: 48, 58 All at Sea (Lardner), II: 427 “All Boy” (Rawlings), Supp. X: 222 Allegiances (Stafford), Supp. XI: 322– 323, 329 “Allegory of the Cave” (Dunn), Supp. XI: 150 “Allegory Unlimited” (Cassill), Supp. XIX: 266 Allegro, Johnny (film, Tetzloff), Supp. XVII: 62 “Allegro, L’ ” (Milton), Supp. XIV: 8 Allen, Brooke, Supp. VIII: 153 Allen, Dick, Supp. IX: 279 Allen, Donald, Supp. VIII: 291; Supp. XIII: 112 Allen, Frank, Supp. XI: 126; Supp. XII: 186 Allen, Frederick Lewis, Supp. I Part 2: 655 Allen, Gay Wilson, IV: 352; Supp. I Part 2: 418

Allen, Paula Gunn. See Gunn Allen, Paula Allen, Walter, I: 505; III: 352; Supp. IV Part 2: 685; Supp. IX: 231 Allen, Woody, Supp. I Part 2: 607, 623; Supp. IV Part 1: 205; Supp. X: 164; Supp. XI: 307; Supp. XV: 1–18; Supp. XVII: 48 “Aller et Retour” (Barnes), Supp. III Part 1: 36 Aller Retour New York (H. Miller), III: 178, 182, 183 Allessandrini, Goffredo, Supp. IV Part 2: 520 Alleys of Eden, The (R. O. Butler), Supp. XII: 62, 62–64, 68 All God’s Children Need Traveling Shoes (Angelou), Supp. IV Part 1: 2, 9–10, 12–13, 17 All God’s Chillun Got Wings (O’ Neill), III: 387, 391, 393–394 All Gone (Dixon), Supp. XII: 148, 149 “All Hallows” (Glück), Supp. V: 82 “All I Can Remember” (Jackson), Supp. IX: 115 “Alligators, The” (Updike), IV: 219 Allingham, John Till, Supp. XV: 243 “ALL IN THE STREET” (Baraka), Supp. II Part 1: 53 Allison, Dorothy, Supp. XVIII: 195 “All I Want” (Tapahonso), Supp. IV Part 2: 508 “All Little Colored Children Should Play the Harmonica” (Patchett), Supp. XII: 309 “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 Sad Captains” (Jewett), Retro. Supp. II: 134 All My Sons (A. Miller), III: 148, 149, 150, 151–153, 154, 155, 156, 158, 159, 160, 164, 166 “All Night, All Night” (Schwartz), Supp. II Part 2: 665 All Night Long (Caldwell), I: 297 “All-Night Melodies” (Nelson), Supp. XVIII: 185 “All Our Lost Children: Trauma and Testimony in the Performance of Childhood” (Pace), Supp. XI: 245 All Our Yesterdays (Parker), Supp. XIX: 187–188 “All Out” (Hecht), Supp. X: 72 All Over (Albee), I: 91–94 “Allowance” (Minot), Supp. VI: 206, 207–208 “Alloy” (Rukeyser), Supp. VI: 279 “All Parrots Speak” (Bowles), Supp. IV Part 1: 89 Allport, Gordon, II: 363–364 All Quiet on the Western Front (Remarque), Supp. IV Part 1: 380, 381

296 / AMERICAN WRITERS “ALL REACTION IS DOOMED-!-!-!” (Baraka), Supp. II Part 1: 59 “All Revelation” (Frost), II: 160–162 All Shot Up (C. Himes), Supp. XVI: 143, 144 “All Souls’ ” (Gioia), Supp. XV: 117 “All Souls” (Wharton), IV: 315–316; Retro. Supp. I: 382 “All Souls’ Night” (Yeats), Supp. X: 69 All Souls’ Rising (Bell), Supp. X: 12, 13– 16, 17 “All-Star Literary Vaudeville” (Wilson), IV: 434–435 Allston, Washington, II: 298 All Stories Are True (Wideman), Supp. X: 320 “All That Is” (Wilbur), Supp. III Part 2: 563 “All the Bearded Irises of Life: Confessions of a Homospiritual” (Walker), Supp. III Part 2: 527 “All the Beautiful Are Blameless” (Wright), Supp. III Part 2: 597 ALL: The Collected Poems, 1956–1964 (Zukofsky), Supp. III Part 2: 630 ALL: The Collected Short Poems, 1923– 1958 (Zukofsky), Supp. III Part 2: 629 All the Conspirators (Isherwood), Supp. XIV: 156, 159, 160 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), Retro. Supp. II: 246; 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. III Part 1: 94 All the King’s Men (Warren), I: 489; IV: 243, 248–249, 252; Supp. V: 261; Supp. VIII: 126; Supp. X: 1; Supp. XVIII: 77, 79 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 This and More” (Karr), Supp. XI: 243 All Tomorrow’s Parties (W. Gibson), Supp. XVI: 119, 121, 123, 124, 130 “All Too Real” (Vendler), Supp. V: 189 All Trivia: Triva, More Trivia, Afterthoughts, Last Words (L. P. Smith), Supp. XIV: 339

All-True Travels and Adventures of Lidie Newton (Smiley), Supp. VI: 292, 305– 307 All We Need of Hell (Crews), Supp. XI: 114 Almack, Edward, Supp. IV Part 2: 435 al-Maghut, Muhammad, Supp. XIII: 278 “Almanac” (Swenson), Supp. IV Part 2: 641 Almanac of the Dead (Silko), Supp. IV Part 2: 558–559, 560, 561, 570–571 Almon, Bert, Supp. IX: 93 “Almost” (Untermeyer), Supp. XV: 304 Almost Revolution, The (Priaulx and Ungar), Supp. XI: 228 Alnilam (Dickey), Supp. IV Part 1: 176, 186, 188–189 “Alone” (Caputo), Supp. XIX: 29 “Alone” (Levine), Supp. V: 184, 185, 186 “Alone” (Poe), Retro. Supp. II: 266 “Alone” (Singer), IV: 15 “Alone” (Winters), Supp. II Part 2: 786, 811 “Alone and Lonely” (Budbill), Supp. XIX: 10 Aloneness (Brooks), Supp. III Part 1: 85, 86 Alone with America (Corso), Supp. XII: 131 Alone with America (Howard), Supp. IX: 326 “Along America’s Edges” (Sobin), Supp. XVI: 288 “Along the Color Line” (Du Bois), Supp. II Part 1: 173 Along the Illinois (Masters), Supp. I Part 2: 472 “Alphabet” (Nye), Supp. XIII: 283 Alphabet, An (Doty), Supp. XI: 120 Alphabet for Gourmets, An (M. F. K. Fisher), Supp. XVII: 86, 87, 92 Alphabet of Grace, The (Buechner), Supp. XII: 52 “Alphabet of My Dead, An” (Pinsky), Supp. VI: 235, 250 “Alphabet of Subjects, An” (Zukofsky), Supp. III 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 Al Que Quiere! (W. C. Williams), Retro. Supp. I: 414, 416, 417, 428 Alraune (Ewers; Endore, trans.), Supp. XVII: 54 Alsop, Joseph, II: 579 “Altar, The” (Herbert), Supp. IV Part 2: 646 “Altar, The” (MacLeish), III: 4 “Altar Boy” (Fante), Supp. XI: 160, 164 “Altar of the Dead, The” (James), Retro. Supp. I: 229 “Altars in the Street, The” (Levertov), Supp. III Part 1: 280 Alter, Robert, Supp. XII: 167 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 “Alto” (C. Frost), Supp. XV: 101 “Altra Ego” (Brodsky), Supp. VIII: 31–32 A Lume Spento (Pound), Retro. Supp. I: 283, 285 “Aluminum House” (F. Barthelme), Supp. XI: 26 Alvares, Mosseh, Supp. V: 11 Alvarez, A., Supp. I Part 2: 526, 527; Supp. II Part 1: 99; Supp. IX: 248 Alvarez, Julia, Supp. VII: 1–21; Supp. XI: 177; Supp. XVII: 71, 112 “Always a Rose” (L.-Y. Lee), Supp. XV: 215, 216 “Always in Good Humor” (Adams), Supp. XV: 294 Always Outnumbered, Always Outgunned (Mosley), Supp. XIII: 242 “Always the Stories” (Ortiz), Supp. IV Part 2: 499, 500, 502, 504, 512 Always the Young Strangers (Sandburg), III: 577–578, 579 Always Young and Fair (Richter), Supp. XVIII: 215–216 Amadeus (Shaffer), Supp. XIV: 330 “Amahl and the Night Visitors: A Guide to the Tenor of Love” (Moore), Supp. X: 167 “Am and Am Not” (Olds), Supp. X: 212 “Amanita, The” (Francis), Supp. IX: 81 Amaranth (Robinson), III: 509, 510, 512, 513, 522, 523 “Amateurs, The” (Swados), Supp. XIX: 256 Amazing Adele, The (Barillet and Grédy; Loos, trans.), Supp. XVI: 194 Amazing Adventures of Kavalier and Clay, The (Chabon), Supp. XI: 68, 76, 77–80 Amazing Adventures of the Escapist, The (Chabon, ed.), Supp. XIX: 174 Amazing Science Fiction Stories, Supp. XVI: 121 Amazons: An Intimate Memoir by the First Woman to Play in the National Hockey League (DeLillo), Supp. VI: 2 Ambassador of Peace, An (Abernon), Supp. XVI: 191 Ambassadors, The (H. 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 “Ambition Bird, The” (Sexton), Supp. II Part 2: 693 Ambition: The Secret Passion (Epstein), Supp. XIV: 113–114 Ambler, Eric, III: 57 Ambrose Holt and Family (Glaspell), Supp. III Part 1: 175, 181, 184, 187, 188 “Ambrose Seyffert” (Masters), Supp. I Part 2: 464

CUMULATIVE INDEX / 297 “Ambush” (Komunyakaa), Supp. XIII: 122 Amen Corner, The (Baldwin), Retro. Supp. II: 5, 7; Supp. I Part 1: 48, 51, 54, 55, 56 America (Benét), Supp. XI: 46, 47, 51 “America” (Ginsberg), Supp. II Part 1: 58–59, 317 “America” (song), IV: 410 “America, America!” (poem) (Schwartz), Supp. II Part 2: 665 “America, Commerce, and Freedom” (Rowson and Reinagle), Supp. XV: 240 “America, Seen Through Photographs, Darkly” (Sontag), Supp. III Part 2: 464 “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 Is Worth Saving (Dreiser), Retro. Supp. II: 96 American, The (James), I: 226; II: 326– 327, 328, 331, 334; IV: 318; Retro. Supp. I: 220, 221, 228, 376, 381 Americana (DeLillo), Supp. VI: 2, 3, 5, 6, 8, 13, 14 American Adam, The (R. W. B. Lewis), II: 457–458; Supp. XIII: 93 American Almanac (Leeds), II: 110 American Anthem (Doctorow and Suares), Supp. IV Part 1: 234 “American Apocalypse” (Gunn Allen), Supp. IV Part 1: 325 American Aristocracy (film), Supp. XVI: 185–186 American Blood, (Nichols), Supp. XIII: 268 American Blues (T. Williams), IV: 381, 383 American Buffalo (Mamet), Supp. XIV: 239, 241, 242, 244–245, 246, 254, 255 American Caravan: A Yearbook of American Literature (Mumford, ed.), 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 Child Supreme, An: The Education of a Liberation Ecologist (Nichols), Supp. XIII: 256, 257, 258, 264, 265, 266, 267, 268, 269 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” (J. Spingarn), I: 266 American Culture, Canons, and the Case of Elizabeth Stoddard (Smith and Weinauer), Supp. XV: 270 American Daughter, An (Wasserstein), Supp. XV: 330–332, 333 American Democrat, The (Cooper), I: 343, 346, 347, 353 American Desert (Everett), Supp. XVIII: 62–63 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; Retro. Supp. II: 203, 204–205 American Dream, The (Albee), I: 74–76, 77, 89, 94 “American Dreams” (Simpson), Supp. IX: 274 American Earth (Caldwell), I: 290, 308 “American Emperors” (Poirier), Supp. IV Part 2: 690 American Exodus, An (Lange and Taylor), I: 293 American Experience, The (Parkes), Supp. I Part 2: 617–618 American Express (Corso), Supp. XII: 129 “American Express” (Salter), Supp. IX: 260–261 “American Fear of Literature, The” (Lewis), II: 451 American Female Patriotism (S. Warner as Wetherell), Supp. XVIII: 260–261, 262, 263 American Fictions (Hardwick), Supp. X: 171 American Fictions, 1940–1980 (Karl), Supp. IV Part 1: 384 “American Financier, The” (Dreiser), II: 428 American Folkways (book series), I: 290 American Heroine: The Life and Legend of Jane Addams (Davis), Supp. I Part 1: 1 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 Humor: A Study of the National Character (Rourke), Supp. XIX: 147 American Hunger (Wright), Supp. IV Part 1: 11 American Indian Anthology, An (Tvedten, ed.), Supp. IV Part 2: 505 “American Indian Women: At the Center of Indigenous Resistance in Contemporary North America” (Jaimes and Halsey), Supp. IV Part 1: 331 “American in England, An” (Wylie), Supp. I Part 2: 707 American Jitters, The: A Year of the Slump (Wilson), IV: 427, 428 American Journal (Hayden), Supp. II Part 1: 367

American Journey: The Times of Robert F. Kennedy (Plimpton, ed.), Supp. XVI: 245 “American Land Ethic, An” (Momaday), Supp. IV Part 2: 488 American Landscape, The, Supp. I Part 1: 157 American Language, The (Mencken), II: 289, 430; III: 100, 104, 105, 108, 111, 119–120 American Language, The: Supplement One (Mencken), III: 111 American Language, The: Supplement Two (Mencken), III: 111 “American Letter” (MacLeish), III: 13 “American Liberty” (Freneau), Supp. II Part 1: 257 “American Life in Poetry” (column, Kooser), Supp. XIX: 116, 127 American Literary History (Harrison), Supp. VIII: 37 American Mercury, Supp. XI: 163, 164 American Mind, The (Commager), Supp. I Part 2: 650 American Moderns: Bohemian New York and the Creation of a New Century (Stansell), Supp. XVII: 106 American Moderns: From Rebellion to Conformity (Geismar), Supp. IX: 15; Supp. XI: 223 “American Names” (Benét), Supp. XI: 47 American Nature Writers (Elder, ed.), Supp. IX: 25 American Nature Writers (Winter), Supp. X: 104 American Negro, The (W. H. Thomas), Supp. II Part 1: 168 American Notebooks, The (Hawthorne), II: 226 American Novel Since World War II, The (Klein, ed.), Supp. XI: 233 Americano, The (film), Supp. XVI: 185 “American Original, An: Learning from a Literary Master” (Wilkinson), Supp. VIII: 164, 165, 168 American Ornithology (Wilson), Supp. XVI: 4, 6 American Pastoral (P. Roth), Retro. Supp. II: 279, 289, 292–293; Supp. XI: 68 American Places (Porter, Stegner and Stegner), Supp. IV Part 2: 599 “American Poet” (Shapiro), Supp. II Part 2: 701 “American Poetry” (Simpson), Supp. IX: 272 American Poetry, 1922: A Miscellany (Untermeyer, ed.), Supp. XV: 306 “American Poetry and American Life” (Pinsky), Supp. VI: 239–240 American Poetry from the Beginning to Whitman (Untermeyer, ed.), Supp. XV: 310 American Poetry since 1900 (Untermeyer, ed.), Supp. XV: 306 American Poetry since 1945: A Critical Survey (Stepanchev), Supp. XI: 312 American Poetry since 1960 (Mesic), Supp. IV Part 1: 175

298 / AMERICAN WRITERS American Poets since World War II Dictionary of Literary Biography (Gwynn, ed.), Supp. XV: 343 American Primer, An (Boorstin), I: 253 American Primer, An (Whitman), IV: 348 “American Primitive” (W. J. Smith), Supp. XIII: 333 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 Prose Writers” articles (Briggs), Supp. XVIII: 11 American Radio Company, The (radio show, Keillor), Supp. XVI: 176–177 “American Realist Playwrights, The” (McCarthy), II: 562 American Register, or General Repository of History, Politics, and Science, The (Brown, ed.), Supp. I Part 1: 146 American Renaissance (Matthiessen), I: 259–260; III: 310; Supp. XIII: 93 “American Rendezvous, An” (Beauvoir), Supp. IX: 4 American Scene, The (James), II: 336; III: 460; Retro. Supp. I: 232, 235 American Scenes (Kozlenko, ed.), IV: 378 “American Scholar, The” (Emerson), I: 239; II: 8, 12–13; Retro. Supp. I: 62, 74–75, 149, 298; Retro. Supp. II: 155; Supp. I Part 2: 420; Supp. IX: 227, 271; Supp. XIV: 104 Americans in England; or, Lessons for Daughters (Rowson), Supp. XV: 240 “American Soldier, The” (Freneau), Supp. II Part 1: 269 American Songbag, The (Sandburg), III: 583 “American Student in Paris, An” (Farrell), II: 45 “American Sublime, The” (Stevens), IV: 74 “American Tar, The; or, The Press Gang Defeated” (Rowson and Taylor), Supp. XV: 238 “American Temperament, The” (Locke), Supp. XIV: 211 American Tragedy, An (Dreiser), I: 497, 498, 499, 501, 502, 503, 511–515, 517, 518, 519; III: 251; IV: 35, 484; Retro. Supp. II: 93, 95, 104–108; Supp. XVII: 155 “American Triptych” (Kenyon), Supp. VII: 165 “American Use for German Ideals” (Bourne), I: 228 American Village, The (Freneau), Supp. II Part 1: 256, 257 “American Village, The” (Freneau), Supp. II Part 1: 256 America’s Coming-of-Age (Brooks), I: 228, 230, 240, 245, 258; IV: 427 America’s Humor: From Poor Richard to Doonesbury (Blair and Hill), Retro. Supp. II: 286 “America’s Part in World Peace” (Locke), Supp. XIV: 208

America’s Rome (Vance), Supp. IV Part 2: 684 America: The Story of a Free People (Commager and Nevins), I: 253 America Was Promises (MacLeish), III: 16, 17 “Amerika” (Snyder), Supp. VIII: 301 Ames, Christopher, Supp. XVIII: 242– 243 Ames, Fisher, Supp. I Part 2: 486 Ames, Lois, Supp. I Part 2: 541, 547 Ames, William, IV: 158 Ames Stewart, Beatrice, Supp. IX: 200 Amichai, Yehuda, Supp. XI: 267 Amidon, Stephen, Supp. XI: 333 Amiel, Henri F., I: 241, 243, 250 Amis, Kingsley, IV: 430; Supp. IV Part 2: 688; Supp. VIII: 167; Supp. XIII: 93; Supp. XV: 117 Amis, Martin, Retro. Supp. I: 278 Ammons, A. R., Supp. III Part 2: 541; Supp. VII: 23–38; Supp. IX: 41, 42, 46; Supp. XII: 121; Supp. XV: 115; Supp. XVII: 242; Supp. XIX: 83 Ammons, Elizabeth, Retro. Supp. I: 364, 369; Retro. Supp. II: 140 Amnesia Moon (Lethem), Supp. XVIII: 136, 138–139 “Among Children” (Levine), Supp. V: 192 Among Friends (M. F. K. Fisher), Supp. XVII: 89, 90–91, 92 Among My Books (Lowell), Supp. I Part 2: 407 “Among School Children” (Yeats), III: 249; Supp. IX: 52; Supp. XIV: 8 “Among the Hills” (Whittier), Supp. I Part 2: 703 Among the Isles of Shoals (Thaxter), Supp. XIII: 152 “Among Those Present” (Benét), Supp. XI: 53 “Amoral Moralist” (White), Supp. I Part 2: 648 Amory, Cleveland, Supp. I Part 1: 316 Amory, Fred, Supp. III Part 1: 2 Amos (biblical book), II: 166 Amran, David, Supp. XIV: 150 “Am Strand von Tanger” (Salter), Supp. IX: 257 “AMTRAK” (Baraka), Supp. II Part 1: 60 Amy and Isabelle (Strout), Supp. X: 86 “Amy Lowell of Brookline, Mass.” (Scott), II: 512 Amy Lowell: Portrait of the Poet in Her Time (Gregory), II: 512 “Amy Wentworth” (Whittier), Supp. I Part 2: 694, 696 Anabase (Perse), III: 12 “Anabasis (I)” (Merwin), Supp. III Part 1: 342, 346 “Anabasis (II)” (Merwin), Supp. III Part 1: 342, 346 Anagrams: A Novel (Moore), Supp. X: 163, 164, 167, 169–171, 172 Analects (Confucius), Supp. IV Part 1: 14 Analects, The (Pound, trans.), III: 472 Analogy (J. 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 Anarchist Woman, An (Hapgood), Supp. XVII: 102–103 Anatomy Lesson, and Other Stories, The (Connell), Supp. XIV: 84, 87, 89 “Anatomy Lesson, The” (Connell), Supp. XIV: 84, 86, 87 Anatomy Lesson, The (P. Roth), Retro. Supp. II: 286, 290; Supp. III Part 2: 422–423, 425 “Anatomy Lesson of Dr. Nicholaas Tulp, Amsterdam, 1632, The” (Bierds), Supp. XVII: 27–28 Anatomy of Criticism (Frye), Supp. XIII: 19; Supp. XIV: 15 Anatomy of Melancholy (Burton), III: 78; Supp. XVII: 229 Anatomy of Nonsense, The (Winters), Supp. II Part 2: 811, 812 Anaya, Rudolfo A., Supp. IV Part 2: 502; Supp. XIII: 213, 220; Supp. XIX: 97 “Ancestor” (A. Finch), Supp. XVII: 72 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 “Anchorage” (Harjo), Supp. XII: 220– 221 Ancient Child, The: A Novel (Momaday), Supp. IV Part 2: 488, 489–491, 492, 493 “Ancient Egypt/Fannie Goldbarth” (Goldbarth), Supp. XII: 191–192 Ancient Evenings (Mailer), Retro. Supp. II: 206, 210, 213 Ancient Law, The (Glasgow), II: 179– 180, 192 Ancient Musics (Goldbarth), Supp. XII: 191–192 “Ancient Semitic Rituals for the Dead” (Goldbarth), Supp. XII: 191–192 “Ancient World, The” (Doty), Supp. XI: 122 & (And) (Cummings), I: 429, 431, 432, 437, 445, 446, 448 Andersen, Hans Christian, I: 441; Supp. I Part 2: 622 Anderson, Charles R., Supp. I Part 1: 356, 360, 368, 371, 372 Anderson, Frances, I: 231 Anderson, Guy, Supp. X: 264, 265 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, Lorraine, Supp. XVIII: 189 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

CUMULATIVE INDEX / 299 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, Sally, Supp. XIII: 95 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, 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; Supp. XI: 159, 164; Supp. XII: 343; Supp. XV: 298; Supp. XVI: 17, 20; Supp. XVII: 105 Anderson, T. J., Supp. XIII: 132 Anderssen, A., III: 252 “And Hickman Arrives” (Ellison), Retro. Supp. II: 118, 126; Supp. II Part 1: 248 And in the Hanging Gardens (Aiken), I: 63 “And It Came to Pass” (Wright), Supp. XV: 348 And I Worked at the Writer’s Trade (Cowley), Supp. II Part 1: 137, 139, 141, 143, 147, 148 And Live Apart (Peacock), Supp. XIX: 196–197 Andorra (Cameron), Supp. XII: 79, 81, 88–91 “—and Other Poets” (column; Untermeyer), Supp. XV: 294 “—and Other Poets” (Untermeyer), Supp. XV: 297 Andral, Gabriel, Supp. I Part 1: 302 Andre, Michael, Supp. XII: 117–118, 129, 132, 133–134 Andre’s Mother (McNally), Supp. XIII: 206 Andress, Ursula, Supp. XI: 307 “Andrew Jackson” (Masters), Supp. I Part 2: 472 Andrews, Bruce, Supp. IV Part 2: 426 Andrews, Roy Chapman, Supp. X: 172 Andrews, Tom, Supp. XI: 317 Andrews, Wayne, IV: 310 Andrews, William, Supp. IV Part 1: 13; Supp. XIX: 72 Andreyev, Leonid Nikolaevich, I: 53; II: 425 Andria (Terence), IV: 363 “Andromache” (Dubus), Supp. VII: 84 “And Summer Will Not Come Again” (Plath), Retro. Supp. II: 242 “And That Night Clifford Died” (Levine), Supp. V: 195 And the Band Played On (Shilts), Supp. X: 145 “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 Things That Go Bump in the Night (McNally), Supp. XIII: 196–197, 205, 208 And to Think That I Saw It on Mulberry Street (Geisel), Supp. XVI: 100, 101, 104 “And Ut Pictura Poesis Is Her Name” (Ashbery), Supp. III Part 1: 19 And We Are Millions (Ryan), Supp. XVIII: 225 “Anecdote and Storyteller” (Howe), Supp. VI: 127 “Anecdote of the Jar” (Stevens), IV: 83–84 “Anemone” (Rukeyser), Supp. VI: 281, 285 “Angel, The” (Buck), Supp. II Part 1: 127 “Angel and Unicorn and Butterfly” (Everwine), Supp. XV: 76 Angela’s Ashes (McCourt), Supp. XII: 271–279, 283, 285 “Angel at the Grave, The” (Wharton), IV: 310; Retro. Supp. I: 365 “Angel Butcher” (Levine), Supp. V: 181 Angel City (Shepard), Supp. III Part 2: 432, 445 “Angel Is My Watermark!, The” (H. Miller), III: 180 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 Angel Landing (Hoffman), Supp. X: 82–83 “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 Angelo Herndon Jones (Hughes), Retro. Supp. I: 203 “Angel on the Porch, An” (Wolfe), IV: 451 Angelou, Maya, Supp. IV Part 1: 1–19; Supp. XI: 20, 245; Supp. XIII: 185; Supp. XVI: 259 “Angel Poem, The” (Stern), Supp. IX: 292 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 “Angel Surrounded by Paysans” (Stevens), IV: 93 Angel That Troubled the Waters, The (Wilder), IV: 356, 357–358 “Anger” (Creeley), Supp. IV Part 1: 150–152 Anger (Sarton), Supp. VIII: 256 “Anger against Children” (R. 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” (Williams-Walsh), Supp. IV Part 2: 611 Anglo-Saxon Century, The (Dos Passos), I: 474–475, 483 Angoff, Charles, III: 107 “Angola Question Mark” (Hughes), Supp. I Part 1: 344 Angry Wife, The (Sedges), Supp. II Part 1: 125 “Angry Women Are Building: Issues and Struggles Facing American Indian Women Today” (Gunn Allen), Supp. IV Part 1: 324 “Animal, Vegetable, and Mineral” (Bogan), Supp. III Part 1: 66 “Animal Acts” (Simic), Supp. VIII: 278 Animal and Vegetable Physiology Considered with Reference to Natural Theology (Roget), Supp. I Part 1: 312 “Animal Bodies: Corporeality, Class, and Subject Formation in The Wide, Wide World” (Mason), Supp. XVIII: 263 Animal Dreams (Kingsolver), Supp. VII: 199, 204–207 Animal Magnetism (Prose), Supp. XVI: 251, 260 “Animals, The” (Merwin), Supp. III Part 1: 348 “Animals Are Passing from Our Lives” (Levine), Supp. V: 181, 182 Animals in That Country, The (Atwood), Supp. XIII: 20, 33 Animals of the Soul: Sacred Animals of the Oglala Sioux (Brown), Supp. IV Part 2: 487 “Animals You Eat, The” (X. J. Kennedy), Supp. XV: 169 “Animula” (Eliot), Retro. Supp. I: 64 Anita Loos Rediscovered (M. A. Loos), Supp. XVI: 196 Ankor Wat (Ginsberg), Supp. II Part 1: 323 “Annabelle” (Komunyakaa), Supp. XIII: 117 “Annabel Lee” (Poe), Retro. Supp. I: 273; Retro. Supp. II: 266 Anna Christie (O’ Neill), III: 386, 389, 390 “Anna Grasa” (Weigl), Supp. XIX: 278 “Anna in Mourning” (Weigl), Supp. XIX: 288 Anna Karenina (Tolstoy), I: 10; II: 290; Retro. Supp. I: 225; Supp. V: 323 “Anna Karenina” (Trilling), Supp. III Part 2: 508 “Anna’s Grace” (Weigl), Supp. XIX: 282–283 “Anna Who Was Mad” (Sexton), Supp. II Part 2: 692 “Ann Burlak” (Rukeyser), Supp. VI: 280 “Anne” (Davis), Supp. XVI: 91, 92

300 / AMERICAN WRITERS “Anne” (Oliver), Supp. VII: 232 “Anne at the Symphony” (Shields), Supp. VII: 310 “Anne Bradstreet’s Poetic Voices” (Requa), Supp. I Part 1: 107 Anne Sexton: The Artist and Her Critics (McClatchy), Supp. XII: 253 “Ann from the Street” (Dixon), Supp. XII: 146–147 “Ann Garner” (Agee), I: 27 “Anniad, The” (Brooks), Supp. III Part 1: 77, 78 Annie (musical), Supp. IV Part 2: 577 Annie Allen (Brooks), Supp. III Part 1: 76–79 Annie Dillard Reader, The (Dillard), Supp. VI: 23 Annie Hall (film; Allen), Supp. IV Part 1: 205; Supp. XV: 1, 2, 4, 5, 6–7, 14 Annie John (Kincaid), Supp. VII: 184– 186, 193 Annie Kilburn, a Novel (Howells), II: 275, 286, 287 “Annihilation” (X. J. Kennedy), Supp. XV: 168 Anniversary (Shields), Supp. VII: 320, 322, 323, 324 “Annunciation” (Nelson), Supp. XVIII: 174 “Annunciation, The” (Le Sueur), Supp. V: 130 Ann Vickers (Lewis), II: 453 “A No-Account Creole, A” (Chopin), Retro. Supp. II: 64 “Anodyne” (Komunyakaa), Supp. XIII: 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. III Part 1: 326 “Another Beer” (Matthews), Supp. IX: 158 Another Country (Baldwin), Retro. Supp. II: 9–11, 14; Supp. I Part 1: 51, 52, 56–58, 63, 67, 337; Supp. II Part 1: 40; Supp. VIII: 349 “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. III Part 1: 239, 251 “Another Old Woman” (W. C. 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 (Strand, trans.), Supp. IV Part 2: 630 Another Roadside Attraction (Robbins), Supp. X: 259, 261, 262, 263, 264, 265–266, 267–269, 274, 275, 277, 284 Another Side of Bob Dylan (album, Dylan), Supp. XVIII: 25

“Another Spring Uncovered” (Swenson), Supp. IV Part 2: 644 Another Thin Man (film), Supp. IV Part 1: 355 Another Time (Auden), Supp. II Part 1: 15 Another Turn of the Crank (Berry), Supp. X: 25, 35 “Another upon the Same” (Taylor), IV: 161 “Another Voice” (Wilbur), Supp. III Part 2: 557 “Another Wife” (Anderson), I: 114 “Another Winter Night” (Budbill), Supp. XIX: 10 Another Woman (film; Allen), Supp. XV: 11 Another You (Beattie), Supp. V: 29, 31, 33–34 Anouilh, Jean, Supp. I Part 1: 286–288, 297 Ansa, Tina McElroy, Supp. XVIII: 195 Ansky, S., IV: 6 Ansky, Shloime, Supp. IX: 131, 138 “Answer, The” (Jeffers), Supp. III Part 2: 423 Answered Prayers: The Unfinished Novel (Capote), Supp. III Part 1: 113, 125, 131–132; Supp. XVI: 245 “Answering the Deer: Genocide and Continuance in the Poetry of American Indian Women” (Gunn Allen), Supp. IV Part 1: 322, 325 “Answer of Minerva, The: Pacifism and Resistance in Simone Weil” (Merton), Supp. VIII: 204 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 Holocaust Literature (Glatstein, Knox, and Margoshes, eds.), Supp. X: 70 Anthology of Twentieth-Century Brazilian Poetry, An (Bishop and Brasil, eds.), Retro. Supp. II: 50; Supp. I Part 1: 94 Anthon, Kate, I: 452 Anthony, Andrew, Supp. XVI: 235, 245, 246 Anthony, Saint, III: 395 Anthony, Susan B., Supp. XI: 200 “Anthropologist as Hero, The” (Sontag), Supp. III Part 2: 451 “Anthropology of Water, The” (Carson), Supp. XII: 102–103 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; Supp. X: 249 Antin, David, Supp. VIII: 292; Supp. XII: 2, 8 Antin, Mary, Supp. IX: 227; Supp. XVI: 148, 149

Anti-Oedipus: Capitalism and Schizophrenia (Deleuze and Guattari), Supp. XII: 4 Antiphon, The (Barnes), Supp. III 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. III Part 1: 171 Antoine, Andre, III: 387 Antonioni, Michelangelo, Supp. IV Part 1: 46, 47, 48 Antony and Cleopatra (Shakespeare), I: 285 “Antony on Behalf of the Play” (Burke), I: 284 “An trentiesme de mon Eage, L” (MacLeish), III: 9 “Ants” (R. Bly), Supp. IV Part 1: 71 Anxiety of Influence, The (Bloom), Supp. XIII: 46 “Any City” (Untermeyer), Supp. XV: 296 “Any Object” (Swenson), Supp. IV Part 2: 640 “Any Porch” (Parker), Supp. IX: 194 Anything Else (film; Allen), Supp. XV: 2, 11 “Anywhere Out of This World” (Baudelaire), II: 552 Any Woman Can’ t (Wasserstein), Supp. XV: 322 Any Woman’s Blues (Jong), Supp. V: 115, 123, 126 Anzaldúa, Gloria, Supp. IV Part 1: 330; Supp. XIII: 223 “Aphorisms on Society” (Stevens), Retro. Supp. I: 303 “Apiary IX” (C. Frost), Supp. XV: 106 “Apisculptures” (Bierds), Supp. XVII: 29 Apollinaire, Guillaume, I: 432; II: 529; III: 196; IV: 80; Retro. Supp. II: 326; Supp. XV: 182 Apologies to the Iroquois (Wilson), IV: 429 “Apology” (C. Frost), Supp. XV: 103 “Apology, An” (Malamud), Supp. I Part 2: 435, 437 “Apology for Bad Dreams” (Jeffers), Supp. II Part 2: 427, 438; Supp. XVII: 112 “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

CUMULATIVE INDEX / 301 “Apotheosis” (Kingsolver), Supp. VII: 208 “Apotheosis of Martin Luther King, The” (Hardwick), Supp. III Part 1: 203– 204 Appalachia (Wright), Supp. V: 333, 345 “Appalachian Book of the Dead III” (Wright), Supp. V: 345 Appaloosa (Parker), Supp. XIX: 187 “Appeal to Progressives, An” (Wilson), IV: 429 Appeal to Reason (Paine), I: 490 Appeal to the World, An (Du Bois), Supp. II Part 1: 184 Appearance and Reality (Bradley), I: 572 “Appendix to ‘The Anniad’ ” (Brooks), Supp. III Part 1: 77 Apple, Max, Supp. VIII: 14; Supp. XVII: 1–11, 49–50 Apple, Sam, Supp. XVII: 8 “Apple, The” (Kinnell), Supp. III Part 1: 250 Applebaum, Anne, Supp. XVI: 153 Applegarth, Mabel, II: 465, 478 “Apple of Discord, The” (Humphrey), Supp. IX: 109 “Apple Peeler” (Francis), Supp. IX: 82 “Apple Rind” (C. Frost), Supp. XV: 102 “Apples, The” (Di Piero), Supp. XIX: 46 Appleseed, Johnny (pseudonym). See Chapman, John (Johnny Appleseed) Appleton, Nathan, II: 488 Appleton, Thomas Gold, Supp. I Part 1: 306; Supp. I Part 2: 415 “Apple Tree, The” (McCarriston), Supp. XIV: 263, 268 “Applicant, The” (Plath), Retro. Supp. II: 252; Supp. I Part 2: 535, 544, 545 “Application, The” (Neugeboren), Supp. XVI: 219, 220, 225 “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 Appreciation of Sarah Orne Jewett (Cary), Retro. Supp. II: 132 “Approaches, The” (Merwin), Supp. III Part 1: 350 “Approaching Artaud” (Sontag), Supp. III Part 2: 470–471 “Approaching Prayer” (Dickey), Supp. IV Part 1: 175 Approach to Literature, An: A Collection of Prose and Verse with Analyses and Discussions (Brooks, Warren, and Purser), Su pp. XIV:4 “Approach to Thebes, The” (Kunitz), Supp. III Part 1: 265–267 Approach to Vedanta, An (Isherwood), Supp. XIV: 157, 163, 164 “Appropriation of Cultures, The” (Everett), Supp. XVIII: 66 “Après-midi d’ un faune, L’ ” (Mallarmé), III: 8 “April” (Bierds), Supp. XVII: 29 “April” (W. C. Williams), Retro. Supp. I: 422 “April” (Winters), Supp. II Part 2: 788

April, Steve. See Lacy, Ed April Galleons (Ashbery), Supp. III Part 1: 26 “April Galleons” (Ashbery), Supp. III Part 1: 26 April Hopes (Howells), II: 285, 289 “April Lovers” (Ransom), III: 489–490 “April Showers” (Wharton), Retro. Supp. I: 361 “April Today Main Street” (Olson), Supp. II Part 2: 581 April Twilights (Cather), I: 313; Retro. Supp. I: 5 “Apt Pupil” (King), Supp. V: 152 Arabian Nights, I: 204; II: 8; Supp. I Part 2: 584, 599; Supp. IV Part 1: 1 “Arabic Coffee” (Nye), Supp. XIII: 276 “Araby” (Joyce), I: 174; Supp. VIII: 15 Aragon, Louis, I: 429; III: 471; Retro. Supp. II: 85, 321 Arana-Ward, Marie, Supp. VIII: 84 Ararat (Glück), Supp. V: 79, 86–87 Arbre du voyageur, L’ (W. J. Smith; Haussmann, trans.), Supp. XIII: 347 Arbus, Diane, Supp. XII: 188 Arbuthnott, John (pseudonym). See Henry, O. “Arc, The” (Bidart), Supp. XV: 25–26, 27 Archaeologist of Morning (Olson), Supp. II Part 2: 557 Archaeology of the Circle: New and Selected Poems (Weigl), Supp. XIX: 282 “Archaic Maker, The” (Merwin), Supp. III Part 1: 357 “Archaic Torso of Apollo” (Rilke), Supp. XV: 148 “Archaischer Torso Apollos” (Rilke), Supp. XVII: 244 “Archbishop, The” (Gioia), Supp. XV: 126, 127 Archer (television show), Supp. IV Part 2: 474 Archer, William, IV: 131; Retro. Supp. I: 228 Archer at Large (Macdonald), Supp. IV Part 2: 473 Archer in Hollywood (Macdonald), Supp. IV Part 2: 474 “Archetype and Signature: The Relationship of Poet and Poem” (Fiedler), Supp. XIII: 101 “Archibald Higbie” (Masters), Supp. I Part 2: 461 “Architect, The” (Bourne), I: 223 Architect, The (Briggs and Ranlett), Supp. XVIII: 3 Arctic Dreams (Lopez), Supp. V: 211 Arctic Refuge: A Circle of Testimony (Haines), Supp. XII: 205 “Arcturus” (Connell), Supp. XIV: 88 Arendt, Hannah, II: 544; Retro. Supp. I: 87; Retro. Supp. II: 28, 117; Supp. I Part 2: 570; Supp. IV Part 1: 386; Supp. VIII: 98, 99, 100, 243; Supp. XII: 166–167 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 “Are You a Doctor?” (Carver), Supp. III Part 1: 139–141 “Are You Mr. William Stafford? (Stafford), Supp. XI: 317 Argall: The True Story of Pocahontas and Captain John Smith (Vollmann), Supp. XVII: 225, 226, 231, 232, 233 “Argonauts of 49, California’s Golden Age” (Harte), Supp. II Part 1: 353, 355 “Arguments of Everlasting” (B. Kelly), Supp. XVII: 129 “Arguments with the Gestapo Continued: II” (Wright), Supp. XV: 344 “Arguments with the Gestapo Continued: Literary Resistance” (Wright), Supp. XV: 344 Aria da Capo (Millay), III: 137–138 Ariadne’s Thread: A Collection of Contemporary Women’s Journals (Lifshin, ed.), Supp. XVI: 37–38 Ariel (Plath), Retro. Supp. II: 250–255; Supp. I Part 2: 526, 539, 541; Supp. V: 79 “Ariel” (Plath), Supp. I Part 2: 542, 546 “Ariel Poems” (Eliot), I: 579 Ariosto, Ludovico, Supp. XV: 175 “Ariosto: Critical Notice of His Life and Genius” (Hunt), Supp. XV: 175 Arise, Arise (Zukofsky), Supp. III Part 2: 619, 629 Aristides. See Epstein, Joseph “Aristocracy” (Emerson), II: 6 Aristocracy and Justice (More), I: 223 Aristocrat, The (Richter), Supp. XVIII: 220 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; Supp. I Part 2: 423; Supp. IV Part 1: 391; Supp. IV Part 2: 526, 530; Supp. X: 78; Supp. XI: 249; Supp. XII: 106; Supp. XIV: 242–243 Aristotle Contemplating the Bust of Homer (Rembrandt), Supp. IV Part 1: 390, 391 “Arkansas Traveller” (Wright), Supp. V: 334 “Arm, The” (X. J. Kennedy), Supp. XV: 169 “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; Retro. Supp. II: 205, 206–207, 208; Supp. IV Part 1: 207; Supp. XIV: 49, 162 “Arm in Arm” (Simpson), Supp. IX: 267–268 Arminius, Jacobus, I: 557

302 / AMERICAN WRITERS Armitage, Shelley, Supp. IV Part 2: 439 Arm of Flesh, The (Salter), Supp. IX: 251 “Armor” (Dickey), Supp. IV Part 1: 179 Armored Attack (film), Supp. I Part 1: 281 Arms, George W., Supp. I Part 2: 416– 417 Armstrong, George, Supp. I Part 2: 386 Armstrong, Louis, Retro. Supp. II: 114 “’ Arm the Paper Arm’ : Kenneth Koch’s Postmodern Comedy” (Chinitz), Supp. XV: 180, 185 “Army” (Corso), Supp. XII: 117, 127 Army Brat (W. J. Smith), Supp. XIII: 331, 347 Arna Bontemps Langston Hughes: Letters 1925–1967 (Nichols), Retro. Supp. I: 194 Arner, Robert D., Retro. Supp. II: 62 “Arnie” (Budbill), Supp. XIX: 6 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; Supp. XIV: 11, 335; Supp. XIX: 41 Arnold, Thurman, Supp. I Part 2: 645 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), Retro. Supp. II: 46; Supp. IX: 45–46 “Arrival of the Bee Box, The” (Plath), Retro. Supp. II: 255 Arrivistes, The: Poem 1940–1949 (Simpson), Supp. IX: 265, 267–268 Arrogance (J. Scott), Supp. XVII: 186– 188, 189, 191, 192, 194 “Arrow” (Dove), Supp. IV Part 1: 250 Arrowsmith (Lewis), I: 362; II: 445–446, 449 “Arsenal at Springfield, The” (Longfellow), Retro. Supp. II: 168 “Arson at Midnight” (Nelson), Supp. XVIII: 186 “Arson Plus” (Hammett), Supp. IV Part 1: 343 “Ars Poetica” (Dove), Supp. IV Part 1: 250 “Ars Poetica” (Dunn), Supp. XI: 154 “Ars Poetica” (MacLeish), III: 9–10 “Ars Poetica” (X. J. Kennedy), Supp. XV: 154 “Ars Poetica: A Found Poem” (Kumin), Supp. IV Part 2: 455 “Ars Poetica; or, Who Lives in the Ivory Tower” (McGrath), Supp. X: 117 “Ars Poetica: Some Recent Criticism” (Wright), Supp. III Part 2: 603 “Art” (Emerson), II: 13 “Art and Neurosis” (Trilling), Supp. III Part 2: 502 Art and Technics (Mumford), Supp. II Part 2: 483

Art & Ardor: Essays (Ozick), Supp. V: 258, 272 Art as Experience (Dewey), I: 266 Art by Subtraction (Reid), IV: 41 Art de toucher le clavecin, L’ (Couperin), III: 464 Artemis to Actaeon and Other Verse (Wharton), Retro. Supp. I: 372 Arte of English Poesie (Puttenham), Supp. I Part 1: 113 Arthur, Anthony, Supp. IV Part 2: 606 Arthur Mervyn; or, Memoirs of the Year 1793 (Brown), Supp. I Part 1: 137– 140, 144 “Article of Faith” (Sobin), Supp. XVI: 291 Articles of Light & Elation (Sobin), Supp. XVI: 291 Articulation of Sound Forms in Time (Howe), Supp. IV Part 2: 419, 431– 433 “Artificer” (X. J. Kennedy), Supp. XV: 160 “Artificial Nigger, The” (O’ Connor), III: 343, 351, 356, 358; Retro. Supp. II: 229, 232 Artist, The: A Drama without Words (Mencken), III: 104 “Artist of the Beautiful, The” (Hawthorne), Retro. Supp. I: 149 Artistry of Grief (Torsney), Retro. Supp. I: 224 “Artists’ and Models’ Ball, The” (Brooks), Supp. III Part 1: 72 Art of Detective Fiction, The (Swales), Supp. XIX: 183 “Art of Disappearing, The” (Nye), Supp. XIII: 287 Art of Eating, The (M. F. K. Fisher), Supp. XVII: 87, 90, 91 Art of Fiction, The (Gardner), Supp. VI: 73 “Art of Fiction, The” (H. James), Retro. Supp. I: 226; Retro. Supp. II: 223 Art of Hunger, The (Auster), Supp. XII: 22 “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 Love, The (Koch), Supp. XV: 182 “Art of Love, The” (Koch), Supp. XV: 182 Art of Poetry, The (Koch), Supp. XV: 175–176, 178, 188 “Art of Poetry, The” (Koch), Supp. XV: 182 “Art of Poetry, The” (McClatchy), Supp. XII: 262 “Art of Romare Bearden, The” (Ellison), Retro. Supp. II: 123 “Art of Storytelling, The” (Simpson), Supp. IX: 277 Art of Sylvia Plath, The (Newman), Supp. I Part 2: 527 Art of the Moving Picture, The (Lindsay), Supp. I Part 2: 376, 391–392, 394; Supp. XVI: 185

Art of the Novel (H. James), Retro. Supp. I: 227 “Art of Theodore Dreiser, The” (Bourne), I: 235 Art of the Personal Essay, The (Lopate, comp.), Supp. XIII: 280–281; Supp. XVI: 266 Art of the Self, The: Essays a Propos “Steps” (Kosinski), Supp. VII: 222 Arts and Sciences (Goldbarth), Supp. XII: 184–186 Arts and Sciences: A Seventies Seduction (Mallon), Supp. XIX: 132, 135 “Art’s Bread and Butter” (Benét), Retro. Supp. I: 108 Arvin, Newton, I: 259; II: 508; Retro. Supp. I: 19, 137 Asali, Muna, Supp. XIII: 121, 126 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, Nathan, Supp. XV: 133, 134 Asch, Sholem, IV: 1, 9, 11, 14; Retro. Supp. II: 299 Ascherson, Neal, Supp. XII: 167 Ascher-Walsh, Rebecca, Supp. XIX: 54 “As Close as Breathing” (Jarman), Supp. XVII: 120 As Does New Hampshire and Other Poems (Sarton), Supp. VIII: 259 “As Evening Lays Dying” (Salinas), Supp. XIII: 319 “As Flowers Are” (Kunitz), Supp. III Part 1: 265 “Ash” (Sobin), Supp. XVI: 284–285 Ashbery, John, Retro. Supp. I: 313; Supp. I Part 1: 96; Supp. III Part 1: 1–29; Supp. III Part 2: 541; Supp. IV Part 2: 620; Supp. VIII: 272; Supp. IX: 52; Supp. XI: 139; Supp. XIII: 85; Supp. XV: 176, 177, 178, 188, 250; Supp. XIX: 40, 83 “Ashes” (Levine), Supp. V: 188 “Ashes of the Beacon” (Bierce), I: 209 Ashes: Poems Old and New (Levine), Supp. V: 178, 188–189 Ashford, Margaret Mary (Daisy), II: 426 Ash Wednesday (Eliot), I: 570, 574–575, 578–579, 580, 582, 584, 585; Retro. Supp. I: 64 “Ash Wednesday” (Eliot), Supp. IV Part 2: 436 “Ash Wednesday” (Garrett), Supp. VII: 109–110 “Ash Wednesday” (Merton), Supp. VIII: 199 Asian American Authors (Hsu and Palubinskas, eds.), Supp. X: 292 Asian American Heritage: An Anthology of Prose and Poetry (Wand), Supp. X: 292 Asian Figures (Mervin), Supp. III Part 1: 341 Asian Journal of Thomas Merton, The (Merton), Supp. VIII: 196, 206, 208 “Asian Peace Offers Rejected without Publication” (R. Bly), Supp. IV Part 1: 61

CUMULATIVE INDEX / 303 “Asides on the Oboe” (Stevens), Retro. Supp. I: 305 “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; Supp. XIV: 24 “As I Lay with My Head in Your Lap, Camerado” (Whitman), IV: 347 Asimov, Isaac, Supp. IV Part 1: 116; Supp. XVI: 122 Asinof, Eliot, II: 424 As I Remember It (PBS documentary), Supp. XVIII: 277 Asirvatham, Sandy, Supp. XVI: 249 “As Is the Daughter, So Is Her Mother” (Patchett), Supp. XII: 310 “As It Was in the Beginning” (Benét), Supp. XI: 56 “As I Walked Out One Evening” (Auden), Supp. II Part 1: 13; Supp. XV: 126 “As I Went Down by Havre de Grace” (Wylie), Supp. I Part 2: 723 Ask a Policeman (Hinojosa), Supp. XIX: 110–111 “Ask Me” (Stafford), Supp. XI: 326–327 Ask Me Tomorrow (Cozzens), I: 365–367, 379 Ask the Dust (Fante), Supp. XI: 159, 160, 166, 167–169, 172, 173, 174 “Ask the Optimist!” (Saunders), Supp. XIX: 235 Ask Your Mama (Hughes), Supp. I Part 1: 339, 341–342 Ask Your Mama: 12 Moods for Jazz (Hughes), Retro. Supp. I: 210, 211 As Little Children (R. P. Smith), Supp. XIV: 333 “As One Put Drunk into the Packet Boat” (Ashbery), Supp. III Part 1: 18 “Asparagus” (Nelson), Supp. XVIII: 178 “Aspects of Robinson” (Kees), Supp. XV: 134 Aspects of the Novel (Forster), Retro. Supp. I: 232; Supp. VIII: 155 “Aspen and the Stream, The” (Wilbur), Supp. III Part 2: 555, 556 Aspern Papers, The (James), Supp. V: 101, 102 “Aspern Papers, The” (James), Retro. Supp. I: 219, 227, 228 Asphalt Georgics (Carruth), Supp. XVI: 54 Asphalt Jungle (film, Huston), Supp. XIII: 174 “Asphodel” (Welty), IV: 265, 271 “Asphodel, That Greeny Flower” (W. C. Williams), Retro. Supp. I: 429 “Aspic and Buttermilk” (Olds), Supp. X: 213 Asquith, Herbert Henry, Retro. Supp. I: 59 “Ass” (Cisneros), Supp. VII: 67 Assante, Armand, Supp. VIII: 74 Assassin, The: A Play in Three Acts (Shaw), Supp. XIX: 248

Assassins, The (Oates), Supp. II Part 2: 512, 517–519 “Assault” (Millay), III: 130–131 “Assemblage of Husbands and Wives, An” (Lewis), II: 455–456 Assembly (O’ Hara), III: 361 As She Climbed Across the Table (Lethem), Supp. XVIII: 140–141, 148 Assignment, Wildlife (LaBastille), Supp. X: 99, 104 “Assimiliation in Recent American Jewish Autobiographies” (Krupnick), Supp. XVI: 153 Assistant, The (Malamud), Supp. I Part 2: 427, 428, 429, 431, 435, 441–445, 451; Supp. XVI: 220 Assommoir, L’ (Zola), II: 291; III: 318 Assorted Prose (Updike), IV: 215–216, 218; Retro. Supp. I: 317, 319, 327 Astaire, Adele, Supp. XVI: 187 As They Were (M. F. K. Fisher), Supp. XVII: 88, 89, 91 Astor, Mary, Supp. IV Part 1: 356; Supp. XII: 173 Astoria, or, Anecdotes of an Enterprise beyond the Rocky Mountains (Irving), II: 312 “Astounding News by Electric Express via Norfolk! The Atlantic Crossed in Three Days Signal Triumph of Mr. Monck’s Flying-Machine . . .” (Poe), III: 413, 420 Astraea (Holmes), III: 82 Astro, Richard, Supp. I Part 2: 429, 445 “Astrological Fricassee” (H. Miller), III: 187 Astrophil and Stella (Sidney), Supp. XIV: 128 “As Weary Pilgrim” (Bradstreet), Supp. I Part 1: 103, 109, 122 As We Know (Ashbery), Supp. III Part 1: 9, 21–25 “As We Know” (Ashbery), Supp. III Part 1: 21–22 Aswell, Edward C., IV: 458, 459, 461 “Asylum, The” (Carruth), Supp. XVI: 48–49 “As You Like It” (Chopin), Supp. I Part 1: 217 As You Like It (Shakespeare), Supp. I Part 1: 308 “At a Bar in Charlotte Amalie” (Updike), IV: 214 “At a Lecture” (Brodsky), Supp. VIII: 33 “At a March against the Vietnam War” (R. Bly), Supp. IV Part 1: 61 “At a Reading” (McClatchy), Supp. XII: 256–257 “Atavism of John Tom Little Bear, The” (O. Henry), Supp. II Part 1: 410 “At Chênière Caminada” (Chopin), Supp. I Part 1: 220 “At Chinese Checkers” (Berryman), I: 182 Atchity, Kenneth John, Supp. XI: 227 At Eighty-Two (Sarton), Supp. VIII: 264 “At Every Gas Station There Are Mechanics” (Dunn), Supp. XI: 144

At Fault (Chopin), Retro. Supp. II: 57, 60, 62–63; Supp. I Part 1: 207, 209– 211, 220 At Heaven’s Gate (Warren), IV: 243, 247–248, 251 Atheism Refuted: in a Discourse to Prove the Existence of God (Paine), Supp. I Part 2: 517 “Athénaïse” (Chopin), Retro. Supp. II: 66, 67; Supp. I Part 1: 219–220 Atherton, Gertrude, I: 199, 207–208 Athey, Jean L., Supp. XI: 184 At Home: Essays, 1982–1988 (Vidal), Supp. IV Part 2: 682, 687, 688 “At Home With” (column; Leland), Supp. XV: 69 “At Kino Viejo, Mexico” (Ríos), Supp. IV Part 2: 541 Atkinson, Brooks, IV: 288; Supp. IV Part 2: 683; Supp. XIX: 244 Atlantis (Doty), Supp. XI: 121, 126–129 “Atlantis” (Doty), Supp. XI: 127–128 Atlas, James, Supp. V: 233; Supp. XV: 25 Atlas, The (Vollmann), Supp. XVII: 226, 227 Atlas Shrugged (Rand), Supp. IV Part 2: 517, 521, 523, 524–526, 528, 531 At Liberty (T. Williams), IV: 378 “At Melville’s Tomb” (H. Crane), I: 393; Retro. Supp. II: 76, 78, 80, 82 “At Mother Teresa’s” (Nye), Supp. XIII: 276 “At Nightfall” (Kooser), Supp. XIX: 122–123 At Night the Salmon Move (Carver), Supp. III Part 1: 142 “At North Farm” (Ashbery), Supp. III 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 Play in the Paradise of Bombs” (Sanders), Supp. XVI: 272–273, 274, 277 “At Pleasure By” (Pinsky), Supp. VI: 245 At Risk (Hoffman), Supp. X: 87 “At Sea” (Hemingway), II: 258 “At Shaft 11” (Dunbar), Supp. II Part 1: 212 “At Slim’s River” (Haines), Supp. XII: 208–209 “At St. Croix” (Dubus), Supp. VII: 83, 87 At Sundown (Whittier), Supp. I Part 2: 704 “At Sunset” (Simic), Supp. VIII: 282 Attebery, Brian, Supp. IV Part 1: 101 “At That Time, or The History of a Joke” (Paley), Supp. VI: 229–230 At the Back of the North Wind (Macdonald), Supp. XIII: 75 “At the Birth of an Age” (Jeffers), Supp. II Part 2: 432

304 / AMERICAN WRITERS “At the Bomb Testing Site” (Stafford), Supp. XI: 317–318, 321, 323 At the Bottom of the River (Kincaid), Supp. VII: 182–184, 185 “At the ‘Cadian Ball” (Chopin), Retro. Supp. II: 64, 65, 68 “At the Cancer Clinic” (Kooser), Supp. XIX: 127 “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, 271–273, 277 At the End of This Summer: Poems 1948– 1954, Supp. XII: 211 “At the End of War” (Eberhart), I: 522– 523 “At the Executed Murderer’s Grave” (Wright), Supp. III Part 2: 595, 597 “At the Fishhouses” (Bishop), Retro. Supp. II: 45; Supp. I Part 1: 90, 92 “At the Grave of My Guardian Angel: St. Louis Cemetery, New Orleans” (Levis), Supp. XI: 268–269 “At the Gym” (Doty), Supp. XI: 135 “At the Indian Store” (McCarriston), Supp. XIV: 271 “At the Lake” (Oliver), Supp. VII: 244 “At the Landing” (Welty), IV: 265–266; Retro. Supp. I: 348 “At the Last” (Bynner), Supp. XV: 44 “At the Last Rites for Two Hot Rodders” (X. J. Kennedy), Supp. XV: 166 “At the Premiere” (Keillor), Supp. XVI: 167 At the Root of Stars (Barnes), Supp. III Part 1: 34 “At the Slackening of the Tide” (Wright), Supp. III Part 2: 597 “At the Tomb of Walt Whitman” (Kunitz), Supp. III Part 1: 262 “At the Tourist Centre in Boston” (Atwood), Supp. XIII: 33 “At the Town Dump” (Kenyon), Supp. VII: 167 “At the Worcester Museum” (Pinsky), Supp. VI: 251 “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 “Attic Which Is Desire, The” (W. C. Williams), Retro. Supp. I: 422 “At Times in Flight: A Parable” (H. Roth), Supp. IX: 234 Attitudes toward History (Burke), I: 274 Atwan, Robert, Supp. XVI: 273, 277 At Weddings and Wakes (McDermott), Supp. XVIII: 155, 160–162, 166 “At White River” (Haines), Supp. XII: 208–209 Atwood, Margaret, Supp. IV Part 1: 252; Supp. V: 119; Supp. XI: 317; Supp. XIII: 19–39, 291, 306 “Atwood’s Gorgon Touch” (Davey), Supp. XIII: 33

“Aubade” (McCarriston), Supp. XIV: 271 “Aubade: November” (McCarriston), Supp. XIV: 261–262 “Aubade of an Early Homo Sapiens” (C. Frost), Supp. XV: 97–98 “Aubade: Opal and Silver” (Doty), Supp. XI: 129 “Au Bal Musette” (Van Vechten), Supp. II Part 2: 735 Auchincloss, Hugh D., Supp. IV Part 2: 679 Auchincloss, Louis, I: 375; III: 66; 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: 367, 368, 371, 376, 586; III: 17, 134, 269, 271, 292, 476–477, 504, 527, 530, 542, 615; IV: 136, 138, 240, 430; Retro. Supp. I: 430; Retro. Supp. II: 183, 242, 244, 323; Supp. I Part 1: 270; Supp. I Part 2: 552, 610; Supp. II Part 1: 1–28; Supp. III Part 1: 2, 3, 14, 26, 60, 61, 64, 341; Supp. III Part 2: 591, 595; Supp. IV Part 1: 79, 84, 136, 225, 302, 313; Supp. IV Part 2: 440, 465; Supp. V: 337; Supp. VIII: 19, 21, 22, 23, 30, 32, 155, 190; Supp. IX: 94, 287, 288; Supp. X: 35, 57, 59, 115–116, 117, 118–119; Supp. XI: 243, 244; Supp. XII: 253, 264– 265, 266, 269–270; Supp. XIV: 156, 158, 160, 162, 163; Supp. XV: 74, 117–118, 139, 144, 186; Supp. XIX: 147, 151 “Auden’s OED” (McClatchy), Supp. XII: 264–265 “Audition” (Alvarez), Supp. VII: 10 Audubon, John James, III: 210; IV: 265; Supp. IX: 171; Supp. XVI: 1–14 Audubon, John Woodhouse, Supp. XVI: 10 Audubon, Maria Rebecca, Supp. XVI: 11 Audubon, Victor Gifford, Supp. XVI: 10 Audubon and His Journals (M. Audubon, ed.), Supp. XVI: 11, 12 Audubon Reader, The: The Best Writings of John James Audubon (Sanders, ed.), Supp. XVI: 269 Auer, Jane. See Bowles, Jane Auerbach, Eric, III: 453 Auerbach, Nina, Supp. I Part 1: 40 “August” (Oliver), Supp. VII: 235 “August” (Rich), Supp. I Part 2: 564 “August 1968” (Auden), Supp. II Part 1: 25 “August Darks, The” (Clampitt), Supp. IX: 43, 50–51, 52 Augustine, Saint, I: 279, 290; II: 537; III: 259, 270, 292, 300; IV: 69, 126; Retro. Supp. I: 247; Supp. VIII: 203; Supp. XI: 245; Supp. XIII: 89 August Snow (Price), Supp. VI: 264 “Au Jardin” (Pound), III: 465–466

Aunt Carmen’s Book of Practical Saints (Mora), Supp. XIII: 227–229 “Aunt Cynthy Dallett” (Jewett), II: 393 “Aunt Gladys” (Karr), Supp. XI: 241 “Aunt Granny Lith” (Offutt), Supp. XIX: 165, 166 “Aunt Imogen” (Robinson), III: 521 “Aunt Jemima of the Ocean Waves” (Hayden), Supp. II Part 1: 368, 379 “Aunt Jennifer’s Tigers” (Rich), Supp. XV: 252 Aunt Jo’s Scrapbooks (Alcott), Supp. I Part 1: 43 “Aunt Mary” (Oliver), Supp. VII: 232 “Aunt Mary” (Stowe), Supp. I Part 2: 587 “Aunt Moon’s Young Man” (Hogan), Supp. IV Part 1: 400 “Aunt Rectita’s Good Friday” (X. J. Kennedy), Supp. XV: 166 “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 “Aurelia: Moon Jellies” (Mora), Supp. XIII: 224 “Aurelio” (Di Piero), Supp. XIX: 38 Aurora 7 (Mallon), Supp. XIX: 132, 135–136 Aurora Leigh (E. Browning), Retro. Supp. I: 33; Supp. XI: 197 Aurora Means Dawn (Sanders), Supp. XVI: 268 Auroras of Autumn, The (Stevens), Retro. Supp. I: 297, 300, 309–312 “Auroras of Autumn, The” (Stevens), Retro. Supp. I: 311, 312; Supp. III Part 1: 12 Auschwitz: the Nazis and the “Final Solution” (television documentary), Supp. XVII: 40 Auslander, Joseph, Supp. XIV: 120 “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; Supp. I Part 2: 656, 715; Supp. IV Part 1: 300; Supp. VIII: 125, 167; Supp. IX: 128; Supp. XII: 310; Supp. XV: 338 Auster, Paul, Supp. XII: 21–39; Supp. XIV: 292 Austerities (Simic), Supp. VIII: 276– 278, 283 “Austerities” (Simic), Supp. VIII: 277 Austin, Mary Hunter, Retro. Supp. I: 7; Supp. IV Part 2: 503; Supp. X: 29; Supp. XIII: 154 “Authentic Unconscious, The” (Trilling), Supp. III Part 2: 512 Author and Agent: Eudora Welty and Diarmuid Russell (Kreyling), Retro. Supp. I: 342, 345, 347, 349–350 “Author at Sixty, The” (Wilson), IV: 426 “Author of ‘Beltraffio,’ The” (James), Retro. Supp. I: 227

CUMULATIVE INDEX / 305 “Author’s Explanation, The” (Larsen), Supp. XVIII: 131 “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 “Author to Her Book, The” (Bradstreet), Supp. I Part 1: 119; Supp. V: 117– 118; Supp. XV: 125–126 “Autobiographical Note” (H. Miller), III: 174–175 “Autobiographical Notes” (Baldwin), Supp. I Part 1: 54 “Autobiographical Notes” (Holmes), Supp. I Part 1: 301 “Autobiographic Chapter, An” (Bourne), I: 236 Autobiography (Franklin), II: 102, 103, 108, 121–122, 302 Autobiography (James), I: 462 “Autobiography” (MacLeish), III: 20 Autobiography (Van Buren), III: 473 Autobiography (W. C. Williams), Supp. I Part 1: 254 Autobiography (Zukofsky), Supp. III Part 2: 627 “Autobiography in the Shape of a Book Review” (Bynner), Supp. XV: 40 “Autobiography of a Confluence, The” (Gunn Allen), Supp. IV Part 1: 321 Autobiography of Alice B. Toklas, The (Stein), IV: 26, 30, 35, 43; Supp. IV Part 1: 11, 81 Autobiography of an Ex-Colored Man, The (Johnson), Supp. II Part 1: 33, 194; Supp. XVIII: 127 Autobiography of a Schizophrenic Girl (Renée), Supp. XVI: 64, 66 Autobiography of a Thief, The (Hapgood), Supp. XVII: 96, 101–102 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; Supp. X: 27; Supp. XIII: 264 Autobiography of Mark Twain, The (Twain), IV: 209 Autobiography of My Mother, The (Kincaid), Supp. VII: 182, 188–190, 191, 192, 193 Autobiography of Red: A Novel in Verse (Carson), Supp. XII: 97, 106–110 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 (W. C. Williams), Retro. Supp. I: 51, 428 Autocrat of the Breakfast-Table, The (Holmes), Supp. I Part 1: 306–307 “Automatic Gate, The” (Southern), Supp. XI: 294 “Automotive Passacaglia” (H. Miller), III: 186

“Autopsy Room, The” (Carver), Supp. III Part 1: 137 “Auto Wreck” (Shapiro), Supp. II Part 2: 706 “Autre Temps” (Wharton), IV: 320, 324 “Autumn Afternoon” (Farrell), II: 45 “Autumnal” (Eberhart), I: 540–541 “Autumn Begins in Martins Ferry, Ohio” (Wright), Supp. III 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; Retro. Supp. II: 140–141 “Autumn Musings” (Harte), Supp. II Part 1: 336 “Autumn Within” (Longfellow), II: 499 “Autumn Woods” (Bryant), Supp. I Part 1: 164 “Au Vieux Jardin” (Aldington), Supp. I Part 1: 257 “Aux Imagistes” (W. C. Williams), Supp. I Part 1: 266 Avakian, Aram, Supp. XI: 294, 295, 309 “Ave Atque Vale” (Bynner), Supp. XV: 49 Avedon, Richard, Supp. I Part 1: 58; Supp. V: 194; Supp. X: 15 Aveling, Edward, Supp. XVI: 85 “Avenue” (Pinsky), Supp. VI: 248 Avenue Bearing the Initial of Christ into the New World: Poems 1946–1964 (Kinnell), Supp. III Part 1: 235, 239– 241 “Avenue of the Americas” (Simic), Supp. VIII: 278 “Average Torture” (Karr), Supp. XI: 243 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; Retro. Supp. II: 57, 59, 60, 67, 68–71, 73; Supp. I Part 1: 200, 201, 202, 211, 220–225; Supp. V: 304; Supp. VIII: 198; Supp. XII: 170 Awakening Land, The (Richter), Supp. XVIII: 207, 215 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 Azikewe, Nnamdi, Supp. IV Part 1: 361 “Aztec Angel” (Salinas), Supp. XIII: 314

Aztec Treasure House, The: New and Selected Essays (Connell), Supp. XIV: 80, 97 B Babbitt (Lewis), II: 442, 443–445, 446, 447, 449; III: 63–64, 394; IV: 326 Babbitt, Irving, I: 247; II: 456; III: 315, 461, 613; IV: 439; Retro. Supp. I: 55; Supp. I Part 2: 423 Babcock, Elisha, Supp. II Part 1: 69 Babel, Isaac, IV: 1; Supp. IX: 260; Supp. XII: 308–309; Supp. XVII: 41 Babel, Isaak, Supp. XIV: 83, 84 Babel to Byzantium (Dickey), Supp. IV Part 1: 177, 185 Babeuf, François, Supp. I Part 2: 518 “Babies, The” (Strand), Supp. IV Part 2: 625 Babouk (Endore), Supp. XVII: 56–57, 61, 64 Baby, Come on Inside (Wagoner), Supp. IX: 335 “Baby, The” (Barthelme), Supp. IV Part 1: 49 Baby Doll (T. Williams), IV: 383, 386, 387, 389, 395 “Baby Face” (Sandburg), III: 584 “Babylon Revisited” (Fitzgerald), II: 95; Retro. Supp. I: 109 “Baby or the Botticelli, The” (Gass), Supp. VI: 92 “Baby Pictures of Famous Dictators” (Simic), Supp. VIII: 276 “Baby’s Breath” (Bambara), Supp. XI: 15, 16 “Babysitter, The” (Coover), Supp. V: 43–44 “Baby Villon” (Levine), Supp. V: 182 Bacall, Lauren, Supp. IV Part 1: 130 “Baccalaureate” (MacLeish), III: 4 Bacchae, The (Euripides), Supp. VIII: 182 Bach, Johann Sebastian, Supp. I Part 1: 363; Supp. III Part 2: 611, 612, 619 Bachardy, Don, Supp. XIV: 166, 170, 172, 173 Bache, Richard, Supp. I Part 2: 504 Bachelard, Gaston, Supp. XIII: 225; Supp. XVI: 292 Bachelor Girls (Wasserstein), Supp. XV: 327–328, 332 Bachman, John, Supp. XVI: 10, 11 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. III Part 2: 437, 438 Backbone (C. Bly), Supp. XVI: 34–36, 37, 40, 41 Back Country, The (Snyder), Supp. VIII: 296–299 “Back fom the Argentine” (Leopold), Supp. XIV: 186 “Background with Revolutionaries” (MacLeish), III: 14–15 “Back in the Saddle Again” (Swados), Supp. XIX: 259 Back in The World (Wolff), Supp. VII: 345

306 / AMERICAN WRITERS Back in the World (Wolff), Supp. VII: 344 “Backlash Blues, The” (Hughes), Supp. I Part 1: 343 “Backlash of Kindness, A” (Nye), Supp. XIII: 285, 286 “Backslider, The” (R. Fisher), Supp. XIX: 70, 71 “Back Street Guy” (Halliday), Supp. XIX: 88 Back to China (Fiedler), Supp. XIII: 102–103 Back to Methuselah (Shaw), IV: 64 “Backwacking: A Plea to the Senator” (Ellison), Retro. Supp. II: 126; 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; Supp. I Part 2: 388; Supp. IX: 104; Supp. XIV: 22, 210 Bacon, Helen, Supp. X: 57 Bacon, Leonard, II: 530 Bacon, Roger, IV: 69 “Bacterial War, The” (Nemerov), III: 272 Bad and the Beautiful, The (film), Supp. XVIII: 250 Bad Boy Brawly Brown (Mosley), Supp. XIII: 237, 239, 240–241 Bad Boys (Cisneros), Supp. VII: 58 “Bad Dream” (Taylor), Supp. V: 320 Badè, William Frederic, Supp. IX: 178 “Bad Fisherman, The” (Wagoner), Supp. IX: 328 Bad for Each Other (film), Supp. XIII: 174 “Badger” (Clare), II: 387 Badger, A. G., Supp. I Part 1: 356 Bad Government and Silly Literature (C. Bly), Supp. XVI: 37, 38, 40 Badlands (film; Malick), Supp. XV: 351 “Bad Lay” (McCarriston), Supp. XIV: 267 Badley, Linda, Supp. V: 148 Bad Man, A (Elkin), Supp. VI: 47 Bad Man Ballad (Sanders), Supp. XVI: 268 Bad Man Blues: A Portable George Garrett (Garrett), Supp. VII: 111 “Bad Music, The” (Jarrell), II: 369 “Bad People” (Halliday), Supp. XIX: 90, 91 “Bad Summer on K2, A” (Krakauer and Child), Supp. XVIII: 107, 108 “Bad Woman, A” (Fante), Supp. XI: 165 Baeck, Leo, Supp. V: 260 Baecker, Diann L., Supp. VIII: 128 Baer, William, Supp. XIII: 112, 118, 129 Baez, Joan, Supp. IV Part 1: 200; Supp. VIII: 200, 202; Supp. XVIII: 24, 25– 26, 27 Bag of Bones (King), Supp. V: 139, 148, 151 “Bagpipe Music” (MacNeice), Supp. X: 117

“Bahá’ í Faith: Only Church in World That Does Not Discriminate” (Locke), Supp. XIV: 200 “Bahá’ u’ lláh in the Garden of Ridwan” (Hayden), Supp. II Part 1: 370, 378 Bahr, David, Supp. XV: 66 “Bailbondsman, The” (Elkin), Supp. VI: 49, 50, 58 Bailey, Gamaliel, Supp. I Part 2: 587, 590 Bailey, Peter, Supp. XVI: 69 Bailey, William, Supp. IV Part 2: 631, 634 Bailey’s Café (Naylor), Supp. VIII: 226– 228 Bailyn, Bernard, Supp. I Part 2: 484, 506 Bair, Deirdre, Supp. X: 181, 186, 187, 188, 192, 194, 195, 196, 197 Baird, Linnett, Supp. XII: 299 Baird, Peggy, I: 385, 401 Bakan, David, I: 59 Baker, Carlos, II: 259 Baker, David, Supp. IX: 298; Supp. XI: 121, 142, 153; Supp. XII: 175, 191– 192; Supp. XIX: 115 Baker, George Pierce, III: 387; IV: 453, 455 Baker, Gladys, Supp. XIV: 121 Baker, Houston A., Jr., Retro. Supp. II: 121; Supp. IV Part 1: 365; Supp. X: 324 Baker, Kevin, Supp. XIV: 96 Baker, Mabel, Supp. XVIII: 259, 263, 266–267, 269 Baker, Nicholson, Supp. XIII: 41–57 Baker, Robert, Supp. XVI: 288, 290 Bakerman, Jane S., Supp. IV Part 2: 468 Bakhtin, Mikhail, Retro. Supp. II: 273; Supp. IV Part 1: 301; Supp. X: 120, 239 Bakst, Léon, Supp. IX: 66 Bakunin, Mikhail Aleksandrovich, IV: 429 Balaban, John, Supp. XIX: 281 Balakian, Jan, Supp. XV: 327 “Balance” (Bierds), Supp. XVII: 31 “Balance” (Nelson), Supp. XVIII: 174– 175 Balbo, Ned, Supp. XVII: 120; Supp. XIX: 161 Balbuena, Bernado de, Supp. V: 11 Balch, Emily Greene, Supp. I Part 1: 25 Balcony, The (Genet), I: 84 Bald Soprano, The (Ionesco), I: 74 Baldwin, David, Supp. I Part 1: 47, 48, 49, 50, 51, 54, 65, 66 Baldwin, James, Retro. Supp. II: 1–17; Supp. I Part 1: 47–71, 337, 341; Supp. II Part 1: 40; Supp. III Part 1: 125; Supp. IV Part 1: 1, 10, 11, 163, 369; Supp. V: 201; Supp. VIII: 88, 198, 235, 349; Supp. X: 136, 324; Supp. XI: 288, 294; Supp. XIII: 46, 111, 181, 186, 294; Supp. XIV: 54, 71, 73, 306; Supp. XVI: 135, 141, 143; Supp. XVIII: 25 Baldwin, Samuel, Supp. I Part 1: 48 Balitas, Vincent D., Supp. XVI: 222 Balkian, Nona, Supp. XI: 230

Ball, Gordon, Supp. XIV: 148 Ball, John, Supp. XV: 202 “Ballad: Between the Box Cars” (Warren), IV: 245 “Ballade” (MacLeish), III: 4 “Ballade at Thirty-Five” (Parker), Supp. IX: 192 “Ballade for the Duke of Orléans” (Wilbur), Supp. III Part 2: 556 “Ballade of Broken Flutes, The” (Robinson), III: 505 “Ballade of Meaty Inversions” (White), Supp. I Part 2: 676 “Ballad of a Thin Man” (song, Dylan), Supp. XVIII: 30, 31 “Ballad of Aunt Geneva, The” (Nelson), Supp. XVIII: 175 “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 Dingus Magee, The (Markson), Supp. XVII: 139, 141 “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. III Part 1: 342 “Ballad of Larry and Club” (Jarman), Supp. XVII: 115 “Ballad of Nat Turner, The” (Hayden), Supp. II Part 1: 378 “Ballad of Pearl May Lee, The” (Brooks), Supp. III Part 1: 74, 75 Ballad of Remembrance, A (Hayden), Supp. II Part 1: 367 “Ballad of Remembrance, A” (Hayden), Supp. II Part 1: 368, 372, 373 “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: 167, 168, 169–170, 173 “Ballad of the Brown Girl, The” (Cullen), Supp. IV Part 1: 168 “Ballad of the Children of the Czar, The” (Schwartz), Supp. II Part 2: 649 “Ballad of the Girl Whose Name Is Mud” (Hughes), Retro. Supp. I: 205 “Ballad of the Goodly Fere“, III: 458 “Ballad of the Harp-Weaver” (Millay), III: 135 “Ballad of the Sad Cafe, The” (McCullers), II: 586, 587, 588, 592, 595, 596–600, 604, 605, 606 “Ballad of the Sixties” (Sarton), Supp. VIII: 259 “Ballad of Trees and the Master, A” (Lanier), Supp. I Part 1: 370 “Ballad of William Sycamore, The” (Benét), Supp. XI: 44, 47

CUMULATIVE INDEX / 307 Ballads and Other Poems (Longfellow), II: 489; III: 412, 422; Retro. Supp. II: 157, 168 Ballads for Sale (Lowell), II: 527 “Ballads of Lenin” (Hughes), Supp. I Part 1: 331 Ballantyne, Sheila, Supp. V: 70 Ballard, J. G., Supp. XVI: 123, 124; Supp. XVIII: 136 Ballard, Josephine. See McMurtry, Josephine “Ballena” (Mora), Supp. XIII: 224 “Ballet in Numbers for Mary Ellen, A” (Karr), Supp. XI: 241 “Ballet of a Buffoon, The” (Sexton), Supp. II Part 2: 693 “Ballet of the Fifth Year, The” (Schwartz), Supp. II Part 2: 650 “Ball Game, The” (Creeley), Supp. IV Part 1: 140 “Balloon Hoax, The” (Poe), III: 413, 420 “Balm of Recognition, The: Rectifying Wrongs through Generations” (E. Hoffman, lecture), Supp. XVI: 155 Balo (Toomer), Supp. III Part 2: 484 Balsan, Consuelo, IV: 313–314 Balthus, Supp. IV Part 2: 623 Balthus Poems, The (Dobyns), Supp. XIII: 87 Baltimore, Lord, I: 132 Balzac, Honoré de, I: 103, 123, 339, 376, 474, 485, 499, 509, 518; II: 307, 322, 324, 328, 336, 337; III: 61, 174, 184, 320, 382; IV: 192; Retro. Supp. I: 91, 217, 218, 235; Retro. Supp. II: 93; Supp. I Part 2: 647; Supp. XVI: 72 Bambara, Toni Cade, Supp. XI: 1–23 Banana Bottom (McKay), Supp. X: 132, 139–140 Bananas (film; Allen), Supp. XV: 3, 4 Bancal, Jean, Supp. I Part 2: 514 Bancroft, George, I: 544; Supp. I Part 2: 479 Band, Millen, Supp. XVIII: 238 Bandaged Nude, The (Ryan as Finnegan), Supp. XVIII: 233, 235–236 Bandbox (Mallon), Supp. XIX: 132, 143 Band of Angels (Warren), IV: 245, 254– 255 Bang the Drum Slowly (Harris), II: 424– 425 Banjo: A Story without a Plot (McKay), Supp. X: 132, 138–139 “Banjo Song, A” (Dunbar), Supp. II Part 1: 197 Bankhead, Tallulah, IV: 357; Supp. IV Part 2: 574 “Banking Potatoes” (Komunyakaa), Supp. XIII: 126 “Bank of England Restriction, The” (Adams), I: 4 Banks, Joanne Trautmann, Supp. XIII: 297 Banks, Russell, Supp. V: 1–19, 227; Supp. IX: 153; Supp. X: 85; Supp. XI: 178; Supp. XII: 295, 309, 343 “Banned Poem” (Nye), Supp. XIII: 282 Bannon, Barbara, Supp. XI: 228

“Banyan” (Swenson), Supp. IV Part 2: 651, 652 “Baptism” (Olsen). See “O Yes” (Olsen) Baptism, The (Baraka), Supp. II Part 1: 40, 41–42, 43 Baptism of Desire (Erdrich), Supp. IV Part 1: 259 Barabtarlo, Gennady, Retro. Supp. I: 278 Baraka, Imamu Amiri (LeRoi Jones), Retro. Supp. I: 411; Retro. Supp. II: 280; Supp. I Part 1: 63; Supp. II Part 1: 29–63, 247, 250; Supp. III Part 1: 83; Supp. IV Part 1: 169, 244, 369; Supp. VIII: 295, 329, 330, 332; Supp. X: 324, 328; Supp. XIII: 94; Supp. XIV: 125, 144 “Bar at the Andover Inn, The” (Matthews), Supp. IX: 168 “Barbados” (Marshall), Supp. XI: 281 “Barbara Frietchie” (Whittier), Supp. I Part 2: 695–696 Barbarella (film), Supp. XI: 293, 307– 308 “Barbarian Status of Women, The” (Veblen), Supp. I Part 2: 636–637 Barbarous Coast, The (Macdonald), Supp. IV Part 2: 472, 474 Barbary Shore (Mailer), III: 27, 28, 30– 31, 33, 35, 36, 40, 44; Retro. Supp. II: 199–200, 207; Supp. XIV: 162 Barber, David, Supp. IV Part 2: 550; Supp. XII: 188–189 Barber, Rowland, Supp. IV Part 2: 581 Barber, Samuel, Supp. IV Part 1: 84 “Barber’s Unhappiness, The” (Saunders), Supp. XIX: 229 “Barclay of Ury” (Whittier), Supp. I Part 2: 693 Barcott, Bruce, Supp. XVII: 32 Bard of Savagery, The: Thorstein Veblen and Modern Social Theory (Diggins), Supp. I Part 2: 650 “Barefoot Boy, The” (Whittier), Supp. I Part 2: 691, 699–700 Barefoot in the Park (Simon), Supp. IV Part 2: 575, 578–579, 586, 590 Bare Hills, The (Winters), Supp. II Part 2: 786, 788 “Bare Hills, The” (Winters), Supp. II Part 2: 790 Barely and Widely (Zukofsky), Supp. III Part 2: 627, 628, 635 Barenblat, Rachel, Supp. XIII: 274 Barfield, Owen, III: 274, 279 “Bargain Lost, The” (Poe), III: 411 Barillas, William, Supp. XIV: 177 Barillet, Pierre, Supp. XVI: 194 Barker, Arthur, Supp. XIII: 167 Barker, Clive, Supp. V: 142 Barking Dog (Budbill), Supp. XIX: 1, 5 “Barking Man” (Bell), Supp. X: 9 Barking Man and Other Stories (Bell), Supp. X: 9 Barksdale, Richard, Retro. Supp. I: 202, 205; Supp. I Part 1: 341, 346 Barlow, Joel, Supp. I Part 1: 124; Supp. I Part 2: 511, 515, 521; Supp. II Part 1: 65–86, 268 Barlow, Ruth Baldwin (Mrs. Joel Barlow), Supp. II Part 1: 69

“B.A.R. Man, The” (Yates), Supp. XI: 341 Barnaby Rudge (Dickens), III: 421 Barnard, Frederick, Supp. I Part 2: 684 Barnard, Rita, Retro. Supp. II: 324 Barn Blind (Smiley), Supp. VI: 292–293 “Barn Burning” (Faulkner), II: 72, 73; Supp. IV Part 2: 682 Barnes, Djuna, Supp. III Part 1: 31–46; Supp. IV Part 1: 79, 80; Supp. XVI: 282 Barnes, Kim, Supp. XVIII: 293 Barnett, Claudia, Supp. XV: 323, 330, 334 Barnett, Samuel, Supp. I Part 1: 2 “Barn Owl” (Kooser), Supp. XIX: 123 Barnstone, Tony, Supp. XIII: 115, 126 Barnstone, Willis, Supp. I Part 2: 458 Barnum, P. T., Supp. I Part 2: 703 Baroja, Pío, I: 478 Baron, Zach, Supp. XVIII: 150 “Baroque Comment” (Bogan), Supp. III Part 1: 56, 58 “Baroque Sunburst, A” (Clampitt), Supp. IX: 49 “Baroque Wall-Fountain in the Villa Sciarra, A” (Wilbur), Supp. III Part 2: 553 Barr, Robert, I: 409, 424 Barracks Thief, The (Wolff), Supp. VII: 344–345 “Barred Owl” (Offutt), Supp. XIX: 170 Barren Ground (Glasgow), II: 174, 175, 178, 179, 184–185, 186, 187, 188, 189, 191, 192, 193, 194; Supp. X: 228 Barrés, Auguste M., I: 228 Barresi, Dorothy, Supp. XV: 100, 102 Barrett, Amy, Supp. XVIII: 136 Barrett, E. B., Supp. XV: 309 Barrett, Elizabeth, Supp. IV Part 2: 430 Barrett, George, Supp. IX: 250 Barrett, Ralph, Supp. I Part 2: 462 Barrier of a Common Language: An American Looks at Contemporary British Poetry (Gioia), Supp. XV: 112, 116–117 “Barroco: An Essay” (Sobin), Supp. XVI: 291 Barron, Jonathan, Supp. IX: 299 Barrow, John, II: 18 Barrus, Clara, I: 220 Barry, Iris, Supp. XIII: 170 Barry, Philip, Retro. Supp. I: 104; Supp. IV Part 1: 83; Supp. V: 95 Barstow, Elizabeth Drew. See Stoddard, Elizabeth Bartas, Seigneur du, IV: 157 Barth, John, I: 121–143; Supp. I Part 1: 100; Supp. III Part 1: 217; Supp. IV Part 1: 48, 379; Supp. V: 39, 40; Supp. IX: 208; Supp. X: 263, 301, 302, 307; Supp. XI: 309; Supp. XII: 29, 289, 316; Supp. XIII: 41, 101, 104; Supp. XVII: 183; Supp. XVIII: 136, 140, 141 Barth, Karl, III: 40, 258, 291, 303, 309; IV: 225; Retro. Supp. I: 325, 326, 327 Barth, Robert C., Supp. XV: 169 Barthé, Richmond, Retro. Supp. II: 115

308 / AMERICAN WRITERS Barthelme, Donald, Supp. IV Part 1: 39– 58, 227; Supp. V: 2, 39, 44; Supp. VIII: 75, 138; Supp. X: 263; Supp. XI: 25; Supp. XII: 29; Supp. XIII: 41, 46; Supp. XVI: 206; Supp. XIX: 235 Barthelme, Frederick, Supp. XI: 25–41 Barthelme, Peter, Supp. XI: 25 Barthelme, Steven, Supp. XI: 25, 27, 37 Barthes, Roland, Supp. IV Part 1: 39, 119, 126; Supp. XIII: 83; Supp. XVI: 285, 294; Supp. XVII: 244 Bartholomew and the Oobleck (Geisel), Supp. XVI: 104 “Bar Time” (B. Collins), Supp. XVII: 245 “Bartleby, the Scrivener; A Story of WallStreet” (Melville), III: 88–89; Retro. Supp. I: 255 Bartleby in Manhattan and Other Essays (Hardwick), Supp. III Part 1: 204, 210 “Bartleby the Scrivener” (Melville), Supp. XVIII: 4 Bartlet, Phebe, I: 562 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, Ralph, Supp. XVI: 195 Barton, Rev. William E., Retro. Supp. I: 179 Bartov, Omer, Supp. XVI: 153–154 Bartram, John, Supp. I Part 1: 244 Bartram, William, II: 313; Supp. IX: 171; Supp. X: 223 Barzun, Jacques, Supp. XIV: 54 “Basement” (Bambara), Supp. XI: 5 Basement Tapes, The (album, Dylan), Supp. XVIII: 27, 30, 32 “Base of All Metaphysics, The” (Whitman), IV: 348 “Base Stealer, The” (Francis), Supp. IX: 82 Bashevis, Isaac. See Singer, Isaac Bashevis Basil Stories, The (Fitzgerald), Retro. Supp. I: 109 Basin and Range (McPhee), Supp. III Part 1: 309 “Basin of Eggs, A” (Swenson), Supp. IV Part 2: 645 “Basket, The” (Lowell), II: 522 “Basketball and Beefeaters” (McPhee), Supp. III Part 1: 296 “Basketball and Poetry: The Two Richies” (Dunn), Supp. XI: 140 “Basketball Player” (L. Michaels), Supp. XVI: 209 Baskin, Leonard, Supp. X: 58, 71; Supp. XV: 348 Bass, Rick, Supp. XIV: 227; Supp. XVI: 15–29 Basso, Hamilton, Retro. Supp. I: 80 Bastard, The (Caldwell), I: 291, 292, 308 “Bat, The” (Kenyon), Supp. VII: 168

Bataille, Georges, Supp. VIII: 4; Supp. XII: 1 “Batard” (London), II: 468–469 Batchelor, John Calvin, Supp. XIX: 142 Bate, W. J., II: 531 Bates, Arlo, Retro. Supp. I: 35 Bates, Blanche, Supp. XVI: 182 Bates, Kathy, Supp. XIII: 207 Bates, Lee, Retro. Supp. II: 46 Bates, Milton J., Supp. XII: 62 Bates, Sylvia Chatfield, II: 586 Bateson, Gregory, Supp. XV: 146 “Bath, The” (Carver), Supp. III Part 1: 144, 145 “Bath, The” (Snyder), Supp. VIII: 302 Bathwater Wine (Coleman), Supp. XI: 83, 90, 91 “Batter my heart, three person’ d God” (Donne), Supp. I Part 2: 726; Supp. XVII: 119 “Battle, The” (Simpson), Supp. IX: 268– 269 Battlefield Where the Moon Says I Love You, The (Stanford), Supp. XV: 345 Battle-Ground, The (Glasgow), II: 175, 176, 177, 178, 193 “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 (T. Williams), IV: 380, 381, 383, 385, 386, 387 “Battle of Lovell’s Pond, The” (Longfellow), II: 493 Battle of the Atlantic, The (Morison), Supp. I Part 2: 490 “Battle of the Baltic, The” (Campbell), Supp. I Part 1: 309 “Battle of the Bunker, The” (Snodgrass), Supp. VI: 319–320 “***Battle of the Century!!!, The***” (Goldbarth), Supp. XII: 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 “Baubles after Bombs” (Peacock), Supp. XIX: 200 “Baudelaire” (Schwartz), Supp. II Part 2: 663 Baudelaire, Charles, I: 58, 63, 384, 389, 420, 569; II: 543, 544–545, 552; III: 137, 141–142, 143, 409, 417, 418, 421, 428, 448, 466, 474; IV: 74, 79, 80, 87, 211, 286; Retro. Supp. I: 56, 90; Retro. Supp. II: 261, 262, 322, 326; Supp. I Part 1: 271; Supp. III Part 1: 4, 6, 105; Supp. XIII: 77, 284 Baudelaire, Charles-Pierre, Supp. XV: 165 Baudrillard, Jean, Supp. IV Part 1: 45 Bauer, Dale, Retro. Supp. I: 381 Bauer, Douglas, Supp. XII: 290 Baum, L. Frank, Supp. I Part 2: 621; Supp. IV Part 1: 101, 113; Supp. XII: 42 Baumann, Walter, III: 478

Bausch, Richard, Supp. VII: 39–56; Supp. XVII: 21 Bawer, Bruce, Supp. VIII: 153; Supp. IX: 135; Supp. X: 187 Baxter, Charles, Supp. XII: 22; Supp. XIV: 89, 92; Supp. XVII: 13–24 Baxter, John, Supp. XI: 302 Baxter, Richard, III: 199; IV: 151, 153; Supp. I Part 2: 683 “Baxter’s Procrustes” (Chesnutt), Supp. XIV: 76 “Bay City Blues” (Chandler), Supp. IV Part 1: 129 Baylies, William, Supp. I Part 1: 153 Baym, Nina, Supp. IV Part 2: 463; Supp. X: 229; Supp. XVI: 92; Supp. XVIII: 258, 259 “Bayou” (Di Piero), Supp. XIX: 37 Bayou Folk (Chopin), Retro. Supp. II: 64–65, 73; Supp. I Part 1: 200, 216, 218 Baziotes, William, Supp. XV: 144 Beach, Anna Hampstead, Supp. XVII: 75 Beach, Joseph Warren, I: 309, 500; II: 27; III: 319 Beach, Sylvia, IV: 404; Retro. Supp. I: 109, 422 “Beach Women, The” (Pinsky), Supp. VI: 241 “Beaded Pear, The” (Simpson), Supp. IX: 276 Beagle, Peter, Supp. X: 24 Beam, Jeffrey, Supp. XII: 98 Beaman, E. O., Supp. IV Part 2: 604 Bean, Michael, Supp. V: 203 Bean, Robert Bennett, Supp. II Part 1: 170 Bean Eaters, The (Brooks), Supp. III Part 1: 79–81 Be Angry at the Sun (Jeffers), Supp. II Part 2: 434 “Beanstalk Country, The” (T. Williams), IV: 383 Bean Trees, The (Kingsolver), Supp. VII: 197, 199–201, 202, 207, 209 “Bear” (Hogan), Supp. IV Part 1: 412 Bear, The (Faulkner), Supp. VIII: 184 “Bear, The” (Faulkner), II: 71–72, 73, 228; IV: 203; Supp. IV Part 2: 434; Supp. IX: 95; Supp. X: 30; Supp. XIV: 32 “Bear, The” (Kinnell), Supp. III 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; Supp. XVII: 89, 90 Beard, Mary, Supp. I Part 2: 481 “Bearded Oaks” (Warren), IV: 240 Bearden, Romare, Retro. Supp. I: 209; Supp. VIII: 337, 342 “Beard of Bees, A” (X. J. Kennedy), Supp. XV: 171 Beardon, Romare, Supp. XV: 144

CUMULATIVE INDEX / 309 “Beards, The” (Lethem), Supp. XVIII: 148 Beardsley, Aubrey, II: 56; IV: 77 Beaser, Robert, Supp. XV: 259 “Beast” (Swenson), Supp. IV Part 2: 639 “Beast & Burden, The: Seven Improvisations” (Komunyakaa), Supp. XIII: 120, 121 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 Beasts of Bethlehem, The (X. J. Kennedy), Supp. XV: 163 “Beat! Beat! Drums!” (Whitman), III: 585 Beat Down to Your Soul: What Was the Beat Generation? (Charters, ed.), Supp. XIV: 152 Beaton, Cecil, Supp. XVI: 191 “Beatrice Palmato” (Wharton), Retro. Supp. I: 379 Beats, The (Krim, ed.), Supp. XV: 338 Beattie, Ann, Supp. V: 21–37; Supp. XI: 26; Supp. XII: 80, 139, 294 Beatty, General Sam, I: 193 Beaty, Jerome, Supp. IV Part 1: 331 “Beau Monde of Mrs. Bridge, The” (Connell), Supp. XIV: 88, 89 Beaumont, Francis, Supp. I Part 2: 422 “Beauties of Santa Cruz, The” (Freneau), Supp. II Part 1: 260 Beautiful and Damned, The (Fitzgerald), II: 88, 89–91, 93, 263; Retro. Supp. I: 103–105, 105, 106, 110; Supp. IX: 56, 57 Beautiful Changes, The (Wilbur), Supp. III Part 2: 544–550 “Beautiful Changes, The” (Wilbur), Supp. III Part 2: 549, 550 “Beautiful Child, A” (Capote), Supp. III Part 1: 113, 125 “Beautiful & Cruel” (Cisneros), Supp. VII: 63, 67 “Beautiful Woman Who Sings, The” (Gunn Allen), Supp. IV Part 1: 326 “Beauty” (Emerson), II: 2, 5 “Beauty” (Sanders), Supp. XVI: 277 “Beauty” (Wylie), Supp. I Part 2: 710 “Beauty and the Beast” (Dove), Supp. IV Part 1: 245 “Beauty and the Beast” (fairy tale), IV: 266; Supp. X: 88 “Beauty and the Shoe Sluts” (Karr), Supp. XI: 250 Beauty of the Husband, The: A Fictional Essay in Twenty-Nine Tangos (Carson), Supp. XII: 113–114 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. III Part 1: 200– 201, 208; Supp. IV Part 1: 360; Supp. IX: 4 “Be Careful” (Zach; Everwine, trans.), Supp. XV: 86 Be Careful How You Live (Lacy), Supp. XV: 203–204 “Because I could not stop for Death—” (Dickinson), Retro. Supp. I: 38–40, 41, 43, 44 “Because It Happened” (Goldbarth), Supp. XII: 192 “Because of Libraries We Can Say These Things” (Nye), Supp. XIII: 283 “Because You Mentioned the Spiritual Life” (Dunn), Supp. XI: 154 Bech: A Book (Updike), IV: 214; Retro. Supp. I: 329, 335 Beck, Dave, I: 493 Beck, Jack, Supp. IV Part 2: 560 Beck, Nicholas, Supp. XVIII: 252 Becker, Carl, Supp. I Part 2: 492, 493 Becker, Paula. See Modersohn, Mrs. Otto (Paula Becker) Beckett, Samuel, I: 71, 91, 142, 298, 461; III: 387; IV: 95; Retro. Supp. I: 206; Supp. IV Part 1: 297, 368–369; Supp. IV Part 2: 424; Supp. V: 23, 53; Supp. XI: 104; Supp. XII: 21, 150–151; Supp. XIII: 74; Supp. XIV: 239; Supp. XVII: 185 Beckett, Tom, Supp. IV Part 2: 419 Beckford, William, I: 204 Beckonings (Brooks), Supp. III Part 1: 85 “Becky” (Toomer), Supp. III Part 2: 481, 483; Supp. IX: 312 Becky and Her Friends (Hinojosa), Supp. XIX: 108–109 Becoming a Man: Half a Life Story (Monette), Supp. X: 146, 147, 149, 151, 152, 155–157 “Becoming a Meadow” (Doty), Supp. XI: 124–125 “Becoming and Breaking: Poet and Poem” (Ríos), 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 Bécquer, Gustavo Adolfo, Supp. XIII: 312 “Bed, The” (Dixon), Supp. XII: 154 Beddoes, Thomas Lovell, III: 469; Retro. Supp. I: 285 Bedichek, Roy, Supp. V: 225 Bedient, Calvin, Supp. IX: 298; Supp. XII: 98 “Bed in the Sky, The” (Snyder), Supp. VIII: 300 Bednarik, Joseph, Supp. VIII: 39 “Bedrock” (Proulx), Supp. VII: 253 “Bee, The” (Lanier), Supp. I Part 1: 364 Beecher, Catharine, Supp. I Part 2: 581, 582–583, 584, 586, 588, 589, 591, 599; Supp. X: 103; Supp. XI: 193 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; Supp. XI: 193; Supp. XVIII: 4 Beecher, Lyman, Supp. I Part 2: 580– 581, 582, 583, 587, 588, 599; Supp. XI: 193 Beecher, Mrs. Lyman (Roxanna Foote), Supp. I Part 2: 580–581, 582, 588, 599 Beeching, Jack, Supp. X: 114, 117, 118, 123, 125, 126 “Beehive” (Toomer), Supp. IX: 317 “Bee Hunt, The” (Irving), II: 313 “Beekeeper’s Daughter, The” (Plath), Retro. Supp. II: 246–247 “Bee Meeting, The” (Plath), Retro. Supp. II: 254–255 Bee Poems (Plath), Retro. Supp. II: 254–255 Beer, John, Supp. XVII: 239 Beer, Thomas, I: 405 Beerbohm, Max, III: 472; IV: 436; Supp. I Part 2: 714 “Beer Bottle” (Kooser), Supp. XIX: 117 “Beer in the Sergeant Major’s Hat, or The Sun Also Sneezes” (Chandler), Supp. IV Part 1: 121 “Bees Bees Bees” (J. Scott), Supp. XVII: 188, 190 Beethoven, Ludwig van, II: 536; III: 118; IV: 274, 358; Supp. I Part 1: 363; Supp. VIII: 103 Beet Queen, The (Erdrich), Supp. IV Part 1: 259, 260, 264–265, 266, 273, 274, 275 Befo’ de War: Echoes in Negro Dialect (Gordon), Supp. II Part 1: 201 “Before” (Goldbarth), Supp. XII: 175 “Before” (Snyder), Supp. VIII: 301 Before Adam (London), II: 466 Before Disaster (Winters), Supp. II Part 2: 786, 800 “Before Disaster” (Winters), Supp. II Part 2: 801, 815 “Before I Knocked” (D. Thomas), III: 534 Beforelife, The (F. Wright), Supp. XVII: 240, 245–246 “Before March” (MacLeish), III: 15 Before My Life Began (Neugeboren), Supp. XVI: 224–225 “Before the Altar” (Lowell), II: 516 “Before the Birth of one of her children” (Bradstreet), Supp. I Part 1: 118 “Before the Sky Darkens” (Dunn), Supp. XI: 155 “Begat” (Sexton), Supp. II Part 2: 693 Beggarman, Thief (Shaw), Supp. XIX: 251–252 Beggar on Horseback (Kaufman and Connelly), III: 394 “Beggar Said So, The” (Singer), IV: 12 Beggars in the House of Plenty (Shanley), Supp. XIV: 316, 327–328 Beggar’s Opera, The (Gay), Supp. I Part 2: 523

310 / AMERICAN WRITERS Begiebing, Robert, Retro. Supp. II: 210 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 Enthusiasm, The” (Salinas), Supp. XIII: 327–328 Beginning of Wisdom, The (Benét), I: 358; Supp. XI: 44 Be Glad You’ re Neurotic (Bisch), Supp. I Part 2: 608 “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 the Movie Camera (radio show), Supp. XV: 147 “Behold the Key” (Malamud), Supp. I Part 2: 437 Behrendt, Stephen, Supp. X: 204 Behrman, S. N., Supp. V: 95 Beidler, Peter G., Supp. IV Part 2: 557 Beidler, Philip D., Supp. XII: 69 Beige Dolorosa (Harrison), Supp. VIII: 40, 51 Beiles, Sinclair, Supp. XII: 129 Beiliss, Mendel, Supp. I Part 2: 427, 446, 447, 448 “Being a Constellation” (A. Finch), Supp. XVII: 72 “Being a Lutheran Boy-God in Minnesota” (R. Bly), Supp. IV Part 1: 59, 67 Being and Race (Johnson), Supp. VI: 193, 199 Being and Time (Heidegger), Supp. VIII: 9 Being Busted (Fiedler), Supp. XIII: 95, 102, 104 Being John Malkovich (Kaufman), Supp. XV: 16 Being Perfect (Quindlen), Supp. XVII: 167, 179 Being There (Kosinski), Supp. VII: 215, 216, 222–223 Beiswanger, George, Retro. Supp. II: 220 Belasco, David, Supp. XVI: 182 Bel Canto (Patchett), Supp. XII: 307, 310, 320–322 “Beleaguered City, The” (Longfellow), II: 498 Belfry of Bruges, The, and Other Poems (Longfellow), II: 489; Retro. Supp. II: 157, 168 “Belief” (Levine), Supp. V: 186, 190 “Beliefs of Writers, The” (Doctorow), Supp. IV Part 1: 235–236 Believeniks! (Lethem and Sorrentino), Supp. XVIII: 148–149 Believers (C. Baxter), Supp. XVII: 20– 21, 22 “Believers” (C. Baxter), Supp. XVII: 21

“Believers, The/Los Creyentes” (Kingsolver), Supp. VII: 208 Belinda (Rice), Supp. VII: 301–302 “Belinda’s Petition” (Dove), Supp. IV Part 1: 245 “Belita” (Ríos), Supp. IV Part 2: 541 Belitt, Ben, Supp. XII: 260 Bell, Clive, IV: 87 Bell, Daniel, Supp. I Part 2: 648 Bell, George Kennedy Allen, Retro. Supp. I: 65 Bell, Madison Smartt, Supp. X: 1–20; Supp. XVII: 236; Supp. XIX: 58–59, 60–61 Bell, Marvin, Supp. V: 337, 339; Supp. IX: 152; Supp. XI: 316 Bell, Michael, Retro. Supp. II: 139 Bell, Pearl, Supp. XI: 233 Bell, Quentin, Supp. I Part 2: 636 Bell, Whitfield J., Jr., II: 123 Bellafante, Gina, Supp. VIII: 85 Bellamy, Edward, II: 276; Supp. I Part 2: 641; Supp. XI: 200, 203 Bellarosa Connection, The (Bellow), Retro. Supp. II: 31, 32 “Belle Dollinger” (Masters), Supp. I Part 2: 463 Belleforest, François de, IV: 370 “Belle Zoraïde, La” (Chopin), Supp. I Part 1: 215–216 Bell Jar, The (Plath), Retro. Supp. II: 242, 249–250; Supp. I Part 2: 526, 527, 529, 531–536, 539, 540, 541, 542, 544 Belloc, Hilary, III: 176; IV: 432 Bellow, Saul, I: 113, 138–139, 144–166, 375, 517; II: 579; III: 40; IV: 3, 19, 217, 340; Retro. Supp. II: 19–36, 118, 279, 307, 324; 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; Supp. XI: 64, 233; Supp. XII: 159, 165, 170, 310; Supp. XIII: 106; Supp. XV: 143; Supp. XVI: 208; Supp. XVIII: 90; Supp. XIX: 157, 158, 261 Bellows, George, Supp. XV: 295 “Bells, The” (Poe), III: 593; Retro. Supp. II: 266; 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 Blas, The” (Longfellow), II: 490–491, 493, 498 “Bell Tower, The” (Melville), III: 91 “Belly, The” (Dobyns), Supp. XIII: 87 “Belonging Kind, The” (W. Gibson and J. Shirley), Supp. XVI: 123 Beloved (Morrison), Supp. III Part 1: 364, 372–379; Supp. IV Part 1: 13– 14; Supp. V: 259; Supp. VIII: 343; Supp. XIII: 60 “Beloved, The” (Halliday), Supp. XIX: 92

Beloved Lady: A History of Jane Addams’ Ideas on Reform and Peace (Farrell), Supp. I Part 1: 24 Beloved Stranger, The (Bynner), Supp. XV: 44, 50 Benchley, Robert, I: 48, 482; II: 435; III: 53; Supp. IX: 190, 195, 204 Benda, W. T., Retro. Supp. I: 13 Bend Sinister (Nabokov), III: 253–254; Retro. Supp. I: 265, 266, 270 “Beneath the Sidewalk” (Dunn), Supp. XI: 145 “Beneath the Smooth Skin of America” (Sanders), Supp. XVI: 275 Benedict, Elizabeth, Supp. XVIII: 289 Benedict, Ruth, Supp. IX: 229 Benefactor, The (Sontag), Supp. III Part 2: 451, 455, 468, 469 “Benefit Performance” (Malamud), Supp. I Part 2: 431 Benét, Laura, Supp. XI: 44 Benét, Rosemary, Supp. XI: 44, 51 Benét, Stephen Vincent, I: 358; II: 177; III: 22; IV: 129; Supp. XI: 43–61 Benét, William Rose, II: 530; Retro. Supp. I: 108; Supp. I Part 2: 709; Supp. XI: 43, 44; Supp. XIV: 119, 122, 129 Ben Franklin’s Wit and Wisdom (Franklin), II: 111 Ben-Hur (film), Supp. IV Part 2: 683 Benigna Machiavelli (Gilman), Supp. XI: 201, 208 Benitez, R. Michael, Retro. Supp. II: 264 Benito Cereno (Lowell), II: 546; Retro. Supp. II: 181 “Benito Cereno” (Melville), III: 91; Retro. Supp. I: 255; Retro. Supp. II: 188; Supp. XVII: 185 Benito’s Dream Bottle (Nye), Supp. XIII: 278 “Bênitou’s Slave, The” (Chopin), Retro. Supp. II: 64 Benjamin, Walter, Supp. IX: 133; Supp. XVI: 290, 291 Benjamin Franklin (Van Doren), Supp. I Part 2: 486 “Benjamin Pantier” (Masters), Supp. I Part 2: 461 Bennett, Anne Virginia, II: 184 Bennett, Arnold, I: 103; II: 337; Supp. XVI: 190 Bennett, Elizabeth, Supp. VIII: 58 Bennett, Patrick, Supp. V: 225 Bennett, Paula, Retro. Supp. I: 29, 33, 42 Bennett, William, Supp. VIII: 245 Benson, Heidi, Supp. XVIII: 136 Benson, Jackson J., Supp. IV Part 2: 613 Benson, Martin, Supp. XVIII: 38 Benstock, Shari, Retro. Supp. I: 361, 368, 371, 382 Bentham, Jeremy, I: 279; Supp. I Part 2: 635 Bentley, Eric R., IV: 396 Bentley, Nelson, Supp. IX: 324 Bentley, Richard, III: 79, 86 Benton, Robert, Supp. IV Part 1: 236 “Bent Tones” (Wright), Supp. XV: 346

CUMULATIVE INDEX / 311 Benveniste, Emile, Supp. XVI: 292 Benzel, Jan, Supp. XVI: 112 Beowulf, Supp. II Part 1: 6; Supp. XVII: 70, 73 Beran, Carol, Supp. XIII: 25 “Berck-Plage” (Plath), Retro. Supp. II: 253–254 Bercovitch, Sacvan, Retro. Supp. I: 408; Retro. Supp. II: 325, 330; Supp. I Part 1: 99; Supp. I 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; Retro. Supp. II: 270 Bérénice (Racine), II: 573 Berenson, Bernard, Retro. Supp. I: 381; Supp. IV Part 1: 314; Supp. XIV: 335, 336, 337; Supp. XVII: 99 Berg, James, Supp. XIV: 157, 159 Berg, Stephen, Supp. IV Part 1: 60 Berger, Alan, Supp. XVII: 39 Berger, Charles, Retro. Supp. I: 311 Berger, John, Supp. XVI: 284 Berger, Roger, Supp. XIII: 237 Berger, Thomas, III: 258; Supp. XII: 171 Bergman, Ingmar, I: 291; Supp. XV: 7, 8, 12 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 Berkeley, Anthony, Supp. IV Part 1: 341 Berkeley, George, II: 10, 349, 357, 480, 554 Berkman, Leonard, Supp. XV: 321 Berkowitz, Gerald, Supp. IV Part 2: 590 Berlin Alexanderplatz (Döblin), Supp. XV: 137 Berlin Stories (Isherwood), Supp. IV Part 1: 82; Supp. XIV: 155, 156, 161, 162, 164, 165 Berlioz, Hector, Supp. XV: 33 Berlyne, Daniel E., Supp. I Part 2: 672 Berman, Alexander, Supp. XVII: 103 Bernard Clare (Farrell), II: 38, 39 Bernard of Clairvaux, Saint, I: 22; II: 538 Bernays, Thekla, Retro. Supp. II: 65 Berne, Suzanne, Supp. XII: 320 Berne, Victoria (pseudonym). See Fisher, M. F. K. Berneis, Peter, IV: 383 Bernhard, Brendan, Supp. XIV: 163 Bernhardt, Sarah, I: 484; Retro. Supp. I: 377 Bernice (Glaspell), Supp. III 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, Charles, Supp. IV Part 2: 421, 426 Bernstein, Elizabeth, Supp. XII: 318 Bernstein, Leonard, I: 28; Supp. I Part 1: 288, 289; Supp. IV Part 1: 83, 84 Bernstein, Melvin, Supp. XIV: 41, 46

Bernstein, Michael André, Retro. Supp. I: 427 Bernstein, Richard, Supp. IX: 253, 262; Supp. XII: 113; Supp. XIV: 33 Berrett, Jesse, Supp. XIII: 241, 242 Berrigan, Ted, Supp. XIV: 150 “Berry” (Hughes), Supp. I Part 1: 329, 330 Berry, Faith, Retro. Supp. I: 194, 201 Berry, Walter, IV: 313–314, 326 Berry, Wendell, Supp. VIII: 304; Supp. X: 21–39; Supp. XII: 202; Supp. XIII: 1–2; Supp. XIV: 179; Supp. XVI: 39, 56; Supp. XVIII: 192 “Berry Feast, A” (Snyder), Supp. VIII: 289, 297 Berryman, John, I: 167–189, 405, 441– 442, 521; II: 554; III: 273; IV: 138, 430; Retro. Supp. I: 430; Retro. Supp. II: 175, 178; Supp. I Part 2: 546; Supp. II Part 1: 109; Supp. III Part 2: 541, 561, 595, 596, 603; Supp. IV Part 2: 620, 639; Supp. V: 179– 180, 337; Supp. IX: 152; Supp. XI: 240; Supp. XV: 93; Supp. XVII: 111 Berryman, Mrs. John, I: 168–169 Berryman’s Sonnets (Berryman), I: 168, 175–178 “Berry Territory” (Snyder), Supp. VIII: 304 Berthoff, Warner, Supp. I Part 1: 133 Bertolucci, Bernardo, Supp. IV Part 1: 94 “Bertrand Hume” (Masters), Supp. I Part 2: 463–464 “Best, the Most, The” (Carruth), Supp. XVI: 59 Best American Essays 1987, The (G. Talese and R. Atwan, eds.), Supp. XVI: 273 Best American Essays 1988, The (Dillard, ed.), Supp. VIII: 272 Best American Essays 1989, The (Wolff, ed.), Supp. XVII: 208 Best American Essays 1993, The (J. Epstein, ed.), Supp. XVI: 275 Best American Essays 1997, The (Frazier, ed.), Supp. VIII: 272; Supp. XVII: 207 Best American Essays 1999, The (E. Hoagland and R. Atwan, eds.), Supp. XVI: 277 Best American Essays for College Students, The (R. Atwan, ed.), Supp. XVI: 273 Best American New Voices 2001 (C. Baxter, ed.), Supp. XVII: 22 Best American Poetry, The: 1988 (Ashbery, ed.), Supp. III Part 1: 26 Best American Short Stories, I:174; II: 587; III: 443; Supp. IV Part 1: 102, 315; Supp. IX: 114; Supp. X: 301 Best American Short Stories, 1915–1050, The, Supp. IX: 4 Best American Short Stories 1965, The (Foley, ed.), Supp. XVI: 225 Best American Short Stories 1982, The (Gardner, ed.), Supp. XVII: 16 Best American Short Stories 1983, The (A. Tyler, ed.), Supp. XVI: 37

Best American Short Stories 1986, The (Carver, ed.), Supp. XVII: 17 Best American Short Stories 1988, The (Helprin, ed.), Supp. XVI: 16 Best American Short Stories 1989, The (Atwood, ed.), Supp. XVII: 18 Best American Short Stories 1991, The (Adams and Kenison, eds.), Supp. XVI: 256 Best American Short Stories 2001, The (Kenison and Kingsover, eds.), Supp. XVI: 24 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 Century (Updike, ed.), Supp. X: 163 Best American Short Stories of the Eighties, The (Ravenal, ed.), Supp. IV Part 1: 93 Best American Sports Writing of the Century, The (Halberstam, ed.), Supp. XVII: 204 “Best China Saucer, The” (Jewett), Retro. Supp. II: 145–146 Bester, Alfred, Supp. XVI: 123 Best Hour of the Night, The (Simpson), Supp. IX: 277–279 Bestiaire, Le (Apollinaire), IV: 80 Bestiary, A (Wilbur), Supp. III Part 2: 552 “Bestiary for the Fingers of My Right Hand” (Simic), Supp. VIII: 274, 275 Best Man, The: A Play About Politics (Vidal), Supp. IV Part 2: 683 “Best of Everything, The” (Yates), Supp. XI: 341 Best of Plimpton (Plimpton), Supp. XVI: 238, 239, 240 Best Short Plays, The (Mayorga), IV: 381 Best Short Stories, The (O’ Brien, ed.), I: 289 Best Short Stories by Negro Writers, The (Hughes, ed.), Supp. I Part 1: 345 Best Short Stories of 1926, The (O’ Brien, ed.), Supp. XVIII: 279 Best Short Stories of 1934 (O’ Brien, ed.), Supp. XVIII: 227 Best Short Stories of 1938 (O’ Brien, ed.), Supp. XIX: 256 Best That Ever Did It, The (Lacy), Supp. XV: 201–202 Best Times, The: An Informal Memoir (Dos Passos), I: 475, 482 Best Words, Best Order: Essays on Poetry (Dobyns), Supp. XIII: 74, 76–78, 87 Best Years of Our Lives, The (film; Wyler), Supp. XV: 195 “BETANCOURT” (Baraka), Supp. II Part 1: 33, 34 Bête humaine, La (Zola), III: 316, 318 “Bethe” (Hellman), Supp. I Part 1: 293 Bethea, David, Supp. VIII: 27 Bethel Merriday (Lewis), II: 455 Bethke, Bruce, Supp. XVI: 121 Bethlehem in Broad Daylight (Doty), Supp. XI: 121, 122–123 Bethune, Mary McLeod, Retro. Supp. I: 197; Supp. I Part 1: 333

312 / AMERICAN WRITERS Bethurum, Dorothy, IV: 121 “Betrayal” (Lanier), Supp. I Part 1: 364 “Betrothed” (Bogan), Supp. III Part 1: 49–51 Bettelheim, Bruno, Supp. I Part 2: 622; Supp. X: 77, 84; Supp. XIV: 126; Supp. XVI: 33 Better Days (Price), Supp. VI: 264 Better Sort, The (James), II: 335 “Better Things in Life, The” (Loos), Supp. XVI: 194 Betty Leicester (Jewett), II: 406 Betty Leicester’s Christmas (Jewett), II: 406; Retro. Supp. II: 145 Between Angels (Dunn), Supp. XI: 149– 159 “Between Angels” (Dunn), Supp. XI: 150 Between Fantoine and Agapa (Pinget), Supp. V: 39 “Between Memory and History: A Writer’s Voice” (Kreisler), Supp. XVI: 155 Between Silences: A Voice from China (Jin), Supp. XVIII: 91, 92, 93 “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 Beuka, Robert A., Supp. XIX: 263 Bevis, Howard L., Supp. I Part 2: 611 Bevis, John, Supp. I Part 2: 503 “Bewitched” (Wharton), IV: 316 Bewley, Marius, I: 336 Beyle, Marie Henri. See Stendhal Beyond (Goldbarth), Supp. XII: 192 Beyond Black Bear Lake (LaBastille), Supp. X: 95, 99–102, 108 “Beyond Charles River to the Acheron” (Lowell), II: 541 Beyond Criticism (Shapiro), Supp. II Part 2: 703, 711 Beyond Culture (Trilling), Supp. III Part 2: 508–512 Beyond Desire (Anderson), I: 111 Beyond Document: The Art of Nonfiction Film (Warren, ed.), Supp. IV Part 2: 434 Beyond Good and Evil (Nietzsche), Supp. IV Part 2: 519 “Beyond Harm” (Olds), Supp. X: 210 “Beyond the Alps” (Lowell), II: 547, 550 “Beyond the Bayou” (Chopin), Supp. I Part 1: 215 Beyond the Boom: New Voices on American Life, Culture and Politics (Teachout), Supp. XIX: 137 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 the Law (film) (Mailer), Retro. Supp. II: 205 “Beyond the Sea (at the sanatorium)” (Salinas), Supp. XIII: 325

Beyond the Wall: Essays from the Outside (Abbey), Supp. XIII: 13 Beyond the Writers’ Workshop: New Ways to Write Creative Nonfiction (C. Bly), Supp. XVI: 41 Beyond Tragedy (Niebuhr), III: 300–303 Bezner, Kevin, Supp. XII: 202 B. F.’s Daughter (Marquand), III: 59, 65, 68, 69 Bhagavad Gita, III: 566; IV: 183 “Biafra: A People Betrayed” (Vonnegut), Supp. II Part 2: 760 Bianchi, Martha Dickinson, I: 470; Retro. Supp. I: 35, 37, 38 Bible, I: 191, 280, 414, 421, 490, 506; II: 6, 12, 15, 17, 108, 231, 237, 238, 252, 267, 302; III: 28, 199, 308–309, 341, 343, 350, 356, 402, 492, 519, 565, 577; IV: 11, 13, 42, 57, 60, 67, 152, 153, 154, 155, 164, 165, 296, 337, 341, 367, 369, 370, 371, 438; Retro. Supp. I: 91; Supp. I Part 1: 4, 6, 63, 101, 104, 105, 113, 193, 369; Supp. I 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; Supp. XIV: 225. See also names of biblical books; New Testament; Old Testament Biblia Americana (Mather), Supp. II Part 2: 442 Biblical Dialogues between a Father and His Family (Rowson), Supp. XV: 245–246 “Bibliography of the King’s Book, A, or, Eikon Basilike” (Howe), Supp. IV Part 2: 435 Bibliography of the King’s Book, A; or, Eikon Basilike (Almack), Supp. IV Part 2: 435 Bickel, Freddy. See March, Fredric Bidart, Frank, Retro. Supp. II: 48, 50, 52, 182, 183, 184; Supp. XV: 19–37; Supp. XVIII: 91,92; Supp. XIX: 82 Bid Me to Live (Doolittle), Supp. I Part 1: 258, 260, 268, 269, 270 “Bien Pretty” (Cisneros), Supp. VII: 70 “Bienvenidos” (Mora), Supp. XIII: 220 Bierce, Albert, I: 191, 209 Bierce, Ambrose, I: 190–213, 419; II: 74, 264, 271; IV: 350; Retro. Supp. II: 72 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 Bierds, Linda, Supp. XVII: 25–37 Biffle, Kent, Supp. V: 225 “Bi-Focal” (Stafford), Supp. XI: 318, 321 Bigamist’s Daughter, A (McDermott), Supp. XVIII: 155, 156–158, 160, 166 Big as Life (Doctorow), Supp. IV Part 1: 231, 234 “Big Bite” (Mailer), Retro. Supp. II: 204 “Big Blonde” (Parker), Supp. IX: 189, 192, 193, 195, 196, 203

Big Bozo, The (Glaspell), Supp. III Part 1: 182 Bigelow, Gordon, Supp. X: 222, 227, 229 Bigelow, Jacob, Supp. I Part 1: 302 Bigelow Papers, Second Series, The (Lowell), Supp. I Part 2: 406, 415– 416 Bigelow Papers, The (Lowell), Supp. I Part 2: 406, 407, 408, 410, 411–412, 415, 417, 424 Big Fix, The (Lacy), Supp. XV: 204–205 Bigfoot Dreams (Prose), Supp. XVI: 253–254 Big Funk, The: A Casual Play (Shanley), Supp. XIV: 316, 327 Big Game, The (film), Supp. XIX: 244 Big Gold Dream, The (C. Himes), Supp. XVI: 143, 144 “Bight, The” (Bishop), Retro. Supp. II: 38, 45 Big Hunger: Stories 1932–1959 (Fante), Supp. XI: 160 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 Man (Neugeboren), Supp. XVI: 219, 220, 221, 225 Big Money, The (Dos Passos), I: 482, 483, 486–487, 489; Supp. I Part 2: 646, 647 Big Picture (Everett), Supp. XVIII: 54, 66 “Big Picture” (Everett), Supp. XVIII: 66 “Big Picture” (Halliday), Supp. XIX: 93 “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 Bigsby, C. W. E. (Christopher), Supp. IX: 137, 140; Supp. XV: 332 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; Supp. XIX: 77 Big Sky, The (Mora), Supp. XIII: 221 Big Sleep, The (Chandler), Supp. IV Part 1: 122–125, 127, 128, 134 Big Sleep, The (film), Supp. IV Part 1: 130; Supp. XVIII: 148 Big Strike, The (Ryan as Quin), Supp. XVIII: 226,232–233 Big Sur (Kerouac), Supp. III Part 1: 230 Big Sur and the Oranges of Hieronymous Bosch (H. Miller), III: 189–190 Big Town, The (Lardner), II: 426, 429 “Big Two-Hearted River” (Hemingway), II: 249; Retro. Supp. I: 170–171; Supp. IX: 106; Supp. XIV: 227, 235 “Big Wind” (Roethke), III: 531 “Big Winner Rises Late, The” (Dunn), Supp. XI: 146 “Bilingual Christmas” (Mora), Supp. XIII: 216–217

CUMULATIVE INDEX / 313 “Bilingual Sestina” (Alvarez), Supp. VII: 10 “Bill” (Winters), Supp. II Part 2: 792 “Bill, The” (Malamud), Supp. I Part 2: 427, 430, 434 “Billie Holiday” (Carruth), Supp. XVI: 50 Billings, Gladys. See Brooks, Mrs. Van Wyck Billings, Josh, Supp. XVIII: 1, 4 Bill of Rites, a Bill of Wrongs, a Bill of Goods, A (Morris), III: 237 “Bill’s Beans” (Nye), Supp. XIII: 283 “Billy” (Gordon), Supp. IV Part 1: 306 “Billy” (McCarriston), Supp. XIV: 265 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 (W. 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, Anne, Supp. XV: 239 Bingham, Millicent Todd, I: 470; 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 Binswanger, Ludwig, Supp. XV: 26 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 in the First Person” (Dunn), Supp. XI: 144 “Biography of an Armenian Schoolgirl” (Nye), Supp. XIII: 275, 280 “Biography of a Story” (Jackson), Supp. IX: 113 Biondi, Joann, Supp. XI: 103 “Biopoetics Sketch for Greenfield Review” (Harjo), Supp. XII: 216 “Birchbrook Mill” (Whittier), Supp. I Part 2: 699 “Birches” (Frost), II: 154; Retro. Supp. I: 132; Supp. XIII: 147 Bird, Alan, Supp. I Part 1: 260 Bird, Gloria, Supp. XII: 216 Bird, Isabella, Supp. X: 103 Bird, Robert M., III: 423 “Bird, The” (Simpson), Supp. IX: 269– 270 “Bird, the Bird, the Bird, The” (Creeley), Supp. IV Part 1: 149

“Bird Banding with the Biologists” (Ray), Supp. XVIII: 194 “Bird came down the Walk, A” (Dickinson), Retro. Supp. I: 37 “Bird Frau, The” (Dove), Supp. IV Part 1: 245 “Bird in Hand” (screen story) (West and Ingster), Retro. Supp. II: 330 Bird Kingdom of the Mayas (LaBastille), Supp. X: 96 Birds and Beasts (W. J. Smith), Supp. XIII: 346 “Birds for Christmas, The” (Richard), Supp. XIX: 221 Bird’s Nest, The (Jackson), Supp. IX: 124–125 Birds of America (McCarthy), II: 579– 583; Supp. X: 177 Birds of America (Moore), Supp. X: 163, 165, 167, 168, 171, 177–179 Birds of America, The (Audubon), Supp. XVI: 5–6, 7, 9, 10, 12, 13 “Birds of Killingsworth, The” (Longfellow), Retro. Supp. II: 164 Birds of North America (Audubon Society), Supp. X: 177 “Birds of Vietnam, The” (Carruth), Supp. XVI: 55 “Bird-Witted” (Moore), III: 214 Birkerts, Sven, Supp. IV Part 2: 650; Supp. V: 212; Supp. VIII: 85; Supp. X: 311 Birkhead, L. M., III: 116 “Birmingham Sunday” (Hughes), Supp. I Part 1: 343 Birnbaum, Henry, Supp. XII: 128 Birnbaum, Robert, Supp. X: 13; Supp. XVI: 75 Birney, James G., Supp. I Part 2: 587, 588 Birstein, Ann, Supp. VIII: 100 “Birthday, A” (Untermeyer), Supp. XV: 296 Birthday Basket for Tía, A (Mora), Supp. XIII: 221 “Birthday Cake” (Carruth), Supp. XVI: 59 “Birthday Cake for Lionel, A” (Wylie), Supp. I Part 2: 721 “Birthday Girl: 1950” (McCarriston), Supp. XIV: 261 “Birthday of Mrs. Pineda, The” (Ríos), Supp. IV Part 2: 542, 546 “Birthday Poem, A” (Hecht), Supp. X: 64 “Birthday Present, A” (Plath), Supp. I Part 2: 531 “Birthmark, The” (Ellison), Retro. Supp. II: 116; 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 Birth of a Nation, The (film), Supp. I Part 1: 66 Birth of the Poet, The (Gordon), Supp. XII: 7

Birth of Tragedy, The (Nietzsche), Supp. IV Part 1: 105, 110; Supp. IV Part 2: 519; Supp. VIII: 182 “Birth of Venus, The” (Botticelli), IV: 410 “Birth of Venus, The” (Rukeyser), Supp. VI: 281 “Birthplace Revisited” (Corso), Supp. XII: 123 “Birthright” (McKay), Supp. X: 136 Bisch, Louis E., Supp. I Part 2: 608 Bisco, John, Supp. XVIII: 11 “B is for Bachelors” (M. F. K. Fisher), Supp. XVII: 86 Bishop, Elizabeth, Retro. Supp. I: 140, 296, 303; Retro. Supp. II: 37–56, 175, 178, 189, 233, 234, 235; Supp. I Part 1: 72–97, 239, 320, 326; Supp. III Part 1: 6, 7, 10, 18, 64, 239, 320, 326; Supp. III Part 2: 541, 561; Supp. IV Part 1: 249, 257; Supp. IV Part 2: 439, 626, 639, 641, 644, 647, 651, 653; Supp. V: 337; Supp. IX: 40, 41, 45, 47, 48; Supp. X: 58; Supp. XI: 123, 136; Supp. XIII: 115, 348; Supp. XV: 20–21, 100, 101, 112, 119, 249, 251; Supp. XVII: 36, 76 Bishop, James, Jr., Supp. XIII: 1, 5, 6, 7, 9, 11, 15 Bishop, John Peale, I: 432, 440; II: 81, 85, 86–87, 91, 209; IV: 35, 140, 427; Retro. Supp. I: 109; Supp. I Part 2: 709 Bishop, John W., Supp. I Part 1: 83 Bishop, Judith, Supp. XVI: 295 Bishop, Morris, Supp. I Part 2: 676 Bishop, William Thomas, Supp. I Part 1: 83 “Bishop Orders His Tomb at St. Praxed’s Church, The” (R. Browning), Supp. XV: 127 “Bishop’s Beggar, The” (Benét), Supp. XI: 56 “Bismarck” (Chapman), Supp. XIV: 52, 53 Bismark, Otto von, Supp. I Part 2: 643 “Bistro Styx, The” (Dove), Supp. IV Part 1: 250–251 Bitov, Andrei, Retro. Supp. I: 278 Bits of Gossip (Davis), Supp. XVI: 82– 83, 84, 85, 89 “Bitter Drink, The” (Dos Passos), Supp. I Part 2: 647 “Bitter Farce, A” (Schwartz), Supp. II Part 2: 640, 657–658 “Bitter Pills for the Dark Ladies” (Jong), Supp. V: 118 Bitterroot (Burke), Supp. XIV: 34, 35 Bitter Victory (Hardy; Kinnell, trans.), Supp. III Part 1: 235 Bitzer, G. W. “Billy“, Supp. XVI: 183 Bixby, Horace, IV: 194 Bjorkman, Frances Maule, Supp. V: 285 Bjorkman, Stig, Supp. XV: 6 Björnson, Björnstjerne, II: 275 Black 100, The (Salley), Supp. XIV: 195 Blackamerican Literature, 1760-Present (R. Miller), Supp. X: 324 Black American Literature Forum, Supp. XI: 86, 92, 93

314 / AMERICAN WRITERS Black and Blue (Quindlen), Supp. XVII: 166, 176–178 “Black and Tan” (Bell), Supp. X: 9 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 Ball, The” (Ellison), Retro. Supp. II: 124 Black Bart and the Sacred Hills (Wilson), Supp. VIII: 330, 331 Black Beetles in Amber (Bierce), I: 204, 209 “Blackberries” (Komunyakaa), Supp. XIII: 126 “Blackberry Eating” (Kinnell), Supp. III Part 1: 250 “Blackberrying” (D. West), Supp. XVIII: 283 Blackberry Winter (Warren), IV: 243, 251, 252 Black Betty (Mosley), Supp. XIII: 237, Supp. XIII: 240, 243 “Black Birch in Winter, A” (Wilbur), Supp. III Part 2: 561 Black Boy (Wright), IV: 477, 478, 479, 480–482, 488, 489, 494; Retro. Supp. II: 117; Supp. II Part 1: 235–236; Supp. IV Part 1: 11; Supp. XVIII: 286 “Black Boys and Native Sons” (Howe), Retro. Supp. II: 112 Blackburn, Alex, Supp. XIII: 112 Blackburn, William, IV: 100 “Black Buttercups” (Clampitt), Supp. IX: 42 Black Cargo, The (Marquand), III: 55, 60 Black Cargoes: A History of the Atlantic Slave Trade (Cowley), Supp. II Part 1: 140 “Black Cat, The” (Poe), III: 413, 414, 415; Retro. Supp. II: 264, 267, 269, 270 Black Cherry Blues (Burke), Supp. XIV: 30 “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 Dog, Red Dog (Dobyns), Supp. XIII: 87, 88–89 “Black Dog, Red Dog” (Dobyns), Supp. XIII: 89 “Black Earth” (Moore), III: 197, 212 Black Fire (Jones and Neal, eds.), Supp. X: 324, 328 Black Fire: An Anthology of Afro American Writing (Baraka, ed.), 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 Freckles (Levis), Supp. XI: 257, 271 “Black Gang“, IV: 406, 407 Black Genius (Mosley, ed.), Supp. XIII: 246 “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 “Black Is My Favorite Color” (Malamud), Supp. I Part 2: 437 “Black Jewel, The” (Merwin), Supp. III Part 1: 355 Black Lamb and Grey Falcon (R. West), Supp. XVI: 152 “Blacklegs” (B. Kelly), Supp. XVII: 131 Black Light (Kinnell), Supp. III Part 1: 235, 243 “Blacklist and the Cold War, The” (Kramer), Supp. I Part 1: 295 Black Literature in America (Baker), Supp. X: 324 Black Magic, A Pictorial History of the Negro in American Entertainment (Hughes), Supp. I Part 1: 345 Black Magic: Collected Poetry 1961– 1967 (Baraka), Supp. II Part 1: 45, 49–50 “Blackmailers Don’ t Shoot” (Chandler), Supp. IV Part 1: 121–122 Black Manhattan (Johnson), Supp. IV Part 1: 169 Black Mass, A (Baraka), Supp. II Part 1: 46, 48–49, 56, 57 “Black Mesa, The” (Merrill), Supp. III Part 1: 328 Black Metropolis (Cayton and Drake), IV: 475, 486, 488 Black Misery (Hughes), Supp. I Part 1: 336 Blackmur, Helen Dickson (Mrs. R. P. Blackmur), Supp. II Part 1: 90 Blackmur, Richard P., I: 50, 63, 67, 280, 282, 386, 455, 472; II: 320, 537; III: 194, 208, 462, 478, 497; Supp. II Part 1: 87–112, 136; Supp. II Part 2: 543, 643; Supp. XII: 45 Black Music (Baraka), Supp. II Part 1: 47, 51 Black Nativity (Hughes), Retro. Supp. I: 196 Black No More (Schuyler), Supp. XVI: 142; Supp. XIX: 73 Black on Black: “Baby Sister” and Selected Writings (C. Himes), Supp. XVI: 145 “Blackout” (Hay), Supp. XIV: 121 “Black Panther” (Hughes), Retro. Supp. I: 211

“Black Petal” (L.-Y. Lee), Supp. XV: 224–225 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 Riders and Other Lines, The (Crane), I: 406, 419 Black Riviera, The (Jarman), Supp. XVII: 109, 110, 115–116 “Black Rook in Rainy Weather” (Plath), Supp. I Part 2: 543, 544 Blacks (Brooks), Supp. III Part 1: 69, 72, 86, 87 Blacks, The (Genet), Supp. IV Part 1: 8 Black Skin, White Masks (Fanon), Retro. Supp. II: 118 Black Sleuth, The (J. Bruce), Supp. XVI: 143 Black Spear, The (Hayden), Supp. II Part 1: 375 Black Spring (H. Miller), III: 170, 175, 178, 180–182, 183, 184; Supp. X: 187 “Black Stone Lying on a White Stone” (Vallejo), Supp. XIII: 324 Black Sun (Abbey), Supp. XIII: 4, 8–9, 17 “Black Swan” (B. Kelly), Supp. XVII: 130–131 “Black Swan, The” (Jarrell), II: 382 Black Swan, The (Merrill), Supp. III Part 1: 319, 320 “Black Tambourine” (Crane), I: 387–388; II: 371 “Black Tuesday” (Swenson), Supp. IV Part 2: 646 Black Voices (Chapman), IV: 485 “Blackwater Mountain” (Wright), Supp. V: 335, 340 “Black Wedding, The” (Singer), IV: 12–13 Blackwell, Alice Stone, Supp. XI: 195, 197 Blackwell, Elizabeth, Retro. Supp. II: 146 Black Woman, The (Bambara, ed.), Supp. XI: 1 “Black Workers” (Hughes), Retro. Supp. I: 202 “Black Writer and the Southern Experience, The” (Walker), Supp. III Part 2: 521 Black Zodiac (Wright), Supp. V: 333, 344, 345 Blade Runner (film), Supp. XI: 84 “Blades of Steel” (R. Fisher), Supp. XIX: 72 Blaine, Anita McCormick, Supp. I Part 1: 5 Blaine, Nell, Supp. XV: 179 Blair, Hugh, II: 8, 17; Supp. I Part 2: 422 Blair, Robert, Supp. I Part 1: 150 Blair, Walter, II: 20; Retro. Supp. II: 286 Blaisdell, Gus, Supp. XIV: 87 Blake, William, I: 381, 383, 389, 390, 398, 447, 476, 525, 526, 533; II: 321;

CUMULATIVE INDEX / 315 III: 5, 19, 22, 195, 196, 197, 205, 485, 528, 540, 544–545, 567, 572; IV: 129; Retro. Supp. II: 76, 300; Supp. I Part 1: 80; Supp. I Part 2: 385, 514, 517, 539, 552, 708; Supp. V: 208, 257, 258; Supp. VIII: 26, 99, 103; Supp. X: 120; Supp. XII: 45; Supp. XIV: 344; Supp. XVI: 282; Supp. XVII: 119 Blakely, Barbara, Supp. XIII: 32 Blanc, Marie Thérèse, Retro. Supp. II: 135 Blanc-Bentzon, Mme. Thérèse, II: 405 Blanchard, Paula, Retro. Supp. II: 131, 133–134, 135 Blanchot, Maurice, Supp. XVI: 288 Blancs, Les (Hansberry), Supp. IV Part 1: 359, 364, 365, 369, 372–374 Blancs, Les: The Collected Last Plays of Lorraine Hansberry (Nemiroff, ed.), Supp. IV Part 1: 365, 368, 374 “’ Blandula, Tenulla, Vagula’ ” (Pound), III: 463; Supp. V: 336, 337, 345 Blankenship, Tom, IV: 193 “Blank Paper” (Peacock), Supp. XIX: 198–199 Blanshard, Rufus A., I: 67 Blauvelt, William Satake, Supp. V: 171, 173 Blavatsky, Elena Petrovna, III: 176 “Blazing in Gold and Quenching in Purple” (Dickinson), Retro. Supp. I: 30 Bleak House (Dickens), II: 291; Supp. IV Part 1: 293 Blechman, Burt, Supp. I Part 1: 290 “Bleeder” (Dobyns), Supp. XIII: 88 “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. III Part 2: 600, 606 Blessing on the Moon, A (Skibell), Supp. XVII: 48 Blessings (Quindlen), Supp. XVII: 167, 178–179 “Blessing the Animals” (Komunyakaa), Supp. XIII: 129–130 “Blessing the Children” (Hogan), Supp. IV Part 1: 401 Bless Me, Ultima (Anya), Supp. XIII: 220 Blew, Mary Clearman, Supp. XIV: 227 Bligh, S. M., I: 226 Blind Assassin, The (Atwood), Supp. XIII: 20, 32 Blind Bow-Boy, The (Van Vechten), Supp. II Part 2: 737, 740–742 “Blind Date” (Halliday), Supp. XIX: 85 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 Man with a Pistol (C. Himes), Supp. XVI: 143, 144

Blindness and Insight (de Man), Retro. Supp. I: 67 “Blind Poet, The: Sidney Lanier” (Warren), Supp. I Part 1: 371, 373 “Blind Tom” (Davis), Supp. XVI: 89, 90 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), III: 314, 322, 327, 328, 333 Blixen, Karen Denisen Baroness. See Dinesen, Isak “Blizzard in Cambridge” (Lowell), II: 554 Blizzard Voices, The (Kooser), Supp. XIX: 123 Blok, Aleksandr Aleksandrovich, IV: 443 Blonde Bait (Lacy), Supp. XV: 204 Blonde on Blonde (album, Dylan), Supp. XVIII: 20, 27, 30 Blondin, Antoine, Supp. XVI: 230 “Blood” (Hoffman), Supp. XVIII: 86 “Blood” (Singer), IV: 15, 19 Blood, Tin, Straw (Olds), Supp. X: 212– 215 Blood and Guile (Hoffman), Supp. XVIII: 83–84 Blood and Guts in High School (Acker), Supp. XII: 5, 6, 11–12 “Blood Bay, The” (Proulx), Supp. VII: 262–263 “Blood-Burning Moon” (Toomer), Supp. III Part 2: 483; Supp. IX: 314–315 “Bloodchild” (O. Butler), Supp. XIII: 61, 69–70 Bloodchild and Other Stories (O. Butler), Supp. XIII: 69 “Blood Donor” (Hay), Supp. XIV: 121 Blood for a Stranger (Jarrell), II: 367, 368–369, 370–371, 375, 377 Blood Issue (Crews), Supp. XI: 103 Bloodlines (Wright), Supp. V: 332, 335, 340 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 Martyrs, The” (Benét), Supp. XI: 56, 58 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 on the Tracks (album, Dylan), Supp. XVIII: 20, 27, 30 “Blood Relatives” (Apple), Supp. XVII: 6 “Blood Returns, The” (Kingsolver), Supp. VII: 209 “Bloodshed” (C. Ozick), Supp. XVII: 43 Bloodshed and Three Novellas (Ozick), Supp. V: 259–260, 261, 266–268

“Blood Stains” (Francis), Supp. IX: 86 Bloody Crossroads, The: Where Literature and Politics Meet (Podhoretz), Supp. VIII: 241–242 Bloom, Alice, Supp. IV Part 1: 308 Bloom, Allan, Retro. Supp. II: 19, 30, 31, 33–34 Bloom, Claire, Retro. Supp. II: 281; Supp. IX: 125 Bloom, Harold, Retro. Supp. I: 67, 193, 299; Retro. Supp. II: 81, 210, 262; Supp. IV Part 2: 620, 689; Supp. V: 178, 272; Supp. VIII: 180; Supp. IX: 146, 259; Supp. XII: 261; Supp. XIII: 46, 47; Supp. XIV: 14; Supp. XV: 134; Supp. XVII: 70, 141 Bloom, Larry, Supp. XIII: 133 Bloom, Leopold, I: 27, 150; III: 10 Bloom, Lynn Z., Supp. IV Part 1: 6 Bloomfield, Leonard, I: 64 Bloomingdale Papers, The (Carruth), Supp. XVI: 48–50 “Blossom and Fruit” (Benét), Supp. XI: 52–53 Blotner, Joseph, Retro. Supp. I: 88 Blouin, Lenora, Supp. VIII: 266 “Blowin’ in the Wind” (song, Dylan), Supp. XVIII: 24, 25, 26, 29 Blue Angel (Prose), Supp. XVI: 249, 259–260 Blue Angel, The (film), Supp. XVIII: 243 “Blue Battalions, The” (Crane), I: 419– 420 “Bluebeard” (Barthelme), Supp. IV Part 1: 47 “Bluebeard” (Millay), III: 130 “Blueberries” (Frost), Retro. Supp. I: 121, 128 Blue Calhoun (Price), Supp. VI: 265– 266 Blue City (Macdonald, under Millar), Supp. IV Part 2: 466–467 Blue Dahlia, The (Chandler), Supp. IV Part 1: 130 Blue Devils of Nada, The: A Contemporary American Approach to Aesthetics (Murray), Supp. XIX: 159–160 Blue Estuaries, The: Poems, 1923–1968 (Bogan), Supp. III Part 1: 48, 57, 66 Blue Hammer, The (Macdonald), Supp. IV Part 2: 462 “Blue Hotel, The” (Crane), I: 34, 415– 416, 423 “Blue Hour, The” (Komunyakaa), Supp. XIII: 130 Blue in the Face (Auster), Supp. XII: 21 Blue Jay’s Dance, The: A Birth Year (Erdrich), Supp. IV Part 1: 259–260, 265, 270, 272 “Blue Juniata” (Cowley), Supp. II Part 1: 144 Blue Juniata: Collected Poems (Cowley), Supp. II Part 1: 140 “Blue Lick” (Offutt), Supp. XIX: 164, 165 Blue Light (Mosley), Supp. XIII: 245– 247, 248, 249 “Blue Light Lounge Sutra for the Performance Poets at Harold Park Hotel” (Komunyakaa), Supp. XIII: 125

316 / AMERICAN WRITERS “Blue Meridian” (Toomer), Supp. III Part 2: 476, 487; Supp. IX: 320 “Blue Moles” (Plath), Supp. I Part 2: 539 Blue Mountain Ballads (music) (Bowles), Supp. IV Part 1: 84 Blue Movie (Southern), Supp. XI: 309 “Blue Notes” (Matthews), Supp. IX: 169 Blue Pastures (Oliver), Supp. VII: 229– 230, 245 “Blueprint for Negro Writing” (Wright), Supp. XVIII: 282–283 “Blueprints” (Kingsolver), Supp. VII: 203 Blue Rhine, Black Forest (Untermeyer), Supp. XV: 310 “Blue Ribbon at Amesbury, A” (Frost), Retro. Supp. I: 138 “Blues Ain’ t No Mockin Bird” (Bambara), Supp. XI: 3 “Blues and the Fable in the Flesh, The” (lecture, Murray), Supp. XIX: 153 “Blues Chant Hoodoo Rival” (Komunyakaa), Supp. XIII: 117, 118 Blue Screen (Parker), Supp. XIX: 186 “Blues for Another Time” (Dunn), Supp. XI: 148 “Blues for Jimmy” (McGrath), Supp. X: 116 “Blues for John Coltraine, Dead at 41” (Matthews), Supp. IX: 157 Blues for Mister Charlie (Baldwin), Retro. Supp. II: 8; Supp. I Part 1: 48, 61–62, 63 “Blues for Warren” (McGrath), Supp. X: 116 Blues If You Want (Matthews), Supp. IX: 155, 163–165 “Blues I’ m Playing, The” (Hughes), Retro. Supp. I: 204; Supp. XIX: 75 “Blue Sky, The” (Snyder), Supp. VIII: 306 “Blues on a Box” (Hughes), Retro. Supp. I: 208 “Blues People” (Ellison), Retro. Supp. II: 124 Blues People: Negro Music in White America (Baraka), Retro. Supp. II: 124; Supp. II Part 1: 30, 31, 33–35, 37, 41, 42, 53 Bluest Eye, The (Morrison), Supp. III Part 1: 362, 363–367, 379; Supp. IV Part 1: 2, 253; Supp. VIII: 213, 214, 227; Supp. XI: 4, 91 Bluestone, George, Supp. IX: 7, 15 Blue Swallows, The (Nemerov), III: 269, 270, 271, 274–275, 278, 284, 286–288 “Blue Tattoo” (Nelson and Espeland), Supp. XVIII: 181 Blue Voyage (Aiken), I: 53, 56 Blum, Gustav, Supp. XV: 194 Blum, Morgan, I: 169 Blum, W. C. (pseudonym). See Watson, James Sibley, Jr. Blumenthal, Nathaniel. See Branden, Nathaniel Blumenthal, Sidney, Supp. VIII: 241 Blunden, Edmund, Supp. XIX: 133 Blunt, Wilfrid Scawen, III: 459 Bly, Carol, Supp. XVI: 31–43

Bly, Robert, I: 291; Supp. III Part 2: 599; Supp. IV Part 1: 59–77, 177; Supp. IV Part 2: 623; Supp. V: 332; Supp. VIII: 279; Supp. IX: 152, 155, 265, 271, 290; Supp. X: 127; Supp. XI: 142; Supp. XIII: 284; Supp. XV: 74, 176; Supp. XVI: 32, 36, 39, 177, 212, 230; Supp. XVII: 243, 244 “B Negative” (X. J. Kennedy), Supp. XV: 156–157 “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; Supp. XIV: 199, 209, 210 “Boat, The” (Oliver), Supp. VII: 247 “Boat, The” (Sexton), Supp. II Part 2: 692 Boating Party, The (Renoir), Supp. XII: 188 Boat of Quiet Hours, The (Kenyon), Supp. VII: 167–169, 171 “Boat of Quiet Hours, The” (Kenyon), Supp. VII: 168 “Bob and Spike” (Wolfe), Supp. III Part 2: 580 “Bobby Shafter’s Gone to Sea” (Swados), Supp. XIX: 267 “Bob Dylan’s 115th Dream” (song, Dylan), Supp. XVIII: 25 Bobrowski, Johannes, Supp. XV: 78 Bob the Gambler (F. Barthelme), Supp. XI: 30, 31, 32, 34–35, 36–37 Boccaccio, Giovanni, III: 283, 411; IV: 230 Bocock, Maclin, Supp. X: 79 Bodelson, Anders, Supp. XVI: 33 Bodenheim, Maxwell, II: 42, 530; Retro. Supp. I: 417; Supp. I Part 1: 257 “Bodies” (Oates), Supp. II Part 2: 520 “Bodies and Souls: The Haitian Revolution and Madison Smartt Bell’s All Souls’ Rising” (Trouillot), Supp. X: 14 Bodies of Work: Essays (Acker), Supp. XII: 7 Bodily Harm (Atwood), Supp. XIII: 25–27 Bodley Head Jack London (London), II: 483 Body (Crews), Supp. XI: 108–109 “Body, The” (Heldreth), Supp. V: 151 Body and Soul (Conroy), Supp. XVI: 63, 72–74, 77 “Body and Soul: A Meditation” (Kumin), Supp. IV Part 2: 442, 452 Body and Soul: Essays on Poetry (Jarman), Supp. XVII: 110, 111–112 “Body and Soul: Parts of a Life” (Jarman), Supp. XVII: 112, 113 Body and the Song, The (Bishop), Retro. Supp. II: 40 “Body Bright” (Sanders), Supp. XVI: 276 Body of Martin Aquilera, The (Everett), Supp. XVIII: 57

Body of Poetry, The: Essays on Women, Form, and the Poetic Self (A. Finch), Supp. XVII: 69–70, 77–78 Body of This Death: Poems (Bogan), Supp. III Part 1: 47, 49–52, 58 Body of Waking (Rukeyser), Supp. VI: 274, 281 “Body of Waking” (Rukeyser), Supp. VI: 279 “Body on Fire, the Soul in Flight, The” (Jarman), Supp. XVII: 111, 112 Body Rags (Kinnell), Supp. III Part 1: 235, 236, 243–245, 250, 253, 254 “Body’s Curse, The” (Dobyns), Supp. XIII: 87 “Body’s Weight, The” (Dobyns), Supp. XIII: 89 Body Traffıc (Dobyns), Supp. XIII: 87, 89 “‘Body with the Lamp Lit Inside, The’” (Mills), Supp. IV Part 1: 64 Boehm, David, Supp. XVII: 58 Boehme, Jakob, I: 10 Bogan, Louise, I: 169, 185; Retro. Supp. I: 36; Supp. I Part 2: 707, 726; Supp. III Part 1: 47–68; Supp. VIII: 171, 265; Supp. IX: 229; Supp. X: 58, 102; Supp. XIII: 347; Supp. XIV: 129; Supp. XVII: 75 Bogan, Major Benjamin Lewis, IV: 120 Bogart, Humphrey, Supp. I Part 2: 623; Supp. IV Part 1: 130, 356 Bogdanovich, Peter, Supp. V: 226 Bogey Man, The (Plimpton), Supp. XVI: 241 Boggs, Francis W., Supp. XVI: 182 “Bohemian, The” (Hapgood), Supp. XVII: 103 “Bohemian, The” (Harte), Supp. II Part 1: 339 “Bohemian Girl, The” (Cather), Retro. Supp. I: 7 “Bohemian Hymn, The” (Emerson), II: 19 “Bohemians” (Saunders), Supp. XIX: 234 “Boids and Beasties” (Geisel), Supp. XVI: 100 Boissevain, Eugen, III: 124 Boit, Edward, Retro. Supp. I: 366 Bojorquez, Jennifer, Supp. XII: 318 Boker, George, Supp. XV: 269 “Bold Words at the Bridge” (Jewett), II: 394 Boleslavsky, Richard, Supp. XIV: 240, 243 Boleyn, Anne, Supp. I Part 2: 461 Bolick, Katie, Supp. XVI: 167 Bolivar, Simon, Supp. I Part 1: 283, 284, 285 Bolonik, Kera, Supp. XVIII: 60 Bolton, Guy, Supp. I Part 1: 281 Bolts of Melody: New Poems of Emily Dickinson (Todd and Bingham, eds.), I: 470; Retro. Supp. I: 36 “Bomb” (Corso), Supp. XII: 117, 124, 125–126, 127 Bombeck, Erma, Supp. XVII: 168 Bombs Away (Steinbeck), IV: 51–52

CUMULATIVE INDEX / 317 “Bona and Paul” (Toomer), Supp. IX: 307, 318–319 Bonaparte, Marie, III: 418; Retro. Supp. II: 264, 266 “Bon-Bon” (Poe), III: 425 Bond, The (N. Boyce), Supp. XVII: 99, 100 Bondsman, The (Massinger), Supp. XV: 238 Bone, Robert, Supp. IX: 318–319; Supp. XI: 283; Supp. XVIII: 285 Bone by Bone (Matthiessen), Supp. V: 199, 212, 213, 214 “Bone Deposit” (Ray), Supp. XVIII: 194 Boners (Abingdon). See Schoolboy Howlers (Abingdon) “Bones” (Goldbarth), Supp. XII: 173– 174 “Bones and Jewels” (Monette), Supp. X: 159 “Bones and Shells” (Sanders), Supp. XVI: 271–272 “Bones of a House” (Cowley). See “Blue Juniata“ Bones on Black Spruce Mountain, The (Budbill), Supp. XIX: 11–12 Bonetti, Kay, Supp. VIII: 47, 152, 159, 160, 165, 168, 170, 223; Supp. XII: 61; Supp. XIV: 232, 234 Bonfire of the Vanities, The (Wolfe), Supp. III Part 2: 584–586 Bonheur, Rosa, Supp. XV: 276 Bonhoeffer, Dietrich, Supp. VIII: 198 Boni, Charles, Supp. XIV: 288 Boni and Liveright, Retro. Supp. I: 59, 80, 178 Bonicelli, Vittorio, Supp. XI: 307 Bonifacius (Mather), Supp. II Part 2: 461, 464 Bonnefoy, Yves, Supp. III 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, Retro. Supp. I: 194, 196, 203; Supp. I Part 1: 325; Supp. IV Part 1: 170; Supp. IX: 306, 309; Supp. XVIII: 282 Book, A (Barnes), Supp. III Part 1: 36, 39, 44 Book about Myself, A (Dreiser), I: 515; Retro. Supp. II: 104 “Book as a Container of Consciousness, The” (Gass), Supp. VI: 92 Booker, Keith, Supp. XV: 197 “Bookies, Beware!” (Heller), Supp. IV Part 1: 383 Book of American Negro Poetry, The (Johnson), Supp. IV Part 1: 165, 166 Book of Americans, A (Benét), Supp. XI: 46, 47, 51 Book of Beb, The (Buechner), Supp. XII: 53 Book of Breeething, The (Burroughs), Supp. III Part 1: 97, 103 Book of Burlesques, A (Mencken), III: 104

Book of Common Prayer, A (Didion), Supp. IV Part 1: 196, 198, 203–205, 207, 208 Book of Daniel, The (Doctorow), Supp. IV Part 1: 218, 219, 220–222, 227, 231, 237–238, 238; Supp. V: 45 Book of Dreams (Kerouac), Supp. III Part 1: 225 “Book of Ephraim, The” (Merrill), Supp. III 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 Guys, The (Keillor), Supp. XVI: 177 “Book of Hours of Sister Clotilde, The” (Lowell), II: 522 Book of Jamaica, The (Banks), Supp. V: 11, 12, 16 “Book of Life” (Bidart), Supp. XV: 23 Book of Living Verse, The; English and American Poetry from the Thirteenth Century to the Present Day (Untermeyer, ed.), Supp. XV: 310 Book of Love, A (Vildrac; Bynner, trans.), Supp. XV: 50 Book of Lyrics (Bynner), Supp. XV: 51 Book of Medicines, The (Hogan), Supp. IV Part 1: 397, 410, 411–414 “Book of Medicines, The” (Hogan), Supp. IV Part 1: 412, 413 “Book of Memory, The” (Auster), Supp. XII: 21–22 Book of My Nights (L.-Y. Lee), Supp. XV: 215, 223–226 Book of Negro Folklore, The (Hughes, ed.), Supp. I Part 1: 345 Book of Nightmares, The (Kinnell), Supp. III Part 1: 235, 236, 243, 244, 246– 254 Book of One’s Own, A: People and Their Diaries (Mallon), Supp. XIX: 134 Book of Prefaces, A (Mencken), III: 99– 100, 105 Book of Repulsive Women, The (Barnes), Supp. III Part 1: 33 Book of Roses, The (Parkman), Supp. II Part 2: 597, 598 Book of the Body, The (Bidart), Supp. XV: 21, 25–27 “Book of the Dead, The” (Rukeyser), Supp. VI: 272, 278, 279; Supp. XV: 349 “Book of the Grotesque, The” (Anderson), I: 106 Book of the Homeless, The (Wharton), Retro. Supp. I: 377 Book of the Hopi (Waters), Supp. X: 124 Book of Tobit (Bible), Supp. XII: 54 Book of Verses, A (Masters), Supp. I Part 2: 458 Book of Yaak, The (Bass), Supp. XVI: 18–19 “Book of Yolek, The” (Hecht), Supp. X: 69, 70–71 “Books Considered” (Bloom), Supp. I Part 1: 96 Books in My Life, The (H. Miller), II: 176, 189

“Books/P,L,E, The” (Goldbarth), Supp. XII: 190 Bookviews, Supp. XI: 216 “Book World Live“, Supp. XVIII: 143– 144 “Boom” (Nemerov), III: 278 Boom! (T. Williams), IV: 383 Boom Town (Wolfe), IV: 456 “Boom Town” (Wolfe), IV: 469 Boone, Daniel, II: 207; III: 444; IV: 192, 193 Boorstin, Daniel, I: 253 Booth, Charles, Supp. I Part 1: 13 Booth, General William, Supp. I Part 2: 384, 386 Booth, John Wilkes, III: 588 Booth, Philip, I: 522; Supp. IX: 269; Supp. XI: 141; Supp. XIII: 277; Supp. XV: 92 Borah, William, III: 475 Borden, Lizzie, II: 5 Borderlands/La Frontera: The New Mestiza (Anzaldúa), Supp. XIII: 223 Border Matters (Saldívar), Supp. XIX: 112–113 Borders (Mora), Supp. XIII: 213, 215– 217 Border Trilogy (McCarthy), Supp. VIII: 175, 182 Borel, Pétrus, III: 320 Borges, Jorge Luis, I: 123, 135, 138, 140, 142; Supp. III Part 2: 560; Supp. IV Part 2: 623, 626, 630; Supp. V: 238; Supp. VIII: 15, 348, 349; Supp. XII: 21, 147; Supp. XV: 34; Supp. XVI: 201, 206; Supp. XVII: 47; Supp. XIX: 131 “Borges and I” (Bidart), Supp. XV: 34, 35 “Borinken Blues” (Komunyakaa), Supp. XIII: 117 “Born a Square: The Westerner’s Dilemma” (Stegner), Supp. IV Part 2: 595; Supp. V: 224 “Born Bad” (Cisneros), Supp. VII: 62 Born on the Fourth of July (Kovic), Supp. XIX: 17 “Borough of Cemeteries” (Shaw), Supp. XIX: 246 Borrowed Time: An AIDS Memoir (Monette), Supp. X: 145, 146, 147, 152, 154, 155 “Bosque del Apache Wildlife Refuge” (Mora), Supp. XIII: 218 Boss Dog, The: A Story of Provence (M. F. K. Fisher), Supp. XVII: 91 “Boston” (Hardwick), Supp. III Part 1: 201 Boston (Sinclair), Supp. V: 282, 288–289 Boston, B. H., Supp. XIII: 312 Boston Adventure (Stafford), Retro. Supp. II: 177, 178 “Boston Common” (Berryman), I: 172 “Boston Hymn” (Emerson), II: 13, 19 Bostonians, The (H. James), I: 9; II: 282; IV: 202; Retro. Supp. I: 216, 225 Boston Marriage (Mamet), Supp. XIV: 247 “Boston Nativity, The” (Lowell), II: 538

318 / AMERICAN WRITERS Boswell, James, IV: 431; Supp. I Part 2: 656 Boswell: A Modern Comedy (Elkin), Supp. VI: 42, 44–45, 57 Bosworth, Patricia, Supp. IV Part 2: 573, 591 “Bothersome Sex and O’ Brien, The” (Ryan as Quin), Supp. XVIII: 238 Botticelli (McNally), Supp. XIII: 197 Botticelli, Sandro, IV: 410; Retro. Supp. I: 422 “Botticellian Trees, The” (W. C. Williams), Retro. Supp. I: 422 “Bottle of Milk for Mother, A” (Algren), Supp. IX: 3 “Bottle of Perrier, A” (Wharton), IV: 316 “Bottles” (Kenyon), Supp. VII: 171 “Bottom Line, The” (Elkin), Supp. VI: 52, 53 Bottom: On Shakespeare (Zukofsky), Supp. III Part 2: 622, 624, 625, 626, 627, 629 Boucher, Anthony, Supp. IV Part 2: 473; Supp. XV: 203, 205 Boukreev, Anatoli, Supp. XVIII: 112 Boulanger, Nadia, Supp. IV Part 1: 81 “Boulot and Boulette” (Chopin), Supp. I Part 1: 211 Boulton, Agnes, III: 403 Bound East for Cardiff (O’ Neill), III: 388 Bound for Glory (Guthrie), Supp. XVIII: 23 “Bounty” (Saunders), Supp. XIX: 226, 227 “Bouquet, The” (Stevens), IV: 90 “Bouquet of Roses in Sunlight” (Stevens), IV: 93 Bourdin, Henri L., Supp. I Part 1: 251 Bourgeois Poet, The (Shapiro), Supp. II Part 2: 701, 703, 704, 713, 714–716 Bourget, James, IV: 319 Bourget, Paul, II: 325, 338; IV: 311, 315; Retro. Supp. I: 224, 359, 373 Bourjaily, Vance, III: 43; Supp. IX: 260 Bourke-White, Margaret, I: 290, 293, 295, 297 Bourne, Charles Rogers, I: 215 Bourne, Mrs. Charles Rogers, I: 215 Bourne, Randolph, I: 214–238, 243, 245, 246–247, 251, 259; Supp. I Part 2: 524; Supp. XV: 141, 298, 301 Bowden, Charles, Supp. XIII: 17 Bowditch, Nathaniel, Supp. I Part 2: 482 Bowen, Barbara, Supp. IX: 311 Bowen, Elizabeth, Retro. Supp. I: 351; Supp. IV Part 1: 299; Supp. VIII: 65, 165, 251, 265; Supp. IX: 128 Bowen, Francis, Supp. I Part 2: 413 Bowen, Henry, Supp. XVIII: 4 Bowen, Louise de Koven, Supp. I Part 1: 5 Bowen, Michael, Supp. VIII: 73 Bowers, John, Supp. XI: 217–218 “Bowlers Anonymous” (Dobyns), Supp. XIII: 86 Bowles, Emily, Supp. XVIII: 200, 202 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 “Bowl of Blood, The” (Jeffers), Supp. II Part 2: 434 “Bowls” (Moore), III: 196 Bowman, James, I: 193 “Bows to Drouth” (Snyder), Supp. VIII: 303 Box, Edgar (pseudonym). See Vidal, Gore Box and Quotations from Chairman Mao Tse-tung (Albee), I: 89–91, 94 Boxer and the Spy, The (Parker), Supp. XIX: 190 Box Garden, The (Shields), Supp. VII: 314–315, 320 “Box of Pastels, A” (Kooser), Supp. XIX: 128 “Box Seat” (Toomer), Supp. III Part 2: 484; Supp. IX: 316, 318 Boy, A (Ashbery), Supp. III Part 1: 5 Boyce, Horace, II: 136 Boyce, Neith, Supp. XVII: 96, 97, 98– 99, 100, 106 Boyd, Brian, Retro. Supp. I: 270, 275 Boyd, Janet L., Supp. X: 229 Boyd, Nancy (pseudonym). See Millay, Edna St. Vincent Boyd, Thomas, I: 99; IV: 427 Boyesen, H. H., II: 289 “Boyhood” (Farrell), II: 28 “Boy in France, A” (Salinger), III: 552– 553 Boy in the Water (Dobyns), Supp. XIII: 75, 84 Boyle, Kay, 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, Percy Holmes, Supp. I Part 2: 415 Boynton, Robert, Supp. XVII: 209; Supp. XVIII: 105, 107, 116 “Boy on a Train” (Ellison), Retro. Supp. II: 124 “Boy Riding Forward Backward” (Francis), Supp. IX: 82 “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 ‘29, The” (Holmes), Supp. I Part 1: 308 Boys of ‘76, The (Coffin), III: 577 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; Retro. Supp. II: 168 “Boy Up a Tree” (Hoffman), Supp. XVIII: 86

“Boy Who Wrestled with Angels, The” (Hoffman), Supp. X: 90 “Boy with One Shoe, The” (Jewett), Retro. Supp. II: 132 “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. I Part 1: 185 Brackenridge, Hugh Henry, Supp. I Part 1: 124, 127, 145; Supp. II Part 1: 65 Brackett, Leigh, Supp. IV Part 1: 130 Bradbury, John M., I: 288–289; IV: 130, 135 Bradbury, Malcolm, Supp. VIII: 124; Supp. XVIII: 140 Bradbury, Ray, Supp. I Part 2: 621–622; Supp. IV Part 1: 101–118; Supp. XVI: 122; Supp. XVII: 41 “Brad Carrigan, American” (Saunders), Supp. XIX: 233 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, Retro. Supp. II: 161, 162; Supp. I Part 1: 110, 112; Supp. I 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, 567–568, 572, 573 Bradshaw, Barbara, Supp. XIII: 313 Bradstreet, Anne, I: 178–179, 180, 181, 182, 184; III: 505; Retro. Supp. I: 40; Supp. I Part 1: 98–123, 300; Supp. I Part 2: 484, 485, 496, 546, 705; Supp. V: 113, 117–118; Supp. XIII: 152; Supp. XIV: 128; Supp. XVIII: 304 Bradstreet, Elizabeth, Supp. I Part 1: 108, 122 Bradstreet, Mrs. Simon. See Bradstreet, Anne Bradstreet, Simon, I: 178; Supp. I Part 1: 103, 110, 116 Brady, Alice, III: 399 Brady, Matthew, Supp. XVIII: 4 “Bragdowdy and the Busybody, The” (Thurber), Supp. I Part 2: 617 Bragg, Rick, Supp. XVIII: 195 “Brahma” (Emerson), II: 19, 20 Brahms, Johannes, III: 118, 448 Braided Creek (Kooser and Harrison), Supp. XIX: 126 “Braiding” (L.-Y. Lee), Supp. XV: 214 “Brain and the Mind, The” (James), II: 346 Brainard, Joe, Supp. XV: 33 “Brain Damage” (Barthelme), Supp. IV Part 1: 44 “Braindead Megaphone, The” (Saunders), Supp. XIX: 235 Braindead Megaphone, The: Essays (Saunders), Supp. XIX: 234–236 “Brain to the Heart, The” (Komunyakaa), Supp. XIII: 120 Braithewaite, W. S., Retro. Supp. I: 131

CUMULATIVE INDEX / 319 Braithwaite, William Stanley, Supp. IX: 309; Supp. XV: 296–297, 301–302, 305, 306 Brakhage, Stan, Supp. XII: 2 Braly, Malcolm, Supp. XVIII: 147 “Bramble, The” (Wrigley), Supp. XVIII: 301 Brame, Gloria, Supp. XV: 113 Bramer, Monte, Supp. X: 152 Branch Will Not Break, The (Wright), Supp. III Part 2: 596, 598–601; Supp. IV Part 1: 60; Supp. IX: 159 Brancusi, Constantin, III: 201; Retro. Supp. I: 292 Brande, Dorothea, Supp. I Part 2: 608 Branden, Nathaniel, Supp. IV Part 2: 526, 528 “Brand-Name Blues” (Kaufmann), Supp. XI: 39 Brand New Life, A (Farrell), II: 46, 48 Brando, Marlon, II: 588; Supp. IV Part 2: 560; Supp. XVIII: 251 Brandon, Henry, Supp. I Part 2: 604, 612, 618 Brandt, Alice, Supp. I Part 1: 92 Brandt, Carl, Supp. XI: 45 Brant, Sebastian, III: 447, 448 Braque, Georges, III: 197; Supp. IX: 66 Brashford, Jake, Supp. X: 252 Brasil, Emanuel, Supp. I Part 1: 94 “Brasília” (Plath), Supp. I Part 2: 544, 545 “Brass Buttons” (McCoy), Supp. XIII: 161 “Brass Candlestick, The” (Francis), Supp. IX: 89 Brass Check, The (Sinclair), Supp. V: 276, 281, 282, 284–285 “Brass Ring, The” (Carver), Supp. III Part 1: 137 “Brass Spittoons” (Hughes), Supp. I Part 1: 326–327 Brats (X. J. Kennedy), Supp. XV: 163 Brautigan, Richard, III: 174; Supp. VIII: 42, 43; Supp. XII: 139; Supp. XVI: 172 Brave Cowboy, The (Abbey), Supp. XIII: 4–5 Brave Men (Pyle), Supp. XVII: 61 Brave New World (Huxley), II: 454; Supp. XIII: 29; Supp. XVIII: 137 “Brave New World” (MacLeish), III: 18 Bravery of Earth, A (Eberhart), I: 522, 524, 525, 526, 530 “Brave Tailors of Maida, The” (Talese), Supp. XVII: 208 “Brave Words for a Startling Occasion” (Ellison), Retro. Supp. II: 118 Braving the Elements (Merrill), Supp. III Part 1: 320, 323, 325–327, 329 Bravo, The (Cooper), I: 345–346, 348 “Bravura” (Francis), Supp. IX: 90 Brawley, Benjamin, Supp. I Part 1: 327, 332 Brawl in a Tavern, A (Shaw), Supp. XIX: 241 Brawne, Fanny, I: 284; II: 531 Braxton, Joanne, Supp. IV Part 1: 12, 15

Brazil (Bishop), Retro. Supp. II: 45; Supp. I Part 1: 92 “Brazil” (Marshall), Supp. XI: 281 Brazil (Updike), Retro. Supp. I: 329, 330, 334 “Brazil, January 1, 1502” (Bishop), Retro. Supp. II: 47 Braziller, George, Supp. X: 24 Brazzi, Rossano, Supp. IV Part 2: 520 “Bread” (Dickey), Supp. IV Part 1: 182 “Bread” (Olds), Supp. X: 206 “Bread Alone” (Wylie), Supp. I Part 2: 727 Bread in the Wilderness (Merton), Supp. VIII: 197, 208 “Bread of Desire, The” (Nelson), Supp. XVIII: 177 Bread of Idleness, The (Masters), Supp. I Part 2: 460 “Bread of This World, The” (McGrath), Supp. X: 119, 127 Bread of Time, The (Levine), Supp. V: 180 Bread without Sugar (Stern), Supp. IX: 297–298 “Break, The” (Sexton), Supp. II Part 2: 689 Breakfast at Tiffany’s (Capote), Supp. III Part 1: 113, 117, 119–121, 124, 126 Breakfast of Champions (Vonnegut), Supp. II Part 2: 755, 759, 769, 770, 777–778 Breaking and a Death, A (Kees), Supp. XV: 145 Breaking and Entering (X. J. Kennedy), Supp. XV: 153, 160–162 Breaking Hard Ground (D. Hunter), Supp. XVI: 38 Breaking Ice (McMillan, ed.), Supp. XIII: 182–183 Breaking Open (Rukeyser), Supp. VI: 274, 281 “Breaking Open” (Rukeyser), Supp. VI: 286 Breaking Ranks: A Political Memoir (Podhoretz), Supp. VIII: 239–241, 245 “Breaking the Code of Silence: Ideology and Women’s Confessional Poetry” (Harris), Supp. XIV: 269 “Breaking Up of the Winships, The” (Thurber), Supp. I Part 2: 616 Breast, The (P. Roth), Retro. Supp. II: 287–288; Supp. III Part 2: 416, 418 “Breast, The” (Sexton), Supp. II Part 2: 687 “Breasts” (Simic), Supp. VIII: 275 “Breath” (Levine), Supp. V: 185 Breathe No More, My Lady (Lacy), Supp. XV: 203 Breathing Lessons (Tyler), Supp. IV Part 2: 669–670 Breathing the Water (Levertov), Supp. III Part 1: 274, 283, 284 “Breath of Life, The” (C. Baxter), Supp. XVII: 23 Breath’s Burials (Sobin), Supp. XVI: 288–289 Breaux, Zelia, Retro. Supp. II: 114

Brecht, Bertolt, I: 60, 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; Supp. X: 112; Supp. XIII: 206, 286; Supp. XIV: 162; Supp. XVIII: 33 Breen, Joseph I., IV: 390 Breines, Ron, Supp. XVIII: 97 Breit, Harvey, I: 433; III: 575; Retro. Supp. II: 230; Supp. XVIII: 254 Bremer, Fredrika, Supp. I Part 1: 407 Brendan: A Novel (Buechner), Supp. XII: 53 Brennan, Matthew, Supp. XV: 125 Brennan, Matthew C., Supp. XV: 113; Supp. XIX: 121 Brent, Linda, Supp. IV Part 1: 12, 13 Brentano, Franz, II: 350; Supp. XIV: 198, 199 Brer Rabbit (tales), Supp. IV Part 1: 11, 13; Supp. XIV: 88 Breslin, James E. B., Retro. Supp. I: 430 Breslin, John B., Supp. IV Part 1: 308 Breslin, Paul, Supp. VIII: 283 Bresson, Robert, Supp. IV Part 1: 156 “Bresson’s Movies” (Creeley), Supp. IV Part 1: 156–157 Breton, André, III: 425; Supp. XIII: 114; Supp. XVII: 244 Brett, George, II: 466; Supp. V: 286 Brevoort, Henry, II: 298 Brew, Kwesi, Supp. IV Part 1: 10, 16 Brewer, Gaylord, Supp. XV: 330 “Brewing of Soma, The” (Whittier), Supp. I Part 2: 704 Brewsie and Willie (Stein), IV: 27 Brewster, Martha, Supp. I Part 1: 114 “Brewsterville Croesus, A” (Briggs), Supp. XVIII: 16 Brewsterville letters (Briggs), Supp. XVIII: 1, 5, 15–16 “Brian Age 7” (Doty), Supp. XI: 136 Briand, Paul, Supp. XVIII: 155 “Briar Patch, The” (Warren), IV: 237 Briar Rose (Coover), Supp. V: 52 “Briar Rose (Sleeping Beauty)” (Sexton), Supp. II Part 2: 690 Brice, Fanny, II: 427 “Brick, The” (Nye), Supp. XIII: 276 “Bricklayer in the Snow” (Fante), Supp. XI: 164–165 “Brick Layer’s Lunch Hour, The” (Ginsberg), Supp. II Part 1: 318 Brickman, Marshall, Supp. XV: 5 “Bricks, The” (Hogan), Supp. IV Part 1: 413 “Bridal Ballad, The” (Poe), III: 428 Bridal Dinner, The (Gurney), Supp. V: 109, 110 “Bride Comes to Yellow Sky, The” (Crane), I: 34, 415, 416, 423 Bridegroom, The (Jin), Supp. XVIII: 97–98 “Bridegroom, The” (Jin), Supp. XVIII: 98 “Bride in the 30’s, A” (Auden), Supp. II Part 1: 9 Bride of Lammermoor (Scott), II: 291 Bride of Samoa (film), Supp. IV Part 1: 82

320 / AMERICAN WRITERS Bride of the Innisfallen, The (Welty), IV: 261, 275–279 “Bride of the Innisfallen, The” (Welty), IV: 278–279; Retro. Supp. I: 353 Bride of the Innisfallen, The, and Other Stories (Welty), Retro. Supp. I: 352– 353, 355 Brides of the South Wind: Poems 1917– 1922 (Jeffers), Supp. II Part 2: 419 Bridge, Horatio, II: 226 “BRIDGE, THE” (Baraka), Supp. II Part 1: 32, 36 Bridge, The (H. Crane), I: 62, 109, 266, 385, 386, 387, 395–399, 400, 402; IV: 123, 341, 418, 419, 420; Retro. Supp. I: 427; Retro. Supp. II: 76, 77, 81, 83, 84–87; Supp. V: 342; Supp. IX: 306 Bridge, The (Talese), Supp. XVII: 202, 203, 208 Bridge at Remagen, The (film), Supp. XI: 343 “Bridge Burners, The” (Van Vechten), Supp. II Part 2: 733 Bridge of San Luis Rey, The (Wilder), I: 360; IV: 356, 357, 360–363, 365, 366 Bridge of Years, The (Sarton), Supp. VIII: 253 “Bridges” (Kingsolver), Supp. VII: 208 Bridges, Harry, I: 493; Supp. XVIII: 238; Supp. XIX: 264 Bridges, Lloyd, Supp. XV: 202 Bridges, Robert, II: 537; III: 527; Supp. I Part 2: 721; Supp. II Part 1: 21; Supp. XIV: 336, 341, 342, 343 “Bridging” (Apple), Supp. XVII: 5 Bridgman, P. W., I: 278 “Bridle, The” (Carver), Supp. III Part 1: 138 “Brief and Blameless Outline of the Ontogeny of Crow, A” (Wright), Supp. XV: 347 Brief and Frightening Reign of Phil, The (Saunders), Supp. XIX: 230–231, 233 “Brief Début of Tildy, The” (O. Henry), Supp. II Part 1: 408 “Brief Encounters on the Inland Waterway” (Vonnegut), Supp. II Part 2: 760 Briefings (Ammons), Supp. VII: 29 Brief Interviews with Hideous Men (Wallace), Supp. X: 308–310 “Brief Interviews with Hideous Men” (Wallace), Supp. X: 309 “Briefly It Enters, and Briefly Speaks” (Kenyon), Supp. VII: 174 “Brief Study of the British, A” (Saunders), Supp. XIX: 235 Briffault, Robert, Supp. I Part 2: 560, 567 “Brigade de Cuisine” (McPhee), Supp. III Part 1: 307–308 Brigadier and the Golf Widow, The (Cheever), Supp. I Part 1: 184–185, 192 Briggs, Charles F., Supp. I Part 2: 411 Briggs, Charles Frederick, Supp. XVIII: 1–18 brigham, besmilr, Supp. XV: 349

“Bright and Morning Star” (Wright), IV: 488 Bright Book of Life: American Novelists and Storytellers from Hemingway to Mailer (Kazin), Supp. VIII: 102, 104 Bright Center of Heaven (Maxwell), Supp. VIII: 153–155, 164 “Brightness from the North” (B. Kelly), Supp. XVII: 131 Brighton Beach Memoirs (Simon), Supp. IV Part 2: 576, 577, 584, 586–587, 590 Bright Procession (Sedges), Supp. II Part 1: 125 Bright Room Called Day, A (Kushner), Supp. IX: 133, 138–141, 142 Brillat-Savarin, Jean Anthelme, Supp. XVII: 82, 86, 87 “Brilliance” (Doty), Supp. XI: 124, 128 “Brilliant Leaves” (Gordon), II: 199 “Brilliant Sad Sun” (W. C. Williams), Retro. Supp. I: 422 “Bringing Back the Trumpeter Swan” (Kumin), Supp. IV Part 2: 454 Bringing It All Back Home (album, Dylan), Supp. XVIII: 20, 25, 26, 30 Bringing It All Back Home (McNally), Supp. XIII: 197–198 Bringing the Devil to His Knees (C. Baxter), Supp. XVII: 22 “Bringing the Strange Home” (Dunn), Supp. XI: 141 “Bring the Day!” (Roethke), III: 536 Brinkley, Douglas, Supp. XIII: 9 Brinkmeyer, Robert H., Jr., Supp. XI: 38 Brinnin, John Malcolm, IV: 26, 27, 28, 42, 46; Supp. XV: 139 Brissot, Jacques Pierre, Supp. I Part 2: 511 “Britain’s Negro Problem in Sierra Leone” (Du Bois), Supp. I Part 1: 176 “British Guiana” (Marshall), Supp. XI: 281–282 “British Poets, The” (Holmes), Supp. I Part 1: 306 “British Prison Ship, The” (Freneau), Supp. II Part 1: 261 Brittan, Gordon G., Jr., Supp. XIV: 234 Britten, Benjamin, II: 586; Supp. II Part 1: 17; Supp. IV Part 1: 84 Broadwater, Bowden, II: 562 Broadway, Broadway (McNally). See It’s Only a Play (McNally) Broadway, J. William, Supp. V: 316 Broadway Bound (Simon), Supp. IV Part 2: 576, 577, 584, 586–587, 590 Broadway Danny Rose (film; Allen), Supp. XV: 9 “Broadway Sights” (Whitman), IV: 350 Broccoli, Albert R. “Cubby“, Supp. XI: 307 Bröck, Sabine, Supp. XI: 275, 277, 278 Brodhead, Richard, Retro. Supp. II: 139; Supp. XIV: 61 Brodkey, Harold, Supp. VIII: 151; Supp. X: 160 Brodskii, Iosif Alexsandrovich. See Brodsky, Joseph

Brodsky, Joseph, Supp. VIII: 19–35; Supp. X: 65, 73; Supp. XV: 134, 135, 256 Brody, Alter, Supp. XV: 302, 307 Brodyar, Anatole, Supp. XIV: 106 “Brokeback Mountain” (Proulx), Supp. VII: 264–265 “Broken Balance, The” (Jeffers), Supp. II Part 2: 426 “Broken Field Running” (Bambara), Supp. XI: 10, 11 Broken Frieze, The (Everwine), Supp. XV: 74, 75, 89 Broken Ground, The (Berry), Supp. X: 30 “Broken Home, The” (Merrill), Supp. III Part 1: 319, 325 “Broken Oar, The” (Longfellow), Retro. Supp. II: 169 “Broken Promise” (MacLeish), III: 15 Broken Span, The (W. C. Williams), IV: 419; Retro. Supp. I: 424 “Broken Tower, The” (H. Crane), I: 385, 386, 400, 401–402; Retro. Supp. II: 89, 90 Broken Vessels (Dubus), Supp. VII: 90– 91; Supp. XI: 347 “Broken Vessels” (Dubus), Supp. VII: 90 “Broker” (H. Roth), Supp. IX: 234 Bromfield, Louis, IV: 380 “Brompton Cocktail” (Mamet), Supp. XIV: 252 Bromwich, David, Retro. Supp. I: 305; Supp. XII: 162 “Broncho That Would Not Be Broken, The” (Lindsay), Supp. I Part 2: 383 Bronk, William, Supp. XV: 115 Brontë, Anne, Supp. IV Part 2: 430 Brontë, Branwell, I: 462 Brontë, Charlotte, I: 458; II: 175; Supp. IV Part 2: 430; Supp. IX: 128; Supp. XII: 104, 303; Supp. XV: 338; Supp. XVI: 158 Brontë, Emily, I: 458; Retro. Supp. I: 43; Supp. IV Part 2: 430; Supp. IX: 128; Supp. X: 78, 89; Supp. XV: 338 “Bronze” (Francis), Supp. IX: 76 “Bronze” (Merrill), Supp. III Part 1: 336 Bronze Booklets on the History, Problems, and Cultural Contributions of the Negro series, Supp. XIV: 202 “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. III Part 1: 79 “Bronzeville Mother Loiters in Mississippi, A. Meanwhile, a Mississippi Mother Burns Bacon” (Brooks), Supp. III Part 1: 80 “Brooch, The” (Singer), IV: 20 Brook, Peter, Retro. Supp. II: 182 Brooke, Rupert, II: 82; III: 3 Brook Evans (Glaspell), Supp. III Part 1: 182–185 “Brooking Likeness” (Glück), Supp. V: 85

CUMULATIVE INDEX / 321 “Brooklyn” (Marshall), Supp. XI: 281, 282 “Brooklyn” (Shaw), Supp. XIX: 239, 240 Brooks, Cleanth, I: 280, 282; III: 517; IV: 236, 279; Retro. Supp. I: 40, 41, 90; Retro. Supp. II: 235; Supp. I Part 2: 423; Supp. III Part 2: 542; Supp. V: 316; Supp. IX: 153, 155; Supp. X: 115, 123; Supp. XIV: 1–20; Supp. XIX: 246 Brooks, David, Supp. IV Part 2: 623, 626, 630; Supp. VIII: 232 Brooks, Gwendolyn, Retro. Supp. I: 208; Supp. III Part 1: 69–90; Supp. IV Part 1: 2, 15, 244, 251, 257; Supp. XI: 1, 278; Supp. XIII: 111, 112, 296; Supp. XIV: 73; Supp. XVIII: 175, 181, 185 Brooks, Mel, Supp. IV Part 1: 390; Supp. IV Part 2: 591 Brooks, Mrs. Van Wyck (Eleanor Kenyon Stimson), I: 240, 245, 250, 252 Brooks, Mrs. Van Wyck (Gladys Billings), I: 258 Brooks, Paul, Supp. IX: 26, 31, 32 Brooks, Phillips, II: 542; Retro. Supp. II: 134; Supp. XIII: 142 Brooks, Van Wyck, I: 106, 117, 215, 222, 228, 230, 231, 233, 236, 239–263, 266, 480; II: 30, 271, 285, 309, 337, 482; III: 394, 606; IV: 171, 312, 427, 433; Retro. Supp. II: 46, 137; Supp. I Part 2: 423, 424, 650; Supp. II Part 1: 137; Supp. VIII: 98, 101; Supp. XIV: 11; Supp. XV: 298, 301 Broom of the System, The (Wallace), Supp. X: 301, 302–305, 310 “Brooms” (Simic), Supp. VIII: 275 Brosnan, Jim, II: 424–425 Brother Carl (Sontag), Supp. III Part 2: 452 “Brother Death” (Anderson), I: 114 Brother Fire (Di Piero), Supp. XIX: 35, 38, 45–47 Brotherhood of the Grape, The (Fante), Supp. XI: 160, 171–172 “Brothers” (Anderson), I: 114 Brothers, The (F. Barthelme), Supp. XI: 25, 28, 29, 30, 32–33 Brothers and Keepers (Wideman), Supp. X: 320, 321–322, 323, 325–327, 328, 329–330, 331, 332 Brothers Ashkenazi, The (Singer), IV: 2 Brothers Karamazov, The (Dostoevsky), II: 60; III: 146, 150, 283; Supp. IX: 102, 106; Supp. XI: 172; Supp. XII: 322 Brothers of No Kin (Richter), Supp. XVIII: 209 “Brothers of No Kin” (Richter), Supp. XVIII: 208 Brother to Dragons: A Tale in Verse and Voices (Warren), IV: 243–244, 245, 246, 251, 252, 254, 257 Broughton, James, Supp. XV: 146 Broughton, Rhoda, II: 174; IV: 309, 310 Broun, Heywood, I: 478; II: 417; IV: 432; Supp. IX: 190 Broussais, François, Supp. I Part 1: 302

Browder, Earl, I: 515 Brower, David, Supp. X: 29 Brower, Reuben, Supp. XV: 20 Brown, Alice, II: 523; Retro. Supp. II: 136 Brown, Andrew, Supp. XVI: 150 Brown, Ashley, Retro. Supp. II: 48; Supp. I Part 1: 79, 80, 82, 84, 92 Brown, Charles Brockden, I: 54, 211, 335; II: 74, 267, 298; III: 415; Supp. I Part 1: 124–149; Supp. II Part 1: 65, 292 Brown, Clifford, Supp. V: 195 Brown, Deborah, Supp. XVII: 75 Brown, Dee, Supp. IV Part 2: 504 Brown, Elijah, Supp. I Part 1: 125 Brown, George Douglas, III: 473 Brown, Harry, Supp. IV Part 2: 560 Brown, Harvey, Supp. XIV: 148 Brown, Himan, Supp. XIX: 241, 242 Brown, John, II: 13; IV: 125, 126, 172, 237, 249, 254; Supp. I Part 1: 345; Supp. VIII: 204 Brown, Joseph Epes, Supp. IV Part 2: 487 Brown, Larry, Supp. XVIII: 195 Brown, Leonard, Supp. IX: 117 Brown, Mary Armitt, Supp. I Part 1: 125 Brown, Mrs. Charles Brockden (Elizabeth Linn), Supp. I Part 1: 145, 146 Brown, Percy, II: 20 Brown, Robert E., Supp. X: 12 Brown, Scott, Supp. XI: 178 Brown, Slater, IV: 123; Retro. Supp. II: 79 Brown, Solyman, Supp. I Part 1: 156 Brown, Sterling, Retro. Supp. I: 198; Supp. IV Part 1: 169; Supp. XIV: 202 Brown, Tina, Supp. XVI: 176–177 Brown, Wesley, Supp. V: 6 Brown Decades, The (Mumford), Supp. II Part 2: 475, 478, 491–492 Brown Dog (Harrison), Supp. VIII: 51 Brown Dog of the Yaak: Essays on Art and Activism (Bass), Supp. XVI: 22 “Brown Dwarf of Rügen, The” (Whittier), Supp. I Part 2: 696 Browne, Charles Farrar, II: 289; IV: 193, 196; Supp. XVIII: 1, 4 Browne, Roscoe Lee, Supp. VIII: 345 Browne, Thomas, II: 15–16, 304; III: 77, 78, 198, 487; IV: 147; Supp. IX: 136; Supp. XII: 45; Supp. XVI: 292 Browne, William, Supp. I Part 1: 98 Brownell, W. C., II: 14 Brownell, William Crary, Retro. Supp. I: 365, 366 Browner, Stephanie P., Supp. XVIII: 17 Brown Girl, Brownstones (Marshall), Supp. XI: 275, 276, 278–280, 282 Brownies’ Book, The (Hughes), Supp. I Part 1: 321 Browning, Elizabeth Barrett, I: 458, 459; Retro. Supp. I: 33, 43; Supp. XVIII: 175–176 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; Retro. Supp. II: 188, 190; Supp. I Part 1: 2, 6, 79, 311; Supp. I Part 2: 416, 468, 622; Supp. III Part 1: 5, 6; Supp. IV Part 2: 430; Supp. X: 65; Supp. XV: 92, 250, 275 Brownmiller, Susan, Supp. X: 252 “Brown River, Smile” (Toomer), Supp. IV Part 1: 16 Brownstone Eclogues and Other Poems (Aiken), I: 65, 67 Brown: The Last Discovery of America (Rodriguez), Supp. XIV: 297, 298, 300, 305–309, 310, 311–312 Broyard, Anatole, Supp. IV Part 1: 39; Supp. VIII: 140; Supp. X: 186; Supp. XI: 348; Supp. XVI: 213 Broyles, Yolanda Julia, Supp. XIX: 112 Bruccoli, Matthew, Retro. Supp. I: 98, 102, 105, 114, 115, 359; Supp. IV Part 2: 468, 470 Bruce, John Edward, Supp. XVI: 143 Bruce, Lenny, Supp. VIII: 198 Bruce, Virginia, Supp. XII: 173 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; Supp. IV Part 2: 502, 506 Brueghel, Pieter, I: 174; Supp. I Part 2: 475 Brueghel, Pieter, the Elder, Retro. Supp. I: 430 Bruell, Edwin, Supp. VIII: 126 Brugh, Spangler Arlington. See Taylor, Robert “Bruja: Witch” (Mora), Supp. XIII: 214, 220, 221, Supp. XIII: 222 Brulé, Claude, Supp. XI: 307 Brumer, Andy, Supp. XIII: 88 Brummels, J. V., Supp. XIX: 119 Brunner, Emil, III: 291, 303 “Brush Fire” (J. Wright), Supp. XVII: 241 Brustein, Robert, 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, George, Retro. Supp. II: 76 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, Louise, Supp. X: 136 Bryant, Mrs. William Cullen (Frances Fairchild), Supp. I Part 1: 153, 169 Bryant, Peter, Supp. I Part 1: 150, 151, 152, 153. See also George, Peter Bryant, William Cullen, I: 335, 458; II: 311; III: 81; IV: 309; Retro. Supp. I: 217; Retro. Supp. II: 155; Supp. I Part 1: 150–173, 312, 362; Supp. I Part 2: 413, 416, 420; Supp. IV Part 1: 165; Supp. XIII: 145; Supp. XIX: 4

322 / AMERICAN WRITERS Bryer, Jackson R., Supp. IV Part 2: 575, 583, 585, 586, 589, 591; Supp. XIII: 200, Supp. XIII: 205 Bryher, Jackson R. (pseudonym). See Ellerman, Winifred “Bubbs Creek Haircut” (Snyder), Supp. VIII: 306 Buber, Martin, II: 228; III: 45, 308, 528; IV: 11; Supp. I Part 1: 83, 88; Supp. XVI: 291 Buccaneers, The (Wharton), IV: 327; Retro. Supp. I: 382 Buchanan Dying (Updike), Retro. Supp. I: 331, 335 Buchbinder, David, Supp. XIII: 32 Buchwald, Art, Supp. XII: 124–125; Supp. XVI: 110–111 Buchwald, Emilie, Supp. XVI: 35, 36 Buck, Dudley, Supp. I Part 1: 362 Buck, Gene, II: 427 Buck, Pearl S., Supp. II Part 1: 113– 134; Supp. XIV: 274 Buckdancer’s Choice (Dickey), Supp. IV Part 1: 176, 177, 178, 180 “Buckdancer’s Choice” (Dickey), Supp. IV Part 1: 191 Bucke, Richard Maurice, Retro. Supp. I: 407 “Buck Fever” (Humphrey), Supp. IX: 109 “Buck in the Snow, The” (Millay), III: 135 Buckley, Christopher, Supp. IX: 169; Supp. XI: 257, 329; Supp. XV: 76– 77, 86 Buckley, James, Jr., Supp. XVII: 220 Buckminster, Joseph, Supp. II Part 1: 66–67, 69 Bucknell, Katherine, Supp. XIV: 170 Bucolics (Auden), Supp. II Part 1: 21, 24 Budbill, David, Supp. XIX: 1–16 Budd, Louis J., IV: 210 Buddha, I: 136; II: 1; III: 173, 179, 239, 567; Supp. I Part 1: 363; Supp. I Part 2: 397 “Buddha Boy” (Saunders), Supp. XIX: 235 “Buddha’s Last Instruction, The” (Oliver), Supp. VII: 239 Budding Prospects: A Pastoral (Boyle), Supp. VIII: 8–9 Buechner, Frederick, III: 310; Supp. XII: 41–59 Buell, Lawrence, Supp. V: 209; Supp. IX: 29; Supp. XV: 269, 282 “Buffalo” (Peacock), Supp. XIX: 198 “Buffalo, The” (Moore), III: 215 “Buffalo Bill“. See Cody, William Buffalo Girls (McMurtry), Supp. V: 229 Buffalo Girls (screenplay) (McMurtry), Supp. V: 232 Buffett, Jimmy, Supp. VIII: 42 Buffon, Comte de, II: 101 Buford, Fanny McConnell, Retro. Supp. II: 117 Bugeja, Michael, Supp. X: 201 Bugged for Murder (Lacy), Supp. XV: 205

“Buglesong” (Stegner), Supp. IV Part 2: 606 “Buick” (Shapiro), Supp. II Part 2: 705 “Builders” (Yates), Supp. XI: 342–343 Builders, The (Glasgow), II: 183–184, 193 “Builders, The” (Hay), Supp. XIV: 125 Builders of the Bay Colony (Morison), Supp. I Part 2: 484–485 “Builders of the Bridge, The” (Mumford), Supp. II Part 2: 475 “Building” (Snyder), Supp. VIII: 305 “Building, Dwelling, Thinking” (Heidegger), Retro. Supp. II: 87 Building a Character (Stanislavsky), Supp. XIV: 243 “Building of the Ship, The” (Longfellow), II: 498; Retro. Supp. II: 159, 167, 168 “Build Soil” (Frost), Retro. Supp. I: 138, 139 “Build Soil” (Snyder), Supp. VIII: 304 Build-Up, The (W. C. Williams), Retro. Supp. I: 423 Bukiet, Melvin Jules, Supp. XVII: 39–51 Bukowski, Charles, Supp. III Part 1: 147; Supp. XI: 159, 161, 172, 173; Supp. XVII: 245 Bulgakov, Mikhail, Supp. XIV: 97 “Bulgarian Poetess, The” (Updike), IV: 215, 227; Retro. Supp. I: 329 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 Bullets over Broadway (film; Allen), Supp. XV: 12, 12–13 Bullfight, The (Mailer), Retro. Supp. II: 205 Bullins, Ed, Supp. II Part 1: 34, 42 Bullock, Sandra, Supp. X: 80 “Bull-Roarer, The” (Stern), Supp. IX: 297 “Bully, The” (Dubus), Supp. VII: 84 “Bulsh” (X. J. Kennedy), Supp. XV: 161 Bultmann, Rudolf, III: 309 Bulwark, The (Dreiser), I: 497, 506, 516– 517; Retro. Supp. II: 95, 96, 105, 108 Bulwer-Lytton, Edward George, IV: 350 “Bums in the Attic” (Cisneros), Supp. VII: 62 Bunche, Ralph, Supp. I Part 1: 343; Supp. XIV: 202 “Bunchgrass Edge of the World, The” (Proulx), Supp. VII: 263 Bunge, Nancy, Supp. XVII: 218 “Bunner Sisters, The” (Wharton), IV: 317 Bunting, Basil, Retro. Supp. I: 422; Supp. III Part 2: 616, 620, 624; Supp. XIV: 286 Buñuel, Luis, III: 184; Retro. Supp. II: 337 Bunyan, John, I: 445; II: 15, 104, 228; IV: 80, 84, 156, 437; Supp. I Part 1: 32 Burana, Lily, Supp. XI: 253 Burbank, Luther, I: 483 Burbank, Rex, IV: 363

Burchfield, Alice, Supp. I Part 2: 652, 660 Burden of Proof, The (Turow), Supp. XVII: 216–217, 218 Burden of Southern History, The (Woodward), Retro. Supp. I: 75 Burdens of Formality, The (Lea, ed.), Supp. X: 58 Burger, Gottfried August, II: 306 Burgess, Anthony, Supp. IV Part 1: 227; Supp. IV Part 2: 685; Supp. V: 128 Burgh, James, Supp. I Part 2: 522 “Burglar of Babylon, The” (Bishop), Retro. Supp. II: 47; Supp. I Part 1: 93 Burgum, E. B., IV: 469, 470 Buried Child (Shepard), Supp. III Part 2: 433, 447, 448; Supp. XIV: 327 “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; Supp. XVII: 236 Burke, James Lee, Supp. XIV: 21–38 Burke, Kenneth, I: 264–287, 291; III: 497, 499, 546; IV: 123, 408; Retro. Supp. I: 297; Retro. Supp. II: 117, 120; Supp. I Part 2: 630; Supp. II Part 1: 136; Supp. VIII: 105; Supp. IX: 229; Supp. XIV: 3 Burley, Justin, Supp. XVI: 158 “Burly Fading One, The” (Hayden), Supp. II Part 1: 366 “Burned” (Levine), Supp. V: 186, 192 “Burned Diary, The” (Olds), Supp. X: 215 Burnett, Allison, Supp. XVII: 22 Burnett, David, Supp. XI: 299 Burnett, Frances Hodgson, Supp. I Part 1: 44 Burnett, Whit, III: 551; Supp. XI: 294 Burney, Fanny, Supp. XV: 232 Burnham, James, Supp. I Part 2: 648 Burnham, John Chynoweth, I: 59 “Burning, The” (Welty), IV: 277–278; Retro. Supp. I: 353 Burning Angel (Burke), Supp. XIV: 30, 32 Burning Bright (Steinbeck), IV: 51, 61–62 Burning Bush (Untermeyer), Supp. XV: 309 “Burning Bush” (Untermeyer), Supp. XV: 309 Burning Bush, The (H. and G. Herczeg), Supp. XVII: 62 Burning Chrome (W. Gibson), Supp. XVI: 118, 122, 128 “Burning Chrome” (W. Gibson), Supp. XVI: 117, 120, 123, 124, 128 Burning City (Benét), Supp. XI: 46, 58 Burning Daylight (London), II: 474, 481 Burning Down the House: Essays on Fiction (C. Baxter), Supp. XVII: 13, 20, 21 Burning House, The (Beattie), Supp. V: 29 “Burning Ladder, The” (Gioia), Supp. XV: 118 Burning Mystery of Anna in 1951, The (Koch), Supp. XV: 182–183

CUMULATIVE INDEX / 323 “Burning of Paper Instead of Children, The” (Rich), Supp. I Part 2: 558 “Burning Shit at An Khe” (Weigl), Supp. XIX: 279–280 Burning the Days (Salter), Supp. XIX: 252 Burning the Days: Recollections (Salter), Supp. IX: 245, 246, 248, 260, 261– 262 “Burning the Small Dead” (Snyder), Supp. VIII: 298 Burns, Carol, Supp. XVIII: 162 Burns, David, III: 165–166 Burns, Ken, Supp. XIV: 14 Burns, Michael, Supp. XV: 339 Burns, Robert, II: 150, 306; III: 592; IV: 453; Supp. I Part 1: 158; Supp. I Part 2: 410, 455, 683, 685, 691, 692; Supp. IX: 173; Supp. XII: 171; Supp. XIII: 3; Supp. XVIII: 82 Burnshaw, Stanley, Retro. Supp. I: 298, 303; Supp. III Part 2: 615 “Burn the Cities” (West), Retro. Supp. II: 338 Burnt Norton (Eliot), I: 575, 580–581, 582, 584, 585; III: 10 “Burnt Norton” (Eliot), Retro. Supp. I: 66; Supp. XV: 216 Burnt-Out Case, A (Greene), Supp. VIII: 4 “Burnt-out Spa, The” (Plath), Retro. Supp. II: 246 Burn Witch Burn (A. Merritt), Supp. XVII: 58 Burr, Aaron, I: 7, 549, 550; II: 300; IV: 264; Supp. I Part 2: 461, 483 Burr: A Novel (Vidal), Supp. IV Part 2: 677, 682, 684, 685, 687, 688, 689, 691 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., III: 45, 174, 258; Supp. II Part 1: 320, 328; Supp. III Part 1: 91–110, 217, 226; Supp. IV Part 1: 79, 87, 90; Supp. XI: 297, 308; Supp. XII: 1, 3, 118, 121, 124, 129, 131, 136; Supp. XIV: 137, 140– 141, 143–144, 150; Supp. XVI: 123, 135; Supp. XVII: 225; Supp. XVIII: 137 Burrow, Trigant, Supp. II Part 1: 6 Burrows, Ken, Supp. V: 115 Burson, Claudia, Supp. XV: 343 Burstein, Janet, Supp. XVII: 41, 44, 48 Burt, Stephen, Supp. XV: 341, 342, 345, 347, 351; Supp. XVII: 18, 246 Burt, Steve, Supp. V: 83 Burtis, Thomson, Supp. XIII: 163 Burton, Robert, II: 535; III: 77, 78; Supp. I Part 1: 349 Burton, Sue D., Supp. XIX: 90 Burton, William Evans, III: 412 “Burying Ground by the Ties” (MacLeish), III: 14 Bury My Heart at Wounded Knee (Brown), Supp. IV Part 2: 504 Bury the Dead (Shaw), IV: 381; Supp. XIX: 242–244, 249, 252

“Bus Along St. Clair: December, A” (Atwood), Supp. XIII: 33 Busch, Frederick, Supp. X: 78; Supp. XII: 343; Supp. XVII: 175 Bush, Barney, Supp. XII: 218, 222 Bush, Douglas, Supp. I Part 1: 268; Supp. XIV: 10 “Busher Comes Back, The” (Lardner), II: 422 “Busher’s Letters Home, A” (Lardner), II: 418–419, 421 “Business and Poetry” (Gioia), Supp. XV: 113, 115 “Business Deal” (West), IV: 287 “Business Man, A” (Jewett), Retro. Supp. II: 132 Business of Memory, The: The Art of Remembering in an Age of Forgetting (C. Baxter, ed.), Supp. XVII: 21 “Business Trip” (Hoffman), Supp. XVIII: 86 Buss, Helen M., Supp. IV Part 1: 12 Butcher, Margaret Just, Supp. XIV: 203 “Butcher, The” (Southern), Supp. XI: 294 “Butcher Shop” (Simic), Supp. VIII: 273 But Gentlemen Marry Brunettes (Loos), Supp. XVI: 190–191 Butler, Benjamin, I: 457 Butler, Dorothy. See Farrell, Mrs. James T. (Dorothy Butler) Butler, Elizabeth, Supp. I Part 1: 260 Butler, Ethel, Supp. XIV: 125 Butler, Hugo, Supp. XVII: 63 Butler, James D., Supp. IX: 175 Butler, Joseph, II: 8, 9 Butler, Judith, Supp. XII: 6 Butler, Maud. See Falkner, Mrs. Murray C. (Maud Butler) Butler, Nicholas Murray, I: 223; Supp. I Part 1: 23; Supp. III Part 2: 499 Butler, Octavia, Supp. XIII: 59–72 Butler, Robert Olen, Supp. XII: 61–78, 319 Butler, Samuel, II: 82, 86; IV: 121, 440; Supp. VIII: 171 Butler-Evans, Elliot, Retro. Supp. II: 121 “But Only Mine” (Wright), Supp. III Part 2: 595 Butscher, Edward, Supp. I Part 2: 526 Butter Battle Book, The (Geisel), Supp. XVI: 110 “Buttercups” (Lowell), Retro. Supp. II: 187 Butterfield, R. W., I: 386 Butterfield, Stephen, Supp. IV Part 1: 3, 11 Butterfield 8 (O’ Hara), III: 361 “Butterflies Under Persimmon” (Jarman), Supp. XVII: 120 Butterfly (Harvey), Supp. XIII: 184 “Butterfly, The” (Brodksy), Supp. VIII: 26 “Butterfly and the Traffic Light, The” (Ozick), Supp. V: 263, 265 Butterfly Stories (Vollmann), Supp. XVII: 226 “Butterfly-toed Shoes” (Komunyakaa), Supp. XIII: 126

Butter Hill and Other Poems (Francis), Supp. IX: 88, 89 Buttons, Red, Supp. IV Part 2: 574 Buttrick, George, III: 301; Supp. XII: 47–48 “But What Is the Reader to Make of This?” (Ashbery), Supp. III Part 1: 25 Butz, Earl, Supp. X: 35 “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 Earth” (Olds), Supp. X: 214 “By Fire” (Olds), Supp. X: 214 Bygones (Untermeyer), Supp. XV: 304, 308–309, 312, 313 By Land, By Sea (Hoffman), Supp. XVIII: 86 By Land and by Sea (Morison), Supp. I Part 2: 492 By-Line: Ernest Hemingway (Hemingway), II: 257–258 By Love Possessed (Cozens), I: 358, 365, 372–374, 375, 376, 377, 378, 379 “By Morning” (Swenson), Supp. IV Part 2: 642 “By Night” (Francis), Supp. IX: 76 Bynner, Witter, II: 513, 527; Supp. XIII: 347; Supp. XV: 39–54 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; Supp. I Part 2: 580, 591, 683, 685, 719; Supp. XIII: 139; Supp. XVI: 188, 203, 206, 210 “Byron’s Cain” (L. Michaels), Supp. XVI: 203 “Bystanders” (Matthews), Supp. IX: 160 By the Bias of Sound (Sobin), Supp. XVI: 281 By the North Gate (Oates), Supp. II Part 2: 504 “By the Waters of Babylon” (Benét), Supp. XI: 56, 58 By the Waters of Manhattan (Reznikoff), Supp. XIV: 288, 293, 294 By the Waters of Manhattan: An Annual (Reznikoff), Supp. XIV: 277, 280, 289 By the Waters of Manhattan: Selected Verse (Reznikoff), Supp. XIV: 281, 291 By the Well of Living and Seeing and the Fifth Book of the Maccabees (Reznikoff), Supp. XIV: 281 By the Well of Living and Seeing: New and Selected Poems 1918–1973 (Reznikoff), Supp. XIV: 281, 287– 288, 295 By Way of Orbit (O’ Neill), III: 405 C

324 / AMERICAN WRITERS “C 33” (H. Crane), I: 384; Retro. Supp. II: 76 Cabala, The (Wilder), IV: 356, 358–360, 369, 374 Cabaret (film), Supp. XIV: 155, 162 Cabaret (play), Supp. XIV: 162; Supp. XVII: 45 Cabbages and Kings (O. Henry), Supp. II Part 1: 394, 409 Cabell, James Branch, II: 42; III: 394; IV: 67, 359, 360; Retro. Supp. I: 80; Supp. I Part 2: 613, 714, 718, 721; Supp. X: 223 “Cabin, The” (Carver), Supp. III Part 1: 137, 146 Cabin, The: Reminiscence and Diversions (Mamet), Supp. XIV: 240 Cabinet of Dr. Caligari, The (film), Retro. Supp. I: 268 Cable, George Washington, II: 289; Retro. Supp. II: 65; Supp. I Part 1: 200; Supp. II Part 1: 198; Supp. XIV: 63 Cables to the Ace; or, Familiar Liturgies of Misunderstanding (Merton), Supp. VIII: 208 Cabot, James, II: 14; IV: 173 Cabot, John, Supp. I Part 2: 496, 497 Cachoeira Tales and Other Poems, The (Nelson), Supp. XVIII: 178–179 “Cachoiera Tales, The” (Nelson), Supp. XVIII: 179 Cactus Flower (Barillet and Grédy), Supp. XVI: 194 “Caddy’s Diary, A” (Lardner), II: 421– 422 “Cadence” (Dubus), Supp. VII: 84–85 Cadieux, Isabelle, Supp. XIII: 127 “Cadillac Flambé” (Ellison), Retro. Supp. II: 119, 126; Supp. II Part 1: 248 Cadillac Jack (McMurtry), Supp. V: 225 Cadillac Jukebox (Burke), Supp. XIV: 32 Cadle, Dean, Supp. I Part 2: 429 Cady, Edwin H., II: 272 “Caedmon” (Garrett), Supp. VII: 96–97 Caesar, Julius, II: 12, 502, 561–562; IV: 372, 373 Caesar, Sid, Supp. IV Part 2: 574, 591 “Cafeteria, The” (Singer), Retro. Supp. II: 316 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; Supp. XIII: 174 Cagney, William, Supp. XIII: 174 Cahalan, James, Supp. XIII: 1, 2, 3, 4, 12 Cahan, Abraham, Supp. IX: 227; Supp. XIII: 106 Cahill, Tim, Supp. XIII: 13 Cain, James M., III: 99; Supp. IV Part 1: 130; Supp. XI: 160; Supp. XIII: 159, 165

Cairns, Huntington, III: 103, 108, 114, 119 Cairo! Shanghai! Bombay! (Williams and Shapiro), IV: 380 Cake (Bynner), Supp. XV: 50 Cakes and Ale (Maugham), III: 64 Calabria, Frank, Supp. XIII: 164 Calamity Jane (Martha Jane Canary), Supp. V: 229–230; Supp. X: 103 “Calamus” (Whitman), IV: 342–343; Retro. Supp. I: 52, 403, 404, 407 Calasso, Roberto, Supp. IV Part 1: 301 Calderón, 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 Caldwell, Mrs. Erskine (Virginia Fletcher), I: 290 Caldwell, Reverend Ira Sylvester, I: 289, 305 Caldwell, Zoe, Supp. XIII: 207 Caleb Williams (Godwin), III: 415 “Calendar” (Creeley), Supp. IV Part 1: 158 Calendar of Saints for Unbelievers, A (Wescott), Supp. XIV: 342 Calendars (A. Finch), Supp. XVII: 76–77 Calhoun, John C., I: 8; III: 309 “Caliban in the Coal Mines” (Untermeyer), Supp. XV: 296 “California” (Carruth), Supp. XVI: 56 “California” (Didion), Supp. IV Part 1: 195 “California, This Is Minnesota Speaking” (Dunn), Supp. XI: 146 California and Oregon Trail, The (Parkman), Supp. I Part 2: 486 “California Hills in August” (Gioia), Supp. XV: 118–119 Californians (Jeffers), Supp. II Part 2: 415, 418, 420 “California Oaks, The” (Winters), Supp. II Part 2: 798 “California Plush” (Bidart), Supp. XV: 23 “California Republic” (Didion), Supp. IV Part 1: 205 “California Requiem, A” (Gioia), Supp. XV: 126 California Suite (film), Supp. IV Part 2: 589 California Suite (Simon), Supp. IV Part 2: 581, 582 “Caligula” (Lowell), II: 554 Callahan, John F., Retro. Supp. II: 119, 126, 127 “Call at Corazón” (Bowles), Supp. IV Part 1: 82, 87 Calle, Sophia, Supp. XII: 22 “Called Back” (Kazin), Supp. VIII: 104 Calley, Captain William, II: 579 Calley, John, Supp. XI: 305 Callicott, J. Baird, Supp. XIV: 184 Calligrammes (Apollinaire), I: 432

“Calling Jesus” (Toomer), Supp. III Part 2: 484 Calling Myself Home (Hogan), Supp. IV Part 1: 397, 399, 400, 401, 413 Call It Experience (Caldwell), I: 290– 291, 297 “Call It Fear” (Harjo), Supp. XII: 220 Call It Sleep (H. Roth), Supp. VIII: 233; Supp. IX: 227, 228, 229–231; Supp. XIII: 106 “Call Letters: Mrs. V. B.” (Angelou), Supp. IV Part 1: 15 Call Me Ishmael (Olson), Supp. II Part 2: 556 Call Me Shakespeare (Endore), Supp. XVII: 65 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 “Calloway’s Code” (O. Henry), Supp. II Part 1: 404 “Call to Arms” (Mumford), Supp. II Part 2: 479 Call to Arms, The (film), Retro. Supp. I: 325 Calmer, Ned, Supp. XI: 219 Calvert, George H., Supp. I Part 1: 361 Calverton, V. F., Supp. VIII: 96 Calvin, John, II: 342; IV: 160, 490 Calvino, Italo, Supp. IV Part 2: 623, 678; Supp. XIX: 34 Cambridge Edition of the Works of F. Scott Fitzgerald, The (Bruccoli, ed.), Retro. Supp. I: 115 Cambridge Film Handbook for On the Waterfront (Rapf), Supp. XVIII: 251 “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 Cameron, Kenneth W., II: 16 Cameron, Peter, Supp. XII: 79–95 Cameron, Sharon, Retro. Supp. I: 43; Retro. Supp. II: 40 Camerson, Don, I: 10, 17 Camino, Léon Felipe, Retro. Supp. II: 89 Camino Real (T. Williams), IV: 382, 385, 386, 387, 388, 391, 392, 395, 398 Camões, Luiz Vaz de, II: 133; Supp. I Part 1: 94 “Camouflaging the Chimera” (Komunyakaa), Supp. XIII: 122–123 Camp, James, Supp. XV: 165 Camp, Walter, II: 423 Campana, Dino, Supp. V: 337 Campbell (Hale), Janet, Supp. IV Part 2: 503 Campbell, Alan, Supp. IV Part 1: 353; Supp. IX: 196, 198, 201 Campbell, Alexander, Supp. I Part 2: 381, 395

CUMULATIVE INDEX / 325 Campbell, Donna, Retro. Supp. II: 139 Campbell, Helen, Supp. XI: 200, 206 Campbell, James, Supp. XII: 127 Campbell, James Edwin, Supp. II Part 1: 202 Campbell, Joanna (pseudonym). See Bly, Carol Campbell, Joseph, I: 135; IV: 369, 370; Supp. IX: 245 Campbell, Lewis, III: 476 Campbell, Thomas, II: 8, 303, 314; III: 410; Supp. I Part 1: 309, 310 Campbell, Virginia, Supp. XIII: 114 “Campers Leaving: Summer 1981” (Kenyon), Supp. VII: 169 “Camp Evergreen” (Kenyon), Supp. VII: 168 “Camping in Madera Canyon” (Swenson), Supp. IV Part 2: 649 Campion, Thomas, I: 439; Supp. VIII: 272 Campo, Rafael, Supp. XVII: 112 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; Retro. Supp. II: 20; Supp. I Part 2: 621; Supp. VIII: 11, 195, 241; Supp. XI: 96; Supp. XIII: 74, 165, 233, 247; Supp. XVII: 137 Camuto, Christopher, Supp. V: 212–213 “Canada” (Di Piero), Supp. XIX: 39 Canada Fragrant with Resin, Supp. XVI: 149 “Canadian Mosaic, The” (Beran), Supp. XIII: 25 “Canadians and Pottawatomies” (Sandburg), III: 592–593 “Can a Good Wife Be a Good Sport?” (T. Williams), IV: 380 “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, IV: 65, 363 “Cancer” (McClatchy), Supp. XII: 266 “Cancer Match, The” (Dickey), Supp. IV Part 1: 182 “Cancíon y Glosa” (Merwin), Supp. III Part 1: 342 Candide (Hellman), I: 28; Supp. I Part 1: 288–289, 292 Candide (Voltaire), Supp. I Part 1: 288– 289; Supp. XI: 297; Supp. XVI: 189 Candide (Voltaire; Wilbur, trans.), Supp. III Part 2: 560 Candle in the Cabin, The (Lindsay), Supp. I Part 2: 398, 400 “Candles” (Plath), Retro. Supp. II: 248, 257 Candles in Babylon (Levertov), Supp. III Part 1: 283 Candles in the Sun (T. Williams), IV: 381

Candles of Your Eyes, The (Purdy), Supp. VII: 278 Candy (Southern), Supp. XI: 297, 298– 299, 305 “Candy-Man Beechum” (Caldwell), I: 309 Cane (Toomer), Supp. III Part 2: 475, 481–486, 488; Supp. IV Part 1: 164, 168; Supp. IX: 305, 306, 307, 308– 320; Supp. XIX: 73 “Cane in the Corridor, The” (Thurber), Supp. I Part 2: 616 Canfield, Cass, Supp. I Part 2: 668 Canfield, Dorothy, Retro. Supp. I: 4, 11, 14, 18. See also Fisher, Dorothy Canfield Can Grande’s Castle (Lowell), II: 518, 524 “Canicula di Anna” (Carson), Supp. XII: 101–102 “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; Retro. Supp. II: 203, 204, 205 Canning, George, I: 7, 8 Canning, Richard, Supp. X: 147 Cannon, Jimmy, II: 424 Cannon, Steve, Retro. Supp. II: 111 Cannon between My Knees, A (Gunn Allen), Supp. IV Part 1: 324 Canolle, Jean, Supp. XVI: 194 “Canonization, The” (Donne), Supp. XIV: 8 “Can Poetry Matter?” (Gioia), Supp. XV: 113, 114 Can Poetry Matter?: Essays on Poetry and American Culture (Gioia), Supp. XV: 112, 113–115 “Canso” (Merwin), Supp. III Part 1: 344 Can Such Things Be? (Bierce), I: 203, 204, 205, 209 Canterbury Tales (Chaucer), II: 504; III: 411; IV: 65 Canterbury Tales, The (Chaucer), Supp. XIX: 4 “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 LXV (Pound), Retro. Supp. I: 292 Canto LXXXI (Pound), III: 459; Retro. Supp. I: 293 Cantor, Lois, Supp. IV Part 1: 285 Cantos (Pound), I: 482; III: 13–14, 17, 457, 462, 463, 466, 467, 469–470, 472–473, 474, 475, 476, 492; Retro. Supp. I: 284, 292, 292–293, 293, 427; Supp. I Part 1: 272; Supp. II Part 1:

5; Supp. II Part 2: 420, 557, 564, 644; Supp. IV Part 1: 153; Supp. V: 343, 345; Supp. VIII: 305; Supp. XIV: 55, 96; Supp. XV: 349 “Cantus Planis” (Pound), III: 466 Cantwell, Robert, Retro. Supp. I: 85; Supp. VIII: 96; Supp. XIII: 292 “Can You Carry Me” (O’ Hara), III: 369 Canzoneri, Robert, IV: 114, 116 Canzoni (Pound), Retro. Supp. I: 286, 288, 413 “Cap” (Shaw), Supp. IV Part 1: 345 “Cape Breton” (Bishop), Supp. I Part 1: 92; Supp. IX: 45 Cape Cod (Thoreau), II: 540 “Cape Cod, Rome, and Jerusalem” (Chapman), Supp. XIV: 55 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. III Part 1: 111–133; Supp. III Part 2: 574; Supp. IV Part 1: 198, 220; Supp. VIII: 105; Supp. XII: 43, 249; Supp. XV: 146; Supp. XVI: 245–246; Supp. XVII: 236 Capouya, Emile, Supp. I Part 1: 50 Cappetti, Carla, Supp. IX: 4, 8 Capra, Frank, Supp. XVI: 102 Capra, Fritjof, Supp. X: 261 Capron, Marion, Supp. IX: 193 “Capsule History of Conservation, A” (Stegner), Supp. IV Part 2: 600 “Captain Carpenter” (Ransom), III: 491 Captain Craig (Robinson), III: 508, 523; Supp. II Part 1: 192 “Captain Jim’s Friend” (Harte), Supp. II Part 1: 337 “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. IX: 261 “Capt Christopher Levett (of York)” (Olson), Supp. II Part 2: 576, 577 Captive Israel (Reznikoff), Supp. XIV: 283 “Captivity and Restoration of Mrs. Mary Rowlandson, The” (Howe), Supp. IV Part 2: 419, 431, 434 “Captivity of the Fly” (MacLeish), III: 19 “Captured Goddess, The” (Lowell), II: 520 Caputi, Jane, Supp. IV Part 1: 334, 335 Caputo, Philip, Supp. XI: 234; Supp. XIX: 17–31 Capuzzo, Michael, Supp. XIII: 254 Car (Crews), Supp. XI: 110–111 Carabi, Angels, Supp. VIII: 223; Supp. XII: 215 “Caramels” (Zinberg), Supp. XV: 195 “Caravaggio: Swirl & Vortex” (Levis), Supp. XI: 258, 269 Caravan (Bynner), Supp. XV: 50 Carby, Hazel B., Supp. IV Part 1: 13 “Carcassonne” (Faulkner), Retro. Supp. I: 81

326 / AMERICAN WRITERS Card, Antha E., Supp. I Part 2: 496 Cárdenas, Lupe, Supp. IV Part 2: 538, 539, 540 Cardinale, Anthony, Supp. XVII: 239 Cardinale, Ernesto, Supp. XII: 225 “Cardinal Ideograms” (Swenson), Supp. IV Part 2: 645 “Cards” (Beattie), Supp. V: 31 “Career Woman” (Hay), Supp. XIV: 131 Carefree (film, Sandrich), Supp. XVII: 59 “Careful” (Carver), Supp. III 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, Gary, Supp. XVI: 186 Carey, Mathew, Supp. XV: 238 “Car Games” (Conroy), Supp. XVI: 72 Cargill, Oscar, Supp. II Part 1: 117 Caribbean as Columbus Saw It (Morison and Obregon), Supp. I Part 2: 488 “Caribou Kitchen” (A. Finch), Supp. XVII: 76–77 Caribou Rising: Defending the Porcupine Herd, Gwich-’ in Culture, and the Arctic National Wildlife Refuge (Bass), Supp. XVI: 27–28, 28 Carl, K. A., III: 475 Carleton, George W., Supp. XVIII: 4 Carlisle, Harry, Supp. XVIII: 223, 233 Carl Krinken: His Christmas Stocking (S. and A. Warner), Supp. XVIII: 264 “Carlos Who Died, and Left Only This, The” (Ríos), Supp. IV Part 2: 547 Carlotta (empress of Mexico), Supp. I Part 2: 457 Carl Sandburg (Golden), III: 579 Carlson, Susan L., Supp. XV: 323 Carlyle, Thomas, I: 103, 279; II: 5, 7, 11, 15–16, 17, 20, 145, 315; III: 82, 84, 85, 87; IV: 169, 182, 338, 350; Retro. Supp. I: 360, 408; Supp. I Part 1: 2, 349; Supp. I Part 2: 410, 422, 482, 485, 552 “Carma” (Toomer), Supp. III Part 2: 481–483; Supp. IX: 312–313 “Carmen de Boheme” (Crane), I: 384 Carmen Jones (film), Supp. I Part 1: 66 Carmina Burana, Supp. X: 63 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 Carne-Ross, D. S., Supp. I Part 1: 268, 269 Carnes, Mark C., Supp. X: 14 “Carnets” poems (Sobin), Supp. XVI: 286–287 Carnovsky, Morris, III: 154

“Carol for Carolyn, A” (A. Finch), Supp. XVII: 74, 75 Caroling Dusk: An Anthology of Verse by Negro Poets (Cullen), Supp. IV Part 1: 166, 169 “Carol of Occupations” (Whitman), I: 486 “Carolyn Kizer and the Chain of Women” (A. Finch), Supp. XVII: 74–75 Carolyn Kizer: Perspectives on Her Life and Work (A. Finch), Supp. XVII: 74–75 “Carpe Diem” (Frost), Supp. XII: 303 “Carpe Noctem, if You Can” (Thurber), Supp. I Part 2: 620 Carpenter, Dan, Supp. V: 250 Carpenter, David, Supp. VIII: 297 Carpenter, Frederic I., II: 20 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 Carr, Dennis W., Supp. IV Part 2: 560 Carr, Elias, Supp. XIV: 57 Carr, Rosemary. See Benét, Rosemary Carrall, Aaron, Supp. IV Part 2: 499 Carrel, Alexis, IV: 240 “Carrell/Klee/and Cosmos’s Groom” (Goldbarth), Supp. XII: 183 “Carriage from Sweden, A” (Moore), III: 212 Carrie (King), Supp. V: 137 Carried Away (Harrison), Supp. VIII: 39 Carrier of Ladders (Merwin), Supp. III Part 1: 339, 346, 350–352, 356, 357 “Carriers of the Dream Wheel” (Momaday), Supp. IV Part 2: 481 Carriers of the Dream Wheel: Contemporary Native American Poetry (Niatum, ed.), Supp. IV Part 2: 484, 505 Carrington, Carroll, I: 199 “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; Supp. I Part 2: 622, 656; Supp. XVI: 103 “Carrots, Noses, Snow, Rose, Roses” (Gass), Supp. VI: 87 Carrouges, Michel, Supp. IV Part 1: 104 “Carrousel, The” (Rilke), III: 558 Carruth, Hayden, Supp. IV Part 1: 66; Supp. VIII: 39; Supp. IX: 291; Supp. XIII: 112; Supp. XIV: 273–274; Supp. XVI: 45–61; Supp. XIX: 1 Carruth, Joe-Anne McLaughlin, Supp. XVI: 47 “Carry” (Hogan), Supp. IV Part 1: 412 “Carrying On” (Dunn), Supp. XI: 145 Cars of Cuba (García), Supp. XI: 190 Carson, Anne, Supp. XII: 97–116; Supp. XV: 252 Carson, Johnny, Supp. IV Part 2: 526 Carson, Rachel, Supp. V: 202; Supp. IX: 19–36; Supp. X: 99; Supp. XVI: 36 Carson, Tom, Supp. XI: 227 Cart, Michael, Supp. X: 12 Carter, Elliott, Supp. III Part 1: 21 Carter, Hodding, Supp. XIV: 2

Carter, Jared, Supp. XVII: 110 Carter, Jimmy, Supp. I Part 2: 638; Supp. XIV: 107 Carter, Marcia, Supp. V: 223 Carter, Mary, Supp. IV Part 2: 444 Carter, Peter, Supp. XVIII: 267 Carter, Stephen, Supp. XI: 220 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 Cartwright, Louis, Supp. XIV: 147, 149, 151 Carver, Raymond, Supp. III Part 1: 135– 151; Supp. IV Part 1: 342; Supp. V: 22, 23, 220, 326; Supp. VIII: 15; Supp. X: 85, 167; Supp. XI: 26, 65, 116, 153; Supp. XII: 79, 139, 289, 294; Supp. XIX: 209 Carver: A Life in Poems (Nelson), Supp. XVIII: 171, 172, 181–182, 183 Cary, Alice, Retro. Supp. II: 145; Supp. XV: 273 Cary, Phoebe, Supp. XV: 273 Cary, Richard, Retro. Supp. II: 132, 137 “Casabianca” (Bishop), Retro. Supp. II: 42; Supp. I Part 1: 86 Casablanca (film), Supp. VIII: 61; Supp. XV: 14 Casanova: His Known and Unknown Life (Endore), Supp. XVII: 54 “Case Against Mist, The” (Halliday), Supp. XIX: 91 Case of Rape, A (C. Himes), Supp. XVI: 143 Case of the Crushed Petunias, The (T. Williams), IV: 381 Case of the Offıcers of Excise (Paine), Supp. I Part 2: 503–504 Casey, John, Supp. X: 164 Cash, Arthur, Supp. IV Part 1: 299 Cashman, Nellie, Supp. X: 103 Casiero, Robert, Supp. XIV: 167 Casino Royale (film), Supp. XI: 306– 307 Caskey, William, Supp. XIV: 166 “Cask of Amontillado, The” (Poe), II: 475; III: 413; Retro. Supp. II: 268, 269, 270, 273 Caso, Frank, Supp. XVIII: 95 Caspary, Vera, Supp. XIX: 78 Casper, Robert N., Supp. XV: 339, 347 Casper and His Friends (S. and A. Warner), Supp. XVIII: 264 Cassada (Salter), Supp. IX: 251–252 Cassady, Carolyn, Supp. XIV: 150 Cassady, Neal, Supp. II Part 1: 309, 311; Supp. XIV: 137, 144 “Cassandra Southwick” (Whittier), Supp. I Part 2: 693 Cassell, Verlin, Supp. XI: 315 Cassill, Ronald Verlin, Supp. XVIII: 72 Cassill, R. V., Supp. V: 323; Supp. XIX: 266 Cassirer, Ernst, I: 265; IV: 87, 89 Cass Timberlane (Lewis), II: 455–456 Cast a Cold Eye (McCarthy), II: 566

CUMULATIVE INDEX / 327 Castaway (Cozzens), I: 363, 370, 374, 375, 379 “Caste in America” (Du Bois), Supp. II Part 1: 169 Castiglione, Baldassare, I: 279; III: 282 “Castilian” (Wylie), Supp. I Part 2: 714 Castillo, Ana, Supp. XI: 177 “Castle in Lynn, A” (McCarriston), Supp. XIV: 265, 268 “Castles and Distances” (Wilbur), Supp. III Part 2: 550 Castle Sinister (Marquand), III: 58 Cast of Thousands (Loos), Supp. XVI: 192, 193, 195 Castro, Fidel, II: 261, 434 Cast the First Stone (C. Himes), Supp. XVI: 135, 137–138 “Casual Incident, A” (Hemingway), II: 44 “Casualty Report” (Halliday), Supp. XIX: 85 “Cat, The” (Matthews), Supp. IX: 157– 158 Cat, You Better Come Home (Keillor), Supp. XVI: 177 “Catbird Seat, The” (Thurber), Supp. I Part 2: 623 “Catch” (Francis), Supp. IX: 82 Catch-22 (Heller), III: 558; Supp. IV Part 1: 379, 380, 381–382, 383, 384– 386, 387, 390, 391, 392, 393, 394; Supp. V: 244, 248; Supp. XII: 167– 168 Catcher in the Rye, The (Salinger), I: 493; III: 551, 552, 553–558, 567, 571; Retro. Supp. I: 102; Retro. Supp. II: 222, 249; Supp. I Part 2: 535; Supp. V: 119; Supp. VIII: 242; Supp. XI: 65; Supp. XVII: 2 “Catching Frogs” (Kenyon), Supp. VII: 170 Catching the Mermother (A. Finch), Supp. XVII: 72 catechism of d neoamerican hoodoo church (Reed), Supp. X: 240, 241 Catered Affair, The (film), Supp. IV Part 2: 683 “Cathay” (Goldbarth), Supp. XII: 185, 186 Cathay (Pound), II: 527; Retro. Supp. I: 289 Cathedral (Carver), Supp. III Part 1: 144–146; Supp. XII: 139 “Cathedral” (Carver), Supp. III Part 1: 144–145 Cathedral, The (Lowell), Supp. I Part 2: 407, 416–417 Cather, Willa, I: 312–334, 405; II: 51, 96, 177, 404, 412; III: 453; IV: 190; Retro. Supp. I: 1–23, 355, 382; Retro. Supp. II: 71, 136; Supp. I Part 2: 609, 719; Supp. IV Part 1: 31; Supp. VIII: 101, 102, 263; Supp. X: 103; Supp. XIII: 253; Supp. XIV: 112; Supp. XV: 40, 51; Supp. XVI: 226; Supp. XVIII: 207; Supp. XIX: 131 Catherine, Saint, II: 211 Catherine II, Supp. I Part 2: 433

Catholic Art and Culture (Watkin), Retro. Supp. II: 187 “Catholic Novelist in the Protestant South, The” (O’ Connor), Retro. Supp. II: 223, 224 “Cathy Queen of Cats” (Cisneros), Supp. VII: 59 Cat Inside, The (Burroughs), Supp. III Part 1: 105 Cat in the Hat, The (Geisel), Supp. XVI: 106–107, 112 Cat in the Hat Come Back, The (Geisel), Supp. XVI: 107 “Cat in the Hat for President, The” (Coover), Supp. V: 44, 46–47 Cat in The Hat Songbook, The (Geisel), Supp. XVI: 104 Cato, II: 114, 117 Cat on a Hot Tin Roof (T. Williams), II: 190; IV: 380, 382, 383, 386, 387, 389, 390, 391, 394, 395, 397–398 “Cat People: What Dr. Seuss Really Taught Us” (Menand), Supp. XVI: 106 Cat’s Cradle (Vonnegut), Supp. II Part 2: 758, 759, 767–768, 770, 771, 772; Supp. V: 1 Cat’s Eye (Atwood), Supp. XIII: 29–30 Catskill Eagle, A (Parker), Supp. XIX: 185 “Cat’s Meow, A” (Brodsky), Supp. VIII: 31 Cat’s Quizzer, The (Geisel), Supp. XVI: 111 “Catterskill Falls” (Bryant), Supp. I Part 1: 160 “Cattle Car Complex” (T. Rosenbaum), Supp. XVII: 48 Catullus, Supp. XII: 2, 13, 112; Supp. XV: 23, 27, 35, 36 Catullus (Gai Catulli Veronensis Liber) (Zukofsky), Supp. III Part 2: 625, 627, 628, 629 Catullus, Gaius Valerius, I: 381; Supp. I Part 1: 261; Supp. I Part 2: 728 “Catullus: Carmina” (Carson), Supp. XII: 112 “Catullus: Excrucior” (Bidart), Supp. XV: 32, 35 “Cat Walked Through the Casserole, The” (Nelson and Espeland), Supp. XVIII: 181 Cat Walked Through the Casserole and Other Poems for Children (Nelson and Espeland), Supp. XVIII: 181 “Cat Who Aspired to Higher Things, The” (X. J. Kennedy), Supp. XV: 163 “Caucasian Storms Harlem, The” (R. Fisher), Supp. XIX: 78 Caudwell, Christopher, Supp. X: 112 “Caul, The” (Banks), Supp. V: 10–11 Cause for Wonder (Morris), III: 232–233 “Causerie” (Tate), IV: 129 Causes and Consequences (Chapman), Supp. XIV: 41, 49, 51 “Causes of American Discontents before 1768, The” (Franklin), II: 120 Causley, Charles, Supp. XV: 117 Cavafy, Constantine P., Supp. IX: 275; Supp. XI: 119, 123

Cavalcade of America, The (radio program), III: 146 Cavalcanti (Pound, opera), Retro. Supp. I: 287 Cavalcanti, Guido, I: 579; III: 467; Supp. III Part 2: 620, 621, 622, 623 Cavalieri, Grace, Supp. IV Part 2: 630, 631 “Cavalry Crossing the Ford” (Whitman), IV: 347 “Cave, The” (Bass), Supp. XVI: 23 Cave, The (Warren), IV: 255–256 Cavell, Stanley, Retro. Supp. I: 306–307, 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 Cazamian, Louis, II: 529 Celan, Paul, Supp. X: 149; Supp. XII: 21, 110–111; Supp. XVI: 284–285, 288; Supp. XVII: 241 “Celebrated Jumping Frog of Calaveras County, The” (Twain), IV: 196 Celebrated Jumping Frog of Calaveras County, The, and Other Sketches (Twain), IV: 197 Celebration (Crews), Supp. XI: 103, 108 Celebration (Swados), Supp. XIX: 269– 270 Celebration at Dark (W. J. Smith), Supp. XIII: 332 “Celebration for June 24th” (McGrath), Supp. X: 116 Celebration of the Sound Through (Sobin), Supp. XVI: 284–285 Celebrations after the Death of John Brennan (X. J. Kennedy), Supp. XV: 165 Celebrity (film; Allen), Supp. XV: 11 “Celery” (Stein), IV: 43 “Celestial Games” (Conroy), Supp. XVI: 72 “Celestial Globe” (Nemerov), III: 288 Celestial Navigation (Tyler), Supp. IV Part 2: 662–663, 671 “Celestial Railroad, The” (Hawthorne), Retro. Supp. I: 152; Supp. I Part 1: 188 Celibate Season, A (Shields), Supp. VII: 323, 324 Cellini (Shanley), Supp. XIV: 316, 329– 330 “Cemetery at Academy, California” (Levine), Supp. V: 182 Cemetery Nights (Dobyns), Supp. XIII: 85, 87, 89 “Censors As Critics: To Kill a Mockingbird As a Case Study” (May), Supp. VIII: 126 “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

328 / AMERICAN WRITERS “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 Central Park (Wasserstein and Drattel), Supp. XV: 333 Central Park West (Allen), Supp. XV: 13 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; Supp. IV Part 2: 557–558, 558– 559, 559, 561–566, 570; Supp. XVIII: 59 Ceremony (Wilbur), Supp. III Part 2: 550–551 “Ceremony, The” (Harjo), Supp. XII: 230 “Ceremony, The—Anatomy of a Massacre” (E. Hoffman, play), Supp. XVI: 160 Ceremony in Lone Tree (Morris), III: 229–230, 232, 238, 558 Ceremony of Brotherhood, A (Anaya and Ortiz, eds.), Supp. IV Part 2: 502 Cerf, Bennett, III: 405; IV: 288; Retro. Supp. II: 330; Supp. XIII: 172; Supp. XIX: 244 “Certain Attention to the World, A” (Haines), Supp. XII: 201 Certain Distance, A (Francis), Supp. IX: 85 “Certain Music, A” (Rukeyser), Supp. VI: 273 Certain Noble Plays of Japan (Pound), III: 458 Certain People (Wharton), Retro. Supp. I: 382 “Certain Poets” (MacLeish), III: 4 “Certain Testimony” (Bausch), Supp. VII: 48 Certificate, The (Singer), IV: 1; Retro. Supp. II: 314–315 “Cerulean” (Everett), Supp. XVIII: 66 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; Supp. XIII: 17 Césaire, Aimé, Supp. X: 132, 139; Supp. XIII: 114 “Cesarean” (Kenyon), Supp. VII: 173 Cézanne, Paul, II: 576; III: 210; IV: 26, 31, 407; Supp. V: 333, 341–342; Supp. XIX: 36 Chabon, Michael, Supp. XI: 63–81; Supp. XVI: 259; Supp. XIX: 135, 138, 174, 223 Chaboseau, Jean, Supp. I Part 1: 260 Chaikin, Joseph, Supp. III Part 2: 433, 436–437

“Chain, The” (Kumin), Supp. IV Part 2: 452 Chainbearer, The (Cooper), I: 351, 352– 353 “Chain of Love, A” (Price), Supp. VI: 258–259, 260 Chain Saw Dance, The (Budbill), Supp. XIX: 5–6 Chains of Dew (Glaspell), Supp. III Part 1: 181 Challacombe, Robert Hamilton, III: 176 Challenge (Untermeyer), Supp. XV: 296, 303 “Challenge” (Untermeyer), Supp. XV: 296 Chalmers, George, Supp. I Part 2: 514, 521 “Chambered Nautilus, The” (Holmes), Supp. I Part 1: 254, 307, 312–313, 314 Chamberlain, John, Supp. I Part 2: 647; Supp. IV Part 2: 525 Chamberlain, Neville, II: 589; Supp. I Part 2: 664 Chamber Music (Joyce), III: 16 Chambers, Richard, Supp. III Part 2: 610, 611, 612 Chambers, Whittaker, Supp. III Part 2: 610; Supp. IV Part 2: 526; Supp. XV: 143 Chameleon (C. Baxter), Supp. XVII: 14–15 “Champ, The” (Zinberg), Supp. XV: 193 “Champagne Regions” (Ríos), Supp. IV Part 2: 553 “Champion” (Lardner), II: 420–421, 428, 430 Champion, Laurie, Supp. VIII: 128 Champollion-Figeac, Jean Jacques, IV: 426 “Chance” (Doolittle), Supp. I Part 1: 271 Chance, Frank, II: 418 Chance Acquaintance, A (Howells), II: 278 “Chance Encounter, A” (Swados), Supp. XIX: 261, 262 “Chanclas” (Cisneros), Supp. VII: 61 Chandler, Raymond, Supp. III Part 1: 91; Supp. IV Part 1: 119–138, 341, 344, 345; Supp. IV Part 2: 461, 464, 469, 470, 471, 472, 473; Supp. XI: 160, 228; Supp. XII: 307; Supp. XIII: 159, 233; Supp. XIV: 21; Supp. XV: 119; Supp. XVI: 122; Supp. XVII: 137; Supp. XVIII: 136,137, 137–138; Supp. XIX: 178, 189 Chaney, “Professor” W. H., II: 463–464 Chang, Leslie C., Supp. IV Part 1: 72 “Change, The: Kyoto-Tokyo Express” (Ginsberg), Supp. II Part 1: 313, 329 Changed Man, A (Prose), Supp. XVI: 261–262 Changeling (Middleton), Retro. Supp. I: 62 “Changeling, The” (Lowell), Supp. I Part 2: 409 “Changeling, The” (Whittier), Supp. I Part 2: 697

Change of World, A (Rich), Supp. I Part 2: 551, 552 “Changes of Mind” (Baker), Supp. XIII: 52 “Change the Joke and Slip the Yoke” (Ellison), Retro. Supp. II: 118 Changing Light at Sandover, The (Merrill), Supp. III Part 1: 318, 319, 323, 327, 332, 335–336; Supp. XII: 269–270; Supp. XV: 264 “Changing Same, The” (Baraka), Supp. II Part 1: 47, 51, 53 Changing the Bully Who Rules the World: Reading and Thinking about Ethics (C. Bly), Supp. XVI: 32, 39–40, 41 Chanler, Mrs. Winthrop, I: 22; IV: 325 Channing, Carol, IV: 357 Channing, Edward, Supp. I Part 2: 479– 480 Channing, Edward Tyrrel, Supp. I Part 1: 155; Supp. I Part 2: 422 Channing, William Ellery, I: 336; II: 224, 495; IV: 172, 173, 176, 177; Retro. Supp. I: 54; Supp. I Part 1: 103; Supp. I Part 2: 589 Channing, William Henry, IV: 178; Supp. II Part 1: 280, 285 Chanson de Roland, La, I: 13 “Chanson un Peu Naïve” (Bogan), Supp. III Part 1: 50–51 “Chanteuse” (Doty), Supp. XI: 119 “Chant for May Day” (Hughes), Supp. I Part 1: 331 Chants (Mora), Supp. XIII: 214–215 Chaos (Dove), Supp. IV Part 1: 243 “Chaperone, The” (Van Vechten), Supp. II Part 2: 728 Chaplin, Charles Spencer, I: 27, 32, 43, 386, 447; III: 403; Supp. I Part 2: 607; Supp. IV Part 1: 146; Supp. IV Part 2: 574 “Chaplinesque” (H. Crane), Retro. Supp. II: 79 “Chapman” (Rukeyser), Supp. VI: 273 Chapman, Abraham, IV: 485 Chapman, George, Supp. I Part 2: 422 Chapman, John (Johnny Appleseed), Supp. I Part 2: 397 Chapman, John Jay, IV: 436; Supp. XIV: 39–56 Chapman, Stephen, Supp. XIII: 12 Chappell, Fred, Supp. IV Part 1: 69; Supp. XI: 317; Supp. XVIII: 87 Chapters in a Mythology: The Poetry of Sylvia Plath (Kroll), Supp. I Part 2: 541–543 Chapters on Erie (Adams and Adams), Supp. I Part 2: 644 Chapter Two (Simon), Supp. IV Part 2: 575, 586 “Chapter VI” (Hemingway), II: 252 Char, René, Supp. XVI: 282; Supp. XVII: 244 “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

CUMULATIVE INDEX / 329 “Characters in Fiction” (McCarthy), II: 562 “Charades” (Moore), Supp. X: 178 “Charge It” (Fante), Supp. XI: 164–165 “Charity” (Peacock), Supp. XIX: 221– 222 Charity (Richard), Supp. XIX: 220–222 Charlatan, The (Singer), IV: 1 “Charles” (Jackson), Supp. IX: 125 Charles, Larry, Supp. XVIII: 21 “Charles Baxter, August Kleinzahler, Adrienne Rich: Contemporary Stevensians and the Problem of ‘Other Lives’ ” (S. Burt), Supp. XVII: 18–19 Charles Goodnight: Cowman and Plainsman (Haley), Supp. V: 226 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 Charley’s Aunt (B. Thomas), II: 138 Charlie Chan Is Dead: An Anthology of Contemporary Asian American Fiction (Hagedorn), Supp. X: 292 “Charlie Christian Story, The” (Ellison), Retro. Supp. II: 121 “Charlie Howard’s Descent” (Doty), Supp. XI: 122 Charlotte: A Tale of Truth (Rowson), Supp. I Part 1: 128; Supp. XV: 234– 235, 238. See also Charlotte Temple (Rowson) Charlotte’s Daughter; or, The Three Orphans (Rowson), Supp. XV: 246 Charlotte’s Web (White), Supp. I Part 2: 655, 656, 658, 667, 670 Charlotte Temple (Rowson), Supp. XV: 229, 238–239. See also Charlotte: A Tale of Truth (Rowson) Charm, The (Creeley), Supp. IV Part 1: 139, 141, 144, 149–150 Charmed Life, A (McCarthy), II: 571– 574 Charming Billy (McDermott), Supp. XVIII: 155, 162–164, 166 Charms for the Easy Life (Gibbons), Supp. X: 45, 47–48 Charnel Rose, The (Aiken), I: 50, 57, 62 Charon’s Cosmology (Simic), Supp. VIII: 276–278 Charterhouse, The (Percy), Supp. III Part 1: 388 Charvat, William, II: 244 Charyn, Jerome, Supp. XVII: 5 Chase, Mary Ellen, Retro. Supp. II: 243, 245 Chase, Richard, IV: 202, 443; Retro. Supp. I: 40, 395 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 Château, The (Maxwell), Supp. VIII: 152, 160, 165–167, 168, 169 Chatham, Russell, Supp. VIII: 40 Chatterdon, The Black Death, and Meriwether Lewis (Reznikoff), Supp. XIV: 288

Chatterton, Thomas, Supp. I Part 1: 349; Supp. I Part 2: 410, 716 Chatterton, Wayne, Supp. IX: 2, 4, 11–12 Chatwin, Bruce, Supp. VIII: 322 Chaucer, Geoffrey, I: 131; II: 11, 504, 516, 542, 543; III: 283, 411, 473, 492, 521; Retro. Supp. I: 135, 426; Supp. I Part 1: 356, 363; Supp. I Part 2: 422, 617; Supp. V: 259; Supp. XII: 197; Supp. XVII: 70; Supp. XIX: 4 Chauncy, Charles, I: 546–547; IV: 147 Chavez, César, Supp. V: 199 Chávez, Denise, Supp. IV Part 2: 544; Supp. XI: 316 Chavez, Lydia, Supp. VIII: 75 Chavkin, Allan, Supp. IV Part 1: 259 Chavkin, Nancy Feyl, Supp. IV Part 1: 259 Chayefsky, Paddy, Supp. XI: 306 Cheang, Shu Lea, Supp. XI: 20 “Cheat Takes Over” (Leopold), Supp. XIV: 189 “Cheers” (Carver), Supp. III 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; Supp. XI: 65, 66, 99; Supp. XII: 140; Supp. XIV: 93; Supp. XV: 119, 142 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 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; Retro. Supp. II: 299; 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; Supp. XI: 66; Supp. XII: 94, 307; Supp. XIII: 79; Supp. XIV: 87, 242; Supp. XV: 320, 329; Supp. XVIII: 102; Supp. XIX: 172, 241 “Chekhov’s Sense of Writing as Seen Through His Letters” (Dobyns), Supp. XIII: 77–78 “Chemin de Fer” (Bishop), Retro. Supp. II: 41; Supp. I Part 1: 80, 85, 86 Cheney, Brainard, Retro. Supp. II: 229 Chenzira, Ayoka, Supp. XI: 19 Chéri (Colette; stage adaptation, Loos), Supp. XVI: 194 Cherkovski, Neeli, Supp. XII: 118, 132, 134 Chernyshevski, Nikolai, III: 261, 262, 263; Retro. Supp. I: 269

Cherokee Lottery, The: A Sequence of Poems (W. J. Smith), Supp. XIII: 340–344 Cherry (Karr), Supp. XI: 239, 251–254 “Cherrylog Road” (Dickey), Supp. XVIII: 191 Cherry Orchard, The (Chekhov), IV: 359, 426; Supp. VIII: 153 Cheslock, Louis, III: 99, 118, 119 Chesnutt, Charles Waddell, Supp. II Part 1: 174, 193, 211; Supp. IV Part 1: 257; Supp. XIV: 57–78 “Chess House, The” (Dixon), Supp. XII: 139 Chessman, Caryl, Supp. I Part 2: 446 Chester, Alfred, Retro. Supp. II: 111, 112; Supp. X: 192 Chesterfield, Lord, II: 36 Chesterton, Gilbert Keith, I: 226; IV: 432 Cheuse, Alan, Supp. IV Part 2: 570 Chevigny, Bell Gale, Supp. XI: 283 “Chicago” (Sandburg), III: 581, 592, 596; Supp. III Part 1: 71 Chicago (Shepard), Supp. III Part 2: 439 Chicago: City on the Make (Algren), Supp. IX: 1, 3 “Chicago Defender Sends a Man to Little Rock, The” (Brooks), Supp. III Part 1: 80–81 “Chicago Hamlet, A” (Anderson), I: 112 Chicago Loop (Theroux), Supp. VIII: 324 “Chicago Picasso, The” (Brooks), Supp. III Part 1: 70–71, 84 Chicago Poems (Sandburg), III: 579, 581–583, 586 “Chicano/Borderlands Literature and Poetry” (Ríos), 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: 333, 343–344 “Chickamauga” (Wright), Supp. V: 334 “Chiefly about War Matters” (Hawthorne), II: 227; Retro. Supp. I: 165 “Child” (Plath), Supp. I Part 2: 544 Child, Greg, Supp. XVIII: 107 Child, Julia, Supp. XVII: 89, 90 Child, Lydia Maria, Supp. XIII: 141; Supp. XVIII: 11 “Child, The” (Ríos), Supp. IV Part 2: 543 “Child by Tiger, The” (Wolfe), IV: 451 “Childhood” (Wright), Supp. V: 341 Childhood, A: The Biography of a Place (Crews), Supp. XI: 102–103, 245 “Childhood, When You Are in It . . .” (Kenyon), Supp. VII: 160, 170 “Childhood Sketch” (Wright), Supp. III Part 2: 589 “Child Is Born, A” (Benét), Supp. XI: 46 “Child Is the Meaning of This Life, The” (Schwartz), Supp. II Part 2: 659–660 “Childlessness” (Merrill), Supp. III Part 1: 323

330 / AMERICAN WRITERS “Childless Woman” (Plath), Supp. I Part 2: 544 Child-Life (Whittier and Larcom, eds.), Supp. XIII: 142 Child-Life in Prose (Whittier and Larcom, eds.), Supp. XIII: 142 Childlike Life of the Black Tarantula, The (Acker), Supp. XII: 4, 6, 7–8 “Child Margaret” (Sandburg), III: 584 “Child of Courts, The” (Jarrell), II: 378, 379, 381 Child of God (McCarthy), Supp. VIII: 177–178 Child of My Heart (McDermott), Supp. XVIII: 155, 164–166 “CHILD OF THE THIRTIES” (Baraka), Supp. II Part 1: 60 “Child on Top of a Greenhouse” (Roethke), III: 531 Children (Gurney), Supp. V: 95, 96 “Children” (Stowe), Supp. I Part 2: 587 “Children, The” (Jarman), Supp. XVII: 116 Children, The (Wharton), IV: 321, 326; Retro. Supp. I: 381 “Children, the Sandbar, That Summer” (Rukeyser), Supp. VI: 274 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 Job, The: American SecondGeneration Witnesses to the Holocaust (A. Berger), Supp. XVII: 39 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 Holocaust (H. Epstein), Supp. XVII: 48 “Children of the Lord’s Supper, The” (Tegnér), Retro. Supp. II: 155, 157 Children of the Market Place (Masters), Supp. I Part 2: 471 “Children on Their Birthdays” (Capote), Supp. III Part 1: 114, 115 “Children Selecting Books in a Library” (Jarrell), II: 371 Children’s Hour, The (Hellman), Supp. I Part 1: 276–277, 281, 286, 297 “Children’s Rhymes” (Hughes), Supp. I Part 1: 340 Childress, Mark, Supp. X: 89 Child’s Garden of Verses, A (Stevenson), Supp. IV Part 1: 298, 314; Supp. XIII: 75 “Child’s Nature, A” (Jin), Supp. XVIII: 93 “Child’s Reminiscence, A” (Whitman), IV: 344 Childwold (Oates), 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 Chime of Words, A: The Letters of Logan Pearsall Smith (Tribble, ed.), Supp. XIV: 348–349 Chimera (C. Frost), Supp. XV: 94, 95, 100 “Chimes for Yahya” (Merrill), Supp. III Part 1: 329 Chin, Frank, Supp. V: 164, 172 Chin, Mei, Supp. XVIII: 95 “China” (Johnson), Supp. VI: 193–194 Chinaberry Tree, The (Fauset), Supp. XIX: 73 “Chinaman’s Hat” (Kingston), Supp. V: 169 China Men (Kingston), Supp. V: 157, 158, 159, 160, 161, 164–169; Supp. X: 292; Supp. XV: 220 China Trace (Wright), Supp. V: 332, 340, 341, 342 “Chinese Apples” (Di Piero), Supp. XIX: 40 Chinese Apples: New and Selected Poems (Di Piero), Supp. XIX: 33, 36, 37, 38, 39, 40, 44, 45, 46, 47, 47–48 Chinese Classics (Legge), III: 472 Chinese Materia Medica (P. 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 Chinese Siamese Cat, The (Tan), Supp. X: 289 Chinese Translations, The (Bynner), Supp. XV: 47, 52 Chinitz, David, Supp. XV: 180, 185 “Chinoiseries” (Lowell), II: 524–525 Chip (Untermeyer), Supp. XV: 310 Chirico, Giorgio de, Supp. III Part 1: 14 Chirico, Miriam M., Supp. XV: 323 “Chiron” (Winters), Supp. II Part 2: 801 “Chitlins at the Waldorf” (Crouch), Supp. XIX: 158 “Chloroform Jags” (J. Scott), Supp. XVII: 189 Chodorov, Jerome, IV: 274 “Choice, The” (Karr), Supp. XI: 251 “Choice of Profession, A” (Malamud), Supp. I Part 2: 437 Choice of Wars, A (Shaw), Supp. XIX: 245 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, Frédéric, Supp. I Part 1: 363 Chopin, Jean, Supp. I Part 1: 206 Chopin, Kate, II: 276; Retro. Supp. I: 10, 215; Retro. Supp. II: 57–74; Supp. I Part 1: 200–226; Supp. V: 304; Supp. X: 227; Supp. XVIII: 194 “Choral: The Pink Church” (W. C. Williams), Retro. Supp. I: 428 “Chord” (Merwin), Supp. III Part 1: 356 “Chords and Dischords” (column; Untermeyer), Supp. XV: 294

Choruses from Iphigenia in Aulis (Doolittle, trans.), Supp. I Part 1: 257, 268, 269 “Chosen Blindness” (Karr), Supp. XI: 251 Chosen Country (Dos Passos), I: 475, 490–491 Chosen Place, The Timeless People, The (Marshall), Supp. XI: 275, 276, 282– 284 Chosön (Lowell), II: 513 Choukri, Mohamed, Supp. IV Part 1: 92 Chovteau, Mane Thérèse, Supp. I Part 1: 205 “ChrisEaster” (Peacock), Supp. XIX: 198, 199 Chrisman, Robert, Supp. IV Part 1: 1 Christabel (Coleridge), Supp. IV Part 2: 465 “Christ for Sale” (Lowell), II: 538 Christian, Graham, Supp. XII: 193 Christian Dictionary, A (Wilson), IV: 153 “Christian in World Crisis, The” (Merton), Supp. VIII: 203 Christianity and Power Politics (Niebuhr), III: 292, 303 “Christianity and the Survival of Creation” (Berry), Supp. X: 30 “Christian Minister, The” (Emerson), II: 10 Christian Philosopher, The (Mather), Supp. II Part 2: 463–464 Christian Realism and Practical Problems (Niebuhr), III: 292, 308 “Christian Roommates, The” (Updike), IV: 226–227; Retro. Supp. I: 319, 323 Christiansen, Carrie, I: 210 Christian’s Secret of a Happy Life, The (H. W. Smith), Supp. XIV: 333–334 Christie, Agatha, Supp. IV Part 1: 341; Supp. IV Part 2: 469 Christine (King), Supp. V: 139, 148 “Christ Light, The” (Chopin), Retro. Supp. II: 61 “Christmas” (Saunders), Supp. XIX: 232 “Christmas, or the Good Fairy” (Stowe), Supp. I Part 2: 586 “Christmas 1944” (Levertov), Supp. III Part 1: 274 “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: 409– 410; Supp. X: 252, 253 “Christmas Eve at Johnson’s Drugs N Goods” (Bambara), Supp. XI: 11–12 “Christmas Eve in the Time of War: A Capitalist Meditates by a Civil War Monument” (Lowell), II: 538 “Christmas Eve under Hooker’s Statue” (Lowell), II: 539–540 “Christmas Gift” (Warren), IV: 252–253 “Christmas Greeting, A” (Wright), Supp. III Part 2: 601 “Christmas Hymn, A” (Wilbur), Supp. III Part 2: 557

CUMULATIVE INDEX / 331 Christmas Memory, A (Capote), Supp. III Part 1: 118, 119, 129 “Christmass Poem” (West), Retro. Supp. II: 338 Christmas Story (Mencken), III: 111 “Christmas to Me” (Lee), Supp. VIII: 113 Christographia (Taylor), IV: 164–165 “Christ on the Cross/Nuestro Señor Crucificado” (Mora), Supp. XIII: 229 Christopher, Mary (pseudonym). See West, Dorothy Christopher and His Kind: 1929–1939 (Isherwood), Supp. XIV: 157, 163, 164, 171 “Christopher Cat” (Cullen), Supp. IV Part 1: 173 Christopher Columbus, Mariner (Morison), Supp. I Part 2: 488 Christopher Isherwood: A Critical Biography (Finney), Supp. XIV: 158 Christophersen, Bill, Supp. IX: 159, 167; Supp. XI: 155; Supp. XIII: 87 “Christ’s Passion” (Karr), Supp. XI: 251 Christus: A Mystery (Longfellow), II: 490, 493, 495, 505–507; Retro. Supp. II: 161, 165, 166 Chroma (F. Barthelme), Supp. XI: 30, 33, 34 “Chroma” (F. Barthelme), Supp. XI: 31 “Chronicle of Race Relations, A” (Du Bois), Supp. II Part 1: 182 Chronicle of the Conquest of Granada (Irving), II: 310 Chronicles: Volume One (Dylan), Supp. XVIII: 20, 21, 23, 24, 28, 32–33 “Chronologues” (Goldbarth), Supp. XII: 183, 184 “Chrysanthemums, The” (Steinbeck), IV: 53 “Chrysaor” (Longfellow), II: 498 Chu, Louis, Supp. X: 291 Chuang, Hua, Supp. X: 291 Chuang-Tzu, Supp. VIII: 206 “Chunk of Amethyst, A” (R. Bly), Supp. IV Part 1: 72 Church, Margaret, IV: 466 “Church and the Fiction Writer, The” (O’ Connor), Retro. Supp. II: 223, 233; Supp. XVIII: 161 “Churchgoing” (Nelson), Supp. XVIII: 173 Churchill, Charles, Supp. XV: 232 Churchill, Winston, I: 9, 490; Supp. I Part 2: 491 Church of Dead Girls, The (Dobyns), Supp. XIII: 75, 83–84 “Church of Omnivorous Light, The” (Wrigley), Supp. XVIII: 306–307 “Church Porch, The” (Herbert), IV: 153 Church Psalmody, Selected from Dr. Watts and Other Authors (Mason and Greene, ed.), I: 458 Ciannic, Saint, II: 215 Ciano, Edda, IV: 249 Ciardi, John, I: 169, 179, 535; III: 268; Supp. IV Part 1: 243; Supp. IV Part 2: 639; Supp. IX: 269, 324; Supp. XII: 119 Cicada (Haines), Supp. XII: 206–207

“Cicadas” (Wilbur), Supp. III 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. III Part 2: 549 “Cigarette” (L. Michaels), Supp. XVI: 214 Cimarron, Rose (Burke), Supp. XIV: 22, 35 “Cimetière Marin, Le” (Valéry), IV: 91–92 Cimino, Michael, Supp. X: 126 Cincinnati Kid, The (film), Supp. XI: 306 “Cinderella” (Jarrell), II: 386 “Cinderella” (Perrault), IV: 266, 267 “Cinderella” (Sexton), Supp. II Part 2: 691 “Cinema, The” (Salter), Supp. IX: 257 Cinema of Tony Richardson, The: Essays and Interviews (Phillips), Supp. XI: 306 Cinthio, IV: 370 Ciolkowski, Laura, Supp. XVI: 24 CIOPW (Cummings), I: 429 “Circe” (Welty), Retro. Supp. I: 353 Circle Game, The (Atwood), Supp. XIII: 20, 33 “Circle in the Fire, A” (O’ Connor), III: 344–345, 349–350, 351, 353, 354; Retro. Supp. II: 229, 232 “Circle of Breath” (Stafford), Supp. XI: 318, 322 Circle of Hanh, The (Weigl), Supp. XIX: 273, 275, 282, 284–286 “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), Retro. Supp. II: 243; Supp. I Part 2: 536 Circus of Needs, A (Dunn), Supp. XI: 147–148 “Cirque d’ Hiver” (Bishop), Supp. I Part 1: 85 Cisneros, Sandra, Supp. IV Part 2: 544; Supp. VII: 57–73; Supp. XI: 177; Supp. XVII: 71 Cities of the Interior (Nin), Supp. X: 182 Cities of the Plain (McCarthy), Supp. VIII: 175, 186–187 Cities of the Red Night (Burroughs), Supp. III Part 1: 106 “Citizen Cain” (Baraka), Supp. II Part 1: 49 Citizen Kane (film), Retro. Supp. I: 115; Supp. V: 251; Supp. XI: 169 “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; Supp. XIV: 170

“City and the Pillar, The, as Gay Fiction” (Summers), Supp. IV Part 2: 680– 681 “City Articles” series (Briggs), Supp. XVIII: 12 City Boy (L. Michaels), Supp. XVI: 212 “City Boy” (L. Michaels), Supp. XVI: 203–204 City Dog (Di Piero), Supp. XIX: 33–34, 35, 38, 46, 48 “City Dog” (Di Piero), Supp. XIX: 47 City in History, The (Mumford), Supp. II Part 2: 495 “City in the Sea, The” (Poe), III: 411; Retro. Supp. II: 274 City in Which I Love You, The (L.-Y. Lee), Supp. XV: 212, 215–220 “City in Which I Love You, The” (L.-Y. Lee), Supp. XV: 215, 217–218 City Life (Barthelme), Supp. IV Part 1: 44, 47 “City of Change, A” (Bynner), Supp. XV: 45 City of Glass (Auster), Supp. XII: 22, 24–26 City of God, The (St. Augustine), IV: 126 “City of Refuge, The” (R. Fisher), Supp. XIX: 65, 66, 67–68 City of Refuge, The: The Collected Stories of Rudolph Fisher (McCluskey, ed.), Supp. XIX: 68–69 City of the Living and Other Stories, The (Stegner), Supp. IV Part 2: 599, 609, 613 City of Words: American Fiction 19501970 (T. Tanner), Supp. XVI: 69 City of Your Final Destination, The (Cameron), Supp. XII: 79, 82, 91–94 “City on a Hill” (Lowell), II: 552 “City Person Encountering Nature, A” (Kingston), Supp. V: 170 “City Planners, The” (Atwood), Supp. XIII: 33 City Without Men (film), Supp. XVIII: 247 City Without Walls (Auden), Supp. II Part 1: 24 Civil Disobedience (Thoreau), IV: 185; Supp. I Part 2: 507 Civilization in the United States (Stearns), I: 245 “Civil Rights” (Lanier), Supp. I Part 1: 357 CivilWarLand in Bad Decline (Saunders), Supp. XIX: 224–227 “CivilWarLand in Bad Decline” (Saunders), Supp. XIX: 224–225, 227 Cixous, Hélène, Supp. X: 102; Supp. XIII: 297; Supp. XV: 347 Claiborne, Craig, Supp. XVII: 89 Claiborne, William, I: 132 Claiming of Sleeping Beauty, The (Rice), Supp. VII: 301 Clampitt, Amy, Supp. IX: 37–54; Supp. X: 120; Supp. XI: 249; Supp. XV: 251, 256 Clancy’s Wake, At (Crane), I: 422 “Clandeboye” (Leopold), Supp. XIV: 189

332 / AMERICAN WRITERS 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; Supp. XVI: 295 Clarel: A Poem and Pilgrimage in the Holy Land (Melville), Retro. Supp. I: 257 Clarissa (Richardson), II: 111; Supp. I Part 2: 714; Supp. V: 127; Supp. XV: 231 Clark, Alex, Supp. XII: 307 Clark, Charles, I: 470 Clark, Eleanor. See Warren, Mrs. Robert Penn (Eleanor Clark) Clark, Francis Edward, II: 9 Clark, Geoffrey, Supp. XI: 342 Clark, Harry Hayden, Supp. I Part 2: 423 Clark, John Bates, Supp. I Part 2: 633 Clark, Kenneth, Supp. XIV: 342, 348; Supp. XIX: 151 Clark, Lewis Gaylord, Supp. XVIII: 4, 7, 8 Clark, Thomas, Supp. III Part 2: 629; Supp. IV Part 1: 140, 145, 147 Clark, Walter, Supp. XI: 315 Clark, William, III: 14; IV: 179, 283 Clark, Willis Gaylord, Supp. I Part 2: 684 Clarke, James Freeman, Supp. II Part 1: 280 Clarke, John, Supp. IV Part 1: 8 Clarke, John J., III: 356 Clarke, Samuel, II: 108 Clark Lectures, Retro. Supp. I: 65 Claros varones de Belken (Hinojosa). See Fair Gentlemen of Belken County (Hinojosa) Clash by Night (Odets), Supp. II Part 2: 531, 538, 544–546, 550, 551 Classical Tradition, The (Highet), Supp. I Part 1: 268 Classic Ballroom Dances (Simic), Supp. VIII: 271, 276–278, 283 Classics and Commercials: A Literary Chronicle of the Forties (Wilson), IV: 433 “CLASS STRUGGLE” (Baraka), Supp. III Part 1: 55 “Claude Glass, The: 1890” (Bierds), Supp. XVII: 27 Claudel, Paul, I: 60 Claudelle Inglish (Caldwell), I: 304 Clavel, Marcel, I: 343 “CLAY” (Baraka), Supp. II Part 1: 54 Clay, Henry, I: 8; Supp. I Part 2: 684, 686 Clay’s Ark (O. Butler), Supp. XIII: 63 Clayton, John J., Supp. IV Part 1: 238 “Clean, Well Lighted Place, A” (Hemingway), Retro. Supp. I: 181 “Clear, with Light Variable Winds” (Lowell), II: 522 “Clear Days” (White), Supp. I Part 2: 664, 665 Clearing (Berry), Supp. X: 22 “Clearing, A” (Simpson), Supp. IX: 280

“Clearing, The” (Kenyon), Supp. VII: 174 “Clearing the Title” (Merrill), Supp. III Part 1: 336 “Clearing Up the Question of Stesichoros’ Blinding by Helen” (Carson), Supp. XII: 107–108 “Clear Morning” (Glück), Supp. V: 88 “Clearness” (Wilbur), Supp. III Part 2: 544, 550 “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 Cleary, Rebecca Lauck, Supp. XVIII: 195 Cleaver, Eldridge, Retro. Supp. II: 12; Supp. IV Part 1: 206; Supp. X: 249 “Cleaving, The” (L.-Y. Lee), Supp. XV: 215, 218–220 Cleland, John, Supp. V: 48, 127 Clemenceau, Georges, I: 490 “Clemency” (Wrigley), Supp. XVIII: 307–308 Clemens, Jane, I: 247 Clemens, Mrs. Samuel Langhorne (Olivia Langdon), I: 197, 208, 247; Supp. I Part 2: 457 Clemens, Orion, IV: 193, 195 Clemens, Samuel Langhorne. See Twain, Mark Clemens, Susie, IV: 208 Clementine Recognitions (novel), Supp. IV Part 1: 280 Clements, Colin Campbell, Supp. XVI: 190 Clemons, Walter, Supp. IV Part 1: 305, 307 Cleopatra, III: 44; IV: 373; Supp. I Part 1: 114 “Clepsydra” (Ashbery), Supp. III Part 1: 10–15 “Clerks, The” (Robinson), III: 517–518 “Cleveland” (Halliday), Supp. XIX: 90 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 “Clever Magician Carrying My Heart, A” (Salinas), Supp. XIII: 323 “Cliff, The” (C. Baxter), Supp. XVII: 16–17 Clifford, Craig, Supp. IX: 99 Clift, Montgomery, III: 161 Clifton, Lucille, Supp. XVIII: 177 Climate of Monastic Prayer, The (Merton), Supp. VIII: 205, 207 Climb, The (Boukreev), Supp. XVIII: 112 “Climber, The” (Mason), Supp. VIII: 140–141 Climbing High: A Woman’s Account of Surviving the Everest Tragedy (Gammelgaard), Supp. XVIII: 112 “Climbing the Tower” (Crews), Supp. XI: 102 Clinton, De Witt, I: 338

“Clipped Wings” (H. Miller), III: 176– 177 Clive, Robert, Supp. I Part 2: 505 Clock Winder, The (Tyler), Supp. IV Part 2: 661–662, 670 Clock Without Hands (McCullers), II: 587–588, 604–606 Clockwork Orange, A (Burgess), Supp. XIII: 29 Clorindy (Cook), Supp. II Part 1: 199 “Close, The” (Jarman), Supp. XVII: 113 “Close Calls” (Wolff), Supp. VII: 332– 333 “Closed Book, A” (Mosley), Supp. XIII: 237 Close Range: Wyoming Stories (Proulx), Supp. VII: 261–265 Closest Possible Union, The (J. Scott), Supp. XVII: 185–186, 188, 191 Close the Book (Glaspell), Supp. III Part 1: 179 “Close the Book” (Lowell), II: 554 Close to Shore: A True Story of Terror in an Age of Innocence (Capuzzo), Supp. XIII: 254 Closet Writing & Gay Reading: The Case of Melville’s Pierre (Creech), Retro. Supp. I: 254 Closing Circle, The (Commoner), Supp. XIII: 264 Closing of the American Mind, The (Bloom), Retro. Supp. II: 19, 30, 31 “Closing of the Rodeo, The” (W. J. Smith), Supp. XIII: 332 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 “Clover” (Lanier), Supp. I Part 1: 362– 364 Clover and Other Poems (Lanier), Supp. I Part 1: 362 “Clown” (Corso), Supp. XII: 127 Clown in the Belfry, The: Writings on Faith and Fiction (Buechner), Supp. XII: 53 Cluck, Julia, Supp. I Part 2: 728 Clum, John M., Supp. XIII: 200, 201, 209 Cluny, Hugo, IV: 290 Clurman, Harold, I: 93; IV: 381, 385 Clytus, Radiclani, Supp. XIII: 128, Supp. XIII: 129, 132 “C.O.” (Wrigley), Supp. XVIII: 298 “Coal: Beginning and End” (Winters), Supp. II Part 2: 791 Coale, Howard, Supp. XIII: 15 “Coals” (Hoffman), Supp. XVIII: 86 “Coast, The” (column), Supp. IV Part 1: 198

CUMULATIVE INDEX / 333 “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 “Coat, The” (Everwine), Supp. XV: 80 Coates, Joseph, Supp. VIII: 80 Coates, Robert, I: 54; IV: 298 “Coatlicue’s Rules: Advice from an Aztec Goddess” (Mora), Supp. XIII: 223 “Coats” (Kenyon), Supp. VII: 172 Cobb, Lee J., III: 153 Cobb, Ty, III: 227, 229 Cobbett, William, Supp. I Part 2: 517; Supp. XV: 237 “Cobbler Keezar’s Vision” (Whittier), Supp. I Part 2: 699 “Cobweb, The” (Carver), Supp. III Part 1: 148 Cobwebs From an Empty Skull (Bierce), I: 195 Coccimiglio, Vic, Supp. XIII: 114 “Cock-a-Doodle-Doo!” (Melville), III: 89 “Cockayne” (Emerson), II: 6 “Cock-Crow” (Gordon), II: 219 Cock Pit (Cozzens), I: 359, 378, 379 Cockpit (Kosinski), Supp. XII: 21 Cockpit: A Novel (Kosinski), Supp. VII: 215, 223–224, 225 “Cock Robin Takes Refuge in the Storm House” (Snodgrass), Supp. VI: 319 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; Supp. XVI: 135 “Coda: Wilderness Letter” (Stegner), Supp. IV Part 2: 595 “Code, The” (Frost), Retro. Supp. I: 121, 128 Codman, Florence, Supp. II Part 1: 92, 93 Codman, Ogden, Jr., Retro. Supp. I: 362, 363 Cody, William (“Buffalo Bill“), I: 440; III: 584; Supp. V: 230 Coffey, Michael, Supp. V: 243; Supp. XV: 65 Coffey, Warren, III: 358 Coffin, Charles, III: 577 Cogan, David J., Supp. IV Part 1: 362 Coghill, Nevill, Supp. II Part 1: 4; Supp. XIV: 13 Cohan, George M., II: 427; III: 401 Cohen, Edward M., Supp. XVI: 212 Cohen, Esther, Supp. XV: 323 Cohen, Hettie, Supp. II Part 1: 30 Cohen, Marty, Supp. X: 112 Cohen, Norman J., Supp. IX: 132, 143 Cohen, Rosetta, Supp. XV: 257

Cohen, Sarah Blacher, Supp. V: 273 Cohen, Victor, Supp. XVIII: 235, 236 “Coherent Decentering: Towards a New Model of the Poetic Self” (A. Finch), Supp. XVII: 76 “Coin” (Goldbarth), Supp. XII: 187 Coindreau, Maurice, III: 339 Coiner, Constance, Supp. XIII: 297, 302 Coit, Lille Hitchcock, Supp. X: 103 “Coitus” (Pound), III: 466 Colburn, Nadia Herman, Supp. XV: 339, 341, 347 “Cold, The” (Kenyon), Supp. VII: 164 “Cold, The” (Winters), Supp. II Part 2: 790–791, 809, 811 “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 Cold Feet (Harrison), Supp. VIII: 39 Cold Frame (C. Frost), Supp. XV: 93, 96 Cold Ground Was My Bed Last Night (Garrett), Supp. VII: 98 “Cold Ground Was My Bed Last Night” (Garrett), Supp. VII: 100 “Cold Night, The” (W. C. Williams), Retro. Supp. I: 418 “Cold Plunge into Skin Diving, A” (Knowles), Supp. XII: 241 Cold Spring, A (Bishop), Retro. Supp. II: 45 Cold Springs Harbor (Yates), Supp. XI: 348 Cold War American Poetry, Supp. V: 182 Cold War and the Income Tax, The (Wilson), IV: 430 Cole, Goody, Supp. I Part 2: 696–697 Cole, Lester, Retro. Supp. II: 329 Cole, Nat King, Retro. Supp. I: 334; Supp. X: 255 Cole, Thomas, Supp. I Part 1: 156, 158, 171 Cole, William, Supp. XIX: 120 “Coleman” (Karr), Supp. XI: 244 Coleman, Wanda, Supp. XI: 83–98 Coleridge, Samuel Taylor, I: 283, 284, 447, 522; II: 7, 10, 11, 19, 71, 169, 273, 301, 502, 516, 549; III: 77, 83– 84, 424, 461, 488, 523; IV: 74, 173, 250, 349, 453; Retro. Supp. I: 65, 308; Supp. I Part 1: 31, 311, 349; Supp. I Part 2: 376, 393, 422; Supp. IV Part 2: 422, 465; Supp. V: 258; Supp. IX: 38, 50; Supp. XIII: 139; Supp. XIV: 21–22; Supp. XV: 250 Coles, Katharine, Supp. IV Part 2: 630 Colette, Supp. VIII: 40, 171 Colette, Sidonie-Gabrielle, Supp. XVI: 193–194 “Coliseum, The” (Poe), III: 411 Collage of Dreams (Spencer), Supp. X: 196 “Collapse of Tomorrow, The” (Mumford), Supp. II Part 2: 482 “Collected by a Valetudinarian” (E. Stoddard), Supp. XV: 286–287

Collected Earlier Poems (Hecht), Supp. X: 58, 59 Collected Earlier Poems (W. C. Williams), Retro. Supp. I: 414, 428 Collected Earlier Poems 1940–1960 (Levertov), Supp. III Part 1: 273, 275 Collected Essays (Tate), IV: 133–134 Collected Essays of Ralph Ellison, The (Ellison), Retro. Supp. II: 119 Collected Essays of Robert Creeley, The (Creeley), Supp. IV Part 1: 153, 154 Collected Later Poems (W. C. Williams), Retro. Supp. I: 428 Collected Plays (A. 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 (Kees; Justice, ed.), Supp. XV: 134 Collected Poems (Lindsay), Supp. I Part 2: 380, 387, 392, 396–397, 400 Collected Poems (Lowell), Supp. XV: 20 Collected Poems (Markson), Supp. XVII: 143 Collected Poems (Moore), III: 194, 215 Collected Poems (Price), Supp. VI: 267 Collected Poems (Simpson), Supp. IX: 279 Collected Poems (W. C. Williams), IV: 415; Retro. Supp. I: 430 Collected Poems (Winters), Supp. II Part 2: 791, 810 Collected Poems (Wright), Supp. III Part 2: 602 Collected Poems (Yeats), Supp. XV: 152 Collected Poems, 1923–1953 (Bogan), Supp. III Part 1: 64 Collected Poems, 1936–1976 (Francis), Supp. IX: 77, 80, 87 Collected Poems, The (Stevens), III: 273; IV: 75, 76, 87, 93; Retro. Supp. I: 296, 309 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 (W. C. Williams), Retro. Supp. I: 422; Supp. XIV: 285 Collected Poems 1930–1960 (Eberhart), I: 522, 525–526, 540, 541 Collected Poems: 1939–1989 (W. J. Smith), Supp. XIII: 332, 340, 343, 345 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

334 / AMERICAN WRITERS 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 (Crane), I: 399–402 Collected Poems of James Agee, The (Fitzgerald, ed.), I: 27–28 Collected Poems of James T. Farrell, The (Farrell), 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. III Part 2: 596 Collected Prose, The (Bishop), Retro. Supp. II: 51 Collected Recordings (W. C. Williams), Retro. Supp. I: 431 Collected Shorter Poems, 1946-1991 (Carruth), Supp. XVI: 47 Collected Short Stories, The (Wharton), Retro. Supp. I: 362, 363, 366 Collected Sonnets (Millay), III: 136–137 Collected Stories, 1939–1976 (Bowles), Supp. IV Part 1: 92 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 of Eudora Welty, The (Welty), Retro. Supp. I: 355 Collected Stories of Isaac Bashevis Singer (Singer), Retro. Supp. II: 307–308 Collected Stories of Katherine Anne Porter (Porter), III: 454 Collected Stories of Peter Taylor (Taylor), Supp. V: 314, 320, 323–324, 325, 326 Collected Stories of Richard Yates, The, Supp. XI: 349 Collected Stories of Wallace Stegner (Stegner), Supp. IV Part 2: 599, 605 Collected Stories of William Faulkner (Faulkner), II: 72; Retro. Supp. I: 75 Collected Stories of William Humphrey, The (Humphrey), Supp. IX: 106 Collected Works (Bierce), I: 204, 208– 210 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 Collecting the Animals (Everwine), Supp. XV: 73, 75, 78–81, 85, 88 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. III Part 1: 141–142 Collette, Supp. XVII: 86 Collier, Michael, Supp. XVII: 23, 110 Collingwood, R. G., I: 278 Collins, Billy, Supp. XI: 143; Supp. XIV: 123; Supp. XVII: 245 Collins, Doug, Supp. V: 5 Collins, Eddie, II: 416 Collins, Richard, Supp. XI: 171 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 Colloff, Pamela, Supp. XIII: 281 Colloque Sentimental (ballet), Supp. IV Part 1: 83 “Colloquy” (Kees), Supp. XV: 133 “Colloquy in Black Rock” (Lowell), II: 535; Retro. Supp. II: 178 “Colloquy of Monos and Una, The” (Poe), III: 412 Colonel’s Dream, The (Chesnutt), Supp. XIV: 63, 75–76 Colônia, Regina, Retro. Supp. II: 53 Color (Cullen), Supp. IV Part 1: 164, 166, 167, 168 “Colorado” (Beattie), Supp. V: 27 Color and Democracy: Colonies and Peace (Du Bois), Supp. II Part 1: 184, 185 Color Curtain, The (Wright), IV: 478, 488 “Colored Americans” (Dunbar), Supp. II Part 1: 197 “Color Line, The” (Douglass), Supp. III Part 1: 163–165 Color Line, The (W. B. Smith), Supp. II Part 1: 168 Color of a Great City, The (Dreiser), Retro. Supp. II: 104 Color of Darkness (Purdy), Supp. VII: 271 Color Purple, The (Walker), Supp. III Part 2: 517, 518, 520, 525–529, 532– 537; Supp. VIII: 141; Supp. X: 252, 330 Color Schemes (Cheang; film), Supp. XI: 20 “Colors of Night, The” (Momaday), Supp. IV Part 2: 490 “Colors without Objects” (Swenson), Supp. IV Part 2: 645 “Color: The Unfinished Business of Democracy” (Locke), Supp. XIV: 202, 207 Colossus, The (Plath), Retro. Supp. II: 245–247; Supp. I Part 2: 529, 531, 536, 538, 540; Supp. V: 79; Supp. XI: 317 “Colossus, The” (Plath), Retro. Supp. II: 250 Colossus of Maroussi, The (H. Miller), III: 178, 185–186 “Colt, The” (Stegner), Supp. IV Part 2: 600

Coltelli, Laura, Supp. IV Part 1: 323, 330, 335, 409; Supp. IV Part 2: 493, 497, 559 Colter: The True Story of the Best Dog I Ever Had (Bass), Supp. XVI: 23 Coltrane, John, Supp. VIII: 197 Colum, Mary, I: 246, 252, 256; Supp. I Part 2: 708, 709 Columbiad, The (Barlow), Supp. II Part 1: 67, 72, 73, 74, 75–77, 79 Columbia History of the American Novel, Supp. XV: 270 Columbia Literary History of the United States, Supp. XV: 270 “Columbian Ode” (Dunbar), Supp. II Part 1: 199 “Columbia U Poesy Reading—1975” (Corso), Supp. XII: 134 Columbus, Christopher, I: 253; II: 6, 310; III: 8; Supp. I Part 2: 397, 479, 480, 483, 486–488, 491, 495, 497, 498 “Columbus to Ferdinand” (Freneau), Supp. II Part 1: 255 Comanche Moon (McMurtry), Supp. V: 232 “Come, Break With Time” (Bogan), Supp. III Part 1: 52 Come Along with Me (Jackson), Supp. IX: 117, 118, 122 Come Back, Charleston Blue (film), Supp. XVI: 144 Comeback, The (Gurney), Supp. V: 97 “Come Back to the Raft Ag’ in, Huck Honey!” (Fiedler), Supp. XIII: 93, 96–97, 101 Come Blow Your Horn (Simon), Supp. IV Part 2: 574, 575, 577, 578, 586, 587, 591 “Come Dance with Me in Ireland” (Jackson), Supp. IX: 119 “Comedian as the Letter C, The” (Stevens), IV: 84–85, 88; Retro. Supp. I: 297, 301, 302 “Comedy Cop” (Farrell), II: 45 “Comedy’s Greatest Era” (Agee), I: 31 “Come In” (Frost), Retro. Supp. I: 139 “Come On, Baby” (Zinberg), Supp. XV: 195 “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 Comer, Anjanette, Supp. XI: 305 Comer, Cornelia, I: 214 “Come Shining: The Spiritual South” (exhibition; Luster), Supp. XV: 350 Come with Me: Poems for a Journey (Nye), Supp. XIII: 279 “Comforts of Home, The” (O’ Connor), III: 349, 351, 355; Retro. Supp. II: 237 Comic Artist, The (Glaspell and Matson), Supp. III Part 1: 182 “Comic Imagination of the Young Dickens, The” (Wright), Supp. III Part 2: 591

CUMULATIVE INDEX / 335 “Comic Textures and Female Communities 1937 and 1977: Clare Boothe and Wendy Wasserstein” (Carlson), Supp. XV: 323 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 Home to Vermont” (McCarriston), Supp. XIV: 269 “Coming in From the Cold” (Walker), Supp. III Part 2: 526 Coming into Eighty (Sarton), Supp. VIII: 262 “Coming into Eighty” (Sarton), Supp. VIII: 262 Coming into the Country (McPhee), Supp. III Part 1: 298, 301–306, 309, 310 Coming Into Writing (Cixous), Supp. X: 102 Coming of Age in Mississippi (Moody), Supp. IV Part 1: 11 Comings Back (Goldbarth), Supp. XII: 180 “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. III 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; Supp. I Part 2: 484, 647, 650 Command the Morning (Buck), Supp. II Part 1: 125 “CommComm” (Saunders), Supp. XIX: 234 “Commencement Address, A” (Brodsky), Supp. VIII: 31 “Commencement Day Address, The” (Schwartz), Supp. II Part 2: 660 Commentaries (Caesar), II: 502, 561 “Commentary” (Auden), Supp. II Part 1: 13 “Comment on Curb” (Hughes), Supp. I Part 1: 340 “Comments/Questions” (Nelson), Supp. XVIII: 172 “Commerce” (Nye), Supp. XIII: 281 Commins, Saxe, Retro. Supp. I: 73; Retro. Supp. II: 337 Commodity of Dreams & Other Stories, A (Nemerov), III: 268–269, 285 Common Carnage (Dobyns), Supp. XIII: 87 “Common Ground, A” (Levertov), Supp. III Part 1: 277 “Common Life, The” (Auden), Supp. IV Part 1: 302, 313 “Common Meter” (R. Fisher), Supp. XIX: 71 Common Room, A: Essays 1954–1987 (Price), Supp. VI: 264–265, 267

Commons, John, Supp. I Part 2: 645 Common Sense (Paine), II: 117; Supp. I Part 1: 231; Supp. I Part 2: 505, 506–508, 509, 513, 516, 517, 521 “Communication” (Dobyns), Supp. XIII: 91 “Communion” (Dubus), Supp. VII: 91 Communion (Mora), Supp. XIII: 217– 219 Communist Manifesto, The (Marx), II: 463 “Community Life” (Moore), Supp. X: 178 “Community of Glaciers, The” (Bass), Supp. XVI: 23 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 “Comparisons of Wonder” (Jarman), Supp. XVII: 114 Compass Flower, The (Merwin), Supp. III Part 1: 353, 357 “Compassionate Friendship” (Doolittle), Supp. I Part 1: 257, 258, 259, 260, 271 “Compatibility” (C. Frost), Supp. XV: 103 “Compendium” (Dove), Supp. IV Part 1: 248 “Complaint” (W. C. Williams), Retro. Supp. I: 418 “Complete Birth of the Cool, The” (Wright), Supp. XV: 343, 344 Complete Collected Poems of William Carlos Williams, 1906–1938, The (W. C. Williams), Retro. Supp. I: 424 “Complete Destruction” (W. C. Williams), IV: 413 “Complete Life of John Hopkins, The” (O. Henry), Supp. II Part 1: 405 Complete Poems (Frost), II: 155, 164 Complete Poems (Reznikoff), Supp. XIV: 281 Complete Poems (Sandburg), III: 590– 592, 594, 596 Complete Poems, The (Bishop), Retro. Supp. II: 49; Supp. I Part 1: 72, 82, 94 Complete Poems, The (Bradbury), Supp. IV Part 1: 105 Complete Poems, The: 1927–1979 (Bishop), Retro. Supp. II: 51 Complete Poems of Emily Dickinson, The (Bianchi and Hampson, eds.), Retro. Supp. I: 35 Complete Poems of Emily Dickinson, The (Johnson, ed.), I: 470 Complete Poems of Frederick Goddard Tuckerman, The (Momaday), Supp. IV Part 2: 480 Complete Poems of Hart Crane, Retro. Supp. II: 81

Complete Poems to Solve, The (Swenson), Supp. IV Part 2: 652 Complete Poetical Works (Hulme), III: 464 Complete Poetical Works (Longfellow), Retro. Supp. II: 154 Complete Poetical Works (Lowell), II: 512, 516–517 Complete Poetical Works of Amy Lowell, The, Supp. XV: 295–296 Complete Stories (O’ Connor), Supp. X: 1 Complete Tragedies, The: Euripedes II, Supp. XV: 50 “Complete with Starry Night and Bourbon Shots” (Goldbarth), Supp. XII: 192–193 Complete Works of Kate Chopin, The (Seyersted, ed.), Supp. I Part 1: 212, 225 Complete Works of the Gawain-Poet (Gardner), Supp. VI: 64, 65 “Complex Histories, Contested Memories: Some Reflections on Remembering Difficult Pasts” (E. Hoffman, lecture), Supp. XVI: 155 “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: 32, 33, 38 “Composition as Explanation” (Stein), IV: 27, 28 “Compounding of Consciousness” (James), II: 358–359 Comprehensive Bibliography (Hanneman), II: 259 Compton-Burnett, Ivy, I: 93; II: 580 “Comrade Laski, C.P.U.S.A. \[M.L.\]” (Didion), Supp. IV Part 1: 200 Comstock, Anthony, Retro. Supp. II: 95 Comus (Milton), II: 12; Supp. I Part 2: 622 Conan Doyle, Arthur. See Doyle, Arthur Conan Conceptions of Reality in Modern American Poetry (Dembo), Supp. I Part 1: 272 “Concept of Character in Fiction, The” (Gass), Supp. VI: 85, 86 Concept of Dread, The (Kierkegaard), III: 305 Concerning Children (Gilman), Supp. XI: 206 “Concerning Mold upon the Skin, Etc.” (J. Scott), Supp. XVII: 188 “Concerning Necessity” (Carruth), Supp. XVI: 57 “Concerning Some Recent Criticism of His Work” (Doty), Supp. XI: 131 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

336 / AMERICAN WRITERS 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 Concurring Beasts (Dobyns), Supp. XIII: 76 Condensed Novels and Other Papers (Harte), Supp. II Part 1: 342 “Condition, The” (Karmi; Everwine, trans.), Supp. XV: 78 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 Condon, Charles R., Supp. XIII: 163 Condor and the Cows, The: A South American Travel Diary (Isherwood and Caskey), Supp. XIV: 166 “Condor and the Guests, The” (Connell), Supp. XIV: 86 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 Coney Island of the Mind, A (Ferlinghetti), Supp. XIX: 4 “Conference Male, The” (Mora), Supp. XIII: 218 “Confession” (Peacock), Supp. XIX: 206 “Confessional” (Bidart), Supp. XV: 29– 30, 31 “Confessional Poem” (Nelson), Supp. XVIII: 174 Confession de Claude, La (Zola), I: 411 “Confession of a House-Breaker, The” (Jewett), Retro. Supp. II: 146–147 Confession of Jereboam O. Beauchamp, The (pamphlet), IV: 253 Confessions (Augustine), I: 279; Supp. XVI: 288 Confessions (Rousseau), I: 226 Confessions of a Barbarian: Selections from the Journals of Edward Abbey, 1951–1989 (Abbey; Petersen, ed.), Supp. XIII: 2, 4 “Confessions of a Latina Author” (Mora), Supp. XIII: 221 Confessions of Nat Turner, The (Styron), IV: 98, 99, 105, 113–117; Supp. X: 16, 250 Confetti (Mora), Supp. XIII: 221 Confidence (James), II: 327, 328 Confidence-Man, The (Melville), III: 91; Retro. Supp. I: 255–256, 257; Retro. Supp. II: 121; Supp. XIV: 49 Confidence Man, The (Van Vechten), Supp. II Part 2: 737 Confidential Clerk, The (Eliot), I: 570, 571–572, 583, 584; Retro. Supp. I: 65

Confident Years, 1885–1915, The (Brooks), I: 257, 259; Supp. I Part 2: 650 “Configurations” (Ammons), Supp. VII: 28 Confronting the Horror: The Novels of Nelson Algren (Giles), Supp. IX: 11, 15 Confucius, II: 1; III: 456, 475; Supp. IV Part 1: 14 Confusion (Cozzens), I: 358, 359, 377, 378 “Confusion of Planes We Must Wander in Sleep, The” (Weigl), Supp. XIX: 283 Congo (film), Supp. IV Part 1: 83 Congo (screenplay, Shanley), Supp. XIV: 316 “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; Supp. XVIII: 12 Coningsby (Disraeli), II: 127 Conjectures of a Guilty Bystander (Merton), Supp. VIII: 197, 206, 207 Conjugal Bliss: A Comedy of Marital Arts (Nichols), Supp. XIII: 269 “Conjugation of the Paramecium, The” (Rukeyser), Supp. VI: 271 Conjugations and Reiterations (Murray), Supp. XIX: 161 “Conjuration” (Wilbur), Supp. III Part 2: 551 Conjure (recording), Supp. X: 241 Conjure (Reed), Supp. X: 240, 242 Conjure-Man Dies, The: A Mystery Tale of Dark Harlem (R. Fisher), Supp. XVI: 143; Supp. XIX: 65, 71, 77–78 Conjure Woman, The (Chesnutt), Supp. II Part 1: 193; Supp. XIV: 57, 58– 61, 62, 63 Conklin, Grof, Supp. I Part 2: 672 Conkling, Hilda, II: 530 Conkling, Roscoe, III: 506 Conley, Robert J., Supp. V: 232 Conley, Susan, Supp. XIII: 111, 112 Connaroe, Joel, Supp. IV Part 2: 690 “Connecticut Lad, A” (White), Supp. I Part 2: 677 “Connecticut Valley” (Cowley), Supp. II Part 1: 141–142 Connecticut Yankee in King Arthur’s Court, A (Twain), I: 209; II: 276; IV: 205 Connell, Evan S., Supp. XIV: 79–100 Connell, Norreys (pseudonym). See O’ Riordan, Conal Holmes O’ Connell Connelly, Marc, III: 394; Supp. I Part 2: 679; Supp. IX: 190 Connery, Thomas B., Supp. XVII: 106 Connoisseur, The (Connell), Supp. XIV: 87 “Connoisseur of Chaos” (Stevens), IV: 89; Retro. Supp. I: 306

Connolly, Cyril, Supp. XIV: 158, 343, 348 Connors, Elizabeth. See Lindsay, Mrs. Vachel (Elizabeth Connors) Conover, Roger, Supp. I Part 1: 95 Conquering Horse (Manfred), Supp. X: 126 “Conqueror Worm, The” (Poe), Retro. Supp. II: 261 Conquest of Canaan (Dwight), Supp. I Part 1: 124 Conquistador (MacLeish), III: 2, 3, 13– 14, 15 Conrad, Alfred, Retro. Supp. II: 245 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; Retro. Supp. II: 222; Supp. I Part 1: 292; Supp. I Part 2: 621, 622; Supp. IV Part 1: 197, 341; Supp. IV Part 2: 680; Supp. V: 249, 251, 262, 298, 307, 311; Supp. VIII: 4, 310; Supp. XIV: 112; Supp. XVI: 158, 212; Supp. XVIII: 98, 102; Supp. XIX: 27 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 Conrad Richter’s Ohio Trilogy (Edwards), Supp. XVIII: 220 Conroy, Frank, Supp. VIII: 145; Supp. XI: 245; Supp. XVI: 63–78 Conroy, Pat, Supp. XVIII: 193 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 “Consejos de Nuestra Señora de Guadalupe: Counsel from the Brown Virgin” (Mora), Supp. XIII: 224 “Conservation Esthetic” (Leopold), Supp. XIV: 179, 181, 186, 189–190 “Conserving Natural and Cultural Diversity: The Prose and Poetry of Pat Mora” (Murphy), Supp. XIII: 214 Considerable Town, A (M. F. K. Fisher), Supp. XVII: 90 “Considerations by the Way” (Emerson), II: 2, 5 Consider the Oyster (M. F. K. Fisher), Supp. XVII: 84, 87 Considine, Bob, II: 424 “Consolation” (Bausch), Supp. VII: 48 “Consolations” (Stafford), Supp. XI: 329 “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

CUMULATIVE INDEX / 337 Conspiracy of Pontiac, The (Parkman), Supp. II Part 2: 590, 595, 596, 599– 600 Constab Ballads (McKay), Supp. X: 131, 133 Constance (Kenyon), Supp. VII: 170– 172 Constancy (N. Boyce), Supp. XVII: 100 “Constellation Orion, The” (Kooser), Supp. XIX: 120 Construction of Boston, The (Koch), Supp. XV: 187 “Constructive Work” (Du Bois), Supp. II Part 1: 172 “Consumer’s Report” (X. J. Kennedy), Supp. XV: 161–162 “Consumption” (Bryant), Supp. I Part 1: 169–170 “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 Contemporaries (Kazin), Supp. VIII: 102, 103–104 Contemporary American Playwrights (Bigsby), Supp. XV: 332 Contemporary American Poetry (Poulin, ed.), Supp. IX: 272; Supp. XI: 259 Contending Forces (Hopkins), Supp. XVIII: 284 “Contentment” (Holmes), Supp. I Part 1: 307 “Contents” (Halliday), Supp. XIX: 92 “Contest, The” (Paley), Supp. VI: 223, 230, 231 “Contest for Aaron Gold, The” (P. Roth), Supp. III Part 2: 403 Continental Drift (Banks), Supp. V: 13– 14, 16, 227 Continental Op, The (Hammett), Supp. IV Part 1: 344 Continuity of American Poetry, The (Pearce), Supp. I Part 1: 111; Supp. I Part 2: 475 Continuous Harmony, A: Essays Cultural and Agricultural (Berry), Supp. X: 33 Continuous Life, The (Strand), Supp. IV Part 2: 630, 631–633 Contoski, Victor, Supp. XII: 181 “Contract” (Lardner), II: 432 “Contraption, The” (Swenson), Supp. IV Part 2: 643 “Contrariness of the Mad Farmer, The” (Berry), Supp. X: 35 “Contrition” (Dubus), Supp. VII: 84 “Control Burn” (Snyder), Supp. VIII: 301 “Control Is the Mainspring” (Komunyakaa), Supp. XIII: 122, 124 “Controlling the ‘Sloppiness of Things’ in Frank Conroy’s Stop-Time” (Strychacz), Supp. XVI: 69–70 Control of Nature, The (McPhee), Supp. III 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 of Eiros and Charmion, The” (Poe), III: 412 “Conversation on Conversation” (Stowe), Supp. I Part 2: 587 “Conversations in Moscow” (Levertov), Supp. III Part 1: 282 Conversations on Some of the Old Poets (Lowell), Supp. I Part 2: 405 Conversations with Albert Murray (Maguire, ed.), Supp. XIX: 160–161 Conversations with Byron (Blessington), Retro. Supp. II: 58 Conversations with Eudora Welty (Prenshaw, ed.), Retro. Supp. I: 339, 340, 341, 342, 343, 352, 354 “Conversations with Helmholtz” (Allen), Supp. XV: 15 Conversations with Ishmael Reed (Dick and Singh, eds.), Supp. X: 244 Conversations with James Baldwin (Standley and Pratt, eds.), Retro. Supp. II: 6 Conversations with Richard Wilbur (Wilbur), Supp. III Part 2: 542–543 “Conversation with My Father, A” (Paley), Supp. VI: 220 “Conversion of the Jews, The” (P. Roth), Retro. Supp. II: 281; Supp. III Part 2: 404, 406 Convict, The: Stories (Burke), Supp. XIV: 25 “Convicta et Combusta” (J. Scott), Supp. XVII: 189 “Convoy” (Weigl), Supp. XIX: 278 Conway, Jill, Supp. I Part 1: 19 Coode, John, I: 132 Cook, Bruce, Supp. XII: 130, 131, 133– 134 Cook, Captain James, I: 2 Cook, Eleanor, Retro. Supp. I: 311 Cook, Elisha, Supp. IV Part 1: 356 Cook, Elizabeth Christine, II: 106 Cook, Mercer, Supp. IV Part 1: 368 Cooke, Alistair, III: 113, 119, 120 Cooke, Delmar G., II: 271 Cooke, Grace MacGowan, Supp. V: 285 Cooke, Philip Pendleton, III: 420 Cooke, Rose Terry, II: 401; Retro. Supp. II: 51, 136, 138; Supp. XIII: 152 “Cookie” (Taylor), Supp. V: 320 “Cookies, The” (Nye), Supp. XIII: 281 Cooking of Provincial France, The (M. F. K. Fisher), Supp. XVII: 89 Cook-Lynn, Elizabeth, Supp. IV Part 1: 325 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 Cooley, Peter, Supp. XIII: 76

Coolidge, Calvin, I: 498; II: 95; Supp. I Part 2: 647 Cooling Time: An American Poetry Vigil (Wright), Supp. XV: 353 “Cool Million, A” (screen story) (West and Ingster), Retro. Supp. II: 330 Cool Million, A (West), III: 425; IV: 287, 288, 297–299, 300; Retro. Supp. II: 321, 322–323, 328, 335–337 “Cool Tombs” (Sandburg), III: 554 Coon, Ross, IV: 196 Cooney, Seamus, Supp. XIV: 289 “Coon Hunt” (White), Supp. I Part 2: 669 Co-op (Sinclair), Supp. V: 290 Cooper, Bernard, Supp. XI: 129 Cooper, Gary, Supp. IV Part 2: 524 Cooper, James Fenimore, I: 211, 257, 335–357; II: 74, 277, 295–296, 302, 306, 309, 313, 314; III: 51; IV: 205, 333; Retro. Supp. I: 246; Retro. Supp. II: 160; Supp. I Part 1: 141, 155, 156, 158, 171, 372; Supp. I Part 2: 413, 495, 579, 585, 652, 660; Supp. IV Part 1: 80; Supp. IV Part 2: 463, 469; Supp. V: 209–210; Supp. VIII: 189; Supp. XIV: 227; Supp. XVIII: 4 Cooper, Jane, Supp. XV: 259 Cooper, Mrs. James Fenimore (Susan A. De Lancey), I: 338, 351, 354 Cooper, Mrs. William, I: 337 Cooper, Rand Richards, Supp. XVI: 74 Cooper, Susan Fenimore, I: 337, 354 Cooper, William, I: 337–338, 351 Coover, Robert, Supp. IV Part 1: 388; Supp. V: 39–55; Supp. XII: 152; Supp. XIV: 96; Supp. XVII: 6 Copacetic (Komunyakaa), Supp. XIII: 116–118, 126 Cope, Wendy, Supp. XV: 117 Copland, Aaron, II: 586; Supp. I Part 1: 281; Supp. III Part 2: 619; Supp. IV Part 1: 79, 80–81, 84 Coplas de Don Jorge Manrique (Longfellow, trans.), II: 488, 492 Coppée, François Edouard Joachim, II: 325 Copperhead, The (Frederic), II: 134–135 Copper Sun (Cullen), Supp. IV Part 1: 167, 168 Coppola, Francis Ford, Supp. XI: 171, 172; Supp. XII: 75 Coprolites (Goldbarth), Supp. XII: 177– 178, 180, 183 Coral and Captive Israel (Reznikoff), Supp. XIV: 288 “Coral Ring, The” (Stowe), Supp. I Part 2: 586 “Cora Unashamed” (Hughes), Supp. I Part 1: 329, 330 “Corazón del Corrido” (Mora), Supp. XIII: 225 Corban Ephphata (Li Lin Lee), Supp. XV: 225 Corbett, Gentlemen Jim, II: 416 Corbett, William, Supp. XI: 248; Supp. XVI: 286, 295 Corbière, Jean Antoine, II: 354–355, 528

338 / AMERICAN WRITERS Cordiall Water, A: A garland of Odd & Old Receipts to Assuage the Ills of Man and Beast (M. F. K. Fisher), Supp. XVII: 88, 90 Cording, Robert, Supp. IX: 328; Supp. XII: 184 Core, George, Supp. XVIII: 86 Corelli, Marie, III: 579 Corey, Lewis, Supp. I Part 2: 645 “Corinna’s Going a-Maying” (Herrick), Supp. XIV: 8, 9 “Coriolan” (Eliot), I: 580 “Coriolanus and His Mother” (Schwartz), Supp. II Part 2: 643, 644–645 “Corkscrew” (Hammett), Supp. IV Part 1: 345, 347 Corkum, Gerald, I: 37 Corky’s Brother (Neugeboren), Supp. XVI: 225 “Corky’s Brother” (Neugeboren), Supp. XVI: 225 Corliss, Richard, Supp. VIII: 73 Corman, Cid, Supp. III Part 2: 624, 625, 626, 627, 628; Supp. IV Part 1: 144; Supp. VIII: 292; Supp. XV: 74, 153 “Corn” (Lanier), Supp. I Part 1: 352, 353, 354, 356–361, 364, 366 Corn, Alfred, Supp. IX: 156; Supp. XV: 250 Corneille, Pierre, Supp. I Part 2: 716; Supp. IX: 131 Cornell, Esther, I: 231 Cornell, Katherine, IV: 356 “Corners” (Dunn), Supp. XI: 148 Cornhuskers (Sandburg), III: 583–585 “Corn-Planting, The” (Anderson), I: 114 Cornucopia: New and Selected Poems, 1975–2002 (Peacock), Supp. XIX: 203–204 “Coroner’s Report” (Wrigley), Supp. XVIII: 295 “Corporal of Artillery” (Dubus), Supp. VII: 84, 85 “Corpse Plant, The” (Rich), Supp. I Part 2: 555 Corpus Christi (McNally), Supp. XIII: 205–206, 209 Corradi, Juan, Supp. IV Part 1: 208 Corrections, The (Franzen), Supp. XIX: 54 “Correspondences” (Baudelaire), I: 63 “Corrido de Gregorio Cortez” (Mora), Supp. XIII: 225 “Corrigenda” (Komunyakaa), Supp. XIII: 115, 116 Corruption City (McCoy), Supp. XIII: 175 Corso, Gregory, Supp. II Part 1: 30; Supp. IV Part 1: 90; Supp. XII: 117– 138; Supp. XIV: 150; Supp. XVI: 135 Corsons Inlet (Ammons), Supp. VII: 25– 26, 28–29, 36 “Corsons Inlet” (Ammons), Supp. VII: 25–26 Cortázar, Julio, Retro. Supp. I: 278 “Cortège for Rosenbloom” (Stevens), IV: 81 Cortez, Hernando, III: 2 Coser, Lewis, Supp. I Part 2: 650

Cosgrave, Patrick, Retro. Supp. II: 185 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 (H. Miller), III: 174, 184 “Cosmological Eye, The” (H. Miller), III: 183 “Cosmos” (Beattie), Supp. V: 35 “Cost, The” (Hecht), Supp. X: 62–63 Costello, Bonnie, Retro. Supp. II: 40 Costner, Kevin, Supp. VIII: 45 “Cost of Living, The” (Malamud), Supp. I Part 2: 429, 437 Cott, Jonathan, Supp. XVI: 104, 106 “Cottagers’ Corner” column (D. West), Supp. XVIII: 286 “Cottage Street, 1953” (Wilbur), Supp. III Part 2: 543, 561 “Cottagette, The” (Gilman), Supp. XI: 207 Cotten, Joseph, Supp. IV Part 2: 524 Cotter, James Finn, Supp. X: 202 Cotton, John, Supp. I Part 1: 98, 101, 110, 111, 116 Cotton, Joseph, Supp. XII: 160 Cotton, Seaborn, Supp. I Part 1: 101 “Cotton Club Classics” (Halliday), Supp. XIX: 92, 93 Cotton Comes to Harlem (C. Himes), Supp. XVI: 143, 144 Cotton Comes to Harlem (film, O. Davis), Supp. XVI: 144 “Cotton Song” (Toomer), Supp. IX: 312 Couch, W. T., Supp. X: 46 Coughlin, Ruth Pollack, Supp. VIII: 45 Coulette, Henri, Supp. V: 180; Supp. XIII: 312; Supp. XV: 74, 75 Coultrap-McQuin, Susan, Supp. XVI: 85, 92 “Council of State, A” (Dunbar), Supp. II Part 1: 211, 213 “Count Dracula” (Allen), Supp. XV: 15 “Countee Cullen at ‘The Heights’ ” (Tuttleton), Supp. IV Part 1: 166 Counterfeiters, The (Gide), Supp. IV Part 1: 80; Supp. IV Part 2: 681 “Countering” (Ammons), Supp. VII: 28 Counterlife, The (P. Roth), Retro. Supp. II: 279, 280, 291; Supp. III Part 2: 424–426 Counter-Statement (Burke), I: 270–272; IV: 431 “Countess, The” (Whittier), Supp. I Part 2: 691, 694 Count Frontenac and New France Under Louis XIV (Parkman), Supp. II Part 2: 607, 609–610 “Counting Small-Boned Bodies” (R. Bly), Supp. IV Part 1: 62 “Counting the Children” (Gioia), Supp. XV: 122–123 “Counting the Mad” (Justice), Supp. VII: 117 Count of Monte Cristo, The (Dumas), III: 386, 396; Supp. XVII: 64, 216 “Countries We Live In, The” (Zach; Everwine, trans.), Supp. XV: 87

“Country Boy in Boston, The” (Howells), II: 255 Country By-Ways (Jewett), II: 402 Country Doctor, A (Jewett), II: 391, 392, 396, 404–405; Retro. Supp. II: 131, 141, 146 “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 Marriage” (C. Frost), Supp. XV: 99 Countrymen of Bones (R. O. Butler), Supp. XII: 62, 65–66 “Country Mouse, The” (Bishop), Retro. Supp. II: 37, 38, 51 Country Music: Selected Early Poems (Wright), Supp. V: 332, 335, 338, 342 Country of a Thousand Years of Peace, The (Merrill), Supp. III Part 1: 321, 322, 331 “Country of Elusion, The” (O. Henry), Supp. II Part 1: 407 Country Of Language, The (Sanders), Supp. XVI: 277 Country of Marriage, The (Berry), Supp. X: 33 Country of Strangers, A (Richter), Supp. XVIII: 217 Country of Survivors (Di Piero), Supp. XIX: 36 Country of the Pointed Firs, The (Jewett), II: 392, 399, 405, 409–411; Retro. Supp. I: 6; Retro. Supp. II: 134, 136, 139, 140, 141, 145, 146, 147; Supp. VIII: 126; Supp. XIII: 152 “Country Printer, The” (Freneau), Supp. II Part 1: 269 “Country Wife, The” (Gioia), Supp. XV: 120 Count Your Bullets (film), Supp. XVII: 141 Count Zero (W. Gibson), Supp. XVI: 19, 126–127, 129 Coup, The (Updike), Retro. Supp. I: 331, 334, 335 “Coup de Grâce, The” (Bierce), I: 202 Couperin, François, III: 464 “Couple, The” (Olds), Supp. X: 206 “Couple of Hamburgers, A” (Thurber), Supp. I Part 2: 616 “Couple of Nuts, A” (Z. Fitzgerald), Supp. IX: 58, 71, 72 “Couples” (Halliday), Supp. XIX: 89 Couples (Updike), IV: 214, 215, 216, 217, 227, 229–230; Retro. Supp. I: 320, 327, 330; Supp. XII: 296 Cournos, John, III: 465; Supp. I Part 1: 258 “Course in Creative Writing, A” (Stafford), Supp. XI: 327 “Course of a Particular, The” (Stevens), Retro. Supp. I: 312 “Coursier de Jeanne d’ Arc, Le” (McCarriston), Supp. XIV: 267–268 Courtier, The (Castiglione), III: 282

CUMULATIVE INDEX / 339 “‘Courtin’, The’” (Lowell), Supp. I Part 2: 415 “Courting of Sister Wisby, The” (Jewett), Retro. Supp. II: 134, 135, 146 “Courting the Famous Figures at the Grotto of Improbable Thought” (B. Kelly), Supp. XVII: 127–128 “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; Retro. Supp. II: 155, 161–162, 163, 166, 168 “Cousin Aubrey” (Taylor), Supp. V: 328 Cousine Bette (Balzac), Retro. Supp. II: 98 Couturier, Maurice, Supp. IV Part 1: 44 Covarrubias, Miguel, Supp. XVI: 187 “Covered Bridges” (Kingsolver), Supp. VII: 203 “Cover Photograph” (Nelson), Supp. XVIII: 173 “Cover Versions” (Halliday), Supp. XIX: 84 Cowan, Lester, III: 148 Cowan, Louise, IV: 120, 125 Coward, Noel, Retro. Supp. I: 65; Supp. I Part 1: 332; Supp. V: 101; Supp. XV: 329 “Cowardice” (Theroux), Supp. VIII: 313 Cowboy Mouth (Shepard), Supp. III Part 2: 441–442 “Cowboys” (Salter). See “Dirt” (Salter) Cowboys (Shepard), Supp. III Part 2: 432 Cowboys #2 (Shepard), Supp. III Part 2: 437, 438 Cowell, Henry, Supp. IV Part 1: 80, 82 Cowen, Wilson Walker, Supp. IV Part 2: 435 Cowie, Alexander, IV: 70 “Cow in Apple Time, The” (Frost), II: 154; Retro. Supp. I: 131 Cowl, Jane, IV: 357 Cowley, Abraham, III: 508; IV: 158; Supp. I Part 1: 357 Cowley, Malcolm, I: 246, 253, 254, 255, 256, 257, 283, 385; II: 26, 57, 94, 456; III: 606; IV: 123; Retro. Supp. I: 73, 91, 97; Retro. Supp. II: 77, 83, 89, 221, 330; Supp. I Part 1: 174; Supp. I Part 2: 609, 610, 620, 647, 654, 678; Supp. II Part 1: 103, 135– 156; Supp. VIII: 96; Supp. XV: 142 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; Supp. IX: 133 Cowper, William, II: 17, 304; III: 508, 511; Supp. I Part 1: 150, 151, 152; Supp. I Part 2: 539 “Cow Wandering in the Bare Field, The” (Jarrell), II: 371, 388 Cox, Martha Heasley, Supp. IX: 2, 4, 11–12

Cox, Sidney, Retro. Supp. I: 131 Cox, Stephen, Supp. IV Part 2: 523, 524 Cox, Steve, Supp. XIX: 116, 128 Coxey, Jacob, II: 464 “Coxon Fund, The” (James), Retro. Supp. I: 228 “Coy Mistress” (A. Finch), Supp. XVII: 72 Coyne, Patricia, Supp. V: 123 “Coyote Ortiz: Canis latrans latrans in the Poetry of Simon Ortiz” (P. C. Smith), Supp. IV Part 2: 509 Coyote’s Daylight Trip (Gunn Allen), Supp. IV Part 1: 320, 324 Coyote Was Here (Ortiz), Supp. IV Part 2: 499 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 “Cracked Looking-Glass, The” (Porter), III: 434, 435, 446 “Cracker Chidlings” (Rawlings), Supp. X: 224, 228 Cracks (Purdy), Supp. VII: 277–278 Crack-Up, The (Fitzgerald), II: 80; III: 35, 45; Retro. Supp. I: 113, 115; Supp. V: 276; Supp. IX: 61 “Crack-Up, The” (Fitzgerald), I: 509; Retro. Supp. I: 113, 114 “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 (McAlexander, ed.), Supp. V: 314 Craig, Gordon, III: 394 Crain, Jane Larkin, Supp. V: 123; Supp. XII: 167, 168 Cram, Ralph Adams, I: 19 Cramer, Stephen, Supp. XI: 139 Cramer, Steven, Supp. XV: 26 Crandall, Reuben, Supp. I Part 2: 686 Crane, Agnes, I: 406 Crane, Edmund, I: 407 Crane, Hart, I: 61, 62, 97, 109, 116, 266, 381–404; II: 133, 215, 306, 368, 371, 536, 542; III: 260, 276, 453, 485, 521; IV: 122, 123–124, 127, 128, 129, 135, 139, 140, 141, 341, 380, 418, 419; Retro. Supp. I: 427; Retro. Supp. II: 75–91; Supp. I Part 1: 86; Supp. II Part 1: 89, 152; Supp. III Part 1: 20, 63, 350; Supp. V: 342; Supp. VIII: 39; Supp. IX: 38, 229, 320; Supp. X: 115, 116, 120; Supp. XI: 123, 131; Supp. XII: 198; Supp. XV: 138; Supp. XIX: 35 Crane, Jonathan, Jr., I: 407 Crane, Jonathan Townley, I: 406 Crane, Luther, I: 406 Crane, Milton, Supp. XV: 144 Crane, Mrs. Jonathan Townley, I: 406 Crane, Nellie, I: 407

Crane, R. S., Supp. I Part 2: 423 Crane, Stephen, I: 34, 169–170, 201, 207, 211, 405–427, 477, 506, 519; II: 58, 144, 198, 262, 263, 264, 276, 289, 290, 291; III: 314, 317, 334, 335, 454, 505, 585; IV: 207, 208, 256, 350, 475; Retro. Supp. I: 231, 325; Retro. Supp. II: 97, 123; Supp. I Part 1: 314; Supp. III Part 2: 412; Supp. IV Part 1: 350, 380; Supp. IV Part 2: 680, 689, 692; Supp. VIII: 98, 105; Supp. IX: 1, 14; Supp. X: 223; Supp. XI: 95; Supp. XII: 50; Supp. XIV: 21, 50, 51, 227; Supp. XVII: 71, 228; Supp. XVIII: 74, 75 Crane, William, I: 407 Cranford (Gaskell), Supp. IX: 79 Crashaw, William, IV: 145, 150, 151, 165 “Crash Report” (McGrath), Supp. X: 116 Crater, The (Cooper), I: 354, 355 Cratylus (Plato), II: 10 “Craven Street Gazette” (Franklin), II: 119 “Crawdad, The” (F. Wright), Supp. XVII: 244 Crawdad Creek (Sanders), Supp. XVI: 269 Crawford, Brad, Supp. XI: 133 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 Crazed, The (Jin), Supp. XVIII: 99–100 “Crazy about her Shrimp” (Simic), Supp. VIII: 282 “Crazy Cock” (H. Miller), III: 177 Crazy Gypsy (Salinas), Supp. XIII: 311, 313–315, 316 “Crazy Gypsy” (Salinas), Supp. XIII: 313–314 Crazy Horse, Supp. IV Part 2: 488, 489 Crazy Horse (McMurtry), Supp. V: 233 Crazy Horse in Stillness (Heyen), Supp. XIII: 344 “Crazy in the Stir” (C. Himes), Supp. XVI: 137 Crazy Kill, The (C. Himes), Supp. XVI: 143 Creating a Role (Stanislavsky), Supp. XIV: 243 “Creation, According to Coyote, The” (Ortiz), Supp. IV Part 2: 505 Creation: A Novel (Vidal), Supp. IV Part 2: 677, 685, 688 “Creation of Anguish” (Nemerov), III: 269 “Creation Story” (Gunn Allen), Supp. IV Part 1: 325 “Creative and Cultural Lag” (Ellison), Retro. Supp. II: 116; Supp. II Part 1: 229 “Creative and Cultural Lag” (Wllison), Supp. XVIII: 283 Creative Criticism (Spingarn), I: 266 “Creative Democracy” (Locke), Supp. XIV: 208

340 / AMERICAN WRITERS Creative Present, The (Balkian and Simmons, eds.), Supp. XI: 230 Creatures in an Alphabet (illus. Barnes), Supp. III Part 1: 43 “Credences of Summer” (Stevens), IV: 93–94 “Credentials” (Halliday), Supp. XIX: 90 “Credo” (Bynner), Supp. XV: 50 “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 for Americans, A” (Benét), Supp. XI: 52 “Creed of a Beggar, The” (Lindsay), Supp. I Part 2: 379 Creegan, Andy, Supp. XIX: 205 Creekmore, Hubert, II: 586 Creeley, Robert, Retro. Supp. I: 411; Supp. II Part 1: 30; Supp. III Part 1: 2; Supp. III Part 2: 622, 626, 629; Supp. IV Part 1: 139–161, 322, 325; Supp. XI: 317; Supp. XIII: 104, 112; Supp. XIV: 150; Supp. XVI: 283 Creelman, James Ashmore, Supp. XVI: 186–187 “Cremona Violin, The” (Lowell), II: 523 “Crêpe de Chine” (Doty), Supp. XI: 128 “Cressy” (Harte), Supp. II Part 1: 354, 356 “Cretan Woman, The” (Jeffers), Supp. II Part 2: 435 Crèvecoeur, Michel-Guillaume Jean de, I: 229; Supp. I Part 1: 227–252 Crèvecoeur’s Eighteenth-Century Travels in Pennsylvania and New York (Adams), Supp. I Part 1: 251 Crevel, René, Supp. XIV: 343 Crewe-Jones, Florence, Supp. XVII: 58 Crewe Train (Macaulay), Supp. XII: 88 Crews, Harry, Supp. X: 11, 12; Supp. XI: 99–117, 245; Supp. XVIII: 195 Crichton, Michael, Supp. XIV: 316 Crick, Philip, Supp. XVI: 289 “Crickets” (R. O. Butler), Supp. XII: 71 Criers and Kibitzers, Kibitzers and Criers (Elkin), Supp. VI: 45–46, 57 Crime and Punishment (Dostoevsky), II: 60, 130; IV: 484; Supp. IV Part 2: 525; Supp. VIII: 282; Supp. XII: 281; Supp. XVII: 155; Supp. XVIII: 278; Supp. XIX: 276 Crime at Scottsboro, The (Endore), Supp. XVII: 59 Crimes and Misdemeanors (film; Allen), Supp. XV: 1, 2, 11, 12 Crisis papers (Paine), Supp. I Part 2: 508–509, 510 “Criteria of Negro Art” (Du Bois), Supp. XIX: 66–67 “Criteria of Negro Arts” (Du Bois), Supp. II Part 1: 181 “Critiad, The” (Winters), Supp. II Part 2: 794, 799 Critical Anthology A (Untermeyer), Supp. XV: 310 Critical Essays on Charlotte Perkins Gilman (Karpinski, ed.), Supp. XI: 201

Critical Essays on Peter Taylor (McAlexander), Supp. V: 319, 320, 323–324 Critical Essays on Robert Bly (Davis), Supp. IV Part 1: 64, 69 Critical Essays on Wallace Stegner (Arthur), Supp. IV Part 2: 606 Critical Fable, A (Lowell), II: 511–512, 527, 529–530 Critical Guide to Leaves of Grass, A (J. Miller), IV: 352 Critical Response to Joan Didion, The (Felton), Supp. IV Part 1: 210 Critical Temper of Alain Locke, The: A Selection of His Essays on Art and Culture (Stewart, ed.), Supp. XIV: 196, 210–211, 213 “Critic as Artist, The” (Wilde), Supp. X: 189 Criticism and Fiction (Howells), II: 288 Criticism and Ideology (Eagleton), Retro. Supp. I: 67 Criticism in the Borderlands (Calderón and Saldívar, eds.), Supp. IV Part 2: 544 “Critics, The” (Jong), Supp. V: 119 “Critics and Connoisseurs” (Moore), III: 209 Critic’s Notebook, A (Howe), Supp. VI: 126–128 “Critic’s Task, The” (Kazin), Supp. VIII: 103 “Critic Who Does Not Exist, The” (Wilson), IV: 431 “Critique de la Vie Quotidienne” (Barthelme), Supp. IV Part 1: 50 Critique of Pure Reason (Kant), Supp. XVI: 184 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. III 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, A. J., Supp. XVII: 59 Cronin, Dr. Archibald, III: 578 Cronin, Justin, Supp. X: 10 Crooke, Dr. Helkiah, Supp. I Part 1: 98, 104 Crooks, Alan, Supp. V: 226 Crooks, Robert, Supp. XIII: 237 “Crop, The” (O’ Connor), Retro. Supp. II: 223–225 Crosby, Caresse, I: 385; III: 473; Retro. Supp. II: 85; Supp. XII: 198 Crosby, Harry, I: 385; Retro. Supp. II: 85 “Cross” (Hughes), Supp. I Part 1: 325; Supp. XVIII: 124 Crossan, John Dominic, Supp. V: 251 “Cross Country Snow” (Hemingway), II: 249 Cross Creek (Rawlings), Supp. X: 223, 226, 228, 231–232, 233, 234, 235 Cross Creek Cookery (Rawlings), Supp. X: 233

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 into Poland” (Babel), Supp. XIV: 84 Crossings (Chuang), Supp. X: 291 “Crossings” (Hogan), Supp. IV Part 1: 412 Crossing the Water (Plath), Retro. Supp. II: 248; Supp. I Part 2: 526, 538 Crossing to Safety (Stegner), Supp. IV Part 2: 599, 606, 612, 613–614 “Cross of Snow, The” (Longfellow), II: 490; Retro. Supp. II: 169–170 “Crossover” (O. Butler), Supp. XIII: 61 “Cross-Roads, The” (Lowell), II: 523 “Crossroads of the World Etc.” (Merwin), Supp. III Part 1: 347, 348 Cross-Section (Seaver), IV: 485 Cross the Border, Close the Gap (Fiedler), Supp. XIII: 104 Cross Ties (X. J. Kennedy), Supp. XV: 165, 166–167 “Cross Ties” (X. J. Kennedy), Supp. XV: 158 Crouch, Stanley, Supp. XIX: 158 “Croup” (Karr), Supp. XI: 243 Crouse, Russel, III: 284 “Crow” (Hogan), Supp. IV Part 1: 405 Crow (Hughes), Supp. XV: 347, 348 “Crow, The” (Creeley), Supp. IV Part 1: 148–149 Crow and the Heart,The (Carruth), Supp. XVI: 47–48 “Crowded Street, The” (Bryant), Supp. I Part 1: 168 Crowder, A. B., Supp. XI: 107 “Crow Jane” (Baraka), Supp. II Part 1: 38 Crowninshield, Frank, III: 123; Supp. IX: 201 Crown of Columbus (Erdrich and Dorris), Supp. IV Part 1: 260 “Crows, The” (Bogan), Supp. III Part 1: 50, 51 Crucial Instances (Wharton), Retro. Supp. I: 365, 367 Crucible, The (A. Miller), III: 147, 148, 155, 156–158, 159, 166; Supp. XIII: 206 “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 “Cruel Mother, The” (B. Kelly), Supp. XVII: 126 Cruise of the Dazzler, The (London), II: 465 Cruise of the Snark, The (London), II: 476–477 “Cruising with the Beach Boys” (Gioia), Supp. XV: 118 “‘Crumbling Idols’ by Hamlin Garland” (Chopin), Supp. I Part 1: 217

CUMULATIVE INDEX / 341 “Crusade of the Excelsior, The” (Harte), Supp. II Part 1: 336, 354 “Crusoe in England” (Bishop), Retro. Supp. II: 50; Supp. I Part 1: 93, 95, 96; Supp. III Part 1: 10, 18 Cry, the Beloved Country (Paton), Supp. VIII: 126 Cryer, Dan, Supp. VIII: 86, 88; Supp. XII: 164 Crying of Lot 49, The (Pynchon), Supp. II Part 2: 618, 619, 621, 630–633 “Crying Sisters, The” (Rand), Supp. IV Part 2: 524 “Crying Wolf” (C. Frost), Supp. XV: 101 Cryptogram, The (Mamet), Supp. XIV: 240, 247, 255 “Crystal, The” (Aiken), I: 60 “Crystal, The” (Lanier), Supp. I Part 1: 364, 370 “Crystal Cage, The” (Kunitz), Supp. III Part 1: 258 “Crytal” (Sobin), Supp. XVI: 283 Cry to Heaven (Rice), Supp. VII: 300– 301 “Cuba” (Hemingway), II: 258 “Cuba Libre” (Baraka), Supp. II Part 1: 33 Cudjoe, Selwyn, Supp. IV Part 1: 6 “Cudjo’s Own Story of the Last American Slaver” (Hurston), Supp. VI: 153 Cudlipp, Thelma, I: 501 Cudworth, Ralph, II: 9, 10 “Cuentista” (Mora), Supp. XIII: 224 “Cuento de agua santa, Un” (Mora), Supp. XIII: 224 Cujo (King), Supp. V: 138–139, 143, 149, 152 Cukor, George, Supp. XVI: 192 Cullen, Countee, Retro. Supp. I: 207; Retro. Supp. II: 114; Supp. I Part 1: 49, 325; Supp. III Part 1: 73, 75, 76; Supp. IV Part 1: 163–174; Supp. IX: 306, 309; Supp. X: 136, 140; Supp. XIII: 186; Supp. XVIII: 122,131, 185, 279, 280, 282, 284; Supp. XIX: 78 “Cultivation of Christmas Trees, The” (Eliot), I: 579 “Cult of Personality in American Letters, The” (Swados), Supp. XIX: 265 “Cult of the Best, The” (Arnold), I: 223 “Cultural Exchange” (Hughes), Supp. I Part 1: 341 “Cultural Pluralism: A New Americanism” (Locke), Supp. XIV: 195 “Cultural Relativism and Ideological Peace” (Locke), Supp. XIV: 202, 212 “Culture” (Emerson), III: 2, 4 “Culture, Self, and Style” (Gass), Supp. VI: 88 “Culture and Religion” (Olds), Supp. X: 214 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; Retro. Supp. II: 178, 328; Supp. I

Part 2: 622, 678; Supp. III Part 1: 73; Supp. IV Part 2: 637, 641; Supp. IX: 20; Supp. XV: 312, 338 Cummings, Robert, Supp. IV Part 2: 524 Cummins, James, Supp. XVII: 74 Cunard, Lady, III: 459 Cunningham, J. V., Supp. XV: 169 Cunningham, Merce, Supp. IV Part 1: 83; Supp. XV: 187 Cunningham, Michael, Supp. XII: 80; Supp. XV: 55–71 Cup of Gold (Steinbeck), IV: 51, 53, 61– 64, 67 “Cupola, The” (Bogan), Supp. III Part 1: 53 “Curandera” (Mora), Supp. XIII: 214, 222 Curé de Tours, Le (Balzac), I: 509 Cure for Dreams, A: A Novel (Gibbons), Supp. X: 45–47, 48, 50 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 “Curious Case of Sidd Finch, The” (Plimpton), Supp. XVI: 244 “Curious Shifts of the Poor” (Dreiser), Retro. Supp. II: 97 “Currents and Counter-Currents in Medical Science” (Holmes), Supp. I Part 1: 305 “Curried Cow” (Bierce), I: 200 Curry, Professor W. C., IV: 122 Curse of the Jade Scorpion, The (film; Allen), Supp. XV: 11 Curse of the Starving Class (Shepard), Supp. III Part 2: 433, 447–448 Curse of the Werewolf, The (film), Supp. XVII: 56 “Curse on a Thief, A” (X. J. Kennedy), Supp. XV: 171 “Curtain, The” (Chandler), Supp. IV Part 1: 122 Curtain Calls: British and American Women and the Theater, 1660–1820 (Saar), Supp. XV: 237 Curtain of Green, A (Welty), IV: 261– 264, 268, 283 “Curtain of Green, A” (Welty), IV: 263– 264 Curtain of Green and Other Stories, A (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 Curtin, John, Supp. IX: 184 Curtis, George William, Supp. I Part 1: 307; Supp. XVIII: 3, 14 Curve (Goldbarth), Supp. XII: 181 Curve of Binding Energy, The (McPhee), Supp. III Part 1: 301 Curzon, Mary, III: 52 Cushing, 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; Supp. IV Part 2: 504 “Custom House, The” (Hawthorne), II: 223; Retro. Supp. I: 147–148, 157 Custom of the Country, The (Wharton), IV: 318; Retro. Supp. I: 374, 375– 376 “Cut” (Plath), Retro. Supp. II: 253 “Cut-Glass Bowl, The” (Fitzgerald), II: 88 Cutting, Bronson, III: 600 Cutting Lisa (Everett), Supp. XVIII: 56 “Cuttings, later” (Roethke), III: 532 “Cyberpunk” (Bethke), Supp. XVI: 121 Cyberspace trilogy (W. Gibson). See Sprawl trilogy (W. Gibson) “Cycles, The” (Pinsky), Supp. VI: 250– 252 Cynic’s Word Book, The (Bierce), I: 197, 205, 208, 209, 210 Cynthia Ozick (Lowin), Supp. V: 273 Cynthia Ozick’s Comic Art (Cohen), Supp. V: 273 Cynthia Ozick’s Fiction (Kauvar), Supp. V: 273 D Da Capo: Best Music Writing 2002 (Lethem, ed.), Supp. XVIII: 148 Dacey, Philip, Supp. IV Part 1: 70 Dacier, André, II: 10 “Dad” (Cullen), Supp. IV Part 1: 167 “Daddy” (Plath), Retro. Supp. II: 250– 251; Supp. I Part 2: 529, 542, 545, 546; Supp. II Part 2: 688 “Daemon, The” (Bogan), Supp. III Part 1: 58, 61 “Daemon Lover, The” (Jackson), Supp. IX: 116–117 “Daffodils” (Nelson and Espeland), Supp. XVIII: 181 “Daffodils” (Wordsworth), Supp. XIII: 284 “Daffy Duck in Hollywood” (Ashbery), Supp. III Part 1: 18 D’ Agata, John, Supp. XII: 97, 98 Dago Red (Fante), Supp. XI: 160, 169 Dahl, Roald, Supp. IX: 114 Dahlberg, Edward, I: 231; Retro. Supp. I: 426; Supp. III Part 2: 624; Supp. XIV: 148; Supp. XVIII: 148 Dahlberg, R’ lene, Supp. XIV: 148 Daiches, David, Retro. Supp. II: 243; Supp. I Part 2: 536 Daily Horoscope (Gioia), Supp. XV: 112, 118–121, 126 “Daily Horoscope” (Gioia), Supp. XV: 119 Daily Modernism (Podnieks), Supp. X: 189 Dain Curse, The (Hammett), Supp. IV Part 1: 348 “Daisies” (Glück), Supp. V: 88 “Daisy” (Oates), Supp. II Part 2: 523 Daisy (S. and A. Warner), Supp. XVIII: 268

342 / AMERICAN WRITERS Daisy-Head Mayzie (Geisel), Supp. XVI: 112 Daisy Miller (H. James), Retro. Supp. I: 216, 220, 222, 223, 228, 231; Supp. XVIII: 165 “Daisy Miller” (H. James), II: 325, 326, 327, 329; IV: 316 Dale, Charlie, Supp. IV Part 2: 584 Dali, Salvador, II: 586; Supp. IV Part 1: 83; Supp. XIII: 317 Dalibard, Thomas-François, II: 117 “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), II: 88 “Dam, The” (Rukeyser), Supp. VI: 283 Damas, Leon, Supp. X: 139 Damascus Gate (Stone), Supp. V: 308– 311 Damballah (Wideman), Supp. X: 319, 320, 321, 322, 323, 326, 327, 331, 333–334 Dameshek, Brandon, Supp. XIX: 273, 277, 287 Damnation of Theron Ware, The (Frederic), II: 140–143, 144, 146, 147; Retro. Supp. I: 325 Damned If I Do (Everett), Supp. XVIII: 66 “Damned Thing, The” (Bierce), I: 206 Damon, Matt, Supp. VIII: 175 Damon, S. Foster, I: 26; II: 512, 514, 515 “Damon and Vandalia” (Dove), Supp. IV Part 1: 252 Dana, H. W. L., I: 225 Dana, Richard Henry, I: 339, 351; Supp. I Part 1: 103, 154, 155; Supp. I Part 2: 414, 420 Dana, Richard Henry, Jr., III: 81 Dana, Robert, Supp. V: 178, 180 “Dana Gioia and Fine Press Printing” (Peich), Supp. XV: 117 “Dance, The” (Crane), I: 109 “Dance, The” (Roethke), III: 541 “Dance, The” (W. C. Williams), Supp. XVII: 113 Dance of Death, The (Auden), Supp. II Part 1: 10 Dance of Death, The (Bierce and Harcourt), I: 196 Dance of the Sleepwalkers (Calabria), Supp. XIII: 164 “Dance of the Solids, The” (Updike), Retro. Supp. I: 323 “Dancer” (Hoffman), Supp. XVIII: 86 “Dancer, The” (Swados), Supp. XIX: 261, 263–264 Dances with Wolves (film), Supp. X: 124 Dance to the Music of Time, A (Powell), Supp. XVIII: 146

Dancing After Hours (Dubus), Supp. VII: 91 Dancing Bears, The (Merwin), Supp. III Part 1: 343–344 Dancing on the Stones (Nichols), Supp. XIII: 256, 257, 259, 267, 269 “Dancing the Jig” (Sexton), Supp. II Part 2: 692 Dandelion Wine (Bradbury), Supp. IV Part 1: 101, 109–110 Dandurand, Karen, Retro. Supp. I: 30 “Dandy Frightening the Squatters, The” (Twain), IV: 193–194 Dangel, Mary Jo, Supp. XVIII: 156 Dangerous Crossroads (film), Supp. XIII: 163 Dangerous Moonlight (Purdy), Supp. VII: 278 “Dangerous Road Before Martin Luther King” (Baldwin), Supp. I Part 1: 52 “Dangerous Summer, The” (Hemingway), II: 261 Dangerous Thoughts (Ryan as Quin), Supp. XVIII: 226 “Dangers of Authorship, The” (Blackmur), Supp. II Part 1: 147 Dangling Man (Bellow), I: 144, 145, 147, 148, 150–151, 153–154, 158, 160, 161, 162, 163; Retro. Supp. II: 19, 20–21, 22, 23; Supp. VIII: 234; Supp. XIX: 157 Daniel (biblical book), Supp. I Part 1: 105 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, Kate, Supp. XVII: 112 Danielson, Linda, Supp. IV Part 2: 569 D’ Annunzio, Gabriele, II: 515 Danny and the Deep Blue Sea: An Apache Dance (Shanley), Supp. XIV: 315, 318–319, 320, 321, 323, 324 Danny O’ Neill pentalogy (Farrell), II: 35–41 Danse Macabre (King), Supp. IV Part 1: 102; Supp. V: 144 “Danse Russe” (W. C. Williams), IV: 412–413 “Dans le Restaurant” (Eliot), I: 554, 578 Dans l’ ombre des cathédrales (Ambelain), Supp. I Part 1: 273 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, 533, 607, 609, 610–612, 613; IV: 50, 134, 137, 138, 139, 247, 437, 438; Retro. Supp. I: 62, 63, 64, 66, 360; Retro. Supp. II: 330; Supp. I Part 1: 256, 363; Supp. I Part 2: 422, 454; Supp. III Part 2: 611, 618, 621; Supp. IV Part 2: 634; Supp. V: 277, 283, 331, 338, 345; Supp. VIII: 27, 219–221; Supp. X: 120, 121, 125; Supp. XII: 98; Supp. XV: 254; Supp. XVII: 227, 241 Danvis Tales: Selected Stories (Robinson; Budbill, ed.), Supp. XIX: 6

Danziger, Adolphe, I: 199–200 Dar (Nabokov), III: 246, 255 D’ Arcy, Randall, Supp. XVII: 76 Dardis, Tom, Supp. XVIII: 249 “Dare’s Gift” (Glasgow), II: 190 Dark Angel, The (Bolton), Supp. I Part 1: 281 “Dark Angel Travels With Us to Canada and Blesses Our Vacation, The” (Dunn), Supp. XI: 146 Dark Carnival (Bradbury), Supp. IV Part 1: 102 Darker (Strand), Supp. IV Part 2: 619, 626–628 Darker Face of the Earth, The (Dove), Supp. IV Part 1: 255–257 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 Horses (X. J. Kennedy), Supp. XV: 167–170 Dark Laughter (Anderson), I: 111, 116; II: 250–251 “Darkling Alphabet, A” (Snodgrass), Supp. VI: 323 Darkling Child (Merwin and Milroy), Supp. III Part 1: 346 “Darkling Summer, Ominous Dusk, Rumorous Rain” (Schwartz), Supp. II Part 2: 661 “Darkling Thrush” (Hardy), Supp. IX: 40 “Dark Men, The” (Dubus), Supp. VII: 86 Dark Mirrors (Sobin), Supp. XVI: 295 Dark Mountains, The (Hoffman), Supp. XVIII: 76–77 Darkness and the Light, The (Hecht), Supp. X: 58 “Darkness on the Edge of Town” (O’ Brien), Supp. V: 246 Darkness under the Trees/Walking behind the Spanish (Salinas), Supp. XIII: 311, 319–324 “Dark Night” (St. John of the Cross), Supp. XV: 30 Dark Night of the Soul, The (St. John of the Cross), I: 1, 585 “Dark Ones” (Dickey), Supp. IV Part 1: 182 Dark Princess: A Romance (Du Bois), Supp. II Part 1: 179, 181–182 Dark Room, The (T. Williams), IV: 381 Dark Shadows (television show), Supp. XIX: 57 “Dark Summer” (Bogan), Supp. III 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

CUMULATIVE INDEX / 343 “Dark TV Screen” (Simic), Supp. VIII: 282 “Dark Voyage, The” (McLay), Supp. XIII: 21 “Dark Walk, The” (Taylor), Supp. V: 320–321, 322, 326 Darkwater: Voices from Within the Veil (Du Bois), Supp. II Part 1: 178, 180, 183 Dark Waves and Light Matter (Goldbarth), Supp. XII: 176, 193 Dark World (Carruth), Supp. XVI: 55 “Darling” (Nye), Supp. XIII: 283–284 “Darling, The” (Chekhov), Supp. IX: 202 Darling-Darling (Barillet and Grédy; Loos, trans.), Supp. XVI: 194 Darnell, Linda, Supp. XII: 173 Darragh, Tina, Supp. IV Part 2: 427 Darreu, Robert Donaldson, Supp. II Part 1: 89, 98, 102 Darrow, Clarence, Supp. I Part 1: 5; Supp. I Part 2: 455 Darwin, Charles, I: 457; II: 323, 462, 481; III: 226, 231; IV: 69, 304; Retro. Supp. I: 254; Retro. Supp. II: 60, 65; Supp. I Part 1: 368; Supp. IX: 180; Supp. XI: 203; Supp. XVI: 13 “Darwin in 1881” (Schnackenberg), Supp. XV: 253, 254, 258 Daryush, Elizabeth, Supp. V: 180 Dash, Julie, Supp. XI: 17, 18, 20 Dashell, Alfred, Supp. X: 224 “DAS KAPITAL” (Baraka), Supp. II Part 1: 55 Datlow, Ellen, Supp. XVI: 123 “Datum Centurio” (Wallace), Supp. X: 309 Daudet, Alphonse, II: 325, 338 “Daughter” (Caldwell), I: 309 “Daughter in the House” (X. J. Kennedy), Supp. XV: 160 Daughter of Earth (Smedly), Supp. XIII: 295 Daughter of the Snows, A (London), II: 465, 469–470 “Daughters” (Anderson), I: 114 Daughters (Marshall), Supp. XI: 275, 276, 277, 286–288, 289, 290 “Daughters, 1900” (Nelson), Supp. XVIII: 175 Daughters, I Love You (Hogan), Supp. IV Part 1: 397, 399, 401 “Daughters of Invention” (Alvarez), Supp. VII: 9 Daughters of the Dust (Dash; film), Supp. XI: 17, 18 Daumier, Honoré, IV: 412 Dave, R. A., Supp. VIII: 126 Davenport, Abraham, Supp. I Part 2: 699 Davenport, Gary, Supp. IX: 98 Davenport, Guy, Supp. XIV: 96 Davenport, Herbert J., Supp. I Part 2: 642 Davenport, James, I: 546 Daves, E. G., Supp. I Part 1: 369 Davey, Frank, Supp. XIII: 33 “David” (Garrett), Supp. VII: 109–110

“David” (Gordon), Supp. IV Part 1: 298–299 “David and Agnes, a Romance” (Keillor), Supp. XVI: 175 David Copperfield (Dickens), I: 458; II: 290; Retro. Supp. I: 33; Supp. XVI: 65, 72 “David Crockett’s Other Life” (Nye), Supp. XIII: 282 Davideis (Cowley), IV: 158 David Harum (Westcott), I: 216 “David Lynch Keeps His Head” (Wallace), Supp. X: 314 David Show, The (Gurney), Supp. V: 97 Davidson, Cathy, Supp. XV: 238 Davidson, Donald, I: 294; III: 495, 496; IV: 121, 122, 124, 125, 236; Supp. II Part 1: 139; Supp. XIV: 2 Davidson, John, Retro. Supp. I: 55 Davidson, Michael, Supp. VIII: 290, 293, 294, 302–303 Davidson, Sara, Supp. IV Part 1: 196, 198, 203 Davidson, Sue, Supp. XIX: 260 Davidsz de Heem, Jan, Supp. XI: 133 Davie, Donald, III: 478; Supp. IV Part 2: 474; Supp. V: 331; Supp. X: 55, 59; Supp. XVII: 111, 112, 121 Davies, Arthur, III: 273 Davies, Marion, Supp. XVI: 186 Davies, Sir John, III: 541 Da Vinci, Leonardo, I: 274; II: 536; III: 210 Davis, Allen F., Supp. I Part 1: 1, 7 Davis, Allison, Supp. I Part 1: 327 Davis, Angela, Supp. I Part 1: 66; Supp. X: 249 Davis, Arthur B., Supp. XVIII: 119 Davis, Bette, I: 78; Supp. I Part 1: 67 Davis, Bill, Supp. XIII: 267 Davis, Christina, Supp. XV: 264 Davis, Cynthia, Supp. XVIII: 281, 286 Davis, Donald, Supp. XIII: 93 Davis, Elizabeth Gould, Supp. I Part 2: 567 Davis, George, II: 586 Davis, Glover, Supp. V: 180, 182, 186 Davis, Jefferson, II: 206; IV: 122, 125, 126 Davis, Jordan, Supp. XV: 178, 181, 186, 188 Davis, Katie, Supp. VIII: 83 Davis, L. J., Supp. XI: 234 Davis, Lydia, Supp. XII: 24; Supp. XVII: 21 Davis, Marcia, Supp. XVIII: 91, 100 Davis, Mary H., Supp. XVIII: 77 Davis, Miles, Supp. XV: 346 Davis, Ossie, Jr., Supp. IV Part 1: 362; Supp. XVI: 144 Davis, Rebecca Harding, Supp. I Part 1: 45; Supp. XIII: 292, 295, 305; Supp. XVI: 79–96 Davis, Richard Harding, III: 328; Supp. II Part 1: 393; Supp. XVI: 85 Davis, Robert Gorham, II: 51; IV: 108 Davis, Stuart, IV: 409; Supp. XV: 295 Davis, Thadious, Supp. XVIII: 120, 121, 123, 127, 129

Davis, Thulani, Supp. XI: 179; Supp. XIII: 233, 234, 239 Davis, William V., Supp. IV Part 1: 63, 64, 68, 69, 70 Davy’s Lake (M. Finch), Supp. XVII: 69 Dawn (Dreiser), I: 498, 499, 503, 509, 515, 519 Dawn (O. Butler), Supp. XIII: 63, 64 “Dawnbreaker” (Hayden), Supp. II Part 1: 370 Dawn Patrol, The (film), Supp. XIV: 81 “Dawn Patrol: A Review of the Literature of the Negro for 1948” (Locke), Supp. XIV: 211 Dawson, Edward, IV: 151 Dawson, Emma, I: 199 Dawson, Ruth, Supp. XI: 120 Day, Dorothy, II: 215; Supp. I Part 2: 524; Supp. X: 142 Day, Georgiana, Supp. I Part 2: 585 Day, Richard, Supp. XVIII: 251 Dayan, Joan, Retro. Supp. II: 270 Day Book, A (Creeley), Supp. IV Part 1: 155 “Daybreak” (Kinnell), Supp. III Part 1: 250 “Daybreak Blues” (Kees), Supp. XV: 133 “Daybreak in Alabama” (Hughes), Retro. Supp. I: 211; Supp. I Part 1: 344 Day by Day (Lowell), Retro. Supp. II: 184, 186, 191 “Day-Care Field Trip: Aquarium” (Karr), Supp. XI: 243 “Day-Dream, A” (Bryant), Supp. I Part 1: 160 “Day-Dream of a Grocer, The” (Twain), Supp. XVIII: 9 “Day for Poetry and Song, A” (Douglass), Supp. III Part 1: 172 “Day Lady Died, The” (O’ Hara), Supp. XIX: 85 Day Late and a Dollar Short, A (McMillan), Supp. XIII: 184, Supp. XIII: 185, 191–192 “Day longs for the evening, The” (Levertov), Supp. III Part 1: 274 Daynard, Jodi, Supp. XVIII: 97 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 Body (C. Frost), Supp. XV: 93, 98–100, 106 Day of the Locust, The (West), I: 298; IV: 288, 299–306; Retro. Supp. II: 321, 323, 324, 329, 337–338; Supp. II Part 2: 626; Supp. XI: 296; Supp. XII: 173; Supp. XIII: 170; Supp. XIV: 328; Supp. XVIII: 246 “Day on the Big Branch, A” (Nemerov), III: 275–276 “Day on the Connecticut River, A” (Merrill), Supp. III Part 1: 336 Day Room, The (DeLillo), Supp. VI: 4 “Days” (Emerson), II: 19, 20 “Days and Nights” (Koch), Supp. XV: 179, 180 “Days and Nights: A Journal” (Price), Supp. VI: 265

344 / AMERICAN WRITERS Days Before, The (Porter), III: 433, 453 Days in the Yellow Leaf (Hoffman), Supp. XVIII: 75 “Days of 1935” (Merrill), Supp. III Part 1: 325, 328 “Days of 1941 and ‘44” (Merrill), Supp. III Part 1: 336 “Days of 1964” (Merrill), Supp. III Part 1: 328, 352 “Days of 1971” (Merrill), Supp. III Part 1: 328 “Days of 1981” (Doty), Supp. XI: 123 “Days of Awe: The Birth of Lucy Jane” (Wasserstein), Supp. XV: 332 “Days of Edward Hopper” (Haines), Supp. XII: 210 “Days of Heaven” (Bass), Supp. XVI: 20 Days of Obligation: An Argument with My Mexican Father (Rodriguez), Supp. XIV: 298, 300, 302–305, 307, 310 Days of Our Lives (soap opera), Supp. XI: 83 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 of Wine and Roses (J. P. Miller), Supp. XIII: 262 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. III Part 1: 120 “Day’s Work, A” (Porter), III: 443, 446 “Day the Presidential Candidate Came to Ciudad Tamaulipas, The” (Caldwell), I: 309 “Day the Singer Fell, The” (Swados), Supp. XIX: 258 Day the World ended, The (Coover), Supp. V: 1 “Day with Conrad Green, A” (Lardner), II: 428–429, 430 “Deacon’s Masterpiece, The” (Holmes), Supp. I Part 1: 302, 307 “Dead, The” (Joyce), I: 285; III: 343 Dead and the Living, The (Olds), Supp. X: 201, 204–206, 207 “Dead Body, The” (Olds), Supp. X: 210 “Dead by the Side of the Road, The” (Snyder), Supp. VIII: 301 “Dead Doe” (B. Kelly), Supp. XVII: 128–129 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. III 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 Deadline at Dawn (Odets), Supp. II Part 2: 546 “Dead-Lock and Its Key, A” (E. Stoddard), Supp. XV: 286 “Dead Loon, The” (Bynner), Supp. XV: 44–45 Deadly Affair, A (Lacy), Supp. XV: 205– 206 Deadly is the Female (film), Supp. XVII: 62 Dead Man’s Walk (McMurtry), Supp. V: 231, 232 Dead Man’s Walk (screenplay; McMurtry and Ossana), Supp. V: 231 Dead Man Walking (opera libretto, McNally), Supp. XIII: 207 “Dead Reckoning” (Jarman), Supp. XVII: 113 “Dead Soldier’s Talk, The” (Jin), Supp. XVIII: 92 Dead Souls (Gogol), I: 296 “Dead Souls on Campus” (Kosinski), Supp. VII: 222 “Dead Wingman, The” (Jarrell), II: 374 “Dead Yellow Women” (Hammett), Supp. IV Part 1: 345 Dead Zone, The (King), Supp. V: 139, 143, 144, 148, 152 Dean, James, I: 493 Dean, Man Mountain, II: 589 Deane, Silas, Supp. I Part 2: 509, 524 “Dean of Men” (Taylor), Supp. V: 314, 323 Dean’s December, The (Bellow), Retro. Supp. II: 30–31 “Dear Adolph” (Benét), Supp. XI: 46 “Dear America” (Ortiz), Supp. IV Part 2: 503 “Dearest M—” (Carruth), Supp. XVI: 59 “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 Rafe (Hinojosa), Supp. XIX: 98, 105–106 “Dear Villon” (Corso), Supp. XII: 135 “Dear World” (Gunn Allen), Supp. IV Part 1: 321 Death (Allen), Supp. XV: 3 “Death” (Corso), Supp. XII: 127 “Death” (Lowell), II: 536 “Death” (Mailer), III: 38 “Death” (W. C. Williams), Retro. Supp. I: 422 “Death” (West), IV: 286 “Death and Absence” (Glück), Supp. V: 82 Death and Taxes (Parker), Supp. IX: 192 “Death and the Child” (Crane), I: 414 “Death as a Society Lady” (Hecht), Supp. X: 71–72 Death before Bedtime (Vidal as Box), Supp. IV Part 2: 682 “Death Be Not Proud” (Donne), Supp. XVI: 158 “Death by Water” (Eliot), I: 395, 578

Death Comes for the Archbishop (Cather), I: 314, 327, 328–330; Retro. Supp. I: 16–18, 21; Supp. XIII: 253 Death in Paradise (Parker), Supp. XIX: 186 Death in the Afternoon (Hemingway), II: 253; IV: 35; Retro. Supp. I: 182; Supp. VIII: 182; Supp. XVI: 205; Supp. XIX: 246 “Death in the Country, A” (Benét), Supp. XI: 53–54 Death in the Family, A (Agee), I: 25, 29, 42, 45 Death in the Fifth Position (Vidal as 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 in Viet Nam” (Salinas), Supp. XIII: 315 “Death in Winter” (C. Frost), Supp. XV: 98 Death Is a Lonely Business (Bradbury), Supp. IV Part 1: 102, 103, 111–112, 115 “Death Is Not the End” (Wallace), Supp. X: 309 Death Kit (Sontag), Supp. III Part 2: 451, 468–469 Death Likes It Hot (Vidal as Box), Supp. IV Part 2: 682 “Death/Muerta” (Mora), Supp. XIII: 228 Death Notebooks, The (Sexton), Supp. II Part 2: 691, 694, 695 “Death of a Jazz Musician” (W. J. Smith), Supp. XIII: 334 Death of a Kinsman, The (Taylor), Supp. V: 324, 326 “Death of an Old Seaman” (Hughes), Retro. Supp. I: 199 “Death of a Pig” (White), Supp. I Part 2: 665–668 Death of a Salesman (A. Miller), I: 81; III: 148, 149, 150, 153–154, 156, 157, 158, 159, 160, 163, 164, 166; IV: 389; Supp. IV Part 1: 359; Supp. XIV: 102, 239, 254, 255; Supp. XV: 205 “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. III Part 2: 550 “Death of a Traveling Salesman” (Welty), IV: 261; Retro. Supp. I: 344 “Death of a Young Son by Drowning” (Atwood), Supp. XIII: 33 Death of Bessie Smith, The (Albee), I: 76–77, 92 Death of Billy the Kid, The (Vidal), Supp. IV Part 2: 683 Death of Cock Robin, The (Snodgrass), Supp. VI: 315, 317–319, 324 Death of Dreams, A (Hoffman), Supp. XVIII: 79

CUMULATIVE INDEX / 345 “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. III Part 1: 34 Death of Malcolm X, The (Baraka), Supp. II Part 1: 47 “Death of Marilyn Monroe, The” (Olds), Supp. X: 205 “Death of Me, The” (Malamud), Supp. I Part 2: 437 “Death of Slavery, The” (Bryant), Supp. I Part 1: 168–169 “Death of St. Narcissus, The” (Eliot), Retro. Supp. I: 291 “Death of the Ball Turret Gunner, The” (Jarrell), II: 369–370, 372, 374, 375, 376, 378 “Death of the Fathers, The” (Sexton), Supp. II Part 2: 692 “Death of the Flowers, The” (Bryant), Supp. I Part 1: 170 Death of the Fox (Garrett), Supp. VII: 99, 101–104, 108 “Death of the Hired Man, The” (Frost), III: 523; Retro. Supp. I: 121, 128; Supp. IX: 261 Death of the Kapowsin Tavern (Hugo), Supp. VI: 133–135 “Death of the Kapowsin Tavern” (Hugo), Supp. VI: 137, 141 “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 “Deaths” (Dunn), Supp. XI: 147 “Death Sauntering About” (Hecht), Supp. X: 72 Deaths for the Ladies (and Other Disasters) (Mailer), Retro. Supp. II: 203 Death’s Jest-Book (Beddoes), Retro. Supp. I: 285 Death Song (McGrath), Supp. X: 127 “Death the Carnival Barker” (Hecht), Supp. X: 72 “Death the Film Director” (Hecht), Supp. X: 72 “Death the Judge” (Hecht), Supp. X: 72 “Death the Mexican Revolutionary” (Hecht), Supp. X: 72 “Death the Oxford Don” (Hecht), Supp. X: 72 “Death the Painter” (Hecht), Supp. X: 72 Death the Proud Brother (Wolfe), IV: 456 “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 Débâcle, La (Zola), III: 316 “Debate with the Rabbi” (Nemerov), III: 272 Debeljak, Ale&sacaron;, Supp. VIII: 272

De Bellis, Jack, Supp. I Part 1: 366, 368, 372 DeBoer-Langworthy, Carol, Supp. XVII: 98, 99, 100 De Bosis, Lauro, IV: 372 “Debriefing” (Sontag), Supp. III Part 2: 468–470 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 Debussy, Claude, Retro. Supp. II: 266; Supp. XIII: 44 Decameron (Boccaccio), III: 283, 411; Supp. IX: 215 “Deceased” (Hughes), Retro. Supp. I: 208 “December” (Oliver), Supp. VII: 245 “December 1, 1994” (Stern), Supp. IX: 299 December 7 (film, Ford), Supp. XVIII: 247 “December 24” (Di Piero), Supp. XIX: 39 “December 28: Returning to Chicago” (Di Piero), Supp. XIX: 39 “December Eclogue” (Winters), Supp. II Part 2: 794 Deception (P. Roth), Retro. Supp. II: 291; Supp. III Part 2: 426–427 “Deceptions” (Dobyns), Supp. XIII: 77 De Chiara, Ann. See Malamud, Mrs. Bernard (Ann de Chiara) De Chirico, Giorgio, Supp. XIII: 317 “Decided Loss, A” (Poe), II: 411 “Decisions to Disappear” (Dunn), Supp. XI: 144 “Decisive Moment, The” (Auster), Supp. XIV: 292 Decker, James A., Supp. III Part 2: 621 Declaration of Gentlemen and Merchants and Inhabitants of Boston, and the Country Adjacent, A (Mather), Supp. II Part 2: 450 “Declaration of Paris, The” (Adams), I: 4 Declaration of the Rights of Man and the Citizen, Supp. I Part 2: 513, 519 Declaration of Universal Peace and Liberty (Paine), Supp. I Part 2: 512 Declension in the Village of Chung Luong (Weigl), Supp. XIX: 287, 288 Decline and Fall (Waugh), Supp. I Part 2: 607; Supp. XV: 142 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. III Part 2: 629 “Decline of Book Reviewing, The” (Hardwick), Supp. III Part 1: 201– 202 Decline of the West, The (Spengler), I: 270; IV: 125 Deconstructing Harry (film; Allen), Supp. XV: 12, 13 “Décor” (X. J. Kennedy), Supp. XV: 171 “Decoration Day” (Jewett), II: 412; Retro. Supp. II: 138

Decoration of Houses, The (Wharton and Codman), IV: 308; Retro. Supp. I: 362, 363–364, 366 “Decoy” (Ashbery), Supp. III Part 1: 13–14 Dedalus, Stephen, Supp. XIX: 47 “De Daumier-Smith’s Blue Period” (Salinger), III: 560–561 “Dedication” (Nelson), Supp. XVIII: 173, 180 “Dedication and Household Map” (Erdrich), Supp. IV Part 1: 272 “Dedication Day” (Agee), I: 34 “Dedication for a Book” (Hay), Supp. XIV: 125 “Dedication for a Book of Criticism” (Winters), Supp. II Part 2: 801 “Dedication in Postscript, A” (Winters), Supp. II Part 2: 801 Dedications and Other Darkhorses (Komunyakaa), Supp. XIII: 112, 113– 114 “Dedication to Hunger” (Glück), Supp. V: 83 “Dedication to My Wife, A” (Eliot), I: 583 Dee, Ruby, Supp. IV Part 1: 362 Deeds of Utmost Kindness (Gander), Supp. XV: 340 “Deep Breath at Dawn, A” (Hecht), Supp. X: 58 Deeper into Movies: The Essential Kael Collection from ‘69 to ‘72 (Kael), Supp. IX: 253 “Deeper Wisdom, The” (Hay), Supp. XIV: 129 Deep Green Sea (R. O. Butler), Supp. XII: 62, 74 Deephaven (Jewett), II: 398–399, 400, 401, 410, 411; Retro. Supp. II: 133, 134, 135, 136, 137, 138, 140, 141, 143, 144 “Deep Sight and Rescue Missions” (Bambara), Supp. XI: 18–19 Deep Sightings and Rescue Missions: Fiction, Essays, and Conversations (Bambara), Supp. XI: 1, 3, 14–20 Deep Sleep, The (Morris), III: 224–225 Deep South (Caldwell), I: 305, 309, 310 Deepstep Come Shining (Wright), Supp. XV: 337, 341, 344, 349–350, 351, 353 “Deep Water” (Marquand), III: 56 “Deep Woods” (Nemerov), III: 272–273, 275 “Deer at Providencia, The” (Dillard), Supp. VI: 28, 32 “Deer Dancer” (Harjo), Supp. XII: 224– 225 “Deer Ghost” (Harjo), Supp. XII: 225 Deer Park, The (Mailer), I: 292; III: 27, 31–33, 35–36, 37, 39, 40, 42, 43, 44; Retro. Supp. II: 200–202, 205, 207, 211 Deer Park, The: A Play (Mailer), Retro. Supp. II: 205 Deer Pasture, The (Bass), Supp. XVI: 15, 16, 23 Deerslayer, The (Cooper), I: 341, 349, 350, 355; Supp. I Part 1: 251

346 / AMERICAN WRITERS “Defence of Poesy, The” (Sidney), Supp. V: 250 “Defence of Poetry” (Longfellow), II: 493–494 “Defender of the Faith” (P. Roth), Retro. Supp. II: 281; Supp. III Part 2: 404, 407, 420 “Defending The Searchers (Scenes in the Life of an Obsession)” (Lethem), Supp. XVIII: 136,141 “Defenestration in Prague” (Matthews), Supp. IX: 168 Defenestration of Prague (Howe), Supp. IV Part 2: 419, 426, 429–430 Defense, The (Nabokov), III: 251–252; Retro. Supp. I: 266, 268, 270–272 “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. I Part 2: 523; Supp. V: 127 De Forest, John William, II: 275, 280, 288, 289; IV: 350 DeFrees, Madeline, Supp. XVIII: 293 Degas, Brian, Supp. XI: 307 Degler, Carl, Supp. I Part 2: 496 “Degrees of Fidelity” (Dunn), Supp. XI: 148, 156 Deguy, Michel, Supp. XV: 178 De Haven, Tom, Supp. XI: 39; Supp. XII: 338–339 Deitch, Joseph, Supp. VIII: 125 “Dejection” (Coleridge), II: 97 DeJong, Constance, Supp. XII: 4 DeJong, David Cornel, I: 35 Dekker,Thomas, Supp. XVII: 232 de Kooning, Willem, Supp. XII: 198; Supp. XV: 177, 178 Delacroix, Henri, I: 227 De La Mare, Walter, III: 429; Supp. II Part 1: 4; Supp. XVII: 69 Delamotte, Eugenia C., Supp. XI: 279 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 Delano, Amasa, III: 90 Delattre, Roland A., I: 558 De Laurentiis, Dino, Supp. XI: 170, 307 De la Valdéne, Guy, Supp. VIII: 40, 42 DelCorso’s Gallery (Caputo), Supp. XIX: 22–23 De l’ éducation d’ un homme sauvage (Itard), Supp. I Part 2: 564 “Delft” (Goldbarth), Supp. XII: 189 Delft: An Essay-Poem (Goldbarth), Supp. XII: 187 Delicate Balance, A (Albee), I: 86–89, 91, 93, 94 Delicate Balance, The (Hay), Supp. XIV: 121, 122, 124, 129, 133–134

“Delicate Balance, The” (Hay), Supp. XIV: 122 “Delicate Prey, The” (Bowles), Supp. IV Part 1: 86 Delicate Prey and Other Stories, The (Bowles), Supp. IV Part 1: 86–87 Délie (Scève), Supp. III Part 1: 11 Delights & Shadows (Kooser), Supp. XIX: 115, 116, 117, 121, 127–128 DeLillo, Don, Retro. Supp. I: 278; Retro. Supp. II: 279; Supp. VI: 1–18; Supp. IX: 212; Supp. XI: 68; Supp. XII: 21, 152; Supp. XVII: 183; Supp. XVIII: 136, 140; Supp. XIX: 54 DeLisle, Anne, Supp. VIII: 175 Deliverance (Dickey), Supp. IV Part 1: 176, 186–188, 190; Supp. X: 30 Deliverance, The (Glasgow), II: 175, 176, 177–178, 181 “Delivering” (Dubus), Supp. VII: 87 Dell, Floyd, I: 103, 105; Supp. I Part 2: 379; Supp. XV: 295; Supp. XVII: 96 Della Francesca, Piero, Supp. XV: 262 “Della Primavera Trasportata al Morale” (W. C. Williams), Retro. Supp. I: 419, 422 DeLoria, Philip J., Supp. XIV: 306 Deloria, Vine, Jr., Supp. IV Part 1: 323; Supp. IV Part 2: 504 “Delta Autumn” (Faulkner), II: 71 “Delta Factor, The” (Percy), Supp. III Part 1: 386 Delta of Venus: Erotica (Nin), Supp. X: 192, 195 Delta Wedding (Welty), IV: 261, 268– 271, 273, 281; Retro. Supp. I: 349– 350, 351 Delusions (Berryman), I: 170 De Man, Paul, Supp. XVII: 70 de Man, Paul, Retro. Supp. I: 67 DeMarinis, Rick, Supp. XIV: 22 DeMars, James, Supp. IV Part 2: 552 Dembo, L. S., I: 386, 391, 396, 397, 398, 402; III: 478; Supp. I Part 1: 272; Supp. XIV: 277, 282, 288, 290 “Dementia Translucida” (Bierds), Supp. XVII: 33 Demetrakopoulous, Stephanie A., Supp. IV Part 1: 12 DeMille, Cecil B., Supp. IV Part 2: 520; Supp. XV: 42 Demme, Jonathan, Supp. V: 14 Democracy (Adams), I: 9–10, 20; Supp. IV Part 1: 208; Supp. XIX: 139 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; Supp. XIV: 306 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. IV Part 1: 35; Supp. V: 123; Supp. XIII: 95; Supp. XIV: 106 DeMott, Robert, Supp. VIII: 40, 41 Demuth, Charles, IV: 404; Retro. Supp. I: 412, 430 “Demystified Zone” (Paley), Supp. VI: 227 Denmark Vesey (opera) (Bowles), Supp. IV Part 1: 83 Denney, Joseph Villiers, Supp. I Part 2: 605 Denney, Reuel, Supp. XII: 121 Dennie, Joseph, II: 298; Supp. I Part 1: 125 Denniston, Dorothy Hamer, Supp. XI: 276, 277 “Den of Lions” (Plath), Retro. Supp. II: 242 “Dental Assistant, The” (Simpson), Supp. IX: 280 Den Uyl, Douglas, Supp. IV Part 2: 528, 530 “Deodand, The” (Hecht), Supp. X: 65 “Departing” (Cameron), Supp. XII: 81 “Departure” (Glück), Supp. V: 89 “Departure” (Plath), Supp. I Part 2: 537 “Departure, The” (Freneau), Supp. II Part 1: 264 “Departure from Hydra, The” (Koch), Supp. XV: 180–181 Departures (Justice), Supp. VII: 124– 127 Departures and Arrivals (Shields), Supp. VII: 320, 322 “Depressed by a Book of Bad Poetry, I Walk Toward an Unused Pasture and Invite the Insects to Join Me” (Wright), Supp. III Part 2: 600 “Depressed Person, The” (Wallace), Supp. X: 309 “Depression Days” (Mora), Supp. XIII: 224–225 De Puy, John, Supp. XIII: 12 D’ Erasmo, Stacey, Supp. IX: 121 Derby, J. C., Supp. XVIII: 4 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 “Derivative Sport in Tornado Alley” (Wallace), Supp. X: 314 Derleth, August, Supp. I Part 2: 465, 472 Deronda, Daniel, II: 179 Derricotte, Toi, Supp. XVIII: 177 Derrida, Jacques, Supp. IV Part 1: 45; Supp. XV: 215, 224; Supp. XVI: 285, 288 Deruddere, Dominique, Supp. XI: 173 Der Wilde Jäger (Bürger), II: 306

CUMULATIVE INDEX / 347 Derzhavin, Gavrila Romanovich, Supp. VIII: 27 Desai, Anita, Supp. XVI: 156, 157, 158 De Santis, Christopher, Retro. Supp. I: 194 Descartes, René, I: 255; III: 618–619; IV: 133 Descendents, The (Glasgow), II: 173, 174–175, 176 Descending Figure (Glück), Supp. V: 83–84 “Descending Theology: Christ Human” (Karr), Supp. XI: 251 “Descending Theology: The Garden” (Karr), Supp. XI: 251 “Descent, The” (W. C. Williams), Retro. Supp. I: 428, 429 “Descent from the Cross” (Eliot), Retro. Supp. I: 57, 58 “Descent in the Maelström, A” (Poe), Retro. Supp. II: 274 “Descent into Proselito” (Knowles), Supp. XII: 237 “Descent into the Maelström, A” (Poe), III: 411, 414, 416, 424 Descent of Man (Boyle), Supp. VIII: 1, 12–13 “Descent of Man” (Boyle), Supp. VIII: 14 Descent of Man, The (Darwin), Supp. XIV: 192 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 (W. C. Williams), Retro. Supp. I: 419, 428 De Schloezer, Doris, III: 474 “Describers” (Halliday), Supp. XIX: 85 “Description” (Doty), Supp. XI: 126 “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 “Desert” (Hughes), Retro. Supp. I: 207 “Deserted Cabin” (Haines), Supp. XII: 203 Deserted Village, The (Goldsmith), II: 304 Desert Is My Mother, The/El desierto es mi madre (Mora), Supp. XIII: 214, 221 Desert Music, The (W. C. Williams), IV: 422; Retro. Supp. I: 428, 429 “Desert Music, The” (W. C. Williams), Retro. Supp. I: 428, 429 “Desert Places” (Frost), II: 159; Retro. Supp. I: 121, 123, 129, 138, 299; Supp. XIV: 229 Desert Rose, The (McMurtry), Supp. V: 225, 231 Desert Solitaire (Abbey), Supp. X: 30; Supp. XIII: 7–8, 12; Supp. XIV: 177, 179 “Design” (Frost), II: 158, 163; Retro. Supp. I: 121, 126, 138, 139; Supp. IX: 81; Supp. XVII: 132; Supp. XVIII: 298

“Designated National Park, A” (Ortiz), Supp. IV Part 2: 509 “Designs on a Point of View” (Everwine), Supp. XV: 76 Des Imagistes (Pound), II: 513; Supp. I Part 1: 257, 261, 262 Desire (album, Dylan), Supp. XVIII: 28 “Desire” (Beattie), Supp. V: 29 Desire (Bidart), Supp. XV: 32–34, 35 “Desire” (Everwine), Supp. XV: 85 “Désirée’s Baby” (Chopin), Retro. Supp. II: 64, 65; Supp. I Part 1: 213–215 Desire under the Elms (O’ Neill), III: 387, 390 “Desolate Field, The” (W. C. Williams), Retro. Supp. I: 418 “Desolation, A” (Ginsberg), Supp. II Part 1: 313 Desolation Angels (Kerouac), Supp. III Part 1: 218, 225, 230 “Desolation Is a Delicate Thing” (Wylie), Supp. I Part 2: 729 “Desolation Row” (song, Dylan), Supp. XVIII: 30 Despair (Nabokov), Retro. Supp. I: 270, 274 “Despisals” (Rukeyser), Supp. VI: 282 Des Pres, Terrence, Supp. X: 113, 120, 124 “Destiny and the Lieutenant” (McCoy), Supp. XIII: 171 “Destruction of Kreshev, The” (Singer), IV: 13; Retro. Supp. II: 307 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, 243– 244, 245, 247, 250 Destructive Element, The (Spender), Retro. Supp. I: 216 “Detail & Parody for the poem ‘Paterson’ ” (W. C. Williams), Retro. Supp. I: 424 Detmold, John, Supp. I Part 2: 670 Detour at Night (Endore), Supp. XVII: 64 Deuce, The (R. O. Butler), Supp. XII: 62, 69–70, 72 Deus Lo Volt! (Connell), Supp. XIV: 80, 81, 95 Deuteronomy (biblical book), II: 166 Deutsch, Andre, Supp. XI: 297, 301 Deutsch, Babette, Supp. I Part 1: 328, 341 Deutsch, Michel, Supp. IV Part 1: 104 Deutsche, Babette, Supp. XV: 305 “Devaluation Blues: Ruminations on Black Families in Crisis” (Coleman), Supp. XI: 87 Devane, William, Supp. XI: 234 “Development of the Literary West” (Chopin), Retro. Supp. II: 72 “Development of the Modern English Novel, The” (Lanier), Supp. I Part 1: 370–371 DeVeriante (Herbert of Cherbury), II: 108

“Devil and Daniel Webster, The” (Benét), III: 22; Supp. XI: 45–46, 47, 50–51, 52 Devil and Daniel Webster and Other Writings, The (Benét), Supp. XI: 48 “Devil and Tom Walker, The” (Irving), II: 309–310 Devil At Large, The: Erica Jong on Henry Miller (Jong), Supp. V: 115, 131 Devil-Doll, The (film, Browning), Supp. XVII: 58–59 Devil Finds Work, The (Baldwin), Retro. Supp. II: 14; Supp. I Part 1: 48, 52, 66–67 Devil in a Blue Dress (Mosley), Supp. XIII: 237, 239 “Devil in Manuscript, The” (Hawthorne), II: 226; Retro. Supp. I: 150–151 Devil in Paradise, A (H. Miller), III: 190 “Devil in the Belfry, The” (Poe), III: 425; Retro. Supp. II: 273 “Devil Is a Busy Man, The” (Wallace), Supp. X: 309 Devil’s Dictionary, The (Bierce), I: 196, 197, 205, 208, 209, 210 Devil’s Stocking, The (Algren), Supp. IX: 5, 16 “Devil’s Thumb, The” (Krakauer), Supp. XVIII: 107 Devil’s Tour, The (Karr), Supp. XI: 240, 242–244 Devil Tree, The (Kosinski), Supp. VII: 215, 222, 223 “Devising” (Ammons), Supp. VII: 28 Devlin, Paul, Supp. XIX: 159 De Voto, Bernard, I: 247, 248; II: 446; Supp. IV Part 2: 599, 601 “Devout Meditation in Memory of Adolph Eichmann, A” (Merton), Supp. VIII: 198, 203 De Vries, Peter, Supp. I Part 2: 604 Dewberry, Elizabeth, Supp. XII: 62, 72 Dewey, John, I: 214, 224, 228, 232, 233, 266, 267; II: 20, 27, 34, 229, 361; III: 112, 294–295, 296, 303, 309–310, 599, 605; IV: 27, 429; Supp. I Part 1: 3, 5, 7, 10, 11, 12, 24; Supp. I Part 2: 493, 641, 647, 677; Supp. V: 290; Supp. IX: 179; Supp. XIV: 3; Supp. XV: 41 Dewey, Joseph, Supp. IX: 210 Dewey, Thomas, IV: 161 Dewey Defeats Truman (Mallon), Supp. XIX: 132, 137, 138 Dexter, Peter, Supp. XIV: 221 De Young, Charles, I: 194 Dhairyam, Sagari, Supp. IV Part 1: 329, 330 Dharma Bums, The (Kerouac), Supp. III Part 1: 230, 231; Supp. VIII: 289, 305 “D. H. Lawrence” (Bynner), Supp. XV: 46 D. H. Lawrence: An Unprofessional Study (Nin), Supp. X: 182–183 D. H. Lawrence: The World of the Major Novels (Sanders), Supp. XVI: 267 D’ Houdetot, Madame, Supp. I Part 1: 250

348 / AMERICAN WRITERS “Diabetes” (Dickey), Supp. IV Part 1: 182 Diaghilev, Sergei, Supp. I Part 1: 257 Dial (publication), I: 58, 109, 115, 116, 215, 231, 233, 245, 261, 384, 429; II: 8, 430; III: 194, 470, 471, 485; IV: 122, 171, 427; Retro. Supp. I: 58; Retro. Supp. II: 78; Supp. I Part 2: 642, 643, 647; Supp. II Part 1: 168, 279, 291; Supp. II Part 2: 474; Supp. III Part 2: 611 “Dialectical Materialism” (Weigl), Supp. XIX: 281 “Dialectics of Love, The” (McGrath), Supp. X: 116 “Dialogue” (Rich), Supp. I Part 2: 560 Dialogue, A (Baldwin and Giovanni), Supp. I Part 1: 66 “Dialogue Between Franklin and the Gout” (Franklin), II: 121 “Dialogue Between General Wolfe and General Gage in a Wood near Boston, A” (Paine), Supp. I Part 2: 504 “Dialogue between Old England and New” (Bradstreet), Supp. I Part 1: 105–106, 110–111, 116 “Dialogue between the Writer and a Maypole Dresser, A” (Taylor), IV: 155 Dialogues (Bush, ed.), III: 4 Dialogues in Limbo (Santayana), III: 606 “Dialogue: William Harvey; Joan of Arc” (Goldbarth), Supp. XII: 178 “Diamond as Big as the Ritz, The” (Fitzgerald), II: 88–89 Diamond Cutters and Other Poems, The (Rich), Supp. I Part 2: 551, 552, 553 “Diamond Guitar, A” (Capote), Supp. III Part 1: 124 “Diana and Persis” (Alcott), Supp. I Part 1: 32, 41 “Diaper Brigade, The” (Ryan as Quin), Supp. XVIII: 230 Diaries of Charlotte Perkins Gilman (Knight, ed.), Supp. XI: 201 Diary of a Chambermaid, The (film; Renoir), Supp. XVI: 193 Diary of Anaïs Nin, The (1931–1974), Supp. X: 181, 185–189, 191, 192, 193, 195 Diary of a Rapist, The: A Novel (Connell), Supp. XIV: 80, 82, 94 Diary of a Yuppie (Auchincloss), Supp. IV Part 1: 31, 32–33 Diary of “Helena Morley“, The (Bishop, trans.), Retro. Supp. II: 45, 51; Supp. I Part 1: 92 Díaz del Castillo, Bernál, III: 13, 14 Dick, Philip K., Supp. XVI: 123; Supp. XVIII: 136, 137, 138, 139, 142 Dickens, Charles, I: 152, 198, 505; II: 98, 179, 186, 192, 271, 273–274, 288, 290, 297, 301, 307, 316, 322, 559, 561, 563, 577, 582; III: 146, 247, 325, 368, 411, 421, 426, 572, 577, 613– 614, 616; IV: 21, 192, 194, 211, 429; Retro. Supp. I: 33, 91, 218; Retro. Supp. II: 204; Supp. I Part 1: 13, 34, 35, 36, 41, 49; Supp. I Part 2: 409, 523, 579, 590, 622, 675; Supp. IV Part 1: 293, 300, 341; Supp. IV

Part 2: 464; Supp. VIII: 180; Supp. IX: 246; Supp. XI: 277; Supp. XII: 335, 337; Supp. XIII: 233; Supp. XV: 62; Supp. XVI: 63, 65–66, 72–73, 202; Supp. XVIII: 7, 136, 146 Dickey, James, I: 29, 535; III: 268; Retro. Supp. II: 233; Supp. III Part 1: 354; Supp. III Part 2: 541, 597; Supp. IV Part 1: 175–194; Supp. V: 333; Supp. X: 30; Supp. XI: 312, 317; Supp. XV: 115, 348; Supp. XVIII: 191, 299; Supp. XIX: 282 Dick Gibson Show, The (Elkin), Supp. VI: 42, 48–49 Dickie, Margaret, Retro. Supp. II: 53, 84 Dickinson, Donald, Retro. Supp. I: 206, 212 Dickinson, Edward, I: 451–452, 453 Dickinson, Emily, I: 384, 419, 433, 451– 473; II: 272, 276, 277, 530; III: 19, 194, 196, 214, 493, 505, 508, 556, 572, 576; IV: 134, 135, 331, 444; Retro. Supp. I: 25–50; Retro. Supp. II: 39, 40, 43, 45, 50, 76, 134, 155, 170; Supp. I Part 1: 29, 79, 188, 372; Supp. I Part 2: 375, 546, 609, 682, 691; Supp. II Part 1: 4; Supp. III Part 1: 63; Supp. III Part 2: 600, 622; Supp. IV Part 1: 31, 257; Supp. IV Part 2: 434, 637, 641, 643; Supp. V: 79, 140, 332, 335; Supp. VIII: 95, 104, 106, 108, 198, 205, 272; Supp. IX: 37, 38, 53, 87, 90; Supp. XII: 226; Supp. XIII: 153, 339; Supp. XIV: 45, 127–128, 133, 261, 284; Supp. XV: 287, 303, 309; Supp. XVI: 288; Supp. XVII: 71, 73, 74, 75, 132; Supp. XVIII: 301; Supp. XIX: 86 Dickinson, Gilbert, I: 469 Dickinson, Goldsworthy Lowes, Supp. XIV: 336 Dickinson, Lavinia Norcross, I: 451, 453, 462, 470 Dickinson, Mrs. Edward, I: 451, 453 Dickinson, Mrs. William A. (Susan Gilbert), I: 452, 453, 456, 469, 470 Dickinson, William Austin, I: 451, 453, 469 Dickinson and the Strategies of Reticence (Dobson), Retro. Supp. I: 29, 42 Dickson, Helen. See Blackmur, Helen Dickson Dickstein, Morris, Supp. XIII: 106 “Dick Whittington and His Cat“, Supp. I Part 2: 656 “DICTATORSHIP OF THE PROLETARIAT, THE” (Baraka), Supp. II Part 1: 54 Dictionary of Literary Biography (Barron and Meyer, eds.), Supp. XVIII: 173; Supp. XIX: 195 Dictionary of Literary Biography (Gwynn, ed.), Supp. XVIII: 173; Supp. XIX: 121 Dictionary of Literary Biography (Kibler, ed.), Supp. IX: 94, 109; Supp. XI: 297 Dictionary of Literary Biography (Knight), Supp. XIV: 144

Dictionary of Literary Biography (Sicher, ed.), Supp. XVII: 41 Dictionary of Modern English Usage, A (Fowler), Supp. I Part 2: 660 “Dictum: For a Masque of Deluge” (Merwin), Supp. III Part 1: 342–343 “Didactic Poem” (Levertov), Supp. III Part 1: 280 Diderot, Denis, II: 535; IV: 440; Supp. XVI: 293; Supp. XVII: 145 Did I Ever Tell You How Lucky You Are? (Geisel), Supp. XVI: 109 Didion, Joan, Retro. Supp. I: 116; Retro. Supp. II: 209; Supp. I Part 1: 196, 197; Supp. III Part 1: 302; Supp. IV Part 1: 195–216; Supp. XI: 221; Supp. XII: 307 Dido, I: 81 “Did You Ever Dream Lucky?” (Ellison), Supp. II Part 1: 246 “Die-Hard, The” (Benét), Supp. XI: 54– 55, 56 Diehl, Digby, Supp. IV Part 1: 204 Dien Cai Dau (Komunyakaa), Supp. XIII: 121, 122–124, 125, 131, 132 Dies, Martin, Supp. XVIII: 229 “Dies Irae” (Lowell), II: 553 Die Zeit Ohne Beispiel, (Goebbels), III: 560 Difference Engine, The (W. Gibson and B. Sterling), Supp. XVI: 121, 124, 128–129 Different Drummer, A (Larkin; film), Supp. XI: 20 Different Fleshes (Goldbarth), Supp. XII: 181–182, 188 Different Hours (Dunn), Supp. XI: 139, 142, 143, 155 Different Seasons (King), Supp. V: 148, 152 Different Ways to Pray (Nye), Supp. XIII: 274, 275, 277, 285, 287 “Different Ways to Pray” (Nye), Supp. XIII: 275 “Difficulties of a Statesman” (Eliot), I: 580 “Difficulties of Modernism and the Modernism of Difficulty” (Poirier), Supp. II Part 1: 136 Diff’ rent (O’ Neill), III: 389 DiGaetani, John L., Supp. XIII: 200 “Digging” (Sanders), Supp. XVI: 272 “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 “Dignity of Life, The” (C. Bly), Supp. XVI: 34, 36–37 Digregorio, Charles, Supp. XI: 326 “Dilemma” (Budbill), Supp. XIX: 2 “Dilemma of Determinism, The” (James), II: 347–348, 352 “Dilemma of the Negro Writer, The” (speech, C. Himes), Supp. XVI: 140 “Dilettante, The” (Wharton), IV: 311, 313 “Dilettante, The: A Modern Type” (Dunbar), Supp. II Part 1: 199 Dillard, Annie, Supp. VI: 19–39; Supp. VIII: 272; Supp. X: 31; Supp. XIII: 154

CUMULATIVE INDEX / 349 Dillard, R. H. W., Supp. XII: 16 Dillman, Bradford, III: 403; Supp. XII: 241 Dillon, Brian, Supp. X: 209 Dillon, George, III: 141; Supp. III Part 2: 621 Dillon, Millicent, Supp. IV Part 1: 95 Dilsaver, Paul, Supp. XIII: 112 Dilthey, Wilhelm, I: 58 Dime-Store Alchemy: The Art of Joseph Cornell, Supp. VIII: 272 “Diminuendo” (Dunn), Supp. XI: 152– 153 “Dimout in Harlem” (Hughes), Supp. I Part 1: 333 “Dinah’s Lament” (Nelson), Supp. XVIII: 183 Dinesen, Isak, IV: 279; Supp. VIII: 171; Supp. XVI: 250 Dining Room, The (Gurney), Supp. V: 105–106 “Dinner at ———, A” (O. Henry), Supp. II Part 1: 402 “Dinner at Sir Nigel’s” (Bowles), Supp. IV Part 1: 94 Dinner at the Homesick Restaurant (Tyler), Supp. IV Part 2: 657, 667– 668 “Dinner at Uncle Borris’s” (Simic), Supp. VIII: 272 Dinner Bridge (Lardner), II: 435 Dinosaur Tales (Bradbury), Supp. IV Part 1: 103 “Diogenes Invents a Game” (Karr), Supp. XI: 240–241 “Diogenes Tries to Forget” (Karr), Supp. XI: 241 Dionysis in Doubt (Robinson), III: 510 Diop, Birago, Supp. IV Part 1: 16 Diop, David, Supp. IV Part 1: 16 Di Piero, W. S., Supp. XVII: 241; Supp. XIX: 33–48 Di Prima, Diane, Supp. III Part 1: 30; Supp. XIV: 125, 144, 148, 150 Direction of Poetry, The: An Anthology of Rhymed and Metered Verse Written in the English Language since 1975 (Richman, ed.), Supp. XV: 250, 251 Direction of Poetry, The: Rhymed and Metered Verse Written in the English Language since 1975 (Richman), Supp. XI: 249 “Directive” (Bishop), Retro. Supp. II: 42 “Directive” (Frost), III: 287; Retro. Supp. I: 140; Supp. VIII: 32, 33 “Dire Cure” (Matthews), Supp. IX: 168 “Dirge” (Dunbar), Supp. II Part 1: 199 “Dirge without Music” (Millay), III: 126 “Dirt” (Salter), Supp. IX: 257, 260, 261 “Dirt and Desire: Essay on the Phenomenology of Female Pollution in Antiquity” (Carson), Supp. XII: 111 Dirty Dingus Magee (film), Supp. XVII: 139 “Dirty English Potatoes” (X. J. Kennedy), Supp. XV: 165 “Dirty Memories” (Olds), Supp. X: 211 Dirty Story (Shanley), Supp. XIV: 316, 331

“Dirty Word, The” (Shapiro), Supp. II Part 2: 710 Disappearance of the Jews, The (Mamet), Supp. XIV: 249–250, 250–251, 252, 254 Disappearances (Auster), Supp. XII: 23 “Disappearances” (Hogan), Supp. IV Part 1: 401 “Disappeared, The ” (C. Baxter), Supp. XVII: 19 Disappearing Acts (McMillan), Supp. XIII: 182, 183, 188–189, 192 Disappearing Ink: Poetry at the End of Print Culture (Gioia), Supp. XV: 112 “Disappointment, The” (Creeley), Supp. IV Part 1: 143 “Disappointment and Desire” (R. Bly), Supp. IV Part 1: 71 Disappointment Artist, The (Lethem), Supp. XVIII: 135, 141, 148 “Discards” (Baker), Supp. XIII: 53, 55–56 Discerning the Signs of the Times (Niebuhr), III: 300–301, 307–308 Disch, Thomas M., Supp. XIX: 1 “Disciple of Bacon, The” (Epstein), Supp. XII: 163–164 “Discordants” (Aiken), I: 65 Discourse on Method (Descartes), I: 255 “Discourtesies” (Kirsch), Supp. XV: 341 “Discovering Theme and Structure in the Novel” (Schuster), Supp. VIII: 126 “Discovery” (Freneau), Supp. II Part 1: 258 “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 (play, Schulberg and Breit), Supp. XVIII: 254 Disenchanted, The (Schulberg), II: 98; Retro. Supp. I: 113; Supp. XVIII: 247–250, 253 Disenchantments: An Anthology of Modern Fairy Tale Poetry (Mieder), Supp. XIV: 126 “Dish of Green Pears, A” (Ríos), Supp. IV Part 2: 552 “Disillusion and Dogma” (Untermeyer), Supp. XV: 306 Dismantling the Silence (Simic), Supp. VIII: 273–274, 275, 276 Disney, Walt, III: 275, 426 “Disney of My Mind” (Chabon), Supp. XI: 63 Dispatches (Herr), Supp. XI: 245; Supp. XIX: 17 “Displaced Person, The” (O’ Connor), III: 343–344, 350, 352, 356; Retro. Supp. II: 229, 232, 236 “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 “Dissenting Opinion on Kafka, A” (Wilson), IV: 437–438 Dissent in Three American Wars (Morison, Merk, and Freidel), Supp. I Part 2: 495 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. III Part 1: 146 “Distance” (Everwine), Supp. XV: 85 “Distance” (Paley), Supp. VI: 222 “Distance, The” (Karr), Supp. XI: 241 “Distance from the Sea, A” (Kees), Supp. XV: 147 “Distance Nowhere” (Hughes), Retro. Supp. I: 207 “Distance Up Close, The” (Peacock), Supp. XIX: 196–197, 198 “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 Guest, The (Miller), Supp. XII: 299–301 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, 489–490, 492 Disturber of the Peace (Manchester), III: 103 Disturbing the Peace (Yates), Supp. XI: 345, 346 “Diver, The” (Hayden), Supp. II Part 1: 368, 372, 373 “Divided Life of Jean Toomer, The” (Toomer), Supp. III Part 2: 488 Divina Commedia (Longfellow, trans.), II: 490, 492, 493 “Divine, The” (Di Piero), Supp. XIX: 41 “Divine Collaborator” (Simic), Supp. VIII: 282 Divine Comedies (Merrill), Supp. III 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; Supp. X: 253; Supp. XIV: 6; Supp. XIX: 36, 39 “Divine Image, The” (Blake), Supp. V: 257 Divine Pilgrim, The (Aiken), I: 50, 55 Divine Tragedy, The (Longfellow), II: 490, 500, 505, 506, 507; Retro. Supp. II: 165, 166 Divine Weekes and Workes (Sylvester, trans.), Supp. I Part 1: 104 Divine Weeks (Du Bartas), IV: 157–158

350 / AMERICAN WRITERS Diving into the Wreck: Poems 1971–1972 (Rich), Supp. I Part 2: 550, 559–565, 569; Supp. XV: 252 “Diving Past African Violets” (A. Finch), Supp. XVII: 72 Diving Rock on the Hudson, A (H. Roth), Supp. IX: 236, 237–238 “Divinity in Its Fraying Fact, A” (Levis), Supp. XI: 271 “Divinity School Address” (Emerson), II: 12–13 “Divisions upon a Ground” (Hecht), Supp. X: 58 “Divorce” (Karr), Supp. XI: 244 “Divorced Fathers and Pizza Crusts” (Halliday), Supp. XIX: 93 Divorced in America: Marriage in an Age of Possibility (Epstein), Supp. XIV: 113 “Divorce Dream” (Halliday), Supp. XIX: 90 Dix, Douglas Shields, Supp. XII: 14 Dixie City Jam (Burke), Supp. XIV: 32 Dixon, Ivan, Supp. IV Part 1: 362 Dixon, Stephen, Supp. XII: 139–158 Dixon, Terrell F., Supp. XVI: 21 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 “Doaksology, The” (Wolfe), IV: 459 Do Androids Dream of Electric Sheep? (Dick), Supp. XVIII: 137 Dobie, J. Frank, Supp. V: 225; Supp. XIII: 227 Döblin, Alfred, Supp. XV: 137 Dobriansky, Lev, Supp. I Part 2: 648, 650 Dobrin, Sidney I., Supp. XVIII: 192, 195 Dobson, Joanne, Retro. Supp. I: 29, 31, 42; Supp. XVIII: 259 Dobyns, Stephen, Supp. XIII: 73–92 “Docking at Palermo” (Hugo), Supp. VI: 137–138 “Dock Rats” (Moore), III: 213 “Dock-Witch, The” (Ozick), Supp. V: 262, 264 “Doc Mellhorn and the Pearly Gates” (Benét), Supp. XI: 55 “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 Jazz (Carruth), Supp. XVI: 47, 59 “Doctor Jekyll” (Sontag), Supp. III Part 2: 469 “Doctor Leavis and the Moral Tradition” (Trilling), Supp. III 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

Doctorow, E. L., Retro. Supp. I: 97; Supp. III Part 2: 590, 591; Supp. IV Part 1: 217–240; Supp. V: 45; Supp. XVI: 73; Supp. XVII: 183 Doctor Sax (Kerouac), Supp. III Part 1: 220–222, 224–227 Doctor Sleep (Bell), Supp. X: 9–11 “Doctors’ Row” (Aiken), I: 67 Doctor’s Son and Other Stories, The (O’ Hara), III: 361 Doctor Stories, The (W. C. Williams), Retro. Supp. I: 424 “Doctor’s Wife, The” (Ozick), Supp. V: 262, 265 Doctor Zhivago (Pasternak), IV: 434, 438, 443 “Documentary” (Simic), Supp. VIII: 282 Dodd, Elizabeth, Supp. V: 77 Dodd, Wayne, Supp. IV Part 2: 625 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” (B. Kelly), Supp. XVII: 126 Dog (Shepard), Supp. III Part 2: 434 “Dog Act, The” (Komunyakaa), Supp. XIII: 114–115 “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 “Dogfight” (W. Gibson and Swanwick), Supp. XVI: 128 Dog in the Manger, The (Vega; Merwin, trans.), Supp. III Part 1: 341, 347 Dogs Bark, but the Caravan Rolls On (Conroy), Supp. XVI: 63, 70, 74, 75–76 Dogs Bark, The: Public People and Private Places (Capote), Supp. III Part 1: 120, 132 Dog Soldiers (Stone), Supp. V: 298, 299– 301 Dog Star, The (Di Piero), Supp. XIX: 38, 40–41, 43 “Dog Stories” (Prose), Supp. XVI: 256 Dog & the Fever, The (Quevedo), Retro. Supp. I: 423 “Dogtown Letters, The” (Jarman and R. McDowell), Supp. XVII: 111 “Dogwood, The” (Levertov), Supp. III Part 1: 276 “Dogwood Tree, The: A Boyhood” (Updike), IV: 218; Retro. Supp. I: 318, 319 Doig, Ivan, Supp. XIV: 227 “Doing Battle with the Wolf” (Coleman), Supp. XI: 87–88 Doing Literary Business: American Women Writers in the Nineteenth Century (Coultrap-McQuin), Supp. XVI: 85

Doings and Undoings (Podhoretz), Supp. VIII: 236–237 “Do-It-Yourself” (C. Baxter), Supp. XVII: 14–15 Dolan, Jill, Supp. XV: 327 “Dolce Far’ Niente” (Humphrey), Supp. IX: 106 Dolci, Carlo, III: 474–475 Dollars and Cents (A. Warner), Supp. XVIII: 264 “Dollhouse, The” (Haines), Supp. XII: 204 Dollmaker’s Ghost, The (Levis), Supp. XI: 259, 260, 264–268 Doll’s House, A (Ibsen), III: 523; IV: 357; Supp. XVI: 182 Dolmetsch, Arnold, III: 464 Dolores Claiborne (King), Supp. V: 138, 141, 147, 148, 149–150, 152 “Dolph Heyliger” (Irving), II: 309 Dolphin, The (Lowell), Retro. Supp. II: 183, 186, 188, 190–191; Supp. XII: 253–254 “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 Economy” (Gilman), Supp. XI: 206 “Domestic Manners” (Hardwick), Supp. III Part 1: 211 “Dominant White, The” (McKay), Supp. X: 134 Dominguez, Robert, Supp. VIII: 83 Domini, John, Supp. XIX: 45 Dominique, Jean. See Closset, Marie Donahoe, Edward, Supp. XVIII: 132 Donahue, Phil, Supp. IV Part 2: 526; Supp. X: 311 Doña Perfecta (Galdós), II: 290 Dong, Stella, Supp. XVI: 222 Don Juan (Byron), Supp. XV: 259 “DON JUAN IN HELL” (Baraka), Supp. II Part 1: 33 Donkey of God, The (Untermeyer), Supp. XV: 310 “Donna mi Prega” (Cavalcanti), Supp. III 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; Retro. Supp. II: 76; Supp. I Part 1: 80, 364, 367; Supp. I Part 2: 421, 424, 467, 725, 726; Supp. III Part 2: 614, 619; Supp. VIII: 26, 33, 164; Supp. IX: 44; Supp. XII: 45, 159; Supp. XIII: 94, 130; Supp. XIV: 122; Supp. XV: 92, 251; Supp. XVI: 158, 204; Supp. XVIII: 35, 39, 50– 51, 307 Donne’s Sermons: Selected Passages (L. P. Smith, ed.), Supp. XIV: 342 Donoghue, Denis, I: 537; Supp. IV Part 1: 39; Supp. VIII: 105, 189 Donohue, H. E. F., Supp. IX: 2, 3, 15, 16

CUMULATIVE INDEX / 351 “Do Not Weep Maiden, For War Is Kind” (Crane), Supp. XVIII: 75 Donovan, Josephine, Retro. Supp. II: 138, 139, 147 Don Quixote (Cervantes), I: 134; II: 291, 434; III: 113, 614; Supp. I Part 2: 422; Supp. IX: 94 Don Quixote: Which Was a Dream (Acker), Supp. XII: 5, 12–14 Don’ t Ask (Levine), Supp. V: 178 Don’ t Ask Questions (Marquand), III: 58 Don’ t Bet on the Prince: Contemporary Feminist Fairy Tales in North America and England (Zipes), Supp. XIV: 126 Don’ t Drink the Water (Allen), Supp. XV: 3, 14 Don’ t Look Back (film, Pennebaker), Supp. XVIII: 19 “Don’ t Shoot the Warthog” (Corso), Supp. XII: 123 “Don’ t Tell Mother” (Wasserstein), Supp. XV: 319 “Don’ t Think Twice, It’s All Right” (song, Dylan), Supp. XVIII: 24 Don’ t Worry About the Kids (Neugeboren), Supp. XVI: 226 “Don’ t Worry About the Kids” (Neugeboren), Supp. XVI: 226 Don’ t You Want to Be Free? (Hughes), Retro. Supp. I: 203; Supp. I Part 1: 339 “Doodler, The” (Merrill), Supp. III Part 1: 321 Doolan, Moira, Retro. Supp. II: 247 Doolittle, Hilda (H. D.), II: 517, 520– 521; III: 194, 195–196, 457, 465; IV: 404, 406; Retro. Supp. I: 288, 412, 413, 414, 415, 417; Supp. I Part 1: 253–275; Supp. I Part 2: 707; Supp. III Part 1: 48; Supp. III Part 2: 610; Supp. IV Part 1: 257; Supp. V: 79; Supp. XV: 43, 249, 301, 302; Supp. XVII: 77 Doolittle, Thomas, IV: 150 “Doomed by Our Blood to Care” (Orfalea), Supp. XIII: 278 “Doomsday” (Plath), Retro. Supp. II: 242 Doomsters, The (Macdonald), Supp. IV Part 2: 462, 463, 472, 473 “Door, The” (Creeley), Supp. IV Part 1: 145, 146, 156–157 “Door, The” (White), Supp. I Part 2: 651, 675–676 “Door in the Dark, The” (Frost), II: 156 Door in the Hive, A (Levertov), Supp. III Part 1: 283, 284 “Door of the Trap, The” (Anderson), I: 112 Doors (Hoffman), Supp. XVIII: 86–87 “Doors” (Hoffman), Supp. XVIII: 86–87 “Doors, Doors, Doors” (Sexton), Supp. II Part 2: 681 Doors, The, Supp. X: 186 “Doorways into the Depths” (Sanders), Supp. XVI: 272 Doreski, William, Retro. Supp. II: 185 Dorfman, Ariel, Supp. IX: 131, 138 Dorfman, Joseph, Supp. I Part 2: 631, 647, 650

Dorman, Jen, Supp. XI: 240 Dorn, Edward, Supp. IV Part 1: 154 “Dorothea Dix, Samaritan” (J. Scott), Supp. XVII: 189 Dorr, Julia, Supp. XV: 286 Dorris, Michael, Supp. IV Part 1: 260, 272 Dos Passos, John, I: 99, 288, 374, 379, 474–496, 517, 519; II: 74, 77, 89, 98; III: 2, 28, 29, 70, 172, 382–383; IV: 340, 427, 433; Retro. Supp. I: 105, 113, 187; Retro. Supp. II: 95, 196; Supp. I Part 2: 646; Supp. III Part 1: 104, 105; Supp. V: 277; Supp. VIII: 101, 105; Supp. XIV: 24; Supp. XV: 135, 137, 182; Supp. XVII: 105, 107 “Dos Passos: Poet Against the World” (Cowley), Supp. II Part 1: 143, 145 Dostoevsky, Fyodor, 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; Retro. Supp. II: 20, 204, 299; Supp. I Part 1: 49; Supp. I Part 2: 445, 466; Supp. IV Part 2: 519, 525; Supp. VIII: 175; Supp. X: 4–5; Supp. XI: 161; Supp. XII: 322; Supp. XVI: 63; Supp. XVII: 225; Supp. XVIII: 278, 280 Doty, Mark, Supp. IX: 42, 300; Supp. XI: 119–138 Doty, M. R. See Dawson, Ruth; Doty, Mark Double, The (Dostoevsky), Supp. IX: 105 “Double, The” (Levis), Supp. XI: 260, 261–263 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 Doubleday, Frank, I: 500, 502, 515, 517; III: 327 Doubleday, Mrs. Frank, I: 500 Double Deuce (Parker), Supp. XIX: 183 Double Down (F. and S. Barthelme), Supp. XI: 27, 34, 35, 36–38 Double Dream of Spring, The (Ashbery), Supp. III Part 1: 11–13 Double Fold: Libraries and the Assault on Paper (Baker), Supp. XIII: 52, 56 Double Game (Calle), Supp. XII: 22 “Double Gap, The” (Auchincloss), Supp. IV Part 1: 33 “Double-Headed Snake of Newbury, The” (Whittier), Supp. I Part 2: 698 Double Honeymoon (Connell), Supp. XIV: 80, 87 Double Image, The (Levertov), Supp. III Part 1: 274, 276 “Double Image, The” (Sexton), Supp. II Part 2: 671, 677–678 Double Indemnity (film), Supp. IV Part 1: 130 “Double Limbo” (Komunyakaa), Supp. XIII: 132

Double Man, The (Auden), Supp. III Part 1: 16; Supp. X: 118 “Double Ode” (Rukeyser), Supp. VI: 282–283, 286 Double Persephone (Atwood), Supp. XIII: 19 Double Play (Parker), Supp. XIX: 189– 190 Doubles in Literary Psychology (Tymms), Supp. IX: 105 Double Vision: American Thoughts Abroad (Knowles), Supp. XII: 249 “Doubt on the Great Divide” (Stafford), Supp. XI: 322 Dougherty, Steve, Supp. X: 262 Douglas, Aaron, Supp. I Part 1: 326 Douglas, Alfred, Supp. X: 151 Douglas, Ann, Supp. XII: 136; Supp. XVIII: 258 Douglas, Claire, III: 552 Douglas, George (pseudonym). See Brown, George Douglas Douglas, Kirk, Supp. XIII: 5–6 Douglas, Lloyd, IV: 434 Douglas, Marjory Stoneman, Supp. XVIII: 195 Douglas, Melvyn, Supp. V: 223 Douglas, Michael, Supp. XI: 67 Douglas, Paul, III: 294 Douglas, Stephen A., III: 577, 588–589; Supp. I Part 2: 456, 471 Douglas, William O., III: 581 Douglass, Frederick, Supp. I Part 1: 51, 345; Supp. I 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; Supp. XVIII: 16 Douglass Pilot, The (Baldwin, ed.), Supp. I Part 1: 49 Dove, Belle, I: 451 Dove, Rita, Supp. IV Part 1: 241–258; Supp. XVII: 71, 110; Supp. XVIII: 172, 174 “Dover Beach” (Arnold), Retro. Supp. I: 325; Supp. XIX: 41 Dow, Lorenzo, IV: 265 Dowd, Douglas, Supp. I Part 2: 645, 650 “Do We Understand Each Other?” (Ginsberg), Supp. II Part 1: 311 Dowie, William, Supp. V: 199 Do with Me What You Will (Oates), Supp. II Part 2: 506, 515–517 Dowling, Eddie, IV: 394 Down and Out (Shanley), Supp. XIV: 317 “Down at City Hall” (Didion), Supp. IV Part 1: 211 “Down at the Cross” (Baldwin), Retro. Supp. II: 1, 2, 7, 12, 13, 15; Supp. I Part 1: 60, 61 “Down at the Dinghy” (Salinger), III: 559, 563 “Down by the Station, Early in the Morning” (Ashbery), Supp. III Part 1: 25 Downhill Racer (film), Supp. IX: 253 “Down in Alabam” (Bierce), I: 193 Downing, Ben, Supp. XII: 175, 189, 190–191

352 / AMERICAN WRITERS Downing, Major Jack (pseudonym). See Smith, Seba Down in My Heart (Stafford), Supp. XI: 313, 315 Down Mailer’s Way (Solotaroff), Retro. Supp. II: 203 “Down the Highway” (song, Dylan), Supp. XVIII: 24 Down the Rabbit Hole: Adventures and Misadventures in the Realm of Children’s Literature (Lanes), Supp. XVI: 104 Down There on a Visit (Isherwood), Supp. XIV: 159, 161, 164, 168–169, 170, 171 Down the River (Abbey), Supp. XIII: 12–13 “Down the River with Henry Thoreau” (Abbey), Supp. XIII: 12–13 Down These Mean Streets (P. Thomas), Supp. XIII: 264 Down the Starry River (Purdy), Supp. VII: 278 Down to the River: Portraits of Iowa Musicians (Dyas), Supp. XIX: 174 “Downtrodden Mary’s Failed Campaign of Terror” (Saunders), Supp. XIX: 226 “Downward Path to Wisdom, The” (Porter), III: 442, 443, 446 “Down Where I Am” (Hughes), Supp. I Part 1: 344 Dowson, Ernest C., I: 384 Doyle, Arthur Conan, Retro. Supp. I: 270; Supp. IV Part 1: 128, 341; Supp. IV Part 2: 464, 469; Supp. XI: 63 Doyle, C. W., I: 199 “Draba” (Leopold), Supp. XIV: 186 Drabble, Margaret, Supp. IV Part 1: 297, 299, 305 Drabelle, Dennis, Supp. XIII: 13 Drach, Ivan, Supp. III Part 1: 268 Dracula (film), Supp. IV Part 1: 104; Supp. XVII: 57 “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 (T. 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 Drake, William, Supp. XV: 295 Dramatic Duologues (Masters), Supp. I Part 2: 461 Drattel, Deborah, Supp. XV: 333 Drat These Brats (X. J. Kennedy), Supp. XV: 163 “Draught” (Cowley), Supp. II Part 1: 141, 142

Drayton, Michael, IV: 135; Retro. Supp. II: 76 “Dr. Bergen’s Belief” (Schwartz), Supp. II Part 2: 650 Dr. Bloodmoney (Dick), Supp. XVIII: 138 “Dreadful Has Already Happened, The” (Strand), Supp. IV Part 2: 627 “Dream, A” (Ginsberg), Supp. II Part 1: 312 “Dream, A” (Tate), IV: 129 “Dream, The” (Hayden), Supp. II Part 1: 368, 377 Dream at the End of the World, The: Paul Bowles and the Literary Renegades in Tangier (Green), Supp. IV Part 1: 95 “Dream Avenue” (Simic), Supp. VIII: 282 “Dream Boogie” (Hughes), Retro. Supp. I: 208; Supp. I Part 1: 339–340 “Dreambook Bestiary” (Komunyakaa), Supp. XIII: 120 Dreamer (Johnson), Supp. VI: 186, 196– 199 dreamer examines his pillow, the (Shanley), Supp. XIV: 315, 327 “Dreamer in a Dead Language” (Paley), Supp. VI: 217 Dreaming in Cuban (García), Supp. XI: 178, 179–185, 190 “Dreaming of Hair” (L.-Y. Lee), Supp. XV: 214 “Dreaming the Breasts” (Sexton), Supp. II Part 2: 692 “Dream Interpreted, The” (Paine), Supp. I Part 2: 505 Dream Jumbo (Longo), Supp. XVI: 124 Dream Keeper, The (Hughes), Supp. I Part 1: 328, 332, 333, 334 Dream Keeper and Other Poems, The (Hughes), Retro. Supp. I: 201, 202 Dreamland (Baker), Supp. XIV: 96 “Dream-Land” (Poe), Retro. Supp. II: 274 Dream Life of Balso Snell, The (West), IV: 286, 287, 288–290, 291, 297; Retro. Supp. II: 321, 322, 327, 328, 330–332 Dream of a Common Language, The: Poems, 1974–1977 (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” (Glück), Supp. V: 84 “Dream of the Blacksmith’s Room, A” (R. Bly), Supp. IV Part 1: 73 “Dream of the Cardboard Lover” (Haines), Supp. XII: 204 Dream of the Golden Mountains, The (Cowley), Supp. II Part 1: 139, 141, 142, 144 “Dream Pang, A” (Frost), II: 153 “Dreams About Clothes” (Merrill), Supp. III Part 1: 328–329

Dreams from Bunker Hill (Fante), Supp. XI: 160, 166, 172–173 “Dreams of Adulthood” (Ashbery), Supp. III Part 1: 26 “Dreams of Glory on the Mound” (Plimpton), Supp. XVI: 238–239 “Dreams of Math” (Kenyon), Supp. VII: 160–161 “Dreams of the Animals” (Atwood), Supp. XIII: 33 “Dream Variations” (Hughes), Retro. Supp. I: 198; Supp. I Part 1: 323 “Dream Vision” (Olsen), Supp. XIII: 295–296 Dream Work (Oliver), Supp. VII: 234– 235, 236–238, 240 Dred: A Tale of the Great Dismal Swamp (Stowe), Supp. I Part 2: 592 Dreiser, Theodore, I: 59, 97, 109, 116, 355, 374, 375, 475, 482, 497–520; II: 26, 27, 29, 34, 38, 44, 74, 89, 93, 180, 276, 283, 428, 444, 451, 456–457, 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; Retro. Supp. II: 93–110, 114, 322; Supp. I Part 1: 320; Supp. I Part 2: 461, 468; Supp. III Part 2: 412; Supp. IV Part 1: 31, 236, 350; Supp. IV Part 2: 689; Supp. V: 113, 120; Supp. VIII: 98, 101, 102; Supp. IX: 1, 14, 15, 308; Supp. XI: 207; Supp. XIV: 111; Supp. XVII: 95, 96–97, 105, 155; Supp. XVIII: 1, 6, 76, 226 “Drenched in Light” (Hurston), Supp. VI: 150–151 Dresser, Paul, Retro. Supp. II: 94, 103 Dress Gray (teleplay), Supp. IV Part 2: 683 Dress Gray (Truscott), Supp. IV Part 2: 683 “Dressing for Dinner” (Ríos), Supp. IV Part 2: 548 Dressing Up for the Carnival (Shields), Supp. VII: 328 Drew, Bettina, Supp. IX: 2, 4 Drew, Elizabeth, Retro. Supp. II: 242, 243 Drexler, Eric, Supp. XVI: 121 Dreyfus, Alfred, Supp. I Part 2: 446 “Dr. Hanray’s Second Chance” (Richter), Supp. XVIII: 218 Drift and Mastery (Lippmann), I: 222– 223 “Driftwood” (C. Frost), Supp. XV: 106– 107 “Drinker, The” (Lowell), II: 535, 550 “Drinking Cold Water” (Everwine), Supp. XV: 80–81 “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 Driscoll, David, Supp. XIX: 241, 242 Drive, He Said (Larner), Supp. XVI: 220 “Drive Home, The” (Banks), Supp. V: 7 “Driver” (Merrill), Supp. III Part 1: 331

CUMULATIVE INDEX / 353 “Driving Through Minnesota During the Hanoi Bombings” (R. Bly), Supp. IV Part 1: 61; Supp. XVII: 243 “Driving through Oregon” (Haines), Supp. XII: 207 “Driving toward the Lac Qui Parle River” (R. Bly), Supp. IV Part 1: 61 “Dr. Jack-o’ -Lantern” (Yates), Supp. XI: 340–341 Dr. Jekyll and Mr. Hyde (film), Supp. XVII: 57 “Drone” (Coleman), Supp. XI: 85–86 “Drowned Man, The: Death between Two Rivers” (McGrath), Supp. X: 116 “Drowning 1954” (Keillor), Supp. XVI: 172 Drowning Pool, The (film), Supp. IV Part 2: 474 Drowning Pool, The (Macdonald), Supp. IV Part 2: 470, 471 Drowning Season, The (Hoffman), Supp. X: 82 Drowning with Others (Dickey), Supp. IV Part 1: 176, 178, 179 “Drowsy Day, A” (Dunbar), Supp. II Part 1: 198 Dr. Seuss. See Geisel, Theodor Seuss (Dr. Seuss) Dr. Seuss and Mr. Geisel (J. and N. Morgan), Supp. XVI: 103 Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel (Minear), Supp. XVI: 101 Dr. Seuss’s ABC (Geisel), Supp. XVI: 99 Dr. Strangelove; or, How I Learned to Stop Worrying and Love the Bomb (film), Supp. XI: 293, 301–305 Drugiye Berega (Nabokov), III: 247– 250, 252 “Drug Shop, The, or Endymion in Edmonstoun” (Benét), Supp. XI: 43 “Drug Store” (Shapiro), Supp. II Part 2: 705 “Drugstore in Winter, A” (Ozick), Supp. V: 272 Drukman, Steven, Supp. XIII: 195, 197, 202 “Drum” (Hogan), Supp. IV Part 1: 413 “Drum, The” (Alvarez), Supp. VII: 7 “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 “Drunken Fisherman, The” (Lowell), II: 534, 550 “Drunken Sisters, The” (Wilder), IV: 374 Drunk in the Furnace, The (Merwin), Supp. III Part 1: 345–346 “Drunk in the Furnace, The” (Merwin), Supp. III Part 1: 346 Druten, John van, Supp. XIV: 162 “Dr. Williams’ Position” (Pound), Supp. XVII: 226–227

Dryden, John, II: 111, 542, 556; III: 15; IV: 145; Retro. Supp. I: 56; Supp. I Part 1: 150; Supp. I Part 2: 422; Supp. IX: 68; Supp. XIV: 5; Supp. XV: 258 Drye, Captain Frank, Retro. Supp. II: 115 Dry Salvages, The (Eliot), I: 581 “Dry Salvages, The” (Eliot), Retro. Supp. I: 66 “Dry September” (Faulkner), II: 72, 73 Dry Sun, Dry Wind (Wagoner), Supp. IX: 323, 324 D’ Souza, Dinesh, Supp. X: 255 “Dual” (Goldbarth), Supp. XII: 188 “Dual Curriculum” (Ozick), Supp. V: 270 “Dualism” (Reed), Supp. X: 242 Duane’s Depressed (McMurtry), Supp. V: 233 Du Bartas, Guillaume, Supp. I Part 1: 98, 104, 111, 118, 119 Duberman, Martin, Supp. I Part 2: 408, 409 “Dubin’s Lives” (Malamud), Supp. I Part 2: 451 Dubious Honors (M. F. K. Fisher), Supp. XVII: 91 “Dubliners” (J. Joyce), Supp. XVI: 41 Dubliners (Joyce), I: 130, 480; III: 471; Supp. VIII: 146 Dublin’s Lives (Malamud), Supp. XIX: 142 Du Bois, Nina Gomer (Mrs. W. E. B. Du Bois), Supp. II P art 1: 158; Supp. XIV: 200 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; Supp. X: 133, 134, 137, 139, 242; Supp. XIII: 185, Supp. XIII: 186, 233, 238, 243, 244, 247; Supp. XIV: 54, 69, 72, 201, 202; Supp. XVI: 135; Supp. XVIII: 119, 122, 126, 130; Supp. XIX: 67, 69, 77 Dubreuil, Jean, Supp. IV Part 2: 425 Dubus, Andre, Supp. VII: 75–93; Supp. XI: 347,Supp. XI: 349; Supp. XIV: 21 Duchamp, Marcel, IV: 408; Retro. Supp. I: 416, 417, 418, 430; Supp. IV Part 2: 423, 424; Supp. XII: 124; Supp. XV: 157 “Duchess at Prayer, The” (Wharton), Retro. Supp. I: 365 Duchess of Malfi, The (Webster), IV: 131 Duck Soup (film), Supp. IV Part 1: 384 Duck Variations, The (Mamet), Supp. XIV: 239, 240, 249 Dudley, Anne. See Bradstreet, Anne Dudley, Joseph, III: 52 Dudley, Thomas, III: 52; Supp. I Part 1: 98, 99, 110, 116 “Duet, With Muffled Brake Drums” (Updike), Retro. Supp. I: 319 Duet for Cannibals (Sontag), Supp. III Part 2: 452, 456 Duffey, Bernard, Supp. I Part 2: 458, 471

Duffus, R. L., Supp. I Part 2: 650 Duffy, Martha, Supp. IV Part 1: 207 Duffy, William, Supp. XVI: 32 Du Fu (Tu Fu), Supp. XV: 217 Dufy, Raoul, I: 115; IV: 80 Dugan, Alan, Supp. XIII: 76 Dugan, James, Supp. XV: 197 Duhamel, Marcel, Supp. XVI: 135, 143 Dujardin, Edouard, I: 53 “Duke de l’ Omelette, The” (Poe), III: 411, 425 “Duke in His Domain, The” (Capote), Supp. III Part 1: 113, 126 Duke of Deception, The (G. Wolff), Supp. II Part 1: 97; Supp. XI: 246 “Duke’s Child, The” (Maxwell), Supp. VIII: 172 “Dulce et Decorum Est” (Owen), Supp. XVIII: 92 “Dulham Ladies, The” (Jewett), II: 407, 408; Retro. Supp. II: 143 Duluth (Vidal), Supp. IV Part 2: 677, 685, 689, 691–692 Dumas, Alexandre, III: 386; Supp. XVII: 64 “Dumb Oax, The” (Lewis), Retro. Supp. I: 170 “Dummy, The” (Sontag), Supp. III Part 2: 469 “Dump Ground, The” (Stegner), Supp. IV Part 2: 601 Dunant, Sarah, Supp. XIX: 186 Dunbar, Alice Moore (Mrs. Paul Laurence Dunbar), Supp. II Part 1: 195, 200, 217 Dunbar, Paul Laurence, Supp. I Part 1: 320; Supp. II Part 1: 174, 191–219; Supp. III Part 1: 73; Supp. IV Part 1: 15, 165, 170; Supp. X: 136; Supp. XI: 277; Supp. XIII: 111 Duncan, Harry, Supp. XV: 75 Duncan, Isadora, I: 483; Supp. XV: 42, 50 Duncan, Robert, Retro. Supp. II: 49; Supp. III Part 2: 625, 626, 630, 631; Supp. VIII: 304; Supp. XVI: 282– 283 Dunciad, The (Pope), I: 204 Dunford, Judith, Supp. VIII: 107 Dunlap, William, Supp. I Part 1: 126, 130, 137, 141, 145 Dunn, Stephen, Supp. XI: 139–158; Supp. XIX: 85 Dunne, Finley Peter, II: 432 Dunne, John Gregory, Supp. IV Part 1: 197, 198, 201, 203, 207 “Dunnet Shepherdess, A” (Jewett), II: 392–393; Retro. Supp. II: 139 Dunning, Stephen, Supp. XIV: 126 Dunning, William Archibald, Supp. II Part 1: 170; Supp. XIV: 48 Dunnock, Mildred, III: 153 Dunster, Henry, Supp. I Part 2: 485 “Duo Tried Killing Man with Bacon” (Goldbarth), Supp. XII: 176 Dupee, F. W., I: 254; II: 548; Supp. VIII: 231; Supp. IX: 93, 96 DuPlessis, Rachel Blau, Supp. IV Part 2: 421, 426, 432; Supp. XVI: 284

354 / AMERICAN WRITERS Duplicate Keys (Smiley), Supp. VI: 292, 294–296 Duplications, The (Koch), Supp. XV: 181, 183, 186 Durable Fire, A (Sarton), Supp. VIII: 260 Durand, Asher, B., Supp. I Part 1: 156, 157 Durand, Régis, Supp. IV Part 1: 44 “Durango Suite” (Gunn Allen), Supp. IV Part 1: 326 “Durations” (Matthews), Supp. IX: 152– 153, 154 Dürer, Albrecht, III: 212; Supp. XII: 44 Durham, David Anthony, Supp. XVIII: 100 “During Fever” (Lowell), II: 547 Durkheim, Émile, I: 227; Retro. Supp. I: 55, 57; Supp. I Part 2: 637, 638 Durrell, Lawrence, III: 184, 190; IV: 430; Supp. X: 108, 187; Supp. XVI: 294 Dürrenmatt, 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” (R. Fisher), Supp. XIX: 71 “Dusting” (Alvarez), Supp. VII: 4 “Dusting” (Dove), Supp. IV Part 1: 247, 248 “Dusting” (Schnackenberg), Supp. XV: 256 “Dust of Snow” (Frost), II: 154 Dust Tracks on a Road (Hurston), Supp. IV Part 1: 5, 11; Supp. VI: 149, 151, 158–159 “Dusty Braces” (Snyder), Supp. VIII: 302 Dutchman (Baraka), Supp. II Part 1: 38, 40, 42–44, 54, 55 “Dutch Nick Massacre, The” (Twain), IV: 195 “Dutch Picture, A” (Longfellow), Retro. Supp. II: 171 Dutton, Charles S., Supp. VIII: 332, 342 Dutton, Clarence Earl, Supp. IV Part 2: 598 Duvall, Robert, Supp. V: 227 “Duwamish” (Hugo), Supp. VI: 136 “Duwamish, Skagit, Hoh” (Hugo), Supp. VI: 136–137 “Duwamish No. 2” (Hugo), Supp. VI: 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, 415–416, 417 Dwight, Sereno E., I: 547 Dwight, Timothy, Supp. I Part 1: 124; Supp. I Part 2: 516, 580; Supp. II Part 1: 65, 69 Dworkin, Andrea, Supp. XII: 6

Dwyer, Jim, Supp. XVI: 16, 19 Dyas, Sandra, Supp. XIX: 174 Dybbuk, A, or Between Two Worlds: Dramatic Legend in Four Acts (Kushner), Supp. IX: 138 Dybbuk, The (Ansky), IV: 6 Dyer, Geoff, Supp. X: 169 Dyer, R. C., Supp. XIII: 162 Dying Animal, The (P. Roth), Retro. Supp. II: 288 “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; Supp. XIII: 114, 119; Supp. XV: 349, 350; Supp. XVIII: 19–34 Dylan’s Visions of Sin (Ricks), Supp. XVIII: 20 “Dynamics of Heroic Action, The” (lecture, Murray), Supp. XIX: 153 Dynamo (O’ Neill), III: 396 “Dysfunctional Narratives: Or, ‘Mistakes Were Made’ ” (C. Baxter), Supp. XVII: 20 “Dysfunctional Nation” (Karr), Supp. XI: 245 Dyson, A. E., Retro. Supp. II: 247 Dyson, Freeman, Supp. XVII: 42 E “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 Eads, Martha Greene, Supp. XVIII: 49 Eager, Allen, Supp. XI: 294 “Eagle, The” (Tate), IV: 128 “Eagle and the Mole, The” (Wylie), Supp. I Part 2: 710, 711, 713, 714, 729 Eagle as Wide as the World, The (X. J. Kennedy), Supp. XV: 162, 164 “Eagle Poem” (Harjo), Supp. XII: 224, 226 “Eagles” (Dickey), Supp. IV Part 1: 186 Eagle’s Mile, The (Dickey), Supp. IV Part 1: 178, 185–186 “Eagle That Is Forgotten, The” (Lindsay), Supp. I Part 2: 382, 387 Eagleton, Terry, Retro. Supp. I: 67 Eakin, Paul John, Supp. VIII: 167, 168; Supp. XIII: 225; Supp. XVI: 70 Eakins, Thomas, Supp. XIV: 338 Eames, Roscoe, II: 476 “Earl: My Life with a Louse” (Keillor), Supp. XVI: 176 “Earl Painter” (Banks), Supp. V: 14–15 “Early Adventures of Ralph Ringwood, The” (Irving), II: 314 Early Americana (Richter), Supp. XVIII: 208, 210, 211, 220 Early Autumn (Parker), Supp. XIX: 184– 185 Early Ayn Rand, The: A Selection of Her Unpublished Fiction (Rand), Supp. IV Part 2: 520 Early Dark (Price), Supp. VI: 262

Early Diary of Anaïs Nin, The, Supp. X: 184, 192 Early Elkin (Elkin), Supp. VI: 42–43, 45 “Early Evenin’ Blues” (Hughes), Retro. Supp. I: 205 “Early History of a Seamstress” (Reznikoff), Supp. XIV: 277, 289 Early History of a Sewing-Machine Operator (Reznikoff), Supp. XIV: 289 “Early History of a Sewing-Machine Operator” (Reznikoff), Supp. XIV: 277 “Early History of a Writer” (Reznikoff), Supp. XIV: 278, 290 “Early in the Morning” (L.-Y. Lee), Supp. XV: 214 Early Lectures of Ralph Waldo Emerson, The (Emerson), II: 11 Early Light (Di Piero), Supp. XIX: 38, 38–40 Early Lives of Melville, The (Sealts), Retro. Supp. I: 257 “Early Marriage” (Richter), Supp. XVIII: 209 Early Martyr and Other Poems, An (W. C. Williams), Retro. Supp. I: 423 “Early Morning: Cape Cod” (Swenson), Supp. IV Part 2: 641 “Early Spring between Madison and Bellingham” (R. Bly), Supp. IV Part 1: 71 Earnhardt, Dale, Supp. XII: 310 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 Abides (Stewart), Supp. XVIII: 138 “Earth and Fire” (Berry), Supp. X: 27 Earth as Air, The: An Ars Poetica (Sobin), Supp. XVI: 285–286 “Earth Being” (Toomer), Supp. IX: 320 “Earthly Care a Heavenly Discipline” (Stowe), Supp. I Part 2: 586 “Earthly City of the Jews, The” (Kazin), Retro. Supp. II: 286 Earthly Meditations (Wrigley), Supp. XVIII: 304–305 “Earthly Meditations” (Wrigley), Supp. XVIII: 304–306 Earthly Possessions (Tyler), Supp. IV Part 2: 665–666, 671 Earth Power Coming (Ortiz, ed.), Supp. IV Part 2: 502 “Earth’s Holocaust” (Hawthorne), II: 226, 231, 232, 242; III: 82; Retro. Supp. I: 152 Earth Without You, The (F. Wright), Supp. XVII: 243 East Coker (Eliot), I: 580, 581, 582, 585, 587 “East Coker” (Eliot), Retro. Supp. I: 66; Supp. VIII: 195, 196 “Easter” (Toomer), Supp. III Part 2: 486 “Easter, an Ode” (Lowell), II: 536 “Easter Morning” (Ammons), Supp. VII: 34 “Easter Morning” (Clampitt), Supp. IX: 45

CUMULATIVE INDEX / 355 “Easter Ode, An” (Dunbar), Supp. II Part 1: 196 Easter Parade, The (Yates), Supp. XI: 346, 349 “Easter Sermon, 1866” (Nelson), Supp. XVIII: 177 “Easter Service” (Di Piero), Supp. XIX: 39–40 “Easter Sunday: Recollection” (Gunn Allen), Supp. IV Part 1: 322 “Easter Wings” (Herbert), Supp. IV Part 2: 646 “East European Cooking” (Simic), Supp. VIII: 277 East Is East (Boyle), Supp. VIII: 1–3 Eastlake, William, Supp. XIII: 12 East Lynne (Wood), Supp. I Part 1: 35, 36; Supp. I Part 2: 459, 462; Supp. XVI: 182 Eastman, Elaine Goodale, Supp. X: 103 Eastman, Max, Supp. III Part 2: 620; Supp. X: 131, 134, 135, 137; Supp. XV: 295; Supp. XVI: 185; Supp. XVII: 96 East of Eden (Steinbeck), IV: 51, 56–57, 59 “East of the Sun and West of the Moon” (Merwin), Supp. III Part 1: 344 Easton, Alison, Retro. Supp. II: 143, 144, 145 Easton, Bret Ellis, Supp. XI: 65 Easton, Nina J., Supp. XIX: 137 Easton, Robert, Supp. IV Part 2: 461, 474 East Wind (Lowell), II: 527 East Wind: West Wind (Buck), Supp. II Part 1: 114–115 Easy Rawlins mysteries, Supp. XIII: 236, 237–241, 242 Easy Rider (film), Supp. XI: 293, 308, 309 Eat a Bowl of Tea (Chu), Supp. X: 291 “Eating ” (Bass), Supp. XVI: 23–24 “Eating Alone” (L.-Y. Lee), Supp. XV: 214 Eating Naked (Dobyns), Supp. XIII: 78–79 “Eating Out” (L. Michaels), Supp. XVI: 209 “Eating Poetry” (Strand), Supp. IV Part 2: 626 “Eating the Whole” (C. Frost), Supp. XV: 101 “Eating Together” (L.-Y. Lee), Supp. XV: 214 “Eating with My Fingers” (C. Frost), Supp. XV: 97 Eaton, Edith, Supp. X: 291 Eaton, Peggy, Supp. I Part 2: 461 Eaton, Winnifred, Supp. X: 291 “Eatonville Anthology, The” (Hurston), Supp. VI: 152 Eat the Document (film, Pennebaker), Supp. XVIII: 19, 26, 27, 28 “Ebb and Flow, The” (Taylor), IV: 161 “Ebenezer Marsh, 1725” (Schnackenberg), Supp. XV: 256 Eben Holden (Bacheller), I: 216 Eberhardt, Isabelle, Supp. IV Part 1: 92 Eberhart, Mrs., I: 521–522, 530

Eberhart, Richard, I: 521–543; II: 535– 536; III: 527; IV: 416; Retro. Supp. II: 176, 178; Supp. I Part 1: 83; Supp. XII: 119 Eble, Kenneth E., Supp. I Part 1: 201 Eccentricities of a Nightingale (T. Williams), IV: 382, 385, 397, 398 Ecclesiastica Historia Integram Ecclesiae (Taylor), IV: 163 “Echart” (Sobin), Supp. XVI: 289 “Echo, The” (Bowles), Supp. IV Part 1: 84, 86, 87 Echoes inside the Labyrinth (McGrath), Supp. X: 127 Eckehart, Meister, Supp. XV: 225 Eckhart, Maria, Supp. V: 212 Eclipse (Hogan), Supp. IV Part 1: 397, 400, 402 Eclipse, a Nightmare (Montalembert), Supp. XV: 349 Eclogues (Virgil), Supp. VIII: 31 “Ecologue” (Ginsberg), Supp. II Part 1: 326 “Ecologues of These States 1969–1971” (Ginsberg), Supp. II Part 1: 325 Ecology of a Cracker Childhood (Ray), Supp. XVIII: 189, 191, 192, 193, 195–199, 201, 202, 204 “Economics of Negro Emancipation in the United States, The” (Du Bois), Supp. II Part 1: 174 “Economic Theory of Women’s Dress, The” (Veblen), Supp. I Part 2: 636 Economy of the Unlost: Reading Simonides of Keos with Paul Celan (Carson), Supp. XII: 110–111 Ecotactics: The Sierra Club Handbook for Environmental Activists (Mitchell and Stallings, eds.), Supp. IV Part 2: 488 “Ecstasy” (Bierds), Supp. XVII: 34 “Ecstasy” (Olds), Supp. X: 206 “Ecstasy of Influence, The” (Lethem), Supp. XVIII: 150 “Ecstatic” (Komunyakaa), Supp. XIII: 131 Edda, Supp. X: 114 Eddy, Mary Baker, I: 583; III: 506 Edel, Leon, I: 20; II: 338–339; Retro. Supp. I: 218, 224, 231 Edelberg, Cynthia, Supp. IV Part 1: 155 “Eden and My Generation” (Levis), Supp. XI: 270 Edenbaum, Robert, Supp. IV Part 1: 352 Eden Tree (Bynner), Supp. XV: 42, 51 Edenville Owls (Parker), Supp. XIX: 190 Eder, Richard, Supp. XII: 189; Supp. XV: 62, 187, 259, 261 Edgar Huntly; or, Memoirs of a SleepWalker (Brown), Supp. I Part 1: 140– 144, 145 “Edge” (Plath), Retro. Supp. II: 256; Supp. I Part 2: 527, 547 Edge, Mary E., II: 316 “Edge of Possibility, The: Susan Warner and the World of Sunday School Fiction” (Gates), Supp. XVIII: 267 “Edge of the Great Rift, The” (Theroux), Supp. VIII: 325

Edge of the Sea, The (Carson), Supp. IX: 19, 25–31, 32 Edgers, Geoff, Supp. XV: 113 Edgeworth, Maria, II: 8; Supp. XV: 231 Edible Woman, The (Atwood), Supp. XIII: 19, 20, 20–21 “Edict by the King of Prussia, An” (Franklin), II: 120 Edie: An American Biography (Stein), Supp. XVI: 245 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’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 Edith Wharton: Traveller in the Land of Letters (Goodwyn), Retro. Supp. I: 370 “Editing and Glosses” (Reznikoff), Supp. XIV: 283 Editing of Emily Dickinson, The (Franklin), Retro. Supp. I: 41 “Editor and the Schoolma’ am, The” (Frederic), II: 130 “Editor’s Easy Chair” (Howells), II: 276 “Editor’s Study, The” (Howells), II: 275, 276, 285 “Editor Whedon” (Masters), Supp. I Part 2: 463 Edlin, Mari, Supp. X: 266 Edman, Irwin, III: 605 Edmond (Mamet), Supp. XIV: 241, 248, 249, 250 Edmundson, Mark, Retro. Supp. II: 262 Edsel (Shapiro), Supp. II Part 2: 703, 704, 717–719 Edson, Margaret, Supp. XVIII: 35–52 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 by Poetry” (Frost), Supp. XV: 215 “Education of a Storyteller, The” (Bambara), Supp. XI: 20 Education of Black People, The (Du Bois), Supp. II Part 1: 186 Education of Harriet Hatfield, 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; Supp. XIV: 299 Education of H*y*m*a*n K*a*p*l*a*n, The (Rosten), Supp. XVII: 9 “Education of Mingo, The” (Johnson), Supp. VI: 193, 194

356 / AMERICAN WRITERS “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” (Glück), Supp. V: 78, 80 Education sentimentale (Flaubert), III: 315 “Education the Imagination” (Koch), Supp. XV: 175–176, 177 Edwards, Clifford, Supp. XVIII: 220 Edwards, Eli. See McKay, Claude Edwards, Esther, I: 545 Edwards, John, I: 478 Edwards, Jonathan, I: 544–566; II: 432; Retro. Supp. II: 187; Supp. I Part 1: 301, 302; Supp. I Part 2: 552, 594, 700; Supp. IV Part 2: 430; Supp. VIII: 205 Edwards, Sarah, I: 545 Edwards, Thomas, Supp. XV: 20 Edwards, Thomas R., Supp. XVI: 207 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 E. E. Cummings (Marks), I: 438 E. E. Cummings: A Miscellany (Cummings), I: 429, 441 E. E. Cummings: A Miscellany, Revised (Cummings), I: 429 “Effects of Analogy” (Stevens), Retro. Supp. I: 297 Effluences from the Sacred Caves; More Selected Essays and Reviews (Carruth), Supp. XVI: 46 “Effort at Speech between Two People” (Rukeyser), Supp. VI: 276, 284 “Efforts of Affection” (Moore), III: 214 “Efforts of Affection: A Memoir of Marianne Moore” (Bishop), Retro. Supp. II: 52 Egan, Jennifer, Supp. XIX: 49–63 “Egg, The” (Anderson), I: 113, 114 “Egg, The” (Snyder), Supp. VIII: 302 Eggleston, George Cary, Supp. XVIII: 15 “Eggplant Epithalamion, The” (Jong), Supp. V: 119 “Eggs” (Olds), Supp. X: 206 “Eggshell” (Stern), Supp. IX: 299 Egoist, The (Meredith), II: 186 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 Ehrenfels, Christian von, Supp. XIV: 198 Ehrenpreis, Irvin, Supp. XII: 128 Ehrenreich, Barbara, Supp. XVII: 210 Ehrhart, W. D., Supp. XIX: 281 Ehrlich, Gretel, Supp. XIV: 227; Supp. XVIII: 189 Eichmann, Adolf, Supp. XII: 166

Eichmann in Jerusalem (Arendt), Retro. Supp. II: 28; Supp. VIII: 243; Supp. XII: 166 “Eichmann in New York: The New York Intellectuals and the Hannah Arendt Controversy” (Rabinbach), Supp. XII: 166 “Eidolon” (Warren), IV: 239 “Eiger Dreams” (Krakauer), Supp. XVIII: 107 Eiger Dreams: Ventures Among Men and Mountains (Krakauer), Supp. XVIII: 105, 106, 107 Eight Cousins (Alcott), Supp. I Part 1: 29, 38, 42, 43 18 Poems from the Quechua (Strand, trans.), Supp. IV Part 2: 630 “18 West 11th Street” (Merrill), Supp. III Part 1: 323, 328 1876: A Novel (Vidal), Supp. IV Part 2: 677, 684, 688, 689, 691, 692; Supp. XIX: 141 “18,000 CDs” (Halliday), Supp. XIX: 92 “Eighth Air Force” (Jarrell), II: 373–374, 377 Eight Harvard Poets, I: 429, 475 “Eighth Avenue Incident” (Halliday), Supp. XIX: 89–90 “Eighth Day, The” (Apple), Supp. XVII: 6, 50 “Eighth Ditch, The” (Baraka), Supp. II Part 1: 40 “’ 80s Pastoral: Frederick Barthelme’s Moon Deluxe Ten Years On” (Peters), Supp. XI: 39 Eight Men (Wright), IV: 478, 488, 494 80 Flowers (Zukofsky), Supp. III 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” (MacLeish), III: 5, 8, 10–11, 18–19 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. III Part 2: 621; Supp. V: 290; Supp. XII: 45 Eiseley, Loren, III: 227–228 Eisenhower, Dwight D., I: 136, 376; II: 548; III: 215; IV: 75; Supp. I Part 1: 291; Supp. III Part 2: 624; Supp. V: 45 Eisenstadt, Jill, Supp. XVIII: 135 Eisenstein, Sergei, I: 481 Eisinger, Chester E., I: 302; II: 604; Supp. IX: 15 Eisner, Douglas, Supp. X: 155 Elam, Angela, Supp. XI: 290 El Bernardo (Balbuena), Supp. V: 11 Elbert, Sarah, Supp. I Part 1: 34, 41 Elder, Donald, II: 417, 426, 435, 437; Supp. XV: 137 Elder, John, Supp. IX: 25 Elder, Lonne, III, Supp. IV Part 1: 362 Elder, Richard, Supp. XII: 172 “Elder Sister, The” (Olds), Supp. X: 205–206

Elder Statesman, The (Eliot), I: 572, 573, 583; Retro. Supp. I: 53, 65 E. L. Doctorow (Harter and Thompson), Supp. IV Part 1: 217 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 Affınities (Goethe; Bogan and Mayer, trans.), Supp. III 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 “Electrical Storm” (Bishop), Supp. I Part 1: 93 “Electrical Storm” (Hayden), Supp. II Part 1: 370 “Electric Arrows” (Proulx), Supp. VII: 256 “Electricity Saviour” (Olds), Supp. X: 215 Electric Kool-Aid Acid Test, The (Wolfe), Supp. III Part 2: 575–577, 582–584; Supp. XI: 239 Electric Lady, The (film), Supp. XI: 309 Elegant Extracts (Knox), II: 8 “Elegant Tom Dillar” (Briggs), Supp. XVIII: 17 Elegiac Feelings American (Corso), Supp. XII: 131–134 “Elegiac Fragments” (Everwine), Supp. XV: 89 Elegies (Rukeyser), Supp. VI: 273 “Elegies” (Rukeyser), Supp. VI: 272 “Elegies for Paradise Valley” (Hayden), Supp. II Part 1: 363 “Elegy” (Bidart), Supp. XV: 25, 29 Elegy (Levis), Supp. XI: 257, 259, 261, 271–272 “Elegy” (Merwin), Supp. III Part 1: 351 “Elegy” (Stafford), Supp. XI: 322 “Elegy” (Tate), IV: 128 “Elegy, for the U.S.N. Dirigible, Macon, An” (Winters), Supp. II Part 2: 810 “Elegy Ending in the Sound of a Skipping Rope” (Levis), Supp. XI: 271– 272 “Elegy for 41 Whales Beached in Florence, Oregon, June 1979” (Bierds), Supp. XVII: 27 “Elegy for D. H. Lawrence, An” (W. C. 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 Redondo Beach” (Jarman), Supp. XVII: 112, 113 Elegy for September, An (Nichols), Supp. XIII: 268 “Elegy for Thelonious” (Komunyakaa), Supp. XIII: 118 “Elegy for the U.S.N. Dirigible, Macon, A” (Winters), Supp. II Part 2: 810

CUMULATIVE INDEX / 357 “Elegy of Last Resort” (Nemerov), III: 271 “Elegy with a Thimbleful of Water in the Cage” (Levis), Supp. XI: 272 Elegy Written in a Country Churchyard (Gray), I: 68 “Elegy Written in a Country Churchyard” (Gray), Supp. XIV: 8 “Elementary Scene, The” (Jarrell), II: 387, 388, 389 “Elements” (Frank), Supp. X: 213 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 “Elephant’s Dance, The” (D. West), Supp. XVIII: 281 “Elevator, The” (Dixon), Supp. XII: 154 “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: 91, 111 Eleven Kinds of Loneliness (Yates), Supp. XI: 340–343, 349 Eleven Poems on the Same Theme (Warren), IV: 239–241 “Eleven Times a Poem” (Corso), Supp. XII: 132, 133 El Greco (Doménikos Theotokópoulos), I: 387; III: 212 “El-Hajj Malik El-Shabazz” (Hayden), Supp. II Part 1: 379 “Eli, the Fanatic” (P. Roth), Supp. III Part 2: 407–408 Eliade, Mircea, Supp. XVI: 292 Eliot, Charles W., I: 5; II: 345; Supp. I 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; Supp. I Part 2: 559, 579; Supp. IV Part 1: 31, 297; Supp. IV Part 2: 677; Supp. V: 258; Supp. IX: 38, 43, 51; Supp. XI: 68; Supp. XII: 335; Supp. XIV: 344 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, 220, 236, 239, 269, 270–271, 277–278, 301, 409, 428, 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, 191, 201, 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; Retro. Supp. II: 79, 178, 189, 262, 326; Supp. I Part 1: 257, 264, 268, 270, 274, 299; Supp. I 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. III Part 1: 9, 10, 26, 31, 37, 41, 43, 44, 48, 62–64, 73, 91, 99–100, 105–106, 273; Supp. III Part 2: 541, 611, 612, 617, 624; Supp. IV Part 1: 40, 47, 284, 380, 404; Supp. IV 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; Supp. X: 59, 115, 119, 124, 187, 324; Supp. XI: 242; Supp. XII: 45, 159, 198, 308; Supp. XIII: 77, 104, 115, 332, 341–342, 344, 346; Supp. XIV: 5, 13, 107, 287, 290, 306, 347; Supp. XV: 20, 51, 139, 177, 181, 186, 216, 218, 250, 251, 258, 298, 302, 303, 306, 307; Supp. XVI: 158– 159, 204, 207, 282; Supp. XVII: 36, 71, 75, 111, 240; Supp. XVIII: 136; Supp. XIX: 12 Eliot’s Early Years (Gordon), Retro. Supp. I: 55 “Elizabeth” (Longfellow), I: 502 “Elizabeth, 1905” (Schnackenberg), Supp. XV: 253, 256 Elizabeth Appleton (O’ Hara), III: 362, 364, 375–377 “Elizabeth Bishop (1911–1979)” (Merrill), Retro. Supp. II: 53 “Elizabeth Bishop in Brazil” (Brown), Supp. I Part 1: 96 “Elizabeth Bishop’s North & South” (Lowell), Retro. Supp. II: 40–41 “Elizabeth Gone” (Sexton), Supp. II Part 2: 674, 681 Elizabeth Stoddard and the Boundaries of Bourgeois Culture (Mahoney), Supp. XV: 270 Elk Heads on the Wall (Ríos), Supp. IV Part 2: 540 Elkin, Stanley, Supp. VI: 41–59 “Elk Song” (Hogan), Supp. IV Part 1: 406 Ella in Bloom (Hearon), Supp. VIII: 70–71 Elledge, Jim, Supp. XIII: 88 Ellen Foster: A Novel (Gibbons), Supp. X: 41, 42–44, 46, 47, 49, 50 Ellen Montgomery’s Bookshelf (S. and A. Warner), Supp. XVIII: 264 Ellen Rogers (Farrell), II: 42–43 “Ellen’s Dream” (Gioia), Supp. XV: 128 “Ellen West” (Bidart), Supp. XV: 26–27 Eller, Ernest, Supp. I Part 2: 497 Ellerman, Winifred, Supp. I Part 1: 258– 259. See also McAlmon, Mrs. Robert (Winifred Ellerman) “El libro de la sexualidad” (Simic), Supp. VIII: 283

Ellington, Duke, Retro. Supp. II: 115; Supp. IV Part 1: 360; Supp. IX: 164 Elliot, Charles, Supp. V: 161 Elliot, George P., Supp. XV: 92 Elliott, George B., III: 478 Ellipse, The: Selected Poems of Leonardo Sinisgalli (Di Piero, trans.), Supp. XIX: 34 “Ellipsis” (C. Frost), Supp. XV: 107 Ellis, Albert, Supp. IV Part 2: 527 Ellis, Anne, Supp. XVI: 38 Ellis, Bret Easton, Supp. XII: 81; Supp. XVIII: 135 Ellis, Brett Easton, Supp. X: 7 Ellis, Charles, Supp. I Part 1: 99 Ellis, Havelock, II: 276 Ellis, John Harvard, Supp. I Part 1: 103 Ellis, Katherine, IV: 114 Ellison, Harlan, Supp. XIII: 61 Ellison, Ralph, IV: 250, 493; Retro. Supp. II: 3, 111–130; Supp. II Part 1: 33, 221–252; Supp. IV, Part 1: 374; Supp. VIII: 105, 245; Supp. IX: 114, 316; Supp. X: 324; Supp. XI: 18, 92, 275; Supp. XIII: 186, 233, 305; Supp. XIV: 306; Supp. XV: 194; Supp. XVI: 135, 139; Supp. XVIII: 59, 61, 62, 277, 283; Supp. XIX: 148, 149, 155 Ellmann, Maud, Supp. IV Part 1: 302 Ellmann, Richard, Supp. VIII: 105; Supp. XV: 74 Ellroy, James, Supp. XIV: 26 Elman, Richard, Supp. V: 40 “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” (Glück), Supp. V: 85 Eloges (Perse), Supp. XIII: 344 “Eloquence of Grief, An” (Crane), I: 411 “El Río Grande” (Mora), Supp. XIII: 224 “El Round up” (Alvarez), Supp. VII: 11 “El Salvador: Requiem and Invocation” (Levertov), Supp. III Part 1: 284 Elsasser, Henry, I: 226 “Elsa Wertman” (Masters), Supp. I Part 2: 462–463 Elsie John and Joey Martinez: Two Stories (Huncke), Supp. XIV: 148 Elsie Venner (Holmes), Supp. I Part 1: 243, 315–316 Elton, Charles, Supp. XIV: 192 Éluard, Paul, III: 528; Supp. IV Part 1: 80; Supp. XVII: 244 Elvins, Kells, Supp. III Part 1: 93, 101 Ely, Richard T., Supp. I Part 1: 5; Supp. I Part 2: 640, 645 “Emancipation. A Life Fable” (Chopin), Retro. Supp. II: 59; 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 Embargo, The (Bryant), Supp. I Part 1: 152–153

358 / AMERICAN WRITERS Embarrassments (James), Retro. Supp. I: 229 Embezzler, The (Auchincloss), Supp. IV Part 1: 24, 30–31 “Embroidery, The” (C. Frost), Supp. XV: 97 “Emerald” (Doty), Supp. XI: 131 “Emerald, The” (Merrill), Supp. III Part 1: 328 Emerald City (Egan), Supp. XIX: 49, 52–53 “Emerald City” (Egan), Supp. XIX: 52 “Emergence of Flight from Aristotle’s Mud, The” (Goldbarth), Supp. XII: 190 “Emergency Haying” (Carruth), Supp. XVI: 55 “Emergency Room” (Mora), Supp. XIII: 218 “Emerging Voices: The Teaching of Writing” (Mora), Supp. XIII: 220 Emerson, and Other Essays (Chapman), Supp. XIV: 41–44 Emerson, Ellen, Supp. I Part 1: 33 Emerson, John, Supp. XVI: 185, 186, 190, 192 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, 173–174, 176, 178, 183, 186, 187, 192, 201, 202, 211, 335, 338, 340, 342, 350; Retro. Supp. I: 34, 53, 54, 57, 62, 74–75, 76, 125, 148–149, 152–153, 159, 217, 250, 298, 392, 400, 403; Retro. Supp. II: 96, 113, 135, 142, 155, 207, 262; Supp. I Part 1: 2, 28–29, 31, 33, 188, 299, 308–309, 317, 358, 365, 366, 368; Supp. I Part 2: 374, 383, 393, 407, 413, 416, 420, 422, 474, 482, 580, 582, 602, 659, 679; Supp. II Part 1: 280, 288; Supp. III 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; Supp. X: 42, 45, 121, 223; Supp. XI: 203; Supp. XIII: 141, 145, 233, 246, Supp. XIII: 247; Supp. XIV: 41–44, 46, 54, 104, 177; Supp. XV: 219, 224; Supp. XVI: 84; Supp. XVII: 42, 236 “Emerson and the Essay” (Gass), Supp. VI: 88 “Emerson the Lecturer” (Lowell), Supp. I Part 2: 420, 422 Emerson-Thoreau Award, Retro. Supp. I: 67 Emery, Clark, III: 478 E. M. Forster (Trilling), Supp. III Part 2: 496, 501, 504 “Emigre in Autumn, An” (Gioia), Supp. XV: 120

“Emily Dickinson and Class” (Erkkila), Retro. Supp. I: 42–43 Emily Dickinson Editorial Collective, Retro. Supp. I: 47 Emily Dickinson in Southern California (X. J. Kennedy), Supp. XV: 164–165 “Emily Dickinson’s Defunct” (Nelson), Supp. XVIII: 173 Emily Dickinson: Woman Poet (Bennett), Retro. Supp. I: 42 Eminent Victorians (Strachey), Supp. I Part 2: 485 Emma (Austen), Supp. XVIII: 149 “Emma and Eginhard” (Longfellow), III: 505 “Emma Enters a Sentence of Elizabeth Bishop’s” (Gass), Supp. VI: 93 “Emmaus” (Di Piero), Supp. XIX: 42, 43 Emperor Jones, The (O’ Neill), II: 278; III: 391, 392 Emperor of Haiti (Hughes), Supp. I Part 1: 339 “Emperor of Ice Cream, The” (Stevens), IV: 76, 80–81 “Emperors” (Dunn), Supp. XI: 155 “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; Supp. XIX: 132 “Empire Builders” (MacLeish), III: 14 Empire Falls (Russo), Supp. XII: 339– 343 Empire of Summer, The (Doty), Supp. XI: 120 Empire of the Senseless (Acker), Supp. XII: 5, 6, 14–16 “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; Retro. Supp. II: 253; Supp. XVI: 190 “Empty Hills, The” (Winters), Supp. II Part 2: 792, 793, 796 Empty Mirror, Early Poems (Ginsberg), Supp. II Part 1: 308, 311, 313–314, 319, 329 “Empty Room” (Hughes), Supp. I Part 1: 337 “Empty Threat, An” (Frost), II: 159 Emshwiller, Ed, Supp. XVIII: 145 “Encantadas, The” (Melville), III: 89; Supp. XVIII: 4 Enchanter, The (Nabokov), Retro. Supp. I: 266 “Enclosed Dreams, Highways and Labyrinths: Jonathan Lethem’s Amnesia Moon” (Rossi), Supp. XVIII: 139 “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 “Encountering the Sublime” (McClatchy), Supp. XII: 261 “Encounter on the Seine: Black Meets Brown” (Baldwin), Retro. Supp. II: 2 Encounters with Chinese Writers (Dillard), Supp. VI: 19, 23, 31 Encounters with the Archdruid (McPhee), Supp. III Part 1: 292–294, 301; Supp. X: 30 Encyclopedia of Scotland, The (A. Finch), Supp. XVII: 70–71 “End, The” (Olds), Supp. X: 205 “Endangered Species” (Mora), Supp. XIII: 219–220 Endecott and the Red Cross (Lowell), II: 545 Endgame (Beckett), Supp. XIII: 196 “Endgame” (Tan), Supp. X: 290 “Endicott and the Red Cross” (Hawthorne), Retro. Supp. II: 181, 187–188 “End of Books, The” (Coover), Supp. V: 53 End of Education, The (Postman), Supp. XI: 275 “End of FIRPO in the World, The” (Saunders), Supp. XIX: 229 “End of Season” (Warren), IV: 239–240 “End of Something, The” (Hemingway), II: 248 End of the Affair, The (Greene), Supp. XI: 99 End of the Age of Innocence, The (Price), Retro. Supp. I: 377 “End of the Line, The” (Jarrell), III: 527 “End of the Rainbow, The” (Jarrell), II: 386 End of the Road (film), Supp. XI: 309 End of the Road, The (Barth), I: 121, 122, 126–131; Supp. XI: 309; Supp. XVIII: 140, 141 “End of the World, The” (Gioia), Supp. XV: 126 “End of the World, The” (MacLeish), III: 8 Endor (Nemerov), III: 269, 270, 279 Endore, Guy, Supp. XVII: 53–67 “Ends” (Dixon), Supp. XII: 153 End to Innocence, An: Essays on Culture and Politics (Fiedler), Supp. XIII: 98–99 Endure: The Diaries of Charles Walter Stetson (Stetson), Supp. XI: 196 “Enduring Chill, The” (O’ Connor), III: 349, 351, 357; Retro. Supp. II: 236 Enduring Vision of Norman Mailer, The (Leeds), Retro. Supp. II: 204 Endymion (Keats), IV: 405; Retro. Supp. I: 412 End Zone (DeLillo), Supp. VI: 2, 3, 4, 10, 11, 12 Enemies (Hapgood and N. Boyce), Supp. XVII: 100 Enemies: A Love Story (Singer), IV: 1; Retro. Supp. II: 310–311 Enemy, The: Time (T. Williams), IV: 391 Enemy of the People, An (adapt. Miller), III: 154–156

CUMULATIVE INDEX / 359 “Energy Vampire” (Ginsberg), Supp. II Part 1: 326 “Enforcement of the Slave Trade Laws, The” (Du Bois), Supp. II Part 1: 161 “Engaging the Past” (Bell), Supp. X: 17 Engel, Bernard F., I: 532 Engels, Friedrich, IV: 429, 443–444; Supp. I Part 1: 13 Engineer of Beasts, The (Sanders), Supp. XVI: 270 Engineer of Moonlight (DeLillo), Supp. VI: 4 Engineers and the Price System, The (Veblen), I: 475–476; Supp. I Part 2: 638, 642, 648 Engines of Creation: the Coming Era of Nanotechnology (Drexler), Supp. XVI: 121 “England” (Moore), III: 203, 207, 214 Engle, Paul, III: 542; Retro. Supp. II: 220, 221; Supp. V: 337; Supp. XI: 315; Supp. XIII: 76; Supp. XVIII: 72 English, Zoë, Supp. XVI: 293 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 Language, The (L. P. Smith), Supp. XIV: 341 Englishmen of Letters (James), II: 327 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 Traits (Emerson), II: 1, 5, 6–7, 8 “English Writers on America” (Irving), II: 308 Engstrand, Stuart, Supp. I Part 1: 51 “Enigma Variations” (Nelson), Supp. XVIII: 177 “Enoch and the Gorilla” (O’ Connor), Retro. Supp. II: 225 Enormous Changes at the Last Minute (Paley), Supp. VI: 218 “Enormous Changes at the Last Minute” (Paley), Supp. VI: 226, 232 “Enormous Radio, The” (Cheever), Supp. I Part 1: 175–177, 195 Enormous Radio and Other Stories, The (Cheever), Supp. I Part 1: 175–177 Enormous Room, The (Cummings), I: 429, 434, 440, 445, 477 “Enough for a Lifetime” (Buck), Supp. II Part 1: 127 Enough Rope (Parker), Supp. IX: 189, 192 Enquiry Concerning Political Justice (Godwin), Supp. I Part 1: 126, 146 Entered From the Sun (Garrett), Supp. VII: 105–106, 107–109 “Entering the Kingdom” (Oliver), Supp. VII: 234 Entertaining Strangers (Gurney), Supp. V: 98, 99

Enter without Desire (Lacy), Supp. XV: 201 Entrance: Four Chicano Poets, Supp. XIII: 316 Entrance to Porlock, The (Buechner), Supp. XII: 52 Entries (Berry), Supp. X: 23 “Entropy” (Pynchon), Supp. II Part 2: 619, 621 Entry in an Unknown Hand (F. Wright), Supp. XVII: 240, 244, 245 Environmental Imagination, The (Buell), Supp. V: 209; Supp. IX: 29 “Envoys, The” (Merrill), Supp. III Part 1: 326 “Envy; or, Yiddish in America” (Ozick), Supp. V: 263, 265–266 “Eolian Harp, The” (Coleridge), I: 284 “Eototo” (Sobin), Supp. XVI: 283–284 “Ephemera, The” (Franklin), II: 121 Ephesians (biblical book), Supp. I Part 1: 117 Epictetus, III: 566 “Epicurean, The” (Auchincloss), Supp. IV Part 1: 25 Epicurus, I: 59 “Epigram” (Lowell), II: 550 “Epilogue” (Lowell), Retro. Supp. II: 191 “Epimanes” (Poe), III: 411 “Epimetheus” (Longfellow), II: 494 “Epiphany” (X. J. Kennedy), Supp. XV: 166, 167 “Epipsychidion” (Shelley), Supp. I Part 2: 718 Episode in Palmetto (Caldwell), I: 297, 307 “Epistle” (L.-Y. Lee), Supp. XV: 212 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 Léon-Paul Fargue” (MacLeish), III: 15 “Epitaph Ending in And, The” (Stafford), Supp. XI: 321–322 Epitaph for a Dead Beat (Markson), Supp. XVII: 136–138, 141; 139 Epitaph for a Desert Anarchist (Bishop), Supp. XIII: 1 Epitaph for a Tramp (Markson), Supp. XVII: 136, 137, 139 142 “Epitaph for Fire and Flower” (Plath), Supp. I Part 2: 537 “Epitaph for the Race of Man” (Millay), III: 127–128 “Epithalamium” (Auden), Supp. II Part 1: 15 “Epstein” (P. Roth), Retro. Supp. II: 281; Supp. III Part 2: 404, 406–407, 412, 422 Epstein, Barbara, Supp. XIX: 268 Epstein, Helen, Supp. XVII: 47 Epstein, Jason, Supp. VIII: 233 Epstein, Joseph, Supp. IV Part 2: 692; Supp. VIII: 236, 238; Supp. XIV: 101–117; Supp. XVI: 230, 275

Epstein, Leslie, Supp. XII: 159–174; Supp. XVIII: 92, 99 Epstein, Philip, Supp. XII: 159 “Equal in Paris” (Baldwin), Retro. Supp. II: 3; Supp. I Part 1: 52 “Equals” (Untermeyer), Supp. XV: 304 Equation for Evil (Caputo), Supp. XIX: 25–26 “Equations of the Light” (Gioia), Supp. XV: 125 “Equilibrists, The” (Ransom), III: 490, 494 “Equipment for Pennies” (H. Roth), Supp. IX: 233 Erasmus, Desiderius, Supp. XV: 258 Erasure (Everett), Supp. XVIII: 54, 60, 61–62 “Erat Hora” (Pound), III: 463; Retro. Supp. I: 413 Erdrich, Louise, Supp. IV Part 1: 259– 278, 333, 404; Supp. X: 290; Supp. XVIII: 189 “Erectus” (Karr), Supp. XI: 243 “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), I: 232 Ernst, Max, Retro. Supp. II: 321 “Eros” (Komunyakaa), Supp. XIII: 130 “Eros and Anteros” (E. Stoddard), Supp. XV: 283 Eros and Civilization (Marcuse), Supp. XII: 2 “Eros at Temple Stream” (Levertov), Supp. III Part 1: 278–279 Eros the Bittersweet (Carson), Supp. XII: 97, 98–99 “Eros Turannos” (Robinson), III: 510, 512, 513–516, 517, 518 “Eroticism in Women” (Nin), Supp. X: 195 “Errand” (Carver), Supp. III Part 1: 149 Erskine, Albert, IV: 261; Retro. Supp. II: 117 Erskine, John, I: 223; Supp. X: 183; Supp. XIV: 120 Erstein, Hap, Supp. IV Part 2: 589, 590 “Escape” (MacLeish), III: 4 Escape Artist, The (Wagoner), Supp. IX: 324, 334–335 Escher, M. C., Supp. XII: 26; Supp. XVI: 102 “Escudilla” (Leopold), Supp. XIV: 188 Eshleman, Clayton, Supp. XVI: 284 “Eskimo Love” (Apple), Supp. XVII: 5 Espeland, Pamela, Supp. XVIII: 180, 181 Espen, Hal, Supp. X: 15 Espey, John, III: 463, 468, 478 Esposito, Scott, Supp. XVII: 234 Essais (Renouvier), II: 344–345 Essay Concerning Human Understanding, An (Locke), I: 554; II: 8, 348– 349 Essay on American Poetry (Brown), Supp. I Part 1: 156

360 / AMERICAN WRITERS “Essay on Aristocracy” (Paine), Supp. I Part 2: 515 “Essay on Friendship, An” (McClatchy), Supp. XII: 258–259 “Essay on Love” (Carruth), Supp. XVI: 56 Essay on Man (Pope), II: 111; Supp. I Part 2: 516 “Essay on Marriage” (Carruth), Supp. XVI: 48 Essay on Our Changing Order (Veblen), Supp. I Part 2: 629, 642 “Essay on Poetics” (Ammons), Supp. VII: 29–31 Essay on Projects (Defoe), II: 104 “Essay on Psychiatrists” (Pinsky), Supp. VI: 237, 238, 241, 242, 249, 250 Essay on Rime (Shapiro), I: 430; Supp. II Part 2: 702, 703, 708–711 “Essay on Sanity” (Dunn), Supp. XI: 147 “Essay on the Character of Robespierre” (Paine), Supp. I Part 2: 515 Essay on the Chinese Written Character (Fenollosa), III: 474 “Essay on What I Think About Most” (Carson), Supp. XII: 111–112 Essays (Emerson), II: 1, 7, 8, 12–13, 15, 21 Essays, Speeches, and Public Letters by William Faulkner (Meriweather, ed.), Retro. Supp. I: 77 Essays in Anglo-Saxon Law (Adams), I: 5 Essays in London (James), II: 336 Essays in Radical Empiricism (James), II: 355, 356–357 Essays on Norman Mailer (Lucid), Retro. Supp. II: 195 Essays on the Nature and Principles of Taste (Alison), Supp. I Part 1: 151 Essays to Do Good (Mather), II: 104; Supp. II Part 2: 461, 467 “Essay: The Love of Old Houses” (Doty), Supp. XI: 136 “Essay Toward a Point of View, An” (Brooks), I: 244 “Essence, Absence, and Sobin’s Venus Blue” (English), Supp. XVI: 293 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. III Part 2: 486 Essentials: A Philosophy of Life in Three Hundred Definitions and Aphorisms (Toomer), Supp. III Part 2: 486 Essentials: Definitions and Aphorisms (Toomer), Supp. IX: 320 “Essentials of Spontaneous Prose” (Kerouac), Supp. III Part 1: 227–228 Estampas del valle y otras obras (Hinojosa). See Valley, The (Hinojosa) “Estate Sale” (Nye), Supp. XIII: 283 Estess, Sybil, Supp. IV Part 2: 449, 452 Esther (Adams), I: 9–10, 20 “Esther” (Toomer), Supp. IX: 313–314

“Esthétique du Mal” (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 Estrada, Genaro, Retro. Supp. II: 89 Estray, The (Longfellow, ed.), Retro. Supp. II: 155 Esty, William, III: 358 “Etching, An” (Masters), Supp. I Part 2: 458 “Eternal Goodness, The” (Whittier), Supp. I Part 2: 704 Eternal Spring, The (N. Boyce), Supp. XVII: 100 “Eternity, An” (W. C. Williams), Retro. Supp. I: 423 “Eternity Is Now” (Roethke), III: 544– 545 “Ethan Brand” (Hawthorne), II: 227 Ethan Frome (Wharton), IV: 316–317, 327; Retro. Supp. I: 372–373; Supp. IX: 108; Supp. XVIII: 216 Ethics (Spinoza), IV: 12; Retro. Supp. II: 300 “Ethics of Culture, The” (Locke), Supp. XIV: 211 “Ethnics of Frank Costello, The” (Talese), Supp. XVII: 202 “Etude” (Kooser), Supp. XIX: 115 Etulain, Richard, Supp. IV Part 2: 597, 601, 604, 606, 607, 608, 610, 611 “Etymology” (Nelson), Supp. XVIII: 185 Euclid, III: 6, 620 “Euclid Alone Has Looked on Beauty Bare” (Millay), III: 133 Eugene, Frank, Supp. X: 204 Eugene Onegin (Pushkin), III: 246, 263 Eugene Onegin (Pushkin; Nabokov, trans.), Retro. Supp. I: 266, 267, 272 Eugenides, Jeffrey, Supp. XIX: 138 Eugénie, Empress, IV: 309 Eugénie Grandet (Balzac), II: 328 “Eugénie Grandet” (Barthelme), Supp. IV Part 1: 47 “Eulogy for Richard Hugo (1923–1982)” (Wagoner), Supp. IX: 330–331 “Eulogy on the Flapper” (Z. Fitzgerald), Supp. IX: 71 Eumenides (Aeschylus), Retro. Supp. I: 65 “E Unibus Pluram: Television and U.S. Fiction” (Wallace), Supp. X: 315–316 “Euphemisms” (Matthews), Supp. IX: 167–168 Eureka (Poe), III: 409, 424, 428–429 Eurekas (Goldbarth), Supp. XII: 181 Euripides, I: 325; II: 8, 282, 543; III: 22, 145, 398; IV: 370; Supp. I Part 1: 268, 269, 270; Supp. I Part 2: 482; Supp. V: 277 “Euripides and Professor Murray” (Eliot), Supp. I Part 1: 268 “Euripides—A Playwright” (West), IV: 286; Retro. Supp. II: 326 “Europe” (Ashbery), Supp. III Part 1: 7–10, 13, 18

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 (H. James), I: 452; II: 327, 328; Retro. Supp. I: 216, 220 Europe Central (Vollmann), Supp. XVII: 225, 226, 227, 229, 231, 233–235, 236 “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 Eurydice in the Underworld (Acker), Supp. XII: 7 Eustace, Saint, II: 215 Eustace Chisholm and the Works (Purdy), Supp. VII: 273–274, 279–280 “Euthanasia” (Tate), IV: 122 Eva-Mary (McCarriston), Supp. XIV: 259, 260, 263–268 “Evangeline” (Dixon), Supp. XII: 153 Evangeline (Longfellow), II: 489, 501– 502; Retro. Supp. II: 155, 156–159, 162, 164; Supp. I Part 2: 586 Evanier, David, Supp. XVI: 212 Evans, Alice, Supp. XVII: 71, 72 Evans, Mary Ann. See Eliot, George Evans, Oliver, Supp. IV Part 1: 85, 91 Evans, Sandy, Supp. XIII: 129 Evans, Walker, I: 36, 38, 293; Retro. Supp. II: 85 Eve (A. Finch), Supp. XVII: 72–74 “Eve” (W. C. Williams), Retro. Supp. I: 423 Even Cowgirls Get the Blues (Robbins), Supp. X: 259, 260, 261, 262–263, 264, 266, 269–271, 272, 274, 277, 284; Supp. XIII: 11 “Evening” (Carver), Supp. III 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. III Part 1: 61 “Evening of the 4th of July, The” (Kees), Supp. XV: 140, 142 “Evening on the Cote d’ Azur” (Yates), Supp. XI: 349 Evening Performance, An: New and Selected Short Stories (Garrett), Supp. VII: 109 “Evenings at Home” (Hardwick), Supp. III Part 1: 195–196 “Evening’s at Seven, The” (Thurber), Supp. I Part 2: 616 “Evening Star” (Bogan), Supp. III Part 1: 56 Evening Star, The (McMurtry), Supp. V: 230

CUMULATIVE INDEX / 361 Evening Star, The (screenplay) (McMurtry), Supp. V: 232 “Evening Sun” (Kenyon), Supp. VII: 168 Evening Sun Turned Crimson, The (Huncke), Supp. XIV: 140, 149–150 “Evening Sun Turned Crimson, The” (Huncke), Supp. XIV: 137–138, 139 “Evening Wind, The” (Bryant), Supp. I Part 1: 164 “Evening without Angels” (Stevens), Retro. Supp. I: 302 Evening with Richard Nixon, An (Vidal), Supp. IV Part 2: 683 “Even Sea, The” (Swenson), Supp. IV Part 2: 641 Even Stephen (Perelman and West), Retro. Supp. II: 328 “Event, An” (Wilbur), Supp. III Part 2: 547, 554 “Event, The” (Dove), Supp. IV Part 1: 242, 247–248 “Eventide” (Brooks), Supp. III Part 1: 73 “Eventide” (Purdy), Supp. VII: 270 “Event Itself, The” (Carruth), Supp. XVI: 47 Eve of Saint Agnes, The (Keats), II: 82, 531 “Eve of St. Agnes, The” (Clampitt), Supp. IX: 40 “Ever a Bridegroom: Reflections on the Failure of Texas Literature” (McMurtry), Supp. V: 225 Everett, Alexander Hill, Supp. I Part 1: 152 Everett, Percival, Supp. XVIII: 53–67 Everlasting Story of Nory, The (Baker), Supp. XIII: 52, Supp. XIII: 53–55 Ever-Present Past, The (Hamilton), Supp. XVI: 196 Evers, Medgar, IV: 280; Retro. Supp. II: 13; Supp. I Part 1: 52, 65 Everwine, Peter, Supp. V: 180; Supp. XIII: 312; Supp. XV: 73–90 “Everybody’s Protest Novel” (Baldwin), Retro. Supp. II: 4; Supp. I Part 1: 50, 51 “Everybody’s Reading Li Po’ Silkscreened on a Purple T-Shirt” (Komunyakaa), Supp. XIII: 120 Everybody’s Story: Writing by Older Minnesotans (C. Bly, ed.), Supp. XVI: 38 “Everybody Was Very Nice” (Benét), Supp. XI: 53 “Every-Day Girl, A” (Jewett), Retro. Supp. II: 132 “Everyday Use” (Walker), Supp. III Part 2: 534 “Every-Day Work” (Jewett), Retro. Supp. II: 132 Everyone Says I Love You (film; Allen), Supp. XV: 11 Every Pleasure (Goldbarth), Supp. XII: 181 Every Soul Is a Circus (Lindsay), Supp. I Part 2: 384, 394, 399 “Everything Is a Human Being” (Walker), Supp. III Part 2: 527 Everything Is Illuminated (Foer), Supp. XII: 169

“Everything Stuck to Him” (Carver), Supp. III Part 1: 143 Everything That Moves (Schulberg), Supp. XVIII: 254 Everything That Rises Must Converge (O’ Connor), III: 339, 348–349, 350–351; Retro. Supp. II: 235, 236–237 “Everything That Rises Must Converge” (O’ Connor), III: 349, 352, 357; Retro. Supp. II: 236 Everything You Always Wanted to Know about Sex (film; Allen), Supp. XV: 4–5, 13 Eve’s Diary (Twain), IV: 208–209 “Eve Speaks” (Untermeyer), Supp. XV: 300 “Eve the Fox” (Gunn Allen), Supp. IV Part 1: 331 “Evidence” (Harjo), Supp. XII: 219 Evidence of the Senses, The (Kelley), Supp. IV Part 2: 529 Evidence of Things Not Seen, The (Baldwin), Retro. Supp. II: 15 “Evil Seekers, The” (Sexton), Supp. II Part 2: 696 “Evolution” (Swenson), Supp. IV Part 2: 639 Evolving the Idol: The Poetry of Gustaf Sobin (Crick), Supp. XVI: 289 Ewing, Jon, Supp. X: 253 Ewings, The (O’ Hara), III: 383 “Examination at the Womb Door” (Hughes), Supp. XV: 347 “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 “Excelsior” (Longfellow), Retro. Supp. II: 169 “Excerpts from Swan Lake” (Cameron), Supp. XII: 80, 84 “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 “Excitement, The ” (Jarman), Supp. XVII: 120–121 “Exclusive” (Olds), Supp. X: 206 “Excrement Poem, The” (Kumin), Supp. IV Part 2: 448 “Excursion” (Garrett), Supp. VII: 100 Excursions (Thoreau), IV: 188 “Excursion to Canada, An” (Thoreau), Supp. XVIII: 4 “Excursus of Reassurance in Begonia Time, An” (Carruth), Supp. XVI: 58 Executioner (Weigl), Supp. XIX: 277 Executioner’s Song, The (Mailer), Retro. Supp. II: 108, 209 “Exercise and Abstinence” (Swados), Supp. XIX: 265 Exercises in History, Chronology, and Biography, in Question and Answer (Rowson), Supp. XV: 245

Ex-Friends: Falling Out with Allen Ginsberg, Lionel and Diana Trilling, Lillian Hellman, Hannah Arendt, and Norman Mailer (Podhoretz), Supp. VIII: 239, 242–244 “Exhausted Bug, The” (R. Bly), Supp. IV Part 1: 73 “Exhortation” (Bogan), Supp. III Part 1: 58 “Exhortation” (McKay), Supp. X: 135 “Exile” (Gass), Supp. VI: 92 “Exile” (Oates), Supp. II Part 2: 523 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 Letter” (Karr), Supp. XI: 241 Exile’s Return (Cowley), Supp. III Part 1: 136, 138, 140, 141, 144, 147, 148 “Exile’s Return, The” (Lowell), II: 539; Retro. Supp. II: 187 Exiles: Three Short Novels (Caputo), Supp. XIX: 25, 26–27 “Existences” (Stafford), Supp. XI: 324 Existentialism from Dostoevsky to Sartre (W. Kaufmann), Supp. XVII: 137 Exit into History (Hoffman), Supp. XVI: 148, 150, 151–153 Exit to Eden (Rampling), Supp. VII: 301–302 Exley, Frederick, Supp. XVII: 135 Exley, Frederick, Supp. XVI: 69 Exodus (biblical book), IV: 300 Exodus (Uris), Supp. IV Part 1: 379 “Exorcism” (Snodgrass), Supp. VI: 314 “Exorcism, An” (Malamud), Supp. I Part 2: 435 Exorcist, The (film), Supp. I Part 1: 66 “Expanses” (Dickey), Supp. IV Part 1: 186 “Ex Parte” (Lardner), II: 432 “Expatiation on the Combining of Weathers at Thirty-seventh and Indiana Where the Southern More or Less Crosses th e Dog, The” (Carruth), Supp. XVI:51–52 “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 Gifts” (Miller), Supp. XII: 294 “Expensive Moment, The” (Paley), Supp. VI: 222, 227–228, 230

362 / AMERICAN WRITERS Expensive People (Oates), Supp. II Part 2: 509, 510–511 “Experience” (Emerson), Supp. XIV: 42 “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. III Part 2: 493 “Experiences and Principles of an Historian” (Morison), Supp. I Part 2: 492 Experimental Death Unit #1 (Baraka), Supp. II Part 1: 46 “Experimental Life, The” (Bourne), I: 217, 220 “Experiment in Misery, An” (S. Crane), I: 411; Retro. Supp. II: 97 Experiments and Observations on Electricity (Franklin), II: 102, 114–115 “Expiation” (Hoffman), Supp. XVIII: 86 “Expiation” (Wharton), Retro. Supp. I: 367 “Explaining Evil” (Gordon), Supp. IV Part 1: 310 “Explaining Ted Kooser” (Gioia), Supp. XIX: 121 “Explanation” (Stevens), IV: 79 Explanation of America, An (Pinsky), Supp. VI: 237, 241–243 Exploding Gravy (X. J. Kennedy), Supp. XV: 163 “Exploit” (Wharton), IV: 324 “Exploration in the Great Tuolumne Cañon” (Muir), Supp. IX: 181 “Explorer, The” (Brooks), Supp. III Part 1: 79–80 “Exploring the Magalloway” (Parkman), Supp. II Part 2: 591 Expositor’s Bible, The (G. A. Smith), III: 199 Expressions of Sea Level (Ammons), Supp. VII: 24, 28, 36 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-Beaters, Blood, Victory, Madness, Buckhead and Mercy, The (Dickey), Supp. IV Part 1: 178, 182–183 “Eye for an Eye, An” (Humphrey), Supp. IX: 108 “Eye in the Rock, The” (Haines), Supp. XII: 208, 209 Eye in the Sky (Dick), Supp. XVIII: 138 “Eye-Mote, The” (Plath), Retro. Supp. II: 246, 247 “Eye of Paris, The” (H. Miller), III: 183– 184 Eye of the Poet, The: Six Views of the Art and Craft of Poetry (Citino, ed.), Supp. XIII: 115 “Eye of the Rock, The” (Haines), Supp. XII: 208 “Eye of the Story, The” (Porter), IV: 279

Eye of the Story, The: Selected Essays and Reviews (Welty), Retro. Supp. I: 339, 342, 344, 345, 346, 351, 354, 355, 356 “Eyes, The” (Wharton), IV: 315 “Eyes like They Say the Devil Has” (Ríos), Supp. IV Part 2: 543, 544 Eyes of the Dragon, The (King), Supp. V: 139, 152 Eyes of the Heart: A Memoir of the Lost and Found (Buechner), Supp. XII: 53 “Eyes of Zapata” (Cisneros), Supp. VII: 70 “Eyes to See” (Cozzens), I: 374 Eye-to-Eye (Nye), Supp. XIII: 274 Eysturoy, Annie O., Supp. IV Part 1: 321, 322, 323, 328 Ezekiel (biblical book), II: 541 “Ezekiel” (R. Fisher), Supp. XIX: 71 Ezekiel, Mordecai, Supp. I Part 2: 645 “Ezekiel Learns” (R. Fisher), Supp. XIX: 71 “Ezra Pound” (Bynner), Supp. XV: 49 “Ezra Pound: His Cantos” (Zukofsky), Supp. III 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 Faas, Ekbert, Supp. VIII: 292 “Fabbri Tape, The” (Auchincloss), Supp. IV Part 1: 21–22 Faber, Geoffrey, Retro. Supp. I: 63 Faber Book of Movie Verse, The (French and Wlaschin, eds.), Supp. XVI: 294 “Fable” (Merwin), Supp. III Part 1: 343 “Fable” (Wylie), Supp. I Part 2: 714 Fable, A (Faulkner), II: 55, 73; Retro. Supp. I: 74 “Fable, A” (Glück), Supp. V: 86 “Fable, The” (Winters), Supp. II Part 2: 792, 793, 796 Fable for Critics, A (Lowell), Supp. I Part 2: 406, 407–408, 409, 412–413, 416, 420, 422 “Fable for Critics, A” (Lowell), Supp. XVIII: 3, 8 “Fable of the War, A” (Nemerov), III: 272 Fables (Gay), II: 111 Fables and Distances: New and Selected Essays (Haines), Supp. XII: 197, 199, 207–208, 211 Fables for Our Time (Thurber), Supp. I Part 2: 610 Fables of Identity: Studies in Poetic Mythology (Frye), Supp. X: 80 Fables of La Fontaine, The (Moore), III: 194, 215 “Fables of Representation: Poetry of the New York School” (Hoover), Supp. XV: 179 “Fables of the Fallen Guy” (Rosaldo), Supp. IV Part 2: 544 “Fables of the Moscow Subway” (Nemerov), III: 271 Fabulators, The (Scholes), Supp. V: 40

Fabulous Small Jews (Epstein), Supp. XIV: 112 Face against the Glass, The (Francis), Supp. IX: 80–81 Face in the Crowd, A (film, Kazan), Supp. XVIII: 252–253 Face of Time, The (Farrell), II: 28, 34, 35, 39 Faces of Jesus, The (Buechner), Supp. XII: 53 Face to the Wind (film), Supp. XVII: 141 Fachinger, Petra, Supp. XVI: 153 “Facing It” (Komunyakaa), Supp. XIII: 117, 124, 125 Facing Shadows (Jin), Supp. XVIII: 92, 93 “Facing West from California’s Shores” (Jeffers), Supp. II Part 2: 437–438 “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 (P. Roth), Retro. Supp. II: 280, 291; Supp. III Part 2: 401, 405, 417, 426 “Facts and Traditions Respecting the Existence of Indigenous Intermittent Fever in New England” (Holmes), Supp. I Part 1: 303 “Facts in the Case of M. Valdemar, The” (Poe), III: 416 Faderman, Lillian, Retro. Supp. II: 135; Supp. XIII: 313 Fadiman, Clifton, II: 430, 431, 443, 591– 592; Supp. IX: 8; Supp. XVI: 100, 106; Supp. XVII: 87, 90 Fading, My Parmacheene Belle (J. Scott), Supp. XVII: 184–185, 188 “Fado” (McClatchy), Supp. XII: 265– 266 Faerie Queene, The (Spenser), III: 487; IV: 253; Supp. XIV: 6; Supp. XV: 181 Faery, Rebecca Blevins, Retro. Supp. I: 374 Fagan, Kathy, Supp. V: 180; Supp. XV: 73 Fagan, Louise, Supp. XIX: 204, 205 Fahrenheit 451 (Bradbury), Supp. IV Part 1: 101, 102, 104, 107–109, 110, 113; Supp. XIII: 29 “Failure” (Gioia), Supp. XV: 125 “Failure” (Zach; Everwine, trans.), Supp. XV: 86 “Failure of David Barry, The” (Jewett), Retro. Supp. II: 132 Fainlight, Ruth, Supp. XV: 261, 264 Faint Perfume (Gale), Supp. I Part 2: 613 Fair, Bryan K., Supp. VIII: 128 Fairbanks, Douglas, Supp. XVI: 185, 186 Fairchild, Frances. See Bryant, Mrs. William Cullen (Frances Fairchild) Fairchild, Hoxie, Supp. XIV: 120 Fairfield, Flora (pseudonym). See Alcott, Louisa May Fair Gentlemen of Belken County (Hinojosa), Supp. XIX: 105

CUMULATIVE INDEX / 363 Fairly Conventional Woman, A (Shields), Supp. VII: 312, 316, 318 “Fairly Sad Tale, A” (Parker), Supp. IX: 192 Fair Warning (R. O. Butler), Supp. XII: 62, 75–76 Faith (Goldbarth), Supp. XII: 181, 182– 183 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 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 “Faith Healer” (Komunyakaa), Supp. XIII: 117 “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 Faker’s Dozen, A (Bukiet), Supp. XVII: 47 Falcoff, Mark, Supp. VIII: 88 Falcon (Hammett), Supp. IV Part 1: 351 Falconer (Cheever), Supp. I Part 1: 176, 193–195, 196 Falconer, A. F., Supp. XIV: 2 “Falcon of Ser Federigo, The” (Longfellow), II: 505 Falk, Peter, Supp. XI: 174 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 Falkner, William C., II: 55 “Fall” (Francis), Supp. IX: 76 “Fall, The” (Bass), Supp. XVI: 25 “Fall 1961” (Lowell), II: 550 “Fallen Western Star: The Decline of San Francisco as a Literary Region” (Gioia), Supp. XV: 112, 115–116 “Fallen Western Star” Wars, The: A Debate about Literary California (Foley, ed.), Supp. XV: 112, 116 “Fall in Corrales” (Wilbur), Supp. III Part 2: 556 Falling (Dickey), Supp. IV Part 1: 178, 181–182 “Falling” (Dickey), Supp. IV Part 1: 182 “Falling Asleep over the Aeneid” (Lowell), II: 542; Retro. Supp. II: 188 Falling in Place (Beattie), Supp. V: 28–29 “Falling into Holes in Our Sentences” (R. Bly), Supp. IV Part 1: 71 “Fall Journey” (Stafford), Supp. XI: 322 Fall of America, The: 1965–1971 (Ginsberg), Supp. II Part 1: 323, 325, 327; Supp. XV: 264

Fall of Eve, The (Loos), Supp. XVI: 187 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; Retro. Supp. II: 270 Fall of the Magicians, The (Kees), Supp. XV: 144 Fallows, James, Supp. VIII: 241 Fall Quarter (Kees), Supp. XV: 141 Fall & Rise (Dixon), Supp. XII: 147– 148, 148, 153, 157 “Falls, The” (Olds), Supp. X: 215 “Falls, The” (Saunders), Supp. XIX: 229 “Falls Fight, The” (Howe), Supp. IV Part 2: 431–432 Falon, Janet Ruth, Supp. IV Part 2: 422 False Coin (Swados), Supp. XIX: 260– 261, 263 “False Dawn” (Wharton), Retro. Supp. I: 381 “False Documents” (Doctorow), Supp. IV Part 1: 220, 236 “False Leads” (Komunyakaa), Supp. XIII: 116 Fame and Obscurity: Portraits by Gay Talese (Talese), Supp. XVII: 202, 203, 204 Fame & Folly: Essays (Ozick), Supp. V: 272 “Familiar Epistle to a Friend, A” (Lowell), Supp. I Part 2: 416 Familiar Territory: Observations on American Life (Epstein), Supp. XIV: 106 “Family” (Sanders), Supp. XVI: 276 “Family” (Wilson), IV: 426 Family, Kinship, and Sympanthy in Nineteenth-Century America (Weinstein), Supp. XVIII: 261 “Family Affair, A” (Chopin), Retro. Supp. II: 71 “Family and Socialism, The” (Ryan as Quin), Supp. XVIII: 238 Family Arsenal, The (Theroux), Supp. VIII: 322 Family Chronicle: An Odyssey from Russia to America (Reznikoff), Supp. XIV: 277, 288, 289 “Family History” (Mora), Supp. XIII: 217 “Family History, A” (Davis), Supp. XVI: 82 Family Honor (Parker), Supp. XIX: 186 Family Life (Banks), Supp. V: 7 “Family Matters” (Alvarez), Supp. VII: 10 Family Moskat, The (Singer), IV: 1, 17, 20, 46; Retro. Supp. II: 304 “Family of Little Feet, The” (Cisneros), Supp. VII: 61 Family Party, A (O’ Hara), III: 362 Family Pictures (Brooks), Supp. III Part 1: 69, 85, 86 Family Pictures (Miller), Supp. XII: 291, 295–297, 299 “Family Reunion” (X. J. Kennedy), Supp. XV: 169

Family Reunion, The (Eliot), I: 570–571, 572, 581, 584, 588; Retro. Supp. I: 62, 65 “Family Secrets” (Kingsolver), Supp. VII: 208 “Family Sideshow, The” (Karr), Supp. XI: 245 “Family Ties” (Mora), Supp. XIII: 215 “Family Tree” (Komunyakaa), Supp. XIII: 117–118, 126 “Family Wasserstein, The” (Hoban), Supp. XV: 319, 325 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 Fancher, Edwin, Retro. Supp. II: 202 Fancher, Lou, Supp. XVI: 177 “Fancy and Imagination” (Poe), III: 421 “Fancy Flights” (Beattie), Supp. V: 25 “Fancy’s Show Box” (Hawthorne), II: 238 “Fancy Woman, The” (Taylor), Supp. V: 316–317, 319, 323 “Fang” (Goldbarth), Supp. XII: 190 Fanny: Being the True History of the Adventures of Fanny Hackabout-Jones (Jong), Supp. V: 115, 127 Fanny Hill (Cleland), Supp. V: 48, 127 Fan of Swords, The (al-Maghut), Supp. XIII: 278 Fanon, Frantz, Retro. Supp. II: 118; Supp. X: 131, 141 Fanshawe (Hawthorne), II: 223–224; Retro. Supp. I: 149, 151 Fan’s Notes, A (Exley), Supp. XVI: 69 “Fantasia on ‘The Nut-Brown Maid’ ” (Ashbery), Supp. III Part 1: 19 “Fantasia on the Relations between Poetry and Photography” (Strand), Supp. IV Part 2: 631 “Fantastic Fables” (Bierce), I: 209 Fante, John, Supp. XI: 159–176 Faraday, Michael, I: 480–481 Far and Away (Jarman), Supp. XVII: 110, 115 “Far and Away” (Jarman), Supp. XVII: 115 “Farewell” (Emerson), II: 13 “Farewell” (Ryan as Quin), Supp. XVIII: 229 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. III Part 1: 336–337 Farewell-Sermon Preached at the First Precinct in Northampton, after the People’s Publick Rejection of their Minister, A (Edwards), I: 548, 562 “Farewell Sweet Dust” (Wylie), Supp. I Part 2: 727–728

364 / AMERICAN WRITERS Farewell to Arms, A (Hemingway), I: 212, 421, 476, 477; II: 68–69, 248– 249, 252–253, 254, 255, 262, 265; Retro. Supp. I: 171, 178, 180–182, 187, 189; Retro. Supp. II: 108; Supp. IV Part 1: 380–381, 381; Supp. VIII: 179; Supp. XII: 241–242 “Farewell to Miles” (Berryman), I: 173 “Farewell to My Union Brothers” (Ryan as Quin), Supp. XVIII: 238 Farewell to Reform (Chamberlain), Supp. I Part 2: 647 Farewell to Sport (Gallico), Supp. XVI: 238 “Farewell to the Middle Class” (Updike), Retro. Supp. I: 321 Far Field, The (Roethke), III: 528, 529, 539, 545, 547–548 “Far Field, The” (Roethke), III: 537, 540 Far-Flung (Cameron), Supp. XII: 81 Far from the Madding Crowd (Hardy), II: 291 Faris, Athénaíse Charleville, Supp. I Part 1: 204 Farley, Abbie, I: 458 Farley, Harriet, Supp. XIII: 140 “Farm, The” (Creeley), Supp. IV Part 1: 155 Farmer (Harrison), Supp. VIII: 39, 44–45 Farmer, Frances, Supp. XV: 196–197 Farmer, Richard, Supp. XIV: 2 “Farmer and the Fox, The” (Leopold), Supp. XIV: 188 “Farmers’ Daughters, The” (W. C. Williams), Retro. Supp. I: 423 Farmers Hotel, The (O’ Hara), III: 361 “Farmer’s Sorrow, A” (Jewett), Retro. Supp. II: 132 “Farmer’s Wife, The” (Sexton), Supp. II Part 2: 676 “Farm Garden” (Nelson), Supp. XVIII: 186 “Farm Implements and Rutabagas in a Landscape” (Ashbery), Supp. III Part 1: 13 Farming: A Hand Book (Berry), Supp. X: 31, 35 “Farmlights in Iowa” (Kooser), Supp. XIX: 120 “Farm on the Great Plains, The” (Stafford), Supp. XI: 322 Farnol, Jeffrey, Supp. I Part 2: 653 Far North (Shepard), Supp. III Part 2: 433, 435 “Far Northern Birch, The” (Francis), Supp. IX: 90 Farnsworth, Elizabeth, Supp. XI: 139 “Farrago” (Kees), Supp. XV: 145 Farrand, Max, II: 122 Farrar, Geraldine, Retro. Supp. I: 10 Farrar, John, II: 191; Supp. XI: 47 Farrell, Barry, Supp. XIV: 142 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; Retro. Supp. II: 196, 327; Supp. I Part 2: 679; Supp. VIII: 96, 97; Supp. XIV: 3; Supp. XV: 141

Farrell, John, II: 26 Farrell, John C., Supp. I Part 1: 24 Farrell, Kate, Supp. XV: 187–188,Supp. XV: 190 Farrell, Kevin, II: 26 Farrell, Mary, II: 25 Farrell, Mrs. James T. (Dorothy Butler), II: 26 Farrell, Mrs. James T. (Hortense Alden), II: 26, 27, 45, 48 “Far Rockaway” (Schwartz), Supp. II Part 2: 649 Farrow, Mia, Supp. XV: 8, 10 Far Side of the Dollar, The (Macdonald), Supp. IV Part 2: 473 Farther Off from Heaven (Humphrey), Supp. IX: 93, 96, 101, 103–104, 105, 109 Far Tortuga (Matthiessen), Supp. V: 201, 206–207 “Fascinating Fascism” (Sontag), Supp. III Part 2: 465 “Fascination of Cities, The” (Hughes), Supp. I Part 1: 325 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 “Faster than Light” (Nelson), Supp. XVIII: 178–179 “Fastest Runner on Sixty-first Street, The” (Farrell), II: 45 “Fat” (Carver), Supp. III Part 1: 141 Fatal Interview (Millay), III: 128–129, 130 “Fatality” (Bausch), Supp. VII: 54 Fatal Lady (film), Supp. XIII: 166 “Fate” (Emerson), II: 2–3, 4, 16; Supp. XIV: 42 “Fate” (Koch), Supp. XV: 183 “Fate” (Mailer), Retro. Supp. II: 207 “Fate of Pleasure, The” (Trilling), Supp. III Part 2: 510 Fate of the Jury, The (Masters), Supp. I Part 2: 466, 468, 469 “Fat Girl, The” (Dubus), Supp. VII: 84, 85 “Father” (Kooser), Supp. XIX: 117, 127 “Father” (Levine), Supp. V: 188 “Father” (Sanders), Supp. XVI: 277 “Father” (Walker), Supp. III Part 2: 522 “Father, The” (Carver), Supp. III Part 1: 137, 140 Father, The (Olds), Supp. X: 209–211 “Father Abraham” (Faulkner), Retro. Supp. I: 81, 82 Fatheralong: A Meditation on Fathers and Sons, Race and Society (Wideman), Supp. X: 320, 332–333, 334, 335 “Father and Daughter” (Eberhart), I: 539 Father and Glorious Descendant (Lowe), Supp. X: 291 “Father and Son” (Eberhart), I: 539 Father and Son (Farrell), II: 34, 35, 290, 291 Father and Son (Gosse), Supp. VIII: 157

“Father and Son” (Hughes), Retro. Supp. I: 204; Supp. I Part 1: 329, 339 “Father and Son” (Kunitz), Supp. III 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 Fitzgerald” (Nelson and Espeland), Supp. XVIII: 181 “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; Supp. X: 52 Fathers and Crows (Vollmann), Supp. XVII: 226, 231–232 “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 “Father’s Voice” (Stafford), Supp. XI: 322 “Fat Lady, The” (Carruth), Supp. XVI: 48 “Fat Man, Floating” (Dunn), Supp. XI: 144 Faulkner, Barry, Supp. XV: 41 Faulkner, William, I: 54, 97, 99, 105, 106, 115, 117, 118, 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; Retro. Supp. II: 19, 221, 326; Supp. I Part 1: 196, 197, 242, 372; Supp. I Part 2: 450, 621; Supp. III Part 1: 384–385, 396; Supp. IV Part 1: 47, 130, 257, 342; Supp. IV 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; Supp. X: 44, 228; Supp. XI: 92, 247; Supp. XII: 16, 289, 310, 313; Supp. XIII: 100, 169; Supp. XIV: 1, 12–13, 21, 24, 93, 306; Supp. XV: 92, 135, 338; Supp. XVI: 148, 189; Supp. XVII: 225; Supp. XVIII: 76, 84, 90, 148, 249; Supp. XIX: 97, 154, 166 Faulkner: A Collection of Critical Essays (Warren), Retro. Supp. I: 73 Faulkner at Nagano (Jelliffe, ed.), I: 289; II: 63, 65

CUMULATIVE INDEX / 365 Faulkner-Cowley 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, Arthur Huff, Supp. XVIII: 126 Fauset, Jessie, Supp. I Part 1: 321, 325; Supp. IV Part 1: 164 Fauset, Jessie Redmon, Supp. XVIII: 122,127; Supp. XIX: 69, 78 Faust (Goethe), I: 396; II: 489; III: 395; Supp. II Part 1: 16; Supp. IX: 141 Faust, Clarence H., II: 20 Faute de l’ Abbé Mouret, La (Zola), III: 322 Favor Island (Merwin), Supp. III Part 1: 346, 347 “Favor of Love, A” (Peacock), Supp. XIX: 203 “Favrile” (Doty), Supp. XI: 131 “Fawn, with a Bit of Green” (Swados), Supp. XIX: 258 Fay, Bernard, IV: 41 “Fear, The” (Frost), Retro. Supp. I: 128 “Fear & Fame” (Levine), Supp. V: 192 Fearful Child, The (C. Frost), Supp. XV: 96, 97, 106 “Fearful Child, The” (C. Frost), Supp. XV: 96 Fearing, Kenneth, Supp. XV: 138 “Fearless” (Mosley), Supp. XIII: 241 Fearless Jones (Mosley), Supp. XIII: 241–242 “Fear of Concrete” (Halliday), Supp. XIX: 91 Fear of Fifty: A Midlife Memoir (Jong), Supp. V: 114, 115, 116, 131 Fear of Flying (Jong), Supp. V: 113, 115, 116, 119–123, 124, 129 “Feast, The” (Kinnell), Supp. III Part 1: 239, 250 Feast of All Saints, The (Rice), Supp. VII: 299–301 Feast of Love, The (C. Baxter), Supp. XVII: 13, 21–22 Feast of Love, The (film, R. Benton), Supp. XVII: 22 Feast of Snakes, A (Crews), Supp. XI: 102, 107–108 “Feast of Stephen, The” (Hecht), Supp. X: 63–64 “Featherbed for Critics, A” (Blackmur), Supp. II Part 1: 93, 151 Feather Crowns (Mason), Supp. VIII: 146–147 “Feathers” (Carver), Supp. III 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 in Sydney (Komunyakaa), Supp. XIII: 124–125, 129 “February in Sydney” (Komunyakaa), Supp. XIII: 125

“February: Thinking of Flowers” (Kenyon), Supp. VII: 171 “Feces” (McClatchy), Supp. XII: 266, 267–268 Fechner, Gustav, II: 344, 355, 358, 359, 363 Feder, Lillian, IV: 136; Supp. XVI: 49, 50 Federal Arts Project, Supp. III Part 2: 618 Federigo, or, The Power of Love (Nemerov), III: 268, 276, 282, 283– 284, 285 “Fedge, The” (Halliday), Supp. XIX: 93 “Fedora” (Chopin), Supp. I Part 1: 220 Fedorko, Kathy A., Retro. Supp. I: 361, 374 “Feeling and Precision” (Moore), III: 206 “Feeling of Effort, The” (James), II: 349 Feeling Very Strange: The Slipstream Anthology (Kelly and Kessel, eds.), Supp. XIX: 231 “Feel Like a Bird” (Swenson), Supp. IV Part 2: 639 “Feel Me” (Swenson), Supp. IV Part 2: 647 Feeney, Mary, Supp. IX: 152, 154 Feinstein, Herbert, Supp. XIX: 260 Feinstein, Sascha, Supp. XIII: 125 Feldman, Charles K., Supp. XI: 307 Fellini, Federico, Supp. XII: 172; Supp. XV: 8 “Fellini the Cat” (Peacock), Supp. XIX: 206 “Fellow Citizens” (Sandburg), III: 553 Fellows, John, Supp. I Part 2: 520 Fellow Travelers (Mallon), Supp. XIX: 132, 143–144 “Felo de Se” (Wylie), Supp. I Part 2: 727, 729 Felton, Sharon, Supp. IV Part 1: 210 “Female Author” (Plath), Retro. Supp. II: 243 “Female Frailty” (Freneau), Supp. II Part 1: 258 “Female Laughter and Comic Possibilities: Uncommon Women and Others” (Chirico), Supp. XV: 323 Female Patriot, The; or, Nature’s Rights (Rowson), Supp. XV: 237–238 Female Prose Writers of America (Hart), Supp. XVIII: 257, 264 “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 “Feminismo” (Robbins), Supp. X: 272 “Feminist Criticism in the Wilderness” (Showalter), Supp. X: 97 Feminization of American Culture, The (Douglas), Supp. XVIII: 258 “Fence, The” (Oliver), Supp. VII: 232 “Fence Posts” (Snyder), Supp. VIII: 304 Fences (Wilson), Supp. VIII: 329, 330, 331, 334–337, 350

Fenick, Elizabeth, Retro. Supp. II: 221 “Fenimore Cooper’s Literary Offenses” (Twain), IV: 204–205 Fennell, Frank L., Supp. XVII: 177–178 Fenollosa, Ernest, III: 458, 465, 466, 474, 475, 477; Retro. Supp. I: 289; Supp. IV Part 1: 154 Fenollosa, Mrs. Ernest, III: 458 “Fenstad’s Mother” (C. Baxter), Supp. XVII: 18 Fenton, Charles, Supp. XI: 43 Fenton, James, Supp. XV: 117 Ferdinand: Including “It Was” (Zukofsky), Supp. III Part 2: 630 “Fergus” (Bourne), I: 229 Ferguson, James, Supp. I Part 2: 503 Ferguson, Otis, Supp. IX: 7 Ferguson, William, Supp. XII: 189 Ferguson Affair, The (Macdonald), Supp. IV Part 2: 473 Fergusson, Francis, I: 265, 440; Supp. XV: 20 Ferlinghetti, Lawrence, Supp. IV Part 1: 90; Supp. VIII: 290, 292; Supp. XII: 121, 125; Supp. XIII: 275; Supp. XIX: 4 Fermata, The (Baker), Supp. XIII: 49– 52, 54 “Fern” (Toomer), Supp. III Part 2: 481; Supp. IX: 313 Fern, Fanny, Retro. Supp. I: 246; Supp. V: 122 Fernández, Enrique, Supp. VIII: 73 Fernandez, Ramon, Retro. Supp. I: 302, 303; Supp. XVI: 214 “Fern-Beds in Hampshire Country” (Wilbur), Supp. III Part 2: 558 “Fern Hill” (D. Thomas), IV: 93 “Fern-Life” (Larcom), Supp. XIII: 143 Ferragammo, Salvatore, Supp. XVI: 192 Ferreo, Guglielmo, Supp. I Part 2: 481 Fessenden, Thomas Green, II: 300 Fessier, Michael, Supp. XIII: 164 “Festival Aspect, The” (Olson), Supp. II Part 2: 585 “Festival of Regrets, The” (Wasserstein), Supp. XV: 333 Fetching the Dead (Sanders), Supp. XVI: 269 Fêtes galantes (Verlaine), IV: 79 “Fetish” (McClatchy), Supp. XII: 256 Fetterley, Judith, Retro. Supp. II: 139 “Feud” (Zinberg), Supp. XV: 195 “Fever” (Carver), Supp. III Part 1: 145 “Fever 103˚” (Plath), Supp. I Part 2: 541 Fever Pitch (Hornby), Supp. XII: 286 Fever: Twelve Stories (Wideman), Supp. X: 320 “Few Don’ ts by an Imagiste, A” (Pound), III: 465; Retro. Supp. I: 288; Supp. I Part 1: 261–262 “Few Stray Comments on the Cultivation of the Lyric, A” (Sobin), Supp. XVI: 285 “Few Words of Introduction, A” (McNally), Supp. XIII: 198–199 Fiamengo, Janice, Supp. XIII: 35 Fiber (Bass), Supp. XVI: 22 “Fiber: A Post-Pastoral Georgic” (Gifford), Supp. XVI: 22

366 / AMERICAN WRITERS Ficke, Arthur Davison, Supp. XIII: 347; Supp. XV: 40, 42, 43, 46, 48, 49 “Fiction” (Stafford), Supp. XI: 327 “Fiction: A Lens on Life” (Stegner), Supp. IV Part 2: 595, 596, 600 Fictional World of William Hoffman, The (Frank, ed.), Supp. XVIII: 74, 79, 80, 87 Fiction and the Figures of Life (Gass), Supp. VI: 85 Fiction of Joseph Heller, The (Seed), Supp. IV Part 1: 391 Fiction of Paule Marshall, The (Denniston), Supp. XI: 276 Fiction of the Forties (Eisinger), I: 302; II: 604 Fictions in Autobiography: Studies in the Art of Self-Invention (Eakin), Supp. XVI: 70 “Fiction Writer and His Country, The” (O’ Connor), III: 342; Retro. Supp. II: 223, 225; Supp. II Part 1: 148 Fidelity (Glaspell), Supp. III Part 1: 177 Fiedler, Leslie A., II: 27; III: 218; Retro. Supp. II: 280, 324; Supp. II Part 1: 87; Supp. IV Part 1: 42, 86; Supp. IX: 3, 227; Supp. X: 80; Supp. XIII: 93–110; Supp. XIV: 11; Supp. XVIII: 146; Supp. XIX: 251 Fiedler on the Roof: Essays on Literature and Jewish Identity (Fiedler), Supp. XIII: 106–107 “Fie! Fie! Fi-Fi!” (Fitzgerald), Retro. Supp. I: 100 Field, Eugene, Supp. II Part 1: 197 Field, John, IV: 179 “Field Events” (Bass), Supp. XVI: 19 “Field Full of Black Cats, A” (C. Frost), Supp. XV: 101 Field Guide, (Hass), Supp. VI: 97–98, 99–101, 102, 103, 106 Field Guide to Contemporary Poetry and Poetics (Friebert and Young, eds.), Supp. XI: 270 “Field Guide to the Western Birds” (Stegner), Supp. IV Part 2: 609 Fielding, Henry, I: 134; II: 302, 304– 305; III: 61; Supp. I Part 2: 421, 422, 656; Supp. IV Part 2: 688; Supp. V: 127; Supp. IX: 128; Supp. XI: 277; Supp. XVIII: 2, 7 Fielding, Richard, Supp. XV: 232 “Field-larks and Blackbirds” (Lanier), Supp. I Part 1: 355 Field of Honor (Hay), Supp. XIV: 120– 121, 125, 130 “Field of Honor” (Hay), Supp. XIV: 120–121, 129–130 Field of Vision, The (Morris), III: 226– 228, 229, 232, 233, 238 “Field Report” (Corso), Supp. XII: 124, 136 “Fields” (Wright), Supp. XV: 342 Fields, Annie Adams, II: 401, 402, 403– 404, 406, 412; IV: 177; Retro. Supp. II: 134, 135, 142; Supp. I Part 1: 317; Supp. XVI: 84, 88

Fields, James T., II: 274, 279, 402–403; Retro. Supp. II: 135; Supp. I Part 1: 317; Supp. XIII: 150; Supp. XVI: 84, 88 Fields, Joseph, IV: 274 Fields, Mrs. James T., Supp. XIV: 44, 46. See Fields, Annie Adams Fields, The (Richter), Supp. XVIII: 213– 214, 220 Fields, W. C., II: 427; IV: 335 “Fields at Dusk, The” (Salter), Supp. IX: 260 Fields of Praise, The (Nelson), Supp. XVIII: 171, 173, 177–178 Fields of Wonder (Hughes), Retro. Supp. I: 206, 207; Supp. I Part 1: 333–334 Fierce Invalids Home from Hot Climates (Robbins), Supp. X: 267, 276–277, 282–285 Fiery Chariot, The (Hurston), Supp. VI: 155–156 15 Poems (Banks), Supp. V: 5 “Fifteenth Farewell” (Bogan), Supp. III Part 1: 51, 58 “Fifth Avenue, Uptown” (Baldwin), Supp. I Part 1: 52 “Fifth Avenue—Spring Afternoon” (Untermeyer), Supp. XV: 296 Fifth Book of Peace, The (Kingston), Supp. V: 173 Fifth Chinese Daughter (Wong), Supp. X: 291 Fifth Column, The (Hemingway), II: 254, 258; Retro. Supp. I: 184 “Fifth Column of the Fencerow” (Leopold), Supp. XIV: 185 Fifth Decad of Cantos, The (Pound), Retro. Supp. I: 292 “Fifth Movement: Autobiography” (Zukofsky), Supp. III Part 2: 611 Fifth Sunday (Dove), Supp. IV Part 1: 251, 252–253 “Fifth Sunday” (Dove), Supp. IV Part 1: 252 50 Poems (Cummings), I: 430, 440, 442– 443, 444–445, 446 Fifty Best American Short Stories (O’ Brien), III: 56 “Fifty Dollars” (Elkin), Supp. VI: 43–44 “55 Miles to the Gas Pump” (Proulx), Supp. VII: 264 55 Poems (Zukofsky), Supp. III Part 2: 611, 621 “Fifty Grand” (Hemingway), II: 250, 424; Retro. Supp. I: 177 “Fifty Suggestions” (Poe), Retro. Supp. II: 266 “52 Oswald Street” (Kinnell), Supp. III Part 1: 251 Fifty Years Among Authors, Editors, and Publishers (Derby), Supp. XVIII: 4 “Fifty Years Among the Black Folk” (Du Bois), Supp. II Part 1: 169 “Fifty Years of American Poetry” (Jarrell), Retro. Supp. I: 52 Fight, The (Mailer), Retro. Supp. II: 207, 208

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 “Fighters, The” (Zinberg), Supp. XV: 193 Fight for Freedom (Hughes), Supp. I Part 1: 345 Fighting Angel (Buck), Supp. II Part 1: 119, 131 Fighting France; From Dunkerque to Belfort (Wharton), Retro. Supp. I: 377, 378 Fightin’ : New and Collected Stories (Ortiz), Supp. IV Part 2: 513 “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 “Figured Wheel, The” (Pinsky), Supp. VI: 243, 244, 245, 246 Figured Wheel, The: New and Collected Poems (Pinsky), Supp. VI: 247–248 “Figure in the Carpet, The” (James), Retro. Supp. I: 228, 229 “Figure in the Doorway, The” (Frost), Retro. Supp. I: 138 Figures from the Double World (McGrath), Supp. X: 118–119 “Figures in the Clock, The” (McCarthy), II: 561–562 Figures Made Visible in the Sadness of Time (Everwine), Supp. XV: 75, 88 Figures of Time (Hayden), Supp. II Part 1: 367 “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 Filo, John, Supp. XII: 211 Filson, John, Retro. Supp. I: 421 Final Beast, The (Buechner), Supp. XII: 49–51 “Finale” (Longfellow), II: 505, 506–507 “Final Fear” (Hughes), Supp. I Part 1: 338 Final Harvest: Emily Dickinson’s Poems (Johnson, ed.), 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 Final Solution, The (Reitlinger), Supp. XII: 161 Financier, The (Dreiser), I: 497, 501, 507, 509; Retro. Supp. II: 94, 101– 102, 105; Supp. XVIII: 246 Finch, Annie, Supp. XVII: 69–79 Finch, Henry Leroy, Supp. XVII: 69 Finch, Margaret Rockwell, Supp. XVII: 69 Finch, Robert, Supp. XIV: 186–187 Find a Victim (Macdonald), Supp. IV Part 2: 467, 472, 473

CUMULATIVE INDEX / 367 Fin de Chéri, La (Colette; stage adaptation, Loos), Supp. XVI: 194 “Fin de Saison Palm Beach” (White), Supp. I Part 2: 673 “Finding a Bible in an Abandoned Cabin” (Wrigley), Supp. XVIII: 293–294, 296, 297, 300, 301, 303 Finding a Form (Gass), Supp. VI: 91– 92, 93 Finding a Girl in America (Dubus), Supp. VII: 85–88 “Finding a Girl in America” (Dubus), Supp. VII: 87 “Finding Beads” (Hogan), Supp. IV Part 1: 400 “Finding of Zach, The” (Dunbar), Supp. II Part 1: 212 Findings and Keepings: Analects for an Autobiography (Mumford), Supp. II Part 2: 483 Finding the Center: Narrative Poetry of the Zuni Indians (Tedlock), Supp. IV Part 2: 509 Finding the Islands (Merwin), Supp. III Part 1: 353, 357 “Finding the Place: A Migrant Childhood” (Stegner), Supp. IV Part 2: 597 “Find the Woman” (Macdonald, under Millar), Supp. IV Part 2: 466 Fine, David, Supp. XI: 160 Fine, Richard, Supp. XVIII: 248 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 Fine Preserving (Plagemann), Supp. XVII: 91 Fine Preserving: M. F. K. Fisher’s Annotated Edition of Catherine Plagemann’s Cookbook (Plagemann; M. F. K. Fisher, ed.), Supp. XVII: 91 Finer Grain, The (James), II: 335 Fine Writing (L. P. Smith), Supp. XIV: 347 “Finis” (X. J. Kennedy), Supp. XV: 169 “Finished Basement” (Di Piero), Supp. XIX: 47 Finished Man, The (Garrett), Supp. VII: 96, 97–98 Fink, Mike, IV: 266 Finley, John H., II: 418 Finn, David, Supp. VIII: 106–107 Finnegan, Robert (pseudonym). See Ryan, Paul William Finnegans Wake (Joyce), III: 7, 12, 14, 261; IV: 182, 369–370, 418, 421; Supp. I Part 2: 620; Supp. II Part 1: 2; Supp. XIII: 191; Supp. XVIII: 32 Finney, Brian, Supp. XIV: 158, 160, 161, 165, 166, 167, 169 “Finnish Rhapsody” (Ashbery), Supp. III Part 1: 26 Finster, Howard, Supp. XV: 349 Firbank, Ronald, IV: 77, 436 “Fire” (Hughes), Supp. I Part 1: 327 “Fire and Cloud” (Wright), IV: 488 “Fire and Ice” (Frost), II: 154; Retro. Supp. I: 133; Supp. XIX: 122

Fire and Ice (Stegner), Supp. IV Part 2: 598, 607–608 “Fire and the Cloud, The” (Hurston), Supp. VI: 158 “Fire and the Hearth, The” (Faulkner), II: 71 Firebird (Doty), Supp. XI: 119–120, 121, 132–133, 134 “Firebombing, The” (Dickey), Supp. IV Part 1: 180–181, 187, 189–190 “Fireborn Are at Home in Fire, The” (Sandburg), III: 591 “Fire by Night” (R. Fisher), Supp. XIX: 70, 70–71 “Fire Chaconne” (Francis), Supp. IX: 87 Firecrackers (Van Vechten), Supp. II Part 2: 740, 742–744, 749 Fire: From “A Journal of Love,” the Unexpurgated Diary of Anaïs Nin, 1934–1937, Supp. X: 184, 185, 189, 194, 195 “Fireman, The ” (Bass), Supp. XVI: 24 Fireman’s Wife and Other Stories, The (Bausch), Supp. VII: 48, 54 Fire Next Time, The (Baldwin), Retro. Supp. II: 5, 8, 9; Supp. I Part 1: 48, 49, 52, 60–61 “Fire Next Time, The” (Baldwin). See “Down at the Cross” (Baldwin) “Fire of Driftwood, The” (Longfellow), II: 499; Retro. Supp. II: 159, 168 “Fire of Life” (McCullers), II: 585 Fire on the Mountain (Abbey), Supp. XIII: 6 “Fire Poem” (Merrill), Supp. III Part 1: 321 “Fires” (Bass), Supp. XVI: 20 “Fires” (Carver), Supp. III Part 1: 136– 139, 147 Fire Screen, The (Merrill), Supp. III 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 Fires: Essays, Poems, Stories (Carver), Supp. III Part 1: 136, 140, 142, 146– 147 Fireside Travels (Lowell), Supp. I Part 2: 407, 419–420 Firestarter (King), Supp. V: 140, 141, 144; Supp. IX: 114 “fire the bastards” (Green), Supp. IV Part 1: 285 “Fire-Truck, A” (Wilbur), Supp. III 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 Fireworks: A History and Celebration (Plimpton), Supp. XVI: 245 Fir-Flower Tablets (Lowell), II: 512, 526–527 Firger, Jessica, Supp. XIX: 51, 58, 59, 62

Firkins, Oscar W., II: 271; Supp. XV: 297, 309 “Firmament, The” (Bryant), Supp. I Part 1: 162 Firmat, Gustavo Pérez, Supp. VIII: 76, 77, 79; Supp. XI: 184 “First American, The” (Toomer), Supp. III Part 2: 480, 487 “First Birth” (Olds), Supp. X: 212 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 Firstborn (Glück), Supp. V: 80, 81, 82, 84 “Firstborn” (Wright), Supp. V: 340 “First Chaldaic Oracle” (Carson), Supp. XII: 111 “First Communion” (Fante), Supp. XI: 160 “First Confession” (X. J. Kennedy), Supp. XV: 154–155 “First Day of School, The” (Gibbons), Supp. X: 41, 42 “First Death in Nova Scotia” (Bishop), Supp. I Part 1: 73 “First Formal” (Olds), Supp. X: 212 First Four Books of Poems, The (Glück), Supp. V: 81, 83 “First Grade” (Stafford), Supp. XI: 328 First Hand (Bierds), Supp. XVII: 32, 34–36 “First Hawaiian Bank” (Nye), Supp. XIII: 278 “First Heat” (Taylor), Supp. V: 323 First Hour, The (Di Piero), Supp. XIX: 36–37, 40 “First Hour of the Night, The” (Bidart), Supp. XV: 30–32 “First Hunters and the Last, The” (Sobin), Supp. XVI: 292 “First Job, The” (Cisneros), Supp. VII: 62 “1st Letter on Georges” (Olson), Supp. II Part 2: 578 First Light (C. Baxter), Supp. XVII: 15, 17–18, 19, 22 First Light (Preston), Supp. XVII: 18 First Light (Wagoner), Supp. IX: 330 “First Love” (Welty), IV: 264; Retro. Supp. I: 347 First Love: A Lyric Sequence (Untermeyer), Supp. XV: 295 First Man, The (O’ Neill), III: 390 First Manifesto (McGrath), Supp. X: 115 “First Meditation” (Roethke), III: 545– 546 “First Noni Daylight, The” (Harjo), Supp. XII: 219 “First Passover” (Longfellow), II: 500– 501 “First Person Female” (Harrison), Supp. VIII: 40, 41, 48

368 / AMERICAN WRITERS “First Place, The” (Wagoner), Supp. IX: 328 First Poems (Buechner), Supp. XII: 45 First Poems (Merrill), Supp. III Part 1: 318–321, 323 First Poems 1946–1954 (Kinnell), Supp. III Part 1: 235, 238–239 “First Praise” (W. C. Williams), Retro. Supp. I: 413 First Principles (Spencer), Supp. I Part 1: 368 “First Ride and First Walk” (Goldbarth), Supp. XII: 182–183 “First Seven Years, The” (Malamud), Supp. I Part 2: 431 “First Sex” (Olds), Supp. X: 208 “First Snow in Alsace” (Wilbur), Supp. III Part 2: 545, 546, 559 “First Song” (Kinnell), Supp. III Part 1: 239 “First Spade in the West, The” (Fiedler), Supp. XIII: 103 “First Steps” (McClatchy), Supp. XII: 256 First There Is the Need (Reznikoff), Supp. XIV: 291 “First Things First” (Auden), Supp. II Part 1: 13 “First Thought, Best Thought” (Ginsberg), Supp. II Part 1: 327 “First Time I Saw Paris, The” (Fante), Supp. XI: 174 “First Travels of Max” (Ransom), III: 490–491 “First Tycoon of Teen, The” (Wolfe), Supp. III Part 2: 572 “First Views of the Enemy” (Oates), Supp. II Part 2: 508 “First Wife, The” (Buck), Supp. II Part 1: 127 First Words before Spring (Untermeyer), Supp. XV: 310 “First World War” (White), Supp. I Part 2: 665 “Fish” (F. Barthelme), Supp. XI: 26 “Fish” (Levis), Supp. XI: 259–260 Fish, Stanley, Supp. IV Part 1: 48; Supp. XIV: 14, 15 “Fish, The” (Bishop), Supp. XV: 100, 102 “Fish, The” (Moore), III: 195, 197, 209, 211, 213–214 “Fish, The” (Oliver), Supp. VII: 236 “Fish, The/Lago Chapala” (Everwine), Supp. XV: 82–83 “Fish and Shadow” (Pound), III: 466 “Fishboy” (Richard), Supp. XIX: 212– 213 Fishboy: A Ghost’s Story (Richard), Supp. XIX: 209, 213–220, 221 Fishburne, Laurence, Supp. VIII: 345 “Fish Cannery” (Fante), Supp. XI: 167 Fisher, Alexander Metcalf, Supp. I Part 2: 582 Fisher, Alfred, Retro. Supp. II: 243 Fisher, Craig, Supp. V: 125

Fisher, Dorothy Canfield, Retro. Supp. I: 21, 133; Supp. II Part 1: 117. See also Canfield, Dorothy Fisher, Mary, Supp. I Part 2: 455 Fisher, M. F. K., Supp. XVII: 81–93 Fisher, Phillip, Retro. Supp. I: 39 Fisher, Rudolph, Retro. Supp. I: 200; Supp. I Part 1: 325; Supp. X: 139; Supp. XVI: 143; Supp. XIX: 65–80 Fisher, Vardis, Supp. IV Part 2: 598 Fisher King, The (Marshall), Supp. XI: 275–276, 288–290 “Fisherman, The” (Merwin), Supp. II Part 1: 346 “Fisherman and His Wife, The” (Welty), IV: 266 “Fisherman from Chihuahua, The” (Connell), Supp. XIV: 86 “Fishing” (Harjo), Supp. XII: 227–228 “Fish in the Stone, The” (Dove), Supp. IV Part 1: 245, 257 “Fish in the unruffled lakes” (Auden), Supp. II Part 1: 8–9 “Fish R Us” (Doty), Supp. XI: 135 Fisk, James, I: 4, 474 Fiske, John, Supp. I Part 1: 314; Supp. I Part 2: 493 “Fit Against the Country, A” (Wright), Supp. III Part 2: 591–592, 601 Fitch, Clyde, Supp. IV Part 2: 573 Fitch, Elizabeth. See Taylor, Mrs. Edward (Elizabeth Fitch) Fitch, James, IV: 147 Fitch, Noël Riley, Supp. X: 186, 187 Fitts, Dudley, I: 169, 173; Supp. I Part 1: 342, 345; Supp. XIII: 346 FitzGerald, Edward, Supp. I Part 2: 416; Supp. III Part 2: 610 Fitzgerald, Ella, Supp. XIII: 132 Fitzgerald, F. Scott, I: 107, 117, 118, 123, 188, 221, 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, 450, 458–459, 482, 560; III: 2, 26, 35, 36, 37, 40, 44, 45, 69, 106, 244, 284, 334, 350–351, 453, 454, 471, 551, 552, 572; IV: 27, 49, 97, 101, 126, 140, 191, 222, 223, 287, 297, 427, 471; Retro. Supp. I: 1, 74, 97–120, 178, 180, 186, 215, 359, 381; Retro. Supp. II: 257, 321, 326, 328; Supp. I Part 1: 196, 197; Supp. I Part 2: 622; Supp. III Part 2: 409, 411, 585; Supp. IV Part 1: 123, 197, 200, 203, 341; Supp. IV 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; Supp. X: 225; Supp. XI: 65, 221, 334; Supp. XII: 42, 173, 295; Supp. XIII: 170, 263; Supp. XV: 135; Supp. XVI: 64, 75, 191, 192, 294; Supp. XVIII: 148, 246, 248, 251, 254

Fitzgerald, Robert, I: 27–28; III: 338, 348; Retro. Supp. II: 179, 221, 222, 223, 228, 229; Supp. IV Part 2: 631; Supp. XV: 112, 249 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; Supp. X: 172. See also Sayre, Zelda “Fitzgerald’s Tragic Sense” (Schorer), Retro. Supp. I: 115 “Fitzgerald: The Romance of Money” (Cowley), Supp. II Part 1: 143 5 Detroits (Levine), Supp. V: 178 Five Came Back (West), IV: 287 Five Corners (screenplay, Shanley), Supp. XIV: 316 “Five-Dollar Bill, The” (D. West as Mary Christopher), Supp. XVIII: 282 “Five Dollar Guy, The” (W. C. Williams), Retro. Supp. I: 423 Five Easy Pieces (film), Supp. V: 26 “Five Elephants” (Dove), Supp. IV Part 1: 244–245 “Five Fucks” (Lethem), Supp. XVIII: 139 Five Groups of Verse (Reznikoff), Supp. XIV: 279, 282 500 Hundred Hats of Bartholomew Cubbins, The (Geisel), Supp. XVI: 100 Five Hundred Scorpions (Hearon), Supp. VIII: 57, 65, 66 Five Indiscretions (Ríos), Supp. IV Part 2: 545–547 Five Men and Pompey (Benét), Supp. XI: 43, 44 Five Plays (Hughes), Retro. Supp. I: 197, 209 “Five Psalms” (Jarman), Supp. XVII: 120 Five Temperaments (Kalstone), Retro. Supp. II: 40 5,000 Fingers of Dr. T, The (film), Supp. XVI: 103 Five Young American Poets, I: 170; II: 367 Fixer, The (Malamud), Supp. I Part 2: 428, 435, 445, 446–448, 450, 451 Fjellestad, Danuta Zadworna, Supp. XVI: 150 Flaccus, Kimball, Retro. Supp. I: 136 Flacius, Matthias, IV: 163 “Flagellant’s Song” (X. J. Kennedy), Supp. XV: 165 Flag for Sunrise, A (Stone), Supp. V: 301–304 Flag of Childhood, The: Poems from the Middle East (Nye, ed.), Supp. XIII: 280 “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 Flamel, Nicolas, Supp. XII: 178

CUMULATIVE INDEX / 369 Flaming Corsage, The (W. Kennedy), Supp. VII: 133, 153–156 Flammarion, Camille, Supp. I Part 1: 260 Flanagan, John T., Supp. I Part 2: 464, 465, 468 Flanner, Janet, Supp. XVI: 195 “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 Flash and Filigree (Southern), Supp. XI: 295, 296–297 “Flashcards” (Dove), Supp. IV Part 1: 250 Flash Fiction: Seventy-two Very Short Stories (J. Thomas, ed.), Supp. XVI: 268 “Flash in the Pan” (Shaw), Supp. XIX: 245 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, 230, 289, 311, 316, 319, 325, 337, 392, 401, 577, 594; III: 196, 207, 251, 315, 461, 467, 511, 564; IV: 4, 29, 31, 37, 40, 134, 285, 428; Retro. Supp. I: 5, 215, 218, 222, 225, 235, 287; Supp. III Part 2: 411, 412; Supp. XI: 334; Supp. XIV: 87, 336 “Flavia and Her Artists” (Cather), Retro. Supp. I: 5 Flavoring of New England, The (Brooks), I: 253, 256 Flavor of Man, The (Toomer), Supp. III Part 2: 487 “Flaw, The” (Peacock), Supp. XIX: 206 Flaxman, Josiah, Supp. I Part 2: 716 “Flea, The” (Donne), Supp. XVIII: 307 “Flèche d’ Or” (Merrill), Supp. III Part 1: 328 Flecker, James Elroy, Supp. I Part 1: 257 “Flee on Your Donkey” (Sexton), Supp. II Part 2: 683, 685 Fleming, Ian, Supp. XI: 307 Fleming, Rene, Supp. XII: 321 Fleming, Robert E., Supp. XVII: 155 Flesch, Rudolf, Supp. XVI: 105, 106 Flesh and Blood (Cunningham), Supp. XV: 63–65 Flesh and Blood (play; Cunnigham and Gaitens), Supp. XV: 65 “Fleshbody” (Ammons), Supp. VII: 27 Fletcher, H. D., II: 517, 529 Fletcher, John, Supp. IV Part 2: 621 Fletcher, John Gould, I: 243; II: 517, 529; III: 458; Supp. I Part 1: 263; Supp. I Part 2: 422; Supp. XV: 298, 302, 306, 307, 308 Fletcher, Phineas, Supp. I Part 1: 369 Fletcher, Virginia. See Caldwell, Mrs. Erskine (Virginia Fletcher) Fleurs du mal, Les (Beaudelaire; Millay and Dillon, trans.), III: 141–142 “Flight” (Bierds), Supp. XVII: 36 “Flight” (Updike), IV: 218, 222, 224; Retro. Supp. I: 318

Flight (White), Supp. XVIII: 127 “Flight, The” (Haines), Supp. XII: 204– 205 “Flight, The” (Roethke), III: 537–538 Flight among the Tombs (Hecht), Supp. X: 58, 71–74 “Flight for Freedom” (McCoy), Supp. XIII: 170 “Flight from Byzantium” (Brodsky), Supp. VIII: 30–31 “Flight of Besey Lane, The” (Jewett), Retro. Supp. II: 139 Flight of the Rocket, The (Fitzgerald), II: 89 Flights of the Harvest-Mare (Bierds), Supp. XVII: 26–27 Flight to Canada (Reed), Supp. X: 240, 249–252 Flinn, Mary, Supp. XVII: 110 Flint, F. S., II: 517; III: 459, 464, 465; Retro. Supp. I: 127; Supp. I Part 1: 261, 262 Flint, R. W., Supp. XVI: 47, 49, 57 “Flitting Flies” (X. J. Kennedy), Supp. XV: 166, 167 Flivver King, The (Sinclair), Supp. V: 290 Floating House, The (Sanders), Supp. XVI: 269 Floating Light Bulb, The (Allen), Supp. XV: 2, 3, 13 Floating Opera, The (Barth), I: 121, 122– 126, 127, 129, 130, 131 “Floating Poem, Unnumbered, The” (Rich), Supp. I Part 2: 572–573 “Floating Trees” (Wright), Supp. XV: 348 Flood (Matthews), Supp. IX: 154, 160– 161 Flood (Warren), IV: 252, 256–257 “Flood of Years, The” (Bryant), Supp. I Part 1: 159, 170, 171; Supp. I Part 2: 416 “Floor and the Ceiling, The” (W. J. Smith), Supp. XIII: 345, 346 “Floor Plans” (Komunyakaa), Supp. XIII: 114 “Floral Conversation” (Peacock), Supp. XIX: 200 “Floral Decorations for Bananas” (Stevens), IV: 8 Florida (Acker), Supp. XII: 5 “Florida” (Bishop), Retro. Supp. II: 43 “Florida Road Workers” (Hughes), Retro. Supp. I: 203 “Florida Sunday, A” (Lanier), Supp. I Part 1: 364, 366 “Flossie Cabanis” (Masters), Supp. I Part 2: 461–462 Flow Chart (Ashbery), Supp. VIII: 275 “Flowchart” (Ashbery), Supp. III Part 1: 26 Flower, Fruit, and Thorn Pieces (Richter), Supp. XVI: 182 Flower-de-Luce (Longfellow), II: 490 Flower Fables (Alcott), Supp. I Part 1: 33 “Flower-Fed Buffaloes, The” (Lindsay), Supp. I Part 2: 398

“Flower Garden” (Jackson), Supp. IX: 119 “Flower-gathering” (Frost), II: 153 Flower Herding on Mount Monadnock (Kinnell), Supp. III Part 1: 235, 239, 241–244 “Flower Herding on Mount Monadnock” (Kinnell), Supp. III Part 1: 242 “Flowering Death” (Ashbery), Supp. III Part 1: 22 “Flowering Dream, The” (McCullers), II: 591 “Flowering Judas” (Porter), III: 434, 435–436, 438, 441, 445, 446, 450–451 Flowering Judas and Other Stories (Porter), III: 433, 434 Flowering of New England, The (Brooks), IV: 171–172; Supp. 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” (Glück), Supp. V: 82 “Flowers for Marjorie” (Welty), IV: 262 “Flowers of the Fallow” (Larcom), Supp. XIII: 143, 145–146 “Flowers Well if anybody” (Dickinson), Retro. Supp. I: 30 “Fluff and Mr. Ripley” (D. West), Supp. XVIII: 284 “Fly, The” (Kinnell), Supp. III 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 “Fly in Buttermilk, A” (Baldwin), Retro. Supp. II: 8 Flying at Night: Poems 1965–1985 (Kooser), Supp. XIX: 128 “Flying High” (Levertov), Supp. III Part 1: 284 “Flying Home” (Ellison), Retro. Supp. II: 117, 125–126; Supp. II Part 1: 235, 238–239 “Flying Home” (Kinnell), Supp. III Part 1: 250 “Flying Home” and Other Stories (Ellison), Retro. Supp. II: 119, 124 “Flying Home from Utah” (Swenson), Supp. IV Part 2: 645 “Flying over Clouds” (Gioia), Supp. XV: 118 “Flying to Hanoi” (Rukeyser), Supp. VI: 279 Flynn, Elizabeth Gurley, Supp. XVIII: 225 Flynn, Richard, Supp. XVII: 115; Supp. XVIII: 183 Fly-Truffler, The (Sobin), Supp. XVI: 294–295, 296 Foata, Anne, Supp. XI: 104 Focillon, Henri, IV: 90 Focus (A. Miller), III: 150–151, 156 Foer, Jonathan Safran, Supp. XII: 169 Foerster, Norman, I: 222; Supp. I Part 2: 423, 424; Supp. IV Part 2: 598 “Fog” (Sandburg), III: 586

370 / AMERICAN WRITERS “Fog Galleon” (Komunyakaa), Supp. XIII: 127 “Foggy and dripping” (Kooser), Supp. XIX: 125 “Foggy Lane, The” (Simpson), Supp. IX: 274 Folded Leaf, The (Maxwell), Supp. III Part 1: 62; Supp. VIII: 159–162 Folding Star, The (Hollinghurst), Supp. XIII: 52 Foley, Jack, Supp. X: 125; Supp. XV: 112, 116; Supp. XVII: 77 Foley, Martha, II: 587; Supp. XVI: 225 Folks from Dixie (Dunbar), Supp. II Part 1: 211–212 Folkways (Sumner), III: 102 Follain, Jean, Supp. IX: 152, 154 Follett, Wilson, I: 405; Supp. XIII: 173 Follower of Dusk (Salinas), Supp. XIII: 326 Following the Equator (Twain), II: 434; IV: 208 Follow Me Home (Hoffman), Supp. XVIII: 86 Folly (Minot), Supp. VI: 205, 208, 210– 213 Folly of Others, The (N. Boyce), Supp. XVII: 100 Folsom, Charles, Supp. I Part 1: 156 Folsom, Ed, Retro. Supp. I: 392 Folson, Marcia McClintock, Retro. Supp. II: 139 Fonda, Henry, Supp. I Part 1: 67; Supp. IV Part 1: 236 Fonda, Jane, III: 284; Supp. XI: 307 Fonda, Peter, Supp. VIII: 42; Supp. XI: 293, 308 “Fondled Memories” (Molesworth), Supp. XIX: 121–122 “Fond Memories of a Black Childhood” (D. West), Supp. XVIII: 289 Foner, Eric, Supp. I Part 2: 523 Fong and the Indians (Theroux), Supp. VIII: 314, 315, 316–317 Fontanne, Lynn, III: 397 Food and Drink (Untermeyer), Supp. XV: 310 Fool for Love (Shepard), Supp. III Part 2: 433, 447, 448 Fools (Simon), Supp. IV Part 2: 584– 585 Fool’s Progress, The: An Honest Novel (Abbey), Supp. XIII: 4, 13–15 Foot Book, The (Geisel), Supp. XVI: 108 Foote, Horton, Supp. I Part 1: 281; Supp. VIII: 128, 129 Foote, Mary Hallock, Retro. Supp. II: 72; Supp. IV Part 2: 611 Foote, Roxanna. See Beecher, Mrs. Lyman (Roxanna Foote) Foote, Samuel, Supp. I Part 2: 584 Foote, Stephanie, Retro. Supp. II: 139 “Foot Fault” (pseudonym). See Thurber, James Footing on This Earth, A (Hay), Supp. XIV: 125, 126, 130 “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. III Part 1: 272, 281 “Footsteps of Angels” (Longfellow), II: 496 “For A, at Fourteen” (Weigl), Supp. XIX: 287 For a Bitter Season: New and Selected Poems (Garrett), Supp. VII: 99–100 “For a Dead Kitten” (Hay), Supp. XIV: 119–120 “For a Dead Lady” (Robinson), III: 508, 513, 517 “For a Ghost Who Once Placed Bets in the Park” (Levis), Supp. XI: 265 “For a Lamb” (Eberhart), I: 523, 530, 531 “For All” (Snyder), Supp. VIII: 304 “For All Tuesday Travelers” (Cisneros), Supp. VII: 67–68 “For a Lost Child” (Stafford), Supp. XI: 329 “For a Marriage” (Bogan), Supp. III Part 1: 52 “For an Emigrant” (Jarrell), II: 371 “For Anna Akmatova” (Lowell), II: 544 “For Anna Mae Pictou Aquash, Whose Spirit Is Present Here and in the Dappled Stars” (Harjo), Supp. XII: 225 “For Anne, at a Little Distance” (Haines), Supp. XII: 207 “For Annie” (Poe), III: 427; Retro. Supp. II: 263 “For a Southern Man” (Cisneros), Supp. VII: 67 “For Bailey” (Angelou), Supp. IV Part 1: 15 Forbes, Malcolm, Supp. IV Part 1: 94 “Forbidden, The” (Glück), Supp. XIV: 269 “For Bill Nestrick (1940–96)” (Bidart), Supp. XV: 35 For Bread Alone (Choukri), Supp. IV Part 1: 92 “Force” (Di Piero), Supp. XIX: 35–36, 42, 44 Force of Spirit, The (Sanders), Supp. XVI: 277–278 Forché, Carolyn, Supp. IV Part 1: 208; Supp. XIX: 193 Ford, Arthur, Supp. IV Part 1: 140 Ford, Ford Madox, I: 288, 405, 409, 417, 421, 423; II: 58, 144, 198, 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. III Part 2: 617; Supp. VIII: 107; Supp. XIV: 3 Ford, Harrison, Supp. VIII: 323 Ford, Harry, Supp. V: 179; Supp. XIII: 76 Ford, Henry, I: 295, 480–481; III: 292, 293; Supp. I Part 1: 21; Supp. I Part 2: 644; Supp. III Part 2: 612, 613; Supp. IV Part 1: 223; Supp. V: 290

Ford, John, Supp. I Part 2: 422; Supp. III Part 2: 619; Supp. XVIII: 247 Ford, Richard, Supp. IV Part 1: 342; Supp. V: 22, 57–75 Ford, Webster (pseudonym). See Masters, Edgar Lee “Fording and Dread” (Harrison), Supp. VIII: 41 “Ford Madox Ford” (Lowell), II: 547; Retro. Supp. II: 188 “For Dudley” (Wilbur), Supp. III Part 2: 558 Fordyce, David, II: 113 Foregone Conclusion, A (Howells), II: 278–279, 282 “Foreign Affairs” (Kunitz), Supp. III Part 1: 265 “Foreigner, A” (Bynner), Supp. XV: 46 “Foreigner, The” (Jewett), II: 409–410; Retro. Supp. II: 133, 142 “Foreigners” (Jarman), Supp. XVII: 113 “Foreign Shores” (Salter), Supp. IX: 260 Forensic and the Navigators (Shepard), Supp. III Part 2: 439 Foreseeable Future, The (Price), Supp. VI: 265 Foreseeable Futures (Matthews), Supp. IX: 155, 163, 169 “For Esmé with Love and Squalor” (Salinger), III: 560 “Forest” (Simic), Supp. VIII: 273 Forest, Jean-Claude, Supp. XI: 307 Forester’s Letters (Paine), Supp. I Part 2: 508 “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: 197 “Forest of the South, The” (Gordon), II: 199, 201 Forest without Leaves (Adams and Haines), Supp. XII: 209 “Forever, Said the Duck” (Lethem), Supp. XVIII: 139 “Forever and the Earth” (Bradbury), Supp. IV Part 1: 102 “Forever in That Year” (Carruth), Supp. XVI: 51 “Forever Young” (Jarman and R. McDowell), Supp. XVII: 111 “For Fathers of Girls” (Dunn), Supp. XI: 146 “For/From Lew” (Snyder), Supp. VIII: 303 “For Garrison Keillor, Fantasy Is a Lot More Fun then Reality” (Letofsky), Supp. XVI: 167 “For George Santayana” (Lowell), II: 547 “Forgiveness” (Peacock), Supp. XIX: 200 Forgotten Helper, The: A Story for Children (Moore), Supp. X: 175 “Forgotten in an Old Notebook” (F. Wright), Supp. XVII: 244 Forgotten Village, The (Steinbeck), IV: 51 “For Grizzel McNaught (1709–1792)” (A. Finch), Supp. XVII: 72

CUMULATIVE INDEX / 371 Forgue, Guy J., III: 118, 119 For Her Dark Skin (Everett), Supp. XVIII: 56, 60 “FOR HETTIE” (Baraka), Supp. II Part 1: 32 “FOR HETTIE IN HER FIFTH MONTH” (Baraka), Supp. II Part 1: 32, 38 “For Homer” (Corso), Supp. XII: 135 “For I’ m the Boy” (Barthelme), Supp. IV Part 1: 47 “For Jeff” (Kooser), Supp. XIX: 125 “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 “Fork” (Simic), Supp. VIII: 275 “For Karl Shapiro, Having Gone Back to the Sonnet” (Kooser), Supp. XIX: 118 For Lancelot Andrewes (Eliot), Retro. Supp. I: 64 For Lizzie and Harriet (Lowell), Retro. Supp. II: 183, 186, 190 “Forlorn Hope of Sidney Lanier, The” (Leary), Supp. I Part 1: 373 For Love (Creeley), Supp. IV Part 1: 139, 140, 142–145, 147–149, 150, 154 “For Love” (Creeley), Supp. IV Part 1: 145 For Love (Miller), Supp. XII: 297–299, 299 For Love of Imabelle (C. Himes), Supp. XVI: 135, 143, 144 “Formal Elegy” (Berryman), I: 170 Formal Feeling Comes, A (A. Finch, ed.), Supp. XVII: 71–72 “Formalist Criticism: Its Principles and Limits” (Burke), I: 282 Forman, Milos, Supp. IV Part 1: 236 “Form and Function of the Novel, The” (Goldbarth), Supp. XII: 183 “For Marse Chouchoute” (Chopin), Retro. Supp. II: 60 “For Mary Ann Youngren” (Bidart), Supp. XV: 29 “Format and Form” (A. Rich), Supp. XVII: 74 “Formation of a Separatist, I” (Howe), Supp. IV Part 2: 427 “Form Is Emptiness” (Baraka), Supp. II Part 1: 51 “For Mr. Death Who Stands with His Door Open” (Sexton), Supp. II Part 2: 695 Forms of Discovery (Winters), Supp. II Part 2: 812, 813 Forms of Fiction, The (Gardner and Dunlap), Supp. VI: 64 “For My Children” (Karr), Supp. XI: 254 “For My Daughter” (Kees), Supp. XV: 141, 147 “For My Daughter” (Olds), Supp. X: 206 “For My Former Wife, Watching TV, in the Past” (Kooser), Supp. XIX: 120

“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 Peg: A Remnant of Song Still Distantly Sounding” (Carruth), Supp. XVI: 54 “For Pot-Boiling” (Hay), Supp. XIV: 128 “For Radicals” (Bourne), I: 221 “For Rainer Gerhardt” (Creeley), Supp. IV Part 1: 142–143, 147 Forrestal, James, I: 491; Supp. I Part 2: 489 Forrester, Fanny, Supp. XVIII: 13 “For Richard After All” (Kingsolver), Supp. VII: 208 “For Sacco and Vanzetti” (Kingsolver), Supp. VII: 208 “Forsaken Merman” (Arnold), Supp. I Part 2: 529 For Spacious Skies (Buck), Supp. II Part 1: 131 Forster, E. M., I: 292; IV: 201; Retro. Supp. I: 59, 232; Supp. III Part 2: 503; Supp. V: 258; Supp. VIII: 155, 171; Supp. IX: 128; Supp. XII: 79, 81; Supp. XIV: 159, 160, 163; Supp. XV: 62; Supp. XVI: 236; Supp. XVIII: 143 Forster, John, II: 315 Fort, Paul, II: 518, 528, 529; Retro. Supp. I: 55 “For the Ahkoond” (Bierce), I: 209 For the Body (Nelson), Supp. XVIII: 173 For the Century’s End: Poems 1990–1999 (Haines), Supp. XII: 211–213 “For the Dedication of the New City Library, Boston” (Holmes), Supp. I Part 1: 308 “For the Fallen” (Levine), Supp. V: 188 For the Health of the Land: Previously Unpublished Essays and Other Writings (Leopold), Supp. XIV: 183 “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” (H. Crane), I: 395–396, 399, 402; Retro. Supp. II: 78–79, 82 “For the Meeting of the National Sanitary Association, 1860” (Holmes), Supp. I Part 1: 307 For the New Intellectual (Rand), Supp. IV Part 2: 521, 526–527, 527, 532 “For the New Railway Station in Rome” (Wilbur), Supp. III Part 2: 554 “For the Night” (Kenyon), Supp. VII: 163 “For Theodore Roethke: 1908–1963” (Lowell), II: 554 “For the Poem Patterson” (W. C. 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 Sleepless” (Dunn), Supp. XI: 145 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 Twentieth Century” (Bidart), Supp. XV: 35 For the Union Dead (Lowell), II: 543, 550–551, 554, 555; Retro. Supp. II: 181, 182, 186, 189; Supp. X: 53 “For the Union Dead” (Lowell), II: 551; Retro. Supp. II: 189 “For the Walking Dead” (Komunyakaa), Supp. XIII: 121 “For the West” (Snyder), Supp. VIII: 299 “For the Word Is Flesh” (Kunitz), Supp. III Part 1: 262–264 “Fortress, The” (Glück), Supp. V: 82 “Fortress, The” (Sexton), Supp. II Part 2: 682 Fortress of Solitude, The (Lethem), Supp. XVIII: 135, 136, 145–148, 150 “Fort Robinson” (Kooser), Supp. XIX: 120 Fortune, T. Thomas, Supp. II Part 1: 159 Fortune’s Bones: The Manumission Requiem (Nelson), Supp. XVIII: 171, 172–173, 182–183 Fortune’s Daughter (Hoffman), Supp. X: 77, 85 “Fortune Spill, The” (Nelson), Supp. XVIII: 175 45 Mercy Street (Sexton), Supp. II Part 2: 694, 695, 697 Forty Poems Touching on Recent American History (Bly, ed.), Supp. IV Part 1: 61 42nd Parallel, The (Dos Passos), I: 482, 484–485 Forty Stories (Barthelme), Supp. IV Part 1: 47, 49, 53, 54 For Whom the Bell Tolls (Hemingway), II: 249, 254–255, 261; III: 18, 363; Retro. Supp. I: 115, 176–177, 178, 184, 187; Supp. XVII: 229 Foscolo, Ugo, II: 543 Foss, Sam Walter, Supp. II Part 1: 197 “Fossils, The” (Kinnell), Supp. III Part 1: 244 Foster, Edward, Supp. IV Part 2: 431, 434; Supp. XVI: 281, 293 Foster, Edward Halsey, Supp. XII: 120, 129, 130, 135; Supp. XVIII: 265, 268 Foster, Emily, II: 309 Foster, Hannah, Supp. XV: 234 Foster, John Wilson, Supp. XIII: 32–33 Foster, Phil, Supp. IV Part 2: 574 Foster, Richard, Supp. XV: 269 Foster, Stephen, Supp. I Part 1: 100– 101; Supp. I Part 2: 699 Foucault, Michel, Supp. VIII: 5; Supp. XII: 98; Supp. XV: 344; Supp. XVI: 285 “Founder, The” (Stern), Supp. IX: 297

372 / AMERICAN WRITERS 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 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 “Fountain Piece” (Swenson), Supp. IV Part 2: 641 4-H Club (Shepard), Supp. III Part 2: 439 “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” (Di Piero), Supp. XIX: 37 “Four Brothers, The” (Sandburg), III: 585 Four Dogs and a Bone and the Wild Goose (Shanley), Supp. XIV: 316, 328–329 “Four Evangelists, The” (Komunyakaa), Supp. XIII: 131 “Four for Sir John Davies” (Roethke), III: 540, 541 “Four Girls, The” (Alvarez), Supp. VII: 7 “Four Horse Songs” (Harjo), Supp. XII: 220 “400-Meter Free Style” (Kumin), Supp. IV Part 2: 442 “400-Pound CEO, The” (Saunders), Supp. XIX: 225 Fourier, Charles, II: 342 “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 Mad Studies” (Di Piero), Supp. XIX: 37 “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 of the Horsemen (Hypertense and Stroke, Coronary Occlusion and Cerebral Insult)” (Karr), Supp. XI: 250 “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; Supp. XIII: 344; Supp. XIV: 167; Supp. XV: 216, 260, 266 Four Saints in Three Acts (Stein), IV: 30, 31, 33, 43, 44–45 “Four Seasons” (Bradstreet), Supp. I Part 1: 112–113 Four Seasons of Success, The (Schulberg), Supp. XVIII: 254 “Four Sides of One Story” (Updike), Retro. Supp. I: 328 “Four Skinny Trees” (Cisneros), Supp. VII: 64 “14: In A Dark Wood: Wood Thrushes” (Oliver), Supp. VII: 244 “14 Men Stage Head Winter 1624/ 25” (Olson), Supp. II Part 2: 574 14 Stories (Dixon), Supp. XII: 141, 145– 147 Fourteen Hundred Thousand (Shepard), Supp. III Part 2: 439 Fourteen Sisters of Emilio Montez O’ Brien, The (Hijuelos), Supp. VIII: 82–85 Fourteen Stories (Buck), Supp. II Part 1: 126 “Fourteenth Ward, The” (H. Miller), III: 175 Fourth Book of Peace, The (Kingston), Supp. V: 173 “Fourth Down” (Marquand), III: 56 Fourth Group of Verse, A (Reznikoff), Supp. XIV: 282, 284 “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 Fox, Alan, Supp. XIII: 120 Fox, Dixon Ryan, I: 337 Fox, Joe, Supp. IX: 259, 261 Fox, John, Supp. XIII: 166 Fox, Linda C., Supp. XIII: 217–218 Fox, Ruth, Supp. I Part 2: 619 “Fox, The” (Levine), Supp. V: 181, 189 Fox-Genovese, Elizabeth, Supp. IV Part 1: 286 Fox in Socks (Geisel), Supp. XVI: 108, 112 “Fox Night” (Jarman), Supp. XVII: 120 Fox of Peapack, The (White), Supp. I Part 2: 676, 677–678 “Fox of Peapack, The” (White), Supp. I Part 2: 677 “Fox Point Health Clinic, 1974” (Halliday), Supp. XIX: 89, 93 Foye, Raymond, Supp. XIV: 150 Fradkin, Lori, Supp. XIX: 52 Fraenkel, Michael, III: 178, 183 “Fragging” (Komunyakaa), Supp. XIII: 123

Fragile Beauty, A: John Nichols’ Milagro Country: Text and Photographs from His Life and Work (Nichols), Supp. XIII: 268 “Fragility” (Shields), Supp. VII: 318 “Fragment” (Ashbery), Supp. III 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 “Fragment of an Agon” (Eliot), I: 579– 580 “Fragment of a Prologue” (Eliot), I: 579– 580 “Fragment of New York, 1929” (Eberhart), I: 536–537 “Fragments” (Emerson), II: 19 “Fragments for Fall” (Salinas), Supp. XIII: 320–321 “Fragments of a Hologram Rose” (W. Gibson), Supp. XVI: 122, 123, 128 “Fragments of a Liquidation” (Howe), Supp. IV Part 2: 426 Fragonard, Jean Honoré, III: 275; IV: 79 Fraiman, Susan, Supp. IV Part 1: 324 “Frame for Poetry, A” (W. J. Smith), Supp. XIII: 333 France, Anatole, IV: 444; Supp. I Part 2: 631; Supp. XIV: 79 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: 51– 52, 58 Franciosi, Robert, Supp. XIV: 283 Francis, Lee, Supp. IV Part 2: 499 Francis, Richard, Supp. XV: 121 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 Franco, Harry (pseudonym). See Briggs, Charles Frederick Franconia (Fraser), Retro. Supp. I: 136 “Franconia” tales (Abbott), Supp. I Part 1: 38 Frank, Anne, Supp. X: 149; Supp. XVII: 39 Frank, Frederick S., Retro. Supp. II: 273 Frank, James M., Supp. XIV: 1 Frank, Jerome, Supp. I Part 2: 645 Frank, Joseph, II: 587 Frank, Mary, Supp. X: 213 Frank, Robert, Supp. XI: 295; Supp. XII: 127; Supp. XIV: 150 Frank, Waldo, I: 106, 109, 117, 229, 236, 245, 259, 400; Retro. Supp. II: 77, 79, 83; Supp. IX: 308, 309, 311, 320; Supp. XV: 298 Frank, W. L., Jr., Supp. XVIII: 77 Frankel, Charles, III: 291 Frankel, Haskel, Supp. I Part 2: 448 Frankenberg, Lloyd, I: 436, 437, 445, 446; III: 194 Frankenheimer, John, Supp. XI: 343

CUMULATIVE INDEX / 373 Frankenstein (film), Supp. IV Part 1: 104; Supp. XVII: 57 Frankenstein (Gardner), Supp. VI: 72 Frankenstein (Shelley), Supp. XII: 79 Frankfurter, Felix, I: 489 “Frankie” (Keillor), Supp. XVI: 167 Frankie and Johnny (film), Supp. XIII: 206 Frankie and Johnny in the Clair de Lune (McNally), Supp. XIII: 200, 201 Franklin, Benjamin, II: 6, 8, 92, 101– 125, 127, 295, 296, 302, 306; III: 74, 90; IV: 73, 193; Supp. I Part 1: 306; Supp. I Part 2: 411, 503, 504, 506, 507, 510, 516, 518, 522, 524, 579, 639; Supp. VIII: 202, 205; Supp. XIII: 150; Supp. XIV: 306; Supp. XVIII: 12 Franklin, Cynthia, Supp. IV Part 1: 332 Franklin, Ruth, Supp. XVI: 160 Franklin, R. W., Retro. Supp. I: 29, 41, 43, 47 Franklin, Sarah, II: 122 Franklin, Temple, II: 122 Franklin, William, II: 122; Supp. I Part 2: 504 Franklin Evans (Whitman), Retro. Supp. I: 393 “Frank O’ Connor and The New Yorker” (Maxwell), Supp. VIII: 172 Franks, Lucinda, Supp. XIII: 12 “Frank Sinatra Has a Cold” (Talese), Supp. XVII: 203 “Frank Stanford of the Mulberry Family: An Arkansas Epilogue” (Wright), Supp. XV: 339–340 “Franny” (Salinger), III: 564, 565–566 Franny and Zooey (Salinger), III: 552, 564–567; IV: 216; Supp. XIII: 263 Franzen, Jonathan, Retro. Supp. II: 279; Supp. XIX: 54 Fraser, G. S., Supp. XII: 128; Supp. XIV: 162 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; Supp. I Part 2: 541 Frazier, Ian, Supp. VIII: 272 “Freak Show, The” (Sexton), Supp. II Part 2: 695 Freaks: Myths and Images of the Secret Self (Fiedler), Supp. XIII: 106, 107 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 “Free” (O’ Hara), III: 369 Free, and Other Stories (Dreiser), Retro. Supp. II: 104 Free Agents (Apple), Supp. XVII: 5–6 Free Air (Lewis), II: 441 Freedman, Monroe H., Supp. VIII: 127 Freedman, Richard, Supp. V: 244 “Freedom” (Larsen), Supp. XVIII: 124 “Freedom” (White), Supp. I Part 2: 659 “Freedom, New Hampshire” (Kinnell), Supp. III Part 1: 238, 239, 251 “Freedom and Discipline” (Carruth), Supp. XVI: 50 Freedom Business, The (Nelson), Supp. XVIII: 186 Freedom Is the Right to Choose: An Inquiry into the Battle for the American Future (MacLeish), III: 3 “Freedom’s a Hard-Bought Thing” (Benét), Supp. XI: 47, 48 “Freedom’s Plow” (Hughes), Supp. I Part 1: 346 “Free Fantasia: Tiger Flowers” (Hayden), Supp. II Part 1: 363, 366 Freeing of the Dust, The (Levertov), Supp. III Part 1: 281–282 “Free Lance, The” (Mencken), III: 104, 105 Free-Lance Pallbearers, The (Reed), Supp. X: 240, 242–243, 244 Free Life, A (Jin), Supp. XVIII: 101– 102 Freeloaders, The (Lacy), Supp. XV: 204 “Free Man” (Hughes), Supp. I Part 1: 333 Freeman, Chris, Supp. XIV: 157, 159 Freeman, Douglas Southall, Supp. I Part 2: 486, 493 Freeman, John, Supp. XVIII: 90 Freeman, Joseph, II: 26; Supp. I Part 2: 610 Freeman, Mary E. Wilkins, II: 401; Supp. IX: 79 Freeman, Mary Wilkins, Retro. Supp. II: 51, 136, 138 Freeman, Morgan, Supp. XII: 317 Freeman, Suzanne, Supp. X: 83 Free Man, The (Richter), Supp. XVIII: 215 “Free Man’s Worship, A” (Russell), Supp. I Part 2: 522 Freewheelin’ Bob Dylan, The (album, Dylan), Supp. XVIII: 20, 24, 29 Freilicher, Jane, Supp. XV: 178 Freinman, Dorothy, Supp. IX: 94 Frémont, John Charles, Supp. I Part 2: 486 Fremont-Smith, Eliot, Supp. XIII: 263 Fremstad, Olive, I: 319; Retro. Supp. I: 10 French, Warren, Supp. XII: 118–119 French Chef, The (television program), Supp. XVII: 89 French Connection, The (film), Supp. V: 226 French Leave (X. J. Kennedy), Supp. XV: 165

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 Frenzy (Everett), Supp. XVIII: 59–60 Frescoes for Mr. Rockefeller’s City (MacLeish), III: 14–15 “Fresh Air” (Koch), Supp. XV: 181, 185 Fresh Air Fiend: Travel Writings, 1985– 2000 (Theroux), Supp. VIII: 325 Fresh Brats (X. J. Kennedy), Supp. XV: 163 “Freshman” (Sanders), Supp. XVI: 277 Freud, Sigmund, I: 55, 58, 59, 66, 67, 135, 241, 242, 244, 247, 248, 283; II: 27, 370, 546–547; III: 134, 390, 400, 418, 488; IV: 7, 70, 138, 295; Retro. Supp. I: 80, 176, 253; Retro. Supp. II: 104; Supp. I Part 1: 13, 43, 253, 254, 259, 260, 265, 270, 315; Supp. I Part 2: 493, 527, 616, 643, 647, 649; Supp. IV Part 2: 450; Supp. VIII: 103, 196; Supp. IX: 102, 155, 161, 308; Supp. X: 193, 194; Supp. XII: 14–15; Supp. XIII: 75; Supp. XIV: 83; Supp. XV: 219; Supp. XVI: 157– 158, 161, 292 “Freud and Literature” (Trilling), Supp. III 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 “Freud’s Room” (Ozick), Supp. V: 268 Freud: The Mind of the Moralist (Sontag and Rieff), Supp. III Part 2: 455 “Freud: Within and Beyond Culture” (Trilling), Supp. III Part 2: 508 Frey, Hillary, Supp. XIX: 55 “Friday Morning Trial of Mrs. Solano, The” (Ríos), Supp. IV Part 2: 538, 548 Friebert, Stuart, Supp. XIX: 276 Frieburger, William, Supp. XIII: 239 Friede, Donald, Supp. XVII: 85, 86, 87, 90 Friedenberg, Edgar Z., Supp. VIII: 240 Friedman, Bruce Jay, I: 161; Supp. IV Part 1: 379 Friedman, Lawrence S., Supp. V: 273 Friedman, Milton, Supp. I Part 2: 648 Friedman, Norman, I: 431–432, 435, 439 Friedman, Stan, Supp. XII: 186 Friedmann, Georges, Supp. I Part 2: 645 “Fried Sausage” (Simic), Supp. VIII: 270 Friend, Julius, Retro. Supp. I: 80 Friend, The (Coleridge), II: 10 “Friend Husband’s Latest” (Sayre), Retro. Supp. I: 104

374 / AMERICAN WRITERS “Friendly Debate between a Conformist and a Non-Conformist, A” (Wild), IV: 155 “Friendly Neighbor” (Keillor), Supp. XVI: 172 Friend of the Earth (Boyle), Supp. VIII: 12, 16 “Friend of the Fourth Decade, The” (Merrill), Supp. III Part 1: 327 “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 “Friendship” (Emerson), Supp. II Part 1: 290 Friends: More Will and Magna Stories (Dixon), Supp. XII: 148, 149 “Friends of Heraclitus, The” (Simic), Supp. VIII: 284 “Friends of Kafka, The” (Singer), Retro. Supp. II: 308 “Friends of the Family, The” (McCarthy), II: 566 “Friend to Alexander, A” (Thurber), Supp. I Part 2: 616 “Frigate Pelican, The” (Moore), III: 208, 210–211, 215 “Frill, The” (Buck), Supp. XIV: 274 “Fringe, The” (Bass), Supp. XVI: 19 Frobenius, Leo, III: 475; Supp. III Part 2: 620 Froebel, Friedrich, Supp. XIV: 52–53 Frog (Dixon), Supp. XII: 151 “Frog Dances” (Dixon), Supp. XII: 151 “Frog Pond, The” (Kinnell), Supp. III Part 1: 254 “Frogs” (Nelson), Supp. XVIII: 176 “Frog Takes a Swim” (Dixon), Supp. XII: 152 Frohock, W. M., I: 34, 42 Frolic of His Own, A (Gaddis), Supp. IV Part 1: 279, 291, 292–294 “From a Mournful Village” (Jewett), Retro. Supp. II: 146 “From an Alabama Farm” (Nelson), Supp. XVIII: 182 “From an Old House in America” (Rich), Supp. I Part 2: 551, 565–567 From Another World (Untermeyer), Supp. XV: 293, 303, 310–311, 313 “From a Roadside Motel” (F. Wright), Supp. XVII: 245 “From a Survivor” (Rich), Supp. I Part 2: 563 From A to Z (musical review; Allen), Supp. XV: 3, 13 From a Writer’s Notebook (Brooks), I: 254 From Bauhaus to Our House (Wolfe), Supp. III Part 2: 580, 581, 584 From Bondage (H. Roth), Supp. IX: 236, 238–240 “From Chants to Borders to Communion” (Fox), Supp. XIII: 217, 217–218 “From Chicago” (Anderson), I: 108–109 From Death to Morning (Wolfe), IV: 450, 456, 458

“From Dick to Lethem: The Dickian Legacy, Postmodernism, and AvantPop in Jonathan Lethem’s Amnesia Moon” (Rossi), Supp. XVIII: 137, 138–139 “From Discord, a Wife Makes a Nice New Life—Too Nice” (Linfield), Supp. XVII: 177 From Down to the Village (Budbill), Supp. XIX: 6–7 “From Feathers to Iron” (Kunitz), Supp. III Part 1: 261 “From Fifth Avenue Up” (Barnes), Supp. III Part 1: 33, 44 “From Gorbunov and Gorchakov” (Brodsky), Supp. VIII: 26 “From Grand Canyon to Burbank” (H. Miller), III: 186 “From Hell to Breakfast“, Supp. IX: 326–327 From Here to Eternity (film), Supp. XI: 221 From Here to Eternity (Jones), I: 477; Supp. XI: 215, 216, 217, 218, 219– 221, 223, 224, 226, 229, 230, 231, 232, 234; Supp. XIX: 248 From Here to Eternity (miniseries), Supp. XI: 234 From Jordan’s Delight (Blackmur), Supp. II Part 1: 91 “From Lumaghi Mine” (Wrigley), Supp. XVIII: 295 Fromm, Erich, I: 58; Supp. VIII: 196 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: 163–165, 166, 167 “From Room to Room” (Kenyon), Supp. VII: 159, 163–165 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 Ashes: Voices of Watts (Schulberg, ed.), Supp. XVIII: 254 From the Barrio: A Chicano Anthology (Salinas and Faderman, eds.), Supp. XIII: 313 From the Briarpatch File: On Context, Procedure, and American Identity (Murray), Supp. XIX: 161 “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. III 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. III Part 1: 138 From the First Nine: Poems 1946–1976 (Merrill), Supp. III Part 1: 336 “From the Flats” (Lanier), Supp. I Part 1: 364 From the Flower Courtyard (Everwine), Supp. XV: 75 From the Heart of Europe (Matthiessen), III: 310 From the Meadow: Selected and New Poems (Everwine), Supp. XV: 75, 88–89 “From the Memoirs of a Private Detective” (Hammett), Supp. IV Part 1: 343 “From the Nursery” (Kenyon), Supp. VII: 171 “From the Poets in the Kitchen” (Marshall), Supp. XI: 277 From the Terrace (O’ Hara), III: 362 “From the Thirties: Tillie Olsen and the Radical Tradition” (Rosenfelt), Supp. XIII: 296, 304 “From Trollope’s Journal” (Bishop), Retro. Supp. II: 47 “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 Frontier Eden (Bigelow), Supp. X: 227 “Frontiers of Culture” (Locke), Supp. XIV: 213 “Front Lines” (Snyder), Supp. VIII: 301 Frost, A. B., Retro. Supp. II: 72 Frost, Carol, Supp. XV: 91–109 Frost, Isabelle Moodie, II: 150, 151 Frost, Jeanie, II: 151 Frost, Richard, Supp. XV: 92 Frost, Robert, I: 26, 27, 60, 63, 64, 171, 229, 303, 326, 418; II: 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; Retro. Supp. II: 40, 47, 50, 146, 178, 181; Supp. I Part 1: 80, 242, 263, 264; Supp. I Part 2: 387, 461, 699; Supp. II Part 1: 4, 19, 26, 103; Supp. III Part 1: 63, 74–75, 239, 253; Supp. III Part 2: 546, 592, 593; Supp. IV Part 1: 15; Supp. IV Part 2: 439, 445, 447, 448, 599, 601; Supp. VIII: 20, 30, 32, 98, 100, 104, 259, 292; Supp. IX: 41, 42, 75, 76, 80, 87, 90, 266, 308; Supp. X: 64, 65, 66, 74, 120, 172; Supp. XI: 43, 123, 150, 153, 312; Supp. XII: 130, 241, 303, 307; Supp. XIII: 143, 147, 334–335; Supp. XIV: 42, 122, 222, 229; Supp. XV: 21, 51, 65, 96, 212, 215, 250,

CUMULATIVE INDEX / 375 256, 293, 296, 299, 301, 302, 306, 348; Supp. XVII: 36, 110, 115–116; Supp. XVIII: 298, 300; Supp. XIX: 1, 123 Frost, William Prescott, II: 150–151 “Frost: A Dissenting Opinion” (Cowley), Supp. II Part 1: 143 Frost: A Time to Talk (Francis), Supp. IX: 76, 85–86 “Frost at Midnight” (Coleridge), Supp. X: 71 “Frost Flowers” (Kenyon), Supp. VII: 168 “Frost: He Is Sometimes a Poet and Sometimes a Stump-Speaker” (NewsWeek), 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, 370– 371, 373 “Fruit of Travel Long Ago” (Melville), III: 93 Fruits and Vegetables (Jong), Supp. V: 113, 115, 117, 118, 119 “Fruits of the Sea, The” (Di Piero), Supp. XIX: 47 Frumkes, Lewis Burke, Supp. XII: 335– 336 Fry, Christopher, Supp. I Part 1: 270 Fry, Roger, Supp. XIV: 336 Fry, Stephen M., Supp. XIX: 159 Frye, Joanne, Supp. XIII: 292, 296, 298, 302 Frye, Northrop, Supp. I Part 2: 530; Supp. II Part 1: 101; Supp. X: 80; Supp. XIII: 19; Supp. XIV: 11, 15; Supp. XVI: 149, 156 Fryer, Judith, Retro. Supp. I: 379 F. Scott Fitzgerald: A Critical Portrait (Piper), Supp. IX: 65 “F. S. F., 1896–1996, R.I.P.” (Doctorow), Retro. Supp. I: 97 Fuchs, Daniel, Supp. XIII: 106 Fuchs, Miriam, Supp. IV Part 1: 284 Fuehrer Bunker, The (Snodgrass), Supp. VI: 314, 315–317, 319–321 Fuel (Nye), Supp. XIII: 277, 282–284 “Fuel” (Nye), Supp. XIII: 283 Fuertes, Gloria, Supp. V: 178 Fugard, Athol, Supp. VIII: 330; Supp. XIII: 205 Fugitive Group, The (Cowan), IV: 120 Fugitive Kind, The (T. Williams), IV: 381, 383 Fugitives, The (group), IV: 122, 124, 125, 131, 237, 238 Fugitives, The: A Critical Account (Bradbury), IV: 130 “Fugitive Slave Law, The” (Emerson), II: 13 Fugitive’s Return (Glaspell), Supp. III Part 1: 182–184

Fuller, B. A. G., III: 605 Fuller, Hiram, Supp. XVIII: 12,14 Fuller, Jesse “Lonecat“, Supp. XV: 147 Fuller, Margaret, I: 261; II: 7, 276; IV: 172; Retro. Supp. I: 155–156, 163; Retro. Supp. II: 46; Supp. I Part 2: 524; Supp. II Part 1: 279–306; Supp. IX: 37; Supp. XVIII: 3, 11, 12, 16 Fuller, Thomas, II: 111, 112 Fullerton Street (Wilson), Supp. VIII: 331 “Full Fathom Five” (Plath), Supp. I Part 2: 538 Full Measure: Modern Short Stories on Aging (D. Sennett, ed.), Supp. XVI: 37 Full Monty, The (musical, McNally), Supp. XIII: 207 “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 “Fullness of Life, The” (Wharton), Retro. Supp. I: 363 Full of Life (Fante), Supp. XI: 160 Full of Life (film), Supp. XI: 170 Full of Lust and Good Usage (Dunn), Supp. XI: 145–147 “Full Summer” (Olds), Supp. X: 212 Fulton, Robert, Supp. I Part 2: 519; Supp. II Part 1: 73 “Functional Poem” (Halliday), Supp. XIX: 85 Function of Criticism, The (Winters), Supp. II Part 2: 812, 813 “Fundamentalism” (Tate), IV: 125 “Fundamental Project of Technology, The” (Kinnell), Supp. III Part 1: 253 “Funeral of Bobò, The” (Brodsky), Supp. VIII: 27, 28 “Funnel” (Sexton), Supp. II Part 2: 675 “Furious Seasons, The” (Carver), Supp. III Part 1: 137 Furious Seasons and Other Stories (Carver), Supp. III Part 1: 142, 143, 146 “Furious Versions” (L.-Y. Lee), Supp. XV: 215–217, 218, 220 “Furnished Room, The” (Hayden), Supp. II Part 1: 386–387, 394, 397, 399, 406, 408 “Furor Scribendi” (O. Butler), Supp. XIII: 70 Furors Die (Hoffman), Supp. XVIII: 80–81 Fur Person, The (Sarton), Supp. VIII: 264–265 Further Adventures with You (Wright), Supp. XV: 339, 342, 343–345 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 Fury of the Jungle (film), Supp. XIII: 163 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 Futureland: Nine Stories of an Imminent World (Mosley), Supp. XIII: 247–249 “Future Life, The” (Bryant), Supp. I Part 1: 170 Future Punishment of the Wicked, The (Edwards), I: 546 G “Gabriel” (Rich), Supp. I Part 2: 557 Gabriel, Ralph H., Supp. I Part 1: 251 Gabriel, Trip, Supp. V: 212 Gabriel Conroy (Harte), Supp. II Part 1: 354 “Gabriel’s Truth” (Kenyon), Supp. VII: 166 Gaddis, William, Supp. IV Part 1: 279– 296; Supp. IV Part 2: 484; Supp. V: 52; Supp. IX: 208; Supp. X: 301, 302 Gadiot, Pud, Supp. XI: 295 Gain (Powers), Supp. IX: 212, 220–221 Gaines, Ernest, Supp. X: 250 Gaines, Ernest J., Supp. X: 24 Gaines, James R., Supp. IX: 190 Gaitens, Peter, Supp. XV: 65 Galamain, Ivan, Supp. III Part 2: 624 Galassi, Jonathan, Supp. XVIII: 92; Supp. XIX: 34 Galatea 2.2 (Powers), Supp. IX: 212, 219–220 “Galatea Encore” (Brodsky), Supp. VIII: 31 Galbraith, John Kenneth, Supp. I Part 2: 645, 650 Galdós, Benito Pérez. See Pérez Galdós, 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 Galilei, I: 480–481; Supp. XII: 180; Supp. XIII: 75 Gallagher, Tess, Supp. XVI: 36; Supp. XVII: 110 Gallant, Mavis, Supp. VIII: 151 Gallatin, Albert, I: 5 “Gallery” (Goldbarth), Supp. XII: 188 “Gallery of Real Creatures, A” (Thurber), Supp. I Part 2: 619 Gallico, Paul, Supp. XVI: 238 Gallows Songs (Snodgrass), Supp. VI: 317 Gallup, Donald, III: 404, 478 Galsworthy, John, III: 70, 153, 382

376 / AMERICAN WRITERS Galton Case, The (Macdonald), Supp. IV Part 2: 463, 473, 474 “Gal Young ‘Un” (Rawlings), Supp. X: 228 “Gambler, the Nun, and the Radio, The” (Hemingway), II: 250 “Gambler’s Wife, The” (Dunbar), Supp. II Part 1: 196 Gambone, Philip, Supp. XII: 81 “Gambrel Roof, A” (Larcom), Supp. XIII: 144 “Game at Salzburg, A” (Jarrell), II: 384, 389 Game Management (Leopold), Supp. XIV: 182 “Game of Catch, A” (Wilbur), Supp. III Part 2: 552 Game Players of Titan, The (Dick), Supp. XVIII: 138 “Games in Frank Conroy’s Stop-Time” (T. Adams), Supp. XVI: 67 “Games Two” (Wilbur), Supp. III Part 2: 550 Gammelgaard, Lene, Supp. XVIII: 112 “Gamut, The” (Angelou), Supp. IV Part 1: 15 Gander, Forrest, Supp. XV: 339, 340, 342 Gandhi, Indira, Supp. X: 108 Gandhi, Mahatma, III: 179, 296–297; IV: 170, 185, 367; Supp. VIII: 203, 204; Supp. X: 27 Gandhi on Non-Violence (Merton, ed.), Supp. VIII: 204–205 Gang of Five: Leaders at the Center of the Conservative Crusade (Easton), Supp. XIX: 137 “Gang of Mirrors, The” (Simic), Supp. VIII: 283 Gansevoort, Guert, III: 94 Gansevoort, Peter, III: 92 “Gap” (Bierds), Supp. XVII: 35–36 Garabedian, Michael, Supp. XIII: 115 Garbage (Ammons), Supp. VII: 24, 35–36 Garbage (Dixon), Supp. XII: 147, 148 Garbage Man, The (Dos Passos), I: 478, 479, 481, 493 Garber, Frederick, Supp. IX: 294–295 Garbo, Greta, Supp. I Part 2: 616 García, Cristina, Supp. VIII: 74; Supp. XI: 177–192 García Lorca, Federico. See Lorca, Federico García “García Lorca: A Photograph of the Granada Cemetery, 1966” (Levis), Supp. XI: 264 García Márquez, Gabriel, Supp. V: 244; Supp. VIII: 81, 82, 84, 85; Supp. XII: 147, 310, 316, 322; Supp. XIII: 226; Supp. XVII: 45 “Garden” (Marvell), IV: 161; Supp. XVI: 204 “Garden, The” (Glück), Supp. V: 83 “Garden, The” (Strand), Supp. IV Part 2: 629 “Garden Among Tombs” (B. Kelly), Supp. XVII: 126 “Garden by Moonlight, The” (Lowell), II: 524

“Gardener Delivers a Fawn, The” (C. Frost), Supp. XV: 99 Gardener’s Son, The (McCarthy), Supp. VIII: 187 “Gardenias” (Doty), Supp. XI: 122 “Gardenias” (Monette), Supp. X: 159 “Garden Lodge, The” (Cather), I: 316, 317 Garden of Adonis, The (Gordon), II: 196, 204–205, 209 Garden of Earthly Delights, A (Oates), Supp. II Part 2: 504, 507–509 “Garden of Eden” (Hemingway), II: 259 Garden of Eden, The (Hemingway), Retro. Supp. I: 186, 187–188 “Garden of Flesh, Garden of Stone” (B. Kelly), Supp. XVII: 128 “Garden of the Moon, The” (Doty), Supp. XI: 122 “Garden of the Trumpet Tree, The” (B. Kelly), Supp. XVII: 131 “Gardens, The” (Oliver), Supp. VII: 236 “Gardens of Mont-Saint-Michel, The” (Maxwell), Supp. VIII: 169 “Gardens of the Villa D’ Este, The” (Hecht), Supp. X: 59 “Gardens of Zuñi, The” (Merwin), Supp. III Part 1: 351 Gardiner, Judith Kegan, Supp. IV Part 1: 205 Gardner, Erle Stanley, Supp. IV Part 1: 121, 345 Gardner, Isabella, IV: 127 Gardner, John, Supp. I Part 1: 193, 195, 196; Supp. III Part 1: 136, 142, 146; Supp. VI: 61–76 Gardons, S. S. See Snodgrass, W. D. “Gare de Lyon” (M. F. K. Fisher), Supp. XVII: 91 Garfield, John, Supp. XII: 160 Garibaldi, Giuseppe, I: 4; II: 284 Garibay, Angel M., Supp. XV: 77 Garland, Hamlin, I: 407; II: 276, 289; III: 576; Retro. Supp. I: 133; Retro. Supp. II: 72; Supp. I Part 1: 217; Supp. IV Part 2: 502; Supp. XVIII: 6 Garland Companion, The (Zverev), Retro. Supp. I: 278 Garments the Living Wear (Purdy), Supp. VII: 278–279, 280–281 Garner, Dwight, Supp. X: 202; Supp. XVIII: 89 Garnett, Edward, I: 405, 409, 417; III: 27 Garrett, George, Supp. XVIII: 74, 75 Garrett, George P., Supp. I Part 1: 196; Supp. VII: 95–113; Supp. X: 3, 7; Supp. XI: 218 Garrigue, Jean, Supp. XII: 260 Garrison, Deborah, Supp. IX: 299 Garrison, Fielding, III: 105 Garrison, William Lloyd, Supp. I Part 2: 524, 588, 683, 685, 686, 687; Supp. XIV: 54 “Garrison of Cape Ann, The” (Whittier), Supp. I Part 2: 691, 694 Garry Moore Show (television show), Supp. IV Part 2: 575

“Garter Motif” (White), Supp. I Part 2: 673 Gartner, Zsuzsi, Supp. X: 276 Garvey, Marcus, Supp. III Part 1: 175, 180; Supp. IV Part 1: 168; Supp. X: 135, 136 Gas (Kaiser), I: 479 Gas-House McGinty (Farrell), II: 41–42 Gaskell, Elizabeth, A., Supp. I Part 2: 580 Gasoline (Corso), Supp. XII: 118, 121– 123, 134 Gass, William, Supp. XVII: 183 Gass, William H., Supp. V: 44, 52, 238; Supp. VI: 77–96; Supp. IX: 208; Supp. XII: 152; Supp. XIV: 305 Gassner, John, IV: 381; Supp. I Part 1: 284, 292 “Gas Stations” (Apple), Supp. XVII: 4 Gastronomical Me, The (M. F. K. Fisher), Supp. XVII: 84, 85, 87, 91, 92 Gates, David, Supp. V: 24; Supp. XIII: 93; Supp. XVI: 73, 74 Gates, Elmer, I: 515–516 Gates, Henry Louis, Jr., Retro. Supp. I: 194, 195, 203; Supp. X: 242, 243, 245, 247; Supp. XVIII: 287; Supp. XIX: 147, 149 Gates, Lewis E., III: 315, 330 Gates, Sondra Smith, Supp. XVIII: 267, 269 Gates, The (Rukeyser), Supp. VI: 271, 274, 281 “Gates, The” (Rukeyser), Supp. VI: 286 Gates, Tudor, Supp. XI: 307 Gates of Ivory, the Gates of Horn, The (McGrath), Supp. X: 118 Gates of Wrath, The; Rhymed Poems (Ginsberg), Supp. II Part 1: 311, 319 “Gathering of Dissidents, A” (Applebaum), Supp. XVI: 153 Gathering of Fugitives, A (Trilling), Supp. III Part 2: 506, 512 Gathering of Zion, The: The Story of the Mormon Trail (Stegner), Supp. IV Part 2: 599, 602–603 Gather Together in My Name (Angelou), Supp. IV Part 1: 2, 3, 4–6, 11 Gathorne-Hardy, Robert, Supp. XIV: 344, 347, 348, 349 Gaudier-Brzeska, Henri, III: 459, 464, 465, 477 Gauguin, Paul, I: 34; IV: 290; Supp. IV Part 1: 81; Supp. XII: 128 “Gauley Bridge” (Rukeyser), Supp. VI: 278 Gauss, Christian, II: 82; IV: 427, 439– 440, 444 Gauthier, Jacquie, Supp. XIX: 204 Gautier, Théophile, II: 543; III: 466, 467; Supp. I Part 1: 277 Gay, John, II: 111; Supp. I Part 2: 523; Supp. XIV: 337 Gay, Peter, I: 560 Gay, Sydney Howard, Supp. I Part 1: 158; Supp. XVIII: 3 Gay, Walter, IV: 317 Gayatri Prayer, The, III: 572 “Gay Chaps at the Bar” (Brooks), Supp. III Part 1: 74, 75

CUMULATIVE INDEX / 377 Gaylord, Winfield R., III: 579–580 Gay Talese Reader, The: Portraits & Encounters (Talese), Supp. XVII: 202, 208 “Gazebo” (Carver), Supp. III Part 1: 138, 144, 145 Gazer’s Spirit, The (Hollander), Supp. XIX: 121 Gazer Within, The, and Other Essays by Larry Levis, Supp. XI: 270 Gazzara, Ben, Supp. VIII: 319 Gazzo, Michael V., III: 155 “Geese Gone Beyond” (Snyder), Supp. VIII: 304 “Gegenwart” (Goethe), Supp. II Part 1: 26 Geisel, Theodor Seuss (Dr. Seuss), Supp. X: 56; Supp. XVI: 97–115 Geismar, Maxwell, II: 178, 431; III: 71; Supp. IX: 15; Supp. XI: 223 Gelb, Arthur, IV: 380 Gelbart, Larry, Supp. IV Part 2: 591 Gelder, Robert Van, Supp. XIII: 166 Gelfant, Blanche, Supp. XVII: 161 Gelfant, Blanche H., II: 27, 41 Gelfman, Jean, Supp. X: 3 Gellhorn, Martha. See Hemingway, Mrs. Ernest (Martha Gellhorn) Gelpi, Albert, 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 “Gender Norms” (Radinovsky), Supp. XV: 285 “Gender of Sound, The” (Carson), Supp. XII: 106 “Genealogy” (Komunyakaa), Supp. XIII: 129 “General Aims and Theories” (Crane), I: 389 General Died at Dawn, The (Odets), Supp. II Part 2: 546 “General Gage’s Confession” (Freneau), Supp. II Part 1: 257 “General Gage’s Soliloquy” (Freneau), Supp. II Part 1: 257 General History of the Robberies and Murders of the Most Notorious Pyrates from Their First Rise and Settlement in the Island of New Providence to the Present Year, A (Johnson), Supp. V: 128 “General William Booth Enters into Heaven” (Lindsay), Supp. I Part 2: 374, 382, 384, 385–388, 389, 392, 399 General William Booth Enters into Heaven and Other Poems (Lindsay), Supp. I Part 2: 379, 381, 382, 387– 388, 391 “Generations of Men, The” (Frost), Retro. Supp. I: 128; Supp. XIII: 147 Generous Man, A (Price), Supp. VI: 259, 260, 261 Genesis (biblical book), I: 279; II: 540; Retro. Supp. I: 250, 256; Supp. XII: 54

“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; Supp. XI: 308; Supp. XII: 1; Supp. XIII: 74; Supp. XVII: 95 “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. III Part 2: 542 “Genius, The” (MacLeish), III: 19 Genius and Lust: A Journey through the Major Writings of Henry Miller (Mailer), Retro. Supp. II: 208 “Genius Child” (Hughes), Retro. Supp. I: 203 “Genius of Bob Dylan, The” (Lethem), Supp. XVIII: 146 “Genius,” The (Dreiser), I: 497, 501, 509–511, 519; Retro. Supp. II: 94– 95, 102–103, 104, 105 “Genteel Tradition in American Philosophy, The” (Santayana), I: 222 “Gentle Communion” (Mora), Supp. XIII: 218–219 Gentle Crafter, The (O. Henry), Supp. II Part 1: 410 “Gentle Lena, The” (Stein), IV: 37, 40 Gentleman Caller, The (T. Williams), IV: 383 “Gentleman from Cracow, The” (Singer), IV: 9 “Gentleman of Bayou Têche, 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 Agreement” (Richard), Supp. XIX: 220–221 Gentlemen Prefer Blondes (Loos; musical adaptation), Supp. XVI: 193 Gentlemen Prefer Blondes: The Illuminating Diary of a Professional Lady (Loos), Supp. XVI: 181, 183, 186, 188–189 Gentlemen Prefer “Books” (J. Yeats), Supp. XVI: 190 Gentle People, The: A Brooklyn Fable (Shaw), Supp. XIX: 244–245, 249 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; Supp. XVIII: 148 Geography and Plays (Stein), IV: 29–30, 32, 43, 44 Geography III (Bishop), Retro. Supp. II: 50; Supp. I Part 1: 72, 73, 76, 82, 93, 94, 95 Geography of a Horse Dreamer (Shepard), Supp. III Part 2: 432

Geography of Home, The: California’s Poetry of Place (Bluckey and Young, eds.), Supp. XIII: 313 Geography of Lograire, The (Merton), Supp. VIII: 208 Geography of the Heart (Johnson), Supp. XI: 129 “Geometric Poem, The” (Corso), Supp. XII: 132, 133–134 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, Lynell, Supp. XIII: 234–235, 237, 249 George, Peter, Supp. XI: 302, 303, 304 George and the Dragon (Shanley), Supp. XIV: 315 George Bernard Shaw: His Plays (Mencken), III: 102 George Mills (Elkin), Supp. VI: 53–54 George Palmer Putnam: Representative American Publisher (Greenspan), Supp. XVIII: 257 “George Robinson: Blues” (Rukeyser), Supp. VI: 279 George’s Mother (Crane), I: 408 “George Thurston” (Bierce), I: 202 George Washington Crossing the Delaware (Koch), Supp. XV: 186 Georgia Boy (Caldwell), I: 288, 305–306, 308, 309, 310 “Georgia Dusk” (Toomer), Supp. IX: 309 “Georgia: Invisible Empire State” (Du Bois), Supp. II Part 1: 179 “Georgia Night” (Toomer), Supp. III Part 2: 481 Georgia Scenes (Longstreet), II: 70, 313; Supp. I Part 1: 352 Georgics (Virgil), Retro. Supp. I: 135; Supp. XVI: 22 Georgoudaki, Ekaterini, Supp. IV Part 1: 12 Gerald McBoing-Boing (film), Supp. XVI: 102 “Geraldo No Last Name” (Cisneros), Supp. VII: 60–61 Gerald’s Game (King), Supp. V: 141, 148–150, 151, 152 Gerald’s Party (Coover), Supp. V: 49– 50, 51, 52 Gérando, Joseph Marie de, II: 10 “Geranium” (O’ Connor), Retro. Supp. II: 221, 236 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 Germinal (Zola), III: 318, 322 Gernsback, Hugo, Supp. IV Part 1: 101 “Gernsback Continuum, The” (W. Gibson), Supp. XVI: 123, 128 “Gerontion” (Eliot), I: 569, 574, 577, 578, 585, 588; III: 9, 435, 436; Retro. Supp. I: 290; Supp. XV: 341; Supp. XVI: 158–159

378 / AMERICAN WRITERS Gerry, Elbridge, Supp. I Part 2: 486 “Gerry’s Jazz” (Komunyakaa), Supp. XIII: 125 Gershwin, Ira, Supp. I Part 1: 281 “Gert” (Monette), Supp. X: 158 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 “Gesture toward an Unfound Renaissance, A” (Stafford), Supp. XI: 323 “Get It Again” (Halliday), Supp. XIX: 85 Getlin, Josh, Supp. V: 22; Supp. VIII: 75, 76, 78, 79 “Getting Along” (Larcom), Supp. XIII: 144 “Getting Along with Nature” (Berry), Supp. X: 31–32 “Getting Away from Already Pretty Much Being Away from It All” (Wallace), Supp. X: 314–315 “Getting Born” (Shields), Supp. VII: 311 Getting Even (Allen), Supp. XV: 3, 14, 15 “Getting Lucky” (L. Michaels), Supp. XVI: 205, 209 “Getting Out of Jail on Monday” (Wagoner), Supp. IX: 327 “Getting There” (Plath), Supp. I Part 2: 539, 542 “Getting to the Poem” (Corso), Supp. XII: 135 Getty, J. Paul, Supp. X: 108 Getty, Norris, Supp. XV: 136–137, 138, 139, 142, 143, 145, 146 Gettysburg, Manila, Acoma (Masters), Supp. I Part 2: 471 “Gettysburg: July 1, 1863” (Kenyon), Supp. VII: 172 Ghachem, Malick, Supp. X: 17 “Ghazals: Homage to Ghalib” (Rich), Supp. I Part 2: 557 Ghost, The (Crane), I: 409, 421 “Ghost, The” (Peacock), Supp. XIX: 199 “Ghost Cat” (Peacock), Supp. XIX: 206 “Ghost Chant, et alii” (Komunyakaa), Supp. XIII: 114 Ghost in the Music, A (Nichols), Supp. XIII: 267 “Ghostlier Demarcations, Keener Sounds” (Vendler), Supp. I Part 2: 565 “Ghostly Father, I Confess” (McCarthy), II: 565–566 Ghostly Lover, The (Hardwick), Supp. III Part 1: 194–196, 208, 209 Ghost of Meter, The (A. Finch), Supp. XVII: 71, 73 “Ghost of the Buffaloes, The” (Lindsay), Supp. I Part 2: 393 Ghost of Tradition, The (Walzer), Supp. XVIII: 174 Ghosts (Auster), Supp. XII: 22, 24, 26–27

Ghosts (Ibsen), III: 152 Ghosts (Wharton), IV: 316, 327 Ghosts of Tsavo: Stalking the Mystery Lions of East Africa (Caputo), Supp. XIX: 28 Ghost Town (Coover), Supp. V: 52–53 Ghost Trio, The (Bierds), Supp. XVII: 29, 30 Ghost Writer, The (P. Roth), Retro. Supp. II: 22, 290, 291; Supp. III Part 2: 420–421; Supp. XVII: 43 Giachetti, Fosco, Supp. IV Part 2: 520 “Giacometti” (Wilbur), Supp. III Part 2: 551 Giacometti, Alberto, Supp. VIII: 168, 169 Giacomo, Padre, II: 278–279 Giant’s House, The: A Romance (McCracken), Supp. X: 86 “Giant Snail” (Bishop), Retro. Supp. II: 49 Giant Weapon, The (Winters), Supp. II Part 2: 810 “Giant Woman, The” (Oates), Supp. II Part 2: 523 Gibbon, Edward, I: 4, 378; IV: 126; Supp. I Part 2: 503; Supp. III Part 2: 629; Supp. XIII: 75; Supp. XIV: 97 Gibbons, James, Supp. XVII: 228 Gibbons, Kaye, Supp. X: 41–54; Supp. XII: 311 Gibbons, Reginald, Supp. X: 113, 124, 127; Supp. XV: 105; Supp. XIX: 40, 41–42, 281 Gibbons, Richard, Supp. I Part 1: 107 “Gibbs” (Rukeyser), Supp. VI: 273 Gibbs, Barbara, Supp. IV Part 2: 644 Gibbs, Wolcott, Supp. I Part 2: 604, 618; Supp. VIII: 151 “GIBSON” (Baraka), Supp. II Part 1: 54 Gibson, Charles Dana, Supp. X: 184 Gibson, Graeme, Supp. XIII: 20 Gibson, Wilfrid W., Retro. Supp. I: 128 Gibson, William, Supp. XVI: 117–133 Giddins, Gary, Supp. XIII: 245 Gide, André, I: 271, 290; II: 581; III: 210; IV: 53, 289; Supp. I Part 1: 51; Supp. IV Part 1: 80, 284, 347; Supp. IV Part 2: 681, 682; Supp. VIII: 40; Supp. X: 187; Supp. XIV: 24, 348; Supp. XVII: 242 Gideon Planish (Lewis), II: 455 Gielgud, John, I: 82; Supp. XI: 305 Gierow, Dr. Karl Ragnar, III: 404 Gifford, Bill, Supp. XI: 38 Gifford, Terry, Supp. XVI: 22 “Gift, The” (Creeley), Supp. IV Part 1: 153 “Gift, The” (Doolittle), Supp. I Part 1: 267 Gift, The (Hyde), Supp. XVIII: 150 “Gift, The” (Jarman), Supp. XVII: 116 “Gift, The” (L.-Y. Lee), Supp. XV: 213, 214 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 Gigi (Colette; stage adaptation, Loos), Supp. XVI: 193 “Gigolo” (Plath), Retro. Supp. II: 257 “G.I. Graves in Tuscany” (Hugo), Supp. VI: 138 “Gila Bend” (Dickey), Supp. IV Part 1: 185–186 Gilbert, Jack, Supp. IX: 287 Gilbert, Peter, Supp. IX: 291, 300 Gilbert, Roger, Supp. XI: 124 Gilbert, Sandra M., Retro. Supp. I: 42; Retro. Supp. II: 324; Supp. IX: 66; Supp. XV: 270 Gilbert, Susan. See Dickinson, Mrs. William A. Gilbert and Sullivan, Supp. IV Part 1: 389 “Gilbert Stuart Portrait of Washington, The” (Kooser), Supp. XIX: 124 Gil Blas (Le Sage), II: 290 Gilded Age, The (Twain), III: 504; IV: 198 Gilded Lapse of Time, A (Schnackenberg), Supp. XV: 258, 260–263 “Gilded Lapse of Time, A” (Schnackenberg), Supp. XV: 257 “Gilded Six-Bits, The” (Hurston), Supp. VI: 154–155 Gilder, R. W., Retro. Supp. II: 66; Supp. I Part 2: 418 Gildersleeve, Basil, Supp. I Part 1: 369 Giles, H. A., Retro. Supp. I: 289 Giles, James R., Supp. IX: 11, 15; Supp. XI: 219, 223–224, 228, 234 “Giles Corey of the Salem Farms” (Longfellow), II: 505, 506; Retro. Supp. II: 166, 167 Giles Goat-Boy (Barth), I: 121, 122–123, 129, 130, 134, 135–138; Supp. V: 39 Gill, Brendan, Supp. I Part 2: 659, 660 Gillespie, Nick, Supp. XIV: 298, 311 Gillette, Chester, I: 512 Gilligan, Carol, Supp. XIII: 216 Gillis, Jim, IV: 196 Gillis, Steve, IV: 195 Gilman, Charlotte Perkins, Supp. I Part 2: 637; Supp. V: 121, 284, 285; Supp. XI: 193–211; Supp. XIII: 295, 306; Supp. XVI: 84 Gilman, Daniel Coit, Supp. I Part 1: 361, 368, 370 Gilman, Richard, IV: 115; Supp. IV Part 2: 577; Supp. XIII: 100; Supp. XIX: 251 Gilmore, Eddy, Supp. I Part 2: 618

CUMULATIVE INDEX / 379 Gilmore, Mikal, Supp. XVI: 123, 124 Gilpin, Charles, III: 392 Gilpin, Dewitt, Supp. XV: 197 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 “Gimcrackery” articles (Briggs), Supp. XVIII: 8–9 “Gimpel the Fool” (Singer), IV: 14; Retro. Supp. II: 22, 307 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 Gingertown (McKay), Supp. X: 132, 139 Gingold, Hermione, Supp. XV: 13 Gingrich, Arnold, Retro. Supp. I: 113; Supp. XVII: 88 Ginna, Robert, Supp. IX: 259 Ginsberg, Allen, I: 183; Retro. Supp. I: 411, 426, 427; Retro. Supp. II: 280; Supp. II Part 1: 30, 32, 58, 307–333; Supp. III Part 1: 2, 91, 96, 98, 100, 222, 226; Supp. III Part 2: 541, 627; Supp. IV Part 1: 79, 90, 322; Supp. IV Part 2: 502; Supp. V: 168, 336; Supp. VIII: 239, 242–243, 289; Supp. IX: 299; Supp. X: 120, 204; Supp. XI: 135, 297; Supp. XII: 118–119, 121–122, 124, 126, 130–131, 136, 182; Supp. XIV: 15, 53, 54, 125, 137, 141, 142, 143–144, 148, 150, 269, 280, 283; Supp. XV: 134, 177, 263; Supp. XVI: 123, 135; Supp. XVII: 138, 243; Supp. XVIII: 20, 27, 29, 30 Gioia, Dana, Supp. IX: 279; Supp. XII: 209; Supp. XIII: 337; Supp. XV: 111–131, 251; Supp. XVII: 69, 72, 112; Supp. XIX: 117, 144 Giono, Jean, Supp. XVI: 135 Giotto di Bondone, Supp. I Part 2: 438; Supp. XI: 126 Giovani, Regula, Supp. XV: 270 Giovanni, Nikki, Supp. I Part 1: 66; Supp. II Part 1: 54; Supp. IV Part 1: 11; Supp. VIII: 214 Giovanni’s Room (Baldwin), Retro. Supp. II: 5, 6, 6–7, 8, 10; Supp. I Part 1: 51, 52, 55–56, 57, 60, 63, 67; Supp. III Part 1: 125 Giovannitti, Arturo, I: 476; Supp. XV: 299, 301, 302, 307 “Giraffe” (Swenson), Supp. IV Part 2: 651 Giraldi, Giovanni Battista. See Cinthio “Girl” (Kincaid), Supp. VII: 182–183 “Girl, The” (Olds), Supp. X: 207 “Girl Friend Poems” (Wright), Supp. XV: 349 “Girl from Lynn Bathes Horse!!” (McCarriston), Supp. XIV: 266 “Girl from Red Lion, P.A., A” (Mencken), III: 111

Girl in Glass, The: Love Poems (W. J. Smith), Supp. XIII: 335 Girl in Landscape (Lethem), Supp. XVIII: 136, 141–143 “Girl in the Grave, The” (McCoy), Supp. XIII: 170 Girl Like I, A (Loos), Supp. XVI: 181, 183, 184, 187, 194, 196 “Girl of the Golden West” (Didion), Supp. IV Part 1: 195, 208, 211 Girl of the Golden West, The (Puccini), III: 139 “Girl on a Scaffold” (C. Frost), Supp. XV: 98 “Girl on the Baggage Truck, The” (O’ Hara), III: 371–372 Girls at Play (Theroux), Supp. VIII: 314, 315, 316, 317 “Girls at the Sphinx, The” (Farrell), II: 45 “Girls in Their Summer Dresses, The” (Shaw), Supp. XIX: 246 Girl Sleuth, The: A Feminist Guide (Mason), Supp. VIII: 133, 135, 139, 142 “Girl’s Story, A” (Bambara), Supp. XI: 10–11 “Girl the Prince Liked, The” (Z. Fitzgerald), Supp. IX: 71 Girl Who Loved Tom Gordon, The (King), Supp. V: 138, 152 Girl with Curious Hair (Wallace), Supp. X: 301, 305–308 “Girl with Curious Hair” (Wallace), Supp. X: 306 “Girl with Silver Eyes, The” (Hammett), Supp. IV Part 1: 344, 345 “Girl with Talent, The” (Z. Fitzgerald), Supp. IX: 71 Girodias, Maurice, III: 171; Supp. XI: 297 Giroux, Robert, Retro. Supp. II: 177, 229, 235; Supp. IV Part 1: 280; Supp. VIII: 195; Supp. XV: 146 Gish, Dorothy, Retro. Supp. I: 103 Gish, Lillian, Supp. XVI: 184 Gissing, George, II: 138, 144 Gittings, Robert, II: 531 “Given” (C. Frost), Supp. XV: 96 “Give Us Back Our Country” (Masters), Supp. I Part 2: 472 “Give Way, Ye Gates” (Roethke), III: 536 “Give Your Heart to the Hawks” (Jeffers), Supp. II Part 2: 433 “Giving Blood” (Updike), IV: 226; Retro. Supp. I: 332 Giving Good Weight (McPhee), Supp. III Part 1: 307 “Giving in to You” (X. J. Kennedy), Supp. XV: 160 “Giving Myself Up” (Strand), Supp. IV Part 2: 627 G. K. the DJ (Keillor), Supp. XVI: 171 Glackens, William, Retro. Supp. II: 103 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 Away, A (Wideman), Supp. X: 320 “Glance from the Bridge, A” (Wilbur), Supp. III Part 2: 551 “Glance in the Mirror, A” (Swados), Supp. XIX: 261–262 Glance toward Shakespeare, A (Chapman), Supp. XIV: 44 Glanville-Hicks, Peggy, Supp. IV Part 1: 84 Glare (Ammons), Supp. VII: 35–36 Glasgow, Cary, II: 173, 182 Glasgow, Ellen, II: 173–195; IV: 328; Supp. X: 228, 234 Glasmon, Kubec, Supp. XIII: 166 Glaspell, Susan, Supp. III Part 1: 175– 191; Supp. X: 46; Supp. XVII: 99 “Glass” (Francis), Supp. IX: 80 Glass, Irony, and God (Carson), Supp. XII: 97, 104–106 “Glass Ark, The” (Komunyakaa), Supp. XIII: 129 Glass Bees, The (Jünger; Bogan and Mayer, trans.), Supp. III Part 1: 63 “Glass Blower of Venice” (Malamud), Supp. I Part 2: 450 “Glass Essay, The” (Carson), Supp. XII: 104–105 “Glass Face in the Rain, A: New Poems” (Stafford), Supp. XI: 327–328 Glass Key, The (Hammett), Supp. IV Part 1: 351–353 “Glass Meadows” (Bausch), Supp. VII: 53–54 Glass Menagerie, The (T. 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 “Glass Tent, The” (Everwine), Supp. XV: 76 Glatstein, Jacob, Supp. X: 70 Glazer, Nathan, Supp. VIII: 93, 243 “Gleaners, The” (Merwin), Supp. III Part 1: 346 Gleanings in Europe (Cooper), I: 346 Gleason, Ralph J., Supp. IX: 16 Glenday, Michael, Retro. Supp. II: 210 Glengarry Glen Ross (film), Supp. XIV: 242 Glengarry Glen Ross (Mamet), Supp. XIV: 239, 240, 242, 245, 246, 250, 254, 255 Glimcher, Arne, Supp. VIII: 73 “Glimpses” (Jones), Supp. XI: 218 Glimpses of the Moon, The (Wharton), II: 189–190; IV: 322–323; Retro. Supp. I: 381 “Glimpses of Vietnamese Life” (Levertov), Supp. III Part 1: 282 Glisson, J. T., Supp. X: 234 Gloria Mundi (Frederic), II: 144–145 Gloria Naylor (Fowler), Supp. VIII: 224 “Glorious Fourth, The” (Ryan as Quin), Supp. XVIII: 229

380 / AMERICAN WRITERS Glorious Ones, The (Prose), Supp. XVI: 251 Glory of Hera, The (Gordon), II: 196– 197, 198, 199, 217–220 Glory of the Conquered, The (Glaspell), Supp. III Part 1: 176 Glossary of Literary Terms (Abrams), Supp. XVI: 19 Glotfelty, Cheryll, Supp. IX: 25 Glover, Joyce Lee, Supp. XIX: 112 Glow, The (Wrigley), Supp. XVIII: 295 “Glow, The” (Wrigley), Supp. XVIII: 296–297, 307 Gluck, Christoph Willibald, II: 210, 211 Glück, Louise, Supp. V: 77–94; Supp. VIII: 272; Supp. X: 209; Supp. XIV: 269; Supp. XV: 19, 252; Supp. XVII: 241 “Glutton, The” (Shapiro), Supp. II Part 2: 705 “Glutton for Punishment, A” (Yates), Supp. XI: 341 Glyph (Everett), Supp. XVIII: 60–61 Gnädiges Fräulein, The (T. Williams), IV: 382, 395, 398 Gnomes and Occasions (Nemerov), III: 269 Gnomologia (Fuller), II: 111 “Gnothis Seauton” (Emerson), II: 11, 18–19 Go (Holmes), Supp. XIV: 144 “Goal of Intellectual Men, The” (Eberhart), I: 529–530 Go-Between, The (Hartley), Supp. I Part 1: 293 Gobineau, Joseph Arthur de, Supp. XIV: 209 God (Allen), Supp. XV: 3 God and the American Writer (Kazin), Supp. VIII: 108–109 Godard, Jean-Luc, Supp. I Part 2: 558 Godbey (Masters), Supp. I Part 2: 472 God Bless You, Mr. Rosewater (Vonnegut), Supp. II Part 2: 758, 767, 768–769, 771, 772 Goddess Abides, The (Buck), Supp. II Part 1: 129, 131–132 Gödel, Kurt, Supp. IV Part 1: 43 Godfather (Puzo), Supp. IV Part 1: 390 Godfires (Hoffman), Supp. XVIII: 81–82 “God in the Doorway” (Dillard), Supp. VI: 28 “God is a distant-stately Lover” (Dickinson), I: 471 Godkin, E. L., II: 274 God Knows (Heller), Supp. IV Part 1: 386, 388–389 God Made Alaska for the Indians (Reed), Supp. X: 241 God of His Fathers, The (London), II: 469 God of Vengeance (Asch), IV: 11 Go Down, Moses (Faulkner), Retro. Supp. I: 75, 82, 85, 86, 88, 89, 90, 92; Supp. XVIII: 203 “Go Down, Moses” (Faulkner), II: 71–72 Go Down, Moses (Hayden), Supp. II Part 1: 365 Go Down, Moses and Other Stories (Faulkner), II: 71; Supp. X: 52

“Go Down Death A Funeral Sermon” (Johnson), Supp. IV Part 1: 7 “God Rest Ye Merry, Gentlemen” (Hemingway), IV: 122 Godric (Buechner), Supp. XII: 53 Gods, The (Goldbarth), Supp. XII: 189, 190 Gods Arrive, The (Wharton), IV: 326– 327; Retro. Supp. I: 382 God Save the Child (Parker), Supp. XIX: 183–184 “God Save the Rights of Man” (Freneau), Supp. II Part 1: 268 “Gods|Children” (Swenson), Supp. IV Part 2: 645 “God’s Christ Theory” (Carson), Supp. XII: 106 God’s Country (Everett), Supp. XVIII: 57–58, 64, 65 God’s Country and My People (Morris), III: 238 Gods Determinations touching his Elect: and the Elects Combat in their Conversion, and Coming up to God in Christ together with the Comfortable Effects thereof (Taylor), IV: 155–160, 165 God-Seeker, The (Lewis), II: 456 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 Gods of Winter, The (Gioia), Supp. XV: 112, 121–125 “Gods of Winter, The” (Gioia), Supp. XV: 117 “God’s Peace in November” (Jeffers), Supp. II Part 2: 420 God’s Silence (F. Wright), Supp. XVII: 240, 246–247 “God Stiff” (Carson), Supp. XII: 106 God’s Trombones (Johnson), Supp. II Part 1: 201 “God’s Youth” (Untermeyer), Supp. XV: 296 “God the Father and the Empty House” (McCarriston), Supp. XIV: 273 Godwin, William, II: 304; III: 415; Supp. I Part 1: 126, 146; Supp. I Part 2: 512, 513–514, 522, 709, 719 God without Thunder (Ransom), III: 495–496, 499 Godwulf Manuscript, The (Parker), Supp. XIX: 178–182 Goebbels, Josef, III: 560 Goebel, Irma, Supp. X: 95 Goen, C. C., I: 560 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; Retro. Supp. II: 94; Supp. I Part 2: 423, 457; Supp. II Part 1: 26; Supp. III Part 1: 63; Supp. IX: 131, 308; Supp. X: 60; Supp. XI: 169; Supp. XVIII: 278 Go for the Body (Lacy), Supp. XV: 201, 204

Gogol, Nikolai, I: 296; IV: 1, 4; Retro. Supp. I: 266, 269; Supp. VIII: 14; Supp. XVII: 45; Supp. XVIII: 102 Goia, Dana, Supp. XIX: 121 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 Critical” (Bambara), Supp. XI: 14 Going Down (Markson), Supp. XVII: 136, 138, 139–140, 141, 142–143, 144, 145 Going for the Rain (Ortiz), Supp. IV Part 2: 499, 505–508, 509, 514 “Going Home by Last Night” (Kinnell), Supp. III Part 1: 244 “Going Home in America” (Hardwick), Supp. III Part 1: 205 “Going North” (Salinas), Supp. XIII: 316 Going Places (L. Michaels), Supp. XVI: 201, 203–206 “Going Places” (L. Michaels), Supp. XVI: 203 Going South (Lardner and Buck), II: 427 Going To and Fro and Walking Up and Down (Reznikoff), Supp. XIV: 280, 282, 284, 285 Going to Meet the Man (Baldwin), Supp. I Part 1: 60, 62–63 “Going to Meet the Man” (Baldwin), Retro. Supp. II: 8, 9; 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 to the Territory (Ellison), Retro. Supp. II: 119, 123–124 “Going towards Pojoaque, A December Full Moon/72” (Harjo), Supp. XII: 218 “Going Under” (Dubus), Supp. VII: 83 “Gold” (Francis), Supp. IX: 82 Gold (O’ Neill), III: 391 Gold, Michael, II: 26; IV: 363, 364, 365; Retro. Supp. II: 323; Supp. I Part 1: 331; Supp. I Part 2: 609; Supp. XIV: 288 Goldbarth, Albert, Supp. XII: 175–195 Goldbarth’s Book of Occult Phenomena (Goldbarth), Supp. XII: 181 Goldberg, S. L., Supp. VIII: 238 “Gold Bug, The” (Poe), III: 410, 413, 419, 420 Gold Bug Variations, The (Powers), Supp. IX: 210, 212, 216–217, 219 Gold Cell, The (Olds), Supp. X: 206– 209 Gold Diggers, The (Monette), Supp. X: 153 Golde, Miss (Mencken’s Secretary), III: 104, 107

CUMULATIVE INDEX / 381 Golden, Harry, III: 579, 581; Supp. VIII: 244 Golden, Mike, Supp. XI: 294, 295, 297, 299, 303 Golden Age, The (Gurney), Supp. V: 101–103 Golden Apples (Rawlings), Supp. X: 228–229, 230, 234 Golden Apples, The (Welty), IV: 261, 271–274, 281, 293; Retro. Supp. I: 341, 342, 343, 350–351, 352, 355 Golden Apples of the Sun, The (Bradbury), Supp. IV Part 1: 102, 103 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; Supp. X: 124 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 Fleece, The (Gurney), Supp. V: 97 Golden Gate, The (Seth), Supp. XVII: 117 Golden Grove, The: Selected Passages from the Sermons and Writings of Jeremy Taylor (L. P. Smith), Supp. XIV: 345 “Golden Heifer, The” (Wylie), Supp. I Part 2: 707 “Golden Honeymoon, The” (Lardner), II: 429–430, 431 Golden Journey, The (W. J. Smith and Bogan, comps.), Supp. XIII: 347 Golden Ladder series (S. and A. Warner), Supp. XVIII: 267 “Golden Lads” (Marquand), III: 56 Golden Legend, The (Longfellow), II: 489, 490, 495, 505, 506, 507; Retro. Supp. II: 159, 165, 166 Golden Mean and Other Poems, The (Tate and Wills), IV: 122 “Golden Retrievals” (Doty), Supp. XI: 132 Golden Shakespeare, The: An Anthology (L. P. Smith), Supp. XIV: 349 Goldensohn, Lorrie, Retro. Supp. II: 51 Golden State (Bidart), Supp. XV: 21, 23–25 “Golden State” (Bidart), Supp. XV: 23, 24, 25 Golden States (Cunningham), Supp. XV: 55, 56–59, 63 Golden Treasury of Best Songs and Lyrical Poems in the English Language (Palgrave), Retro. Supp. I: 124 Golden Treasury of the Best Songs and Lyrical Poems in the English Language (Palgrave), Supp. XIV: 340

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. IX: 78 Goldin Boys, The (Epstein), Supp. XIV: 112 Golding, Arthur, III: 467, 468 Golding, William, Supp. IV Part 1: 297 Goldini, Carlo, II: 274 Goldkorn Tales (Epstein), Supp. XII: 163–164 Goldman, Albert, Supp. XI: 299 Goldman, Emma, III: 176, 177; Supp. I Part 2: 524; Supp. XVII: 96, 103, 104 Goldman, William, Supp. IV Part 2: 474 “Gold Mountain Stories” project (Kingston), Supp. V: 164 Gold of Chickaree, The (S. and A. Warner), Supp. XVIII: 267, 268, 269 Goldring, Douglas, III: 458 Goldsmith, Oliver, II: 273, 282, 299, 304, 308, 314, 315, 514; Retro. Supp. I: 335; Supp. I Part 1: 310; Supp. I Part 2: 503, 714, 716; Supp. XVIII: 12 Gold Standard and the Logic of Naturalism, The (Michaels), Retro. Supp. I: 369 Goldstein, Rebecca, Supp. XVII: 44 Goldwater, Barry, I: 376; III: 38 Goldwyn, Samuel, Retro. Supp. II: 199; Supp. I Part 1: 281 Golem, The (Leivick), IV: 6 “Goliardic Song” (Hecht), Supp. X: 63 “Go Like This” (Moore), Supp. X: 165 Goll, Ivan, Supp. III Part 1: 235, 243– 244; Supp. III Part 2: 621 Goncharova, Natalya, Supp. IX: 66 Goncourt, Edmond de, II: 325, 328; III: 315, 317–318, 321; Retro. Supp. I: 226 Goncourt, Jules de, II: 328; III: 315, 317–318, 321 Gone Fishin’ (Mosley), Supp. XIII: 235– 236, 240 “Gone to War” (E. Stoddard), Supp. XV: 282 “Gone West” (Rodriguez), Supp. XIV: 308 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 González, Jovita, Supp. XIX: 99 Gooch, Brad, Supp. XII: 121 Good, George, Supp. XI: 306 “Good, the Plaid, and the Ugly, The” (Wasserstein), Supp. XV: 327 “Good and Not So Good, The” (Dunn), Supp. XI: 141 “Good Anna, The” (Stein), IV: 37, 40, 43 Good As Gold (Heller), Supp. IV Part 1: 386, 388, 394 Good as I Been to You (album, Dylan), Supp. XVIII: 28

Good Boys and Dead Girls and Other Essays (Gordon), Supp. IV Part 1: 309–310 Good Brother, The (Offutt), Supp. XIX: 163, 168–169 “Good-by and Keep Cold” (Frost), Retro. Supp. I: 135 “Good-bye” (Emerson), II: 19 “Goodbye, Christ” (Hughes), Retro. Supp. I: 202, 203 Goodbye, Columbus (P. Roth), Retro. Supp. II: 280, 281, 290; Supp. III Part 2: 403–406; Supp. XIV: 112 “Goodbye, Columbus” (P. Roth), Supp. III Part 2: 401, 404, 408–409, 411 Goodbye, Columbus and Five Short Stories (P. Roth), Retro. Supp. II: 279 “Goodbye, Goldeneye” (Swenson), Supp. IV Part 2: 651 “Goodbye, Mr. Chipstein” (Epstein), Supp. XIV: 103, 108 “Goodbye, My Brother” (Cheever), Supp. I Part 1: 175, 177, 193 “Goodbye and Good Luck” (Paley), Supp. VI: 219, 223 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 Look, The (Macdonald), Supp. IV Part 2: 473, 474 “Good-Bye My Fancy” (Whitman), IV: 348 “Goodbye to All That” (Didion), Supp. IV Part 1: 197 Goodbye to All That (Graves), I: 477 Goodbye to Berlin (Isherwood), Supp. XIV: 159, 161, 162, 169 “Good-Bye to the Mezzogiorno” (Auden), Supp. II Part 1: 19 “Goodbye to the Poetry of Calcium” (Wright), Supp. III Part 2: 599 “Good Company” (Matthews), Supp. IX: 160 “Good Country People” (O’ Connor), III: 343, 350, 351, 352, 358; Retro. Supp. II: 229, 232 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 Friday” (Jarman), Supp. XVII: 116 “Good Girl” (Peacock), Supp. XIX: 199 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

382 / AMERICAN WRITERS “Good Job Gone, A” (Hughes), Retro. Supp. I: 204 Good Journey, A (Ortiz), Supp. IV Part 2: 497, 499, 503, 505, 509–510, 514 Good Luck in Cracked Italian (Hugo), Supp. VI: 133, 137–138 Goodman, Allegra, Supp. XII: 159; Supp. XVI: 205 Goodman, Ellen, Supp. XVI: 103 Goodman, Jenny, Supp. XV: 343, 344 Goodman, Paul, I: 218, 261; III: 39; Supp. I Part 2: 524; Supp. VIII: 239–240 Goodman, Philip, III: 105, 108 Goodman, Walter, Supp. IV Part 2: 532 Good Man Is Hard to Find, A (O’ Connor), III: 339, 343–345 “Good Man Is Hard to Find, A” (O’ Connor), III: 339, 344, 353; Retro. Supp. II: 230–231 Good Man Is Hard to Find and Other Stories, A (O’ Connor), Retro. Supp. II: 229, 230–232 Good Morning, America (Sandburg), III: 592–593 “Good Morning, Major” (Marquand), III: 56 Good Morning, Midnight (Rhys), Supp. III Part 1: 43 “Good Morning, Revolution” (Hughes), Retro. Supp. I: 201, 203 Good Morning Blues: The Autobiography of Count Basie (Murray), Supp. XIX: 159 Good Morning Revolution: Uncollected Writings of Social Protest (Hughes), Retro. Supp. I: 194, 201, 202, 209 Good Mother, The (Miller), Supp. XII: 289, 290–294, 299, 301 Good News (Abbey), Supp. XIII: 11–12 “Good News from New-England” (Johnson), Supp. I Part 1: 115 Good News of Death and Other Poems (Simpson), Supp. IX: 265, 268–269 “Goodnight, Saigon” (lecture, Caputo), Supp. XIX: 17, 30 Good Night, Willie Lee, I’ ll See You in the Morning (Walker), Supp. III Part 2: 520, 531 “Good Oak” (Leopold), Supp. XIV: 185, 187, 191 “Good Old Times, The: New York Fifty Years Ago” (Briggs), Supp. XVIII: 15 “Good Pine, A” (Offutt), Supp. XIX: 174 Goodrich, Samuel G., Supp. I Part 1: 38 Good Scent from a Strange Mountain, A (R. O. Butler), Supp. XII: 62, 70–72 Good School, A (Yates), Supp. XI: 334, 346–347, 348, 349 “Good Shepherdess, The/La Buena Pastora” (Mora), Supp. XIII: 228–229 Good Will (Smiley), Supp. VI: 292, 299– 300 Goodwin, K. L., III: 478 Goodwin, Stephen, Supp. V: 314, 316, 322, 323, 325 “Good Word for Winter, A” (Lowell), Supp. I Part 2: 420 Goodwyn, Janet, Retro. Supp. I: 370

“Goophered Grapevine, The” (Chesnutt), Supp. XIV: 57, 58–61 “Goose Fish, The” (Nemerov), III: 272, 284 “Goose Pond” (Kunitz), Supp. III Part 1: 262 Goose-Step, The (Sinclair), Supp. V: 276 Gordimer, Nadine, Supp. XV: 251 Gordon, Ambrose, Supp. XV: 144 Gordon, A. R., III: 199 Gordon, Caroline, II: 196–222, 536, 537; III: 454, 482; IV: 123, 126–127, 139, 282; Retro. Supp. II: 177, 222, 229, 233, 235; Supp. II Part 1: 139 Gordon, Charles G., I: 454 Gordon, Don, Supp. X: 119 Gordon, Eugene, Supp. II Part 1: 170; Supp. XVIII: 280 Gordon, Fran, Supp. XIII: 111 Gordon, James Morris, II: 197 Gordon, Lois, Supp. IV Part 1: 48; Supp. V: 46 Gordon, Lyndall, Retro. Supp. I: 55 Gordon, Mary, Supp. IV Part 1: 297– 317 Gordon, Neil, Supp. XVI: 156 Gordon, Peter, Supp. XII: 3–4, 4–5, 8 Gordon, Ruth, IV: 357 Gore, Thomas Pryor, Supp. IV Part 2: 679 Gorey, Edward, IV: 430, 436 Gorilla, My Love (Bambara), Supp. XI: 1, 2–7 “Gorilla, My Love” (Bambara), Supp. XI: 2, 3–4 Gorki, Maxim, I: 478; II: 49; III: 402; IV: 299; Supp. I Part 1: 5, 51; Supp. XIX: 241 Gorney, Cynthia, Supp. XVI: 112 Gorra, Michael, Supp. V: 71 Goslings, The (Sinclair), Supp. V: 276, 281 Go South to Sorrow (Rowan), Supp. XIV: 306 Gospel According to Joe, The (Gurney), Supp. V: 99 “Gospel According to Saint Mark, The” (Gordon), Supp. IV Part 1: 310 Gospel according to the Son (Mailer), Retro. Supp. II: 213 “Gospel for the Twentieth Century, The” (Locke), Supp. XIV: 206 “Gospel of Beauty, The” (Lindsay), Supp. I Part 2: 380, 382, 384, 385, 391, 396 Gospel Singer, The (Crews), Supp. XI: 102, 109 Gosse, Edmund, II: 538; IV: 350; Supp. VIII: 157 “Gossip” (Conroy), Supp. XVI: 71–72 Gossips, Gorgons, and Crones: The Fates of the Earth (Caputi), Supp. IV Part 1: 335 Go Tell It on the Mountain (Baldwin), Retro. Supp. II: 1, 2, 3, 4–5, 7, 14; Supp. I Part 1: 48, 49, 50, 51, 52, 53–54, 55, 56, 57, 59, 61, 63, 64, 67; Supp. II Part 1: 170 Gotera, Vince, Supp. XIII: 115, 116, 119, 121, 127

Gothic Revival, The: An Essay on the History of Taste (Clark), Supp. XIV: 348 Gothic Writers (Thomson, Voller, and Frank, eds.), Retro. Supp. II: 273 “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 Go to the Widow-Maker (Jones), Supp. XI: 214, 225–226, 227, 229, 233 “Gots Is What You Got” (Di Piero), Supp. XIX: 35, 36, 38, 41, 42, 45–46 Gottfried, Alex, Supp. XIX: 260 Gottfried, Martin, Supp. IV Part 2: 584 Gotthelf, Allan, Supp. IV Part 2: 528 Gottlieb, Adolph, Supp. XV: 144 Gottlieb, Morton, Supp. XVI: 196 Gottlieb, Robert, Supp. IV Part 2: 474 Gottschalk and the Grande Tarantelle (Brooks), Supp. III Part 1: 86 “Gottschalk and the Grande Tarantelle” (Brooks), Supp. III Part 1: 86–87 Gould (Dixon), Supp. XII: 152, 153 Gould, Edward Sherman, I: 346 Gould, Janice, Supp. IV Part 1: 322, 327; Supp. XII: 229 Gould, Jay, I: 4 Gould, Joe, Supp. XV: 143 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 Rosée (Roumain), Supp. IV Part 1: 360, 367 Government Girl (film, Nichols), Supp. XVIII: 247 “Governors of Wyoming, The” (Proulx), Supp. VII: 264 Goyen, William, Supp. V: 220 Grabhorn, Janet, Supp. XV: 142 “Grace” (Budbill), Supp. XIX: 2 “Grace” (Dubus), Supp. VII: 91 “Grace” (Harjo), Supp. XII: 224 Grace Notes (Dove), Supp. IV Part 1: 248–250, 252 Grade, Chaim, Supp. XVII: 41 “Graduation” (Dubus), Supp. VII: 84 Grady, Henry W., Supp. I Part 1: 370 Graeber, Laurel, Supp. V: 15 Graham, Billy, I: 308 Graham, David, Supp. XV: 104; Supp. XIX: 81 Graham, Don, Supp. XI: 252, 254 Graham, Jorie, Supp. IX: 38, 52; Supp. X: 73; Supp. XII: 209; Supp. XIII: 85; Supp. XVII: 110, 111, 133, 240, 241, 242 Graham, Martha, Supp. XI: 152 Graham, Maryemma, Retro. Supp. I: 201, 204 Graham, Nan, Supp. XII: 272 Graham, Sheilah, II: 94; Retro. Supp. I: 97, 113–114, 115; Supp. IX: 63 Graham, Shirley, Supp. I Part 1: 51 Graham, Stephen, Supp. I Part 2: 397 Graham, Tom (pseudonym). See Lewis, Sinclair Grahn, Judy, Supp. IV Part 1: 325, 330

CUMULATIVE INDEX / 383 “Grain Field” (Crapsey), Supp. XVII: 77 Grainger, Percy, Supp. I Part 2: 386 Grain of Mustard Seed, A (Sarton), Supp. VIII: 259–260, 263 Gramar (Lowth), II: 8 Grammar of Motives, A (Burke), I: 272, 275, 276–278, 283, 284 Granados, Gabriel Bernal, Supp. XV: 350 Granath, Jack, Supp. XVIII: 93 Granberry, Edwin, I: 288 Grand Canyon, Inc. (Everett), Supp. XVIII: 66 Grand Design, The (Dos Passos), I: 489– 490 “Grande Malade, The” (Barnes), Supp. III Part 1: 36 “Grandfather” (Dunn), Supp. XI: 147 “Grandfather and Grandson” (Singer), Retro. Supp. II: 307 Grandfathers, The (Richter), Supp. XVIII: 219–220 “Grandfather’s Blessing” (Alvarez), Supp. VII: 2 “Grand Forks” (Bierds), Supp. XVII: 34 “Grand Forks” (Simpson), Supp. IX: 280–281 “Grand Inquisitor” (Dostoevsky), IV: 106 Grandissimes (Cable), II: 291 “Grand-Master Nabokov” (Updike), Retro. Supp. I: 317 “Grand Miracle, The” (Karr), Supp. XI: 251 “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 Grandmothers of the Light: A Medicine Woman’s Sourcebook (Gunn Allen, ed.), Supp. IV Part 1: 332, 333–334 “Grandmother Songs, The” (Hogan), Supp. IV Part 1: 413 “Grandpa and the Statue” (A. Miller), III: 147 “Grandparents” (Lowell), II: 550 “Grandsire Bells, The” (Bierds), Supp. XVII: 28–29 “Grandstand Complex, The” (McCoy), Supp. XIII: 166 Grange, Red, II: 416 Granger’s Index to Poetry (anthology), Retro. Supp. I: 37, 39 Grant, Gavin, Supp. XIX: 175 Grant, Lee, Supp. XIII: 295 Grant, Madison, Supp. II Part 1: 170 Grant, Richard, Supp. X: 282 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 “Grapes, The” (Hecht), Supp. X: 65–66 “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; Supp. XI: 169; Supp. XIV: 181; Supp. XV: 351

“Grapevine, The” (Ashbery), Supp. III Part 1: 4 “Grass” (Sandburg), III: 584 Grass, Günter, Supp. VIII: 40 Grass County (Kooser), Supp. XIX: 119 “Grasse: The Olive Trees” (Wilbur), Supp. III Part 2: 550 Grass Harp, The (Capote), Supp. III Part 1: 114–117, 123 Grass Still Grows, The (A. Miller), III: 146 Gratitude to Old Teachers (R. Bly), Supp. IV Part 1: 73 Graupner, Gottlieb, Supp. XV: 240, 244 “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 “Graven Image” (O’ Hara), III: 320 Grave of the Right Hand, The (Wright), Supp. V: 332, 338, 339 “Grave Piece” (Eberhart), I: 533 Graves, Billy, Supp. I Part 2: 607 Graves, John, Supp. V: 220 Graves, Morris, Supp. X: 264 Graves, Peter, Supp. IV Part 2: 474 Graves, Rean, Supp. I Part 1: 326 Graves, Robert, I: 437, 477, 523; Supp. I Part 2: 541; Supp. IV Part 1: 280, 348; Supp. IV 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; Supp. XIV: 49; Supp. XVII: 236 Gray, Cecil, Supp. I Part 1: 258 Gray, Francine Du Plessix, Supp. V: 169 Gray, James, III: 207; Supp. I Part 2: 410 Gray, Jeffrey, Supp. XV: 27 Gray, Paul, Supp. IV Part 1: 305; Supp. IV Part 2: 639; Supp. XVI: 74; Supp. XVIII: 94 Gray, Thomas, I: 68; Supp. I Part 1: 150; Supp. I Part 2: 422, 716 Gray, Thomas A., Supp. I Part 2: 710 “Gray Heron, The” (Kinnell), Supp. III Part 1: 250 “Gray Mills of Farley, The” (Jewett), Retro. Supp. II: 132, 144 “Gray Poem” (Everwine), Supp. XV: 81 Grayson, Charles, Supp. XIII: 171 “Gray Squirrel” (Francis), Supp. IX: 90 “Gray Wolf’s H ‘ant, The” (Chesnutt), Supp. XIV: 60 Grealy, Lucy, Supp. XII: 310 Greasy Lake (Boyle), Supp. VIII: 14–15 “Greasy Lake” (Boyle), Supp. VIII: 15 “Great Adventure of Max Breuck, The” (Lowell), II: 522 Great American Novel, The (P. Roth), Retro. Supp. II: 283, 288–289; Supp. III Part 2: 414–416 Great American Short Novels (Phillips, ed.), Supp. VIII: 156

Great Battles of the World (Crane), I: 415 “Great Carousel, The” (Untermeyer), Supp. XV: 296 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 (Pound, trans.), III: 472 “Great Divider, The” (Saunders), Supp. XIX: 235 “Great Elegy for John Donne” (Brodsky), Supp. VIII: 21, 23 “Greater Good, A” (Di Piero), Supp. XIX: 39 Greater Inclination, The (Wharton), Retro. Supp. I: 363, 364–365, 366 “Greater Torment, The” (Blackmur), Supp. II Part 1: 92 Greatest Hits 1969–1996 (Salinas), Supp. XIII: 311 “Greatest Thing in the World, The” (Mailer), Retro. Supp. II: 196 Great Expectations (Acker), Supp. XII: 5, 9–11 Great Expectations (Dickens), III: 247; Supp. I Part 1: 35; Supp. XVI: 73; Supp. XVIII: 146 “Great Expectations, No Satisfaction” (D. Gates), Supp. XVI: 73 “Great Figure, The” (W. C. 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; Retro. Supp. II: 107, 201; Supp. II Part 2: 626; Supp. III Part 2: 585; Supp. IV Part 2: 468, 475; Supp. IX: 57, 58; Supp. X: 175; Supp. XI: 65, 69, 334; Supp. XVI: 64, 75; Supp. XVIII: 76, 148, 165 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 “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

384 / AMERICAN WRITERS “Great Mississippi Bubble, The” (Irving), II: 314 Great Railway Bazaar, The: By Train through Asia (Theroux), Supp. VIII: 318, 319, 320–321, 322 “Great Scott” (Conroy), Supp. XVI: 75, 77 “Great Sleigh-Ride of Brewsterville, The” (Briggs), Supp. XVIII: 16 Great Stories of Suspense (Millar, ed.), Supp. IV Part 2: 474 Great Topics of the World (Goldbarth), Supp. XII: 187, 189, 191 Great Valley, The (Masters), Supp. I Part 2: 465 Great World and Timothy Colt, The (Auchincloss), Supp. IV Part 1: 25, 31, 32 Grédy, Jean-Pierre, Supp. XVI: 194 “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 “Greeks, The” (McCarriston), Supp. XIV: 271 Greeley, Horace, II: 7; IV: 197, 286–287 Green, Ashbel, Supp. IV Part 2: 474 Green, Henry, IV: 279; Retro. Supp. I: 354; Supp. III Part 1: 3; Supp. XI: 294–295, 296, 297; Supp. XII: 315 Green, Jack, Supp. IV Part 1: 284–285 Green, Martin, Supp. I Part 1: 299 Green, Michelle, Supp. IV Part 1: 95 “Green Automobile, The” (Ginsberg), Supp. II Part 1: 322 Greenberg, Clement, Supp. XV: 141, 143, 144, 145 Greenberg, Eliezer, Supp. I Part 2: 432 Greenberg, Jonathan, Supp. XII: 285 Greenberg, Samuel, I: 393 Green Bough, A (Faulkner), Retro. Supp. I: 84 “Green Canoe” (Halliday), Supp. XIX: 88 Green Centuries (Gordon), II: 196, 197– 207, 209 “Green Crab’s Shell, A” (Doty), Supp. XI: 126 “Green Door, The” (O. Henry), Supp. II Part 1: 395 Greene, A. C., Supp. V: 223, 225 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. IX: 261; Supp. XI: 99,Supp. XI: 104; Supp. XIII: 233; Supp. XVIII: 79; Supp. XIX: 29–30 Greene, Helga, Supp. IV Part 1: 134, 135 Greene, J. Lee, Retro. Supp. II: 121 Greene, Nathanael, Supp. I Part 2: 508 Greene, Richard Tobias, III: 76 Greene, Robert, Supp. XVII: 232 Green Eggs and Ham (Geisel), Supp. XVI: 108, 109

“Greene-ing of the Portables, The” (Cowley), Supp. II Part 1: 140 “Greenest Continent, The” (Stevens), Retro. Supp. I: 304 Greenfeld, Josh, III: 364 Greenfield, Josh, Supp. XIX: 269 Green Hills of Africa (Hemingway), II: 253; Retro. Supp. I: 182, 186 Greening of America, The (C. Reich), Supp. XVII: 3 “Green Lagoons, The” (Leopold), Supp. XIV: 188 “Green Lampshade” (Simic), Supp. VIII: 283 Greenlanders, The (Smiley), Supp. VI: 292, 296–298, 299, 305, 307 Greenlaw, Edwin A., IV: 453 “Greenleaf” (O’ Connor), III: 350, 351; Retro. Supp. II: 233, 237 Greenman, Walter F., I: 217, 222 Green Memories (Mumford), Supp. II Part 2: 474, 475, 479, 480–481 “Green Pasture, The” (Leopold), Supp. XIV: 184 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 Shirt, The” (Olds), Supp. X: 209 “Greensleeves” (Jarman), Supp. XVII: 113 Greenslet, Ferris, I: 19; Retro. Supp. I: 9, 10, 11, 13; Retro. Supp. II: 41 Greenspan, Alan, Supp. IV Part 2: 526 Greenspan, Ezra, Supp. XVIII: 257 Greenstreet, Sydney, Supp. IV Part 1: 356 “Green Thought, A” (L. Michaels), Supp. XVI: 204 “Green-Thumb Boy” (Nelson), Supp. XVIII: 182 Greenwald, Ted, Supp. IV Part 2: 423 Green Wall, The (Wright), Supp. III Part 2: 591, 593, 595 Green Wave, The (Rukeyser), Supp. VI: 273, 280 “Green Ways” (Kunitz), Supp. III Part 1: 265 Green with Beasts (Merwin), Supp. III Part 1: 340, 344–346 Greenwood, Grace, Supp. XIII: 141 “Greeting Card Verse” (Peacock), Supp. XIX: 200 Gregerson, Linda, Supp. IV Part 2: 651; Supp. X: 204–205; Supp. XI: 142 “Gregorio Valdes” (Bishop), Retro. Supp. II: 51 Gregory, Alyse, I: 221, 226, 227, 231 Gregory, Horace, II: 512; Supp. III Part 2: 614, 615; Supp. IX: 229; Supp. XV: 143 Gregory, Lady Isabella Augusta, III: 458 Gregory, Sinda, Supp. X: 260, 268 Grendel (Gardner), Supp. VI: 63, 67, 68, 74

Grenstone Poems (Bynner), Supp. XV: 44 “Gretel in Darkness” (Glück), Supp. V: 82 Gretta (Caldwell), I: 301, 302 Greuze, Jean Baptiste, Supp. I Part 2: 714 Grey, Zane, Supp. XIII: 5 “Grief Has Stamped” (Pedersen; Nelson, trans.), Supp. XVIII: 180 Grieg, Michael, Supp. XV: 133, 148 Griffin, Bartholomew, Supp. I Part 1: 369 Griffin, John Howard, Supp. VIII: 208 Griffin, Merv, Supp. IV Part 2: 526 Griffith, Albert J., Supp. V: 325 Griffith, D. W., I: 31, 481–482; Retro. Supp. I: 103, 325; Supp. XI: 45; Supp. XVI: 183, 184 Griffith, Paul, Supp. XVIII: 173, 175 Griffiths, Clyde, I: 511 Grile, Dod (pseudonym). See Bierce, Ambrose Grimm, Herman, II: 17 Grimm brothers, II: 378; III: 101, 491, 492; IV: 266; Supp. I Part 2: 596, 622; Supp. X: 78, 84, 86 Grinnell, George Bird, Supp. XVI: 13 Gris, Juan, I: 442; Retro. Supp. I: 430 Griswold, Rufus Wilmot, III: 409, 429; Retro. Supp. II: 261, 262; Supp. XV: 277, 278; Supp. XVI: 8, 10–11 Grogg, Sam, Jr., Supp. IV Part 2: 468, 471 Gromer, Crystal, Supp. XII: 297 Gronlund, Laurence, II: 276 Grooms, Red, Supp. XV: 178 “Groping for Trouts” (Gass), Supp. VI: 87 Grosholz, Emily, Supp. XII: 185; Supp. XIX: 37–38, 278 Gross, Robert A., Supp. XIX: 151 Gross, Terry, Supp. XVI: 167 “Grosse Fuge” (Doty), Supp. XI: 126– 127 Grossman, Allen, Retro. Supp. II: 83; Supp. XVIII: 91; Supp. XIX: 82, 86, 94 Grosz, George, III: 172; IV: 438; Retro. Supp. II: 321; Supp. X: 137 “Grotesque in Modern Fiction, The” (E. Hoffman, Ph.D. dissertation), Supp. XVI: 147 “Groundhog, The” (Eberhart), I: 523, 530–532, 533 “Ground on Which I Stand, The” (Wilson), Supp. VIII: 331 “Ground Swell” (Jarman), Supp. XVII: 118 Group, The (McCarthy), II: 570, 574– 578 “Group of Two, A” (Jarrell), II: 368 Group Therapy (Hearon), Supp. VIII: 64–65 “Grove” (Goldbarth), Supp. XII: 176 Groves of Academe, The (McCarthy), II: 568–571 Growing into Love (X. J. Kennedy), Supp. XV: 153, 158–160

CUMULATIVE INDEX / 385 Growing Pains (J. S. Untermeyer), Supp. XV: 303 “Growing Season, The” (Caldwell), I: 309 Growing Up Gay: A Literary Anthology (Singer, ed.), Supp. IV Part 1: 330 “Growing Up Good in Maycomb” (Shaffer), Supp. VIII: 128 “Grown-Up” (Jewett), Retro. Supp. II: 134 “Growth” (Lowell), II: 554 “Growth and Decay in Recent Verse” (Untermeyer), Supp. XV: 299 Growth of the American Republic, The (Morison and Commager), Supp. I Part 2: 484 “Growtown Buggle, The” (Jewett), Retro. Supp. II: 132 Gruenberg, Louis, III: 392 Grumbach, Doris, II: 560 “Gryphon” (C. Baxter), Supp. XVII: 14, 17 “Guacamaja” (Leopold), Supp. XIV: 188–189 Guardian Angel, The (Holmes), Supp. I Part 1: 315–316 “Guardian of the Law” (R. Fisher), Supp. XIX: 71 Guard of Honor (Cozzens), I: 370–372, 375, 376–377, 378, 379 Guardsman, The (Molnar), Supp. XVI: 187 Guare, John, Supp. XIII: 196, 207 Gubar, Susan, Retro. Supp. I: 42; Retro. Supp. II: 324; Supp. IX: 66; Supp. XV: 270 Guerard, Albert, Jr., Supp. X: 79; Supp. XIII: 172 Guérin, Maurice de, I: 241 “Guerrilla Handbook, A” (Baraka), Supp. II Part 1: 36 Guess and Spell Coloring Book, The (Swenson), Supp. IV Part 2: 648 Guess Who’s Coming to Dinner (film), Supp. I Part 1: 67 Guest, Judith, Supp. XVI: 36 Guest, Val, Supp. XI: 307 Guest Book (Bynner), Supp. XV: 51 “Guests of Mrs. Timms, The” (Jewett), II: 408; Retro. Supp. II: 135 Guevara, Martha, Supp. VIII: 74 “Guevara . . .Guevara” (Salinas), Supp. XIII: 312–313, 315 Guided Tours of Hell (Prose), Supp. XVI: 257, 261 “Guided Tours of Hell” (Prose), Supp. XVI: 257 Guide for the Perplexed (Maimonides), Supp. XVII: 46 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 Guillén, Nicolás, Retro. Supp. I: 202; Supp. I Part 1: 345

Guillevic, Eugene, Supp. III Part 1: 283 “Guilt, The” (Peacock), Supp. XIX: 200 “Guilty Man, The” (Kunitz), Supp. II Part 1: 263 Guilty of Everything: The Autobiography of Herbert Huncke (Huncke), Supp. XIV: 138, 140, 141, 150 Guilty Pleasures (Barthelme), Supp. IV Part 1: 44, 45, 53 Guinness, Alec, Retro. Supp. I: 65 Gulag Archipelago, The (Solzhenitsyn), Supp. XVII: 229 “Gulf, The” (Dunn), Supp. XI: 149 Gulistan (Saadi), II: 19 Gullible’s Travels (Lardner), II: 426, 427 Gulliver, Adelaide Cromwell, Supp. XVIII: 286 Gulliver’s Travels (Swift), I: 209, 348, 366; II: 301; Supp. I Part 2: 656; Supp. XI: 209; Supp. XVI: 110 “Gulls” (Hayden), Supp. II Part 1: 367 “Gulls, The” (Nemerov), III: 272 “Gulls on Dumps” (Di Piero), Supp. XIX: 41 “Gun, The” (Dobyns), Supp. XIII: 88 Gun, with Occasional Music (Lethem), Supp. XVIII: 137–138 Günderode: A Translation from the German (Fuller), Supp. II Part 1: 293 Gundy, Jeff, Supp. XI: 315; Supp. XVI: 46, 265, 275 Gunman’s Rhapsody (Parker), Supp. XIX: 187 Gunn, Thom, Supp. IX: 269 Gunn, Thomas, Supp. V: 178 Gunn Allen, Paula, Supp. IV Part 1: 319–340, 404; Supp. IV Part 2: 499, 502, 557, 568; Supp. XII: 218 “Gunnar’s Sword” (C. Bly), Supp. XVI: 34, 35, 37, 42 “Guns as Keys; and the Great Gate Swings” (Lowell), II: 524 Gurdjieff, Georges, Supp. V: 199; Supp. IX: 320 Gurganus, Allan, Supp. XII: 308–309, 310 Gurko, Leo, III: 62 Gurney, A. R., Supp. V: 95–112; Supp. IX: 261 Gurney, Mary (Molly) Goodyear, Supp. V: 95 Gussow, Mel, Supp. IX: 93; Supp. XII: 325, 328, 341 Gustavus Vassa, the African (Vassa), Supp. IV Part 1: 11 Gusto, Thy Name Was Mrs. Hopkins: A Prose Rhapsody (Francis), Supp. IX: 89 Gute Mensch von Sezuan, Der (Brecht), Supp. IX: 138 Gutenberg, Johann, Supp. I Part 2: 392 Guthrie, A. B., Supp. X: 103 Guthrie, Woody, Supp. XVIII: 23 Gutman, Herbert, Supp. I Part 1: 47 Guttenplan, D. D., Supp. XI: 38 “Gutting of Couffignal, The” (Hammett), Supp. IV Part 1: 345 Guy Domville (James), II: 331; Retro. Supp. I: 228

“Gwendolyn” (Bishop), Retro. Supp. II: 51 Gwynn, R. S., Supp. XVIII: 184 Gypsy Ballads (Hughes, trans.), Supp. I Part 1: 345 Gypsy’s Curse, The (Crews), Supp. XI: 110 “Gyroscope, The” (Rukeyser), Supp. VI: 271 Gysin, Brion, Supp. XII: 129 H Haardt, Sara. See Mencken, Mrs. H. L. (Sara Haardt) Habakkuk (biblical book), III: 200, 347 Habibi (Nye), Supp. XIII: 273, 279 “Habit” (James), II: 351 Habitations of the Word (Gass), Supp. VI: 88 “Hack, The” (Swados), Supp. XIX: 267 Hacker, Marilyn, Supp. XV: 250; Supp. XVII: 71, 76, 112; Supp. XVIII: 177, 178 Hackett, David, Supp. XII: 236 Hadda, Janet, Retro. Supp. II: 317 Haeckel, Ernst Heinrich, II: 480 Haegert, John, Supp. XVI: 69 Hafif, Marcia, Supp. IV Part 2: 423 Hagar’s Daughter (P. Hopkins), Supp. XVI: 143 Hagedorn, Jessica, Supp. X: 292 Hagen, Beulah, Supp. I Part 2: 679 Hager, Kelly, Supp. XVIII: 183 Haggard, Rider, III: 189 Hagoromo (play), III: 466 Hagstrum, Jean, Supp. XV: 74 “Hail Mary” (Fante), Supp. XI: 160, 164 Haines, George, IV, I: 444 Haines, John, Supp. XII: 197–214 “Hair” (Corso), Supp. XII: 117, 126, 127 “Hair, The” (Carver), Supp. III Part 1: 137 “Haircut” (Lardner), II: 430, 436 “Hair Dressing” (Untermeyer), Supp. XV: 304, 305 Hairpiece: A Film for Nappy-Headed People (Chenzira; film), Supp. XI: 19–20 “Hairs” (Cisneros), Supp. VII: 59 Hairs/Pelitos (Cisneros), Supp. VII: 58 Hairy Ape, The (O’ Neill), III: 391, 392, 393 “Haïta the Shepherd” (Bierce), I: 203 Haldeman, Anna, Supp. I Part 1: 2 Hale, Edward Everett, Supp. I Part 2: 584; Supp. XI: 193, 200 Hale, John Parker, Supp. I Part 2: 685 Hale, Nancy, Supp. VIII: 151, 171 Haley, Alex, Supp. I Part 1: 47, 66 Haley, J. Evetts, Supp. V: 226 “Half a Century Gone” (Lowell), II: 554 Half-a-Hundred: Tales by Great American Writers (Grayson, ed.), Supp. XIII: 171 Half Asleep in Frog Pajamas (Robbins), Supp. X: 259, 279–282 Half Breed, The (film), Supp. XVI: 185 Half-Century of Conflict, A (Parkman), Supp. II Part 2: 600, 607, 610 “Half Deity” (Moore), III: 210, 214, 215

386 / AMERICAN WRITERS “Half Hour of August” (Ríos), Supp. IV Part 2: 552 Half-Lives (Jong), Supp. V: 115, 119 Half Moon Street: Two Short Novels (Theroux), Supp. VIII: 322, 323 Half of Paradise (Burke), Supp. XIV: 22, 24 Half-Past Nation Time (Johnson), Supp. VI: 187 “Half-Skinned Steer, The” (Proulx), Supp. VII: 261–262 “Half Sonnets” (Jarman), Supp. XVII: 115 Half Sun Half Sleep (Swenson), Supp. IV Part 2: 645–646 Halfway (Kumin), Supp. IV Part 2: 441– 442 “Halfway” (Rich), Supp. I Part 2: 553 Halfway Home (Monette), Supp. X: 154 Halfway to Silence (Sarton), Supp. VIII: 261 Half You Don’ t Know, The: Selected Stories (Cameron), Supp. XII: 79, 80, 81 Haliburton, Thomas Chandler, II: 301; IV: 193; Supp. I Part 2: 411 Halifax, Lord, II: 111 Hall, Daniel, Supp. XII: 258 Hall, Donald, I: 567; III: 194; Supp. IV Part 1: 63, 72; Supp. IV Part 2: 621; Supp. IX: 269; Supp. XIV: 82, 126; Supp. XV: 21, 153, 176; Supp. XVI: 39, 230, 235 Hall, James, II: 313; Supp. I Part 2: 584, 585 Hall, James Baker, Supp. X: 24 Hall, Timothy L., Supp. VIII: 127, 128 Halleck, Fitz-Greene, Supp. I Part 1: 156, 158 “Hallelujah: A Sestina” (Francis), Supp. IX: 82 “Hallelujah on the Bum” (Abbey), Supp. XIII: 2 “Haller’s Second Home” (Maxwell), Supp. VIII: 169 Halliday, Mark, Supp. XV: 19, 20, 21, 23, 25, 27, 30; Supp. XIX: 81–95 Hallock, Rev. Moses, Supp. I Part 1: 153 Hall of Mirrors, A (Stone), Supp. V: 295, 296–299, 300, 301 “Hallowe’ en” (Huncke), Supp. XIV: 145 “Halloween Party, The” (Chabon), Supp. XI: 72 Halloween Tree, The (Bradbury), Supp. IV Part 1: 102, 112–113 “Halls, The” (Halliday), Supp. XIX: 90 Hallwas, John E., Supp. I Part 2: 454 Halpern, Daniel, Supp. IV Part 1: 94– 95, 95 Halsey, Theresa, Supp. IV Part 1: 330, 331 “Halt in the Desert, A” (Brodsky), Supp. VIII: 24 “Halves” (Dunn), Supp. XI: 149 Hamburg, Victoria, Supp. XVI: 126 Hamerik, Asger, Supp. I Part 1: 356 Hamill, Sam, Supp. X: 112, 125, 126, 127

Hamilton, Alexander, I: 485; Supp. I Part 2: 456, 483, 509 Hamilton, Alice, Supp. I Part 1: 5 Hamilton, David, Supp. IX: 296 Hamilton, Edith, Supp. XVI: 196 Hamilton, Lady Emma, II: 524 Hamilton, Hamish, Supp. I Part 2: 617 Hamilton, Walton, Supp. I Part 2: 632 Hamilton Stark (Banks), Supp. V: 8, 9–10, 11 “Hamlen Brook” (Wilbur), Supp. III 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; Supp. I 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; Supp. XI: 247 “Hamlet and His Problems” (Eliot), I: 586–587 Hamlet of A. MacLeish, The (MacLeish), III: 11–12, 14, 15, 18 Hamlin, Eva, Retro. Supp. II: 115 “Hammer” (Bidart), Supp. XV: 35 Hammer, Adam, Supp. XIII: 112 Hammer, Langdon, Retro. Supp. II: 45, 53; Supp. X: 65 “Hammer Man, The” (Bambara), Supp. XI: 4–5 Hammett, Dashiell, IV: 286; Retro. Supp. II: 327; Supp. I Part 1: 286, 289, 291, 292, 293, 294, 295; Supp. III Part 1: 91; Supp. IV Part 1: 120, 121, 341–357; Supp. IV Part 2: 461, 464, 468, 469, 472, 473; Supp. IX: 200; Supp. XI: 228; Supp. XIII: 159; Supp. XIV: 21; Supp. XVII: 137; Supp. XIX: 178 Hammond, John, Supp. XVIII: 24 Hammond, Karla, Supp. IV Part 2: 439, 442, 448, 637, 640, 644, 648 Hampl, Patricia, Supp. IX: 291; Supp. XI: 126; Supp. XVII: 21 Hampson, Alfred Leete, Retro. Supp. I: 35–36, 38 “Hamrick’s Polar Bear” (Caldwell), I: 309–310 Hamsun, Knut, Supp. VIII: 40; Supp. XI: 161, 167; Supp. XII: 21, 128 Hancock, John, Supp. I Part 2: 524 Hancock, Wade, Supp. XVI: 34 Handbook of North American Indians (Sando), Supp. IV Part 2: 510 Handcarved Coffıns: A Nonfiction Account of an American Crime (Capote), Supp. III Part 1: 131 Handel, Georg Friedrich, III: 210; IV: 369 “Handfasting” (Wright), Supp. XV: 343 “Handfuls” (Sandburg), III: 584 “Handle with Care” (Fitzgerald), Retro. Supp. I: 114 Handley, William R., Supp. XVIII: 58

Handmaid’s Tale, The (Atwood), Supp. XIII: 19, 20, 27–29 “Hand of Emmagene, The” (Taylor), Supp. V: 314, 325–326 Hand of the Potter, The: A Tragedy in Four Acts (Dreiser), Retro. Supp. II: 104; Supp. XVII: 96 “Hands” (Anderson), I: 106, 107 “Hands” (Mora), Supp. XIII: 215 Hands of Orlac, The (M. Renard; CreweJones, trans.), Supp. XVII: 58 Hand to Mouth (Auster), Supp. XII: 21 “Hand to Mouth” (Auster), Supp. XII: 31 Handy, Lowney, Supp. XI: 217, 220, 221, 225 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 Gardens of Tyburn, The” (Hecht), Supp. X: 58 “Hanging of the Crane, The” (Longfellow), Retro. Supp. II: 169, 171 Hanging On (Conroy), Supp. XVI: 69 “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 Hangover Mass (X. J. Kennedy), Supp. XV: 165 Hangsaman (Jackson), Supp. IX: 116, 123, 124 Hanh, Thich Nhat, Supp. V: 199 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, Barry, Supp. X: 285; Supp. XIX: 209 Hannah and Her Sisters (film; Allen), Supp. XV: 9, 10–11 “Hannah Armstrong” (Masters), Supp. I Part 2: 461 “Hannah Binding Shoes” (Larcom), Supp. XIII: 141, 143 “Hannah Byde” (D. West), Supp. XVIII: 280 Hannah’s House (Hearon), Supp. VIII: 58, 60–61 Hanneman, Audre, II: 259 Hannibal Lecter, My Father (Acker), Supp. XII: 6 Hanoi (McCarthy), II: 579 “Hanoi Drifting, January 2003” (Weigl), Supp. XIX: 288 Hansberry, Lorraine, Supp. IV Part 1: 359–377; Supp. VIII: 329 Hanscom, Leslie, Supp. XI: 229 “Hansel and Gretel” (Prose), Supp. XVI: 256, 258 Hansen, Erik, Supp. V: 241 Hansen, Harry, IV: 366 Han-shan, Supp. VIII: 292

CUMULATIVE INDEX / 387 Hanson, Curtis, Supp. XI: 67 Han Suyin, Supp. X: 291 Hanzlicek, C. G., Supp. XV: 73 Hapgood, Hutchins, Supp. XVII: 95–108 Hapgoods, The: Three Earnest Brothers (Marcaccio), Supp. XVII: 106 “Happenings: An Art of Radical Juxtaposition” (Sontag), Supp. III Part 2: 456 “Happenstance” (Komunyakaa), Supp. XIII: 130 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 Happily Ever After (Quindlen), Supp. XVII: 167 “Happiness” (Oliver), Supp. VII: 236 “Happiness” (Sandburg), III: 582–583 Happiness of Getting It Down Right, The (Steinman, ed.), Supp. VIII: 172 “Happiness of the Garden Variety” (Richard), Supp. XIX: 212 “Happy Birthday” (Bambara), Supp. XI: 4 Happy Birthday (Loos), Supp. XVI: 193 Happy Birthday, Wanda June (Vonnegut), Supp. II Part 2: 759, 776–777 Happy Birthday of Death, The (Corso), Supp. XII: 127–129 Happy Childhood, A (Matthews), Supp. IX: 155, 160, 161–163 Happy Days (Beckett), Retro. Supp. I: 206 Happy Days, 1880–1892 (Mencken), III: 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 Man, The” (Lethem), Supp. XVIII: 139 “Happy Marriage, The” (MacLeish), III: 15–16 Happy Marriage and Other Poems, The (MacLeish), III: 4 Happy to Be Here (Keillor), Supp. XVI: 165, 171 “Happy To Be Here” (Keillor), Supp. XVI: 168 “Hapworth 16, 1924” (Salinger), III: 552, 571–572 “Harbor Lights” (Doty), Supp. XI: 122 Harcourt, Alfred, II: 191, 451–452; III: 587; Retro. Supp. I: 131; Supp. XV: 308 Harcourt, Brace, Retro. Supp. I: 83 Harcourt, T. A., I: 196 Hard Candy, a Book of Stories (T. Williams), IV: 383 “Hardcastle Crags” (Plath), Supp. I Part 2: 537

“Hard Daddy” (Hughes), Retro. Supp. I: 200 “Hardened Criminals, The” (Lethem), Supp. XVIII: 139 Harder They Fall, The (Schulberg), Supp. XV: 194, 201 Hard Facts (Baraka), Supp. II Part 1: 54, 55, 58 Hard Freight (Wright), Supp. V: 332, 339–340 Hard Hours, The (Hecht), Supp. X: 57, 59–62, 63, 64 Hardie, Kier, Supp. I Part 1: 5 Harding, Walter, IV: 177, 178 Harding, Warren G., I: 486; II: 253, 433; Supp. I Part 1: 24 “Hard Kind of Courage, The” (Baldwin), Supp. I Part 1: 52 Hard Maple (S. and A. Warner), Supp. XVIII: 264 “Hard Rain’s A-Gonna Fall, A” (song, Dylan), Supp. XVIII: 26, 29 “Hard Time Keeping Up, A” (Ellison), Retro. Supp. II: 124 Hard Times (Dickens), Supp. I Part 2: 675 “Hard Times in Elfland, The” (Lanier), Supp. I Part 1: 365 Hardwick, Elizabeth, II: 543, 554, 566; Retro. Supp. II: 179, 180, 183, 184, 190, 221, 228–229, 245; Supp. I Part 1: 196; Supp. III Part 1: 193–215; Supp. IV Part 1: 299; Supp. V, 319; Supp. X, 171; Supp. XII: 209; Supp. XIV: 89 “Hard Work 1956” (Dunn), Supp. XI: 147 Hardy, Barbara, Supp. I Part 2: 527 Hardy, Oliver, Supp. I Part 2: 607; Supp. IV Part 2: 574 Hardy, René, Supp. III Part 1: 235 Hardy, Thomas, I: 59, 103, 292, 317, 377; II: 181, 184–185, 186, 191–192, 271, 275, 372, 523, 542; III: 32, 453, 485, 508, 524; IV: 83, 135, 136; Retro. Supp. I: 141, 377–378; Supp. I Part 1: 217; Supp. I Part 2: 429, 512; Supp. II Part 1: 4, 26; Supp. VIII: 32; Supp. IX: 40, 78, 85, 108, 211; Supp. X: 228; Supp. XI: 311; Supp. XIII: 294, Supp. XIII: 130; Supp. XIV: 24; Supp. XV: 170; Supp. XVIII: 74; Supp. XIX: 86, 87 Hardy and the Poetry of Truth-Seeking (Halliday), Supp. XIX: 82 Harjo, Joy, Supp. IV Part 1: 325, 404; Supp. IV Part 2: 499, 507; Supp. XII: 215–234; Supp. XVIII: 189 “Harlem” (Hughes), Retro. Supp. I: 194, 204; Supp. I Part 1: 340; Supp. VIII: 213 Harlem, Mecca of the New Negro (Locke), Supp. XIV: 201 “Harlem Dancer, The” (McKay), Supp. X: 134 Harlem Gallery (Tolson), Retro. Supp. I: 208, 209, 210 Harlem Glory: A Fragment of Aframerican Life (McKay), Supp. X: 132, 141– 142

Harlem: Negro Metropolis (McKay), Supp. X: 132, 141, 142 “Harlem Runs Wild” (McKay), Supp. X: 140 Harlem Shadows (McKay), Supp. X: 131–132, 136 Harlem Underground (Lacy), Supp. XV: 206 “Harlequin of Dreams, The” (Lanier), Supp. I Part 1: 365 Harlot’s Ghost (Mailer), Retro. Supp. II: 211–212 Harlow, Jean, IV: 256; Retro. Supp. I: 110 “Harm” (C. Frost), Supp. XV: 101 Harmon, William, Retro. Supp. I: 37; Supp. XI: 248 “Harmonic” (F. Barthelme), Supp. XI: 26 Harmonium (Stevens), III: 196; IV: 76, 77, 78, 82, 87, 89, 92; Retro. Supp. I: 296, 297, 299, 300–302, 301, 302 “Harmony of the Gospels” (Taylor), IV: 149 Harmony of the World (C. Baxter), Supp. XVII: 16–17 “Harmony of the World” (C. Baxter), Supp. XVII: 16 Harnett, Vincent, Supp. XV: 198 “Harp, The” (Weigl), Supp. XIX: 278 Harper (film), Supp. IV Part 2: 473 Harper, Donna, Retro. Supp. I: 194, 195, 209 Harper, Frances E. Watkins, Supp. II Part 1: 201–202; Supp. XVIII: 284 Harper, Gordon Lloyd, Retro. Supp. II: 23 Harper, Michael, Supp. XV: 74 Harper, Michael S., Retro. Supp. II: 116, 123 Harper, William Rainey, Supp. I Part 2: 631 Harper’s Anthology of 20th Century Native American Poetry (Niatum, ed.), Supp. IV Part 1: 331 “Harriet” (Lowell), II: 554 Harrigan, Edward, II: 276; III: 14 Harrington, Michael, I: 306 Harrington, Ollie, Supp. XVI: 142–143 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; Supp. XIV: 61 Harris, Judith, Supp. XIV: 269 Harris, Julie, II: 587, 601; Supp. IX: 125 Harris, Leonard, Supp. XIV: 196, 211– 212 Harris, MacDonald, Supp. XI: 65 Harris, Marie, Supp. IX: 153 Harris, Peter, Supp. X: 206, 207 Harris, Susan K., Supp. XV: 269 Harris, Thomas, Supp. XIV: 26 Harris, Victoria Frenkel, Supp. IV Part 1: 68, 69 Harrison, Colin, Supp. XIV: 26 Harrison, Hazel, Retro. Supp. II: 115 Harrison, Jim, Supp. VIII: 37–56; Supp. XIX: 125, 126 Harrison, Kathryn, Supp. X: 191

388 / AMERICAN WRITERS Harrison, Ken, Supp. IX: 101 Harrison, Oliver (pseudonym). See Smith, Harrison Harry: A Portrait (N. Boyce), Supp. XVII: 104 Harryhausen, Ray, Supp. IV Part 1: 115 Harryman, Carla, Supp. XV: 344 “Harry of Nothingham” (Hugo), Supp. VI: 146–147 “Harry’s Death” (Carver), Supp. III Part 1: 146 “Harsh Judgment, The” (Kunitz), Supp. III Part 1: 264 Hart, Albert Bushnell, Supp. I Part 2: 479, 480, 481 Hart, Bernard, I: 241, 242, 248–250, 256 Hart, Henry, Retro. Supp. II: 187; Supp. XIV: 97 Hart, James D., Supp. XVIII: 257 Hart, John Seely, Supp. XVIII: 257, 258, 264 Hart, Lorenz, III: 361 Hart, Moss, Supp. IV Part 2: 574; Supp. XV: 329 Hart, Pearl, Supp. X: 103 “Hart Crane” (Tate), I: 381 “Hart Crane and Poetry: A Consideration of Crane’s Intense Poetics with Reference to ‘The Return’ ” (Grossman), Retro. Supp. II: 83 Harte, Anna Griswold, Supp. II Part 1: 341 Harte, Bret, I: 193, 195, 203; II: 289; IV: 196; Retro. Supp. II: 72; Supp. II Part 1: 335–359, 399; Supp. XV: 115 Harte, Walter Blackburn, I: 199 Harter, Carol C., Supp. IV Part 1: 217 Hartley, David, III: 77 Hartley, Lois, Supp. I Part 2: 459, 464– 465 Hartley, L. P., Supp. I Part 1: 293 Hartley, Marsden, IV: 409, 413; Retro. Supp. I: 430; Supp. X: 137; Supp. XV: 298 Hartman, Geoffrey, Supp. IV Part 1: 119; Supp. XII: 130, 253 Harum, David, II: 102 “Harvard” (Lowell), II: 554 Harvard College in the Seventeenth Century (Morison), Supp. I Part 2: 485 “Harvesters of Night and Water” (Hogan), Supp. IV Part 1: 412 “Harvest Song” (Toomer), Supp. III Part 2: 483 Harvill Book of 20th Century Poetry in English, Supp. X: 55 “Harv Is Plowing Now” (Updike), Retro. Supp. I: 318 Haselden, Elizabeth Lee, Supp. VIII: 125 Hass, Robert, Supp. VI: 97–111; Supp. VIII: 24, 28; Supp. XI: 142, 270; Supp. XIV: 83, 84 Hassam, Childe, Retro. Supp. II: 136 Hassan, Ihab, IV: 99–100, 115; Supp. XI: 221 Hasse, Henry, Supp. IV Part 1: 102 Hasty-Pudding, The (Barlow), Supp. II Part 1: 74, 77–80

Hatful of Rain, A (Gazzo), III: 155 Hatlen, Burton, Supp. V: 138, 139–140 “Hattie Bloom” (Oliver), Supp. VII: 232 Haunch, Paunch, and Jowl (Ornitz), Supp. IX: 227 “Haunted Landscape” (Ashbery), Supp. III Part 1: 22 Haunted Merchant, The (Briggs), Supp. XVIII: 2, 8 “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 Hauptmann, Gerhart, III: 472 Haussmann, Sonja, Supp. XIII: 331, Supp. XIII: 347 “Havanna vanities come to dust in Miami” (Didion), Supp. IV Part 1: 210 Haven, Cynthia, Supp. XV: 252, 264 Haven’s End (Marquand), III: 55, 56, 63, 68 “Have You Ever Faked an Orgasm” (Peacock), Supp. XIX: 199 “Have You Ever Tried to Enter the Long Black Branches” (Oliver), Supp. VII: 247 “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. III 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 Hawke, David Freeman, Supp. I Part 2: 511, 516 Hawkes, John, I: 113; Retro. Supp. II: 234; Supp. III Part 1: 2; Supp. V: 40; Supp. IX: 212; Supp. XVII: 183 Hawkins, William, II: 587 Hawk in the Rain, The (Hughes), Retro. Supp. II: 244; Supp. I Part 2: 537, 540 Hawk Is Dying, The (Crews), Supp. XI: 111 Hawk Moon (Shepard), Supp. III Part 2: 445 Hawks, Howard, Supp. IV Part 1: 130; Supp. XVIII: 148 “Hawk’s Cry in Autumn, The” (Brodsky), Supp. VIII: 29 “Hawk’s Shadow” (Glück), Supp. V: 85 Hawk’s Well, The (Yeats), III: 459–460 Hawley, Adelaide, Supp. XIV: 207 Hawley, Joseph, I: 546 Hawthorne (James), II: 372–378; Retro. Supp. I: 220, 223–224 “Hawthorne” (Longfellow), Retro. Supp. II: 169

“Hawthorne” (Lowell), II: 550 Hawthorne, Julian, II: 225; Supp. I Part 1: 38; Supp. XV: 274 Hawthorne, Mrs. Nathaniel (Sophia Peabody), II: 224, 244; III: 75, 86 Hawthorne, Nathaniel, I: 106, 204, 211, 340, 355, 363, 384, 413, 458, 561– 562; II: 7, 8, 40, 60, 63, 74, 89, 127– 128, 138, 142, 198, 223–246, 255, 259, 264, 267, 272, 274, 277, 281, 282, 295, 307, 309, 311, 313, 322, 324, 326, 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; Retro. Supp. II: 136, 142, 153, 156–157, 158, 159, 187, 221; Supp. I Part 1: 38, 188, 197, 317, 372; Supp. I Part 2: 420, 421, 545, 579, 580, 582, 587, 595, 596; Supp. III Part 2: 501; Supp. IV Part 1: 80, 127, 297; Supp. IV Part 2: 463, 596; Supp. V: 152; Supp. VIII: 103, 105, 108, 153, 201; Supp. IX: 114; Supp. X: 78; Supp. XI: 51, 78; Supp. XII: 26; Supp. XIII: 102; Supp. XIV: 48; Supp. XV: 269, 272, 282; Supp. XVI: 83, 84, 157; Supp. XVII: 42; Supp. XVIII: 258, 260 Hawthorne, Rose, II: 225 Hawthorne, Una, II: 225 “Hawthorne and His Mosses” (Melville), Retro. Supp. I: 254; Supp. XIV: 48 “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 Hay, Sara Henderson, Supp. XIV: 119– 135 Hayakawa, S. I., I: 448; Supp. I Part 1: 315; Supp. XV: 176 Hayden, Robert, Supp. II Part 1: 361– 383; Supp. IV Part 1: 169; Supp. XIII: 115, 127; Supp. XIV: 119, 123 Hayden, Sterling, Supp. XI: 304 Haydn, Hiram, IV: 100, 358 Hayduke Lives! (Abbey), Supp. XIII: 16 Hayek, Friedrich A. von, Supp. IV Part 2: 524 Hayes, Helen, Supp. XVI: 193, 195 Hayes, Ira, Supp. IV Part 1: 326 Hayes, Richard, Supp. V: 320 Hayes, Rutherford B., Supp. I Part 2: 419 Haygood, Wil, Supp. VIII: 79 Hayne, Paul Hamilton, Supp. I Part 1: 352, 354, 355, 360, 372 Haynes, Todd, Supp. XVIII: 23 Hayward, Florence, Retro. Supp. II: 65 Hayward, John, Retro. Supp. I: 67 Hayward, Leland, Supp. XIX: 250 Haywood, “Big” Bill, I: 483; Supp. V: 286

CUMULATIVE INDEX / 389 Hazard, Grace, II: 530 Hazard of Fortunes, A (Howells), Retro. Supp. II: 288 Hazard of New Fortunes, A (Howells), II: 275, 276, 286–297, 290 Hazel, Robert, 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 Hazmat (McClatchy), Supp. XII: 265– 270 Hazo, Samuel, I: 386; Supp. XIV: 123, 124 Hazzard, Shirley, Supp. VIII: 151 H.D. See Doolittle, Hilda “He” (Porter), III: 434, 435 “Head and Shoulders” (Fitzgerald), Retro. Supp. I: 101 “Head-Hunter, The” (O. Henry), Supp. II Part 1: 403 “Headless Hawk, The” (Capote), Supp. III Part 1: 124 Headlines (T. Williams), IV: 381 Headlong Hall (Peacock), Supp. I Part 1: 307 Headmaster, The (McPhee), Supp. III Part 1: 291, 294, 298 “Head of Joaquín Murrieta, The” (Rodriguez), Supp. XIV: 303 Headsman, The (Cooper), I: 345–346 “Headwaters” (Momaday), Supp. IV Part 2: 486 “Head Wound” (Halliday), Supp. XIX: 92 Healy, Eloise Klein, Supp. XI: 121, 124, 126, 127, 129, 137 Healy, Tim, II: 129, 137 Heaney, Sally, Supp. XVII: 241 Heaney, Seamus, Retro. Supp. II: 245; Supp. IX: 41, 42; Supp. X: 67, 122; Supp. XI: 249; Supp. XV: 256 “Heard through the Walls of the Racetrack Glen Motel” (X. J. Kennedy), Supp. XV: 170 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 Heart and Perimeter (Bierds), Supp. XVII: 28–29 “Heart and the Lyre, The” (Bogan), Supp. III Part 1: 65 “Heartbeat” (Harjo), Supp. XII: 221–222 Heartbreak Kid, The (film), Supp. IV Part 2: 575, 589 Heart for the Gods of Mexico, A (Aiken), I: 54 “Hear the Nightingale Sing” (Gordon), II: 200 Hear the Wind Blow (Sanders), Supp. XVI: 268 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), Retro. Supp. II: 292; Supp. V: 249, 311; Supp. VIII: 4, 316; Supp. XIX: 28

“Heart of Darkness” (Conrad), I: 575, 578; II: 595; Supp. XVI: 212 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 (Gunn Allen and Caputi, eds.), Supp. IV Part 1: 334– 335 “Heart of Knowledge, The: Nuclear Themes in Native American Thought and Literature” (Caputi), Supp. IV Part 1: 335 “Heart of the Park, The ” (O’ Connor), Retro. Supp. II: 225 Heart of the West (O. Henry), Supp. II Part 1: 410 “Hearts, The” (Pinsky), Supp. VI: 245– 247, 248 “’ Hearts and Flowers’ ” (MacLeish), III: 8 “Hearts and Heads” (Ransom), Supp. I Part 1: 373 “Heart’s Graveyard Shift, The” (Komunyakaa), Supp. XIII: 120 Heart-Shape in the Dust (Hayden), Supp. II Part 1: 365, 366 Heart’s Needle (Snodgrass), I: 400 “Heart’s Needle” (Snodgrass), Supp. VI: 311–313, 320 “Hearts of Oak” (Rowson), Supp. XV: 243 “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 Heartwood (Burke), Supp. XIV: 35 Heath Anthology of American Literature, The, Supp. IX: 4; Supp. XV: 270, 313 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 Heath-Stubbs, John, Supp. XV: 153 Heat’s On, The (C. Himes), Supp. XVI: 143, 144 “Heaven” (Dunn), Supp. XI: 154 “Heaven” (Levine), Supp. V: 182 “Heaven” (Patchett), Supp. XII: 309 Heaven and Earth: A Cosmology (Goldbarth), Supp. XII: 187 “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 “Heavenly Feast, The” (Schnackenberg), Supp. XV: 257, 259 Heavens (Untermeyer), Supp. XV: 306 Heavens and Earth (Benét), Supp. XI: 44 Heaven’s Coast (Doty), Supp. XI: 119, 121, 129–130, 134 Heaven’s Prisoners (Burke), Supp. XIV: 23, 29

“Heavy Angel, The” (Everwine), Supp. XV: 80 “Heavy Bear Who Goes with Me, The” (Schwartz), Supp. II Part 2: 646 “Heavy Trash” (Halliday), Supp. XIX: 92, 93 “He Came Also Still” (Zukofsky), Supp. III Part 2: 612 Hecht, Anthony, IV: 138; Supp. III Part 2: 541, 561; Supp. X: 55–75; Supp. XII: 269–270; Supp. XV: 251, 256 Hecht, Ben, I: 103; II: 42; Supp. I Part 2: 646; Supp. XI: 307; Supp. XIII: 106 Hecht, S. Theodore, Supp. III Part 2: 614 Heckewelder, John, II: 503 “Hedge Island” (Lowell), II: 524 Hedges, William I., II: 311–312 “He ‘Digesteth Harde Yron’ ” (Moore), Supp. IV Part 2: 454 Hedin, Robert, Supp. XII: 200, 202 Hedylus (Doolittle), Supp. I Part 1: 259, 270 “Heel & Toe To the End” (W. C. Williams), Retro. Supp. I: 430 Heffernan, Michael, Supp. XII: 177 “HEGEL” (Baraka), Supp. II Part 1: 53 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; Supp. XVI: 289 “Hegemony of Race, The” (Du Bois), Supp. II Part 1: 181 Hegger, Grace Livingston. See Lewis, Mrs. Sinclair (Grace Livingston Hegger) “He Had Spent His Youth Dreaming” (Dobyns), Supp. XIII: 90 Heidegger, Martin, II: 362, 363; III: 292; IV: 491; Retro. Supp. II: 87; Supp. V: 267; Supp. VIII: 9; Supp. XVI: 283, 288 Heidenmauer, The (Cooper), I: 345–346 Heidi Chronicles, The (Wasserstein), Supp. IV Part 1: 309; Supp. XV: 319, 325–327 “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; Supp. XI: 208; Supp. XIV: 161, 163 Heilman, Robert Bechtold, Supp. XIV: 11, 12 Heilpern, John, Supp. XIV: 242 Heim, Michael, Supp. V: 209 Heine, Heinrich, II: 272, 273, 277, 281, 282, 387, 544; IV: 5; Supp. XV: 293, 299; Supp. XVI: 188 Heineman, Frank, Supp. III Part 2: 619 Heinlein, Robert, Supp. IV Part 1: 102; Supp. XVI: 122; Supp. XVIII: 149 Heinz, Helen. See Tate, Mrs. Allen (Helen Heinz) Heiress, The (film), Retro. Supp. I: 222 “Heirs” (Nye), Supp. XIII: 284 “He Is Not Worth the Trouble” (Rowson), Supp. XV: 240

390 / AMERICAN WRITERS “He Knew” (C. Himes), Supp. XVI: 137 “Helas” (Creeley), Supp. IV Part 1: 150, 158 Helburn, Theresa, IV: 381 Heldreth, Leonard, Supp. V: 151 “Helen” (Lowell), II: 544 “Helen, Thy Beauty Is to Me” (Fante), Supp. XI: 169 “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; Supp. XV: 264 Helen Keller: Sketch for a Portrait (Brooks), I: 254 “Helen of Tyre” (Longfellow), II: 496 Heliodora (Doolittle), Supp. I Part 1: 266 “Helix” (Sobin), Supp. XVI: 283 Hellbox (O’ Hara), III: 361 Heller, Joseph, III: 2, 258; IV: 98; Retro. Supp. II: 324; Supp. I Part 1: 196; Supp. IV Part 1: 379–396; Supp. V: 244; Supp. VIII: 245; Supp. XI: 307; Supp. XII: 167–168; Supp. XV: 322; Supp. XVII: 139 Hellman, 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, 200–201, 204 Hellmann, Lillian, Retro. Supp. II: 327 Hello (Creeley), Supp. IV Part 1: 155, 157 “Hello, Hello Henry” (Kumin), Supp. IV Part 2: 446 “Hello, Stranger” (Capote), Supp. III Part 1: 120 Hello Dolly! (musical play), IV: 357 Hellyer, John, Supp. I Part 2: 468 Helm, Bob, Supp. XV: 147 Helm, Levon, Supp. XVIII: 26 Helmets (Dickey), Supp. IV Part 1: 175, 178, 180 “Helmsman, The” (Doolittle), Supp. I Part 1: 266 “Help” (Barth), I: 139 “Help Her to Believe” (Olsen). See “I Stand There Ironing” (Olsen) Helprin, Mark, Supp. XIX: 142 “Helsinki Window” (Creeley), Supp. IV Part 1: 158 Hemenway, Robert E., Supp. IV Part 1: 6 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, 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; Retro. Supp. II: 19, 24, 30, 68, 115, 123; Supp. I Part 2: 621, 658, 678; Supp. II Part 1: 221; Supp. III Part 1: 146; Supp. III Part 2: 617; Supp. IV Part 1: 48, 102, 123, 197, 236, 342, 343, 344, 348, 350, 352, 380–381, 383; Supp. IV Part 2: 463, 468, 502, 607, 679, 680, 681, 689, 692; Supp. V: 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; Supp. X: 137, 167, 223, 225; Supp. XI: 214, 221; Supp. XIII: 96, 255, 270; Supp. XIV: 24, 83; Supp. XV: 69, 135; Supp. XVI: 203, 205– 206, 208, 210, 233, 236–237, 281– 282; Supp. XVII: 4, 105, 107, 137, 228, 229; Supp. XVIII: 74, 90, 102; Supp. XIX: 131, 154, 157, 246 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 “Hemp, The” (Benét), Supp. XI: 44 Hempel, Amy, Supp. XIX: 209 “Henchman, The” (Whittier), Supp. I Part 2: 696 Henderson, Alice Corbin, Supp. I Part 2: 387; Supp. XV: 302–303 Henderson, Darwin L., Supp. XIII: 213, 221–222 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; Retro. Supp. II: 19, 24–25, 30 “Hen Flower, The” (Kinnell), Supp. III Part 1: 247–248 Henie, Sonja, Supp. XII: 165 Henle, James, II: 26, 30, 38, 41; Supp. IX: 2 Hennesy, Dale, Supp. XV: 5 Henri, Robert, IV: 411; Supp. I Part 2: 376 Henry, Arthur, I: 515; Retro. Supp. II: 97 Henry, DeWitt, Supp. XI: 342 Henry, O., I: 201; III: 5; Supp. I Part 2: 390, 462; Supp. II Part 1: 385–412; Supp. XV: 40 Henry, Robert, Retro. Supp. II: 103

Henry, William A., III, Supp. IV Part 2: 574 Henry and Clara (Mallon), Supp. XIX: 132, 136–137, 139, 141 Henry and June (film), Supp. X: 186 Henry and June: From the Unexpurgated Diary of Anaïs Nin, Supp. X: 184, 185, 187, 194 Henry Holt and Company, Retro. Supp. I: 121, 131, 133, 136 Henry IV (Shakespeare), III: 166; Supp. VIII: 164 “Henry James, Jr.” (Howells), II: 289; Retro. Supp. I: 220 “Henry James and the Art of Teaching” (Rowe), Retro. Supp. I: 216 “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 (Durrell, ed.), III: 175, 190 “Henry’s Confession” (Berryman), I: 186 Henry VIII (Shakespeare), Supp. IX: 235 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 “He of the Assembly” (Bowles), Supp. IV Part 1: 90 Hepburn, Katharine, Supp. IX: 189; Supp. XI: 17 Heraclitus, II: 1, 163; IV: 86 Herakles: A Play in Verse (MacLeish), III: 21, 22 Herald of the Autochthonic Spirit (Corso), Supp. XII: 134–136 He Ran All the Way (film), Supp. XVII: 63 Herberg, Will, III: 291 Herbert, Edward, II: 11 Herbert, Francis (pseudonym). See Bryant, William Cullen Herbert, George, II: 12; IV: 141, 145, 146, 151, 153, 156, 165; Retro. Supp. II: 40; Supp. I Part 1: 80, 107, 108, 122; Supp. IV Part 2: 646; Supp. XV: 92, 212, 251 Herbert, Zbigniew, Supp. VIII: 20 Herbert Huncke Reader, The (Schafer, ed.), Supp. XIV: 137, 138, 139, 140, 145, 147, 150, 151–152 Herbert of Cherbury, Lord, II: 108 “Herbert White” (Bidart), Supp. XV: 24, 27 Herbst, Josephine, Retro. Supp. II: 325, 328; Supp. XIII: 295 “Her Choice” (Larcom), Supp. XIII: 144 “Her Dead Brother” (Lowell), Retro. Supp. II: 188 “Her Dream Is of the Sea” (Ríos), Supp. IV Part 2: 546 “Here” (Kenyon), Supp. VII: 164 Here and Beyond (Wharton), Retro. Supp. I: 382

CUMULATIVE INDEX / 391 Here and Now (Levertov), Supp. III Part 1: 275, 276 “Here and There” (Wallace), Supp. X: 305–306 Here Comes the Mystery Man (Sanders), Supp. XVI: 269 Heredia, Juanita, Supp. XI: 185, 190 Heredity and Variation (Lock), Retro. Supp. I: 375 “Here Inside My Forehead” (Rasmussen; Nelson and Espeland, trans.), Supp. XVIII: 180 Here is Your War (Pyle), Supp. XVII: 61 Here Let Us Feast (M. F. K. Fisher), Supp. XVII: 86, 87 Here Lies (Parker), Supp. IX: 192 Here on Earth (Hoffman), Supp. X: 77, 89 Heresy and the Ideal: On Contemporary Poetry (Baker), Supp. XI: 142 “Here to Learn” (Bowles), Supp. IV Part 1: 93 “Here to Yonder” (Hughes), Retro. Supp. I: 205 “Her Father’s Letters” (Milburn), Supp. XI: 242 “Her Favorite Story” (Richard), Supp. XIX: 211, 212 Herford, Reverend Brooke, I: 471 Hergesheimer, Joseph, Supp. I Part 2: 620; Supp. XVI: 187 “Heritage” (Cullen), Supp. IV Part 1: 164–165, 168, 170, 171 “Heritage” (Hogan), Supp. IV Part 1: 413 “Her Kind” (Sexton), Supp. II Part 2: 687 Herland (Gilman), Supp. XI: 208–209 Herman, Florence. See Williams, Mrs. William Carlos (Florence Herman) Herman, Jan, Supp. XIV: 150–151 Herman, William (pseudonym). See Bierce, Ambrose “Her Management” (Swenson), Supp. IV Part 2: 642 “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 “Hermes: Port Authority: His Song” (Di Piero), Supp. XIX: 47 Hermetic Definition (Doolittle), Supp. I Part 1: 271, 272, 273, 274 “Hermitage, The” (Haines), Supp. XII: 205–206 Hermit and the Wild Woman, The (Wharton), IV: 315; Retro. Supp. I: 371 “Hermit and the Wild Woman, The” (Wharton), Retro. Supp. I: 372 “Hermit Meets the Skunk, The” (Kumin), Supp. IV Part 2: 447 Hermit of 69th Street, The: The Working Papers or Norbert Kosky (Kosinski), Supp. VII: 215, 216, 223, 226–227 “Hermit of Saba, The” (Freneau), Supp. II Part 1: 259

“Hermit Picks Berries, The” (Kumin), Supp. IV Part 2: 447 Hermit’s Story, The (Bass), Supp. XVI: 23–24 “Hermit Thrush, A” (Clampitt), Supp. IX: 40 Hernández, Miguel, Supp. V: 194; Supp. XIII: 315, 323 Herne, James A., II: 276; Supp. II Part 1: 198 Hernton, Calvin, Supp. X: 240 “Hero, The” (Moore), III: 200, 211, 212 Hero, The (Raglan), I: 135 Hero, The: A Study in Tradition, Myth, and Drama (Raglan), Supp. XIX: 147 Hero and the Blues, The (Murray), Supp. XIX: 153, 154 Hérodiade (Mallarmé), I: 66 Herodotus, Supp. I Part 2: 405 Heroes, The (Ashbery), Supp. III Part 1: 3 Hero in America, The (Van Doren), II: 103 “Heroines of Nature: Four Women Respond to the American Landscape” (Norwood), Supp. IX: 24 “Heron, The” (Roethke), III: 540–541 “Her One Bad Eye” (Karr), Supp. XI: 244 “Her Own People” (Warren), IV: 253 “Her Quaint Honour” (Gordon), II: 196, 199, 200 Herr, Michael, Supp. XI: 245; Supp. XIX: 17 Herreshoff, David, Supp. XIX: 265 Herrick, Robert, II: 11, 18, 444; III: 463, 592; IV: 453; Retro. Supp. I: 319; Retro. Supp. II: 101; Supp. I Part 2: 646; Supp. XIII: 334; Supp. XIV: 8, 9; Supp. XV: 155 Herrmann, John, Retro. Supp. II: 328 Herron, George, Supp. I Part 1: 7 “Hers” (column, Prose), Supp. XVI: 254 Herschel, Sir John, Supp. I Part 1: 314 “Her Sense of Timing” (Elkin), Supp. VI: 56, 58 Hersey, John, IV: 4; Supp. I Part 1: 196; Supp. XVI: 105–106 “Her Sweet turn to leave the Homestead” (Dickinson), Retro. Supp. I: 44 Herzog (Bellow), I: 144, 147, 149, 150, 152, 153, 154, 155, 156, 157, 158, 159–160; Retro. Supp. II: 19, 26–27; Supp. IV Part 1: 30; Supp. XIX: 157 Hesford, Walter A., Supp. XV: 215, 217, 218 “He/She” (Dunn), Supp. XI: 149 “Hesitation Blues” (Hughes), Retro. Supp. I: 211 Hesse, Hermann, Supp. V: 208 Hester, Carolyn, Supp. XVIII: 24 “Hetch Hetchy Valley” (Muir), Supp. IX: 185 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” (Ríos), Supp. IV Part 2: 548 Hewitt, James, Supp. XV: 240

Hewlett, Maurice, I: 359 Heyen, William, Supp. XIII: 285, 344; Supp. XV: 212 “Hey! Hey!” (Hughes), Supp. I Part 1: 327–328 Hey Rub-a-Dub-Dub (Dreiser), I: 515; II: 26; Retro. Supp. II: 104, 105, 108 “Hey Sailor, What Ship?” (Olsen), Supp. XIII: 293, 294, 298, 299 Heyward, DuBose, Supp. XVIII: 281; Supp. XIX: 78 Hiawatha (Longfellow), Supp. I Part 1: 79; Supp. III Part 2: 609, 610 “Hibernaculum” (Ammons), Supp. VII: 26–27 Hichborn, Mrs. Philip. See Wylie, Elinor Hichborn, Philip, Supp. I Part 2: 707, 708 “Hic Jacet” (W. C. Williams), Retro. Supp. I: 414 Hickok, James Butler (“Wild Bill“), Supp. V: 229, 230 Hicks, Granville, I: 254, 259, 374; II: 26; III: 342, 355, 452; Supp. I Part 1: 361; Supp. I Part 2: 609; Supp. IV Part 1: 22; Supp. IV Part 2: 526; Supp. VIII: 96, 124; Supp. XII: 250; Supp. XIII: 263 Hicok, Bethany, Retro. Supp. II: 39 “Hidden” (Nye), Supp. XIII: 283 “Hidden Gardens” (Capote), Supp. III Part 1: 125 Hidden Law, The (Hecht), Supp. X: 58 “Hidden Name and Complex Fate” (Ellison), Supp. II Part 1: 245 Hidden Wound, The (Berry), Supp. X: 23, 25, 26–27, 29, 34, 35 “Hide-and-Seek” (Francis), Supp. IX: 81 “Hiding” (Minot), Supp. VI: 203, 206 Hiding Place (Wideman), Supp. X: 320, 321, 327, 329, 331–332, 333 “Hidin’ Out in Honky Heaven: On Race Relations in Vermont” (Budbill), Supp. XIX: 5 Hienger, Jorg, Supp. IV Part 1: 106 Higgins, George, Supp. IV Part 1: 356 Higginson, Thomas Wentworth, I: 451– 452, 453, 454, 456, 458, 459, 463, 464, 465, 470; 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” (W. C. Williams), Retro. Supp. I: 429 “High Dive: A Variant” (Kumin), Supp. IV Part 2: 442 “High Diver” (Francis), Supp. IX: 82 “Higher Keys, The” (Merrill), Supp. III 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 High Noon (film), Supp. V: 46 “High on Sadness” (Komunyakaa), Supp. XIII: 114 “High School Senior” (Olds), Supp. X: 212 Highsmith, Patricia, Supp. IV Part 1: 79, 94, 132

392 / AMERICAN WRITERS “High Tide” (Marquand), III: 56 High Tide in Tucson: Essays from Now or Never (Kingsolver), Supp. VII: 198, 201, 209 “High-Toned Old Christian Woman, A” (Stevens), Retro. Supp. I: 301 “Highway, The” (Merwin), Supp. III Part 1: 346 Highway 61 Revisited (album, Dylan), Supp. XVIII: 20, 27, 30, 32 “Highway 61 Revisited” (song, Dylan), Supp. XVIII: 30 “Highway 99E from Chico” (Carver), Supp. III Part 1: 136 High Window, The (Chandler), Supp. IV Part 1: 127–129, 130, 131 “High Yaller” (R. Fisher), Supp. XIX: 72 Hijuelos, Oscar, Supp. IV Part 1: 54; Supp. VIII: 73–91 Hike and the Aeroplane (Lewis), II: 440– 441 Hilberg, Raul, Supp. V: 267 Hildebrand, Al, III: 118 Hiler, Hilaire, Retro. Supp. II: 327; Supp. III Part 2: 617 “Hill, A” (Hecht), Supp. X: 59–60, 63 Hill, Abram, Supp. XV: 194 Hill, Hamlin, Retro. Supp. II: 286 Hill, James J., Supp. I Part 2: 644 Hill, Joe, I: 493; Supp. XVIII: 224 Hill, Lee, Supp. XI: 293, 294, 297, 299, 301, 305, 307 Hill, Patti, I: 289 Hill, Peggy, Supp. XIII: 163 “Hill, The” (Strand), Supp. IV Part 2: 627 “Hill, The” (Toomer), Supp. III Part 2: 486 Hill, Vernon, Supp. I Part 2: 397 “Hillcrest” (Robinson), III: 504 Hill-Lubin, Mildred A., Supp. IV Part 1: 13 Hillman, Sidney, Supp. I Part 1: 5 Hillringhouse, Mark, Supp. IX: 286, 288, 299 Hills Beyond, The (Wolfe), IV: 450, 451, 460, 461 “Hills Beyond, The” (Wolfe), IV: 460 Hillside and Seaside in Poetry (Larcom, ed.), Supp. XIII: 142 “Hillside Thaw, A” (Frost), Retro. Supp. I: 133 “Hills Like White Elephants” (Hemingway), Retro. Supp. I: 170 Hills of the Shatemuc, The (S. Warner), Supp. XVIII: 266 “Hill-Top View, A” (Jeffers), Supp. II Part 2: 417 “Hill Wife, The” (Frost), II: 154; Retro. Supp. I: 131 Hillyer, Catherine, Supp. XV: 244 Hillyer, Robert, I: 475; Supp. IX: 75; Supp. XIV: 11 Hilton, James, Supp. XIII: 166 “Hiltons’ Holiday, The” (Jewett), II: 391; Retro. Supp. II: 134 Him (Cummings), I: 429, 434–435

Himes, Chester, Retro. Supp. II: 117; Supp. I Part 1: 51, 325; Supp. XIII: 233 Himes, Chester Bomar, Supp. XVI: 135– 146 Himes, Norman, Supp. V: 128 “Him on a Bicycle” (Weigl), Supp. XIX: 276 “Him with His Foot in His Mouth” (Bellow), Retro. Supp. II: 34 Him with His Foot in His Mouth and Other Stories (Bellow), Retro. Supp. II: 31 Hinchman, Sandra K., Supp. IV Part 1: 210 Hindemith, Paul, IV: 357; Supp. IV Part 1: 81 Hindsell, Oliver, Supp. XIII: 162 Hindus, Milton, Supp. XIV: 288, 291, 292, 293 Hines, Suzanne, Supp. XIV: 151 Hinge Picture (Howe), Supp. IV Part 2: 423–424 Hinojosa, Rolando, Supp. XIX: 97–114 “Hinterlands” (W. Gibson), Supp. XVI: 123, 128 “Hippies: Slouching towards Bethlehem” (Didion), Supp. IV Part 1: 200 Hippolytus (Euripides), II: 543; Supp. I Part 1: 270 Hippolytus Temporizes (Doolittle), Supp. I Part 1: 270 “Hips” (Cisneros), Supp. VII: 61, 62 “Hipster’s Hipster” (Ginsberg), Supp. XIV: 141 Hirsch, Edward, Supp. XV: 225; Supp. XVII: 23; Supp. XIX: 202 Hirsch, Edward C., Supp. XV: 78 Hirsch, Edward D., Supp. V: 177; Supp. IX: 262; Supp. XIV: 15 Hirsch, Sidney, Supp. XIV: 1. See Mttron-Hirsch, Sidney Hirschfeld, Jane, Supp. XVII: 241 Hirschorn, Clive, Supp. IV Part 2: 577, 579 Hirson, Roger, Supp. XI: 343 “His Bride of the Tomb” (Dunbar), Supp. II Part 1: 196 “His Chest of Drawers” (Anderson), I: 113, 114 “His Father’s Whistle” (Wrigley), Supp. XVIII: 299 “His Last Day” (C. Himes), Supp. XVI: 137 “His Lover” (Dubus), Supp. VII: 86 “His Music” (Dunn), Supp. XI: 149 “His Own Key” (Ríos), Supp. IV Part 2: 543 His Picture in the Papers (film; Emerson), Supp. XVI: 185 His Religion and Hers (Gilman), Supp. XI: 209 Hiss, Alger, Supp. XV: 143 “Hiss, Chambers, and the Age of Innocence” (Fiedler), Supp. XIII: 99 “His Shield” (Moore), III: 211 “His Story” (Cisneros), Supp. VII: 67 His Thought Made Pockets & the Plane Buckt (Berryman), I: 170

“His Three Women” (Gioia), Supp. XV: 119–120 Histoire comparée des systèmes de philosophie (Gérando), 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 Evidence and the Reading of Seventeenth-Century Poetry (Brooks), Supp. XIV: 11 “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 Crèvecoeur’s Voyage . . .,” (Adams), Supp. I Part 1: 251 “History” (Emerson), II: 13, 15 “History” (Hughes), Supp. I Part 1: 344 History (Lowell), Retro. Supp. II: 183, 190 “History” (Simic), Supp. VIII: 279 “History, Myth, and the Western Writer” (Stegner), Supp. IV Part 2: 596, 601 “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 Lessons” (Komunyakaa), Supp. XIII: 126 History Man, The (Bradbury), Supp. XVIII: 140 “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 Buttons, The” (Goldbarth), Supp. XII: 187 History of English Literature (Taine), III: 323 History of English Prosody (Saintsbury), Supp. XV: 181 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; Supp. XV: 185 History of My Heart (Pinsky), Supp. VI: 243, 244, 245 History of New York, from the Beginning of the World to the End of the Dutch Dynasty, A (Irving), II: 300–303, 304, 310 History of Pendennis, The (Thackeray), II: 291 “History of Red, The” (Hogan), Supp. IV Part 1: 411 “History of Rodney, The” (Bass), Supp. XVI: 20 History of Roxbury Town (Ellis), Supp. I Part 1: 99

CUMULATIVE INDEX / 393 History of the African-American People (Proposed) by Strom Thurmond, The (Everett and Kincaid), Supp. XVIII: 62, 63–64 History of the Conquest of Mexico (Prescott), Retro. Supp. I: 123 History of the Conquest of Peru (Morison, ed.), Supp. I Part 2: 494 History of the Dividing Line betwixt Virginia and North Carolina (Byrd), Supp. IV Part 2: 425 History of the Life and Voyages of Christopher Columbus, A (Irving), II: 310, 314 History of the Navy of the United States of America (Cooper), I: 347 History of the Rise and Fall of the Slavepower in America (Wilson), Supp. XIV: 48, 49 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 of Womankind in Western Europe, The, Supp. XI: 197 “History Through a Beard” (Morison), Supp. I Part 2: 490 His Toy, His Dream, His Rest (Berryman), I: 169, 170, 183, 184–186 “His Words” (Roethke), III: 544 Hitchcock, Ada. See MacLeish, Mrs. Archibald (Ada Hitchcock) Hitchcock, Alfred, IV: 357; Supp. IV Part 1: 132; Supp. VIII: 177 Hitchcock, George, Supp. X: 127; Supp. XVII: 110 “Hitch Haiku” (Snyder), Supp. VIII: 297 “Hitch-Hikers, The” (Welty), IV: 262 “Hitchhiking Is Illegal in Nevada” (Lethem), Supp. XVIII: 136 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 Hitler Lives ? (film), Supp. XVI: 102 Hix, H. L., Supp. XV: 114 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 Hnizdovsky, Jacques, Supp. XIII: 346 “Hoadley’s Test Case in Indiana” (Neugeboren), Supp. XVI: 219 Hoagland, Edward, Supp. XIV: 80; Supp. XVI: 277 Hoagland, Tony, Supp. XIX: 81, 89

“Hoarder, The” (Sexton), Supp. II Part 2: 692 “Hoarfrost” (C. Baxter), Supp. XVII: 15 Hoban, Phoebe, Supp. XV: 319, 325 Hobb, Gormley, I: 203 Hobbes, Thomas, I: 277; II: 9, 10, 540; III: 306; IV: 88; Supp. XII: 33; Supp. XIV: 5, 7 Hobson, Geary, Supp. IV Part 1: 321; Supp. IV Part 2: 502 Hobson, J. A., I: 232 Hobson, John A., Supp. I Part 2: 650 Hobson, Laura Z., III: 151 Hocking, Agnes, Supp. VIII: 251 Hocking, William Ernest, III: 303 Hodges, Campbell B., Supp. XIV: 8 Hodgson, Captain Joseph, III: 328 Hoffa, Jimmy, I: 493 Hoffenberg, Mason, Supp. XI: 294, 297, 299, 305 Hoffer, Eric, Supp. VIII: 188; Supp. XIX: 264 Hoffman, Abbie, Supp. XIV: 150 Hoffman, Alice, Supp. X: 77–94; Supp. XIII: 13 Hoffman, Allen, Supp. XVII: 42, 44 Hoffman, Daniel, Retro. Supp. II: 265 Hoffman, Daniel G., I: 405; II: 307; Supp. XI: 152 Hoffman, Dustin, Supp. IV Part 1: 236 Hoffman, E. T. A., Supp. XVI: 157 Hoffman, Eva, Supp. XVI: 147–164 Hoffman, Frederick J., I: 60, 67; II: 443; IV: 113 Hoffman, Josiah Ogden, II: 297, 300 Hoffman, Matilda, II: 300, 314 Hoffman, Paul, Supp. XV: 141–142 Hoffman, Todd, Supp. XVIII: 101 Hoffman, William, Supp. XVIII: 69–88 Hoffman, William M., Supp. X: 153 Hoffmann, E. T. A., III: 415 Hofmann, Hans, Supp. XV: 144 Hofmeister, Tim, Supp. XIX: 115 Ho for a Hat (W. J. Smith), Supp. XIII: 346 Hofstadter, Richard, Supp. VIII: 98, 99, 108 Hogan, Linda, Supp. IV Part 1: 324, 325, 397–418; Supp. XVIII: 189 Hogan, Randolph, Supp. XVI: 252–253 Hogan, Ron, Supp. XVIII: 138, 139 Hogarth, William, Supp. XII: 44 Hogg, James, I: 53; Supp. I Part 1: 349; Supp. IX: 275 Hoggart, Richard, Supp. XIV: 299 “Hog-Nosed Snake, The” (Kooser), Supp. XIX: 128 Hohne, Karen, Supp. V: 147 Hojoki (Chomei), IV: 170 Holbrook, David, Supp. I Part 2: 526– 527, 546 Holcroft, Thomas, Supp. I Part 2: 514 Holden, Jonathan, Supp. XI: 143 Holden, Raymond, Supp. XIV: 121–122 Holden, William, Supp. XI: 307 Hölderlin, Friedrich, Supp. XVI: 48 “Holding On” (Levine), Supp. V: 184

Holding the Line: Women in the Great Arizona Mine Strike of 1983 (Kingsolver), Supp. VII: 197, 201– 202, 204 “Holding the Mirror Up to Nature” (Nemerov), III: 275, 276 “Hold Me” (Levine), Supp. V: 186 Hold the Press (film), Supp. XIII: 163 Hold with the Hares (Zinberg), Supp. XV: 197–198,Supp. XV: 203 “Hole in the Floor, A” (Wilbur), Supp. III Part 2: 556–557 Holiday (Barry), Retro. Supp. I: 104 “Holiday” (Porter), III: 454 Holiday, Billie, Supp. I Part 1: 80; Supp. IV Part 1: 2, 7; Supp. XIX: 147 Holinshed, Raphael, IV: 370 Holland, Josiah, Supp. I Part 2: 420 Holland, Laurence Bedwell, Retro. Supp. I: 216 Holland, Mrs. Theodore, I: 453, 455, 465 Holland, Theodore, I: 453 Holland, William, IV: 381 Hollander, John, Supp. III Part 2: 541; Supp. IV Part 2: 642; Supp. IX: 50, 153, 155; Supp. XII: 254, 255, 260; Supp. XV: 256; Supp. XVII: 112; Supp. XIX: 121 Holley, Marietta, Supp. XIII: 152 Hollinghurst, Alan, Supp. XIII: 52 Hollins Critic (Nelson), Supp. XIX: 3 Hollis, Thomas Brand, Supp. I Part 2: 514 Hollow Men, The (Eliot), I: 574, 575, 578–579, 580, 585; III: 586; Retro. Supp. I: 63, 64 “Hollow Tree, A” (R. Bly), Supp. IV Part 1: 64, 66 Hollyberrys at the Shore, The, Supp. X: 42 “Hollywood!” (Vidal), Supp. IV Part 2: 688 Hollywood: American Movie-City (Rand, unauthorized), Supp. IV Part 2: 519 Hollywood: A Novel of America in the 1920s (Vidal), Supp. IV Part 2: 677, 684, 686, 688, 690, 691 Hollywood Ending (film; Allen), Supp. XV: 11 Hollywood on Trial (film), Supp. I Part 1: 295 Holmes, Abiel, Supp. I Part 1: 300, 301, 302, 310 Holmes, John, I: 169; Supp. II Part 1: 87; Supp. IV Part 2: 440–441; Supp. XIV: 119 Holmes, John Clellon, Supp. XII: 118; Supp. XIV: 144, 150 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; Retro. Supp. II: 155; Supp. I Part 1: 103, 243, 254, 299–319; Supp. I Part 2: 405, 414, 415, 420, 593, 704, 705; Supp. XI: 194

394 / AMERICAN WRITERS 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 Holocaust (Reznikoff), Supp. XIV: 281, 291–293 Holocaust in American Life, The (Novick), Supp. XVI: 154 Holt, Edwin E., I: 59 Holt, Felix, II: 179 Holt, Henry, II: 348; III: 587 Holt, Patricia, Supp. XIV: 89 Holtby, Winifred, Supp. I Part 2: 720 Holy Ghostly, The (Shepard), Supp. III Part 2: 437–438, 447 “Holy Innocents, The” (Lowell), II: 539 Holy Sonnets (Donne), IV: 145; Supp. I Part 1: 367; Supp. III Part 2: 619; Supp. XIII: 130–131; Supp. XVIII: 50–51 “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 Baudelaire (Duncan, ed.), Supp. XV: 75 Homage to Catalonia (Orwell), Supp. XVII: 229 “Homage to Che Guevara” (Banks), Supp. V: 5 Homage to Clio (Auden), Supp. II Part 1: 24 “Homage to Elizabeth Bishop” (Ivask, ed.), Supp. I Part 1: 96 “Homage to Ezra Pound” (Wright), Supp. V: 339 Homage to Frank O’ Hara (Ashbery), Supp. III Part 1: 2–3 “Homage to Franz Joseph Haydn” (Hecht), Supp. X: 69 “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 Cézanne” (Wright), Supp. V: 341–342 Homage to Sextus Propertius (Pound), Retro. Supp. I: 290 “Homage to Sextus Propertius” (Pound), III: 462, 476; Supp. III Part 2: 622 “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), I: 517 Homans, Margaret, Supp. X: 229 “Home” (Hughes), Supp. I Part 1: 329, 330 “Home” (Mora), Supp. XIII: 217 Home (Updike), Retro. Supp. I: 320

“Home” (Weigl), Supp. XIX: 287 “Home, Home on the Strange” (J. D. Reed), Supp. XVI: 174 “Home, Sweet Home” (Fante), Supp. XI: 164, 165 Home, The (Gilman), Supp. XI: 206–207 “Home, The” (Jarman), Supp. XVII: 116 “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 at the End of the World, A (Cunningham), Supp. XV: 59–62, 63 “Home Away from Home, A” (Humphrey), Supp. IX: 101 Home Book of Shakespeare Quotations (Stevenson), Supp. XIV: 120 “Home Burial” (Frost), Retro. Supp. I: 124, 125, 128, 129–130; Supp. VIII: 31; Supp. XIX: 9 “Home Burial” (R. Frost), Supp. XV: 159 Homecoming (Alvarez), Supp. VII: 1, 3–5, 9 “Homecoming” (Carruth), Supp. XVI: 55 “Homecoming” (McGrath), Supp. X: 116 “Homecoming, The” (Gioia), Supp. XV: 123, 124 Homecoming, The (Wilson), Supp. VIII: 330 Homecoming Game, The (Nemerov), III: 268, 282, 284–285 “Home during a Tropical Snowstorm I Feed My Father Lunch” (Karr), Supp. XI: 241–242, 248 Home Economics (Berry), Supp. X: 28, 31–32, 35, 36, 37 Home from the Hill (film), Supp. IX: 95 Home from the Hill (Humphrey), Supp. IX: 93, 95, 96–98, 104, 106, 109 “Home Grown” (Vital), Supp. XVI: 160 “Homeland” (Merwin), Supp. III Part 1: 351 Homeland and Other Stories (Kingsolver), Supp. VII: 199, 202– 204, 207 Home on the Range (Baraka), Supp. II Part 1: 47 Home Place, The (Morris), III: 221, 222, 232 Homeplace, The (Nelson), Supp. XVIII: 174–175 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; Supp. I Part 2: 494; Supp. X: 36, 120, 122; Supp. XIV: 21; Supp. XVII: 70, 227 Homer, Louise, Retro. Supp. I: 10 “Home Range” (Leopold), Supp. XIV: 184, 185 “Homesick Blues” (Hughes), Supp. I Part 1: 327 Home: Social Essays (Baraka), Supp. II Part 1: 45, 61 “Homesteading on the Extraterrestrial Frontier” (Abbott), Supp. XVIII: 142

Home to Harlem (McKay), Supp. X: 132, 137–138, 138–139; Supp. XVIII: 127 Homeward Bound (Cooper), I: 348 “Homeward Star, The” (Palmer), Supp. XV: 81–82 Homewood trilogy (Wideman), Supp. X: 319 “Homework” (Cameron), Supp. XII: 80, 83, 84 “Homily” (Tate), IV: 121–122 “Homme Moyen Sensuel, L’ ” (Pound), III: 462 Homme révolté, L’ (Camus), III: 306 “Homoeopathy and Its Kindred Delusions” (Holmes), Supp. I Part 1: 303– 304, 305 Homo Ludens (Huizinga), II: 416–417, 425 “Homosexual Villain, The” (Mailer), III: 36 “Homo Will Not Inherit” (Doty), Supp. XI: 128 Hone and Strong Diaries of Old Manhattan, The (Auchincloss, ed.), Supp. IV Part 1: 23 “Honey” (Beattie), Supp. V: 33 “Honey” (Wright), Supp. III Part 2: 589 “Honey, We’ ll Be Brave” (Farrell), II: 45 Honey and Salt (Sandburg), III: 594–596 “Honey and Salt” (Sandburg), III: 594 “Honey Babe” (Hughes), Supp. I Part 1: 334 “Honey Tree, The” (Oliver), Supp. VII: 236 Hong, Maxine. See Kingston, Maxine Hong Hongo, Garrett, Supp. X: 292; Supp. XIII: 114; Supp. XVII: 112 “Honkytonk” (Shapiro), Supp. II Part 2: 705 “Honky Tonk in Cleveland, Ohio” (Sandburg), III: 585 Honorable Men (Auchincloss), Supp. IV Part 1: 23 Honor Thy Father (Talese), Supp. XVII: 204–205, 210 Hood, Tom, I: 195 “Hoodoo in America” (Hurston), Supp. VI: 153–154 “Hook” (Wright), Supp. III Part 2: 604 Hook, Sidney, I: 265; Supp. IV Part 2: 527; Supp. VIII: 96, 100; Supp. XIV: 3 Hooker, Adelaide. See Marquand, Mrs. John P. (Adelaide Hooker) Hooker, Isabella Beecher, Supp. XI: 193 Hooker, Samuel, IV: 162, 165 Hooker, Thomas, II: 15–16; IV: 162 Hooper, Marian. See Adams, Mrs. Henry (Marian Hooper) Hoosier Holiday, A (Dreiser), Retro. Supp. II: 104 Hoover, Herbert, Supp. I Part 2: 638 Hoover, J. Edgar, Supp. XIII: 170 Hoover, Paul, Supp. XV: 179 “Hope” (Jarrell), II: 389 “Hope” (Matthews), Supp. IX: 163 Hope, A. D., Supp. XIII: 347

CUMULATIVE INDEX / 395 Hope, Lynn, Supp. II Part 1: 38 “Hope Atherton’s Wanderings” (Howe), Supp. IV Part 2: 432 Hope of Heaven (O’ Hara), III: 361 “Hop-Frog” (Poe), Retro. Supp. II: 264, 268, 269 Hopkin, Pauline, Supp. XVI: 143 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; Retro. Supp. II: 40; Supp. I Part 1: 79, 81, 94; Supp. III Part 2: 551; Supp. IV Part 1: 178; Supp. IV Part 2: 637, 638, 639, 641, 643; Supp. V: 337; Supp. IX: 39, 42; Supp. X: 61, 115; Supp. XIII: 294; Supp. XIV: 83; Supp. XV: 250, 347; Supp. XVI: 282; Supp. XVII: 241; Supp. XVIII: 78, 79 Hopkins, L. A., I: 502 Hopkins, Lemuel, Supp. II Part 1: 70 Hopkins, Miriam, IV: 381; Supp. I Part 1: 281 Hopkins, Pauline, Supp. XVIII: 284 Hopkins, Samuel, I: 547, 549 Hopkins, Vivian, II: 20 Hopkinson, Francis, Supp. I Part 2: 504 Hopper (Strand), Supp. IV Part 2: 632 Hopper, Dennis, Supp. XI: 293, 308 Hopper, Edward, IV: 411, 413; Supp. IV Part 2: 619, 623, 631, 634; Supp. XIX: 117 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; Supp. X: 65; Supp. XII: 258, 260, 262 Horae Canonicae (Auden), Supp. II Part 1: 21 “Horatian Ode” (Marvell), IV: 135 “Horatian Ode upon Cromwell’s Return from Ireland” (Marvell), Supp. XIV: 10 Horgan, Paul, Supp. XV: 46, 49, 52 Horkheimer, Max, Supp. I Part 2: 645; Supp. IV Part 1: 301 Horn, Dara, Supp. XVII: 50 Horn, Mother, Supp. I Part 1: 49, 54 Hornby, Nick, Supp. XII: 286 Horn of Africa (Caputo), Supp. XIX: 21–23 “Horn of Plenty” (Hughes), Retro. Supp. I: 210; Supp. I Part 1: 342 Horovitz, Israel, Supp. XV: 321 Horowitz, James. See Salter, James Horowitz, Mark, Supp. V: 219, 231 “Horrible” (Halliday), Supp. XIX: 91 “Horse, The” (Levine), Supp. V: 182 “Horse, The” (Wright), Supp. III Part 2: 592, 601 Horse Eats Hay (play), Supp. IV Part 1: 82 Horse Feathers (film), Supp. IV Part 1: 384 “Horseflies” (Wrigley), Supp. XVIII: 307 Horse Has Six Legs, The (Simic), Supp. VIII: 272

“Horselaugh on Dibber Lannon” (Fante), Supp. XI: 164 Horseman, Pass By (McMurtry), Supp. V: 220–221, 224 “Horses” (Doty), Supp. XI: 122 Horses and Men (Anderson), I: 112–113, 114 “Horses and Men in Rain” (Sandburg), III: 584 “Horse Show, The” (W. C. Williams), Retro. Supp. I: 423 Horses Make a Landscape More Beautiful (Walker), Supp. III Part 2: 521, 533 “Horse Thief” (Caldwell), I: 310 “Horseweed” (Offutt), Supp. XIX: 166, 167 “Horsie” (Parker), Supp. IX: 193 Horton, Philip, I: 383, 386, 387, 393, 441; Supp. XV: 138 Horton Hatches the Egg (Geisel), Supp. XVI: 100, 112 Horton Hears a Who! (Geisel), Supp. XVI: 102 Horwitz, Tony, Supp. XVIII: 195–196 Hosea (biblical book), II: 166 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 “Hotel Bar” (McClatchy), Supp. XII: 269 Hotel Dwellers, The (Lacy), Supp. XV: 205 Hotel Insomnia (Simic), Supp. VIII: 280, 281–282 Hotel Lambosa and Other Stories (Koch), Supp. XV: 186 Hotel New Hampshire, The (Irving), Supp. VI: 163, 164, 172–173, 177, 179; Supp. XIX: 164 “Hot-Foot Hannibal” (Chesnutt), Supp. XIV: 60 “Hot Night on Water Street” (Simpson), Supp. IX: 269, 270 “Hot Time, A” (Gunn Allen), Supp. IV Part 1: 333 Houdini, Harry, IV: 437 “Hound of Heaven” (Thompson), Retro. Supp. I: 55 “Hourglass, The” (Kees), Supp. XV: 147 “Hour in Chartres, An” (Bourne), I: 228 Hours, The (Cunningham), Supp. XII: 80; Supp. XV: 65–68 “Hours before Eternity” (Caldwell), I: 291 House, Bridge, Fountain, Gate (Kumin), Supp. IV Part 2: 448, 449, 451, 454 House, Edward, Supp. I Part 2: 643 “House, The” (Merrill), Supp. III Part 1: 323 House at Pooh Corner, The (Milne), Supp. IX: 189 House Behind the Cedars, The (Chesnutt), Supp. XIV: 69–71

Houseboat Days (Ashbery), Supp. III Part 1: 18–20 Housebreaker of Shady Hill and Other Stories, The (Cheever), Supp. I Part 1: 184 “House by the Sea, The” (E. Stoddard), Supp. XV: 277 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), Retro. Supp. II: 49; Supp. I Part 1: 93 Household Saints (film), Supp. XVI: 256 Household Saints (Prose), Supp. XVI: 252–253, 254, 261 “House in Athens, The” (Merrill), Supp. III 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 “Housekeeping” (Alvarez), Supp. VII: 3–5, 10 “Housekeeping for Men” (Bourne), I: 231 House Made of Dawn (Momaday), Supp. IV Part 1: 274, 323, 326; Supp. IV Part 2: 479, 480, 481–484, 485, 486, 504, 562 Houseman, John, Supp. IV Part 1: 173 House of Dust, The: A Symphony (Aiken), I: 50 House of Earth trilogy (Buck), Supp. II Part 1: 118, 123 House of Five Talents, The (Auchincloss), Supp. IV Part 1: 21, 25–27 “House of Flowers” (Capote), Supp. III Part 1: 123 House of Games (Mamet), Supp. XIV: 243 House of Houses (Mora), Supp. XIII: 213, 215, 218, 219, 223–224, 225– 227, 228, 229 House of Incest (Nin), Supp. III Part 1: 43; Supp. X: 187, 190, 193 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 Representatives and Me, The” (Conroy), Supp. XVI: 75 House of the Far and Lost, The (Wolfe), IV: 456 “House of the Injured, The” (Haines), Supp. XII: 203

396 / AMERICAN WRITERS House of the Prophet, The (Auchincloss), Supp. IV Part 1: 31 House of the Seven Gables (Hawthorne), I: 106; II: 60, 224, 225, 231, 237, 239, 240–241, 243, 244; Retro. Supp. I: 63, 149, 160–162, 163, 164; Supp. I Part 2: 579 House of the Solitary Maggot, The (Purdy), Supp. VII: 274–275 “House on 15th S.W., The” (Hugo), Supp. VI: 140 “House on Main Street, The” (B. Kelly), Supp. XVII: 127 House on Mango Street, The (Cisneros), Supp. VII: 58, 59–64, 65, 66, 67, 68, 72 “House on Mango Street, The” (Cisneros), Supp. VII: 59 House on Marshland, The (Glück), Supp. V: 81–83, 84 “House on Moscow Street, The” (Nelson), Supp. XVIII: 174 “House on the Heights, A” (Capote), Supp. III Part 1: 120 “House on the Hill, The” (Robinson), III: 505, 524 “House Raising” (Offutt), Supp. XIX: 166 “Houses” (Hogan), Supp. IV Part 1: 402 “Houses, The” (Merwin), Supp. III Part 1: 354 “Houses of the Spirit” (Karr), Supp. XI: 250 “House Sparrows” (Hecht), Supp. X: 68 House That Tai Maing Built, The (Lee), Supp. X: 291 “House Unroofed by the Gale” (Tu Fu), II: 526 “House Where Mark Twain Was Born, The” (Masters), Supp. I Part 2: 472 “Housewife” (Sexton), Supp. II Part 2: 682 Housman, A. E., III: 15, 136, 606; Supp. II Part 1: 4; Supp. IV Part 1: 165; Supp. XV: 40–41 Houston Trilogy (McMurtry), Supp. V: 223–225 How” (Ginsberg), Supp. XIV: 142, 143 “How” (Moore), Supp. X: 167 “How About This?” (Carver), Supp. III Part 1: 141 “How Annandale Went Out” (Robinson), III: 513 Howard, Ben, Supp. XVI: 54 Howard, Gerald, Supp. XII: 21 Howard, Jane, Retro. Supp. I: 334 Howard, June, Retro. Supp. II: 139 Howard, Leon, Supp. I Part 2: 408, 422, 423 Howard, Maureen, Supp. XII: 285; Supp. XVII: 183 Howard, Richard, Retro. Supp. II: 43; Supp. IV Part 2: 624, 626, 640; Supp. VIII: 273; Supp. IX: 324, 326; Supp. X: 152; Supp. XI: 317; Supp. XII: 254; Supp. XIII: 76; Supp. XV: 23, 24 Howard, Vilma, Retro. Supp. II: 111, 112 Howards, J. Z., Supp. VIII: 178

Howards End (Forster), Supp. XII: 87 Howarth, Cora, I: 408, 409 Howbah Indians (Ortiz), Supp. IV Part 2: 513 “How Black Sees Green and Red” (McKay), Supp. X: 136 “How David Did Not Care” (R. Bly), Supp. IV Part 1: 73 “How Did I Love Him?” (Nelson), Supp. XVIII: 176 “How Do I Love Thee?” (Browning), Supp. XVIII: 176 Howe, E.W., I: 106 Howe, Florence, Supp. XIII: 295, 306 Howe, Harriet, Supp. XI: 200, 201 Howe, Irving, IV: 10; Retro. Supp. I: 369; Retro. Supp. II: 112, 286; Supp. I Part 2: 432; Supp. II Part 1: 99; Supp. VI: 113–129; Supp. VIII: 93, 232; Supp. IX: 227; Supp. X: 203, 245; Supp. XII: 160; Supp. XIII: 98; Supp. XVII: 50; Supp. XIX: 257, 265 Howe, Irwing, Supp. XIV: 103–104, 104 Howe, James Wong, Supp. I Part 1: 281; Supp. V: 223 Howe, Julia Ward, III: 505; Retro. Supp. II: 135 Howe, M. A. DeWolfe, I: 258; II: 406; Supp. XIV: 54 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; Supp. XVI: 284 Howell, Chris, Supp. XIII: 112 Howell, James, II: 111 Howells, Margaret, II: 271 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, 461, 576, 607; IV: 192, 202, 342, 349; Retro. Supp. I: 220, 334, 362, 378; Retro. Supp. II: 93, 101, 135, 288; Supp. I Part 1: 306, 318, 357, 360, 368; Supp. I Part 2: 414, 420, 645– 646; Supp. II Part 1: 198, 352; Supp. IV Part 2: 678; Supp. VIII: 98, 101, 102; Supp. XI: 198, 200; Supp. XIV: 45–46; Supp. XV: 269, 274, 285, 287; Supp. XVIII: 6 Howells, Winifred, II: 271 “Howells as Anti-Novelist” (Updike), Retro. Supp. I: 334 Howells: His Life and World (Brooks), I: 254 Hower, Edward, Supp. XII: 330, 343 Howes, Barbara, Supp. XIII: 331 How Good Is David Mamet, Anyway? (Heilpern), Supp. XIV: 242 “How I Became a Shadow” (Purdy), Supp. VII: 269

“How I Came to Vedanta” (Isherwood), Supp. XIV: 164 “How I Come to You” (Peacock), Supp. XIX: 198 “How I Learned to Sweep” (Alvarez), Supp. VII: 4 “How I Spent My Forties” (Wasserstein), Supp. XV: 325, 330, 332 “How It Began” (Stafford), Supp. XI: 327 “How It Feels to Be Colored Me” (Hurston), Supp. VI: 152 “How It Is” (Budbill), Supp. XIX: 10 “How It Is” (Everwine), Supp. XV: 79, 86 “How I Told My Child About Race” (Brooks), Supp. III Part 1: 78 “How I Went to the Mines” (Harte), Supp. II Part 1: 336 “How I Write” (Welty), IV: 279, 280 “How Jonah Did Not Care” (R. Bly), Supp. IV Part 1: 73 Howl (Ginsberg), Retro. Supp. I: 426; Supp. III Part 1: 92; Supp. IV Part 1: 90; Supp. V: 336; Supp. VIII: 290; Supp. XIV: 15, 126, 157; Supp. XVIII: 20, 29 Howl and Other Poems (Ginsberg), Supp. II Part 1: 308, 317–318, 319; Supp. X: 123 Howlett, William, Retro. Supp. I: 17 Howl: Original Draft Facsimile, Transcript and Variant Versions (Gimsberg), Supp. XIV: 142 “How Many Midnights” (Bowles), Supp. IV Part 1: 86–87 “How Many Nights” (Kinnell), Supp. III Part 1: 245–246 How Much? (Blechman), Supp. I Part 1: 290 “How Much Are You Worth” (Salinas), Supp. XIII: 325–326 “How Much Earth” (Levine), Supp. V: 184 How Much Earth: The Fresno Poets (Buckley, Oliveira, and Williams, eds.), Supp. XIII: 313 “How Not to Forget” (Bartov), Supp. XVI: 153–154 “How Poetry Comes to Me” (Corso), Supp. XII: 122 “How Poetry Comes to Me” (Snyder), Supp. VIII: 305 How Reading Changed My Life (Quindlen), Supp. XVII: 167, 179– 180 “How She Came By Her Name: An Interview with Louis Massiah” (Bambara), Supp. XI: 20 “How Soon Hath Time” (Ransom), IV: 123 How Stella Got Her Groove Back (McMillan), Supp. XIII: 185, 190– 191 How the Alligator Missed Breakfast (Kinney), Supp. III Part 1: 235, 253 “How the Devil Came Down Division Street” (Algren), Supp. IX: 3

CUMULATIVE INDEX / 397 How the García Girls Lost Their Accents (Alvarez), Supp. VII: 3, 5–9, 11, 15, 17, 18 How the Grinch Stole Christmas! (Geisel), Supp. XVI: 102 How the Other Half Lives (Riis), I: 293 “How the Saint Did Not Care” (R. Bly), Supp. IV Part 1: 73 “How the Women Went from Dover” (Whittier), Supp. I Part 2: 694, 696, 697 “How To” (Carruth), Supp. XVI: 51 “How to Be an Other Woman” (Moore), Supp. X: 165, 167, 168 “How to Become a Writer” (Moore), Supp. X: 167, 168 “How to Be Happy: Another Memo to Myself” (Dunn), Supp. XI: 145 How To Cook a Wolf (M. F. K. Fisher), Supp. XVII: 84–85, 87 How to Develop Your Personality (Shellow), Supp. I Part 2: 608 How to Know God: The Yoga Aphorisms of Patanjali (Isherwood and Prabhavananda)), Supp. XIV: 164 “How To Like It” (Dobyns), Supp. XIII: 85–86 “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 Tom is Doin’ ” (Kees), Supp. XV: 143 How to Read (Pound), Supp. VIII: 291 How to Read a Novel (Gordon), II: 198 How to Read a Poem and Fall in Love with Poetry (Hirsch), Supp. XIX: 202 How to Read a Poem . . . and Start a Poetry Circle (Peacock), Supp. XIX: 194, 202–203, 205 How to Save Your Own Life (Jong), Supp. V: 115, 123–125, 130 “How to Study Poetry” (Pound), III: 474 “How to Talk to Your Mother” (Moore), Supp. X: 167, 172 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; Retro. Supp. II: 273 “How to Write a Memoir Like This” (Oates), Supp. III Part 2: 509 “How to Write Like Somebody Else” (Roethke), III: 540 How to Write Short Stories (Lardner), II: 430, 431 “How Vincentine Did Not Care” (R. Bly), Supp. IV Part 1: 73 How We Became Human: New and Selected Poems (Harjo), Supp. XII: 230–232 “How We Danced” (Sexton), Supp. II Part 2: 692 How We Got Insipid (Lethem), Supp. XVIII: 149 “How We Got in Town and Out Again” (Lethem), Supp. XVIII: 149

“How You Sound??” (Baraka), Supp. II Part 1: 30 Hoy, Philip, Supp. X: 56, 58 Hoyer, Linda Grace (pseudonym). See Updike, Mrs. Wesley 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 Hsu, Kai-yu, Supp. X: 292 Hsu, Ruth Y., Supp. XV: 212 Hubba City (Reed), Supp. X: 241 Hubbard, Elbert, I: 98, 383 Hubbell, Jay B., Supp. I Part 1: 372 “Hubbub, The” (Ammons), Supp. VII: 35 Huber, François, II: 6 Huckins, Olga, Supp. IX: 32 Huckleberry Finn (Twain). See Adventures of Huckleberry Finn, The (Twain) Hud (film), Supp. V: 223, 226 Hudgins, Andrew, Supp. X: 206; Supp. XVII: 111, 112; Supp. XVIII: 176 Hudson, Henry, I: 230 “Hudsonian Curlew, The” (Snyder), Supp. VIII: 302 Hudson River Bracketed (Wharton), IV: 326–327; Retro. Supp. I: 382 Huebsch, B. W., III: 110 Hueffer, Ford Madox, Supp. I Part 1: 257, 262. See also Ford, Ford Madox Huff (television series), Supp. XIX: 222 Hug Dancing (Hearon), Supp. VIII: 67–68 Huge Season, The (Morris), III: 225–226, 227, 230, 232, 233, 238 Hugging the Jukebox (Nye), Supp. XIII: 275–276, 277 “Hugging the Jukebox” (Nye), Supp. XIII: 276 Hughes, Brigid, Supp. XVI: 247 Hughes, Carolyn, Supp. XII: 272, 285 Hughes, Frieda, Supp. I Part 2: 540, 541 Hughes, Glenn, Supp. I Part 1: 255 Hughes, H. Stuart, Supp. VIII: 240 Hughes, James Nathaniel, Supp. I Part 1: 321, 332 Hughes, Ken, Supp. XI: 307 Hughes, Langston, Retro. Supp. I: 193– 214; Retro. Supp. II: 114, 115, 117, 120; 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; Supp. X: 131, 136, 139, 324; Supp. XI: 1; Supp. XIII: 75, 111, 132, 233; Supp. XVI: 135, 138; Supp. XVIII: 90, 277, 279, 280, 281, 282; Supp. XIX: 72, 75, 77 Hughes, Nicholas, Supp. I Part 2: 541 Hughes, Robert, Supp. X: 73 Hughes, Ted, IV: 3; Retro. Supp. II: 244, 245, 247, 257; Supp. I Part 2: 536, 537, 538, 539, 540, 541; Supp. XV: 117, 347, 348 Hughes, Thomas, Supp. I Part 2: 406

“Hugh Harper” (Bowles), Supp. IV Part 1: 94 Hughie (O’ Neill), III: 385, 401, 405 Hugh Selwyn Mauberley (Pound), I: 66, 476; III: 9, 462–463, 465, 468; Retro. Supp. I: 289–290, 291, 299; Supp. XIV: 272 Hugo, Richard, Supp. VI: 131–148; Supp. IX: 296, 323, 324, 330; Supp. XI: 315, 317; Supp. XII: 178; Supp. XIII: 112, 113, 133; Supp. XVIII: 293, 299 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 Hulbert, Ann, Supp. XI: 38–39 Hull, Lynda, Supp. XI: 131 Hulme, Thomas E., I: 68, 69, 475; III: 196, 209, 463–464, 465; IV: 122; Supp. I Part 1: 261, 262; Supp. XV: 43 Human, All Too Human (Nietzsche), Supp. X: 48 “Human Culture” (Emerson), II: 11–12 Human Factor, The (Greene), Supp. V: 298 “Human Figures” (Doty), Supp. XI: 123– 124 “Human Geography” (Jarman), Supp. XVII: 116 “Human Immortality” (James), II: 353– 354 “Human Life” (Emerson), II: 11–12 “Human Pig” (Jin), Supp. XVIII: 99 Human Rights, Human Wrongs: The Oxford Amnesty Lectures, 2001, Supp. XVI: 155 Human Stain, The (P. Roth), Retro. Supp. II: 279, 289, 294–295 “Human Things” (Nemerov), III: 279 Human Universe (Olson), Supp. II Part 2: 571 “Human Universe” (Olson), Supp. II Part 2: 565, 567 Human Vibration (Richter), Supp. XVIII: 209 Human Wishes (Hass), Supp. VI: 105– 106, 107 Human Work (Gilman), Supp. XI: 206 Humbert, Humbert, Supp. X: 283 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 Humboldt’s Gift (Bellow), Retro. Supp. II: 19, 28–29, 34; Supp. XIII: 320 Hume, David, I: 125; II: 349, 357, 480; III: 618 Humes, Harold, Supp. V: 201; Supp. XIV: 82 Humes, Harry, Supp. XIX: 281 Humes, H. L. “Doc“, Supp. XI: 294 “Humility” (Hoffman), Supp. XVIII: 86 Hummer, T. R., Supp. XIX: 278

398 / AMERICAN WRITERS “Hummingbirds, The” (Welty), IV: 273 Humphrey, William, Supp. IX: 93–112; Supp. XV: 353 Humphreys, Christmas, Supp. V: 267 Humphreys, David, Supp. II Part 1: 65, 69, 70, 268 Humphreys, Josephine, Supp. XII: 311 Humphries, Rolfe, III: 124; Retro. Supp. I: 137 Hunchback of Notre Dame, The (film), Supp. IV Part 1: 101 Hunches in Bunches (Geisel), Supp. XVI: 111 Huncke, Herbert, Supp. XII: 118; Supp. XIV: 137–153 Huncke’s Journal (Huncke), Supp. XIV: 139, 144, 145, 146 Hundred Camels in the Courtyard, A (Bowles), Supp. IV Part 1: 90 “Hundred Collars, A” (Frost), Retro. Supp. I: 128; Supp. XIII: 147 Hundred Secret Senses, The (Tan), Supp. X: 289, 293, 295, 297, 298, 299 Hundreds of Hens and Other Poems for Children by Halfdan Rasmussen (Nelson and Espeland, trans.), Supp. XVIII: 180 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 (Hamsun), Supp. XI: 167 “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 Hunger of Memory: The Education of Richard Rodriguez (Rodriguez), Supp. XIV: 297, 298, 298–302, 310 Hungry Ghosts, The (Oates), Supp. II Part 2: 504, 510 Hungry Hearts (Prose), Supp. XVI: 253 Hunnewell, Susannah, Supp. VIII: 83 Hunt, Harriot K., Retro. Supp. II: 146 Hunt, Leigh, II: 515–516; Supp. XV: 175 Hunt, Richard Morris, IV: 312 Hunt, Robert, Supp. XV: 42, 49, 52 Hunt, William, II: 343 “Hunter” (Bierds), Supp. XVII: 30 Hunter, Dianna, Supp. XVI: 38 Hunter, Dr. Joseph, II: 217 Hunter, J. Paul, Supp. IV Part 1: 332 Hunter, Kim, Supp. I Part 1: 286 “Hunter of Doves” (Herbst), Retro. Supp. II: 325 “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 and Gatherers (Prose), Supp. XVI: 257 “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 for Hope: A Father’s Journey (Sanders), Supp. XVI: 276–277, 278 “Hunting Is Not Those Heads on the Wall” (Baraka), Supp. II Part 1: 45 Huntington, Collis P., I: 198, 207 “Hunt in the Black Forest, The” (Jarrell), II: 379–380 Huntley, Jobe, Supp. I Part 1: 339 “Hurrah, Hurrah” (Nelson), Supp. XVIII: 175 Hurray Home (Wideman), Supp. X: 320 “Hurricane, The” (Crane), I: 401 “Hurricane, The” (Freneau), Supp. II Part 1: 262 “Hurry Kane” (Lardner), II: 425, 426, 427 “Hurry up Please It’s Time” (Sexton), Supp. II Part 2: 694, 695 Hurst, Fannie, Supp. XVIII: 278, 279 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: 149–161; Supp. VIII: 214; Supp. X: 131, 139, 232, 242; Supp. XI: 85; Supp. XIII: 185, 233, 236, 295, 306; Supp. XVIII: 122, 279, 280, 282; Supp. XIX: 72, 75 Hurt, John, Supp. XIII: 132 Husbands and Wives (film; Allen), Supp. XV: 12 “Husband’s Song, The” (Di Piero), Supp. XIX: 39 Husband’s Story, The (Shields), Supp. VII: 316. See also “Happenstance” (Shields) Husserl, Edmund, II: 362, 363; IV: 491; Supp. IV Part 1: 42, 43 Hussey, Jo Ella, Supp. XII: 201 Hustler, The (film), Supp. XI: 306 Huston, John, I: 30, 31, 33, 35; II: 588; III: 161; Supp. IV Part 1: 102, 116, 355; Supp. XI: 307; Supp. XIII: 174 “Huswifery” (Taylor), IV: 161; Supp. I Part 2: 386 “Hut, The” (Sobin), Supp. XVI: 284– 285 Hutchens, John K., Supp. IX: 276 Hutcheson, Francis, I: 559 Hutchins, Patricia, III: 478 Hutchinson, Abigail, I: 562 Hutchinson, Anne, Supp. I Part 1: 100, 101, 113; Supp. IV Part 2: 434; Supp. VIII: 202, 205 Hutchinson, George, Supp. XVIII: 119– 120, 121, 132 Hutton, James, Supp. IX: 180 Huxley, Aldous, II: 454; III: 281, 428, 429–430; IV: 77, 435; Supp. I Part 2: 714; Supp. XIV: 3, 164; Supp. XVI: 189, 192; Supp. XVIII: 137 Huxley, Julian, Supp. VIII: 251; Supp. X: 108 Huxley, Juliette, Supp. VIII: 251, 265 Huxley, Thomas, III: 102, 108, 113, 281; Retro. Supp. II: 60, 65, 93

Huxley, Thomas Henry, Supp. I Part 1: 368 Huysmans, Joris Karl (Charles Marie Georges), I: 66; III: 315; IV: 286; Retro. Supp. II: 326 “Hwame, Koshkalaka, and the Rest: Lesbians in American Indian Cultures” (Gunn Allen), Supp. IV Part 1: 330 Hwang, David Henry, Supp. X: 292 “Hyacinth Drift” (Rawlings), Supp. X: 226–227 Hyde, Lewis, Supp. XVIII: 150 “Hydrangeas” (C. Frost), Supp. XV: 106 “Hydras, The” (Merwin), Supp. III Part 1: 349 Hydriotaphia, The; or, Death of Dr. Browne: An Epic Farce about Death and Primitive Capital Accumulation (Kushner), Supp. IX: 133, 136–138 “Hydriotaphia; or, Urne-Buriall” (Browne), Supp. IX: 136–137 Hyman, Stanley Edgar, I: 129, 264, 363, 377, 379; Retro. Supp. II: 118; Supp. IX: 113, 114, 117, 118, 121, 122, 128 Hymen (Doolittle), Supp. I Part 1: 266 “Hymie’s Bull” (Ellison), Retro. Supp. II: 124; Supp. II Part 1: 229 “Hymn Books” (Emerson), II: 10 “HYMN FOR LANIE POO” (Baraka), Supp. II Part 1: 31, 37 “Hymn from a Watermelon Pavilion” (Stevens), IV: 81 “Hymn of the Sea, A” (Bryant), Supp. I Part 1: 157, 163, 165 “Hymns of the Marshes” (Lanier), Supp. I Part 1: 364 “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 Hynes, Jennifer, Supp. XV: 207 Hynes, Samuel, Supp. XIV: 159 Hyperion (Longfellow), II: 488, 489, 491–492, 496; Retro. Supp. II: 58, 155–156 “Hypocrite Auteur” (MacLeish), III: 19 “Hypocrite Swift” (Bogan), Supp. III Part 1: 55 “Hysteria” (Eliot), I: 570 I I (Dixon), Supp. XII: 141, 155, 156–157 I, etcetera (Sontag), Supp. III Part 2: 451–452, 469 I, Governor of California and How I Ended Poverty (Sinclair), Supp. V: 289 I, the Jury (Spillane), Supp. XVIII: 236 “I, Too” (Hughes), Retro. Supp. I: 193, 199; Supp. I Part 1: 320 I Accuse! (film), Supp. IV Part 2: 683 “I Almost Remember” (Angelou), Supp. IV Part 1: 15 “’ I Always Wanted You to Admire My Fasting’ ; or, Looking at Kafka“(P. Roth), Retro. Supp. II: 282 I am a Camera (Druten), Supp. XIV: 162

CUMULATIVE INDEX / 399 “I am a cowboy in the boat of Ra” (Reed), Supp. X: 242 “I Am a Dangerous Woman” (Harjo), Supp. XII: 216, 219 “I Am Alive” (Momaday), Supp. IV Part 2: 489 I Am a Sonnet (Goldbarth), Supp. XII: 181 “I Am a Writer of Truth” (Fante), Supp. XI: 167 “’ I Am Cherry Alive,’ the Little Girl Sang” (Schwartz), Supp. II Part 2: 663 “I Am Dying, Meester?” (Burroughs), Supp. III Part 1: 98 I Am Elijah Thrush (Purdy), Supp. VII: 274 “I Am in Love” (Stern), Supp. IX: 295 “I Am Not Flattered” (Francis), Supp. IX: 78 I Am! Says the Lamb (Roethke), III: 545 “I Am You Again” (Nelson), Supp. XVIII: 173 “I and My Chimney” (Melville), III: 91 I and Thou (Buber), III: 308 “I Apologize” (Komunyakaa), Supp. XIII: 120, Supp. XIII: 121 I Apologize for the Eyes in My Head (Komunyakaa), Supp. XIII: 119–121, 126 “I Believe I Shall Die an Impenetrable Secret“: The Writings of Elizabeth Barstow Stoddard (Giovani), Supp. XV: 270 Ibsen, Henrik, II: 27, 276, 280, 291–292; III: 118, 145, 148, 149, 150, 151, 152, 154–155, 156, 161, 162, 165, 511, 523; IV: 397; Retro. Supp. I: 228; Retro. Supp. II: 94; Supp. IV Part 2: 522; Supp. XIV: 89; Supp. XVII: 100; Supp. XIX: 241 “I Came Out of the Mother Naked” (R. Bly), Supp. IV Part 1: 62–63, 68 I Can Lick 30 Tigers Today! and Other Stories (Geisel), Supp. XVI: 108 “I Cannot Forget with What Fervid Devotion” (Bryant), Supp. I Part 1: 154 I Can Read with My Eyes Shut! (Geisel), Supp. XVI: 111 “I Can Speak!tm” (Saunders), Supp. XIX: 231 “I Can’ t Stand Your Books: A Writer Goes Home” (Gordon), Supp. IV Part 1: 314 “Icarium Mare” (Wilbur), Supp. III Part 2: 563 “Icarus in Winter” (C. Frost), Supp. XV: 94 Icarus’s Mother (Shepard), Supp. III Part 2: 446 “Ice” (Bambara), Supp. XI: 16 Ice at the Bottom of the World, The (Richard), Supp. XIX: 209, 210–213, 218, 220 “Iceberg, The” (Merwin), Supp. III Part 1: 345 Ice-Cream Headache, The, and Other Stories (Jones), Supp. XI: 215, 227 Ice Fire Water: A Leib Goldkorn Cocktail (Epstein), Supp. XII: 164–166

“Ice Fisherman, The” (C. Baxter), Supp. XVII: 15 “Ice House, The” (Gordon), II: 201 “Ice Man, The” (Di Piero), Supp. XIX: 40 Iceman Cometh, The (O’ Neill), I: 81; III: 151, 385, 386, 401, 402–403; Supp. VIII: 345; Supp. XVI: 193; Supp. XVII: 103 “Ice Palace, The” (Fitzgerald), II: 83, 88; Retro. Supp. I: 103 Ice-Shirt, The (Vollmann), Supp. XVII: 226, 231, 232, 233 “Ice Storm, The” (Ashbery), Supp. III Part 1: 26 “Ice-Storm, The” (Pinsky), Supp. VI: 247–248 “Ichabod” (Whittier), Supp. I Part 2: 687, 689–690; Supp. XI: 50 “Icicles” (Francis), Supp. IX: 83 “Icicles” (Gass), Supp. VI: 83 Ickes, Harold, Supp. I Part 1: 5 Iconographs (Swenson), Supp. IV Part 2: 638, 646–648, 651 “Icosaphere, The” (Moore), III: 213 “I Could Believe” (Levine), Supp. V: 189 “I Could Take” (Carruth), Supp. XVI: 56 “I Cry, Love! Love!” (Roethke), III: 539–540 Ida (Stein), IV: 43, 45 “Idea, The” (Carver), Supp. III Part 1: 143 “Idea, The” (Strand), Supp. IV Part 2: 631 Ideal Husband (Wilde), II: 515 Idea of Florida in the American Literary Imagination, The (Rowe), Supp. X: 223 “Idea of Form at Spruce Creek, The” (Weigl), Supp. XIX: 283–284 “Idea of Ice, The” (C. Baxter), Supp. XVII: 15 “Idea of Order, An” (Wiman), Supp. XVIII: 173 “Idea of Order at Key West, The” (Stevens), IV: 89–90; Retro. Supp. I: 302, 303, 313 Ideas of Order (Stevens), Retro. Supp. I: 296, 298, 302–303, 303, 305 “Identity Theft: True Memory, False Memory, and the Holocaust” (R. Franklin), Supp. XVI: 160 Ideograms in China (Michaux; Sobin, trans.), Supp. XVI: 288 “Ideographs” (Olds), Supp. X: 205 Ides of March, The (Wilder), IV: 357, 372 “I Did Not Learn Their Names” (Ellison), Retro. Supp. II: 124 “I Died with the First Blow & Was Reborn Wrong” (Coleman), Supp. XI: 91 “Idiom of a Self, The” (Pinsky), Supp. VI: 240 “Idiot, The” (Crane), I: 401 Idiot, The (Dostoevsky), I: 468 “Idiots First” (Malamud), Supp. I Part 2: 434–435, 437, 440–441 “Idiot Wind” (song, Dylan), Supp. XVIII: 30

I Don’ t Need You Any More (A. Miller), III: 165 Idoru (W. Gibson), Supp. XVI: 119, 124, 129–130 “I Dream I’ m the Death of Orpheus” (Rich), Supp. I Part 2: 557–558 I Dreamt I Became a Nymphomaniac! Imagining (Acker), Supp. XII: 4, 6, 8, 11 “Idyll” (Shaw), Supp. XIX: 241 Idylls of the King (Tennyson), III: 487; Supp. I Part 2: 410; Supp. XIII: 146 Idyl of Work, An (Larcom), Supp. XIII: 139, 142, 146–147, 150 “If” (Creeley), Supp. IV Part 1: 158 If Beale Street Could Talk (Baldwin), Retro. Supp. II: 13–14; Supp. I Part 1: 48, 59–60, 67 If Blessing Comes (Bambara), Supp. XI: 1 I Feel a Little Jumpy around You (Nye and Janeczko, eds.), Supp. XIII: 280 “I felt a Funeral, in my Brain” (Dickinson), Retro. Supp. I: 38 “If Grown-Ups Were Smart” (Nelson and Espeland), Supp. XVIII: 181 If He Hollers Let Him Go (C. Himes), Supp. XVI: 135, 138–139, 142 “If I Could Be Like Wallace Stevens” (Stafford), Supp. XI: 327 “If I Could Do Whatever I Wanted” (Nelson and Espeland), Supp. XVIII: 181 “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 “If I Might Be” (Chopin), Retro. Supp. II: 61 “I Find the Real American Tragedy” (Dreiser), Retro. Supp. II: 105 If I Ran the Circus (Geisel), Supp. XVI: 105 If I Ran the Zoo (Geisel), Supp. XVI: 104–105 If It Die (Gide), I: 290 “If It Were Not for You” (Carruth), Supp. XVI: 57 “If I Were a Man” (Gilman), Supp. XI: 207 “If I Were the Wind” (Leopold), Supp. XIV: 184 If Morning Ever Comes (Tyler), Supp. IV Part 2: 658–659 If Mountains Die: A New Mexico Memoir (Nichols), Supp. XIII: 255, 257, 267 I Forgot to Go to Spain (Harrison), Supp. VIII: 39, 52–53 If the River Was Whiskey (Boyle), Supp. VIII: 15–16 “If They Knew Yvonne” (Dubus), Supp. VII: 81 “If We Had Bacon” (H. Roth), Supp. IX: 232, 234 “If We Had Known” (Francis), Supp. IX: 78

400 / AMERICAN WRITERS “If We Must Die” (McKay), Supp. IV Part 1: 3; Supp. X: 132, 134 “If We Take All Gold” (Bogan), Supp. III Part 1: 52 If You Call This a Cry Song (Carruth), Supp. XVI: 56 If You Want to Write (Ueland), Supp. XVII: 13 I Gaspiri (Lardner), II: 435 “I Gather the Limbs of Osiris” (Pound), Retro. Supp. I: 287 “I Give You Back” (Harjo), Supp. XII: 223 Ignatius of Loyola, IV: 151; Supp. XI: 162 Ignatow, David, Supp. XIII: 275 “Ignis Fatuus” (Tate), IV: 128 “I Go Back to May 1937” (Olds), Supp. X: 207 I Go Dreaming Serenades (Salinas), Supp. XIII: 316 I Got the Blues (Odets), Supp. II Part 2: 530 Iguana Killer, The (Ríos), Supp. IV Part 2: 542–544 “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: 44–45, 46 I Had Trouble in Getting to Solla Sollew (Geisel), Supp. XVI: 108, 109 “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 heard a Fly buzz when I died” (Dickinson), Retro. Supp. I: 38 “I Heard Immanuel Singing” (Lindsay), Supp. I Part 2: 379 “I Hear It Was Charged against Me” (Whitman), IV: 343 “I Held a Shelley Manuscript” (Corso), Supp. XII: 128 “I Held His Name” (Ríos), Supp. IV Part 2: 547 I Knew a Phoenix (Sarton), Supp. VIII: 249, 251–252 “I Know a Man” (Creeley), Supp. IV Part 1: 147–148, 149 I Know Some Things: Stories about Childhood by Contemporary Writers (Moore, ed.), Supp. X: 175 “I Know Why the Caged Bird Cannot Read” (Prose), Supp. XVI: 259 I Know Why the Caged Bird Sings (Angelou), Supp. IV Part 1: 2–4, 5, 7, 11, 12, 13, 14, 15, 17; Supp. XVI: 259 “Ikon: The Harrowing of Hell” (Levertov), Supp. III Part 1: 284 Ile (O’ Neill), III: 388 “I Let Him Take Me” (Cisneros), Supp. VII: 71 Iliad (Bryant, trans.), Supp. I Part 1: 158

Iliad (Homer), II: 470; Supp. IV Part 2: 631; Supp. IX: 211; Supp. X: 114 Iliad (Pope, trans.), Supp. I Part 1: 152 Iliad, The (Homer), Supp. XVII: 117 “I like to see it lap the Miles” (Dickinson), Retro. Supp. I: 37 “I Live Up Here” (Merwin), Supp. III Part 1: 349 “Illegal Alien” (Mora), Supp. XIII: 215 “Illegal Days, The” (Paley), Supp. VI: 222 “Illegibility” (F. Wright), Supp. XVII: 244 Illig, Joyce, Retro. Supp. II: 20 “Illinois” (Masters), Supp. I Part 2: 458 “Illinois Bus Ride” (Leopold), Supp. XIV: 189 Illinois Poems (Masters), Supp. I Part 2: 472 “Illinois Village, The” (Lindsay), Supp. I Part 2: 381 “Ill-Lit” (F. Wright), Supp. XVII: 245 Ill-Lit: Selected & New Poems (F. Wright), Supp. XVII: 245 Illness as Metaphor (Sontag), Supp. III Part 2: 452, 461, 466 I’ ll Take My Stand (“Twelve Southerners“), II: 196; III: 496; IV: 125, 237; Supp. X: 25, 52–53; Supp. XIV: 3 “I’ ll Take You to Tennessee” (Connell), Supp. XIV: 82 Illumination (Frederic), II: 141 Illumination Night (Hoffman), Supp. X: 85, 86, 88, 89 Illusion comique, L’ (Corneille), Supp. IX: 138 “Illusion of Eternity, The” (Eberhart), I: 541 “Illusion of Fiction in Frank Conroy’s Stop-Time, The” (R. Ramsey), Supp. XVI: 69 Illusions (Dash; film), Supp. XI: 20 “Illusions” (Emerson), II: 2, 5, 14, 16 Illustrated Man, The (Bradbury), Supp. IV Part 1: 102, 103, 113 Illustrations of Political Economy (Martineau), Supp. II Part 1: 288 “I Look at My Hand” (Swenson), Supp. IV Part 2: 638, 647 I Love Gootie: My Grandmother’s Story (Apple), Supp. XVII: 9–10 I Love Myself When I Am Laughing . . . : A Zora Neale Hurston Reader (Walker), Supp. III Part 2: 531, 532 “I’ m a Fool” (Anderson), I: 113, 114, 116; Supp. I Part 2: 430 Image and Idea (Rahv), Supp. II Part 1: 146 Image and the Law, The (Nemerov), III: 268, 269–271, 272 “Image in the Mirror, The” (Swados), Supp. XIX: 265 “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 Friendships of Tom McGrath, The” (Cohen), Supp. X: 112 “Imaginary Iceberg, The” (Bishop), Retro. Supp. II: 42; Supp. I Part 1: 86, 88 “Imaginary Jew, The” (Berryman), I: 174–175 Imaginary Letters (Pound), III: 473–474 Imaginary Paintings (C. Baxter), Supp. XVII: 18–19 “Imaginary Prisons” (Schnackenberg), Supp. XV: 257, 258 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: 515–516 “Imagination as Value” (Stevens), Retro. Supp. I: 298 “Imagination of Disaster, The” (Gordon), Supp. IV Part 1: 306 “Imagine a Day at the End of Your Life” (Beattie), Supp. V: 33 Imagined London: A Tour of the World’s Greatest Fictional City (Quindlen), Supp. XVII: 167, 180 “Imagine Kissing Pete” (O’ Hara), III: 372; Supp. VIII: 156 Imaging Robert: My Brother, Madness, and Survival (Neugeboren), Supp. XVI: 225, 226–229 “Imagining How It Would Be to Be Dead” (Eberhart), I: 533 Imagining Los Angeles: A City in Fiction (Fine), Supp. XI: 160 “Imagining Their Own Hymns” (B. Kelly), Supp. XVII: 126–127 “Imagining the Midwest” (Sanders), Supp. XVI: 275–276 Imagining the Worst: Stephen King and the Representations of Women (Lant and Thompson), Supp. V: 141 “Imagisme” (Pound), Retro. Supp. I: 288 Imagistes, Des: An Anthology of the Imagists (Pound, ed.), III: 465, 471; Retro. Supp. I: 288 Imago (O. Butler), Supp. XIII: 63, 65–66 “Imago” (Stevens), IV: 74, 89 Imagoes (Coleman), Supp. XI: 89–90 I Married a Communist (P. Roth), Retro. Supp. II: 289, 293–294 I Married an Angel (film), Supp. XVI: 193 “I May, I Might, I Must” (Moore), III: 215 “I’ m Crazy” (Salinger), III: 553 “I’ m Here” (Roethke), III: 547 Imitations (Lowell), II: 543, 544–545, 550, 555; Retro. Supp. II: 181, 187 “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 “Immigrants” (Mora), Supp. XIII: 216

CUMULATIVE INDEX / 401 “Immigrant Story, The” (Paley), Supp. VI: 230 Immobile Wind, The (Winters), Supp. II Part 2: 786 “Immobile Wind, The” (Winters), Supp. II Part 2: 788, 811 “Immolatus” (Komunyakaa), Supp. XIII: 126 “Immoral Proposition, The” (Creeley), Supp. IV Part 1: 144 “Immortal Autumn” (MacLeish), III: 13 “Immortality Ode” (Nemerov), III: 87 Immortality Ode (Wordsworth), II: 17; Supp. I Part 2: 673 “Immortal Woman, The” (Tate), IV: 130, 131, 137 “I’ m Not Ready to Die Yet” (Harjo), Supp. XII: 231 I’ m Not There (film, Haynes), Supp. XVIII: 23 “I’ m on My Way” (Salinas), Supp. XIII: 320 “Impasse” (Hughes), Supp. I Part 1: 343 Imperative Duty, An, a Novel (Howells), II: 286 Imperial Eyes: Travel Writing and Transculturation (Pratt), Retro. Supp. II: 48 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 “Imp of the Perverse, The” (Poe), III: 414–415; Retro. Supp. II: 267 Impolite Interviews, Supp. XI: 293 “Importance of Artists’ Biographies, The” (Goldbarth), Supp. XII: 183, 184, 191 Importance of Being Earnest, The (Wilde), Supp. XIV: 324, 339 “Important Houses, The” (Gordon), Supp. IV Part 1: 315 “Impossible Indispensability of the Ars Poetica, The” (Carruth), Supp. XVI: 57 “Impossible to Tell” (Pinsky), Supp. VI: 247, 248 “Imposter, The” (West), Retro. Supp. II: 322, 327 “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 “I’ m Walking behind the Spanish” (Salinas), Supp. XIII: 323–324 “I/Myself” (Shields), Supp. VII: 311 “In Absence” (Lanier), Supp. I Part 1: 364 “In Absentia” (Bowles), Supp. IV Part 1: 94 “In a Cab” (Untermeyer), Supp. XV: 296 “In a Country Cemetery” (Kooser), Supp. XIX: 120 Inada, Lawson Fusao, Supp. V: 180

“In a Dark Room, Furniture” (Nye), Supp. XIII: 274 “In a Dark Time” (Roethke), III: 539, 547, 548 “In a Disused Graveyard” (Frost), Retro. Supp. I: 126, 133 In a Dusty Light (Haines), Supp. XII: 207 “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 America (Sontag), Supp. XIV: 95–96 “In Amicitia” (Ransom), IV: 141 In a Narrow Grave: Essays on Texas (McMurtry), Supp. V: 220, 223 “Inanna” (A. Finch), Supp. XVII: 72 “In Another Country” (Hemingway), I: 484–485; II: 249 In April Once (Percy), Retro. Supp. I: 341 “In a Prominent Bar in Secaucus One Day” (X. J. Kennedy), Supp. XV: 154, 155–156 In A Shallow Grave (Purdy), Supp. VII: 272 “In a Station of the Metro” (Pound), Retro. Supp. I: 288; Supp. I Part 1: 265; Supp. XIV: 284–285 “In a Strange Town” (Anderson), I: 114, 115 “In Athens Once” (Rodriguez), Supp. XIV: 303 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 Black & Whitey (Lacy), Supp. XV: 206–207 “In Broad Daylight” (Jin), Supp. XVIII: 94 In Broken Country (Wagoner), Supp. IX: 330 “In California” (Simpson), Supp. IX: 271 “In Camp” (Stafford), Supp. XI: 329 “Incant against Suicide” (Karr), Supp. XI: 249 “In Celebration of My Uterus” (Sexton), Supp. II Part 2: 689 “Incendiary, The” (Rowson), Supp. XV: 234 “In Certain Places and Certain Times There Can Be More of You” (Dunn), Supp. XI: 144 Incest: From “A Journal of Love,” the Unexpurgated Diary of Anaïs Nin, 1932–1934 (Nin), Supp. X: 182, 184, 185, 187, 191 “In Chandler Country” (Gioia), Supp. XV: 119 Inchbald, Elizabeth, II: 8 “In Cheever Country” (Gioia), Supp. XV: 119

Inchiquin, the Jesuit’s Letters (Ingersoll), I: 344 “Incident” (Cullen), Supp. IV Part 1: 165, 166 Incidental Numbers (Wylie), Supp. I Part 2: 708 Incidentals (Sandburg), III: 579 Incident at Vichy (A. Miller), III: 165, 166 Incidents in the Life of a Slave Girl (Brent), Supp. IV Part 1: 13 Incidents in the Life of a Slavegirl (Jacobs), Supp. XVI: 85 “Incipience” (Rich), Supp. I Part 2: 559 “In Clare” (McCarriston), Supp. XIV: 270–271 Including Horace (Untermeyer), Supp. XV: 301, 303–304 In Cold Blood: A True Account of a Multiple Murder and Its Consequences (Capote), Retro. Supp. II: 107–108; Supp. I Part 1: 292; Supp. III Part 1: 111, 117, 119, 122, 123, 125–131; Supp. III Part 2: 574; Supp. IV Part 1: 220; Supp. XIV: 162 In Cold Hell, in Thicket (Olson), Supp. II Part 2: 571 “In Cold Hell, in Thicket” (Olson), Supp. II Part 2: 558, 563–564, 566, 572, 580 “Incomparable Light, The” (Eberhart), I: 541 Incorporative Consciousness of Robert Bly, The (Harris), Supp. IV Part 1: 68 In Country (Mason), Supp. VIII: 133, 142–143, 146 “Incredible Survival of Coyote, The” (Snyder), Supp. VIII: 297 “Increment” (Ammons), Supp. VII: 28 In Defense of Ignorance (Shapiro), Supp. II Part 2: 703, 704, 713–714 In Defense of Reason (Winters), Supp. I Part 1: 268 In Defense of Women (Mencken), III: 109 Independence Day (film), Supp. X: 80 Independence Day (Ford), Supp. V: 57, 62–63, 67–68 “Independent Candidate, The, a Story of Today” (Howells), II: 277 “Indestructible Mr. Gore, The” (Vidal), Supp. IV Part 2: 679 Index of American Design, Supp. III Part 2: 618 “India” (Rodriguez), Supp. XIV: 302 “Indian at the Burial-Place of His Fathers, An” (Bryant), Supp. I Part 1: 155– 156, 167–168 “Indian Burying Ground, The” (Freneau), Supp. II Part 1: 264, 266 “Indian Camp” (Hemingway), II: 247– 248, 263; Retro. Supp. I: 174–175, 176, 177, 181; Supp. XVI: 208 Indian Country (Caputo), Supp. XIX: 22–25 Indian Country (Matthiessen), Supp. V: 211 “Indian Country” (McCarriston), Supp. XIV: 271

402 / AMERICAN WRITERS “Indian Country” (Simpson), Supp. IX: 274 Indian Earth (Bynner), Supp. XV: 46 “Indian Girls” (McCarriston), Supp. XIV: 272–273 “Indian Manifesto” (Deloria), Supp. IV Part 1: 323 “Indian Names” (Sigourney), Retro. Supp. II: 47 “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 Summer (Knowles), Supp. XII: 249, 250 “Indian Uprising, The” (Barthelme), Supp. IV Part 1: 44 Indifferent Children, The (Auchincloss), Supp. IV Part 1: 25 Indiscretions (Pound), Retro. Supp. I: 284 “Indispensability of the Eyes, The” (Olds), Supp. X: 202 “In Distrust of Merits” (Moore), III: 201, 214 “Individual and the State, The” (Emerson), II: 10 Individualism, Old and New (Dewey), Supp. I Part 2: 677 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 “Industry of Hard Kissing, The” (Ríos), Supp. IV Part 2: 547 “In Duty Bound” (Gilman), Supp. XI: 196–197 “I Need, I Need” (Roethke), III: 535– 536 “I Need Help” (Stern), Supp. IX: 290 “Inés in the Kitchen” (García), Supp. XI: 190 “I never saw a Moor” (Dickinson), Retro. Supp. I: 37 I Never Told Anybody: Teaching Poetry Writing in a Nursing Home (Koch), Supp. XV: 190 “I Never Will Be Married, I’ d Rather Be Excus’ d” (Rowson), Supp. XV: 240 Inevitable Exiles (Kielsky), Supp. V: 273 “Inevitable Trial, The” (Holmes), Supp. I Part 1: 318 “Inexhaustible Hat, The” (Wagoner), Supp. IX: 327 “In Extremis” (Berry), Supp. X: 23 “Infancy” (Wilder), IV: 375 “Infant Boy at Midcentury” (Warren), IV: 244–245, 252 Infante, Guillermo Cabrera, Retro. Supp. I: 278 “Infant Sea Turtles” (F. Wright), Supp. XVII: 245

Infants of the Spring (Thurman), Supp. XVIII: 281; Supp. XIX: 73 Inferno (Dante), IV: 139; Supp. V: 338; Supp. VIII: 219–221 Inferno of Dante, The (Pinsky), Supp. VI: 235, 248 “Infidelity” (Komunyakaa), Supp. XIII: 130 Infidels (album, Dylan), Supp. XVIII: 28 “Infiltration of the Universe” (MacLeish), III: 19 Infinite Jest: A Novel (Wallace), Supp. X: 301, 310–314 “Infinite Reason, The” (MacLeish), III: 19 “Infirmity” (Lowell), II: 554 “Infirmity” (Roethke), III: 548 In Five Years Time (Haines), Supp. XII: 206 “In Flower” (Snodgrass), Supp. VI: 325 “Influence of Landscape upon the Poet, The” (Eliot), Retro. Supp. I: 67 “In Football Season” (Updike), IV: 219 Informer, The (film), Supp. III Part 2: 619 Ingersoll, Charles J., I: 344 Ingersoll, Robert Green, Supp. II Part 1: 198 Ingraham, Lloyd, Supp. XVI: 184 Ingster, Boris, Retro. Supp. II: 330 Inhabitants, The (Morris), III: 221–222 “Inheritance and Invention in Li-Young Lee’s Poetry” (Xiaojing), Supp. XV: 214 “Inheritance of Tools, The” (Sanders), Supp. XVI: 273 Inheritors (Glaspell), Supp. III Part 1: 175, 179–181, 186, 189 “In Honor of David Anderson Brooks, My Father” (Brooks), Supp. III Part 1: 79 “Inhumanist, The” (Jeffers), Supp. II Part 2: 423, 426 “In Illo Tempore” (Karr), Supp. XI: 242 “In Interims: Outlyer” (Harrison), Supp. VIII: 38 “Initial” (F. Wright), Supp. XVII: 243 “Injudicious Gardening” (Moore), III: 198 “Injustice” (Paley), Supp. VI: 220 Injustice Collectors, The (Auchincloss), Supp. IV Part 1: 25 Ink, Blood, Semen (Goldbarth), Supp. XII: 181, 183 Ink Truck, The (W. Kennedy), Supp. VII: 132, 133–138, 140, 141, 149, 152 In Life Sentences: Literary Essays (Epstein), Supp. XIV: 112 “In Limbo” (Wilbur), Supp. III Part 2: 544, 561 In Limestone Country (Sanders), Supp. XVI: 272 In Love and Trouble: Stories of Black Women (Walker), Supp. III Part 2: 520, 521, 530, 531, 532 In Mad Love and War (Harjo), Supp. XII: 224–226 “In Memoriam” (Emerson), II: 13 “In Memoriam” (Hay), Supp. XIV: 122, 127

“In Memoriam” (Tennyson), Retro. Supp. I: 325; Supp. I Part 2: 416 In Memoriam: 1933 (Reznikoff), Supp. XIV: 280, 285 In Memoriam to Identity (Acker), Supp. XII: 5, 16–18 “In Memory of Arthur Winslow” (Lowell), II: 541, 547, 550; Retro. Supp. II: 187 “In Memory of Congresswoman Barbara Jordan” (Pinsky), Supp. VI: 250 “In Memory of Joe Brainard” (Bidart), Supp. XV: 33 “In Memory of My Feelings” (O’ Hara), Supp. XV: 215–216 “In Memory of W. B. Yeats” (Auden), Supp. VIII: 19, 30; Supp. XI: 243, 244; Supp. XIX: 85 “In Memory of W. H. Auden” (Stern), Supp. IX: 288 “In Mercy on Broadway” (Doty), Supp. XI: 132 In Morocco (Wharton), Retro. Supp. I: 380; Supp. IV Part 1: 81 Inmost Leaf, The: A Selection of Essays (Kazin), Supp. VIII: 102, 103 In Motley (Bierce), I: 209 In My Father’s Court (Singer), IV: 16– 17; Retro. Supp. II: 301–302 “In My Life” (Dubus), Supp. VII: 81 Inner Landscape (Sarton), Supp. VIII: 259 Inner Room, The (Merrill), Supp. III Part 1: 336 “In Nine Sleep Valley” (Merrill), Supp. III Part 1: 328 Innocents, The: A Story for Lovers (Lewis), II: 441 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 “In Off the Cliffs of Moher” (McCarriston), Supp. XIV: 270 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. III Part 2: 584 “Inpatient” (Kenyon), Supp. VII: 169 In Persuasion Nation (Saunders), Supp. XIX: 231–234 “In Persuasion Nation” (Saunders), Supp. XIX: 233–234 In Pharaoh’s Army: Memories of the Lost War (Wolff), Supp. VII: 331–334, 335, 338

CUMULATIVE INDEX / 403 “In Plaster” (Plath), Supp. I Part 2: 540 “In Prague, in Montmartre” (Bierds), Supp. XVII: 27 “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 Pursuit of a Vanishing Star (Sobin), Supp. XVI: 294 In Quest of the Ordinary (Cavell), Retro. Supp. I: 307 Inquiry into the Moral and Religious Character of the American Government, An (H. Warner), Supp. XVIII: 259 Inquiry into the Nature of Peace, An (Veblen), Supp. I Part 2: 642 Inquisitor, The (Rowson), Supp. XV: 232, 238 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 “Inroads of Time, The” (D. West), Supp. XVIII: 286–287 In Russia (A. Miller), III: 165 “In Sabine” (Chopin), Supp. I Part 1: 213 “In School-Days” (Whittier), Supp. I Part 2: 699–700 “Inscription for the Entrance to a Wood” (Bryant), Supp. I Part 1: 154, 155, 161–162 Inscriptions, 1944–1956 (Reznikoff), Supp. XIV: 281 In Search of Bisco (Caldwell), I: 296 In Search of Nella Larsen: A Biography of the Color Line (Hutchinson), Supp. XVIII: 120 “In Search of Our Mothers’ Gardens” (Walker), Supp. III Part 2: 520–532, 524, 525, 527, 529, 532–533, 535, 536; Supp. IX: 306; Supp. XVIII: 200, 283 “In Search of Thomas Merton” (Griffin), Supp. VIII: 208 “In Search of Yage” (Burroughs), Supp. III Part 1: 98 “Insertion of Self into a Space of Borderless Possibilities, The” (Fjellestad), Supp. XVI: 150 “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 Inside His Mind (A. Miller), III: 154 “Inside Norman Mailer” (Apple), Supp. XVII: 3, 4 “Insider Baseball” (Didion), Supp. IV Part 1: 211 Inside Sports magazine, Supp. V: 58, 61 “Insipid Profession of Jonathan Horneboom, The” (Lethem), Supp. XVIII: 149

“In So Many Dark Rooms” (Hogan), Supp. IV Part 1: 400 “Insomnia” (Bishop), Supp. I Part 1: 92 “Insomniac” (Plath), Supp. I Part 2: 539 “Inspiration for Greatness” (Caldwell), I: 291 “Instability of Race Types, The” (Boas), Supp. XIV: 209 “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 “Instruction Manual, The” (Ashbery), Supp. III Part 1: 6–7, 10, 12 “Instructions for the Afternoon” (Gioia), Supp. XV: 120 “Instruction to Myself” (Brooks), Supp. III Part 1: 87 Instrument, The (O’ Hara), III: 362, 364 “In Such Times, Ties Must Bind” (Nye), Supp. XIII: 286 “Insurance and Social Change” (Stevens), Retro. Supp. I: 297 Insurgent Mexico (Reed), I: 476 In Suspect Terrain (McPhee), Supp. III Part 1: 309, 310 “In Tall Grass” (Sandburg), III: 585 “Integer Vitae” (Horace), Supp. XV: 304 Intellectual History, An (Senghor), Supp. X: 139 “Intellectual Pre-Eminence of Jews in Modern Europe, The” (Veblen), Supp. I Part 2: 643–644 Intellectual Things (Kunitz), Supp. III Part 1: 260, 262–264 Intellectual versus the City, The (White), I: 258 “In Temporary Pain” (Bynner), Supp. XV: 41–42 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; Allen), Supp. IV Part 1: 205; Supp. XV: 1, 7, 10 Interlocking Lives (Koch), Supp. XV: 185 “Interlude” (A. Lowell), Retro. Supp. II: 46 Interlunar (Atwood), Supp. XIII: 35 “Intermezzo” (Schnackenberg), Supp. XV: 254 “In Terms of the Toenail: Fiction and the Figures of Life” (Gass), Supp. VI: 85 “International Episode, An” (James), II: 327 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: 1922–1972 (Mumford), Supp. II Part 2: 481 Interpretations of Poetry and Religion (Santayana), III: 611 Interpreters and Interpretations (Van Vechten), Supp. II Part 2: 729, 733– 734 “Interrogate the Stones” (MacLeish), III: 9 Interrogations at Noon (Gioia), Supp. XV: 112, 125–127, 128, 129 “Interrupted Conversation, An” (Van Vechten), Supp. II Part 2: 735 “Interrupted Elegy” (Peacock), Supp. XIX: 200 Intersect: Poems (Shields), Supp. VII: 310–311 Interstate (Dixon), Supp. XII: 140, 152– 153, 153, 156 “Interview” (Hay), Supp. XIV: 132 “Interview, The” (Thurber), Supp. I Part 2: 616 “Interview With a Lemming” (Thurber), Supp. I Part 2: 603 “Interview with Peter Everwine, An” (Veinberg and Buckley), Supp. XV: 76–77 “Interview with the Crab” (Lethem), Supp. XVIII: 148 Interview with the Vampire (Rice), Supp. VII: 287, 288–291, 297–298, 303 “Interview with the Vampire” (Rice), Supp. VII: 288 Interzone (Burroughs), Supp. IV Part 1: 90 “In the Absence of Bliss” (Kumin), Supp. IV Part 2: 453 “In the Afternoon” (Dunn), Supp. XI: 146 “In the Alley” (Elkin), Supp. VI: 46–47 In the American Grain (W. C. Williams), Retro. Supp. I: 420–421 In the American Tree (Silliman), Supp. IV Part 2: 426 In the Bank of Beautiful Sins (Wrigley), Supp. XVIII: 300–302 In the Bar of a Tokyo Hotel (T. Williams), IV: 382, 386, 387, 391, 393 In the Beauty of the Lilies (Updike), Retro. Supp. I: 322, 325, 326, 327, 333 “In the Beeyard” (Bierds), Supp. XVII: 29 “In the Beginning” (Quindlen), Supp. XVII: 166 “In the Beginning . . .” (Simic), Supp. VIII: 270, 271 In the Belly of the Beast: Letters from Prison (Abbott), Retro. Supp. II: 210 “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), Retro. Supp. I: 229 “In the Cage” (James), II: 332; Retro. Supp. I: 231

404 / AMERICAN WRITERS “In the Cage” (Lowell), Retro. Supp. II: 187 “In the Cave at Lone Tree Meadow” (Haines), Supp. XII: 212 “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. III Part 2: 526 “In the Confidence of a Story-Writer” (Chopin), Retro. Supp. II: 66–67; Supp. I Part 1: 217 In the Country of Last Things (Auster), Supp. XII: 23, 29–30, 31, 32 “In the Courtyard of the Isleta Missions” (R. Bly), Supp. IV Part 1: 71 “In the Dark” (Levine), Supp. V: 194 “In the Dark New England Days” (Jewett), Retro. Supp. II: 139 “In the Days of Prismatic Colour” (Moore), III: 205, 213 In the Electric Mist with Confederate Dead (Burke), Supp. XIV: 30, 31–32 “In the Field” (Wilbur), Supp. III Part 2: 558 “In the First Stanza” (C. Kizer), Supp. XVII: 75 “In the Fleeting Hand of Time” (Corso), Supp. XII: 122–123 “In the Footsteps of Gutenberg” (Mencken), III: 101 “In the Forest” (Simpson), Supp. IX: 270 “In the Forest of the Laughing Elephant” (Caputo), Supp. XIX: 27 “In the Forties” (Lowell), II: 554 In the Garden of the North American Martyrs (Wolff), Supp. VII: 341–342 In the Garret (Van Vechten), Supp. II Part 2: 735 “In the Grove: The Poet at Ten” (Kenyon), Supp. VII: 160 “In the Hall of Mirrors” (Merrill), Supp. III 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 Heat of the Night (Ball), Supp. XV: 202 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 House of Light (Everwine, trans.), Supp. XV: 73, 75, 76–78, 82 In the Lake of the Woods (O’ Brien), Supp. V: 240, 243, 250–252 In the Land of the White Death: A Epic Story of Survival in the Siberian Arctic (Albanov), Supp. XVIII: 114 “In the Last Days” (Everwine), Supp. XV: 88, 89 In the Loyal Mountains (Bass), Supp. XVI: 19–20 “In the Loyal Mountains” (Bass), Supp. XVI: 20 In the Mecca (Brooks), Supp. III Part 1: 74

“In the Mecca” (Brooks), Supp. III Part 1: 70, 83–84 In the Midst of Life (Bierce), I: 200–203, 204, 206, 208, 212 “In the Miro District” (Taylor), Supp. V: 323 In the Miro District and Other Stories (Taylor), Supp. V: 325–326 In the Money (W. C. Williams), Retro. Supp. I: 423 “In the Motel” (X. J. Kennedy), Supp. XV: 163 “In the Naked Bed, in Plato’s Cave” (Schwartz), Supp. II Part 2: 646–649 In the Name of the Neither (Sobin), Supp. XVI: 291 “In the Night” (Kincaid), Supp. VII: 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 Park” (Huncke), Supp. XIV: 139 “In the Pit” (Proulx), Supp. VII: 255, 261 In the Pond (Jin), Supp. XVIII: 95–96 In the Presence of the Sun (Momaday), Supp. IV Part 2: 489, 490, 491–493, 493 “In the Quiet Night” (Li Po), Supp. XV: 47 “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 These Dissenting Times” (Walker), Supp. III Part 2: 522 “In the Shadow of Gabriel, A.D.1550” (Frederic), II: 139 In the Shadow of the Morning: Essays on Wild Lands, Wild Waters, and a Few Untamed People (Caputo), Supp. XIX: 28–29 In the Spirit of Crazy Horse (Matthiessen), Supp. V: 211 “In the Subway” (Untermeyer), Supp. XV: 296 In the Summer House (Jane Bowles), Supp. IV Part 1: 83, 89 In the Tennessee Country (Taylor), Supp. V: 328 “In the Thick of Darkness” (Salinas), Supp. XIII: 325 “In the Time of the Blossoms” (Mervin), Supp. III Part 1: 352 In the Time of the Butterflies (Alvarez), Supp. VII: 1, 12–15, 18 “In the Tube” (Jarman), Supp. XVII: 121 “In the Tunnel Bone of Cambridge” (Corso), Supp. XII: 120–121 “In the Upper Pastures” (Kumin), Supp. IV Part 2: 453 In the Valley (Frederic), II: 133–134, 136, 137

“In the Village” (Bishop), Retro. Supp. II: 38; Supp. I Part 1: 73, 74–75, 76, 77, 78, 88 “In the Waiting Room” (Bishop), Retro. Supp. II: 50; Supp. I Part 1: 81, 94, 95; Supp. IV Part 1: 249 “In the Ward: The Sacred Wood” (Jarrell), II: 376, 377 In the Western Night: Collected Poems 1965–90 (Bidart), Supp. XV: 19, 30–32 “In the White Night” (Beattie), Supp. V: 30–31 “In the Wind My Rescue Is” (Ammons), Supp. VII: 25 “In the Winter Dark” (Peacock), Supp. XIX: 206 In the Winter of Cities (T. Williams), IV: 383 “In the X-Ray of the Sarcophagus of Tapero” (Goldbarth), Supp. XII: 191 “In the Yard” (Swenson), Supp. IV Part 2: 647 In the Zone (O’ Neill), III: 388 In This, Our Life (film), Supp. I Part 1: 67 “In This Country, but in Another Language, My Aunt Refuses to Marry the Men Everyone Wants Her To” (Paley), Supp. VI: 225 In This Hung-up Age (Corso), Supp. XII: 119–120, 129 In This Our Life (Glasgow), II: 175, 178, 189 In This Our World (Gilman), Supp. XI: 196, 200, 202 “In Those Days” (Jarrell), II: 387–388 “In Time of War” (Auden), Supp. II Part 1: 8, 13 “Into Egypt” (Benét), Supp. XI: 56, 57–58 Intolerance (film; Griffith), Supp. XVI: 184 “Into My Own” (Frost), II: 153; Retro. Supp. I: 127 “Into the Night Life . . .” (H. Miller), III: 180, 184 “Into the Nowhere” (Rawlings), Supp. X: 220 Into the Stone (Dickey), Supp. IV Part 1: 178 “Into the Stone” (Dickey), Supp. IV Part 1: 179 Into the Stone and Other Poems (Dickey), Supp. IV Part 1: 176 Into the Wild (Krakauer), Supp. XVIII: 106, 107–108, 116, 117 Into Thin Air (Krakauer), Supp. XVII: 210 Into Thin Air: A Personal Account of the Mount Everest Disaster (Krakauer), Supp. XVIII: 105, 109–113, 117 In Touch: The Letters of Paul Bowles (J. Miller, ed.), Supp. IV Part 1: 95 “Intoxicated, The” (Jackson), Supp. IX: 116 “Intrigue” (Crane), I: 419 “Introducing the Fathers” (Kumin), Supp. IV Part 2: 452

CUMULATIVE INDEX / 405 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 Poetry, An (Gioia and X. J. Kennedy), Supp. XV: 113, 153 “Introduction to Some Poems, An” (Stafford), Supp. XI: 311, 324 Introduction to the Geography of Iowa, The (Doty), Supp. XI: 120 “Introduction to the Hoh” (Hugo), Supp. VI: 136–137 “Introduction to The New Writing in the USA” (Creeley), Supp. IV Part 1: 153–154 “Introduction to William Blake, An” (Kazin), Supp. VIII: 103 Introitus (Longfellow), II: 505, 506–507 “Intruder, The” (Dubus), Supp. VII: 76– 78, 91 Intruder, The (Maeterlinck), I: 91 Intruder in the Dust (Faulkner), II: 71, 72; Supp. XVI: 148 “Invaders, The” (Haines), Supp. XII: 205 Invasion of Privacy: The Cross Creek Trial of Marjorie Kinnan Rawlings (Acton), Supp. X: 233 Inventing Memory: A Novel of Mothers and Daughters (Jong), Supp. V: 115, 129 Inventing the Abbotts (Miller), Supp. XII: 294–295 “Invention of God in a Mouthful of Milk, The” (Karr), Supp. XI: 250 Invention of Solitude, The (Auster), Supp. XII: 21–22 Inventions of the March Hare (Eliot), Retro. Supp. I: 55–56, 58 “Inventions of the March Hare” (Eliot), Retro. Supp. I: 55 “Inventory” (Parker), Supp. IX: 192 “Inverted Forest, The” (Salinger), III: 552, 572 “Investigation” (Ryan as Quin), Supp. XVIII: 227–228 “Investigations of a Dog” (Kafka), IV: 438 “Investiture, The” (Banks), Supp. V: 7 “Investiture at Cecconi’s” (Merrill), Supp. III Part 1: 336 Invisible Circus, The (Egan), Supp. XIX: 49, 50–52 Invisible Company, The (Sanders), Supp. XVI: 270–271 Invisible Man (Ellison), IV: 493; Retro. Supp. II: 3, 12, 111, 112, 113, 117, 119, 120–123, 125; Supp. II Part 1: 40, 170, 221, 224, 226, 227, 230, 231– 232, 235, 236, 241–245; Supp. IX: 306; Supp. X: 242; Supp. XI: 18, 92; Supp. XVIII: 59; Supp. XIX: 154, 155 Invisible: Poems (Nye), Supp. XIII: 277 Invisible Spectator, An (SawyerLauçanno), 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” (McKay), Supp. X: 134 “Invocation” (Untermeyer), Supp. XV: 296 “Invocation to Kali” (Sarton), Supp. VIII: 260 “Invocation to the Social Muse” (MacLeish), III: 15 “In Weather” (Hass), Supp. VI: 102–103 “In Your Fugitive Dream” (Hugo), Supp. VI: 143 “In Your Good Dream” (Hugo), Supp. VI: 143–144 “Iola, Kansas” (Clampitt), Supp. IX: 45–46 Iola Leroy (Harper), Supp. XVIII: 284 Ion (Doolittle, trans.), Supp. I Part 1: 269, 274 Ion (Plato), I: 523 “Ione” (Dunbar), Supp. II Part 1: 199 Ionesco, Eugène, I: 71, 74, 75, 84, 295; II: 435; Supp. VIII: 201; Supp. XIX: 131 “I Only Am Escaped Alone to Tell Thee” (Nemerov), III: 272, 273–274 “I Opened All the Portals Wide” (Chopin), Retro. Supp. II: 71 I Ought to Be in Pictures (Simon), Supp. IV Part 2: 584 Iphigenia in Tauris (Euripedes), Supp. XV: 42, 50 I Promessi Sposi (Manzoni), II: 291 “I Put My Hand on My Son’s Head” (Kooser), Supp. XIX: 120 “Iraq Drifting, July 2003” (Weigl), Supp. XIX: 288 “Irascibles, The” (Kees), Supp. XV: 145– 146 “I Remember” (Sexton), Supp. II Part 2: 680 “Irenicon” (Shapiro), Supp. II Part 2: 704 Irigaray, Luce, Supp. XII: 6 Iris (Jarman), Supp. XVII: 110, 116–117 “Iris by Night” (Frost), Retro. Supp. I: 132 “Irises” (L.-Y. Lee), Supp. XV: 214–215 Irish in America, The (Coffey, ed.), Supp. XIX: 133 Irish Stories of Sarah Orne Jewett, The (Jewett), Retro. Supp. II: 142 Irish Triangle, An (Barnes), Supp. III Part 1: 34 “Iron Characters, The” (Nemerov), III: 279, 282 “Iron Hans” (Sexton), Supp. II Part 2: 691 Iron Heel, The (London), II: 466, 480 Iron John: A Book about Men (R. Bly), Supp. IV Part 1: 59, 67; Supp. XVI: 177

“Iron Table, The” (Jane Bowles), Supp. IV Part 1: 82–83 “Iron Throat, The” (Olsen), Supp. XIII: 292, 297, 299 Ironweed (W. Kennedy), Supp. VII: 132, 133, 134, 135, 142, 144, 145–147, 148, 150, 153 “Irony as Art: The Short Fiction of William Humphrey” (Tebeaux), Supp. IX: 109 “Irony Is Not Enough: Essay on My Life as Catherine Deneuve” (Carson), Supp. XII: 112–113 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 Irvine, Lorna, Supp. XIII: 26 Irving, Ebenezer, II: 296 Irving, John, Supp. VI: 163–183; Supp. X: 77, 85 Irving, John Treat, II: 296 Irving, Peter, II: 296, 297, 298, 299, 300, 303 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; Supp. I Part 2: 377, 487, 585; Supp. II Part 1: 335; Supp. IV Part 1: 380; Supp. XVIII: 12 Irving, William, II: 296 Irving, William, Jr., II: 296, 297, 298, 299, 303 Irwin, Mark, Supp. XII: 21, 22, 24, 29 Irwin, William Henry, Supp. II Part 1: 192 Is 5 (Cummings), I: 429, 430, 434, 435, 440, 445, 446, 447 “Isaac and Abraham” (Brodsky), Supp. VIII: 21 “Isaac and Archibald” (Robinson), III: 511, 521, 523 Isaacs, Neil D., Supp. XIX: 255 “Isabelle” (Saunders), Supp. XIX: 225 “Isabel Sparrow” (Oliver), Supp. VII: 232 Isaiah (biblical book), Supp. I Part 1: 236; Supp. I Part 2: 516 “Isaiah Beethoven” (Masters), Supp. I Part 2: 461 “I Saw in Louisiana a Live-Oak Growing” (Whitman), I: 220 “I Shall Be Released” (Dylan), Supp. XV: 349 I Shall Spit on Your Graves (film), Supp. I Part 1: 67 Isherwood, Christopher, II: 586; Supp. II Part 1: 10, 11, 13; Supp. IV Part 1: 79, 82, 102; Supp. XI: 305; Supp. XIV: 155–175; Supp. XVI: 194 Isherwood Century, The (Berg and Freeman), Supp. XIV: 157, 159 Isherwood’s Fiction (Schwerdt), Supp. XIV: 155 Ishiguro, Kazuo, Supp. VIII: 15

406 / AMERICAN WRITERS Ishi Means Man (Merton), Supp. VIII: 208 “Ishmael’s Dream” (Stern), Supp. IX: 287 I Should Have Stayed Home (McCoy), Supp. XIII: 167, 168–170, 171 “I Should Worry” (Kees), Supp. XV: 140 “I Sigh in the Afternoon” (Salinas), Supp. XIII: 318 “I Sing the Body Electric” (Whitman), Retro. Supp. I: 394, 395 “Isis: Dorothy Eady, 1924” (Doty), Supp. XI: 122 “Is It O.K. to Be a Luddite?” (Pynchon), Supp. XVI: 128 “Is It True?” (Hughes), Supp. I Part 1: 342 I: Six Nonlectures (Cummings), I: 430, 433, 434 “Island” (Hughes), Supp. I Part 1: 340 Island Garden, An (Thaxter), Retro. Supp. II: 136; Supp. XIII: 152 Island Holiday, An (Henry), I: 515 “Island of the Fay, The” (Poe), III: 412, 417 “Islands, The” (Hayden), Supp. II Part 1: 373 “Island Sheaf, An” (Doty), Supp. XI: 136 Islands in the Stream (Hemingway), II: 258; Retro. Supp. I: 186 Isn’ t It Romantic (Wasserstein), Supp. XV: 323–325, 327 Is Objectivism a Religion? (Ellis), Supp. IV Part 2: 527 “Isolation of Modern Poetry, The” (Schwartz), Supp. II Part 2: 644 “Israel” (Reznikoff), Supp. XIV: 283 Israel Potter, or Fifty Years of Exile (Melville), III: 90; Supp. XVIII: 4 “Israfel” (Poe), III: 411 Is Sex Necessary? (Thurber and White), Supp. I Part 2: 607, 612, 614, 653 “Issues, The” (Olds), Supp. X: 205 “I Stand Here Ironing” (Olsen), Supp. XIII: 292, 294, 296, 298, 300, 305 I Stole a Million (West), IV: 287 “Is Verse a Dying Technique?” (Wilson), IV: 431 It (Creeley), Supp. IV Part 1: 157, 158 IT (King), Supp. V: 139, 140, 141, 146– 147, 151, 152 “It” (Olds), Supp. X: 208 Italian American Reconciliation: A Folktale (Shanley), Supp. XIV: 315, 324– 326, 328, 330 Italian Backgrounds (Wharton), Retro. Supp. I: 370 Italian Hours (James), I: 12; II: 337; Retro. Supp. I: 235 Italian Journeys (Howells), II: 274 “Italian Morning” (Bogan), Supp. III Part 1: 58 Italian Villas and Their Gardens (Wharton), IV: 308; Retro. Supp. I: 361, 367 Italie, Hillel, Supp. XV: 128 It All Adds Up: From the Dim Past to the Uncertain Future (Bellow), Retro. Supp. II: 32

“It Always Breaks Out” (Ellison), Retro. Supp. II: 126; Supp. II Part 1: 248 Itard, Jean-Marc Gaspard, Supp. I Part 2: 564 “I taste a liquor never brewed” (Dickinson), Retro. Supp. I: 30, 37 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 I Tell You Now (Ortiz), Supp. IV Part 2: 500 “Ithaca” (Glück), Supp. V: 89 It Happened One Night (Capra), Supp. XV: 197 It Has Come to Pass (Farrell), II: 26 “I think to live May be a Bliss” (Dickinson), Retro. Supp. I: 44 I Thought of Daisy (Wilson), IV: 428, 434, 435 “Itinerary of an Obsession” (Kumin), Supp. IV Part 2: 450 “It Is a Strange Country” (Ellison), Supp. II Part 1: 238 “It Is Dangerous to Read Newspapers” (Atwood), Supp. XIII: 33 “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 Out-Herods Herod. Pray You, Avoid It’ ” (Hecht), Supp. X: 62, 64 “It’s All Over Now, Baby Blue” (song, Dylan), Supp. XVIII: 30 It’s Loaded, Mr. Bauer (Marquand), III: 59 It’s Nation Time (Baraka), Supp. II Part 1: 52, 53 “It’s Nation Time” (Baraka), Supp. II Part 1: 53 It’s Only a Play (McNally), Supp. XIII: 198 It Was (Zukofsky), Supp. III Part 2: 630 It Was the Nightingale (Ford), III: 470– 471 “It Was When” (Snyder), Supp. VIII: 300 Ivanhoe (Scott), I: 216; Supp. I Part 2: 410 Ivens, Bryna, Supp. XV: 311, 312 Ivens, Joris, I: 488; Retro. Supp. I: 184 “Iverson Boy, The” (Simpson), Supp. IX: 280 “Ives” (Rukeyser), Supp. VI: 273, 283 Ives, George H., Supp. I Part 1: 153 Ivory Grin, The (Macdonald), Supp. IV Part 2: 471, 472 “Ivory Novel, The” (Halliday), Supp. XIX: 90 Ivory Tower, The (James), II: 337–338 “Ivory Tower, The: Louis Untermeyer as Critic” (Aiken), Supp. XV: 298 “Ivy Winding” (Ammons), Supp. VII: 33

“I Wandered Lonely as a Cloud” (Wordsworth), Retro. Supp. I: 121– 122; Supp. X: 73; Supp. XIV: 184 “I want, I want” (Plath), Retro. Supp. II: 246 “I Wanted to Be There When My Father Died” (Olds), Supp. X: 210 “I Want to Be a Father Like the Men” (Cisneros), Supp. VII: 71 “I Want to Be Miss America” (Alvarez), Supp. VII: 18 “I Want to Know Why” (Anderson), I: 114, 115, 116; II: 263 “I Want You Women Up North To Know” (Olsen), Supp. XIII: 292, 297 “I Was Born in Lucerne” (Levine), Supp. V: 181, 189 “I Was Really Very Hungry” (M. F. K. Fisher), Supp. XVII: 91 “I Went into the Maverick Bar” (Snyder), Supp. VIII: 301 “I Will Lie Down” (Swenson), Supp. IV Part 2: 640 I Will Say Beauty (C. Frost), Supp. XV: 96, 105–107 I Wonder As I Wander (Hughes), Retro. Supp. I: 196, 203; Supp. I Part 1: 329, 332–333 I Would Have Saved Them If I Could (L. Michaels), Supp. XVI: 203, 205, 206– 210 “Iyani: It goes this Way” (Gunn Allen), Supp. IV Part 1: 321 “I years had been from home” (Dickinson), I: 471 Iyer, Pico, Supp. V: 215 Izzo, David Garrett, Supp. XIV: 155, 156, 159, 160, 161, 163, 169, 171 J Jab (Halliday), Supp. XIX: 91–94 “Jachid and Jechidah” (Singer), IV: 15 Jack and Jill (Alcott), Supp. I Part 1: 42 “Jack and the Beanstalk” (Hay), Supp. XIV: 124 “Jack in the Pot” (D. West), Supp. XVIII: 283 Jack Kelso (Masters), Supp. I Part 2: 456, 471–472 Jacklight (Erdrich), Supp. IV Part 1: 259, 270 Jack London, Hemingway, and the Constitution (Doctorow), Supp. IV Part 1: 220, 222, 224, 232, 235 Jackman, Harold, Supp. XVIII: 131 Jackpot (Caldwell), I: 304 “Jack Schmidt, Arts Administrator” (Keillor), Supp. XVI: 171 “Jack Schmidt on the Burning Sands” (Keillor), Supp. XVI: 171 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 Jackson, Charles, Supp. I Part 1: 303 Jackson, George, Supp. I Part 1: 66

CUMULATIVE INDEX / 407 Jackson, Helen Hunt, I: 459, 470; Retro. Supp. I: 26, 27, 30–31, 32, 33 Jackson, James, Supp. I Part 1: 302, 303 Jackson, J. O., III: 213 Jackson, Joe, Supp. I Part 2: 441 Jackson, Katherine Gauss, Supp. VIII: 124 Jackson, Lawrence, Retro. Supp. II: 113, 115 Jackson, Melanie, Supp. X: 166 Jackson, Michael, Supp. VIII: 146 Jackson, Richard, II: 119; Supp. IX: 165 Jackson, Shelley, Supp. XVIII: 136 Jackson, Shirley, Supp. IX: 113–130 Jackson, Thomas J. (“Stonewall“), IV: 125, 126 “Jackson Square” (Levertov), Supp. III Part 1: 276 Jackstraws (Simic), Supp. VIII: 280, 282–283 “Jackstraws” (Simic), Supp. VIII: 283 Jack Tier (Cooper), I: 354, 355 “Jacob” (Garrett), Supp. VII: 109–110 “Jacob” (Schwartz), Supp. II Part 2: 663 Jacob, Max, Supp. XV: 178, 182 “Jacob and the Indians” (Benét), Supp. XI: 47–48 Jacobs, Harriet, Supp. XVI: 85 Jacobs, Rita D., Supp. XII: 339 Jacobsen, Josephine, Supp. XIII: 346; Supp. XIV: 260 “Jacob’s Ladder” (Rawlings), Supp. X: 224, 228 Jacob’s Ladder, The (Levertov), Supp. III Part 1: 272, 276–278, 281 “Jacob’s Ladder, The” (Levertov), Supp. III Part 1: 278 Jacobson, Dale, Supp. X: 112 Jacobson, Kristin, Supp. XVIII: 113 Jacobson, Leslie, Supp. XV: 323 Jacoby, Russell, Supp. IV Part 2: 692 “Jacquerie, The” (Lanier), Supp. I Part 1: 355, 356, 360, 364, 370 Jacques le fataliste (D. Diderot), Supp. XVII: 145 Jade Mountain, The: A Chinese Anthology, Being Three Hundred Poems of the T’ ang Dynasty (Bynner, trans.), II: 527; Supp. XV: 46, 47, 48 Jafsie and John Henry: Essays on Hollywood, Bad Boys, and Six Hours of Perfect Poker (Mamet), Supp. XIV: 252 Jaguar Totem (LaBastille), Supp. X: 99, 106, 107–109 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 “Jakie’s Mother” (Fante), Supp. XI: 164 Jakobson, Roman, Supp. IV Part 1: 155 “Jamaica Kincaid’s New York” (Kincaid), Supp. VII: 181 James, Alice, I: 454; Retro. Supp. I: 228, 235 James, A. Lloyd, Supp. XIV: 343 James, Caryn, Supp. X: 302, 303

James, Etta, Supp. X: 242 James, Henry, I: 4, 5, 9, 10, 12, 15, 16, 20, 52, 93, 109, 211, 226, 228, 244, 246, 251, 255, 258, 259, 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, 228, 230, 234, 243, 259, 267, 271, 272, 275, 276, 278, 281, 282, 283, 284, 285, 286, 287, 288, 290, 306, 309, 316, 319–341, 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, 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; Retro. Supp. II: 93, 135, 136, 203, 223; Supp. I Part 1: 35, 38, 43; Supp. I Part 2: 414, 454, 608, 609, 612–613, 618, 620, 646; Supp. II Part 1: 94–95; Supp. III Part 1: 14, 200; Supp. III Part 2: 410, 412; Supp. IV Part 1: 31, 35, 80, 127, 197, 349, 353; Supp. IV 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; Supp. XI: 153; Supp. XIII: 102; Supp. XIV: 40, 110, 112, 335, 336, 348, 349; Supp. XV: 41; Supp. XVII: 5, 47; Supp. XVIII: 160, 258 James, Henry (father), II: 7, 275, 321, 337, 342–344, 364; IV: 174; Supp. I Part 1: 300 James, Henry (nephew), II: 360 James, Horace, Supp. XIV: 57 James, P. D., Supp. XIX: 131 James, William, I: 104, 220, 224, 227, 228, 255, 454; II: 20, 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; Retro. Supp. I: 57, 216, 227, 228, 235, 295, 300, 306; Supp. I Part 1: 3, 7, 11, 20; Supp. XIV: 40, 50, 197, 199, 212, 335; Supp. XVII: 97 James, William (grandfather), II: 342 James Baldwin: The Legacy (Troupe, ed.), Retro. Supp. II: 15 James Baldwin—The Price of the Ticket (film), Retro. Supp. II: 2 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 Hogg: A Critical Study (Simpson), Supp. IX: 269, 276 “James Is a Girl” (Egan), Supp. XIX: 61

James Jones: A Friendship (Morris), Supp. XI: 234 James Jones: An American Literary Orientalist Master (Carter), Supp. XI: 220 “James Jones and Jack Kerouac: Novelists of Disjunction” (Stevenson), Supp. XI: 230 James Jones: Reveille to Taps (television documentary), Supp. XI: 234 Jameson, F. R., Supp. IV Part 1: 119 Jameson, Sir Leander Starr, III: 327 James Shore’s Daughter (Benét), Supp. XI: 48 “James Thurber” (Pollard), Supp. I Part 2: 468 “James Whitcomb Riley (From a Westerner’s Point of View)” (Dunbar), Supp. II Part 1: 198 Jammes, Francis, II: 528; Retro. Supp. I: 55 “Jan, the Son of Thomas” (Sandburg), III: 593–594 Jan. 31 (Goldbarth), Supp. XII: 177, 178–179, 180 Janeczko, Paul, Supp. XIII: 280 Jane Eyre (Brontë), Supp. XVI: 158 Janet, Pierre, I: 248, 249, 252; Retro. Supp. I: 55, 57 Jane Talbot: A Novel (Brown), Supp. I Part 1: 145–146 “Janet Waking” (Ransom), III: 490, 491 “Janice” (Jackson), Supp. IX: 117 Janowitz, Tama, Supp. X: 7 Jantz, Harold S., Supp. I Part 1: 112 “January” (Barthelme), Supp. IV Part 1: 54 January Man, The (screenplay, Shanley), Supp. XIV: 316 “January Thaw” (Leopold), Supp. XIV: 183–184 “Janus” (Beattie), Supp. V: 31 Janzen, Jean, Supp. V: 180 “Japanese Beetles” (X. J. Kennedy), Supp. XV: 161, 165 Japanese by Spring (Reed), Supp. X: 241, 253–255 Japanese Cooking: A Simple Art (Tsuji), Supp. XVII: 90 “Japan’s Young Dreams” (Geisel), Supp. XVI: 102 Jara, Victor, Supp. IV Part 2: 549 Jarman, Mark, Supp. IV Part 1: 68; Supp. IX: 266, 270, 276; Supp. XII: 209; Supp. XV: 251; Supp. XVIII: 178 Jarmon, Mark, Supp. XVII: 109–122 Jarrell, Mrs. Randall (Mary von Schrader), II: 368, 385 Jarrell, Randall, I: 167, 169, 173, 180; II: 367–390, 539–540; III: 134, 194, 213, 268, 527; IV: 352, 411, 422; Retro. Supp. I: 52, 121, 135, 140; Retro. Supp. II: 44, 177, 178, 182; Supp. I Part 1: 89; Supp. I Part 2: 552; Supp. II Part 1: 109, 135; Supp. III Part 1: 64; Supp. III Part 2: 541, 550; Supp. IV Part 2: 440; Supp. V: 315, 318, 323; Supp. VIII: 31, 100,

408 / AMERICAN WRITERS 271; Supp. IX: 94, 268; Supp. XI: 311, 315; Supp. XII: 121, 260, 297; Supp. XV: 93, 153; Supp. XVII: 111 Jarry, Alfred, Retro. Supp. II: 326; Supp. XV: 177–178, 182, 188 Jarvis, John Wesley, Supp. I Part 2: 501, 520 Jaskoski, Helen, Supp. IV Part 1: 325 “Jasmine” (Komunyakaa), Supp. XIII: 132 “Jason” (Hecht), Supp. X: 62 “Jason” (MacLeish), III: 4 Jason and Medeia (Gardner), Supp. VI: 63, 68–69 Jaspers, Karl, III: 292; IV: 491 Jay, William, I: 338 Jayber Crow (Berry), Supp. X: 28, 34 “Jaz Fantasia” (Sandburg), III: 585 “Jazz Age Clerk, A” (Farrell), II: 45 Jazz Country: Ralph Ellison in America (Porter), Retro. Supp. II: 127 “Jazzonia” (Hughes), Supp. I Part 1: 324 Jazz Poetry Anthology, The (Komunyakaa and Feinstein, eds.), Supp. XIII: 125 “Jazztet Muted” (Hughes), Supp. I Part 1: 342 J. B.: A Play in Verse (MacLeish), II: 163, 228; III: 3, 21–22, 23; Supp. IV Part 2: 586 “Jealous” (Ford), Supp. V: 71 Jealousies, The: A Faery Tale, by Lucy Vaughan Lloyd of China Walk, Lambeth (Keats), Supp. XII: 113 “Jean Harlow’s Wedding Night” (Wasserstein), Supp. XV: 328 Jean Huguenot (Benét), Supp. XI: 44 “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; Supp. X: 112; Supp. XI: 312; Supp. XV: 113, 114, 115; Supp. XVII: 111, 112, 117 Jeffers, Una Call Kuster (Mrs. Robinson Jeffers), Supp. II Part 2: 414 Jefferson, Blind Lemon, Supp. VIII: 349 Jefferson, Thomas, I: 1, 2, 5, 6–8, 14, 485; II: 5, 6, 34, 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; Supp. I Part 2: 389, 399, 456, 474, 475, 482, 507, 509, 510, 511, 516, 518–519, 520, 522; Supp. X: 26; Supp. XIV: 191 Jefferson and/or Mussolini (Pound), Retro. Supp. I: 292 “Jefferson Davis as a Representative American” (Du Bois), Supp. II Part 1: 161 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 Jenkins, J. L., I: 456 Jenkins, Kathleen, III: 403 Jenkins, Susan, IV: 123

Jenks, Deneen, Supp. IV Part 2: 550, 554 Jenks, Tom, Supp. XIX: 51 Jennie Gerhardt (Dreiser), I: 497, 499, 500, 501, 504–505, 506, 507, 519; Retro. Supp. II: 94, 99–101 “Jennie M’ Grew” (Masters), Supp. I Part 2: 468 Jennifer Lorn (Wylie), Supp. I Part 2: 709, 714–717, 718, 721, 724 Jennison, Peter S., Supp. XIX: 268 “Jenny Garrow’s Lover” (Jewett), II: 397 “Jerboa, The” (Moore), III: 203, 207, 209, 211–212 Jeremiah, Supp. X: 35 Jeremy’s Version (Purdy), Supp. VII: 274 “Jericho” (Lowell), II: 536 “Jerry’s Garage” (Budbill), Supp. XIX: 7 “Jersey City Gendarmerie, Je T’ aime” (Lardner), II: 433 Jersey Rain (Pinsky), Supp. VI: 235, 247–250 “Jerusalem” (Nye), Supp. XIII: 287 Jerusalem the Golden (Reznikoff), Supp. XIV: 280, 285, 286 Jessup, Richard, Supp. XI: 306 “Je Suis Perdu” (Taylor), Supp. V: 314, 321–322 Jesuits in North America in the Seventeenth Century, The (Parkman), Supp. II Part 2: 597, 603–605 Jesus, I: 27, 34, 68, 89, 136, 552, 560; II: 1, 16, 197, 198, 214, 215, 216, 218, 219, 239, 373, 377, 379, 537, 538, 539, 549, 569, 585, 591, 592; III: 39, 173, 179, 270, 291, 296–297, 300, 303, 305, 307, 311, 339, 340, 341, 342, 344, 345, 346, 347, 348, 352, 353, 354, 355, 436, 451, 489, 534, 564, 566, 567, 582; IV: 51, 69, 86, 107, 109, 117, 137, 138, 141, 144, 147, 149, 150, 151, 152, 155, 156, 157, 158, 159, 163, 164, 232, 241, 289, 293, 294, 296, 331, 364, 392, 396, 418, 430; Supp. I Part 1: 2, 54, 104, 107, 108, 109, 121, 267, 371; Supp. I 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 Jetée, La (film), Supp. IV Part 2: 436 “Jeune Parque, La” (Valéry), IV: 92 “Jew as Writer/The Writer as Jew, The: Reflections on Literature and Identity” (Apple), Supp. XVII: 1, 9 “Jewbird, The” (Malamud), Supp. I Part 2: 435 “Jewboy, The” (P. Roth), Supp. III Part 2: 412 Jewett, Caroline, II: 396 Jewett, Dr. Theodore Herman, II: 396– 397, 402 Jewett, Katharine, Retro. Supp. II: 46

Jewett, Mary, II: 396, 403 Jewett, Rutger, Retro. Supp. I: 381 Jewett, Sarah Orne, I: 313; II: 391–414; Retro. Supp. I: 6, 7, 19; Retro. Supp. II: 51, 52, 131–151, 156; Supp. I Part 2: 495; Supp. VIII: 126; Supp. IX: 79; Supp. XIII: 153 Jewett, Theodore Furber, II: 395 “Jew for Export, The” (Mamet), Supp. XIV: 251–252 Jew in the American Novel, The (Fiedler), Supp. XIII: 106 “Jewish Graveyards, Italy” (Levine), Supp. V: 190 “Jewish Hunter, The” (Moore), Supp. X: 163, 165, 174 Jewison, Norman, Supp. XI: 306; Supp. XIV: 316 Jews of Shklov (Schneour), IV: 11 Jews without Money (Gold), Supp. XIV: 288–289 JFK (film), Supp. XIV: 48 Jig of Forslin, The: A Symphony (Aiken), I: 50, 51, 57, 62, 66 “Jig Tune: Not for Love” (McGrath), Supp. X: 116 “Jihad” (McClatchy), Supp. XII: 266 “Jilting of Granny Weatherall, The” (Porter), III: 434, 435, 438 Jim Crow’s Last Stand (Hughes), Retro. Supp. I: 205 Jiménez, Juan Ramón, Supp. XIII: 315, 323 Jimmie Higgins (Sinclair), Supp. V: 288 “Jimmy Harlow” (X. J. Kennedy), Supp. XV: 170 Jimmy’s Blues (Baldwin), Retro. Supp. II: 8, 9, 15 Jim’s Book: A Collection of Poems and Short Stories (Merrill), Supp. III Part 1: 319 Jin, Ha, Supp. XVIII: 89–104 Jitney (Wilson), Supp. VIII: 330, 331, 351 Jitterbug Perfume (Robbins), Supp. X: 273, 274–276, 279 Joachim, Harold, Retro. Supp. I: 58 Joan, Pope, IV: 165 Joanna and Ulysses (Sarton), Supp. VIII: 254–255 Joan of Arc, IV: 241; Supp. I Part 1: 286–288; Supp. I Part 2: 469 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, The (Burroughs and Odier), Supp. III Part 1: 97, 103 Job, The: An American Novel (Lewis), II: 441 “Job History” (Proulx), Supp. VII: 262 Jobim, Antonio Carlos, Supp. IV Part 2: 549 “Job of the Plains, A” (Humphrey), Supp. IX: 101 “Jody Rolled the Bones” (Yates), Supp. XI: 335, 341 “Joe” (Alvarez), Supp. VII: 7–8 Joe (Brown), Supp. XVIII: 195

CUMULATIVE INDEX / 409 “Joe, the Vanishing American” (Swados), Supp. XIX: 258–259 Joe Hill: A Biographical Novel (Stegner), Supp. IV Part 2: 599 “Joe Louis: The King as a Middle-Aged Man” (Talese), Supp. XVII: 202 Joe Turner’s Come and Gone (Wilson), Supp. VIII: 334, 337–342, 345 Joe versus the Volcano (screenplay, Shanley), Supp. XIV: 316 “Joey Martiney” (Huncke), Supp. XIV: 149 Johannes in Eremo (Mather), Supp. II Part 2: 453 John (biblical book), I: 68; Supp. XV: 222, 224 “John” (Shields), Supp. VII: 310–311 “John, John Chinaman” (Buck), Supp. II Part 1: 128 John Addington Symonds: A Biographical Study (Brooks), I: 240, 241 “John Archer’s Nose” (R. Fisher), Supp. XIX: 71–72, 78 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’s Body (Benét), II: 177; Supp. XI: 45, 46, 47, 56–57 John Brown: The Making of a Martyr (Warren), IV: 236 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 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; Retro. Supp. II: 165–166, 167 “John Evereldown” (Robinson), III: 524 John Fante Reader, The (Cooper, ed.), Supp. XI: 174 John Fante: Selected Letters, 1932–1981 (Cooney, ed.), Supp. XI: 170 “John Gardner: The Writer As Teacher” (Carver), Supp. III Part 1: 136, 146– 147 John Gaunt (Davis), Supp. XVI: 89 John Jay Chapman and His Letters (Howe), Supp. XIV: 54 John Keats (Lowell), II: 530–531 “John Kinsella’s Lament for Mrs. Mary Moore” (Yeats), Supp. XVII: 144 “John Lamar” (Davis), Supp. XVI: 89–90 John Lane, Retro. Supp. I: 59 “John L. Sullivan” (Lindsay), Supp. I Part 2: 394, 395 “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

Johnny Appleseed and Other Poems (Lindsay), Supp. I Part 2: 397 “Johnny Bear” (Steinbeck), IV: 67 “Johnny Mnemonic” (W. Gibson), Supp. XVI: 122, 123–125, 128, 131 “Johnny Panic and the Bible of Dreams” (Plath), Retro. Supp. II: 245 “Johnny Ray” (Ríos), Supp. IV Part 2: 543 Johnny Tremain (Forbes), Supp. XIX: 235 John of the Cross (Saint), I: 585; Supp. IV Part 1: 284; Supp. XV: 223; Supp. XVII: 112 John Paul Jones: A Sailor’s Biography (Morison), Supp. I Part 2: 494–495 “John Redding Goes to Sea” (Hurston), Supp. VI: 150 Johns, George Sibley, Retro. Supp. II: 65 Johns, Orrick, Retro. Supp. II: 71 John Sloan: A Painter’s Life (Brooks), I: 254 “John Smith Liberator” (Bierce), I: 209 Johnson, Alexandra, Supp. X: 86 Johnson, Alvin, I: 236; Supp. XV: 304 Johnson, Ben, Retro. Supp. I: 56 Johnson, Buffie, Supp. IV Part 1: 94 Johnson, Charles, Supp. I Part 1: 325; Supp. V: 128; Supp. VI: 185–201; Supp. X: 239; Supp. XIII: 182; Supp. XIX: 160 Johnson, Charles S., Supp. IX: 309 Johnson, Claudia Durst, Supp. VIII: 126–127 Johnson, Dennis, Supp. XIX: 209 Johnson, Diane, Supp. XIII: 127 Johnson, Dianne, Retro. Supp. I: 196 Johnson, Eastman, IV: 321 Johnson, Edward, IV: 157; Supp. I Part 1: 110, 115 Johnson, Fenton, Supp. XI: 129 Johnson, Georgia Douglas, Supp. IV Part 1: 164 Johnson, Helene, Supp. XVIII: 282 Johnson, James Weldon, Retro. Supp. II: 114; Supp. I Part 1: 324, 325; Supp. II Part 1: 33, 194, 200, 202– 203, 206–207; Supp. III Part 1: 73; Supp. IV Part 1: 7, 11, 15, 16, 164, 165, 166, 169; Supp. X: 42, 136, 246; Supp. XVIII: 122, 127, 282; Supp. XIX: 73 Johnson, Joyce, Supp. XIV: 150 Johnson, Kent, Supp. XV: 347 Johnson, Lady Bird, Supp. IV Part 1: 22 Johnson, Lyndon B., I: 254; II: 553, 582; Retro. Supp. II: 27 Johnson, Marguerite. See Angelou, Maya Johnson, Maurice, Supp. XV: 136, 137, 138 Johnson, Michael K., Supp. XVIII: 59, 64 Johnson, Mordecai, Supp. XIV: 202 Johnson, Nunnally, Supp. IV Part 1: 355 Johnson, Pamela Hansford, IV: 469 Johnson, Rafer, Supp. I Part 1: 271 Johnson, Reed, Supp. IV Part 2: 589 Johnson, Richard, Supp. XIII: 132

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; Supp. I Part 2: 422, 498, 503, 523, 656; Supp. IV Part 1: 34, 124; Supp. XI: 209; Supp. XII: 159; Supp. XIII: 55, 347; Supp. XVI: 204; Supp. XVII: 1 Johnson, Sarah Anne, Supp. XVIII: 145; Supp. XIX: 49, 50, 52, 54, 55, 56, 58, 59, 60, 61 Johnson, Steve, Supp. XVI: 177 Johnson, Thomas H., I: 470–471; IV: 144, 158; Retro. Supp. I: 26, 28, 36, 39, 40, 41, 43 Johnson, Walter, II: 422 Johnson, Willard “Spud“, Supp. XV: 42, 46 “Johnson Girls, The” (Bambara), Supp. XI: 7 Johnsrud, Harold, II: 562 Johnston, Basil, Supp. IV Part 1: 269 Johnston, Mary, II: 194 Johnston, Robert M., Supp. I Part 1: 369 “John Sutter” (Winters), Supp. II Part 2: 810 John’s Wife (Coover), Supp. V: 51–52 John the Baptist, I: 389; II: 537, 591 John Wesley Harding (album, Dylan), Supp. XVIII: 27 John XXIII, Pope, Supp. I Part 2: 492 Jolas, Eugène, Retro. Supp. II: 85, 328; Supp. IV Part 1: 80 Jolie Blon’s Bounce (Burke), Supp. XIV: 26, 33–34 Jolly (Mamet), Supp. XIV: 240, 254 “Jolly Corner, The” (James), I: 571; Retro. Supp. I: 235 “Jon” (Saunders), Supp. XIX: 232, 234 “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 Jonathan Troy (Abbey), Supp. XIII: 4, 13 Jones, Anne, Supp. X: 8 Jones, Carolyn M., Supp. VIII: 128; Supp. XIX: 160 Jones, Chuck, Supp. XVI: 102 Jones, David, Supp. XVII: 241 Jones, Derek Anson, Supp. XVIII: 38, 39 Jones, Edith Newbold. See Wharton, Edith Jones, E. Stanley, III: 297 Jones, Everett LeRoi. See Baraka, Imamu Amiri Jones, George Frederic, IV: 309 Jones, Grover, Supp. XIII: 166 Jones, Harry, Supp. I Part 1: 337 Jones, Howard Mumford, I: 353; Supp. IV Part 2: 606; Supp. XIV: 11

410 / AMERICAN WRITERS Jones, James, III: 40; IV: 98; Supp. XI: 213–237; Supp. XIX: 248, 252 Jones, James Earl, Supp. VIII: 334; Supp. XI: 309 Jones, Jennifer, Supp. IV Part 2: 524 Jones, John Paul, II: 405–406; Supp. I Part 2: 479, 480, 494–495 Jones, Kirkland C., Supp. XVIII: 173, 174, 175 Jones, LeRoi. See Baraka, Imamu Amiri Jones, Louis B., Supp. XVI: 41 Jones, Lucretia Stevens Rhinelander, IV: 309 Jones, Madison, Retro. Supp. II: 235; Supp. X: 1 Jones, Major (pseudonym). See Thompson, William T. Jones, Malcolm, Supp. V: 219 Jones, Mildred, Supp. XVIII: 281 Jones, Robert Edmond, III: 387, 391, 394, 399 Jones, Sharon L., Supp. XVIII: 280, 285, 286 Jones, Tommy Lee, Supp. V: 227 “Jones’s Private Argyment” (Lanier), Supp. I Part 1: 352 “Jones’s The Thin Red Line: The End of Innocence” (Michel-Michot), Supp. XI: 224–225 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; Retro. Supp. II: 76; Supp. I Part 2: 423; Supp. IV Part 2: 585 Jonsson, Thorsten, Retro. Supp. I: 73 Joplin, Janis, Supp. IV Part 1: 206; Supp. XI: 239 Joplin, Scott, Supp. IV Part 1: 223 Jordan, A. Van, Supp. XVIII: 172 Jordan, Barbara, Supp. VIII: 63; Supp. XI: 249 Jordan, David, Supp. XIX: 141 Jordan, June, Supp. XII: 217 Jordan, Marie, Supp. XV: 224 Jo’s Boys (Alcott), Supp. I Part 1: 32, 35, 40–41, 42 Joseph Heller (Ruderman), Supp. IV Part 1: 380 “Josephine Has Her Day” (Thurber), Supp. I Part 2: 606 Josephine Stories, The (Fitzgerald), Retro. Supp. I: 109 “Joseph Martinez” (Huncke), Supp. XIV: 149 “Joseph Pockets” (Stern), Supp. IX: 292 Josephson, Matthew, I: 259 “José’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” (L. Michaels), Supp. XVI: 213 Journal (Thoreau), IV: 175 Journal (Woolman), Supp. VIII: 202 “Journal for My Daughter” (Kunitz), Supp. III Part 1: 268

“Journal of an Airman” (Auden), Supp. XIX: 151 Journal of Arthur Stirling, The (Sinclair), Supp. V: 280 “Journal of a Solitary Man, The” (Hawthorne), II: 226 Journal of a Solitude (Sarton), Supp. VIII: 256, 262–263 Journal of My Other Self (Rilke), Retro. Supp. II: 20 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 (Morison, ed.), Supp. I Part 2: 494 Journals of Ralph Waldo Emerson, The (Emerson), II: 8, 17, 21 Journals of Susanna Moodie, The: Poems (Atwood), Supp. XIII: 33 “Journey, A” (Wharton), Retro. Supp. I: 364 “Journey, The” (Winters), Supp. II Part 2: 795 “Journey, The” (Wright), Supp. III Part 2: 605–606 “Journey, the Arrival and the Dream, The” (Gioia), Supp. XV: 120 “Journey, The: For Jane at Thirteen” (Kumin), Supp. IV Part 2: 442 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. III Part 1: 47, 48, 52, 53 Journey Down, The (Bernstein), IV: 455 Journey Home, The (Abbey), Supp. XIII: 2, 12 Journeyman (Caldwell), I: 297, 302–304, 307, 309 Journey of Tai-me, The (Momaday), Supp. IV Part 2: 485 “Journey of the Magi” (Eliot), Retro. Supp. I: 64 Journey to a War (Auden and Isherwood), Supp. II Part 1: 13; Supp. XIV: 156, 158, 162 Journey to Love (W. C. Williams), IV: 422; Retro. Supp. I: 429 Journey to My Father; Isaac Bashevis Singer (Zamir), Retro. Supp. II: 317 “Journey to Nine Miles” (Walker), Supp. III Part 2: 527 “Journey to the Interior” (W. J. Smith), Supp. XIII: 339, 340 Journey with Genius: Recollections and Reflections Concerning the D. H. Lawrences (Bynner), Supp. XV: 46 Jowett, Benjamin, Supp. XIV: 335 “Joy” (Moore), Supp. X: 174 “Joy” (Singer), IV: 9; Retro. Supp. II: 307

Joyce, Cynthia, Supp. X: 194, 195, 196 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; III: 7, 16, 26–27, 45, 174, 181, 184, 261, 273, 277, 343, 396, 398, 465, 471, 474; IV: 32, 73, 85, 95, 103, 171, 182, 211, 286, 370, 412, 418, 419, 428, 434, 456; Retro. Supp. I: 59, 63, 75, 80, 89, 91, 108, 109, 127, 287, 290, 292, 334, 335, 420; Retro. Supp. II: 221, 326; Supp. I Part 1: 257, 262, 270; Supp. I Part 2: 437, 546, 613, 620; Supp. II Part 1: 136; Supp. III Part 1: 35, 36, 65, 225, 229; Supp. III Part 2: 611, 617, 618; Supp. IV Part 1: 40, 47, 80, 227, 300, 310; Supp. IV Part 2: 424, 677; Supp. V: 261, 331; Supp. VIII: 14, 40, 103; Supp. IX: 211, 229, 235, 308; Supp. X: 115, 137, 194, 324; Supp. XI: 66; Supp. XII: 139, 151, 165, 191, 289; Supp. XIV: 83; Supp. XVI: 41, 189, 282; Supp. XVII: 44; Supp. XIX: 151, 172 Joy Comes in the Morning (J. Rosen), Supp. XVII: 50 Joy Luck Club, The (Tan), Supp. X: 289, 291, 293, 294, 296, 297, 298, 299 “Joy of Sales Resistance, The” (Berry), Supp. X: 36 J R (Gaddis), Supp. IV Part 1: 279, 280, 285–289, 291, 294; Supp. IV Part 2: 484 “Juan’s Song” (Bogan), Supp. III Part 1: 50 Jubilate Agno (Smart), Supp. IV Part 2: 626 Judah, Hettie, Supp. XIII: 246 Judah the Pious (Prose), Supp. XVI: 249, 250, 262 “Judas Maccabaeus” (Longfellow), II: 506; Retro. Supp. II: 165, 167 Judd, Sylvester, II: 290; Supp. I Part 2: 420 Judd Rankin’s Daughter (Glaspell), Supp. III Part 1: 186–188 Jude the Obscure (Hardy), Supp. I Part 1: 217 Judevine (Budbill), Supp. XIX: 4, 8–9, 12 Judevine: A Play in Three Acts/Two Acts (Budbill), Supp. XIX: 12–13 “Judgement Day” (O’ Connor), III: 349, 350; Retro. Supp. II: 236 Judgment Day (Farrell), II: 29, 31, 32, 34, 39 “Judgment of Paris, The” (Merwin), Supp. III Part 1: 350 Judgment of Paris, The (Vidal), Supp. IV Part 2: 680, 682 “Judgment of the Sage, The” (Crane), I: 420 Judith (Farrell), II: 46, 48 “Judith” (Garrett), Supp. VII: 109–110 “Juggernaut” (Bass), Supp. XVI: 16–17 “Jug of Sirup, A” (Bierce), I: 206 “Jugurtha” (Longfellow), II: 499

CUMULATIVE INDEX / 411 “Juice or Gravy” (P. Roth), Retro. Supp. II: 279 “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 Julie and Romeo (Ray), Supp. XII: 308, 310 Julien, Isaac, Supp. XI: 19 Julie; ou, La nouvelle Héloïse (Rousseau), Supp. XVI: 184 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 Jumping Out of Bed (R. Bly), Supp. IV Part 1: 71 “Jump-Up Day” (Kingsolver), Supp. VII: 203 “June 1940” (Kees), Supp. XV: 141 “June Light” (Wilbur), Supp. III Part 2: 545 June Moon (Lardner and Kaufman), II: 427 “June Recital” (Welty), IV: 272–273 Juneteenth (Ellison), Retro. Supp. II: 119, 124, 126–128 “Juneteenth” (Ellison), Retro. Supp. II: 119, 126; Supp. II Part 1: 248 “June the Third” (Gander), Supp. XV: 340 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; Supp. X: 193; Supp. XV: 214 Junger, Ernst, Supp. III 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 “Juniper” (Francis), Supp. IX: 79 “Junk” (Wilbur), Supp. III Part 2: 556 Junker, Howard, Supp. XV: 116 Junkie: Confessions of an Unredeemed Drug Addict (Burroughs), Supp. III Part 1: 92, 94–96, 101 Junky (Burroughs), Supp. XIV: 143 Juno and the Paycock (O’ Casey), Supp. IV Part 1: 361 “Jupiter Doke, Brigadier General” (Bierce), I: 204 Jupiter Laughs (A. Cronin), Supp. XVII: 59 Jurgen (Cabell), III: 394; IV: 286; Retro. Supp. I: 80; Supp. I Part 2: 718 Jusserand, Jules, II: 338 Just above My Head (Baldwin), Retro. Supp. II: 14–15

“Just a Little One” (Parker), Supp. IX: 191 Just and the Unjust, The (Cozzens), I: 367–370, 372, 375, 377, 378, 379 Just an Ordinary Day (Jackson), Supp. IX: 120 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 for the Thrill: An Essay on the Difference Between Women and Men” (Carson), Supp. XII: 103–104 “Justice” (Hughes), Supp. I Part 1: 331 “Justice, A” (Faulkner), Retro. Supp. I: 83 Justice, Donald, Retro. Supp. I: 313; Supp. III Part 2: 541; Supp. V: 180, 337, 338, 341; Supp. VII: 115–130; Supp. XI: 141, 315; Supp. XIII: 76, 312; Supp. XV: 74, 93, 118, 119, 134; Supp. XVII: 110, 120, 246 Justice and Expediency (Whitter), Supp. I Part 2: 686 “Justice Denied in Massachusetts” (Millay), III: 140 Justice for Salcido (Endore), Supp. XVII: 63 Justice of Gold in the Damnation of Sinners, The (Edwards), I: 559 “Justice to Feminism” (Ozick), Supp. V: 272 “Just Like a Woman” (Dylan), Supp. XV: 350 “Just Like Job” (Angelou), Supp. IV Part 1: 15 “Just One of the Boys” (Swados), Supp. XIX: 259 Just Whistle: A Valentine (Wright), Supp. XV: 346–348 Just Wild About Harry (H. Miller), III: 190 Juvenal, II: 8, 169, 552 K “K, The” (Olson), Supp. II Part 2: 558, 563, 569 Kabir, Supp. IV Part 1: 74 “Kabnis” (Toomer), Supp. III Part 2: 481, 484; Supp. IX: 309, 310, 319– 320 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; Supp. XIV: 269 Kael, Pauline, Supp. IX: 253; Supp. XV: 147, 148 Kafka, Franz, II: 244, 565, 569; III: 51, 253, 418, 566, 572; IV: 2, 113, 218, 437–439, 442; Retro. Supp. II: 20, 221, 282; Supp. I Part 1: 197; Supp. III Part 1: 105; Supp. III Part 2: 413; Supp. IV Part 1: 379; Supp. IV Part 2: 623; Supp. VIII: 14, 15, 103;

Supp. XII: 21, 37, 98, 168; Supp. XIII: 305; Supp. XVI: 17, 201, 206, 209; Supp. XVII: 244 Kafka Americana (Lethem and Scholtz), Supp. XVIII: 144–145 Kaganoff, Penny, Supp. XI: 122 Kagan’s Superfecta (A. Hoffman), Supp. XVII: 42 Kahane, Jack, III: 171, 178 Kahn, Otto, I: 385; IV: 123; Retro. Supp. II: 81, 84, 85 Kahn, R. T., Supp. XI: 216 “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; Supp. X: 171, 301, 302, 310, 314; Supp. XI: 38, 179; Supp. XII: 165, 171, 172, 299; Supp. XVI: 71; Supp. XVII: 6; Supp. XIX: 142 Kalem, T. E., Supp. IV Part 2: 585 Kalevala (Finnish epic), II: 503, 504; Retro. Supp. II: 155 Kalevala (Lönnrot), Retro. Supp. II: 159, 160 Kalfus, Ken, Supp. XVII: 50 Kalki: A Novel (Vidal), Supp. IV Part 2: 677, 682, 685, 691, 692 Kallen, Horace, I: 229; Supp. I Part 2: 643; Supp. XIV: 195, 197, 198 Kallman, Chester, II: 586; Supp. II Part 1: 15, 17, 24, 26 “Kallundborg Church” (Whittier), Supp. I Part 2: 696 Kalstone, David, Retro. Supp. II: 40 Kamel, Rose, Supp. XIII: 306 Kamera Obskura (Nabokov), III: 255 Kamhi, Michelle Moarder, Supp. IV Part 2: 529, 530 Kaminsky, Wally, Supp. XVIII: 72 Kamp, David, Supp. XVIII: 150 Kandy-Kolored Tangerine-Flake Streamline Baby, The (Wolfe), Supp. III Part 2: 569, 573–576, 580, 581 Kane, Julie, Supp. XVII: 78 Kane, Lesley, Supp. XIV: 250 Kanellos, Nicolás, Supp. VIII: 82; Supp. XIII: 213 Kanin, Garson, Supp. IV Part 2: 574 “Kansas City Coyote” (Harjo), Supp. XII: 219, 222 “Kansas Emigrants, The” (Whittier), Supp. I Part 2: 687 Kant, Immanuel, I: 61, 277, 278; II: 10– 11, 362, 480, 580–581, 582, 583; III: 300, 480, 481, 488, 612; IV: 90; Supp. I Part 2: 640; Supp. IV Part 2: 527; Supp. XIV: 198, 199; Supp. XVI: 184 Kanter, Hal, IV: 383 Kapital, Das (Marx), III: 580 Kaplan, Abraham, I: 277 Kaplan, Justin, I: 247–248; Retro. Supp. I: 392 Kaplan, Mary Jo, Supp. XIX: 266 Kaplan, Steven, Supp. V: 238, 241, 243, 248

412 / AMERICAN WRITERS Karate Is a Thing of the Spirit (Crews), Supp. XI: 112–113 Karbo, Karen, Supp. X: 259, 262 “Karintha” (Toomer), Supp. IX: 311 Karl, Frederick R., Supp. IV Part 1: 384 “Karloff and the Rock” (Di Piero), Supp. XIX: 44 Karl Shapiro’s America (film), Supp. II Part 2: 703 Karmi, T., Supp. XV: 78, 88 Karr, Mary, Supp. XI: 239–256; Supp. XIII: 285; Supp. XV: 223; Supp. XVI: 63, 70, 77; Supp. XVII: 242 Kasabian, Linda, Supp. IV Part 1: 206 Kasper, Catherine, Supp. XVI: 294–295 Kate Chopin (Toth), Retro. Supp. II: 71 Kate Chopin: A Critical Biography (Seyersted), Retro. Supp. II: 65; Supp. I Part 1: 225 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), Retro. Supp. II: 57; Supp. I Part 1: 200, 225 “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 “Käthe Kollwitz” (Rukeyser), Supp. VI: 283, 284 Katherine and Jean (Rice), Supp. VII: 288 “Kathleen” (Whittier), Supp. I Part 2: 693 Kathleen and Frank: The Autobiography of a Family (Isherwood), Supp. XIV: 158, 171 Kathy Goes to Haiti (Acker), Supp. XII: 5 Katz, Alex, Supp. XV: 185 Katz, Jonathan, Supp. XII: 179 Katz, Steve, Supp. V: 44 Katz, Steven T., Supp. XVI: 154 Kauffman, Carol, Supp. XI: 295 Kauffmann, Stanley, III: 452; Supp. I Part 2: 391; Supp. XVI: 74 Kaufman, Boris, Supp. XVIII: 251 Kaufman, Charlie, Supp. XV: 16 Kaufman, George S., II: 427, 435, 437; III: 62, 71–72, 394; Retro. Supp. II: 327; Supp. IV Part 2: 574; Supp. IX: 190; Supp. XV: 329 Kaufmann, James, Supp. XI: 39 Kaufmann, Walter, Supp. XVII: 137 Kauvar, Elaine M., Supp. V: 273 Kavanaugh (Longfellow), I: 458; II: 489, 491; Retro. Supp. II: 156; Supp. I Part 2: 420 Kaveney, Roz, Supp. XI: 39 Kawabata, Yasunari, Supp. XV: 186 Kaye-Smith, Sheila, Supp. XVIII: 130– 131 Kazan, Elia, III: 153, 163; IV: 383; Supp. I Part 1: 66, 295; Supp. XVI: 193; Supp. XVIII: 250–251, 252 Kazin, Alfred, I: 248, 417, 419, 517; II: 177, 459; IV: 236; Retro. Supp. II: 206, 243, 246, 286; Supp. I Part 1:

195, 196, 294, 295, 296; Supp. I Part 2: 536, 631, 647, 650, 678, 679, 719; Supp. II Part 1: 143; Supp. IV Part 1: 200, 382; Supp. V: 122; Supp. VIII: 93–111; Supp. IX: 3, 227; Supp. XIII: 98, 106; Supp. XIV: 11; Supp. XV: 142 Keach, Stacey, Supp. XI: 309 Keane, Sarah, Supp. I Part 1: 100 Kearns, Cleo McNelly, Retro. Supp. I: 57 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 Keaton, Diane, Supp. XV: 5 Keats, John, I: 34, 103, 284, 314, 317– 318, 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; Supp. I Part 2: 410, 422, 424, 539, 552, 675, 719, 720; Supp. III Part 1: 73; Supp. IV Part 1: 123, 168, 325; Supp. IV Part 2: 455; Supp. VIII: 41, 273; Supp. IX: 38, 39, 45; Supp. XI: 43, 320; Supp. XII: 9, 113, 255; Supp. XIII: 131, 281; Supp. XIV: 274; Supp. XV: 92; Supp. XVII: 76, 112; Supp. XIX: 33, 276 Keats, John (other), Supp. IX: 190, 195, 200 “Keela, the Outcast Indian Maiden” (Welty), IV: 263 Keeley, Mary Paxton, Supp. XV: 136 “Keen Scalpel on Racial Ills” (Bruell), Supp. VIII: 126 Keep, The (Egan), Supp. XIX: 49, 56–61 “Keep A-Inchin’ Along” (Van Vechten), Supp. III Part 2: 744 Keeping (Goldbarth), Supp. XII: 179– 180, 180 “Keeping Informed in D.C.” (Nemerov), III: 287 Keeping Slug Woman Alive: A Holistic Approach to American Indian Texts (Sarris), Supp. IV Part 1: 329 “’ Keeping Their World Large’ ” (Moore), III: 201–202 Keeping the Night (Everwine), Supp. XV: 75, 81–85, 86 “Keeping Things Whole” (Strand), Supp. IV Part 2: 624 Keep It Simple: A Defense of the Earth (Nichols), Supp. XIII: 268 Kees, Weldon, Supp. X: 118; Supp. XII: 198; Supp. XV: 113, 114, 115, 133– 149 Keillor, Garrison, Supp. XII: 343; Supp. XIII: 274; Supp. XVI: 165–179 Keillor, Gary Edward. See Keiller, Garrison Keith, Brian, Supp. IV Part 2: 474 Keith, Minor C., I: 483 Kelleghan, Fiona, Supp. XVIII: 136, 139, 140

Keller, A. G., III: 108 Keller, Christopher J., Supp. XVIII: 192, 195 Keller, Helen, I: 254, 258 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 Kelley, Mary, Supp. XVIII: 257, 260 Kelley, Robin, Supp. XVIII: 231 Kellogg, Paul U., Supp. I Part 1: 5, 7, 12 Kellogg, Reverend Edwin H., III: 200 Kelly, II: 464 Kelly, Brigit Pegeen, Supp. XVII: 123– 134 Kelly, Emmett, Supp. XI: 99, 106 Kelly, James Patrick, Supp. XVIII: 145; Supp. XIX: 231 Kelly, Walt, Supp. XI: 105 Kelly, William, Supp. XV: 75, 88 Kelsh, Nick, Supp. XVII: 167, 179 Kemble, Fanny, Retro. Supp. I: 228 Kemble, Gouverneur, II: 298 Kemble, Peter, II: 298 Kempton, Murray, Supp. VIII: 104 Kempton-Wace Letters, The (London and Strunsky), II: 465 Kennan, George F., Supp. VIII: 241 Kennedy, Albert J., Supp. I Part 1: 19 Kennedy, Arthur, III: 153 Kennedy, Burt, Supp. IV Part 1: 236 Kennedy, J. Gerald, Retro. Supp. II: 271 Kennedy, John F., I: 136, 170; II: 49, 152–153; III: 38, 41, 42, 234, 411, 415, 581; IV: 229; Supp. I Part 1: 291; Supp. I Part 2: 496; Supp. VIII: 98, 104, 203; Supp. XII: 132 Kennedy, John Pendleton, II: 313 Kennedy, Mrs. John F., I: 136 Kennedy, Robert, Supp. V: 291 Kennedy, Robert F., I: 294; Supp. I Part 1: 52; Supp. XI: 343 Kennedy, Sarah, Supp. XVIII: 293, 299, 301 Kennedy, William, Supp. VII: 131–157; Supp. XVII: 135; Supp. XIX: 141 Kennedy, X. J., Supp. V: 178, 182; Supp. XV: 113, 151–173 Kenner, Hugh, III: 475, 478; IV: 412; Supp. I Part 1: 255; Supp. IV Part 2: 474; Supp. XV: 147 “Kenneth Koch’s ‘Serious Moment’ ” (Spurr), Supp. XV: 183 Kenneth Millar/Ross Macdonald: A Checklist (Bruccoli), Supp. IV Part 2: 464, 469, 471 Kenney, Michael, Supp. XIX: 51, 52–53 Kenney, Susan, Supp. XVIII: 288, 289 Kenny, Maurice, Supp. IV Part 2: 502 Kent, George, Supp. IV Part 1: 11 Kent, Rockwell, Supp. XV: 41 Kenton, Maxwell. See Burnett, David; Hoffenberg, Mason; Southern, Terry “Kent State, May 1970” (Haines), Supp. XII: 211 Kentucky Straight (Offutt), Supp. XIX: 163–167, 171, 172 Kenyatta, Jomo, Supp. X: 135

CUMULATIVE INDEX / 413 Kenyon, Jane, Supp. VII: 159–177; Supp. VIII: 272 Keogh, Tom, Supp. XVI: 230 Kepler, Johannes, III: 484; IV: 18 Keplinger, David, Supp. XIX: 273 Keppel, Frederick P., I: 214 “Kéramos” (Longfellow), II: 494; Retro. Supp. II: 167, 169 Kéramos and Other Poems (Longfellow), II: 490 Kercheval, Jesse Lee, Supp. XIX: 51 Kerim, Ussin, Supp. IX: 152 Kermode, Frank, IV: 133; Retro. Supp. I: 301 Kern, Jerome, II: 427 Kerouac, Jack, III: 174; Retro. Supp. I: 102; Supp. II Part 1: 31, 307, 309, 318, 328; Supp. III 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; Supp. XII: 118, 121, 122, 123, 126, 131, 132; Supp. XIII: 275, 284; Supp. XIV: 137, 138, 141, 142, 143–144; Supp. XV: 134, 221; Supp. XVI: 123; Supp. XVII: 135, 138 Kerr, Deborah, Supp. XI: 307 Kerr, Orpheus C. (pseudonym). See Newell, Henry Kerr, Walter, Supp. IV Part 2: 575, 579 Kerridge, Richard, Supp. XVI: 26 Kesey, Ken, III: 558; Supp. III Part 1: 217; Supp. V: 220, 295; Supp. X: 24, 265; Supp. XI: 104 Kessel, John, Supp. XVIII: 145; Supp. XIX: 231 Kessler, Milton, Supp. XIX: 195 Kesten, Stephen, Supp. XI: 309 Ketchum, Liza, Supp. XIX: 266 Ketchup (Shanley), Supp. XIV: 315 Kevane, Bridget, Supp. XI: 185, 190 “Key, The” (Welty), IV: 262 “Keys” (Nye), Supp. XIII: 281 “Key to the Highway” (Halliday), Supp. XIX: 84 Key to Uncle Tom’s Cabin, A (Stowe), Supp. I Part 2: 580 Key West (H. Crane), Retro. Supp. II: 84 “Key West” (H. Crane), I: 400 Key West: An Island Sheaf (Crane), I: 385, 399–402 Khrushchev, Nikita, I: 136 Kiang Kang-hu, Supp. XV: 45, 47 Kick for a Bite, A (Cobbett), Supp. XV: 237 “Kicking the Candles Out” (Jarman), Supp. XVII: 113 Kid, The (Aiken), I: 61 Kid, The (Chaplin), I: 386 Kidder, Tracy, Supp. III Part 1: 302; Supp. XVIII: 106, 114 Kidman, Nicole, Supp. X: 80 “Kidnapping in the Family, A” (Fante), Supp. XI: 164 “Kid’s Guide to Divorce, The” (Moore), Supp. X: 167, 172 Kidwell, Clara Sue, Supp. IV Part 1: 333 Kielsky, Vera Emuma, Supp. V: 273

Kiely, Brendan, Supp. XVII: 75 Kieran, John, II: 417 Kierkegaard, Søren Aabye, II: 229; III: 292, 305, 309, 572; IV: 438, 491; Retro. Supp. I: 326; Retro. Supp. II: 222; Supp. V: 9; Supp. VIII: 7–8 Kiernan, Robert F., Supp. IV Part 2: 684 Kieseritsky, L., III: 252 Kilgo, Jim, Supp. XVIII: 192 “Kilim” (McClatchy), Supp. XII: 258 “Killed at Resaca” (Bierce), I: 202 “Killed at the Ford” (Longfellow), Retro. Supp. II: 170–171 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 “Killings” (Dubus), Supp. VII: 85–86 “Killing the Ghost of Ripton” (Carruth), Supp. XIX: 1 “Killing the Plants” (Kenyon), Supp. VII: 167, 168 Kilmer, Joyce, Supp. I Part 2: 387; Supp. XV: 294 Kilpatrick, James K., Supp. X: 145 Kilvert, Francis, Supp. VIII: 172 Kim (Kipling), Supp. X: 230 Kim, Alfred, Supp. XI: 140 Kim, Sharon, Supp. XVIII: 267 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 F., Supp. IX: 178 “Kin” (Welty), IV: 277; Retro. Supp. I: 353 Kinard, Agnes Dodds, Supp. XIV: 122, 123, 127 Kincaid, Jamaica, Supp. VII: 179–196 Kincaid, James, Supp. XVIII: 62, 63 “Kindness” (Dunn), Supp. XI: 149, 150 “Kindness” (Nye), Supp. XIII: 285 “Kindness” (Plath), Retro. Supp. II: 256 Kind of Order, A Kind of Folly, A: Essays and Conversations (Kunitz), Supp. III Part 1: 262, 268 Kindred (O. Butler), Supp. XIII: 59–60, 69 “Kind Sir: These Woods” (Sexton), Supp. II Part 2: 673 Kinds of Love (Sarton), Supp. VIII: 253– 254, 256 Kinfolk (Buck), Supp. II Part 1: 126 King, Alexander, IV: 287 King, Carole, Supp. XII: 308 King, Clarence, I: 1 King, Ernest, Supp. I Part 2: 491 King, Fisher, II: 425 King, Francis, Supp. XIV: 155, 156, 166, 169 King, Grace, Retro. Supp. II: 136

King, Martin Luther, Jr., Retro. Supp. II: 12, 13; Supp. XVIII: 24 King, Michael, Supp. XII: 182 King, Queen, Knave (Nabokov), III: 251; Retro. Supp. I: 270 King, Starr, Supp. II Part 1: 341, 342 King, Stephen, Supp. IV Part 1: 102, 104; Supp. IV Part 2: 467; Supp. V: 137–155; Supp. IX: 114; Supp. XIII: 53 King, Tabitha (Mrs. Stephen King), Supp. V: 137 King, The (Barthelme), Supp. IV Part 1: 47, 52 King Coffın (Aiken), I: 53–54, 57 “King David” (Benét), Supp. XI: 44 “King David” (Reznikoff), Supp. XIV: 283 Kingdom and the Power, The (Talese), Supp. XVII: 202, 203, 204, 210 Kingdom by the Sea, The: A Journey around Great Britain (Theroux), Supp. VIII: 323 Kingdom of Earth (T. Williams), IV: 382, 386, 387, 388, 391, 393, 398 “Kingdom of Earth, The” (T. Williams), IV: 384 Kingfisher, The (Clampitt), Supp. IX: 38 “Kingfishers, The” (Olson), Supp. II Part 2: 557, 558–563, 582 King Jasper (Robinson), III: 523 King Kong (film), Supp. IV Part 1: 104; Supp. XVII: 58 King Lear (Shakespeare), I: 538; II: 540, 551; Retro. Supp. I: 248; Supp. IV Part 1: 31, 36; Supp. IX: 14; Supp. XI: 172; Supp. XV: 349 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; Supp. X: 3 “King of Folly Island, The” (Jewett), II: 394; Retro. Supp. II: 132, 133 King of Kings (film), Supp. IV Part 2: 520 King of Paris (Endore), Supp. XVII: 64 “King of the Bingo Game” (Ellison), Retro. Supp. II: 117, 125; Supp. II Part 1: 235, 238, 240–241 “King of the Cats, The” (Benét), Supp. XI: 49–50 “King of the Clock Tower” (Yeats), III: 473 “King of the Desert, The” (O’ Hara), III: 369 King of the Fields, The (Singer), Retro. Supp. II: 317 King of the Jews (Epstein), Supp. XII: 161, 166–170, 172 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

414 / AMERICAN WRITERS “King Pandar” (Blackmur), Supp. II Part 1: 92, 102 “King Pest” (Poe), Retro. Supp. II: 273 Kingsblood Royal (Lewis), II: 456 Kingsbury, John, Supp. I Part 1: 8 “King’s Daughters, Home for Unwed Mothers, 1948” (Stanford), Supp. XV: 345 King’s Henchman, The (Millay), III: 138–139 Kingsley, Sidney, Supp. I Part 1: 277, 281 King’s Mare, The (Canolle; Loos, trans.), Supp. XVI: 194 “King’s Missive, The” (Whittier), Supp. I Part 2: 694 Kingsolver, Barbara, Supp. VII: 197– 214; Supp. XIII: 16; Supp. XVIII: 189 King’s Stilts, The (Geisel), Supp. XVI: 100, 104 Kingston, Earll, Supp. V: 160 Kingston, Maxine Hong, Supp. IV Part 1: 1, 12; Supp. V: 157–175, 250; Supp. X: 291–292; Supp. XI: 18, 245 “King Volmer and Elsie” (Whittier), Supp. I Part 2: 696 Kinmont, Alexander, Supp. I Part 2: 588–589 Kinnaird, John, Retro. Supp. I: 399 Kinnell, Galway, Supp. III Part 1: 235– 256; Supp. III Part 2: 541; Supp. IV Part 2: 623; Supp. V: 332; Supp. VIII: 39; Supp. XI: 139; Supp. XII: 241; Supp. XV: 212; Supp. XVI: 53 Kinsey, Alfred, IV: 230; Supp. XIV: 140 Kinsgton, Maxine Hong, Supp. XV: 220, 223 Kinzie, Mary, Supp. XII: 181 “Kipling” (Trilling), Supp. III Part 2: 495 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; Supp. X: 255 Kirby, David, Supp. XIII: 89; Supp. XIX: 81 Kirkland, Caroline, Supp. XVIII: 258 Kirkland, David, Supp. XVI: 186 Kirkland, Jack, I: 297 Kirkpatrick, Jeane, Supp. VIII: 241 Kirkus, Virginia, Supp. XV: 198 Kirkwood, Cynthia A., Supp. XI: 177, 178, 179 Kirp, David L., Supp. XI: 129 Kirsch, Adam, Supp. XV: 251, 260, 264, 266, 341, 347, 350–351 Kirstein, Lincoln, Supp. II Part 1: 90, 97; Supp. IV Part 1: 82, 83 “Kiss, The” (Di Piero), Supp. XIX: 45, 47 Kiss, The (Harrison), Supp. X: 191 “Kiss, The” (Sexton), Supp. II Part 2: 687 “Kiss Away” (C. Baxter), Supp. XVII: 20 Kissel, Howard, Supp. IV Part 2: 580 Kiss Hollywood Good-by (Loos), Supp. XVI: 190, 195

Kissinger, Henry, Supp. IV Part 1: 388; Supp. XII: 9, 14 Kiss of the Spider Woman, the Musical ( McNally), Supp. XIII: 207, Supp. XIII: 208 Kiss Tomorrow Good-bye (McCoy), Supp. XIII: 170, 172–173, 174 “Kit and Caboodle” (Komunyakaa), Supp. XIII: 115 Kit Brandon: A Portrait (Anderson), I: 111 Kitchen, Judith, Supp. IV Part 1: 242, 245, 252; Supp. IX: 163; Supp. XI: 312, 313, 315, 317, 319, 320, 326, 329; Supp. XV: 215, 219 “Kitchenette” (Brooks), Retro. Supp. I: 208 Kitchen God’s Wife, The (Tan), Supp. X: 289, 292, 293, 294–295, 296–297, 298–299 “Kitchen Terrarium: 1983” (McCarriston), Supp. XIV: 270 Kit O’ Brien (Masters), Supp. I Part 2: 471 Kittel, Frederick August. See Wilson, August Kittredge, Charmian. See London, Mrs. Jack (Charmian Kittredge) Kittredge, William, Supp. VIII: 39; Supp. XI: 316; Supp. XII: 209; Supp. XIII: 16 “Kitty Hawk” (Frost), II: 164; Retro. Supp. I: 124, 141 Kizer, Carolyn, Supp. XVII: 71, 72, 73, 74 Klaidman, Stephen, Supp. XIX: 269 Klail City (Hinojosa), Supp. XIX: 97, 101–103 Klail City Death Trip (Hinojosa). See Ask a Policeman (Hinojosa); Becky and Her Friends (Hinojosa); Dear Rafe (Hinojosa); Fair Gentlemen of Belken County (Hinojosa); Klail City (Hinojosa); Korean Love Songs from Klail City Death Trip (Hinojosa); Partners in Crime: A Rafe Buenrostro Mystery (Hinojosa); Rites and Witnesses: A Comedy (Hinojosa); Useless Servants, The (Hinojosa); Valley, The (Hinojosa) Klein, Joe, Supp. XII: 67–68 Klein, Marcus, Supp. I Part 2: 432; Supp. XI: 233 Kleist, Heinrich von, Supp. IV Part 1: 224 Kline, Franz, Supp. XII: 198 Kline, George, Supp. VIII: 22, 28 Klinghoffer, David, Supp. XVI: 74 Klinkowitz, Jerome, Supp. IV Part 1: 40; Supp. X: 263; Supp. XI: 347 Kloefkorn, Bill, Supp. XIX: 119 Knapp, Adeline, Supp. XI: 200 Knapp, Friedrich, III: 100 Knapp, Samuel, I: 336 Knapp, Samuel Lorenzo, Supp. XV: 246 Kneel to the Rising Sun (Caldwell), I: 304, 309 “Knees/Dura-Europos” (Goldbarth), Supp. XII: 185 “Knife” (Simic), Supp. VIII: 275

Knight, Arthur, Supp. XIV: 144 Knight, Etheridge, Supp. XI: 239 “Knight in Disguise, The” (Lindsay), Supp. I Part 2: 390 Knightly Quest, The (T. Williams), IV: 383 Knight’s Gambit (Faulkner), II: 72 Knish, Anne. See Ficke, Arthur Davison “Knit One, Purl Two” (K. Snodgrass), Supp. XVI: 42 “Knock” (Dickey), Supp. IV Part 1: 182 Knocked Out Loaded (album, Dylan), Supp. XVIII: 28 “Knocking Around” (Ashbery), Supp. III Part 1: 22 “Knocking on Three, Winston” (Epstein), Supp. XIV: 109 Knock on Any Door (film, Ray), Supp. XVII: 150 Knock on Any Door (W. Motley), Supp. XVII: 150–155, 159, 160; 158 Knockout Artist, The (Crews), Supp. XI: 113–114 Knoll, Robert E., Supp. XV: 118 Knopf, Alfred A., III: 99, 105, 106, 107; Retro. Supp. I: 13, 19, 317; Supp. I Part 1: 324, 325, 327; Supp. IV Part 1: 125, 354; Supp. XIII: 172 Knopf, Blanche, Supp. I Part 1: 324, 325, 327, 328, 332, 341; Supp. IV Part 1: 128, 346, 348; Supp. XIII: 169 “Knot, The” (Rich), Supp. I Part 2: 555 Knotts, Kristina, Supp. XIII: 238 “Knowing, The” (Olds), Supp. X: 215 “Knowledge Forwards and Backwards” (Stern), Supp. IX: 296 Knowles, John, Supp. IV Part 2: 679; Supp. XII: 235–250 Knox, Frank, Supp. I Part 2: 488, 489 Knox, Israel, Supp. X: 70 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, Kenneth, Supp. XV: 175–192; Supp. XIX: 81 Koch, Vivienne, III: 194; IV: 136, 140; 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 Kokkinen, Eila, Supp. XIV: 146, 148 Kolba, Ellen D., Supp. XVIII: 257 Kolbenheyer, Dr. Frederick, Supp. I Part 1: 207 Kolodny, Annette, Supp. X: 97, 103, 229 “Komodo” (C. Frost), Supp. XV: 95 Komunyakaa, Yusef, Supp. XIII: 111– 136

CUMULATIVE INDEX / 415 Konigsberg, Allan Stewart. See Allen, Woody Kon-Tiki (Heyerdahl), II: 477 Koopman, Harry Lyman, Retro. Supp. I: 40 Ko; or, A Season on Earth (Koch), Supp. XV: 175, 180, 181, 183, 186 Kooser, Ted, Supp. XV: 113, 115; Supp. XIX: 115–130 Kootz, Samuel, Supp. XV: 144 Kora and Ka (Doolittle), Supp. I Part 1: 270 Kora in Hell (W. C. Williams), Retro. Supp. I: 416, 417–418, 419, 430, 431 Korb, Rena, Supp. XI: 2 Korczak, Janosz, Supp. X: 70 Korean Love Songs from Klail City Death Trip (Hinojosa), Supp. XIX: 98, 103– 104 Kornblatt, Joyce Reiser, Supp. XV: 62 Kort, Amy, Supp. XIII: 148 Kosinski, Jerzy, Supp. VII: 215–228; Supp. XII: 21 “Kostas Tympakianakis” (Merrill), Supp. III Part 1: 326 Koteliansky, S. S., Supp. VIII: 251, 265 Kovic, Ron, Supp. XIX: 17 Kowloon Tong (Theroux), Supp. VIII: 325 Kozlenko, William, IV: 378, 381 Krabbenhoft, Ken, Supp. XVII: 112 Kraft, James, Supp. XV: 40, 41, 42, 43, 52 Krakauer, Jon, Supp. XVII: 210; Supp. XVIII: 105–118 Kramer, Dale, Supp. I Part 2: 669 Kramer, Hilton, III: 537; Supp. I Part 1: 295, 296; Supp. VIII: 239; Supp. XV: 113; Supp. XIX: 269 Kramer, Lawrence, Supp. IV Part 1: 61, 65, 66; Supp. IX: 291 Kramer, Peter D., Supp. XVI: 229 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; Supp. XI: 293 Krauth, Leland, Supp. XVIII: 58 Kreisler, Harry, Supp. XVI: 155 Kreitman, Esther, IV: 2 “Kremlin of Smoke” (Schnackenberg), Supp. XV: 257–258 Kreymborg, Alfred, II: 530; III: 465; IV: 76; Retro. Supp. I: 417; Supp. XV: 301, 306 Krim, Seymour, Supp. XV: 338; Supp. XVI: 217; Supp. XVIII: 285 Kristeva, Julia, Supp. XII: 6 Kristofferson, Kris, Supp. XIII: 119 Kristol, Irving, Supp. VIII: 93, 244; Supp. XIII: 98 Krivak, Andrew, Supp. XVII: 242 Kroll, Jack, Supp. IV Part 2: 590 Kroll, Judith, Supp. I Part 2: 541–543, 544, 546 Kroll Ring, Frances. See Ring, Frances Kroll Krondorfer, Björn, Supp. XVI: 160 Krook, Dorothea, Retro. Supp. II: 243

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 Krupnick, Mark, Supp. XVI: 153 Krutch, Joseph Wood, II: 459; III: 425; IV: 70, 175 Kublai Khan, III: 395 “Kubla Khan” (Coleridge), Supp. XIII: 131, 283 Kubrick, Stanley, Supp. IV Part 1: 392; Supp. XI: 293,Supp. XI: 301, 302– 303 Kuehl, John, Supp. IV Part 1: 279, 284, 285, 287 Kuehl, Linda, Supp. IV Part 1: 199 “Kugelmass Episode, The” (Allen), Supp. XV: 15, 16 Kukachin, Princess, III: 395 “Ku Klux” (Hughes), Retro. Supp. I: 205 Kulshrestha, Chirantan, Retro. Supp. II: 21 Kumin, Maxine, Supp. IV Part 2: 439– 457; Supp. XIII: 294; Supp. XVII: 71, 75–76 Kundera, Milan, Supp. VIII: 241 Kunitz, Stanley, I: 179, 180, 181, 182, 521; II: 545; Supp. III Part 1: 257– 270; Supp. V: 79; Supp. XI: 259; Supp. XIII: 341 Kuo, Helena, Supp. X: 291 Kuropatkin, General Aleksei Nikolaevich, III: 247–248 Kurth, Peter, Supp. XVIII: 145 Kurzy of the Sea (Barnes), Supp. III Part 1: 34 Kushner, Tony, Supp. IX: 131–149 Kussy, Bella, IV: 468 Kuttner, Henry, Supp. IV Part 1: 102 Kuzma, Greg, Supp. XV: 118 L LaBastille, Anne, Supp. X: 95–110 “Labor’s Cultural Degradation” (Swados), Supp. XIX: 264–265 “Labours of Hercules, The” (Moore), III: 201 La Bruyère, Jean de, I: 58 La Bufera e Altro (Montale), Supp. V: 337 Labyrinth of Love (Untermeyer), Supp. XV: 312 Labyrinth of Solitude, The (Paz), Supp. XIII: 223 Lacan, Jacques, Supp. IV Part 1: 45; Supp. VIII: 5; Supp. XII: 98 La Casa en Mango Street (Cisneros), Supp. VII: 58–59 Lachaise, Gaston, I: 434 “Lackawanna” (Merwin), Supp. III Part 1: 350 Lackawanna Elegy (Goll; Kinnell, trans.), Supp. III Part 1: 235, 243–244 Laclède, Pierre, Supp. I Part 1: 205 “Lacquer Prints” (Lowell), II: 524–525 Lacy, Ed, Supp. XV: 193–210 Ladder, The (Rasmussen; Nelson, trans.), Supp. XVIII: 180–181

Ladder of Years (Tyler), Supp. IV Part 2: 657, 671–672 Ladders to Fire (Nin), Supp. X: 185 “Ladies” (Coleman), Supp. XI: 93 Ladies Almanack (Barnes), Supp. III Part 1: 37–39, 42 “Ladies in Spring” (Welty), IV: 276–277; Retro. Supp. I: 353 Lady, The (Richter), Supp. XVIII: 211– 212, 220 Lady Audley’s Secret (Braddon), Supp. I 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; Supp. XVI: 267 Lady from Louisiana (film, Vorhaus), Supp. XVII: 59 “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: 127, 129–130 “Lady in the Lake, The” (Chandler), Supp. IV Part 1: 129 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), Retro. Supp. II: 250, 251, 255; Supp. I Part 2: 529, 535, 542, 545 Lady of Aroostook, The (Howells), II: 280 “Lady of Bayou St. John, A” (Chopin), Retro. Supp. II: 58 “Lady of the Lake, The” (Malamud), Supp. I Part 2: 437 Lady Oracle (Atwood), Supp. XIII: 21, 23–24 Lady Sings the Blues (film), Supp. I Part 1: 67 “Lady’s Maid’s Bell, The” (Wharton), IV: 316 “Lady Wentworth” (Longfellow), II: 505 “Lady with a Lamp” (Parker), Supp. IX: 193 “Lady with the Heron, The” (Merwin), Supp. III Part 1: 343 La Farge, John, I: 1, 2, 20; II: 322, 338; Retro. Supp. I: 217 La Farge, Oliver, Supp. IV Part 2: 503 Lafayette, Marquis de, I: 344, 345; II: 405–406; Supp. I Part 2: 510, 511, 683 “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 Laforgue, Jules, I: 386, 569, 570, 572– 573, 575, 576; II: 528; III: 8, 11, 466;

416 / AMERICAN WRITERS IV: 37, 79, 80, 122; Retro. Supp. I: 55, 56; Supp. XIII: 332, 335, 346; Supp. XV: 165 La Gallienne, Eva, Supp. VIII: 251 “Lager Beer” (Dunbar), Supp. II Part 1: 193 “La Gringuita: On Losing a Native Language” (Alvarez), Supp. VII: 18 Laguna Woman (Silko), Supp. IV Part 2: 557, 560–561 Laing, R. D., Supp. I Part 2: 527 La kabbale pratique (Ambelain), Supp. I Part 1: 273 “Lake, The” (Bradbury), Supp. IV Part 1: 101 Lake, The (play), Supp. IX: 189 Lakeboat (Mamet), Supp. XIV: 240–241 “Lake Chelan” (Stafford), Supp. XI: 321 Lake Effect Country (Ammons), Supp. VII: 34, 35 “Lake Isle of Innisfree” (Yeats), Retro. Supp. I: 413 “Lake Isle of Innisfree, The” (Yeats), Supp. XIX: 92 “Lake Return” (Wright), Supp. XV: 345 Lake Wobegon Days (Keillor), Supp. XVI: 165, 166, 173–174 Lake Wobegon Summer 1956 (Keillor), Supp. XVI: 178 Lalic, Ivan V., Supp. VIII: 272 L’ Alouette (Anouilh), Supp. I Part 1: 286–288 Lamantia, Philip, Supp. VIII: 289 Lamb, Brian, Supp. XIX: 156 Lamb, Charles, III: 111, 207; Supp. VIII: 125 Lamb, Wendy, Supp. IV Part 2: 658 Lambardi, Marilyn May, Retro. Supp. II: 45–46 “Lament” (Wilbur), Supp. III Part 2: 550 “Lamentations” (Glück), Supp. V: 83, 84 “Lament for Dark Peoples” (Hughes), Retro. Supp. I: 199 “Lament for Saul and Jonathan” (Bradstreet), Supp. I Part 1: 111 “Lament-Heaven” (Doty), Supp. XI: 125 “Lament of a New England Mother, The” (Eberhart), I: 539 Laments for the Living (Parker), Supp. IX: 192 “Lame Shall Enter First, The” (O’ Connor), III: 348, 351, 352, 355, 356– 357, 358; Retro. Supp. II: 237 Lamia (Keats), II: 512; III: 523 La Motte-Fouqué, Friedrich Heinrich Karl, III: 77, 78 L’ Amour, Louis, Supp. XIII: 5 Lamp for Nightfall, A (Caldwell), I: 297 Lamplit Answer, The (Schnackenberg), Supp. XV: 251, 254, 256–260 “Lance” (Nabokov), Retro. Supp. I: 266 Lancelot (Percy), Supp. III Part 1: 384, 395–396 Lancelot (Robinson), III: 513, 522 Lanchester, John, Retro. Supp. I: 278 “Land” (Emerson), II: 6 “Land Aesthetic, The” (Callicott), Supp. XIV: 184 Landau, Deborah, Supp. XI: 122, 123

“Land beyond the Blow, The” (Bierce), I: 209 “Land Ethic, The” (Leopold), Supp. XIV: 179, 180, 183, 191, 192 Landfall (Wagoner), Supp. IX: 330 “Landing in Luck” (Faulkner), Retro. Supp. I: 85 “Landing on the Moon” (Swenson), Supp. IV Part 2: 643 “Landings” (Hoffman), Supp. XVIII: 86 “Landing Under Water, I See Roots” (A. Finch), Supp. XVII: 76 Landlord at Lion’s Head, The (Howells), II: 276, 287–288 Landmarks of Healing: A Study of House Made of Dawn (Scarberry-García), Supp. IV Part 2: 486 Land of Little Rain, The (Dillard), Supp. VI: 27–28 Land of the Free U.S.A. (MacLeish), I: 293; III: 16–17 Land of Unlikeness (Lowell), II: 537– 538, 539, 547; Retro. Supp. II: 177, 178, 184–185 Landor, Walter Savage, III: 15, 469; Supp. I Part 2: 422 “Landscape” (Sarton), Supp. VIII: 259 “Landscape #11” (Halliday), Supp. XIX: 93 “Landscape as a Nude” (MacLeish), III: 14 Landscape at the End of the Century (Dunn), Supp. XI: 139, 143, 150–151 “Landscape Chamber, The” (Jewett), II: 408–409 “Landscape for the Disappeared” (Komunyakaa), Supp. XIII: 120, 126 Landscape in American Poetry (Larcom), Supp. XIII: 142 “Landscape Painter, A” (James), II: 322; Retro. Supp. I: 219 “Landscape Symbolism in Kate Chopin’s At Fault” (Arner), Retro. Supp. II: 62 “Landscape: The Eastern Shore” (Barth), I: 122 “Landscape with Boat” (Stevens), Retro. Supp. I: 306 “Landscape with the Fall of Icarus” (Brueghel), Retro. Supp. I: 430 Land’s End: A Walk through Provincetown (Cunningham), Supp. XV: 69 Land That Drank the Rain, The (Hoffman), Supp. XVIII: 76, 80, 81, 82 “Land Where There Is No Death, The” (Benét), Supp. XI: 56 Lane, Ann, Supp. XI: 195, 208 Lane, Cornelia. See Anderson, Mrs. Sherwood Lane, Homer, Supp. II Part 1: 6; Supp. XIV: 160 Lane, Nathan, Supp. XIII: 207 Lane, Rose Wilder, Supp. IV Part 2: 524 Lanes, Selma G., Supp. XVI: 104, 107 Lang, Andrew, Retro. Supp. I: 127 Lang, Violet, Supp. XII: 119 Langdon, Olivia. See Clemens, Mrs. Samuel Langhorne (Olivia Langdon) Lange, Carl Georg, II: 350

Lange, Dorothea, I: 293; Supp. XIV: 181 Langland, Joseph, III: 542 Langston Hughes, American Poet (Walker), Supp. III Part 2: 530–531 Langston Hughes and the “Chicago Defender“: Essays on Race, Politics, and Culture (De Santis, ed.), Retro. Supp. I: 194 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 “Language, Visualization and the Inner Library” (Shepard), Supp. III Part 2: 436, 438, 449 “Language and the Writer” (Bambara), Supp. XI: 18 Language As Gesture (Blackmur), Supp. II Part 1: 108 Language as Symbolic Action (Burke), I: 275, 282, 285 Language Book, The (Andrews and Bernstein), Supp. IV Part 2: 426 Language in Thought and Action (Hayakawa), I: 448 “Language of Being and Dying, The” (Gass), Supp. VI: 91 “Language of Home, The” (Wideman), Supp. X: 320, 323–324 Language of Life, The (Moyers, television series), Supp. XIII: 274, 276 Language of the American South, The (Brooks), Supp. XIV: 14 “Language of the Brag, The” (Olds), Supp. X: 204 “Language We Know, The” (Ortiz), Supp. IV Part 2: 500 Lanier, Clifford, Supp. I Part 1: 349, 350, 353, 355, 356, 371 Lanier, James F. D., Supp. I Part 1: 350 Lanier, Lyle H., Supp. X: 25 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; Supp. I Part 2: 416; Supp. IV Part 1: 165 “Lanier as Poet” (Parks), Supp. I Part 1: 373 “Lanier’s Reading” (P. 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 Lant, Kathleen Margaret, Supp. V: 141 Lanthenas, François, Supp. I Part 2: 515 Laotzu, III: 173, 189, 567; Supp. XV: 39, 46, 48

CUMULATIVE INDEX / 417 “Lapis Lazuli” (Yeats), I: 532; III: 40 Laplace, Pierre Simon de, III: 428 Lapouge, M. G., Supp. I Part 2: 633 Lappa, Katherine, Supp. XV: 176 Laqueur, Thomas, Supp. XVI: 154 Larbaud, Valery, IV: 404; Supp. XIII: 332; Supp. XIV: 338 Larcom, Lucy, Retro. Supp. II: 145; Supp. XIII: 137–157 Larcom’s Poetical Works (Larcom), Supp. XIII: 142 Lardner, John, II: 437 Lardner, Ring, I: 487; II: 44, 91, 259, 263, 415–438; III: 566, 572; IV: 433; Retro. Supp. I: 105; Retro. Supp. II: 222; Supp. I Part 2: 609; Supp. IX: 200; Supp. XVI: 189 Lardner, Ring, Jr., Supp. XI: 306 “Lardner, Shakespeare and Chekhov” (Matthews), II: 430 “Large Bad Picture” (Bishop), Retro. Supp. II: 43; 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; Supp. XI: 243, 249; Supp. XIII: 76, 85; Supp. XV: 117, 251; Supp. XVII: 110; Supp. XVIII: 173 Larkin, Sharon Alile, Supp. XI: 20 Larmore, Phoebe, Supp. X: 266 Larner, Jeremy, Supp. XVI: 220 La Rochefoucauld, François de, I: 279; II: 111; Supp. XIV: 130 “La Rose des Vents” (Wilbur), Supp. III Part 2: 550 Larry’s Party (Shields), Supp. VII: 324, 326–327 Larsen, Nella, Supp. I Part 1: 325, 326; Supp. IV Part 1: 164; Supp. XVIII: 119–134 Larson, Charles, Supp. IV Part 1: 331 Larson, Clinton, Supp. XI: 328 Larson, Kelli, Supp. XVIII: 131 “Larval Stage of a Bookworm” (Mencken), III: 101 La Salle and the Discovery of the Great West (Parkman), Supp. II Part 2: 595, 598, 605–607; Supp. XVIII: 114 Lasch, Christopher, I: 259 Lasher (Rice), Supp. VII: 299–300 Lask, Thomas, III: 576; Supp. XVI: 250 Laski, Harold, Supp. I Part 2: 632, 643 Lassalle, Ferdinand, IV: 429 Lasser, Louise, Supp. XV: 4 “Last Acts” (Olds), Supp. X: 210 Last Adam, The (Cozzens), I: 362–363, 364, 368, 375, 377, 378, 379 Last Analysis, The (Bellow), I: 152, 160, 161; Retro. Supp. II: 26 Last and Lost Poems of Delmore Schwartz (Phillips, ed.), Supp. II Part 2: 661, 665

Last Avant-Garde, The: The Making of the New York School of Poets (Lehman), Supp. XV: 178–179, 187 Last Beautiful Days of Autumn, The (Nichols), Supp. XIII: 254, 255, 267, 269 Last Blue (Stern), Supp. IX: 299–300 Last Carousel, The (Algren), Supp. IX: 16 “Last Child” (X. J. Kennedy), Supp. XV: 162, 165 “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 August, The” (Nye), Supp. XIII: 284 “Last Days of John Brown, The” (Thoreau), IV: 185 Last Days of Louisiana Red, The (Reed), Supp. X: 240, 248–249 Last Decade, The (Trilling), Supp. III 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 Frontier” (McCarriston), Supp. XIV: 272 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: 45–46 “Last Hiding Places of Snow, The” (Kinnell), Supp. III Part 1: 252 “Last Hours, The” (Dunn), Supp. XI: 141 Last House: Reflections, Dreams, and Observations, 1943–1991 (M. F. K. Fisher), Supp. XVII: 92 Last Husband and Other Stories, The (Humphrey), Supp. IX: 94 Last Jew in America, The (Fiedler), Supp. XIII: 103 “Last Jew in America, The” (Fiedler), Supp. XIII: 103 Last Laugh, Mr. Moto (Marquand), III: 57 “Last Leaf, The” (Holmes), Supp. I Part 1: 302, 309 “Last Leaf, The” (Porter), III: 444 “Last Lie, The” (Weigl), Supp. XIX: 279 “Last Look at the Lilacs” (Stevens), IV: 74 Last Man, The (Kees), Supp. XV: 142, 143, 145 “Last May” (Dixon), Supp. XII: 143 “Last Mermother, The” (A. Finch), Supp. XVII: 72 “Last Mohican, The” (Malamud), Supp. I Part 2: 437–438, 450, 451 “Lastness” (Kinnell), Supp. III Part 1: 248–249 “Last Night” (Olds), Supp. X: 212 “Last Night at Tía’s” (Alvarez), Supp. VII: 5

Last Night of Summer, The (Caldwell), I: 292–293 Last of Mr. Norris, The (Isherwood), Supp. XIV: 161 “Last of the Brooding Miserables, The” (Karr), Supp. XI: 250 “Last of the Caddoes, The” (Humphrey), Supp. IX: 101 “Last of the Gold Star Mothers, The” (C. Bly), Supp. XVI: 34, 35, 36 “Last of the Legions, The” (Benét), Supp. XI: 56, 57 Last of the Mohicans, The (Cooper), I: 341, 342, 349 Last of the Red Hot Lovers (Simon), Supp. IV Part 2: 575, 583, 589 “Last of the Valerii, The” (James), II: 327; Retro. Supp. I: 218 “Last One, The” (Merwin), Supp. III Part 1: 355 Last Picture Show, The (film), Supp. V: 223, 226 Last Picture Show, The (McMurtry), Supp. V: 220, 222–223, 233 Last Place on Earth, The: Scott and Amundsen’s Race to the South Pole (Huntford), Supp. XVIII: 114 Last Puritan, The (Santayana), III: 64, 600, 604, 607, 612, 615–617 “Last Ride Together, The” (Browning), I: 468 “Last River, The” (Kinnell), Supp. III Part 1: 236 Last Song, The (Harjo), Supp. XII: 218 “Last Song for the Mend-It Shop” (Nye), Supp. XIII: 283 “Last Tango in Fresno” (Salinas), Supp. XIII: 318 Last Tycoon, The: An Unfinished Novel (Fitzgerald), II: 84, 98; Retro. Supp. I: 109, 114, 114–115; Retro. Supp. II: 337; Supp. IV Part 1: 203; Supp. IX: 63; Supp. XII: 173; Supp. XIII: 170; Supp. XVIII: 248, 250 “Last WASP in the World, The” (Fiedler), Supp. XIII: 103 Last Watch of the Night: Essays Too Personal and Otherwise (Monette), Supp. X: 147, 148, 153, 157–159 “Last Word, The” (column, Quindlen), Supp. XVII: 165, 167, 170 Last Word, The: Letters between Marcia Nardi and William Carlos Williams (O’ Neil, ed.), Retro. Supp. I: 427 “Last Words” (Levine), Supp. V: 190 “Last Words” (Olds), Supp. X: 210 Last Worthless Evening, The (Dubus), Supp. VII: 87–88 “Las Vegas (What?) Las Vegas (Can’ t Hear You! Too Noisy) Las Vegas! ! ! !” (Wolfe), Supp. III Part 2: 572 “Late” (Bogan), Supp. III Part 1: 53 “Late Air” (Bishop), Supp. I Part 1: 89 “Late Autumn” (Sarton), Supp. VIII: 261 “Late Bronze, Early Iron: A Journey Book” (Sobin), Supp. XVI: 290 Late Child, The (McMurtry), Supp. V: 231 “Late Conversation” (Doty), Supp. XI: 122

418 / AMERICAN WRITERS “Late Encounter with the Enemy, A” (O’ Connor), III: 345; Retro. Supp. II: 232 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” (Everwine), Supp. XV: 85 Late Hour, The (Strand), Supp. IV Part 2: 620, 629–630 “Lately, at Night” (Kumin), Supp. IV Part 2: 442 “Late Moon” (Levine), Supp. V: 186 “Late Night Ode” (McClatchy), Supp. XII: 262–263 Later (Creeley), Supp. IV Part 1: 153, 156, 157 Later Life (Gurney), Supp. V: 103, 105 La Terre (Zola), III: 316, 322 Later the Same Day (Paley), Supp. VI: 218 “Late September in Nebraska” (Kooser), Supp. XIX: 120 Late Settings (Merrill), Supp. III 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 “Latest Freed Man, The” (Stevens), Retro. Supp. I: 306 “Latest Injury, The” (Olds), Supp. X: 209 Latest Literary Essays and Addresses (Lowell), Supp. I Part 2: 407 “Late Subterfuge” (Warren), IV: 257 “Late Summer Lilies” (Weigl), Supp. XIX: 288 “Late Supper, A” (Jewett), Retro. Supp. II: 137 “Late Victorians” (Rodriguez), Supp. XIV: 303–304 “Late Walk, A” (Frost), II: 153; Retro. Supp. I: 127 Latham, Edyth, I: 289 Lathrop, George Parsons, Supp. I Part 1: 365 Lathrop, H. B., Supp. III Part 2: 612 Lathrop, Julia, Supp. I Part 1: 5 Latière de Trianon, La (Wekerlin), II: 515 “La Tigresse” (Van Vechten), Supp. II Part 2: 735, 738 Latimer, Hugh, II: 15 Latimer, Margery, Supp. IX: 320 La Traviata (Verdi), III: 139 “Latter-Day Warnings” (Holmes), Supp. I Part 1: 307 La Turista (Shepard), Supp. III Part 2: 440 Lauber, John, Supp. XIII: 21 Laud, Archbishop, II: 158 “Lauds” (Auden), Supp. II Part 1: 23 “Laughing Man, The” (Salinger), III: 559 Laughing to Keep From Crying (Hughes), Supp. I Part 1: 329–330

“Laughing with One Eye” (Schnackenberg), Supp. XV: 253 Laughlin, James, III: 171; Retro. Supp. I: 423, 424, 428, 430, 431; Supp. VIII: 195; Supp. XV: 140; Supp. XVI: 284 Laughlin, Jay, Supp. II Part 1: 94 Laughlin, J. Laurence, Supp. I Part 2: 641 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: 439–440 “Laura Dailey’s Story” (Bogan), Supp. III Part 1: 52 Laurel, Stan, Supp. I Part 2: 607; Supp. IV Part 2: 574 Laurel and Hardy Go to Heaven (Auster), Supp. XII: 21 Laurence, Alexander, Supp. XVIII: 138 Laurence, Dan H., II: 338–339 Laurens, John, Supp. I Part 2: 509 Lauter, Paul, Supp. XV: 313 Lautréamont, Comte de, III: 174 Law, John, Supp. XI: 307 Law and Order (television), Supp. XVII: 153 Law and the Testimony, The (S. and A. Warner), Supp. XVIII: 264 Lawd Today (Wright), IV: 478, 492 Law for the Lion, A (Auchincloss), Supp. IV Part 1: 25 “Law Lane” (Jewett), II: 407 “Lawns of June, The” (Peacock), Supp. XIX: 196 “Law of Nature and the Dream of Man, The: Ruminations of the Art of Fiction” (Stegner), Supp. IV Part 2: 604 Lawrence, D. H., I: 291, 336, 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, 458, 546–547; IV: 138, 339, 342, 351, 380; Retro. Supp. I: 7, 18, 203, 204, 421; Retro. Supp. II: 68; Supp. I Part 1: 227, 230, 243, 255, 257, 258, 263, 329; Supp. I Part 2: 546, 613, 728; Supp. II Part 1: 1, 9, 20, 89; Supp. IV Part 1: 81; Supp. VIII: 237; Supp. X: 137, 193, 194; Supp. XII: 172; Supp. XIV: 310; Supp. XV: 45, 46, 158, 254; Supp. XVI: 267 Lawrence, Frieda, Supp. XV: 46 Lawrence, Rhoda, Supp. I Part 1: 45 Lawrence, Seymour, Supp. IX: 107; Supp. XI: 335, 346, 348 Lawrence, T. E., Supp. XIV: 159 Lawrence of Arabia (Aldington), Supp. I Part 1: 259 Lawrence of Arabia (film), Supp. I Part 1: 67 Laws (Plato), Supp. IV Part 1: 391 Laws of Ice, The (Price), Supp. VI: 264 Laws of Our Fathers, The (Turow), Supp. XVII: 218–219 Lawson, John Howard, I: 479, 482

Lawton Girl, The (Frederic), II: 132–133, 144 Layachi, Larbi (Driss ben Hamed Charhadi), Supp. IV Part 1: 92, 93 Layard, John, Supp. XIV: 160 Lay Down My Sword and Shield (Burke), Supp. XIV: 22, 25, 34 “Layers, The” (Kunitz), Supp. III Part 1: 260, 266–267 “Layers, The: Some Notes on ‘The Abduction’ ” (Kunitz), Supp. III Part 1: 266 “Lay-mans Lamentation, The” (Taylor), IV: 162–163 Lay of the Land, The: Metaphor as Experience and History in American Life and Letters (Kolodny), Supp. X: 97 “Layover” (Hass), Supp. VI: 109 “Lay Preacher” (Dennie), Supp. I Part 1: 125 Layton, Irving, Supp. XII: 121 Lazar, Irving “Swifty“, Supp. XIX: 250 Lazarillo de Tormes (Mendoza), III: 182 Lazar Malkin Enters Heaven (S. Stern), Supp. XVII: 42 Lazarus Laughed (O’ Neill), III: 391, 395–396 Lazer, Hank, Supp. IX: 265 Lea, Luke, IV: 248 Leacock, Stephen, Supp. IV Part 2: 464 “LEADBELLY GIVES AN AUTOGRAPH” (Baraka), Supp. II Part 1: 49 Leaflets: Poems, 1965–1968 (Rich), Supp. I Part 2: 551, 556–557 “League of American Writers, The: Communist Organizational Activity among American Writers 1929–1942” (Wolfe), Supp. III Part 2: 568 League of Brightened Philistines and Other Papers, The (Farrell), II: 49 Leal, Luis, Supp. XIX: 98, 112 Leaning Forward (Paley), Supp. VI: 221 “Leaning Tower, The” (Porter), III: 442, 443, 446–447 Leaning Tower and Other Stories, The (Porter), III: 433, 442, 443–447 “Leap, The” (Dickey), Supp. IV Part 1: 182 “Leaping Up into Political Poetry” (R. Bly), Supp. IV Part 1: 61, 63 Leap Year (Cameron), Supp. XII: 79–80, 81, 85–86, 88 Lear, Edward, III: 428, 536; Supp. XVI: 103 Lear, Linda, Supp. IX: 19, 22, 25, 26 Learned Ladies, The (Molière; Wilbur, trans.), Supp. III Part 2: 560 “Learning a Dead Language” (Merwin), Supp. III 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 “Learning to Speak” (Everwine), Supp. XV: 79

CUMULATIVE INDEX / 419 Learning Tree, The (Park), Supp. XIX: 154 Leary, Lewis, III: 478 Leary, Paris, Supp. IV Part 1: 176 Leary, Timothy, Supp. X: 265; Supp. XIV: 150 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 and Ashes (Haines), Supp. XII: 206 Leaves from the Notebook of a Tamed Cynic (Niebuhr), III: 293 Leaves of Grass (1856) (Whitman), Retro. Supp. I: 399–402 Leaves of Grass (1860) (Whitman), Retro. Supp. I: 402–405 Leaves of Grass (Whitman), II: 8; IV: 331, 332, 333, 334, 335, 336, 340, 341–342, 348, 350, 405, 464; Retro. Supp. I: 387, 388, 389, 390, 392–395, 406, 407, 408; Retro. Supp. II: 93; Supp. I Part 1: 365; Supp. I Part 2: 416, 579; Supp. III Part 1: 156; Supp. V: 170; Supp. VIII: 275; Supp. IX: 265; Supp. X: 120; Supp. XIV: 334; Supp. XV: 218; Supp. XVIII: 4; Supp. XIX: 276 “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. III Part 2: 563 “Leaving, The” (B. Kelly), Supp. XVII: 127, 132 Leaving a Doll’s House: A Memoir (C. Bloom), Retro. Supp. II: 281 Leaving Another Kingdom: Selected Poems (Stern), Supp. IX: 296 “Leaving Bartram’s Garden in Southwest Philadelphia” (Di Piero), Supp. XIX: 46 “Leaving Brooklyn” (Neugeboren), Supp. XVI: 226 Leaving Cheyenne (McMurtry), Supp. V: 220, 221–222, 224, 229 Leaving Home (Keillor), Supp. XVI: 175 “Leaving One, The” (Offutt), Supp. XIX: 165–166 “Leaving the Island” (Olds), Supp. X: 214 “Leaving the Yellow House” (Bellow), Retro. Supp. II: 27, 32 “Leaving Town” (Kenyon), Supp. VII: 163 Leavis, F. R., I: 522; III: 462–463, 475, 478; Retro. Supp. I: 67; Retro. Supp. II: 243; Supp. I Part 2: 536; Supp. VIII: 234, 236, 245 “Leavis-Snow Controversy, The” (Trilling), Supp. III Part 2: 512 Leavitt, David, Supp. VIII: 88 Le Braz, Anatole, Supp. XIII: 253 Lecker, Robert, Supp. XIII: 21

LeClair, Thomas, Supp. IV Part 1: 286 LeClair, Tom, Supp. V: 53; Supp. XII: 152 Le Conte, Joseph, II: 479; III: 227–228 “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, Don, Supp. XII: 295; Supp. XVII: 13, 14, 15, 16 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, Harriett, Supp. XV: 230 Lee, James Kyun-Jin, Supp. XV: 213 Lee, James W., Supp. IX: 94, 97, 109 Lee, James Ward, Supp. VIII: 57 Lee, Li Lin, Supp. XV: 211, 212 Lee, Li-Young, Supp. XV: 211–228; Supp. XVII: 241 Lee, Richard E., Supp. XIX: 226, 227 Lee, Robert E., II: 150, 206; IV: 126; Supp. I Part 2: 471, 486 Lee, Samuel, IV: 158 Lee, Spike, Retro. Supp. II: 12; Supp. XI: 19; Supp. XIII: 179, 186; Supp. XVI: 144 Lee, Virginia Chin-lan, Supp. X: 291 Leeds, Barry, Retro. Supp. II: 204 Leeds, Daniel, II: 110 Leeds, Titan, II: 110, 111 Leeming, David, Retro. Supp. II: 4, 10 “Lees of Happiness, The” (Fitzgerald), II: 88 “Le Filme” (Weigl), Supp. XIX: 288 Left Out in the Rain: New Poems 1947– 1985 (Snyder), Supp. VIII: 305 “Legacy” (Dunn), Supp. XI: 148 “Legacy” (Komunyakaa), Supp. XIII: 132 “Legacy of Aldo Leopold, The” (Stegner), Supp. XIV: 193 Legacy of Fear, A (Farrell), II: 39 “Legacy of the Ancestral Arts, The” (Locke), Supp. XIV: 201 Legacy of the Civil War, The: Meditations on the Centennial (Warren), IV: 236 “Legal Alien” (Mora), Supp. XIII: 215 “Legal Tender Act, The” (Adams), I: 5 Légende de la mort, La (Le Braz), Supp. XIII: 253 “Legend of Duluoz, The” (Kerouac), Supp. III 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 Paper Plates, The” (Haines), Supp. XII: 204

“Legend of Sammtstadt, A” (Harte), Supp. II Part 1: 355 “Legend of Sleepy Hollow, The” (Irving), II: 306–308 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 Léger, Fernand, Retro. Supp. I: 292 Legge, James, III: 472 Leggett, William, Supp. I Part 1: 157 “Legion, The” (Karr), Supp. XI: 243 “Legs” (Halliday), Supp. XIX: 90 Legs (W. Kennedy), Supp. VII: 133, 134, 138–142, 143, 151 Le Guin, Ursula K., Supp. IV Part 1: 333 Lehan, Richard, Retro. Supp. II: 104 Lehman, David, Supp. IX: 161; Supp. XIII: 130; Supp. XV: 178–179, 180, 187, 190 Lehmann, John, Retro. Supp. II: 243; Supp. XIV: 158, 159 Lehmann, Paul, III: 311 Lehmann-Haupt, Christopher, Retro. Supp. II: 291; Supp. IV Part 1: 205, 209, 306; Supp. IX: 95, 103; Supp. XVI: 73, 210, 294, 295 Lehrer, Jim, Supp. XVIII: 39 Leiber, Fritz, Supp. XVI: 123 Leibling, A. J., Supp. XIV: 112 Leibniz, Gottfried Wilhelm von, II: 103; III: 428 Leibowitz, Herbert A., I: 386; Supp. XV: 78 Leich, Roland, Supp. XIV: 123 Leichum, Laura, Supp. XIX: 197 Leithauser, Brad, Retro. Supp. I: 133; Supp. XV: 250; Supp. XVII: 112 Leitz, Robert, Supp. XIV: 62 Leivick, H., IV: 6 Lekachman, Robert, Supp. I Part 2: 648 Leland, Charles, Supp. II Part 1: 193 Leland, Charles Godfrey, I: 257 Leland, John, Supp. XV: 69; Supp. XIX: 157 Lem, Stanislaw, Supp. IV Part 1: 103 “Le marais du cygne” (Whittier), Supp. I Part 2: 687 Lemay, Harding, Supp. VIII: 125; Supp. IX: 98 Lemercier, Eugène, Retro. Supp. I: 299 “Lemorne versus Huell” (E. Stoddard), Supp. XV: 270, 273, 283 Le Morte D’ Arthur Notes (Gardner), Supp. VI: 65, 66 Lenin, V. I., I: 366, 439, 440; III: 14–15, 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; Supp. X: 5; Supp. XIV: 26 Leonard, John, Supp. IV Part 1: 24; Supp. IV Part 2: 474; Supp. V: 164, 223–224; Supp. XI: 13; Supp. XVIII: 147, 148; Supp. XIX: 269

420 / AMERICAN WRITERS Leonardo da Vinci, Supp. XII: 44 León-Portilla, Miguel, Supp. XV: 77 Leontiev, Constantine, Supp. XIV: 98 Leopard, The (Lampedusa), Supp. XII: 13–14 Leopardi, Giacomo, II: 543; Supp. XIX: 33, 43 “Leopard Man’s Story, The” (London), II: 475 Leopard’s Mouth Is Dry and Cold Inside, The (Levis), Supp. XI: 258 Leopold, Aldo, Supp. V: 202; Supp. X: 108; Supp. XIV: 177–194 “Leper’s Bell, the” (Komunyakaa), Supp. XIII: 118 Lerman, Leo, Supp. X: 188; Supp. XVI: 194 Lerner, Max, III: 60; Supp. I Part 2: 629, 630, 631, 647, 650, 654 “Lesbos” (Plath), Retro. Supp. II: 254 Lesesne, Teri, Supp. XIII: 277 LeSieg, Theo (pseudonym). See Geisel, Theodor Seuss (Dr. Seuss) Leskov, Nikolai, IV: 299 Leslie, Alfred, Supp. XII: 127 Les Misérables (Hugo), II: 179; Supp. I Part 1: 280 “Less and Less Human, O Savage Spirit” (W. Stevens), Supp. XVI: 64 Lesser, Wendy, Supp. IV Part 2: 453; Supp. XII: 297; Supp. XVI: 201 Lessing, Gotthold, Supp. I Part 2: 422 “Lesson, The” (Bambara), Supp. XI: 5–6 “Lesson, The” (Dunbar), Supp. II Part 1: 199 “Lesson, The” (Olsen), Supp. XIII: 297 “Lesson for the Ill Clothed and Ill Fed, A” (Ryan as Quin), Supp. XVIII: 230–231 Lesson of the Master, The (James), Supp. XVIII: 248 “Lesson of the Master, The” (James), Retro. Supp. I: 227 Lesson of the Masters: An Anthology of the Novel from Cervantes to Hemingway (Cowley-Hugo, ed.), Supp. II Part 1: 140 “Lesson on Concealment, A” (Brown), Supp. I Part 1: 133 “Lessons” (Epstein), Supp. XII: 163 “Lessons of the Body” (Simpson), Supp. IX: 267 Less than One (Brodsky), Supp. VIII: 22, 29–31 Lester, Jerry, Supp. IV Part 2: 574 Lester, Ketty, Supp. XV: 133, 147 Le Style Apollinaire (Zukofsky), Supp. III Part 2: 616 Le Sueur, Meridel, Supp. V: 113, 130; Supp. XII: 217 “Let America Be America Again” (Hughes), Retro. Supp. I: 202; Supp. I Part 1: 331 Let Evening Come (Kenyon), Supp. VII: 160, 169–171 Lethem, Jonathan, Supp. IX: 122; Supp. XVIII: 135–153 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 No Man Write My Epitaph (film, Leacock), Supp. XVII: 150, 158 Let No Man Write My Epitaph (W. Motley), Supp. XVII: 150, 158–160 Let Noon Be Fair (W. Motley), Supp. XVII: 161 Letofsky, Irv, Supp. XVI: 167 “Let one Eye his watches keep/While the Other Eye doth sleep” (Fletcher), Supp. IV Part 2: 621 Let’s Balance the Books (radio show; Untermeyer), Supp. XV: 311 “Letter . . .” (Whittier), Supp. I Part 2: 687 “Letter, A” (Bogan), Supp. III Part 1: 54 “Letter, May 2, 1959” (Olson), Supp. II Part 2: 579, 580 “Letter, Much Too Late” (Stegner), Supp. IV Part 2: 613 “Letter, The” (Gioia), Supp. XV: 120 “Letter, The” (Malamud), Supp. I Part 2: 435–436 “Letter about Money, Love, or Other Comfort, If Any, The” (Warren), IV: 245 Letter Addressed to the People of Piedmont, on the Advantages of the French Revolution, and the Necessity of Adopting Its Principles in Italy, A (Barlow), Supp. II Part 1: 80, 81 “Letter for Marion, A” (McGrath), Supp. X: 116 “Letter from Aldermaston” (Merwin), Supp. III Part 1: 347 “Letter from a Region in My Mind” (Baldwin). See “Down at the Cross“ “Letter from Aunt Belle, A” (Kooser), Supp. XIX: 117 Letter from Li Po, A (Aiken), I: 68 “Letter from ‘Manhattan’ ” (Didion), Supp. IV Part 1: 205 “Letter from the Country” (column, C. Bly), Supp. XVI: 33 Letter from the End of the Twentieth Century (Harjo), Supp. XII: 223 “Letter from the End of the Twentieth Century” (Harjo), Supp. XII: 227 “Letter on Céline” (Kerouac), Supp. III Part 1: 232 Letters (Cato), II: 114 Letters (Landor), Supp. I Part 2: 422 Letters (White), Supp. I Part 2: 651, 653, 675, 680 Letters (Wolfe), IV: 462 “Letters, The” (Swados), Supp. XIX: 261, 262 Letters and Leadership (Brooks), I: 228, 240, 245, 246 “Letters for the Dead” (Levine), Supp. V: 186 Letters from an American Farmer (Crèvecoeur), Supp. I Part 1: 227– 251 Letters from Maine (Sarton), Supp. VIII: 261

“Letters from Maine” (Sarton), Supp. VIII: 261 “Letters from My Father” (R. O. Butler), Supp. XII: 71 Letters from the Country (C. Bly), Supp. XVI: 33–34, 35, 37 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 (Johnson and Ward, eds.), I: 470; Retro. Supp. I: 28 Letters of William James (Henry James, ed.), II: 362 Letters on Various Interesting and Important Subjects . . . (Freneau), Supp. II Part 1: 272 Letters to a Niece (Adams), I: 22 Letters to a Young Poet (Rilke), Supp. XIII: 74; Supp. XV: 93 “Letters to Dead Imagists” (Sandburg), I: 421 “Letters Written on a Ferry While Crossing Long Island Sound” (Sexton), Supp. II Part 2: 683 “Letter to Abbé Raynal” (Paine), Supp. I Part 2: 510 Letter to a Man in the Fire: Does God Exist or Does He Care? (Price), Supp. VI: 267–268 “Letter to American Teachers of History, A” (Adams), I: 19 Letter to an Imaginary Friend (McGrath), Supp. X: 111, 112–113, 116, 119–125 “Letter to a Reader” (Sanders), Supp. XVI: 266, 267, 268, 269, 275 “Letter to a Young Contributor” (Higginson), Retro. Supp. I: 31 “Letter to a Young Writer” (Price), Supp. VI: 267 “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

CUMULATIVE INDEX / 421 “Letter to Minnesota” (Dunn), Supp. XI: 146 “Letter to Mr.” (Poe), III: 411 “Letter Too Late to Vallejo” (Salinas), Supp. XIII: 313, 324 “Letter to Sister Madeline from Iowa City” (Hugo), Supp. VI: 142–143 “Letter to Soto” (Salinas), Supp. XIII: 325 “Letter to the Lady of the House” (Bausch), Supp. VII: 48 “Letter to the Rising Generation, A” (Comer), I: 214 “Letter to Walt Whitman” (Doty), Supp. XI: 135–136 “Letter to Wendell Berry, A” (Stegner), Supp. IV Part 2: 600 “Letter Writer, The” (Singer), IV: 20–21 “Let the Air Circulate” (Clampitt), Supp. IX: 45 “Letting Down of the Hair, The” (Sexton), Supp. II Part 2: 692 Letting Go (P. Roth), Retro. Supp. II: 282, 283; Supp. III Part 2: 403, 404, 409–412 “Letting the Puma Go” (Dunn), Supp. XI: 149 “Lettres d’ un Soldat” (Stevens), Retro. Supp. I: 299 Let Us Go into the Starry Night (Shanley), Supp. XIV: 317 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 Leutze, Emanuel, Supp. X: 307 Levels of the Game (McPhee), Supp. III Part 1: 292, 294, 301 Levertov, Denise, Retro. Supp. I: 411; Supp. III Part 1: 271–287; Supp. III Part 2: 541; Supp. IV Part 1: 325; Supp. VIII: 38, 39; Supp. XVI: 39, 40; Supp. XIX: 282 Levi, Primo, Supp. X: 149; Supp. XVII: 48 Leviathan (Auster), Supp. XII: 27, 33–34 “Leviathan” (Lowell), II: 537, 538 “Leviathan” (Merwin), Supp. III Part 1: 345 Levin, Harry, Supp. I Part 2: 647 Levin, Jennifer, Supp. X: 305 Lévinas, Emmanuel, Supp. XVI: 290, 291 Levine, Ellen, Supp. V: 4; Supp. XI: 178 Levine, Paul, Supp. IV Part 1: 221, 224 Levine, Philip, Supp. III Part 2: 541; Supp. V: 177–197, 337; Supp. IX: 293; Supp. XI: 123, 257, 259, 267, 271, 315; Supp. XIII: 312; Supp. XV: 73, 74, 212; Supp. XIX: 45 Levine, Rosalind, Supp. XII: 123 Levine, Sherry, Supp. XII: 4 Le Violde Lucréce (Obey), IV: 356 Levis, Larry, Supp. V: 180; Supp. IX: 299; Supp. XI: 257–274; Supp. XIII: 312; Supp. XV: 73; Supp. XVII: 110 Lévi-Strauss, Claude, Supp. I Part 2: 636; Supp. IV Part 1: 45; Supp. IV Part 2: 490; Supp. XVIII: 190

Levitation: Five Fictions (Ozick), Supp. V: 268–270 “Levitation with Baby” (Nelson), Supp. XVIII: 173 Levitt, Saul, Supp. XV: 197 Levy, Alan, Supp. IV Part 2: 574, 589 Levy, G. Rachel, Supp. I Part 2: 567 Lévy-Bruhl, Lucien, Retro. Supp. I: 57 Levy Mayer and the New Industrial Era (Masters), Supp. I Part 2: 473 Lewes, George Henry, II: 569 Lewin, Albert, Supp. XIV: 279, 293 Lewis, C. Day, III: 527 Lewis, David Levering, Supp. XVIII: 127; Supp. XIX: 74, 75 Lewis, Dr. Claude, II: 442 Lewis, Edith, I: 313; Retro. Supp. I: 19, 21, 22 Lewis, Edwin, J., II: 439, 442 Lewis, Jerry, Supp. IV Part 2: 575; Supp. X: 172 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; Supp. XVII: 210 Lewis, Mrs. Sinclair (Dorothy Thompson), II: 449–450, 451, 453 Lewis, Mrs. Sinclair (Grace Livingston Hegger), II: 441 Lewis, Robert Q., Supp. IV Part 2: 574 Lewis, R. W. B., I: 386, 561; II: 457– 458; Retro. Supp. I: 362, 367; Supp. I Part 1: 233; Supp. XIII: 93 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; Retro. Supp. II: 95, 108, 197, 322; Supp. I Part 2: 378, 613, 709; Supp. IV Part 2: 678; Supp. V: 278; Supp. IX: 308; Supp. X: 137; Supp. XVII: 41; Supp. XVIII: 278 Lewis, Wyndham, III: 458, 462, 465, 470; Retro. Supp. I: 59, 170, 292; Supp. III Part 2: 617 Lexicon Tetraglotton (Howell), II: 111 “Lexington Avenue Musedog” (Peacock), Supp. XIX: 204 “Leyenda” (Mora), Supp. XIII: 214 Leyner, Mark, Supp. XIX: 223 Leyte (Morison), Supp. I Part 2: 491 “Liar, The” (Baraka), Supp. II Part 1: 36 “Liars, The” (Sandburg), III: 586 Liars’ Club, The: A Memoir (Karr), Supp. XI: 239, 240, 241, 242, 244–248, 252, 254; Supp. XVI: 70 Liar’s Dice (C. Frost), Supp. XV: 93, 96

“Liar’s Dice” (C. Frost), Supp. XV: 94, 107 Liars in Love (Yates), Supp. XI: 348, 349 Libation Bearers, The (Aeschylus), III: 398; Supp. IX: 103 Li Bay. See Li Po Libby, Anthony, Supp. XIII: 87 Libera, Padre, II: 278 Liberal Imagination, The (Trilling), III: 308; Retro. Supp. I: 97, 216; Supp. II Part 1: 146; Supp. III Part 2: 495, 498, 501–504 Liberation (J. Scott), Supp. XVII: 192, 194–196 “Liberation” (Winters), Supp. II Part 2: 791 Liber Brunenesis (yearbook), IV: 286 Liberties, The (Howe), Supp. IV Part 2: 426–428, 430, 432 Liberties of America, The (H. Warner), Supp. XVIII: 259 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 for Juana, A (Mora), Supp. XIII: 218 Library of America, Retro. Supp. I: 2 “Library of Babel, The” (J. Borges), Supp. XVII: 47 “Library of Law, A” (MacLeish), III: 4 “Library of Moloch, The” (Bukiet), Supp. XVII: 47, 49 “Librettos for Eros” (Gander), Supp. XV: 340 Lice, The (Merwin), Supp. III Part 1: 339, 341–342, 346, 348, 349, 355 Lichtenberg, Georg Christoph, Supp. XIV: 339 Lichtenstein, Roy, Supp. I Part 2: 665; Supp. XV: 186 “Liddy’s Orange” (Olds), Supp. X: 209 Lieberman, Laurence, Supp. XI: 323– 324 Liebestod (Wagner), I: 284, 395 Liebling, A. J., IV: 290; Supp. VIII: 151; Supp. XVI: 167 Lie Down in Darkness (Styron), IV: 98, 99, 100–104, 105, 111; Supp. XI: 343 Lie of the Mind, A (Shepard), Supp. III Part 2: 433, 435, 441, 447–449 “Lies” (Haines), Supp. XII: 204 Lies (Hoffman), Supp. XVIII: 78–79 Lies Like Truth (Clurman), IV: 385 Lieutenant, The (Dubus), Supp. VII: 78 “Life” (Wharton), Retro. Supp. I: 372 Life along the Passaic River (W. C. Williams), Retro. Supp. I: 423 Life Among the Savages (Jackson), Supp. IX: 115, 125 “Life and Death Kisses, The” (Grossman), Supp. XIX: 87 Life and Gabriella (Glasgow), II: 175, 176, 182–183, 184, 189 “Life and I” (Wharton), Retro. Supp. I: 360, 361, 362

422 / AMERICAN WRITERS “Life and Letters” (Epstein), Supp. XIV: 104–105 Life and Letters of Harrison Gray Otis, Federalist, 1765–1848, The (Morison), Supp. I Part 2: 480–481 Life and Letters of Sir Henry Wotton (L. P. Smith), Supp. XIV: 340–341 Life and Times of Frederick Douglass, Written by Himself, The (Douglass), Supp. III Part 1: 155, 159–163 Life and Writings of Horace McCoy, The (Wolfson), Supp. XIII: 172, 174 “Life as a Visionary Spirit” (Eberhart), I: 540, 541 “Life at Angelo’s, A” (Benét), Supp. XI: 53 Life at Happy Knoll (Marquand), III: 50, 61 Life Before Man (Atwood), Supp. XIII: 24–25 “Life Cycle of Common Man” (Nemerov), III: 278 “Lifecycle Stairmaster” (Karr), Supp. XI: 250 Life Estates (Hearon), Supp. VIII: 68–69 Life for Life’s Sake (Aldington), Supp. I Part 1: 256 Life Full of Holes, A (Layachi), Supp. IV Part 1: 92 “Lifeguard” (Updike), IV: 226; Retro. Supp. I: 325 “Lifeguard, The” (Dickey), Supp. IV Part 1: 179–180 “Life in the 30s” (column, Quindlen), Supp. XVII: 165, 167–169 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. III Part 1: 282–283 Life in the Iron Mills (Davis), Supp. XIII: 292, 295, 299, 305; Supp. XVI: 79– 82, 85–88, 91 Life in the Iron Mills and Other Stories (T. Olson, ed.), Supp. XVI: 83 Life in the Theatre, A (Mamet), Supp. XIV: 241, 255 Life Is a Miracle: An Essay Against Modern Superstition (Berry), Supp. X: 35 “Life Is Fine” (Hughes), Supp. I Part 1: 334, 338 “Life Is Motion” (Stevens), IV: 74 Life of Albert Gallatin, The (Adams), I: 6, 14 Life of an Ordinary Woman, The: Anne Ellis (A. Ellis), Supp. XVI: 38 Life of Dryden (Johnson), Retro. Supp. II: 223 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 Lincoln West, The” (Brooks), Supp. III Part 1: 86 Life of Mary, The (Rilke; F. Wright, trans.), Supp. XVII: 244 Life of Michelangelo (Grimm), II: 17 “Life of Nancy, The” (Jewett), Retro. Supp. II: 133, 144 Life of Oliver Goldsmith, The, with Selections from His Writings (Irving), II: 315 Life of Phips (Mather), Supp. II Part 2: 451, 452, 459 Life of Poetry, The (Rukeyser), Supp. VI: 271, 273, 275–276, 282, 283, 286 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 Mind, The” (Kees), Supp. XV: 140 Life of the Right Reverend Joseph P. Machebeuf, The (Howlett), Retro. Supp. I: 17 Life of Thomas Paine, author of Rights of Men, With a Defence of his Writings (Chalmers), Supp. I Part 2: 514 Life of Thomas Paine, The (Cobbett), Supp. I Part 2: 517 “Life of Towne, The” (Carson), Supp. XII: 102 “Life on Beekman Place, A” (Naylor), Supp. VIII: 214 “Life on the Black List” (Endore), Supp. XVII: 63 Life on the Hyphen: The Cuban-American Way (Firmat), Supp. VIII: 76; Supp. XI: 184 Life on the Mississippi (Twain), I: 209; IV: 198, 199; Supp. I Part 2: 440 “Life on the Rocks: The Galápagos” (Dillard), Supp. VI: 32 “Life Stories, East and West” (E. Hoffman), Supp. XVI: 157 Life Story (Baker), II: 259 Life Studies (Lowell), I: 400; II: 384, 386, 543, 546–550, 551, 555; Retro. Supp. II: 180, 185, 186, 188, 189, 191; Supp. I Part 2: 543; Supp. XI: 240, 244, 250, 317; Supp. XII: 255; Supp. XIV: 15; Supp. XV: 252 “Life Studies” (Lowell), Retro. Supp. II: 188 “Life Styles in the Golden Land” (Didion), Supp. IV Part 1: 200 “Life That Is, The” (Bryant), Supp. I Part 1: 169 “Life Work” (Stafford), Supp. XI: 329– 330 “Life You Save May Be Your Own, The” (O’ Connor), III: 344, 350, 354; Retro. Supp. II: 229, 230, 233 Lifshin, Lyn, Supp. XVI: 37 “Lifting, The” (Olds), Supp. X: 210 “Ligeia” (Poe), III: 412, 414; Retro. Supp. II: 261, 270, 271, 275 Liggett, Walter W., Supp. XIII: 168

Light, James F., IV: 290; Retro. Supp. II: 325 Light, Kate, Supp. XVII: 109 “Light and the Sufferer” (Lethem), Supp. XVIII: 139–140 Light around the Body, The (R. Bly), Supp. IV Part 1: 61–62, 62; Supp. XVII: 243 “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; Supp. XIV: 12 Light in the Forest, The (Richter), Supp. XVIII: 216–217 Light in the Morning (Baker), Supp. XVIII: 263, 269 “Light Man, A” (James), II: 322; Retro. Supp. I: 219 “Lightning” (Barthelme), Supp. IV Part 1: 53 “Lightning” (Bynner), Supp. XV: 44 “Lightning” (Oliver), Supp. VII: 235 “Lightning, The” (Swenson), Supp. IV Part 2: 645 “Lightning Rod Man, The” (Melville), III: 90; Supp. XVIII: 4 “Light of the World, The” (Hemingway), II: 249 “Lights in the Windows” (Nye), Supp. XIII: 280 Light Verse and Satires (Bynner), Supp. XV: 52 Light Years (Salter), Supp. IX: 257–259 “LIKE, THIS IS WHAT I MEANT!” (Baraka), Supp. II Part 1: 59 “Like All the Other Nations” (Paley), Supp. VI: 220 “Like a Rolling Stone” (song, Dylan), Supp. XVIII: 20, 30 “Like Decorations in a Nigger Cemetery” (Stevens), IV: 74, 79; Retro. Supp. I: 305 Like Ghosts of Eagles (Francis), Supp. IX: 86 “Like Life” (Moore), Supp. X: 163, 165, 172–173 Like Life: Stories (Moore), Supp. X: 163, 171–175, 177, 178 “Like Talk” (Mills), Supp. XI: 311 “Like the New Moon I Will Live My Life” (R. Bly), Supp. IV Part 1: 71 Li’ l Abner (Capp), IV: 198 “Lilacs” (Lowell), II: 527 “Lilacs, The” (Wilbur), Supp. III Part 2: 557–558 “Lilacs for Ginsberg” (Stern), Supp. IX: 299 Liliom (Molnar), Supp. XVI: 187 Lilith’s Brood (O. Butler), Supp. XIII: 63 Lillabulero Press, Supp. V: 4, 5 Lillian Hellman (Adler), Supp. I Part 1: 297 Lillian Hellman (Falk), Supp. I Part 1: 297 Lillian Hellman: Playwright (Moody), Supp. I Part 1: 280 Lillo, George, II: 111, 112

CUMULATIVE INDEX / 423 “Lily Daw and the Three Ladies” (Welty), IV: 262 Lima, Agnes de, I: 231, 232 “Limbo: Altered States” (Karr), Supp. XI: 249–250 Lime Orchard Woman, The (Ríos), Supp. IV Part 2: 538, 547–550, 553 “Lime Orchard Woman, The” (Ríos), Supp. IV Part 2: 548 Limitations (Turow), Supp. XVII: 222– 223 “Limits” (Emerson), II: 19 Lincoln, Abraham, I: 1, 4, 30; II: 8, 13, 135, 273, 555, 576; III: 576, 577, 580, 584, 587–590, 591; IV: 192, 195, 298, 347, 350, 444; Supp. I Part 1: 2, 8, 26, 309, 321; Supp. I 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; Supp. XIV: 73 Lincoln, Kenneth, Supp. IV Part 1: 329; Supp. IV Part 2: 507 Lincoln, Mrs. Thomas (Nancy Hanks), III: 587 Lincoln, Thomas, III: 587 Lincoln: A Novel (Vidal), Supp. IV Part 2: 677, 684, 685, 688, 689–690, 691, 692 “Lincoln Relics, The” (Kunitz), Supp. III Part 1: 269 Lincoln: The Man (Masters), Supp. I Part 2: 471, 473–474 Lindbergh, Charles A., I: 482 “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, April, Supp. XV: 111, 119 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; Retro. Supp. I: 133; Supp. I Part 1: 324; Supp. I Part 2: 374–403, 454, 473, 474; Supp. III Part 1: 63, 71; Supp. XV: 293, 297, 299, 301, 306; Supp. XVI: 184–185 Lindsay, Vachel Thomas, Supp. I Part 2: 374, 375 Lindsey, David, Supp. XIV: 26 “Line, The” (Olds), Supp. X: 206 Lineage of Ragpickers, Songpluckers, Elegiasts, and Jewelers, A (Goldbarth), Supp. XII: 191 “Line of Least Resistance, The” (Wharton), Retro. Supp. I: 366 Line Out for a Walk, A: Familiar Essays (Epstein), Supp. XIV: 107 “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. III 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 from Pietro Longhi” (Sobin), Supp. XVI: 289 “Lines on Revisiting the Country” (Bryant), Supp. I Part 1: 164 “Lines Suggested by a Tennessee Song” (Agee), I: 28 “Line-Storm Song, A” (Frost), Retro. Supp. I: 127 “Lines Written at Port Royal” (Freneau), Supp. II Part 1: 264 “Lines Written in an Asylum” (Carruth), Supp. XVI: 48 “Lines Written in Manassas“, Supp. XV: 99–100 “Line Written in the Dark Illegible Next Day” (F. Wright), Supp. XVII: 242 Linfield, Susie, Supp. XVII: 169, 177 Lingeman, Richard, Supp. X: 82 Linn, Elizabeth. See Brown, Mrs. Charles Brockden (Elizabeth Linn) Linn, John Blair, Supp. I Part 1: 145 Linnaeus, Carolus, II: 6; Supp. I Part 1: 245 “Linnets” (Levis), Supp. XI: 260, 261 “Linoleum Roses” (Cisneros), Supp. VII: 63, 66 Linotte: 1914–1920 (Nin), Supp. X: 193, 196, 197 Linschoten, Hans, II: 362, 363, 364 “Lion” (B. Kelly), Supp. XVII: 133 “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 Country (Buechner), Supp. XII: 52, 53 Lionel Lincoln (Cooper), I: 339, 342 “Lion for Real, The” (Ginsberg), Supp. II Part 1: 320 Lionhearted, The: A Story about the Jews of Medieval England (Reznikoff), Supp. XIV: 280, 289 Lion in the Garden (Meriweather and Millgate), Retro. Supp. I: 91 “Lionizing” (Poe), III: 411, 425 “Lions, Harts, and Leaping Does” (Powers), III: 356 Lions and Shadows: An Education in the Twenties (Isherwood), Supp. XIV: 158, 159, 160, 162 “Lions in Sweden” (Stevens), IV: 79–80 Lipman, William R., Supp. XIII: 170 Li Po, Supp. XI: 241; Supp. XII: 218; Supp. XV: 47, 217 Lippmann, Walter, I: 48, 222–223, 225; III: 291, 600; IV: 429; Supp. I Part 2: 609, 643; Supp. VIII: 104

Lips Together, Teeth Apart (McNally), Supp. XIII: 201–202, 208, 209 Lipsyte, Robert, Supp. XVI: 220 Lipton, James, Supp. IV Part 2: 576, 577, 579, 583, 586, 588 Lipton, Lawrence, Supp. IX: 3 Lisbon Traviata, The (McNally), Supp. XIII: 198, 199–200, 201, 204, 208 Lish, Gordon, Supp. XIX: 209 Lisicky,Paul, Supp. XI: 120, 131, 135 “Lisp, The” (Olds), Supp. X: 211 Listen, Ruben Fontanez (Neugeboren), Supp. XVI: 220–221 “Listeners, The” (de la Mare), Supp. XVII: 69 “Listeners and Readers: The Unforgetting of Vachel Lindsay” (Trombly), Supp. I Part 2: 403 “Listening” (Paley), Supp. VI: 218, 231, 232 “Listening” (Stafford), Supp. XI: 321, 322 Listening to Prozac (P. Kramer), Supp. XVI: 229 “Listening to the Desert” (Henderson), Supp. XIII: 221–222 “Listening to the Mockingbird” (Woodard), Supp. VIII: 128 Listening to Your Life: Daily Meditations with Frederick Buechner (Buechner), Supp. XII: 53 Listen to the Desert/Oye al desierto (Mora), Supp. XIII: 221 “Listen to the People” (Benét), Supp. XI: 51–52 Liston, Sonny, III: 38, 42 Li T’ ai-po, II: 526 “Litany” (Ashbery), Supp. III Part 1: 21–22, 25, 26 “Litany” (Sandburg), III: 593 “Litany, The” (Gioia), Supp. XV: 125, 126 “Litany for Dictatorships” (Benét), Supp. XI: 46, 58 “Litany for Survival, A” (Lorde), Supp. XII: 220 “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 Anthropology (Trumpener and Nyce), Retro. Supp. I: 380 Literary Art and Activism of Rick Bass, The (Weltzien), Supp. XVI: 20–21 “Literary Blacks and Jews” (Ozick), Supp. V: 272 “Literary Career of Elizabeth Barstow Stoddard, The” (Matlack), Supp. XV: 269 Literary Criticism: A Short History (Brooks and Wimsatt), Supp. XIV: 12 “Literary Criticism of Georg Lukács, The” (Sontag), Supp. III Part 2: 453 Literary Essays of Thomas Merton, The, Supp. VIII: 207

424 / AMERICAN WRITERS “Literary Folk As They Came and Went with Ourselves” (E. Stoddard), Supp. XV: 274 Literary Friends and Acquaintance (Howells), Supp. I Part 1: 318; Supp. XV: 287 “Literary Heritage of Tennyson, The” (Locke), Supp. XIV: 197 Literary History of the United States (Spiller et al., ed.), Supp. I Part 1: 104; Supp. II Part 1: 95 “Literary Importation” (Freneau), Supp. II Part 1: 264 “Literary Life of America, The” (Brooks), I: 245 Literary Outlaw: The Life and Times of William S. Burroughs (Morgan), Supp. XIV: 141 Literary Situation, The (Cowley), Supp. II Part 1: 135, 140, 144, 146, 147, 148 “Literary Worker’s Polonius, The” (Wilson), IV: 431, 432 “Literature” (Emerson), II: 6 Literature (X. J. Kennedy), Supp. XV: 153 Literature and American Life (Boynton), Supp. I Part 2: 415 Literature and Life (Howells), Supp. XIV: 45–46 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 in Low Life” (Hapgood), Supp. XVII: 103 “Literature of Exhaustion, The” (Barth), Supp. IV Part 1: 48 “Lithuanian Nocturne” (Brodsky), Supp. VIII: 29 “Lit Instructor” (Stafford), Supp. XI: 321 Littauer, Kenneth, Retro. Supp. I: 114 Little Acts of Kindness (Budbill), Supp. XIX: 3, 14–15 “Little Bernhardt” (Shaw), Supp. XIX: 246 Little Big Man (Berger), Supp. XII: 171 Little Big Man (film), Supp. X: 124 Littlebird, Harold, Supp. IV Part 2: 499 Littlebird, Larry, Supp. IV Part 2: 499, 505 Little Birds: Erotica (Nin), Supp. X: 192, 195 “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 Cosmic Dust Poem” (Haines), Supp. XII: 209–210 “Little Country Girl, A” (Chopin), Retro. Supp. II: 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 Elegy” (X. J. Kennedy), Supp. XV: 155 Little Essays Drawn from the Writings of George Santayana (L. P. Smith), Supp. XIV: 342 “Little Expressionless Animals” (Wallace), Supp. X: 305 “Little Fable” (Hay), Supp. XIV: 131 Littlefield, Catherine, Supp. IX: 58 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 Gidding” (Eliot), I: 582, 588; II: 539; Retro. Supp. I: 66 “Little Girl, My Stringbean, My Lovely Woman” (Sexton), Supp. II Part 2: 686 “Little Girl, The” (Paley), Supp. VI: 222, 228–229 “Little Girl Tells a Story to a Lady, A” (Barnes), Supp. III Part 1: 36 “Little Goose Girl, The” (Grimm), IV: 266 Little Ham (Hughes), Retro. Supp. I: 203; Supp. I Part 1: 328, 339 Little King, The (Bynner), Supp. XV: 42, 50 Little Lady of the Big House, The (London), II: 481–482 Little Liar, The (film; Ingraham), Supp. XVI: 184–185 “Little Lion Face” (Swenson), Supp. IV Part 2: 651 “Little Lobelia’s Song” (Bogan), Supp. III Part 1: 66 “Little Local Color, A” (Henry), Supp. II Part 1: 399 Little Lord Fauntleroy (Burnett), Retro. Supp. I: 188; Supp. XVI: 182 “Little Lyric” (Hughes), Supp. I Part 1: 334 Little Man, Little Man (Baldwin), Supp. I Part 1: 67 “Little Man at Chehaw Station, The” (Ellison), Retro. Supp. II: 123 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. III Part 2: 447 “Little Old Girl, A” (Larcom), Supp. XIII: 144 “Little Old Spy” (Hughes), Supp. I Part 1: 329 Little Orphan Annie (film), Supp. XVIII: 244 “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 Red Song Book (Hill), Supp. XVIII: 224 Little Regiment and Other Episodes of the American Civil War, The (Crane), I: 408 Little River: New and Selected Poems (McCarriston), Supp. XIV: 269–272 “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. III Part 1: 247 “Little Snow White” (Grimm), IV: 266 Little Star (Halliday), Supp. XIX: 82, 84–85, 87 “Little Star” (Halliday), Supp. XIX: 83, 84, 93 “Little Testament of Bernard Martin, Aet. 30” (Mumford), Supp. II Part 2: 472, 473, 474 “Little Things” (Olds), Supp. X: 208 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 Little Yellow Dog, A (Mosley), Supp. XIII: 237, 241 “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 Baghdad (screenplay, Shanley), Supp. XIV: 316 Live from Golgotha (Vidal), Supp. IV Part 2: 677, 682, 691, 692 Live Now and Pay Later (Garrett), Supp. VII: 111 “Live-Oak with Moss” (Whitman), Retro. Supp. I: 403 Live or Die (Sexton), Supp. II Part 2: 670, 683–687 Liveright, Horace, Retro. Supp. I: 80, 81, 83; Supp. I Part 2: 464 Lives (Plutarch), II: 5, 104 Lives of a Cell, The (L. Thomas), Retro. Supp. I: 322, 323 Lives of Distinguished American Naval Offıcers (Cooper), I: 347 “Lives of Gulls and Children, The” (Nemerov), III: 271, 272 Lives of the Animals (Wrigley), Supp. XVIII: 306–308 Lives of the Artists (Vasari), Supp. I Part 2: 450 “Lives of the Bohemians” (Lethem), Supp. XVIII: 135 Lives of the Muses, The: Nine Women and the Artists They Inspired (Prose), Supp. XVI: 250, 260 Lives of the Poets (Doctorow), Supp. IV Part 1: 234

CUMULATIVE INDEX / 425 “Lives of the Poets” (Doctorow), Supp. IV Part 1: 234 “Lives of the—Wha’ ?, The” (Goldbarth), Supp. XII: 191 “Living” (Wright), Supp. XV: 345 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. III Part 2: 521, 522, 526, 527, 535 Living End, The (Elkin), Supp. VI: 54, 58 “Living in the Flatlands” (Carruth), Supp. XVI: 54 Living Is Easy, The (D. West), Supp. XVIII: 277, 280, 284–286, 287 “Living Like Weasels” (Dillard), Supp. VI: 26, 33 Living Novel, The (Hicks), III: 342 Living of Charlotte Perkins Gilman, The (Gilman), Supp. XI: 193, 209 Living off the Country: Essays on Poetry and Place (Haines), Supp. XII: 199, 203, 207 “Living on a Giant” (X. J. Kennedy), Supp. XV: 163 Living Out Loud (Quindlen), Supp. XVII: 166, 167–169 Living Reed, The (Buck), Supp. II Part 1: 129–130 Livingston, Myra Cohn, Supp. XV: 153, 162 Living Theater, Retro. Supp. I: 424 “Living There” (Dickey), Supp. IV Part 1: 182–183 Living the Spirit: A Gay American Indian Anthology (Roscoe, ed.), Supp. IV Part 1: 330 “Living with a Peacock” (O’ Connor), III: 350 “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 “Llantos de La Llorona: Warnings from the Wailer” (Mora), Supp. XIII: 217, 224 “L’ Lapse” (Barthelme), Supp. IV Part 1: 45–47, 48 Llosa, Mario Vargas, Supp. XIX: 131 Lloyd, Henry Demarest, Supp. I Part 1: 5 Lloyd George, Harold, I: 490 “LMFBR” (Snyder), Supp. VIII: 302 “Loaded Inflections” (Halliday), Supp. XIX: 90, 91 “Loam” (Sandburg), III: 584–585 “Loan, The” (Malamud), Supp. I Part 2: 427, 428, 431, 437 Loberer, Eric, Supp. XV: 339 “Local” (McCarriston), Supp. XIV: 270 Local Color (Capote), Supp. III Part 1: 120 “Local Color” (London), II: 475 “Local Family Keeps Son Happy” (Keillor), Supp. XVI: 168, 169

Local Girls (Hoffman), Supp. X: 77, 90– 91, 92 “Local Girls” (Hoffman), Supp. X: 90 Local Habitation & A Name, A (Kooser), Supp. XIX: 116, 118, 119–120 Local Men (Whitehead), Supp. XV: 339 Local Time (Dunn), Supp. XI: 143, 148– 149 Local Wonders: Seasons in the Bohemian Alps (Kooser), Supp. XIX: 115, 126 “Location” (Halliday), Supp. XIX: 87 Lock, Helen, Supp. XIII: 233, 237–238 Lock, Robert H., IV: 319; Retro. Supp. I: 375 Locke, Alain, Retro. Supp. II: 115; 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; Supp. X: 134, 137, 139; Supp. XIV: 195–219; Supp. XVIII: 122; Supp. XIX: 69, 75 Locke, Duane, Supp. IX: 273 Locke, John, I: 554–555, 557; II: 15–16, 113–114, 348–349, 480; III: 294–295; IV: 149; Supp. I Part 1: 130, 229, 230; Supp. I Part 2: 523 Locke, Sondra, II: 588 “Locked House, A” (Snodgrass), Supp. VI: 323 Locked Room, The (Auster), Supp. XII: 22, 24, 27–28 Locket, The (Masters), Supp. I Part 2: 460 Lockridge, Ross, Jr., Supp. XIX: 263 “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 “Locusts, the Plaza, the Room, The” (Kees), Supp. XV: 141 Loden, Barbara, III: 163 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; Retro. Supp. II: 104; Supp. I Part 2: 641 Loeffler, Jack, Supp. XIII: 1, 3, 12, 14, 16 Lofty Dogmas (A. Finch, M. Kumin and D. Brown, eds.), Supp. XVII: 75–76 “Log” (Merrlll), Supp. III Part 1: 328 Logan, Rayford W., Supp. II Part 1: 171, 194; Supp. XIV: 73 Logan, William, Supp. X: 201, 213; Supp. XI: 131, 132; Supp. XII: 98, 107, 113, 184; Supp. XV: 212, 226, 251, 257, 260–261, 262,Supp. XV: 263, 266 Log Book of “The Loved One,” The, Supp. XI: 306 Logenbach, James, Supp. XVII: 183 “Logging and Pimping and ‘Your Pal, Jim’ ” (Maclean), Supp. XIV: 229 Logue, Christopher, Supp. XIV: 82 Lohengrin (Wagner), I: 216 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; Supp. XVI: 294 “Lolita” (Parker), Supp. IX: 193 Lolly Dinks’ Doings (E. Stoddard), Supp. XV: 273,Supp. XV: 286 Lombardi, Marilyn May, Retro. Supp. II: 40 London, Eliza, II: 465 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; Supp. XIII: 312; Supp. XIV: 227; Supp. XV: 115; Supp. XVI: 181; Supp. XVIII: 90 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 London, Scott, Supp. XIV: 301, 307, 311 London Embassy, The (Theroux), Supp. VIII: 323 London Fields (Amis), Retro. Supp. I: 278 “London Letter” (column; Eliot), Supp. XV: 306 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 London: The Biography (Ackroyd), Supp. XVII: 180 Lonely Are the Brave (film), Supp. XIII: 6 “Lonely Coast, A” (Proulx), Supp. VII: 264 Lonely Crusade (C. Himes), Supp. XVI: 135, 139–140 Lonely for the Future (Farrell), II: 46, 47 “Lonely Gay Teen Seeking Same” (Egan), Supp. XIX: 61 Lonely Impulse of Delight, A (Shanley), Supp. XIV: 317–318 “Lonely Street, The” (W. C. Williams), IV: 413 “Lonely Worker, A” (Jewett), Retro. Supp. II: 132 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 “Lonesome Whistle Blowing” (Skow), Supp. XVI: 174 “Lone Striker, A” (Frost), Retro. Supp. I: 136, 137 Long, Ada, Supp. V: 178 Long, Haniel, Supp. XV: 46, 49 Long, Huey, I: 489; II: 454; IV: 249; Supp. IV Part 2: 679; Supp. XIV: 14 Long, Ray, II: 430; III: 54 Long after Midnight (Bradbury), Supp. IV Part 1: 102 Long Ago in France: The Years in Dijon (M. F. K. Fisher), Supp. XVII: 91

426 / AMERICAN WRITERS 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, The (Wilder), IV: 357, 365; Supp. V: 105 Long Christmas Dinner and Other Plays (Wilder), IV: 365–366 Long Day’s Dying, A (Buechner), Supp. XII: 45–47 Long Day’s Journey into Night (O’ Neill), III: 385, 401, 403–404; Supp. IV Part 1: 359; Supp. XIV: 327 Long Desire, A (Connell), Supp. XIV: 79, 80, 97 “Long Distance” (Stafford), Supp. XI: 329 “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 “Longest Night of My Life, The ” (Nichols), Supp. XIII: 269 Longfellow, Henry Wadsworth, I: 458, 471; II: 274, 277, 295–296, 310, 313, 402, 486–510; III: 269, 412, 421, 422, 577; IV: 309, 371; Retro. Supp. I: 54, 123, 150, 155, 362; Retro. Supp. II: 153–174; Supp. I Part 1: 158, 299, 306, 317, 362, 368; Supp. I Part 2: 405, 406, 408, 409, 414, 416, 420, 586, 587, 602, 699, 704; Supp. II Part 1: 291, 353; Supp. III Part 2: 609; Supp. IV Part 1: 165; Supp. IV Part 2: 503; Supp. XII: 260; Supp. XIII: 141; Supp. XIV: 120; Supp. XVIII: 4 “Long Feud” (Untermeyer), Supp. XV: 309 Long Feud: Selected Poems (Untermeyer), Supp. XV: 312 “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 (T. Williams), IV: 381 “Long Hair” (Snyder), Supp. VIII: 300 Longing for Home, The: Recollections and Reflections (Buechner), Supp. XII: 53 Longinus, Dionysius Cassius, I: 279 “Long-Legged House, The” (Berry), Supp. X: 21, 24–25, 27, 31 Long Live Man (Corso), Supp. XII: 129– 130, 132 Long Love, The (Sedges), Supp. II Part 1: 125 Long Made Short (Dixon), Supp. XII: 152 Long March, The (Styron), IV: 97, 99, 104–107, 111, 113, 117 “Long Night, The” (Bambara), Supp. XI: 9

“Long Novel, A” (Ashbery), Supp. III Part 1: 6 Longo, Robert, Supp. XVI: 124 Long Patrol, The (Mailer), III: 46 “Long Point Light” (Doty), Supp. XI: 127 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 Longshot O’ Leary (McGrath), Supp. X: 117 “Long Shower, The” (Francis), Supp. IX: 90 “Long Stemmed Roses” (Jarman), Supp. XVII: 115 Longstreet, Augustus B., II: 70, 313; Supp. I Part 1: 352; Supp. V: 44; Supp. X: 227 “Long Summer” (Lowell), II: 553–554 “Long Term” (Dunn), Supp. XI: 149 Longtime Companion (film), Supp. X: 146, 152 Long Valley, The (Steinbeck), IV: 51 Long Voyage Home, The (O’ Neill), III: 388 “Long Wail, A” (Crews), Supp. XI: 101 “Long Walk, The” (Bogan), Supp. III Part 1: 61 Long Walks and Intimate Talks (Paley), Supp. VI: 221 Long Way from Home, A (McKay), Supp. X: 132, 140 Lönnrot, Elias, Retro. Supp. II: 159 Looby, Christopher, Supp. XIII: 96 Look, Stranger! (Auden), Supp. II Part 1: 11 “Look, The” (Olds), Supp. X: 210 Look at Me (Egan), Supp. XIX: 49, 53– 56, 60, 61 Look at the Harlequins (Nabokov), Retro. Supp. I: 266, 270 “Look for My White Self” (Ammons), Supp. VII: 25 Look Homeward, Angel (Wolfe), II: 457; IV: 450, 452, 453, 454, 455–456, 461, 462, 463, 464, 468, 471; Supp. XI: 216 “Looking” (Sanders), Supp. XVI: 277 “Looking a Mad Dog Dead in the Eyes” (Komunyakaa), Supp. XIII: 114 “Looking at Each Other” (Rukeyser), Supp. VI: 280, 285–286 “Looking at Kafka” (P. Roth), Supp. III Part 2: 402 “Looking at Women” (Sanders), Supp. XVI: 274 “Looking Back” (Harjo), Supp. XII: 218 “Looking Back” (Merwin), Supp. III Part 1: 352 “Looking Back at Girlhood” (Jewett), Retro. Supp. II: 131, 133 Looking Backward (Bellamy), II: 276; Supp. I Part 2: 641; Supp. XI: 200 “Looking for a Ship” (McPhee), Supp. III Part 1: 312–313 “Looking for Dragon Smoke” (R. Bly), Supp. IV Part 1: 60

Looking for Holes in the Ceiling (Dunn), Supp. XI: 139, 143–145 Looking for Langston (Julien; film), Supp. XI: 19, 20 Looking for Luck (Kumin), Supp. IV Part 2: 453, 454–455 “Looking for Mr. Green” (Bellow), Retro. Supp. II: 27 “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” (R. Bly), Supp. IV Part 1: 71 “Looking Glass, The” (Wharton), Retro. Supp. I: 382 “Lookout’s Journal” (Snyder), Supp. VIII: 291 “Looks Like They’ ll Never Learn” (McCoy), Supp. XIII: 166 “Look to Thy Heart . . .” (Hay), Supp. XIV: 130 Loon, Hendrik Willem van, Supp. XVI: 185 Loon Lake (Doctorow), Supp. IV Part 1: 219, 222, 224–227, 230, 231, 232, 233 “Loon Point” (O’ Brien), Supp. V: 237 Loos, Adolf, Supp. XVI: 187 Loos, Anita, Supp. XVI: 181–199 Loos, Mary Anita, Supp. XVI: 196 Loosestrife (Dunn), Supp. XI: 152–154 “Loosestrife” (Dunn), Supp. XI: 154 “Loose Woman” (X. J. Kennedy), Supp. XV: 159 Loose Woman: Poems (Cisneros), Supp. VII: 58, 71–72 Lopate, Edward, Supp. XVI: 266 Lopate, Philip, Supp. XII: 184; Supp. XIII: 280–281; Supp. XVI: 230 Lopatnikoff, Nikolai, Supp. XIV: 123 Lopez, Barry, Supp. IV Part 1: 416; Supp. V: 211; Supp. X: 29, 31; Supp. XIII: 16; Supp. XIV: 227 Lopez, Rafael, Supp. IV Part 2: 602 Lorax, The (Geisel), Supp. XVI: 109– 110 Lorca, Federico García, IV: 380; Supp. I Part 1: 345; Supp. IV Part 1: 83; Supp. VIII: 38, 39; Supp. XIII: 315, 323, 324; Supp. XV: 186 Lord, Judge Otis P., I: 454, 457, 458, 470 Lorde, Audre, Supp. I Part 2: 550, 571; Supp. IV Part 1: 325; Supp. XI: 20; Supp. XII: 217, 220; Supp. XIII: 295; Supp. XVII: 71 Lord Jim (Conrad), I: 422; II: 26; Retro. Supp. II: 292; Supp. I Part 2: 623; Supp. IV Part 2: 680; Supp. V: 251 “Lord of Hosts” (Pinsky), Supp. VI: 244 Lord of the Flies (W. Golding), Supp. XVI: 65 Lord of the Rings (Tolkien), Supp. V: 140 Lords of Misrule, The (X. J. Kennedy), Supp. XV: 154, 170–171 Lords of the Housetops (Van Vechten), Supp. II Part 2: 736 Lord’s Prayer, I: 579 Lord Timothy Dexter of Newburyport, Mass. (Marquand), III: 55

CUMULATIVE INDEX / 427 Lord Weary’s Castle (Lowell), II: 538, 542–551; Retro. Supp. II: 178, 186– 187, 188; Supp. XV: 252 “Lorelei” (Plath), Retro. Supp. II: 246; Supp. I Part 2: 538 “Lorenzo” (Bynner), Supp. XV: 46, 50 Lorimer, George Horace, II: 430; Retro. Supp. I: 101, 113 Lorre, Peter, Supp. IV Part 1: 356 “Los Alamos” (Momaday), Supp. IV Part 2: 482 Los Amigos de Becky (Hinojosa). See Becky and Her Friends (Hinojosa) “Los Angeles, 1980” (Gunn Allen), Supp. IV Part 1: 325 “Los Angeles Days” (Didion), Supp. IV Part 1: 211 “Loser, The” (Talese), Supp. XVII: 202, 208 Loser and Still Champion: Muhammad Ali (Schulberg), Supp. XVIII: 254 Losey, Joseph, IV: 383 “Losing a Language” (Merwin), Supp. III Part 1: 356 Losing Battles (Welty), IV: 261, 281–282; Retro. Supp. I: 341, 352, 353–354 “Losing the Marbles” (Merrill), Supp. III Part 1: 337 “Losing Track of Language” (Clampitt), Supp. IX: 38, 40 Losses (Jarrell), II: 367, 372, 373–375, 376, 377, 380–381 “Losses” (Jarrell), II: 375–376 Lossky, N. O., Supp. IV Part 2: 519 “Loss of Breath” (Poe), III: 425–426 “Loss of My Arms and Legs, The” (Kingsolver), Supp. VII: 208 “Loss of the Creature, The” (Percy), Supp. III Part 1: 387 “Lost” (Wagoner), Supp. IX: 328 “Lost, The/Los Perdidos” (Kingsolver), Supp. VII: 208 “Lost and Found” (Levine), Supp. V: 188 “Lost and Found” (Nelson), Supp. XVIII: 176 “Lost Bodies” (Wright), Supp. V: 342 “Lost Boy, The” (Wolfe), IV: 451, 460, 466–467 “Lost Decade, The” (Fitzgerald), II: 98 Lost Galleon and Other Tales, The (Harte), Supp. II Part 1: 344 Lost Get-Back Boogie, The (Burke), Supp. XIV: 22, 25 “Lost Girls, The” (Hogan), Supp. IV Part 1: 406–407 Lost Grizzlies, The: A Search for Survivors in the Wilderness of Colorado (Bass), Supp. XVI: 25, 26 Lost Highway (film), Supp. X: 314 Lost Illusions (Balzac), I: 500 “Lost in Nostalgia: The Autobiographies of Eva Hoffman and Richard Rodriguez” (Fachinger), Supp. XVI: 153 Lost in the Bonewheel Factory (Komunyakaa), Supp. XIII: 114–115, 116 Lost in the Cosmos: The Last Self-Help Book (Percy), Supp. III Part 1: 397 Lost in the Funhouse (Barth), I: 122, 135, 139; Supp. X: 307

“Lost in the Whichy Thicket” (Wolfe), Supp. III Part 2: 573, 574 Lost in Translation (E. Hoffman), Supp. XVI: 147, 148–151, 153, 154, 159 “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 Jerusalem” (Untermeyer), Supp. XV: 307 Lost Lady, A (Cather), I: 323–325, 327; Retro. Supp. I: 15–16, 20, 21, 382 “Lost Lover, A” (Jewett), II: 400–401, 402; Retro. Supp. II: 137 “Lost Loves” (Kinnell), Supp. III Part 1: 237, 245 Lost Man’s River (Matthiessen), Supp. V: 212, 213, 214, 215 “Lost on September Trail, 1967” (Ríos), Supp. IV Part 2: 540 Lost Puritan (Mariani), Retro. Supp. II: 189 Lost Roads Project, The: A Walk-In Book of Arkansas (exhibition; Wright and Luster), Supp. XV: 337, 348 “Lost Sailor, The” (Freneau), Supp. II Part 1: 264 Lost Son, The (Roethke), III: 529, 530– 532, 533 “Lost Son, The” (Roethke), III: 536, 537–539, 542 “Lost Sons” (Salter), Supp. IX: 260 Lost Souls (Singer). See Meshugah (Singer) Lost Weekend, The (Jackson), Supp. XIII: 262 “Lost World, A” (Ashbery), Supp. III Part 1: 9 “Lost World, The” (Chabon), Supp. XI: 72–73 Lost World, The (Jarrell), II: 367, 368, 371, 379–380, 386, 387 “Lost World, The” cycle (Chabon), Supp. XI: 71–73 “Lost World of Richard Yates, The: How the Great Writer of the Age of Anxiety Disappeared from Print” (O’ Nan), Supp. XI: 348 “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 Loti, Pierre, II: 311, 325; Supp. IV Part 1: 81 “Lot of People Bathing in a Stream, A” (Stevens), IV: 93 Lotringer, Sylvère, Supp. XII: 4 “Lot’s Wife” (Nemerov), III: 270 “Lottery, The” (Jackson), Supp. IX: 113, 114, 118, 120, 122–123 Lottery, The; or, The Adventures of James Harris (Jackson), Supp. IX: 113, 115, 116, 124, 125 Lotze, Hermann, III: 600

Loud and Clear (Quindlen), Supp. XVII: 167, 170–172 “Louie, His Cousin & His Other Cousin” (Cisneros), Supp. VII: 60 Louis, Joe, II: 589; Supp. IV Part 1: 360 Louis, Pierre Charles Alexandre, Supp. I Part 1: 302, 303 “Louisa, Please Come Home” (Jackson), Supp. IX: 122 Louis Lambert (Balzac), I: 499 “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 “Lounge” (Francis), Supp. IX: 83 Lounsberry, Barbara, Supp. XVII: 208 Lounsbury, Thomas R., I: 335 Louter, Jan, Supp. XI: 173 “Love” (Olson), Supp. II Part 2: 571 “Love” (Paley), Supp. VI: 219, 222, 230 Love, Deborah, Supp. V: 208, 210 Love Alone: 18 Elegies for Rog (Monette), Supp. X: 146, 154 Love Always (Beattie), Supp. V: 29, 30, 35 Love among the Cannibals (Morris), III: 228, 230–231 “Love Among the Ruins” (Mosley), Supp. XIII: 247 Love and Death (film; Allen), Supp. XV: 2, 5–6, 7, 11 Love and Death in the American Novel (Fiedler), Supp. XIII: 93, 96, 99–101, 104 Love and Exile (Singer), Retro. Supp. II: 302–304, 315 Love and Fame (Berryman), I: 170 Love and Friendship (Bloom), Retro. Supp. II: 31, 33–34 Love and Glory (Parker), Supp. XIX: 189 “Love and How to Cure It” (Wilder), IV: 365 Love and Scorn: New and Selected Poems (C. Frost), Supp. XV: 95, 96, 100, 103–105, 106 Love and Theft (album, Dylan), Supp. XVIII: 28, 31 “Love and the Hate, The” (Jeffers), Supp. II Part 2: 434–435 Love and Will (Dixon), Supp. XII: 148, 149 Love and Work (Price), Supp. VI: 261 “Love Calls Us to the Things of This World” (Wilbur), Supp. III Part 2: 544, 552–553 Love Course, The (Gurney), Supp. V: 98 Loved One, The (film), Supp. XI: 305– 306, 307 Loved One, The (Waugh), Supp. XI: 305 Love Expert, The (film; Kirkland), Supp. XVI: 186 Love Feast (Buechner), Supp. XII: 52 Love for Love (Congreve), Supp. XVIII: 12 “Love Fossil” (Olds), Supp. X: 203 Love in Buffalo (Gurney), Supp. V: 96

428 / AMERICAN WRITERS “Love—In Other Words” (Lee), Supp. VIII: 113 “Love in the Air” (Jin), Supp. XVIII: 93–94 “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. III 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 Lovejoy, Elijah P., Supp. I Part 2: 588 Lovejoy, Owen R., Supp. I Part 1: 8 Lovejoy, Thomas, Supp. X: 108 Lovelace, Richard, II: 590 “Love Letter (Schnackenberg), Supp. XV: 258–259 Love Letters (film), Supp. IV Part 2: 524 Love Letters (Gurney), Supp. V: 105, 108–109 Love Letters, The (Massie), Supp. IV Part 2: 524 Love Letters and Two Other Plays: The Golden Age and What I Did Last Summer (Gurney), Supp. V: 100 “Love Lies Sleeping” (Bishop), Retro. Supp. II: 42 Love Life (Mason), Supp. VIII: 145–146 “Love Life” (Mason), Supp. VIII: 145– 146 Lovell, Julia, Supp. XVIII: 101 Lovely Lady, The (Lawrence), Retro. Supp. I: 203 “Lovely Lady, The” (Lawrence), Supp. I Part 1: 329 Love Me (Keillor), Supp. XVI: 178 Love Medicine (Erdrich), Supp. IV Part 1: 259, 260, 261, 263, 265, 266, 267– 268, 270, 271, 274–275; Supp. X: 290 Love Medicine (expanded version) (Erdrich), Supp. IV Part 1: 263, 273, 274, 275 “Love Minus Zero/No Limit” (song, Dylan), Supp. XVIII: 31 “Love Nest, The” (Lardner), II: 427, 429 Love Nest, The, and Other Stories (Lardner), II: 430–431, 436 Lovenheim, Barbara, Supp. X: 169 “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. III 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 “Lover” (Hoffman), Supp. XVIII: 87 “Love Ritual” (Mora), Supp. XIII: 215 Loveroot (Jong), Supp. V: 115, 130 “Lovers, The” (Berryman), I: 174

“Lovers, The” (Buck), Supp. II Part 1: 128 “Lover’s Garden, A” (Ginsberg), Supp. II Part 1: 311 “Lovers of the Poor, The” (Brooks), Supp. III Part 1: 81, 85 Lovers Should Marry (Martin), Supp. IV Part 1: 351 “Lover’s Song” (Yeats), Supp. I Part 1: 80 “Love Rushes By” (Salinas), Supp. XIII: 326–327 “Love’s Ghost” (Nelson), Supp. XVIII: 176 Lovesick (Stern), Supp. IX: 295–296 Love’s Labour’s Lost (Shakespeare), III: 263 Love’s Old Sweet Song (Saroyan), Supp. IV Part 1: 83 “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; Supp. XIII: 346 “Lovesong of J. Alfred Prufrock, The” (T. S. Eliot), Supp. XVI: 150 “Love Song of St. Sebastian” (Eliot), Retro. Supp. I: 57 Love’s Pilgrimage (Sinclair), Supp. V: 286 “Love the Wild Swan” (Jeffers), Supp. VIII: 33 Love to Mamá: A Tribute to Mothers (Mora, ed.), Supp. XIII: 221 Lovett, Robert Morss, II: 43 “Love-Unknown” (Herbert), Supp. I Part 1: 80 Love! Valor! Compassion! (film), Supp. XIII: 206 Love! Valour! Compassion! (McNally), Supp. XIII: 199, 203–204, 208, 209 “Love versus Law” (Stowe), Supp. I Part 2: 585–586 “Love Wall” (Peacock), Supp. XIX: 200 Love with a Few Hairs (Mrabet), Supp. IV Part 1: 92 Loving a Woman in Two Worlds (R. 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 Lovin’ Molly (film), Supp. V: 223, 226 Lowe, John, Supp. XIII: 238 Lowe, Pardee, Supp. X: 291 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; Retro. Supp. II: 46, 175; Supp. I Part 1: 257–259, 261–263, 265, 266; Supp. I Part 2: 465, 466, 707, 714, 729; Supp. XIV: 128; Supp. XV: 43, 293, 295, 297, 298, 299, 300, 301, 303, 306 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; IV: 129, 171, 175, 180, 182–183, 186; Retro. Supp. I: 228; Retro. Supp. II: 155, 175, 326; Supp. I Part 1: 168, 299, 300, 303, 306, 311, 312, 317, 318, 362; Supp. I Part 2: 404–426; Supp. II Part 1: 197, 291, 352; Supp. XV: 278, 279; Supp. XVI: 84; Supp. XVIII: 2–3, 4, 8, 12 Lowell, Mrs. James Russell (Maria White), Supp. I Part 2: 405, 406, 414, 424 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, 532, 534–557; III: 39, 44, 142, 508, 527, 528–529, 606; IV: 120, 138, 402, 430; Retro. Supp. I: 67, 140, 411; Retro. Supp. II: 27, 40, 44, 46, 48, 50, 175–193, 221, 228– 229, 235, 245; Supp. I Part 1: 89; Supp. I Part 2: 538, 543, 554; Supp. III Part 1: 6, 64, 84, 138, 147, 193, 194, 197–202, 205–208; Supp. III 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; Supp. X: 53, 58; Supp. XI: 146, 240, 244, 250, 317; Supp. XII: 253– 254, 255; Supp. XIII: 76; Supp. XIV: 15, 126, 269; Supp. XV: 20, 22, 93, 184, 249, 251, 253, 340; Supp. XVII: 239; Supp. XIX: 197 Lowell, Rose, Supp. I Part 2: 409 “Lowell in the Classrom” (Vendler), Retro. Supp. II: 191 Lowenthal, Michael, Supp. XII: 82 Lower Depths, The (Gorki), III: 402 “Lower the Standard” (Shapiro), Supp. II Part 2: 715 Lowes, John Livingston, II: 512, 516, 532; 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 Lowry, Malcolm, Supp. XVII: 135, 136 Lowth, Richard, II: 8 Loy, Mina, III: 194 Loy, Myrna, Supp. IV Part 1: 355 “Loyal Woman’s No, A” (Larcom), Supp. XIII: 142, 143–144 “Luani of the Jungle” (Hughes), Supp. I Part 1: 328 Lubbock, Percy, I: 504; II: 337; IV: 308, 314, 319, 322; 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, Robert F., Retro. Supp. II: 195, 204 “Lucid Eye in Silver Town, The” (Updike), IV: 218

CUMULATIVE INDEX / 429 “Lucid Walking” (A. Finch), Supp. XVII: 72 “Lucinda Matlock” (Masters), Supp. I Part 2: 461, 465 “Luck” (Dunn), Supp. XI: 149 Luck of Barry Lyndon, The (Thackeray), II: 290 “Luck of Roaring Camp, The” (Harte), Supp. II Part 1: 335, 344, 345–347 “Luck of the Bogans, The” (Jewett), Retro. Supp. II: 142 Lucky Life (Stern), Supp. IX: 290–291 “Lucky Lucy’s Daily Dream Book” (Di Piero), Supp. XIX: 38–39 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, Saint, II: 211 Lucy Crown (Shaw), Supp. XIX: 251 Lucy Gayheart (Cather), I: 331; Retro. Supp. I: 19 “Lucy Tavish’s Journey” (E. Stoddard), Supp. XV: 286 Lucy Temple (Rowson). See Charlotte’s Daughter; or, The Three Orphans Ludlow, Andrea, Supp. XVIII: 90 Ludvigson, Susan, Supp. IV Part 2: 442, 446, 447, 448, 451 Lueders, Edward, Supp. XVI: 265 “Luggage” (Bidart), Supp. XV: 35 Luhan, Mabel Dodge, Retro. Supp. I: 7; Supp. XV: 46, 50 Lu Ji, Supp. VIII: 303 Luke (biblical book), III: 606 “Luke Havergal” (E. A. Robinson), Supp. XVII: 69 “Luke Havergal” (Robinson), III: 524 Lukeman, Gary, Supp. XV: 221 Luks, George, IV: 411; Retro. Supp. II: 103 “Lullaby” (Auden), Supp. II Part 1: 9 “Lullaby” (Bishop), Supp. I Part 1: 85 “Lullaby” (Everwine), Supp. XV: 89 “Lullaby” (Silko), Supp. IV Part 2: 560, 568–569 “Lullaby for Amy” (Jarman), Supp. XVII: 113, 121 “Lullaby of Cape Cod” (Brodsky), Supp. VIII: 27–28 Lullaby Raft (Nye), Supp. XIII: 278 Lullaby Raft (Nye, album), Supp. XIII: 274 Lullaby: The Comforting of Cock Robin (Snodgrass), Supp. VI: 324 “Lulls” (Walker), Supp. III Part 2: 525 “Lulu” (Wedekind), Supp. XII: 14 Lulu on the Bridge (film), Supp. XII: 21 Lulu’s Library (Alcott), Supp. I Part 1: 43 “Lumber” (Baker), Supp. XIII: 55, 56 “Lumens, The” (Olds), Supp. X: 209 Lume Spento, A (Pound), III: 470 Lumet, Sidney, Supp. IV Part 1: 236; Supp. IX: 253 Luminous Debris: Reflecting on Vestige in Provence and Languedoc (Sobin), Supp. XVI: 291–293, 293–294 “Lumumba’s Grave” (Hughes), Supp. I Part 1: 344

“Luna, Luna” (Mora), Supp. XIII: 217 Lupercal (Hughes), Retro. Supp. II: 245; Supp. I Part 2: 540 Lupton, Mary Jane, Supp. IV Part 1: 7 Luria, Isaac, IV: 7 Lurie, Alison, Supp. X: 166; Supp. XVI: 103, 111–112 Lust and Other Stories (Minot), Supp. VI: 205 Luster, Deborah, Supp. XV: 337,Supp. XV: 353, 348, 349, 350 Lustgarten, Edith, III: 107 Lustra (Pound), Retro. Supp. I: 289, 290 Luther, Martin, II: 11–12, 506; III: 306, 607; IV: 490 “Luther on Sweet Auburn” (Bambara), Supp. XI: 16–17 Lux, Thomas, Supp. XI: 270; Supp. XIX: 276 Luxury Girl, The (McCoy), Supp. XIII: 163 Lyall, Sarah, Supp. XIII: 247 Lycidas (Milton), II: 540; IV: 347; Retro. Supp. I: 60; Retro. Supp. II: 186; Supp. I Part 1: 370; Supp. IX: 41 Lycographia (Paullini), Supp. XVII: 55 “Lydia and Marian” (Rowson), Supp. XV: 234 Lydon, Susan, Supp. XII: 170 Lyell, Charles, Supp. IX: 180 Lyell, Frank H., Supp. VIII: 125 Lyford, Harry, Supp. I Part 2: 679 “Lying” (Wilbur), Supp. III 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. III Part 2: 589, 599, 600 “Lying in the Pollen and Water” (C. Frost), Supp. XV: 96 Lying Ladies, The (Ryan as Finnegan), Supp. XVIII: 233–235, 237 Lyles, Lois F., Supp. XI: 7, 8 Lyly, John, III: 536; Supp. I Part 1: 369 Lynch, Anne, Supp. XV: 273 Lynch, Doris, Supp. XVI: 294 Lynchburg (Gander), Supp. XV: 340 “Lynched Man, The” (Karr), Supp. XI: 241 Lynchers, The (Wideman), Supp. X: 320 “Lynching, The” (McKay), Supp. I Part 1: 63 “Lynching of Jube Benson, The” (Dunbar), Supp. II Part 1: 214 “Lynching Song” (Hughes), Supp. I Part 1: 331 Lynd, Staughton, Supp. VIII: 240 Lynn, Kenneth, Supp. XIII: 96–97 Lynn, Kenneth S., Supp. XIV: 103 Lynn, Vera, Supp. XI: 304 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 Lyotard, Jean-François, Supp. IV Part 1: 54

Lyrical Ballads (Wordsworth), III: 583; IV: 120; Supp. IX: 274; Supp. XI: 243; Supp. XV: 21; Supp. XIX: 1 Lyrics of Love and Laughter (Dunbar), Supp. II Part 1: 207 Lyrics of Lowly Life (Dunbar), Supp. II Part 1: 197, 199, 200, 207 Lyrics of the Hearthside (Dunbar), Supp. II Part 1: 206 Lytal, Tammy, Supp. XI: 102 Lytle, Andrew, IV: 125; Retro. Supp. II: 220, 221, 235; Supp. II Part 1: 139; Supp. X: 1, 25; Supp. XI: 101 Lytton of Knebworth. See Bulwer-Lytton, Edward George M Mabie, Hamilton W., Supp. XVIII: 257 McAlexander, Hubert H., Supp. V: 314, 319, 320, 323 McAlmon, Mrs. Robert (Winifred Ellerman), III: 194. See also Ellerman, Winifred McAlmon, Robert, IV: 404; Retro. Supp. I: 418, 419, 420; Retro. Supp. II: 328; Supp. I Part 1: 259; Supp. III Part 2: 614 McAninch, Jerry, Supp. XI: 297, 298 Macaulay, Catherine, Supp. I Part 2: 522 Macaulay, Rose, Supp. XII: 88; Supp. XIV: 348 Macaulay, Thomas, II: 15–16; III: 113, 591–592 Macauley, Robie, Retro. Supp. II: 228; Supp. X: 56 Macbeth (Shakespeare), I: 271; IV: 227; Retro. Supp. I: 131; Supp. I Part 1: 67; Supp. I Part 2: 457; Supp. IV Part 1: 87; Supp. XIV: 8 Macbeth (silent film), Supp. XVI: 184 MacBeth, George, Retro. Supp. II: 250 McCafferty, Larry, Supp. XVII: 227 McCaffery, Larry, Supp. IV Part 1: 217, 227, 234; Supp. V: 53, 238; Supp. VIII: 13, 14; Supp. X: 260, 268, 301, 303, 307; Supp. XVI: 117 McCarriston, Linda, Supp. X: 204; Supp. XIV: 259–275 McCarthy, Charles Joseph, Jr. See McCarthy, Cormac McCarthy, Cormac, Supp. VIII: 175– 192; Supp. XII: 310; Supp. XVII: 185 McCarthy, Eugene, Retro. Supp. II: 182 McCarthy, Joseph, I: 31, 492; II: 562, 568; Supp. I Part 1: 294, 295; Supp. I Part 2: 444, 611, 612, 620; Supp. XV: 198, 311–312 McCarthy, Mary, II: 558–584; Supp. I Part 1: 84; Supp. IV Part 1: 209, 297, 310; Supp. VIII: 96, 99, 100; Supp. X: 177; Supp. XI: 246; Supp. XIV: 3; Supp. XV: 142; Supp. XVI: 64, 70; Supp. XVII: 43 McCay, Maura, Supp. XII: 271, 276 McClanahan, Ed, Supp. X: 24 McClanahan, Thomas, Supp. XII: 125– 126 McClatchy, J. D., Supp. XII: 253–270; Supp. XV: 185, 257, 258

430 / AMERICAN WRITERS 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; Supp. XVI: 283 McClure, S. S., I: 313; II: 465; III: 327; Retro. Supp. I: 5, 6, 9; Supp. XV: 40 McCluskey, John, Jr., Supp. XIX: 65, 68, 71, 72, 78 McCombs, Judith, Supp. XIII: 33 McConagha, Alan, Supp. XVI: 166 McConnell, Frank, Supp. X: 260, 274 McCorkle, Jill, Supp. X: 6; Supp. XVIII: 195 McCourt, Frank, Supp. XII: 271–287 McCoy, Horace, Supp. XIII: 159–177 McCracken, Elizabeth, Supp. X: 86; Supp. XII: 310, 315–316, 321 McCrae, Fiona, Supp. XVIII: 60, 62 McCullers, Carson, I: 113, 190, 211; II: 585–608; IV: 282, 384, 385, 386; Retro. Supp. II: 324; Supp. II Part 1: 17; Supp. IV Part 1: 31, 84; Supp. IV Part 2: 502; Supp. VIII: 124; Supp. XII: 309; Supp. XIV: 120; Supp. XV: 338 McCullers, Reeves, III: 585, 586, 587 McDavid, Raven I., III: 120; Supp. XIV: 14 McDermott, Alice, Supp. XII: 311; Supp. XVIII: 155–169 McDermott, John J., II: 364 MacDiarmid, Hugh, Supp. X: 112 Macdonald, C. G., Supp. XVII: 73–74 Macdonald, Dwight, I: 233, 372, 379; III: 39; Supp. V: 265; Supp. XIV: 340; Supp. XV: 140 McDonald, E. J., Supp. I Part 2: 670 Macdonald, George, Supp. XIII: 75 MacDonald, Jeanette, II: 589 Macdonald, Ross, Supp. IV Part 1: 116, 136; Supp. IV Part 2: 459–477; Supp. XIII: 233; Supp. XVIII: 137,136 MacDonald, Ruth K., Supp. XVI: 102 MacDougall, Ruth Doan, Supp. XV: 58; Supp. XVI: 174 MacDowell, Edward, I: 228; III: 504, 508, 524 McDowell, Frederick P. W., II: 194 McDowell, Mary, Supp. I Part 1: 5 McDowell, Robert, Supp. IX: 266, 270, 276, 279 MacDowell, Robert, Supp. XI: 249 McDowell, Robert, Supp. XVII: 109, 110, 111 McDowell. Deborah, Supp. XVIII: 125, 129 McElderry, Margaret K., Supp. XV: 162 McElligot’s Pool (Geisel), Supp. XVI: 104 McElrath, Joseph, Supp. XIV: 62 McElroy, Joseph, Supp. IV Part 1: 279, 285 McEuen, Kathryn, II: 20 McEwen, Arthur, I: 206 McFarland, Ron, Supp. IX: 323, 327, 328, 333 McGann, Jerome, Retro. Supp. I: 47 McGill, Meredith, Supp. XVIII: 17

McGillis, Ian, Supp. XVIII: 150 MacGillivray, William, Supp. XVI: 8 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, Douglas, Supp. XV: 12 McGrath, Joseph, Supp. XI: 307, 309 McGrath, Patrick, Supp. IX: 113 McGrath, Thomas, Supp. X: 111–130 “McGrath on McGrath” (McGrath), Supp. X: 119, 120 McGuane, Thomas, Supp. V: 53, 220; Supp. VIII: 39, 40, 42, 43 MacGuffın, The (Elkin), Supp. VI: 55–56 McGuiness, Daniel, Supp. XV: 261 Machado y Ruiz, Antonio, Supp. XIII: 315, 323 Machan, Tibor, Supp. IV Part 2: 528 McHaney, Thomas, Supp. XVIII: 199,203 Machen, Arthur, IV: 286 Machiavelli, Niccolò, I: 485; Supp. XIX: 34 “Machine-Gun, The” (Jarrell), II: 371 “Machine Song” (Anderson), I: 114 McHugh, Heather, Supp. XIX: 84 McHugh, Vincent, Supp. XV: 147 McInerney, Jay, Supp. X: 7, 166; Supp. XI: 65; Supp. XII: 81; Supp. XVIII: 148 “Mac in Love” (Dixon), Supp. XII: 142 McIntire, Holly, Supp. V: 338 McIntosh, Maria, Retro. Supp. I: 246 Mack, Maynard, Supp. XIV: 12 Mackail, John William, Supp. I Part 1: 268; Supp. I Part 2: 461 McKay, Claude, Supp. I Part 1: 63; Supp. III Part 1: 75, 76; Supp. IV Part 1: 3, 79, 164; Supp. IX: 306; Supp. X: 131–144; Supp. XI: 91; Supp. XVII: 74; Supp. XVIII: 122, 127, 280, 282; Supp. XIX: 73 McKay, Donald, Supp. I Part 2: 482 McKee, Elizabeth, Retro. Supp. II: 221, 222 McKee, Ellen, Retro. Supp. II: 67 McKenney, Eileen, IV: 288; Retro. Supp. II: 321, 330 McKenney, Ruth, IV: 288; Retro. Supp. II: 321; Supp. XVIII: 238 MacKenzie, Agnes, I: 199 Mackenzie, Captain Alexander, III: 94 Mackenzie, Compton, II: 82; Retro. Supp. I: 100, 102 McKenzie, Geraldine, Supp. XII: 107 MacKenzie, Margaret, I: 199 McKibben, Bill, Supp. XVIII: 192 McKinley, William, I: 474; III: 506; Supp. I Part 2: 395–396, 707 MacKinnon, Catharine, Supp. XII: 6 MacLachlan, Suzanne L., Supp. XII: 300,Supp. XII: 299 McLaverty, Michael, Supp. X: 67 McLay, Catherine, Supp. XIII: 21 Maclean, Alasdair, Supp. V: 244 Maclean, Norman, Supp. XIV: 221–237; Supp. XVI: 98

MacLeish, Archibald, I: 283, 293, 429; II: 165, 228; III: 1–25, 427; Supp. I Part 1: 261; Supp. I Part 2: 654; Supp. IV Part 1: 359; Supp. IV Part 2: 586; Supp. X: 120; Supp. XIV: 11 MacLeish, Kenneth, III: 1 MacLeish, Mrs. Archibald (Ada Hitchcock), III: 1 McLennan, Gordon Lawson, Supp. IX: 89 McLeod, A. W., Supp. I Part 1: 257 McLuhan, Marshall, Supp. IV Part 2: 474 McLure, Michael, Supp. XIV: 150 Macmahon, Arthur, I: 226 McMahon, Helen, Supp. IV Part 2: 579 McMichael, George, Supp. VIII: 124 McMichael, Morton, Supp. I Part 2: 707 McMichaels, James, Supp. XIII: 114 McMillan, James B., Supp. VIII: 124 McMillan, Terry, Supp. XIII: 179–193 McMullan, Jim, Supp. XIV: 124 McMurtry, Josephine, Supp. V: 220 McMurtry, Larry, Supp. V: 219–235; Supp. X: 24; Supp. XI: 172 McNally, Terrence, Supp. XIII: 195–211 McNamer, Deirdre, Supp. XI: 190 McNeese, Gretchen, Supp. V: 123 MacNeice, Louis, II: 586; III: 527; Supp. II Part 1: 17, 24; Supp. IV Part 2: 440; Supp. X: 116; Supp. XIII: 347 McNeil, Claudia, Supp. IV Part 1: 360, 362 M-a-c-n-o-l-i-a (Jordan), Supp. XVIII: 172 McPhee, John, Supp. III Part 1: 289– 316; Supp. X: 29, 30; Supp. XVIII: 106–107, 114 MacPherson, Aimee Semple, Supp. V: 278 McPherson, Dolly, Supp. IV Part 1: 2, 3, 4, 6, 8, 11, 12 McPherson, James Allen, Retro. Supp. II: 126 Macpherson, Jay, Supp. XIII: 19 MacPherson, Kenneth, Supp. I Part 1: 259 McPhillips, Robert, Supp. XV: 119, 250, 251, 252, 264, 266 McQuade, Molly, Supp. VIII: 277, 281; Supp. IX: 151, 163 McQueen, Steve, Supp. XI: 306 Macrae, John, I: 252–253 McRobbie, Angela, Supp. IV Part 2: 691 MacShane, Frank, Supp. IV Part 2: 557; Supp. XI: 214, 216 “MacSwiggen” (Freneau), Supp. II Part 1: 259 McTaggart, John, I: 59 McTeague (Norris), III: 314, 315, 316– 320, 322, 325, 327–328, 330, 331, 333, 335; Retro. Supp. II: 96; Supp. IX: 332 McWilliams, Carey, Supp. XI: 169 Madama Butterfly (Puccini), III: 139 “Madam and the Minister” (Hughes), Supp. I Part 1: 335 “Madam and the Wrong Visitor” (Hughes), Supp. I Part 1: 335

CUMULATIVE INDEX / 431 “Madame and Ahmad” (Bowles), Supp. IV Part 1: 93 “Madame Bai and the Taking of Stone Mountain” (Bambara), Supp. XI: 14–15 Madame Bovary (Flaubert), II: 185; Retro. Supp. I: 225; Retro. Supp. II: 70; Supp. XI: 334 “Madame Célestin’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, Supp. IV Part 1: 285 Maddern, Bessie. See London, Mrs. Jack (Bessie Maddern) Mad Dog Black Lady (Coleman), Supp. XI: 85–89, 90 Mad Dog Blues (Shepard), Supp. III Part 2: 437, 438, 441 Maddox, Lucy, Supp. IV Part 1: 323, 325 Mad Ducks and Bears: Football Revisited (Plimpton), Supp. XVI: 243 Mademoiselle Coeur-Brisé (Sibon, trans.), IV: 288 Mademoiselle de Maupin (Gautier), Supp. I Part 1: 277 “Mad Farmer, Flying the Flag of Rough Branch, Secedes from the Union, The” (Berry), Supp. X: 35 “Mad Farmer Manifesto, The: The First Amendment” (Berry), Supp. X: 35 “Mad Farmer’s Love Song, The” (Berry), Supp. X: 35 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, Dolley, II: 303 Madison, James, I: 1, 2, 6–9; II: 301; Supp. I Part 2: 509, 524 “Madison Smartt Bell: The Year of Silence” (Garrett), Supp. X: 7 Mad Love (film, Freund), Supp. XVII: 58 “Madman, A” (Updike), Retro. Supp. I: 320 “Madman’s Song” (Wylie), Supp. I Part 2: 711, 729 Madonick, Michael, Supp. XVII: 123 “Madonna” (Lowell), II: 535–536 “Madonna of the Evening Flowers” (Lowell), II: 524 “Madonna of the Future, The” (James), Retro. Supp. I: 219 “Mad Song” (Gioia), Supp. XV: 128 Madwoman in the Attic, The (Gilbert and Gubar), Retro. Supp. I: 42; Supp. IX: 66 “Maelzel’s Chess-Player” (Poe), III: 419, 420 “Maestria” (Nemerov), III: 275, 278–279 Maeterlinck, Maurice, I: 91, 220

“Magazine-Writing Peter Snook” (Poe), III: 421 Magdeburg Centuries (Flacius), IV: 163 Magellan, Ferdinand, Supp. I Part 2: 497 Maggie: A Girl of the Streets (S. Crane), I: 407, 408, 410–411, 416; IV: 208; Retro. Supp. II: 97, 107; Supp. XVII: 228 Maggie Cassidy (Kerouac), Supp. III Part 1: 220–221, 225, 227, 229, 232 “Maggie of the Green Bottles” (Bambara), Supp. XI: 2–3 “Maggie’s Farm” (song, Dylan), Supp. XVIII: 25, 26 “Magi” (Plath), Supp. I Part 2: 544–545 “Magi, The” (Garrett), Supp. VII: 97 “Magic” (Porter), III: 434, 435 Magic Barrel, The (Malamud), Supp. I Part 2: 427, 428, 430–434 “Magic Barrel, The” (Malamud), Supp. I Part 2: 427, 428, 431, 432–433 Magic Christian, The (film), Supp. XI: 309 Magic Christian, The (Southern), Supp. XI: 297, 299–301, 309 Magic City (Komunyakaa), Supp. XIII: 125–127, 128, 131 “Magic Flute, The” (Epstein), Supp. XII: 165 Magic Flute, The (Mozart), III: 164 Magician of Lublin, The (Singer), IV: 6, 9–10; Retro. Supp. II: 308–309 Magician’s Assistant, The (Patchett), Supp. XII: 307, 310, 317–320, 322 “Magician’s Wife, The” (Gordon), Supp. IV Part 1: 306 Magic Journey, The (Nichols), Supp. XIII: 266–267 Magic Keys, The (Murray), Supp. XIX: 157–158 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; Supp. XII: 321; Supp. XVII: 137 Magic Tower, The (Willams), IV: 380 Magnaghi, Ambrogio, Supp. XVI: 286 Magnalia Christi Americana (Mather), II: 302; Supp. I Part 1: 102; Supp. I Part 2: 584; Supp. II Part 2: 441, 442, 452–455, 460, 467, 468; Supp. IV Part 2: 434 Magnificat (Nelson), Supp. XVIII: 176– 177 “Magnificent Little Gift” (Salinas), Supp. XIII: 318 “Magnifying Mirror” (Karr), Supp. XI: 240 Magpie, The (Baldwin, ed.), Supp. I Part 1: 49 Magpie’s Shadow, The (Winters), Supp. II Part 2: 786, 788 “Magpie’s Song” (Snyder), Supp. VIII: 302 Magritte, René, Supp. IV Part 2: 623

Maguire, Roberta S., Supp. XIX: 160– 161 Magus, The (Fowles), Supp. XIX: 58 Mahan, Albert Thayer, Supp. I Part 2: 491 “Mahatma Joe” (Bass), Supp. XVI: 19 “Mahogany Tree, The” (M. F. K. Fisher), Supp. XVII: 88 Mahomet and His Successors (Irving), II: 314 Mahoney, Jeremiah, IV: 285 Mahoney, Lynn, Supp. XV: 270 “Maiden in a Tower” (Stegner), Supp. IV Part 2: 613 “Maiden Without Hands” (Sexton), Supp. II Part 2: 691 “Maid of St. Philippe, The” (Chopin), Retro. Supp. II: 63 “Maid’s Shoes, The” (Malamud), Supp. I Part 2: 437 Mailer, Fanny, III: 28 Mailer, Isaac, III: 28 Mailer, Norman, I: 261, 292, 477; III: 26–49, 174; IV: 98, 216; Retro. Supp. II: 182, 195–217, 279; Supp. I Part 1: 291, 294; Supp. III Part 1: 302; Supp. IV Part 1: 90, 198, 207, 236, 284, 381; Supp. IV Part 2: 689; Supp. VIII: 236; Supp. XI: 104, 218, 222, 229; Supp. XIV: 49, 53, 54, 111, 162; Supp. XVII: 225, 228, 236; Supp. XVIII: 19–20 “Maimed Man, The” (Tate), IV: 136 Maimonides, Moses, Supp. XVII: 46–47 Main Currents in American Thought: The Colonial Mind, 1625–1800 (Parrington), I: 517; Supp. I Part 2: 484 “Maine Roustabout, A” (Eberhart), I: 539 “Maine Speech” (White), Supp. I Part 2: 669–670 Maine Woods, The (Thoreau), IV: 188 Mains d’ Orlac, Les (M. Renard), Supp. XVII: 58 Main Street (Lewis), I: 362; II: 271, 440, 441–442, 447, 449, 453; III: 394; Supp. XIX: 142 Maitland, Margaret Todd, Supp. XVI: 292 “Majorat, Das” (Hoffman), III: 415 Major Barbara (Shaw), III: 69 “Major Chord, The” (Bourne), I: 221 Majors and Minors (Dunbar), Supp. II Part 1: 197, 198 “Major’s Tale, The” (Bierce), I: 205 Make Believe (J. Scott), Supp. XVII: 191–192, 193, 194, 195 Make-Believe Town: Essays and Remembrances (Mamet), Supp. XIV: 240, 251 Make It New (Pound), III: 470 Makers and Finders (Brooks), I: 253, 254, 255, 257, 258 Makers of the Modern World (Untermeyer), Supp. XV: 312 “Making a Change” (Gilman), Supp. XI: 207 “Making a Living” (Sexton), Supp. II Part 2: 695

432 / AMERICAN WRITERS “Making Changes” (L. Michaels), Supp. XVI: 204 “Making Do” (Hogan), Supp. IV Part 1: 406 Making Face, Making Soul: Haciendo Caras, Creative and Critical Perspectives by Feminists of Color (Anzaldúa, ed.), Supp. IV Part 1: 330 Making It (Podhoretz), Supp. VIII: 231, 232, 233, 237–238, 239, 244 “Making Light of Auntie” (X. J. Kennedy), Supp. XV: 163 “Making of a Marginal Farm, The” (Berry), Supp. X: 22 Making of Americans, The (Stein), IV: 35, 37, 40–42, 45, 46; Supp. III Part 1: 37 “Making of Ashenden, The” (Elkin), Supp. VI: 49, 50 “Making of a Soldier USA, The” (Simpson), Supp. IX: 270 “Making of Garrison Keillor, The” (McConagha), Supp. XVI: 166“ “Making of Paths, The” (Stegner), Supp. IV Part 2: 614 “Making of Poems, The” (W. J. Smith), Supp. XIII: 348 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 Making Your Own Days: The Pleasures of Reading and Writing Poetry (Koch), Supp. XV: 188 Malady of the Ideal, The: Oberman, Maurice de Guérin, and Amiel (Brooks), I: 240, 241, 242 Malamud, Bernard, I: 144, 375; II: 424, 425; III: 40, 272; IV: 216; Retro. Supp. II: 22, 279, 281; Supp. I Part 2: 427–453; Supp. IV Part 1: 297, 382; Supp. V: 257, 266; Supp. IX: 114, 227; Supp. XIII: 106, 264, 265, 294; Supp. XVI: 220 Malamud, Mrs. Bernard (Ann de Chiara), Supp. I Part 2: 451 Malanga, Gerard, Supp. III Part 2: 629 Malaquais, Jean, Retro. Supp. II: 199 Malatesta, Sigismondo de, III: 472, 473 Malcolm (Purdy), Supp. VII: 270–273, 277 “Malcolm Cowley and the American Writer” (Simpson), Supp. II Part 1: 147 Malcolm Lowry’s “Volcano“: Myth Symbol Meaning (Markson), Supp. XVII: 142, 144 “MALCOLM REMEMBERED (FEB. 77)” (Baraka), Supp. II Part 1: 60 Malcolm X, Retro. Supp. II: 12, 13; Supp. I Part 1: 52, 63, 65, 66; Supp. IV Part 1: 2, 10; Supp. VIII: 330, 345; Supp. X: 240; Supp. XIV: 306 Malcolm X (film), Retro. Supp. II: 12 “Maldrove” (Jeffers), Supp. II Part 2: 418 Male, Roy, II: 239

Male Animal, The (Thurber), Supp. I Part 2: 605, 606, 610–611 “Malediction upon Myself” (Wylie), Supp. I Part 2: 722 Malefactors, The (Gordon), II: 186, 199, 213–216; IV: 139 “Malest Cornifici Tuo Catullo” (Ginsberg), Supp. II Part 1: 315 Malick, Terrence, Supp. XI: 234; Supp. XV: 351 Malin, Irving, I: 147; Supp. XVI: 71–72 “Malinche’s Tips: Pique from Mexico’s Mother” (Mora), Supp. XIII: 223 “Mallard” (C. Frost), Supp. XV: 98, 99 Mallarmé, Stéphane, I: 66, 569; II: 529, 543; III: 8, 409, 428; IV: 80, 86; Retro. Supp. I: 56; Supp. I Part 1: 261; Supp. II Part 1: 1; Supp. III Part 1: 319–320; Supp. III Part 2: 630; Supp. XIII: 114; Supp. XV: 158; Supp. XVI: 282, 285 Mallia, Joseph, Supp. XII: 26, 29, 37 Mallon, Thomas, Supp. IV Part 1: 200, 209; Supp. XIX: 131–145 Maloff, Saul, Supp. VIII: 238 Malory, Thomas, II: 302; III: 486; IV: 50, 61; Supp. IV Part 1: 47 “Mal Paso Bridge” (Jeffers), Supp. II Part 2: 415, 420 Malraux, André, I: 33–34, 127, 509; II: 57, 376; III: 35, 310; IV: 236, 247, 434; Retro. Supp. I: 73; Retro. Supp. II: 115–116, 119; Supp. II Part 1: 221, 232; Supp. XIX: 157 Maltese Falcon, The (film), Supp. IV Part 1: 342, 353, 355 Maltese Falcon, The (Hammett), IV: 286; Supp. IV Part 1: 345, 348–351 Mama (McMillan), Supp. XIII: 182, 187–188 “Mama and Daughter” (Hughes), Supp. I Part 1: 334 Mama Day (Naylor), Supp. VIII: 223– 226, 230 “Mama I Remember” (Nelson), Supp. XVIII: 173 Mama Poc: An Ecologist’s Account of the Extinction of a Species (LaBastille), Supp. X: 99, 104–105, 106 Mama’s Bank Account (K. Forbes), Supp. XVII: 9 Mama’s Promises (Nelson), Supp. XVIII: 173–174 “Mama Still Loves You” (Naylor), Supp. VIII: 214 Mambo Hips and Make Believe (Coleman), Supp. XI: 94–96 Mambo Kings, The (film), Supp. VIII: 73, 74 Mambo Kings Play Songs of Love, The (Hijuelos), Supp. VIII: 73–74, 79–82 “Ma’ me Pélagie” (Chopin), Retro. Supp. II: 64 Mamet, David, Supp. XIV: 239–258, 315 “Mamie” (Sandburg), III: 582 Mammedaty, Novarro Scott. See Momaday, N. Scott “Mammon and the Archer” (O. Henry), Supp. II Part 1: 394, 408

Mammonart (Sinclair), Supp. V: 276– 277 “Mammy” (D. West), Supp. XVIII: 283 “Mamouche” (Chopin), Retro. Supp. II: 66 Mamoulian, Rouben, Supp. XVIII: 281 “Man” (Corso), Supp. XII: 130 “Man” (Herbert), II: 12 “Man Against the Sky, The” (Robinson), III: 509, 523 “Man and a Woman Sit Near Each Other, A” (R. Bly), Supp. IV Part 1: 71 Man and Boy (Morris), III: 223, 224, 225 “Man and the Snake, The” (Bierce), I: 203 “Man and Woman” (Caldwell), I: 310 Manassas (Sinclair), Supp. V: 280, 281, 285 “Man Bring This Up Road” (T. Williams), IV: 383–384 “Man Carrying Thing” (Stevens), IV: 90 Manchester, William, III: 103 “Man Child, The” (Baldwin), Supp. I Part 1: 63 Man Could Stand Up, A (Ford), I: 423 “Mandarin’s Jade” (Chandler), Supp. IV Part 1: 125 Mandel, Charlotte, Supp. XVI: 57 Mandelbaum, Maurice, I: 61 Mandelstam, Osip, Retro. Supp. I: 278; Supp. III Part 1: 268; Supp. VIII: 21, 22, 23, 27; Supp. XIII: 77; Supp. XV: 254, 261, 263 “Mandelstam: The Poem as Event” (Dobyns), Supp. XIII: 78 “Mandolin” (Dove), Supp. IV Part 1: 247 “Mandoline” (Verlaine), IV: 79 “Man Eating” (Kenyon), Supp. VII: 173 “Man Feeding Pigeons” (Clampitt), Supp. IX: 49–50, 52 Manfred, Frederick, Supp. X: 126 Man From Limbo, The (Endore), Supp. XVII: 55 “Mango Says Goodbye Sometimes” (Cisneros), Supp. VII: 64 Manhattan (film; Allen), Supp. IV Part 1: 205; Supp. XV: 5, 7–8, 13 “Manhattan Dawn” (Justice), Supp. VII: 117 “Manhattan: Luminism” (Doty), Supp. XI: 135 Manhattan Murder Mystery (film; Allen), Supp. XV: 5, 11 Manhattan Transfer (Dos Passos), I: 26, 475, 478, 479, 480, 481, 482–484, 487; II: 286; Supp. I Part 1: 57 “Mania” (Lowell), II: 554 “Manic in the Moon, The” (Thurber), Supp. I Part 2: 620 “Manifesto: A Press Release from PRKA” (Saunders), Supp. XIX: 235 Manikin, The (J. Scott), Supp. XVII: 189–191, 192, 194 “Man in Black” (Plath), Supp. I Part 2: 538 Man in Prehistory (Chard), Supp. XII: 177–178 Man in the Black Coat Turns, The (R. Bly), Supp. IV Part 1: 66–68, 71, 73

CUMULATIVE INDEX / 433 “Man in the Brooks Brothers Shirt, The” (McCarthy), II: 563–564 “Man in the Drawer, The” (Malamud), Supp. I Part 2: 437 Man in the Flying Lawn Chair and Other Excursions and Observations, The (Plimpton), Supp. XVI: 234 Man in the Gray Flannel Suit, The (Wilson), Supp. IV Part 1: 387 Man in the High Castle, The (Dick), Supp. XVIII: 138 Man in the Middle, The (Wagoner), Supp. IX: 324, 332–333 “Man in the Rain, The” (Ryan as Quin), Supp. XVIII: 226 “Man in the Toolhouse, The” (Swados), Supp. XIX: 263 Mankiewicz, Herman, Supp. XVI: 189 Mankiewicz, Joseph, Retro. Supp. I: 113 Mankowitz, Wolf, Supp. XI: 307 “Man Made of Words, The” (Momaday), Supp. IV Part 2: 481, 484–485, 486, 487, 488 Man-Made World, The (Gilman), Supp. XI: 207 “Man-Moth, The” (Bishop), Retro. Supp. II: 42; Supp. I Part 1: 85–87, 88 Mann, Charles, Retro. Supp. II: 40 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; Supp. IV Part 2: 522; Supp. V: 51; Supp. IX: 21; Supp. XI: 275; Supp. XII: 173, 310, 321; Supp. XIV: 87; Supp. XVII: 137; Supp. XIX: 147, 151, 157 Mannequins’ Demise: A Play in Eight Scenes (Budbill), Supp. XIX: 12 Mannerhouse (Wolfe), IV: 460 Manner Music, The (Reznikoff), Supp. XIV: 293–295 “Manners” (Bishop), Supp. I Part 1: 73 “Manners” (Emerson), II: 4, 6 “Manners, Morals, and the Novel” (Trilling), Supp. III 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 Man Nobody Knows, The (B. Barton), Retro. Supp. I: 179 Mano, D. Keith, Supp. XVI: 250 Mano, Guy Levis, Supp. XVI: 282 “Man of Indeterminate Age on a Subway Grate, A” (DI Piero), Supp. XIX: 47 “Man of Letters as a Man of Business, The” (Howells), Supp. XIV: 45–46 “Man of No Account, The” (Harte), Supp. II Part 1: 339 “Man of the Crowd, The” (Poe), III: 412, 417; Retro. Supp. I: 154 Man on Spikes (Asinof ), II: 424 Man on Stage (Dixon), Supp. XII: 141, 154–155 “Man on the Dump, The” (Stevens), IV: 74; Retro. Supp. I: 306

“Man on the Train, The” (Percy), Supp. III Part 1: 387 Manor, The (Singer), IV: 6, 17–19 Manrique, Jorge, Retro. Supp. II: 154 Mansart Builds a School (Du Bois), Supp. II Part 1: 185–186 Man’s Fate (Malraux), I: 127; Retro. Supp. II: 121 “Man’s Fate A Film Treatment of the Malraux Novel” (Agee), I: 33–34 Mansfield, June, Supp. X: 183, 194 Mansfield, Katherine, III: 362, 453 Mansfield, Stephanie, Supp. IV Part 1: 227 Man’s Hope (Malraux), IV: 247 Mansion, The (Faulkner), II: 73; Retro. Supp. I: 74, 82 Man’s Nature and His Communities (Niebuhr), III: 308 Manson, Charles, Supp. IV Part 1: 205 “Man Splitting Wood in the Daybreak, The” (Kinnell), Supp. III Part 1: 254 “Man’s Pride” (Jeffers), Supp. II Part 2: 417 “Man’s Story, The” (Anderson), I: 114 Man’s Woman, A (Norris), III: 314, 322, 328, 329, 330, 332, 333 Man That Corrupted Hadleyburg, The (Twain), I: 204; IV: 208 “Man That Was Used Up, The” (Poe), III: 412, 425 “Mantis” (Zukofsky), Supp. III Part 2: 617 “’ Mantis’ : An Interpretation” (Zukofsky), Supp. III Part 2: 617– 618 Man to Send Rain Clouds, The (Rosen, ed.), Supp. IV Part 2: 499, 505, 513 “Man to Send Rain Clouds, The” (Silko), Supp. IV Part 2: 559 Mantrap (Lewis), II: 447 Manuductio Ad Ministerium (Mather), Supp. II Part 2: 465–467 “Manuelzinho” (Bishop), Retro. Supp. II: 47–48 Manuscript Books of Emily Dickinson, The (Franklin, ed.), Retro. Supp. I: 29, 41 “Man Waiting for It to Stop, A” (Dunn), Supp. XI: 144 “Man Who Became a Woman, The” (Anderson), I: 114 “Man Who Carries the Desert Around Inside Himself, The: For Wally” (Komunyakaa), Supp. XIII: 125 “Man Who Closed Shop, The” (Dunn), Supp. XI: 149 Man Who Gave Up His Name, The (Harrison), Supp. VIII: 45, 52 Man Who Had All the Luck, The (A. 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), Supp. II Part 1: 40

“Man Who Lived Underground, The” (Wright), IV: 479, 485–487, 492; Retro. Supp. II: 121 “Man Who Made Me Love Him, The” (Weigl), Supp. XIX: 278 “Man Who Makes Brooms, The” (Nye), Supp. XIII: 276 “Man Who Studied Yoga, The” (Mailer), III: 35–36; Retro. Supp. II: 200 “Man Who Wanted to Win, The” (McCoy), Supp. XIII: 161 Man Who Was There, The (Morris), III: 220–221 “Man Who Writes Ants, The” (Merwin), Supp. III Part 1: 348 “Man with a Family” (Humphrey), Supp. IX: 94 Man without a Country, The (Hale), I: 488 “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 and Other Poems, The (Stevens), IV: 76; Retro. Supp. I: 303, 422 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 with the Hoe, The” (Markham), Supp. XV: 115 Many a Monster (Ryan as Finnegan), Supp. XVIII: 233, 236–238 Manyan Letters (Olson), Supp. II Part 2: 571 Many Circles (Goldbarth), Supp. XII: 193 “Many Handles” (Sandburg), III: 594 “Many Happy Returns” (Auden), Supp. II Part 1: 15 Many Loves (W. C. Williams), Retro. Supp. I: 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. III Part 2: 602 “Many Swans” (Lowell), II: 526 “Many Thousands Gone” (Baldwin), Retro. Supp. II: 4; Supp. I Part 1: 51 “Many Wagons Ago” (Ashbery), Supp. III Part 1: 22 Many-Windowed House, A (Cowley), Supp. II Part 1: 141, 143 “Many-Windowed House, A” (Cowley), Supp. II Part 1: 137 Mao II (DeLillo), Supp. VI: 2, 4, 5, 6, 7, 8, 9, 14, 16 “Map, The” (Bishop), Retro. Supp. II: 41; Supp. I Part 1: 72, 82, 85–88, 93 “Map, The” (Strand), Supp. IV Part 2: 623–624 “Maple Leaf, The” (Joplin), Supp. IV Part 1: 223

434 / AMERICAN WRITERS “Maple Tree, The” (D. West), Supp. XVIII: 284 Map of Another Town: A Memoir of Provence (M. F. K. Fisher), Supp. XVII: 88, 89, 92 “Map of Montana in Italy, A” (Hugo), Supp. VI: 139 “Maps” (Hass), Supp. VI: 103–104 Mapson, Jo-Ann, Supp. IV Part 2: 440, 454 Map to the Next World, A: Poems and Tales (Harjo), Supp. XII: 228–230 “Mara” (Jeffers), Supp. II Part 2: 434 Ma Rainey’s Black Bottom (Wilson), Supp. VIII: 331, 332–334, 346, 349, 350 Marat, Jean Paul, IV: 117; Supp. I Part 2: 514, 515, 521 “Marathon” (Glück), 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, 164–165; Supp. I Part 1: 38; Supp. I Part 2: 421, 596; Supp. XIII: 102 Marbles (Brodsky), Supp. VIII: 26–27 Marcaccio, Michael, Supp. XVII: 97, 106 “March” (W. C. Williams), Retro. Supp. I: 418 March, Alan, Supp. XVI: 242 March, Fredric, III: 154, 403; IV: 357; Supp. X: 220 “March, March on Down the Field” (Shaw), Supp. XIX: 246 Marchalonis, Shirley, Supp. XIII: 138, 140, 141, 143, 147–148 “Marché aux Oiseaux” (Wilbur), Supp. III Part 2: 550 “Märchen, The” (Jarrell), II: 378–379 March Hares (Frederic), II: 143–144 Marching Men (Anderson), I: 99, 101, 103–105, 111 “Marching Music” (Simic), Supp. VIII: 281 “Marcia” (Davis), Supp. XVI: 91–92 Marcks, Greg, Supp. XVIII: 150 Marco Millions (O’ Neill), III: 391, 395 Marcosson, Isaac, III: 322 Marcus, Greil, Supp. XVIII: 30, 53 Marcus, Steven, Retro. Supp. II: 196, 200 Marcus Aurelius, II: 1; III: 566; Supp. XVIII: 304 Marcuse, Herbert, Supp. I Part 2: 645; Supp. VIII: 196; Supp. XII: 2 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 “Marginalia” (Wilbur), Supp. III Part 2: 544 Margin of Hope, A: An Intellectual Autobiography (Howe), Supp. VI: 113– 114, 117, 125, 128

“Margins of Maycomb, The: A Rereading of To Kill a Mockingbird” (Phelps), Supp. VIII: 128 Margoshes, Samuel, Supp. X: 70 “Margrave” (Jeffers), Supp. II Part 2: 426 Margret Howth (Davis), Supp. XVI: 81, 83, 84, 88–89 Margret Howth: A Story of Today ( J. Yellin, ed.), Supp. XVI: 88 “Maria Concepción” (Porter), III: 434– 435, 451 Mariani, Paul L., Retro. Supp. I: 412, 419; Retro. Supp. II: 189 Marianne Moore Reader, (Moore), III: 199 Marie Antoinette (film), Retro. Supp. I: 113 Marie Laveau (Prose), Supp. XVI: 251 Mariella Gable, Sister, III: 339, 355 “Marijuana and a Pistol” (C. Himes), Supp. XVI: 137 “Marijuana Notation” (Ginsberg), Supp. II Part 1: 313 Marilyn: A Biography (Mailer), Retro. Supp. II: 208 “Marin” (Cisneros), Supp. VII: 60, 61 Marin, Jay, Retro. Supp. II: 325 “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 Maritime Compact (Paine), Supp. I Part 2: 519 Maritime History of Massachusetts, 1783–1860, The (Morison), Supp. I Part 2: 481–483 Marjolin, Jean-Nicolas, Supp. I Part 1: 302 Marjorie Kinnan Rawlings: Sojourner at Cross Creek (Silverthorne), Supp. X: 220, 234 “Mark, The” (Bogan), Supp. III Part 1: 52 Marker, Chris, Supp. IV Part 2: 434, 436 “Market” (Hayden), Supp. II Part 1: 368, 369 Marketplace, The (Frederic), II: 145–146 Markham, Edwin, I: 199, 207; Supp. XV: 115 Markings (Hammarskjold), Supp. II Part 1: 26 Mark of the Vampire (film, Browning), Supp. XVII: 58 Markopoulos, Gregory, Supp. XII: 2 Markowick-Olczakova, Hanna, Supp. X: 70 Marks, Alison, Supp. I Part 2: 660 Marks, Barry A., I: 435, 438, 442, 446 Markson, David, Supp. XVII: 135–147 Mark Twain in Eruption (Twain), IV: 209 Mark Twain’s America (De Voto), I: 248 Mark Twain’s Autobiography (Twain), IV: 209 Marley, Bob, Supp. IX: 152

Marlowe, Christopher, I: 68, 368, 384; II: 590; III: 259, 491; Retro. Supp. I: 127; Retro. Supp. II: 76; Supp. I Part 2: 422 “Marlowe Takes on the Syndicate” (Chandler), Supp. IV Part 1: 135 Marne, The (Wharton), IV: 319, 320; Retro. Supp. I: 378 Marquand, John, Supp. XI: 301 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” (Corso), Supp. XII: 117, 124, 127–128 Marriage (Moore), III: 194 “Marriage” (Moore), III: 198–199, 213 “Marriage, A” (Untermeyer), Supp. XV: 305 Marriage A-la-Mode (Dryden), Supp. IX: 68 Marriage and Other Science Fiction (Goldbarth), Supp. XII: 189, 190 “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” (Cather), Retro. Supp. I: 5 Marrow of Tradition, The (Chesnutt), Supp. XIV: 63, 71–75, 76 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 “Marrying the Hangman” (Atwood), Supp. XIII: 34 Marry Me: A Romance (Updike), Retro. Supp. I: 329, 330, 332 “Mars and Hymen” (Freneau), Supp. II Part 1: 258 Marsden, Dora, III: 471; Retro. Supp. I: 416 Marsena (Frederic), II: 135, 136–137 Marsh, Edward, Supp. I Part 1: 257, 263 Marsh, Fred T., Supp. IX: 232 Marsh, John R., Supp. XIX: 187 Marsh, Mae, Supp. I Part 2: 391 Marshall, George, III: 3 Marshall, John, Supp. I Part 2: 455; Supp. XVI: 117; Supp. XIX: 62 Marshall, Paule, Supp. IV Part 1: 8, 14, 369; Supp. XI: 18, 275–292; Supp. XIII: 295 Marshall, Tod, Supp. XV: 224; Supp. XVII: 25, 26, 29, 32 “Marshall Carpenter” (Masters), Supp. I Part 2: 463 “Marshes of Glynn, The” (Lanier), Supp. I Part 1: 364, 365–368, 370, 373

CUMULATIVE INDEX / 435 “’ Marshes of Glynn, The’ : A Study in Symbolic Obscurity” (Ross), Supp. I Part 1: 373 Marsh Island, A (Jewett), II: 405; Retro. Supp. II: 134 “Marshland Elegy” (Leopold), Supp. XIV: 187, 189 “Mars Is Heaven!” (Bradbury), Supp. IV Part 1: 103, 106 Marsman, Henrik, Supp. IV Part 1: 183 Marston, Ed, Supp. IV Part 2: 492 Marta y Maria (Valdes), II: 290 “Martha’s Lady” (Jewett), Retro. Supp. II: 140, 143 Marthe, Saint, II: 213 Martial, II: 1, 169; Supp. IX: 152 Martian Chronicles, The (Bradbury), Supp. IV Part 1: 102, 103, 106–107 Martian Time-Slip (Dick), Supp. XVIII: 142 Martin, Benjamin, Supp. I Part 2: 503 Martin, Charles, Supp. XVII: 112 Martin, Dick, Supp. XII: 44 Martin, Jay, I: 55, 58, 60, 61, 67; III: 307; Retro. Supp. II: 326, 327, 329; Supp. XI: 162 Martin, John, Supp. XI: 172 Martin, Judith, Supp. V: 128 Martin, Nell, Supp. IV Part 1: 351, 353 Martin, Reginald, Supp. X: 247, 249 Martin, Stephen-Paul, Supp. IV Part 2: 430 Martin, Tom, Supp. X: 79 Martin du Gard, Roger, Supp. I Part 1: 51 Martineau, Harriet, Supp. II Part 1: 282, 288, 294; Supp. XVIII: 7 Martin Eden (London), II: 466, 477–481 Martinelli, Sheri, Supp. IV Part 1: 280 Martínez, Guillermo, Supp. XIII: 313 Martini, Adrienne, Supp. XVIII: 35 Mart’ nez, Rafael, Retro. Supp. I: 423 Martone, John, Supp. V: 179 Marty (Chayefsky), Supp. XV: 205 “Martyr, The” (Porter), III: 454 Martz, Louis L., IV: 151, 156, 165; Supp. I Part 1: 107; Supp. XIV: 12 Marvell, Andrew, IV: 135, 151, 156, 161, 253; Retro. Supp. I: 62, 127; Retro. Supp. II: 186, 189; Supp. I Part 1: 80; Supp. XII: 159; Supp. XIV: 10; Supp. XVI: 204 “Marvella, for Borrowing” (Ríos), Supp. IV Part 2: 551 “Marvelous Sauce, The“, Supp. XVII: 189 Marx, Eleanor, Supp. XVI: 85 Marx, Karl, I: 60, 267, 279, 283, 588; II: 376, 462, 463, 483, 577; IV: 429, 436, 443–444, 469; Retro. Supp. I: 254; Supp. I Part 2: 518, 628, 632, 633, 634, 635, 639, 643, 645, 646; Supp. III Part 2: 619; Supp. IV Part 1: 355; Supp. VIII: 196; Supp. IX: 133; Supp. X: 119, 134; Supp. XIII: 75 Marx, Leo, Supp. I Part 1: 233 “Marxism and Monastic Perpectives” (Merton), Supp. VIII: 196 Mary (Nabokov), Retro. Supp. I: 267– 268, 270, 277

“Mary Karr, Mary Karr, Mary Karr, Mary Karr” (Harmon), Supp. XI: 248 Maryles, Daisy, Supp. XII: 271 Mary Magdalene, I: 303 Mary; or, The Test of Honour (Rowson), Supp. XV: 233, 236 “Mary O’ Reilly” (Anderson), II: 44 “Mary Osaka , I Love You” (Fante), Supp. XI: 169 “Mary Snorak the Cook, Skermo the Gardener, and Jack the Parts Man Provide Dinner for a Wandering Stranger” (Grossman), Supp. XIX: 87 “Mary’s Song” (Plath), Supp. I Part 2: 541 “Mary Winslow” (Lowell), Retro. Supp. II: 187 Marzynski, Marian, Supp. XVI: 153 Masefield, John, II: 552; III: 523 Masked and Anonymous (film, Dylan and Charles), Supp. XVIII: 21, 28 Mask for Janus, A (Merwin), Supp. III Part 1: 339, 341, 342 Maslin, Janet, Supp. XVI: 213 Maslow, Abraham, Supp. I Part 2: 540 Mason, Bobbie Ann, Supp. VIII: 133– 149; Supp. XI: 26; Supp. XII: 294, 298, 311 Mason, Charlotte, Supp. XIV: 201 Mason, David, Supp. V: 344; Supp. XV: 116, 251; Supp. XVII: 109, 110, 112, 121; Supp. XVIII: 182, 183 Mason, Jennifer, Supp. XVIII: 263 Mason, Lowell, I: 458 Mason, Marsha, Supp. IV Part 2: 575, 586 Mason, Otis Tufton, Supp. I Part 1: 18 Mason, Walt, Supp. XV: 298 Mason & Dixon (Pynchon), Supp. XVII: 232 “Mason Jars by the Window” (Ríos), Supp. IV Part 2: 548 Masque of Mercy, A (Frost), II: 155, 165, 167–168; Retro. Supp. I: 131, 140 “Masque of Mummers, The” (MacLeish), III: 18 “Masque of Pandora, The” (Longfellow), Retro. Supp. II: 167 Masque of Pandora, The, and Other Poems (Longfellow), II: 490, 494, 506; Retro. Supp. II: 169 Masque of Poets, A (Lathrop, ed.), 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; Retro. Supp. II: 42 “Masque of the Red Death, The” (Poe), III: 412, 419, 424; Retro. Supp. II: 262, 268–269 “Masquerade” (Banks), Supp. V: 7 Massachusetts, Its Historians and Its History (Adams), Supp. I Part 2: 484 “Massachusetts 1932” (Bowles), Supp. IV Part 1: 94 “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 and Man (Toller), I: 479 “Masseur de Ma Soeur, Le” (Hecht), Supp. X: 58 Massey, Raymond, Supp. IV Part 2: 524 “Mass Eye and Ear: The Ward” (Karr), Supp. XI: 244 “Mass for the Day of St. Thomas Didymus” (Levertov), Supp. III Part 1: 283 Massie, Chris, Supp. IV Part 2: 524 Massing, Michael, Supp. IV Part 1: 208 Massinger, Philip, Supp. I Part 2: 422; Supp. XV: 238 Master Builder, The (Ibsen), Supp. IV Part 2: 522 Master Class (McNally), Supp. XIII: 204–205, 208 “Masterful” (Matthews), Supp. IX: 161– 162 Mastering the Art of French Cooking (Child), Supp. XVII: 89 “Master Misery” (Capote), Supp. III Part 1: 117 Master of Dreams: A Memoir of Isaac Bashevis Singer (Telushkin), Retro. Supp. II: 317 “Master of Secret Revenges, The” (Gass), Supp. VI: 93 Master of the Crossroads (Bell), Supp. X: 16–17 “’ Masterpiece of Filth, A’ : Portrait of Knoxville Forgets to Be Fair” (Howards), Supp. VIII: 178 Masterpieces of American Fiction, Supp. XI: 198 “Master Player, The” (Dunbar), Supp. II Part 1: 200 Masters, Edgar Lee, I: 106, 384, 475, 480, 518; II: 276, 529; III: 505, 576, 579; IV: 352; Retro. Supp. I: 131; Supp. I Part 2: 378, 386, 387, 454– 478; Supp. III Part 1: 63, 71, 73, 75; Supp. IV Part 2: 502; Supp. IX: 308; Supp. XIV: 282–283; Supp. XV: 256, 293, 297, 301, 306 Masters, Hardin W., Supp. I Part 2: 468 Masters, Hilary, Supp. IX: 96 Masters of Sociological Thought (Coser), Supp. I Part 2: 650 Masters of the Dew (Roumain), Supp. IV Part 1: 367 “Masters of War” (song, Dylan), Supp. XVIII: 24 Matchmaker, The (Wilder), IV: 357, 369, 370, 374 Mate of the Daylight, The, and Friends Ashore (Jewett), II: 404; Retro. Supp. II: 146–147 Materassi, Mario, Supp. IX: 233 Mather, Cotton, II: 10, 104, 302, 506, 536; III: 442; IV: 144, 152–153, 157; Supp. I Part 1: 102, 117, 174, 271; Supp. I 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

436 / AMERICAN WRITERS Mathews, Cornelius, III: 81; Supp. I Part 1: 317 Mathews, Shailer, III: 293 Mathiessen, Peter, Supp. XIX: 268 “Matinees” (Merrill), Supp. III Part 1: 319, 327 “Matins” (C. Frost), Supp. XV: 105 “Matins” (Glück), Supp. V: 88 “Matins” (Nelson), Supp. XVIII: 177 Matisse, Henri, III: 180; IV: 90, 407; Supp. I Part 2: 619; Supp. VIII: 168; Supp. IX: 66; Supp. X: 73, 74 “Matisse: Blue Interior with Two Girls– 1947” (Hecht), Supp. X: 73–74 “Matisse: The Red Studio” (Snodgrass), Supp. VI: 316–317 Matlack, James, Supp. XV: 269, 271, 286 Matlock, Lucinda, Supp. I Part 2: 462 Matrimaniac, The (film), Supp. XVI: 185, 186 Matrix Trilogy, The (film), Supp. XVI: 271 Matson, Harold, Supp. XIII: 164, 166, 167, 169, 172 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; Supp. XV: 222 Matthew Arnold (Trilling), Supp. III Part 2: 500–501 Matthews, Jackson, Supp. XVI: 282 Matthews, T. S., II: 430; Supp. XV: 142 Matthews, William, Supp. V: 4, 5; Supp. IX: 151–170; Supp. XIII: 112 Matthiessen, F. O., I: 254, 259–260, 517; II: 41, 554; III: 310, 453; IV: 181; Retro. Supp. I: 40, 217; Retro. Supp. II: 137; Supp. IV Part 2: 422; Supp. XIII: 93; Supp. XIV: 3 Matthiessen, Peter, Supp. V: 199–217, 332; Supp. XI: 231, 294; Supp. XIV: 82; Supp. XVI: 230 Mattingly, Garrett, Supp. IV Part 2: 601 Mattu, Ravi, Supp. XVI: 124 “Maud Island” (Caldwell), I: 310 Maud Martha (Brooks), Supp. III Part 1: 74, 78–79, 87; Supp. XI: 278 “Maud Muller” (Whittier), Supp. I Part 2: 698 Maugham, W. Somerset, III: 57, 64; Supp. IV Part 1: 209; Supp. X: 58; Supp. XIV: 161 Maule’s Curse: Seven Studies in the History of American Obscurantism (Winters), Supp. II Part 2: 807–808, 812 “Mau-mauing the Flak Catchers” (Wolfe), Supp. III Part 2: 577 Maupassant, Guy de, I: 309, 421; II: 191–192, 291, 325, 591; IV: 17; Retro. Supp. II: 65, 66, 67, 299; Supp. I Part 1: 207, 217, 223, 320; Supp. XIV: 336 “Maurice Barrès and the Youth of France” (Bourne), I: 228 Maurier, George du, II: 338 Maurras, Charles, Retro. Supp. I: 55

Maus II: And Here My Troubles Began (A. Speigelman), Supp. XVII: 48 Mauve Gloves & Madmen, Clutter & Vine (Wolfe), Supp. III Part 2: 581 Maverick, Augustus, Supp. XVIII: 4 Maverick in Mauve (Auchincloss), Supp. IV Part 1: 26 “Mavericks, The” (play) (Auchincloss), Supp. IV Part 1: 34 “Mavericks, The” (story) (Auchincloss), Supp. IV Part 1: 32 “Max” (H. Miller), III: 183 Max and the White Phagocytes (H. Miller), III: 178, 183–184 Maximilian (emperor of Mexico), Supp. I Part 2: 457–458 Maximilian: A Play in Five Acts (Masters), Supp. I Part 2: 456, 457– 458 “Maximus, to Gloucester” (Olson), Supp. II Part 2: 574 “Maximus, to himself” (Olson), Supp. II Part 2: 565, 566, 567, 569, 570, 572 Maximus Poems, The (Olson), Retro. Supp. I: 209; Supp. II Part 2: 555, 556, 563, 564–580, 584; Supp. VIII: 305; Supp. XV: 170, 264, 349; Supp. XVI: 287 Maximus Poems 1–10, The (Olson), Supp. II Part 2: 571 Maximus Poems IV, V, VI (Olson), Supp. II Part 2: 555, 580, 582–584 Maximus Poems Volume Three, The (Olson), Supp. II Part 2: 555, 582, 584–585 “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 June 1964” (Olson), Supp. II Part 2: 584 Maxwell, Glyn, Supp. XV: 252, 253, 260, 261, 263, 264 Maxwell, William, Supp. I Part 1: 175; Supp. III Part 1: 62; Supp. VIII: 151–174; Supp. XVII: 23 May, Abigail (Abba). See Alcott, Mrs. Amos Bronson (Abigail May) May, Jill, Supp. VIII: 126 “May 24, 1980” (Brodsky), Supp. VIII: 28 “May 1968” (Olds), Supp. X: 211–212 “Mayan Warning” (Mora), Supp. XIII: 214 Maybe (Hellman), Supp. IV Part 1: 12 “Maybe” (Oliver), Supp. VII: 239 “Maybe, Someday” (Ritsos), Supp. XIII: 78 May Blossom (Belasco), Supp. XVI: 182 “Mayday” (Faulkner), Retro. Supp. I: 80 “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

Mayer, Elizabeth, Supp. II Part 1: 16; Supp. III Part 1: 63 Mayer, John, Retro. Supp. I: 58 Mayer, Louis B., Supp. XII: 160; Supp. XVIII: 250 Mayes, Wendell, Supp. IX: 250 Mayfield, Sara, Supp. IX: 65 Mayflower, The (Stowe), Supp. I Part 2: 585, 586 Mayle, Peter, Supp. XVI: 295 Maynard, Joyce, Supp. V: 23 Maynard, Tony, Supp. I Part 1: 65 Mayo, Robert, III: 478 Mayorga, Margaret, IV: 381 “Maypole of Merrymount, The” (Hawthorne), II: 229 “May Queen” (Di Piero), Supp. XIX: 41 May Sarton: Selected Letters 1916–1954, Supp. VIII: 265 “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 “Maze” (Eberhart), I: 523, 525–526, 527 Mazel (R. Goldstein), Supp. XVII: 44 Mazur, Gail, Supp. XVIII: 92 Mazurkiewicz, Margaret, Supp. XI: 2 Mazzini, Giuseppe, Supp. I Part 1: 2, 8; Supp. II Part 1: 299 M Butterfly (Hwang), Supp. X: 292 McLean, Carolyn (pseudonym). See Bly, Carol Mc. Names starting with Mc are alphabetized as if spelled Mac. “M. Degas Teaches Art & Science at Durfee Intermediate School, Detroit, 1942” (Levine), Supp. V: 181, 193 “Me, Boy Scout” (Lardner), II: 433 Me, Vashya! (T. Williams), IV: 381 Mead, Elinor. See Howells, Mrs. William Dean (Elinor Mead) Mead, George Herbert, II: 27, 34; Supp. I Part 1: 5; Supp. I Part 2: 641 Mead, Margaret, Supp. I Part 1: 49, 52, 66; Supp. IX: 229 Mead, Taylor, Supp. XV: 187 Meade, Frank, Retro. Supp. II: 114 Meade, Marion, Supp. IX: 191, 193, 194, 195 Meadow, Lynne, Supp. XIII: 198 “Meadow House” (Carruth), Supp. XVI: 48 Meadowlands (Glück), Supp. V: 88–90 “Mean, Mrs.” (Gass), Supp. VI: 83 “Me and the Mule” (Hughes), Supp. I Part 1: 334 “Meaningless Institution, A” (Ginsberg), Supp. II Part 1: 313 “Meaning of a Literary Idea, The” (Trilling), Supp. III Part 2: 498 “Meaning of Birds, The” (C. Smith), Supp. X: 177 “Meaning of Death, The, An After Dinner Speech” (Tate), IV: 128, 129 “Meaning of Life, The” (Tate), IV: 137 “Meaning of Simplicity, The” (Ritsos), Supp. XIII: 78 Means of Escape (Caputo), Supp. XIX: 18, 21, 25

CUMULATIVE INDEX / 437 Mean Spirit (Hogan), Supp. IV Part 1: 397, 404, 407–410, 415, 416–417 Mearns, Hughes, III: 220 “Measure” (Hass), Supp. VI: 99–100, 101 “Measuring My Blood” (Vizenor), Supp. IV Part 1: 262 Meatyard, Gene, Supp. X: 30 Me: By Jimmy (Big Boy) Valente (Keillor), Supp. XVI: 177 Mechan, Dennis B., Supp. XVI: 267– 268 Mechanic, The (Bynner and DeMille), Supp. XV: 42, 50 “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 “Me Decade and the Third Great Awakening, The” (Wolfe), Supp. III Part 2: 581 “Médecin Malgré Lui, Le” (W. C. 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 Médicis, Marie de, II: 548 Medina (McCarthy), II: 579 “Meditation, A” (Eberhart), I: 533–535 “Meditation 1.6” (Taylor), IV: 165 “Meditation 1.20” (Taylor), IV: 165 “Meditation 2.68A” (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 at Lagunitas” (Hass), Supp. VI: 104–105 “Meditation at Oyster River” (Roethke), III: 537, 549 Meditations (Descartes), III: 618 Meditations (Marcus Aurelius), Supp. XVIII: 304 “Meditations for a Savage Child” (Rich), Supp. I Part 2: 564–565 Meditations from a Movable Chair (Dubus), Supp. VII: 91 “Meditations in a Swine Yard” (Komunyakaa), Supp. XIII: 131 “Meditations of an Old Woman” (Roethke), III: 529, 540, 542, 543, 545–547, 548 Meditations on the Insatiable Soul (R. Bly), Supp. IV Part 1: 72–73 Meditative Poems, The (Martz), IV: 151 “Mediterranean, The” (Tate), IV: 129 “Medium of Fiction, The” (Gass), Supp. VI: 85–86 “Medley” (Bambara), Supp. XI: 9 “Medusa” (Bogan), Supp. III 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 Meese, Elizabeth, Supp. XIII: 297 “Meeting, The” (F. Wright), Supp. XVII: 245 “Meeting and Greeting Area, The” (Cameron), Supp. XII: 84–85 Meeting by the River, A (Isherwood), Supp. XIV: 164, 170–171, 172 “Meeting-House Hill” (Lowell), II: 522, 527 “Meeting in the Kitchen, The” (Schnackenberg), Supp. XV: 256 “Meeting South, A” (Anderson), I: 115 “Meeting the Mountains” (Snyder), Supp. VIII: 300 Meeting Trees (Sanders), Supp. XVI: 269 Meet Me at the Morgue (Macdonald), Supp. IV Part 2: 472 Mehta, Sonny, Supp. XI: 178 Meine, Curt, Supp. XIV: 179 Meiners, R. K., IV: 136, 137, 138, 140 Meinong, Alexius, Supp. XIV: 198, 199 Meisner, Sanford, Supp. XIV: 240, 242 Meister, Charles W., II: 112 Mejia, Jaime, Supp. XIX: 97 “Melancholia” (Dunbar), Supp. II Part 1: 194 Melancholy Baby (Parker), Supp. XIX: 186 “Melanctha” (Stein), IV: 30, 34, 35, 37, 38–40, 45 “Melancthon” (Moore), III: 212, 215 Melbourne House (S. and A. Warner), Supp. XVIII: 268 Meliboeus Hipponax (Lowell). See Bigelow Papers, The (Lowell) Melinda and Melinda (Allen), Supp. XV: 16 Mellaart, James, Supp. I Part 2: 567 Mellard, James, Supp. IV Part 1: 387 Mellon, Andrew, III: 14 Melnick, Jeffrey, Supp. X: 252 Melnyczuk, Askold, Supp. IV Part 1: 70 Melodrama Play (Shepard), Supp. III Part 2: 440–441, 443, 445 Melodramatists, The (Nemerov), III: 268, 281–283, 284 Melting-Pot, The (Zangwill), I: 229 “Melungeons” (Offutt), Supp. XIX: 171 Melville, Allan, III: 74, 77 Melville, Gansevoort, III: 76 Melville, Herman, I: 104, 106, 211, 288, 340, 343, 348, 354, 355, 561–562; II: 27, 74, 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, 243–262; Retro. Supp. II: 76; Supp. I Part 1: 147, 238, 242, 249, 309, 317, 372; Supp. I 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; Supp. XI: 83; Supp. XII: 282; Supp. XIII: 294, 305; Supp. XIV: 48, 227; Supp. XV: 287; Supp. XVII: 42, 185; Supp. XVIII: 1, 4, 6, 7, 9 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 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 “Memoir” (Untermeyer), II: 516–517 “Memoir, A” (Koch), Supp. XV: 184 “Memoirist’s Apology, A” (Karr), Supp. XI: 245, 246 Memoir of Mary Ann, A (O’ Connor), III: 357 Memoir of Thomas McGrath, A (Beeching), Supp. X: 114, 118 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 Memorable Providences (Mather), Supp. II Part 2: 458 Memorial, The: Portrait of a Family (Isherwood), Supp. XIV: 156, 159, 160–161 “Memorial Day” (Cameron), Supp. XII: 80, 82–83 “Memorial for the City” (Auden), Supp. II Part 1: 20 “Memorial Rain” (MacLeish), III: 15 “Memorial to Ed Bland” (Brooks), Supp. III 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; Supp. XI: 246; Supp. XVI: 64, 70 “Memories of East Texas” (Karr), Supp. XI: 239 “Memories of Uncle Neddy” (Bishop), Retro. Supp. II: 38; Supp. I Part 1: 73, 93 “Memories of West Street and Lepke” (Lowell), II: 550

438 / AMERICAN WRITERS “Memory” (Epstein), Supp. XII: 163 “Memory” (Everwine), Supp. XV: 82 “Memory, A” (Welty), IV: 261–262; Retro. Supp. I: 344–345 “Memory, The” (Gioia), Supp. XV: 119 Memory and Enthusiasm: Essays, 1975– 1985 (Di Piero), Supp. XIX: 34, 41, 42 Memory Gardens (Creeley), Supp. IV Part 1: 141, 157 Memory of Murder, A (Bradbury), Supp. IV Part 1: 103 Memory of Old Jack, The (Berry), Supp. X: 34 Memory of Two Mondays, A (A. Miller), III: 153, 156, 158–159, 160, 166 “Memo to Non-White Peoples” (Hughes), Retro. Supp. I: 209 Men, Women and Ghosts (Lowell), II: 523–524 Menaker, Charlotte, Supp. XIX: 266 Menaker, Daniel, Supp. VIII: 151 Menand, Louis, Supp. XIV: 40, 197; Supp. XVI: 106, 107 Men and Angels (Gordon), Supp. IV Part 1: 304–305, 306, 308 Men and Brethen (Cozzens), I: 363–365, 368, 375, 378, 379 Men and Cartoons (Lethem), Supp. XVIII: 145, 148 “Men and Women” (R. Bly), Supp. IV Part 1: 72 “Men at Forty” (Justice), Supp. VII: 126–127 Mencius (Meng-tzu), IV: 183 Mencken, August, III: 100, 108 Mencken, August, Jr., III: 99, 109, 118– 119 Mencken, Burkhardt, III: 100, 108 Mencken, Charles, III: 99 Mencken, Gertrude, III: 99 Mencken, H. L., I: 199, 210, 212, 235, 245, 261, 405, 514, 515, 517; II: 25, 27, 42, 89, 90, 91, 271, 289, 430, 443, 449; III: 99–121, 394, 482; IV: 76, 432, 440, 475, 482; Retro. Supp. I: 1, 101; Retro. Supp. II: 97, 98, 102, 265; 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; Supp. IV Part 2: 521, 692, 693; Supp. XI: 163–164, 166; Supp. XIII: 161; Supp. XIV: 111; Supp. XV: 297, 301, 303; Supp. XVI: 187– 188, 189; Supp. XVII: 106 Mencken, Mrs. August (Anna Abhau), III: 100, 109 Mencken, Mrs. H. L. (Sara Haardt), III: 109, 111 “Men Deified Because of Their Cruelty” (Simic), Supp. VIII: 282 Mendelbaum, Paul, Supp. V: 159 Mendele, IV: 3, 10 Mendelief, Dmitri Ivanovich, IV: 421 Mendelsohn, Daniel, Supp. X: 153, 154; Supp. XV: 257, 258, 261, 266 “Mending Wall” (Frost), II: 153–154; Retro. Supp. I: 128, 130; Supp. X: 64

Men from the Boys, The (Lacy), Supp. XV: 202, 205 Men in the Off Hours (Carson), Supp. XII: 111–113 “Men in the Storm, The” (Crane), I: 411 “Men Loved Wholly Beyond Wisdom” (Bogan), Supp. III Part 1: 50 “Men Made Out of Words” (Stevens), IV: 88 Men Must Act (Mumford), Supp. II Part 2: 479 Mennes, John, II: 111 Mennoti, Gian Carlo, Supp. IV Part 1: 84 Men of Brewster Place, The (Naylor), Supp. VIII: 213, 228–230 “Men of Color, to Arms!” (Douglass), Supp. III Part 1: 171 Men of Good Hope: A Story of American Progressives (Aaron), Supp. I Part 2: 650 Mens’ Club, The (film), Supp. XVI: 212– 213 Men’s Club, The (L. Michaels), Supp. XVI: 206, 210–212 “Menstruation at Forty” (Sexton), Supp. II Part 2: 686 “Mental Hospital Garden, The” (W. C. Williams), Retro. Supp. I: 428 Mental Radio (Sinclair), Supp. V: 289 Mentoria; or, The Young Lady’s Friend (Rowson), Supp. XV: 233–234, 238 “Men We Carry in Our Minds, The” (Sanders), Supp. XVI: 273 Men Who Made the Nation, The (Dos Passos), I: 485 Men Without Women (Hemingway), II: 249; Retro. Supp. I: 170, 176; Supp. IX: 202 “Merced” (Rich), Supp. I Part 2: 563 “Mercedes” (E. Stoddard), Supp. XV: 278 “Mercedes Hospital” (Bishop), Retro. Supp. II: 51 “Mercenary, A” (Ozick), Supp. V: 267 Merchant of Venice, The (Shakespeare), IV: 227; Supp. XIV: 325 Mercury Theatre, Retro. Supp. I: 65 Mercy, Pity, Peace, and Love (Ozick), Supp. V: 257, 258 Mercy, The (Levine), Supp. V: 194–195 Mercy of a Rude Stream (H. Roth), Supp. IX: 231, 234, 235–242 Mercy Philbrick’s Choice (Jackson), Retro. Supp. I: 26, 27, 33 Mercy Street (Sexton), Supp. II Part 2: 683, 689 Meredith, George, II: 175, 186; Supp. IV Part 1: 300 Meredith, Mary. See Webb, Mary Meredith, William, II: 545; Retro. Supp. II: 181 “Merely by Wilderness” (Peacock), Supp. XIX: 199 “Merely to Know” (Rich), Supp. I Part 2: 554 “Mère Pochette” (Jewett), II: 400 “Merger II, The” (Auchincloss), Supp. IV Part 1: 34 “Mericans” (Cisneros), Supp. VII: 69

“Merida, 1969” (Matthews), Supp. IX: 151 “Meridian” (Clampitt), Supp. IX: 48–49 Meridian (Walker), Supp. III Part 2: 520, 524, 527, 528, 531–537 Mérimée, Prosper, II: 322 Meriweather, James B., Retro. Supp. I: 77, 91 Meriwether, James B., Retro Supp. I: 77, 91 “Meriwether Connection, The” (Cowley), Supp. II Part 1: 142 Merker, Kim K., Supp. XI: 261; Supp. XV: 75, 77 “Merlin” (Emerson), II: 19, 20 Merlin (Robinson), III: 522 “Merlin Enthralled” (Wilbur), Supp. III Part 2: 544, 554 “Mermother” (A. Finch), Supp. XVII: 72 Merril, Judith, Supp. XVI: 123 Merrill, Christopher, Supp. XI: 329 Merrill, James, Retro. Supp. I: 296; Retro. Supp. II: 53; Supp. III Part 1: 317–338; Supp. III Part 2: 541, 561; Supp. IX: 40, 42, 48, 52; Supp. X: 73; Supp. XI: 123, 131, 249; Supp. XII: 44, 254, 255, 256, 261–262, 269– 270; Supp. XIII: 76, 85; Supp. XV: 249, 250, 253; Supp. XVII: 123 Merrill, Mark (pseudonym). See Markson, David Merrill, Robert, Retro. Supp. II: 201 Merrill, Ronald, Supp. IV Part 2: 521 Merritt, Abraham, Supp. XVII: 58 Merritt, Theresa, Supp. VIII: 332 “Merry-Go-Round” (Hughes), Retro. Supp. I: 194, 205; Supp. I Part 1: 333 Merry-Go-Round, The (Van Vechten), Supp. II Part 2: 734, 735 Merry Month of May, The (Jones), Supp. XI: 227–228 Merry Widow, The (Lehar), III: 183 Merton, Thomas, III: 357; Supp. VIII: 193–212 Merwin, W. S., Supp. III Part 1: 339– 360; Supp. III Part 2: 541; Supp. IV Part 2: 620, 623, 626; Supp. V: 332; Supp. IX: 152, 155, 290; Supp. XIII: 274, 277; Supp. XV: 222, 342; Supp. XIX: 82 Meryman, Richard, Supp. IV Part 2: 579, 583 Meshugah (Singer), Retro. Supp. II: 315–316 Mesic, Michael, Supp. IV Part 1: 175 Mesic, Penelope, Supp. X: 15 Message in the Bottle, The (Percy), Supp. III Part 1: 387–388, 393, 397 “Message in the Bottle, The” (Percy), Supp. III Part 1: 388 “Message of Flowers and Fire and Flowers, The” (Brooks), Supp. III Part 1: 69 Messengers Will Come No More, The (Fiedler), Supp. XIII: 103 Messerli, Douglas, Supp. XVI: 293 Messiah (Vidal), Supp. IV Part 2: 677, 680, 681–682, 685, 691, 692

CUMULATIVE INDEX / 439 “Messiah, The” (Wasserstein), Supp. XV: 328 Messiah of Stockholm, The (Ozick), Supp. V: 270–271; Supp. XVII: 42 Messud, Claire, Supp. XVIII: 98 Metamorphic Tradition in Modern Poetry (Quinn), IV: 421 Metamorphoses (Ovid), II: 542–543; III: 467, 468 Metamorphoses (Pound, trans.), III: 468– 469 Metamorphosis (Ovid), Supp. XV: 33; Supp. XVI: 20 Metamorphosis, The (Kafka), IV: 438; Retro. Supp. II: 287–288; Supp. VIII: 3 “Metamorphosis and Survival” (Woodcock), Supp. XIII: 33 “Metaphor as Mistake” (Percy), Supp. III Part 1: 387–388 Metaphor & Memory: Essays (Ozick), Supp. V: 272 “Metaphors of a Magnifico” (Stevens), IV: 92 Metaphysical Club, The (Menand), Supp. XIV: 40, 197 “Metaphysical Poets, The” (Eliot), I: 527, 586 “Metaphysics” (Ginsberg), Supp. II Part 1: 313 Metcalf, Paul, Supp. XIV: 96 “Meteor, The” (Bradbury), Supp. IV Part 1: 102 Methinks the Ladyѧ(Endore), Supp. XVII: 61–62 Metress, Christopher P., Supp. V: 314 Metrical History of Christianity, The (Taylor), IV: 163 Metropolis, The (Sinclair), Supp. V: 285 “Metterling Lists, The” (Allen), Supp. XV: 15 “Metzengerstein” (Poe), III: 411, 417 Mew, Charlotte, Retro. Supp. II: 247 Mewshaw, Michael, Supp. V: 57; Supp. X: 82 “Mexican Hands” (Ryan as Quin), Supp. XVIII: 227 “Mexico” (Lowell), II: 553, 554 “Mexico, Age Four” (Salinas), Supp. XIII: 315 Mexico City Blues (Kerouac), Supp. III Part 1: 225, 229 “Mexico Is a Foreign Country: Five Studies in Naturalism” (Warren), IV: 241, 252 “Mexico’s Children” (Rodriguez), Supp. XIV: 302 Meyer, Carolyn, Supp. XIX: 194–195, 197 Meyer, Donald B., III: 298 Meyer, Ellen Hope, Supp. V: 123 Meyers, Jeffrey, Retro. Supp. I: 124, 138; Retro. Supp. II: 191 Meynell, Alice, Supp. I Part 1: 220 Mezey, Robert, Supp. IV Part 1: 60; Supp. V: 180; Supp. XIII: 312; Supp. XV: 74 Mezzanine, The (Baker), Supp. XIII: 41– 43, 44, 45, 48, 55 “Mezzo Cammin” (Longfellow), II: 490

“Mi Abuelo” (Ríos), Supp. IV Part 2: 541 Miami (Didion), Supp. IV Part 1: 199, 210 Miami and the Siege of Chicago (Mailer), Retro. Supp. II: 206 “Michael” (Wordsworth), III: 523 Michael, Magali Cornier, Supp. XIII: 32 “Michael Angelo: A Fragment” (Longfellow), II: 490, 494, 495, 506; Retro. Supp. II: 167 “Michael Egerton” (Price), Supp. VI: 257–258, 260 Michael Kohlhaas (Kleist), Supp. IV Part 1: 224 Michaels, Leonard, Supp. XVI: 201–215 Michaels, Walter Benn, Retro. Supp. I: 115, 369, 379 Michael Scarlett (Cozens), I: 358–359, 378 Michaux, Henri, Supp. XVI: 288 Michelangelo, I: 18; II: 11–12; III: 124; Supp. I Part 1: 363; Supp. XVII: 112 Michel-Michot, Paulette, Supp. XI: 224– 225 Michelson, Albert, IV: 27 Mickelsson’s Ghosts (Gardner), Supp. VI: 63, 73–74 Mickiewicz, Adam, Supp. II Part 1: 299 Midair (Conroy), Supp. XVI: 63, 71–72 “Mid-Air” (Conroy), Supp. XVI: 69, 71 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 “Middleaged Man, The” (Simpson), Supp. IX: 274–275 Middle Ages, The (Gurney), Supp. V: 96, 105, 108 Middlebrook, Diane Wood, Supp. IV Part 2: 444, 451 “Middle Daughter, The” (Kingsolver), Supp. VII: 209 Middlemarch (Eliot), I: 457, 459; II: 290, 291; Retro. Supp. I: 225; Supp. I Part 1: 174; Supp. IX: 43; Supp. XI: 68; Supp. XII: 335 Middle of My Tether, The: Familiar Essays (Epstein), Supp. XIV: 106–107 “Middle of Nowhere, The” (Wagoner), Supp. IX: 327–328 Middle of the Journey, The (Trilling), Supp. III Part 2: 495, 504–506 “Middle of the Way” (Kinnell), Supp. III Part 1: 242 “Middle Passage” (Hayden), Supp. II Part 1: 363, 375–376 Middle Passage (Johnson), Supp. VI: 194–196, 198, 199; Supp. XIII: 182 “Middle Toe of the Right Foot, The” (Bierce), I: 203

Middleton, Thomas, Retro. Supp. I: 62 Middle Years, The (James), II: 337–338; Retro. Supp. I: 235 “Middle Years, The” (James), Retro. Supp. I: 228, 272 “Midnight” (Dunn), Supp. XI: 147 “Midnight Consultations, The” (Freneau), Supp. II Part 1: 257 Midnight Cry, A (Mather), Supp. II Part 2: 460 “Midnight Gladness” (Levertov), Supp. III 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 Postscript” (F. Wright), Supp. XVII: 245, 246 “Midnight Show” (Shapiro), Supp. II Part 2: 705 “Midpoint” (Updike), Retro. Supp. I: 321, 323, 327, 330, 335 Midpoint and Other Poems (Updike), IV: 214 “Midrash on Happiness” (Paley), Supp. VI: 217 “Midsummer in the Blueberry Barrens” (Clampitt), Supp. IX: 40–41 “Midsummer Letter” (Carruth), Supp. XVI: 47 Midsummer Night’s Dream, A (Shakespeare), Supp. I Part 1: 369– 370; Supp. X: 69 Midsummer Night’s Sex Comedy, A (film; Allen), Supp. XV: 8 “Midwest” (Stafford), Supp. XI: 317 “Midwest Poetics” (C. Baxter), Supp. XVII: 18 Mieder, Wolfgang, Supp. XIV: 126 Mies van der Rohe, Ludwig, Supp. IV Part 1: 40 Mighty Aphrodite (film; Allen), Supp. XV: 11 “Mighty Fortress, A” (Leopold), Supp. XIV: 185 “Mighty Lord, The (Rowson), Supp. XV: 243 “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 Milagro Beanfield War, The (film), Supp. XIII: 267 Milagro Beanfield War, The (Nichols), Supp. XIII: 253, 265–266 Milburn, Michael, Supp. XI: 239, 242 Milch, David, Supp. XI: 348 Miles, Barry, Supp. XII: 123 Miles, Jack, Supp. VIII: 86 Miles, Josephine, Supp. XIII: 275 Miles, Julie, I: 199 Miles, Kitty, I: 199 “Miles of Night, The” (Halliday), Supp. XIX: 91 Milestone, Lewis, Supp. I Part 1: 281

440 / AMERICAN WRITERS Miles Wallingford (Cooper). See Afloat and Ashore (Cooper) Milford, Kate, Supp. XVIII: 150 Milford, Nancy, II: 83; Supp. IX: 60 Milhaud, Darius, Supp. IV Part 1: 81 Miligate, Michael, IV: 123, 130, 132 “Militant Nudes” (Hardwick), Supp. III Part 1: 210–211 “Milk Bottles” (Anderson), I: 114 “Milk Prose” (Weigl), Supp. XIX: 278 Milk Train Doesn’ t Stop Here Anymore, The (T. Williams), IV: 382, 383, 384, 386, 390, 391, 392, 393, 394, 395, 398 Mill, James, II: 357 Mill, John Stuart, III: 294–295; Supp. XI: 196; Supp. XIV: 22 Millar, Kenneth. See Macdonald, Ross Millar, Margaret (Margaret Sturm), Supp. IV Part 2: 464, 465 Millay, Cora, III: 123, 133–134, 135– 136 Millay, Edna St. Vincent, I: 482; II: 530; III: 122–144; IV: 433, 436; Retro. Supp. II: 48; Supp. I Part 2: 707, 714, 726; Supp. IV Part 1: 168; Supp. IV Part 2: 607; Supp. V: 113; Supp. IX: 20; Supp. XIV: 120, 121, 122, 127; Supp. XV: 42, 46, 51, 250, 293, 307; Supp. XVII: 69, 75, 96 Millennium Approaches (Kushner), Supp. IX: 141, 142, 145 Miller, Arthur, I: 81, 94; III: 145–169; Supp. IV Part 1: 359; Supp. IV Part 2: 574; Supp. VIII: 334; Supp. XIII: 127; Supp. XIV: 102, 239; Supp. XVI: 194 Miller, Brown, Supp. IV Part 1: 67 Miller, Carol, Supp. IV Part 1: 400, 405, 409, 410, 411 Miller, Henry, I: 97, 157; III: 40, 170– 192; IV: 138; Retro. Supp. II: 327; Supp. I Part 2: 546; Supp. V: 119, 131; Supp. X: 183, 185, 187, 194, 195; Supp. XIII: 1, 17 Miller, Henry (actor), Supp. XVI: 182 Miller, Herman, Supp. I Part 2: 614, 617 Miller, James E., Jr., IV: 352 Miller, Jeffrey, Supp. IV Part 1: 95 Miller, J. Hillis, Supp. IV Part 1: 387 Miller, Joaquin, I: 193, 195, 459; Supp. II Part 1: 351 Miller, John Duncan, Supp. I Part 2: 604 Miller, Jonathan, Retro. Supp. II: 181 Miller, Laura, Supp. XIII: 48; Supp. XIX: 53, 54, 56 Miller, Marilyn, Supp. XVI: 187 Miller, Matt, Supp. XV: 211 Miller, Matthew, Supp. XVI: 47, 51 Miller, Mrs. Arthur (Ingeborg Morath), III: 162–163 Miller, Mrs. Arthur (Marilyn Monroe), III: 161, 162–163 Miller, Mrs. Arthur (Mary Grace Slattery), III: 146, 161 Miller, Orilla, Supp. I Part 1: 48 Miller, Perry, I: 546, 547, 549, 550, 560; IV: 186; Supp. I Part 1: 31, 104; Supp. I Part 2: 484; Supp. IV Part 2: 422; Supp. VIII: 101

Miller, R. Baxter, Retro. Supp. I: 195, 207 Miller, Robert Ellis, II: 588 Miller, Ruth, Supp. X: 324 Miller, Stuart, Supp. XVI: 242 Miller, Sue, Supp. X: 77, 85; Supp. XI: 190; Supp. XII: 289–305 Miller of Old Church, The (Glasgow), II: 175, 181 “Miller’s Tale” (Chaucer), III: 283 Miller Williams and the Poetry of the Particular (Burns), Supp. XV: 339 Millett, Kate, Supp. X: 193, 196 Millgate, Michael, Retro. Supp. I: 91 Mill Hand’s Lunch Bucket (Bearden), Supp. VIII: 337 Millier, Brett C., Retro. Supp. II: 39 Milligan, Bryce, Supp. XIII: 274, 275, 277 Millions of Strange Shadows (Hecht), Supp. X: 57, 62–65 “Million Young Workmen, 1915, A” (Sandburg), III: 585 Millroy the Magician (Theroux), Supp. VIII: 325 Mills, Alice, Supp. XIII: 233 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., III: 530; Supp. IV Part 1: 64; Supp. XI: 311 Mills, Tedi López, Supp. XVI: 281 Mills of the Kavanaughs, The (Lowell), II: 542–543, 546, 550; III: 508; Retro. Supp. II: 178, 179, 188 “Mills of the Kavanaughs, The” (Lowell), II: 542–543 Milne, A. A., Supp. IX: 189 Milne, A. J. M., I: 278 Milosz, Czeslaw, Supp. III Part 2: 630; Supp. VIII: 20, 22; Supp. XI: 267, 312; Supp. XVII: 241 Miltner, Robert, Supp. XI: 142 Milton, Edith, Supp. VIII: 79; Supp. X: 82 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; IV: 50, 82, 126, 137, 155, 157, 241, 279, 347, 422, 461, 494; Retro. Supp. I: 60, 67, 127, 360; Retro. Supp. II: 161, 295; Supp. I Part 1: 124, 150, 370; Supp. I Part 2: 412, 422, 491, 501, 522, 622, 722, 724; Supp. IV Part 2: 430, 634; Supp. VIII: 294; Supp. X: 22, 23, 36; Supp. XII: 180; Supp. XIV: 5, 7 Milton, John R., Supp. IV Part 2: 503 Milton and His Modern Critics (L. P. Smith), Supp. XIV: 347 “Milton by Firelight” (Snyder), Supp. II Part 1: 314; Supp. VIII: 294 “Miltonic Sonnet, A” (Wilbur), Supp. III Part 2: 558 Mimesis (Auerbach), III: 453 “Mimnermos and the Motions of Hedonism” (Carson), Supp. XII: 99–100 “Mimnermos Interviews, The” (Carson), Supp. XII: 100–101

Mims, Edwin, Supp. I Part 1: 362, 364, 365, 371 “Mind” (Wilbur), Supp. III Part 2: 554 “Mind, The” (Kinnell), Supp. III Part 1: 245 Mind Breaths: Poems 1972–1977 (Ginsberg), Supp. II Part 1: 326 Mindfield: New and Selected Poems (Corso), Supp. XII: 136 “Mind in the Modern World” (Trilling), Supp. III Part 2: 512 “Mind Is Shapely, Art Is Shapely” (Ginsberg), Supp. II Part 1: 327 Mindlin, Henrique, Supp. I Part 1: 92 Mind of My Mind (O. Butler), Supp. XIII: 62, 63 Mind of Primitive Man, The (Boas), Supp. XIV: 209 Mind-Reader, The (Wilbur), Supp. III Part 2: 560–562 “Mind-Reader, The” (Wilbur), Supp. III Part 2: 561–562 Mindwheel (Pinsky), Supp. VI: 235 Minear, Richard H., Supp. XVI: 101, 102 “Mined Country” (Wilbur), Supp. III Part 2: 546–548 “Mine Own John Berryman” (Levine), Supp. V: 179–180 Miner, Bob, Supp. V: 23 Miner, Earl, III: 466, 479 Miner, Madonne, Supp. XIII: 29 “Minerva Writes Poems” (Cisneros), Supp. VII: 63–64, 66 Mingus, Charles, Supp. IX: 152 “Mingus in Diaspora” (Matthews), Supp. IX: 166 “Mingus in Shadow” (Matthews), Supp. IX: 168–169 Ming Yellow (Marquand), III: 56 “Minimal, The” (Roethke), III: 531–532 Minimus Poems, The (X. J. Kennedy), Supp. XV: 169–170 “Mini-novela: Rosa y sus espinas” (Mora), Supp. XIII: 218 “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), II: 541 “Minister’s Wooing, The” (Stowe), Supp. I Part 2: 592–595 “Ministration of Our Departed Friends, The” (Stowe), Supp. I Part 2: 586– 587 “Minneapolis Poem, The” (Wright), Supp. III Part 2: 601–602 Minnesota Grain Show, The (radio, Keillor), Supp. XVI: 170 “Minnesota Transcendentalist” (Peseroff), Supp. IV Part 1: 71 Minnie, Temple, II: 344 Minority Report: H. L. Mencken’s Notebooks (Mencken), III: 112 Minor Pleasures of Life, The (Macaulay), Supp. XIV: 348 “Minor Poems” (Eliot), I: 579 “Minor Poet” (Hay), Supp. XIV: 127 “Minor Topics” (Howells), II: 274 Minot, Susan, Supp. VI: 203–215

CUMULATIVE INDEX / 441 “Minotaur Loves His Labyrinth, The” (Simic), Supp. VIII: 270, 279, 281 “Minstrel Man” (Hughes), Supp. I Part 1: 325 Mint (Nye), Supp. XIII: 277 “Minting Time” (Sarton), Supp. VIII: 259 Mint Snowball (Nye), Supp. XIII: 277– 278, 284–285 “Mint Snowball” (Nye), Supp. XIII: 278, 284 “Mint Snowball II” (Nye), Supp. XIII: 284, 285 Mintzlaff, Dorothy, Supp. XV: 153 Minus, Marian, Supp. XVIII: 282 Minutes to Go (Corso, Gysin, Beiles and Burroughs), Supp. XII: 129 Mi querido Rafa (Hinojosa). See Dear Rafe (Hinojosa) Mirabell: Books of Number (Merrill), Supp. III Part 1: 332–334 “Miracle” (Carver), Supp. III Part 1: 139–140 Miracle at Verdun (Chlumberg), Supp. XIX: 242 “Miracle for Breakfast, A” (Bishop), Retro. Supp. II: 43 “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” (Buck), Supp. II Part 1: 128 Miranda, Carmen, Supp. XII: 165 Miranda, Francisco de, Supp. I Part 2: 522 “Miranda Over the Valley” (Dubus), Supp. VII: 81–83 “Miriam” (Capote), Supp. III Part 1: 117, 120, 122 “Miriam” (Whittier), Supp. I Part 2: 691, 703 “Miriam Tazewell” (Ransom), Supp. X: 58 “Mirror” (Merrill), Supp. III Part 1: 322 “Mirror” (Plath), Retro. Supp. II: 248– 249, 257 “Mirror, The” (Glück), Supp. V: 83 “Mirroring Evil: Nazi Images/Recent Art” (Epstein), Supp. XII: 166 Mirrors (Creeley), Supp. IV Part 1: 156 Mirrors and Windows (Nemerov), III: 269, 275–277 “Mirrors of Chartres Street” (Faulkner), II: 56 Misanthrope, The (Molière; Wilbur, trans.), Supp. III Part 2: 552, 560 Miscellaneous Poems (Rowson), Supp. XV: 243 Miscellaneous Works of Mr. Philip Freneau, Containing His Essays and Additional Poems (Freneau), Supp. II Part 1: 263, 264, 266 Miscellany of American Poetry, A (Untermeyer, ed.), Supp. XV: 305, 310

Misery (King), Supp. V: 140, 141, 142, 147–148, 151, 152 Mises, Ludwig von, Supp. IV Part 2: 524 Misfits, The (A. Miller), III: 147, 149, 156, 161–162, 163 “Misogamist, The” (Dubus), Supp. VII: 86–87 Misread City, The: New Literary Los Angeles (Gioia and Timberg, eds.), Supp. XV: 116 Misrepresentations Corrected, and Truth Vindicated, in a Reply to the Rev. Mr. Solomon Williams’s Book (Edwards), I: 549 Miss Crandall’s School for Young Ladies & Little Misses of Color (Nelson and Alexander), Supp. XVIII: 171, 175, 181, 185–186 “Miss Cynthie” (R. Fisher), Supp. XIX: 65, 69 Miss Doll, Go Home (Markson), Supp. XVII: 138 “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 “Missing Child” (Simic), Supp. VIII: 282 “Missing in Action” (Komunyakaa), Supp. XIII: 123, 124 Missing/Kissing: Missing Marisa, Kissing Christine (Shanley), Supp. XIV: 316 Missing Link (X. J. Kennedy), Supp. XV: 165 “Missing Poem, The” (Halliday), Supp. XIX: 93–94 “Mission of Jane, The” (Wharton), Retro. Supp. I: 367 “Missions, The” (Rodriguez), Supp. XIV: 303 Mission to Moscow (film), Supp. I Part 1: 281 “Mississippi” (Bass), Supp. XVI: 17 “Mississippi” (Faulkner), Retro. Supp. I: 77 “Mississippi” (Simpson), Supp. IX: 271 “Miss Kate in H-1” (Twain), IV: 193 Miss Leonora When Last Seen (Taylor), Supp. V: 323 Miss Lonelyhearts (West), I: 107; II: 436; III: 357; IV: 287, 288, 290–297, 300, 301, 305, 306; Retro. Supp. II: 321, 322, 325, 328, 332–335 Miss Mamma Aimee (Caldwell), I: 308, 309, 310 “Miss Mary Pask” (Wharton), IV: 316; Retro. Supp. I: 382 “Miss McEnders” (Chopin), Retro. Supp. II: 67 “Missoula Softball Tournament” (Hugo), Supp. VI: 132 Miss Ravenel’s Conversion from Secession to Loyalty (De Forest), IV: 350 “Miss Tempy’s Watchers” (Jewett), II: 401; Retro. Supp. II: 139 “Miss Terriberry to Wed in Suburbs” (Updike), Retro. Supp. I: 335

“Miss Urquhart’s Tiara” (Jarman), Supp. XVII: 116 “Mist, The” (King), Supp. V: 144 “Mistaken Charity, A” (Freeman), Retro. Supp. II: 138 “Mister Brother” (Cunningham), Supp. XV: 68 “Mister Toussan” (Ellison), Retro. Supp. II: 124–125; Supp. II Part 1: 238 “Mistress of Sydenham Plantation, The” (Jewett), Retro. Supp. II: 141 Mitchell, Burroughs, Supp. XI: 218, 222, 227 Mitchell, Dr. S. Weir, IV: 310 Mitchell, Margaret, II: 177 Mitchell, Roger, Supp. IV Part 1: 70; Supp. XV: 213, 215 Mitchell, Tennessee. See Anderson, Mrs. Sherwood (Tennessee Mitchell) Mitchell, Verner, Supp. XVIII: 281, 286 Mitchell, Wesley C., Supp. I Part 2: 632, 643 Mitch Miller (Masters), Supp. I Part 2: 456, 466, 469–471, 474, 475, 476 Mitchum, Robert, Supp. IX: 95, 250 Mitgang, Herbert, Supp. IV Part 1: 220, 226, 307; Supp. VIII: 124; Supp. XIX: 251 Mixed Company: Collected Short Stories (Shaw), Supp. XIX: 251 “Mixed Sequence” (Roethke), III: 547 Miyazawa Kenji, Supp. VIII: 292 Mizener, Arthur, II: 77, 81, 84, 94; IV: 132; Supp. XVIII: 249 Mizner, Addison, Supp. XVI: 191 Mizner, Wilson, Supp. XVI: 191, 195 Mladenoff, Nancy, Supp. X: 176 “M’ liss: An Idyl of Red Mountain” (Harte), Supp. II Part 1: 339 “Mnemonic Devices” (Goldbarth), Supp. XII: 183 “Mobile in Back of the Smithsonian, The” (Swenson), Supp. IV Part 2: 646 Mobilio, Albert, Supp. VIII: 3; Supp. XVIII: 144; Supp. XIX: 45 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; Retro. Supp. II: 121, 186, 275; Supp. I Part 1: 249; Supp. I Part 2: 579; Supp. IV Part 2: 613; Supp. V: 281; Supp. VIII: 106, 188, 198 Mock, John, Supp. XIII: 174 “Mocking-Bird, The” (Bierce), I: 202 “Mock Orange” (Glück), Supp. V: 84–85 Modarressi, Mitra, Supp. IV Part 2: 657 Models of Misrepresentation: On the Fiction of E. L. Doctorow (Morris), Supp. IV Part 1: 231 Model World and Other Stories, A (Chabon), Supp. XI: 66 Modern American and British Poetry (Untermeyer, ed.), Supp. XV: 306

442 / AMERICAN WRITERS Modern American Poetry (Untermeyer, ed.), Supp. XV: 293, 303, 306, 312 Modern American Verse (Untermeyer), Supp. XV: 301 Modern Brazilian Architecture (Bishop, trans.), Supp. I Part 1: 92 Modern British Poetry (Untermeyer, ed.), Supp. XV: 305, 308, 312 Modern Fiction Studies, Supp. V: 238 Modern Fiction Studies (Haegert), Supp. XVI: 69 Modern Instance a Novel, A (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 Poetry and the Tradition (Brooks), Supp. XIV: 5–7 “Modern Race Creeds and Their Fallacies” (Locke), Supp. XIV: 210 Modern Rhetoric, with Readings (Brooks and Warren), Supp. XIV: 11 “Modern Sorcery” (Simic), Supp. VIII: 283 Modern Times (album, Dylan), Supp. XVIII: 28, 31, 33 “Modern Times” (Zukofsky), Supp. III Part 2: 624 Modern Writer, The (Anderson), I: 117 Modersohn, Mrs. Otto (Paula Becker), Supp. I Part 2: 573–574 Modersohn, Otto, Supp. I Part 2: 573 “Modes of Being” (Levertov), Supp. III Part 1: 282 Modest Enquiry into the Nature and Necessity of a Paper-Currency, A (Franklin), II: 108–109 “Modest Proposal, A” (Swift), I: 295; Retro. Supp. II: 287 “Modest Proposal with Feline Feeling, A” (Neugeboren), Supp. XVI: 219 “Modest Self-Tribute, A” (Wilson), IV: 431, 432 Moeller, Philip, III: 398, 399 “Moench von Berchtesgaden, Der” (Voss), I: 199–200 Moers, Ellen, Retro. Supp. II: 99 Moe’s Villa and Other Stories (Purdy), Supp. VII: 270, 280 Mogen, David, Supp. IV Part 1: 106 Mohammed, I: 480; II: 1 Mohawk (Russo), Supp. XII: 326–328 Moir, William Wilmerding, Supp. V: 279 Moldaw, Carol, Supp. XV: 264; Supp. XVII: 127, 130 “Moles” (Oliver), Supp. VII: 235 Molesworth, Charles, Supp. IV Part 1: 39; Supp. VIII: 292, 306; Supp. XIX: 121–122 Molière (Jean-Baptiste Poquelin), III: 113; Supp. I Part 2: 406; Supp. III Part 2: 552, 560; Supp. IV Part 2: 585; Supp. V: 101 “Molino Rojo, El” (Ríos), Supp. IV Part 2: 544

Moll Flanders (Defoe), Supp. V: 127; Supp. XIII: 43 “Molloch in State Street” (Whittier), Supp. I Part 2: 687 “Moll Pitcher” (Whittier), Supp. I Part 2: 684 “Molly Brant, Iroquois Matron” (Gunn Allen), Supp. IV Part 1: 331 Molnar, Ferenc, Supp. XVI: 187 “Moloch” (H. Miller), III: 177 Momaday, N. Scott, Supp. IV Part 1: 274, 323, 324, 404; Supp. IV Part 2: 479–496, 504, 557, 562; Supp. XII: 209; Supp. XVIII: 58 ” ’ Momentary Stay against Confusion,’ A: Frank Conroy’s Stop-Time” (T. Adams), Supp. XVI: 69 Moment of Untruth (Lacy), Supp. XV: 206, 207 Moments of the Italian Summer (Wright), Supp. III Part 2: 602 Moment to Moment: Poems of a Mountain Recluse (Budbill), Supp. XIX: 2, 7, 9–10 “Momus” (Robinson), III: 508 Monaghan, Charles, Supp. XIX: 155 Monaghan, Pat, Supp. XI: 121 Monaghan, Patricia, Supp. XVII: 76, 123, 127, 129 Mona Lisa Overdrive (W. Gibson), Supp. XVI: 119, 120, 127–128 “Mon Ami” (Bourne), I: 227 Monet, Claude, Retro. Supp. I: 378 “Monet’s ‘Waterlilies’ ” (Hayden), Supp. II Part 1: 361–362 Monette, Paul, Supp. X: 145–161 Money (Amis), Retro. Supp. I: 278 “Money” (Matthews), Supp. IX: 166 “Money” (Nemerov), III: 287 Money, Money, Money (Wagoner), Supp. IX: 324, 333–334 Moneyball: The Art of Winning an Unfair Game (M. Lewis), Supp. XVII: 210 Moneychangers, The (Sinclair), Supp. V: 285 Money Writes! (Sinclair), Supp. V: 277 Monica, Saint, IV: 140 Monikins, The (Cooper), I: 348, 354 Monk, Thelonious, Supp. XVIII: 62 Monk and the Hangman’s Daughter, The (Bierce), I: 199–200, 209 “Monkey” (Weigl), Supp. XIX: 278 “Monkey Garden, The” (Cisneros), Supp. VII: 63 “Monkey Puzzle, The” (Moore), III: 194, 207, 211 Monkeys (Minot), Supp. VI: 203–205, 206–210 “Monkeys, The” (Moore), III: 201, 202 Monkey Wars, The (Weigl), Supp. XIX: 276, 278–280 Monkey Wrench Gang, The (Abbey), Supp. VIII: 42; Supp. XIII: 9–11, 16 “Monk of Casal-Maggiore, The” (Longfellow), II: 505 “Monocle de Mon Oncle, Le” (Stevens), IV: 78, 84; Retro. Supp. I: 301; Supp. III Part 1: 20; Supp. X: 58 “Monolog from a Mattress” (Untermeyer), Supp. XV: 307

Monro, Harold, III: 465; Retro. Supp. I: 127; Supp. XV: 296 Monroe, Harriet, I: 235, 384, 390, 393; III: 458, 581, 586; IV: 74; Retro. Supp. I: 58, 131; Retro. Supp. II: 82, 83; Supp. I Part 1: 256, 257, 258, 262, 263, 267; Supp. I Part 2: 374, 387, 388, 464, 610, 611, 613, 614, 615, 616; Supp. XIV: 286; Supp. XV: 43, 299, 302 Monroe, James, Supp. I Part 2: 515, 517 Monroe, Lucy, Retro. Supp. II: 70 Monroe, Marilyn, III: 161, 162–163 Monroe’s Embassy; or, the Conduct of the Government in Relation to Our Claims to the Navigation of the Mississippi (Brown), Supp. I Part 1: 146 “Monsoon Season” (Komunyakaa), Supp. XIII: 122 Monsour, Leslie, Supp. XV: 125 “Monster, The” (Crane), I: 418 Monster, The, and Other Stories (Crane), I: 409 Montage of a Dream Deferred (Hughes), Retro. Supp. I: 194, 208–209; Supp. I Part 1: 333, 339–341 Montagu, Ashley, Supp. I Part 1: 314 “Montaigne” (Emerson), II: 6 Montaigne, Michel de, II: 1, 5, 6, 8, 14– 15, 16, 535; III: 600; Retro. Supp. I: 247; Supp. XIV: 105 Montale, Eugenio, Supp. III Part 1: 320; Supp. V: 337–338; Supp. VIII: 30; Supp. XV: 112 Montalembert, Hughes de, Supp. XV: 349 “Montana Memory” (Maclean), Supp. XIV: 221 “Montana; or the End of Jean-Jacques Rousseau” (Fiedler), Supp. XIII: 97–98 “Montana Ranch Abandoned” (Hugo), Supp. VI: 139 “Mont Blanc” (Shelley), Supp. IX: 52 Montcalm, Louis Joseph de, Supp. I Part 2: 498 Montcalm and Wolfe (Parkman), Supp. II Part 2: 596, 609, 610, 611–613 Montemarano, Nicholas, Supp. XVI: 227 Montgomery, Benilde, Supp. XIII: 202 Montgomery, Robert, Supp. I Part 2: 611; Supp. IV Part 1: 130 Month of Sundays, A (Updike), Retro. Supp. I: 325, 327, 329, 330, 331, 333, 335 Monti, Luigi, II: 504 Montoya, José, Supp. IV Part 2: 545 “Montrachet-le-Jardin” (Stevens), IV: 82 Mont-Saint-Michel and Chartres (Adams), I: 1, 9, 12–14, 18, 19, 21; Supp. I Part 2: 417 Montserrat (Hellman), Supp. I Part 1: 283–285 Montserrat (Robles), Supp. I Part 1: 283–285 “Monument, The” (Bishop), Supp. I Part 1: 89 Monument, The (Strand), Supp. IV Part 2: 629, 630

CUMULATIVE INDEX / 443 “Monument in Utopia, A” (Schnackenberg), Supp. XV: 261, 263 “Monument Mountain” (Bryant), Supp. I Part 1: 156, 162 “Monument to After-Thought Unveiled, A” (Frost), Retro. Supp. I: 124 Moo (Smiley), Supp. VI: 292, 303–305 Moods (Alcott), Supp. I Part 1: 33, 34– 35, 43 Moody, Anne, Supp. IV Part 1: 11 Moody, Mrs. William Vaughn, I: 384; Supp. I Part 2: 394 Moody, Richard, Supp. I Part 1: 280 Moody, William Vaughn, III: 507; IV: 26 “Moon” (A. Finch), Supp. XVII: 77 Moon, Henry Lee, Supp. XVIII: 281, 285 “Moon and the Night and the Men, The” (Berryman), I: 172 “Moon Deluxe” (F. Barthelme), Supp. XI: 26, 27, 33, 36 Mooney, Tom, I: 505 “Moon-Face” (London), II: 475 Moon-Face and Other Stories (London), II: 483 “Moon Flock” (Dickey), Supp. IV Part 1: 186 Moon for the Misbegotten, A (O’ Neill), III: 385, 401, 403, 404 Moon in a Mason Jar (Wrigley), Supp. XVIII: 295–298 Moon Is a Gong, The (Dos Passos). See Garbage Man, The (Dos Passos) Moon Is Down, The (Steinbeck), IV: 51 Moon Lady, The (Tan), Supp. X: 289 “Moonlight Alert” (Winters), Supp. II Part 2: 801, 811, 815 “Moonlight: Chickens on a Road” (Wrigley), Supp. XVIII: 295–296, 297 “Moonlit Night” (Reznikoff), Supp. XIV: 285–286 Moon of the Caribbees, The (O’ Neill), III: 388 Moon Palace (Auster), Supp. XII: 22, 27, 30–32 “Moonshine” (Komunyakaa), Supp. XIII: 127, 128 “Moon Solo” (Laforgue), Supp. XIII: 346 Moonstruck (screenplay, Shanley), Supp. XIV: 315, 316, 321–324 “Moon upon her fluent Route, The” (Dickinson), I: 471 Moony’s Kid Don’ t Cry (T. Williams), IV: 381 Moore, Arthur, Supp. I Part 1: 49 Moore, Dr. Merrill, III: 506 Moore, George, I: 103 Moore, Hannah, Supp. XV: 231 Moore, John Milton, III: 193 Moore, Lorrie, Supp. VIII: 145; Supp. X: 163–180 Moore, Marianne, I: 58, 285, 401, 428; III: 193–217, 514, 592–593; IV: 74, 75, 76, 91, 402; Retro. Supp. I: 416, 417; Retro. Supp. II: 39, 44, 48, 50, 82, 178, 179, 243, 244; Supp. I Part 1: 84, 89, 255, 257; Supp. I Part 2:

707; Supp. II Part 1: 21; Supp. III Part 1: 58, 60, 63; Supp. III Part 2: 612, 626, 627; Supp. IV Part 1: 242, 246, 257; Supp. IV Part 2: 454, 640, 641; Supp. XIV: 124, 130; Supp. XV: 306, 307; Supp. XVII: 131 Moore, Marie Lorena. See Moore, Lorrie Moore, Mary Tyler, Supp. V: 107 Moore, Mary Warner, III: 193 Moore, Steven, Supp. IV Part 1: 279, 283, 284, 285, 287; Supp. XII: 151; Supp. XVII: 230, 231, 232 Moore, Sturge, III: 459 Moore, Thomas, II: 296, 299, 303; Supp. IX: 104; Supp. X: 114 Moore, Virginia, Supp. XV: 308 Moorehead, Caroline, Supp. XIV: 337 Moorepack, Howard, Supp. XV: 199 “Moorings” (Hoffman), Supp. XVIII: 87 Moos, Malcolm, III: 116, 119 “Moose, The” (Bishop), Retro. Supp. II: 50; Supp. I Part 1: 73, 93, 94, 95; Supp. IX: 45, 46 “Moose Wallow, The” (Hayden), Supp. II Part 1: 367 “Moquihuitzin’s Answer” (Everwine), Supp. XV: 78 Mora, Pat, Supp. XIII: 213–232 “Moral Bully, The” (Holmes), Supp. I Part 1: 302 “Moral Character, the Practice of Law, and Legal Education” (Hall), Supp. VIII: 127 “Moral Equivalent for Military Service, A” (Bourne), I: 230 “Moral Equivalent of War, The” (James), II: 361; Supp. I Part 1: 20 “Moral Imperatives for World Order” (Locke), Supp. XIV: 207, 213 Moralités Légendaires (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. III Part 2: 596–597, 599 Moral Man and Immoral Society (Niebuhr), III: 292, 295–297 “Morals Is Her Middle Name” (Hughes), Supp. I Part 1: 338 “Morals of Chess, The” (Franklin), II: 121 “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 Moran, Thomas, Supp. IV Part 2: 603– 604 Moran of the Lady Letty (Norris), II: 264; III: 314, 322, 327, 328, 329, 330, 331, 332, 333 Morath, Ingeborg. See Miller, Mrs. Arthur (Ingeborg Morath) Moravec, Paul, Supp. XIX: 123 Moravia, Alberto, I: 301 Moré, Gonzalo, Supp. X: 185 More, Henry, I: 132

More, Paul Elmer, I: 223–224, 247; Supp. I Part 2: 423 Moreau, Gustave, I: 66 “More Blues and the Abstract Truth” (Wright), Supp. XV: 345 More Boners (Abingdon), Supp. XVI: 99 More Conversations with Eudora Welty (Prenshaw, ed.), Retro. Supp. I: 340, 341, 342, 343, 344, 352, 353, 354 More Dangerous Thoughts (Ryan as Quin), Supp. XVIII: 226, 229–230, 231, 238 More Die of Heartbreak (Bellow), Retro. Supp. II: 31, 33, 34 “More Girl Than Boy” (Komunyakaa), Supp. XIII: 117 “More Light! More Light! (Hecht), Supp. X: 60 “Morella” (Poe), III: 412; Retro. Supp. II: 270 “More Love in the Western World” (Updike), Retro. Supp. I: 327–328, 329 “Morels” (W. J. Smith), Supp. XIII: 336– 339 Moreno, Gary, Supp. XV: 5 “More Observations Now” (Conroy), Supp. XVI: 75 “More of a Corpse Than a Woman” (Rukeyser), Supp. VI: 280 “More Pleasant Adventures” (Ashbery), Supp. III 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 “More Than Human” (Chabon), Supp. XI: 71–72 More Triva (L. P. Smith), Supp. XIV: 339 Morgan, Edmund S., IV: 149; Supp. I Part 1: 101, 102; Supp. I Part 2: 484 Morgan, Edwin, Supp. IV Part 2: 688 Morgan, Emanuel. See Bynner, Witter Morgan, Henry, II: 432; IV: 63 Morgan, Jack, Retro. Supp. II: 142 Morgan, J. P., I: 494; III: 14, 15 Morgan, Judith, Supp. XVI: 103 Morgan, Neil, Supp. XVI: 103 Morgan, Robert, Supp. V: 5 Morgan, Robin, Supp. I Part 2: 569 Morgan, Ted, Supp. XIV: 141 Morgan’s Passing (Tyler), Supp. IV Part 2: 666–667, 668, 669 Morgenstern, Dan, Supp. XIX: 159 Morgenthau, Hans, III: 291, 309 Morgesons, The (E. Stoddard), Supp. XV: 270, 273, 274, 278, 279–282, 283 Morgesons and Other Writings, Published and Unpublished, The (Buell and Zagarell), Supp. XV: 269 Moricand, Conrad, III: 190 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 2: 479–500

444 / AMERICAN WRITERS “Morituri Salutamus” (Longfellow), II: 499, 500; Retro. Supp. II: 169; Supp. I Part 2: 416 “Moriturus” (Millay), III: 126, 131–132 Morley, Christopher, III: 481, 483, 484; Supp. I Part 2: 653; Supp. IX: 124 Morley, Edward, IV: 27 Morley, Lord John, I: 7 Mormon Country (Stegner), Supp. IV Part 2: 598, 601–602 “Morning, The” (Updike), Retro. Supp. I: 329 “Morning after My Death, The” (Levis), Supp. XI: 260, 263–264 “Morning Arrives” (F. Wright), Supp. XVII: 244 Morning for Flamingos, A (Burke), Supp. XIV: 30, 31, 32 “Morning Glory” (Merrill), Supp. III Part 1: 337 Morning Glory, The (R. Bly), Supp. IV Part 1: 63–65, 66, 71 “Morning Imagination of Russia, A” (W. C. Williams), Retro. Supp. I: 428 Morning in Antibes (Knowles), Supp. XII: 249 Morning in the Burned House (Atwood), Supp. XIII: 20, 35 Morning Is Near Us, The (Glaspell), Supp. III Part 1: 184–185 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 Prayers” (Harjo), Supp. XII: 231 “Morning Roll Call” (Anderson), I: 116 “Mornings in a New House” (Merrill), Supp. III Part 1: 327 Mornings Like This (Dillard), Supp. VI: 23, 34 “Morning Song” (Plath), Retro. Supp. II: 252 Morning Watch, The (Agee), I: 25, 39–42 “Morning with Broken Window” (Hogan), Supp. IV Part 1: 405 Morrell, Ottoline, Retro. Supp. I: 60 Morris, Bernard E., Supp. XV: 154, 169 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, 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; Supp. XI: 202 Morris, Willie, Supp. XI: 216, 231, 234; Supp. XIX: 151, 252 Morris, Wright, I: 305; III: 218–243, 558, 572; IV: 211 Morrison, Charles Clayton, III: 297 Morrison, Jim, Supp. IV Part 1: 206 Morrison, Toni, Retro. Supp. II: 15, 118; Supp. III Part 1: 361–381; Supp. IV Part 1: 2, 13, 14, 250, 253, 257; Supp. V: 169, 259; Supp. VIII: 213, 214;

Supp. X: 85, 239, 250, 325; Supp. XI: 4, 14, 20, 91; Supp. XII: 289, 310; Supp. XIII: 60, 185; Supp. XVI: 143; Supp. XVII: 183 “Morro Bay” (Jeffers), Supp. II Part 2: 422 Morrow, W. C., I: 199 Morse, Jedidiah, Supp. XV: 243 Morse, Robert, Supp. XI: 305 Morse, Samuel F. B., Supp. I Part 1: 156 Mortal Acts, Mortal Words (Kinnell), Supp. III Part 1: 235, 236, 237, 249– 254 Mortal Antipathy, A (Holmes), Supp. I Part 1: 315–316 “Mortal Enemies” (Humphrey), Supp. IX: 109 “Mortal Eternal” (Olds), Supp. X: 214 Mortal No, The (Hoffman), IV: 113 Mortal Stakes (Parker), Supp. XIX: 183– 184 Morte D’ Arthur, Le (Malory), Supp. IV Part 1: 47 Mortmere Stories, The (Isherwood and Upward), Supp. XIV: 159 Morton, David, Supp. IX: 76 Morton, Jelly Roll, Supp. X: 242 “Mosaic of the Nativity: Serbia, Winter 1993” (Kenyon), Supp. VII: 173 Mosby’s Memoirs and Other Stories (Bellow), Retro. Supp. II: 27 “Moscow, Idaho” (Offutt), Supp. XIX: 170 Moscow under Fire (Caldwell), I: 296 Moser, Barry, Supp. XIV: 223 Moses (Untermeyer), Supp. XV: 309 Moses, Man of the Mountain (Hurston), Supp. VI: 149, 158, 160 “Moses on Sinai” (Untermeyer), Supp. XV: 300 Mosle, Sara, Supp. XI: 254 Mosley, Walter, Supp. XIII: 233–252; Supp. XVI: 143 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: 452; Supp. IV Part 2: 642; Supp. IX: 39; Supp. XIII: 114; Supp. XV: 143, 152 Moss, Stanley, Supp. XI: 321 Moss, Thylias, Supp. XI: 248 Mosses from an Old Manse (Hawthorne), I: 562; II: 224; III: 82, 83; Retro. Supp. I: 157, 248 “Moss of His Skin” (Sexton), Supp. II Part 2: 676 Most, Doug, Supp. XVIII: 101 “Most Extraordinary Case, A” (James), II: 322; Retro. Supp. I: 218 Most Likely to Succeed (Dos Passos), I: 491 “Most of It, The” (Frost), Retro. Supp. I: 121, 125, 129, 139; Supp. XVIII: 300 “Most Popular Novels in America, The” (Mabie), Supp. XVIII: 257

Motel Chronicles (Shepard), Supp. III Part 2: 445 “Mother” (Kooser), Supp. XIX: 117, 126, 127 “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 and Her Children (Brecht), III: 160; Supp. IX: 140; Supp. XII: 249 “Mother Earth: Her Whales” (Snyder), Supp. VIII: 302 “Motherhood” (Swenson), Supp. IV Part 2: 645 Mother Hubbard (Reed), Supp. X: 241 Motherless in Brooklyn (Lethem), Supp. XVIII: 135, 143–144 Mother Love (Dove), Supp. IV Part 1: 250–251, 254 “Mother Marie Therese” (Lowell), Retro. Supp. II: 188 Mother Night (Vonnegut), Supp. II Part 2: 757, 758, 767, 770, 771 “Mother Rosarine” (Kumin), Supp. IV Part 2: 442 “Mothers and Daughters in the Fiction of the New Republic” (Davidson), Supp. XV: 238 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 Mother to Daughter, Daughter to Mother (Olsen, ed.), Supp. XIII: 295 “Mother Tongue” (Simic), Supp. VIII: 283 “Mother to Son” (Hughes), Retro. Supp. I: 199, 203; Supp. I Part 1: 321–322, 323 Motherwell, Robert, Supp. XV: 145 “Mother Writes to the Murderer, The: A Letter” (Nye), Supp. XIII: 276 “Motion, The” (Olson), Supp. II Part 2: 571 Motion of History, The (Baraka), Supp. II Part 1: 55, 56 “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; Supp. I Part 2: 479 Motley, Willard, Supp. XVII: 149–163 “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 Mottetti: Poems of Love: The Motets of Eugenio Montale (Montale; Gioia, trans.), Supp. XV: 112, 127–128

CUMULATIVE INDEX / 445 “Mountain, The” (Frost), Retro. Supp. I: 121 “Mountain Hermitage, The: Pages from a Japanese Notebook” (Passin), Supp. XIII: 337 Mountain Interval (Frost), II: 154; Retro. Supp. I: 131, 132, 133 “Mountain Lion” (Hogan), Supp. IV Part 1: 412 “Mountain Music” essays (Sanders), Supp. XVI: 276–277 Mountain on the Desert, The (Richter), Supp. XVIII: 216, 219 Mountainous Journey, A (Tuqan), Supp. XIII: 278 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 “Mountain Whippoorwill, The” (Benét), Supp. XI: 44–45, 46, 47 “Mount-Joy: or Some Passages Out of the Life of a Castle-Builder” (Irving), II: 314 “Mount Venus” (Wright), Supp. XV: 346 “Mourners” (Kooser), Supp. XIX: 127 “Mourners, The” (Malamud), Supp. I Part 2: 431, 435, 436–437 Mourners Below (Purdy), Supp. VII: 274, 280 “Mourning and Melancholia” (Freud), Supp. IV Part 2: 450; Supp. XVI: 161 Mourning Becomes Electra (O’ Neill), III: 391, 394, 398–400 “Mourning Doves” (Pedersen; Nelson, trans.), Supp. XVIII: 180 “Mourning Poem for the Queen of Sunday” (Hayden), Supp. II Part 1: 379– 380 “Mouse Elegy” (Olds), Supp. X: 209 Mouse Is Born, A (Loos), Supp. XVI: 193 “Mouse Roulette Wheel, The” (C. Bly), Supp. XVI: 34 “Mouth of Brass” (Humphrey), Supp. IX: 101 Moveable Feast, A (Hemingway), II: 257; Retro. Supp. I: 108, 171, 186– 187 Movement, The: Documentary of a Struggle for Equality (Student Nonviolent Coordinating Committee), Supp. IV Part 1: 369 “Move over Macho, Here Comes Feminismo” (Robbins), Supp. X: 272 “Move to California, The” (Stafford), Supp. XI: 318, 321 “Movie” (Shapiro), Supp. II Part 2: 707 Movie at the End of the World, The (McGrath), Supp. X: 127 Moviegoer, The (Percy), Supp. III Part 1: 383–385, 387, 389–392, 394, 397 “Movie Magazine, The: A Low ‘Slick’ ” (Percy), Supp. III Part 1: 385 Movies (Dixon), Supp. XII: 147

Movies About the Movies (Ames), Supp. XVIII: 242–243 “Moving Around” (Matthews), Supp. IX: 155 “Moving Finger, The” (Wharton), Retro. Supp. I: 365 Moving On (McMurtry), Supp. V: 223– 224 Moving Pictures: Memoirs of a Hollywood Prince (Schulberg), Supp. XVIII: 242, 243, 254 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 Moxley, Jennifer, Supp. XVII: 70 Moyers, Bill, Supp. IV Part 1: 267; Supp. VIII: 331; Supp. XI: 126, 132; Supp. XII: 217; Supp. XIII: 274, 276; Supp. XV: 212 Moynihan, Daniel Patrick, Retro. Supp. II: 123; Supp. VIII: 241; Supp. XIX: 150–151 “Mozart” (C. Frost), Supp. XV: 94 Mozart, Wolfgang Amadeus, I: 479, 588; IV: 74, 358; Supp. IV Part 1: 284 “Mozart and the Gray Steward” (Wilder), IV: 358 Mrabet, Mohammed, Supp. IV Part 1: 92, 93 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. Big” (Allen), Supp. XV: 15 Mr. Bridge (Connell), Supp. XIV: 80, 82, 93 Mr. Brown Can Moo! Can You? (Geisel), Supp. XVI: 104 “Mr. Bruce” (Jewett), II: 397; Retro. Supp. II: 134, 143 “Mr. Burnshaw and the Statue” (Stevens), Retro. Supp. I: 298, 303 “Mr. Carson Death on His Nights Out” (McGrath), Supp. X: 118 Mr. Clemens and Mark Twain (Kaplan), I: 247–248 “Mr. Coffee and Mr. Fixit” (Carver), Supp. III Part 1: 145 “Mr. Cornelius Johnson, Office-Seeker” (Dunbar), Supp. II Part 1: 211, 213 “Mr. Costyve Duditch” (Toomer), Supp. III Part 2: 486 “Mr. Dajani, Calling from Jericho” (Nye), Supp. XIII: 286–287 “Mr. Edwards and the Spider” (Lowell), I: 544; II: 550; Retro. Supp. II: 187 Mr. Field’s Daughter (Bausch), Supp. VII: 47–48, 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, 721– 724 “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” (Ríos), Supp. IV Part 2: 551 “Mr. Mitochondria” (Stollman), Supp. XVII: 50 Mr. Moto Is So Sorry (Marquand), III: 57, 58 Mr. Norris Changes Trains (Isherwood), Supp. XIV: 161 “Mr. Preble Gets Rid of His Wife” (Thurber), Supp. I Part 2: 615 “Mr. Rolfe” (Wilson), IV: 436 Mr. Rutherford’s Children (S. and A. Warner), Supp. XVIII: 264 “Mrs. Adis” (Kaye-Smith), Supp. XVIII: 130–131 Mrs. Albert Grundy: Observations in Philistia (Frederic), II: 138–139 Mr. Sammler’s Planet (Bellow), I: 144, 147, 150, 151, 152, 158; Retro. Supp. II: 19, 28, 30 “Mrs. Bilingsby’s Wine” (Taylor), Supp. V: 323 Mrs. Bridge: A Novel (Connell), Supp. XIV: 79, 80, 81, 82, 89–94, 95 “Mrs. Cassidy’s Last Year” (Gordon), Supp. IV Part 1: 306 Mrs. Dalloway (Woolf), Supp. IV Part 1: 299; Supp. VIII: 5; Supp. XV: 55, 65–66 “Mr. Shelley Speaking” (Wylie), Supp. I Part 2: 719 “Mrs. Jellison” (Hay), Supp. XIV: 123 “Mrs. Krikorian” (Olds), Supp. X: 211 “Mrs. Maecenas” (Burke), I: 271 “Mrs. Mandrill” (Nemerov), III: 278 “Mrs. Manstey’s View” (Wharton), Retro. Supp. I: 362, 363 “Mrs. Mobry’s Reason” (Chopin), Retro. Supp. II: 61 Mr. Spaceman (R. O. Butler), Supp. XII: 62, 74–75 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 “Mr. Thompson’s Prodigal” (Harte), Supp. II Part 1: 354 Mr. Vertigo (Auster), Supp. XII: 34–35, 36 “Mr. Vonnegut in Sumatra” (Saunders), Supp. XIX: 235 “Mr. Whittier” (Scott), Supp. I Part 2: 705 Mr. Wilson’s War (Dos Passos), I: 485 “MS. Found in a Bottle” (Poe), III: 411, 416; Retro. Supp. II: 274

446 / AMERICAN WRITERS “Ms. Lot” (Rukeyser), Supp. VI: 281 Ms. Magazine, Supp. V: 259 Mttron-Hirsch, Sidney, III: 484–485 “Muchas Gracias Por Todo” (Nye), Supp. XIII: 282–283 “Much Madness is divinest Sense” (Dickinson), Retro. Supp. I: 37–38 “Muck-A-Muck” (Harte), Supp. II Part 1: 342 “Mud Below, The” (Proulx), Supp. VII: 262 Mudge, Alden, Supp. XIV: 35 Mudrick, Marvin, Retro. Supp. II: 289 “Mud Season” (Kenyon), Supp. VII: 167–168 Mueller, Lisel, Supp. I Part 1: 83, 88; Supp. XIV: 268 Muggli, Mark, Supp. IV Part 1: 207 Muhammad, Elijah, Supp. I Part 1: 60 Muir, Edwin, I: 527; II: 368; III: 20 Muir, John, Supp. VIII: 296; Supp. IX: 33, 171–188; Supp. X: 29; Supp. XIV: 177, 178, 181 Muirhead, Deborah, Supp. XVIII: 186 Mujica, Barbara, Supp. VIII: 89 Mulatto (Hughes), Retro. Supp. I: 197, 203; Supp. I Part 1: 328, 339 Mulching of America, The (Crews), Supp. XI: 107 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 Mulligan, Robert, Supp. VIII: 128, 129 Mulligan Stew (Sorrentino), Supp. XII: 139 Mullins, Eustace, III: 479 Mullins, Priscilla, II: 502–503 “Multiplication of Wool, The” (Sanders), Supp. XVI: 268 Multitudes, Multitudes (Clampitt), Supp. IX: 39 Mumbo Jumbo (Reed), Supp. X: 240, 242, 245–248, 251 Mumford, Lewis, I: 245, 250, 251, 252, 259, 261; II: 271, 473–474; Supp. I Part 2: 632, 638; Supp. II Part 2: 471–501 Mumford, Sophia Wittenberg (Mrs. Lewis Mumford), Supp. II Part 2: 474, 475 “Mummers, The” (Di Piero), Supp. XIX: 44 Mummy, The (film), Supp. IV Part 1: 104; Supp. XVII: 57 “Mundus et Infans” (Auden), Supp. II Part 1: 15 “Munich, 1938” (Lowell), II: 554 “Munich Mannequins, The” (Plath), Retro. Supp. II: 256 “Municipal Report, A” (Henry), Supp. II Part 1: 406–407 Munro, Alice, Supp. IX: 212; Supp. X: 290; Supp. XII: 289–290, 310 Munsey, Frank, I: 501 Munson, Gorham, I: 252, 388, 432; Retro. Supp. II: 77, 78, 79, 82, 83; Supp. I Part 2: 454 Münsterberg, Hugo, Supp. XIV: 197

Murakami, Haruki, Supp. XVI: 124 “Murano” (Doty), Supp. XI: 131 Murasaki, Lady, II: 577 Muratori, Fred, Supp. XVI: 281 Muray, Nicholas, Supp. I Part 2: 708 Murder, My Sweet (film), Supp. IV Part 1: 130 “Murderer Guest, The” (Gordon), Supp. IV Part 1: 306 “Murderers” (L. Michaels), Supp. XVI: 207–208 Murder in Mount Holly (Theroux), Supp. VIII: 315–316 Murder in the Cathedral (Eliot), I: 571, 573, 580, 581; II: 20; Retro. Supp. I: 65; Retro. Supp. II: 222 Murder of Lidice, The (Millay), III: 140 “Murders in the Rue Morgue, The” (Poe), III: 412, 416, 419–420; Retro. Supp. II: 271, 272; Supp. XIX: 77 Murdoch, Iris, Supp. VIII: 167; Supp. XVIII: 136,149 Murnau, F. W., Supp. XV: 128 Murphy, Jacqueline Shea, Retro. Supp. II: 143 Murphy, Patrick, Supp. XIII: 214 Murphy, Richard, Retro. Supp. II: 250 Murray, Albert, Retro. Supp. II: 119, 120; Supp. XIX: 147–162 Murray, Edward, I: 229 Murray, G. E., Supp. X: 201; Supp. XI: 143, 155 Murray, Gilbert, III: 468–469 Murray, Jan, Supp. IV Part 2: 574 Murray, John, II: 304; III: 76, 79; Retro. Supp. I: 246 Murray, Judith Sargent, Supp. XV: 236– 237 Murray, Les, Supp. XIX: 131 Murray, Margaret A., Supp. V: 128 Murrell, John A., IV: 265 Mursell, James L., Supp. I Part 2: 608 “Muse” (Ammons), Supp. VII: 29 “Muse, Postmodern and Homeless, The” (Ozick), Supp. V: 272 “Musée des Beaux Arts” (Auden), Retro. Supp. I: 430; Supp. II Part 1: 14 “Muse of Aboutness, The” (Baker), Supp. XVI: 288 Muses Are Heard, The (Capote), Supp. III Part 1: 126 “Muses of Terrence McNally, The” (Zinman), Supp. XIII: 207–208 “Muse’s Tragedy, The” (Wharton), Retro. Supp. I: 364 Museum (Dove), Supp. IV Part 1: 245– 247, 248 “Museum” (Hass), Supp. VI: 107 Museums and Women (Updike), Retro. Supp. I: 321 “Museum Vase” (Francis), Supp. IX: 83 “Mushrooms” (Plath), Retro. Supp. II: 246; 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 Like Dirt (Bidart), Supp. XV: 35 “Music Like Dirt” (Bidart), Supp. XV: 35 Music of Chance, The (Auster), Supp. XII: 21, 23, 32–33 “Music of My Own Kind Too, The” (Budbill), Supp. XIX: 10 “Music of Prose, The” (Gass), Supp. VI: 92 Music of Spain, The (Van Vechten), Supp. II Part 2: 734, 735 “Music of the Spheres” (Epstein), Supp. XII: 165 “Music School” (B. Kelly), Supp. XVII: 124 Music School, The (Updike), IV: 214, 215, 219, 226, 227; Retro. Supp. I: 320, 328, 329, 330 “Music School, The” (Updike), Retro. Supp. I: 326, 329, 335 “Music Swims Back to Me” (Sexton), Supp. II Part 2: 673 Muske, Carol, Supp. IV Part 2: 453– 454 “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; Supp. I Part 2: 618; Supp. V: 290; Supp. XVI: 191 “Mustafa Ferrari” (X. J. Kennedy), Supp. XV: 170–171 “Must the Novelist Crusade?” (Welty), IV: 280 “Mutability of Literature, The” (Irving), II: 308 “Mutation of the Spirit” (Corso), Supp. XII: 132, 133 Mute, The (McCullers), II: 586 Mutilated, The (T. Williams), IV: 382, 386, 393 Mutiny of the Elsinore, The (London), II: 467 “Muttsy” (Hurston), Supp. XVIII: 279 Muyumba, Walton, Supp. XIX: 158 “My Adventures as a Social Poet” (Hughes), Retro. Supp. I: 194, 207 “My Alba” (Ginsberg), Supp. II Part 1: 320, 321 My Alexandria (Doty), Supp. XI: 119, 120, 121, 123–125, 130 “My Amendment” (Saunders), Supp. XIX: 232 My Ántonia (Cather), I: 321–322; Retro. Supp. I: 1, 3, 4, 11–13, 14, 17, 18, 22; Supp. IV Part 2: 608; Supp. XVI: 226 “My Appearance” (Wallace), Supp. X: 306–307 My Argument with the Gestapo: A Macaronic Journal (Merton), Supp. VIII: 207; Supp. XV: 344

CUMULATIVE INDEX / 447 “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. III Part 1: 155, 173 My Brother (Kincaid), Supp. VII: 191– 193 “My Brother Paul” (Dreiser), Retro. Supp. II: 94 “My Brothers the Silent” (Merwin), Supp. III Part 1: 349–350 “My Brother’s Work” (Dunn), Supp. XI: 147 “My Brother Takes a Hammer to the Mirror” (F. Wright), Supp. XVII: 244 “My Butterfly” (Frost), II: 151; Retro. Supp. I: 124 “My Children, and a Prayer for Us” (Ortiz), Supp. IV Part 2: 507 “My College Sex Group” (Peacock), Supp. XIX: 199 “My Coney Island Uncle” (Swados), Supp. XIX: 267–268 “My Confession” (McCarthy), II: 562 “My Confessional Sestina” (Gioia), Supp. XV: 123 My Country and My People (Yutang), Supp. X: 291 “My Country ‘Tis of Thee” (Reznikoff), Supp. III Part 2: 616 My Days of Anger (Farrell), II: 34, 35– 36, 43 “My Dear Republican Mother” (C. Bly), Supp. XVI: 31–32 My Death My Life by Pier Paolo Pasolini (Acker), Supp. XII: 7 My Dog Stupid (Fante), Supp. XI: 160, 170–171 My Emily Dickinson (Howe), Retro. Supp. I: 33, 43; Supp. IV Part 2: 430–431 “My English” (Alvarez), Supp. VII: 2 Myers, Linda A., Supp. IV Part 1: 10 “My Extended Family” (Theroux), Supp. VIII: 311 “My Father” (Budbill), Supp. XIX: 5 “My Father” (L. Michaels), Supp. XVI: 214 “My Father” (Sterne), IV: 466 “My Father at Eighty-Five” (R. Bly), Supp. IV Part 1: 73 “My Father Is a Simple Man” (Salinas), Supp. XIII: 324 “My Father Is with Me” (Budbill), Supp. XIX: 15 “My Father: October 1942” (Stafford), Supp. XI: 323 “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 God” (Fante), Supp. XI: 160, 174

“My Father’s House” (L.-Y. Lee), Supp. XV: 225 “My Father ’s Love Letters” (Komunyakaa), Supp. XIII: 127 “My Father Speaks to me from the Dead” (Olds), Supp. X: 210 “My Father’s Telescope” (Dove), Supp. IV Part 1: 246, 248 “My Father with Cigarette Twelve Years Before the Nazis Could Break His Heart” (Levine), Supp. V: 194 “My Favorite Murder” (Bierce), I: 205 My Favorite Plant: Writers and Gardeners on the Plants They Love (Kincaid), Supp. VII: 193–194 “My Fifty-Plus Years Celebrate Spring” (Salinas), Supp. XIII: 327 “My First Book” (Harte), Supp. II Part 1: 343 My First Summer in the Sierra (Muir), Supp. IX: 172, 173, 178–181, 183, 185; Supp. XIV: 177 “My Flamboyant Grandson” (Saunders), Supp. XIX: 231–232 “My Fountain Pen” (McClatchy), Supp. XII: 254, 260 My Friend, Henry Miller (Perlès), III: 189 My Friend, Julia Lathrop (Addams), Supp. I Part 1: 25 “My Friend, Walt Whitman” (Oliver), Supp. VII: 245 “My Garden Acquaintance” (Lowell), Supp. I Part 2: 420 My Garden \[Book\]: (Kincaid), Supp. VII: 193–194 “My Good-bye” (Weigl), Supp. XIX: 288 “My Grandfather” (Lowell), II: 554 “My Grandmother’s Love Letters” (H. Crane), Retro. Supp. II: 78 “My Grandson, Home at Last” (Angelou), Supp. IV Part 1: 13 My Green Hills of Jamaica (McKay), Supp. X: 132, 142 My Guru and His Disciple (Isherwood), Supp. XIV: 157, 164, 172 My Heart’s in the Highlands (Saroyan), Supp. IV Part 1: 83 “My High School Reunion” (Kingston), Supp. V: 169 “My Indigo” (L.-Y. Lee), Supp. XV: 214 “My Kinsman, Major Molineux” (Hawthorne), II: 228, 229, 237–239, 243; Retro. Supp. I: 153–154, 158, 160, 161; Retro. Supp. II: 181, 187; Supp. XVI: 157 My Kinsman, Major Molineux (Lowell), II: 545–546 “My Last Afternoon with Uncle Devereux Winslow” (Lowell), II: 547–548; Retro. Supp. II: 189 “My Last Drive” (Hardy), Supp. VIII: 32 “My Last Duchess” (Browning), Supp. XV: 121 “My Life” (Strand), Supp. IV Part 2: 627 My Life, Starring Dara Falcon (Beattie), Supp. V: 31, 34–35

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 (P. Roth), Retro. Supp. II: 281, 286, 289; Supp. III Part 2: 401, 404, 405, 417–418 “My Life as a P.I.G., or the True Adventures of Smokey the Cop” (Abbey), Supp. XIII: 3 “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 of Absurdity (C. Himes), Supp. XVI: 145 “My Life with Medicine” (Nye), Supp. XIII: 282 “My Life with Playboy” (Plimpton), Supp. XVI: 246 “My Life with R. H. Macy” (Jackson), Supp. IX: 118 “My Little Utopia” (Simic), Supp. VIII: 283 My Lives and How I Lost Them (Cullen), Supp. IV Part 1: 173 “My Lord Bag of Rice” (C. Bly), Supp. XVI: 40 My Lord Bag of Rice: New and Selected Stories (C. Bly), Supp. XVI: 41 “My Lost City” (Fitzgerald), Retro. Supp. I: 102 “My Lost Youth” (Longfellow), II: 487, 499; Retro. Supp. II: 168 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 Mammogram” (McClatchy), Supp. XII: 263–264 “My Man Bovanne” (Bambara), Supp. XI: 2 “My Mariner” (Larcom), Supp. XIII: 147 My Mark Twain (Howells), II: 276 “My Metamorphosis” (Harte), Supp. II Part 1: 339 “My Moby Dick” (Humphrey), Supp. IX: 95 “My Monkey” (Nelson), Supp. XVIII: 178 “My Moral Life” (Halliday), Supp. XIX: 89 My Mortal Enemy (Cather), I: 327–328; Retro. Supp. I: 16–17; Supp. I Part 2: 719 My Mother, My Father and Me (Hellman), Supp. I Part 1: 290–291 “My Mother and My Sisters” (Ortiz), Supp. IV Part 2: 499 My Mother: Demonology (Acker), Supp. XII: 6 “My Mother Is Speaking from the Desert” (Gordon), Supp. IV Part 1: 309, 314

448 / AMERICAN WRITERS “My Mother’s Goofy Song” (Fante), Supp. XI: 164 “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 Mother Then and Now” (Wasserstein), Supp. XV: 327 “My Mother with Purse the Summer They Murdered the Spanish Poet” (Levine), Supp. V: 194 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 New Diet” (Karr), Supp. XI: 241 “My Old Man” (Hemingway), II: 263 My Other Life (Theroux), Supp. VIII: 310, 324 “My Own Story” (E. Stoddard), Supp. XV: 273, 279, 283 My Own True Name: New and Selected Poems for Young Adults, 1984–1999 (Mora), Supp. XIII: 222 “My Parents Have Come Home Laughing” (Jarman), Supp. XVII: 113 “My Passion for Ferries” (Whitman), IV: 350 “My People” (Hughes), Retro. Supp. I: 197; Supp. I Part 1: 321–322, 323 “My Philosophy” (Allen), Supp. XV: 15 “My Playmate” (Whittier), Supp. I Part 2: 699–700 “My Priests” (Monette), Supp. X: 159 Myra Breckinridge (Vidal), Supp. IV Part 2: 677, 685–686, 689, 691 “My Raptor” (A. Finch), Supp. XVII: 72 “My Recollections of S. B. Fairchild” (Jackson), Supp. IX: 118–119 “My Religion” (Carson), Supp. XII: 105–106 “My Road to Hell Was Paved” (Patchett), Supp. XII: 310–311 Myron (Vidal), Supp. IV Part 2: 677, 685, 686, 691 “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 “Myself” (Audubon), Supp. XVI: 1–2, 5, 12 “My Shoes” (Simic), Supp. VIII: 275 “My Side of the Matter” (Capote), Supp. III Part 1: 114, 115 My Silk Purse and Yours: The Publishing Scene and American Literary Art (Garrett), Supp. VII: 111; Supp. X: 7 My Sister Eileen (McKenney), IV: 288; Retro. Supp. II: 321 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 Son the Man” (Olds), Supp. X: 212 “My Speech to the Graduates” (Allen), Supp. XV: 16 “Mysteries of Caesar, The” (Hecht), Supp. X: 73 “Mysteries of Eleusis, The” (Hardwick), Supp. III Part 1: 195 Mysteries of Pittsburgh, The (Chabon), Supp. XI: 65, 68, 69–71; Supp. XIX: 135 “Mysterious Case of R, The” (Conroy), Supp. XVI: 72 Mysterious Stranger, The (Twain), IV: 190–191, 210 Mystery, A (Shields). See Swann (Shields) “Mystery, The” (Dunbar), Supp. II Part 1: 199, 210 “Mystery, The” (Glück), Supp. V: 91 Mystery and Manners (O’ Connor), Retro. Supp. II: 230 “’ Mystery Boy’ Looks for Kin in Nashville” (Hayden), Supp. II Part 1: 366, 372 “Mystery of Coincidence, The” (Conroy), Supp. XVI: 74 “Mystery of Heroism, A” (Crane), I: 414 “Mystery of Marie Rogêt, The” (Poe), III: 413, 419; Retro. Supp. II: 271 “Mystic” (Plath), Retro. Supp. II: 257; Supp. I Part 2: 539, 541 “Mystical Poet, A” (Bogan), Retro. Supp. I: 36 “Mystic of Sex, The—A First Look at D. H. Lawrence” (Nin), Supp. X: 188 “Mystic Vision in ‘The Marshes of Glynn’ ” (Warfel), Supp. I Part 1: 366, 373 “Mystification” (Poe), III: 425 “My Strange New Poetry” (Halliday), Supp. XIX: 88, 94 My Study Windows (Lowell), Supp. I Part 2: 407 “My Teacher” (Conroy), Supp. XVI: 75 “Myth” (Rukeyser), Supp. VI: 281–282 Myth of Sisyphus, The (Camus), I: 294; Supp. XIII: 165 “Myth of the Happy Worker, The” (Swados), Supp. XIX: 265 “Myth of the Isolated Artist, The” (Oates), Supp. II Part 2: 520 Myth of the Machine, The (Mumford), Supp. II Part 2: 476, 478, 482, 483, 493, 497 “Myth of the Powerful Worker, The” (Swados), Supp. XIX: 265 Mythology and the Romantic Tradition in English Poetry (Bush), Supp. I Part 1: 268 Myths and Texts (Snyder), Supp. VIII: 295–296 “Myths of Bears, The” (Bass), Supp. XVI: 19, 20 “My Tocaya” (Cisneros), Supp. VII: 69 My Uncle Dudley (Morris), I: 305; III: 219–220 “My Uncle’s Favorite Coffee Shop” (Nye), Supp. XIII: 283

“My Weariness of Epic Proportions” (Simic), Supp. VIII: 276 My Wicked Wicked Ways (Cisneros), Supp. VII: 58, 64–68, 71 “My Wicked Wicked Ways” (Cisneros), Supp. VII: 58, 64–66 “My Word-house” (Mora), Supp. XIII: 219, 225 My Works and Days (Mumford), Supp. II Part 2: 475, 477, 481 My World and Welcome to It (Thurber), Supp. I Part 2: 610 N Nabokov, Peter, Supp. IV Part 2: 490 Nabokov, Véra, Retro. Supp. I: 266, 270 Nabokov, Vladimir, I: 135; III: 244–266, 283, 286; Retro. Supp. I: 263–281, 317, 335; Supp. I Part 1: 196; Supp. II Part 1: 2; Supp. IV Part 1: 135; Supp. V: 127, 237, 251, 252, 253; Supp. VIII: 105, 133, 138; Supp. IX: 152, 212, 261; Supp. X: 283; Supp. XI: 66; Supp. XII: 310; Supp. XIII: 46, 52; Supp. XVI: 148, 294; Supp. XVIII: 98, 102 Nabokov’s Dozen (Nabokov), Retro. Supp. I: 266 Nabokov’s Garden: A Guide to Ada (Mason), Supp. VIII: 138 Naca, Kristin, Supp. XIII: 133 Nadeau, Robert, Supp. X: 261, 270 Nadel, Alan, Supp. IV Part 1: 209 Naipaul, V. S., Supp. IV Part 1: 297; Supp. VIII: 314; Supp. X: 131; Supp. XIV: 111 Naison, Mark, Supp. XVIII: 231 Naked and the Dead, The (Mailer), I: 477; III: 26, 27, 28–30, 31, 33, 35, 36, 44; Retro. Supp. II: 197–199; Supp. IV Part 1: 381; Supp. XI: 218; Supp. XIX: 248 Naked Babies (Quindlen and Kelsh), Supp. XVII: 167, 179 Naked in Garden Hills (Crews), Supp. XI: 102, 110 Naked Lunch (Burroughs), Supp. III Part 1: 92–95, 97–105; Supp. IV Part 1: 90 “Naked Nude” (Malamud), Supp. I Part 2: 450 Naked Poetry (Berg and Mezey, eds.), Supp. IV Part 1: 60 Naked Poetry (Levine), Supp. V: 180 Naked Revenge (film), Supp. XVII: 141 Namedropping: Mostly Literary Memoirs (Coover), Supp. V: 40 “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. III Part 1: 93 Name Is Fogarty, The: Private Papers on Public Matters (Farrell), II: 49 “Names” (Carruth), Supp. XVI: 54, 56 Names, The (DeLillo), Supp. VI: 3, 10, 13, 14 Names, The (Momaday), Supp. IV Part 2: 479, 480, 483, 486, 487, 488, 489

CUMULATIVE INDEX / 449 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 for Love” (Carruth), Supp. XVI: 48 “Naming Myself” (Kingsolver), Supp. VII: 208 “Naming of Names, The” (Sanders), Supp. XVI: 268 Naming of the Beasts, The (Stern). See Rejoicings: Selected Poems, 1966– 1972 (Stern) Naming the Unseen (Ray), Supp. XVIII: 192, 193–195 “Naming the Unseen” (Ray), Supp. XVIII: 203 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 “Naomi Shihab Nye: U.S. MideastHistory a Harbinger of 9-11?” (Nye), Supp. XIII: 286 “Naomi Trimmer” (X. J. Kennedy), Supp. XV: 170 “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; Supp. I Part 2: 518, 519 Narcissa and Other Fables (Auchincloss), Supp. IV Part 1: 21, 34 “Narcissus as Narcissus” (Tate), IV: 124 “Narcissus Leaves the Pool” (Epstein), Supp. XIV: 110 Narcissus Leaves the Pool: Familiar Essays (Epstein), Supp. XIV: 110 Nardal, Paulette, Supp. X: 139 Nardi, Marcia, Retro. Supp. I: 426, 427 “Narragansett Boulevard” (Halliday), Supp. XIX: 91 Narration (Stein), IV: 27, 30, 32, 33, 36 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: 412, 416; Retro. Supp. II: 265, 273–275; Supp. XI: 293 Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself (Douglass), Supp. III Part 1: 154–159, 162, 165; Supp. IV Part 1: 13; Supp. VIII: 202 “Narrativity Scenes” (Wright), Supp. XV: 345 Narrenschiff, 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 Nasby, Petroleum, Supp. XVIII: 1 Nash, Roderick, Supp. IX: 185; Supp. XIV: 191–192 Nash, Susan Smith, Supp. XVI: 274

Nash, Thomas, Supp. III Part 1: 387– 388 Nashe, Thomas, I: 358; Supp. XVII: 232 Nashville (film), Supp. IX: 143 Nashville Skyline (album, Dylan), Supp. XVIII: 27 Nason, Elias, Supp. XV: 242 Nasser, Gamal Abdel, IV: 490 Natalie Mann (Toomer), Supp. III Part 2: 484–486 Nathan, George Jean, II: 91; III: 103, 104, 106, 107; IV: 432; Supp. IV Part 1: 343; Supp. IX: 56–57; Supp. XIII: 161 “Nathanael West” (Herbst), Retro. Supp. II: 325 Nathanael West: The Art of His Life (Martin), Retro. Supp. II: 325 Nathan Coulter (Berry), Supp. X: 24, 33 “Nationalist, The” (Anderson), I: 115 “Nation Is Like Ourselves, The” (Baraka), Supp. II Part 1: 53 “Native, The” (Olds), Supp. X: 215 “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 (Nabokov, ed.), Supp. IV Part 2: 490 “Native Blessing” (Ray), Supp. XVIII: 202 “Native Hill, A” (Berry), Supp. X: 21 Native in a Strange Land: Trials & Tremors (Coleman), Supp. XI: 84–85, 87 Native of Winby and Other Tales, A (Jewett), II: 396; Retro. Supp. II: 138 Native Son (Wright), IV: 476, 477, 478, 479, 481, 482–484, 485, 487, 488, 491, 495; Retro. Supp. II: 107, 116; Supp. I Part 1: 51, 64, 67, 337; Supp. II Part 1: 170, 235–236; Supp. IX: 306; Supp. XIV: 73; Supp. XVII: 155; Supp. XVIII: 283, 286 “Native Trees” (Merwin), Supp. III Part 1: 355 Natorp, Paul, Supp. XIV: 198 Natural, The (Malamud), II: 424, 425; Retro. Supp. II: 288; Supp. I Part 2: 438–441, 443 “Natural, The: Malamud’s World Ceres” (Wasserman), Supp. I Part 2: 439 “Natural History” (Olds), Supp. X: 210 “Natural History Note” (Hay), Supp. XIV: 124, 130 “Natural History of Some Poems, A” (Harrison), Supp. VIII: 53 “Natural History of the Dead” (Hemingway), II: 206; Retro. Supp. I: 176 “Naturally Superior School, A” (Knowles), Supp. XII: 235, 240–241 “Natural Method of Mental Philosophy” (Emerson), II: 14 “Natural Resources” (Rich), Supp. I Part 2: 575 Natural Selection (F. Barthelme), Supp. XI: 2, 28, 32, 33 Nature (Emerson), I: 463; II: 1, 8, 12, 16; IV: 171, 172–173

“Nature” (Emerson), Retro. Supp. I: 250; Supp. I Part 2: 383; Supp. III Part 1: 387; Supp. IX: 178 “Nature, Inc.” (Lewis), II: 441 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-Metaphors” (Lanier), Supp. I Part 1: 352 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’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 Martín 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 Neal, Larry, Retro. Supp. II: 112, 128; Supp. X: 324, 328 Neal, Lawrence P., 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 Damascus” (Di Piero), Supp. XIX: 43 Nearer the Moon: From “A Journal of Love,” the Unexpurgated Diary of Anaïs Nin, 1937–1939, Supp. X: 184, 185 Near-Johannesburg Boy and Other Poems, The (Brooks), Supp. III Part 1: 86 Near Klamath (Carver), Supp. III Part 1: 137 “Near Perigord” (Pound), Retro. Supp. I: 289, 290 Near the Ocean (Lowell), II: 543, 550, 551–553, 554, 555; Retro. Supp. II: 182, 186, 189–190 “Near View of the High Sierra, A” (Muir), Supp. IX: 183 Nebeker, Helen, Supp. IX: 122 “Nebraska Blizzard” (F. Wright), Supp. XVII: 247 Necessary Angel, The (Stevens), IV: 76, 79, 89, 90 Necessities of Life: Poems, 1962–1965 (Rich), Supp. I Part 2: 553, 555 “Necrological” (Ransom), III: 486–489, 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

450 / AMERICAN WRITERS “Need for Christian Preaching, The” (Buechner), Supp. XII: 49 Needful Things (King), Supp. V: 139, 146 “Needle” (Simic), Supp. VIII: 275 “Needle Trade” (Reznikoff), Supp. XIV: 277, 289 “Need of Being Versed in Country Things, The” (Frost), II: 154; Retro. Supp. I: 133, 135 Neel, Philippe, Supp. XIV: 338 Neelakantappa, Tara, Supp. XV: 104–105 Neeley, Barbara, Supp. XVI: 143 “Negative Capability” (Komunyakaa), Supp. XIII: 131 Negligible Tales (Bierce), I: 209 “Negotiating the Darkness, Fortified by Poets’ Strength” (Karr), Supp. XI: 254; Supp. XIII: 285 Negotiating with the Dead (Atwood), Supp. XIII: 20, 35 Negritude movement, Supp. X: 131, 139 “Negro” (Hughes), Supp. I Part 1: 321– 322 Negro, The (Du Bois), Supp. II Part 1: 178, 179, 185 Negro, The: The Southerner’s Problem (Page), Supp. II Part 1: 168 Negro and His Music, The (Locke), Supp. XIV: 202 “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 Art: Past and Present (Locke), Supp. XIV: 202 “Negro Assays the Negro Mood, A” (Baldwin), Supp. I Part 1: 52 “Negro Citizen, The” (Du Bois), Supp. II Part 1: 179 “Negro Dancers” (Hughes), Retro. Supp. I: 199; Supp. I Part 1: 324 Negroes in America, The (McKay), Supp. X: 132, 136 “Negroes of Farmville, Virginia, The: A Social Study” (Du Bois), Supp. II Part 1: 166 Negro Family, The: The Case for National Action (Moynihan), Retro. Supp. II: 123 “Negro Farmer, The” (Du Bois), Supp. II Part 1: 167 “Negro Ghetto” (Hughes), Supp. I Part 1: 331 Negro in America, The (Locke), Supp. XIV: 208 Negro in American Civilization, The (Du Bois), Supp. II Part 1: 179 Negro in American Culture, The (Locke and Butcher), Supp. XIV: 202–203 Negro in Art, The: A Pictorial Record of the Negro Artist and of the Negro Theme in Art (Locke), Supp. XIV: 202 “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 Three Americas, The” (Locke), Supp. XIV: 211 “Negro in the Well, The” (Caldwell), I: 309 “Negro Love Song, A” (Dunbar), Supp. II Part 1: 204 “Negro Martyrs Are Needed” (C. Himes), Supp. XVI: 138 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; Supp. XVIII: 285 Negro Publication Society of America, Retro. Supp. I: 205 “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 1: 168 “Negro’s Contribution to American Culture, The” (Locke), Supp. XIV: 210, 211 “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 Spirituals, The (Locke), Supp. XIV: 201 “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 “Negro Youth Speaks” (Locke), Supp. XIV: 201 “Nehemias Americanus” (Mather), Supp. II Part 2: 453 Nehru, Jawaharlal, IV: 490 “Neighbor” (Hugo), Supp. VI: 135–136 “Neighbors” (Carver), Supp. III Part 1: 135, 139, 141; Supp. XI: 153 “Neighbors” (Hogan), Supp. IV Part 1: 405 “Neighbors, The” (Hay), Supp. XIV: 126 “Neighbour Rosicky” (Cather), I: 331– 332 Neil Simon (Johnson), Supp. IV Part 2: 573 “Neil Simon’s Jewish-Style Comedies” (Walden), Supp. IV Part 2: 584, 591 “Neil Simon: Toward Act III?” (Walden), Supp. IV Part 2: 591 Neilson, Heather, Supp. IV Part 2: 681 Neiman, Gilbert, Supp. XV: 140

“Neither Out Far Nor In Deep” (Frost), I: 303; Retro. Supp. I: 121, 138 “Nellie Clark” (Masters), Supp. I Part 2: 461 Nelson, Alice Dunbar, Supp. XVII: 75 Nelson, Cary, Supp. XVIII: 226, 227, 230, 231 Nelson, Ernest, I: 388 Nelson, Howard, Supp. IV Part 1: 66, 68; Supp. XIX: 3 Nelson, Lord Horatio, II: 524 Nelson, Lynn (pseudonym). See Nelson, Marilyn Nelson, Marilyn, Supp. XVII: 74, 112; Supp. XVIII: 171–188 Nelson, Shirley, Supp. XII: 293 Nelson, Steve, Supp. XVIII: 226 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, III: 267–289; IV: 137, 140; Supp. III Part 2: 541; Supp. IV Part 2: 455, 650; Supp. IX: 114 Nemiroff, Robert Barron, Supp. IV Part 1: 360, 361, 365, 369, 370, 374 Neoconservative Criticism: Norman Podhoretz, Kenneth S. Lynn, and Joseph Epstein (Winchell), Supp. VIII: 241; Supp. XIV: 103 “Neo-Hoodoo Manifesto, The” (Reed), Supp. X: 242 Neon Rain, The (Burke), Supp. XIV: 22, 24, 26–27, 28–29, 30 Neon Vernacular (Komunyakaa), Supp. XIII: 121, 127–128, 131 Neon Wilderness, The (Algren), Supp. IX: 3, 4 Neo-Slave Narratives (Rushdy), Supp. X: 250 Nepantla: Essays from the Land in the Middle (Mora), Supp. XIII: 213, 219– 221, 227 Nephew, The (Purdy), Supp. VII: 271, 273, 282 “Nereids of Seriphos, The” (Clampitt), Supp. IX: 41 Nericcio, William, Supp. XIV: 304–305 Neruda, Pablo, Supp. I Part 1: 89; Supp. IV Part 2: 537; Supp. V: 332; Supp. VIII: 272, 274; Supp. IX: 157, 271; Supp. X: 112; Supp. XI: 191; Supp. XII: 217; Supp. XIII: 114, 315, 323 Nesbit, Edith, Supp. VIII: 171 Nesbitt, Robin, Supp. VIII: 89 Nessmuk (George Washington Sears), Supp. XIX: 10 Nesting Ground, The (Wagoner), Supp. IX: 324, 325–326 Nest of Ninnies, A (Ashbery and Schuyler), Supp. III Part 1: 3; Supp. XV: 178 Nets to Catch the Wind (Wylie), Supp. I Part 2: 709, 710–712, 714 Nettleton, Asahel, I: 458 “Net to Snare the Moonlight, A” (Lindsay), Supp. I Part 2: 387 Neubauer, Carol E., Supp. IV Part 1: 9

CUMULATIVE INDEX / 451 Neugeboren, Jacob Mordecai. See Neugeboren, Jay Neugeboren, Jay, Supp. XVI: 217–231 Neugroschel, Joachim, Supp. IX: 138 Neuhaus, Richard John, Supp. VIII: 245; Supp. XIX: 144 Neumann, Erich, Supp. I Part 2: 567; Supp. IV Part 1: 68, 69 Neuromancer (W. Gibson), Supp. XII: 15; Supp. XVI: 117, 119–120, 122, 124, 125–126, 127, 129, 131 Neurotica: Jewish Writers on Sex (Bukiet, ed.), Supp. XVII: 48 “Neurotic America and the Sex Impulse” (Dreiser), Retro. Supp. II: 105 Neutra, Richard, Supp. XVI: 192 “Never Bet the Devil Your Head” (Poe), III: 425; Retro. Supp. II: 273 Never Come Morning (Algren), Supp. IX: 3, 7–9 Never in a Hurry: Essays on People and Places (Nye), Supp. XIII: 273, 280– 282, 286 “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 2: 486, 493 “Nevsky Prospekt” (Olds), Supp. X: 205 New Adam, The (Untermeyer), Supp. XV: 304, 305 New Addresses (Koch), Supp. XV: 177, 184 “New Age of the Rhetoricians, The” (Cowley), Supp. II Part 1: 135 New American Cyclopedia, Supp. XVIII: 4 New American Literature, The (Pattee), II: 456 New American Novel of Manners, The (Klinkowitz), Supp. XI: 347 “New American Ode, The” (Wright), Supp. XV: 346 New American Poetry, 1945–1960 (Allen, ed.), Supp. XIII: 112 New American Poetry, The (Allen, ed.), Supp. VIII: 291, 292 “New American Writer, A” (W. C. Williams), Retro. Supp. II: 335 New and Collected Poems (Reed), Supp. X: 241 New and Collected Poems (Wilbur), Supp. III 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 Poems (W. J. Smith), Supp. XIII: 332 New and Selected Poems: 1974–1994 (Dunn), Supp. XI: 151–152 New and Selected Things Taking Place (Swenson), Supp. IV Part 2: 648– 650, 651 “New Art Gallery Society, The” (Wolfe), Supp. III Part 2: 580

Newberger, Julee, Supp. XVIII: 168 “New Capitalist Tool, The” (Wasserstein), Supp. XV: 328 Newcomb, Ralph, Supp. XIII: 12 Newcomb, Robert, II: 111 New Conscience and an Ancient Evil, A (Addams), Supp. I Part 1: 14–15, 16 “New Conservatism in American Poetry, The” (Wakoski), Supp. XVII: 112 “New Conservatives, The: Intellectuals in Retreat” (Epstein), Supp. XIV: 103 New Criticism, The (Ransom), III: 497– 498, 499, 501 “New Day, A” (Levine), Supp. V: 182 Newdick, Robert Spangler, Retro. Supp. I: 138 Newdick’s Season of Frost (Newdick), Retro. Supp. I: 138 New Dictionary of Quotations, A (Mencken), III: 111 New Directions Anthology in Prose and Poetry (Laughlin, ed.), Supp. XVI: 284 “New Directions in Poetry” (D. Locke), Supp. IX: 273 “New Dog, The: Variations on a Text by Jules Laforgue” (C. Frost), Supp. XV: 98 Newell, Henry, IV: 193 “New England” (Lowell), II: 536 “New England” (Robinson), III: 510, 524 “New England Bachelor, A” (Eberhart), I: 539 “New Englander, The” (Anderson), I: 114 New England Girlhood, A (Larcom), Supp. XIII: 137, 142, 143, 144, 147– 154 New England: Indian Summer (Brooks), I: 253, 256 New England Local Color Literature (Donovan), Retro. Supp. II: 138 “New England Sabbath-Day Chace, The” (Freneau), Supp. II Part 1: 273 New-England Tale, A (Sedgwick), I: 341 New England Tragedies, The (Longfellow), II: 490, 505, 506; Retro. Supp. II: 165, 167 New Era in American Poetry, The (Untermeyer, ed.), Supp. XV: 301, 303, 306 Newer Ideals of Peace (Addams), Supp. I Part 1: 11–12, 15, 16–17, 19, 20–21 New Feminist Criticism, The: Essays on Women, Literature, and Theory (Showalter), Supp. X: 97 “New Folsom Prison” (Matthews), Supp. IX: 165 New Formalism, The: A Critical Introduction (McPhillips), Supp. XV: 250, 251, 252, 264 New Found Land: Fourteen Poems (MacLeish), III: 12–13 “New Hampshire, February” (Eberhart), I: 536 New Hampshire: A Poem with Notes and Grace Notes (Frost), II: 154–155; Retro. Supp. I: 132, 133, 135 New Hard-Boiled Writers (Panek), Supp. XIV: 27

“New Home” (Richter), Supp. XVIII: 209 New Industrial State, The (Galbraith), Supp. I Part 2: 648 “New Journalism, The” (Wolfe), Supp. III Part 2: 571 New Journalism, The (Wolfe and Johnson, eds.), Supp. III Part 2: 570, 579–581, 583, 586 New Left, The: The Anti-Industrial Revolution (Rand), Supp. IV Part 2: 527 “New Letters from Thomas Jefferson” (Stafford), Supp. XI: 324 New Letters on the Air: Contemporary Writers on Radio, Supp. X: 165, 169, 173 “New Life” (Glück), Supp. V: 90 New Life, A (Malamud), Supp. I Part 2: 429–466 “New Life, The” (Bynner), Supp. XV: 44 “New Life at Kyerefaso” (Sutherland), Supp. IV Part 1: 9 “New Light on Veblen” (Dorfman), Supp. I Part 2: 650 Newman, Charles, Supp. I Part 2: 527, 546–548 Newman, Edwin, Supp. IV Part 2: 526 Newman, Judie, Supp. IV Part 1: 304, 305 Newman, Paul, Supp. IV Part 2: 473, 474 New Man, The (Merton), Supp. VIII: 208 “New Mecca, The” (Saunders), Supp. XIX: 235, 236 “New Medea, The” (Howells), II: 282 New Mexico trilogy (Nichols), Supp. XIII: 269 New Morning (album, Dylan), Supp. XVIII: 27, 33 “New Mother” (Olds), Supp. X: 206 “New Mothers, The” (Shields), Supp. VII: 310 New Music (Price), Supp. VI: 264, 265 “New Mutants, The” (Fiedler), Supp. XIII: 104 “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), Supp. XIX: 69 “New Negro, The” (Locke), Supp. XIV: 201 New Negro, The (Locke, ed.), Supp. II Part 1: 176; Supp. IX: 309; Supp. X: 137 New Negro, The: An Interpretation (Locke, ed.), Retro. Supp. I: 199; Supp. IV Part 1: 170; Supp. XIV: 195, 201–202 New Negro for a New Century, A (Washington, Wood, and Williams), Supp. XIV: 201 New New Journalism, The (R. Boynton), Supp. XVII: 209 “New Nomads, The” (E. Hoffman), Supp. XVI: 161

452 / AMERICAN WRITERS “New Orleans” (Carruth), Supp. XVI: 50 New Orleans Sketches (Faulkner), Retro. Supp. I: 80 New Path to the Waterfall, A (Carver), Supp. III 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 Poems 1960 (Bynner), Supp. XV: 51 New Poems: 1980–88 (Haines), Supp. XII: 209–210 New Poetry, The (Monroe and Henderson, eds.), Supp. I Part 2: 387 “New Poetry Handbook, The” (Strand), Supp. IV Part 2: 626 New Poetry of Mexico (Strand, trans.), Supp. IV Part 2: 630 New Poets of England and America (Hall, Pack, and Simpson, eds.), Supp. IV Part 2: 621 “Newport of Anchuria” (Henry), Supp. II Part 1: 409 New Princeton Encyclopedia of Poetry and Poetics (Preminger and Brogan, eds.), Supp. XV: 250 “New Republic Moves Uptown, The” (Cowley), Supp. II Part 1: 142 “New Rose Hotel” (W. Gibson), Supp. XVI: 120, 122, 124 “News, The” (McClatchy), Supp. XII: 269 “New Season” (Levine), Supp. V: 188 New Seeds of Contemplation (Merton), Supp. VIII: 200, 208 News from the Glacier: Selected Poems 1960–1980 (Haines), Supp. XII: 207, 208–209 “News Item” (Parker), Supp. IX: 190 New Song, A (Hughes), Retro. Supp. I: 202; Supp. I Part 1: 328, 331–332 “New South, The” (Lanier), Supp. I Part 1: 352, 354, 370 New Southern Girl, The: Female Adolescence in the Works of 12 Women Authors (Town), Supp. XVIII: 195 Newspaper Days, 1899–1906 (Mencken), III: 100, 102, 120 “New Spirit, The” (Ashbery), Supp. III Part 1: 14, 15 New Spoon River, The (Masters), Supp. I Part 2: 461–465, 473 New Star Chamber and Other Essays, The (Masters), Supp. I Part 2: 455–456, 459 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; Supp. I Part 2: 516; Supp. XVII: 155. 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 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 Newton, Sarah Emily, Supp. XV: 234 “New-Wave Format, A” (Mason), Supp. VIII: 141, 143, 147 New West of Edward Abbey, The (Ronald), Supp. XIII: 4 “New Wife” (Halliday), Supp. XIX: 89 New Wolves, The: The Return of the Mexican Wolf to the American Southwest (Bass), Supp. XVI: 26–27 New Woman’s Survival Sourcebook, The (Rennie and Grimstead, eds.), Supp. I Part 2: 569 New World, The (Bynner), Supp. XV: 41, 42 New World, The: Tales (Banks), Supp. V: 8, 9, 10 New World Naked, A (Mariani), Retro. Supp. I: 419 New Worlds of Literature (Beaty and Hunter, eds.), Supp. IV Part 1: 331 New World Writing (Updike), IV: 217 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/1929 (Farrell), II: 43 “New Year’s Eve 1968” (Lowell), II: 554 “New Year’s Gift, The” (Stowe), Supp. I Part 2: 587 “New Year Two Thousand, The” (Weigl), Supp. XIX: 287–288 “New York” (Capote), Supp. III Part 1: 122 “New York” (Moore), III: 196, 198, 202, 206 “New York 1965” (Bowles), Supp. IV Part 1: 94 New York: A Serendipiter’s Journey (Talese), Supp. XVII: 202, 203 “New York Breeze” (Halliday), Supp. XIX: 85 New York City Arts Project, Supp. III Part 2: 618 “New York City in 1979“(Acker), Supp. XII: 5 New York Edition, Retro. Supp. I: 235 “New York Edition” (James), II: 336, 337 “New York Gold Conspiracy, The” (Adams), I: 4 New York Hat, The (film; Griffith), Supp. XVI: 183 New York Intellectuals, Supp. VIII: 93 “New York Intellectuals, The” (Howe), Supp. VI: 120 “New York Is a City of Things Unnoticed” (Talese), Supp. XVII: 202, 209 New York Jew (Kazin), Supp. VIII: 95, 97–100 “New York Theater: Isn’ t It Romantic” (Wasserstein), Supp. XV: 320 New York Trilogy, The (Auster), Supp. XII: 21, 24–28 Next (McNally), Supp. XIII: 197 “Next in Line, The” (Bradbury), Supp. IV Part 1: 102

Next Room of the Dream, The (Nemerov), III: 269, 275, 278, 279–280, 284 “Next Time I Crossed the Line into Oklahoma, The” (Wright), Supp. XV: 345 Next-to-Last Things: New Poems and Essays (Kunitz), Supp. III Part 1: 257– 259, 261, 262, 265, 266, 268 “’ Next to Reading Matter’ ” (Henry), Supp. II Part 1: 399 Nexus (H. Miller), III: 170, 187, 188, 189 Niatum, Duane, Supp. IV Part 1: 331; Supp. IV Part 2: 505 Nice and Noir (Schwartz), Supp. XIV: 23 “Nice Girl” (Nelson), Supp. XVIII: 178 Nice Jewish Boy, The (P. Roth), Supp. III Part 2: 412 Nicholas II, Tsar, Supp. I Part 2: 447 “Nicholas in the Park” (Halliday), Supp. XIX: 88 Nicholls, Peter, Supp. XIX: 232 Nichols, Charles, Retro. Supp. I: 194 Nichols, Dudley, Supp. XVIII: 247 Nichols, John Treadwell, Supp. XIII: 253–272 Nichols, Luther, Supp. X: 265 Nichols, Mike, Supp. IV Part 1: 234; Supp. IV Part 2: 577 Nicholson, Colin, Supp. VIII: 129 Nicholson, Harold, Supp. XIV: 163 Nicholson, Jack, Supp. V: 26; Supp. VIII: 45; Supp. XI: 308 Nicholson, John, Supp. XVI: 293 Nick Adams Stories, The (Hemingway), II: 258; Retro. Supp. I: 174 “Nick and the Candlestick” (Plath), Supp. I Part 2: 544 Nickel and Dimed: On (Not) Getting By in America (Ehrenreich), Supp. XVII: 210 Nickel Mountain: A Pastoral Novel (Gardner), Supp. VI: 63, 64, 68, 69 “Nicodemus” (Keillor), Supp. XVI: 167 Nicoll, Allardyce, III: 400 Nicoloff, Philip, II: 7 Niebuhr, Gustav, III: 292 Niebuhr, H. Richard, I: 494 Niebuhr, Lydia, III: 292 Niebuhr, Reinhold, III: 290–313; Supp. I Part 2: 654 Niedecker, Lorine, Supp. III Part 2: 616, 623; Supp. XIV: 287 Nielsen, Ed, Supp. IX: 254 Nielson, Dorothy, Supp. I Part 2: 659 Nietzsche, Friedrich Wilhelm, I: 227, 283, 383, 389, 396, 397, 402, 509; II: 7, 20, 27, 42, 90, 145, 262, 462, 463, 577, 583, 585; III: 102–103, 113, 156, 176; IV: 286, 491; Supp. I Part 1: 254, 299, 320; Supp. I Part 2: 646; Supp. IV Part 1: 104, 105–106, 107, 110, 284; Supp. IV Part 2: 519; Supp. V: 277, 280; Supp. VIII: 11, 181, 189; Supp. X: 48; Supp. XII: 98; Supp. XIV: 339 Nieves, Felipe, Supp. XVIII: 90 Niflis, N. Michael, Supp. IV Part 1: 175

CUMULATIVE INDEX / 453 Nigger Heaven (Van Vechten), Supp. II Part 2: 739, 744–746; Supp. XVIII: 123, 127; Supp. XIX: 76 “Nigger Jeff” (Dreiser), Retro. Supp. II: 97 Nigger of the “Narcissus,” The (Conrad), II: 91; Retro. Supp. I: 106; Supp. XVIII: 224 “NIGGY THE HO” (Baraka), Supp. II Part 1: 54 “Night, Death, Mississippi” (Hayden), Supp. II Part 1: 369 ’ Night, Mother (Norman), Supp. VIII: 141 “Night above the Avenue” (Merwin), Supp. III Part 1: 355 “Night among the Horses, A” (Barnes), Supp. III Part 1: 33–34, 39, 44 Night at the Movies, A, or, You Must Remember This: Fictions (Coover), Supp. V: 50–51 “Night at the Opera, A” (Matthews), Supp. IX: 167 “Night before the Sentence Is Carried Out, The” (Wright), Supp. XV: 341 “Nightbird” (Komunyakaa), Supp. XIII: 132 Night-Blooming Cereus, The (Hayden), Supp. II Part 1: 367, 373 “Night-Blooming Cereus, The” (Hayden), Supp. II Part 1: 367 Night-Born, The (London), II: 467 “Nightbreak” (Rich), Supp. I Part 2: 556 Night Dance (Price), Supp. VI: 264 “Night Dances, The” (Plath), Supp. I Part 2: 544 “Night Dream, The” (MacLeish), III: 15 “Night Ferry” (Doty), Supp. XI: 124 “Nightfishing” (Schnackenberg), Supp. XV: 254 “Night I Met Little Floyd, The” (Wright), Supp. XV: 345–346 Night in Acadie, A (Chopin), Retro. Supp. II: 66–67, 73; Supp. I Part 1: 200, 219, 220, 224 “Night in Acadie, A” (Chopin), Retro. Supp. II: 66 “Night in June, A” (W. C. Williams), Retro. Supp. I: 424 “Night in New Arabia, A” (Henry), Supp. II Part 1: 402 Night in Question, The: Stories (Wolff), Supp. VII: 342–344 “Night Journey” (Roethke), Supp. III Part 1: 260 Night Light (Justice), Supp. VII: 126– 127 “Nightmare” (Kumin), Supp. IV Part 2: 442 Nightmare Factory, The (Kumin), Supp. IV Part 2: 444–447, 451 “Nightmare Factory, The” (Kumin), Supp. IV Part 2: 445, 453 Nightmare on Main Street (Poe), Retro. Supp. II: 262 “Nightmare” poems (Benét), Supp. XI: 46, 58 “Night Mirror” (L.-Y. Lee), Supp. XV: 225

Night Music (Odets), Supp. II Part 2: 541, 543, 544 “Night of First Snow” (R. Bly), Supp. IV Part 1: 71 Night of January 16th (Rand), Supp. IV Part 2: 527 Night of the Iguana, The (T. Williams), IV: 382, 383, 384, 385, 386, 387, 388, 391, 392, 393, 394, 395, 397, 398 “Night of the Iguana, The” (T. Williams), IV: 384 “Night of the Living Beanfield: How an Unsuccessful Cult Novel Became an Unsuccessful Cult Film in Only Fourteen Years, Eleven Nervous Breakdowns, and $20 Million” (Nichols), Supp. XIII: 267 Night Passage (Parker), Supp. XIX: 185–186 Night Rider (Warren), IV: 243, 246–247 Nights (Doolittle), Supp. I Part 1: 270, 271 Nights and Days (Merrill), Supp. III Part 1: 319, 320, 322–325 “Nights and Days” (Rich), Supp. I Part 2: 574 “Night’s for Cryin’ , The” (C. Himes), Supp. XVI: 137 “Night Shift” (Plath), Supp. I Part 2: 538 Night-Side (Oates), Supp. II Part 2: 522 “Night-Side” (Oates), Supp. II Part 2: 523 Nights in the Gardens of Brooklyn (Swados), Supp. XIX: 261–264 “Nights in the Gardens of Brooklyn” (Swados), Supp. XIX: 261 “Night Sketches: Beneath an Umbrella” (Hawthorne), II: 235–237, 238, 239, 242 “Night Sport” (Hoffman), Supp. XVIII: 86, 87 “Night-Sweat” (Lowell), II: 554 “Night-Talk” (Ellison), Retro. Supp. II: 126; Supp. II Part 1: 248 Night Thoughts (Young), III: 415 Night Traveler, The (Oliver), Supp. VII: 233 “Night Watch” (Gioia), Supp. XV: 117 “Night Watch, The” (Wright), Supp. V: 339 “Night We All Had Grippe, The” (Jackson), Supp. IX: 118 Nightwood (Barnes), Supp. III Part 1: 31, 32, 35–37, 39–43 Night World and the Word Night, The (F. Wright), Supp. XVII: 240, 244–245 “Nihilist as Hero, The” (Lowell), II: 554; Retro. Supp. II: 190 Nijinsky, Vaslav, Supp. XV: 28–29 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 Nilsson, Harry, Supp. XI: 309 Nilsson, Jenny Lind, Supp. XVI: 177 Nimitz, Chester, Supp. I Part 2: 491 “Nimram” (Gardner), Supp. VI: 73

Nims, John Frederick, III: 527; Supp. XVII: 112 Nin, Anaïs, III: 182, 184, 190; Supp. III Part 1: 43; Supp. IV Part 2: 680; Supp. X: 181–200; Supp. XIX: 134 “9” (Oliver), Supp. VII: 244 “9 Failures of the Imagination” (Lethem), Supp. XVIII: 148 “Nine-Ball” (Offutt), Supp. XIX: 166, 167 “Nine from Eight” (Lanier), Supp. I Part 1: 352–354 Nine Headed Dragon River: Zen Journals 1969–1982 (Matthiessen), Supp. V: 199 Ninemile Wolves,The (Bass), Supp. XVI: 24–25, 26 “Nine Nectarines” (Moore), III: 203, 209, 215 Nine Plays (Reznikoff), Supp. XIV: 288 “Nine Poems for the Unborn Child” (Rukeyser), Supp. VI: 280–281, 284 Nine Stories (Nabokov), Retro. Supp. I: 266 Nine Stories (Salinger), III: 552, 558– 564 “19 Hadley Street” (Schnackenberg), Supp. XV: 253 19 Necromancers from Now (Reed), Supp. X: 240 19 Varieties of Gazelle (Nye), Supp. XIII: 275, 286–288 “19 Varieties of Gazelle” (Nye), Supp. XIII: 286 1984 (Orwell), Supp. XIII: 29; Supp. XVIII: 137, 138 “1940” (Stafford), Supp. XI: 328–329 “1945–1985: Poem for the Anniversary” (Oliver), Supp. VII: 237 1919 (Dos Passos), I: 482, 485–486, 487, 489, 490, 492 “1975” (Wright), Supp. V: 341 “1910” (Mora), Supp. XIII: 215 “1938” (Komunyakaa), Supp. XIII: 114 “1939” (Taylor), Supp. V: 316 1933 (Levine), Supp. V: 185–187 “1933” (Levine), Supp. V: 188 “Nineteenth New York, The” (Doctorow), Supp. IV Part 1: 232 “1929” (Auden), Supp. II Part 1: 6 “1926” (Kees), Supp. XV: 135 “93990” (Saunders), Supp. XIX: 233 “90 North” (Jarrell), II: 370, 371 90 Trees (Zukofsky), Supp. III Part 2: 631 95 Poems (Cummings), I: 430, 433, 435, 439, 446, 447 “91 Revere Street” (Lowell), II: 547; Retro. Supp. II: 188; Supp. XI: 240 Ninety Percent of Everything (Lethem, Kelly and Kessel), Supp. XVIII: 145 “Nine Years Later” (Brodsky), Supp. VIII: 32 “Nirvana” (Lanier), Supp. I Part 1: 352 Nirvana Blues, The (Nichols), Supp. XIII: 266, 267 Nishikigi (play), III: 466 Niven, David, Supp. XI: 307 Nixon (film), Supp. XIV: 48

454 / AMERICAN WRITERS Nixon, Richard M., I: 376; III: 38, 46; Supp. I Part 1: 294, 295; Supp. V: 45, 46, 51; Supp. XII: 14; Supp. XIV: 306 “NJ Transit” (Komunyakaa), Supp. XIII: 132 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; Supp. X: 135 Noailles, Anna de, IV: 328 Noa Noa (Gauguin), I: 34 Nobel Lecture (Singer), Retro. Supp. II: 300 “No Better Than a ‘Withered Daffodil’ ” (Moore), III: 216 Noble, David W., Supp. I Part 2: 650 Noble, Marianne, Supp. XVIII: 267 “Noble Rider and the Sound of Words, The” (Stevens), Retro. Supp. I: 299 Noble Savage, The (Coover), Supp. V: 40 “No Bobolink reverse His Singing” (Dickinson), Retro. Supp. I: 45 Nobodaddy (MacLeish), III: 5–6, 8, 10, 11, 18, 19, 20 “Nobodaddy” (W. Blake), Supp. XVII: 245 “Nobody in Hollywood” (Bausch), Supp. VII: 54 Nobody Knows My Name (Baldwin), Supp. XIII: 111 “Nobody Knows My Name” (Baldwin), Retro. Supp. II: 8; Supp. I Part 1: 52 Nobody Knows My Name: More Notes of a Native Son (Baldwin), Retro. Supp. II: 6, 8; Supp. I Part 1: 47, 52, 55 “Nobody knows this little Rose” (Dickinson), Retro. Supp. I: 30 “Nobody Said Anything” (Carver), Supp. III Part 1: 141 Nobody’s Fool (Russo), Supp. XII: 326, 331–335, 340 “No Change of Place” (Auden), Supp. II Part 1: 5 “Noche Triste, La” (Frost), Retro. Supp. I: 123 Nock, Albert Jay, I: 245; Supp. IV Part 2: 521, 524 “No Coward Soul Is Mine” (Brontë), I: 458 “No Crime in the Mountains” (Chandler), Supp. IV Part 1: 129 “Nocturne” (Komunyakaa), Supp. XIII: 126 “Nocturne” (MacLeish), III: 8 “Nocturne in a Deserted Brickyard” (Sandburg), III: 586 Nocturne of Remembered Spring (Aiken), I: 50 No Direction Home (documentary film, Scorsese), Supp. XVIII: 22, 23, 29 No Direction Home (Shelton), Supp. XVIII: 21 No Door (Wolfe), IV: 451–452, 456 “No Door” (Wolfe), IV: 456 “No Epitaph” (Carson), Supp. XII: 111

No Exit (Sartre), I: 82, 130; Supp. XIV: 320 No Exit (Sartre; Bowles, trans.), Supp. IV Part 1: 84 No Gifts from Chance (Benstock), Retro. Supp. I: 361 “No-Good Blues” (Komunyakaa), Supp. XIII: 130 No Hero (Marquand), III: 57 No Heroes: A Memoir of Coming Home (Offutt), Supp. XIX: 163, 172–174, 175 No! In Thunder (Fiedler), Supp. XIII: 101 “Noiseless Patient Spider” (Whitman), III: 555; IV: 348; Supp. IV Part 1: 325 Noises Off (Frayn), Supp. IV Part 2: 582 Noi vivi. See We the Living (film) “No Jury Would Convict” (Shaw), Supp. XIX: 245 “No Lamp Has Ever Shown Us Where to Look” (MacLeish), III: 9 Nolan, Sidney, Retro. Supp. II: 189 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 Mother to Guide Her (Loos), Supp. XVI: 194 No Name in the Street (Baldwin), Retro. Supp. II: 13, 14; Supp. I Part 1: 47, 48, 52, 65–66, 67 No Nature: New and Selected Poems (Snyder), Supp. VIII: 305 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 Nones (Auden), Supp. II Part 1: 21 “Nones” (Auden), Supp. II Part 1: 22–23 None Shall Look Back (Gordon), II: 205– 207, 208 “No No, Bad Daddy” (Nelson), Supp. XVIII: 177, 178 “Non-Tenured” (Halliday), Supp. XIX: 90, 91 Nonverbal Communication: Notes on the Visual Perception of Human Relations (Kees and Ruesch), Supp. XV: 147 “Noon” (Bryant), Supp. I Part 1: 157 “No One Remembers” (Levine), Supp. V: 187 “Noon Walk on the Asylum Lawn” (Sexton), Supp. II Part 2: 673 “Noon Wine” (Porter), III: 436, 437–438, 442, 446 “No Pain Whatsoever” (Yates), Supp. XI: 341 “No Place for You, My Love” (Welty), IV: 278, 279; Retro. Supp. I: 353 No Plays of Japan, The (Waley), III: 466 No Pockets in a Shroud (McCoy), Supp. XIII: 166–168, 171, 172, 173, 174 “No Poem So Fine” (Francis), Supp. IX: 83

Norcross, Frances, I: 456, 462 Norcross, Louise, I: 456, 462 Nordyke, Lewis, Supp. XIII: 5 No Relief (Dixon), Supp. XII: 139, 142– 143 No Resting Place (Humphrey), Supp. IX: 94, 106–108 Norfolk Poems, The (Carruth), Supp. XVI: 47, 48 Norma (Bellini), IV: 309 Norma Ashe (Glaspell), Supp. III Part 1: 175, 186–187 “Normal Motor Adjustments” (Stein and Solomons), IV: 26 Norman, Charles, III: 479 Norman, Gurney, Supp. X: 24 Norman, Marsha, Supp. VIII: 141 Norman Mailer (Poirier), Retro. Supp. II: 207–208 Norman Mailer: Modern Critical Views (Bloom), Retro. Supp. II: 205 Norman Mailer Revisited (Merrill), Retro. Supp. II: 201 Norna; or, The Witch’s Curse (Alcott), Supp. I Part 1: 33 Norris, Charles, III: 320; Retro. Supp. I: 100; Supp. XVIII: 226 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. I: 100, 325; Retro. Supp. II: 96, 101; Supp. III Part 2: 412; Supp. VIII: 101, 102; Supp. IX: 14, 15; Supp. XV: 115 “North” (Budbill), Supp. XIX: 7–8 “North” (Hugo), Supp. VI: 135 North, Milou (pseudonym), Supp. IV Part 1: 260. See also Dorris, Michael; Erdrich, Louise North, Sir Thomas, IV: 370 “North American Sequence” (Roethke), I: 171–172, 183; III: 529, 545, 547, 548 “North Beach” (Snyder), Supp. VIII: 289 “North Country Sketches” (McClatchy), Supp. XII: 256 “Northeast Playground” (Paley), Supp. VI: 226–227, 229 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 “North Haven” (Bishop), Retro. Supp. II: 50 “North Labrador” (Crane), I: 386 North of Boston (Frost), II: 152, 153– 154, 527; Retro. Supp. I: 121, 125, 127, 128–130, 131; Supp. I Part 1: 263; Supp. XIII: 146 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 Northrup, Cyrus, Supp. I Part 1: 350 North Sea (Jarman), Supp. XVII: 110, 113

CUMULATIVE INDEX / 455 “North Sea Undertaker’s Complaint, The” (Lowell), II: 550 North & South (Bishop), Retro. Supp. II: 41–43; Supp. I Part 1: 72, 84, 85, 89 North Star, The (Hellman), Supp. I Part 1: 281 Northup, Solomon, Supp. XIV: 32 “North Winter” (Carruth), Supp. XVI: 53 Norton, Charles Eliot, I: 223, 568; II: 279, 322–323, 338; Retro. Supp. I: 371; Retro. Supp. II: 135; Supp. I Part 1: 103; Supp. I Part 2: 406, 479 Norton, Jody, Supp. VIII: 297 Norton, John, Supp. I Part 1: 99, 110, 112, 114 Norton Anthology of African American Literature, The, Supp. X: 325 Norton Anthology of American Literature, Supp. X: 325; Supp. XV: 270 Norton Anthology of Literature by Women (Gilbert and Gubar, eds.), Supp. XV: 270 Norton Anthology of Modern Poetry, The, Supp. XI: 259; Supp. XV: 258 Norton Anthology of Poetry, The, Supp. XVIII: 20 Norton Anthology of Short Fiction, The, Supp. IX: 4 Norton Book of Personal Essays, The, Supp. XIV: 105 Norton Lectures, Retro. Supp. I: 65 Norwood, Vera, Supp. IX: 24 No Safe Harbour (Porter), III: 447 Nosferatu: An Opera Libretto (Gioia), Supp. XV: 112, 128 “Nosferatu’s Serenade” (Gioia), Supp. XV: 128 No Siege Is Absolute (Char; version of F. Wright), Supp. XVII: 244 “No Snake” (A. Finch), Supp. XVII: 72 “No Speak English” (Cisneros), Supp. VII: 63 “Nostalgia” (Saunders), Supp. XIX: 235 “Nostalgia of the Lakefronts” (Justice), Supp. VII: 118, 119, 120 “Nostalgic Mood” (Farrell), II: 45 No Star Is Lost (Farrell), II: 34, 35, 44 Nostrandt, Jeanne, Supp. XVIII: 80–81 Nostromo (Conrad), II: 600; IV: 245 “Nosty Fright, A” (Swenson), Supp. IV Part 2: 651 Not about Nightingales (T. Williams), IV: 381 “Not a Womb in the House” (Quindlen), Supp. XVII: 166, 171 Not Coming to Be Barked At (Kooser), Supp. XIX: 116, 120 Not Dancing (Dunn), Supp. XI: 143, 148 “Note about Iconographs, A” (Swenson), Supp. IV Part 2: 646 Notebook (Lowell), Retro. Supp. II: 186, 190; Supp. V: 343 Notebook 1967–68 (Lowell), II: 553– 555; Retro. Supp. II: 182, 186, 190 Notebook of Malte Laurids Brigge, The (Rilke), III: 571 Notebooks (Fitzgerald), Retro. Supp. I: 110

“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” (P. 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 “Note on the Limits of ‘History’ and the Limits of ‘Criticism’ , A” (Brooks), Supp. XIV: 11 “Note on the Poetry of Love, A” (Untermeyer), Supp. XV: 304 “Note on the Truth of the Tales, A” (Vollmann), Supp. XVII: 230 “Notes” (Dove), Supp. IV Part 1: 246 “Notes for a Moving Picture: The House” (Agee), I: 33, 34 “Notes for an Autobiography” (Van Vechten), Supp. II Part 2: 749 “Notes for a Novel About the End of the World” (Percy), Supp. III Part 1: 393 “Notes for a Preface” (Sandburg), III: 591, 596–597 “NOTES FOR A SPEECH” (Baraka), Supp. II Part 1: 33 Notes for the Green Box (Duchamp), Supp. IV Part 2: 423 Notes from a Bottle Found on the Beach at Carmel (Connell), Supp. XIV: 80, 87, 96, 97 Notes from a Sea Diary: Hemingway All the Way (Algren), Supp. IX: 16 “Notes from the Childhood and Girlhood” (Brooks), Supp. III Part 1: 77 “Notes from the River” (Stern), Supp. IX: 285, 287, 294, 295 Notes from Underground (Dostoevsky), III: 571; IV: 485; Retro. Supp. II: 121 “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), Retro. Supp. II: 1, 2, 3, 5, 6; Supp. I Part 1: 50, 52, 54; Supp. IV Part 1: 163 “Notes of a Native Son” (Baldwin), Supp. I Part 1: 50, 54 Notes of a Son and Brother (James), II: 337; Retro. Supp. I: 235 “Notes on a Departure” (Trilling), Supp. III Part 2: 498 “Notes on Babbitt and More” (Wilson), IV: 435 “Notes on ‘Camp’ ” (Sontag), Supp. III Part 2: 455–456 “Notes on Camp” (Sontag), Supp. XIV: 167 Notes on Democracy (Mencken), III: 104, 107–108, 109, 116, 119 “Notes on Free Verse” (Dobyns), Supp. XIII: 77 “Notes on ‘Layover’ ” (Hass), Supp. VI: 109

“Notes on Memory and Enthusiasm” (Di Piero), Supp. XIX: 42 Notes on Novelists (James), II: 336, 337; Retro. Supp. I: 235 “Notes on Nukes, Nookie, and NeoRomanticism” (Robbins), Supp. X: 272 “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 on the New Formalism” (Gioia), Supp. XV: 113, 114–115 “Notes on the Novel-as-Autobiography” (P. Bailey), Supp. XVI: 69 Notes on the State of Virginia (1781– 1782) (Jefferson), Supp. XIV: 191 “Notes to Be Left in a Cornerstone” (Benét), Supp. XI: 46, 58 “Notes toward a Supreme Fiction” (Stevens), IV: 87–89; Retro. Supp. I: 300, 306, 306–309, 311; Supp. I Part 1: 80 “Notes towards a Poem That Can Never Be Written” (Atwood), Supp. XIII: 34–35 “Not Exactly for Talia” (Halliday), Supp. XIX: 94 No Thanks (Cummings), I: 430, 431, 432, 436, 437, 441, 443, 446 “Nothing” (C. Frost), Supp. XV: 94 “Nothing Big” (Komunyakaa), Supp. XIII: 121 Nothing for Tigers (Carruth), Supp. XVI: 47, 48, 50 “Nothing Gold Can Stay” (Frost), Retro. Supp. I: 133 “Nothing in Heaven Functions as It Ought” (X. J. Kennedy), Supp. XV: 158–159 Nothing Makes You Free: Writings by Descendants of Jewish Holocaust Survivors (Bukiet, ed.), Supp. XVII: 39– 40, 48–49 “Nothing Missing” (O’ Hara), III: 369 Nothing Personal (Baldwin), Supp. I Part 1: 58, 60 Nothing Sacred (film), Supp. XVIII: 243 “Nothing Song, The” (Snodgrass), Supp. VI: 326 “Nothing Stays Put” (Clampitt), Supp. IX: 42 “Nothing Will Yield” (Nemerov), III: 279 No Third Path (Kosinski), Supp. VII: 215 “Not Ideas About the Thing but the Thing Itself” (Stevens), IV: 87 Notions of the Americans: Picked up by a Travelling Bachelor (Cooper), I: 343– 345, 346 “Not-Knowing” (Barthelme), Supp. IV Part 1: 48 “Not Leaving the House” (Snyder), Supp. VIII: 300 “’ Not Marble nor the Gilded Monument’ ” (MacLeish), III: 12 “Not My Bones” (Nelson), Supp. XVIII: 183

456 / AMERICAN WRITERS Not Now But Now (M. F. K. Fisher), Supp. XVII: 86, 90 “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 Somewhere Else, but Here” (Rich), Supp. I Part 2: 552, 573 Not-So-Simple Neil Simon (McGovern), Supp. IV Part 2: 573 Not So Simple: The “Simple” Stories by Langston Hughes (Harper), Retro. Supp. I: 194, 209 “Not the Point” (Cameron), Supp. XII: 83 “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; Supp. XIX: 73, 154 Nouvelle Héloïse, La (Rousseau), Supp. XV: 232 Nova Express (Burroughs), Supp. III Part 1: 93, 103, 104; Supp. XVIII: 137 Novel, The (Bulwer), Retro. Supp. II: 58 “Novel as a Function of American Democracy, The” (Ellison), Retro. Supp. II: 124 “Novel Démeublé, The” (Cather), Retro. Supp. I: 15 Novel History: Historians and Novelists Confront America’s Past (and Each Other) (Carnes), Supp. X: 14 “Novelists of 2007” (Halliday), Supp. XIX: 90 Novella (Goethe; Bogan and Mayer, trans.), Supp. III Part 1: 63 Novellas and Other Writings (Wharton), Retro. Supp. I: 360 “Novel of the Thirties, A” (Trilling), Supp. III Part 2: 499 Novels and Other Writings (Bercovitch), Retro. Supp. II: 325 Novels and Tales of Henry James, The (James), Retro. Supp. I: 232 “Novel-Writing and Novel-Reading” (Howells), II: 276, 290 “November” (Larcom), Supp. XIII: 143 “November Cotton Flower” (Toomer), Supp. IX: 312 November Twenty Six Nineteen Sixty Three (Berry), Supp. X: 24 “Novices” (Moore), III: 200–201, 202, 213 Novick, Peter, Supp. XVI: 154–155 “Novogodnee” (“New Year’s Greetings“) (Tsvetayeva), Supp. VIII: 30 “Novotny’s Pain” (P. Roth), Supp. III Part 2: 403 “No Voyage” (Oliver), Supp. VII: 231 No Voyage and Other Poems (Oliver), Supp. VII: 230–231, 232

Now and Another Time (Hearon), Supp. VIII: 58, 61–62 Now and Then (Buechner), Supp. XII: 49, 53 “Now and Then, America” (Mora), Supp. XIII: 217 “Nowhere” (J. Scott), Supp. XVII: 189 Nowhere Is a Place: Travels in Patagonia (Theroux and Chatwin), Supp. VIII: 322 “Now I Am Married” (Gordon), Supp. IV Part 1: 299 “Now I Lay Me” (Hemingway), II: 249; Retro. Supp. I: 175 “Now I Lay Me” (Olds), Supp. X: 208 “Now Is the Air Made of Chiming Balls” (Eberhart), I: 523 “No Word” (Kunitz), Supp. III Part 1: 263 “No Worst” (Nelson), Supp. XVIII: 177, 178 Now Sheba Sings the Song (Angelou), Supp. IV Part 1: 16 “Now That We Live” (Kenyon), Supp. VII: 165 “Now the Servant’s Name Was Malchus” (Wilder), IV: 358 “Now We Know” (O’ Hara), III: 368– 369 NOW with Bill Moyers (television), Supp. XIII: 286 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 “Nuclear Arms and Morality” (Sanders), Supp. XVI: 266 “Nude at a Dressing Table” (Peacock), Supp. XIX: 204 Nude Croquet (Fiedler), Supp. XIII: 103 “Nude Descendig a Staircase” (X. J. Kennedy), Supp. XV: 168 “Nude Descending a Staircase” (Duchamp), IV: 408; Retro. Supp. I: 416 Nude Descending a Staircase (X. J. Kennedy), Supp. XV: 153, 154–157 Nugent, Bruce, Retro. Supp. I: 200 Nugent, Elliot, Supp. I Part 2: 606, 611, 613 Nuggets and Dust (Bierce), I: 195 “Nullipara” (Olds), Supp. X: 209 Number One (Dos Passos), I: 489 “Numbers, Letters” (Baraka), Supp. II Part 1: 50 Nunc Dimittis (Brodsky), Supp. VIII: 25–26, 28 “Nun No More, A” (Fante), Supp. XI: 160 “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 “Nurse Whitman” (Olds), Supp. X: 203 Nurture (Kumin), Supp. IV Part 2: 453– 454, 455 Nussbaum, Emily, Supp. XI: 143

Nussbaum, Felicity A., Supp. X: 189 Nutcracker, The (Tchaikovsky), Retro. Supp. I: 196 “Nux Postcoenatica” (Holmes), Supp. I Part 1: 303 Nyce, James M., Retro. Supp. I: 380 Nye, Naomi Shihab, Supp. XI: 316; Supp. XIII: 273–290 Nyerere, Julius, Supp. X: 135 “Nympholepsy” (Faulkner), Retro. Supp. I: 81 O “Ö” (Dove), Supp. IV Part 1: 245 Oak and Ivy (Dunbar), Supp. II Part 1: 98 “Oak Bluffs” column (D. West), Supp. XVIII: 286 Oak Openings, The (Cooper), I: 354, 355 Oandasan, Bill, Supp. IV Part 2: 499 Oasis, The (McCarthy), II: 566–568 Oates, Joyce Carol, Supp. II Part 2: 503–527; Supp. IV Part 1: 205; Supp. IV Part 2: 447, 689; Supp. V: 323; Supp. XI: 239; Supp. XII: 343; Supp. XIII: 306; Supp. XIV: 26, 109 “Oath, The” (Tate), IV: 127 Obbligati (Hecht), Supp. X: 57 Ober, Harold, Retro. Supp. I: 101, 103, 105, 110, 113 Oberndorf, Clarence P., Supp. I Part 1: 315 Obey, André, 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 Anthology, An, Supp. XIV: 287 “Objectivist Ethics, The” (Rand), Supp. IV Part 2: 530–532 “Objectivists” Anthology, An (Zukofsky), Supp. III Part 2: 613, 615 Object Lessons (Quindlen), Supp. XVII: 173–174 “Objects” (Wilbur), Supp. III Part 2: 545–547 Oblique Prayers (Levertov), Supp. III Part 1: 283 “Oblivion” (Justice), Supp. VII: 121 Oblivion Seekers, The (Eberhardt), Supp. IV Part 1: 92 “Oblong Box, The” (Poe), III: 416 Obregon, Maurice, Supp. I Part 2: 488 O’ Briant, Don, Supp. X: 8 O’ Brien, Edward, Supp. XV: 140 O’ Brien, Edward J., I: 289; III: 56; Supp. XVIII: 227; Supp. XIX: 256 O’ Brien, Edwin, Supp. XVIII: 208 O’ Brien, Fitzjames, I: 211 O’ Brien, Geoffrey, Supp. IV Part 2: 471, 473 O’ Brien, John, Supp. V: 48, 49; Supp. X: 239, 244 O’ Brien, Tim, Supp. V: 237–255; Supp. XI: 234; Supp. XVII: 14 “Obscene Poem, An” (Creeley), Supp. IV Part 1: 150

CUMULATIVE INDEX / 457 Obscure Destinies (Cather), I: 331–332; Retro. Supp. I: 19 “Observation Relative to the Intentions of the Original Founders of the Academy in Philadelphia” (Franklin), II: 114 “Observations” (Dillard), Supp. VI: 34 Observations (Moore), III: 194, 195–196, 197, 199, 203, 205, 215 “Observations Now” (Conroy), Supp. XVI: 75 Observations: Photographs by Richard Avedon: Comments by Truman Capote, Supp. III Part 1: 125–126 O Canada: An American’s Notes on Canadian Culture (Wilson), IV: 429– 430 “O Carib Isle!” (Crane), I: 400–401 O’ Casey, Sean, III: 145; Supp. IV Part 1: 359, 361, 364 “Occidentals” (Ford), Supp. V: 71–72 “Occultation of Orion, The” (Longfellow), Retro. Supp. II: 168 “Occurrence at Owl Creek Bridge, An” (Bierce), I: 200–201; II: 264 “Ocean 1212-W” (Plath), Supp. I Part 2: 528 “Ocean of Words” (Jin), Supp. XVIII: 94 Ocean of Words: Army Stories (Jin), Supp. XVIII: 89, 92, 93–94 O’ Connell, Nicholas, Supp. IX: 323, 325, 334 O’ Connor, Edward F., Jr., III: 337 O’ Connor, Flannery, I: 113, 190, 211, 298; II: 606; III: 337–360; IV: 4, 217, 282; Retro. Supp. II: 179, 219–239, 272, 324; Supp. I Part 1: 290; Supp. III Part 1: 146; Supp. V: 59, 337; Supp. VIII: 13, 14, 158; Supp. X: 1, 26, 69, 228, 290; Supp. XI: 104; Supp. XIII: 294; Supp. XIV: 93; Supp. XV: 338; Supp. XVI: 219; Supp. XVII: 43, 114; Supp. XVIII: 156, 161, 194; Supp. XIX: 166, 209, 223 O’ Connor, Frank, III: 158; Retro. Supp. II: 242; Supp. I Part 2: 531; Supp. VIII: 151, 157, 165, 167, 171; Supp. XV: 74 O’ Connor, Richard, II: 467 O’ Connor, T. P., II: 129 O’ Connor, William, IV: 346; Retro. Supp. I: 392, 407 O’ Connor, William Van, III: 479; Supp. I Part 1: 195 “Octascope” (Beattie), Supp. V: 27, 28 “Octaves” (Robinson), Supp. III Part 2: 593 “Octet” (Wallace), Supp. X: 309 October (Isherwood), Supp. XIV: 157, 164 “October” (Oliver), Supp. VII: 241 “October” (Swenson), Supp. IV Part 2: 649 “October, 1866” (Bryant), Supp. I Part 1: 169 “October 1913” (McCarriston), Supp. XIV: 266 “October and November” (Lowell), II: 554

“October in the Railroad Earth” (Kerouac), Supp. III Part 1: 225, 227, 229 October Light (Gardner), Supp. VI: 63, 69–71, 72 “October Maples, Portland” (Wilbur), Supp. III Part 2: 556 “Octopus, An” (Moore), III: 202, 207– 208, 214 “Octopus, The” (Merrill), Supp. III Part 1: 321 Octopus, The (Norris), I: 518; III: 314, 316, 322–326, 327, 331–333, 334, 335 “O Daedalus, Fly Away Home” (Hayden), Supp. II Part 1: 377–378 “OD and Hepatitis Railroad or Bust, The” (Boyle), Supp. VIII: 1 Odd Couple, The (1985 version, Simon), Supp. IV Part 2: 580 Odd Couple, The (film), Supp. IV Part 2: 589 Odd Couple, The (Simon), Supp. IV Part 2: 575, 579–580, 585, 586; Supp. XVII: 8 Odd Jobs (Updike), Retro. Supp. I: 334 Odd Mercy (Stern), Supp. IX: 298–299 “Odds, The” (Hecht), Supp. X: 64–65 “Odds, The” (Salinas), Supp. XIII: 321 “Ode” (Emerson), II: 13 “Ode (Intimations of Immortality)” (Matthews), Supp. IX: 162 “Ode” (Sobin), Supp. XVI: 284–285 “Ode” (X. J. Kennedy), Supp. XV: 160 “Ode for Memorial Day” (Dunbar), Supp. II Part 1: 199 “Ode for the American Dead in Asia” (McGrath), Supp. X: 119 “Ode: For the Budding of Islands” (Sobin), Supp. XVI: 287 “Ode Inscribed to W. H. Channing” (Emerson), Supp. XIV: 46 “Ode: Intimations of Immortality” (Wordsworth), Supp. I Part 2: 729; Supp. III Part 1: 12; Supp. XIV: 8 “Ode: My 24th Year” (Ginsberg), Supp. II Part 1: 312 “Ode on a Grecian Urn” (Keats), I: 284; III: 472; Supp. XII: 113; Supp. XIV: 8, 9–10; Supp. XV: 100 “Ode on Human Destinies” (Jeffers), Supp. II Part 2: 419 “Ode on Indolence” (Keats), Supp. XII: 113 “Ode on Melancholy” (Keats), Retro. Supp. I: 301 Ode Recited at the Harvard Commemoration (Lowell), Supp. I Part 2: 416– 418, 424 “Ode Recited at the Harvard Commemoration” (Lowell), II: 551 “Ode Secrète” (Valéry), III: 609 “Odes of Estrangement” (Sobin), Supp. XVI: 289 “Odes to Natural Processes” (Updike), Retro. Supp. I: 323 “Ode: The Capris” (Halliday), Supp. XIX: 88 “Ode to a Nightingale” (Keats), II: 368; Retro. Supp. II: 261; Supp. IX: 52

“Ode to Autumn” (Masters), Supp. I Part 2: 458 “Ode to Cervantes” (Salinas), Supp. XIII: 324 “Ode to Coit Tower” (Corso), Supp. XII: 122 “Ode to Ethiopia” (Dunbar), Supp. II Part 1: 199, 207, 208, 209 “Ode to Fear” (Tate), IV: 128 Ode to Harvard and Other Poems, An (Bynner), Supp. XV: 41, 44 “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 Austrian Socialists” (Benét), Supp. XI: 46, 58 “Ode to the Confederate Dead” (Tate), II: 551; IV: 124, 133, 137; Supp. X: 52 “Ode to the Johns Hopkins University” (Lanier), Supp. I Part 1: 370 “Ode to the Maggot” (Komunyakaa), Supp. XIII: 130 “Ode to the Mexican Experience” (Salinas), Supp. XIII: 316–317 “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; Supp. XII: 117; Supp. XIV: 271–272; Supp. XV: 221 “Ode to Walt Whitman” (Benét), Supp. XI: 52 Odets, Clifford, Supp. I Part 1: 277, 295; Supp. I Part 2: 679; Supp. II Part 2: 529–554; Supp. IV Part 2: 587; Supp. V: 109; Supp. VIII: 96; Supp. XVIII: 238 Odier, Daniel, Supp. III Part 1: 97 “Odi et Amo” (Catullus), Supp. XV: 27, 32, 35 O’ Donnell, George Marion, II: 67 O’ Donnell, Mary King, Supp. XVIII: 232 O’ Donnell, Thomas F., II: 131 “Odor of Verbena” (Faulkner), II: 66 O’ Doul, Lefty, II: 425 “Odysseus to Telemachus” (Brodsky), Supp. VIII: 25 Odyssey (Bryant, trans.), Supp. I Part 1: 158 Odyssey (Homer), III: 14, 470; Retro. Supp. I: 286, 290; Retro. Supp. II: 121; Supp. I Part 1: 185; Supp. IV Part 2: 631; Supp. IX: 211; Supp. X: 114; Supp. XIV: 191; Supp. XVII: 117 “Odyssey of a Wop, The” (Fante), Supp. XI: 164, 165 Oedipus Rex (Sophocles), I: 137; III: 145, 151, 152, 332; Supp. I Part 2: 428 Oedipus Tyrannus (Sophocles), II: 203; Supp. XV: 265 Oehlschlaeger, Fritz, Supp. IX: 123 “Of Alexander Crummell” (Du Bois), Supp. II Part 1: 170

458 / AMERICAN WRITERS O’ Faoláin, Seán, Supp. II Part 1: 101 Of a World That Is No More (Singer), IV: 16 “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. III Part 1: 262 Offenbach, Jacques, II: 427 “Offering for Mr. Bluehart, An” (Wright), Supp. III Part 2: 596, 601 “Offerings” (Mason), Supp. VIII: 141 Offıcial Entry Blank (Kooser), Supp. XIX: 116, 117–118 “Official Entry Form” (Kooser), Supp. XIX: 117 “Official Piety” (Whittier), Supp. I Part 2: 687 “Offloading for Mrs. Schwartz” (Saunders), Supp. XIX: 225–226 “Off-Shore Pirates, The” (Fitzgerald), II: 88 Off the Beaten Path (Proulx), Supp. VII: 261 Off the Beaten Path: Stories of Place, Supp. XVI: 22 “Off the Cuff” (Simpson), Supp. IX: 278 Off the Map (Levine), Supp. V: 178 Offutt, Chris, Supp. XIX: 163–176 O’ Flaherty, George, Supp. I Part 1: 202, 205–206 O’ Flaherty, Kate. See Chopin, Kate O’ Flaherty, Thomas, Supp. I Part 1: 202, 203–204, 205 O’ Flaherty, Thomas, Jr., Supp. I Part 1: 202 “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 (Bradford), Retro. Supp. II: 161, 162 Of Plymouth Plantation (Morison, ed.), Supp. I Part 2: 494 “Ofrenda for Lobo” (Mora), Supp. XIII: 224 “Often” (Kenyon), Supp. VII: 171 “Often, in Dreams, He Moved through a City” (Dobyns), Supp. XIII: 90 “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 Four-Winged Cherubim as Signature” (Sobin), Supp. XVI: 287 “Of ‘The Frill’ ” (McCarriston), Supp. XIV: 274 “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. III 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 Of Women and Their Elegance (Mailer), Retro. Supp. II: 209 Ogden, Archie, Supp. XIII: 174 Ogden, Henry, II: 298 Ogden, Uzal, Supp. I Part 2: 516 “Oh, Atonement” (Weigl), Supp. XIX: 287 “Oh, Fairest of the Rural Maids” (Bryant), Supp. I Part 1: 169 “Oh, Immobility, Death’s Vast Associate” (Dobyns), Supp. XIII: 89 “Oh, Joseph, I’ m So Tired” (Yates), Supp. XI: 348 Oh, the Places You’ ll Go! (Geisel), Supp. XVI: 111 Oh, the Thinks You can Think! (Geisel), Supp. XVI: 111 “O’ Halloran’s Luck” (Benét), Supp. XI: 47 O’ Hara, Frank, Supp. XII: 121; Supp. XV: 93, 176, 177, 178, 179–180, 182, 186, 187, 215–216; Supp. XIX: 81, 85 O’ Hara, J. D., Supp. IV Part 1: 43; Supp. V: 22; Supp. XVI: 221 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; Supp. IV Part 2: 678; Supp. V: 95; Supp. VIII: 151, 156; Supp. IX: 208; Supp. XIX: 209 O’ Hehir, Andrew, Supp. XII: 280 O. Henry Biography (C. A. Smith), Supp. II Part 1: 395 “Ohio Pagan, An” (Anderson), I: 112, 113 Ohio trilogy (Richter), Supp. XVIII: 212–215 Oh Mercy (album, Dylan), Supp. XVIII: 28, 33 Oh Say Can You Say? (Geisel), Supp. XVI: 111 Oil! (Sinclair), Supp. V: 276, 277–279, 282, 288, 289 Oil Notes (Bass), Supp. XVI: 17 “Oil Painting of the Artist as the Artist” (MacLeish), III: 14 O’ Keeffe, Georgia, Supp. IX: 62, 66 “Oklahoma” (Levis), Supp. XI: 267 Oktenberg, Adrian, Supp. XVII: 76 “Old, Old, Old, Old Andrew Jackson” (Lindsay), Supp. I Part 2: 398 “Old Amusement Park, An” (Moore), III: 216 “Old Angel Midnight” (Kerouac), Supp. III 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 Aunt Peggy” (Chopin), Retro. Supp. II: 64 “Old Barn at the Bottom of the Fogs, The” (Frost), Retro. Supp. I: 138 Old Beauty and Others, The (Cather), I: 331 Old Bruin: Commodore Matthew C. Perry, 1794–1858 (Morison), Supp. I Part 2: 494–495 “Old Cracked Tune, An” (Kunitz), Supp. III Part 1: 264 Old Curiosity Shop, The (Dickens), I: 458; Supp. I Part 2: 409 Oldest Killed Lake in North America, The (Carruth), Supp. XVI: 51 “Oldest Man, The” (M. F. K. Fisher), Supp. XVII: 91 “Old Farmer, The” (Jeffers), Supp. II Part 2: 418 Old-Fashioned Girl, An (Alcott), Supp. I Part 1: 29, 41, 42 “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), Supp. V: 320, 321, 326, 327 “Old Forest, The” (Taylor), Supp. V: 313, 321, 323, 326 Old Forest and Other Stories (Taylor), Supp. V: 326 Old Friends and New (Jewett), II: 402; Retro. Supp. II: 137, 140 Old Glory, The (Lowell), II: 543, 545– 546, 555; Retro. Supp. II: 188 Old Helmet, The (S. and A. Warner), Supp. XVIII: 267 “Old Homestead, The” (Dunbar), Supp. II Part 1: 198 “Old Iron” (Nye), Supp. XIII: 276 “Old Ironsides” (Holmes), Supp. I Part 1: 302 “Old Lady We Saw, An” (Shields), Supp. VII: 310–311 “Old Love” (Singer), Retro. Supp. II: 307 “Old McGrath Place, The” (McGrath), Supp. X: 114 “Old Maid, The” (Wharton), Retro. Supp. I: 381, 382 “Old Man” (Faulkner), II: 68, 69 Old Man and the Sea, The (Hemingway), II: 250, 256–257, 258, 265; III: 40; Retro. Supp. I: 180, 185, 186 “Old Man Drunk” (Wright), Supp. III Part 2: 595 “Old Man Feeding Hens” (Francis), Supp. IX: 78 “Old Man on the Hospital Porch” (Ríos), Supp. IV Part 2: 546–547 Old Man Rubbing His Eyes (R. Bly), Supp. IV Part 1: 65

CUMULATIVE INDEX / 459 “Old Manse, The” (Hawthorne), II: 224 “Old Man’s Winter Night, An” (Frost), Retro. Supp. I: 126, 131 Old Man Who Love Cheese, The (Keillor), Supp. XVI: 177 “Old Man with a Dog” (Wright), Supp. XV: 346 Old Marriage and New (Kooser), Supp. XIX: 120–121 “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 Men Pitching Horseshoes” (X. J. Kennedy), Supp. XV: 166 Old Money (Wasserstein), Supp. XV: 333–334 “Old Morgue, The” (Prose), Supp. XVI: 250 Old Morning Program, The (radio show, Keillor). See Prairie Home Companion, A (radio show, Keillor) “Old Mortality” (Porter), III: 436, 438– 441, 442, 445, 446 “Old Mrs. Harris” (Cather), I: 332; Retro. Supp. I: 19 Old Neighborhood, The (Mamet), Supp. XIV: 240, 241, 242, 249–250, 251, 252, 254 Old New York (Wharton), IV: 322; Retro. Supp. I: 381 “Ol’ Doc Hyar” (Campbell), Supp. II Part 1: 202 “Old of the Moon” (Offutt), Supp. XIX: 165, 166 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 Photograph, An” (Kooser), Supp. XIX: 121 “Old Poet Moves to a New Apartment 14 Times, The” (Zukofsky), Supp. III Part 2: 628 Old Possum’s Book of Practical Cats (Eliot), Supp. XIII: 228, 344 “Old Red” (Gordon), II: 199, 200, 203 Old Red and Other Stories (Gordon), II: 157 Old Régime in Canada, The (Parkman), Supp. II Part 2: 600, 607, 608–609, 612 Old Religion, The (Mamet), Supp. XIV: 253 Olds, Sharon, Supp. X: 201–217; Supp. XI: 139, 142, 244; Supp. XII: 229; Supp. XIV: 265; Supp. XVII: 114, 240 “Old Saws” (Garrett), Supp. VII: 96–97 Old Testament, I: 109, 181, 300, 328, 401, 410, 419, 431, 457, 458; II: 166, 167, 219; III: 270, 272, 348, 390, 396; IV: 41, 114, 152, 309; Retro. Supp. I: 122, 140, 249, 311, 360; Retro.

Supp. II: 299; Supp. I Part 1: 60, 104, 106, 151; Supp. I Part 2: 427, 515, 516; Supp. IX: 14. See also names of Old Testament books “Old Things, The” (James), Retro. Supp. I: 229 “Old Times on the Mississippi” (Twain), IV: 199 Oldtown Folks (Stowe), Supp. I Part 2: 587, 596–598 “Old Town of Berwick, The” (Jewett), Retro. Supp. II: 132 “Old Trails” (Robinson), III: 513, 517 “Old Tyrannies” (Bourne), I: 233 “Old West” (Bausch), Supp. VII: 48 “Old Whorehouse, An” (Oliver), Supp. VII: 235 “Old Woman” (Pinsky), Supp. VI: 238 “Old Woman of Beare, The” (X. J. Kennedy), Supp. XV: 156 “Old Word, The” (Simic), Supp. VIII: 282 “Old-World Landowners” (Gogol), Supp. XV: 262 Oldys, Francis. See Chalmers, George Oleanna (Mamet), Supp. XIV: 239, 241, 245, 248, 250 Olendorf, Donna, Supp. IV Part 1: 196 “Olga Poems, The” (Levertov), Supp. III Part 1: 279–281 “Olive Groves of Thasos, The” (Clampitt), Supp. IX: 51–52 Oliver, Bill, Supp. VIII: 138 Oliver, Mary, Supp. VII: 229–248; Supp. X: 31; Supp. XVI: 39; Supp. XVII: 111, 240 Oliver, Sydney, I: 409 Oliver Goldsmith: A Biography (Irving), II: 315 Oliver Twist (Dickens), I: 354; Supp. IV Part 2: 464 “Olivia” (Salinas), Supp. XIII: 316 “Olivier Bergmann” (Halliday), Supp. XIX: 93–94 Olivieri, David (pseudonym), Retro. Supp. I: 361. See also Wharton, Edith Ollive, Samuel, Supp. I Part 2: 503 Olmsted, Frederick Law, Supp. I Part 1: 355 Olsen, Lance, Supp. IV Part 1: 54; Supp. IV Part 2: 623 Olsen, Tillie, Supp. V: 114, 220; Supp. XIII: 291–309; Supp. XVI: 83, 90 Olshan, Joseph, Supp. XIX: 52 Olson, Charles, Retro. Supp. I: 209; Supp. II Part 1: 30, 328; Supp. II Part 2: 555–587; Supp. III Part 1: 9, 271; Supp. III Part 2: 542, 624; Supp. IV Part 1: 139, 144, 146, 153, 154, 322; Supp. IV Part 2: 420, 421, 423, 426; Supp. VIII: 290, 291; Supp. XII: 2, 198; Supp. XIII: 104; Supp. XIV: 96; Supp. XV: 177 Olson, Ray, Supp. XVII: 111, 112, 119 “Ol’ Tunes, The” (Dunbar), Supp. II Part 1: 197 “O Lull Me, Lull Me” (Roethke), III: 536–537 Omar Khayyam, Supp. I Part 1: 363 O’ Meally, Robert, Retro. Supp. II: 112

Omega the Unknown (comic book series), Supp. XVIII: 149 “Omen” (Komunyakaa), Supp. XIII: 126, 127 Omensetter’s Luck (Gass), Supp. VI: 80– 82, 87 Omeros (Walcott), Supp. XV: 264 “Ominous Baby, An” (Crane), I: 411 Ommateum, with Doxology (Ammons), Supp. VII: 24–26, 27, 28, 36 Omni-Americans, The: New Perspectives on Black Experience and American Culture (Murray), Supp. XIX: 147, 149–151, 154 “Omnibus Jaunts and Drivers” (Whitman), IV: 350 Omoo: A Narrative of Adventures in the South Seas (Melville), III: 76–77, 79, 84; Retro. Supp. I: 247 O My Land, My Friends (H. Crane), Retro. Supp. II: 76 “On Abrigador Hill” (Nelson), Supp. XVIII: 183 “On a Certain Condescension in Foreigners” (Lowell), Supp. I Part 2: 419 “On a Certain Engagement South of Seoul” (Carruth), Supp. XVI: 47 “On a Child Who Lived One Minute” (X. J. Kennedy), Supp. XV: 152, 155 “On Acquiring Riches” (Banks), Supp. V: 5 On a Darkling Plain (Stegner), Supp. IV Part 2: 598, 607 On a Fire on the Moon (Mailer), Retro. Supp. II: 206 “On a Hill Far Away” (Dillard), Supp. VI: 28 “On a Honey Bee, Drinking from a Glass and Drowned Therein” (Freneau), Supp. II Part 1: 273 “On a Monument to a Pigeon” (Leopold), Supp. XIV: 187–188 “On a Mountainside” (Wagoner), Supp. IX: 332 O’ Nan, Stewart, Supp. XI: 348 “On an Old Photograph of My Son” (Carver), Supp. III Part 1: 140 “Onan’s Soliloquy” (X. J. Kennedy), Supp. XV: 165 “On a Proposed Trip South” (W. C. Williams), Retro. Supp. I: 413 Onassis, Jacqueline Kennedy, Supp. XVIII: 287 “On a Tree Fallen across the Road” (Frost), Retro. Supp. I: 134 “On a View of Pasadena from the Hills” (Winters), Supp. II Part 2: 795, 796– 799, 814 “On a Visit to a Halfway House after a Long Absence” (Salinas), Supp. XIII: 325 “On a Windy Night” (Dixon), Supp. XII: 155 On Becoming a Novelist (Gardner), Supp. VI: 64 “On Being an American” (Toomer), Supp. III Part 2: 479 “On Being Asked to Write a Poem against the War in Vietnam” (Carruth), Supp. XVI: 55–56

460 / AMERICAN WRITERS “On Being a Woman” (Parker), Supp. IX: 201 On Being Blue (Gass), Supp. VI: 77, 78, 86, 94; Supp. XIV: 305 “On Being Too Inhibited” (Hay), Supp. XIV: 130 On Beyond Zebra! (Geisel), Supp. XVI: 105 “On Burroughs’ Work” (Ginsberg), Supp. II Part 1: 320 Once (Walker), Supp. III 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 around the Block: Familiar Essays (Epstein), Supp. XIV: 107 “Once More to the Lake” (White), Supp. I Part 2: 658, 668, 673–675 “On Certain Political Measures Proposed to Their Consideration” (Barlow), Supp. II Part 1: 82 “Once There Was Light” (Kenyon), Supp. VII: 171–172 Ondaatje, Michael, Supp. IV Part 1: 252 “On Dining Alone” (M. F. K. Fisher), Supp. XVII: 83 On Distant Ground (R. O. Butler), Supp. XII: 62, 66–68, 69, 74 “One, The” (Weigl), Supp. XIX: 282– 283 “1 January 1965” (Brodsky), Supp. VIII: 23–24 O’ Neale, Sondra, Supp. IV Part 1: 2 “One A.M. with Voices” (X. J. Kennedy), Supp. XV: 157 “One Arm” (T. Williams), IV: 383 One Arm, and Other Stories (T. Williams), IV: 383 “One Art” (Bell), Supp. X: 2 One Art (Bishop), Retro. Supp. II: 51 “One Art” (Bishop), Retro. Supp. II: 50; Supp. I Part 1: 72, 73, 82, 93, 94–95, 96; Supp. XV: 126 “One Art: The Poetry of Elizabeth Bishop, 1971–1976” (Schwartz), Supp. I Part 1: 81 One Big Self: Prisoners of Louisiana (Wright and Luster), Supp. XV: 337, 344, 350, 351–353 “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), Retro. Supp. II: 13; Supp. I Part 1: 48, 66, 67 “One Dead Friend” (Kumin), Supp. IV Part 2: 441 One Fish Two Fish Red Fish Blue Fish (Geisel), Supp. XVI: 108

One Flew Over the Cuckoo’s Nest (Kesey), III: 558 “One for the Road” (Swados), Supp. XIX: 259 One for the Rose (Levine), Supp. V: 178, 179, 181, 187, 189–191 “One for the Rose” (Levine), Supp. V: 181, 190 “One Friday Morning” (Hughes), Supp. I Part 1: 330 “One Holy Night” (Cisneros), Supp. VII: 69–70 “One Home” (Stafford), Supp. XI: 321 100 Faces of Death, The, Part IV (Boyle), Supp. VIII: 16 $106,000 Blood Money (Hammett), Supp. IV Part 1: 345 “$106,000 Blood Money” (Hammett), Supp. IV Part 1: 345, 346 One Hundred Days in Europe (Holmes), Supp. I Part 1: 317 158-Pound Marriage, The (Irving), Supp. VI: 163, 164, 167–170 O’ Neil, Elizabeth Murrie, Retro. Supp. I: 427 O’ Neill, Brendan, Supp. XII: 286 O’ Neill, Eugene, I: 66, 71, 81, 94, 393, 445; II: 278, 391, 427, 585; III: 151, 165, 385–408; IV: 61, 383; Retro. Supp. II: 82, 104; Supp. III Part 1: 177–180, 189; Supp. IV Part 1: 359; Supp. IV Part 2: 587, 607; Supp. V: 277; Supp. VIII: 332, 334; Supp. XIV: 239, 320, 328; Supp. XVI: 193; Supp. XVII: 96, 99–100, 103, 105, 107 “One Is a Wanderer” (Thurber), Supp. I Part 2: 616 One L (Turow), Supp. XVII: 214, 215, 217 “One Last Look at the Adige: Verona in the Rain” (Wright), Supp. III Part 2: 603 One Life (Rukeyser), Supp. VI: 273, 281, 283 One Life at a Time, Please (Abbey), Supp. XIII: 13 One Man in His Time (Glasgow), II: 178, 184 “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: 654, 669, 676 “One Man’s Meat” (White), Supp. I Part 2: 655 “One Moment on Top of the Earth” (Nye), Supp. XIII: 282 One More July: A Football Dialogue with Bill Curry (Plimpton), Supp. XVI: 243 “One More Song” (Lindsay), Supp. I Part 2: 400–401 “One More Thing” (Carver), Supp. III Part 1: 138, 144 “One More Time” (Gordon), II: 200 One Nation (Stegner), Supp. IV Part 2: 599, 608

“One-Night Homecoming” (X. J. Kennedy), Supp. XV: 167 “ONE NIGHT STAND” (Baraka), Supp. II Part 1: 32 “One of Our Conquerors” (Bourne), I: 223 One of Ours (Cather), I: 322–323; Retro. Supp. I: 1, 3, 13–15, 20 “One of the Missing” (Bierce), I: 201– 202 “One of the Rooming Houses of Heaven” (Doty), Supp. XI: 131 “One of the Smallest” (Stern), Supp. IX: 299–300 “One of Us” (Fante), Supp. XI: 165 “One Out of Twelve: Writers Who Are Women in Our Century” (Olsen), Supp. XIII: 294 “One Part Humor, 2 Parts Whining” (Kakutani), Supp. XI: 38 “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 That Got Away, The (Everett), Supp. XVIII: 54 One Thousand Avant-Garde Plays (Koch), Supp. XV: 187 “One Thousandth, The” (Weigl), Supp. XIX: 288 One Time, One Place: Mississippi in the Depression, a Snapshot Album (Welty), Retro. Supp. I: 339, 343, 344 1 x 1 (One Times One) (Cummings), I: 430, 436, 438–439, 441, 446, 447, 448 “One Touch of Nature” (McCarthy), II: 580 One Train (Koch), Supp. XV: 177, 184 “One Trip Abroad” (Fitzgerald), II: 95 One True Thing (film), Supp. XVII: 176 One True Thing (Quindlen), Supp. XVII: 166, 174–176 “One Way” (Creeley), Supp. IV Part 1: 150–151 One Way or Another (Cameron), Supp. XII: 81 One-Way Ticket (Hughes), Retro. Supp. I: 206, 207, 208; Supp. I Part 1: 333– 334 One Way to Heaven (Cullen), Supp. IV Part 1: 170, 172 One Way to Spell Man (Stegner), Supp. IV Part 2: 595, 598, 601, 609 “One Way to Spell Man” (Stegner), Supp. IV Part 2: 601 One Whose Eyes Open When You Close Your Eyes, The (F. Wright), Supp. XVII: 240, 243 “One Who Skins Cats, The” (Gunn Allen), Supp. IV Part 1: 331 “One Who Went Forth to Feel Fear” (Grimms), Supp. X: 86 “One Winter I Devise a Plan of My Own” (Ríos), Supp. IV Part 2: 549 One Winter Night in August (X. J. Kennedy), Supp. XV: 154, 162

CUMULATIVE INDEX / 461 One World at a Time (Kooser), Supp. XIX: 116, 122–123 One Writer’s Beginnings (Welty), Retro. Supp. I: 339, 340, 341, 343, 344, 355–356 “One Year” (Olds), Supp. X: 210 “On First Looking Out through Juan de la Cosa’s Eyes” (Olson), Supp. II Part 2: 565, 566, 570, 579 “On First Opening The Lyric Year” (W. C. Williams), Retro. Supp. I: 414 “On Freedom’s Ground” (Wilbur), Supp. III Part 2: 562 On Glory’s Course (Purdy), Supp. VII: 275–276, 279, 280 On Grief and Reason (Brodsky), Supp. VIII: 31–32 “On Hearing a Symphony of Beethoven” (Millay), III: 132–133 “On Hearing the Airlines Will Use a Psychological Profile to Catch Potential Skyjackers” (Dunn), Supp. XI: 144–145 On Human Finery (Bell), Supp. I Part 2: 636 “On Imagerie: Esther Williams, 1944” (Sobin), Supp. XVI: 294 “On Imminence: An Essay” (Sobin), Supp. XVI: 291 On Liberty (Mill), Supp. XI: 196 “On Looking Alone at a Place” (M. F. K. Fisher), Supp. XVII: 91 “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 Only a Few of Us Left (Marquand), III: 55 “Only Animal, The” (F. Wright), Supp. XVII: 245 “Only a Pawn in Their Game” (song, Dylan), Supp. XVIII: 24 “Only Bar in Dixon, The” (Hugo), Supp. VI: 140, 141 Only Dangerous Thing, The (Di Piero), Supp. XIX: 37–38 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 Cat Escapes“, Supp. XII: 150– 151 “Only the Dead Know Brooklyn” (Wolfe), IV: 451 Only When I Laugh (Simon), Supp. IV Part 2: 575 On Moral Fiction (Gardner), Supp. VI: 61, 71, 72, 73 “On Morality” (Didion), Supp. IV Part 1: 196

“On Mt. Philo in November” (Di Piero), Supp. XIX: 37, 39 “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. III Part 1: 347–348, 353 On Photography (Sontag), Supp. III Part 2: 451, 458, 462–465 “On Political Poetry” (R. Bly), Supp. IV Part 1: 61 On Politics: A Carnival of Buncombe (Moos, ed.), III: 116 “On Pretentiousness” (Kushner), Supp. IX: 131–132 “On Quitting a Little College” (Stafford), Supp. XI: 321 “On Reading Eckerman’s Conversations with Goethe” (Masters), Supp. I Part 2: 458 On Reading Shakespeare (L. P. Smith), Supp. XIV: 345–346 “On Reading to Oneself” (Gass), Supp. VI: 88, 89 On Revolution (Arendt), Retro. Supp. I: 87 “On Seeing Larry Rivers’ Washington Crossing the Delaware at the Museum of Modern Art” (O’ Hara), Supp. XV: 186 “On Seeing Red” (Walker), Supp. III Part 2: 527 “On Social Plays” (A. Miller), III: 147, 148, 159 “On Steinbeck’s Story ‘Flight’ ” (Stegner), Supp. IV Part 2: 596 “On Style” (Sontag), Supp. III Part 2: 456–459, 465–466 “On Suicide” (Hay), Supp. XIV: 130, 132 “On Teaching the Young Laurel to Shoot” (Bynner), Supp. XV: 50 “On the Antler” (Proulx), Supp. VII: 252–253 “On the Banks of the Wabash” (Paul Dresser), Retro. Supp. II: 94 “On the Beach, at Night” (Whitman), IV: 348 “On the Bosom of This Grave and Wasted Land I Will Lay My Head” (Ray), Supp. XVIII: 189 On the Boundary (Tillich), Retro. Supp. I: 326 “On the Building of Springfield” (Lindsay), Supp. I Part 2: 381 “On the Coast of Maine” (Hayden), Supp. II Part 1: 381 On the Contrary: Articles of Belief (McCarthy), II: 559, 562 “On the Death of a Friend’s Child” (Lowell), Supp. I Part 2: 409

“On the Death of Senator Thomas J. Walsh” (Winters), Supp. II Part 2: 802, 806 “On the Death of Yeats” (Bogan), Supp. III 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 Drumhead: A Selection from the Writing of Mike Quin (Carlisle, ed.), Supp. XVIII: 223, 226 “On the Edge” (Levine), Supp. V: 181– 182 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 Feast of the Immaculate Conception, 1942” (Lowell), II: 538; Retro. Supp. II: 185 “On the Eyes of an SS Officer” (Wilbur), Supp. III 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; Supp. XIV: 163 On the Great Atlantic Rainway: Selected Poems, 1950–1988 (Koch), Supp. XV: 177 “On the History of Poetry” (Halliday), Supp. XIX: 88, 89 “On the Island” (Stern), Supp. IX: 290 “On the Late Eclipse” (Bryant), Supp. I Part 1: 152 On the Laws of the Poetic Art (Hecht), Supp. X: 58 On the Line (Swados), Supp. XIX: 258– 260 “On the Line” (Swados), Supp. XIX: 259 “On the Marginal Way” (Wilbur), Supp. III Part 2: 558, 559 On the Mesa (Nichols), Supp. XIII: 268 “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; Kinnell, trans.), Supp. III Part 1: 235 “On the Murder of Lieutenant José 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. III Part 2: 596 On the Occasion of My Last Afternoon (Gibbons), Supp. X: 46, 50–53 On the Origin of Species (Darwin), Supp. XIV: 192 “On the Parapet” (Tanner), Retro. Supp. II: 205 “On the Platform” (Nemerov), III: 287

462 / AMERICAN WRITERS On the Poetry of Philip Levine: Stranger to Nothing (Levis), Supp. XI: 257 “On the Powers of the Human Understanding” (Freneau), Supp. II Part 1: 274 On the Prejudices, Predilections, and Firm Beliefs of William Faulkner (Brooks), Supp. XIV: 13 “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. III Part 1: 92, 218, 222– 224, 226, 230–231; Supp. V: 336; Supp. X: 269; Supp. XIII: 275; Supp. XIV: 138, 150; Supp. XV: 221; Supp. XVIII: 20, 138 “On the Road Home” (Stevens), Retro. Supp. I: 306 On the Road with the Archangel (Buechner), Supp. XII: 54 “On the Rope” (Richard), Supp. XIX: 211–212 On These I Stand: An Anthology of the Best Poems of Countee Cullen (Cullen), Supp. IV Part 1: 173 “On the Skeleton of a Hound” (Wright), Supp. III Part 2: 593 “On the Street” (Peacock), Supp. XIX: 199 “On the Street: Monument” (Gunn Allen), Supp. IV Part 1: 326 “On the Subway” (Olds), Supp. X: 207 “On the System of Policy Hitherto Pursued by Their Government” (Barlow), Supp. II Part 1: 82 “On the Teaching of Modern Literature” (Trilling), Supp. III 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 Waterfront (film, Kazan), Supp. XVIII: 250–251, 252, 253 On the Way toward a Phenomenological Psychology: The Psychology of William James (Linschoten), II: 362 “On the Way to Work” (Dunn), Supp. XI: 149–150 “On the Wide Heath” (Millay), III: 130 “On the Writing of Novels” (Buck), Supp. II Part 1: 121 On the Yard (Braly), Supp. XVIII: 147

On This Island (Auden), Supp. II Part 1: 11 “On Time” (O’ Hara), III: 369–370 “Ontological Episode of the Asylum” (Carruth), Supp. XVI: 48, 50 “Ontology of the Sentence, The” (Gass), Supp. VI: 77 “On Top” (Leopold), Supp. XIV: 188 “On Top” (Snyder), Supp. VIII: 304 “On Translating Akhmatova” (Kunitz), Supp. III Part 1: 268 “On Waking to Old Debts” (Keillor), Supp. XVI: 167 On William Stafford: The Worth of Local Things (Andrews, ed.), Supp. XI: 311, 312, 317, 321, 324, 326 “On Writing” (Carver), Supp. III Part 1: 142–143 “On Writing” (Nin), Supp. X: 182 Opatoshu, Joseph, IV: 9 “Open Boat, The” (Crane), I: 408, 415, 416–417, 423; Retro. Supp. I: 325; Supp. XIV: 51 Open Boat and Other Stories (Crane), I: 408 Open Heart: A Patient’s Story of LifeSaving Medicine and Life-Giving Friendship (Neugeboren), Supp. XVI: 217, 229–230 Open House (Roethke), III: 529–530, 540 “Open House” (Roethke), III: 529 “Opening, An” (Swenson), Supp. IV Part 2: 639 Opening of the Field, The (Duncan), Supp. III Part 2: 625 Opening the Hand (Merwin), Supp. III Part 1: 341, 353, 355 “Open Letter” (Roethke), III: 532, 534 “Open Letter to Surrealists Everywhere, An” (H. Miller), III: 184 Open Meeting, The (Gurney), Supp. V: 98 Open Net (Plimpton), Supp. XVI: 241 “Open Road, The” (Dreiser), II: 44 Open Sea, The (Masters), Supp. I Part 2: 471 Open Season: Sporting Adventures (Humphrey), Supp. IX: 95 “Open Secret” (Nelson), Supp. XVIII: 185 “Open the Gates” (Kunitz), Supp. III Part 1: 264–265, 267 “Opera Company, The” (Merrill), Supp. III Part 1: 326 “Operation, The” (Sanders), Supp. XVI: 266 “Operation, The” (Sexton), Supp. II Part 2: 675, 679 Operation Shylock: A Confession (P. Roth), Retro. Supp. II: 279, 280, 291 Operation Sidewinder (Shepard), Supp. III Part 2: 434–435, 439, 446–447 Operations in North African Waters (Morison), Supp. I Part 2: 490 Operation Wandering Soul (Powers), Supp. IX: 212, 217–219 Opffer, Emil, Retro. Supp. II: 80 “Opinion” (Du Bois), Supp. II Part 1: 173

Opinionator, The (Bierce), I: 209 Opinions of Oliver Allston (Brooks), I: 254, 255, 256 O Pioneers! (Cather), I: 314, 317–319, 320; Retro. Supp. I: 1, 5, 6, 7–9, 10, 13, 20; Retro. Supp. II: 136 Oppen, George, IV: 415; Supp. III Part 2: 614, 615, 616, 626, 628; Supp. XIV: 285, 286, 287; Supp. XVI: 282, 283; Supp. XVII: 243 Oppenheim, James, I: 106, 109, 239, 245; Supp. XV: 294, 296, 298, 299, 301, 302, 307, 313 Oppenheimer, J. Robert, I: 137, 492 Oppenheimer, Judy, Supp. IX: 115, 116, 118, 120, 126 “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 Opticks: A Poem in Seven Sections (Goldbarth), Supp. XII: 177, 178 Optimist’s Daughter, The (Welty), IV: 261, 280; Retro. Supp. I: 339, 355 “Optimist’s Daughter, The” (Welty), IV: 280–281 Options (O. Henry), Supp. II Part 1: 410 Opus Posthumous (Stevens), IV: 76, 78 Opus Posthumous (W. Stevens), Supp. XVII: 241 Oracle at Stoneleigh Court, The (Taylor), Supp. V: 328 Orage, Alfred, III: 473 Orange, Max (pseudonym). See Heller, Joseph Orange Fish, The (Shields), Supp. VII: 318, 320, 323, 328 Oranges (McPhee), Supp. III Part 1: 298–299, 301, 309 “Oranging of America, The” (Apple), Supp. XVII: 3–4, 6 Oranging of America and Other Short Stories, The (Apple), Supp. XVII: 1–2, 3–4, 7, 8 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 “Orchard” (Doolittle), Supp. I Part 1: 263–264, 265, 266 “Orchard” (Eberhart), I: 539 Orchard, The (B. Kelly), Supp. XVII: 123, 127, 130–133 “Orchard, The” (B. Kelly), Supp. XVII: 133 Orchard Keeper, The (McCarthy), Supp. VIII: 175–176 Orchestra (Davies), III: 541 “Orchids” (Roethke), III: 530–531 “Or Consider Prometheus” (Clampitt), Supp. IX: 44 Ordeal of Mansart, The (Du Bois), Supp. II Part 1: 185–186

CUMULATIVE INDEX / 463 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 Days” (Dunn), Supp. XI: 151 “Ordinary Evening in New Haven, An” (Stevens), IV: 91–92; Retro. Supp. I: 297, 300, 311, 312 Ordinary Heroes (Turow), Supp. XVII: 221–222, 223 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 Time: Virginia Woolf and Thucydides on War” (Carson), Supp. XII: 111 “Ordinary Women, The” (Stevens), IV: 81 Ordways, The (Humphrey), Supp. IX: 95, 98–100, 109; Supp. XV: 353 “Oread” (Doolittle), II: 520–521; Supp. I Part 1: 265–266 Oregon Message, An (Stafford), Supp. XI: 328–329 Oregon Trail, The (Parkman), II: 312; Supp. II Part 2: 592, 595–596, 598, 606 Oresteia (Aeschylus), Supp. IX: 103 “Orestes at Tauris” (Jarrell), II: 376, 377 Orfalea, Gregory, Supp. XIII: 278 Orfeo ed Euridice (Gluck), II: 210, 211 Orff, Carl, Supp. X: 63 “Organizer’s Wife, The” (Bambara), Supp. XI: 8–9 “Organmeister: Hasse After Marienkirche” (Bierds), Supp. XVII: 34 “Orgy” (Rukeyser), Supp. VI: 280 Orgy, The (Rukeyser), Supp. VI: 274, 283 “Orientation of Hope, The” (Locke), Supp. XIV: 212–213 Orient Express (Dos Passos), I: 480 “Orient Express, The” (Jarrell), II: 382, 383–384 Origen, Adamantius, IV: 153 “Origin” (Harjo), Supp. XII: 219 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 Light (Goldbarth), Supp. XII: 181, 183–184, 188 Original Love (Peacock), Supp. XIX: 199–201, 206 Original of Laura, The (Nabokov), Retro. Supp. I: 266 “Original Sin” (Jeffers), Supp. II Part 2: 426 “Original Sin” (Warren), IV: 245

“Origin of Extermination in the Imagination, The” (Gass), Supp. VI: 89 Origin of Species, The (Darwin), II: 173, 462; Supp. XVI: 13 Origin of the Brunists, The (Coover), Supp. V: 39, 41, 52 “Origins and History of Consciousness” (Rich), Supp. I Part 2: 570 “Origins of a Nonfiction Writer” (Talese), Supp. XVII: 208 “Origins of a Poem” (Levertov), Supp. III Part 1: 273 “Origins of the Beat Generation, The” (Kerouac), Supp. III Part 1: 231 Origo, Iris, IV: 328 “O’ Riley’s Late-Bloomed Little Son” (X. J. Kennedy), Supp. XV: 159 “Orion” (Rich), Supp. I Part 2: 557 O’ Riordan, Conal Holmes O’ Connell, III: 465 Orlacs Hände (film, Weine), Supp. XVII: 58 Orlando (V. Woolf), Supp. XVII: 86 Orlando (Woolf), Supp. I Part 2: 718; Supp. VIII: 263; Supp. XII: 9 Orlando Furioso (Ariosto), Supp. XV: 175 Orlovsky, Peter, Supp. XII: 121, 126; Supp. XIV: 150; Supp. XVIII: 27 Ormonde, Czenzi, Supp. IV Part 1: 132 Ormond; or, The Secret Witness (Brown), Supp. I Part 1: 133–137 Ornament and Crime (Loos), Supp. XVI: 187 Orne, Sarah. See Jewett, Sarah Orne Ornithological Biography; or, An Account of the Habits of the Birds of the United States of America, and Interspersed with Delin eations of American Scenery and Manners (Audubon), Supp. XVI:13 Ornithological Biography; or, An Account of the Habits of the Birds of the United States of America, and Interspersed with Delineations of American Scenery and Manners (Audubon), 7–10 Ornitz, Samuel, Supp. IX: 227; Supp. XIII: 166 Orphan Angel, The (Wylie), Supp. I Part 2: 707, 709, 714, 717, 719–721, 722, 724 Orphan’s Tale, An (Neugeboren), Supp. XVI: 222, 223 “Orpheus (1)” (Atwood), Supp. XIII: 35 “Orpheus (2)” (Atwood), Supp. XIII: 35 Orpheus (Rukeyser), Supp. VI: 273 “Orpheus” (Winters), Supp. II Part 2: 801 “Orpheus, Eurydice, Hermes” (Rilke), Supp. VIII: 31, 32 “Orpheus Alone” (Strand), Supp. IV Part 2: 632 Orpheus Descending (T. Williams), IV: 380, 381, 382, 385, 386, 387, 389, 391–392, 395, 396, 398 Orr, Peter, Supp. I Part 2: 538, 540, 543 Ortega y Gasset, José, I: 218, 222; Supp. IV Part 2: 521

Ortiz, Simon J., Supp. IV Part 1: 319, 404; Supp. IV Part 2: 497–515, 557; Supp. XII: 217, 218 “Ortlieb’s Uptown Taproom” (Di Piero), Supp. XIX: 46, 47 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; Supp. XIV: 112, 158; Supp. XVII: 228, 229; Supp. XVIII: 137, 138 Osborn, Dwight, III: 218–219, 223 “Osborn Look, The” (Morris), III: 221 Osgood, Frances, Supp. XVII: 75 Osgood, J. R., II: 283 O’ Shea, Kitty, II: 137 O’ Shea, Milo, Supp. XI: 308 “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 Ossip, Kathleen, Supp. X: 201 Ostanovka v Pustyne (A halt in the wilderness) (Brodsky), Supp. VIII: 21 Oster, Judith, Supp. XVI: 151 Ostriker, Alicia, Supp. I Part 2: 540; Supp. IV Part 2: 439, 447, 449; Supp. X: 207, 208; Supp. XI: 143; Supp. XV: 251 Ostrom, Hans, Retro. Supp. I: 195 Oswald, Lee Harvey, III: 234, 235 Oswald II (DeLillo), Supp. VI: 16 Oswald’s Tale (Mailer), Retro. Supp. II: 212–213 O Taste and See (Levertov), Supp. III Part 1: 278–279, 281 Othello (Shakespeare), I: 284–285 “Other, The” (Sexton), Supp. II Part 2: 692 Other America, The (Harrington), I: 306 “Other American Renaissance, The” (Tompkins), Supp. XVIII: 258 Other Destinies: Understanding the American Indian Novel (Owens), Supp. IV Part 1: 404 “Other Frost, The” (Jarrell), Retro. Supp. I: 121 Other Gods: An American Legend (Buck), Supp. II Part 1: 123, 130–131 Other House, The (James), Retro. Supp. I: 229 “Other League of Nations, The” (Ríos), Supp. IV Part 2: 552 “Other Margaret, The” (Trilling), Supp. III Part 2: 504–505 “Other Miller, The” (Wolff), Supp. VII: 343–344 “Other Mothers” (Paley), Supp. VI: 225 “Other Night at Columbia, The” (Trilling), Supp. XII: 126 “Other Robert Frost, The” (Jarrell), Retro. Supp. I: 135 Others (Shields), Supp. VII: 310 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

464 / AMERICAN WRITERS Other Side of the River, The (Wright), Supp. V: 332–333, 342 “Other Side of the River, The” (Wright), Supp. V: 335 “Other Tradition, The” (Ashbery), Supp. III Part 1: 15, 18 “Other Two, The” (Wharton), Retro. Supp. I: 367 Other Voices, Other Rooms (Capote), Supp. III Part 1: 113–118, 121, 123– 124 “Other War, The” (Cowley), Supp. II Part 1: 144 “Otherwise” (Kenyon), Supp. VII: 172, 174 Otherwise: New and Selected Poems (Kenyon), Supp. VII: 167, 172–174 Otherwise Than Being; or, Beyond Essence (Lévinas), Supp. XVI: 290, 291 “Other Woman, The” (Anderson), I: 114 “Other World, The” (Wrigley), Supp. XVIII: 307 Otho the Great: A Tragedy in Five Acts (Keats), Supp. XII: 113 Otis, Harrison Gray, Supp. I Part 2: 479–481, 483, 486, 488 Otis, James, III: 577; Supp. I Part 2: 486; Supp. XV: 229 O to Be a Dragon (Moore), III: 215 Otto, Rudolf, Supp. XVII: 243 “Ouija” (McClatchy), Supp. XII: 269– 270 Oupensky, Peter, Supp. XIV: 188 Our America (Frank), I: 229; Supp. IX: 308 Our America (Michaels), Retro. Supp. I: 379 “Our Assistant’s Column” (Twain), IV: 193 “Our Bourgeois Literature” (Sinclair), Supp. V: 281 Our Brains and What Ails Them (Gilman), Supp. XI: 207 Our Century (Wilder), IV: 374 “Our Christmas Party” (E. Stoddard), Supp. XV: 273, 278 Our Country (Strong), Supp. XIV: 64 “Our Countrymen in Chains!” (Whittier), Supp. I Part 2: 688 “Our Cultural Humility” (Bourne), I: 223, 228 Our Depleted Society (Seymour), Supp. XIII: 264 “Our Dust” (Wright), Supp. XV: 345, 346 “Our Father Who Drowns the Birds” (Kingsolver), Supp. VII: 208–209 “Our First House” (Kingston), Supp. V: 169 Our Gang (P. Roth), Retro. Supp. II: 287; Supp. III Part 2: 414; Supp. IV Part 1: 388 “Our Good Day” (Cisneros), Supp. VII: 60 Our Ground Time Here Will Be Brief (Kumin), Supp. IV Part 2: 450–452 Our House in the Last World (Hijuelos), Supp. VIII: 73, 76–79, 87, 88 “Our Lady” (A. Finch), Supp. XVII: 77

“Our Lady of the Annunciation/Nuestra Señora de Anunciación” (Mora), Supp. XIII: 217, 224, 228 “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 Pocahontas” (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 River Now” (L.-Y. Lee), Supp. XV: 224, 225 Ourselves to Know (O’ Hara), III: 362, 365 “Our Story Begins” (Wolff), Supp. VII: 345 “Our Sweating Selves” (Di Piero), Supp. XIX: 36 Our Town (Wilder), IV: 357, 364, 365, 366, 368–369 “Our Unplanned Cities” (Bourne), I: 229, 230 Our Wonder World, Retro. Supp. I: 341 Ouspensky, P. D., I: 383 “Out” (Harjo), Supp. XII: 219 “’ Out, Out’ ” (Frost), Retro. Supp. I: 131 “Outcast” (McKay), Supp. X: 135 “Outcasts of Poker Flats, The” (Harte), Supp. II Part 1: 345, 347–348 Outcroppings (Harte), Supp. II Part 1: 343 Out Cry (T. Williams), IV: 383, 393 Outcry, The (James), Retro. Supp. I: 235 “Outdoor Shower” (Olds), Supp. X: 214 Outerbridge Reach (Stone), Supp. V: 306–308 Outer Dark (McCarthy), Supp. VIII: 176–177 Outermost Dream, The: Essays and Reviews (Maxwell), Supp. VIII: 171– 172 “Outing, The” (Baldwin), Supp. I Part 1: 63 “Out Like a Lamb” (Dubus), Supp. VII: 91 “Outline of an Autobiography” (Toomer), Supp. III Part 2: 478 Outlyer and Ghazals (Harrison), Supp. VIII: 41 “Out of Business” (Mora), Supp. XIII: 217

Out of Eden: Essays on Modern Art (Di Piero), Supp. XIX: 41, 42 Out of My League (Plimpton), Supp. XVI: 233, 239 “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 Deeps” (E. Stoddard), Supp. XV: 286 “Out of the Hospital and Under the Bar” (Ellison), Retro. Supp. II: 118–119; 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 of the Woods” (Offutt), Supp. XIX: 169–170 Out of the Woods: Stories (Offutt), Supp. XIX: 163, 167, 169–172, 175 Outre-Mer: A Pilgrimage beyond the Sea (Longfellow), II: 313, 491; Retro. Supp. II: 155, 165 “Outside” (Stafford), Supp. XI: 318 Outside, The (Glaspell), Supp. III Part 1: 179, 187 Outsider, The (Wright), IV: 478, 481, 488, 491–494, 495 Out Went the Candle (Swados), Supp. XIX: 257 Out West (Shanley), Supp. XIV: 317 “Out with the Old” (Yates), Supp. XI: 342 “Ouzo for Robin” (Merrill), Supp. III Part 1: 326 “Oval Portrait, The” (Poe), III: 412, 415; Retro. Supp. II: 270 “Oven Bird, The” (Frost), Retro. Supp. I: 131; Supp. XI: 153; Supp. XIX: 15 “Over 2,000 Illustrations and a Complete Concordance” (Bishop), Retro. Supp. II: 45; Supp. I Part 1: 90–91 “Over by the River” (Maxwell), Supp. VIII: 169, 170 “Overgrown Pasture, The” (Lowell), II: 523 “Overheard through the Walls of the Invisible City” (Bidart), Supp. XV: 32 “Over Kansas” (Ginsberg), Supp. II Part 1: 320 Overland to the Islands (Levertov), Supp. III Part 1: 275, 276 “Overlooking Lake Champlain” (Di Piero), Supp. XIX: 47 “Overnight Pass” (X. J. Kennedy), Supp. XV: 168 Overreachers, The (Talese), Supp. XVII: 202 “Over-Soul, The” (Emerson), II: 7 Over the Blue Mountain (Richter), Supp. XVIII: 220

CUMULATIVE INDEX / 465 “Over the Hill” (Dubus), Supp. VII: 76, 79–80 Overtime (Gurney), Supp. V: 104 “Overwhelming Question, An” (Taylor), Supp. V: 323 Ovid, I: 62; II: 542–543; III: 457, 467, 468, 470; Retro. Supp. I: 63; Supp. IV Part 2: 634; Supp. XII: 264 “Ovid in Exile” (Di Piero), Supp. XIX: 44 “Ovid’s Farewell” (McClatchy), Supp. XII: 257–258 Owen, David, II: 34 Owen, Maureen, Supp. IV Part 2: 423 Owen, Wilfred, II: 367, 372; III: 524; Supp. X: 146; Supp. XVII: 245; Supp. XVIII: 92; Supp. XIX: 17 Owens, Hamilton, III: 99, 109 Owens, Louis, Supp. IV Part 1: 404 “O Where Are You Going?” (Auden), Supp. X: 116 “Owl, The” (Wrigley), Supp. XVIII: 297–298, 301 Owl in the Attic, The (Thurber), Supp. I Part 2: 614 Owl in the Mask of the Dreamer, The: Collected Poems (Haines), Supp. XII: 211 “Owl in the Sarcophagus, The” (Stevens), Retro. Supp. I: 300 Owl’s Clover (Stevens), Retro. Supp. I: 298, 303–304 “Owl’s Clover” (Stevens), IV: 75 Owl’s Insomnia, Poems by Rafael Alberti, The (Strand, trans.), Supp. IV Part 2: 630 Owlstone Crown, The (X. J. Kennedy), Supp. XV: 162, 164 “Owl Who Was God, The” (Thurber), Supp. I Part 2: 610 Owning Jolene (Hearon), Supp. VIII: 66–67 “Owning the Masters” (Nelson), Supp. XVIII: 171 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 Book of Children’s Verse in America, The (Hall, ed.), Supp. XIV: 126 Oxford Companion to Twentieth-Century Poetry (Hamilton, ed.), Supp. XVII: 243 Oxford History of the American People, The (Morison), Supp. I Part 2: 495– 496 Oxford History of the United States, 1783–1917, The (Morison), Supp. I Part 2: 483–484 “Oxford Town” (song, Dylan), Supp. XVIII: 24 Oxherding Tale (Johnson), Supp. VI: 190–192, 193, 194, 196 Oxley, William, Supp. XV: 125 “O Yes” (Olsen), Supp. XIII: 294, 298, 299–300, 301 “O Youth and Beauty!” (Cheever), Retro. Supp. I: 335 “Oysters” (Sexton), Supp. II Part 2: 692

“Ozark Odes” (Wright), Supp. XV: 346 Ozick, Cynthia, Supp. V: 257–274; Supp. VIII: 141; Supp. X: 192; Supp. XVII: 42, 43, 49, 50 O-Zone (Theroux), Supp. VIII: 323–324 P Pace, Patricia, Supp. XI: 245 Pacernik, Gary, Supp. IX: 287, 291 “Pacific Distances” (Didion), Supp. IV Part 1: 211 “Pacific Village” (M. F. K. Fisher), Supp. XVII: 83 Pack, Robert, Supp. IV Part 2: 621 “Packed Dirt, Churchgoing, a Dying Cat, a Traded Cat” (Updike), IV: 219 “Packing Mother’s Things” (C. Frost), Supp. XV: 97 Paddock, Joe, Supp. XVI: 36 Paddock, Nancy, Supp. XVI: 36 Padel, Ruth, Supp. XII: 107 Padgett, Ron, Supp. XV: 190 Pafko at the Wall (DeLillo), Supp. VI: 4 “Pagan Prayer” (Cullen), Supp. IV Part 1: 170 “Pagan Rabbi, The” (Ozick), Supp. V: 262, 264, 265; Supp. XVII: 43 Pagan Rabbi and Other Stories, The (Ozick), Supp. V: 260, 261, 263–265 Pagan Spain (Wright), IV: 478, 488, 495 Page, Geraldine, Supp. XV: 7 Page, Kirby, III: 297 Page, Thomas Nelson, II: 174, 176, 194; Supp. XIV: 61 Page, Walter Hines, II: 174, 175; Supp. I Part 1: 370 Page, William, Supp. XVIII: 2, 11 “Pages from Cold Point” (Bowles), Supp. IV Part 1: 85, 86, 87 Paid on Both Sides: A Charade (Auden), Supp. II Part 1: 6, 18–19 Paige, Satchel, Supp. I Part 1: 234 Paige, T. D. D., III: 475 Pain, Joseph, Supp. I Part 2: 502 Paine, Albert Bigelow, I: 249 Paine, Thomas, I: 490; II: 117, 302; III: 17, 148, 219; Retro. Supp. I: 390; Supp. I Part 1: 231; Supp. I Part 2: 501–525; Supp. XI: 55 “Pain has an Element of Blank” (Dickinson), Retro. Supp. I: 44 “Paint and Powder” (Z. Fitzgerald), Supp. IX: 71 Painted Bird, The (Kosinski), Supp. VII: 215–217, 219–221, 222, 227 Painted Desert (F. Barthelme), Supp. XI: 28–29, 32 Painted Dresses (Hearon), Supp. VIII: 63 “Painted Head” (Ransom), III: 491, 494; Supp. II Part 1: 103, 314 Painted Word, The (Wolfe), Supp. III Part 2: 580–581, 584; Supp. XV: 143 “Painter, The” (Ashbery), Supp. III Part 1: 5–6, 13 Painter Dreaming in the Scholar’s House, The (Nemerov), III: 269 “Painters” (Rukeyser), Supp. VI: 281 “Painting a Mountain Stream” (Nemerov), III: 275

“Pair a Spurs” (Proulx), Supp. VII: 263– 264 “Pair of Bright Blue Eyes, A” (Taylor), Supp. V: 321 “Pajamas” (Olds), Supp. X: 206 Pakula, Alan, Supp. XIII: 264 Palace at 4 A.M. (Giacometti), Supp. VIII: 169 “Palantine, The” (Whittier), Supp. I Part 2: 694, 696 Palatella, John, Retro. Supp. II: 48 Pale Fire (Nabokov), III: 244, 246, 252, 263–265; Retro. Supp. I: 264, 265, 266, 270, 271, 272, 276, 278, 335; Supp. V: 251, 253 “Pale Horse, Pale Rider” (Porter), III: 436, 437, 441–442, 445, 446, 449 Pale Horse, Pale Rider: Three Short Novels (Porter), III: 433, 436–442; Supp. VIII: 157 “Pale Pink Roast, The” (Paley), Supp. VI: 217 “Pale Rider” (B. Kelly), Supp. XVII: 132–133 Paley, Grace, Supp. VI: 217–233; Supp. IX: 212; Supp. X: 79, 164; Supp. XII: 309 Paley, William, II: 9 Palgrave, Francis Turner, Retro. Supp. I: 124; Supp. XIV: 340 Palgrave’s Golden Treasury (Palgrave), IV: 405 Palimpsest (Doolittle), Supp. I Part 1: 259, 268, 269, 270–271 Palimpsest (Vidal), Supp. X: 186 “Palingenesis” (Longfellow), II: 498 Pal Joey (O’ Hara), III: 361, 367–368 “Pal Joey” stories (O’ Hara), III: 361 Pallbearers Envying the One Who Rides (Dobyns), Supp. XIII: 89 “Palm, The” (Merwin), Supp. III Part 1: 355 Palmer, Charles, II: 111 Palmer, Elihu, Supp. I Part 2: 520 Palmer, George Herbert, Supp. XIV: 197 Palmer, Michael, Supp. IV Part 2: 421; Supp. XVI: 284; Supp. XVII: 240 Palmer, Samuel, Supp. XV: 81 Palmerston, Lord, I: 15 Palm-of-the-Hand-Stories (Kawabata), Supp. XV: 186 “Palo Alto: The Marshes” (Hass), Supp. VI: 100 Palpable God, A: Thirty Stories Translated from the Bible with an Essay on the Origins and Life of Narrative (Price), Supp. VI: 262, 267 Palubinskas, Helen, Supp. X: 292 Pamela (Richardson), Supp. V: 127 Pamela’s First Musical (Wasserstein), Supp. XV: 333 Panache de bouquets (Komunyakaa; Cadieux, trans.), Supp. XIII: 127 Pan-African movement, Supp. II Part 1: 172, 175 Pandaemonium (Epstein), Supp. XII: 161, 172–173 “Pandora” (Adams), I: 5 Pandora: New Tales of Vampires (Rice), Supp. VII: 295

466 / AMERICAN WRITERS Panek, LeRoy, Supp. XIV: 27 “Pangolin, The” (Moore), III: 210 Panic: A Play in Verse (MacLeish), III: 2, 20 Panic in Needle Park (film), Supp. IV Part 1: 198 Pankey, Eric, Supp. XIX: 44 Pantagruel (Rabelais), II: 112 “Pantaloon in Black” (Faulkner), II: 71 Panther and the Lash, The (Hughes), Retro. Supp. I: 204, 211; Supp. I Part 1: 342–344, 345–346 “Panthers, The” (Southern), Supp. XI: 295 “Panties and the Buddha” (Peacock), Supp. XIX: 199 “Pan versus Moses” (Ozick), Supp. V: 262 “Paolo Castelnuovo” (Everwine), Supp. XV: 83–84 “Papa and Mama Dance, The” (Sexton), Supp. II Part 2: 688 “Papa Who Wakes Up Tired in the Dark” (Cisneros), Supp. VII: 62 Pape, Greg, Supp. V: 180; Supp. XIII: 312; Supp. XV: 73 Paper Doll (Parker), Supp. XIX: 184 “Paper Dolls Cut Out of a Newspaper” (Simic), Supp. VIII: 282 “Paper House, The” (Mailer), III: 42–43 Paper Lion (film, March), Supp. XVI: 242 Paper Lion: Confessions of a Last-String Quarterback (Plimpton), Supp. XVI: 242–243 Papernick, Jon, Supp. XVII: 50 Papers on Literature and Art (Fuller), Supp. II Part 1: 292, 299 Papini, Giovanni, Supp. XVI: 195 Papp, Joseph, Supp. IV Part 1: 234 “Paprika Johnson” (Barnes), Supp. III Part 1: 33 “Par” (Bausch), Supp. VII: 54 “Parable in the Later Novels of Henry James” (Ozick), Supp. V: 257 “Parable of the Gift” (Glück), Supp. V: 89 “Parable of the Hostages” (Glück), Supp. V: 89 “Parable of the King” (Glück), Supp. V: 89 Parable of the Sower (O. Butler), Supp. XIII: 66–67, 69 Parable of the Talents (O. Butler), Supp. XIII: 61,Supp. XIII: 66, 67–69 “Parable of the Trellis” (Glück), 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” (Caputo), Supp. XIX: 26–27 “Paradise” (Doty), Supp. XI: 123 Paradise, Piece by Piece (Peacock), Supp. XIX: 193, 194–195, 195–196, 201–202

Paradise Lost (Milton), I: 137; II: 168, 549; IV: 126; Supp. XII: 173, 297; Supp. XV: 181 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 of Bombs, The (Sanders), Supp. XVI: 265, 272–273 Paradise Poems (Stern), Supp. IX: 293– 294, 295 Paradiso (Dante), Supp. IX: 50 “Paradoxes and Oxymorons” (Ashbery), Supp. III Part 1: 23–24 Paradox of Progressive Thought, The (Noble), Supp. I Part 2: 650 Paragon, The (Knowles), Supp. XII: 249 “Paragraphs” (Carruth), Supp. XVI: 52–53 “Parameters” (Dunn), Supp. XI: 154 “Paraphrase” (Crane), I: 391–392, 393 “Pardon, The” (Wilbur), Supp. III Part 2: 544, 550 Paredes, Américo, Supp. XIII: 225; Supp. XIX: 97, 98, 100 Paredes, Raymund A., Supp. XIII: 320, 321 “Parentage” (Stafford), Supp. XI: 321, 322 Parentheses: An Autobiographical Journey (Neugeboren), Supp. XVI: 217, 218, 219, 221, 226 “Parents” (F. Barthelme), Supp. XI: 34 “Parents Taking Shape” (Karr), Supp. XI: 243 “Parents’ Weekend: Camp Kenwood” (Kenyon), Supp. VII: 169 Pareto, Vilfredo, II: 577 Paretsky, Sara, Supp. IV Part 2: 462; Supp. XIV: 26 Parini, Jay, Supp. X: 17; Supp. XIX: 120, 129 “Paris” (Stern), Supp. IX: 300 “Paris, 7 A.M.” (Bishop), Retro. Supp. II: 41, 42; Supp. I Part 1: 85, 89 Paris, Paris (Shaw), Supp. XIX: 240 Paris France (Stein), IV: 45 Park, Robert, IV: 475 “Park Bench” (Hughes), Supp. I Part 1: 331–332 Park City (Beattie), Supp. V: 24, 35–36 “Park City” (Beattie), Supp. V: 35 Parker, Charlie, Supp. I Part 1: 59; Supp. X: 240, 242, 246; Supp. XIII: 129 Parker, Dorothy, Retro. Supp. II: 327; Supp. IV Part 1: 353; Supp. IX: 62, 114, 189–206; Supp. X: 164; Supp. XI: 28; Supp. XVIII: 242, 246, 252 Parker, Emily, Supp. XVIII: 102 Parker, Idella, Supp. X: 232, 234–235 Parker, Joan, Supp. XIX: 187 Parker, Muriel, Supp. IX: 232 Parker, Patricia, Supp. XV: 242 Parker, Robert B., Supp. IV Part 1: 135, 136; Supp. XIX: 177–192 Parker, Theodore, Supp. I Part 1: 38; Supp. I Part 2: 518 Parker, Thomas, Supp. I Part 1: 102

“Parker’s Back” (O’ Connor), III: 348, 352, 358 “Parkersburg” (Halliday), Supp. XIX: 92 Parkes, Henry Bamford, Supp. I Part 2: 617 Park-Fuller, Linda, Supp. XIII: 297 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 (Morison, ed.), Supp. I Part 2: 494 Parks, Gordon, Sr., Supp. XI: 17 Parks, Larry, Supp. I Part 1: 295 Parks, Rosa, Supp. I Part 1: 342 “Park Street Cemetery, The” (Lowell), II: 537, 538 Par le Détroit (cantata) (Bowles), Supp. IV Part 1: 82 Parliament of Fowls, The (Chaucer), III: 492 Parmenides (Plato), II: 10 Parnassus (Emerson), II: 8, 18 Parnell, Charles Stewart, II: 129, 137 Parole (film), Supp. XIII: 166 Parole Fixer (film), Supp. XIII: 170 Parrington, Vernon Louis, I: 254, 517, 561; III: 335, 606; IV: 173; Supp. I Part 2: 484, 640 Parrish, Dillwyn, Supp. XVII: 83–84, 90 Parrish, Robert, Supp. XI: 307 “Parrot, The” (Merrill), Supp. III Part 1: 320 “Parsley” (Dove), Supp. IV Part 1: 245, 246 Parson, Annie, Supp. I Part 2: 655 Parsons, Elsie Clews, I: 231, 235 Parsons, Ian, Supp. IX: 95 Parsons, Louella, Supp. XII: 173 Parsons, Talcott, Supp. I Part 2: 648 Parsons, Theophilus, II: 396, 504; Retro. Supp. II: 134; Supp. I Part 1: 155 “Parthian Shot, The” (Hammett), Supp. IV Part 1: 343 Partial Payments: Essays on Writers and Their Lives (Epstein), Supp. XIV: 111 Partial Portraits (James), II: 336 “Partial Relief” (Halliday), Supp. XIX: 91 Partial Truth (Nelson), Supp. XVIII: 175–176, 178 Parties (Van Vechten), Supp. II Part 2: 739, 747–749 “Parting” (Kunitz), Supp. III 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 Partisans (Matthiessen), Supp. V: 201 “Partner, The” (Roethke), III: 541–542 Partners, The (Auchincloss), Supp. IV Part 1: 31, 34 Partners in Crime: A Rafe Buenrostro Mystery (Hinojosa), Supp. XIX: 107– 108 “Part of a Letter” (Wilbur), Supp. III Part 2: 551

CUMULATIVE INDEX / 467 Part of Speech, A (Brodsky), Supp. VIII: 22 “Part of the Bee’s Body Embedded in the Flesh, The” (C. Frost), Supp. XV: 105, 107 “Part of the Story” (Dobyns), Supp. XIII: 79 Parton, Sara, Retro. Supp. I: 246 Partridge, Jeffrey F., Supp. XV: 219 Partridge, John, II: 110, 111 “Parts of a Journal” (Gordon), Supp. IV Part 1: 310 Parts of a World (Stevens), Retro. Supp. I: 305–306, 307, 309, 313 “Party, The” (Dunbar), Supp. II Part 1: 198, 205–206 “Party, The” (Taylor), Supp. V: 315 Party at Jack’s, The (Wolfe), IV: 451– 452, 469 “Party Down at the Square, A” (Ellison), Retro. Supp. II: 124 Party of Five (television series), Supp. XIX: 222 Pascal, Blaise, II: 8, 159; III: 292, 301, 304, 428; Retro. Supp. I: 326, 330 “Paskudnyak” (Pilcer), Supp. XVII: 50 “Pass, The” (Neugeboren), Supp. XVI: 225 “Passage” (Crane), I: 391 “Passage in the Life of Mr. John Oakhurst, A” (Harte), Supp. II Part 1: 353–354 “Passages” (Duncan), Supp. XVI: 287 “Passages from a Relinquished Work” (Hawthorne), Retro. Supp. I: 150 Passages toward the Dark (McGrath), Supp. X: 126, 127 “Passage to India” (Whitman), IV: 348 Passage to India, A (Forster), II: 600; Supp. XVIII: 143 Passaro, Vince, Supp. X: 167, 302, 309, 310 “Passenger Pigeons” (Jeffers), Supp. II Part 2: 437 Passin, Herbert, Supp. XIII: 337 Passing (Larsen), Supp. XVIII: 119, 123, 127–130 “Passing Beauty” (C. Frost), Supp. XV: 97 “Passing of Grandison, The” (Chesnutt), Supp. XIV: 62, 66–69 “Passing of Sister Barsett, The” (Jewett), Retro. Supp. II: 138–139, 143 “Passing Show, The” (Bierce), I: 208 “Passing Through” (Kunitz), Supp. III Part 1: 265 “Passion, The” (Barnes), Supp. III Part 1: 36 “Passion, The” (Merwin), Supp. III Part 1: 343 Passionate, Accurate Story, The: Making Your Heart’s Truth into Literature (C. Bly), Supp. XVI: 41–42 Passionate Pilgrim, A (James), II: 324; Retro. Supp. I: 219 “Passionate Pilgrim, A” (James), II: 322, 323–324; Retro. Supp. I: 218 Passion Play (Kosinski), Supp. VII: 215, 225–226

Passions of Uxport, The (Kumin), Supp. IV Part 2: 444 “Passive Resistance” (McKay), Supp. X: 133 Passport to the War (Kunitz), Supp. III Part 1: 261–264 Passwords (Stafford), Supp. XI: 329–330 “Past, The” (Bryant), Supp. I Part 1: 157, 170 Past, The (Kinnell), Supp. III Part 1: 235, 253–254 “Past, The” (Kinnell), Supp. III Part 1: 254 Past and Present (Carlyle), Supp. I Part 2: 410 Pasternak, Boris, II: 544 “Pastiches et Pistaches” (Van Vechten), Supp. II Part 2: 732 “Past Is the Present, The” (Moore), III: 199–200 “Pastoral” (Carver), Supp. III Part 1: 137, 146 “Pastoral” (Dove), Supp. IV Part 1: 249 “Pastoral Hat, A” (Stevens), IV: 91 Pastoralia (Saunders), Supp. XIX: 227– 229 “Pastoralia” (Saunders), Supp. XIX: 227, 229 “Pastor Dowe at Tacaté” (Bowles), Supp. IV Part 1: 87 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 Patch, Jerry, Supp. XVIII: 38 Patchen, Kenneth, Supp. III Part 2: 625 Patchett, Ann, Supp. XII: 307–324 Patchwork Planet (Lethem), Supp. XVIII: 150 Pater, Walter, I: 51, 272, 476; II: 27, 338; III: 604; IV: 74; Retro. Supp. I: 56, 79; Retro. Supp. II: 326; Supp. I Part 2: 552; Supp. IX: 66 Paterna (Mather), Supp. II Part 2: 451 “Paterson” (Ginsberg), Supp. II Part 1: 314–315, 321, 329 Paterson (W. C. Williams), I: 62, 446; IV: 418–423; Retro. Supp. I: 209, 284, 413, 419, 421, 424–428, 428, 429, 430; Retro. Supp. II: 321, 328; Supp. II Part 2: 557, 564, 625; Supp. VIII: 275, 305; Supp. XIV: 96; Supp. XV: 264, 349 Paterson, Book Five (W. C. Williams), IV: 422–423 Paterson, Book One (W. C. Williams), IV: 421–422 Paterson, Isabel, Supp. IV Part 2: 524 Paterson, Part Three (W. C. Williams), IV: 420–421 Pat Garrett and Billy the Kid (film, Peckinpah), Supp. XVIII: 27 “Path, The” (Bryant), Supp. I Part 1: 169 Pathfinder, The (Cooper), I: 349, 350, 355

Pat Hobby Stories, The (Fitzgerald), Retro. Supp. I: 114 “Pathos of Low Life, The” (Hapgood), Supp. XVII: 103 “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 Patrimony: A True Story (P. Roth), Retro. Supp. II: 279, 280, 291; Supp. III Part 2: 427 Patriot, The (Buck), Supp. II Part 1: 122–123 Patriot, The (Connell), Supp. XIV: 94–95 Patriotic Gore: Studies in the Literature of the American Civil War (Wilson), III: 588; IV: 430, 438, 443, 445–445, 446; Supp. VIII: 100 “Patriotic Thing, The” (Ryan as Quin), Supp. XVIII: 229 “Patriots, The/Los Patriotas” (Kingsolver), Supp. VII: 209 Patron Saint of Liars, The (Patchett), Supp. XII: 307, 310, 311–314, 317 Pattee, Fred L., II: 456 Patten, Gilbert, II: 423 Patten, Simon, Supp. I Part 2: 640 Patternmaster (O. Butler), Supp. XIII: 61, 62, 63 Patternmaster Series (O. Butler), Supp. XIII: 62–63 Pattern Recognition (W. Gibson), Supp. XVI: 124, 130–131 “Patterns” (Lowell), II: 524 Patterson, Floyd, III: 38 Patterson, William M., Supp. I Part 1: 265 Patton, General George, III: 575; Supp. I Part 2: 664 “Patty-Cake, Patty-CakeѧA Memoir” (Apple), Supp. XVII: 7 Paul, Saint, I: 365; II: 15, 494; IV: 122, 154, 164, 335; Retro. Supp. I: 247; Supp. I Part 1: 188 Paul, Sherman, I: 244; IV: 179 “Paula Becker to Clara Westhoff” (Rich), Supp. I Part 2: 573–574 “Paula Gunn Allen” (Ruppert), Supp. IV Part 1: 321 Paul Bowles: Romantic Savage (Caponi), Supp. IV Part 1: 95 Paulding, James Kirke, I: 344; II: 298, 299, 303; Supp. I Part 1: 157 Paul Jones (Hapgood), Supp. XVII: 100–101 Paul Marchand, F.M.C. (Chesnutt), Supp. XIV: 76 “Paul Monette: The Brink of Summer’s End” (film), Supp. X: 152 “Paul Revere” (Longfellow), II: 489, 501 “Paul Revere’s Ride” (Longfellow), Retro. Supp. II: 163 “Paul’s Case” (Cather), I: 314–315; Retro. Supp. I: 3, 5

468 / AMERICAN WRITERS Paulsen, Friedrich, III: 600 “Pauper Witch of Grafton, The” (Frost), Retro. Supp. II: 42 “Pause by the Water, A” (Merwin), Supp. III Part 1: 354 “Pavane for the Nursery, A” (W. J. Smith), Supp. XIII: 335 “Pavement, The” (Olson), Supp. II Part 2: 571 Pavilion of Women (Buck), Supp. II Part 1: 125–126 “Pawnbroker, The” (Kumin), Supp. IV Part 2: 442, 443–444, 451 Pawnbroker, The (Wallant), Supp. XVI: 220 “Paying Dues” (Bass), Supp. XVI: 16 Payne, Daniel, Supp. V: 202 Payne, John Howard, II: 309 Paz, Octavio, Supp. III Part 2: 630; Supp. VIII: 272; Supp. XI: 191; Supp. XIII: 223 P. D. Kimerakov (Epstein), Supp. XII: 160, 162 Peabody, Elizabeth, Retro. Supp. I: 155– 156, 225 Peabody, Francis G., III: 293; Supp. I Part 1: 5 Peabody, Josephine Preston, III: 507 Peaceable Kingdom, The (Prose), Supp. XVI: 256–257 Peace and Bread in Time of War (Addams), Supp. I Part 1: 21, 22–23 “Peace Between Black and White in the United States” (Locke), Supp. XIV: 205 Peace Breaks Out (Knowles), Supp. XII: 249 “Peace March, The” (Simpson), Supp. IX: 279 “Peace of Cities, The” (Wilbur), Supp. III Part 2: 545 “Peaches—Six in a Tin Box, Sarajevo” (Cisneros), Supp. VII: 67 Peacock, Doug, Supp. VIII: 38; Supp. XIII: 12 Peacock, Gibson, Supp. I Part 1: 360 Peacock, Molly, Supp. XVII: 74; Supp. XIX: 193–207 “Peacock, The” (Merrill), Supp. III Part 1: 320 Peacock, Thomas Love, Supp. I Part 1: 307; Supp. VIII: 125 “Peacock Room, The” (Hayden), Supp. II Part 1: 374–375 “Peacocks of Avignon, The” (Swados), Supp. XIX: 263 Pearce, Richard, Supp. IX: 254 Pearce, Roy Harvey, II: 244; Supp. I Part 1: 111, 114; Supp. I Part 2: 475 “Pearl” (Kooser), Supp. XIX: 127–128 Pearl, The (Steinbeck), IV: 51, 62–63 Pearlman, Daniel, III: 479 Pearlman, Mickey, Supp. XIII: 293, 306 Pearl of Orr’s Island, The (Stowe), Supp. I Part 2: 592–593, 595 “Pearls” (A. Finch), Supp. XVII: 72 Pears, Peter, II: 586; Supp. IV Part 1: 84 Pearson, Drew, Supp. XIV: 126

Pearson, Norman Holmes, Supp. I Part 1: 259, 260, 273 “Pear Tree” (C. Frost), Supp. XV: 105 “Peasants’ Way O’ Thinkin’ ” (McKay), Supp. X: 133 Pease, Donald E., Supp. IV Part 2: 687 Peck, Gregory, Supp. VIII: 128, 129; Supp. XII: 160, 173 Peckinpah, Sam, Supp. XI: 306; Supp. XVIII: 27 “Peck of Gold, A” (Frost), II: 155 Peculiar Treasures: A Biblical Who’s Who (Buechner), Supp. XII: 53 “Pedal Point” (Francis), Supp. IX: 87 Pedersen, Inge, Supp. XVIII: 179 “Pedersen Kid, The” (Gass), Supp. VI: 83 “Pedigree, The” (Creeley), Supp. IV Part 1: 150 Peebles, Melvin Van, Supp. XI: 17; Supp. XVI: 144 “Peed Onk” (Moore). See “People Like That Are the Only People Here: Canonical Babbling in Peed Onk” (Moore) “Peeler, The” (O’ Connor), Retro. Supp. II: 225 Peich, Michael, Supp. XV: 113, 117 Peikoff, Leonard, Supp. IV Part 2: 520, 526, 529 Peirce, Charles Sanders, II: 20, 352–353; III: 599; Supp. I Part 2: 640; Supp. III Part 2: 626 Pelagius, III: 295 “Pelican, The” (Merrill), Supp. III Part 1: 320 “Pelican, The” (Wharton), IV: 310; Retro. Supp. I: 364 Pellacchia, Michael, Supp. XIII: 16 Pelley, Denise, Supp. XIX: 205 Peltier, Leonard, Supp. V: 212 “Pen and Paper and a Breath of Air” (Oliver), Supp. VII: 245 Pence, Amy, Supp. XV: 211, 223 “Pencil, The” (Chandler), Supp. IV Part 1: 135 Pencillings by the Way (Willis), II: 313; Supp. XVIII: 12 “Pencils” (Sandburg), III: 592 Pendleton, Devon, Supp. XVIII: 151 “Pendulum” (Bradbury and Hasse), Supp. IV Part 1: 102 “Penelope’s Song” (Glück), Supp. V: 89 Penhally (Gordon), II: 197, 199, 201– 203, 204 “Penis” (McClatchy), Supp. XII: 266– 267 Penitent, The (Singer), Retro. Supp. II: 309–310, 313 Penn, Robert, I: 489 Penn, Sean, Supp. XI: 107 Penn, Thomas, II: 118 Penn, William, Supp. I Part 2: 683 Penna, Sandro, Supp. XIX: 34 Pennebaker, D. A., Supp. XVIII: 19, 26 “Pennsylvania Pilgrim, The” (Whittier), Supp. I Part 2: 700 “Pennsylvania Planter, The” (Freneau), Supp. II Part 1: 268 Penny, Rob, Supp. VIII: 330

“Penny, The” (D. West), Supp. XVIII: 283–284 Penrod (Tarkington), III: 223 “Penseroso, Il” (Milton), Supp. XIV: 8 Pensieri (Leopardi; Di Piero, trans.), Supp. XIX: 34 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, The (Glaspell), Supp. III Part 1: 179 People, Yes, The (Sandburg), III: 575, 589, 590, 591 “PEOPLE BURNING, THE” (Baraka), Supp. II Part 1: 49 “People in Hell Just Want a Drink of Water” (Proulx), Supp. VII: 263 “People Like That Are the Only People Here: Canonical Babbling in Peed Onk” (Moore), Supp. X: 168, 178– 179 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. III Part 1: 196 People Shall Continue, The (Ortiz), Supp. IV Part 2: 510 “People’s Surroundings” (Moore), III: 201, 202, 203 “People v. Abe Lathan, Colored, The” (Caldwell), I: 309 “Peppermint Lounge Revisited, The” (Wolfe), Supp. III Part 2: 571 Pepys, Samuel, Supp. I Part 2: 653 Perchance to Dream: Robert B. Parker’s Sequel to Raymond Chandler’s “Big Sleep” (Parker), Supp. XIX: 189 “Perch’ io non spero di tornar giammai” (Cavalcanti), Supp. III Part 2: 623 Percy, Thomas, Supp. XIV: 2 Percy, Walker, Supp. III Part 1: 383– 400; Supp. IV Part 1: 297; Supp. V: 334; Supp. X: 42; Supp. XIV: 21; Supp. XIX: 209 Percy, William, Supp. V: 334 Percy, William Alexander, Retro. Supp. I: 341 Peregrin, Tony, Supp. XV: 69 “Peregrine” (Wylie), Supp. I Part 2: 712–713, 714 Perelman, Bob, Supp. XII: 23 Perelman, S. J., IV: 286; Retro. Supp. I: 342; Retro. Supp. II: 321, 322, 325, 326, 327, 336; Supp. IV Part 1: 353; Supp. XI: 66 Perestroika (Kushner), Supp. IX: 141, 142, 145 Péret, Benjamin, Supp. VIII: 272 Peretz, Isaac Loeb, IV: 1, 3; Retro. Supp. II: 299 Pérez Galdós, Benito, II: 275

CUMULATIVE INDEX / 469 Perfect Analysis Given by a Parrot, A (T. Williams), IV: 395 “Perfect Couple, The” (Nelson), Supp. XVIII: 173 “Perfect Day for Bananafish, A” (Salinger), III: 563–564, 571 Perfect Ganesh, A (McNally), Supp. XIII: 202–203, 208, 209 “Perfect Gerbil, The: Reading Barthelme’s ‘The School’ ” (Saunders), Supp. XIX: 235 “Perfect Knight, The” (Chandler), Supp. IV Part 1: 120 Perfect Party, The (Gurney), Supp. V: 100, 105, 106–107 “Perfect Things” (F. Barthelme), Supp. XI: 30, 33–34 “Performance, The” (Dickey), Supp. IV Part 1: 178–179, 181 “Perfume” (Mora), Supp. XIII: 218 “Perhaps the World Ends Here” (Harjo), Supp. XII: 228, 231 Perhaps Women (Anderson), I: 114 Pericles (Shakespeare), I: 585; Supp. III Part 2: 624, 627, 629 Period of Adjustment (T. 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; Supp. XV: 185 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; Supp. X: 219, 224, 225, 229, 230, 233; Supp. XI: 218, 227 Perlès, Alfred, III: 177, 183, 187, 189 Perloff, Marjorie, Supp. I Part 2: 539, 542; Supp. IV Part 1: 68; Supp. IV Part 2: 420, 424, 432 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 Canavese” (Everwine), Supp. XV: 84 Perrault, Charles, IV: 266; Supp. I Part 2: 622 Perrin, Noel, Supp. XVI: 34 Perrins, Carol. See Frost, Carol Perry, Anne, Supp. V: 335 Perry, Bliss, I: 243 Perry, Donna, Supp. IV Part 1: 322, 327, 335 Perry, Dr. William, II: 395, 396 Perry, Edgar A., III: 410 Perry, Lincoln, Supp. V: 24, 33 Perry, Matthew C., Supp. I Part 2: 494– 495 Perry, Patsy Brewington, Supp. I Part 1: 66 Perry, Phyllis Alesia, Supp. XVIII: 96 Perry, Ralph Barton, I: 224; II: 356, 362, 364; Supp. XIV: 197

Perse, St.-John, III: 12, 13, 14, 17; Supp. III Part 1: 14; Supp. IV Part 1: 82; Supp. XIII: 344; Supp. XV: 178 “Persephone in Hell” (Dove), Supp. IV Part 1: 250, 251 “Persimmons” (L.-Y. Lee), Supp. XV: 211, 213 “Persistence of Desire, The” (Updike), IV: 222–223, 228 “Persistence of Poetry, The” (Bynner), Supp. XV: 49 “Persistences” (Hecht), Supp. X: 68–69 Person, Place, and Thing (Shapiro), Supp. II Part 2: 702, 705 Personae of Ezra Pound (Pound), III: 458 Personae: The Collected Poems (Pound), Retro. Supp. I: 285, 286; Supp. I Part 1: 255; Supp. XVII: 32 “Personal” (Stern), Supp. IX: 299 “Personal and Occasional Pieces” (Welty), Retro. Supp. I: 355 “Personal and the Individual, The” (L. Michaels), Supp. XVI: 201 Personal Injuries (Turow), Supp. XVII: 219–220, 221, 223 “Personalities” (column, Briggs), Supp. XVIII: 15 Personal Narrative (Edwards), I: 545, 552, 553, 561, 562; Supp. I Part 2: 700 Personal Recollection of Joan of Arc (Twain), IV: 208 “Personals” (Didion), Supp. IV Part 1: 200 “Personism” (O’ Hara), Supp. XV: 181 Persons and Places (Santayana), III: 615 Persons in Hiding (film), Supp. XIII: 170 Persons in Hiding (Hoover), Supp. XIII: 170 Person Sitting in Darkness, A (Twain), IV: 208 “Perspective” (Francis), Supp. IX: 78 “Perspective: Anniversary D-Day” (Karr), Supp. XI: 241 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 Pertes et Fracas (McCoy), Supp. XIII: 175 “Peruvian Child” (Mora), Supp. XIII: 218 Peseroff, Joyce, Supp. IV Part 1: 71 “Pestilence” (Nelson), Supp. XVIII: 186 “Peter” (Cather), Retro. Supp. I: 4 “Peter” (Moore), III: 210, 212 Peter, Saint, III: 341, 346; IV: 86, 294 Peterkin, Julia, Supp. I Part 1: 328 “Peter Klaus” (German tale), II: 306 Peter Pan (Barrie), Supp. XV: 319 “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 Peters, Cora, Supp. I Part 2: 468 Peters, Jacqueline, Supp. XII: 225 Peters, Margot, Supp. VIII: 252 Peters, Robert, Supp. XIII: 114 Peters, S. H. (pseudonym). See Henry, O. Peters, Timothy, Supp. XI: 39 “Peter’s Avocado” (Rodriguez), Supp. XIV: 308–309 Petersen, David, Supp. XIII: 2 Petersen, Donald, Supp. V: 180; Supp. XV: 74, 92 Peterson, Dorothy, Supp. XVIII: 131, 132 Peterson, Houston, I: 60 Peterson, Roger Tory, Supp. V: 202 Peterson, Virgilia, Supp. IV Part 1: 30 Peter Whiffle: His Life and Works (Van Vechten), Supp. II Part 2: 728–729, 731, 735, 738–741, 749 “Petey and Yotsee and Mario” (H. Roth), Supp. IX: 234 “Petition, A” (Winters), Supp. II Part 2: 785 “’ Pet Negro’ System, The” (Hurston), Supp. VI: 159 “Petra and Its Surroundings” (Frost), Retro. Supp. I: 124 Petrarch, I: 176; II: 590; III: 4 “Petrarch, Shakespeare, and the Blues” (C. Frost), Supp. XV: 92, 104, 105 “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; Supp. XI: 6, 85; Supp. XVIII: 286 Pet Sematary (King), Supp. V: 138, 143, 152 Pettengill, Richard, Supp. VIII: 341, 345, 348 Pettingell, Phoebe, Supp. XV: 251, 256– 257, 262 Pettis, Joyce, Supp. XI: 276, 277, 278, 281 Pfaelzer, Jean, Supp. XVI: 88, 90 Pfaff, Timothy, Supp. V: 166 Pfeil, Fred, Supp. XIV: 36 Pfister, Karin, IV: 467, 475 Phaedo (Plato), II: 10 Phaedra (Lowell and Barzun, trans.), II: 543–544 “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 Phantom Ship, The (Marryat), Supp. XVII: 55 “Pharaoh, The” (Kenyon), Supp. VII: 172 Pharr, Mary, Supp. V: 147 “Phases” (E. Stoddard), Supp. XV: 273 “Phases” (Stevens), Retro. Supp. I: 299 Phases of an Inferior Planet (Glasgow), II: 174–175 “Pheasant, The” (Carver), Supp. III Part 1: 146

470 / AMERICAN WRITERS Pheloung, Grant, Supp. XI: 39 Phelps, Elizabeth Stuart, Retro. Supp. II: 146; Supp. XIII: 141; Supp. XVI: 80 Phelps, Teresa Godwin, Supp. VIII: 128 “Phenomena and Laws of Race Contacts, The” (Locke), Supp. XIV: 210 “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 Philadelphia Fire (Wideman), Supp. X: 320, 334 Philadelphia Negro, The (Du Bois), Supp. II Part 1: 158, 163–164, 166 Philbrick, Thomas, I: 343 “Phil in the Marketplace” (Lethem), Supp. XVIII: 148 Philip, Jim, Supp. XII: 136 Philip, Prince, Supp. X: 108 “Philip of Pokanoket” (Irving), II: 303 Philippians (biblical book), IV: 154 “Philippine Conquest, The” (Masters), Supp. I Part 2: 456 “Philip Roth Reconsidered” (Howe), Retro. Supp. II: 286 “Philistinism and the Negro Writer” (Baraka), Supp. II Part 1: 39, 44 Phillips, Adam, Supp. XII: 97–98 Phillips, David Graham, II: 444; Retro. Supp. II: 101 Phillips, Gene D., Supp. XI: 306 Phillips, Jayne Anne, Supp. XIV: 21 Phillips, J. O. C., Supp. I Part 1: 19 Phillips, Robert, Supp. XIII: 335, 344 Phillips, Wendell, Supp. I Part 1: 103; Supp. I Part 2: 524 Phillips, Willard, Supp. I Part 1: 154, 155 Phillips, William, Supp. VIII: 156 Phillips, William L., I: 106 “Philly Babylon” (Di Piero), Supp. XIX: 46 “Philosopher, The” (Farrell), II: 45 Philosopher of the Forest (pseudonym). See Freneau, Philip Philosophes classiques, Les (Taine), III: 323 “Philosophical Cobbler, The” (Sanders), Supp. XVI: 268 “Philosophical Concepts and Practical Results” (James), II: 352 “Philosophical Investigation of Metaphor, A” (Gass), Supp. VI: 79 Philosophical Transactions (Watson), II: 114 “Philosophy, Or Something Like That” (P. Roth), Supp. III Part 2: 403 “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 Alain Locke, The: Harlem Renaissance and Beyond (Harris, ed.), Supp. XIV: 196, 211–212 “Philosophy of Composition, The” (Poe), III: 416, 421; Retro. Supp. II: 266, 267, 271 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: Who Needs It (Rand), Supp. IV Part 2: 517, 518, 527, 533 Philoxenes, Supp. VIII: 201 “Phineas” (Knowles), Supp. XII: 238– 240 Phineas: Six Stories (Knowles), Supp. XII: 249 “Phocion” (Lowell), II: 536 Phoenix and the Turtle, The (Shakespeare), I: 284 “Phoenix Lyrics” (Schwartz), Supp. II Part 2: 665 “Phone Booths, The” (Jarman), Supp. XVII: 112–113 “Phony War Films” (Jones), Supp. XI: 217, 232 “Photograph: Migrant Worker, Parlier, California, 1967” (Levis), Supp. XI: 272 “Photograph of a Child on a Vermont Hillside” (Kenyon), Supp. VII: 168 “Photograph of My Mother as a Young Girl” (Gioia), Supp. XV: 119 “Photograph of the Girl” (Olds), Supp. X: 205 “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 Phyrrho, Retro. Supp. I: 247 “Physical Universe” (Simpson), Supp. IX: 278 “Physicist We Know, A” (Shields), Supp. VII: 310 “Physics and Cosmology in the Fiction of Tom Robbins” (Nadeau), Supp. X: 270 Physiologie du goût (Brillat-Savarin), Supp. XVII: 82, 86 Physiology of Taste, The; or, Meditations on Transcendent Gastronomy (BrillatSavarin; M. F. K. Fisher, trans.), Supp. XVII: 86, 87, 91 “Physiology of Versification, The: Harmonies of Organic and Animal Life” (Holmes), Supp. I Part 1: 311 Physique de l’ Amour (Gourmont), III: 467–468 Piaf, Edith, Supp. IV Part 2: 549

Piaget, Jean, Supp. XIII: 75 “Piano” (Lawrence), Supp. XV: 254 “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 Piazza, Ben, Supp. XIII: 163 Piazza, Paul, Supp. XIV: 157, 160, 171 “Piazza de Spagna, Early Morning” (Wilbur), Supp. III Part 2: 553 Piazza Tales (Melville), III: 91 Picabia, Francis, Retro. Supp. I: 416; Retro. Supp. II: 331 Picasso (Stein), IV: 28, 32, 45 Picasso, Pablo, I: 429, 432, 440, 442, 445; II: 602; III: 197, 201, 470; IV: 26, 31, 32, 46, 87, 407, 436; Retro. Supp. I: 55, 63; Supp. IV Part 1: 81; Supp. IX: 66 Piccione, Anthony, Supp. XV: 212 “Piccola Comedia” (Wilbur), Supp. III Part 2: 561 Pickard, Samuel T., Supp. I Part 2: 682 Picked-Up Pieces (Updike), Retro. Supp. I: 320, 322, 323, 335 Picker, Lauren, Supp. VIII: 78, 83 Picker, Tobias, Supp. XII: 253 Pickford, Mary, Retro. Supp. I: 325; Supp. I Part 2: 391 “Picking and Choosing” (Moore), III: 205 “Picnic” (Peacock), Supp. XIX: 206 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 “Picture, The” (Olson), Supp. II Part 2: 574 Picture Bride (Son), Supp. X: 292 “Picture I Want, The” (Olds), Supp. X: 209 Picture of Dorian Gray, The (Wilde), Supp. IX: 105 “Picture of Little J. A. in a Prospect of Flowers, A” (Ashbery), Supp. III Part 1: 3 Picture Palace (Theroux), Supp. VIII: 322 “Pictures at an Extermination” (Epstein), Supp. XII: 161 “Pictures from an Expedition” (Duffy), Supp. IV Part 1: 207 Pictures from an Institution (Jarrell), II: 367, 385 Pictures from Brueghel (W. C. Williams), Retro. Supp. I: 429–431 “Pictures from Brueghel” (W. C. Williams), Retro. Supp. I: 419 “Pictures of Columbus, the Genoese, The” (Freneau), Supp. II Part 1: 258 Pictures of Fidelman: An Exhibition (Malamud), Supp. I Part 2: 450–451 “Pictures of the Artist” (Malamud), Supp. I Part 2: 450

CUMULATIVE INDEX / 471 Pictures of the Floating World (Lowell), II: 521, 524–525 Pictures of Travel (Heine), II: 281 Picturesque America; or, the Land We Live In (Bryant, ed.), Supp. I Part 1: 158 “Picturesque Ghetto, The” (Hapgood), Supp. XVII: 101 “Picturesque: San Cristóbal de las Casas” (Mora), Supp. XIII: 218 Picture This (Heller), Supp. IV Part 1: 386, 388, 390–391 Picturing Will (Beattie), Supp. V: 29, 31– 32, 34 “Pie” (X. J. Kennedy), Supp. XV: 170 “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 and Pontifications (Mailer), Retro. Supp. II: 209–210 Pieces of the Frame (McPhee), Supp. III Part 1: 293 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 “Pierian Handsprings” (column, Untermeyer), Supp. XV: 294 Pierpont, Claudia Roth, Supp. X: 192, 193, 196 Pierre et Jean (Maupassant), I: 421 Pierre: or The Ambiguities (Melville), III: 86–88, 89; 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 (Ríos), 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 “Pigeons” (Rilke), II: 544 “Pigeon Woman” (Swenson), Supp. IV Part 2: 644 Pigs in Heaven (Kingsolver), Supp. VII: 197, 199, 209–210 Pike County Ballads, The (Hay), Supp. I Part 1: 352 Piket, Vincent, Supp. IV Part 1: 24 Pilar San-Mallafre, Maria del, Supp. V: 40 Pilcer, Sonya, Supp. XVII: 50 “Pilgrim” (Freneau), Supp. I Part 1: 125 “Pilgrimage” (Ray), Supp. XVIII: 193 “Pilgrimage” (Sontag), Supp. III 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 at Tinker Creek (Dillard), Supp. VI: 22, 23–26, 28, 29, 30–31, 34; Supp. XVIII: 189 “Pilgrim Makers” (Lowell), II: 541 Pilgrim’s Progress (Bunyan), I: 92; II: 15, 168, 572; Supp. I Part 1: 32, 38; Supp. I Part 2: 599 Pili’s Wall (Levine), Supp. V: 178, 183– 184 “Pillar of Fire” (Bradbury), Supp. IV Part 1: 113–114 Pillars of Hercules, The: A Grand Tour of the Mediterranean (Theroux), Supp. VIII: 325 “Pillow” (L.-Y. Lee), Supp. XV: 224 Pilot, The (Cooper), I: 335, 337, 339, 342–343, 350 “Pilot from the Carrier, A” (Jarrell), II: 374 “Pilots, Man Your Planes” (Jarrell), II: 374–375 “Pilots, The” (Levertov), Supp. III Part 1: 282 “Pimp’s Revenge, A” (Malamud), Supp. I Part 2: 435, 450, 451 Pinball (Kosinski), Supp. VII: 215, 226 Pinchot, Gifford, Supp. IX: 184; Supp. XIV: 178 Pindar, I: 381; II: 543; III: 610 “Pine” (Dickey), Supp. IV Part 1: 183 Pine Barrens, The (McPhee), Supp. III Part 1: 298–301, 309 “Pineys, The” (Stern), Supp. IX: 288, 296 Pinget, Robert, Supp. V: 39 Pinhook: Finding Wholeness in a Fragmented Land (Ray), Supp. XVIII: 189, 192, 202–204 “Pink Dog” (Bishop), Retro. Supp. II: 48 Pinker, James B., I: 409; Retro. Supp. I: 231 Pinkerton, Jan, Supp. V: 323–324 “Pink Moon—The Pond” (Oliver), Supp. VII: 234 Pinktoes (C. Himes), Supp. XVI: 142 Pinocchio in Venice (Coover), Supp. V: 40, 51 Pinsker, Sanford, Retro. Supp. II: 23; Supp. V: 272; Supp. IX: 293, 327; Supp. XI: 251, 254, 317 Pinsky, Robert, Retro. Supp. II: 50; Supp. VI: 235–251; Supp. IX: 155, 158; Supp. XIII: 277, 285 Pinter, Harold, I: 71; Supp. XIII: 20, 196; Supp. XIV: 239; Supp. XVI: 207 Pinto, Ferdinand Mendes (pseudonym). See Briggs, Charles Frederick Pinto and Sons (Epstein), Supp. XII: 170, 171–172 Pinto letters (Briggs), Supp. XVIII: 3, 12–13 Pioneers, The (Cooper), I: 336, 337, 339, 340–341, 342, 348; II: 313

Pioneers of France in the New World (Parkman), Supp. III Part 2: 599, 602 “Pioneers! O Pioneers!” (Whitman), Retro. Supp. I: 8 “Pioneer’s Vision, The” (Larcom), Supp. XIII: 140 Pious and Secular America (Niebuhr), III: 308 Pipe Night (O’ Hara), III: 361, 368 Piper, Dan, Supp. IX: 65 Pipers at the Gates of Dawn: The Wisdom of Children’s Literature (Cott), Supp. XVI: 104 “Piper’s Rocks” (Olson), Supp. IV Part 1: 153 “Pipistrelles” (B. Kelly), Supp. XVII: 129–130 Pipkin, Charles W., Supp. XIV: 3 Pippa Passes (Browning), IV: 128 Piquion, René, Supp. I Part 1: 346 Pirandello, Luigi, Supp. IV Part 2: 576, 588 Piranesi, Giovanni Battista, Supp. XV: 258 Pirate, The (Robbins), Supp. XII: 6 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. III Part 1: 63; Supp. V: 331, 337; Supp. XIV: 11; Supp. XV: 351 Piscator, Erwin, IV: 394 Pissarro, Camille, I: 478 “Pissing off the Back of the Boat into the Nevernais Canal” (Matthews), Supp. IX: 160–161 Pistol, The (Jones), Supp. XI: 219, 223– 224, 227, 234 Pit, The (Norris), III: 314, 322, 326–327, 333, 334 “Pit, The” (Roethke), III: 538 “Pit and the Pendulum, The” (Poe), III: 413, 416; Retro. Supp. II: 264, 269– 270, 273 “Pitcher” (Francis), Supp. IX: 82 “Pitcher, The” (Dubus), Supp. VII: 87 Pitchford, Nicola, Supp. XII: 13 “Pits, The” (D. Graham), Supp. XI: 252, 254 Pitt, William, Supp. I Part 2: 510, 518 “Pittsburgh” (Carruth), Supp. XVI: 58 “Pity Me” (Wylie), Supp. I Part 2: 729 Pity the Monsters (Williamson), Retro. Supp. II: 185 Pius II, Pope, III: 472 Pius IX, Pope, II: 79 “Piute Creek” (Snyder), Supp. VIII: 293 Pixley, Frank, I: 196 Pizer, Donald, III: 321; Retro. Supp. II: 100, 199 “Place (Any Place) to Transcend All Places, A” (W. C. Williams), Retro. Supp. I: 422 “Place” (Hoffman), Supp. XVIII: 86 “Place at the Outskirts” (Simic), Supp. VIII: 282 Place Called Estherville, A (Caldwell), I: 297, 307

472 / AMERICAN WRITERS Place Called Freedom, A (Sanders), Supp. XVI: 269 Place for My Head, A (Hoffman), Supp. XVIII: 76 “Place in Fiction” (Welty), IV: 260, 279 Place of Dead Roads, The (Burroughs), Supp. III 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 of Trumpets, The” (B. Kelly), Supp. XVII: 127 Place on Earth, A (Berry), Supp. X: 33– 34, 36 Places Left Unfinished at the Time of Creation (Santos), Supp. XIII: 274 “Places to Look for Your Mind” (Moore), Supp. X: 174–175 “Place They’ d Never Seen, A: The Theater” (Wasserstein), Supp. XV: 332 “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 Placi, Carlo, IV: 328 Plagemann, Catherine, Supp. XVII: 91 “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” (Carruth), Supp. XVI: 54 Plain Song (Harrison), Supp. VIII: 38–39 “Plain Song” (Kooser), Supp. XIX: 120 “Plain Song for Comadre, A” (Wilbur), Supp. III Part 2: 554 “Plain Talk“. See Common Sense (Paine) Plaint of a Rose, The (Sandburg), III: 579 Plain Truth: Or, Serious Considerations on the Present State of the City of Philadelphia, and Province of Pennsylvania (Franklin), II: 117–119 Plainwater: Essays and Poetry (Carson), Supp. XII: 97, 99–104 Plan B (C. Himes), Supp. XVI: 143, 144 “Planchette” (London), II: 475–476 “Planetarium” (Rich), Supp. I Part 2: 557 Planet News: 1961–1967 (Ginsberg), Supp. II Part 1: 321 Planet Waves (album, Dylan), Supp. XVIII: 27 “Plantation a beginning, a” (Olson), Supp. II Part 2: 573 Plant Dreaming Deep (Sarton), Supp. VIII: 250, 263 Plante, David, Supp. IV Part 1: 310 Planting a Sequoia (Gioia), Supp. XV: 117 “Planting a Sequoia” (Gioia), Supp. XV: 111, 112, 117, 121–122

“Plants Fed On By Fawns” (B. Kelly), Supp. XVII: 133 Plarr, Victor, III: 459, 477 Plath, James, Retro. Supp. I: 334 Plath, Sylvia, Retro. Supp. II: 181, 241– 260; Supp. I Part 2: 526–549, 554, 571; Supp. III Part 2: 543, 561; Supp. IV Part 2: 439; Supp. V: 79, 81, 113, 117, 118, 119, 344; Supp. X: 201, 202, 203, 215; Supp. XI: 146, 240, 241, 317; Supp. XII: 217, 308; Supp. XIII: 35, 76, 312; Supp. XIV: 269; Supp. XV: 123, 148, 184, 252, 253, 340; Supp. XVII: 239 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; Retro. Supp. II: 31; Supp. I Part 2: 595, 631; Supp. IV Part 1: 391; Supp. IV Part 2: 526; Supp. X: 78 “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 Platte River (Bass), Supp. XVI: 19 “Platte River” (Bass), Supp. XVI: 20 Plausible Prejudices: Essays on American Writing (Epstein), Supp. XIV: 111 Plautus, Titus Maccius, IV: 155; Supp. III Part 2: 630 Play and Other Stories, The (Dixon), Supp. XII: 148, 149 Playback (Chandler), Supp. IV Part 1: 134–135; Supp. XVIII: 138 Playback (script) (Chandler), Supp. IV Part 1: 131 “Play Ball!” (Francis), Supp. IX: 89 Playboy of the Western World, The (Synge), Supp. III Part 1: 34 Play Days (Jewett), Retro. Supp. II: 135 Play Days: A Book of Stories for Children (Jewett), II: 401–402 Player Piano (Vonnegut), Supp. II Part 2: 756, 757, 760–765 Players (DeLillo), Supp. VI: 3, 6, 8, 14 “Players, The” (W. J. Smith), Supp. XIII: 340, 343 “Playground, The” (Bradbury), Supp. IV Part 1: 104 Playing in the Dark (Morrison), Retro. Supp. II: 118; Supp. XIII: 185–186 Play in Poetry (Untermeyer), Supp. XV: 310 “Playin with Punjab” (Bambara), Supp. XI: 6 Play It Again Sam (Allen), Supp. XV: 2, 3, 14 Play It as It Lays (Didion), Supp. IV Part 1: 198, 201–203, 203, 211 Play It as It Lays (film), Supp. IV Part 1: 198 “Plays and Operas Too” (Whitman), IV: 350

Plays of Negro Life: A Source-Book of Native American Drama (Locke and Gregory), Supp. XIV: 202 Plays: Winesburg and Others (Anderson), I: 113 “Playthings” (Komunyakaa), Supp. XIII: 126 “Playtime: Danish Fun” (Larsen), Supp. XVIII: 120, 122–123 “Playtime: Three Scandinavian Stories” (Larsen), Supp. XVIII: 122–123 Playwright’s Voice, The (Savran), Supp. XIII: 209; Supp. XV: 321 Plaza Suite (Simon), Supp. IV Part 2: 575, 581–582, 583, 589 Pleading Guilty (Turow), Supp. XVII: 218, 219 “Plea for Captain Brown, A” (Thoreau), IV: 185 “Please” (Komunyakaa), Supp. XIII: 122 “Please Don’ t Kill Anything” (A. Miller), III: 161 “Please Don’ t Take My Sunshine Away” (Conroy), Supp. XVI: 69 Pleasure Dome (Frankenberg), I: 436 Pleasure Dome (Komunyakaa), Supp. XIII: 113, 121, 131–133 Pleasure of Hope, The (Emerson), II: 8 “Pleasure of Ruins, The” (McClatchy), Supp. XII: 256 “Pleasures of Formal Poetry, The” (Bogan), Supp. III Part 1: 51 “Pleasures of Peace, The” (Koch), Supp. XV: 180 “Plea to the Protestant Churches, A” (Brooks), Supp. XIV: 4 Plimpton, George, Supp. IV Part 1: 386; Supp. V: 201; Supp. VIII: 82, 157; Supp. IX: 256; Supp. XI: 294; Supp. XIV: 82; Supp. XVI: 233–248 Pliny the Elder, Supp. XVI: 292 Pliny the Younger, II: 113 “Ploesti Isn’ t Long Island” (Zinberg), Supp. XV: 195 “Plot against the Giant, The” (Stevens), IV: 81 Plotinus, Supp. XV: 33; Supp. XVI: 291 Plough and the Stars, The (O’ Casey), III: 159 “Ploughing on Sunday” (Stevens), IV: 74 Plowing the Dark (Powers), Supp. IX: 212–213, 221–224 Plum Bun (Fauset), Supp. XVIII: 127; Supp. XIX: 73 Plumed Serpent, The (Lawrence), Supp. XV: 46 “Plumet Basilisk, The” (Moore), III: 203, 208, 215 Plumly, Stanley, Supp. IV Part 2: 625 Plummer, Amanda, Supp. IV Part 1: 236 Plunder (serial movie), Supp. IV Part 2: 464 Plunket, Robert, Supp. XV: 68 “Plunkville Patriot” (O’ Henry), Supp. II Part 1: 389 “Pluralism and Ideological Peace” (Locke), Supp. XIV: 202, 212 “Pluralism and Intellectual Democracy” (Locke), Supp. XIV: 202, 208, 212

CUMULATIVE INDEX / 473 Pluralistic Universe, A (James), II: 342, 348, 357–358 Plutarch, II: 5, 8, 16, 555; Retro. Supp. I: 360; Supp. XVI: 292 Plymell, Charles, Supp. XIV: 149 Plymell, Pam, Supp. XIV: 149 Pnin (Nabokov), III: 246; Retro. Supp. I: 263, 265, 266, 275, 335 “Po’ Boy Blues” (Hughes), Supp. I Part 1: 327 Pocahontas, I: 4; II: 296; III: 584 “Pocahontas to Her English Husband, John Rolfe” (Gunn Allen), Supp. IV Part 1: 331 “Pocketbook and Sauerkraut” (Di Piero), Supp. XIX: 35, 36, 41, 42, 45 “Pocket Poem” (Kooser), Supp. XIX: 128 Podhoretz, Norman, IV: 441; Retro. Supp. II: 323; Supp. IV Part 1: 382; Supp. VIII: 93, 231–247; Supp. IX: 3; Supp. XIV: 103 Podnieks, Elizabeth, Supp. X: 189, 190, 191, 192 “Pod of the Milkweed” (Frost), Retro. Supp. I: 141 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; Retro. Supp. II: 102, 104, 160, 164, 220, 261–277, 322; Supp. I Part 1: 36, 309; Supp. I Part 2: 376, 384, 385, 388, 393, 405, 413, 421, 474, 682; Supp. II Part 1: 385, 410; Supp. III Part 2: 544, 549–550; Supp. IV Part 1: 80, 81, 101, 128, 341, 349; Supp. IV Part 2: 464, 469; Supp. VIII: 105; Supp. IX: 115; Supp. X: 42, 78; Supp. XI: 85, 293; Supp. XIII: 100, 111; Supp. XVI: 294; Supp. XVIII: 3, 11 Poe, Edgar Allen, Supp. XV: 275 Poe Abroad: Influence, Reputation, Affinities (Vines), Retro. Supp. II: 261 “Poem” (Bishop), Retro. Supp. II: 40; Supp. I Part 1: 73, 76–79, 82, 95 “Poem” (Harrison), Supp. VIII: 38 “Poem” (Justice), Supp. VII: 125 “Poem” (Kunitz), Supp. III Part 1: 263 “Poem” (O’ Hara), Supp. XIX: 85 “Poem” (Wright), Supp. III Part 2: 590 “Poem About George Doty in the Death House, A” (Wright), Supp. III 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. III Part 2: 610, 611, 614 “Poem Catching Up with an Idea” (Carruth), Supp. XVI: 56 “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 DEEP THINKERS, A” (Baraka), Supp. II Part 1: 55 “Poem for D. H. Lawrence” (Creeley), Supp. IV Part 1: 141 “Poem for Dorothy, A” (Merwin), Supp. III Part 1: 342 “Poem for Hemingway and W. C. Williams” (Carver), Supp. III Part 1: 147 “Poem for my Son” (Kumin), Supp. IV Part 2: 442 “Poem for People Who Are Understandably Too Busy to Read Poetry” (Dunn), Supp. XI: 147 “Poem for Someone Killed in Spain, A” (Jarrell), II: 371 “Poem for the Blue Heron, A” (Oliver), Supp. VII: 235–236 “Poem for Two Voices” (Everwine), Supp. XV: 89 “Poem For Willie Best, A” (Baraka), Supp. II Part 1: 36 “Poem in Prose” (Bogan), Supp. III Part 1: 58 “Poem in Which I Refuse Contemplation” (Dove), Supp. IV Part 1: 249 “Poem Is a Walk, A” (Ammons), Supp. VII: 36 “Poem Like a Grenade, A” (Haines), Supp. XII: 204 “Poem of Flight, The” (Levine), Supp. V: 189 “Poem of Liberation, The” (Stern), Supp. IX: 292 Poem of the Cid (Merwin, trans.), Supp. III Part 1: 347 “Poem of the Forgotten” (Haines), Supp. XII: 202–203 “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 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 (E. Stoddard), Supp. XV: 274 Poems (Holmes), Supp. I Part 1: 303 Poems (Koch), Supp. XV: 179 Poems (Lowell), Supp. I Part 2: 405 Poems (Moore), III: 194, 205, 215 Poems (Poe), III: 411 Poems (Reznikoff), Supp. XIV: 282, 283, 284, 285 Poems (Tate), IV: 121 Poems (W. C. Williams), Retro. Supp. I: 412–413, 416, 424

Poems (Winters), Supp. II Part 2: 809, 810 Poems (W. J. Smith), Supp. XIII: 332 Poems (Wordsworth), I: 468 Poems, 1909–1925 (Eliot), Retro. Supp. I: 64 Poems, 1924–1933 (MacLeish), III: 7, 15 Poems, 1943–1956 (Wilbur), Supp. III Part 2: 554 Poems, The (Freneau), Supp. II Part 1: 263 Poems 1918–1975 : The Complete Poems of Charles Reznikoff (Cooney, ed.), Supp. XIV: 289 Poems 1940–1953 (Shapiro), Supp. II Part 2: 703, 711 Poems 1947–1954 (Kees), Supp. XV: 147 Poems: 1947–1957 (W. J. Smith), Supp. XIII: 333 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. III Part 1: 60–62 “Poems and Places” (Haines), Supp. XII: 203 Poems and Poetry of Europe, The (Longfellow, ed.), Retro. Supp. II: 155 Poems by Emily Dickinson (Todd and Higginson, eds.), I: 469, 470; Retro. Supp. I: 35, 39 Poems by Emily Dickinson, Second Series (Todd and Higginson, eds.), I: 454; Retro. Supp. I: 35 Poems by Emily Dickinson, The (Bianchi and Hampson, eds.), Retro. Supp. I: 35 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 (Hughes, ed.), 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 a Mountain Recluse” (Budbill), Supp. XIX: 9, 10 Poems of Anna Akhmatova, The (Kunitz and Hayward, trans.), Supp. III Part 1: 269 Poems of Emily Dickinson, The (Bianchi and Hampson, eds.), Retro. Supp. I: 35 Poems of Emily Dickinson, The (Johnson, ed.), I: 470

474 / AMERICAN WRITERS Poems of François Villon (Kinnell, trans.), Supp. III 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 (Longfellow, ed.), II: 490; Retro. Supp. II: 155; Supp. I Part 1: 368 Poems of Stanley Kunitz, The (Kunitz), Supp. III 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 “POEM SOME PEOPLE WILL HAVE TO UNDERSTAND, A” (Baraka), Supp. II Part 1: 49 Poems on Slavery (Longfellow), II: 489; Retro. Supp. II: 157, 168; Supp. I Part 2: 406 Poems on Various Subjects (Rowson), Supp. XV: 232 Poem Spoken at the Public Commencement at Yale College, in New Haven; September 1, 1781, A (Barlow), Supp. II Part 1: 67–68, 74, 75 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 “Poem That Took the Place of a Mountain” (Olson), Supp. II Part 2: 582 “Poem to My First Lover” (Olds), Supp. X: 206 “Poem to the Reader” (Olds), Supp. X: 213 “Poem with No Ending, A” (Levine), Supp. V: 186, 190 “Poem You Asked For, The” (Levis), Supp. XI: 259–260 Poe Poe Poe Poe Poe Poe Poe (Hoffman), Retro. Supp. II: 265 Poesía Náhuatl, Supp. XV: 77 Poésies 1917–1920 (Cocteau), Retro. Supp. I: 82 “Poesis: A Conceit” (Sobin), Supp. XVI: 288 “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 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 Person, The” (Kinard), Supp. XIV: 127

“Poet and the Queen, The” (Shaw), Supp. XIX: 241 “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 Curandera” (Mora), Supp. XIII: 214, 220 “Poet as Hero, The: Keats in His Letters” (Trilling), Supp. III Part 2: 506–507 “Poet as Religious Moralist, The” (Larson), Supp. XI: 328 “Poet at Seven, The” (Rimbaud), II: 545 Poet at the Breakfast-Table, The (Holmes), Supp. I Part 1: 313–314 “Poète contumace, Le” (Corbiere), II: 384–385 “Poet for President, A” (Mora), Supp. XIII: 220–221 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; Retro. Supp. II: 266 “Poetics” (Ammons), Supp. VII: 29–30 Poetics (Aristotle), III: 422; Supp. XI: 249; Supp. XIII: 75; Supp. XIV: 243; Supp. XV: 265 Poetics of Space, The (Bachelard), Supp. XIII: 225; Supp. XVI: 292 “Poetics of the Periphery: Literary Experimentalism in Kathy Acker’s In Memoriam to Identity” (Acker), Supp. XII: 17 “Poetics of the Physical World, The” (Kinnell), Supp. III Part 1: 239 “Poetics of Tourette Syndrome, The: Language, Neurobiology, and Poetry” (Schleifer), Supp. XVIII: 144 Poet in the World, The (Levertov), Supp. III Part 1: 271, 273, 278, 282 “Poet or the Growth of a Lit’ ry Figure” (White), Supp. I Part 2: 676 Poetry (Barber), Supp. IV Part 2: 550 “Poetry” (Moore), III: 204–205, 215 “Poetry” (Nye), Supp. XIII: 282 “Poetry” (Wrigley), Supp. XVIII: 301– 302 “Poetry, Community and Climax” (Snyder), Supp. VIII: 290 “Poetry: A Metrical Essay” (Holmes), Supp. I Part 1: 310 “Poetry and Belief in Thomas Hardy” (Schwartz), Supp. II Part 2: 666 Poetry and Criticism (Nemerov, ed.), III: 269 “Poetry and Drama” (Eliot), I: 588 Poetry and Fiction: Essays (Nemerov), III: 269, 281 “Poetry and Place” (Berry), Supp. X: 22, 28, 31, 32 Poetry and Poets (Lowell), II: 512 “Poetry and Religion” (Jarman), Supp. XVII: 111 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 a Way of Life” (Bishop interview), Retro. Supp. II: 53 “Poetry as Survival” (Harrison), Supp. VIII: 45 “Poetry Failure” (Halliday), Supp. XIX: 92 Poetry for Students (Taibl), Supp. XV: 255 “Poetry for the Advanced” (Baraka), Supp. II Part 1: 58 “Poetry Friendship on Earth” (Halliday), Supp. XIX: 90, 91 Poetry Handbook, A (Oliver), Supp. VII: 229, 245 Poetry Home Repair Manual, The (Kooser), Supp. XIX: 116, 128 Poetry in Motion: 100 Poems from the Subways and Buses (Peacock, ed.), Supp. XIX: 195 “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 the Negro 1746–1949, The (Hughes, ed.), Supp. I Part 1: 345 Poetry Reading against the Vietnam War, A (Bly and Ray, eds.), Supp. IV Part 1: 61, 63 “Poetry Wreck, The” (Shapiro), Supp. II Part 2: 717 Poetry Wreck, The: Selected Essays (Shapiro), Supp. II Part 2: 703, 704, 717 “Poets” (X. J. Kennedy), Supp. XV: 158 Poet’s Alphabet, A: Reflections on the Literary Art and Vocation (Bogan), Supp. III Part 1: 55, 64 Poets and Poetry of America (Griswold), Supp. XV: 277 Poet’s Choice (Engle and Langland, eds.), III: 277, 542 Poets of the Old Testament, The (Gordon), III: 199 Poets of Today (Wheelock, ed.), Supp. IV Part 2: 639 Poets on Poetry (Nemerov, ed.), III: 269 “Poet’s Tact, and a Necessary Tactlessness, The” (C. Frost), Supp. XV: 94–95 “Poet’s View, A” (Levertov), Supp. III Part 1: 284 “Poet’s Voice, The” (Oliver), Supp. VII: 245

CUMULATIVE INDEX / 475 “Poet Turns on Himself, The” (Dickey), Supp. IV Part 1: 177, 181, 185 Poganuc People (Stowe), Supp. I Part 2: 581, 596, 599–600 Pogo (comic strip), Supp. XI: 105 Pohrt, Tom, Supp. XIX: 123 Poincaré, Raymond, IV: 320 “Point, The” (Hayden), Supp. II Part 1: 373 “Point at Issue!, A” (Chopin), Retro. Supp. II: 61; Supp. I Part 1: 208 “Point of Age, A” (Berryman), I: 173 Point of No Return (Marquand), III: 56, 59–60, 65, 67, 69 Point Reyes Poems (R. Bly), Supp. IV Part 1: 71 “Points” (Hoffman), Supp. XVIII: 86 Points for a Compass Rose (Connell), Supp. XIV: 79, 80, 96 “Point Shirley” (Plath), Supp. I Part 2: 529, 538 Points in Time (Bowles), Supp. IV Part 1: 93 “Points West” (column), Supp. IV Part 1: 198 Poirier, Richard, I: 136, 239; III: 34; Retro. Supp. I: 134; Retro. Supp. II: 207–208; Supp. I Part 2: 660, 665; 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 “Polack Reverie” (Halliday), Supp. XIX: 88 “Polar Bear” (Heller), Supp. IV Part 1: 383 “Polar Seas and Sir John Franklin, The” (Briggs), Supp. XVIII: 14 Pole, Rupert, Supp. X: 185 “Pole Star” (MacLeish), III: 16 Po Li, Supp. I Part 1: 262 Police (Baraka), Supp. II Part 1: 47 “Police” (Corso), Supp. XII: 117, 127 “Police Court Saturday Morning” (X. J. Kennedy), Supp. XV: 170 “Police Dreams” (Bausch), Supp. VII: 47 Politian (Poe), III: 412 “Political and Practical Conceptions of Race, The” (Locke), Supp. XIV: 209– 210 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 Migrations: A Family Story” (Mallon), Supp. XIX: 141–142 “Political Pastoral” (Frost), Retro. Supp. I: 139 “Political Poem” (Baraka), Supp. II Part 1: 36 Politics (Acker), Supp. XII: 3, 4

Politics (Macdonald), I: 233–234 “Politics” (Paley), Supp. VI: 217 “Politics, Structure, and Poetic Development” (McCombs), Supp. XIII: 33 “Politics and the English Language” (Orwell), Retro. Supp. II: 287; Supp. I Part 2: 620 Politics and the Novel (Howe), Supp. VI: 113 “Politics and the Personal Lyric in the Poetry of Joy Harjo and C. D. Wright” (Goodman), Supp. XV: 344 “Politics of Ethnic Authorship, The: LiYoung Lee, Emerson, and Whitman at the Banquet Table” (Partridge), Supp. XV: 219 “Politics of Silence, The” (Monette), Supp. X: 148 Polito, Robert, Supp. XVIII: 33 Politt, Katha, Supp. XII: 159 Polk, James, Supp. XIII: 20 Polk, James K., I: 17; II: 433–434 Pollack, Sydney, Supp. XIII: 159 “Pollen” (Nye), Supp. XIII: 284 Pollitt, Katha, Supp. X: 186, 191, 193; Supp. XVI: 39 Pollock, Jackson, IV: 411, 420; Supp. XV: 145, 177, 178; Supp. XIX: 33 “Polly” (Chopin), Retro. Supp. II: 72 Polo, Marco, III: 395 Polybius, Supp. I Part 2: 491 “Polydore” (Chopin), Retro. Supp. II: 66 “Pomegranate” (Glück), Supp. V: 82 “Pomegranate Seed” (Wharton), IV: 316; Retro. Supp. I: 382 Ponce de Leon, Luis, III: 391 “Pond, The” (Nemerov), III: 272 “Pond at Dusk, The” (Kenyon), Supp. VII: 168 Ponder Heart, The (Welty), IV: 261, 274–275, 281; Retro. Supp. I: 351– 352 “Ponderosa Pine” (Huncke), Supp. XIV: 146 Ponsot, Margaret, Supp. XVII: 241 “Pony” (Sanders), Supp. XVI: 277 Poodle Springs (Parker and Chandler), Supp. IV Part 1: 135; Supp. XIX: 189 Poodle Springs Story, The (Chandler), Supp. IV Part 1: 135 “Pool, The” (Doolittle), Supp. I Part 1: 264–265 Poole, Ernest, II: 444 “Pool Lights” (F. Barthelme), Supp. XI: 25, 26–27, 36 “Pool Room in the Lions Club” (Merwin), Supp. III Part 1: 346 “Poor Black Fellow” (Hughes), Retro. Supp. I: 204 “Poor Bustard, The” (Corso), Supp. XII: 134 “Poor but Happy” (Mamet), Supp. XIV: 252, 253 Poore, Charles, III: 364; Supp. XIX: 257, 264 Poor Fool (Caldwell), I: 291, 292, 308

Poorhouse Fair, The (Updike), IV: 214, 228–229, 232; Retro. Supp. I: 317, 320 “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 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; Supp. I Part 2: 407, 422, 516, 714; Supp. II Part 1: 70, 71; Supp. X: 32, 36; Supp. XII: 260; Supp. XV: 258 Pope-Hennessy, James, Supp. XIV: 348 “Pope’s Penis, The” (Olds), Supp. X: 207 “Poplar, Sycamore” (Wilbur), Supp. III Part 2: 549 Popo and Fifina (Hughes and Bontemps), Retro. Supp. I: 203 “Poppies” (Oliver), Supp. VII: 240 “Poppies in July” (Plath), Supp. I Part 2: 544 “Poppies in October” (Plath), Supp. I Part 2: 544 “Poppycock” (Francis), Supp. IX: 87 “Poppy Seed” (Lowell), II: 523 Popular Book, The: A History of America’s Literary Taste (Hart), Supp. XVIII: 257, 258 Popular Culture (Goldbarth), Supp. XII: 186 Popular History of the United States (Gay), Supp. I Part 1: 158 “Popular Songs” (Ashbery), Supp. III Part 1: 6 “Populist Manifesto” (Ferlinghetti), Supp. VIII: 290 “Porcelain Bowl” (Glück), Supp. V: 83 Porcher, Frances, Retro. Supp. II: 71 Porco, Mike, Supp. XVIII: 24 “Porcupine, The” (Kinnell), Supp. III Part 1: 244 Porcupine’s Kiss, The (Dobyns), Supp. XIII: 89–90 “Por esas coases que pasan” (Hinojosa), Supp. XIX: 101 Porgy and Bess (film), Supp. I Part 1: 66 Porgy and Bess (play), Supp. IV Part 1: 6 “Porn Bought my Football” (Offutt), Supp. XIX: 163 “Porphyria’s Lover” (Browning), II: 522 Portable Beat Reader, The (Charters, ed.), Supp. XIV: 152 Portable Blake, The (Kazin, ed.), Supp. VIII: 103

476 / AMERICAN WRITERS 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” (Nelson), Supp. XVIII: 175 Porter, Bern, III: 171 Porter, Cole, Supp. IX: 189 Porter, Eliot, Supp. IV Part 2: 599 Porter, Fairfield, Supp. XV: 178 Porter, Herman W., Supp. I Part 1: 49 Porter, Horace, Retro. Supp. II: 4, 127 Porter, Jacob, Supp. I Part 1: 153 Porter, Katherine Anne, I: 97, 385; II: 194, 606; III: 433–455, 482; IV: 26, 138, 246, 261, 279, 280, 282; Retro. Supp. I: 354; Retro. Supp. II: 233, 235; Supp. IV Part 1: 31, 310; Supp. V: 225; Supp. VIII: 156, 157; Supp. IX: 93, 94, 95, 98, 128; Supp. X: 50; Supp. XIII: 294; Supp. XIV: 3; Supp. XV: 338 Porter, Noah, Supp. I Part 2: 640 Porter, William Sydney. See Henry, O. Porteus, Beilby, Supp. I Part 1: 150 “Portland Going Out, The” (Merwin), Supp. III Part 1: 345 Portnoy’s Complaint (P. Roth), Retro. Supp. II: 282–286, 291; Supp. III Part 2: 401, 404, 405, 407, 412–414, 426; Supp. V: 119, 122; Supp. XI: 140; Supp. XVII: 8, 43 Port of Saints (Burroughs), Supp. III Part 1: 106 “Portrait” (Dixon), Supp. XII: 154 “Portrait, A” (Parker), Supp. IX: 192– 193 “Portrait, The” (Kunitz), Supp. III 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. IX: 314 “Portrait in Greys, A” (W. C. Williams), Retro. Supp. I: 416 “Portrait of a Girl in Glass” (T. Williams), IV: 383 “Portrait of a Jewelry Drummer” (Untermeyer), Supp. XV: 299–300 “Portrait of a Lady” (Eliot), I: 569, 570, 571, 584; III: 4; Retro. Supp. I: 55, 56, 62 Portrait of a Lady, The (James), I: 10, 258, 461–462, 464; II: 323, 325, 327, 328–329, 334; Retro. Supp. I: 215, 216, 217, 219, 220, 223, 224–225, 232, 233, 381 “Portrait of an Artist” (P. Roth), Supp. III Part 2: 412 Portrait of an Eye: Three Novels (Acker), Supp. XII: 6, 7–9 “Portrait of an Invisible Man” (Auster), Supp. XII: 21

“Portrait of a Supreme Court Judge” (Untermeyer), Supp. XV: 299 Portrait of Bascom Hawkes, A (Wolfe), IV: 451–452, 456 Portrait of Edith Wharton (Lubbock), Retro. Supp. I: 366 Portrait of Logan Pearsall Smith, Drawn from His Letters and Diaries, A (Russell, ed.), Supp. XIV: 349 Portrait of Picasso as a Young Man (Mailer), Retro. Supp. II: 213 “Portrait of the Artist as an Old Man, A” (Humphrey), Supp. IX: 109 Portrait of the Artist as a Young Man, A (Joyce), I: 475–476; III: 471, 561; Retro. Supp. I: 127; Retro. Supp. II: 4, 331; Supp. IX: 236; Supp. XIII: 53, 95 “Portrait of the Artist with Hart Crane” (Wright), Supp. V: 342 “Portrait of the Intellectual as a Yale Man” (McCarthy), II: 563, 564–565 “Portrait of the Self . . . , A” (Sobin), Supp. XVI: 288 Portraits and Elegies (Schnackenberg), Supp. XV: 249, 253–256 “Portraits of Grief” (New York Times), Supp. XIX: 142 “Port Town” (Hughes), Retro. Supp. I: 199 Portuguese Voyages to America in the Fifteenth Century (Morison), Supp. I Part 2: 488 “Po’ Sandy” (Chesnutt), Supp. XIV: 60 Poseidon Adventure, The (film), Supp. XII: 321 Poseidon Adventure, The (Gallico), Supp. XVI: 238 “Poseidon and Company” (Carver), Supp. III Part 1: 137 “Positive Obsession” (O. Butler), Supp. XIII: 70 Poss, Stanley, Supp. XIV: 166 “Possessions” (H. Crane), I: 392–393; Retro. Supp. II: 78 Possible World, A (Koch), Supp. XV: 184 Postal Inspector (film), Supp. XIII: 166 Postcards (Proulx), Supp. VII: 249, 256– 258, 262 “Postcolonial Tale, A” (Harjo), Supp. XII: 227 “Posthumous Letter to Gilbert White” (Auden), Supp. II Part 1: 26 “Post-Larkin Triste” (Karr), Supp. XI: 242–243 Postlethwaite, Diana, Supp. XII: 317– 318; Supp. XVI: 176 “Postlude” (W. C. Williams), Retro. Supp. I: 415 Postman, Neil, Supp. XI: 275 Postman Always Rings Twice, The (Cain), Supp. XIII: 165–166 Postman Always Rings Twice, The (film), Supp. XIV: 241 “Postmaster and the Clerk, The” (Budbill), Supp. XIX: 9 “Postmortem Guide, A” (Dunn), Supp. XI: 155 Postrel, Virginia, Supp. XIV: 298, 311

“Postscript” (Du Bois), Supp. II Part 1: 173 “Postscript” (Nye), Supp. XIII: 287 “Potato” (Wilbur), Supp. III Part 2: 545 “Potatoes’ Dance, The” (Lindsay), Supp. I Part 2: 394 Pot of Earth, The (MacLeish), III: 5, 6–8, 10, 12, 18 “Pot Roast” (Strand), Supp. IV Part 2: 629 Potshot (Parker), Supp. XIX: 185 Pot Shots at Poetry (Francis), Supp. IX: 83–84 Potter, Beatrix, Supp. I Part 2: 656; Supp. XVI: 100 Potter, Stephen, IV: 430 Potter’s House, The (Stegner), Supp. IV Part 2: 598, 606 Poulenc, Francis, Supp. IV Part 1: 81 Poulin, Al, Jr., Supp. IX: 272; Supp. XI: 259 Pound, Ezra, 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, 278, 430, 453, 456–479, 492, 504, 511, 523, 524, 527, 575–576, 586, 590; IV: 27, 28, 407, 415, 416, 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; Retro. Supp. II: 178, 183, 189, 326; Supp. I Part 1: 253, 255–258, 261–268, 272, 274; Supp. I Part 2: 387, 721; Supp. II Part 1: 1, 8, 20, 30, 91, 136; Supp. III Part 1: 48, 63, 64, 73, 105, 146, 225, 271; Supp. III 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; Supp. X: 24, 36, 112, 120, 122; Supp. XII: 97; Supp. XIV: 11, 55, 83, 272, 284, 286, 287, 347; Supp. XV: 20, 42, 43, 51, 93, 161, 181, 297, 298, 299, 301, 302, 306; Supp. XVI: 47, 282; Supp. XVII: 111, 226–227; Supp. XIX: 42 Pound, Louise, Retro. Supp. I: 4; Supp. XV: 137 Pound, T. S., I: 428 “Pound Reweighed” (Cowley), Supp. II Part 1: 143 Powell, Anthony, Supp. XVIII: 136, 146; Supp. XIX: 131 Powell, Betty, Retro. Supp. II: 140 Powell, Dawn, Supp. IV Part 2: 678, 682; Supp. XIX: 143 Powell, Dick, Supp. IX: 250 Powell, John Wesley, Supp. IV Part 2: 598, 604, 611 Powell, Lawrence Clark, III: 189 Powell, William, Supp. IV Part 1: 355 “Power” (Corso), Supp. XII: 117, 126, 127, 128

CUMULATIVE INDEX / 477 “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 “Powerhouse” (Welty), Retro. Supp. I: 343, 346 “Power Never Dominion” (Rukeyser), Supp. VI: 281 “Power of Fancy, The” (Freneau), Supp. II Part 1: 255 Power of Myth, The (Campbell), Supp. IX: 245 “Power of Prayer, The” (Lanier), Supp. I Part 1: 357 “Power of Stories, The” (Sanders), Supp. XVI: 278 “Power of Suggestion” (Auchincloss), Supp. IV Part 1: 33 Power of Sympathy, The (Brown), Supp. II Part 1: 74 Power Politics (Atwood), Supp. XIII: 20, 33–34, 35 Powers, J. F., Supp. V: 319; Supp. XVII: 43 Powers, Kim, Supp. VIII: 329, 340 Powers, Richard, Supp. IX: 207–225; Supp. XVII: 183 Powers of Attorney (Auchincloss), Supp. IV Part 1: 31, 32, 33 “Powers of Darkness” (Wharton), Retro. Supp. I: 379 Powys, John Cowper, Supp. I Part 2: 454, 476; Supp. IX: 135 Poynton, Jerome, Supp. XIV: 147, 150 Practical Agitation (Chapman), Supp. XIV: 41 Practical Criticism: A Study of Literary Judgment (Richards), Supp. XIV: 3, 16 Practical Magic (film), Supp. X: 80 Practical Magic (Hoffman), Supp. X: 78, 82, 88–89 “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: A New Name for Some Old Ways of Thinking (James), II: 352 “Pragmatism’s Conception of Truth” (James), Supp. XIV: 40 Prague Orgy, The (P. Roth), Retro. Supp. II: 280 “Praire, The” (Clampitt), Supp. IX: 42 “Prairie” (Sandburg), III: 583, 584 Prairie, The (Cooper), I: 339, 342 “Prairie Birthday” (Leopold), Supp. XIV: 185 Prairie Home Companion, A (Keillor, radio program), Supp. XIII: 274; Supp. XVI: 169–171, 173–178 Prairie Home Morning Show, A (Keillor, radio program), Supp. XVI: 171 “Prairie Life, A Citizen Speaks” (Dunn), Supp. XI: 145

“Prairies, The” (Bryant), Supp. I Part 1: 157, 162, 163, 166 Praise (Hass), Supp. VI: 104–105, 106 “Praise for an Urn” (Crane), I: 388 “Praise for Sick Women” (Snyder), Supp. VIII: 294 “Praise in Summer” (Wilbur), Supp. III Part 2: 546–548, 560, 562 “Praise of a Palmtree” (Levertov), Supp. III Part 1: 284 “Praise of the Committee” (Rukeyser), Supp. VI: 278 “Praises, The” (Goldbarth), Supp. XII: 185 “Praises, The” (Olson), Supp. II Part 2: 558, 560, 563, 564 Praises and Dispraises (Des Pres), Supp. X: 120 Praisesong for the Widow (Marshall), Supp. IV Part 1: 14; Supp. XI: 18, 276, 278, 284–286, 287 “Praise to the End!” (Roethke), III: 529, 532, 539 Prajadhipok, King of Siam, I: 522 Prater Violet (Isherwood), Supp. XIV: 164–166, 169–170, 171 Pratt, Anna (Anna Alcott), Supp. I Part 1: 33 Pratt, Louis H., Retro. Supp. II: 6 Pratt, Mary Louise, Retro. Supp. II: 48 Pratt, Parley, Supp. IV Part 2: 603 “Prattler” (newspaper column), I: 207 “Prattler, The” (Bierce), I: 196 “Prayer” (Gioia), Supp. XV: 117 “Prayer” (Olds), Supp. X: 204 “Prayer” (Peacock), Supp. XIX: 198, 199, 200 “Prayer” (Toomer), Supp. IX: 318 “Prayer, A” (Kushner), Supp. IX: 134 “Prayer for Columbus” (Whitman), IV: 348 “Prayer for My Daughter” (Yeats), II: 598 “Prayer for My Grandfather to Our Lady, A” (Lowell), II: 541–542 “Prayer for my Son” (C. Frost), Supp. XV: 98–99 “Prayer for Our Daughters” (Jarman), Supp. XVII: 120 Prayer for Owen Meany, A (Irving), Supp. VI: 164, 165, 166, 175–176 “PRAYER FOR SAVING” (Baraka), Supp. II Part 1: 52–53 “Prayer in Spring, A” (Frost), II: 153, 164 “Prayer Meeting” (Di Piero), Supp. XIX: 46, 47 “Prayer on All Saint’s Day” (Cowley), Supp. II Part 1: 138, 153 Prayers for Dark People (Du Bois), Supp. II Part 1: 186 “Prayer to Hermes” (Creeley), Supp. IV Part 1: 156, 157 “Prayer to Masks” (Senghor), Supp. IV Part 1: 16 “Prayer to the Child of Prague” (Salinas), Supp. XIII: 327 “Prayer to the Good Poet” (Wright), Supp. III Part 2: 603

“Prayer to the Pacific” (Silko), Supp. IV Part 2: 560 “Pray without Ceasing” (Emerson), II: 9–10 Praz, Mario, IV: 430 “Preacher, The” (Whittier), Supp. I Part 2: 698–699 Preacher and the Slave, The (Stegner), Supp. IV Part 2: 599, 608, 609 Precaution (Cooper), I: 337, 339 “Preconceptions of Economic Science, The” (Veblen), Supp. I Part 2: 634 Predecessors, Et Cetera (Clampitt), Supp. IX: 37 “Predicament, A” (Poe), Retro. Supp. II: 273 Predilections (Moore), III: 194 Prefaces and Prejudices (Mencken), III: 99, 104, 106, 119 Preface to a Twenty Volume Suicide Note. . . . (Baraka), Supp. II Part 1: 31, 33–34, 51, 61 “Preference” (Wylie), Supp. I Part 2: 713 “Prejudice against the Past, The” (Moore), IV: 91 Prejudices (Mencken), Supp. I Part 2: 630 Prejudices: A Selection (Farrell, ed.), III: 116 Prejudices: First Series (Mencken), III: 105 “Preliminary Remarks on the Poetry in the First Person” (Wright), Supp. XV: 339 Prelude, A: Landscapes, Characters and Conversations from the Earlier Years of My Life (Wilson), IV: 426, 427, 430, 434, 445 Prelude, The (Wordsworth), III: 528; IV: 331, 343; Supp. I Part 2: 416, 676; Supp. XI: 248 Prelude and Liebestod (McNally), Supp. XIII: 201 “Preludes” (Eliot), I: 573, 576, 577; Retro. Supp. I: 55; Supp. IV Part 2: 436 Preludes for Memnon (Aiken), I: 59, 65 Preludes from Memnon (Aiken), Supp. X: 50 “Prelude to an Evening” (Ransom), III: 491, 492–493 Prelude to Darkness (Salinas), Supp. XIII: 311, 318–319, 320 “Prelude to the Present” (Mumford), Supp. II Part 2: 471 “Premature Burial, The” (Poe), III: 415, 416, 418; Retro. Supp. II: 270 Preminger, Otto, Supp. IX: 3, 9 “Premonition” (Hay), Supp. XIV: 122 “Premonitions of the Bread Line” (Komunyakaa), Supp. XIII: 114, 115 Prenshaw, Peggy Whitman, Supp. X: 229 “Preparations” (Silko), Supp. IV Part 2: 560 Preparatory Meditations (Taylor), IV: 145, 148, 149, 150, 152, 153, 154– 155, 164, 165 “Prepare” (Carruth), Supp. XVI: 59

478 / AMERICAN WRITERS Prepositions: The Collected Critical Essays of Louis Zukofsky (Zukofsky), Supp. III Part 2: 630 Prescott, Anne, Supp. IV Part 1: 299 Prescott, Orville, Supp. IV Part 2: 680; Supp. XI: 340 Prescott, Peter, Supp. X: 83 Prescott, Peter S., Supp. XVI: 212 Prescott, William, Retro. Supp. I: 123 Prescott, William Hickling, II: 9, 310, 313–314; IV: 309; Supp. I Part 2: 414, 479, 493, 494 “Prescription of Painful Ends” (Jeffers), Supp. II Part 2: 424 “Presence, The” (Gordon), II: 199, 200 “Presence, The” (Kumin), Supp. IV Part 2: 445, 455 Presence and Desire: Essays on Gender, Sexuality, Performance (Dolan), Supp. XV: 327 “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 for the Boy, A” (Swados), Supp. XIX: 259 Present for Young Ladies, A (Rowson), Supp. XV: 245 “Present Hour” (Sandburg), III: 593–594 Present Philosophical Tendencies (Perry), I: 224 “Present State of Ethical Philosophy, The” (Emerson), II: 9 “Present State of Poetry, The” (Schwartz), Supp. II Part 2: 666 “Preservation of Innocence” (Baldwin), Supp. I Part 1: 51 “Preserving Wildness” (Berry), Supp. X: 28, 29, 32 “President and Other Intellectuals, The” (Kazin), Supp. VIII: 104 Presidential Papers, The (Mailer), III: 35, 37–38, 42, 45; Retro. Supp. II: 203, 204, 206 “Presidents” (Merwin), Supp. III Part 1: 351 Presnell, Robert, Sr., Supp. XIII: 166 Pressley, Nelson, Supp. XVIII: 37–38 “PRES SPOKE IN A LANGUAGE” (Baraka), Supp. II Part 1: 60 Presumed Innocent (Turow), Supp. XVII: 214–216, 223; 217 “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 Priaulx, Allan, Supp. XI: 228 Price, Alan, Retro. Supp. I: 377

Price, Reynolds, Supp. VI: 253–270; Supp. IX: 256, 257 Price, Richard, II: 9; Supp. I Part 2: 522 Price, The (A. Miller), III: 165–166 “Price of the Harness, The” (Crane), I: 414 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 Class” (Bishop), Retro. Supp. II: 38, 51 Primer for Blacks (Brooks), Supp. III Part 1: 85 “Primer for the Nuclear Age” (Dove), Supp. IV Part 1: 246 Primer of Ignorance, A (Blackmur), Supp. II Part 1: 91 Primitive, The (C. Himes), Supp. XVI: 139, 141–142 “Primitive Black Man, The” (Du Bois), Supp. II Part 1: 176 “Primitive Like an Orb, A” (Stevens), IV: 89; Retro. Supp. I: 309 Primitive People (Prose), Supp. XVI: 255, 256, 257 “Primitive Singing” (Lindsay), Supp. I Part 2: 389–390 Primitivism and Decadence (Winters), Supp. II Part 2: 786, 803–807, 812 Prince, Richard, Supp. XII: 4 “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 and the Goblins, The (Macdonald), Supp. XIII: 75 Princess Casamassima, The (James), II: 276, 291; IV: 202; Retro. Supp. I: 216, 221, 222, 225, 226–227 “Princess Casamassima, The” (Trilling), Supp. III Part 2: 502, 503 Princess of Arcady, A (Henry), Retro. Supp. II: 97 “Principles” (Du Bois), Supp. II Part 1: 172 Principles of Literary Criticism (Richards), I: 274; Supp. I Part 1: 264; Supp. XIV: 3 Principles of Psychology, The (James), II: 321, 350–352, 353, 354, 357, 362, 363–364; IV: 28, 29, 32, 37

Principles of Psychology, The (W. James), Supp. XVII: 97 Principles of Zoölogy (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 Ours, The” (Weigl), Supp. XIX: 288 Prisoner of Second Avenue, The (Simon), Supp. IV Part 2: 583, 584 Prisoner of Sex, The (Mailer), III: 46; Retro. Supp. II: 206 Prisoner of Zenda, The (film), Supp. I Part 2: 615 Prisoner’s Dilemma (Powers), Supp. IX: 212, 214–216, 221 Prison Memoirs of an Anarchist (A. Berkman), Supp. XVII: 103–104 Pritchard, William, Supp. XVI: 71 Pritchard, William H., Retro. Supp. I: 131, 141; Supp. IV Part 1: 285; Supp. IV Part 2: 642; Supp. XI: 326 Pritchett, V. S., II: 587; Supp. II Part 1: 143; Supp. VIII: 171; Supp. XIII: 168 “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 I, The: Privacy in a Public World (Peacock, ed.), Supp. XIX: 193, 203 Private Life of Axie Reed, The (Knowles), Supp. XII: 249 “Private Man Confronts His Vulgarities at Dawn, A” (Dunn), Supp. XI: 146 Private Memoirs and Confessions of a Justified Sinner, The (Hogg), Supp. IX: 276 “Private Property and the Common Wealth” (Berry), Supp. X: 25 Private Snafu series (Geisel), Supp. XVI: 102 “Private Theatricals” (Howells), II: 280 Private Women, Public Stage: Literary Domesticity in Nineteenth-Century America (Kelley), Supp. XVIII: 257 Privilege, The (Kumin), Supp. IV Part 2: 442–444, 451 Prize Stories 1918 : The O. Henry Awards, Supp. XVI: 16 “Probe” (Ryan as Quin), Supp. XVIII: 229 “Probing the Dark” (Komunyakaa), Supp. XIII: 131 “Problem from Milton, A” (Wilbur), Supp. III Part 2: 550 “Problem of Anxiety, The” (Koch), Supp. XV: 183 “Problem of Being, The” (James), II: 360 Problem of Classification in the Theory of Value, The (Locke), Supp. XIV: 199 “Problem of Housing the Negro, The” (Du Bois), Supp. II Part 1: 168 “Problem of the Religious Novel, The” (Isherwood), Supp. XIV: 172

CUMULATIVE INDEX / 479 Problems and Other Stories (Updike), Retro. Supp. I: 322, 329 “Problem Solving” (Goldbarth), Supp. XII: 185 Procedures for Underground (Atwood), Supp. XIII: 33 “Procedures for Underground” (Atwood), Supp. XIII: 33 Processional (Lawson), I: 479 “Procession at Candlemas, A” (Clampitt), Supp. IX: 41 “Proclamation” (Saunders), Supp. XIX: 235 Proclus, Retro. Supp. I: 247 “Prodigal” (Ammons), Supp. VII: 29 “Prodigal” (Hoffman), Supp. XVIII: 86 “Prodigal, The” (Bishop), Supp. I Part 1: 90, 92 Prodigal Parents, The (Lewis), II: 454– 455 “Prodigy” (Simic), Supp. VIII: 278 Producers, The (film, M. Brooks), Supp. XVII: 45 “Proem” (Crane), I: 397 “Proem, The: By the Carpenter” (O. Henry), Supp. II Part 1: 409 “Professions for Women” (Woolf), Supp. XIII: 305 “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 (P. Roth), Retro. Supp. II: 288; Supp. III Part 2: 403, 418–420 Professor’s House, The (Cather), I: 325– 336; Retro. Supp. I: 16 “Professor Veblen” (Mencken), Supp. I Part 2: 630 Proffer, Carl R., Supp. VIII: 22 Profile Makers, The (Bierds), Supp. XVII: 29, 30–32, 33 “Profile of the Tenderloin Street Prostitute, A” (Vollmann), Supp. XVII: 230 Profits of Religion, The (Sinclair), Supp. V: 276 “Prognosis” (Warren), IV: 245 “Progress” (F. Wright), Supp. XVII: 247 “Progress Report” (Simic), Supp. VIII: 278 “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. III Part 1: 30; Supp. III Part 2: 555, 556, 557, 624; Supp. IV Part 1: 139, 153; Supp. VIII: 290 “Projector, The” (Baker), Supp. XIII: 53, 55 Prokofiev, Sergey Sergeyevich, Supp. IV Part 1: 81 “Prolegomena, Section 1” (Pound), Supp. III Part 2: 615–616 “Prolegomena, Section 2” (Pound), Supp. III Part 2: 616

“Prolegomenon to a Biography of Mailer” (Lucid), Retro. Supp. II: 195 Proletarian Literature in the United States (Hicks), Supp. I Part 2: 609– 610 “Prologue” (MacLeish), III: 8, 14 “Prologue to a Life” (D. West), Supp. XVIII: 280 “Prologue to Our Time” (Mumford), Supp. III Part 2: 473 “Prometheus” (Longfellow), II: 494 Prometheus Bound (Lowell), II: 543, 544, 545, 555 Promise, The (Buck), Supp. II Part 1: 124 “Promise, The” (Olds), Supp. X: 213 “Promise and Fulfillment” (D. West), Supp. XVIII: 278 Promised Land (Parker), Supp. XIX: 183, 184, 190 Promised Land, The (M. Antin), Supp. IX: 227; Supp. XVI: 148, 149 Promised Land, The (Porter), III: 447 “Promised Land, The” (R. Fisher), Supp. XIX: 72 Promised Lands (Sontag), Supp. III Part 2: 452 Promise of American Life, The (Croly), I: 229 “Promise of Blue Horses, The” (Harjo), Supp. XII: 228 Promise of Rest, The (Price), Supp. VI: 262, 266 Promises (Warren), Supp. XIV: 15 Promises, Promises (musical), Supp. IV Part 2: 575 Promises: Poems 1954–1956 (Warren), IV: 244–245, 249, 252 “Promise This When You Be Dying” (Dickinson), Retro. Supp. I: 44, 46 Proof, The (Winters), Supp. II Part 2: 786, 791, 792–794 Proofs and Theories: Essays on Poetry (Glück), Supp. V: 77, 79, 92; Supp. XIV: 269 “Propaganda of History, The” (Du Bois), Supp. II Part 1: 182 Propertius, Sextus, III: 467; Retro. Supp. II: 187; Supp. XII: 2 Property Of: A Novel (Hoffman), Supp. X: 77, 79, 80–82 “Prophecy of Samuel Sewall, The” (Whittier), Supp. I Part 2: 699 Propheteers, The (Apple), Supp. XVII: 6–7 “Prophetic Pictures, The” (Hawthorne), II: 227 “Proportion” (Lowell), II: 525 “Proposal” (Carver), Supp. III 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, Francine, Supp. XII: 333; Supp. XVI: 249–264; Supp. XIX: 209 “Prose for Departure” (Merrill), Supp. III Part 1: 336 Prose Pieces (Bynner), Supp. XV: 52

“Prose Poem as an Evolving Form, The” (R. Bly), Supp. IV Part 1: 64 “Proserpina and the Devil” (Wilder), IV: 358 “Prosody” (Shapiro), Supp. II Part 2: 710 Prospect before Us, The (Dos Passos), I: 491 “Prospective Immigrants Please Note” (Rich), Supp. I Part 2: 555 Prospect of Peace, The (Barlow), Supp. II Part 1: 67, 68, 75 Prospects of Literature, The (L. P. Smith), Supp. XIV: 343 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: 249–267 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. IX: 211; Supp. X: 193, 194; Supp. XII: 289; Supp. XIV: 24, 83, 95; Supp. XVI: 295 Proverbs, Supp. X: 45 “Proverbs” (Jarman), Supp. XVII: 118 “Providence” (Komunyakaa), Supp. XIII: 132 “Provincetown Postcards” (F. Wright), Supp. XVII: 244 “Provincia deserta” (Pound), Retro. Supp. I: 289 “Provisional Remarks on Being / A Poet / of Arkansas” (Wright), Supp. XV: 337 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 Pryor, Richard, Supp. XIII: 343 Pryse, Marjorie, Retro. Supp. II: 139, 146 “Psalm” (Ginsberg), Supp. II Part 1: 312 “Psalm” (Simic), Supp. VIII: 282 “Psalm and Lament” (Justice), Supp. VII: 116, 117–118, 120–122, 124

480 / AMERICAN WRITERS “Psalm for Pinhook” (Ray), Supp. XVIII: 202 “Psalm of Life, A” (Longfellow), II: 489, 496; Retro. Supp. II: 164, 168, 169; 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 (Worcester, ed.), I: 458 Psychiatric Novels of Oliver Wendell Holmes, The (Oberndorf), Supp. I Part 1: 315 “Psychology and Form” (Burke), I: 270 Psychology: Briefer Course (James), II: 351–352 Psychology of Art (Malraux), IV: 434 Psychology of Insanity, The (Hart), I: 241–242, 248–250 Psychopathia Sexualis (Shanley), Supp. XIV: 316, 329 Psychophysiks (Fechner), II: 358 “Pu-239” (Kalfus), Supp. XVII: 50 “Publication is the Auction” (Dickinson), Retro. Supp. I: 31 “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; Supp. XVII: 6 “Public Burning of Julius and Ethel Rosenberg, The: An Historical Romance” (Coover), Supp. V: 44 “Public Figure” (Hay), Supp. XIV: 124 “Public Garden, The” (Lowell), II: 550 Public Good (Paine), Supp. I Part 2: 509–510 Public Poetry of Robert Lowell, The (Cosgrave), Retro. Supp. II: 185 “Public & Private” (column, Quindlen), Supp. XVII: 165, 167, 169–170 Public Speech: Poems (MacLeish), III: 15–16 Public Spirit (Savage), II: 111 “Puck” (Monette), Supp. X: 157–158 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 Pull Down Vanity (Fiedler), Supp. XIII: 103 Pullman, George, Supp. I Part 1: 9 “Pullman Car Hiawatha” (Wilder), IV: 365–366 Pull My Daisy (film), Supp. XII: 126– 127 “Pulp Cutters’ Nativity, A” (Budbill), Supp. XIX: 9 “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. III Part 2: 575, 578, 580, 581 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; Merwin, trans.), Supp. III Part 1: 341, 347 “Pupil” (F. Barthelme), Supp. XI: 26 “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: 269–285 Purdy, Theodore, Supp. VIII: 153 Pure (C. Frost), Supp. XV: 93, 101–102, 104, 106 “Pure” (C. Frost), Supp. XV: 101–102 “Pure and the Good, The: On Baseball and Backpaking” (Maclean), Supp. XIV: 222 “Pure Good of Theory, The” (Stevens), Retro. Supp. I: 310 Purgatorio (Dante), III: 182 Puritan Family (Morgan), Supp. I Part 1: 101 “Puritanical Pleasures” (Hardwick), Supp. III Part 1: 213–214 Puritan Origins of the American Self, The (Bercovitch), Supp. I Part 1: 99 Puritan Pronaos, The: Studies in the Intellectual Life of New England in the Seventeenth Century (Morison), Supp. I Part 2: 485 “Puritan Realism: The Wide, Wide World and Robinson Crusoe” (Kim), Supp. XVIII: 267 Puritans, The (P. Miller), Supp. VIII: 101 “Puritan’s Ballad, The” (Wylie), Supp. I Part 2: 723 “Purloined Letter, The” (Poe), Retro. Supp. II: 271, 272 Purple Cane Road (Burke), Supp. XIV: 32, 33 Purple Decades, The (Wolfe), Supp. III Part 2: 584 “Purple Hat, The” (Welty), IV: 264 Purple Rose of Cairo, The (film; Allen), Supp. XV: 1, 9–10, 12, 14 Purser, John T., Supp. XIV: 4 “Pursuit of Happiness” (Simpson), Supp. IX: 279 “Pursuit of Happiness, The” (Ashbery), Supp. III Part 1: 23 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

Pushcart Prize VII, The (Hendeson, ed.), Supp. XVII: 16 Pushcart Prize XIV, The (Henderson, ed.), Supp. XVII: 18 Pushcart Prize XX, The (Henderson, ed.), Supp. XVII: 20 “Pushing 100” (Mora), Supp. XIII: 215 Pushkin, Aleksander, III: 246, 261, 262; Retro. Supp. I: 266, 269; Supp. XVI: 188 Pussy, King of the Pirates (Acker), Supp. XII: 6–7 “Pussycat and the Expert Plumber Who Was a Man, The” (A. Miller), III: 146–147 Pussycat Fever (Acker), Supp. XII: 6 Putnam, George Haven, Supp. XVIII: 257, 260 Putnam, George P., II: 314; Supp. XVIII: 3–4, 14, 260 Putnam, Phelps, I: 288 Putnam, Samuel, II: 26; III: 479; Supp. III Part 2: 615 “Put Off the Wedding Five Times and Nobody Comes to It” (Sandburg), III: 586–587 Puttenham, George, Supp. I Part 1: 113 Puttermesser Papers, The (Ozick), Supp. V: 269 “Putting a Burden Down” (Peacock), Supp. XIX: 199 “Putting on Visit to a Small Planet” (Vidal), Supp. IV Part 2: 683 Put Yourself in My Shoes (Carver), Supp. III Part 1: 139 “Put Yourself in My Shoes” (Carver), Supp. III Part 1: 139, 141 Putzi, Jennifer, Supp. XV: 284 Puzo, Mario, Supp. IV Part 1: 390 “Puzzle of Modern Society, The” (Kazin), Supp. VIII: 103 Pygmalion (Shaw), Supp. XII: 14 Pyle, Ernie, III: 148; Supp. V: 240; Supp. XVII: 61 Pylon (Faulkner), II: 64–65, 73; Retro. Supp. I: 84, 85 Pynchon, Thomas, III: 258; Retro. Supp. I: 278; Retro. Supp. II: 279, 324; Supp. II Part 2: 557, 617–638; Supp. III Part 1: 217; Supp. IV Part 1: 53, 279; Supp. IV Part 2: 570; Supp. V: 40, 44, 52; Supp. VIII: 14; Supp. IX: 207, 208, 212; Supp. X: 260, 301, 302; Supp. XI: 103; Supp. XII: 289; Supp. XIV: 49, 53, 54, 96; Supp. XVI: 123, 128; Supp. XVII: 183, 225, 232, 236; Supp. XIX: 223 Pyrah, Gill, Supp. V: 126 “Pyramid Club, The” (Doctorow), Supp. IV Part 1: 234 “Pyrography” (Ashbery), Supp. III Part 1: 18 Pythagoras, I: 332 Pythagorean Silence (Howe), Supp. IV Part 2: 426, 428–429 Q “Qebehseneuf” (Goldbarth), Supp. XII: 186

CUMULATIVE INDEX / 481 “Quadroons, The” (Child), Supp. XVIII: 124 “Quai d’ Orléans” (Bishop), Supp. I Part 1: 89 “Quail for Mr. Forester” (Humphrey), Supp. IX: 94 “Quail in Autumn” (W. J. Smith), Supp. XIII: 334–335, 339 “Quaker Graveyard in Nantucket, The” (Lowell), II: 54, 550; Retro. Supp. II: 178, 186–187 “Quake Theory” (Olds), Supp. X: 203 Qualey, Carlton C., Supp. I Part 2: 650 Quality of Hurt, The (C. Himes), Supp. XVI: 137, 145 “Quality of Wine” (Carruth), Supp. XVI: 59 “Quality Time” (Kingsolver), Supp. VII: 203 “Quandary” (F. Wright), Supp. XVII: 244 Quang-Ngau-chè, III: 473 Quarles, Francis, I: 178, 179 Quarry, The (Chesnutt), Supp. XIV: 76 “Quarry, The” (Nemerov), III: 272 Quarry, The: New Poems (Eberhart), I: 532, 539 Quartermain, Peter, Supp. IV Part 2: 423, 434 “Quaternions, The” (Bradstreet), Supp. I Part 1: 104–106, 114, 122 “Quatrains for Ishi” (Komunyakaa), Supp. XIII: 129 Queechy (S. Warner as Wetherell), Supp. XVIII: 257, 264–266 “Queen Elizabeth and the Blind Girl or Music for the Dead Children” (B. Kelly), Supp. XVII: 124, 125 “Queen of the Blues” (Brooks), Supp. III Part 1: 75 Queen of the Damned, The (Rice), Supp. VII: 290, 292–293, 297, 299 Queen of the Mob (film), Supp. XIII: 170 “Queens of France” (Wilder), IV: 365 “Queen’s Twin, The” (Jewett), Retro. Supp. II: 138 Queen’s Twin, The, and Other Stories (Jewett), Retro. Supp. II: 140 Queen Victoria (Strachey), Supp. I Part 2: 485, 494; Supp. XIV: 342 Queer (Burroughs), Supp. III Part 1: 93–102 “Queer Beer” (Hansberry), Supp. IV Part 1: 374 “Quelques considérations sur la méthode subjective” (James), II: 345–346 “Question” (Swenson), Supp. IV Part 2: 640 “Question and Answer” (Hughes), Retro. Supp. I: 211 “Questioning Faces” (Frost), Retro. Supp. I: 141 “Question Mark in the Circle, The” (Stegner), Supp. IV Part 2: 597 “Questionnaire, The” (Snodgrass), Supp. VI: 318 “Question of Fidelity, A” (Beauvoir), Supp. IX: 4

“Question of Loneliness, A” (Swados), Supp. XIX: 262 “Question of Our Speech, The” (Ozick), Supp. V: 272 “Question of Simone de Beauvoir, The” (Algren), Supp. IX: 4 Questions for Ecclesiastes (Jarman), Supp. XVII: 109, 110, 118–119 “Questions of Geography” (Hollander), Supp. I Part 1: 96 Questions of Travel (Bishop), Retro. Supp. II: 46–48; Supp. I Part 1: 72, 83, 92, 94 “Questions of Travel” (Bishop), Retro. Supp. II: 47 “Questions to Tourists Stopped by a Pineapple Field” (Merwin), Supp. III Part 1: 355 “Questions without Answers” (T. Williams), IV: 384 “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 Quevedo y Villegas, Francisco Gómez, Retro. Supp. I: 423 Quickly: A Column for Slow Readers (Mailer), Retro. Supp. II: 202 Quicksand (Larsen), Supp. XVIII: 119, 121, 122, 124–127 Quicksand and Passing (Larsen; McDowell, ed.), Supp. XVIII: 125 “Quies,” (Pound), Retro. Supp. I: 413 Quiet American, The (Greene), Supp. XIX: 29 “Quiet and clear” (Kooser), Supp. XIX: 125 Quiet City (Shaw), Supp. XIX: 244 Quiet Days in Clichy (H. Miller), III: 170, 178, 183–184, 187 “Quiet Desperation” (Simpson), Supp. IX: 277–278 “Quiet of the Mind” (Nye), Supp. XIII: 284 “Quilting” (D. West), Supp. XVIII: 283 Quin, Mike (pseudonym). See Ryan, Paul William Quincy, Edmund, Supp. XVIII: 4 Quindlen, Anna, Supp. XVI: 108; Supp. XVII: 165–181 Quinlan, Kathleen, Supp. X: 80 Quinn, John, III: 471 Quinn, Paul, Supp. V: 71 Quinn, Sister M. Bernetta, III: 479; IV: 421 Quinn, Vincent, I: 386, 401, 402; Supp. I Part 1: 270 “Quinnapoxet” (Kunitz), Supp. III Part 1: 263 Quinn’s Book (W. Kennedy), Supp. VII: 133, 148–150, 153 Quintero, José, III: 403 Quintilian, IV: 123 Quinzaine for This Yule, A (Pound), Retro. Supp. I: 285 Quite Contrary: The Mary and Newt Story (Dixon), Supp. XII: 144, 153 Quod Erat Demonstrandum (Stein), IV: 34

Quo Vadis? (Sienkiewicz), Supp. IV Part 2: 518; Supp. XVI: 182 R Raab, Max, Supp. XI: 309 “Rabbi, The” (Hayden), Supp. II Part 1: 363, 369 Rabbit, Run (Updike), IV: 214, 223, 230– 234; Retro. Supp. I: 320, 325, 326, 327, 331, 333, 335; Supp. XI: 140; Supp. XII: 298; Supp. XVI: 220 “Rabbit, The” (Barnes), Supp. III Part 1: 34 Rabbit at Rest (Updike), Retro. Supp. I: 334 Rabbit Is Rich (Updike), Retro. Supp. I: 334 Rabbit novels (Updike), Supp. V: 269 Rabbit Redux (Updike), IV: 214; Retro. Supp. I: 332, 333 Rabbit’s Umbrella, The (Plimpton), Supp. XVI: 244 “Rabbits Who Caused All the Trouble, The” (Thurber), Supp. I Part 2: 610 Rabelais, and His World (Bakhtin), Retro. Supp. II: 273 Rabelais, François, I: 130; II: 111, 112, 302, 535; III: 77, 78, 174, 182; IV: 68; Supp. I Part 2: 461 Rabelais and His World (Bakhtin), Supp. X: 120 Rabinbach, Anson, Supp. XII: 166 Rabinowitz, Paula, Supp. V: 161 “Race” (Emerson), II: 6 “Race Contacts and Inter-Racial Relations” (Locke), Supp. XIV: 211 “Race Contacts and Inter-Racial Relations: A Study in the Theory and Practice of Race” (lectures, Locke), Supp. XIV: 199, 209 Race Contacts and Interracial Relations: Lectures on the Theory and Practice of Race (Locke, Stewart, ed.), Supp. XIV: 196, 209–210 “’ RACE LINE’ IS A PRODUCT OF CAPITALISM, THE” (Baraka), Supp. II Part 1: 61 “Race of Life, The” (Thurber), Supp. I Part 2: 614 “Race Problems and Modern Society” (Toomer), Supp. III Part 2: 486 Race Questions, Provincialism, and Other American Problems (Royce), Supp. XIV: 199 “Race Riot, Tulsa, 1921” (Olds), Supp. X: 205 Race Rock (Matthiessen), Supp. V: 201 “Races, The” (Lowell), II: 554 “Rachel” (D. West), Supp. XVIII: 289 Rachel Carson: Witness for Nature (Lear), Supp. IX: 19 Rachel River (film, Smolan), Supp. XVI: 36 “Racial Progress and Race Adjustment” (Locke), Supp. XIV: 210 Racine, Jean Baptiste, II: 543, 573; III: 145, 151, 152, 160; IV: 317, 368, 370; Supp. I Part 2: 716 “Radical” (Moore), III: 211

482 / AMERICAN WRITERS “Radical Chic” (Wolfe), Supp. III Part 2: 577–578, 584, 585 Radical Chic & Mau-mauing the Flak Catchers (Wolfe), Supp. III Part 2: 577–578 Radical Empiricism of William James, The (Wild), II: 362, 363–364 Radicalism in America, The (Lasch), I: 259 “Radical Jewish Humanism: The Vision of E. L. Doctorow” (Clayton), Supp. IV Part 1: 238 “Radically Condensed History of Postindustrial Life, A” (Wallace), Supp. X: 309 Radical’s America, A (Swados), Supp. XIX: 264–265 Radinovsky, Lisa, Supp. XV: 284, 285 “Radio” (O’ Hara), III: 369 Radio Days (film; Allen), Supp. XV: 9 “Radio Pope” (Goldbarth), Supp. XII: 188, 192 Raditzer (Matthiessen), Supp. V: 201 Radkin, Paul, Supp. I Part 2: 539 “Rafaela Who Drinks Coconut & Papaya Juice on Tuesdays” (Cisneros), Supp. VII: 63 Rafelson, Bob, Supp. XIV: 241 Raffalovich, Marc-André, Supp. XIV: 335 “Raft, The” (Lindsay), Supp. I Part 2: 393 Rag and Bone Shop of the Heart, The: Poems for Men (Bly, Hillman, and Meade, eds.), Supp. IV Part 1: 67 Rage in Harlem (C. Himes). See For Love of Imabelle (C. Himes) Rage to Live, A (O’ Hara), III: 361 Raglan, Lord, I: 135 Rago, Henry, Supp. III Part 2: 624, 628, 629 Ragtime (Doctorow), Retro. Supp. II: 108; Supp. IV Part 1: 217, 222–224, 231, 232, 233, 234, 237, 238; Supp. V: 45 “Ragtime” (Doctorow), Supp. IV Part 1: 234 Ragtime (film), Supp. IV Part 1: 236 Ragtime (musical, McNally), Supp. XIII: 207 Rahaim, Liz, Supp. XVII: 2 Rahv, Philip, Retro. Supp. I: 112; Supp. II Part 1: 136; Supp. VIII: 96; Supp. IX: 8; Supp. XIV: 3; Supp. XV: 140 “Raid” (Hughes), Retro. Supp. I: 208 Raids on the Unspeakable (Merton), Supp. VIII: 201, 208 Rail, DeWayne, Supp. XIII: 312 “Rain and the Rhinoceros” (Merton), Supp. VIII: 201 Rainbow, The (Lawrence), III: 27 “Rainbows” (Marquand), III: 56 Rainbow Stories, The (Vollmann), Supp. XVII: 226, 227, 230, 231, 233 Rainbow Tulip, The (Mora), Supp. XIII: 221 “Rain Country” (Haines), Supp. XII: 210 “Rain-Dream, A” (Bryant), Supp. I Part 1: 164 Raine, Kathleen, I: 522, 527

“Rain Falling Now, The” (Dunn), Supp. XI: 147 “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 “Rainmaker, The” (Humphrey), Supp. IX: 101 Raintree County (Lockridge), Supp. XIX: 263 Rainwater, Catherine, Supp. V: 272 “Rainy Day” (Longfellow), II: 498 “Rainy Day, The” (Buck), Supp. II Part 1: 127 “Rainy Mountain Cemetery” (Momaday), Supp. IV Part 2: 486 Rainy Mountain Christmas Doll (painting) (Momaday), Supp. IV Part 2: 493 “Rainy Season: Sub-Tropics” (Bishop), Supp. I Part 1: 93 “Raise High the Roof Beam, Carpenters” (Salinger), III: 567–569, 571 Raise High the Roof Beam, Carpenters; and Seymour: An Introduction (Salinger), III: 552, 567–571, 572 Raise Race Rays Raze: Essays Since 1965 (Baraka), Supp. II Part 1: 47, 52, 55 Raisin (musical), Supp. IV Part 1: 374 Raising Demons (Jackson), Supp. IX: 125–126 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 Raisin in the Sun, A (unproduced screenplay) (Hansberry), Supp. IV Part 1: 360 Rajan, R., I: 390 “Rake, The” (Mamet), Supp. XIV: 240 Rake’s Progress, The (opera), Supp. II Part 1: 24 Rakosi, Carl, Supp. III Part 2: 614, 615, 616, 617, 618, 621, 629; Supp. XIV: 286, 287 Ralegh, Sir Walter, Supp. I Part 1: 98 Raleigh, John Henry, IV: 366 Ralph, Brett, Supp. XVII: 245 Ramakrishna, Sri, III: 567 Ramakrishna and His Disciples (Isherwood), Supp. XIV: 164 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 Ramsey, Priscilla R., Supp. IV Part 1: 15 Ramsey, Roger, Supp. XVI: 69 Ramsey, William, Supp. XVIII: 66

Ramus, Petrus, Supp. I Part 1: 104 Rand, Ayn, Supp. I Part 1: 294; Supp. IV Part 2: 517–535 Randall, Jarrell, 1914–1965 (Lowell, Taylor, and Warren, eds.), II: 368, 385 Randall, John H., III: 605 Randolph, John, I: 5–6 “Range-Finding” (Frost), Retro. Supp. I: 131 Range of the Possible (T. Marshall), Supp. XVII: 36 Rangoon (F. Barthelme), Supp. XI: 25 Rank, Otto, I: 135; Supp. IX: 105; Supp. X: 183, 185, 193 Ranke, Leopold von, Supp. I Part 2: 492 Rankin, Daniel, Retro. Supp. II: 57, 72; Supp. I Part 1: 200, 203, 225 Ranlett, William H., Supp. XVIII: 3 Ransohoff, Martin, Supp. XI: 305, 306 Ransom, John Crowe, I: 265, 301; II: 34, 367, 385, 389, 536–537, 542; III: 454, 480–502, 549; IV: 121, 122, 123, 124, 125, 127, 134, 140, 141, 236, 237, 433; Retro. Supp. I: 90; Retro. Supp. II: 176, 177, 178, 183, 220, 228, 246; Supp. I Part 1: 80, 361; Supp. I Part 2: 423; Supp. II Part 1: 90, 91, 136, 137, 139, 318; Supp. II Part 2: 639; Supp. III Part 1: 318; Supp. III Part 2: 542, 591; Supp. IV Part 1: 217; Supp. V: 315, 331, 337; Supp. X: 25, 56, 58; Supp. XIV: 1; Supp. XIX: 123 “Rape” (Coleman), Supp. XI: 89–90 “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 “Rape of the Lock, The” (Pope), Supp. XIV: 8 Rapf, Joanna, Supp. XVIII: 251 Raphael, I: 15; III: 505, 521, 524; Supp. I Part 1: 363 “Rapist” (Dunn), Supp. XI: 144 Rap on Race, A (Baldwin and Mead), Supp. I Part 1: 66 “Rappaccini’s Daughter” (Hawthorne), II: 229 “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 Raskin, Jonah, Supp. XV: 116 “Raskolnikov” (Simic), Supp. VIII: 282 Rasmussen, Douglas, Supp. IV Part 2: 528, 530 Rasmussen, Halfdan, Supp. XVIII: 180 Rasselas (Johnson), Supp. XI: 209 Rathmann, Andrew, Supp. XV: 34 “Ration” (Baraka), Supp. II Part 1: 50 “Rationale of Verse, The” (Poe), III: 427–428; Retro. Supp. II: 266 Ratner, Rochelle, Supp. XV: 105 Ratner’s Star (DeLillo), Supp. VI: 1, 2, 3, 4, 10, 12, 14; Supp. XVIII: 140

CUMULATIVE INDEX / 483 “Rat of Faith, The” (Levine), Supp. V: 192 Rattigan, Terence, III: 152 Raugh, Joseph, Supp. I Part 1: 286 Rauschenberg, Robert, Supp. XV: 187 Rauschenbusch, Walter, III: 293; Supp. I Part 1: 7 Ravelstein (Bellow), Retro. Supp. II: 19, 33–34 Raven, Simon, Supp. XII: 241 Raven, The (film, Friedlander), Supp. XVII: 58 “Raven, The” (Poe), III: 413, 421–422, 426; Retro. Supp. II: 265, 266–267; Supp. XVII: 58 Raven, The, and Other Poems (Poe), III: 413 Ravenal, Shannon, Supp. IV Part 1: 93 “Raven Days, The” (Lanier), Supp. I Part 1: 351 Ravenna, Michael. See Welty, Eudora “Ravens at Deer Creek” (Wrigley), Supp. XVIII: 299–300, 306 Raven’s Road (Gunn Allen), Supp. IV Part 1: 330, 335 Raver, Anne, Supp. XVIII: 191 “Ravine, The” (Carruth), Supp. XVI: 53 Raw Heaven (Peacock), Supp. XIX: 196– 197 Rawlings, Marjorie Kinnan, Supp. X: 219–237; Supp. XVIII: 194–195 Rawlins, C. L., Supp. XVII: 72, 73 Ray, David, Supp. IV Part 1: 61 Ray, Janisse, Supp. XVIII: 189–206 Ray, Jeanne Wilkinson, Supp. XII: 308, 310 Ray, John, II: 111, 112 Ray, Man, IV: 404; Retro. Supp. I: 416; Supp. XII: 124 Ray, Nicholas, Supp. XVIII: 253 Ray Bradbury Theatre, The (television show), Supp. IV Part 1: 103 Raymond, Henry J., Supp. XVIII: 4 “Raymond and Ann” (Budbill), Supp. XIX: 9 “Razor’s Edge, The” (Wasserstein), Supp. XV: 328 Reactionary Essays on Poetry and Ideas (Tate), Supp. II Part 1: 106, 146 Read, Deborah, II: 122 Read, Forrest, III: 478 Read, Herbert, I: 523; II: 372–373, 377– 378; Retro. Supp. I: 54; Supp. III Part 1: 273; Supp. III Part 2: 624, 626 Read, William A., Supp. XIV: 4 Reade, Charles, Supp. I Part 2: 580 Reader, Constant. See Parker, Dorothy Reader, Dennis J., Supp. I Part 2: 454 “Reader, The” (F. Wright), Supp. XVII: 246 Reader’s Block (Markson), Supp. XVII: 143–145, 146 Reader’s Encyclopedia, The: An Encyclopedia of World Literature and the Arts (W. Benét), Supp. XI: 44 Reader’s Guide to William Gaddis’s The Recognitions, A (Moore), Supp. IV Part 1: 283

Reader’s Map of Arkansas (Wright), Supp. XV: 348 “Reader’s Tale, A” (Doty), Supp. XI: 119, 120, 128, 129 “Reading” (Auden), Supp. VIII: 155 “Reading, The” (Di Piero), Supp. XIX: 41 “Reading Group Guide“, Supp. XI: 244– 245 “Reading Lao Tzu Again in the New Year” (Wright), Supp. V: 343 “Reading Late of the Death of Keats” (Kenyon), Supp. VII: 169 “Reading Myself” (Lowell), II: 555 Reading Myself and Others (P. Roth), Retro. Supp. II: 282; Supp. V: 45 “Reading Ode to the West Wind 25 Years Later” (McCarriston), Supp. XIV: 271–272 “Reading of the Psalm, The” (Francis), Supp. IX: 79 “Reading Ovid” (Di Piero), Supp. XIX: 44 “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 Sarcophagi: An Essay” (Sobin), Supp. XVI: 290 “Readings of History” (Rich), Supp. I Part 2: 554 “Reading the Signs, Empowering the Eye” (Bambara), Supp. XI: 17–18 Reading the Spirit (Eberhart), I: 525, 527, 530 Ready, Richard M., Supp. XIX: 154 “Ready Or Not” (Baraka), Supp. II Part 1: 50 Reagan, Ronald, Supp. IV Part 1: 224– 225 “Real Bowery, The” (Hapgood), Supp. XVII: 103 “Real Class” (Vidal), Supp. IV Part 1: 35 Real Cool Killers, The (C. Himes), Supp. XVI: 143 Real Dope, The (Lardner), II: 422–423 “Real Estate” (Moore), Supp. X: 178 “Real Gone Guy, A” (McGrath), Supp. X: 117 “Real Horatio Alger Story, The” (Cowley), Supp. II Part 1: 143 “Realities” (MacLeish), III: 4 “Reality in America” (Trilling), Supp. III Part 2: 495, 502 “Reality! Reality! What Is It?” (Eberhart), I: 536 Reality Sandwiches, 1953–60 (Ginsberg), Supp. II Part 1: 315, 320 “Reality U.S.A.” (Halliday), Supp. XIX: 89 Real Life of Sebastian Knight, The (Nabokov), III: 246; Retro. Supp. I: 266, 269, 270, 274 “Really Good Jazz Piano, A” (Yates), Supp. XI: 342

Real Presence: A Novel (Bausch), Supp. VII: 42–43, 50 “Real Revolution Is Love, The” (Harjo), Supp. XII: 224, 225–226 “Real Thing, The” (H. James), Retro. Supp. I: 228; Retro. Supp. II: 223 “Real Two-Party System” (Vidal), Supp. IV Part 2: 679 Real West Marginal Way, The (Hugo), Supp. VI: 132, 134; Supp. XVIII: 299 “Real World around Us, The” (Carson), Supp. IX: 21 Reaper Essays, The (Jarman and McDowell), Supp. IX: 270; Supp. XVII: 110–111 “Reaper Interviews Jean Doh and Sean Dough, The” (Jarman and McDowell), Supp. XVII: 110 “Reapers” (Toomer), Supp. III Part 2: 481; Supp. IX: 312 “Reason and Race: A Review of the Literature of the Negro for 1946” (Locke), Supp. XIV: 206 “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 “Reasons of the Body” (Sanders), Supp. XVI: 274 Rebecca (du Maurier), Supp. XIX: 57–58 Rebecca, or, The Fille de Chambre (Rowson), Supp. XV: 229, 235–236, 238 Rebecca Harding Davis Reader, A (Pfaelzer, ed.), Supp. XVI: 88, 90 Rebel Angels: Twenty-five Poets of the New Formalism (Jarman and Mason, eds.), Supp. XV: 251; Supp. XVII: 109, 110, 112, 121 “Rebellion” (Lowell), Retro. Supp. II: 187 Rebel Powers (Bausch), Supp. VII: 41, 45–46, 49–51 Rebel without a Cause (film), Supp. XII: 9 “Rebirth of God and the Death of Man, The ” (Fiedler), Supp. XIII: 108 Rebolledo, Tey Diana, Supp. XIII: 214 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 “Receding Horizons” (Lethem and Scholtz), Supp. XVIII: 145 “Recencies in Poetry” (Zukofsky), Supp. III Part 2: 615 Recent Killing, A (Baraka), Supp. II Part 1: 55 “Recent Negro Fiction” (Ellison), Supp. II Part 1: 233, 235 “Recessional” (A. Finch), Supp. XVII: 70–71 “Recital, The” (Ashbery), Supp. III Part 1: 14

484 / AMERICAN WRITERS “Recitative” (H. Crane), I: 390; Retro. Supp. II: 78 Reckless Eyeballing (Reed), Supp. X: 241 Recognitions, The (Gaddis), Supp. IV Part 1: 279, 280–285, 286, 287, 288, 289, 291, 292, 294 Recollections (R. H. Stoddard), Supp. XV: 271 Recollections of Logan Pearsall Smith: The Story of a Friendship (GathorneHardy), Supp. XIV: 344 “Reconciliation” (Whitman), IV: 347 “Reconstructed but Unregenerate” (Ransom), III: 496 “Reconstruction and Its Benefits” (Du Bois), Supp. II Part 1: 171 Recovering (Sarton), Supp. VIII: 264 Recovering the U.S. Hispanic Literary Heritage (Paredes), Supp. XIII: 320 “Recovery” (Dove), Supp. IV Part 1: 248 Rector of Justin, The (Auchincloss), Supp. IV Part 1: 21, 23, 27–30, 36 “Recurrent Dream” (Nelson), Supp. XVIII: 176 “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; Retro. Supp. II: 108; Supp. IV Part 1: 380; Supp. XIV: 51; Supp. XVIII: 75 Red Badge of Courage, The (S. Crane), Supp. XVII: 228 “Redbirds” (C. Frost), Supp. XV: 99 “Red Bow, The” (Saunders), Supp. XIX: 232–233, 234 “Redbreast in Tampa” (Lanier), Supp. I Part 1: 364 “Red Brocade” (Nye), Supp. XIII: 288 Redburn: His First Voyage (Melville), III: 79–80, 84; Retro. Supp. I: 245, 247–248, 249; Supp. XVIII: 6 “Red Carpet for Shelley, A” (Wylie), Supp. I Part 2: 724 Red Channels (Harnett), Supp. XV: 198 “Red Clowns” (Cisneros), Supp. VII: 63 Red Coal, The (Stern), Supp. IX: 291– 292 Red Coat, The (Shanley), Supp. XIV: 316–317 “Red Cross” (Hughes), Retro. Supp. I: 205 Red Cross (Shepard), Supp. III Part 2: 440, 446 Red Death, A (Mosley), Supp. XIII: 237, 239, 240 “Red Deer” (C. Frost), Supp. XV: 101 Redding, Saunders, Supp. I Part 1: 332, 333 Reddings, J. Saunders, Supp. IV Part 1: 164 Red Dust (Levine), Supp. V: 178, 183– 184, 188 “Red Dust” (Levine), Supp. V: 184 “Redemption” (Gardner), Supp. VI: 72 “Redeployment” (Nemerov), III: 267, 272

Redfield, Robert, IV: 475 Redford, Robert, Supp. IX: 253, 259; Supp. XIII: 267; Supp. XIV: 223 Redgrave, Lynn, Supp. V: 107 Red Harvest (Hammett), Supp. IV Part 1: 346–348, 348; Supp. IV Part 2: 468 Red-Headed Woman (film), Retro. Supp. I: 110; Supp. XVI: 191 “Red Horse Wind over Albuquerque” (Harjo), Supp. XII: 219 Red Hot Vacuum, The (Solotaroff), Retro. Supp. II: 281 “Red Leaves” (Faulkner), II: 72 “Red Meat: What Difference Did Stesichoros Make?” (Carson), Supp. XII: 107 “Red Pawn” (Rand), Supp. IV Part 2: 520 Red Pony, The (Steinbeck), IV: 50, 51, 58, 70 Redrawing the Boundaries (Fisher), Retro. Supp. I: 39 Red Robins, The (Koch), Supp. XV: 185– 186, 187 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 Redskins, The (Cooper), I: 351, 353 “Red Star, Winter Orbit” (W. Gibson and B. Sterling), Supp. XVI: 123 Red Suitcase (Nye), Supp. XIII: 277, 278, 287 Red Wallflower, A (S. Warner), Supp. XVIII: 260 “Red Wheelbarrow, The” (W. C. Williams), IV: 411–412; Retro. Supp. I: 419, 430 “Red Wind” (Chandler), Supp. IV Part 1: 122 “Red Wing Church, The” (Kooser), Supp. XIX: 119 “Redwings” (Wright), Supp. III Part 2: 603 Reed, Edward Bliss, Supp. XV: 297, 298, 300 Reed, Ishmael, Retro. Supp. II: 111, 324–325; Supp. II Part 1: 34; Supp. X: 239–257, 331; Supp. XIII: 181, 182; Supp. XVI: 143 Reed, J. D., Supp. XVI: 174 Reed, John, I: 48, 476, 483; Supp. X: 136; Supp. XV: 295, 299; Supp. XVII: 96, 99, 100; Supp. XVIII: 225 Reed, Lou, Retro. Supp. II: 266 “Reedbeds of the Hackensack, The” (Clampitt), Supp. IX: 41 “Reed of Pan, A” (McCullers), II: 585 Reedy, Billy, Retro. Supp. II: 65, 67, 71, 73 Reedy, William Marion, Supp. I Part 2: 456, 461, 465 Reef, The (Wharton), IV: 317–318, 322; Retro. Supp. I: 372, 373–374 Reena and Other Stories (Marshall), Supp. XI: 275, 277, 278 Reeve, F. D., Supp. XV: 344, 349

Reeve’s Tale (Chaucer), I: 131 “Reflection from Anita Loos” (Empson), Supp. XVI: 190 “Reflections” (Carruth), Supp. XVI: 54 “Reflections” (Komunyakaa), Supp. XIII: 117 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 a Gift of Watermelon Pickle (Dunning), Supp. XIV: 126 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 Reflections: Thinking Part I (Arendt), Supp. I Part 2: 570 “Reflex Action and Theism” (James), II: 345, 363 “Refrains/Remains/Reminders” (Goldbarth), Supp. XII: 180–181, 181 “Refuge” (Kingsolver), Supp. VII: 208 “Refuge, A” (Goldbarth), Supp. XII: 190 Refugee Children: Theory, Research, and Services (Ahearn and Athey, eds.), Supp. XI: 184 “Refugees, The” (Jarrell), II: 371 “Refusal” (C. Frost), Supp. XV: 102 “Refusal to Publish Fifth Book” (Halliday), Supp. XIX: 94 Regarding Wave (Snyder), Supp. VIII: 299–300 Regina (Epstein), Supp. XII: 170–171 “Regional Literature of the South” (Rawlings), Supp. X: 228 “Regional Writer, The” (O’ Connor), Retro. Supp. II: 223, 225 Régnier, Henri de, II: 528–529 Regulators, The (King), Supp. V: 141 Rehder, Robert, Supp. IV Part 1: 69 Reichel, Hans, III: 183 Reichl, Ruth, Supp. X: 79, 85 Reich,Tova, Supp. XVI: 158 Reid, B. L., II: 41, 47 Reid, Thomas, II: 9; Supp. I Part 1: 151 Reign of Snakes (Wrigley), Supp. XVIII: 293, 302–306 “Reign of Snakes” (Wrigley), Supp. XVIII: 302–304 Reign of Wonder, The (Tanner), I: 260 Rein, Yevgeny, Supp. VIII: 22 Reinagle, Alexander, Supp. XV: 238, 240 “Reincarnation” (Dickey), Supp. IV Part 1: 181–182

CUMULATIVE INDEX / 485 Reine des pommes, La (C. Himes). See For Love of Imabelle (C. Himes) Reiner, Carl, Supp. IV Part 2: 591 Reinfeld, Linda, Supp. IV Part 2: 421 Reinhardt, Max, Supp. XV: 307 Reinventing the Enemy’s Language: Contemporary Native Women’s Writing of North America (Bird and Harjo, eds.), Supp. XII: 216, 217 Reisman, Jerry, Supp. III Part 2: 618 Reiter, Amy, Supp. XIX: 54, 56 Reitlinger, Gerald, Supp. XII: 161 Reivers, The: A Reminiscence (Faulkner), I: 305; II: 57, 73; Retro. Supp. I: 74, 82, 91 “Rejoicings” (Stern), Supp. IX: 289–290 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 Relations of the Alabama-Georgia Dialect to the Provincial Dialects of Great Britain, The (Brooks), Supp. XIV: 3 Relative Stranger, A (C. Baxter), Supp. XVII: 19, 22 “Relativity of Beauty, The” (Rawlings), Supp. X: 226 Relearning the Alphabet (Levertov), Supp. III Part 1: 280, 281 “Release” (C. Baxter), Supp. XVII: 15 “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 Instruction” (Peacock), Supp. XIX: 200, 201 Religious Rebel, A: The Letters of “H. W. S.” (Mrs. Pearsall Smith) (L. P. Smith), Supp. XIV: 349 “Reluctance” (Frost), II: 153 Reluctantly: Autobiographical Essays (Carruth), Supp. XVI: 45–46, 50 Remains (Snodgrass), Supp. VI: 311, 313–314 “Remains, The” (Strand), Supp. IV Part 2: 627 “Remarks on Color” (Wright), Supp. XV: 346 “Remarks on Spencer’s Definition of Mind as Correspondence” (James), II: 345 Remarque, Erich Maria, Retro. Supp. I: 113; Supp. IV Part 1: 380 Rembrandt, II: 536; IV: 310; Supp. IV Part 1: 390, 391 “Rembrandt, The” (Wharton), IV: 310 “Rembrandt’s Hat” (Malamud), Supp. I Part 2: 435, 437 Rembrandt Takes a Walk (Strand), Supp. IV Part 2: 631 “Rembrandt to Rembrandt” (Robinson), III: 521–522

Remembered Earth, The: An Anthology of Contemporary Native American Literature (Hobson, ed.), 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. III Part 2: 451, 471 “Remembering Guston” (Kunitz), Supp. III Part 1: 257 “Remembering James Laughlin” (Karr), Supp. XI: 242 Remembering Laughter (Stegner), Supp. IV Part 2: 598, 606, 607, 608, 611, 614 “Remembering Lobo” (Mora), Supp. XIII: 220, 227 “Remembering My Father” (Berry), Supp. X: 23 “Remembering that Island” (McGrath), Supp. X: 116 “Remembering the Children of Auschwitz” (McGrath), Supp. X: 127 “Remembering the Lost World” (Jarrell), II: 388 “Remembering the Sixties” (Simpson), Supp. IX: 279 Remember Me to Tom (T. Williams), IV: 379–380 “Remember the Moon Survives” (Kingsolver), Supp. VII: 209 Remember to Remember (H. Miller), III: 186 “Remembrance, A” (Gioia), Supp. XV: 112 Remembrance of Things Past (Proust), Supp. IV Part 2: 600; Supp. XII: 9; Supp. XIII: 44 Remembrance Rock (Sandburg), III: 590 Reminiscence, A (Ashbery), Supp. III Part 1: 2 Remnick, David, Supp. XVI: 246 “Remora” (Merrill), Supp. III Part 1: 326 “Removal” (White), Supp. I Part 2: 664–665 “Removal, The” (Merwin), Supp. III Part 1: 350, 351 “Removal Service Request” (Halliday), Supp. XIX: 90 Removed from Time (Matthews and Feeney), Supp. IX: 154 Remsen, Ira, Supp. I Part 1: 369 “Rémy de Gourmont, A Distinction” (Pound), III: 467 “Renaissance” (Carruth), Supp. XVI: 56 Renaissance in the South (Bradbury), I: 288–289 Renaldo and Clara (film, Dylan and Shepard), Supp. XVIII: 21, 28, 31 “Renaming the Kings” (Levine), Supp. V: 184 Renan, Joseph Ernest, II: 86; IV: 440, 444 Renard, Jules, IV: 79

“Renascence” (Millay), III: 123, 125– 126, 128; Supp. XV: 42 Renault, Mary, Supp. IV Part 2: 685 “Rendezvous, The” (Kumin), Supp. IV Part 2: 455 René, Norman, Supp. X: 146, 152 Renée (anonymous author), Supp. XVI: 64, 66 “Renegade, The” (Jackson), Supp. IX: 120 Renewal of Life series (Mumford), Supp. II Part 2: 476, 479, 481, 482, 485, 495, 497 Renoir, Jean, Supp. XII: 259 Renouvrier, Charles, II: 344–345, 346 “Renunciation” (Banks), Supp. V: 10 Renza, Louis A., Retro. Supp. II: 142 “Repair” (Peacock), Supp. XIX: 204 “Repeating Dream” (Gander), Supp. XV: 340 Repent in Haste (Marquand), III: 59 Reperusals and Re-Collections (L. P. Smith), Supp. XIV: 346–347 “Repetitive Heart, The: Eleven Poems in Imitation of the Fugue Form” (Schwartz), Supp. II Part 2: 645–646 “Replacing Regionalism” (Murphy), Retro. Supp. II: 143 Replansky, Naomi, Supp. X: 119 “Reply to Mr. Wordsworth” (MacLeish), III: 19 “Report, A” (Jin), Supp. XVIII: 93 “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. III Part 1: 70, 72, 80, 82–85 Report from Part Two (Brooks), Supp. III Part 1: 87 Report on a Game Survey of the North Central States (Leopold), Supp. XIV: 182 “Report on the Barnhouse Effect” (Vonnegut), Supp. II Part 2: 756 “Report to Crazy Horse” (Stafford), Supp. XI: 324–325 “Repose of Rivers” (H. Crane), I: 393; Retro. Supp. II: 78, 81 “Repossession of a Heritage, The” (Zagarell), Supp. XV: 270, 281 “Representation and the War for Reality” (Gass), Supp. VI: 88 Representative Men (Emerson), II: 1, 5–6, 8 “Representing Far Places” (Stafford), Supp. XI: 321 Repression and Recovery (Nelson), Supp. XVIII: 226 “REPRISE OF ONE OF A. G.’ S BEST POEMS” (Baraka), Supp. II Part 1: 59 “Reproducing Ourselves Is All Very Well” (E. Hoffman), Supp. XVI: 155 Republic (Plato), I: 485 “Republican Manifesto, A” (Paine), Supp. I Part 2: 511 Republic of Love, The (Shields), Supp. VII: 323–324, 326, 327

486 / AMERICAN WRITERS “Requa” (Olsen), Supp. XIII: 294, 302– 303, 304 Requa, Kenneth A., Supp. I Part 1: 107 “Requa I” (Olsen). See “Requa” (Olsen) “Request for Offering” (Eberhart), I: 526 “Requiem” (Akhmatova), Supp. VIII: 20 “Requiem” (LaBastille), Supp. X: 105 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 Rescued Year, The (Stafford), Supp. XI: 321–322 “Rescued Year, The” (Stafford), Supp. XI: 322, 323 “Rescue with Yul Brynner” (Moore), III: 215 “Resemblance” (Bishop), Supp. I Part 1: 86 “Resemblance between a Violin Case and a Coffin, A” (T. Williams), IV: 378– 379 “Reservations” (Taylor), Supp. V: 323 “Reserved Memorials” (Mather), Supp. II Part 2: 446, 449 “Resistance to Civil Government” (Thoreau), Supp. X: 27, 28 Resist Much, Obey Little (Berry), Supp. XIII: 2 Resolution (Parker), Supp. XIX: 187 “Resolution and Independence” (Wordsworth), Supp. XV: 346 Resources of Hope (R. Williams), Supp. IX: 146 “Respectable Place, A” (O’ Hara), III: 369 “Respectable Woman, A” (Chopin), Retro. Supp. II: 66 “Respite” (Pedersen; Nelson, trans.), Supp. XVIII: 180 Responses (Wilbur), Supp. III Part 2: 541 “Response to a Rumor that the Oldest Whorehouse in Wheeling, West Virginia, Has Been Condemned” (Wright), Supp. III Part 2: 602 Restif de La Bretonne, Nicolas, III: 175 “Rest of Life, The” (Gordon), Supp. IV Part 1: 311 Rest of Life, The: Three Novellas (Gordon), Supp. IV Part 1: 310–312 Rest of the Way, The (McClatchy), Supp. XII: 255, 258–259 Restoration comedy, Supp. I Part 2: 617 Restorers, The (Di Piero), Supp. XIX: 42–43, 44 “Restorers, The” (Di Piero), Supp. XIX: 43 “Restraint” (F. Barthelme), Supp. XI: 26 “Result” (Emerson), II: 6 “Résumé” (Parker), Supp. IX: 189 Resurrection (Della Francesca), Supp. XV: 262 “Resurrection” (Harjo), Supp. XII: 224 “Resurrection” (Jin), Supp. XVIII: 94–95 Resurrection, The (Gardner), Supp. VI: 61, 63, 64–65, 68, 69, 73, 74 “Retort” (Hay), Supp. XIV: 133

Retour amont (Char; Sobin, trans.), Supp. XVI: 282 Retrieval System, The (Kumin), Supp. IV Part 2: 449, 451, 452 “Retrievers in Translation” (Doty), Supp. XI: 132 “Retroduction to American History” (Tate), IV: 129 “Retrospects and Prospects” (Lanier), Supp. I Part 1: 352 “Return” (Corso), Supp. XII: 135 “Return” (Creeley), Supp. IV Part 1: 141, 145 “Return” (MacLeish), III: 12 “Return, The” (Bidart), Supp. XV: 32–33 “Return, The” (Pound), Retro. Supp. I: 288 “Return, The” (Ray), Supp. XVIII: 194 “Return, The” (Roethke), III: 533 “Return, The: Orihuela, 1965” (Levine), Supp. V: 194 “Return: An Elegy, The” (Warren), IV: 239 “Return: Buffalo” (Hogan), Supp. IV Part 1: 411 “Returning” (Komunyakaa), Supp. XIII: 122 “Returning a Lost Child” (Glück), Supp. V: 81 “Returning from the Enemy” (Harjo), Supp. XII: 229–230 “Returning the Borrowed Road” (Komunyakaa), Supp. XIII: 113, 133 “Return of Alcibiade, The” (Chopin), Retro. Supp. II: 58, 64 Return of Ansel Gibbs, The (Buechner), III: 310; Supp. XII: 48 “Return of Eros to Academe, The” (Bukiet), Supp. XVII: 47 “Return of Spring” (Winters), Supp. II Part 2: 791 Return of the Native, The (Hardy), II: 184–185, 186 Return of the Vanishing American, The (Fiedler), Supp. XIII: 103 Return to a Place Lit by a Glass of Milk (Simic), Supp. VIII: 274, 276, 283 “Return to Lavinia” (Caldwell), I: 310 “Return to Thin Air: The Everest Disaster Ten Years Later” (Outside), Supp. XVIII: 113 Reuben (Wideman), Supp. X: 320 Reuben and Rachel; or, Tales of Old Times (Rowson), Supp. XV: 240–241 Reunion (Mamet), Supp. XIV: 240, 247, 254 “Reunion in Brooklyn” (H. Miller), III: 175, 184 Reuther brothers, I: 493 “Reveille” (Kingsolver), Supp. VII: 208 “Reveille” (Untermeyer), Supp. XV: 300 “Reveille, The” (Harte), Supp. II Part 1: 342–343 Revelation (biblical book), II: 541; IV: 104, 153, 154; Supp. I Part 1: 105, 273 “Revelation” (O’ Connor), III: 349, 353– 354; Retro. Supp. II: 237 “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. III Part 2: 521 “Revenge of Rain-in-the-Face, The” (Longfellow), Retro. Supp. II: 170 Reverberator, The (James), Retro. Supp. I: 227 “Reverdure” (Berry), Supp. X: 22 Reverdy, Pierre, Supp. XV: 178, 182 “Reverend Father Gilhooley” (Farrell), II: 45 Reverse Transcription (Kushner), Supp. IX: 138 Reversible Errors (Turow), Supp. XVII: 220–221 “Rev. Freemont Deadman” (Masters), Supp. I Part 2: 463 Reviewer’s ABC, A (Aiken), I: 58 Review of Contemporary Fiction, 1990 (Tabbi, ed.), Supp. XVII: 143 “Revolt, against the Crepuscular Spirit in Modern Poetry” (Pound), Retro. Supp. I: 286 Revolutionary Petunias (Walker), Supp. III Part 2: 520, 522, 530 Revolutionary Road (Yates), Supp. XI: 334, 335–340 “Revolutionary Symbolism in America” (Burke), I: 272 “Revolutionary Theatre, The” (Baraka), Supp. II Part 1: 42 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 Revon, Marcel, II: 525 “Rewaking, The” (W. C. Williams), Retro. Supp. I: 430 “Rewrite” (Dunn), Supp. XI: 147 Rexroth, Kenneth, II: 526; Supp. II Part 1: 307; Supp. II Part 2: 436; Supp. III Part 2: 625, 626; Supp. IV Part 1: 145–146; Supp. VIII: 289; Supp. XIII: 75; Supp. XIV: 287; Supp. XV: 140, 141, 146 Reynolds, Ann (pseudonym). See Bly, Carol Reynolds, Clay, Supp. XI: 254 Reynolds, David, Supp. XV: 269 Reynolds, Sir Joshua, Supp. I Part 2: 716 Reynolds, Quentin, IV: 286 Reznikoff, Charles, IV: 415; Retro. Supp. I: 422; Supp. III Part 2: 615, 616, 617, 628; Supp. XIV: 277–296 “Rhapsodist, The” (Brown), Supp. I Part 1: 125–126 “Rhapsody on a Windy Night” (Eliot), Retro. Supp. I: 55 Rhetoric of Motives, A (Burke), I: 272, 275, 278, 279 Rhetoric of Religion, The (Burke), I: 275, 279 “Rhobert” (Toomer), Supp. IX: 316–317 “Rhode Show” (Mallon), Supp. XIX: 137–138

CUMULATIVE INDEX / 487 “Rhododendrons” (Levis), Supp. XI: 260, 263 Rhubarb Show, The (radio, Keillor), Supp. XVI: 178 “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. III Part 1: 42, 43; Supp. XVIII: 131 “Rhythm & Blues” (Baraka), Supp. II Part 1: 37–38 Rhythms (Reznikoff), Supp. XIV: 279, 282, 283 Rhythms II (Reznikoff), Supp. XIV: 282, 283, 284 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: 287–306 Rice, Elmer, I: 479; III: 145, 160–161 Rice, Mrs. Grantland, II: 435 Rice, Philip Blair, IV: 141 Rice, Stan, Supp. XII: 2 Rice, Tom, Supp. XIV: 125 Rich, Adrienne, Retro. Supp. I: 8, 36, 42, 47, 404; Retro. Supp. II: 43, 191, 245; Supp. I Part 2: 546–547, 550– 578; Supp. III Part 1: 84, 354; Supp. III Part 2: 541, 599; Supp. IV Part 1: 257, 325; Supp. V: 82; Supp. VIII: 272; Supp. XII: 217, 229, 255; Supp. XIII: 294; Supp. XIV: 126, 129; Supp. XV: 176, 252; Supp. XVII: 32, 74; Supp. XIX: 83, 193 Rich, Arnold, Supp. I Part 2: 552 Rich, Frank, Supp. IV Part 2: 585, 586; Supp. V: 106 Richard, Mark, Supp. XIX: 209–222 Richard Cory (Gurney), Supp. V: 99– 100, 105 “Richard Hunt’s ‘Arachne’ ” (Hayden), Supp. II Part 1: 374 Richard II (Shakespeare), Supp. XVII: 244 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; Supp. I Part 2: 647 Richards, Ivor Armonstrong, Supp. XIV: 2–3, 16 Richards, Laura E., II: 396; III: 505– 506, 507 Richards, Leonard, Supp. XIV: 48 Richards, Lloyd, Supp. IV Part 1: 362; Supp. VIII: 331 Richards, Rosalind, III: 506 Richards, Tad, Supp. XVII: 77 Richardson, Alan, III: 295 Richardson, Charles, Supp. XVIII: 14, 15 Richardson, Dorothy, I: 53; II: 320; Supp. III Part 1: 65

Richardson, Helen Patges, Retro. Supp. II: 95 Richardson, Henry Hobson, I: 3, 10 Richardson, Maurice, Supp. XII: 241 Richardson, Samuel, I: 134; II: 104, 111, 322; Supp. V: 127; Supp. IX: 128; Supp. XV: 232 Richardson, Tony, Supp. XI: 305, 306 “Richard Wright and Recent Negro Fiction” (Ellison), Retro. Supp. II: 116 “Richard Wright’s Blues” (Ellison), Retro. Supp. II: 117, 124 “Richard Yates: A Requiem” (Lawrence), Supp. XI: 335 “Rich Boy, The” (Fitzgerald), II: 94; Retro. Supp. I: 98, 108 Richer, the Poorer, The: Sketches and Reminiscences (D. West), Supp. XVIII: 277, 289 “Riches” (Bausch), Supp. VII: 54 Richler, Mordecai, Supp. XI: 294, 297 Rich Man, Poor Man (miniseries), Supp. XIX: 252 Rich Man, Poor Man (Shaw), Supp. XIX: 251–252 Richman, Robert, Supp. XI: 249; Supp. XV: 120–121, 251 Richmond (Masters), Supp. I Part 2: 471 Richter, Conrad, Supp. X: 103; Supp. XVIII: 207–222 Richter, Jean Paul, II: 489, 492; Supp. XVI: 182 Rick Bass (Weltzien), Supp. XVI: 20 Rickman, Clio, Supp. I Part 2: 519 Ricks, Christopher, Retro. Supp. I: 56; Supp. XVIII: 20, 30, 32 Riddel, Joseph N., IV: 95 “Riddle, The” (Hay), Supp. XIV: 130 “Ride in an Omnibus, A” (Briggs), Supp. XVIII: 9, 16 “Riders to the Blood-Red Wrath” (Brooks), Supp. III Part 1: 82–83 Riders to the Sea (Synge), III: 157 Ridge, Lola, Supp. IX: 308; Supp. XV: 307 Riding, Alan, Supp. XVI: 294 Riding, Laura, I: 437 “Riding Out at Evening” (McCarriston), Supp. XIV: 262–263 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 Riffs & Reciprocities (Dunn), Supp. XI: 154–155 Rifles, The (Vollmann), Supp. XVII: 226, 233 Riggs, Marlon, Supp. XI: 19 Right Madness on Skye, The (Hugo), Supp. VI: 145–147 Rights of Man (Paine), Supp. I Part 2: 508, 511, 512–514, 516, 519, 523 “Rights of Woman” (Rowson), Supp. XV: 243 “Rights of Women, The” (Brown). See Alcuin: A Dialogue (Brown)

Right Stuff, The (Wolfe), Supp. III Part 2: 581–584 Right Thoughts in Sad Hours (Mather), IV: 144 Rigney, Barbara Hill, Supp. VIII: 215 “Rigorists” (Moore), III: 198 Riis, Jacob A., I: 293; Supp. I Part 1: 13; Supp. XVII: 101, 106 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; III: 552, 558, 563, 571, 572; IV: 380, 443; Retro. Supp. II: 20, 187; Supp. I Part 1: 264; Supp. I Part 2: 573; Supp. III Part 1: 239, 242, 246, 283, 319–320; Supp. IV Part 1: 284; Supp. V: 208, 343; Supp. VIII: 30, 40; Supp. X: 164; Supp. XI: 126; Supp. XIII: 74, 88; Supp. XV: 93, 212, 222,Supp. XV: 223, 225; Supp. XVI: 292; Supp. XVII: 244 Rilke on Love and Other Diffıculties (Rilke), Supp. X: 164 “Rilke’s Growth as a Poet” (Dobyns), Supp. XIII: 77 “Rimbaud” (Kerouac), Supp. III Part 1: 232 Rimbaud, Arthur, I: 381, 383, 389, 391, 526; II: 528, 543, 545; III: 23, 174, 189; IV: 286, 380, 443; Retro. Supp. I: 56; Retro. Supp. II: 187, 326; Supp. III Part 1: 14, 195; Supp. IV Part 2: 624; Supp. VIII: 39, 40; Supp. XII: 1, 16, 128, 255; Supp. XIII: 284; Supp. XIV: 338; Supp. XVIII: 23, 33 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, I: 339, 343; Retro. Supp. II: 270 “Ringing” (Bierds), Supp. XVII: 28 “Ringing the Bells” (Sexton), Supp. II Part 2: 672, 687 Ringle, Ken, Supp. X: 15 Ring of Heaven: Poems (Hongo), Supp. X: 292 Rink, The (musical, McNally), Supp. XIII: 207 Rio Lobo (film), Supp. XVI: 246 Ríos, Alberto Alvaro, Supp. IV Part 2: 537–556 “Riot” (Brooks), Supp. III Part 1: 71, 84–85 Ripley, Ezra, II: 8; IV: 172 Rip-off Red, Girl Detective (Acker), Supp. XII: 3–4 Ripostes (Pound), Retro. Supp. I: 287– 288, 413 Ripostes of Ezra Pound, The, Whereunto Are Appended the Complete Poetical Works of T. E. Hulme, with Prefatory Note (Pound), III: 458, 464, 465 Riprap (Snyder), Supp. VIII: 292–294, 295 “Riprap” (Snyder), Supp. VIII: 293–294

488 / AMERICAN WRITERS “Rip Van Winkle” (Irving), II: 304–306; Supp. I Part 1: 185 Rischin, Moses, Supp. XVII: 101, 103, 106 Risco-Lozado, Eliezar, Supp. XIII: 313 Rise and Shine (Quindlen), Supp. XVII: 179 Rise of David Levinsky, The (Cahan), Supp. IX: 227; Supp. XIII: 106 Rise of Silas Lapham, The (Howells), II: 275, 279, 283–285; IV: 202; Retro. Supp. II: 93, 101 “Rise of the Middle Class” (Banks), Supp. V: 10 Rising and Falling (Matthews), Supp. IX: 154, 160 “Rising Daughter, The” (Olds), Supp. X: 204 Rising from the Plains (McPhee), Supp. III 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 Rising Up and Rising Down (Vollmann), Supp. XVII: 225, 226, 229–230, 232, 233, 235–236 Risk Pool, The (Russo), Supp. XII: 328– 331 Ristovic, Aleksandar, Supp. VIII: 272 “Rita Dove: Identity Markers” (Vendler), Supp. IV Part 1: 247, 257 Ritchey, John, Supp. XIV: 122 “Rite of Passage” (Olds), Supp. X: 206 “Rites and Ceremonies” (Hecht), Supp. X: 61 Rites and Witnesses: A Comedy (Hinojosa), Supp. XIX: 106–107 “Rites of Spring, The” (Morris), III: 223 Ritivoi, Andreea Deciu, Supp. XVI: 148 Ritschl, Albrecht, III: 309, 604 Ritsos, Yannis, Supp. X: 112 “Ritsos and the Metaphysical Moment” (Dobyns), Supp. XIII: 78 Rittenhouse, David, Supp. I Part 2: 507 Rittenhouse, Jessie, Supp. XV: 295 “Ritual, The” (Jarman), Supp. XVII: 114 “Ritual and Renewal: Keres Traditions in the Short Fiction of Leslie Silko” (Ruoff), Supp. IV Part 2: 559 Ritz, The (film), Supp. XIII: 206 Ritz, The (McNally), Supp. XIII: 198 “Rival, The” (Plath), Retro. Supp. II: 254 Riven Rock (Boyle), Supp. VIII: 5–6 “River” (Ammons), Supp. VII: 28 “River, The” (O’ Connor), III: 344, 352, 353, 354, 356; Retro. Supp. II: 229, 231–232 Rivera, Tomás, Supp. XIII: 216, 221; Supp. XIX: 97, 102 Riverbed (Wagoner), Supp. IX: 327–328 “River Driftwood” (Jewett), Retro. Supp. II: 132, 133, 147 “River Jordan, The” (DeLillo), Supp. VI: 3, 4

River King, The (Hoffman), Supp. X: 78, 85, 90, 91–92 “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 of the Mother of God and Other Essays by Aldo Leopold, The (Leopold), Supp. XIV: 180 “River Profile” (Auden), Supp. II Part 1: 26 “River Road” (Kunitz), Supp. III Part 1: 260 “River Runs Through It, A” (Maclean), Supp. XIV: 222–223, 223–229, 233, 234, 235; Supp. XVI: 98 River Runs Through It and Other Stories, A (Maclean), Supp. XIV: 221, 223 Rivers, Larry, Supp. III Part 1: 3; Supp. XV: 177, 178, 186 Rivers and Mountains (Ashbery), Supp. III Part 1: 10, 26 Riverside Drive (Simpson), Supp. IX: 275–276 Rivers to the Sea (Teasdale), Supp. XV: 295 River Styx, Ohio, and Other Poems, The (Oliver), Supp. VII: 231, 232 “River That Is East, The” (Kinnell), Supp. III Part 1: 241–242 “River Towns” (Masters), Supp. I Part 2: 473 Rives, Amélie, II: 194 Rivière, Jacques, Retro. Supp. I: 63 “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 RL’s Dream (Mosley), Supp. XIII: 234, 244–245, 249 Roach, Max, Supp. X: 239 “Road, Roadsides, and the Disparate Frames of a Sequence” (Sobin), Supp. XVI: 288 Road Between, The (Farrell), II: 29, 38, 39–40 “Road Between Here and There, The” (Kinnell), Supp. III Part 1: 254 “Road Home, The” (Hammett), Supp. IV Part 1: 343 Road Home, The (Harrison), Supp. VIII: 37, 45, 48, 49–50, 53 Roadless Yaak, The: Reflections and Observations about One of Our Last Great Wild Places (Bass, ed.), Supp. XVI: 23 “Road Not Taken, The” (R. Frost), II: 154; Retro. Supp. I: 131; Supp. XI: 150; Supp. XV: 127 Roadside Poems for Summer Travellers (Larcom, ed.), Supp. XIII: 142 Roads of Destiny (O. Henry), Supp. II Part 1: 410 Road through the Wall, The (Jackson), Supp. IX: 115, 118, 120, 123–124 “Road to Avignon, The” (Lowell), II: 516 “Road to Hell, The” (Fante), Supp. XI: 160

Road to Los Angeles, The (Fante), Supp. XI: 160, 166, 167, 168, 172 Road to Many a Wonder, The (Wagoner), Supp. IX: 327, 336 Road to the Temple, The (Glaspell), Supp. III Part 1: 175, 182, 186 Road to Wellville, The (Boyle), Supp. VIII: 6–8 Road to Xanadu, The (Lowes), IV: 453 “Roan Stallion” (Jeffers), Supp. II Part 2: 428–429 “Roast-beef” (Stein), IV: 43 Roast Leviatham (Untermeyer), Supp. XV: 307 “Roast Possum” (Dove), Supp. IV Part 1: 247, 248 Robards, Jason, Jr., III: 163, 403 Robb, Christina, Supp. XV: 251 Robbe-Grillet, Alain, I: 123; IV: 95; Supp. IV Part 1: 42; Supp. V: 47, 48 Robber Bride, The (Atwood), Supp. XIII: 30–31 Robber Bridegroom, The (Welty), IV: 261, 266–268, 271, 274; Retro. Supp. I: 347 Robbins, Harold, Supp. XII: 6 Robbins, Henry, Supp. IV Part 1: 198, 201, 210, 211 Robbins, Katherine Robinson, Supp. X: 264 Robbins, Thomas, Supp. XV: 271 Robbins, Tom, Supp. IV Part 1: 227; Supp. VIII: 14; Supp. X: 259–288; Supp. XIII: 11 “Robe, The” (Douglas), IV: 434 “Robert Bly” (Davis), Supp. IV Part 1: 70 Robert Bly (Sugg), Supp. IV Part 1: 68 “Robert Bly and the Trouble with America” (Mitchell), Supp. IV Part 1: 70 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 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 Lowell (Meyers), Retro. Supp. II: 191 Robert Lowell and the Sublime (Hart), Retro. Supp. II: 187 Robert Lowell’s Shifting Colors (Doreski), Retro. Supp. II: 185 Robert Lowell: The First Twenty years (Staples), Retro. Supp. II: 187 Roberts, David, Supp. XVIII: 106 Roberts, Diane, Supp. X: 15 Roberts, J. M., IV: 454 Roberts, Leo, II: 449

CUMULATIVE INDEX / 489 Roberts, Margaret, II: 449; IV: 453, 454 Roberts, Matthew, Retro. Supp. II: 324 Roberts, Meade, IV: 383 Roberts, Michael, I: 527, 536 Roberts, Richard, III: 297 Roberts, Victoria, Supp. XIX: 205 Roberts, Wally, Supp. XI: 119, 120, 126 Roberts, William, Supp. XI: 343 Roberts Brothers, Retro. Supp. I: 31, 35 Robertson, David, Supp. VIII: 305 Robertson, D. B., III: 311 Robertson, Nan, Supp. IV Part 1: 300 Robertson, William, II: 8 Robert the Devil (Merwin, trans.), Supp. III Part 1: 341, 346 Robeson, Paul, III: 392; Supp. IV Part 1: 360, 361; Supp. X: 137; Supp. XIX: 66 Robeson, Susan L., Supp. XVIII: 268 Robespierre, Maximilien, Supp. I Part 2: 514, 515, 517 “Robinson” (Kees), Supp. XV: 143–144 Robinson, Christopher L., Supp. XII: 13, 14 Robinson, Dean, III: 506 Robinson, Edward, III: 505 Robinson, Edward G., Supp. XI: 306 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. III Part 1: 63, 75; Supp. III Part 2: 592, 593; Supp. IX: 77, 266, 276, 308; Supp. XV: 256, 299, 300, 301, 306; Supp. XVII: 69; Supp. XIX: 123 Robinson, Forrest G., Supp. IV Part 2: 597, 601, 604 Robinson, Herman, III: 506–507 Robinson, H. M., IV: 369, 370 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, Mary, Supp. XI: 26 Robinson, Rowland E., Supp. XIX: 6 Robinson, Sugar Ray, Supp. IV Part 1: 167 Robinson, Ted, Supp. XIII: 166 Robinson Crusoe (Defoe), II: 159; III: 113, 423; IV: 369; Retro. Supp. II: 274; Supp. I Part 2: 714; Supp. IV Part 2: 502 Robison, Mary, Supp. V: 22 Roblès, Emmanuel, Supp. I Part 1: 283 “Robstown” (Salinas), Supp. XIII: 315 Rochefort, Christina, Supp. XVI: 143 Rochefoucauld, Louis Alexandre, Supp. I Part 2: 510 “Rock” (Nye), Supp. XIII: 287 Rock (Wagoner), Supp. IX: 324, 334, 335 Rock, Catherine, Supp. XII: 17 Rock, The (Eliot), Retro. Supp. I: 65 Rock, The (Stevens), Retro. Supp. I: 309, 312 “Rock, The” (Stevens), Retro. Supp. I: 312 Rockaway (Shanley), Supp. XIV: 315

“Rock Climbers, The” (Francis), Supp. IX: 82 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 Rockets and Rodeos and Other American Spectacles (Mallon), Supp. XIX: 137 Rocket to the Moon (Odets), Supp. II Part 2: 541–543, 544 Rock Garden, The (Shepard), Supp. III Part 2: 432, 447 “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 Rock Springs (Ford), Supp. V: 57, 58– 59, 68–69 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 Rodden, John, Supp. XVI: 63, 69, 72 Roderick, David, Supp. XV: 223 Roderick Hudson (James), II: 284, 290, 324, 326, 328; Retro. Supp. I: 219, 220–221, 221, 226; Supp. IX: 142 Rodgers, Richard, III: 361 Rodgers, Ronald, Supp. IV Part 2: 503 Rodker, John, III: 470 Rodman, Selden, Supp. I Part 1: 83; Supp. X: 115 “Rodrigo Returns to the Land and Linen Celebrates” (Cisneros), Supp. VII: 68 Rodriguez, Randy A., Supp. XIV: 312 Rodriguez, Richard, Supp. XIV: 297–313 Roethke, Charles, III: 531 Roethke, Theodore, I: 167, 171–172, 183, 254, 285, 521; III: 273, 527–550; IV: 138, 402; Retro. Supp. II: 178, 181, 246; Supp. I Part 2: 539; Supp. III Part 1: 47, 54, 56, 239, 253, 260–261, 350; Supp. IV Part 2: 626; Supp. IX: 323; Supp. XV: 140, 145, 212; Supp. XVIII: 90 “Roger Malvin’s Burial” (Hawthorne), II: 243; Retro. Supp. I: 153 Rogers, Michael, Supp. X: 265, 266 Rogers, Pattiann, Supp. XVIII: 189 Rogers, Samuel, II: 303; Supp. I Part 1: 157 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. III Part 1: 140 “Rogue’s Gallery” (McCarthy), II: 563 Roland de La Platière, Jean Marie, II: 554 Rolando Hinojosa and the American Dream (Glover), Supp. XIX: 112 Rolando Hinojosa: A Reader’s Guide (Zilles), Supp. XIX: 112

Rolando Hinojosa Reader, The (Saldívar, ed.), Supp. XIX: 112 Rôle du Nègre dans la culture des Amériques, La (Locke), Supp. XIV: 202 “Role of Society in the Artist, The” (Ammons), Supp. VII: 34 Rolfe, Alfred, IV: 427 “Roll, Jordan, Roll” (spiritual), Supp. IV Part 1: 16 “Roll Call” (Hoffman), Supp. XVIII: 86 “Roll Call” (Komunyakaa), Supp. XIII: 123 Rolle, Esther, Supp. IV Part 1: 367 Rollin, Charles, II: 113 Rolling Stones (O. Henry), Supp. II Part 1: 410 Rolling Thunder Logbook (Shepard), Supp. III Part 2: 433 Rolling Thunder Logbook, The (Shepard), Supp. XVIII: 31 “Rolling Up” (Simpson), Supp. IX: 265, 274, 280 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 Romains, Jules, I: 227 Román, David, Supp. XIII: 208 Romance, A (Weigl), Supp. XIX: 277– 278 “Romance, A” (Weigl), Supp. XIX: 278 “Romance and a Reading List” (Fitzgerald), Retro. Supp. I: 101 Romance of a Plain Man, The (Glasgow), II: 175, 180–181 “Romance of Certain Old Clothes, The” (James), II: 322; Retro. Supp. I: 218 “Roman Elegies” (Brodsky), Supp. VIII: 29 “Roman Fever” (Wharton), Retro. Supp. I: 382 “Roman Fountain” (Bogan), Supp. III Part 1: 56 “Romanitas of Gore Vidal, The” (Tatum), Supp. IV Part 2: 684 Romaniuk, Zbigniew, Supp. XVI: 154 Romano, John, Supp. XV: 253 “Roman Sarcophagus, A” (Lowell), II: 544 Roman Spring of Mrs. Stone, The (T. Williams), IV: 383, 385 “Romantic, The” (Bogan), Supp. III Part 1: 50 Romantic Comedians, The (Glasgow), II: 175, 186, 190, 194 Romantic Egoists, The (Auchincloss), Supp. IV Part 1: 25 Romantic Egotist, The (Fitzgerald), II: 82 “Romantic Egotist, The” (Fitzgerald), Retro. Supp. I: 100 “Romanticism and Classicism” (Hulme), III: 196 “Romanticism Comes Home” (Shapiro), Supp. II Part 2: 713

490 / AMERICAN WRITERS 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 “Rome” (W. C. 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 (Dürrenmatt), Supp. IV Part 2: 683 Ronald, Ann, Supp. XIII: 4, 5, 6, 7, 9, 11 “Rondel for a September Day” (White), Supp. I Part 2: 676 “Ron Narrative Reconstructions, The” (Coleman), Supp. XI: 83 Ronsard, Pierre de, Supp. X: 65; Supp. XV: 165 Rood, John, IV: 261 “Roof, the Steeple, and the People, The” (Ellison), Retro. Supp. II: 118, 126; Supp. II Part 1: 248 “Room” (Levertov), Supp. III Part 1: 282 Roomates (film, P. Yates), Supp. XVII: 8, 9 Roomates: My Grandfather’s Story (Apple), Supp. XVII: 2, 7–9 “Room at the Heart of Things, A” (Merrill), Supp. III Part 1: 337 Room Called Remember, A: Uncollected Pieces (Buechner), Supp. XII: 53 “Roomful of Hovings, A” (McPhee), Supp. III Part 1: 291, 294 Room of One’s Own, A (Woolf), Supp. V: 127; Supp. IX: 19; Supp. XIII: 305 Room Rented by a Single Woman (Wright), Supp. XV: 340–341 Room Temperature (Baker), Supp. XIII: 41, 43–45, 48, 50 Room to Swing (Lacy), Supp. XV: 202, 203, 205, 207 “Room Upstairs, The” (Gioia), Supp. XV: 120–121, 124 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; Supp. I Part 2: 455, 456, 502, 707; Supp. V: 280, 282; Supp. IX: 184; Supp. XIX: 29 Roosevelt After Inauguration And Other Atrocities (Burroughs), Supp. III Part 1: 98 “Roosters” (Bishop), Retro. Supp. II: 39, 43, 250; 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. III Part 1: 361 “Roots” (Halliday), Supp. XIX: 88 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 “Ropes” (Nye), Supp. XIII: 276 “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 Rorschach Test (F. Wright), Supp. XVII: 240, 245 “Rosa” (Ozick), Supp. V: 271 Rosa, Rodrigo Rey, Supp. IV Part 1: 92 Rosaldo, Renato, Supp. IV Part 2: 544 “Rosalia” (Simic), Supp. VIII: 278 Roscoe, Will, Supp. IV Part 1: 330 “Rose” (Dubus), Supp. VII: 88 Rose (L.-Y. Lee), Supp. XV: 211, 212– 215, 218 Rose, Alice, Sister, III: 348 Rose, Charlie, Supp. XIX: 26, 30 Rose, Mickey, Supp. XV: 3 Rose, Philip, Supp. IV Part 1: 362 “Rose, The” (Roethke), III: 537 “Rose, The” (W. C. Williams), Retro. Supp. I: 419 Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Koch), Supp. XV: 189 “Rose for Emily, A” (Faulkner), II: 72; Supp. IX: 96 Rose in Bloom (Alcott), Supp. I Part 1: 42 “Rose-Johnny” (Kingsolver), Supp. VII: 203 Rose Madder (King), Supp. V: 141, 148, 150, 152 “Rose-Morals” (Lanier), Supp. I Part 1: 364 Rosen, Jonathan, Supp. XVII: 50 Rosen, Kenneth, Supp. IV Part 2: 499, 505, 513 Rosen, Norma, Supp. XVII: 49, 50 Rosenbaum, Alissa Zinovievna. See Rand, Ayn Rosenbaum, Thane, Supp. XVII: 48 Rosenberg, Bernard, Supp. I Part 2: 650 Rosenberg, Harold, Supp. XV: 143; Supp. XIX: 159 Rosenberg, Julia, Supp. XVIII: 136 Rosenberg, Julius and Ethel, Supp. I Part 1: 295; Supp. I Part 2: 532; Supp. V: 45 Rosenberg, Liz, Supp. XV: 251 Rosenbloom, Joel, Supp. IV Part 2: 527 Rosenfeld, Alvin H., Supp. I Part 1: 120 Rosenfeld, Isaac, Supp. XII: 160 Rosenfeld, Paul, I: 116, 117, 231, 245

Rosenfelt, Deborah, Supp. XIII: 296, 304 Rosenfield, Isaac, IV: 3 Rosengarten, Theodore, Supp. XVIII: 183 Rosenthal, Ira, Supp. XIV: 146–147 Rosenthal, Lois, Supp. VIII: 258 Rosenthal, M. L., II: 550; III: 276, 479; Supp. V: 333 Rosenthal, Peggy, Supp. XVII: 119 “Rose Pogonias” (Frost), Retro. Supp. I: 127 “Rose Red and Snow White” (Grimms), Supp. X: 82 “Roses” (Conroy), Supp. XVI: 72 “Roses” (Dove), Supp. IV Part 1: 246 “Roses and Skulls” (Goldbarth), Supp. XII: 192 “Roses for Lubbock” (Nye), Supp. XIII: 281 “Roses Only” (Moore), III: 195, 198, 200, 202, 215 Rose Tattoo, The (T. Williams), IV: 382, 383, 387, 388, 389, 392–393, 394, 397, 398 “Rosewood, Ohio” (Matthews), Supp. IX: 160 Rosinante to the Road Again (Dos Passos), I: 478 Roskies, David, Supp. XVII: 39, 44, 49–50 Roskolenko, Harry, Supp. XV: 179 Rosmersholm (Ibsen), III: 152 Rosmond, Babette, II: 432 Ross, Eleanor. See Taylor, Eleanor Ross Ross, Harold, Supp. I Part 1: 174; Supp. I Part 2: 607, 617, 653, 654, 655, 660; Supp. VIII: 151, 170; Supp. IX: 190 Ross, Herbert, Supp. XV: 2 Ross, John F., II: 110 Ross, Lillilan, Retro. Supp. II: 198 Ross, Mitchell S., Supp. IV Part 2: 692; Supp. X: 260 Rossen, Robert, Supp. XI: 306 Rosset, Barney, III: 171 Rossetti, Christina, Supp. XIV: 128 Rossetti, Dante Gabriel, I: 433; II: 323; Retro. Supp. I: 128, 286; Supp. I Part 2: 552 Rossetti, William Michael, Retro. Supp. I: 407 Rossi, Umberto, Supp. XVIII: 137, 138– 139 Rossini, Clare, Supp. XVII: 111 Rosskam, Edwin, IV: 477 Ross Macdonald (Bruccoli), Supp. IV Part 2: 468, 470 Rostand, Edmond, II: 515; Supp. IV Part 2: 518 Rosten, Leo, Supp. XVII: 9 Rosy Crucifixion, The (H. Miller), III: 170, 187, 188–189, 190 Rote Walker, The (Jarman), Supp. XVII: 110, 113–115 Roth, Henry, Supp. IV Part 1: 314; Supp. VIII: 233; Supp. IX: 227–243; Supp. XIII: 106 Roth, Philip, I: 144, 161; II: 591; Retro. Supp. II: 22, 279–297; Supp. I Part

CUMULATIVE INDEX / 491 1: 186, 192; Supp. I Part 2: 431, 441, 443; Supp. II Part 1: 99; Supp. III Part 2: 401–429; Supp. IV Part 1: 236, 379, 388; Supp. V: 45, 119, 122, 257, 258; Supp. VIII: 88, 236, 245; Supp. IX: 227; Supp. XI: 64, 68, 99, 140; Supp. XII: 190, 310; Supp. XIV: 79, 93, 111, 112; Supp. XVI: 206; Supp. XVII: 43, 48, 183; Supp. XVIII: 89 Roth, Rita, Supp. XVI: 112 Roth, William, Supp. XV: 142 Rothenberg, Jerome, Supp. VIII: 292; Supp. XII: 3 Rothermere, Lady Mary, Retro. Supp. I: 63 Rothko, Mark, Supp. XV: 144 Rothstein, Mervyn, Supp. VIII: 142 “Rouge High” (Hughes), Supp. I Part 1: 330 Rougemont, Denis de, II: 586; IV: 216; Retro. Supp. I: 328, 329, 330, 331 Roughing It (Twain), II: 312; IV: 195, 197, 198 Roughing It in the Bush (Shields), Supp. VII: 313 “Rough Outline” (Simic), Supp. VIII: 276 Rougon-Macquart, Les (Zola), II: 175– 176 Roumain, Jacques, Retro. Supp. I: 202; Supp. IV Part 1: 360, 367 “Round, The” (Kunitz), Supp. III Part 1: 268 “Round Trip” (Dunn), Supp. XI: 148– 149 Round Up (Lardner), II: 426, 430, 431 Rourke, Constance, I: 258; IV: 339, 352 Rourke, Milton, Retro. Supp. II: 89 Rousseau, Jean-Jacques, I: 226; II: 8, 343; III: 170, 178, 259; IV: 80, 173, 440; Supp. I Part 1: 126; Supp. I Part 2: 637, 659; Supp. IV Part 1: 171; Supp. XI: 245; Supp. XVI: 292 Roussel, Raymond, Supp. III Part 1: 6, 7, 10, 15, 16, 21; Supp. XV: 182 “Route 302” (Halliday), Supp. XIX: 93 “Routes” (Everwine), Supp. XV: 82 “Route Six” (Kunitz), Supp. III Part 1: 258 Route Two (Erdrich and Dorris), Supp. IV Part 1: 260 “Routine Things Around the House, The” (Dunn), Supp. XI: 148 Rover Boys (Winfield), III: 146 Rovit, Earl, IV: 102 Rowan, Carl T., Supp. XIV: 306 Rowe, Anne E., Supp. X: 223 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; Supp. XV: 229–248 Roxanna Slade (Price), Supp. VI: 267 Roxie Hart (Watkins), Supp. XVI: 188

Royal Family, The (Vollmann), Supp. XVII: 226, 230, 233 “Royal Palm” (Crane), I: 401 Royce, Josiah, I: 443; III: 303, 600; IV: 26; Retro. Supp. I: 57; Supp. XIV: 197, 199; Supp. XVII: 97 “Roy McInnes” (Budbill), Supp. XIX: 6–7 Royster, Sarah Elmira, III: 410, 429 Royte, Elizabeth, Supp. XV: 59 Rózewicz, Tadeusz, Supp. X: 60 Ruas, Charles, Supp. IV Part 1: 383 Rubáiyát (Khayyám), I: 568 Rubáiyát of Omar Khayyam (Fitzgerald), Supp. I Part 2: 416; Supp. III Part 2: 610; Supp. XV: 156 “Rubber Life” (Prose), Supp. XVI: 256 Rub from Snub, A (Swanwick), Supp. XV: 237 Rubin, Louis, Supp. I Part 2: 672, 673, 679; Supp. X: 42 Rubin, Louis D., Jr., IV: 116, 462–463 Rubin, Stan, Supp. XIV: 307, 310 Rubin, Stan Sanvel, Supp. IV Part 1: 242, 245, 252 “Ruby Brown” (Hughes), Supp. I Part 1: 327 “Ruby Daggett” (Eberhart), I: 539 Rucker, Rudy, Supp. X: 302 Rudd, Hughes, Supp. XII: 141 “Rude Awakening, A” (Chopin), Retro. Supp. II: 64 Rudens (Plautus), Supp. III Part 2: 630 Ruderman, Judith, Supp. IV Part 1: 380 Rudge, Olga, Supp. V: 338 Rudikoff, Sonya, Supp. XIV: 113 Rueckert, William, I: 264 Ruesch, Jurgen, Supp. XV: 147 Rugby Chapel (Arnold), Supp. I Part 2: 416 “Rugby Road” (Garrett), Supp. VII: 100 Ruining the New Road (Matthews), Supp. IX: 154, 155–157 “Ruins of Italica, The” (Bryant, trans.), Supp. I Part 1: 166 Rukeyser, Muriel, Retro. Supp. II: 48; Supp. VI: 271–289; Supp. XV: 349; Supp. XVII: 74 “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 Rules of the Game, The (film), Supp. XII: 259 Rulfo, Juan, Supp. IV Part 2: 549 Rumba (film, Gering), Supp. XVII: 57 Rumbaut, Rubén, Supp. XI: 184 Rumens, Carol, Supp. XI: 14; Supp. XVI: 212 Rumkowski, Chaim, Supp. XII: 168 Rummel, Mary Kay, Supp. XIII: 280 “Rumor and a Ladder” (Bowles), Supp. IV Part 1: 93 Rumor of War, A (Caputo), Supp. XIX: 17–21, 25, 30

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 “Runagate Runagate” (Hayden), Supp. II Part 1: 377 “Runes” (Nemerov), III: 267, 277–278 Run Man Run (C. Himes), Supp. XVI: 142, 143 “Runner, The” (Grossman), Supp. XIX: 83 “Running” (Wilbur), Supp. III Part 2: 558–559 Running Dog (DeLillo), Supp. VI: 3, 6, 8, 14 “Running in Church” (A. Finch), Supp. XVII: 72 “Running the Table” Conroy), Supp. XVI: 75 “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 Ruoff, A. LaVonne Brown, Supp. IV Part 1: 324, 327; Supp. IV Part 2: 559 Rupert, Jim, Supp. XII: 215 Ruppert, James, Supp. IV Part 1: 321 Rural Hours (Cooper), Supp. XIII: 152 “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 Rushdy, Ashraf, Supp. X: 250 Rushing, Jimmy, Retro. Supp. II: 113 Rusk, Dean, II: 579 Ruskin, John, II: 323, 338; IV: 349; Retro. Supp. I: 56, 360; Supp. I Part 1: 2, 10, 87, 349; Supp. I Part 2: 410 Rusnak, Karl, Supp. XVIII: 149 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; Supp. XII: 45; Supp. XIV: 337 Russell, Diarmuid, Retro. Supp. I: 342, 345, 346–347, 349–350 Russell, George, Retro. Supp. I: 342 Russell, Herb, Supp. I Part 2: 465–466 Russell, John, Supp. XIV: 344, 347, 348 Russell, Peter, III: 479 Russell, Richard, Supp. XI: 102 Russell, Sue, Supp. IV Part 2: 653 Russert, Margaret, Supp. XVIII: 62 Russert, Tim, Supp. XII: 272 Russia at War (Caldwell), I: 296 Russian Journal, A (Steinbeck), IV: 52, 63 Russo, Richard, Supp. XI: 349; Supp. XII: 325–344 “Rusty Autumn” (Swenson), Supp. IV Part 2: 640

492 / AMERICAN WRITERS Rutabaga-Roo: I’ ve Got a Song and It’s for You (Nye, album), Supp. XIII: 274 Ruth (biblical book), Supp. I Part 2: 516 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 Ruwe, Donelle R., Supp. XII: 215 Ryan, Paul William, Supp. XVIII: 223– 239 Ryder (Barnes), Supp. III Part 1: 31, 36–38, 42, 43 “Ryder” (Rukeyser), Supp. VI: 273, 283 Rymer, Thomas, IV: 122 “Ryōkan Says” (Budbill), Supp. XIX: 11 S S. (Updike), Retro. Supp. I: 330, 331, 332, 333 S-1 (Baraka), Supp. II Part 1: 55, 57 Saadi, II: 19 Saar, Doreen Alvarez, Supp. XV: 237 “Sabbath, The” (Stowe), Supp. I Part 2: 587 “Sabbath Mom” (White), Supp. I Part 2: 671–672 Sabbaths (Berry), Supp. X: 31 Sabbath’s Theater (P. Roth), Retro. Supp. II: 279, 288 “Sabbioneta to Parma” (Di Piero), Supp. XIX: 36–37 Sabines, Jaime, Supp. V: 178 “Sabotage” (Baraka), Supp. II Part 1: 49, 53 “Saboteur” (Jin), Supp. XVIII: 97 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; Supp. X: 186 Sack Full of Old Quarrels, A (Weigl), Supp. XIX: 277 “Sacks” (Carver), Supp. III Part 1: 143– 144 Sacks, Oliver, Supp. XVIII: 143 Sacks, Peter, Supp. IV Part 2: 450 Sackville-West, Vita, Supp. VIII: 263 “Sacrament of Divorce, The” (Patchett), Supp. XII: 309 “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: 332–333; Retro. Supp. I: 219, 228, 232 “Sacred Heart” (Egan), Supp. XIX: 52 “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 Journey, The (Buechner), Supp. XII: 42, 53 “Sacred Thing, The” (Ryan as Quin), Supp. XVIII: 227 Sacred Wood, The (Eliot), IV: 431; Retro. Supp. I: 59, 60; Supp. I Part 1: 268; Supp. II Part 1: 136, 146 Sacrifice, The (Bidart), Supp. XV: 22, 27–30, 35 “Sacrifice, The” (Bidart), Supp. XV: 29 “Sacrifice, The” (Oates), Supp. II Part 2: 523 Sacrilege of Alan Kent, The (CaIdwell), I: 291–292 “Sad Brazil” (Hardwick), Supp. III 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 Sade, Marquis de, III: 259; IV: 437, 442; Supp. XII: 1, 14–15 Sad Flower in the Sand, A (film), Supp. XI: 173 Sad Heart at the Supermarket, A (Jarrell), II: 386 “Sadie” (Matthiessen), Supp. V: 201 “Sadie and Maud” (Brooks), Supp. XVIII: 175 Sadness and Happiness (Pinsky), Supp. VI: 235, 237–241 “Sadness of Brothers, The” (Kinnell), Supp. III Part 1: 237, 251 “Sadness of Days, The” (Salinas), Supp. XIII: 325 Sadness of Days, The: Selected and New Poems (Salinas), Supp. XIII: 311, 324–326 “Sadness of Lemons, The” (Levine), Supp. V: 184 Sadoff, Ira, Supp. XVII: 241 “Sad Rite” (Karr), Supp. XI: 243 “Sad Strains of a Gay Waltz” (Stevens), Retro. Supp. I: 302 “Safe” (Gordon), Supp. IV Part 1: 299, 306 “Safe in their Alabaster Chambers” (Dickinson), Retro. Supp. I: 30 Safer, Morley, Supp. XIX: 25 “Safe Subjects” (Komunyakaa), Supp. XIII: 118 “Safeway” (F. Barthelme), Supp. XI: 26, 27, 36 Saffin, John, Supp. I Part 1: 115 Saffy, Edna, Supp. X: 227 “Saga of Arturo Bandini” (Fante), Supp. XI: 159, 166–169 “Saga of King Olaf, The” (Longfellow), II: 489, 505; Retro. Supp. II: 154, 155, 164 “Sage of Stupidity and Wonder, The” (Goldbarth), Supp. XII: 191 Sahl, Mort, II: 435–436 “Said” (Dixon), Supp. XII: 149–150

“Sailing after Lunch” (Stevens), IV: 73 “Sailing Home from Rapallo” (Lowell), Retro. Supp. II: 189 Sailing through China (Theroux), Supp. VIII: 323 “Sailing to Byzantium” (Yeats), III: 263; Supp. VIII: 30; Supp. X: 74; Supp. XI: 281 “Sail Made of Rags, The” (Nye), Supp. XIII: 277 “Sailor off the Bremen” (Shaw), Supp. XIX: 247 “Sailors Lost at Sea” (Shields), Supp. VII: 318 “St Anne/Santa Ana” (Mora), Supp. XIII: 229 “Saint Anthony of Padua/San Antonio de Padua” (Mora), Supp. XIII: 228 “St. Augustine and the Bullfights” (Porter), III: 454 Sainte-Beuve, Charles Augustin, IV: 432 St. Elmo (Wilson), Retro. Supp. I: 351– 352 “Saint Emmanuel the Good, Martyr” (Unamuno; Everwine, trans.), Supp. XV: 79 Sainte Vierge, La (Picabia), Retro. Supp. II: 331 Saint-Exupéry, Antoine de, Supp. IX: 247 “St. Francis Einstein of the Daffodils” (W. C. Williams), IV: 409–411 Saint-Gaudens, Augustus, I: 18, 228; II: 551 Saint-Gaudens, Homer, Supp. XV: 41 “St. George, the Dragon, and the Virgin” (R. Bly), Supp. IV Part 1: 73 St. George and the Godfather (Mailer), III: 46; Retro. Supp. II: 206, 208 Saint Jack (Theroux), Supp. VIII: 319 St. John, David, Supp. V: 180; Supp. XI: 270, 272; Supp. XIII: 312 St. John, Edward B., Supp. IV Part 2: 490 St. John, James Hector. See Crèvecoeur, Michel-Guillaume Jean de “Saint John and the Back-Ache” (Stevens), Retro. Supp. I: 310 Saint Judas (Wright), Supp. III Part 2: 595–599 “Saint Judas” (Wright), Supp. III Part 2: 598–599 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 “Saint Nicholas” (Moore), III: 215 St. Petersburg (Biely), Supp. XII: 13 Saint-Phalle, Niki de, Supp. XV: 187 “St. Roach” (Rukeyser), Supp. VI: 286 “Saint Robert” (Dacey), Supp. IV Part 1: 70 Saintsbury, George, IV: 440; Supp. XV: 181 Saints’ Everlasting Rest, The (Baxter), III: 199; IV: 151, 153 Saint-Simon, Claude Henri, Supp. I Part 2: 648

CUMULATIVE INDEX / 493 “St. Thomas Aquinas” (Simic), Supp. VIII: 281 Saks, Gene, Supp. IV Part 2: 577, 588 Salamun, Tomaz, Supp. VIII: 272 Salazar, Dixie, Supp. V: 180; Supp. XV: 73 Saldívar, José David, Supp. IV Part 2: 544, 545; Supp. XIX: 110, 112–113 Sale, Richard, Supp. IV Part 1: 379 Sale, Roger, Supp. V: 244 Saleh, Dennis, Supp. V: 182, 186 “Salem” (Lowell), II: 550 Salemi, Joseph, Supp. IV Part 1: 284 Salem’s Lot (King), Supp. V: 139, 144, 146, 151 “Sale of the Hessians, The” (Franklin), II: 120 Salinas, Luis Omar, Supp. IV Part 2: 545; Supp. V: 180; Supp. XIII: 311– 330; Supp. XV: 73 “Salinas Is on His Way” (Salinas), Supp. XIII: 317 “Salinas Sends Messengers to the Stars” (Salinas), Supp. XIII: 317 “Salinas Summering at the Caspian and Thinking of Hamlet” (Salinas), Supp. XIII: 320 “Salinas Wakes Early and Goes to the Park to Lecture Sparrows” (Salinas), Supp. XIII: 320 Salinger, Doris, III: 551 Salinger, J. D., II: 255; III: 551–574; IV: 190, 216, 217; Retro. Supp. I: 102, 116, 335; Supp. IV Part 2: 502; Supp. V: 23, 119; Supp. VIII: 151; Supp. XI: 2, 66; Supp. XIV: 93 Salisbury, Harrison, Supp. I Part 2: 664 Salle, David, Supp. XII: 4 Salley, Columbus, Supp. XIV: 195 “Sally” (Cisneros), Supp. VII: 63 “Sally’s Choice” (E. Stoddard), Supp. XV: 282 Salmagundi; or, The Whim-Whams and Opinions of Launcelot Langstaff Esq., and Others (Irving), II: 299, 300, 304 Salmon, Edward G., Supp. XVIII: 258 Salome (Strauss), IV: 316 Salon (online magazine), Supp. VIII: 310; Supp. X: 202 Salt Eaters, The (Bambara), Supp. XI: 1, 12–14 Salt Ecstasies, The (White), Supp. XI: 123 Salter, James, Supp. IX: 245–263; Supp. XVI: 237, 247; Supp. XIX: 252 Salter, Mary Jo, Supp. IV Part 2: 653; Supp. IX: 37, 292; Supp. XV: 251, 253; Supp. XVII: 112 Salt Garden, The (Nemerov), III: 269, 272–275, 277 “Salt Garden, The” (Nemerov), III: 267– 268 Salting the Ocean (Nye, ed.), Supp. XIII: 280 Salt Lesson, The (C. Frost), Supp. XV: 92, 96 “Salt Lesson, The” (C. Frost), Supp. XV: 99 “Salts and Oils” (Levine), Supp. V: 190 Saltzman, Arthur, Supp. XIII: 48

Saltzman, Harry, Supp. XI: 307 “Salut au Monde!” (Whitman), Retro. Supp. I: 387, 396, 400 “Salute” (MacLeish), III: 13 Salute (Shaw), Supp. XIX: 244 “Salute to Mister Yates, A” (Dubus), Supp. XI: 347, 349 Salvador (Didion), Supp. IV Part 1: 198, 207–208, 210 “Salvage” (Clampitt), Supp. IX: 41 Samain, Albert, II: 528 Same Door, The (Updike), IV: 214, 219, 226; Retro. Supp. I: 320 “Same in Blues” (Hughes), Retro. Supp. I: 208 Same River Twice, The (Offutt), Supp. XIX: 163, 164, 167–168, 175 “Samhain” (A. Finch), Supp. XVII: 72 Sam Lawson’s Oldtown Fireside Stories (Stowe), Supp. I Part 2: 587, 596, 598–599 “Sa’ m Pèdi” (Bell), Supp. X: 17 “Sampler, A” (MacLeish), III: 4 Sampoli, Maria, Supp. V: 338 Sampson, Edward, Supp. I Part 2: 664, 673 Sampson, Martin, Supp. I Part 2: 652 Sam’s Legacy (Neugeboren), Supp. XVI: 221, 222 Samson Agonistes (Milton), III: 274 “Samson and Delilah” (Masters), Supp. I Part 2: 459 Samuel de Champlain: Father of New France (Morison), Supp. I Part 2: 496–497 Samuels, Charles Thomas, Retro. Supp. I: 334 “Samuel Sewall” (Hecht), Supp. X: 58 Sanborn, Franklin B., IV: 171, 172, 178 Sanborn, Kate, Supp. XIII: 152 Sanborn, Sara, Supp. XIV: 113 Sanchez, Carol Anne, Supp. IV Part 1: 335 Sanchez, Carol Lee, Supp. IV Part 2: 499, 557 Sanchez, Sonia, Supp. II Part 1: 34 Sanctified Church, The (Hurston), Supp. VI: 150 “Sanction of the Victims, The” (Rand), Supp. IV Part 2: 528 Sanctuary (Faulkner), II: 57, 61–63, 72, 73, 74, 174; Retro. Supp. I: 73, 84, 86–87, 87; Supp. I Part 2: 614; Supp. XII: 16 “Sanctuary” (Larsen), Supp. XVIII: 119, 130–131 Sanctuary (Wharton), IV: 311 “Sanctuary” (Wylie), Supp. I Part 2: 711 “Sanctuary, The” (Nemerov), III: 272, 274 Sanctuary V (Schulberg), Supp. XVIII: 254 “Sanctus” (Nelson), Supp. XVIII: 183 Sand, George, II: 322; Retro. Supp. I: 235, 372; Supp. XV: 275 “Sandalphon” (Longfellow), II: 498 Sandbox, The (Albee), I: 74–75, 89 Sandburg, Carl, I: 103, 109, 384, 421; II: 529; III: 3, 20, 575–598; Retro. Supp. I: 133, 194; Supp. I Part 1:

257, 320; Supp. I Part 2: 387, 389, 454, 461, 653; Supp. III Part 1: 63, 71, 73, 75; Supp. IV Part 1: 169; Supp. IV Part 2: 502; Supp. IX: 1, 15, 308; Supp. XIII: 274, 277; Supp. XV: 293, 299, 300, 301, 302, 306 Sandburg, Helga, III: 583 Sandburg, Janet, III: 583, 584 Sandburg, Margaret, III: 583, 584 Sandburg, Mrs. Carl (Lillian Steichen), III: 580 Sand County Almanac and Sketches Here and There, A (Leopold), Supp. XIV: 177, 178, 182–192 “Sand Dabs” (Oliver), Supp. VII: 245 “Sand Dunes” (Frost), Retro. Supp. I: 137; Retro. Supp. II: 41 Sander, August, Supp. IX: 211 Sanders, Mark, Supp. XIX: 119, 121 Sanders, Scott Russell, Supp. XVI: 265– 280 “Sandman, The” (Barthelme), Supp. IV Part 1: 47 Sandman’s Dust (Bukiet), Supp. XVII: 40, 41 Sando, Joe S., Supp. IV Part 2: 510 Sandoe, James, Supp. IV Part 1: 131; Supp. IV Part 2: 470 Sandoz, Mari, Supp. XV: 141 Sandperl, Ira, Supp. VIII: 200 “Sand-Quarry and Moving Figures” (Rukeyser), Supp. VI: 271, 278 Sand Rivers (Matthiessen), Supp. V: 203 “Sand Roses, The” (Hogan), Supp. IV Part 1: 401 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 Sandy Bottom Orchestra,The (Keillor and Nilsson), Supp. XVI: 177 Sanford, John, IV: 286, 287 San Francisco (film), Supp. XVI: 181, 192 “San Francisco Blues” (Kerouac), Supp. III Part 1: 225 Sangamon County Peace Advocate, The (Lindsay), Supp. I Part 2: 379 Sanger, Margaret, Supp. I Part 1: 19 Sansom, William, IV: 279 Sans Soleil (film), Supp. IV Part 2: 436 “Santa” (Sexton), Supp. II Part 2: 693 Santa Claus: A Morality (Cummings), I: 430, 441 “Santa Fé Trail, The” (Lindsay), Supp. I Part 2: 389 “Santa Lucia” (Hass), Supp. VI: 105– 106 “Santa Lucia II” (Hass), Supp. VI: 105– 106 Santayana, George, I: 222, 224, 236, 243, 253, 460; II: 20, 542; III: 64, 599– 622; IV: 26, 339, 351, 353, 441; Retro. Supp. I: 55, 57, 67, 295; Retro. Supp. II: 179; Supp. I Part 2: 428; Supp. II Part 1: 107; Supp. X: 58; Supp. XIV: 199, 335, 340, 342; Supp. XVI: 189; Supp. XVII: 97, 106

494 / AMERICAN WRITERS Santiago, Esmeralda, Supp. XI: 177 “Santorini: Stopping the Leak” (Merrill), Supp. III Part 1: 336 Santos, John Phillip, Supp. XIII: 274 Santos, Sherod, Supp. VIII: 270 Sapir, Edward, Supp. VIII: 295; Supp. XVI: 283 “Sapphics for Patience” (A. Finch), Supp. XVII: 72 Sapphira and the Slave Girl (Cather), I: 331; Retro. Supp. I: 2, 19–20 Sappho, II: 544; III: 142; Supp. I Part 1: 261, 269; Supp. I Part 2: 458; Supp. XII: 98, 99; Supp. XVII: 74 “Sappho” (Wright), Supp. III Part 2: 595, 604 “Sara” (song, Dylan), Supp. XVIII: 28 “Sarah” (Schwartz), Supp. II Part 2: 663 Sarah; or, The Exemplary Wife (Rowson), Supp. XV: 242 “Saratoga” mysteries (Dobyns), Supp. XIII: 79–80 Sargent, John Singer, II: 337, 338 Saroyan, Aram, Supp. XV: 182 Saroyan, William, III: 146–147; IV: 393; Supp. I Part 2: 679; Supp. IV Part 1: 83; Supp. IV Part 2: 502; Supp. XIII: 280 Sarris, Greg, Supp. IV Part 1: 329, 330 Sarton, George, Supp. VIII: 249 Sarton, May, Supp. III Part 1: 62, 63; Supp. VIII: 249–268; Supp. XIII: 296; Supp. XVII: 71 Sartoris (Faulkner), II: 55, 56–57, 58, 62; Retro. Supp. I: 77, 81, 82, 83, 88 Sartor Resartus (Carlyle), II: 26; III: 82 Sartre, Jean-Paul, I: 82, 494; 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; Supp. VIII: 11; Supp. IX: 4; Supp. XIII: 74, 171; Supp. XIV: 24; Supp. XVII: 137 Sassone, Ralph, Supp. X: 171 Sassoon, Siegfried, II: 367; Supp. XV: 308; Supp. XIX: 18 Satan in Goray (Singer), IV: 1, 6–7, 12; Retro. Supp. II: 303, 304–305 Satan Says (Olds), Supp. X: 201, 202, 202–204, 215 “Satan Says” (Olds), Supp. X: 202; Supp. XVII: 114 Satanstoe (Cooper), I: 351–352, 355 “Sather Gate Illumination” (Ginsberg), Supp. II Part 1: 329 “Satire as a Way of Seeing” (Dos Passos), III: 172 Satires of Persius, The (Merwin, trans.), Supp. III Part 1: 347 Satirical Rogue on Poetry, The (Francis). See Pot Shots at Poetry (Francis) Satori in Paris (Kerouac), Supp. III Part 1: 231 “Saturday” (Salinas), Supp. XIII: 315 Saturday Night at the War (Shanley), Supp. XIV: 315 “Saturday Rain” (Kees), Supp. XV: 136 “Saturday Route, The” (Wolfe), Supp. III Part 2: 580 Satyagraha (Gandhi), IV: 185

“Satyr’s Heart, The” (B. Kelly), Supp. XVII: 132 Saul and Patsy (C. Baxter), Supp. XVII: 22–23 “Saul and Patsy” (C. Baxter), Supp. XVII: 17 “Saul and Patsy Are Getting Comfortable in Michigan” (C. Baxter), Supp. XVII: 22 “Saul and Patsy Are in Labor” (C. Baxter), Supp. XVII: 20, 22 “Saul and Patsy Are Pregnant” (C. Baxter), Supp. XVII: 22 Saunders, George, Supp. XIX: 223–237 Saunders, Richard, II: 110 Savage, Augusta, Retro. Supp. II: 115 Savage, James, II: 111 Savage Holiday (Wright), IV: 478, 488 Savage in Limbo: A Concert Play (Shanley), Supp. XIV: 315, 319–321, 323, 324 Savage Love (Shepard and Chaikin), Supp. III Part 2: 433 Savage Place, A (Parker), Supp. XIX: 185 Savage Wilds (Reed), Supp. X: 241 Save Me, Joe Louis (Bell), Supp. X: 7, 10, 11–12 Save Me the Waltz (Z. Fitzgerald), II: 95; Retro. Supp. I: 110; Supp. IX: 58, 59, 65, 66–68 Savers, Michael, Supp. XI: 307 Saving Lives (Goldbarth), Supp. XII: 192 Saving Private Ryan (film), Supp. V: 249; Supp. XI: 234 Savings (Hogan), Supp. IV Part 1: 397, 404, 405, 406, 410 Savo, Jimmy, I: 440 Savran, David, Supp. IX: 145; Supp. XIII: 209; Supp. XV: 321 “Sawdust” (Offutt), Supp. XIX: 164 Sawyer-Lauçanno, Christopher, Supp. IV Part 1: 95 Saxon, Lyle, Retro. Supp. I: 80 “Saxophone” (Di Piero), Supp. XIX: 38 “Sax’s and Selves” (Halliday), Supp. XIX: 88 “Say All” (Ray), Supp. XVIII: 193 Say and Seal (S. and A. Warner), Supp. XVIII: 258, 266 Saye and Sele, Lord, Supp. I Part 1: 98 Sayer, Mandy, Supp. XIII: 118 Sayers, Dorothy, Supp. IV Part 1: 341; Supp. IV Part 2: 464 Sayers, Valerie, Supp. XI: 253; Supp. XVIII: 99 “Say Good-bye” (Weigl), Supp. XIX: 288 “Sayings/For Luck” (Goldbarth), Supp. XII: 176 Say! Is This the U.S.A.? (Caldwell), I: 293, 294–295, 304, 309, 310 Saylor, Bruce, Supp. XII: 253 Sayre, Joel, Supp. XIII: 166 Sayre, Nora, Supp. XII: 119 Sayre, Zelda, Retro. Supp. I: 101, 102– 103, 104, 105, 108, 109, 110, 113, 114. See also Fitzgerald, Zelda (Zelda Sayre) “Say Yes” (Wolff), Supp. VII: 344

“Say You Love Me” (Peacock), Supp. XIX: 198 “Scale” (Halliday), Supp. XIX: 92 “Scales of the Eyes, The” (Nemerov), III: 272, 273, 277 Scalpel (McCoy), Supp. XIII: 174–175 Scalpel (screen treatment, McCoy), Supp. XIII: 174 Scandalabra (Zelda Fitzgerald), Supp. IX: 60, 61, 65, 67, 68–70 “Scandal Detectives, The” (Fitzgerald), II: 80–81; Retro. Supp. I: 99 Scarberry-García, Susan, Supp. IV Part 2: 486 Scarborough, Dorothy, Supp. XVIII: 279–280 “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; Retro. Supp. II: 100; Supp. I Part 1: 38; Supp. II Part 1: 386; Supp. VIII: 108, 198; Supp. XII: 11; Supp. XVII: 143 Scarlet Plague, The (London), II: 467 Scar Lover (Crews), Supp. XI: 103, 107, 114–115 “Scarred Girl, The” (Dickey), Supp. IV Part 1: 180 Scates, Maxine, Supp. XIV: 264, 265, 274 “Scenario” (H. Miller), III: 184 “Scene” (Howells), II: 274 “Scene in Jerusalem, A” (Stowe), Supp. I Part 2: 587 “Scenes” (Shields), Supp. VII: 318 Scènes d’ Anabase (chamber music) (Bowles), Supp. IV Part 1: 82 Scenes from American Life (Gurney), Supp. V: 95, 96, 105, 108 Scenes from Another Life (McClatchy), Supp. XII: 255–256 “Scenes of Childhood” (Merrill), Supp. III Part 1: 322, 323, 327 “Scented Herbage of My Breast” (Whitman), IV: 342–343 “Scent of a Woman’s Ink” (Prose), Supp. XVI: 259 “Scent of Unbought Flowers, The” (Ríos), Supp. IV Part 2: 547 Scepticisms (Aiken), I: 58 Scève, Maurice, Supp. III Part 1: 11 Schad, Christian, Supp. IV Part 1: 247 Schafer, Benjamin G., Supp. XIV: 144 Schafer, William, Supp. XIX: 164, 172 Schaller, George, Supp. V: 208, 210–211 Schapiro, Meyer, II: 30 Scharmann, Hermann Balthazar, Supp. XII: 41 Schary, Dore, Supp. IV Part 1: 365; Supp. XIII: 163 Schatz, Tom, Supp. XVIII: 242 Schaumbergh, Count de, II: 120 Scheele, Roy, Supp. XVI: 54 Scheffauer, G. H., I: 199 “Scheherazade” (Ashbery), Supp. III Part 1: 18

CUMULATIVE INDEX / 495 Scheick, William, Supp. V: 272 Schelberg, Budd, Supp. XVIII: 241–256 Scheler, Max, I: 58 Schelling, Friedrich, Supp. I Part 2: 422 Schenck, Joseph, Supp. XVI: 186 Schenk, Margaret, I: 199 Scheponik, Peter, Supp. X: 210 Scherer, Loline, Supp. XIII: 161 Schevill, James, I: 116 Schickel, Richard, Supp. XV: 1 Schilder, Paul, Supp. I Part 2: 622 Schiller, Andrew, II: 20 Schiller, Frederick, Supp. V: 290 Schiller, Johann Christoph Friedrich von, I: 224; Supp. IV Part 2: 519; Supp. XVI: 292 Schiller, Lawrence, Retro. Supp. II: 208, 212, 214 Schimmel, Harold, Supp. V: 336 “Schizoid Nature of the Implied Author in Twentieth-Century American Ethnic Novels, The” (Nelson), Supp. XVIII: 172 Schlegel, Augustus Wilhelm, III: 422, 424 Schlegell, David von, Supp. IV Part 2: 423 Schleiermacher, Friedrich, III: 290–291, 309 Schleifer, Ronald, Supp. XVIII: 144 Schlepping Through the Alps (S. Apple), Supp. XVII: 8 Schlesinger, Arthur, Jr., III: 291, 297– 298, 309 Schmidt, Jon Zlotnik, Supp. IV Part 1: 2 Schmidt, Kaspar. See Stirner, Max Schmidt, Michael, Supp. X: 55 Schmitt, Carl, I: 386–387 Schmitz, Neil, Supp. X: 243 Schnackenberg, Gjertrud, Supp. XV: 249–268 Schneider, Alan, I: 87 Schneider, Louis, Supp. I Part 2: 650 Schneider, Romy, Supp. IV Part 2: 549 Schneider, Steven, Supp. IX: 271, 274 Schnellock, Emil, III: 177 Schneour, Zalman, IV: 11 “Schnetzer Day” (Halliday), Supp. XIX: 93 Schnitzler, Arthur, Supp. XV: 307; Supp. XVI: 187 Schoerke, Meg, Supp. XVII: 110 “Scholar Gypsy, The” (Arnold), II: 541 “Scholastic and Bedside Teaching” (Holmes), Supp. I Part 1: 305 Schöler, Bo, Supp. IV Part 1: 399, 400, 403, 407, 409; Supp. IV Part 2: 499 Scholes, Robert, Supp. V: 40, 42 Scholtz, Carter, Supp. XVIII: 144 Schomburg, Arthur, Supp. X: 134 Schoolboy Howlers (Abingdon), Supp. XVI: 99 Schoolcraft, Henry Rowe, II: 503; Retro. Supp. II: 160 “School Daze” (Bambara), Supp. XI: 19 School Daze (film), Supp. XI: 19, 20 “Schoolhouse” (Levis), Supp. XI: 258 “School of Giorgione, The” (Pater), I: 51

“School Play, The” (Merrill), Supp. III Part 1: 336 “Schooner Fairchild’s Class” (Benét), Supp. XI: 55 Schopenhauer, Arthur, III: 600, 604; IV: 7; Retro. Supp. I: 256; Retro. Supp. II: 94; Supp. I Part 1: 320; Supp. I Part 2: 457; Supp. X: 187; Supp. XVI: 184 Schorer, Mark, II: 28; III: 71; Retro. Supp. I: 115; Supp. IV Part 1: 197, 203, 211; Supp. XVI: 206 Schott, Webster, Supp. IX: 257 Schotts, Jeffrey, Supp. XII: 193 Schrader, Mary von. See Jarrell, Mrs. Randall (Mary von Schrader) Schreiner, Olive, I: 419; Supp. XI: 203 Schroeder, Eric James, Supp. V: 238, 244 Schubert, Bernard L., Supp. XVII: 58 Schubert, Franz Peter, Supp. I Part 1: 363 Schubnell, Matthias, Supp. IV Part 2: 486 Schulberg, Budd, II: 98; Retro. Supp. I: 113; Supp. XIII: 170; Supp. XV: 194 Schulberg, Stuart, Supp. XVIII: 254 Schulz, Bruno, Supp. IV Part 2: 623; Supp. XVII: 41 Schuman, William, Supp. XII: 253 Schumann, Dr. Alanson Tucker, III: 505 Schuster, Edgar H., Supp. VIII: 126 Schuyler, George S., III: 110; Supp. XVI: 142; Supp. XIX: 78 Schuyler, James, Supp. XV: 177, 178 Schuyler, William, Supp. I Part 1: 211 “Schuylkill, The” (Halliday), Supp. XIX: 92 Schwartz, Delmore, I: 67, 168, 188, 288; IV: 128, 129, 437; Retro. Supp. II: 29, 178; Supp. II Part 1: 102, 109; Supp. II Part 2: 639–668; Supp. VIII: 98; Supp. IX: 299; Supp. XIII: 320; Supp. XIV: 3; Supp. XV: 184; Supp. XIX: 257 Schwartz, Leonard, Supp. XVI: 289 Schwartz, Lloyd, Supp. I Part 1: 81 Schwartz, Marilyn, Supp. XII: 126, 128, 130, 132 Schwartz, Richard B., Supp. XIV: 23, 27 Schwarz, A. B. Christa, Supp. XIX: 77, 79 Schweitzer, Albert, Supp. IV Part 1: 373 Schweitzer, Harold, Supp. X: 210 Schwerdt, Lisa M., Supp. XIV: 155, 171 Schwitters, Kurt, III: 197; Retro. Supp. II: 322, 331, 336; Supp. IV Part 1: 79 “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. III Part 1: 258, 265 “Sci-Fi Floater Genius” (Halliday), Supp. XIX: 91 Sciolino, Martina, Supp. XII: 9 “Scissors” (C. Baxter), Supp. XVII: 19

Scooter tetralogy (Murray). See Magic Keys, The (Murray); Seven League Boots, The (Murray); Spyglass Tree, The (Murray); Train Whistle Guitar (Murray) Scopes, John T., III: 105, 495 “Scorched Face, The” (Hammett), Supp. IV Part 1: 344 “Scorn” (C. Frost), Supp. XV: 105 “Scorpion, The” (Bowles), Supp. IV Part 1: 84, 86 Scorsese, Martin, Supp. IV Part 1: 356; Supp. XVIII: 22 Scott, Anne Firor, Supp. I Part 1: 19 Scott, A. O., Supp. X: 301, 302; Supp. XII: 343 Scott, Evelyn, Retro. Supp. I: 73 Scott, George C., III: 165–166; Supp. XI: 304 Scott, George Lewis, Supp. I Part 2: 503, 504 Scott, Herbert, Supp. V: 180 Scott, Howard, Supp. I Part 2: 645 Scott, Joanna, Supp. XVII: 183–197 Scott, Lizabeth, Supp. IV Part 2: 524 Scott, Lynn Orilla, Retro. Supp. II: 12 Scott, Mark, Retro. Supp. I: 127 Scott, Nathan A., Jr., II: 27 Scott, Paul, Supp. IV Part 2: 690 Scott, Ridley, Supp. XIII: 268 Scott, Sir Walter, I: 204, 339, 341, 343, 354; II: 8, 17, 18, 217, 296, 301, 303, 304, 308; III: 415, 482; IV: 204, 453; Retro. Supp. I: 99; Supp. I Part 2: 579, 580, 685, 692; Supp. IV Part 2: 690; Supp. IX: 175; Supp. X: 51, 114 Scott, Walter, Supp. XVI: 7, 13 Scott, Winfield Townley, II: 512; Supp. I Part 2: 705; Supp. XV: 51 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 Scrambled Eggs Super! (Geisel), Supp. XVI: 105 Scrambled Eggs & Whiskey: Poems, 1991–1995 (Carruth), Supp. XVI: 47 Scratch (MacLeish), III: 22–23 “Scratch Music” (Wright), Supp. XV: 343 “Scream, The” (Lowell), II: 550 “Screamer, The” (Coleman), Supp. XI: 92–93 “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 Screens, The (Genet), Supp. XII: 12 Scribblers on the Roof: Contemporary American Jewish Fiction (Bukiet and Roskies, eds.), Supp. XVII: 39, 49–50 Scripts for the Pageant (Merrill), Supp. III Part 1: 332, 333, 335

496 / AMERICAN WRITERS Scrolls from the Dead Sea, The (Wilson), IV: 429 Scruggs, Earl, Supp. V: 335 Scudder, Horace Elisha, II: 400, 401; Retro. Supp. II: 67; Supp. I Part 1: 220; Supp. I Part 2: 410, 414 Scully, James, Supp. XII: 131 “Sculpting the Whistle” (Ríos), Supp. IV Part 2: 549 “Sculptor” (Plath), Supp. I Part 2: 538 “Sculptor’s Funeral, The” (Cather), I: 315–316; Retro. Supp. I: 5, 6; Supp. XV: 40 Scum (Singer), Retro. Supp. II: 316–317 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 Birds Are Still Alive, The (Bambara), Supp. XI: 1, 4, 7–12 “Sea Birds Are Still Alive, The” (Bambara), Supp. XI: 8 “Sea-Blue and Blood-Red” (Lowell), II: 524 Seabrook, John, Supp. VIII: 157 “Sea Burial from the Cruiser Reve” (Eberhart), I: 532–533 Seabury, David, Supp. I Part 2: 608 “Sea Calm” (Hughes), Retro. Supp. I: 199 “Sea Chanty” (Corso), Supp. XII: 118 “Sea Dream, A” (Whitter), Supp. I Part 2: 699 “Seafarer, The” (Pound, trans.), Retro. Supp. I: 287 Seagall, Harry, Supp. XIII: 166 Sea Garden (Doolittle), Supp. I Part 1: 257, 259, 266, 269, 272 Seager, Allan, IV: 305 “Seagulls and Children” (C. Frost), Supp. XV: 95 “Sea Lily” (Doolittle), Supp. I Part 1: 266 Sea Lions, The (Cooper), I: 354, 355 Sealts, Merton M., Jr., Retro. Supp. I: 257 Seaman, Donna, Supp. VIII: 86; Supp. X: 1, 4, 12, 16, 213; Supp. XV: 65; Supp. XVIII: 102; Supp. XIX: 53, 55, 57, 58, 59, 60, 61 “Séance, The” (Singer), IV: 20 Séance and Other Stories, The (Singer), IV: 19–21 “Sea Oak” (Saunders), Supp. XIX: 228, 229, 231 Sea of Cortez (Steinbeck), IV: 52, 54, 62, 69 Sea of Grass, The (film), Supp. XVIII: 211 Sea of Grass, The (Richter), Supp. XVIII: 210–211, 215–216, 217, 220 “Sea Pieces” (Melville), III: 93 Searchers, The (film, Ford), Supp. XVIII: 57, 58, 135–136, 141

Searches and Seizures (Elkin), Supp. VI: 49 “Search for Southern Identity, The” (Woodward), Retro. Supp. I: 75 Search for the King, A: A Twelfth-Century Legend (Vidal), Supp. IV Part 2: 681 Searching for Caleb (Tyler), Supp. IV Part 2: 663–665, 671 “Searching for Poetry: Real vs. Fake” (B. 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 “Search Party, The” (Matthews), Supp. IX: 156 Searle, Ronald, Supp. I Part 2: 604, 605 Sea Road to the Indies (Hart), Supp. XIV: 97 “Seascape” (Bishop), Retro. Supp. II: 42–43 “Sea’s Green Sameness, The” (Updike), IV: 217 Seaside and the Fireside, The (Longfellow), II: 489; Retro. Supp. II: 159, 168 Season in Hell, A (Rimbaud), III: 189 Seasons, The (Thomson), II: 304; Supp. I Part 1: 151 Seasons’ Difference, The (Buechner), Supp. XII: 47 Seasons of Celebration (Merton), Supp. VIII: 199, 208 Seasons of the Heart: In Quest of Faith (Kinard, comp.), Supp. XIV: 127 “Seasons of the Soul” (Tate), IV: 136– 140 Seasons on Earth (Koch), Supp. XV: 183–184 “Sea Surface Full of Clouds” (Stevens), IV: 82 “Sea Tides” (Hoffman), Supp. XVIII: 87 “Sea Treader” (Hoffman), Supp. XVIII: 87 “Sea Unicorns and Land Unicorns” (Moore), III: 202–203 Seaver, Richard, Supp. XI: 301 “Seaweed” (Longfellow), II: 498 Sea-Wolf, The (London), II: 264, 466, 472–473 Sebald, W. G., Supp. XIV: 96 Seckler, David, Supp. I Part 2: 650 “2nd Air Force” (Jarrell), II: 375 Second American Revolution and Other Essays (1976–1982), The (Vidal), Supp. IV Part 2: 679, 687, 688 Secondary Colors, The (A. Theroux), Supp. VIII: 312

Second Blush, The (Peacock), Supp. XIX: 197, 205–206 Second Chance (Auchincloss), Supp. IV Part 1: 33 “Second Chances” (Hugo), Supp. VI: 144, 145 Second Coming, The (Percy), Supp. III Part 1: 383, 384, 387, 388, 396–397 “Second Coming, The” (Yeats), III: 294; Retro. Supp. I: 290, 311; Supp. VIII: 24; Supp. XVI: 159; Supp. XIX: 85 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: Works and Days of the Lost Generation (Cowley), Retro. Supp. II: 77; Supp. II Part 1: 135, 141, 143, 144, 147, 149 Second Growth (Stegner), Supp. IV Part 2: 599, 608 “Second Hour of the Night, The” (Bidart), Supp. XV: 32, 33–34 Second Marriage (F. Barthelme), Supp. XI: 32, 33 “Second Marriage” (McCarriston), Supp. XIV: 262 “Second Mortgage” (Shaw), Supp. XIX: 245–246 Second Nature (Hoffman), Supp. X: 88, 89 Seconds, The (Bierds), Supp. XVII: 33–34 Second Set, The (Komunyakaa and Feinstein, eds.), Supp. XIII: 125 Second Sex, The (Beauvoir), Supp. IV Part 1: 360 Second Stone, The (Fiedler), Supp. XIII: 102 “Second Swimming, The” (Boyle), Supp. VIII: 13, 14 Second Tree from the Corner (White), Supp. I Part 2: 654 “Second Tree from the Corner” (White), Supp. I Part 2: 651 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 Words, (Atwood), Supp. XIII: 35 Second World, The (Blackmur), Supp. II Part 1: 91 Secret, The (E. Hoffman), Supp. XVI: 151, 155–158, 161 “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 Dog, The” (Cameron), Supp. XII: 83–84

CUMULATIVE INDEX / 497 Secret Garden, The (Burnett), Supp. I Part 1: 44 “Secret Garden, The” (Hoffman), Supp. XVIII: 86 “Secret Gladness, A” (C. Frost), Supp. XV: 91 Secret Historie (J. 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 Musical Instruments, The” (Wright), Supp. XV: 343 “Secret Life of Walter Mitty, The” (Thurber), Supp. I Part 2: 623; Supp. XVI: 233 “Secret Lion, The” (Ríos), Supp. IV Part 2: 543, 544 “Secret Ocean, The” (Jarman), Supp. XVII: 120 Secret of Poetry, The: Essays (Jarman), Supp. XVII: 110, 111, 120 “Secret of the Russian Ballet, The” (Van Vechten), Supp. II Part 2: 732 “Secret Prune” (Ríos), Supp. IV Part 2: 549 Secret River, The (Rawlings), Supp. X: 233 Secrets and Surprises (Beattie), Supp. V: 23, 27, 29 Secrets from the Center of the World (Harjo), Supp. XII: 223–224 “Secret Sharer, The” (Conrad), Supp. IX: 105 “Secret Sharer, The” (J. Conrad), Supp. XVI: 158 “Secret Society, A” (Nemerov), III: 282 Secrets of the Universe: Scenes from the Journey Home (Sanders), Supp. XVI: 273–274 Secular Journal of Thomas Merton, The, Supp. VIII: 206 “Security” (Stafford), Supp. XI: 329 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 Sedore, Timothy, Supp. XIV: 312 “Seduction and Betrayal” (Hardwick), Supp. III Part 1: 207 Seduction and Betrayal: Women and Literature (Hardwick), Supp. III Part 1: 194, 204, 206–208, 212, 213; Supp. XIV: 89 Seed, David, Supp. IV Part 1: 391 “Seed Eaters, The” (Francis), Supp. IX: 82 “Seed Leaves” (Wilbur), Supp. III 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 Red” (column, Ryan as Quin), Supp. XVIII: 226 “See(k)ing the Self: Mirrors and Mirroring in Bicultural Texts” (Oster), Supp. XVI: 151 Seeing through the Sun (Hogan), Supp. IV Part 1: 397, 400, 401–402, 402, 413 “See in the Midst of Fair Leaves” (Moore), III: 215 “Seekers, The” (McGrath), Supp. X: 117 “Seeking a Vision of Truth, Guided by a Higher Power” (Burke), Supp. XIV: 21, 23 “Seele im Raum” (Jarrell), II: 382–383 “Seele im Raum” (Rilke), II: 382–383 “See Naples and Die” (Hecht), Supp. X: 69, 70 “Seen from the ‘L’ ” (Barnes), Supp. III Part 1: 33 “See the Moon?” (Barthelme), Supp. IV Part 1: 42, 49–50, 50 Segal, D. (pseudonym). See Singer, Isaac Bashevis Segal, George, Supp. XI: 343 Segal, Lore, Supp. XVI: 203 Segregation: The Inner Conflict in the South (Warren), IV: 237, 238, 246, 252 “*Se: Hegel’s Absolute and Heidegger’s Ereignis” (Agamben), Supp. XVI: 289 Seidel, Frederick, I: 185 Seize the Day (Bellow), I: 144, 147, 148, 150, 151, 152, 153, 155, 158, 162; Retro. Supp. II: 19, 23–24, 27, 32, 34; Supp. I Part 2: 428 Selby, Hubert, Supp. III Part 1: 125 Selby, John, Retro. Supp. II: 221, 222 Selden, John, Supp. XIV: 344 Seldes, Gilbert, II: 437, 445; Retro. Supp. I: 108 Selected Criticism: Prose, Poetry (Bogan), Supp. III Part 1: 64 Selected Essays (Eliot), I: 572 Selected Essays and Reviews (Carruth), Supp. XVI: 46 Selected Journals and Other Writings (Audubon), Supp. XVI: 10, 12, 13 Selected Letters (Bynner), Supp. XV: 52 Selected Letters (W. C. Williams), Retro. Supp. I: 430 Selected Letters, 1940–1956 (Kerouac), Supp. XIV: 137, 144 Selected Letters of Robert Frost (Thompson, ed.), Retro. Supp. I: 125 Selected Levis, The (Levis), Supp. XI: 257, 272 Selected Poems (Aiken), I: 69 Selected Poems (Ashbery), Supp. III Part 1: 25–26 Selected Poems (Brodsky), Supp. VIII: 22 Selected Poems (Brooks), Supp. III Part 1: 82–83 Selected Poems (Bynner), Supp. XV: 51, 52 Selected Poems (Corso), Supp. XII: 129

Selected Poems (Dove), Supp. IV Part 1: 241, 243, 250 Selected Poems (Frost), Retro. Supp. I: 133, 136 Selected Poems (Guillevic; Levertov, trans.), Supp. III Part 1: 283 Selected Poems (Hayden), Supp. II Part 1: 363, 364, 367 Selected Poems (Hughes), Retro. Supp. I: 202; Supp. I Part 1: 341, 345, 346 Selected Poems (Hugo), Supp. VI: 143 Selected Poems (Jarrell), II: 367, 370, 371, 374, 377, 379, 380, 381, 382, 384 Selected Poems (Justice), Supp. VII: 115 Selected Poems (Kinnell), Supp. III Part 1: 235, 253 Selected Poems (Levine, 1984), Supp. V: 178, 179 Selected Poems (Lowell), II: 512, 516; Retro. Supp. II: 184, 186, 188, 190 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 (R. Bly), Supp. IV Part 1: 60, 62, 65, 66, 68, 69–71 Selected Poems (Reznikoff), Supp. XIV: 288 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. III Part 1: 261, 263–265 Selected Poems, 1938–1988 (McGrath), Supp. X: 127 Selected Poems, 1963–1983 (Simic), Supp. VIII: 275 Selected Poems 1936–1965 (Eberhart), I: 541 Selected Poems: 1957–1987 (Snodgrass), Supp. VI: 314–315, 323, 324 Selected Poems 1965–1975 (Atwood), Supp. XIII: 32–34 Selected Poems II: Poems Selected and New, 1976–1986 (Atwood), Supp. XIII: 20, 34–35 Selected Poems of Ezra Pound (Pound), Supp. V: 336 Selected Poems of Gabriela Mistral (Hughes, trans.), Supp. I Part 1: 345 Selected Poetry of Amiri Baraka/LeRoi Jones (Baraka), Supp. II Part 1: 58 Selected Poetry of Hayden Carruth, The (Carruth), Supp. XVI: 53 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

498 / AMERICAN WRITERS Selected Verse of Margaret Haskins Durber, The (Keillor), Supp. XVI: 171 Selected Witter Bynner, The, Supp. XV: 52 Selected Works of Djuna Barnes, The (Barnes), Supp. III Part 1: 44 Selected Writings 1950–1990 (Howe), Supp. VI: 116–117, 118, 120 Selected Writings of John Jay Chapman, The (Barzun), Supp. XIV: 54 Select Epigrams from the Greek Anthology (Mackail), Supp. I Part 2: 461 “Selecting a Reader” (Kooser), Supp. XIX: 119–120 “Selene Afterwards” (MacLeish), III: 8 “Self” (James), II: 351 Self and the Dramas of History, The (Niebuhr), III: 308 Self-Consciousness (Updike), Retro. Supp. I: 318, 319, 320, 322, 323, 324 “Self-Exposed, The” (X. J. Kennedy), Supp. XV: 159 Self-Help: Stories (Moore), Supp. X: 163, 166, 167–169, 174, 175 “Self-Importance” (Halliday), Supp. XIX: 90 Self-Interviews (Dickey), Supp. IV Part 1: 179 “Self-Made Man, A” (Crane), I: 420 “Self Pity” (C. Frost), Supp. XV: 93, 94, 101, 102, 104 Self Portrait (album, Dylan), Supp. XVIII: 27 “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 at Fifty-three” (Weigl), Supp. XIX: 288 Self-Portrait: Ceaselessly into the Past (Millar, ed. Sipper), Supp. IV Part 2: 464, 469, 472, 475 “Self-Portrait in a Convex Mirror” (Ashbery), Supp. III Part 1: 5, 7, 9, 16–19, 22, 24, 26 “Self-Reliance” (Emerson), II: 7, 15, 17; Retro. Supp. I: 159; Retro. Supp. II: 155; Supp. X: 42, 45 Selfwolf (Halliday), Supp. XIX: 81, 89– 91, 93 Sélincourt, Ernest de, Supp. I Part 2: 676 Selinger, Eric, Supp. XVI: 47 Selinger, Eric Murphy, Supp. XI: 248 Sell, Henry, Supp. XVI: 188 Sellers, Isaiah, IV: 194–195 Sellers, Peter, Supp. XI: 301, 304, 306, 307, 309 Sellers, William, IV: 208 Seltzer, Mark, Retro. Supp. I: 227 Selznick, David O., Retro. Supp. I: 105, 113; Supp. IV Part 1: 353; Supp. XVIII: 242 Semi, Allen (pseudonym). See Larsen, Nella “Semi-Lunatics of Kilmuir, The” (Hugo), Supp. VI: 145

“Semiotics/The Doctor ’s Doll” (Goldbarth), Supp. XII: 183–184 Semmelweiss, Ignaz, Supp. I Part 1: 304 Senancour, Étienne Divert de, I: 241 Sendak, Maurice, Supp. IX: 207, 208, 213, 214; Supp. XVI: 110 Seneca, II: 14–15; III: 77 Senghor, Leopold Sédar, Supp. IV Part 1: 16; Supp. X: 132, 139 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, Dorothy, Supp. XVI: 43 Sennett, Mack, III: 442 “Señora X No More” (Mora), Supp. XIII: 218 “Señor Ong and Señor Ha” (Bowles), Supp. IV Part 1: 87 Sensational Designs: The Cultural Work of American Fiction, 1790–1860 (Tompkins), Supp. XVIII: 258–259 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 Meeting, The” (Conroy), Supp. XVI: 72 Sense of the Past, The (James), II: 337– 338 “Sense of the Past, The” (Trilling), Supp. III Part 2: 503 “Sense of the Present, The” (Hardwick), Supp. III Part 1: 210 “Sense of the Sleight-of-Hand Man, The” (Stevens), IV: 93 “Sense of Where You Are, A” (McPhee), Supp. III Part 1: 291, 296–298 “Sensibility! O La!” (Roethke), III: 536 “Sensible Emptiness, A” (Kramer), Supp. IV Part 1: 61, 66 “Sensuality Plunging Barefoot Into Thorns” (Cisneros), Supp. VII: 68 “Sentence” (Barthelme), Supp. IV Part 1: 47 Sent for You Yesterday (Wideman), Supp. X: 320, 321 “Sentimental Education, A” (Banks), Supp. V: 10 “Sentimental Journey” (Oates), 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 Journey through France and Italy, A (Sterne), Supp. XV: 232 “Sentiment of Rationality, The” (James), II: 346–347 “Separated Father” (Halliday), Supp. XIX: 92, 93 Separate Flights (Dubus), Supp. VII: 78–83

“Separate Flights” (Dubus), Supp. VII: 83 Separate Peace, A (Knowles), Supp. IV Part 2: 679; Supp. XII: 241–249 Separate Way (Reznikoff), Supp. XIV: 280 “Separating” (Updike), Retro. Supp. I: 321 “Separation, The” (Kunitz), Supp. III Part 1: 263 “Sepia High Stepper” (Hayden), Supp. II Part 1: 379 September (film; Allen), Supp. XV: 11 “September” (Komunyakaa), Supp. XIII: 130 “September 1, 1939” (Auden), Supp. II Part 1: 13; Supp. IV Part 1: 225; Supp. VIII: 30, 32; Supp. XV: 117– 118 September 11, 2001: American Writers Respond (Heyen), Supp. XIII: 285 September Song (Humphrey), Supp. IX: 101, 102, 108–109 “September Twelfth, 2001” (X. J. Kennedy), Supp. XV: 171 “Sept Vieillards, Les” (Millay, trans.), III: 142 Sequel to Drum-Taps (Whitman), Retro. Supp. I: 406 “Sequence, Sometimes Metaphysical” (Roethke), III: 547, 548 Sequence of Seven Plays with a Drawing by Ron Slaughter, A (Nemerov), III: 269 Sequoya, Jana, Supp. IV Part 1: 334 Seraglio, The (Merrill), Supp. III Part 1: 331 Seraphita (Balzac), I: 499 Seraph on the Suwanee (Hurston), Supp. VI: 149, 159–160 Serenissima: A Novel of Venice (Jong). See Shylock’s Daughter: A Novel of Love in Venice (Serenissima) (Jong) Sergeant, Elizabeth Shepley, I: 231, 236, 312, 319, 323, 328 Sergeant Bilko (television show), Supp. IV Part 2: 575 “Serious Talk, A” (Carver), Supp. III Part 1: 138, 144 Serly, Tibor, Supp. III Part 2: 617, 619 “Sermon by Doctor Pep” (Bellow), I: 151 Sermones (Horace), II: 154 “Sermon for Our Maturity” (Baraka), Supp. II Part 1: 53 “Sermon in the Cotton Field” (Nelson), Supp. XVIII: 177 Sermons and Soda Water (O’ Hara), III: 362, 364, 371–373, 382 “Sermons on the Warpland” (Brooks), Supp. III 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; Supp. X: 66 Serve It Forth (M. F. K. Fisher), Supp. XVII: 83, 86, 87, 89, 92 Seshachari, Neila, Supp. V: 22 “Session, The” (Adams), I: 5

CUMULATIVE INDEX / 499 “Sestina” (Bishop), Supp. I Part 1: 73, 88 Set-angya, Supp. IV Part 2: 493 Seth, Vikram, Supp. XVII: 117 Seth’s Brother’s Wife (Frederic), II: 131– 132, 137, 144 Set This House on Fire (Styron), IV: 98, 99, 105, 107–113, 114, 115, 117 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 “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 7 Years from Somehwere (Levine), Supp. V: 178, 181, 188–189 Seven against Thebes (Aeschylus; Bacon and Hecht, trans.), Supp. X: 57 Seven Ages of Man, The (Wilder), IV: 357, 374–375 Seven Deadly Sins, The (Wilder), IV: 357, 374–375 Seven Descents of Myrtle, The (T. Williams), IV: 382 “Seven Fat Brides, The” (P. Abraham), Supp. XVII: 50 Seven Guitars (Wilson), Supp. VIII: 331, 348–351 Seven Lady Godivas, The (Geisel), Supp. XVI: 100, 103 Seven League Boots, The (Murray), Supp. XIX: 156–157 Seven-League Crutches, The (Jarrell), II: 367, 372, 381, 382, 383–384, 389 Seven Mountains of Thomas Merton, The (Mott), Supp. VIII: 208 Seven-Ounce Man, The (Harrison), Supp. VIII: 51 “Seven Places of the Mind” (Didion), Supp. IV Part 1: 200, 210 Seven Plays (Shepard), Supp. III Part 2: 434 “Seven Stanzas at Easter” (Updike), IV: 215 Seven Storey Mountain, The (Merton), Supp. VIII: 193, 195, 198, 200, 207, 208 Seventh Heaven (Hoffman), Supp. X: 87, 89 “Seventh of March” (Webster), Supp. I Part 2: 687 “7000 Romaine, Los Angeles 38” (Didion), Supp. IV Part 1: 200 “Seventh Street” (Toomer), Supp. IX: 316 Seven Types of Ambiguity (Empson), II: 536; IV: 431 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

Sévigné, Madame de, IV: 361 Sewall, Richard, Retro. Supp. I: 25 Sewall, Samuel, IV: 145, 146, 147, 149, 154, 164; Supp. I Part 1: 100, 110 Sewell, Elizabeth, Supp. XIII: 344 “Sex” (Carruth), Supp. XVI: 58 Sex, Economy, Freedom and Community (Berry), Supp. X: 30, 36 “Sex Camp” (Mamet), Supp. XIV: 240 Sex Castle, The (Lacy), Supp. XV: 206 Sex & Character (Weininger), Retro. Supp. I: 416 “Sext” (Auden), Supp. II Part 1: 22 Sexton, Anne, Retro. Supp. II: 245; Supp. I Part 2: 538, 543, 546; Supp. II Part 2: 669–700; Supp. III Part 2: 599; Supp. IV Part 1: 245; Supp. IV Part 2: 439, 440–441, 442, 444, 447, 449, 451, 620; Supp. V: 113, 118, 124; Supp. X: 201, 202, 213; Supp. XI: 146, 240, 317; Supp. XII: 217, 253, 254, 256, 260, 261; Supp. XIII: 35, 76, 294, 312; Supp. XIV: 125, 126, 132, 269; Supp. XV: 123, 252, 340; Supp. XVII: 239; Supp. XIX: 82, 203 Sexual Behavior in the American Male (Kinsey), Supp. XIII: 96–97 Sexual Perversity in Chicago (Mamet), Supp. XIV: 239, 240, 246–247, 249 “Sexual Revolution, The” (Dunn), Supp. XI: 142 Sexus (H. Miller), III: 170, 171, 184, 187, 188 “Sex Without Love” (Olds), Supp. X: 206 Seyersted, Per E., Retro. Supp. II: 65; Supp. I Part 1: 201, 204, 211, 216, 225; Supp. IV Part 2: 558 Seyfried, Robin, Supp. IX: 324 Seymour, Miranda, Supp. VIII: 167 “Seymour: An Introduction” (Salinger), III: 569–571, 572 Shacochis, Bob, Supp. VIII: 80 “Shadow” (Creeley), Supp. IV Part 1: 158 “Shadow, The” (Lowell), II: 522 Shadow and Act (Ellison), Retro. Supp. II: 119; Supp. II Part 1: 245–246 “Shadow and Shade” (Tate), IV: 128 “Shadow and the Flesh, The” (London), II: 475 “Shadow A Parable” (Poe), III: 417–418 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 of the Crime, The: A Word from the Author” (Mailer), Retro. Supp. II: 214 Shadow on the Dial, The (Bierce), I: 208, 209 “Shadow Passing” (Merwin), Supp. III Part 1: 355 Shadowplay (C. Baxter), Supp. XVII: 15, 19–20 Shadows (Gardner), Supp. VI: 74

Shadows and Fog (film; Allen), Supp. XV: 11 Shadows Burning (Di Piero), Supp. XIX: 42, 43–44 Shadows by the Hudson (Singer), IV: 1 Shadows of Africa (Matthiessen), Supp. V: 203 Shadows on the Hudson (Singer), Retro. Supp. II: 311–313 Shadows on the Rock (Cather), I: 314, 330–331, 332; Retro. Supp. I: 18 Shadow Train (Ashbery), Supp. III Part 1: 23–24, 26 “Shad-Time” (Wilbur), Supp. III Part 2: 563 Shaffer, Thomas L., Supp. VIII: 127, 128 Shaft (Parks; film), Supp. XI: 17 Shaftesbury, Earl of, I: 559 Shahn, Ben, Supp. X: 24 Shakedown for Murder (Lacy), Supp. XV: 203 Shakelford, Dean, Supp. VIII: 129 Shaker, Why Don’ t You Sing? (Angelou), Supp. IV Part 1: 16 Shakespear, Mrs. Olivia, III: 457; Supp. I Part 1: 257 “Shakespeare” (Emerson), II: 6 Shakespeare, William, I: 103, 271, 272, 284–285, 358, 378, 433, 441, 458, 461, 573, 585, 586; II: 5, 8, 11, 18, 72, 273, 297, 302, 309, 320, 411, 494, 577, 590; III: 3, 11, 12, 82, 83, 91, 124, 130, 134, 145, 153, 159, 183, 210, 263, 286, 468, 473, 492, 503, 511, 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; Retro. Supp. II: 114, 299; Supp. I Part 1: 79, 150, 262, 310, 356, 363, 365, 368, 369, 370; Supp. I Part 2: 397, 421, 422, 470, 494, 622, 716, 720; Supp. II Part 2: 624, 626; Supp. IV Part 1: 31, 83, 87, 243; Supp. IV Part 2: 430, 463, 519, 688; Supp. V: 252, 280, 303; Supp. VIII: 160, 164; Supp. IX: 14, 133; Supp. X: 42, 62, 65, 78; Supp. XII: 54–57, 277, 281; Supp. XIII: 111, 115, 233; Supp. XIV: 97, 120, 225, 245, 306; Supp. XV: 92; Supp. XVIII: 278 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. III Part 2: 601–602; Supp. XVII: 241 “Shame” (Oates), Supp. II Part 2: 520 “Shame” (Wilbur), Supp. III Part 2: 556 “Shame and Forgetting in the Information Age” (C. Baxter), Supp. XVII: 21 “Shameful Affair, A” (Chopin), Retro. Supp. II: 61 Shamela (Fielding), Supp. V: 127 “Shampoo, The” (Bishop), Retro. Supp. II: 46; Supp. I Part 1: 92

500 / AMERICAN WRITERS Shange, Ntozake, Supp. VIII: 214; Supp. XVII: 70; Supp. XVIII: 172 Shank, Randy, Supp. X: 252 Shankaracharya, III: 567 Shanley, John Patrick, Supp. XIV: 315– 332 Shannon, Sandra, Supp. VIII: 333, 348 “Shape of Flesh and Bone, The” (MacLeish), III: 18–19 Shape of Me and Other Stuff, The (Geisel), Supp. XVI: 111 Shape of the Journey, The (Harrison), Supp. VIII: 53 Shapes of Clay (Bierce), I: 208, 209 Shaping Joy, A: Studies in the Writer’s Craft (Brooks), Supp. XIV: 13 Shapiro, Charles, Supp. XIX: 257, 259– 260 Shapiro, David, Supp. XII: 175, 185 Shapiro, Dorothy, IV: 380 Shapiro, Karl, I: 430, 521; II: 350; III: 527; Supp. II Part 2: 701–724; Supp. III Part 2: 623; Supp. IV Part 2: 645; Supp. X: 116; Supp. XI: 315; Supp. XIX: 117, 118, 119 Shapiro, Laura, Supp. IX: 120 Sharif, Omar, Supp. IX: 253 “Shark Meat” (Snyder), Supp. VIII: 300 Shatayev, Elvira, Supp. I Part 2: 570 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; Supp. IV Part 2: 585, 683; Supp. V: 243– 244, 290; Supp. IX: 68, 308; Supp. XI: 202; Supp. XII: 94; Supp. XIV: 343; Supp. XVII: 100 Shaw, Irwin, IV: 381; Supp. IV Part 1: 383; Supp. IX: 251; Supp. XI: 221, 229, 231; Supp. XIX: 239–254 Shaw, Joseph Thompson (“Cap“), Supp. IV Part 1: 121, 345, 351; Supp. XIII: 161 Shaw, Judge Lemuel, III: 77, 88, 91 Shaw, Peter, Supp. XVI: 70 Shaw, Sarah Bryant, Supp. I Part 1: 169 Shaw, Wilbur, Jr., Supp. XIII: 162 Shawl, The (Mamet), Supp. XIV: 245 Shawl, The (Ozick), Supp. V: 257, 260, 271 “Shawl, The” (Ozick), Supp. V: 271–272 Shawl and Prarie du Chien, The: Two Plays (Mamet), Supp. XIV: 243–244 Shawn, William, Supp. VIII: 151, 170 “Shawshank Redemption, The” (King), Supp. V: 148 She (Haggard), III: 189 Shearer, Flora, I: 199 “Sheaves, The” (Robinson), III: 510, 524 “She Came and Went” (Lowell), Supp. I Part 2: 409 “She-Devil” (Nelson), Supp. XVIII: 178 She-Devil Circus (Nelson), Supp. XVIII: 176, 178 Sheed, Wilfrid, IV: 230; Supp. XI: 233

Sheeler, Charles, IV: 409; Retro. Supp. I: 430 “Sheep Child” (B. Kelly), Supp. XVII: 131–132 “Sheep Child, The” (Dickey), Supp. XVII: 131–132 Sheeper (Rosenthal), Supp. XIV: 147 Sheffer, Jonathan, Supp. IV Part 1: 95 She Had Some Horses (Harjo), Supp. XII: 220–223, 231 “She Had Some Horses” (Harjo), Supp. XII: 215, 222 “Shell, The” (Humphrey), Supp. IX: 94 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; Supp. I Part 2: 709, 718, 719, 720, 721, 722, 724, 728; Supp. IV Part 1: 235; Supp. V: 258, 280; Supp. IX: 51; Supp. XII: 117, 132, 136–137, 263; Supp. XIV: 271– 272; Supp. XV: 92, 175, 182 Shellow, Sadie Myers, Supp. I Part 2: 608 “Shelter” (C. Baxter), Supp. XVII: 19 “Shelter” (Doty), Supp. XI: 132 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 Shelton, Richard, Supp. XI: 133; Supp. XIII: 7 Shelton, Robert, Supp. XVIII: 20, 21, 22, 23, 24, 25, 26 Shenandoah (Schwartz), Supp. II Part 2: 640, 651–652 “Shenandoah” (Shapiro), Supp. II Part 2: 704 Shepard, Alice, IV: 287 Shepard, Harvey, Supp. XVII: 240 Shepard, Odell, II: 508; Supp. I Part 2: 418 Shepard, Sam, Supp. III Part 2: 431– 450; Supp. XVIII: 21, 28, 31 Shepard, Thomas, I: 554; IV: 158 “Shepherd of Resumed Desire, The” (Wright), Supp. XV: 349 Sheppard Lee (Bird), III: 423 “She Remembers the Future” (Harjo), Supp. XII: 222 Sheridan, Richard Brinsley, Retro. Supp. I: 127 Sherlock, William, IV: 152 Sherman, Sarah Way, Retro. Supp. II: 145 Sherman, Stuart Pratt, I: 222, 246–247; Supp. I Part 2: 423 Sherman, Susan, Supp. VIII: 265 Sherman, Tom, IV: 446 Sherman, William T., IV: 445, 446 Sherwood, Robert, II: 435; Supp. IX: 190 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 She Stoops to Conquer (Goldsmith), II: 514 Shestov, Lev, Supp. VIII: 20, 24 Shetley, Vernon, Supp. IX: 292; Supp. XI: 123 “She Wept, She Railed” (Kunitz), Supp. III Part 1: 265 “Shiddah and Kuziba” (Singer), IV: 13, 15 Shield of Achilles, The (Auden), Supp. II Part 1: 21 “Shield of Achilles, The” (Auden), Supp. II Part 1: 21, 25 Shields, Carol, Supp. VII: 307–330 Shifting Landscape: A Composite, 1925– 1987 (H. Roth), Supp. IX: 233–235 Shifts of Being (Eberhart), I: 525 Shigematsu, Soiko, Supp. III Part 1: 353 Shihab, Aziz, Supp. XIII: 273 Shih-hsiang Chen, Supp. VIII: 303 Shiksa Goddess; or, How I Spent My Forties (Wasserstein), Supp. XV: 319, 320, 325, 332, 333 “Shiloh” (Mason), Supp. VIII: 140 Shiloh and Other Stories (Mason), Supp. VIII: 133, 139–141, 143, 145 Shilts, Randy, Supp. X: 145 Shimmering Verge, The (one-woman show, Peacock), Supp. XIX: 194, 204–205 Shining, The (King), Supp. V: 139, 140, 141, 143–144, 146, 149, 151, 152 Shining Victory (film, Rapper), Supp. XVII: 60 Shinn, Everett, Retro. Supp. II: 103 “Ship of Death” (Lawrence), Supp. I Part 2: 728 Ship of Fools (Porter), III: 433, 447, 453, 454; IV: 138 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 Ship to America, A (Singer), IV: 1 “Shipwreck, The” (Merwin), Supp. III Part 1: 346 Shirley, John, Supp. XVI: 123, 128 “Shirt” (Pinsky), Supp. VI: 236–237, 239, 240, 241, 245, 247 “Shirt Poem, The” (Stern), Supp. IX: 292 “Shirts of a Single Color” (Ryan), Supp. XVIII: 227 “Shiva and Parvati Hiding in the Rain” (Pinsky), Supp. VI: 244 Shively, Charley, Retro. Supp. I: 391; Supp. XII: 181, 182 Shnayerson, Michael, Supp. XIX: 248 Shock of Recognition, The (Wilson), II: 530 Shock of the New, The (Hughes), Supp. X: 73

CUMULATIVE INDEX / 501 Shoe Bird, The (Welty), IV: 261; Retro. Supp. I: 353 Shoemaker of Dreams (Ferragammo), Supp. XVI: 192 “Shoes” (O. Henry), Supp. II Part 1: 409 “Shoes of Wandering, The” (Kinnell), Supp. III 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 the Works” (Di Piero), Supp. XIX: 41–42 Shooting the Works: On Poetry and Pictures (Di Piero), Supp. XIX: 41–42 “Shooting Whales” (Strand), Supp. IV Part 2: 630 “Shopgirls” (F. Barthelme), Supp. XI: 26, 27, 33, 36 “Shopping with Bob Berwick” (Halliday), Supp. XIX: 88 Shop Talk (P. Roth), Retro. Supp. II: 282 Shoptaw, John, Supp. IV Part 1: 247 Shore Acres (Herne), Supp. II Part 1: 198 Shorebirds of North America, The (Matthiessen), Supp. V: 204 “Shore House, The” (Jewett), II: 397 Shore Leave (Wakeman), Supp. IX: 247 “Shoreline Horses” (Ríos), Supp. IV Part 2: 553 Shores of Light, The: A Literary Chronicle of the Twenties and Thirties (Wilson), IV: 432, 433 Shorey, Paul, III: 606 Short Cuts (film), Supp. IX: 143 “Short End, The” (Hecht), Supp. X: 65 “Shorter View, The” (X. J. Kennedy), Supp. XV: 160, 168 Short Fiction of Norman Mailer, The (Mailer), Retro. Supp. II: 205 Short Friday and Other Stories (Singer), IV: 14–16 Short Guide to a Happy Life, A (Quindlen), Supp. XVII: 167, 179 “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 Night, The (Turner), Supp. XV: 201 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 Stories (Rawlings), Supp. X: 224 Short Stories: Five Decades (Shaw), Supp. XIX: 252–253 “Short Story, The” (Welty), IV: 279 Short Story Masterpieces, Supp. IX: 4 Short Studies of American Authors (Higginson), I: 455

“Short-timer’s Calendar” (Komunyakaa), Supp. XIII: 125 Shosha (Singer), Retro. Supp. II: 313– 314 Shostakovich, Dimitri, IV: 75; Supp. VIII: 21 Shot of Love (album, Dylan), Supp. XVIII: 28 “Shots” (Ozick), Supp. V: 268 Shotts, Jeffrey, Supp. XV: 103, 104 “Should Wizard Hit Mommy?” (Updike), IV: 221, 222, 224; Retro. Supp. I: 335 Shoup, Barbara, Supp. XV: 55, 59, 62, 69 “Shovel Man, The” (Sandburg), III: 553 Showalter, Elaine, Retro. Supp. I: 368; Supp. IV Part 2: 440, 441, 444; Supp. X: 97; Supp. XVI: 80, 92 “Shower of Gold” (Welty), IV: 271–272 “Shrike and the Chipmunks, The” (Thurber), Supp. I Part 2: 617 Shrimp Girl (Hogarth), Supp. XII: 44 “Shrine and the Burning Wheel, The” (Jarman), Supp. XVII: 116 “Shrine with Flowers” (Di Piero), Supp. XIX: 43, 44 “Shriveled Meditation” (X. J. Kennedy), Supp. XV: 170 Shropshire Lad, A (Housman), Supp. XV: 41 “Shrouded Stranger, The” (Ginsberg), Supp. II Part 1: 312 “Shroud of Color, The” (Cullen), Supp. IV Part 1: 166, 168, 170, 171 Shtetl (film; Marzynski), Supp. XVI: 153 Shtetl: The Life and Death of a Small Town and the World of Polish Jews (E. Hoffman), Supp. XVI: 152, 153– 155 Shuffle (L. Michaels), Supp. XVI: 202, 203, 213 Shuffle Along (musical), Supp. I Part 1: 322; Supp. X: 136 Shultz, George, Supp. IV Part 1: 234 Shurr, William, Retro. Supp. I: 43 Shuster, Joel, Supp. XI: 67 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 Shylock’s Daughter: A Novel of Love in Venice (Serenissima) (Jong), Supp. V: 115, 127, 128–129 “Siasconset: How It Arose and What It Is” (Briggs), Supp. XVIII: 9 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 Siblings (Quindlen and Kelsh), Supp. XVII: 167, 179 Sibon, Marcelle, IV: 288 “Sicilian Emigrant’s Song” (W. C. Williams), Retro. Supp. I: 413 Sicilian Miniatures (Sobin), Supp. XVI: 288 “Sick Wife, The” (Kenyon), Supp. VII: 173, 174

“’ Sic transit gloria mundi’ ” (Dickinson), Retro. Supp. I: 30 Sid Caesar Show (television show), Supp. IV Part 2: 575 Siddons, Sarah, II: 298 Side Effects (Allen), Supp. XV: 3, 14, 15–16 Side of Paradise, This (Fitgerald), Supp. IX: 56 Sidnee Poet Heroical, The (Baraka), Supp. II Part 1: 55 Sidney, Algernon, II: 114 Sidney, Mary, Supp. I Part 1: 98 Sidney, Philip, II: 470; Supp. I Part 1: 98, 111, 117–118, 122; Supp. I Part 2: 658; Supp. II Part 1: 104–105; Supp. V: 250; Supp. XII: 264; Supp. XIV: 128 Sidney, Sylvia, Supp. I Part 1: 67 Sidney Lanier: A Bibliographical and Critical Study (Starke), Supp. I Part 1: 371 Sidney Lanier: A Biographical and Critical Study (Starke), Supp. I Part 1: 371 Siege (Shaw), Supp. XIX: 244 Siegel, Barry, Supp. XIV: 82 Siegel, Catherine, Supp. XII: 126 Siegel, Jerry, Supp. XI: 67 “Siege of London, The” (James), Retro. Supp. I: 227 Siegle, Robert, Supp. XII: 8 Sienkiewicz, Henryk, Supp. IV Part 2: 518; Supp. XVI: 182 “Sierra Kid” (Levine), Supp. V: 180–181 Sigg, Eric, Retro. Supp. I: 53 “Sight” (Merwin), Supp. III Part 1: 356 Sighted Singer, The (Halliday), Supp. XIX: 82, 86–87 “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 Sights Unseen (Gibbons), Supp. X: 49–50 “Signals” (Carver), Supp. III Part 1: 143 “Signature for Tempo” (MacLeish), III: 8–9 “Signed Confession of Crimes against the State” (Merton), Supp. VIII: 201 Signifying Monkey, The (Gates), Supp. X: 243 Signifying Monkey, The (Hughes), Retro. Supp. I: 195 “Signing, The (Dixon), Supp. XII: 146 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 “Sign of Saturn, The” (Olds), Supp. X: 206 Signs and Wonders (Bukiet), Supp. XVII: 45–46 Sigourney, Lydia, Supp. I Part 2: 684 Sikora, Malgorzata, Retro. Supp. II: 324 Silas Marner (Eliot), II: 26 Silberg, Richard, Supp. XV: 116

502 / AMERICAN WRITERS “Silence” (Moore), III: 212 “Silence” (Poe), III: 416 “Silence” (Sanders), Supp. XVI: 278 “Silence, A” (Clampitt), Supp. IX: 53 “Silence—A Fable” (Poe), III: 416 “Silence Before Harvest, The” (Merwin), Supp. III Part 1: 352 Silence Dogood Papers, The (Franklin), II: 106–107 Silence in the Snowy Fields (R. 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 Silences (Olsen), Supp. XIII: 293, 294, 295, 296, 304–306 “Silences: When Writers Don’ t Write” (Olsen), Supp. XIII: 294 Silencing the Past: Power and the Production of History (Trouillot), Supp. X: 14 “Silent in America” (Levine), Supp. V: 183 Silent Life, The (Merton), Supp. VIII: 208 Silent Partner, The (Odets), Supp. II Part 2: 539 “Silent Poem” (Francis), Supp. IX: 86 “Silent Season of a Hero, The” (Talese), Supp. XVII: 203–204 “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; Supp. XIV: 177; Supp. XVI: 36; Supp. XVIII: 189 Silhouettes of American Life (Davis), Supp. XVI: 85 “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; Supp. IV Part 2: 499, 505, 557–572; Supp. V: 169; Supp. XI: 18; Supp. XII: 217; Supp. XVIII: 58 Silliman, Ron, Supp. IV Part 2: 426; Supp. XV: 344; Supp. XVII: 70, 77 Silliman’s Blog (R. Silliman), Supp. XVII: 70 Silman, Roberta, Supp. X: 6 Silverblatt, Michael, Supp. XV: 224 “Silver Crown, The” (Malamud), Supp. I Part 2: 434–435, 437; Supp. V: 266 “Silver Dish, The” (Bellow), Retro. Supp. II: 30 “Silver Filigree” (Wylie), Supp. I Part 2: 707 “Silver Lake” (B. Kelly), Supp. XVII: 130 Silvers, Phil, Supp. IV Part 2: 574 Silverthorne, Elizabeth, Supp. X: 220, 221, 222, 226, 234 “Silver To Have and to Hurl” (Didion), Supp. IV Part 1: 197

Simic, Charles, Supp. V: 5, 332; Supp. VIII: 39, 269–287; Supp. XI: 317; Supp. XV: 179, 185; Supp. XIX: 277, 282 “Similar Cases” (Gilman), Supp. XI: 200, 202 Similitudes, from the Ocean and Prairie (Larcom), Supp. XIII: 141 Simmel, Georg, Supp. I Part 2: 644; Supp. XVII: 98 Simmons, Charles, Supp. XI: 230 Simmons, Maggie, Retro. Supp. II: 21 Simms, Michael, Supp. XII: 184 Simms, William Gilmore, I: 211 Simon, John, Supp. IV Part 2: 691 Simon, Neil, Supp. IV Part 2: 573–594; Supp. XVII: 8 “Simon Gerty” (Wylie), Supp. I Part 2: 713 Simonides, Supp. XII: 110–111 “Simon Ortiz” (Gingerich), Supp. IV Part 2: 510 Simon Ortiz (Wiget), Supp. IV Part 2: 509 Simonson, Lee, III: 396 “Simple” (Peacock), Supp. XIX: 200 “Simple Art of Murder, The” (Chandler), Supp. IV Part 1: 121, 341 “Simple Autumnal” (Bogan), Supp. III Part 1: 52–53 Simple Heart (Flaubert), I: 504 Simple Honorable Man, A (Richter), Supp. XVIII: 208, 218, 219, 220 “Simple Purchase, A” (Peacock), Supp. XIX: 199 Simple Speaks his Mind (Hughes), Retro. Supp. I: 209; Supp. I Part 1: 337 Simple Stakes a Claim (Hughes), Retro. Supp. I: 209; Supp. I Part 1: 337 Simple’s Uncle Sam (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. III Part 1: 199, 200, 208 Simple Truth, The (Levine), Supp. V: 178, 179, 193–194 “Simplicity” (Sanders), Supp. XVI: 276 Simply Heavenly (Hughes), Retro. Supp. I: 209; Supp. I Part 1: 338, 339 Simpson, Louis, Supp. III Part 2: 541; Supp. IV Part 2: 448, 621; Supp. VIII: 39, 279; Supp. IX: 265–283, 290; Supp. XI: 317; Supp. XII: 130; Supp. XIII: 337 Simpson, Mona, Supp. XVI: 206 “Sin” (C. Frost), Supp. XV: 96 Sinatra, Frank, Supp. IX: 3; Supp. X: 119; Supp. XI: 213 Sincere Convert, The (Shepard), IV: 158 Sincerely, Willis Wayde (Marquand), III: 61, 63, 66, 67–68, 69 Sincerity (Rowson), Supp. XV: 242 Sincerity and Authenticity (Trilling), Supp. III Part 2: 510–512 “Sincerity and Objectification: With Special Reference to the Work of Charles Reznikoff” (Zukofsky), Supp. XIV: 286

Sinclair, Mary Craig (Mary Craig Kimbrough), Supp. V: 275, 286, 287 Sinclair, Upton, II: 34, 440, 444, 451; III: 580; Retro. Supp. II: 95; Supp. V: 275–293; Supp. VIII: 11 Sinclair Lewis: An American Life (Schorer), II: 459 “Singapore” (Oliver), Supp. VII: 239, 240 Singer, Bennett L., Supp. IV Part 1: 330 Singer, Beth, Supp. XIV: 203 Singer, Isaac Bashevis, I: 144; IV: 1–24; Retro. Supp. II: 22, 299–320; Supp. IX: 114; Supp. XVIII: 215, 220 Singer, Israel Joshua, IV: 2, 16, 17; Retro. Supp. II: 302; Supp. XVII: 41 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 Man, A (Isherwood), Supp. XIV: 157, 164, 169–170, 171 “Single Sonnet” (Bogan), Supp. III Part 1: 56–58 Singley, Carol, Retro. Supp. I: 373 Singular Family, A: Rosacoke and Her Kin (Price), Supp. VI: 258–259, 260 “Singular First Person, The” (Sanders), Supp. XVI: 274 Singularities (Howe), Supp. IV Part 2: 431 Sin in Their Blood (Lacy), Supp. XV: 200 “Sinister Adolescents, The” (Dos Passos), I: 493 Sinister Street (Mackenzie), II: 82 Sinking of Clay City, The (Wrigley), Supp. XVIII: 294–295 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 MotteFouqué), III: 78 “Siope” (Poe), III: 411 “Sipapu: A Cultural Perspective” (Gunn Allen), Supp. IV Part 1: 323 Sipchen, Bob, Supp. X: 145 Sipper, Ralph B., Supp. IV Part 2: 475 “Sire” (Cisneros), Supp. VII: 62–63, 64 “Siren and Signal” (Zukofsky), Supp. III Part 2: 611, 612 Sirens of Titan, The (Vonnegut), Supp. II Part 2: 757, 758, 760, 765–767 “Sir Galahad” (Tennyson), Supp. I Part 2: 410

CUMULATIVE INDEX / 503 Sirin, V. (pseudonym), Retro. Supp. I: 266. See also Nabokov, Vladimir Sir Vadia’s Shadow: A Friendship across Five Continents (Theroux), Supp. VIII: 309, 314, 321, 325 “Sis” (F. Barthelme), Supp. XI: 26 “S is for Sad” (M. F. K. Fisher), Supp. XVII: 86 Sisley, Alfred, I: 478 Sissman, L. E., Supp. X: 69 “Sister” (Hughes), Retro. Supp. I: 208 Sister Age (M. F. K. Fisher), Supp. XVII: 88, 91 Sister Carrie (Dreiser), I: 482, 497, 499, 500, 501–502, 503–504, 505, 506, 515, 519; III: 327; IV: 208; Retro. Supp. I: 376; Retro. Supp. II: 93, 96–99; Supp. XVIII: 76, 243 “Sister of the Minotaur” (Stevens), IV: 89; Supp. IX: 332 “Sisters” (Nelson), Supp. XVIII: 176 “Sisters, The” (Whittier), Supp. I Part 2: 696 Sister’s Choice (Showalter), Retro. Supp. I: 368 Sisters of the Earth: Women’s Prose and Poetry About Nature (Anderson, ed.), Supp. XVIII: 189 Sisters Rosensweig, The (Wasserstein), Supp. XV: 320, 328–330 “Sisyphus” (Kumin), Supp. IV Part 2: 443, 444, 451 “Sitalkas” (Doolittle), Supp. I Part 1: 266 Sitney, P. Adams, Supp. XII: 2 Sitting Bull, Supp. IV Part 2: 492 “Sitting in a Rocking Chair Going Blind” (Komunyakaa), Supp. XIII: 114 Sitting In: Selected Writings on Jazz, Blues, and Related Topics (Carruth), Supp. XVI: 46 “Sitting Up Late with My Father, 1977” (F. Wright), Supp. XVII: 247 Sitti’s Secrets (Nye), Supp. XIII: 278 Situation Normal (A. 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, 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 “65290” (Leopold), Supp. XIV: 184–185 Six French Poets (Lowell), II: 528–529 “Six in All” (Bierds), Supp. XVII: 31 “Six Persons” (Baraka), Supp. II Part 1: 53 Six Sections from Mountains and Rivers without End (Snyder), Supp. VIII: 305 “Sixteen Months” (Sandburg), III: 584 1601, 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) (R. Bly), Supp. IV Part 1: 60; Supp. IX: 271 “Sixty” (Dunn), Supp. XI: 155 “Sixty Acres” (Carver), Supp. III Part 1: 141 “64 Elmgrove” (Halliday), Supp. XIX: 88 “69 Hidebound Opinions, Propositions, and Several Asides from a Manila Folder concerning the Stuff of Poetry” (Wright), Supp. XV: 344–345 Sixty Stories (Barthelme), Supp. IV Part 1: 41, 42, 44, 47, 49, 50 63: Dream Palace (Purdy), Supp. VII: 270–271 “Six Variations” (Levertov), Supp. III Part 1: 277–278 “Six-Year-Old Boy” (Olds), Supp. X: 206 “Six Years Later” (Brodsky), Supp. VIII: 26, 28 “Size and Sheer Will” (Olds), Supp. X: 206 Size of Thoughts, The: Essays and Other Lumber (Baker), Supp. XIII: 52–53, 55, 56 Sizwe Bansi Is Dead (Fugard), Supp. VIII: 330 “Skagway” (Haines), Supp. XII: 206 “Skaters, The” (Ashbery), Supp. III Part 1: 10, 12, 13, 18, 25 “Skaters, The” (Jarrell), II: 368–369 Skau, Michael, Supp. XII: 129, 130, 132, 134 Skeeters Kirby (Masters), Supp. I Part 2: 459, 470, 471 Skeleton Crew (King), Supp. V: 144 “Skeleton in Armor, The” (Longfellow), Retro. Supp. II: 168 “Skeleton’s Cave, The” (Bryant), Supp. I Part 1: 157 Skelton, John, III: 521 Skepticisms (Aiken), Supp. XV: 298, 302 Sketch Book of Geoffrey Crayon, Gent., The (Irving), II: 295, 303, 304–308, 309, 311, 491; Supp. I Part 1: 155 Sketches of Art (Jameson), Retro. Supp. II: 58 Sketches of Eighteenth Century America (Crèvecoeur), Supp. I Part 1: 233, 240–241, 250, 251 “Sketches of Female Biography” (Rowson), Supp. XV: 245 Sketches of Switzerland (Cooper), I: 346 Sketches Old and New (Twain), IV: 198 “Sketch for a Job-Application Blank” (Harrison), Supp. VIII: 38 Sketch of Old England, by a New England Man (Paulding), I: 344 Skibell, Joseph, Supp. XVII: 48 “Skier and the Mountain, The” (Eberhart), I: 528–529 “Skin-Boats: 1830, The” (Bierds), Supp. XVII: 28 Skinker, Mary Scott, Supp. IX: 20 Skinny Island (Auchincloss), Supp. IV Part 1: 33 Skinny Legs and All (Robbins), Supp. X: 267, 273, 276–279

Skin of Our Teeth, The (Wilder), IV: 357, 358, 369–372; Supp. IV Part 2: 586 “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 “Skirt” (Halliday), Supp. XIX: 90 Skirts and Slacks (Di Piero), Supp. XIX: 35, 36, 38, 45–47 Skotheim, Robert Allen, Supp. XVII: 104 Skow, John, Supp. V: 213; Supp. XVI: 174 Skube, Michael, Supp. XVIII: 96 “Skunk Cabbage” (Oliver), Supp. VII: 235, 236 “Skunk Hour” (Lowell), II: 548–550; Retro. Supp. II: 188, 189; Supp. XIV: 269 Sky, The Stars, The Wilderness, The (Bass), Supp. XVI: 19, 20 “Sky Dance” (Leopold), Supp. XIV: 186 “Sky Line” (Taylor), Supp. V: 316 “Sky Line, The” (Mumford), Supp. II Part 2: 475 “Skyscraper” (Sandburg), III: 581–582 Sky’s the Limit, The: A Defense of the Earth (Nichols), Supp. XIII: 268 “Sky Valley Rider” (Wright), Supp. V: 335, 340 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 (T. 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; Supp. XIX: 235 Slaughter Rule, The (film; Alex and Andrew Smith), Supp. XIX: 174 Slave, The (Baraka), Supp. II Part 1: 42, 44, 56 Slave, The: A Novel (Singer), IV: 13; Retro. Supp. II: 305–307 “Slave Canal” (Ray), Supp. XVIII: 193 “Slave Coffle” (Angelou), Supp. IV Part 1: 16 “Slave on the Block” (Hughes), Supp. I Part 1: 329 Slave Power, The: The Free North and Southern Domination, 1780–1860 (Richards), Supp. XIV: 48 “Slave Quarters” (Dickey), Supp. IV Part 1: 181 “Slave’s Dream, The” (Longfellow), Supp. I Part 2: 409 Slave Ship: A Historical Pageant (Baraka), Supp. II Part 1: 47–49, 53, 56–57

504 / AMERICAN WRITERS “Slave-Ships, The” (Whittier), Supp. I Part 2: 687–688 Slaves in Algiers; or, A Struggle for Freedom (Rowson), Supp. XV: 236–237 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 (Dixon), Supp. XII: 154 “Sleep, The” (Strand), Supp. IV Part 2: 627 Sleeper (film; Allen), Supp. XV: 5 “Sleeper, The” (Poe), III: 411 “Sleeper 1, The” (Hay), Supp. XIV: 132– 133 “Sleeper 2, The” (Hay), Supp. XIV: 132– 133 “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” (R. Bly), Supp. IV Part 1: 63, 73 Sleeping Beauty (Macdonald), Supp. IV Part 2: 474, 475 Sleeping Beauty, The (Carruth), Supp. XVI: 53, 57–58 “Sleeping Beauty Syndrome, The: The New Agony of Single Men” (Wasserstein), Supp. XV: 328 “Sleeping Fury, The” (Bogan), Supp. III Part 1: 58 Sleeping Fury, The: Poems (Bogan), Supp. III Part 1: 55–58 Sleeping Gypsy and Other Poems, The (Garrett), Supp. VII: 96–98 Sleeping in the Forest (Oliver), Supp. VII: 233 “Sleeping in the Forest” (Oliver), Supp. VII: 233–234 Sleeping in the Woods (Wagoner), Supp. IX: 328 Sleeping on Fists (Ríos), Supp. IV Part 2: 540 Sleeping on the Wing: An Anthology of Modern Poetry (Koch and Farrell, eds.), Supp. XV: 187–188 “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 Sleep in Thunder (Lacy), Supp. XV: 206 “Sleepless, The” (L.-Y. Lee), Supp. XV: 224 “Sleepless at Crown Point” (Wilbur), Supp. III Part 2: 561 Sleepless Nights (Hardwick), Supp. III Part 1: 193, 208–211 “Sleepless Nights” (Nelson), Supp. XVIII: 174 Sleepy Lagoon Mystery, The (Endore), Supp. XVII: 60 “Sleepy People” (Lethem), Supp. XVIII: 140 Sleigh, Tom, Supp. XIX: 38, 40

Sleight, Ken, Supp. XIII: 12 Slick, Sam (pseudonym). See Haliburton, Thomas Chandler “Slick Gonna Learn” (Ellison), Retro. Supp. II: 116; 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 Graves Show, The” (Keillor), Supp. XVI: 172 “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 “Slip, Shift, and Speed Up: The Influence of Robinson Jeffers’s Narrative Syntax” (Jarman), Supp. XVII: 111, 112 “Slippery Fingers” (Hammett), Supp. IV Part 1: 343 Slipping-Down Life, A (Tyler), Supp. IV Part 2: 660–661 Sloan, Jacob, IV: 3, 6 Sloan, John, I: 254; IV: 411; Retro. Supp. II: 103 Sloane, John, Supp. XV: 295 “Slob” (Farrell), II: 25, 28, 31 Slocum, Joshua, Supp. I Part 2: 497 Slonim, Véra. See Nabokov, Véra Slouching towards Bethlehem (Didion), Supp. IV Part 1: 196, 197, 200–201, 202, 206, 210 Slovic, Scott, Supp. XVI: 277 “Slow Child with a Book of Birds” (Levis), Supp. XI: 268 “Slow Down for Poetry” (Strand), Supp. IV Part 2: 620 “Slow Pacific Swell, The” (Winters), Supp. II Part 2: 790, 793, 795, 796, 799 Slow Parade (Kees), Supp. XV: 137 Slow Train Coming (album, Dylan), Supp. XVIII: 28 “Slumgullions” (Olsen), Supp. IV Part 1: 54 Slumgullion Stew: An Edward Abbey Reader (Abbey), Supp. XIII: 4 “S & M” (Komunyakaa), Supp. XIII: 114 “Small” (C. Frost), Supp. XV: 102 Small, Albion, Supp. I Part 1: 5 “Small, Good Thing, A” (Carver), Supp. III Part 1: 145, 147 Small, Miriam Rossiter, Supp. I Part 1: 319 Small Boy and Others, A (James), II: 337, 547; Retro. Supp. I: 235 “Small but Urgent Request to the Unknowable” (Karr), Supp. XI: 243 Small Ceremonies (Shields), Supp. VII: 312–315, 320 Small Craft Warnings (T. Williams), IV: 382, 383, 384, 385, 386, 387, 392, 393, 396, 398 “Small Fry” (Peacock), Supp. XIX: 206 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 Smalls, Bob, II: 128 “Small Song for Andrew” (Weigl), Supp. XIX: 280 Small Time Crooks (film; Allen), Supp. XV: 11 Small Town, A (Hearon), Supp. VIII: 65–66 “Small Vases from Hebron, The” (Nye), Supp. XIII: 283 “Small Vision, The” (Goldbarth), Supp. XII: 180 “Small Voice from the Wings” (Everwine), Supp. XV: 76 “Small Wire” (Sexton), Supp. II Part 2: 696 Small Worlds (A. Hoffman), Supp. XVII: 44 Smardz, Zofia, Supp. XVI: 155 Smart, Christopher, III: 534; Supp. I Part 2: 539; Supp. IV Part 2: 626 Smart, Joyce H., Supp. XI: 169 “Smart Cookie, A” (Cisneros), Supp. VII: 64 “Smashup” (Thurber), Supp. I Part 2: 616 Smedly, Agnes, Supp. XIII: 295 “Smell of a God, The” (Peacock), Supp. XIX: 199 “Smelt Fishing” (Hayden), Supp. II Part 1: 367 “Smile of the Bathers, The” (Kees), Supp. XV: 145 “Smiles” (Dunn), Supp. XI: 151 Smiles, Samuel, Supp. X: 167 Smiley, Jane, Supp. VI: 291–309; Supp. XII: 73, 297; Supp. XIII: 127; Supp. XIX: 54 Smith, Adam, II: 9; Supp. I Part 2: 633, 634, 639; Supp. XVII: 235 Smith, Annick, Supp. XIV: 223 Smith, Benjamin, IV: 148 Smith, Bernard, I: 260 Smith, Bessie, Retro. Supp. I: 343; Supp. VIII: 330; Supp. XIX: 147 Smith, Charlie, Supp. X: 177 Smith, Dale, Supp. XV: 136, 138, 139 Smith, Dave, Supp. V: 333; Supp. XI: 152; Supp. XII: 178, 198; Supp. XIX: 277, 282 Smith, David, Supp. XIII: 246, 247 Smith, David Nichol, Supp. XIV: 2 Smith, Dinitia, Supp. VIII: 74, 82, 83; Supp. XVIII: 162 Smith, Elihu Hubbard, Supp. I Part 1: 126, 127, 130 Smith, George Adam, III: 199 Smith, Hannah Whitall, Supp. XIV: 333, 334, 338 Smith, Harrison, II: 61 Smith, Henry Nash, IV: 210; Supp. I Part 1: 233 Smith, Herbert F., Supp. I Part 2: 423 Smith, Iain Crichton, Supp. XVIII: 196 Smith, James, II: 111 Smith, Jedediah Strong, Supp. IV Part 2: 602

CUMULATIVE INDEX / 505 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, Johnston (pseudonym). See Crane, Stephen Smith, Kellogg, Supp. I Part 2: 660 Smith, Lamar, II: 585 Smith, Lane, Supp. XIX: 231 Smith, Larry David, Supp. XVIII: 22 Smith, Lee, Supp. XII: 311; Supp. XVIII: 195 Smith, Logan Pearsall, Supp. XIV: 333– 351 Smith, Lula Carson. See McCullers, Carson Smith, Mark, Supp. XVIII: 155 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; Supp. IV Part 2: 509; Supp. XII: 218 Smith, Patrick, Supp. VIII: 40, 41 Smith, Patti, Supp. XII: 136; Supp. XIV: 151 Smith, Porter, III: 572 Smith, Red, II: 417, 424 Smith, Robert McClure, Supp. XV: 270 Smith, Robert Pearsall, Supp. XIV: 333 Smith, Sarah A., Supp. XVIII: 99 Smith, Seba, Supp. I Part 2: 411 Smith, Sidonie Ann, Supp. IV Part 1: 11 Smith, Stevie, Supp. V: 84 Smith, Sydney, II: 295; Supp. XIV: 112 Smith, Thorne, Supp. IX: 194 Smith, Wendy, Supp. XII: 330, 335; Supp. XVIII: 89, 92 Smith, Wilford Bascom “Pitchfork“, Supp. XIII: 168 Smith, William, II: 114 Smith, William Gardner, Supp. XVI: 142–143 Smith, William Jay, Supp. XIII: 331– 350 “Smoke” (Di Piero), Supp. XIX: 38 Smoke (film), Supp. XII: 21 Smoke and Steel (Sandburg), III: 585– 587, 592 “Smokehouse” (Offutt), Supp. XIX: 166, 167 “Smokers” (Wolff), Supp. VII: 340–341 Smokey Bites the Dust (film, C. Griffith), Supp. XVII: 9 “Smoking My Prayers” (Ortiz), Supp. IV Part 2: 503 “Smoking Room, The” (Jackson), Supp. IX: 116 “Smoky Gold” (Leopold), Supp. XIV: 186 Smolan, Sandy, Supp. XVI: 36 Smollett, Tobias G., I: 134, 339, 343; II: 304–305; III: 61; Supp. XVIII: 7 Smuggler’s Bible, A (McElroy), Supp. IV Part 1: 285

Smuggler’s Handbook, The (Goldbarth), Supp. XII: 181, 183 Smugglers of Lost Soul’s Rock, The (Gardner), Supp. VI: 70 Smyth, Albert Henry, II: 123 “Snack Firm Maps New Chip Push” (Keillor), Supp. XVI: 168, 169 “Snail, The” (Hay), Supp. XIV: 124 “Snake, The” (Berry), Supp. X: 31 “Snake, The” (Crane), I: 420 “Snakecharmer” (Plath), Supp. I Part 2: 538 “Snakes, Mongooses” (Moore), III: 207 “Snakeskin” (Kooser), Supp. XIX: 123 “Snakes of September, The” (Kunitz), Supp. III Part 1: 258 “Snapshot of 15th S.W., A” (Hugo), Supp. VI: 141 “Snapshot Rediscovered, A” (X. J. Kennedy), Supp. XV: 170 “Snapshots of a Daughter-in-Law” (Rich), Supp. I Part 2: 553–554 Snapshots of a Daughter-in-Law: Poems, 1954–1962 (Rich), Supp. I Part 2: 550–551, 553–554; Supp. XII: 255 Snaring the Flightless Birds (Bierds), Supp. XVII: 26 Sneetches and Other Stories, The (Geisel), Supp. XVI: 109 “Sneeze, The” (Chekhov), Supp. IV Part 2: 585 Snell, Ebenezer, Supp. I Part 1: 151 Snell, Thomas, Supp. I Part 1: 153 “Snob, The” (Shapiro), Supp. II Part 2: 705 Snobbery: The America Version (Epstein), Supp. XIV: 102, 114–115 Snodgrass, Kathleen, Supp. XVI: 42 Snodgrass, W. D., I: 400; Retro. Supp. II: 179; Supp. III Part 2: 541; Supp. V: 337; Supp. VI: 311–328; Supp. XI: 141, 315; Supp. XIII: 312; Supp. XV: 92, 153; Supp. XVII: 239 “Snow” (C. Baxter), Supp. XVII: 19 “Snow” (Frost), Retro. Supp. I: 133 “Snow” (Haines), Supp. XII: 212 “Snow” (Sexton), Supp. II Part 2: 696 Snow, C. P., Supp. I Part 2: 536 Snow, Hank, Supp. V: 335 Snow Ball, The (Gurney), Supp. V: 99 “Snow-Bound” (Whittier), Supp. I Part 2: 700–703 “Snow Bound at Eagle’s” (Harte), Supp. II Part 1: 356 “Snowflakes” (Longfellow), II: 498 “Snow Goose, The” (Gallico), Supp. XVI: 238 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 “Snow in New York” (Swenson), Supp. IV Part 2: 644 Snow Leopard, The (Matthiessen), Supp. V: 199, 207–211 “Snow Man, The” (Stevens), IV: 82–83; Retro. Supp. I: 299, 300, 302, 306, 307, 312

“Snowmass Cycle, The” (Dunn), Supp. XI: 152 Snow: Meditations of a Cautious Man in Winter (Banks), Supp. V: 6 Snow Poems, The (Ammons), Supp. VII: 32–34 Snowshoe Trek to Otter River (Budbill), Supp. XIX: 11 “Snows of Kilimanjaro, The” (Hemingway), II: 78, 257, 263, 264; Retro. Supp. I: 98, 182; Supp. XII: 249 “Snows of Studiofiftyfour, The” (Plimpton), Supp. XVI: 245 “Snow Songs” (Snodgrass), Supp. VI: 324 “Snowstorm, The” (Oates), Supp. II Part 2: 523 “Snowstorm as It Affects the American Farmer, A” (Crèvecoeur), Supp. I Part 1: 251 Snow White (Barthelme), Supp. IV Part 1: 40, 47, 48–49, 50, 52; Supp. V: 39 “Snowy Egret” (Weigl), Supp. XIX: 280–281 “Snowy Mountain Song, A” (Ortiz), Supp. IV Part 2: 506 Snyder, Gary, Supp. III Part 1: 350; Supp. IV Part 2: 502; Supp. V: 168– 169; Supp. VIII: 39, 289–307; Supp. XVI: 283 Snyder, Mike, Supp. XIV: 36 “So-and-So Reclining on Her Couch” (Stevens), IV: 90 “Soapland” (Thurber), Supp. I Part 2: 619 Soares, Lota de Macedo, Retro. Supp. II: 44; Supp. I Part 1: 89, 94 “Sobbin’ Women, The” (Benét), Supp. XI: 47 Sobin, Gustaf, Supp. XVI: 281–298 Social Ethics (Gilman), Supp. XI: 207 “Social Function of the Story Teller, The” (lecture, Murray), Supp. XIX: 153 “Socialism and the Negro” (McKay), Supp. X: 135 “Socialism of the Skin, A (Liberation, Honey!)” (Kushner), Supp. IX: 135 Social Thought in America: The Revolt against Formalism (White), Supp. I Part 2: 648, 650 “Society, Morality, and the Novel” (Ellison), Retro. Supp. II: 118, 123– 124 “Sociological Habit Patterns in Linguistic Transmogrification” (Cowley), Supp. II Part 1: 143 “Sociological Poet, A” (Bourne), I: 228 Socrates, I: 136, 265; II: 8–9, 105, 106; III: 281, 419, 606; Supp. I Part 2: 458; Supp. XII: 98 Socrates Fortlow stories (Mosley), Supp. XIII: 242–243 So Forth (Brodsky), Supp. VIII: 32–33 “So Forth” (Brodsky), Supp. VIII: 33 Soft Machine, The (Burroughs), Supp. III Part 1: 93, 103, 104 “Soft Mask” (Karr), Supp. XI: 243 Soft Side, The (James), II: 335; Retro. Supp. I: 229

506 / AMERICAN WRITERS “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 Soil and Survival: Land Stewardship and the Future of American Agriculture (C. Bly, J. Paddock and N. Paddock), Supp. XVI: 36–37 “Soirée in Hollywood” (H. Miller), III: 186 Sojourner, The (Rawlings), Supp. X: 233–234 “Sojourn in a Whale” (Moore), III: 211, 213 “Sojourns” (Didion), Supp. IV Part 1: 205 Sokolow, Jayme, Supp. XIX: 134 Solanus, Jane, Supp. XVI: 293 Solar Lottery (Dick), Supp. XVIII: 138 Solar Storms (Hogan), Supp. IV Part 1: 397, 410, 414–415 “Soldier, The” (Frost), II: 155 “Soldier Asleep at the Tomb” (Schnackenberg), Supp. XV: 262–263 Soldier Blue (film), Supp. X: 124 “Soldier of Fortune” (Wright), Supp. XV: 341 “Soldier’s Home” (Hemingway), Retro. Supp. I: 189 Soldier’s Joy (Bell), Supp. X: 7, 7–8, 10, 11 Soldiers of the Storm (film), Supp. XIII: 163 Soldiers’ Pay (Faulkner), I: 117; II: 56, 68; Retro. Supp. I: 80, 81 “Soldier’s Testament, The” (Mumford), Supp. II Part 2: 473 “Soliloquy: Man Talking to a Mirror” (Komunyakaa), Supp. XIII: 116–117 “Solitary Confinement” (X. J. Kennedy), Supp. XV: 157 “Solitary Pond, The” (Updike), Retro. Supp. I: 323 So Little Time (Marquand), III: 55, 59, 65, 67, 69 “Solitude” (Maupassant), Supp. I Part 1: 223 Solo Faces (Salter), Supp. IX: 259–260 Solomon, Andy, Supp. X: 11 Solomon, Carl, Supp. XIV: 143, 150 Solomon, Charles, Supp. VIII: 82 Solomon, Henry, Jr., Supp. I Part 2: 490 Solomons, Leon, IV: 26 So Long, See You Tomorrow (Maxwell), Supp. VIII: 156, 160, 162, 167–169; Supp. XVII: 23 “So Long Ago” (Bausch), Supp. VII: 41–42 Solotaroff, Robert, Retro. Supp. II: 203 Solotaroff, Theodore, III: 452–453; Retro. Supp. II: 281; Supp. I Part 2: 440, 445; Supp. X: 79; Supp. XI: 340; Supp. XII: 291; Supp. XIX: 268 Solstice (Di Piero), Supp. XIX: 36 “Solstice” (Jeffers), Supp. II Part 2: 433, 435 “Solstice, The” (Merwin), Supp. III Part 1: 356 “Solus Rex” (Nabokov), Retro. Supp. I: 274

“Solutions” (McCarthy), II: 578 “Solving the Puzzle” (Dunn), Supp. XI: 152 Solzhenitsyn, Alexandr, Retro. Supp. I: 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 Ashes Drifting above Piedra, California” (Levis), Supp. XI: 264– 265 “Some Aspects of the Grotesque in Southern Fiction” (O’ Connor), Retro. Supp. II: 223, 224 “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 Some Came Running (film), Supp. XI: 213 Some Came Running (Jones), Supp. XI: 214, 215, 220, 222–223, 226, 227, 232 Some Can Whistle (McMurtry), Supp. V: 229 “Some Children of the Goddess” (Mailer), Retro. Supp. II: 204 Someday, Maybe (Stafford), Supp. XI: 323–325; Supp. XIII: 281 “Some Dreamers of the Golden Dream” (Didion), Supp. IV Part 1: 200 Some Faces in the Crowd (Schulberg), Supp. XVIII: 252 “Some Foreign Letters” (Sexton), Supp. II Part 2: 674 “Some General Instructions” (Koch), Supp. XV: 182 “Some Good News” (Olson), Supp. II Part 2: 575, 576, 577 “Some Grass along a Ditch Bank” (Levis), Supp. XI: 266 “Some Greek Writings” (Corso), Supp. XII: 130 Some Honorable Men: Political Conventions, 1960–1972 (Mailer), Retro. Supp. II: 208 Some Imagist Poets (Lowell), III: 511, 518, 520; Supp. I Part 1: 257, 261 “Some keep the Sabbath going to Church” (Dickinson), Retro. Supp. I: 30; Supp. XVIII: 301 “Some Laughed” (L. Michaels), Supp. XVI: 207 “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 Matters Concerning the Occupant” (Keillor), Supp. XVI: 167 “Some Negatives: X. at the Chateau” (Merrill), Supp. III 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. III Part 2: 493, 497, 500 “Some Notes on French Poetry” (R. Bly), Supp. IV Part 1: 61 “Some Notes on Miss L.” (West), IV: 290–291, 295; Retro. Supp. II: 322 “Some Notes on Organic Form” (Levertov), Supp. III Part 1: 272, 279 “Some Notes on Teaching: Probably Spoken” (Paley), Supp. VI: 225 “Some Notes on the Gazer Within” (Levis), Supp. XI: 270 “Some Notes on Violence” (West), IV: 304; Retro. Supp. II: 322, 323 “Some Observations Now” (Conroy), Supp. XVI: 75 Some of the Dharma (Kerouac), Supp. III Part 1: 225 “Someone Is Buried” (Salinas), Supp. XIII: 324 “Someone Puts a Pineapple Together” (Stevens), IV: 90–91 “Someone’s Blood” (Dove), Supp. IV Part 1: 245 “Someone Talking” (Harjo), Supp. XII: 219–220 “Someone Talking to Himself” (Wilbur), Supp. III Part 2: 557 “Someone to Watch Over Me” (Stern), Supp. IX: 300 Someone to Watch Over Me: Stories (Bausch), Supp. VII: 53 Some People, Places, & Things That Will Not Appear in My Next Novel (Cheever), Supp. I Part 1: 184–185 “Some Poets’ Criticism and the Age” (Yenser), Supp. XV: 113–114 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 Somers, Fred, I: 196 Somerville, Jane, Supp. IX: 289, 296– 297 “Some Secrets” (Stern), Supp. IX: 286, 287, 288, 289, 295 Some Sort of Epic Grandeur (Bruccoli), Retro. Supp. I: 115, 359 “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), Supp. I Part 1: 329–330 Something Inside: Conversations with Gay Fiction Writers (Gambone), Supp. XII: 81 “Something New” (Stern), Supp. IX: 290 “Something’s Going to Happen” (Zinberg), Supp. XV: 196

CUMULATIVE INDEX / 507 “Something Spurious from the Mindinao Deep” (Stegner), Supp. IV Part 2: 605 Something to Declare (Alvarez), Supp. VII: 1, 2, 11, 17–19 Something to Remember Me By (Bellow), Retro. Supp. II: 32 “Something to Remember Me By (Bellow), Retro. Supp. II: 32 Something Wicked This Way Comes (Bradbury), Supp. IV Part 1: 101, 110–111 “Something Wild . . .” (T. Williams), IV: 381 “Some Thoughts” (McNally), Supp. XIII: 207 “Some Thoughts on the Line” (Oliver), Supp. VII: 238 “Sometimes, Reading” (Stafford), Supp. XI: 314 “Sometimes It Just Happens That Way, That’s All” (Hinojosa), Supp. XIX: 101 “Sometimes I Wonder” (Hughes), Supp. I Part 1: 337 Sometimes Mysteriously (Salinas), Supp. XIII: 311, 326–328 “Sometimes Mysteriously” (Salinas), Supp. XIII: 328 Some Trees (Ashbery), Supp. III Part 1: 3–7, 12 “Some Trees” (Ashbery), Supp. III Part 1: 2 “Some Views on the Reading and Writing of Short Stories” (Welty), Retro. Supp. I: 351 “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 “Somewhere near Phu Bai: (Komunyakaa), Supp. XIII: 123–124 “Some Words with a Mummy” (Poe), III: 425 “Some Yips and Barks in the Dark” (Snyder), Supp. VIII: 291 Sommers, Michael, Supp. IV Part 2: 581 Sommers, William, I: 387, 388 “Somnambulisma” (Stevens), Retro. Supp. I: 310 “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. III Part 1: 143, 146 Son, Cathy, Supp. X: 292 “Son, The” (Dove), Supp. IV Part 1: 245 “Sonata” (Schnackenberg), Supp. XV: 259 “Sonata for the Invisible” (Harjo), Supp. XII: 228 Sonata for Two Pianos (Bowles), Supp. IV Part 1: 83 Son at the Front, A (Wharton), II: 183; IV: 320; Retro. Supp. I: 378

Sondheim, Stephen, Supp. XII: 260; Supp. XVI: 194 Son Excellence Eugène Rougon (Zola), III: 322 Song (B. Kelly), Supp. XVII: 123, 127– 130 “Song” (B. Kelly), Supp. XVII: 127 “Song” (Bogan), Supp. III Part 1: 57 “Song” (Bryant). See “Hunter of the West, 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, The” (Gioia), Supp. XV: 117 Song and Idea (Eberhart), I: 526, 529, 533, 539 “Song: Enlightenment” (X. J. Kennedy), Supp. XV: 169 Song for My Father, A: A Play in Two Acts (Budbill), Supp. XIX: 3, 15–16 “Song for Myself and the Deer to Return On” (Harjo), Supp. XII: 225 “Song for My Sixtieth Year” (Carruth), Supp. XVI: 54 “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 End of Time” (Gioia), Supp. XV: 126–127 “Song for the First People” (Wagoner), Supp. IX: 328 “Song for the Last Act” (Bogan), Supp. III Part 1: 64 “Song for the Middle of the Night, A” (Wright), Supp. III 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 for Woody” (song, Dylan), Supp. XVIII: 24 “Song from a Courtyard Window” (Gioia), Supp. XV: 119 “Song in the Front Yard, A” (Brooks), Supp. XVIII: 181 “Songline of Dawn” (Harjo), Supp. XII: 229 “Song: Love in Whose Rich Honor” (Rukeyser), Supp. VI: 285 “Song: Now That She Is Here” (Carruth), Supp. XVI: 59 “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 God, The: Bhagavad-Gita (Isherwood and Prabhavananda, trans.), Supp. XIV: 156, 157, 164

Song of Hiawatha, The (Longfellow), II: 501, 503–504; Retro. Supp. II: 155, 159–161, 162, 163 “Song of Innocence, A” (Ellison), Retro. Supp. II: 126; 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; Supp. XIV: 139; Supp. XVIII: 194, 304 Song of Napalm (Weigl), Supp. XIX: 278–282 “Song of Napalm” (Weigl), Supp. XIX: 276–277 Song of Russia (film), Supp. I Part 1: 281, 294; Supp. XVII: 60–61 “Song of Self” (Huncke), Supp. XIV: 138–139, 145 Song of Solomon (biblical book), III: 118; IV: 150 Song of Solomon (Morrison), Supp. III Part 1: 364, 368, 369, 372, 379; Supp. XVIII: 55 Song of Songs (biblical book), II: 538; IV: 153–154; Supp. XV: 221 “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 Gavilan” (Leopold), Supp. XIV: 189 “Song of the Gourd” (Wright), Supp. XV: 348–349 “Song of the Greek Amazon” (Bryant), Supp. I Part 1: 168 Song of the Lark, The (Cather), I: 312, 319–321, 323; Retro. Supp. I: 1, 3, 7, 9–11, 13, 19, 20 “Song of the Open Road” (McGrath), Supp. X: 127 “Song of the Open Road” (Whitman), IV: 340–341; Retro. Supp. I: 400; Supp. IX: 265 “Song of the Redwood Tree” (Whitman), IV: 348 “Song of the Scullery” (McCarriston), Supp. XIV: 272 “Song of the Sky Loom” (traditional Tewa poem), Supp. IV Part 1: 325 “Song of the Son” (Toomer), Supp. III Part 2: 482–483; 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. III Part 1: 344

508 / AMERICAN WRITERS “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/Poetry and Language-Expression and Perception” (Ortiz), Supp. IV Part 2: 500, 508 “Song: ‘Rough Winds Do Shake the Darling Buds of May’ ” (Simpson), Supp. IX: 268 Songs and Satires (Masters), Supp. I Part 2: 465–466 Songs and Sonnets (L. P. Smith), Supp. XIV: 341 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: 3, 19 “Songs for Eve” (MacLeish), III: 19 “Songs for My Father” (Komunyakaa), Supp. XIII: 128 “Songs for Two Seasons” (C. Frost), Supp. XV: 95–96 Songs from This Earth on Turtle’s Back: Contemporary American Indian Poetry (Bruchac, ed.), Supp. IV Part 1: 320, 328 “Songs of a Housewife” (Rawlings), Supp. X: 221–222 “Songs of Billy Bathgate, The” (Doctorow), Supp. IV Part 1: 230 Songs of Innocence (Blake), Supp. I Part 2: 708 Songs of Jamaica (McKay), Supp. X: 131, 133 “Songs of Maximus, The” (Olson), Supp. II Part 2: 567 “Songs of Parting” (Whitman), IV: 348 Songs of the Sierras (J. Miller), I: 459 Songs of Three Centuries (Whittier and Larcom, eds.), Supp. XIII: 142 “Song to David” (Smart), III: 534 “Song to No Music, A” (Brodsky), Supp. VIII: 26 Sonneschein, Rosa, Retro. Supp. II: 65 “Sonnet” (Rukeyser), Supp. VI: 284 “Sonnet Crown for Two Voices” (Bierds), Supp. XVII: 35 “Sonnets” (Carruth), Supp. XVI: 56 “Sonnets at Christmas” (Tate), IV: 135 Sonnets to Orpheus (Rilke), Supp. XV: 222 “Sonnet-To Zante” (Poe), III: 421 “Sonny’s Blues” (Baldwin), Retro. Supp. II: 7, 8, 10, 14; Supp. I Part 1: 58– 59, 63, 67; Supp. XI: 288 Son of Laughter, The: A Novel (Buechner), Supp. XII: 54 Son of Perdition, The (Cozzens), I: 359– 360, 377, 378, 379 Son of the Circus, A (Irving), Supp. VI: 165, 166, 176–179 “Son of the Gods, A” (Bierce), I: 202

Son of the Morning (Oates), Supp. II Part 2: 518, 519, 520–522 Son of the Morning Star: Custer and the Little Bighorn (Connell), Supp. XIV: 80, 82, 97 “Son of the Romanovs, A” (Simpson), Supp. IX: 273–274 Son of the Wolf, The (London), II: 465, 469 “Son of the Wolfman” (Chabon), Supp. XI: 76 “Sonrisas” (Mora), Supp. XIII: 216, 219 Sons (Buck), Supp. II Part 1: 117–118 Sons and Lovers (Lawrence), III: 27 Sontag, Kate, Supp. XV: 104 Sontag, Susan, IV: 13, 14; Retro. Supp. II: 279; Supp. I Part 2: 423; Supp. III Part 2: 451–473; Supp. VIII: 75; Supp. XIV: 14, 15, 95–96, 167; Supp. XVI: 201, 204, 206 “Soonest Mended” (Ashbery), Supp. III 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, 609, 613; IV: 291, 363, 368, 370; Supp. I Part 1: 153, 284; Supp. I Part 2: 491; Supp. V: 97; Supp. VIII: 332; Supp. XV: 265, 266 “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 “Sordid? Good God!” ( Williams), Retro. Supp. II: 334 “Sorghum” (Mason), Supp. VIII: 146 Sorokin, Pitirim, Supp. I Part 2: 679 Sorrentino, Christopher, Supp. XVIII: 148 Sorrentino, Gilbert, Retro. Supp. I: 426; Supp. IV Part 1: 286; Supp. XII: 139 “Sorrow” (Komunyakaa), Supp. XIII: 119 Sorrow Dance, The (Levertov), Supp. III Part 1: 279–280, 283 “Sorrowful Guest, A” (Jewett), Retro. Supp. II: 137 Sorrows of Fat City, The: A Selection of Literary Essays and Reviews (Garrett), Supp. VII: 111 Sorrows of Young Werther, The (Goethe), Supp. XI: 169 Sorrows of Young Werther, The (Goethe; Bogan and Mayer, trans.), Supp. III Part 1: 63 “Sorting Facts; or, Nineteen Ways of Looking at Marker” (Howe), Supp. IV Part 2: 434, 436 “Sort of Song, A” (W. C. Williams), Supp. XVII: 243 “S O S” (Baraka), Supp. II Part 1: 50 “So Sassafras” (Olson), Supp. II Part 2: 574 “So There” (Creeley), Supp. IV Part 1: 157

“So This Is Nebraska” (Kooser), Supp. XIX: 120 Sotirov, Vasil, Supp. IX: 152 Soto, Gary, Supp. IV Part 2: 545; Supp. V: 180; Supp. XI: 270; Supp. XIII: 313, 315, 316, 320, 323; Supp. XV: 73 “Soto Thinking of the Ocean” (Salinas), Supp. XIII: 321 “Sotto Voce” (Kunitz), Supp. III 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 Clap Hands and Sing (Marshall), Supp. XI: 276, 278, 280–282 Soul Expeditions (Singer). See Shosha (Singer) 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 (Bly, ed.), 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 on Bench” (Halliday), Supp. XIX: 91 Soul on Ice (Cleaver), Retro. Supp. II: 12, 13 “Souls Belated” (Wharton), Retro. Supp. I: 364 “Soul selects her own Society, The” (Dickinson), Retro. Supp. I: 37 Souls of Black Folk, The (Du Bois), Supp. II Part 1: 33, 40, 160, 168–170, 176, 183; Supp. IV Part 1: 164; Supp. IX: 305, 306; Supp. X: 133; Supp. XIII: 185, 238, 243 “Sound, The” (Olds), Supp. X: 214 “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; Supp. X: 44; Supp. XII: 33; Supp. XIV: 12; Supp. XVII: 138; Supp. XVIII: 84 “Sound Bites” (Alvarez), Supp. VII: 11 Sound I Listened For, The (Francis), Supp. IX: 78–79, 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. III 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

CUMULATIVE INDEX / 509 Soupault, Philippe, IV: 288, 404; Retro. Supp. II: 85, 321, 324 Source (Doty), Supp. XI: 121, 134–137 “Source” (Doty), Supp. XI: 136 “Source, The” (Olds), Supp. X: 211 “Source, The” (Porter), III: 443 Source of Light, The (Price), Supp. VI: 262, 266 “Sources of Soviet Conduct, The” (Kennan), Supp. VIII: 241 Sour Grapes (W. C. Williams), Retro. Supp. I: 418 “South” (Levis), Supp. XI: 266 “South, The” (Hughes), Supp. I Part 1: 321 “Southbound on the Freeway” (Swenson), Supp. IV Part 2: 643 South Dakota Guidebook, The (C. Baxter), Supp. XVII: 15 Southern, Terry, Supp. IV Part 1: 379; Supp. V: 40, 201; Supp. XI: 293– 310; Supp. XVI: 230 Southern Cross, The (Wright), Supp. V: 332, 342 “Southern Cross, The” (Wright), Supp. V: 338 “Southerner’s Problem, The” (Du Bois), Supp. II Part 1: 168 “Southern Girl” (Zelda Fitzgerald), Supp. IX: 71 “Southern Mode of the Imagination, A” (Tate), IV: 120 “Southern Romantic, A” (Tate), Supp. I Part 1: 373 “Southern Sojourn, A” (Hoffman), Supp. XVIII: 87 Southern Terry, Supp. XIV: 82 Southey, Robert, II: 304, 502; Supp. I Part 1: 154 “South Lingers On, The” (R. Fisher), Supp. XIX: 69–70 South Moon Under (Rawlings), Supp. X: 225–226, 229, 233 South Pacific Affair (Lacy), Supp. XV: 206 Southpaw, The (Harris), II: 424–425 “South Sangamon” (Cisneros), Supp. VII: 66 South to a Very Old Place (Murray), Supp. XIX: 151–153 Southwell, Robert, IV: 151 Southwick, Marcia, Supp. XI: 259 Southworth, E. D. E. N, Retro. Supp. I: 246 Souvenir of the Ancient World, Selected Poems of Carlos Drummond de Andrade (Strand, trans.), Supp. IV Part 2: 630 “Sow” (Plath), Supp. I Part 2: 537 “Sowing and Reaping in Furors Die” (Nostrandt), Supp. XVIII: 80–81 Space between Our Footsteps, The: Poems and Paintings from the Middle East (Nye, ed.), Supp. XIII: 280 “Space Quale, The” (James), II: 349 “Spaces Between, The” (Kingsolver), Supp. VII: 209

“Space Where Sex Should Be, The: Toward a Definition of the Black Literary Tradition” (Nelson), Supp. XVIII: 172 Spackman, Peter, Supp. XVI: 221 Spacks, Patricia, Supp. XVI: 251 “Spain” (Auden), Supp. II Part 1: 12– 13, 14 “Spain in Fifty-Ninth Street” (White), Supp. I Part 2: 677 “Spanish-American War Play” (Crane), I: 422 Spanish Ballads (Merwin, trans.), Supp. III Part 1: 347 Spanish Bayonet (Benét), Supp. XI: 45, 47 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; Retro. Supp. II: 165 “Spanish Winter” (Egan), Supp. XIX: 52 Spanking the Maid (Coover), Supp. V: 47, 48, 49, 52 Spare Change (Parker), Supp. XIX: 186, 186–187 Spargo, John, Supp. I Part 1: 13 “Spark, The” (Wharton), Retro. Supp. I: 381 “Sparkles from the Wheel” (Whitman), IV: 348 Sparks, Debra, Supp. X: 177 Sparks, Jared, Supp. I Part 1: 156 “Sparrow” (Berry), Supp. X: 31 Sparrow, Henry, III: 587 Sparrow, Mrs. Henry, III: 587 “Sparrow’s Gate, The” (B. Kelly), Supp. XVII: 133 Spaulding, William, Supp. XVI: 106 “Spawning Run, The” (Humphrey), Supp. IX: 95 “Speak, Gay Memory” (Kirp), Supp. XI: 129 “Speak, Hoyt-Schermerhorn” (Lethem), Supp. XVIII: 148 Speak, Memory (Nabokov), III: 247–250, 252; Retro. Supp. I: 264, 265, 266, 267, 268, 277; Supp. XVI: 148 Speak, Memory (V. Nabakov), Supp. XVII: 47 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 for Ourselves: American Ethnic Writing (Faderman and Bradshaw, eds.), Supp. XIII: 313 Speaking of Accidents (Everwine), Supp. XV: 75, 88 “Speaking of Accidents” (Everwine), Supp. XV: 88–89 “Speaking of Counterweights” (White), Supp. I Part 2: 669

Speaking of Literature and Society (Trilling), Supp. III Part 2: 494, 496, 499 “Speaking of Love” (Gioia), Supp. XV: 124–125 Speaking on Stage (Kolin and Kullman, eds.), Supp. IX: 145 Speaking on Stage: Interviews with Contemporary American Playwrights (Balakian), Supp. XV: 327 “Speaking Passions” (Kitchen), Supp. XV: 215 Speak What We Feel (Not What We Ought to Say): Reflections on Literature and Faith (Buechner), Supp. XII: 57 Spear, Roberta, Supp. V: 180; Supp. XV: 73 “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 Providence, A (Yates), Supp. XI: 342, 344–345 “Special Time, a Special School, A” (Knowles), Supp. XII: 236 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 Bird, The (Stegner), Supp. IV Part 2: 599, 604, 606, 611–612 Spector, Robert, Supp. XIII: 87 Spectra: A Book of Poetic Experiments (Bynner and Ficke), Supp. XV: 43 “Spectre Bridegroom, The” (Irving), II: 304 “Spectre Pig, The” (Holmes), Supp. I Part 1: 302 “Speculating Woman” (X. J. Kennedy), Supp. XV: 168 “Speech Sounds” (O. Butler), Supp. XIII: 61, 70 “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 Speedboat (Adler), Supp. X: 171 Speed of Darkness, The (Rukeyser), Supp. VI: 274, 281 Speed-the-Plow (Mamet), Supp. XIV: 241, 246, 249, 250, 251 Speilberg, Steven, Supp. XI: 234 Speirs, Logan, Supp. XIX: 282 “Spell” (Francis), Supp. IX: 87 “Spell, The” (Peacock), Supp. XIX: 198, 200 Spelling Dictionary, A (Rowson), Supp. XV: 244 Spence, Thomas, Supp. I Part 2: 518

510 / AMERICAN WRITERS Spence + Lila (Mason), Supp. VIII: 133, 143–145 Spencer, Edward, Supp. I Part 1: 357, 360 Spencer, Herbert, I: 515; II: 345, 462– 463, 480, 483, 536; III: 102, 315; IV: 135; Retro. Supp. II: 60, 65, 93, 98; Supp. I Part 1: 368; Supp. I Part 2: 635 Spencer, Sharon, Supp. X: 185, 186, 195, 196 Spencer, Theodore, I: 433; Supp. III Part 1: 2 Spender, Natasha, Supp. IV Part 1: 119, 127, 134 Spender, Stephen, II: 371; III: 504, 527; Retro. Supp. I: 216; Retro. Supp. II: 243, 244; Supp. I Part 2: 536; Supp. II Part 1: 11; Supp. IV Part 1: 82, 134; Supp. IV Part 2: 440; Supp. X: 116 Spengler, Oswald, I: 255, 270; II: 7, 577; III: 172, 176; Retro. Supp. II: 324; 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; Supp. I 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” (Ríos), 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 Heart, The” (Peacock), Supp. XIX: 200 “Spiders” (Schwartz), Supp. II Part 2: 665 Spider’s House, The (Bowles), Supp. IV Part 1: 87–89, 90, 91 Spider Woman’s Granddaughters: Traditional Tales and Contemporary Writing by Native American Women (Gunn Allen, ed.), Supp. IV Part 1: 320, 326, 332–333; Supp. IV Part 2: 567 Spiegel, Sam, Supp. XVIII: 251, 252 Spiegelman, Art, Supp. XVII: 48 Spiegelman, Willard, Supp. XI: 126 Spillane, Mickey, Supp. IV Part 2: 469, 472; Supp. XV: 200; Supp. XVIII: 236, 237 Spiller, Robert E., I: 241; Supp. I Part 1: 104 “Spillikins: Gregor Mendel at the Table” (Bierds), Supp. XVII: 34–35 Spillway (Barnes), Supp. III 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; Retro. Supp. II: 300; Supp. I Part 1: 274; Supp. I Part 2: 643; Supp. XVI: 184 “Spinoza of Market Street, The” (Singer), IV: 12–13; Retro. Supp. II: 307 “Spinster” (Plath), Supp. I Part 2: 536 “Spinster’s Tale, A” (Taylor), Supp. V: 314–315, 316–317, 319, 323 Spiral of Memory, The: Interviews (Coltelli, ed.), Supp. XII: 215 Spires, Elizabeth, Supp. X: 8 “Spire Song” (Bowles), Supp. IV Part 1: 80 Spirit and the Flesh, The: Sexual Diversity in American Indian Culture (W. L. 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 in Me, The” (Hoffman), Supp. XVIII: 87 Spirit of Culver (West), IV: 287 Spirit of Labor, The (Hapgood), Supp. XVII: 96, 99, 101–102 Spirit of Romance, The (Pound), III: 470; Retro. Supp. I: 286 Spirit of the Ghetto, The: Studies of the Jewish Quarter of New York (Hapgood), Supp. XVII: 96, 101, 103, 106 Spirit of Youth and the City Streets, The (Addams), Supp. I Part 1: 6–7, 12– 13, 16, 17, 19 “Spirits” (Bausch), Supp. VII: 46–47 Spirits, and Other Stories (Bausch), Supp. VII: 46–47, 54 “Spirit Says, You Are Nothing, The” (Levis), Supp. XI: 265–266 Spiritual Conflict, The (Scupoli), IV: 156 Spiritual Exercises, The (Loyola), IV: 151; Supp. XI: 162 “Spiritual Manifestation, A” (Whittier), Supp. I Part 2: 699 “Spirituals and Neo-Spirituals” (Hurston), Supp. VI: 152–153 Spits, Ellen Handler, Supp. XII: 166 “Spitzbergen Tales” (Crane), I: 409, 415, 423 Spitzer, Philip, Supp. XIV: 21 “Spleen” (Eliot), I: 569, 573–574 Spleen de Paris, Le (Baudelaire), Supp. XIV: 337 Splendid Drunken Twenties, The (Van Vechten), Supp. II Part 2: 739–744 “Splinters” (Bukiet), Supp. XVII: 47 “Splitting an Order” (Kooser), Supp. XIX: 128–129 “Splittings” (Rich), Supp. I Part 2: 570– 571 “Splitting Wood at Six Above” (Kumin), Supp. IV Part 2: 449 Spofford, Harriet Prescott, Supp. XIII: 143 Spoils of Poynton, The (James), I: 463; Retro. Supp. I: 229–230 Spoken Page, The (Nye), Supp. XIII: 274 “Spokes” (Auster), Supp. XII: 23

Spokesmen (Whipple), II: 456 Spook Sonata, The (Strindberg), III: 387, 392 Spooky Art, The: A Book about Writing (Mailer), Retro. Supp. II: 214 “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; Supp. XIV: 282–283; Supp. XIX: 121 Sport and a Pastime, A (Salter), Supp. IX: 254–257; Supp. XVI: 237 Sporting Club, The (McGuane), Supp. VIII: 43 Sport of the Gods, The (Dunbar), Supp. II Part 1: 193, 200, 207, 214–217 Sports Illustrated Training with Weights (Parker and Marsh), Supp. XIX: 187 “Sportsman Born and Bred, A” (Plimpton), Supp. XVI: 241 Sportsman’s Sketches, A (Turgenev), I: 106; IV: 277 Sportswriter, The (Ford), Supp. V: 57, 58, 62–67 “Spotted Horses” (Faulkner), IV: 260 Sprague, Morteza, Retro. Supp. II: 115 Spratling, William, II: 56; Retro. Supp. I: 80 Sprawl trilogy (W. Gibson), Supp. XVI: 117, 122, 124 “Spray, The” (Lethem), Supp. XVIII: 148 “Spray Paint King, The” (Dove), Supp. IV Part 1: 252–253 Spreading Fires (Knowles), Supp. XII: 249 Sprigge, Elizabeth, IV: 31 “Spring” (Kooser), Supp. XIX: 126 “Spring” (Millay), III: 126 “Spring” (Mora), Supp. XIII: 217 “Spring 1967” (Carruth), Supp. XVI: 55 Spring and All (W. C. Williams), Retro. Supp. I: 412, 418, 418–420, 427, 430, 431 “Spring and All” (W. C. Williams), Retro. Supp. I: 419 “Spring Break-Up” (Carruth), Supp. XVI: 56 “Spring Bulletin” (Allen), Supp. XV: 15 Springer’s Progress (Markson), Supp. XVII: 141–142, 143, 146 “Spring Evening” (Farrell), II: 45 “Spring Evening” (Kenyon), Supp. VII: 173 “Springfield Magical” (Lindsay), Supp. I Part 2: 379 Spring in New Hampshire and Other Poems (McKay), Supp. X: 131, 135 “Spring Notes from Robin Hill” (Carruth), Supp. XVI: 48 “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 Springsteen, Bruce, Supp. VIII: 143

CUMULATIVE INDEX / 511 “Spring Strains” (W. C. Williams), Retro. Supp. I: 416 Spring Tides (Morison), Supp. I Part 2: 494 Springtime and Harvest (Sinclair), Supp. V: 280 “Springtime for You” (Halliday), Supp. XIX: 87 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 Spurr, David, Supp. XV: 183 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 Spyglass Tree, The (Murray), Supp. XIX: 155–156 Spy in the House of Love, A (Nin), Supp. X: 186 Squanto, Supp. I Part 2: 486 “Square Business” (Baraka), Supp. II Part 1: 49 Square Root of Wonderful, The (McCullers), II: 587–588 “Squash in Blossom” (Francis), Supp. IX: 81 “Squatter on Company Land, The” (Hugo), Supp. VI: 133 “Squatter’s Children” (Bishop), Retro. Supp. II: 47 “Squeak, Memory” (Bukiet), Supp. XVII: 47 Squeeze Play (Auster), Supp. XII: 21 Squires, Radcliffe, IV: 127; Supp. XV: 118 Squirrels (Mamet), Supp. XIV: 240 S.S. Gliencairn (O’ Neill), III: 387, 388, 405 S.S. San Pedro (Cozzens), I: 360–362, 370, 378, 379 “Ssshh” (Olds), Supp. X: 215 “Stacking the Straw” (Clampitt), Supp. IX: 41 Stade, George, Supp. IV Part 1: 286 Staël, Madame de, II: 298 “Staff of Life, The” (H. Miller), III: 187 Stafford, Jean, II: 537; Retro. Supp. II: 177; Supp. V: 316 Stafford, William, Supp. IV Part 1: 72; Supp. IV Part 2: 642; Supp. IX: 273; Supp. XI: 311–332; Supp. XIII: 76, 274, 276, 277, 281, 283; Supp. XIV: 119, 123 “Stage All Blood, The” (MacLeish), III: 18 “Staggerlee Wonders” (Baldwin), Retro. Supp. II: 15 Stained White Radiance, A (Burke), Supp. XIV: 28, 31 Stalin, Joseph, I: 261, 490; II: 39, 40, 49, 564; III: 30, 298; IV: 372; Supp. V: 290

“Stalking the Billion-Footed Beast: A Literary Manifesto for the New Social Novel” (Wolfe), Supp. III Part 2: 586 Stallman, R. W., I: 405 Stamberg, Susan, Supp. IV Part 1: 201; Supp. XII: 193 Stamford, Anne Marie, Supp. XII: 162 Stanard, Mrs. Jane, III: 410, 413 Stand, The (King), Supp. V: 139, 140– 141, 144–146, 148, 152 “Standard of Liberty, The” (Rowson), Supp. XV: 243 “Standard of Living, The” (Parker), Supp. IX: 198–199 Stander, Lionel, Supp. I Part 1: 289 “Standing and the Waiting, The” (M. F. K. Fisher), Supp. XVII: 83 Standing by Words (Berry), Supp. X: 22, 27, 28, 31, 32, 33, 35 Standing Fast (Swados), Supp. XIX: 268–269 “Standing Halfway Home” (Wagoner), Supp. IX: 324 “Standing In” (Caputo), Supp. XIX: 26 Stand in the Mountains, A (Taylor), Supp. V: 324 Standish, Burt L. (pseudonym). See Patten, Gilbert Standish, Miles, I: 471; II: 502–503 Standley, Fred L., Retro. Supp. II: 6 Stand Still Like the Hummingbird (H. Miller), III: 184 “Stand Up” (Salinas), Supp. XIII: 315 Stand with Me Here (Francis), Supp. IX: 76 Stanford, Ann, Retro. Supp. I: 41; Supp. I Part 1: 99, 100, 102, 103, 106, 108, 109, 113, 117; Supp. IV Part 2: 637 Stanford, Donald E., II: 217 Stanford, Frank, Supp. XV: 338, 339, 341, 342–343, 343, 345, 348, 350 Stanford, Ginny (Crouch), Supp. XV: 339 Stanford, Leland, I: 196, 198 Stanislavsky, Konstantin, Supp. XIV: 240, 243 Stanley, Jodee, Supp. XIX: 52 “Stanley Kunitz” (Oliver), Supp. VII: 237 Stansell, Christine, Supp. XVII: 106 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. III Part 1: 13 Staples, Hugh, Retro. Supp. II: 187 Star, Alexander, Supp. X: 310 Starbuck, George, Retro. Supp. II: 53, 245; Supp. I Part 2: 538; Supp. IV Part 2: 440; Supp. XIII: 76 Star Child (Gunn Allen), Supp. IV Part 1: 324 “Star Dust” (Wrigley), Supp. XVIII: 296 Stardust Memories (film; Allen), Supp. XV: 1, 4, 8, 9, 13 “Stare, The” (Updike), Retro. Supp. I: 329 “Starfish, The” (R. Bly), Supp. IV Part 1: 72

“Staring at the Sea on the Day of the Death of Another” (Swenson), Supp. IV Part 2: 652 Star Is Born, A (film), Supp. IV Part 1: 198; Supp. IX: 198; Supp. XVIII: 242, 243 Stark, David, Supp. XII: 202 “Stark Boughs on the Family Tree” (Oliver), Supp. VII: 232 Starke, Aubrey Harrison, Supp. I Part 1: 350, 352, 356, 360, 362, 365, 370, 371 Starkey, David, Supp. XII: 180, 181 “Starlight” (Levine), Supp. V: 188 “Starlight Scope Myopia” (Komunyakaa), Supp. XIII: 123, 124 Starnino, Carmine, Supp. XVII: 74 “Star of the Nativity” (Brodsky), Supp. VIII: 33 Starr, Ellen Gates, Supp. I Part 1: 4, 5, 11 Starr, Jean. See Untermeyer, Jean Starr Starr, Ringo, Supp. XI: 309 Star Rover, The (London), II: 467 “Starry Night, The” (Sexton), Supp. II Part 2: 681 “Stars” (Frost), II: 153 Stars, the Snow, the Fire, The: Twentyfive Years in the Northern Wilderness (Haines), Supp. XII: 199–201, 206, 209 Star Shines over Mt. Morris Park, A (H. Roth), Supp. IX: 227, 236, 236–237 “Stars of the Summer Night” (Longfellow), II: 493 “Stars over Harlem” (Hughes), Retro. Supp. I: 207 “Star-Spangled” (García), Supp. XI: 177, 178 Star-Spangled Girl, The (Simon), Supp. IV Part 2: 579 “Star-Splitter, The” (Frost), Retro. Supp. I: 123, 133 Stars Principal (McClatchy), Supp. XII: 256–258 “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 “Starving Again” (Moore), Supp. X: 163, 172, 175 “State, The” (Bourne), I: 233 State and Main (Mamet), Supp. XIV: 241 “Statement of Principles” (Ransom), III: 496 “Statement: Phillipa Allen” (Rukeyser), Supp. VI: 283–284 “Statements on Poetics” (Snyder), Supp. VIII: 291, 292 “Statement with Rhymes” (Kees), Supp. XV: 139 “State of the Art, The” (Elkin), Supp. VI: 52 “State of the Arts, The” (Wasserstein), Supp. XV: 332 State of the Nation (Dos Passos), I: 489

512 / AMERICAN WRITERS “State of the Union” (Vidal), Supp. IV Part 2: 678 Static Element, The: Selected Poems of Natan Zach (Everwine, trans.), Supp. XV: 73, 75, 85–88 “Statue, The” (Berryman), I: 173 “Statue and Birds” (Bogan), Supp. III Part 1: 50 “Statue of an Unkown Soldier, The” (Kooser), Supp. XIX: 124 “Statues, The” (Schwartz), Supp. II Part 2: 654, 659 “Status Rerum” (Pound), Supp. I Part 1: 257 Stavans, Ilan, Supp. XI: 190 “Staying Alive” (Levertov), Supp. III Part 1: 281 Staying Alive (Wagoner), Supp. IX: 324, 326 “Staying at Ed’s Place” (Swenson), Supp. IV Part 2: 648 Staying Put : Making a Home in a Restless World (Sanders), Supp. XVI: 274–275 Stay Me, Oh Comfort Me: Journals and Stories, 1933–1941 (M. F. K. Fisher), Supp. XVII: 92 Stayton, Richard, Supp. IX: 133 Steadman, Goodman, IV: 147 “Steak” (Snyder), Supp. VIII: 301 Steal Away: Selected and New Poems (Wright), Supp. XV: 337, 340, 348, 350–351 Stealing Beauty (Minot), Supp. VI: 205 Stealing Glimpses (McQuade), Supp. IX: 151 Stealing the Language: The Emergence of Women’s Poetry in America (Ostriker), Supp. XV: 251 “Stealing the Thunder: Future Visions for American Indian Women, Tribes, and Literary Studies” (Gunn Allen), Supp. IV Part 1: 331 “Steam Shovel Cut” (Masters), Supp. I Part 2: 468 Stearns, Harold, I: 245; Supp. XVII: 106 Stedman, Edmund Clarence, Supp. I Part 1: 372; Supp. II Part 1: 192; Supp. XV: 115, 269, 273, 274, 282, 286 Steel, Sharon, Supp. XIX: 61 Steele, Max, Supp. XIV: 82 Steele, Sir Richard, I: 378; II: 105, 107, 300; III: 430 Steele, Timothy, Supp. XV: 251; Supp. XVII: 112 Steenburgen, Mary, Supp. IV Part 1: 236 Steeple Bush (Frost), II: 155; Retro. Supp. I: 140; Retro. Supp. II: 42 “Steeple-Jack, The” (Moore), III: 212, 213, 215 “Steerage” (Goldbarth), Supp. XII: 187 Steers, Nina, Retro. Supp. II: 25 Steffens, Lincoln, II: 577; III: 580; Retro. Supp. I: 202; Retro. Supp. II: 101; Supp. I Part 1: 7; Supp. XVII: 98, 101, 106–107 Stegner, Page, IV: 114, 116; Supp. IV Part 2: 599

Stegner, Wallace, Supp. IV Part 2: 595– 618; Supp. V: 220, 224, 296; Supp. X: 23, 24; Supp. XIV: 82, 193, 230, 233; Supp. XVIII: 192 “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 Steiger, Rod, Supp. XI: 305 Stein, Gertrude, I: 103, 105, 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; Retro. Supp. II: 85, 207, 326, 331; Supp. I Part 1: 292; Supp. III Part 1: 13, 37, 225, 226; Supp. III Part 2: 626; Supp. IV Part 1: 11, 79, 80, 81, 322; Supp. IV Part 2: 468; Supp. V: 53; Supp. IX: 55, 57, 62, 66; Supp. XII: 1, 139; Supp. XIV: 336; Supp. XVI: 187; Supp. XVII: 98, 105, 107; Supp. XVIII: 148 Stein, Jean, Supp. XVI: 245 Stein, Karen F., Supp. XIII: 29, 30 Stein, Leo, IV: 26; Supp. XIV: 336; Supp. XV: 298 Stein, Lorin, Supp. XII: 254; Supp. XVIII: 137, 139 Steinbeck, John, I: 107, 288, 301, 378, 495, 519; II: 272; III: 382, 453, 454, 589; IV: 49–72; Retro. Supp. II: 19, 196; Supp. IV Part 1: 102, 225; Supp. IV Part 2: 502; Supp. V: 290, 291; Supp. VIII: 10; Supp. IX: 33, 171; Supp. XI: 169; Supp. XIII: 1, 17; Supp. XIV: 21, 181; Supp. XVII: 228; Supp. XVIII: 90, 102, 254; Supp. XIX: 3 Steinbeck, Olive Hamilton, IV: 51 Steinberg, Saul, Supp. VIII: 272 Steinberg, Sybil, Supp. XVII: 165, 166 Steinem, Gloria, Supp. IV Part 1: 203 Steiner, George, Retro. Supp. I: 327; Supp. IV Part 1: 286; Supp. XVI: 230 Steiner, Nancy, Supp. I Part 2: 529 Steiner, Stan, Supp. IV Part 2: 505 Steinfels, Margaret, Supp. XVII: 170 Steinhoff, Eirik, Supp. XVI: 290 Steinman, Michael, Supp. VIII: 172 Steinmetz, Charles Proteus, I: 483 Steinway Quintet Plus Four, The (Epstein), Supp. XII: 159, 162–166 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 Stendhal, I: 316; III: 465, 467; Supp. I Part 1: 293; Supp. I Part 2: 445 Stepanchev, Stephen, Supp. XI: 312 Stephen, Leslie, IV: 440 Stephen, Saint, II: 539; IV: 228

Stephen, Sir Leslie, IV: 440; Supp. I Part 1: 306 Stephen Crane (Berryman), I: 169–170, 405 Stephen King, The Second Decade: “Danse Macabre” to “The Dark Half” (Magistrale), Supp. V: 138, 146, 151 Stephen King: The Art of Darkness (Winter), Supp. V: 144 Stephens, Jack, Supp. X: 11, 14, 15, 17 Stephens, James, Supp. XIX: 204 Stephenson, Gregory, Supp. XII: 120, 123 “Stepping Out” (Dunn), Supp. XI: 140, 141 Steps (Kosinski), Supp. VII: 215, 221– 222, 225 “Steps” (Nye), Supp. XIII: 288 Steps to the Temple (Crashaw), IV: 145 “Steps Toward Poverty and Death” (R. Bly), Supp. IV Part 1: 60 Stepto, Robert B., Retro. Supp. II: 116, 120, 123 Sterile Cuckoo, The (Nichols), Supp. XIII: 258, 259–263, 264 Sterling, Bruce, Supp. XVI: 118, 121, 123, 124, 128–129 Sterling, George, I: 199, 207, 208, 209; II: 440; Supp. V: 286 Stern, Bernhard J., Supp. XIV: 202, 213 Stern, Daniel, Supp. VIII: 238 Stern, Frederick C., Supp. X: 114, 115, 117 Stern, Gerald, Supp. IX: 285–303; Supp. XI: 139, 267; Supp. XV: 211, 212 Stern, Madeleine B., Supp. I Part 1: 35 Stern, Maurice, IV: 285 Stern, Philip Van Doren, Supp. XIII: 164 Stern, Richard, Retro. Supp. II: 291 Stern, Richard G., Retro. Supp. II: 204 Stern, Steven, Supp. XVII: 42, 48, 49 “Sterne” (Schwartz), Supp. II Part 2: 663 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; Supp. X: 324; Supp. XV: 232 Sterritt, David, Supp. IV Part 2: 574 Stetson, Caleb, IV: 178 Stetson, Charles Walter, Supp. XI: 195, 196, 197, 202, 204, 209 Steve Nelson, American Radical (Nelson), Supp. XVIII: 226 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, 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; Retro. Supp. II: 40, 44, 326; Supp. I Part 1: 80, 82, 257; Supp. II Part 1: 9, 18; Supp. III Part 1: 2, 3, 12, 20, 48, 239, 318, 319, 344; Supp. III Part 2: 611; Supp. IV Part 1: 72, 393; Supp. IV Part 2: 619,

CUMULATIVE INDEX / 513 620, 621, 634; Supp. V: 337; Supp. VIII: 21, 102, 195, 271, 292; Supp. IX: 41; Supp. X: 58; Supp. XI: 123, 191, 312; Supp. XIII: 44, 45; Supp. XV: 39, 41, 92, 115, 250, 261, 298, 302, 306, 307; Supp. XVI: 64, 158, 202, 210, 288; Supp. XVII: 36, 42, 110, 129, 130, 240, 241; Supp. XIX: 7, 40, 86, 87 “Stevens and the Idea of the Hero” (Bromwich), Retro. Supp. I: 305 Stevens and the Interpersonal (Halliday), Supp. XIX: 85–86 Stevenson, Adlai, II: 49; III: 581 Stevenson, Anne, Supp. XV: 121; Supp. XVII: 74 Stevenson, Burton E., Supp. XIV: 120 Stevenson, David, Supp. XI: 230 Stevenson, Robert Louis, I: 2, 53; II: 283, 290, 311, 338; III: 328; IV: 183– 184, 186, 187; 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; Supp. XIII: 75; Supp. XIV: 40; Supp. XVII: 69 Stevick, Robert D., III: 509 Stewart, Dugald, II: 8, 9; Supp. I Part 1: 151, 159; Supp. I Part 2: 422 Stewart, George, Supp. XVIII: 138 Stewart, Jeffrey C., Supp. XIV: 196, 209, 210 Stewart, Randall, II: 244 Stewart, Robert E., Supp. XI: 216 “St. Francis of Assisi” (Di Piero), Supp. XIX: 43 Stickeen (Muir), Supp. IX: 182 “Sticks and Stones” (L. Michaels), Supp. XVI: 205 Sticks and Stones (Mumford), Supp. II Part 2: 475, 483, 487–488 Sticks & Stones (Matthews), Supp. IX: 154, 155, 157, 158 Stieglitz, Alfred, Retro. Supp. I: 416; Retro. Supp. II: 103; Supp. VIII: 98; Supp. XVII: 96 “Stigmata” (Oates), Supp. II Part 2: 520 Stiles, Ezra, II: 108, 122; IV: 144, 146, 148 Still, William Grant, Retro. Supp. I: 203 “Stillborn” (Plath), Supp. I Part 2: 544 “Still Here” (Hughes), Retro. Supp. I: 211 “Still Just Writing” (Tyler), Supp. IV Part 2: 658 “Still Life” (Hecht), Supp. X: 68 “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 Life with Oysters and Lemon (Doty), Supp. XI: 119, 121, 133–134 Still Life with Woodpecker (Robbins), Supp. X: 260, 271–274, 282 “Still Moment, A” (Welty), IV: 265; Retro. Supp. I: 347 Stillness (Gardner), Supp. VI: 74

“Stillness in the Air” (Dickinson), Supp. XV: 261 Stillness of Dancing, The (Bierds), Supp. XVII: 27–28 “Still Small Voices, The” (Fante), Supp. XI: 164 Still Such (Salter), Supp. IX: 246 “Still the Place Where Creation Does Some Work on Itself” (Davis), Supp. IV Part 1: 68 Stimpson, Catharine R., Supp. IV Part 2: 686 Stimson, Eleanor Kenyon. See Brooks, Mrs. Van Wyck “Stimulants, Poultices, Goads” (Wright), Supp. XV: 349 “Stings” (Plath), Retro. Supp. II: 255; 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; Supp. IV Part 2: 628; Supp. IX: 152, 163, 291, 299; Supp. XI: 311, 317; Supp. XIII: 87; Supp. XV: 98, 99; Supp. XIX: 121 Stivers, Valerie, Supp. X: 311 St. John, David, Supp. XV: 73, 253 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; Supp. XV: 269–291 Stoddard, Richard, Supp. I Part 1: 372 Stoddard, Richard Henry, Supp. XV: 269, 271, 272, 273, 274, 278, 279, 286 Stoddard, Solomon, I: 545, 548; IV: 145, 148 Stoffman, Judy, Supp. XVIII: 97 Stoic, The (Dreiser), I: 497, 502, 508, 516; Retro. Supp. II: 95, 96, 101, 108 Stokes, Geoffrey, Supp. XV: 256 Stokes, Olivia Egleston Phelps, Supp. XVIII: 261 “Stolen Calf, The” (Dunbar), Supp. II Part 1: 196 Stolen Jew, The (Neugeboren), Supp. XVI: 222–224, 225 Stolen Past, A (Knowles), Supp. XII: 249 Stolen Words: Forays into the Origins and Ravages of Plagiarism (Mallon), Supp. XIX: 134–135 Stollman, Aryeh Lev, Supp. XVII: 49 Stolmar, Thomas, Supp. XVIII: 138 Stomping the Blues (Murray), Supp. XIX: 158–159 “Stone” (Ozick), Supp. XVII: 50 Stone, Edward, III: 479 Stone, I. F., Supp. XIV: 3 Stone, Irving, II: 463, 466, 467 Stone, Oliver, Supp. XIV: 48, 316 Stone, Phil, II: 55 Stone, Richard, Supp. XIV: 54 Stone, Robert, Supp. V: 295–312; Supp. X: 1; Supp. XIX: 54 Stone, Rosetta (pseudonym). See Geisel, Theodor Seuss (Dr. Seuss)

Stone, Wilmer, Supp. I Part 1: 49 Stone and the Shell, The (Hay), Supp. XIV: 122, 123, 127, 130 “Stone Bear, The” (Haines), Supp. XII: 206–207, 212 “Stone City” (Proulx), Supp. VII: 251– 253 Stone Country (Sanders), Supp. XVI: 271–272 Stone Diaries, The (Shields), Supp. VII: 307, 315, 324–326, 327 “Stone Dreams” (Kingsolver), Supp. VII: 203 Stone Harp, The (Haines), Supp. XII: 204, 205, 206, 207 Stonemason, The (McCarthy), Supp. VIII: 175, 187 “Stones” (Hoffman), Supp. XVIII: 86 “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 “Stone Walls” (Sarton), Supp. VIII: 259 “Stop” (Wilbur), Supp. III Part 2: 556 Stop-Loss (screenplay, Richard), Supp. XIX: 222 “Stop Me If You’ ve Heard This One” (Lardner), II: 433 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 “Stop Player. Joke No. 4” (Gaddis), Supp. IV Part 1: 280 Stop-Time (Conroy), Supp. XVI: 63–71, 72, 75, 76–77 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: Elizabeth Stoddard, Supp. XV: 270 “Stories for Sale” (Kolba), Supp. XVIII: 257 Stories for the Sixties (Yates, ed.), Supp. XI: 343 Stories from Our Living Past (Prose), Supp. XVI: 251 Stories from the Italian Poets (Hunt), Supp. XV: 175 Stories from the Old Testament Retold (L. P. Smith), Supp. XIV: 342 Stories from World Literature, Supp. IX: 4 “Stories in the Snow” (Leopold), Supp. XIV: 183 Stories of an Imaginary Childhood (Bukiet), Supp. XVII: 41–44, 45 Stories of F. Scott Fitzgerald, The (Cowley, ed.), Retro. Supp. I: 115

514 / AMERICAN WRITERS Stories of F. Scott Fitzgerald, The (Fitzgerald), II: 94 Stories of Modern America, Supp. IX: 4 Stories of Stephen Dixon, The (Dixon), Supp. XII: 152 Stories of the Spanish Civil War (Hemingway), II: 258 Stories Revived (James), II: 322 Stories that Could Be True (Stafford), Supp. XI: 325–327 Storm, The (Buechner), Supp. XII: 54–57 “Storm, The” (Chopin), Retro. Supp. II: 60, 68; 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” (Everwine), Supp. XV: 89 “Story, A” (Jarrell), II: 371 Story, Richard David, Supp. IV Part 2: 575, 588 “Story about Chicken Soup, A” (Simpson), Supp. IX: 272–273 “Story about the Anteater, The” (Benét), Supp. XI: 53 “Story About the Body, A” (Hass), Supp. VI: 107–108 “Story for Teddy, A” (Swados), Supp. XIX: 266–267 Story for Teddy, A—and Others (Swados), Supp. XIX: 266–268 “Story Hearer, The” (Paley), Supp. VI: 230, 231 “Story Hour” (Hay), Supp. XIV: 124 “Story Hour” (Jarman), Supp. XVII: 116 Story Hour: A Second Look at Cinderella, Bluebeard, and Company (Hay), Supp. XIV: 119, 124, 125, 132, 133 Story of a Country Town, The (Howe), I: 106 Story of a Lover, The (Hapgood), Supp. XVII: 99, 100, 104 Story of an American Family, The (N. Boyce), Supp. XVII: 97 “Story of an Hour, The” (Chopin), Retro. Supp. II: 72; Supp. I Part 1: 212– 213, 216 Story of a Novel, The (Wolfe), IV: 456, 458 “Story of a Proverb, The” (Lanier), Supp. I Part 1: 365 “Story of a Proverb, The: A Fairy Tale for Grown People” (Lanier), Supp. I Part 1: 365 Story of a Story and Other Stories, The: A Novel (Dixon), Supp. XII: 155 Story of a Wonder Man, The (Lardner), II: 433–434 “Story of a Year, The” (James), Retro. Supp. I: 218 Story of G.I. Joe, The (film, Wellman), Supp. XVII: 61, 62 “Story of Gus, The” (A. Miller), III: 147–148 “Story of How a Wall Stands, A” (Ortiz), Supp. IV Part 2: 499, 507

Story of Mount Desert Island, Maine, The (Morison), Supp. I Part 2: 494 Story of My Boyhood and Youth, The (Muir), Supp. IX: 172–174, 176 Story of My Father, The: A Memoir (Miller), Supp. XII: 301 Story of O, The (Réage), Supp. XII: 9, 10 Story of Our Lives, The (Strand), Supp. IV Part 2: 620, 628–629, 629 “Story of Poppy Van Buster, The” (Briggs), Supp. XVIII: 8 Story of the Normans, The, Told Chiefly in Relation to Their Conquest of England (Jewett), II: 406 Story of the Telegraph, The (Briggs, and Maverick), Supp. XVIII: 4 “Story of Toby, The” (Melville), III: 76 “Story of To-day, A” (Davis), Supp. XVI: 88, 89. See also Margret Howth Story of Utopias, The (Mumford), Supp. II Part 2: 475, 483–486, 495 Story of Wine in California, The (M. F. K. Fisher), Supp. XVII: 88 Story on Page One, The (Odets), Supp. II Part 2: 546 Storyteller (Silko), Supp. IV Part 2: 558, 559, 560, 561, 566–570 “Storyteller” (Silko), Supp. IV Part 2: 569 “Storyteller: Grandmother Spider’s Web” (Danielson), Supp. IV Part 2: 569 “Storyteller’s Notebook, A” (Carver), Supp. III Part 1: 142–143 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 “Story That Could Be True, A” (Stafford), Supp. XI: 326 “Stout Gentleman, The” (Irving), II: 309 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; Retro. Supp. II: 4, 138, 156; Supp. I Part 1: 30, 206, 301; Supp. I Part 2: 579–601; Supp. III Part 1: 154, 168, 171; Supp. IX: 33; Supp. X: 223, 246, 249, 250; Supp. XI: 193; Supp. XIII: 141, 295; Supp. XV: 278; Supp. XVI: 82, 85 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; Supp. XIV: 342; Supp. XVI: 191 “Stradivari” (Bierds), Supp. XVII: 28 Straight Cut (Bell), Supp. X: 5, 6–7, 10 Straight Man (Russo), Supp. XII: 335– 339, 340 Straits: Poems (Koch), Supp. XV: 184 Strand, Mark, Supp. IV Part 2: 619–636; Supp. V: 92, 332, 337, 338, 343;

Supp. IX: 155; Supp. XI: 139, 145; Supp. XII: 254; Supp. XIII: 76; Supp. XV: 74 Strand, Paul, Supp. VIII: 272 Strandberg, Victor, Supp. V: 273 “Strange Beautiful Woman, A” (Nelson), Supp. XVIII: 173 Strange Case of Dr. Jekyll and Mr. Hyde, The (Stevenson), II: 290 Strange Children, The (Gordon), II: 196, 197, 199, 211–213 Strange Fire (Bukiet), Supp. XVII: 46 “Strange Fruit” (Harjo), Supp. XII: 224, 225 “Strange Fruit” (song), Supp. I Part 1: 80; Supp. XVIII: 228 Strange Interlude (O’ Neill), III: 391, 397–398; IV: 61 Stranger, The (Camus), I: 53, 292; Supp. VIII: 11; Supp. XV: 352 “Stranger, The” (Rich), Supp. I Part 2: 555, 560 “Stranger, The” (Salinger), III: 552–553 “Stranger in My Own Life, A: Alienation in American Indian Poetry and Prose” (Gunn Allen), Supp. IV Part 1: 322 “Stranger in the Village” (Baldwin), Retro. Supp. II: 3; 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 and Wayfarers (Jewett), Retro. Supp. II: 138 “Strangers from the Horizon” (Merwin), Supp. III Part 1: 356 Strangers on a Train (Highsmith), Supp. IV Part 1: 132 “Strange Story, A” (Taylor), Supp. V: 323 “Strange Story, A” (Wylie), Supp. I Part 2: 723 Strange Things (Atwood), Supp. XIII: 35 “Strato in Plaster” (Merrill), Supp. III Part 1: 328 Straus, Ralph, Supp. XIII: 168 Straus, Roger, Supp. VIII: 82; Supp. XV: 59 Strauss, Harold, Supp. XV: 137 Strauss, Johann, I: 66 Strauss, Richard, IV: 316 Strauss, Robert, Supp. XI: 141, 142 Stravinsky (De Schloezer), III: 474 Stravinsky, Igor, Retro. Supp. I: 378; Supp. IV Part 1: 81; Supp. XI: 133; Supp. XV: 265 “Stravinsky’s Three Pieces ‘Grotesques,’ for String Quartet” (Lowell), II: 523 Straw, The (O’ Neill), III: 390 “Strawberry Milkshake” (Halliday), Supp. XIX: 92, 94 “Stray Document, A” (Pound), II: 517 “Strays” (Richard), Supp. XIX: 210–211, 220 Streaks of the Tulip, The: Selected Criticism (W. J. Smith), Supp. XIII: 333, 334, 344, 347–348 Streamline Your Mind (Mursell), Supp. I Part 2: 608

CUMULATIVE INDEX / 515 “Street, Cloud” (Ríos), Supp. IV Part 2: 549 Street, The (Petry), Supp. XVIII: 286 Streetcar Named Desire, A (T. Williams), IV: 382, 383, 385, 386, 387, 389–390, 395, 398; Supp. IV Part 1: 359 Street in Bronzeville, A (Brooks), Retro. Supp. I: 208; Supp. III Part 1: 74–78 “Street Moths” (X. J. Kennedy), Supp. XV: 170 “Street Musicians” (Ashbery), Supp. III Part 1: 18 “Street off Sunset, A” (Jarrell), II: 387 “Streets” (Dixon), Supp. XII: 145–146 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 Passos), I: 478, 479–480, 481, 488 Streitfield, David, Supp. XIII: 234; Supp. XVI: 63 Strength of Fields, The (Dickey), Supp. IV Part 1: 178 “Strength of Fields, The” (Dickey), Supp. IV Part 1: 176, 184–185 “Strength of Gideon, The” (Dunbar), Supp. II Part 1: 212 Strength of Gideon and Other Stories, The (Dunbar), Supp. II Part 1: 211, 212 “Strenuous Artistry” (Zagarell), Supp. XV: 281 Strether, Lambert, II: 313 Stribling, T. S., Supp. VIII: 126 Strickland, Barbara, Supp. XIX: 102 Strickland, Joe (pseudonym). See Arnold, George W. “Strictly Bucolic” (Simic), Supp. VIII: 278 Strictly Business (O. Henry), Supp. II Part 1: 410 “Strike, The” (Olsen), Supp. XIII: 292, 297 “Strikers” (Untermeyer), Supp. XV: 296 Strindberg, August, I: 78; III: 145, 165, 387, 390, 391, 392, 393; IV: 17; Supp. XVII: 100 “String, The” (Dickey), Supp. IV Part 1: 179 String Light (Wright), Supp. XV: 345– 346 “String Quartet, The” (Weigl), Supp. XIX: 278 “Strivings of the Negro People” (Du Bois), Supp. II Part 1: 167 Stroby, W. C., Supp. XIV: 26 Strohbach, Hermann, Supp. XI: 242 “Stroke of Good Fortune, A” (O’ Connor), III: 344; Retro. Supp. II: 229, 232 Strom, Stephen, Supp. XII: 223 Strong, Anna Louise, Supp. XVIII: 238 Strong, George Templeton, IV: 321 Strong, Josiah, Supp. XIV: 64 “Strong Draughts of Their Refreshing Minds” (Dickinson), Retro. Supp. I: 46

Strong Opinions (Nabokov), Retro. Supp. I: 263, 266, 270, 276 “Strong Women” (Dorman), Supp. XI: 240 Strout, Elizabeth, Supp. X: 86 Structure of Nations and Empires, The (Niebuhr), III: 292, 308 “Structure of Rime, The” (Duncan), Supp. XVI: 287 Struggle, The (film; Griffith), Supp. XVI: 191 “Strumpet Song” (Plath), Retro. Supp. II: 246; Supp. I Part 2: 536 Strunk, William, Supp. I Part 2: 652, 662, 670, 671, 672 Strunsky, Anna, II: 465 “Strut for Roethke, A” (Berryman), I: 188 Strychacz, Thomas F., Supp. XVI: 69–70 Stuart, Dabney, Supp. XVIII: 79 Stuart, Gilbert, I: 16 Stuart, J. E. B., III: 56 Stuart, Michael, Supp. XV: 140 Stuart Little (White), Supp. I Part 2: 655–658 “Student, The” (Moore), III: 212, 215 “Student of Salmanaca, The” (Irving), II: 309 “Student’s Wife, The” (Carver), Supp. III Part 1: 141 Studies in American Indian Literature: Critical Essays and Course Designs (Gunn Allen), Supp. IV Part 1: 324, 333 Studies in Classic American Literature (Lawrence), II: 102; III: 33; IV: 333; Retro. Supp. I: 421 Studies in Short Fiction (Malin), Supp. XVI: 71 “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, Supp. X: 182, 184, 185, 187 Stultifera Navis (Brant), III: 447 Sturak, John Thomas, Supp. XIII: 162, 163, 165, 168 Sturgeon, Theodore, Supp. XVIII: 145 Sturgis, George, III: 600 Sturgis, Howard, IV: 319; Retro. Supp. I: 367, 373 Sturgis, Susan, III: 600 Sturm, Margaret. See Millar, Margaret Stuttaford, Genevieve, Supp. IX: 279 Stuyvesant, Peter, II: 301 “Style” (Nemerov), III: 275 Styles of Radical Will (Sontag), Supp. III Part 2: 451, 459, 460–463 “Stylist, The” (Egan), Supp. XIX: 51, 52 Styne, Jule, Supp. XVI: 193

Styron, William, III: 40; IV: 4, 97–119, 216; Supp. V: 201; Supp. IX: 208; Supp. X: 15–16, 250; Supp. XI: 229, 231, 343; Supp. XIV: 82; Supp. XVI: 235–236 Suares, J. C., Supp. IV Part 1: 234 Suarez, Ernest, Supp. IV Part 1: 175; Supp. V: 180 “Sub, The” (Dixon), Supp. XII: 146 Subjection of Women, The (Mill), Supp. XI: 196, 203 “Subjective Necessity for Social Settlements” (Addams), Supp. I Part 1: 4 “Subject of Childhood, A” (Paley), Supp. VI: 221 “Submarginalia” (Howe), Supp. IV Part 2: 422 Substance and Shadow (James), II: 344 “Subterranean Homesick Blues” (song, Dylan), Supp. XVIII: 25 Subterraneans, The (Kerouac), Supp. III Part 1: 225, 227–231 “Subtitle” (Kees), Supp. XV: 139 Subtreasury of American Humor, A (White and White), Supp. I Part 2: 668 “Suburban Culture, Imaginative Wonder: The Fiction of Frederick Barthelme” (Brinkmeyer), Supp. XI: 38 Suburban Sketches (Howells), II: 274, 277 “Subversive Element, The” (Ryan as Quin), Supp. XVIII: 230 “Subverted Flower, The” (Frost), Retro. Supp. I: 139 “Subway, The” (Tate), IV: 128 “Subway Singer, The” (Clampitt), Supp. IX: 45 “Success” (Mora), Supp. XIII: 217 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 “Success is counted sweetest” (Dickinson), Retro. Supp. I: 30, 31– 32, 38; Supp. XV: 126 Success Stories (Banks), Supp. V: 14–15 “Success Story” (Banks), Supp. V: 15 “Such Counsels You Gave to Me” (Jeffers), Supp. II Part 2: 433 Such Silence (Milburn), Supp. XI: 242 “Such Things Happen Only in Books” (Wilder), IV: 365 Suddenly, Last Summer (film) (Vidal), Supp. IV Part 2: 683 Suddenly Last Summer (T. Williams), I: 73; IV: 382, 383, 385, 386, 387, 389, 390, 391, 392, 395–396, 397, 398 Suder (Everett), Supp. XVIII: 54–55 Sudermann, Hermann, I: 66 Sugg, Richard P., Supp. IV Part 1: 68 “Suggestion from a Friend” (Kenyon), Supp. VII: 171 “Suicide” (Barnes), Supp. III Part 1: 33 “Suicide off Egg Rock” (Plath), Supp. I Part 2: 529, 538 Suicides and Jazzers (Carruth), Supp. XVI: 46

516 / AMERICAN WRITERS “Suicide’s Note” (Hughes), Retro. Supp. I: 199 “Suitable Surroundings, The” (Bierce), I: 203 “Suitcase, The” (Ozick), Supp. V: 262, 264 “Suite for Augustus, A” (Dove), Supp. IV Part 1: 245 “Suite for Lord Timothy Dexter” (Rukeyser), Supp. VI: 283, 285 “Suite from the Firebird” (Stravinsky), Supp. XI: 133 “Suitor, The” (Kenyon), Supp. VII: 164– 165 Sukarno, IV: 490 Sukenick, Ronald, Supp. V: 39, 44, 46; Supp. XII: 139 Sula (Morrison), Supp. III Part 1: 362, 364, 367, 368, 379; Supp. VIII: 219 Sullivan, Andrew, Supp. IX: 135 Sullivan, Frank, Supp. IX: 201 Sullivan, Harry Stack, I: 59 Sullivan, Jack, Supp. X: 86; Supp. XII: 331 Sullivan, Noel, Retro. Supp. I: 202; Supp. I Part 1: 329, 333 Sullivan, Richard, Supp. VIII: 124 Sullivan, Walter, Supp. VIII: 168 “Sullivan County Sketches” (Crane), I: 407, 421 “Sumach and Goldenrod: An American Idyll” (Mumford), Supp. II Part 2: 475 Suma Genji (Play), III: 466 Sumerian Vistas (Ammons), Supp. VII: 34, 35 “Summa Lyrica” (Grossman), Supp. XIX: 86 “Summer” (Emerson), II: 10 Summer (Gioia), Supp. XV: 117 “Summer” (Lowell), II: 554 Summer (Wharton), IV: 317; Retro. Supp. I: 360, 367, 374, 378–379, 382 Summer, Bob, Supp. X: 1, 5, 6, 42 Summer and Smoke (T. 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 “Summer Night, A” (Auden), Supp. II Part 1: 8 “Summer Night—Broadway” (Untermeyer), Supp. XV: 296 “Summer Noon: 1941” (Winters), Supp. II Part 2: 811 “Summer of ‘82” (Merwin), Supp. III 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. III Part 1: 325–326 “Summer Perdu” (Halliday), Supp. XIX: 89 “Summer Planning” (Halliday), Supp. XIX: 92 “Summer Ramble, A” (Bryant), Supp. I Part 1: 162, 164 Summers, Claude J., Supp. IV Part 2: 680–681; Supp. XIV: 161, 169 Summers, Robert, Supp. IX: 289 “Summer Solstice, New York City” (Olds), Supp. X: 207 “Summer’s Reading, A” (Malamud), Supp. I Part 2: 430–431, 442 “Summer Storm” (Gioia), Supp. XV: 127 “Summer Storm” (Simpson), Supp. IX: 268 “’ Summertime and the Living . . .’ ” (Hayden), Supp. II Part 1: 363, 366 Summertime Island (Caldwell), I: 307– 308 “Summer: West Side” (Updike), Retro. Supp. I: 320 “Summer with Tu Fu, A” (Carruth), Supp. XVI: 55, 58 “Summit Beach, 1921” (Dove), Supp. IV Part 1: 249 Summoning of Stones, A (Hecht), Supp. X: 57, 58, 58–59 “Summons” (Untermeyer), Supp. XV: 296 Summons to Memphis, A (Taylor), Supp. V: 313, 314, 327 Summons to the Free, A (Benét), Supp. XI: 47 Sumner, Charles, I: 3, 15; Supp. I Part 2: 685, 687 Sumner, John, Retro. Supp. II: 95 Sumner, John B., I: 511 Sumner, William Graham, III: 102, 108; Supp. I Part 2: 640 “Sumptuous Destination” (Wilbur), Supp. III Part 2: 553 “Sun” (Moore), III: 215 “Sun” (Swenson), Supp. IV Part 2: 640 “Sun, Sea, and Sand” (Marquand), III: 60 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; Supp. XIII: 263; Supp. XVIII: 74 “Sun and Moon” (Kenyon), Supp. VII: 168 “Sun and the Still-born Stars, The” (Southern), Supp. XI: 295 Sun at Midnight (Soseki; Merwin and Shigematsu, trans.), Supp. III Part 1: 353 “Sun Crosses Heaven from West to East Bringing Samson Back to the Womb, The” (R. Bly), Supp. IV Part 1: 73 “Sun Dance Shield” (Momaday), Supp. IV Part 2: 491 Sunday, Billy, II: 449 “Sunday Afternoons” (Komunyakaa), Supp. XIII: 127

Sunday after the War (H. 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; Supp. XV: 120; Supp. XVI: 210; Supp. XVII: 42; Supp. XIX: 40 “Sunday Morning Apples” (Crane), I: 387 “Sunday Morning Prophecy” (Hughes), Supp. I Part 1: 334 “Sundays” (B. Kelly), Supp. XVII: 124– 125 “Sundays” (Salter), Supp. IX: 257 “Sundays, They Sleep Late” (Rukeyser), Supp. VI: 278 “Sundays of Satin-Legs Smith, The” (Brooks), Supp. III Part 1: 74, 75 “Sundays Visiting” (Ríos), Supp. IV Part 2: 541 Sundial, The (Jackson), Supp. IX: 126– 127 Sundog (Harrison), Supp. VIII: 46–48 Sun Dogs (R. O. Butler), Supp. XII: 64–65 Sun Do Move, The (Hughes), Supp. I Part 1: 339 Sundquist, Eric, Supp. XIV: 66, 71 “Sunfish” (C. Frost), Supp. XV: 100– 101, 102 “Sunflower Sutra” (Ginsberg), Supp. II Part 1: 317, 321; Supp. XV: 215 Sunlight Dialogues, The (Gardner), Supp. VI: 63, 68, 69, 70 “Sunlight Is Imagination” (Wilbur), Supp. III Part 2: 549 “Sunny Ridge, The” (Halliday), Supp. XIX: 92 Sun Out: Selected Poems, 1952–1954 (Koch), Supp. XV: 179 “Sunrise” (Lanier), Supp. I Part 1: 370 “Sunrise and the Bomb” (Halliday), Supp. XIX: 84, 85, 92 “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 “Sun Rising” (Donne), Supp. VIII: 164 “Sunset” (Ransom), III: 484 “Sunset from Omaha Hotel Window” (Sandburg), III: 584 Sunset Gun (Parker), Supp. IX: 192 Sunset Limited (Burke), Supp. XIV: 32, 33 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

CUMULATIVE INDEX / 517 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 “Superb Lily, The” (Pinsky), Supp. VI: 250 “Super Goat Man” (Lethem), Supp. XVIII: 148 “Superman Comes to the Supermarket” (Mailer), Retro. Supp. II: 204 “Supermarket in California, A” (Ginsberg), Supp. XI: 135 “Supernatural Love” (Schnackenberg), Supp. XV: 257, 259–260 Supernatural Love: Poems 1976–1992 (Schnackenberg), Supp. XV: 253, 256, 260, 263 Suplee, Curt, Supp. XVI: 202 “Supper After the Last, The” (Kinnell), Supp. III Part 1: 239 “Supposedly Fun Thing I’ ll Never Do Again, A” (Wallace), Supp. X: 315 Supposedly Fun Thing I’ ll Never Do Again, A: Essays and Arguments (Wallace), Supp. X: 314–316 Suppressed Desires (Glaspell), Supp. III 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 Supreme Fiction, The (Stevens), Supp. XVI: 158 “Supremes, The” (Jarman), Supp. XVII: 115 Sure Hand of God, The (Caldwell), I: 297, 302 Sure Signs: New and Selected Poems (Kooser), Supp. XIX: 116, 117, 121– 122 “Surety and Fidelity Claims” (Stevens), Retro. Supp. I: 296, 309 Surface of Earth, The (Price), Supp. VI: 261–262 “Surfaces” (Ammons), Supp. VII: 36 Surfacing (Atwood), Supp. XIII: 20, 21, 22–23, 24, 33, 35 “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 Surprised by Sin: The Reader in Paradise Lost (Fish), Supp. XIV: 15 “Surround, The Imagining Herself as the Environment,/She Speaks to James Wright at Sundow” (Dickey), Supp. IV Part 1: 185 “Survey of Literature” (Ransom), III: 480 “Survey of the Literature, A” (Saunders), Supp. XIX: 235 “Surveyor, The” (H. Roth), Supp. IX: 233, 234 Survival (Atwood), Supp. XIII: 20, 22, 35 “Survival as Tao, Beginning at 5:00 A.M.” (Carruth), Supp. XVI: 56

Survival of the Bark Canoe, The (McPhee), Supp. III 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 Survivor (O. Butler), Supp. XIII: 62, 63 Susan and Anna Warner (Foster), Supp. XVIII: 265 Susan and God (film; Cukor), Supp. XVI: 192 Susanna Moodie: Voice and Vision (Shields), Supp. VII: 313 Susan Warner (“Elizabeth Wetherell“) (A. Warner), Supp. XVIII: 259, 260 Suspect in Poetry, The (Dickey), Supp. IV Part 1: 177 “Sustained by Fiction” (Hoffman), Supp. X: 90, 92 “Susto” (Ríos), Supp. IV Part 2: 553 Sutherland, Donald, IV: 38, 44; Supp. IX: 254 Sutherland, Efua, Supp. IV Part 1: 9, 16 Sutherland-Smith, James, Supp. X: 211, 212 Sut Lovingood’s Yarns (Harris), II: 70 Sutton, Roger, Supp. X: 266 Sutton, Walter, III: 479 Suttree (McCarthy), Supp. VIII: 178– 180, 189 Suvero, Mark di, Supp. IX: 251 Svevo, Italo, Supp. XIV: 112 Swados, Harvey, Supp. XI: 222; Supp. XIX: 255–271 Swales, Martin, Supp. XIX: 183 Swallow, Alan, Supp. X: 112, 115, 116, 120, 123 Swallow Barn (J. P. Kennedy), II: 313 “Swamp Boy” (Bass), Supp. XVI: 20 Swan, Barbara, Supp. IV Part 2: 447 Swan, Jon, Supp. IV Part 1: 176 Swan Lake (Tchaikovsky), Supp. IX: 51 “Swan Legs” (Stern), Supp. IX: 299 Swann (Shields), Supp. VII: 315, 318– 323, 326 Swann, Brian, Supp. IV Part 2: 500 Swanson, Gloria, II: 429 Swanson, Stevenson, Supp. XIV: 111 Swanton, John Reed, Supp. VIII: 295 Swan Watch (Schulberg), Supp. XVIII: 254 Swanwick, John, Supp. XV: 237 Swanwick, Michael, Supp. XVI: 128 “Swarm, The” (Plath), Retro. Supp. II: 255 “Sway” (Simpson), Supp. IX: 276 Sweat (Hurston), Supp. VI: 152 Swedenborg, Emanuel, II: 5, 10, 321, 342, 343–344, 396 Sweeney Agonistes (Eliot), I: 580; Retro. Supp. I: 64, 65; Retro. Supp. II: 247 “Sweeney Among the Nightingales” (Eliot), III: 4 “Sweeper, The” (Kooser), Supp. XIX: 125 Sweet, Blanche, Supp. I Part 2: 391 Sweet, Timothy, Supp. IV Part 1: 330 Sweet and Lowdown (film; Allen), Supp. XV: 11

Sweet and Sour (O’ Hara), III: 361 “Sweet Armageddon” (Hoffman), Supp. XVIII: 85, 86 Sweet Bird of Youth (T. 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 “Sweetheart of the Song Tra Bong, The” (O’ Brien), Supp. V: 243, 249 “Sweethearts” (Ford), Supp. V: 69 Sweet Hereafter, The (Banks), Supp. V: 15–16 Sweet Lorain (Weigl), Supp. XIX: 282 Sweet Machine (Doty), Supp. XI: 121, 131–132, 135 Sweet Sue (Gurney), Supp. V: 105, 107– 108 Sweet Sweetback’s Baadasss Song (Peebles; film), Supp. XI: 17 Sweet Thursday (Steinbeck), IV: 50, 52, 64–65 Sweet Will (Levine), Supp. V: 178, 187, 189, 190 “Sweet Will” (Levine), Supp. V: 190 “Sweet Words on Race” (Hughes), Retro. Supp. I: 211 Sweezy, Paul, Supp. I Part 2: 645 “Swell-Looking Girl, A” (Caldwell), I: 310 Swenson, May, Retro. Supp. II: 44; Supp. IV Part 2: 637–655; Supp. XIX: 123 “Swift” (Schwartz), Supp. II Part 2: 663 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; Supp. IV Part 2: 692; Supp. XI: 105, 209; Supp. XII: 276; Supp. XV: 258; Supp. XVI: 110; Supp. XVIII: 2, 12 “Swimmer” (Francis), Supp. IX: 82 “Swimmer, The” (Cheever), Supp. I Part 1: 185, 187 “Swimmer, The” (Glück), Supp. V: 82 “Swimmers” (Untermeyer), Supp. XV: 300 “Swimmers, The” (Fitzgerald), Retro. Supp. I: 110, 111 “Swimmers, The” (Tate), IV: 136 “Swimming” (Harjo), Supp. XII: 218 Swinburne, Algernon C., I: 50, 384, 568; II: 3, 4, 129, 400, 524; IV: 135; Retro. Supp. I: 100; Supp. I Part 1: 79; Supp. I Part 2: 422, 552; Supp. XIV: 120, 344 “Swinburne as Poet” (Eliot), I: 576 Swinger of Birches, A: A Portrait of Robert Frost (Cox), Retro. Supp. I: 132 “Swinging on a Birch-Tree” (Larcom), Supp. XIII: 147 Swiss, Tom, Supp. XIX: 40 Switch, The (Dixon), Supp. XII: 141 Swope, D. B., Supp. IX: 95

518 / AMERICAN WRITERS Sword Blades and Poppy Seed (Lowell), II: 518, 520, 522, 532 Sword of God, The: Jeanne D’ Arc (Endore), Supp. XVII: 55 Sybil (Auchincloss), Supp. IV Part 1: 25 Sybil and Chryssa (S. and A. Warner), Supp. XVIII: 264 “Sycamore” (Stern), Supp. IX: 294 “Sycamore, The” (Moore), III: 216 “Sycamores, The” (Whittier), Supp. I Part 2: 699 Sylvester, Johnny, Supp. I Part 2: 438 Sylvester, Joshua, I: 178, 179; II: 18; III: 157; Supp. I Part 1: 98, 104, 114, 116 Sylvia (Gurney), Supp. V: 105 “Sylvia” (Larcom), Supp. XIII: 144 “Sylvia” (L. Michaels), Supp. XVI: 202, 213 “Sylvia” (Stern), Supp. IX: 297 Sylvia: A Fictional Memoir (L. Michaels), Supp. XVI: 202, 213 Sylvia Plath: Method and Madness (Butscher), Supp. I Part 2: 526 Sylvia Plath: Poetry and Existence (Holbrook), Supp. I Part 2: 526–527 “Sylvia’s Death” (Sexton), Supp. II Part 2: 671, 684, 685 “Symbol and Image in the Shorter Poems of Herman Melville” (Dickey), Supp. IV Part 1: 176 Symbolist Movement in Literature, The (Symons), I: 50, 569; Retro. Supp. I: 55 Symonds, John Addington, I: 241, 242, 251, 259; IV: 334; Supp. XIV: 329, 335 Symons, Arthur, I: 50, 569; Retro. Supp. I: 55 Symons, Julian, Supp. IV Part 1: 343, 351 “Sympathy” (Dunbar), Supp. IV Part 1: 15 Sympathy of Souls, A (Goldbarth), Supp. XII: 175, 176, 186–187 “Symphony, The” (Lanier), Supp. I Part 1: 352, 360–361, 364; Supp. I Part 2: 416 Symposium (Plato), Retro. Supp. II: 31; Supp. IV Part 1: 391 Symposium: To Kill a Mockingbird (Alabama Law Review), Supp. VIII: 127, 128 Symptoms of Being 35 (Lardner), II: 434 Synanon (Endore), Supp. XVII: 65 Synanon (film, Quine), Supp. XVII: 65 Synanon City (Endore), Supp. XVII: 65 Synge, John Millington, I: 434; III: 591– 592; Supp. III Part 1: 34; Supp. VIII: 155 Synthetic Philosophy (Spencer), II: 462– 463 “Syringa” (Ashbery), Supp. III Part 1: 19–21, 25 “Syrinx” (Clampitt), Supp. IX: 53 “Syrinx” (Merrill), Supp. III Part 1: 328 Syrkin, Marie, Supp. XIV: 279, 288, 291 “System, The” (Ashbery), Supp. III Part 1: 14, 15, 18, 21–22

System of Dante’s Hell, The (Baraka), Supp. II Part 1: 39–41, 55 “System of Dante’s Inferno, The” (Baraka), Supp. II Part 1: 40 “System of Doctor Tarr and Professor Fether, The” (Poe), III: 419, 425 System of General Geography, A (Brown), Supp. I Part 1: 146 Sze, Mai-mai, Supp. X: 291 Szentgyorgyi, Tom, Supp. IX: 135, 136, 140, 141–142 Szulc, Tad, Supp. XVI: 154 Szymborka, Wislawa, Supp. XI: 267 Szymborska, Wislawa, Supp. XVIII: 29 T “T-2 Tanker Blues” (Snyder), Supp. VIII: 294 Tabios, Eileen, Supp. XV: 214, 225, 226 “Table of Delectable Contents, The” (Simic), Supp. VIII: 276 Tabloid Dreams (R. O. Butler), Supp. XII: 70–72, 74 Tacey Cromwell (Richter), Supp. XVIII: 211, 215, 217 Tacitus, Cornelius, I: 485; II: 113 Tadic, Novica, Supp. VIII: 272 Taft (Patchett), Supp. XII: 307, 312, 314– 317 “Tag” (Hughes), Supp. I Part 1: 341 Taggard, Genevieve, IV: 436 Taggart, John, Supp. IV Part 2: 421 Tagore, Rabindranath, I: 383 “Taibele and Her Demon” (Singer), Retro. Supp. II: 307 Taibl, Erika, Supp. XV: 255 “Tailor Shop, The” (H. Miller), III: 175 “Tails” (Dixon), Supp. XII: 154 Taine, Hippolyte, I: 503; II: 271; III: 323; IV: 440, 444 “Tain’ t So” (Hughes), Supp. I Part 1: 330 “Taipei Tangle” (Halliday), Supp. XIX: 91 Takasago (play), III: 466 Take Away the Darkness (Bynner), Supp. XV: 51 Take Heart (Peacock), Supp. XIX: 197– 199, 206 Take Me Back: A Novel (Bausch), Supp. VII: 41, 43–45, 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 “Takers, The” (Olds), Supp. X: 205 “Take the I Out” (Olds), Supp. X: 213 Take the Money and Run (film; Allen), Supp. XV: 3–4, 6 “Taking Away the Name of a Nephew” (Ríos), Supp. IV Part 2: 545–546 Taking Care of Mrs. Carroll (Monette), Supp. X: 153 “Taking of Captain Ball, The” (Jewett), Retro. Supp. II: 134 “Taking Out the Lawn Chairs” (Karr), Supp. XI: 241

“Taking the Bypass” (J. Epstein), Supp. XIV: 110; Supp. XVI: 230 “Taking the Forest” (Howe), Supp. IV Part 2: 433 “Taking the Lambs to Market” (Kumin), Supp. IV Part 2: 455 Talbot, Daniel, Supp. XIX: 264 “Tale, A” (Bogan), Supp. III Part 1: 50, 51 Taleb-Khyar, Mohamed, Supp. IV Part 1: 242, 243, 244, 247, 257 “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 Tales (Baraka), Supp. II Part 1: 39, 55 Tales (Poe), III: 413 Tales and Stories for Black Folks (Bambara, ed.), Supp. XI: 1 Tales before Midnight (Benét), Supp. XI: 46, 53, 57 Talese, Gay, Supp. XVI: 273; Supp. XVII: 199–211 Tales of a Traveller (Irving), II: 309–310 Tales of a Wayside Inn (Longfellow), II: 489, 490, 501, 502, 504–505; Retro. Supp. II: 154, 162–165 Tales of Glauber-Spa (Bryant, ed.), 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 of Rhoda, 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; Retro. Supp. II: 270 Tales of the Jazz Age (Fitzgerald), II: 88; Retro. Supp. I: 105; Supp. IX: 57 “Talisman, A” (Moore), III: 195–196 Talisman, The (King), Supp. V: 140, 144, 152 “Talkin Bout Sonny” (Bambara), Supp. XI: 6–7 “Talking” (Merwin), Supp. III Part 1: 354 Talking All Morning (R. Bly), Supp. IV Part 1: 59, 60, 61, 62, 64, 65 Talking Dirty to the Gods (Komunyakaa), Supp. XIII: 130–131 “Talking Horse” (Malamud), Supp. I Part 2: 435 Talking Soft Dutch (McCarriston), Supp. XIV: 260–263, 266, 270, 271 “Talking to Barr Creek” (Wagoner), Supp. IX: 328 “Talking to Sheep” (Sexton), Supp. II Part 2: 695

CUMULATIVE INDEX / 519 Talking to the Sun: An Illustrated Anthology of Poems for Young People (Koch and Farrell, eds.), Supp. XV: 188 “Talk of Heroes” (C. Bly), Supp. XVI: 34 “Talk of the Town” (The New Yorker column), IV: 215; Supp. IV Part 1: 53, 54 “Talk with the Yellow Kid, A” (Bellow), I: 151 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 Talmadge, Constance, Supp. XVI: 186, 187, 196 Talmadge, Norma, Supp. XVI: 186, 187, 196 Talmadge Girls, The (Loos), Supp. XVI: 186, 196 Talmey, Allene, Supp. IV Part 1: 197; Supp. XIII: 172 Talmud, IV: 8, 17 Taltos: Lives of the Mayfair Witches (Rice), Supp. VII: 299–300 “Tamar” (Jeffers), Supp. II Part 2: 427– 428, 436 Tamar and Other Poems (Jeffers), Supp. II Part 2: 416, 419 Tambourines to Glory (Hughes), Supp. I Part 1: 338–339 “Tame Indians” (Jewett), Retro. Supp. II: 141 “Tamerlane” (Poe), III: 426 Tamerlane and Other Poems (Poe), III: 410 “Tammany Man, The” (Hapgood), Supp. XVII: 103 “Tam O’ Shanter” (Burns), II: 306 Tan, Amy, Supp. X: 289–300 Tangential Views (Bierce), I: 209 “Tangier 1975” (Bowles), Supp. IV Part 1: 94 “Tankas” (McClatchy), Supp. XII: 266 Tanner, Laura E., Supp. X: 209 Tanner, Tony, I: 260, 261; Retro. Supp. II: 205; Supp. IV Part 1: 285; Supp. XVI: 65, 69 Tannhäuser (Wagner), I: 315 “Tan Ta Ra, Cries Marsѧ,” (Wagoner), Supp. IX: 325 Tao of Physics, The (Capra), Supp. X: 261 Tao Teh Ching (Bynner, trans.), Supp. XV: 46, 47 Tapahonso, Luci, Supp. IV Part 1: 404; Supp. IV Part 2: 499, 508 Tape for the Turn of the Year (Ammons), Supp. VII: 31–33, 35 “Tapestry” (Ashbery), Supp. III Part 1: 22–23 “Tapiama” (Bowles), Supp. IV Part 1: 89–90 “Tapiola” (W. C. Williams), Retro. Supp. I: 429 Tappan, Arthur, Supp. I Part 2: 588 Tapping the White Cane of Solitude (F. Wright), Supp. XVII: 243

Taps at Reveille (Fitzgerald), II: 94, 96; Retro. Supp. I: 113 Tar: A Midwest Childhood (Anderson), I: 98, 115; II: 27 Tarantino, Quentin, Supp. IV Part 1: 356 Tarantula (Dylan), Supp. XVIII: 21, 29, 31–32 Tar Baby (Morrison), Supp. III Part 1: 364, 369–372, 379; Supp. IV Part 1: 13 Tarbell, Ida, III: 322, 580; Retro. Supp. II: 101 “Target Practice” (Offutt), Supp. XIX: 171 “Target Study” (Baraka), Supp. II Part 1: 49–50, 54 Tarkington, Booth, II: 444; III: 70; Retro. Supp. I: 100; Supp. XV: 41 Tarpon (film), Supp. VIII: 42 Tarr, Rodger L., Supp. X: 222, 224, 226 Tartt, Donna, Supp. XVIII: 135 Tartuffe (Molière; Wilbur, trans.), Supp. III Part 2: 560 Tarumba, Selected Poems of Jaime Sabines (Levine and Trejo, trans.), Supp. V: 178 “Tarzan Is an Expatriate” (Theroux), Supp. VIII: 313 Task, The (Cowper), II: 304 Tasker Street (Halliday), Supp. XIX: 82, 87–89 Tasso, Torquato, I: 276 Taste of Palestine, A: Menus and Memories (Shihab), Supp. XIII: 273 Tate, Alan, Supp. XV: 141 Tate, Allen, I: 48, 49, 50, 67, 69, 381, 382, 386, 390, 396, 397, 399, 402, 441, 468; II: 197–198, 367, 536, 537, 542, 551, 554; III: 424, 428, 454, 482, 483, 485, 493, 495, 496, 497, 499, 500, 517; IV: 120–143, 236, 237, 433; Retro. Supp. I: 37, 41, 90; Retro. Supp. II: 77, 79, 82, 83, 89, 176, 178, 179; Supp. I Part 1: 364, 371; Supp. I Part 2: 423; Supp. II Part 1: 90– 91, 96, 98, 103–104, 136, 139, 144, 150, 151, 318; Supp. II Part 2: 643; Supp. III Part 2: 542; Supp. V: 315, 331; Supp. X: 1, 52; Supp. XIV: 2 Tate, Benjamin Lewis Bogan, IV: 127 Tate, Greg, Supp. XIII: 233, 237 Tate, James, Supp. V: 92, 338; Supp. VIII: 39, 279; Supp. XV: 250; Supp. XVII: 242 Tate, John Allen, IV: 127 Tate, Michael Paul, IV: 127 Tate, Mrs. Allen (Caroline Gordon). See Gordon, Caroline 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 Tattooed Feet (Nye), Supp. XIII: 274 “Tattoos” (McClatchy), Supp. XII: 266– 267, 268 “Tattoos” (Wright), Supp. V: 335, 340 Tatum, Anna, I: 516

Tatum, James, Supp. IV Part 2: 684 Taupin, René, II: 528, 529; 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; Supp. XV: 269 Taylor, Cora. See Howarth, Cora Taylor, Deems, III: 138 Taylor, Edward, III: 493; IV: 144–166; Supp. I Part 1: 98; Supp. I Part 2: 375, 386, 546 Taylor, Eleanor Ross, 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, Henry, Retro. Supp. I: 212; Supp. XI: 317; Supp. XIII: 333 Taylor, Henry W., IV: 144 Taylor, Jeremy, II: 11; III: 487; Supp. I Part 1: 349; Supp. XII: 45; Supp. XIV: 344, 345 Taylor, John, IV: 149 Taylor, Katherine, Supp. VIII: 251 Taylor, Kezia, IV: 148 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, Retro. Supp. II: 179; Supp. V: 313–329; Supp. XIV: 3 Taylor, Raynor, Supp. XV: 238 Taylor, Richard, IV: 146 Taylor, Robert, Supp. I Part 1: 294; Supp. XV: 135, 138; Supp. XVI: 277 Taylor, Stephan, Supp. XVI: 203 Taylor, Thomas, II: 10 Taylor, William, IV: 145–146 Taylor, Zachary, I: 3; II: 433–434 Tchelitchew, Peter, II: 586 Tea and Sympathy (Anderson), Supp. I Part 1: 277; Supp. V: 108 “Tea at the Palaz of Hoon” (Stevens), Retro. Supp. I: 300, 302, 306 “Teacher’s Pet” (Thurber), Supp. I Part 2: 605–606 “Teaching and Story Telling” (Maclean), Supp. XIV: 234 Teaching a Stone to Talk: Expeditions and Encounters (Dillard), Supp. VI: 23, 26, 28, 32, 33, 34–35 “Teaching Hanh the Blues” (Weigl), Supp. XIX: 287 Teachings of Don B., The (Barthelme), Supp. IV Part 1: 53 Teachout, Terry, Supp. XIX: 137 Teale, Edwin Way, Supp. XIII: 7 Teall, Dorothy, I: 221 Team Team Team (film), Supp. IX: 251 “Tea on the Mountain” (Bowles), Supp. IV Part 1: 90 “Tea Party, The” (MacLeish), III: 11 “Tears, Idle Tears” (Lord Tennyson), Supp. XIV: 8

520 / AMERICAN WRITERS “Tears of the Pilgrims, The” (McClatchy), Supp. XII: 256 Teasdale, Sara, Retro. Supp. I: 133; Supp. I Part 2: 393, 707; Supp. XIV: 127; Supp. XV: 295, 297, 301, 305, 307, 308; Supp. XVII: 69, 75 “Tease” (Swados), Supp. XIX: 267 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 “Technology, The” (Egan), Supp. XIX: 61 “Teddy” (Salinger), III: 561–563, 571 “Te Deum” (Reznikoff), Supp. XIV: 281 Tedlock, Dennis, Supp. IV Part 2: 509 “Teeth Mother Naked at Last, The” (R. Bly), Supp. IV Part 1: 63, 68, 73 Teggart, Richard, Supp. I Part 2: 650 Tegnér, Esaias, Retro. Supp. II: 155 Teilhard de Chardin, Pierre, Supp. I Part 1: 314 Telephone, The (film), Supp. XI: 309 “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 Teller, Edward, I: 137 “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 Secrets (Buechner), Supp. XII: 53–54 Telling Stories (Didion), Supp. IV Part 1: 197 “Telling Stories” (Didion), Supp. IV Part 1: 197 “Telling the Bees” (Whittier), Supp. I Part 2: 694–695 Telling the Little Secrets (J. Burstein), Supp. XVII: 44 Telling the Truth: The Gospel as Tragedy, Comedy, and Fairy Tale (Buechner), Supp. XII: 53 “Tell Me” (Hughes), Supp. VIII: 213 Tell Me, Tell Me (Moore), III: 215 Tell Me Again How the White Heron Rises and Flies across the Nacreous River at Twilight toward the Distant Islands (Carruth), Supp. XVI:56 Tell Me a Riddle (film), Supp. XIII: 295 Tell Me a Riddle (Olsen), Supp. XIII: 294, 296, 298–302, 303, 305 “Tell Me a Riddle” (Olsen), Supp. XIII: 294, 297, 298, 300–302, 305 “Tell Me a Story” (McDermott), Supp. XVIII: 177 Tell Me How Long the Train’s Been Gone (Baldwin), Retro. Supp. II: 9, 11–12, 14; Supp. I Part 1: 48, 52, 63–65, 67 “Tell Me My Fortune” (Epstein), Supp. XII: 163

Tell Me Your Answer True (Sexton), Supp. II Part 2: 683 Tell My Horse (Hurston), Supp. VI: 149, 156, 158 “Tell-Tale Heart, The” (Poe), III: 413, 414–415, 416; Retro. Supp. II: 267, 269, 270 “Tell the Women We’ re Going” (Carver), Supp. III Part 1: 138, 144 “Telluride Blues—A Hatchet Job” (Abbey), Supp. XIII: 10 Telushkin, Dvorah, Retro. Supp. II: 317 Temblor (Howe), Supp. IV Part 2: 431 Tempering of Eugene O’ Neill, The (D. Alexander), Supp. XVII: 99 “Temper of Steel, The” (Jones), Supp. XI: 218 Tempers, The (W. C. Williams), Retro. Supp. I: 413–414, 415, 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; Supp. XII: 54–57; Supp. XV: 255, 256 Temple, Minnie, II: 323 Temple, The (Herbert), IV: 145, 153 Temple, William, III: 303 Temple House (E. Stoddard), Supp. XV: 273, 284–286 Temple of My Familiar, The (Walker), Supp. III Part 2: 521, 527, 529, 535, 537; Supp. IV Part 1: 14 “Temple of the Holy Ghost, A” (O’ Connor), III: 344, 352; Retro. Supp. II: 232 Templin, Charlotte, Supp. V: 116 Temporary Shelter (Gordon), Supp. IV Part 1: 299, 305–307 “Temporary Shelter” (Gordon), Supp. IV Part 1: 306 Temptation Game, The (Gardner), Supp. VI: 72 “Temptation of St. Anthony, The” (Barthelme), Supp. IV Part 1: 47 Temptations, The, Supp. X: 242 “Tenancy, A” (Merrill), Supp. III Part 1: 322, 323 “Tenant” (Hoffman), Supp. XVIII: 86 Tenants, The (Malamud), Supp. I Part 2: 448–450 Ten Commandments (McClatchy), Supp. XII: 262–265 Ten Days That Shook the World (Reed), II: 577; Supp. X: 136; Supp. XVIII: 225 Tendencies in Modern American Poetry (Lowell), II: 529 “Tender, Hilarious Reminiscences of Life in Mythical Lake Wobegon” (MacDougall), Supp. XVI: 174 Tender Buttons (G. Stein), I: 103, 105; IV: 27, 42–43; Retro. Supp. II: 331; Supp. XV: 347 “Tenderfoot” (Haines), Supp. XII: 209 Tender Is the Night (Fitzgerald), I: 375; II: 79, 84, 91, 95–96, 97, 98, 420; Retro. Supp. I: 105, 108, 109, 110– 112, 114; Supp. IX: 59, 60, 61; Supp. XV: 197 “Tenderloin” (Crane), I: 408

“Tenderly” (Dobyns), Supp. XIII: 86–87 ’ Tender Man, A” (Bambara), Supp. XI: 9–10 “Tenderness” (Dunn), Supp. XI: 149, 150 “Tender Offer, The” (Auchincloss), Supp. IV Part 1: 34 “Tender Organizations, The” (C. Bly), Supp. XVI: 40, 42 “Tenebrae” (Komunyakaa), Supp. XIII: 132 “Ten Forty-Four” (Kingsolver), Supp. VII: 208 Ten Indians (Bell), Supp. X: 7, 12 “Ten Neglected American Writers Who Deserve to Be Better Known” (Cantor), Supp. IV Part 1: 285 Tennent, Gilbert, I: 546 Tennessee Day in St. Louis (Taylor), Supp. V: 324 “Tennessee’s Partner” (Harte), Supp. II Part 1: 345, 348–350 “Tennis” (Pinsky), Supp. VI: 241, 242 Tennis Court Oath, The (Ashbery), Supp. III Part 1: 7, 9, 12, 14, 26 Ten North Frederick (O’ Hara), III: 361 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; Retro. Supp. II: 135; Supp. I Part 1: 349, 356; Supp. I Part 2: 410, 416, 552; Supp. IX: 19; Supp. X: 157; Supp. XIII: 111; Supp. XIV: 40, 120; Supp. XV: 275; Supp. XVIII: 78 “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 (R. Bly), Supp. IV Part 1: 71 “Tension in Poetry” (Tate), IV: 128, 129, 135 Tenth Muse, The (Bradstreet), Supp. I Part 1: 102, 103, 114 10,000 Days of Thunder: A History of the Vietnam War (Caputo), Supp. XIX: 29 “Tent on the Beach, The” (Whittier), Supp. I Part 2: 703 “Teodoro Luna Confesses after Years to His Brother, Anselmo the Priest, Who Is Required to Understand, But Who Understands Anyway, More Than People Think” (Ríos), Supp. IV Part 2: 552 Teodoro Luna’s Two Kisses (Ríos), 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. III Part 1: 356–357 “Terminal Days at Beverly Farms” (Lowell), Retro. Supp. II: 189

CUMULATIVE INDEX / 521 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. I: 371 “Terms in Which I Think of Reality, The” (Ginsberg), Supp. II Part 1: 311 Terms of Endearment (film), Supp. V: 226 Terms of Endearment (McMurtry), Supp. V: 224–225 “Terrace, The” (Wilbur), Supp. III Part 2: 550 Terrarium (Sanders), Supp. XVI: 270 “Terrence McNally” (Bryer), Supp. XIII: 200 “Terrence McNally” (Di Gaetani), Supp. XIII: 200 Terrence McNally: A Casebook (Zinman), Supp. XIII: 209 “Terrible Peacock, The” (Barnes), Supp. III Part 1: 33 Terrible Threes, The (Reed), Supp. X: 241, 253 Terrible Twos, The (Reed), Supp. X: 241, 252–253 “Terrific Mother” (Moore), Supp. X: 178 Territory Ahead, The (Morris), III: 228– 229, 236 Terrorism (Wright), Supp. XV: 341, 342 “Terrorism” (Wright), Supp. XV: 341 Terry, Edward A., II: 128, 129 Terry, Rose, Supp. I Part 2: 420 Tertium Organum (Ouspensky), I: 383 Tess of the d’ Ubervilles (Hardy), II: 181; Retro. Supp. II: 100 “Testament” (Berry), Supp. X: 36 “Testament” (Carruth), Supp. XVI: 59 “Testament (Or, Homage to Walt Whitman)” (Jong), Supp. V: 130 “Testament of Flood” (Warren), IV: 253 Testament of François Villon, The (Pound, opera), Retro. Supp. I: 287 “Testament: Vermeer in December” (Bierds), Supp. XVII: 33 “Testimonia on the Question of Stesichoros’ Blinding by Helen” (Carson), Supp. XII: 107 “Testimonies of a Roasted Chicken” (Jarman), Supp. XVII: 120 “Testimony” (Komunyakaa), Supp. XIII: 129 “Testimony of James Apthorp, The” (Kees), Supp. XV: 146 Testimony: The United States (1885– 1890): Recitative (Reznikoff), Supp. XIV: 279, 280, 281, 285, 289–291 Testimony: The United States (1891– 1900): Recitative (Reznikoff), Supp. XIV: 291 Testing-Tree, The (Kunitz), Supp. III Part 1: 260, 263, 264, 267, 268 “Testing-Tree, The” (Kunitz), Supp. III Part 1: 269 Test of Poetry, A (Zukofsky), Supp. III Part 2: 618, 622

“Teutonic Scholar” (X. J. Kennedy), Supp. XV: 161 “Texas Moon, and Elsewhere, The” (McMurtry), Supp. V: 225 Texas Poets in Concert: A Quartet (Gwynn, ed.), Supp. XIII: 277 Texas Summer (Southern), Supp. XI: 309 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; Supp. I Part 2: 421, 495, 579; Supp. IV Part 1: 297; Supp. IX: 200; Supp. XI: 277; Supp. XIV: 306 Thaddeus, Janice Farrar, Supp. IV Part 1: 299 “Thailand” (Barthelme), Supp. IV Part 1: 41 Thalberg, Irving, Retro. Supp. I: 109, 110, 114; Supp. XVI: 191, 192 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 Syndrome, The (Percy), Supp. III Part 1: 385, 397–399 “Thanks Can Be Named to Death” (Peacock), Supp. XIX: 199 “Thanksgiving” (Glück), Supp. V: 83 “Thanksgiving, A” (Auden), Supp. II Part 1: 26 “Thanksgiving for a Habitat” (Auden), Supp. II Part 1: 24 Thanksgivings (Traherne), Supp. XVI: 288 “Thanksgiving Spirit” (Farrell), II: 45 Thanksgiving Visitor, The (Capote), Supp. III Part 1: 116, 118, 119 “Thank You, Esther Forbes” (Saunders), Supp. XIX: 235 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 Thank You and Other Poems (Koch), Supp. XV: 180–181 “Thank You in Arabic” (Nye), Supp. XIII: 273, 281 “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 Night (McDermott), Supp. XVIII: 155, 158–160, 162, 163, 166 “That’s the Place Indians Talk About” (Ortiz), Supp. IV Part 2: 511 “That the Soul May Wax Plump” (Swenson), Supp. IV Part 2: 650

“That the Universe Is Chrysalid” (Sobin), Supp. XVI: 284 “That Tree” (Porter), III: 434–435, 446, 451 That Was the Week That Was (television program), Supp. XIV: 125 “That Year” (Olds), Supp. X: 203 “Thaw” (C. Frost), Supp. XV: 93, 104, 105 Thaxter, Celia, Retro. Supp. II: 136, 147; Supp. XIII: 143, 153 Thayer, Abbott, I: 231 Thayer, Scofield, I: 231; Retro. Supp. I: 58 Thayer and Eldridge, Retro. Supp. I: 403 “Theater” (Toomer), Supp. IX: 309, 317– 318 “Theater Chronicle” (McCarthy), II: 562 “Theater Problems? Call Dr. Chekhov” (Wasserstein), Supp. XV: 320 Theatricals (James), Retro. Supp. I: 228 The Blacker the Berry: A Novel of Negro Life (Thurman), Supp. XVIII: 281; Supp. XIX: 73 “Theft” (Porter), III: 434, 435 Theft, A (Bellow), Retro. Supp. II: 31– 32, 34 The Harder They Fall (Schulberg), Supp. XVIII: 247, 253 The Harder They Fall: Celebrities Tell Their Real-Life Stories of Addiction and Recovery (F. Wright), Supp. XVII: 240 Their Eyes Were Watching God (Hurston), Supp. VI: 149, 152, 156–157 Their Heads Are Green and Their Hands Are Blue: Scenes from the NonChristian World (Bowles), Supp. IV Part 1: 89 “Their Losses” (Taylor), Supp. V: 320 Their Wedding Journey (Howells), II: 277–278; Retro. Supp. I: 334 them (Oates), Supp. II Part 2: 503, 511– 514 Theme Is Freedom, The (Dos Passos), I: 488–489, 492, 494 Theme Time Radio Hour (radio show, Dylan), Supp. XVIII: 28 “Theme with Variations” (Agee), I: 27 “Then” (Barthelme), Supp. IV Part 1: 48 “Then It All Came Down” (Capote), Supp. III 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 “Theoretical and Scientific Conceptions of Race, The” (Locke), Supp. XIV: 209 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: 272, 275, 277–278, 284

522 / AMERICAN WRITERS “Theory of Flight” (Rukeyser), Supp. VI: 277–278 Theory of Moral Sentiments, The (A. 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 Are No Such Trees in Alpine California” (Haines), Supp. XII: 207 “There Goes (Varoom! Varoom!) That Kandy-Kolored Tangerine-Flake Streamline Baby” (Wolfe), Supp. III Part 2: 569–571 “There Is a Lesson” (Olsen), Supp. XIII: 292, 297 “There Is Only One of Everything” (Atwood), Supp. XIII: 34 There Is Something Out There (McNally). See And Things That Go Bump in the Night (McNally) “There Must Be” (Peacock), Supp. XIX: 199 “There’s a certain Slant of light” (Dickinson), Retro. Supp. I: 38 There’s a Wocket in My Pocket! (Geisel), Supp. XVI: 111 Thérèse de Lisieux, Saint, Supp. VIII: 195 “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 an Old Woman She Had So Many Children She Didn’ t Know What to Do” (Cisneros), Supp. VII: 60 “There Was a Youth Whose Name Was Thomas Granger” (Olson), Supp. II Part 2: 558, 560, 563 There Were Giants in the Land (Benét), Supp. XI: 50 There You Are (Simpson), Supp. IX: 279– 280 “There You Are” (Simpson), Supp. IX: 279 “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 Days” (Olds), Supp. X: 215 “These Flames and Generosities of the Heart: Emily Dickinson and the Illogic of Sumptuary Values” (Howe), Supp. IV Part 2: 431 These Low Grounds (Turpin), Supp. XVIII: 283 “These saw Visions” (Dickinson), Retro. Supp. I: 46 These Thirteen (Faulkner), II: 72 These Three (film), Supp. I Part 1: 281 These Times (Untermeyer), Supp. XV: 299–300, 303

“These Times” (Untermeyer), Supp. XV: 300 “Thessalonica: A Roman Story” (Brown), Supp. I Part 1: 133 Thévenaz, Paul, Supp. XV: 42 Thew, Harvey, Supp. XIII: 166 “They Ain’ t the Men They Used To Be” (Farrell), II: 45 “They Burned the Books” (Benét), Supp. XI: 46 They Came Like Swallows (Maxwell), Supp. VIII: 155–159, 168, 169 “They Can’ t Turn Back” (Baldwin), Supp. I Part 1: 52 They Do Not: The Letters of a NonProfessional Lady Arranged for Public Consumption (Clements), Supp. XVI: 190 They Feed They Lion (Levine), Supp. V: 178, 179, 181, 184–185, 186 “They Feed They Lion” (Levine), Supp. V: 188 “They Lion Grow” (Levine), Supp. V: 184–185 “They’ re Not Your Husband” (Carver), Supp. III Part 1: 141, 143 They’ re Playing Our Song (musical), Supp. IV Part 2: 589 They Shall Inherit the Laughter (Jones), Supp. XI: 217, 218, 232 “They Shall Not Die” (Ryan as Quin), Supp. XVIII: 228–229 They Shoot Horses (film), Supp. XIII: 159 They Shoot Horses, Don’ t They? (McCoy), Supp. XIII: 159, 164–166, 168, 171, 172, 174 “They Sing, They Sing” (Roethke), III: 544 They Stooped to Folly (Glasgow), II: 175, 186–187 They Were Expendable (film), Supp. XVIII: 247 They Whisper (R. O. Butler), Supp. XII: 72–73 Thidwick the Big-Hearted Moose (Geisel), Supp. XVI: 104 “Thief ’s Philosophy of Life, The” (Hapgood), Supp. XVII: 103 “Thief’s Wife, The” (B. Kelly), Supp. XVII: 125–126 “Thieves” (Yates), Supp. XI: 349 Thieves of Paradise (Komunyakaa), Supp. XIII: 113, 128–130, 132 “Thimble, The” (Kenyon), Supp. VII: 164 “Thing and Its Relations, The” (James), II: 357 “Things” (Haines), Supp. XII: 207 “Things” (Kenyon), Supp. VII: 169 “Things, The” (Kinnell), Supp. III Part 1: 246 Things As They Are (Stein), IV: 34, 37, 40 “Things Can Be Named to Death” (Peacock), Supp. XIX: 199 “Things Don’ t Stop” (Nye), Supp. XIII: 287 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, 248–250 Things They Carried, The (T. O’ Brien), Supp. XVII: 14 “Thing That Killed My Father Off, The” (Carver), Supp. III Part 1: 143 Thingy World!: or, How We Got to Where We Are: A Satire in One Act (Budbill), Supp. XIX: 13–14 “Think about It” (Conroy), Supp. XVI: 75 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 Being Called Simple by a Critic” (Stafford), Supp. XI: 328 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: 307–308 “Thinking for Berky” (Stafford), Supp. XI: 320 “Thinking like a Mountain” (Leopold), Supp. XIV: 188, 189 “Thinking of the Lost World” (Jarrell), II: 338–389 Thinking Out Loud (Quindlen), Supp. XVII: 167, 169–170 Thin Man, The (film), Supp. IV Part 1: 342, 355 Thin Man, The (Hammett), Supp. IV Part 1: 354–355 “Thinnest Shadow, The” (Ashbery), Supp. III Part 1: 5 “Thin People, The” (Plath), Supp. I Part 2: 538, 547 Thin Red Line, The (film; Malick), Supp. V: 249; Supp. XV: 351 Thin Red Line, The (Jones), Supp. XI: 219, 224–225, 229, 231, 232, 233, 234 “Thin Strips” (Sandburg), III: 587 “Third Avenue in Sunlight” (Hecht), Supp. X: 61 “Third Body, A” (R. Bly), Supp. IV Part 1: 71 Third Circle, The (Norris), III: 327 “Third Expedition, The” (Bradbury), Supp. IV Part 1: 103, 106 Third Generation, The (C. Himes), Supp. XVI: 135, 140–141

CUMULATIVE INDEX / 523 Third Life of Grange Copeland, The (Walker), Supp. III Part 2: 520, 527– 536 Third Mind, The (Burroughs), Supp. XII: 3 Third Rose, The (Brinnin), IV: 26 “Third Sermon on the Warpland, The” (Brooks), Supp. III Part 1: 85 “Third Thing That Killed My Father Off, The” (Carver), Supp. III Part 1: 144 Third Violet, The (Crane), I: 408, 417– 418 Thirlwall, John C., Retro. Supp. I: 430 “Thirst: Introduction to Kinds of Water” (Carson), Supp. XII: 103 “13, 1977, 21” (Lethem), Supp. XVIII: 148 13 by Shanley (Shanley), Supp. XIV: 316 13 Seconds: A Look Back at the Kent State Shootings (Caputo), Supp. XIX: 29 Thirteen Hands: A Play in Two Acts (Shields), Supp. VII: 322–323 Thirteen O’ Clock (Benét), Supp. XI: 46 Thirteen Other Stories (Purdy), Supp. VII: 278 Thirteen Stories and Thirteen Epitaphs (Vollmann), Supp. XVII: 226 “Thirteenth and Pennsylvania” (Stafford), Supp. XI: 324 Thirteenth Month, The (Pedersen; Nelson, trans.), Supp. XVIII: 179–180 “Thirteen Ways of Looking at a Blackbird” (Stevens), IV: 94; Supp. IX: 47; Supp. XVII: 130 30/6 (poetry chapbook), Supp. V: 5, 6 “30. Meditation. 2. Cor. 5.17. He Is a New Creature” (Taylor), IV: 144 30: Pieces of a Novel (Dixon), Supp. XII: 152, 153–154 “Thirty Bob a Week” (Davidson), Retro. Supp. I: 55 “Thirty Delft Tiles” (Doty), Supp. XI: 131 “35/10” (Olds), Supp. X: 206 “35,000 Feet—The Lanterns” (Goldbarth), Supp. XII: 182 31 Letters and 13 Dreams (Hugo), Supp. VI: 141–144 Thirty Poems (Bryant), Supp. I Part 1: 157, 158 Thirty-Six Poems (Warren), IV: 236, 239, 240 “33” (Alvarez), Supp. VII: 4 “3275” (Monette), Supp. X: 148, 159 Thirty Years (Marquand), III: 56, 60–61 Thirty Years of Treason (Bentley), Supp. I Part 1: 297 This, My Letter (Hay), Supp. XIV: 121, 122, 129, 131 “This, That & the Other” (Nemerov), III: 269 This Body Is Made of Camphor and Gopherwood (R. Bly), Supp. IV Part 1: 63–65, 66, 71 This Boy’s Life: A Memoir (T. Wolff), Supp. VII: 334–339, 340, 343; Supp. XI: 246, 247 “This Bright Dream” (Benét), Supp. XI: 55

This Coffın Has No Handles (McGrath), Supp. X: 117 “This Configuration” (Ashbery), Supp. III Part 1: 22 “This Corruptible” (Wylie), Supp. I Part 2: 727, 729 “This Crutch That I Love” (Nye), Supp. XIII: 288 “This Gentile World” (H. Miller), III: 177 “This Hand” (Wylie), Supp. I Part 2: 713 “This Hour” (Olds), Supp. X: 212 “This House I Cannot Leave” (Kingsolver), Supp. VII: 208 This Hunger (Nin), Supp. X: 185 “This Is a Photograph of Me” (Atwood), Supp. XIII: 33 “This Is a Poem, Good Afternoon” (Keillor), Supp. XVI: 167 “This Is It” (Stern), Supp. IX: 290 “This Is Just to Say” (W. C. Williams), Supp. XI: 328 “This Is My Heart” (Harjo), Supp. XII: 230 This Is Not a Novel (Markson), Supp. XVII: 145–146 “This Is Not Who We Are” (Nye), Supp. XIII: 285, 286 “This Is Us, Excellent” (Richard), Supp. XIX: 212 “This Is What I Said” (Salinas), Supp. XIII: 322 This Journey (Wright), Supp. III Part 2: 605–606 This Man and This Woman (Farrell), II: 42 “This Morning” (Kenyon), Supp. VII: 164 “This Morning, This Evening, So Soon” (Baldwin), Supp. I Part 1: 63 “This Morning Again It Was in the Dusty Pines” (Oliver), Supp. VII: 240 This Music Crept by Me upon the Waters (MacLeish), III: 21 This People Israel: The Meaning of Jewish Existence (Baeck), Supp. V: 260 “This Personal Maze Is Not the Prize” (Selinger), Supp. XI: 248 “This Place in the Ways” (Rukeyser), Supp. VI: 273–274 This Property Is Condemned (T. Williams), IV: 378 This Proud Heart (Buck), Supp. II Part 1: 119–120 This Same Sky: A Collection of Poems from around the World (Nye, ed.), Supp. XIII: 280 “This Sandwich Has No Mayonnaise” (Salinger), III: 552–553 This Shape We’ re In (Lethem), Supp. XVIII: 145 “This Shape We’ re In” (Lethem), Supp. XVIII: 148 This Side of Paradise (Fitzgerald), I: 358; II: 77, 80, 81, 82–83, 84, 85–87, 88; Retro. Supp. I: 99–100, 101–102, 103, 105, 106, 110, 111; Supp. XVIII: 248

This Singing World: An Anthology of Modern Poetry for Young People (Untermeyer, ed.), Supp. XV: 306 This Strange Joy: Selected Poems of Sandro Penna (Di Perio, trans.), Supp. XIX: 34 This Stubborn Self: Texas Autobiographies (Almon), Supp. XIII: 288 This Thing Don’ t Lead to Heaven (Crews), Supp. XI: 112 This Time: New and Selected Poems (Stern), Supp. IX: 290–291, 299 “Thistle Seed in the Wind” (Francis), Supp. IX: 81 “Thistles in Sweden, The” (Maxwell), Supp. VIII: 169 “This Tokyo” (Snyder), Supp. VIII: 298 This Tree Will Be Here for a Thousand Years (R. Bly), Supp. IV Part 1: 65– 66, 71, 72 This Tree Will Be Here for a Thousand Years (revised edition) (R. Bly), Supp. IV Part 1: 66 This Very Earth (Caldwell), I: 297, 302 This Wheel’s on Fire: Levon Helm and the Story of the Band (Helm), Supp. XVIII: 26 Thoens, Karen, Supp. V: 147 Thomas, Brandon, II: 138 Thomas, Debra, Supp. XIII: 114 Thomas, D. M., Supp. VIII: 5 Thomas, Dylan, I: 49, 64, 382, 432, 526, 533; III: 21, 521, 528, 532, 534; IV: 89, 93, 136; Supp. I Part 1: 263; Supp. III Part 1: 42, 47; Supp. V: 344; Supp. VIII: 21; Supp. IX: 114; Supp. X: 115; Supp. XV: 74; Supp. XVII: 135 Thomas, Edna Lewis, Supp. XVIII: 281 Thomas, Edward, II: 154; Retro. Supp. I: 127, 131, 132; Supp. I Part 1: 263; Supp. II Part 1: 4 Thomas, James, Supp. XVI: 268 Thomas, Joseph, Supp. XVIII: 183 Thomas, J. Parnell, Supp. I Part 1: 286; Supp. XV: 198 Thomas, Lewis, Retro. Supp. I: 323 Thomas, Rob, Supp. XVIII: 100, 101 Thomas, William I., Supp. I Part 2: 641 Thomas-a-Kempis, Retro. Supp. I: 247 Thomas and Beulah (Dove), Supp. IV Part 1: 242, 247–248, 249; Supp. XVIII: 174 Thomas Aquinas (Saint), I: 13, 14, 265, 267; III: 270; Retro. Supp. II: 222; Supp. IV Part 2: 526 “Thomas at the Wheel” (Dove), Supp. IV Part 1: 248 “Thomas McGrath: Words for a Vanished Age” (Vinz), Supp. X: 117 Thomas Merton on Peace, Supp. VIII: 208 Thomas Merton Studies Center, The, Supp. VIII: 208 Thompson, Barbara, Supp. V: 322 Thompson, Cy, I: 538 Thompson, Dorothy, II: 449–450, 451, 453; Supp. XV: 307 Thompson, E. P., Supp. X: 112, 117 Thompson, Francis, Retro. Supp. I: 55

524 / AMERICAN WRITERS Thompson, Frank, II: 20 Thompson, George, Supp. I Part 2: 686 Thompson, Hunter S., Supp. VIII: 42; Supp. XI: 105; Supp. XIII: 1, 17; Supp. XVII: 95, 102, 228 Thompson, James R., Supp. IV Part 1: 217 Thompson, John, Supp. V: 323 Thompson, Lawrance, II: 508 Thompson, Lawrance Roger, Retro. Supp. I: 138, 141 Thompson, Morton, Supp. XIII: 170 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; Supp. XVI: 195 “Thoreau” (Lowell), Supp. I Part 2: 420, 422 Thoreau, Henry David, I: 98, 104, 228, 236, 257, 258, 261, 305, 433; II: 7, 8, 13, 17, 101, 159, 224, 273–274, 295, 312–313, 321, 457–458, 540, 546– 547; III: 171, 174, 186–187, 189, 208, 214–215, 453, 454, 507, 577; IV: 167– 189, 191, 341; Retro. Supp. I: 51, 62, 122; Retro. Supp. II: 13, 96, 142, 158; Supp. I Part 1: 29, 34, 116, 188, 299, 358; Supp. I Part 2: 383, 400, 420, 421, 507, 540, 579, 580, 655, 659, 660, 664, 678; Supp. III Part 1: 340, 353; Supp. IV Part 1: 236, 392, 416; Supp. IV 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; Supp. X: 21, 27, 28–29, 101, 102; Supp. XI: 155; Supp. XIII: 1, 17; Supp. XIV: 40, 54, 106, 177, 181; Supp. XVIII: 4 Thoreau, John, IV: 171, 182 Thoreau, Mrs. John, IV: 172 “Thorn, The” (Gordon), Supp. IV Part 1: 314 Thorne, Francis, Supp. XII: 253 “Thorn Merchant, The” (Komunyakaa), Supp. XIII: 119–120 Thornton, Billy Bob, Supp. VIII: 175 Thornton, Lionel, III: 291 “Thorofare” (Minot), Supp. VI: 209–210 “Thorow” (Howe), Supp. IV Part 2: 419, 420, 421, 431, 433–434 Thorp, Willard, Supp. XIII: 101 Thorslev, Peter L., Jr., I: 524 Thorstein Veblen (Dowd), Supp. I Part 2: 650 Thorstein Veblen (Qualey, ed.), Supp. I Part 2: 650 Thorstein Veblen: A Chapter in American Economic Thought (Teggart), Supp. I Part 2: 650 Thorstein Veblen: A Critical Interpretation (Riesman), Supp. I Part 2: 649, 650 Thorstein Veblen: A Critical Reappraisal (Dowd, ed.), 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” (R. Bly), Supp. IV Part 1: 62 Those Bones Are Not My Child (Bambara), Supp. XI: 1, 14, 20–22 Those Extraordinary Twins (Twain), IV: 205–206 “Those Graves in Rome” (Levis), Supp. XI: 266 “Those of Us Who Think We Know” (Dunn), Supp. XI: 146 “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 Thoughtbook of Francis Scott Key Fitzgerald (Fitzgerald), Retro. Supp. I: 99 “Thought Experiment” (Saunders), Supp. XIX: 235 “Thoughtful Roisterer Declines the Gambit, The” (Hecht), Supp. X: 63 “Thought of Heaven, The” (Stern), Supp. IX: 297 “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. III Part 1: 324 “Thousand Dollar Vagrant, The” (Olsen), Supp. XIII: 292, 297 “Thousand Faces of Danny Torrance, The” (Figliola), Supp. V: 143 “Thousand Genuflections, A” (McCarriston), Supp. XIV: 266 Thousand-Mile Walk to the Gulf, A (Muir), Supp. IX: 177–178 “Thou Shalt Not Steal” (McClatchy), Supp. XII: 264 “Thread, The” (Merwin), Supp. III Part 1: 351 Three (film), Supp. IX: 253 3-3-8 (Marquand), III: 58 “Three Academic Pieces” (Stevens), IV: 90

“Three Agee Wards, The” (Morris), III: 220–221 “Three American Singers” (Cather), 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 Corollaries of Cultural Relativism” (Locke), Supp. XIV: 202 “Three-Day Blow, The” (Hemingway), II: 248 Three Essays on America (Brooks), I: 246 Three Farmers on Their Way to a Dance (Powers), Supp. IX: 211–212, 213– 214, 222 “Three Fates, The” (Benét), Supp. XI: 48–49, 50 “Three Generations of Secrets” (A. Finch), Supp. XVII: 73 Three Gospels (Price), Supp. VI: 267 “Three Kings, The: Hemingway, Faulkner, and Fitzgerald” (Ford), Supp. V: 59 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 One Act Plays (Riverside Drive, Old Saybrook, and Central Park West) (Allen), Supp. XV: 3 Three on the Tower: The Lives and Works of Ezra Pound, T. S. Eliot, and William Carlos Williams (Simpson), Supp. IX: 276 Three Papers on Fiction (Welty), IV: 261 Three-Penny Opera (Brecht), I: 301; Supp. XIV: 162 “Three Percent Own All the Wealth” (Ryan as Quin), Supp. XVIII: 231– 232 Three Philosophical Poets (Santayana), III: 610–612 “Three Pigs in Five Days” (Prose), Supp. XVI: 257, 258 “Three Players of a Summer Game” (T. Williams), IV: 383 Three Poems (Ashbery), Supp. III Part 1: 2, 3, 14, 15, 18, 24–26 “Three Poems for my Daughter” (Di Piero), Supp. XIX: 40 “Three Pokes of a Thistle” (Nye), Supp. XIII: 281 Three Roads, The (Macdonald, under Millar), Supp. IV Part 2: 466, 467

CUMULATIVE INDEX / 525 “Three Silences of Molinos, The” (Longfellow), Retro. Supp. II: 169 Three Sisters, The (Chekhov), Supp. XV: 323 “Three Sisters, The” (Cisneros), Supp. VII: 64 Three Soldiers (Dos Passos), I: 477–478, 480, 482, 488, 493–494 “Three Songs at the End of Summer” (Kenyon), Supp. VII: 169–170 “Three Steps to the Graveyard” (Wright), Supp. III Part 2: 593, 596 Three Stories and Ten Poems (Hemingway), II: 68, 263; Supp. XVII: 105 Three Taverns, The (Robinson), III: 510 “Three Taverns, The” (Robinson), III: 521, 522 Three Tenant Families (Agee), I: 37–38 Three Tenors, One Vehicle: A Book of Songs (X. J. Kennedy, Camp, and Waldrop), Supp. XV: 165 “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-Way Mirror” (Brooks), Supp. III Part 1: 69–70 Three Weeks in Spring (Parker and Parker), Supp. XIX: 187 “Three Women” (Plath), Supp. I Part 2: 539, 541, 544, 545, 546 Three Young Poets (Swallow, ed.), Supp. X: 116 Threnody (Emerson), Supp. I Part 2: 416 “Threnody” (Emerson), II: 7 “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” (Goldbarth), Supp. XII: 175 Threshold (Jackson), Supp. IX: 117 “Throat” (Goldbarth), Supp. XII: 177– 178 Throne of Labdacus, The (Schnackenberg), Supp. XV: 260, 263–266 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 Hills of Spain” (Salinas), Supp. XIII: 315 “Through the Hole in the Mundane Millstone” (West), Retro. Supp. II: 321, 322 Through the Ivory Gate (Dove), Supp. IV Part 1: 242, 243, 251, 252, 253– 254, 254 “Through the Kitchen Window, Chiapas” (Nye), Supp. XIII: 277 Through the Safety Net (C. Baxter), Supp. XVII: 17, 22

“Through the Smoke Hole” (Snyder), Supp. VIII: 299 “Thrush Relinquished, The” (Grossman), Supp. XIX: 83 Thucydides, II: 418; IV: 50; Supp. I Part 2: 488, 489, 492; Supp. IV Part 1: 391; Supp. XIII: 233 Thunderbolt and Lightfoot (film), Supp. X: 126 “Thunderhead” (MacLeish), III: 19 Thurber, James, I: 487; II: 432; IV: 396; Supp. I Part 2: 602–627, 653, 654, 668, 672, 673, 679; Supp. II Part 1: 143; Supp. IV Part 1: 349; Supp. IX: 118; Supp. XIV: 104; Supp. XVI: 167; Supp. XVII: 4 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, The (Thurber), Supp. I Part 2: 620; Supp. XIV: 104 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; Supp. X: 136, 139; Supp. XVI: 135; Supp. XVIII: 279, 281; Supp. XIX: 78 “Thursday” (Millay), III: 129 “Thurso’s Landing” (Jeffers), Supp. II Part 2: 433 “Thus Do I Refute Gioia” (Junker), Supp. XV: 116 “Thus Far by Faith” (Nelson), Supp. XVIII: 177 Thus Spake Zarathustra (Nietzsche), II: 463; Supp. IV Part 1: 110; Supp. IV Part 2: 519 Thwaite, Lady Alicia. See Rawlings, Marjorie Kinnan Thy Neighbor’s Wife (Talese), Supp. XVII: 204, 205–206, 207, 208, 210 “Tiara” (Doty), Supp. XI: 122 “Tibetan Time” (Prose), Supp. XVI: 255 Ticket for a Seamstitch, A (Harris), II: 424–425 Tickets for a Prayer Wheel (Dillard), Supp. VI: 22, 34 Ticket That Exploded, The (Burroughs), Supp. III Part 1: 93, 103, 104 Tickless Time (Glaspell), Supp. III Part 1: 179 Ticknor, George, II: 488; Supp. I Part 1: 313 Ticknor, William, Supp. XVIII: 258 “Ti Démon” (Chopin), Supp. I Part 1: 225 Tide of Time, The (Masters), Supp. I Part 2: 471 “Tide Rises, the Tide Falls, The” (Longfellow), I: 498 “Tides” (Hoffman), Supp. XVIII: 86

Tidewater Blood (Hoffman), Supp. XVIII: 82–83 Tidyman, Ernest, Supp. V: 226 Tietjens, Eunice, Supp. XV: 47, 297 “Tiger” (Blake), Supp. I Part 1: 80; Supp. VIII: 26 Tiger (Bynner), Supp. XV: 42, 50 “Tiger, The” (Buechner), Supp. XII: 48 Tiger in the House, The (Van Vechten), Supp. II Part 2: 736 Tiger Joy (Benét), Supp. XI: 45 Tiger-Lilies (Lanier), Supp. I Part 1: 350–351, 357, 360, 371 Tiger Who Wore White Gloves, The: or, What You Are, You Are (Brooks), Supp. III Part 1: 86 Till, Emmett, Supp. I Part 1: 61 Tillich, Paul, II: 244; III: 291, 292, 303, 309; IV: 226; Retro. Supp. I: 325, 326, 327; Supp. V: 267; Supp. XIII: 74, 91 Tillie Olsen: A Study of the Short Fiction (Frye), Supp. XIII: 292, 296, 298, 299, 302 Tillman, Lynne, Supp. XII: 4 Tillotson, John, II: 114 Tillotson, Kristen, Supp. XVII: 23 Tillstrom, Burr, Supp. XIV: 125 Till the Day I Die (Odets), Supp. II Part 2: 530, 533–536, 552 Tilton, Eleanor, Supp. I Part 1: 317 Tilton, Theodore, Supp. XVIII: 4 Timaeus (Plato), II: 10; III: 609 Timber (Jonson), II: 16 Timberg, Scott, Supp. XV: 116 “Timberwolf” (Halliday), Supp. XIX: 91 Timbuktu (Auster), Supp. XII: 34, 35–36 “Time” (Matthews), Supp. IX: 165–166 “Time” (Merrill), Supp. III Part 1: 325 “Time and Again” (Sanders), Supp. XVI: 269 Time and a Place, A (Humphrey), Supp. IX: 95, 98, 100–102 “Time and the Garden” (Winters), Supp. II Part 2: 801, 809 “Time and the Liturgy” (Merton), Supp. VIII: 199 Time and Tide: A Walk through Nantucket (Conroy), Supp. XVI: 63, 71, 76–77 “Time Exposure” (C. Baxter), Supp. XVII: 20–21 Time in the Rock (Aiken), I: 65 Time Is Noon, The (Buck), Supp. II Part 1: 129, 130–131 Time & Money (Matthews), Supp. IX: 155, 165–167 “Time of Friendship, The” (Bowles), Supp. IV Part 1: 90–91 “Time of Her Time, The” (Mailer), III: 37, 45; Retro. Supp. II: 200 Time of Our Time, The (Mailer), Retro. Supp. II: 213–214 Time of the Assassins, The: A Study of Rimbaud (H. Miller), III: 189 Time Out of Mind (album, Dylan), Supp. XVIII: 28 “Time Past” (Morris), III: 232 “Time Present” (Morris), III: 232 “Times” (Beattie), Supp. V: 31 “Times, The” (Emerson), II: 11–12

526 / AMERICAN WRITERS Times Are Never So Bad, The (Dubus), Supp. VII: 87–88 Time’s Arrow (Amis), Retro. Supp. I: 278 “Time Shall Not Die” (Chandler), Supp. IV Part 1: 120 Times of Melville and Whitman, The (Brooks), I: 257 Times They Are A-Changin’ , The (album, Dylan), Supp. XVIII: 20, 25 “Times They Are A-Changin’ , The” (song, Dylan), Supp. XVIII: 30 “Timesweep” (Sandburg), III: 595–596 Time to Act, A (MacLeish), III: 3 Time to Be Born, A (Powell), Supp. XIX: 143 Time to Go (Dixon), Supp. XII: 147 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 “Timing of Sin, The” (Dubus), Supp. VII: 91 Tim O’ Brien (Herzog), Supp. V: 239 Timoleon (Melville), III: 93; Retro. Supp. I: 257 Timothy Dexter Revisited (Marquand), III: 55, 62, 63 Timrod, Henry, Supp. XVIII: 31, 33 Tin Can, The (W. J. Smith), Supp. XIII: 334, Supp. XIII: 336, 337 “Tin Can, The” (W. J. Smith), Supp. XIII: 337–339 Tin Can Tree, The (Tyler), Supp. IV Part 2: 659–660 Tinguely, Jean, Supp. XV: 187 Tinker, Chauncey Brewster, Supp. XIV: 12 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. III Part 2: 573, 574 Tip on a Dead Jockey and Other Stories (Shaw), Supp. XIX: 251 “Tip-Top Club, The” (Keillor), Supp. XVI: 172 “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 ’ Tis (McCourt), Supp. XII: 271, 279– 286 Tisch (Dixon), Supp. XII: 141, 155–156 Titan, The (Dreiser), I: 497, 501, 507– 508, 509, 510; Retro. Supp. II: 94, 101, 102 Titian, Supp. I Part 2: 397, 714 “Tito’s Goodbye” (García), Supp. XI: 190 To a Blossoming Pear Tree (Wright), Supp. III Part 2: 602–605 “To a Blossoming Pear Tree” (Wright), Supp. III Part 2: 604 “To Abolish Children” (Shapiro), Supp. II Part 2: 717

To Abolish Children and Other Essays (Shapiro), Supp. II Part 2: 703 “To a Caty-Did, the Precursor of Winter” (Freneau), Supp. II Part 1: 274–275 “To a Chameleon” (Moore), III: 195, 196, 215 “To a Conscript of 1940” (Read), II: 372–373, 377–378 “To a Contemporary Bunk Shooter” (Sandburg), III: 582 “To a Cough in the Street at Midnight” (Wylie), Supp. I Part 2: 727, 729– 730 “To a Defeated Savior” (Wright), Supp. III 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 an Athlete Dying Young” (Houseman), Supp. XVII: 121 “To a Negro Jazz Band in a Parisian Cabaret” (Hughes), Supp. I Part 1: 325 “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 a Now-Type Poet” (X. J. Kennedy), Supp. XV: 161 “To Answer Your Question” (Jarman), Supp. XVII: 114–115 “To Any Would-Be Terrorists” (Nye), Supp. XIII: 285, 286 “To a Poet” (Rich), Supp. I Part 2: 571; Supp. XIX: 83 “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; Supp. X: 31 “Toast to Harlem, A” (Hughes), Supp. I Part 1: 338 “To Aunt Rose” (Ginsberg), Supp. II Part 1: 320 “To Autumn” (Keats), Supp. IX: 50 “To a Waterfowl” (Bryant), Supp. I Part 1: 154, 155, 162, 171 “To a Young Poet” (X. J. Kennedy), Supp. XV: 161 “To a Young Writer” (Stegner), Supp. X: 24

Tobacco Road (Caldwell), I: 288, 289, 290, 295–296, 297, 298, 302, 307, 309, 310; IV: 198 “To Be a Monstrous Clever Fellow” (Fante), Supp. XI: 167 To Bedlam and Part Way Back (Sexton), Retro. Supp. II: 245; Supp. II Part 2: 672–678; Supp. IV Part 2: 441; Supp. XI: 317 “To Beethoven” (Lanier), Supp. I Part 1: 364 To Begin Again: Stories and Memoirs, 1908–1929 (M. F. K. Fisher), Supp. XVII: 92 Tobey, Mark, Supp. X: 264 To Be Young, Gifted, and Black: Lorraine Hansberry in Her Own Words (Nemiroff), Supp. IV Part 1: 372, 374 “To Big Mary from an Ex-Catholic” (Mora), Supp. XIII: 217, 224, 228 “Tobin’s Palm” (O. Henry), Supp. II Part 1: 408; Supp. XV: 40 Tobit (apocryphal book), I: 89 “To Build a Fire” (London), II: 468 Toby Tyler: or, Ten Weeks with a Circus (Otis), III: 577 “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 Tocqueville, Alexis de, III: 261; IV: 349; Retro. Supp. I: 235; Supp. I Part 1: 137; Supp. I Part 2: 659, 660; Supp. II Part 1: 281, 282, 284; Supp. XIV: 306, 312 “To Crispin O’ Conner” (Freneau), Supp. II Part 1: 268 “To Da-Duh, In Memoriam” (Marshall), Supp. XI: 276 “TODAY” (Baraka), Supp. II Part 1: 55 “Today” (Ginsberg), Supp. II Part 1: 328 “Today Is a Good Day To Die” (Bell), Supp. X: 7 Todd, Mabel Loomis, I: 454, 470; Retro. Supp. I: 33, 34, 35, 39, 47 “To Death” (Levertov), Supp. III Part 1: 274 “To Delmore Schwartz” (Lowell), II: 547; Retro. Supp. II: 188 “to disembark” (Brooks), Supp. III Part 1: 86 “To Dorothy on Her Exclusion from The Guinness Book of Records” (X. J. Kennedy), Supp. XV: 166 “To Dr. Thomas Shearer” (Lanier), Supp. I Part 1: 370 “To Earthward” (Frost), II: 154 “To Edwin V. McKenzie” (Winters), Supp. II Part 2: 801 “To Eleonora Duse” (Lowell), II: 528 “To Elizabeth Ward Perkins” (Lowell), II: 516 “To Elsie” (W. C. Williams), Retro. Supp. I: 419 “To Emily Dickinson” (H. Crane), Retro. Supp. II: 76

CUMULATIVE INDEX / 527 “To E. T.” (Frost), Retro. Supp. I: 132 To Feel These Things (L. Michaels), Supp. XVI: 205, 213–214 “To Feel These Things” (L. Michaels), Supp. XVI: 214 Toffler, Alvin, Supp. IV Part 2: 517 “To Fill” (Moore), Supp. X: 168, 169 “To Gabriela, a Young Writer” (Mora), Supp. XIII: 220 To Have and Have Not (film), Supp. XV: 347 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; Retro. Supp. II: 102 “To Hell With Dying” (Walker), Supp. III Part 2: 523 “To His Father” (Jeffers), Supp. II Part 2: 415 Toilet, The (Baraka), Supp. II Part 1: 37, 40–42 “To James Russell Lowell” (Holmes), Supp. I Part 1: 311 To Jerusalem and Back (Bellow), Retro. Supp. II: 29 “To Jesus on His Birthday” (Millay), III: 136–137 “To John Keats” (Lowell), II: 516 “To Judge Faolain, Dead Long Enough: A Summons” (McCarriston), Supp. XIV: 264–265 “To Justify My Singing” (Wright), Supp. III Part 2: 590 “To Kill a Deer” (C. Frost), Supp. XV: 102 To Kill a Mockingbird (film), Supp. VIII: 128–129 To Kill a Mockingbird (Lee), Supp. VIII: 113–129; Supp. XVI: 259; Supp. XIX: 142 “To Kill a Mockingbird: Harper Lee’s Tragic Vision” (Dave), Supp. VIII: 126 To Kill a Mockingbird: Threatening Boundaries (Johnson), Supp. VIII: 126 Toklas, Alice B., IV: 27; Supp. IV Part 1: 81, 91; Supp. XVI: 187 “Tokyo Story” (Wasserstein), Supp. XV: 328 “To Light” (Hogan), Supp. IV Part 1: 402 “To Live and Diet” (Wasserstein), Supp. XV: 328 Tolkien, J. R. R., Supp. V: 140 Tolkin, Michael, Supp. XI: 160 Toller, Ernst, I: 479 “To Lose the Earth” (Sexton), Supp. II Part 2: 684, 685 Tolson, Melvin, Retro. Supp. I: 208, 209, 210 Tolstoy, Leo, I: 6, 7, 58, 103, 312, 376; II: 191–192, 205, 271, 272, 275, 276, 281, 285, 286, 320, 407, 542, 559, 570, 579, 606; III: 37, 45, 61, 323, 467, 572; IV: 17, 21, 170, 285; Retro. Supp. I: 91, 225; Retro. Supp. II: 299; Supp. I Part 1: 2, 3, 6, 20; Supp. IV Part 1: 392; Supp. V: 277, 323;

Supp. IX: 246; Supp. XI: 68; Supp. XII: 310, 322; Supp. XIV: 87, 97, 98; Supp. XIX: 241 “To Lu Chi” (Nemerov), III: 275 Tom (Cummings), I: 430 “Tom” (Oliver), Supp. VII: 232 “Tom, Tom, the Piper’s Son” (Ransom), Supp. X: 58 “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 Tomás and the Library Lady (Mora), Supp. XIII: 216, 221 “Tomatoes” (Francis), Supp. IX: 82 “Tom Ball’s Barn” (Kooser), Supp. XIX: 119 “Tom Brown at Fisk” (Du Bois), Supp. II Part 1: 160 Tom Brown’s School Days (Hughes), Supp. I Part 2: 406 “Tomb Stone” (Dickey), Supp. IV Part 1: 185 “Tombstone Blues” (song, Dylan), Supp. XVIII: 30 Tomcat in Love (O’ Brien), Supp. V: 238, 240, 243, 252–254 “Tomcat’s Wife, The” (C. Bly), Supp. XVI: 40 Tomcat’s Wife and Other Stories, The (C. Bly), Supp. XVI: 40–41 “Tom Fool at Jamaica” (Moore), III: 215 To Mix with Time (Swenson), Supp. IV Part 2: 637, 643–645, 645 Tom Jones (Fielding), I: 131; Supp. V: 127 Tomlinson, Charles, Supp. XVI: 284 Tommy Gallagher’s Crusade (Farrell), II: 44 Tommyknockers, The (King), Supp. V: 139, 144 “Tommy’s Burglar” (Henry), Supp. II Part 1: 399, 401 “Tommy Stames” (Budbill), Supp. XIX: 8 Tomo Cheeki (pseudonym). See Freneau, Philip Tomorrow is Another Day (film, Feist), Supp. XVII: 62 “Tomorrow the Moon” (Dos Passos), I: 493 “Tom Outland’s Story” (Cather), I: 325– 326 Tompkins, Jane, Supp. XVI: 89; Supp. XVIII: 258, 259, 263 Tompson, Benjamin, Supp. I Part 1: 110, 111 Tom Sawyer (musical) (Gurney), Supp. V: 96 Tom Sawyer (Twain). See Adventures of Tom Sawyer, The (Twain) Tom Sawyer Abroad (Twain), II: 482; IV: 19, 204 Tom Sawyer Detective (Twain), IV: 204 “Tom’s Husband” (Jewett), Retro. Supp. II: 132, 141 Tom Swift (Stratemeyer), III: 146

“Tom Wolfe’s Guide to Etiquette” (Wolfe), Supp. III Part 2: 578 “To My Brother Killed: Haumont Wood: October, 1918” (Bogan), Supp. III Part 1: 58 “To My Class, on Certain Fruits and Flowers Sent Me in Sickness” (Lanier), Supp. I Part 1: 370 “To My Father’s Ghost” (Everwine), Supp. XV: 76 “To My Ghost Reflected in the Auxvasse River” (Levis), Supp. XI: 265 “To My Greek” (Merrill), Supp. III Part 1: 326 “To My Mother” (Berry), Supp. X: 23 “To My Small Son, at the Photographer’s” (Hay), Supp. XIV: 121 “To My Small Son, on Certain Occasions” (Hay), Supp. XIV: 121 “To Name is to Possess” (Kincaid), Supp. VII: 194 Tone, Aileen, I: 21–22 “Tongue Is, The” (Komunyakaa), Supp. XIII: 113 “Tongue of the Jews” (Bukiet), Supp. XVII: 47 Tongues (Shepard and Chaikin), Supp. III Part 2: 433 Tongues of Angels, The (Price), Supp. VI: 265 Tongues Untied (Riggs; film), Supp. XI: 19, 20 “Tonight” (Lowell), II: 538 Tonight Is the Night of the Prom (Jarman), Supp. XVII: 110, 112–113 “Tonight Is the Night of the Prom” (Jarman), Supp. XVII: 113 Tony Kushner in Conversation (Vorlicky, ed.), Supp. IX: 132 “Too Anxious for Rivers” (Frost), II: 162 “Too Blue” (Hughes), Retro. Supp. I: 207 “Too Damn Close: Thresholds and Their Maintenance in Rick Bass’s Work” (Kerridge), Supp. XVI: 26 “Too Early” (Leopold), Supp. XIV: 186 “Too Early Spring” (Benét), Supp. XI: 53 “Too Far from Home” (Bowles), Supp. IV Part 1: 94–95 Too Far from Home: Selected Writings of Paul Bowles (Halpern, ed.), Supp. IV Part 1: 94, 95 Too Far to Go: The Maples Stories (Updike), Retro. Supp. I: 321 “Too Good To Be True“: The Life and Art of Leslie Fiedler (Winchell), Supp. XIII: 94, 98, 99, 101 Toohey, John Peter, Supp. IX: 190 Toolan, David, Supp. IV Part 1: 308 Too Late (Dixon), Supp. XII: 143–144 “Too-Late Born, The” (Hemingway), III: 9 Toole, John Kennedy, Supp. XIV: 21 Toomer, Jean, Retro. Supp. II: 79; Supp. I Part 1: 325, 332; Supp. III Part 2: 475–491; Supp. IV Part 1: 16, 164, 168; Supp. IX: 305–322; Supp. XIII: 305; Supp. XVIII: 122

528 / AMERICAN WRITERS Toomer, Nathan Eugene Pinchback. See Toomer, Jean Too Much Johnson (film), Supp. IV Part 1: 83 “To One Who Said Me Nay” (Cullen), Supp. IV Part 1: 166 “Tooth, The” (Jackson), Supp. IX: 122 Tooth of Crime, The (Shepard), Supp. III Part 2: 432, 441–445, 447 “Too Young” (O’ Hara), III: 369 “Top Israeli Official Hints at ‘Shared’ Jerusalem” (Nye), Supp. XIII: 287 “To P. L., 1916–1937” (Levine), Supp. V: 185 “To Please a Shadow” (Brodsky), Supp. VIII: 30 “Top of the Hill” (Jewett), II: 406 “Topography” (Olds), Supp. X: 208 Topper (T. Smith), Supp. IX: 194 Torah, IV: 19 “Torch Songs” (Wrigley), Supp. XVIII: 296 “Torquemada” (Bukiet), Supp. XVII: 44 “Torquemada” (Longfellow), II: 505; Retro. Supp. II: 164 Torrence, Ridgely, III: 507 Torrent and the Night Before, The (Robinson), III: 504 Torrents of Spring, The (Hemingway), I: 117; II: 250–251 Torres, Héctor A., Supp. XIII: 225 Torres, Louis, Supp. IV Part 2: 529, 530 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; Retro. Supp. II: 144–145 “Toscana” (Dixon), Supp. XII: 154 “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. III Part 1: 280–282 “Total Eclipse” (Dillard), Supp. VI: 28 Toth, Emily, Retro. Supp. II: 71 Toth, Susan Allan, Retro. Supp. II: 138 “To the Americans of the United States” (Freneau), Supp. II Part 1: 271 “To the Apennines” (Bryant), Supp. I Part 1: 157, 164 “To the Bleeding Hearts Association of American Novelists” (Nemerov), III: 281 “To the Botequim & Back” (Bishop), Retro. Supp. II: 51 To the Bright and Shining Sun (Burke), Supp. XIV: 22, 25 “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 End” (Haines), Supp. XII: 212– 213

To the Ends of the Earth: The Selected Travels of Paul Theroux, Supp. VIII: 324 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 Green Man (Jarman), Supp. XVII: 110, 120–121 To the Holy Spirit (Winters), Supp. II Part 2: 810 “To the Keeper of the King’s Water Works” (Freneau), Supp. II Part 1: 269 “To the Lacedemonians” (Tate), IV: 134 “To the Laodiceans” (Jarrell), Retro. Supp. I: 121, 140 To the Lighthouse (Woolf), I: 309; II: 600; Retro. Supp. II: 337; Supp. VIII: 155 “To the Man on Trail” (London), II: 466 “To the Memory of the Brave Americans Under General Greene” (Freneau), Supp. II Part 1: 262, 274 “To the Muse” (Wright), Supp. III Part 2: 601 “To the Nazi Leaders” (Hay), Supp. XIV: 121 “To the New World” (Jarrell), II: 371 “To the One of Fictive Music” (Stevens), IV: 89; Retro. Supp. I: 297, 300 “To the One Upstairs” (Simic), Supp. VIII: 283 “To the Peoples of the World” (Du Bois), Supp. II Part 1: 172 To the Place of Trumpets (B. Kelly), Supp. XVII: 123–127; 132 “To the Pliocene Skull” (Harte), Supp. II Part 1: 343–344 “To the Reader” (Baudelaire), II: 544– 545 “To The Reader” (Jarman), Supp. XVII: 115 “To the Reader” (Levertov), Supp. III Part 1: 277 “To the River Arve” (Bryant), Supp. I Part 1: 163 “To the Snake” (Levertov), Supp. III Part 1: 277 “To the Stone-Cutters” (Jeffers), Supp. II Part 2: 420 “To the Unseeable Animal” (Berry), Supp. X: 31 “To the Western World” (Simpson), Supp. IX: 269, 270 To the White Sea (Dickey), Supp. IV Part 1: 186, 190–191 “To the Young Who Want to Die” (Brooks), Supp. III Part 1: 85–86 “To Tlaoc of the Rain” (Everwine), Supp. XV: 77 “To Train a Writer” (Bierce), I: 199 “Touch, The” (Sexton), Supp. II Part 2: 687 Touch and Go (M. F. K. Fisher and D. Parrish), Supp. XVII: 84 “Touching the Tree” (Merwin), Supp. III Part 1: 355

Touching the World (Eakin), Supp. VIII: 167 Touch of Danger, A (Jones), Supp. XI: 226, 228–229 Touch of the Poet, A (O’ Neill), III: 385, 401, 404 Touchstone, The (Wharton), Retro. Supp. I: 365 “Touch-up Man” (Komunyakaa), Supp. XIII: 119 Tough Guys Don’ t Dance (Mailer), Retro. Supp. II: 211 “Tough People” (Offutt), Supp. XIX: 170–171 Toulet, Paul Jean, IV: 79 Tour (McNally), Supp. XIII: 197 “Tour 5” (Hayden), Supp. II Part 1: 381 To Urania (Brodsky), Supp. VIII: 22, 28–29 Tourgée, Albion W., Supp. XIV: 63 “Tour Guide” (Komunyakaa), Supp. XIII: 114 “Tourist Death” (MacLeish), III: 12 Tourmaline (J. Scott), Supp. XVII: 192– 194, 195 Tour of Duty (Dos Passos), I: 489 Touron the Prairies, A (Irving), II: 312– 313 Tovey, Donald Francis, Supp. XIV: 336 To Walk a Crooked Mile (McGrath), Supp. X: 117 Toward a New Synthesis (Begiebing), Retro. Supp. II: 210 “Toward Nightfall” (Simic), Supp. VIII: 277 Towards a Better Life (Burke), I: 270 “Towards a Chicano Poetics: The Making of the Chicano Subject, 1969–1982” (Saldívar), Supp. IV Part 2: 544 Towards an Enduring Peace (Bourne), I: 232 “Towards Morning” (Pedersen; Nelson, trans.), Supp. XVIII: 180 Toward the Blanched Alphabets (Sobin), Supp. XVI: 290 Toward the Gulf (Masters), Supp. I Part 2: 465–466 “Toward the Solstice” (Rich), Supp. I Part 2: 575–576 Toward Wholeness in Paule Marshall’s Fiction (Pettis), Supp. XI: 276 “Tower” (Merwin), Supp. III Part 1: 343 “Tower Beyond Tragedy, The” (Jeffers), Supp. II Part 2: 429–430 Tower of Ivory (MacLeish), III: 3–4 Towers, Robert, Supp. IX: 259; Supp. XVI: 211 “To What Red Hell” (C. Himes), Supp. XVI: 137 “To Whistler, American” (Pound), III: 465–466 “To Wine” (Bogan), Supp. III Part 1: 57, 58 Town, Caren J., Supp. XVIII: 195, 199 Town, The (Faulkner), II: 57, 73; Retro. Supp. I: 74, 82 Town, The (Richter), Supp. XVIII: 207, 214–215, 217 Town and the City, The (Kerouac), Supp. III Part 1: 222–224; Supp. XIV: 143

CUMULATIVE INDEX / 529 “Town Crier” (Bierce), I: 193, 194, 195, 196 “Town Crier Exclusive, Confessions of a Princess Manqué: ‘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), III: 272, 275, 281 Towne, Robert, Supp. XI: 159, 172, 174 “Townhouse Interior with Cat” (Clampitt), Supp. IX: 40 “Townies” (Dubus), Supp. VII: 86 “Town of the Sound of a Twig Breaking” (Carson), Supp. XII: 102 “Town Poor, The” (Jewett), Retro. Supp. II: 138, 139, 143 Townsend, Alison, Supp. XIII: 222 Townsend, Ann, Supp. V: 77 “Towns in Colour” (Lowell), II: 523–524 Townsman, The (Sedges), Supp. II Part 1: 124–125 “To World War Two” (Koch), Supp. XV: 184 Toys in a Field (Komunyakaa), Supp. XIII: 121–122 “Toys in a Field” (Komunyakaa), Supp. XIII: 122 Toys in the Attic (Hellman), Supp. I Part 1: 289–290 Tracer (F. Barthelme), Supp. XI: 31–32, 33 Traces of Thomas Hariot, The (Rukeyser), Supp. VI: 273, 274, 283 “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” (W. C. Williams), Retro. Supp. I: 414 “Tract against Communism, A” (Twelve Southerners), IV: 125, 237 Tractatus (Wittgenstein), Supp. XVII: 143 Tracy, Benjamin, Supp. XVIII: 4 Tracy, D. H., Supp. XVIII: 178 Tracy, Lee, IV: 287, 288 Tracy, Steven, Retro. Supp. I: 195 “Trade, The” (Levine), Supp. V: 193 Trading Twelves (Callahan and Murray, eds.), Retro. Supp. II: 119 Trading Twelves: The Selected Letters of Ralph Ellison and Albert Murray (Murray and Callahan, eds.), Supp. XIX: 148, 158 “Tradition and Industrialization” (Wright), IV: 489–490 “Tradition and Mythology: Signatures of Landscape in Chicana Poetry” (Rebolledo), Supp. XIII: 214 “Tradition and the Individual Talent” (Eliot), I: 441, 574, 585; Retro. Supp. I: 59, 286

Tragedies, Life and Letters of James Gates Percival (Swinburne), Supp. I Part 2: 422 Tragedy of Don Ippolito, The (Howells), II: 279 “Tragedy of Error, A” (James), II: 322; Retro. Supp. I: 218 Tragedy of Pudd’ nhead Wilson, The (Twain), IV: 206–207 Tragic America (Dreiser), Retro. Supp. II: 95 “Tragic Dialogue” (Wylie), Supp. I Part 2: 724 Tragic Ground (Caldwell), I: 297, 306 Tragic Muse, The (James), Retro. Supp. I: 227 Traherne, Thomas, IV: 151; Supp. III Part 1: 14; Supp. V: 208; Supp. XV: 212; Supp. XVI: 282, 288, 295 “Trail, The” (W. J. Smith), Supp. XIII: 342 Trailerpark (Banks), Supp. V: 12 “Trailing Arbutus, The” (Whittier), Supp. I Part 2: 691 Trail of the Lonesome Pine, The (Fox), Supp. XIII: 166 “Train, The” (O’ Connor), Retro. Supp. II: 225 “Train Rising Out of the Sea” (Ashbery), Supp. III Part 1: 22 “Trains” (Banks), Supp. V: 8 “Train Tune” (Bogan), Supp. III Part 1: 64 Train Whistle Guitar (Murray), Supp. XIX: 153–155, 157 “Traits of Indian Character” (Irving), II: 303 Trakl, Georg, Supp. XVII: 241 Tramp Abroad, A (Twain), IV: 200 Tramping With a Poet in the Rockies (S. Graham), Supp. I Part 2: 397 Tramp’s Excuse, The (Lindsay), Supp. I Part 2: 379, 380, 382 “Transatlantic” (Toomer), Supp. III Part 2: 486 Transatlantic Sketches (James), II: 324; Retro. Supp. I: 219 “Transcendental Etude” (Rich), Supp. I Part 2: 576 “Transcontinental Highway” (Cowley), Supp. II Part 1: 141 “Transducer” (Ammons), Supp. VII: 28 “Transfiguration” (Jarman), Supp. XVII: 118, 119 “Transfigured Bird” (Merrill), Supp. III Part 1: 320–321 “Transformations” (Harjo), Supp. XII: 226 Transformations (Sexton), Supp. II Part 2: 689–691; Supp. IV Part 2: 447; Supp. XIV: 125 Transforming Madness: New Lives for People Living with Mental Illness (Neugeboren), Supp. XVI: 229 “Transit” (Conroy), Supp. XVI: 72 Transit to Narcissus, A (Mailer), Retro. Supp. II: 196 “Translation and Transposition” (CarneRoss), Supp. I Part 1: 268–269

“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 (Kenner, ed.), III: 463 Translations of the Gospel Back into Tongues (Wright), Supp. XV: 342– 343, 346 “Trans-National America” (Bourne), I: 229, 230 “Transparency” (X. J. Kennedy), Supp. XV: 159–160 “Transparent Itineraries: 1983” (Sobin), Supp. XVI: 287 “Transparent Itineraries: 1984” (Sobin), Supp. XVI: 287 “Transparent Itineraries: 1992” (Sobin), Supp. XVI: 289 “Transparent Itineraries” poems (Sobin), Supp. XVI: 290 Transparent Man, The (Hecht), Supp. X: 57, 69–71 “Transparent Man, The” (Hecht), Supp. X: 69–70 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 Tranströmer, Thomas, Supp. IV Part 2: 648 “Traps for the Unwary” (Bourne), I: 235 Trash Trilogy (McMurtry), Supp. V: 225–226, 231 Traubel, Horace, IV: 350 “Travel: After a Death” (Kenyon), Supp. VII: 169 Travel Alarm (Nye), Supp. XIII: 277 “Traveler, The” (Haines), Supp. XII: 203–204, 210 “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 Traveler’s Tree, The: New and Selected Poems (W. J. Smith), Supp. XIII: 332, 347 “Traveling” (Paley), Supp. VI: 230 “Traveling Light” (Wagoner), Supp. IX: 329 “Traveling Onion, The” (Nye), Supp. XIII: 276 Traveling through the Dark (Stafford), Supp. XI: 311, 316, 318–321 “Traveling through the Dark” (Stafford), Supp. XI: 318–320, 321, 323, 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 North America” (Kees), Supp. XV: 133–134 Travels in the Congo (Gide), III: 210 “Travels in the South” (Ortiz), Supp. IV Part 2: 506 Travels with Charley (Steinbeck), IV: 52

530 / AMERICAN WRITERS “Travel Writing: Why I Bother” (Theroux), Supp. VIII: 310 Travis, Merle, Supp. V: 335 Travisano, Thomas, Retro. Supp. II: 40 Treasure Hunt (Buechner), Supp. XII: 52 Treasure Island (Stevenson), Supp. X: 230 “Treasure of the Redwoods, A” (Harte), Supp. II Part 1: 337 Treasury of Art Masterpieces, A: From the Renaissance to the Present Day (Craven), Supp. XII: 44 Treasury of English Aphorisms, A (L. P. Smith), Supp. XIV: 344 Treasury of English Prose, A (L. P. Smith, ed.), Supp. XIV: 341 Treasury of the Theatre, A (Gassner), Supp. I Part 1: 292 Treasury of Yiddish Stories, A (Howe and Greenberg, eds.), Supp. I Part 2: 432 Treat ‘Em Rough (Lardner), II: 422–423 Treatise Concerning Religious Affections (Edwards), I: 547, 552, 554, 555, 557, 558, 560, 562 Treatise Concerning the Lord’s Supper (Doolittle), IV: 150 “Treatise on 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 “Treatment” (Wright), Supp. XV: 343 Trece poetas del mundo azteca (LeónPortilla), Supp. XV: 77 Tre Croce (Tozzi), Supp. III Part 2: 616 “Tree, a Rock, a Cloud, A” (McCullers), II: 587 “Tree, The” (Pound), Retro. Supp. I: 286; Supp. I Part 1: 255 “Tree, the Bird, The” (Roethke), III: 548 “Tree at My Window” (Frost), II: 155 Tree Grows in Brooklyn, A (B. Smith), Supp. XVII: 9 Tree Grows in Brooklyn, A (film; Kazan), Supp. XVI: 193 “Tree House at Night, The” (Dickey), Supp. IV Part 1: 179 Tree Is Older Than You Are, The (Nye, ed.), Supp. XIII: 280 “Tree of Laughing Bells, The” (Lindsay), Supp. I Part 2: 376 “Tree of Life, The” (Swados), Supp. XIX: 268 “Tree of Night, A” (Capote), Supp. III Part 1: 114, 120 Tree of Night and Other Stories, A (Capote), Supp. III Part 1: 114 “Trees, The” (Rich), Supp. I Part 2: 555 Trees, The (Richter), Supp. XVIII: 212– 213, 220 “Trees Listening to Bach” (Merrill), Supp. III Part 1: 336 Tree That Came to Stay, The (Quindlen), Supp. XVII: 167 Tree Where Man Was Born, The (Matthiessen), Supp. V: 199, 203, 204

Trejo, Ernesto, Supp. V: 178, 180; Supp. XIII: 313, 316; Supp. XV: 73 Trelawny, Edward John, Supp. I Part 2: 721 “Trellis for R., A” (Swenson), Supp. IV Part 2: 647 Tremblay, Bill, Supp. XIII: 112 Tremble (Wright), Supp. XV: 348–349 “Trespass” (Frost), Retro. Supp. I: 139 “Tretitoli, Where the Bomb Group Was” (Hugo), Supp. VI: 138 Trevelyan, Robert C., Supp. XIV: 334 Trevor-Roper, Hugh, Supp. XIV: 348 Trial, The (Kafka), IV: 113; Retro. Supp. II: 20 “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 Trials of the Human Heart (Rowson), Supp. XV: 237, 239 Tribal Secrets: Recovering American Indian Intellectual Traditions (Warrior), Supp. IV Part 1: 329 “Tribute” (A. Finch), Supp. XVII: 72, 73–74 “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” (Ríos), Supp. IV Part 2: 553 “Tricks” (Olds), Supp. X: 203–204 “Trick Scenery” (F. Barthelme), Supp. XI: 26 Trifler, The (Masters), Supp. I Part 2: 459–460 Trifles (Glaspell), Supp. III Part 1: 175, 178, 179, 182, 186, 187; Supp. X: 46 Trifonov, Iurii V., Retro. Supp. I: 278 Triggering Town, The: Lectures and Essays on Poetry and Writing (Hugo), Supp. VI: 133, 140 Trilling, Diana, II: 587, 600; Supp. I Part 1: 297; Supp. XII: 126 Trilling, Lionel, I: 48; II: 579; III: 308, 310, 319, 327; IV: 201, 211; Retro. Supp. I: 19, 97, 121, 216, 227; Supp. III Part 2: 493–515; Supp. V: 259; Supp. VIII: 93, 98, 190, 231, 236, 243; Supp. IX: 266, 287; Supp. XIII: 100–101; Supp. XIV: 280, 288–289; Supp. XV: 20, 140, 152 Trilogy (Doolittle), Supp. I Part 1: 271, 272 Trilogy of Desire (Dreiser), I: 497, 508; Retro. Supp. II: 94, 96, 101–102 Trimberger, Ellen Kay, Supp. XVII: 96, 106 Trimmed Lamp, The (O. Henry), Supp. II Part 1: 410 “Trinc” (McGrath), Supp. X: 127

Trio (Baker), Supp. I Part 1: 277 “Triolets for Triolet” (Nelson), Supp. XVIII: 179 “Trip” (F. Barthelme), Supp. XI: 26 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 Trippings in Authorland (Forrester), Supp. XVIII: 13 Trippings of Tom Pepper, The (Briggs), Supp. XVIII: 3, 13–14 “Trip to Hanoi” (Sontag), Supp. III Part 2: 460–462 Trip to Parnassus, A; or, The Judgement of Apollo on Dramatic Authors and Performers (Rowson), Supp. XV: 232–233 “Triptych” (Eberhart), I: 522, 539 Tristan and Iseult, Retro. Supp. I: 328, 329, 330, 331 Tristessa (Kerouac), Supp. III Part 1: 225, 227, 229 Tristram (Robinson), III: 521, 522, 523 Tristram Shandy (Sterne), I: 299; IV: 465–466; Supp. V: 127; Supp. XVIII: 60 “Triumphal March” (Eliot), I: 580; III: 17; Retro. Supp. I: 64 Triumph of Achilles, The (Glück), Supp. V: 79, 84–86, 92 “Triumph of a Modern, The, or, Send for the Lawyer” (Anderson), I: 113, 114 “Triumph of the Egg, The” (Anderson), I: 113 Triumph of the Egg, The: A Book of Impressions from American Life in Tales and Poems (Anderson), I: 112, 114 Triumph of the Spider Monkey, The (Oates), Supp. II Part 2: 522 Triumphs of the Reformed Religion in America (Mather), Supp. II Part 2: 453 Trivial Breath (Wylie), Supp. I Part 2: 709, 722–724 Trivia; or, the Art of Walking the Streets of London (Gay), Supp. XIV: 337 Trivia: Printed from the Papers of Anthony Woodhouse, Esq. (L. P. Smith), Supp. XIV: 336, 337–340 Trocchi, Alexander, Supp. XI: 294, 295, 301 Troilus and Criseyde (Chaucer), Retro. Supp. I: 426 Trois contes (Flaubert), IV: 31, 37 Trojan Horse, The: A Play (MacLeish), III: 21 “Trojan Women, The” (Maxwell), Supp. VIII: 169 Troll Garden, The (Cather), I: 313, 314– 316, 322; Retro. Supp. I: 5, 6, 8, 14 “Trolling for Blues” (Wilbur), Supp. III Part 2: 563–564 Trollope, Anthony, I: 10, 375; II: 192, 237; III: 51, 70, 281, 382; Retro. Supp. I: 361

CUMULATIVE INDEX / 531 Trombly, Albert Edmund, Supp. I Part 2: 403 Trombold, John, Supp. XVIII: 111 “Troop Train” (Shapiro), Supp. II Part 2: 707 “Tropes of the Text” (Gass), Supp. VI: 88 Tropic of Cancer (H. Miller), III: 170, 171, 174, 177, 178–180, 181, 182, 183, 187, 190; Supp. V: 119; Supp. X: 187 Tropic of Capricorn (H. 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 Troubled Air, The (Shaw), Supp. XIX: 249–250 Troubled Island (opera; Hughes and Still), Retro. Supp. I: 203 Troubled Lovers in History (Goldbarth), Supp. XII: 176, 192–193 Trouble Follows Me (Macdonald, under Millar), Supp. IV Part 2: 466 Trouble in July (Caldwell), I: 297, 304– 305, 306, 309 Trouble Island (Hughes), Supp. I Part 1: 328 “Trouble of Marcie Flint, The” (Cheever), Supp. I Part 1: 186 Trouble with Francis, The: An Autobiography (Francis), Supp. IX: 76, 77, 82, 84–85 Trouble with God, The (Francis), Supp. IX: 88 “Trouble with the Stars and Stripes” (Nye), Supp. XIII: 277 Trouillot, Michel-Rolphe, Supp. X: 14–15 Troupe, Quincy, Retro. Supp. II: 15, 111; Supp. X: 242 “Trout” (Hugo), Supp. VI: 135 Trout Fishing in America (Brautigan), Supp. VIII: 43 “Trouvée” (Bishop), Retro. Supp. II: 49 “Truce of the Bishop, The” (Frederic), II: 139–140 “Truck Stop: Minnesota” (Dunn), Supp. XI: 145–146 True and False: Heresy and Common Sense for the Actor (Mamet), Supp. XIV: 241, 243 True Blood (television series), Supp. XIX: 174 Trueblood, Valerie, Supp. XIII: 306 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 Love” (Olds), Supp. X: 212 Trueman, Matthew (pseudonym). See Lowell, James Russell “True Morality” (Bell), Supp. X: 13 “True Romance” (Everett), Supp. XVIII: 65

True Stories (Atwood), Supp. XIII: 34–35 “True Stories” (Atwood), Supp. XIII: 34 “True Stories of Bitches” (Mamet), Supp. XIV: 246, 252 “Truest Sport, The: Jousting with Sam and Charlie” (Wolfe), Supp. III Part 2: 581–582 “True Vine” (Wylie), Supp. I Part 2: 723 True West (Shepard), Supp. III Part 2: 433, 441, 445, 447, 448 Truman, Harry, III: 3 Truman Capote: In Which Various Friends, Enemies, Acquaintances, and Detractors Recall His Turbulent Career (Plimpton), Supp. XVI:245 Truman Show, The (film), Supp. XVI: 271 Trumbo, Dalton, Supp. I Part 1: 295; Supp. XIII: 6; Supp. XVII: 63 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 Player, 1963” (Halliday), Supp. XIX: 92 Trumpet Shall Sound, The (Wilder), IV: 356 Trumpet Unblown, The (Hoffman), Supp. XVIII: 71, 74–75 “Truro Bear, The” (Oliver), Supp. VII: 234 Truscott, Lucian K., Supp. IV Part 2: 683 Trust (Ozick), Supp. V: 257–258, 259, 260–263, 270, 272 Trust Me (Updike), Retro. Supp. I: 322 “Trust Yourself” (Emerson), II: 10 “Truth” (Emerson), II: 6 “Truth, The” (Halliday), Supp. XIX: 87, 88, 94 “Truth, The” (Jarrell), II: 381–382 “Truth about God, The” (Carson), Supp. XII: 105–106 “Truthful James” (Harte), IV: 196 “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 Serum (Cooper), Supp. XI: 129 “Truth the Dead Know, The” (Sexton), Supp. II Part 2: 681 “Trying to Evangelize a Cut Flower” (Peacock), Supp. XIX: 199 Trying to Save Piggy Sneed (Irving), Supp. VI: 19–165 “Trying to Talk with a Man” (Rich), Supp. I Part 2: 559 “Tryptich I” (Bell), Supp. X: 7 “Tryst, The” (Wharton), Retro. Supp. I: 378 “Try the Girl” (Chandler), Supp. IV Part 1: 125 “Ts’ ai Chih” (Pound), III: 466 T. S. Eliot and American Philosophy (Jain), Retro. Supp. I: 58

T. S. Eliot’s Silent Voices (Mayer), Retro. Supp. I: 58 Tsuji, Shizuo, Supp. XVII: 90 Tsvetayeva, Marina, Supp. VIII: 30 “Tuberoses” (E. Stoddard), Supp. XV: 282 Tuckerman, Frederick Goddard, IV: 144 “Tuesday, November 5th, 1940” (Benét), Supp. XI: 46, 52 “Tuesday April 25th 1966” (Olson), Supp. II Part 2: 585 “Tuesday Night at the Savoy Ballroom” (Komunyakaa), Supp. XIII: 132 Tuffield, Aviva, Supp. XVI: 147, 148 “Tuft of Flowers, The” (Frost), II: 153; Retro. Supp. I: 126, 127 Tufts, James Hayden, Supp. I Part 2: 632 Tu Fu, II: 526; Supp. XV: 47 Tu Fu (Ayscough), II: 527 Tugwell, Rexford Guy, Supp. I Part 2: 645 “Tulip” (Hammett), Supp. IV Part 1: 356 “Tulip Man, The” (McCarriston), Supp. XIV: 261 “Tulips” (Nye), Supp. XIII: 281 “Tulips” (Plath), Retro. Supp. II: 252– 253; 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 “Tuned in Late One Night” (Stafford), Supp. XI: 327–328 Tunnel, The (Gass), Supp. V: 44; Supp. VI: 89–91, 94 “Tunnel, The” (Strand), Supp. IV Part 2: 622 “Tunnels” (Komunyakaa), Supp. XIII: 123 Tuqan, Fadwa, Supp. XIII: 278 Tura, Cosimo, III: 474–475 Turandot and Other Poems (Ashbery), Supp. III Part 1: 3 Turco, Lewis, Supp. XV: 118 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 Turnbull, Dr. George, II: 113 Turnbull, Lawrence, Supp. I Part 1: 352 “Turned” (Gilman), Supp. XI: 207 Turner, Addie, IV: 123 Turner, Darwin, Supp. I Part 1: 339; 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, Patricia, Supp. XIII: 237 Turner, Russell. See Lacy, Ed

532 / AMERICAN WRITERS Turner, Victor, Supp. IV Part 1: 304 “Turning Away Variations on Estrangement” (Dickey), Supp. IV Part 1: 183 Turning Point, The (McCoy), Supp. XIII: 175 “Turning Thirty, I Contemplate Students Bicycling Home” (Dove), Supp. IV Part 1: 250 Turning Wind, A (Rukeyser), Supp. VI: 272–273, 279–280 Turn of the Screw, The (H. James), Retro. Supp. I: 219, 231; Supp. IV Part 2: 682 “Turn of the Screw, The” (H. James), II: 331–332; Retro. Supp. I: 228, 229, 231, 232; Supp. XVII: 143 Turns and Movies and Other Tales in Verse (Aiken), I: 65 “Turn with the Sun, A” (Knowles), Supp. XII: 237–238 Turow, Scott, Supp. V: 220; Supp. XVII: 213–224 Turpin, E. Walters, Supp. XVIII: 283 Turrinus, Lucius Mamilius, IV: 373 “Turtle” (Hogan), Supp. IV Part 1: 401 Turtle, Swan (Doty), Supp. XI: 121–122 “Turtle, Swan” (Doty), Supp. XI: 121– 122 Turtle Island (Snyder), Supp. VIII: 300– 303 Turtle Moon (Hoffman), Supp. X: 77, 87–88, 89 “Turtle Shrine near Chittagong, The” (Nye), Supp. XIII: 277 Turturro, John, Supp. XI: 174 Tuscan Cities (Howells), II: 280 Tuskegee movement, Supp. II Part 1: 169, 172 Tuten, Frederic, Supp. VIII: 75, 76; Supp. XIII: 237, 249 Tuten, James, Supp. XVIII: 195 Tuthill, Louisa Cavolne, Supp. I Part 2: 684 “Tutored Child, The” (Kunitz), Supp. III Part 1: 264 Tuttleton, James W., Supp. IV Part 1: 166, 168 “T.V.A.” (Agee), I: 35 Tvedten, Brother Benet, Supp. IV Part 2: 505 “TV Men” (Carson), Supp. XII: 105, 112 Twain, Mark, I: 57, 103, 107, 109, 190, 192, 193, 195, 197, 203, 209, 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, 285–286, 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, 347, 357, 409, 453, 454, 504, 507, 554, 558, 572, 575, 576; IV: 190–213, 333, 349, 451; Retro. Supp. I: 169, 194, 195; Retro. Supp. II: 123; Supp. I Part 1: 37, 39, 44, 247, 251, 313, 317; Supp. I 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; Supp. IV Part 2: 463, 468, 603, 607, 693; Supp. V: 44, 113, 131; Supp. VIII: 40, 189; Supp. IX: 14, 171; Supp. X: 51, 227; Supp. XII: 343; Supp. XIII: 1, 17; Supp. XV: 41; Supp. XVI: 66, 208; Supp. XVIII: 1, 9, 13 “Twa Sisters, The” (ballad), Supp. I Part 2: 696 Twelfth Night (Shakespeare), Supp. IV Part 1: 83; Supp. IX: 14 “12 O’ Clock News” (Bishop), Retro. Supp. II: 48 Twelve Men (Dreiser), Retro. Supp. II: 94, 104 Twelve Moons (Oliver), Supp. VII: 231, 233–236, 238, 240 Twelve Southerners, IV: 125; Supp. X: 25 Twelve Years a Slave (Northup), Supp. XIV: 32 Twentieth Century Authors, I: 376, 527 “Twentieth Century Fiction and the Black Mask of Humanity” (Ellison), Retro. Supp. II: 118 Twentieth Century Pleasures (Hass), Supp. VI: 103, 106, 109 “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 Hill Hollow” (Muir), Supp. IX: 178 “Twenty Minutes” (Salter), Supp. IX: 260 “Twenty-One Love Poems” (Rich), Supp. I Part 2: 572–573 “Twenty-One Poems” (MacLeish), III: 19 Twenty Poems (Haines), Supp. XII: 204, 205–206 Twenty Poems of Anna Akhmatova (Kenyon), Supp. VII: 165–166 Twenty Questions: (Posed by Poems) (McClatchy), Supp. XII: 254, 259– 262 27 Wagons Full of Cotton and Other OneAct Plays (T. Williams), IV: 381, 383 Twenty Thousand Leagues under the Sea (Verne), I: 480; Supp. XI: 63 “Twenty Years Ago” (Lindsay), Supp. I Part 2: 384, 399 Twenty Years at Hull-House (Addams), Supp. I Part 1: 3, 4, 11, 16 Twice over Lightly: New York Ten and Now (Hayes and Loos), Supp. XVI: 195 Twice-Told Tales (Hawthorne), I: 354; II: 224; III: 412, 421; Retro. Supp. I: 154–155, 160 Twichell, Chase, Supp. V: 16; Supp. XVII: 110, 112 Twilight (Frost), II: 151 “Twilight’s Last Gleaming” (Burroughs and Elvins), Supp. III Part 1: 93, 94, 101 Twilight Sleep (Wharton), IV: 320–322, 324–325, 327, 328; Retro. Supp. I: 381

“Twin, The” (Olds), Supp. X: 207 “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 Twitch and Shout (film), Supp. XVIII: 143 Twitchel-Waas, Jeffrey, Supp. XVIII: 99 Two Admirals, The (Cooper), I: 350 Two against One (F. Barthelme), Supp. XI: 32, 33, 36 “Two Boys” (Moore), Supp. X: 173 “Two Brothers, The” (Jewett), Retro. Supp. II: 132 Two-Character Play, The (T. Williams), IV: 382, 386, 393, 398 Two Citizens (Wright), Supp. III Part 2: 602–604 “Two Deer” (Bass), Supp. XVI: 24 “Two Domains, The” (Goldbarth), Supp. XII: 192 “Two-Eleven All Around” (Offutt), Supp. XIX: 170 “Two Environments, The” (Trilling), Supp. III Part 2: 510 “Two-Fisted Self Pity” (Broyard), Supp. XI: 348 Two for Texas (Burke), Supp. XIV: 25, 34 “Two Friends” (Cather), 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. III Part 2: 596 Two-Headed Poems (Atwood), Supp. XIII: 34 Two Hot to Handle (Lacy), Supp. XV: 206 Two Hours to Doom (Bryant), Supp. XI: 302 “Two Kitchens in Provence” (M. F. K. Fisher), Supp. XVII: 88, 91 “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 (E. Stoddard), Supp. XV: 272, 273, 283–284 “Two Men” (McClatchy)“, Supp. XII: 269 Two Men of Sandy Bar (Harte), Supp. II Part 1: 354 Twomey, Jay, Supp. XVII: 111 “Two Moods of Love” (Cullen), Supp. IV Part 1: 166 Two Moons (Mallon), Supp. XIX: 132, 138–141

CUMULATIVE INDEX / 533 “Two Morning Monologues” (Bellow), I: 150; Retro. Supp. II: 20 Two-Ocean War, The (Morison), Supp. I Part 2: 491 “Two of Hearts” (Hogan), Supp. IV Part 1: 410 “Two on a Party” (T. Williams), IV: 388 “Two or Three Things I Dunno About John Cassavetes” (Lethem), Supp. XVIII: 148 “Two Pendants: For the Ears” (W. C. Williams), Retro. Supp. I: 423 “Two Poems of Going Home” (Dickey), Supp. IV Part 1: 182–183 “Two Portraits” (Chopin), Supp. I Part 1: 218 “Two Presences, The” (R. Bly), Supp. IV Part 1: 65 “Two Rivers” (Stegner), Supp. IV Part 2: 605 Tworkov, Jack, Supp. XII: 198 “Two Scenes” (Ashbery), Supp. III Part 1: 4 Two Serious Ladies (Jane Bowles), Supp. IV Part 1: 82 “Two Silences” (Carruth), Supp. XVI: 55 “Two Sisters” (Farrell), II: 45 Two Sisters: A Memoir in the Form of a Novel (Vidal), Supp. IV Part 2: 679 “Two Sisters of Persephone” (Plath), Retro. Supp. II: 246 “Two Songs on the Economy of Abundance” (Agee), I: 28 “Two Tales of Clumsy” (Schnackenberg), Supp. XV: 258 “Two Temples, The” (Melville), III: 89–90 Two Thousand Seasons (Armah), Supp. IV Part 1: 373 Two Towns in Provence (M. F. K. Fisher), Supp. XVII: 91 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. III Part 2: 555 Two Weeks in Another Town (Shaw), Supp. XIX: 251 “Two Witches” (Frost), Retro. Supp. I: 135 “Two Words” (Francis), Supp. IX: 81 Two Years before the Mast (Dana), I: 351 “Tyger, The” (Blake), Supp. XVII: 128 Tyler, Anne, Supp. IV Part 2: 657–675; Supp. V: 227, 326; Supp. VIII: 141; Supp. X: 1, 77, 83, 85; Supp. XII: 307; Supp. XVI: 37; Supp. XVIII: 157, 195 Tyler, Royall, I: 344; Retro. Supp. I: 377 Tymms, Ralph, Supp. IX: 105 Tyndale, William, II: 15 Tyndall, John, Retro. Supp. II: 93

Typee: A Peep at Polynesian Life (Melville), III: 75–77, 79, 84; Retro. Supp. I: 245–246, 249, 252, 256 Types From City Streets (Hapgood), Supp. XVII: 103 “Typewriter, The” (D. West), Supp. XVIII: 279 Typewriter Town (W. J. Smith), Supp. XIII: 332 “Typhus” (Simpson), Supp. IX: 277 Tyranny of the Normal (Fiedler), Supp. XIII: 107–108 “Tyranny of the Normal” (Fiedler), Supp. XIII: 107–108 “Tyrant of Syracuse” (MacLeish), III: 20 “Tyrian Businesses” (Olson), Supp. II Part 2: 567, 568, 569 Tytell, John, Supp. XIV: 140 Tzara, Tristan, Supp. III Part 1: 104, 105 U U and I (Baker), Supp. XIII: 45–47, 48, 52, 55 Überdie Seelenfrage (Fechner), II: 358 Ubik (Dick), Supp. XVIII: 136 Ubu Roi (Jarry), Supp. XV: 178, 186 Ueland, Brenda, Supp. XVII: 13 “Ulalume” (Poe), III: 427; Retro. Supp. II: 264, 266 Ulin, David, Supp. XIII: 244; Supp. XVI: 74 Ullman, Leslie, Supp. IV Part 2: 550; Supp. XVIII: 175 Ultimate Good Luck, The (Ford), Supp. V: 57, 61–62 Ultimate Punishment: A Lawyer’s Reflections on Dealing with the Death Penalty (Turow), Supp. XVII: 220–221 Ultima Thule (Longfellow), II: 490; Retro. Supp. II: 169 “Ultima Thule” (Nabokov), Retro. Supp. I: 274 Ultramarine (Carver), Supp. III 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; Retro. Supp. II: 121; Supp. I Part 1: 57; Supp. III Part 2: 618, 619; Supp. IV Part 1: 285; Supp. IV Part 2: 424; Supp. V: 261; Supp. IX: 102; Supp. X: 114; Supp. XIII: 43, 191; Supp. XV: 305; Supp. XVII: 140, 227 “Ulysses, Order and Myth” (Eliot), Retro. Supp. I: 63 “Umbrella, The” (Peacock), Supp. XIX: 203–204 Unaccountable Worth of the World, The (Price), Supp. VI: 267 Unamuno y Jugo, Miguel de, III: 310; Supp. XV: 79 “Unattached Smile, The” (Crews), Supp. XI: 101 “Unbelievable Thing Usually Goes to the Heart of the Story, The: Magic Realism in the Fiction of Rick Bass” (Dwyer), Supp. XVI: 16

“Unbeliever, The” (Bishop), Retro. Supp. II: 43 “Unborn Song” (Rukeyser), Supp. VI: 274 Unbought Spirit: A John Jay Chapman Reader (Stone, ed.), Supp. XIV: 54 Uncalled, The (Dunbar), Supp. II Part 1: 200, 211, 212 Uncentering the Earth: Copernicus and The Revolutions of the Heavenly Spheres (Vollmann), Supp. XVII: 226 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 Adler” (Kooser), Supp. XIX: 120 “Uncle Christmas” (Ríos), 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 Tomitudes” (Briggs), Supp. XVIII: 14 Uncle Tom’s Cabin (Stowe), II: 291; Supp. I Part 1: 49; Supp. I Part 2: 410, 579, 582, 589–592; Supp. II Part 1: 170; Supp. III Part 1: 154, 171; Supp. IX: 19; Supp. X: 246, 249, 250; Supp. XIII: 95; Supp. XVI: 82, 85, 88; Supp. XVIII: 14 Uncle Tom’s Children (Wright), IV: 476, 478, 488; Supp. II Part 1: 228, 235; Supp. XVIII: 283 “Uncle Wiggily in Connecticut” (Salinger), III: 559–560, 563 “Unclouded Day, The” (Proulx), Supp. VII: 254–255 “Uncommon Visage” (Brodsky), Supp. VIII: 31 “Uncommon Woman: An Interview with Wendy Wasserstein” (Cohen), Supp. XV: 323 Uncommon Women and Others (Wasserstein), Supp. XV: 320–321, 322–323 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. III Part 2: 556 “Undefeated, The” (Hemingway), II: 250; Retro. Supp. I: 180 Under a Glass Bell (Nin), Supp. X: 186 “Under Ben Bulben” (Yeats), Supp. V: 220 Undercliff: Poems 1946–1953 (Eberhart), I: 528, 536–537 Under Cover (Goldbarth), Supp. XII: 177, 180, 193 Undercover Doctor (film), Supp. XIII: 170

534 / AMERICAN WRITERS “Under Cygnus” (Wilbur), Supp. III Part 2: 558 “Under Forty” (Trilling), Supp. III Part 2: 494 Underground Man, The (film), Supp. IV Part 2: 474 Underground Man, The (Macdonald), Supp. IV Part 2: 474, 475 “Under Libra: Weights and Measures” (Merrill), Supp. III Part 1: 328 Under Milk Wood (D. Thomas), III: 21 “Undersea” (Carson), Supp. IX: 21 Understanding Cynthia Ozick (Friedman), Supp. V: 273 Understanding Drama (Brooks and Heilman), Supp. XIV: 12 Understanding E. L. Doctorow (Fowler), Supp. IV Part 1: 226 Understanding Fiction (Brooks and Warren), IV: 279; Supp. XIV: 11 Understanding Fiction (Brooks and Warren, eds.), Supp. XIX: 246 Understanding Flannery O’ Connor (Whitt), Retro. Supp. II: 226 Understanding Nicholson Baker (Saltzman), Supp. XIII: 48 Understanding Poetry: An Anthology for College Students (Brooks and Warren), IV: 236; Retro. Supp. I: 40, 41; Supp. XIV: 4–5 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 Under the Banner of Heaven: A Story of Violent Faith (Krakauer), Supp. XVIII: 105, 114–116, 117 “Under the Cedarcroft Chestnut” (Lanier), Supp. I Part 1: 364 “Under the Harbour Bridge” (Komunyakaa), Supp. XIII: 125 “Under the Influence” (Sanders), Supp. XVI: 274, 277 Under the Lilacs (Alcott), Supp. I Part 1: 42–43, 44 “Under the Maud Moon” (Kinnell), Supp. III Part 1: 246–247 Under the Mountain Wall: A Chronicle of Two Seasons in the Stone Age (Matthiessen), Supp. V: 202 Under the Red Flag (Jin), Supp. XVIII: 89, 94–95 “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. III Part 2: 451, 452, 458, 470–471 “Under the Sign of Saturn” (Sontag), Supp. III Part 2: 470 “Under the Sky” (Bowles), Supp. IV Part 1: 87 Under the Volcano (M. Lowry), Supp. XVII: 135, 139, 140

“Under the Willows” (Lowell), Supp. I Part 2: 416 Under the Willows and Other Poems (Lowell), Supp. I Part 2: 424 Underwood, Wilbur, Retro. Supp. II: 79 Underworld (DeLillo), Supp. VI: 2, 4–5, 6–7, 8, 9, 10, 11, 13–15; Supp. XI: 68 Undine (La Motte-Fouqué), II: 212; III: 78 Undiscovered Country, The (Howells), II: 282 “Undressing, The” (C. Frost), Supp. XV: 98 Uneasy Chair, The (Stegner), Supp. IV Part 2: 599 “Unemployed, Disabled, and Insane, The” (Haines), Supp. XII: 211–212 Unending Blues (Simic), Supp. VIII: 278–279 “Unexpected Freedom” (Peacock), Supp. XIX: 199 “Unexpressed” (Dunbar), Supp. II Part 1: 199 “Unfinished Bronx, The” (Paley), Supp. VI: 228 “Unfinished Poems” (Eliot), I: 579 “Unfinished Song” (C. Frost), Supp. XV: 97 Unfinished Woman, An (Hellman), Supp. I Part 1: 292, 293, 294; Supp. IV Part 1: 12, 353–354; Supp. IX: 196, 200–201 Unforeseen Wilderness, The: An Essay on Kentucky’s Red River Gorge (Berry), Supp. X: 28, 29, 30, 36 Unforgotten Years (L. P. Smith), Supp. XIV: 333, 334, 335, 336, 347 “Unfortunate Coincidence” (Parker), Supp. IX: 190 Unframed Originals (Merwin), Supp. III Part 1: 341 Ungar, Sanford, Supp. XI: 228 Ungaretti, Giuseppe, Supp. V: 337 Unguided Tour (Sontag), Supp. III Part 2: 452 “Unheimliche, Das” (The Uncanny) (Freud), Supp. XVI: 157–158 Unholy Sonnets (Jarman), Supp. XVII: 109, 110, 119–120; Supp. XVIII: 178 “Unholy Sonnets” (Jarman), Supp. XVII: 118, 119–120 “Unidentified Flying Object” (Hayden), Supp. II Part 1: 368 “Unifying Principle, The” (Ammons), Supp. VII: 28 “Unimportant Man, An” (D. West), Supp. XVIII: 280 “Union” (Hughes), Supp. I Part 1: 331 “Union Street: San Francisco, Summer 1975” (Carver), Supp. III Part 1: 138 United States Army in World War II (Morison), Supp. I Part 2: 490 United States Constitution, I: 6, 283 United States Essays, 1951–1991 (Vidal), Supp. IV Part 2: 678, 687 “United States of Huck, The: Introduction to Adventures of Huckleberry Finn” (Saunders), Supp. XIX: 235

United States of Poetry, The (television series), Supp. XIII: 274 “Unity through Diversity” (Locke), Supp. XIV: 212, 213 Universal Baseball Asociation, Inc., J. Henry Waugh, Prop., The (Coover), Supp. V: 39, 41–42, 44, 46 Universal Passion (Young), III: 111 “Universe of Death, The” (H. Miller), III: 184 Universe of Time, A (Anderson), II: 27, 28, 45, 46, 48, 49 “Universities” (Emerson), II: 6 “Universities: A Mirage? ” (Mora), Supp. XIII: 219 “University” (Shapiro), Supp. II Part 2: 704–705, 717 “University Avenue” (Mora), Supp. XIII: 216 “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 Rilke, The (Rilke; F. Wright, trans.), Supp. XVII: 244 “Unknown War, The” (Sandburg), III: 594 Unkown Constellations, The (Swados), Supp. XIX: 256 Unleashed (anthology), Supp. XI: 132 “Unlighted Lamps” (Anderson), I: 112 Unloved Wife, The (Alcott), Supp. I Part 1: 33 Unmarried Woman, An (film), Supp. IV Part 1: 303 “Unnatural Mother, The” (Gilman), Supp. XI: 207 “Unnatural State of the Unicorn” (Komunyakaa), Supp. XIII: 119 “Unparalleled Adventure of One Hans Pfaall, The” (Poe), III: 424 “Unpleasant Profession of Jonathan Hoag, The” (Heinlein), Supp. XVIII: 149 Unprecedented Era, The (Goebbels), III: 560 “Unprofitable Servant, The” (O. Henry), Supp. II Part 1: 403 Unpublished Poems of Emily Dickinson (Bianchi and Hampson, ed.), Retro. Supp. I: 35 Unpunished (Gilman), Supp. XI: 208 Unraveling Strangeness, The (Weigl), Supp. XIX: 287–288 “Unreal City” (Eliot), Supp. XV: 218 “Unreasoning Heart” (Untermeyer), Supp. XV: 309 “Unsaid (Gioia), Supp. XV: 129 “Unseen, The” (Pinsky), Supp. VI: 243– 244 “Unseen, The” (Singer), Retro. Supp. II: 307 Unseen Hand, The (Shepard), Supp. III Part 2: 439, 445–446

CUMULATIVE INDEX / 535 Unselected Poems (Levine), Supp. V: 179 Unsettling of America, The: Culture and Agriculture (Berry), Supp. X: 22, 26, 29, 32, 33, 35; Supp. XIV: 177, 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 Untermeyer, Jean Starr, II: 530; Supp. XV: 294, 295, 303, 307, 308, 310 Untermeyer, Louis, II: 516–517, 530, 532; III: 268; Retro. Supp. I: 124, 133, 136; Supp. III Part 1: 2; Supp. IX: 76; Supp. XIV: 119, 123; Supp. XV: 293–318 Untimely Papers (Bourne), I: 218, 233 “Untitled” (C. Frost), Supp. XV: 103 “Untitled Blues” (Komunyakaa), Supp. XIII: 117 Unto the Sons (Talese), Supp. XVII: 199–200, 206–207, 208, 209, 210 “Untrustworthy Speaker, The” (Glück), 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 “Unwedded” (Larcom), Supp. XIII: 144 “Unweepables, The” (Karr), Supp. XI: 243 “Unwelcome Guest, An” (Papernick), Supp. XVII: 50 Unwelcome Words (Bowles), Supp. IV Part 1: 93, 94 “Unwelcome Words” (Bowles), Supp. IV Part 1: 94, 95 Unwin, T. Fisher, Supp. XI: 202 “Unwithered Garland, The” (Kunitz), Supp. III Part 1: 265 Unwobbling Pivot, The (Pound, trans.), III: 472 “Unwritten, The” (Merwin), Supp. III Part 1: 352 “Unwritten Law” (Glück), Supp. V: 91 Up (Sukenick), Supp. V: 39 Up Above the World (Bowles), Supp. IV Part 1: 82, 91, 92 “Up and Down” (Merrill), Supp. III Part 1: 328 Upanishads, IV: 183 Up Country: Poems of New England (Kumin), Supp. IV Part 2: 446, 447– 448, 453 “Update” (Dunn), Supp. XI: 150–151 Updike, John, I: 54; III: 572; IV: 214– 235; Retro. Supp. I: 116, 317–338; Retro. Supp. II: 213, 279, 280; Supp. I Part 1: 186, 196; Supp. IV Part 2: 657; Supp. V: 23, 43, 95, 119; Supp. VIII: 151, 167, 236; Supp. IX: 208; Supp. XI: 65, 66, 99, 140; Supp. XII:

140, 296, 298, 310; Supp. XIII: 45– 46, 47, 52; Supp. XIV: 79, 93, 111; Supp. XVI: 205, 207, 220 Updike, Mrs. Wesley, IV: 218, 220 Up from Slavery (Washington), Supp. II Part 1: 169; Supp. IX: 19 Upham, Thomas Goggswell, II: 487 “Upholsterers, The” (Lardner), II: 435 “Up in Michigan” (Hemingway), II: 263; Supp. XIX: 241 Upjohn, Richard, IV: 312 “Upon a Spider Catching a Fly” (Taylor), IV: 161 “Upon a Wasp Child with Cold” (Taylor), IV: 161 “Upon Meeting Don L. Lee, in a Dream” (Dove), Supp. IV Part 1: 244 “Upon My Dear and Loving Husband His Going into England, Jan. 16, 1661” (Bradstreet), Supp. I Part 1: 110 “Upon Returning to the Country Road” (Lindsay), Supp. I Part 2: 382 “Upon the Burning of Our House, July 10th, 1666” (Bradstreet), Supp. I Part 1: 107–108, 122 “Upon the Sweeping Flood” (Taylor), IV: 161 “Upon Wedlock, and Death of Children” (Taylor), IV: 144, 147, 161 “Upset, An” (Merrill), Supp. III Part 1: 336 Upstairs and Downstairs (Vonnegut), Supp. II Part 2: 757 Upstate (Wilson), IV: 447 Upton, Lee, Supp. X: 209 “Upturned Face” (Crane), I: 423 Upward, Allen, Supp. I Part 1: 262 Upward, Edward, Supp. XIV: 159, 160 “Upward Moon and the Downward Moon, The” (R. Bly), Supp. IV Part 1: 71 Urania: A Rhymed Lesson (Holmes), Supp. I Part 1: 300 “Urban Convalescence, An” (Merrill), Supp. III Part 1: 322–324 “Urban Renewal” (Komunyakaa), Supp. XIII: 113 Urdang, Constance, Supp. XV: 74 “Urganda and Fatima” (Rowson), Supp. XV: 234 Urial Accosta: A Play (Reznikoff), Supp. XIV: 282, 288 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 “Us” (Sexton), Supp. II Part 2: 687 U.S. 1 (Rukeyser), Supp. VI: 272, 278, 283, 285 U.S.A. (Dos Passos), I: 379, 475, 478, 482–488, 489, 490, 491, 492, 493, 494, 495; Retro. Supp. II: 197; Supp. I Part 2: 646; Supp. III Part 1: 104, 105; Supp. XIV: 24 “U.S.A. School of Writing, The” (Bishop), Retro. Supp. II: 43 “U.S. Commercial Orchid, The” (Agee), I: 35 “Used-Boy Raisers, The” (Paley), Supp. VI: 218, 228

“Used Cars on Oahu” (Nye), Supp. XIII: 282 “Used Side of the Sofa, The” (Ríos), Supp. IV Part 2: 551 Useless Servants, The (Hinojosa), Supp. XIX: 98, 103, 104, 109–110 Use of Fire, The (Price), Supp. VI: 265 “Use of Force, The” (W. C. Williams), Retro. Supp. I: 424 Use of Poetry and the Use of Criticism, The (Eliot), Retro. Supp. I: 65 Uses of Enchantment, The: The Meaning and Importance of Fairy Tales (Bettelheim), Supp. XIV: 126 Uses of Enchantment, The: The Meaning and Importance of Fairy Tales (Bettleheim), Supp. X: 77 “Uses of Hell, The” (E. Hoffman), Supp. XVI: 154 “Uses of Hell, The: An Exchange“( Novick, Katz, and Szulc), Supp. XVI: 154 Uses of Literacy, The (Hoggart), Supp. XIV: 299 “Uses of Poetry, The” (W. C. Williams), Retro. Supp. I: 412 “Uses of the Blues, The” (Baldwin), Retro. Supp. II: 8 “USFS 1919: The Ranger, the Cook, and a Hole in the Sky” (Maclean), Supp. XIV: 230, 234 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 Utopia 14 (Vonnegut), Supp. II Part 2: 757 V V. (Pynchon), Supp. II Part 2: 618, 620– 622, 627–630; Supp. IV Part 1: 279 “Vacation” (Stafford), Supp. XI: 321, 322 “Vacation Trip” (Stafford), Supp. XI: 322 Vachel Lindsay: A Poet in America (Masters), Supp. I Part 2: 473, 474 “Vachel Lindsay: The Midwest as Utopia” (Whitney), Supp. I Part 2: 403 “Vachel Lindsay Writes to Floyd Dell” (Tanselle), Supp. I Part 2: 403 “Vacillation” (Yeats), Supp. XV: 253 Vadim, Roger, Supp. XI: 293, 307 “Vag” (Dos Passos), I: 487–488 Vagina Monologues, The (Ensler), Supp. XIX: 204–205 Valediction (Parker), Supp. XIX: 185 Valentine, Jean, Supp. V: 92 Valentine, Saint, IV: 396 Valentines (Kooser), Supp. XIX: 116, 123, 128–129 Valentino, Rudolph, I: 483

536 / AMERICAN WRITERS Valéry, Paul, II: 543, 544; III: 279, 409, 428, 609; IV: 79, 91, 92, 428, 443; Retro. Supp. II: 187 “Valhalla” (Francis), Supp. IX: 77 Valhalla and Other Poems (Francis), Supp. IX: 76 Validity in Interpretation (Hirsch), Supp. XIV: 15 Valitsky, Ken, Supp. XII: 7 Vallejo, César, Supp. V: 332; Supp. IX: 271; Supp. XIII: 114, 315, 323 “Valley, The” (Bass), Supp. XVI: 20, 22 Valley, The (Hinojosa), Supp. XIX: 97, 99, 100–101 “Valley Between, The” (Marshall), Supp. XI: 278 Valley of Decision, The (Wharton), IV: 311, 315; Retro. Supp. I: 365–367 “Valley of the Monsters, The” (Peacock), Supp. XIX: 198 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 “Value of a Place, The” (Bass), Supp. XVI: 18 “Values and Fictions” (Toomer), Supp. III Part 2: 485–486 “Values and Imperatives” (Locke), Supp. XIV: 199, 202, 212 Values of Veblen, The: A Critical Appraisal (Rosenberg), Supp. I Part 2: 650 “Vampire” (Karr), Supp. XI: 241 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 Aalst, Mariska, Supp. XIX: 50, 51 Van Buren, Martin, II: 134, 312; III: 473 Vande Kieft, Ruth M., IV: 260 Vanderbilt, Cornelius, III: 14 Van Dine, S. S., Supp. IV Part 1: 341 Van Doren, Carl, I: 252–253, 423; II: 103, 111, 112; Supp. I Part 2: 474, 486, 707, 709, 717, 718, 727; Supp. II Part 1: 395; Supp. VIII: 96–97 Van Doren, Mark, I: 168; III: 4, 23, 589; Supp. I Part 2: 604; Supp. III Part 2: 626; Supp. VIII: 231; Supp. IX: 266, 268; Supp. XV: 152, 305, 307 Vandover and the Brute (Norris), III: 314, 315, 316, 320–322, 328, 333, 334 Van Duyn, Mona, Supp. IX: 269 Van Dyke, Annette, Supp. IV Part 1: 327 Van Dyke, Henry, I: 223; II: 456 Van Gogh, Vincent, I: 27; IV: 290; Supp. I Part 2: 451; Supp. IV Part 1: 284 Van Gogh’s Room at Arles (Elkin), Supp. VI: 56 “Vanilla Dunk” (Lethem), Supp. XVIII: 139 “Vanisher, The” (Whittier), Supp. I Part 2: 691 Vanishing Point (Markson), Supp. XVII: 135, 137, 138, 145–146

“Vanishing Red, The” (Frost), Retro. Supp. II: 47 “Vanity” (B. Diop), Supp. IV Part 1: 16 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. III Part 1: 221, 222 “Vanity of Existence, The” (Freneau), Supp. II Part 1: 262 Van Matre, Lynn, Supp. V: 126 Vann, Barbara, Supp. XV: 187 Vanquished, The (Faulkner), I: 205 Van Rensselaer, Stephen, I: 351 Van Vechten, Carl, I: 295; IV: 76; Supp. I Part 1: 324, 327, 332; Supp. I Part 2: 715; Supp. II Part 2: 725–751; Supp. X: 247; Supp. XVI: 135; Supp. XVII: 96, 97, 101, 104; Supp. XVIII: 123, 131, 132, 279, 280; Supp. XIX: 76 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. III Part 1: 242–243 “Vapor Trails” (Snyder), Supp. VIII: 298 “Variation: Ode to Fear” (Warren), IV: 241 “Variation on a Sentence” (Bogan), Supp. III Part 1: 60 “Variation on Gaining a Son” (Dove), Supp. IV Part 1: 248 “Variation on Pain” (Dove), Supp. IV Part 1: 248 “Variations: The air is sweetest that a thistle guards” (Merrill), Supp. III Part 1: 321 “Variations: White Stag, Black Bear” (Merrill), Supp. III Part 1: 321 “Varick Street” (Bishop), Supp. I Part 1: 90, 92 Varieties of Metaphysical Poetry, The (Eliot), Retro. Supp. I: 65 Varieties of Religious Experience, The (William James), II: 344, 353, 354, 359–360, 362; IV: 28, 291; Supp. IX: 19 Variety (film), Supp. XII: 7 Variorum (Whitman), Retro. Supp. I: 406 Various Antidotes (J. Scott), Supp. XVII: 188–189 Various Miracles (Shields), Supp. VII: 318–320, 323, 324 “Various Miracles” (Shields), Supp. VII: 318–319, 324 Various Poems (Zach), Supp. XV: 86 “Various Tourists” (Connell), Supp. XIV: 79 “Varmint Question, The” (Leopold), Supp. XIV: 180–181 Varno, David, Supp. XIX: 205 Vasari, Giorgio, Supp. I Part 2: 450; Supp. III Part 1: 5 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; Supp. XV: 251 Vaughn, Robert, Supp. XI: 343 “Vaunting Oak” (Ransom), III: 490 Vazirani, Reetika, Supp. XIII: 133 Veblen (Hobson), Supp. I Part 2: 650 Veblen, Andrew, Supp. I Part 2: 640 Veblen, Mrs. Thorstein (Ellen Rolfe), Supp. I Part 2: 641 Veblen, Oswald, Supp. I Part 2: 640 Veblen, Thorstein, I: 104, 283, 475–476, 483, 498, 511; II: 27, 272, 276, 287; Supp. I Part 2: 628–650; Supp. IV Part 1: 22 Veblenism: A New Critique (Dobriansky), Supp. I Part 2: 648, 650 “Veblen’s Attack on Culture” (Adorno), Supp. I Part 2: 650 Vechten, Carl Van, Retro. Supp. I: 199 Vedanta for Modern Man (Isherwood, ed.), Supp. XIV: 164 Vedanta for the Western World (Isherwood, ed.), Supp. XIV: 164 Vedas, IV: 183 Vega, Janine Pommy, Supp. XIV: 148 Vega, Lope de, Retro. Supp. I: 285; Supp. III Part 1: 341, 347 Vegetable, The (Fitzgerald), Retro. Supp. I: 105; Supp. IX: 57 Vegetable, The, or From President to Postman (Fitzgerald), II: 91 “Vegetable Love” ( Apple), Supp. XVII: 4 “Vegetable Wisdom” (Halliday), Supp. XIX: 88 Veinberg, Jon, Supp. V: 180; Supp. XIII: 313; Supp. XV: 76–77, 86 Vein of Iron (Glasgow), II: 175, 186, 188–189, 191, 192, 194 Vein of Riches, A (Knowles), Supp. XII: 249 Velie, Alan R., Supp. IV Part 2: 486 Velocities: New and Selected Poems, 1966–1992 (Dobyns), Supp. XIII: 86–87, 87, 88 “Velorio” (Cisneros), Supp. VII: 66 “Velvet Shoes” (Wylie), Supp. I Part 2: 711, 714 Venant, Elizabeth, Supp. XI: 343 Vencloca, Thomas, Supp. VIII: 29 Vendler, Helen H., Retro. Supp. I: 297; Retro. Supp. II: 184, 191; Supp. I Part 1: 77, 78, 92, 95; Supp. I Part 2: 565; Supp. IV Part 1: 245, 247, 249, 254, 257; Supp. IV Part 2: 448; Supp. V: 78, 82, 189, 343; Supp. XII: 187, 189; Supp. XV: 20, 184 “Venetian Blind, The” (Jarrell), II: 382– 383 Venetian Glass Nephew, The (Wylie), Supp. I Part 2: 707, 709, 714, 717– 719, 721, 724 Venetian Life (Howells), II: 274, 277, 279 Venetian Vespers, The (Hecht), Supp. X: 57, 65–69 “Venetian Vespers, The” (Hecht), Supp. X: 65, 66–67 Venice Observed (McCarthy), II: 562

CUMULATIVE INDEX / 537 Ventadorn, Bernard de, Supp. IV Part 1: 146 “Ventriloquists’ Conversations” (Gentry), Supp. IV Part 1: 236 “Venus, Cupid, Folly and Time” (Taylor), Supp. V: 322–323 Venus and Adonis (film), Supp. IV Part 1: 82 Venus and Don Juan (C. Frost), Supp. XV: 93, 102–103, 104, 107 “Venus and Don Juan” (C. Frost), Supp. XV: 103 Venus Blue (Sobin), Supp. XVI: 293– 294, 294 Venus in Sparta (Auchincloss), Supp. IV Part 1: 25 “Venus Pandemos” (Halliday), Supp. XIX: 85, 89, 90, 93 “Venus’s-flytraps” (Komunyakaa), Supp. XIII: 126, 127 “Veracruz” (Hayden), Supp. II Part 1: 371, 373 Verga, Giovanni, II: 271, 275 Verghese, Abraham, Supp. X: 160 Verhaeren, Emile, I: 476; II: 528, 529 Verlaine, Paul, II: 529, 543; III: 466; IV: 79, 80, 86, 286; Retro. Supp. I: 56, 62; Retro. Supp. II: 326 “Vermeer” (Nemerov), III: 275, 278, 280 Vermeer, Jan, Retro. Supp. I: 335 “Vermont” (Carruth), Supp. XVI: 54 Vermont Notebook, The (Ashbery), Supp. III Part 1: 1 “Vernal Ague, The” (Freneau), Supp. II Part 1: 258 Verne, Jules, I: 480; Retro. Supp. I: 270; Supp. XI: 63 Vernon, John, Supp. X: 15 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. III Part 1: 329, 330 Verses (Wharton), Retro. Supp. I: 362 Verses, Printed for Her Friends (Jewett), II: 406 “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 “Version of a Fragment of Simonides” (Bryant), Supp. I Part 1: 153, 155 Verulam, Baron. See Bacon, Francis Very, Jones, III: 507 “Very Hot Sun in Bermuda, The” (Jackson), Supp. IX: 126 Very Old Bones (W. Kennedy), Supp. VII: 133, 148, 150–153 Very Persistent Gappers of Frip, The (Saunders), Supp. XIX: 229–230 “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

Vesey, Desmond, Supp. XIV: 162 “Vespers” (Auden), Supp. II Part 1: 23 “Vespers” (Glück), Supp. V: 88 Vestal Lady on Brattle, The (Corso), Supp. XII: 119, 120–121, 134 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 “Veterans’ Cemetery” (Gioia), Supp. XV: 117 “Veteran Sirens” (Robinson), III: 512, 524 “Veterinarian” (X. J. Kennedy), Supp. XV: 168 “Vetiver” (Ashbery), Supp. III Part 1: 26 “Via Dieppe-Newhaven” (H. Miller), III: 183 “Via Negativa” (Salter), Supp. IX: 257 Vicar of Wakefeld, The (Goldsmith), I: 216 Vicious Circle, The (film, Wilder), Supp. XVII: 62 “Vicissitudes of the Avant-Garde, The” (Gass), Supp. VI: 91 Victim, The (Bellow), I: 144, 145, 147, 149, 150, 151, 152, 153, 155, 156, 158, 159, 164; IV: 19; Retro. Supp. II: 21, 22, 34 “Victor” (Mumford), Supp. II Part 2: 476 Victoria (Rowson), Supp. XV: 231 Victorian in the Modern World, A (Hapgood), Supp. XVII: 95, 97, 100, 101, 103, 105, 106 “Victories” (Untermeyer), Supp. XV: 300 “Victory at Sea” (television series), Supp. I Part 2: 490 “Victory comes late” (Dickinson), Retro. Supp. I: 45 “Victory of the Moon, The” (Crane), I: 420 Vida, Vendela, Supp. XIX: 49, 50, 53, 57, 58, 59, 61, 62 Vidal, Gore, II: 587; IV: 383; Supp. IV Part 1: 22, 35, 92, 95, 198; Supp. IV Part 2: 677–696; Supp. IX: 96; Supp. X: 186, 195; Supp. XIV: 156, 170, 338; Supp. XIX: 131, 132 Viebahn, Fred, Supp. IV Part 1: 248 Viera, Joseph M., Supp. XI: 178, 186 Viereck, Peter, Supp. I Part 2: 403 Viertel, Berthold, Supp. XIV: 165 Viertel, Salka, Supp. XVI: 192 Viet Journal (Jones), Supp. XI: 230–231 Vietnam (McCarthy), II: 578–579 “Vietnam in Me, The” (O’ Brien), Supp. V: 241, 252 Vie unanime, La (Romains), I: 227 “View, The” (Roussel), Supp. III Part 1: 15, 16, 21 View from 80, The (Cowley), Supp. II Part 1: 141, 144, 153 “View from an Institution” (F. Wright), Supp. XVII: 244 View from the Bridge, A (A. Miller), III: 147, 148, 156, 158, 159–160

View of My Own, A: Essays in Literature and Society (Hardwick), Supp. III Part 1: 194, 200 “View of the Capital from the Library of Congress” (Bishop), Retro. Supp. II: 45 View of the Soil and Climate of the United States, A (Brown, trans.), Supp. I Part 1: 146 “View of the Woods, A” (O’ Connor), III: 349, 351, 358; Retro. Supp. II: 237 “Views of the Mysterious Hill: The Appearance of Parnassus in American Poetry” (Strand), Supp. IV Part 2: 631 “Vigil” (Karr), Supp. XI: 241 “Vigil, The” (Dante), III: 542 Vigny, Alfred Victor de, II: 543 Vildrac, Charles, Supp. XV: 50 Vile Bodies (Waugh), Supp. I Part 2: 607 Villa, Pancho, I: 210; III: 584 “Village Blacksmith, The” (Longfellow), Retro. Supp. II: 167, 168; Supp. I Part 2: 409 Village Hymns, a Supplement to Dr. Watts’s Psalms and Hymns (Nettleton), I: 458 “Village Improvement Parade, The” (Lindsay), Supp. I Part 2: 388, 389 Village Magazine, The (Lindsay), Supp. I Part 2: 379–380, 382 Village Virus, The (Lewis), II: 440 “Villanelle at Sundown” (Justice), Supp. VII: 119, 122–123 “Villanelle of Change” (Robinson), III: 524 Villard, Oswald, Supp. I Part 1: 332 “Villa Selene” (Simpson), Supp. IX: 279 Villon, François, II: 544; III: 9, 174, 592; Retro. Supp. I: 286; Supp. I Part 1: 261; Supp. III Part 1: 235, 243, 249, 253; Supp. III Part 2: 560; Supp. IX: 116 “Villonaud for This Yule” (Pound), Retro. Supp. I: 286 “Vincenzo Tailor” (Di Piero), Supp. XIX: 38 Vindication of the Rights of Woman (Wollstonecraft), Supp. I Part 1: 126; Supp. XI: 203 Vines, Lois Davis, Retro. Supp. II: 261 Vintage Book of Amnesia, The (Lethem, ed.), Supp. XVIII: 138 “Vintage Thunderbird, A” (Beattie), Supp. V: 27 Vinz, Mark, Supp. X: 117 Violence (Bausch), Supp. VII: 48–49, 54 Violent Bear It Away, The (O’ Connor), III: 339, 345–348, 350, 351, 354, 355, 356, 357; Retro. Supp. II: 233, 234– 236 Violent Hero, Wilderness Heritage and Urban Reality, The: A Study of the Private Eye in the Novels of Dashiell Hammett, Raymond Chandler and Ross Macdonald (Parker), Supp. XIX: 177 “Violent Vet, The” (O’ Brien), Supp. V: 238 Violin (Rice), Supp. VII: 302

538 / AMERICAN WRITERS Viorst, Judith, Supp. X: 153 Viper Run (Karr), Supp. XI: 248–251 Virgil, I: 312, 322, 587; II: 133, 542; IV: 137, 359; Retro. Supp. I: 135; Supp. I Part 1: 153; Supp. I Part 2: 494; Supp. IV Part 2: 631 “Virgin and the Dynamo” (Adams), III: 396 “Virgin Carrying a Lantern, The” (Stevens), IV: 80 Virginia (Glasgow), II: 175, 178, 181– 182, 193, 194 “Virginia” (Lindsay), Supp. I Part 2: 398 “Virginia Britannia” (Moore), III: 198, 208–209 “Virginians Are Coming Again, The” (Lindsay), Supp. I Part 2: 399 Virginia Reels (Hoffman), Supp. XVIII: 79, 86 “Virgin Violeta” (Porter), III: 454 “Virility” (Ozick), Supp. V: 262, 265 Virtual Light (W. Gibson), Supp. XVI: 124, 129, 130 Virtue of Selfishness, The: A New Concept of Egoism (Rand), Supp. IV Part 2: 527, 530–532 “Virtuoso” (Francis), Supp. IX: 82 Virtuous Woman, A (Gibbons), Supp. X: 44–45, 46, 50 Visconti, Luchino, Supp. V: 51 Visible Saints: The History of a Puritan Idea (Morgan), IV: 149 “Vision, A” (Olds), Supp. X: 214 “Vision, A” (Winters), Supp. II Part 2: 785, 795 “Vision and Prayer” (D. Thomas), I: 432 “Visionary, The” (Poe), III: 411 Visionary Farms, The (Eberhart), I: 537– 539 Visioning, The (Glaspell), Supp. III Part 1: 175–177, 180, 187, 188 Vision in Spring (Faulkner), Retro. Supp. I: 79 Vision of Columbus (Barlow), Supp. I Part 1: 124; Supp. II Part 1: 67, 68, 70–75, 77, 79 Vision of Sir Launfal, The (Lowell), Supp. I Part 1: 311; Supp. I Part 2: 406, 409, 410 “Vision of the World, A” (Cheever), Supp. I Part 1: 182, 192 Visions of Cody (Kerouac), Supp. III Part 1: 225–227 Visions of Gerard (Kerouac), Supp. III 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 “Visitant, The” (Dunn), Supp. XI: 147 “Visitation, The/La Visitación” (Mora), Supp. XIII: 217, 224, 228 “Visit Home, A” (Stafford), Supp. XI: 318 Visit in 2001, The (musical, McNally), Supp. XIII: 207 “Visiting My Own House in Iowa City” (Stern), Supp. IX: 300 “Visit of Charity, A” (Welty), IV: 262 “Visitors” (Salinas), Supp. XIII: 318

“Visitors, The/Los Visitantes” (Kingsolver), Supp. VII: 208 “Visits to St. Elizabeths” (Bishop), Retro. Supp. II: 47 “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 “Vissi d’ Arte” (Moore), Supp. X: 173– 174 Vistas of History (Morison), Supp. I Part 2: 492 “Vita” (Stafford), Supp. XI: 330 Vital, David, Supp. XVI: 160 Vital Provisions (Price), Supp. VI: 262– 263 “Vitamins” (Carver), Supp. III Part 1: 138 Vita Nova (Glück), Supp. V: 90–92 Vitruvius, Supp. XVI: 292 Vittorio, the Vampire (Rice), Supp. VII: 295–296 Viudas (Dorfman), Supp. IX: 138 “Viva Vargas!” (Allen), Supp. XV: 15 Viviparous Quadrupeds of North America, The (Audubon and Bachman), Supp. XVI: 10 Vizenor, Gerald, Supp. IV Part 1: 260, 262, 329, 404; Supp. IV Part 2: 502 Vladimir Nabokov: The American Years (Nabokov), Retro. Supp. I: 275 Vlag, Piet, Supp. XV: 295 “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 “Vocabulary of Dearness” (Nye), Supp. XIII: 284 “Vocation” (Stafford), Supp. XI: 312, 321 Vocation and a Voice, A (Chopin), Retro. Supp. II: 67, 72 “Vocation and a Voice, A” (Chopin), Retro. Supp. II: 72; Supp. I Part 1: 200, 220, 224, 225 Vogel, David, Supp. XV: 88 Vogel, Speed, Supp. IV Part 1: 390 “Vogue Vista” (Peacock), Supp. XIX: 200 “Voice” (F. Wright), Supp. XVII: 245 “Voice, The” (Dunn), Supp. XI: 152 Voiced Connections of James Dickey, The (Dickey), Supp. IV Part 1: 177 “Voice from the Wilderness” (Ray), Supp. XVIII: 202 “Voice from the Woods, A” (Humphrey), Supp. IX: 101 “Voice from Under the Table, A” (Wilbur), Supp. III Part 2: 553, 554 Voice of Reason, The: Essays in Objectivist Thought (Rand), Supp. IV Part 2: 527, 528, 532 “Voice of Rock, The” (Ginsberg), Supp. II Part 1: 313

Voice of the Butterfly, The (Nichols), Supp. XIII: 270 Voice of the City, The (O. Henry), Supp. II Part 1: 410 “Voice of the Mountain, The” (Crane), I: 420 Voice of the Negro (Barber), Supp. II Part 1: 168 Voice of the People, The (Glasgow), II: 175, 176 Voice of the Turtle: American Indian Literature 1900–1970 (Gunn Allen, ed.), Supp. IV Part 1: 332, 334 Voices from the Moon (Dubus), Supp. VII: 88–89 “Voices from the Other World” (Merrill), Supp. III Part 1: 331 Voices in the House (Sedges), Supp. II Part 1: 125 Voices of a Summer Day (Shaw), Supp. XIX: 251 Voices of the Night (Longfellow), II: 489, 493; Retro. Supp. II: 154, 157, 168 “Voices of Village Square, The” (Wolfe), Supp. III Part 2: 571–572 Voice That Is Great within Us, The (Caruth, ed.), Supp. XIII: 112 Voigt, Ellen Bryan, Supp. XIII: 76 Volkening, Henry, Retro. Supp. II: 117; Supp. XV: 142 Vollmann, William T., Supp. XIV: 96; Supp. XVII: 225–237 Volney, Constantin François de Chasseboeuf, Supp. I Part 1: 146 Voltaire, I: 194; II: 86, 103, 449; III: 420; IV: 18; Retro. Supp. II: 94; Supp. I Part 1: 288–289; Supp. I Part 2: 669, 717; Supp. XV: 258 Voltaire! Voltaire! (Endore), Supp. XVII: 65 Volunteers, The (Rowson and Reinagle), Supp. XV: 238 Vonnegut, Kurt, Retro. Supp. I: 170; Supp. II Part 2: 557, 689, 753–784; Supp. IV Part 1: 227, 392; Supp. V: 40, 42, 237, 244, 296; Supp. X: 260; Supp. XI: 104; Supp. XII: 139, 141; Supp. XVIII: 242, 252 Vonnegut, Kurt, Jr., Supp. XVII: 41, 135; Supp. XIX: 223 “Voracities and Verities” (Moore), III: 214 Vore, Nellie, I: 199 Vorlicky, Robert, Supp. IX: 132, 135, 136, 141, 144, 147 Vorse, Mary Heaton, Supp. XVII: 99 “Vorticism” (Pound), Retro. Supp. I: 288 Voss, Richard, I: 199–200 “Vow, The” (Hecht), Supp. X: 64 “Vowels 2” (Baraka), Supp. II Part 1: 51 Vow of Conversation, A: Journal, 1964– 1965 (Merton), Supp. VIII: 206 Vox (Baker), Supp. XIII: 47–49, 50, 52, 53 “Voyage” (MacLeish), III: 15 Voyage, The (Caputo), Supp. XIX: 25, 27–28 “Voyage, The” (Irving), II: 304

CUMULATIVE INDEX / 539 Voyage, The, and Other Versions of Poems by Baudelaire (Lowell), Retro. Supp. II: 187 Voyage dans la Haute Pennsylvanie et dans l’ état de New-York (Crèvecoeur), Supp. I Part 1: 250–251 Voyage of the Beagle (Darwin), Supp. IX: 211 Voyage Out, The (Woolf), Supp. XV: 65 “Voyager, The” (Everwine), Supp. XV: 75 “Voyages” (H. Crane), I: 393–395; Retro. Supp. II: 78, 80, 81 “Voyages” (Levine), Supp. V: 190 Voyages and Discoveries of the Companions of Columbus (Irving), II: 310 Voyage to Pagany, A (W. C. Williams), IV: 404; Retro. Supp. I: 418–419, 420–421, 423 Voyaging Portraits (Sobin), Supp. XVI: 282, 287 “Voyeur, The” (Gioia), Supp. XV: 125 Voznesensky, Andrei, II: 553; Supp. III Part 1: 268; Supp. III Part 2: 560 Vrbovska, Anca, Supp. IV Part 2: 639 V. S. Naipaul: An Introduction to His Work (Theroux), Supp. VIII: 314, 318 “V. S. Pritchett’s Apprenticeship” (Maxwell), Supp. VIII: 172 “Vulgarity in Literature” (Huxley), III: 429–430 “Vultures” (Oliver), Supp. VII: 235 “V. V.” (Alcott), Supp. I Part 1: 37 W W (Viva) (Cummings), I: 429, 433, 434, 436, 443, 444, 447 Wabash (R. O. Butler), Supp. XII: 61, 68–69 Wade, Grace, I: 216 “Wading at Wellfleet” (Bishop), Retro. Supp. II: 42, 43; Supp. I Part 1: 80, 85, 86 Wadsworth, Charles, I: 454, 470; Retro. Supp. I: 32, 33 Wagenknecht, Edward, II: 508; Supp. I Part 2: 408, 584; Supp. IV Part 2: 681 “Wages of Poetry, The” (Wright), Supp. XV: 337 Wagner, Jean, Supp. I Part 1: 341, 346; Supp. IV Part 1: 165, 167, 171 Wagner, Richard, I: 284, 395; II: 425; III: 396, 507; Supp. IV Part 1: 392 Wagner, Robert, Supp. IX: 250 “Wagnerians, The” (Auchincloss), Supp. IV Part 1: 23 “Wagner Matinee, A” (Cather), I: 315– 316; Retro. Supp. I: 5, 8 Wagoner, David, Supp. IX: 323–340; Supp. XII: 178 Waid, Candace, Retro. Supp. I: 360, 372, 373 Waif, The (Longfellow, ed.), Retro. Supp. II: 155 “Waif of the Plains, A” (Harte), Supp. II Part 1: 354 Wain, John, Supp. XIV: 166 “Wait” (Kinnell), Supp. III Part 1: 250 “Waiting” (Dubus), Supp. VII: 87

Waiting (Jin), Supp. XVIII: 89, 96–97, 99 “Waiting” (W. C. Williams), Retro. Supp. I: 418 “Waiting, The” (L.-Y. Lee), Supp. XV: 218 “Waiting, The” (Olds), Supp. X: 209 “Waiting between the Trees” (Tan), Supp. X: 290 “Waiting by the Gate” (Bryant), Supp. I Part 1: 171 Waiting for God (Weil), I: 298 Waiting for Godot (Beckett), I: 78, 91, 298; Supp. IV Part 1: 368–369 Waiting for Lefty (Odets), Supp. I Part 1: 277; Supp. II Part 2: 529, 530– 533, 540; Supp. V: 109; Supp. XIX: 242 Waiting for the End of the World (Bell), Supp. X: 4–5, 11 Waiting for the Verdict (Davis), Supp. XVI: 85, 89, 90 “Waiting in a Rain Forest” (Wagoner), Supp. IX: 329 Waiting Room, The (Kees), Supp. XV: 133, 148 Waiting to Exhale (McMillan), Supp. XIII: 184, 185, 189–190, 191 “Waiting to Freeze” (Banks), Supp. V: 5, 6 Waiting to Freeze: Poems (Banks), Supp. V: 6, 8 Waits, Tom, Supp. VIII: 12 Wait until Spring, Bandini (Fante), Supp. XI: 160, 161, 164, 165, 166–167 Wait until Spring, Bandini (film), Supp. XI: 173 “Wake, The” (Dove), Supp. IV Part 1: 250 “Wakefield” (Hawthorne), Retro. Supp. I: 154, 159 Wakefield, Dan, Supp. VIII: 43; Supp. XVI: 220; Supp. XIX: 257, 258 Wakefield, Richard, Supp. IX: 323 “Wake Island” (Rukeyser), Supp. VI: 273 Wakeman, Frederic, Supp. IX: 247 Wake Up and Live! (Brande), Supp. I Part 2: 608 “Waking” (C. Frost), Supp. XV: 93 Waking, The (Roethke), III: 541 “Waking Early Sunday Morning” (Lowell), II: 552; Retro. Supp. II: 190 “Waking in the Blue” (Lowell), II: 547; Retro. Supp. II: 180 “Waking in the Dark” (Rich), Supp. I Part 2: 559 “Waking Up the Rake” (Hogan), Supp. IV Part 1: 415–416, 416 Wakoski, Diane, Supp. V: 79; Supp. XII: 184; Supp. XV: 252; Supp. XVII: 112 Walcott, Charles C., II: 49 Walcott, Derek, Supp. VIII: 28; Supp. X: 122, 131; Supp. XV: 256 Walcott, Jersey Joe, Supp. V: 182 Wald, Alan, Supp. XV: 202; Supp. XVIII: 223 Wald, Lillian, Supp. I Part 1: 12

Walden (Thoreau), Supp. XIV: 177, 227; Supp. XV: 275; Supp. XVIII: 14, 80, 189 Walden, Daniel, Supp. IV Part 2: 584, 591; Supp. V: 272 Walden; or, Life in the Woods (Thoreau), I: 219, 305; II: 8, 142, 159, 312–313, 458; IV: 168, 169, 170, 176, 177–178, 179–182, 183, 187; Retro. Supp. I: 62; Supp. I Part 2: 579, 655, 664, 672; Supp. VIII: 296; Supp. X: 27, 101; Supp. XIII: 152 Waldman, Anne, Supp. XIV: 150 Waldmeir, Joseph, III: 45 Waldmeir, Joseph J., Supp. I Part 2: 476 Waldo (Theroux), Supp. VIII: 313, 314, 314–315 Waldron, Jeremy, Supp. XVII: 235 Waldrop, Keith, Supp. XV: 153, 165 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 Walker, Alice, Retro. Supp. I: 215; Supp. I Part 2: 550; Supp. III Part 2: 488, 517–540; Supp. IV Part 1: 14; Supp. VIII: 141, 214; Supp. IX: 306, 311; Supp. X: 85, 228, 252, 325, 330; Supp. XIII: 179, 185, 291, 295; Supp. XVI: 39; Supp. XVIII: 200, 283 Walker, Cheryl, Supp. XI: 145 Walker, David, Supp. V: 189; Supp. XVII: 246 Walker, Franklin D., III: 321 Walker, Gue, Supp. XII: 207 Walker, Margaret, Supp. XVIII: 282 Walker, Marianne, Supp. VIII: 139 Walker, Obadiah, II: 113 Walker, Scott, Supp. XV: 92 Walker in the City, A (Kazin), Supp. VIII: 93–95, 99 Walk Hard (Blum and Hill), Supp. XV: 194 Walk Hard-Talk Loud (Zinberg), Supp. XV: 194, 202 “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 ThreeYear-Old” (Wagoner), Supp. IX: 331– 332 “Walking at Noon Near the Burlington Depot in Lincoln, Nebraska” (Kooser), Supp. XIX: 122 “Walking Backwards into the Future” (R. Williams), Supp. IX: 146 Walking Down the Stairs: Selections from Interviews (Kinnell), Supp. III Part 1: 235, 249 “Walking Home” (Schnackenberg). See “Laughing with One Eye” (Schnackenberg) “Walking Home at Night” (Ginsberg), Supp. II Part 1: 313

540 / AMERICAN WRITERS “Walking Is Almost Falling” (Peacock), Supp. XIX: 196, 197 Walking Light (Dunn), Supp. XI: 140, 141, 153 “Walking Man of Rodin, The” (Sandburg), III: 583 “Walking Sticks and Paperweights and Water Marks” (Moore), III: 215 Walking Tall (Dunn), Supp. XI: 140 Walking the Black Cat (Simic), Supp. VIII: 280, 282–284 Walking to Martha’s Vineyard (F. Wright), Supp. XVII: 240, 241, 245, 246 Walking to Sleep (Wilbur), Supp. III Part 2: 557–560 “Walking to Sleep” (Wilbur), Supp. III Part 2: 544, 557, 559, 561, 562 “Walking Wounded” (Shaw), Supp. XIX: 248 Walkin’ the Dog (Mosley), Supp. XIII: 242 “Walk in the Moonlight, A” (Anderson), I: 114 Walk Me to the Distance (Everett), Supp. XVIII: 55–56, 57 Walk on the Wild Side, A (Algren), Supp. V: 4; Supp. IX: 3, 12–13, 14 “Walks in Rome” (Merrill), Supp. III Part 1: 337 Walk to the River, A (Hoffman), Supp. XVIII: 77–78 Walk with Tom Jefferson, A (Levine), Supp. V: 179, 187, 190–191 “Wall, The” (Brooks), Supp. III Part 1: 70, 71, 84 Wall, The (Hersey), IV: 4 “Wall, The” (Roethke), III: 544 “Wall, The” (Sexton), Supp. II Part 2: 696 Wallace, David Foster, Retro. Supp. II: 279; Supp. X: 301–318; Supp. XVII: 226; Supp. XIX: 223 Wallace, Henry, I: 489; III: 111, 475; Supp. I Part 1: 286; Supp. I Part 2: 645 Wallace, Mike, Supp. IV Part 1: 364; Supp. IV Part 2: 526 Wallace, Richard, Supp. XVIII: 101–102 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 Wallant, Edward Lewis, Supp. XVI: 220 Wallas, Graham, Supp. I Part 2: 643 “Walled City” (Oates), 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; Supp. XV: 295 Wall of the Sky, the Wall of the Eye, The (Lethem), Supp. XVIII: 139 Walls Do Not Fall, The (Doolittle), Supp. I Part 1: 271, 272

Walls of Jericho, The (R. Fisher), Supp. XIX: 65, 67, 70, 72–77, 78 “Wall Songs” (Hogan), Supp. IV Part 1: 413 Wall Writing (Auster), Supp. XII: 23–24 Walpole, Horace, I: 203; Supp. I Part 2: 410, 714 Walpole, Hugh, Retro. Supp. I: 231 Walpole, Robert, IV: 145 Walsh, David M., Supp. XV: 5 Walsh, Ed, II: 424 Walsh, George, Supp. IV Part 2: 528 Walsh, Raoul, Supp. XIII: 174 Walsh, Richard J., Supp. II Part 1: 119, 130 Walsh, William, Supp. IV Part 1: 242, 243, 246, 248, 252, 254, 257 “Walt, the Wounded” (Di Piero), Supp. XIX: 37 “Walt and Will” (Apple), Supp. XVII: 6 Walter, Eugene, Supp. XVI: 230 Walter, Joyce, Supp. XV: 121 Walter Benjamin at the Dairy Queen: Reflections at Sixty and Beyond (McMurtry), Supp. V: 232 Walters, Barbara, Supp. XIV: 125 Walters, Marguerite. See Smith, Mrs. Lamar (Marguerite Walters) “Walter T. Carriman” (O’ Hara), III: 368 Walton, Izaak, Supp. I Part 2: 422 “Walt Whitman” (Kooser), Supp. XIX: 118 “Walt Whitman” (Masters), Supp. I Part 2: 458 “Walt Whitman at Bear Mountain” (Simpson), Supp. IX: 265 Walt Whitman Bathing (Wagoner), Supp. IX: 331–332 Walt Whitman Handbook (Allen), IV: 352 Walt Whitman Reconsidered (Chase), IV: 352 “Waltz, The” (Parker), Supp. IX: 204 “Waltzer in the House, The” (Kunitz), Supp. III Part 1: 258 Walzer, Kevin, Supp. XII: 202; Supp. XV: 118; Supp. XVIII: 174 Wambaugh, Joseph, Supp. X: 5 Wampeters, Foma, & Granfalloons (Vonnegut), Supp. II Part 2: 758, 759–760, 776, 779 Wand, David Hsin-fu, Supp. X: 292 “Wanderer, The” (W. C. Williams), Retro. Supp. I: 414, 421 “Wanderers, The” (Welty), IV: 273–274 “Wandering Jew, The” (Robinson), III: 505, 516–517 Wanderings of Oisin (Yeats), Supp. I Part 1: 79 Wang, Dorothy, Supp. X: 289 Wang Wei, Supp. XV: 47 Waniek, Marilyn Nelson, Supp. IV Part 1: 244. See also Nelson, Marilyn “Wan Lee, the Pagan” (Harte), Supp. II Part 1: 351 “Want, The” (Olds), Supp. X: 210 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; Supp. XIV: 132 “Wants” (Paley), Supp. VI: 219 Waples, Dorothy, I: 348 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” (Jin), Supp. XVIII: 93 “War” (Kingston), Supp. V: 169 “War” (Simic), Supp. VIII: 282 “War, Response, and Contradiction” (Burke), I: 283 “War and Peace” (Sanders), Supp. XVI: 277 War and Peace (Tolstoy), I: 6, 7; II: 191, 205, 291; IV: 446; Supp. V: 277; Supp. XI: 68; Supp. XIV: 97 War and War (F. Barthelme), Supp. XI: 25 “War Between Men and Women, The” (Thurber), Supp. I Part 2: 615 War Bulletins (Lindsay), Supp. I Part 2: 378–379 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, Leo R., Supp. VIII: 124 Ward, Lester F., Supp. I Part 2: 640; Supp. XI: 202, 203 Ward, Lynn, I: 31 Ward, Mrs. Humphry, II: 338 Ward, Nathaniel, Supp. I Part 1: 99, 102, 111, 116 Ward, Theodora, I: 470; Retro. Supp. I: 28 Ward, William Hayes, Supp. I Part 1: 371 “War Debt, A” (Jewett), Retro. Supp. II: 138, 141 “War Diary” (N. Boyce), Supp. XVII: 104 “War Diary, A” (Bourne), I: 229 War Dispatches of Stephen Crane, The (Crane), I: 422 “Ward Line, The” (Morris), III: 220 Warfel, Harry R., Supp. I Part 1: 366 War Games (Morris), III: 238 War in Heaven, The (Shepard and Chaikin), Supp. III Part 2: 433 War Is Kind (Crane), I: 409; III: 585 “War Is Kind” (Crane), I: 419 Warlock (Harrison), Supp. VIII: 45, 46 Warm as Wool (Sanders), Supp. XVI: 269 Warner, Anna, Supp. XVIII: 258–275 Warner, Charles Dudley, II: 405; IV: 198 Warner, Jack, Supp. XII: 160–161; Supp. XVIII: 249 Warner, John R., III: 193 Warner, Oliver, I: 548 Warner, Susan, Retro. Supp. I: 246; Supp. XV: 275; Supp. XVIII: 257– 275 Warner, Sylvia Townsend, Supp. VIII: 151, 155, 164, 171 Warner, W. Lloyd, III: 60

CUMULATIVE INDEX / 541 Warner Family and the Warner Books, The (Baker), Supp. XVIII: 259, 267 “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 “War of Eyes, A” (Coleman), Supp. XI: 93–94 War of Eyes and Other Stories, A (Coleman), Supp. XI: 91–92 War of the Classes (London), II: 466 “War of the Wall, The” (Bambara), Supp. XI: 15–16 “War of Vaslav Nijinsky, The” (Bidart), Supp. XV: 21–22, 27–29 “War Poems” (Sandburg), III: 581 Warren, Austin, I: 265, 268, 271; Supp. I Part 2: 423 Warren, Earl, III: 581 Warren, Gabriel, IV: 244 Warren, Mercy Otis, Supp. XV: 230 Warren, Mrs. Robert Penn (Eleanor Clark), IV: 244 Warren, Robert Penn, I: 190, 211, 517; II: 57, 217, 228, 253; III: 134, 310, 382–383, 454, 482, 485, 490, 496, 497; IV: 121, 122, 123, 125, 126, 236– 259, 261, 262, 279, 340–341, 458; Retro. Supp. I: 40, 41, 73, 90; Retro. Supp. II: 220, 235; Supp. I Part 1: 359, 371; Supp. I Part 2: 386, 423; Supp. II Part 1: 139; Supp. III Part 2: 542; Supp. V: 261, 316, 318, 319, 333; Supp. VIII: 126, 176; Supp. IX: 257; Supp. X: 1, 25, 26; Supp. XI: 315; Supp. XII: 254, 255; Supp. XIV: 1, 2, 3, 4, 11, 14, 15; Supp. XVIII: 77, 78–79; Supp. XIX: 246 Warren, Rosanna, IV: 244; Supp. XV: 251, 261, 262, 263; Supp. XIX: 34 Warrington Poems, The (Ríos), Supp. IV Part 2: 540 Warrior, Robert Allen, Supp. IV Part 1: 329 “Warrior, The” (Gunn Allen), Supp. IV Part 1: 326 “Warrior: 5th Grade” (Olds), Supp. X: 214 “Warrior Road” (Harjo), Supp. XII: 217 Warshavsky, Isaac (pseudonym). See Singer, Isaac Bashevis Warshow, Robert, Supp. I Part 1: 51 Wars I Have Seen (Stein), IV: 27, 36, 477 Wartime (Fussell), Supp. V: 241 War Trash (Jin), Supp. XVIII: 89, 100– 101 “War Widow, The” (Frederic), II: 135– 136 “Was” (Creeley), Supp. IV Part 1: 155 “Was” (Faulkner), II: 71 “Wash” (Faulkner), II: 72 Wash, Richard, Supp. XII: 14 “Washboard Wizard” (Nelson), Supp. XVIII: 182 “Washed in the Rain” (Fante), Supp. XI: 165

“Washing of Hands, A” (Kooser), Supp. XIX: 115 Washington, Booker T., Supp. I Part 2: 393; Supp. II Part 1: 157, 160, 167, 168, 171, 225; Supp. XIV: 198, 199, 201; Supp. XVIII: 121–122 Washington, D.C. (Vidal), Supp. IV Part 2: 677, 684, 686–687, 690 Washington, George, I: 453; II: 313–314; Supp. I Part 2: 399, 485, 508, 509, 511, 513, 517, 518, 520, 599 Washington, Mary Helen, Supp. XVIII: 119, 284 Washington Crossing the Delaware (Rivers), Supp. XV: 186 Washington Post Book World (Lesser), Supp. IV Part 2: 453; Supp. VIII: 80, 84, 241; Supp. X: 282 Washington Square (James), II: 327, 328; Retro. Supp. I: 215, 220, 222–223 “Washington Square, 1946” (Ozick), Supp. V: 272 Washington Square Ensemble, The (Bell), Supp. X: 1, 3–4 “Was Lowell an Historical Critic?” (Altick), Supp. I Part 2: 423 Wasserman, Earl R., Supp. I Part 2: 439, 440 Wasserman, Jakob, Supp. I Part 2: 669 Wasserstein, Wendy, Supp. IV Part 1: 309; Supp. XV: 319–336 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; Retro. Supp. II: 85, 121, 190; Supp. I Part 1: 272; Supp. I Part 2: 439, 455, 614; Supp. II Part 1: 4, 5, 11, 96; Supp. III Part 1: 9, 10, 41, 63, 105; Supp. IV Part 1: 47, 284; Supp. V: 338; Supp. IX: 158, 305; Supp. X: 125; Supp. XIII: 341–342, 344, 346; Supp. XIV: 6, 284; Supp. XV: 21, 181, 261, 306; Supp. XVI: 204; Supp. XVII: 140– 141, 144, 227; Supp. XVIII: 78, 79– 80; Supp. XIX: 288 “Waste Land, The“: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound (Eliot, ed.), Retro. Supp. I: 58 Waste Land and Other Poems, The (Eliot), Supp. XV: 305 Wat, Alexander, Supp. XVI: 155, 161 Watch, The (Bass), Supp. XVI: 16–17 “Watch, The, —” (Bass), Supp. XVI: 17 Watch and Ward (James), II: 323; Retro. Supp. I: 218, 219, 220 “Watcher, The” (R. Bly), Supp. IV Part 1: 71 “Watcher by the Dead, A” (Bierce), I: 203 Watchfires (Auchincloss), Supp. IV Part 1: 23

“Watching Crow, Looking toward the Manzano Mountains” (Harjo), Supp. XII: 219 “Watching the Oregon Whale” (A. Finch), Supp. XVII: 77 “Watching the Sunset” (Coleman), Supp. XI: 92 Watch on the Rhine (Hellman), Supp. I Part 1: 276, 278, 279–281, 283–284; Supp. IV Part 1: 83 “Water” (Emerson), II: 19 “Water” (Komunyakaa), Supp. XIII: 132 “Water” (Lowell), II: 550 “Waterbird” (Swenson), Supp. IV Part 2: 651 “Water Borders” (Dillard), Supp. VI: 27 “Water Buffalo” (Komunyakaa), Supp. XIII: 122 “Watercolor of Grantchester Meadows” (Plath), Supp. I Part 2: 537 Water Cure, The (Everett), Supp. XVIII: 64–66 “Waterfall, The” (Clampitt), Supp. IX: 44 Waterfront (Schulberg), Supp. XVIII: 251–252 “Water Hose Is on Fire, The” (Simic), Supp. XV: 185 Waterhouse, Keith, Supp. VIII: 124 “Waterlily Fire” (Rukeyser), Supp. VI: 285, 286 Waterlily Fire: Poems 1935–1962 (Rukeyser), Supp. VI: 274, 283, 285 Watermark (Brodsky), Supp. VIII: 29 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 People” (Burke), Supp. XIV: 21 “Water Picture” (Swenson), Supp. IV Part 2: 641 “Water Rising” (Hogan), Supp. IV Part 1: 400 Waters, Ethel, II: 587 Waters, Frank, Supp. X: 124 Waters, Muddy, Supp. VIII: 345 Watershed (Everett), Supp. XVIII: 58– 59, 64 “Watershed” (Kingsolver), Supp. VII: 208 “Watershed” (Warren), IV: 239 “Watershed, The” (Auden), Supp. II Part 1: 5 Waters of Kronos, The (Richter), Supp. XVIII: 207, 208, 218–219, 220 Waters of Siloe, The (Merton), Supp. VIII: 196, 208 Waterston, Sam, Supp. IX: 253 Water Street (Merrill), Supp. III Part 1: 321–323 “Water Walker” (Wilbur), Supp. III Part 2: 548, 560 Water-Witch, The (Cooper), I: 342–343 Waterworks, The (Doctorow), Supp. IV Part 1: 218, 222, 223, 231–233, 234 “Water Works, The” (Doctorow), Supp. IV Part 1: 234

542 / AMERICAN WRITERS Watkin, E. I., Retro. Supp. II: 187 Watkins, Floyd C., IV: 452 Watkins, James T., I: 193, 194 Watkins, Maureen, Supp. XVI: 188 Watkins, Mel, Supp. X: 330; Supp. XIII: 246 Watrous, Peter, Supp. VIII: 79 Watson, Burton, Supp. XV: 47 Watson, James Sibley, Jr., I: 261 Watson, Jay, Supp. XVIII: 195 Watson, J. B., II: 361 Watson, Richard, Supp. I Part 2: 516, 517 Watson, William, II: 114 Watt, Ian, Supp. VIII: 4 Watteau, Jean Antoine, III: 275; IV: 79 Watts, Emily Stipes, Supp. I Part 1: 115 Waugh, Evelyn, I: 480; III: 281; Supp. I Part 2: 607; Supp. IV Part 2: 688; Supp. XI: 305, 306; Supp. XIX: 131 “Wave” (Snyder), Supp. VIII: 299 Wave, A (Ashbery), Supp. III Part 1: 1, 4, 24–26 “Wave, A” (Ashbery), Supp. III Part 1: 9, 19, 24–25 “Wave, The” (MacLeish), III: 19 “Wave, The” (Untermeyer), Supp. XV: 300 “Wavemaker Falters, The” (Saunders), Supp. XIX: 225 “Waxwings” (Francis), Supp. IX: 82 Way, The (Steiner and Witt, eds.), Supp. IV Part 2: 505 “Way Down, The” (Kunitz), Supp. III Part 1: 263 “Way It Is, The” (Ellison), Supp. II Part 1: 245 “Way It Is, The” (Jones), Supp. XI: 229 Way It Is, The (Stafford), Supp. XIII: 274 “Way It Is, The” (Strand), Supp. IV Part 2: 627 “Wayland” (Sanders), Supp. XVI: 275 Wayne, John, Supp. IV Part 1: 200 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 of Life According to Laotzu, The (Bynner), Supp. XV: 46, 48 Way Out, A (Frost), Retro. Supp. I: 133 Wayside Motor Inn, The (Gurney), Supp. V: 96, 105, 109 “Ways of Talking” (Jin), Supp. XVIII: 93 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 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 the Cards Fall, The” (Komunyakaa), Supp. XIII: 117 “Way Things Are, The” (Turow, unpub.), Supp. XVII: 215, 218

Way to Rainy Mountain, The (Momaday), Supp. IV Part 2: 485–486, 487–489, 491, 493 Way to Wealth, The (Franklin), II: 101– 102, 110 Wayward and the Seeking, The: A Collection of Writings by Jean Toomer (Toomer), Supp. III Part 2: 478–481, 484, 487 Wayward Bus, The (Steinbeck), IV: 51, 64–65 “Way We Live Now, The” (Sontag), Supp. III Part 2: 467–468 “Way You’ ll Never Be, A” (Hemingway), II: 249 “W. D. Sees Himself Animated” (Snodgrass), Supp. VI: 327 “W. D. Sits in Kafka’s Chair and Is Interrogated Concerning the Assumed Death of Cock Robin” (Snodgrass), Supp. VI: 319 “W. D. Tries to Warn Cock Robin” (Snodgrass), Supp. VI: 319 “We” (Alexander), Supp. XVIII: 185 Weaks, Mary Louise, Supp. X: 5 Weales, Gerald, II: 602 “Wealth,” from Conduct of Life, The (Emerson), II: 2, 3–4 “Wealth,” from English Traits (Emerson), II: 6 Wealth of Nations, The (A. Smith), II: 109 “We Are Looking at You, Agnes” (Caldwell), I: 309 We Are Still Married: Stories and Letters (Keillor), Supp. XVI: 176, 177 “We Are the Crazy Lady and Other Feisty Feminist Fables” (Ozick), Supp. V: 259 Weary Blues, The (Hughes), Retro. Supp. I: 195, 197, 198, 199, 200, 203, 205; Supp. I Part 1: 325 “Weary Blues, The” (Hughes), Retro. Supp. I: 198, 199; Supp. I Part 1: 324, 325 “Weary Kingdom” (Irving), Supp. VI: 163 Weasels and Wisemen: Ethics and Ethnicity in the Work of David Mamet (Kane), Supp. XIV: 250 Weather and the Women Treat Me Fair, The (Everett), Supp. XVIII: 66 Weatherby, H. L., Supp. IV Part 1: 175 Weather Central (Kooser), Supp. XIX: 116, 123–125 “Weathering Out” (Dove), Supp. IV Part 1: 248 “Weather Within, The” (M. F. K. Fisher), Supp. XVII: 88, 91 Weaver, Harriet, III: 471 Weaver, James, Supp. XVIII: 72 Weaver, Michael, Supp. XVIII: 176, 177 Weaver, Mike, Retro. Supp. I: 430 Weaver, Will, Supp. XVI: 39 “Weaving” (Larcom), Supp. XIII: 142, Supp. XIII: 144–145, 150, 151 “Web” (Oliver), Supp. VII: 236 Web and the Rock, The (Wolfe), IV: 451, 455, 457, 459–460, 462, 464, 467, 468 Webb, Beatrice, Supp. I Part 1: 5

Webb, Mary, I: 226 Webb, Sidney, Supp. I Part 1: 5 Webb, W. P., Supp. V: 225 Weber, Brom, I: 383, 386 Weber, Carl, Supp. IX: 133, 138, 141 Weber, Max, I: 498; Supp. I Part 2: 637, 648 Weber, Sarah, Supp. I Part 1: 2 Weberman, A. J., Supp. XVIII: 27 Web of Earth, The (Wolfe), IV: 451–452, 456, 458, 464, 465 “Web of Life, The” (Nemerov), III: 282 Webster, Brenda, Supp. XVI: 157, 161 Webster, Daniel, II: 5, 9; Supp. I Part 2: 659, 687, 689, 690 Webster, John, I: 384; Supp. I Part 2: 422 Webster, Noah, Supp. I Part 2: 660; Supp. II Part 1: 77 Wector, Dixon, II: 103 Wedding, The (D. West), Supp. XVIII: 277, 287–289 “Wedding, The” (Everwine), Supp. XV: 83 Wedding, The (television miniseries), Supp. XVIII: 277, 289 “Wedding Cake” (Nye), Supp. XIII: 283 “Wedding Dance, The” (Di Piero), Supp. XIX: 47 “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 Supper, The” (Rowson), Supp. XV: 243 “Wedding Toast, A” (Wilbur), Supp. III Part 2: 561 Wedekind, Frank, III: 398 Wedge, The (W. C. Williams), Retro. Supp. I: 424 “Wednesday at the Waldorf” (Swenson), Supp. IV Part 2: 647 “We Don’ t Live Here Anymore” (Dubus), Supp. VII: 78–79, 85 “Weed” (McCarriston), Supp. XIV: 259, 273 “Weed, The” (Bishop), Supp. I Part 1: 80, 88–89 “Weeds, The” (McCarthy), II: 566 “Weekend” (Beattie), Supp. V: 27 Weekend, The (Cameron), Supp. XII: 80, 81, 86–88 “Weekend at Ellerslie, A” (Wilson), IV: 431 Weekend Edition (National Public Radio), Supp. IX: 299; Supp. XVII: 240, 242 Week on the Concord and Merrimack Rivers, A (Thoreau), IV: 168, 169, 177, 182–183; Supp. I Part 2: 420; Supp. XIV: 227 Weeks, Edward, III: 64 Weeks, Jerome, Supp. VIII: 76 “Weeping Burgher” (Stevens), IV: 77 “Weeping Women” (Levertov), Supp. III Part 1: 282 We Fished All Night (W. Motley), Supp. XVII: 155–158, 159, 160

CUMULATIVE INDEX / 543 We Fly Away (Francis), Supp. IX: 79–80, 84 We Happy Few (Hinojosa), Supp. XIX: 99, 111–112 We Have Always Lived in the Castle (Jackson), Supp. IX: 121, 126, 127– 128 “We Have Our Arts So We Won’ t Die of Truth” (Bradbury), Supp. IV Part 1: 105 Weich, Dave, Supp. XII: 321; Supp. XVIII: 91 “Weight” (Wideman), Supp. X: 321 “Weights” (C. Baxter), Supp. XVII: 16 Weigl, Bruce, Supp. VIII: 269, 274; Supp. XV: 342; Supp. XIX: 273–290 Weil, Dorothy, Supp. XV: 231 Weil, Robert, Supp. IX: 236 Weil, Simone, I: 298; Supp. XV: 259 Weiland (C. B. Brown), Supp. XIII: 100 Weinauer, Ellen, Supp. XV: 270, 284 Weinberger, Eliot, Supp. IV Part 1: 66; Supp. VIII: 290, 292; Supp. XVI: 284 Weininger, Otto, Retro. Supp. I: 416 Weinreb, Mindy, Supp. X: 24 Weinreich, Regina, Supp. XIV: 22 Weinstein, Cindy, Supp. XVIII: 261 Weinstein, Hinda, IV: 285 Weinstein, Max, IV: 285 Weinstein, Mrs. Max (Anna Wallenstein), IV: 285, 287 Weinstein, Nathan. See West, Nathanael Weisheit, Rabbi, IV: 76 Weismuller, Johnny, Supp. X: 264 Weiss, David, Supp. XVI: 55 Weiss, Jane, Supp. XVIII: 267, 269 Weiss, Peter, IV: 117 Weiss, Theodore, Supp. IV Part 2: 440; Supp. IX: 96 Weist, Dianne, Supp. X: 80 Weithas, Art, Supp. XI: 231 Welch, Don, Supp. XIX: 119 Welch, James, Supp. IV Part 1: 404; Supp. IV 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 New Dork” (Leonard), Supp. XVIII: 148 Welcome to Our City (Wolfe), IV: 461 Welcome to the Monkey House (Vonnegut), Supp. II Part 2: 758 Welcome to the Moon (Shanley), Supp. XIV: 318 Welcome to the Moon and Other Plays (Shanley), Supp. XIV: 315, 316–319 Weld, Theodore, Supp. I Part 2: 587, 588 Weld, Tuesday, Supp. XI: 306

Welded (O’ Neill), III: 390 “Well, The” (Momaday), Supp. IV Part 2: 483 “Well Dressed Man with a Beard, The” (Stevens), Retro. Supp. I: 297 Wellek, René, I: 253, 261, 282; II: 320; Supp. XIV: 12, 14 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; Supp. XI: 169, 307 “Wellfleet Whale, The” (Kunitz), Supp. III Part 1: 263, 269 Wellfleet Whale and Companion Poems, The (Kunitz), Supp. III Part 1: 263 Wellink, Yvonne, Supp. XVIII: 257 Wellman, Flora, II: 463–464, 465 “Well Rising, The” (Stafford), Supp. XI: 318 Wells, H. G., I: 103, 226, 241, 243, 253, 405, 409, 415; II: 82, 144, 276, 337, 338, 458; III: 456; IV: 340, 455; Retro. Supp. I: 100, 228, 231; Supp. XVI: 190 Wellspring, The (Olds), Supp. X: 211– 212 Well Wrought Urn, The: Studies in the Structure of Poetry (Brooks), Supp. XIV: 1, 8–9, 14, 15, 16 Welsh, Mary, Supp. XIX: 248. See also Hemingway, Mrs. Ernest (Mary Welsh) Welty, Eudora, II: 194, 217, 606; IV: 260–284; Retro. Supp. I: 339–358; Retro. Supp. II: 235; Supp. IV Part 2: 474; Supp. V: 59, 315, 336; Supp. VIII: 94, 151, 171; Supp. X: 42, 290; Supp. XII: 310, 322; Supp. XIV: 3; Supp. XV: 338 Welty, Eurora, Supp. XIX: 151 Weltzien, O. Alan, Supp. XVI: 20–21, 28 “We miss Her, not because We see—” (Dickinson), Retro. Supp. I: 46 We Must Dance My Darlings (Trilling), Supp. I Part 1: 297 Wendell, Barrett, III: 507; Supp. I Part 2: 414; Supp. XIV: 197 Wendell, Sarah. See Holmes, Mrs. Abiel (Sarah Wendell) Wendy Wasserstein: A Casebook (Barnett), Supp. XV: 323, 330 “Wendy Wasserstein’s Three Sisters: Squandered Privilege” (Brewer), Supp. XV: 330 Wept of Wish-ton-Wish, The (Cooper), I: 339, 342, 350 Werbe, Peter, Supp. XIII: 236 “We Real Cool” (Brooks), Supp. III Part 1: 80 We’ re Back! A Dinosaur ’s Story (screenplay, Shanley), Supp. XIV: 316 “We’ re Friends Again” (O’ Hara), III: 372–373 “Were the Whole Realm of Nature Mine” (Watts), I: 458 Werewolf (M. Sommers), Supp. XVII: 55

Were-Wolf, The (C. Housman), Supp. XVII: 55 Werewolf of Paris, The (Endore), Supp. XVII: 55–56 Werewolves in Their Youth (Chabon), Supp. XI: 66, 76–77 Werlock, Abby, Supp. XIII: 293 Werthman, Michael, Supp. V: 115 “Wer-Trout, The” (Proulx), Supp. VII: 255–256 Wescott, Glenway, I: 288; II: 85; III: 448, 454; Supp. VIII: 156; Supp. XIV: 342; Supp. XVI: 195 “We Shall All Be Born Again But We Shall Not All Be Saved” (Matthews), Supp. IX: 162 West, Anthony, Supp. IV Part 1: 284 West, Benjamin, Supp. I Part 2: 511 West, Dorothy, Supp. XIII: 295; Supp. XVIII: 277–291; Supp. XIX: 72 West, James, II: 562 West, Nathanael, I: 97, 107, 190, 211, 298; II: 436; III: 357, 425; IV: 285– 307; Retro. Supp. II: 321–341; Supp. IV Part 1: 203; Supp. VIII: 97; Supp. XI: 85, 105, 159, 296; Supp. XII: 173, 310; Supp. XIII: 106, 170; Supp. XVIII: 251, 253, 254 West, Nathaniel, Supp. XIX: 223 West, Ray, Supp. XV: 142 West, Rebecca, II: 412, 445; Supp. XVI: 152, 153 Westall, Julia Elizabeth. See Wolfe, Mrs. William Oliver (Julia Elizabeth Westall) “We Stand United” (Benét), Supp. XI: 46 “West Authentic, The: Willa Cather” (Stegner), Supp. IV Part 2: 608 “West Coast, The: Region with a View” (Stegner), Supp. IV Part 2: 608–609 “West Coast Waterfront: End of an Era” (Swados), Supp. XIX: 264 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: 424–425 Western Canon: The Books and Schools of the Ages (Bloom), Supp. IX: 146 Western Lands, The (Burroughs), Supp. III Part 1: 106 “Western North Carolina” (Halliday), Supp. XIX: 85 Western Star (Benét), Supp. XI: 46, 47, 57 “Westland” (C. Baxter), Supp. XVII: 18, 19 “West Marginal Way” (Hugo), Supp. VI: 131, 135 West of Eden: Writers in Hollywood, 1928–1940 (Fine), Supp. XVIII: 248 West of Yesterday, East of Summer: New and Selected Poems, 1973–1993 (Monette), Supp. X: 159 West of Your City (Stafford), Supp. XI: 316, 317–318, 321, 322

544 / AMERICAN WRITERS Weston, Jessie L., II: 540; III: 12; Supp. I Part 2: 438 “West Real” (Ríos), Supp. IV Part 2: 539, 540 West-running Brook (Frost), II: 155; Retro. Supp. I: 136, 137 “West-running Brook” (Frost), II: 150, 162–164 “West Wall” (Merwin), Supp. III Part 1: 355 “Westward Beach, A” (Jeffers), Supp. II Part 2: 418 Westward Ho (Harrison), Supp. VIII: 51, 52 Westward the Course of Empire (Leutze), Supp. X: 307 “Westward the Course of Empire Takes Its Way” (Wallace), Supp. X: 307– 308 “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 “Wet Casements” (Ashbery), Supp. III Part 1: 18–20 We the Living (film), Supp. IV Part 2: 520 We the Living (Rand), Supp. IV Part 2: 520–521 Wetherell, Elizabeth (pseudonym). See Warner, Susan Wet Parade (Sinclair), Supp. V: 289 “We’ ve Adjusted Too Well” (O’ Brien), Supp. V: 247 Wevill, David, Retro. Supp. II: 247, 249 “We Wear the Mask” (Dunbar), Supp. II Part 1: 199, 207, 209–210 Weybright, Victor, Supp. XIII: 172 Weyden, Rogier van der, Supp. IV Part 1: 284 Whalen, Marcella, Supp. I Part 1: 49 Whalen, Philip, Supp. VIII: 289 Whalen-Bridge, John, Retro. Supp. II: 211–212 “Whales off Wales, The” (X. J. Kennedy), Supp. XV: 163 “Whales Weep Not!” (D. H. Lawrence), Supp. XVII: 77 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, 308–330; Retro. Supp. I: 108, 232, 359–385; Supp. IV Part 1: 23, 31, 35, 36, 80, 81, 310; Supp. IX: 57; Supp. XII: 308; Supp. XIV: 337, 347; Supp. XVI: 189; Supp. XVIII: 278 Wharton, Edward Robbins, IV: 310, 313– 314, 319 “What” (Dunn), Supp. XI: 144 What a Kingdom It Was (Kinnell), Supp. III Part 1: 235, 238, 239 “What America Would Be Like without Blacks” (Ellison), Retro. Supp. II: 123 What Are Masterpieces (Stein), IV: 30–31 What Are Years (Moore), III: 208–209, 210, 215

“What Are Years?” (Moore), III: 211, 213 What a Way to Go (Morris), III: 230– 232 “What a Wonder among the Instruments Is the Walloping Trombone!” (Carruth), Supp. XVI: 51 “What Became of the Flappers?” (Zelda Fitzgerald), Supp. IX: 71 “What Can I Tell My Bones?” (Roethke), III: 546, 549 “What Child Is This?” (Jarman), Supp. XVII: 113–114, 115 “What Do We Have Here” (Carson), Supp. XII: 101 “What Do We See” (Rukeyser), Supp. VI: 282 What Do Women Want? Bread Roses Sex Power (Jong), Supp. V: 115, 117, 129, 130 “What Do You Do in San Francisco?” (Carver), Supp. III Part 1: 143 What D’ Ya Know for Sure (Zinberg), Supp. XV: 196 Whatever Happened to Gloomy Gus of the Chicago Bears? (Coover), Supp. V: 51, 52 Whatever Happened to Jacy Farrow? (Cleveland), Supp. V: 222 “What Every Boy Should Know” (Maxwell), Supp. VIII: 169 “What Feels Like the World” (Bausch), Supp. VII: 46 “What Fort Sumter Did for Me” (E. Stoddard), Supp. XV: 282 “What Girls Read” (Salmon), Supp. XVIII: 258 “What God Is Like to Him I Serve” (Bradstreet), Supp. I Part 1: 106–107 “What Happened Here Before” (Snyder), Supp. VIII: 302 “What Happened to Georgia” (Ray), Supp. XVIII: 194 What Have I Ever Lost by Dying? (R. Bly), Supp. IV Part 1: 71–72 What Have You Lost? (Nye, ed.), Supp. XIII: 280 “What I Believe” (Mumford), Supp. II Part 2: 479 “What I Call What They Call Onanism” (Goldbarth), Supp. XII: 175 What I Did Last Summer (Gurney), Supp. V: 96, 100, 107, 108 “What if God” (Olds), Supp. X: 208 “What I Have to Defend, What I Can’ t Bear Losing” (Stern), Supp. IX: 286, 287, 288, 298 “What I Knew” (Nelson), Supp. XVIII: 178 “What I Know about Being a Playwright” (McNally), Supp. XIII: 195, 207 “What I Mean” (Ortiz), Supp. IV Part 2: 497 “What Is an Emotion” (James), II: 350 What Is Art? (Tolstoy), 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 Found There: Notebooks on Poetry and Politics (A. Rich), Supp. XVII: 74 “What Is It?” (Carver), Supp. III Part 1: 139 What Is Man? (Twain), II: 434; IV: 209 “What Is Poetry” (Ashbery), Supp. III Part 1: 19 “What Is Seized” (Moore), Supp. X: 164, 168, 169, 172, 175 “What Is the Earth?” (Olds), Supp. X: 213 “What Is This Poet” (Stern), Supp. IX: 295 “What I Think” (Hogan), Supp. IV Part 1: 406 What Maisie Knew (H. James), II: 332; Retro. Supp. I: 229, 230; Supp. XVIII: 160 What Makes Sammy Run? (NBC broadcast, Schulberg and Schulberg), Supp. XVIII: 254 What Makes Sammy Run? (Schulberg), Supp. XIII: 170; Supp. XVIII: 241, 244–247, 248, 249, 253 “What Makes Sammy Run?” (Schulberg), Supp. XVIII: 241 What Moon Drove Me to This? (Harjo), Supp. XII: 218–220 “What Must” (MacLeish), III: 18 What My Father Believed (Wrigley), Supp. XVIII: 298–300 “What My Father Believed” (Wrigley), Supp. XVIII: 298–299 What Price Hollywood? (film), Supp. XVIII: 243 “What Sally Said” (Cisneros), Supp. VII: 63 What Saves Us (Weigl), Supp. XIX: 282 “What’s Happening in America” (Sontag), Supp. III Part 2: 460–461 “What’s in Alaska?” (Carver), Supp. III Part 1: 141, 143 What’s New, Pussycat? (film; Allen), Supp. XI: 307; Supp. XV: 1, 2, 14 “What’s New in American and Canadian Poetry” (R. Bly), Supp. IV Part 1: 67 What’s O’ Clock (Lowell), II: 511, 527, 528 What’s Up, Tiger Lily? (film; Allen), Supp. XV: 2, 3 “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” (R. Bly), Supp. IV Part 1: 64 “What They Wanted” (Dunn), Supp. XI: 151 What Thou Lovest Well (Hugo), Supp. VI: 140, 141 “What Thou Lovest Well Remains American” (Hugo), Supp. VI: 140, 141 What Time Collects (Farrell), II: 46, 47–48 What to Do? (Chernyshevsky), Retro. Supp. I: 269

CUMULATIVE INDEX / 545 What Use Are Flowers? (Hansberry), Supp. IV Part 1: 359, 368–369, 374 What Was Literature? (Fiedler), Supp. XIII: 96–97, 105–106 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 Came Through” (Goldbarth), Supp. XII: 179–180 What We Talk About When We Talk About Love (Carver), Supp. III Part 1: 142– 146 What We Talk about When We Talk about Love (Carver), Supp. XII: 139 “What Why When How Who” (Pinsky), Supp. VI: 244 What Will Suffıce: Contemporary American Poets on the Art of Poetry (Buckley and Young, eds.), Supp. XIII: 313 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 “What You Would Do” (Weigl), Supp. XIX: 288 Wheatley, Phyllis, Supp. XVII: 74–75 Wheatly, Phyllis, Supp. XIII: 111 Wheeler, David, Supp. XVI: 277 Wheeler, John, II: 433 Wheeler, Monroe, Supp. XV: 295 Wheelock, John Hall, IV: 461; Supp. IX: 268; Supp. XIV: 120; Supp. XV: 301 Wheel of Life, The (Glasgow), II: 176, 178, 179, 183 Wheelwright, Philip, Supp. XV: 20 “When” (Olds), Supp. X: 207 When Boyhood Dreams Come True (Farrell), II: 45 “When Death Came April Twelve 1945” (Sandburg), III: 591, 593 “When Death Comes” (Oliver), Supp. VII: 241 “When De Co’ n Pone’s Hot” (Dunbar), Supp. II Part 1: 202–203 “When God First Said” (Zach; Everwine trans.), Supp. XV: 87 “When Grandma Died—1942” (Shields), Supp. VII: 311 “When Howitzers Began” (Carruth), Supp. XVI: 55 “When I Buy Pictures” (Moore), III: 205 “When I Came from Colchis” (Merwin), Supp. III Part 1: 343 “When I Have Fears I May Cease to Be” (Keats), Supp. XIX: 92 “When I Left Business for Literature” (Anderson), I: 101 “When I Love You” (Peacock), Supp. XIX: 199 “When in Rome—Apologia” (Komunyakaa), Supp. XIII: 120 “When It Comes” (Olds), Supp. X: 213 “When I Was Seventeen” (Kincaid), Supp. VII: 181

“When I Was Twenty-five” (Talese), Supp. XVII: 202 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; Supp. XV: 215 “When Malindy Sings” (Dunbar), Supp. II Part 1: 200, 204–205 When Peoples Meet: A Study of Race and Culture (Locke and Stern), Supp. XIV: 202, 213 When She Was Good (P. Roth), Retro. Supp. II: 282, 283, 284; Supp. III Part 2: 403, 405, 410–413 “When Sue Wears Red” (Hughes), Retro. Supp. I: 195, 204 “When the Dead Ask My Father about Me” (Olds), Supp. X: 210 “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 Last Riders” (Zach; Everwine, trans.), Supp. XV: 75, 86 “When the Light Gets Green” (Warren), IV: 252 “When the Peace Corps Was Young” (Theroux), Supp. VIII: 314 When the Sun Tries to Go On (Koch), Supp. XV: 185 “When the Sun Tries to Go On” (Koch), Supp. XV: 179, 180 “When the World Ended as We Knew It” (Harjo), Supp. XII: 231 When Time Was Born (Farrell), II: 46, 47 “When We Dead Awaken: Writing as ReVision” (Rich), Supp. I Part 2: 552– 553, 560 “When We Gonna Rise” (Baraka), Supp. II Part 1: 48 “When We Have To” (Salinas), Supp. XIII: 322–323 “WHEN WE’ LL WORSHIP JESUS” (Baraka), Supp. II Part 1: 54 “When we speak of God, is it God we speak of?” (J. Logan), Supp. XVII: 113 “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 Blue Is Blue” (Richard), Supp. XIX: 221 Where Does One Go When There’s No Place Left to Go? (Crews), Supp. XI: 103 “Where Go the Boats” (R. Stevenson), Supp. XVII: 69 “Where I Come from Is Like This” (Gunn Allen), Supp. IV Part 1: 319 “Where I’ m Calling From” (Carver), Supp. III Part 1: 145

Where I’ m Calling From: New and Selected Stories (Carver), Supp. III Part 1: 138, 148 “Where I Ought to Be” (Erdrich), Supp. IV Part 1: 265 Where Is My Wandering Boy Tonight? (Wagoner), Supp. IX: 335–336 “Where Is the Island?” (Francis), Supp. IX: 78 “Where Is the Voice Coming From?” (Welty), IV: 280; Retro. Supp. I: 355 Where Joy Resides (Isherwood), Supp. XIV: 156 “Where Knock Is Open Wide” (Roethke), III: 533–535 “Where My Sympathy Lies” (H. Roth), Supp. IX: 234 Where’s My Money? (Shanley), Supp. XIV: 316, 328, 330–331 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 Sea Used to Be (Bass), Supp. XVI: 21 “Where the Sea Used to Be” (Bass), Supp. XVI: 20, 21 “Where the Sea Used to Be: Rick Bass and the Novel of Ecological Education” (Dixon), Supp. XVI: 21 “Where the Soft Air Lives” (Nye), Supp. XIII: 275 Where the Twilight Never Ends (Haines), Supp. XII: 211 Where the Wild Grape Grows: Selected Writings, 1930–1950 (D. West; Mitchell and Davis, eds.), Supp. XVIII: 283, 286 Where the Wild Things Are (Sendak), Supp. IX: 207 “Wherever Home Is” (Wright), Supp. III Part 2: 605, 606 Where Water Comes Together With Other Water (Carver), Supp. III Part 1: 147, 148 “Where We Crashed” (Hugo), Supp. VI: 138 “Where You Are” (Doty), Supp. XI: 131 Where You’ ll Find Me, and Other Stories (Beattie), Supp. V: 30–31 Whicher, Stephen, II: 20 “Which Is More Than I Can Say for Some People” (Moore), Supp. X: 177, 178 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 While I Was Gone (Miller), Supp. XII: 290, 301–303 “While Seated in a Plane” (Swenson), Supp. IV Part 2: 645 While the Messiah Tarries (Bukiet), Supp. XVII: 43, 46–47 While We’ ve Still Got Feet (Budbill), Supp. XIX: 5, 7, 10–11, 15 Whilomville Stories (Crane), I: 414

546 / AMERICAN WRITERS “Whip, The” (Robinson), III: 513 Whipple, Thomas K., II: 456, 458; IV: 427 “Whippoorwill, The” (Francis), Supp. IX: 90 “Whip-poor-will, The” (Thurber), Supp. I Part 2: 616 Whirlpool (film, Preminger), Supp. XVII: 62 “Whispering Gallery, The” (Komunyakaa), Supp. XIII: 132 “Whispering Leaves” (Glasgow), II: 190 Whispering to Fool the Wind (Ríos), Supp. IV Part 2: 540–541, 544, 545 “Whispers in the Next Room” (Simic), Supp. VIII: 278 “Whispers of Heavenly Death” (Whitman), IV: 348 “Whispers of Immortality” (Eliot), Supp. XI: 242 Whistle (Jones), Supp. XI: 219, 224, 231–234 “Whistle, The” (Franklin), II: 121 “Whistle, The” (Komunyakaa), Supp. XIII: 111, 126 “Whistle, The” (Welty), IV: 262 Whistler, James, I: 484; III: 461, 465, 466; IV: 77, 369 Whistler, James Abbott McNeill, Supp. XIV: 335–336 “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 Whitcher, Frances Miriam Berry, Supp. XIII: 152 “White” (Simic), Supp. VIII: 275–276 White, Barbara, Retro. Supp. I: 379 White, E. B., Retro. Supp. I: 335; Supp. I Part 2: 602, 607, 608, 612, 619, 620, 651–681; Supp. II Part 1: 143; Supp. VIII: 171; Supp. IX: 20, 32; Supp. XVI: 167 White, Elizabeth Wade, Supp. I Part 1: 100, 103, 111 White, Henry Kirke, Supp. I Part 1: 150 White, James L., Supp. XI: 123 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, Roberta, Supp. XII: 293 White, Stanford, Supp. IV Part 1: 223 White, Stanley, Supp. I Part 2: 651, 655 White, T. H., III: 522 White, T. W., III: 411, 415 White, Walter, Supp. I Part 1: 345; Supp. XVIII: 123, 127; Supp. XIX: 73 White, William, Retro. Supp. II: 326 White, William A., I: 252

White Album, The (Didion), Supp. IV Part 1: 198, 202, 205–207, 210 “White Album, The” (Didion), Supp. IV Part 1: 205, 206 “White Angel” (Cunningham), Supp. XV: 59 “White Apache” (Markson), Supp. XVII: 136 White Buildings (H. Crane), I: 385, 386, 390–395, 400; Retro. Supp. II: 77– 78, 80–81, 82, 83, 85 White Butterfly (Mosley), Supp. XIII: 237, 238, 240 White Center (Hugo), Supp. VI: 144– 145 “White Center” (Hugo), Supp. VI: 144, 146 Whited, Stephen, Supp. XI: 135 White Deer, The (Thurber), Supp. I Part 2: 606 White Doves at Morning (Burke), Supp. XIV: 22–23, 32, 35–36 “White Eagle, The” (Chopin), Retro. Supp. II: 72 White Fang (London), II: 471–472, 481 Whitefield, George, I: 546 White-Footed Deer and Other Poems (Bryant), Supp. I Part 1: 157 White Goddess, The (Graves), Supp. IV Part 1: 280 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, Colson, Supp. XIII: 233, 241 Whitehead, James, Supp. XV: 339 Whitehead, Margaret, IV: 114, 115, 116 Whitehead, Mrs. Catherine, IV: 116 White Heat (Walsh), Supp. XIII: 174 “White Heron, A” (Jewett), II: 409; Retro. Supp. II: 17 White Heron and Other Stories, A (Jewett), II: 396 White Horses (Hoffman), Supp. X: 83– 85, 90, 92 White House Diary, A (Lady Bird Johnson), Supp. IV Part 1: 22 White-Jacket; or, The World in a Man-ofWar (Melville), III: 80, 81, 84, 94; Retro Supp. I: 248, 249, 254; Supp. XVIII: 7, 9 White Lantern, The (Connell), Supp. XIV: 97 “White Lights, The” (Robinson), III: 524 “White Lilies, The” (Glück), Supp. V: 88 White Man, Listen! (Wright), IV: 478, 488, 489, 494 “White Mulberry Tree, The” (Cather), I: 319; Retro. Supp. I: 7, 9, 17 White Mule (W. C. Williams), Retro. Supp. I: 423 “White Negro, The” (Mailer), III: 36–37; Retro. Supp. II: 202 “Whiteness of the Whale, The” (Melville), III: 84, 86 “White Night” (Oliver), Supp. VII: 236 “White Nights” (Auster), Supp. XII: 23–24 White Noise (DeLillo), Supp. VI: 1, 3–4, 5–7, 10, 11–12, 16; Supp. XVIII: 140

White Oxen and Other Stories, The (Burke), I: 269, 271 White Paper on Contemporary American Poetry (McClatchy), Supp. XII: 253, 259–260 “White Pine” (Oliver), Supp. VII: 244 White Pine: Poems and Prose Poems (Oliver), Supp. VII: 243–246 “White Silence, The” (London), II: 468 “White Silk” (Nye), Supp. XIII: 275 “White Snake, The” (Sexton), Supp. II Part 2: 691 “White Spot” (Anderson), I: 116 “White-Tailed Hornet, The” (Frost), Retro. Supp. I: 138 Whitfield, Raoul, Supp. IV Part 1: 345 Whitlock, Brand, II: 276 Whitman (Masters), Supp. I Part 2: 473, 475, 476 Whitman, George, IV: 346, 350 Whitman, Sarah Wyman, Retro. Supp. II: 136 Whitman, Walt, I: 61, 68, 98, 103, 104, 109, 219, 220, 227, 228, 242, 246, 250, 251, 260, 261, 285, 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, 606, 609; IV: 74, 169, 191, 192, 202, 331–354, 405, 409, 416, 444, 450–451, 457, 463, 464, 469, 470, 471; Retro. Supp. I: 8, 52, 194, 254, 283, 284, 333, 387–410, 412, 417, 427; Retro. Supp. II: 40, 76, 93, 99, 155, 156, 158, 170, 262; Supp. I Part 1: 6, 79, 167, 311, 314, 325, 365, 368, 372; Supp. I 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; Supp. III Part 1: 6, 20, 156, 239–241, 253, 340; Supp. III Part 2: 596; Supp. IV Part 1: 16, 169, 325; Supp. IV 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; Supp. X: 36, 112, 203, 204; Supp. XI: 83, 123, 132, 135, 203, 321; Supp. XII: 132, 185, 190, 256; Supp. XIII: 1, 77, 115, 153, 221, 304, 335; Supp. XIV: 89, 312, 334, 335, 338; Supp. XV: 41, 93, 181, 183, 212, 213, 218, 250, 275, 301, 302, 303, 309, 352; Supp. XVI: 209; Supp. XVII: 42, 71, 112, 133; Supp. XVIII: 4, 194, 196, 304; Supp. XIX: 118, 276 “Whitman: The Poet and the Mask” (Cowley), Supp. II Part 1: 143 Whitmarsh, Jason, Supp. VIII: 283 Whitmer, Peter, Supp. X: 264, 265 Whitney, Blair, Supp. I Part 2: 403 Whitney, Josiah, Supp. IX: 180, 181

CUMULATIVE INDEX / 547 Whitt, Margaret Earley, Retro. Supp. II: 226 Whittemore, Reed, III: 268; Supp. XI: 315 Whittier, Elizabeth, Supp. I Part 2: 700, 701, 703; Supp. XIII: 141, 142 Whittier, John Greenleaf, I: 216; II: 275; III: 52; Retro. Supp. I: 54; Retro. Supp. II: 155, 163, 169; Supp. I Part 1: 168, 299, 313, 317, 372; Supp. I Part 2: 420, 602, 682–707; Supp. VIII: 202, 204; Supp. XI: 50; Supp. XIII: 140, 145; Supp. XV: 246 Whittier, Mary, Supp. I Part 2: 683 “Whittier Birthday Speech” (Twain), Supp. I Part 1: 313 “Who” (Kenyon), Supp. VII: 174 “Who” (Sobin), Supp. XVI: 284–285 “Who Am I—Who I Am” (Corso), Supp. XII: 134 “Who Be Kind To” (Ginsberg), Supp. II Part 1: 323 “Whoever Was Using This Bed” (Carver), Supp. III Part 1: 148 “Whoever You Are Holding Me Now in Hand” (Whitman), IV: 342; Retro. Supp. I: 52 Who Gathered and Whispered behind Me (Goldbarth), Supp. XII: 181, 182 “Who in One Lifetime” (Rukeyser), Supp. VI: 276, 279 Who Is Witter Bynner? (Kraft), Supp. XV: 40, 52 “Who Is Your Mother? Red Roots of White Feminism” (Gunn Allen), Supp. IV Part 1: 329 Whole Hog (Wagoner), Supp. IX: 337– 338 “Whole MessѧAlmost, The” (Corso), Supp. XII: 135 “Whole Moisty Night, The” (R. Bly), Supp. IV Part 1: 69 Whole New Life, A (Price), Supp. VI: 265, 266, 267 “Whole Self, The” (Nye), Supp. XIII: 275 “Whole Soul, The” (Levine), Supp. V: 192 “Whole Story, The” (Strand), Supp. IV Part 2: 622 Whole Town’s Talking, The (Loos), Supp. XVI: 187 “Whole World Knows, The” (Welty), IV: 272; Retro. Supp. I: 343 Who’ ll Stop the Rain (film), Supp. V: 301 Who Lost an American? (Algren), Supp. IX: 15–16 Who Owns America? (symposium), Supp. XIV: 4 “Who Puts Together” (Hogan), Supp. IV Part 1: 403, 405, 412–413 “Whore of Mensa, The” (Allen), Supp. XV: 15 Whores for Gloria (Vollmann), Supp. XVII: 226, 230 Whorf, Benjamin Lee, Supp. XVI: 283 Who’s Afraid of Virginia Woolf? (Albee), I: 71, 77–81, 83, 85, 86, 87, 94; IV: 230

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 “Whosis Kid, The” (Hammett), Supp. IV Part 1: 344 “Who Sit Watch in Daylight” (Wright), Supp. XV: 342 “Who’s Passing for Who?” (Hughes), Supp. I Part 1: 330 “Who Speak on the Page?” (Sanders), Supp. XVI: 278 Who Will Run the Frog Hospital?: A Novel (Moore), Supp. X: 163, 165, 169, 175–177 Why Are We in Vietnam? (Mailer), III: 27, 29, 30, 33, 34–35, 39, 42, 44; Retro. Supp. II: 205–206 “Why China?” (Egan), Supp. XIX: 51, 52 “Why Did the Balinese Chicken Cross the Road?” (Walker), Supp. III Part 2: 527 “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 Came to Judevine (Budbill), Supp. XIX: 2, 7–8, 15 “Why I Entered the Gurdjieff Work” (Toomer), Supp. III Part 2: 481 “Why I Like Laurel” (Patchett), Supp. XII: 309 “Why I Live at the P.O.” (Welty), IV: 262; Retro. Supp. I: 345 “Why Is Economics Not an Evolutionary Science?” (Veblen), Supp. I Part 2: 634 “Why I Write” (Didion), Supp. IV Part 1: 201, 203 “Why I Wrote Phil: An Exclusive Essay for Amazon.com” (Saunders), Supp. XIX: 230–231 Why Johnny Can’ t Read: And What You Can Do About It (Flesch), Supp. XVI: 105 “Why Negro Women Leave Home” (Brooks), Supp. III Part 1: 75 Why Poetry Matters (Parini), Supp. XIX: 120, 129 “Why Resign from the Human Race?” (Swados), Supp. XIX: 265 “Why the Little Frenchman Wears His Hand in a Sling” (Poe), III: 425 “Why We Are Forgiven” (Weigl), Supp. XIX: 282–283 Why We Behave Like Microbe Hunters (Thurber), Supp. I Part 2: 606 Why We Were in Vietnam (Podhoretz), Supp. VIII: 241 “Why Write?” (Updike), Retro. Supp. I: 317 “Wichita Vortex Sutra” (Ginsberg), Supp. II Part 1: 319, 321, 323–325, 327 Wickes, George, Supp. XIV: 165

Wickford Point (Marquand), III: 50, 58, 64–65, 69 Wicks, Robert Russell, Supp. XII: 49 Wide, Wide World, The (S. Warner as Wetherell), Supp. XV: 275; Supp. XVIII: 257, 260, 262–264, 265 “Wide Empty Landscape with a Death in the Foreground” (Momaday), Supp. IV Part 2: 492 Wideman, John Edgar, Retro. Supp. II: 123; Supp. X: 239, 250, 319–336; Supp. XI: 245; Supp. XIII: 247; Supp. XVIII: 89 Widener, Jeff, Supp. XVIII: 91 “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 Widening Spell of the Leaves, The (Levis), Supp. XI: 258, 259, 261, 268–269, 271 “Wide Prospect, The” (Jarrell), II: 376– 377 Wide Sargasso Sea (Rhys), Supp. XVIII: 131 “Widow” (Peacock), Supp. XIX: 206 Widow for One Year, A (Irving), Supp. VI: 165, 179–181 Widows of Thornton, The (Taylor), Supp. V: 320, 321 “Widow’s Wish, The” (Briggs), Supp. XVIII: 15 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 Wiesel, Elie, Supp. XVII: 47, 48, 49 Wiest, Dianne, Supp. XV: 12 “Wife, Forty-five, Remembers Love, A” (Shields), Supp. VII: 310 “Wifebeater, The” (Sexton), Supp. II Part 2: 693 “Wife for Dino Rossi, A” (Fante), Supp. XI: 165 “Wife of His Youth, The” (Chesnutt), Supp. XIV: 63–66 Wife of His Youth and Other Stories of the Color Line, The (Chesnutt), Supp. XIV: 62, 63 “Wife of Jesus Speaks, The” (Karr), Supp. XI: 250–251 “Wife of Nashville, A” (Taylor), Supp. V: 320 “Wife’s Story, The” (Davis), Supp. XVI: 85, 91, 92–93 Wife’s Story, The (Shields), Supp. VII: 316. See also Happenstance “Wife-Wooing” (Updike), IV: 226 Wigan, Gareth, Supp. XI: 306 Wiget, Andrew, Supp. IV Part 2: 509 Wigglesworth, Michael, IV: 147, 156; Supp. I Part 1: 110, 111 Wilbur, Richard, III: 527; Retro. Supp. II: 50; Supp. III Part 1: 64; Supp. III Part 2: 541–565; Supp. IV Part 2: 626, 634, 642; Supp. V: 337; Supp. VIII: 28; Supp. X: 58, 120; Supp.

548 / AMERICAN WRITERS XII: 258; Supp. XIII: 76, 336; Supp. XV: 51, 251, 256; Supp. XVII: 26; Supp. XVIII: 178 Wilcocks, Alexander, Supp. I Part 1: 125 Wilcox, Ella Wheeler, Supp. II Part 1: 197 Wild, John, II: 362, 363–364 Wild, Peter, Supp. V: 5 Wild, Robert, IV: 155 “Wild, The” (Berry), Supp. X: 30 Wild 90 (film) (Mailer), Retro. Supp. II: 205 Wild and Woolly (film), Supp. XVI: 185 Wild Boy of Aveyron, The (Itard). See De l’ éducation d’ un homme sauvage Wild Boys, The: A Book of the Dead (Burroughs), Supp. III Part 1: 106– 107 Wild Card Quilt: Taking A chance on Home (Ray), Supp. XVIII: 189, 192, 193, 196, 198, 200–202, 204 Wilde, Oscar, I: 50, 66, 381, 384; II: 515; IV: 77, 350; Retro. Supp. I: 56, 102, 227; Retro. Supp. II: 76, 326; Supp. IV Part 2: 578, 679, 683; Supp. V: 106, 283; Supp. IX: 65, 66, 68, 189, 192; Supp. X: 148, 151, 188–189; Supp. XIV: 324, 334; Supp. XV: 350 Wilder, Amos Parker, IV: 356 Wilder, Billy, Supp. IV Part 1: 130; Supp. XI: 307 Wilder, Isabel, IV: 357, 366, 375 Wilder, Mrs. Amos Parker (Isabella Thornton Niven), IV: 356 Wilder, Thornton, I: 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; Supp. XII: 236–237 “Wilderness” (Leopold), Supp. XIV: 190 Wilderness (Parker), Supp. XIX: 177, 188–189 “Wilderness” (Sandburg), III: 584, 595 Wilderness (Warren), IV: 256 “Wilderness, The” (Merwin), Supp. III Part 1: 340, 345 “Wilderness, The” (Robinson), III: 524 Wilderness of Vision, The: On the Poetry of John Haines (Bezner and Walzer, eds.), Supp. XII: 202 Wilderness Plots: Tales about the Settlement of the American Land (Sanders), Supp. XVI: 267–268, 269 Wilderness World of Anne LaBastille, The (LaBastille), Supp. X: 105, 106 Wild Flag, The (White), Supp. I Part 2: 654 “Wildflower, The” (W. C. Williams), Retro. Supp. I: 420 “Wild Flowers” (Caldwell), I: 310 “Wildflowers” (Minot), Supp. VI: 208 “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 (Glück), Supp. V: 79, 87– 89, 91 Wildlife (Ford), Supp. V: 57, 69–71

Wildlife in America (Matthiessen), Supp. V: 199, 201, 204 “Wildlife in American Culture” (Leopold), Supp. XIV: 190, 191 “Wildness” (Sanders), Supp. XVI: 276 Wild Old Wicked Man, The (MacLeish), III: 3, 20 Wild Palms, The (Faulkner), II: 68–69; Retro. Supp. I: 85 “Wild Palms, The” (Faulkner), II: 68 “Wild Peaches” (Wylie), Supp. I Part 2: 707, 712 Wild Roses of Cape Ann and Other Poems (Larcom), Supp. XIII: 142, 147 Wild Seed (O. Butler), Supp. XIII: 62, 63 “Wild Swans at Coole, The ” (W. B. Yeats), Supp. XVI: 48 “Wild Swans at Norfolk, The” (Carruth), Supp. XVI: 48 Wild Thorn (Hoffman), Supp. XVIII: 84–85 Wild to the Heart (Bass), Supp. XVI: 16 “Wild Turkeys: Dignity of the Damned” (B. Kelly), Supp. XVII: 129 “Wildwest” (MacLeish), III: 14 Wiley, Craig, Supp. VIII: 313 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, The (Swados), Supp. XIX: 265– 266 Willard, Nancy, Supp. XIX: 138 Willard, Samuel, IV: 150 Willard Gibbs (Rukeyser), Supp. VI: 273, 283, 284 Willcutts, Tim, Supp. XVII: 239, 241, 246 Willett, Ralph, Supp. XIV: 27 Willey, Basil, Retro. Supp. II: 243 William Carlos Williams (Koch), Retro. Supp. I: 428 William Carlos Williams: An American Artist (Breslin), Retro. Supp. I: 430 William Carlos Williams and Alterity (Ahearn), Retro. Supp. I: 415 William Carlos Williams and the Meanings of Measure (Cushman), Retro. Supp. I: 430 William Carlos Williams: The American Background (Weaver), Retro. Supp. I: 430 William Faulkner: A Critical Study (Howe), Supp. VI: 119–120, 125 William Faulkner: Early Prose and Poetry (Faulkner), Retro. Supp. I: 80 William Faulkner: First Encounters (Brooks), Supp. XIV: 13 “William Faulkner’s Legend of the South” (Cowley), Supp. II Part 1: 143 “William Faulkner: The Stillness of Light in August” (Kazin), Supp. VIII: 104

William Faulkner: The Yoknapatawpha Country (Brooks), Supp. XIV: 12–13, 16 William Faulkner: Toward Yoknapatawpha and Beyond (Brooks), Supp. XIV: 13 “William Humphrey, 73, Writer of Novels about Rural Texas” (Gussow), Supp. IX: 93 William Humphrey, Destroyer of Myths (Almon), Supp. IX: 93 William Humphrey. Boise State University Western Writers Series (Winchell), Supp. IX: 109 “William Humphrey Remembered” (Masters), Supp. IX: 96 William Humphrey. Southwestern Series (Lee), Supp. IX: 109 “William Ireland’s Confession” (A. Miller), III: 147–148 William James and Phenomenology: A Study of the “Principles of Psychology” (Wilshire), II: 362 William Lloyd Garrison (Chapman), Supp. XIV: 46–51, 52, 53, 55 William Maxwell Portrait, A: Memories and Appreciations (C. Baxter, Collier, and Hirsch, eds.), Supp. XVII: 23 Williams, Annie Laurie, Supp. IX: 93 Williams, Blanch Colton, Supp. XVIII: 279 Williams, Cecil, II: 508 Williams, Charles, Supp. II Part 1: 15, 16 Williams, C. K., Supp. XIII: 114; Supp. XVII: 112 Williams, Dakin, IV: 379 Williams, David Reichard, Supp. XIII: 162 Williams, Edward, IV: 404 Williams, Edwina Dakin, IV: 379 Williams, Esther, Supp. XII: 165 Williams, Fannie Barrier, Supp. XIV: 201 Williams, George, Supp. V: 220 Williams, Horace, IV: 453 Williams, Joan, Supp. IX: 95 Williams, John A., Supp. XVI: 143 Williams, John Sharp, IV: 378 Williams, Lyle, Supp. XIV: 22 Williams, Michael, Supp. V: 286 Williams, Miller, Supp. XIV: 126; Supp. XV: 339; Supp. XVIII: 177 Williams, Mrs. William Carlos (Florence Herman), IV: 404 Williams, Paul, IV: 404 Williams, Raymond, 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; Supp. I Part 1: 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;

CUMULATIVE INDEX / 549 Supp. IV Part 2: 574, 682; Supp. IX: 133; Supp. XI: 103; Supp. XIII: 331; Supp. XIV: 250, 315; Supp. XVI: 194 Williams, Terry Tempest, Supp. XIII: 16; Supp. XVIII: 189 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, 428, 438, 446, 539; II: 133, 536, 542, 543, 544, 545; III: 194, 196, 198, 214, 269, 409, 453, 457, 458, 464, 465, 591; IV: 30, 74, 75, 76, 94, 95, 286, 287, 402–425; Retro. Supp. I: 51, 52, 62, 209, 284, 285, 288, 296, 298, 411–433; Retro. Supp. II: 178, 181, 189, 250, 321, 322, 326, 327, 328, 334, 335; Supp. I Part 1: 254, 255, 259, 266; Supp. II Part 1: 9, 30, 308, 318; Supp. II Part 2: 421, 443; Supp. III Part 1: 9, 147, 239, 271, 275, 276, 278, 350; Supp. III 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; Supp. X: 112, 120, 204; Supp. XI: 311, 328; Supp. XII: 198; Supp. XIII: 77, 90, 335; Supp. XIV: 280, 284, 285, 293; Supp. XV: 42, 51, 182, 250, 306, 307; Supp. XVI: 48, 282; Supp. XVII: 36, 113, 227, 243; Supp. XIX: 1, 42, 117, 119, 121 Williams, Wirt, Supp. XIV: 24 Williamson, Alan, Retro. Supp. II: 185; Supp. XIX: 91 William Styron’s Nat Turner: Ten Black Writers Respond (Clarke, ed.), IV: 115 Williams-Walsh, Mary Ellen, Supp. IV Part 2: 611 William the Conqueror, Supp. I Part 2: 507 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; Retro. Supp. II: 269; Supp. IX: 105 “Willie” (Angelou), Supp. IV Part 1: 15 Willie Masters’ Lonesome Wife (Gass), Supp. VI: 77, 84–85, 86–87 “Willing” (Moore), Supp. X: 178 Willis, Bruce, Supp. IV Part 1: 236 Willis, Gordon, Supp. XV: 7 Willis, Mary Hard, Supp. V: 290–291 Willis, Nathaniel Parker, II: 313; Supp. I Part 2: 405; Supp. XVIII: 12 Williwaw (Vidal), Supp. IV Part 2: 677, 680, 681 “Willow Woman” (Francis), Supp. IX: 78 Wills, Garry, Supp. I Part 1: 294; Supp. IV Part 1: 355 Wills, Ridley, IV: 122 Wills, Ross B., Supp. XI: 169 “Will to Believe, The” (James), II: 352; Supp. XIV: 50

Will to Believe, The, and Other Essays in Popular Philosophy (James), II: 356; IV: 28 Will to Change, The: Poems, 1968–1970 (Rich), Supp. I Part 2: 551, 557–559 “Will We Plug Chips into Our Brains?” (W. Gibson), Supp. XVI: 117–118 Will You Please Be Quiet, Please? (Carver), Supp. III Part 1: 138, 140, 144 “Will You Please Be Quiet, Please?” (Carver), Supp. III Part 1: 137, 141 “Will You Tell Me?” (Barthelme), Supp. IV Part 1: 42, 47 Wilsdorf, Anne, Supp. XVI: 177 Wilshire, Bruce, II: 362, 364 Wilshire, Gaylord, Supp. V: 280 Wilson, Adrian, Supp. XV: 147 Wilson, Alexander, Supp. XVI: 4, 6 Wilson, Angus, IV: 430, 435 Wilson, August, Supp. VIII: 329–353; Supp. XIX: 132 Wilson, Augusta Jane Evans, Retro. Supp. I: 351 Wilson, Earl, Supp. X: 264 Wilson, Edmund, I: 67, 185, 236, 247, 260, 434, 482; II: 79, 80, 81, 86, 87, 91, 97, 98, 146, 276, 430, 530, 562, 587; III: 588; IV: 308, 310, 426–449; Retro. Supp. I: 1, 97, 100, 101, 103, 104, 105, 115, 274; Retro. Supp. II: 321, 327, 329; Supp. I Part 1: 372; Supp. I Part 2: 407, 646, 678, 709; Supp. II Part 1: 19, 90, 106, 136, 137, 143; Supp. III 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; Supp. X: 186; Supp. XI: 160; Supp. XIII: 170; Supp. XIV: 338; Supp. XV: 142, 308; Supp. XVI: 194 Wilson, Edmund (father), IV: 441 Wilson, E. O., Supp. X: 35 Wilson, Henry, Supp. XIV: 48 Wilson, Reuel, II: 562 Wilson, Robert, Supp. XI: 144 Wilson, Sloan, Supp. IV Part 1: 387 Wilson, Thomas, IV: 153 Wilson, Tracy, Supp. XVIII: 101 Wilson, Victoria, Supp. X: 166 Wilson, Woodrow, I: 245, 246, 490; II: 183, 253; III: 105, 581; Supp. I Part 1: 21; Supp. I Part 2: 474, 643; Supp. V: 288 Wilton, David, IV: 147 Wiman, Christian, Supp. XV: 251, 253, 264; Supp. XVII: 74; Supp. XVIII: 173, 174 Wimberly, Lowry, Supp. XV: 136, 137 Wimsatt, William K., Supp. XIV: 12 Winchell, Mark, Supp. VIII: 176, 189 Winchell, Mark Royden, Supp. VIII: 241; Supp. IX: 97, 98, 109; Supp. XIII: 94, 98, 99, 101; Supp. XIV: 103, 106, 111 Winckelmann, Johann Joachim, Supp. XII: 178 Wind, Sand, and Stars (Saint-Exupéry), Supp. IX: 247

Wind Across the Everglades (film, Ray), Supp. XVIII: 253 Wind Chrysalid’s Rattle (Sobin), Supp. XVI: 283 “Windfall” (B. Kelly), Supp. XVII: 132 Windflower Home Almanac of Poetry, The (Kooser, ed.), Supp. XIX: 119 Windham, Donald, IV: 382 “Windhover” (Hopkins), I: 397; II: 539; Supp. IX: 43 Winding Stair and Other Poems, The (Yeats), Supp. XV: 253 “Winding Street, The” (Petry), Supp. XI: 6 “Window” (Pinsky), Supp. VI: 237, 247 Windows (Creeley), Supp. IV Part 1: 157, 158 “Windows” (Jarrell), II: 388, 389 “Window Seat, A” (Goldbarth), Supp. XII: 185 Wind Remains, The (opera) (Bowles), Supp. IV Part 1: 83 “Winds, The” (Welty), IV: 265; Retro. Supp. I: 348, 350 “Winds and Clouds over a Funeral” (Jin), Supp. XVIII: 94 “Wind up Sushi” (Goldbarth), Supp. XII: 186–187 “Windy Day at the Reservoir, A” (Beattie), Supp. V: 33 Windy McPherson’s Son (Anderson), I: 101, 102–103, 105, 111 “Wine” (Carver), Supp. III Part 1: 138 “Wine Menagerie, The” (H. Crane), I: 389, 391; Retro. Supp. II: 82 Wine of the Puritans, The: A Study of Present-Day America (Brooks), I: 240 “Wine of Wizardry, A” (Sterling), I: 208 Winer, Linda, Supp. IV Part 2: 580; Supp. XV: 332 Winesburg, Ohio: A Group of Tales of Ohio Small Town Life (Anderson), I: 97, 102, 103, 104, 105–108; III: 112, 113, 114, 116, 224, 579; Supp. V: 12; Supp. IX: 306, 308; Supp. XI: 164; Supp. XVI: 17 Winfrey, Oprah, Supp. XIX: 194, 204 Wing-and-Wing, The (Cooper), I: 350, 355 Winged Seed, The: A Remembrance (L.-Y. Lee), Supp. XV: 211, 220–223 Winged Words: American Indian Writers Speak (Coltelli), Supp. IV Part 2: 493, 497 “Wingfield” (Wolff), Supp. VII: 341–342 “Wings, The” (Doty), Supp. XI: 124 Wings of the Dove, The (James), I: 436; II: 320, 323, 333, 334–335; Retro. Supp. I: 215, 216, 217, 232, 233–234; Supp. II Part 1: 94–95; Supp. IV Part 1: 349 “Winky” (Saunders), Supp. XIX: 228– 229, 229 Winner Take Nothing (Hemingway), II: 249; Retro. Supp. I: 170, 175, 176, 181 “Winnie” (Brooks), Supp. III Part 1: 86 Winokur, Maxine. See Kumin, Maxine Winslow, Art, Supp. XVIII: 102 Winslow, Devereux, II: 547

550 / AMERICAN WRITERS Winslow, Harriet, II: 552–553 Winslow, Ola Elizabeth, I: 547 Winslow, Warren, II: 540 Winston, Andrew, Supp. XII: 189 Winston, Michael R., Supp. XIV: 197 Winter, Douglas, Supp. V: 144 Winter, Johnny and Edgar, Supp. V: 334 Winter, Kate, Supp. X: 104 “Winter Branch, A” (Irving), Supp. VI: 163 “Winter Burial, A” (Clampitt), Supp. IX: 48 Winter Carnival (film), Retro. Supp. I: 113 “Winter Daybreak at Vence, A” (Wright), Supp. III Part 1: 249–250 Winter Diary, A (Van Doren), I: 168 “Winter Dreams” (Fitzgerald), II: 80, 94; Retro. Supp. I: 108 “Winter Drive, A” (Jewett), Retro. Supp. II: 147 “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; Retro. Supp. II: 187 “Wintering” (Plath), Retro. Supp. II: 255 Winter Insomnia (Carver), Supp. III Part 1: 138 Winter in the Blood (Welch), Supp. IV Part 2: 562 “Winter Landscape” (Berryman), I: 174; Retro. Supp. I: 430 Winter Lightning (Nemerov), III: 269 Winter Morning Walks: One Hundred Postcards to Jim Harrison (Kooser), Supp. XIX: 116, 125–126 Winter News (Haines), Supp. XII: 199, 201–204, 207–208, 208 Winternitz, Mary. See Cheever, Mrs. John (Mary Winternitz) Winter: Notes from Montana (Bass), Supp. XVI: 17–18 Winter of Our Discontent, The (Steinbeck), IV: 52, 65–66, 68 “Winter on Earth” (Toomer), Supp. III Part 2: 486 “Winter Piece, A” (Bryant), Supp. I Part 1: 150, 155 “Winter Rains, Cataluña” (Levine), Supp. V: 182 “Winter Remembered” (Ransom), III: 492–493 Winterrowd, Prudence, I: 217, 224 Winters, Jonathan, Supp. XI: 305 Winters, Yvor, I: 59, 63, 386, 393, 397, 398, 402, 471; III: 194, 498; IV: 153; Retro. Supp. II: 76, 77, 78, 82, 83, 85, 89; Supp. I Part 1: 268; Supp. II Part 2: 416, 666, 785–816; Supp. IV Part 2: 480; Supp. V: 180, 191–192; Supp. XIV: 287; Supp. XV: 74, 341 “Winter Scenes” (Bryant). See “Winter Piece, A“ Winterset (Anderson), III: 159 “Winter Skyline Late” (F. Wright), Supp. XVII: 245

“Winter Sleep” (Wylie), Supp. I Part 2: 711, 729 Winter’s Tale, The (Shakespeare), Supp. XIII: 219 Winter Stars (Levis), Supp. XI: 259, 266–268 “Winter Stars” (Levis), Supp. XI: 267– 268 Winter Stop-Over (Everwine), Supp. XV: 74, 76 “Winter Stop-Over” (Everwine), Supp. XV: 76 “Winter Swan” (Bogan), Supp. III Part 1: 52 Winter Thunder (X. J. Kennedy), Supp. XV: 167 “Winter Thunder” (X. J. Kennedy), Supp. XV: 169 “Winter Trees” (Pedersen; Nelson, trans.), Supp. XVIII: 180 Winter Trees (Plath), Retro. Supp. II: 257; Supp. I Part 2: 526, 539, 541 “Winter Weather Advisory” (Ashbery), Supp. III Part 1: 26 “Winter Wheat” (Hoffman), Supp. XVIII: 86, 87 “Winter without Snow, The” (C. Frost), Supp. XV: 96, 105–106 “Winter Words” (Levine), Supp. V: 192 Winthrop, John, Supp. I Part 1: 99, 100, 101, 102, 105; Supp. I Part 2: 484, 485 Winthrop Covenant, The (Auchincloss), Supp. IV Part 1: 23 Wirt, William, I: 232 Wirth, Louis, IV: 475 Wisconsin Death Trip (Levy), Supp. XIX: 102 “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 (H. Miller), III: 178, 184 Wise Blood (O’ Connor), III: 337, 338, 339–343, 344, 345, 346, 350, 354, 356, 357; Retro. Supp. II: 219, 221, 222, 223, 225–228 Wise Men, The (Price), Supp. VI: 254 “Wiser Than a God” (Chopin), Retro. Supp. II: 61; Supp. I Part 1: 208 Wishes, Lies, and Dreams: Teaching Children to Write Poetry (Koch), Supp. XV: 176, 189 “Wish for a Young Wife” (Roethke), III: 548 Wishful Thinking: A Theological ABC (Buechner), Supp. XII: 53 Wishing Tree, The: Christopher Isherwood on Mystical Religion (Adjemian, ed.), Supp. XIV: 164, 173 Wismer, Helen Muriel. See Thurber, Mrs. James (Helen Muriel Wismer) Wisse, Ruth, Supp. XII: 167, 168 Wister, Owen, I: 62; Retro. Supp. II: 72; Supp. XIV: 39 Wit (Edson), Supp. XVIII: 35–36, 37, 38–51 “Witchbird” (Bambara), Supp. XI: 11

“Witch Burning” (Plath), Supp. I Part 2: 539 Witchcraft of Salem Village, The (Jackson), Supp. IX: 121 “Witch Doctor” (Hayden), Supp. II Part 1: 368, 380 Witches of Eastwick, The (Updike), Retro. Supp. I: 330, 331 Witching Hour, The (Rice), Supp. VII: 299–300 “Witch of Coös, The” (Frost), II: 154– 155; Retro. Supp. I: 135; Retro. Supp. II: 42 “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 Witek, Terri, Supp. XVII: 117 “With a Little Help from My Friends” (Kushner), Supp. IX: 131 With Bold Knife and Fork (M. F. K. Fisher), Supp. XVII: 89, 91 “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 “Withdrawal Symptoms” (Mora), Supp. XIII: 216 “Withered Skins of Berries” (Toomer), Supp. III Part 2: 485; Supp. IX: 320 Withers, Harry Clay, Supp. XIII: 161 Witherspoon, John, Supp. I Part 2: 504 With Eyes at the Back of Our Heads (Levertov), Supp. III Part 1: 276– 277 With Her in Ourland (Gilman), Supp. XI: 208–209 With His Pistol in His Hand (Paredes), Supp. XIII: 225; Supp. XIX: 98 “Within the Words: An Apprenticeship” (Haines), Supp. XII: 197 “With Kit, Age 7, at the Beach” (Stafford), Supp. XI: 323 “With Mercy for the Greedy” (Sexton), Supp. II Part 2: 680 With My Trousers Rolled (Epstein), Supp. XIV: 101, 105 Without a Hero (Boyle), Supp. VIII: 16 Without Feathers (Allen), Supp. XV: 3, 14, 15 Without Stopping (Bowles), Supp. IV Part 1: 79, 81, 85, 90, 91, 92 “Without Tradition and within Reason: Judge Horton and Atticus Finch in Court” (Johnson), Supp. VIII: 127 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 Horse in the Winter Pasture” (McCarriston), Supp. XIV: 262 With the Old Breed: At Peleliu and Okinawa (Sledge), Supp. V: 249–250 “With the Violin” (Chopin), Retro. Supp. II: 61

CUMULATIVE INDEX / 551 “Witness” (Clampitt), Supp. IX: 42–43, 45, 46 “Witness” (Dubus), Supp. VII: 89 “Witness” (Harjo), Supp. XII: 227–228 Witness (McNally), Supp. XIII: 197 “Witness” (Nelson), Supp. XVIII: 186 “Witness, The” (Porter), III: 443–444 “Witness for Poetry, A” (Stafford), Supp. XI: 324 “Witness for the Defense” (Hay), Supp. XIV: 124 “Witnessing My Father’s Will” (Karr), Supp. XI: 241 “Witnessing to a Shared World” (Sanders), Supp. XVI: 278 Witness to the Times! (McGrath), Supp. X: 118 Witness Tree, A (Frost), II: 155; Retro. Supp. I: 122, 137, 139 Wit’s End: Days and Nights of the Algonquin Round Table (Gaines), Supp. IX: 190 Wits Recreations (Mennes and Smith), II: 111 Witt, Shirley Hill, Supp. IV Part 2: 505 Wittels, Anne F., Supp. XV: 59 Wittenberg, Judith Bryant, Retro. Supp. II: 146 Wittgenstein, Ludwig, Retro. Supp. I: 53; Supp. III Part 2: 626–627; Supp. X: 304; Supp. XII: 21; Supp. XV: 344, 346 Wittgensteins’ Mistress (Markson), Supp. XVII: 135, 142, 143, 145 Wittliff, William, Supp. V: 227 “Witty War, A” (Simpson), Supp. IX: 268 “Wives and Mistresses” (Hardwick), Supp. III Part 1: 211–212 Wizard of Loneliness, The (Nichols), Supp. XIII: 259, 263, 264 Wizard of Oz, The (Baum), Supp. IV Part 1: 113 Wizard of Oz, The (film), Supp. X: 172, 214 Wizard’s Tide, The: A Story (Buechner), Supp. XII: 54 “WLT (The Edgar Era)” (Keillor), Supp. XVI: 172 WLT: A Radio Romance (Keillor), Supp. XVI: 176 Wobegon Boy (Keillor), Supp. XVI: 177 Wodehouse, P. G., Supp. IX: 195 Woiwode, Larry, Supp. VIII: 151; Supp. XVI: 206 Wojahn, David, Supp. IX: 161, 292, 293 Wolcott, James, Supp. IX: 259 Wolf, Christa, Supp. IV Part 1: 310, 314 Wolf, Daniel, Retro. Supp. II: 202 Wolf: A False Memoir (Harrison), Supp. VIII: 40, 41–42, 45 Wolfe, Ben, IV: 454 Wolfe, Gregory, Supp. XIV: 307 Wolfe, James, Supp. I Part 2: 498 Wolfe, Linnie, Supp. IX: 176 Wolfe, Mabel, IV: 454 Wolfe, Mrs. William Oliver (Julia Elizabeth Westall), IV: 454 Wolfe, Thomas, I: 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. IX: 229; Supp. X: 225; Supp. XI: 213, 216, 217, 218; Supp. XIII: 17; Supp. XIV: 122; Supp. XVIII: 78 Wolfe, Tom, Supp. III Part 2: 567–588; Supp. IV Part 1: 35, 198; Supp. V: 296; Supp. X: 264; Supp. XI: 239; Supp. XV: 143; Supp. XVII: 202; Supp. XVIII: 72, 117 Wolfe, William Oliver, IV: 454 “Wolfe Homo Scribens” (Cowley), Supp. II Part 1: 144 Wolfert’s Roost (Irving), II: 314 Wolff, Cynthia Griffin, Retro. Supp. I: 379; Supp. IV Part 1: 203 Wolff, Donald, Supp. XIII: 316, 317, 326 Wolff, Geoffrey, Supp. II Part 1: 97; Supp. XI: 239, 245, 246 Wolff, Tobias, Retro. Supp. I: 190; Supp. V: 22; Supp. VII: 331–346; Supp. X: 1; Supp. XI: 26, 239, 245, 246, 247; Supp. XV: 223; Supp. XVI: 39, 41, 63, 70, 77 Wolfreys, Julian, Supp. XVIII: 61 Wolfson, P. J., Supp. XIII: 172 “Wolf Town” (Carson), Supp. XII: 102 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 Wolitzer, Hilma, Supp. XV: 55 Wolitzer, Meg, Supp. XV: 65 Wollaston, William, II: 108 Wollstonecraft, Mary, Supp. I Part 1: 126; Supp. I Part 2: 512, 554 “Woman” (Bogan), Supp. X: 102 “Woman, I Got the Blues” (Komunyakaa), Supp. XIII: 117 “Woman, Why Are You Weeping?” (Kenyon), Supp. VII: 174–175 “Woman, Young and Old, A” (Paley), Supp. VI: 222, 225 Woman Aroused, The (Lacy), Supp. XV: 199–200 Woman at the Washington Zoo, The (Jarrell), II: 367, 386, 387, 389 “Womand and the Woman’s Movement” (Briggs), Supp. XVIII: 14 “Woman Dead in Her Forties, A” (Rich), Supp. I Part 2: 574–575 “Woman Hanging from the Thirteenth Floor Window, The” (Harjo), Supp. XII: 216, 221 “Woman Hollering Creek” (Cisneros), Supp. VII: 70 Woman Hollering Creek and Other Stories (Cisneros), Supp. VII: 58, 68–70 “Womanhood” (Brooks), Supp. III Part 1: 77 “Woman in Rain” (X. J. Kennedy), Supp. XV: 168 Woman in the Dark (Hammett), Supp. IV Part 1: 343 “Woman in the House, A” (Caldwell), I: 310

Woman in the Nineteenth Century (Fuller), Retro. Supp. I: 156; Supp. II Part 1: 279, 292, 294–296; Supp. XI: 197, 203; Supp. XVIII: 3, 11 “Woman in the Shoe, The” (Ryan as Quin), Supp. XVIII: 231 Woman in White, The (Collins), Supp. I Part 1: 35, 36 “Womanizer, The” (Ford), Supp. V: 71, 72 “Woman Like Yourself, A” (C. Frost), Supp. XV: 107 Woman Lit by Fireflies, The (Harrison), Supp. VIII: 50–51 “Woman Loses Cookie Bake-Off, Sets Self on Fire” (R. O. Butler), Supp. XII: 72 Woman of Andros, The (Wilder), IV: 356, 363–364, 367, 368, 374 Woman of Means, A (Taylor), Supp. V: 319–320 Woman on the Edge of Time (Piercy), Supp. XIII: 29 Woman on the Porch, The (Gordon), II: 199, 209–211 “Woman on the Stair, The” (MacLeish), III: 15–16 “Woman’s Dream, A” (E. Stoddard), Supp. XV: 278 Woman’s Fiction: A Guide to Novels By and About Women in America, 1820– 1870 (Baym), Supp. XVIII: 258 “Woman’s Heartlessness” (Thaxter), Retro. Supp. II: 147 Woman’s Honor (Glaspell), Supp. III Part 1: 179 “Woman Singing” (Ortiz), Supp. IV Part 2: 513 Woman’s Share in Primitive Culture (Mason), Supp. I Part 1: 18 “Woman Struck by Car Turns into Nymphomaniac” (R. O. Butler), Supp. XII: 72 “Woman’s Work” (Alvarez), Supp. VII: 4 “Woman Uses Glass Eye to Spy on Philandering Husband” (R. O. Butler), Supp. XII: 70, 72 Woman Warrior (Kingston), Supp. IV Part 1: 12; Supp. V: 157, 158, 159, 160–164, 166, 169; Supp. X: 291– 292; Supp. XIV: 162 Woman Warrior, The (Kingston), Supp. XV: 220 Woman Who Fell from the Sky, The (Harjo), Supp. XII: 226–228 “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 Within, The (Glasgow), II: 183, 190–191 “Womanwork” (Gunn Allen), Supp. IV Part 1: 326 Women (Bukowski), Supp. XI: 172 “Women” (Didion), Supp. IV Part 1: 205

552 / AMERICAN WRITERS “Women” (Swenson), Supp. IV Part 2: 647 Women, The (film), Retro. Supp. I: 113 Women, The (film; Cukor), Supp. XVI: 181, 192 “Women and Children First” (Prose), Supp. XVI: 254 Women and Children First: Stories (Prose), Supp. XVI: 254 Women and Economics (Gilman), Supp. I Part 2: 637; Supp. V: 284; Supp. XI: 200, 203–204, 206 Women and Thomas Harrow (Marquand), III: 50, 61, 62, 66, 68, 69–70, 71 Women and Vodka (Markson as Merrill, ed.), Supp. XVII: 136 Women and Wilderness (LaBastille), Supp. X: 97, 102–104 “Women as They Are” (Rowson), Supp. XV: 243 Women at Point Sur, The (Jeffers), Supp. II Part 2: 430–431 Women in Love (Lawrence), III: 27, 34 Women of Brewster Place, The: A Novel in Seven Stories (Naylor), Supp. VIII: 213, 214–218 Women of Manhattan: An Upper West Side Story (Shanley), Supp. XIV: 315, 326–327 “Women of My Color” (Coleman), Supp. XI: 88–89 Women of Trachis (Pound, trans.), 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 “Women’s Movement, The” (Didion), Supp. IV Part 1: 206 “Women Waiting” (Shields), Supp. VII: 320 “Women We Love Whom We Never See Again” (R. Bly), Supp. IV Part 1: 66 “Women We Never See Again” (R. Bly), Supp. IV Part 1: 66 Women with Men (Ford), Supp. V: 57, 71–72 “Wonder” (Olds), Supp. X: 210 Wonder Boys (Chabon), Supp. XI: 67, 73–75,Supp. XI: 78; Supp. XVI: 259 Wonder Boys (film), Supp. XI: 67 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 (Oates), Supp. II Part 2: 511, 512, 514–515 Wonders Hidden (Sanders), Supp. XVI: 269 Wonders of the Invisible World, The (Mather), Supp. II Part 2: 456–459, 460, 467

Wonder-Working Providence (Johnson), IV: 157 Wong, Hertha, Supp. IV Part 1: 275 Wong, Jade Snow, Supp. X: 291 Wong, Nellie, Supp. XVII: 72 Wong, Shawn, Supp. XV: 221 Wong, Timothy, Supp. XVIII: 94 “Wood” (Nye), Supp. XIII: 276 Wood, Audrey, IV: 381 Wood, Charles Erskine Scott, Supp. XV: 301 Wood, Clement, Supp. XV: 298 Wood, Clement Biddle, Supp. XI: 307 Wood, James, Supp. XIV: 95–96; Supp. XIX: 138 Wood, Mabel, I: 199 Wood, Michael, Supp. IV Part 2: 691 Wood, Mrs. Henry, Supp. I Part 1: 35 Wood, Norman Barton, Supp. XIV: 201 Wood, Susan, Supp. XVI: 123 Woodard, Calvin, Supp. VIII: 128 Woodard, Charles L., Supp. IV Part 2: 484, 493 Woodard, Deborah, Supp. XIII: 114 Woodberry, George Edward, III: 508 Woodbridge, Frederick, I: 217, 224 Woodbridge, John, Supp. I Part 1: 101, 102, 114 “Wood-Choppers, The” (Chopin), Retro. Supp. II: 72 Woodcock, George, Supp. XIII: 33 Woodcome, Beth, Supp. XVII: 240 “Wood Dove at Sandy Spring, The” (MacLeish), III: 19 “Wooden Spring” (Rukeyser), Supp. VI: 285 “Wooden Umbrella, The” (Porter), IV: 26 Woodhull, Victoria, Supp. XVIII: 4 “Woodnotes” (Emerson), II: 7, 19 “Wood-Pile, The” (Frost), Retro. Supp. I: 128; Supp. IV Part 2: 445 Woodrow, James, Supp. I Part 1: 349, 366 “Woods, Books, and Truant Officers, The” (Maclean), Supp. XIV: 221, 225 Woods, Robert A., Supp. I Part 1: 19 Woods, The (Mamet), Supp. XIV: 241, 254–255 Woodswoman (LaBastille), Supp. X: 95, 96–99, 108 Woodswoman III: Book Three of the Woodswoman’s Adventures (LaBastille), Supp. X: 95, 106–107 “Wood Thrush” (Kenyon), Supp. VII: 172 Woodward, C. Vann, IV: 114, 470–471; Retro. Supp. I: 75, 76; Supp. XIX: 152 “Woof: A Plea of Sorts” (Saunders), Supp. XIX: 235 “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; Supp. XI: 134, 193; Supp. XII: 81, 98, 289; Supp. XIII: 305; Supp. XIV: 341–342, 342, 343, 346, 348; Supp. XV: 55, 65; Supp. XIX: 134 Woollcott, Alexander, IV: 432; Retro. Supp. II: 327; Supp. I Part 2: 664; Supp. IX: 190, 194 Woollstonecraft, Mary, Supp. XVI: 184 “Woolly Mammoth” (X. J. Kennedy), Supp. XV: 163–164 Woolman, John, Supp. VIII: 202, 204, 205 Woolson, Constance Fenimore, Retro. Supp. I: 224, 228 Worcester, Samuel, I: 458 Word and Idioms: Studies in the English Language (L. P. Smith), Supp. XIV: 343 Word of God and the Word of Man, The (Barth), Retro. Supp. I: 327 “Word out of the Sea, A” (Whitman), IV: 344 Words (Creeley), Supp. IV Part 1: 139, 150–153, 154, 155, 158 “Words” (Creeley), Supp. IV Part 1: 152 “Words” (Gioia), Supp. XV: 125 “Words” (Merwin), Supp. III Part 1: 352 “Words” (Plath), Supp. I Part 2: 547 “Words” (Shields), Supp. VII: 323 “Words, The” (Wagoner), Supp. IX: 326 “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; Retro. Supp. II: 188 “Words for Maria” (Merrill), Supp. III Part 1: 327 “Words for the Unknown Makers” (Kunitz), Supp. III Part 1: 264 Words for the Wind (Roethke), III: 529, 533, 541, 543, 545 “Words for the Wind” (Roethke), III: 542–543 Words in the Mourning Time (Hayden), Supp. II Part 1: 361, 366, 367 “Words in the Mourning Time” (Hayden), Supp. II Part 1: 370–371 “Words into Fiction” (Welty), IV: 279 “Words Like Freedom” (Hughes), Retro. Supp. I: 207 “Words of a Young Girl” (Lowell), II: 554 Words under the Words: Selected Poems (Nye), Supp. XIII: 277 Wordsworth, Dorothy, Supp. IX: 38 Wordsworth, William, I: 283, 522, 524, 525, 588; II: 7, 11, 17, 18, 97, 169, 273, 303, 304, 532, 549, 552; III: 219, 263, 277, 278, 511, 521, 523, 528, 583; IV: 120, 331, 343, 453, 465; Retro. Supp. I: 121, 196; Supp. I Part 1: 150, 151, 154, 161, 163, 312, 313, 349, 365; Supp. I Part 2: 375,

CUMULATIVE INDEX / 553 409, 416, 422, 607, 621, 622, 673, 674, 675, 676, 677, 710–711, 729; Supp. II Part 1: 4; Supp. III Part 1: 12, 15, 73, 279; Supp. IV Part 2: 597, 601; Supp. V: 258; Supp. VIII: 273; Supp. IX: 38, 41, 265, 274; Supp. X: 22, 23, 65, 120; Supp. XI: 248, 251, 312; Supp. XIII: 214; Supp. XIV: 184; Supp. XV: 93, 250; Supp. XIX: 1 Work (Alcott), Supp. I Part 1: 32–33, 42 Work (Dixon), Supp. XII: 141, 143 “Work” (Halliday), Supp. XIX: 85 “Work” (Oliver), Supp. VII: 243 Work and Love (Dunn), Supp. XI: 147– 148 “Worker” (Coleman), Supp. XI: 89 Working a Passage; or, Life on a Liner (Briggs), Supp. XVIII: 2, 9–10 Working Class Movement in America, The (E. Marx and E. Aveling), Supp. XVI: 85 Working Papers: Selected Essays and Reviews (Carruth), Supp. XVI: 46 “Working the Landscape” (Dunn), Supp. XI: 151 Workin’ on the Chain Gang: Shaking Off the Dead Hand of History (Mosley), Supp. XIII: 247, 248 “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 (Follett, ed.), I: 405 “Work on Red Mountain, The” (Harte), Supp. II Part 1: 339 Works of Love, The (Morris), III: 223– 224, 225, 233 Works of Witter Bynner, The (Kraft, ed.), Supp. XV: 52 “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 All Its Teeth, The” (Nye), Supp. XIII: 282 “World and the Door, The” (O. Henry), Supp. II Part 1: 402 “World and the Jug, The” (Ellison), Retro. Supp. II: 112, 119, 123 “World as We Know It, The” (Barresi), Supp. XV: 100 World Authors 1950–1970, Supp. XIII: 102 World Below, The (Miller), Supp. XII: 303–304 World Below the Window, The: Poems 1937–1997 (W. J. Smith), Supp. XIII: 332, 340, 345 World Doesn’ t End, The (Simic), Supp. VIII: 272, 279–280 World Elsewhere, A: The Place of Style in American Literature (Poirier), I: 239

“World Ends Here, The” (Harjo), Supp. XII: 227–228 World Enough and Time (Warren), IV: 243, 253–254 World Gone Wrong (album, Dylan), Supp. XVIII: 28 “World I Live In, The” (T. Williams), IV: 388 World I Never Made, A (Farrell), II: 34, 35, 424 World in the Attic, The (Morris), III: 222–223, 224 World in the Evening, The (Isherwood), Supp. XIV: 157, 164, 165, 166–167, 170 World Is a Wedding, The (Schwartz), Supp. II Part 2: 643, 654–660 “World Is a Wedding, The” (Schwartz), Supp. II Part 2: 655–656, 657 “World Is Too Much with Us, The” (Wordsworth), Supp. I Part 1: 312 Worldly Hopes (Ammons), Supp. VII: 34 Worldly Philosophers, The (Heilbroner), Supp. I Part 2: 644, 650 World of Apples, The (Cheever), Supp. I Part 1: 191, 193 World of David Wagoner, The (McFarland), Supp. IX: 323 “World of Easy Rawlins, The” (Mosley), Supp. XIII: 234, 236 World of Gwendolyn Brooks, The (Brooks), Supp. III Part 1: 83, 84 World of H. G. Wells, The (Brooks), I: 240, 241, 242 World of Light, A: Portraits and Celebrations (Sarton), Supp. III 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), Sup p. XIV:104; 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 (H. Miller), III: 170, 178, 187 “World of the Perfect Tear, The” (McGrath), Supp. X: 116, 118 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 “Worlds” (Goldbarth), Supp. XII: 183, 189 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 Worlds of Color (Du Bois), Supp. II Part 1: 185–186 “Worlds of Color” (Du Bois), Supp. II Part 1: 175 World So Wide (Lewis), II: 456 “World’s Worst Boyfriends, The” (Wasserstein), Supp. XV: 328 “World-Telegram” (Berryman), I: 173 World to Come, The (D. Horn), Supp. XVII: 50 World View on Race and Democracy: A Study Guide in Human Group Relations (Locke), Supp. XIV: 205, 206 World within the Word, The (Gass), Supp. VI: 77 “World Without Objects Is a Sensible Place, A” (Wilbur), Supp. III Part 2: 550 “World Without Rodrigo, The” (Cisneros), Supp. VII: 68 “Worm Moon” (Oliver), Supp. VII: 234 “Worn Path, A” (Welty), IV: 262; Retro. Supp. I: 345–346 “Worsening Situation” (Ashbery), Supp. III 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 Worthington, Marjorie, Supp. XII: 13 Wouldn’ t Take Nothing for My Journey Now (Angelou), Supp. IV Part 1: 10, 12, 14, 15, 16 “Wound” (Pedersen; Nelson, trans.), Supp. XVIII: 180 Wound and the Bow, The: Seven Studies in Literature (Wilson), IV: 429 Wounded (Everett), Supp. XVIII: 54, 64, 65 Wounds in the Rain (Crane), I: 409, 414, 423 Woven Stone (Ortiz), Supp. IV Part 2: 501, 514 Woven Stories (Ortiz), Supp. IV Part 2: 503 “Wraith, The” (Roethke), III: 542 “Wrath of God, The” (Fante), Supp. XI: 160, 164 “Wreath for a Bridal” (Plath), Supp. I Part 2: 537 “Wreath for Emmet Till, A” (Nelson), Supp. XVIII: 177 Wreath for Emmett Till, A (Nelson), Supp. XVIII: 171, 173, 175, 181, 183–185 Wreath for Garibaldi and Other Stories, A (Garrett), Supp. VII: 99–101 “Wreath of Women” (Rukeyser), Supp. VI: 280 Wreckage (Jin), Supp. XVIII: 98–99 Wreckage of Agathon, The (Gardner), Supp. VI: 63, 65–66 Wrecking Crew (Levis), Supp. XI: 259– 260 “Wreck of Rivermouth, The” (Whittier), Supp. I Part 2: 694, 696–697 “Wreck of the Deutschland” (Hopkins), Supp. X: 61

554 / AMERICAN WRITERS “Wreck of the Hesperus, The” (Longfellow), Retro. Supp. II: 168, 169 Wrestler’s Cruel Study, The (Dobyns), Supp. XIII: 82–83 “Wrestler with Sharks, A” (Yates), Supp. XI: 341 Wright, Bernie, I: 191, 193 Wright, C. D. (Carolyn Doris), Supp. XV: 337–355 Wright, Charles, Supp. V: 92, 331–346; Supp. VIII: 272; Supp. XIII: 114; Supp. XVII: 71 Wright, Chauncey, II: 344 Wright, Frank Lloyd, I: 104, 483 Wright, Franz, Supp. XVII: 239–249 Wright, George, III: 479 Wright, Harold Bell, II: 467–468 Wright, Holly, Supp. VIII: 272 Wright, James, I: 291; Supp. III Part 1: 249; Supp. III Part 2: 541, 589–607; Supp. IV Part 1: 60, 72; Supp. IV Part 2: 557, 558, 561, 566, 571, 623; Supp. V: 332; Supp. IX: 152, 155, 159, 265, 271, 290, 293, 296; Supp. X: 69, 127; Supp. XI: 150; Supp. XII: 217; Supp. XIII: 76; Supp. XV: 79, 93, 212; Supp. XVII: 239, 241, 243, 244; Supp. XIX: 122, 273 Wright, Mrs. Richard (Ellen Poplar), IV: 476 Wright, Nathalia, IV: 155 Wright, Philip Green, III: 578, 579, 580 Wright, Richard, II: 586; IV: 40, 474– 497; Retro. Supp. II: 4, 111, 116, 120; 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; Supp. X: 131, 245, 254; Supp. XI: 85; Supp. XII: 316; Supp. XIII: 46, 233; Supp. XIV: 73; Supp. XVI: 135, 139, 141, 143; Supp. XVIII: 277, 282, 286 Wright, Sarah, Supp. IV Part 1: 8; Supp. XIII: 295 Wright, William, Retro. Supp. II: 76, 77 Wrigley, Robert, Supp. XVIII: 293–308 “Writer” (Sanders), Supp. XVI: 277 “Writer, The” (Wilbur), Supp. III Part 2: 561, 562 “Writer as Alaskan, The” (Haines), Supp. XII: 199 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 Almanac, The (Keillor, radio program), Supp. XIII: 274; Supp. XVI: 178 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 Credo, A” (Abbey), Supp. XIII: 1, 17 Writer’s Eye, A: Collected Book Reviews (Welty), Retro. Supp. I: 339, 354, 356

Writers in America (Schulberg), Supp. XVIII: 242, 243, 250, 254 Writers in Revolt (Southern, Seaver, and Trocchi, eds.), Supp. XI: 301 Writer’s Life, A (Talese), Supp. XVII: 208–209, 210 Writer’s Notebook, A (Maugham), Supp. X: 58 Writers on America (U.S. Department of State, ed.), Supp. XIII: 288 Writers on the Left (Aaron), IV: 429; Supp. II Part 1: 137 Writers on Writing (Prose), Supp. XVI: 259 “Writer’s Prologue to a Play in Verse” (W. C. Williams), Retro. Supp. I: 424 “Writer’s Quest for a Parnassus, A” (T. Williams), IV: 392 Writers’ Workshop (University of Iowa), Supp. V: 42 “Writers Workshop, The” (Conroy), Supp. XVI: 76 “Writing” (Nemerov), III: 275 “Writing About the Universe” (Mosley), Supp. XIII: 247 “Writing American Fiction” (P. Roth), Retro. Supp. II: 279; Supp. I Part 1: 192; Supp. I Part 2: 431; Supp. III Part 2: 414, 420, 421; Supp. V: 45 “Writing and a Life Lived Well” (Patchett), Supp. XII: 308 Writing a Woman’s Life (Heilbrun), Supp. IX: 66 Writing Brave and Free: Encouraging Words for People Who Want to Start Writing (Kooser and Cox), Supp. XIX: 116, 128 Writing Chicago: Modernism, Ethnography, and the Novel (Cappetti), Supp. IX: 4, 8 Writing Creative Nonfiction: The Literature of Reality (Talese and Lounsberry, eds.), Supp. XVII: 208 Writing Dylan: The Songs of a Lonesome Traveler (Smith), Supp. XVIII: 22 Writing from the Center (Sanders), Supp. XVI: 266, 275–276 “Writing from the Inside Out: Style Is Not the Frosting; It’s the Cake” (Robbins), Supp. X: 266 “Writing here last autumn of my hopes of seeing a hoopoe” (Updike), Retro. Supp. I: 335 Writing in Restaurants (Mamet), Supp. XIV: 246 “Writing Lesson, The” (Gordon), Supp. IV Part 1: 306 Writing Life, The (Dillard), Supp. VI: 23, 31 “Writing of Apollinaire, The” (Zukofsky), Supp. III Part 2: 616, 617 “Writing of Fearless Jones, The” (Mosley), Supp. XIII: 242 Writing on the Wall, The, and Literary Essays (McCarthy), II: 579 Writings to an Unfinished Accompaniment (Merwin), Supp. III Part 1: 352 “Writing the Universe-Mind” (Tabios), Supp. XV: 225

Writing the World (Stafford), Supp. XI: 314 “Writing to Save Our Lives” (Milligan), Supp. XIII: 274 Writin’ Is Fightin’ (Reed), Supp. X: 241 “Writ on the Eve of My 32nd Birthday” (Corso), Supp. XII: 129–130 “Written History as an Act of Faith” (Beard), Supp. I Part 2: 492 “Wrong Man, The” (Larsen), Supp. XVIII: 124 “Wrong Notes” (S. Kauffmann), Supp. XVI: 74 “Wrought Figure” (McCarriston), Supp. XIV: 272 “Wunderkind” (McCullers), II: 585 Wunderlich, Mark, Supp. XI: 119, 132 Wundt, Wilhelm, II: 345 Wurster, William Wilson, Supp. IV Part 1: 197 WUSA (film), Supp. V: 301 Wuthering Heights (E. Brontë), Supp. V: 305; Supp. X: 89 WWII (Jones), Supp. XI: 219, 231 Wyandotté (Cooper), I: 350, 355 Wyatt, Robert B., Supp. V: 14 Wyatt, Thomas, Supp. I Part 1: 369 Wycherly Woman, The (Macdonald), Supp. IV Part 2: 473 Wych Hazel (S. and A. Warner), Supp. XVIII: 267, 268–269 Wydra, Ewa. See Hoffman, Eva Wyeth, Andrew, Supp. XIX: 117 Wyler, William, Supp. XV: 195 Wylie, Elinor, IV: 436; Supp. I Part 2: 707–730; Supp. III Part 1: 2, 63, 318–319; Supp. XI: 44; Supp. XIV: 127; Supp. XV: 307 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 Wyzewa, Théodore de, Supp. XIV: 336 X Xaipe (Cummings), I: 430, 432–433, 447 Xenogenesis trilogy (O. Butler), Supp. XIII: 63–66, 69 Xenophon, II: 105 X Factor, The: A Quest for Excellence” (Plimpton), Supp. XVI: 241 X Files (television series), Supp. XVI: 125 Xiaojing, Zhou, Supp. XV: 214 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 Yabroff, Jennie, Supp. XIX: 50, 58, 61 Yacoubi, Ahmed, Supp. IV Part 1: 88, 92, 93 Yage Letters, The (Burroughs), Supp. III Part 1: 94, 98, 100 Yagoda, Ben, Supp. VIII: 151 Yamamoto, Isoroku, Supp. I Part 2: 491

CUMULATIVE INDEX / 555 Yancey’s War (Hoffman), Supp. XVIII: 71, 75–76 Yankee City (Warner), III: 60 Yankee Clipper (ballet) (Kirstein), Supp. IV Part 1: 82 Yankee in Canada, A (Thoreau), IV: 188 Yankey in London (Tyler), I: 344 “Yánnina” (Merrill), Supp. III Part 1: 329 “Yanosz Korczak’s Last Walk” (Markowick-Olczakova), Supp. X: 70 Yarboro, Chelsea Quinn, Supp. V: 147 Yardley, Jonathan, Supp. V: 326; Supp. XI: 67 “Yard Sale” (Kenyon), Supp. VII: 169 Yates, Richard, Supp. XI: 333–350 “Year, The” (Sandburg), III: 584 Year at the Races, A (Parker and Parker), Supp. XIX: 187 “Year Between, The” (Neugeboren), Supp. XVI: 226 Year in Provence, A (Mayle), Supp. XVI: 295 Yearling, The (Rawlings), Supp. X: 219, 230–231, 233, 234 “Year of Grace” (Swados), Supp. XIX: 262–263 Year of Happy, A (Goldbarth), Supp. XII: 180 “Year of Mourning, The” (Jeffers), Supp. II Part 2: 415 Year of Silence, The (Bell), Supp. X: 1, 5–6, 7 “Year of the Double Spring, The” (Swenson), Supp. IV Part 2: 647 Year’s Best Science Fiction, The (Merril, ed.), Supp. XVI: 123 Year’s Life, A (Lowell), Supp. I Part 2: 405 “Years of Birth” (Cowley), Supp. II Part 1: 149 Years of Conscience: The Muckrakers: An Anthology of Reform Journalism (Swados, ed.), Supp. XIX: 264 Years of My Youth (Howells), II: 276 “Years of Wonder” (White), Supp. I Part 2: 652, 653 “Years Without Understanding, The” (Weigl), Supp. XIX: 282–283 Years With Ross, The (Thurber), Supp. I Part 2: 619 Yeats, Jack, Supp. XVI: 190 Yeats, John Butler, III: 458 Yeats, William Butler, I: 69, 172, 384, 389, 403, 434, 478, 494, 532; II: 168– 169, 566, 598; III: 4, 5, 8, 18, 19, 20, 23, 29, 40, 205, 249, 269, 270–271, 272, 278, 279, 294, 347, 409, 457, 458–460, 472, 473, 476–477, 521, 523, 524, 527, 528, 533, 540, 541, 542, 543–544, 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; Retro. Supp. II: 185, 331; Supp. I Part 1: 79, 80, 254, 257, 262; Supp. I Part 2: 388, 389; Supp. II Part 1: 1, 4, 9, 20, 26, 361; Supp. III Part 1: 59, 63, 236, 238, 253; Supp. IV Part 1: 81; Supp. IV Part

2: 634; Supp. V: 220; Supp. VIII: 19, 21, 30, 155, 156, 190, 239, 262, 292; Supp. IX: 43, 119; Supp. X: 35, 58, 119, 120; Supp. XI: 140; Supp. XII: 132, 198, 217, 266; Supp. XIII: 77, Supp. XIII: 87; Supp. XIV: 7; Supp. XV: 36, 41, 181, 186; Supp. XVI: 47–48, 159; Supp. XVII: 36 Yee, Amy, Supp. XVIII: 93, 94 Yellin, Jean Fagan, Supp. XVI: 88, 89 Yellow Back Radio Broke-Down (Reed), Supp. X: 240, 242, 243–245 “Yellow Dog Café” (Komunyakaa), Supp. XIII: 126 “Yellow Girl” (Caldwell), I: 310 Yellow Glove (Nye), Supp. XIII: 275, 276–277 “Yellow Glove” (Nye), Supp. XIII: 276 “Yellow Gown, The” (Anderson), I: 114 Yellow House on the Corner, The (Dove), Supp. IV Part 1: 244, 245, 246, 254 “Yellow Raft, The” (Connell), Supp. XIV: 85–86 “Yellow River” (Tate), IV: 141 “Yellow Violet, The” (Bryant), Supp. I Part 1: 154, 155 “Yellow Wallpaper, The” (Gilman), Supp. XI: 198–199, 207; Supp. XVI: 84 “Yellow Woman” (Keres stories), Supp. IV Part 1: 327 “Yellow Woman” (Silko), Supp. IV Part 2: 567–568 Yelverton, Theresa, Supp. IX: 181 Yenser, Stephen, Supp. X: 207, 208; Supp. XV: 113–114 “Yentl the Yeshiva Boy” (Singer), IV: 15, 20 Yerkes, Charles E., I: 507, 512 Yerma (opera) (Bowles), Supp. IV Part 1: 89 Yertle the Turtle and Other Stories (Geisel), Supp. XVI: 109 “Yes” (Stafford), Supp. XI: 329 Yes, Mrs. Williams (W. C. Williams), Retro. Supp. I: 423 Yes, Yes, No, No (Kushner), Supp. IX: 133 “Yes and It’s Hopeless” (Ginsberg), Supp. II Part 1: 326 Yesenin, Sergey, Supp. VIII: 40 “Yes! No!” (Oliver), Supp. VII: 243–244 Yesterday and Today: A Comparative Anthology of Poetry (Untermeyer, ed.), Supp. XV: 309 Yesterday’s Self: Nostalgia and the Immigrant Identity (Ritivoi), Supp. XVI: 148 Yesterday Will Make You Cry (C. Himes), Supp. XVI: 137 “Yet Another Example of the Porousness of Certain Borders” (Wallace), Supp. X: 309 “Yet Do I Marvel” (Cullen), Supp. IV Part 1: 165, 169 Yet Other Waters (Farrell), II: 29, 38, 39, 40 “Yevtushenko” (Kooser), Supp. XIX: 124 Yevtushenko, Yevgeny, Supp. III Part 1: 268

Yezzi, David, Supp. XII: 193 Yizkor Book, Supp. XVI: 154 Y no se lo trago la tierra (And the Earth Did Not Cover Him) (Rivera), Supp. XIII: 216 ѧy no se lo tragó la tierra (Rivera), Supp. XIX: 99, 101 ¡Yo! (Alvarez), Supp. VII: 1, 15–17 “Yogurt of Vasirin Kefirovsky, The” (Apple), Supp. XVII: 3, 4 Yohannan, J. D., II: 20 “Yoke, The” (Bidart), Supp. XV: 33 Yonge, Charlotte, II: 174 “Yonnondio” (Whitman), Supp. XIII: 304 Yonnondio: From the Thirties (Olsen), Supp. XIII: 295, 295, Supp. XIII: 292, 296, 303–304, 305 “Yore” (Nemerov), III: 283 “York Beach” (Toomer), Supp. III Part 2: 486 Yorke, Dorothy, Supp. I Part 1: 258 Yorke, Henry Vincent. See Green, Henry “York Garrison, 1640” (Jewett), Retro. Supp. II: 141 Yosemite, The (Muir), Supp. IX: 185 “Yosemite Glaciers: Ice Streams of the Great Valley” (Muir), Supp. IX: 181 Yoshe Kalb (Singer), IV: 2 “You, Andrew Marvell” (MacLeish), III: 12–13 “You, Dr. Martin” (Sexton), Supp. II Part 2: 673 You, Emperors, and Others: Poems 1957– 1960 (Warren), IV: 245 “You, Genoese Mariner” (Merwin), Supp. III Part 1: 343 “You All Know the Story of the Other Woman” (Sexton), Supp. II Part 2: 688 You Are Happy (Atwood), Supp. XIII: 34 “You Are Happy” (Atwood), Supp. XIII: 34 “You Are in Bear Country” (Kumin), Supp. IV Part 2: 453, 455 “You Are Not I” (Bowles), Supp. IV Part 1: 87 “You Begin” (Atwood), Supp. XIII: 34 You Bright and Risen Angels (Vollmann), Supp. XVII: 225, 226 “You Bring Out the Mexican in Me” (Cisneros), Supp. VII: 71 You Came Along (film), Supp. IV Part 2: 524 “You Can Go Home Again” (TallMountain), Supp. IV Part 1: 324–325 “You Can Have It” (Levine), Supp. V: 188–189 You Can’ t Go Home Again (Wolfe), IV: 450, 451, 454, 456, 460, 462, 468, 469, 470 You Can’ t Keep a Good Woman Down (Walker), Supp. III Part 2: 520, 525, 531 You Can’ t Take It with You (Kaufman and Hart), Supp. XIV: 327

556 / AMERICAN WRITERS “You Can’ t Tell a Man by the Song He Sings” (P. Roth), Supp. III Part 2: 406 “You Don’ t Know What Love Is” (Carver), Supp. III Part 1: 147 You Don’ t Love Me Yet (Lethem), Supp. XVIII: 149–150 “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: A Busher’s Letters (Lardner), Supp. XVI: 189 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 Know Who You Are” (Nye), Supp. XIII: 275 You Might As Well Live: The Life and Times of Dorothy Parker (Keats), Supp. IX: 190 “You Must Relax!” ( J. Scott), Supp. XVII: 189 You Must Revise Your Life (Stafford), Supp. XI: 312–313, 313–314, 315 “Young” (Sexton), Supp. II Part 2: 680 Young, Al, Supp. X: 240 Young, Art, IV: 436 Young, Brigham, Supp. IV Part 2: 603 Young, David, Supp. XIX: 276 Young, Edward, II: 111; III: 415, 503 Young, Gary, Supp. XV: 88 Young, Mary, Supp. XIII: 236, 238, 239, 240 Young, Philip, II: 306; Retro. Supp. I: 172 Young Adventure (Benét), Supp. XI: 44 “Young America” (Brooks), Supp. XV: 298 “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 Younger Choir, The (anthology), Supp. XV: 294 Younger Quire, The (Untermeyer), Supp. XV: 294, 297 “Young Folks, The” (Salinger), III: 551 Young Folk’s Cyclopaedia of Persons and Places (Champlin), III: 577 “Young Girl’s Lament, A” (Jin), Supp. XVIII: 99 “Young Goodman Brown” (Hawthorne), II: 229; Retro. Supp. I: 151–152, 153, 154; Supp. XI: 51; Supp. XIV: 48, 50 Young Harvard: First Poems of Witter Bynner (Bynner), Supp. XV: 41 Young Hearts Crying (Yates), Supp. XI: 348 “Young Housewife, The” (W. C. Williams), Retro. Supp. I: 415 Young Immigrants, The (Lardner), II: 426 “Young Lady’s Friend, The: Verses, Addressed to a Young Lady, on Her Leaving School” (Rowson), Supp. XV: 234

Young Lions, The (Shaw), Supp. XIX: 248–249 Young Lonigan: A Boyhood in Chicago Streets (Farrell), II: 31, 41 Young Manhood of Studs Lonigan, The (Farrell), II: 31, 34 Young Men and Fire (Maclean), Supp. XIV: 221, 231–233 Young People’s Pride (Benét), Supp. XI: 44 Young Poet’s Primer (Brooks), Supp. III Part 1: 86 Youngren, J. Alan, Supp. XVI: 174 “Young Sammy’s First Wild Oats” (Santayana), III: 607, 615 “Young Sor Juana, The” (Mora), Supp. XIII: 218 “Your Arkansas Traveler” (Schulberg), Supp. XVIII: 252 “Your Death” (Dove), Supp. IV Part 1: 250 You’ re Only Old Once! (Geisel), Supp. XVI: 111 “You’ re Ugly, Too” (Moore), Supp. X: 171 “Your Face on the Dog’s Neck” (Sexton), Supp. II Part 2: 686 “Your Hand, Your Hand” (Hoffman), Supp. XVIII: 79 Your Job in Germany (film, Capra), Supp. XVI: 102 Your Job in Japan (film, Capra), Supp. XVI: 102 “Your Life” (Stafford), Supp. XI: 329 “Your Mother’s Eyes” (Kingsolver), Supp. VII: 209 “You Take a Train through a Foreign Country” (Dobyns), Supp. XIII: 90 “Youth” (Hughes), Supp. I Part 1: 321 “Youth” (Huncke), Supp. XIV: 145 Youth and Life (Bourne), I: 217–222, 232 Youth and the Bright Medusa (Cather), I: 322; Retro. Supp. I: 14 “Youthful Religious Experiences” (Corso), Supp. XII: 117 Youth of Parnassus, and Other Stories, The (L. P. Smith), Supp. XIV: 336 Youth’s First Steps in Geography (Rowson), Supp. XV: 243 You Touched Me! (Williams and Windham), IV: 382, 385, 387, 390, 392–393 “You Touch Me” (X. J. Kennedy), Supp. XV: 166 Yurchenco, Henrietta, Supp. XVIII: 20 Yurka, Blanche, Supp. I Part 1: 67 Yutang, Adet, Supp. X: 291 Yutang, Anor, Supp. X: 291 Yutang, Lin, Supp. X: 291; Supp. XVI: 190 Yutang, Mei-mei, Supp. X: 291 Yvernelle: A Legend of Feudal France (Norris), III: 314 Y & X (Olson), Supp. II Part 2: 556 Z Zabel, Morton Dauwen, II: 431; III: 194, 215; Supp. I Part 2: 721 Zach, Natan, Supp. XV: 75, 82, 85 Zagajewski, Adam, Supp. XVII: 241

Zagarell, Sandra, Supp. XV: 269, 270, 278, 281, 282 Zagarell, Sandra A., Retro. Supp. II: 140, 143 “Zagrowsky Tells” (Paley), Supp. VI: 229 Zakrzewska, Marie, Retro. Supp. II: 146 Zaleski, Jeff, Supp. XI: 143; Supp. XIX: 54 Zall, Paul, Supp. XIV: 156 Zaltzberg, Charlotte, Supp. IV Part 1: 374 “Zambesi and Ranee” (Swenson), Supp. IV Part 2: 647 Zamir, Israel, Retro. Supp. II: 303, 317 Zamora, Bernice, Supp. IV Part 2: 545 Zamoyski, Adam, Supp. XV: 257 Zangwill, Israel, I: 229 Zanita: A Tale of the Yosemite (Yelverton), Supp. IX: 181 Zanuck, Darryl F., Supp. XI: 170; Supp. XII: 165 Zapata, Emiliano, Supp. XIII: 324 “Zapatos” (Boyle), Supp. VIII: 15 Zapruder, Matthew, Supp. XVI: 55 Zarathustra, III: 602 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. IX: 60 “Zelda and Scott: The Beautiful and Damned” (National Portrait Gallery exhibit), Supp. IX: 65 Zelig (film; Allen), Supp. XV: 4, 6, 8–9 Zen and the Birds of Appetite (Merton), Supp. VIII: 205–206, 208 Zend-Avesta (Fechner), II: 358 Zeno, Retro. Supp. I: 247 Zero db and Other Stories (Bell), Supp. X: 1, 5, 6 “Zeus over Redeye” (Hayden), Supp. II Part 1: 380 Zevi, Sabbatai, IV: 6 Ziegfeld, Florenz, II: 427–428 Zigrosser, Carl, I: 226, 228, 231 Zilles, Klaus, Supp. XIX: 112 Zimmerman, Paul D., Supp. IV Part 2: 583, 589, 590 Zimmerman, Robert Allen. See Dylan, Bob Zinberg, Leonard S. See Lacy, Ed Zinman, Toby Silverman, Supp. XIII: 207–208, 209 Zinn, Howard, Supp. V: 289 Zinsser, Hans, I: 251, 385 Zip: A Novel of the Left and Right (Apple), Supp. XVII: 4–5 Zipes, Jack, Supp. XIV: 126 “Zipper, The” (L. Michaels), Supp. XVI: 214 “Zizi’s Lament” (Corso), Supp. XII: 123

CUMULATIVE INDEX / 557 Zodiac, The (Dickey), Supp. IV Part 1: 178, 183–184, 185 Zola, Émile, I: 211, 411, 474, 500, 502, 518; II: 174, 175–176, 182, 194, 275, 276, 281, 282, 319, 325, 337, 338; III: 315, 316, 317–318, 319–320, 321, 322, 323, 393, 511, 583; IV: 326; Retro. Supp. I: 226, 235; Retro. Supp. II: 93; Supp. I Part 1: 207; Supp. II Part 1: 117 Zolotow, Maurice, III: 161 “Zone” (Bogan), Supp. III Part 1: 60–61 Zone Journals (Wright), Supp. V: 332– 333, 342–343 “Zooey” (Salinger), III: 564–565, 566, 567, 569, 572

“Zoo Revisited” (White), Supp. I Part 2: 654 Zoo Story, The (Albee), I: 71, 72–74, 75, 77, 84, 93, 94; III: 281 Zorach, William, I: 260 Zuccotti, Susan, Supp. XVI: 154 Zuckerman Bound: A Trilogy and Epilogue (P. Roth), Supp. III Part 2: 423 Zuckerman Unbound (P. Roth), Retro. Supp. II: 283; Supp. III Part 2: 421– 422 Zueblin, Charles, Supp. I Part 1: 5 Zuger, Abigail, Supp. X: 160 Zukofsky, Celia (Mrs. Louis), Supp. III Part 2: 619–621, 623, 625, 626–629, 631

Zukofsky, Louis, IV: 415; Retro. Supp. I: 422; Supp. III Part 2: 619–636; Supp. IV Part 1: 154; Supp. XIV: 279, 282, 285, 286–287 Zukofsky, Paul, Supp. III Part 2: 622, 623–626, 627, 628 Zuleika Dobson (Beerbohm), Supp. I Part 2: 714 Zulus (Everett), Supp. XVIII: 54, 56–57 “Zuni Potter: Drawing the Heartline” (Bierds), Supp. XVII: 26 Zverev, Aleksei, Retro. Supp. I: 278 Zwinger, Ann, Supp. X: 29 Zyda, Joan, Retro. Supp. II: 52

A Complete Listing of Authors in American Writers

Abbey, Edward Supp. XIII Acker, Kathy Supp. XII Adams, Henry Vol. I Addams, Jane Supp. I Agee, James Vol. I Aiken, Conrad Vol. I Albee, Edward Vol. I Alcott, Louisa May Supp. I Algren, Nelson Supp. IX Allen, Woody Supp. XV Alvarez, Julia Supp. VII Ammons, A. R. Supp. VII Anderson, Sherwood Vol. I Angelou, Maya Supp. IV Apple, Max Supp. XVII Ashbery, John Supp. III Atwood, Margaret Supp. XIII Auchincloss, Louis Supp. IV Auden, W. H. Supp. II Audubon, John James Supp. XVI Auster, Paul Supp. XII Baker, Nicholson Supp. XIII Baldwin, James Supp. I Baldwin, James Retro. Supp. II Bambara, Toni Cade Supp. XI Banks, Russell Supp. V Baraka, Amiri Supp. II Barlow, Joel Supp. II Barnes, Djuna Supp. III Barth, John Vol. I Barthelme, Donald Supp. IV Barthelme, Frederick Supp. XI Bass, Rick Supp. XVI Bausch, Richard Supp. VII Baxter, Charles Supp. XVII Beattie, Ann Supp. V Bell, Madison Smartt Supp. X

Bellow, Saul Vol. I Bellow, Saul Retro. Supp. II Benét, Stephen Vincent Supp. XI Berry, Wendell Supp. X Berryman, John Vol. I Bidart, Frank Supp. XV Bierce, Ambrose Vol. I Bierds, Linda Supp. XVII Bishop, Elizabeth Supp. I Bishop, Elizabeth Retro. Supp. II Blackmur, R. P. Supp. II Bly, Carol Supp. XVI Bly, Robert Supp. IV Bogan, Louise Supp. III Bourne, Randolph Vol. I Bowles, Paul Supp. IV Boyle, T. C. Supp. VIII Bradbury, Ray Supp. IV Bradstreet, Anne Supp. I Briggs, Charles Frederick Supp. XVIII Brodsky, Joseph Supp. VIII Brooks, Cleanth Supp. XIV Brooks, Gwendolyn Supp. III Brooks, Van Wyck Vol. I Brown, Charles Brockden Supp. I Bryant, William Cullen Supp. I Buck, Pearl S. Supp. II Budbill, David Supp. XIX Buechner, Frederick Supp. XII Bukiet, Melvin Jules Supp. XVII Burke, James Lee Supp. XIV Burke, Kenneth Vol. I Burroughs, William S. Supp. III Butler, Octavia Supp. XIII Butler, Robert Olen Supp. XII Bynner, Witter Supp. XV Caldwell, Erskine Vol. I

559

560 / AMERICAN WRITERS Cameron, Peter Supp. XII Capote, Truman Supp. III Caputo, Philip Supp. XIX Carruth, Hayden Supp. XVI Carson, Anne Supp. XII Carson, Rachel Supp. IX Carver, Raymond Supp. III Cather, Willa Vol. I Cather, Willa Retro. Supp. I Chabon, Michael Supp. XI Chandler, Raymond Supp. IV Chapman, John Jay Supp. XIV Cheever, John Supp. I Chesnutt, Charles W. Supp. XIV Chopin, Kate Supp. I Chopin, Kate Retro. Supp. II Cisneros, Sandra Supp. VII Clampitt, Amy Supp. IX Coleman, Wanda Supp. XI Connell, Evan S. Supp. XIV Conroy, Frank Supp. XVI Cooper, James Fenimore Vol. I Coover, Robert Supp. V Corso, Gregory Supp. XII Cowley, Malcolm Supp. II Cozzens, James Gould Vol. I Crane, Hart Vol. I Crane, Hart Retro. Supp. II Crane, Stephen Vol. I Creeley, Robert Supp. IV Crèvecoeur, Michel-Guillaume Jean de Supp. I Crews, Harry Supp. XI Cullen, Countee Supp. IV Cummings, E. E. Vol. I Cunningham, Michael Supp. XV Davis, Rebecca Harding Supp. XVI DeLillo, Don Supp. VI Dickey, James Supp. IV Dickinson, Emily Vol. I Dickinson, Emily Retro. Supp. I Didion, Joan Supp. IV Dillard, Annie Supp. VI Di Piero, W. S. Supp. XIX

Dixon, Stephen Supp. XII Dobyns, Stephen Supp. XIII Doctorow, E. L. Supp. IV Doolittle, Hilda (H.D.) Supp. I Dos Passos, John Vol. I Doty, Mark Supp. XI Douglass, Frederick Supp. III Dove, Rita Supp. IV Dreiser, Theodore Vol. I Dreiser, Theodore Retro. Supp. II Du Bois, W. E. B. Supp. II Dubus, Andre Supp. VII Dunbar, Paul Laurence Supp. II Dunn, Stephen Supp. XI Dylan, Bob Supp. XVIII Eberhart, Richard Vol. I Edson, Margaret Supp. XVIII Edwards, Jonathan Vol. I Egan, Jennifer Supp. XIX Eliot, T. S. Vol. I Eliot, T. S. Retro. Supp. I Elkin, Stanley Supp. VI Ellison, Ralph Supp. II Ellison, Ralph Retro. Supp. II Emerson, Ralph Waldo Vol. II Endore, Guy Supp. XVII Epstein, Joseph Supp. XIV Epstein, Leslie Supp. XII Erdrich, Louise Supp. IV Everett, Percival Supp. XVIII Everwine, Peter Supp. XV Fante, John Supp. XI Farrell, James T. Vol. II Faulkner, William Vol. II Faulkner, William Retro. Supp. I Fiedler, Leslie Supp. XIII Finch, Annie Supp. XVII Fisher, M. F. K. Supp. XVII Fisher, Rudolph Supp. XIX Fitzgerald, F. Scott Vol. II Fitzgerald, F. Scott Retro. Supp. I Fitzgerald, Zelda Supp. IX Ford, Richard Supp. V Francis, Robert Supp. IX Franklin, Benjamin Vol. II

AUTHORS LIST / 561 Frederic, Harold Vol. II Freneau, Philip Supp. II Frost, Carol Supp. XV Frost, Robert Vol. II Frost, Robert Retro. Supp. I Fuller, Margaret Supp. II Gaddis, William Supp. IV García, Cristina Supp. XI Gardner, John Supp. VI Garrett, George Supp. VII Gass, William Supp. VI Geisel, Theodor Seuss Supp. XVI Gibbons, Kaye Supp. X Gibson, William Supp. XVI Gilman, Charlotte Perkins Supp. XI Ginsberg, Allen Supp. II Gioia, Dana Supp. XV Glasgow, Ellen Vol. II Glaspell, Susan Supp. III Goldbarth, Albert Supp. XII Glück, Louise Supp. V Gordon, Caroline Vol. II Gordon, Mary Supp. IV Gunn Allen, Paula Supp. IV Gurney, A. R. Supp. V Haines, John Supp. XII Halliday, Mark Supp. XIX Hammett, Dashiell Supp. IV Hansberry, Lorraine Supp. IV Hapgood, Hutchins Supp. XVII Hardwick, Elizabeth Supp. III Harjo, Joy Supp. XII Harrison, Jim Supp. VIII Harte, Bret Supp. II Hass, Robert Supp. VI Hawthorne, Nathaniel Vol. II Hawthorne, Nathaniel Retro. Supp. I Hay, Sara Henderson Supp. XIV Hayden, Robert Supp. II Hearon, Shelby Supp. VIII Hecht, Anthony Supp. X Heller, Joseph Supp. IV Hellman, Lillian Supp. I Hemingway, Ernest Vol. II

Hemingway, Ernest Retro. Supp. I Henry, O. Supp. II Hijuelos, Oscar Supp. VIII Himes, Chester Bomar Supp. XVI Hinojosa, Rolando Supp. XIX Hoffman, Alice Supp. X Hoffman, Eva Supp. XVI Hoffman, William Supp. XVIII Hogan, Linda Supp. IV Holmes, Oliver Wendell Supp. I Howe, Irving Supp. VI Howe, Susan Supp. IV Howells, William Dean Vol. II Hughes, Langston Supp. I Hughes, Langston Retro. Supp. I Hugo, Richard Supp. VI Humphrey, William Supp. IX Huncke, Herbert Supp. XIV Hurston, Zora Neale Supp. VI Irving, John Supp. VI Irving, Washington Vol. II Isherwood, Christopher Supp. XIV Jackson, Shirley Supp. IX James, Henry Vol. II James, Henry Retro. Supp. I James, William Vol. II Jarman, Mark Supp. XVII Jarrell, Randall Vol. II Jeffers, Robinson Supp. II Jewett, Sarah Orne Vol. II Jewett, Sarah Orne Retro. Supp. II Jin, Ha Supp. XVIII Johnson, Charles Supp. VI Jones, James Supp. XI Jong, Erica Supp. V Justice, Donald Supp. VII Karr, Mary Supp. XI Kazin, Alfred Supp. VIII Kees, Weldon Supp. XV Keillor, Garrison Supp. XVI Kelly, Brigit Pegeen Supp. XVII Kennedy, William Supp. VII Kennedy, X. J. Supp. XV Kenyon, Jane Supp. VII

562 / AMERICAN WRITERS Kerouac, Jack Supp. III Kincaid, Jamaica Supp. VII King, Stephen Supp. V Kingsolver, Barbara Supp. VII Kingston, Maxine Hong Supp. V Kinnell, Galway Supp. III Knowles, John Supp. XII Koch, Kenneth Supp. XV Komunyakaa, Yusef Supp. XIII Kooser, Ted Supp. XIX Kosinski, Jerzy Supp. VII Krakauer, Jon Supp. XVIII Kumin, Maxine Supp. IV Kunitz, Stanley Supp. III Kushner, Tony Supp. IX LaBastille, Anne Supp. X Lacy, Ed Supp. XV Lanier, Sidney Supp. I Larcom, Lucy Supp. XIII Lardner, Ring Vol. II Larsen, Nella Supp. XVIII Lee, Harper Supp. VIII Lee, Li-Young Supp. XV Leopold, Aldo Supp. XIV Lethem, Jonathan Supp. XVIII Levertov, Denise Supp. III Levine, Philip Supp. V Levis, Larry Supp. XI Lewis, Sinclair Vol. II Lindsay, Vachel Supp. I Locke, Alain Supp. XIV London, Jack Vol. II Longfellow, Henry Wadsworth Vol. II Longfellow, Henry Wadsworth Retro. Supp. II Loos, Anita Supp. XVI Lowell, Amy Vol. II Lowell, James Russell Supp. I Lowell, Robert Vol. II Lowell, Robert Retro. Supp. II Markson, David Supp. XVII McCarriston, Linda Supp. XIV McCarthy, Cormac Supp. VIII

McCarthy, Mary Vol. II McClatchy, J. D. Supp. XII McCourt, Frank Supp. XII McCoy, Horace Supp. XIII McCullers, Carson Vol. II McDermott, Alice Supp. XVIII Macdonald, Ross Supp. IV McGrath, Thomas Supp. X McKay, Claude Supp. X Maclean, Norman Supp. XIV MacLeish, Archibald Vol. III McMillan, Terry Supp. XIII McMurty, Larry Supp. V McNally, Terrence Supp. XIII McPhee, John Supp. III Mailer, Norman Vol. III Mailer, Norman Retro. Supp. II Malamud, Bernard Supp. I Mallon, Thomas Supp. XIX Mamet, David Supp. XIV Marquand, John P. Vol. III Marshall, Paule Supp. XI Mason, Bobbie Ann Supp. VIII Masters, Edgar Lee Supp. I Mather, Cotton Supp. II Matthews, William Supp. IX Matthiessen, Peter Supp. V Maxwell, William Supp. VIII Melville, Herman Vol. III Melville, Herman Retro. Supp. I Mencken, H. L. Vol. III Merrill, James Supp. III Merton, Thomas Supp. VIII Merwin, W. S. Supp. III Michaels, Leonard Supp. XVI Millay, Edna St. Vincent Vol. III Miller, Arthur Vol. III Miller, Henry Vol. III Miller, Sue Supp. XII Minot, Susan Supp. VI Momaday, N. Scott Supp. IV Monette, Paul Supp. X Moore, Lorrie Supp. X Moore, Marianne Vol. III

AUTHORS LIST / 563 Mora, Pat Supp. XIII Morison, Samuel Eliot Supp. I Morris, Wright Vol. III Morrison, Toni Supp. III Mosley, Walter Supp. XIII Motley, Willard Supp. XVII Muir, John Supp. IX Mumford, Lewis Supp. III Murray, Albert Supp. XIX Nabokov, Vladimir Vol. III Nabokov, Vladimir Retro. Supp. I Naylor, Gloria Supp. VIII Nelson, Marilyn Supp. XVIII Nemerov, Howard Vol. III Neugeboren, Jay Supp. XVI Nichols, John Supp. XIII Niebuhr, Reinhold Vol. III Nin, Anaïs Supp. X Norris, Frank Vol. III Nye, Naomi Shihab Supp. XIII Oates, Joyce Carol Supp. II O’Brien, Tim Supp. V O’Connor, Flannery Vol. III O’Connor, Flannery Retro. Supp. II Odets, Clifford Supp. II Offutt, Chris Supp. XIX O’Hara, John Vol. III Olds, Sharon Supp. X Oliver, Mary Supp. VII Olsen, Tillie Supp. XIII Olson, Charles Supp. II O’Neill, Eugene Vol. III Ortiz, Simon J. Supp. IV Ozick, Cynthia Supp. V Paine, Thomas Supp. I Paley, Grace Supp. VI Parker, Dorothy Supp. IX Parker, Robert B. Supp. XIX Parkman, Francis Supp. II Patchett, Ann Supp. XII Peacock, Molly Supp. XIX Percy, Walker Supp. III Pinsky, Robert Supp. VI Plath, Sylvia Supp. I

Plath, Sylvia Retro. Supp. II Plimpton, George Supp. XVI Podhoretz, Norman Supp. VIII Poe, Edgar Allan Vol. III Poe, Edgar Allan Retro. Supp. II Porter, Katherine Anne Vol. III Pound, Ezra Vol. III Pound, Ezra Retro. Supp. I Powers, Richard Supp. IX Price, Reynolds Supp. VI Prose, Francine Supp. XVI Proulx, Annie Supp. VII Purdy, James Supp. VII Pynchon, Thomas Supp. II Quindlen, Anna Supp. XVII Rand, Ayn Supp. IV Ransom, John Crowe Vol. III Rawlings, Marjorie Kinnan Supp. X Ray, Janisse Supp. XVIII Reed, Ishmael Supp. X Reznikoff, Charles Supp. XIV Rice, Anne Supp. VII Rich, Adrienne Supp. I Rich, Adrienne Retro. Supp. II Richard, Mark Supp. XIX Richter, Conrad Supp. XVIII Ríos, Alberto Álvaro Supp. IV Robbins, Tom Supp. X Robinson, Edwin Arlington Vol. III Rodriguez, Richard Supp. XIV Roethke, Theodore Vol. III Roth, Henry Supp. IX Roth, Philip Supp. III Roth, Philip Retro. Supp. II Rowson, Susanna Supp. XV Rukeyser, Muriel Supp. VI Russo, Richard Supp. XII Ryan, Paul William Supp. XVIII Salinas, Luis Omar Supp. XIII Salinger, J. D. Vol. III Salter, James Supp. IX Sandburg, Carl Vol. III Sanders, Scott Russell Supp. XVI Santayana, George Vol. III

564 / AMERICAN WRITERS Sarton, May Supp. VIII Saunders, George Supp. XIX Schnackenberg, Gjertrud Supp. XV Schulberg, Budd Supp. XVIII Schwartz, Delmore Supp. II Scott, Joanna Supp. XVII Sexton, Anne Supp. II Shanley, John Patrick Supp. XIV Shapiro, Karl Supp. II Shaw, Irwin Supp. XIX Shepard, Sam Supp. III Shields, Carol Supp. VII Silko, Leslie Marmon Supp. IV Simic, Charles Supp. VIII Simon, Neil Supp. IV Simpson, Louis Supp. IX Sinclair, Upton Supp. V Singer, Isaac Bashevis Vol. IV Singer, Isaac Bashevis Retro. Supp. II Smiley, Jane Supp. VI Smith, Logan Pearsall Supp. XIV Smith, William Jay Supp. XIII Snodgrass, W. D. Supp. VI Snyder, Gary Supp. VIII Sobin, Gustaf Supp. XVI Sontag, Susan Supp. III Southern, Terry Supp. XI Stafford, William Supp. XI Stegner, Wallace Supp. IV Stein, Gertrude Vol. IV Steinbeck, John Vol. IV Stern, Gerald Supp. IX Stevens, Wallace Vol. IV Stevens, Wallace Retro. Supp. I Stoddard, Elizabeth Supp. XV Stone, Robert Supp. V Stowe, Harriet Beecher Supp. I Strand, Mark Supp. IV Styron, William Vol. IV Swados, Harvey Supp. XIX Swenson, May Supp. IV Talese, Gay Supp. XVII Tan, Amy Supp. X Tate, Allen Vol. IV

Taylor, Edward Vol. IV Taylor, Peter Supp. V Theroux, Paul Supp. VIII Thoreau, Henry David Vol. IV Thurber, James Supp. I Toomer, Jean Supp. IX Trilling, Lionel Supp. III Turow, Scott Supp. XVII Twain, Mark Vol. IV Tyler, Anne Supp. IV Untermeyer, Louis Supp. XV Updike, John Vol. IV Updike, John Retro. Supp. I Van Vechten, Carl Supp. II Veblen, Thorstein Supp. I Vidal, Gore Supp. IV Vollmann, William T. Supp. XVII Vonnegut, Kurt Supp. II Wagoner, David Supp. IX Walker, Alice Supp. III Wallace, David Foster Supp. X Warner, Susan Supp. XVIII Warren, Robert Penn Vol. IV Wasserstein, Wendy Supp. XV Weigl, Bruce Supp. XIX Welty, Eudora Vol. IV Welty, Eudora Retro. Supp. I West, Dorothy Supp. XVIII West, Nathanael Vol. IV West, Nathanael Retro. Supp. II Wharton, Edith Vol. IV Wharton, Edith Retro. Supp. I White, E. B. Supp. I Whitman, Walt Vol. IV Whitman, Walt Retro. Supp. I Whittier, John Greenleaf Supp. I Wilbur, Richard Supp. III Wideman, John Edgar Supp. X Wilder, Thornton Vol. IV Williams, Tennessee Vol. IV Williams, William Carlos Vol. IV Williams, William Carlos Retro. Supp. I Wilson, August Supp. VIII Wilson, Edmund Vol. IV

AUTHORS LIST / 565 Winters, Yvor Supp. II Wolfe, Thomas Vol. IV Wolfe, Tom Supp. III Wolff, Tobias Supp. VII Wright, C. D. Supp. XV Wright, Charles Supp. V Wright, Franz Supp. XVII

Wright, James Supp. III Wright, Richard Vol. IV Wrigley, Robert Supp. XVIII Wylie, Elinor Supp. I Yates, Richard Supp. XI Zukofsky, Louis Supp. III