American Writers, Supplement XX

SUPPLEMENT XX Mary Antin to Phillis Wheatley

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

SUPPLEMENT XX Mary Antin to Phillis Wheatley

American Writers Supplement XX Editor in Chief: Jay Parini Project Editor: Lisa Kumar Permissions: Sari Gordon, Tracie Richardson, Jhanay Williams Composition and Electronic Capture: Gary Leach Manufacturing: Cynde Lentz 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.

Knopf, 1931. Copyright 1931 by Kahlil Gibran and renewed 1959 by the Administratrix C.T.A. of Kahlil Gibran Estate and Mary K. Gibran. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

BOYLE, T. C. Boyle, T. Coraghessan. From Water Music. Penguin Books, 2006. Copyright © T. Coraghessan Boyle, 1980, 1981. All rights reserved. Used by permission of Penguin Group (USA) Inc.

LAMOTT, ANNE. Auden, W.H. From “As I Walked Out One Evening,” in Collected Poems. Edited by Edward Mendelson. Random House, 1940. Copyright 1940 & Renewed 1968 by W.H. Auden. Used by permission of Random House, Inc., and Faber and Faber Ltd. / Publishers Weekly, v. 240, May 31, 1993. Copyright © 1993 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. / Christianity Today, v. 47, January, 2003 for “Jesusy” Anne Lamott: Chatting with a Born-again Paradox” by Agnieszka Tennant. © 2003 by Christianity Today, Inc. Reproduced by permission of the author.

DI DONATO, PIETRO. The Commonweal, v. 72, August 19, 1960. Copyright, 1960, renewed © 1988 by Commonweal Publishing Co., Inc. Reproduced by permission of Commonweal Foundation. / The Commonweal, v. 76, July 13, 1962. Copyright 1962, renewed © 1990 by Commonweal Publishing Co., Inc. Reproduced by permission of Commonweal Foundation. / Melus, v. 14, fall-winter, 1987. Copyright MELUS: The Society for the Study of Multi-Ethnic Literature of the United States, 1987. Reproduced by permission.

MILLER, JIM WAYNE. Miller, Jim Wayne. From Copperhead Cane. Robert Moore Allen, 1964. Copyright © 1964 by Robert Moore Allen. Reproduced by permission of the Literary Estate of Jim Wayne Miller, Executor, Mary Ellen Miller. / Miller, Jim Wayne. “Burning Tobacco Beds,” From Copperhead Cane. Robert Moore Allen, 1964. Copyright © 1964 by Robert Moore Allen. Reproduced by permission of the Literary Estate of Jim Wayne Miller, executor, Mary Ellen Miller. / Miller, Jim Wayne From The More Things Change The More They Stay The Same. Whippoorwill Press, 1971. Reproduced by permission. / Miller, Jim Wayne. From Dialogue With A Dead Man. University of Georgia Press, 1974. Copyright © 1974 by the University of Georgia Press. All rights reserved. Reproduced by permission of the Literary Estate of Jim Wayne Miller, executor, Mary Ellen Miller. / Miller, Jim Wayne. From The Figure of Fulfillment: Translations from the Poetry of Emil Lerperger. Green River Press, 1975. Copyright © 1975 by the Green River Press, Inc. All rights reserved. Reproduced by permission of the Literary Estate of Jim Wayne Miller, executor, Mary Ellen Miller. / Jim Wayne Miller, “The Faith of Fisherman,” in The Brier Poems, Gnomon Press, 1997, Copyright © 1997 The Estate of Jim Wayne Miller. Reproduced by permission of Gnomon Press. / The Iron Mountain Review, v. IV, spring, 1988 for “A Variegated Thread” by Maxine Kumin. (Article was reprinted in The Iron Mountain Review with the permission of Maxine Kumin and The Writer, July 1963.) Reproduced by permission of the author. / From “Jim Wayne Miller,” in Contemporary Author Autobiography Series. Edited by Joyce Nakamura. Gale Research Inc., 1992. Copyright © 1992 Gale Research Inc. Reproduced by permission of Gale, a part of Cengage Learning. / Miller, Jim W. From The Mountains Have Come Closer. The Brier Poems, Gnomon Press, 1997. Copyright

FRANK, WALDO. Ernest M. Hemingway, “The Soul of Spain with McAlmon and Bird the Publishers,” Representative Poetry Online, 2009. Taken from: Complete Poems, edited by Nicholas Gerogiannis, revised edition (Lincoln and London: University of Nebraska Press, 1992): p. 70. Originally published as Ernest Henimngway: 88 Poems, published by arrangement with Harcourt Brace Jovanovich, Inc. © 1992 Printed with permission of The Ernest Hemingway Foundation. FRANZEN, JONATHAN. St. Louis Post-Dispatch, August 28, 1988. Reprinted with permission of the St. Louis Post-Dispatch, copyright 1988. / Vogue, September, 1988. Copyright © 1988 by the author. All rights reserved. Reproduced by permission. / The New York Times, September 4, 2001. © 2001 The New York Times. All rights reserved. Used by permission and protected by the Copyright Laws of the United States. The printing, copying, redistribution, or retransmission of the Material without express written permission is prohibited. www.nytimes.com. / Newsweek, September 17, 2001. Copyright © 2001 Newsweek, Inc. All rights reserved. Reproduced by permission. / The Writer, v. 115, February, 2002 for “How I Write” by Jonathan Franzen. Copyright © 2002 Kalmbach Publishing Company. Reproduced by permission of the author. GIBRAN, KHALIL. Gibran, Kahlil. From Sand and Foam. A.A. Knopf, 1926. Copyright 1926 by Kahlil Gibran and renewed 1954 by Administrators C.T.A. of Kahlil Gibran Estate and Mary G. Gibran. Used by permission of Alfred A. Knopf, a division of Random House, Inc. / Gibran, Kahlil. From The Earth Gods. A.A.

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vi / American Writers © 1997 The Estate of Jim Wayne Miller. Reproduced by permission of Gnomon Press. MIRVIS, TOVA. Jill S. Jacobs, “Wandering a Long Way From Home,” jBooks.com, 2003. Reproduced with permission from The AVI CHAI Foundation. / Mirvis, Tova. From “Writing Between Worlds,” in Who We Are: On Being (and Not Being) a Jewish American Writer. Edited by Derek Rubin. Schocken Books, 2005. Copyright © 2005 by Derek Rubin. All rights reserved. Reproduced by permission of Random House, Inc. / Sara Ivry, “Stranger to Fiction,” Tablet, February 2, 2005. Reproduced by permission. / Tova Mirvis, “The Scarlet Letter Aelph,” JBooks.com, 2007. Reproduced by permission. / Caroline Leavitt, “An Unorthodox Novel,” JBooks.com, 2007. Reproduced by permission of the author. SKLOOT, FLOYD. Skloot, Floyd. From Music Appreciation. University Press of Florida, 1994. Copyright © 1994 by the Board of Regents of the State of Florida. All rights reserved. Reprinted courtesy of the University Press of Florida. http://www.upf.com. / Skloot, Floyd. From The Evening Light. Story Line Press, 2001. Copyright © 2001 by Floyd Skloot. All rights reserved. Reproduced by permission. / Skloot, Floyd. From The Fiddler’s Trance. Bucknell University Press, 2001. Copyright © 2001 by Rosemont Publishing and Printing Corp. All rights reserved. Reproduced by permission. / Skloot, Floyd. From Approximately Paradise. Tupelo Press, 2005. Copyright © 2005 Floyd Skloot. All rights reserved. Reproduced by permission. / Skloot, Floyd. From The End of Dreams. Louisiana State University Press, 2006. Copyright © 2006 by Floyd Skloot. All rights reserved. Reproduced by permission. / Skloot, Floyd. From Snow’s Music. Louisiana State University Press, 2008. Copyright © 2008 by Louisiana State University Press. All rights reserved. Reproduced by permission. STRATTON-PORTER, GENE. Porter Meehan, Jeannette. From The Lady of the Limberlost: The Life and Letters of Gene StrattonPorter. Doubleday, Doran & Company, Inc., 1928. Copyright © 1928 by Doubleday, a division of Random House, Inc. Renewed 1955 by Jeannette Porter Meehan. / Cooper, Frederic T. From “The Popularity of Gene Stratton-Porter,” in Twentieth-Century Literary Criticism. Edited by Dennis Poupard. Gale Research, 1986. Copyright © 1986 by Gale Publishing. Reproduced by permission of Gale, a part of Cengage Learning. / Birkelo, Cheryl. From “The Harvester and the Natural Bounty of Gene StrattonPorter,” in Such News of the Land: U.S. Women Nature Writers. Edited by Thomas S. Edwards and Elizabeth A. De Wolfe. University Press of New England, 2001. © University Press of New England, Lebanon, NH. Reprinted with permission. / Phillips, Anne K. From “Of Epiphanies and Poets: Gene StrattonPorter’s Domestic Transcendentalism,” in Children’s Literature Review. Edited by Scot Peacock. Gale Research, 2003. Copyright © 2003 by Gale Publishing. Reproduced by permission of Gale, a part of Cengage Learning. / Obuchowski, Mary D. From “Gene Stratton-Porter: Women’s Advocate,” in Children’s Literature Review. Edited by Scot Peacock. Gale Research, 2003. Copyright © 2003 by Gale Publishing. Reproduced by permission of Gale, a part of Cengage Learning. URIS, LEON. New York Times, March 14, 1976. Copyright © 1976 by The New York Times Company. Reprinted with permis-

sion. / The Jewish Quarterly Review, v. 94, fall, 2004. Copyright © 2004 University of Pennsylvania Press. All rights reserved. Reprinted with permission of the University of Pennsylvania Press. WHEATLEY, PHILLIS. Wheatley, Phillis. From “To the Right Honourable William, Earl of Dartmouth, His Majesty’s Principle Secretary of State for North America,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “On Messrs. Hussey and Coffin,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “On Being Brought from Africa to America,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “Letter to Abour Tanner in Newport,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “On the Death of the Rev. Mr. George Whitefield,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “Various Subjects,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “To the Publick,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “On the Death of General Wooster,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “Letter to Rev. Samuel Occom,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com. / Wheatley, Phillis. From “Letter to Sir David Wooster,” in The Collected Works of Phillis Wheatley. Edited by John C. Shields. Oxford University Press, 1988. Copyright © 1988 by Oxford University Press, Inc. All rights reserved. Reproduced by permission of Oxford University Press, Inc. www.oup.com.

List of Subjects

Introduction

ix

List of Contributors

xi

MARY ANTIN Janet McCann

1

REGINALD MCKNIGHT Stefanie K. Dunning

147

JIM WAYNE MILLER Morris A. Grubbs

161

17

TOVA MIRVIS Terry Barr

177

T. CORAGHESSAN BOYLE D. Quentin Miller

33

FLOYD SKLOOT Ron Slate

193

PIETRO DI DONATO Tom Cerasulo

49

GENE STRATTON-PORTER Susan Carol Hauser

211

TIMOTHY FINDLEY Nancy Bunge

67

HOWARD OVERING STURGIS Benjamin Ivry

227

WALDO FRANK Kathleen Pfeiffer

83

LEON URIS Jack Fischel

243

JONATHAN FRANZEN Stephen J. Burn

99

PATRICIA NELL WARREN Nikolai Endres

259

HENRY LOUIS GATES, JR. S. Bailey Shurbutt

PHILLIS WHEATLEY Caleb Puckett

277

Cumulative Index

293

Authors List

567

KAHLIL GIBRAN Christopher Buck

113

ANNE LAMOTT Pegge Bochynski

131

vii

Introduction

When he was in Stockholm to receive his Nobel Prize for Literature, John Steinbeck told an audience of eager listeners: “The writer is delegated to declare and to celebrate man’s proven capacity for greatness of heart and spirit—for gallantry in defeat—for courage, compassion and love. In the endless war against weakness and despair, these are the bright rallyflags of hope and of emulation.” Indeed, the writers who matter to us look to find and celebrate this greatness of heart and spirit that Steinbeck mentioned here, whether they should be novelists, poets, playwrights, critics, or memoirists. In this twentieth volume of American Writers, we offer articles on American writers who choose a wide variety of genres; they are all accomplished figures who have displayed many of the virtues that Steinbeck notes above, yet none of them has yet been featured in this series before. Readers who wish to look more thoroughly into the work of these writers will find many things here to interest them: biographical and historical context, close readings of major texts, and supplementary material designed to enhance the reading of the individual subject and his or her work. This series itself had its beginnings in a series of critical and biographical monographs that appeared between 1959 and 1972. The Minnesota Pamphlets on American Writers achieved considerable fame in their days; they were incisively written and informative, treating ninety-seven American writers in a format and style that attracted a devoted following of readers. The series proved invaluable to a generation of students and teachers, who could depend on these reliable and interesting critiques of major figures. The idea of reprinting these essays occurred to Charles Scribner, Jr. (1921–

1995). The series appeared in four volumes entitled American Writers: A Collection of Literary Biographies (1974). Since then, twenty supplements have appeared, treating hundreds of well-known and less known American writers: poets, novelists, playwrights, essayists and autobiographers, literary critics. The idea has been consistent with the original series: to provide informative essays aimed at the general reader. These essays often rise to a high level of craft and critical vision, but they are meant to introduce a body of work of some importance in the history of American literature, and to provide a sense of the scope and nature of the career under review. Each article puts the writer in the context of his or her time. Our critics here have published books and articles in their field, and anyone glancing through this volume might pause to admire the good writing and sound scholarship. Every attempt has been made to see that this work meets the highest standards of critical acumen and factual accuracy. The articles describe the shape of a career, in detail, and each concludes with a select bibliography intended to direct the reading of those may wish to pursue the subject. Supplement XX treats a range of authors from the past and present. Phillis Wheatley—a major poet from the eighteenth century—has for whatever reason been overlooked thus far, and it is good that we could include an essay on her in this volume. Most of the writers included here are from the twentieth century, although Mary Antin, Waldo Frank, Khalil Gibran, Gene Stratton-Porter, and Howard Overing Sturgis were certainly born in the nineteenth, although there working lives extended well into the twentieth. The rest of our subjects—T.C. Boyle,

ix

x / American Writers Timothy Findley, Jonathan Franzen, Henry Louis Gates, Jr., Anne Lamott, Reginald McKnight, Jim Wayne Miller, Tova Mirvis, Floyd Skloot, Leon Uris, and Patricia Nell Warren— were all born in the twentieth, and most of them continue to produce books today. While they have been written about in journals and newspapers, few of them have had the kind of sustained critical attention they deserve, and we hope to provide a beginning here. The writers here certainly represent a range of backgrounds and critical approaches, though we insisted that each essay should be accessible to the non-specialist reader or beginning student;

that is, we did not allow the kind of critical jargon that is so prevalent in the criticism in our time. One could argue that the creation of culture involves the continuous reassessment of major texts, and my belief is that this collection of critical articles performs a healthy service here, offering substantial introductions to American writers who have found a sympathetic readership because of the high quality of their productions, their attempts to aim high, sticking to the high ideals mentioned by John Steinbeck above.

—–JAY PARINI

Contributors

Terry Barr. Terry Barr holds a Ph.D in English from the University of Tennessee–Knoxville, and has taught courses in Holocaust Literature and Southern Jewish Literature. He has taught Modern Literature and Film Studies at Presbyterian College, in Clinton, SC, for the past 23 years. His essays have been published in Studies in American Culture, The Journal of Popular Film and TV, the American Literary Review, and in Half-Life: Jew-ishy Tales from Interfaith Homes. TOVA MIRVIS

Nancy Bunge. Nancy Bunge, a professor at Michigan State University, has held senior Fulbright lectureships at the University of Vienna in Austria, at the University of Ghent and the Free University of Brussels in Belgium and at the University of Siegen in Germany. She is the interviewer and editor of Finding the Words: Conversations with Writers Who Teach and Master Class: Lessons from Leading Writers, the editor of Conversations with Clarence Major and the author of Nathaniel Hawthorne: A Study of the Short Fiction. TIMOTHY FINDLEY

Pegge Bochynski. Pegge Bochynski is a Visiting Instructor of Advanced Writing at Salem State College in Salem, Massachusetts. She is the author of reviews and essays, including those on the work of Nathaniel Hawthorne, John Updike, Flannery OíConnor, James Thurber, Thomas Sanchez, Anne Rice, J.K. Rowling, William Sloan Coffin, and Anne Lamott. She is also the author of an essay on Joy Harjo for American Writers Supplement XII. ANNE LA-

Stephen J. Burn. Stephen J. Burn is an Associate Professor at Northern Michigan University. He is the author of Jonathan Franzen at the End of Postmodernism (2008), David Foster Wallaceís Infinite Jest: A Readerís Guide (2003), and co–editor of Intersections: Essays on Richard Powers (2008). His work has appeared in Modern Fiction Studies, Contemporary Literature, the Times Literary Supplement, and other journals. JONATHAN FRANZEN

MOTT

Tom Cerasulo. Tom Cerasulo is an assistant professor of English at Elms College in Chicopee, Massachusetts, where he also holds The Shaughness Family Chair for the Study of the Humanities. He has published on film adaptations, on ethnicity, and on the cultural history of American authorship. His recent work appears in Arizona Quarterly, MELUS, Studies in American Culture, and Critical Companion to Eugene OíNeill. He is the author of Authors Out Here: Fitzgerald, West, Parker, and Schulberg in Hollywood (University of South Carolina Press, 2010). PIETRO DI DONATO

Christopher Buck. Christopher Buck, Ph.D., J.D., is a Pennsylvania attorney and independent scholar. He previously taught at Michigan State University (2000ñ2004), Quincy University (1999ñ2000), Millikin University (1997ñ1999), and Carleton University (1994ñ1996). His publications include: Religious Myths and Visions of America: How Minority Faiths Redefined Americaís World Role (2009); Alain Locke: Faith and Philosophy (2005); Paradise and Paradigm: Key Symbols in Persian Christianity and the Bahá’í Faith (1999); Symbol and Secret: Qur’an Commentary in Bahá’u’lláh’s Kitáb-i Íqán (1995/2004), and other book chapters, encyclopedia articles, and journal articles. KAHLIL GIBRAN

Stefanie K. Dunning. Stefanie K. Dunning is Associate Professor of English at Miami Univer-

xi

xii / American Writers sity of Ohio. She completed her undergraduate work at Spelman College in 1995 and received a Ph.D. from the University of California–Riverside in 2007. She is the author of Queer in Black and White: Interraciality, Same Sex Desire and Contemporary African American Culture (Indiana University Press). REGINALD MCKNIGHT Nikolai Endres. Nikolai Endres is an associate professor at Western Kentucky University, where he teaches Great Books, classical literature, mythology, critical theory, and gay and lesbian studies. He received his Ph.D. in Comparative Literature from the University of North Carolina–Chapel Hill in 2000. He has published on Plato, Ovid, Petronius, Gustave Flaubert, Walter Pater, Oscar Wilde, E.M. Forster, F. Scott Fitzgerald, Mary Renault, Gore Vidal, and others. His next project is a “queer” reading of the myth and music of Richard Wagner. He is also interested in pornographic representations of canonical gay texts. PATRICIA NELL WARREN Jack Fischel. Jack Fischel is Emeritus Professor of History at Millersville University and is currently a Visiting Professor at Messiah College. His specialty is in American intellectual history and Jewish studies. He is the author and editor of six books on the Holocaust, and has written hundreds of articles and reviews for such periodicals as Virginia Quarterly, The Weekly Standard, The Forward, Congress Monthly, Midstream, and Choice. He is the former editor of Congress Monthly and the author of an essay on William Gibson which appeared in American Writers, Supplement XVI. LEON URIS Morris A. Grubbs. Morris Allen Grubbs is Administrative Director of the Preparing Future Faculty Program at the University of Kentucky. From 1997 through 2007 he was a professor of English at Lindsey Wilson College in Columbia, Kentucky. He holds a Ph.D. in literature with a focus on the short story and is the editor of two books: Home and Beyond: An Anthology of Kentucky Short Stories (2001) and Conversations with Wendell Berry (2007). He is co–edi-

tor with Mary Ellen Miller of the forthcoming Jim Wayne Miller Reader. JIM WAYNE MILLER Susan Carol Hauser. Susan Carol Hauser is a poet, essayist and natural history writer. Her books include Outside after Dark: New & Selected Poems; You Can Write a Memoir; Wild Rice Cooking: History, Natural History, Harvesting & Lore; Sugaring: A Maple Syrup Memoir with Instructions; and A Field Guide to Poison Ivy. She has received two Minnesota Book Awards, a Jerome Foundation Travel and Study Grant, and was a charter resident at the Anderson Center for Interdisciplinary Studies. She is a Professor of English at Bemidji State University. GENE STRATTON-PORTER Benjamin Ivry. Benjamin Ivry is the author of biographies of Arthur Rimbaud, Maurice Ravel, and Francis Poulenc. He has translated many books from the French, by authors including André Gide, Jules Verne, and Balthus. His poetry collection, Paradise for the Portuguese Queen, appeared in 1998. HOWARD OVERING STURGIS Janet McCann. Janet McCann is Professor of English at Texas A&M University. She is a poet; she received a National Endowment for the Arts award in 1989, and has published widely; her most recent poetry collection is Emilyís Dress (Pecan Grove Press, 2004). She has co–edited textbooks and anthologies, and has written a book on Wallace Stevens, Wallace Stevens Revisited: The Celestial Possible (Twayne, 2004). MARY ANTIN D. Quentin Miller. D. Quentin Miller is Associate Professor of English at Suffolk University in Boston. He is the author of John Updike and the Cold War and the editor of Re–Viewing James Baldwin: Things Not Seen and of Prose and Cons: New Essays on U.S. Prison Literature. His essays have appeared in such journals as American Literature, Forum for Modern Literature Studies, and Legacy: A Journal of American Women Writers. He is also one of the editors of The Heath Anthology of American

Contributors / xiii Literature and of two composition textbooks: Connections and The Generation of Ideas. T. CORAGHESSAN BOYLE Kathleen Pfeiffer. Kathleen Pfeiffer, Ph.D. is associate professor of English at Oakland University in Rochester, Michigan. Her book, Race Passing and American Individualism, was published by the University of Massachusetts Press in 2003. She has edited and written the introductions to the re–issues of two Harlem Renaissance novels, Carl Van Vechten’s Nigger Heaven (2000) and Waldo Frank’s Holiday (2003), both published by the University of Illinois Press. Her forthcoming book, also to be published by the University of Illinois Press, is Brother Mine: The Correspondence of Jean Toomer and Waldo Frank. WALDO FRANK Caleb Puckett. Caleb Puckett is an Assistant Professor at Emporia State University, where he serves as a Reference and Instruction Librarian. Puckett is also a poet, short story writer and editor for Nimrod International Journal. PHILLIS WHEATLEY S. Bailey Shurbutt. Sylvia Bailey Shurbutt is Professor of English, Director of the Ap-

palachian Heritage Writers Project and Coordinator of the Appalachian Studies Program at Shepherd University. Her writing has appeared in The Journal of Appalachian Studies, The Journal of Kentucky Studies, Women’s Studies, Women and Language, Essays in Literature, The Southern Literary Journal, Encyclopedia of American Literature, and Scribner’s American Writers and World Writers series. She has chapters in Feminism in Literature, Untying the Gender Knot (Greenwood Press), and is author of books about writing and literature, including Reading Writing Relationships (Kendall Hunt). HENRY LOUIS GATES, JR. Ron Slate. Ron Slate earned an A.M. in creative writing from Stanford University in 1973. He is the author of two books of poetry, The Incentive of the Maggot (2005, nominated for the National Book Critics Circle award) and The Great Wave (2009), both published by Houghton Mifflin. A businessperson by profession, he has worked as vice president of global communications for a major computer technology corporation and as chief operating officer of a biotechnology startup. He reviews literature for various publications and at his website at www.ronslate.com. FLOYD SKLOOT

MARY ANTIN (1881—1949)

Janet McCann MARY ANTIN IS known for one significant work, an immigration narrative that won her instant success and remains an important resource still. Her major book, The Promised Land, is a vividly written memoir about Mary’s family’s departure from their home in Russia at the end of the nineteenth century, her engagement with the obstacles that faced her and her family as Jewish immigrants, and her triumphant achievement of freedom and respect in the United States. The book stands out for its optimism and high spirits among the many popular immigration stories of her time and after, and it also shows that in this milieu, achievement was not limited to men. However, The Promised Land has been controversial since its first publication in 1912, both left and right having complaints. Some objected because it suggests total assimilation should be the goal of the immigrant and because it implies that each person’s success or failure in this country is entirely up to the individual. Also, her enthusiastic adoption of America as “her” land bothered a few snobs from old American families. The book’s uncritical acceptance of American myth as fact and its optimistic view of how welcoming society was to newcomers did not match others’ experience, and in fact even to the casual reader there is sometimes a disconnect between her success as an extremely bright education-hungry child and her firmly held belief that her experience could be any immigrant’s.

ther Weltman, was from a well-off family; she had helped her own father in his successful business and thus had experience with business problems and practices. When Esther was sixteen her marriage to Israel was arranged according to Jewish tradition. For some years the couple did well, as Esther inherited the family business, and the couple was able to support their growing family. Moreover, in her earliest years Mary was offered, through tutors hired for her brother, an education almost unheard of for girls. The Russian Pale, where they lived, was an area to which Jews were confined by law. It consisted of fifteen western provinces of European Russia and ten provinces of Poland. Polotsk (or Plotzk, in Antin’s writing), was its center of government. At this time increasing persecution of the Jews in Russia caused them to be expelled from various areas where they had been at home, and they were harassed in numerous ways that diminished their ability to make a decent living. Israel was a scholar rather than a practical businessman, and Esther had to take over more and more. Then, a long period of ill health for both parents resulted in economic devastation, and the child Mary (or Mashke, as she was then called), watched the family decline from semiprosperity to near starvation. When Israel and Esther finally recovered from their illnesses, they decided to emigrate to the United States, part of the wave of Jewish emigration resulting from the oppressive, even confiscatory policies of the tsar Alexander III. Israel left first, in 1891; his wife and four children, of which Mary was the second, followed three years later when they had at last managed to find the money for the ticket.

THE WRITER’S LIFE

Mary Antin was born on June 13, 1881, in Polotsk, a district town in the government subdivision of Vitsyebsk, Russia, that had been a center of Jewish culture since at least the mid-sixteenth century. Her father, Israel Antin, was a businessman and an unworldly scholar. Her mother, Es-

In those three years the family suffered, but Mary was still offered opportunities not available to the others to explore and learn. When they

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MARY ANTIN finally arrived in Boston, Mary, because she was the family scholar, was permitted to enjoy America’s free education system, while her sister Fetchke (later Frieda) went to work in a sweatshop to help support the family. Mary’s teachers were captivated by her quick mind and her patriotism, and they gave her extra attention. Mary learned English quickly and soon caught up with her class; her work, especially her essays, was frequently cited as an example for others. When she was still a child, one of her essays was published, which made her believe that her role was to be a writer. She wrote poems that were published in newspapers, and this success strengthened her ambition and confidence.

she, but like her, her was from an immigrant family; Mary felt that this shared background was a strong bond. The two began married life together in Boston. Antin began her studies at Barnard College, but stomach ailments interfered with her schoolwork and she did not finish. Instead, she relied on enthusiastic mentors to encourage her to write. She was especially close to Josephine Lazarus, the sister of well-known poet and activist Emma Lazarus. Antin’s major book was undertaken as a series of memoirs, which were published serially in the Atlantic Monthly. The book came out in 1912 to many resounding accolades and a few complaints. Between the first printing in 1912 and 1985, when a 1969 republication was reissued, it had had thirty-four printings. It was and is considered a classic immigration narrative, and Antin’s current place in American literature rests on this one book.

Many acquaintances were impressed by Mary’s quick intelligence. She received help and support from Lina and Jacob Hecht, Jewish philanthropists; Rabbi Solomon Schindler; and others in their circle of progressive Jews interested in benevolent causes and social justice.. Her first book, From Plotzk to Boston (1899), was a translation of a long letter she had written in Yiddish to her uncle Moses, with whom she had been especially close; she spilled oil on the letter before sending it and had to recopy it, but her father preserved the original, enabling her to use it later to write the book. From Plotzk to Boston was published with the help of the Hechts and Philip Cowen, editor of the journal American Hebrew. The book’s introduction was written by the English Jewish writer Israel Zangwill, who praised Mary Antin as a child prodigy and underscored the freshness of her language and the keenness of her observation.

Antin bore her only child, Josephine Esther, in 1907. During her daughter’s early years Mary wrote short stories and essays and worked on her autobiography. After Antin’s book became popular, the unequal incomes of she and her husband led to marital difficulties. Antin burdened herself with speaking engagements in part to help support her husband and to pay off her husband’s many debts. Problems in the marriage were increased by Grabau’s attraction to the German cause as international tensions grew. In fact, he was dismissed from his post at Columbia for loudly supporting the Germans. Antin was physically and mentally incapacitated by the marital discord. The couple separated permanently around 1917, Antin keeping custody of their daughter, but she had a nervous breakdown after the separation. After her recovery, she made new friends and acquired new supporters, but she never completely got back her zest for living or her overwhelming optimism. She wrote little. She tried to redefine and reaffirm her faith by exploring the ideas of friends who were involved with mystical experience.

When this first book was published in 1899, she was only eighteen. Small parts of the letter appear again in The Promised Land, published in 1912. Even after Mary Antin’s initial success, her family continued to suffer financially, and she was pulled between their survival needs and her own need to learn. After joining a Natural History Club, described vividly in her memoir, she met a young geology professor with a German background. In 1901, Antin married Amadeus William Grabau, who was a teacher at Rensselaer Polytechnic Institute and a graduate student at Harvard. Grabau was eleven years older than

She did write another book, a discussion of immigration policy titled They Who Knock at Our Gates: A Complete Gospel of Immigration, which appeared in 1914. This short book presents an argument for open immigration in highly

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MARY ANTIN rhetorical language. The word “gospel” in the title earns its keep—this treatise does preach the gospel of immigration as a form of salvation, and sings the praises of those who become Americans and espouse the American story. Although Antin discusses the abuse of immigrants, the book conveys the sense that the problems involved in immigration are solvable through the goodwill of both native and adopted citizens. The book did not have the vitality of her memoir and was not a great success; it has not been republished. Antin herself was dissatisfied with it and did not wish it to be reprinted.

however delicately mounted, is no longer a butterfly; it is a beautiful carcass ѧ Do not go into the business of writing your life’s story unless you are willing to exchange quivering butterflies for dried specimens.” (New York Times Book Review, p. 392). At a loss for words, motivation, desire, and creative energy, she wrote to friends asking for advice and direction. She did write a few essays in her last years, mostly on the subject of the spiritual search. Her last published essay, “House of the One Father,” was published in the journal Common Ground in 1941. At this time she wished to reaffirm her Jewish identity, perhaps in part because of the situation in Europe, but she did not want to give up her insistence that, finally, education, learning, and understanding produce the highest values and lead to acceptance of others and to peace. Her late essays are somewhat different in tone from her early work, and their hopes are more muted; her last essay suggests that the land promised is finally not of this earth.

Antin, after spending some time in sanatoriums, began to work concentratedly on restoring her own mental health through a new approach to religion. The spiritual seeking she undertook with her friends William and Agnes Gould, who had founded the utopian community Gould Farm, led her to study Christianity but ultimately to affirm her Jewish identity. She spent some years on Gould Farm, profiting from its peaceful, practical approach to solving problems. She also tried in the 1920s to revive her literary career, but she felt that her works were not being well received and did not feel capable of further extended writing. In 1931 she sought out an Indian guru, Meher Baba, and briefly embraced his ideas, but she did not stay with his approach. In her spiritual study, her emphasis was on trying to find what the major religions shared, looking, as always, for those common grounds that would make for brotherhood among diverse groups. She returned to Gould Farm in 1936 to continue her personal metaphysical explorations.

Her last years saw a decline in her circumstances; she was forced to borrow against her royalties. She also had increasing health problems, and she moved several times in the last years for financial reasons and to be closer to family. Although she was mentally alert, she apparently wrote nothing further; she published nothing between 1941 and her death. By the time of cancer claimed her life in 1949, the royalties from her writing were insufficient to support her. She died at a nursing home in Suffern, New York, on May 15. Her place in the canon as a writer of the immigrant memoir rests on her perennially popular book, The Promised Land. Her few short stories, semiautobiographical, have been forgotten, and are read only in an effort to understand the memoir. Her essays are dated; her treatise on immigration is out of print and pretty much forgotten. Yet her memoir is still read and taught. Those who read The Promised Land and are taken by the brilliant child who turns into the young author, in a new land and using a new language, may wish that she had written a later, full-length memoir, describing in what ways her

From the 1920s on she was keenly aware of the loss of her facility of writing, and she sought to understand why she was no longer driven to write and could rarely cajole herself into doing it. Even as a successful young woman writer, she had thought of writing as a tremendous effort that brought about a sense of loss. She tended to think of writing as an activity that used up the substance of its subject, living memory. “If you enjoy remembering things,” she wrote in “How I Wrote The Promised Land,” “don’t put your memories on paper ѧ Chasing elusive memories is like chasing butterflies. The captured butterfly,

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MARY ANTIN perspective changed when the land stopped fulfilling its promises to her.

and ambition. She describes them in horrific, dramatic detail, yet they seem to the child stories rather than life. Her major complaint is less about basic living conditions than about a lack of plentiful, free education and the exclusion of women and Jews from what little education was available to others. There was no free schooling for girls, and even the daughters of the well-to-do could find only primary education. The tsar desired to keep Jews out of the schools, and they had to have far higher qualifications to enter the universities. Few boys and virtually no girls were granted admission. For girls, higher education was a hopeless dream. Antin describes the community as a center of resistance against the harassment of the tsar:

THE PROMISED LAND—THE FIRST HALF, IN POLOTSK

The memoir is preceded by an introduction that argues for the validity of writing a memoir at such a young age. In it she sets forth her purpose: to tell the immigration narrative of her people: It is because I understand my history, in its larger outlines, to be typical of many, that I consider it worth recording. My life is a concrete illustration of a multitude of statistical facts. Although I have written a genuine personal memoir, I believe that its chief interest lies in the fact that it is illustrative of scores of unwritten lives. I am only one of many whose fate it has been to live a page of modern history. We are the strands of the cable that binds the Old World to the New.

As I look back to-day I see, within the wall raised around my birthplace by the vigilance of the police, another wall, higher, thicker, more impenetrable. This is the wall which the Czar with all his minions could not shake, the priests with their instruments of torture could not pierce, the mob with their firebrands could not destroy. This wall within the wall is the religious integrity of the Jews, a fortress erected by the prisoners of the Pale, in defiance of their jailers; a stronghold built of the ruins of their pillaged homes, cemented with the blood of their murdered children.

(p. xiii)

This vision of herself as representative of the immigrants is a constant throughout her book, and she reasserts it whenever it seems that the narrative is turning to the merely personal. From the onset she makes it clear that she is not simply telling her own story but is providing a narrative that mythologizes the experience of the immigrant in the hope that it will not only encourage later immigrants but will also help educate native-born citizens to their value and influence. The first half of the memoir re-creates life as it was to her as a child growing up in Polotsk, in the Russian Pale where Jews were harassed, punished, and in all ways abused, and yet where Antin was most of the time happy. Her child’seye view is established in the opening of the story, where she is comfortably surrounded by her family but aware that there are unfriendly forces at work outside her home and neighborhood. She learns early why they are not free to travel within Russia and that “the world was divided into Jews and Gentiles” (p. 5). The beginning of the book includes some of the horrors perpetrated on the Jews by the Russian leadership, including pogroms, but since she has only heard of these things as a child and not experienced them, they do not really touch her optimism

Harassed on every side, thwarted in every normal effort, pent up within narrow limits, all but dehumanized, the Russian Jew fell back upon the only thing that never failed him,—his hereditary faith in God. In the study of the Torah he found the balm for all his wounds; the minute observance of traditional rites became the expression of his spiritual cravings; and in the dream of a restoration to Palestine he forgot the world. (p. 29)

Within their fortress the Jews educated their sons, sending them to heder (Hebrew school) from kindergarten age to teenage years. The lessons ran all day into the evening, and were mostly recitation; the child Mary, however, envied her brother, and, encouraged by her father, did everything she could to learn on her own. In her earliest recollections the family is well off, with the trappings of a successful middleclass life and the closeness of the Jewish family.

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MARY ANTIN The shimmering memories of early childhood, when Mashke was a favored child in a relatively well-off household, contrast starkly with the photographs she includes. In the pictures of the markets in Plotzk, the women doing their wash on the frozen lake, the houses where they lived, the figures seem carved and wooden, their lot unspeakably harsh. Yet her memories are rich with color and texture, and they make the reader nostalgic for a community in which the members were generous and supportive and where their simplicity was complemented by an inherent goodness.

The first part of the book is so detailed in its reconstruction of turn-of-the-century Jewish life in her community that its appeal is that of a wellwritten personal essay—yet the cozy scenes of family life and the content expressed by the speaker are at odds with the seriousness of the oppression and the dangers involved in simply living as a Jew in that time and place. She speaks of babies being ripped from their parents’ arms and slaughtered, yet she gives the narrative the quality of myth and describes her own daily life as rich in support and love. Isolated from reality by her family, she does not fear it. She appears to have two arguments to pursue: one, the integrity of the Jewish family and the health of this kind of upbringing; and two, the oppression the family was subject to. Her audience is mostly non-Jewish readers who do not know the details of Jewish life and who need to be convinced that for Jews, coming to America was the only solution. The narrative includes much about Mary Antin’s parents. It describes their own upbringing, and their pairing by the community matchmaker when her mother was only sixteen. Despite their disparity in fortune they were considered a good match, for her mother came from an upperlevel family but the father was acceptable because of his education—and education was highly prized by the entire Jewish community. Part of her purpose in the rich, sympathetic portrayal of the Jewish enclave is to make her readers familiar with this life and sympathetic to it. Even her negative experiences are presented as educational, emphasizing the book’s main theme. For instance, she says in talking about the abuse she received from a local gentile boy that she became suddenly aware that what caused this vicious abuse was lack of knowledge. This realization, coming in the middle of a beating, is an epiphany for the child:

The circumstances under which the family fell to poverty are never clearly articulated in the memoir; the narrative stays with the child’s vision, and the reader only sees that things change for the worse, due to both the repression of the Russians and the lack of business acumen of her father, in addition to ill health. The family went from middle-class comfort to near starvation. Still, Mashke was petted and indulged, even when the family had nothing; because of her intelligence and scholarly bent in a household where learning was valued, she was given every opportunity for an education despite the hardship this placed on the others. Her sister was not given any options—her hard work was the family’s support. The writer seems to know that some dimension of experience is missing from this girl who is so nourished and pampered—true compassion, maybe, and the ability to put herself in another’s place. She realizes that she has not much sympathy for others who are less willing and able to change their lives than she is. In many cases where individuals seem condemned to restricted lives, she claims that they chose those lives—for example, she dwells on her sister’s sacrifices to the family and to Mary’s own bright future, and she expresses some sense of guilt, but then she claims that her sister was happy to make these sacrifices and triumphed vicariously in her Mary’s success. There is a precarious balance between Mary’s belief in the triumph of the will and her contrary sense that some are destined for success and public recognition while others are not.

I forgot to revenge myself. It was so wonderful— Well, there were no words in my head to say it, but it meant that Vanka abused me only because he did not understand. If he could feel with my heart, if he could be a little Jewish boy for one day, I thought, he would know—he would know ѧ Oh, why could I not make Vanka understand? I was so sorry that my heart hurt me, worse than Vanka’s

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MARY ANTIN view available nowhere else. There are few such persuasive portraits of a way of life in which religion is an organic part, healthy and sustaining.

blows. My anger and my courage were gone. Vanka was throwing stones at me now from his mother’s doorway, and I continued on my errand, but I did not hurry. The thing that hurt me most I could not run away from. (p. 17)

THE PROMISED LAND—THE SECOND HALF, THE IMMIGRATION

This paragraph could stand as the mission statement of Antin’s memoir. She wants to make Jewish life understandable to those who condemn the Jews through ignorance. Throughout the memoir, ignorance rather than any group is the enemy, to be fought with education, reading, understanding. She writes to teach. To this end she also includes at the end of the narrative a glossary of the Yiddish words she uses in her description, even though many of them are defined by the context. The first part of the book ends with the departure of the family for the New World. By this time, the Antins left at home are nearly destitute and have been borrowing heavily; the father too has had to borrow to pay for the steamer tickets that will allow his family to join him. The family still nearly does not make it. The reader may be amazed at the lack of fear and anxiety the child Mary Antin experiences as the family approaches the actual journey, when there is not enough to eat and the bailiffs have come to take all the family’s furnishings and other belongings to pay for a debt incurred not by the family but by a tenant. Everyone else in the family seems devastated, but Mary’s attitude is that since the seizure involves only money, it is not a tragedy like a death, because money can always be made somehow. She talks of a long visit to her uncle’s, where she did succeed in making some money herself by teaching a popular craft; she assumes that money somehow can always be replaced, and even the loss of her family’s familiar objects does not affect her much. She shows her naive faith by bringing back rich gifts for her family from her uncle’s home, when they can hardly afford enough food. The description of life in Polotsk and the Antin family’s departure for the New World would have been pleasing even to a casual reader of Antin’s time, because the details are exact and evocative and the culture is faithfully described. The modern reader can get a sense of a nineteenth-century Jewish community from a point of

About at the middle of the book comes the exodus. For this section Antin relies in part on the long letter in Yiddish that she wrote to her uncle back home, describing her adventures between Polotsk and Boston, which had been translated and published in full as her first book in 1899. It expresses the immediacy and excitement of her first encounter with distance travel and with her new land. The section based on the letter describes the departure—the farewell to her extended family and friends (and their naïveté about America and what they would find there)—as well as the extreme ill-treatment they receive on their journey, especially at their stopover in Germany. Several times it looks as though the family will not be allowed to enter the New World, but will be sent back home after their meager financial resources have been exhausted. But they finally enter the country, after having to beg and bribe their way through difficult situations. Antin says nothing about any problems of bureaucracy once they arrive in the United States—in fact, the joy of the arrival seems to eclipse all of their previous difficulties. “And so suffering, fearing, brooding, rejoicing,” she says, “we crept nearer and nearer to the coveted shore, until, on a glorious May morning, six weeks after our departure from Polotzk, our eyes beheld the Promised Land, and my father received us in his arms” (The Promised Land, p. 179). The reader perhaps expects irony to follow such a happy reunion, but the disappointments of the Promised Land are few and unsurprising while the rewards are many. Of course, her parents once more fail to make good, but she blames that mostly on her father’s lack of realism and her mother’s illness. For her, success is opened through the free public education system; this wholehearted faith in education was her

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MARY ANTIN father’s belief and it is hers also. Mary was claimed by her father to be two years younger than she actually was when she was enrolled, so she would have the right to more free education. Antin does not talk of this in her memoir, though she does treat it in one of her short stories, “The Lie.” Because she was small, no one questioned her age, and the invisible extra two years may have helped her gain her reputation as a child prodigy when her first work came to public notice. She describes how the family arrives in Boston and attempts to make a living there, moving from one of the Boston slums to an even less desirable one as the parents continually prove unsuccessful in making enough money to support the family. They start with a seaside refreshment stand, of which the children are very proud, but this fails and they must move. The little store opened in a slum area does not do well, either. Once more the reasons for the parents’ difficulties are never completely explained—we do see the scholar-father having a difficult time with the practicalities of business management, and the uncertain health of both parents interfering with their business endeavors, but none of the reasons given fully explain the failure. The third store is in the worst neighborhood yet, Wheeler Street, and Antin speaks of coming back there later and realizing its degradation by seeing it through adult eyes. But she claims that at the time she lived there, she was happy; she contrasts the grinding misery of poverty with the freedom she was experiencing through education and the support and encouragement of others. Her description of the street projects hope and hopelessness at once:

held, invariably, a photograph album and an ornamental lamp with a paper shade; and the lamp was usually out of order. So there was as little motive for a common life as there was room. The yard was only big enough for the perennial rubbish heap. The narrow sidewalk was crowded. What were the people to do with themselves? There were the saloons, the missions, the libraries, the cheap amusement places, and the neighborhood houses. People selected their resorts according to their tastes. The children, let it be thankfully recorded, flocked mostly to the clubs; the little girls to sew, cook, dance, and play games; the little boys to hammer and paste, mend chairs, debate, and govern a toy republic. All these, of course, are forms of baptism by soap and water. (p. 272)

Her concept of “baptism by soap and water”— effort and education bringing profound transformation—appears elsewhere in the memoir, a baptism into the religion of democracy. She also says, “I found no fault with Wheeler Street when I was fourteen years old. On the contrary, I pronounced it good” (p. 266). A consistent feature of the narrative is that most of the events Antin describes during what must have been a miserable struggle for survival are presented as positive, even uplifting events for the young Mary. The neighborhoods are not seen as dangerous and threatening but rather as rich in culture; one person after another reaches out to help her. (Again the photographs represent bleak slums, and seem to belie the narrative.) The main center of growth for young Mary, though, is the public school, where her abilities are soon recognized and she is cited as an example for others. The part of the book describing her first years in America is less compelling than the descriptions of life in Plotzk, as the reader is invited to follow Mary from triumph to triumph, to read the essays she wrote as a child (which are not different from any essays of precocious children), to hear of her pride in her first publication as an adolescent, and so forth. She claims to want to include these things to show herself as a representative of immigrants, not merely to advertise her achievements—the lesson she underscores is that America offers these opportunities to those fleeing impossible economic problems, or oppres-

On Wheeler Street there were no real homes. There were miserable flats of three or four rooms, or fewer, in which families that did not practise race suicide cooked, washed, and ate; slept from two to four in a bed, in windowless bedrooms; quarrelled in the gray morning, and made up in the smoky evening; tormented each other, supported each other, saved each other, drove each other out of the house. But there was no common life in any form that means life. There was no room for it, for one thing. Beds and cribs took up most of the floor space, disorder packed the interspaces. The centre table in the “parlor” was not loaded with books. It

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MARY ANTIN sion, or both, and it is not—or not merely—her personal abilities that win her recognition. She is able to take advantage of the country’s gifts, the best of which was free education, and she claims that other immigrants can and should do the same. Education, she repeats, is “soap and water” for the slums; her accomplishments are representative of what is possible for all those who avail themselves of it. Nevertheless, the pileup of achievements may pall, especially since there is little to offset them and since clearly this kind of record would not be possible for most of the immigrants, depending as it did on great language facility and sheer love of learning. Only one event seems to have caused the irrepressible Antin any personal difficulty, and it was a small event the reader might expect to be quickly forgotten. An official gives a speech about her, without naming her, and she, startled and gratified, thanks the official publicly. Of course since the official did not wish to identify her, she finds herself humiliated by his response. She assures the reader that others present were untroubled, yet the incident loomed large enough to form a cloud over her success. She devotes a chapter to this event, called “Tarnished Laurels,” and again claims that she is sharing her humiliation as a support to “vain fools” who accepted praise for themselves thoughtlessly.

possibilities that are open to them and to show native-born Americans how much richness the immigrants have to offer their new country. Wheeler Street is followed by yet another slum environment, Dover Street, but now she is being educated at the Latin School and barely notices her physical surroundings because of her sheer joy in learning. Sometimes she has no food, but she has Latin declensions. She does not feel excluded because of her poverty, as she can escape into the life of the mind, and what is more she is accepted by the wealthy students. Again she stresses the virtues of democracy—she is not confined to the social class of her birth, but is welcomed to educate herself out of it. Everything helped, you see. My schoolmates helped. Aristocrats though they were, they did not hold themselves aloof from me. Some of the girls who came to school in carriages were especially cordial. They rated me by my scholarship, and not by my father’s occupation. They teased and admired me by turns for learning the footnotes in the Latin grammar by heart; they never reproached me for my ignorance of the latest comic opera. And it was more than good breeding that made them seem unaware of the incongruity of my presence. It was a generous appreciation of what it meant for a girl from the slums to be in the Latin School, on the way to college. If our intimacy ended on the steps of the school-house, it was more my fault than theirs. Most of the girls were democratic enough to have invited me to their homes, although to some, of course, I was “impossible.”

It is easy to say that I was making a mountain out of a mole hill, a catastrophe out of a mere breach of good manners. It is easy to say that. But I know that I suffered agonies of shame. After the exercises, when the crowd pressed in all directions in search of friends, I tried in vain to get out of the hall. I was mobbed, I was lionized. Everybody wanted to shake hands with the prodigy of the day, and they knew who it was. I had made sure of that; I had exhibited myself. The people smiled on me, flattered me, passed me on from one to another. I smirked back, but I did not know what I said. I was wild to be clear of the building. I thought everybody mocked me. All my roses had turned to ashes, and all through my own brazen conduct.

(pp. 294–295)

One might wonder if this could be the full truth, or if she is representing a few students’ acceptance as universal. However her experience as described does serve as additional evidence for her belief that education overcomes all obstacles, including social barriers. Mary Antin cuts off her memoir at a high point, ending it with a scene of triumph. At the time she wrote it she was married, a mother, and somewhat entangled in family life. She says nothing of this. Her goal for the immigration process itself is education-based; she stops it with the culmination of her own education, participation in the Hale House Natural History Club, where she is free to explore her most compelling interest. She is going home from a day of

(p. 283)

Her embarrassment throws light on her many apologies for having the nerve to tell her story; it is wrong, she believes, to stress one’s achievement unless it is being done for a larger purpose—in her case to show other immigrants the

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MARY ANTIN exploration of biology; she stops at the entrance to the library to reflect, and has a vision of her life as evolution: “I had a vision of myself, the human creature, emerging from the dim places where the torch of history has never been, creeping slowly into the light of civilized existence, pushing more steadily forward to the broad plateau of modern life, and leaping, at last, strong and glad, to the intellectual summit of the latest century” (p. 364). She is identifying with all immigrants when she claims in the book’s last sentence, “Mine is the whole majestic past, and mine is the shining future” (p. 364). Few memoirs are so unremittingly, even relentlessly, affirmative. The book received an enthusiastic welcome, and it gave a concrete example to demonstrate the reality of the American Dream. It was praised and used in classrooms, where it continued to be taught for decades. However, not all commentators were happy with it, as some felt that Antin was sacrificing her Jewish identity to an over-optimistic nationalism. The critic Keren McGinity, writing in 1998 in the journal American Jewish History, compares Antin’s published book to the draft of her manuscript to illustrate convincingly that the cuts made showed consistent determination that the final work be for a general, rather than a Jewish, audience, and that the discarded portions often contained details of personal life that did not necessarily support her overriding theme. It is true that one cannot always distinguish Antin’s cuts from those made by her editor, but the proselytizing she does for America and for individual accomplishment through persistence in pursuit of one’s goals in this country is powerful enough to indicate that this is her major theme. Even the sometimes vatic language Antin uses justifies McGinity’s conclusion that she was “a woman on a mission.” The mission was the promotion of immigration and the recognition of immigrants’ contribution to American culture.

and religion. All were published in the Atlantic Monthly. Antin’s short story “The Lie” fictionalizes her father’s effort to provide additional public education by falsifying her age. In it, David, a new immigrant boy, a “greenhorn”—a favored term for Antin in her memoir as well— forms a close association with a sensitive understanding teacher, as did Antin. Like Antin in her memoir, David is extremely patriotic toward America and is especially attracted to the figure of George Washington. Extremely scrupulous, he feels he cannot tell a lie—he doesn’t feel it right to sing “land where my fathers died” in his classroom, for instance, because his forefathers did not die in America. His teacher finds for him a symbolic way of interpreting the line so that he may sing it. When he is invited to play Washington in a skit, he is wild with joy—until he tells his teacher his age, and realizes that he has told a lie: his account supports that of his father, who had deducted two years from David’s age when enrolling him in public school so that he could have additional years of education. Not only does David now feel he cannot be George Washington with this lie on his conscience, but he falls dangerously ill. It is clear to all that some troubling preoccupation underlies his illness. The sensitive teacher, of course, goes to see him. His father is unaware that he has done anything wrong, and he boasts to the teacher about his stratagem to assure his smart son’s education. The teacher, realizing what has caused David’s illness, sympathizes with the father and finds a way to justify the lie to herself and, more importantly, to David. She then goes to David’s bedroom, where her tactful words help him clear his conscience so that he can get well and continue his education. The story is interesting mostly in its relation to The Promised Land. “The Lie” presents material from Antin’s own life that she found too murky or embarrassing to include in the memoir, but the story’s main character, the prodigy David, is clearly very like the speaker in the memoir, and of course the understanding teacher who maps the new surroundings for her student is a major figure in the memoir, too. The devices and

SHORT FICTION

Antin published three short fiction pieces that help to enlarge the story of her life and add to the image she presents of the Jewish community

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MARY ANTIN woman—the situation that Antin was in before coming to the United States.

coincidences that lead to the story’s happy ending are very visible; every narrative hinge creaks. The story illustrates that fiction is not really Antin’s genre—inventing and plotting are not her gifts, while describing and expounding are.

The story in “The Amulet” is the farthest from Antin’s experience and the least successful of her stories. She is using Polotz lore in this tale, but without much exploration. The story’s main character, Yankel, had had one childless marriage, and after he became a widower, he married a younger woman, hoping for progeny. But his second wife is also unable to have children, and the couple suffers deeply from their childlessness, which is also seen as a sad lack by the community. He is given an amulet that is supposed to make a woman fertile. It appears to work, but once his wife is pregnant, he learns the rest of the story of the amulet—it seems that if the child is a girl, the mother may die; if she bears twins, one of them will die; but if the baby is a boy, all will be well. He is devastated, because he is very much in love with his wife. He would not have risked her life if he had known the full effects of the amulet. But after a difficult childbirth, the baby turns out to be a boy.

The other two stories are tales of Plotzk; at one time she planned to write a book of Plotzk stories. They use her experience of poverty and need as background, and they show her nostalgic memory of a community she thought of as composed of naive, good people. “Malinke’s Atonement” tells of a poor, fatherless Orthodox family who are looking forward to having a rare treat, a chicken. When the mother finds a piece of wire in the bird, she fears that it may be considered unclean, and she sends Malinke to the rav (rabbi) to have his judgment pronounced on it. The rav, without noticing much about the circumstances of Malinke and her family, pronounces the bird unclean. Malinke, near starvation, lies to her mother about the rav’s judgment, and the family eats the chicken. Malinke nearly chokes to death on a chicken bone, however, and she attributes this incident to her guilt. She confesses her sin to her horrified family. The tale of her behavior spreads through the town, and she repents; she does penance by fasting and by throwing in the river her only good possession, a pair of boots. Then the rav calls for her; she expects to be publicly excoriated for her sin. But seeing her desperate poverty and learning of her penitence, he is sorry he pronounced the chicken unclean, and sorry that he did not evaluate the situation more closely and use the freedom given him in such judgments to grant the family their rare holiday meal. He forgives Malinke and offers her his services as a tutor, since she is so intelligent and she lacks any chance for education. She is wildly happy.

There is no character here that represents Antin, and the plot is farfetched; but the theme of guilt and the need for reconciliation is a constant in all three of the stories. And just as in Antin’s memoir, all three stories have overwhelmingly positive conclusions.

A GOSPEL OF IMMIGRATION

They Who Knock at Our Gates: A Gospel of Immigration, a book-length essay on immigration issues, came out in 1914. This book has not aged well, as it was based on research Antin did on topical issues and proposed legislation of the time. She herself felt in later years that it had dated badly, and she did not want it to be reissued. But it is indeed a gospel, proselytizing for immigration, and throughout it she compares the Jewish laws and traditions to her vision of American democracy, finding divine sanctions for the one similar to those for the other. It uses the Mosaic law to affirm the rightness of the U.S. Declaration of Independence, saying that:

The rebellious child “who thinks like a boy” in this story is similar to the self-presentation of Antin in her memoir. The reward that the child receives—education—is the young Mary’s strongest desire. As in Antin’s other work, there is a public reward for a rebellious act. The story also presents a vivid picture of the impoverished nineteenth-century Jewish family headed by a

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MARY ANTIN whatsoever. The book lacks the power of her immigration narrative, but it is carefully written, rhetorically effective, sometimes sermon-like. The burden of its message is that the meltingpot image of America is true and good, to the point that the value of assimilation is higher and finer than any maintaining of local or religious bonds and loyalties. Its conclusion again associates the Mosaic law with her position on immigration and democracy:

there cannot be two minds about the position of the Declaration among our documents of state. What the Mosaic Law is to the Jews, the Declaration is to the American people. It affords us a starting-point in history and defines our mission among the nations. Without it, we should not differ greatly from other nations who have achieved a constitutional form of government and various democratic institutions. What marks us out from other advanced nations is the origin of our liberties in one supreme act of political innovation, prompted by a conscious sense of the dignity of manhood. (pp. 3–4)

Those who honor the golden images of self-interest and materialism threaten us with fearful penalties in case we persist in our championship of universal brotherhood. They are binding our hands and feet with the bonds of selfish human fears. The fiery glow of the furnace is on our faces—and the world holds its breath.

Democracy, she says, is the center of this divinely ordered society, in which, “At one bold stroke we shattered the monarchical tradition, and installed the people in the seats of government, substituting the gospel of the sovereignty of the masses for the superstition of the divine right of kings” (p. 4). The book is a passionate response to the increasing demand for limitations and controls on the flow of immigrants. The ideals behind Jewish teachings, she finds, are similar to if not often the same as the ideals of the U.S. Constitution. In tracing the reasons for immigration and the benefits to both the receiving country and immigrants, she stresses the experience of Russian Jews, whose lives she knew so well, but the emphasis remains on the emigration rather than on the religion. She describes the Declaration of Independence as the secular equivalent of Mosaic law, and yet she extends the divine sanction from the latter to the former. Antin takes up one after another the various arguments for such controls—that the immigrants take jobs from Americans, that there is not enough room for unlimited immigrants, that they live in slums, that some of them do not stay, and so forth—with her idealistic view of society based on Mosaic law. Sometimes she offers specific suggestions for solving problems, but often her solution is an appeal to the best in people: that wealthy and comfortable people should give of their time and wealth to receive and educate the newcomers because it is the right thing to do. Ultimately she suggests that the guarantees in the Constitution should apply to everyone—though she stops short of saying there should be no controls over immigration

Once the thunders of God were heard on Mount Sinai, and a certain people heard, and the blackness of idolatry was lifted from the world. Again the voice of God, the Father, shook the air above Bunker Hill, and the grip of despotism was loosened from the throat of panting humanity. Let the children of the later saviors of the world be as faithful as the children of the earlier saviors, and perhaps God will speak again in times to come. (pp. 142–143)

Her thundering conclusion conflates the lifting of ignorance by God with the removal of ignorance and “selfish human fears” in the matter of immigration, and this equivalence is clear, though perhaps not so explicit, throughout The Promised Land as well. But without the softening effect of minutely observed concrete detail, Antin’s voice becomes unremittingly didactic. Yet the long essay is clearly motivated by the same convictions that drove her to write her popular memoir.

SHORT ESSAYS

Antin’s few short essays were scattered through a variety of publications, but they tend to sound two notes: first, they offer helpful hints for immigrants and for those who deal with them, and second, they combine Antin’s ideas about metaphysics with her thoughts about an idealized democracy. The suggestions about immigration

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MARY ANTIN are presented more indirectly, and perhaps more persuasively, in her memoir. These essays, sometimes editorial-like, appeared in newspapers and popular journals. The essays on spirituality are more extended and complex. They show her attempt to redefine the ideal she had so long believed in, without losing her commitment to America and immigration. Antin claimed atheism during part of the period remembered in The Promised Land, though her atheism seems superficial—perhaps a part of her refusal to accept any social limitations. Later she undertook a spiritual seeking that brought her to a nonstandard mysticism combined with her Judaism. These late spiritual explorations involved reading, meditation, and discussion with other seekers. A late essay, “The Soundless Trumpet,” explores her efforts to achieve a plane of enlightenment, and she uses again a combination of concrete detail and exposition to explain her explorations and discoveries. “The Soundless Trumpet” discusses states of mind in which she transcends her life and escapes from the prison of self; she seeks metaphysical truth through these experiences. She actively courts these states, banishing her loved language to entice them:

and objects, and she find acceptance of and even union with the marginal and the outcast. She finds sisterhood with a poor seamstress and a scarred alley cat. Her changed attitudes bring her deeper into the mystery; she affirms a kind of cosmic consciousness, describing the feeling that “there are no inanimate things anywhere in nature ѧ everything is trying to speak to me” (p. 565). These states are described in religious terms, using biblical language, as Antin does in all her work. She cites authorities and attempts to argue her position as she does in They Who Knock at Our Gates. The nature of escapes from the material world, however, just show her how far she needs to go to achieve real enlightenment. The genuine mystical flight, with a beginner like me, leaves an ache behind—the ache of incompletenessѧI know I have not really been over the horizon. My fleeting glimpses into the heart of things, the nostalgic sweetness of my moments into the world about me, the thrill of the soundless trumpet summoning me to cross the barrier of sense—all these are only the faintest trembling of the Veil in the inconstant breath of my too feeble aspiration. (p. 569)

She comes back to the banished words in her search for proof that her experiences are valid, saying that if she is not deluded, she will find the words to express her altered state. She has faith that “sincerity ѧ has an accent of its own,” that “a genuine experience sooner or later supplies the witness with the on unmistakable certifying word. Like the olive leaf brought back by Noah’s dove, my flight of symbols, if they were wrought out of genuine experience, will guarantee that I have touched, however briefly, a recovered land” (p. 569). She is clearly a spiritual seeker, still; she cannot rest in her discoveries. The essay reveals her attempt to put her intense will to believe to work on the spiritual, and moreover to democratize the spiritual. She sees the cosmic consciousness as a kind of universal sentience in which each element is both itself and part of the whole. Like America, the spiritual realm is a place, a promised land. Moreover her essays on the subject are still compelling to current adventurers in mysticism because they so clearly describe her failures as

I know the danger of breaking my immobility to spear the foolish words that come boiling into the net of surface consciousness. I have gone far enough with the mystery on occasion to know that words of which I am aware are my treat peril at these times; het the meddlesome pen thrusts itself in again and again, till it seems essential to the completed state of nonresisting by which, as by a Jacob’s ladder, I seek to climb out of the pit of mere cognition, to turn it also loose, this absurd irrelevant splinter of metal and hard rubber. Go, then, go, go, you shallow words, go all of you there are, till I am altogether cleansed of wording, till I rest from thoughts and slip through the I-barrier. (pp. 560-561)

The state she desires to enter is a speaking silence: “My place is in the secret silken seed pod of perfected stillness. My business is to hear the soundless trumpet of unrevealable gospels” (p. 561). She describes how the cleansed angle of vision reveals to her the truth of surrounding people

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MARY ANTIN well as her successes as she courts the metaphysical. Her enthusiasm and her tentative wonder are contagious. Nonetheless, in looking at her essays in the context of her memoir, one might argue that she is not successful in her quest to replace “here” with “hereafter.” She seems to be driven to do so by numerous disappointments and disenchantments that followed her early success. The last essay she published, “House of the One Father,” shows another strong effort to unite physical and metaphysical, but the reader may sense that she is trying to convince herself as well that the vision of the promised land is undamaged by her lifetime of experience. “House of the One Father” appeared in 1941 after a period of silence; the editor of the journal Common Ground mentioned that Antin had been known for her work on the meaning of America from the point of view of an immigrant, commenting, “This is her first article in many years” (p. 42). The sense of wide-eyed optimism is not completely gone from this work, but it is located in the spiritual—a place where it is safe against attack. “House of the One Father” develops a plea for ecumenism surprising for its time and place. On the eve of World War II, the writer locates a spiritual goal in religion rather than in her particular religion, Judaism. Antin begins by describing an encounter with Jewish friends who criticized her for supporting both a Catholic chapel and a Hebrew school. She then explains that she had taken over the spiritual guidance of a Catholic girl who had been mentored by a friend, a social worker, who had on her deathbed asked Antin to take over for her. She did this, and had the child taught by nuns. Her friends seem to accept her mitzvah of taking over the upbringing of an orphan, but not the gift of money to the priests. The friends are presented as simple, puzzled: “The two men consulted by raising eyebrows. What was the proper mode of rebuking an erring Jewish woman whose husband, though a Gentile, was a great scholar and thereby entitled to supreme respect?” (p. 36). The narrative fudges the case, of course— Grabau and Antin had long ago permanently

separated, and he had another companion. Her perspective is that it is Jewish tradition to do good for others indiscriminately, including those who are in other faiths. She defends her position successfully against Jewish critics in the essay, and, presumably, also to readers of other faiths, by outlining the spiritual explorations that have led her to believe in a truth underlying all faiths. Finally she ties her notions to democracy. She describes giving a speech in a Christian church, where she, a Jew who had fled persecution, addressed her audience from a Christian pulpit: There were no dividing lines left standing. The hundreds in the pews and I in the high pulpit saw one thing: how every door in American that opened to the stranger of every race and creed—the school house door, the public library door, the door of the common playground, the door to any job a man was equipped to fill-each was a door to the House of the One Father ѧ (p. 40)

Democracy, always her most loved concept, together with its defense, becomes a stronger social bond even than faith. It is democracy that owns her highest loyalty, and it is the democratic spirit, she believes, that also informs religion: Let me pass in the world under any label the social vision of the time may apply, here at this point I feel alive and equipped to do my part: where the spiritual foundations of America are threatened, where God is mocked in the denial to a single individual or group of “just and true liberty, in matters spiritual and temporal,” as they sharply phrased it in the days of the first making of America. (p. 42)

Throughout her life, Antin had remained true to her gospel of democracy and America, and when in her later years, looking around her, she could no longer see evidence of American generosity and benevolence everywhere, she removed the promise of utopia to another plane—the dimension of spirituality. This, however, is a practical metaphysics, not a groping in the dark for indications of divine presence in everyday life. She is not exactly returning to her traditional Judaism, but instead she approaches an all-embracing deity that is as accepting of other religions as of Judaism. She sees the spiritual as feeding and be-

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MARY ANTIN ing fed by American idealism, therefore making both inexhaustible. A good Jew becomes a good citizen, helping to advance education and understanding so that the ideal community made possible by democracy may come closer to realization.

and early-twentieth-century immigrants to the United States and as a memoir of a Jewish childhood.

Among all the American immigration narratives, past and present, Antin’s is one of the most optimistic and carefully directed; clearly she was not just out to tell “what it was like” to come to the New World. She wanted to preach for Americanism, to encourage other immigrants to the United States, and later to defend policies of open immigration when they became threatened. Her adult years, during which she wrote little but spoke much to various groups around the country, were spent preaching her gospel. No confessionalist, Antin was adept at hiding her own doubts and fears when writing about her experiences and her cherished beliefs; she also selected details and scenes that would best advance her cause. Moreover, neither was she a feminist, despite her comments on the exclusion of women from educational institutions both by the tsar and by her own people in the early days; when it came to suffrage, for instance, she claimed that it was not one of her causes.

Selected Bibliography WORKS BY MARY ANTIN EDITIONS From Plotzk to Boston. Boston: Clarke, 1899. The Promised Land. Boston: Houghton Mifflin, 1912. They Who Knock at Our Gates: A Complete Gospel of Immigration. Boston and New York: Houghton Mifflin, 1914.

SHORT STORIES “Malinke’s Atonement.” Atlantic Monthly, September 1911, pp. 300–319. “The Amulet.” Atlantic Monthly, January 1913, pp. 31–41. “The Lie.” Atlantic Monthly, August 1913, pp. 177–190.

SELECTED ESSAYS “First Aid to the Alien.” Outlook, June 29, 1912, pp. 481– 485. “How I Wrote The Promised Land.” New York Times Book Review, June 30, 1912, p. 392. “A Woman to Her Fellow Citizens.” Outlook, November 2, 1912, pp. 482–486. “A Confession of Faith.” Boston Jewish Advocate, February 15, 1917, p. 5. “His Soul Goes Marching On.” Berkshire Courier, May 14, 1925, p. 1. “The Soundless Trumpet.” Atlantic Monthly, April 1937, pp. 560–569. “House of the One Father.” Common Ground, spring 1941, pp. 36–42.

Education and immigration were issues affecting men and women equally, and they remained her lifelong preoccupation; even the addition of the spiritual search did not change her primary focus. In the wake of debates about the acceptability of fictionalizing in autobiography and biography, spawned by analysis of the truthfulness of detail in books such as Edmund Morris’s Dutch: A Biography of Ronald Reagan (1999), James Frey’s autobiography A Million Little Pieces (2003), and others, critics have reexamined Antin’s memoir to see to what extent truth was tailored to serve her agenda. Other commentators have attacked the memoir because they reject its notion of assimilation as goal for immigrants from other cultures. Many readers have perceived the memoir as naive, and of course to an extent it is. Nonetheless, the original memoir remains compelling reading, both as an immigration narrative throwing light on the experiences of the vast wave of late-nineteenth

LETTERS Salz, Evelyn. “The Letters of Mary Antin: A Life Divided.” American Jewish History 84, no. 2:71–80 (1994). ———, ed. Selected Letters of Mary Antin. Syracuse, N.Y.: Syracuse University Press, 1999. Antin’s letters, papers, and manuscripts are held in over a dozen libraries in the United States and in Israel.

BIOGRAPHICAL AND CRITICAL STUDIES Adelman, Tzvi Howard. “Self, Other, and Community: Jew-

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MARY ANTIN Sociedad Española para el Estudio de los Estados Unidos: Fin de siglo, crisis y nuevos principios. Edited by María José Álvarez Maurín et al. León: Universidad, Secretariado de Publicaciones, 1999. Pp. 233–237.

ish Women’s Autobiography.” Nashim 7, no. 1:116–127 (spring 2004). Ashley, Kathleen. “Mary Antin’s ‘Biomythography.’” In Writing Lives: American Biography and Autobiography. Edited by Hans Bak and Hans Krabbendam. Amsterdam: VU University Press, 1998. Pp. 42–54. Avery, Evelyn. “Oh My ‘Mishpocha’! Some Jewish Women Writers from Antin to Kaplan View the Family.” Studies in American Jewish Literature 5:44–53 (1986). Bergland, Betty. “Mary Antin.” American Women Prose Writers, 1870–1920. Edited by Sharon M. Harris with the assistance of Heidi L. M. Jacobs and Jennifer Putzi. Detroit: Gale, 2000. Pp. 8–18. ———. “Rereading Photographs and Narratives in Ethnic Autobiography: Memory and Subjectivity in Mary Antin’s The Promised Land.” Memory, Narrative, and Identity: New Essays in Ethnic American Literatures. Edited by Amritjit Singh, Joseph T. Skerrett, Jr., and Robert E. Hogan. Boston: Northeastern University Press, 1994. Pp. 45–88. Brown, Linda Joyce. The Literature of Immigration and Racial Formation: Becoming White, Becoming Other, Becoming American in the Late Progressive Era. New York: Routledge, 2004. Buelens, Gert. “Absentee American and Impatient Immigrant (Re)appraising the Promised Land: Henry James and Mary Antin on the New England Scene.” American Studies in Scandinavia 37, no. 1:34–56 (spring 2005). Butler, Sean. “‘Both Joined and Separate’: English, Mary Antin, and the Rhetoric of Identification.” MELUS 27, no. 1:53–82 (spring 2002). Chametzky, Jules. “Rethinking Mary Antin and The Promised Land.” Modern Jewish Women Writers in America. Edited by Evelyn Avery. New York: Palgrave Macmillan, 2007. Pp. 17–27. Cohen, Sarah Blacker. “Mary Antin’s The Promised Land: A Breach of Promise.” Studies in American Jewish Literature 3, no. 2:28–35 (1977). Dominguez, Susan. “Snapshots of Twentieth-Century Writers Mary Antin, Zora Neal Hurston, Zitkala-Sa, and Anzia Yezierska.” Centennial Review 41, no. 3:547–552 (fall 1997). Ecker, Gisela. “Eating Identities—From Migration to Lifestyle: Mary Antin, Ntozake Shange, Ruth Ozekl[i].” In Wandering Selves: Essays on Migration and Multiculturalism. Edited by Michael Porsche and Christian Berkemeier. Pp. 171–183. Elahi, Babak. “The Heavy Garments of the Past: Mary and Frieda Antin in The Promised Land.” College Literature 32, no. 4:29–49 (fall 2005). Fowler, Lois J., and David H. Fowler. Revelations of Self: American Women in Autobiography. Albany: State University of New York Press, 1990. Juárez Hervás, Luisa. “‘A Heroine of Two Worlds’: Mary Antin’s The Promised Land.” In Actas III Congreso de la

Kellman, Steven G. “Lost in the Promised Land: Eva Hoffman Revises Mary Antin.” Prooftexts: A Journal of Jewish Literary History 18, no. 2:149–159 (May 1998). Kramer, Michael P. “Assimilation in The Promised Land: Mary Antin and Jewish Origins of the American Self.” Prooftexts: A Journal of Jewish Literary History 18, no. 2:121–148 (May 1998). Levinson, Julian. Exiles on Main Street: Jewish American Writers and American Literary Culture. Bloomington: Indiana University Press, 2008. McGinity, Keren R. “The Real Mary Antin: Woman on a Mission in The Promised Land.” American Jewish History 86, no. 3:285–307 (1998). Miller, Nancy K. “I Killed My Grandmother: Mary Antin, Amos Oz, and the Autobiography of a Name.” Biography: An Interdisciplinary Quarterly 30, no. 3:319–341 (summer 2007). Parini, Jay. Promised Land: Thirteen Books That Changed America. New York: Doubleday, 2008. Parrish, Timothy. “Whose Americanization? Self and Other in Mary Antin’s The Promised Land.” Studies in American Jewish Literature 13:27–38 (1994). Proefriedt, William A. “The Immigrant or ‘Outsider’ Experience as Metaphor for Becoming an Educated Person in the Modern World: Mary Antin, Richard Wright, and Eva Hoffman.” MELUS 16, no. 2:77–89 (1989). ———. “The Education of Mary Antin.” Journal of Ethnic Studies 17, no. 4:81–100 (winter 1990). Rokosz-Piejko, Elzbieta. “Falling in Love with Otherness: Some Aspects of Acculturation in Immigrant Autobiographies.” Literature and Linguistics/Literatur und Linguistik., Vol. 1. Edited by Kalaga Wojciech and Mielczarek Zygmunt. Cze˛stochowie, Poland: Wyz˙sza Szkoła Lingwistyczna, 2002 Pp. 106–114. Rosenfeld, Alvin H. “Inventing the Jew: Notes on Jewish Autobiography,” In The American Autobiography: A Collection of Critical Essays. Edited by Albert E. Stone. Englewood Cliffs, N.J.: Prentice-Hall, 1981. Pp. 133– 156. Rubin, Steven J. “Style and Meaning in Mary Antin’s The Promised Land: A Reevaluation.” Studies in American Jewish Literature 5:35–43 (1986). Sarna, Jonathan D., and Ellen Smith, eds. The Jews of Boston: Essays on the Occasion of the Centenary (1895– 1995) of the Combined Jewish Philanthropies of Greater Boston. Boston: Combined Jewish Philanthropies of Greater Boston, 1995. Shavelson, Susanne A. “Anxieties of Authorship in the Autobiographies of Mary Antin and Aliza Greenblatt.”

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MARY ANTIN Writing in the Age of Realism. Baton Rouge: Louisiana State University Press, 2007. Wirth-Nesher, Hana. Call It English: The Languages of Jewish American Literature. Princeton, N.J.: Princeton University Press, 2006.

Prooftexts: A Journal of Jewish Literary History 18, no. 2:161–186 (May 1998). Sunada, Erika. “Revisiting Horace M. Kallen’s Cultural Pluralism: A Comparative Analysis.” Journal of American and Canadian Studies 18:51–76 (2000). Tuerk, Richard. “The Youngest of America’s Children in The Promised Land.” Studies in American Jewish Literature 5:29–34 (1986). Vapnyar, Lara. “The Writer as Tour Guide.” In The Writer Uprooted: Contemporary Jewish Exile Literature. Edited by Alvin H. Rosenfeld. Bloomington: Indiana University Press, 2008. Pp. 92–109. Wilson, Sarah. “The Evolution of Ethnicity.” ELH 76, no. 1:247–276 (spring 2009). Winter, Molly Crumpton. American Narratives: Multiethnic

Wood, Mary E. “Spiders and Mice: Nature, Class, and the City in Mary Antin’s The Promised Land.” Isle: Interdisciplinary Studies in Literature and Environment 9, no. 1:45–68 (winter 2002). Zierler, Wendy. “In(ter)dependent Selves: Mary Antin, Elizabeth Stern, and Jewish Immigrant Women’s Autobiography.” In The Immigrant Experience in North American Literature: Carving Out a Niche. Edited by Katherine B. Payant and Toby Rose. Westport, Conn.: Greenwood, 1999. Pp. 1–16.

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T. CORAGHESSAN BOYLE (1948—)

D. Quentin Miller IN A 2009 interview with The Guardian, T. C. Boyle declares that life “is tragic and absurd and none of it has any purpose at all.ѧ the only thing you can do is to laugh in the face of it all” (p. 12). This aggressively existentialist attitude fits well with the public image that Boyle cultivates. As a self-styled enfant terrible of the literary establishment, Boyle (now in his sixties) cloaks himself at public appearances in the garb of an aging rock star: black T-shirts, an earring, and a goatee. A baby boomer who wanted to be a musician and whose coming-of-age stories center around alcohol abuse and heroin addiction, Boyle’s life story reads like that of a drifter saved by literature. In his essay on the craft of writing, “This Monkey, My Back,” he explicitly regards writing as a substitute for drug addiction.

the intent of majoring in music, but gravitated to English and history. After graduating in 1968 and developing a drug addiction that threatened his life (an overdose also killed one of his friends), Boyle turned to writing, initially about addiction. He was accepted into the Iowa Writers’ Workshop, where he earned an M.F.A. in creative writing as well as his Ph.D. in nineteenth-century British literature at the University. Boyle married Karen Kvashay in 1974, and together they have three children. He lives near Santa Barbara and teaches at the University of Southern California. Boyle keeps a rigid, daily writing schedule, and for a decade has maintained an active Web site, one of the first author blogs. Some might assume that a frenzied output must be the product of a manic personality, but it is also possible to see it as the result of simple steady hard work. This is the seeming contradiction of T. C. Boyle, who seems a hybrid of two authors who influenced him deeply and whose work was dissimilar: the Benzedrine-driven Jack Kerouac and the tireless wordsmith John Updike.

Yet Boyle’s lengthy and ever-expanding oeuvre paints a more nuanced portrait. For Samuel Beckett, the realization of life’s tragedy, absurdity, and pointlessness led to shrinking, spare utterances, but as Boyle continues to dig into history and to imagine the future, he seems to reveal something surprisingly akin to traditional morality, a feature some critics found lacking from his early work. This is not to say that there isn’t a strong sense of existentialist doom at the heart of Boyle’s writing, but rather to emphasize that there are many other elements in play as well. What sometimes comes across as indifference toward humanity’s fate is tempered by deep concern for humanity.

EARLY STORIES—THE GROTESQUE AND THE FANTASTIC

Boyle’s first three collections of stories—Descent of Man (1979), Greasy Lake & Other Stories (1985), and If the River Was Whiskey (1989)— present a wide range of subject matter, styles, and tones, yet there are noteworthy consistencies within them. These stories address one of three prominent themes: the troubled relationship between humans and nature, violent enactment of revenge, and the intersection of popular mythology or history with the lives of everyday suburbanites. The stories reveal a fascination with fecundity and pregnancy and a preoccupation with dangerous, mad characters who tend to

This mixture may be traced from Boyle’s journey into creative writing. He was born (December 2, 1948) and raised in the town of Peekskill, New York, the son of alcoholic parents. (Absent fathers and overbearing mothers are common figures in his novels.) He entered the State University of New York at Potsdam with

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T. CORAGHESSAN BOYLE disrupt the lives of their seemingly benign, sane counterparts. Humor and parody are dominant, but a dark undercurrent tinges the humor with profound discomfort. Descent of Man reveals Boyle’s range of subject matter and narrative style as it announces a number of themes that will develop throughout his career. The two epigraphs to the collection set the tone: the first is from Franz Kafka’s story “A Report to an Academy”; the narrator of this excerpt describes himself as a “free ape.” The second is “Ungowa!”, a nonsense word from Johnny Weismuller’s 1939 film Tarzan Finds a Son. Both signal comic absurdity and advance the idea of problematic relationships between humans and other primates. The title story, one of Boyle’s most frequently anthologized pieces, is a wildly comic tale of a spurned lover who believes that his girlfriend (“Jane,” echoing the Tarzan stories as well as famed primatologist Jane Goodall) is having a sexual affair with an ape. The narrator’s suspicions are exacerbated by his feelings of sexual inadequacy and his sense that an animal is more intelligent and culturally sophisticated than he. “Descent of Man” is overtly comical, but the humor is edgy, playing with ethnic stereotypes and dialects. The story raises a number of ethical dilemmas without providing any clues as to how to resolve them. The title itself is double-edged, referring to Charles Darwin’s famous study and to a moral descent of humanity that involves our species’ troubled relationship with the natural world above which we have supposedly evolved. Literature, science, and haute cuisine are revealed to be pursuits fraught with contradictions rather than the grand achievements we believe them to be. Virtually all of the stories in Descent of Man are as playful and comic as its title story. The reader is clearly in the realm of the absurd: one encounters tales of sickening gluttony, of a man desperate to enter an exclusive female sphere, of an unexplained storm in which blood rains from the sky, and of a man consumed with collecting beer cans. The motif structuring these stories is collision. Worlds collide, characters collide, and ideologies collide to produce violent changes in character as well as unpredictable plot

trajectories. One of the weightier stories in the collection, “Green Hell,” begins with an actual collision of a passenger plane. The story illustrates scenarios that mix the sitcom Gilligan’s Island with Joseph Conrad’s Heart of Darkness as the crash survivors attempt to form a new society only to devolve into factions that seek to destroy one another. The opportunistic narrator does survive, unlike most of the others, yet his only thought is how to turn the experience into a best-selling book—another example of humanity’s descent. The final story in the collection, “Drowning,” shows that the collection’s keynote humor has often worked to mask a much darker vision of humanity. “Drowning” begins with a selfconscious postmodernist (as well as existentialist) pronouncement that someone will drown in this story, and that the reader shouldn’t bother looking for a cause. The story introduces five characters: two drunken fishermen, one sunbathing woman, one swimming man, and one desperate, pathetic male virgin who spots the sunbathing beauty. This character rapes the woman; the two fishermen, who seem initially as though they are coming to her rescue, also rape her. The swimmer, who has noticed the naked woman on the beach but has not thought of her as vulnerable, continues his swim and drowns. The rapists return to their lives without punishment; the victim ends the story in the hospital, only dimly aware of what has happened to her, and the drowned man becomes part of the food cycle, his flesh consumed by crabs, his skeleton picked apart by gulls. The cynical idea evolving here will become part of Boyle’s enduring message: that humans interact similarly to other animals, preying on the vulnerable, fulfilling their appetites at the expense of their own species, and suffering little or no guilt when their immoral nature is exposed. The title story of Boyle’s second collection, Greasy Lake & Other Stories, almost seems to attempt to apologize for the misanthropic vision at the end of his first. “Greasy Lake” centers around a near-rape as a gang of bored teenagers who believe that it is “good to be bad” (p. 1) blunder into a situation that nearly kills them.

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T. CORAGHESSAN BOYLE Assuming they are simply harassing one of their friends engaged in a sexual tryst while parked in his car, they find themselves confronting a truly dangerous character. After the narrator nearly kills the stranger with a tire iron, he and his friends set upon the young woman with the intent of raping her. They are driven into the woods by another carload of delinquents and forced into a swamp where the narrator encounters a floating corpse. He survives the encounter and matures considerably, from a would-be murderer and rapist, “dirty, bloody, guilty, dissociated from humanity and civilization” (p. 6), to someone with a nascent conscience. The phrase “This was nature” (pp. 2, 9) appears twice in the story, both times following descriptions of human detritus and waste. Boyle asks his readers to contemplate if humanity’s only role in nature is to destroy it in the process of gratifying our primal desires.

paths on the unsuspecting world. In “Peace of Mind,” the main character makes a living by selling home security systems, preying on the racist fears of her clients by telling stories of black home invaders and rapists, attempting to convince them that her systems are necessary. She is called into the home of a sociopath who resents her and her company for thinking that they can stop the likes of him. He goes on a killing rampage, targeting a house that displays a sign advertising the same brand of security system. The saleswoman manages to use this incident in her next sales pitch, overcoming the guilt she feels for having, in essence, assisted the murderer. The grotesque is balanced by the fantastic in these story collections, however. In the stories not dominated by sexual predation, alcohol- or drug-induced rage, or marital discontent, there are buoyant fables of hope and passion. “Ike and Nina” (from Greasy Lake & Other Stories) tells of a love affair between Dwight Eisenhower and Nina Khrushchev that sustained Ike in his presidency while fueling cold war tensions. The culinary fantasy “Sorry Fugu” (from If the River Was Whiskey) depicts a chef who seduces a recalcitrant restaurant critic with food, but only after removing her from the presence of her dining companion. “The Human Fly” (also from If the River Was Whiskey) is an affecting portrait of a character driven to achieve fame by attempting dangerous stunts, such as scaling buildings or driving across country suspended from the axle of a truck. The narrator, the agent of The Human Fly, refreshingly seems more concerned with his client’s personal safety and sanity than with making a quick buck. There is a battle in Boyle’s early short stories between self-indulgence and altruism. Human nature is depicted as corrupt and destructive, but, occasionally, Boyle’s characters choose to work against this idea.

Sex and violence are keys to Boyle’s understanding of humanity’s relationship with nature in this collection. In “Whales Weep,” the narrator initiates an extramarital affair while observing the mating rituals of whales, and finds out later that his lover has been physically punished by her husband for her dalliance. In “Caviar,” an experiment in artificial insemination leads to another affair, this time between the narrator and the surrogate mother who has been hired to carry his child. The story’s final passage depicts the narrator fishing, having caught a sturgeon loaded with eggs: “I cupped my hands and held the trembling mass of it there against the gashed belly, fifty or sixty pounds of the stuff, slippery roe running through my fingers like the silver coins from a slot machine, like a jackpot” (p. 29). The implication of this final metaphor is that the pursuit of financial profit taints human relationships and is responsible for humanity’s destruction of nature and of one another. The motif of the “get-rich-quick” scheme permeates Boyle’s writing and reveals, in a financial context, the principle that drives all human interactions: people use one another (and nature) mercilessly for personal gratification. The stories in If the River Was Whiskey tend to be darker yet, and in them the drive to accumulate money unleashes dangerous psycho-

LATER STORIES: ECOLOGICAL DESTRUCTION

Boyle’s later stories do not necessarily depart from his earlier work so much as they develop or clarify themes that are also apparent in his longer fiction. The most prominent of these themes is the threat of ecological destruction. Humanity’s

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T. CORAGHESSAN BOYLE A protagonist in a Boyle story will usually make poor choices based on greed or insensitivity to the natural or human world. Boyle’s 2005 story collection, Tooth and Claw, reprises a number of his themes, but concern for the environment remains at the top. One story, “Blinded by the Light,” is set in Argentina as the ozone hole rapidly grows. The narrator is isolated by his own denial that the hole is causing his animals and even his loved ones to go blind. There is little hope for humanity in the face of such denial; the crusading scientists are our only hope. Boyle manages to treat the end of the world humorously in the title story of his 2001 collection After the Plague. The narrator, one of only a handful of human survivors, allows an irascible, unattractive woman into his house in the name of procreating the species, only to learn that she had her tubes tied years ago. He discovers another living woman with whom he is more compatible, but the two of them are attacked by his first lover, who destroys their house. The protagonist observes, “It was hateful and savage—human, that’s what it was, human” (p. 301). Clouded by emotions and unable to accept the responsibilities of ensuring that the species will continue, humanity is essentially doomed, yet the spurned lover’s former fiancé miraculously arrives out of the wilderness to stabilize the relationships between monogamous couples, securing peace, if not longevity, for the species.

worst sins, according to Boyle, are gluttony and greed, which conspire to damage the natural world. The opening story of the 1994 collection Without a Hero, “Big Game,” is a chilling account of a wealthy suburban couple who participate in a fabricated safari in California. The land preserve on which they hunt is another get-richquick scheme, created by a character who affects a British colonial accent so that his clients may believe they are having an authentic experience blasting away at injured or abused animals imported from Africa. The couple, hunting only to collect trophies, acknowledges that shooting animals at the game preserve is “tacky” (p. 4), but this acknowledgment does not prevent them from destroying a number of animals before one, an enraged elephant, destroys them and the proprietor. Nature wins in this case, but in other examples the sense that humans pose a tremendous threat to the natural world is strong. “Hopes Rise” tells a tale of the disappearance of frogs and toads from local ecosystems. The title refers to the scientific discovery of tubeworms in a formerly dead stretch of water, but, the narrator isn’t convinced: “What hope. What terrific uplifting news” (p. 36). He and his lover discover a pond full of copulating toads, which is the true source of rising hope for them. They celebrate by lying down to make love amid the toads, which sounds like a positive reunion of humanity and nature, but the story’s final sentence highlights the threat that even the most well-intentioned humans present: “And when I came for her, the toads leapt for their lives” (p. 40). In Boyle’s stories, humans treat one another no better than they treat the environment. In a moving story titled “The Fog Man,” a teenager discovers that he will descend into racism when his peers pressure him to do so. The tale is eerily framed by the presence of a worker spreading pesticides through the narrator’s suburban town while children ride behind him on bicycles. The devastation of the pesticide spraying is revealed bluntly in another story in the collection, “Top of the Food Chain,” but in “The Fog Man” the poison is metaphorically related to the poison of race relations.

NOVELS (1): COLLISIONS AND LOST FATHERS

Boyle’s first novel, Water Music (1981), expands considerably upon the themes common to his early stories. It also reveals Boyle’s fascination with history from a postmodern perspective. This fascination applies to figures both familiar and eccentric—in this case, Mungo Park, the Scottish explorer who first penetrated the interior of the African continent, opening up possibilities for the British Empire while dispossessing and murdering native peoples. The shifting tone of Water Music is not unlike that of Descent of Man: both begin overtly humorously, then gradually reveal the cynicism and even misanthropy that

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T. CORAGHESSAN BOYLE underlies the humor. Eventually, the humorous tone recedes altogether as Boyle concentrates on the depravity of Mungo Park’s mission and the culture that produced it.

may be to correct for the traditional historian by inventing tiny details that are left out of historical accounts. Boyle uses the life of the famous explorer to consider the essence of human interactions. He juxtaposes the experiences of the lowlife Ned Rise with Park’s supposed bravery. Early in the novel, Rise orchestrates a lengthy pornographic performance in a London pub while Park is doing everything within his power to chart the course of the Niger River. It is not accidental that Rise’s sex show centers around a wellendowed African, nor that Park condescends to be the sexual toy of a grotesquely oversized African queen as a way of furthering his expedition. Boyle suggests that people are all whores, whoremasters, or both. Rise’s plan to sell common London fish eggs dyed with shoe polish as caviar is one scheme leading up to Londoners calling for his hanging death; yet Park’s attempts to buy the favors of native Africans with cowrie shells and other trinkets takes nothing away from his glory. Both men are exploiters; the difference is that people die on account of Park’s actions.

If Boyle’s early stories reveal his indebtedness to Kafka, Water Music reveals a debt to more contemporary postmodern predecessors, notably John Barth and Thomas Pynchon. Boyle shares Barth’s enthusiasm for the ribald details of a past culture and Pynchon’s love of animating absurd rumors; the Loch Ness monster makes a brief appearance toward the end of the novel. Pynchonesque names such as Ned Rise and Fanny Brunch also appear in Water Music. These names are also reminiscent of the characters of Charles Dickens, whose influence on the structure of the novel is unmistakable. Water Music is a sprawling tale of betrayal, obsession, resurrection, and ultimately genocide in the name of national glory. Boyle’s postmodern sensibility results in jarring anachronisms: the narrator does not allow the reader to become fully immersed in the past; readers remain emotionally distant from the three protagonists of the novel (Park, his wife Ailie, and the scurrilous con man Ned Rise). Part of this distancing effect is created through exploiting the conventions of nineteenth-century novels, which remind readers that we are reading fiction. At the same time, this fiction depicts a historical figure whose legacy was a positive one, from an empire-building perspective. Boyle calls the truth of history into question by blending real-life characters with fictional ones.

The novel’s anachronisms may trip up the reader just as he or she immerses in the past. There is the occasional footnote, and contemporary allusions such as a Bob Dylan lyric for one of the quasi-chapter titles (“Oh Mama, can this really be the end?”) (p. 299). Mungo Park’s friend and long-term guide Johnson speaks in a twentieth-century African American idiom, and a number of other characters lapse into contemporary speech. Yet there is a tension between this narrative playfulness and a fundamentally serious intent that overshadows humor as the novel progresses. Ned Rise and Johnson improbably survive a hanging and a crocodile attack, respectively. They seem like ghosts haunting the otherwise untroubled Mungo Park during his final expedition into the African interior. These resurrected characters learn to value life, but Park never does; not only does he fail to honor the living when he neglects his wife, but he demonstrates his utter disregard for humanity during his final exploration. He is responsible for the deaths of the men he has brought with him—convicts like Rise—as well as the deaths of countless na-

History itself is a subject of debate. In the novel, one Lord Twit remarks, “And what is history, pray tell, if not a fiction? ѧ I mean to say that all our cherished histories ѧ are at best a concoction of hearsay, thirdhand reports, purposeful distortions and outright fictions invented by the self-aggrandizing participants and their sympathizers” (pp. 98–99). Park’s sidekick Johnson calls him out when he reads an account of their journey: “you’re suppose[d] to be an explorer. The first white man to come in here and tell it like it is. A myth-breaker, iconoclast, recorder of reality. If you ain’t absolutely rigorous, down to the tiniest detail, you’re a sham” (p. 121). The purpose of the postmodern novelist

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T. CORAGHESSAN BOYLE tives, including a many in a convoy of canoes that he mistakes for the enemy. Boyle’s sprawling third novel, World’s End (1987), also plays with the conventions of the historical novel. Recipient of the 1988 PEN/ Faulkner award, World’s End is largely about tangled heredity and interfamilial feuds that last from the seventeenth century through the twentieth. Two Dutch families, the Van Brunts and Van Warts, battle continuously over property, and two other families—Native Americans of the Kitchawank tribe and an English family named Crane—are summarily oppressed and nearly destroyed by the feuding Dutch. History is a nearly unbroken cycle of oppression and revenge.

lived on the land. The drive to profit from land and from the hard work of others makes the patroon immoral yet clearly powerful, and others must either submit to him or face his wrath if they resist. The novel centers around parallel historical events that are open to interpretation. In the seventeenth century, two young men are executed for rising up against the patroon; in the twentieth century, a concert in support of the Communist Party is violently broken up by a mob of local vigilantes, led by one descendant of the patroon, Depeyster Van Wart. In both cases, one of Walter’s ancestors betrays his friends—his namesake Wouter Van Brunt in the eighteenth century and his vanished father in the 1949 Peterskill riots.

Boyle lists more than sixty characters at the beginning of the book and describes their relationships to one another, and although it is difficult to isolate one main character from this list, the story coheres around Walter Van Brunt. Walter is a young man raised by surrogate parents after the untimely death of his mother and disappearance of his father following a catastrophic battle between progressives and conservatives in the town of Peterskill, New York, in 1949. Walter styles himself after Meursault, the existential antihero of Albert Camus’ The Stranger, and spends his birthday “suffer[ing] an attack of history” (p. 6) while trying to escape his feelings through the methods typical of Boyle’s characters: excessive drinking and drugs. Urged on by the woman who is to become his femme fatale, Mardi Van Wart, Walter boards a phantom ship and confronts the ghost of his father, amongst other spectral images from his ancestral past. Speeding away on his motorcycle, he crashes into a historical marker, the first of two such accidents that result in the loss of his feet, metaphorically indicating his moral disintegration. Walter understands that his town is imbued with history, “but history really didn’t do much for him” (p. 17). His collisions with history are the catalysts for the tangled web of stories that comprise the novel.

When Walter’s adoptive mother tells him the story of the riots, he initially doesn’t want to believe that his father, Truman, was “a traitor, a turncoat, a backstabber and a fink.ѧ scum. A man who’d sold out his friends and deserted his wife and son” (p. 97). The ghost of Truman Van Brunt materializes to caution that there may be another side to the story, so Walter embarks on a quest for the truth that leads him to northern Alaska, where his father had gone into exile. Walter becomes so focused on his quest to understand the past that he neglects and even abuses those around him in the present, especially his wife Jessica, an idealized, generous woman who sacrifices her career for her husband, and his friend Tom Crane, the self-styled “saint of the forest” (p. 72) who lives like a hippie Henry David Thoreau. Walter’s attempt to piece together the past is a noble one, but he becomes an increasingly unsympathetic character: he cheats on his wife, and, after she leaves him for Tom, rapes her before departing for Alaska to meet his father. He has gone to work for Depeyster Van Wart, the morally depraved descendent of the patroon, and assumes Depeyster’s capitalist values while rejecting the hippie ways of his friends. The bleak message communicated through Walter’s story and other stories that emanate from it is not only that history repeats itself, but that understanding history actually intensifies this truth rather than giving people the power to alter

Disturbing patterns that begin in the seventeenth century repeat in subsequent generations. A wealthy “patroon,” or Dutch landowner, displays ruthlessness to his tenants and belligerence with the Native Americans who originally

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T. CORAGHESSAN BOYLE history’s course. When he finally reaches Truman in Alaska, Walter “felt history squeezing him like a vise” (p. 394). Truman’s side of the story in fact confirms what Walter has heard or remembers: that his father is an alcoholic who abuses his loved ones and betrays his friends. As Walter attempts to judge Truman along these lines, Truman justly points out that the same is true of Walter: “No use fighting it.ѧ It’s in the blood, Walter. It’s in the bones” (p. 424). Walter initially rejects this fatalism, accusing his father of justifying his outrageous behavior “because of some forgotten shit that went down hundreds of years ago” (p. 424)—that is, the history that Truman had thoroughly researched, culminating in the hanging of innocents centuries before. Yet Walter has come to exhibit some of the same traits as his ancestors: one had a missing foot and engaged in the same ravenous gluttony that seizes Walter toward the end of the novel. His life, in the estimation of Depeyster, was “sad and doomed” (p. 453) just as his father’s had been.

novel’s tragic hero, ironically and homophonically named Hiro, is an escapee from a Japanese ship bound for the United States. Hiro believes in romance rather than reality; he boarded the ship ostensibly to find his American father, who deserted his mother before his birth. He imagines movie images of America: “he could go ashore and see the place for himself, see the cowboys and hookers and wild Indians, maybe even discover his father in some gleaming, spacious ranch house and sit down to cheeseburgers with him” (p. 18). When he encounters Americans he greets them with insults that film characters portrayed by Clint Eastwood or Charlton Heston might use. These encounters are hilarious on one hand, but the cultural misunderstanding they represent speaks to the novel’s larger sense of catastrophe. As the sole representative of the East, Hiro is a burdened character; he becomes the repository for all of the stereotypes and misunderstandings of the westerners he encounters, many concentrated in an artists’ colony (aptly named “Thanatopsis”) on a Georgia island. The main character here is Ruth Dershowitz, a less-thansuccessful fiction writer who is pathetic at best, dangerous at worst. The self-styled “queen bee” of the colony, she domineers and becomes obsessively jealous when her longtime rival Jane Shine arrives. Ruth also harbors Hiro, who has become a hunted refugee after a disastrous series of encounters with the island’s inhabitants. Her motivation for harboring Hiro seems humanitarian at first, but it becomes clear that she is ultimately using him as a way to seek vengeance on her lover, as a way to fulfill her maternal instincts, and as inspiration for her fiction.

There is, perhaps, some comfort in the two characters—the “saint of the forest” Tom Crane and Walter’s ex-wife Jessica, depicted as too good for this world—who leave the region on a boat called the Arcadia. Tom Crane is referred to as T. C. at one point (p. 430), and like his namesake author, he escapes the fate of the local history of New York state by fleeing to create a new world. Unlike Walter, Tom is able to resist the seduction of the toxic Mardi Van Wart, and his relationship with Jessica is marked by respect rather than possession. The hippie values of this eccentric character are ultimately validated, and his imagination and ability to fashion a self separate from historical fate is a triumph. Unlike Walter, Tom is able to transcend the world that created him and, ultimately, to leave it behind. While World’s End illustrates a collision with history, East is East (1990) illustrates a geographical collision. The title comes from Rudyard Kipling’s 1892 poem “The Ballad of East and West,” the opening line of which proclaims that “East is East and West is West, and never the twain shall meet.” When they do meet in Boyle’s book, the result is widespread confusion, mistrust, mayhem, and, eventually, tragedy. The

Ruth embodies the worst aspects of fiction writers: she is professionally jealous rather than supportive, she meddles unethically with the lives of others as a way of furthering her career, and she ultimately sells out her story for a fat contract, regarding herself as a serious journalist rather than a hack in search of quick money and fame. Routinely, she betrays those who surround her and gets away with it by blaming others. Hiro is the unfortunate victim of Ruth’s betrayals: she

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T. CORAGHESSAN BOYLE believes that she is acting in his best interests by feeding him and providing clothing, but she discards Hiro once she has received inspiration for her story, and turns him over to U.S. Immigration officers. Ruth’s central flaws are narcissism and inauthenticity. She regards herself in dramatic terms, as an actress who must play certain roles as opposed to a real person interacting with other real people. In the middle of a disastrous reading (one she gives to combat a successful reading by her rival Jane Shine), she is enraptured by the thought of herself performing: “She could hardly believe it—here she was, La Dershowitz, holding them all, playing the role of the true and unpretentious artist, nearly drowning in the joy of it” (p. 328). The frivolity of this false sentiment clashes notably with the experiences of Hiro, who almost drowns a number of times in the novel, and who is forced to live with horrific deprivations and bodily torment in his earnest if misguided search for his American father. Boyle’s eleventh novel, Talk Talk (2006), also employs his signature plot structure of the collision of lives. Dana Halter, a deaf instructor at a deaf school, is hauled into police custody and detained over a weekend after a routine traffic stop. A victim of identity theft, she and her boyfriend Bridger Martin decide to pursue the thief without the help of the police, who seem powerless and inept. The result is a frantic, sometimes violent cross-country chase. Occasionally, characters who are beyond redemption appear within Boyle’s fiction; the antagonist of Talk Talk, identity thief Peck Wilson, is very much unredeemable. Boyle somehow encourages the reader to sympathize with Peck, if only temporarily. Peck, an ex-con with an explosive temper and no conscience, is also a connoisseur of fine food and wine; this contradiction reinforces the theme of the malleability of identity and seduces the reader into admiring something about him. Individual identity in this first group of novels is an uncomfortable blend of factors one cannot control (deafness, family history, ethnicity) and self-fashioning. It is undeniably fragile and, illustrated especially in Talk Talk, can be stolen or appropriated by others with ease.

NOVELS (2): MAD SCIENTISTS, CONTROLLING QUACKS, AND POMPOUS ARTISTS

This second theme-group of novels reveals a recurrent familial trend in Boyle’s fiction: fathers are absent, and mothers are dangerously selfish. Orphans are common, as are would-be parents who go to great measures to effect pregnancy. Rarely do parents and children, with their contradictory emotional needs, fulfill one another. Boyle’s novel The Road to Wellville (1993), perhaps his most famous, is on one level an illustration of this schism between the parental and the filial. On another level, it highlights the megalomania of legendary diet reformer John Harvey Kellogg, whose propensity for delusions of grandeur reappears with Alfred Kinsey in The Inner Circle (2004) and Frank Lloyd Wright in The Women (2009). Boyle is fascinated by these charismatic males and, perhaps even more, by their followers. A number of subplots intertwine in this Dickensian novel, but two main ones center around parent/child themes: Dr. Kellogg’s epic antagonism with his adoptive son George, and the relationship of childless married couple Eleanor and Will Lightbody. Dr. Kellogg, founder of the eponymous breakfast cereal empire and architect of the Battle Creek Sanitarium, began his experiments in the nineteenth century in scientific eating and suspicious medical treatments by testing his theories on orphaned children. Like most of the wealthy adult clients at his Sanitarium, the children he once took in were obedient, or at least pliable. The one exception is George, a boy who appears merely obstinate to John Kellogg, but who is truly psychopathic. It is unclear whether Kellogg’s methods of control cause George’s pathology or merely highlight it. Kellogg’s methods for the improvement of health include sexual abstinence, radical dieting (for instance, exclusively milk, or grapes, or products he manufactures), and frequent enemas. Many of Kellogg’s clients are diagnosed with “autointoxication” (p. 60), a poisoning of the system brought about through the consumption of meat, caffeine, and alcohol. Kellogg’s cure sounds like an experiment in clean living, but his almost perverse interest in his clients’ digestive

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T. CORAGHESSAN BOYLE systems makes the doctor seem more an obsessive quack than the reformer he purports to be.

McCormick presents a challenge for early twentieth-century psychologists. In this novel, these psychologists and their employees feed off McCormick’s wealth while claiming to want to cure him. Stanley McCormick was the heir to the fortune of his father, the inventor of the modern machine reaper. His wife, Katherine Dexter McCormick, was a suffragette and philanthropist. Boyle uses their relationship to meditate on the nature of love and mental illness. Stanley is another hopelessly tragic figure. Over the decades, he is worsened by all of the treatments he undergoes. His illness is never even properly diagnosed; at the beginning of the era of modern psychology, the experts seemed to be learning as they went along. Stanley’s case becomes the basis for doctors’ articles and case studies. Reiterating a familiar motif in Boyle’s fiction, one doctor separates the sexually confused Stanley from all women, and places him in close proximity to a number of apes. Eddie O’Kane, one of the physician assistants, believes that the apes are actually “a bad influence on Mr. McCormick” who begins to imitate simian behavior (p. 178).

Kellogg manages to persuade his clients through lectures, dramatic demonstrations, and discussions. Most follow his advice without resistance, but skeptics emerge. One is Will Lightbody, the novel’s reluctant protagonist. Will has been dragged to the Sanitarium by his domineering wife Eleanor, a thorough convert to the Kellogg philosophy. Will first appears in the novel as a feeble follower of his wife’s commands, weakened by his poor health and his uxorious nature. Will arrives at the Sanitarium eager to please Eleanor, but soon drifts from her and discovers that she has placed her sexual energies outside their marriage. Dr. Kellogg fashions himself as the ur-paternal figure, and soon after Will first enters the Sanitarium, he finds himself swaddled in a diaper-like sheet, receiving an enema from a nurse onto whom he transfers his sexual desire. Having lost their child a year prior to the novel’s action, Eleanor and Will become children themselves, and Kellogg fulfills the role of their stern, distant father—the man who controls their desires and who disciplines them when they transgress. Will gradually realizes that a grown man must resist the infantalization that Kellogg prescribes. Will’s rebellion against his wife and the doctor has a comic ending: he literally drags Eleanor from the influence of Kellogg and those who surround him, and the couple returns home where they succeed in having and raising children.

O’Kane is the novel’s antihero. Though he is Stanley’s professional caretaker for decades, his own sexual behavior is out of control (though it may not be considered deviant in the way Stanley’s is). Having impregnated his young, nearly illiterate bride in New York, O’Kane moves with Stanley and his medical entourage to Riven Rock, a rehabilitation estate in California, partly to escape his marital and paternal duties. He seduces an Italian kitchen worker and is responsible for fathering three of her children, though he never divorces his wife back east, nor does he provide any support for their son. Though he isn’t dangerously mentally ill, O’Kane becomes increasingly harmful to those around him through alcoholism and infidelity. After years of caring for Stanley, O’Kane comes across a brief chronicle of his employer’s illness: “O’Kane felt himself oddly moved. The poor man, he was thinking, the poor man, and he wasn’t thinking only of Mr. McCormick” (p. 374). O’Kane realizes that, just like the man he looks after, he has not developed into a man beneficial to society over the years. Reviled by the women he loves,

The tragic counterpart to this happy ending is the story of George Kellogg. Will’s rebellion against the sadistic Dr. Kellogg goes relatively easily, but George and his adoptive father physically battle at the novel’s conclusion, nearly destroying the Sanitarium and each other, and resulting in George’s death. Like Hiro in East is East, George is doomed from the start: they are both orphans whose parental figures use them instead of love them. Like Ruth Dershowitz, Dr. Kellogg emerges with his reputation intact, and seems unaware or unconcerned that his success depends directly on the destruction of another. In another Boyle historical novel, Riven Rock (1998), the schizophrenic sex criminal Stanley

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T. CORAGHESSAN BOYLE Eddie O’Kane is a tragic figure insofar as he gradually comes to understand his flaws, yet feels powerless to do anything about them.

views regarding people’s sexual habits and histories. What begins as important scientific research develops into increasingly questionable behavior as characters in the inner circle sleep with each other, watch one another have sex, and capture their extracurricular activities on film while insisting that it is all part of their work. Boyle’s Kinsey is both the opposite of and a kindred spirit to Dr. Kellogg in The Road to Wellville: both men are persuasive in their radical critiques of American society, yet Kinsey believes his countrymen to be too pure (or “sex shy”) while Kellogg insists they are not pure enough. As narrator, John Milk is able to give readers access to Kinsey’s most outrageous behavior, yet he remains surprisingly unwilling to critique or resist Kinsey, even when the famous scientist verbally abuses him or coerces him into sexual behavior that violates his mores. There is a breaking point, though: when Kinsey involves John’s wife Iris in the sexual freeplay of the inner circle, John attacks his mentor and commits to traditional monogamy. Boyle again posits a moral dilemma about the core definition of humanity. Prok and his followers repeatedly refer to people as “the human animal” (p. 185) and regard human sexual behavior as no different from that of other species. Milk, who was a virgin when he first attended one of Prok’s lectures, is willing to accept this theory because it allows him access to a wide variety of sexual encounters, but his colleagues ridicule him when he suggests that promiscuity jeopardizes love, an emotion they discount. The birth of Milk’s son and his wife’s disapproval shock him into developing a conscience independent from Kinsey’s teachings. The dynamic between Kinsey and Milk is reprised in The Women (2009). It is narrated by Tadashi Sato, one of Frank Lloyd Wright’s apprentices, and Wright bullies Sato in some of the same ways Kinsey bullies Milk, controlling his sex life and drinking habits. Sato remains loyal to the architectural genius as he tells Wright’s story, moving backward through Wright’s life and focusing on his major loves. Sato frequently relies on footnotes to inject his own voice and opinions into Wright’s tale, and in each of the

As in many of Boyle’s other works, a woman is the moral center of this novel, a steady force of goodness to counteract the self-gratifying and destructive tendencies of the men around her. Katherine McCormick demonstrates a lifelong commitment to her husband, and despite speculation to the contrary, she is motivated by love rather than by financial greed. The novel chronicles their relationship from the beginning, before Stanley’s schizophrenia has reached its height. Katherine is patient and kind throughout their courtship and the early years of their marriage, when Stanley’s sexual hang-ups prevent him from making love to her. Katherine’s good works do not necessarily earn respect. When O’Kane initiates his extramarital relationship in California, Katherine intervenes and transports O’Kane’s wife and son to be with him. Because she seems to be the only woman whom he cannot seduce, O’Kane dubs her “the Ice Queen” (p. 21) and resents her control over his personal affairs. Katherine’s goal is to promote healthy marital relationships, and this impulse manifests itself in her commitment to social reform: temperance, women’s suffrage, and birth control. Such a figure may seem selfrighteous on the surface, but Boyle is sympathetic to Katherine in a way that he is not to any of the male characters in the novel. Katherine is ultimately the unfortunate victim of her husband’s illness and of the doctors’ collective inability to cure him. Her constancy and mature commitment to social progress are bulwarks against male aggression and domination in many forms. Boyle’s next historical novel, The Inner Circle (2004), shares many characteristics with Riven Rock, especially in that it centers around a male figure with an eccentric sexual appetite. In this case the central figure is the famous Alfred Kinsey, zoologist and author of the famous midtwentieth century studies of human sexuality. The novel is narrated by Kinsey’s fictional protégé, John Milk, a central figure in Kinsey’s inner circle of researchers. His initial role is to help Professor Kinsey (called “Prok”) conduct inter-

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T. CORAGHESSAN BOYLE three subsections of the book he tells his own story as it intersects with Wright’s. Wright is a hybrid of the other egomaniacs on which Boyle has focused: he both indulges in sex and refers to it as “the curse of Life” (p. 228), causing his second wife to regard him, correctly, as a “hypocrite” (p. 228). Hypocrisy is a familiar character trait in Boyle’s fiction, and Wright is a perfect case study. His paternalism exists to gratify his own ego rather than to benefit others: “Daddy Frank” (p. 19), as he is sometimes called, is essentially no different from Kellogg or Kinsey. What fascinates Boyle is the way that these characters influence those who surround them, not only “the women” of the title, but men like Sato who forego their own lives in order to associate with supposedly great men, even after discovering their flaws.

planning and harvest, he reaches the verge of quitting again, yet his perseverance enables him to feel a sense of accomplishment, even if what he has accomplished is illegal, and does not result in anything like the fabulous sums of money he and his colleagues have imagined. In a novel in which the main plot revolves around growing and harvesting an illegal drug, and in which all of the characters habitually drink and smoke themselves into a stupor, one would expect a more joyful hedonism than Budding Prospects conveys. The novel is subtitled “A Pastoral,” yet there are no fluting shepherds here. Rather, the novel depicts inheritors of the 1960s subculture who have grown cynical and tired. As they discuss their new business venture, they reveal their cynicism; Felix says, “Society was rotten to the core.ѧ It was dog eat dog and every man for himself” (p. 29). He goes on: “The whole hippie ethic—beads, beards, brotherhood, the community of man—it had all been bullshit, a subterfuge to keep us from realizing that there were no jobs, the economy was in trouble and the resources of the world going up in smoke.ѧ We knew what counted: money. Money, and nothing else” (p. 29). This philosophy frames a simple and essentially barren value system: Felix and his partners fail by their own measure of success, but even if they were to have succeeded, it is evident that they would not have been fulfilled. Felix comes to realize that the satisfaction of producing this particular cash crop ultimately has nothing to do with cash, and everything to do with accomplishment in the face of adversity. Every natural disaster that could possibly besiege them does, from torrential rains, to a voracious pot-eating bear, to rats, to a fire. Nature is far from the only problem, however. Felix must also deal with duplicitous business partners, an extortion-minded predecessor, an imbalanced, power-hungry police officer, a host of vigilantes who could receive a cash reward for turning the farmers in, a suspicious and hostile neighbor, a band of cantankerous drunks, and many more. Much of the novel’s humor dissolves into pathos as Felix’s predicament turns from mild ineptitude to life-ruining stupidity. Felix is wed-

NOVELS (3): NEO-NATURALISM: PARASITES AND PREDATORS

One common theme in Boyle’s novels echoes and updates the work of American naturalists such as Frank Norris, Theodore Dreiser, and John Steinbeck in which human behavior is essentially animalistic and operates according to nothing more noble than Darwinian principles of nature. Boyle uses this sensibility to take a hard look at the baby boomers whose “back to the garden” ethos is revealed to be a self-deceptive fantasy. The drive to make money is a primary concern in Boyle’s second novel, Budding Prospects (1984), which begins with two poignant epigraphs, one from Benjamin Franklin’s The Way to Wealth and the other from Arthur Miller’s Death of a Salesman. Boyle wishes to expose the folly of the American credo of getting rich through the sweat of one’s brow. Felix Nasmyth, the underemployed and overeducated narrator, joins cohorts in a get rich quick scheme to farm marijuana on someone else’s property. Everything that can possibly go wrong does in the hands of these amateurs, yet the narrator ultimately grows emotionally and morally as a result of his experiences. Budding Prospects opens with Felix’s confession that he has “always been a quitter” (p. 3), and through various trials between

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T. CORAGHESSAN BOYLE according to natural principles and diminishes itself as a result. The collision in this novel is immediate and literal, as the novel’s Anglo protagonist, Delaney Mossbacher, strikes the novel’s Hispanic protagonist, Candido, with his car. Because of the language barrier between the two, just one piece of the “tortilla curtain” separating their worlds, the men move shakily away from the accident in opposite directions. Delaney ineptly offers Candido money—a paltry twenty dollars—in recompense for the injury he has suffered. The event touches off profound changes in both men: Candido becomes increasingly powerless to control his life, which spirals violently downward, and Delaney becomes aware of his own hypocrisy: his high-minded liberal beliefs give way to baser fight-or-flight instincts with regard to immigrants. There is no trace of Boyle’s distinctive humor in The Tortilla Curtain, and without the historical remove that characterizes a number of his novels, the issues it raises are stark challenges to the reader’s morality. As Delaney reveals his latent racist tendencies, he becomes increasingly unsympathetic, and yet Candido is not just a noble victim of such racism. Candido behaves just as prejudiced Anglo-Americans expect: he has no green card, he lives in a filthy camp, he steals, he eats garbage (and even one of Delaney’s pets), and he inadvertently starts a raging fire that nearly destroys hundreds of homes. Yet he does all of this in an ill-fated attempt to provide for his young wife and their baby, and to achieve some semblance of the American dream. Readerly sympathy for Candido is likely to be mixed with horror, and the same is true for different reasons of Delaney, who is transformed from a champion of liberal causes to a paranoid vigilante. The event that catalyzes Delaney’s change is not necessarily his car accident, but rather the intrusion of coyotes into his suburban development. Coyotes devour Delaney’s two dogs, and in both cases Delaney witnesses the attack yet is powerless to do anything about it. The coyotes are clearly analogous to the intruding Mexican immigrants, and the coyotes’ predatory violence stuns Delaney into a new consciousness. Delaney is a nature writer who struggles to

ded to the noble myths of American rags-toriches success; he says, “if [our scheme] failed, after all the hope and sweat and toil we’d invested in it, then the society itself was bankrupt, the pioneers a fraud, true grit, enterprise and daring as vestigial as adenoids or appendixes. We believed in ѧ the classless society, upward mobility, the law of the jungle.ѧ what else was there?” (p. 192). It is clear that this is a masculine fantasy, devoid of feminine love. Felix and his cohorts do not fully understand how the absence of valued women in their lives causes them to regard women as nothing more than sex objects, and their own needs as animalistic rather than emotional. The introduction into Felix’s life of an ideal woman, a potter named Petra who embraces the “hippie ethic” that he once scorned, draws him away from the notion that there is nothing more to American society, history, and ethics than dog-eat-dog financial dealings. Though the road back to her is somewhat implausible, Felix’s journey from self-gratification to a love relationship marks the novel’s triumph and results in a comic ending to a book that seemed destined for tragedy. His conclusion that he may even “plant a little seed” (p. 326) when he returns to Petra—fulfilling her stated desire to have children—represents not only maturity, but hope for the future in a society that seems morally bankrupt. Not all of Boyle’s neo-naturalist works end comically. Though The Tortilla Curtain (1995) connects to many of the themes of Boyle’s early fiction, it marks a turning point in his style. Like The Road to Wellville, it is a tale of how one man’s success depends upon another’s destruction, and, like East is East, juxtaposes the misfortunes of America’s immigrant outsiders against the prosperity of America’s more established citizens. The novel’s epigraph from The Grapes of Wrath and its title’s echo of Steinbeck’s Tortilla Flats indicates Boyle’s sensitivity to the American underclass, yet his style is not ideological in this nor subsequent works. Rather, by using his signature metaphor of collision to bring two American groups into violent contact with one another, Boyle indicates how humanity acts

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T. CORAGHESSAN BOYLE understand the relationship between humanity and the natural world. In one of his columns about the encroachment of coyotes he vacillates between sympathy and fear; he writes, “But do not attempt to impose human standards on the world of nature, the world that has generated a parasite or predator for every species in existence, including our own. The coyote is not to blame—he is only trying to survive, to make a living, to take advantage of the opportunities available to him” (p. 214). This sentiment clearly parallels the perceived parasitical or predatory nature of the illegal immigrant community in relation to the established community, and Delaney’s nonjudgmental stance would be easier to believe if it were consistent with his response to Candido. But Delaney’s response to the man he once inadvertently wounded is violent, even destructive, and hypocritical: in an attempt to catch graffiti artists who are marring his property, and whom he is sure are immigrants, Delaney discovers that the perpetrators are in fact white youths from his gated community. He destroys the evidence he has collected and instead goes directly after Candido. Try though he might to maintain a sense of awe and wonder for the natural world, Delaney is essentially like every other living creature in his desire to protect himself from predators and to destroy the parasites who feed on his excesses.

tragic events of his life force him (and the reader) toward a more nuanced conclusion about the relationship between humans and the natural world. A Friend of the Earth is set partially in the future and partially in the past. Ty narrates the future segments, which are interwoven with a third-person account of past events in Ty’s life, with an emphasis on the death of his daughter Sierra. Ty claims to have been a “criminal” (p. 32) when he led a typical middle-class suburban existence because his lifestyle helped contribute to the destruction of the earth. Radical environmentalists from a group called Earth Forever! help him to see his criminal ways and start acting on behalf of the earth by participating in ecoterrorist actions like cementing himself (and his family) into the ground in front of bulldozers, and sabotaging equipment used to cut down trees. After one arrest, Ty observes that his doctor’s arms are “unnaturally long, ape’s arms ѧ Tierwater couldn’t help puzzling over a species so recently come down from the trees and yet so intent on destroying them” (p. 54). There is much irony and foreshadowing in this short phrase: first, Ty sees his own species from a remove; second, in the central tragic event of the book, Ty’s beloved daughter falls to her death from a tree; third, Ty himself is responsible for a setting a massive wildfire that destroys countless trees.

The challenge to nature writers like Delaney and to neo-naturalists like Boyle is articulating the similarities between humans and nature while acknowledging human responsibilities. Boyle’s fiction is heavily laced with irony in that any attempt that humans make to improve their species is countered by the truth that we are essentially animalistic. This irony is nowhere more apparent than in his novel A Friend of the Earth (2000). Ty Tierwater is a radical environmentalist who repeatedly finds himself imprisoned for his actions on behalf of the well-being of the natural world. He has a credo that is tested throughout the novel: “to be a friend of the earth, you have to be an enemy of the people” (p. 43). This belief separates most humans from the rest of nature, positing humanity as a destructive rather than a creative force. Although Ty may believe this, the

Despite his high-minded idealism with regard to the earth, it is apparent that Ty comes to be motivated less by principle than by base revenge. He blames arresting officers, judges, and detectives for his repeated incarceration. He is damaged by the deaths of his first wife and his daughter, which is why his need for revenge runs so deep (yet his wife’s death was caused not by humans but by a reaction to a bee sting, and his daughter loses her balance while sitting in a tree in a protest action against lumber companies). Ty’s hypocrisy is clearly displayed when he recounts how he discouraged his daughter’s vegetarianism by bullying her into eating meat (not only denying her her righteous beliefs, but allying himself with forces such as the timber companies who threaten to forcibly remove her

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T. CORAGHESSAN BOYLE during her protest). He proclaims, “It’s a Darwinian world—kill or be killed, eat or be eaten—and I see no problem with certain highly evolved apes cramming a little singed flesh between their jaws every now and again” (p. 112). Ty reveals himself to be profoundly human, which is to say flawed, even when risking life and limb for what appears to be a noble cause.

civilization on the ashes of the old” (p. 240). His misanthropy is consistent with his original philosophy that friends of the earth must be enemies to man, but the domestic and communal urge at the heart of this vision must be reconciled: Ty hates suburbia and brands himself a criminal for having once accepted it, yet his motivation for destroying it is actually a desire to recover the losses of his wife and daughter. The radical environmental movement is incommensurate with this core desire for domestic bliss. Ty ultimately regards the movement as a money-making venture like any other business, and once he admits that his actions have accomplished “absolutely nothing” (p. 266) he actually manages to fulfill his dream, in the book’s epilogue, in which he has reunited with his ex-wife in a broken-down condo. A teenaged girl eerily resembling his deceased daughter walks in and asks about their domesticated Patagonian fox. Ty answers, “‘she’s a dog.’ And then, for no reason I can think of, I can’t help adding, ‘And I’m a human being’” (p. 271). Ty’s humanity comes only after he has fully experienced loss and grief and moved to a stable acceptance of himself and his place in the cycles of nature, having realized the futility of attempting to control them.

Boyle may believe that the radical environmental movement acts in service of a noble cause, but he is more than a little wary of it. Not only is the earth in serious decline despite all of Ty’s efforts to save it, but there is the sense that he and his fellow conspirators might actually be making things worse. Meditating upon their actions against the lumber company, he wonders, “would it save the forest? And beyond that, would it save the world? Or would it only serve to provoke the timber company all the more ѧ?” (p. 132). Reflecting the activist party line, Ty says, “all elements of a given environment are equal and ѧ morally speaking no one of them has the right to dominate” (p. 151). This sentiment rubs against his admission that, after setting the fire that destroyed so much viable habitat in the name of environmentalism, “he’d felt good. And more: he’d felt like an avenger, like a god, sweeping away the refuse of the corrupted world to watch a new and purer one arise from the ashes” (p. 163). Ty acts against his own moral code, partly out of revenge and partly out of what might be called a natural need to dominate when a species is at the top of the food chain.

The fullest realization of Boyle’s neonaturalism is his 2003 novel Drop City. His fascination with utopian seekers and with the rugged frontier of Alaska come together in a masterful, mature work that is at the pinnacle of his oeuvre. The title refers to a 1970 commune with all of the hippie trappings, but the complications of free love and abundant drugs tend to overshadow any earnest efforts to live in simple harmony with nature. After an especially hedonistic ritual called “druid day” (p. 121), the communards experience a collective bad trip involving a car crash, a lost child, and the rape of a young visitor. Rather than face the music, the commune’s founder and leader suggests that they pack up and move from commune-saturated California to a truly natural space, Alaska.

The world that arises from the ashes certainly does not seem purer than the world Ty destroys with his blaze. Boyle depicts a future in which food and drink are scarce and species are dying off rapidly. Ty and a number of aging radicals set up a preserve dedicated to the survival of some of these species only to be attacked by a captive lion. Ty clings to his vision of a purer postapocalyptic future: “A comet would hit. The plague, mutated beyond all recognition, would come back to scour the land. Fire and ice. The final solution. And in all these scenarios, Ty Tierwater would miraculously survive—and his wife and daughter and a few others who respected the earth—and they would build the new uncivilized

The Drop City portion of the novel has a huge cast, but most prominent among them are two drifting flower children who have renamed

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T. CORAGHESSAN BOYLE themselves Pan and Star. Hometown lovers who set out to distance themselves from their parents’ square ways, they test the boundaries of the free love mentality. Star finds a new lover named Marco and the couple segregate themselves from the rest of the commune to pursue a modified version of domestic bliss. Pan’s nickname is meant to connote the Greek god who was companion to the nymphs, but he actually resembles Peter Pan in his stubborn refusal to grow up. He styles himself as the commune’s hunter, ignoring the widespread vegetarianism that prevails, and he routinely abuses Star, and even steals from her. He is clearly one of the parasites in the novel, taking what he can from the commune and giving nothing in return. In addition to metaphorical parasites, there are literal parasites in the novel, such as crab lice that become the scourge of the free love doctrine.

espoused by the commune. In other words, they have managed to fend off the parasites and predators that would destroy them, and are able to offer the promise of a braver new world in harmony with, not separate from, nature. It is perhaps surprising that so many of Boyle’s fictions end up underwriting monogamy, industry, and prudence. As he explains in 2009 Guardian interview, “I’m a tenured professor, hardworking and diligent and a good family man.ѧ I must be the only American writer of my generation who has had only one wife” (p. 12). The casual reader of Boyle’s books might see a host of self-indulgent and profoundly flawed men, but it is clear that such characters are often punished, or at least made to undergo uncomfortable bouts of maturity. It might be reductive to suggest that the enfant terrible of contemporary American fiction is at the core somewhat disgusted by the self-gratifying behavior of his characters, but there is more than a little evidence to suggest this conclusion. Boyle’s misanthropy and tendencies toward existential angst gradually reveal a more positive reading of humanity, just as his hedonistic, egomaniacal characters ultimately destroy themselves and make way for the more altruistic characters who have been living in their shadows. Having begun his career fixated on humanity’s descent, Boyle has revealed a subsequent fascination with narratives embracing the hope for ascent.

There are also predators, real and metaphorical, throughout the novel. The men in Drop City are routinely referred to as “cats” and the women as “chicks” (p. 67), indicating the predatory masculine agenda hiding behind the free love credo. The Alaska plot centers around another pair of lovers, Pamela and Sess Harder. Sess is a true naturalist who seeks a monogamous relationship. Pamela is Sess’s ideal mate, though her civilizing sensibilities threaten his rugged/ masculine individualism. Sess’s life is based on raw survival. In addition to the potential for starvation, madness, and frostbite posed by the Alaskan winters, he also has a potent adversary named Joe Bosky. As is common with Boyle’s protagonists, Sess is too often blinded by jealousy and vengeance, and his actions following these emotions endanger him. The clearly predatory Bosky is a psychopath whose very existence poses a threat to Sess’s well-being. Bosky kills Sess’s dogs, paralleling the voracious wolverines that attack the commune’s goats and setting up a standoff that must leave one of the two men dead. Through his own excesses, Bosky dies and takes Pan down with him. The novel ends with both main pairs of lovers intact, without the threat of male rivals, prepared to lead domestic lives based on the self-sustaining values of Alaskan survivalists as well as the communal generosity of spirit

Selected Bibliography WORKS OF T. C. BOYLE NOVELS Water Music. Boston: Little, Brown, 1981. Budding Prospects. New York: Viking, 1984. World’s End. New York: Viking, 1987. East is East. New York: Viking, 1990. The Road to Wellville. New York: Viking, 1993. The Tortilla Curtain. New York: Viking, 1995. Riven Rock. New York: Viking, 1998. A Friend of the Earth. New York: Viking, 2000.

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T. CORAGHESSAN BOYLE Failure of Postmodernism.” Studies in Short Fiction 31, no. 2:247–256 (spring 1994).

Drop City. New York: Viking, 2003. The Inner Circle. New York: Viking, 2004. Talk Talk. New York: Viking, 2006. The Women. New York: Viking, 2009.

INTERVIEWS Adams, Elizabeth. “An Interview with T. Coraghessan Boyle.” Chicago Review 37, no. 2/3:51–63 (1991). Ermelino, Louisa. “According to Boyle.” Publishers Weekly, June 19, 2006, pp. 24–25. Frumkes, Lewis Burke. “A Conversation with T. Coraghessan Boyle.” The Writer 112, no. 10:26–28 (October 1999). Grant, Richard. “A Life in Writing: TC Boyle.” The Guardian, February 28, 2009. Harshaw, Tobin. “The Uses of History.” The New York Times Book Review, April 25, 1993, p. 28. O’Neill, Molly. “At Breakfast with: T. Coraghessan Boyle; Biting the Hand that Once Fed Battle Creek.” The New York Times, June 2, 1993.

SHORT STORY COLLECTIONS Descent of Man. Boston: Little, Brown, 1979. Greasy Lake & Other Stories. New York: Viking, 1985. If the River Was Whiskey. New York: Viking, 1989. Without a Hero. New York: Viking, 1994. T. C. Boyle Stories. New York: Viking, 1998. After the Plague. New York: Viking, 2001. Doubletakes: Pairs of Contemporary Short Stories. Edited by Boyle. Boston: Wadsworth, 2003. Tooth and Claw. New York: Viking, 2005. The Human Fly and Other Stories. New York: Viking, 2005.

CRITICAL AND BIOGRAPHICAL STUDIES

FILM BASED ON THE WORK OF T. C. BOYLE

Gleason, Paul William. Understanding T. C. Boyle. Columbia: University of South Carolina Press, 2009.

The Road to Wellville. Screenplay by and directed by Alan Parker. Beacon Communications, 1994.

Hicks, Heather J. “On Whiteness in T. Coraghessan Boyle’s The Tortilla Curtain.” CRITIQUE: Studies in Contemporary Fiction 45, no. 1:43–65 (September 2003).

WEB SITE

Walker, Michael. “Boyle’s ‘Greasy Lake’ and the Moral

http://www.tcboyle.com

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PIETRO DI DONATO (1911—1992)

Tom Cerasulo UPON ITS PUBLICATION in 1939, Pietro di Donato’s debut novel Christ in Concrete was lauded by critics in the popular press for its formal and thematic explorations into the process of thinking and feeling Italian. A story of construction workers authored by an actual construction worker, Christ in Concrete enjoyed the good fortune of being the right novel at the right cultural moment. Throughout the 1920s and well into the 1930s, Italians in the United States had been seen as “swarthy,” as racially other, with dangerous criminal tendencies to boot, but by the dawn of World War II, boosted by America’s efforts to promote democracy around the world, Italians were well on their way to becoming “white,” with all its attending privileges. They might eat strange-smelling foods, speak a funny-sounding language, and get a little dark-skinned in the summer, but they loved their mothers, worked hard on having nice lawns, and believed in a Christian God, and in these important ways they resembled their neighbors on Main Street. By introducing the reading public to the Italian American experience, Christ in Concrete helped pave the road to their acceptance. Rose Basile Green, who in 1974 published one of the first genre studies of the Italian American novel, calls Pietro di Donato: “the first Italian-American writer to stir the American reading public to recognize fully the Italian-American experience” and finds in Christ in Concrete “a significant documentation of America’s social history” (p. 151).

Donato’s artistic powers had faded over the years since the Depression, but what had certainly changed by the 1960s was a critical climate and an American publishing industry experiencing shifts in definitions of literary value and searching for new, non-European ethnic voices to promote. What were seen as di Donato’s unique stylistic assets in the 1930s came to be seen as weaknesses in his later works written decades later, when di Donato was no longer a bricklaying literary savant, the United States had entered an age of prosperity, and Italian Americans had further assimilated.

EARLY LIFE

Pietro di Donato was born on April 3, 1911, in West Hoboken, New Jersey, to Geremio and Annunziata di Donato, immigrants from the Vasto region of Abruzzi, Italy. His father, a bricklayer who was rumored to be the bastard son of a nobleman, died in a construction accident on Good Friday of 1923 when the building he was working on, located on Mott Street in lower Manhattan, partially collapsed, plunging him into a vat of wet cement and suffocating him. It was revealed later that the project’s contractor had tried to save money by using imperfect materials for the scaffolding and the flooring. Pietro was twelve years old, and as the eldest of eight children he took his father’s place as the head of the household and went to work as a bricklayer to support his large family. Although he would later take a few engineering and construction classes at City College of the City University of New York, his father’s death forced Pietro to quit school in the ninth grade. This lack of a formal education bothered di Donato his entire life.

But di Donato’s subsequent novels of 1958 and 1960, This Woman and Three Circles of Light, published after a long period of absence from the writing profession, as well as his 1960 and 1962 biographies of two female Catholic saints, Maria Goretti and Mother Cabrini, received mixed reviews. It is arguable whether or not Pietro di

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PIETRO DI DONATO Pietro di Donato learned the physically demanding, dangerous trade quickly, impressing his seasoned coworkers. He also learned, painfully, to become class-conscious and ethnically conscious, realizing that immigrant laborers were often exploited by those higher up on the socioeconomic ladder. In 1927, on the eve of the execution of the Italian American anarchists Nicola Sacco and Bartolomeo Vanzetti, who had been convicted of robbery and murder at the end of an unfair trial where their ethnicity had been used against them, di Donato joined the Communist Party. But after attending a few political demonstrations and donating some money to progressive causes, he sought another venue for expressing his anger for the injustices suffered by men like his father, his godfather, and his uncles. Michael Esposito writes that di Donato’s “Old World instincts inevitably forced him to abandon the existing political structures and to replace them with his own personal, humanitarian philosophy ѧ to illuminate the conflicts the Italian immigrants encountered in accepting the American ethos” (pp. 48–49).

completely emotionalized and that future work is utterly unpredictable” (quoted in Thomas Ferraro, p. 216). “Christ in Concrete” was selected to appear in Edward O’Brien’s Best Short Stories of 1938, and Esquire also issued it as a stand-alone, stylishly typeset and richly illustrated pamphlet that sold for a quarter. Thomas Ferraro writes: The unprecedented decision by Esquire to publish a discrete version of the story may have been partly a long-term marketing ploy, generating a buzz around their discovery of a great and slightly salacious writer, but the self-interestedness of Esquire pales before the existence of the slim book itself ѧ I can’t help but think that di Donato felt something of an artisan’s pleasure/pride in the quiet beauty and relative heft of this small book, an objective correlative of the artistry that went into its representative story. (pp. 70-71)

Di Donato received many publishing offers to expand “Christ in Concrete” into a novel. BobbsMerrill provided him with a five-hundred-dollar advance and a salary of twenty dollars a week to work on the book, which allowed him to put away his trowel for a time. Di Donato completed Christ in Concrete in eight months. Upon submitting the manuscript, he then went back to bricklaying, working on several buildings for the upcoming World’s Fair. The novel was released in 1939 to great acclaim and strong sales. Soon after, according to the commentary his son Peter di Donato provided for a DVD version of the film of Christ in Concrete, an exuberant di Donato urinated on his masonry tools and tossed them off the Brooklyn Bridge into the river below.

Di Donato’s hard work had enabled him to move his brothers and sisters to a house in Northport, on Long Island, New York. When the Depression temporarily put him out of a job in 1936, he began spending time at the Northport public library, reading novels of the downtrodden by masters like Leo Tolstoy, Émile Zola, and Fyodor Dostoyevsky. Di Donato had also been reading plays by Clifford Odets, and he believed he could do a better job than Odets of depicting working-class life. Inspired to put his experiences down on paper, he wrote a short story titled “Christ in Concrete,” dramatizing the violent death of an immigrant bricklayer, and mailed it off to the editor Arnold Gingrich at Esquire magazine. Before publishing the piece in 1937, however, thinking it might be some sort of literary hoax, the magazine sent the journalist Meyer Levin to meet Pietro di Donato, just to make sure he was really a construction worker and had really written the piece. Levin confirmed he was the genuine article and “crazy about music and when he writes claims that he sees colors and forms and hears notes” but added “I think he is

CHRIST IN CONCRETE

Pietro di Donato’s autobiographical representative in Christ in Concrete is the boy Paul, who must become the breadwinner of his family when his father dies in the collapse of a building constructed with skimpy materials. Geremio had asked the boss, Mr. Murdin, to spend a bit more to fortify the structure’s foundation, but had been threatened with being fired if he did not keep his mouth shut: “Lissenyawopbastard! if you don’t like it, you know what you can do” (p. 9). When Paul goes to the police station to claim his

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PIETRO DI DONATO father’s body, he is told: “the wop is under the wrappin paper out in the courtyard” (p. 26). The ethnic slur “wop” derives from Italian dialect for “thug” (guappo), but has come to be identified as an acronym for “with out papers.” Geremio was neither. He had entered the country legally and was beginning the process of citizenship.

123). Northerners regarded southerners as backward, cowardly, dense, and lazy. Yet those who decided to emigrate, contrary to the stereotypes of their native countrymen, obviously possessed a fair measure of bravery and ambition to make so bold a move. Like many immigrant groups before them, and after them, southern Italians came to America in search of opportunities unavailable to them in their home countries. Some intended to return to Italy once they had made their fortune; many returned in defeat and frustration well before they had done so. As Richard Gambino explains in Blood of My Blood, these southern Italians brought with them to America an elaborate social system that had protected them against both destitution and exploitation in the old country. It was l’ordine della famiglia, an unwritten set of rules governing one’s responsibilities to blood relatives—not only mothers and fathers and sons and daughters, but also third cousins and great-aunts. The importance of familial ties was reinforced by other institutions of social bonding, such as the selection of godparents, which invited outsiders into the family circle, and campanilismo, the sense of allegiance to one’s neighborhood or village. The word campanilismo was derived from campanile (church bell tower), indicating you could only trust people who lived within listening distance of your parish bells. In this way, Italians were not really even Italians. They thought of themselves not as belonging to the nation of Italy, but as members of a region in general—for instance Naples, Sicily, Genoa, or Palermo—and a village in particular. Most immigrants were members of the contadini, the lower class of southern Italians, who recognized only one social reality: family. The Italian Marxist philosopher Antonio Gramsci wrote extensively on this culture of the southern peasant as an example of a cultura negata, a denied culture. He argued that these subordinated groups were politically, economically, and culturally oppressed by the dominant culture—in part because of their passivity and fatalism. Although Gramsci, who was a southerner himself, had some respect for the contadino emphasis on family, he also identified some of its resulting weak-

Paul learns quickly and sharply that the larger American society has little regard for his kind. Christ in Concrete’s Italian Americans are both economically and ethnically marginalized. As Paul tries to survive in a hostile urban landscape and provide for his loved ones—a narrative told in short, impressionistic episodes—he finds himself caught between an Old World, Italian identity left behind and a New World, American identity as yet out of reach. In this way, Christ in Concrete resembles both a documentary novel in the social-realist tradition and an aesthetically modernist narrative that charts interior states. Di Donato’s deeply personal story of Paul and his family becomes the story of all Italian American immigrants. During the period 1830–1930, the century of mass immigration in the West, 4.5 million Italians left home for America. Four million arrived between 1890–1921; two million arrived between 1901 and 1910 alone. The vast majority of these new immigrants hailed from the Mezzogiorno, Italy’s eight southern provinces: Abruzzi, Campania, Molise, Apulia, Basilicata, Calabria, Sicily, and Sardinia. Their reason for coming was economic. Northern Italy possessed a temperate climate, flat terrain, abundant crops, political power, and prosperous European neighbor countries. Southern Italy was dry and hilly and unindustrialized. It was, according to a popular saying in the region, “the land that time forgot.” Peasants working the land as sharecroppers were scarcely better off than they had been under feudalism. Political promises made during the 1861 Italian unification process, the risorgimento, never came to fruition. As to why the north was unwilling to aid its countrymen in the south, Louise Napolitano writes: “To the ruling north, the Mezzogiorno (everything south of Rome) was Africa; southern Italians were the ‘blacks’ of Italy and were treated like second-class citizens” (p.

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PIETRO DI DONATO nesses: provincialism, pessimism, superstition, and too much faith in religion. In Christ in Concrete, Geremio exhibits aspirational signs of the Italian artigiano (artisan) class: he can read and write, wants his son to get a book education, and views himself as a skilled craftsman. But in industrial America, Geremio has sacrificed himself to his family. He works to exhaustion on a building he knows to be unsafe, and he bears the brunt of his boss’ anger so that he can buy his own home and provide for his wife and seven children, with an eighth on the way: “Who am I to complain when the good Christ himself was crucified? ѧ I feel the building wants to tell me something, just as one Christian to another ѧ Ah, bella casa mio. Where my little freshlets of blood and my good woman await me. Home where my broken back will not ache so ѧ I have earned a bit of bread for me and mine” (pp. 4–6). For the Americanized Paul, contadino ways are not enough. His disillusionment pervades the novel. Although he takes pride in his bricklaying skills and enjoys the camaraderie of his fellow workers, Paul realizes that “Job” is a grinding, inhumane system that preys on the economically weak, destroying the body, mind, and spirit:

(pp. 142–143)

low orders blindly. In Christ in Concrete, big business does not care about the individual. As one bricklayer, the Lucy, bemoans to his coworkers, “That’s what the America does for your peasants. Vomit your poison, you miserable bastards, for when you go to scratch the louse from your hungry faces you will not even possess the luxury of fingernails” (p. 77). Taking care of one’s family is of central importance in the novel, which is the factor that pushes these men to be willing to keep putting themselves in harm’s way. Despite the terrible pay, dizzyingly long hours, and often-lethal working conditions, Job is the only option these men can imagine for themselves. In America, there is no safety net for them. As Paul’s godfather Nazone says, “And why shouldn’t the son of a bricklayer learn the art and bring food to his family? Is the school going to satisfy their needs? The Police? The Army? Or Navy? The Church? Or the City Hall stinking with thieves?” (p. 67). In the Mezzogiorno region of Italy, peasants were suspicious of formal education, which took children away from the sphere of the family and made them question traditions. They also resisted the authority of the northern-controlled Italian government and a church aligned with the landowning classes. These prejudices had been brought to America, and are dramatized in Christ in Concrete. Young Paul loses his faith in both the church and state when they fail to help his mother and siblings. The social service agency, located in a building with the words “JUSTICE” and “EQUALITY” (p. 53) chiseled into its facade (likely by an Italian American mason), denies Paul’s claim, stating that Geremio had yet to complete the citizenship process. The Workman’s Compensation Bureau absolves the construction company and the insurance company from any financial responsibility for Geremio’s death:

Work, or “Job,” is a character in the novel, and serves as an antagonist. By capitalizing its first letter and omitting the article “the,” di Donato ascribes an omnipotent, mysterious power to Job. As pawns of the labor market, Paul and his comrades face Job’s attacks of death and dismemberment each day. Their economic value resides in their ability to do dangerous work and to fol-

And they saw the winning smiles that made them feel they had conspired with Geremio to kill himself so that they could present themselves here as objects of pity and then receive American dollars for nothing. The smiles that made them feel they had undressed in front of these gentlemen and revealed dirty underwear. The smiles that smelled of refreshing toothpaste and considered flesh. The smiles that made them feel they were un-Godly and greasy

Quickly he sweated, and human water commingled with lime-mortar and brick. This is the fresh stink of Job, this is the eight hour daily duel, this is the sense of red and grey, and our bodies are no longer meat and bone of our parents, but substance of Job ѧ These men were the hardness that would bruise Paul many times. They were the bodies to whom he would be joined in bondage to Job. Job would be a brick labyrinth that would suck him in deeper and deeper, and there would be no going back. Life would never be a dear music, a festival, a gift of Nature. Life would be the torque of Wall’s battle that distorted straight limbs beneath weight in heat and rain and cold.

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PIETRO DI DONATO his parents had come to the United States in search of a better life, they had found instead that this American life of social and economic determinism certainly was no better. The promise of a classless society where all men were equal had proven to be false, and hardworking people get permanently stuck, as if in concrete: “Who nails us to the cross? Mother,” Paul asks, “why are we living! ѧ Unfair! Unfair!—Our lives— unfair” (p. 226). When Paul had started bricklaying, he had been paid less than half of what the other men were getting for the same amount of work. When he asked why, explaining he could never support his large household on that salary, he was told, “That’s the way the world is” (p. 95).

pagan Christians; the smiles that told them they did not belong in the Workmen’s Compensation Bureau. (p. 133)

Instead of getting angry or indignant, Paul and his mother, Annunziata, feel that their misfortunes must be their own fault. They have seen themselves as their oppressors see them, and they are ashamed. When Paul goes to the church for help, a rotund priest sitting down to an enormous meal offers the hungry family only a single piece of strawberry shortcake—echoes of Marie Antoinette’s response to starving peasants, “Let them eat cake”—and many empty excuses. He tells them to go ask their neighbors for help, neighbors as poor as they are. That these immigrant neighbors—Italian, Jewish, and Irish—do in fact offer them food and money adds to Paul’s class-consciousness. He realizes that organizations that are supposed to help the weak and the needy—the church, the welfare office, the police—are impersonal bureaucracies indifferent to human suffering. In the book’s climax, Paul has a nightmare in which he relives the horrific deaths of his father and godfather, only to foresee his own death at the hands of Job. Here, as he does throughout the novel, di Donato excels at capturing the gruesome physicality of traumatized bodies. In Paul’s dream, “His godfather is near him with his legs snapped off and kicking the pointy ends about like a woman lying on her back and squirming in desire; he is twisted, his face chopped in two, and he’s trying to keep the lid of his one remaining eye open with his fingers” (p. 222). Statues of saints leave their pedestals and begin pushing wheelbarrows around the church. Geremio is beaten up by a figure who transforms from a priest to a foreman to “a general, a mayor, a principal, a policeman” (p. 225). Priests, foremen, and policemen are all Irish Americans in the novel, dominating their specific institutions, and they look down on Italian immigrants in the same way they had been looked down on by other ethnic groups as famine-stricken (yet, importantly, English-speaking) new arrivals in the 1840s. When he awakes, Paul is a changed boy. He has lost faith in God and country. If people like

Now Paul finds that he can no longer be passive and willing to have the world act upon him rather than him acting within it. He cannot be like his father and operate on blind faith. He is done accepting “that’s the way the world is,” and he pledges to fight against injustice and question the myths that oppress his family—though he, and the reader, are never quite sure exactly what that will entail. Beyond Christ in Concrete’s advocacy of self-reliance and its call for the recognition of innate human dignity, the novel does not beat its drum for any specific ideological position or argue for any political action or social reform. Perhaps a labor union or an Italian American community organization, for instance, would just be another bureaucratic institution, like the government or the church, and di Donato has no use for institutions. Above all else, Paul knows he wants to take the family in a new, secular direction, which worries his mother. Southern Italian culture was predicated on tradition, reflected in the proverb: “Chi lascia la via vecchia e pieglio la via nuova, sa quello che lascia me non sa quello che trova ” (He who leaves the old way for the new, knows what he leaves but knows not what he will find). If lives in stasis were bad, change could be worse. Ancient superstitions die hard. Paul knows that fortune-tellers like the Cripple are frauds, preying on Annunziata’s desire to communicate with her lost husband and giving her false hope for the future, and he has come to believe Christian-

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PIETRO DI DONATO ity is a fraud as well. In a symbolic gesture toward the end of the book, one that finds him rejecting the Catholic belief that a better life awaits the long-suffering, self-sacrificing poor in the afterlife, he crushes his mother’s crucifix. But as Annunziata lies on her deathbed, mother and son are reconciled in an operatic final scene that appears to have her crowning Paul the new Christ, making the other kids his apostles:

one might expect from an untutored craftsman” (p. 307). Like Mulas’, most studies of Christ in Concrete note the author’s innovative use of poetic, sensory translations of Italian dialect to depict the inner lives and working conditions of immigrant laborers. But the novel is not without its narrative faults. For example, di Donato is no master craftsman of point of view and plot. His use of free indirect discourse and stream of consciousness have their lyric moments, but for the most part the novel bounces too frantically from the “I” of the first person to the “he” of third person to the “you” of second person, from omniscient narration to limited, from Geremio as the focus of the action ѧ to Paul ѧ to Annunziata ѧ to brief glimpses into the minds of uncles and godfathers. Di Donato is not a skilled psychological realist in the manner of Henry James for example. He is a dramatist above all else. Broken into five, act-like sections (Geremio, Job, Tenement, Fiesta, and Annunziata), Christ in Concrete moves best—and derives its power— through dialogue.

And as he cradled her closely close, she receded ѧ and crooned: “Ne’ ѧ Ne’ ѧ Ne’ ѧ How beautiful he Little Paul my own Whose Jesu self Glorified our home Nadi ѧ Nadi ѧ Nadiѧ Gifted to me By the Madonna was he And of this son Shall rise A topless lighted column ѧ! ѧ Ne’ ѧ Ne’ ѧ Ne’ ѧ” With numbing hand she beckoned. “Children wonderful ѧ love ѧ love love ѧ love ever our Paul. Follow him.”

This dialogue is also the primary delivery system of the elements that comprise the novel’s essential “Italianess,” or what Fred Gardaphe and other scholars of Italian American literature term italianita. Drawing on ideas from the eighteenthcentury Italian philosopher and historian Giambattista Vico, Gardaphe argues that “each minority culture also has a prehistory that can and must be reconstructed. For Italian Americans, this is a history largely found in the immigrants’ words and figures, or tropes, discovered in both the early writing (usually letters and journalism) and the oral traditions that inform this early literature” (1996, p. 20). This gives novels like Christ in Concrete not only literary value, but ethnographic import as well. Documents like di Donato’s narrative allow an ethnic identity to be defined, located, and rediscovered by looking closely at its formal and thematic elements. With its insider voices, Christ in Concrete is an emotional history of Italian Americans in the early part of the twentieth century. We learn about di Donato’s characters, and about their experiences as ethnics in America, by listening to what they say.

(p. 236)

CRITICAL RESPONSES TO THE NOVEL

In his 1939 review of Christ in Concrete, which appeared in the daily edition of the New York Times, Charles Poore notes di Donato’s lapses into melodrama and “over-ornamented prose,” but he also praises him for being able to “write, at will, like Sherwood Anderson, Dreiser, May Sinclair, Joyce, or any of the experimentalists who have heard the siren call of Stein. He has brewed a pretty strange and fiery mixture of realism, romanticism, naturalism, and impressionism” (p. 31). A more recent critic, Franco Mulas, writes: “Although the writing betrays various stylistic inconsistencies, on the whole we can say that the young author succeeded in giving us a convincingly objective view of the protagonists’ world as they themselves lived and viewed it. At the same time, however, he charged it with the meaningful tensions of his own youthful feelings, without quite falling into the sentimentality that

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PIETRO DI DONATO Di Donato often translates idiomatic Italian expressions into English, as when one foreignborn character says to another on the book’s opening page, “Ah, father of countless chicks, the old age is a carrion” (p. 3), or the way the Italian per piacere (please) is rendered literally as “for pleasure” throughout. Another tonal register is broken English, as when Mike the Barrel-mouth yells out: “Somebodys who gotta bigga buncha keeds and he alla times talka from somebody elsa” (p. 4). Similarly, when Italian speakers are interacting with English speakers in English, they find themselves reaching for awkward phrases and making syntactical mistakes in their second language. Paul’s injured uncle Luigi, who will lose an infected leg doled out by Job, cries out: “Nurse-nurse, I sense badly ѧ nurse-doctors, I sense ill” (p. 87). Luigi is trying to translate the mother tongue phrase that means “I feel sick”: mi sento male. Sometimes, when an English translation of a word cannot convey the same cultural meaning, di Donato leaves the Italian mixed into his translation: a male baby in Geremio’s patriarchal world is a bambino; his home is bella casa mio; the beloved Roman Catholic deity must be addressed as Dio; and the deeply religious Annunziata’s deathbed song equates Paul with Jesu.

theme of loving family bonds that remain strong through hardships. Furthermore, its exploration of outsiders in search of the American dream located it squarely in the mainstream tradition of the literature of the United States. Therefore, it was looked at not just as an Italian American novel, but as an American novel as well. Christ in Concrete was a main selection of the Bookof-the-Month Club, where it was picked by the committee over John Steinbeck’s The Grapes of Wrath, ultimately selling eighty thousand copies and providing it with the lucrative stamp of middlebrow approval. Like many examples of American ethnic realism, such as Henry Roth’s 1934 Call It Sleep, di Donato’s Christ in Concrete was an insider account of first-generation experience written from the perspective of a second-generation participant and observer. But the novel held more than just sociological interest for readers. A great deal of the excitement about Christ in Concrete was about di Donato himself. Reviewers often appeared to praise the autobiographical novel for its worker-author’s wonderful ignorance of how a novel should be written. Asked many years later how he had arrived at his signature writing style, di Donato explained: “By virtue of not having had an education, I can be direct and literal and translate literally. If my mother said a thing a certain way, that’s the way I translated it, without any thought of grammar or this and that. It comes across, and there it is. That’s why it looks so different and so original. Then the next thing, of course, the dramatic structure, well that’s dictated by nature, by my rhythms, by my volatility, that which I cannot change” (von Huene–Greenberg, p. 36).

These different sounds and different dialects all combine to create a new language for a population in transition—not still fully Italian but not quite American yet either. Throughout the novel, Paul serves as intermediary and translator, able to code switch from Italian, to Italianized English, to standard English. He speaks “proper” English with his Jewish American friend Louis, who will go on to educational opportunities unavailable to the young bricklayer forced to support his family. As the son of Italian-speaking parents, Paul also understands orders barked at him in another language on the worksite. By the end of the novel, he seems to have found a balance between an Italian-speaking, class-bound familial identity and an American dream that must be pursued in English.

In the press, di Donato was treated as some sort of noble primitive from a land of strange talk and strange customs. Frederick T. Marsh in the August 20, 1939, New York Times Book Review called him “an untutored sensuous artist” (p. 4); and Dorothy Canfield reported “your ears are wonted to the new-minted freshness of their Italian-English metaphors and rhythms, so that to return to the correctness of our own stereotyped everyday talk is almost like leaving poetry for prose” (p. 28). Where highbrow and middlebrow

Despite the linguistic otherness of the book’s characters, critics of 1939 found something universal and reassuring in Christ in Concrete’s

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PIETRO DI DONATO critics of the late 1930s thought they had discovered a savage modernist, those on the radical left thought they had discovered a proletarian novelist who was an actual member of the proletariat. However, in time, di Donato and his novel soon disappointed members of both camps. The author was adamant that he was not experimenting with language or trying to be artful; he was simply capturing the lyrical colloquialism of the Italian conversations around him. And although the novel’s characters are literally building capitalism’s infrastructure by erecting buildings in New York City’s financial district, capitalism isn’t to blame for the problems of Paul’s family; corruption is the culprit. A bargaining table isn’t the center of his characters’ lives; the family dinner table is. Pietro di Donato was a teenage member of the Communist Party, but he did not self-identify with leftist literary groups and did not publish in their journals. Furthermore, in his speech to the Third American Writers Conference, he made it clear that he was not interested in writing for class-conscious people and would not give up an ethnic identity for a class one. Later in life he was even more explicit in his feelings: “I was disenchanted with the masses, I saw them for what they were, treacherous, weak, fragmentary. They’re not whole people” (von Huene–Greenberg, p. 52).

But in late 1939, after a few months spent in a hedonistic haze in which he enjoyed the type of capitalist perks his Christ in Concrete seemed to condemn, the author soon found himself right back among the masses. Michael Esposito writes: “When his money was gone—he earned approximately $100,000 lecturing and writing—his new friends deserted him. Too mentally exhausted to resume writing, di Donato wandered aimlessly about the United States in an attempt to rekindle his creative spark; he was a derelict between 1939 and 1942” (p. 47). During this period, he did manage to write a one-act play titled “The Love of Annunziata,” which dramatized Geremio’s unfaithfulness to his wife and her forgiveness of his transgressions, but di Donato was unable to support himself as an author in the years to follow. During World War II, registering as a conscientious objector, he went to a Quaker camp in Cooperstown, New York, to work as a forester. He thought the war had been “manufactured by international capitalism” and was angry that “this goddamn society had sent me to go to work at twelve and did not send me to high school or college” (von Huene–Greenberg, pp. 42, 43). At the camp, he met his future wife, the widow Helen Dean, a former showgirl, who had recognized him from his author’s photo on the Bookof-the-Month Club edition of Christ in Concrete. Married in 1943 by New York City’s Italian American mayor Fiorello La Guardia, the couple moved to Long Island, where they would raise two sons, Peter and Richard. In 1946, di Donato decided to start a masonry business with his brother. His return to construction was, he later said, “a humiliating and desolating experience.” He thought that he had let down his fellow Italian American bricklayers. “My coming back and joining them seemed a betrayal of their expectations of me” (quoted in Esposito, p. 56). Unable to deliver on his promise as a great artist, he was once again simply an ordinary guy.

IN THE AFTERMATH OF CHRIST IN CONCRETE

With the success of his novel, di Donato had left many of his paesani behind: “I had access to a strata of society that they did not have. They couldn’t sit with Dorothy Thompson, the big columnist, or famous people. But famous people were looking me up. They wanted to see this laborer, this bricklayer, to see what picked his brain. I picked their brain. It was interesting. Naturally, I was escalated to another plane in every respect. ѧ Here’s the difference—the wealthy knew what they wanted and went after it and got it. The poor masses didn’t and still don’t know what they want and are incapable of uniting to get what they need” (von Huene–Greenberg, p. 45).

In the late 1940s, when di Donato was approached by filmmakers who wanted to adapt his novel, he was hopeful that it might renew interest in him and his writing. Give Us This Day, a 1949 movie version of Christ in Concrete directed

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PIETRO DI DONATO by Edward Dmytryk and starring Sam Wanamaker as Geremio and Lea Padovani as Annunziata, won an award at the Venice Film Festival but received only a limited American release, under the less blasphemous title Salt to the Devil. One reason often given for the film’s rapid fall into oblivion is that Dmytryk was suspected of being a Communist. As one of the “Hollywood Ten” who refused to testify in the House Un-American Activities Committee’s hearings, he was blacklisted from the film industry for a time, which affected the film’s distribution and exhibition possibilities. Furthermore, the film fit no established Hollywood genre and was not distributed by a major studio, so it had trouble finding an audience. The fuss over Christ in Concrete had gone quiet long ago, and Pietro di Donato felt like a forgotten man. Yet he continued writing in his spare time and worked on a second novel for over a decade. The result was 1958’s This Woman.

and familial stability is restored when Isa tells Paolo he is the father of her son. Then they all go to the beach. Critics such as Rose Basile Green have mined the novel for glimmers of larger, sociological significance, seeing in Paolo’s wife’s smug smile the mocking of the Italian by the Anglo-Saxon and viewing her wealthy ex-husband as a representative of capitalism. Green writes: “the final burial of Jack’s body is the symbolic rooting of ethnics who preceded the Italian-American, and the act is representatively violent. With the expiation of this necessary act, Paolo concludes that idealism is a functioning illusion, that even oneness with a woman is a romantic dream. The reader senses that DiDonato is saying, on another level, that the American Dream is an inspiring but romantic idea” (p. 155). According to di Donato, however, This Woman was “an obsessive novel about myself and my wife. It had a complete style of its own. I kept seeing her past” (quoted in Esposito, p. 56), and the theme of the text was “my Catholic compulsion to have had a virgin wife” (Diomede, p. 105). Published by Ballantine, known for its attractively priced midcentury paperbacks on drugstore spinning racks, This Woman was dismissed by Time as “a sex potboiler” (p. 101). In Christ in Concrete the reader gets to know Paul’s family intimately; here the reader gets to know Paolo’s erotic exploits—and therefore presumably Pietro di Donato’s erotic fantasies and exploits—intimately. As the protagonist has sex with Isa, we are treated to her private thoughts and whispered bedroom conversation regarding his prowess:

THIS WOMAN AND THREE CIRCLES OF LIGHT

Like Christ in Concrete, di Donato’s This Woman was autobiographical, but instead of telling the story of an immigrant group made fatally passive by religion, this new book was about an aggressive husband dangerously obsessed with his wife’s romantic past. Freed from the apron strings of his dead mother’s Catholicism, Paolo di Alba has become a libertine. Fred Gardaphe writes, “For Di Donato, the solution to the problems created by capitalism would come not in the form of an organized church, but rather through a spiritual quest for truth that would lead him back to pagan sensualism that he would record in his second novel” (1993, p. xvii). After numerous sexual encounters with a variety of women, Paolo enters into a sadomasochistic affair with Isa, a widow whom he eventually marries. But Paolo’s jealousy of Isa’s first husband, a wealthy hotelier, begins eating away at him. Isa will not get rid of Jack’s stuff, and it drives Paolo mad. At one point he rapes his wife on her ex-husband’s grave; later he digs him up and desecrates the body, then drags Isa to see the defiled corpse. In a conclusion that escapes all logic, the couple reconciles

“Paolo boy, you know your stuff. You kill me. This is the way I want to die.” This guy’ll slaughter me before the night’s over. Goodie, Goodie, he fits beautifully. “Jack weighed a ton, couldn’t breathe. Thought he’d crush me out of shape the first time.” Sister mercy of the butterflies this guy has put electrodes in my ѧ (p. 18)

There is no real reason here to split up what Isa is thinking and what she says: both proclaim Paolo a great lover. There is no disconnect between her outer voice and her inner voice. This Woman reads like a catalog of sensations and

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PIETRO DI DONATO emotions; it has no real plot or narrative tension. Like many examples of borderline pornographic writing, it just gets boring after a while. In reviews of Christ in Concrete, di Donato’s episodic construction and piling on of words were praised for their Joycean, impressionistic effects. His prose seemed to mirror the confusion felt by his characters in a world and language they were still trying to figure out. But here, the worst features of the author’s ham-fisted style seemed exposed:

effective in Christ in Concrete, but here is only exasperatingly cloying” (p. 429). But what had changed to make a device once aesthetically satisfying now gratingly annoying? Both novels revolve around the death of Geremio, but move in different thematic and chronological orbits otherwise. In Christ in Concrete, Paul di Alba rejects the religious faith of his mother. Three Circles of Light places more stock in religion than did its predecessor, although that religion is not quite Roman Catholicism. Mezzogiorno Catholicism included polytheistic elements derived from conquerors of the region as far back as ancient Greece and Rome. For example, saints and the Madonna were treated as minor gods and could be asked to perform small favors or to put in a good word with the Lord. Worshippers could turn on these figures and take their allegiances elsewhere in the pantheon if prayers went unanswered. As seen in Christ in Concrete, southern Italians also believed in superstitions such as the “evil eye” and in faith healing. Di Donato’s fictional world depicts religion to be as cultural as it is spiritual. In Christ in Concrete, Geremio was the innocent victim of unscrupulous builders, but Three Circles of Light reveals that he was complicit in financial shortcuts being taken. His harrowing death scene in Christ in Concrete—with his genitals impaled on a steel rod, his teeth snapping off, and his mouth filling with blood as he tries to bite through the concrete that is suffocating him—is reduced to a matter-of-fact description in Three Circles of Light: “The edifice upon which Father was laying brick collapsed. The building hated Father, hated Annunziata and her children. The many floors and walls threw themselves vengefully upon Father and crushed him. That Good Friday, Father, against his wishes and our wishes, became my very own Christ in concrete” (p. 176). Furthermore, the novel implies that Geremio perishes not because of the corruption of others, but as the comeuppance for his sins, the most mortal of which is adultery. In taking a blond American mistress, Geremio has placed a pox on his house. A local woman, Teresina, warns his wife: “The American heart and soul feels not for our kind. Have Geremio discard

This woman was the same as many women; a woman necessary, as the earth is to the swirling seed and the sower’s hand. The balm of peace transcending came to him and removed him from her, and with it lightened the burden of his need for her. From this entablature he could look unselfishly down upon this Isa and Tromm with sympathy, as if viewing from an elevated detachment their mutuality of common equilibrium, and her deprivation and vacuity of the same by his death. (This Woman, p. 213)

Critics derided what they saw as a phony elevated diction. Furthermore, as an author stand-in Paolo/ Paul was much less sympathetic here than he was in Christ in Concrete. In the first novel he was a boy trying to provide for his mama and baby siblings; in the second he was a batterer, a sadist, and a rapist. The rooting interest just was not there. Di Donato’s third novel did not fare much better. Three Circles of Light, which appeared in 1960 and is written as a prequel to Christ in Concrete, chronicles the life of Paul and his family up to the time of his father’s death. The three circles of the title are family, church, and work. Like Christ in Concrete, the novel moves episodically, but this time the technique was seen as a weakness by critics. Time said that di Donato “has written a piece of immigrant Americana that has no more narrative line than an antipasto” (p. 101), the Commonweal reviewer Philip Deasy called the work “a cliché-ridden, overdone piece of hokum” (p. 430) whose “descent into sentimentality, bathos, and just plain scurrility is rapid. ѧThe dialogue for the most part is in that phony Biblical idiom that purports to be a translation of the speakers’ Italian, a device that was lyrically

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PIETRO DI DONATO Delia Dunn and these Americans who look down upon us as an inferior race. Remember seriously, when darkness strikes one of our homes, it is the paesano who brings the order of strength, and the sacred taper of care and love” (p. 147). Teresina’s words point to what may have irked reviewers about the book, and why it was seen as inferior to Christ in Concrete. Not only were there thematic differences in worldview between these two novels, there were differences in the social reality of the world itself between these two novels. The sociologist Richard D. Alba writes:

Soprano’s psyche, di Donato’s working-class everymen, Mario Puzo’s mafiosi, and the pop singer Madonna’s crucifixes—that have transmitted Italian American mores and sensibilities into the larger American oversoul. He writes of di Donato’s achievement in Christ in Concrete: In the depth of the Depression, a man very much like the son of Geremio, a bricklayer who was expected to fill his later father’s shoes all his days, nonetheless willed himself into becoming a writer, a man of the word (not bricks) in the public eye. It was then, and only then, as a writer, that di Donato was able to reveal “the flesh and smell and joy of them” who were, as he put it, his “own people,” and who had since their arrival lived beneath the radar of middle-class sentiment, so close to the bone.

The position of Italians in American society shifted very rapidly during and after World War II. The war had the effect of expanding the magic circle of citizenship to include Italian Americans and other white ethnics, and it drew a distinction between the previously despised European ethnic groups and people of color that had not been so visible before. Consequently, in the aftermath of the war, it was the white ethnics who made tremendous socioeconomic strides. In fact, the social position of Italian Americans continued to improve throughout the period under discussion, and the group’s social mobility was accompanied by demonstrable cultural and social assimilation. The most significant indicator of the assimilation trend was the intermarriage rate, which rose sharply in the 1950s and 1960s.

(p. 71)

Ferraro’s chapter headings (like di Donato’s in Christ in Concrete)—“Honor”; “City”; “Job”; “Mother”; “Song”; “Crime”; “Romance”; “Diva”; “Skin”; and “Table”—provide a list of archetypal words, deeply resonating with Italian Americans, that have become central to the mainstream culture through the historical commodification of an Italian American identity. In these ways, di Donato’s later novels may have seemed passé, making them victims of a postwar acceptance of Italian Americans that had been helped along by Christ in Concrete. In Three Circles of Light, a 1960 prequel to a text written over twenty years earlier about a time before World War I, Italians still self-identify as a different race. They have not assimilated and, as Teresina’s words remind us, many of them have no intention of doing so. They do not care to be Americanized and choose to remain in an ethnic enclave. But by the 1960s, this was no longer the reality. Implicit in reviews of Three Circles of Light was that Pietro di Donato was out of touch. The suffering of Italian Americans no longer played as well as it had in 1939, and di Donato’s characters now came off as mere Tony Macaroni stereotypes. Furthermore, publishers and literary critics in the United States were now looking for new voices and experiences to champion. In 1964, Congress revised the immigration laws, and stories of new American ethnics, from the

(p. 99)

A familiar discussion in studies of American ethnicity since the late twentieth century, like Alba’s, has been the process whereby some immigrant groups formerly thought of as “nonwhite”— Greek Americans, Italian Americans, and Irish Americans among them—were re-racialized, ethnically dry-cleaned, to emerge as Caucasians. Thomas J. Ferraro’s Feeling Italian: The Art of Ethnicity in America (2005), which includes an insightful chapter on Pietro di Donato, sets up shop in a different spot. Ferraro argues that Italians did not become more American; Americans became more Italian. He writes: “The feelings Italian Americans have for themselves, the feelings non-Italians have for Italian Americans, and the feelings both have for the role of Italianness in America intertwine and interpenetrate” (p. 4). Ferraro looks at aesthetic objects and pop-culture figures—such as Frank Sinatra’s performance of self, Joseph Stella’s modernist paintings, Tony

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PIETRO DI DONATO Caribbean, Latin America, and Asia were waiting to be told, marketed, and sold.

knew how to get things done by convincing people to help her. She would size up a community and angle for the best price on properties she wanted to transform into a nursery, a rectory, or even a farm. Much of the real estate she amassed for the Catholic Church in the cities of New York and Chicago would later become extremely valuable. She was always an underdog, always in poor health, but her strong faith and ironclad devotion to God kept her going and allowed her to help tenement dwellers, orphans, miners, and hospital patients.

IMMIGRANT SAINT: THE LIFE OF MOTHER CABRINI, THE PENITENT, AND LATER WORKS

With its emphasis on ritual, customs, and on superstitions like the “evil eye,” Three Circles of Light seems to have found Pietro di Donato making peace with the pagan-inflected Italian American Catholicism of his youth, but stopping way short of an outright return to Roman Catholic faith. In other words, he had a newfound respect and cultural pride for the pageantry and iconography of the church, but not its doctrine. In this vein, he wrote two novelistic hagiographies, 1960’s Immigrant Saint: The Life of Mother Cabrini and 1962’s The Penitent. Di Donato had begun researching the life of the woman known as Mother Cabrini as a screenplay for a film for Twentieth Century–Fox, in which Sophia Loren was to play the title role. Plans for the movie fell through, and the material was reshaped into a book, published by McGrawHill. The biography follows the life of Francesca Xavier Cabrini, the first American canonized by the Roman Catholic Church as a saint, and it dramatizes episodes from her childhood in Italy, her mission in New York City to work with the poor, her struggles with anti-immigrant sentiments, her founding of the Missionary Sisters of the Sacred Heart of Jesus, her death in 1917, and her canonization in 1946. Di Donato told an interviewer: “I fell in love with Mother Cabrini as a human being. I would never write about a god or saints that I have never seen. I’m not that credulous and naïve. So, realistically, Mother Cabrini did more good for the Italian immigrants than anybody” (Diomede, p. 139). The book might best be described as a nonfiction novella. While di Donato quotes from letters and other historical documents, much of the material is imaginative. He imagines conversations Cabrini might have engaged in and creates for her baroque internal dialogues and symbolic dreams and visions. The portrait that emerges of Cabrini is of an energetic, courageous, thrifty, ingenious, highly organized woman who

Some 1960s reviews of the biography suggested that di Donato’s treatment of the material was too operatic and that he had tried too hard to depict Mother Cabrini as the victim of anti-Italian discrimination. Philip Burnham wrote in Commonweal: “The situation of the new ItalianAmericans was not so pathetic and saddened by specific discrimination as to check the great tide of their immigration, nor, probably, to justify a certain righteous querulousness in this book” (p. 513). Many historians would disagree. The American Catholic Church saw Italian Catholicism as almost equivalent to paganism, and Cabrini faced discrimination even from the New York archbishop Michael Corrigan, who essentially advised her and her sisters to get on the next boat back to Italy. Even with his minor objections to the treatment of the material, Burnham, like many reviewers for Christian news outlets, found much to admire in the book. After Christ in Concrete, Immigrant Saint was perhaps di Donato’s most successful work, though its audience was much smaller. The biography was a favorite of religious book clubs and appeared on Christian “best of” lists. St. Martin’s Press also reissued it in 1991, which renewed interest in di Donato for a time. The March 15, 1991, issue of Library Journal recommended that although Catholic readers were the most likely audience “general biography and non-Catholic religious collections should include it” (p. 120). The idea for di Donato’s other biography of a saint was given to him by his wife, Helen, who had read an article in the New York Times on the 1902 murder of the Italian girl Maria Goretti and

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PIETRO DI DONATO the subsequent moral reformation of her killer. Instead of focusing on the saint, The Penitent, published by Hawthorn, focuses on the sinner. The preteen Goretti had been killed fighting off her would-be rapist, Alessandro Serenelli, a fisherman living with her family. As he hacked her to death, Goretti forgave him. During his trial Serenelli was unrepentant, and citizens observing in the courtroom were clamoring for him to receive the maximum penalty. But Maria’s mother spoke on his behalf, stating that if Maria had forgiven him during her murder, then she would forgive him at the trial as well. Serenelli served a sentence of twenty-seven years for his crime, and while in prison he grew close to the Goretti family. Upon his release, he entered a monastery, where di Donato visited him:

penetrated by ‘religious’ kitsch. It is, regrettably, hard to believe that the author of Christ in Concrete also produced this venture in Reader’s Digest hagiography” (p. 407). Di Donato’s final works after these hagiographies concentrated less on the sacred and more on the profane. From the mid-1960s through the 1970s, he published short stories and articles in men’s “nudie” magazines such as Playboy, Penthouse, and Nugget. In 1978 he won an Overseas Press Club Award for a Penthouse article on the kidnapping and murder of Aldo Moro, the leader of Italy’s Christian Democratic Party. Many of these pieces, along with excerpts from Christ in Concrete, This Woman, and Three Circles of Light were collected in a 1970 volume titled Naked Author, published by Phaedra. The book is marred by numerous typographical errors, but—as its title indicates—it reveals much about Pietro di Donato’s life and his emotions. It also finds him, as he is getting old, reflecting on his writing career and his place in literary history. One of the stories it features, a 1966 piece titled “Tropic of Cuba,” is based on di Donato’s 1939 meeting with Ernest Hemingway, in which each man tries to outdrink and outboast the other:

It was like an old-age place. He had read my book, Christ in Concrete, and he had two favorite books, Delitto e Pena [Crime and Punishment of Dostoyevsky] and Christ in Concrete of DiDonato. So we became great friends. We took a lot of pictures together and wept together, and we prayed together and so forth. So that was so rewarding and again I say it had nothing to do with the Jew God named Christ and Jehovah in the Old Testament and all that kind of fatal stuff. It had to do with my people and all truth and humanity.

I said he was full of shit and he said his shit was better than anyone else’s shit. According to him he was the champ of writing and of this and of that. “[sic] To me he was his mother with a mustache and hopelessly imbedded was his father’s hysteria; and I felt his type was comfortable only with lesbians.” [sic] He said I was a flash in the pan and could never discipline myself as a professional author; and what was funny was that he, a convert to catholicism, called me a false catholic.

(quoted in Diomede, p. 141)

In The Penitent, di Donato’s Depression-era study of the works of Dostoevsky in the Northport public library appears to have paid dividends. The biography does a good job imagining Serenelli’s tortured inner dialogues, both as a will-to-power madman in the days leading up to his crime and, gradually, as a man searching for redemption. Here, as elsewhere in his body of work, di Donato vividly describes the battles between the spirit and the flesh. However, some critics saw the book’s focus on the murderer to be misaligned, and they wished for less melodrama and more intellectual rigor. Maria, canonized by Pope Pius XII in 1952 as Saint Agnes, comes off a bit too saintly. One reviewer, Thomas P. McDonnell, wrote, “Although this is not a postcard biography by any means, it is nevertheless clear that Alessandro Serenelli remains within a mystery of sanctity that cannot be

(p. 265)

Di Donato wrote a novel called “Havana” based on the story, but could not find a publisher for it. For many decades, the author worked on a long work titled “The Gospels,” a jeremiad-like, politicized reimagining of the New Testament set against the backdrop of the late twentieth century. The material features wars, copulations, executions, assassinations, and carnage and ends with the Last Judgment. Louise Napolitano writes: “Stylistically, the Bible, mythology, theatre of the absurd, Dante, Strindberg and Pirandello converge in The Gospels” (p. 11). Each section

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PIETRO DI DONATO features a Christ of changing ethnicities and genders: a Native American Christ, a Jewish Christ, a female Chinese Christ, and a black woman Christ. Di Donato intended the work to be “purely my revenge on society, my answer to all the nonsense of authority and of Church and so forth” (vonHuene–Greenberg, p. 33). The Gospels were never completed. Di Donato died of bone cancer on January 19, 1992, on Long Island, New York. The novel remains unpublished.

that it is real. I’m real, but playact. They say, ‘He’s a genius. Look how lyrical this and that.’ No, he suffered, he suffered, he suffered” (Diomede, p. 127). Here, di Donato has it both ways. He quotes others calling him a literary genius but appears to retain an identity as an authentic Italian American worker whose artistic material comes straight from life, as opposed to those mafia playacters DeNiro and Mario Puzo. Into his eighties, Pietro di Donato still took great pleasure in playing the role of, as Frederick Marsh had called him at the beginning of his writing career: “the untutored sensuous artist.” Robert Viscusi writes: “The outrageous is what still retains a flavor. Di Donato remained a freethinking Italian bricklayer to the end of his days, never pausing to make himself more decorous, more restrained. In retrospect, this witness resembled a Christian sign of contradiction, a witness to another and superior way of seeing the world ѧ Di Donato’s penance was to immure himself inside his imaginary father’s imaginary body as if it were itself a concrete coffin” (p. 106). Viscusi goes on to say that this literary search for a lost father struck a chord with Italian American writers and scholars who came of age in the 1970s: “Di Donato’s version had particular salience to a whole generation of immigrants’ children who had overcome their fathers by leaving them behind, forgetting their language and their music, and then had emerged, after the Cultural Revolution of 1968, finding themselves to be Italians all over again” (p. 107). This Woman and Three Circles of Light had been published too late to be included among the American immigration stories of early twentieth century yet too early to be part of the celebration of multiculturalism and the recovery of Italian American ethnic identity of the 1970s. Today, Christ in Concrete is still considered Pietro di Donato’s greatest artistic accomplishment. In interviews with Diomede and von Huene–Greenberg, di Donato himself agreed with this assessment. But the later novels have now found their champions. Through di Donato’s writing, critics can explore what it means to be Italian in America and what it means to be an American of Italian descent. Louise Napolitano writes that di

CONCLUSION

From the beginning of his writing career, the story of di Donato the uneducated Italian American bricklayer was cemented to the story of di Donato the author. Like many American authors, Pietro di Donato was a master architect of his own mythology, even if the stories he told about himself did not always hold up over time. In “Paesano with a Trowel,” a 1960 profile in Time magazine that coincided with the publication of Three Circles of Light, di Donato explained his long absence from writing as a crisis in identity. After the publication of Christ in Concrete, he said, he had become “too sophisticated for bricklaying and too confused to write.” He had moved to a wooden house on Long Island because he was “sick of brick” (p. 101). Yet at other times throughout his life, he maintained that he had never planned to be an author, was not an artist, and simply wrote from and about his experiences as an Italian American manual laborer. He told Dorothee von Huene–Greenberg: “I’m in my way, although uneducated, an elitist—a conscious, definite, voluntary elitist ѧ I’m a missionary, I’m a dreamer, I’m a visionary, a revolutionist, an idealist” (p. 35). Among writers and intellectuals he usually presented himself as a bricklayer, and among bricklayers he usually presented himself as a writer and intellectual. In an interview conducted a few years before his death, he remarked, “What do you think I dream about at night? I dream about I’m a bricklayer. ѧ That distinguishes me from the Puzos and the Robert DeNiros. They’re playacting, and they’re trying to make believe

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PIETRO DI DONATO Donato’s novels “transformed the facts and statistics into felt experience for the reader, enabling the reader through this dramatization to better understand the Italian American experience. Di Donato’s work displays that ‘qualitative’ aspect of Italian American life, so elusive to historians” (p. 18). In the years since his death, with his inclusion in volumes like The Heath Anthology of American Literature, appreciation from a robust Italian American writing and publishing community, and discussion of his novels at panels at academic conferences like the Modern Language Association, Pietro di Donato has taken his place in the canon as a spokesman for Italian American literary voices.

VIA: Voices in Italian-Americana 2, no. 2:67–78 (fall 1991). Diomede, Matthew. Pietro di Donato: The Master Builder. Lewisburg, Pa.: Bucknell University Press, 1995. Esposito, Michael. “The Travail of Pietro di Donato.” MELUS 7, no. 2:46–60 (summer 1980). Ferraro, Thomas P. Feeling Italian: The Art of Ethnicity in America. New York: New York University Press, 2005. Gambino, Richard. Blood of My Blood: The Dilemma of the Italian Americans. Garden City, N.Y.: Doubleday, 1974. Gardaphe, Fred L. Introduction to Christ in Concrete. New York: Signet Classic, 1993. Pp. ix–xviii. ———. Italian Signs, American Streets. Durham, N.C.: Duke University Press, 1996. Gramsci, Antonio. Selections from the Prison Notebooks. New York: International Publishers, 1971. Green, Rose Basile. The Italian American Novel. Rutherford, N.J.: Farleigh Dickinson University Press, 1974. Mulas, Franco. “The Ethnic Language of Pietro di Donato’s Christ in Concrete.” In From the Margin: Writings in Italian Americana. Edited by Anthony Julian Tamburri, Paolo A. Giordano, and Fred L. Gardaphe. West Lafayette, Ind.: Purdue University Press, 1991. Pp. 307–315. Napolitano, Louise. An American Story: Pietro di Donato’s Christ in Concrete. New York: Peter Lang, 1995. “Paesano with a Trowel.” Time, June 6, 1960, p. 101. Tamburri, Anthony Julian, Paolo A. Giordano, and Fred L. Gardaphe, eds. From the Margin: Writings in Italian Americana. West Lafayette, Ind.: Pudue University Press, 1991. Viscusi, Robert. Buried Caesars, and Other Secrets of Italian American Writing. Albany: State University of New York Press, 2006.

Selected Bibliography WORKS OF PIETRO DI DONATO EDITIONS Christ in Concrete. Indianapolis: Bobbs-Merrill, 1939. Reprint New York: Signet Classic, 1993. (Quotations in text are from the reprint edition.) “The Love of Annunziata” (Play) In American Scenes, edited by William Kozlenko, 119-138. New York: McGraw-Hill, 1941. This Woman. New York: Ballantine, 1958. Immigrant Saint: The Life of Mother Cabrini. New York: McGraw-Hill, 1960. Three Circles of Light. New York: Messner, 1960. The Penitent. New York: Hawthorn, 1962. Naked Author. New York: Phaedra, 1970.

JOURNALS, CORRESPONDENCE,

AND

BOOK REVIEWS AND INTERVIEWS Canfield, Dorothy. “A Young Bricklayer Writes.” New York Times Book Review, August 20, 1939, p. 28. Burnham, Philip. “American Saint.” Commonweal 73, February 10, 1961, pp. 512–514. Deasy, Philip. “To the Nadir.” Commonweal 72, August 19, 1960, pp. 429–430. Marsh, Fred T. Review of Christ in Concrete, by Pietro di Donato. New York Times Book Review, August 20, 1939, p. 6. McDonnell, Thomas P. “Postcard Sanctity.” Commonweal 76, July 13, 1962, pp. 406–407. Poore, Charles. Review of Christ in Concrete by Pietro di Donato. New York Times, September 15, 1939, p. 31. Review of Immigrant Saint: The Life of Mother Cabrini. Library Journal, March 15, 1961, p. 120. von Huene–Greenberg, Dorothee. “A MELUS Interview: Pietro di Donato.” MELUS 14, nos. 3–4:33–52 (fall–winter 1987).

MANUSCRIPTS

Pietro di Donato’s papers are collected at the Immigration History Research Center at the College of Liberal Arts at the University of Minnesotta Mineapolis and at Stony Brook University.

BIOGRAPHICAL AND CRITICAL STUDIES Alba, Richard D. Italian Americans: Into the Twilight of Ethnicity. Englewood Cliffs, N.J.: Prentice-Hall, 1985. Casciato, Arthur D. “The Bricklayer as Bricoleur: Pietro di Donato and the Cultural Politics of the Popular Front.”

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TIMOTHY FINDLEY (1930—2002)

Nancy Bunge TIMOTHY FINDLEY COMMITTED himself and his work to veracity, but he believed that this meant avoiding realism. He argued that literature does a particularly good job of exposing large truths because it conveys meanings through imagery and symbolism: facts can distract from what really matters. He learned this early in his professional life as an actor: he produced a compelling rendition of a character not by replicating the details of that person’s life, but by calling upon dimensions of himself that would allow him to manifest that character’s attitude. If anger consumed the person Findley attempted to portray on the stage, then he would fuel his performance with his own anger; his emotional involvement vivified his characterization in a way his intellect never could. Findley contended that the same careful attention to his instincts rather than to his thoughts allowed him to function successfully as a dancer and as a writer. This insistence that the author or the dancer or the actor become one with the character he or she attempts to depict not only requires calling upon personal dispositions, but also self-realization. For instance, Findley reported that he disliked Wallis Simpson, the American woman for whom King Edward VIII abdicated the throne, but in order to inhabit and delineate her as a character in his novel Famous Last Words (1981), he had to use previously unacknowledged aspects of himself. Findley’s writing, dancing and acting method, therefore, required that he continually learn new things about himself. He hoped that his own engagement with whatever art he produced would allow him to embody the human issues it raised so compellingly that the viewer or reader would also achieve a new level of thinking and, especially, of feeling, for Findley vehemently insisted that he created by listening to his heart, not his head, and that although he

appreciated intellectual explanations of his work, he could not really understand them. Moreover, he hoped exposure to his work would encourage people to become kinder rather than smarter.

BIOGRAPHY

Born on October 30, 1930, in Toronto, Canada, Findley had to learn to trust himself from an early age. His paternal grandfather, Thomas Findley, the president of Massey-Harris, a manufacturer of farming machinery, was one of Toronto’s most distinguished and successful citizens. His mother, Margaret Bull Findley, was the daughter of a piano manufacturer. But the promising circumstances that seemed to assure his parents and their children comfortable lives were deteriorating even before Findley was born. Findley’s uncle “Tif,” Thomas Irving Findley, from whom Findley inherited both his name, Timothy Irving Frederick Findley, and his nickname, “Tiff,” had returned from World War I an invalid. Findley’s father, Allen Findley, a stockbroker during the 1929 crash, struggled financially, forcing the family to move to a more modest house. When Timothy Findley was three, his infant brother died; shortly thereafter, his uncle Tif died. Findley himself persistently struggled with illness, so he spent much time alone reading, while his older brother, Michael, was a gregarious and popular child. When Timothy was nine, his father left for War War II after informing Michael but not Timothy about his enlistment. This clearly bothered Findley, who presents thinly disguised versions of the event in the story “War” (collected in Dinner Along the Amazon, 1984) and in the novella You Went Away (1996). Although his father’s absence exacerbated the family’s financial problems, his return did not relieve them;

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TIMOTHY FINDLEY moreover, his father’s behavior after coming home persuaded young Timothy that his father felt trapped by his family.

Whether or not they result from Wilder’s influence, similarities exist between Wilder’s work and Findley’s. In a blurb for Not Wanted on the Voyage (1984), Northrop Frye declares the novel reminiscent of Wilder’s 1942 play The Skin of Our Teeth, but even more fundamental parallels link Winder and Findley. For instance, both wrote fiction as well as plays, and their unhappiness with the unkindness they saw practiced all around them shaped everything they produced. Wilder and Findley hoped their literature would remind people of their better sides, or at least help them face their shortcomings. But, at the same time, they both suspected and avoided overtly political work, which they believed too ideological to generate powerful and enduring literature. Perhaps the most significant bond between them relates to Findley’s motto, “Against despair!” Wilder also understood that people can treat each other kindly only if they embrace the hopefulness and decency that he believed exists in everyone. Like Findley, Wilder considered cruelty the largest human failing and compassion its only solution. As a result, the work of both men engages its readers and audiences in unusual perspectives, for they maintained that all genuine human connection rests on an ability to see things from multiple points of view: the more adept people become at putting themselves in others’ situations, the more easily they can realize an empathy that improves their own lives as well as those of the people with whom they interact. And both men held that writers best achieve these goals by avoiding didacticism and involving themselves and their readers in the unfolding drama of stories. In his 2003 posthumous memoir, Journeyman: Travels of a Writer, Findley reports that his theater work honed his storytelling abilities. He repeatedly explains that his fiction grows from his involvement with particular characters and that his time on the stage cultivated his ability to imagine himself into the stance of another person. But Findley’s life partner, William Whitehead, challenges this assertion in a 1981 interview titled “Alice Drops Her Cigarette on the Floor ѧ (William Whitehead Looking Over Timothy Findley’s Shoulder).” In the interview, White-

By the time he was seven or eight years old, Findley had realized that men, not women, attracted him, and he told his parents of his homosexuality in his early teens; they chose to dismiss the notion. He attended Jarvis Collegiate between bouts of illness from 1945 until 1948 and left before graduating. Findley decided he wanted to study dance; when his father refused to finance lessons, he got a job in the MasseyHarris factory that his grandfather once ran and he paid for the lessons himself. A fused disc ended his dancing career, but when he had the experience of participating in a crowd that urged Christ’s crucifixion in an Easter play, he fell in love with acting: he found plays more fully expressive than the ballet. Findley performed with Alec Guinness at the Stratford Festival in Canada in 1953, its first season, and so impressed Guinness that he offered to pay for Findley’s passage to London as well for as his housing there so that Findley could train at London’s Central School of Speech and Drama. Findley stayed in London to work, and in 1955 he played a waiter named Rudolph in Thornton Wilder’s The Matchmaker, starring Ruth Gordon. When actors from the production together visited an art exhibit in Manchester featuring work by artists under thirty, Ruth Gordon complained to the group that the art reflected the pessimism of young people. Findley wanted to prove her wrong, so he wrote her a story, “About Effie.” After reading it, she urged Findley to keep writing and she also passed the tale on to Thornton Wilder, who concurred that Findley should become an author. Wilder and Findley remained friends until Wilder’s death in 1975. Findley acknowledges his deep debt to Wilder’s mentorship in his memoirs, and he repeatedly includes references either to Wilder or to Wilder’s work in his own writing. For instance, Dolly, a major character in Findley’s 1969 novel The Butterfly Plague, reads and reflects on Wilder’s 1927 novel The Bridge of San Luis Rey, and Findley dedicated Famous Last Words to Wilder’s memory.

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TIMOTHY FINDLEY head interrupts Findley as he begins to explain yet again that his characters guide his writing, protesting that Findley makes it sound as though producing literature comes easily for him. Whitehead says he knows firsthand that Findley labors over his writing. This effort is presumably necessary because Findley, like the reader, must struggle to locate and develop aspects of himself that correspond to each character’s take on reality. But Findley remarks in his 1990 memoir, Inside Memory, that he enjoys this difficulty: he waited impatiently for The Matchmaker’s run to end so that he could stop playing the same narrow character and move on to new challenges.

only rocks. Findley repeatedly avowed that Whitehead’s support and help were crucial to his work and his life. Together they wrote an awardwinning series about Canada’s first transcontinental railroad called The National Dream: Building the Impossible Railway for the Canadian Broadcasting Company in 1974. But while Whitehead continued to write documentaries for television, including over one hundred episodes for a CBC science show called The Nature of Things, Findley concentrated on imaginative writing, in part because he found having his work interpreted and reworked by others frustrating.

Findley also believed that his time in the theater gave him a sense of language and taught him how to pace events in a way that captures the reader’s interest. Certainly the language of Findley’s fiction is consistently lucid, powerful, and specific, inviting the readers to become absorbed in his stories and settings. Even though Findley wrote many novels over four hundred pages long, only the most disciplined and determined person could stop reading a work of his fiction after the first hundred pages. His vivid plots, characters, and language easily engage those who encounter them. After the American tour of The Matchmaker ended in California in 1956, Findley went to Hollywood, where he got by with whatever jobs he could find and concentrated on writing. He burned the novel he produced in that period. In 1958, he settled back in Toronto, where he did some acting, was briefly married to the actress Janet Reid, and kept writing. In 1962, he met and fell in love with William Whitehead, who had a master’s degree in biology but had recently started acting after becoming smitten with the theater. Then both men quit acting to focus on writing for radio and television. Findley found he enjoyed composing work based on real events, and he has said that the use of documents in his fiction derives from his experience writing scripts for documentaries. In 1964, Findley and Whitehead bought a farm near Toronto and named it Stone Orchard, partly in homage to Findley’s hero, Anton Chekhov, and his play The Cherry Orchard, and partly because the farm produced

THE LAST OF THE CRAZY PEOPLE

Findley’s first published book, The Last of the Crazy People (1967), has a simplicity that seems to distinguish it from the many novels that followed. Told from the point of view of Hooker Winslow, an eleven-year-old boy trapped in a family of individuals each so caught in misery that they cannot reach out to each other or change, it concludes with the boy shooting the rest of his family to death. Findley said that he was astonished to discover when writing the story that the boy’s killing his family offered the only logical conclusion. The novel’s sharp focus on a single character and its lack of obvious social commentary seems to separate it from the work to follow. But Findley thought the book offered yet another consideration of the theme of fascism that dominated much of his subsequent work; Findley argued that in The Last of the Crazy People, fascism functions within the family. The critic Lorraine York claimed the novel also reflects Findley’s persistent concern with war, only in this case, it takes place within a family rather than between states. The book clearly renders what Findley identified as his most persistent theme: the havoc wrought by people’s unkindness to one another. The story contains elements reminiscent of Findley’s early life. Hooker, like Findley, has an infant sibling who dies shortly after birth, and he has a widely admired grandfather. His older brother Gilbert, like Findley, likes to write but does not do well in school. Hooker himself may

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TIMOTHY FINDLEY the character whose point of view dominates the book. Raised in Hollywood, Ruth had gone to Germany where she began a career as an Olympic athlete under the brutal guidance of her husband, Bruno Haddon, a passionate Nazi. At the beginning of the novel, she has left him and returned home to Hollywood, which she finds rife with plastic glamour. Alvarez Canyon, an apparently natural paradise that is in fact filled with fake greenery, offers a specific image of this false world. Ruth tells of a fire that took place when she was visiting the canyon, in which, she says, four thousand animals were destroyed—but everyone else who was with Ruth and supposedly witnessed this event denies it happened, leaving the reader uncertain about Ruth’s accuracy. Similarly confusing is how we are meant to interpret comments by Ruth’s mother, Naomi, who says that seeking perfection always creates problems—which can be seen as Findley’s statement of the fatal flaw shared by Nazi Germany and by Hollywood—even though Naomi makes this statement at the same time that she denies the reality of the fire.

recall Findley’s mentally ill aunt whose increasingly tenuous hold on reality came accompanied by a tendency to pronounce truths others preferred to ignore. Although Findley used what seem to be pieces of his biography in the novel, if one had to choose which character most resembles Findley, one must select Iris, the family’s black maid, whose compassion allows her to understand what transpires and whose engagement in nature and in song allows her to bear living through the novel’s tragic events.

THE BUTTERFLY PLAGUE

While The Last of the Crazy People presents an engaging narrative about a dysfunctional family from the perspective of its youngest member, Findley’s next novel, The Butterfly Plague (1969), embeds large issues, dramatic events, and historical references in a highly episodic rendition of yet another dysfunctional family. Critics generally agree that the novel draws a parallel between the fascism of Nazi Germany and the plastic glamour prized by Hollywood and its many American fans. This juxtaposition of shining images and the grisly events of the Holocaust has autobiographical roots. During Findley’s Hollywood sojourn, on one particularly glamorous evening at the home of the screenwriter Ivan Moffat, Findley happened to pick up a book of photographs Moffat took to document what the Allies found when they entered the German concentration camp Dachau at the end of World War II. The disjunction between the horrific events the pictures captured and the magical vista from Moffat’s Los Angeles home gave Findley an epiphany: “I was just like everyone else. We are all a collective hiding place for monsters,” he said in his 1990 memoir, Inside Memory (p. 311). The Butterfly Plague describes a Hollywood filled with beautiful monsters. Although most critics agree The Butterfly Plague makes an analogy between Hollywood and the rise of fascism, they also tend to concur that the novel’s broad scope and jumpy movement make it bewildering. For instance, it is hard to tell whether or not to trust Ruth Damarosch,

The characters in this novel must carry the narrative’s grand themes, so they often function as symbols, placing them at a distance from the reader. One even has the name “Race.” Heather Sanderson argued that in this book Findley accuses the fascists of privileging the ideal over the real, but that his novel, by virtue of its heavy allegory, does the same thing. As a result, she said, Findley produces an attack on fascism that controls its readers by dictating certain interpretations of the characters. Recognizing that the book had problems, Findley rewrote it and republished it in 1986, but most critics felt that the book’s difficulties persisted in the revision. CAN YOU SEE ME YET?

In 1974, the Canadian National Arts Centre named Findley playwright in residence. During his tenure he wrote Can You See Me Yet? (1976), a play that, like The Butterfly Plague, makes it difficult for the audience to judge how much to trust the perspective that controls the work. A

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TIMOTHY FINDLEY new resident of the asylum where the play is set, Cassandra, appears clutching a photograph album that she says captures her idyllic home. The other inmates, under Cassandra’s direction, go back and forth between playing themselves and pretending to be members of Cassandra’s family, making it difficult for the audience to follow precisely what transpires. Moreover, the audience does not know whether they witness a replay of Cassandra’s history or a rendition of her fantasies, since the album may not even belong to her. To complicate things further, the characters of the inmates presumably influence their performances, but audiences and readers have no access to the information that would allow them to evaluate the extent to which this happens.

THE WARS

The complicated narrative structure of The Wars (1977) could have resulted in another bewildering work, but since this novel made McLean’s magazine’s list of the ten best novels of the twentieth century and received both the Toronto Book Award and Canada’s most prestigious Canadian literary prize, the Governor General’s Award, the structure clearly works for most people, even though a few critics have found it confusing. The novel’s protagonist, Robert Ross, does not tell the story; instead, a researcher attempting to understand Ross’ experiences in World War I narrates. But this researcher also relies upon interviews with Juliet D’Orsey, a woman who encountered Ross during the war, and with Marian Turner, his nurse at the end of his life, and it includes transcripts of these talks in the text. The narrative itself flows from a series of photographs, giving it an episodic structure but making the novel highly visual.

The play also presents themes similar to those of The Butterfly Plague. Cassandra eventually concludes that her father’s obsession with perfection left his children incapable of being their own flawed selves. This realization comes juxtaposed to the sound of Adolf Hitler delivering a speech in Nazi Germany. So, yet again, Findley links perfectionism to fascism. But Cassandra comes to understand her arrogance, and, as a result, she establishes true links with the other people in the asylum. They can see her; she sees them; they accept each other as they are—just before Cassandra perishes in a fire. The critics did not like Can You See Me Yet? any better than The Butterfly Plague. Unfortunately, William Whitehead had work that took him to Ottawa, leaving the depressed Timothy Findley alone at Stone Orchard, where he filled his solitude with alcohol. Carol Roberts recounts Findley’s confession in Timothy Findley: Stories from a Life, that his drinking problem became so serious he sometimes suffered from delirium tremens. However, the trauma of being awakened in the middle of the night by an enormous bat motivated Findley to cut back on alcohol, and he never suffered delirium tremens again. During this period he produced drafts of two novels that he felt were too depressing and subsequently discarded. He then began work on what he and others identify as his breakthrough work: The Wars.

In describing how he came to write the book, the author said that like his other protagonists, Robert Ross approached Findley, in this case strolling into Findley’s life wearing a World War I uniform. Findley already had an intense interest in this conflict since he owned a bound copy of letters from the front sent home by his uncle Tif. Findley relied heavily on these for details that fill in the experience of war and for the portrayal of Ross’s increasing cynicism about war as his involvement in it continues, but Ross himself, according to the author, was entirely a creation of Findley’s imagination. Findley also read many historical accounts to further understand the conflict. In an attempt to make his rendition of Ross’s agonies as authentic as possible, Findley attempted to spend twenty-four hours camping in a muddy field, but he could not stand living that way for an entire day. Findley put all this research to good use: the proliferation of telling specifics in the novel makes it easy for readers to become intensely involved with its events. Despite the grounding of this novel in reality, Findley has not written history but instead has given a sense of the emotional lives of those ordinary people overlooked in historical accounts because of their supposedly minor roles.

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TIMOTHY FINDLEY A number of critics have suggested that the researcher’s attempt to find meaning in all these materials and events gives an order to the text that it might otherwise lack, but since the researcher seeks rather than knows the answers, the reader has ample opportunity to respond to and shape the materials Findley presents. Findley said that he intentionally gave his protagonist Robert Ross the same name as Oscar Wilde’s loyal companion, a man who held watch at Wilde’s deathbed even though Wilde’s homosexuality had made him a pariah. Findley’s Robert Ross is also a kind, loyal man who goes off to war after the death of his handicapped sister, Rowena, in part because he feels guilty about not saving her. The battle at Ypres in which Ross participates has particular resonance for Findley because so many Canadian soldiers died there, and indeed, some critics read the novel as a comment on Canada’s entry into world affairs. Ross has a number of horrifying experiences, including his rape by unknown soldiers, which Findley describes in excruciating detail. Eventually, Ross disobeys orders so that he can attempt to save a large group of horses, which nonetheless perish. Ross deserts the military and then happens upon 130 more horses, which he also attempts to save, shooting the soldier who tries to stop him. He winds up securing himself in a barn with the horses. The soldiers light a fire so that Ross will let the horses out, but he struggles to reopen the door, ending up horribly burned himself. Ultimately Ross is court-martialed but not sent to jail, because the fire has so devastated him that he can only wait to die. In its essence, the novel portrays the horrors of war from the point of view of one sympathetic, kind soldier.

Rodwell, spends his time in the foxhole drawing animals. Realizing he will die in the war, Rodwell gives Ross a letter to his daughter asserting a totally positive view of life. The best men in the book, therefore, do not see themselves as superior to nature, but rather they take comfort in observing and participating in it. The war itself devastates the landscape, but Ross notes that when he returns to the area where the first battle took place, he finds that nature has done an astonishing job of healing itself. Ross also realizes that animals would never achieve the level of cruelty that men do in a war. Thus, the book suggests that the healthiest human beings align themselves with the natural order rather than seeing its destruction as a trivial side effect of war. In terms of the book’s general values, Ross’s attempts to save the horses are contrary to the pursuit of domination integral to the masculine role, and therefore his actions underline that he has retained his goodness and his sanity in the midst of a mad environment. Other critics have noted that all the direct testimony about Ross’s behavior comes from women who do not see him as a traitor but rather as a remarkably good man—not only during wartime, but also in retrospect. Juliet D’Orsey admires him so passionately that she sits with him and comforts him as he dies. These women’s reactions sketch out the differences between male and female reactions, but their inclusion in Findley’s novel also emphasizes the unacknowledged roles women often play in war. Critics have wondered over the book’ plural title; why call it The Wars instead of The War? Some see this as Findley’s statement that all wars are alike; others see it as an acknowledgment that Ross’s family members also fight among themselves, so the book presents a war in the household as well as a world war; another critic argues that the title signals a concern with the human tendency to exploit everything in one’s path, whether other human beings, animals, or even the land. That the novel can sustain so many readings shows that Findley’s achievement of clarity and power in this book did not come at the cost of its complexity.

Some readers of early drafts of the novel urged Findley to exclude the rape for fear it would hurt sales, but Findley saw it as a central image of the book; he felt that the men were victims of a society demanding blind machismo. In this novel, he ties together the pursuit of dominance and the lethal consequences of adopting the traditional male role. The best men in the book resist this pattern. Ross’ dying friend Harris retreats from pain into comforting fantasies of swimming with whales. Another friend, Captain

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TIMOTHY FINDLEY friend Matteotti. A young Spanish poet with integrity, Luis Quintana, also commits suicide. All these deaths suggest that the times accord few options to those who aspire to note and record the truth. When studying the prehistoric paintings in the caves at Altamira with Isabella, Mauberley sees art as a manifestation of the need for every human being to try to make his or her presence and perspective known; this compulsion does not vanish during difficult times. Here, Mauberley seems to agree with Findley, who believed all true writers need to tell the story as they know it, no matter what the consequences. That art and the truth have strong holds on Mauberley make him far more than a political or social animal. But he lives during a time when politics saturate everything, and people automatically judge others in political and social terms.

FAMOUS LAST WORDS

The protagonist of Findley’s next novel, Famous Last Words (1981), is Hugh Selwyn Mauberley, from Ezra Pound’s poem with the same name. In Pound’s version, Mauberley stands up for art in the midst of a rotten culture that has sent young men to war to protect a “civilization” that has turned away from genuine art to focus on rapidly produced junk. In Findley’s novel, as World War II draws to a messy conclusion, Mauberley’s mentor, Pound—who has aligned himself with fascism and awaits his own arrest—castigates Mauberley, whose rejection of both the Allies and the Nazis has left him universally despised, Mauberley has been involved with a cabal of people hoping to build a fascist state on the ruins left by World War II, although he was not an enthusiastic participant in their plans. Now he has a suitcase full of notebooks recording the group’s activities, and he sets out, searching for somewhere neutral to wait out the war’s end. He winds up in an Austrian hotel called the Grand Elysium where he stayed during more glorious days, for both him and the inn. Using the silver pen he found in his father’s coat pocket after his father committed suicide, he writes an account of his adventures with his fascist acquaintances on the walls and ceilings of four rooms. Predictably, much critical commentary hovers over whether Findley intends Mauberley as a hero or a villain, as an artist or a fascist. The novel supplies grounds for all these positions. Substantial evidence exists against Mauberley: he gives up writing in order to wander around with a lot of ostensibly elegant, but fundamentally cruel, people, like Wallis Simpson, the Duchess of Windsor. This cabal understandably trusts Mauberley since he involves himself in a murder that benefits them. However, the reader knows of Mauberley’s guilt only because he writes about it all over the walls: he confesses that he gave up his art, and thus himself, in order to spend time wandering with empty people. Moreover, he not only hangs out with evil fascists but also travels with Isabella Loverso, whose husband, a poet devoted to truth-telling, was killed by Benito Mussolini along with their children and another writer, his

Findley supplies Mauberley’s wall writing with two readers, American soldiers who happen on the hotel and Mauberley’s body after the war ends. Captain Freyberg wants revenge on the fascists for what they have done. He hovers with particular vehemence over Dachau, appropriating the metalwork that surrounded the entrance with the misleading saying “Work Makes Free,” so that he can put it over his desk. He also has an album containing pictures of Dachau’s victims with a cover displaying innocent pictures of ducks and lambs. Because Freyberg assumes the worst about Mauberley, he has no interest in reading his writings. The other soldier, Sergeant Quinn, admires Mauberley as an artist and reads every word, expecting from the outset to find a way to excuse him. Certainly Mauberley’s writings convince Quinn that the dead man acted in problematic ways, but Quinn sees him as misguided rather than evil. Naturally enough, critics dispute which interpreter of Mauberley’s text does the best job, and Findley has left the book’s readers to make up their own minds. The book’s closing image is of something indeterminate surfacing briefly, then disappearing under the water but never really vanishing: “All we remember is the awesome presence, while a shadow lying dormant in the twilight whispers from the other side of reason; I am here, I wait” (p. 396). Findley explains, in an interview with

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TIMOTHY FINDLEY W. M. Mellor, that the image represents the fascism that never truly goes away because it persistently lures people with its glamour. Resigning to fascism means turning oneself over to an illusion of perfection and control, and, Findley maintains, this fantasy’s appeal never dies. Most reviewers found the book rich, lively, interesting, and substantial, but a few thought that Findley spent too much time detailing the adventures of a group of shallow fascists. Some even accuse him of hovering over these frivolous people because he wanted the book to sell. But that readers found it entertaining to read about a fictional group of cruel but glossy people underlines Findley’s position that fascists can bewitch. The book is rife with historical figures and events, freely interpreted. As a result, it was not released in Great Britain until after the Duchess of Windsor’s death, and when it appeared in 1987, some British readers found Findley’s portrayal of her outrageous. This troubled Findley but helped the novel do well financially in England. Findley discovered after the book came out that a number of his guesses had real substance. There was, he notes with delight, a cabal not unlike the one he describes at work during World War II. But Findley most fundamentally concerns himself not with historical accuracy, but with exposing larger truths metaphorically. In Famous Last Words, Findley wants to show the allure of fascism and point out that art may sometimes serve as an antidote.

came easily; it required several drafts before Findley felt comfortable publishing his version of Noah and the Ark. Some critics have pointed out that, once again, Findley deals with the issue of fascism: Noah is presented as a consummate fascist, who believed that following the orders delivered by Yahweh, and destroying everything and everyone except those few beings Yahweh deems appropriate inhabitants of the Ark, would allow the world to begin again, freed of its corruption. Yet another benighted character in a Findley novel aspires to leave imperfection behind. As Noah realizes Yahweh’s rigid and merciless plan, the world’s magic disintegrates; meanwhile Noah’s wife, Mrs. Noyes, attempts to preserve it: she gives the fairies who are slowly fading from the landscape a ride on her back across a river, and, for a moment, they celebrate their escape. Finally, however, only a place on the Ark can save them, and Noah refuses them entry. He does allow a unicorn on board, but then he needs the unicorn’s horn to rape his daughterin-law, Emma, so that she will have sex with his son, Japeth, and begin the work of replenishing the earth. The violence performed on the unicorn to use his horn kills him, leaving the remaining creatures of the earth without magic. These supernatural characters serve as metaphors for the rapturous appreciation of nature that Findley believed all human beings must cultivate to save themselves from barren lives. Findley felt it was essential for people to begin undoing the damage that the coldness of modern life has done by returning to the intense involvement with the natural world they experienced as children. So, while Noah sees himself as the savior of the world, Findley’s novel suggests that Noah’s wife, a reluctant passenger on the Ark, comes closer to fulfilling this role. And thanks to Mrs. Noyes, Mottyl does not perish in the flood, but gets carried on board the Ark in her pocket. Some critics argue that Lucy, a seven-foot, five-inch woman with webbed hands who marries Noah’s son Ham and who is in fact the angel Lucifer in drag, serves as a Christ figure, since through her or him, divinity comes to earth. Moreover, by making her the book’s savior, Find-

NOT WANTED ON THE VOYAGE

A starving, blind cat that Findley and Whitehead had taken in at Stone Orchard and named Mottle inspired Findley’s next big book, Not Wanted on the Voyage (1984). Findley admired Mottle’s resourcefulness and courage, and when she died in 1981, he created a character named Mottyl and began a novel in which she played a principal role. He struggled for some time with the book, but when he heard a friend, Phyllis Webb, read a poem titled “Leaning” that juxtaposed blindness, dark and the Ark, Findley suddenly had a workable idea for his Mottyl novel. Not Wanted on the Voyage began developing, but the book never

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TIMOTHY FINDLEY ley validates androgyny and homosexuality, since Lucy/Lucifer is a man who marries another man. But other critics point out that Lucy, like Noah, ultimately seeks domination and triumph, a stance not only negatively characterized in the case of Noah, but persistently criticized in Findley’s work. These critics argue that Mrs. Noyes and Mottyl serve as the novel’s heroines, because they accept imperfection. For instance, at the novel’s end, Mrs. Noyes prays that it continues to rain, because since one always lives in a flawed world, one must do one’s best to enjoy the journey. This means forfeiting fantasies of a perfect ending. Mottyl seems determined to think even more positively than Mrs. Noyes. She feels terrible when she catches herself thinking Noah evil, even though he repeatedly took her newborn kittens so he could perform cruel experiments on them and he also did his best to abandon her in an uninhabitable world. But after reviewing these crimes and others, Mottyl decides to suspend judgment of Noah because “what could a person truly know?” (p. 279).

perspective. He discovered that they were active all night, wandering in and out of their shelter, so he did the same. When the sun rose, they sat and watched it; Findley joined them. In another experiment, he crawled along the beach on all fours, sniffing like a cat. A couple witnessing this agreed that it offered a cautionary example of addiction’s consequences. Findley’s willingness to lose himself in animals’ points of view presumably helps explain why he does such a persuasive job of helping readers take seriously a cat’s pregnancy difficulties or her friendship with a crow. By linking destructive attitudes toward women, perfection, violence, and nature to the story of Noah and the Ark, Findley’s novel suggests that these biases contaminate Western civilization—for how could one see building the Ark and allowing only a limited number of creatures to board it as anything but the actions of someone slavishly obeying a cruel, bitter God? This helps explain why Mrs. Noyes prays “but not to the absent God. Never, never, again to the absent God, but to the absent clouds, she prayed. And to the empty sky” (p. 352). In this book, Findley extends his attack on fascism, showing one of its possible sources, for the novel’s events raise the question of how people who grew up putting the story of Noah and the Ark at the center of their worship could ever achieve kindness. In this novel, for the first time, Findley presents an alternative to enduring or fighting fascism: one can join a compassionate community like that belowdecks on the Ark he has created, a group that celebrates the delights of unbounded nature rather than trying to control it. Critics liked the novel expressing this new perspective very much: Findley received the Canadian Authors Award for it.

No matter what one concludes about the sexually ambiguous Lucy/Lucifer, in this novel, males persistently indulge in futile attempts to control events, usually through violence. In the hope of sharing some of the comfort that comes with power, Noah’s daughter-in-law, Hannah, accommodates Noah in many ways, including sexually. This does win her housing above deck on the Ark, while the rest of the novel’s female characters who attempt to connect with people, rather than triumph over them, struggle to survive belowdecks along with one male, Noah’s son, Ham. The animals also live belowdecks. Findley does a remarkable job in this novel of giving not only Mottyl but many of the animals vibrant, empathetic personalities. These characterizations help convey and probably reflect Findley’s view that the human race must nourish its ties to nature to save itself. The fascinating animals in this novel may also reveal the value of experiential research. Findley reports in From Stone Orchard: A Collection of Memories (1998) that he spent a night sleeping outside with the dogs in their house in order to get a stronger sense of creature

HEADHUNTER

In his 1993 novel Headhunter, Findley examines fascism in Rosedale, the respectable neighborhood in Toronto where he grew up. As he wrote it, he claimed that the book placed Joseph Conrad’s novella Heart of Darkness (1902) in

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TIMOTHY FINDLEY Rosedale, an assertion absurd on its face since Conrad’s book links the ethical decline of a man named Kurtz to his living away from European civilization in the Belgian Congo, and Rosedale, to all appearances, was terminally civilized. In Findley’s novel, this is precisely the problem. For the denizens of Headhunter, compliance with social norms nurtures evil; a completely respectable obsession with money and power corrupts people.

Lilah’s neighbor, Charlie Marlow, a psychiatrist who has just joined Dr. Kurtz’s psychiatric institute, eventually unravels Kurtz’s misbehavior. At one point, Marlow needs someone reliable to transport and keep the papers that he plans to review in order to understand what has transpired; tellingly, he asks Lilah to carry them to her apartment in her baby carriage. That he likes and trusts Lilah gives the reader yet another reason to pay her serious and compassionate attention. Marlow also has another schizophrenic patient, Amy Wylie, a poet who feeds starlings even though the authorities try to exterminate them in the false belief that they have caused a plague terrorizing Toronto. Marlow urges Amy’s family to leave her untreated so that she can enjoy writing poetry and taking care of her birds instead of lapsing into the living death that drugs would induce. He argues convincingly that allowing her to live without drugs gives her a freedom that she would otherwise lose. Headhunter thus sets out a clear antithesis: on the one hand, the pursuit of wealth and power prized by conventional society destroys both the community and the individuals participating in it. On the other hand, having the courage to live empathetically redeems one’s life and enhances the lives of others. Findley demonstrates, in Headhunter, that literature helps us realize these truths by setting out mythic patterns. For instance, Conrad’s Heart of Darkness captures and conveys a fascination with power and control that lurks in Rosedale as well as in the Congo; as Lilah’s mentor, Nicholas Fagan, points out, Kurtz lives everywhere. In another literary reference, the character Emma Berry has renamed herself Emma after the heroine of Gustave Flaubert’s Madame Bovary; Emma married the plastic surgeon who made her perfect after a fire left her scarred, because his money drew her as irresistibly as her flawlessness attracted him. Their marriage leaves both feeling empty. She attempts to console herself by picking up men in a white stretch limousine every night. She believes a relationship with James Gatz will bring her to life again, but his father, whose incestuous desires for his son forced Gatz to leave home at a young age, resurfaces to kill

Bored, wealthy men from Rosedale attempt to enliven their existence by joining the Club of Men, which gathers regularly to direct the posing of drugged adolescents for sexual photographs. On one occasion, these sessions get even more malevolent: Charles Shapiro and other club members rape and kill Charles’ son, George. Rupert Kurtz, a psychiatrist, facilitates these gettogethers by supplying experimental drugs that render the children docile and by giving the men permission for their activities in their psychiatric sessions with him. In return, they give him money to build his psychiatric empire and the thrill of knowing that he controls all the participants in these activities. In Headhunter, the association between playing the male role and dominating others comes through with singular clarity. The character of Lilah Kemp offers an antidote to this serial misery. A schizophrenic whose involvement with books runs so deep that she wanders the streets of Rosedale with a baby carriage containing a blue copy of Wuthering Heights, she worries that she let Kurtz escape from the pages and go out into the world while she was reading The Heart of Darkness. The narrator helps overcome the reader’s natural reluctance to trust someone who believes that as she reads fiction, its characters move from the page into the world by acknowledging that Dr. Kurtz in fact appears in the library as Lilah reads Heart of Darkness. Findley does a remarkable job of rendering this psychologically troubled woman in a way that pulls in the reader’s sympathy and trust. Thus, in Headhunter, Findley makes the point he learned as a child from his aunt: in an insane world, those labeled mentally ill can offer the rest of us valuable insights.

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TIMOTHY FINDLEY his son. While Emma’s attempts to resolve her empty life resemble those of her namesake, Emma Bovary, James Gatz shares significant characteristics with the protagonist of The Great Gatsby (1925); F. Scott Fitzgerald’s Jay Gatsby also suffers from the illusion that money and control will bring him happiness. Timothy Findley was adamant that literature presents compelling versions of reality that give those who encounter them the awareness needed to make better choices, and accordingly, the kindest people in this book—Lilah, Amy, Marlow, and Fagan—all enjoy literature. In this way, the novel argues that taking art seriously can be a healing activity, a view that is passionately embraced by a patient named Findley, whom Marlow has yet to meet. According to the file Marlow finds on Findley, this patient believes that in producing literature, he acts as a kind of psychiatrist; for he, too, strives to cure people. Amy, Lilah, Marlow, Fagan, and Findley all help save others by telling the truth, even though they may use fiction to do so. Findley recounted that the original version of Headhunter was a negative one but that he ultimately accepted the suggestion that he create a positive ending. In an interview with Beverly Slopen (1994), he said he was glad that he made this change; he felt that in doing so he elaborated on the hopeful notion introduced in Not Wanted on the Voyage: that no matter how brutal a society may be, positive options remain. The books shares some of the same positive themes and symbols that were put forward in Not Wanted on the Voyage: community, self-trust, women, animals, and birds. Headhunter adds insanity and literature to this list of potential forces for good. Although they found it grim, critics generally praised the book, and it won the Toronto Book Award.

the novel consists of his using her journals, mementos, and family photographs to reconstruct her past and, thus, his own. Although he has long known of his mother’s mental illness, reviewing her life’s story helps him understand that his mother, Lily, and her mother, Edith (Ede), endured enormous difficulties. His grandmother seems a tragic figure to him because she capitulated to her husband, Frederick Wyatt; for instance, she allowed him to send her daughter Lily away because Lily’s propensity to have fits violated the public image he cultivated. Ede, who became pregnant with Lily because she could not resist the way a stranger played the piano and sang to her, and who made her child a wreath from the flowers and plants growing in the field where she gave birth to Lily alone, changed from a vivid, happy woman to a quiet, sad one. Lily, his mother, on the other hand, despite having to stay in the attic during parties so she would not embarrass her family, despite being sent away to her grandparents and then to school, and despite struggling with a desire to set fires urged on by a fire-prone ancestral ghost named John Fagan, never loses her passion and joy. Instead, because Lily has tasted so much rejection and isolation, she seeks out other excluded people to comfort them. She introduces her young son to her “friend,” Mr. Arbuthnot, as she and the partially deaf gardener sit together nude, and she consuls Charlie not to squander time and energy on the attempt to socialize with his betters. Like her mother, Lily feels a bond to nature, but unlike her mother, she cherishes it until the end of her life, urging her son to listen to the song all the beings of the universe sing to him and her. And while Lily’s mental illness sometimes causes her to abandon her son, when she is with him she gives him her full attention: to her, he seems astonishing. By the time Lily’s illness becomes so severe that she must live in an institution, Charlie has spent nine years with her, enough time to absorb her openness to others, to music, and to life’s wonders.

THE PIANO MAN’S DAUGHTER

The narrator Charlie Kilworth opens Findley’s next novel, The Piano Man’s Daughter (1995), by explaining how he told his dying mother it was all right with him that he didn’t know his father. He clearly says this to comfort her, since

Charlie becomes a musician who marries another musician, Alexandra, but he resists having children because he fears they may inherit

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TIMOTHY FINDLEY Lily’s defective genes. But the optimism Lily also passed on to him finally overwhelms his reservations. After he and his wife have a child, Emma, he takes Em to the field where his mother was born. There, Emma holds out her hand to show him that she has found an ant: a creature that fascinated Lily all her life. The novel ends with this comment: “We were not—and we will never be—alone” (p. 490). Having learned his history, it comforts Charlie to embrace it.

A mentally ill woman helps both of these men attain their final insight: in Kilworth’s case, the woman is his mother, Lily; in Marlow’s case, it is his neighbor Lilah, who believes she has a fantasy child (the book Wuthering Heights that she carries in a baby carriage). Lilah has a mentor named Nicholas Fagan, while Lily has an evil ghost named John Fagan who urges her to set fires. In The Piano Man’s Daughter, Lizzie, Lily’s closest friend, dies during kitchen table surgery on his brain tumor, while Lilah in Headhunter encounters a ghostly mother who weeps about her son dying while a doctor attempted to remove a brain tumor as he lay on the kitchen table in the apartment where Lilah lives.

A number of signals suggest that Findley wrote this novel to honor the line of women who produced him. The principal family in the book, the Wyatts, owns a piano factory, as did his mother’s family. Lily’s mother, Ede, meets her husband on a piano bench, the same scenario in which Findley’s parents met each other. Findley dedicates the book to his Aunt Ruth. And the book includes old family photographs that Findley says fascinated him as a child. He uses a narrator modeled on Nick Caraway in The Great Gatsby, who presents an admiring rather than an objective account of the person at the center of his story, which guarantees sympathetic portraits of these characters apparently descended from Findley’s own family. On one level, therefore, The Piano Man’s Daughter presents a rather romantic description of a family focusing particularly on a woman whose mental illness makes her socially embarrassing, but whose son comes to realize through the telling of her story that watching her live with passion and caring taught him to do the same.

The novels also present parallel themes. Both render a world run by controlling, often angry men. Lily’s stepfather, Frederick Wyatt, fearing that her propensity to have fits will interfere with his social aspirations, cruelly hides her or sends her away. But then Frederick would have had little opportunity to learn kind behavior from his own father, a widower who outlived three wives and can barely stand to have women in his house. The kindness and joy in both novels comes primarily from female characters. Although Ede submits to her husband, she never completely abandons Lily. She looks after her as best she can without infuriating her husband. Lily pays close attention to her son as well as to others, and both women cherish nature and music. Similarly Lilah in Headhunter has compassion for her neighbors, her ghosts, and her animals. Amy, the other schizophrenic character in Headhunter, cares for the birds the city attempts to eradicate. But Headhunter and The Piano Man’s Daughter also have stark differences. First, virtually all the men except Fagan and Marlow in Headhunter seem corrupt or lost. The Piano Man’s Daughter includes a number of male characters who know how to dance, sing, and love like Lizzie: there is Tom Wyatt, Lily’s father; Neddy Harris, her fiancé; and Lily’s uncle, Harry Wyatt. Lily’s stepfather distancing himself from her seems a trivial weakness compared to Charles Shapiro’s complicity with his own son’s murder in Headhunter. The mothers in Headhunter also fail

The many parallels between this text and Headhunter invite comparisons between the two novels. Through the process of exploring documents left in his family and narrating The Piano Man’s Daughter, Charlie Kilworth arrives at the truth about both his father and about the impact of his mother’s mental illness on his life. Similarly, Charlie Marlow, in Headhunter, moves through documents and photographs to arrive at the truth about what has damaged so many children in Rosedale. For both Marlow and Kilworth, resolution of the mystery they explore requires not only that they gather information but also that they achieve the ability to accept its implications.

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TIMOTHY FINDLEY to provide loving homes for their children: Lilah cherishes her book more than the nondelusional mothers do their children; Emma’s interactions with her daughter Barbara consist of what she can fit in before she dashes out the door to pick up men; the mother of the Wylie girls takes more interest in alcohol than in them. And if Rosedale parents paid serious attention to their children, the Club of Men would find it far more difficult to lure adolescents into taking drugs and posing for sexual pictures. Indeed, when one juxtaposes these two books, the world of Headhunter seems considerably more desperate. When Lizzie dies in The Piano Man’s Daughter, for instance, his death is widely lamented, Lily keeps mementos that remind her of the best moments of their friendship, and she gives her son the day that Lizzie died as a birth date, suggesting that Charlie’s appearance on the earth somehow helps redeem Lizzie’s death. But only Lilah and the ghost who mourns her son’s (similar) death in Headhunter remember or care that the boy existed. And the young George Shaprio seems to simply vanish altogether, leaving behind only a grisly photograph of his death.

time has passed, people’s cruelty has grown, destroying community, nature, and happiness. His evocation of The Great Gatsby in the character Gatz in Headhunter and in the generous narrator of The Piano Man’s Daughter makes sense, for F. Scott Fitzgerald’s novel offers a stark parable about the inevitable link between striving for control over other people and the environment and creating a world devoid of beauty, caring, and meaning. Although Findley believed life in the modern world had gotten more ferocious, he still argued for cultivating optimism: “Nothing is harder, now in this present time, than staring down despair. But stare it down we must. Unless we do, there can be no reconciliation” (Inside Memory, p. 318). No matter what negative forces Findley sees at work in society, the home he and William Whitehead established in the friendly countryside outside Toronto allowed Findley himself to cultivate the childlike enjoyment of nature and others that he repeatedly maintains is the only hope for redeeming the modern world.

In brief, despite its many faults, the world of The Piano Man’s Daughter contains enough caring people to make it bearable. By the time the events of Headhunter take place in Toronto, almost all the compassionate, loving people seem to have left town. In The Piano Man’s Daughter, by comparison, despite Lily’s profound problems, she belongs to a large family that cares about her, and she has many friends. Headhunter’s heroes, Lilah and Charlie, live in isolation. Charlie’s wife has died, but he admits their relationship didn’t amount to anything anyway. Lilah’s social contacts consist of the doctors who medicate her, Marlow, ghosts, and animals. So, while The Piano Man’s Daughter ends by celebrating the way one person transmits joy to another, desolation pervades Headhunter.

The title character of Findley’s last novel, Pilgrim (1999), has not been as fortunate as his creator. Suffering despair, he gets delivered to the Burgholzli Clinic in Switzerland, where Carl Jung attempts to treat him. Pilgrim has the habit of apparently killing himself and then coming back to life. His journals contain vivid stories told in the first person by men and women who lived centuries before the novel takes place in 1912. When Pilgrim claims to have lived all of the experiences recorded in his journals, Jung silently judges him mad; but writers imaginatively engage in precisely the kinds of exercises Pilgrim’s journals collect all the time. Authors constantly lose themselves in the perspectives of others and record their stories, undeterred by differences in gender, culture, or time. Pilgrim says that he dreams and then remembers his experiences: this sounds like writing fiction. Inspired by Pilgrim’s claim to have experienced multiple lives, Jung concludes that a collective unconscious shared by all human beings across all time periods must exist. In this, Find-

PILGRIM

The dates and old photographs at the start of each section of The Piano Man’s Daughter emphasize that its events took place in the past. Findley is perhaps inviting the reader to make comparisons between the books, because their juxtaposition illuminates Findley’s belief that as

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TIMOTHY FINDLEY ley connects Jungian theory specifically to the human activities of creating and responding to art. If human beings do not share common attitudes, reactions, and insights, how could writers, or actors, for that matter, effectively render characters from other cultures and time periods on the page or the stage? Art’s immortality requires some constancy in human nature. Indeed, Jung argues that all great art emanates from the collective unconscious, suggesting that art expresses something that holds us all together. But to Pilgrim’s dismay, despite the shared humanity that could bind people together, they insist on killing each other. He therefore wants to die, because he cannot bear watching people destroy each other any longer. He goes on a rampage that involves helping someone remove the Mona Lisa from the Louvre and setting a fire in the cathedral at Chartres that kills someone. Pilgrim hopes that destroying these great works of art will help people realize that experiencing them helps nourish compassion. But he is devasted because of the death that has occurred as a result of his efforts. He once again attempts suicide and apparently succeeds.

people trying to control each other, occur in the world, in the Jungs’ marriage, and in the psychiatric clinic where much of the book takes place. Aside from Jung’s mistreatment of his wife, the three major characters, Pilgrim, Carl Jung, and Emma Jung, seem remarkably free of this impulse toward power and control. In Pilgrim, then, Findley moves even further toward a more hopeful perspective on this persistent theme in his fiction. Once again, women play positive roles in this novel and in the main characters’ lives: Emma Jung, as Carl Jung himself acknowledges, can show more insight than her legendary husband. Pilgrim, Jung, and other more minor characters feel intense attachment to nature, which the novel often describes movingly. And Findley’s persistent theme that mad people have something to teach everyone else, including Carl Jung, comes through clearly in Jung’s interactions with Pilgrim and his other patients. In addition, Findley introduces the theme of selfrealization: Jung remains open to his clients’ influence, because he knows that only by welcoming other perspectives can he stretch his own and, thus, learn.

In a 1999 interview with John Bemorse, Findley says that Pilgrim is the person Findley tries not to be: someone who capitulates to despair. Carl Jung seems a more balanced character. Although he treats his wife badly, he he has good qualities in that he appreciates nature and genuinely cares for and listens to his patients: Pilgrim persistently insults Jung, who nonetheless admires Pilgrim’s integrity and regrets not being able to heal him. Thus, Jung emerges as a positive character whose humility allows him to constantly learn. At the book’s conclusion, Jung has prophetic visions of a conflagration that imperils everyone: World War I. But he embraces hope and the moment. His life-affirming comments conclude the book: “After so many beginnings—can there be another? And then I woke and it was now. Now. And now is all we have. Now—And now again and nothing more” (p. 481). Pilgrim presents a vivid summation of themes from Findley’s career. War and the more common manifestations of the same need for power,

ELIZABETH REX

The importance of fully realizing oneself constitutes the central theme of Findley’s 2000 play, Elizabeth Rex, which also links redemption both to literature and to women. In the play, the queen Elizabeth, anxious for a distraction on the eve of the execution of her lover, the Earl of Essex, seeks out Shakespeare and his players. Shakespeare just happens to be working on Anthony and Cleopatra, a play about a queen who resigns herself to her passions. Elizabeth determines to do what will best meet the needs of her state and that means ignoring her intense attachment to Essex. In choosing to play the role of monarch rather than indulging her feelings, she adopts the male role of domination and control. One of the actors who plays women’s roles recites Cleopatra’s lines to Elizabeth and reawakens her emotions, but Elizabeth refuses to give in to them, clinging instead to her chosen persona. In the context of the play, this choice seems a

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TIMOTHY FINDLEY mistake: she embraces a narrow and false version of herself out of what she considers her duty. Findley generally considers his plays less successful than his novels, and they often lack the density of his best fiction, but the juxtaposition of Elizabeth’s dilemma to Shakespeare’s Anthony and Cleopatra gives this play a wonderful richness that led to its being honored with the 2000 Governor General’s Award for English Language Drama. And, in a sense, the play continues the themes articulated in Pilgrim, since it once again affirms the importance of owning and living out all aspects of oneself.

Again, I fall back on Thornton Wilder, who said that: cruelty is nothing more than a failure of the imagination. Yes. I believe that. If you can imagine harmony, you can achieve it. (p. 314)

Although Findley aspires to write literature, not political tracts, he still wanted his work to encourage the kindness toward others and the appreciation of nature’s radiance he believes essential to mitigating the coldness he sees spreading throughout the modern world. Findley collected many awards throughout his career, including the high honors bestowed by the two countries where he lived: Canada made him an Officer of the Order of Canada and France named him a Chevalier de L’Ordre des Arts et Lettres. No matter what Findley’s intention, these acknowledgments of his influence seem signs that his work successfully ignites the imagination and, as a result, the empathy of those who encounter it. Findley died in France on June 20, 2002, from congestive heart failure and complications resulting from a broken pelvis.

Findley admired the psychology of Carl Jung, and his novels demonstrate his embrace of Jung’s notion that only by understanding others’ perspectives and using them to expand our own point of view can we improve ourselves and the world. All social change must begin with individual knowledge and awareness. And in order to see the world more intelligently and compassionately, we must first own up to our shortcomings, as Jung persistently does in Pilgrim. Then we must attempt to own and embody as many aspects of ourselves as possible. Through his writing, Findley spent his life engaged in precisely the kind of intellectual and empathetic expansion Jung considered central to the genuine learning that would allow one to become a fuller, kinder human being. But Findley undoubtedly had a larger goal in mind than self-realization. He must have hoped that by producing literature that coaxed people to lose themselves in other people’s points of view, they would learn to treat each other more compassionately, just as reading Pilgrim’s journal entry presenting the perspective of a lower-class person helps Emma Jung learn not to judge others in terms of stereotypes. In his memoir Inside Memory, Findley makes these aspirations for his work explicit:

Selected Bibliography WORKS OF TIMOTHY FINDLEY NOVELS

AND

SHORT STORIES

The Last of the Crazy People. London: MacDonald, 1967. The Butterfly Plague. New York: Viking, 1969. Rev. ed. Markham, Ont.: Penguin, 1986. (Citations in this essay refer to the 1986 edition.) The Wars. Toronto: Clarke, Irwin, 1977. “Island” and “A New Hard Walk.” In The Newcomers: Inhabiting a New Land. Edited by Charles E. Israel. Toronto: McClelland and Stewart, 1979. Pp. 69–96, 125– 157. Famous Last Words. Toronto: Clarke, Irwin, 1981. Dinner along the Amazon. Markham, Ont.: Penguin, 1984. (Contains “Lemonade,” “War,” “About Effie,” “Sometime—Later—Not Now,” “What Mrs. Felton Knew,”

Human imagination can save us; save the human race and save all the rest of what is alive and save this place—this earth—that is itself alive. Imagination is our greatest gift.

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TIMOTHY FINDLEY Journeyman: Travels of a Writer. Edited by William Whitehead. Toronto: HarperFlamingo, 2003.

“The People on the Shore,” “Hello Cheeverland, Goodbye,” “Losers, Finders, Strangers at the Door,” “The Book of Pins,” “Daybreak at Pisa,” “Out of the Silence,” “Dinner Along the Amazon.”) Not Wanted on the Voyage. Markham, Ont.: Viking, 1984; Toronto: Penguin, 1996. (Citations in this essay refer to the 1996 edition.) The Telling of Lies: A Mystery. Markham, Ont.: Viking, 1986. Stones. Markham, Ont.: Viking, 1988. (Contains “Bragg and Minna,” “A Gift of Mercy,” “Foxes,” “The Sky,” “Dreams,” “The Name’s the Same,” “Real Life Writes Real Bad,” “Almeyer’s Mother,” “Stones.”) Headhunter. Toronto: HarperCollins, 1993. The Piano Man’s Daughter. Toronto: HarperCollins, 1995. Reprint, 2002. (Citations in this essay refer to the 2002 edition.) You Went Away: A Novella. Toronto: HarperCollins, 1996. Dust to Dust: Stories. Toronto: HarperCollins, 1997. (Contains “Dust,” “Kellerman’s Windows,” “Abracadaver,” “A Bag of Bones,” “Come as You Are,” “Hilton Agonistes,” “Americana,” “Infidelity,” “The Madonna of the Cherry Trees.”) Pilgrim. Toronto: HarperFlamingo, 1999; New York: HarperCollins, 2001. (Citations in this essay refer to the 2001 edition.) Spadework. Toronto: HarperCollins, 2001.

OTHER WORKS The Life and Death of the SLA. With Les Payne and Carolyn Craven. New York: Ballantine, 1976. Imaginings. With Janis Rappaport. Toronto: Ethos, 1982. Afterword. In Any Time at All, and All Other Stories, by Joyce Marshall. Edited by Findley. Toronto: McClelland and Stewart, 1993.

MANUSCRIPTS Timothy Findley’s papers are held at the Library and Archives Canada in Ottawa, Ontario.

ADAPTATIONS

OF

FINDLEY’S WORK

The Wars. A film written by Timothy Findley, directed by Robin Phillips, and released March 20, 1983, by the National Film Board of Canada. Not Wanted on the Voyage. A play adapted by D. D. Kugler and Richard Rose and performed in 1992 in Winnipeg at the Manitoba Theatre Center. The Piano Man’s Daughter. A television movie adapted and directed by Kevin Sullivan, shown on CBC Television on September 22, 2003. Available on DVD. The Wars. A play adapted by Dennis Garnhum. Winnipeg: Scirocco Drama, 2008.

PLAYS Can You See Me Yet? Vancouver: Talonbooks, 1977. John A.—Himself. Directed by Peter Moss. Theatre London, London, Ontario, January 31–February 17, 1979. The Stillborn Lover. Winnipeg: Blizzard, 1993. The Trials of Ezra Pound. Winnipeg: Blizzard, 1994. Elizabeth Rex. Winnipeg: Blizzard, 2000. Shadows. A one-act play directed by Dennis Graharn. Studio Theatre, Stratford Festival, August 24–September 15, 2001.

CRITICAL AND BIOGRAPHICAL STUDIES Bailey, Anne Geddes, and Karen Grandy, eds. Paying Attention: Critical Essays on Timothy Findley. Toronto: ECW Press, 1998. Brydon, Diana. “A Post-Holocaust, Post-Colonial Vision.” In International Literature in English: Essays on Major Writers. Edited by Robert L. Ross. New York: Garland, 1991. Pp. 583–592. ———. Timothy Findley. New York: Twayne, 1998.

SCREENPLAYS

Drolet, Gilbert. “‘Prayers Against Despair’: A Retrospective Note on Findley’s The Wars.” Journal of Canadian Fiction 33:148–155 (1981–1982).

The Paper People. CBC, 1967. Don’t Let the Angels Fall. National Film Board of CanadaColumbia, 1969. The Whiteoaks of Jaina. CBC, 1971–1972. The National Dream: Building the Impossible Railway. With William Whitehead. CBC, 1974.

Hollenberg, Donna Krolik. “Art for Whose Sake? Reading Pound’s Reputations in Timothy Findley’s Famous Last Words and The Trials of Ezra Pound.” Journal of Canadian Studies 33:143–152 (winter 1998–1999). Hulcoop, John F. “Look! Listen! Mark My Words!: Paying Attention to Timothy Findley’s Fictions.” Canadian Literature: 91:22–47 (winter 1981). Klovan, Peter. “‘Bright and Good’: Findley’s The Wars.” Canadian Literature 91:58–59 (winter 1981). Pennee, Donna Palmateer. Moral Metafiction: Counterdis-

MEMOIRS Inside Memory: Pages from a Writer’s Notebook. Toronto: HarperCollins, 1990. From Stone Orchard: A Collection of Memories. Toronto: HarperFlamingo, 1998.

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TIMOTHY FINDLEY Canton, Jeffrey. “The Whole Lake Beneath: Timothy Findley.” In The Power to Bend Spoons: Interviews with Canadian Novelists. Toronto: Mercury Press, 1998. Pp. 59–68. Findley, Timothy. “Alice Drops Her Cigarette on the Floor ѧ (William Whitehead Looking Over Timothy Findley’s Shoulder).” Canadian Literature 91: 10–21 (winter 1981). Gibson, Graeme. “Timothy Findley.” In Eleven Canadian Novelists. Toronto: House of Anansi, 1973. Pp. 115–149. Hunter, Catherine. “Passing It On; or, How I Met Tiff.” Journal of Canadian Studies 33:38–40 (winter 1988– 1989). Kruk, Lurie. “Timothy Findley.” In The Voice Is the Story: Conversations with Canadian Writers of Short Fiction. Oakville, Ont.: Mosaic Press, 2003. Pp. 77–99. McCartney Filgate, Terrence, director. Timothy Findley: Anatomy of a Writer. Documentary film, 1992. Mellor, W. M. “Timothy Findley’s True Fictions: A Conversation at Stone Orchard.” Studies in Canadian Literature/Etudes en LiterratureCanadienne 19:77–101 (1994). Meyer, Bruce, and Brian O’Riordan. “The Marvel of Reality: An Interview with Timothy Findley.” Waves 10:5–11 (spring 1982). Reichard, William. “Who Am I ѧ This Time?” Lambda Book Report, February 2000, pp. 6–9. Richards, Linda. “Timothy Findley.” January Magazine (http://januarymagazine.com/profiles/timothyfindley. html), November 1999. ———. “Timothy Findley.” January Magazine (http:// januarymagazine.com/profiles/findley.html), June 2002. Slopen, Beverly. “Timothy Findley.” Publishers Weekly, April 11, 1994, pp. 41–42. Summers, Alison. “Interview with Timothy Findley.” Canadian Literature 91:49–55 (1981). ———. “Interview with Timothy Findley.” Malahat Review 58:105–110 (April 1981). Twigg, Alan. Strong Voices: Conversations with Fifty Canadian Authors. Madeira Park, B.C.: Harbour, 1988. Pp. 83–89.

course in the Novels of Timothy Findley. Toronto: ECW Press, 1991. ———. Praying for Rain: Timothy Findley’s “Not Wanted on the Voyage.” Toronto: ECW, 1993. Pirie, Bruce. “The Dragon in the Fog: ‘Displaced Mythology’ in The Wars.” Canadian Literature 91:70–79 (1981). Roberts, Carol. Timothy Findley: Stories from a Life. Toronto: ECW Press, 1994. Roberts, Carol, and Lynne Macdonald. Timothy Findley: An Annotated Bibliography. Toronto: ECW Press, 1990. Sanderson, Heather. “(Im)perfect Dreams: Allegories of Fascism in The Butterfly Plague.” Essays on Canadian Writing 68:104–125 (summer 1998). Scobie, Stephen. “Eye-Deep in Hell: Ezra Pound, Timothy Findley, and Hugh Selwyn Mauberley.” Essays on Canadian Writing 30:206–227 (winter 1984–1985). Shields, E. F. “‘The Perfect Voice’: Mauberley as Narrataor in Timothy Findley’s Famous Last Words.” Canadian Literature 119:84–98 (winter 1988). York, Lorraine M. Introducing Timothy Findley’s “The Wars”: A Reader’s Guide. Toronto: ECW Press, 1990. ———. Front Lines: The Fiction of Timothy Findley. Toronto: ECW Press, 1991. ———. “Timothy Findley 1930–.” In Canadian Writers and Their Works. Edited by Robert Lecker, Jack David, and Ellen Quigley. Vol. 12. Toronto: ECW, 1995. Pp. 71– 120.

INTERVIEWS Aitken, Johan. “‘Long Live the Dead’: An Interview with Timothy Findley.” Journal of Canadian Fiction 33:79–93 (1981–1982). Bemrose, John. “Pilgrim.” Maclean’s 112: 62 (September 6, 1999). Cameron, Donald. “Timothy Findley: Make Peace with Nature, Now.” In Conversations with Canadian Novelists. Toronto: Macmillan, 1973. Pp. 49–63.

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WALDO FRANK (1889—1967)

Kathleen Pfeiffer AS NOVELIST, CULTURAL critic, social commentator, editor, and mentor to younger writers, Waldo Frank promoted the development of a more organic, democratic American literature in the twentieth century. Though he longed for recognition as a novelist, particularly in relation to his pioneering efforts to develop the “lyric novel” in his early fiction, Frank will probably best be remembered for the clarity and insight of his critical writing about American culture and for his passionate advocacy of Latin American writers to U.S. audiences. Waldo Frank held fast to his lifelong belief that his roles as artist, philosopher, and critic were necessarily intertwined, and he suffered deeply from his readers’ and critics’ confusion and hostility in the face of this. Ambitious and profoundly confident, Frank was inspired by a mystical vision in childhood, and he vowed thereafter that all his writings should be “proofs of god.” Yet it was not mere arrogance that motivated his life’s work, but a deep desire to cultivate the fullest potential in American literary and intellectual culture. Relentlessly experimental in both content and style, Frank’s fiction sought to reinvent American literature, insistently blending literary modernity with national identity.

Helene Rosenberg Frank, maintained a comfortably middle-class home on West Seventy-eighth Street in New York. Julius Frank was a lawyer and an active member of the Democratic Party who once ran unsuccessfully for Congress; he was also a trustee of the New York Society for Ethical Culture. Waldo’s mother, having trained as a soprano for the opera, sang daily; his father played organ and piano; sister Edna played piano and sister Enid violin; and Waldo Frank was himself a dedicated amateur cellist (it is not clear whether his brother Joseph shared in the family’s music). The coddled “baby” of the family in childhood, Frank developed a strong ego early in life, and his self-confidence led to his lifelong embrace of individualism. His posthumously published Memoirs illustrate his egocentricity by opening with a vivid passage in which he describes the peculiar delight he took as a child in the contemplation of his own penis in the bathtub. “It stands up, erect, the island apex of a continent which a pressure of hand and foot on the bottom of the tub reveals above the water,” Frank writes. “This is the Waldean continent, with the male organ as its center” (p. 6). Though the Memoirs later refer back to his “Waldea” myth as “nonsense,” four separate references in the Memoirs do discuss Waldea with serious respect. His brother Joseph recalled that in childhood, “he began to show ideas of faith in his individuality by announcing a new ‘Waldensian’ religion of which he was going to be the prophet” (Bittner, p. 24). This extraordinary self-confidence led Frank to instill great significance in a vision he experienced early in life. The scene is described in The Rediscovery of Man (1958) as a sort of mystical experience in which, as a young boy, he felt himself united with the Cosmos. “He had had an experience of

BACKGROUND

The youngest of four children, Waldo David Frank was born into a nonobservant Jewish family on August 25, 1889, in a white frame house near the shore in Long Branch, New Jersey, where the Franks happened to be spending their summer. Named after Ralph Waldo Emerson and Henry David Thoreau, Waldo Frank felt himself destined to literary greatness, and his childhood was spent in an environment where music, literature, art, and imaginative expressions were highly valued. His parents, Julius J. Frank and

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WALDO FRANK Frank traveled extensively during his life, throughout the United States and abroad. In the months following his college graduation, he journeyed to Wyoming, Montana, Chicago, New York, and Paris. He landed in Greenwich Village and took a job on the New York Evening Post and then on the New York Times. Frank later learned, to his great dismay, that his father had been paying his salary at the Evening Post, and much of his work was never published; nevertheless, he interviewed figures such as Emma Goldman, Samuel Gompers, and Theodore Roosevelt during this time. Like many other Greenwich Village bohemians, Frank became an enthusiastic cultural pluralist, and he joined the political debates of the day with great passion. Objecting to U.S. involvement in World War I, he registered as a pacifist, the nation’s first (or so he claimed) conscientious objector. In 1914 Frank met the woman who would, in 1916, become the first of his three wives. Margaret Naumburg was an accomplished woman: she earned a degree from Barnard in 1912, studied with John Dewey, and was one of the first Americans to train with the innovative educator Maria Montessori. Naumburg was a tremendous influence on Frank. She introduced him to Freudian psychoanalysis and encouraged him to meld the numerous influences that would inform his writing throughout his life. His efforts to integrate spiritual mysticism, realism, and political radicalism into his fiction owe a debt to Naumburg. She was also the cofounder of the Children’s School, later renamed the Walden School (after Thoreau’s Walden, at Waldo’s suggestion) which took a revolutionary approach to education by employing psychoanalytic principles as part of the pedagogy. Today Margaret Naumburg is best known as an innovator in art therapy, and during the time of her marriage to Frank, she was a formidable woman.

relation which he could not fit into the weave of functional relations,” Frank writes of his young self. “In its directness, its apparently absolute freedom from the relations that weave the tissues of life, this knowledge is revelation” (pp. 256, 257). Thus, early in life, Frank dedicated himself to the examination of philosophical themes he saw as interrelated—Personhood, Wholeness, and Unity (the capitalization is Frank’s). Even as a boy, he promised himself that all of his writings would be “proofs of god” (Memoirs, p. 11). A precocious student who did not hesitate to challenge his teachers, Frank was expelled from Horace Mann School for refusing to apologize after a classroom brawl, and he regularly cut his English classes at DeWitt Clinton High School because he believed that he knew Shakespeare better than the teacher. As a result, he failed to graduate. In 1905 Frank had already written a novel, Builders in Sand, which was accepted for publication at Putnam but was withdrawn by Frank’s father, who felt that the work’s immaturity would reflect badly on his son. Frank spent a year in Les Chamettes Pensionnat in Lausanne, Switzerland, a private preparatory school, before attending Yale, where he enrolled in 1907. There, he studied with the storied William Lyon “Billy” Phelps (whom he later made the target of an unkind profile in the New Yorker, the negativity of which he came to regret) and Henry A. Beers, whose having known Emerson impressed Frank as prophetic for himself. (“The circuit from past to present was complete!” he later wrote [Memoirs, p. 43]). In 1911, after just three years of study, he received a simultaneous B.A. and M.A. from Yale, where he earned a Phi Beta Kappa key and was made an honorary fellow of the university. While at Yale, his writing developed: Frank served as the drama critic of the New Haven Courier-Journal, and he began writing plays. A year after his graduation, the Yale University Press offered to publish his master’s thesis, “The Spirit of Modern French Letters.” Frank’s ideas about French literature were constantly changing at the time, however, and thus the book was never finished and therefore never published.

SEVEN ARTS AND OUR AMERICA

In 1916, Frank joined the critics James Oppenheim and Van Wyck Brooks in founding the Seven Arts, a magazine dedicated to innovative criticism, literary experimentation, and other written

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WALDO FRANK expressions of the emerging modernist national spirit. The Seven Arts was short lived but vitally important among the “little magazines” that proliferated during this time, and Waldo Frank’s influence is evident in its promotion of a unified cultural movement that integrated aesthetics and national identity. In the Seven Arts vision, literature had great potential to effect social action, and it sought to nurture writers who rebelled against literary convention. The magazine’s premiere issue declared its objectives:

culture for the twentieth century: “I loved the magazine,” he writes in his Memoirs, which for a year and a half I had lived ѧ with others ѧ to create. Even my dreams had lived it. This was to be no grab-bag periodical, no individual or narrow group expression, but a living organ articulate of America and of Cosmos: a proof indeed of God. (p. 94)

The magazine, however, could not sustain the burden of its editors’ lofty and often contradictory objectives. Editorials became frankly political once the United States declared war in the spring of 1917, and its editorial opposition to the war lost the backing of Mrs. Annette Rankine, its primary financial contributor. In 1919, after the collapse of the Seven Arts, Frank published his first major work of critical nonfiction, a book titled Our America. Written during the Paris Peace Conference, as armistice was being negotiated and as Americans reconsidered their nation’s role in the emerging modern world, Our America is a very important book and offers further insight into Frank’s artistic philosophy at the time. Energetic and rebellious, Our America argues for a sense of national renewal, which, in Frank’s view, can only come through an aggressive confrontation with history and not through flight or denial. Condemning America’s Puritan legacy of repression, Frank proclaims his nation’s spiritual potential, citing Walt Whitman’s vision of democratic multitudes. Frank had long since been drawn to Whitman (as a student, he won the gold medal in DeWitt Clinton High School’s annual oration contest with a selection from Leaves of Grass), and in Our America, Frank celebrates Whitman as a great mystic. “He saw the movements of men upon the flat planes of mundane life in its relation to all mundane life. He saw the unitary flow of all mundane life in its relation to an infinite Being of which it was an elementary part” (p. 202). A sweeping cultural appraisal that Ann Douglas has described as “a pioneering attempt to psychoanalyze American culture” (67–68), Our America calls for nothing short of an artistic and social revolution across the land. “We must begin to generate within ourselves the energy which is love of life,” Frank

It is our faith and the faith of many, that we are living in the first days of a renascent period, a time which means for America the coming of that national self-consciousness which is the beginning of greatness. In all such epochs the arts cease to be private matters; they become not only the expression of national life but a means to its enhancement. (p. 52)

The Seven Arts political vision was complex: it celebrated individualism; it repudiated the dehumanizing effect of capitalism; and it advocated a fuller integration of aesthetics into everyday life. The magazine allowed Frank to exercise considerable cultural authority, and he became an influential critic at a remarkably young age. As its literary editor he discovered and first published Claude McKay and Sherwood Anderson. Other contributors that he brought to the magazine read like a list of “who’s who” among experimental modernist writers in the 1920s: D. H. Lawrence, Eugene O’Neill, Mable Dodge, Katherine Baker, Robert Frost, Amy Lowell, Kahlil Gibran, Carl Van Vechten, and John Butler Yeats, to name but a few. Throughout the magazine’s numerous essays and editorials, Waldo Frank’s aesthetic and critical vision made itself known. Casey Nelson Blake has rightly characterized Frank’s critical stance as “a conscious appeal to the public as a romantic seer” (Beloved Community, p. 170). Thus, Frank’s work in shaping the artistic and political agenda of the Seven Arts demonstrates the first of his “repeatedly frustrated efforts to act as a spiritual leader in the world of politics” (p. 170). In its twelve issues, running from November 1916 to October 1917, Frank worked to provide literary leadership for a new generation of writers and to redefine aesthetic

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WALDO FRANK concludes. “For that energy, to whatever form the mind consign it, is religious. Its act is creation. And in a dying world, creation is revolution” (p. 232). It was successful and influential, and Our America not only galvanized its readers but also established Waldo Frank as an important cultural critic; Frank’s friend, the writer Gorham Munson, called this book “the Bible of the oncoming generation” (“Fledgling,” p. 28).

came; his father was; and yet no even tenuous cord connected them. From this amazing seed of recognition sprang many varied, new impressions. And it was not long ere infantile wisdom had sensed the truth” (p. 27). As Quincy matures, his predisposition to be an individualist is at times indistinguishable from frank alienation—from his family, his society, and American culture generally. Successful at business, Quincy grows to become materialistic, yet his prosperity is framed by the narrator’s lengthy discussions of the city’s ugliness, meanness, and lack of spiritual essence. Looking back at The Unwelcome Man near the end of his life, Frank believed it to be in accord with his subsequent novels and with his life’s themes. “The lot of the sensitive man is to lose and vanish,” he wrote of Quincy Burt, and, one suspects, of himself as well. “In the depiction of the hero’s walk across the Brooklyn Bridge, the treatment of the machine-made world surrounding Quincy Burt awaits the sense of revelation in my other stories” (Memoirs, p. 239). His next novel, The Dark Mother (1920), was dedicated to Margaret Naumburg. It was the first of several books published by Boni & Liveright, the firm with whom he enjoyed a strong relationship throughout the 1920s. Like The Unwelcome Man, The Dark Mother experimented with psychological concepts, offering a nuanced and mystical account of male friendship that has often been cited as an early example of homosexual literature. In his Memoirs, Frank linked The Dark Mother to The Unwelcome Man as “an experiment that failed, because no technique had been developed to express the book’s specific form of vision” (p. 102n). The two novels also share a tendency to idealize the feminine. In both novels, male protagonists are spiritually deprived by their primal separation from the maternal. Like much of Frank’s fiction, both novels are concerned with broad philosophical concepts—how to cultivate Personhood and Wholeness. The Dark Mother examines the triangulated passion that develops between protagonist David Markand, his friend Tom Rennard, and Tom’s sister Cornelia, a gifted artist. The homosexual subtext appears early in the novel, soon after David meets Tom. Overcome with feelings for

THE LYRIC NOVEL

Alongside his work on the Seven Arts, Frank wrote effusive experimental fiction, struggling to develop an American novel form that would parallel the innovative style of Romain Rolland’s ten-volume novel Jean-Christophe. Frank’s novels often received mixed reviews, however, and led to his sense of being misunderstood and unappreciated, a feeling that frustrated and depressed him and would dog him throughout his life. To be fair to the critics, all of Frank’s novels are difficult and demanding, with complex plotting and abstruse language. The narrative point of view often shifts unexpectedly, and the narrative voice often struggles, with varying success, to incorporate mystical visions and a psychological subtext into an ostensibly realistic scene. Much of Frank’s writing attempts to develop what he called the “lyric novel,” a direct expression of subjectivity that employs modernist literary techniques. Frank’s debut novel was a lengthy semiautobiographical bildungsroman titled The Unwelcome Man (1917). It was rejected by numerous publishers (including Sinclair Lewis, during his stint as an editor) before being accepted by Little, Brown in Boston. Casey Blake has noted that The Unwelcome Man is “one of the first American novels to employ both psychoanalytic categories and a stream-of-consciousness technique” (Beloved Community, p. 33) in developing the character of the protagonist Quincy Burt. Early in the novel, for instance, Frank gives voice to the infant Quincy’s interior life, in the moment where the baby recognizes that his mother serves his father’s needs ahead of his own. “Here was a great, new truth to knead into his heart. His father

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WALDO FRANK Tom, David thinks, “the man beside him was part of a whirling wonder ѧ the waves of his feelings were up and down” (p. 22). The novel frames this homoerotic desire, however, by connecting it to the feminine and the maternal. As David sits beside Tom on a train in the early pages of the novel, he thinks of Manhattan as “a woman, terrible, virgin, and he aware of his own love and of his impotence before her” (p. 24). As Tom watches David enter the city for the first time, he fantasizes that he might “enter” David as David enters the city. While David feels erotic longing for Tom, he also desires maternal comfort and seeks reconciliation with some primal feminine. Looking about the city, he has a vision, mystical and compelling:

cally from traditional narrative, juxtaposing story lines and characters against each other and against classical literary traditions. Both also examined sexuality, with Rahab focusing on a procuress and the prostitutes she attends, and City Block examining, among other things, the sexual infidelity of a married couple and the sexual activity of a priest. Two of the stories from City Block had been written earlier and published in the Seven Arts, but otherwise, the two novels were written simultaneously. Rahab was published first, however, in part because City Block experienced some delays in production. Because both Frank and his publisher Horace Liveright feared prosecution from the New York Society for the Prevention of Vice for City Block’s explicit sexuality, it was published privately. Frank viewed both books as more mature in their presentation of the individual, and his aesthetic philosophy at this time is clear in his discussion of the works:

The world was a dark Mother. The Night of the miracle of worlds was fleshed and was a Mother.ѧ And he within her, moving with the world toward the movelessness of birth. David was unborn. But his mouth sucked vision. Sucking the Night sucked vision.

Unlike the assumption in “realism” that the individual is real—and until recently mortal, bound for hell or heaven, so that he may be portrayed analytically, historically, linearly—the premise for my work is that the individual is unreal and is transformed into truth, instantaneously, nonlinearly, only as the timeless and spaceless Presence speaks in him.

(p. 249)

As the novel unfolds, it becomes clear that the two men are psychologically quite different: Tom, a cynical and manipulative attorney; and David, a thoughtful and idealistic dreamer who is trying to make his way in the world but finds himself repeatedly befuddled by the hypocrisy of the social world around him. Thus, the homosexual desire between the two also functions as a backdrop against which their differences might be integrated. Cornelia’s presence complicates this dyad, however, not only through her close connection to Tom but because of her unrequited love for the philandering David. David struggles to find his way in the city and to mature into full personhood as Tom grows more cynical, and their friendship disintegrates beneath the ensuing conflict. David, freed from Tom’s oppressive bitterness, falls in love with Helen Daindrie, a friend of Cornelia. On the novel’s last page, Cornelia burns all of her paintings and commits suicide. Frank experimented with nonlinear narrative form in two structurally innovative and thematically related works, Rahab (1922) and City Block (1922). Each of these novels deviated dramati-

(Memoirs, p. 102)

In Rahab, Frank draws on his Jewish heritage for inspiration. The Rahab of the Old Testament appears in the book of Joshua and is a prostitute who saves herself and her family from a military invasion by hiding Israelite spies and protecting them from capture. Frank’s Rahab, Fanny Luve, is a procuress who cannot save herself or the “family” of prostitutes she attends. The novel interpolates past and present, interior imagination and exterior dialogue, lyricism and prose. In the frame narrative, Fanny engages in conversation with Samson Brenner, a Jewish man who is awaiting his appointment with a prostitute who works in the house where Fanny is a madam. We learn, in fragments, of Fanny’s past as a southern wife and mother who, upon being abandoned by her drunken husband, takes a lover and thereby discovers her own strength. When her estranged husband returns, now sober and sanctimonious,

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WALDO FRANK she confesses her affair and he casts her out, citing the Bible for support, and separating her from her daughter. Rejected, homeless and yearning, Fanny travels north, seeking Wholeness. She takes another lover, an industrialist named Christopher Johns, and becomes more focused in her spiritual quest. Guilt compels her to break with Johns, however, and as she breaks with him, she tells him,

the Jewish aspects of the case: his characters—a police lieutenant named Statt, a gambler named Abraham Mangel, and a judge named Mark Pfennig—are each enamored of one of the women at Fanny’s house. In lyric verse, Frank shows how Mangel’s self-loathing triggers the admission that leads to their downfall. “My soul is beautiful,” Mangel thinks. “My soul says to me: / You are a dirty Jew!” (p. 215). He decides to betray the system, and plans to admit his own guilt and to reveal Statt as corrupt; Statt, of course, learns of the plan. In the novel’s denouement, Fanny forbids Statt from having Mangel killed in her house, thus evoking the Old Testament Rahab. “Fanny, whose life too hinged on the actions of Jews,” writes William Bittner, “came to her worldly downfall for the sake of a Jew whom she would not betray—Mangel. And she like Rahab, gained, not from earthly reward for her act ѧ but from a spiritual gain inherent in the act” (p. 87).

I will continue to do this, poison others with the poison of my wound, so long as I seek to be healed. Do you see? That is what makes the world endlessly hurt the world. It seeks to be healed. Do you see? Each human soul, wounded by another human soul, seeks a soul to be healed. And the wound is passed along endlessly, endlessly. (pp. 124–125)

Fanny sinks into poverty. Though financially desperate, Fanny is not alone, and with the friendship and support of three other women, she is able to recover and rise. The women—all but Fanny are “kept”—take a house together in which their men come to see them, and they are all happy together for several years. In Rahab’s ambitious climax Frank revisits the biblical antecedent by offering a thinly veiled fictional account of the New York police corruption scandal of 1912, a case that Frank had covered years earlier as a newspaper reporter, having interviewed all of the principals involved. The case began when a gambler, Herman Rosenthal, exposed the protection setup that had been lining the pockets of the New York police lieutenant Charles Becker, and which implicated nearly the entire force. Notwithstanding his heavy guard, Rosenthal’s protection could not prevent his being gunned down outside the Hotel Metropole. Subsequent investigations revealed that Becker ordered the hit and that Jewish gunmen carried it out. F. Scott Fitzgerald would also make fictional use of this notorious crime in The Great Gatsby (published three years after Rahab), in the scene where Nick Carraway meets Gatsby’s business partner Meyer Wolfsheim; in Gatsby, Wolfsheim reminisces about the evening of the murder, connecting himself to the crooked gambler and thereby underscoring the questionable legality of Gatsby’s own business dealings. In Rahab, however, Frank is more interested in

Though experimental in its arrangement— interlocking characters and scenes link one story to the next—in City Block’s prefatory note, “The author assures the reader that City Block is a single organism and that its parts should be read in order.” Episodic in form and design, City Block nevertheless offers coherence in its interest in Unity and Personhood. Each of the characters depicted in its fourteen stories is somehow searching, and characters often reappear, as when Fanny Luve figures in both “Accolade” and “Faith.” And each story offers an aesthetic interpretation of the book’s epigraph, from Spinoza, “By reality and perfection I understand the same thing.” These stories are among Frank’s most accessible precisely because they focus on the quotidian details of their characters’ lives and loves, eschewing the mystical visions that often emerge in Frank’s novels. “City Block was to be a nexus of short stories,” he wrote, “each revealing in humble and broken human lives the moment and the ecstasy of that true knowledge” (Memoirs, p. 102). Perhaps the most important and bestremembered novel from this period is Holiday (1923), his evocative story of a southern lynching. Well known for its connection to the Harlem

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WALDO FRANK Renaissance (it was advertised in the 1923 Survey Graphic issue that was dedicated to “The New Negro”), Holiday is also important for its connection to Jean Toomer, the ambitious and gifted African American writer whom Frank befriended and mentored during the time that Toomer wrote his own important modernist collection titled Cane. Viewed by Frank and Toomer as “companion pieces,” Holiday and Cane were published on the same day, both by Boni & Liveright. Firmly grounded in the psychosocial and racial history of the early-twentieth-century South, Holiday is rich in allegory and is one of Frank’s most accessible novels of the decade. The novel is structured according to the cycle of a single day in a town called Nazareth, and it depicts the simmering sexual and religious fervor that leads to lynching. Structured in four parts—dusk, dawn, noon, and dusk—the plot unfolds within a surrealistic atmosphere. Nazareth is divided into two towns— the white city and the “niggertown.” The day begins as a holiday from work for black folks because the brutally hot weather has led their employer’s daughter, Virginia Hade, to close down operations early at the request of John Cloud, the black overseer. A holiday atmosphere already influences Nazareth’s white folks because the Revival Tent is being set up. The religious passion aroused in the Christian men of Nazareth, however, doesn’t find its expression in virtuous redemption but in the grotesque pyre set beneath John Cloud at the novel’s end. Holiday opens with the arrival of the ship named Psyche, during the docking of which a black sailor falls into the water and drowns because the white townsmen who can swim would rather not get their clothes wet. The novel is filled with numerous biblical allusions. John Cloud’s last name indicates his height and airiness, and his initials suggest his role as a Christ figure. Likewise, Virginia’s name underscores her sexual purity. The Hade family prospers because it controls the town’s main business of picking and preserving fruit, a venture that evokes a metaphorical Garden of Eden. Indeed, the town’s name itself surely underscores these allusions, suggesting a new cultural birth. But the Psyche’s presence also evokes much, and as with many of

Frank’s novels, a complicated and ambiguous psychological subtext runs through its pages. For example, Virginia Hade and John Cloud are drawn to each other because they experience a similar restlessness, a sense of longing and unease that both describe as a “skinny witch” that dances on the chest. The novel’s plot brings John and Virginia together because of the heat—both arrive, separately and unplanned, at the same swimming hole. Virginia sees John swimming naked, and once he is dried and clothed he joins her and they talk. At Virginia’s insistence, they exchange knives. Frank’s lyric prose seeks to convey the simultaneous attraction and alienation between the two: She sees him: unreal, too. In his eyes snow: his body is flame, but in his eyes snow ѧ John Cloud walks away. Virginia Hade is alone. She looks:—With John’s knife alone. The blade is stained ѧ—With John’s blood, alone ѧ (p. 171)

Virginia cuts herself with John’s blade while in a strange, mystical delirium. Walking back to town, she is carrying John’s knife and is seen by her brother and other racist townsmen who are leaving the Revival Tent, frustrated by the impotence of its religious offerings. John Cloud’s lynching is inevitable and it is not clear whether Virginia’s mystical trance leaves her unwilling or unable to stop it. By the novel’s end, however, Virginia is sleeping peacefully and John is horrifically dead, and the implications of this are depicted clearly: “The Psyche stands at the empty pier that points from Nazareth out into the world” (p. 233). Perhaps the most compelling aspect of Waldo Frank’s novel, its final image projects the implications of lynching in the broadest possible terms. As Holiday was in press, Frank wrote the psychological thriller Chalk Face (1924), a murder mystery that, like much of Frank’s fiction, manipulates Freudian tropes. Written with astonishing speed (in a letter to Toomer at the time, Frank described it as an “explosion” in his

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WALDO FRANK “inners”), he completed Part One, some thirty thousand words, in the first ten days. Chalk Face is often likened to the work of Edgar Allan Poe or connected to the tradition of Sherlock Holmes, yet it has much in common with Frank’s earlier novels.

observation carries considerable authority. “A good rule in Waldo Frank’s writing,” he notes, is that where you see the name Mark, there is Waldo Frank. David Markand, John Mark, Mark Ferry, all these are facets of Waldo Frank. John Mark is a projection of Waldo Frank at the peak of his fame looking on to greater things he will do if the details of living would only get out of the way.

The story unfolds through the first-person narrative of its main character, John Mark. A hardworking, poorly paid scientist, Mark is the son of wealthy parents, and when he falls in love with the beautiful and wealthy Mildred Fayn, he asks his parents for the financial support to marry her. They refuse, dashing his hopes with a cavalier dismissal. He leaves them, and as he walks to Mildred’s house he begins to have a series of visions—“Something in me is fixed, and something in me is moving! ѧ” (p. 40)—in which he sees a man murdered. Mark returns to his senses and arrives at Mildred’s house to propose marriage, only to learn that she has another offer from a man named Philip whom she also loves. As Mark tries to press his own suit with Mildred, they are interrupted with the discovery that Philip LaMotte has been murdered. Mark’s efforts to investigate the crime are then interrupted when he learns that his parents have both been killed in an automobile accident. Foul play is suspected.

(p. 109)

Frank’s reputation was so firmly established by 1923 that Boni & Liveright published Waldo Frank: A Study, by Gorham Munson. A celebratory critique of the then thirty-four-year-old writer, “the most exciting figure in contemporary American letters” (p. 9), the Study included a portrait of Frank taken by his close friend, the famed photographer Alfred Stieglitz. Munson declared Frank as having achieved “a rising progression from a modest start up through suspense-provoking transitions and thrilling climaxes to a promising maturity” (p. 9). Throughout the 1920s Frank’s literary prominence brought him both praise and scorn. Ernest Hemingway memorialized his contempt for Frank in a 1924 poem “The Soul of Spain [In the manner of Gertrude Stein]” with the unambiguous line “Waldo Frank is the shit.” Similarly, F. Scott Fitzgerald offered his own harsh estimation of Frank’s literary contributions in a letter to an editor at Boni & Liveright. Fitzgerald complains that Frank “seems to be an ambitious but totally uninspired person under the delusion that by filching the most advanced methods from the writers who originated them to express the moods of their definate [sic] personalities, he can supply a substitute for his own lack of feeling and cover up the bogus ‘arty ness’of his work” (Correspondence, p. 123). Nevertheless, Frank was an influential man, and he helped shape the aesthetic values of early-twentieth-century American literary culture. His output as a novelist was more prolific during this era than at any other time in his life.

The “Chalk Face” of the title, echoed in the first of the book’s three sections (titled “The Man with the White Head”) refers to a ghostly figure, dressed in black, with an eerily white head, that appears throughout the novel. In a dreamlike sequence, Mark sees Chalk Face and follows him to the edge of the city, where the latter tries to lure him to his death at the edge of a lime kiln. “Come down: and join him.ѧ Here, if you will but come, you and he are one. And I will be released” (p. 200). The encounter is depicted as a painful struggle within Mark against his own will, suggesting that Chalk Face represents his own divided sensibility, seeking the quintessentially Frankian Unity. In the end, he confesses the killings to Mildred, and she leaves him. Commenting on Chalk Face, William Bittner has noted that Frank’s use of nomenclature offers a parallel among novels that would otherwise seem quite disparate; and because Bittner’s research included extensive conversations with Frank himself, his

CULTURAL CRITICISM AND POLITICAL WORK

Frank’s personal life shaped the direction of his writing, however. His marriage to Margaret

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WALDO FRANK Naumburg had always been emotionally turbulent, and with the birth of their son Thomas in May 1922, pressures on the couple increased. The stresses proved irreconcilable, leading Margaret to travel to Reno, Nevada, in March 1924 to obtain a divorce. Years later, Waldo Frank reflected on this disappointment. “My marriage had failed,” he lamented,

only of Frank’s personal influence but also of his intellectual and aesthetic interests at this time. On July 15, 1927, Frank remarried, taking Alma Mae Magoon for his wife in Paris. Educated at Wheaton and Barnard Colleges, Alma Magoon earned a master’s degree from Teacher’s College of Columbia University. A formidable woman in her own right, Magoon established herself as a distinguished educator during the years of her marriage to Frank. She won a Rockefeller grant in 1936, for example, that sent her to London, where she studied infant development with F. Mathias Alexander. She became an expert in the so-called Alexander method of physical and psychological coordination. She and Waldo Frank had two daughters, Michal, born in 1930, and Deborah, in 1931. Shortly after marrying Magoon, Frank published New Year’s Eve: A Play. Though it was never produced, New Year’s Eve was rehearsed by the Group Theater, and Frank developed friendships with members such as Harold Clurman and Stella and Luther Adler. During this time, Frank also worked on a series of articles that were originally intended as a kind of sequel to Our America. They appeared regularly in the New Republic and were published in 1929 as The Rediscovery of America: An Introduction to Philosophy of American Life. The unevenness and didactic tone of Rediscovery may be a result of its origins as a series of essays rather than as an organic, stylized whole, like Our America. Nevertheless, its three-part structure provides an examination of the past, present, and future of American culture and concludes by emphasizing America’s tremendous remaining potential. Like Our America, The Rediscovery of America called for an organic American art form. “We are dealing with a world that has never yet been,” he writes, “a world which may come true if it is true (as I believe) that man is still an infant and all his history a cradle story” (p. 309). The Rediscovery of America’s publication corresponded with the crash of the stock market and the Great Depression; in the face of this widespread economic despair, Frank was spurred to undertake the very sort political activism that Rediscovery advocates. In 1929, for example, he accompanied Sherwood Anderson and other writ-

(I realized how unconscious-deliberately I had sabotaged it) because I was not ready, not willing, for its burdens of responsibility, absorbed as I was by the problems of my career as a writer. I faced long absences from my son, and my notebooks reveal how I suffered from the separation. (Memoirs, p. 140)

One practical consequence of the divorce was the increased financial burden of providing for two households in addition to paying child support. In response to this pressure, Frank sought and accepted more regular, paying assignments. He was named contributing editor to New Masses and he wrote essays for the New Republic (where he was later named associate editor) and the Nation. A number of his essays from 1916 to 1924 were assembled in the collection Salvos: An Informal Book About Books and Plays, published by Liveright in 1924. Also at this time, under the pseudonym “Search-Light,” he began writing essays for the New Yorker’s “Profiles” section. The arch and witty tone of the “Profiles” is evident in the subtitle of “Search-Light’s” collected works, Time Exposures: Being Portraits of Twenty Men and Women Famous in Our Day, together with Caricatures of the Same by Divers Artists to which is appended An Account of a Joint Report Made to Jehovah on the Condition of Man in the City of New York [1926] by Julius Caesar, Aristotle and a Third Individual of Less Importance. The people who fall under “SearchLight’s” glare in this collection include friends and mentors, ranging from the financier and patron of the arts Otto Kahn, the influential Yale literature professor William Lyon Phelps, the painter Georgia O’Keeffe, the composer Ernest Bloch, the actor and comedian Charlie Chaplin, Frank’s publisher Horace Liveright, the pianist and composer Leo Ornstein, and the photographer Alfred Stieglitz. The list illustrates the range not

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WALDO FRANK ers who raised funds for striking Massachusetts textile workers. Then in 1932, Frank joined Mary Heaton Vorse, Edmund Wilson, and Malcolm Cowley as union-sponsored observers of the miners’ strikes in Harlan, Kentucky, where he took a tough beating that was featured in a series of articles in the New York Times. He became active in the writers’ delegation of the National Committee for the Defense of Political Prisoners, attacking President Hoover for his treatment of the Bonus Army, veterans of World War I who sought cash payment for the endowment promised them as relief during the Depression. He was elected chairman of the League of American Writers; he served as a delegate to the International Congress for the Defense of Culture; and he addressed the American Writers Congress. These were, to be sure, busy years for Waldo Frank. Like many writers in the 1930s Frank fell under the sway of communism, though, ever the individualist, he cultivated his own distinctive brand. His attitude toward communism was partly influenced by his personal experience traveling in Russia. He took an extended tour of the Soviet Union in 1931 and it affected his ideological stance. “I accepted the workers’ ‘saving grace’ that fated them to change the world,” he wrote.

study of cultural history than a strictly literary text, Virgin Spain’s subtitle best captures its author’s goals: “Scenes From the Spiritual Drama of a Great People.” Though the book was ignored or disparaged in the United States (most notably by Ernest Hemingway, whose Death in the Afternoon ridicules it as “erectile writing”), it received an enthusiastic reception in Spain and Latin America. Indeed, it led Frank to a series of lecture tours in South America and a subsequent heightening of social consciousness that characterized his work and writing in the years to follow. Frank’s exhausting travel took him to a number of countries, including Argentina, Bolivia, Peru, Chile, Colombia, Brazil, Uruguay, and Cuba. The forty-two lectures themselves, Primer mensaje a la América Hispana, were published in Madrid in 1930; a year later, Frank published America Hispana: A Portrait and a Prospect. In the opening lines of America Hispana, Frank explains that “this book must be taken as a work of art.” The aesthetic philosophy behind America Hispana, he contends, is of a piece with that of works like Rahab and City Block. The aim, Frank notes, “is not primarily to give facts or information: it is to create for the reader an image of the living organism about which the facts are recorded, to give him an experience of the truth which this collective living being represents” (p. ix). Throughout his life, Frank believed that Americans had much to learn from the depth and rootedness of the Spanish people.

Yet I never lost my critical stance toward the oversimple Marxist psychology. Man was more than the product of his material conditions; evil was more humanly inherent than the corruption of a class society. And if you reduce man’s dimensions by the dogmatic rejection of the cosmic within his self, your society will be unprepared to cope with reality and will be overwhelmed by the unadmitted in man’s nature.

Throughout the 1930s, Waldo Frank maintained an ambitious and wide-ranging itinerary of travel. Nor did he lessen his commitment to producing the paid shorter essays and critical works that would provide for his family; his collected essays from 1925–1936 appeared in book form as In the American Jungle in 1937. Frank also maintained his commitment to fiction writing, and in 1934 published a sequel to The Dark Mother titled The Death and Birth of David Markand. First drafted in 1927 (the original title contained no mention of death), the novel begins after David Markand has married Helen Dandrie and fathered a son and a daughter. Like Quincy Burt of The Unwelcome Man, David is both

(Memoirs, p. 184)

His book Dawn in Russia (1932) elucidated these idiosyncratic views, and he became more involved in party activities during the early 1930s, at one point joining Earl Browder on the campaign trail. During the 1930s Frank also nurtured a deepening interest in Hispanic culture. His book Virgin Spain had been published in 1926 to such acclaim in the Hispanic literary community that he came to be known, by the end of his life, as a “literary ambassador” to Latin America. More a

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WALDO FRANK financially prosperous and personally dissatisfied, and in the novel’s opening paragraph he notices “this daily experience of waking as if being born into strangeness” (p. 3). Helen turns to Catholicism in order to combat her own spiritual alienation, and when she tells David about the comfort she finds in having discovered a “truth,” he ventures out to search for a truth of his own. In the novel’s second section, titled “The Mothers,” David returns to his boyhood home, searching through his parents’ papers for some direction to his true self, some instruction on how to live. Reading their letters, he finds a sense of love and connection between them and himself and he is deeply moved. Nevertheless, he remains unable to understand and negotiate social problems in the wider world, and his inability to find a common vocabulary with the townspeople, for whom his appearance has created deep conflicts, leads to his being run out of town. Throughout the novel, Frank employs sexuality as both plot device and symbolic activity. David takes many lovers and he finds sexual desire in numerous situations, but desire does not lead to love, and sexual intimacy does not alleviate David’s sense of strangeness. Instead, these encounters underscore his alienation and symbolically prepare David for his rebirth.

a person—through physical ordeals, corresponds with Waldo Frank’s quest through spiritual ordeals” (pp. 139–140). In the novel’s final scene, Frank reaffirms the spiritual value of social action. David faces his own “awakening will” and realizes that “the shudder in his body ѧ must turn the tide of men streaming to death back to their source, which is life” (p. 542). Frank’s next novel, The Bridegroom Cometh (1938), was originally intended as a sequel to The Death and Birth of David Markand; its protagonist, Mary Donald, was first designed as a fictional counterpart to Frank’s wife, Alma Magoon, and David is, in fact, a central character. Frank’s initial work on the novel suffered numerous interruptions, however: Alma’s Rockefeller grant was awarded during this time, and the whole family relocated to London; Frank’s break with Earl Browder and the American Communist Party also distracted him from its composition. In terms of plot, the novel—sprawling, complex, and divergent—follows Mary’s search for herself. The title refers to her family’s fanatical religiosity, as they are preoccupied with the “coming of the bridegroom” that is Armageddon. Mary Donald’s maturation is traced with marked New Testament imagery throughout, underscoring Frank’s ongoing interest in religious and spiritual truth. Yet its structure evokes musical composition in that it is organized into movements, each of which depicts some important scene in Mary’s life. “Do,” “Re,” “Mi,” and “Fa” make up the first section, titled “The Last days”; “Sol,” “La” and “Si” constitute “The Second Coming.” “Thus the novel closes on the high note—‘Si’—leading to the next octave” writes Paul Carter, “unlike the inconclusive note of Markand’s story” (p. 124). In the novel’s final scene, Mary and David Markand stand looking out a window together, having discovered a truth in love, and experiencing the limitless possibility in their being together.

David’s search for religious truth leads him to social action in the novel’s sprawling third section, titled “The River.” He travels to Kentucky with John Byrne, a socialist organizer, and Jane Priest, an idealistic reformer. Like Waldo Frank himself in Harlan, Kentucky, in 1932, David, Jane, and John find themselves attacked by hostile crowds. David awakens after being beaten and, upon finding that John and Jane have been killed, experiences the beginning of his new birth. “Everything had changed,” David thinks. “He no longer needed to die. His conscious self was a dark cave, void and lifeless, but the cave had a mouth where there was light, and framed in it the world lived” (p. 520). William Bittner has argued quite persuasively that David Markand’s personal journey is one that contains strong autobiographical resonance for Waldo Frank. “The quest of David Markand for himself,” Bittner writes, “his trying to find himself as

Such harmony and closure were not at all present in Waldo Frank’s own life at the time however, because his marriage to Alma was, by then, irrevocably disintegrating. The outbreak of war in Europe led him to return with his two daughters to the United States. While the divorce was not finalized until August 14, 1943, the mar-

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WALDO FRANK riage between Waldo and Alma was essentially over by the end of 1939. The failure of his marriage, the emerging war, and an irrational sense of homelessness all led Frank into deep depression that lasted throughout 1940. And although he did write and publish the book Chart for Rough Water that year, Frank’s sense of being un- or underappreciated as a cultural and literary leader intensified at this time, and it would continue throughout his life. Chart for Rough Water warns against the dangers of isolationism, and it reflects Frank’s idiosyncratic political views and his own peculiar blend of religion, politics, and philosophy. In both tone and content, his sense of marginalization becomes clear, as he asks, “haven’t I been saying and writing for twenty years that we can have no adequate politics, no adequate aesthetics, no adequate ethics in our time without an adequate metaphysic and religion?” (pp. 99–100). Bittner makes a strong case for an extraordinary prescience in Frank’s analysis:

since Mortimer Crane has a son and daughter around the same age as his lover, Dagny Peterson, their affair contains undertones of incest. Yet the plot also addresses World War II in its juxtaposition of characters: Dagny’s fiancée, Herbert Stein, is a Jew and her father is a Nazi sympathizer. When Stein learns of Crane’s involvement with Dagny, he tells her father that Crane is a Jew, knowing where Oskar Peterson’s violent racism would lead. Stein’s calculations prove correct and Peterson arrives at Crane’s office with a gun. Confident and powerful, Crane dissuades the homicidal Peterson from shooting him. “You know Jews?” he mocks the antiSemite. “Stein’s a friend of the family, isn’t he? Eats at your house. Goes out with your girl. You know Jews! Did Stein tell you I was the Jew?” (p. 272). By the end of their exchange, Crane has bought off the “humiliated little man” (p. 279). Crane’s longtime secretary comes into the room and urges Crane to take a vacation. “Before the summer ends?” he asks, in a line that alludes to the novel’s title (p. 280). But for Crane, summer never ends. In the novel’s final pages, the debased and shamed Herbert Stein commits suicide by jumping off the Brooklyn Bridge, reeling with guilt from having fed into Peterson’s Nazi sympathies. Dagny submits to a final sexual encounter with Crane and then leaves him—she, sneering and dismissive; he, alone and humiliated. Crane considers and rejects suicide. In the end he returns to his two children, from whom he had been estranged throughout the novel, and in their presence he experiences a “transfiguration” in which they had become “sturdy” and he was “vulnerable, fragile” (p. 309).

A direct application of the ideas of The ReDiscovery of America to the actuality of a world threatened by fascism, Chart for Rough Water shows so keen a perception of the dangers inherent, not only in American Isolationism, but in certain brands of Intervention, that it would be easy to forget that it was written in 1940 and to consider it analysis after the fact rather than prognostication. (pp. 167–168)

In an act of political conscience, Frank broke with the New Republic at this time as well, resigning in protest over the magazine’s editorial support for neutrality. Yet this break only underscored Frank’s increasing sense of cultural and political alienation. His insistence on an individualistic blend of political, religious, philosophical, and cultural views left him in what Casey Blake has described as a kind of cultural limbo: his interest in mystical religiosity separated him from political radicals; and his leftist political views distanced him from his spiritual compatriots (DLB, p. 129).

In 1942 Frank found himself in the spotlight both in the United States and abroad during the course of his second Latin American lecture tour. Paul Carter notes that “he lectured as an unofficial representative of the United States government in an effort to counter or weaken Fascist propaganda” (p. 132). On August 1, the Argentine government pushed back against his efforts, declaring him persona non grata. It was not just Frank’s lectures that incited the declaration, however; he wrote—and several newspapers published—an open letter to the Argentine

Nevertheless, Frank’s fiction writing continued. Summer Never Ends (1941) tells the story of a love affair between a newly divorced, middle-aged man and a much younger woman;

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WALDO FRANK people, highly critical of the country’s leadership. The next day, Frank was beaten in his Buenos Aires apartment by Fascist thugs. For a man of Frank’s diminutive stature, his stocky build notwithstanding, this must have been a horrifying experience. Reports of a bloodstained apartment accompanied the account of his injuries, which included multiple lacerations on the scalp, hands, and face as well as multiple contusions of the face, shoulders, and arms. Newspapers in the United States followed the investigations into his beating and traced his movements as he left the country and returned home. The lectures themselves, Ustedes y Nosotros: Nuevo Mensaje a Ibero-América, were published that same year and his record of the trip, South American Journey, appeared a year later.

transitional era in American history between the Civil War and World War I. Epic in its concerns and experimental in its treatment of time, Island in the Atlantic traces three generations—from Jonathan’s father, Joseph, to his son, Jeff—and unfolds through Jonathan’s consciousness during the course of a single day. The key events of Jonathan’s life thus correspond to key events in American history, so that his development as a Person seeking Wholeness takes on symbolic resonance. The father and son are both onboard the S.S. Cosmopolis at the novel’s end, and in these final scenes, Frank’s central concerns emerge. The father and son discuss belief and knowledge; Jeff asks his father if he believes in God. “I don’t believe in belief,” the father answers. But Jeff pushes Jonathan, and, relenting, he replies. “Knowledge is what is needed Jeff. Not belief. Belief goes wrong!” (p. 491). The novel concludes dramatically: the ship hits an iceberg and sinks; Jonathan saves his son, letting himself drown. He is comforted by the thought that he had saved his son and thus “he was free; free to love them who were all sons of guilt together; free to love himself” (p. 503). The Invaders (1948), Frank’s next novel, fictionally imagines the devastating import of the atom bomb on individual identity through a series of interpersonal “invasions.” Originally conceived as a play, The Invaders opens when the residents of a New England town hear on the radio that an atom bomb has been accidentally dropped on New York. The invasion of the title, however, refers not only to this inadvertent military attack but to a more personal incursion experienced by the novel’s central characters, Mark Ferry, his wife Bianca, and their infant son Christopher. As several of their relatives and friends descend on their seaside cottage in escaping from the city, conflicts emerge and develop into interlocking cycles of rage, violence, revenge, and destruction. The novel’s central question, both personal and political, is how to meet hostility: With love and understanding, or with force and self-defense? Mark Ferry implores his wife to choose the path of forgiveness.

Notwithstanding the trials of his beating, Waldo Frank found happiness upon his return from Argentina: he decided to marry again. Jean Klempner had been Frank’s secretary as he wrote South American Journey; the book’s acknowledgments page notes his debt to her. In 1943 Frank was fifty-three and she twenty-six; they married on August 15 in San Francisco, one day after his divorce from Magoon was finalized. Klempner had worked at the New Republic, which is where she likely met Frank. She was born and raised in Lake Bluff, Illinois, and earned a Master of Arts degree in English from Northwestern University. The support and comfort of a happy marriage provided stability for Frank and allowed him to focus on fiction. In his next novel, Island in the Atlantic (1946), Frank examines Jewish identity in America by fictionalizing his own father’s life. Jewish themes had been on his mind in years previous to this novel’s appearance; he had published a collection of essays in 1944 titled The Jew In Our Day. Reinhold Niebuhr, a close friend of Frank’s, wrote the introduction, and the increasing anti-Semitism unleashed by Hitler’s Nazi ideology added to its sense of urgency. Frank’s belief in a distinctive Jewish identity was something that found full and eloquent voice in Island in the Atlantic. The protagonist, Jonathan Hartt, shares a birthday with Waldo Frank’s father, though Jonathan’s age has been altered so that his life span fits more neatly into the

“People are hurt,” sadness now muffled Mark’s voice almost to a whisper, “and in self-defense hurt

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WALDO FRANK recalled (Memoirs, p. 234). Moreover, by this time, he had two more children to support: his son Jonathan was born in 1947 and another son, Timothy, was born in 1953. Nevertheless, he continued his political work, and he continued to promote his Latin American contemporaries throughout the 1950s, functioning as a cultural ambassador of great importance to South American countries. He wrote “Voz de America,” a monthly syndicated column for Latin American papers. In 1948 he was commissioned by the Venezuelan government to write a biographical study of Simón Bolívar; this was published in 1951. Birth of a World: Bolívar in Terms of His Peoples used the occasion of biography to reaffirm Frank’s long-standing celebration of cultural unity between North and South America.

others. And these always in self-defense hurt others: the endless bloody circle! With all the inertia of tradition, right, duty and love, to keep it going and to keep us caught! Someone must jump out of it, Bianca!” (p. 161)

His plea fails to move his wife, and she leaves him in the end; in an ominous and devastating final scene of impotence and futility, Mark is left utterly alone. Not Heaven: A Novel in the Form of Prelude, Variations, and Theme (1953) is Frank’s last novel, a collection of short stories that are unified only in their theme of examining some aspect of hell on earth. The book’s subtitle makes this clear, and its postscript “Aside to the Reader” explains his rationale for structure. There Frank explains that “this novel has, in place of unifying plot, a unifying theme which grows ѧ by the variational development of the characters who progress ѧ from unconsciousness toward whole, ecstatic knowledge” (p. 286). While all of the stories in Not Heaven were written after The Invaders, Frank had been collecting the story themes for more than thirty years. The novel includes twelve “Variations,” or sets of characters and situations, thereby illustrating the range of circumstances through which heaven and hell can be experienced by anyone at any time. Aesthetically and philosophically ambitious, Not Heaven maintains a quintessentially Frankean concern with the concept of the Whole, and of a Person’s role within it. Bittner explains that “in Waldo Frank’s philosophy, there is no such thing as an individual: persons exist only in relation to all the other things in the universe, and the unity which is all creation is God” (p. 212). After publishing Not Heaven, Frank returned to cultural criticism, working on two books: The Rediscovery of Man (1958), a dense and abstruse program for spiritual redevelopment; and Bridgehead: The Drama of Israel (1957), the end result of a commissioned visit to Israel and a series of articles on its founding and state. Frank’s reputation as a leftist created problems for him in the 1950s, and like many, his career suffered. “With the cold war and Senator McCarthy my invitations to lecture had shrunk, particularly from institutions with money,” he

In the final decade of his life, Frank’s involvement with Cuba and his personal association with Fidel Castro led to unprecedented publicity. Frank had visited the Isle of Pines near Cuba as early as 1926 with his friend, the poet Hart Crane, whose family owned a summer home there. After visiting Cuba in the fall of 1959, Frank was encouraged by Cuban cultural ministers to write a book about the country, which he agreed to do as long as the contract allowed him to express his views freely. Yet increasing tensions between the U.S. State Department and the Castro regime, together with Castro’s increasingly dictatorial behavior, led Frank, privately, to express doubts about the project. Frank met with Castro during his visit to the United Nations in 1960 and then he traveled to Cuba, where he spent a month working on the book. Cuba: Prophetic Island appeared in 1961, though any critical engagement with its argument or its writing was lost in the political maelstrom surrounding its appearance. In 1962 Frank was questioned by the House Committee on Un-American Activities about his ties to Castro; the following year, the Senate’s Internal Security Committee called him to testify as well. By the end of his life, Waldo Frank’s FBI file was over five hundred pages long, and it revealed that he had been watched since 1932; his wife Jean later commented that he never felt that his name had been cleared. “It colored his life,” she noted. “He knew

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WALDO FRANK that the surveillance was going on and that it was affecting the publication of his books. But the blacklisting never affected the content of his books—what he wrote” (Robins, p. 344). Throughout his life, Frank maintained strict self-discipline as a writer. He regularly counted words and thereby measured and recorded his ostensible progress. He maintained a studio on a hill behind his summer home in Truro, Massachusetts, on Cape Cod. There he would keep regular office hours, drinking hot mugs of yerba maté and working at his typewriter in isolation from early morning until noon or so. Frank hated to be interrupted during these times. Selfdiscipline informed his hobbies as well as his writing life: he was a dedicated and serious amateur musician, keeping up the cello throughout his life. On the Cape in the summertime, he participated in an amateur quartet that met weekly to play together. At the end of his life, he took long walks and daily swims, and he mused bitterly over his lack of recognition as a writer. Cuba: Prophetic Island was the last book Waldo Frank published, though he continued writing, primarily his Memoirs, until his death on January 9, 1967. His Memoirs were published posthumously in 1973. Edmund Wilson recorded his impressions of Waldo Frank’s funeral, which took place in the South Truro cemetery on a bitterly cold January 12. Wilson noted that he had been asked to speak, but declined. “The most depressing thing about his death,” Wilson wrote,

the depth of his intellectual integrity. For many years, his home in Truro, Massachusetts, was adorned with a framed needlepoint canvas prominently positioned over the fireplace that read, “Dare to Do Right.” The sentiment influenced his family and serves as a pithy summary of his professional and artistic goals as well.

Selected Bibliography WORKS OF WALDO FRANK FICTION The Unwelcome Man. Boston: Little Brown, 1917. The Dark Mother. New York: Boni & Liveright, 1920. City Block. Darien, Conn.: Privately printed, 1922. Rahab. New York: Boni & Liveright, 1922. Holiday. New York: Boni & Liveright, 1923. Chalk Face. New York: Boni & Liveright, 1924. New Year’s Eve: A Play. New York and London: Scribners, 1929. The Death and Birth of David Markand. New York: Scribners, 1934. The Bridegroom Cometh. London: Gollancz, 1938. Summer Never Ends. New York: Duell, Sloan & Pearce, 1941. Island in the Atlantic. New York: Duell, Sloan & Pearce, 1946. The Invaders. New York: Duell, Sloan & Pearce, 1948. Not Heaven: A Novel in the Form of Prelude, Variations, and Theme. New York: Hermitage House, 1953.

was the unsatisfactoriness of his writing and career. He said to me lately that he had been “rejected.” I am sure he never knew why. He seemed incapable of self-criticism. Conscious of in some ways brilliant abilities and an unusually wide intellectual range, he could not understand that his practice nowhere near came up to his pretentions. I used to think about him years ago that he had no humility before his medium, never in fact taught himself to write.

NONFICTION Our America. New York: Boni & Liveright, 1919. Salvos: An Informal Book About Books and Plays. New York: Boni & Liveright, 1924. Time Exposures, by Search-Light. New York: Boni & Liveright, 1926. Virgin Spain. New York: Boni & Liveright, 1926. The Rediscovery of America. New York and London: Scribners, 1929. Primer mensaje a la América Hispana. Madrid: Revista de Occidente, 1930. America Hispana: A Portrait and a Prospect. New York: Scribners, 1931. Dawn in Russia. New York: Scribners, 1932. In the American Jungle. New York: Farrar & Rinehart, 1937. Chart for Rough Water. New York: Doubleday, Doran, 1940.

(The Sixties, pp. 564–565)

Readers may judge for themselves whether they agree with Wilson’s estimation, that Frank’s practice failed to meet his pretensions. Nevertheless, any fair evaluation of Waldo Frank’s life must give him credit for the intensity of his commitment to American literature and culture and to

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WALDO FRANK Dictionary of Literary Biography. Detroit: Gale, 1988. Pp. 122–130. ———. Beloved Community: The Cultural Criticism of Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Lewis Mumford. Chapel Hill: University of North Carolina Press, 1990. Carter, Paul J. Waldo Frank. New York: Twayne, 1967. Eckley, Wilton. “Waldo Frank.” In American Novelists, 1910–1945. Part 2, F. Scott Fitzgerald–O. E. Rolvaag. Edited by James J. Martine. Vol. 9 of Dictionary of Literary Biography. Detroit: Gale, 1981. Pp. 28–34. Faber, Sebastiaan. “Learning from the Latins: Waldo Frank’s Progressive Pan-Americanism.” CR: The New Centennial Review 3, no. 1:257–295 (2003). Fitzgerald, F. Scott. Correspondence of F. Scott Fitzgerald. Edited by Matthew Bruccoli, Margaret Duggan, and Susan Walker. New York: Random House, 1980. Gordon, Nicholas Karl. “Jewish and American: A Critical Study of the Fiction of Abraham Cahan, Anzia Yesierska, Waldo Frank, and Ludwig Lewisohn.” Ph.D. dissertation. Stanford University, 1967. Kloucek, Jerome. “Waldo Frank: The Ground of His Mind and Art.” Ph.D. dissertation. Northwestern University, 1958. Munson, Gorham B. Waldo Frank: A Study. New York: Boni and Liveright, 1923. ———. “The Fledgling Years, 1916–1924.” Sewanee Review 40, no. 1:24–54 (January–March 1933). Ogorzaly, Michael A. Waldo Frank: Prophet of Hispanic Regeneration. Cranbury, N.J.: Associated University Presses, 1994. Robins, Natalie. Alien Ink: The FBI’s War on Freedom of Expression. New Brunswick, N.J.: Rutgers University Press, 1993. Terris, Daniel. “Waldo Frank, Jean Toomer, and the Critique of Racial Voyeurism.” In Race and the Modern Artist. Edited by Henry Hathaway, Josef Jarab, and Jeffrey Melnick. New York: Oxford, 2003. Pp. 92–114. Wilson, Edmund. The Sixties: The Last Journal, 1960–1972. Edited by Lewis M. Dabney. New York: Farrar, Straus & Giroux, 1994.

Ustedes y Nosotros: Nuevo Mensaje a Ibero-América. Buenos Aires: Editorial Losada, 1942. South American Journey. New York: Duell, Sloan & Pearce, 1943. The Jew in Our Day. New York: Duell, Sloan & Pearce, 1944. Birth of a World: Bolivar in Terms of His Peoples. Boston: Houghton Mifflin, 1951. Bridgehead: The Drama of Israel. New York: Braziller, 1957. The Rediscovery of Man: A Memoir and a Methodology of Modern Life. New York: Braziller, 1958. Cuba: Prophetic Island. New York: Marzani & Munsell, 1961.

MEMOIRS

AND

CORRESPONDENCE

Memoirs of Waldo Frank. Edited by Alan Trachtenberg. Amherst: University of Massachusetts Press, 1973. The Correspondence Between Hart Crane and Waldo Frank. Edited by Steve H. Cook. Troy, N.Y.: Whitston Publishing, 1998. Brother Mine: The Correspondence of Jean Toomer and Waldo Frank. Edited by Kathleen Pfeiffer. Urbana: University of Illinois Press, 2010 (forthcoming).

AS EDITOR With James Oppenheim and Van Wyck Brooks. The Seven Arts. Vol. 1. Seven Arts Publishing, 1916. With Lewis Mumford, Dorothy Norman, et al. America and Alfred Stieglitz. Garden City, N.Y.: Doubleday, 1934. Waldo Frank’s Papers are housed in the Rare Book and Manuscript Library at the University of Pennsylvania.

CRITICAL AND BIOGRAPHICAL STUDIES Bittner, William. The Novels of Waldo Frank. Philadelphia: University of Pennsylvania Press, 1958. Blake, Casey (Nelson). “Waldo Frank.” In Modern American Critics, 1920–1955. Edited by Gregory S. Jay. Vol. 63 of

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JONATHAN FRANZEN (1959—)

Stephen J. Burn middle of the golden age of the American middle class ѧ As a child, I set great store by the fact that no American state shares a boundary with more states than Missouri does ѧ And our town, Webster Groves, was in the middle of this middle” (p. 13).

THE WIDELY ACCLAIMED novelist Jonathan Franzen occupies an unusual middle space in contemporary American literature, situated between different literary movements and torn between conflicting aesthetic impulses. As a consequence, his works are often hybrid fictions that seem calculated to appeal to radically different audiences. The strong emphasis on relatively traditional storylines (coming-of-age narratives, the psychological tensions of conflicted families) have attracted a large general readership and prompted Oprah Winfrey to offer her endorsement of his novels. Yet his novels’ formal sophistication and coded allusions to his postmodern ancestors—William Gaddis, Don DeLillo, and Thomas Pynchon— seem to be directed toward capturing the attention of critics and other writers. Perhaps because of this mixture of artistic energy, literary scholars have often left his work lost in the middle, hanging between mainstream and academic fiction in a kind of critical vacuum. His third novel, The Corrections (2001), was heralded as one of the most important works of the new century, but for all the fanfare Franzen’s work has received and for all the copies sold, his novels have been relatively unexamined by critics.

BACKGROUND AND EARLY WRITING

Though Franzen was born and raised in the middle of the United States, his family came from the north of the country. His father, Earl T. Franzen, was raised in northern Minnesota, and his route south seems to have been driven by the engineering and railroad companies who employed him in Minnesota, Wisconsin, and Illinois. He eventually settled in Missouri, and for much of Jonathan Franzen’s upbringing (the years 1967 until 1981) his father was chief engineer for the Missouri Pacific Railroad (MoPac), which seems to have provided a loose template for the MidPac company whose dissolution lies at the heart of The Corrections. Earl evidently met Franzen’s mother, Irene Super (a receptionist in a doctor’s office), in a philosophy night class at the University of Minnesota, during the years when he worked for the Great Northern Railroad. Their third (and youngest) son, Jonathan Earl Franzen was born on August 17, 1959, in Western Springs, Illinois, though in 1964 the family crossed the state boundary, eventually settling in Webster Groves, a suburb of St. Louis. The imaginative territory of Franzen’s work as a whole seems deeply rooted in this midwestern upbringing, but his first novel, in particular, circles around his hometown. While the Franzen family lived in an attractive house at 83 Webster Woods, the pivotal family in The Twenty-seventh City (1988) lives in a “three-story stucco house” (p. 27) located about

The divided aesthetic that characterizes his work seems to have its roots in Franzen’s upbringing. In the many essays where Franzen writes about his background, he tends to stress a sense of division that he feels is essential to his life and art. In How To Be Alone (2002), he notes that his birthdate places him on a cultural faultline, poised between the conformity of the 1950s and the social and artistic revolution of the 1960s. In his 2006 memoir, The Discomfort Zone, he elaborates on his sense of being in the middle: “I grew up in the middle of the country in the

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JONATHAN FRANZEN a mile away on Sherwood Drive, which Franzen toured when at school.

machinations help propel the plot of his first novel. In 1988, Franzen described this play and its relevance to The Twenty-seventh City in an interview with Clarence Olson:

Although Franzen did not publish his first novel until 1988, his long apprenticeship as a writer began ten years earlier, while Franzen was enrolled at Webster Groves High School. Franzen seems to recall the school fondly, and in a 2001 interview he told Jane Henderson that the teachers “thought it was their job or privilege to encourage creativity of all kinds” (p. G1). It was a physics teacher—Bill Blecha—who encouraged the students to produce a play that Franzen wrote with a fellow pupil, Kathy Siebert. Franzen discusses his relationship with Siebert at some length in The Discomfort Zone, but the outcome of their early collaboration was a one-act play titled The Fig Connection (1977), and in “How I Write” Franzen recalls how this work inspired his later fiction: “I got the [writing] bug bad when I was in high school. I wrote a couple of plays with a friend of mine; one of them was properly published. We actually got paid $50 each. That really set the hook. It was an amazing thing to happen to a 17-year-old. I’ve had a novel of some sort cooking ever since.” The Fig Connection is split into four scenes and a finale, and much of the dramatic action is driven by the plot’s absurd juxtapositions. Mixing modern politics and the history of science, the play draws on cold war suspicion to depict apparently modern Russian spies in seventeenthcentury England as they try to capture Isaac Newton before he discovers gravity. As the play unfolds, the action rehearses slapstick routines that are routinely interrupted by metadramatic reminders of the play’s artificiality (characters leave the stage and chase each other up the theater’s aisles, dialogue explains that other characters are waiting offstage). But while The Fig Connection is important to Franzen’s career inasmuch as it represents his first published work, his collaboration with Siebert is also noteworthy in the passage toward his first novel. After completing The Fig Connection, Siebert and Franzen wrote an untitled play set in British colonial India, which featured a character Franzen would return to when he created Susan Jammu, the Indian American police officer whose

It was just an absurd, long, anachronistic comedymystery ѧ but there was a police inspector named Jammu, who was male at the time, and a while later I had the idea of putting this character, whom we all had liked, into a story set in St. Louis. The idea basically started with the collision of this character, this strange Indian police officer, with what in my mind is a pretty ordinary Midwestern city. Certainly not an exotic place. (p. 3C)

Franzen graduated from Webster High in 1977, and left St. Louis to study at Swarthmore in Pennsylvania. Swarthmore appears at the edges of Franzen’s fiction on several occasions, normally as a college that his female characters are drawn to—in The Twenty-seventh City, Luisa Probst applies to study at Swarthmore, while in The Corrections, Caroline and Denise Lambert attend the school—and his time there seems to have shaped much of his literary sensibility. During his college years a number of prominent writers gave readings at Swarthmore—John Knowles, Alice Walker, E. L. Doctorow—while Franzen also received a seminal exposure to German literature in Professor George C. Avery’s class on German literature. By the time Franzen enrolled in Avery’s class he had already spent four months in Munich as part of an exchange program, where he recalls that he had been especially engrossed by the poetry of Johann Wolfgang von Goethe. Back at Swarthmore with Avery, his reading moved toward the twentieth century, as Franzen read works by Friedrich Nietzsche, Arthur Schnitzler, Hugo von Hofmannsthal, Robert Walser, Karl Kraus, Rainer Maria Rilke, Franz Kafka, Alfred Döblin, and Thomas Mann. As Franzen makes clear in his essay, “The Foreign Language” (collected in The Discomfort Zone), Germany and its literature have significantly molded his life and his writing. On a personal level, Franzen would return to Germany after graduation when (with the support of the Fulbright Student Program) he studied at Berlin’s Freie Universität. In later years he also worked on translations of the essays of Karl Kraus, and he published a

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JONATHAN FRANZEN translation of Frank Wedekind’s play Spring Awakening in 2007. In terms of Franzen’s own fiction, Germany has provided structural concepts for his novels as well as plot devices. At the level of plot, characters visit Germany in both The Twenty-seventh City and The Corrections, and Kafka’s sense of modern paranoia and internal corruption bleed into the atmosphere of Franzen’s first novel, where Joseph K. apparently provided a template for Franzen’s Martin Probst. On a more complex level, Thomas Mann’s tendency to organize his novels around leitmotif structures seems to have influenced the way variations on the word “correct,” for example, are woven through Franzen’s The Corrections.

“Facts” is a conspiracy story that Franzen wrote in a single afternoon in his final semester at college. The story came third in Swarthmore’s annual fiction-writing competition (which was judged by novelist Richard Price), and it became his first major postcollege publication when it appeared in Fiction International in 1986. With both college and his Fulbright-funded travels to Germany behind him, Franzen returned to the United States to marry a fellow Swarthmore graduate, Valerie Cornell, in 1982, and (following the advice of his college roommate, Göran Ekström, a Swedish physicist) he took a job in the earth and planetary sciences department at Harvard University. From 1983 to 1987, Franzen worked as a research assistant crunching data on seismic activity and appearing as coauthor on a number of seismology papers. During this period, Franzen lived north of Cambridge with Cornell in Somerville, Massachusetts, a town that provides the home for Louis Holland in Franzen’s second novel, Strong Motion (1992). As Franzen told Clarence Olson in 1988, his seismology appointment “became an absolutely ideal job for a writer because I worked weekends, and the two of us, by living frugally, could live on what I made at a two-day-a-week job, plus having all the privileges of the school associated with the job—the libraries and other resources” (p. 3C). Both Franzen and Cornell were working on novels during this period—Franzen was writing The Twenty-seventh City; Cornell worked on a novel about an insane politician—and their daily routine evidently involved spending eight hours writing and then devoting five hours to reading. For Franzen, the outcome of this process was a thousand-page draft of his first novel, though much of the work was evidently completed in a burst after a long apprenticeship of false starts. Franzen told Olson:

Franzen also found many writing opportunities at Swarthmore. As the detailed survey in Stephen J. Burn’s Jonathan Franzen at the End of Postmodernism (2008) documents, Franzen published poems, a play, fiction, and journalism in a variety of student publications during his college years. The greatest volume of work— more than thirty articles—appeared in Swarthmore’s student newspaper, the Phoenix. Franzen’s focus in these articles was eclectic, ranging from an account of the work being done on galactic star maps by the Sproul Observatory to noting that one of Swarthmore’s managerial board was the lawyer hired to represent Ezra Pound when he was incarcerated in a Washington, D.C., mental hospital. As well as serving as copy editor, feature editor, and opinion editor for the Phoenix, Franzen was appointed editor of the student literary magazine, the Nulset Review, in 1980. Franzen quickly renamed the magazine Small Craft Warnings (a title taken from a play by a fellow St. Louis native, Tennessee Williams), and he broadened his artistic repertoire by including some of his own photographs in the magazine. Photography—and especially selfconsciously artistic photography—is a pastime of one of The Twenty-seventh City’s central characters (Duane Thompson returns from Germany to take pictures that are designed to suggest an “implied photographer”), but one of the clearest indications of Franzen’s later career to be found in his student work is the short story “Facts.” Poised between Germany and the Midwest,

I spent several years trying to do the first three or four chapters, and I was such a bad writer that I kept doing it over and over again. I slaved over what is now just the first 80 pages of the book ѧ And then when I’d gotten to be a better writer and everything was clear in my mind, it went quickly. Really, in 1985, I wrote most of what there is here,

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JONATHAN FRANZEN resistance, by luring his family members away from him.

and then I just rewrote it basically in a couple of months. It pretty much came out as a piece. (p. 3C)

Jammu’s initial goal is to gain widespread support to redraw the city’s boundaries, but around the conflict between these two characters Franzen ambitiously and carefully weaves a series of other stories. The multiple narratives allow Franzen to attempt to represent the multivalent chaos of a many-voiced city, while it also highlights how the life of an individual is enmeshed amid scales of life both larger and smaller than they realize. The different voices drawn from the city give the book an unusually broad horizontal reach, but Franzen’s study of St. Louis also seeks vertical depth, and on occasions his narrative voice becomes essayistic as it plunges into the past to historicize the city’s emergence from the earlier “hunting ground for the Cahokia people, native Americans leading lives which bore ѧ little connection with the subsequent Caucasian experience” (p. 154). The scope of the novel’s architecture, then, is a remarkable achievement for a novelist not yet out of his twenties, but beyond artistic display The Twenty-seventh City is conceived, in part, as an act of social criticism. On the book’s publication, Franzen told Clarence Olson, “I feel some social responsibility as a writer to not accept the world as it comes to me, because I think there are things wrong with it” (p. 3C), and the novel’s targets are variously consumer capitalism, political corruption, and ecological destruction.

THE TWENTY-SEVENTH CITY

Published in September 1988, The Twentyseventh City is a remarkably polished first novel. Beginning (amid multiple references to George Orwell) in 1984, and moving forward over eight months to end in 1985, the novel is relayed through a mosaic of short scenes that, for the most part, circle around different characters entwined in interlinked stories set in St. Louis. The urban landscape is marked by decay, and Franzen’s title introduces this theme as the early chapters explain how the city that was once America’s fourth-largest urban center became the country’s twenty-seventh city in what the novel calls “the Era of the Parking Lot, as acres of asphalt replaced half-vacant office buildings downtown” (p. 26). With imagery drawn from T. S. Eliot, Franzen depicts the city as a kind of concrete wasteland where the dominant motifs are sleep and degeneration. Into this decaying cityscape Franzen inserts Susan Jammu, a half-Indian female police chief and relative of Indira Gandhi (assassinated that year), who has just been imported from Bombay. With powerful financial backers, the energetic Jammu is trying to revitalize the city in her image, but the depth of her ambition and the extremity of her methods offer a dark contrast to the sleepy midwestern lives she disrupts. By kidnapping pets, stalking local families, and blowing up cars, Jammu uses terror to try to gain control of the minds of prominent citizens—in a way that allows Franzen to critique what he sees as the lethargy of the modern American. In the novel’s initial schema, Jammu is opposed by Martin Probst, a widely respected local businessman. Probst’s support is crucial for Jammu, not just because of his reputation for integrity but also because he is chairman of Municipal Growth—a committee (based on the real St. Louis coalition, Civic Progress) made up of leading local businesses—and with the help of her associates she gradually undermines his

As this plot unfolds, there are hints of the modernist fascination with fertility rituals and sacrifice. The pivotal events that will supposedly ensure the city’s revival are due to take place in April, and as Jammu’s net begins to close around Probst, Franzen explains that “Spring was ѧ the time of year when great men died” (p. 481). Yet in a reversal of the modernist template—and in a move characteristic of Franzen’s early fascination with the situation of women—it is the female characters, rather than the male, who face the sacrificial altar in The Twenty-seventh City. Alongside the echoes of modernism, Franzen’s first novel also overlaps significantly with the works of his postmodern ancestors. The vast and

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JONATHAN FRANZEN labyrinthine conspiracy narratives pioneered by Thomas Pynchon and Don DeLillo clearly shape Franzen’s plot, and he slyly acknowledges this heritage (while simultaneously noting how little impact critically admired postmodernism made upon a wider audience) in a scene in the novel where literary allusion gets tangled up in peergroup politics as two young characters talk:

trying to publish short stories, and he identified Charles Dickens, Kafka, Ved Mehta, V. S. Naipaul, Maj Sjöwall and Per Wahlöö as writers he had drawn on for information and inspiration. Several reviewers noted that the novel was a kind of hybrid, caught between different fictional modes. In a September 4, 1988 Washington Post article, for instance, Michelle Slung saw moments in the novel where characters from the realist tradition found themselves in a postmodern world, as when she described feeling “that I’d encountered the odd Updike character coming to grips with a Pynchonesque landscape.” Similarly, in a review that ran alongside a photo shoot, Margo Jefferson explained to Vogue’s readers that while Franzen was “attuned to the multinational complexities of Salman Rushdie” there were points in the book where she feared he “was veering toward the brute dualities of Robert Ludlum.” Peter Andrews in the New York Times Book Review, however, considered the novel to be a relatively straightforward thriller—evidently to Franzen’s chagrin—and discussed the novel’s resemblance to “conventional potboilers” in its “crime/mystery” section.

“What are you, paranoid or something?” “Yeah. Paranoid.” He leaned back in the seat, reached out the open window, and adjusted the extra mirror. “My life’s gotten kind of weird lately ѧ Do you know Thomas Pynchon?” “No,” Luisa said. “Do you know Stacy Montefusco?” (p. 55)

The Twenty-seventh City was strongly backed by Farrar, Straus and Giroux when it was published in the United States. (Franzen’s first and second novels were not published in the UK until 2003.) With a first print run of forty thousand copies and a promotions budget of $50,000, the book was heralded by a two-page advertisement in the New York Times Book Review, which announced “It’s 1984 in St. Louis and Big Brother is a Woman.” For a first novel, the book received a lot of attention. In an August 21, 1988 prepublication review of the novel for the Chicago Tribune, John Blades identified many of the book’s features that later reviewers picked up on. Accurately placing the novel in its literary context, Blades argued that despite the novel’s sober and accurate message, there was “an unmistakable comic lunacy to the novel” which he traced to the influence of Pynchon and DeLillo, and he concluded with some measured admiration for the book: “Still in his late 20s, Franzen ѧ is an extravagantly talented writer, as well as an occasionally graceless and impatient one, a little too anxious to pour into his first novel everything he knows.” A week later, Newsweek ran a review by Laura Shapiro in which she praised The Twenty-seventh City as “a big, lavish novel of creepy realism ѧ as gripping as a detective story.” In conversation with Shapiro for the article, Franzen explained how he had received “some 200 rejection slips” when

As the end of the year approached, Franzen was also to receive criticism—that would evidently resonate profoundly with him—from the New Yorker. Finding the novel (like some earlier reviewers) a “weird hybrid,” Terence Rafferty praised Franzen as “an awfully talented guy” (p. 101), but he found the novel self-involved on a technical level, complaining that “ultimately, Franzen’s novel ѧ is about nothing but its own ingenuity” (p. 103). What Franzen had missed, in Rafferty’s eyes, was the standard semiautobiographical fare of the sensitive first novel. Observing that Franzen had written “a first novel that doesn’t feel like a first novel,” Rafferty argued that the risk for Franzen “is that he will miss the opportunity to define himself, to discover what’s unique about where he stands in relation to the world” (p. 101, 104). In December 1991, on the brink of his second novel’s publication, Franzen reflected in a Publishers Weekly interview on the impact of the unusual criticism represented by Rafferty’s review:

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JONATHAN FRANZEN That was a bombshell ѧ I respect the New Yorker a lot ѧ But to be taken to task ѧ for what? Look at the first book of so many of our great writers— Flannery O’Connor’s Wise Blood, Rushdie’s Midnight’s Children. I was trying to write just like the writers I admired. They seemed to have learned not to sound like kids anymore.

carefree, pursues another woman—allows Franzen to establish a clear (and visual) parallel between the irresponsibility of male sexuality and the exploitative practice of multinational companies who inject their waste into the earth. With the tighter concentration on personal relationships and the spotlight on a single family, Strong Motion may initially seem somewhat narrower than The Twenty-seventh City, and Franzen told Michael Coffey of Publishers Weekly he was explicitly “going back and writing the comingof-age story I hadn’t written in the first book” (p. 54). But despite the closer, more personal focus, the novel’s attention to earthquakes and humanity’s exploitation of the natural world makes its ecological dimension much more pronounced. Although Franzen’s emphasis on St. Louis was of “a city gone dead” (p. 201) in his first book, he took care to punctuate The Twentyseventh City with moments where the reader is freed from the urban sprawl to catch a glimpse of the natural world. In these moments, Franzen attempts to capture nature’s overwhelming excess in sentences that rely on multiple commas to imitate nature’s pulsing vitality:

(p. 53)

Yet for all Franzen’s apparent frustration with Rafferty’s review, the publication of Strong Motion in 1992 seemed to suggest that the young writer had taken his criticism to heart because— from its first sentence onward—Franzen’s second novel addresses the traditional ingredients of an early novel much more directly than his first book.

STRONG MOTION

Drawing on his time in Somerville and his work at Harvard’s earth and planetary sciences department, Strong Motion adopts earthquakes as both a plot device and an organizing principle. The concept of “Strong Motion” is glossed in this novel as “a term for the ground shaking felt near an epicenter” (p. 184), and while the novel locates its earthquakes in Boston, the characters themselves are found near the epicenter of social upheavals, becoming entangled in protests over environmentalism and reproductive rights. While The Twenty-seventh City’s focus was dispersed across an entire city, in this much more personal book, the disturbances are largely found in the internal tensions of members of the Holland family, who inherit stock in a chemical company after a relative is killed in an unexpected earthquake. The quake brings twenty-three-yearold Louis Holland into contact with an older seismologist, Renée Seitchek, with whom he begins a relationship. But romantic love in this novel is complicated by seismology and economics when Renée begins to suspect that it is the waste disposal policies of Louis’ mother’s company that is causing the earthquakes. Renée’s life becomes even more complicated when she discovers shortly after breaking up with Louis that she is pregnant. The trauma that she undergoes—seeking an abortion and becoming embroiled in prolife demonstrations, while Louis,

The land was beautiful. Secondary growth, the scrub oak and cottonwood, sycamore and sassafras, hawthorn and sumac, had crept from the safety of ravines and vaulted, annually, ever farther into the old cornfields, converging and rising. Conifers consolidated early gains, blackberry brambles and cattails reaffirmed the swamps, the old apple orchard let down its hair, grew crazy in the sweet rot of its droppings. (The Twenty-seventh City, p. 155)

The centrality of trees to the momentum of this passage is not coincidental, as trees also become a central motif in Strong Motion’s efforts to demonstrate “how deeply” humanity is “immersed in the world” (p. 350). The motif is subtly introduced in his protagonist’s last name—the etymology of “Holland” suggests the Old English word holt, meaning “wood” or “copse”—and is elaborated throughout the book to conjure an idyllic precolonial vision of an America that was “all trees and no fences” (p. 376). Indeed, Franzen’s commitment to eradicating the line that establishes humanity’s autonomy from the natural world—a line that sets humanity up as both

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JONATHAN FRANZEN observer and master of nature—even infects his narrative technique, as he goes so far as to narrate one section of the novel from the point of view of a raccoon. All creatures—whether procyonid or primate—are equally of interest in the eyes of this novel.

ever, are essentially complaints about the overpowering richness of Franzen’s conception—the busyness of the novel at the level of the sentence—and Strong Motion’s reputation will presumably rise as scholars begin to reframe what seems to be excessive cleverness in terms of elements that are actually integral to Franzen’s overarching design.

As might be expected from an author with Franzen’s seismology background, Strong Motion betrays careful attention to its scientific sources. For the most part, Franzen incorporates some reference to his major source material into the novel itself, so the reader learns, for instance, of David M. Evans’ study of induced seismicity from a mini-lecture delivered by Renée. At the same time, the mechanics of the plot itself seem to draw from the new sciences of chaos and complexity, with the narrative patterned around such concepts as sensitive dependence on initial conditions (the so-called butterfly effect) and recursive symmetry. Published in January 1992, Strong Motion had a reception that was significantly more muted than its predecessor’s, and Franzen attributes its disappointing sales to a poorly organized marketing campaign and an unattractive dust jacket (the cover of the first edition is a deep red plane interrupted by dark seismology graphs). Several reviewers issued mixed reports, finding many elements to praise in Franzen’s work but ultimately expressing some disappointment with the overall success of his second book. In Newsweek, Shapiro reaffirmed her admiration for Franzen’s first novel, but complained that in his new work “the scenes that delve into character ѧ are oddly self-conscious. Too often Franzen falls back on his talent, presenting sentences and paragraphs of beautiful writing that simply call attention to themselves rather than advance the story.” Similarly, in the New York Times Book Review, Josh Rubins admired Franzen’s ambition in creating Strong Motion’s “bold, layered design” (p. 13) but tempered his praise by explaining that “despite the brilliance of individual set pieces and the intelligence and keen observation on almost every page, Strong Motion loses momentum and conviction as it expands to meet Mr. Franzen’s ambitious specifications” (p. 14). The negative notes struck by these reviewers, how-

HOW TO BE ALONE AND WRITING THE CORRECTIONS

After Franzen had published two novels in four years, there was a palpable pause between his second and third works, and that pause seems to be indicative of seismic changes in Franzen’s personal life and a subtle recalibration of his approach to fiction. In the wake of The Twentyseventh City’s unanticipated success (higher sales than expected, a $25,000 Whiting Award), Franzen and Cornell had been able to travel in Italy, Germany, and France, while they also spent a winter writing in the small inland village of Llíber, in Alicante, Spain. But despite these travels, their marriage was evidently under considerable strain, because the couple separated in 1991, and Franzen withdrew to an artist’s colony in upstate New York to finish Strong Motion. Within two years their marriage was officially over, and Franzen experienced numerous other personal difficulties—such as the death of both his parents—through the course of the 1990s. In early 1992, Franzen returned to Swarthmore to work as a visiting associate professor (a position he took again in 1994), and he lived— like Chip in The Corrections—in a college faculty sublet. Teaching works by such writers as David Foster Wallace and Paula Fox, Franzen found that academic work absorbed frustratingly large amounts of his time, and he has since been critical of the academy in both his fiction and nonfiction, including his essay “I’ll Be Doing More of Same” wherein he termed universities a “nursing home for terminally ill arts” (p. 34). His personal anguish through this period was compounded by the difficult time he had making progress on a third novel. Franzen evidently

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JONATHAN FRANZEN began work on The Corrections before Strong Motion was even published, and he had settled on the novel’s title as early as 1993. He was determined, however, that the novel should represent both a significant artistic advance on his earlier novels and should extend his conception of the novel as an act of social criticism. Having written two third-person novels, Franzen felt that it was time to demonstrate that he could write a “voice novel” that relied on a first-person narrator. As late as 1998, he was still laboring with this plan, and that year he explained to the Booklist interviewer Molly McQuade that The Corrections would be narrated in the first person by “a very depressed staff attorney at the Securities and Exchange Commission.” While there were a couple of early drafts of the novel—narrated by a character named Andy Aberant—that were published in the magazine Blind Spot and that made use of first-person perspective, the change in perspective was evidently an artistic dead end for Franzen; both Aberant and the firstperson perspective are missing from the published version of the novel. Franzen’s determination that his novel should engage with the many faces of contemporary culture also seems to have cost him valuable time and energy. Through years of agonizing over society’s indifference toward the literary arts, and trying to formulate an adequate aesthetic response to consumer culture, Franzen claims to have thrown out thousands of pages of early drafts for the novel.

breakthrough came in June 1994 when Henry Finder commissioned Franzen to write a fifteenthousand-word article about the Chicago post office for the New Yorker. Through the second half of the 1990s, in particular, Franzen published essays in the New Yorker, Harper’s, the Review of Contemporary Fiction, and elsewhere as he explored the impact of technology on contemporary life, the pernicious dominance of neuroscience as an authoritative mode for conceiving of identity, and the concept of a private self. In these pieces—many of which were collected in his first nonfiction collection, How To Be Alone (2002)—Franzen’s essayistic style often hinges upon braiding autobiographical meditations with a larger argument, and the most famous example of this technique undoubtedly appeared in Franzen’s “Perchance to Dream.” Published in Harper’s in April 1996, and revised and retitled “Why Bother?” for inclusion in How To Be Alone (evidently against Franzen’s wishes, the essay had been given its original title, “Perchance to Dream,” by a Harper’s editor), “Perchance to Dream” wove an account of Franzen’s struggle with his third novel, his sense of depression, his interviews with Shirley Heath (a social scientist investigating literary fiction’s audience), and his concern about whether or not a contemporary novel might be able to speak to an increasingly atomized America. The essay’s origins lay in an assignment for New York Times Magazine, which gave Franzen an expense account and invited him to take writers (such as Don DeLillo, and Donald Antrim) to dinner and talk to them about fiction. Franzen considers his engagement with other writers during this period as marking a crucial step forward in his efforts to make progress on The Corrections, but too often “Perchance to Dream” has been read as a straightforward articulation of the aesthetic that underpins Franzen’s third novel. The essay itself encourages this mistake, as its final moments build to a crescendo as Franzen recounts his apparent breakthrough: “As soon as I jettisoned my perceived obligation to the chimerical mainstream, my third book began to move again. I’m

Amid all this personal and professional turmoil, and with the royalties from his first two books dwindling rapidly, Franzen turned to journalism as an outlet that would permit him to simultaneously make money and engage with a wider audience. Given the many articles he contributed to Swarthmore’s Phoenix in his student years, the return to journalism brought his career full circle. In the early 1990s he had written an occasional book review—covering works by Norman Mailer, E. L. Doctorow, William Kennedy, and Russell Banks for the Los Angeles Times Book Review and the New York Times Book Review—but now Franzen had the chance to write (as he had as a student) on social as well as literary, matters, and his major

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JONATHAN FRANZEN amazed now that I’d trusted myself so little for so long” (How To Be Alone, p. 95). The sense of triumph is tangible, but it’s important to note that the facts of The Corrections’s composition make it clear that “Perchance to Dream” charts the resolution of an aesthetic problem that Franzen had not really resolved, and did not resolve for several more years. If “Perchance to Dream” marked the breakthrough in 1996, then why did Franzen not compose the major part of the novel (“80 percent,” he told Antrim; p. 78) until 2000? Clearly the description of some grand breakthrough at the end of “Perchance to Dream” is little more than a rhetorical device designed to conclude a very long, sometimes convoluted essay, and the core of The Corrections is more subtle than his nonfiction suggests.

novel, The Recognitions, while much of the action in The Corrections seems to replay elements from Gaddis’ A Frolic of His Own (1994). There are notable parallels to DeLillo’s White Noise (1985) and to many other works, too, but perhaps the work that has the most significant overlaps with Franzen’s novel is DeLillo’s Underworld. Franzen read Underworld in manuscript— apparently in March 1997, though perhaps earlier—during a twelve-day vacation in Mexico where the younger novelist would make a daily pilgrimage to read the novel at the top of the Pyramid of the Sun and the Pyramid of the Moon at Teotihuacán. After reading the manuscript, Franzen sent DeLillo a six-page letter about the book, responding enthusiastically to DeLillo’s achievement, and there are multiple overlaps between Underworld and The Corrections. In terms of structure, both novels shuttle between different perspectives as they move gradually backward in time to uncover the reasons why a man and his marriage exist in their contemporary form. Both novels betray a fascination with the growth of multinational companies and map a world whose networks of connection almost exceed human comprehension. Underworld even features a character who enters “correction,” and DeLillo had evidently considered Correction as a title for his novel—a move that would have been a conscious act of homage to the Austrian Thomas Bernhard’s 1975 novel, Korrektur, published in English as Correction. Returning the younger writer’s favor, in early 2001, DeLillo read a draft of The Corrections for Franzen. DeLillo suggested a few revisions to the novel— including removing the word “entropy,” a term heavily associated with the Pynchonian postmodernism of the previous generation, from Franzen’s opening paragraph—and his admiration for the book was crystallized in the effusive blurb he contributed to the novel’s dust jacket.

Regardless of its sometimes misleading connection to Franzen’s nonfiction, The Corrections is, certainly, a product of a decade of theorizing about fiction and of discussion with other writers. Perhaps inevitably then, in its final form the book seems intimately linked to a number of earlier novels. Franzen met David Foster Wallace, for instance, in the late 1980s after Wallace sent Franzen a letter expressing his admiration for The Twenty-seventh City, and the two writers talked and corresponded frequently about the novel’s place in contemporary culture. While their respective essays seem to indicate significant overlaps in their conception of the novel’s need to establish a “contract” with the reader, Wallace’s masterpiece, Infinite Jest (1996) adopts more experimental techniques to cover much the same territory—anhedonia, the relationship of sons to suicidal fathers, the place of identity in a consumer-driven world—that Franzen would later explore in The Corrections. In a more direct fashion, Paula Fox’s short novel Desperate Characters (1970), for which Franzen wrote an introduction for the 1999 edition, bequeaths Franzen’s work its simultaneous fascination with food and excretion. The squalor of Franzen’s New York is also not far removed from Fox’s vision of the city, where there is “refuse everywhere” (Desperate Characters, p. 13). Similarly, Franzen has acknowledged that his title is modeled on that of William Gaddis’ magnificent 1955

THE CORRECTIONS

If Franzen’s first two novels had developed along lines that reversed the trajectory of a traditional novelist’s career—moving from cool objectivity

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JONATHAN FRANZEN toward emotive autobiography—then The Corrections continued Franzen’s movement toward a kind of fiction that relied on a more limited focus and on recasting apparently autobiographical material. Whether or not Terence Rafferty’s critique of The Twenty-seventh City in the New Yorker helped drive this shift or not, on first inspection The Corrections seems to unfold on a much more restricted canvas than his earlier works. While both The Twenty-seventh City and Strong Motion took considerable pains to recontextualize contemporary existence in a long lens that historicized the emergence of cities, The Corrections limits its investigations to anatomizing the tensions between two generations of a single family.

and Gary into the warm spring night, she felt that nothing could kill her hope now, nothing. She was seventy-five and she was going to make some changes in her life” (p. 568). In the final sentence, the optimism of the last eleven words seem to profoundly circumscribed by the four that precede them—just how many changes can be made, Franzen seems to ask, when one is approaching eighty? A similar sense of imbalance is conveyed by the preceding sentence, which has Enid simultaneously moving into the warmth of spring—with its inevitable overtones of youth, and life to come—and the dark of night—with its equally inevitable intimation of death, an intimation that is strengthened by the word “kill” later in the sentence.

At the center of Franzen’s novel is the Lambert family. The once-dominant patriarch, Alfred (a railroad engineer), is now in his seventh decade and in terminal decline as Parkinson’s disease tightens its grip on his nervous system. His wife, Enid, simultaneously berates her husband for his failings and desperately tries to gather the family together for one last Christmas in their midwestern hometown of St. Jude. The novel begins in late September—apparently just shy of the millennium—and climaxes shortly after Christmas, and for three months Enid struggles to persuade her children (who are variously entangled in personal crises of their own) to return home for the holidays. The novel is split into seven sections, and each section has a different chronological structure and offers a different piece of the family’s psychological jigsaw for the reader to assemble.

Though the novel is filled with much subtle formal play—from Franzen’s careful efforts to match form and content, to the many anagrams and puns that punctuate his prose—early reviews enthusiastically championed the novel as a return to the traditional elements of the realist novel. Sven Birkerts, for instance, argued in the September 2001 issue of Esquire that the novel owed “more to Salinger” than to “something along the DeLillo, Powers, Wallace axis,” while Michiko Kakutani could barely conceal her glee that Franzen had left behind his earlier “messy and wildly ambitious epics, crammed to overflowing with cautionary political plots” to produce “a devastating family portrait and a harrowing portrait of America in the late 1990’s” (p. E1). In this more traditional work, she explained, “the real tension ѧ stems from the characters’ emotional dramas, rather than from the sort of contrived plot points found in the author’s earlier novels” (p. E6). Several reviews offered intelligent and valuable elucidations of the novel. Writing for the New York Times Book Review, David Gates carefully and insightfully unpacked a number of Franzen’s literary allusions. One of the best reviews appeared in the Yale Review, where T. M. McNally skillfully sketched a detailed map of how the prison motif informs the novel. McNally built on this perception to argue that Franzen created a “poetry of architecture” (p. 168) as motifs steadily accumulated resonance. Max Watman’s

Franzen devotes more than five hundred pages to minutely documenting the passage of these crucial three months, and then concludes the book with a very brief final section. At the novel’s resolution, several of the children seem to have been partially redeemed for their earlier flaws, and, with Alfred finally dead, Enid stands on the brink of a new phase of her life. Yet while the novel may seem to wrap up very quickly, Franzen’s conclusion is remarkably unsettled. The novel’s last lines are imbued with ambiguity: “Yet when he was dead, when she’d pressed her lips to his forehead and walked out with Denise

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JONATHAN FRANZEN review “On the Hysterical Playground,” which appeared in the New Criterion, offered less of an extended reading of the novel, but his essay is nevertheless worth reading, especially because Watman recalls his experience of once having Franzen as his writing teacher.

sured a massive commercial boost for the novel, and Farrar, Straus and Giroux apparently printed five hundred thousand more copies on the strength of her influence. By October 22, 2001, however, Winfrey had withdrawn Franzen’s invitation to promote the book on her show. According to Winfrey in a People magazine article, Franzen was “seemingly uncomfortable and conflicted about being chosen” (“Novel Approach” 2001). Reports in the media and from Franzen himself indicated that such discomfort was due mainly to an association with Winfrey’s commercial empire. The novel remained a book club selection, but the fallout from this dispute was messy and culminated in a number of undignified statements (For instance, as Franzen mentions in an Independent interview, he was publicly termed an “ungrateful bastard” by a literary agent).

Few reviewers broke with the consensus view of the book as the major novel of the year. Newsweek’s Malcolm Jones, however, criticized Franzen for using typecast characters and being “interested in the Lamberts only to the degree that he can manipulate them in the scheme of his novel.” Describing the author’s stance as “standing back sneering” at his novel’s action, Jones accused Franzen of including an excess of material that “does nothing but showcase Franzen’s virtuosity.” In an intelligent and important essay for the American Book Review, Tom LeClair cited almost diametrically opposed reasons for his sense of the novel’s failure. While Jones found the novel excessive, LeClair praised the narrative strategies of Franzen’s earlier novels but then found The Corrections surprisingly narrow, given its size, in comparison to works by Franzen’s contemporaries—Richard Powers, David Foster Wallace, and William T. Vollmann. LeClair complained, “Readers of Wallace’s Infinite Jest (1996) or Powers’s Gain (1998) or any of Vollmann’s historical novels can bring to The Corrections ways of generalizing about American culture from the oh-so-personal lives Franzen documents. But much of what he includes seems present to satisfy mainstream readers’ lust for Tom Wolfe detail rather than to serve as cultural synecdoche.” Regardless of these few dissenting voices, The Corrections was propelled by a wave of positive reviews to win the National Book Award and to secure a spot as finalist for the PEN/Faulkner Award and the Pulitzer Prize.

THE DISCOMFORT ZONE

In the years following The Corrections, Franzen has published only a few short fictions, and the greater part of his writing has been confined to nonfiction. Many of his essays were collected in How To Be Alone: Essays (2002) and The Discomfort Zone: A Personal History (2006). Although How To Be Alone’s subtitle offered the neutral description “essays” as a summary of its contents, really Franzen’s first nonfiction collection was a volume with a deeply personal agenda. The book brought together a cluster of diverse topics—smoking, sex manuals, city life—but regardless of the particular focus, the subject of a given essay often functioned as a lens to bring the author’s life into sharper focus. The transformation of the book’s most famous essay— “Perchance to Dream”—is revealing in this respect. When Franzen revised the essay for inclusion in How To Be Alone, he explained that he’d cut the essay by a third to better illuminate his basic argument. But this is only part of the story. In 1996, the Harper’s essay began with the following statement: “My despair about the American novel began in the winter of 1991, when I fled to Yaddo ѧ to write the last two

The positive initial response to the novel was, however, swiftly interrupted as Franzen became embroiled in a highly public dispute with the American talk-show host Oprah Winfrey. On August 31, 2001, Winfrey apparently called Franzen to reveal that The Corrections would be selected by her powerful book club, though the selection was not scheduled to be made public until September 24. Winfrey’s endorsement as-

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JONATHAN FRANZEN chapters of my second book. I had been leading a life of self-enforced solitude in New York City” (“Perchance to Dream,” p. 35). By 2002, however, in How To Be Alone, the second sentence of the essay began: “My wife and I had recently separated, and I was leading a life of selfenforced solitude in New York City” (p. 55). Obviously the addition reporting the dissolution of Franzen’s marriage does little to streamline the argument itself. Rather, what Franzen had done is revise the essay so that his speculations about the future of the novel are even more closely entwined with his personal life. This movement toward using his nonfiction as a medium of self-exploration reaches another level in Franzen’s second collection, The Discomfort Zone, where the larger subjects that caught his attention in the previous book are edged further aside in favor of dissecting more personal memories. The book’s subtitle, “A Personal History,” indicates this increasingly subjective agenda. The switch in subtitles aside, The Discomfort Zone clearly begins where How To Be Alone left off. Apart from a slight four-page sketch, Franzen’s earlier book closed with an account of the aftermath of his mother’s death: in the final pages he recalls the discovery of a miniscule portion of peas in the refrigerator that his mother has been unable to keep down in her last days; at this sight he runs, grief-stricken, from their family home, vowing never to return. In The Discomfort Zone’s first essay, however, he is back in the old house, rooting through the refrigerator again and finding some nine-year-old beef brisket. Franzen is ostensibly back in his childhood home to choose a Realtor to sell his late parent’s house, but his homecoming prompts a circle of recollections both about his parents and his childhood. In this respect, the opening essay serves as a useful prologue to the rest of the book, because the major part of the book revolves around youthful hometown exploits—reading Peanuts cartoons, trying to lose his virginity, friction with his parents, and planning schoolboy practical jokes. The picture of Franzen that emerges here is often not particularly flattering, and when Michiko Kakutani reviewed the book in the New York

Times, she described it as “an odious self-portrait of the artist as a young jackass.” But there is a direct honesty behind the portraits in The Discomfort Zone that can be seen as admirable. Franzen at times seems actively to court bad publicity, as when he announces that he is “enraged about the aftermath of Katrina” because he “couldn’t go online, open a newspaper, or even take cash from an ATM without encountering entreaties to aid the hurricane’s homeless victims” (p. 17). Similarly, an essay about ecology unflinchingly tracks a misanthropy that rises in proportion to ecological awareness, as Franzen explains in “My Bird Problem” that “I wanted to immerse myself in nature, now that I’d become environmentally conscious,” but “what sickened and enraged me were all the other human beings on the planet” (p. 168). Nevertheless, for admirers of Franzen’s novels, The Discomfort Zone fills in a great deal of background on his early dramatic work, on his student work at Swarthmore, and on the relationship with the rest of his family that he seems to mine so thoroughly in his fiction. Particularly valuable is a long essay on Franzen’s time in Germany, which describes his early grounding in Germanic language and literature. After this forty-page essay, Franzen’s 2005 announcement to the German newspaper Die Zeit that he considers himself “a kind of German writer” makes much more sense (“Intimately Connected to the Zeitgeist” 2005). But although these essays provide valuable background information about Franzen, biographical data was already widely available in other contexts. Writers in many periodicals speculated in detail about Franzen’s behavior toward Oprah, and in numerous interviews Franzen has reflected on his background. Franzen talks in both of his nonfiction collections about the breakup of his marriage to Valerie Cornell, but an account of that split had already been published from Cornell’s point of view. In “On Being Unable to Read,” Cornell describes their failing relationship and how they divided up their shared library when the marriage ended. Among the books she ended up with is R. D. Laing’s

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JONATHAN FRANZEN

Selected Bibliography

influential study The Divided Self (1960). Laing’s book was published just a year after Franzen’s birth, and even without a deep knowledge of Laing’s account of schizoid psychology, an observer can see clearly that the idea of division is important both to Franzen’s vision of himself as well as to his writing. His first three novels might be seen as emerging from different kinds of division—The Twenty-seventh City is based around the lifestyle divides between middle America and the Indian subcontinent; Strong Motion examines the split between religion and science; and The Corrections is worked up out of the imaginative differences between life in the Midwest and on the Eastern Seaboard. But in The Discomfort Zone, Franzen takes the idea of division further and describes himself as possessing a kind of divided identity, maintaining “two separate versions of myself, the official fifty-yearold boy and the unofficial adolescent” (p. 96). The friction between these two models of himself provides the basis for much of the comedy and pathos in The Discomfort Zone. The straight-A mature Franzen who writes reports on plant physiology is undercut by descriptions of his furtive fascination with pornography, or his efforts “to pretend to be a kid who naturally said ‘shit’ a lot” (p. 57) to impress cooler adolescents. But each of these versions of the self are identities that he only rarely seems able to reach outside of in his essays, and at times this can give his later nonfiction a somewhat claustrophobic edge. This narrowed focus means that The Discomfort Zone probably reaches a smaller audience than the eclectic selection, How To Be Alone, but the newer volume is likely to be more rewarding for readers who enjoy Franzen’s often humorous attempts to anatomize his feelings of shame and his social anxieties.

WORKS OF JONATHAN FRANZEN FICTION The Twenty-seventh City. New York: Farrar, Straus and Giroux, 1988; New York: Noonday/Farrar, Straus and Giroux, 1997. Strong Motion. New York: Farrar, Straus and Giroux, 1992; New York: Picador/Farrar, Straus and Giroux, 1992. The Corrections. New York: Farrar, Straus and Giroux, 2001; New York: Picador/Farrar, Straus and Giroux, 2002.

NONFICTION How To Be Alone: Essays. New York: Farrar, Straus and Giroux, 2002; New York: Picador/Farrar, Straus and Giroux, 2003. The Discomfort Zone: A Personal History. New York: Farrar, Straus and Giroux, 2006;. New York: Picador/Farrar, Straus and Giroux, 2007.

SELECTED UNCOLLECTED WRITING The Fig Connection. With Kathy Siebert. Woodstock, Ill.: Dramatic Publishing Company, 1977. “Facts.” Fiction International 17, no. 1:144–151 (1986). “I, Spy.” Review of Harlot’s Ghost, by Norman Mailer. Los Angeles Times Book Review, September 29, 1991, pp. 1+. “Skeleton Key to the Phelans.” Review of Very Old Bones, by William Kennedy. Los Angeles Times Book Review, April 26, 1992, pp. 2+. “Where Our Troubles Began.” Review of The Waterworks, by E. L. Doctorow. Los Angeles Times Book Review, June 19, 1994, pp. 1+. “Hitting the Road.” Review of Rule of the Bone, by Russell Banks. New York Times Book Review, May 7, 1995, p. 13. “FC2.” New Yorker, March 18, 1996, p. 116. “Perchance to Dream: In the Age of Images a Reason to Write Novels.” Harper’s April, 1996, pp. 35–54. “How He Came To Be Nowhere.” Granta 54:111–123 (1996). “I’ll Be Doing More of Same.” Review of Contemporary Fiction 16, no. 1:34–38 (1996). “Somewhere North of Wilmington.” Blind Spot 8 (1996). “At the Part for the Artist with No Last Name.” Blind Spot 14 (1999). “No End to It: Rereading Desperate Characters.” Introduction to Desperate Characters, by Paula Fox. New York: Norton, 1999. Pp. vii–xiv. “Freeloading Man.” Review of John Henry Days, by Colson

With three novels and two nonfiction collections assembled over a twenty-year period, Franzen has published less fiction than many of his contemporaries, but his work betrays an admirable attempt to reconcile the formal experiments of his postmodern predecessors with a more accessible prose that might be able to engage a wider audience.

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JONATHAN FRANZEN Amerikastudien/American Studies 49, no. 1:91–105 (2004). Toal, Catherine. “Corrections: Contemporary American Melancholy.” Journal of European Studies 33:305–322 (2003). Yeager, D. M. “Art for Humanity’s Sake: The Social Novel as a Mode of Moral Discourse.” Journal of Religious Ethics 33, no. 3:445–483 (2005).

Whitehead. New York Times Book Review, May 13, 2001, pp. 8–9. National Book Award acceptance speech (http://www. nationalbook.org/nbaacceptspeech_jfranzen.html), November 14, 2001. “How I Write: Jonathan Franzen.” Writer, February 2002, p. 66. “Alice’s Wonderland.” Review of Runaway, by Alice Munro. New York Times Book Review, November 14, 2004, pp. 1+.

INTERVIEWS Antrim, Donald. “Jonathan Franzen.” Bomb 77:72–78 (fall 2001). Birkerts, Sven. “The Esquire Conversation: Jonathan Franzen.” Esquire (www.esquire.com), August 10, 2006. Canfield, Kevin. “An Interview with Fiction Writer Jonathan Franzen.” Poets & Writers Online Only (http://www.pw. org/mag/dq_franzen.htm). October 11, 2002. Coffey, Michael. “PW Interviews: Jonathan Franzen.” Publishers Weekly, December 6, 1991, pp. 53–54. Conrad, Bernadette. “Intimately Connected to the Zeitgeist.” Sign and Sight 24 Aug. 2005. 4 Aug. 2006 http://www. signandsight.com/features/321.html Eakin, Emily. “Jonathan Franzen’s Big Book.” New York Times Magazine, September 2, 2001, pp. 18–21. Greenman, Ben. “Having Difficulty with Difficulty.” New Yorker Online Only (www.newyorker.com), September 23, 2002. Henderson, Jane. “In the Mind’s Eye of Jonathan Franzen.” St. Louis Post-Dispatch, September 23, 2001, pp. G1+. McQuade, Molly. “A Nonsmoker’s Novel by Jonathan Franzen.” Booklist 94, no. 21:1865 (July 1998). Miller, Laura. “Only Correct.” Salon (http://archive.salon. com/books/int/2001/09/07/franzen/index.html), September 7, 2001. Murphy, Jessica. “Mainstream and Meaningful.” Atlantic Unbound (www.theatlantic.com/unbound/interviews/ int2001-10-03.htm), October 3, 2001. Olson, Clarence E. “Don’t Judge by Cover: Author Likes Hometown.” St. Louis Post-Dispatch, August 28, 1988, pp. 3+. Romano, Carlin. “A Writer Basking in the Raves.” Philadelphia Inquirer, January 25, 1992, pp. D1+. Schindehette, Susan. “Novel Approach.” People, November 12, 2001, p. 83. Smith Rakoff, Joanna. “Making the Corrections: An Interview with Jonathan Franzen.” Poets & Writers, September–October 2001, pp. 27–33. Strecker, Trey. “A Difficult Haven: An Interview with Jonathan Franzen.” Raintaxi 8, no. 3:12–13 (2003). Sweet, Matthew. “Jonathan Franzen: The truth about me and Oprah.” The Independent, January 17, 2002.

Swarthmore commencement address (http://www. swarthmore.edu/news/commencement/2005/franzen. html), May 29, 2005. “Two’s Company.” New Yorker, May 23, 2005, pp. 78–81. “Tomes That Can Trigger a Writer’s Wanderlust.” New York Times, May 14, 2006, Travel Section, pp. 9+. “Ambition.” Guardian, July 15, 2006, Weekend Section, pp. 17–21. “Authentic but Horrible: An Introduction to Spring Awakening.” In Franzen’s translation from the German, Spring Awakening: A Children’s Tragedy, by Frank Wedekind. New York: Faber and Faber, 2007. Pp. vii– xvii. List of favorite ten books. In The Top Ten: Writers Pick Their Favorite Books. Edited by J. Peder Zane. New York: Norton, 2007. P. 65. “I Just Called to Say I Love You: Cell Phones, Sentimentality, and the Decline of the Public Space.” MIT Technology Review, October 2008, pp. 88–95.

CRITICAL AND BIOGRAPHICAL STUDIES Annesley, James. “Market Corrections: Jonathan Franzen and the ‘Novel of Globalization.’” Journal of Modern Literature 29, no. 2:111–128 (2006). Bukiet, Melvin Jules. “Crackpot Realism: Fiction for the Forthcoming Millennium.” Review of Contemporary Fiction 16, no. 1:13–22 (1996). Burn, Stephen J. Jonathan Franzen at the End of Postmodernism. London: Continuum, 2008. Green, Jeremy. Late Postmodernism: American Fiction at the Millennium. New York: Palgrave, 2005. McLaughlin, Robert L. “Post-Postmodern Discontent: Contemporary Fiction and the Social World.” Symploke¯ 12, nos. 1–2:53–68 (2004). Marcus, Ben. “Why Experimental Fiction Threatens to Destroy Publishing, Jonathan Franzen, and Life as We Know It.” Harper’s, October 2005, pp. 39–52. Ribbat, Christopher. “Handling the Media, Surviving The Corrections.” Amerikastudien/American Studies 47, no. 4:555–566 (2002).

REVIEWS

Rohr, Susanne. “The Tyranny of the Probably: Crackpot Realism and Jonathan Franzen’s The Corrections.”

Andrews, Peter. “Jammu Has Plans for St. Louis.” New York Times Book Review, October 9, 1988, p. 22.

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JONATHAN FRANZEN McNally, T. M. Review of The Corrections. Yale Review 90, no. 2:160–169 (2002). Rafferty, Terence. “Coming of Age.” New Yorker, December 19, 1988, pp. 101–106. Rubins, Josh. “How Capitalism Causes Earthquakes.” New York Times Book Review, February 16, 1992, pp. 13–14.

Begley, Adam. “‘But Dad!’ The Joys of Family, Up Close and Scarily Lifelike.” New York Observer 27 Aug. 2001: 10. ———. “With His Pants Down: A Writer’s Self-Portrait.” New York Observer 11 Sept. 2006: 21. Birkerts, Sven. “The Novel We’ve Been Waiting For.” Esquire, September 2001, p. 71. Blades, John. “Wild Urban Flight of Fancy.” Chicago Tribune, August 21, 1988, section 14, pp. 1+. Burn, Stephen. “Seismology and the City.” Times Literary Supplement 6 June 2003: 24. ———.. “Taking the Brisket.” Times Literary Supplement 20 Oct. 2006: 26. Gates, David. “American Gothic.” New York Times Book Review, September 9, 2001, pp. 10+. Jefferson, Margo. “A Go-for-Broke First Novel.” Vogue, September 1988, p. 454. Jones, Malcolm. “The Emperor’s New Prada?” Newsweek, September 17, 2001, p. 66. Kakutani, Michiko. “A Family Portrait as Metaphor for the 90’s.” New York Times, September 4, 2001, pp. E1, E6. ———. “A Man Who Looks in the Mirror and Smiles.” New York Times, August 29, 2006, p. E1. LeClair, Tom. “Shortfall.” American Book Review 23, no. 2:1+ (2002).

Shapiro, Laura. “A Lavish Novel by a Newcomer.” Newsweek, August 29, 1988, p. 59. ———. “Terra Not So Firma.” Newsweek, January 20, 1992, p. 61. Slung, Michelle. “Meet Them in St. Louis.” Washington Post, September 4, 1988, pp. 1+. Watman, Max. “On the Hysterical Playground.” New Criterion, November 2001, pp. 67–72. Wood, James. “Abhorring a Vacuum.” New Republic 15 Oct. 2001: 32-40. ———. “What the Dickens.” Guardian 9 Nov. 2001. 10 Nov. 2001, http://books.guardian.co.uk

OTHER WORKS Cornell, Valerie. “On Being Unable to Read.” By Herself: Women Reclaim Poetry. Ed. Molly McQuade. Saint Paul, MN: Graywolf, 2000. 403-20.

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HENRY LOUIS GATES, JR. (1950—)

S. Bailey Shurbutt A LITERARY CRITIC and journalist, an educator and cultural commentator, Henry Louis Gates, Jr., is one of the nation’s premier scholars in the field of African American studies. Gates’s literary criticism and social history have given us insights into the relationship between the races and a better understanding of what is commonly called the “racial divide.” That racial divide is clearly still with us in America today, as illustrated by the July 16, 2009, incident that occurred when Cambridge police arrived at Gates’ Ware Street home near Harvard Square to investigate a home break-in call. When Gates was approached by police officer inside his home and asked to show identification, the scholar upbraided the officer for harassing him, and Gates was arrested. While the charges were later dropped and Gates and the white arresting officer were both invited to the White House by President Barack Obama to talk about the incident, the event received national and international coverage and remains a vivid illustration that African American men and white men are treated differently by the legal system and held to different standards.

Bondwoman’s Narrative) to encyclopedic surveys of African American history and culture, including Africana (1999) and the eight-volume African American National Biography (2008). In addition to his work in the academy, Gates has been an indefatigable voice for African American history and culture in the public realm. Gates’s Wonders of the African World was an acclaimed BBC/PBS television series in 1999. He was narrator and writer for Frontline’s “The Two Nations of Black America” (1998) and the PBS productions America Beyond the Color Line (2002), African American Lives (2006), Oprah’s Roots: An African American Lives Special (2007), African American Lives 2 (2008), and Looking for Lincoln (2009). His dual role as scholar and public intellectual has earned him an eclectic array of honors and awards, ranging from a MacArthur Foundation “genius grant” (1981), the George Polk Award for Social Commentary (1993), and the Carl Sandburg Award (2004) to the Chicago Tribune Heartland Award (1995), the Appalachian Heritage Writer’s Award from the West Virginia Humanities Council (2007), and the Parents’ Choice Award (2009). In 1997 he was named one of Time magazine’s “Twenty-five Most Influential Americans.” Gates has been honored with a National Humanities Medal (1998) and elected to the American Academy of Arts and Letters (1999); he is the recipient of Carnegie, Phelps, Whitney Griswold, Andrew Mellon, and National Endowment for the Humanities grants and fellowships. Over the years he has been honored with more than fifty honorary degrees.

Since joining the faculty of Harvard University in 1991, Gates has served as professor of English and the Humanities as well as director of the university’s W. E. B. Du Bois Institute for African and African American Research; in 2006 he was named Alphonse Fletcher University Professor. As an author he has made important contributions to literary critical theory in books such as Figures in Black: Words, Signs, and the “Racial” Self (1987) and The Signifying Monkey: A Theory of Afro-American Literary Criticism (1988). As an editor he has researched and overseen dozens of projects, ranging from the recovery and republication of nineteenth-century African American writings (Our Nig and The

As preface to this distinguished career, Gates graduated summa cum laude from Yale University in 1973 with a degree in history, and he traveled abroad to earn his M.A. and Ph.D. degrees in

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HENRY LOUIS GATES, JR. English Literature from Clare College, Cambridge University. Among his mentors there was the Nigerian playwright and Nobel laureate Wole Soyinka, who at that time was not part of the Cambridge English Department because African literature was considered appropriate only for anthropological and sociological study—in other words, it was not considered “literature.” In the years to come, Henry Louis Gates, Jr., would expend much of his intellectual energy addressing that egregious omission.

as well as rediscovering lost African American writers and providing a point of reference and system of tropes and symbols to explain and explicate African American texts, veiled as they often are in the language of indirection and subtext. Thus Gates’s writing is aimed both at lifting the veil and at assaulting literary and popular cultural myths that separate and marginalize African Americans, thus feeding the racial divide.

THE “DOUBLE VOICE”

LIFE: GROWING UP “COLORED” IN WEST VIRGINIA

Much of Gates’s literary criticism emanates from the seminal idea and concept of the “double voice.” If the “double voice” is the key to understanding African American literature, it is, without doubt, central to the originality and success of Gates’s scholarship and writing. Gates has the extraordinary ability to speak about the African American experience both from inside and outside that cultural and ethnic framework. His “double voice” is not so much in the literary sense of what he refers to as “signifyin(g)” but rather in his singular ability to walk gracefully in both the white and the black worlds. A few extraordinary individuals—for example, Oprah Winfrey, Barack Obama, Bill Cosby, and Bill Clinton—possess this ability to move seamlessly between the two cultures. They possess a universal point of view that in some sense transcends their racial selves, surpassing, in the process, the “great racial divide” that continues to be so formidable in contemporary American life. In Gates’s case this ability is something akin to what the Victorians referred to as “disinterestedness,” which is to say possessing an objective rather than an uninterested point of view—for Gates is profoundly interested in the racial divide and in racial issues in America. Explaining his theory of criticism in Figures in Black, he notes that to create his system of reading African American texts he had “to step outside” his culture, “to defamiliarize the concept by translating it into a new mode of discourse,” before he could “see its potential in critical theory” (p. 236). All of Gates’s writing has, in one way or another, been aimed at diminishing the color line,

Born in Keyser, West Virginia, on September 16, 1950, Gates grew up in nearby Piedmont, a mill town situated in the Potomac highlands of Mineral County. He has said of his hometown: “My darkest fear is that Piedmont, West Virginia, will cease to exist, if some executives on Park Avenue decide that it is more profitable to build a completely new paper mill elsewhere than to overhaul one a century old.ѧ Piedmont ѧ is life itself” (Colored People, p. xi). Gates’s roots thus run long and deep in both the Appalachian and African American communities of West Virginia. To support his family, Gates’s father, Henry Louis, Sr., worked two jobs, one at the Westvaco paper mill and another in afternoons and evenings as a janitor at the phone company, while Gates’s mother, Pauline Coleman Gates, cleaned white people’s houses. Together they raised two confident, poised, and accomplished sons, Paul (Rocky) and Louis (Skipper). In a 1994 Booknotes interview, Gates spoke of the particular influence of his mother on her two sons. Though Pauline had a profound distrust of white people, Gates recalled that his mother wished them to speak proper English as well as black vernacular, and go to integrated and then to private and Ivy League schools. Gates added, however, that “she always wanted us to remember, first and last, that we were black” (p. 8). Gates remembered that his mother instilled in him and his brother the knowledge that they were brilliant and beautiful, the intellectual self-confidence she communicated to them perhaps her finest gift to her two sons. The story of Gates’s coming of age in the mountains of Appalachia and the close-knit

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HENRY LOUIS GATES, JR. African American community of Piedmont is detailed in his award-winning memoir Colored People (1994), a book that serves as a remarkable chronicle for a remarkable period of American history: the civil rights era of the 1950s and 1960s, a time of transition from an officially segregated to an integrated America. The perspective provided by Colored People is unique among the many social histories of this period. Gates’s book is a remarkable personal testimony—one lovingly placed within a framework of filial courage, loyalty, and kindness—that enriches the portrait provided by grittier historical accounts of the period. In Colored People, Gates explores the interplay between past and present, utilizing Piedmont as a microcosm for a dynamic period of change in American social and cultural life. By exploring his roots in one specific time and place, Gates encourages each of us to examine our own roots, and he poses some extraordinary questions about family, race, and class in the process. Those places that provided African Americans in Piedmont with a sense of community and comfort—the barbershop, the kitchen, the church— were in varying degrees supplanted, eclipsed, or altered after integration came to the school and to the workplace. The harsh times spawned by the institution of segregation were passing away, yet something positive, something intangibly consoling, according to Gates, was also lost in the process. It was lost even as African Americans were gaining social equality and political justice and were discovering (at long last, according to young people like Skip Gates) a brave new world of possibility and advancement. In many ways, Colored People is about the process of “moving away,” going “Elsewhere,” or, as Gates writes in The Future of the Race (1996), moving “up from” (p. 3). This process—which began with the integration of the schools and Skip Gates’s discovery, largely through books, of a world beyond Piedmont—would eventually carry him uncountable miles from the kitchen table, to the continent of Africa and beyond, and finally to the elite halls of academia. The journey from Piedmont to “Elsewhere,” in Emersonian terms, would be both a gain and a loss.

Colored People is also a book about “naming”—how we name and rename, vision and “revision” ourselves, in this case for Gates, from “colored” to “Negro” to “black,” with all the associative social and cultural responses that accompany such appellations (Colored People, p. 201). Gates tells a wonderful story in “What’s in a Name,” an essay in the Loose Canons (1992) collection. He writes about going to the Cut-Rate Drug Store with his father as a boy and being perplexed when Mr. Wilson, an Irish neighbor as were many whites in Piedmont at that time, walked by and responded to Gates’s father’s hello with “Hello, George.” Skip looked up at his dad and said with some perplexity, “Your name isn’t George.” Henry Louis, Sr., quietly told his son after a “long silence”: “He calls all colored people George.” Gates writes in the essay, “I never again looked Mr. Wilson in the eye” (p. 133). In any bildungsroman, or “coming of age” story, such as Colored People, the juxtaposition between time present and time past becomes singularly important. For Gates, time lies at the heart of his story. He begins Colored People in time present, with a vignette about his daughter Liza, whose privileged life makes it difficult for her to understand or to empathize with the struggles of her grandparents. Gates writes: “No, my children will never know Piedmont, never experience the magic I can still feel in the place where I learned how to be a colored boy” (p. 4). Present time functions as a frame for the memoir, which provides, at least indirectly, a road map for addressing some of the new social problems that have swelled in the wake of social changes after integration, changes that have come to both the African American and the white American nuclear family. In his Booknotes interview with Brian Lamb, Gates makes it clear that he wrote Colored People as a tribute to his parents: “a portrait of my mother, but in my father’s voice.” Gates’s parents represent the diversity within the African American community and the emerging black middle class he has written so eloquently about. His mother’s family, the Colemans, who lived in Piedmont, were a tight-knit clan, focused on

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HENRY LOUIS GATES, JR. working hard and achieving economic success according to the traditional conception of the American Dream. Pauline Gates sacrificed many of her own dreams so that her brothers might finish school and achieve professions. The Coleman uncles, however, were often judgmental and demanding of young Skip, particularly that he stick to the rules, including the rules of the white man. Gates writes of the Coleman brothers, who, like most African Americans, managed the minefields of segregation in more traditional ways:

fierceness of Malcolm X, Skip noted a “certain radiance” slowly spreading across his mother’s “soft brown face, as she listened to Malcolm X naming the white man the Devil. ‘Amen,’ she said, quietly at first” (Colored People, p. 34). The child was astounded by the change he perceived in his mother’s face: “It was like watching the Wicked Witch of the West emerge out of the transforming features of Dorothy. The revelation was both terrifying and thrilling” (p. 34). Yet Pauline Coleman Gates had found within herself a reservoir of dignity that made her a leader in the community, among both blacks and whites. It was she who was elected the first black president of the PTA, it was she who stood eloquently before black and white parents and read the PTA minutes with perfect diction that sounded to her son like poetry, and it was she who functioned in the black community of Piedmont, in some sense, as the traditional “elocutionist”—someone, as Gates describes in Thirteen Ways of Looking at a Black Man (1997), who inspired black lives, delivered “uplifting homilies,” and recited the “race poetry” (p. xxiv). It was also Pauline who accepted and defended her son’s various rebellious acts and social activism, who insisted that both sons aim for the highest goals they could comfortably achieve and then work hard to accomplish them. Gates recalled one of his white teachers reprimanding him once when he referred to his mother simply as “she.” “Your mother is a lady, a real lady. What is wrong with you?” the teacher scolded (Colored People, p. 93).

Whenever one of my uncles would speak to a white person, his head would bow, his eyes would widen, and the smile he would force on his lips said: I won’t hurt you, boss, an’ I’m your faithful friend.ѧ he assumed the same position with his head and his body when he was telling a lie. (pp. 150–151)

This mask or “veil” is one of the dominant images that Gates explores in both his literary and social criticism and in his memoir writing. In The African American Century: How Black Americans Have Shaped Our Country (2002), Gates explains the “veil,” conceptualized by W. E. B. Du Bois in his seminal Souls of Black Folk (1903), as the “curtain separating black and white life” (p. 5). In his introduction to America Behind the Color Line (2004), Gates illustrates the idea by observing: “It has long struck me as curious that African Americans often speak differently—more colorfully and openly—when talking with each other behind closed doors, as it were, than they do in interracial settings; more spontaneous, say, in barbershops and beauty parlors, in church socials and their living rooms.ѧ” Gates reiterates the idea made current in the work of Du Bois and others when he suggests that black people have often “conducted their lives in America behind a ‘veil’ ” (p. xiii). Unlike her brothers, however, Pauline Coleman was both suspicious and fearless of white people. Her experiences with cleaning the houses of white folks and with the meanness and condescension of whites had engendered downright hatred. Gates writes of an incident when his mother was watching a CBS documentary about black Muslims called The Hate That Hate Produced, and as Mike Wallace spoke about the

The Gates family, from the Potomac highlands near Cumberland, was less clannish than the Colemans and more vocally indignant about the social injustices that African Americans endured. They encouraged young Skip to become a social activist as a teenager. However, Gates’s father, a very light-skinned African American, was skeptical of many of these family attitudes and did not encourage his son’s iconoclasm. Henry Gates was also not above enjoying some of the racist perks that the light color of his skin provided, according to his son Skip. Gates remembered that as a child he hated the fact that he and his siblings could not sit down at the food

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HENRY LOUIS GATES, JR. counter at the local Cut-Rate drugstore, owned by a white proprietor, Carl Dadisman. Nonetheless, his father’s light complexion and work at the local phone company gave him access to the counter, where he was not above sitting and sipping a cup of coffee as he waited for food and coffee to be brought out for him to carry back to the operators at the phone company. Gates remembered: “At the time, I never wondered if it occurred to Daddy not to sit down at the CutRate when neither his wife nor his two children were allowed to do so, although now that I am a parent myself, the strangeness of it crosses my mind on occasion” (p. 18). Gates’s memoir is characterized, however, by his distinctive absence of judgment on the disparate responses to segregation that the two families and his parents represented. “If Mama’s tolerance [of his rebelliousness],” he writes in Colored People, “separated her from her brethren [the Coleman family], Daddy’s intolerance, jocular though it was, separated him from his. Indeed, the other Gateses were positively approving toward me and my budding political ideas.ѧ they were freethinkers and, as such, welcomed me into their ranks” (p. 188).

liked Daddy to work. These shows for us were about property, the property that white people could own and that we couldn’t” (p. 21). Gates notes as well that although Amos and Andy is now labeled as an example of negative stereotyping and racial caricature, African Americans at the time viewed it differently. He writes: “I don’t care what people say today. For the colored people, the day they took Amos and Andy off the air was one of the saddest days in Piedmont, about as sad as the day of the last [segregated] mill pic-a-nic.” Gates continues: “What was special to us about Amos and Andy was that their world was all colored, just like ours” (p. 22). What further was special, much like the slave folktales epitomized in the “politically incorrect” series of Uncle Remus stories, were the political subversion and trickster aspects of some of the Amos and Andy characters and situations—even today not fully appreciated. Just as Joel Chandler Harris, who recorded the tales, could little comprehend the political subtext and subversive scope of these slave stories, the white people involved in the production of the Amos and Andy episodes and the white audience that watched the series with superior self-satisfaction were blithely unaware of what the episodes often said to African American audiences, who watched the series through different eyes.

One of the fascinating characteristics about Gates’s memoir is his candid discussion of the importance of skin color and hair texture in the African American community, in the days before integration. In the insular, segregated black community, folks were evaluated according to the degree of their hair’s “straightness” and the lightness of their skin tone. Gates writes casually of the African American assessment of the Methodist preacher, Reverend Monroe, whom he describes as “a nice guy, medium-brown-skinned, with a not-bad grade of hair” (p. 116).

One of the most remarkable aspects of the “colored” part of Piedmont was the closeness of the African American community or “village,” as Gates sometimes refers to it, a community that represented both positive (support and sense of belonging) and negative (gossip and judgmental attitudes) traits. For African American families, the barbershop, the kitchen, the church, and the schoolhouse were the heart of the community. Each environment brought a different sense of cohesiveness and belonging. The barbershop and beauty parlor were places that signified coming of age, particularly in sexual terms. Gates recalled his own youthful “initiation” while getting a haircut on a Saturday afternoon— remembering stories of love affairs and titillating gossip. Yet, he writes, “Not getting a sugar bowl haircut was even more important than graduating

Likewise, the favorite TV shows of the African American community would not today be considered “politically correct.” Leave It to Beaver and Amos and Andy were community favorites. While Beaver’s world fulfilled economic aspirations of African Americans, Amos and Andy gave them familiar faces. Gates writes: “Beaver’s street was where we wanted to live, Beaver’s house where we wanted to eat and sleep, Beaver’s father’s firm where we’d have

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HENRY LOUIS GATES, JR. from Ebony and Jet to Penthouse and Playboy” (p. 175).

grader, a chance to meet the governor, to find fame and glory! The half-point that missed the prize for Rocky in favor of a white student was bogus, but later, when he learned the points had been manipulated so that he would not be the first “colored” child to win the award, he was relieved because he knew that he had not failed (pp. 98–100). Skip would go on to win the award five years later, but the unfairness of the event would forever be remembered by both of Pauline Gates’s sons. A decade later, when Skip gave the valedictorian speech at his high school graduation, he chose not to deliver the canned, censored, and approved version that valedictorians traditionally gave. Instead he talked about the issues that actually affected the lives of the students— inequality, Vietnam, abortion, civil rights—and thus the iconoclastic tone for his life and work was set during his school years in Piedmont (p. 191). Gates would later write about the crucial importance of education in a multicultural society like America:

The kitchen was the center of African American home life, the heart of the home because it was the woman’s domain and she was the center of family life and utterly essential to her children. The kitchen was where uniquely African American cuisine was lovingly prepared and appreciatively devoured. The “kitchen,” which often served as a makeshift beauty parlor and which was specifically associated linguistically with that unruly tuft of hair at the nape of the neck, was thoroughly African. Gates writes: “If there ever was one part of our African past that resisted assimilation, it was the kitchen. No matter how hot the iron, no matter how powerful the chemical, ѧ neither God nor woman nor Sammy Davis, Jr., could straighten the kitchen. The kitchen was permanent, irredeemable, invincible kink. Unassimilably African” (p. 42). The church, in its turn, was central to the socialization of African Americans as well as historically important in the struggle for civil rights. Children in Gates’s youth were brought up in the church and were expected to abide by the values and ideals espoused there, though like every other aspect of “colored” life, there was diversity and variety within that institution. For example, Skip Gates started out in the more conservative, evangelical church of his grandmother and moved to the more staid Methodist church of his father’s family. However, when his mother died, he longed for the more emotional, evangelical send-off that he recalled from his earlier church days.

Ours is a ѧ world profoundly fissured by nationality, ethnicity, race, class, and gender. And the only way to transcend those divisions—to forge, for once, a civic culture that respects both differences and commonalities—is through education that seeks to comprehend the diversity of human culture. Beyond the hype and the high-flown rhetoric is a pretty homely truth: There is no tolerance without respect—and no respect without knowledge. (Loose Canons, p. xv)

The process of “moving away” from Piedmont and the comfortable, insular world provided by the black community began with integration of the schools and Gates’s discovery through books of a greater world beyond “the kitchen.” The enlightening and liberating experience of attending Peterkin, an Episcopal Church camp; the realities of Vietnam and Watts; his first college experience at Potomac State—all worked to move Skip Gates beyond the blue ridges of West Virginia and on to other worlds. Although Gates has explained in The Future of the Race that “narratives of ascent, whether or not we like to admit it, are also narratives of alienation, of loss” (p. 3), the writing of Colored People in some respect allowed him to reclaim the world he left, reclaiming his roots in much the same way as the

For the generation of Henry Louis Gates’s parents, education was utterly essential—the irrefutable panacea, the ticket to affluence and success. Both of their sons were primed for absorbing the opportunities that education provided. Because integration came to Piedmont the year before Skip Gates began his public school career, his older brother Rocky “paved the way,” in some respects, for the younger brother’s successes. Rocky, equally brilliant as a student, faced headlong the vicissitudes of racism. An example is the story of the prestigious Golden Horseshoe award in eighth grade, as Gates writes, “the Nobel Prize” of scholarship to an eighth

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HENRY LOUIS GATES, JR. “reverse migration” today, when growing numbers African Americans are moving “back home,” back to their roots in the South, a subject Gates writes about in America Behind the Color Line (p. 123). In contrast, Gates notes, however, about his generation of black Americans, who ventured for the first time into integrated American society: “Usually the ascent is experienced not as a gradual progression but as a leap, and for so many of my generation that leap was the one that took us from our black homes and neighborhoods into the white universities that had adopted newly vigorous programs of minority recruitment.ѧ You might call us the crossover generation” (The Future of the Race, pp. 3–4).

people and for the American racial and intellectual landscape than his becoming another sort of doctor. Skip Gates’s brave new world began with the singular experience for an African American youth in the early 1970s of attending Yale University, an event interrupted by a year working at a mission hospital in Tanzania, a hitchhiking trek across Africa (from the Indian Ocean to the Atlantic Ocean), and a stint in Jay Rockefeller’s gubernatorial campaign in West Virginia. These events were followed by two degrees from Cambridge University and a scholarly journey that eventually carried him to Harvard, where he would establish one of the premier African American studies programs in the country.

The journey to “Elsewhere” changed Skip Gates’s life in a number of ways. He had thought, as did most young blacks venturing off to those elite white institutions of higher learning, that he would study science and become a doctor, that he would join the elite ranks of what W. E. B. Du Bois called the “Talented Tenth.” He instead studied literature and became another sort of “physician.” Early on, he understood, first intuitively and then intellectually, that language and literature shape reality, that the power of the word is prominent and tangible in the myths and images it creates, the stereotypes it engenders, and the “realities” it manifests. The eighteenthcentury “enlightened” philosophers, who figured into Gates’s Ph.D. dissertation, posited that the “dearth” of literary and artistic traditions among African peoples denoted a lesser stage of “civilized” accomplishment, thus providing a rationale for slavery. However, as “dearth” might be reinterpreted as “different” or, more likely, as “omitted from” the accepted European canon imposed by white patriarchs, so too might our assessment of African American literature require some rethinking.

SCHOLARSHIP: REDISCOVERING LOST AFRICAN AMERICAN WRITERS AND THE SIGNIFYING MONKEY

One of the most important accomplishments of Henry Louis Gates, Jr., has been opening the traditional literary canon and rediscovering lost African American writers. Gates’s first major discovery was the Harriet Wilson novel Our Nig (republished in 1983), at that time given the distinction as the first novel published in this country by a black person (1859). Gates has gone on to exhume and reclaim other forgotten works, including those gleaned from black periodical literature and a handwritten manuscript that may be the first novel written by a slave: The Bondwoman’s Narrative, by Hannah Crafts, a Fugitive Slave, Recently Escaped from North Carolina (c. 1853–1861). Gates has spent considerable scholarly energy researching and writing about these early writers, in effect extending and broadening the African American literary tradition as well as the canon. His editing of the thirty-volume Schomburg Library of NineteenthCentury Black Women Writers (1988), his edition of The Norton Anthology of African American Literature (coedited by Nellie Y. McKay, 1996), and the volume The Civitas Anthology of African American Slave Narratives (coedited with William L. Andrews, 1999) have each provided an important contribution to the enrichment of the American literature and our understanding of the American experience.

Gates would go on to provide in his scholarship a sweeping revision of the dated, uninformed, and shallow judgments of the past about black art and literature. He would likewise help to rediscover lost or ignored works that reveal the soul and mind of African America. In this respect, Gates’s journey to “Elsewhere”, to academia, has been perhaps more fruitful for his

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HENRY LOUIS GATES, JR. Another important scholarly contribution is Gates’s attempt to retrieve and rehabilitate the eighteenth-century African American poet Phillis Wheatley, who has received mixed reviews, even among African American scholars. Gates notes that while W. E. B. Du Bois praised Wheatley— indeed Gates himself credits Wheatley with beginning the African American literary tradition and being the first African American woman of letters—writers such as Margaret Walker upbraid her for “not being black enough” (The Trials of Phillis Wheatley, p. 81). Gates’s clever study of Wheatley allows him to deconstruct both Thomas Jefferson’s indictment of Wheatley’s authenticity and Jeffersonian racist assertions about African American intellectual inferiority. Gates likewise tackles the African American charge that Wheatley’s point of view was simply “too white” and that she was too deferential toward her white owner Suzanna Wheatley, perhaps the only mother, he notes, that the child would have known. If Wheatley’s poetry is imitative, so was most of the rest of eighteenth-century poetry, caught in the shackles of a fixed poetic diction and in the shadow of Alexander Pope. Wheatley was thus “too black” for Jefferson and “too white” for Walker. Gates further uses the story of Wheatley to address some important issues in black and white society today. He asserts: “What’s required is only that we recognize that there are no ‘white minds’ or ‘black minds’: there are only minds, and yes, they are, as that slogan has it, a terrible thing to waste. What would happen if we ceased to stereotype Wheatley but, instead, read her, read her with all the resourcefulness that she herself brought to her craft?” (p. 87).

be both economical and prolific in his scholarship: “Do your research, prepare it as a lecture, give it all year, as many times as you can, because then it becomes like second nature to you. You can realize the flaws.” Gates continues: “Then make it an essay, publish it in a scholarly journal, a juried journal, and then the essay becomes a chapter in the book. That is the law of political economy of essays.” Gates’s second extraordinary accomplishment is his attempt to provide a critical framework for evaluating, defining, and explicating works by African American writers. Both Figures in Black: Words, Signs, and the “Racial” Self (1987) and The Signifying Monkey: A Theory of AfroAmerican Literary Criticism (1988) provide the scaffolding for this lofty task, with the second volume considered a continuation of the framework of critical ideas laid out in the first. As Gates researched and taught works by African American writers, as he read those nascent literary theoreticians and black writers who came before him (and who stepped lightly through the minefields of reading and evaluating African American literature), he became convinced that it is through the process of “signification” (in the case of African American literature, a theory of reading that arises from “within the black cultural matrix”) that understanding black writers, as he says in Figures in Black, must begin (p. 235). Just as nineteenth-century women’s texts must be read through indirection and subtext—or what Emily Dickinson suggests as telling “all truth but tell[ing] it slant”—African American texts, particularly nineteenth- and twentieth-century texts, are “double-voiced,” speaking both to the reader and to other African American texts. Gates writes in The Signifying Monkey: “The black tradition is double-voiced. The trope of the Talking Book, of double-voiced texts that talk to other texts, is [a] unifying metaphor [and] ѧ signifyin(g) is the figure of the double voiced” (p. xxv). Utilizing the linguistic strategies and habits that require reading literary works through the African American culture allows Gates to offer a tool for deeper understanding of the real meaning of African American texts. The key to signifyin(g) thus lies within the black vernacular and in im-

Much of Gates’s scholarship and literary sleuthing is directly connected to his teaching a variety of subjects at Yale and then Harvard, including courses on the Harlem Renaissance, African American women’s writing, and the African American literary tradition. He has spoken about his Yale mentor, the African American scholar John Blassingame, who taught Gates to “teach what you write, write what you teach.” In 2002 Gates explained to the interviewer Bruce Cole the process that allows a teacher to

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HENRY LOUIS GATES, JR. ages that come from African myth and art. “The challenge of the critic of comparative black literature,” Gates notes in Figures in Black, “is to allow contemporary theoretical developments to inform his or her readings of discrete black texts but also to generate his or her own theories from the black idiom itself” (p. 58). Gates explains in Figures in Black his literary “theory of interpretation” by noting that it comes not only from “the black cultural matrix” but that it is a theory of “formal revisionism [recasting or ‘re-visioning’ a text to create a system of tropes that casts new meaning and revises myth].” He goes on to assert that such a theory “is tropological” and “turns on repetition of formal structures and their differences” (p. 235). Literary discourse and critical interpretation of African American texts, as Gates writes in The Signifying Monkey, rely on modes of interpretation that “accord with the vernacular” tradition, and a close and accurate textual reading thus requires an understanding of “the manner in which [African American] language is used” (p. xxvii). Gates explains: “Black texts Signify upon other black texts in the tradition by engaging in ѧ formal critiques of language use, of rhetorical strategy. Literary Signification, then, is similar to parody and pastiche” (p. xxvii). Parody is reinforced by allusion and wordplay, both enhanced by amplification and augmentation through the African American vernacular to garner a new or expanded meaning.

nonetheless key to the revelations of content. Most important, Esu is depicted in Yoruba tradition with two mouths, indicating his “double voice,” while the Signifying Monkey, an African American trope, is a metaphor for textual revision and the interplay between texts. Together, as Gates notes in The Signifying Monkey, Esu and the Signifying Monkey serve as “two tricksters [that] articulate the black tradition’s theory of its literature” (p. xxi). “Esu’s double voice and the language of Signifyin(g),” as Gates notes in The Signifying Monkey, are the “unifying metaphors, indigenous to the tradition,” used to discern “patterns of revision from text to text and for modes of figuration at work within the text” (p. 239). Within that scheme, Gates finds that there are four variations on the double-voiced text and textual relationships: the “tropological revision,” as typified in the various versions of slave narratives with their attempts to tell their own stories; the “speakerly text,” a double-voiced hybrid text such as Zora Neale Hurston’s Their Eyes Were Watching God, whose narrator speaks in standard English and whose characters speak in African American dialect; the “talking texts,” wherein black texts talk or speak to other black texts; and the “rewriting” of the speakerly text, wherein black texts revise other black texts, such as Alice Walker’s loving revision of Hurston in The Color Purple, a book that utilizes an epistolary style to allow Celie’s vernacular voice to function most often as narrator. Gates concludes his commentary on the intertextual relationship between Their Eyes Were Watching God and The Color Purple by asserting: “In The Color Purple ѧ Walker rewrites Huston’s narrative strategy, in an act of ancestral bonding” (The Signifying Monkey, p. 244).

The trope or metaphor that Gates employs as a frame for his critical theory comes directly from Yoruba (African, Caribbean, and black South American) and African American cultural myth, from those trickster characters long part of the African storytelling traditions and, in this case, associated with language and text: specifically Esu (the Yoruba figure linked with interpretation and the double voice) and the Signifying Monkey (the African American figure that serves as the metaphor for the “re-vision” and deconstruction of language). Characteristically, Esu hobbles on unequal legs, one made for walking in the magical world of the gods while the other stumbles awkwardly in the human realm. While Esu is more technique or style than substance, he is

If such narratives as Walker’s are “signifying” upon other black texts in order to construct their own meaning, the reader must be aware of the specifics and the process of such interplay among African American texts. In The Signifying Monkey, Gates renders a number of close readings, utilizing his theory of signifyin(g), in order to illustrate these intertextual relationships, specifically of Zora Neale Hurston, Ishmael Reed, and Alice Walker. It is clear to the literary scholar

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HENRY LOUIS GATES, JR. that this mode of comprehending African American texts is a variation of T. S. Eliot’s principle that most great literature is in dialogue directly and indirectly with texts that have gone before. For example, William Wordsworth’s revision of eighteenth-century poetry is a type of “signifying,” as is Dickinson’s search for her literary foremothers in the imagery of Elizabeth Barrett Browning. The similarities, in terms of signification, between African American writers and nineteenth-century women writers is remarkable in that both are attempting to throw off the shackles that traditional language has imposed, and both are searching for an individualized literary expression that distinguishes their works from the dominant European or patriarchal literature, which in large part they seek to revise or recast for their own purposes. For women, the revisions are associated with those Pygmalion renderings of how patriarchal culture would wish them to be; for African Americans, they are rooted in the legacy of slavery.

can texts directly from African culture and vernacular. In the essay “Tell Me, Sir, ѧ What Is ‘Black’ Literature?” from Loose Canons, Gates writes about the debt that African American scholarship and African American programs owe to feminist criticism. He posits: “Scholars of women’s studies have accepted the work and lives of black women as their subject matter in a manner unprecedented in the American academy. Perhaps only the Anglo-American abolitionist movement was as cosmopolitan as the women’s movement has been in its concern for the literature of blacks” (p. 92). Gates credits writers such as Toni Morrison, Alice Walker, and Gloria Naylor for engendering this interest among feminist literary scholars, and Morrison he applauds in particular for using her position as a senior editor at Random House to encourage the proliferation and sales of books by black women, which has begun to “reverse the trends that by 1975 had jeopardized the survival of black studies” (pp. 92–93). Feminist critics have therefore played no small part in “loosening the canon.”

Both nineteenth-century women and African American writers must thus utilize irony, the mask, and indirection in order to “re-vision” themselves, and it is essential that they recapture those prevailing cultural images and reconstitute them into tropes and images essential for their survival. Thus the works of Jane Austen, for example, signify upon the stories of Ann Radcliffe, Fanny Burney, and Maria Edgeworth; Mary Shelley attempts to revise in Frankenstein the perceived misogynistic intent of Milton’s Paradise Lost, while Charlotte Brontë and George Eliot signify upon those masculine texts that limit the possibilities for both men and women. Nineteenth-century women writers and African American writers are attempting thus to write a version, their own, of their lives, to tell their own stories, or as Carolyn Heilbrun characterizes the phenomenon, “to write oneself”—and in so doing both African American and nineteenth-century women writers are able to seize the language, its powerful metaphoric intent, and write their own destinies. What is distinctive about Gates’s critical theory is that he provides the tropological framework for readers to comprehend these revisions in African Ameri-

LINCOLN, RACE, AND SLAVERY

One unique variation on Gates’s literary revisionism occurs as he addresses the iconic and complex racial legacy of Abraham Lincoln. In Lincoln on Race and Slavery (2009), Gates attempts delicately to dance through the minefields of assessing Lincoln’s attitude toward race and the complicated evolution of his intellectual growth on the topic. Gates manages to illuminate and clarify the portrait of the individual directly responsible for the Emancipation Proclamation without raising Lincoln to the level of heroic icon or sinking to the depths of the revisionist historian bent on pulling the pedestal out from under him. Instead, Gates humanizes Lincoln, revealing his flaws and his finest ideals directly through his letters and papers, achieving an assessment of the sixteenth president’s intellectual thought that is relatively free from bias. Gates notes three ribbons of thought in Lincoln’s words about slavery: (1) his early “abhorrence of slavery as a violation of natural rights, as an economic institution”; (2) his

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HENRY LOUIS GATES, JR. personal wrestling with “the deep-seated, conventional ambivalence about the status of Negroes vis-à-vis white people on the scale of civilization”; and (3) his “flirtation with the voluntary colonization of the freed slaves either in the West Indies, in Latin America, or in Africa” (p. xxi). Gates contrasts Jefferson and Lincoln in this way: “Thomas Jefferson most certainly was not thinking of black men and women when he wrote the Declaration of Independence, and no amount of romantic historical wishful thinking can alter that fact. However, Abraham Lincoln most certainly and most impressively did” (xxiii). At the same time, Lincoln’s unconventional belief did not translate, according to Gates, into advocacy of equality, and certainly Lincoln was “dubious ѧ about the prospects for a harmonious interracial, postslavery American, in the North or in the South” (p. xxxv). The impressive array of documents that Gates presents from Lincoln’s own pen reveals Lincoln’s fundamental humanity and the ethical soundness of ideas that allay the scrutiny and hindsight of history. Gates admits that Lincoln hated slavery but that his opposition was rooted in economic as well as ethical considerations: “What is clear is that Lincoln hated slavery, not only because of its brutality and inhumanity, but ѧ because it constituted the theft of another person’s labor” (p. xxx). It was the war itself, however, that brought a transformation to Lincoln’s thinking, a war that he had come to see slavery as directly responsible for. Specifically, Lincoln’s loyalty to the “colored” troops and his admiration for their service transformed his attitude toward blacks. The turning point for Lincoln came not in 1863 when he issued the Emancipation Proclamation but on March 4, 1865, a month prior to his death, when he delivered a speech that Frederick Douglass called fundamentally about blacks. From that day on, Gates asserts, “Abraham Lincoln became the president of black men and women, far more so than he had before, even through the Emancipation” (p. xlix).

ary canon is, in no very grand sense, the commonplace book of our shared culture, in which we have written down the texts and titles that we want to remember, that had some special meaning for us” (p. 21). The crucial necessity for all to see a reflection of themselves in the works that are read and taught in the academy is at the heart of “loosening” the canon. “Self-identification,” Gates writes, “proves a condition for agency, for social change. And to benefit from such collective agency, we need to construct ourselves, just as the nation was constructed, just as the class was, just as all the furniture in the social universe was” (p. 37). One of the ways that African American males, in particular, will “construct themselves,” Gates writes, is to recognize the heritage of the mother. Gates reflects on the words of the African American critic Hortense Spillers in “The Master’s Pieces”: “It is the heritage of the mother that the AfricanAmerican male must regain as an aspect of his own personhood—the power of ‘yes’ to the ‘female’ within” (p. 40). At first, Gates thinks it a “curious figure—men, black men, gaining their voices through the black mother” (p. 40), but then he recalls his own mother’s providing him literally with a voice, a story that he also recounts in Colored People. As a precocious four-year-old he was called on to “deliver my Piece” one Sunday at Easter in the local Methodist Church. He had practiced and rehearsed his lines to perfection, but when the time came to recite, he was struck silent. Finally, as the awkwardness of the moment stretched on for what seemed an eternity, he was relieved to hear his mother’s voice in the back of the church—her voice reciting his words—Pauline Gates, who had so eloquently schooled her sons to present themselves before the world with pride and dignity, who insisted they excel at school and in all else that they undertake. At that moment, Gates recalls, his mother, both literally and metaphorically, gave him his voice. Gates continues: For me, I realized as Hortense Spillers spoke, much of my scholarly and critical work has been an attempt to learn how to speak in the strong, compelling cadences of my mother’s voice. To reform core curricula, to account for the comparable eloquence of the African, the Asian, and the Middle Eastern

LOOSE CANONS AND OTHER CULTURAL CONSIDERATIONS

Gates posits in his essay “The Master’s Pieces” from Loose Canons (1992) the idea that the “liter-

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HENRY LOUIS GATES, JR. To further explain the concept of “counternarrative,” Gates refers to a study by the folklorist Patricia A. Turner, whose 1993 work I Heard It Through the Grapevine shed light on the concept of “rumor” in the African American community. Gates explains that the nature of rumor denotes “regnant anxieties, that ѧ take root under particular conditions and play particular social roles.” Gates adds that the “currency of rumor flourishes where ‘official’ news has proved untrustworthy” (p. 106). Thus in the case of Simpson, as the nation remained riveted to television for months with images of the police pursuing Simpson’s white SUV and of courtroom melodrama, a collective “counternarrative” evolved as a means by which the group might contest the “dominant reality and the fretwork of assumptions that supports it” (p. 106). Gates notes that “fealty to counternarratives is an index to alienation” (p. 107). For African Americans, the judicial baggage that preceded the Simpson case could be summed up in a pithy adage older blacks liked to repeat, “When white folks say ‘justice,’ they mean ‘just us’ ” (p. 109). Black intellectuals such as Anita Hill understood the dynamics of the revisionary aspects of African American attitudes toward the Simpson case, including, she told Gates, what she called “the manufacture of blackmale heroes as part of the syndrome.” Hill was bewildered by Simpson’s “being honored as someone who was being persecuted for his politics, when he had none” (p. 118).

traditions, is to begin to prepare our students for their roles as citizens of a world culture, educated through a truly human notion of ‘the humanities,’ rather than—as Bennett and Bloom would have it—as guardians at the last frontier outpost of white male Western culture, the Keepers of the Master’s Pieces. And for us as scholar-critics, learning to speak in the voice of the black female is perhaps the ultimate challenge of producing a discourse of the critical Other. (p. 42)

In Thirteen Ways of Looking at a Black Man (1997), a collection of essays that explores the meaning of what it is to be a black male in the twentieth century, Gates applies a variation of his literary theory of “signifyin(g)” in order to comment upon the great divide between the races— what he calls “counternarrative,” or a type of popular, collective signifyin(g) in a sociological sense. In the collection of profiles that constitute the book, Gates (referencing Wallace Stevens’ poem “Thirteen Ways of Looking at a Blackbird”) selects thirteen representative black men from a variety of areas of life in order to explore the concept of masculinity. One of his most interesting essays attempts to explain African American reaction to the O. J. Simpson trial, a reaction 180 degrees from that of white Americans and causing no small measure of perplexity and misunderstanding between the races. For black America, the Simpson verdict was viewed almost universally as a victory over the white judicial system, stacked historically against the black man. Gates interviewed a range of African Americans in his attempt to shed light on black reaction to Simpson’s acquittal. The comment of Spike Lee, who believed Simpson guilty but who understood the cheers at acquittal, best sums up the “counternarrative” that African Americans developed concerning the trial: “A lot of black folks said, ‘Man, O. J. is bad [good], you know. This is the first brother in the history of the world who got away with the murder of white folks, and a blond, blue-eyed woman at that’” (p. 113). African Americans’ distrust of white justice, along with their willingness to believe the worst about a system that historically was only too happy to hang a black man for mere suspicion of criminality, made possible an alternative reality or “counternarrative” in the case of O. J. Simpson.

Yet the creation of the “counternarrative” is perfectly understandable given the history of the judicial system regarding African Americans. Gates notes the response of the opera diva Jessye Norman, who was angry that the white media totally missed the point, intent as it was upon prejudging Simpson as guilty rather than seizing the opportunity to “educate the public as to how [African Americans] could possibly look at things ѧ differently” (p. 108). The bulk of Gates’s sociological writing attempts to achieve this kind of understanding, through explicating the events, the lives, the thoughts, and the literary works of those African Americans who have shaped this country.

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HENRY LOUIS GATES, JR. Gates has written that “the single most pervasive and consistent assumption of all black writing since the eighteenth century has been that there exists an unassailable, integral, black self, as compelling and as whole in Africa as in the New World, within slavery as without slavery. What is more, this self was knowable, retrievable, recuperable, if only enough attention to detail were displayed” (Figures in Black, p. 115). Henry Louis Gates, Jr., has spent his professional life attempting to reveal that “black self.” He has also maintained the right of all to speak with equal forcefulness about the realities they perceive. Sometimes he has been criticized for his openness and honesty regarding free speech and the right of everyone to express his cultural reality. In 1990 Gates defended the rap group 2 Live Crew when they were arrested in Florida after a performance. Gates has insisted that any regulation of speech, even hate speech, is counterproductive in America, given the unique diversity of the country. In an essay in Speaking of Race, Speaking of Sex: Hate Speech, Civil Rights, and Civil Liberties (1994), he observes that regulation of even the worst speech would likely increase its circulation. He writes: “And so the purging of racist speech from the body politic is proposed as a curative technique akin to the suction cups and leeches of eighteenth-century medicine, which were meant to strengthen the patient by draining off excessive toxins” (p. 52). However, Gates’s work has made clear the principle that “racism has traditionally been waged through language, not against it” (p. 53). The power of the word, which comes to whoever seizes and uses the language best to his advantage, will win the culture wars. Rather than laying on the leeches to withdraw the toxins, Gates recommends open and free debate—the best debate occurring within the arena of the academy. Stifling a particular and obnoxious language will render only a Pyrrhic victory. In the concluding essay to Loose Canons, Gates posits the real crux behind all his writing and literary/cultural criticism:

understanding. In short, the challenge facing America in the next century will be the shaping, at long last, of a truly common public culture, one responsive to the long-silenced cultures of color. If we relinquish the ideal of America as a plural nation, we’ve abandoned the very experiment that America represents. (p. 176)

Gates reiterates this idea in both Colored People and The Future of the Race: “My grandfather was colored, my father was Negro, and I am black” (pp. 201, 18). His own personal journey from being a “colored” child growing up in Piedmont, West Virginia, to becoming the premier African American scholar in the United States has been winding and far-ranging. He has walked the hallowed halls of Yale and Cambridge, trekked across the continent of Africa, sat among the sage in political circles and in the Ivy League bastions of learning in this country and abroad. He has hobnobbed with the great and the grand, the common and the lowly, yet he has never forgotten his roots, his fundamental self, or, to use Matthew Arnold’s term, his “buried self.” This ability to “move up from” without actually leaving home completely behind has been key to Henry Louis Gates’s success as a literary and social critic and as the articulator of a theory of reading that has revolutionized the way we process black texts. Gates early on understood that language and literary traditions were key to autonomy and self-actualization, as important as economic and political equality. He not only proves that one can go home, but that it is immensely important to do so ѧ again and again.

Selected Bibliography WORKS OF HENRY LOUIS GATES, JR. AS AUTHOR Figures in Black: Words, Signs, and the “Racial” Self. New York: Oxford University Press, 1987. The Signifying Monkey: A Theory of Afro-American Literary Criticism. New York: Oxford University Press, 1988. Loose Canons: Notes on the Culture Wars. New York: Oxford University Press, 1992.

The society we have made simply won’t survive without the values of tolerance. And cultural tolerance comes to nothing without cultural

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HENRY LOUIS GATES, JR. INTERVIEWS

Speaking of Race, Speaking of Sex: Hate Speech, Civil Rights, and Civil Liberties. With Anthony P. Griffin, Donald E. Lively, and Nadine Strossen. New York: New York University Press, 1994. Colored People, a Memoir. New York: Knopf, 1994; Vintage Books, 1995.

Cole, Bruce. “2002 Jefferson Lecturer in the Humanities Interview.” Available online (http://www.neh.gov/ whoweare/gates/index.html). Lamb, Brian. “Colored People, by Henry Louis Gates, Jr.” Booknotes, October 9, 1994. Available online (http:// www.booknotes.org/Transcript/?ProgramID=1220).

The Future of the Race. With Cornel West. New York: Knopf, 1996; Vintage Books, 1997. Thirteen Ways of Looking at a Black Man. New York: Random House, 1997; Vintage Books, 1998. The African-American Century: How Black Americans Have Shaped Our Country. With Cornel West. New York: Simon & Schuster, 2000. The Trials of Phillis Wheatley. New York: Perseus Books, 2003.

CRITICAL AND BIOGRAPHICAL STUDIES Appiah, Kwame Anthony. “The Conservation of ‘Race.’” Black American Literary Forum 23: 37–60 (1989). Begley, Adam. “Black Studies’ New Star: Henry Louis Gates, Jr.” New York Times (April 1, 1990). “Henry Louis Gates, Jr.” Contemporary Black Biography. Gale 67 (2008). Jeyifo, Biodun. “Greatness and Cruelty: ”Wonders of the African World“ and the Reconfiguration of Senghorian Negritude.” The Black Scholar 39 (spring 2000. 30). Johnson, Thomas C. “Interview with Henry Louis Gates, Jr.” Worcester Review 19:61–67 (1998). Kilson, Martin. “Black Intellectual as Establishmentarian: Henry Louis Gates’ Odyssey.” The Black Scholar 31:14 (spring 2001). Mazrui, Ali A. “Black Orientalism? Further Reflections on Wonders of the African World.” The Black Scholar 30:15 (spring 2000). Osinubi, Victor. “African American Authors and the Use of Dialect in Literature: The Foregrounding of Ethnicity.” Journal of Commonwealth and Postcolonial Studies 4: 65–77 (fall 1996). Phillips, Jerry. “The Slave Narratives (review).” The Hudson Review 54: 335 (summer 2001). Rowell, Charles H. “An Interview with Henry Louis Gates, Jr.” Callaloo: A Journal of African American and African Arts and Letters 14: 444–63 (spring 1991). Slaughter, Jane. “Henry Louis Gates, Jr. (Interview).” The Progressive 62:30 (January 1998). Smith, J.C. “Henry Louis Gates, Jr.” Notable Black American Men. Detroit: Gale, 1999. 448–50. Ward, Jerry W., Jr. “An Interview with Henry Louis Gates, Jr.” New Literary History: A Journal of Theory and Interpretation 22:927–35 (autumn 1991).

America Behind the Color Line: Dialogues with African Americans. New York: Warner Books, 2004. In Search of Our Roots: How 19 Extraordinary African Americans Reclaimed Their Past. New York: Crown, 2009.

AS EDITOR Our Nig; or, Sketches from the Life of a Free Black. By Harriet E. Wilson. New York: Vintage Books, 1983. Schomburg Library of Nineteenth Century Black Women Writers. 30 vols. New York: Oxford University Press, 1988. The Norton Anthology of African American Literature. With Nellie Y. McKay. New York: Norton, 1996. Africana: The Encyclopedia of the African and African American Experience. With Kwame Anthony Appiah. New York: Basic Civitas Books, 1999. The Bondwoman’s Narrative by Hannah Crafts. Ann Arbor, Mich.: XanEdu, 2002. African American Lives. With Evelyn Brooks Higginbotham. New York: Oxford University Press, 2004. The African American National Biography. With Evelyn Brooks Higginbotham. 8 vols. New York: Oxford University Press, 2008. Lincoln on Race and Slavery. With Donald Yacovone. Princeton, N.J.: Princeton University Press, 2009.

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KAHLIL GIBRAN (1883—1931)

Christopher Buck THE ARAB-AMERICAN author and artist Kahlil Gibran was a best-selling writer whose work has yet to receive critical acclaim equal to his popular appeal. There is no question that Gibran’s work in Arabic was central to the development of twentieth-century Arabic literature—in that Arab Romanticism begins with Gibran, the pivotal figure in the Mahjar movement of émigré Arab writers centered in New York. There is also no question that Kahlil Gibran’s masterpiece, The Prophet (1923)—a small volume of aphorisms (wise sayings) offering pithy wisdom of an almost prophetic quality—belongs to world literature, for it is known and loved the world over. As an American man of letters, however, Gibran has received scant attention from American literary critics. Since The Prophet has yet to be widely recognized as an American classic, and the author yet to be fully accepted as an American writer, Gibran’s inclusion in the American Writers series requires some justification.

States. Apart from a two-year study in Paris and two brief return visits to Lebanon, Gibran spent his entire adult life—the last two-thirds of his life, in fact—entirely on American soil, dying in New York at the age of forty-eight. In The Prophet, the city of Orphalese is often said to represent America (or New York). Shahid underscores the fact The Prophet was America’s best-selling book of the twentieth century, not counting the Bible, and that Gibran outsold all other American poets, from Walt Whitman to Robert Frost. According to Gibran’s New York publisher, Alfred A. Knopf, The Prophet has sold more than ten million copies. The book’s success was due entirely to its own appeal, as Knopf never promoted it. Strangely, Gibran is arguably America’s best-loved prosepoet, whose market appeal continues despite critical indifference. It’s true that Gibran had what might be called a double psyche, and inhabited two thought-worlds at once. As an Arab American, Gibran wrote in two languages: English and Arabic. Arabic was his mother tongue, and English his second language. As an accomplished man of letters of considerable influence in the Middle East, Gibran inspired a literary renaissance in the Arab world, such that all modern Arabic poetry bears the marks of Gibran’s. Yet Gibran’s work has had little influence in American letters, despite its enormous popular appeal. Notwithstanding, Shahid thinks that Gibran has not been fairly treated as an American writer. The problem is exacerbated by the fact that, categorically, The Prophet exists in splendid isolation, severed from its Arabic cultural roots. And so The Prophet will have to be evaluated, or reevaluated, on its own literary merits and for its singular contribution to the American literary heritage.

Eminent scholars including Irfan Shahid (professor emeritus at Georgetown University in Washington, D.C.) and Suheil Bushrui (professor emeritus and current director of the Kahlil Gibran Chair for Values and Peace at the University of Maryland at College Park) have made the case for Gibran’s recognition as an American writer worthy of note. According to Bushrui, America is entitled to claim Gibran as one of its sons (even if not a native son) as fully and as authentically as his native Lebanon can lay such claim: “In his work, he became not only Gibran of Lebanon, but Gibran of America, indeed Gibran the voice of global consciousness” (1996, p. 10). After all, the young Gibran spent only the first twelve years of his life in Bsharri (a village near the famous “Cedars of God”), where he was born in 1883, before emigrating with his family to the United

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KAHLIL GIBRAN charges. At the time, Lebanon was a Turkish province, part of Greater Syria (Syria, Lebanon, and Palestine) and subjugated to the Ottoman Empire, until its fall in 1918. In June 1895, while the elder Gibran languished in his Bsharri jail cell, his wife, Kamila Rahme, left her native Lebanon and immigrated with her children to America, where her brother lived. They arrived in New York on June 25, 1895. On December 3, 1895, the family moved into Boston’s impoverished immigrant South End, in Chinatown, where their cousins were living. To support her four children—Gibran, his younger sisters Marianna and Sultana, and her son by a previous marriage, Peter (Butrus)—Kamila sold cloth and lace in Boston’s then-wealthy Back Bay. She opened a dry goods store on Beach Street with Kahlil and his half brother, Peter. On September 30, 1895, Gibran entered Quincy School, where he was placed in a class for immigrant children who needed to learn English. Gibran’s name was shortened, with two letters inverted (from Khalil to Kahlil), whether through a clerical error, or because a teacher wanted the boy’s first name to suit American pronunciation. In any event, Gibran kept his shortened name, Kahlil Gibran, as his English pen name.

BIOGRAPHY

A biography of Kahlil Gibran’s life is complicated by the fact that Gibran himself spun some fanciful tales about it. He embroidered, embellished, lionized, and mythologized himself. He claimed, for instance, that his father was a wealthy Arab aristocrat and that his grandfather owned a grand mansion guarded by lions, and he did not resist speculation that he was the reincarnation of the English mystic William Blake. But the real facts betray Gibran’s humble origins, and it is necessary to demystify Gibran. Kahlil Gibran was born on January 6, 1883, in Bsharri, a picturesque but impoverished Maronite Christian village, perched on a fertile ridge between Qadisha Gorge and the spectacular grove of Lebanon cedars now known as the Cedars of God in northern Lebanon. His original, full name was Gibran Khalil Gibran—the first name his own; the second, his father’s; and the last, his grandfather’s. Raised in the Maronite tradition, Gibran was a sensitive boy. His father, a bully and a gambler, owned a walnut grove thirty-five miles from Bsharri. His father’s lordly pretensions (marked by his trademark amber cigarette holder), extravagant habits, aversion to peasanttype labor, mercurial temper, and addiction to the gambling game of domma prompted young Gibran to retreat to the surrounding countryside, which was dominated by the Cedars of God. Contemplative, inventive, and creative, Gibran had no formal schooling in Bsharri, but he received private instruction from Selim Dahir, who taught the boy the rudiments of Arabic, history, and art. The young Gibran was also mystically inclined. Early in life, Gibran interpreted personal experiences as profoundly spiritual in nature and attached religious significance to them. His father, Khalil, clerked in his uncle’s apothecary shop until he became so indebted from gambling that he stooped to working as a tax collector and enforcer (a job that was considered below repute) for Raji Bey, the village headman and local administrator appointed by the Ottomans. To put it bluntly, his father was a thug for the village strongman. In 1891, after Raji Bey was dismissed following numerous complaints, Gibran’s father was jailed on graft

Meanwhile, Gibran’s talent for drawing attracted the attention of a growing number of admirers, several of whom became his patrons. Among them was Jessie Fremont Beale, a social worker who, in 1896, when apprised of Kahlil’s talent for drawing by a settlement house art teacher, Florence Pierce, wrote to her friend, Fred Holland Day, asking if he would assist the boy. Day, a wealthy Bostonian aesthete and avantgarde patron of the arts, was also a photographer, and he began to use Gibran, his younger sisters, his half brother, and his mother as models for his own symbolist and semierotic “fine art” photographs. Day viewed the young Gibran’s artistic and literary gifts as evidence of natural genius, and he became the boy’s close mentor and patron. In 1897, Gibran returned to Lebanon to study at the Madrasat al-Hikmat (“School of Wisdom”), founded by the Maronite bishop Joseph Debs in Beirut. In 1899, Gibran had an ill-fated affair

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KAHLIL GIBRAN (1918), then The Forerunner (1920), and finally, The Prophet (1923). In 1905, Gibran’s brief piece, al-Músíqá (Music) was published by the Arabic immigrant press in New York City, marking the author’s debut into the world of letters. In 1906, Gibran, who opposed Ottoman Turkish rule and the Maronite Church’s strict social control, published his next Arabic work in 1906, ‘Ará’is al-Murúj (English trans., Nymphs in the Valley, 1948; the work has also been translated as Spirit Brides), an anticlerical collection of three short stories serving as a caustic critique of establishmentarian church and state. The Arabic poem al-Arwáhខ alMutamarrida (English trans., Spirits Rebellious, 1948), also incorporating a social critique, followed in 1908. During this same period, Gibran was working on a book about the philosophy of religion and religiosity (also in Arabic); but that book was never published. In 1908, Mary Haskell sponsored Gibran’s undertaking of a three-year study at the Académie Julian in Paris, a private art school where he produced the series of paintings titled “The Ages of Women” (1909–1910) and a portrait of Auguste Rodin (1910). There he was exposed to the work of the English mystic poet William Blake (1757–1857), whose thought and art had a profound influence on Gibran. In 1910, Gibran, Ameen Rihani, and Yusuf Huwayyik met in Paris, where they envisioned and drew up plans for the cultural renaissance of the Arab world. On his return to Boston in October 1910, Gibran earned his living through portrait painting. In 1911, he began work on his first Englishlanguage manuscript, eventually published as The Madman: His Parables and Poems (1918). He was frustrated with the shortcomings of the cultural scene in Boston, however, and, in 1912 he made New York City his professional home. Gibran produced his finest work in his studio at 51 West Tenth Street (which he nicknamed “The Hermitage”). In total, Gibran published seven spiritual works in English: The Madman: His Parables and Poems (1918), The Forerunner: His Parables and Poems (1920), The Prophet (1923), Sand and Foam: A Book of Aphorisms (1926), Jesus,

with a twenty-two-year-old Lebanese widow, Sultana Tabit (against social taboos), memorialized in his Arabic work al-Ajnihខ ah alMutakassira, published in 1912 (translated into English as The Broken Wings in 1957). In autumn 1899, Gibran came back to Boston, but he returned again to Lebanon in 1902, as a guide and interpreter to an American family. But when his mother became ill, Gibran returned to the United States once more. (She died of tuberculosis on June 28, 1903.) Day’s mentorship continued to be crucial in Gibran’s life; he introduced the young artist to the writings of the Belgian symbolist Maurice Maeterlinck, to the work of nineteenth-century poets such as Ralph Waldo Emerson, Walt Whitman, John Keats, and Percy Bysshe Shelley and also to the writing of various other British, American, and Continental poets from the turn of the century. Day’s patronage made possible Gibran’s emergence as a new talent, both as artist and poet, as Gibran entered the prestigious circles of Boston’s artistic and intellectual elite. In 1903, Day’s friend the poet Josephine Preston Peabody arranged for an exhibition of Gibran’s drawings at Wellesley College. In January 1904, Day held, in his own studio, an exhibition of Gibran’s art. Another exhibition was held in February 1904 at the Cambridge School, where the headmistress was a progressive schoolteacher named Mary Haskell; Haskell was ten years his senior, but she and Gibran developed a close friendship that endured throughout his lifetime. (She declined his offer of marriage in 1910, and Gibran remained a bachelor for the rest of his life, despite the considerable number of women who were drawn to the handsome and gifted artist and poet.) After the exhibitions in early 1904, Day’s Harcourt Buildings studio burned, destroying Gibran’s entire portfolio. Not only did Mary Haskell remain Gibran’s good friend and benefactress, she served as his editor as well. He continued to rely on her to correct his punctuation and grammar, and occasionally suggest an alternative word for greater euphonic effect. From June 1914 to September 1923, he sought her advice on The Madman

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KAHLIL GIBRAN the Son of Man (1928), The Earth Gods (1931), and The Wanderer: His Parables and Sayings (1932). The publication in 1918 of The Madman established Gibran as a writer worthy of note in America, inaugurating a new literary career in English. Among his other Arabic works, Gibran published Dam’a wa Ibtisáma (1914; English trans., A Tear and a Smile), al-Mawákib (1919; English trans., The Procession), al-’Awásខ if (1920; English trans., The Storm; a collection of previously published work), Iram, Dhát al-’Imád (1921, one-act play set in a lost Arabian city mentioned in Qur’an 89:7; English trans., Iram, City of Lofty Pillars, published in Secrets of the Heart), and al-Badá’i’ wa’l-Tará’if (1923, English trans., Marvels and Masterpieces).

his last work to appear during his lifetime. His remains were taken back to Lebanon for burial in his home village, arriving in the port of Beirut on August 21, and his body was eventually interred in the old chapel at the monastery of Mar Sarkis in his native Bsharri, near which the Gibran Museum was soon established to commemorate his literary and artistic legacy. On October 19, 1984, the U.S. Congress passed legislation authorizing the building of a memorial to Kahlil Gibran on federal land with private funds. The result was the Khalil Gibran Memorial Garden, on Massachusetts Avenue directly opposite the British Embassy in Washington, D.C., which President George H. W. Bush dedicated on May 24, 1991, calling the memorial a tribute to Gibran’s “belief in brotherhood, his call for compassion, and perhaps above all, his passion for peace.”

Fulfilling the promise he had demonstrated as a youth, Gibran became an accomplished visual artist as well. (Along with drawing and painting, he also executed small wood carvings.) In December 1914, Gibran had an exhibition of his drawings and paintings at the Montross Gallery, New York. In 1917, Gibran had exhibits at the Knoedler and Company Gallery, New York, and the Doll and Richards Gallery, Boston. A collection, Twenty Drawings, was published by Alfred A. Knopf in 1919. In January 1922, Gibran’s work was showcased at the Women’s City Club, Boston.

INFLUENCES

Gibran’s work resonates with that of Blake, Keats, and William Wordsworth and of American transcendentalists such as Emerson, Whitman, and Henry Thoreau, and it arguably shows clear marks of their influence. For instance, in Gibran’s 1919 Arabic work, translated as The Procession— Gibran’s most respected Arabic poem in verse— the critic Ahmad Majdoubeh has found lexical and philosophical echoes of Emerson and Thoreau, revealing the direct influence of these exponents of New England transcendentalism. A personal letter dated November 10, 1925, from Gibran to the archbishop and metropolitan Antonious Bashir (who translated The Prophet into Arabic) offers insights into possible further influences on Gibran’s work. In this letter (translated from the Arabic by George N. El-Hage in 2005), Gibran tellingly commends to the archbishop, for translation to Arabic, “four valuable books which I believe are among the best that Westerners have written during our present time” (p. 12): The Treasure of the Humble (1896) by the Belgian symbolist Maurice Maeterlinck (rendered from the French original); Tertium Organum (1912) by the Russian philosopher P. D. Ouspensky; FolkLore in the Old Testament (1918) by the Scottish

In April 1920, Gibran and some fellow writers from the Arabic diaspora founded a group they named al-Rábita al-Qalamíya (The Pen League), or “Arrabitah,” as they referred to it in English. Gibran was elected president and the Lebanese author, Mikhail Naimy, secretary. This was the first Romantic school in the Arab world. Ardent nationalists, Gibran and other members of the Arrabitah sought reform and Arab liberation from colonialism through the power of the pen. The society published a literary and political journal, al-Sá’ihខ (The Traveler), edited by ‘Abd al-Masíh Haddád, which was widely read across the Arab world. They met regularly until Gibran’s death eleven years later. On April 10, 1931, Gibran died of cirrhosis of the liver with incipient tuberculosis at St. Vincent’s Hospital in New York. Two weeks before his death, he published The Earth Gods,

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KAHLIL GIBRAN anthropologist James George Frazer; and The Dance of Life (1923) by the British sexologist Havelock Ellis.

that same day, in a letter to Mary Haskell, Gibran wrote that he had, in the presence of ‘Abdu’lBahá, “seen the Unseen, and been filled” (Bushrui and Jenkins, p. 126). Juliet Thompson later recalled Gibran telling her that his audiences with ‘Abdu’l-Bahá had profoundly influenced his writing of Jesus, the Son of Man, which appeared in 1928. Ultimately, however, Gibran, while shaped by his influences, crafted his own art and writing in his own way. The sum total of these “influences” are perhaps best characterized as “confluences”—that is, the convergence of orientations and ideas that were spun into prosaic gold by Gibran’s synthetic power and gilded by his own sapiential genius. From the sophomoric to the sublime, Gibran’s prose-poems may be characterized as a form of secular wisdom literature, reaching audiences with a spiritual—but not necessarily religious— interest. That having been said, Gibran’s sage advice, through the mouthpieces of his various literary personae, is more inspirational than prescriptive in nature, and it rarely ventures into the realm of social teachings that might guide a society as a whole. Ideologically, Gibran urged escape from the trappings of materialism (although sales of The Prophet endowed him with a respectable income). He encouraged transcending sectarian religious conflict, he promoted reform in the Arab world, and he championed ideal East-West relations, in which he believed he might play the role of cultural intermediary. While he promoted spirituality and virtue, he was not a paragon of it. Although mystically inclined, Gibran was not a mystic. But his art endowed life and nature with the mystique of divine mystery. Except for mentioning their publication in the course of his career, Gibran’s Arabic works, a number of which have been translated into English, will not be treated in the following discussion, as Gibran’s works in English are what distinguish him as an American writer of note. That having been said, Gibran’s Arabic works (in translation), will be consulted as an aid by which to interpret some of Gibran’s salient themes in his English work.

Other scholars theorize about the way in which Gibran re-visions Christianity in the light of Sufi (Islamic) mysticism. In the Madrasat alHikmat, beyond his required course of studies, Gibran immersed himself in classical and contemporary Arabic literature, including Paris alShidyak, Francis al-Marrásh, Adib Isháq, and the great Sufi masters Rumi, ‘Umar ibn al-Faríd, alGhazálí, Ibn Rushd (Averroes), and Ibn Síná (Avicenna). This immersion was to have a lasting influence on Gibran: the American architect Claude Bragdon recalls how, at the end of his life, Gibran would freely translate Sufi poets to a circle of admirers and would recount folktales of his native Lebanon. Thus Gibran’s early works effectively re-forge Sufi thought, in which, as expressed by Suheil Bushrui and Joe Jenkins in their biography of Kahlil Gibran, Gibran’s “aphorisms, parables, and allegories closely resemble Sufi wisdom—the themes of paradox and illusion turning on the unripeness of a sleeping humanity attached to the ephemeral” (p. 15). Thus in Gibran’s work (although he is by no means a “Sufi poet”), man is portrayed as on the arc of ascent, traversing spiritual degrees in drawing closer to God, in which one becomes increasingly godlike in the process. Friedrich Nietzsche, Carl Jung, and Rabindranath Tagore (whom Gibran met in December 1916) are cited as other influences, although Bushrui and Jenkins emphasize that Gibran was drawn to Nietzsche’s form rather than his formulations and identified with his passion more than his philosophy. There is evidence of Bahá’í influence as well: the New York artist Juliet Thompson, one of Gibran’s artistic circle of close friends and an adherent of the Bahá’í Faith, had lent him several works of its founder, Bahá’u’lláh, in the original Arabic. These writings impressed Gibran deeply, for he later declared that Bahá’u’lláh’s Arabic works were the most “stupendous literature that ever was written” (Bushrui and Jenkins, p. 125). On Friday, April 19, 1912, Gibran drew, in his studio, a portrait of ‘Abdu’l-Bahá (1844– 1921), the son and successor to Bahá’u’lláh. On

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KAHLIL GIBRAN nor serial selves. They are simply selves in different stages of spiritual development. In The Madman, Gibran’s contrast of the soporific self and the sapiential self is inchoate and undeveloped. Previously, in his Arabic work, A Tear and a Smile (1914), Gibran had spoken of the “inner self” as a “spirit growing” within the thew and sinew of the “flesh” or the “covering of matter” (p. 789)—yet the doctrine of the greater self is scarcely developed beyond the spirit/matter dichotomy. Yet the theme of the benighted self and the awakened self may be traced throughout Gibran’s mature works, where the doctrine matures as well.

THE MADMAN

Out of the thirty-four parables that comprise of The Madman: His Parables and Poems (1918), eleven original manuscripts are preserved in Princeton Library’s Department of Rare Books and Special Collections as part of the William H. Shehadi Collection of Kahlil Gibran. The order in which the parables appear in the manuscripts differs somewhat from their published sequence. Annotations in Arabic can be found throughout. The Madman is said to have been based on Lebanese folklore. The book’s eponymous persona, the “madman,” has had seven prior lives, and he begins to recount experiences and expound parables. In the latter part of the book, Gibran experiments with personification of a blade of grass, a leaf, the eye, sorrow and joy, and so forth. The Madman’s desultory nature and lack of coherence is evidence of Gibran’s developing yet unripened talent insofar as his English work was concerned. While The Madman has been described as a thought-provoking collection of life-affirming parables and poems, the book can scarcely be described as prescriptive in nature. It inspires self-reflection, but not a clear sense of self-direction—except insofar as Gibran’s most basic message is concerned, as exemplified by the last sentence of the chapter “The Greater Sea”: “Then we left that sea to seek the Greater Sea” (Collected Works, p. 38; all citations are from this 2007 volume). If The Madman has a message, that message is that of discovering the true self—the greater sea is the greater self.

THE FORERUNNER

Most of Gibran’s work The Forerunner: His Parables and Poems (1920) is composed of tales, interspersed with a few poems. The tales are very much like Sufi tales. Seven of the twenty-four morality tales The Forerunner are archived in the William H. Shehadi Collection at Princeton. The tale “God’s Fool” is set in the city of Sharia, which is an obvious reference to the Islamic code of law (although the reference would not have been obvious to Gibran’s readers). The tale “Dynasties” takes place in the city of Ishana, which betrays possible Hindu influence, as Ishana is one of the five faces of the god Shiva. To what extent Gibran’s place-names are symbolic is hard to say. The underlying theme of The Forerunner is the need to spiritually awaken. Here, in contrast to The Madman, Gibran’s doctrine of the awakened self is further developed. It commands the attention of the reader in the opening line: “You are your own forerunner, and the towers you have builded are but the foundation of your giant-self” (p. 53). Thus the prologue opens by saying that each person is his or her own forerunner, and that each person has a “giant-self” within, which is the “greater self” (one of the tales is “The Greater Self”) and “freer self” as well. The greater self may be thought of as a “deeper heart.” In “Out of My Deeper Heart,” Gibran speaks of “man’s larger self” (p. 73). The Mad-

In “The Sleep-Walkers,” the “freer self” is mentioned. This implies another self, presumably captive of passions and other limitations. In “The Seven Selves,” the madman teaches that there is a rebellious self, a joyous self, the love-ridden self, the tempest-like self, the thinking self, the working self, and the do-nothing self. The seven stages of the soul are a well-known Sufi paradigm, although Gibran has taken liberties with it here. In “Night and the Madman,” the Night tells the Madman of his “little-self,” of his “monsterself,” and that his soul is wrapped in the veil of seven folds (p. 33). These are neither separate

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KAHLIL GIBRAN man, in his parable titled “Crucified,” had exclaimed: “For we must be crucified by larger and yet larger men, between greater earths and greater heavens” (p. 39). That which is crucified will resurrect with greater power, and so the lesser self, when crucified, will rise as a larger self in a progressing expanding consciousness. The spiritual self is opposed by the materially attached self—the self that must be crucified—which is described in various ways. In the poem “Love,” Gibran speaks of the “weaker self” (p. 57), but later in “Beyond My Solitude,” the two selves are mentioned together: “Beyond this burdened self lives my freer self” (p. 86). The Forerunner’s final piece, “The Last Watch,” is a sermon by the Forerunner himself, who speaks to slumberers in their sleep, right before dawn. He speaks like the prophets of old. He has loved one and all, “overmuch,” including “the giant and the pigmy” (p. 87; symbols for the spiritually awakened and spiritually undeveloped selves). The message is that spiritual awakening is needed. If each one is a Forerunner, as the opening line explicitly says, then that Forerunner “sees with the light of God,” as is said in “The Last Watch,” which continues, “He speaks like the prophets of old. He unveils our souls and unlocks our hearts” (p. 90). The Forerunner within each person is prophetic. Ultimately, the Forerunner becomes a Prophet, whose mission is to awaken and illumine the soul within.

to death in the marketplace after being freed. Gibran had partly written the second work, which was completed by Barbara Young (the pseudonym of Henrietta Breckenridge Boughton, who claimed she was Gibran’s secretary and companion for the last seven years of his life) and published posthumously as The Garden of the Prophet in 1933. (To what extent that book actually is Gibran’s authentic work is controversial.) Nineteen of the twenty-six discourses, or poetic essays, as well as the prologue and epilogue (or farewell) of The Prophet are archived in Princeton Library’s Shehadi Collection. The plot of The Prophet is skeletal. The Prophet’s name is Almustafa—that is, “alMustafa” (Arabic for “the Chosen” and one of the names of Muhammad)—in its more familiar transliteration. Almustafa was a stranger who tarried twelve, lonely years the city of Orphalese, waiting to return to the island where he was born. From a mountaintop, he saw a ship with purple sails slip through the mist, and he hastened to the city to meet it. There he was met by a throng of people in a great square before the temple. They came to bid him farewell. A seeress named Almitra entreats the Prophet to impart to them his wisdom before he embarks on his way back home. Speak, Almitra beseeches Almustafa, of love. Speak, asks another witness, of marriage. And so the Prophet speaks on topics that matter most in human life: “On Love,” “On Marriage,” “On Children,” “On Giving,” “On Eating and Drinking,” “On Work,” “On Joy and Sorrow,” “On Houses,” “On Clothes,” “On Buying and Selling,” “On Crime and Punishment,” “On Laws,” “On Freedom,” “On Reason and Passion,” “On Pain,” “On Self-Knowledge,” “On Teaching,” “On Friendship,” “On Talking,” “On Time,” “On Good and Evil,” “On Prayer,” “On Pleasure,” “On Beauty,” “On Religion,” and “On Death.” Of these discourses, the most popular in American popular culture may well be “On Marriage,” which is used in a great many American wedding ceremonies.

THE PROPHET

The Forerunner, according to Gibran’s contemporary Mikhail Naimy, was a title chosen deliberately by Gibran as a precursor of The Prophet. Gibran conceived The Prophet, published in 1923, as the first of a trilogy, to be followed by “The Garden of the Prophet” (on humanity’s relationship to Nature) and “The Death of the Prophet” (on humanity’s relationship to God). The first book is set on the eve of the Prophet’s departure from Orphalese to his native island; the second is set on the island itself, in the garden of the Prophet’s mother; and the planned third volume would have the Prophet return to Orphalese, only to be imprisoned and then stoned

These topics reflect universal human concerns. Almustafa’s discourses may best be characterized as spiritual meditations, yet they do not rise, much less aspire, to the threshold of

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KAHLIL GIBRAN prophetic or revelatory utterances. They are words of wisdom; they are sublime, but not divine. The Prophet, moreover, has been described as neither a purely philosophical work nor a purely literary work, and therefore it occupies an ambiguous position in American literature. Although English in form, it is Arabic in thought-form.

Haskell; Almustafa’s native island as Lebanon; and the twelve years in Orphalese as the twelve years Gibran spent in New York prior to the publication of The Prophet. Unenchanted critics have criticized The Prophet as platitudinous and petty. Others find Gibran’s masterpiece profound and ennobling. Writing in the London Review of Books, Robert Irwin caricatured Gibran’s poetic craft by declaring that “as latter-day Prophet, Gibran favoured a mock-Biblical delivery, larded with archaisms, and inversions of word-order for rhetorical effect.” Bushrui and Jenkins, by contrast, privilege The Prophet as “the most highly regarded poem of the twentieth century” and as “the most widely read book of the century” (p. 2). The broad and long-lasting appeal of The Prophet in American popular culture has never been satisfactorily explained, but presumably it has something to do with the human hunger for deeper meaning in life, which established religions have traditionally provided. Given the widespread decline in church attendance and the waning influence of religion generally, does the appeal of The Prophet render it a surrogate gospel?

Published in September 1923 by the prestigious New York publishing firm of Alfred A. Knopf, The Prophet is Gibran’s masterpiece. Composed, for the most part, in April and May of 1918, its original title, as a manuscript, was “The Counsels.” Of its initial print run of 2,000, The Prophet sold only 1,159 copies (although other sources claim that the print run was 1,300 and that these sold out within a month or two). To Knopf’s surprise, demand for The Prophet doubled the following year and again the year after. The book sold 12,000 copies in 1935, and late in World War II an edition for distribution to soldiers was published by the nonprofit Council on Books in Wartime. Sales numbered 111,000 in 1961, and 240,000 in 1964, according to a 1965 article in Time magazine tracing the cultlike phenomenon that The Prophet had become. It went on to become the best-selling book of the twentieth century, apart from the Bible, and has been translated into over forty languages.

“Gospel” is, in fact, too narrow a word, in that The Prophet is not an exclusively Christian text; rather it is a fusion of Christian and Islamic (Sufi) mysticism. In religious terms, The Prophet could be considered not a social gospel but, rather, a personal gospel—a gospel with a message of salvation from the ignorance of one’s own true self, not of salvation from sin in the traditional Christian sense. Gibran himself epitomized the message of The Prophet: “The whole Prophet is saying one thing: ‘You are far far greater than you know—and All is well’” (Bushrui and Jenkins, p. 238). In the chapter “Crime and Punishment,” Almustafa speaks of the “god-self” (that is, the higher nature) and what he calls the “pigmy-self” (that is, the lower nature): “Like the ocean is your god-self. ѧ Even like the sun is your god-self; ѧ But your god-self dwells not alone in your being. ѧ But a shapeless pigmy that walks asleep in the mist searching for its own awakening” (p. 122) The human person is both benighted and enlightened, in that each individual is “but one man standing in twilight

Of the experience of writing this book— which is of modest length (less than twenty thousand words) yet of immodest ethos—Gibran wrote to Archbishop Antonious Bashir: “You know that this small book is a part and parcel of my being, and I hardly wrote a chapter of it without experiencing a transformation in the depth of my soul” (El-Hage, trans., p. 172). Admirers of the The Prophet respond to its luminous wisdom and its approach to the numinous. Yet there is a hidden dimension to The Prophet as well. Mikhail Naimy, Gibran’s friend and, later, his critical biographer, saw The Prophet as an intensely personal production. One is struck, certainly, by the visual resemblance between the portrait of Almustafa and that of Gibran himself. One can see Almustafa as Gibran; Orphalese as New York; Almitra as Mary

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KAHLIL GIBRAN between the night of his pigmy-self and the day of his god-self” (p. 124). This is Gibran at his most pellucid moment: The giant within is the god-self, while the dwarf within is the pygmy self, which stand in polar relation to each other as day and night. The relation of the pygmy self to the giant self is developmental, progressive, evolving, like that of the acorn to the oak. But is the god-self the spiritually awakened lesser self grown to its full potential, or is the greater self a cosmic principle, a world supersoul? There is no consensus among scholars on this issue, but the latter interpretation seems persuasive, because it carries the inherent pantheism of The Prophet to the extreme.

While a reader may understand that passion is emotion and emotion has motive power, and that reason is pensive and therefore still, whether reason is best described as “rest” is controversial. Yet ultimately such definitions are not the point. The Prophet is exquisitely inspirational—it is not intended to be ethically explicit or morally prescriptive, nor is it a social panacea.

SAND AND FOAM

Gibran is the consummate aphorist, and his 1926 volume Sand and Foam is primarily a collection of aphorisms, pithy bits of wisdom, strung like pearls across the skin of the slender volume’s pages. Some of the aphorisms in this work were first composed by other writers in Arabic, then translated by Gibran into English. For instance, Gibran writes, “Love is the veil between lover and lover” (p. 185). This alludes to a couplet composed by the Bahá’í founder and prophet, Bahá’u’lláh’s. As it is written in an English translation of his mystical work The Seven Valleys and the Four Valleys: “Love is a veil betwixt the lover and the loved one; More than this I am not permitted to tell” (Marzieh Gail, 1991). Despite its negative reception by critics, Sand and Foam won popular acclaim.

In the volume’s concluding discourse, “The Farewell,” Almustafa says: “It is in the vast man that you are vast, And in beholding him that I beheld you and loved you” (p. 154). The concept of the “vast man” is the key to unlocking the message of The Prophet. By “man” is meant consciousness. The greater the spiritual awareness, the vaster the man. Man is asleep, benighted in oblivion to a higher reality (including his own higher being), until awakened by the dawn of spiritual awareness. The seed of that awareness is the realization that a person is far more than the body, as the physical frame cannot contain the boundless spirit. Almustafa explains, “You are not enclosed within your bodies, nor confined to houses or fields. That which is you dwells above the mountain and roves with the wind” (p. 159). Elsewhere in The Prophet, the message seems to be that love is the power of spiritual growth. It manifests most intensively in the passionate love between man and woman, yet that is merely a beginning for the wider embrace of love. Love results in unity, and that sharing or merging of consciousness is expansive and redemptive.

Gibran sustains his anthropology of the lower and higher selves in this book, with phrasing such as “You are but a fragment of your giant self” (p. 225) and “rising toward your greater self” (p. 173). Rising toward the greater self is a process of expanding one’s awareness and seeing the greater picture in a vaster panorama unbounded by limitations of narrow identities: “If you would rise but a cubit above race and country and self you would indeed become godlike” (p. 225). Elsewhere in Sand and Foam, the writer speaks of the “other self” as the greater self: “Your other self is always sorry for you. But your other self grows on sorrow; so all is well” (p. 184). (This evokes Gibran’s précis of the message of The Prophet discussed above—“You are far far greater than you know—and All is well”— and the idea as before, that God is latent within each person as the greater self.)

In “The Farewell,” the Prophet admits that his teachings may be “vague”: “If these be vague words, then seek not to clear them” (p. 159). This vagueness has not escaped the notice of critics who feel that The Prophet is overrated. As an example, in the discourse “On Reason and Passion,” Almustafa says that one should rest in reason and move in passion, just as “God rests in reason” and “God moves in passion” (p. 130).

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KAHLIL GIBRAN The book concludes with what may be Gibran’s most prescriptive general counsel in English: “Every thought I have imprisoned in expression I must free by my deeds” (p. 228). Here, action follows cognition, if moved by volition. Mere intentionality is inert, and action without knowledge and wisdom is a rudderless ship. In Sand and Foam, the reader stands on the shore of the ocean of grandeur, gazes on the sea of wisdom, is awakened and enlightened by the dawn of knowledge, is inspired by the breezes of love, is uplifted like a bird, and soars in the atmosphere of spiritual oversight in an invisible world that endows the visible world with meaning and purpose—yet the reader must inevitably return to the rigors of daily life and find a way to translate insight into action.

iaphas and Annas are all archetypally alive in the recurring cosmic drama. Ernest Renan’s Life of Jesus (English trans., 1863) was a major influence on Gibran’s conception of Jesus. His biographers Bushrui and Jenkins claim Baha’i influence as well: “The template for his unique portrayal of Jesus was inspired by his meetings in 1912 with ‘Abdu’lBahá, the Bahá’í leader, whom he drew in New York, a man whose presence moved Gibran to exclaim: ‘For the first time I saw form noble enough to be a receptacle for the Holy Spirit’” (p. 252). This novel hypothesis, however, remains undeveloped. While Gibran was clearly impressed by Bahá’u’lláh’s writings in Arabic, and by ‘Abdu’l-Bahá in person, he was relatively unfamiliar with the full scope of Baha’i teachings and thus cannot be said to have subscribed to them generally. The result was a gospel narrative that is not seamless but rather is a patchwork of fictional reminiscences by those who knew or had met the Nazarene, creating an impressionistic medley of memories that would entertain, even illumine, but not necessarily enlighten. ‘Abdu’lBahá, rather than being an actual template for Jesus, the Son of Man, could arguably have served as an immediate inspirational presence in the mind of Gibran, while he was composing this secular yet sacred portrait of Jesus.

JESUS, THE SON OF MAN

For twenty years, Gibran had wanted to write a life of Jesus. After Alfred Knopf gave him a twothousand-dollar advance, Gibran abandoned The Garden of the Prophet in order to work on Jesus, the Son of Man, which he began in November 1926. The book, published in 1928, was handsomely produced with some of Gibran’s illustrations in color. Reviews were favorable, and the book remains the most popular of his works after The Prophet. The full title of this work is Jesus, the Son of Man: His Words and His Deeds as Told and Recorded by Those Who Knew Him. This polychoral and imaginal life of Jesus is Gibran’s lengthiest work in English. It is a creative and reverential life of Jesus as told by seventy-eight of his contemporaries, both real and fictional, enemies as well as friends, and strangers from a distance—such as the Persian philosopher who was a follower of the Persian prophet Zoroaster. As such, Jesus, the Son of Man is a series of sketches from which a patchwork portrait of Jesus emerges. At the very end, “A Man from Lebanon Nineteen Centuries Afterward” speaks, saying that seven times he was born and seven times he had died, that Jesus’ mother is seen in the sheen of the face of all mothers; that Mary Magdalene, Judas, John, Simon Peter, and Ca-

Is Gibran’s Jesus Christian? Clearly, the figure portrayed in this volume is both orthodox and extra-orthodox (not necessarily heterodox). Curiously, in “John the Son of Zebedee: On the Various Appellations of Jesus,” Zoroaster, the prophet of the Persians, is identified as a previous incarnation of Jesus, as is Prometheus and Mithra. Not only does Gibran add apocryphal accounts to the life of Jesus, he enhances a number of the sayings of Jesus by taking a familiar teaching and expanding on it. For instance, in “Simon Who Was Called Peter: When He and His Brother Were Called,” Jesus says to Andrew, brother of Peter, on the shores of Galilee: “Follow me to the shores of a greater sea. I shall make you fishers of men. And your net shall never be empty” (p. 253); a reader might recall that “the greater sea” is a favorite Gibranian symbol for the Sufi notion of the greater self, or the “perfect man.”

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KAHLIL GIBRAN The most extensive of Gibran’s edifying edits of the sayings of Jesus is in the chapter, “Matthew: The Sermon on the Mount,” in which Gibran embellishes Jesus’ beatitudes, proverbs, and other teachings. This, in turn, is followed by Gibran’s version of the Lord’s Prayer. Sometimes the alteration or embellishment may be accomplished by a single word, such as in Gibran’s version of Jesus’ “cry of dereliction,” as scholars call it. In “Barabbas: The Last Words of Jesus,” Jesus, who is still alive on the cross, exclaims, “Father, why hast Thou forsaken us?”—where the word “us” is substituted for “me” (p. 390). Some of Gibran’s sayings of Jesus are utterly noncanonical, as in this saying from “James the Brother of the Lord: The Last Supper”: “Heaven and earth, and hell too, are of man” (p. 397). Gibran here has disenchanted the metaphysical world of the principality of Satan and shifted attention back to the true principal of evil—man. The biographical narrative is not sequential and is sometimes glaringly out of sequence. For instance, “The Last Supper” appears shortly after the Crucifixion account, mentioned above. The anecdotal accounts are interwoven with the occasional poem, typically a paean to Jesus. Jesus, the Son of Man, as a whole, is an artistically original and eloquent tribute to the “Prophet of Nazareth.”

does not see. / And that is the secret of our being” (p. 431). In other words, the greater self, the spiritual giant, Christ-spirit is within. The beginning of salvation is to awaken the sleeping giant. At the height of their debate, the Third God proclaims: “Love is our lord and master” (p. 443). Love is God on Earth. Beyond that, the debate is convoluted and unsophisticated, with no clear progression in reasoning. (There is no rhyme.) The Earth Gods is perhaps the least deserving of Gibran’s English works. Its publication was anticlimactic. Fortunately, it was followed by the appearance of The Wanderer, which is more true to form and a more befitting legacy.

THE WANDERER

Gibran finalized the manuscript of The Wanderer: His Parables and His Sayings during the last three weeks of his life. The original manuscript, however, is not extant; after she edited the manuscript, and once the book appeared in print in 1932, Barbara Young destroyed it. The Wanderer is primarily a book of fables, tales told by the itinerant traveler whom a man chances to meet and invite to his home. The guest regales his host and family with edifying stories with various morals. Some of these stories serve as social commentaries as well. Among the fiftytwo parables and poems, for instance, in “The Lightning Flash,” a Christian bishop is asked by a non-Christian whether there is salvation for her from hellfire. The bishop replies that only those baptized in water and the spirit will be saved. Then a thunderbolt strikes the cathedral, igniting a fire. The woman is saved by the men of the city, but the bishop is consumed by the fire. This fabulous fable turns on the irony of the priest telling the woman that she is destined for hellfire, when he himself is the one ultimately engulfed by fire; of she being saved and he, not. The salvation of dogma is the antithesis of real salvation. In “The Prophet and the Child,” the prophet “Sharia” appears, with Gibran again drawing on the term for the Islamic code of law. In “The King,” the author speaks of the “kingdom of Sខ adik” (p. 466)—an Islamic term for “righteous”

THE EARTH GODS

As a complete work, The Earth Gods, published in 1931, brings Gibran’s literary work to a conclusion, as it appeared shortly prior to his death in same year. Illustrated with several exquisitely executed drawings by Gibran himself, twenty-eight manuscript pages of the book (which correspond to pages 1 to 27, or two-thirds of the published book) are archived in Princeton Library’s Shehadi Collection. The Earth Gods is a free-verse triologue among three earth-born Titans, in what may be considered a meditation on love. At one point, the Second God discloses the open “secret” that is at the heart of Gibran’s consistent message: “Yea, in your own soul your Redeemer lies asleep, / And in sleep sees what your waking eye

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KAHLIL GIBRAN and name of Ja’far al-Sádiq (d.765 C.E.), universally revered as a mystic in both Sunní and Shí’a Islam, and regarded as the “Sixth Imám” by all Shí’a Muslims. In “The Three Gifts,” Gibran writes of his birthplace, “Becharre” (p. 469), and in “The Quest,” two ancient philosophers meet on a mountain slope of Lebanon much like the one near Gibran’s childhood home. There is much personification throughout the stories, such as in “Garments” (where Beauty and Ugliness converse), or “The Eagle and the Skylark,” in which a talking turtle enters into the conversation between the two birds. There are talking oysters, frogs, dogs, trees, sparrows, grass, and even a speaking shadow. Like the title of the book’s final fable, “The Other Wanderer,” the book may be thought of as a desultory disquisition on the mysteries of life and death, in which the reader is left to divine the wisdom of each brief tale.

more perfectly illustrated than in “Khalil the Heretic”—one of the four short stories of Spirits Rebellious (although only three of the stories from the Arabic appear in Anthony Ferris’ translation (the other two being “Madame Rose Hanie” and “The Cry of the Graves,” excluding “The Bridal Bed”). Speaking transparently as the character Khalil in this story, Gibran fictionalizes himself as a young peasant man who challenges the avaricious prince, Sheik Abbas, and the corrupt Maronite church. In part 3, Khalil introduces himself by name. He tells the story of how he had dwelled for a time in a monastery, where the monks addressed him as “Brother Mobarak”— yet they never treated Khalil as a “brother.” They dined on sumptuous foods and drank the finest wine, while Khalil subsisted on dry vegetables and water, and they slumbered in soft beds while the young man slept on a stone slab in a dank and dismal room by the shed. One day, Khalil recounts, he stood bravely before the monks who gathered in the garden and criticized them for corrupting the teachings of Christ by segregating themselves from the people and enjoying the fruits of others’ labor in an unholy parasitism. Jesus had sent these corrupt monks as lambs among wolves, Khalil says— that although they feign virtue, their hearts are full of lust; they pretend to abhor earthly things, but their hearts are swollen with greed. For his words, Khalil was branded a heretic, and he was scourged and cast into a dark cell for forty days and nights. In part 5, Kahlil the Heretic describes the way that, in Lebanon, the noble and the priest collude to exploit the farmer who has worked the land and reaped the harvest to protect himself from the sword of the ruler and the curse of the priest. We learn that Sheik Abbas conspired with Father Elias to punish Khalil for having sought shelter at the house of Rachel, the widow of Samaan Ramy. In part 6, Khalil is arrested and brought to the Sheik’s home. In part 7, before a throng of onlookers, Khalil answers his accusers, Sheik Abbas and Father Elias, and tells them that the souls of the peasants are in the grip of the priests, and their bodies are in the jaws of the rulers. Winning over the villagers by force of argument and eloquence, Khalil then beseeches

INTERPRETING GIBRAN’S ENGLISH WORKS BY HIS ARABIC WORKS

Gibran’s early Arabic works may offer a key to better understanding Gibran’s salient themes in English. Gibran’s eight Arabic books are: Music (al-Músíqá, 1905), Nymphs of the Valley (‘Ará’is al-Murúj, 1906), Spirits Rebellious (al-Arwáhខ alMutamarrida, 1908), The Broken Wings (al’Ajnihខ a al-Mutakassirah, 1912), A Tear and a Smile (Dam’a wa Ibtisáma, 1914), The Procession (al-Mawákib, 1919), and two collections of previously published work, The Storm (al’Awásif, 1920), Marvels and Masterpieces (alBadá’i’ wa’l-Tará’if, 1923), and Heads of Grain (al-Sanábil, 1929), (Music scarcely qualifies as a book, however, since it is only eleven pages long.) To express his ideas in Arabic, Gibran first used the short narrative, but over time, he employed the literary devices of parable, aphorism, allegory, and epigram—all of which became the distinctive stylistic hallmarks of his English works. In a 1908 letter to his cousin Nakhli, Gibran, wrote: “I know that the principles upon which I base my writings, are echoes of the spirit of the great majority of the people of the world” (quoted in Bushrui and Jenkins, p. 87). Nowhere is this

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KAHLIL GIBRAN Liberty, and, in his prayer, he calls “Liberty” (p. 687) the “Daughter of Athens,” the “Sister of Rome,” the “companion of Moses,” the “beloved of Muhammad,” and the “Bride of Jesus” (p. 688).

ary pieces typically represent a single arresting image. Gibran is also incapable of ironic detachment, or even rational analysis. Gibran’s paintings and stories are dreamlike and ethereal. Whether a painting, a prose poem, or an illustrated story, Gibran’s art touches the heart at a prerational level. As in his painting, Gibran in his writing uses a vivid but essentially static image, but he does not explicate this link of emotion and experience; his work is impressionistic.

The story has a happy ending. We learn that a half a century later, the Lebanese people had awakened. In the future, fifty years later, a traveler, on his way to the Holy Cedars of Lebanon, is struck by contented villagers in homes surrounded by fertile fields and blooming orchards. Sheik Abbas’ mansion has since fallen to rubble. As for Khalil, his life’s history has been indelibly written by God with glittering letters upon the pages of the people’s hearts. While Nymphs of the Valley, Spirits Rebellious, and Broken Wings are all set in Lebanon, they set the stage for Gibran’s English works. The advent of The Madman in 1918 marked Gibran’s transition to, and adoption of, English as a universal language for literary purposes. Lebanon recedes from the foreground and becomes a background, while remaining the bedrock of Gibran’s basic orientation.

While one may appreciate the extraordinary force of Gibran’s moral seriousness as related to various aspects of life, says Walbridge, the reader should not expect from Gibran prescriptions for living, reforms for reordering society, reasoned ethics, rational theology, conceptual depth, nor a coherent philosophy. Gibran tends to express his moral and spiritual views in terms of dichotomies. He romanticizes the country and demonizes cities. Society and religion, for Gibran, are systems of oppression, whereas nature and love are what benefit humanity most. (Other scholars have commented on Gibran’s persistent dualisms as well, such as life and death, good and evil, love and hatred.) Gibran’s views do not represent practical teachings; as Walbridge points out, we cannot desert our cities to live as hermits at the edge of the Qadisha Gorge nor can we all escape to live as couples in idyllic cottages overlooking Beirut in total abandonment of society.

In his early Arabic works, Gibran may be described as a social reformer, in a visionary sort of way. In his English works, Gibran is more of a spiritual guide, offering counsels for edification and personal transformation. But despite his strengths in these respects, Gibran had serious limitations that must be acknowledged as well. John Walbridge, an authority on Gibran and translator of Gibran’s The Storm (1998) and The Beloved (1998) from the original Arabic, has framed some of the most persuasive critical analysis of Gibran’s shortcomings. Walbridge notes that Gibran is not adept at narrative and that “his narrative harp has only a few strings” (2001, online) As a writer, says Walbridge, Gibran lacks the skills of subtle characterization or complex plots. Everything Gibran says is deadly serious. There is never a trace of humor or irony in his work (nor in his art), and thus he has a significant limitation on his range of expression. Walbridge sees Gibran’s English prose as pretentious, his ideas as excessively mystical or just trite; Gibran’s aesthetic is Arabic, not American. Like one of his paintings, each of Gibran’s liter-

What, then, are Gibran’s contributions in the final analysis? In the Arab world, Gibran’s influence was as profound as it was pervasive. What came to be known as “Gibranian style” was marked, among other elements, by the electric cadence of his rhythms, in the drumbeat of his incantations and repetitions; by the charm of his new poetic style; in his inventive and selective choice of words, in brave abandon of arid Arabic poetic diction; through the evocative power of words with emotional immediacy; by rhetorical reliance on “value words” such as beauty, love, power, and justice; through structural use of biblical images that inform and sustain his narratives; and by dint of soul-deep symbolism—that is, the cage (symbol of oppression), the forest (symbol of sanctuary, freedom, renewal, and immortality), the storm or tempest (symbol of destruction and

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KAHLIL GIBRAN regeneration), the mist (symbol of mystery and eternity, or that which obscures), the child (symbol of perceptiveness and equilibrium), the river (symbol of the course of human life), the sea (symbol of the great spirit or the greater self), the bird (symbol of the soul’s search for the divine), the mirror (symbol of contemplation), the night (symbol of soporific ignorance), and the dawn (symbol spiritual awakening). These carry over into Gibran’s work in English, which is stylistically marked by a lyrical impulse, by rebellion against literary norms and established forms, and by impressionistic imagery with evocative power to effect emotional elevation. Gibran’s ideological leitmotifs include—to name some of the more obvious themes—the veneration of love, a pantheistic quest for the mysterious in nature, the rejection of religious and political corruption, a passion for freedom, and a belief in human brotherhood.

American it may or may not be. If a work such as The Prophet has entered the canon of “world literature,” then surely its author ought to be viewed as belonging to the American literary hall of fame as well. Beyond the question of whether The Prophet is an American classic, however, or whether Kahlil Gibran ought to be recognized, at long last, as an American writer worthy of note, there is the question of Gibran’s significance for the twentyfirst century. Those who promote the idea of his importance today do so not for what he was but for what he represents; his importance is in his message of reconciliation, of peace, of brotherhood. Gibran has iconic value in the way he represents the embrace of East and West. It is Gibran’s greater self, as it were, that really matters—not the person, but the paradigm. In a speech in December 1995 to celebrate the one hundredth anniversary of Gibran’s arrival in America, Suheil Bushrui spoke of the importance of Gibran’s work and ideas for our time, and he pointed out the dual recognition that Gibran has received in the academic and public spheres in the United States—as represented by the University of Maryland’s creation of the Kahlil Gibran chair and the dedication of the Kahlil Gibran Memorial Garden in Washington, D.C. Beyond this national recognition, said Bushrui, Gibran also occupies a distinctive position among the world’s great writers because of the universal appeal that The Prophet has enjoyed internationally. Gibran’s “stature and importance increase as time passes,” said Bushrui, because “his message remains ѧ potent and as meaningful today” (“Kahlil Gibran of America,” 1996, online). With “its emphasis on the healing process, the universal, the natural, the eternal, the timeless,” he continued, Gibran’s work “represents a powerful affirmation of faith in the human spirit.” His name, says Bushrui, “perhaps more than that of any other modern writer, is synonymous with peace, spiritual values and international understanding.” Gibran’s work imbues purely secular concerns with sacred significance, by enlarging individual identity with the “greater self” of the world at large. Indeed,

SIGNIFICANCE OF KAHLIL GIBRAN AND THE PROPHET

On July 9, 2009, the International Astronomical Union officially approved the naming of a crater, one hundred kilometers in diameter, on the planet Mercury after Kahlil Gibran, thanks to the efforts of Nelly Mouawad, a postdoctoral researcher in the astronomy department at the University of Maryland, in association with the university’s director of the Kahlil Gibran Chair for Values and Peace, Suheil Bushrui. Even though a crater on Mercury has now been named after Gibran, his identity as a significant American writer is still in question. Where is Gibran’s “crater” in the American literary critical landscape? Why is Gibran still largely “off the map” in terms of critical acclaim? Whether or not The Prophet is an American classic, and whether Gibran himself will be accepted by critics as an American writer of note, Gibran’s legacy transcends that category itself. The Prophet, after all, falls outside conventional frames of reference. It resists categorization. Yet, to be a great American author is, perhaps, to write a work of universal quality, of enduring international appeal, irrespective of how qualitatively

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KAHLIL GIBRAN perhaps the most important element in Gibran’s work for our own time is that it conveys the quintessential spiritual unity of Islam and Christianity and of all religions. In his parable “War and the Small Nations” (which is immediately preceded by “The Greater Self” in The Forerunner), Gibran’s social message is embodied in the words of a mother sheep to her lamb (representing the “small nations”), as two eagles (powerful, hegemonic nations), each intent on devouring the lamb, were fighting in the sky overhead: “Pray, my little one, pray in your heart that God may make peace between your winged brothers” (p. 67).

Universities, such as Harvard, Yale, and Princeton, do not teach him in their departments of English or Comparative Literature, and it is only recently that he came to be taught, but in a non-Ivy League University, that of Maryland, by Professor Suhayl Bushrui. The Prophet has passed the test of time as an enduring work. Indeed, ten million readers cannot be entirely wrong. Yet, The Prophet has not passed the threshold of the canon of American literature. (p. 4)

Although The Prophet has entered the canon of world literature, Gibran does not appear in anthologies of American literature, even in collections known for cultural diversity such as the prestigious The Heath Anthology of American Literature (where there is not a single line from Gibran). This critical indifference to the author of America’s bestselling book (apart from the Bible) goes far in explaining why The Prophet has been so marginalized in American literary history. That indifference is hardly disinterest; rather, it is a studied disinheritance of something distinctively unique in the American literary heritage, and has the paradoxical effect of raising serious questions about the critical recognition of greatness in the face of so overwhelming an audience response. It therefore makes perfect sense that Gibran’s masterpiece The Prophet ought, at long last, to be included in the American canon. The Prophet is not without honor save in its own country. Perhaps it’s time for that to change.

In the province of universal imagination, Gibran’s “greater self” of the individual is transposed to the greater, collective identity not only of nature, but of society itself. Throughout his works (both English and Arabic), Gibran draws from a palette of natural, spatial, and situational metaphors to convey the notion of an interior, hidden, expansive, liberated, powerful, and spiritual “self”—one that has compassion for others. This “greater self” is not ontologically swallowed up by one vast, undifferentiated Oversoul in the Emersonian sense. Rather, the “greater self” is greater by virtue of its identity with—not its identity as—the universe of other souls. Thus Gibran’s “greater self”—rather than referring to some amorphous, atavistic “Oversoul”—is the socially “wider self,” progressively selfactualized in part-to-whole harmony with the human family, or “the world.” Gibran’s call for reconciliation, for the realization of a “greater self,” addressed not only the need for Christian-Muslim understanding that seems so relevant today; it acknowledged the need for religious tolerance and understanding that would encompass all religions and all peoples. And, as the scholar Irfan Shahid points out, Gibran’s poetry and ideas have stood the test of time, the best of all critics. Nonetheless:

Selected Bibliography WORKS OF KAHLIL GIBRAN ENGLISH WORKS The Madman: His Parables and Poems. New York: Alfred A. Knopf, 1918. The Forerunner: His Parables and Poems. New York: Alfred A. Knopf, 1920. The Prophet. New York: Alfred A. Knopf, 1923. Reprint. Annotated, edited, and with an introduction by Suheil Bushrui. Oxford and Boston: Oneworld Publications, 1995.

Although his Prophet has sold, according to one estimate, ten million copies, thus outselling all American poets from Whitman to Eliot, the American literary establishment has not given him the recognition he deserves, and has not admitted him to the American literary canon. The Ivy League

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KAHLIL GIBRAN CORRESPONDENCE

Sand and Foam: A Book of Aphorisms. New York: Alfred A. Knopf, 1926.

Kahlil Gibran: A Self-Portrait. Translated by Anthony R. Ferris. New York: Citadel Press, 1959; London: Heinemann, 1960. The Letters of Kahlil Gibran and Mary Haskell. Edited by Annie Salem Otto. Houston: Otto, 1970. Beloved Prophet: The Love Letters of Kahlil Gibran and Mary Haskell and Her Private Journal. Edited by Virginia Hilu. New York: Knopf, 1972. Unpublished Gibran Letters to Ameen Rihani. Edited and translated by Suheil Bushrui and Salma Kuzbari. Beirut: Rihani House for the World Lebanese Cultural Union, 1972. Blue Flame: The Love Letters of Kahlil Gibran to May Ziadah. Edited and translated by Suheil Bushrui and Salma Kuzbari. Harlow, U.K.: Longman, 1983. Revised as Gibran: Love Letters: The Love Letters of Kahlil Gibran to May Ziadah. Oxford: Oneworld, 1995. “Gibran’s Unpublished Letters to Archbishop Antonious Bashir.” Translated by George N. El-Hage. Journal of Arabic Literature 36, no. 2:172–182 (2005).

Jesus, the Son of Man: His Words and His Deeds. New York: Alfred A. Knopf, 1928. The Earth Gods. New York: Alfred A. Knopf, 1931. The Wanderer: His Parables and His Sayings. New York: Alfred A. Knopf, 1932. The Garden of the Prophet. New York: Alfred A. Knopf, 1933. (Published posthumously in a volume completed by Barbara Young. Whether this work is authentically Gibran’s depends on how much of it was completed by Barbara Young herself, as it is really the work of two authors.)

ARABIC WORKS

AND

TRANSLATIONS

INTO

ENGLISH

Al-Músiqá. New York: Al-Mohajer, 1905. ‘Ará’is al-Murúj. New York: Al-Mohajer, 1906. Translated by H. M. Nahmad as Nymphs of the Valley. New York: Knopf, 1948; London: Heinemann, 1948; and by Juan R. I. Cole as Spirit Brides. Santa Cruz, Calif.: White Cloud Press, 1993. al-Arwáh al-Mutamarrida. New York: al-Mohajer, 1908. Translated by H. M. Nahmad as Spirits Rebellious. New York: Knopf, 1948; London: Heinemann, 1948. Also translated by Anthony Rizcallah Ferris as Spirits Rebellious. New York: Philosophical Library, 1947. al-Ajniha al-Mutakassira. New York: Mir’át al-Gharb, 1912. Translated by Anthony R. Ferris as The Broken Wings. New York: Citadel Press, 1957; London: Heinemann, 1966. Also translated by Juan R. I. Cole. Ashland, Ore: White Cloud Press, 1998. Dam’a wa Ibtisáma. New York: Atlantic, 1914. Translated by H. M. Nahmad as A Tear and a Smile. New York: Knopf, 1950; London: Heinemann, 1950. al-Mawákib. New York: Mir’át al-Gharb, 1919. Translated by M. F. Kheirallah as The Procession. New York: ArabAmerican Press, 1947. al-’Awásif. Cairo: al-Hilál, 1920. Translated by John Walbridge as The Storm: Stories and Prose Poems. Santa Cruz, Calif.: White Cloud Press, 1993. Iram, Dhát al-’Imád. Published posthumously in al-Majmú’a al-Kámila li-Mu’allifát Jubrán Khalil Jubrán; ed. Míkhá’íl Nu’aymí. 2 vols.; Beirut: Dár al-Sខ ádir, 1964. (Standard Arabic edition of Gibran’s collected Arabic publications and translations of Gibran’s English works by Antខúniyús Bashír and ‘Abd al-Latខíf Sharára. Often reprinted.). Translated by A. R. Ferris as “Iram, City of Lofty Pillars” in Spiritual Sayings. New York: Philosophical Library, 1947. al-Badá’i’ wa’l-Tará’if . Cairo: Yúsuf Bustání, 1923. Kalimát Jubrán. Cairo: Yúsuf Bustání, 1927. Translated by A. R. Ferris as Spiritual Sayings. New York: Citadel Press, 1962. al-Sanábil (Heads of Grain; New York: al-Sá’ihខ , 1929.

JOURNALS, MANUSCRIPTS,

AND

DRAWINGS

Twenty Drawings. New York: Alfred A. Knopf, 1919. Gibran’s manuscripts, notebooks, and papers pertaining to The Prophet; The Madman: His Parables and Poems; The Forerunner: His Parables and Poems; and The Earth Gods are held in the William H. Shehadi Collection of Kahlil Gibran (1883–1931), Department of Rare Books and Special Collections, Princeton University Library, Princeton, N.J.

COLLECTED WORKS The Essential Gibran. Edited and translated by Suheil Bushrui. Oxford: Oneworld, 2007. The Collected Works, With Eighty-four Illustrations by the Author. New York: Alfred A. Knopf, 2007. (This is the edition cited throughout this essay.) The Complete Works of Khalil Gibran. Delhi: Indiana Publishing House, 2007. The Treasured Writings of Kahlil Gibran. Edited by Martin L. Wolf, Anthony R. Ferris, and Andrew Deb Sherfan. Edison, N.J.: Castle Books, 2005.

BIOGRAPHICAL AND CRITICAL STUDIES Bush, George H. W. “Remarks at the Dedication Ceremony for the Khalil Gibran Memorial Garden, May 24, 1991” ( h t t p : / / b u l k . r e s o u r c e . o rg / g p o . g o v / p a p e r s / 1 9 9 1 / 1991_vol1_556.pdf). Bushrui, Suheil. Kahlil Gibran of Lebanon. Gerrards Cross, U.K.: Colin Smythe, 1987. ———. “Kahlil Gibran of America.” Arab American Dialogue 7, no. 3:1–10 (January-February 1996).

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KAHLIL GIBRAN ———. “‘A Strange Little Book.’” Saudi Aramco World, March-April 1983, pp. 8–9. (Online at http://www. saudiaramcoworld.com/issue/198302/a.strange.little.book. htm) Nassar, Eugene Paul. “Cultural Discontinuity in the Works of Kahlil Gibran.” MELUS 7, no. 2:21–36 (summer 1980). Reprinted in his Essays Critical and Metacritical. Rutherford, N.J.: Fairleigh Dickinson University Press, 1983. Pierce, Patricia Jobe. “Gibran, Kahlil.” In American National Biography. Edited by John A. Garraty and Mark C. Carnes. Oxford: Oxford University Press, 1999. “The Prophet’s Profits.” Time, 86, no. 7 (August 13, 1965). Salma, Khadra Jayyusi. “Gibran Khalil Gibran (1883– 1931).” In Trends and Movements in Modern Arabic Poetry. Vol. 1. Edited by Khadra Jayyusi Salma and Christopher Tingley. Leiden: Brill, 1977. Pp. 91–107. Shahíd, Irfan. “Gibran and the American Literary Canon: The Problem of The Prophet.” In Tradition, Modernity, and Postmodernity in Arabic Literature: Essays in Honor of Professor Issa J. Boullata. Edited by Issa J. Boullata, Kamal Abdel-Malek, and Wael B. Hallaq. Leiden: Brill, 2000. Pp. 321–334. Shahid, Irfan. “Gibran Kahlil Gibran Between Two Millennia.” Farhat J. Ziadeh Distinguished Lecture in Arab and Islamic Studies, Department of Near Eastern Languages and Civilization, University of Washington, Seattle, April 30, 2002. (Online at http://depts.washington. edu/nelc/ziadehseries.html) Shehadi, William. Kahlil Gibran, a Prophet in the Making: Book Based on Manuscript Pages of “The Madman,” “The Forerunner,” “The Prophet,” and “The Earth Gods.” Beirut: American University of Beirut, 1991. Summers, D. S. “The Source of ‘Ask Not.’” American Scholar 74, no. 2:142–143 (spring 2005). Walbridge, John. “Gibran: His Aesthetic and his Moral Universe.” al-Hikmat (Lahore) 21:47–66 (2001). (Online at http://www-personal.umich.edu/˜jrcole/gibran/papers/ gibwal1.htm) ———. “Kahlil Gibran.” In Twentieth-Century Arab Writers. Edited by Majd Yaser al-Mallah and Coeli Fitzpatrick. Dictionary of Literary Biography, vol. 346. Detroit: Gale Cengage Learning, 2009. Waterfield, Robin. Prophet: The Life and Times of Kahlil Gibran. New York: St. Martin’s, 1998. Wild, Stefan. “Friedrich Nietzsche and Gibran Kahlil Gibran.” Abhath 22:47–58 (1969). Young, Barbara. This Man from Lebanon. New York: Knopf, 1945.

———. “Introduction.” In The First International Conference on Kahlil Gibran: The Poet of the Culture of Peace, December 9–12, 1999. Bethseda, Md.: University of Maryland Press, 1999. P. 7. (Online at http://www. steinergraphics.com/pdf/gibranprogramme.pdf) Bushrui, Suheil, and Joe Jenkins. Kahlil Gibran, Man and Poet: A New Biography. Oxford: Oneworld, 1998. Gibran, Jean. “The Symbolic Quest of Kahlil Gibran: The Arab as Artist in America.” In Crossing the Waters: Arabic-Speaking Immigrants to the United States Before 1940. Edited by Eric J. Hooglund. Washington, D.C.: Smithsonian Institution Press, 1987. Pp. 161–171. Gibran, Jean, and Kahlil Gibran. Kahlil Gibran: His Life and World. 1974. Rev. ed. Northampton, Mass.: Interlink, 1998. Hanna, Suhail ibn-Salim. “Gibran and Whitman: Their Literary Dialogue.” Literature East and West 12: 174–198 (1968). Hawi, Khalil S. Kahlil Gibran: His Background, Character, and Works. Beirut: Arab Institute for Research and Publishing, 1972. (First published in the Oriental Series of the Faculty of Arts and Sciences at the American University of Beirut in 1963.) Irwin, Robert. “I Am a False Alarm.” London Review of Books, September 3, 1998, p. 17. (Review of Kahlil Gibran: Man and Poet, by Suheil Bushrui and Joe Jenkins, and Prophet: The Life and Times of Kahlil Gibran, by Robin Waterfield.) Karam, Antoine G. “Gibran’s Concept of Modernity.” In Tradition and Modernity in Arabic Literature. Edited by Issa J. Boullata and Terri DeYoung. Fayetteville: University of Arkansas Press, 1997. Pp. 29–42. Knopf, Alfred A. “Random Recollections of a Publisher.” Massachusetts Historical Society Boston Proceedings 73: 92–103 (1961). Kusumastuty, M. Imelda. “The Mode of Expression and Themes of Kahlil Gibran’s Aphorism in The Prophet.” Phenomena: A Journal of Language and Literature 8, no. 2:8–15 (October 2004). Majdoubeh, Ahmad Y. “Gibran’s The Procession in the Transcendentalist Context.” Arabica 49, no. 4:477–493 (2002). Naimy, Mikhail. Kahlil Gibran: A Biography. New York: Philosophical Library, 1950. ———. Kahlil Gibran: His Life and His Works. Beirut: Khayyat, 1964. ———. “The Mind and Thought of Khalil Gibran.” Journal of Arabic Literature 5, no. 1:55–71 (1974).

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ANNE LAMOTT (1954—)

Pegge Bochynski BEGINNING HER PROFESSIONAL writing career as a novelist, Anne Lamott has become better known as a memoirist whose Christian faith has transformed her life and continues to inform her work. Often autobiographical in nature, her fiction and nonfiction reflect her personal struggles with alcoholism, substance abuse, low self-esteem, aging, and loss. Most of her characters cope with similar issues, and Lamott has acknowledged that the people in her novels possess characteristics that mirror her own psychological and emotional history. Although the flaws of human nature are in full display in her novels and memoirs, the darkness in her work is tempered by her sharp wit, searing emotional honesty, and, in her later work, a quirky but devout faith. Tracing her journey from agnostic to bornagain Christian, Lamott’s three spiritual memoirs, arguably her most popular works, offer insight into how her Christian belief has helped her overcome substance abuse, gradually embrace self-acceptance, and build a spiritual framework for personal growth and transformation. She speaks publicly about her faith, but she does not conform to the stereotypical profile of a fundamentalist or evangelical Christian. Although she makes it plain that she is an ardent follower of Jesus, she has stirred controversy among conservative Christian groups because of her advocacy of feminism, abortion rights, gay rights, and euthanasia. In fact her unorthodox opinions set forth in her often profanity-laced work have so angered some traditional believers that her books have disappeared from the shelves of mainstream Christian bookstores.

tional household. Her father, Kenneth Lamott, the son of Presbyterian missionaries, grew up in Japan and scorned religion, especially Christianity. He was also an author and wrote four novels, as well as articles for the New Yorker and other publications. Her mother, Dorothy Nora Wyles Lamott, nicknamed Nikki, was born in Liverpool, England. She eventually divorced Kenneth, earned a law degree, and moved to Hawaii, where she founded the first women’s law firm in the state. Lamott also has an older brother, John, and a younger brother, Steve. The family lived in Tiburon, California, where the children came of age during the 1960s. The Lamotts embraced the counterculture of the time, and Anne writes about her parents’ wild parties where drugs and alcohol were in plentiful supply and extramarital affairs were commonplace. Her permissive parents tolerated their children’s experimentation with drugs and alcohol. Lamott’s younger brother Steve had his first drink when he was ten, and Lamott first smoked marijuana when she was thirteen. In contrast to her free-spirited family life, Lamott found structure in school and discipline in sports. A bright student, she skipped fourth grade. She was a gifted poet, winning several state poetry prizes for her work. She was also athletic and excelled at tennis, becoming one of California’s top twenty teenaged singles players. Her achievements did not compensate for her low self-esteem, and she was sensitive about her appearance, especially her “weird Albert Einstein crazy hair.” Her parents’ deteriorating marriage added to her insecurity. Although she admired and loved her father, her relationship with her emotionally distant mother was difficult. To compensate for her mother’s lack of affection, she sought comfort in the well-adjusted house-

EARLY LIFE

Born in San Francisco, California, on April 10, 1954, Anne Lamott was raised in an unconven-

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ANNE LAMOTT holds of her friends whose mothers were more loving. In 1972 when she was seventeen, Lamott attended Goucher College in Maryland on a tennis scholarship. She wrote for the school paper and studied philosophy, English, and religion. Although her parents were atheists, Lamott had secretly prayed as a child but was not sure to whom or what she was praying. When she was in college, she read Søren Kierkegaard’s commentary on the Old Testament story of Abraham’s near sacrifice of Isaac presented in his influential 1843 discourse on faith, Fear and Trembling. Kierkegaard’s interpretation of the story moved Lamott a step closer to belief in God. She writes in her 1999 spiritual memoir, Traveling Mercies:

“Well, it’s really coming along now” (p. xxiii). Her father was supportive of her ambition and advised her to approach the craft with discipline. “Do it every day for a while,” he told her. “Do it as you would do scales on the piano. Do it by prearrangement with yourself. Do it as a debt of honor. And make a commitment to finishing things” (Lamott, Bird by Bird, p. xxii). Lamott followed his advice and practiced her art with passion and commitment. Strongly autobiographical, her material is derived from her inner psychological and emotional battles, the picturesque surroundings of Marin County, and her quirky friends and family. A notable example is her first novel, Hard Laughter (1980), written when she was just twenty-three. After her father was diagnosed with brain cancer, she produced a series of fictionalized vignettes that paralleled her family’s experiences as they coped with Kenneth’s diagnosis and treatment. She sent five of the vignettes to her father’s agent, who in turn submitted them to various publishers. These “self-contained short stories” became the nucleus of Hard Laughter. Lamott’s thinly disguised fictionalized treatment of her family’s heartbreaking situation established themes found in her later works, including loss of a loved one and the loneliness and grief that result, as well as the triumph of love in the midst of suffering and pain. Hard Laughter tells the story of Wallace, an author and divorced father of three nearly adult children who is diagnosed with a brain tumor. Narrated by Wallace’s daughter, Jennifer, a writer and part-time housecleaner, the novel follows the sister and two brothers, Ben and Randy, as they and their father deal with Wallace’s terminal illness. The background of the dysfunctional family resembles Lamott’s real-life family history. Like Kenneth, Wallace is the son of Presbyterian missionaries and grew up in Tokyo. Jennifer’s absent mother was born in Liverpool and, after divorcing her father, establishes a small law firm in Honolulu. With wry humor, Jennifer, Lamott’s alter ego, describes herself as set apart from the rest of the family by her physical appearance: “I did not look quite human until I grew hair at two years old, and even then more closely resembled an albino rhesus monkey with an Afro. I was sort

In the interior silence that followed my understanding of this scene, I held my breath for as long as I could, sitting there under the fluorescent lights— and then I crossed over. I don’t know how else to put it or how and why I actively made, if not exactly a leap of faith, a lurch of faith. ѧ I left class believing—accepting—that there was a God. I did not understand how this could have happened. It made no sense. It made no sense that what brought me to this conviction was the story of a God who would ask his beloved Abraham to sacrifice the child he loved more than life itself. ѧ I felt changed, and a little crazy. (pp. 28–29)

THE BIRTH OF A CAREER

After dropping out of Goucher in 1973, Lamott moved back to California, settled in Bolinas, and began writing full-time. To support herself, she worked as a clerk-typist, cleaned houses, and taught tennis. She also held freelance jobs for Woman Sports, Mademoiselle, and California Magazine. Her dream was to become an established writer, and although her father was a successful author, Lamott had trouble launching her career. In the introduction to her 1994 best seller, Bird by Bird: Some Instructions on Writing and Life, she tells an anecdote about how every few months she would send the same short story, called “Arnold,” to Elizabeth McKee, her father’s agent in New York City. McKee would return it with an encouraging but noncommittal note:

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ANNE LAMOTT of comically cute, and was teased about my hair by older kids until my early teens” (Hard Laughter, pp. 1–2). Jennifer and her family live separate lives, until Wallace’s malady brings them together. Jennifer notes, “All of us are better friends with one another since the recent diagnosis of my father’s brain tumor, which is one of the possibilities of crisis” (p. 2). Deepening love for one another is only one consequence of the calamity the family faces. Another is the pall of unreality that is cast over the routine events of everyday life, giving fresh significance to memories that formerly seemed trivial: “Just the other day we were three young children who took baths together. Just the other day my parents were young and healthy, and Wallace didn’t have a brain tumor, and now at the age of fifty-five, with three semi-grown-up children, he does. It’s as simple and mysterious as that” (p. 4). Lamott writes with humor, honesty, immediacy, and desperate hope as she portrays Wallace and his children adjusting to the dire diagnosis, dealing with the surgery and its aftermath, and planning for an uncertain future—which includes the possibility of administering a lethal drug overdose to Wallace should he request it. At this point in her life, Lamott’s nascent faith was not full blown; therefore spiritual concerns do not play a central role in the novel. However, when a loved one is facing death, existential questions inevitably arise. As Jennifer sits on a patio overlooking the ocean at sunset, drinking a beer with her best friend, Kathleen, she asks an age-old question:

When the call finally comes and the doctor confirms that Wallace’s hiccups are nothing more than an unpleasant side effect of radiation treatments, the family’s relief is palpable. Jennifer describes the emotional roller coaster families experience throughout a beloved member’s critical illness: “And once again in the course of a minute, our lives had changed dramatically and not changed, up and down and up and down and up” (p. 289). Although the novel ends on a hopeful note, it is clear that Wallace will die from his illness, just as Kenneth Lamott did. Before he passed away in August 1979, Lamott’s father was able to read the first draft of her novel. Lamott told a Publishers Weekly interviewer that “it was a great relief to him that I had my foot in the door of the publishing world” (Review of Hard Laughter). Hard Laughter appeared in October 1980 to positive reviews. Despite the favorable critical reception, however, Lamott’s first novel was not a commercial success, and she lived in near poverty. After her father’s death, Lamott’s alcohol and drug abuse, from which she had suffered since she was a teenager, became worse. Yet she continued to write, and she published a second novel, Rosie, in 1983. The story focuses on the widow Elizabeth Ferguson and her daughter, the precocious Rosie of the title. The mother and daughter’s last name was taken from characters about whom Kenneth had written. The daughter of alcoholics, Elizabeth tries to assuage her grief after the unexpected death of her wealthy husband, Andrew, who was killed in a car accident. Financially well off, she lacks direction in her in life but finds purpose in raising her daughter. Rosie is ashamed of Elizabeth’s drinking and wishes for a more normal mother. When Rosie becomes friends with Sharon Thackery, who comes from the ideal family, Sharon’s house becomes a refuge for the troubled little girl.

“How can this be so beautiful, so fucking perfect, so obviously inspired by the gods—I mean, how could the same gods create all this perfection and then let Wallace get a brain tumor? ѧ” “You’re just about the only person I know who still believes,” said Kathleen. “I don’t have any answers for you, except I think your theory of the drunken stoned gods is as good as any.” (p. 215)

Elizabeth finds companionship in her friendship with Rae, a free-spirited weaver who constantly falls for the wrong men. Rae, recognizing that Elizabeth’s drinking is a symptom of depression, suggests they embark on a backpacking trip, which is the last thing the unathletic Elizabeth wants to do. Finally she surrenders to

Hard Laughter closes as Wallace, who is suffering from a prolonged case of the hiccups, anxiously awaits a telephone call from the doctor. He and his family hope to receive reassuring news that his uncomfortable condition is not indicative of a more serious underlying problem.

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ANNE LAMOTT Rae’s badgering and agrees to go. The fastidious Elizabeth is miserable for most of the excursion until they run into James and Lank, two men who are hiking in the same area. James is an eccentric writer who wears mismatched clothes and smokes. As the four campers sit around the fire that evening, James and Elizabeth find that they have favorite books in common, including John Updike’s Rabbit, Run.

that she decided to do so because, after talking to victims of sexual abuse, she wanted to draw attention to the problem of child molestation. After Rosie’s admission that she has been abused, Elizabeth is appalled at both the situation and her own behavior. Realizing that her drinking is ruining her relationship with Rosie, she decides to confront her demons and, with James’s love and support, embraces sobriety.

James observes, “Updike’s the master. Sometimes, when I read him, I’m so in awe that I think I’ll never write again, that there’s no point in my trying to compete. But sometimes I read him because I want to cringe with admiration, and somehow it gets me back to the typewriter” (Rosie, p. 116). One of the hallmarks of Updike’s work is his strong sense of place. His novels capture the daily rhythms of the New England towns in which he lived, and Rabbit, Run is a primary example. Like Updike, Lamott, too, knows the power of place. In Rosie, and indeed in all her fiction and nonfiction, she offers concrete, detailed descriptions evocative of the people and locales around the Bay Area of San Francisco. As James and Elizabeth share their opinions on their favorite literature, they connect on a deep level that surprises Elizabeth. Although James is not her image of the ideal man, Elizabeth finds him compelling, and they begin a serious relationship. After a rocky start, James moves in with Elizabeth, and Rosie is delighted. Patient, compassionate, and caring, James becomes the anchor that the emotionally adrift Elizabeth and Rosie have needed since Andrew’s death. However, Elizabeth does not stop drinking, which leads to a major breakdown in communication between mother and daughter. One day when Rosie visits the Thackery house, Sharon’s father exposes himself to her. Understandably traumatized by the event, Rosie cannot bring herself to tell Elizabeth. Finally when she finds the courage to do so, she discovers Elizabeth drunk and unconscious on the couch. Rosie turns to Rae, who then informs Elizabeth about Thackery’s violation. Lamott has been asked the reason for including a pedophile among the cast of characters in Rosie. She said

ALCOHOLISM AND THE WRITER’S LIFE

Lamott no doubt drew on her own experience with substance abuse as the basis for her portrayal of the alcoholic Elizabeth, and Elizabeth’s eventual sobriety may have been equivalent to literary wish fulfillment on Lamott’s part. By the time she finished Rosie, Lamott was also suffering from bulimia along with her alcohol and drug addiction. She acknowledges that her drinking had so impaired her memory that she often called friends the day after a binge to help fill in the blanks of the night before. One particularly humiliating incident occurred during a fund-raiser when she was both intoxicated and high on drugs. She was in the middle of her presentation when she lost track of what she was saying and babbled incoherently. She says that it was then she knew she needed to stop drinking, but at the time she did not have the will to put down her glass for good. By the time she was working on her third book, her alcohol and drug addiction were having a decidedly deleterious effect on her writing. Her third novel, Joe Jones (1985), takes place in a rundown waterfront restaurant in the San Francisco Bay area. Lamott, who had worked in a similar eatery in Petaluma years earlier, builds the novel’s story around the lives of the patrons who frequent Jessie’s Café. At the age of seventynine, Jessie still comes to the restaurant every day with her mute friend, Georgia. Other characters include Louise, the motherly cook who is having an on-again, off-again affair with the absent bartender, Joe Jones. After Louise throws him out because of his philandering, Joe goes to Hawaii to visit his mother, but he still carries a torch for Louise. Jessie’s gay grandson, Willie (who is also the café’s pastry chef), is Louise’s friend and confidant, and Eva, a genteel biology

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ANNE LAMOTT teacher who suffers from a terminal illness, becomes one of the café regulars after Louise helps her change a flat tire. The novel lacks a well-constructed plot; Lamott concentrates instead on the relationships between the characters and the particulars of their daily lives. Community is a recurrent theme in Lamott’s work, and the group that forms the nucleus of Jessie’s Café is a tightly knit bunch who treat each other more as family than friends. The love the characters have for one another often transcends their differences, including their religious beliefs or lack of them. For example, Jessie is a devout Christian and Louise is not. During the time Lamott was writing Joe Jones, she had begun to attend St. Andrew Presbyterian Church, a multiracial church in Marin City. One Sunday as she walked by, she was drawn in by the music and was welcomed by the congregation. The openness of the people attracted her, and she continued to attend services, even though she had no interest in Christian doctrine. Louise’s attraction to religious faith may reflect the appeal Christianity had for Lamott, but Louise, like her creator, could not wholly accept something as intellectually insubstantial as faith. Many believers strive to stave off doubt. Lamott, on the other hand, was a nominal doubter who struggled to stave off faith. The novel’s lack of a well-structured plot elicited many scathing critical reviews. Lamott admits it was her worst novel, describing it to Pamela Feinsilver of Publishers Weekly as being “just all over the place. I wasn’t in control of my life, and you can tell the writer is not in control of her material. It came out about a year before I got sober. My self-esteem was at an all-time low; I was totally broke; my life just felt like it was slipping away from me and I didn’t know how to stop it” (p. 30).

because she was bleeding heavily. As the bleeding finally stopped, she sensed a presence in the room with her. She remembers: I became aware of someone with me, hunkered down in the corner ѧ I knew beyond any doubt that it was Jesus. ѧ And I was appalled. I thought about my life and my brilliant hilarious progressive friends, I thought about what everyone would think of me if I became a Christian, and it seemed an utterly impossible thing that simply could not be allowed to happen. I turned to the wall and said out loud, “I would rather die.” (Traveling Mercies, p. 49)

The presence was so insistent that finally she surrendered to its persistence with characteristic irreverence: “Fuck it ѧ You can come in” (p. 50). The love and support of the parishioners at St. Andrew coupled with her conversion experience caused her turn her life around. In 1986, she entered a recovery program and stopped writing for six months so that she could get her life in order. All New People (1989) was the first novel she published after she achieved sobriety. Nanny Goodman, the book’s main character, echoes the alienation and stress that Lamott experienced during her troubled childhood. “I was a very tense little kid. I was Nanny in All New People. I don’t think children who grow up in healthy, welladjusted households get migraines at four years old,” she told Feinsilver in the interview for Publishers Weekly (p. 30). Narrated in the first person, All New People follows Nanny on a journey of self-discovery. Deeply unhappy but not knowing why, she visits a psychologist who uses hypnosis to help her revisit the past twenty years of her life. A sympathetic yet unsentimental portrait emerges of her eccentric family, which includes her father, Robbie, a writer who is always short of money; Marie, her saintly mother and a devout Christian; her brother, Casey, who becomes involved with drugs; her hard-drinking uncle, Ed, and his longsuffering wife, Peg; and Marie’s best friend, Natalie. Other friends and acquaintances include Nanny’s wayward best friend, Pru, who has an abortion when she’s thirteen, and Mady, whose well-to-do, straitlaced parents force her to break off her friendship with the unconventional Nanny.

CRISIS AND CONVERSION

Lamott’s battles with alcoholism, drug addiction, and bulimia brought her to a crisis point by the time she turned thirty in 1984. In 1984, she also had an abortion. Later that same week, she was in bed after a difficult night in which she had gotten very drunk but then “sobered up quickly”

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ANNE LAMOTT The story explores the social changes taking place during 1960s, just as Nanny is coming of age. Lamott again sets her novel the Bay Area, where drugs are in plentiful supply and the hippie lifestyle is predominant. Nanny, an awkward, insecure eleven-year-old who is subject to migraines, is an outsider who desperately wants to belong. She becomes friends with Mady, but the friendship sours when Nanny’s grandmother, Bette, takes the girls to see the horror film Whatever Happened to Baby Jane? Bette thinks it is about dolls. The film so traumatizes Mady that her disapproving parents forbid her to play with Nanny again. After her relationship with Mady falls apart, Nanny befriends Pru, a girl from the wrong side of the tracks who initiates Nanny into the grown-up world of makeup, fashion, smoking, and drinking. Nanny’s friendship with Pru provides her with stability as her family life disintegrates. When her aunt, Peg, leaves her alcoholic uncle, Ed, he has a brief affair with Natalie, and fathers a child with her. Casey becomes more involved in San Francisco’s drug culture and is arrested for smoking marijuana. His eventual addiction alienates him from the rest of the family, and he leaves home and lives on the streets. The main part of the story ends with Nanny’s thirteenth birthday celebration. Ed and Peg are back together and have an uneasy but cordial relationship with Natalie, who has remarried and moved away, taking Ed’s child with her. In the last chapter, an epilogue of sorts, set twenty years later, Lamott attempts to tie up loose ends: Robbie is dead; Pru was murdered at the age of twenty-one; Casey is a divorced father with a nine-year-old son; Marie is active in volunteer work; and Nanny has been married and divorced. Although it is satisfying to know what happened in the lives of the characters, the leap in years leaves much unsaid. The last chapter seems irrelevant and somewhat disconnected to the rest of the story.

she became pregnant. The baby’s father, who was married, was insistent that she have an abortion. She chose to have the child, and she gave birth to a son, Sam, on August 29, 1989. Lamott had always drawn on her own life for literary material; after Sam’s arrival, she made a graceful leap from autobiographical fiction to memoir in her often-humorous account of her early experience as a single mother, Operating Instructions: A Journal of My Son’s First Year, which appeared in 1993. Writing in diary form, she chronicles the familiar problems every new parent deals with, including colic, early morning feedings, and diaper rash, but her narrative goes beyond the duties of new motherhood to describe her conflicting emotions and sometimes out-of-control fears. In one same-day entry as she prepares for Sam’s three-week-old birthday party, she declares, “Sam is so beautiful and I feel such desperate love and protectiveness that my chest tightens with it” (Operating Instructions, p. 35). Then two paragraphs later, she reveals her annoyance when “the colic kicks in ѧ I end up frustrated and sad and angry. I have had some terrible visions lately, like of holding him by the ankle and whacking him against the wall, the way you ‘cure’ an octopus on the dock” (p. 36). The burden of responsibility for a vulnerable child, sleep deprivation, financial problems, and the lack of a supportive partner drain her psychologically and emotionally. Her faith, however, provides her with spiritual strength, and Sam’s endearing traits bring her a joy that she has never before experienced. She remarks, “Still, you know what Samuel means? It means ‘God has heard,’ like God heard me, heard my heart, and gave me the one thing that’s ever worked in my entire life, someone to love” (p. 176). Lamott often expresses regret that Sam will grow up never having a relationship with his father. Yet she is thankful for the community of family and friends who become Sam’s surrogate parents. Entries for the first seven months are devoted to the challenges she faces and to the people who support her emotionally and spiritually during and after her pregnancy: the members of St. Andrew Presbyterian Church; her younger brother, Steve; her childless longtime friend and

MOTHERHOOD AND MEMOIR

Not long after Lamott became sober, and in the same year that All New People was published,

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ANNE LAMOTT Lamaze coach, Pammy; her mother, Nikki; and her mother’s twin sister, Pat. Entries for the last five months are punctuated by grief, however, when she learns that Pammy has terminal breast cancer. Stories of the debilitating chemotherapy treatments Pammy must endure take on a special poignancy when one realizes that Lamott stands at the juncture of the lives of two people she loves most—one who is just beginning his earthly existence and the other who is facing the end of hers. As Pammy’s terminal illness progresses, Lamott learns that she has to accept that there are no easy answers when one is faced with pain and suffering, but one can find meaning through faith. Operating Instructions marked a turning point in Lamott’s career as a writer; not only was it her first commercial success, but the diary form of the book showcased her emerging talent as a memoirist. In Operating Instructions, she also reveals her conversion to Christianity, which provides her with dimensions she explores more fully in later works. Questions such as “Who is Jesus?”; “What impact does a relationship with God have on one’s daily life and social interactions?”; “How does prayer function?”; “How does belief affect one’s political sensibilities?”; “How does one live out faith in today’s world?”; and “Why does God allow pain?” are issues that she addresses in her subsequent works with earthy humor, candor, and her own brand of idiosyncratic belief.

which was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother’s shoulder, and said, “Bird by bird, buddy. Just take it bird by bird.” (Bird by Bird, p. 19)

Her father’s advice to his son is far from the romantic notions many would-be writers have of the craft and the financial rewards they expect to glean from it. Lamott nips those notions in the bud as she provides a reality check and attempts to instill a sense of discipline in her students— the same discipline her father inculcated in her. She notes that good writing doesn’t just happen; “It is a matter of persistence and faith and hard work” (Bird by Bird, p. 7). When her students ask “But how do you do it?” she describes how the process works for her in a series of anecdotes, humorous stories, and practical advice. Chapters on short assignments—filling a space the size of a one-inch picture frame with words—allowing yourself to write “shitty first drafts” (p. 21) and conquering perfectionism (“the voice of the oppressor, the enemy of the people,” p. 28), are meant to make the process less intimidating for fledgling writers. She also offers insights into characterization, plot, dialogue, point of view, and the importance of asking someone to read drafts. Lamott advises her students that “plot grows out of character. ѧ So focus on character” (pp. 54–55), and she cites William Faulkner as an example of an author who creates such compelling characters that readers want to discover what his characters will do: the behavior of his characters dictates the storyline and reflects his unique viewpoint. Lamott notes that “all you can give us is what life is about from your point of view. You are not going to be able to give us the plans to the submarine. Life is not a submarine. There are no plans” (Bird by Bird, p. 55). Certainly Lamott’s own fiction is strongly character driven. The enjoyment she derives from getting into the nitty-gritty of her characters’ lives is apparent in the way she creates and explores their multifaceted behaviors. For example,

THE CRAFT

After becoming an established author, Lamott began to travel and teach writing workshops. She compiled the hard-won lessons she learned about writing in the 1994 volume Bird by Bird: Some Instructions on Writing and Life. As the subtitle suggests, Bird by Bird is part writing manual and part memoir. Her father’s influence is apparent throughout the book, and Lamott tells of the particular incident that inspired the title: Thirty years ago my older brother, who was ten years old at the time, was trying to get a report on birds written that he’d had three months to write,

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ANNE LAMOTT Elizabeth’s genteel but destructive alcoholism; Rosie’s gutsy precociousness; Louise’s motherly concern; Nanny’s confusion and fear; Marie’s crazy Christianity; and the noble and reprehensible traits of other individuals who populate Lamott’s stories are memorable because of their resemblance to everyday life. Although critics have taken Lamott to task because of her weak plots, her stories are at their best when she creates multidimensional personalities.

honing her skills on the court, but even her talent isn’t enough to boost her self-image. Simone becomes pregnant, and Rosie is her only confidante. The pressure of the matches, the detachment of her mother and stepfather, Simone’s pregnancy, and her own struggle with teenage angst become too much for her, and she resorts to cheating at tennis. Based on the lines “You shall love your crooked neighbor / with your crooked heart” in the penultimate stanza of W. H. Auden’s poem “As I Walked Out One Evening,” the title of the novel throws Rosie’s crooked little heart into sharp relief. She believes she is successfully hiding her indiscretions until she is confronted by Luther, a creepy indigent who has an unusual eye for the game and who watches Rosie intently from the bleachers.

The most important insight Lamott has for her students and her readers is that one should tell the truth as one understands it, and Lamott herself is consistently lauded in reviews of her fiction and nonfiction—whether positive or negative—for her honesty, candor, and transparency. Her straightforwardness springs from what she calls the “moral point of view,” which encompasses one’s most passionate beliefs and interests. She notes that “you need to put yourself at their center, you and what you believe to be true or right. The core, ethical concepts in which you most passionately believe are the language in which you are writing” (Bird by Bird, p. 103). Lamott’s drive to communicate truth as she perceives it gives her own work the energy and integrity that has won her a loyal following.

Lamott says that she sought out the counsel of a mother and her teenage daughter in preparation for writing about Elizabeth and Rosie during this stage in their lives. Her portrayal of adolescent melancholy is emotionally and psychologically on target, as Rosie, moody and sullen, defies her mother. Elizabeth, meanwhile, finds herself playing out the role of her own mother when she demands of Rosie, “I want you to look at me when I’m talking,” and observes that “having a teenage daughter was one’s punishment for having been a teenage daughter” (Crooked Little Heart, p. 20). Lamott also refreshed her own memories of what is was like to be a juvenile tennis champion by attending many games. She provides detailed, energetic, play-by-play descriptions of some of Rosie’s matches, offering a vivid picture of the pressures of competition and the driving ambition of the players. Lamott’s focus is again on her characters and the minutia of their lives at the expense of a robust plot. Yet her sensitive treatment of the trials of adolescence, emerging sexuality, coming to terms with loss, the moral issues in competitive sports, and the value of friendship and love more than compensate for a vigorous storyline. Blue Shoe, published in 2002, is the first novel in which Lamott introduces an overtly religious main character. Although secondary characters such as Jessie in Joe Jones, Rae in Crooked Little Heart, and Marie in All New

Lamott’s love of favorite characters from her 1983 novel caused her to return to the story of Rosie, Elizabeth, James, Rae, and Lank in a 1997 sequel titled Crooked Little Heart. She told Malcolm Jones, Jr., in a Newsweek profile that “of all my characters, these were the closest to my heart. And of course, they are secretly facets of myself” (p. 78). Rosie, now a thirteen-year-old tennis champion, is grappling with the insecurities of adolescence as well as unresolved grief for her dead father. Although Elizabeth is happily married to James, she, like Rosie, has never come to terms with the death of her first husband, and she enters into a deep depression. James, however loving and caring, is preoccupied with his writing and is unable to pay full attention to the emotional wounds of his wife and stepdaughter. Rosie’s tennis partner, the voluptuous, boy-crazy Simone, only helps add to Rosie’s sense of awkwardness and her preoccupation with body image. Rosie compensates for her insecurities by

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ANNE LAMOTT People were portrayed as Christians, Mattie Ryder is the first of Lamott’s protagonists who is a regular church attendee and who talks to God frequently. Mattie is newly divorced from her husband, Nicky, and therefore is a newly single mother to her young children, Ella and Harry. After her marriage breaks up, Mattie moves back into the dilapidated house in which she was raised; her mother, Isa, has moved to a retirement community. The house is infested with rats, and Mattie calls an exterminator. The company sends Daniel, who confesses that because it is his first day on the job and he doesn’t like to kill animals, he is not up to the task. Instead, Mattie asks him to chop wood and do other odds jobs. Mattie is reluctant to admit it, but she’s attracted to Daniel—even though Daniel is married and appears to be very much in love with his wife, Pauline (an unstable but beautiful woman), and Mattie herself is still sleeping with her exhusband. Daniel shares Mattie’s faith and agrees to go to her church. Eventually they are accompanied by Lewis, an elderly African American man who resides in the same retirement community as Isa and is a good friend to Mattie’s mother. Other characters include Mattie’s brother, Al, and his girlfriend, Katherine; Neil Grann, a close friend of Mattie’s parents; Neil’s daughter Abby; Neil’s grandson, Noah; and William, with whom she has a brief affair. One day Mattie notices a Volkswagen bus that she believes was owned by her father during the 1960s. She discovers that her father sold the bus to Neil, who then gave it to his daughter, Abby. The driver of the van who bought it from Neil after Abby totaled it tells Mattie that he found an odd collection of items in the glove box, which included a small blue plastic tennis shoe. He gives Mattie the items, and she carries the tiny shoe around with her like a talisman. Mattie and Al also discover other artifacts from their parents’ past in the attic of Mattie’s house, including letters from Neil to their father, Alfred. The brother and sister decide to track down Neil’s daughter, and they discover that she’s mentally ill and living in squalor in a ramshackle beach house. Abby’s son, Noah, works in a nearby town library. As Mattie and Al

dig into the Granns’ past, they discover surprising secrets that apply to their own family. Meanwhile, Isa’s mental state is slowly declining. A defining event occurs when she crashes into heavy equipment on the side of the highway and is arrested for reckless driving and leaving the scene of an accident. Her children recognize that her cognitive processes are waning, and Mattie takes her to the doctor, who says that Isa has suffered a series of small strokes. It is evident that she can no longer live on her own, but she refuses to move to the assisted living section of her retirement community. She insists that Mattie take her in, but Mattie is unwilling. Eventually Isa is forced to reconsider and adjusts to her new circumstances in assisted living after reuniting with an old friend. If Mattie’s relationship with Isa is difficult, her relationship with her ex-husband is complicated. Although Mattie prays for strength to keep from sleeping with Nicky, she cannot resist asking him to come over on some trivial pretense. When she learns that he and his girlfriend, Lee, are expecting a baby, she turns to William, an old acquaintance from middle school. Despite her relationship with William, she still yearns for Daniel, and eventually her affair with William comes to an end. Daniel moves in with Mattie after he and Pauline dissolve their marriage. Blue Shoe echoes familiar themes from Lamott’s previous memoirs and novels, including alcohol abuse, challenges of single parenthood, and the influence of faith on one’s life. The novel adds a new element, however, not found in her pervious work—the portrayal of Isa’s battle with Alzheimer’s disease and her family’s struggle to compassionately deal with the effects of her mental decline, including their attempts to find her the right care. Mattie’s struggle to attend to her mother touches on a larger societal problem as baby boomers strive to provide for their aging parents’ needs. Lamott’s own mother, Nikki, who passed away in 2001, also suffered from Alzheimer’s disease, and Lamott’s heartwrenching portrayal of Isa’s confused state is no doubt drawn from life.

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ANNE LAMOTT Although readers may identify with Mattie’s struggle to care for her mother, Mattie’s overt Christianity is another matter. In the eyes of some, Mattie’s love affairs could be seen as antithetical with her profession of faith. Mattie is far from a perfect believer, which is typical of how Lamott views human nature: Christians, like anyone, are by definition flawed and fallen and need to be redeemed from their brokenness. Lamott’s editor warned her that some readers would be “turned off” by Mattie’s habit of chatting with God; Lamott, however, did not accept his criticism, responding that she refused to be censored. Lamott feels that in portraying Mattie as an imperfect human being, she is merely telling the truth as she sees and has experienced it. She noted in an interview with Agnieszka Tennant for Christianity Today: “I wanted to write about a character who is a Christian and yet not the kind of Christian that you might encounter at a Christian bookstore. Somebody who is crabby—you know, like me—and lusty, and a mess, and a true believer.”

one safe place to another. Like lily pads, round and green, these places summoned and then held me up while I grew. Each prepared me for the next leaf on which I would land, and in this way I moved across the swamp of fear and doubt. When I look back at some of these early resting places—the boisterous home of the Catholics, the soft armchair Christian Science mom, adoption by ardent Jews—I can see how flimsy and indirect a path they made. Yet each step brought me closer to the verdant path of faith on which I somehow stay afloat today. (Traveling Mercies, p. 3)

In addressing her bohemian family life, her coming of age in California during the hippie movement, her drug and alcohol abuse, abortion, unhappy love affairs, and unconventional religious conversion, she doesn’t sugarcoat any of her faults. Instead, she admits to being a “bad born-again Christian” but doesn’t hesitate to proclaim her faith: “I am a believer, a convert. I’m probably about three months away from slapping an aluminum Jesus-fish on the back of my car, although I first want to see if the application of stickum in any way interferes with my lease agreement” (p. 61). Although her love for Jesus has saved her from her self-destructive tendencies, her faith has not transformed her into a conservative fundamentalist. She remains a socially conscious, politically liberal feminist. One might assume that her liberal thinking would lead her to be more tolerant of other points of view within the Christian community. However, dedication to liberal causes seems to make her just as intolerant as those on the Christian right. In “Knocking on Heaven’s Door,” she tells the story of a crosscountry flight where she is seated beside a man who is enjoying Left Behind, a best-selling novel about the Apocalypse by the fundamentalists Tim LaHaye and Jerry Jenkins. Lamott had been critical of the book in a review, calling it “hard-core right-wing paranoid anti-Semitic homophobic misogynistic propaganda—not to put too fine a point on it” (p. 60). Her traveling companion also sizes her up and seems to be just as unaccepting of her as a fellow believer, despite the small gold cross she wears. Then he draws a line in the sand when he tells her that he and his wife are homeschooling their children because they dislike the radical feminist direction of his

SPIRITUAL MEMOIRS

Lamott’s trilogy of spiritual memoirs has allowed her to slip from the constraints of fiction and candidly write about her life as an imperfect true believer. In February 1996, Lamott began a new venture, “Word by Word,” a column for the online magazine Salon. The columns took the form of a diary, not unlike her brief entries in Operating Instructions, and became the basis for the twenty-five essays in Traveling Mercies: Some Thoughts on Faith. The essays cover familiar themes that thread through her previous work, including dealing with aging, coping with loss, struggling with low self-esteem, parenting, and recovering from substance abuse. However, her reflections concerning her troubled past are illuminated by her Christian faith and open a window on how her belief shapes her life. Lamott opens this 1999 collection with a stunning image of how she views her spiritual growth. Tracing her progression from agnostic to devout believer, she notes: My coming to faith did not start with a leap but rather a series of staggers from what seemed like

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ANNE LAMOTT county’s school system. The tension between them is defused, however, when a crisis during the flight opens their eyes to the fact although they hold opposite political views, their mutual Christian faith transcends their differences. Some of the most delightful essays in the collection reflect Lamott’s views on parenting. She is no longer coping with the financial worries and new-mother jitters that were so evident in Operating Instructions. Now that Sam is older a new set of challenges awaits them both, which is often characterized by a battle of wills. In “Why I Make Sam Go to Church,” she initially answers the question by saying, “I make him because I can. I outweigh him by nearly seventyfive pounds” (p. 100). Her real reasons, however, go far deeper and are more complex than the threat of physical strength. The diverse, activist congregation at St. Andrew offers Sam opportunities to observe how Christians who are committed to the tenets of their faith can transform the lives of their neighbors. The people of St. Andrew take Jesus’ second great commandment—“Love thy neighbor as yourself”—seriously, as Lamott discovers when she is pregnant with Sam:

programs on Ash Wednesday. Leaving the house to walk off her anger, Lamott ponders the meaning of ashes: “I thought about ashes. I was sad that I’m an awful person, that I am the world’s meanest mother. I got sadder. And I got to thinking about the ashes of the dead” (p. 94). Her thoughts lead her to the memory of scattering a handful of Pammy’s ashes in San Francisco Bay years before. Her description of the gritty texture and “metallic” taste of her friend’s remains makes her grief less abstract and more concrete. Her meditation on death turns her thoughts back to Sam, and she realizes that someone who loves her son may scatter his ashes to the wind one day. With this painful recognition of Sam’s mortality in mind, she trudges home to resolve the differences between her and her son. Negative self-image is a major concern in Lamott’s work, and her preoccupation with her appearance is revealed in two essays, “The Aunties” and “Sister.” In “The Aunties,” a euphemism Lamott uses to describe her “feta-cheese” thighs, she addresses her insecurity about her aging body. Her self-deprecating humor is apparent when she tells how she squeezes into a too-small black bathing suit and “waddled down to the beach” during a Mexican vacation. She decides to treat her thighs “as if they were beloved elderly aunties, the kind who did embarrassing things at the beach, like roll their stockings into tubes around their ankles ѧ It did not trouble me that parts of my body—the auntie parts—kept moving after I had come to a full halt. Who cares? People just need to be soft and clean” (p. 202).

Now, a number of the older black women live pretty close to the bone financially on small Social Security checks. But routinely they sidled up to me and stuffed bills in my pocket—tens and twenties. It was always done so stealthily that you might have thought they were slipping me bundles of cocaine. One of the most consistent donors was a very old woman named Mary Williams, who is in her mid-eighties now, so beautiful with her crushed hats and hallelujahs; she always brought me plastic Baggies full of dimes, noosed with little wire twists.

Although it seems she’s on the road to selfacceptance, the lean, athletic bodies of the young women cavorting on the beach bring her up short. Confronted with society’s idealized standard of beauty, she grasps for reassurance: “Yet here I was, almost naked, and—to use the medical term—flabbier than shit, but deeply loyal to myself” (p. 205). Her response to feeling exposed and vulnerable is to return to her hotel and nurture her less-than-perfect body by applying rose-scented oil to her legs and dressing in her best clothes. She cannot turn back the clock, but she can “shine a little light on oneself” by being kind and gentle to her body.

(p. 101)

Lamott has found comfort and encouragement in her church community, and she wants to share that sense of belonging with Sam. Of course she realizes that Sam must find his own way spiritually, but she and her fellow parishioners are at least laying a foundation to which he can return if he loses his way, as she did. Lamott’s concern about her parenting skills serves as a launching point to a meditation on mortality in “Ashes.” She begins by describing a heated argument she has with Sam when he refuses to forego one of his favorite television

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ANNE LAMOTT “Sister” addresses another of Lamott’s longstanding preoccupations—her frizzy, unruly hair. Smarting over the teasing remarks she endured from friends and family over the years, she tried everything to tame and straighten her hair. Two African American friends, a mother and daughter, suggest that she allow them to weave her hair into dreadlocks. At first she refuses because she believes that “it was presumptuous to appropriate a black style for my own liberation” (p. 234). Finally she accepts their invitation and experiences spiritual and emotional emancipation. As her neighbors weave the strands of her wiry hair, Lamott likens the encounter to receiving a sacrament: “I felt the connection and the tenderness, the reciprocal healing offered by the laying on of hands ѧ Marlene worked with the grave sense that we were doing something meaningful— politically, spiritually, aesthetically” (p. 236). The ritual has a transforming effect on Lamott. As she looks in the mirror, instead of a woman whose hair looks like she “stuck her finger in a light socket,” she sees someone “beautiful— royal, shy, groomed. Beautiful. Strange. Mulatto” (p. 237). All the scars from the barbs she received over the years begin to heal, and she feels liberated from her insecurities and valued for who she is.

reminiscent of the episode in Traveling Mercies where her friends weave her hair into dreadlocks. Kornfield’s gift reminds her of other red cords—Christ’s blood, umbilical cords, and the red cord the Israelite spies give to Rahab to tie to her window so that she will be spared during the invasion of Jericho. Each of these red cords symbolize connection—Christ’s blood as the link to a loving, forgiving God; the umbilical cord as the life-giving link between mother and child; Rahab’s cord as a device that displays her association with the chosen people; and Kornfield’s cord as a token of friendship, love, and affirmation. Yet connection can be a tenuous state, easily broken, as Lamott discovers when, full of the peaceful fruits of her reflection, she arrives home and fights with Sam about his nonchalant attitude concerning an unfinished homework assignment due the next day. In a rage, she leaves with her dog, Lily, to walk off her anger in the hills behind her house. After a period of reflection, she looks down to see that she has stepped in excrement on the ground. She cleans off her shoe with a stick and wonders, I don’t know why God won’t just spritz away our hardships and frustration. I don’t know why the most we can hope for on some days is to end up a little less crazy than before, less down on ourselves. I don’t know why we have to become so vulnerable before we can connect with God, and even sometimes with ourselves.

She reflects on life as she enters middle-age in Plan B: Further Thoughts on Faith, published in 2005. Similar in composition to Traveling Mercies, the book comprises twenty-four essays that deal with aging, parenting, reconciliation, mortality, doubt, faith, and spiritual and emotional growth. This body of work reveals a mellower, less neurotic Lamott who strives to live more deeply and embrace each day as a gift. The second essay, “Red Cords,” sets the tone of reverence that runs throughout the collection. She begins by telling the story of how she, a Presbyterian, came to wear a thin red cotton cord on her wrist. Jack Kornfield, a well-known Buddhist author, tied it on Lamott’s wrist during one of their frequent walks together as a reminder that she is deserving of love and acceptance. He remarks, “You have gotten an A-plus, Annie, for your work during this life” (Plan B, p. 25). His gentle action approaches the sacramental and is

(p. 28).

Yet true connection requires vulnerability and humility found in the untidiness of life. Reconciliation is the subject of the essay titled “Sam’s Dad.” Lamott had not written about John, Sam’s father, since she mentioned him briefly and with bitterness in Operating Instructions. Yet the fact that she had kept two pictures of John demonstrates that she instinctively knew the subject was not closed and that Sam would one day ask about his father. At age six, he does and when he is seven, Lamott and her son launch a concentrated search after she receives a note from John that was “one sentence of grief and pride and outreach” (p. 35) but that did not provide a phone number. Feeling her son’s frustration and pain, she prays one of her

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ANNE LAMOTT favorite prayers, “Help me, help me” (p. 36). A week later, she sees the obituary of John’s father in the newspaper and is finally able to get in touch with him. After their initial meeting, John waits for Sam after school. When a classmate asks Sam who the man is, Sam replies proudly, “Oh—that’s my dad.” Although the story of John and Sam’s reconciliation ends happily, Lamott stresses that “things are not perfect because life is not TV and we are real people with scarred, worried hearts. But it’s amazing a lot of the time” (p. 40). Lamott’s third spiritual memoir, Grace (Eventually): Thoughts on Faith, was published in 2007. Now in her mid-fifties, Lamott in this book is at her most political, openly and unapologetically proclaiming her liberalism, weighing in on controversial issues such as abortion, euthanasia, and the war in Iraq. She is also at her most poignant as she reflects on her mother’s death from Alzheimer’s; her increasingly contentious relationship with Sam, who is now a sometimes surly teenager; and her own personal and spiritual growth. As the word “eventually” in the title suggests, this collection of twenty-four essays does not represent the conclusion of Lamott’s personal story. She sees herself and her life as works in progress, and most of the essays close on an open-ended note.

so she decides to stage a protest on July 14, 2006. She issues a rallying cry in her online column for Salon and imagines a large turnout where her compatriots would turn off their cell phones for the day; wear green to show their connection to the natural world; plant bulbs; and share food with the hungry. Her dreams of transforming the world fall on deaf ears, and the grand mass demonstration she envisions turns out to be a lonely protest of one as she stands under a tree downtown wearing a green T-shirt and carrying a homemade sign proclaiming “One People. One Planet. One Future.” Except for one hostile man in a wheelchair, she receives no response to her “revolution.” The world has changed in more ways than she thought, and she makes her way home, wondering if October, just before the election is held, would be a more opportune time to hold a protest. Not all of Lamott’s efforts to speak out on social issues are ignored. During the weekend of January 14, 2006, Lamott, along with Jim Wallace the founder of Sojourners, a progressive Christian organization, and Father Richard Rohr, a Catholic priest, participated in a panel discussion at a conference titled “Politics and Spirituality: Seeking a Public Integrity.” Lamott reports in her essay “The Born” that a man from the audience took the microphone and asked how the panelists could stand for peace and justice and at the same time countenance the “murder of a million babies every year in America” (p. 100). The other panelists react evasively, trying to neutralize the tension in the room. When the moderator asks Lamott if she wants to respond, she writes: “I did: I wanted to respond by pushing over the table” (p. 100). She tries to curtail her anger but cannot stop it from spilling over and launches an impassioned defense of “women whose lives had been righted and redeemed by Roe v. Wade” (p. 101) and insists that “a woman’s right to choose was nobody else’s goddamn business” (p. 102). She had stepped across a line, which was made plain by the shocked silence that gripped the room. She views her stance on abortion as a moral imperative and believes it is socially irresponsible to bring unwanted children into the world who are likely to be victims of poverty.

In an essay titled “Junctions,” she rails against the current political and social predicament: I went home and read The New York Times, usually one of my favorite things, but today it made me crazy. Where will the madness end? The great Andean glaciers are now melting! George Bush’s decisions and movements will take a thousand years to recover from, because his people have done such major damage everywhere. We have become a country that you wouldn’t want to leave your children alone with. (Grace, p. 234)

She realizes, however, that fuming about the deplorable state of the nation will not necessarily change anything. In “Bastille Day,” she wants “to figure out how to say, ‘Enough’—and be part of the revolution that would save the world. Or at least help people keep the faith” (p. 214), and

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ANNE LAMOTT Many Christians would disagree with her conclusions. Her vehement response, however, demonstrates her commitment to tell the truth as she sees it, not only as a writer but as a believer as well.

incomplete in the course?” (p. 94). The essay powerfully illustrates her deeply held belief in a person’s freedom to choose his or her own destiny. In her previous memoirs, she is straightforward about her troubled history with drugs and alcohol, as well as her psychological and emotional vulnerabilities. Her personal struggles are disturbing but are common problems with which many people can empathize. In “The Born” and “At Death’s Window,” however, she explores broader issues from a position of extreme social liberalism that has made her a controversial figure within the Christian community and caused her to be excoriated by rightwing, centrist, and even some progressive Christians.

Perhaps the most startling example of the views she holds that at odds with traditional Christianity is revealed in “At Death’s Window.” She begins the essay with the words: “The man I killed did not want to die, but he no longer felt he had much of a choice” (p. 91). She goes on to tell the heartbreaking story of her good friend Mel, who suffered from terminal cancer. As Mel’s health declines, Lamott offers to “help him die on his own terms, if he wanted” (p. 93). It is not the first time she has entertained the possibility of euthanasia. Years before, she and her brothers were prepared to administer a lethal overdose to their father should he ask, but the rapid decline in his level of lucidity prevented him from making the request. Mel, however, remains mentally competent to the end, and as he becomes worse, he and his wife, Joanne, eventually decide to accept Lamott’s proposal. Although Lamott admits nervousness about how she should proceed, she describes almost dispassionately her clandestine attempt “through underground ways” (p. 96) to procure the necessary lethal dose of drugs. When the time comes, she crushes the pills, mixes them with applesauce, and administers them to her friend. He bids them good-bye and peacefully falls asleep, never to awaken. The essay could be regarded as a confession, yet there is no indication that Lamott feels guilt or doubt about her actions. Her response to Mel’s suffering is consistent with her long-held beliefs concerning euthanasia. She notes that at first Mel found her advocacy of assisted suicide incongruous with her Christian faith. Lamott has demonstrated throughout her work that she is little interested in doctrine, and she does not try to reconcile her belief in euthanasia with Christian theology. Instead she comments: “I believe that life is a kind of Earth School, so even though assisted suicide means you’re getting out early, before the term ends, you’re going to be leaving anyway, so who says it isn’t okay to take an

Apart from airing her political views, Lamott also includes essays on familiar and less controversial subjects. In “Samwheel,” Lamott offers a glimpse of how she deals with a rebellious seventeen-year-old who has just gotten his driver’s license. Similar to several essays in other collections that focus on her relationship with her child, “Samwheel” begins with a fight between mother and son. Sam has only half-heartedly complied with the chore he’s been assigned, of washing the two family cars; they are still dusty and dirty. When Lamott accuses him of lying to her about washing the automobiles, Sam replies, “I’m not a liar. I just did a lousy job” (p. 188), and she slaps him for his insolence. Guiltstricken, she takes off in her car and muses about the pitfalls of being the parent of a mouthy teenager. She grieves because she feels “that the boy I loved is gone, and in his place is this male person who pushes my buttons with his moodiness, scorn, and flamboyant laziness” (p. 189). She laments the wonderful years they shared until his junior year in high school, “when the tectonic plates shifted inside him,” and wonders “What has happened? Who is this person?” (p. 191). Her questions are typical of generations of parents, including her own father and mother, who have wrestled with teenage defiance and insubordination. As she mentally flagellates herself for her own bad behavior, she suddenly understands that he has his own sins and his own will, and he is ultimately responsible for his own

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ANNE LAMOTT actions. Part of our flawed human nature is that we occasionally are cruel toward each other, but we also have the ability to forgive. Mother and son do eventually forgive one another, but Lamott realizes that forgiveness is only the first step in healing the breach between them.

OTHER WORKS Bird by Bird with Annie: A Portrait of Writer Anne Lamott. Film by Freida Lee Mock. Sander and Mock Productions, 1998. Word by Word. Audio CD of Anne Lamott, recorded at an Austin Writer’s League Seminar in 1996. Writer’s AudioShop, 2004. Hard Laughter. Play adapted from Lamott’s 1980 novel by Ann Brebner and Laurel Graver; directed by Jayne Wenger, and produced at the Wooden Duck in San Rafael, California. Sixteen performances, April 25–May 18, 2008.

Lamott has commented that her objective is to write books that she herself would enjoy reading—books that tell the truth and make her laugh. The frequent appearance of her fiction and nonfiction at the top of the best-seller lists attests to the fact that readers can identify with her flaws and insecurities and appreciate her honesty and humor. Although her later work is unabashedly Christian in terms of Lamott’s worldview, the subjects she treats—personal insecurity, loss, the search for something greater than ourselves, the fear of death—are universal concerns that make us human and touch the lives of us all.

CRITICAL AND BIOGRAPHICAL STUDIES “Anne Lamott.” Contemporary Authors Online, Thomson Gale, 2007. Domina, Lynn. “Lamott, Anne.” In American Women Writers: A Critical Reference Guide from Colonial Times to the Present, 2nd ed. Edited by Taryn Benbow-Pfalzgraf. Vol. 3. Detroit: St. James Press, 2000. Pp. 2–3. Espinoza, Galina, and Karen Brailsford. “Open Book: Drawing on Her Trials—from Alcoholism to Her Mom’s Alzheimer’s—Writer Anne Lamott Bares All in Her Work” People, November 25, 2002, pp. 149–150. Patterson, Margot. “Carbonated Holiness: In Their First Encounter, Writers Anne Lamott and Elizabeth Gilbert Fizz with Wit.” National Catholic Reporter, April 18, 2008, pp. 17–18. Tennant, Agnieszka. “‘Jesusy’ Anne Lamott: Chatting with a Born-Again Paradox.” Christianity Today, (http://www. christianitytoday.com/ct/2003/january/8.56.html) January 1, 2003. Weaver, Wendy A. “Journeys Toward Hope: The Quest of Delbanco’s The Real American Dream in the Autobiographical Writings of Anne Lamott and Kathleen Norris.” Logos: A Journal of Catholic Thought and Culture 5:124– 134 (fall 2002).

Selected Bibliography WORKS OF ANNE LAMOTT NOVELS Hard Laughter. New York: Viking, 1980. Rosie. New York: Viking, 1983. Joe Jones. San Francisco: North Point Press, 1985. All New People. San Francisco: North Point Press, 1989. Crooked Little Heart. New York: Pantheon, 1997. Blue Shoe. New York: Riverhead, 2002. Imperfect Birds. New York: Riverhead, 2010.

INTERVIEWS Ashbrook, Tom. “Anne Lamott on Faith.” On Point Radio (http://www.onpointradio.org/2007/03/anne-lamott-onfaith), March 23, 2007. Buturian, Linda. “Media Diet: Anne Lamott.” Utne Reader, May–June 1999, pp. 110–111. Elam, Angela. “A Good Story to Tell.” New Letters 73:117– 132 (fall 2007). Feinsilver, Pamela. “Anne Lamont: The California Writer Talks About the Birth of Her Son and the Rebirth of Her Career.” Publishers Weekly, May 31, 1993, pp. 30–31. Fisk, Molly. “Anne Lamott: One Bird at a Time” Poets and Writers, September 1996, p. 52. “God Lets Me Start Over.” Christian Century, July 8, 1999, pp. 743–744.

NONFICTION Operating Instructions: A Journal of My Son’s First Year. New York: Pantheon, 1993. Bird by Bird: Some Instructions on Writing and Life. New York: Pantheon, 1994. Traveling Mercies: Some Thoughts on Faith. New York: Pantheon, 1999. Plan B: Further Thoughts on Faith. New York: Riverhead, 2005. Grace (Eventually): Thoughts on Faith. New York: Riverhead, 2007.

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ANNE LAMOTT What It Takes To Be a Writer.” New York Times Book Review, March 5, 1995, p. 19. (Review of Bird by Bird.) Hall, Alexandra. Review of Traveling Mercies: Some Thoughts on Faith. New York Times Book Review, March 7, 1999, p. 19. Innes, Charlotte. “What Would Jesus Do?” Nation, November 18, 2002, pp. 56–58. (Review of Blue Shoe.) Ives, Nancy R. “Joe Jones.” Library Journal, May 1, 2004, p. 154. (Review of the Joe Jones audiobook.)

Kovach, Ronald. “Straight Shooter: Anne Lamott Succeeds with Honest Writing.” Writer, April 2003, pp. 24–29. Lachnit, Caroll. “Anne Lamott: Taking It Bird by Bird.” Writer’s Digest, June 1996, p. 30. McDermot, Molly. “The Writer Women Love.” Redbook, December 1997, pp. G8–G9. Nelson, Dean. “A Conversation with Anne Lamott.” University of California Television (http://www.uctv.tv/searchdetails.aspx?showID=12220), February 9, 2007. Reichl, Ruth. “At Home with Anne Lamott: Laughter, Death, Lollipops.” New York Times, December 1, 1994, pp. C1, C10.

Jones, Malcolm, Jr. “Lowercase, High Class.” Newsweek, April 28, 1997, pp. 78–79. (Review of Crooked Little Heart.) Lemmel, Barbara. “Eavesdropping.” Christian Century, January 10, 1999, p. 53. (Review of Operating Instructions: A Journal of My Son’s First Year.)

REVIEWS Baker, Thomas. “California Dreamin’.” Commonweal, March 9, 2007, pp. 29–30. (Review of Grace [Eventually]: Thoughts on Faith.) Bausch, Richard. “Look Deep into Your Life.” New York Times Book Review, October 22, 1989, p. 8. (Review of All New People.) Bochynski, Pegge. Review of Traveling Mercies: Some Thoughts on Faith. In Magill’s Literary Annual, Pasadena, Calif.: Salem Press, 2000. Pp. 764–767. Cassidy, Thomas. Review of Crooked Little Heart. In Magill’s Literary Annual, Pasadena, Calif.: Salem Press, 1998. Pp. 211–215. Cheever, Benjamin. “Like Watching Tennis.” New York Times Book Review, August 17, 1997, p. 21. (Review of Crooked Little Heart.) Dederer, Claire. “I Like Me, I Really Like Me: Anne Lamott’s New Age Heroine Learns to Accept Her Imperfections.” New York Times Book Review, October 13, 2002, p. 34. (Review of Blue Shoe.) Dukes, Carol Muske. “Just Do It: A Common-Sense Look at

Review of Grace (Eventually): Thoughts on Faith. Publishers Weekly, January 29, 2007, p. 60. Review of Hard Laughter. Publishers Weekly, August 8, 1980, p. 78. Review of Traveling Mercies: Some Thoughts on Faith, by Anne Lamott. Publishers Weekly, December 8, 1998, p. 43. Tyler, Anne. “A Good Family.” New York Times Book Review, October 12, 1980, p. 11. (Review of Hard Laughter.) Winner, Lauren F. “Born Again, Again: Anne Lamott Is Still Thinking About Her Faith, Her Family and Her Thighs. ”New York Times, May 1, 2005, p. G30. (Review of Plan B: Further Thoughts on Faith.) ———. “Tales of a Reluctant Convert.” Christianity Today, February 8, 1999, pp. 76–78. (Review of Traveling Mercies: Some Thoughts on Faith.) Zaleski, Jeff. Review of Blue Shoe. Publishers Weekly, August 26, 2002, pp. 40–41.

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REGINALD McKNIGHT (1956—)

Stefanie K. Dunning THE WORK OF Reginald McKnight has been hailed as exemplifying the “New Black Aesthetic,” the term coined to describe contemporary African American post–civil rights era literature. The characteristics of this new black aesthetic include protagonists who are black and yet deeply involved with what we might call the larger white society. Their stories involve complex negotiations of identity where little is stable, and, in post-modernist fashion, essentialized notions of what it means to be black or white are contested and the boundaries of identity redrawn. The kind of cultural work McKnight does is exemplified by his critique of what constitutes black ways of speaking. He argues that there is no one black way of speaking—that however any black subject speaks makes that speech black. So even someone like Bryant Gumbel, often held up as the farthest from representing authentic black identity, speaks in a black idiom, according to McKnight.

Only he, however, seems to notice any troubling telltale marks of miscegenation, so the reader is left to wonder if he is crazy and is projecting his lynching and raping rampages from another time into the present (in this story, 1965) or if it is possible that the child is his. “Rebirth” reprises James Baldwin’s title story from the collection Going to Meet the Man (1965). In Baldwin’s story, a white man dreams of lynching a black civil rights protester, and part of his wish is granted when he is able to brutalize the man in jail. Baldwin captures the erotic component of the lynching desire well, and these subtleties are also present in McKnight’s story, exploring the nausea of racial hatred that is at once murderous and lustful. McKnight’s story goes further than Baldwin’s, however, as Treadwell believes that the child is his. Thus, McKnight dramatizes the entanglement of his racist white characters with the black characters in a way that isn’t staged in the Baldwin story. It is the knowledge and recognition of his potential offspring that perhaps alters the old man’s behavior toward the newborn. The title of the story seems to play with the idea of exactly who is reborn; is one to think that this infant is this old man’s chance to live again?

The new black aesthetic is evident in all of McKnight’s work, which takes racial metaphors of American and African American literature and revisits them to expose the persistence of racism while at the same time offering new readings of, and fresh ways of experiencing, the question of racial identity in a post–civil rights era America. An example of the way McKnight restages moments from American literature can be seen in his short story “Rebirth,” the final story of his 1988 prizewinning collection, Moustapha’s Eclipse.

Treadwell’s conflict does not redeem the old man; instead it shows that he can only feel tenderness for a person he perceives to be an extension of himself. Maggie Green, the maid, Tossie, Maggie’s mate, his stepdaughter Clara, and even his wife LouEllen are summed up as either just “niggers” or “goddamn wom[e]n” (p. 121). About Maggie, he says, “She’s only got two things she’s good for. Housekeeping’s one ѧ” (p. 124). These insults mirror his contempt for everyone in the story except the only other white man, Myron, who takes a much less harsh view of “niggers” than Treadwell does.

Theodore Treadwell, the white and elderly protagonist in “Rebirth,” is about to throw his black maid’s baby to the ground in a rage when the newborn opens his eyes to reveal that they are gray, like his are. Treadwell takes this as a sign that the child is his, having already confessed to raping the maid on more than one occasion.

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REGINALD McKNIGHT “Rebirth” provides a stark and telling contrast to the title story, “Uncle Moustapha’s Eclipse,” in which the main character, Idi, tells tale after tale to the American protagonist, an anthropologist collecting African folktales. McKnight’s African characters work as the opposite of the white American characters, and rather than pushing the protagonist away, they pull him closer, often against his will. Conversely, the white characters (like Treadwell) fight desperately to keep themselves separate from the black people around them. The Senegalese characters in this collection of short stories offer kola nuts, beer, prostitutes, and endless fantastic tales of their escapades. They invite the American in, even though he isn’t always sure that “in” is where he is going when the story begins. Treadwell, on the other hand, works hard to maintain and enforce a constantly collapsing gap between himself and black “others.”

African American who takes a position with the Peace Corps in Senegal for multiple, but largely indeterminate, reasons. We meet Evan as he rides on a bus and experience with him his revulsion toward the people around him (especially toward a boy standing beneath him whose head is covered with crusty sores) and his desire for a woman against whom he presses himself in the crowd. The experience on the bus is surreal, and, like Evan, the reader does not know what is reality, and what is malaria-induced delusion. McKnight uses Evan’s Western presumptions about African voodoo against the reader. Evan, of course, doesn’t truly believe in the supernatural. At the same time, when he does begin to ponder whether some of the experiences he’s having are indeed magical, his perception of these events will be clouded by his Western notions about African spirituality. Later, Aminata, the Senegalese woman with whom Evan falls in love, mocks Evan’s perception of African spirituality. She argues that Western fear about African spiritual beliefs would be akin to her fearing America because of tales about vampires and werewolves. Evan is chastised by this perfectly logical reading of the cultural presumptions of Westerners, but that doesn’t prevent him from having a series of undoubtedly reality-bending experiences.

AFRICAN AMERICANS IN AFRICA

Many of McKnight’s stories are set in Senegal, in western Africa. In addition to both of his novels, several of his short stories are set there as well. McKnight’s work, set in Africa and in the United States, naturally invites comparison between the two locations and between the two peoples. McKnight illustrates these differences without suggesting that somehow Africans are better than white Americans. The welcoming, but not always honest, Senegalese characters serve to show how reserved the American protagonist is and therefore critique American identity in general. McKnight’s American protagonists in the African stories are not malicious like the white American characters are in other stories, but these Americans are no Afrocentric optimists, either. They do not look for an “authentic” black experience. They are foreigners there, not “brothers,” and McKnight’s stories at once resist the temptation of a Pan-Africanist ethos, while at the same time presenting the American sensibility as paranoid, stunted, and incomplete. These issues of race and nationality take on amazing life in McKnight’s first novel, I Get on the Bus (1990). Evan Norris is a middle-class

The novel’s bus itself is not a normal bus, and the novel’s narrative style mimics Evan’s ride. The protagonist is never quite clear why he got on the bus or where exactly he is going; likewise, the reader feels as if she is going somewhere, that she will discover something as the novel progresses, but what is shown, instead, is a pastiche of Evan’s life. In a seeming fugue state, Evan finds himself at the house of a Monsieur Dueye, who nurses him back to health. Monsieur Dueye is a marabou, an African healer, and in addition to sheltering Evan during his illness, he gives him a strange red tea. Presumably this causes the hallucinations Evan is never able to decode. Every relationship Evan has in Senegal disintegrates into confusion; his love affair with Aminata (Monsieur Dueye’s daughter), at first innocent and exciting, becomes yet another enigma he is destined not to understand. Like-

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REGINALD McKNIGHT wise, his friendship with a black American expatriate, Ford, demonstrates that no one, American or African, is exactly what they appear to be. Ultimately, Evan’s own sense of himself unravels completely; he’s not sure if he is simply a sick American or a “demm,” a person who eats the souls of others. His voyages on the bus are often conduits for the experience of being in another person’s body. He eventually becomes, temporarily, the woman into which he presses his erect penis on his first bus ride. Throughout the novel, Evan becomes the boy with the sores on his head, Calvin Whitaker, the black man at the American Cultural center where he attempts to get a job, and his black American friend, Ford.

departure point in the Atlantic slave trade, and feels little identification with former slaves. He has none of the venom that Calvin Whitaker of the American Cultural Center has against the Africans, who warns Evan that if “they” could do it all over, they’d happily sell them into slavery again. Evan feels neither racially prideful about his ancestral connection to Africans (as Ford does) or disdainful of them; his feelings about being in Africa are emotionally neutral, while his experiences are charged with confusion, pleasure, and pain. McKnight’s black characters are among the few in contemporary American literature that do not rehearse the themes of black anger or black oppression in a way that is as predictable as it is understandable. This does not mean, of course, that his work avoids the question of race or minimizes its importance. In some sense, all of McKnight’s work is about race. But it treats race differently than most American readers might expect it would. His characters do not evidence the same reactions to racism, or discussions of race, that have historically defined black characters in protest literature. McKnight’s work seems less interested in making the case about the injustices of racism. This isn’t because making such a case isn’t important; rather, it is because the case has been made and made well for generations by talented writers of all backgrounds. McKnight’s work presents an aspect of black experience which exposes the uneasy relationship that the middle class, the “cultural mulatto,” to use his term from I Get on the Bus, has to blackness and all the expectations embedded in the term “black.”

Evan is not simply a toubob, Wolof for “outsider” or “stranger,” with the magic of Africa being enacted upon him; he’s magic himself. When a bewitched dog is made to follow him, Evan is told that the animal is afraid of him. He doesn’t understand the magic he is part of, and Evan looks endlessly to the people around him— his Senegalese host family, his American friend, his girlfriend, even his girlfriend’s betrothed fiancé—to find the answers about his pointless bus rides, his horrible headaches, his body’s jumping and his inability to keep food down. Is it malaria? He asks everyone. He is advised to go home on more than one occasion, but he resists. Somehow, Evan cannot pull himself away from the drama of his life in Senegal. He admits, throughout the novel, that though he knows he is deteriorating, he is enjoying his descent; the spectacle of his demise, he says, is like being high. I Get on the Bus dramatizes the crisis of identification that many of McKnight’s protagonists experience. Evan is middle-class and, devoid of a kind of racial angst, characterizes many representations of the contemporary black subject. Evan never expresses a desire to find his black self in Africa, and only chooses Senegal to appease the nationalist invective of his girlfriend, Wanda. Originally he’d planned to go to Central America, but he chose Senegal and is happy that Wanda is satisfied that at least he’ll be around black people. Evan himself feels no particular allegiance to the Senegalese, or any Africans for that matter, due to race. He visits Goree Island, a

Wanda, Evan’s American girlfriend, articulates a traditional, black nationalist stance on the race question when she tells Evan that white people can never really love black people, can never really be friends with black people. Evan never adopts Wanda’s position on black-white relations, but he does want to appease Wanda. In fact, the most striking aspect of Evan’s personality—and what separates him from Wanda and the Senegalese—is his inability to say no to anyone. Evan has no filter, neither for his white friends in Denver nor his black lover, Wanda, nor the Sene-

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REGINALD McKNIGHT galese people he befriends. It is this aspect, this rejection of no one, which reads in a black nationalist context as lack of pride, which translates into a kind of cultural impotency. This kind of disintegration of blackness, or lack of valuation of it, has been fiercely resisted in the black community because for many it bleeds too effortlessly into the white supremacist agenda of black oppression. But this reading of a kind of non-grasping relationship to blackness misses the significant work such renderings of blackness do in the humanizing project of the black “other.” It is, actually, only this kind of representation of the black subject than can undo, or effectively deconstruct, the other. Holding firmly to blackness, whether it be a denigrated or prideful representation of such, only cements the “other” in our consciousness. McKnight’s protagonists contest the construction of all of these black others, even those that ostensibly are positive representations of blackness.

Marine Corps. He was honorably discharged in 1976 and returned to Colorado, where he enrolled at Pikes Peak Community College. He went on to graduate with honors from Colorado College in 1981. Ultimately, McKnight would complete a master’s degree at the University of Denver in 1987. McKnight taught at several universities and in 1981 received a Thomas J. Watson Foundation fellowship, which enabled him to spend a year in Senegal, western Africa. He would spend a second year in Senegal teaching English at the American Cultural Center. Both critics and McKnight himself have noted the importance of his time in Senegal on his work. McKnight has admitted that he didn’t consider himself a writer until he went to Senegal, and several critics note that it is the polarity between the African and American experience that influence and nuance McKnight’s work in important ways. McKnight continued to work in higher education, holding a variety of positions in American universities. As his fiction received more critical acclaim, he found employment at increasingly more prestigious institutions. Though he started his teaching career, upon returning from Senegal, at Arapahoe Community College, he would eventually work at the University of Pittsburgh and Carnegie Mellon University. A much-noted incident at the University of Pittsburgh influenced McKnight’s career. Upon learning that his colleagues had told racist jokes at a party, McKnight decided to leave the university. He notes that he could not continue to work with people he knew harbored such thoughts, and that as the days passed his dislike for his racist colleagues grew ever more intense. It was this incident which precipitated his move to the University of Maryland in 1994. As of 2009, McKnight was Hamilton Holmes Professor of English at the University of Georgia. Critical reception of McKnight’s work has been good; his book of short stories, Moustapha’s Eclipse, in addition to winning the Drue Heinz prize in 1988, also won the 1989 Ernest Hemingway Foundation award from PEN American Center. The critical acclaim afforded Moustapha’s Eclipse opened doors for McKnight’s career and

CHILDHOOD, YOUTH, AND CAREER

Reginald McKnight was born to Frank and Pearl Anderson McKnight on February 26, 1956, in Fürstenfeldbruck, Germany. His father was a cook in the U.S. Air Force, and originally stationed in Germany. McKnight is what in common parlance is often called an “army brat,” having moved frequently throughout his childhood. McKnight lived not only in Germany but also in New York, Alabama, Texas, Louisiana, and California. McKnight spent many important years in Colorado, however, and considers Colorado Springs and Denver his home. The multiple locations of McKnight’s childhood serve to add flavor to his stories, which take place all over the United States and accurately portray the differences in accent, style, and society in different parts of the country. Because he grew up in so many diverse locations, McKnight has said he “hit the ground running” as a mimic. Interviewers have noted that he can switch from a Southern drawl, to a Middle Eastern accent, to a New Yorker’s voice in the span of a few minutes. McKnight followed in his father’s footsteps and joined the military, enlisting in the U.S.

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REGINALD McKNIGHT established him, early on, as one of the foremost voices in postmodernist fiction. McKnight’s second book of short stories, The Kind of Light That Shines on Texas (1992), was also well received. The title story of that collection won a Kenyon Review New Fiction Prize and an O. Henry Award. McKnight’s novel He Sleeps (2001) also received critical acclaim and explores the complex nature of postmodern black identity.

overlapping interests of Clint and Marvin, while also dramatizing the space between them. Once, when he is alone, Clint licks his arm as Marvin does to himself, wondering what wonder the ritual holds for his fellow student. Marvin is the hero of this story; though Clint avoids him, Marvin spares Clint the humiliation, and the pain, of being beaten up by one of their white classmates. “The Kind of Light that Shines on Texas” is similar to some of McKnight’s other meditations on black relationships. The story implicitly rejects the notion that all black people will get along simply because they are black. It also contests the assumption that the logical, and only viable, response to a racist environment is racial solidarity. These high school students do not band together at all, and they do not constitute a group in the least—even the white bully recognizes differences between them, singling only Clint out and avoiding Marvin. Instead of becoming one homogenous group, each of the three is locked into his or her isolated, individual world. Marvin licks his arm and Ah-so never, ever speaks. Clint just dodges everyone, hoping that no will think he is black like the other black kids yet knowing he’ll never be accepted as white either. The inequality between the black and white characters is not only dramatized by Clint’s trouble with the bully, but also by their teacher, who never praises any black student in the class and makes racist comments.

SHORT FICTION

In addition to contesting the standard literary tropes of blackness, McKnight’s characters often inhabit “other spaces,” where reality bends. In his story “Roscoe in Hell,” in The Kind of Light that Shines on Texas, the main character finds himself in hell after overdosing on crack cocaine. The entire short story occurs in a kind of dreamlike unfolding, where the protagonist, Roscoe, participates in a raucous, bacchanalian party where he is the guest of honor. Though we are made to understand that the character is black, as are many of the people at the party, this story’s racial politics bears little resemblance to McKnight’s other work. Yet what it shares with both He Sleeps (discussed in detail below) and I Get on the Bus is the sense of being elsewhere. Roscoe is not sure if he is dreaming, between life and death, or simply dead and in hell as he has been made to believe. In the title story, “The Kind of Light that Shines on Texas,” the main character, Clint, is only one of three black students at his Texas high school. Predictably, the black kids avoid each other like the plague. One of them, a boy named Marvin, spends all day licking his arm and sleeping. The other, an African girl named Ah-so, sits silent and stony-faced, utterly separate from those around her. Clint is out of his element, but also not quite sure what his element is. He is not one of the white kids, nor does he feel any kinship to the other black kids at the school. Racial tension increases when Clint is challenged to a fight by a bully named Oakley. Marvin intervenes on Clint’s behalf, but is punished for fighting. As he is taken away, he fixes Clint with an unflinching stare. The story poignantly demonstrates the

McKnight’s story “Into Night” explores the brutality of a mother beating her child and contextualizes spanking as another form of racialized brutality against black subjects. A grandmother listens as her daughter beats her son, who, while screaming and crying, pleads, “Mama? Mama? I love you. I love you” (p. 130). The grandmother is shocked that, until she hears her grandson’s screams, she had never questioned the wisdom of this form of discipline. She occupies multiple points on her own historical timeline—she is a child being beaten, a mother beating her child (her daughter, who is now beating her own son), and the witness to her grandchild’s beating. McKnight is able to break through the boundaries of beater/beaten through the character of the grandmother, who develops a fresh critique of spank-

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REGINALD McKNIGHT ing but is unable to do so in a self-righteous manner. In this way, McKnight merges victim and victimizer. McKnight’s story “The Homunculus: A Novel in One Chapter” is the story of man who cloisters himself for days on end and spends all of his time writing. He produces so much text that eventually a miniature “him” is born from the pages. The little man starts to eat all of the text the protagonist has created and grows to full size, becoming a clone of the writer. One cannot help but think of McKnight’s comments about his sojourn in Africa where he confesses he spent the better part of every single day, and night, writing. McKnight’s other stories, especially those which put a black character, usually an adolescent, in an all-white educational environment, also represent the protagonist in a kind of other world, in a dimension separate from an implied realm that is more sane and balanced. All of McKnight’s characters are out of their element, so to speak. But if these protagonists can’t be at home in Africa, or in America, or even in hell, where then is home? McKnight’s novel He Sleeps is a tour de force that interrogates exactly this question. McKnight examines the theme of the almost-but-not-quite-black man in Senegal in his short story “He Sleeps,” and in a novel of the same name. The persistent theme of the black American who realizes the extent of his cultural dislocation by visiting Africa belabors an important point McKnight makes in all of his work: there isn’t one way to understand what blackness is.

relationship to blackness is tenuous and his presence in Senegal is not inspired by any PanAfrican ideology. So when the Senegalese Kourman family moves in, without Milworth’s consent, to his rented house, the quiet aggressiveness of their actions renders Milworth powerless to contest their presence there. They slowly take over every aspect of the house, and Milworth’s nights are soon spent listening to the incredibly attractive Kene Kourman have loud sex with her husband Alaine. This domestic arrangement not only requires the culturally distant Milworth to confront Africanness, and to ponder its relationship to his blackness, but it also foregrounds the crisis around race and sex that drove him to Senegal in the first place. Like Evan, the protagonist in I Get on the Bus, Milworth has terrifying dreams, forcing him to question whether or not the Kourmans are using voodoo against him. At times he wakes up in blood; at other times, he has sexual dreams about Kene. In his usual adroit fashion, McKnight shakes the boundaries between sleeping and waking, between a life dreamt and a life lived, so that Milworth is never quite sure what any of his experiences mean. The novel begins with a letter from Milworth to his sister, Rita, describing his returning home from work one day only to find the Kourman family having lunch in his foyer. The unexpected nature of their arrival, and the fact that they never explain why they are there, parallels the experience of blackness for the postmodern African American. Blackness is an identity that one gets whether one wants it or not; one simply becomes aware of it one day and the subject, literally, must live with it in much the same way Milworth must live with the Kourman family. Frantz Fanon writes famously in his essay “The Fact of Blackness” that the experience of being black occurs at the site of naming, of language: “Look, a Negro!” McKnight’s protagonist’s extended confrontation with the Kourman family plays out the tensions of recognition and desire as they intersect with blackness, fiddling with the notion of the “fact” of blackness and unnerving the supposedly stable boundaries of identity. In his 1993 essay “Confessions of a Wannabe Negro,” McKnight talks

REVISITING AFRICA

He Sleeps is the story of Bertrand Milworth, who goes to Senegal to find himself after his marriage reaches a critical point due to an affair he has. His goal in Africa is to study urban legends, or contemporary Senegalese folklore, but his experiences there are far from academic. He Sleeps completely reworks the interracial narrative in unexpected ways. McKnight’s protagonist, Milworth, is married to a white woman and has, in fact, never had sex with a black woman. His

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REGINALD McKNIGHT about “elbowing” space for himself in black culture. Going to Africa, as problematic as that is (a topic discussed at greater length to come), is one way McKnight finds a place for himself in blackness, as a “deracinated” black man. But that finding of self is not attributable to an African society which holds a special, romantic secret to the black self. Travel works, rather, to help McKnight find himself in history. These complicated negotiations of blackness, from both a historical and literary perspective, frame Bertrand Milworth’s experiences in He Sleeps. The other interlocutor of Milworth’s experience in Senegal is his guide and friend, Idrissa, who is as inscrutable to the protagonist as are the Kourmans. Idrissa mediates many of Milworth’s mundane experiences in Senegal—he helps him find a place to live, shows him where to eat, and does research for him at the library—but he cannot help Milworth decode Senegalese society and norms; in fact, the cultural gap between Milworth and those around him only grows as the novel progresses which is a counterintuitive move. Typically the longer one spends in a new location, the more one learns, and the more at ease one becomes with a place and its people. This is not the case for Milworth, whose life disintegrates into confusion as the novel progresses. In this way, McKnight’s novel contests the typical narrative structure which suggests that the novel is about finding one’s lost self or becoming a coherent and unified subject. Instead, in He Sleeps, Milworth becomes undone. The line between fact and fiction in He Sleeps is further blurred by the inclusion of Milworth’s notes on the “ULs,” as he calls them, the urban legends he is ostensibly there to collect. His task, trying to research the most interesting and recurring urban legends, to see what amount of truth is in them or not, parallels his own search for solidity and answers. His wife, Rose, remains a distant, ambiguous character—who says one thing and does another—until she sends him divorce papers. The confusion Milworth feels, his sense of losing touch with reality, is evidenced when McKnight writes:

discomfiting of all, a rigid breathlessness, a great black hand squeezing heart and lungs, invisible ropes and bands restraining arms and legs, everything in him ossifying, toughening, tightening. These things alone were enough to enthrall him, but not until this morning did the strangeness coalesce into scene and story, dialogue and action. He had never imagined the feeling of dreaming, how the thing lingers like yesterday’s drunkenness— somewhere deep in the body where the mind can’t see it. (p. 22)

Though Milworth’s dreams oppress him—he admits he’s never dreamed before coming to Senegal—his waking life is perhaps stranger than what he sees when he sleeps. One morning, upon rising he hears a chicken clucking. He follows the clucking to discover that the sound is coming from inside the couch. He reaches inside a slit in the couch to find a chicken, bound up, and leaves it on a note for the Kourman family in the foyer. He then goes outside to shower, only to stare too long into the sun, and to faint, bleeding from his tongue. Experiences like this, which occur with no narrative warning, catch the reader by surprise in much the same way Milworth is himself unaware of what is happening, or will happen to him. Increasingly Milworth finds himself feeling as if he is dreaming, even when he is awake. He notes that the heat and light of Dakar should stimulate him, make him feel alive and awake, but instead he feels as if he is under a dream during his waking hours. He struggles to communicate his sense of losing the hard edges of reality to Idrissa, but is unable to reach across the void to make himself understood. He is powerless to understand and diagnose his state, much less treat it. He Sleeps portrays blackness as an existential crisis by signifying on the “return to the motherland” mythology so prevalent during the Black Power movement that characterized Afrocentric discourse. Many African Americans after the success of the civil rights movement turned to Africa as the place to reclaim and rectify a battered identity that suffered so long under the burden of white supremacy. “Black is beautiful” became the slogan that characterized the notion that all things black, and this included Africa, should be embraced as evidence of black equality, and

For two weeks now, Bertrand’s head had been buzzing with strange voices, flickering images, and, most

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REGINALD McKNIGHT perhaps superiority. Later in the twentieth century, novels like Paule Marshall’s Praisesong for the Widow (1983), as well as films like Sankofa (1993) and Daughters of the Dust (1991), all celebrated and upheld the idea of an African past, or at least an African-inflected past, as the cultural salvation of the African American. The notion that an Afrocentric ethos could directly contest anachronistic Eurocentrism (so damaging for African Americans) is what motivates Afrocentricity and most return-to-Africa narratives.

Knight urges black people in the diaspora and in Africa to see themselves as a collection of societies and cultures—not as one monolithic group— Africa does function, at least symbolically, as a place of transformation. For his characters, like Milworth in He Sleeps and Evan in I Get on the Bus, however, Africa teaches them that there is no solid, coherent identity to which they can return, and that by looking for an unchanging self they will only find dreams, fugue states, and perhaps death. Things go from uncomfortable to horrible for Milworth when he is accused of having sex with Kene, held against his will by Kene’s husband Alaine and his friends, and then informally tried by them. They seize Milworth’s journals and use them as evidence of his lust for Kene, who he maintains he never had sex with. During the interrogation, Milworth is accused of coming to Africa to have sex with an African woman in order to undo his sense of inferiority. Milworth refers to the entire interrogation as a dream, and he is not sure if it is real or not, continuing a theme present throughout He Sleeps and I Get on the Bus. The “dream” ends with Milworth admitting to an affair with Kene which he never remembers and Alaine delivering punishment by circumcising Milworth. He removes the foreskin and drops it on Milworth’s chest, suggesting that he has “made him a man” (p. 204).

Reginald McKnight’s work, however, problematizes the idea that returning to Africa involves anything more than confusion, madness, and illness for the black American subject. Yet McKnight’s work is not culturally smug about African, specifically Senegalese, culture; it isn’t that one culture is better than the other. McKnight’s work regarding the black American in Africa demonstrates that the notion of brotherhood among black people around the world has much less healing power than supposed during the Black Arts Movement. His work, instead, stages the cultural divide between black American and black African subjects in order to contest essentialized notions of race. Saidiya Hartman, in her 2007 book Lose Your Mother: A Journey Along the Atlantic Slave Route does much the same thing through the genre of historical and academic memoir.

The novel ends with a series of letters to Rose, who has mailed Milworth divorce papers, in which Milworth claims to still love Rose but explains some of the peculiarities of their life which led to their separation—such as the fact that he never wanted to live in the same house with her. Milworth finally admits that the reason he never let himself get close to Rose is that he has been truly, and secretly, terrified by racism. He parallels his fear of living openly with her, as husband and wife, to the pain of enduring a kidney stone, and recalls horrifying stories of actual violence against an interracial couple and salacious racist critique that kept him from living fully with Rose. He recounts the incident of a man who kidnapped an interracial teenage couple, murdered them, and cut off their ears. Milworth becomes convinced that the world is full of

Bertrand Milworth is not your typical black nationalist looking for his authentic self in Africa; his marital crisis with his white wife drives him to Africa, so the basic outline of the narrative of black identity crisis, which leads one to a true home, is in place for the novel He Sleeps. McKnight then brilliantly tweaks the story line so that all the expectation of insight and enlightenment to be gained from a cultural homecoming is repeatedly thwarted. Some critics argue that McKnight’s protagonists in Senegal draw from his own experience in the West African country. In the 2001 African American Review interview “‘Under the Umbrella of Black Civilization’: A Conversation with Reginald McKnight,” McKnight credits the time he spent in Africa with making him into a real writer. So though Mc-

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REGINALD McKNIGHT people like this man, but his terror is suppressed until his experience in Senegal—as horrific as it is—allows him to name and claim the more intimate, domestic danger he has long denied. Milworth is heroic because he avows his love for Rose despite the fear that white men only see him as man with a “King Kong dick” (p. 209). Furthermore, rather than embracing a new image of his black self, Milworth is stabilized not by a stronger identification with “blackness” after having been in Africa, but rather by recognizing that he does love Rose despite the risk it involves. In this sense, his sojourn in Africa doesn’t take him deeper into blackness or further away from whiteness. He Sleeps, then, reverses the back-toAfrica narrative where the solution to a cultural and racial identity crisis is usually a greater sense of blackness. Instead of finding an essential blackness in Africa, Milworth experiences a fuller recognition of the histories that shape, and perhaps warp, one’s desire. In addition to the short story “He Sleeps” from the collection White Boys, McKnight’s story “Palm Wine” also appears in the novel He Sleeps. Bertrand, an idealistic, but culturally narrow, African American anthropologist tells a group of Africans he is there to recover lost culture. The Africans help him to find the drink of palm wine, which the narrator has romanticized, but which he later finds barely potable. Ultimately the Africans reject him as condescending and Bertrand becomes an old man who regrets his inability to make meaningful connections with the Africans he met. Like the rest of McKnight’s American protagonists in Africa, what one gets from living in Africa is, perhaps, not what one expects.

younger brother named Dean and an older sister named Alva; his parents are stern and strict African Americans trying hard to survive in a very racist American military system. The novella begins with John, one of Derrick’s friends in Texas, telling him that in “places like” Louisiana, in the deep South, “coloreds” are still lynched (p. 118). Derrick’s entrance, then, into the society of the Louisiana military base is tainted by an unspeakable fear that all the white people he encounters will present threats to his safety. He attempts to share his fears with his brother Dean, but Dean is less concerned with racism in general and shrugs it off. His sister Alva, when approached, is surprised that Derrick never noticed the racism they experienced before. While the Oates family tries to adjust to yet another new home and location, their neighbors, the Hookers, react negatively to their black neighbors. Typically, black families live in another part of the base and their children attend a mostly black high school. The Oates family, however, lives next door to the Hookers and their children attend the mostly white high school. The Oatses are not political freedom fighters; it is inconvenient for the Oates children to go to the mostly black school because it is on the other side of town and the family only has one car. The patriarch of the Hooker family, Eugene, has a complicated past with black people. As a child he spent a significant amount of his upbringing in a mostly black Baltimore neighborhood where the black children, by his account, taunted him and regularly beat him up. His mother eventually married a black man who worked as a butcher and for this transgression, Eugene could never forgive her. As a result, he harbors extreme anger toward all black people. He lectures his three sons about the boundaries between “niggers” and white people, advising them how they are to structure their relations with their neighbors. His wife, Tonya Hooker, listens silently but later sows seeds of dissent within her favorite son, Garret. She doesn’t agree with Eugene’s views on race, but says little to openly contest his racist diatribes.

OTHER WORK

The most notable selection in White Boys is the novella of the same name. “The White Boys” chronicles the experience of twelve-year-old Derrick Oates as he moves with his family from south Texas to Louisiana in the late 1960s. Like McKnight’s own father, Derrick’s father is a military man, and because of this the family moves frequently. Derrick has two siblings, a

Against all odds Garret and Derrick become friends; Garret’s brothers tease him and suggest

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REGINALD McKNIGHT that he has a crush on Derrick, which Garret of course denies. One of the older Hooker boys, Devon, develops a true crush on Alva. He notes that her skin is the color of caramel and that she watches his favorite television show, The Prisoner. When rehearsing how he could justify his crush on a black girl, Devon imagines saying to Junior, his older brother, “You know how hard it is to find a girl who’s even heard of that show?” (p. 204). But Devon never gets the chance to articulate why he cares for Alva so much, because Junior draws him into a teasing game in which he, Devon, and the other white kids end up taunting Alva by calling her “Mammy” and “Aunt Jemammy.” His love for Alva, then, goes unspoken, buried beneath the waves of his desire.

with Tonya, who seems eager to befriend her, not only to counteract her husband’s racism, but to solidify her own sense of herself as different from her husband. Tonya has no idea that her husband and sons plan to “teach Derrick a lesson” on the fishing trip and that she is part of their plan to lure him away from the safety of his family. Interestingly, the oppressive dynamics of Derrick’s own family is illustrated in a scene from the family’s first week in Louisiana. It is snowing outside and Derrick wants to play in the snow; he takes snow off a car to make a snowball and is confronted by the car’s owner, Mr. Hooker. His father sternly interrogates him about the incident and admonishes him not to embarrass the family. The reaction of Derrick’s parents seems over the top until the narrative shifts to reveal that Eugene Hooker is drawing exactly the kinds of conclusions about his new black neighbors that Derrick’s parents fear people will if they step out of line in even the smallest way. And though the Oateses turn out to be right about how racist whites will perceive Derrick’s innocent, childlike behavior, their constant and harsh disciplining of Derrick, and exclusively Derrick, reveals them to be unfair, oppressive parents. Derrick recalls a beating he got from his mother that is brutal and frightening, and his father recalls beating Derrick once with a cord, possibly only sparing the child’s life because his wife and mother intervened. Derrick’s world is an incredibly inhospitable one, both inside and outside.

McKnight problematizes the notion that because the Hooker children are the next generation they should be less racist than their father is. Like his son Garret, Eugene Sr. also had a black friend back in Baltimore, a boy named Dennis Tansimore, who ends up submerged beneath a morass of complicated racial feelings. Eugene maintains his friendship with Dennis even after leaving Baltimore until Dennis starts to push a rather aggressive interracial politics, writing that nothing is more beautiful than “a black mouth on a white breast” (p. 179), and inviting Eugene to remake the future through interbreeding. Eugene cuts off relations with Dennis, thinking that he has lost his mind, gone crazy. When Garret is teased one day by his brothers about his feelings for Derrick, his father questions him and Garret speaks against his friend, saying that Derrick “annoys” him, and has brought pictures of lynched men to school to show him. Garret relates accusations of Derrick being a communist and suggests that Derrick’s behavior as an agitator is what accounts for his dislike of him. Equally afraid that Garret is becoming a “sissy,” and that he isn’t sufficiently hateful toward the young black boy, Eugene devises a plan to teach Derrick “his lesson” (p. 179), and pressures his son into agreeing to go along. Eugene enlists his wife Tonya to “welcome” the Oates family to the base and also to invite Derrick on a fishing trip. In the process, Tonya takes Portia—Derrick’s mother—and Alva shopping. Portia is uneasy

As the novella progresses, Garret becomes increasingly uncomfortable with the plot to “teach Derrick a lesson.” The plan, according to a whispered conversation he has with his brother one night, is to take rope, tarp, and other lynching paraphernalia on the fishing trip. They will string Derrick up, and, when he is afraid enough, tell him that they’ve changed their minds but that if he doesn’t want to really end up dead, he’ll stay away from white people and in his place. Ironically, perhaps, Garret saves Derrick from this horrible fate by calling him a nigger. Derrick is on the school bus, trying to engage his friend in conversation, but Garret is withdrawn and eventually tells Derrick he’s tired of talking to a

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REGINALD McKNIGHT “black nigger.” This throws Derrick into crisis and he flees the bus, stumbles around the schoolyard and eventually runs toward his schoolteacher, an ambivalent anchor in his swirling, uneven world.

day, however, his teacher (undoubtedly aware of what happened) reads a story about a black and a white boy who, through the tragedy of a tornado, realize they are same. The class is silenced and awed by the lesson, and Derrick feels that it is a transcendent, almost holy moment, and he realizes that neither he nor his classmates could experience this moment had the boy not called him a “nigger.” In both instances, the word “nigger” does more than injure. It actually presents the opportunity for a dialogue which otherwise would not have been possible, and in the second instance, it spares Derrick greater pain.

The implication is that Derrick will now not attend the fishing trip and thus be spared the humiliation, trauma, and danger of a faux lynching. “The White Boys” might be one of McKnight’s most overtly critical works on racism. Like the short story “Rebirth” (discussed at the beginning of this essay), “The White Boys” offers an unflinching look into the interior racial world of both a black and a white family. The Oates family is constricted in proportion to the rampant racism around them. The Oates females, when driving with Tonya on a shopping trip, pass a laundromat with the words “Whites Only” painted on the outside. Alva jokes bitterly, “Now what kind of laundromat only does whites?” (p. 186). The rule of Jim Crow is everywhere and the effect of that de facto and social racism on the lives of the Oates family is palpable. Likewise, the Hookers show the white family in flux; Tonya is consciously antiracist, while Devon and Garret, while never directly opposing their father’s views, harbor feelings of intimate connection with their neighbors, the Oateses. As pessimistic as the story is on many levels, there is also hope embedded in its torturous unfolding. Though Garret repudiates Derrick in a horrible, painful way, he does so in order to spare his friend a deeper, and a much more dreadful, humiliation. Garrett uses racism as a tool for very particular reasons and he bends that tool for his purpose; he subverts his father’s racist rhetoric to paradoxically save his friend, who could never experience the word “nigger” as anything other than an insult.

“The White Boys” is a painful story about a boy out of joint with the entire world. Like the protagonists in McKnight’s other work, Derrick has no place to call home and no community of comfort. He is an outsider in Louisiana and he is an outsider in his own home. His outsider status within even his own family is exemplified by the matter-of-fact way he mentions to his brother Dean that he is “the one [his parents] don’t like”; his brother glumly agrees (p. 135). McKnight’s work shows that there are many ways to be a cultural mulatto, to be neither here nor there, to be a subject that belongs nowhere and yet has been everywhere. Though McKnight’s work critiques uncritical celebrations of an ahistorical, unflawed African past and culture, the fact that so much of his work is set in Africa has made him an expert of sorts on the subject of African and Senegalese culture. In that capacity he has edited a 1996 volume of African quotes called Wisdom of the African World. In the introduction he writes, “Africa is everywhere. It is in our genes, our dreams, our memories, our barely expressible aspirations.ѧ Africa is everywhere, and it may be many things, but it is not a single thing” (pp. xv– xvi). McKnight deconstructs the idea of a single, mythic, romanticized Africa by calling into question preconceived notions about Africa and the terminology he is required to use in the volume he is editing. There is no “African mind,” he argues, and even the term “Africa” itself says less than we think, for who really is African and to whom does Africa belong? McKnight demonstrates his complicated sense of how to represent

The use of the word “nigger” by Garret parallels another moment in Derrick’s life; he recalls being the victim of the slur as a younger child in Colorado. While playing on a baseball team, he performs horribly and one of his teammates calls him a “nigger.” Derrick is mortified at the slur, but he is more horrified by the fact that the white adults around him seem to approve and actually laugh when the boy hurls the insult. Later that

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REGINALD McKNIGHT the wisdom of the African world when he tells a Nigerian proverb about a talking skull who claims he died because of talking. He ends his introduction on this ambivalent note, leaving the reader not with a solid sense of something concretely “African,” but instead with the idea of saying too much as the actual danger. Rather than use many words to say much about what it means to collect African wisdom, McKnight steps back from the urge to define in that way and leaves much for the reader to decide on his or her own. In most interviews with McKnight he repeats the idea that blackness is whatever it is at any given moment, in any given context—sometimes recognizable, and sometimes not. His work is also a meta-textual example of how one can be so concerned with something, in this case with blackness and race, and at the same time work to effect change around what those categories have historically meant. What also emerges about McKnight in examining his life is his remarkable commitment to the craft of writing. He is utterly self-made; he has no Ivy League–granted MFA behind his name. His success is based entirely on the beauty and insight of his writing. As important as renegotiation of black identity is to McKnight, and as much as he writes about it, his writing is also about writing itself. In several short stories as well as in He Sleeps, the characters keep journals, collect folktales, and otherwise experience the world through writing.

talks, or the way he walks. McKnight is an interesting mixture of experiences and accents, all of which “mixed rather curiously on his tongue,” and produce him as a subject others see as “not quite” black. In this essay, McKnight recalls a moment when he was six years old and a girl at his school, Marsha—who is spectrally attractive to McKnight with her Aryan features—breaks up his contemplative reverie of her when, after overhearing him tell another classmate that he was born in Germany, rudely and insistently argues that “Coloreds can’t be born in Germany.” It is not only Marsha’s ignorance, and insistence upon being right when she is so clearly wrong, that makes this moment difficult. It is her refusal to acknowledge that a black person could be more than what she imagined him to be. Marsha’s youthful mistake is one that is repeated throughout McKnight’s life in the sense that recognition of who he is never attainable. Instead of being taken for who he is at face value, he suffers an endless series of validating interrogations, from both black and white people. He recounts a black classmate asking him whether his mother or father is white, because he talks like a white person. In college, a white colleague asks him if he can talk like black people and, when he says he can, demands proof. For both black and white people, McKnight is never what they expect. This is baffling to McKnight because who he is, the way he speaks, or the way he walks, is not due to any affectation on his part. He admits never desiring to be white or even thinking of what it would be like to be white. If McKnight doesn’t read as black it’s not because he is refusing a blackness that is real and identifiable in order to claim whiteness. McKnight doesn’t even rule out the possibility that there is some “essential blackness,” but says that if it can be found it will be a multiplicity of experiences, a “palimpsest upon which there are no erasures.”

DESIRING BLACKNESS

McKnight perhaps sees his writing as his way to carve a space for himself in the black world. In his brilliant essay “Confessions of a Wannabe Negro,” McKnight explores his relationship to blackness as a “cultural mulatto.” McKnight argues that blackness is not any one thing and any authenticating discourse that attempts to make it so does nothing but reduce blackness to a set of “repeatable performances.” McKnight narrates incidents where he is at once rendered “black” by racism—such as when he is called a “Hippie Nigger Bigot”—and also when he is called a “white paddy,” because of the way he

McKnight’s work, and his life, is perhaps of more interest now than ever before. Since the election of the first African American president, the question of whether or not the nation has overcome its racism, and what it means to be black in a Post-Obama era, is being asked at

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REGINALD McKNIGHT every level, and in almost every corner, of our society. McKnight’s articulations of black identity pre-dated Barack Obama’s rise to political power, but certainly predicted some shifts in American society that make it possible to imagine black identity as expansive, broad, and multifaceted in much the same way McKnight’s rendering of the black subject is.

Assimilation. Edited by Gerald Early. New York: Penguin, 1993. Pp. 95–112. Wisdom of the African World. Novato, Calif.: New World Library, 1996.

Selected Bibliography

Megan, Carolyn E. “New Perceptions on Rhythm in Reginald McKnight’s Fiction.” Kenyon Review 16, no. 2:56–62 (spring 1994).

WORKS OF REGINALD MCKNIGHT

Murray, Rolland. “Diaspora by Bus: Reginald McKnight, Postmodernism, and Transatlantic Subjectivity.” Contemporary Literature 46, no. 146–77 (spring 2005).

CRITICAL AND BIOGRAPHICAL STUDIES Govan, Sandra Y. “A Stranger on the Bus: Reginald McKnight’s I Get on the Bus as Complex Journey.” In Contemporary African American Fiction: New Critical Essays. Edited by Dana A. Williams. Columbus: Ohio State University Press, 2009.

SHORT STORY COLLECTIONS Moustapha’s Eclipse. Pittsburgh: University of Pittsburgh Press, 1988. The Kind of Light that Shines on Texas. Boston: Little, Brown, 1992. White Boys. New York: Henry Holt, 1998.

INTERVIEWS Ashe, Bertram D. “‘Under the Umbrella of Black Civilization’: A Conversation with Reginald McKnight.” African American Review 35, no. 3:427–437 (autumn 2001).

NOVELS I Get on the Bus. Boston: Little, Brown, 1990. He Sleeps. New York: Henry Holt, 2001.

Walsh, William. “We Are, in Fact, a Civilization: An Interview with Reginald McKnight.” Kenyon Review 16, no. 2:27–42 (spring 1994).

OTHER WORKS

Nicholas, Xavier. “A Conversation with Reginald McKnight.” Callaloo 29, no. 2:304–321 (spring 2006).

“Confessions of a Wannabe Negro.” In Lure and Loathing: Essays on Race, Identity, and the Ambivalence of

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JIM WAYNE MILLER (1936—1996)

Morris A. Grubbs IN A 1986 review of The History of Southern Literature (Louis Rubin, et al., 1985), Jim Wayne Miller took an unpopular stand against what he termed “literary history as defined by English departments: polite, decorous knitting societies convinced of their own superiority” (p. 88). Titled “ѧ And Ladies of the Club,” republished ten years later in The Future of Southern Letters (1996), the satirical review shows Miller’s unwavering defense of the Appalachian South as a vital contributor to southern letters. As Miller characterized it, The History of Southern Literature paints the south as a homogeneous place by foregrounding writers of the lowland South and backgrounding those of the Appalachian South, all the while blurring the rich distinctions between the South’s regions: “The editors have inherited the mantle of Stark Young & Co.: self-appointed official guardians of the South’s literary reputation, which accounts for the (perhaps unconscious) desire to banish poor cousins to the outhouse and put out the best uncracked china for company” (p. 88). The book’s emphasis on a “one South,” Miller argues, “do[es] not permit the ‘many Souths’ to emerge” (p. 90).

written. “But seem like hit’s a power of trouble to go to” (p. 87). Sut’s focus on the “trouble” that the author goes to reflects Miller’s signature doggedness, evident throughout his career, in challenging established and popular opinions. It also points to his drive to define the merits of a diverse and inclusive literature and to defend the literature of his home region—specifically the mountain culture of western North Carolina and eastern Kentucky. In surveying Miller’s literary accomplishments, one is hard-pressed to contain and categorize them, for he was highly accomplished as poet, fictionist, and essayist, was an acclaimed scholar of Appalachian literature and culture, and was a tireless teacher and mentor to scores of colleagues and younger writers. Both in his writing and in his teaching, the thread running through his work is his indefatigable faith in local places and local people as wellsprings of literature—or, as his students often heard him say, paraphrasing the poet William Stafford, “All literature is local somewhere.” The poet and novelist Robert Morgan, who studied under Miller, puts it this way: “Rereading his poems reminds us that he is not only a poet of the mountains, but of the planet” (p. 27).

Miller’s review assumes the form of a dialogue with Sut Lovingood, during which the author explains the book’s shortcomings to Sut, who prompts him for more explanations while nipping from a bottle of Jim Beam and plotting his escape to a young widow’s house. An homage to the literary tradition of Southwest humor, the review is crafted as an encounter set in Capehart’s Bar and Baitshop. The author is poring over the volume and writing his review when in walks Sut, the figure out of George Washington Harris’ famous frontier yarns. “You shore know how to ladle out words,” Sut says after listening to the author read the few sentences he has

With his mantra of localism without provincialism, Miller incited new levels of literary selfawareness in southern Appalachia. He was well known for his compelling presence at public readings, visits to schools and colleges, and writing workshops. “He was a kind of circuit rider, traveling these mountains to maintain the circuit—a lineman keeping our lines hooked up and functioning,” fellow Appalachian writer and workshop leader George Ella Lyon said of Miller after his death in 1996. With his car doubling as a library of Appalachian poems and essays, Miller

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JIM WAYNE MILLER traveled, as Lyon described it, “because of us, because he saw what we needed—to have our voices gathered, written about, confirmed, to have our history spoken—and he took it on” (p. 32). His role as a founder and nurturer of a whole new community of Appalachian writers and scholars may be Miller’s greatest legacy, a feat immeasurable. “What he did was critical for me, for us, and for contemporary literature,” Robert Morgan has said. “As we say in the mountains, he was clearing new ground.ѧ He was deeply learned in the history of ideas, and he knew how to place his insights about the mountains in the context of wider and older cultures” (p. 28).

home to live and work? How do we preserve our local history and memory? How do we convince the coal industry to stop ravaging southern Appalachia? Sylvia Ahrens has summed up his accomplishments succinctly: “Miller spent his life defending Appalachia, building a pride in the people, pointing out their history, revealing their future, scorning the destructions, trying to keep the arts alive in education, and giving us the eyes to see the region as it was meant to be seen” (p. 80). William Faulkner in his Nobel Prize speech in 1950 said that the only writing worth the struggle springs from the “problems of the human heart in conflict with itself”—of the heart pulled two ways. Much of Kentucky and southern Appalachian literature arises from this conflict, and Miller’s work hits at the very core. As a borderland, a transition or in-between land, Miller’s adopted state of Kentucky is fertile ground for conflicts in values and identity. As fellow Kentucky writer Bobbie Ann Mason and others have noted, Kentucky is neither southern nor northern, eastern nor western, but a region in between. As such, it may have greater tendencies toward identity ambiguity or ambivalence than some other regions of the country. And as is often pointed out, Appalachia is a land of contrasts—of breathtaking views and breathtakingly ravaged landscapes—more like moonscapes—that are the results of strip mining and mountaintop removal. Other tensions include small-scale self-reliant communities in conflict with urban and mass culture; traditional farming in conflict with industrial agriculture; the mythical images (both positive and negative) in conflict with the stark realities (again, both positive and negative). All of these conflicts—and the powerful feelings of discontentment and yearning arising from them— are especially palpable in Jim Wayne Miller’s work.

Miller’s role as a literary promoter, not only of writers of his region but of literature generally, was legendary. In his travels throughout southern Appalachia to schools and colleges, as visiting writer, Kentucky poet laureate, and chair of the Kentucky Humanities Council, for example, Miller would often subordinate his own work to that of others. As many of his friends and colleagues have noted, Miller was as prone to reciting and discussing a student’s or littleknown local writer’s work as he was his own, and he would often place the work in the context of world classics in order to develop a point or present a theme. Miller’s understanding of how the universal human condition is dramatized on the local stage is one of the qualities that makes his work so dynamic and valuable. He was driven by the eternal question, How do we balance the callings of the world with the callings of home? When he sat down to write, he brought to the table his deep interest in world languages and regional dialects, his doctoral training in both American and German literature, his years of university teaching. He wrote with a kind of unified double vision, as if from one eye he saw the world through a universal lens, and from the other eye a local lens, balancing the distant and the near. Although he was a man of the world, a scholar of high ideas, he was also very much a man of the people, driven by practical, civic questions: How do we improve our local schools, make our children proud of where they are from, make it not only possible but desirable for them to return

Before his death from lung cancer at age fifty-nine, Miller produced a formidable body of work that included several books of poems, translations, many uncollected (at present) short stories, a play, two novels, several edited anthologies, and scores of essays, articles, introductions, and prefaces. He also edited works by Jesse Stu-

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JIM WAYNE MILLER art, James Still, and Cratis Williams. He was consultant for poetry workshops in Kentucky, Virginia, North Carolina, Tennessee, Indiana, and West Virginia. Widely recognized as writer, scholar, and teacher, Miller in 1986 was named Kentucky poet laureate by the Kentucky General Assembly. Among his many honors were faculty awards at Western Kentucky University for teaching, research, creativity, and service; the Distinguished Alumni Award and honorary doctorate from Berea College; the Thomas Wolfe Literary Award; the Zoe Kincaid Brockman Memorial Award for Poetry; Booklist’s Best Book of the Year citation; and the Appalachian Writers Association’s awards for Book of the Year and Outstanding Contribution to Appalachian Literature.

fish and go foxhunting with his grandfather Smith. Unable to read or write, S. Fred Smith became the muse for much of Miller’s poetry, most particularly the poems in Copperhead Cane (1964) and Dialogue with a Dead Man (1974). Both sets of grandparents were models for the grandparents of the fictional Robert Jennings Wells, the protagonist of Miller’s two novels, Newfound (1989) and His First, Best Country (1993). During his senior year at Leicester School in 1954, Miller met a recruiter and trustee of Berea College in Berea, Kentucky. From him Miller learned of Berea College’s mission to educate students from southern Appalachia while providing them with work opportunities to fund their education. He entered Berea College the following fall and, while taking the required classes, began working in the college bakery. During his sophomore year he met his future wife, Mary Ellen Yates, a junior serving as the student instructor in his German course. “I discovered that German grammar was fascinating,” he has said in his entry in the Contemporary Authors Autobiography Series (CAA), “especially when Mary Ellen illustrated it” (p. 280). A student from Carter County, Kentucky, Mary Ellen was an English major, and from her he learned about an exclusive writers group, Twenty Writers, which he was invited to join. By the end of his sophomore year, Miller had declared English as his major and German as his minor. Some of Miller’s professors encouraged him to read writers from southern Appalachia: “At Berea I became acquainted with the work of [Harriette] Arnow, and of Jesse Stuart, James Still, Wilma Dykeman, and others.ѧ In Mountain Life and Work [a magazine published at Berea] and elsewhere I began to come across stories, poems, and essays reflecting the Appalachian region, its history and heritage, problems and promise. This work caused me to examine my own experience more carefully than ever before” (CAA, pp. 283–284). In the spring of his junior year, Miller was awarded a scholarship to live in Germany as part of the Experiment in International Living. He graduated from Berea in the spring of 1958, and in August of the following year he and Mary

BIOGRAPHY

Jim Wayne Miller was born October 21, 1936, in Buncombe County, North Carolina, to James Woodrow Miller and Edith Smith Miller. The eldest of six children, Miller grew up in rural Leicester, not far from Asheville. He shares his Buncombe County roots with writers Thomas Wolfe and Wilma Dykeman, and folk musician Bascom Lamar Lunsford. While Miller’s father worked mostly away from the home and family farm, choosing to work in and around Asheville, young Miller spent much of his early life in the sphere of both sets of grandparents. His paternal grandparents, the Millers, lived in “an old twelve- or thirteen-room house that was three stories climbing up the side of a hill,” just about five miles from Miller’s home. They were “landed” farmers, Miller has said in an interview, who “had enough land to have sharecroppers” and were among the first in the community to have the modern conveniences of indoor plumbing, electricity, and a telephone (Beattie, p. 241). His maternal grandparents, the Smiths, were sharecroppers, and, in their sixties, moved to a house on Miller’s parents’ farm and raised the farm’s burley tobacco allotment. Miller grew up helping with all the farmwork. When he wasn’t tending the family’s vegetable garden and potato patches and milking cows, he would often

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JIM WAYNE MILLER Ellen were married, the two having secured teaching jobs at the military base in Fort Knox, Kentucky.

In the fall of 1963, having completed his doctoral coursework, Miller took a faculty position in the Department of Modern Languages and Intercultural Studies at Western Kentucky University, where his wife would also secure a position in the English Department. With their two sons, born in 1962 and 1963 (a daughter would come in 1967), the couple moved to a home near the campus in Bowling Green, Kentucky. By 1965 Miller had completed and defended his Ph.D. dissertation on the nineteenth-century German poet Annette von Droste-Hülshoff, a regional writer with an especially strong sense of place.

After Mary Ellen completed an M.A. at the University of Kentucky in 1960, the couple moved to Nashville, where in the fall Miller would enter graduate school at Vanderbilt University. He had planned to pursue his doctorate in English in the department famous for its Fugitive/Agrarian writers, but the head of the German department noticed Miller’s interest in the German language and his experience abroad and offered him a prized National Defense Education Act Fellowship to study German. Miller accepted, arranging also to minor in English and study under Donald Davidson, the sole member of the Fugitive/Agrarian group remaining in Nashville, and Randall Stewart, the renowned Hawthorne scholar.

By the early 1970s, in a time of vast outmigration from rural areas, Miller was beginning to sharpen his critique of the industrial mindset and its effects on his home region. The More Things Change The More They Stay the Same (1971), a collection of folk ballads, shows Miller’s deep concern with the emotional and ecological effects of strip mining in his home region. Some of the ballads tell of the disastrous modern-day results of the “broad form deed,” so named because it gave the deed holders the right to extract coal by any means necessary. But the despair in this volume is tempered by humor and small signs of hope. In “Loving on Borrowed Time,” for example, a blues ballad mostly about poverty and repossession, the human will sings in the final lines: “No lights, no gas, no telephone / And loving on borrowed time.” Miller’s first major collection of poems, Dialogue with a Dead Man (1974), which would “vault him into prominence” (Dyer, Contemporary Poets, p. 346), heralded the next significant step in the poet’s movement away from the personal grief and loss pervading Copperhead Cane and toward a familial and communal wakefulness. Published by the University of Georgia Press, the book re-collected most of the poems appearing in Copperhead Cane, accompanied by two new sections, “Dialogue with a Dead Man” and “Family Reunion.” Miller has described these latter sections as “growth beyond” the personal. He commented on this poetic maturity in an interview with J. W. Williamson: “You start out with the immediate and the personal concern, but you move out from that

During his three years at Vanderbilt, Miller regularly published poems and stories in the campus literary magazine, and in 1963 he sent a cycle of ten poems about the death of his grandfather Smith (identified only as “S.F.S.”) to Maxine Kumin at the Writer. Kumin printed one of the poems, “Hanlon Mountain in Mist,” and devoted much of her “The Poetry Workshop” column in that issue to praising his poetry: Although each exists in its own right, the poems take strength from one another; the uses to which they put regional material make a continuum. Through it, the poet’s grief runs like a variegated thread. In one poem there is expressed a passionate sense of loss; in another, the voice of satire is raised in anger at the hypocrisy of the minister; further, the tone is softened with gratitude for the intangible gifts received in a longtime relationship with the dead man; and most conclusively, his death is accepted as having made life meaningful. (p. 22)

Miller has commented in an interview with L. Elisabeth Beattie that Kumin’s column was a breakthrough that led to several editors contacting him for more poetry. One of them, Robert Moore Allen, asked him to consider submitting poems for a collection, an encouragement that led the following year to the publication of Copperhead Cane (1964).

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JIM WAYNE MILLER into a concern with peripheral family members and then finally get on off to people that you don’t have any direct or blood relationship with at all. You get more and more involved with humanity” (pp. 208–209).

included in The Mountains Have Come Closer, winner of the Thomas Wolfe Award. Before he would turn again to the figure of the Brier for his next major collection, Brier, His Book (1988), Miller would publish two more collections of poems: Vein of Words (1984), musings on his experience of directing poetry workshops and named Best Book of the Year by the Appalachian Writers Association; and Nostalgia for 70 (1986), a miscellany of poems drawn from Miller’s life on campus, at home, and on the road—a collection that captures “the disillusionment of the suburban academic” (Dyer, Contemporary Poets, p. 346). The title of the latter refers to the speed on the interstate, where one can race through the landscape as a distant observer and not interact with it. In Brier, His Book, Miller continues his growth of the Brier, extending his worldview, with the Brier seeing that his Appalachian experiences are not isolated but international. “In Country of Conscience,” for example, which Miller dedicates to the Lithuanian poet Czesław Miłosz, the Brier connects with those living subjugated lives, for he too lives in “a cultural periphery.” The Brier, Miller continues in his essay in the Contemporary Authors Autobiography Series, “surveys the multicultural situation of eastern Europe and the Soviet Union, where local cultures, folkways, and traditions have long been subjugated to ideology and imperial hegemony” and understands that there are “two of every country”—one that is rooted deep, the other that is “seen from the height of some idea” (p. 290).

Although he would ultimately fix his gaze as scholar and writer upon southern Appalachia, Miller continued to nurture his deep interest in German writers. “There’s a phenomenon in German literature that’s known as Heinmatsliteratur, Heinmat meaning homeland,” Miller told L. Elisabeth Beattie. “Heimatsliteratur is writing that is sort of consciously regional, and I’ve been influenced” by it through writers such as Edward Moerike and Theodor Storm (p. 257). On sabbatical leave in 1970 to pursue his interest in German and Austrian poets, Miller befriended Emil Lerperger, a Salzburg poet deeply committed to writing about the people and places of his home region. Miller later selected and translated over forty of his poems, which he published in a bilingual edition as The Figure of Fulfillment (1975). His translation of Lerperger’s poetry, Miller’s colleague Robert Martin has said, “sprang from the same concern for the level of minute particular where affection for people and places can be expressed.” Studying Lerperger and other German writers, Martin continues, helped Miller “sharpen his sense of place, helped him look to the places where people are most real, to answer how we can recover our identities after the holocaust of modernity and nationalism” (p. 15). The discovery and recovery of identity— individual and communal—in the distortion of the modern industrial and consumerist hall of mirrors, or “the American Funhouse” as Miller would term it, would become the poet’s core theme in his next collection, The Mountains Have Come Closer (1980). This theme is crystallized in the figure of the Brier, the character for which Miller is best known. The Brier represents the conflicted modern Appalachian, at once in love with the traditional agrarian world and the modern consumerist world. Miller’s often-cited poems “The Brier Losing Touch with His Traditions” and “The Brier Sermon—You Must Be Born Again” are two of the many Brier poems

In addition to the poetry produced in the 1970s and 1980s, Miller also published numerous pieces of short fiction and nonfiction. Among the essays in this period that bolstered Miller’s reputation as a scholar of Appalachia are “Appalachian Values/American Values” (published in a series of six installments between 1977 and 1979); “Appalachian Education: A Critique and Suggestions for Reform” (1977); “Reading, Writing, Region” (1984); and “Appalachian Literature: At Home in This World” (1984). During this time Miller also helped edit and reprint several of Kentuckian Jesse Stuart’s works for the Jesse Stuart Foundation, compiled antholo-

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JIM WAYNE MILLER gies, reviewed scores of books, served as poetin-residence at several schools and colleges, and regularly led sessions at the Hindman Settlement School Writers Workshop and other workshops across southern Appalachia.

almost to the very end fishing, teaching, and learning.” (pp. 14–15). Having received his terminal diagnosis in June, Miller died on Sunday, August 18, 1996.

In the late 1980s Miller turned to the novel to further explore his themes and reach still wider audiences. His first novel, Newfound, a comingof-age story, is enjoyed by children and adults alike. Miller’s choice of having his young protagonist, Robert Wells, narrate the story of his growing up in rural Newfound, North Carolina, and going off to college in Kentucky allows him to create an intimacy and trust that is particularly appealing to young readers. And like Mark Twain’s classic Huckleberry Finn, another youthful novel told in first person, Newfound also has a level of complexity and resonance that will reward literary scholars and critics. Miller’s second and final novel, His First, Best Country, treats themes that are more adult in nature. The story is told through a third-person point of view, combined with letters to a cousin (one unsent, one sent) and letters to the editor of a local newspaper. The narrator’s language is playful and stunningly masterful, reflecting the language and thoughts of the linguistic-literarycultural-scholar as protagonist, the grown-up, worldly version of Robert Wells. The novel rises above Newfound in the way it treats the reader to richly metaphorical and lyrical prose throughout. One reviewer, Joyce Dyer, has called it a “small miracle.” “At its best,” she continues, “it is Miller at his best. What we hunger for most it provides: an eloquent interpretation of pain born from inevitable change” (Appalachian Journal, p. 206). After His First, Best Country, Miller turned with ever more intensity to helping promote the works of other Appalachian writers, coediting with Robert Higgs and Ambrose Manning the ambitious two-volume anthology of Appalachian writing, Appalachia Inside Out (1995). George Brosi sums up Miller’s tenacious promotion of his fellow writers’ works: “Jim Wayne Miller actually was involved in many more works celebrating others than books he wrote himself.” Brosi recalls that while battling lung cancer in the last few months of his life, Miller “persisted

EARLY POETRY

The death of Miller’s Grandfather Smith at age eighty-seven in 1962 was a watershed event in the young writer’s life. Not only were the two men hunting, fishing, and field companions, but to the budding poet the older man’s death also signaled the loss of a deep and abiding tie to the land—to Miller’s native ground in rural Buncombe County and to the agrarian way of life itself. The poems in his first collection, Copperhead Cane, which appeared less than two years after his grandfather’s death, testify to the poet’s profound grief from this double loss. In the opening and title poem, Miller likens the old man’s uncanny solitary craft of transforming sourwood into spiraling canes to the poet’s solitary craft of transforming experiences into poems, a feat “wrought out of my gnarled grief.” In the second poem, titled “For S.F.S. 1875– 1962,” the poet recounts the grave journey of the coffin to its resting place on Newfound Hill. Seeing the pallbearers skillfully navigate through the clay mud, keeping their dress shoes clean, the poet recalls a time when, during a camping trip years earlier, he witnessed how “wisely” his grandfather walked, steadfast on the slippery earth in Doggett’s Gap. With its movement from a present image awakening a buried life, this poem presages a central metaphor in Miller’s work: the past walking. In “Hanlon Mountain in Mist,” one of Miller’s most haunting poems, culminating in a darkly mysterious final couplet, the poet tells of a time in the aftermath of his grandfather’s burial when he is visited by neighbor Ril Sams, a fellow fox hunter. Sams tells that his hounds sensed something at the misty top of Hanlon Mountain the night before, and that he turned back and came home when the hounds stopped in their tracks: “I trust the hounds: they know what made them stop, / what waits there in the mist on Hanlon’s top.” In addition to the power gained

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JIM WAYNE MILLER from ambiguity, the poem is remarkable for its harmonious and seamless marriage of iambic pentameter and natural speech. Also remarkable is the poem’s natural integration of details, imagery, and mood. Miller has explained the poem’s genesis in his essay in the Contemporary Authors Autobiography Series:

companion are hoeing a row together when suddenly their two hoes strike, or so it seems, metal on metal, in the earth. The poet quotes his grandfather, with whom he last hoed: “When two strike hoes,” I said, “it’s always sign they’ll work the patch together again sometime.” (p. 26)

Though the setting might well have been the Ozarks, those place names came from western North Carolina. But I think no one would suspect that many of the poem’s details came to me from New England, for just before I wrote the poem I had been reading Hawthorne’s Mosses from an Old Manse.ѧ The poem is a combination of things, some from direct experience, some from reading. But reading is an experience, too, and for me always had been.

Delving down below the row’s surface, the poet discovers a buried plowpoint, probably belonging to his grandfather. With the irrational now explained away, the poem, drawing to a close, cycles back into the world of imagination in its final couplet, where the poet, resting, watches his companion beside him go back to work. “Meeting” is representative of Miller’s cyclic vision, which synthesizes the living and the dead, light and shadow, reason and imagination. In “Dog’s Eye,” the poet asks his companion why he has not spoken, and in the next poem, “Listening,” the dead man speaks, saying he was waiting until his living companion had moved beyond his grief and come to understand that the dead are not in earth or sky but in the living. In Part Three of Dialogue with a Dead Man, titled “Family Reunion,” the point of view broadens from the personal to the familial, from grief to hope. The book ends with two companion poems, “Visitors” and “Family Reunion,” culminating in a vision of the dead—the “departed who pose / all year in oval picture frames”— arriving in cars for a large picnic with the living. Gathered around the feasting tables, shaded by oaks and maples, the dead, the poet reflects,

Hawthorne’s passage—about a stormy and foggy day at the Manse, culminating with an image of “the demon of the tempest” in his “abiding place” at the “summit” of a distant hill—was, the poet says, “something I experienced no less than my grief over my grandfather’s death” (pp. 282–283). The grandfather appears as a figment in several of the Copperhead Cane poems. In “Burning Tobacco Beds,” for example, the poet, as he talks to himself “and to the flames,” thinks he sees his companion “through the smoke.” The grandfather’s death often shares the stage with the tobacco culture’s passing. In “Hanging Burley,” the poet, while standing up in the barn rafters looking down, conflates the two: A funeral mood below me on the ground: A blank-faced filing past the loaded sled; A coming with a solemn swishing sound; Tobacco borne as if it were the dead.

are looking out of the eyes of children, young sprouts whose laughter blooms fresh as the new flowers in the graveyard.

In Dialogue with a Dead Man, published ten years later, Miller expands the grandfather’s ghostly role, with the first section repeating most of the Copperhead Cane poems and the second portraying the two—the living and the dead—as field and hunting companions in the present. In “Stalking,” the poet hears footsteps in the leaves behind and up ahead of him, comparing his companion to “the trout that strikes / and quickly moves” (p. 25). In what is one of Miller’s bestknown poems, “Meeting,” the poet and his

(p. 78)

The following year saw Miller’s translations of Austrian poet Emil Lerperger’s poems, titled The Figure of Fulfillment (1975). Miller moved quite easily between writing his own poems and translating Lerperger’s, perhaps because the two poets shared not only similar rural backgrounds, though worlds apart, but also cyclic redemptive visions. The poems Miller selected range in oc-

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JIM WAYNE MILLER casions from grief at the loss of a child to the death of a neighbor to the horror of concentration camps. Here is Miller translating one of Lerperger’s “Salzach sibyl” poems (the poems are untitled):

perspective further beyond the personal and helping him see with greater clarity that issues of Appalachian identity are issues shared worldwide. This broader vision would help shape Miller’s subsequent poetry, most particularly his cycle of Brier poems, in which he would try to grapple with the identity crisis in Appalachia—one of the “countries within a country,” as he would say later in Brier, His Book (p. 65).

In the evening when the mountains climb down to the town, the Salzach sibyl gathers the lost thoughts of hurrying people like sheaves. She is always harvesting, her dark cloak growing ever darker.

THE BRIER POEMS (p. 63)

The late 1970s saw Miller’s poetry take a turn from the predominantly elegiac toward the didactic balanced with humor. The Mountains Have Come Closer (1980) and Brier, His Book (1988), the two major collections published between 1980 and his death in 1996, contain many of his most popular poems. (The two collections were combined and published posthumously as The Brier Poems in 1997.) Miller explained the genesis of his Brier figure in his essay in the Contemporary Authors Autobiography Series:

And here is the sibyl in the next poem: She no longer cares where her grave will be. But woe betide if she should cease to think (thinking is weeping), for then even the cemeteries would fade: ѧ All springs to come, all summers and falls are rooted in her thoughts.

I had been coming across derisive jokes about “Briers,” southern Appalachians who had moved out of the region to Ohio, Illinois, and Michigan, since the late sixties. My appropriation of the figure represented a movement beyond my personal experience to a point where I could write of the collective experience of several million southern Appalachians known to other Americans chiefly through the stereotypes found in popular fiction, in movies, and on television.

(p. 65)

The sibyl appears as a figure not unlike Miller’s poet, absorbing the despair and grief around him, and, through imagination, offering a means of triumph, of communal succor. At the end of The Figure of Fulfillment, in his biography of Lerperger, Miller writes: “As a poet Lerperger was born in apocalyptic times, in the shadow of death.” He continues:

(pp. 286–287)

In his public readings, Miller portrayed the Brier as an “Appalachian Everyman.” As he explained in an interview, the Brier is not the stereotypical mountain man, not the classic old-time mountaineer; rather, he is “a man living and thinking and experiencing in this time, in contemporary time, gaining some awareness of a sense of community with a larger group of people than he’d ever dreamt of” (Williamson, p. 209). Miller’s modern Everyman lives in two worlds, the traditional agrarian culture of his heritage and the consumerist mass culture of the present, and so he lives often in a state of conflict and ambivalence.

His World War II experience has continued to inform his poetry. But the poems transcend any preoccupation with the poet’s individual fate. Indeed, there is a striking absence of self-absorption and concern with personal circumstance. Still, his poems are local in their origins, detail, and texture, yet by no means limited. “Fate,” Lerperger says, “is at home anywhere.” Nor do the poems leave concreteness behind when his vision dilates to comprehend the whole of western civilization. (p. 91)

The act of translating Lerperger’s poetry was a formative experience for Miller, pushing his

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JIM WAYNE MILLER The Mountains Have Come Closer is divided into three sections, with the Brier rising in the second (“You Must Be Born Again”) and leaping to center stage in the third (“Brier Sermon”). The poems in the first section, “In the American Funhouse,” give clues to the forces coalescing to urge the Brier forth: the modern flood of material things; ringing telephones; people and all of their rituals—weddings, commencements, church services; the poet’s realization that his suburban children do not understand his rural heritage, and so on. In the section’s final poem, “Going South,” the poet envisions his figurative death while sitting in his car “in a long line of traffic / on an evening in November / when mercury vapor lights are coming on” (p. 16).

longer authentic, they stop buying his chairs. The Brier responds by returning to eastern Kentucky and promoting himself as a stereotypical mountain chair maker. But in the evenings, after he closes his doors to customers and media, he returns to the way of life he enjoyed in Cincinnati, where he liked to put on his flowered sport shirt and double-knit pants, and open a can of beer and watch the six-thirty news on tv out of New York and Washington. He had to have some time to be himself. (p. 44)

The poem’s irony and ambiguity underscore the dilemma of many modern Appalachians: Who am I? Where do my allegiances lie? Must I choose one world or can I sustain a double life?

The next section features poems that explore more fully the Appalachian crisis of identity, experienced by those who have left home to seek jobs in cities outside the region. The section’s protagonist, the Brier, referred to in third person, is discovering what he has left behind. In “Turn Your Radio On,” the Brier, residing in a northern city, is always aware—awake and in his dreams—of the southerly direction toward the mountains of home. He gazes for hours at old photographs of family members, their thoughts invading his. Across space and time, “like a powerful transmitter,” they speak to him: “this place / belongs to us, their faces said, and we belong to it” (p. 22). In many of the poems, the Brier has a kind of double identity, unsure of who he is or where his allegiances lie. He is untrue to himself and to others. As the poet says in “Down Home”:

The contrast between the real and the as-ifreal is at the very heart of “How America Came to the Mountains.” In it, the Brier recalls how, when he was a child, a flood of modernity came rushing over his homeland. His family then moved temporarily to “Is” Illinois, but the Brier moved back home and has “lived in As If, Kentucky, ever since” (p. 48). “Brier Sermon—You Must Be Born Again” is one of Miller’s longest and best-known narrative poems. In it, the Brier, having felt called to preach one Friday night, stands on a street corner the next morning and holds forth. His message is aimed at saving the lost—those who are plagued by a malaise rooted in their crisis of identity: “Because we’ve been carried a long way around,” the Brier explains, “we’ve got so far away from home, we don’t know where / we are, how we got where we are, how to get home again.” The Brier speaks of how his listeners’ ancestors prepared and “left us a home here in the mountains,” but the descendants think “it’s too oldfashioned.” The Brier explains to his listeners that they need not live in the past, for “You can’t, even if you try,” but, he reminds them, “the past is living in you” (pp. 53–55). At the heart of the sermon is Miller’s signature theme of the divided self. Through little stories aimed to catch and hook his audience (for the Brier is skilled at appealing to his audience and hitting his mark), the

He had to admit it: he didn’t live here any longer. He was settled in a suburb, north of himself. (p. 28)

The theme of the elusive quest for self, or the alignment of disparate selves, is seen most clearly in “The Brier Losing Touch with His Traditions,” a poem in the third section. Once a traditional chair maker who was “discovered” by northerners, the Brier gets famous, moves to Cincinnati, upgrades to power tools, and wears stylish clothes. When his customers see that he is no

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JIM WAYNE MILLER wild animal—as his companion, his civilizing influence who keeps him in check, is away.

Brier seeks to reawaken his listeners’ true selves, the part of them they have suppressed in their attempts to fit into the modern American funhouse. Miller commented on his “Brier Sermon” in an interview with Loyal Jones: “It employs a concept—a concept of being born again—as a metaphor for talking about a new understanding and a new view of one’s history and heritage.ѧ I wanted the words to be accessible to people of many different religious persuasions” (pp. 71– 72). Brier, His Book, while continuing Miller’s quest to offer a window into the complexities of Appalachian identities, treats a more diverse range of topics and themes than the earlier Brier poem collection. “The Faith of Fishermen,” for example, is a mystical poem about going beneath the surface of our modern constructions to marvel at the primal nature hidden beneath. “We need to know,” the poet says, “wonders are still alive at the base / of the steel and concrete world we’ve made” (p. 17). In “In This Dream,” the Brier imagines a car ride with his father and grandfather, who is driving, but his grandfather’s heart has stopped beating. In the back seat are two of his grandfather’s hunting companions, a couple of foxhounds, a muskrat caught in a steel trap, a black bear. The poem is an eerie reminder of how the dead continue to drive us—are often at the wheel—in our present. Two other poems recount episodes that have counterparts in Miller’s novel Newfound.

NEWFOUND

After Brier, His Book, Miller turned his attention more toward fiction, publishing Newfound in 1989. The first of his two novels with protagonist Robert [Jennings] Wells, Newfound is a bildungsroman and a portrait of the artist as a young man. Told in first person, the novel follows Robert from the summer before his sixth-grade year through his entrance as a freshman in college. Robert and many of the events are loosely autobiographical, with the novel set in a version of Miller’s native ground in rural Leicester, North Carolina. With younger siblings Eugene and Jeanette, Robert grows up in the orbit of both sets of grandparents: his dad’s parents, Grandpa and Grandma Wells, who have a big farm, a large two-story home, some tenant houses, and a supply store; and his mother’s parents, Grandpa and Grandma Smith, who live on the Wells’s farm in one of the tenant houses and sharecrop the Wells’s tobacco allotment. In twenty-nine chapters the novel traces Robert’s growth and change as he awakens to the intricacies and complexities of family and begins to move beyond home. One of Robert’s first forays into the adult world is experiencing the growing tensions between his mom, Nora, and his dad, James—a tension that grows into marital separation, causing young Robert and his siblings to have to leave their home to go live with his mom at Grandpa and Grandma Smith’s house. James, a college drop-out, is self-reliant and enterprising, but he is not inclined to farm and yearns for deliverance from the confines of his rural life. As the novel opens, he has just lost his job and has an immediate plan: with Robert’s help during the summer break from school, he will make and sell cement blocks. Nora is doubtful of the whole enterprise. At first the blocks are a bust, but after a time they become a novelty and a magnet for neighbors to stop and gather around and talk. They enliven the whole community, and eventually people buy them for small construction projects. When Robert returns to

In the book’s second section, titled “Land and Language,” the poet reflects on the metaphorical richness that abounds—or that once abounded—in Appalachia. “Written on the Land” tells of people who have written their stories upon the landscape, only to have those stories buried under water by the construction of a man-made recreational lake, “like ink spilled on a page” (p. 29). In “Land and Language,” the poet reflects on how “that country of coves and ridges lives” on in the language of those who may try to rise above it with the trappings of modern life (p. 38). “The Brier Grows Wild,” one of the most playful poems in the collection, tells of the primal self rising in the poet—of the poet becoming a

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JIM WAYNE MILLER school, he sees many of the finished projects from his seat on the bus as it makes its rounds, and he is proud. After block-making, James tries welding and wiring and hauling, while his marriage continues to disintegrate. With young Robert often wavering in his allegiance to each of them, the tension between James and Nora is eventually too great, and, combined with an eruption of anger at Eugene, the two agree to separate.

ness of social and economic differences expands his capacity for empathy: “I would sit on the school bus and look at J. D. Marler and his little brother Carl and Mack Woody ѧ [and] I’d think about their fathers, Coy Marler and Jess Woody, and about their mothers and brothers and sisters and grandparents” (p. 38). The class contrast is especially evident in the way the transient Sutherland family—who makes woven chairs and baskets—is perceived as inferior by Grandma Wells. Robert doesn’t understand, nor accept her view: “They worked, they were friendly, and they could make good chairs and baskets. They were a family. Yet we sat around and made fun of them. I felt ashamed, going along with it” (p. 154). Robert values the Sutherlands’ chairs he sees on porches throughout Newfound as he does the constructions made of the cement blocks he and his dad had made. Robert is drawn to those who may be perceived as misfits—maybe not surprising since in some ways he is one himself, his interest in poetry and his drive to succeed academically setting him apart from the main currents of people in Newfound.

Robert’s sense of family is heightened by his parents’ separation, and he realizes the tremendous loss of what he once had. He links this loss to the gravity of the ravaged landscape not far away: “But now that Mom and Dad had separated, it was if the trees had been uprooted and torn from the mountains, as if the mountains had been cut and scarred, their tops thrown into the valleys, like the mountains that had been stripmined over in Bunker County” (p. 67). As Robert spends more time with both sets of grandparents, he becomes aware not only of the oddity of their living on the same big farm, but also of what emerges as class distinctions between them. He notices, for example, that the driveway to Grandma and Grandpa Wells’s two-story house is “like a tunnel” (p. 67), with tall pines whose branches shut out the light. They have cedars and rosebushes around their house and peacocks in the yard. In contrast, the Smiths live in one of the farm’s three tenant houses, with less-grand fowl, guineas, in the yard. Moreover, Robert has heard Grandma Wells divide people into two classes, “the good livers and the sorry” (p. 75), and he sometimes worries that she may consider the Smiths to be among the latter.

His fascination with Velma Sexton, whose childhood illness left her retarded, shows his inclination to be an observer of a side of life that is unsettling and unpleasant. Velma lives in a house near Grandma and Grandpa Wells. Often, on Sunday afternoons, Robert would go to an upstairs bedroom and spy on her through binoculars. He would imagine that if he called her name, she would acknowledge him, endearingly, “like a dog whose name you call” (p. 180). Later, when Robert gets his driver’s license, one of the first places he goes is to the Sextons’ with his Grandpa Wells to buy some tobacco plants. While Robert is on the porch, Velma suddenly jumps on him: “All I saw was a blur of white, and then something hit me, landed in my lap, and locked onto me.ѧ I was looking right into her face, feeling her hot breath, and I could see she had bad teeth and several hairs on her chin, tough and black as hog bristles” (pp. 183–184). Viewing a fascination from a distance is one thing; confronting it head-on is another. The scene is emblematic, heralding the clash of myth and reality that will, eventually in the novel’s

As with Mark Twain’s development of the hero in Huckleberry Finn, part of Robert’s growth in the novel is his emerging awareness that the surface of things can be misleading. And like Huck, Robert is developing his own convictions: “I wondered if Grandma Wells thought that Grandma and Grandpa Smith belonged to the sorry people. If she did, she was wrong, because they weren’t shiftless; they worked, and they worked hard” (p. 77). Earlier in the novel Robert projects himself into the lives of the two other sharecropper families, imagining what it might be like to live in their houses. His growing aware-

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JIM WAYNE MILLER sequel, characterize Robert’s growth beyond his distant and nostalgic view of home. Robert’s awareness of the perceived contrasts of people extends to the town kids versus the rural kids. This distinction is evident in the attitude of the nurse, Miss Hudspeth, at the West Cordell Consolidated school, who assumes the eighth graders from the closed rural Newfound school have head lice. She checks Robert’s hair and he doesn’t have any, but she admonishes him to wash his hair more often. “I never grew accustomed to feeling shame,” Robert says. “Each time, it flared up hotter than before, and raced from the center out, popping and cracking like a brush fire, leaving everything black and smoldering inside” (p. 98). As he moves through high school, Robert is able to triumph over perceived inferiority by rising to the level of salutatorian and giving a speech titled “Citizens of Somewhere.” In his speech he wonders why so many people leave Newfound and become, in Grandma Smith’s words, “citizens of nowhere,” why they have to leave to find work someplace else while tourists flood in to enjoy Appalachia’s natural beauty, and why strip-miners are destroying that beauty. “I talked about the Sutherlands and the baskets and chairs they made, about oldfashioned ways and modern ways, about mules and missiles. I said I thought I was somebody from somewhere, from a place I would be leaving to attend college, but hoped to return to” (p. 205). The novel’s overarching theme of growth and change is embodied not only in Robert but also in many of the other characters, especially his parents. His dad eventually becomes a congressman’s assistant, a position allowing him to try and make a difference in the stand against strip mining in Appalachia. His mom teaches herself to type and begins to learn to drive. She studies for her GED, often working through math problems as her children do their homework. In his high school senior English and history classes and in his coursework at Berea College, Robert’s academic interests begin to intersect with and validate his heritage. Mr. Bennett, his high school English teacher, shows particular interest in Robert’s use of language and the

expressions he would use in discussions and writings—“things I’d learned from Grandma and Grandpa Smith,” Robert says (p. 169). In his history class with Miss Sloan, Robert learns for the first time about the term “Appalachia,” and Mr. Bennett introduces him to two important books on the region: Our Southern Highlanders and The Southern Highlander and His Homeland. “When I read these books,” Robert says, “I found a lot of things Grandma and Grandpa Smith said” (p. 169). In some of his coursework at Berea College he learned that the reason his grandparents use certain words the way they do is because of the rich linguistic history of the people who settled Appalachia. Miller leaves Robert at Berea College on the threshold of an ever-widening journey that will distance him more and more from home. While he realizes at novel’s end that wherever he may travel Newfound will be within him, Robert is nonetheless haunted by the mysterious push and pull of home, wondering why some people leave, not looking back, and why others try to leave but cannot. Miller will plunge the older Robert into the heart of these questions in the sequel, His First, Best Country.

HIS FIRST, BEST COUNTRY

Whereas Miller’s first novel explores how the home world is imprinted on one’s character and serves as an identity fortification in the journey away from home, his second novel is an expansive exploration of the attempt at permanent homecoming. One of the pervasive themes in Kentucky and southern Appalachian literature— maybe all of literature—is confinement and escape. Characters feel trapped in their present or by forces from their past, they yearn for some kind of deliverance, and they find a way out. This pattern is commonly manifest in the conflict between home and the world beyond home, but what makes the theme so interesting, so dynamic, is that the source of confinement is often a shifting target, moving between home and the world beyond. When characters are at home, they yearn for the wider world; when they are in the wider world, they yearn for the moorings of home

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JIM WAYNE MILLER (often defined as the place where they came of age, the place where their consciousness and conscience awakened). As an Appalachian writer who is also a scholar of German literature, Miller is particularly drawn to this conflict, for the loss of home, or the threat of it, pervades the history and culture of these two regions of the world. But it is a universal theme, and one which surfaced perhaps with more intensity in the twentieth century than in any other time. Miller tapped into a major human vein when he created his fictional persona Robert Jennings Wells. Seen often in Newfound reading a book of poetry, young Robert has grown up and made a career in writing and college teaching in His First, Best Country, whose genesis was a short story by the same title published in 1987, followed later as a play produced at the Horse Cave Theatre in Horse Cave, Kentucky. Past middle age and on a four-month leave from his university, Jennings, as he is now called, has returned to his native home to finish a book on Newfound and to see if he just might want to stay.

Jennings’ understanding of the drive for “glimpses” of the primal spirit is one of the many instances in the novel where we see Jennings own glimpses into the confinement of the human condition, the stranglehold of the personal. His view of hunters, some of them anyway, as people who may be trying to reach out and touch something much more powerful than themselves, without understanding it, reflects his own inclination to understand human nature in all its mystifying complexity. As the novel unfolds—through a third-person narrator and framed by letters Jennings writes to his cousin—we learn that he and his wife were divorced two years earlier, that his grandparents and parents have died, that Eugene runs a filling station in California, and that Jeanette has married into the military. Jennings himself, while staying tethered to his native home but mainly to the myth of it, has led a rootless life. When he tallies up his residences, he realizes he has lived in “more than twenty apartments or houses, which, at the time, he considered permanent” (p. 74), an existence in stark contrast to the rooted life he had known during his first seventeen years. Changes abound in Newfound. At one end of Cordell County are “Jesus people” and “back-tothe-landers”: holistic medicine practitioners, herb growers, spinners, dyers, weavers, solar carpenters, calligraphers, dulcimer makers—many “living in renovated barns, mobile homes and geodesic domes” (p. 2). Barns have been transformed into places where “kindred cosmic souls come together” (p. 5). On the other end is a seam of coal where the landscape is already ravaged and others are “scheduled to be trashed by strip mining.” We learn later in the novel that Jennings has written a critique of strip mining in his book How America Came to Cordell County. Part of the county is slated to be submerged in water by the Corps of Engineers, and one of the reasons Jennings has come home is to buy an old log house in the water’s path and move it to his farm. The impending lake, which will bury a big swath of country, looms in the background of the novel, as it does in James Dickey’s Deliverance, as yet another way the industrialist world is usurping and flooding the traditional agrarian

A career studying and teaching literature has afforded Jennings the opportunity to peer often and deeper into the human heart, a journey he began as a child reading poetry and observing the human drama as it is played out on a small local stage. Like his younger self as portrayed in Newfound, Jennings questions certain accepted attitudes and assumptions, even if they have been part of the fabric of his own consciousness in the past. In his youth he did not question, for example, why the men and boys, including himself, were so drawn to hunting wild creatures. Now, however, in a leap of understanding, he thinks he comprehends a little better the human impulse to want to shoot and kill them: Killing them [the wild creatures] was just their clumsy, ignorant way of trying to hold a wonder in their hands.ѧ But every time they’d tried to hold in their hands the wonder that was the life of something wild, they’d had to watch the wonder fade, grow dim and lusterless, breathed out in bloody bubbles through the nose.ѧ They’d killed for imperfect fleeting glimpses, for the opportunity to come close to something amazing and beautiful. (p. 18–19)

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JIM WAYNE MILLER world. Further, as in Dickey’s novel, the lake expands into a metaphor for layering and duplicity, for how the surface belies what is hidden from view. More and more, as Newfound changes, its past finds ways of manifesting itself. Jennings’ growing awareness and affirmation that he is the past rising is at the heart of the novel:

him with a can of kerosene in hand, stops him with a .38 caliber pistol, makes him strip naked, and sends him off into the night. The scene is charged and edgy, and the long-term implication is clear: Jennings will be looking over his shoulder if he stays in Newfound. But the peril is balanced in the novel by Jennings’ budding relationship with Roma Livesay, who succeeds, as no one else does, in revealing to him his paradoxical nature: that although he praises rootedness in his writing, “he’d flitted around, in universities, in Europe, and knew his people more as an idea than as individuals” (p. 95). Jennings first met Roma when he was sixteen and she was a small child. As teenagers, Jennings and Roma’s older brother Clyde hunted together, and one day while Jennings was waiting for Clyde to come out of the house, he saw little Roma sitting on the porch, her “cotton panties pushed to one side” as she “massaged her crotch and stared up at him” (p. 45). Now divorced and in her mid-thirties, and having come home herself after completing some graduate work, Roma has been following Jennings’ career through the books he has published. She stops by one day for a visit, and the two seem instantly drawn to one another. The novel builds to their sexual consummation, beside his parents’ graves, where his past and present merge: “He was going there again— coming home, to his first, best country, now strange and new” (p. 214).

I’m not myself, Jennings thought. At least not just myself. I’m mostly other people. For it seemed to him it was his grandfather’s hand he held out in night air soft as mole’s fur; his grandfather’s eyes that saw the quarter moon holding water for September rains. (p. 75)

Early in the novel, he thinks of all the people who were there before his family came, how the early settlers left hand-hewn grave stones, how the Indians left chipped flint before them, and he wonders if his poems will be all that he has to add to the layers of time and meaning. His life as an academic, writing about home from a distance in time and space, is sinking. “All that was subdued in him, his past in this place, was rising to the surface” (p. 99). This rising, however, is not without its obstacles and threats. The shape of Jennings’ development during his leave from his professional life is that of an initiation story, with his ideal of home clashing with reality. The real of the present literally assaults him in the form of Cecil Pedigo, a former sheriff’s deputy who now serves not the county but Hilliard Shelton, Jennings’ old adversary and one of the chief proponents of “Progress” in Newfound. Hilliard also happens to be the chair of the school board, and while Jennings is on his way to a school board meeting to speak against the closing of a county school, he is accosted by Cecil. In a bloody fight, Jennings stomps Cecil’s blackjack out of his hands, and Cecil retreats. Following the meeting, Jennings finds jackrocks (twisted nails meant for puncturing tires) strewn in the road near his house, and he then catches Cecil on the brink of burning his barn. In an agrarian culture, one of the worst crimes one can commit is barn burning, and, like Abner Snopes in William Faulkner’s “Barn Burning,” Cecil Pedigo is reportedly a repeat offender. Jennings catches

What ultimately rises in the novel is Jennings’ resolve to be an active participant, an intimately engaged citizen, in bettering the life of a particular place and its people. His tense exchanges with Hilliard Shelton and his violent encounters with Hilliard’s chief crony, Cecil, serve not to scare Jennings away but rather to strengthen his determination to stay. Before his academic leave, home was merely a birthright, a gift to take or not, or to take when convenient, a subject to ponder and write about in his books. Now home is a choice he has made. (“I’m back in Newfound and intend to stay,” (p. 215) Jennings writes to his cousin at novel’s end. In that choosing is a newfound commitment. In the course of the two novels, Jennings comes full circle, and his growth incites change

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JIM WAYNE MILLER in those around him. Just as his dad’s cement blocks once stirred the neighbors into a frenzy of construction improvements around Newfound, Jennings’ words and actions have stirred the community and may lead to good civic action. A new solidarity—a chorus of concerned voices—rises in Newfound as a consequence of Jennings’ homecoming commitment. At the school board meeting, people who are usually voiceless rise and speak to take a stand with Jennings to improve the consolidated city school, plagued by drugs and teenage pregnancies, before allowing a much more effective rural school to close its doors and merge. Jennings has awakened in Newfound old civic urges and has renewed a faith in public debate as a means of fending off at least some of the destructive forces that have crept into the town. Now embodying the title of his high school graduation speech, “Citizens of Somewhere,” described in Newfound, Jennings has at last managed to combine his scholarship with citizenship. Miller often argued that merging the two—the global and local perspectives— for the betterment of one’s place should be the chief aim of education. His character, Dr. Robert Jennings Wells, is finally highly educated.

Nostalgia for 70. Big Timber, Mont.: Seven Buffaloes Press, 1986. Brier, His Book. Frankfort, Ky.: Gnomon Press, 1988. The Brier Poems. Frankfort, Ky.: Gnomon Press, 1997.

NOVELS Newfound. New York: Orchard Press, 1989; Frankfort, Ky.: Gnomon Press, 1996. His First, Best Country. Frankfort, Ky.: Gnomon Press, 1993.

OTHER WORKS The Examined Life: Family, Community, and Work in American Literature. Boone, N.C.: Appalachian Consortium Press, 1989. Round and Round with Kahlil Gibran. With an introduction by Sharyn McCrumb. Blacksburg, Va.: Rowan Mountain Press, 1990. (Six-page satirical chapbook.) “Jim Wayne Miller.” In Contemporary Authors Autobiography Series. Edited by Joyce Nakamura. Vol. 15. Detroit: Gale Research, 1992. Pp. 273–293. “ѧ And Ladies of the Club.” In The Future of Southern Letters. Edited by Jefferson Humphries and John Lowe. New York: Oxford University Press, 1996. Pp. 87–91.

EDITIONS

AND

TRANSLATIONS

The Figure of Fulfillment: Translations of the Poetry of Emil Lerperger. Owensboro, Ky.: Green River Press, 1975. The Wolfpen Poems. By James Still. Berea, Ky.: Berea College Press, 1986. Southern Mountain Speech. By Cratis Williams. Coedited with Loyal Jones. Berea, Ky.: Berea College Press, 1992.

Selected Bibliography

ANTHOLOGIES I Have a Place. Pippa Passes, Ky.: Alice Lloyd College, 1981. A Gathering at the Forks. Coedited with George Ella Lyon and Gurney Norman. Wise, Va.: Vision Books, 1993. Appalachia Inside Out. Coedited with Robert J. Higgs and Ambrose N. Manning. 2 vols. Knoxville: University of Tennessee Press, 1995.

WORKS OF JIM WAYNE MILLER POETRY Copperhead Cane. Nashville, Tenn.: Robert Moore Allen, 1964. Reprinted as bilingual English-German text, translated by Miller and Thomas Dorsett. Louisville, Ky.: Grex Press Library Poetry Series, 1995. The More Things Change the More They Stay the Same. Frankfort, Ky.: Whipporwill Press, 1971. Dialogue with a Dead Man. Athens: University of Georgia Press, 1974.

CRITICAL AND BIOGRAPHICAL STUDIES Ahrens, Sylvia. “Jim Wayne Miller: Universal Regionalist.” Kentucky English Bulletin 47, no. 2:75–84 (winter 1998). Brosi, George. “Jim Wayne Miller.” Appalachian Heritage 37, no. 3:11–15 (summer 2009).

The Mountains Have Come Closer. Boone, N.C.: Appalachian Consortium Press, 1980. Vein of Words. Big Timber, Mont.: Seven Buffaloes Press, 1984.

Caskey, Jefferson D. “The Writings of Jim Wayne Miller: A Selective Bibliography.” Iron Mountain Review 4, no. 2:37–40 (spring 1988).

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JIM WAYNE MILLER Martin, Robert. “Not Bad for a Brier.” Appalachian Heritage 25, no. 4:14–17 (fall 1997). Miller, Mary Ellen. “My Husband.” Appalachian Heritage 25, no. 4:4–5 (fall 1997). ———. “The Literary Influences of Jim Wayne Miller.” Appalachian Heritage 37, no. 3:19–24 (summer 2009). Miller, Ruth. “My Father.” Appalachian Heritage 25, no. 4:6–7 (fall 1997). Morgan, Robert. “Clearing Newground.” Appalachian Heritage 25, no. 4:24–30 (fall 1997).

Crooke, Jeff. “Sonnet Forms and Ballad Feelings.” Iron Mountain Review 4, no. 2:23 (spring 1988). Dyer, Joyce. “Jim Wayne Miller.” Contemporary Poets, Dramatists, Essayists, and Novelists of the South: A BioBibliographical Sourcebook. Edited by Robert Bain and Joseph M. Flora. Westport, Conn.: Greenwood, 1994. Pp. 344–359. ———. Review of His First, Best Country. Appalachian Journal 21, no. 2:205–206 (winter 1994). Pp. 202-206. Edwards, Grace Toney. “Jim Wayne Miller: Holding the Mirror for Appalachia.” Iron Mountain Review 4, no. 2:24–28 (spring 1988).

INTERVIEWS

Hall, Wade. “Jim Wayne Miller’s Brier Poems: The Appalachian in Exile.” Iron Mountain Review 4, no. 2:29–33 (spring 1988).

Beattie, L. Elisabeth. “Jim Wayne Miller.” In her Conversations with Kentucky Writers. Lexington: University Press of Kentucky, 1996. Pp. 242–261. Crowe, Thomas Rain. “Rocks in the Stream: A Conversation with Jim Wayne Miller.” Arts Journal 14, no. 11:10–13 (August 1989). Jones, Loyal. “An Interview: In Quest of the Brier.” Iron Mountain Review 4, no. 2:13–21 (spring 1988). Reprinted in Appalachia and Beyond: Conversations with Writers from the Mountain South. Edited by John Lang. Knoxville: University of Tennessee Press, 2006. Pp. 53–72. Kelly, Patricia P. “An Interview with Jim Miller.” Journal of Reading 34, no. 8:666–669 (May 1991). Larson, Ron. “The Appalachian Personality: Interviews with Loyal Jones and Jim Wayne Miller.” Appalachian Heritage 11, no. 3:48–54 (summer 1983). Williamson, J. W. “An Interview with Jim Wayne Miller.” Appalachian Journal 6, no. 3:207–225 (spring 1979).

Johnson, Don. “The Appalachian Homeplace: The Oneiric House in Jim Wayne Miller’s The Mountains Have Come Closer.” Iron Mountain Review 4, no. 2:34–36 (spring 1988). Jones, Loyal. “Leicester Luminist Lighted Local Language and Lore.” Appalachian Heritage 37, no. 3:27–34 (summer 2009). Kumin, Maxine. “The Poetry Workshop,” Writer, July 1963. Reprinted as “A Variegated Thread,” Iron Mountain Review 4, no. 2:22 (spring 1988). Lasater, Michael. A Sense of Place. Television profile of Jim Wayne Miller’s work. A production of Western Kentucky University Television Center. Bowling Green, Ky., 1985. Lyon, George Ella. “Will Work for Words.” Appalachian Heritage 25, no. 4:31–35 (fall 1997).

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TOVA MIRVIS (1972—)

Terry Barr TOVA MIRVIS IS an emerging American novelist whose most famous work is the 1999 national best seller The Ladies Auxiliary. Mirvis’ characters inhabit a late-twentieth- and early-twentyfirst-century cultural environment that asks them to confront issues pertaining to their mainly Orthodox Judaism. Usually writing from multiple subjective perspectives, Mirvis imagines any number of possible ways for her characters to live in the Orthodox world. Some start as Modern Orthodox and journey deeper into the culture and faith of ultra-Orthodox communities. Others begin as Reform Jews and over time embrace the Hasidic world. Some leave their communities and Jewish faith altogether. Her fictional world, then, reflects the questions being asked today by Jewish Americans of all “denominations.”

myself a Jewish writer, a Southern writer, a woman writer. I am fully all of these; they are my sources of material, they are my language and sensibility.” Still, she feels the “fear of being viewed as limited, as if being intimately knowledgeable about one world precludes the ability to see and know other ones.” Not wanting to be categorized solely as a “Jewish writer” is also a “refusal to settle down firmly inside any set of borders, to live too deeply in any one place” (in Rubin, Who We Are, p. 309). Acknowledging that the Jewish sense of identity, place, and old-world ties makes it difficult for writers, audiences, and characters to centralize specific Jewish cultural, historical, religious, or lingual traits, Mirvis goes her American readers one better. Perhaps her most enduring legacy to American literary studies is her vivid portrayal of southern Jewish life, for Mirvis is by background, if not sensibility, a southern Jewish American author, having been raised in Memphis, Tennessee. Her first published novel, The Ladies Auxiliary, is set entirely in Memphis, and her second novel, The Outside World (2004), uses Memphis as a secondary locale. The Orthodox Jewish world she paints with her prose reflects this city and the Jewish community that she still thinks of as home even though she now resides in Newton, Massachusetts.

COMMUNITY TIES

Mirvis is part of a literary community of younger Jewish and/or “Yiddishist” American writers such as Nathan Englander, Dara Horn, Allegra Goodman, Jonathan Safran Foer, Pearl Abraham, and Michael Chabon. A growing critical controversy among some of these authors is the extent to which they claim the label of “Jewish author,” a controversy dating back at least to the celebrated author Phillip Roth’s early fiction, Goodbye, Columbus (1959) and Portnoy’s Complaint (1967), when Roth was accused of betraying all Jews by “airing their dirty laundry.” Some, like Englander, “deny wholeheartedly” the label of “Jewish writer,” but Mirvis, as she asserts in an interview with the Forward, does label herself “a Jewish writer” (Kellman, “An Anthology of Jewish Fiction, More on the Verge Than the Edge”). However, she also admits, in her essay “Writing Between Worlds,” that the question of being a Jewish writer is “so fraught ѧ I am happy to call

Mirvis is a vital part of what one might call Southern Literary Shtetlists: Jewish novelists/ playwrights from the South who are creating stories about the entrenched diversity of southern Jewish life. From Roy Hoffman’s Mobile, Alabama (Chicken Dreaming Corn), to Alfred Uhry’s Atlanta (Driving Miss Daisy, The Last Night of Ballyhoo), to Tony Kushner’s New Orleans

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TOVA MIRVIS (Caroline, or Change) these authors defy the ethnically “solid South” monolith that many both in and outside of the region believe to be true. Mirvis is not even the only nationally acclaimed Memphis Jewish novelist, for Steve Stern has been writing realistic and magical-realist fiction such as A Plague of Dreamers and Lazar Malkin Enters Heaven about Jewish life in that city for nearly thirty years.

cally, Mirvis believes that her own parents resided on the “liberal edge” of that world. As she elaborated in her interview with Jacobs, her parents’ separation from the Orthodox community “gave her a slightly different perspective from many of her peers.” And this perspective led her to pathways in life that were different from the Orthodox norm. For instance, after completing high school in Memphis she spent the next year studying Talmud in Israel, which for her was a small act of rebellion that resonates in The Outside World. However, Jacob reports that because the Talmud was “traditionally studied only by men” at this time, Mirvis’ decision became the “talk of the town.”

Mirvis was born in Bethesda, Maryland, in 1972, but her family moved to Memphis when she was a child. In a faux interview given in the “Reader’s Guide” section of The Ladies Auxiliary, Mirvis is asked by one of her Memphis ladies whether, as an Orthodox Jew, she felt like an outsider in Memphis—the city is home to only nine thousand Jews, approximately one thousand of whom are Orthodox—she responded that she did, and believes that her experience is “typical” of most Jewish southerners: “When I went to school in New York [receiving her B.A. from Columbia University in 1995 and her M.F.A. in 1998], people hearing that I was from Memphis and had grown up in the Jewish community there always expressed surprise that there were Jews in Memphis.ѧ I grew up feeling very aware of being different.ѧ But still, I feel deeply connected to Memphis.ѧ I still have this sense of what it means to be from somewhere” (The Ladies Auxiliary, “A Reader’s Guide,” pp. 8–9). Indeed, as reported in a 2003 interview with Jill Suzanne Jacobs for JBooks.com, Mirvis is a sixthgeneration “Memphian,” her grandmother, at age two, moving with her family to the city from Germany. Mirvis maintains in “Writing Between Worlds” that growing up in such a close-knit Jewish atmosphere taught her how to “listen to the voices of a community, to hear its unsaid but certain opinions” (p. 303). She remembers attending her “purple-and-silver Orthodox shul” every Shabbos, and sitting “in the women’s section, next to my mother, one row behind my grandmother, my view obfuscated by the domes and decorations of grand hats and the mechitza that separates the men from the women” (p. 301).

Mirvis also felt this split perspective during her days at Memphis’ yeshiva high school, a place where during the morning she and the eighteen female students in her class studied secular subjects and in the afternoon Judaic studies. In a brief memoir for JBooks.com, she comments that “rarely did the two [courses of study] ever meet.” The girls were being “trained” to become “wives and PTA presidents,” and the classes were “regularly interrupted for motherdaughter luncheon preparations, for pizza sales, and for an ill-fated song-and-dance performance entitled Destiny: An Inspirational Evening of Song and Dance for the Women of Memphis.” Her school had strict dress codes, meaning that if a girl’s dress was “deemed too short,” she would be “rented” a replacement that suited the dress code. Or, a student could be sent home for any infraction of these rules (Mirvis, “The Scarlet Letter Aleph”). The class that she loved best—and which in a sense, stamped her entry into the outside literary world—was her high school English class, where her teacher had the students read novels that were not Jewish novels: “I’m not sure I knew there was such a thing as a Jewish novel because the line dividing our day would have kept those two words apart as well.” In that class, she insists, she felt the most “alive” out of any other time during her day. It was during that English class too that she first read Nathaniel Hawthorne’s The Scarlet Letter, which, as will be discussed

While the Orthodox Jewish community in Memphis was conservative culturally and politi-

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TOVA MIRVIS shortly, impacted the plot and theme of her first novel (Mirvis, “The Scarlet Letter Aleph”). While her novels do reflect this grounding in a southern Jewish Orthodox community, Mirvis’ world now revolves around maintaining her pace of writing balanced by helping her husband, Allan Galper, raise their two young sons, Eitan and Daniel. In her essay “A Writer’s Bed,” published in Poets & Writers, she notes that for years she tried to write in a crowded Starbucks. But later, the need for greater privacy and intimacy with both her family and her work caused her to take to her bed, where she can escape her sons’ “Legos and Matchbox cars strewn across the living room floor,” and where, after tossing her husband’s clothes off their bed, she can “set up for the day’s work ahead—my laptop on my lap and pillows propped up all around” (p. 21). Actually, her bed has even greater parental and literary resonance, as she notes in the “Reader’s Guide” to The Ladies Auxiliary, for when the final manuscript of The Ladies Auxiliary was about to be delivered, Mirvis, who had been confined to her bed for several months due to complications during her first pregnancy and had used that time to make the final revisions to her novel, gave birth to her first son—two months early: “One of the first things I thought about having the baby was that I had the manuscript sitting in my apartment and I needed to turn it in. I ended up delivering the two of them in the same week” (p. 9). Even today Mirvis continues writing from her bed, and her husband—who by day is a lawyer, by night an architectural historian—works in bed too in the evenings. As she says in “A Writer’s Bed”: “As we’ve worked side by side, I’ve gravitated toward his interest in architecture. In fact, it’s becoming a part of the novel I am writing,” about a southern Jewish family based on her own family history (p. 23).

“unflattering or ridiculous light” (Shalit, “The Observant Reader”). For Shalit, these authors give the “outside world” only a caricatured picture of Orthodox Jews. In a clear and concise online response to Shalit, Sara Ivry reminds us that “Unlike Orthodoxy, fiction encourages rule breaking, and its consequences can be sublime” (“Stranger to Fiction”). Indeed, in “Writing Between Worlds,” Mirvis declares that “In life, there are so many restrictions, some I will hold on to, others I have and will discard. But in writing, I don’t have to do either. I can move back and forth across borders. Legal categories draw lines. Writing blurs them” (p. 309). This important distinction between life and fiction—even when the fiction uses real-life models—can help us appreciate the strategy and thematics of Mirvis’ two novels. Although writing about any “closed” world will stir controversy and undoubtedly offend many residents of that world, exposing the beauty, the reality, and yes, the “dirty laundry” of that world to readers who know little to nothing about it, it might open eyes and minds that have been locked in prejudice and ignorance. Such is the chance that the sincere fiction writer takes.

THE LADIES AUXILIARY: OUR MEMPHIS HOME

The narrator of The Ladies Auxiliary is the community’s voice, a perspective that was inspired, according to Mirvis, by the community narrative voice in William Faulkner’s famous story “A Rose for Emily.” Near the end of the novel, after faithfully chronicling its events, the community comes to the understanding that after two central characters have seemingly betrayed their beloved Orthodox world, now “everything could be called into question” (p. 301). For this community, nothing seems certain any longer. Such a statement bites at the heart of Orthodoxy itself because its adherents are supposed to accept all laws and rituals pertaining to it and leave the questioning and interpretation to the learned, male Talmudic scholars. Questioning such laws is the pathway to chaos, disbelief, and another sure destruction of the Jewish people and

FICTION AND CONTROVERSY

In a 2005 essay for the New York Times, the Orthodox Jewish author Wendy Shalit takes the contemporary Orthodox Jewish novelists Nathan Englander, Jonathan Rosen, and Tova Mirvis to task for characterizing Orthodox Jews in an

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TOVA MIRVIS the tenets that hold them together, or so the community believes. One of the characters most resistant to change is Tziporah Newburger, who congratulates herself after the final series of “betrayals” for knowing “that ѧ once the mind was exposed to foreign ideas, who knows where it would wander” (p. 303). And yet Tziporah fails to consider that it has always been the Jewish reality to question, to debate, to reflect, and even to doubt. It is especially the Jewish way to change and adapt to circumstances that the “outside world” has forced Jews to adhere to over countless generations. Jews have always been tempted and tested by their God, and clearly, after more than twentyfive hundred years, the Jewish people continue to choose their “chosenness,” seemingly when there is no good reason to do so. Thus the novel’s as well as the Jewish people’s conflict: adhering to God’s law while questioning the reasoning behind and adapting to new interpretations of the law. It is no wonder, then, that Mirvis’ collective narrative voice wonders what the future will bring after the community’s tests:

where they belong. The community has survived by maintaining strict Orthodox standards, and when it has felt threatened by change, it has reacted by imposing even tighter restrictions. Its rabbi has served in that capacity for over thirty years, and the community expects his son to succeed his father. Continuity has become, if not a law, then a mitzvah (good deed). But into this seeming paradise come Batsheva and her daughter Ayala, newcomers who are busily moving into a recently vacated house in the community. Batsheva is ѧ different, as her arrival just before sundown on Shabbos indicates. As the community and readers learn, she is a convert to Orthodox Judaism, and in fact was not born Jewish at all. Her former husband, Benjamin, had grown up in this Memphis community, but he died in a car accident the previous year—an accident which Batsheva and Ayala survived unharmed. Hoping to stay as close to Benjamin as possible and to find a community that would accept and embrace them, Batsheva and Ayala have journeyed to Memphis from New York, with the knowledge and aid of the Memphis rabbi’s wife, Mimi. Batsheva embraces Orthodox Judaism, but her ways of doing so conflict with the community’s. In shul, she sings loudly, rather than humming demurely as the other ladies do. Her style of dress, though still modest, is more whimsical than that of the other women. And just over her left breast, she has a rose tattoo. She is an abstract expressionist painter who, very politely, speaks her mind and offers the community a fresh perspective—a change in the manner that they observe their faith. She constructs giant sukkah huts and Chanukah menorahs. She leads the women in a Rosh Chodesh new moon ceremony; she invites other outsiders and forgotten souls to her Shabbos dinners, and slowly over the first few months of her life in Memphis, the ladies come to appreciate, if not accept, her new ways, her invigorating presence in their lives. Yet there is tension, even jealousy. On Purim, Batsheva dresses as the Persian-Jewish heroine Queen Esther; moreover, she not only teaches the teenage girls art, but answers honestly their questions about her own sexual past. Worst

We tried to imagine calling into question the assumptions and beliefs that had shaped our lives. We reminded ourselves that somewhere along the way, we too had a choice.ѧ All the moments of doubt that we had had over the years came together now, and we thought about how hard it sometimes was to be religious, how elusive this God of ours could be, how lonely it was to always be different.ѧ (pp. 301–302)

As the novel bears out, however, it is a testament to their strength as individuals, as a community, and as Jews that, even though it seems too late to be doing so, the Orthodox ladies do confront their reality of doubt, fear, and choice. The Ladies Auxiliary is set in contemporary Memphis. In this “Jerusalem of the South,” which contains an Orthodox shul at its community’s center, an all-Jewish elementary and high school, a kosher restaurant, grocery, and even a bakery, several generations of Jewish Memphians have lived, worked, and flourished. Though the older generation is starting to see its young people move away, the elders still hope that their children will see the light and move back home,

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TOVA MIRVIS of all, she befriends the rabbi’s troubled yeshiva student son, Yosef, who is ten years her junior. The entire community soon faces a crisis as the teenage girls rebel, Yosef becomes more distant from his parents, and Batsheva becomes more popular than the elder women and mothers of Orthodox Memphis. But, as in communities of old, when change seems too threatening, when the Ladies Auxiliary feels its hold on life slipping, when it seems that the entire history of the Orthodox Jewish people of Memphis might completely unravel, the Memphis ladies take action. They identify the source of all the trouble and attempt to institute the age-old solution to this contemporary world of complexity. In other words, they name a scapegoat: Batsheva. But is Batsheva responsible for the decision of an eighteen-year old girl to run away with her twenty-one year-old, non-Jewish boyfriend? Is Batsheva the cause of Yosef’s desire to drop out of yeshiva and maybe even out of Orthodoxy altogether? Is Batsheva the Bathsheba, tempting King David away from the righteous path? Or is Batsheva the Moabite, Ruth, Naomi’s daughterin-law, an agent for change, someone who will allow the community to welcome and absorb outsiders so as to strengthen its lines of continuity? The ladies of Jewish Memphis realize that they must decide these questions only after they decide to cast Batsheva out. This process forces all in the community to examine themselves: Are they what and who they pretend to be? And do they admit to the doubts that have been nagging them about their place in this paradise even before Batsheva arrived to challenge their notions of what is right in God’s sight? The novel’s prelude perfectly captures its major themes. The Memphis ladies consider their community “the safest place on earth ѧ and like our parents and grandparents before us, we couldn’t imagine living anywhere else ѧ [than] this God-given piece of land” (p. 9). But if this land is “God-given,” the narrative voice admits a bit later that “no one knows why Orthodox Jews settled in Memphis.ѧ it is said that the early Jews came because someone had a cousin here ѧ but though many have tried, no family has laid

definitive claim to this cousin”(p. 10). Also, though the voice asserts that the community sees itself as “part of a chain of Jewish Memphians that would extend into the future forever, as long and as far away as God in heaven,” in hindsight, when it seems too late to wonder and question what went wrong, they nevertheless do so: “Was it something we had done? Or something we hadn’t done? Was it because of us all along?” (p. 10). Thus the novel emphasizes that not only must we question and seek answers about our world and ourselves, it is never too late to begin such questioning, especially if one wants to become closer to one’s community, to Torah, and, of course, to God. Clearly Batsheva is Mirvis’ agent of change. A beautiful, blond, widowed, Orthodox Jewish convert in her early thirties would almost have to be. Though her looks, manner, and free-spirited personality seem to be the contentious issue, what really defies convention in this southern and Orthodox community is her willingness to speak her mind—a willingness that some might call naïveté. Unlike the other women, Batsheva addresses questions about Torah directly to the rabbi, refusing to wait for any man or more established Memphian to do so. Batsheva’s philosophy is strange and sometimes appealing to the other ladies of Orthodox Memphis, and they struggle to believe and accept that a person like her can be wholly Orthodox because she wants to be. When Tziporah Newburger, who takes her mikvah (religiously purifying ritual bath for married women) because it is commanded of her by Orthodoxy, finds that Batsheva wants to immerse herself in the mikvah because it brings her closer to God, Tziporah feels the affront to herself and to Judaism. She does not understand or believe that, for Batsheva, doing a mitzvah when you “don’t have to” brings the greatest “joy” (pp. 68). But then, since the ladies were born Orthodox and had no choice in the matter, they not only find Batsheva’s attitude and story of conversion strange; more crucially, they feel pangs of envy as they listen to her explain at a Shabbos dinner that she had “always [been] pulled toward Judaism, like God was calling to me.” Mrs. Levy, one

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TOVA MIRVIS of the community’s matriarchs, can only remark “Really,” to Batsheva’s story since “she had never felt God calling out to her, and in fact ѧ distinctly remembered learning that He no longer called out to people so directly in this day and age” (p. 89).

made for Shabbos—tofu? Tuna fish? Everyone knew you were supposed to have chicken or roast. It was like a religious law by this point” (p. 97). More telling, when the after-dinner discussion turns to Torah, and the rabbi asks Yosef to illuminate a particularly difficult scriptural paradox, Yosef does so to his father’s approval. However, Batsheva questions the message. She does not understand the concept of tahor, a term referring to ritual purity. She wants to understand the “symbolic meaning” behind such ritual. On the other hand, Becky finds Yosef’s explanation “crystal clear,” lacking, thankfully, any ambiguity. Batsheva understands, though, that in God’s world nothing is ever so clear—that each “answer” only leads to new questions, each act carrying both literal and symbolic meaning. For Batsheva, Judaism is meaningful because we do need to “think about the reasons.ѧ When I light Shabbos candles, I think about how we need to bring more light into the world and Shabbos is the time to do this.” She affirms that she does not want to “blindly” pursue a “set of rules,” because questioning the reasons behind ritual allows her to feel as if she is “choosing” Judaism each day (pp. 111–112).

Of course, such distant envy and theological rigidity lay the groundwork for the scapegoating to come. Mirvis does not trace a clear path for her characters, however. While critics such as Wendy Shalit believe that Mirvis judges the Orthodox ladies too harshly, there is more roundness to and sympathy for them than meets the eye. Though it sounds blasphemous, these ladies admit that preparations for Shabbos, which “naturally” fall to them since they are both traditional southern and Orthodox women, have become a dreadful chore (p. 81). And who can blame them? The planning, cleaning, shopping, cooking: for each Shabbos dinner they invite many guests and often try to outdo their last dinner and, of course, compete with each other over recipes, often withholding key ingredients of these recipes from each other. While the men work, or doze, or go to shul on Friday evening, the women light candles, welcome guests, look their best, and do not stop until the last guest exits. At that very moment, they begin planning next week’s meal. In fact, sometimes during the reading of The Ladies Auxiliary one wonders if the husbands and fathers of Orthodox Memphis exist at all. If the community voice of the ladies functions similarly to a Greek chorus in, say, Aeschylus’s Agamemnon, which is composed of women and elderly men unable to fight in the Trojan War, the men of Memphis represent the warriors off fighting, never seen, rarely discussed, until the war’s end when they return triumphantly to their homes, wives, and baths (though thankfully there is no Clytemnestra in Mirvis’ Memphis).

On hearing this, the ladies’ voice agrees and realizes that Orthodox women too have many questions that need answering: “Why ѧ were we not obligated in all the commandments men were? And did God really see every tiny action that we did? Wasn’t He too busy with more important matters?” (p. 112). They begin asking questions of the rabbi; they look at their husbands’ books and help their daughters with their homework. Some, like Leanna Zuckerman, get their husbands to study with them. They learn that they “wanted to become a little more like [Batsheva]” instead of forcing her to become exactly like them (p. 113). Their complexity, their desire to change, reaches an initial climax with Batsheva’s invitation to a Rosh Chodesh “new moon” celebration, representing the monthly renewal of all women. The ladies worry that the celebration smacks of feminism. For Mrs. Levy particularly, the plans for Batsheva’s gathering are “a little far out” to

Yet for all their grace and industry, the women are often “silly” and “harsh” with each other. At Mimi’s Shabbos dinner, when Batsheva, a vegetarian, turns down the “honey mustard chicken and barbecue beef ribs,” Becky Feldman feels offended for Mimi, herself, and the entire community: “She tried to envision what Batsheva

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TOVA MIRVIS suit her: “I’m no rabbi, but I don’t think we’re supposed to be messing with tradition just because it might be fun” (p. 125). Mimi, though, encourages attendance not only to support Batsheva but because this would be a “wonderful opportunity for religious growth” (pp. 125–126). Indeed, as they arrive and as Batsheva invites them to light candles and sit on the floor, they do so willingly. Batsheva reminds them that women have a “special connection” to this holiday because while waiting for Moshe to descend Mt. Sinai with God’s Commandments, the male Israelites grew impatient and built the Golden Calf as a God substitute. However, the women refused to worship the calf “because they weren’t afraid of Moshe’s absence. They didn’t think the end had come. They still saw possibilities for renewal” (p. 128).

predicament (outcast as an adulteress) and insight into the nature of sin. Acknowledging that Hester’s ability to “recognize other people’s sins” also leads to “a loss of faith,” Mirvis concludes: Yet, this knowledge also opens up the possibility for human compassion and extraordinary sympathy, a fact which even the stern [New England] townspeople come to begrudgingly appreciate about her as she tends to the sick and aids the poor.ѧ Hester knows that she is not alone in her sin; perhaps in looking at her, the townspeople know that neither are they alone in theirs.

Certainly Batsheva’s naïveté allows for such views. Becoming a favorite with the Orthodox teenagers, Batsheva is their choice to chaperone a weekend trip to Gatlinburg, Tennessee. There, when the girls gather late one night in her room, Batsheva shows them her tattoo, tells them about her first sexual experience—at age fourteen—and does not discourage them from doing what seems “right” to them, including having sex before marriage. While Batsheva sincerely considers her words and actions as being honest and as allowing the girls a sense of freedom and a new perspective to consider before they go too far in their rebellion—even reminding them that she left her old, wild life, and freely chose the restrictions of Orthodoxy—she puts too much trust and faith in the girls. She can neither win the battle with teenage hormones nor undo years of religious and social rigidity. So although her actions are definitely naive, it is nevertheless not her responsibility or fault that soon after the trip, two girls indulge in a behind-the-school marijuana break; or that other girls become more distant from and sulky toward their parents; or that on the evening of Purim, Shira Feldman runs away with her gentile boyfriend, not to be heard from again for several weeks. The ladies cannot see beyond this apparent cause-and-effect relationship, however, and to aggravate their hasty conclusions, they learn from someone’s distant New York cousin that after Benjamin’s death, Batsheva had had an affair with a close friend of Benjamin’s—a married man also in grief over losing his best friend. The ladies question not only the affair but the religious lapse it implies.

As Batsheva begins to sing, loudly, beautifully, enchantingly, the ladies realize her strength: a faith in God, which they are not sure they have. They see in Batsheva “a kind of faith that eluded us, one that would allow us to lose ourselves in it. We followed the mitzvot; we didn’t have a problem with the doing aspect. But the believing part—the loving God with all our hearts and souls and mights—was something else” (p. 129). It is tempting to stop reading at this point in the novel. The community has accepted Batsheva; she has a real place in it, and the women, inspired by her example, seem to come to a greater understanding of the meanings behind their rituals and way of life. But life is not so clear-cut. Batsheva herself warns the most rebellious teenage girl, Shira Feldman, that at times even she questions whether this Orthodox life is right for her, but adds that “we’re always supposed to be grappling with what we believe” (p. 139). This sentiment catches the tone and theme of the second half of the novel, for if Batsheva has seemed to embody the character of the Moabite Ruth in the earlier sections, the community reinvents her in the later parts as one-half Bathsheba, temptress of King David (Yosef), and onehalf “Hester Prynne,” the protagonist of Nathaniel Hawthorne’s classic of American literature, The Scarlet Letter. In her essay “The Scarlet Letter Aleph,” Mirvis writes movingly of Hester’s

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TOVA MIRVIS Old-world and/or southern superstitions translate into small-town fears; when a community, or individual, feels threatened, there is a tendency to reject everything new, as if it is possible to revert to the way of life one led before. As Leanna Zuckerman attempts to explain to Batsheva why the community is upset and turning against her, and as she also tries to reassure Batsheva that the incident with the girls will “blow over,” she realizes that even if it doesn’t—and she hopes it will—Batsheva has shown her at least “that religion didn’t have to be a mold turning out clones” (p. 219). She realizes that this community does not necessarily treat each other, not to mention supposed outsiders, any better than other communities do.

children have left Memphis for good. They have not merely rejected the particular Orthodoxy of this “Jerusalem of the South.” They have rejected her and the generations of her family who founded and perpetuated this Jewish oasis. While Tziporah and Mrs. Levy lead the vocal opposition against Batsheva, others support her. Rena Reinhard, Ladies Auxiliary president, understands that Batsheva is not likely the responsible party for the teenagers’ rebellion. Rena provides a dose of reality, at least to herself, but at the auxiliary meeting that decides Batsheva’s fate, it is the other Orthodox “outsiders,” Naomi and Leanna, who publicly defend Batsheva. Leanna demands to know what Batsheva has “done wrong ѧ Everything is based on rumors and gossip.ѧ Is there even one thing we know for a fact?” (p. 273). And Naomi, with a pent-up anger she has felt most of her life, rebukes them all: “All this talk about how friendly we are as a community, what a special place this is—what does any of it mean if we treat someone who’s a little different than us in such a close-minded way?” (p. 273).

The novel builds to a point of decision: should Batsheva be fired from teaching the older girls of Memphis? Do her “sins” and “temptations” warrant such a step? Tziporah asserts the role of authority: the parents must have the ultimate control over who teaches their children. Batsheva has indulged the girls, given them permission to defy both religious law and community standards, though Tziporah has no firsthand knowledge that any of these assertions is true. Complementing Tziporah, Mrs. Levy is prepared to make a great personal sacrifice. When Batsheva and Ayala first arrived, she took it upon herself to nurture the child and give her all the things she was certain that Batsheva could not provide. She baked challah and cookies for Ayala; she babysat whenever needed, and even when at odds with Batsheva, she still made a point of including Ayala in her annual Purim gift baskets. Now, at the point of firing Batsheva, Mrs. Levy assumes that afterward, Batsheva and Ayala will leave Memphis, which means that she will “lose this child she had grown so close to. But that, she knew, was the risk she took when she became close to children and grandchildren not her own.ѧ But she would accept this loss with grace. It would be her personal sacrifice for the sake of the community” (p. 262).

Mrs. Levy rises to Naomi’s challenge in classic reactionary manner: “Who do you think you are! ѧ If you don’t like [our ideas and values] you are free to move. And in fact, I would suggest that you consider the idea very seriously” (p. 273). And also, despite their confrontational words, when the final vote is taken, it is done so in classic, nonconfrontational democracy: by prearranged secret ballot. The novel, of course, does not end on that note. Mirvis is far too perceptive a writer to allow an unequivocal ending. The community goes on; Orthodox Judaism, like its sister strains of Reform and Conservative, is alive today in the South. What is compelling, if not a bit paradoxical, though, is that a movement that seems to resist change must constantly face change, and in fact its traditions insist on its doing so. As mentioned earlier, toward the end of The Ladies Auxiliary, Mimi tells the story of the Israelite Naomi and her Moabite daughter-in-law, Ruth. By accepting Ruth into their midst, the Israelites incorporate change and thus cement their famous legacy and destiny. For when Ruth married Boaz,

Mrs. Levy is unable to see Orthodox Memphis from any other viewpoint than her own, and among the many things this view fails to account for is the fact that all three of Mrs. Levy’s

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TOVA MIRVIS a rich landowner, they had a son, Oved, “who [then] bore Jesse who bore David, the king of Israel” (p. 309). New traditions are always being born, and though we might at first encounter them with trepidation, how soon after they are established do we believe that they have been a part of us for generations? And what of the history and traditions that we supposedly hold so dear, the ones that we cherish and constantly praise to ourselves and our children? The ones that hold us to higher standards of behavior toward those in our midst? When Mrs. Levy considered her sacrifice of Ayala as her personal way of preserving her community; when she saw herself in essence as the community, we are reminded of the rabbi’s words at the novel’s opening Shabbat service: “They assembled themselves against Moshe and Aaron and said: You take too much authority upon yourselves. Isn’t the entire congregation holy and isn’t God among everyone? So why do you raise yourselves above the people?” (p. 32). Any teacher’s worst fear is that as he or she provides the lesson, the students are not listening, much less understanding. The Passover story that lies underneath so much of Mirvis’ novel resonates even more deeply at the end. Certainly the thrust of the Israelites’ exodus is twofold: by having faith in God and following the leadership of God’s chosen one, Moshe, the Israelites eventually enter the Promised Land. But faith and obedience lead to liberation and freedom; the promised home is founded upon a deliverance from slavery—from one people, or person, dictating to another that there is only one way to think and to live for all time. Mirvis allows her narrative voice, which has always used the collective “we,” to have the last word—a word that holds open the door to a promising life despite the bleakness of the present day: “we still had a choice, [about being religious] even if we didn’t usually think about it like that” (p. 301). While nothing might ever be the same after the events of the past year of their lives, that does not mean that their Orthodox community has been reduced to nothing. As perhaps the greatest southern novelist, William

Faulkner, once said about another suffering people, the ladies of this community, indeed the community itself, will “endure,” if not “prevail.”

THE OUTSIDE WORLD: A VARIETY OF PATHS

Mirvis’ second novel, The Outside World, considers the broader theme of how or whether the Orthodox Jewish world can mix with those on the outside. But it also develops more deeply the theme Mirvis raised in The Ladies Auxiliary: in adhering to strict laws and practices of Orthodoxy, can Orthodox Jews find variety in Orthodoxy and pursue their own, more personal and perhaps creative ways to be obedient to God’s commandments while at the same time reveling in the liberation and freedom promised to and found by the ancient Israelites? As if these questions are not serious enough, a deeper, perhaps more problematic question is, How do we define and distinguish what is “outside” and “inside” for Jews in this modern American life? The Outside World is set mainly in Brooklyn, New York, and concerns the strange and fragile bonds between the Goldman and Miller families. The Goldmans—Shayna, Herschel, and their children—are more committed to Orthodox Judaism, mainly because Shayna, born to two nonreligious Holocaust survivors, has converted out of love for ritual and out of a desire to fit into this highly ordered, closed world. The Millers, nominally Orthodox, are led by Naomi and Joel who, while lighting Shabbos candles and attending shul regularly, do not exactly understand why they follow these rules or why their individual practices, including those of their children Bryan and Ilana, are all so different and at variance with each other. And then, to their initial horror, Bryan, who is bound for Columbia University, chooses instead to study in Israel, trades his Yankees cap for a black fedora, announces that he is no longer Bryan but “Baruch,” and embraces ultra-Orthodoxy. Tzippy Goldman, Shayna and Herschel’s eldest daughter, in the meantime, growing tired of the shadduch’s (matchmaker) and her parents’ attempts to find her a husband, decides to venture out into the world of studying abroad in Israel

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TOVA MIRVIS and of choosing her own potential marriage partner. This is, naturally, where she encounters Baruch, whom she recognizes as Bryan, a boy from her past. For the Goldmans and Millers are old acquaintances, Shayna and Naomi having been roommates at Stern College, the Orthodox women’s school in New York. And though Naomi’s husband Joel cannot stand the Millers, particularly Herschel, and is in fact the reason why Naomi has rebuffed all contact with the Goldmans for years, both families find themselves reunited by an engagement and impending wedding.

ers—have deep insights and understanding of the closed Orthodox world), Shalit argues that Mirvis “homes in on hypocrisy, but in the process she undermines the logic of her plot. The novel’s jacket copy announces that ‘The Outside World’ is meant to explain ‘the retreat into traditionalism that has become a worldwide phenomenon among young people,’ but the uninformed reader might wonder why any young person would want to be part of such a contemptible community.” She wonders further if the novel is supposed to allow us on the outside “to indulge in eavesdropping on a closed world.” Or worse, “is there a deeper urge [of some readers] ѧ to believe the ultraOrthodox are crooked and hypocritical, and thus lacking any competing claim to the truth?” (“The Observant Reader”). In her JBooks.com review of the novel, however, the critic Caroline Leavitt remarks that

Not to be left out of the family business, Herschel, whose life is built on investment dreams and business schemes, jumps at an opportunity to buy space in a Kroger grocery store in Memphis, Tennessee, in order to open the Kosher Connection, a kosher grocery/delicatessen combo. And to run the business, he enlists his new son-in-law, Baruch, with the tempting offer that through kosher food, Baruch can eventually live his dream of bringing Torah to the outside world. Memphis represents the outside world most obviously. Further, though, what Tzippy and Baruch and the rest of their now united and extended family learn with their move to this once-upon-a-time Jewish oasis causes them all to rethink their place in God’s world, a place where such distinctions as outside or in, modern or ultra-Orthodox, are more blurred than they ever imagined. Mirvis told Jill Suzanne Jacobs of Jbooks. com that she’d like to see an Orthodox Jewish community more involved in “issues of the larger Jewish community.” She stresses that in her belief, Orthodoxy does not have a “lock on what’s right. I think that everyone approaches God in a different way and that all ways have beauty and meaning and they are all paths to God.” Some, of course, would consider Mirvis naive, maybe blasphemous. Wendy Shalit points to some of the problems in Mirvis’ beliefs and fictional viewpoint. Labeling Mirvis as one of a rash of “outsider-insiders” (those who perhaps falsely believe and want the outside world to believe that they—these Orthodox Jewish writ-

the wonder of the book isn’t just that it’s about a specific community, it’s universal in its depiction of how families—and faith—work. How seeds are planted in children, but it’s also up to the child to see what grows. Like the eruv, the symbolic wire that keeps a community intact, there’s still airspace in any community, room to reinterpret and find your own meanings. ‘In each generation, one is obligated to feel as if he himself has come out of Egypt,’ The Outside World says, and here, at the final Passover seder, the Egypts these warm, sympathetic characters have journeyed through are not just hilariously funny, but personal and profound. (“An Unorthodox Novel”)

Both Shalit and Leavitt have legitimate points: a reader might laugh at or ridicule the characters and their beliefs. We might not agree with laws that seem illogical (separate dish racks; being unable to touch your betrothed before the wedding); we might see in ultra-Orthodox Judaism a fanaticism akin to other fundamentalist religions. Yet Mirvis depicts her characters as honestly and intentionally searching to find a clear path to meaning. Searching for answers, feeling at peace enough to ask questions; challenging interpretations and asking why things are as they are: these are not hypocritical actions. They are, rather, sincere signs of growth and acceptance that might enable the novel’s characters to reach a deeper and more sustaining faith.

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TOVA MIRVIS While the novel’s main plot focuses on the journey of Tzippy and Baruch, the character who offers the most piercing insights into the novel’s themes—the variety of paths even the Orthodox can take to God; the freedom that must be present for Jews to live and worship; and the definition of the outside-inside space that seems to elude everyone at least until the end—is Baruch’s younger sister Ilana.

“She was a good girl. She listened to her parents. She got good grades. She davened when she remembered to. She went to shul on Shabbos. She wore shorts and watched TV and didn’t see what there was to be so conflicted about” (p. 31). Her “bafflement” and anger have only increased in these five days as she remembers how stiff Bryan was when she hugged him at the airport after a year apart. He explained to her that it says in the Shulchan Aruch that after bar mitzvah it is assur (forbidden) for a brother to hug his sister. “That’s crazy,” Ilana proclaims, but the damage is done:

Perhaps the greatest natural divide in the stages of growth and development is the one between adolescence and adulthood. Bar/bat mitzvahs, sweet sixteen parties, debutante balls, college/yeshiva admission: although we enjoy certain rituals, we have no one way to definitively mark that moment of passage. As rough as it is for any individual to make the transition, for siblings, when one is attempting or has succeeded in the passage and the other is left on the other side—particularly if the younger sibling is the youngest and now the only child amid a sea of adults—feelings of loss, abandonment, and even rage can develop. For Ilana, it is not just that her brother has “left” her for adulthood; he might also have left his senses by changing his name from Bryan to that very Jewish-sounding, oldworld name with the hard “ch” gutteral. Though his parents believe his “nouveauyeshiva-ish” behavior will pass, Ilana knows that they are not seeing him clearly now, this serious man who believes the Talmud has “become [his] world.” But it is hard to be a Talmudic scholar when your little sister blasts rock music all hours of the day. Though irritated, Baruch nevertheless remembers how they used to conspire against their parents to watch more TV, to find “loopholes” in the house rules. He even wishes “he could take off his tefillin and go into Ilana’s room ѧ [and] laugh and joke with her as he had once done” (p. 29). He does enter her room finally but only to ask her to turn the music down and to please call him Baruch instead of Bryan. Just thirteen, Ilana hoped for five days upon his return that her brother might become Bryan again. Though her parents pretend that everything is fine, she knows it is not. In his requests, Ilana feels her brother’s disapproval, and she cannot understand why:

It was all so impersonal: a theoretical brother, a theoretical sister, a theoretical hug. She stepped back and held up her hands in surrender. “Fine. No problem,” she had said, and wondered if the rabbis would object to her smacking her brother. In their estimation, was that sort of contact inappropriate as well? But inside her anger, she also felt ashamed, as if these rabbis and her brother were accusing her of an incestuous rabbinic sluttiness. (p. 32)

Interestingly, Naomi at least hears the strains of the new world that could be as she listens to the scene just described. From separate spaces, the noises soon “blend ѧ as if Baruch were setting the morning prayers to a rock beat, as if Ilana’s music were incorporating a cantorial undertone.ѧ as she left the kitchen, the music created, at least to Naomi’s ears, a cacophony that was pleasurable, a harmonious blending of worlds” (p. 38). Unbeknownst to her, Baruch has had a similar insight on a date with Tzippy at the Biblical Zoo in Jerusalem. There, he wondered why God created so many different species of animals. Why not one of each? But he can answer this question, for he knows that his God “clearly liked variety” (p. 73). Cacophony. Variety. Asking questions and realizing answers. But how to apply such answers to the very source of religious illumination? Do worlds collide, or do they blend? Does religious assimilation only confuse the issues, or can it make the decisions and paths of life more distinct? While Baruch certainly asks questions that open doors, Ilana is the one who charges through the openings to find the answers on the other side.

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TOVA MIRVIS It is a worry that Baruch shares and even violates later when he and Tzippy do embrace, privately, at the party. This is the old Bryan, walking the “dangerous edges” where people “get lost.ѧ One kiss and he would disappear,” he thinks, and so he shrinks from his future wife, pretending their touch never happened (p. 125). Can Orthodoxy withstand or allow a more personal way to honor God? Are these “minor differences?” Do they make a difference? In his denial, is Baruch eliminating Bryan, or merely repressing him[self]? Perhaps the answer lies at a Yankees game where Baruch and Herschel, discussing their idea of a kosher grocery in Memphis, witness the variety of fans in line for the stadium’s kosher hot dogs:

To do so, Ilana often gets cues from Joel. After learning of his son’s engagement, Joel tries to assimilate this news with the ultra-Orthodox man his son has become by reflecting on his own youth. Then, “people did what their parents did. They weren’t looking to be more observant than their families. He could be an Othodox Jew and be many other things at the same time. His religion didn’t have to identify him, constrict him, define him” (p. 85). He silently reflects on the differences in religious life now where “hypocrisy masquerad[es] as faith” and wonders where God is “in what his son did and said. Was He under the hat? In between the plastic slats of the dish racks? Was His spirit sweeping through this house, a thrumming audible only to his son?”(p. 86). Such feelings are almost exactly reflected in Ilana’s comments to her mother. Baruch’s engagement has only worsened her relationship with and place in her family: “Everyone’s changing,” she laments, wishing that she too could become “someone else” (p. 109).

The men were wearing black hats and Yankees batting practice jerseys. The women wore long jean skirts and baseball caps over their snoods. There were also men in shorts, women in tank tops, men whose yarmulkes were hidden under Yankee caps, men who had come straight from the office and forgotten to put their yarmulkes back on. And kids in full Yankees uniforms with tzitzis hanging out, standing next to kids wearing baseball jerseys emblazoned YIDDLE LEAGUE. Mincha minyans formed to the right of the stand. They were like pickup games of basketball. As soon as there were ten, the prayers began

Relationships worsen as Naomi prepares for the engagement party for Baruch and Tzippy, the one event, as mother of the groom, that she can stage totally on her own. Things go well in the planning phase—Baruch and Ilana are actually getting along—until Naomi mentions the toast that she is planning to make. Informing her that his rabbi teaches “Kol kavod bat melech penimah,” translated as “the glory of the king’s daughter is inside,” Baruch says it is forbidden for women to speak in public because doing so will “blur” their private/public roles (p. 117). Naomi is hurt by this; Joel stares at his son in “disbelief,” but Ilana shouts, “ ‘What do you think? If women speak in public, it will cause lewdness or something?’ ѧ here she was, in her usual spot in the middle, wondering why these differences, minor compared to all the possibilities in the world, had to force them apart” (p. 118). She wishes she could reach out and force everyone into an enormous hug; if they all touched, would anyone be left outside? Would there even be an “inside” if they were all holding each other?

(p. 140)

Listening to Herschel’s plans for the Kosher Connection, Baruch realizes that he values Herschel because Herschel offers a “different way to see the world” than his father does (p. 142). And through Herschel’s persistence and his own rabbi’s counsel, Baruch understands that the great, learned rabbinic scholars have always “been part of the outside world” (p. 149). This insight permits Baruch and Tzippy to move to Memphis and begin a new life there running the Kosher Connection. But what Baruch fails to gather is that this is truly the beginning of his own blurring worlds—that the strict path he has been on and that he believes he should be on can be prescribed and even dictated; however, when it is finally traveled, the path taken will always bear the traveler’s personal stamp. The Outside World wants us to consider the significance or lack of it in following tradition

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TOVA MIRVIS for its own sake. Ilana feels this most deeply as Baruch’s and Tzippy’s wedding approaches. Being told that she should be “excited” about her brother’s wedding; observing her “observant” brother get as close to Tzippy as he possibly can without touching her when he thinks they are alone, Ilana believes that “They who pretended to be so holy in public were just like everyone else in private. It confirmed what she had suspected: that it was all pretense. Everyone layered themselves in disguises and costumes, pretending to be something they weren’t” (p. 154). And tradition found in religion? Why go to shul on Shabbos if she didn’t feel like it, if she wasn’t sure what she believed in? On Shabbos, what if she turned out a light? Would God really care “one way or another?” (p. 154). Though she does go to shul, late, she tells Naomi that “Just because we go every week isn’t a good enough reason ѧ [it] makes no sense” to do so (p. 157). Ilana has grown too old for being told “Because I say so” if she asks any sort of “Why?” Unfortunately for her, she is still too young to be taken seriously.

to ignore her school’s rabbis before, now, as they coincidentally impose a stricter dress code, she feels caught; she listens, wants to disobey, but more than anything, she becomes “excruciatingly aware of her body. She couldn’t remember where she was supposed to put her arms, how she was supposed to sit. Her body felt naked and exposed” (p. 198). Other characters worry about appearances too, but Ilana’s honesty is without a pretense or stricture. Without trying to latch onto or uphold any one way of being, living, worshiping, she allows herself to confront “nakedly” the traps, the complications, and the tensions that hold the rest of her family in check and keep them from knowing how to reach and touch each other. Her confrontations start with her teachers. Ask them if “God really exists,” and there goes an entire morning’s class. Ask them why women “are obligated in fewer mitzvot” than men, and you hear the same answer you’ve heard “a hundred times,” the answer that stymies all thought (pp. 208–209). Except this time. Except for Ilana, who asks, “what if you don’t feel closer to God? ѧ Maybe you’re supposed to feel that way, but you don’t. Or what if you want to do the mitzvot the boys do. Then what?” (p. 209). She hears the same answer: “girls are different from boys. They’re more internal. They don’t need to put everything on the outside” (p. 209). But the girl listening is not the same Ilana, and whether she means to or not, on the play field that afternoon, in passing the jersey during the last race of the day, she removes two layers instead of one, and runs the last leg in her bra and skirt. At the obligatory family meeting that night, she explodes at her parents:

A variety of attitudes and questions continue to confront these characters, but as the novel winds down, Ilana’s questions and actions become even more daring. For somehow she knows that erasing the lines of everyone’s personal batter’s box is the only way to be noticed: the only way to escape these boxes they have all built or have allowed to be built in their names, which have only served to maintain their conflicts with each other and with the tension between the modern “outside” world and the Orthodox “inside.” Turning fourteen, spending a summer at a girl’s camp where she does not have to dress modestly, Ilana then returns home to face ninth grade and its “uniform ѧ [of] Baggy t-shirts and long jean skirts.” Her reluctance to dress Orthodox reflects that “She was no longer the wellbehaved girl whom her parents counted on even as they overlooked her. She was becoming herself” (p. 194). This new Ilana would dare wear a skirt to school whose hem was a few inches above her knees and which somewhat tightly hugged her hips. And though she has been able

Maybe I’m different than who you think I am, but so what? You always say that we need room to figure out who we are, and that we don’t have to be the same just because we’re in the same family. So that’s what I’m doing.ѧ I just don’t know if I want to be like any of you. Everyone assumes that I have to be religious just because I was born into this family. But isn’t that up to me to decide? ѧ I have no idea what I’m supposed to think. Who are you? Who are we? (p. 211)

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TOVA MIRVIS Ilana’s questions are ones that many Jews do not want to answer and ones that most non-Jews do not know exist. The ever-growing branches of Judaism can strike one today as being as strange as the continuing dilution of Christianity into as many denominations as there seem to be adherents. If the Hasidic Jewish sects each derive from the Old World, eastern and central European villages and the chief rabbis who governed them, founded hundreds of years ago, where does that leave the wandering mass of displaced Orthodox? Or the Reformers who want greater assimilation into the outside world? Or the Conservatives who want that too, only not so much? Or the Reconstructionists? Or Lesbian and Gay congregations? Or, to Mirvis’ geographic scheme, the southern Orthodox?

times not knowing.” She asks him, then, what she’s “supposed to believe,” and when he tells her that she’ll have to “figure it out for [her]self,” she responds as eloquently as a fourteen-year old can: “That’s what I’m trying to do.ѧ But then I ask questions and no one answers me” (pp. 226– 227). This is by no means the end of The Outside World. There are other endings and beginnings. The Kosher Connection ends, but Pesach arrives, and at a joint seder with the Goldmans, Naomi thinks she sees Elijah drink from his long-filled cup—the harbinger of a greater glory. She chooses to bring to her seder “her unfettered wonder and belief” (p. 279). She learns from her children and also leads them: the outside world is inside them all as they tell the story of Exodus, as they participate in their own version of this ancient ritual. As they honor God ѧ and themselves, whoever they are, on this night of Pesach, which is unlike all other nights, these two Jewish families are for this moment, at least, truly one.

Ilana asks, “Who are we?” She believes that though they are of the “same family,” they don’t have to be “the same.” Isn’t she speaking as much as a Jew as she is a Miller? She thinks, wonders, whether there is a “way to live inside the folds of tradition? Did it have to be smoothed out and stapled into perfectly aligned pages? Was there no way to pass it on, full of a contradictory, messy beauty?” (p. 211).

CONCLUSION

Tova Mirvis’ beauty as a writer is that she beckons her readers into a somewhat closed world using characters that Jews and non-Jews can appreciate and grow comfortable with. The questions she asks of her characters and that she has them ask of themselves offer pertinent insights into the role of religious questioning in our society and into the diverse makeup of America itself.

Speaking such thoughts, asking soulful questions, of course, cannot guarantee answers or even that your questions will be heard. But silence clearly has not worked in the Miller family. On the Shabbos following Ilana’s outburst there is movement, an answer of sorts that comes in Joel’s decision to work through the beginning of Shabbos, to be late arriving home, to break this particular covenant. When he arrives, Naomi does ask him “What happened,” but his response is only that “I’m late.” It’s up to Ilana, after an uncomfortably silent dinner, to press the issue directly, honestly: “I know we’ve been ignoring this, but, Dad, what happened to you tonight? ѧ it’s Shabbos. How could you do that? Didn’t you think that it was wrong?” (p. 226). He answers her, simply saying that there are “Choices” that sooner or later we all must make even though “they’re not always the ones we’re taught in school, or even the ones we think we’ll make for ourselves.” He tells Ilana that “it doesn’t bother” him to be unsure, that he “can live with some-

That she has chosen to focus much of her fiction on southern and/or Orthodox Jewish life, and in doing so refrains from passing judgment on her characters and the conflicts they face, affords us the opportunity to look at ourselves as individuals and as members of whatever certain tribe we claim membership in, no matter how marginalized or accepted we at least perceive ourselves to be. And if we accept her fictional terms of questioning what we have been told, of seeking answers about who we are and want to be, we have the chance to leave her world with greater hope for our own.

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Selected Bibliography

Hoffman, Roy. “Hold the Chitterlings.” New York Times Book Review, October 17, 1999, p. 21. (Review of The Ladies Auxiliary.) Ivry, Sara. “Stranger to Fiction: Wendy Shalit Wrongfully Accuses Authors of Misrepresenting the Orthodox.” Tablet: A New Read on Jewish Life (http://www.tabletmag. com/arts-and-culture/books/806/stranger-to-fiction/), February 2, 2005. Kellman, Steven G. “An Anthology of Jewish Fiction, More on the Verge Than the Edge.” Forward (http://www. forward.com/articles/6971/#), October 31, 2003. (Review of Lost Tribe: Jewish Fiction From the Edge.) Leavitt, Caroline. “An Unorthodox Novel.” JBooks.com (http://www.jbooks.com/fiction/index/FI_Leavitt_Mirvis. htm), 2007. (Review of The Outside World.) Sax, David. “Rise of the New Yiddishists.” Vanity Fair, Web exclusive (http://www.vanityfair.com/culture/features/ 2009/04/yiddishists200904), April 8, 2009. Shalit, Wendy. “The Observant Reader.” New York Times Book Review, January 30, 2005, p. 16. (Essay discussing Tovis and others.) Shilling, Jane. “Memphis Belles.” Times (London), June 3, 2000, p. 15.

WORKS OF TOVA MIRVIS NOVELS

AND

SHORT STORIES

The Ladies Auxiliary. New York: Norton, 1999; Ballantine, 2000. “A Poland, a Lithuania, a Galicia.” In Lost Tribe: Jewish Fiction From the Edge. Edited by Paul Zakrzewski. New York: HarperCollins, 2003. The Outside World. New York: Knopf, 2004.

OTHER WORKS “Writing Between Worlds.” In Who We Are: On Being (and Not Being) a Jewish American Writer. Edited by Derek Rubin. New York: Schocken, 2005. “A Writer’s Bed: The Center of All Good Things.” Poets & Writers, July–August 2007, pp. 21–25. “The Scarlet Letter Aleph.” JBooks.com (http://www.jbooks. com/interviews/index/IP_Mirvis.htm), 2007.

INTERVIEWS CRITICAL STUDIES AND REVIEWS

Jacobs, Jill Suzanne. “Wandering a Long Way From Home.” JBooks.com (http://www.jbooks.com/interviews/ IP_Jacobs.htm), 2003. Rosenblatt-Mayefsky, Chana. “Religion in a Modern World: Interview.” Publishers Weekly, March 1, 2004, p. 49.

Ellin, Abby. “Writing in the Dark: Why an Orthodox Novelist Shuns Orthodox Publishers.” Tablet: A New Read on Jewish Life (http://www.tabletmag.com./life-and-religion/ 975/writing-in-the-dark/), July 24, 2008.

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FLOYD SKLOOT (1947—)

Ron Slate BIOGRAPHICAL ACCOUNTS OF writers, especially living authors, are often woven with foreshortened career narratives created for expediency’s sake. Such misleading portraits tend to inflate the significance of life events as the keys to interpreting a lifetime’s work. Take the case of Floyd Skloot. The convenient story begins with a business trip he took in December 1988 during which he contracted a rare viral illness. After suffering permanent, debilitating brain damage, he struggled to produce The Night-Side, his first book of essays, in 1996. This collection was followed in 2003 by a second book of essays, the acclaimed In the Shadow of Memory. Part autobiography, part medical inquiry, the essays were often slotted into the growing subgenre of illness narratives. The positive tone of the writing, leavened by Skloot’s humor, seemed to encourage readings emphasizing the invalid’s victory over adversity and an advocacy for greater awareness of neurological diseases. Skloot was congratulated more often for his subject matter alone than for what he discovered within it or for the way he styled his writing. As the popularity of illness narratives grew in the early 1990s, newspaper book reviewers avidly covered Skloot’s collections, making only passing mention of his poetry or novels.

persistent effort to shape a fictive life through literature. Although Skloot has underscored the importance of writing during his partial rehabilitation (he has described this latter period as an awakening), he did not undertake his essay project or his later poetry as some sort of writingas-therapy for the stricken author. On the contrary, Skloot has maintained a craftsperson’s focus on traditional forms and a plain mode of expression. While his themes have centered on the search for meaning through personal loss, the precision of his formal techniques suggests a compensating capability: to project a shaped world narrated by a stable voice, in and through which both author and reader may experience an evasion of doom. Skloot enacts a revenge on loss by forcing it to change shape in the form of literature. Although his literary voice suggests modesty in its tightly controlled narratives and considerate tones, his aims are highly ambitious because his antagonist has been circumstance itself. The charming accessibility of Skloot’s memoirs tempts the reader to use the life as the prime means of explaining any of Skloot’s individual novels, poems, or essays. Certainly the works tell us something about the life, even as we acknowledge the purely literary qualities and value of the writing. In fact, Skloot repeatedly turns our attention to the topic of self-identity, but he treats his own person in the writing as something observed objectively and never elevated in importance above anything else in the world. Nevertheless, the moral implications of his work suggest a need to reconstruct one’s life in ways that contravene a dangerous and tragic emotional fate. Recuperation from illness and recovery of memory become metaphors for a lifelong desire more fully to experience intimacy with others and to understand oneself. While forming emo-

When we consider the span of Skloot’s writing, however, and more closely examine individual works, we may find a more profound continuity in his objectives, themes, and techniques, extending from the first poems he published in magazines in the early 1970s. Furthermore, the arc of his career describes an unhurried ripening of literary skills deployed in ways untypical for his trend-conscious generation. His seven full-length collections of poetry, four books of essays, and four novels together represent a

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FLOYD SKLOOT tional connections with his past, Skloot has willed himself to be the master of those memories and the maker of the links between them. In a 2008 interview with Publishers Weekly, Skloot said, “The memoirs of illness taught me how to work with fragments of memory and view writing as an act of discovery.” But working from life is always working from shards of memory for every writer. The poet never copies anything except for the residue that remains after looking. In other words, Skloot’s thematic emphasis on creative rebirth (and his rejection of heroic exceptionalism for the sick person) speaks to all artistic endeavor hinging on self-knowledge and the discovery of usable form. Coping with illness not only retaught Skloot how to create a vision of life on the page but also heightened the emotional and intellectual impact of the work. The disorientation of the mind, accompanied by a spiritual dread, had represented a threat to his identity-making art. He responded competitively, as if against an insult, and with the need to be assured that pain would not dissolve eloquence and form but rather serve as their occasions. But here again, we risk losing sight of the work itself and its effect on the reader. The maturation of his work through years of unstable health is marked by an ever-engaging narrative voice characterized by a hyper-attentiveness to the world’s disclosures. Taking an unstylish stance, Skloot has shown no interest in speaking from an ironic point apart from life. There is a chaste economy in his phrasing. Even in the very early poems, Skloot’s narrative speaker has both wept for and been wary of the world’s troubles, but he has schooled himself to translate them into the mastered tones of calm candor and an almost pious wonder. Most especially in the essays, he has depicted his childhood self as defenseless and under attack but also uncomplaining and vigilant. Clearly Skloot’s persona, his fictive self, seems intent on proving that vulnerability may generate its own kind of spiteless genius.

tient 002. The novel The Open Door reflects a fictional version of tense family relationships, a prelude to essays in which he explored his own similar background. Each of the genres has played a specific role during Skloot’s career, but poetry has been the constant and core medium, even as its preoccupations have evolved. Although he regards himself primarily as a poet, Skloot is one of a very few contemporary American poets who have won followings for both their poetry and autobiographical essays. A strong case may be made for Skloot as the most accomplished personal essayist among all poets of his generation, having been preceded by the example of Donald Hall (b. 1928). Skloot’s development as a writer is idiosyncratic insofar as he abandoned academia and literary studies, was not deeply influenced by modernist poets or novelists (though he is widely read in them), has been published mainly by university and independent presses, and earned his living as a business manager (before becoming disabled). His novels are no longer in print. A prominent national book reviewer, Skloot has nevertheless written no literary criticism. Yet his reputation as a prize-winning poet and celebrated essayist continues to grow, and his new work appears frequently in magazines and journals.

BIOGRAPHY

Floyd Skloot was born on July 6, 1947, in Brooklyn, New York, the younger son of Harry and Lillian Skloot, both first-generation American Jews whose parents had emigrated from eastern Europe. His brother Philip was born in 1939. Skloot’s father ran a kosher poultry shop on Union Street in Brooklyn. Mismatched in temperament and habits, the parents tolerated each other. In 1957, after his father was forced to sell his struggling business, Skloot and his family moved to Long Beach, New York, situated on a seaside strip of Long Island some ten miles east of Brooklyn. There Skloot attended public school. In 1958 his father was struck by a car and seriously injured. Skloot’s mother, portrayed in the essays as imperious, aggrieved, unaffectionate, and occasionally delusional and violent, now

The novels, poetry, and essays share many materials. The poem “A Hand of Casino, 1954” (in The End of Dreams) led to an essay on family roots, “A World of Light.” The essay “Double Blind” in The Night-Side inspired the novel Pa-

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FLOYD SKLOOT fully assumed the dominant parental role. In 1961 Skloot’s crippled father died in a hotel swimming pool at the age of fifty-three. “I think he was miserable with the life he put together for himself,” Skloot wrote in his essay “The Family Story” (In the Shadow of Memory, p. 123). Elsewhere he wrote, “When Michael Henchard, in The Mayor of Casterbridge, sold his wife to the highest bidder and hoped never to see her again, he was living out my father’s deepest wish” (“Into a Maelstrom of Fire,” The Wink of the Zenith, p. 89). In “Cover Stories,” an essay about his early reading, Skloot recalls his keen interest in the cold war spy thrillers and films of the period. The character of Herbert Philbrick in the television program “I Led Three Lives” intrigued the youngster for his ability as a government agent to deal with “danger compounding danger, requiring layers upon layers of selves behind which to hide.ѧ I knew at the time that I never felt safe in my house, but didn’t connect that feeling with my passion for stories about ultra-competent observers, experts at concealment and control of their emotions, men who survived by stealth and vigilance and grim moxie” (The Wink of the Zenith, pp. 50–51). His father dead and his brother gone, Skloot lived in an apartment with his mother. In “Cover Stories” he goes on to say,

greater discipline and purpose.ѧ Be a player in the game I was writing about” (p. 54). Years later, as an aspiring novelist, Skloot would read and reread the works of Charles Dickens, Joseph Conrad, Thomas Hardy, and William Faulkner, some of which he discovered in high school. But his early attraction to popular writing suggests a young person looking for connections with the active culture. Meanwhile, in 1962 his mother became a travel agent, taking frequent trips. Skloot spent days and weeks alone, caring for himself, a time recalled in “Home Economics for Halfbacks” in The Wink of the Zenith. In the fall of 1965 Skloot enrolled as a freshman at Franklin and Marshall College in Lancaster, Pennsylvania. His mother remarried six months later. Literature and the writer’s life became Skloot’s main interests in college. The most enduring influence on Skloot at Franklin and Marshall was Robert Russell, the English department chairman and the faculty adviser for Skloot’s senior thesis on Thomas Hardy. Blinded at an early age, Russell was an accomplished writer and scholar. Skloot recalls that as Russell’s paid reader, he recorded several novels, such as Faulkner’s The Sound and the Fury, as well as all the selections of Victorian writers from The Norton Anthology of English Literature, including 74 pages of Browning, 100 pages of Tennyson, and 104 pages of Arnold. “I read works of literature in a way very few young, would-be authors get to do,” he writes. “I got an education in how language flowed or failed to flow, how breath acted as a hidden punctuation within the rhythm of prose” (The Wink of the Zenith, p. 75). In Hardy’s sensibility he found a familiar “childhood-borne feeling of gloom and radical dislocation, a yearning sadness.ѧ I associated his pain with despondency over love. The novels are all driven by a crazed vision of love as torment” (p. 89).

So volatile and violent by nature, she now seemed transported beyond all restraint by the shock of my father’s death and the fear of the future. Her explosive rage, erratic and ferocious, could turn on me in a flash. With nothing and no one to constrain her, she would hit, kick, bite.ѧ There was a madness to her behavior.ѧ I thought of her as an armed missile, like the Ajax I saw at the Nike base not far from my school. (p. 51)

Skloot’s teenage reading included war and spy novels such as those by John Le Carre and Ian Fleming, popular novels like Arthur Hailey’s Hotel, Alan Sillitoe’s The Loneliness of the Long Distance Runner, and sports books. He claims a baseball autobiography, The Long Season, by Jim Brosnan, taught him at age seventeen that he could “make sense of what was happening, find meaning in it ѧ Observe myself and my life, as I would continue to observe the world, but with

In the fall of 1969 Skloot began graduate work toward an M.A. degree in English at Southern Illinois University (SIU) in Carbondale. He enrolled at SIU to work with the Irish poet Thomas Kinsella, having been attracted to the visiting professor’s formally taut and elegant

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FLOYD SKLOOT verse. Kinsella exerted the most lasting influence not only on Skloot’s poetry but also, as it turned out, on his livelihood. Skloot had married Betsy Coale on August 10, 1970, and in 1972, when they were expecting a child (daughter Rebecca Lee), Skloot left SIU’s doctoral program in literature and took a job in the Bureau of the Budget of the State of Illinois. Kinsella had worked for Ireland’s ministry of finance, and now his protégé decided to pursue his writing independent of academia. (“I already knew that I didn’t want to be a college teacher,” Skloot wrote in his essay “Numbers,” p. 118). He was encouraged by the publication of poems in the magazines Epoch and Concerning Poetry, while the 1974 publication of the poem “Her Game” in Prairie Schooner marked the appearance of his recognizable mature voice.

“For me, the damage seems to be almost everywhere, but not too deep,” he wrote (In the Shadow of Memory, p. 40). One year after becoming sick, Skloot began his first essays dealing with memoir, present situation, and medicine, topics often intertwined. In addition, some of his earlier short stories were rewritten in 1993 to create his third novel, The Open Door. His first marriage ended in divorce in 1992; on May 14, 1993, he married Beverly Hallberg and moved to her house in rural western Oregon. By 1994, when the University Press of Florida published Skloot’s first full-length book of poetry, Music Appreciation, he had been publishing his verse for more than twenty years in magazines and journals throughout America. Just two years later in 1996, Story Line Press published The Night-Side, his first book of essays, and in 1997, The Open Door. His second book of poems, The Evening Light, was completed in 1997 but not published by Story Line until 2001. That same year, his third collection, The Fiddler’s Trance, which had been finished in the year 2000, appeared from Bucknell University Press. The End of Dreams, his fifth collection, was completed in 2002 but was not published by Louisiana State University Press until 2006, by which time his fourth collection, Approximately Paradise, completed after the former, had already appeared from Tupelo Press. Tupelo then published Selected Poems: 1975–2005 in 2008, and Louisiana State University Press brought out The Snow’s Music that year as well. With the rapid appearance of these books, Skloot was thus identified by some observers as the writer who got sick and became miraculously productive and insightful. The story is factually valid, if far too simple. But the widespread success of In the Shadow of Memory in 2003, his second book of memoir-essays, made it difficult to think of him as otherwise. His new essay publisher, the University of Nebraska Press, then published A World of Light in 2005 and The Wink of the Zenith: The Shaping of a Writer’s Life in 2008. Skloot’s poetry and essays have been frequently anthologized. He is the recipient of the PEN USA Literary Award in Creative Nonfiction,

In mid-1976 Skloot and his family moved to Olympia, Washington, where he performed staff work for the state’s legislature. That summer he began work on Pilgrim’s Harbor, a first novel that took ten years to complete and was not published until 1992 by Story Line Press. He wrote and published several short stories, beginning in 1976 and continuing sporadically to the present. His first short collection of poetry, Rough Edges, appeared in 1978 from Chowder Chapbooks. (Five additional chapbooks appeared through 2001). Returning to Springfield, Illinois, Skloot worked for the state’s construction agency through 1984, managing multimillion-dollar budgets. The next move took him to Portland, Oregon, where he worked in public policy for Pacific Power and Light. In 1986 he began writing his second novel, Summer Blue, completed in 1988 but not published until 1994 by Story Line Press. During a business trip to Washington, D.C., in December 1988, Skloot fell ill and has been disabled ever since. The initial diagnosis of chronic fatigue syndrome proved to be both inaccurate and incomplete, although the publisher of his first book of essays emphasized this particular illness for marketing purposes. It soon became clear that Skloot’s most serious health issues were neurological; memory impairment was the most disturbing of several interconnected problems.

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FLOYD SKLOOT Oregon Book Awards for both poetry and creative nonfiction, three Pushcart Prizes, the Independent Publishers Book Award in Creative Nonfiction, and two Pacific Northwest Booksellers Association Book Awards for poetry. In May 2006 Franklin and Marshall College awarded Skloot an honorary Doctor of Humane Letters degree.

slammed bedroom door.

At the poem’s end, the speaker sees himself behind the wheel: Between lesions along the Fury’s hood, I would sight the dark ocean like a marksman— vowing never to love the way we used to love.

THE POETRY

In that final couplet, we find the most significant difference between Skloot and his mentor. If Kinsella’s “temperament is characteristically pessimistic” and tends “to consider every gain to be no more than temporary,” Skloot’s tones are calmer (but not relaxed), the speech echoing a long-standing vow to live an emotionally satisfying life (“The Evolving Poetry of Thomas Kinsella”). “My Daughter Considers Her Body,” the sonnet below, was written in 1977 and appeared in Music Appreciation (p. 42):

Floyd Skloot describes himself as “always a person drawn to order and structure, a poet whose work often rhymed and had traditional formal organization” (In the Shadow of Memory, p. 37). He had enrolled as a graduate student at Southern Illinois University in 1969 in order to study with the Irish poet Thomas Kinsella, whose work up to that point had been taut and elegant. But at that very moment, Kinsella was disavowing strict formalism for more irregularly structured modes of writing. Skloot saw that his teacher had “made a career of going his own way ѧ a rebellious formalist, mastering skills he would forsake” (“The Radiance of Change,” pp. 119–20). Kinsella had a “habit of constantly stirring up the same basic material,” restlessly casting it in changing forms (p. 117). Thus, the student learned that a poet uses the form that best serves the purposes of the poem. Together, they held the increasingly unfashionable belief that a poem must sound like purposeful speech, even as it retains its mystery and strangeness. Kinsella’s themes also resonated deeply with Skloot: “the eminence of waste, loss and decay; the certainty of bitterness and ordeal; the simultaneous drive toward and futility of human efforts for order” (p. 119). Skloot’s earliest poems, collected in Music Appreciation (1994) dealt with domesticity, nature, and memory. In “The Fury” (pp. 29–31) the speaker recalls his parents, driving their respective cars, and his driving lessons beside his mother in her Plymouth Fury. A brutal, extended memory of family strife follows:

She examines her hand, fingers spread wide. Seated, she bends over her crossed legs to search for specks or scars and cannot hide her awe when any mark is found. She begs me to look, twisting before her mirror, at some tiny bruise on her hucklebone. Barely awake, she studies creases her arm developed as she slept. She has grown entranced with blemish, begun to know her body’s facility for being flawed. She does not trust its will to grow whole again, but may learn that too, freeing herself to accept the body’s deep thirst for risk. Learning to touch her wounds come first.

This poem exhibits Skloot’s trademark lean and unadorned diction. Despite the traditional structure, one can hear the cadences of speech. The descriptions are clear and uncomplicated. As a poet, Skloot generally respects an actuality more than an idea; his poems are not informed by theories of perception and psychology, though his essays probe the qualities and flaws of human cognition. As in a Kinsella poem, in Skloot’s work it is usually difficult to locate a central personality. This anonymity, inherited from Elizabethan poets such as Ben Jonson, suggests a

Sabbath suppers erupted in shrieks, Mother fleeing to sob behind her

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FLOYD SKLOOT poet’s harsh will to serve his own experience rather than meet the reader’s typical contemporary expectation to be entertained by personality. The emphasis is placed on the senses and the apprehension of a world to shape, admire, and be affected by. “My Daughter Considers Her Body” functions through an enjoining, mimicking action: the child examines her flaws, the father examines the child, and the reader examines the father’s reaction. Skloot’s main impulse is to enact and prove the viability of more deeply felt relationships, but learning to touch his own wounds comes first. His later poems of illness thus revert to an avid willingness to create an alternative world by acknowledging grief and putting pain in its proper place. Interestingly, the daughter in the poem is “barely awake” as she notices her imperfections, a state of disorientation that foreshadows Skloot’s similar gestures of unsteady perception in the poems of illness and ghostly visions. “Chicken Market” (Music Appreciation, pp. 4–5) was drafted in 1970 when Skloot was working with Kinsella. It is the first poem in which Skloot attained his mature voice. In this poem, the speaker recalls working in his father’s poultry market. It begins,

The capon came back, a spotted brown package, taped shut, and the sale was rung.

There is an equivalency, then, between the poem and the “spotted brown package”: the poem packages its memory with the dispassion of the father, but it implies a dimension of felt experience presumably missing in the father. All the reader sees are the routine brusque actions of “the aproned man,” but the blunt description and word choices reinforce a deeper lingering emotion. “Burst,” “snatched,” “swept,” “snapping,” “wrapped,” and “dangled” express the violence of the moment, contrasted with the child’s selfimposed control. The intensity of such controlled tone, here and in “My Daughter Considers Her Body,” suggests a fear of losing equilibrium, an underlying dread. In Skloot’s ethos, nothing is more dangerous than selfish, rutted, deluded, or unexamined response. Since Skloot writes in brash opposition to these behaviors, his speaker is by implication making claims for himself, setting himself apart mainly by way of his tone of self-containment. The persona, having already taken responsibility for itself, does not feel compelled to make the reader its accomplice. Skloot’s eye does not wink, and he makes limited use of irony. It is not that Skloot’s ambitions are modest; it is that he reserves immodesty for calculated ends other than self-making. In the poetry and essays, he often makes references to pop culture. His poem “The Price Is Right” (Music Appreciation, p. 9) presents a 1950s television game show in the form of a sonnet:

He parted the doors at four. By eight the sawdusted floors were patched with clots of feathers and blood. I felt their lumps under my soles all day.

The end-rhymes of the first two lines, the trim diction, and the brisk trimeter rhythm all work to bring the reader into the poem. If the child was startled by the sight of his father preparing to kill a fowl, the speaker remains cool, peering closely at the remembered image of his father’s hand:

One March morning in 1958 my mother guessed the price of a brand new split-level on Long Island. It is fate, she thought, God knows we need it. She could do nothing wrong that half-hour. She got the trip to Florence, doublewall Amana range, classic fox stole. Hardly daring to sip her Savarin, she sat still in the strange chill of pure luck, conceiving another life. She whispered the precise figure for a baby grand; there would be song. Mother would host luncheons on the patio or

It snatched a capon’s feet and swept him face down through the gate.

After the speaker describes the animal’s death (“squawking blood, legs / kicking air / slit / neck in first to die”) we arrive at the final lines:

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FLOYD SKLOOT of his lungs when I tried to sing. All I wanted was his voice joining mine in harmony. The song did not have to be about faith in love.

soirees in the sand. Then the show ended. Her fortunes left her as they always did.

Within “The Price Is Right” is the unspoken notion that one pays a high price for the ephemeral pleasure of kidding oneself. The line blurs between reality and daydream; the mother joins millions of others who wish for the new stove and the fur wrap, but goes one tragic step further. She ignores her hot cup of Savarin coffee for “the strange / chill of pure luck” as actuality gives way to illusion. Does the son voice compassion for the mother as he recalls her folly? He does not say so directly, nor does he disparage her. If the final line has a tinge of cruelty in its slamming closure, the story has a foregone conclusion. The stakes for the speaker hang in the balance between the dangers of “conceiving another / life” and staring down the life we live. Therefore, it is implied not only that the “fortunes” worth having are cerebral and spiritual but that the poem continues to broadcast its sustaining message even after the television blinks off. The poem is proof of a permanent gain in a world of severed ties. The first section of Music Appreciation, “The Fury,” also includes poems about Skloot’s older brother. The two siblings share the dubious status of convenient targets for their parents’ grievances. In “Morning Shadows” (pp. 12–13), their mutual, common experiences are not sufficient to link them:

The extremes of the brother, the preference for a raucous sound, are incompatible with the speaker’s more simple desire for compatibility, the Everlys’ “voices fitting together.” We cannot be embraced for who we are unless we are first recognized for who we are. Skloot’s early poems of memory are spoken by the voice of the disregarded child. In “Swimmer” (Music Appreciation, pp. 26–27), the now widowed mother pretends to swim “with her feet / on the pool floor.” In search of a new husband, she set off on cruises. Near its conclusion the poem reads, I would always wish her home as I had wished her gone, ready in my fierce adolescence to be troubled Prince to her Queen.

One can hear the then-fresh influences of both Robert Lowell and Anne Sexton in Skloot’s familial reminiscences; the two poets had given permission to a new generation of writers to speak bluntly about personal matters. Nevertheless, Skloot offered only a narrow aperture to the raw material of his speakers’ psyches, unlike Sexton or Sylvia Plath. His more central models were Lowell, Robert Frost, T. S. Eliot, Dylan Thomas, Theodore Roethke, Donald Justice, Philip Larkin, and Richard Wilbur. While gazing back at twenty years of poetry published in magazines such as Poetry, Gettysburg Review, New Criterion, Southern Poetry Review, Shenandoah, and New England Review, Music Appreciation looks ahead to reflect Skloot’s post-illness emotional map. The book was completed in 1991, three years after he fell ill, and was published by the University Press of Florida in 1994. While the first section describes the shape of hurt, the second and third sections emphasize the efforts involved in creating situations of renewal. “A New Symmetry,” section 2,

My brother never told me that he dreamed what I had dreamed, that he knew between us and our sleeping parents was the last safe place we would know, a narrow space lit by the thinnest hope.

The shape of these lines, halting and irregular, show Skloot groping for an open form to contain the failing emotions of a weakening bond. At the end of “The Everly Brothers” (Music Appreciation, pp. 20–21), the two Skloot brothers ride up the elevator to their parents’ apartment: He offered me one frenzied groove of Yakety Yak at the top

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FLOYD SKLOOT begins with “Wild Light” (pp. 36–37), seemingly a poem of pure observation, beginning,

the time together. It is loose skin, the six-mile run after work. No papers and sweet rolls Sunday mornings. It is the tin anniversary, new wrinkles in old stories, the text hand-set and stitched, not perfect bound.

Wild rice is Watergrass Indians gather at lake borders in northern Minnesota.

The speaker then describes wild orange, wild hollyhock, wild carrot, wild moss campion, and wild tomato. The poem reads like an exclusive catalog of sights, until the final four revealing lines:

The jagged shape of the poem follows the noticing eye: “It is worknight / sesame oil rubs, kiwi / fruit sliced thin mixed with apricot.” Only at the end does the language engage a strict metaphor: the marriage is decorated with exquisite details, but it is too fussy, too oriented to objects and forced habit, a fancy letterpress book instead of a sturdily bound volume. Things will fall apart. Part 3 of Music Appreciation is titled “The Virus.” In April 1989, some five months after falling ill, Skloot achieved a complete draft of “Brain Scan,” accepted shortly thereafter by the editor of Northwest Review, John Witte. Here the speaker gives directions to himself, as if his presence could dissipate under the ordeal of the invasive scan. It is both a warning and an admonition. The poem ends, “What matters now is the subtle / shading of mass, some new darkness afloat / in the brindled brain-sea. You must be still” (Music Appreciation, p. 65). The struggle to establish a personal stable world now takes on a more defined context, in the present tense. The poem is organized precisely with two octaves, an a-b-a-b rhyme pattern, but insists on varying its meter, allowing discernment to range freely in its found language from line to line. The title poem (p. 67) specifies the new obsession with regaining clarity of mind and purpose:

Wild tomato is the bloodberry as wild rocket is hedge mustard as wild rosemary is crystal tea and as I once entered the wild light and named it love.

Here, every ordinary or recognizable thing has a wild analog; the man too has an emerging wild identity, belonging suitably in nature. Light is perception itself, and wild light is an alternate way of perceiving reality within the aura of affection. Skloot is unabashed when it comes to naming explicit emotion even though such gestures, and the withholding of personality, are regarded as unstylish techniques. No wonder that “Chicken Market” was rejected fourteen times by magazine editors until it was taken by Confrontation. “Swimmer” was rejected twenty times until David Wagoner accepted it for Poetry Northwest in 1986. “My Daughter Considers her Body” appears in this section, along with other poems of domestic scenes and the growth of children. But Skloot’s temperament intuitively sniffs out the crack in the foundation. The dreamed-of dynamic emotional life meets the reality of one’s choices. In “Old Stories” (Music Appreciation, pp. 50–51) the speaker hints at a marriage beginning to unstitch. The poem concludes,

I may never know what virus this is, what brilliant cell rewrites the entire score my body has followed for life, throwing its symphony into chaos.

Skloot’s conceits become extended in these poems of the early 1990s, as if offering emergency support for thought and speech. A poet of compression and restraint, Skloot is less successful when packing his poems with information,

Forty approaches. It is the time apart, not

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FLOYD SKLOOT straining to inform. Such is the case with “Saying What Needs To Be Said,” a description of his state of disorientation. But when he took up these materials in the essays, Skloot found the most hospitable form to continue and broaden the build-out of his experiences through illness and the continued exploration of his past, his identity, and the profundity of a newfound love in his second, lasting marriage. The final section of Music Appreciation is “The Search,” in which the poet looks back again at his youth, but now through the jumble of fractured memory. Having read the poems of memory in “The Fury,” the reader is on alert to compare the world of part 4 with that of part 1. But the voices in this section are more intent on loosening memory until it verges on a dreamstate. Thus, “Shoreline Life” (pp. 87–88), which recalls the Skloot family move to Long Beach in 1957, is given to a description of place, the narrative voice a kind of ghostly visitor to its fragile memory. “Our place was marked by slow / losses to windswept bayside / rollover,” begins the third stanza. He evokes “a beach braced / flat for winter.” Here is the final stanza:

Skloot’s second collection of poems, The Evening Light, was completed in 1997 and published by Story Line Press in 2001. An epigraph attributed to Jack B. Yeats begins the poem “Memory Harbor”: “No one creates. The artist assembles memories” (The Evening Light, p. 52). Skloot’s practice hews tightly to this notion of arranging material that waits in memory to be discovered. The disavowal of artifice is expressed in the relatively solemn or devotional tones of examination. Insofar as this approach comes with built-in limitations, the poet’s success depends on the interest of story, the fluidity of phrasing, and the strangeness of compulsion. This is why Skloot may dismiss artifice but he cannot elude it. The almost successful evasion of the artificial is his poetry’s distinguishing gesture, marked by a reserved speaker who boldly describes a self-made world that is strange specifically because of its compulsiveness. The subtle effects are exquisitely planned. The opening section of The Evening Light, “An Inner World,” brings the return of artists in states of stress: Claude Monet, Oskar Kokoschka, Gaetano Donizetti, Georges Seurat, and Vincent Van Gogh. The obvious subtext is that Skloot sees an equivalency between his situations and theirs, but such a simple explanation for these poems puts the emphasis on the extra-textual fact of his illness. These poems succeed because they are about the mind that addresses their subjects, an obsessive rapture of speculation about what it takes to make art when the artist is placed under duress, or suspended between the actual scene and the confusion of response. These are the final lines of “Manet in Late Summer” (pp. 21–22):

This was where my father moved us after his city life ended. He found us, at last, a home that could fade into air and water.

The site formerly identified mainly as a locus of family grief is now a place of respite. Accepting a livable dissolution, a fading into air and water, had become the invalid’s priority. “The Search” also introduces the first of Skloot’s many poems on artists, most of whom are portrayed experiencing either inspiration or a breakage of creative routine, illness, and sometimes an emergence into a new phase. There is “Paganini and the Powers of Darkness”: “By shadow of candlelight, voice / hoarsened with cancer, he practiced / his sinister pizzicatos” (p. 94). We also find Erik Satie in “The Velvet Gentleman,” meditating as he walks through Paris, hearing “harmonies that freeze / the soul” (p. 95).

As his movements shrink the world grows too great. All he knows must now be contained in two clusters of white lilacs, the cut flowers flaring like hope where they rest on black cloth. His bath has cooled. Across the room a vase of pinks and clematis catches the fading light.

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FLOYD SKLOOT The book’s second section, “Bittersweet Nightshade,” comprises moving and severe poems of illness. They are also formally gorgeous, easeful within their traditional forms (as in “Autumn Equinox”) or fluently spoken in freer form (as in “Self-Portrait with 1911 NY Yankees Cap”). The section’s title poem is a sonnet, as is “A Change of Weather”:

spiritual aspiration. These are all serious routes toward self-acceptance, as heard in the final lines of “December Dawn” (The Fiddler’s Trance, p. 66): It is not the paved walkway that veers left but my body swayed by the brain’s pull. But still, I have never felt so strongly before that the world has become nothing but an image of what is inside me. I’ll walk until the fog lifts or something.

Some nights I dream of health as a calm sea. Some nights a clearing in an alpine wood awash in meadowgrass. But it could be a storm, a swirling tempest in the blood like a cyclone sweeping everything clean, leaving wreckage in its wake, death, a flood of grief. That would be the place to begin. Tonight I hear the rising autumn wind.

Missing the terse and emotionally complex poems of Brooklyn memories, The Fiddler’s Trance is the most even-toned and least stimulating of his books. The tones of appreciation and attentiveness are almost unrelieved. In short, there is not a lot for the reader to do; one either sings along or not. With The End of Dreams (2006), Skloot readmits measures of tension and humor to his poetry, beginning with “A Hand of Casino, 1954” (The End of Dreams, pp. 3–4), a reminiscence of playing cards with his grandfather that hinges on the secret knowledge of the child. The third stanza reads:

In the book’s third section, Skloot continues the poems of childhood and memory. Written in 1974, “Her Game” appears here, as well as “Leakage,” one of several poems Skloot wrote about his aging mother. In the fourth and final section, poems like “Sourwood Nocturne” speak of Skloot’s new rejuvenating life in nature. Completed in 2000, The Fiddler’s Trance appeared in 2001 alongside The Evening Light. Here Skloot’s arrangement of work emphasized integration of memory, arduous experience, the forms of found affection, and the imagined lives of artists and other figures. The charcoal in the hands of the artist Odilon Redon “knows in the dark landscape of dreams / the world is precisely the way it seems” (p. 26). Poets have always enjoyed narrating dream sequences for strangeness’s sake, but Skloot’s intent is quite different, as the lines above suggest. Driven to memory and dreams to gain a grasp of the world, the visionary world, the artist’s domain, delivers the world as it seems. Again, Skloot’s gesture puts artifice in its place, considering that how the world “seems” is the only way we have of knowing what the world actually “is.” Therefore, the states of disorientation depicted in his work are not only about Skloot’s literal illness but also about any mind compelled to move through confusion toward clarity. In this book, the sonorous earnestness of Skloot’s verse seeks to enable such transference of desire. The Fiddler’s Trance is a book of observation, praise, and

At seven I also know that bodies crumble but new parts can come gleaming from dark hiding places. I have seen, buried at the back of his top drawer, my father’s spare glass eye in a navy velvet box. My mother has three heads of stiff hair inside her closet, just in case, and a secret pack of fingernails in her chiffonier.

The End of Dreams and Approximately Paradise (2005, but completed after the former) show Skloot in full stride as a poet, producing some of his best work and attaining his highest levels of virtuosity. The categories of poems are the same, but the voice is deepening and loosening, still careful but less intent on enacting a monotone spiritual arrival. Displaying the harsh completion of “Chicken Market,” “Poolside” (The End of Dreams, p. 6) peers unblinkingly at the death of his father. The insistence on fearlessly looking is the poem’s unstated raison d’être. The final third stanza concludes:

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FLOYD SKLOOT his role as Lear and the displeasing oddity of portraying age-induced dementia with wit:

Seconds more as he rises to stretch and blink salt from his eyes. He does not know yet. Without the least thought of time winding down, he tucks glasses in a towel on the lounger and strides across the deck as though it were nothing. He breathes, flexes his toes over the edge, dives into the cool embrace of deep water and dies.

But not play a wayward mind! Be cut to the brains, strange to himself, his entire soul wrenched free, then remember his lines but act forgetting. Understand pure nonsense well enough to make no sense when saying it.

There is an implied ars poetica here, a refusal to settle for mere suggestiveness or to use disjointed effects for imitation of a state of confusion. This Lear, fearful of his own lapses, could not bring himself “to speak the plain and awful line / that shows the man within the shattered king: / I fear I am not in my perfect mind.” “My mind’s not right,” wrote Robert Lowell in “Skunk Hour.” Skloot’s temperament will not permit such a statement; he usually speaks of loss of function, not madness. But he does start from what has gone awry; it is his overt wish for (and enactments of) affirmative destinations that is not Lowellish. Still, Skloot’s mythic self does not confuse the desire for peaceful vision and musicality with a certainty of its ultimate arrival. These are poems about—and behaving as—moments of passing clarity. In the book’s first section, there are poems about famous artists in turmoil, all attempting to hear a private music: Paul Gauguin (presented as a ghost in a waking landscape), Carson McCullers, Johannes Brahms, François Couperin. The narration of “Gauguin in Oregon” is hallucinatory, but the loss of mental acuity is not expressed through stagy images of the unexpected or broken syntax. From “Brahms in Delirium” (Approximately Paradise, p. 9):

The reader’s eye moves rapidly down the page as if diving toward the inevitable drowning death. There is no lingering over details, no sentimentality, just the candor of acknowledgment contained in a trimeter-based narrative. Skloot’s work is never more powerful than when he uses austerity and the flat voice to describe a pivotal moment. In this book, even in longer and longer-lined, denser poems like “Whitman Pinch Hits, 1861,” Skloot’s ear is perfect throughout, his narrative reflecting a confident, longer-breathed Whitmanesque pacing. In the poems about illness, Skloot’s diction is lithe and relaxed as if depressurized to calm the reader for deeper consideration. In “A Quiet Light” (The End of Dreams, pp. 31–32), he writes, It is easier if I close my eyes. The dreamy ricochet of shadows frees my mind and sometimes brings a moment’s ease. But then disembodied cries of children combing the beach for shells seem to reach me across a space defined by wind and time. I think of the long afterlife of stars, a burst of light that is pure memory.

A poem like “Dowsing for Joy” shows that Skloot will not abandon outright, positive response. But in general The End of Dreams offers rich complexity, an interplay of dark and light vision, and a precision of observation, all giving the reader a sense of an active psyche more interested in the density of experience than the assertion of beliefs. In the first poem of Approximately Paradise, “The Role of a Lifetime” (p. 3), a roughed-up pentameter with linked rhymes, a man considers

He knows he is out of his mind. He hears the swift percussion of his racing heart and feels it carry him toward what he fears most, the end of all his music, the start of everlasting silence.

These poems are juxtaposed with shorter pieces showing the natural or personal world, such as “Soft Flame,” a sonnet describing a dream. Skloot’s dreamscapes display his immodesty: How far can he stretch credulity in a visionary conceit? He does not seem to care. This

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FLOYD SKLOOT strange voice expects us to take these sentimental visions literally. The second section begins with another performance poem, “Dress Rehearsal” (p. 17), where once again the player “must project ease” and wit (yet not necessarily be at ease or feel witty). But forgetting his lines in rehearsal, he exits “lost in a soft, rapturous sorrow / where nothing moves and nothing is certain.” The poem, however, is not lost but recovered from confusion, and its sorrow is muted; it is built deliberately to help us deliberate: five quatrains with linked rhymes, maintaining a firm shape for a frantic experience. Skloot has but one poetic impulse: to clean up the disorder of the mind. The descent into a loss of vision is, for Skloot, an opportunity for vision, a place to make his stand. In “Home Repairs” (p. 25), all of Skloot’s talents and tendencies coalesce into a signature poem through measured detail and tightly controlled tone:

there is Kavanagh again.” Two poems stand out at the end. The first, “Amity Hills” (66–67), is a lilting nature narrative, Wordsworthian in its contemplation, and quietly epiphanic: Time here has drawn me out beyond strangeness. Or drawn me in. I have learned that surprise is not always shock and nothing to fear.

“Amity Hills” formally imitates Dylan Thomas’ “Fern Hill” in its meter, rhyme scheme, and even its title. The second, “Reese in Evening Shadow” (pp. 70–71), is a reminiscence of the Brooklyn Dodgers shortstop: the whisper of the wind is his voice saying it will be all right, pain is nothing, stability is overrated, drugs play havoc with your game, lost sleep only means waking dreams, and illness is but a high pop fly that pulls us into shadow.

For the first-person persona and the portrayed figures, disorientation and fear come from fatigue, or are induced by meds, or result from brain damage. In poem after poem, Approximately Paradise is finally about the victory of memory over unimaginable emptiness, and of form over formlessness. The Snow’s Music (2008) brings a new group of envisioned artists. By now, this mode of poem has become a repetitive gesture. The poems themselves are executed at Skloot’s high level of expression, but they no longer yield fresh insight. What they do offer, however, is a darkening poignancy. “William Butler Yeats Among the Ghosts” (The Snow’s Music, p. 24) ends,

The summer he wallpapered his daughter’s bedroom, rain finally buckled the back deck and sluiced the loose roof shingles free to flutter off on a gust of wind. He knew what was happening before his eyes, how water goes for what holds an old house together and tears it apart from the outside in. So does the sun. A week of record heat seemed to draw the house in upon itself as he steamed, peeled and scraped through sheet after sheet of tulips, roses, toy soldiers and prancing horses. He could hear the thin cry joists make as they dry. He worked by himself, a storm of plaster around his shoulders, the air thick with mold and age, nothing left to mark the past but bare wall, a tapestry of cracks, and a door that would not stay closed.

He misses all he longed to leave. They are here but they are one, a great rise and fall of sound like a wave that never meets the shore, a vision that never grows clear.

The book’s middle section comprises poems about his mother’s Alzheimer’s illness. The final section locates the speaker and reader in a landscape close to home, or what has become a resting place at the end of an ordeal. Another poem of imagined presence, “Patrick Kavanagh at First Light” (pp. 64–65) repeats the Gauguin gestures, with the added element of a small closure: “So I have gone / nowhere after all, and realize I have been talking / to myself. Except

But one is moved more deeply by a perfect memory-sonnet, “Playing the Bawd at Twenty” (p. 7). Here the speaker reflects on his youthful self playing Pompey in Measure for Measure: “For two hours / each night I knew what to say about right / and wrong in a world gone wild with deceit.” Skloot the mature poet would make

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FLOYD SKLOOT such performances his mission, since in his poems the world is rectified, and his audience listens as others have not:

a persona who wants to be embraced and understood—but on his terms. Thus, the persona comes across as emotionally receptive, intimate, informed, and modest but wields a candor, tact, and contained expressiveness with his audience that set him apart.

I saw the lost, even beyond the lights, and was at home with them all. Tongue in cheek, I spoke the truth from deep within my bones, no longer young and no longer alone.

“There’s a lot wrong with me,” the first sentence in the opening essay of The Night-Side, were Skloot’s first words written as an essay writer, composed eight months after he was stricken. Although The Night-Side covers topics that are central to Skloot’s concerns, he felt compelled to take up these subjects again in subsequent essays that appear in his three major essay collections. For instance, “Trivia Tea,” an early essay about exercising memory through a love of baseball statistics, is superseded by an essayist tour de force, “Billy Gardner’s Ground Out” in A World of Light. Similarly, Skloot approaches the portentous intersection of family, memory, and illness in “The Roosevelt Chair,” but we do not feel the full impact of this combination until the sharper-edged essays of In the Shadow of Memory (2003). In The Night-Side, we witness Skloot teaching himself how to handle the essay genre. Writing in the Journal of Medical Humanities, Martha Stoddard Holmes stated that Skloot’s essays had “transformed the genre of creative nonfiction/memoir” by releasing it from the conventions prescribed by the surrounding culture. Skloot achieved this distinction by using illness as a topical platform from which to probe issues that are transpersonal, intertwining medical research, memoir, and speculation. The results are never more provocative than in “The Painstaking Historian,” one of the essays of In the Shadow of Memory. The formal progress and unfolding insights and claims of this essay exhibit Skloot’s general techniques. He begins by discussing his mother’s inclination to fantasy as compensation for the cards life had dealt to her. Skloot’s touch is light; he begins “I don’t think my mother really believed she was Anastasia.” He continues, “My mother, Bronx born and Manhattan raised, spoke with an intermittent eastern European accent that was part Hungarian, part Russian, a little Polish, and some accidental

It has been said that poets grow by recoiling from their early themes, but this does not pertain to Floyd Skloot. In form and voice, he writes poetry of social decorum, taking the writer-reader relationship seriously, and tries to relieve the pressures that strain this link. This uncommon strategy is risky insofar as it ignores some registers of subtlety in favor of more obvious sentiment. Thematically, he has always spoken of the primacy of loss, and the necessity of maintaining a responding posture of steady, saving regard. The antidote to loss has entailed a submission to the concrete—without the comforts of concrete certainties. Skloot has written that since he got sick “the writing of poetry has become much more open for me. The poems are less formal, less cohesive, because my world and my mind are less cohesive” (A World of Light, pp. 122– 123). But the openness is relative. Skloot continues to be a highly disciplined poet, confronting chaos to capture and tame this enemy.

THE ESSAYS

In the preface to The Night-Side (1999), his first book of essays, Skloot quotes and approves of Susan Sontag’s assertion that “illness is not a metaphor, and the most truthful way of regarding illness—and the healthiest way of being ill—is one most purified of, most resistant to, metaphoric thinking” (Sontag, Illness As Metaphor, p. 3). Sontag objected to the Romantic notion in the nineteenth century that illness, specifically consumption, made a person interesting and supposedly more sensitive. Certainly Skloot’s essays on illness scrupulously avoid sentimentality and overstatement, or dramatically gesturing toward a point rather than making it. But there is no question that the person speaking in the essays is “interesting.” As in the poetry, the essays present

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FLOYD SKLOOT Yiddish, as though Zsa Zsa Gabor were imitating Akim Tamiroff doing Molly Goldberg” (In the Shadow of Memory, p. 72). Having enticed us through humor, Skloot then shifts gears as, in his story, his mother’s royal pretensions veer toward the exercise of power over the child. He writes, “Indeed, my mother was a born tyrant, ruthless, suspicious, given to tantrums and unpredictable violence.” There is no recrimination nor survivor’s groan in the language, suggesting a yet-to-be-revealed victory over this childhood experience. Then Skloot introduces a remarkable claim: violence to the child made him susceptible to danger by overtaxing certain neural routes. He writes:

sions, his writing is less rich, more declarative than convincing. “Responding properly to the world” is no less than the overarching act and theme of Floyd Skloot’s composite oeuvre. In the Shadow of Memory contains much variety of material and a range of tones, from grim humor and a recovered childlike delight in culture and literature to poignant and empathic stories about his family. In “Wild in the Woods,” Skloot describes the particulars of dementia he has experienced, feeling his way toward understanding how and why his condition seems designed to guide him toward understanding. He writes, The longer I dwell in this new, demented state, the more I think intelligence may not even be the most critical part. I have become aware of the way changes in my emotional experience interact with changes in my intellectual experience to demand and create a fresh experience of being in the world, an encounter that feels spiritual in nature. I have been rewoven.ѧ I have been given an area of psychological life in which to compensate for what is missing.ѧ feelings are now more dominant, less concealed, and less suppressed.

In other words, a pattern of chemically based fear response becomes embedded in the brain’s structure, rendering a person incapable of anything but a chemical hyperresponse to the least perceived danger. Stress hormones repeatedly released under pressure of abusive situations damage tissues as well as establishing a response pathway that becomes habitual (In the Shadow of Memory, p. 76)

Skloot then converts the science into felt psychology when he writes, “When the ones we love and trust turn on us, when there is no certainty of love, when the safety of our family life collapses, it takes with it our system for responding properly to the world” (p. 79). By this point, most readers will have begun to associate with the narrator. Skloot then continues the memoir, describing how he and his brother seemed to court injury, their brains “wired for over-response to stress” (p. 83). Finally, Skloot takes us to his brother’s deathbed, haunting for its unstated suggestion that the older sibling’s death is an image of Skloot’s eluded fate. It is a proxy death. The narrative effects of In the Shadow of Memory are engrossing not just because they display a man dredging his shattered memory for explanations of his present condition. The essays are propelled by the very hyper-receptivity to stimuli that signifies the psyche of the injured. Ever vigilant for insult (from the mother or the virus), the speaker maintains his composure, even when he expresses his joy or contentment at the new affection and peace he has found. When Skloot tamps down these subtle but deep inner ten-

(pp. 22–24)

“Wild in the Woods” succeeds because the abstract state described above is located in the rural scenery of Oregon and the life Skloot now enjoys with his second wife. The same holds true for “In the Shadow of Memory,” a nimble essay that moves between a recounting of falling ill, a description of his current condition and habits, and several memories. In A World of Light (2005), Skloot draws a tighter focus on the process by which he managed to regain a tenuous stability in the world. Where In the Shadow of Memory took eight years to complete, A World of Light represents four years’ work, an essayist finding his groove, drilling deeper, and conceiving the shape of a book as he progressed at a good clip. This book begins with four essays centered on the reconciliation between mother and son, the former now aged, suffering from dementia, and living in a nursing home with a Memory Impairment Unit. This collection deepens the relationship between the sick and the well by showing how “we all live in a shattered world” (A World of Light, p. x). Part 2

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FLOYD SKLOOT begins with “1957,” linking a visit to his mother to memories of Brooklyn, further explored in “Billy Gardner’s Ground Out” and “A World of Light.” Skloot’s enduring connection to Thomas Kinsella is the subject of “The Simple Wisdom.” In part 3, four essays complete a circuit from Oregon life to a final visit to Skloot’s mother. The Wink of the Zenith (2008) finds Skloot purposefully reassessing his experiences in order to understand why and how he became a writer. Once again he frames his personal mythos, explaining his situation. But one notices, in the first essay, “Going, Going, Gone,” an even more assured narrative stance. “Part of it has got to come from the fact that I’m not going after any effect at all,” Skloot explained in a 2005 interview. “I’m just trying to have a light touch” (Marlboro Review, p. 24). This initial essay seamlessly enjoins the memory of moving from Brooklyn, catching the flu, playing Wiffle ball, finding a box containing his father’s bloodied clothes, hearing of his father’s death, playing stickball with his older brother, and finally, writing about baseball as an undergraduate. “The Wink of the Zenith” is a classic essay on 1950s television, and clarifies the link between Skloot’s identity and his love of pop culture. “Cover Stories” deals with his early reading. “Home Economics for Halfbacks” looks at Skloot’s solitary nature and hapless but essential teenage attempts at self-sufficiency. Essays about his college and graduate studies show him emerging doggedly as a young poet in search of form. In “Numbers,” he begins his business career. “The Voice of the Past” begins with fact checkers at the New York Times Magazine trying to confirm that Skloot’s mother did indeed sing on the radio in the 1930s, and flows into a riff on how we excavate memory for a sense of who we are in the present. He writes, “it feels as if the past is all around me, whether I remember it or not” (The Wink of the Zenith, p. 168).

gain and discovery, in the realms of experience, creativity, and relationships” (p. 2). In his four essay collections, Skloot has not only increased the awareness of neuro-illnesses, but he has used his learned ease with language, control of tone, and passion for life’s details to maximize the impact of his perspective and the delight of his readers.

THE NOVELS

It took Floyd Skloot ten years to write his first novel, Pilgrim’s Harbor. Completed in 1986, it was not published until 1992. Skloot has said that illness offered him access to a missing part of his life. Pilgrim’s Harbor shows not only that Skloot has long been concerned with this theme, but that for years he labored at fiction as the means to give shape to this greater emotional potential. Skloot’s novels are sturdily built, carefully narrated, and loyal to their author’s dream of a more fulfilling life. Pilgrim’s Harbor is narrated by Dewey Howser, the befuddled day manager of a western motel who likes his job for the manageable, limited intimacy it offers with his odd clientele. The novel draws the reader in with the same lightly humorous, self-deprecating touch that would later attract his essay readers. As in the essays, soon the novel moves to more serious ground when Dewey meets Cindy Bonds, a free spirit. The story foreshadows the changes Skloot would devise in his own post-illness life, and the novel’s diction shows Skloot’s selftutelage in writing compact prose, perfect for quipping and the concision of new conclusions. During the years of the novel’s composition, Skloot read and studied the novels of Graham Greene and Walker Percy for their tight narratives and controlled voice. But he was also attracted to the more lush feelings in works by Faulkner, Robert Penn Warren, and William Styron. But the terse address in his work is related as well to the speaker of his own poetry, an inherent preference for brevity and freshness. Summer Blue, his second novel, was written in three years from 1986 through 1988 and was published in 1994. The novel’s brief chapters were written during Skloot’s lunch breaks from

Martha Stoddard Holmes noted, “Because his writing is extensive and varied, it is impossible to read his narratives of neurodiversity within the narrow cultural scripts that equate brain injury with tragic loss and nothing else. Loss is part of what Skloot witnessed and explores, but so are

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FLOYD SKLOOT his job. The main character is Timothy Packard, a forty-one-year old widower and father of his teenage daughter Jill. Timothy has not accepted responsibility for his life and now he worries about Jill. They set off together, wary but companionable, to a cabin in Michigan and then to Tim’s sister in Oregon. As in Pilgrim’s Harbor, here Skloot’s ear for light dialogue is a buoyant strength. The plot is a tour highlighted by female presences, past and present, as Timothy sorts out his relations with women. Once again, compassion and clarity are both means and ends as father and daughter confront the sources of their unease. Not coincidentally, the father/daughter relationship is taken up in several of Skloot’s essays and poems. The Open Door, Skloot’s third novel, represents his first attempt to shape a complete story loosely based on his childhood experiences. Five chapters were written before his illness and appeared as short stories in the 1970s. With great difficulty, Skloot was able to finish the novel in 1993. Here, Skloot begins to ask, via fictional means, why his parents married and stayed together through years of disappointed dreams and strife. The question would ultimately be more fully stated and answered in the essays, where Skloot could employ the restrained but intimate narrative voice best suited to deal with personal material and highly charged themes. Finally, Skloot published Patient 002 in 2007. The first chapter was written in 1991. This novel is an expansion of his essay “Double Blind” in The Night-Side, a piece on his experience in an experimental drug study. Patient 002 is an ensemble novel formed around several characters, patients taking part in double-blind study, each one wondering if he or she is being administered a placebo. Unlike Skloot’s other fictions, the novel becomes an action story when Sam Kiehl, the main character, leads a group attempt to obtain the now prohibited drug. Skloot also packs a love interest in the tale (Sam falls in love with his massage therapist) and an antagonist in the form of PER, a pharmaceutical company. The heist of the drug from PER, however, is less important to the novel than Skloot’s depictions of the patients’ anguish and common interests.

Floyd Skloot thinks of himself primarily as a poet who has supplemented his understanding of his experiences through the essay. The novels represent earlier and partially successful attempts to use the materials of memory, family tension, and illness. Yet taken together, his work in all three genres displays a remarkable singlemindedness to uncover and establish lasting connections with literary tradition, his audience, and his own memories. It is composite picture of a man seeking acceptance, offering empathy, and insisting on facing the facts.

Selected Bibliography WORKS OF FLOYD SKLOOT POETRY: FULL-LENGTH COLLECTIONS Music Appreciation. Gainesville: University Press of Florida, 1994. The Evening Light. Ashland, Ore.: Story Line Press, 2001. The Fiddler’s Trance. Lewisburg, Pa.: Bucknell University Press, 2001. Approximately Paradise. Dorset, Vt.: Tupelo Press, 2005. The End of Dreams. Baton Rouge: Louisiana State University Press, 2006. Selected Poems, 1970–2005. Dorset, VT: Tupelo Press, 2008. The Snow’s Music. Baton Rouge: Louisiana State University Press, 2008.

POETRY: CHAPBOOKS Rough Edges. Madison, Wis.: Chowder Chapbooks, 1979. Kaleidoscope. Eugene, Ore.: Silverfish Review, 1986. Wild Light. Eugene, Ore: Silverfish Review, 1989. Poppies. Eugene, Ore: Silverfish Review/Story Line Press, 1994. Bittersweet Nightshade. Abingdon, Va: Sow’s Ear Poetry Review, 1998. Greatest Hits 1970–2001. Johnstown, Ohio: Pudding House Publications, 2001.

ESSAY/MEMOIR COLLECTIONS The Night-Side: Chronic Fatigue Syndrome and the Illness Experience. Brownsville, Ore.: Story Line Press, 1996. In the Shadow of Memory. Lincoln: University of Nebraska Press, 2003. A World of Light. Lincoln: University of Nebraska Press, 2005.

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FLOYD SKLOOT INTERVIEWS

The Wink of the Zenith: The Shaping of a Writer’s Life. Lincoln: University of Nebraska Press, 2008.

Foster, Jordan. “PW Talks with Floyd Skloot.” Publishers Weekly, August 4, 2008, p. 52.

NOVELS

Sanasiero, Ellen. “An Interview with Floyd Skloot.” Marlboro Review 19, 2005.

Pilgrim’s Harbor. Brownsville, Ore.: Story Line Press, 1992. Summer Blue. Brownsville, Ore.: Story Line Press, 1994. The Open Door. Brownsville, Ore.: Story Line Press, 1997. Patient 002. Akron, Ohio: Rager Media, 2007.

ADDITIONAL REFERENCES Sontag, Susan. Illness as Metaphor. New York: Vintage, 1979.

OTHER WORKS “The Evolving Poetry of Thomas Kinsella,” New England Review 18, no. 4:179 (fall 1997). “The Radiance of Change: The Collected Poems of Thomas Kinsella.” Shenendoah 49, no. 2:116–125 (summer 1998).

Holmes, Martha Stodddard. “Writing Neurology: Selected Essays and Poetry by Floyd Skloot.” Journal of Medical Humanities 30:1–28 (January 20, 2009).

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GENE STRATTON-PORTER (1863—1924)

Susan Carol Hauser GENE STRATTON-PORTER had a mission as a writer: to improve the lives of others by teaching them lessons grounded in the power and beauty of nature. She did this through her best-selling novels, published from 1903 to 1927, especially Freckles (1904), Girl of the Limberlost (1909), and The Harvester (1911). Her books sold in the millions and many remain in print. She was a woman of her times—she held dear the values of family—but she also opened new horizons for women, including herself. She determined early in her adult life that she would be self-sufficient. She accomplished this through her writing which was based on extraordinary field study. She was known as the Lady of the Limberlost, the swamp in Indiana that provided the natural history for most of her stories.

call of “Wabash Fever,” a popular land drive. Like other prospectors, he found that the river’s bottomland was overrun by rattlesnakes, so much so that it was not habitable. He bought land away from the river and returned to Ohio to bring his family, now with a new baby, to their homestead, where they remained for ten years. In 1848 the Strattons moved to a new farm, named Hopewell, near the Wabash River, the territory Mark Stratton had earlier hoped to settle. The rattlesnakes that had forced him to move farther out had been largely purged from the area, in part as a result of the felling of the forests for timber and to make way for agriculture. The Strattons lived at Hopewell for twenty-six years, until 1874, when they moved to the town of Wabash to be closer to medical care for Mary Stratton. She suffered from the lingering effects of typhoid fever and died on February 3, 1875, four months after the move to town. Geneva was twelve years old.

EARLY CHILDHOOD

Geneva (Gene) Grace Stratton was born on August 17, 1863, on a 240-acre farm near the town of Lagro (formerly LaGro) in Wabash County, Indiana. She was the twelfth and last child of Mark Stratton (1812–1890) and Mary Shallenberger Stratton (1816–1875). Nine of her siblings were living at the time of her birth, four of them—Leander, Lemon, Florence, and Ada— still at home. The others were grown and had left for marriage, school, or work. The closest in age to her was Leander, nine years her senior and the model for her novel Laddie, Leander’s nickname. Two sisters born between Leander and Geneva died of childhood diseases prior to her birth. Stratton-Porter’s parents were married on December 24, 1835, in Ohio. In January 1838 Mark Stratton left his pregnant wife and an infant to search for farmland in the valley of the Wabash River in northeastern Indiana, following the

Stratton-Porter’s childhood at Hopewell farm informed her life, including her love for the land and its creatures, and her career as a writer and photographer. Her parents were self-sufficient and successful farmers. From both she learned the pleasure of providing for oneself and the beauty of nature. Her father was fifty when she was born and her mother was forty-seven. Mark Stratton, an ordained Methodist minister, had been harsh with her older siblings, imposing strict rules of study and memorization, and he had a prodigious temper that Geneva also witnessed. But he tended toward leniency with his last child. When Geneva was born, his wife’s health was already beginning to fail and she was not always able to look after her youngest daughter. Geneva was given into her father’s care and followed him and her older brothers into the fields and

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GENE STRATTON-PORTER woods. She spent her time there wandering at will, discovering the scents, sounds, and colors of the wild world that would eventually be the subject of her life’s work. One of Stratton-Porter’s favorite memories from those early years was “a gift of the birds,” as recounted in her biographical recollection Homing with the Birds (1919). Her father taught her much of what she knew about birds and encouraged her in her studies of them. However, as a farmer he had no qualms about killing birds that threatened his livelihood. One day young Geneva “heard the crack of my father’s rifle in the dooryard, then I saw a big bird whirling to earth in the milk yard” (p. 14). Horrified, she ran to the hawk and threw herself over it just as her father was about to deliver the coup de grâce. To her father’s astonishment, the hawk allowed Stratton-Porter to hold it in her arms. She knew the hawk, its nest, its mate, and its family and convinced her father to let her tend it. It had an injured wing and could never fly again and was no threat to the farm. Mark Stratton knew that hawks were ferociously wild and were not likely to accept treatment from humans. This one was nearly two feet in height with long, curved talons and a fierce beak. He feared that it would harm his young daughter. Stratton-Porter reported in Homing that “The hawk huddled against me for protection” and that her father “gazed at us in amazement.” The no-nonsense father yielded to the girl: “ ’God knows I do not understand you,’ he said in all reverence. ‘Keep the bird if you think you can!’ ” (p. 16). The next year, Father Stratton made a bequest to the girl who would become “The Bird Lady of the Limberlost.” He gave her “indisputable ownership of each bird of every description that made its home on his land” (p. 21), including the hawks and owls that he considered to be enemies of the farmer. The gift was complete and without reservation. Young Geneva embraced it. She inventoried as many of the nests on the land as she could:

and looked over the branches carefully. Not a sweet scented shrub, a honeysuckle, a lilac, a syringa, a rose bush, or a savin escaped my exploring eyes. (p. 26)

She proceeded then to the garden, the orchard, the outbuildings, the woods, the woods pasture and, lastly, the fields. In her thoroughness she demonstrated personal qualities that contributed to her later success as a naturalist, writer, and photographer. Her unfettered curiosity and disregard for personal comfort were tempered by her practical mind: Before I had finished my inventory I had so many nests that it was manifestly impossible for me to visit all of them in a day; so I selected sixty of those, which were most conveniently located and belonged to the rarest and most beautiful birds, giving them undivided attention and contenting myself with being able to point out, describe, and boast about the remainder. (p. 27)

As a consequence of her diligence, she became adept at rescuing birds, saving many and keeping as pets those that could not be returned to the wild. She had a tame blue jay, named Hezekiah, that she taught to roll cherries across the floor on command, and a rooster named Bobby that crowed when she said “Amen!” She continued throughout most of her life the practice of rescuing and protecting birds. Stratton-Porter’s mother had a complementary influence on her. Biographer Judith Reick Long, in Gene Stratton-Porter, Naturalist and Novelist, says Mary Stratton “lived by a biblical injunction: whatsoever her hand found to do, she did it with all her might” (p. 58). She contributed to her youngest daughter’s naturalist education by sending her to the woods for the roots and herbs used in compounding medicines used to treat the ills and injuries of family and neighbors. Not only did Stratton-Porter learn how to gather raw materials from this pharmacy, knowledge that would come to bear in one of her most popular books, The Harvester, she learned how to use the medicines in her treatment of injured birds. Mary Stratton provided other important lessons to Geneva that played out in the girl’s adult

So with the natural acquisitiveness of human nature, I began a systematic search to increase my possessions. I climbed every tree in the dooryard

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GENE STRATTON-PORTER life and writing. Mother Stratton came from a miller’s family and knew how to entertain and to set a fine table. She was also known for her charity toward those in need whatever their background. In Life & Letters of Gene StrattonPorter, Gene’s daughter, Jeannette Porter Meehan, relates her mother’s memory of Mary Stratton:

man infringement on the natural world contributed to her later writing. The Strattons were also successful and important contributors to their local community. Father Stratton donated a corner of his farm for a church, where he conducted three services on Sundays. During the Civil War (1860–1865) the Stratton farm provided safe haven for runaway slaves. In Meehan’s Life & Letters, StrattonPorter remembers how they accomplished the dangerous task:

She was the mother of twelve lusty babies.ѧ With this brood on her hands, she found time to keep an immaculate house, to set a table renowned in her part of the state, to entertain with unfailing hospitality all who came to her door, to beautify her home with such means as she could command, to embroider and fashion clothing for her children by hand; but her great gift was conceded by all to be her ability for making things grow. At this she was wonderful.

There was a ravine running along the edge of the orchard ending in a hollow which Father Stratton dug out and made into a cave, or tunnel. The opening of the cave was heaped with stones, and the place was used as an “underground station.” During the night escaped slaves were brought to the farm and hidden in this cave, where they were given beds of straw, food, and a candle for light, and kept until the next night, when they were again picked up and taken on their way.

(p. 12)

Mary cajoled growth from the roots and seeds of even exotic vines and trees, and her flower gardens yielded more than visual beauty. StrattonPorter related, in Meehan, that “she distilled exquisite perfume by putting clusters at acme of bloom perfection in bowls lined with freshly made unsalted butter, covering them closely, and cutting the few drops of extract thus obtained with alcohol” (p. 13). Stratton-Porter said that her mother could do more things on the farm than anyone else, and could do them better and more perfectly. She summed up her mother’s character in one word: “capable.” The description tells us as much about the daughter as it does about her mother: Stratton-Porter approved of the ability to make do, whatever one’s circumstance. She practiced this in her own life and imbued the heroes and heroines in her stories with the same quality. From 1863, the year Geneva was born, until 1872, life proceeded with relative ease at the farm, which provided well for the family’s needs. Much of the land had been cleared and cultivated; the remainder, still on the brink of wilderness, was rich with game and fish. Stratton-Porter, even at her young age, was keenly aware of the changes that were taking place in her environment: the disappearance of bison from the prairies, bass from the rivers, birds and wildflowers from the forests. This early awareness of hu-

(p. 17)

THE END OF CHILDHOOD

The years 1872 to 1875 brought tragedies that ended Geneva’s sweet childhood. Mother Stratton’s chronic illness had gradually become more debilitating, depriving Geneva of her mother’s company and guidance. In February 1872 Geneva’s older sister Mary Ann, married to a prosperous farmer, died in an accident. On July 6, 1872, her older brother Leander (Laddie) drowned in the Wabash River. He was almost nineteen, and she was a few weeks from her ninth birthday. Laddie was her closest sibling in age and her good friend. He was thoughtful and kind and welcomed her company in the fields and woods. She was devastated by his death, a pain that resurfaced later when she wrote the novel Laddie (1913) based on his character. Geneva’s parents were also deeply affected by Laddie’s death. He was the only one of their sons who had been interested in continuing the farm. Worsening matters, Wabash County’s corn crops were destroyed by worms in 1873 and in the same year a financial panic that struck the country further impaired the profitability of the

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GENE STRATTON-PORTER farm and the strength of Father Stratton’s resolve. Nearly sixty, he was not able to maintain the property and its enterprise without Laddie’s help and support. The situation was exacerbated by the escalating decline of Mother Stratton’s health, which was worsened by Laddie’s death. In 1873 Father Stratton made a difficult decision: he would rent out the farm and move the family to the town of Wabash. There his wife would be closer to medical care and Geneva would be able to attend a larger school. In 1874 the family, now consisting of Mother and Father Stratton, Florence, Ada, Lemon, and Geneva, moved in with the children’s sister Anastasia Stratton Taylor and her family. Anastasia was married to a prominent lawyer and there was ample room in her home for these additional relations. Brother Irvin was already in residence there. The move to town and her mother’s death a few months later had a profound effect on the eleven-year-old Geneva. The girl who was used to wandering in the fields and forests, following her heart and the songs of birds, felt imprisoned by her new circumstances. Long reports that Stratton-Porter was allowed to keep some of her pet birds and distracted herself from her new life by obsessively caring for them: “Religiously she scraped perches, boiled bathtubs and changed sand, all the while yearning for the woods she was forced to leave behind” (p. 73). In the years after Mother Stratton’s death, the family remaining together moved frequently, first from Anastasia’s to a rented home, then to a new home they built, then again to Anastasia’s and eventually back to their own home. Through it all, Geneva attended the local school. Although she did not like the closed nature of the classroom, her father had taught her always to do well in her work, and she succeeded for the most part in her studies. It was during these years that she discovered pleasure in writing. After the particularly successful delivery of a paper at school, she immersed herself in her new passion, as noted in Meehan:

books in school. She wrote a volume of verse fashioned after Meredith’s Lucile, two novels, and a romantic book in rhyme all during the time she should have been studying. (p. 36)

When her grades began to fail, her father forced her to give up her pets. When her sister Anastasia died in 1883, Stratton-Porter, then nineteen, used it as an excuse to stop going to school. She never returned and did not earn a high school diploma.

MRS. PORTER

Geneva, who was now going by the name “Geneve,” did not regret her decision to end her formal schooling. Meehan notes that later in life she said, “Like Thoreau, I never worried over diplomas, and unlike most school children I studied harder after leaving school than ever before.ѧ What measure of success I have had comes through preserving my individual point of view, method of expression, and the Spartan regulations of my childhood home” (p. 39). In the summer of 1881 Geneve attended, with her sisters, an Island Park Assembly two-week chautauqua in northern Indiana. Held on the shores of Sylvan Lake, the setting restimulated her love of nature which had gone unnourished after the family’s move to Wabash. The chautauqua sessions were primarily religious in theme, but she also attended lectures on world problems, clean living, and using nature to provide for oneself. Geneve attended her second chautauqua in the summer of 1884 and returned many summers after that. She was so enamored of the area and of Sylvan Lake in particular that she eventually built a home there. At the 1884 chautauqua she spent much of her time exploring the natural features of the area, extending her childhood interest in the workings of nature and further preparing herself for a career as a naturalist and nature writer. Her behavior was not typical for a young woman of the time, and it attracted attention. Other young women at the chautauqua were repelled by her: she did not exhibit proper parlor manners. One day on a sojourn around the

Her ever-present desire to write mounted to fever heat. She neglected everything else and wrote. She hid in her room at home, and she hid behind her

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GENE STRATTON-PORTER lake she picked plump wild berries. She strung them on a straw and, back at the assembly grounds, offered them to another woman. The gesture of friendship was received with scorn: a lady did not pick berries.

mother and was subjected to it further herself after her mother died, both in her father’s household and her sister Anastasia’s, where she and her father “boarded out.” Gene was determined to not give her life to housekeeping.

The confluence of these two streams of experience, the stimulation of the lectures and the wild environs, stirred in Geneve the first inklings of what would become a guiding passion in her life: the desire to bring to those bereft of nature an understanding of its power and beauty, both for the pleasure of it and for edification in life. As quoted in Long, she reported in a 1916 article that “On account of my inclinations, education and rearing, I felt in a degree equipped to be their Moses” (p. 95), an analogy she often used by way of saying that she could lead people out of the wilderness of their ignorance about nature.

Do not think me a carper or a howler for woman’s rights. I am not. But I sincerely believe that nine girls out of every ten who earnestly strive to make such a home as I imagine, half kill themselves at it. To lay on a girl’s shoulders the management and planning of a house, then to have her cook, wash, bake, iron, scrub, make beds, sweep, and dust,— and she must be bright, oh, yes, always bright and cheerful!—is enough to make a scold out of her. I take notice that my girl friends who have been engaged a year and those who have been married a year, look vastly different, and it sets me to pondering on the difference between a man’s engaged love and his married love. (p. 61)

This intent not to lose her life to the kitchen and laundry was contradicted by an equally strong belief in home and hearth. She valued her cosseted early childhood and admired her father all of his life, even though he was often rigid and difficult in his relationships with his children. In marriage, Gene gradually forged arrangements that suited her. In the early days, she and Mr. Porter (as she addressed him all of her life) lived in a small house in Decatur, Indiana. Long notes that she quickly became bored with the demands of the household and the limitations of the city, though she made the best of it by experimenting with cooking and by taking art and music lessons: “I did not write, but I continued violin, painting, and embroidery lessons, and did all the cooking and housework with the exception of the washing and ironing. I had agreed to love a man, and to keep his house neat and clean” (p. 121). On August 27, 1887, Jeannette Helen Porter, their only child, was born. In 1888 the family moved from Decatur to a house in Geneva, Indiana, closer to Mr. Porter’s work. The move also had important benefits for Gene: a chicken house and an orchard. Gene quickly turned the main house into an aviary, especially for injured birds that she rescued and, when possible, rehabilitated to the wild. In returning to this old

Geneve’s unconventional behavior at the 1884 chautauqua was also noticed by a male attendee, Charles Dorwin Porter (1851–1926), a self-made businessman who owned a drugstore and later a bank in Geneva, Indiana. Abiding by the custom of the times, he did not address Geneve directly. Rather, he approached her by letter through mutual acquaintances. They came to know each other through a lively correspondence, in which Geneve started using the name “Gene.” In 1885 they became engaged, and they married on August 21, 1886. Their letters, published in Meehan’s book, indicated a genuine affection for each other as well as Geneve’s interest in matrimony, but she also made it clear that she was not naive about who would benefit from a marriage: You have “concluded that I favour matrimony.” Well, so I do, for the men. I regard the pure and lovable wife as the best safeguard to man’s honour and purity; the comfortable and happy home as his rightful and natural resting place; and every loving environment that springs from such a tie one step nearer the heart of earth’s dearest and best. That’s for the man. And for every such a home some woman is the sacrificial flame that feeds the altar. (p. 60)

Gene’s opinion was grounded in life experience. She knew well the toll of household labor on her

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GENE STRATTON-PORTER passion, she moved closer to the life of nature writing and photography that would become her vocation.

want to be subject to her husband’s approval for support of her path nor to the whims of the economy of the moment. She kept her writing income secret for some time, renting a post office box in town for her correspondence so her husband and others would not know of her effort and potential failure. Finally, she explained,

WRITER AND PHOTOGRAPHER

Although Gene had found pleasure in writing during her high school days and occasionally after that, she did not turn to it with intent until she was in her late thirties. The first publication generally attributed to her, in 1900, cannot be authoritatively ascribed to her. A short novel, The Strike at Shane’s, was published by the American Humane Education Society. Its author’s name was never revealed and Stratton-Porter never acknowledged it as hers. However, the story clearly matches that of Stratton-Porter’s own life and experiences. It is possible that she declined recognition for the work because the father in the story is portrayed as harsh. Although Mark Stratton had died in 1890, Stratton-Porter routinely portrayed him in a positive light in her published writings. In 1895 Stratton-Porter and her family moved to a grand cabin—two stories, fourteen rooms— they built at the edge of the great Limberlost Swamp not far from Geneva. In Homing with the Birds, she wrote that while first living there, she underwent a crisis in identity: “In those days I was experiencing constant struggle to find an outlet for the tumult in my being.ѧ During my early days in that Cabin I went through more agony than should fall to the lot of the average seeker after a form of self-expression” (p. 44). She tried to further develop her interest in music, but that did not satisfy the longing she felt. As her daughter remembers, she eventually found her way to writing: “the fever to write had raged within Mother until it became a compelling influence and dominated her whole life, her home, her entertainments, her amusements, and her work. After I was old enough to go to school, Mother spent many secret hours with her pen” (Meehan, p. 36). Creative expression and championing nature were major incentives for Stratton-Porter’s writing, but she was also motivated by an intense desire to be financially independent. She did not

I took a bold step, the first in my self-emancipation. Money was beginning to come in, and I had some in my purse of my very own that I had earned when no one knew I was working. I argued that if I kept my family so comfortable that they missed nothing from my usual routine, I had a right to do what I could toward furthering my personal ambitions ѧ until I could earn money enough to hire capable people to take my place. (Meehan, p. 39)

Her early writing income was from articles in magazines. The first, in 1900, was “A New Experience in Millinery,” in Recreation, a popular magazine but one that was not widely read in her locale. It was not until her first short story, “Laddie, the Princess and the Pie,” was published around 1901 (date unverifiable) in Metropolitan magazine that others in her immediate life knew that she was an author. In fact, she learned about the publication herself from a clerk in Mr. Porter’s drugstore who had read it and mentioned it to Stratton-Porter. The publisher had lost her return address and hoped that she would see the story. Their correspondence led to another story, “How Laddie and the Princess Spelled Down at the Christmas Bee,” this time fully illustrated with photographs by Stratton-Porter. Stratton-Porter had taken up photography in defense of her writing. She was appalled by the art that publishers wanted to supply for her articles, generally poorly executed photographs of stuffed birds. Her husband and daughter had given her a camera as a gift, and she quickly taught herself how to use it and process her own film. In Homing with the Birds, she expressed her delight: “I had found my medium! I could illustrate what I wrote myself! I knew that with patient work the camera could be mastered in detail” (p. 49). Her success with photography was so great that the camera company Eastman Kodak sent a

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GENE STRATTON-PORTER representative to her home to find out how she succeeded in making such fine prints on their paper. As reported in Meehan, she was not completely forthcoming with him, in part because she did not want to reveal what constituted her lab: “I did not subject the gentleman to the shock of showing him that my dark-room was the family bath, my washing tanks the turkey and meat platters in the kitchen sink” (p. 50). When he asked for a demonstration of her technique, she told him she thought the local water might account for the difference in results and he left, satisfied with her explanation. The truth, however, she felt lay in her processes, which included quality plates and chemicals and techniques such as cooling gelatin for the plates on hot days by cooling the bath water with ice. Early in her career, Stratton-Porter was well known for her photographs, and American Annual Photography published them along with articles on her fieldwork. Recreation magazine published a column, “Camera Notes,” for which she was paid in photographic equipment. This allowed her to continue to improve and excel in her second profession. Fieldwork was the essence of StrattonPorter’s research for her articles, fiction, and photography. Over many years she spent hours and days slogging through the Limberlost, bringing to bear the play of the child on the work of the woman. She observed nature at work, keeping copious notes, especially on the behavior of birds, and took hundreds of photographs, many that took days to stage and hours of waiting for the right moment to shoot. She described her intent in Tales You Won’t Believe (1925):

fueled the mission behind both: to educate the populace on the value of nature for personal growth and healing and the value of preserving the Earth for its own sake. THE NOVELS

In 1902 Stratton-Porter’s brother Irvin died in an accident. The loss triggered a creative surge that resulted in her first book publication, the novel The Song of the Cardinal (1903). Walking on a road one day, she discovered a dead cardinal that had been shot, and she wrote a short love story with cardinals as the characters. She sent it to a magazine publisher who encouraged her to develop it into a novel. She did so within a month, keeping her work a secret, as was her practice. As quoted in Long, only when her husband was required to countersign her contract did she reveal the work: “With them [Charles and Jeannette] I was much more timid than with the neighbours. Least of all did I want to fail before my man person and my daughter and our respective families” (p. 173). Stratton-Porter dedicated The Song of the Cardinal to her father and in an additional gesture hyphenated her birth and married names, StrattonPorter, a practice that she continued with her subsequent publications. In both her private and public life, however, she continued to be addressed as “Mrs. Porter.” The Song of the Cardinal was received well by literary critics but sales were not exceptional. Stratton-Porter was disappointed. She had hoped to reach a wide audience and to enlighten her readers on the endangered state of wild birds. She herself had witnessed the decline and then disappearance of the passenger pigeon. She decided to write another book, this time with human characters. It was originally entitled The Falling Feather, and the main character, an orphan named Freckles, died at the end. Bertrand F. Richards, in Gene Stratton-Porter, reports that three publishers rejected it, encouraging her to change the ending. Finally, as quoted in Richards, she conceded and Freckles was allowed to live:

Primarily I went afield to make character studies of birds. I intended to write of them on a basis of scientific truth, and to make a more intimate study than had as yet been made concerning their characteristics and habits. I wished to reproduce them exactly as they lived and carried out their home lives. (p. 15)

Her knowledge of the swamp—of its wild denizens and the people who hid in it, or worked it for profit, or loved it—provided a constant basis for her writing and her photography. It also

I gave in, and I wish now I had not; but at the time I thought I was forced, and I rather think so still. I

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GENE STRATTON-PORTER instruction, guidance, and sustenance. In The Song of the Cardinal she describes the Limberlost swamp, favoring its muck as much as its flowers:

had no audience and no funds to publish and exploit my own work. If I would not conform sufficiently to the judgment of the publishers so that they would bring out my books I could reach the people with no part of my message, and a lifetime of work spent in equipping myself for the work I was eager to do would be wasted to all save myself. The true flavour of the book was spoiled for me; but many have liked it as it stands.

The swamp resembles a big dining-table for the birds. Wild grape-vines clamber to the tops of the highest trees, spreading umbrella-wise over the branches, and their festooned floating trailers wave as silken fringe in the play of the wind. The birds loll in the shade, peel bark, gather dried curlers for nest material, and feast on the pungent fruit. They chatter in swarms over the wild-cherry trees, and overload their crops with red haws, wild plums, papaws, blackberries and mandrake. The alders around the edge draw flocks in search of berries, and the marsh grasses and weeds are weighted with seed hunters. The muck is alive with worms; and the whole swamp ablaze with flowers, whose colours and perfumes attract myriads of insects and butterflies.

(pp. 76–77)

The publishers also pushed her on the issue of her extensive descriptions of nature, asking her to cut out many of them. As quoted in Richards, on this she did not yield: Each publisher who saw it before production assured me that the nature stuff it contained would kill any chance it might otherwise have of becoming a popular book, and felt sure that if I would cut that out, it would bring me fame and money. I replied that the sole purpose of the book was to put the nature stuff it contained before people, I had no desire for fame, or more than a very plain living; if I changed the title and amplified the text that was all the concession I could possibly make.

(pp. 4–5)

Her appreciation of what others might consider the underside of nature was consistent with her approach to life: she did not limit herself to the confines of neatness and civilized living. For her, richness of life was bred not in the drawing room but in the primeval forest. In The Harvester, she finds transport to a higher state in the rankness of spring:

(p. 77)

Freckles was published in 1904 and has been in print continuously since then. Although Stratton-Porter liked her novels, her real interest was in writing what she called “nature books,” such as What I Have Done with Birds: Character Studies of Native American Birds (1907) and Moths of the Limberlost (1912). Here was the voice of her Moses, bringing word of nature to the populace. She claimed that she made deals with her publishers to alternate these less popular books with the well-selling fiction. However, the books were published by various houses and this claim may be apocryphal. Nevertheless, twelve of her twenty-five published books were fiction, the other twelve nonfiction or poetry. Two were collections of articles previously published in magazines. Five of her novels were serialized in magazines prior to publication in book form.

Deep layers of dead leaves cover the frozen earth, and the sun shining on them raises a steamy vapour unlike anything else in nature. A different scent arises from earth where the sun strikes it. Lichen faces take on the brightest colours they ever wear, and rough, coarse mosses emerge in rank growth from their cover of snow and add another perfume to mellowing air. This combination has breathed a strange intoxication into the breast of mankind in all ages, and bird and animal life prove by their actions that it makes the same appeal to them. (p. 23)

Nature, for Stratton-Porter, is even a religion of sorts, a philosophy that can reveal one’s place in the universe, and a practice that can result in a sense of belonging that cuts deep into the heart, into the meaning of things. One can get lost there—and found. From Freckles:

THEMES AND EPIPHANIES

Stratton-Porter’s novels are, first and foremost, paeans to nature. In it, she finds beauty, comfort,

The young man [McLean] entered these mighty forests, parts of which lay untouched since the dawn

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GENE STRATTON-PORTER she herself cleared land to build homes in the woods, she was sensitive to the cost of progress when it was executed wantonly. The Song of the Cardinal, which blatantly anthropomorphizes birds, constitutes a plea to the public to recognize the humanness of nature. The other novels look at the argument from another side, asking readers to recognize the presence of nature in their own beings and lives, and thus offering them a way to restore themselves through its model.

of the morning of time. The clear, cool, pungent atmosphere was intoxicating. The intense silence, like that of a great empty cathedral, fascinated him. He gradually learned that, to the shy wood creatures that darted across his path or peeped inquiringly from leafy ambush, he was brother. He found himself approaching, with a feeling of reverence, those majestic trees that had stood through ages of sun, wind, and snow.ѧ he was amazed to learn that in the swamps and forests he had lost his heart, and it was calling—forever calling him. (pp. 3–4)

Proper behavior is a cross-cutting theme in the novels, but it is not parlor behavior that concerns Stratton-Porter. Rather, it is proper moral behavior. For her, this includes honesty, bravery, self-reliance, respect for nature—the land, birds, animals, plants—and for other people. It also includes respect for self, including care of the body through attention to nutrition and using nature’s remedies for healing.

The character of McLean is mentor to another young man, nicknamed Freckles, who leaves an orphanage in Chicago and seeks work in the lumber camps. Freckles too finds his place within the wild setting and builds himself a simple shelter, described by the Swamp Angel, a young woman Freckles comes to love: “You like it, too,” said Freckles.

Literary critics of the time generally did not appreciate Stratton-Porter’s fiction. Writing for the Bookman in 1916, Frederic Taber Cooper found it inclined toward “verboseness and redundancy” and with a “cloying sweetness in her nature worship that puts a matter-of-fact reader somewhat out of patience.” He adjudged her books to be mere reiterations one to the next and “her over-sentimentalised characters act for the most part in a manner half way between melodrama and grown-up fairy tale.”

“Yes,” said the Angel, “I love it. Your room is a little piece right out of the heart of fairy-land, and the cathedral is God’s work, not yours. You only found it and opened the door after He had it completed.” (p. 101)

The opening of doors is a frequent theme in the novels. Freckles not only opens a door to the swamp, the swamp opens for him a door to his full potential. His innate fortitude and integrity blossom and flourish. In the end, he and the Swamp Angel marry, having overcome obstacles of experience and station in life. In promoting understanding of nature, Stratton-Porter also promotes its preservation. Freckles and Angel both fear for the future of the swamp. Angel says, describing the work of the first timber loggers who took only the finest of trees:

But Cooper and other reviewers also generally acknowledged the popularity of the books: “The fact remains that she has a rather big audience and has no difficulty in holding it.” The appeal of the work, says Cooper, is granted to be Stratton-Porter’s success with her writing voice: The author does have the faculty of making us hear the birds and smell the flowers and watch the shifting seasons and the alternating sunshine and rain. She is sincere in her passionate love of the outdoors, and because that sort of sincerity is contagious, she does for the time being trick us into imagining that we too would revel in just that sort of life and that all the pageantry of city streets is not worth one apple-tree in bloom, or the feathery wings of one of those huge, slumberous moths that make the month of June in the Limberlost a memorable epoch. The effect that she gets may be transitory, but she

They’ll drive away the birds and spoil the cathedral. When they have done their worst, then all these mills close here will follow in and take out the cheap timber. Then the landowners will dig a few ditches, build some fires, and in two summers more the Limberlost will be in corn and potatoes. (p. 101)

Although Stratton-Porter grew up on a farm that arose from swamps in just that way, and although

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GENE STRATTON-PORTER strive for better lives. She did not intend that everyone live ideally, but she hoped that by striving for perfection, they might find some degree of integrity and peace. As quoted in Meehan:

certainly does get it, in spite of some crudeness and affectation and over luxuriance of style. (pp. 670–671)

In “My Work and My Critics,” Stratton-Porter answered Cooper’s charges freely, chiding the critics for failing to understand that she had executed with intention the very features he complained about:

Now what do I care for the newspaper or magazine critic yammering that there is not such a thing as a moral man, and that my pictures of life are sentimental and idealised. They are! And I glory in them! They are straight, living pictures from the lives of men and women of morals, honour, and lovingkindness. They form idealised pictures of life because they are copied from life where it touches religion, chastity, love, home, and hope of Heaven ultimately.

As for my stories, they do not contain what I know to be true of all life, but what I do know to be true of a much larger part of life than any critic I have ever known will admit. It is exactly what could be true of all life if all men would put up the fight for clean morals that The Harvester did. Fifty years of such life on the part of every man would empty our feeble-minded homes, alms houses, and prisons, and, barring accidents, would practically do away with hospitals and sanitariums. This is no Utopian dream: ask any responsible physician.

Am I the only woman in this broad land so born and reared? Was my home the only one with a moral code and religious practice? Are there not homes by the thousand in which men and women are true to their highest ideals? I have seen and been in them by the hundred.

(p. 155)

(pp. 134–135)

Early on in her writing, Stratton-Porter adopted this kind of overreaching in order to bring her message to readers who were not easily drawn to nature. As quoted in Meehan: “I lighten each Nature book with enough fiction to make it readable to those not interested in Nature work, sugarcoat their pill, so to speak” (p. 137). She was not bothered that her work was accessible to the general reader. Rather, she was proud of it:

Stratton-Porter was not herself immune to the pressures of public opinion. She considered what her place might be in literature and over time. Long reports that for a while she was dismayed by the negative reviews. In the end, however, as quoted in Long, she leaves her status as a writer in the hands of posterity: “As to whether my work is or ever will be literature, I never bother my head. Time, the hearts of my readers, and the files of my publishers will find me my ultimate place” (p. 8). Her place in literature, says Long, was ultimately defined by the Yale pundit William Lyon Phelps, who elevated her status to that of “a public institution, like Yellowstone Park” (p. 9). In the years just before and after the turn of the twenty-first century, one hundred years after the publication of Stratton-Porter’s first book in 1903, critics tended to take a larger view of her work. In her essay “The Harvester: The Natural Bounty of Gene Stratton-Porter,” Cheryl Birkelo recognized that, “Like Stratton-Porter’s nonfiction nature studies, her novels have been seriously underrated as contributions to women’s nature writing” (p. 74). Stratton-Porter, Birkelo said, had finally come to be appreciated especially for her conservationist views and ringing out a warning that our natural resources are in danger:

To-day a criticism of Laddie by a minister of the Gospel was sent to me in which he wrote of it as “molasses fiction.” What a wonderful compliment! All the world loves sweets. Afield, bears as well as flies would drown in it. Molasses is more necessary to the happiness of human and beast than vinegar, and over-indulgence not nearly so harmful to the system. I am a molasses person myself. So is my family. So was my father’s family. So are most of my friends—all of them who are happy, as a matter of fact. So I shall keep straight on writing of the love and joy of life I have found in the world, and when I have used the last drop of my molasses, I shall stop writing. (p. 136)

Stratton-Porter also had no tolerance for those who complained about the idealistic nature of her characters and plots. In fact, as with the sugarcoating of nature, she found value in presenting ideals to her readers so they might know how to

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GENE STRATTON-PORTER tory of American ideas through its manifestation of a Transcendental ethos. Stratton-Porter introduces Transcendentalism to a wide range of non-academic readers by depicting men and women who experience epiphanies and serve as the translators of higher spiritual truths.

As her essays indicate, she realized fully from personal observation and history that the limits of nature’s bounty were being reached in her home region, as well as nationally and globally. The closing lines in her essay “Shall We Save Natural Beauty” read: “There may not be coal and iron, [and other natural resources] at the rate at which we are using it, to supply coming generations. Any thoughtful person realizes that there will not. Certainly to plant trees and to preserve trees, to preserve water, and to do all in our power to save every natural resource, both from the standpoint of utility and beauty is a work that every man and woman should give immediate and earnest attention.”

(p. 171)

Stratton-Porter’s brand of transcendentalism is acknowledged to be “social, rather than individual,” and dedicated to environmentalism. “Ultimately,” writes Phillips, “Stratton-Porter’s fiction exemplifies American Idealism and effectively demonstrates how American might engage in a domestic Transcendentalism” (p. 172).

(p. 74)

Birkelo also noted two of Stratton-Porter’s consistent goals: to instruct readers about and to promote the preservation of nature:

Personal epiphany is the essence of the transcendental moment and occurs in most of Stratton-Porter’s novels. In A Girl of the Limberlost, it is the widowed mother, Kate Comstock, who is most in need of this transformation. Though she has raised her daughter Elnora, she has remained utterly aloof from her. As a teenager, Elnora collects moths in the Limberlost to pay for her high school expenses, to which Kate refuses to contribute. In a first effort to finally help her daughter, as quoted in Phillips, Kate hunts a particular moth: “This way, O Lord! Make it come this way! Please! You know how I need it!” (p. 171). The one she captures turns out not to be the moth Elnora needs but it does spray Kate and the spray draws other moths to her.

Thus, the stewardship and agricultural practices that Stratton-Porter advocates in the Harvester are those of an individual highly motivated to teach the untrained citizens who made up her reading audience how to conserve the natural beauty of not only her home territory of Indiana but of all landscapes “for the good of suffering Humanity.” (p. 74)

Stratton-Porter was also acknowledged in contemporary criticism as one person among a force of conservationists who arose at the turn of the twentieth century. These included President Theodore Roosevelt, whom she praised in an essay, “By the People.” The association also reached farther back, into the nineteenth century: she was linked with Walt Whitman, who was the topic of a talk she gave to a women’s group early in her life, around 1893, and with Henry Thoreau, who served as a model for, and to whom she dedicated, The Harvester: “This portion of the life of a man of to-day is offered in the hope that in cleanliness, poetic temperament, and mental force, a likeness will be seen to HENRY DAVID THOREAU.” Her link with Thoreau was also noted in criticism that addressed transcendentalism in the novels, as in “Of Epiphanies and Poets” by Anne K. Phillips:

This moment, as with many others in the novels, can be explained in transcendental terms, says Phillips: The spray that falls on her serves not only as a physical means of enabling her to achieve her goal but also as a baptism bringing a soothing balm to her heart and soul. Returning home, she demonstrates her altered state: leaning toward her apprehensive daughter, she exclaims, “Elnora, my girl, mother’s found you another moth” (p. 178). Elnora learns that she “never had known her mother at all.ѧ” (p. 180) (“Of Epiphanies and Poets” p. 173)

She too is transformed. The prominent role of women in the novels was evident to readers all along, especially the role of the Bird Woman, who was clearly

Though overlooked and underestimated, StrattonPorter’s work serves as a significant link in the his-

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GENE STRATTON-PORTER Stratton-Porter herself. In A Girl in the Limberlost the Bird Woman guides Elnora to selfsufficiency by teaching her how to gather and preserve moths that she can sell. In Freckles, she supports the romance between Freckles and the Swamp Angel and contributes to the defeat of the timber thieves. As with other themes in the fiction, especially transcendentalism and environmentalism, the role of women—feminism—was addressed more expansively in later criticism: Stratton-Porter came to be seen as an advocate for women’s rights, which included the right to make their own decisions, to have careers, and to benefit from modern conveniences. Advocacy for women meant to StrattonPorter not the larger feminist issues familiar to the last half of the twentieth century, such as pay equity. Rather, it meant more mundane gains, such as access to modern conveniences that might reduce the drudgery of household tasks. In Homing with the Birds, she writes about her situation when she was doing her early writing, fieldwork, and photography: “At this time I was doing all of the work in the thirteen-room Cabin, except the washing, and was making most of the clothing worn by my daughter; so I was what might have been considered a busy person” (pp. 50–51). Again in the role of Moses, bringing enlightenment to her readers, she redresses this situation in her novels. In A Daughter of the Land, the protagonist Kate renovates her mother’s home with plumbed water and modern appliances. A home in Michael O’Halloran is similarly improved, as quoted in “Gene Stratton-Porter: Women’s Advocate,” by Mary DeJong Obuchowski:

In the southwest corner, over the kitchen, with its share of sleeping porch outside, I should build a room especially for my cook. It would have deep windows looking into the woods, sunshiny walls, comfortable rugs and rocking chairs, and an excellent bed, so that she might feel that I truly appreciated the brand of service she saw fit to render me.

Being a woman’s advocate at the turn of the twentieth century was very different from being a feminist nearly one hundred years later. Obuchowski recognizes the fundamental nature of Stratton-Porter’s position, which acknowledged the value of mundane advantages and advancements: Her real and fictional daughters did not become physicians or lawyers, nor did they lobby for wages and opportunities comparable to those of men.ѧ For Porter it was daring enough to propose—and carry on—a career that was compatible with marriage and family. Such a career could be the more possible with sensible and comfortable clothing [such as Stratton-Porter wore], with a healthy and convenient environment at home, with a woman’s right to her own money and property—and the skill and determination to manage them—and with the self-respect engendered by a uniform (rather than a double) standard of morality. (p. 171)

Obuchowski also recognizes an important element of Stratton-Porter’s philosophy: as much as you can, live the ideals you promote. She was courageous in her adventures: when she feared failure as a writer, she wrote anyway, keeping her work secret until she found success. She was relentless in her pursuits: even the dangers of the vast Limberlost Swamp did not keep her from its equally vast treasures. Obuchowski observes that “Porter built her own life by making use of or creating those advantages for herself. Thus, what she advocated for the women in her audience was no less than what she achieved for herself and demonstrated through her heroines” (p. 171).

There’ll be a bathroom on the second floor and a lavatory on the first.ѧ We can hitch on to the trolley line for electric lights all over the house ѧ and [for a] fireless cooker, iron, and vacuum cleaner, and a whole bunch of conveniences ѧ including a washing machine and stationary tubs in the basement.

Stratton-Porter was not subtle in her message for women. She wrote about it in articles as well as in novels. In “My Ideal Home,” as quoted in Obuchowski, she promotes both an appropriate ambience for the home and a sense of gratitude for life’s gifts:

THE LIMBERLOST HOMES

In 1895, when the Porters moved to the Limberlost cabin, the swamp was still mostly intact. Eight years later, much of it had been drained and converted to farmland. In 1909, six hundred

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GENE STRATTON-PORTER oil wells were pumping in the area. In addition, Stratton-Porter’s burgeoning success was depriving her of the privacy she valued and needed in order to conduct her fieldwork and do her writing. In 1912 the family moved to a cottage on Sylvan Lake while a second Limberlost cabin was built there. Called Wildflower Woods, it was built to Stratton-Porter’s specifications. It was larger than the Limberlost Cabin, with six rooms and a photographic darkroom downstairs and seven bedrooms upstairs. The move into the new home was made in 1914. As had been the practice of Stratton-Porter’s family in her youth, relatives were welcome at Wildflower Woods. Her daughter Jeannette and her two children often stayed there, and when her brother Lemon died, she became guardian for his daughter Leah Marie. Stratton-Porter’s secretary also lived part-time at the cabin. The peace Stratton-Porter had hoped for at this new, more remote cabin did not last long. Land development followed, as did her fans. In 1919 she visited Southern California. Her sister Catherine and several nieces lived there and her brother Jerome was considering moving there. Enchanted by the land and its relative quiet and solitude, she decided to relocate. In 1920 she moved there, making it her permanent home. She maintained the cabin at Wildflower Woods until 1924, when she offered it to the State of Indiana as a bird and wildflower preserve.

trary to the prevailing stereotype, she found members of the acting community to be educated and extremely interesting and passed many beneficial hours in conversation with them, learning much.ѧ (p. 243)

Stratton-Porter found the experience invigorating and saw movies as another opportunity to carry out her life agenda of influencing her readers, and now viewers, and, as quoted in Long, “to present idealized pictures of life, pictures of men and women who inspire charity, honor, devotion to God and to family” (p. 243). In the 1920s Stratton-Porter continued to work on novels and to publish in popular magazines. She wrote a series of articles on nature for Good Housekeeping and was approached by the editor of McCall’s about contributing monthly articles to that fledgling magazine. When asked if she had a message to share with women, she said she had more than one: she had one hundred. Her didactic articles on how to raise children and be a good citizen and productive wife received enthusiastic praise. She expressed the views and values of many Americans and they wrote letters to her to say so, as quoted in Long: “From women in lovely ranch houses, from wardens of prisons, from young girls and boys, from brides and mothers, have come thousands and thousands of letters telling what Gene Stratton-Porter meant to them” (p. 230). In 1927 the articles were collected and published as a book, Let Us Highly Resolve. In 1916 Stratton-Porter published Morning Face, a volume of nature verse for children. In the 1920s she finally gave time to writing poetry, a genre that she had set aside for most of her adult life. She came to the decision abruptly, announcing one morning to her secretary that they were going to try something different. In 1922 and 1923 she published three volumes of verse. Still “what might have been considered a busy person,” she also oversaw the building of two houses, a fourteen-room vacation home on Catalina Island, which was as wild as the Limberlost had once been, and a twenty-four-room workshop-residence in a secluded area of Los Angeles that became known as Bel Air. Although she and Mr. Porter had lived separate lives for

THE LAST LOCATION

While sunshine and a new landscape were part of the impetus for Stratton-Porter’s move to California, another force also contributed: her books were being adapted for movies. Freckles had been produced in 1917 by Paramount. Having learned how the movie business worked, Stratton-Porter opened her own studio and in 1924 produced The Girl of the Limberlost. Long describes her work on the set: On the set from eight in the morning until six in the evening, and often even longer, she was enjoying film work immensely. When they finally wrapped it up, she counted it a fine experience: “I had a grand time every minute, and gained ten pounds.” Con-

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GENE STRATTON-PORTER many years, they remained connected, and the Bel Air house included separate quarters for him.

something of the unspoiled forests of her dreams, we shall have erected the monument she would have chosen; if we can write her epitaph in terms of clean rivers, clean outdoor playgrounds, and clean young hearts, we shall have done what she would have asked.

LEGACY

Since Stratton-Porter’s death, both of her Limberlost homes, the Cabin (Limberlost South) and Wildflower Woods (Limberlost North), have been maintained as memorials by the State of Indiana. Parts of the Limberlost Swamp (sometimes called Loblolly Marsh) are also protected, and restoration projects seek to return some of the original thirteen thousand acres to their natural state. Stratton-Porter was one of the best-selling authors of the early twentieth century. Her books were selling one thousand copies a day at the time of her death and have sold more than 24 million copies overall. Many of the titles remain in print and have been translated into thirteen languages and Braille. Twenty-two movies have been made based on eight of the novels.

Every home of Stratton-Porter’s was also a sanctuary for birds, and the same was to be true for the Catalina home. As quoted in Meehan: On the mountain I am going to set my workshop, fashioned much like the Limberlost Cabin in size and arrangement, but differing from it in architecture as it must to conform to this location; and around it I am going to begin growing the wild flowers of California. I want it, also, as I want any spot on which I live, to become a sanctuary for the birds. (p. 229)

This was one plan, one dream that Stratton-Porter was not able to fulfill. Long relates that at the age of sixty-one Gene Stratton-Porter met her death in an automobile accident less than a block from her Bel Air home when her chauffeured Lincoln was struck by a streetcar. She died, within two hours of the collision, on December 6, 1924. Prior to her death she had written, as quoted in Long, “When I am gone, I hope my family will bury me out in the open, and plant a tree on my grave; I do not want a monument.ѧ A refuge for a bird nest is all the marker I want” (p. 250). Her daughter had her remains temporarily interred in California, but Mr. Porter did not act to move them back to Indiana. It was not until nearly seventy-five years later, in 1999, that her remains were laid to rest under a massive tree back in Indiana at Wildflower Woods, along with the remains of her daughter, Jeannette.

Selected Bibliography WORKS OF GENE STRATTON-PORTER NOVELS The Song of the Cardinal: A Love Story. Indianapolis: Bobbs-Merrill, 1903. Freckles. Garden City, N.Y.: Doubleday, Page, 1904. At the Foot of the Rainbow. Garden City, N.Y.: Doubleday, Page, 1907. A Girl of the Limberlost. Garden City, N.Y.: Doubleday, Page, 1909. The Harvester. Garden City, N.Y.: Doubleday, Page, 1911. Laddie: A True Blue Story. Garden City, N.Y.: Doubleday, Page, 1913. Michael O’Halloran. Garden City, N.Y.: Doubleday, Page, 1915. A Daughter of the Land. Garden City, N.Y.: Doubleday, Page, 1918. Her Father’s Daughter. Garden City, N.Y.: Doubleday, Page, 1921. The White Flag. Garden City, N.Y.: Doubleday, Page, 1923.

Stratton-Porter’s death was widely noted. An editorial in the Izaak Walton League’s Outdoor America expressed the loss felt by many. StrattonPorter was a founding member of the league. The editorial was excerpted in a life of Stratton-Porter edited by “S.F.E.”: When Mrs. Porter died the Izaak Walton League lost one of its great friends. Perhaps the most fitting tribute to Gene Stratton-Porter that we can make is to carry on in the cause for which she worked and in which she believed with every atom of her heart and soul. If we can dedicate to her memory

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GENE STRATTON-PORTER McCall’s, Metropolitan, New York Times Magazine, Outdoor America, Outing, Recreation, Red Cross Magazine, Woman at Home Magazine, World’s Work, The Youth’s Companion. Gene Stratton-Porter’s papers are held at The Indiana State Museum and Historic Sites Collection, Indianapolis, Indiana.

Keeper of the Bees. Garden City, N.Y.: Doubleday, Page, 1925. The Magic Garden. Garden City, N.Y.: Doubleday, Page, 1927.

NONFICTION What I Have Done with the Birds: Character Studies of Native American Birds, which, Through Friendly Advances, I Induced to Pose for Me, or Succeeded in Photographing by Good Fortune, with the Story of My Experiences in Obtaining Their Pictures. Indianapolis: Bobbs-Merrill, 1907. Birds of the Bible. Cincinnati: Jennings & Graham; New York: Eaton & Mains, 1909. Music of the Wild, with Reproductions of the Performers, Their Instruments and Festival Halls. Cincinnati: Jennings & Graham; New York: Eaton & Mains, 1910. Moths of the Limberlost. Garden City, N.Y.: Doubleday, Page, 1912. Friends in Feathers. Garden City, N.Y.: Doubleday, Page, 1917. (Reprint of What I Have Done with Birds.) Homing with the Birds: The History of a Lifetime of Personal Experience with the Birds. Garden City, N.Y., and Toronto: Doubleday, Page, 1919. Wings. Garden City, N.Y.: Garden City Publishing, 1923. (Selections from Friends in Feathers, Homing with the Birds, and What I Have Done with Birds.) Tales You Won’t Believe. Garden City, N.Y.: Doubleday, Page, 1925. Let Us Highly Resolve. Garden City, N.Y.: Doubleday, Page, 1927.

CRITICAL AND BIOGRAPHICAL STUDIES Birkelo, Cheryl. “The Harvester and the Natural Bounty of Gene Stratton-Porter.” In Such News of the Land: U.S. Women Nature Writers. Edited by Thomas S. Edwards and Elizabeth A. De Wolfe. Hanover, N.H., and London: University Press of New England, 2001. Cooper, Frederic Taber. “The Popularity of Gene StrattonPorter.” Bookman 41, no. 6:670–671 (August 1915). Indiana Department of Conservation, Division of State Parks, Lands and Waters. “Gene Stratton-Porter: Author and Naturalist.” August 1952. (available at Indiana State University: Special Collections). Indiana Historian. “Gene Stratton-Porter.” September 1996. Available online (http://www.in.gov/history/files/ genestrattonporter.pdf). (Fifteen-page issue devoted to Stratton-Porter.) Long, Judith Reick. Gene Stratton-Porter, Novelist and Naturalist. Indianapolis: Indiana Historical Society Press, 1990. MacLean, David G. Gene Stratton-Porter: A Bibliography and Collector’s Guide. Decatur, Ill.: Americana Books, 1976. Meehan, Jeannette Porter. Life & Letters of Gene StrattonPorter. Port Washington, N.Y., and London: Kennikat Press, 1972. (Originally published in 1928 as The Lady of the Limberlost: The Life and Letters of Gene StrattonPorter.) Obuchowski, Mary DeJong. “Gene Stratton-Porter: Women’s Advocate.” Midamerica 17:74–82 (1990). Rpt. in Children’s Literature Review. Ed. Scot Peacock. Vol. 87:167-171 Detroit: Gale, 2003. Phillips, Anne K. “Of Epiphanies and Poets: Gene StrattonPorter’s Domestic Transcendentalism.” Children’s Literature Association Quarterly 19, no. 4:153–158 (winter 1994). Rpt. in Children’s Literature Review. Ed. Scot Peacock. Vol. 87:171–178 Detroit:Gale, 2003. ———. “Gene(va) (Grace) Stratton-Porter.” In American Women Prose Writers, 1870–1920. Edited by Sharon M. Harris, Heidi L. M. Jacobs, and Jennifer Putzi. Vol. 221 of Dictionary of Literary Biography. Detroit: Gale Group, 2000. Richards, Bertrand F. Gene Stratton-Porter. Boston: Twayne, 1980. S.F.E. Gene Stratton-Porter: A Little Story of the Life and Work and Ideals of “The Bird Woman.” Garden City, N.Y.: Doubleday, Page, 1926.

POETRY The Fire Bird. Garden City, N.Y.: Doubleday, Page, 1922. Jesus of the Emerald. Garden City, N.Y.: Doubleday, Page, 1923. Euphorbia. Berne, Ind.: Rufus Liechty, 1986. (Serialized in Good Housekeeping, 1923.)

CHILDREN’S BOOKS After the Flood. Indianapolis: Bobbs-Merrill, 1911. (Short stories) Morning Face. Garden City, N.Y.: Doubleday, Page, 1916. (Poetry)

OTHER WORKS “My Work and My Critics.” Bookman 49, no. 293:147–155 (February 1916). Contributor of poetry, stories, and articles to periodicals including American Magazine, Country Life, Current Literature, Good Housekeeping, Izaac Walton League Monthly, Ladies’ Home Journal, Literary Digest,

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HOWARD OVERING STURGIS (1855—1920)

Benjamin Ivry HOWARD OVERING STURGIS, a wealthy American expatriate writer who spent his life in England, is mostly known for friendships with his fellow expatriate novelists Henry James (1843–1916) and Edith Wharton (1862–1937). In the early twenty-first century, however, Sturgis’ own writings, mainly three novels, Tim: A Story of School Life (1891), All That Was Possible (1895), and Belchamber (1904), have drawn renewed attention. Belchamber is doubtless Sturgis’ finest accomplishment. Yet the brainy, bookish astuteness at work in his other volumes remains attractive, although hitherto little examined.

were part of the richly aesthetic atmosphere that surrounded Howard Sturgis from his infancy. Russell Sturgis, partner at Baring Brothers & Co. bank in London, and his wife Julia were widely admired pillars of British high society, hosting guests such as Henry Adams (1838–1918), William Makepeace Thackeray (1811–1863), and Henry James at lavish banquets. The Sturgis family lived at Carlton House Terrace, a fashionable street in the St. James’s district of London, where nineteenth-century prime ministers such as Lord Palmerston, Earl Grey, and William Gladstone also dwelled. The Sturgises also kept country homes, including one described by an American literary visitor, the lawyer and author (of Two Years Before the Mast) Richard Henry Dana, Jr. (1815–1882), who wrote in his diary in 1856: “Sturgis lives in a superb house, in the Italian villa style, terraced down to the Thames, built for Lord Tankerville, too expensive for him, and bought by the American banker” (Adams, Richard Henry Dana, vol. 2, p. 110). Russell and Julia Sturgis reputedly employed the finest chef in London as their highly paid personal cook.

FAMILY BACKGROUND

Sturgis’ life and work are centered on his family and friends, so his ancestry, marked by deep New England roots, is highly significant. Sturgis’ greatgrandfather Russell Sturgis (1750–1826), a noted Boston merchant in the China trade, sat for no fewer than three portraits by the American artist Gilbert Stuart. One of these portraits by Stuart (now in the University of Rochester’s Memorial Art Gallery) hung for many years in the home of Sturgis’ father, also named Russell Sturgis (1805– 1887). Like his eminent ancestor, Sturgis’ father was a highly successful New England merchant trader who spent his early years in China. Russell Sturgis married three times, and from his second marriage in 1829 to Mary Greene Hubbard, four children were born, among whom were Russell Sturgis, Jr. (1836–1909), an art critic and corresponding secretary of New York’s Metropolitan Museum, and John Hubbard Sturgis (1834–1888), an eminent architect and author of books on the arts, whose nephew Richard Clipston Sturgis (1860–1951) was also a noted architect. These half brothers in the arts world

The large home was needed to house their large family. Russell Sturgis’ third marriage, in 1846, to Julia Overing Boit (1820–1888), produced four children: Henry Parkman Sturgis (1847–1929), Julian Russell Sturgis (1848–1904), Mary Greene Hubbard Sturgis (1851–1942), and Howard Overing Sturgis, born November 8, 1855. Although technically Americans, all four siblings were fully assimilated into British upperclass life. The eldest brother, Henry Parkman Sturgis, became director of London and Westminster Bank as well as a Liberal politician in England, marrying the daughter of Henry Brand, 1st Viscount Hampden, a British Liberal politician who served as Speaker of the House of

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HOWARD OVERING STURGIS Commons. In 1894 Henry Parkman Sturgis married Marie, the only daughter of the famous Victorian novelist and poet George Meredith. Howard’s sister Mary Greene Hubbard Sturgis married Bertram Godfrey Falle, 1st and last Baron Portsea. Howard’s other brother, Julian Russell Sturgis, enjoyed no less status; as a talented athlete and scholar at Eton, Julian played both the Eton field game and Eton wall game, varieties of soccer that also share some aspects of rugby, while also editing the Eton College Journal. Later Julian played successfully for the Wanderers Football Club, an amateur soccer team based in Battersea. At Balliol College, Oxford, Julian rowed for three years, after which he became a barrister and acquired British nationality. Among Julian’s many, highly conventional, society novels are John-a-Dreams: A Tale (1878), Dick’s Wandering (1882), My Friends and I (1884), John Maidment (1886), Thraldom (1887), Comedy of a Country House (1890), The Folly of Pen Harrington (1897), and Stephen Callinari (1901). Julian Sturgis also wrote the libretto for Sir Arthur Sullivan’s 1891 grand opera Ivanhoe, a stately, grandiose, pageant-like spectacle quite unlike the better-remembered comic operas that Sullivan wrote with W. S. Gilbert. In 1901 Julian also wrote a libretto based on Shakespeare for an opera, Much Ado About Nothing, by the Irish composer Charles Villiers Stanford. Julian’s conspicuous and prolific writing career in the public eye provides a stark contrast to Howard Sturgis’ willfully retired life and occasional writings. Sturgis’ novels may be seen in part as a reaction to his elder brother’s splashily ambitious precedent.

heart in his rapture at the sight of his first Xmas tree. When the doors were opened and the tree stood up with all its lights and glories he flew into the room and danced round the room with a chant of joy—‘Oh the Kissamussa tree!’ again and again repeated. And when his turn came to receive toys he begged that they might remain on the tree not to diminish its splendour” (Some Family Letters of W. M. Thackeray, pp. 24–25). As the family’s youngest child, he was constantly doted upon and shown off to his parents’ friends, as the American historian John Lothrop Motley (1814–1877) reported in an 1859 letter home: “Little H—, the youngest child of Mr. and Mrs. Russell Sturgis, is a most charming little boy” (Correspondence, p. 72). Sturgis’ mother was so strikingly beautiful that the American sculptor and art critic William Wetmore Story asked her to pose for an 1858 statue of Cleopatra, now in New York’s Metropolitan Museum. Other large-scale neoclassic sculptures by Story, whose biography, William Wetmore Story and His Friends (1903), was written by Henry James, decorated the Sturgis family home, including Bacchus (1863) and Venus Anadyomene (1864), both of which were donated in 1888, after the death of Russell Sturgis, to Boston’s Museum of Fine Arts. Sturgis’ aesthetically aware family seems to have calmly accepted his high-strung artistic temperament, although writers in later years reacted less tolerantly. His distant cousin, the waspish gay philosopher and essayist George Santayana (1863–1952), after enjoying Sturgis’ hospitality for years, left sarcastic descriptions of his supposedly feminine traits. Yet Victorian sensibilities generally made room for the nervous unmarried uncle or aunt, who sublimated whatever sexual impulses they may have felt into domestic obsessions. Some twentieth-century writers seem to have been compelled to fit these individuals into neat post-Freudian categories. Howard’s lifelong love of textiles, much mocked by later writers, was not an exclusively female occupation in the Victorian world. London’s Victoria and Albert Museum possesses nineteenth-century military quilts, created by soldiers who were encouraged to sew as a pro-

CHARACTER

Howard Sturgis grew up as an emotionally nervous lad, much attached to his beautiful, doting mother and fond of domestic pursuits such as needlework. Even as a toddler Sturgis had a strong aesthetic sense, as reported in an 1857 letter from William Makepeace Thackeray, a guest at the Sturgis country home that Christmas: “A little boy of two [Sturgis] would have won your

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HOWARD OVERING STURGIS ductive activity in times of idleness, as well as therapy for the injured. The 1851 Great Exhibition of Arts and Manufactures at London’s Crystal Palace included over thirty such military quilts created by soldiers. Mastering needlework was one means to adopt a British identity; fine needlework had been referred to since the Middle Ages as opus anglicanum, or English work. In the twentieth century, men preoccupied with needlework would soon acquire a ludicrous aspect, such as the needlepoint-obsessed character Georgie Pillson in E. F. Benson’s comic novel Mapp and Lucia (1931). In the same book, a curate named “Mr. Sturgis” appears, exemplifying the stuffy propriety Sturgis represented to some who knew him. Indeed, Sturgis took most things with high seriousness, especially his needlework, as the novelist E. M. Forster (1879–1970) recalled decades after a single youthful visit to Sturgis’ estate, called Queen’s Acre, or “Qu’Acre” (pronounced “Quaker,” possibly with an ironic nod at the religious movement that helped found the state of Pennsylvania). Forster was never invited back, after being shown a prize example of Sturgis’ embroidery work and being unable to distinguish it from a banal cloth kettle-holder nearby. Forster went on to describe Sturgis in unflattering terms:

tions, his contemporaries were less judgmental about his gender identity and sexuality. In her memoir A Backward Glance, Sturgis’ friend Edith Wharton described a more appealing version of the same man, typically outstretched on a chaise longue at Qu’Acre: “his legs covered by a thick shawl, his hands occupied with knitting-needles or embroidery silks, a sturdily-built handsome man with brilliantly white wavy hair, a girlishly clear complexion, a black moustache, and tender mocking eyes under the bold arch of his black brows” (p. 225). Although Sturgis’ distant relative Santayana sneered in later memoirs about his needlework, during Sturgis’ lifetime Santayana was better disposed to him, offering praise in letters home to Boston. Another relative, the translator and critic Gerard Walter Sturgis Hopkins (1892–1961) was more understanding about Sturgis’ needlework: The fact that [Sturgis] did embroidery, that he knitted, that he sewed, might be surprising but it did not shock. To see him lying, after dinner, on the sofa, with a basket of bright silks beside him, pricking at his patterned lawn with long, white fingers, never made one feel uncomfortable. There was nothing effeminate about his execution of female tasks. All was done so naturally, paraded so little, that if one thought of it at all it was to reflect not ‘How curious,’ but merely ‘Why on earth don’t more men do needlework?’ to which question the answer came, ‘Because no other man could do it so beautifully.’

He has been compared to a clean, plump, extremely kind yet distinctly formidable old lady, the sort of old lady who seems all benignity and knitting but who follows everything that is said and much that isn’t and pounces and scratches before you know where you are—pounces on the present company and scratches the absent.ѧ He was of medium height and rather heavily built, and he gave a general impression of softness though not of timidity. His most remarkable feature was the strong growth of brilliantly white hair. The forehead was tall and narrow, the eyes soft and rather prominent, the moustache heavy and well trimmed, the complexion delicate, the voice grave and low. As to the character, kindness and malice, tenderness and courage appear to have blended, as they occasionally do with the highly cultivated.

(Introduction to Belchamber, p. x)

ETON, CAMBRIDGE, AND THE URANIAN MOVEMENT

Typically female occupations like needlework fascinated Sturgis even before he attended Eton College, the famed boys’ school located near Windsor in England. Many other distinguished Britons who attended Eton in the nineteenth century have decried it as cruel and snobby. Yet Sturgis delighted in his Eton years, and not just because his elder brother Julian, a model student who was good at games and academics, offered some measure of fraternal protection. The Sturgis boys were known for their well-behaved aplomb;

(Afterword to Belchamber, p. 339)

Despite his abundant moustache, deep voice, and solid physique, some later writers have underlined Sturgis’ so-called androgyny. With a few excep-

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HOWARD OVERING STURGIS at Eton, large pieces of soft bread, known as “sqwug,” were traditionally hurled at fellow students. Instead of throwing the projectiles back at the offenders, as some boys did, Julian and Howard would discreetly set them aside, politely turning the other cheek even during schoolboy roughhousing (Edith Lyttelton, Alfred Lyttelton, An Account of His Life, pp. 22–23).

those with whom he could share his taste for music, politics, and literature. An instance of this was the choice he and [his brother] Edward made of Howard Sturgis as their mess-mate and intimate, a boy who was absolutely indifferent at and to athletics, and who on the surface would have seemed an unlikely associate for them to select. But they needed him because he ministered to other strongly developed tastes and interests. Among these was the intense love of music which they shared with their brothers and cousins.

At Eton, Sturgis was nurtured and further refined by his classics master, William Johnson Cory (1823–1892, born William Johnson), a noted educator and poet who eventually was fired from the faculty (in 1872) for advocating a pederastic form of education. Cory was a central figure of the Uranian movement, which promoted homosexual emancipation among Victorians, led by such writers as the English socialist poet Edward Carpenter (1844–1929) and the poet and literary critic John Addington Symonds (1840– 1893). Cory’s two volumes of pederastic poetry, Ionica (1858) and Ionica II (1877), would influence Sturgis; a quote from Ionica appears as an epigraph to one chapter of Sturgis’ novel Tim: A Story of School Life. Other favorite Cory pupils who were near-contemporaries of Sturgis included such Uranians as Reginald Baliol Brett (1852–1930; 2nd Viscount Esher), a lifelong friend of Sturgis’ who in 1923 published Ionicus, a memoir of Cory; Archibald Philip Primrose (1847–1929; 5th Earl of Rosebery), who served as British foreign secretary and prime minister; and others who led prominent public lives that coincided with discreet gay sexual activity. There was also the poet Digby Mackworth Dolben (1848–1867), who died from drowning in his teens after the poet Gerard Manley Hopkins (1844–1889) became romantically obsessed with him. Sturgis also maintained close friendships with Etonians such as Herbert Edward Ryle (1856–1925), who became a distinguished Old Testament scholar and bishop of Westminster, and the politician and sportsman Alfred Lyttelton (1857–1913) whose widow wrote in a memoir of her husband’s school days:

(Lyttelton, p. 32)

Cory was not the only master with whom Sturgis forged a lifelong friendship. Sturgis was also close to Arthur Campbell Ainger (1841–1919), an Eton master who was instrumental in establishing the Old Etonian Association and penned the lyrics for the Eton school song. Among Ainger’s other publications are An English-Latin Gradus or Verse Dictionary (1891) as well as the popular Anglican hymn “God is working his purpose out.” Drawn to such traditional establishment figures as well as the more eccentric Cory, Sturgis kept Eton close to his heart for the rest of his life. Surrounded from childhood onward by an affectionate and like-minded circle of sympathetic friends as well as a stylish family, Sturgis made these people the center of his life. He also relished the extreme personalities he encountered at his Eton lodging house, Evans’ House, ruled with an iron hand by Miss Jane Evans, daughter of an Eton drawing master, along with her sister Annie, of whom Sturgis later reminisced (contact with such complex female personalities in childhood was doubtless keenly interesting for the future novelist): I think Annie Evans was a very remarkable character. She was by nature emotional, nervous, almost hysterical at times, the last type of woman whom anyone would have suspected of any aptitude for the work she was called upon to do. Yet she undertook it with dauntless courage, and did it successfully, with what amounted to a touch of genius. She had amazing intuition about boys; it was like an instinct. The danger was that she came to trust her intuitions too much, and of course they were occasionally wrong; but the marvel was, and remains, how often, on the whole, they were right. Of course what boys will be apt to remember of her will be the little outbursts of anger, or of behaviour

[Lyttelton] was eager to make friends with all kinds of people, and sought companionship not only in games and school interests, but went farther afield and picked out from among both masters and boys

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HOWARD OVERING STURGIS where he lived until after his father and mother died, in 1887 and 1888 respectively.

inevitable in a person of her excitable temperament; and there will be a danger of the real good sense and cleverness with which she filled a most difficult position being done less than justice to. There was a kind of electric brilliancy about her, the antithesis of her sister’s calm wisdom, but not in its own way less remarkable.

MATURITY: SOCIETY HOST AND NOVELIST

After a brief 1889 trip to visit relatives in Massachusetts, where he met George Santayana among others, Sturgis settled into Qu’Acre, a house on the edge of Windsor Great Park, not far from his beloved Eton. There Sturgis lived for the rest of his life with a friend and companion, William Haynes-Smith (known to everyone as “the Babe”), the son of Sir William Haynes-Smith (1839–1928), British high commissioner in Cyprus, and Alice Maud Sturgis, a daughter of John Hubbard Sturgis. Haynes-Smith is described in some current literary studies as Sturgis’ lover, despite their family ties and based on no evidence. The celibacy of gay people of the past is commonly underestimated today. Sturgis’ retiring nature, intense concentration on compensatory hobbies, and obsession with maintaining his social status among his family and friends quite possibly ensured that he did not express his own sexual desires in adulthood, even if he keenly observed his gay friends doing so. After the 1889 Cleveland Street scandal, when a gay male brothel in London was uncovered by police, and the 1895 trial of Oscar Wilde, the potential risks of an overt gay lifestyle in Victorian England would have become extremely clear. Nevertheless, Sturgis assembled a wideranging homosocial, if not homoerotic, company, including such gay writers as Percy Lubbock (1879–1965), the aforementioned Cory, George Santayana, and Wharton’s bisexual lover, the journalist Morton Fullerton (1865–1952), among others. These guests mixed freely at Qu’Acre with Sturgis’ extensive family as well as upperclass members of the British literary and aristocratic worlds. Among these social ties were continuations of his parents’ past friendships; just as Russell and Julia Sturgis socialized with Thackeray and the eminent American historian John Lothrop Motley, so Sturgis played host to Thackeray’s eldest daughter, the British novelist Anne Thackeray Ritchie (1837–1919) and to Motley’s daughter Mrs. Susan St. John Mildmay.

(quoted in Gambier-Parry, Annals of an Eton House, pp. 91–92)

In 1898 Sturgis would express his enduring affection for Annie’s sister Jane Evans (1826–1906) by arranging for the noted American artist John Singer Sargent to paint her portrait (Sargent’s oil on canvas “Miss Jane Evans” is still in the Eton College collection). At Cambridge University, Sturgis made further friendships with congenial gay professors such as the medievalist and political writer Gaillard Lapsley, also a friend of Wharton’s, and the historian Oscar Browning (1837–1923), who had also taught at Eton as a former pupil of William Johnson Cory until a homosexual scandal in 1875 drove him to Cambridge. Also present during Sturgis’ time at Cambridge were many former Eton friends like Lyttleton, who agreed to participate in college dramatics because “Sturgis refused to act unless I did, and he is wonderfully good” (Lyttelton, p. 67). At Cambridge, Sturgis performed the female role of Miss Hardcastle in an 1875 production of Oliver Goldsmith’s comedy She Stoops to Conquer. Such transvestite casting was widespread and socially accepted in public school and college at the time. An 1898 history of amateur theatrics, for which Julian Sturgis was a principle source of information, notes about the Cambridge production: “Mr. Howard Sturgis as Miss Hardcastle in a Gainsborough hat being wonderful, both in appearance and performance” (Elliot, Amateur Clubs and Actors, p. 78). Sturgis was prevented by illness from competing for a degree in the moral science tripos, a category of study that embraced economics as well as philosophy and ethics. He wrote a prize essay on the historian Thomas Babington Macaulay (1800–1859) and may have begun a draft of his 1891 novel Tim: A Story of School Life as early as his college years. After Cambridge, Sturgis returned to his parents’ home,

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HOWARD OVERING STURGIS William Wetmore Story’s son Julian, a painter, was also welcome, as was his wife, the famous American operatic soprano Emma Eames (1865– 1952). At Qu’Acre, Howdie (as he was known to his circle, a Scots dialect word meaning “midwife”) hosted this unending train of visitors, comprising not just his vast family but also literary friends such as Henry James and Edith Wharton. The twentieth-century critic Queenie Leavis asserted that the benevolent invalid Ralph Touchett in James’s The Portrait of a Lady (1881) was probably based on Sturgis; however, the intelligent Touchett, who before dying of tuberculosis becomes the soul mate of James’s heroine, the American heiress Isabel Archer, has a pathos that is foreign to Sturgis’ own contented home life.

from Her Correspondence, an epistolary novel consisting of letters written by a retired actress. Sturgis also reportedly wrote some poetry in the 1890s that remained unpublished, now presumably lost, lamenting the death of his mother. By the turn of the century, Sturgis, although physically healthy, was beginning to display some typically Victorian psychosomatic symptoms such as having “a Back,” or suffering inexplicable back pain. In 1899 Henry James wrote a commiserating letter to Sturgis, then on a “bed of anguish,” and likened his younger friend’s back pain to his own much-discussed mysterious “obscure hurt” which impeded James for much of his life (The Letters of Henry James, p. 317). This tone of tender commiseration runs through James’s extensive correspondence with Sturgis and is quite different from James’s letters to younger men in whom he had a more ardent, if physically unexpressed, romantic interest, such as the British novelist Hugh Walpole (1884–1941), the Norwegian-American sculptor Hendrik Christian Andersen (1872–1940), and the Irishman Dudley Jocelyn Persse (1873–1943). James’s affection for the Sturgis family, including Julian and the elder generation, although genuine, was by all evidence entirely decorous.

To his constant stream of guests Sturgis offered an abundance of good food, produced by a talented cook, Mrs. Lees, famous for her method of preparing braised tongue. These guests also included the occasional Frenchman, such as the society painter Jacques-Émile Blanche (1861– 1942) and the dignified novelist Paul Bourget (1852–1935), a friend of James and Wharton who would be elected to the Académie Française in 1894. Yet despite welcoming these crowds of visitors, Sturgis never installed electric lights, central heating, or a telephone at Qu’Acre and strictly avoided any repairs, repainting, or renovations of any kind in a way that seemed to some friends as a symptom of his overall lifelong inertia. (Still, Haynes-Smith was an inveterate tinkerer, and in 1904, in collaboration with a Windsor neighbor, Rear Admiral Edward Cecil Villiers of the Naval Intelligence Department, was granted a patent for a newfangled steam generator.) Hospitality at Qu’Acre was carried out by a skeleton staff of elderly and sometimes ornery servants, and, as more than one visitor noted, the apparent kindness and selflessness of the host himself could at times be vitiated by a sudden flare of harshness. In 1891 Sturgis published his first novel, Tim: A Story of School Life, based on his time at Eton, which was followed, in 1895, by All That Was Possible: Being the Record of a Summer in the Life of Mrs. Sibyl Crofts, Comedian; Extracted

Similarly decorous were Sturgis’ friends; he clearly shunned the Decadents or scandal-ridden. His verbal wit, which Edith Wharton claimed deserved a Boswell, has not aged well in the few memoirs that preserve it. Of the Welsh novelist Rhoda Broughton (1840–1920), a longtime friend, Sturgis is reported to have quipped laboriously that she started writing boldly like the French novelist Émile Zola but wound up more like the prolific, highly moral mid-Victorian novelist Charlotte Mary Yonge: “When she was young, she was Zola, and now she’s Zola [older] she’s Yonge” (quoted in E. F. Benson, As We Were: A Victorian Peep Show, p. 269). What survives better is Sturgis’ determined pacifism, as early as the Boer War. Sturgis wrote to Lewis Harcourt in 1899: The row of cherub faces with little high collars in the Daily papers day by day, & “Killed” or “died of wounds” underneath makes me sick. I don’t wish Joseph [Chamberlain, British politician and Boer

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HOWARD OVERING STURGIS Cornice” (1908); and a memorial article about his friend Anne Thackeray Ritchie (1919). Starting in 1912, Sturgis underwent four operations on his lower intestine, and after a few years of illness, exacerbated by worry over the catastrophic carnage of World War I, he died of cancer on February 7, 1920. Even while battling ill health, Sturgis was still active in organizing charitable efforts during the Great War, not just in England but in France as well, to support the Allied troops. Many writers have ascribed Sturgis’ relative literary silence after Belchamber’s 1905 publication to critical response from friends like Henry James or the public (see analysis of Belchamber below), yet Gerard Hopkins, who understood him better than most writers, felt that as a “dilettante of genius,” Sturgis had “put into [Belchamber] all that he had to offer in the novel form. His ensuing silence was probably as much the result of achievement as of disappointment” (introduction to Belchamber, p. xi).

War proponent] anything so good as to be haunted by their pretty ghosts, but I hope ugly Boer Generals with ghastly holes in their stomachs will surround his couch nightly. (James, Dearly Beloved Friends, p. 117)

By the turn of the century, Sturgis had matured, and his old school friend Arthur Benson commented in his diary about him during a social gathering in 1899: Howard ѧ is observing, subtle, sensitive, smoothing over and adorning all social occasions with a perpetual flow of witty, unexpected, graceful talk that never palls or wearies. He will fall in with any mood, interpret any suggestion, make the most of any shy point, and give everyone the feeling of their own brilliance. All this has increased; he used to be capable of and to indulge in very malicious little strokes of satire, which were always true enough to make them bite. I was always conscious with a kind of fearful joy that he was in the house, and used to be inclined, when either he or I entered a room, to look at him curiously to see whether he was in the melting or the freezing mood. Now, somehow, I seem to have drifted into a kind of quiet harbour with regard to him. (The Diary of Arthur Christopher Benson, pp. 44–45)

TIM: A STORY OF SCHOOL LIFE

In 1902, with newfound equilibrium, as Sturgis labored on what would be his final novel, Belchamber, he accompanied his friend HaynesSmith, a sports fanatic, to the venerable St. Andrews Golf Links. Henry James commiserated in a letter, calling Sturgis a “poor victim of a golfing age, or rage. I see you at St. Andrews’, amid the wild waving of clubs & hiss of projectiles, dodging and ducking for your life—& ‘trying to write’! It’s a devotion to letters that shld. be commemorated in immortal verse” (Dearly Beloved Friends, p. 127). By 1903 the exceedingly sedentary Sturgis was complaining of rheumatic pains, for which James, himself a sufferer from gout, recommended the “blessed new remedy Aspirin—a specific against rheumatic & gouty affections [sic],” which had been marketed by the German company Bayer starting in 1899 (Dearly Beloved Friends, p. 130). In 1904 Belchamber was published, which would be followed by an unpublished story, “The China Poet”; a review (1907) of the H. G. Wells novel In the Days of the Comet; a short story, “On the Pottlecombe

John-a-Dreams: A Tale (1878), Julian Sturgis’ novel about a high-strung, intensely emotional boy, Irvine Dale (known as “Irvie”) who goes to Eton, preceded Tim: A Story of School Life, Howard Sturgis’ own Eton novel, by over a dozen years. In outdoing his brother’s tamely narrated tale with a story of frustrated love between boys that ends in death, Tim: A Story of School Life (1891) also inadvertently competed with an infinitely superior short story, “The Pupil,” which Henry James published in Longman’s Magazine the same year. In “The Pupil,” the ambiguous love between a young student and his tutor ends with the student’s death. However, Sturgis’ novel cannot fairly be compared to James’s masterful achievement, marred as it is by glaringly obvious metaphors, overdone sentimentality, and lack of self-awareness in the narrative voice. The protagonist of Tim: A Story of School Life is Tim Ebbesley, a sickly little eight-year-old who falls in love with thirteen-year-old Carol, a healthy sporting lad who accidentally grazes Tim with buckshot while hunting with his father; the

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HOWARD OVERING STURGIS parallels with Cupid shooting love’s arrows are made obvious in the narrative. Tim’s father, William Ebbesley, returns from service in India (his mother died when the boy was an infant) and is disappointed that his son is pale, sickly, and girlish. Although the descriptions of the extroverted sportsman Carol and the introverted Tim, fond of indoor pursuits such as reading, may draw on Sturgis’ memories of growing up with his brother Julian, their father, Russell Sturgis, was more understanding than William Ebbesley of filial differences. At age twelve Tim follows Carol to Eton, where their ages separate them within the school hierarchy. When Carol falls in love with a young woman, the self-abnegating Tim avoids him until he pines away in mortal illness and dies after Carol visits him one last time. Accounts of mutual schoolboy devotion are commonplace in British fiction, from Dickens’ David Copperfield (1850) to George Meredith’s The Adventures of Harry Richmond (1871) to E. F. Benson’s David Blaize (1916) and beyond. A lachrymose tale of unrequited love, Tim: A Story of School Life advocates a lifelong infantile status in a way that seems to echo the childobsessed fantasies of J. M. Barrie. As Tim’s omniscient narrator reflects:

ceased to have the power of inflicting pain upon us, while they possess it in an astonishing degree in the case of their schoolfellows” (p. 98). Attraction to the aesthetic appeal of children is likened to possessing a musical ear, and Sturgis surely knew that in Victorian England, “musical” was a slang term for homosexual: “Some men are born without a fondness for children, just as some have no ear for music; their more favoured brethren look down on them with sublime contempt, but it is absurd to blame either one or the other” (p. 71). Teetering between admiration of boys and fear of their cruelty, the narrator conceals his emotions in literary allusions that were obscure even in 1891, such as when he refers to the “Vehm-gericht of collective boyhood” (p. 141). Sturgis possibly drew his knowledge of the Vehmgericht, or Westphalian medieval tribunal, from Walter Scott’s historical novel Anne of Geierstein; or, The Maiden of the Mist (1829), in which it appears. Somewhat less arcane is when Carol’s grandfather mentions the Latin words “debetur pueris” (p. 31). The Latin tag “Maxima debetur puero reverentia,” from Satire 14 of the Roman poet Juvenal, may be translated as “the greatest reverence is due the young” or “the greatest awe is owed to boys.” Being in thrall of schoolboys is a basic underlying emotion of Tim: A Story of School Life.

Some few happy people never grow up, but are boys and girls at heart all their lives. Few of us can have reached maturity without remembering periods when we have felt very old, and the pleasant shock of getting younger again; and even in the oldest people’s lives, little patches of youth blossom out now and then. But in boys the differences are even more marked. Some are little men from the time they can walk, with all a man’s self-reliance and self-conceit; others ripen very slowly; some hardly at all.

The Old Testament quotation from the second book of Samuel, “Thy love to me was wonderful, passing the love of women,” about the adoration between the biblical David and Jonathan, is also repeated relentlessly. The biblical quote appears as an epigraph on the title page, then again on pages 158–159, 185–186, and 315. In this overstated and overwrought context, when Carol kisses Tim, after the shooting accident and again on his deathbed, this staged affection reads as unlikely and mawkish, however movingly it was intended. The reiteration of precedent for homosexual love is contrasted with frequent references to The Sorrows of Young Werther (Die Leiden des jungen Werther, 1774) in the context of adult heterosexual love. In Werther, the epistolary novel by Johann Wolfgang von Goethe, the loving young protagonist kills himself in despair. If adult

(pp. 82–83)

An overpowering nostalgia for school days implies that life is mostly downhill later: “Indeed I doubt if at any later date a healthy popular boy is likely to taste such pure joys as during the last few years of his public-school life” (p. 162). In Tim, boys are relished as aesthetic objects, surrounded by a kind of pederastic aura: “We who look back on school-life through the softening haze of memory, forget that the boys so perfectly satisfactory from an aesthetic point of view have

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HOWARD OVERING STURGIS love is a form of suicide, wallowing in sentimentality is approved of by the narrator of Tim: A Story of School Life, who relishes mid-Victorian sentimentality such as verses by Elizabeth Barrett Browning and Felix Mendelssohn’s “O For the Wings of a Dove” sung by a boy choir. Curiously, the narrator dismisses the eighteenthcentury poet Thomas Gray as “sentimental” (p. 97). This uncertain aesthetic viewpoint in Tim may be the basis for some awkward metaphors, such as when Tim buys pet mice for Carol in a shop but they die of neglect, a glaringly obvious symbol of their love. Shakespeare’s comedy As You Like It is cited among Tim’s favorite books, not ostensibly for the androgynous elements of the character Rosalind, which would suit a girlish youth like Tim, but supposedly because its rural setting is soothing for wounded hearts. Tim’s father is a stock figure, arguing for conformity and against “violent intimacies” (p. 206). The narrator pathetically describes how he discovered a pile of Carol’s letters to Tim, carefully preserved in bundles, and this somewhat musty feeling of retrospect permeates Tim: A Story of School Life. By the time of the book’s ultimate death scene, to which the reader is clearly intended to react as Dickens’ audience did to the demise of Little Nell in The Old Curiosity Shop, too many misleading and concealed notes have been rung for Tim to stand on its own merits. Nevertheless, Tim: A Story of School Life, at first published anonymously, was received in a respectful, if distant, manner by the literary press. Most reported, as did the Bookman (reprinted in the Literary World), on the author’s true identity, referring to his more famous literary brother Julian:

As a polite introduction to public notice, this nonreview was perfectly satisfactory. A German translation of the novel followed in 1895, by Natalie Rümelin-Oesterlen, a prolific Stuttgart-born translator from the English and French of such authors as H. Rider Haggard, Alphonse Daudet, and Octave Feuillet. Although some later writers, such as E. M. Forster, have had some qualified kind words for Tim, the book’s chief posterity and influence has been limited to further examples in the genre of pederastic literature such as The Garden God: A Tale of Two Boys (1905) by the Irishman Forrest Reid (1875–1947) and The Bending of a Twig (1907) by Desmond Coke (1879–1931). The wistful, unrealized longings in Tim are overshadowed by bolder statements of the same theme in contemporary works such as Frederick Rolfe’s Stories Toto Told Me (1898). Sturgis would probably have disdained such explicit writers as dangerously vulgar, not to mention the American Edward Irenaeus PrimeStevenson (1858–1942) who published under the pseudonym of Xavier Mayne such pioneering gay studies books as The Intersexes (1908); Prime-Stevenson approvingly took note of Tim as a case study. The British sexologist Havelock Ellis likewise noted in his Studies in the Psychology of Sex (1915), while discussing novels with homosexual themes: “In English the homosexuality is for the most part veiled and the narrative deals largely with school-life and boys in order that the emotional and romantic character of the relations described may appear more natural. Thus Tim, an anonymously published book by H. O. Sturgis (1891), described the devotion of a boy to an older boy at Eton and his death at an early age.” Being listed alongside Ellis’ clinical chapters on “Physical Sexual Abnormalities” would not have pleased Sturgis, none of whose future writings would deal with such unadorned gay feelings.

The author of Tim is Mr. Howard Sturgis, a younger brother of Mr. Julian Sturgis. Although not distinguished in the class lists at Cambridge ѧ he had a remarkable ascendancy over his companions, and was noted for his interest in literature.ѧ We believe the draft at least of Tim was prepared some time ago. Mr. Sturgis has reached the comparatively mature age of thirty-six.

ALL THAT WAS POSSIBLE

If, as has been asserted, Tim was begun some years before its publication date, Sturgis’ next novel represented his first entirely adult effort. In

(“News and Notes,” Literary World 22, 1891, p. 499)

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HOWARD OVERING STURGIS All That Was Possible: Being the Record of a Summer in the Life of Mrs. Sibyl Crofts, Comedian; Extracted from Her Correspondence (1895), Sturgis embraced the distinct technical challenge of writing an epistolary novel in which all the letters are from a single person. Instead of a variety of points of view, as in Samuel Richardson’s Clarissa; or, The History of a Young Lady (1747–1748), an epistolary novel consisting of letters from different characters, Sturgis opted instead to follow the precedent of Richardson’s earlier Pamela; or, Virtue Rewarded (1740), in which only the title character’s point of view is expressed. Goethe’s Sorrows of Young Werther, already cited as a key text in Tim, is another precedent, pointing to the eighteenth-century inspiration for this particular literary format. Indeed, the narrator’s discovery of letters in Tim foreshadows Sturgis’ fuller investigation of a literary approach. By the turn of the century, the epistolary novel, especially from a single narrative point of view, was distinctly archaic, and the quaint subtitle of All That Was Possible added to the period-piece flavor of the novel. Even a traditional book like The Moonstone (1868) by Wilkie Collins employed several different epistolary viewpoints. By miniaturizing his scope, Sturgis was willfully creating an objet d’art, expressing his theme despite self-imposed limitations, much like the needlework to which he was devoted. All That Was Possible consists of letters written in the 1880s by Sibyl Crofts, a twenty-sevenyear-old actress, to Milly, a female artist friend living in London. Sibyl Crofts had retired to become the mistress of Lord Medmenham, but after five years, her lover marries someone of his own social class, and Crofts is paid to go away. This she does, resignedly, to a cottage in North Wales for the summer in order to meditate on her future. The Henshaws, the leading family thereabouts, own a slate quarry, and Crofts meets Norris Henshaw, a handsome nineteen-year-old student. However, the head of the family, Robert Henshaw, thirty-five years old, arrives to persuade her to stay away from his young cousin for fear of scandal. The elder Henshaw and Crofts begin a love affair, and although Crofts ponders whether

to marry her new lover or not, the question never arises because he looks upon her only as an adventuress, not a woman worthy of marriage. Although Crofts repeatedly cites the precedent of past liberated women like George Eliot, her own fate is more traditional. By speaking in the voice of a rejected or scorned woman, Sturgis embraced a tradition that later gay authors, such as Jean Cocteau in his play La Voix humaine (1932), would also employ. To avoid monotony in this story of a victimized narrator, All That Was Possible includes a dizzying range of literary references. All three of Sturgis’ novels require annotated editions, which they are unlikely to receive, to be fully understood by modern readers, yet none more than All That Was Possible. Unidentified quotes from and allusions to the Bible, Dickens, Tennyson, Shakespeare, Rousseau, Shelley, George Eliot, and George Sand are abundant. The epistolary format itself is referred to by mention of the letters of Jonathan Swift and Sydney Smith. Even the androgynous game of a male author (Sturgis) describing female woes (Crofts) is evoked in references to George Sand, who notoriously donned male clothing. Much of this literary material is incongruous in the letters of an unemployed actress, an objection Sturgis clearly anticipated and sought to mitigate by including far-fetched explanations of why Crofts should be as erudite as Sturgis: as a girl she supposedly read aloud to her father from books he favored, which gave her “early familiarity with so many authors girls don’t generally read” (All That Was Possible, 1895, p. 109). When Sibyl was fourteen, her Catholic mother, a French ballet dancer, died; however, this detail hardly explains the biblical diction in All That Was Possible, nor the constant insertion of expressions in French. Crofts’ intense love for her pet pug dog “Tib” parallels Sturgis’ well-known devotion to his dogs. He would nurse them in illness and old age, and when they died he buried them under a row of little tombstones at Qu’Acre. When Tib falls ill, Crofts reacts with near-hysteria compared to the relative calm with which she handles her

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HOWARD OVERING STURGIS romantic affairs. Crofts informs Milly that she cannot appreciate “what her pets are to a childless woman” (p. 166); however, the passion for dogs as described by Sturgis is not maternal but closer to the fervent dog love expressed by later gay male writers, such as J. R. Ackerley (1896– 1967) in his My Dog Tulip (1956). Sturgis was active in the early animal rights movement, serving as president of London’s National AntiVivisection Society, a forerunner of People for the Ethical Treatment of Animals (PETA). He was a devoted attendee of this society’s meetings, so that when ill health forced him to be absent, the society’s newsletter, the Zoophilist and Animals’ Defender, duly explained why, citing a 1912 message from Sturgis that a “little while ago he underwent a dangerous operation, which he was getting over very nicely, but he was not able yet to leave his bed” (vols. 32–33, 1912, p. 201). Another emotion shared by Crofts and Sturgis is the admiration of young male beauty. The first description of Norris Henshaw belongs to the flowery school of pederastic prose, full of coded allusions to ancient Greece, although intended as a twentyish woman’s reaction to a man:

fellow creatures, is a very natural one, and at the root, I suspect, of most writing, whether avowedly autobiographical or not” (p. 172). Robert Henshaw expands on this theme, telling Crofts with reference to her correspondent Milly: “You are happy enough to know some one who will understand; and so you write letters. Those who do not possess such a friend, are driven to write books, in the hope of reaching some one, though they may never know they have done so.ѧ Perhaps I am less fortunate in my friends than you; anyway I have always felt a desire to write a book” (pp. 173–175). At first discreetly received, All That Was Possible eventually received some laudatory reviews, like this one from the Four-Track News, on the occasion of a 1906 American reprint: It is seldom that a book written in letter form, and all the letters by one person, holds the reader’s close attention.ѧ This is not a story to put into the hands of the young, but it deals with a problem to which adults pay all too little attention. It is well— admirably—written, and the character of Sibyl is intensely human. The ending is natural, if not quite as happy as the average novel reader might desire, and the appeal to sense as against conventionalism is direct and forceful. Our social system is weak, cruelly weak, and the life of Sibyl Crofts is a convincing argument to that effect.

Out of the wood there emerged with a jump, and within twenty feet of where I was sitting, the most beautiful creature I think I ever saw, a lad of eighteen or nineteen, who stopped short on seeing me, and blushed furiously. If you can imagine a young Hermes from the British Museum, dressed in modern shooting clothes, coloured and animated, you will have some idea of his beauty. The shapely head with the tight small curls clustering round the broad brow, the short straight nose, the firm yet delicate curves of the mouth and chin, the strong full throat exposed by the open collar of his white flannel shirt, and the whole figure from the square shoulders to the delicate ankle and large foot; every detail was accurately true to the type with which we are all familiar in the best Greek sculpture.

(p. 523)

Another belated American review from 1906 in the Critic agreed: “In All That Was Possible Mr. Howard Overing Sturgis has given us a study of a woman in an equivocal position, and has handled his subject with great skill and delicacy and with a remorseless logic that compels the reader to recognize the outcome as inevitable” (p. 432). Despite such enthusiasm, All That Was Possible remains a dusty exercise which, although it doubtless honed the author’s narrative techniques, remains quaintly outdated. This may be why, like its predecessor Tim, it eludes reprint except in cheaply made, unattractive photocopy editions that are the equivalent of samizdat publishing in Soviet Russia. Sturgis’ literary posterity will depend on his best-known novel, Belchamber.

(p. 46)

Like Sturgis, Crofts is vividly aware of the outside world as a dangerous place full of violent incidents, so she prefers to live a sheltered indoor existence. Most tellingly, Crofts/Sturgis defines the basic motivations for writing: “This desire to be taken at our own valuation, as it were, by our

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HOWARD OVERING STURGIS “The question of heredity is very fashionable just now” (p. 6). One of Sainty’s fellow students makes a passing ironic allusion to the “relation of the Ego to the non-Ego” (p. 51), terms also discussed in Ribot’s Heredity. Other books by Ribot, notably Les Maladies de la volonté (Paris, 1883) describe a key element of Sainty’s personality, an extreme paralyzing anxiety which prevents action, even when it would be essential for self-defense. As the narrator informs us in Belchamber: “To some temperaments anxiety is far harder to bear than sorrow, and the mother who killed her baby because she was so dreadfully afraid that it would die, presented only an extreme case of a not uncommon frame of mind” (p. 175). The narrator in Belchamber also asserts that suicidal wishes are universal in youth: “death, for which we all cry aloud so readily in our youth when things do not go as we wish” (p. 24). Fainting from sensory overload on public occasions, Sainty is aware of, but nonetheless tormented by, what he dubs his “familiar fiend,” an anxious feeling of inferiority (p. 184). This proto-existential helplessness in the face of neuroses irritated Henry James, who sent Sturgis a series of letters in response to drafts of Belchamber. James expressed frustration to their mutual friend A. C. Benson about how the “poor rat” Sainty is unaltered by the string of misfortunes that happen to him and how this lack of character development scotches any potential interest in the novel (The Diary of Arthur Christopher Benson, p. 82).

BELCHAMBER

Sturgis’ third and final novel, Belchamber (1904) was the product of years of patient preparation, with the resulting warp and woof of themes interwoven like the textiles to which he was passionately devoted. Its aristocratic setting is a great Jacobean country house in the 1890s, where the multi-titled protagonist, Charles Edwin William Augustus Chambers, Marquis and Earl of Belchamber, Viscount Charmington, and Baron St. Edmunds and Chambers, is universally known as “Sainty.” Injured in a boyhood riding accident, Sainty remains lame and homebound, dominated by his overpowering mother, Lady Charmington, a Presbyterian Scotswoman. Although not apparently attracted to either boys or girls, Sainty grows up to be pressured into a marriage with Cissy, the daughter of a penniless visiting noblewoman, Lady Eccleston. His new wife cheats on the celibate Sainty and duly gives birth to another man’s baby. Sainty’s brother Arthur, an athletic type, disappoints the family by marrying a chorus girl and is banished from the family home. As with his school novel, Tim, Sturgis was once again preceded in exploring a fictional country house setting by his brother Julian, whose novel Comedy of a Country House (1890) deals in a merry vein with the goings-on at a rural estate. Belchamber was an entirely different statement, and coincidentally, in the year of its publication, Sturgis’ brother Julian died. In other ways too Belchamber vanquishes past competition. Unlike the obtrusively aggressive citing of books and authors in his previous novels, Belchamber bears evidence of better assimilated reading. Among the most intriguing of Sturgis’ readings from which Belchamber profited artistically were early works in psychology. At a time when homosexuality was still medically classified as a mental disorder, psychological studies would naturally have intrigued Sturgis. By the turn of the century, works by the pioneering French psychologist Théodule Armand Ribot (1839–1916) had been translated into English; Ribot’s Heredity: A Psychological Study of Its Phenomena, Laws, Causes, and Consequences (New York, 1898) may be what Sturgis had in mind when the narrator in Belchamber declares:

Instead of emerging from his neuroses, as James clearly wished Sainty to do, Sturgis’ protagonist finds consolation in religion, upon which the most sustained metaphors of Belchamber depend. Martyrdom is evoked throughout the book, with Sainty compared to specific martyrs such as Saint Paul and symbolic Christ-like characters such as Wagner’s Parsifal and Tannhäuser. When Sainty’s wife becomes pregnant even though their marriage is unconsummated, there is ironic discussion of a Virgin birth through “miraculous offspring” (p. 304). Unlike the harshly judgmental religion of Sainty’s mother, the belief system of Sainty (and by

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HOWARD OVERING STURGIS implication, of the narrator as well) is considerably more tolerant.

In addition to religion, Sainty draws solace from the arts, planning an architectural restoration of his estate’s gardens just as his domestic life is crumbling. Some traits of the nineteenthcentury exquisite dandy, as typified in the novel À rebours (Against Nature) by Joris-Karl Huysmans (1848–1907), are seen in Sainty, who declares that he is unable to produce a handwritten note on paper he does not like. Yet most of Sainty’s love for art is more substantial and sober, such as this observation about religious iconography of the Virgin Mary: “If sacred art represented the mother of the one sinless son with seven swords in her heart, what symbol can adequately depict the woes of the mothers of men?” (p. 168). Belchamber’s narrative tone is overwhelmingly somber and elegiac, with allusions to Percy Bysshe Shelley and the Old Testament (2 Samuel 12:20) when Sainty’s baby son dies. This nineteenth-century mournfulness is an essential element of Belchamber, and its forlorn sadness and resignation, although authentically Victorian British, may have exasperated modernist-minded readers like Henry James. The public reception of Belchamber, based on surviving reviews, was positive, despite later claims by E. M. Forster and others that the book received only bad reviews. The “Books of the Week” column of the Outlook deemed that “Neither strength nor style is lacking in this quite remarkable analytical study.ѧ But [Belchamber] is not a pleasant story, nor is it ‘milk for babes,’ although there is a poor little baby in it whose birth and death have much to do with the development of ‘Sainty’s’ character. This sad little figure and the equal pathos of Sainty’s attitude toward it leave, indeed, one of the most haunting memories of the book” (p. 906). In the Critic, the reviewer Mary K. Ford compared Belchamber favorably and at length to Edith Wharton’s The House of Mirth (1905) as a portrait of high society. Wharton herself wrote a thoughtful, respectful review of Belchamber for the Bookman, noting that despite Sturgis’ “relative inexperience as a novelist” he managed to create a story “overhung by storm-clouds and shot through with baleful lightnings” (“Mr. Sturgis’s ‘Belchamber,’ ” Bookman, pp. 307–

Religion extends to Sainty’s political stance: as a self-described “Radical” supporter of Home Rule, he alludes yet again to Jesus: “I am not without the highest authority for selling all I have and giving to the poor” (pp. 98, 116). The British Liberal prime minister William Ewart Gladstone was a proponent of the Home Rule Bill, which would have established self-government in Ireland (the Second Irish Home Rule Bill was defeated in the House of Lords in 1893). As an activist in the House of Lords, Sainty, although unflatteringly depicted as impotently hampered by psychological impediments, repeatedly expresses his support of Gladstone and his socially progressive policies. Unusually for a novel from this time and social class, Belchamber is rather philosemitic, with a humanized portrayal of Jews that deserves to be set beside the short story “Esther Kahn” (1905) by the British author Arthur Symons (1865–1945), collected in his Spiritual Adventures. In Belchamber, an amiable merchant named Mr. Isaacs who is devoted to culture and philanthropy agrees to convert to Christianity and change his name to de Lissac to please his Christian wife, formerly his children’s governess: “Mr. de Lissac had not been a very fervent Jew, and he made a most unenthusiastic Christian; but he was nominally converted. Instead of not attending the synagogue, he now stayed away from church” (p. 78). Less favorably portrayed in Belchamber are writers, especially journalists and authors of romans à clef that offer barely fictionalized views of real people. Such purveyors of gossip are depicted as leeches feeding off the rich. One of Sainty’s classmates enjoys his hospitality and then produces a thinly veiled fiction in which Sainty is depicted in the guise of a rich invalid girl with a “cork leg” who hopelessly loves a villain (p. 138). Even closer to home is Sainty’s aunt Eva, who writes a society column for which she scribbles notes during his wedding while wearing a Gainsborough hat (the same headgear Sturgis donned for his college performance in She Stoops to Conquer).

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HOWARD OVERING STURGIS 308). Sturgis’ family friend, the world-famous soprano Emma Eames, was enlisted to provide a blurb for magazine advertisements in the Critic and elsewhere, stating that “Belchamber is not only one of the strongest books I have read in years, but is so beautifully written. It made an amazing impression on me and haunted me for days. One of the ladies in London society told me she considered it a marvellously true picture of a certain set” (December 1905, n.p.).

tive, Gerard Hopkins. Prefaces and afterwords to Belchamber by astute writers such as Hopkins, E. M. Forster, and Noel Annan remain among the best extant critical writings on Sturgis, along with the Belchamber review by Edith Wharton. As to be expected with someone who led such an active social life, there has been much dubious gossip surrounding Sturgis. To date there has been no biography of Sturgis, which would help to distinguish truth from rumor concerning his remarkable life and writing career. Sturgis’ letters, much prized by their recipients, are scattered in archives in Great Britain and America and would benefit from a collected edition. Finally, if any examples of Sturgis’ much-prized needlework have survived, these would also prove to be intriguing examples of nonverbal artistic expression by a captivating, if ultimately uneven, writer.

Despite what some later writers have claimed, Sturgis was not silenced by the reaction of Henry James or other readers to Belchamber. Many writers have discussed an unpublished story by Sturgis, “The China Poet,” from around this time, featuring an older writer criticizing a younger one, yet Sturgis’ loathing of the roman à clef genre, combined with the fact that he never published the story, argues against any interpretation of this abortive story as a direct criticism of James’s doubts about the merits of Belchamber. In December 1905 Sturgis wrote a letter to Wharton full of hints on how she might have improved her classic novel The House of Mirth. The assertive and opinionated letter, transcribed in Shari Benstock’s article “ ‘The Word Which Made All Clear’: The Silent Close of The House of Mirth,” reveals no abashed, chastised lack of literary selfconfidence. In 1907 Sturgis further published in Putnam’s Monthly his “Appeal to H. G. Wells” after the publication of Wells’s novel In the Days of the Comet (1906). Having admired Well’s previous novels Kipps (1905) and Love and Mr. Lewisham (1900), Sturgis condescendingly bemoaned that Wells “might be the Balzac of our literature; it is distressing that he should be content to be its Jules Verne” (p. 624).

Selected Bibliography WORKS OF HOWARD OVERING STURGIS NOVELS Tim: A Story of School Life. London: Macmillan, 1891. Published in Germany as Tim: Erzählung. Translation by Natalie Rümelin-Oesterlen. Engelhorn’s Allgemeine Romanbibliothek, Eine Auswahl der besten modernen Romane aller Völker. Stuttgart: J. Engelhorn, 1895. All That Was Possible: Being the Record of a Summer in the Life of Mrs. Sibyl Crofts, Comedian; Extracted from Her Correspondence. London: Osgood, McIlvaine, 1895. Reprinted, London: Archibald Constable, 1906. Belchamber. Westminster: Constable, 1904. Reprinted with an introduction by Gerard Hopkins, Oxford: Oxford University Press, 1935; with an introduction by Alan Harris, London: Gerald Duckworth, 1965; with an introduction by Noel Annan, Oxford: Oxford University Press, 1986; and with an introduction by Edmund White and afterword by E. M. Forster [1935], New York: New York Review Books, 2008. French translation (Belchamber) by Blaise Briod, Paris: Plon, 1948.

Nor did Sturgis stop publishing fiction after Belchamber. In 1908 there appeared a wistful short story about thwarted love among aging people, “On the Pottlecombe Cornice.” Clearly Sturgis was poised to write more novels had he so wished, but other occupations took precedence. Although late Victorian and Edwardian fiction quickly seemed dated, in 1935 Belchamber was reprinted in the prestigious Oxford World’s Classics series, doubtless owing to the presence on the Oxford Press editorial staff of Sturgis’ rela-

OTHER WORKS “A Sketch from Memory.” Temple Bar 118:233–248 (October 1899). (Memories of Margaret Oliphant.)

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HOWARD OVERING STURGIS Ford, Mary K. “Some Recent Novels: A Study of a Woman.” Critic 48:432–433 (May 1906). (Review of All That Was Possible.) ———. “Two Studies in Luxury.” Critic 48:249–250 (March 1906). (Review of Belchamber and Edith Wharton’s House of Mirth.)

“An Appeal to Mr. H. G. Wells.” Putnam’s Monthly 2: 623– 624 (August 1907). (Review of Wells’s In the Days of the Comet.) “On the Pottlecombe Cornice.” Fortnightly Review 89: 550– 564 (March 1908); also published in Putnam’s Monthly 3: 737–747 (March 1908). (Short story.) “Ritchie, Lady (Anne Isabella Thackeray).” Cornhill Magazine 120: 449–467 (November 1919).

Forster, E. M. “Howard Overing Sturgis.” London Mercury 32:42–47 (May 1935). (Review of Belchamber.) Reprinted in his Abinger Harvest (New York: Harcourt, Brace, 1936) and in Belchamber by Howard Sturgis (New York: New York Review Books, 2008). Hollinghurst, Alan, “Don’t Ask Henry.” London Review of Books, October 9, 2008. (On Belchamber.) Mallory, Daniel. “Howard Sturgis—Belchamber.” Times Literary Supplement, no. 5499, August 22–29, 2008, p. 5. “News and Notes.” Literary World 22:499 (December 19, 1891). (Bookman’s announcement of the publication of Tim: A Story of School Life.) “Our Book Table.” Four-Track News: A Monthly Magazine of Travel and Education 10:523 (June 1906). (Review of All That Was Possible.) Wharton, Edith. “Mr. Sturgis’s ‘Belchamber.’ ” Bookman 21:307–310 (May 1905).

CRITICAL AND BIOGRAPHICAL STUDIES Annan, Noel. Introduction to Belchamber. Oxford: Oxford University Press, 1986. Borklund, Elmer W. “Howard Overing Sturgis: An Account of His Life and Writings Together with His Unpublished Works.” Ph.D. dissertation, University of Chicago, 1960. ———. “Howard Sturgis, Henry James, and Belchamber.” Modern Philology 58, no. 4:255–269 (May 1961). Harris, Alan. Introduction to Belchamber. London: Duckworth, 1965. Hopkins, Gerard. Introduction to Belchamber. Oxford: Oxford University Press, 1935. Jamieson, J. “Howard Sturgis.” Chimera: A Rough Beast [Literary Quarterly] 4:49–51 (winter 1946). Kirchhoff, Frederick. “An End to Novel Writing: Howard Overing Sturgis.” English Literature in Transition 33, no. 4:425–441 (1990). Leavis, Queenie Dorothy. “Howard Sturgis: Belchamber.” In her Collected Essays. Cambridge, U.K.: Cambridge University Press, 1989. Pp. 191–195.

ADDITIONAL BIOGRAPHICAL REFERENCES Adams, Charles Francis. Richard Henry Dana: A Biography. 2 vols. New York: Houghton Mifflin, 1891. Benson, A. C. The Diary of Arthur Christopher Benson. Edited by Percy Lubbock. London: Hutchinson, 1948. Benson, E. F. As We Were: A Victorian Peep Show. London: Longmans, Green, 1930.

Posnick, Ross. “Lifting the Yoke of the Genteel: Henry James, George Santayana, and Howard Sturgis.” In his The Trial of Curiosity: Henry James, William James, and the Challenge of Modernity. New York: Oxford University Press, 1991. Pp. 193–220. Rose, Patricia Craven. “Howard Sturgis and Belchamber.” Master’s thesis, University of Denver, 1979.

Benstock, Shari. “ ’The Word Which Made All Clear’: The Silent Close of the House of Mirth.” In Edith Wharton’s The House of Mirth. Edited by Carol J. Singley. Oxford: Oxford University Press, 2003. Pp. 131–162. Elliot, William Gerald, ed. Amateur Clubs and Actors. London: E. Arnold, 1898. Ellis, Havelock. Studies in the Psychology of Sex. Third Edition, Philadelphia: F. A. Davis Company, vol. II, p. 340. Gambier-Parry, Ernest. Annals of an Eton House, with Some Notes on the Evans Family. London: John Murray, 1907. James, Henry. The Letters of Henry James. Edited by Percy Lubbock. 2 vols. New York: Scribners, 1920. ———. Dearly Beloved Friends: Henry James’s Letters to Younger Men. Edited by Susan E. Gunter and Steven H. Jobe. Ann Arbor: University of Michigan Press, 2002. Lyttelton, Edith. Alfred Lyttelton: An Account of His Life. London: Longmans, Green, 1917. Motley, John Lothrop. The Correspondence of John Lothrop Motley. Edited by George William Curtis. New York: Harper, 1900.

Thomson, George H. “E. M. Forster and Howard Sturgis.” Texas Studies in Literature and Language 10:423–433 (fall 1968). Reprinted in E. M. Forster: Critical Assessments. Vol. 4, Relations and Aspects: The Modern Critical Response, 1945–90. Edited by J. H. Stape. London: Routledge, 1998. Pp. 140–149.

REVIEWS “Books of the Week.” Outlook, A Weekly Newspaper 79:906 (April 8, 1905). (Review of Belchamber.) Bright, Norma K. “The England of Country Houses.” Book News 23:937 (August 1905). (Review of Belchamber.) Cooper, Frederic Taber. “Cross Sections of Life and Some Recent Books.” Bookman 23:189–190 (April 1906). (Review of All That Was Possible.)

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HOWARD OVERING STURGIS Kinswoman Blanche Warre Cornish. New York: Houghton Mifflin, 1911. Wharton, Edith. A Backward Glance. London: D. AppletonCentury, 1934.

Quigly, Isabel. The Heirs of Tom Brown: The English School Story. London: Chatto & Windus, 1982. Thackeray, William Makepeace. Some Family Letters of W. M. Thackeray: Together with Recollections by His

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Jack Fischel THERE ARE A number of ways in which novelists have written historical fiction. For example, Margaret Mitchell, in Gone with the Wind, centered on the romantic relationship between Scarlett O’Hara and Rhett Butler, using the Civil War as background. Herman Wouk, on the other hand, in Winds of War and War and Remembrance, placed World War II and the Holocaust in the foreground of his fiction, using his characters as protagonists to move the story line forward. Add to these categories the “nonfiction novel.” In a disparaging review of Uris’ Armageddon, Herbert Mitgang defined the nonfiction novel as one whereby the novelist takes a major historical event, “mixes actual people with socalled characters, and throws in some sex to make his potpourri edible, and winds up with a lecture on Washington or world politics” (New York Times Book Review, June 28, 1964). For Mitgang, Leon Uris’ work exemplifies this type of fiction.

creating, among other historical events, the Holocaust, the Warsaw Ghetto Uprising (Mila 18), the founding of Israel (Exodus), and nineteenth- and early-twentieth-century Irish history (Trinity). Although not generally included by critics among the top tier of American Jewish writers such as Saul Bellow, Philip Roth, and Bernard Malamud, Uris nevertheless has attained his place, along with Herman Wouk, among the nation’s most widely read novelists. Uris’ most important work, Exodus, was not only one of the most popular novels of its time, it also did more to instill a positive image of Israel in the mind of the American public than any work of history or fiction to date. Indeed, when Doubleday published Exodus, the former prime minister of Israel David Ben-Gurion asserted, “As a piece of propaganda, it’s the greatest thing ever written about Israel” (McDowell, “Exodus in Samizdat,” p. 13). Stephen J. Whitfield notes, “There was no precedent—before or after—for an American novelist to produce a Zionist epic that would create a publishing sensation” (“Necrology” p. 666).

Many people gain knowledge of the past from historical fiction rather than from scholarly tomes. As Jay Parini notes, “historical fiction has become our primary form of fiction ѧ one gets ‘real’ history in novels such as Vidal’s Lincoln, Bank’s evocation of the abolitionist John Brown in Cloudsplitter ѧ” (“Making History,” p. 19). Parini could just as easily have cited Uris’ Exodus, Trinity, and Mila 18 as additional examples.

Although the range of Uris’ works include books about the Marine Corps, Ireland, World War II, and the cold war, before writing Trinity his most popular novels dealt with the Holocaust and Israel. Not a ritually observant Jew, Uris focused his main characters on “tough Jews,” who do not go to the gas chambers like sheep but fight back against their Nazi oppressors (Mila 18) and against the Arabs in the war to establish Israel (Exodus, Mitla Pass, The Haj). Perhaps no Jewish character in modern fiction personifies the trait of the “muscle” Jew more than Ari Ben Canaan, the hero of Exodus, together with the Jewish refugees smuggled out of displaced persons’ camps and brought to Palestine to help

Before his death in 2003, Leon Uris authored thirteen novels, three Hollywood movie scripts, and collaborative photo journals of Israel and Ireland respectively. He will best be remembered, however, for his best-selling historical works of fiction, Battle Cry (1953), Exodus (1958), and Trinity (1976). An indefatigable researcher, Uris prided himself on his extensive research and interviews, which laid the groundwork for re-

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LEON URIS Although Uris was considered an excellent storyteller, he was not regarded highly by his peers for his prose. Reviews of his novels pointed to his weakness as a writer at the same that they praised his stories. In his review of Trinity, for example, Pete Hamill wrote that although Uris was not “as good a writer as Pynchon or Barthelme or Nabokov, he is a better storyteller.ѧ when the story is finished the reader has been to places where he or she has never been before ѧ you are swept along in the narrative.” Nevertheless, Hamill added, “The subject is man, not words; story is all, the form it takes is secondary. So it is a simple thing to point out that Uris often writes crudely, that his dialogue can be wooden, that his structure occasionally groans under the excess baggage of exposition and information” (New York Times Book Review, March 14, 1976, p. 2). Sharon D. Downey and Richard A. Kallan, noting both Uris’ immense popular appeal and what they perceived as flaws in traditional literary standards, asserted that “in short, Uris remains a reader’s writer and a critic’s nightmare” (“Semi-Aesthetic Detachment,” p. 192). Writing in Time, in her review of QBVII, Martha Duffy criticized Uris for prose that consisted of illiterate shorthand, “interstitched” with editorials and sermons, and accused him of being a crude novelist (June 28, 1971). Yet when Duffy wrote these unflattering comments about Uris, QBVII was atop the best-seller lists, second only to Exodus in the author’s hardcover sales.

build Israel. Ari is tough, idealistic, and handsome, brought to life with the casting of Paul Newman as Ari in the film version of the novel. Actually, in many of his novels, Uris’ main protagonists embody Ari’s characteristics, including Conor Larkin in Trinity, Andrei Androfski in Mila 18, Rory Larkin in Redemption, Gideon Zadok in Mitla Pass, and Gideon Asch in The Haj. Written at a time when American Jewish support for Israel was not as impassioned as it would be on the eve of and following the Six-Day War in June 1967, Exodus tapped a subterranean Jewish nationalism among American Jews. The sociologist Norman Mirsky claimed that it was “virtually impossible to find a Reform Jewish home in the 1950s without a copy of Leon Uris’s Exodus” (Whitfield, “Necrology,” p. 668). In a 1985 letter to Stephen Whitfield, Uris stated that “I have received thousands of letters in the last quarter of a century from people telling me that Exodus has substantially changed their lives ѧ particularly in regard to young people finding pride in their Jewishness” (“Necrology,” p. 668). It was not only in the United States that Exodus made its impact. In the Soviet Union it was translated into Russian and distributed by young Soviet Jews in pirated typescript. In a tribute to the novel, they titled one of their earliest samizdat typewritten publications Ishkod, the Russian word for “exodus.” The journalist David Twersky has noted that Russian Jews of that generation still tell of the importance of Exodus, and how it helped to trigger the post-1967 Zionist awakening in the Soviet Union. Commenting on the significance of Exodus, the Nobel Prize–winning novelist Saul Bellow wrote: “Admittedly, some people say, Exodus was not much of a novel, but it was extraordinarily effective as a document and we need such documents now. We do not need stories like those of Philip Roth which expose unpleasant Jewish traits.” Yet Bellow did not validate Uris as a major writer. Rather, he wrote, “in literature we cannot accept a political standard. We can only have a literary one” (Introduction to Great Jewish Short Stories, p. 14).

Criticism of Uris’ novels was not limited to his prose style. There was also concern about the historical accuracy of his novels. Although not a trained historian, Uris nevertheless prided himself on his exhaustive research. The result, however, was that Uris often confused history with propaganda, and proffered his prejudices as history. This is exemplified by the photo essays Uris produced with his photographer wife, Jill, titled Ireland: A Terrible Beauty (1975) and Jerusalem: Song of Songs (1981). The “historical” essays that accompany Jill’s photographs provide the reader with Uris’ understanding of the history that found its way into the pages of Exodus, The Haj, Trinity, and Redemption. Both essays reveal Uris’ black-and-white view of history, which

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LEON URIS leaves little room for nuance. His love of Israel and the Jewish people as well as his empathy for the Catholics of Ireland is matched only by the cast of villains that feed the fiction of his novels. Along with the Nazis, Uris’ hall of infamy includes the Protestants of Ulster, imperialism— especially the kind practiced by Great Britain in Ireland and Palestine during the Mandate—communism, Jews, Arabs, and Islam. In Jerusalem: Song of Songs, Uris writes of Jerusalem: “Greatness has happened only under Jewish rule. This is so because the Jews have always loved her the most and have remained constant in that love throughout the centuries of their strange dispersion and odyssey. It is the longest, deepest love affair in all of history” (p. 3). When Uris turns to Islam, he not only negates the importance of Jerusalem in early Arab history but informs us that “The story of how Jerusalem came to be designated as an Islamic holy site demonstrates how far the Arab mind is capable of soaring from reality” (p. 181). Elsewhere, Uris argues that Islam teaches its followers not to think for themselves but to live by the decisions of others. He goes on to state that “when we examine exactly what the submission to God’s will means ѧ we see that it is a form of mental sterilization, for it tells man not to aspire or hope but to accept. Islam as a tranquilizer, a defense for a lot of hot, hopeless, unhappy, struggling people, and it thrives where human helplessness is paramount and progress is stagnant” (p. 176). Addressing the Arab-Israeli conflict, Uris notes that there has never been a successful Arab government based on democratic principles, “nor will one ever exist” (p. 318). Zionism, however, “was and remains democracy in its purest form, the only one ever produced successfully into that part of the world” (p. 256). Uris further argues that “a large part of the Palestinian Arab population was no more indigenous to the country than the Jews who were immigrating at the time.ѧ The Arab had shown no inclination for self-rule until the Jews showed their own inclinations” (p. 260).

was largely initiated and deliberately perpetuated by the leaders of the Arab world, “who have taken the position that it would be better to let Palestine return to swamp and erosion for the next thousand years than to share an inch of it with the Jews” (Jerusalem, p. 271). Uris’ “history” of the conflict, as recounted in Exodus and The Haj, remains the view of many to this day. Given the enormous popularity of Exodus, as well as the film version of the book, it is no exaggeration to state that Uris has played an influential role in shaping the manner in which the IsraeliPalestinian conflict continues to be perceived in the West. Just as Exodus elicited sympathy for Israel in its conflict with the Arabs, his best-selling novel Trinity brought attention to the Catholic cause in Ireland. The context for Uris’ view of the Protestant-Catholic divide in Ireland is described in his Ireland: A Terrible Beauty. Ireland is a chronicle of the troubled country, and from his account the reader can recognize the historical personalities that shaped Irish history through their fictional counterparts in Trinity. Conor Larkin, for example, has many of the attributes of the great Irish leader Michael Collins; Atty Fitzpatrick, the “Irish Joan of Arc,” resembles Maud Gonne MacBride, a leader of the Irish Republican movement that confronted the British at the turn of the twentieth century; the character of Caroline Hubble resembles Constance Gore-Booth, the Countess Markiewicz, one of the leaders of the Easter Rising of 1916; and the dastardly Reverend Oliver Cromwell MacIvor, a fiery demagogic preacher, is apparently modeled after the Reverend Ian Paisley, the anti-Catholic leader of the Ulster Protestants. In his chapter on Ulster, Uris has this to say about the Protestant population: The Ulsterman is not Irish or British.ѧ His fears have been milked by generations of hate-spewing preachers who have made Ulster the largest Bible belt per capita in the world, for the Ulsterman must constantly be reminded of his self-righteousness and constantly rededicated to his self-defense, to warding off siege in order to retain control of the paranoid society he has created.ѧ From its conception Ulster was established as a fortress outpost of colonial exploitation. These people were put there

Turning to Israel’s war of independence in his novel Exodus, Uris places the blame for the plight of the Palestinian refugees totally in the lap of the Arabs, arguing that the refugee problem

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LEON URIS and bat mitzvahs). Later in life, Uris, because of the Holocaust, embraced a part of Judaism, “because I wanted it as my moral standard for living” (Schweiger).

to replace the natives (the Catholic population of Ulster).ѧ The Ulsterman’s own sense of godliness and the subhuman character he had created out of the native Irishman allows him to impose and justify any sort of debasement. It is all a pure concept of Nazi ideology.

Uris was not a particularly good student, having failed English three times in high school, but he was determined to become a writer. He never completed high school because following the Japanese attack on Pearl Harbor he enlisted in the U.S. Marine Corps, where he served as a radio operator in the Guadalcanal and Tarawa campaigns. Following his discharge from the marines, Uris served for a short period of time as circulation district manager for the San Francisco Call-Bulletin, but he continued to pursue a career as a writer. In 1950 Esquire magazine bought an article from Uris, and this encouraged him to work on a novel. His four-year tour of wartime service provided him with the material for his first successful novel, Battle Cry, which he based on his Marine Corps experience. Warner Brothers bought the rights, and Uris moved to Hollywood to write the screenplay for the movie, which was released in 1955. Alternating between writing novels and writing for Hollywood, Uris published his second novel, The Angry Hills, a wartime spy thriller set in Greece, in 1955. It was during this Hollywood period that Uris wrote the screenplay for the film Gunfight at the O.K. Corral (1957), followed by his most popular novel, Exodus (1958). The novel became an instant best seller and was made into a blockbuster film in 1960. Initially Uris worked on the screenplay, but he clashed with Otto Preminger, the film’s producer and director, who proceeded to engage the blacklisted writer Dalton Trumbo to write the screenplay for the film. According to Deborah Dash Moore, although Uris had written the novel with a film version in mind, Preminger “very quickly realized that he (Uris) couldn’t write Preminger’s kind of movie.” What Preminger wanted was to make “an American picture ѧ that tries to tell the story, giving both sides a chance to plead their side” (Moore, “Exodus: Real to Reel to Real,” p. 211). Preminger wanted to balance his characters, including a British general sympathetic to the Jewish cause, and, as in the novel, he did include an officer who was anti-

(Ireland, pp. 170–171)

Uris concludes his “historical” understanding of Ulster when he writes: “The totalitarian nature and medievalism of it all have stunted any chance for richness or cultural achievement and have squeezed the Ulster people onto a dark, narrow path of spiritual slavery” (p. 185). As for Great Britain, Ulster’s colonial protectors, Uris views the British army as performing consistently in Ireland over the centuries as an anti-Catholic force “of conquest, occupation, colonization, and suppression” (p. 232). Reading Uris’ history of Ulster explains, with few exceptions, why both in Trinity and Redemption the British and the Protestants of cities such as Derry are the designated villains in Irish history. Together, Jerusalem and Ireland provide the context for understanding Uris’ pro-Catholic understanding of the Irish “Troubles,” and his loathing of British imperialism in Exodus, Trinity, and Redemption.

EARLY LIFE AND CAREER

Leon Marcus Uris was born on August 3, 1924, in Baltimore, Maryland, to Wolf William Uris, a shopkeeper, and Anna Blumberg. Both parents were Jews of Russian Polish origin. His father, an immigrant from Poland, spent a year in Palestine after World War I and derived his surname from Yerushalmi, meaning “man of Jerusalem.” Uris grew up in Norfolk, Virginia. He was undersized as well as asthmatic and once said in an interview that “I used to think of myself as a sad little Jewish boy” (Schweiger, Baltimore Jewish Times, June 25, 1999). Leon was brought up without any religious training, and because his father was a Communist, he forbade his son any preparation for becoming a Jew, including training for a bar mitzvah (Uris’ own son and daughter through his third wife, Jill Peabody, received bar

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LEON URIS Semitic. But unlike the novel, Preminger tried to make the anti-Semitism humorous and entertaining. For Uris, there was nothing humorous or entertaining about anti-Semitism, and he certainly had little sympathy for the British in Palestine. Subsequently Uris also wrote a book about the places he describes in Exodus called Exodus Revisited (1959) and authored a musical, Ari, based on Exodus, which ran for nineteen performances during the 1970–1971 Broadway season. Continuing to write about contemporary Jewish history, Uris next published Mila 18 (1961), which chronicles the Warsaw Ghetto Uprising. Subsequent novels dealing with Jewish themes include The Haj (1984), which deals with the birth of Israel from the view of a Palestinian, and Mitla Pass (1988), dealing with the Suez War of 1956. While working as a journalist in Israel in the 1950s, he gathered material about the Israeli army, which he would include in Exodus, the novel he was writing at the time, and later include in Mitla Pass. Although a work of fiction, Mitla Pass is also the most autobiographical of his novels Uris’ non-thematic Jewish novels include Armageddon (1964), a cold war story based on the Soviet blockade of Berlin, and Topaz (1967), a novel about a Soviet defector who informs the French government that a Soviet mole is entrenched in the upper echelon of the French intelligence. A God in Ruins (1999) is a novel about an Irish Catholic presidential candidate who discovers that his real parents were Jewish, and Uris’ final novel, O’Hara’s Choice (2003), released posthumously, is a love story set against the background of the Marine Corps. Uris himself is the subject of QBVII (1970), the fictional account of a lawsuit brought against him by a Polish physician who is mentioned in Exodus as performing medical experiments without anesthetic on mostly Jewish prisoners in Auschwitz. The novel was later made into a television movie (1974), starring Ben Gazzara as Abraham Cady (Uris) and Anthony Hopkins as the physician. Uris was married three times: to Betty Beck in 1945, with whom he had three children and

divorced in 1968; to Margery Edwards in 1969, who died of an apparent suicide a year later; and to Jill Peabody in 1970, with whom he had two children before they divorced in 1989. All three of his marriages were to non-Jewish women, although the wedding ceremonies were presided over by a rabbi. Leon Uris died of renal failure at his Long Island home on Shelter Island, aged seventy-eight, on June 21, 2003.

THE BODY OF HIS WORK

Uris’ work fall into several categories linked by his personal experiences and convictions. The influence of contemporary Jewish history, tsarist pogroms in Russia, Soviet anti-Semitism, the Holocaust, and the creation of the state of Israel all shaped the writing of his fiction. As for his special interest in Ireland, Kathleen Shine Cain has noted that, in both Trinity and Redemption, “Irish suffer at the hands of the British in much the same way that the Jews suffer at the hands of organized anti-Semitism. And the Ireland of the ѧ two books is populated by the same variety of characters as those who populate the Warsaw Ghetto of Mila 18 or the Israel of Exodus” (p. 9). The influence of Uris’ ethnicity on his fiction is also evident in many of his other novels, where he presents strong positive Jewish characters so as to erase negative stereotypes of Jews that historically have contributed to anti-Semitism. Having researched the Holocaust for Exodus and Mila 18, Uris must have been aware that during the period of the Weimar Republic, the Nazis were promoting the canard that not only had the Jews been responsible for Germany’s loss in World War I, but that they had avoided military service despite the fact that approximately one hundred thousand Jews had served in the German military, and a high proportion of them were decorated for bravery in battle. This fact was apparently not lost on Uris inasmuch as in many of his novels, Jews appear prominently and are, for the most part, brave and heroic characters. Still other Jewish types serve as reminders that Jews not only contributed to the Allied defeat of Nazi Germany and the Japanese but that they also

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LEON URIS explosive issue, he certainly does not address it directly in his novels. Cain notes that Uris’ experience in the Marine Corps defined his life in several ways. It offered him comradeship and discipline, which he lacked in his family relationships. It also equipped him with a purpose in life as well as a dedication to a cause. His tour of duty in the marines also provided him with the feel for the heat of battle that expresses itself in the pages of his novels. Having served in the South Pacific and fought in the battle for Tarawa, his firsthand experience enabled him to re-create the stench of war, the heroism of his fellow marines, and respect for the Marine Corps that would be the subject of both his first and last novels. Uris’ exposure to warfare also prepared him to write, in Redemption, a riveting account of the battle of Gallipoli, where the British suffered a disastrous defeat at the hands of the Turks during World War I. An additional influence on Uris’ work was his relationship to his parents—a father who was a zealous Communist, fanatically following the twists and turns of Soviet policy, and an emotionally unstable mother. Because the family moved from place to place as the Communist Party directed, Uris grew to despise Communists. Kathleen Shine Cain has noted that Uris viewed them as bullies and thugs, a view consistent with his portrayal of Communists in Armageddon and Topaz. This hatred of communism was most pronounced when Uris appeared at a panel discussion sponsored by the American Bar Association, where he criticized the Jimmy Carter administration for supporting the SALT II treaty then before the U.S. Congress because “the Soviet Union was ‘The Godfather’ of an international mafia of terrorism” (American Bar Association Journal, p. 1296).

made important contributions to the Allied victory during World War I. For example, in Redemption, his sequel to Trinity, Uris inserts the charismatic character of Mordechai “Modi” Pearlman, a member of the Jewish Palestinian Zion Mule Corps, which informs readers that Jews fought under the British flag during that war. The critic Midge Decter, in commenting on Uris’ power to reverse negative Jewish stereotypes, wrote that Uris’ books “by themselves have seemed to accomplish what years of persuasion, arguments, appeals, and knowledge of the events themselves ѧ have failed to do” (“Popular Jews,” p. 360). That Uris’ three marriages were to Gentile women is striking when one notes how frequently his central male Jewish characters fall in love with non-Jewish women. Examples include Ari Ben Canaan’s relationship with Kitty Fremont in Exodus, Andrei Androfski’s attraction to Gabriela Rak, the beautiful Polish Christian in Mila 18, Abe Cady’s love affair with Samantha, who comforts and later marries him when he is temporarily blinded in a British hospital after crash-landing his plane in World War II in QBVII, and Gideon Zadok, a novelist who is unhappily married to Valerie, his non-Jewish wife, in Mitla Pass. The latter two novels appear to mirror Uris’ own career, let alone personal life. Thus intermarriage between Jews and Gentiles is an ongoing theme in his books. In his novels, as well as in his own life, the marriages don’t last, or are at least unhappy relationships. The problem of intermarriage of a different sort is found in Trinity. If Kathleen Shine Cain is correct when she compares Irish and Jewish suffering as one theme in Uris’ work, then what are we to make of Conor Larkin’s heartbreaking love affair with Shelley MacLeod? Colin is a Catholic and Shelley a Protestant, who is brutally murdered by a Protestant Ulster mob because of her relationship to Colin and the Irish Republican movement. Is the theme of intermarriage, which replicates the author’s own life, merely a plot device, or an unconscious projection of Uris’ own experiences or personal inclinations? If Uris has something to say about this culturally

BATTLE CRY (1953)

Battle Cry, Uris’s best-selling first novel, was rejected nine times by publishers before it was accepted for publication. Ultimately, however, like Norman Mailer’s The Naked and the Dead (1948) and James Jones’s From Here to Eternity

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LEON URIS (1952), Battle Cry became one of the most popular novels to come out of World War II. All three novels were subsequently turned into successful films.

Danny is a throwback to an older age in the country’s history; the citizen soldier whose enlistment in the Marine Corps is fueled by an idealism that seeks to preserve the way of life he had exchanged to wage war. But war is not football. One of the novel’s subthemes is the manner in which career soldiers such as Sam “Highpockets” Huxley, the unit’s colonel, imposes rigorous basic training on his charges, determined to turn boys into warriors. Huxley, the career marine, cares for his men, and his dedication to them overshadows even his own family life. Indeed, an important aspect of the novel is the personal lives of Uris’ characters—the affairs, the breakup of marriages, and the feelings for family left behind.

Uris’ novel was based on his experiences and observations in World War II when he served as a private first-class radioman in the Second Battalion, Sixth Marines, which fought the Japanese at Guadalcanal, Tarawa, and Saipan. Although the characters in the novel are all fictional, the events he describes are written with authority, and the incidents he details are apparently accurate (see the review of Battle Cry written by Lt. Col. C. S. Nichols, USMC, in Military Affairs, spring 1954). The novel is a celebration of patriotism, comradeship, and the belief in the righteousness of the mission. In effect, Uris wrote the kind of war novel that perhaps could not have been written about subsequent American military entanglements, such as in Vietnam and the 2003 invasion of Iraq. In the novel, everyone believes in the cause, and sacrifice in battle for one’s fellow marine is the rule, not the exception. This is not to argue that the Pacific war was all glory and no hardship. Uris describes the boredom, suffering, and emotional strain of soldiers in combat. His characters include a cross-section of America; which includes Zvonski, the poor city dweller; Hookans, the Northwest lumberjack; Speedy “Tex” Gray, a prejudiced soldier from Texas; “Spanish Joe” Gomez, a Hispanic con man who becomes a hero; Norton, the university professor, and the character who most resembles Uris himself; and Marion “Sister Mary” Hodgkiss, an intellectual with literary aspirations, who shares his interest in books and music with his fellow recruits. Notably absent from the novel in this band of brothers is any African American character. The novel centers on Danny Forrester, an eighteen-year-old all-American just out of high school who gives up a college football career to serve his country. Cain notes that Danny’s evolution from innocent teenager into seasoned warrior may be seen as a metaphor for the American public, which believed in the possibility of neutrality until the bombing of Pearl Harbor.

Among the subplots is the issue of prejudice, exemplified by Pedro Rojas and Brooklyn-born Jake Levin, two characters who are victims of bigotry. Uris points to the irony of servicemen fighting for an America that discriminates against its own. Stationed temporarily in New Zealand, Rojas talks of how different it is for him “down under,” where he is accepted as an equal rather than shunned as a “spik” (Battle Cry, p 443, Avon paperback edition, 1953). Levin is harassed and tormented by the bigoted “Tex” because he is a Jew—that is, before Jake becomes a battle hero when he sacrifices his life for his squad. In one memorable sequence, Uris describes how, after Jake is killed, he is carried back to his squad by a tearful Tex, who shows remorse for his antiSemitism. Uris seems to be making the point that only through toughness can Jews earn respect from their fellow Americans, who are ever too ready to display their bigotry toward them. This point is also made in the respect and deference shown to Captain Max Shapiro, the heroic marine who loses his life at Saipan leading his squad in battle. Battle Cry does not extol the glories of war, but it does get at the flesh and blood of this particular phase of the Pacific War. Uris also reminds us that the fighting record displayed by the marines of the Sixth Regiment owed much to the steady leadership, organization, and training provided by career officers like Colonel Huxley. In his realistic re-creation of the fierce fighting that characterized the battles of Tarawa and

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LEON URIS Saipan, Uris’ novel comes as close as any work of fiction to confronting the savage face of war.

world opinion, Uris was employed by Edward Gottlieb, a public relations consultant, to write a novel that showed Israel in a favorable light (Stevens, pp. 105–106). This assignment led to his best-known novel, Exodus, wherein Uris creatively tells the history of the Jews from the late nineteenth century through the founding of the state of Israel in 1948. Exodus was a worldwide best seller, translated into a dozen languages, and was made into a Hollywood film in 1960. Little could Uris predict that the book would become so popular, let alone one of the most influential works of modern Jewish fiction. However, although Uris read almost three hundred books, traveled twelve thousand miles within Israel’s borders, and claimed to have interviewed more than twelve hundred individuals to authenticate the history he describes, it is difficult to distinguish fact from fiction in the novel. Uris, for example, has the book’s fictional central character Ari Ben Canaan in meetings with Israel’s Prime Minister David Ben-Gurion. Elsewhere, he writes of the military exploits of the Palmach and Haganah, but not the Irgun, referring to the latter under the fictional name “the Maccabees.” For the reader, it is difficult to distinguish between real personalities and his fictional creations. Uris was dismissive of his critics, pointing to the book’s sales figures as proof of its success.

THE ANGRY HILLS (1955)

The success of Battle Cry encouraged Uris to write his second but least satisfying novel, The Angry Hills. Written as if Uris was mainly thinking about the book being turned into a film (indeed it was adapted into a motion picture in 1959), the novel is loosely based on the diary of an uncle who had fought in Greece with a Jewish unit of the British army. Although the novel deals with the Greek underground’s resistance to the Nazi occupation of the country, Uris does introduce a Jewish character, Yichiel, who is a Palestinian Jew serving in the British army. Captured by the Nazis, Yichiel is defiant under interrogation; he spits in his captor’s face and is beaten by a dozen brownshirts, but he still refuses to divulge information to the enemy. The plot is reminiscent of many World War II espionage thrillers. Michael “Mike” Morrison is an American author and recent widower who is in Greece during World War II to receive an inheritance. When everything is almost settled, the Greek lawyer asks him to take a letter to a friend in London. Soon everything turns chaotic. The Germans invade Greece and the letter turns out to be of extreme importance to the resistance movement because it contains a secret list of collaborators. Helped by a Greek love interest, Lisa Kyriakides, Morrison is aided by the Greek resistance as they are pursued across the country by the Nazis. Almost captured by the Germans, Morrison is rescued by the underground, and as the novel ends, Uris writes: “Lisa stood on the deck ѧ he touched her shoulder softly as the coastline of North Africa appeared on the horizon before them” (p. 245).

The novel traces the odyssey of two brothers, Jossi and Yakov Rabinsky, who leave tsarist Russia following a devastating pogrom that results in their father’s murder. Both brothers walk across Russia and eventually make their way to Palestine, where they become important personalities in the building of the future Jewish state. It is apparent that the brothers are modeled after David Ben-Gurion and Menachem Begin: Jossi takes the Hebrew name Barak Ben Canaan and becomes a leader of the mainstream Haganah, and Yakov, who assumes the name of Akiva, becomes the leader of the more militant and fictionalized “Maccabees.” The novel begins with the introduction of the book’s central character, Ari Ben Canaan, Barak’s son and an agent of the Mossad’s Aliyah Bet, an

EXODUS (1958)

As a screenwriter and a newspaper correspondent, Uris became intensely interested in Israel. In the early 1950s, when the newly formed state of Israel was seeking recognition in the court of

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LEON URIS organization bent on creating a Jewish state in Palestine. Ari is sent to Cyprus to smuggle Jewish refugees into Palestine by running the British blockade. It would appear that the character of Ari Ben Canaan was inspired by the exploits of Yehuda Arazi, a Mossad agent who had operated “illegal” Zionist ships in the Mediterranean under the British Mandate and who had drawn considerable press attention to the plight of Jewish refugees. Kitty Fremont, a widowed American nurse who displays signs of anti-Semitism, works in the refugee camps where thousands of Jews, many of them children, who survived the Holocaust are interned, waiting for the world to pressure Great Britain to lift its blockade and allow them to reach Palestine.

Exodus. Ari’s plan is to fill the ship with children, anticipating that world opinion would force the British to relent and allow the ship to sail to Palestine. On the ship, Ari, Karen, Kitty (who is determined to stay with Karen in hopes of convincing her to come to the United States), and Dov, along with sixteen hundred children, go on a hunger strike until the British agree to allow the ship to leave Cyprus for Palestine. Having won the battle of wills, Ari, like a modern Moses, leads the children to the promised land. The book goes on to describe the various main characters now settled in Palestine and their connections to one another as their lives are intertwined with the Jewish struggle to create the state of Israel. As the novel unfolds, we encounter the love affair between Kitty and Ari, murderous Palestinians, and the British siding with the Arabs. Uris’ own combat experience allows him to realistically describe the major battles that the greatly outnumbered Jewish army fought against the combined armies of the Arab states that sought to destroy the newly created state. Uris’ admiration for Israel, the nation of muscle Jews, can best be summarized in the scene when an elderly Barak, on his deathbed, says of the achievements won by the Israelis, “we have created a race of Jewish Tarzans” (p. 604).

Kitty displays great empathy for a young Jewish survivor, Karen Hansen Clement, who has lost her mother in the Holocaust but believes her father may still be alive and living in Palestine. Karen is committed to searching for him but also is eager to help build a Jewish state in Palestine. Kitty, however, would like to provide Karen with a better life by taking her to the United States. Karen’s future becomes the catalyst for the eventual encounter between Ari and Kitty, whose love-hate relationship becomes one of the novel’s subthemes. Karen comes to befriend the psychologically damaged Dov Landau, a survivor of the Warsaw Ghetto and Auschwitz, whose story allows Uris to introduce the Jadwiga concentration camp, where medical experiments are performed on Jews, and the gas chambers are constantly in operation. Actually, the fictional Jadwiga is Auschwitz. Uris, however, is not hesitant to identify many of the authentic Nazi practitioners of death, including the physicians who performed medical experiments without anesthesia on their helpless victims in Auschwitz. One of them, a Polish surgeon, Dr. Wladyslaw Dering, would sue Uris for stating in Exodus that he had performed seventeen thousand medical experiments without anesthetic. The case went to court in Great Britain and became the subject of Uris’s novel QBVII. The novel’s title is derived by a ship outfitted by Aliyah Bet, the SS Warfield, renamed the

MILA 18 (1961)

Uris devoted sections of Exodus to the Holocaust, including some pages to the Warsaw Ghetto Uprising during the Nazi occupation of Poland. Determined to delve more deeply into the events leading up to the uprising during the Passover of 1943, Uris traveled to Warsaw in 1959 and toured the site of the original ghetto, including the Jewish resistance headquarters at 18 Mila Street. Living in Israel at the time he decided to write Mila 18, Uris availed himself of the research material available at the Yad Vashem Memorial Archives, interviewed some twenty survivors of the uprising living in Israel, and researched Jewish sources in London and New York. The result was a novel that one critic not only compared to John Hersey’s 1950 novel about the Warsaw Ghetto revolt, The Wall, but

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LEON URIS averred it was “a novel that surpassed Exodus in every respect” (Quentin Reynolds, New York Times Book Review, June 4, 1961). Mila 18 is not just a work of engrossing fiction but also a novel that includes documentation about the everyday suffering of the Jews as revealed in the many decrees issued by the Nazis. Although the novel’s characters are fictional recreations, they do represent a cross section of those trapped in a situation in which the roundups of Jews for deportation to the death camps were as predictable as they were unexpected. Uris makes the point that not all Jews reacted in the same way to the German occupation: some placed their faith in God to save them; some served on the Jewish council that acquiesced to the Nazi decrees or with the Jewish police who implemented them; some were black marketers; and some stood up to the Germans.

determination of Jews like those who resisted the Nazis in the Warsaw Ghetto that made the creation of the state of Israel possible.

ARMAGEDDON (1963)

This tale of Berlin, divided by the four Allied powers after the Nazi surrender in 1945, was Uris’ fifth novel. Specifically, Uris focused on the Soviet blockade of Berlin, which almost brought the United States and its Western Allies into a shooting war with the Soviet Union (hence the book’s title). But it is in Armageddon that Uris also displays his hatred of communism in general and the Soviet Union in particular. Uris’ voice has one of his characters, General Andrew Jackson Hansen, state that the Communists were “more dangerous than the Nazis, who wanted to conquer only in the name of Germany, but the Russian aim was more awesome; the communists made it clear from the first that they intended to remake the world in their own image” (p. 178). And referring to Stalin’s purges during the 1930s, Hansen calls the Soviet leader “the supreme monster of all ages” (p. 182). Subsequently Uris recounts the Russian betrayal of Poland during the war, including the Katyn massacre of Polish officers, and other crimes of the Soviet Union. At the same time, Uris’ novel is a tribute to the American occupation of Germany and the subsequent airlift that prevented war between the world’s two superpowers. Uris, however, does not give short shrift to the Nazi genocide of the Jews. Because he prided himself on researching the historical aspects of his novels, he offers his own interpretation for the causes of the Holocaust. He writes of the composer Richard Wagner’s celebration of the pagan German past and that the German people’s desire to identify themselves with paganism was a primary motivation for supporting the destruction of the Jews: “Adolf Hitler understood this desire in the German people and exploited it” (p. 158). The central character in Armageddon is Major Sean O’Sullivan, the military governor of a German town near the Schwabenwald concentration camp. He hates Nazis because his two

The novel has many memorable characters. Andrei Androfski is an Olympic athlete and Polish army officer who never thought of himself as a Jew until the Nazis and Polish anti-Semitism forced him to face his Jewish identity. The scholarly Alexander Brandel is apparently modeled after Emanuel Ringelblum, founder and director of the Oneg Shabbat Archive, who kept a journal of everyday life in the ghetto; unlike his real-life counterpart, Brandel participates in the uprising. Other notable characters include Horst von Epp, a civilized but cynical Nazi official, and Gabriela Rak, a Catholic woman who is Andrei’s love interest. Although Mila 18 is historical fiction at its best, in this “nonfiction novel” Uris did not forget that he was also writing for a general audience, and so, as in Exodus, he provides his readers with not one but three romantic relationships, with the obligatory sex to go along with it. Possibly, in celebrating the Jewish spirit as it defied the Nazis in the Warsaw Ghetto, Uris also had in mind making the novel palatable as a Hollywood film. Uris in Mila 18 is also intent on making the Jewish people, as represented by the ghetto’s remnant of doomed men and women, the heroes of his novel. The book reinforces Uris’ view, first emphasized in Exodus, that it was the grit and

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LEON URIS brothers were killed by the Germans in the war. But his loathing for all things German soon evaporates when he falls in love with Ernestine Falkenstein, the daughter of a Nazi and a family of unrepentant Hitler followers. As in Mila 18 and in Exodus, Uris mixes romance with actual historical events. The result is an interesting narrative recounting of the origins of the Cold War, shorn of any complexity.

explores the theme of impossible love” (p. 108). André, like Andrei Androfksi in Mila 18 and Conor Larkin in Trinity, finds himself in love with a woman in a situation that is doomed to fail because of forces beyond his control. Uris was initially hired to write the screenplay for Alfred Hitchcock, who produced and directed the film version of Topaz. But Hitchcock was unimpressed with Uris’ writing and declared it “unshootable,” subsequently replacing him with Samuel A. Taylor. Because the film was perceived as anti-French, the French minister of culture withdrew permission for the crew to film on location in Paris. Although the film received mixed reviews, Topaz was Hitchcock’s biggest flop, costing over $4 million to make but grossing less than $1 million. Hitchcock regarded the film as a complete disaster.

TOPAZ (1967)

Topaz was inspired by a meeting between Uris and Philippe de Vosjoli, a former head of French Intelligence. De Vosjoli provided Uris with a manuscript about his experiences, including his role in uncovering a mole in the French Intelligence Service. Subsequently Uris wrote the best-selling novel, later made into a film, whereupon Vosjoli successfully sued Uris for royalties for both the book and the film version of the novel. Topaz is the story of the French diplomat and counterintelligence agent André Devereaux and his CIA counterpart Michael Nordstrom on the eve of the Cuban Missile Crisis in 1962. The fictional plot is based on the real-life espionage scandal involving a Soviet KGB defector to the West who disclosed that a Soviet spy ring was operating within the French Foreign Service, code-named “Topaz,” which had infiltrated the upper rung of the office of the French President Pierre La Croix (in reality Charles de Gaulle).

QBVII (1970)

Uris’ seventh novel and one of his most successful was QB VII. The book’s title refers to Queen’s Bench Courtroom No. 7, where a lawsuit was brought against Uris by Wladyslaw Aleksander Dering, a Polish physician who was a concentration camp doctor in Auschwitz. Dering sued Uris for libel based on a sentence in Exodus, where Uris states that “Dr. Dehring performed seventeen thousand ‘experiments’ in surgery without anesthetic” (p. 146) on mostly Jewish camp inmates. Uris admitted that the “Dr. Dehring” in the book referred to Dr. Dering, but he refused to admit that he had exaggerated the number of experiments performed by Dering. The trial uncovered the fact that Uris’ accusation was based on his reading of a 1952 book, Underground, The Story of a People, by Joseph Tenenbaum (1952), wherein the author used the figure of seventeen thousand medical experiments. During the course of the trial, it turned out that the jury believed that Dering did perform medical experiments on his mostly Jewish victims, but not seventeen thousand. So Dering technically won the case, but the jury awarded him the U.S. equivalent of a penny. Though the novel is based on actual events, Uris does include a romantic element to the story that, as in a number of his other books, mirrors

The novel provides actual events based on de Vosjoli manuscript and moves the story line from Washington D.C. to Cuba and back to France, where the novel’s plot first unfolds. Uris also describes the rift between the United States and France within NATO, which ultimately led the French to withdraw from the NATO command. Uris’s obligatory romantic element is interwoven in the story. He describes Devereaux’s unhappy marriage with his wife Nicole, and the French diplomat’s torrid love affair with a beautiful anti-Castro Cuban, Juanita de Córdoba. The affair is thwarted by a murderous Cuban diplomat, which leads to a tragic conclusion. As Cain notes, “in this novel, as in most of his other works, Uris

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LEON URIS his own personal life. Uris is Abraham Cady, a writer and an air force flyer during World War II, who was shot down and nursed back to health by Samantha, whom he falls in love with and marries. The marriage becomes a troubled one and they eventually divorce. Although Uris devotes pages of his novel to the reasons for the breakup, Uris’ primary focus is to describe the horrors of the Holocaust in general and Auschwitz in particular. For reasons never explained, Uris is writing about Auschwitz but refers to a fictional death camp called Jadwiga. Readers of his novel may well have believed that such a camp really existed, but this is the danger of relying on historical fiction as actual history. Dering’s fictional counterpart is Adam Kelno, and during the actual trial, Dering argued that had he not performed the experiments, others less qualified than he would have done them, thus perpetrating even worse suffering, if not death, on the victims. Moreover, he contended that had he not operated as ordered, he would have been sent to the gas chamber. In this regard, Uris raises a moral question that still stirs debate in regard to the Holocaust: “What would I have done under these circumstances?” After the fact, can we really judge someone placed in that situation? Following the trial, Cady (Uris) asks himself if he would have acted any differently than did Kelno to save his own life.

the famine of the 1840s to the Easter Rising of 1916. The story is told by focusing on the interaction of three families: the Larkins of Ballyutogue, Catholic hill farmers in Donegal fighting against poverty and discrimination levied against them by the surrounding Protestant ruling class; the Weed-Hubbles family, which represents three generations of British aristocracy in Ulster, and whose head, the Earl of Foyle, is determined to oppose any British parliamentary bill supporting Home Rule for Ireland; and the MacLeods of Belfast, a family of pious Scottish-Presbyterian dockworkers, representative of those Scotch-Irish whose ancestors emigrated to Ireland to secure the country for the British crown. The Larkins include three sons and a daughter, all of whom become important characters in the novel. One son, Liam, leaves Ireland for New Zealand, where he becomes a successful sheep rancher and raises a family; his story will be highlighted in Redemption, the sequel to Trinity. Another son, Dary, becomes a priest and gets involved in the Republican cause. But the novel centers around the third son, Conor, one of Uris’ most highly developed protagonists, characterized by Uris as “probably the greatest hero I’ll ever write about” (Irish Voice, August 31, 1995). By novel’s end Conor has become a leader of the Irish revolutionaries seeking an independent Ireland and consequently dies a martyr’s death for the cause. More than in any other of his novels, Uris placed his fictional characters alongside historical personalities, such as Charles Stewart Parnell and Lord Randolph Churchill, in re-creating the bloody conflict between the Protestants and the Catholic in Northern Ireland. Having provided the reader with enough factual information to make the Catholic-Protestant conflict in Ireland understandable to an outsider, Uris does not disappoint those who have come to expect a romantic element in his novels. In Trinity it is manifested in the ill-fated love affair between Conor and the Protestant Shelley MacLeod, which ends in heartbreaking tragedy. Shelley’s death symbolizes the deep-seated hatred between Protestants and Catholics in Ireland.

TRINITY (1976)

Second only to Exodus in popularity among his novels was Trinity, which spent two years on the New York Times best-seller list with over 5 million copies of the book in print, making it probably the most popular novel about the Irish struggles ever written. The impetus for writing the novel came while Uris and his wife, Jill Peabody, were living in Dublin in the early 1970s. The couple had already written Ireland: A Terrible Beauty (1975). Noting the parallels in the history of the Jews seeking to establish the state of Israel and the Irish Catholic struggle to establish an independent Ireland, Uris sought to tell the story of Ireland’s past from the period of

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LEON URIS Trinity is a gripping novel, and when the story is finished, one can agree with Pete Hamill when, in reviewing the book, he wrote that after reading Trinity, “the news items from Belfast will never seem quite the same as before” (New York Times Book Review, March 14, 1976).

war for independence from a Palestinian perspective. What emerges from the novel, however, is not a view of the conflict as seen from the other side but a sampling of Uris’ most controversial and toxic beliefs. Readers of his coffee table history Jerusalem: Song of Songs (1981) will not be surprised that in this novel Uris continues his disdain for Islam in general and Arabs in particular. The plot centers around Haj Ibrahim, the head of the village of Tabah, situated between Eilat (Elat) and the Sinai Desert. Uris describes him as a fearless but feared leader who refuses to reconcile himself to the presence of a Jewish state, and subsequently he and his family are forced to leave Tabah as the struggle for Palestine intensifies. Eventually the family settles in a refugee camp in Jericho, where Ibrahim is confronted by terrorism and unscrupulous Palestinians, who are willing to sacrifice their own people rather than reach any compromise with the Jews. The one Jew whom the Haj trusts and loves is his friend, Gideon Asch, but Gideon is a Zionist, and for this reason he must be considered the enemy. Ibrahim’s struggle both against the Jews and his fellow Palestinians is told by his son, the novel’s narrator, Ishmael, who among other things has this to say about Arabs:

REDEMPTION (1995)

Nine years after publishing Trinity, Uris wrote a sequel to his best-selling novel. Although almost a third of the novel summarizes the events already described in Trinity, Uris does provide more specifics about the characters he had already written about and provides greater detail with regard to the Easter Rising. The center of the novel, however, focuses on Rory Larkin, Liam’s son, who idolizes his Uncle Conor. Rory is determined to follow in Conor’s footsteps, but before the novel shifts to Ulster, Rory serves in the New Zealand contingent of the British army (ANZAC) that fought at Gallipoli during World War I. Just as Uris described warfare in the South Pacific in Battle Cry, he is as adept in conveying combat in this disastrous defeat of the British army at the hands of the Turks. In the course of the battle, the two sons of the Hubble family, whom Rory had befriended, are killed. It is Rory who brings news of the deaths to their mother, Caroline Hubble, one of the many strong-willed women found in Uris’ novels. From Trinity the reader learned that Conor and Caroline had a strong attraction to one another, but class, religion, and the fact that she was married prevented the relationship from going any farther. A sorrowful Caroline soon forms an attachment to Rory, having discovered that he is Conor’s nephew. She subsequently forms an alliance with him in the political struggles for home rule in Ireland. What follows has as much to do with deft storytelling as it does with Irish politics.

So before I was nine I had learned the basic canon of Arab life. It was me against my brother; me and my brother against our father; my family against my cousins and the clan; the clan against the tribe; and the tribe against the world. And all of us against the infidel. (p. 15)

Uris has Ibrahim inform Gideon about the possibility of reconciliation with the Arabs: Nothing directs their frustration like Islam. Hatred is holy in this part of the world. It is also eternal.ѧ You do not know how to deal with us. For years, decades, we may seem to be at peace with you, but always in the back of our minds we keep up the hope of vengeance. No dispute is ever settled in our world. The Jews give us a special reason to continue warring.

THE HAJ (1984)

(p. 60)

Returning to the scene of his 1958 best seller Exodus, The Haj re-creates the history of Israel’s

Elsewhere, Ibrahim talks about his frustration with both Islam and Arab politics:

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LEON URIS Islam is unable to live at peace with anyone. We Arabs are the worst. We can’t live with the world, and even more terrible, we can’t live with each other ѧ One day our oil will be gone, along with our ability to blackmail. We have contributed nothing to human betterment in centuries, unless you consider the assassin and the terrorist as human gifts.

life, it is always riveting, and Gideon Zadok ranks alongside Conor Larkin and Ari Canaan as one of Uris’ most memorable characters.

(pp. 545–546)

In Uris’ twelfth novel, he turns to themes much closer to home. The setting for his story is the presidential election of 2008, where Patrick O’Connell, a former marine hero and the liberal governor of Colorado, is campaigning to become the second Irish Catholic president of the United States. What strikes the reader about the novel, and it may be entirely a coincidence, is that with the exception of Topaz, the great majority of Uris’ works center on either Jewish or Irish Catholic characters. In A God In Ruins, Patrick O’Connell discovers that he is both Irish and Jewish, having been adopted from Jewish parents, thus allowing Uris to deal with such themes as anti-Semitism and Judaism, topics gleaned from his own personal experiences, as well as raising the question of whether the United States was ready to elect a Jewish president.

A GOD IN RUINS (1999)

Long before the debate over the existence of a “clash of civilizations” between Islam and the West became fashionable after 9/11, Uris was already making his contribution to our “understanding” of the Islamic world, but not offering any hope for peace between Israel and the Palestinians.

MITLA PASS (1988)

The action in Uris’ third novel dealing with Israel takes place against the background of the Suez War of 1956. In this semiautobiographical account, Uris’s protagonist is Gideon Zadok, who travels to Israel to find material for a new book. In the course of his research, which includes accompanying the Israeli army into battle at the Mitla Pass, Gideon meets Natasha Solomon, a beautiful but tough Israeli who is also a Holocaust survivor. His love affair with Natasha conflicts with his love for his wife, who had supported him when he was a struggling author. The novel alternates between the Israeli army’s preparation for battle and Zadok’s reflections on his youth, which include many painful passages about his relationship to his dysfunctional family and his now faltering marriage. Just before the battle, Uris freezes the action and engages the reader in long flashbacks recalling several generations of Zadoks who wandered across Russia, resided in Palestine, and finally emigrated to the United States, where the story of Zadok’s dysfunctional family is told. Returning the story line to the Sinai war, Uris has Gideon parachuting with Israeli forces into the Mitla Pass and describes the subsequent combat, which, not unlike the battle of Gallipoli in Redemption, results in heavy casualties in what proves to be an unnecessary battle. Although the novel fragments different aspects of Gideon’s

Although O’Connell realizes that should his Jewish birth become public, it could destroy his chances to become president, he nevertheless publicly discloses his Jewish ancestry, thus allowing Uris to advance his story by focusing on the reaction of neo-Nazis, Muslims, and other anti-Jewish hate groups. In an interview with the Baltimore Jewish Times, Uris stated that the novel “was the culmination of my life experiences.” In the same interview, Uris revealed that the character of O’Connell “is the man we hoped Clinton would be, and the man I would have liked to have been. The coincidence of us both being Jewish Marines ѧ” (June 25, 1999).

O’HARA’S CHOICE (2003)

The last and least memorable of his novels, O’Hara’s Choice brings Uris full circle as he returns to the subject that first inspired him to write Battle Cry, the Marine Corps. Zachary O’Hara, a first-generation Irish American, is the son of a legendary and much decorated marine.

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Selected Bibliography

Zachary, who has followed in his father’s footsteps by enlisting in the Marines Corps, is asked to contribute to a highly secret report that is designed to make the marines indispensable in the complex rivalry among the different branches of the country’s armed forces. The primary plot, however, involves his on-and-off romantic relationship with Amanda Blanton Kerr, the daughter of a ruthless industrialist who refuses to accept the possibility that his daughter would throw away her privileged life to become a marine’s wife. The manner in which this conundrum is decided allows Uris to deal with issues of religious differences, class distinctions, and duty to country that are all resolved, but in a contrived and disappointing manner.

WORKS BY LEON URIS NOVELS Battle Cry. New York: Putnam, 1953. (Edition quoted in text; New York: Avon Books, 2005). The Angry Hills. New York: Random House, 1955. Exodus. Garden City, N.Y.: Doubleday, 1958. Mila 18. Garden City, N.Y.: Doubleday, 1961. Armegeddon: A Novel of Berlin. Garden City, N.Y.: Doubleday, 1964. (Edition quoted in text; New York: Dell Publishing, 1985). Topaz. Garden City, N.Y.: Doubleday, 1967. QB VII. Garden City, N.Y.: Doubleday, 1970. Trinity. Garden City, N.Y.: Doubleday, 1976. The Haj. Garden City, N.Y.: Doubleday, 1984. Mitla Pass. Garden City, N.Y.: Doubleday, 1988. Redemption. New York: HarperCollins, 1995. (Edition quoted in text: New York, Harper Paperbacks, 1996). A God in Ruins. New York: HarperCollins, 1999. O’Hara’s Choice. New York: HarperCollins, 2003.

SUMMARY

The secret to Leon Uris’ success as a novelist was that he was a powerful storyteller. His novels, at their best, such as in Battle Cry, Exodus, and Trinity, are riveting tales filled with heroism and passion. For Uris, the story was all important and the form it takes secondary. For this reason, he is never ranked among the great writers of fiction. Nevertheless, few novelists have swayed public opinion more than Uris has, and arguably, Exodus ranks among the most influential books of the twentieth century. It is also true that his novels were not simply written to entertain his audience but also to instruct. In his writing of historical fiction, Uris has more than a point of view, he is a partisan, and his novels reflect his prejudices. Because of a seemingly dysfunctional upbringing, Uris brought to his craft experiences from his childhood, and much of his writing reveals the search for stability that his family, and later his marriages, never provided him. He found steadiness and acceptance in the Marine Corps, then in Israel, and finally in his identification with the suffering of the Irish, and it is no coincidence that his best works deal with these subjects. Critics have not been kind to Uris. Nevertheless, despite his prejudices often masquerading as history, Uris deserves to be read and given the recognition he deserves as one of the twentieth century’s most important writers of popular fiction.

PHOTO ESSAYS Exodus Revisited. Photographs by Dimitrios Harissiadis. Garden City, N.Y.: Doubleday, 1959. Ireland: A Terrible Beauty. Photographs by Jill Uris. Garden City, N.Y.: Doubleday, 1975. Jerusalem, Song of Songs. Photographs by Jill Uris. Garden City, N.Y.: Doubleday, 1981. (Edition quoted in essay; N.Y.: Bantam Books, 1985).

PLAYS

AND

SCREENPLAYS

Battle Cry. Warner Brothers, 1954. Gunfight at the O.K. Corral. Paramount, 1957. Ari (Exodus): The Musical. Music by Walt Smith. Broadway productions, 1971.

PAPERS Leon Uris’ papers are stored at the Harry Ransom Center, University of Texas at Austin. The collection consists of 169 boxes, 43 oversize boxes, 6 galley folders (108 linear feet). At the time of his death, Uris was working on projects involving China and immigration to the Lower East Side.

CRITICAL AND BIOGRAPHICAL STUDIES American Bar Association Journal 65, no. 9:1296 (September 1979).

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LEON URIS Bellow, Saul. Introduction to Great Jewish Short Stories. New York: Dell, 1963. Cain, Kathleen Shine. Leon Uris: A Critical Companion. Westport, Conn.: Greenwood Press, 1998. Downey, Sharon D., and Richard A. Kallan. “Semi-Aesthetic Detachment: The Fusing of Fictional and External Worlds in the Literature of Leon Uris.” Communication Monographs 49, no. 3:192–204 (September 1982).

Tenenbaum, Joseph. Underground: The Story of a People. New York: Philosophical Library, 1952. Twersky, David. “Novelist Leon Uris Taught Jewish Readers to Stand Tall.” Forward, June 27, 2003. Available online (http://www.forward.com/articles/7579/). Uris, Leon. Letter to Stephen Whitfield, April 16, 1985. Whitfield, Stephen J. “Necrology: Leon Uris (1924–2003).” Jewish Quarterly Review 94, no. 4:666–671 (fall 2004).

Ephross, Peter. “Leon Uris, Author of ‘Exodus’ Dies; Popularized Jewish History in Novels.” Jewish Telegraphic Agency, June 24, 2003.

REVIEWS

Foley, Barbara. “Fact, Fiction, Fascism: Testimony and Mimesis in Holocaust Narratives.” Comparative Literature 34, no. 4:330–360 (autumn 1982). Gonshak, Henry. “ ‘Rambowitz’ Versus the ‘Schlemiel’ in Leon Uris’ Exodus.” Journal of American Culture 22, no. 1:9–16 (spring 1999). Hall, Wayne. “Trinity: The Formulas of History.” EireIreland: A Journal of Irish Studies 13, no. 4:137–144 (1978). Hill, Mavis M., and L. Norman Williams. Auschwitz in England: A Record of a Libel Action. New York: Stein and Day, 1965. King, Seth. “Exodus and Israel.” New York Times, October 4, 1959, p. 21. Lehmann-Haupt, Christopher. “How to Write a Leon Uris.” New York Times, December 2, 1970, p. 45.

Decter, Midge. “Popular Jews.” Commentary, October 1961, p. 358. (Review of Mila 18.) Duff, Martha. Review of QBVII. Time, June 28, 1971, p. 80. Hamill, Pete. Review of Trinity. New York Times Book Review, March 14, 1976, p. 2. Hunter, Evan. Review of The Haj. New York Times Book Review, April 22, 1984, p. 7. McMillan, George. “Tension Never Eases.” New York Times Book Review, April 26, 1953, p. 5. (Review of Battle Cry.) Mitgang, Herbert. Review of Armageddon. New York Times Book Review, June 28, 1964, p. 22. Nichols, C. S. Review of Battle Cry. Military Affairs 18, no. 1:38 (spring 1954). Olson, Ray. Review of Redemption. Booklist, April 15, 1995, p. 1453. Zureik, Elia. “Uris’ Exodus from Reason.” Journal of Palestine Studies 13, no. 4:118–121 (summer 1984). (Review of The Haj.)

McCaffrey, Lawrence J. “The Irish Diaspora in America.” Reviews in American History 5, no. 2:174–179 (June 1977). McDowell, Edwin. “Exodus in Samizdat: Still Popular and Still Subversive.” New York Times Book Review, April 26, 1987, p. 13.

INTERVIEWS

Moore, Deborah Dash. “Exodus: Real to Reel to Real.” In Entertaining America: Jews, Movies, and Broadcasting. Edited by J. Hoberman and Jeffrey Shandler. Princeton, N.J.: Princeton University Press, 2003. Pp. 207–219. Neiditch, Michael. “Uris in the USSR.” B’nai B’rith International Jewish Monthly 104, January 1990, pp. 35– 37.

Lacey, Colin. “Leon’s Redemption.” Irish Voice, August 31, 1995. Norris, Michele. “Interview: Jill Uris on the Life of Leon Uris.” All Things Considered (NPR), June 24, 2003. Schweiger, Alice Burdick. “A God in Words.” Baltimore Jewish Times, June 25, 1999, p. 59.

Parini, Jay. “Making History: How Historical Fiction Went Highbrow.” Atlantic, May 20, 2009, pp. 19–20.

FILMS BASED ON THE WORKS OF LEON URIS

Reynolds, Quentin. “In the Ghetto a Battle for the Conscience of the World.” New York Times Book Review, June 4, 1961, p. 5. “Skipper of Exodus Calls Jews ‘Indigestible’ by All but Israel.” New York Times, February 7, 1961, p. 21. Stevens, Art. The Persuasion Explosion: Your Guide to the Power & Influence of Contemporary Public Relations. Washington, D.C.: Acropolis Books, 1985. Pp. 105–106.

Battle Cry. Directed by Raoul Walsh. Warner Brothers, 1954. The Angry Hills. Directed by Robert Aldrich. MetroGoldwyn-Mayer, 1959. Exodus. Directed by Otto Preminger. United Artists, 1960. Topaz. Directed by Alfred Hitchcock. United Artists, 1969. QB VII. Directed by Tom Gries. ABC-TV, 1974.

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PATRICIA NELL WARREN (1936—)

Nikolai Endres PATRICIA NELL WARREN has published eight novels (her first one under the pen name Patricia Kilina), one work of nonfiction, and a scholarly translation of Ukrainian epic poetry. She has also composed poetry in Ukrainian (little of which is available in English) and contributes regularly to a number of gay and straight magazines. Her most famous work and New York Times best seller, The Front Runner (1974), has sold an estimated 10 million copies worldwide (making it the most popular gay novel in American history according to industry publications), has been translated into several European languages plus Japanese and Chinese, and is slated to become a major motion picture. In her oeuvre, Warren has engaged with the threat to Native American heritage, homosexuality and athletics, Catholic celibacy, homophobic politics, Mother Earth as the supreme goddess, a gay bullfighter in Fascist and macho Spain, Ukrainian pride and independence, and contemporary issues. Her novels frequently appear on college reading lists and have been used in gay literature and American history courses as well as by therapists and ministers.

daughter. Her mother, Nellie Bradford Flinn (1911–1979), was a historian with strong ties to western history and to the ancient civilizations of the Mediterranean. Warren has one brother, Conrad Kohrs Warren II (born 1940), a pilot, inventor, engineer, and printer. For her schooling, Warren went to Stephens College in Columbia, Missouri, where she completed an A.A. degree in writing in 1955, followed by Manhattanville College of the Sacred Heart (now Manhattanville College) in Purchase, New York, where she received a B.A. in English literature in 1957. A versatile linguist, she took Latin and Spanish in high school; in college, she enrolled in French and Italian, which she honed during the summer of 1955, studying art in France and Italy. In 1957 Warren married fellow writer and electrical engineer Yuriy (George) Orest Tarnawsky, whom she divorced sixteen years later. He was of Ukrainian origin, which is how Warren learned to speak and write Ukrainian and got involved in recognizing the individuality of ethnic groups in the former Soviet Union. When Warren left Tarnawsky in 1973, she came out as a lesbian, but she already had an early relationship with a girl from 8th grade into high school. Looking back on her marriage, she remembers it as so unhappy that she considered suicide. Although she had flirted with Catholicism in college, after her separation, she investigated Hindu, Buddhist, Taoist, Islamic, and eventually Native American spirituality.

BIOGRAPHY

Patricia Nell Warren was born June 15, 1936, in Helena, Montana, and grew up on the Grant Kohrs cattle ranch near Deer Lodge, now a national historic site and open to the public. Her ancestors came to the United States from England, Ireland, Norway, Denmark, and Germany and later intermarried with native Americans: Cree, Cherokee, and Lakotah. Warren’s father, Conrad Kohrs Warren (1907–1993), dropped out of medical school to take up ranch management; he inspired love and care for the earth in his

Professionally, starting in 1959, Warren worked as a copy editor at Reader’s Digest, where she was solely responsible for text finalizing, press makeready, and checking signatures on the print run for each issue of the magazine. In 1964 she became a book editor, specializing in

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PATRICIA NELL WARREN Soviet affairs, history, and wildlife subjects. In the 1970s Warren and other women Digesters found out that female employees were subject to discrimination in the areas of pay, promotion, titles, and hiring practices. In Susan Smith v. Reader’s Digest, a class-action suit that was eventually settled out of court and where Warren was the plaintiff’s spokesperson, Smith received the highest payment per capita for a sex discrimination case based on equal employment rights at that time. Warren traveled widely, especially to Spain, where she was a Reader’s Digest liaison to the magazine’s Spanish edition, Selecciones. She familiarized herself with the country, culture, and language and experienced firsthand Fascist life under General Francisco Franco. There she also wrote a story about matadors, the germ of her novel The Wild Man (2001). Warren left Reader’s Digest in 1981. As a freelance writer since 1969, Warren has focused on feminist issues, gay youth, civil rights, mythology, wildlife, feline and equine advocacy, agriculture, sports, and more.

ren was an avid athlete who participated in equestrian sports and ran marathons, including the prestigious Boston and New York City competitions, but knee problems and autoimmune disease eventually put an end to her athletic career. Beginning in the 1970s, she and a group of other women runners forced the Amateur Athletic Union to change its discriminatory policies on distances allowed for women, which were traditionally shorter than men’s. As an educator, in 1994 Warren did six months of volunteer teaching at EAGLES, a high school dropout program in the Los Angeles Unified School District. The program was created for gay, lesbian, bisexual, and transgendered students who had been driven out of their intolerant home schools (most of them were Latinos or black, with Asians and whites in the minority). In 1995 she set up the Patricia Nell Warren Endowment fund, which supports gifted gay youths who have suffered from economic hardship on their paths to artistic success. For several years, Wildcat also published YouthArts, an award-winning online publication that showcased young writers, essayists, commentators, poets, and artists.

In 1993, together with Tyler St. Mark, a former lifeguard, swimming coach, AIDS activist, short story writer, and Los Angeles media specialist, Warren founded Wildcat Press, which now publishes her books. (A sister company, Wildcat Entertainment, is dedicated to new film development, especially the long-awaited movie based on The Front Runner.) As an independent publisher devoted to free speech, Wildcat has been involved in a number of Internet censorship cases, for which it was honored in 1996 with a Champion of Free Speech award from the American Civil Liberties Union. In later years, Warren was the only American author who took a confrontational position with the Justice Department in a pivotal Web censorship litigation. She felt vindicated when in 2009 the United States Supreme Court upheld a lower court ruling that declared unconstitutional the Child Online Protection Act (COPA), which would have sweepingly outlawed the sale of any content “harmful to minors,” possibly including Warren’s novels. Warren’s other political activities include sports and education. For much of her life, War-

Warren was on the Gay and Lesbian Education Commission of the Los Angeles Unified School District from 1996 to 1998, followed by the Human Relations Education Commission (1999–2000). In 2002 a small task force of legislators, attorneys, and activists (including Warren), under the banner of Just Dissent, came together to write SB 1796, a piece of legislation designed to lower the California state penalties for peaceful, nonviolent civil disobedience. Sponsored by State Senator Richard Polanco, both houses of the legislature passed it, but Governor Gray Davis vetoed it. (Just Dissent expects to raise the issue again in the future.) In December 2006 Warren announced her candidacy for City Council of West Hollywood, but she failed to unseat the incumbent. Warren continues to participate in Gay and Lesbian Pride marches, Democratic fund-raisers, literary events, annual dinners, and college conferences (including Harvard University, the University of Pennsylvania, and UCLA). Notable engagements have included her keynote address

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PATRICIA NELL WARREN at the Youth Lobby Rally at the state capitol in Sacramento in 1996; serving as president of the awards jury at the Barcelona International Gay and Lesbian Film Festival in 2004; speeches at the Women’s Diversity Conference at the University of North Texas in 2005, 2006, and 2007; and an appearance at the Missoula (Montana) Public Library as part of its Banned Books Week in 2008. Warren covered the Beijing Summer Olympic Games for gay and lesbian networks in 2008. Her blogs appear in the liberal Huffıngton Post, the Bilerico Project, A&U: America’s AIDS Magazine, and Outsports.com. Literary awards include first prize (and $5,000) in the Atlantic Monthly college fiction contest for the short story “Slave of the Sky” (1954); the Western Heritage Award for the article “Saga of an American Ranch” (1982); a Lambda Literary Award (Editor’s Choice) for her gay novel Billy’s Boy (1997); the Christopher Street West Arts Award for supporting the community arts in Los Angeles (1999); the Barry Goldwater Human Rights Award (2003); and induction into the Gay & Lesbian Hall of Fame at the New Orleans Saints & Sinners Literary Festival in 2004. She won an Independent Publisher Gold Medal and was a Benjamin Franklin Award finalist for The Lavender Locker Room, a series of sports profiles, in 2007.

Ukrainian Society of Studies Abroad, first in Munich, Germany, then in New York. Through translations into other European languages, the poetry became widely known, including in the Soviet Union, where it was circulated underground and combated communist oppression. Alternatively pessimistic and pornographic, pugnacious and polyglot, the poetry idolizes the French existentialists Albert Camus, Jean-Paul Sartre, and Simone de Beauvoir and the gay novelists and poets Marcel Proust, Federico García Lorca, and Arthur Rimbaud. In 1979, Ukrainian Dumy appeared from the Canadian Institute of Ukrainian Studies at the University of Toronto (in collaboration with Warren’s then husband), a collection of sixteenthcentury Ukrainian epic poetry with interleaved translation. The subject matter of these poems concerns the Cossacks fighting the Tatars, Turks, and Poles and the valorization of freedom, patriotism, and heroism in the face of insurmountable obstacles and inevitable death. An introduction situates the tragic focus of the dumy in the context of other epics, such as the Iliad, the Nibelungenlied, the Song of Roland, or Beowulf, where even victory comes at an impossible price. It also explains orality, the dumy’s ballad-like shortness and musical accompaniment, and folklore scholarship.

POETRY

THE LAST CENTENNIAL (1971)

Warren published four Ukrainian poetry volumes: A Tragedy of Bees (1959), Legends and Dreams (1962), Rose-Hued Cities (1966), and Horse With a Green Vinyl Mane (1970). Only a small number of poems is available in English translation, published in Lodestar Quarterly in 2003. Written while Warren was still married, they reveal a coded way for talking about hidden (sexual) awareness and coming out of the closet. Warren’s interest in Ukrainian literature results from her marriage to a Ukrainian émigré. Between 1959 and 1973 Warren was a member of a New York group that promoted poetry written by Ukrainian exiles, published in their annual vehicle Novi Poezii. Some of the poems also appeared in Suchasnist (Modern Times), a monthly journal published from 1961 to 1990 by the

Published under the pseudonym Patricia Kilina, The Last Centennial collects three short novels set in small-town Montana during the 1970s. Kilina is an ancient Slavic female name derived from the word kalyna, “holly tree,” symbolizing woman in Ukrainian folklore. “Afoot” is the story of a ranching family. Johnny Eagle, a Cheyenne Indian, is haunted by the battle of Little Big Horn (1876), when the great warrior Sitting Bull defeated Lieutenant Colonel George Custer and the Seventh Cavalry, and needs to come to terms with his native past. Tom Chance, whose family adopted Johnny, wants him to resume his world-record rodeo career, which Johnny had abandoned when his beloved horse Rattler died. Kitie Chance is the tomboy of the family, who rides a fast motor-

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PATRICIA NELL WARREN cycle, has pierced her nose, and has visions of President Nixon at night. Warren here prefigures some issues that arise in her mature fiction: the Indian idea that men derive power from animals, the conceit of Manifest Destiny, and the encroachment of the Industrial Revolution on the environment. An important symbol in the story is the Sun Dance, a sacred ritual of many North American Plains Indians; it can include selfmutilation, where flesh is offered to establish a connection with a transcendent spirit. Johnny, who has been accused of Uncle Tomahawkism for living with white folks, initially fails to express his native pride; only when he loses a finger while roping in a rodeo on his new horse Ace of Spades does he understand it as a sacrifice to the Sun Dance. At the end, he will return to his tribe and no longer trivialize his heritage. In “Speedy Gonzales Was the Fastest Mouse in Mexico,” the teenage girl Beth Stuart is eagerly awaiting the return of Speedy, a jockey, for the centennial fair. Beth’s mother from the sophisticated East vainly tried to turn her into a girl; her father, a painter and rural horse breeder, accepts her as a boy, while Beth affiliates with horses. Beth has feelings for Speedy but is unable to cope with sex. After she attends college in Connecticut, she feels ready for intercourse, but then she learns that Speedy died from leukemia, and she has a nervous breakdown. “Old Men, Old Horses” features cranky Pinter Brodie, a sixty-eight-year-old rancher and misanthrope. He has hired Vin, a twenty-sevenyear-old cowboy with a Ukrainian background, but Pinter has a hard time around young people. Cottonwood, he realizes, has no future, only old men and old horses. American farmland is lost through pollution by industrial plants, urbanization, mismanagement, and eminent domain; bright Montanans leave for college and never come back; high technology is rendering manual labor useless.

They have been expelled for “disciplinary” reasons from the University of Oregon, the mecca of United States track, and hitchhiked to the East Coast: Vince Matti, twenty-two years old, one of the fastest runners of the mile in the United States, hot-tempered, impudent, and with injury prone legs; Jacques LaFont, twenty-one, muscular, high strung, sensitive, nervous about a lot of things; Billy Sive, twenty-two, a Buddhist, vegetarian, and idealist from San Francisco, whose father is a gay lawyer currently working for the American Civil Liberties Union and formerly married to a transvestite (thus keeping up appearances). Before coming to New York, Harlan was at Pennsylvania State University, where he was fired for homosexuality. (A nineteen-year-old runner fell in love with him and, when feeling rejected after Harlan failed to respond to his advances, made false allegations of sexual harassment; Harlan, for fear of exposure, refused to contest them legally.) Other background information Harlan provides includes his stint with the Marines, his almost-qualification as a miler for the Olympics, his first gay sexual encounter in a seedy theater, a loveless marriage that produced two children followed by a nasty divorce, his career as a highclass prostitute, and his involvement in the Stonewall Riots in New York in 1969 that inaugurated gay liberation. Outwardly pokerfaced and strikingly handsome even at age forty, he is starved for love, repressed, and still turns to the Bible for comfort. The reason the three runners were expelled is homosexuality. Somehow Vince, Jacques, and Billy had heard rumors and picked Harlan’s school for support and shelter. Vince and Jacques are a couple (although they eventually break up); Billy is single. Soon the line between coach and pupil becomes blurry. Coaching maybe even more fraught than teaching, for not only is it an educational relationship but also, by definition, physical. Although Harlan has feelings for Billy, he does everything to discourage him. He even cruelly hits him in front of the class. At that point, Vince straightforwardly tells Harlan that Billy is in love with him (Harlan) and utterly miserable. Harlan then lets go his emotional iron fist, and he

THE FRONT RUNNER (1974)

Harlan Brown, a cross-country coach at Prescott College in upstate New York, is told by his boss that three elite runners want to train with him.

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PATRICIA NELL WARREN and Billy become a couple. Of course, only at a liberal school, where the faculty comprises former alcoholics, ex-convicts, handicapped Vietnam veterans, a gay couple, and other unconventional professors, is such a relationship possible.

Smart lad, to slip betimes away From fields where glory does not stay, And early though the laurel grows It withers quicker than the rose. ѧ And round that early-laurelled head Will flock to gaze the strengthless dead, And find unwithered on its curls The garland briefer than a girl’s.

Harlan and Billy get married, move in together, come out to the larger athletic and academic world among various tribulations, and mention the prospect of having children. (When they realize adoption is legally impossible, they settle on storing samples in a semen bank to enable artificial insemination in the near future.) The highlight comes with Billy’s participation in the Montreal Olympics (anticipated by two years). To show their sympathy, the U.S. team votes him flag bearer. Scores of national and international officials had attempted to hassle Billy about his sexual orientation and his amatory relationship with his coach, which garnered him great sympathy with his teammates. Billy wins the ten-thousand-meter race, defeating his greatest rival, the Finnish runner Armas Sepponan, with a new world record. Now he has his eyes on the five-thousand-meter race, a formidable double and one of the greatest challenges at the Olympics: no American has ever won it. One week later, in the five-thousand-meter race, as Billy pulls away in his finishing sprint to win the gold medal and set a new world record, Richard Mech, a disturbed man on a mission, shoots him in the head. Billy dies on the spot. The Games end on that day. The other runners refuse their medals; the victory stand remains vacant; the Olympic flame is dimmed; the closing ceremonies turn into a giant memorial service. (Warren is here referring to the controversy at the 1972 Munich Games, when several members of the Israeli team were murdered by Black September, a militant group with ties to the former Palestinian leader Yasser Arafat; despite pleas for an immediate termination of the Games, the International Olympic Committee president Avery Brundage famously stated “The Games must go on.”) At a private memorial service for Billy, the priest reads from A. E. Housman’s poem “To an Athlete Dying Young”:

(Housman, pp. 40–41)

After Billy’s death, a lesbian friend offers to carry his baby. She bears a beautiful boy and moves in with Harlan, who finally comes to deal with his grief when Vince gives him more details about Billy’s life before he met Harlan. The confession that Billy only slept with people he loved breaks the ice: “Slowly the image of Billy laying dead on the track in Montréal began to fade, and I could see him warm and living again, running with his long soft stride, his hair lifting in the sunshine” (p. 299). For the first time in his life, Harlan cries. Vince and Harlan then acknowledge their love. In the last chapter, Harlan is running the mile at the U.S. Masters at Madison Square Garden. He wins because he feels Billy is running with him. Running here is a powerful metaphor for endurance, discipline, and loveliness: Runners are the most highly conditioned and shamelessly physical of athletes. They have a love affair going with their bodies: how the body responds to training, how it doesn’t respond. Runners talk obsessively, like little old ladies, about their injuries and illnesses and bowel movements and mineral deficiencies. They are more avid about physiology than sex researchers. Runners even swear that they make better lovers than other men because they have stronger hip muscles. They are so addicted physiologically to running that if you take it away from them, they climb the walls like junkies. (The Front Runner, p. 17)

Running is like gay liberation, and there are two paths: trailblazing change or quiet accommodation. Billy was a front runner: You have two kinds of runners: kickers and frontrunners.ѧ The kicker likes to dawdle in the rear of the pack, letting the others carry the burden of setting the pace. He saves himself for a last-lap sprint to the front. But the front-runner goes out in front

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PATRICIA NELL WARREN encountered by the gay characters and their own anxiety and vulnerability. In the mid-1970s the medical establishment still labeled homosexuals as mentally ill, gay men were dismissed as essentially incapable of love, and gay rights was in its infancy. Other issues are Harlan’s complaint about women’s unresponsiveness to male sexual needs, anal penetration as a question of masculinity, and a romanticized notion of (gay) marriage: “We saw it simply as a formal public declaration of our love for each other, of our belief in the beauty and worth of this love, of our intention to live together openly, of our rejections of heterosexuality. Neither of us was a blushing bride led to the altar. Neither of us was bound to obey, or to be the property of the other. We were two men, male in every sense of the word, and free” (p. 193). There are no more quarrels from then on.

right away, and tries to stay there and burn off the rest of the field. If he goes out too slow or makes a tactical mistake, he sets himself up for the kicker’s killing rush. (p. 60)

The Front Runner became famous because of its sympathetic depiction of homosexuality, and for the focus on athletics Warren turned to an obvious model: ancient Greece, where all athletes at the Olympic Games exercised in the nude, where the beautiful male body was held in highest esteem, where the athlete in his very nakedness resembled the nude statues of gods. Ancient Greece was where the perfect body represented the democratic body politic, where vase paintings frequently depicted Eros chasing young athletes with hot desire, where the gymnasium and palaestra provided sites for rigorous education and philosophical inquiry, and where even the great thinker Plato trained as a wrestler. In our time, however, homosexuality within athletics remains a taboo. The tennis champion Martina Navratilova, the bodybuilder Bob Paris, the diver Greg Louganis, the figure skater Brian Orser, and the 2008 diving gold medalist Matthew Mitcham are the exceptions. Rather than compete openly at the Olympics, many gay and lesbian athletes participate in the Gay Games, Outgames, or EuroGames. Indeed, in 2006, when the Outgames were held in Montreal, the site of Billy’s greatest triumph and tragedy, Warren was honored with running the last lap of the men’s five-thousand-meter race, a tribute to her trailblazing role in combating homophobia in athletics.

HARLAN’S RACE (1994)

After Billy’s assassination at the Montreal Olympics (which Harlan relives at the beginning of the book, including its aftermath and the trial of Richard Mech), Harlan faces more threats and violence. And this time he is even more vulnerable, for now he has a family: Betsy Heden, the lesbian mother of Billy’s son through posthumous artificial insemination; Harlan’s new lover Vince Matti (Billy’s former friend and teammate), now an angry activist; and a gay former Vietnam SEAL called Chino Cabrera, one of Harlan’s bodyguards assigned to his protection at the Olympics (the other one being Harry Saidak, also gay). Later, Harlan’s son Michael joins them, now in his twenties and engaged to be married, while his other son Kevin and Harlan’s ex-wife continue to despise him for his homosexuality. Vince had always had a passion for Harlan. When Billy and Harlan were together, Vince graciously stepped back. Now with Billy dead and Harlan stricken with grief, Vince courts him. Their emotional turmoil is one side of the story. Vince, to keep afloat, does pornography (although so did Harlan is his earlier days), joins the radical Gay Panthers as revenge for Billy, and is addicted to drugs for a while. To complicate things,

Despite its iconic fame, the novel also has its flaws: Warren pre-dates the Supreme Court decision that abolishes all sodomy laws and even grants homosexual protection from discrimination, which did not happen until thirty years later. As a matter of fact, in Bowers v. Hardwick (1986), the court upheld the constitutionality of a Georgia law that criminalized both oral and anal sex in private between consenting adults. Seventeen years later, this decision was overrruled in Lawrence v. Texas (2003). Warren is of course free to modify legal precedent, but this ultraliberal attitude sits uneasily with the hostility

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PATRICIA NELL WARREN his former lover, Jacques LaFont, who is now married, reappears, and they still have feelings for each other. In short, Vince is not like Billy: “Wrestling as I was with the old Bible mind, I thought of Vince as part of my sinful nature. Vince was bad—something to resist and question. Billy had been good—a passion of light, prayers that worked, Bibles that made sense, glowing warmth, hearth and home, happiness” (p. 75).

Queen, below) and California State Senator John Briggs, who in 1978 sponsored Proposition 6, which attempted to remove all lesbian and gay school employees or their supporters from their jobs (the measure failed). Structurally the novel is held together by biblical imagery. When Harlan opens the Bible after Billy’s death, he comes across Ezekiel 18:6–7:

Harlan’s physical life is in danger too. Apparently the Montreal assassin had a companion, a spotter for the sniper, who escaped the police. He sends hate mail, symbolically castrates the cat of a friend on Long Island where Harlan is staying, and throws a rock through his window with a message attached that alludes to Leviticus’ interdiction of gay sex (“Thou shalt not lie with mankind, as with womankind: it is abomination” [18:22]). Later he shoots at Jacques LaFont and injures him in the shoulder. In the end, matters come to a head when the sniper attempts to kill Harlan’s son Michael at a five-thousand-meter memorial for Billy. Disguised as a cyclist with his pump serving as a gun, he is overpowered by Harlan’s bodyguards. In an ensuing scuffle, he shoots at Harlan’s heart (who is protected by a bullet-proof vest), falls into a ravine, and dies from his injuries. As it turns out, it is Chris Shelbourne, Harlan’s first lover decades ago (although they only kissed back then) who never overcame the guilt of his sexual orientation and became a member of a right-wing conspiracy against progressive causes.

Because thou hast set thine heart as the heart of God, Behold, therefore I will bring strangers upon thee, the terrible of the nations: And they shall draw their swords against the beauty of thy wisdom, And they shall defile thy brightness. (p. 16)

His religious beliefs emphasize Old Testament wrath rather than the Christian kindness of loving one’s neighbor. For Harlan, there is only one escape: running, but not running away, not looking back, not being bogged down by gay bashers, but recovering the image of the living Billy. Ending on a more positive note, Harlan’s Race alludes to the coming of Christ’s millennial reign, a gentle god that brings love and peace: Because we have set our hearts as our own before heaven and earth, Behold, we stand strong before strangers, the terrible of the nations, who war upon us:

Another danger creeping into the lives of the protagonists is a mysterious disease, a gay cancer, and a number of Harlan’s friends succumb to it (or commit suicide in order to prevent the agony of wasting away), including a famous gay writer, Steve Goodnight, who leaves his estate to Harlan. Then there is the shock of Billy’s killer being sentenced leniently. Similarly, the gay excitement of having Harvey Milk elected as the first noncloseted politician to the office of San Francisco supervisor is followed by the outrage when he is killed by fellow supervisor Dan White, who receives only a seven-year sentence. Other homophobes featured in the book are Anita Bryant (who appears more substantially in The Beauty

And they will break their swords on the beauty of our wisdom, And they will fail to defile our brightness. (p. 314)

BILLY’S BOY (1997)

The third installment is told from a different viewpoint, the teenager John William, Billy’s son, who lives with his lesbian mother Betsy in California. Like Homer’s Telemachus or Sophocles’ Oedipus, William is in search of his

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PATRICIA NELL WARREN father. To accomplish this, Warren turns to science fiction. William, who goes by the secret name Commander Finder in the spaceship USS Memo, accidentally meets his father somewhere in outer space, but their reunion lasts only for a few seconds. Soon he becomes friends with Shawn Hester, the twelve-year-old son of their neighbors. In their Star Wars fantasies, Shawn goes by Orik of the Sun. The two boys are very close and explore each other’s bodies:

Chino lays out William’s mission (in science fiction mode). To be a true commander, William needs to take care of his people. Interested in astronomy and planning to become an astronaut, William looks with his telescope for his father among the stars. Chino reminds him to look for Billy on Earth. As it turns out, William’s father is alive and well. The sperm samples had been mixed up, and Harlan is his father. Another crisis for William ensues. Looking at Billy’s picture, he muses:

From there we went to secret war games, finding each other being held prisoner, tied up and naked, and rescuing each other and being the hero. This was so fun that we got all goosefleshy, and couldn’t wait for our parents to leave so we could get naked. Watching each other’s hardware going into lockand-load was as normal as watching The Brady Bunch.

My ex-Dad stared back at me, with that eternal frozen grin. Other kids at school had divorced dads. All of a sudden I had been divorced from mine. Worse than divorce. That grin hid a whole universe of lies. Nothing was what it seemed. I had thought my mother was this normal neat Mom, but she turned out lezzie. Chino the war hero turned out queer.ѧ So what was I? Everything got sucked into this black hole, and came out different on the other side. My Mission was a joke.

(p. 23)

Unfortunately, Shawn’s parents, born-again Christians, come to disapprove of William and his “godless” mother. After abusing Shawn physically and emotionally, they have him confined to a hospital in order to cure him of his deviant sexuality.

(p. 231)

Amid the uproar of the 1992 Rodney King verdict and its ensuing riots (sparked after four Los Angeles Police Department officers were acquitted of using excessive force on an African American male, even though their aggression was caught on tape), William flees from home. He eventually finds Shawn, who had run away from the hospital. To survive life on the streets and to escape detection, Shawn shoplifted and wore drag. William, ever more confused, attempts to commit suicide but then has a near-death experience: an apparition of Billy reminds him how precious life is. Moreover, William has a father who loves him. He finally arrives, in true Star Wars fashion, at Yoda’s hut, the home of the old sage: Harlan. In Billy’s Boy, Warren shifts the emphasis from gay rights to gay parenting. Betsy, for example, is perfectly normal:

Betsy finally agrees to tell William about his father. She enlists the help of Chino Cabrera, Harlan’s friend and bodyguard in the previous novel, and Marian Prescott, now the widow of the former president of Prescott College and running as a liberal Republican for the General Assembly from Malibu. Even before they talk, through a documentary video he finds, William learns the painful unadulterated truth: his father was proudly out of the closet and had a boyfriend; his grandfather was also gay; William sees how his father was shot to death; his mother is not only a surrogate but also a lesbian. This would be too much for anyone, but especially for a pubescent teenager. Other people enter William’s life, all of whom had some kind of connection with his father. Ana LaFont is daughter of Jacques LaFont, Vince Matti’s onetime lover who died from AIDS; as William’s girlfriend, she guides him on his tenuous path to heterosexuality. He then meets Vince and Harlan, who provide the most direct link to his father as former best friend and former lover respectively.

I don’t hate men ѧ do I? Admittedly I don’t get along with a few of them! But ѧ I never had any of the big dramatic reasons to hate men that some women have. I was never abused by family males. Never date-raped. Never bashed around. I just ѧ love women. Always did, from eight years old. Loved my Mom, loved my girlfriends, loved my women teachers, loved beautiful actresses, loved

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PATRICIA NELL WARREN ladies I saw on the street, loved Goddesses ѧ But somehow, with all my trying, I’ve messed up my kid.

he has an Indian background and lives with a mentally retarded women and her baby daughter. He regularly gets drunk and beats up the town’s rednecks. When he comes into the confessional, Meeker smells pot, booze, garlic, sweat, and leather. Vidal eventually confesses his “sin”: homosexuality. Tom is shocked, but more emotional turmoil is yet to come. Vidal seduces Tom, and they fall in love with each other. Tom, although he was raised in the new spirituality emanating from the Vatican II synod (which liberalized many Church traditions, such as saying mass in the native language rather than in Latin), fails to reconcile his attraction with his vow of celibacy. Vidal, by contrast, argues for a relativist interpretation of the Bible: “There’s a moment that you know you are, and you know you always have been. You maybe don’t know you got that way, and maybe it’s not important. But you know you are, and you know that it’s real, and you know you can’t change it” (p. 76). Catholicism has been fascinating to many gay men. First, it is a homosocial/all-male society, here Father Vance (Meeker’s sixty-sevenyear-old superior in the parish), Father Matt (his spiritual adviser and confessor), Father Doric Wilton (Meeker’s best friend in the seminary, on whom he had his first crush), and Bishop Carney, a liberal theologian. Meeker is a quintessential biblical name (the blessed meek inheriting the earth from the Beatitudes), whereas “Doric” alludes to Greek love, and it is this chasm that Tom needs to straddle. Although Catholicism (like most organized religion) is perceived as homophobic, many gay and lesbian writers have approached it differently. The pioneer queer theorist Eve Sedgwick puts it succinctly:

(pp. 107–108)

Gay parents face the same problems straight mothers and fathers do. Heterosexual parents, on the other hand, sometimes disown their children, as happened to Teak, another gay teenager: “His girlie eyes were full of terror. His hair was dyed orange, and he was dressed faggy ѧ tight satin pants. One gold earring was ripped out of his ear, and blood had dripped all over his dirty T-shirt that said NOBODY KNOWS I’M A LESBIAN. And he was fat. Not fat fat, just lurking on the edges of fat. The satin pants made his butt look a yard wide. What a mess!” (p. 161)—a disturbing picture of gay pride, youthful exuberance, gender confusion, domestic violence, and sexual allure. At this writing, Warren is working on the fourth and final sequel of The Front Runner. In private conversation, she revealed a few details. All the major characters from the previous texts will appear, including Harlan as a gay old man (to whom Warren wants to give the dignity gay seniors deserve), Vince as a long-term AIDS survivor, Chino (Warren’s favorite character), Betsy, and of course William. Among other things, she plans to discuss William’s unresolved sexuality and the controversies surrounding gay marriage.

THE FANCY DANCER (1976)

Father Tom Meeker is a twenty-eight-year-old priest in Cottonwood, which has its usual problems: teenage pregnancies, a Mrs. Shoup who is crusading for censorship with The Catcher in the Rye and The Old Man and the Sea as her first victims (incidentally and unbeknownst to her, it is her fourteen-year-old daughter who is pregnant), fatal baling accidents, sexually confused high school students, two old lesbian ladies who sew ecclesiastical vestments, and a gay couple living on a ranch and training for a rodeo. One day, to his surprise, Tom sees Vidal Stump in his church. Stump, in his late twenties, spent two years in the penitentiary and now works as a motorcycle mechanic. Extremely good-looking,

Catholicism in particular is famous for giving countless gay and proto-gay children the shock of the possibility of adults who don’t marry, of men in dresses, of passionate theatre, of introspective investment, of lives filled with what could, ideally without diminution, be called the work of the fetish.ѧ And presiding over all are the images of Jesus ѧ images of the unclothed or unclothable male body, often in extremis and/or in ecstasy, prescriptively meant to be gazed at and adored. (p. 140)

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PATRICIA NELL WARREN Warren draws attention to the eroticization of Catholic mass in the duality of the Eucharist as both mundane bread and Christ’s body. Tom is saying mass:

hire them or rent housing to them, especially in situations where they will have contact with children. And so forth. (pp. 34–35)

A preacher, one of her closest confidants, puts things in perspective for her. He believes that she is not interested in homosexuals nor the children she wants to save from them, but her own children, whom she failed. She also never managed to make peace with her mother, who had died from cancer the year before and had told Jeannie on her deathbed that she was dying for her daughter’s sins.

I bent over the wafer, holding it in those hands of mine that had fondled Vidal’s face, explored his body, touched his genitals. The liturgical words, as they came from my mouth, seemed to be a terrible secret affirmation of my guilt. “This is my body,” I said. I slowly raised the wafer so that the people could see it. Sometimes I was sure that through some kind of inverted miracle, they could see Vidal in the wafer instead of Jesus.

Colter is married to Sidney, a conservative political writer, whom she sees as regrettably “unsaved.” Her marriage suffers from increasing strain as she gets caught up in her antigay crusade. Her father, William Laird, is a wealthy financier with a dark secret: he is gay. Suddenly thrust into the spotlight, he must choose between financially supporting her campaign and being true to himself. He has been in a long-term committed relationship with Marion Rhodes, a former racing driver and now Rolls-Royce top executive. Bill has just purchased an old warehouse, where he wants to fulfill his lifelong dream of moving in with Marion.

(pp. 111–112)

Later, a mass said by Dignity (a network of gay and gay-friendly priests) is accompanied by a liturgical dance that reenacts the crucifixion with a scantily clad gay Jesus. In the end, Father Meeker comes out to his bishop (after a parishioner accuses him of “unnatural” tendencies) and is promoted to a new job heading the diocesan council on homosexuality, and Vidal returns to college in Missoula.

What makes this novel so effective is how Warren weaves in the personal stories of a number of gays and lesbians. These include Mary Ellen Frampton and Liv Lavransson, a policewoman and postal worker; and Mary’s NYPD partner Danny Blackburn and his lover Armando Ostos, a burly bartender interested in S/M. Of course, they all feel outraged, especially Mary Ellen: “But supposing some perpetrator tries to blow me away on the moral plane, right? Not take my life, but take my dignity and my career and my money and maybe my lover, too, right? And I can’t do anything. I’m supposed to turn the other cheek. I’m supposed to be like a lamb led to the slaughter” (p. 19). But there are other options. One character builds a library with texts that validate same-sex desire, such as Walt Whitman’s Leaves of Grass and Mary Renault’s The Last of the Wine. Some attend a gay church, others feed stray cats. Tragedy strikes when Danny dies in a gay bashing. A reference to Jean-

THE BEAUTY QUEEN (1978)

Jeannie Laird Colter, a former beauty queen and former alcoholic, decides to run for governor of New York. She got interested in politics thanks to Richard Nixon and the 1972 presidential campaign, used to be a state senator, and gave up her career when she had a nervous breakdown. Now she is born-again and hates homosexuals. A gay rights bill to be revived in the city council will be used to stage her comeback. She proffers a reactionary agenda: First of all, to defeat the homosexual rights bill. But that’s only the beginning. Then bring back all the old laws. Make it illegal for homosexuals to appear on the street or in public places in women’s dresses, or leather, or any of the other shocking costumes they wear. Make it a felony for consenting adults; give them twenty years the way they do in some other states. Make it life imprisonment for homosexual statutory rape. Make it explicitly illegal to

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PATRICIA NELL WARREN nie Colter is attached to his corpse. When his friends are denied visitation rights, they converge on Washington, D.C., in a giant gay pride march. Mary Ellen and Armando plot to shoot Colter, but a last-minute development changes everything. Almost as radical perhaps, Mary Ellen plans to out Colter’s father. Surrounded by fellow gay Christians, Bill voluntarily comes out to his daughter, who, deep down, still loves her father.

goddess Freia and crossed the Atlantic to find freedom of religion (and gold in California). Their leader, Markgravine Walburga von Eichenberg, guides them on their quest, pointing out that in order to find authentic Indian wisdom, they must distinguish between ritual and ceremony: “In a ritual, people make physical moves that are fixed by tradition. They expect that they will always get the desired result from these moves. They see the Goddesses and Gods as their slaves, who must respond to their demand for a change. But in a ceremony, the Human Being seeks to change by being one with Her changes” (p. 90). Eventually, with the help of East Deer, or Richard de Garcy, a métis (mestizo in Spanish, “mixed blood”) from New Orleans, the Bavarian emigrants unite with Earth Thunder’s evergrowing congregation and adopt Indian names, with Helle becoming Sun Maiden. Under Earth Thunder’s leadership, they establish a truly democratic government: “In the people’s minds, there was no mayor, no sheriff, no county assessor—not even a county line. Instead, there was the great circle of all the Indians and métis living there, including all the women and children” (p. 428). Earth Thunder teaches them medicine (which translates a term for sacred learning and healing, the know-how to direct human and natural energies at will, not simply medical expertise), including Mother Earth’s five gifts to each individual: spirit, body, emotion, mind, and choice.

Colter is partly based on Anita Bryant, a former Miss Oklahoma, popular singer, and advertiser for Florida Orange Juice. In 1977 Bryant successfully campaigned against a local ordinance in Dade County, Florida, that prohibited discrimination on the basis of sexual orientation. While Bryant’s “Save Our Children” crusade in Miami relaunched the religious right’s involvement in politics, it also galvanized gays and lesbians to fight for equal rights. Unfortunately, the struggle took a human life. Two weeks after the Miami referendum, thirty-three-year old Robert Hillsborough was stabbed to death in San Francisco by four teenagers who allegedly yelled “This one’s for Anita.” Bryant later modified her negative stance on homosexuals, whom she once linked to human garbage, but a large audience was reminded of her antigay past in the 2008 movie Milk.

ONE IS THE SUN (1991)

Although they are a large tribe (including the two founders of the ranch Warren grew up on, John Grant and Conrad Kohrs), they are threatened on two fronts. Among each other, they face carelessness, inadequacy, greed for yellow iron (gold), and jealousy, especially over men. More enemies intrude from without, including a mercenary, John Hiller, who shoots everyone in sight (preferably women and children), prefers to steal rather than mine gold, has feelings only around horses, and earns the grim nickname Face of Death. Equally threatening are the Black Robes, or Jesuit missionaries, and the Black Coats, here the zealous Protestant Reverend Alfred Ugham, who sees all “savages” afflicted with liquor, disease, and sin. The peace of the tribe is

Warren devoted a decade of research to One Is the Sun, a historical novel that imaginatively recounts the story of Earth Thunder, a Mayan priestess who escaped from a temple massacre in Yucatan and, starting in 1857, established a mystical sanctuary in Deer Lodge, Montana. In Warren’s telling, it is from this sanctuary that she reveals prophesies to two thirteen-year-old girls. One is Tadpole of the Bannack tribe, a slave owned by the trader Walking Wolf and his wife Elk Calf, who treat her unkindly. Tadpole is sold to Earth Thunder, who emancipates her and renames her River Singing. The other one is Helle, a member of the large von Eichenberg family of Munich, who worship the Nordic earth

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PATRICIA NELL WARREN further shattered by Wolverine Heart, an embittered Indian who is hostile to Earth Thunder because he cannot tolerate a female superior, and Black Willow, whose fierce jealousy leads to Earth Thunder’s betrayal in an attack by one of the vigilance committees that have sprung up in the wake of the Civil War. Earth Thunder is fatally wounded, but her soul lives on. Ultimately, to celebrate the successful union of the New World Goddess of Wood and Old World Goddess of Iron, Helle returns with River Singing to spread Native American wisdom to Europe and to rewrite a biased history.

Bavaria in the 1850s was rather benign; King Ludwig II did not ascend to the throne until 1864; Hans von Bülow did not become choirmaster in Munich until 1864; references to Richard Wagner’s Ring of the Nibelung are premature in 1857; Czechoslovakia did not exist as a state in the nineteenth century. Warren also has a tendency to romanticize both the Bavarians (“So swift needles joyously made Bavarian skirts leaner,” p. 132) and the Indians (“Even the shitting place was beautiful! With pretty logs to sit on, and a person’s butt hanging neatly over the holes!” p. 202).

Rewriting such a history holds inherent challenges. As the editors of The Cambridge Companion to Native American Literature point out:

THE WILD MAN (2001)

As Warren describes in her preface, one night at a hustler bar in Los Angeles she struck up a conversation with a middle-aged Castilian man: Antonio Escudero, a former matador whom Warren saw in the bullring in Spain back in the 1960s and who escaped from fascism and Catholicism to the United States in 1969. Nicknamed El Bravo (“the wild man”), often gored, with a fanatic following, he now lives on Rancho Diana, a private wildlife refuge in California. The novel begins with the story of his life in Fascist Spain. Antonio was raised in an impoverished aristocratic family and, in addition to bullfighting, cultivates a large ranch and game reserve, Las Moreras. His twin sister, José, is a liberal journalist and tomboy; his younger brother Paco is an arch-conservative family man who sees sexual deviance as unwholesome, heretical, and unpatriotic. Antonio represses his sexual urges and only releases them in his travels to the United States and other European countries, where he ruthlessly picks up the butchest types. One day he meets a young slaughterhouse worker: Juan Diano Rodríguez, in his midtwenties, with intense blue eyes, a former seminarian who was abused by his confessor. He takes him on as his protégé—in the tradition of a medieval knight or Japanese samurai—and teaches him bullfighting, which is here also a metaphor for their elaborate courtship: “The curving blade had cut the aorta behind [the bull’s] heart. No blood showed at his mouth, but a hot

The crucial link between landscape and community identity, the post-apocalyptic sense of land lost, the spatial emphasis in many Native religions, the organic ties between storytelling and place, and the central belief that the “environment” is not a place way out there but instead a place in the middle, a community home—all these senses of place challenge modern Indian and non-Indian readers to (re)consider their concepts of the American landscape. (p. 18)

Warren draws attention to all this in her frame. When a white college student researching Indian history visits an old métis couple, she is reminded that When it comes to philosophy ѧ the person who lives in the square mind of today will have a hard time imagining what the world is like for people who see all Life as Circles. Many of our scholars today have this problem constantly. When they study the so-called primitive peoples, or the peoples of ancient times, they believe that they understand that their own thinking is square. (p. 5)

The novel includes maps and forty-three blackand-white line drawings (often explanatory in nature) by Warren herself that head the first page of each chapter. However, there are also some irritations, especially for a historical novel. Most of the German is misspelled, grammatically incorrect, or unidiomatic. The Wittelsbach rule in

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PATRICIA NELL WARREN spurt had jetted up the blade, bathing the inside of my sleeve. That was the way it was supposed to happen—red spurt into satin sleeve, the perfect symbol of making love” (p. 15). Juan Diano wants to study veterinary medicine, so Antonio hires him as a gamekeeper. The plot thickens with a fantastic pact. Antonio has been promised to a family acquaintance, Serafita, who seems uncomfortable around him. Then Antonio finds out that José is not only a lesbian but also dating Serafita. A possible solution is two marriages of convenience between Antonio and Serafita and between José and Juan.

location of the crypt. Juan will be released outside Spain, in Arles, France, where Antonio is engaging in his final bullfight. In the middle of the night, in the vast Roman amphitheatre, and with the help of only a sword and a bull released from the stable, Antonio overwhelms Paco and rescues Juan. They are then joined by José and Serafita. Agreeing to emigrate to New York, they get married first. In the United States, they stay with their Aunt Pura, who was vilified at home as the Red Aunt for supporting the Republican cause in the Spanish Civil War. Juan, however, is no longer capable of feelings, and it is unclear whether his torturers inflicted the ultimate shame on him: penetration. Aunt Pura—who knows that just as there is a large variety of trees and animals, so there are different kinds of humans—offers her cottage in the Catskills, where Juan and Antonio try to heal each other. Antonio learns that Juan’s prison guards exposed him to a particularly insidious form of torture: they did not do anything to him but made him watch other prisoners being tortured—all the while telling him that these victims were suffering to expiate his and Antonio’s abomination. When Antonio has a breakdown, Juan draws on his powers as brujo (male witch) to stop his partner’s manipulation:

The bond between Juan and Antonio is precarious, not only because of state surveillance but also because Juan seems emotionally crippled. Another complication is the question of their respective roles in the relationship: “He shouldn’t belong to me, nor I to him. Only women belong. Children belong. Land belongs. Animals belong. Earth belongs. So says the state religion” (p. 195). In Spain’s machismo culture, if a mature man had an affair with a drag queen or a boy (perceived as a “woman”), he may have been able to maintain the barest degree of respectability, but here were two peers. As a result, “It seemed there were no words in our Spanish language for what we felt—that great and noble language, whose age and richness is such a source of pride to the Spanish Academy. We would have to invent a language, a civilization of two” (p. 120). And there is another secret in the text: the location of the Crypt of the Mercies, a cave with wonderful paintings and frescoes of Our Lady, same-sex couples, and animals, which only Antonio and José know. Some murals date back to Roman times, before the arrival of the Visigoths and their intolerance. It is possible that in the crypt, one of Antonio’s ancestors became betrothed to his male partner in the thirteenth century. The crypt represents both the joy of physical coupling and the conscience that records internalized homophobia (the Crypt of No Mercies).

If heterosexuals are the part of humanity that grows away from gravity towards the sun, like the upper part of a plant, then Juan and I, José and Sera, were another part of humanity that grows towards gravity, towards the core of the Earth. No human civilization has devised a law harsh enough, or a terror deep enough, or a science clever enough, to make roots grow toward the sun. (p. 291)

Antonio Escudero, whose last name means “shield bearer,” creates something new. Spain under Franco was a harsh place, especially for gay people. During the Civil War, mass executions took place in bullrings. The gay poet Federico García Lorca was one of Franco’s first victims. One day, Antonio visits the Fountain of Tears, where Lorca was allegedly shot:

Juan is kidnapped by the secret service. Unsurprisingly, Antonio’s brother Paco authorized the abduction. Antonio then strikes a deal. He will renounce his primogeniture and reveal the

In my horrified mind, I could see García Lorca’s limp body sprawled under the trees. It was early

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PATRICIA NELL WARREN They are equals now. A bibliography of further reading on Franco, Lorca, bullfighting, homosexuality, and more closes the volume.

morning, the rumors had said, so shadows were long. His trousers had two bloody bullet-holes in the back, where they’d shot him. Or had they pulled down the great poet’s pants to do it? Spread his legs and jammed the icy barrel right up his culo? Was he still alive when they did it? People said he was. Without effort, I felt that violation, that fatal explosion inside my own body.

ESSAYS AND CHAPTERS

Warren has published in a large number of magazines. What follows is a brief sampling of the range of topics she has tackled in her more substantial print articles (for online texts, see the bibliography). “Look to the Woods” (1991) was distributed nationally as part of Arbor Day. “Generation of the Dispossessed” (1994) links withholding information about AIDS and coming out to future cases of HIV, suicide, or gay-bashing. “A Tragedy of Bees” (1995) recounts Warren’s troubled marriage and includes a number of translated Ukrainian poems. In “If Biblical Law Ruled Modern Society ѧ” (1996), Warren reminds readers that the Pentateuch specifies capital punishment for working on the Sabbath, cursing and disrespecting one’s parents, committing adultery, becoming a female prostitute, being a fortune-teller or astrologer, failing to be a virgin when getting married, owning a dangerous ox that gores and kills a free Israelite, or refusing to obey judges and priests—yet many religious conservatives argue for a literal interpretation of the Word of God. “ ‘Gay Culture’: Still of the Wild Frontier” (1997) raises the problem of gay culture wanting to become a great melting pot rather than a true rainbow; Warren wishes generational, ethnic, and religious differences to coexist fruitfully with homosexuality. “In Spain, Throwing Carnations” (1999) details Warren’s annual journeys to Spain in the 1960s. “King of Beasts” (2000) looks at the appropriation of the lion as a patriarchal icon, and “The Shining Ones” (2000) is a refutation of the notion that cats are ancient symbols of darkness and evil, for which Warren heavily uses anthropological and etymological findings. Advice on writing and publishing is available in “Letter to a Young Author” (2002), a three-part series. In “Be Very Afraid—Of Loss of Liberty at Home” (2002), Warren laments the stiffening of criminal penalties after 9/11, all under the pretense of

(pp. 124–125)

Antonio identifies with Lorca, for he too had loved a bullfighter and paid tribute to him in the 1935 poem “Lament for Ignacio Sánchez Mejías.” Certainly the most fascinating aspect of this novel is the matador, a potent sex symbol, even in a world inured to pornography and nudity. The torero wears a traje de luces, or suit of lights, a tight embroidered costume with high-waisted trousers, pink silk stockings, ballet slippers, and colorful tassels. (The dressing room, conventionally the torero’s bedroom in a hotel, admits males only.) Usually slender in stature, he dances, gyrates, and wiggles his hips. He is objectified and feminized by the public gaze. Outside the bullring, this man would be derided for being a maricón (“faggot”). Moreover, since having sex with a women is sometimes perceived as sapping his strength, he has a celibate streak. Inside the bullring, his gender ambiguity is heightened by a predominantly male audience of the corrida, where the matador faces the ultimate challenge to his masculinity: a physical attack by another assertive and tremendously muscular male, the bull. If he dominates the bull, the torero is king of the arena. Conversely, if he fails, his audience will insult him with slurs that impugn his masculinity. The matador, a lightning rod for male and female libidos, becomes a high-class prostitute: “They all got to fuck me with their eyes” (p. 11). Warren ends with an epilogue, where she ties up loose ends. Juan studied veterinary medicine at the University of California–Davis and is now a world-class expert on wildlife conservation. José works for big magazines such as National Geographic, assisted by art historian Serafita as her photographer. Warren is privileged to witness the final reconciliation between Juan and Antonio when Juan pays off his financial debt to Antonio, who had initially supported him in his education.

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PATRICIA NELL WARREN “patriotism.” According to “Dissent in Ashcroft’s America” (2004), authorities now prosecute civil disobedience as a felony and conspiracy, unlike the light misdemeanor suits of the 1960s and 1970s. “ ‘Traditional’ Marriage: A Secular Affair” (2005) considers European countries that have legalized same-sex marriage. “Of Freemasons, Kings, and Constitutions” (2006) gives an account of freemasons, such as George Washington, Alexander Hamilton, and Baron von Steuben, who were also constitutional monarchists; historians of the political establishment have often neglected freemasonry because it contradicts the ideology of the United States founded on Christian principles (plus there are hints of same-sex attraction between freemasons). In her encyclopedia article on Jerry Falwell (2007), founder of the right-wing religious organization Moral Majority, Warren holds Falwell responsible for the vanishing separation of church and state and for the religious dominance of the Republican Party.

Achilles and Patroclus, but war today is as cruel as it ever was. America is torn by a homophobic culture war that may be every bit as dark and gory as the fate of Troy. (p. 13)

Warren then turns to subjects ranging from Joan of Arc (a famous jouster, who may have suffered from complete androgen insensitivity syndrome, where a male has a female external appearance) to Roman gladiators as sex symbols, to George Villiers, Duke of Buckingham, a pioneer breeder of racehorses and beloved of King James I. Athletes both famous and forgotten make an appearance in her survey. Alberto Santos-Dumont was an aerial sportsman and pioneering balloonist after whom Rio de Janeiro’s downtown airport is named. Bill Tilden may have been the most famous tennis player of all time, and aviatrix Amelia Earhart’s mysterious disappearance still haunts the popular imagination. Ana María Martínez Sagi promoted the women’s sports movement and therefore became erased in Fascist Spain. Warren discusses Babe Didrikson Zaharias, who, starkly featured in newsreels that set off Warren’s “gaydar,” became a lesbian role model for her, and revisits how the sexual ambiguity of sisters Tamara and Irina Press gave rise to the International Olympic Committee’s much vilified mandatory gender testing for women. The actor Wilhelm von Homburg, Warren reminds us, was also a bad boy of boxing, a sport not usually associated with gay people (she refers to the notorious Marquess of Queensberry here, remembered for writing boxing rules and causing Oscar Wilde’s downfall). Considering that boxers are scantily clad in satin shorts, proudly exhibit their ripped physique, and make close body contact, it comes as little surprise to learn that boxer Oscar de la Hoya is adored by many gay fans. In winter sports, the alpine skier Erik(a) Schinegger competed as a woman until a saliva test showed that “she” had XY chromosomes. Warren also points out that although figure skating is popular with gay audiences, surprisingly few athletes have come out in that field. As for rodeo, thrust into the spotlight with Brokeback Mountain, gay cowboys competed long before the movie, and the first gay rodeo, held in Nevada, dates back to 1976. The stereotype of

THE LAVENDER LOCKER ROOM (2006)

Originally written for Jim Buzinski and Cyd Ziegler’s online magazine Outsports.com, The Lavender Locker Room chronicles gay and lesbian pioneers in athletics. The volume is exhaustively researched, and many living sports figures granted interviews to Warren. For premodern times, Warren focuses on Achilles and Patroclus, whom Hollywood has “de-gayed,” for example in the 2004 movie Troy with Brad Pitt. (It should be noted, though, that most Homeric scholars do not see Achilles and Patroclus as lovers, which is a later interpretation, most prominently by Phaedrus in Plato’s Symposium.) Warren also views Achilles’ funeral games for slain Patroclus as the origin of the Greek Olympics in 776 B.C.E. and ends with a plea for queering the canon: Yes, the real Iliad belongs to us gay people, as totally as the stories of out gay baseball players and out lesbian tennis divas also belong to us. Mark Bingham, rugby player who dies a hero’s death on 9/11, has the roots of his courage in ancient soil. Three thousand years separate us from the lives of

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PATRICIA NELL WARREN baseball as clean and hypermasculine changed with the publication of former Major League pitcher Jim “Bulldog” Bouton’s Ball Four (1970), which included an account of an all-male kissing game played by the Seattle Pilots. Canadian racing steward John Damien caused the first athletic gay rights uproar in 1975 when he successfully sued the Ontario Racing Commission in a landmark gay employment case. In surveying gay athletes’ accomplishments, Warren writes about marathon swimmer Diana Nyad, who managed the longest open-water swim on record in 1979, 102.5 miles, as well as tennis superstar Martina Navratilova, who stands out as the first popular sports icon who was proudly out of the closet. Finally, football running back David Kopay ranks as the first professional athlete to come out. In sum, as Warren demonstrates, some of the most cherished athletic events—the Olympic Games, Kentucky Derby, Wimbledon—and some sports as American as apple pie—rodeo, baseball, football—have a “gay” history, as does the miracle of flight, the mastery of snow, and the taming of the sea. A sequel, The Lavender Locker Room II, is promised, where Warren intends to investigate auto racing, women’s rodeo, women’s basketball, wrestling, kickboxing, swimming, diving, and dog sports.

does Robert Drake’s The Gay Canon (1998) list The Front Runner as a canonical gay book. But when we take into account Warren’s concerns with the fragility of democracy, non-Christian forms of worship, gay and lesbian equality, stewardship of Planet Earth, Native American history, tabloid journalism, it is much to be hoped that she will soon become established as a major writer.

Selected Bibliography WORKS OF PATRICIA NELL WARREN POETRY A Tragedy of Bees. New York: Novi Poezii, 1959. Legends and Dreams. New York: Novi Poezii, 1962. Rose-Hued Cities. New York: Novi Poezii, 1966. Horse With a Green Vinyl Mane. New York: Novi Poezii, 1970. Ukrainian Dumy (Editio Minor): Original Texts. Translations by George Tarnawsky and Patricia Kilina. Introduction by Natalie K. Moyle. Toronto: Canadian Institute of Ukrainian Studies; Cambridge, Mass.: Harvard Ukrainian Research Institute, 1979.

NOVELS The Last Centennial. (As Patricia Kilina.) New York: Dial Press, 1971. The Front Runner. New York: Morrow, 1974. Reprinted, Beverly Hills, Calif.: Wildcat Press, 1995. Excerpt reprinted in Men in Sports: Great Sports Stories of All Time from the Greek Olympic Games to the American World Series. Edited by Brandt Aymar. New York: Crown, 1994. Pp. 443–449. The Fancy Dancer. New York: Morrow, 1976. Reprinted, Beverly Hills, Calif.: Wildcat Press, 1996. The Beauty Queen. New York: Morrow, 1978. Reprinted, Beverly Hills, Calif.: Wildcat Press, 1996. One Is the Sun. New York: Ballantine, 1991. Harlan’s Race. Beverly Hills, Calif.: Wildcat Press, 1994. Billy’s Boy. Beverly Hills, Calif.: Wildcat Press, 1997. The Wild Man. Beverly Hills, Calif.: Wildcat Press, 2001.

FUTURE PROJECTS

Warren is working on a novel, tentatively entitled Wrong Side of the Tracks, about a teenage girl living on a ranch and dreaming about the big city. Two other projects are Girl Grassroots: Autobiography of Patricia Nell Warren and Saga of an American Ranch: Anthology of Patricia Nell Warren Writings. Finally, as mentioned earlier, sequels to Billy’s Boy and The Lavender Locker Room are also expected.

CONCLUSION NONFICTION: BOOK

Elaine Showalter’s A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx (2009) fails to mention Warren, nor

The Lavender Locker Room: 3,000 Years of Great Athletes Whose Sexual Orientation Was Different. Beverly Hills, Calif.: Wildcat Press, 2006.

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PATRICIA NELL WARREN “Was Joan of Arc Genetically Male?” Gay & Lesbian Review Worldwide 16:24–28 (January–February 2009).

NONFICTION: ESSAYS “Saga of an American Ranch.” Reader’s Digest 120:148– 156 (January 1982). “ ‘Now I Am a Grandmother!’ In the Native American World, Being a Grandparent Has Little to Do with Age or Offspring. You Have to Earn the Title.” Reader’s Digest 124:154–158 (April 1984).

NONFICTION: CHAPTERS Foreword to Being Different: Lambda Youths Speak Out. Edited by Larry Dane Brimner. New York: Franklin Watts, 1995. Pp. 11–15. “Autoimmune Disease: A Personal Perspective.” In Restricted Access: Lesbians on Disability. Edited by Victoria A. Brownworth and Susan Raffo. Seattle: Seal Press, 1999. Pp. 81–89. “Anti-Terrorism Measures Threaten Civil Liberties.” In The Terrorist Attack on America. Edited by Mary E. Williams. San Diego, Calif.: Greenhaven Press, 2003. Pp. 102–105. “Homosexuality Is a Legitimate Choice.” In Homosexuality. Edited by Auriana Ojeda. San Diego, Calif.: Greenhaven Press, 2004. Pp. 53–62. “Marriage: The Ultimate Perk.” In I Do / I Don’t: Queers on Marriage. Edited by Greg Wharton and Ian Philips. San Francisco: Suspect Thoughts Press, 2004. Pp. 369– 372. “Foreword: A Westerner Ponders New Orleans.” In Love, Bourbon Street: Reflections of New Orleans. Edited by Greg Herren and Paul J. Willis. New York: Alyson, 2006. Pp. xix–xxviii. “1979: Moral Majority Is Founded.” In Great Events from History: Gay, Lesbian, Bisexual, and Transgender Events, 1848–2006. 2 vols. Edited by Lillian Faderman, et al. Pasadena, Calif., and Hackensack, N.J.: Salem Press, 2007. Pp. 339–341. “Head Shots.” In Love, West Hollywood: Reflections of Los Angeles. Edited by Chris Freeman and James J. Berg. New York: Alyson, 2008. Pp. 293–301. Introduction to Nine Hundred & Sixty-Nine: West Hollywood Stories. Edited by Stephen Soucy. Los Angeles: Modernist Press, 2008. Pp. ix-xi.

“A Ranch Is the Earth: Growing Up in a Magical Place Where Man and Nature Contrive to Nourish Life.” American West 23:28–35 (May–June 1986). “Look to the Woods: Planting a Tree is a Gift to Future Generations—And One We Can All Afford to Make.” Modern Maturity 34:26–28 (April–May 1991). “Generation of the Dispossessed.” Harvard Gay & Lesbian Review 1:19–21 (fall 1994). “A Tragedy of Bees: My Years as a Poet in Exile, 1957 to 1973.” Harvard Gay & Lesbian Review 2:17–21 (fall 1995). Reprinted in The Best of the Harvard Gay & Lesbian Review. Edited by Richard Schneider, Jr. Foreword by Edmund White. Philadelphia: Temple University Press, 1997. Pp. 30–42. “If Biblical Law Ruled Modern Society ѧ” Harvard Gay & Lesbian Review 3:13–16 (fall 1996). “ ‘Gay Culture’: Still of the Wild Frontier.” Harvard Gay & Lesbian Review 4:6, 57 (summer 1997). “In Spain, Throwing Carnations.” Harvard Gay & Lesbian Review 6:20–22 (spring 1999). “Has the Gay Publishing Boom Gone Bust?” Harvard Gay & Lesbian Review 6:7, 64 (fall 1999). “King of Beasts: Manipulation of the Lion Symbol by Patriarchal Culture.” Mythosphere 2:73–82 (February 2000). “The Shining Ones: Cats as Symbols in the Ancient World.” Mythosphere 2:129–151 (May 2000). “Theocracy in America.” Gay & Lesbian Review Worldwide 7:23–24 (fall 2000). “Be Very Afraid—Of Loss of Liberty at Home.” Gay & Lesbian Review Worldwide 8:22–23 (January–February 2002).

ONLINE WORKS A&U: America’s AIDS Magazine. Ongoing contributions for column “Left Field” since 2003 (http://www.aumag.org/ viewfinder/leftOctober07.html). The Bilerico Project: Daily Experiments in LGBTQ. Ongoing contributions since 2007 to the Web’s largest gay, lesbian, transgender, bisexual, and queer group blog ( h t t p : / / w w w. b i l e r i c o . c o m / c o n t r i b u t o r s / patricia_nell_warren/). The Huffıngton Post. Ongoing blogging contributions (http:// www.huffingtonpost.com/patricia-nell-warren). Lodestar Quarterly: An Online Journal of the Finest Gay, Lesbian, and Queer Literature 6 (summer 2003). Special Patricia Nell Warren issue with translations of Ukrainian poems (http://lodestarquarterly.com/issue/6/).

“Letter to a Young Author; or, Some Thoughts on Getting Published These Days.” Lambda Book Report 10:5 (April 2002), 10:8 (May 2002), 10:8 (June–July 2002). “Dissent in Ashcroft’s America.” Gay & Lesbian Review Worldwide 11:28–30 (January–February 2004). “ ‘Traditional’ Marriage: A Secular Affair.” Gay & Lesbian Review Worldwide 12:10–14 (May–June 2005). “Real Cowboys, Real Rodeos.” Gay & Lesbian Review Worldwide 13:19–23 (July–August 2006). “Of Freemasons, Kings, and Constitutions.” Gay & Lesbian Review Worldwide 13:26–30 (November–December 2006). “The Horseman in King James I.” Gay & Lesbian Review Worldwide 15:15–18 (March–April 2008).

History of Gays in Sports at Outsports.com. Ongoing gay sports history series, some of which has been published

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PATRICIA NELL WARREN Weber, Wendy L. “Queering the Word: Patricia Nell Warren’s Adaptation of Christian Sacraments in The Fancy Dancer.” International Journal of Sexuality and Gender Studies 6:267–277 (October 2001).

in The Lavender Locker Room (http://www.outsports. com/history/index.htm). Wildcat International. Official Patricia Nell Warren Web site with Biography, Personal Statement, Editorials, Secrets of Writing and Publishing, Articles and Interviews, Stand on Free Speech, the COPA Trial, and Photos (http://www. wildcatintl.com/pnw.cfm?view=bio).

INTERVIEWS Kort, Michele. “Marathon Woman.” Advocate, May 31, 1994, pp. 50–55. Shelton, Melinda. “Still Running.” Lambda Book Report 9:8–11 (May 2001). Rosenfeld, Carol. “Patricia Nell Warren.” Lambda Book Report 14:12–13 (fall 2006).

CRITICAL AND BIOGRAPHICAL STUDIES Chipman, Jay Scott. “Patricia Nell Warren.” In GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender & Queer Culture. Edited by Claude J. Summers. Chicago: glbtq, 2008, http://www.glbtq.com Hardie, Melissa. “Patricia Nell Warren.” In Who’s Who in Contemporary Gay and Lesbian History: From World War II to the Present Day. Edited by Robert Aldrich and Garry Wotherspoon. London and New York: Routledge, 2001. Pp. 434–435. Hogan, Steve, and Lee Hudson. Completely Queer: The Gay and Lesbian Encyclopedia. New York: Holt, 1998. Levin, James. The Gay Novel in America. New York: Garland, 1991. Selig, John R. “Patricia Nell Warren.” In Encyclopedia of Contemporary LGBTQ Literature of the United States. 2 vols. Edited by Emmanuel S. Nelson. Santa Barbara, Calif.: Greenwood Press, 2009. Pp. 634-637. Steuernagel, Trudy. “Contemporary Homosexual Fiction and the Gay Rights Movement.” Journal of Popular Culture 20:125–134 (winter 1986).

OTHER SOURCES Housman, A. E. A Shrosphire Lad. New York: Grosset & Dunlap, 1932. Sedgwick, Eve Kosofsky. Epistemology of the Closet. Berkeley: University of California Press, 1990. Drake, Robert. The Gay Canon: Great Books Every Gay Man Should Read. New York: Anchor, 1998. Porter, Joy, and Kenneth M. Roemer, eds. The Cambridge Companion to Native American Literature. Cambridge, U.K.: Cambridge University Press, 2005. Showalter, Elaine. A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx. New York: Knopf, 2009.

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PHILLIS WHEATLEY (1753—1784)

Caleb Puckett FEW POETS SO firmly ensconced in the literary canon have elicited the same curious combination of unwavering respect and outright contempt as Phillis Wheatley, whose single published book, Poems on Various Subjects, Religious and Moral (1773), continues to stand as a controversial historical benchmark of early American literature, the slave experience, and proto-abolitionist thought. Although Wheatley remains widely acknowledged as a pioneer among women writers and the founder of African American literature, she is a figure who still faces considerable censure for what some critics regard as rigid, imitative verse and a troublingly politic public stance on the issue of slavery. Such perceived faults, in fact, have intermittently beleaguered Wheatley’s reputation for nearly two-and-a-half centuries, giving occasion to mixed judgments regarding her status as a major writer, minor footnote, or problematic icon in the annals of American literature. It is clear, however, that Wheatley has successfully endured these onslaughts, owing in great part to her small but eloquent body of poetry, which serves as a gateway into a truly compelling life.

but there is little doubt that Phillis Wheatley the person—perhaps even more so than Phillis Wheatley the artist—has spoken to writers from her day forward, including notables such as Maya Angelou, Toni Morrison, and Natasha Trethewey, each of whom may be seen as refining and extending the discourse that the poet helped to initiate. As M. A. Richmond (1974) argues, regardless of those negative opinions that exist regarding the aesthetic quality of Wheatley’s verse, her career remains deeply significant because it stands as an “exemplar of what was done to black identity, to black pride and selfawareness, by the institution of slavery” (p. 64). As such, any committed reading of Wheatley inherently becomes a matter of examining the early history of race relations in America by decoding and carefully extrapolating the oftentimes guarded perspective of the enslaved amid the dominant discourses of the era. FORMATIVE YEARS

As was the case with many slaves stripped away from their families and shipped off to the colonies as children, details regarding Phillis Wheatley’s early years are hazy. However, it appears that Wheatley was born in 1753 and was most likely abducted from Gambia, Africa, at the age of either seven or eight and then dispatched to Boston, Massachusetts, via the notorious Middle Passage. As one of many Africans who endured that horrendous journey, Wheatley was most certainly chained inside a dank hold with an array of other slaves who were destined to be traded for tobacco, sugar, or other products before they were ultimately sold into hard labor. This journey proved not only terrifying for the dispossessed girl, it was also damaging to her health. On July 11, 1761, an ailing, emaciated, and

Given the contentious atmosphere surrounding the poet, any examination of Wheatley must necessarily strive to reconcile the achievements of the person with the vehicles of her expression; to try to make sense of a truly complex identity shaped by a dynamic, colonial environment that was severely demarcated along lines of gender, race, class, and national identification. In fact, it may said that a great amount of the scholarship surrounding Wheatley focuses on these telling conflicts and negotiations between the private and public spheres of the poet’s life. Suffice it to say, the exact degree and manner of her significance as a poet is a matter of sustained debate,

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PHILLIS WHEATLEY nearly naked Wheatley arrived in Boston on the slave ship Phillis. Although she was young, slight, and ragged—clearly not one of the more mature and robust slaves preferred by many slave owners—John Wheatley, a wealthy local tailor, and his wife, Susanna Wheatley, found themselves taken with the girl, whom they would soon name after the slave ship that brought her to them. Phillis Wheatley would later recall the pain of her abduction in “To the Right Honourable William, Earl of Dartmouth.” (All page citations for Wheatley quotations in this essay refer to her Collected Works, edited by John C. Shields, 1988.) She writes:

conscientious Wheatleys may have seen the girl as a project worthy of their concerted attention. The seemingly well-intentioned family purchased Phillis Wheatley with the goal of shaping her into a well-mannered personal servant for Susanna Wheatley. Soon, however, they would come to marvel at the girl’s undeniable intelligence and bestow privileges upon her that would allow her to realize her talent as a writer and consequently secure her place in history. Although they were slave owners, the Wheatleys were not the abusive sort. From all indications, they consistently maintained a permissive, compassionate attitude toward the girl that was in keeping with that cultivated by the more liberal segments of Boston’s elite. The family, which included two children, Mary and Nathaniel, provided a rare degree of comfort to the young girl who was slated to be a servant but ended up occupying a position more akin to that of a daughter. Although Phillis Wheatley had cause to feel advantaged given her relatively generous lot, she made it a practice to avoid offending the people in power by underscoring her singular status, remaining constantly aware of the place she was expected to inhabit in the social scheme of the colonies and negotiating her opportunities, much as she did her poetry, with prudence and grace. Odell provides a telling example of Wheatley’s decorum by noting that she never dined at the same table as white company even when she was invited to do so (p. 12). These displays of modesty—however humbling and perhaps confusing for the poet as they must have been—helped further endear her to the Wheatleys and their circle.

I, young in life, by seeming cruel fate Was snatch’d from Afric’s fancy’d happy seat: What pangs excruciating must molest, What sorrows labour in my parent’s breast? (p. 74)

Phillis Wheatley’s earliest biographer, Margeretta Matilda Odell (1834), writes that Susanna Wheatley must have been particularly attracted to “the humble and modest demeanor and the interesting features of the little stranger,” and the mistress must have noticed that Phillis Wheatley possessed “indications of an uncommon intelligence” that set her apart from the other slaves (Memoir, pp. 9–10). This view of the girl would, of course, be validated with time and play no small part in ensuring that Phillis Wheatley would occupy a special place in the Wheatley household. Some writers speculate that Susanna Wheatley may have also selected the girl because she was of an impressionable age, thus providing the mistress with an opportunity to shape the girl’s personality and behavior as she wished. This reason for selection is certainly likely considering that many slave owners steeped in British colonialist thought utilized religious, social, and vocational training as a means to indoctrinate and further subjugate the underclass, especially if those colonists cultivated a social conscience that permitted them to assume that they were saving slaves from a life of ignorance and moral error. To be sure, many Puritans felt it was their divine duty to inculcate slaves in this manner and approached the task with great determination. The

The Wheatleys were urbane and wellconnected Bostonians, and this fact meant that Phillis Wheatley enjoyed a degree of security unknown to most slaves, particularly among those forced into ignorance, brutal toil, and a tenuous existence in the agrarian communities of the South. In fact, Phillis Wheatley was so far removed from this reality that she could count important politicians, ministers, and merchants among those who functioned in some fashion as either mentors or supporters when it came to her development as a student, poet, and eventual

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PHILLIS WHEATLEY celebrity. These associations were by no means accidental for, as Richmond writes, the Wheatleys viewed the girl as “an intellectual adornment” and ensured that the she became “an exotic curiosity in Boston’s fashionable drawing rooms” where the moneyed and influential came to soak in culture (p. 18). In particular, Suzanna Wheatley wished to demonstrate the young woman’s innate grace and to underscore her own abilities as a mistress to refine the ostensibly barbaric African under her charge. Given such expectations, Phillis Wheatley had little choice but to outwardly conform to the genteel image offered her by white society, much more so than her peers, which suited the designs of her ambitious mistress quite well.

articulate, challenging her position as a true representative of the slave experience and denying the validity of her voice because her struggles did not entirely match those experienced by uneducated slaves such as the aforementioned coachman. Henry Louis Gates, Jr. (2003) asserts that for these critics Wheatley’s “acts of literacy are stigmatized somehow as acts of racial betrayal” because they ostensibly deviate from a definitive black experience (p. 84). Gates finds such perspectives regrettable, arguing that by “reviving the ideology of ‘authenticity’ ” these writers have “reforged the manacles of an earlier, admittedly racist era” (p. 85). In essence, Gates maintains that Wheatley’s pursuit of education and poetic skill cannot be considered fundamentally white even though the education and form of expression the poet adopted were encouraged by the Wheatleys. According to Gates, then, Phillis Wheatley’s undeniable desire and capacity for intellectual growth and artistic achievement and the values she enthusiastically assigned to selfactualization must be viewed as universally human traits.

These privileges, though, were not without a price; they severely compromised Wheatley’s ability to function in society once she received her freedom, and they consistently alienated her from fellow slaves with whom she had little in common. An oft-cited anecdote does well to illustrate the latter point. Once, as Phillis Wheatley was returning home from one of her many social obligations, the black coachman transporting the poet chose to sit next to her, thus implying that the two slaves were on equal footing. As Richmond notes, Susanna Wheatley became incensed at the fact that the coachman would presume to place himself on the same level as her beloved poet. She sternly reprimanded the unwitting offender for what she felt was an unbearable instance of effrontery and, in the process, reprimanded the poet for her embarrassing indiscretion (pp. 20–21). This instance most assuredly suggests that the Wheatleys strictly forbade the poet from associating with persons deemed to be beneath her dignity, which would include most if not all of the slaves who labored under less fortune circumstances. Privilege functioned as one of the most isolating factors in the poet’s life because it left her without access to any one culture where she could feel a true sense of inclusion.

Indeed, the poet showed a definite devotion to learning and to mastering verse, which suited Susanna Wheatley and Mary Wheatley well; both women had taken great pains to educate and refine the girl from the outset of their relationship. As for others who may have assisted with Phillis Wheatley’s education, John C. Shields (2008) speculates that one of the Wheatley’s neighbors, the renowned clergyman and poet Mather Byles, also tutored the poet and served as her spiritual guide (pp. 127–128). Based upon Wheatley’s poetry, it is clear that she embraced the counsel offered by Byles, especially with regard to her engagement with historical and biblical themes. Whether or not this engagement was a matter of survival, a wish for spiritual succor, an innate bent toward scholarship, or a mixture of all of these elements, Phillis Wheatley exhibited a persistent interest in acquiring the education offered her, all the while showing an increasingly impressive ability to learn that caused many Bostonians to wonder at this slave who so easily outstripped the average free white in terms of inborn talent and sheer learnedness.

Without question, Wheatley’s precocity and her privileged existence have continued to haunt her throughout history. Even today some critics view her as too submissive, complaisant, and

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PHILLIS WHEATLEY Wheatley’s education and gifted capacity to grasp and apply the conventions of language and literature manifested themselves early in life. After less than a year and a half in America the poet had mastered English, and by the age of twelve—a mere six years after her abject arrival in Boston harbor—she started seriously studying Latin (Richmond, p. 15). On December 21, 1767, at the age of fourteen, Wheatley made another significant leap forward: she published her first poem, “On Messrs. Hussey and Coffin,” in the Newport Mercury. This occasional poem, which addresses two men who had recently survived a harrowing encounter with a hurricane, showcases her facility with formal conventions, knack for dramatic tension, and focus on pious themes. In the piece, Wheatley asserts that “the Great Supreme, the Wise, / Intends for something hidden from our Eyes” (p. 133). This claim regarding providence, although a common sentiment among Puritans, certainly resonated—however secretly—with the poet as she sought to make sense of her own trials of abduction and enslavement. Double meanings such as this one would increasingly show up in Wheatley’s poetry as she matured, culminating in pieces that would more explicitly address the issue of slavery. Wheatley would make her first real mark as a poet, however, with the poem “On the Death of the Reverend George Whitefield.” The poem, which memorialized George Whitefield, a wellregarded Methodist minister known for his charisma and piety, catered to a wide audience in an unassuming fashion and demonstrated the polish and potential of the young poet to an audience that took note of her prowess.

Alexander Pope and John Dryden. Pope, in particular, would prove to be an unshakable influence on the poet, as the form and style of her verses amply attest. Wheatley’s apprenticeship in the art of poetry was not restricted to a handful of authors, though. Shields (2008) explains that Wheatley had access to three of the best libraries in the colonies, and he suggests that she likely employed all of them, thus demonstrating that her exposure to literature may well have stretched beyond the standard texts of the day and indicating that her desire for learning was not easily satisfied (pp. 127–128). Along with secular works, Wheatley’s education was steeped in biblical teachings, most of which were firmly framed in the evangelical Puritanism still prevalent in colonial Boston. The use of the Bible for spiritual and literary lessons was common during the time, but Wheatley took special interest in the work because it spoke to her of her tribulations and gave her hope in a future where justice might prevail. One of Wheatley’s most moral poems, “On Being Brought from Africa to America,” draws from lessons in the Old Testament and the New Testament and situates them in a context that both adheres to the teachings of her church while challenging those Christians who may misinterpret the Bible in order to justify their bigotry: ’Twas mercy brought me from my Pagan land, Taught my benighted soul to understand That there’s a God, that there’s a Saviour too: Once I redemption neither sought nor knew. Some view our sable race with scornful eye, “Their color is a diabolic die.” Remember, Christians, Negros, black as Cain, May be refin’d, and join th’ angelic train.

In light of the pedagogical practices of the age, which tended to deny educational advancement to even the most privileged girls, Wheatley’s growing accomplishments as a poet stood in exceedingly sharp contrast to common beliefs that the intellects of Africans were far inferior to those of whites. Following the fashion at the time, Wheatley studied works from both classical and British literary traditions, including Ovid’s Metamorphoses and John Milton’s Paradise Lost, and she was liberally exposed to popular neoclassicist works from the period such as those produced by

(p. 18)

These are not lines written in fear or resignation; they are lines written to provoke readers into self-reflection and to promote mutual respect and righteous change among them. For Wheatley, then, the Christian concepts of righteous behavior and salvation are directly related to the abatement of race-based hostilities and to the true embracement of compassion. Poems such as “On Being Brought from Africa to America” helped the poet to understand and cope with her own

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PHILLIS WHEATLEY subjection and also supplied her with a philosophy and arsenal of metaphors that she would need to argue increasingly for racial tolerance and to chastise self-righteous members of white society who clearly violated their own purported beliefs. “On Being Brought from Africa to America,” in fact, demonstrates that for Wheatley “Christ consistently serves as a divine leveler” (Harris 2008, p. 37). Wheatley, then, was no passive believer who simply assumed the outward dress of religiosity for the sake of safety and selfcongratulation. Her poetry attests to an insightful and incisive application of Christian tenets, symbols, and rhetorical tropes as means to establish an irreproachable ethos that would allow her to argue for justice.

approach that allowed her to engage both hostile and sympathetic readers in a manner that reached the cores of their spiritual and intellectual convictions. A survey of any number of prominent African Americans throughout history, including Frederick Douglass and Martin Luther King, Jr., certainly supports Erlikka’s claim, and the importance of Wheatley’s contribution in this respect cannot be underemphasized, for it continues to find direct application in contemporary African American rhetoric. In addition to Wheatley’s consistent engagement with Christianity, some writers also feel that the poet’s belief system and poetry incorporated aspects of animism and sun worship—traces of her African heritage. Shields (2008), for one, specifically points to the solar imagery of “On Imagination,” remarking that it suggests a memory of her native rituals and maintaining that the poet’s fondness for elegies may have as much to do with the puritanical tastes of the era as the poet’s latent familiarity with African ancestor worship (p. 85). This proposition is certainly within the realm of possibility given the fact that Wheatley was kidnapped at an age when she already would have observed and perhaps participated in the religious traditions of her people. The memory of such rituals does appear to have manifested itself, at least subconsciously, in the poet’s imagery; however, there is no conclusive evidence to show that Wheatley actively invested herself in any other religious ideologies besides Christianity. Undeniably, most accounts of Wheatley’s religious views, including her own, leave little doubt that her native religious beliefs were nebulous at best and that she was foremost a Christian writer steeped in the austere and highly moralistic New England Puritanism of the age. In a letter to Obour Tanner on May 19, 1771, Wheatley testifies to this actuality, writing:

In this regard, Mary McAleer Balkun (2002) forwards the idea that the poet “co-opted elements of several rhetorical trends—the language of equality and revolution in particular— combined them with the rhetoric of the pulpit, and gradually developed her rhetorical project” (p. 128). This rhetoric was not of an imitative, empty sort meant to placate readers accustomed to a certain manner of delivery, though. As Kenny J. Williams (1986) contends, Wheatley went well beyond mechanically reciting Christian creeds and recycling biblical images. The poet applied them as lenses through which to critique many of the attitudes and practices of her day, ranging from political topics such as slavery to revolution and personal topics such as mourning the loss of loved ones. True to her talents, Wheatley directed attentive readers to examine their own assumptions and biases from a perspective that they had never managed to consider beforehand by utilizing a language they thought they knew so well. Wheatley’s status as an outsider and yet as one who had inroads into the dominant culture placed her in a matchless—but doubtlessly hazardous— position to hold a mirror up to her white, Christian readers. Betsy Erlikka (1993) explains that in this respect Wheatley initiated the tradition in African American writing of utilizing “the biblical language of bondage and deliverance ѧ not as a religious translation only but as a revolutionary change of world” (p. 237). Quite simply, Wheatley discovered a deeply powerful

Let us rejoice in and adore the wonders of God’s infinite Love in bringing us from a land semblant of darkness itself, and where the divine light of revelation (being obscur’d) is as darkness. Here the knowledge of the true God and eternal life are made manifest; but there, profound ignorance overshadows the land. (p. 164)

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PHILLIS WHEATLEY Wheatley was baptized in August of 1771, thereby formally announcing her fidelity to Christianity, from which she drew both solace and the theological justifications for racial equality. In the coming years, the poet would intensify the frequency and sophistication of these justifications in her poetry and letters.

her own. Without rigorous examination and official proof, they knew that it would be absolutely impossible for her to publish a volume that would be viewed as credible, let alone exceptional. Despite her impeccable endorsements and the quality of her verse, though, Wheatley’s hopes for success were soon dashed, as publishers in Boston felt no compulsion to print the work. This lack of interest was certainly attributable in great part to the intolerance of the place and age. Never one to give up on a chance to prove the poet’s worth, Susanna Wheatley soon set plans in motion to ensure that the poet would receive the additional injection of influential support she needed to realize her collection of verse.

By 1772 Wheatley had written and published enough individual poems as well as garnered enough support from prominent persons in the community to feel reasonably confident in assembling a manuscript for publication. However, the manuscript could not simply be submitted to a printer, even with Susanna Wheatley’s explicit endorsement and intervention: it needed men of influence behind it to stand a viable chance at publication. Thus the Wheatleys set about acquiring an attestation of authenticity that drew from the most prominent quarters of Boston society. This attestation, which would become a deciding factor in the eventual London publication of Poems on Various Subjects, Religious and Moral, was not given lightly, and it only came after Wheatley was able to prove herself to the august men assembled before her, which included Thomas Hutchinson, the governor of Massachusetts Bay, and John Hancock, the distinguished signer of the Declaration of Independence, as well as the poet’s mentor, Mather Byles. Gates vividly likens Wheatley’s meeting with this group of elite Bostonians to an interrogation—a test as much of her emotional and intellectual fortitude as her schooling and talent—and he argues that by submitting her work and herself to these men in this context she was essentially “auditioning for the humanity of the entire African people” (pp. 27, 29). No records exist regarding the meeting, but it must have been exceedingly trying for Wheatley, entering it as she did not as a peer but as a woman and a slave who had everything to prove.

UNPRECEDENTED SUCCESS

The period 1772 through 1773 was one of the most momentous of Phillis Wheatley’s life. During that time the young poet journeyed abroad, published her monumental collection Poems on Various Subjects, Religious and Moral—the first poetry book ever published by a black writer— and received her manumission from the Wheatley household. These events began with a bid by Susanna Wheatley to get the poet’s work in print and to garner some recognition for her in America by first seeking renown in England. Susanna Wheatley set about a clever marketing campaign that chiefly involved sending Phillis Wheatley on a carefully publicized trip to England. Claiming that the poet was traveling for health reasons, Susanna Wheatley executed a plan that would provide the poet with favorable exposure to British gentry and nobility and open up possibilities for publication. The success of Susanna Wheatley’s machinations started with a single publication. According to Richmond, Phillis Wheatley’s “passport to England” and to an audience of wealth and influence came with the publication of “On the Death of Rev. Mr. George Whitefield—1770” (p. 26). The poem, which drew attention in great part because of Whitefield’s popularity, appealed to the pious sentiments of the time and found a welcome ear with the Countess of Huntingdon, who had benefited from Whitefield’s companionship as a

As Wheatley’s white questioners well understood, their reputations would be put at risk by endorsing a slave’s work, which led them to seek out definitive demonstrations of her worth. This was particularly true because the public would have a difficult time accepting the notion that an African could compose well-wrought poetry on

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PHILLIS WHEATLEY chaplain. Not one to shy away from decorous sublimity in an elegy, Wheatley glorifies Whitefield as a prophet of the rarest quality, one who “leaves the earth for heav’n’s unmeasur’d height” (p. 22). Certainly such unabashed praise met with deep approval among dutiful adherents like the countess, who had fallen under Whitefield’s considerable sway. The direct mention of the countess in the poem and subtle suggestion that she and his other followers deserved nothing but the greatest respect no doubt further strengthened the poem’s appeal. This flattering tactic, along with Susanna Wheatley’s personal correspondence with the countess and other British notables regarding the poet, her work, and her forthcoming journey, supplied Wheatley with a sympathetic introduction to London’s notables and literati. To further her cause, Wheatley specifically composed a poem “A Farewell to America,” to mark the occasion of her departure. The piece was published before she left Boston harbor, being part of the marketing campaign that spanned both sides of the Atlantic. As Kirstin Wilcox (1999) points out, the poem and announcement of the poet’s departure appeared in numerous newspapers in the colonies and in the London Chronicle precisely for the purpose of promoting her work (p. 3). The poem vacillates between Wheatley’s wish to fully experience England and her desire to remain by her mistress in a world of cheering familiarity. Wheatley writes,

ity to navigate two worlds was also in keeping with the nature of her unique station, and it would subtly start to manifest itself in a more subversive sense in her poems critiquing race relations. Wheatley had not been at sea since her painful passage almost a dozen years earlier. By all accounts, the nicely appointed journey to England proved beneficial to the poet, who took in the sea air (a commonly prescribed remedy for ill-health at the time) and new experiences with equal enthusiasm. In many respects, the journey was also a means of furthering Wheatley’s education. Certainly the Wheatleys must have felt that her exposure to the literary capital and its accomplished denizens would add depth and polish to a young poet who showed so much promise. As a twenty-year-old woman and slave, however, Wheatley was by no means free to visit as she wished. In fact, the poet remained under close supervision throughout the entirety of her visit. This supervision meant that her experience was carefully monitored from a distance by Susanna Wheatley, who had written to the Countess of Huntingdon requesting that she watch over the poet upon arrival, and directly mediated by Nathaniel Wheatley, who was also traveling to London on business. Nonetheless, Phillis Wheatley enjoyed excellent company and made a favorable impression on those people she had been arranged to meet, due in no small part to her welldeveloped social skills and exceptional intellectual stature. While Susanna Wheatley felt justifiably confident in Phillis Wheatley’s strengths as a poet, she also understood the climate of her time well enough to know that novelty would play a great part in the poet’s success abroad. Thus, when marketing Poems on Various Subjects, Religious and Moral, Susanna Wheatley ensured that Phillis Wheatley was the center of spectacle in London in much the same manner that she was in Boston drawing rooms by highlighting what was widely considered an impossible achievement by a slave—credibly executed poetry. As Wilcox writes, Susanna Wheatley knew that “the fact that this slave woman wrote at all took precedence in the public mind over anything that she wrote” (p. 1). In fact, Susanna

For thee, Britannia, I resign New-England’s smiling fields; To view again her charms divine, What joy the prospect yields! (p. 121)

While Wheatley indulges in a typically nostalgic response to her journey abroad, it is curious to note how her measured treatment of the subject allows her to avoid committing too fond a sentiment to one land at the expense of the other. Wheatley’s controlled response is in keeping with puritanical propriety and the poetic fashion of the age, yet it also illustrates the poet’s circumspection and ability to simultaneously satisfy two distinct audiences—an important ability to have when eliciting wide interest in a book. This abil-

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PHILLIS WHEATLEY Wheatley counted on this reaction as a means to generate just enough sensationalism to make the book an irresistible purchase for many readers.

goodwill, and it effectively reinforced the position society expected her to occupy regardless of her talent. She simply could not expect readers to engage her poetry without filtering it through their racial stereotypes. Nonetheless, Wheatley prepared to publish Poems on Various Subjects, Religious and Moral, but the terms of her publication were not without a very telling qualification. The poet was required by Archibald Bell, the volume’s printer, to introduce the work with the attestation that had been written by her esteemed Boston supporters in order to appease a xenophobic public that at best had a dubious view of any slave’s ability to compose verse, let alone from one who also happened to be a young female. As the officious tone of the attestation indicates, Wheatley had been strongly scrutinized before she assembled the volume:

Wheatley was warmly received in London and obviously gained from her association with a number of eminent figures during her brief visit. In addition to meeting luminaries such as Benjamin Franklin, to whom she would dedicate her second poetry manuscript, Wheatley met the merchant and future lord mayor of London Sir Brook Watson, who presented her with a copy of Paradise Lost, as well as the politician and antislavery proponent the Earl of Dartmouth, who gave her a copy of Don Quixote and Pope’s Works. The Earl of Dartmouth was a man of particular interest to Wheatley because of his stand on slavery, which is why she addressed one of her most powerful antislavery poems, “To the Right Honorable William, Earl of Dartmouth,” to him in an effort to raise awareness of her plight and that of fellow slaves.

WE, whose Names are under-written, do assure the World that the Poems specified in the following Page were, (as we verily believe) written by Phillis, a young Negro Girl, who was but a few Years since, brought an uncultivated Barbarian, from Africa, and has ever since been, and now is, under the Disadvantage of serving as a Slave in a Family in this Town. She has been examined by some of the best Judges, and is thought qualified to write them.

Although plans were in place, Wheatley did not personally meet the Countess of Huntingdon during her brief visit. However, the countess did grant the poet patronage for Poems on Various Subjects, Religious and Moral, which practically guaranteed its printing. Such a powerful injection of success must have proven both thrilling and daunting for the poet, who was but twenty years old at the time, for she was receiving validation from those people who could in a very real sense make her career as a poet. Through it all, Odell writes that Wheatley kept her modesty, explaining that “not all the attention she received, nor all the honors that were heaped upon her, had the slightest influence upon her temper or deportment” (p. 18). As faithful as Odell’s report may be with regard to the poet’s sense of modesty, it is also evident that as a slave Wheatley could by no means count on unmitigated success or even being taken seriously as a poet, which would certainly give her behavior a quite different explanation. The specter of novelty that had been raised by Susanna Wheatley for marketing purposes surely clung to every encounter, however complimentary it may have appeared. This specter must have reminded the poet that racism was systemic regardless of individual acts of

(p. viii)

Following the attestation, John Wheatley provided evidence that the work was written by his slave to further bolster the legitimacy of the work in the eyes of a questioning public. With those assurances of authenticity, as well as blessings from well-respected British authorities such as the Earl of Dartmouth, Wheatley finally stood a chance at publication and at making history. In light of these requirements, Wilcox observes that “any account of Phillis Wheatley’s poetic achievement is also an account of the clergymen, merchants, political figures, gentry, and nobility in both Britain and America who helped to bring her poetry into prominence” (p. 9). Although these men were undeniably and inextricably responsible for Wheatley’s final triumph, there is also no question that without her particular genius the project would have never been viable and these men would never have had the occasion to enjoy such an extraordinary association.

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PHILLIS WHEATLEY In August 1773, Phillis Wheatley’s Poems on Various Subjects, Religious and Moral was announced to the world. The book, which contains the famous etching of Wheatley thoughtfully poised at her desk with quill in hand, was dutifully dedicated to the poet’s patroness, the Countess of Huntingdon. The British advertisements for the book extolled her skill as a poet and shamelessly used her race as means to generate interest in the work. Wilcox points out that Bell also used the testimonials and Wheatley’s recent meetings with gentry and nobility as means to further tantalize readers, thereby suggesting that would-be purchasers had discriminating taste and “cultural authority” while allowing their own racist paradigms to remain virtually undisturbed (pp. 12–13). This situation once again forced that troubling specter of novelty to the fore, reinforcing the reality that Wheatley’s poetry could not be read without her race coloring every page. Consequently, it also meant that Wheatley’s work would ignite debates regarding race all across literate Europe. As Gates writes, Poems on Various Subjects, Religious and Moral made Wheatley “the most famous African on the face of the earth” and naturally the spokesperson for the whole of Africa (p. 33). Such debates proved important at this time owing to shifting opinions regarding the anthropological and ethical justifications of slavery, but these debates also pushed Wheatley into even larger and trickier cultural negotiations, especially back at home where many colonists were unwilling to consider this manner of success anything more than an overhyped anomaly in the poetry world.

presentation of Phillis Wheatley as a pitiable figure was infused with a rich endorsement of her talent as a poet. Since most colonists looked to London as the heart of true literature, the publisher worked to capitalize on the fact that Poems on Various Subjects, Religious and Moral had first appeared there. Wilcox notes that this publication history granted Phillis Wheatley a significant degree of legitimacy with some readers at home, yet it also brought about pressures that dictated a heavy dilution of the poet’s vision and voice so that she might be more palatable for her American audience (p. 17). Tragically, it seems that Wheatley was forced into a position where she could only hope to find artistic and social empowerment by agreeing to alter her verse to such an extent that it was effectively anesthetized. This painful paradox, from which there appeared to be no means of true escape, was just one of many that would plague her life’s work and legacy.

CRITICAL VIEWS OF POEMS ON VARIOUS SUBJECTS, RELIGIOUS AND MORAL

Poems on Various Subjects, Religious and Moral received decidedly mixed appraisals among the reviewers of Wheatley’s day. Voltaire praised the work and intelligence of the poet, deeming both exemplary. Thomas Jefferson, however, harshly dismissed the work and the poet, declaring that both had little merit. Within the larger intellectual community, Wheatley’s work also proved divisive, particularly when it came to questions regarding the purported lack of refined intellectual qualities and sensibilities among Africans. In modern and contemporary times, many of these initial arguments regarding the value of Wheatley’s verse and her suitability as a representative of the African American community have persisted, albeit in different terms. Numerous writers have certainly continued to take Wheatley to task for her alleged lack of originality and rigid style. Some of these writers have also charged Wheatley with slavish Anglophile leanings and an apathetic and ethically irresponsible silence on the issue of slavery. Seemingly poised as she was to destabilize the institution of slavery

Whether it was ill-advised or not, the approach to advertising the work in Boston changed in a considerable number of ways from the one employed in London. In Boston, instead of overemphasizing the poet’s race in light of her rare achievement, Bell cast Phillis Wheatley as an unfortunate who just happened to write excellent poetry and took to appealing to the public’s sense of benevolence as a means to sell the book (Wilcox, p. 15). That is not to say, however, that he discarded what had been gained through the officious attestations and her noteworthy association with the London poetry scene. Indeed, any

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PHILLIS WHEATLEY and to create what may be termed an “authentic” black voice, a few of these writers have even gone so far as to declare Wheatley an Uncle Tom (Gates, pp. 75–82). Unfortunately, some of these charges against Wheatley’s character appear politically motivated and reactionary in nature. In particular, the attacks on her moral fiber—her ostensible traitorousness—oftentimes speak of a desire to challenge the canonicity of a poet who, in the opinion of these scholars, was not openly radical enough to warrant the respect that the progenitor of African American literature is due.

from that of her contemporaries is to expect more of her than of other poets of her time and place” regardless of their station. Richmond (1974) adds that the Wheatleys even rewarded the poet for adhering to conventions, thus making it nearly impossible for her to sharply break away from the fashion of the day without inciting censure (p. 63). The Wheatleys’ controlling attitude toward expression, while fundamentally attributable to Phillis Wheatley’s status as a slave, was not atypical during the era, especially with regard to unwed women expected to adhere to stringent rules governing personal comportment. Indeed, even poetry itself was an exercise in strict formality. One need only examine the moralistic assumptions and formalistic conventions guiding neoclassical poetry to understand that closely guarded restraint was seen as a laudable end in and of itself—a marker of acceptable taste, selfmastery, and artistic credibility.

However, Richmond, Gates, Paula Bennett, and other notables contend that this stance distorts the oppressive reality of Wheatley’s time and indeed overlooks her restrained but undeniably trenchant condemnation of slavery. While many scholars might wish for more flagrant displays of rebellion, to assume that Wheatley could enjoy unencumbered expression and unchecked self-assertion in a stiflingly bigoted environment is willfully to ignore the reality of slavery. Bennett (1998) maintains that Wheatley’s case is indeed knotty if one is seeking sustained and entirely obvious acts of insurgency. Bennett, though, also argues that Wheatley’s work should not be erroneously regarded as a lifeless submission to authority; rather, it should be seen as a conflicted bid to recast the trappings of that authority in an entirely distinctive fashion that served to undercut racist paradigms (p. 69). Seen in this manner, it may be said that Wheatley employs the strict poetic conventions of the day as a means to level herself with the dominant culture and to critique that culture from a position of authority.

While readers may regard Wheatley as a victim of eighteenth-century poetic fashion and ideology, some scholars argue that such categorizations can oversimplify the variety, understated inventiveness, and incisiveness of the poet’s work, which does delicately turn many of the assumptions and conventions of the day on their heads. A careful reading of her work will, in fact, reveal that Wheatley did compose protest poetry. Thus the value of her work is not limited only to her occasionally detached records of then current events such as the deaths of famous figures or the increasingly embattled relationship between the colonies and Britain, they are also valuable as records of veiled dissent—a call for justice that both exposes the oppression of the time and foreshadows the unrestrained protests regarding racial inequality that would come to their sharpest point in the 1960s. Shields (2008) takes a fine contextual approach to Wheatley’s sense of protest by arguing that her work should be viewed in stages that show her moving from stylistic and thematic conservatism to subtle literary subversions that condemn slavery and reprimand the hypocritical Christians and American patriots who perpetuate it. “On Being Brought from Africa to America” largely bears out this argument, for it illustrates Wheatley “challenging

As a woman and slave writing in a place and an age not known for exceptional poetry, Wheatley was also tasked with a decidedly uphill battle to develop her voice. Simply put, society frowned upon overt acts of individualism, and poetic innovation was decades away from realization. Taken in this light, Williams (1986) writes that while Wheatley’s verse has inimitable qualities, her overall aesthetic approach is inescapably a product of her time. Williams thus explains that her “faults ѧ are largely the faults of her models” and that “to expect her work to differ appreciably

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PHILLIS WHEATLEY the injustice of the status quo ѧ determining her role as a poet” and “confront[ing] those who would condemn her and her race” with a degree of courage hitherto unseen in the colonies (p. 108).

For ever grateful let them live to thee And keep them ever Virtuous, brave and free— But how, presumptuous shall we hope to find Divine acceptance with th’ Almighty mind— While yet (O deed Ungenerous!) they disgrace And hold in bondage Afric’s blameless race?

This reading is also supported by Frances Smith Foster (1993) who observes that Wheatley “seems more audacious than self-deprecating” even in ostensibly innocuous pieces such “An Address to the Deist” and “On Recollection” (p. 40). Of course, some scholars may overstate their case by meriting Wheatley with openly bold reproaches of her white audience and thereby conferring upon the poet a sense of directness and impunity that would appear almost entirely anomalous in light of her station and the age in which she lived. Given the relative liberality and the respect that the poet enjoyed among elite Bostonians, these rebukes may have been seen as a merely acceptable complaints and a symptom of her precociousness. However, a larger and more bigoted audience would surely have taken exception to outright admonishment, which leads readers to question just how noticeable these reproaches would have appeared to the majority of casual readers of the era. Truly, as Erlikka (1993) writes, “Phillis Wheatley knew the art and necessity of speaking with a double tongue” and judiciously employed “ambiguity and irony, double meaning and nuance, to speak what was otherwise unspeakable from her position as an African woman slave” (p. 231). Wheatley, then, generally avoided absolute explicitness and relied on the judicious use of rhetorical devices and poeticisms as a way to submit her semi-coded remonstrations to sympathetic and attentive readers. In this respect, it is plain that Wheatley was deft at negotiating the conflicting cultures she occupied while still taking a stance with regard to the promulgation of slavery in a society that paid ceaseless lip service to its professed Christian charity and love of freedom. “On the Death of General Wooster” is an excellent example of this public position on slavery. In the poem, Wheatley meshes the call for independence with a call for abolition, asking for a truly inclusive freedom:

(p. 149)

Wheatley also situated other poems protesting slavery in the patriotic sentiments and language of the day, which gave her some degree of license to speak out against injustices. Most of these pieces were shrewdly written so they might criticize slavery without criticizing so loudly as to bring trouble to her doorstep, but others, such as “To the Right Honorable William, Earl of Dartmouth,” took definite risks that could well have exposed the poet to condemnation or even violence. Wheatley, knowing that the Earl of Dartmouth loathed slavery, took calculated but uncharacteristically hazardous liberties in “To the Right Honorable William, Earl of Dartmouth” that she might have been extremely hesitant to take in another context. Without a doubt, the poem shows Wheatley addressing the ills of slavery in an uncommonly unadorned and personal fashion: Should you, my lord, while you peruse my song, Wonder from whence my love of Freedom sprung, Whence flow these wishes for the common good, By feeling hearts alone best understood, I, young in life, by seeming cruel fate Was snatch’d from Afric’s fancy’d happy seat: What pangs excruciating must molest, What sorrows labour in my parent’s breast? Steel’d was that soul and by no misery mov’d That from a father seiz’d his babe belov’d: Such, such my case. And can I then but pray Others may never feel the tyrranic sway? For favours past, great Sir, our thanks are due, And thee we ask thy favours to renew, Since in thypow’r, as in thy will before, To sooth the griefs, which thou did’st once deplore. (pp. 74–75)

Readers may readily observe that that this neatly composed verse is all the more powerful for its unflinching emotional pull. Not only does it provide access to private perspectives that are at times only obliquely hinted at in Wheatley’s more guarded poems, it is, as Erlikka (1993) calls it,

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PHILLIS WHEATLEY the poet’s “most overt criticism of the institution of slavery” and “her most direct protest against the reality of slavery as the true tyranny of America” (pp. 234–235). This poem, then, may be accurately viewed as nothing short of an honest indictment of race-based injustice and a call for corrective action—an unmistakable precursor to a strain of poetry readers would later see developed during the abolitionist movement of the 1830s, the Civil War, the Harlem Renaissance, and the African American civil rights movement of the 1950s and 1960s. Wheatley also vigorously forwarded her views regarding slavery in her correspondence with her few trusted friends and associates. An important letter (February 11, 1774) written to the Reverend Samuel Occom lucidly states her fundamental position on the matter. Wheatley writes:

during and beyond Wheatley’s brief life, even after some of her pieces from Poems on Various Subjects, Religious and Moral had become required reading in American classrooms.

FINAL YEARS

Upon learning that Susanna Wheatley was ill, Phillis Wheatley cut short her time in London and ventured back across the Atlantic. Upon her return to the colonies, Phillis Wheatley finally received her freedom. Although the situation meant that she was now the master of her own fate, it was an anxious time for her on both a personal and professional level. Writing to Sir David Wooster in 1773, Wheatley expresses concerns regarding her publishing prospects in America. With characteristic restraint, Wheatley writes that while she is liberated her situation is more precarious than ever and thus she directly solicits help from Wooster in order to secure enough subscriptions for the publication of the manuscript, which if sold would provide her with much-needed financial assistance. She writes, “This [assistance] I am the more solicitous for, as I am now entirely upon my own footing and whatever I get by this is entirely mine, & it is the Chief I have to depend upon” (p. 170). Little assistance would come, though, and Wheatley’s prospects would begin to narrow even further as the Revolutionary War approached. After suffering from a protracted illness, Susanna Wheatley died on March 3, 1774. Although the historical record reveals little about Phillis Wheatley’s response, she was obviously very shaken by the death of her mistress, writing to her friend Obour Tanner that it was much like “the loss of a parent, sister, or brother” because “the tenderness of all these were united in her” (p. 177). Despite Wheatley’s grief, however, the poet did not eulogize her mistress. According to Odell, Susanna Wheatley took a stoical approach to her death and “requested that nothing might be written upon her decease. Indeed, Phillis was forbidden this indulgence of her grief, and it was shortly after her mournful duty to close the eyes of her indulgent mistress and unwearied friend” (p. 19). This enforced silence must have been

In every human Breast, God has implanted a Principle, which we call Love of Freedom; it is impatient of Oppression, and pants for Deliverance; and by the Leave of our Modern Egyptians I will assert, that the same Principle lives in us. God grant Deliverance in his own way and Time, and get him honor upon all those whose Avarice impels them to countenance and help forward the Calamities of their Fellow Creatures. This I desire not for their Hurt, but to convince them of the strange Absurdity of their Conduct whose Words and Actions are so diametrically opposite. How well the Cry for Liberty, and the reverse Disposition for the Exercise of oppressive Power over others agree,—I humbly think it does not require the Penetration of a Philosopher to determine. (p. 177)

As with her poetry, Wheatley robustly employs her arsenal of biblical themes and images as a means to expose the wrongs of the present by locating their precedents in the past. She posits her understanding of these connections while also sarcastically suggesting that the contemporary arbiters of power are not only foolishly incapable of perceiving their own faults but also incapable of ascertaining the obvious truths contained in their own religious history—points particularly salient for an astute minister like Occom. Of course many messages such as these which emerged in her poetry would remain ignored, misunderstood, or unheeded by the public both

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PHILLIS WHEATLEY exceedingly difficult for Wheatley; poetry had always been a means of coping with or confronting her troubles. With the death of her mistress, Wheatley not only lost a person she had come to regard as a mother, she also lost her most ardent supporter—a disquieting incident further compounded by unrest in the colonies. These circumstances would soon force Phillis Wheatley’s prospects into a downward spiral from which the poet—despite her intelligence and best efforts— could not recover. Although Poems on Various Subjects, Religious and Moral had garnered some attention in Europe in large part because of the novelty associated with it, it by no means guaranteed Wheatley a future as a poet back in America. In fact, owing to a number of adverse factors, Wheatley struggled to secure any tangible interest in an American edition of the work. On a merely practical level, Richmond has shown that the high subscription cost of the book posed a serious detriment to its publication, especially in light of the difficult economic conditions that had taken hold in the colonies (p. 49). Attitudes regarding poetry had also started to shift with the coming revolution. Revolutionary fervor had taken hold, and most colonists were not concerned with reading for leisure, particularly if the reading material did not have some hard polemical edge or propagandistic verve to it. Wheatley had often included aspects of revolutionary rhetoric in her work and had even written poetry that approved of the revolutionary spirit, including a piece in 1775, “To His Excellency General Washington,” which celebrated future president George Washington. However, poetry such as Wheatley’s that appeared couched in the polite mode of British neoclassicism found little favor among even those colonists who were regularly reading verse, especially if they had an aversion to art that had any hint of Loyalist ties to it. For the next few years Wheatley would strive in vain to publish an American volume, all the while attempting to scratch out what living she could amid the chaos of the Revolutionary War.

of which effectively closed off any connections Phillis Wheatley had with the family. Although these developments certainly left no doubt about Wheatley’s release from bondage, they also left the poet without any direct means of patronage and dissolved the remainder of the dwindling support system she had come to rely on. Given the major shift in Wheatley’s fortunes that came with her release, she sought out some new means of security—a task far from simple for any freedwoman of the time, but one that proved especially problematic for the poet, whose singular background and lack of marketable work experience did her no favors. Life may have started to look more hopeful, though, when Wheatley met the freedman John Peters, whom she married on April 1, 1778. Assessments regarding the fitness of Peters as a husband have varied, with some scholars viewing him as an indolent dandy, others as a villain, and yet others as an intelligent and resourceful man who has been unjustly maligned. Scholars do agree, though, that Peters had held various occupations over the years, including lawyer, doctor, and grocer, and had been unable to find lasting success with any of them. While his unsuccessfulness may have come about because of personal failings, the ugly reality of a socially and economically turbulent time most likely prevented him from the happy realization of one or more of these occupations. Wheatley, who was ever reticent regarding personal matters, revealed next to nothing of her own view of Peters. At the very least, she must have had a great fondness and a firm confidence in Peters because she risked much by marrying him. The marriage—which certainly appears to have been a divisive choice among her friends and supporters in the colonies—together with her growing sense of independence that came with it and resistance to unwanted influence by white wellwishers, may have led to the destruction of her relationship with her few remaining allies (Smith Foster 1993, p. 43). Regardless of the intensity of Wheatley’s feeling for Peters, their marriage appeared illfated. Indeed, as a freedwoman and wife, Wheatley’s economic and artistic trials would

By 1778 Nathaniel Wheatley, an ardent Loyalist, had left America for England, and John Wheatley and Mary Wheatley had both died, all

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PHILLIS WHEATLEY continue to worsen with little hope of redress—a situation that created a painful contrast to the relatively fortunate circumstances she had formerly enjoyed as a member of the Wheatley household. Richmond sums up the situation succinctly:

able chance at survival, and on December 5, 1784, at around the age of thirty-one, an impoverished Phillis Wheatley died during childbirth and was soon buried in an unmarked grave. None of her friends or supporters had any knowledge of her death when it occurred. According to some accounts, Peters informed no one of his wife’s death and did not personally attend her funeral because of his detention in debtors’ prison; however, Peters did take the only copy of Wheatley’s manuscript with him when he moved away to the South, thereby claiming all that was left of Wheatley’s last poetic labors (Richmond, p. 77). Under these circumstances, it seemed inevitable that the poet was destined for obscurity. Her writing and life, however, would ultimately prove to be far from forgettable. In fact, in 1786, a mere two years after the poet’s death, Poems on Various Subjects, Religious and Moral was printed in America and subsequently secured an immediate and lasting resonance with a range of readers, starting with early abolitionists who would use her work to combat bigotry.

Free, black, and twenty-five, the poet hazarded or sacrificed much on the wedding altar: friendship, values, patronage. All that for this man named Peters, an elusive figure, a shadowy reflection mirrored in the disapproval of a sanctified black spinster [Obour Tanner] and white Puritan gentility. (p. 45)

These broken ties, combined with social uncertainty, a poor economy, heavy job competition, and her husband’s chronic lack of steady employment, kept Wheatley trapped in a precarious position. Indeed, much of the hardship that Wheatley faced in her married life may be directly attributed to the couple having no real means of ensuring adequate financial support. Amid these difficulties, Wheatley relentlessly attempted to elicit interest in her new poetry manuscript. As a relatively unknown black poet in America and an inexperienced, frail worker, she was not able to fare well in a world so embattled with political strife that it appeared to have little concern for either poetics or a destitute slave, no matter how fine her intellect. While Wheatley strove to market her manuscript, she also worked in a boardinghouse in order to keep the household intact. According to Richmond, she was forced to try her hand at difficult domestic labor—work she was entirely unfamiliar with and poorly prepared to perform—which exacerbated the poet’s illness (p. 50). During this period Wheatley’s longcompromised health worsened, which caused the loss of two children at birth. These losses only served to intensify the deep sense of grief that saturated the poet’s desperate existence, but still she labored on, working to secure a steady income and to generate interest in her writing. Sometime after the loss of her second child, her misery was further compounded, for Peters is said to have deserted the poet, who was pregnant with a third child at the time (Gates, p. 68). Neither Wheatley nor her child would have a vi-

Although the occurrence of Phillis Wheatley’s death received scant acknowledgment in America and England, the value of her life and work has been subsequently rediscovered and reaffirmed again and again with each generation despite the persistence of some very vocal detractors, which certainly demonstrates her staying power as a poet and confirms her status as an African American icon. Regardless of the volleys of negative criticism aimed at the artistic worth of Wheatley’s work and at her personal politics, the very fact that her presence continues to rouse debates confirms her importance as a relevant representative of a complicated age in America and as a figure who foreshadowed many of the cultural and political questions that continue to riddle the present. In fact, a survey of biographies published in the last decade shows that Wheatley has once again become a popular subject of study, especially with elementary and junior high school students who seek a compelling perspective to help them better understand slavery and colonial literature. In the end, then, Wheatley’s precocious achievements have managed to propel her beyond the seemingly insurmountable racial,

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PHILLIS WHEATLEY gender, and class barriers of her era and have assured her a well-deserved place of significance among the principal authors of early American literature.

America. Edited by Frank Shuffleton. New York: Oxford University Press, 1993. Foster, Frances Smith. Written by Herself: Literary Production by African American Women, 1746–1892. Bloomington: Indiana University Press, 1993. Gates, Henry Louis, Jr. The Trials of Phillis Wheatley: America’s First Black Poet and Her Encounters with the Founding Fathers. New York: Basic Civitas Books, 2003. Harris, Will. “Phillis Wheatley, Diaspora Subjectivity, and the African American Canon.” MELUS 33, no. 3:27–43 (fall 2008). McAleer Balkun, Mary. “Phillis Wheatley’s Construction of Otherness and the Rhetoric of Performed Ideology.” African American Review 36, no. 1:121–135 (spring 2002). Odell, Margaretta Matilda. Memoir and Poems of Phillis Wheatley: A Native African and a Slave. Boston: Light, 1835. Available online (http://docsouth.unc.edu/neh/). Richmond, M. A. Bid the Vassal Soar: Interpretive Essays on the Life and Poetry of Phillis Wheatley (ca. 1753– 1784 and George Moses Horton (ca. 1797–1883). Washington, D.C.: Howard University Press, 1974. Shields, John C. Phillis Wheatley’s Poetics of Liberation: Backgrounds and Contexts. Knoxville: University of Tennessee Press, 2008. Wilcox, Kirstin. “The Body into Print: Marketing Phillis Wheatley.” American Literature 71, no. 1:1–29 (March 1999). Williams, Kenny J. “Phillis Wheatley.” Dictionary of Literary Biography. Vol. 50, Afro-American Writers Before the Harlem Renaissance. Edited by Trudier Harris. New York: Gale, 1986. Pp. 245–259.

Selected Bibliography WORKS OF PHILLIS WHEATLEY Poems on Various Subjects, Religious and Moral. By Phillis Wheatley, Negro Servant to Mr. John Wheatley of Boston (London: Printed for Archibald Bell & sold in Boston by Cox & Berry, 1773; Philadelphia: Printed by Joseph Crukshank, 1786). The Collected Works of Phillis Wheatley. Edited by John C. Shields. New York: Oxford University Press, 1988. (All Wheatley quotations in the text refer to this edition, which includes her poetry and letters.)

CRITICAL AND BIOGRAPHICAL STUDIES Bennett, Paula. “Phillis Wheatley’s Vocation and the Paradox of the ‘Afric Muse.’ ” PMLA 113, no. 1:64–76 (January 1998). Erlikka, Betsy. “Phillis Wheatley and the Black American Revolution.” In A Mixed Race: Ethnicity in Early

291

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 ‘Abdu’l-Bahá, Supp. XX:117, 122 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 Effie” (Findley), Supp. XX:50 “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; Supp. XX:177 “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

293

“Absalom” (Rukeyser), Supp. VI: 278– 279 Absalom, Absalom! (Faulkner), II: 64, 65–67, 72, 223; IV: 207; Retro. Supp. I: 75, 81, 82, 84, 85, 86, 87, 88, 89, 90, 92, 382; Supp. V: 261; 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 Ackerley, J. R., Supp. XX:237

294 / AMERICAN WRITERS Ackerman, Diane, Supp. XIII: 154 “Acknowledgment” (Lanier), Supp. I Part 1: 364 Ackroyd, Peter, Supp. V: 233; Supp. XVII: 180 “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 (G. 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, Mrs. Henry (Marian Hooper), I: 1, 5, 10, 17–18 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, 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 Deist, An” (Wheatley), Supp. XX:287 “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 Harry Richmond, The (Meredith), Supp. XX:234 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; Supp. XX:171 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

CUMULATIVE INDEX / 295 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 “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 “Afoot” (P. N. Warren as Kilina), Supp. XX:261–262 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 Africana (H. L. Gates, ed.), Supp. XX:99 African American Century, The : How Black Americans Have Shaped Our Country (H. L. Gates), Supp. XX:102

African American Lives (television production), Supp. XX:99 African American Lives 2 (television production), Supp. XX:99 African American National Biography (H. L. Gates, ed.), Supp. XX:99 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 (T. S. 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

296 / AMERICAN WRITERS 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 Plague (Boyle), Supp. XX:20 “After the Plague” (Boyle), Supp. XX:20 “After the Pleasure Party” (Melville), III: 93 “After the Rain” (Halliday), Supp. XIX: 91 “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 Aˆ 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 “Ages of the Women, The” (Gibran), Supp. XX:115 “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 Ahrens, Sylvia, Supp. XX:162 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 Ainger, Arthur Campbell, Supp. XX:230 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

CUMULATIVE INDEX / 297 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 Alba, Richard D., Supp. XX:43 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 “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, Mrs. Amos Bronson (Abigail May), IV: 184; Supp. I Part 1: 29, 30, 31, 32, 35 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 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, 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

Aldington, Mrs. Richard. See Doolittle, Hilda 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 “Alesaˇ 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 Drops Her Cigarette on the Floorѧ” (Findley), Supp. XX:50–51 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, Robert Moore, Supp. XX:164 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

298 / AMERICAN WRITERS “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 New People (Lamott), Supp. XX:135–136 “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 “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 That Was Possible (Sturgis), Supp. XX:227, 232, 235–237 “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 Alouette, L’ (Anouilh), Supp. I Part 1: 286–288 “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

CUMULATIVE INDEX / 299 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 “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 Behind the Color Line (H. L. Gates), Supp. XX:102, 105 America Beyond the Color Line (television program), Supp. XX:99 America Hispana: A Portrait and a Prospect (W. Frank), Supp. XX:76 “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: A Study of the National Character (Rourke), IV: 339, 352; 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

300 / AMERICAN WRITERS 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 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 “Amity Hills” (Skloot), Supp. XX:204 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 Amos and Andy (television program), Supp. XX:103 Amran, David, Supp. XIV: 150 “Am Strand von Tanger” (Salter), Supp. IX: 257 “AMTRAK” (Baraka), Supp. II Part 1: 60 “Amulet, The” (Antin), Supp. XX:10 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

CUMULATIVE INDEX / 301 “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 Andersen, Hendrik Christian, Supp. XX:232 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, Mrs. 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 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; Supp. XX:69, 75 Anderson, Mrs. Sherwood (Tennessee Mitchell), I: 100; Supp. I Part 2: 459, 460 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 “ѧAnd Ladies of the Club” (J. W. Miller), Supp. XX:161 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, Peter, Supp. XX:87 Andrews, Roy Chapman, Supp. X: 172 Andrews, Tom, Supp. XI: 317 Andrews, Wayne, IV: 310 Andrews, William L., Supp. IV Part 1: 13; Supp. XIX: 72; Supp. XX:105 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

302 / AMERICAN WRITERS “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 Hills, The (Uris), Supp. XX:246, 250 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 Annan, Noel, Supp. XX:240 “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 “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 of Geierstein: or, The Maiden of the Mist (Scott), Supp. XX:234 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; Supp. XX:1–16

CUMULATIVE INDEX / 303 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 Antrim, Donald, Supp. XX:90 “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

“Apotheosis” (Kingsolver), Supp. VII: 208 “Apotheosis of Martin Luther King, The” (Hardwick), Supp. III Part 1: 203– 204 Appalachia (Wright), Supp. V: 333, 345 Appalachia Inside Out (Miller, Higgs, and Manning, eds.), Supp. XX:166 “Appalachian Book of the Dead III” (Wright), Supp. V: 345 “Appalachian Education: A Critique and Suggestions for Reform” (J. W. Miller), Supp. XX:165 “Appalachian Literature: At Home in This World” (J. W. Miller), Supp. XX:165 “Appalachian Values/American Values” (J. W. Miller), Supp. XX:165 Appaloosa (Parker), Supp. XIX: 187 “Appeal to H. G. Wells” (Sturgis), Supp. XX:233, 240 “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 Approximately Paradise (Skloot), Supp. XX:196, 202, 203–204 “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

304 / AMERICAN WRITERS 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 À rebours (Huysmans), Supp. XX:239 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 Ari (musical, Uris), Supp. XX:247 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 Armageddon (Uris), Supp. XX:243, 247, 248, 252–253 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 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

CUMULATIVE INDEX / 305 “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” (Lamott), Supp. XX:141 “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” (Garrett), Supp. VII: 109–110

“Ash Wednesday” (Merton), Supp. VIII: 199 Ash Wednesday (T. S. Eliot), I: 570, 574– 575, 578–579, 580, 582, 584, 585; Retro. Supp. I: 64 “Ash Wednesday” (T. S. Eliot), Supp. IV Part 2: 436 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 “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; Supp. XX:138 “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

306 / AMERICAN WRITERS 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 Death’s Window” (Lamott), Supp. XX:144 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 “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; Supp. XX:138 “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

CUMULATIVE INDEX / 307 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 “Aunties, The” (Lamott), Supp. XX:141 “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; Supp. XX:108 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 “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 Equinox” (Skloot), Supp. XX:202 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, George C., Supp. XX:84 Avery, John, Supp. I Part 1: 153 “Avey” (Toomer), Supp. IX: 317 Avon’s Harvest (Robinson), III: 510

308 / AMERICAN WRITERS 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 from 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: 344, 345 “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; Supp. XX:229 “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, Supp. XX:117, 121, 122 “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, Katherine, Supp. XX:69 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

CUMULATIVE INDEX / 309 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; Supp. XX:147 Baldwin, Samuel, Supp. I Part 1: 48 Balitas, Vincent D., Supp. XVI: 222 Balkian, Nona, Supp. XI: 230 Balkun, Mary McAleer, Supp. XX:281 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, The” (Kipling), Supp. IX: 246; Supp. XX:23 “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 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 Four (Bouton), Supp. XX:274 “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; Supp. XX:90 “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

310 / AMERICAN WRITERS “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; Supp. XX:174 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

Barrie, J. M., Supp. XX:234 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; Supp. XX:21 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 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 Bashir, Antonious, Supp. XX:116, 120 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 “Bastille Day” (Lamott), Supp. XX:143 “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 Battle Cry (film), Supp. XX:246 Battle Cry (Uris), Supp. XX:243, 246, 248–250, 255, 256 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

CUMULATIVE INDEX / 311 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; 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 “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 Beattie, L. Elisabeth, Supp. XX:164, 165 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 Queen, The (P. N. Warren), Supp. XX:268–269 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; Supp. XX:17 Beckett, Tom, Supp. IV Part 2: 419 Beckford, William, I: 204

312 / AMERICAN WRITERS 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 Beers, Henry A., Supp. XX:68 “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 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 Belchamber (Sturgis), Supp. XX:227, 233, 238–240 “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, Archibald, Supp. XX:284, 285 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

CUMULATIVE INDEX / 313 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; Supp. XX:244 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 (Gibran), Supp. XX:125 “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 Bemorse, John, Supp. XX:62 Benchley, Robert, I: 48, 482; II: 435; III: 53; Supp. IX: 190, 195, 204 Benda, W. T., Retro. Supp. I: 13 Bending of a Twig, The (Coke), Supp. XX:235 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-Gurion, David, Supp. XX:243 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; Supp. XX:286 Bennett, William, Supp. VIII: 245 Benson, A. C., Supp. XX:238 Benson, Arthur, Supp. XX:233 Benson, E. F., Supp. XX:229 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; Supp. XX:240 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 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 Bernhard, Thomas, Supp. XX:91 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

314 / AMERICAN WRITERS 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; Supp. XX:34 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 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 “Be Very Afraid—Of Loss of Liberty at Home” (P. N. Warren), Supp. XX:272–273 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 My Solitude” (Gibran), Supp. XX:119 “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

CUMULATIVE INDEX / 315 “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, Mrs. Ambrose, I: 194–195, 199 Bierce, Day, I: 195, 199 Bierce, Helen, I: 210 Bierce, Leigh, I: 195, 198, 208 Bierce, General Lucius Verus, I: 191 Bierce, Marcus, I: 190, 191 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” (Boyle), Supp. XX:20 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 “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 Gardner’s Ground Out” (Skloot), Supp. XX:205, 207 Billy Phelan’s Greatest Game (W. Kennedy), Supp. VII: 131, 132, 134, 135, 142–147, 149, 151, 153, 155 Billy’s Boy (P. N. Warren), Supp. XX:261, 265–267 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

316 / AMERICAN WRITERS Bird by Bird: Some Instructions on Writing and Life (Lamott), Supp. XX:132, 137–138 “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 Birkelo, Cheryl, Supp. XX:220–221 Birkerts, Sven, Supp. IV Part 2: 650; Supp. V: 212; Supp. VIII: 85; Supp. X: 311; Supp. XX:92 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 a World: Bolívar in Terms of His Peoples (W. Frank), Supp. XX:80 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 “Bittersweet Nightshade” (Skloot), Supp. XX:202 Bitter Victory (Hardy; Kinnell, trans.), Supp. III Part 1: 235 Bittner, William, Supp. XX:74,Supp. XX:77, 76, 78, 80 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 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

CUMULATIVE INDEX / 317 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, John, Supp. XX:87 “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, Casey Nelson, Supp. XX:69, 70, 78 Blake, William, I: 381, 383, 389, 390, 398, 447, 476, 525, 526, 533; II: 321; III: 5, 19, 22, 195, 196, 197, 205, 485, 528, 540, 544–545, 567, 572; IV: 129; 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; Supp. XX:115, 116 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 Blanche, Jacques-Émile, Supp. XX:232 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 Blassingame, John, Supp. XX:106 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

318 / AMERICAN WRITERS 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 “Blinded by the Light” (Boyle), Supp. XX:20 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 Bloch, Ernest, Supp. XX:75 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 My Blood (Gambino), Supp. XX:35 “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, as Millar), Supp. IV Part 2: 466–467 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 “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 Blue Shoe (Lamott), Supp. XX:138–140 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

CUMULATIVE INDEX / 319 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 “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 Bondwoman’s Narrative, by Hannah Crafts, a Fugitive Slave, Recently Escaped from North Carolina, The, Supp. XX:105 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

320 / AMERICAN WRITERS 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, John Wilkes, III: 588 Booth, Philip, I: 522; Supp. IX: 269; Supp. XI: 141; Supp. XIII: 277; Supp. XV: 92 Booth, General William, Supp. I Part 2: 384, 386 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, The” (Lamott), Supp. XX:143– 144 “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 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 Boughton, Henrietta Breckenridge. See Young, Barbara 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; Supp. XX:232

CUMULATIVE INDEX / 321 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 Bouton, Jim “Bulldog,” Supp. XX:274 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. Coraghessan, Supp. VIII: 1–17; Supp. XX:17–32 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, Simon, I: 178; Supp. I Part 1: 103, 110, 116 Bradstreet, Mrs. Simon. See Bradstreet, Anne Brady, Alice, III: 399 Brady, Matthew, Supp. XVIII: 4 Bragdon, Claude, Supp. XX:117 “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 “Brahms in Delirium” (Skloot), Supp. XX:203 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 Scan” (Skloot), Supp. XX:200 “Brain to the Heart, The” (Komunyakaa), Supp. XIII: 120 Braithwaite, William Stanley, Retro. Supp. I: 131; 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

322 / AMERICAN WRITERS “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 C., Supp. XV: 113, 125; 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 Brett, Reginald Baliol, Supp. XX:230 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 Bed, The” (Gibran), Supp. XX:124 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 Bridegroom Cometh, The (W. Frank), Supp. XX:77 “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 “Bride of the Innisfallen, The” (Welty), IV: 278–279; Retro. Supp. I: 353 Bride of the Innisfallen, The, and Other Stories (Welty), IV: 261, 275–279; 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 Bridgehead: The Drama of Israel (W. Frank), Supp. XX:80 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

CUMULATIVE INDEX / 323 “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 Brier, His Book (J. W. Miller), Supp. XX:165, 168, 170 “Brier Grows Wild, The” (J. W. Miller), Supp. XX:170 “Brier Losing Touch with His Traditions, The” (J. W. Miller), Supp. XX:165, 169 Brier Poems, The (J. W. Miller), Supp. XX:168 “Brier Sermon, The—You Must Be Born Again” (J. W. Miller), Supp. XX:165, 169–170 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 Frederick, Supp. I Part 2: 411; 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 (film), Supp. XX:273 “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 Broken Wings, The (al-Ajni&hudot;a alMutakassirah) (Gibran), Supp. XX:115, 124, 125 “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; Supp. XX:108 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 “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, Paul, Supp. IX: 26, 31, 32

324 / AMERICAN WRITERS 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; Supp. XX:68 Brooks, Mrs. Van Wyck (Eleanor Kenyon Stimson), I: 240, 245, 250, 252 Brooks, Mrs. Van Wyck (Gladys Billings), I: 258 Broom of the System, The (Wallace), Supp. X: 301, 302–305, 310 “Brooms” (Simic), Supp. VIII: 275 Brosi, George, Supp. XX:166 Brosnan, Jim, II: 424–425; Supp. XX:195 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; Supp. XX:232 Broun, Heywood, I: 478; II: 417; IV: 432; Supp. IX: 190 Broussais, François, Supp. I Part 1: 302 Browder, Earl, I: 515; Supp. XX:76, 77 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, Mrs. Charles Brockden (Elizabeth Linn), Supp. I Part 1: 145, 146 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, 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; Supp. XX:108 Browning, Oscar, Supp. XX:231 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, 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 Bryant, Mrs. William Cullen (Frances Fairchild), Supp. I Part 1: 153, 169 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

CUMULATIVE INDEX / 325 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 (Boyle), Supp. VIII: 8–9; Supp. XX:27–28 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 (screenplay) (McMurtry), Supp. V: 232 Buffalo Girls (McMurtry), Supp. V: 229 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 in Sand (W. Frank), Supp. XX:68 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

Burham, Philip, Supp. XX:44 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; Supp. XX:108 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 “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 “Burning Tobacco Beds” (J. W. Miller), Supp. XX:167 Burns, Carol, Supp. XVIII: 162

326 / AMERICAN WRITERS 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 Burns, Stephen J., Supp. XX:85 Burnshaw, Stanley, Retro. Supp. I: 298, 303; Supp. III Part 2: 615 “Burn the Cities” (West), Retro. Supp. II: 338 Burnt Norton (T. S. Eliot), I: 575, 580– 581, 582, 584, 585; III: 10 “Burnt Norton” (T. S. 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

Bushrui, Suheil, Supp. XX:113, 117, 120, 122, 126–127 “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 Plague, The (Findley), Supp. XX:50, 52, 53 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 Buzinski, Jim, Supp. XX:273 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 Byles, Mather, Supp. XX:279, 282 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 People” (Stratton-Porter), Supp. XX:221 “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 “C 33” (H. Crane), I: 384; Retro. Supp. II: 76

CUMULATIVE INDEX / 327 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 Cain, Kathleen Shine, Supp. XX:247, 248

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 Companion to Native American Literature, The (Porter and Roemer, eds.), Supp. XX:270 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 Notes” (column, StrattonPorter), Supp. XX:217 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

328 / AMERICAN WRITERS Campbell, Alan, Supp. IV Part 1: 353; Supp. IX: 196, 198, 201 Campbell, Alexander, Supp. I Part 2: 381, 395 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 Campbell (Hale), Janet, Supp. IV Part 2: 503 “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; Supp. XX: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; Supp. XX:39. 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 Can You See Me Yet? (Findley), Supp. XX:52–53 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

CUMULATIVE INDEX / 329 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 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, Edward, Supp. XX:230 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, Paul, Supp. XX:77, 78 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

330 / AMERICAN WRITERS 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. V: 323; Supp. XVIII: 72; Supp. XIX: 266 Cassirer, Ernst, I: 265; IV: 87, 89 Cass Timberlane (Lewis), II: 455–456 Cast a Cold Eye (McCarthy), II: 566 Castaway (Cozzens), I: 363, 370, 374, 375, 379 “Caste in America” (Du Bois), Supp. II Part 1: 169 Castiglione, Baldassare, I: 279; III: 282 “Castilian” (Wylie), Supp. I Part 2: 714 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; Supp. XX:80 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, Gaius Valerius, I: 381; Supp. I Part 1: 261; Supp. I Part 2: 728 Catullus (Gai Catulli Veronensis Liber) (Zukofsky), Supp. III Part 2: 625, 627, 628, 629 “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 “Caviar” (Boyle), Supp. XX:19 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

CUMULATIVE INDEX / 331 “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 “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; Supp. XX:177 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 Chalk Face (W. Frank), Supp. XX:73–74 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 “Charlie,” I: 27, 32, 43, 386, 447; III: 403; Supp. I Part 2: 607; Supp. IV Part 1: 146; Supp. IV Part 2: 574; Supp. XX:75 “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

332 / AMERICAN WRITERS “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 “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 Chart for Rough Water (W. Frank), Supp. XX:78 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, Mrs. John (Mary Winternitz), Supp. I Part 1: 175 Cheever, Mary Liley, Supp. I Part 1: 174 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 “Chicken Market” (Skloot), Supp. XX:198, 200 “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

CUMULATIVE INDEX / 333 “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 “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 Poet, The” (Sturgis), Supp. XX:233, 240 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, 47–48 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 Christ in Concrete (di Donato), Supp. XX:33, 34–40, 42, 43, 46 “Christ in Concrete” (di Donato), Supp. XX:34 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

334 / AMERICAN WRITERS “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 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 Block (W. Frank), Supp. XX:71, 72, 76 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

CUMULATIVE INDEX / 335 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 Civitatis Anthology of African American Slave Narratives, The (H. L. Gates and Andrews, eds.), Supp. XX:105 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 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; Supp. XX:236 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, Orion, IV: 193, 195 Clemens, Samuel Langhorne. See Twain, Mark Clemens, Mrs. Samuel Langhorne (Olivia Langdon), I: 197, 208, 247; Supp. I Part 2: 457 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

336 / AMERICAN WRITERS “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 “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; Supp. XX:236 “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; Supp. XX:88 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 Coke, Desmond, Supp. XX:235 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, Bruce, Supp. XX:106 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, Sidonie-Gabrielle, Supp. VIII: 40, 171; 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

CUMULATIVE INDEX / 337 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 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; Supp. XX:236 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 Colored People (H. L. Gates), Supp. XX:101, 103, 104–105, 109, 111 “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; Supp. XX:107 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

338 / AMERICAN WRITERS “Comedian as the Letter C, The” (Stevens), IV: 84–85, 88; Retro. Supp. I: 297, 301, 302 “Comedy Cop” (Farrell), II: 45 Comedy of a Country House (J. Sturgis), Supp. XX:238 “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 “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

CUMULATIVE INDEX / 339 “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 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 a Wannabe Negro” (McKnight), Supp. XX:152–153, 158 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; Supp. XX:195 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

340 / AMERICAN WRITERS 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 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, Frederic Taber, Supp. XX:219– 220 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, Mrs. James Fenimore (Susan A. De Lancey), I: 338, 351, 354 Cooper, Jane, Supp. XV: 259 Cooper, Rand Richards, Supp. XVI: 74

CUMULATIVE INDEX / 341 Cooper, Susan Fenimore, I: 337, 354 Cooper, William, I: 337–338, 351 Cooper, Mrs. William, I: 337 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 Copperhead Cane (J. W. Miller), Supp. XX:163, 164, 166–167 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 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 Cornell, Valerie, Supp. XX:94–95 “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; Supp. XX:83, 84, 85, 90, 91, 91– 93, 95 “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 Cory, William Johnson, Supp. XX:230, 231 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

342 / AMERICAN WRITERS 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 “‘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 Stories” (Skloot), Supp. XX:195, 207

“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, Philip, Supp. XX:2 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; Supp. XX:76 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, Steven, Supp. XI: 139; 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; Supp. XX:80 Crane, Jonathan, Jr., I: 407 Crane, Jonathan Townley, I: 406 Crane, Mrs. Jonathan Townley, I: 406 Crane, Luther, I: 406 Crane, Milton, Supp. XV: 144 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

CUMULATIVE INDEX / 343 “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; Supp. XVIII: 283 Creative Criticism (Spingarn), I: 266 “Creative Democracy” (Locke), Supp. XIV: 208 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 Crooked Little Heart (Lamott), Supp. XX:138 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

344 / AMERICAN WRITERS “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 “Crucified” (Gibran), Supp. XX:119 “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 “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 “Cry of the Graves, The” (Gibran), Supp. XX:124 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 Cuba: Prophetic Island (W. Frank), Supp. XX:80, 81 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

CUMULATIVE INDEX / 345 “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 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; Supp. XX:227 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 Life, The (Ellis), Supp. XX:117 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 (G. 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

346 / AMERICAN WRITERS 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 Mother, The (W. Frank), Supp. XX:70–71 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 as Millar), Supp. IV Part 2: 465, 466 “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 Dartmouth, Earl of, Supp. XX:284 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; Supp. XX:18 “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 Land, A (Stratton-Porter), Supp. XX:222 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; Supp. XX:154 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, Gray, Supp. XX:260 “David and Agnes, a Romance” (Keillor), Supp. XVI: 175 David Blaize (Benson), Supp. XX:234 David Copperfield (Dickens), I: 458; II: 290; Retro. Supp. I: 33; Supp. XVI: 65, 72; Supp. XX:234

“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; Supp. XX:164 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, Sir John, III: 541 Davies, Marion, Supp. XVI: 186 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

CUMULATIVE INDEX / 347 Dawn (O. Butler), Supp. XIII: 63, 64 “Dawnbreaker” (Hayden), Supp. II Part 1: 370 Dawn in Russia (W. Frank), Supp. XX:76 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, Fred Holland, Supp. XX:114, 115 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 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 Deasy, Philip, Supp. XX:42 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 Birth of David Markand, The (W. Frank), Supp. XX:76–77 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

348 / AMERICAN WRITERS 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; Supp. XX:76 “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; Supp. XX:27 “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 “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, Alesaˇ, 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 Dawn” (Skloot), Supp. XX:202 “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

CUMULATIVE INDEX / 349 Decoration of Houses, The (Wharton and Codman), IV: 308; Retro. Supp. I: 362, 363–364, 366 “Decoy” (Ashbery), Supp. III Part 1: 13–14 Decter, Midge, Supp. XX:248 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

“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; Supp. XX:83, 87, 91 DeLisle, Anne, Supp. VIII: 175 Deliverance (Dickey), Supp. IV Part 1: 176, 186–188, 190; Supp. X: 30; Supp. XX:173–174 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, Retro. Supp. I: 67; Supp. XVII: 70 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

350 / AMERICAN WRITERS 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 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; Supp. XX:17, 18, 20 “Descent of Man” (Boyle), Supp. VIII: 14; Supp. XX:18 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 Desperate Characters (Fox), Supp. XX:91 “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; Supp. XV: 305 Deutsch, Michel, Supp. IV Part 1: 104 “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

CUMULATIVE INDEX / 351 “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 “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 Dialogue with a Dead Man (J. W. Miller), Supp. XX:163, 164, 167 “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; Supp. XX:21, 87, 195 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, Mrs. Edward, I: 451, 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; Supp. XX:106, 108 Dickinson, Gilbert, I: 469 Dickinson, Goldsworthy Lowes, Supp. XIV: 336 Dickinson, Lavinia Norcross, I: 451, 453, 462, 470 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

352 / AMERICAN WRITERS 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, ed.), 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 Di Donato, Peter, Supp. XX:34 Di Donato, Pietro, Supp. XX:33–47 “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 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 Diomede, Matthew, Supp. XX:46 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 Discomfort, Zone, The: A Personal History (Franzen), Supp. XX:83, 84, 95, 95 “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

CUMULATIVE INDEX / 353 “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 “Dissent in Ashcroft’s America” (P. N. Warren), Supp. XX:273 “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 Divided Self, The (Laing), Supp. XX:95 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 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 Dmytryk, Edward, Supp. XX:41 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; Supp. XX:84, 90 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 Dodge, Mable, Supp. XX:69 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

354 / AMERICAN WRITERS Dogs Bark, The: Public People and Private Places (Capote), Supp. III Part 1: 120, 132 “Dog’s Eye” (J. W. Miller), Supp. XX:167 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 Dolben, Digby Mackworth, Supp. XX:230 “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 “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; Supp. XX:45 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

CUMULATIVE INDEX / 355 Double Axe, The (Jeffers), Supp. II Part 2: 416, 434 “Double Blind” (Skloot), Supp. XX:194, 208 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; Supp. XX:69 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; Supp. XX:109, 281 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 Downey, Sharon D., Supp. XX:244 Downhill Racer (film), Supp. IX: 253 “Down Home” (J. W. Miller), Supp. XX:169 “Down in Alabam” (Bierce), I: 193 Downing, Ben, Supp. XII: 175, 189, 190–191 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 “Dowsing for Joy” (Skloot), Supp. XX:203 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, Robert, Supp. XX:274 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

356 / AMERICAN WRITERS 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 “Dress Rehearsal” (Skloot), Supp. XX:204 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 “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 Drop City (Boyle), Supp. XX:30–31 “Drowned Man, The: Death between Two Rivers” (McGrath), Supp. X: 116 “Drowning” (Boyle), Supp. XX:18 “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; Supp. XX:280 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

CUMULATIVE INDEX / 357 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; Supp. XX:102, 105, 106 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; Supp. XX:244 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 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, Joyce, Supp. XX:166 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 Dykeman, Wilma, Supp. XX:163 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 “Dynasties” (Gibran), Supp. XX:118 “Dysfunctional Narratives: Or, ‘Mistakes Were Made’ ” (C. Baxter), Supp. XVII: 20 “Dysfunctional Nation” (Karr), Supp. XI: 245

358 / AMERICAN WRITERS 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 and the Skylark, The” (Gibran), Supp. XX:124 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, Emma, Supp. XX:232, 240 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 Earth Gods, The (Gibran), Supp. XX:116, 123 “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 “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; Supp. XX:23–24, 25, 28 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

CUMULATIVE INDEX / 359 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” (S. 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; Supp. XX:108 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 “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

360 / AMERICAN WRITERS 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 “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” (M. 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-Hage, George N., Supp. XX:116 “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 William, I: 5; II: 345; Retro. Supp. I: 55; Supp. I Part 2: 479; Supp. IX: 94 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; Supp. XX:108 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,

CUMULATIVE INDEX / 361 195, 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; Supp. XX:86, 108, 199 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 Rex (Findley), Supp. XX:62–63 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; Supp. XX:117, 235

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 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; Supp. XX:115, 116 “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

362 / AMERICAN WRITERS “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 Dreams, The (Skloot), Supp. XX:196, 202–203 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 “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 Englander, Nathan, Supp. XX:177, 179 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 English-Latin Gradus or Verse Dictionary, An (Ainger), Supp. XX:230 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

CUMULATIVE INDEX / 363 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; Supp. XX:281, 287, 287–288 “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, Michael, Supp. XX:34, 40 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 “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 “Esther Kahn” (Symons), Supp. XX:239 “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

364 / AMERICAN WRITERS 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 Light, The (Skloot), Supp. XX:196, 201–202 “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 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 “Everly Brothers, The” (Skloot), Supp. XX:199 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

CUMULATIVE INDEX / 365 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 (film), Supp. XX:246 Exodus (Uris), Supp. IV Part 1: 379; Supp. XX:243–244, 244, 245, 247, 248, 250–251, 257 Exodus Revisited (Uris), Supp. XX:247 “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

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

366 / AMERICAN WRITERS 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 “Fact of Blackness, The” (Fanon), Supp. XX:152 “Facts” (Franzen), Supp. XX:85 “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 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 “Faith of Fishermen, The” (J. W. Miller), Supp. XX:170 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, Murray, II: 55 Falkner, Murray C., II: 55 Falkner, Mrs. Murray C. (Maud Butler), 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

CUMULATIVE INDEX / 367 “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 Falwell, Jerry, Supp. XX:273 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” (J. W. Miller), Supp. XX:167 “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 Story, The” (Skloot), Supp. XX:195 “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 Last Words (Findley), Supp. XX:49, 55–56 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 Dancer, The (P. N. Warren), Supp. XX:267–268 “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; Supp. XX:152 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, The (Gibran), Supp. XX:121 “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 “Farewell to America, A” (Wheatley), Supp. XX:283 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 Faríd, ‘Umar ibn al-, Supp. XX:117 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

368 / AMERICAN WRITERS “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, Mrs. James T. (Dorothy Butler), II: 26 Farrell, Mrs. James T. (Hortense Alden), II: 26, 27, 45, 48 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 “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; Supp. XX:137, 162, 185, 195 Faulkner: A Collection of Critical Essays (Warren), Retro. Supp. I: 73 Faulkner at Nagano (Jelliffe, ed.), I: 289; II: 63, 65 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 and Trembling (Kierkegaard), Supp. XX:132 “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

CUMULATIVE INDEX / 369 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 Italian: The Art of Ethnicity in America (Ferraro), Supp. XX:43 “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 Feinsilver, Pamela, Supp. XX:135 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; Supp. XX:204 “Fern-Life” (Larcom), Supp. XIII: 143 Ferragammo, Salvatore, Supp. XVI: 192 Ferraro, Thomas J., Supp. XX:34, 43 Ferreo, Guglielmo, Supp. I Part 2: 481 Ferris, Anthony, Supp. XX:124 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 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 Fiddler’s Trance, The (Skloot), Supp. XX:196, 202 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

370 / AMERICAN WRITERS 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, Mrs. James T., Supp. XIV: 44, 46. See Fields, Annie Adams Fields, Joseph, IV: 274 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 Fig Connection, The (Franzen and Siebert), Supp. XX:84 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 Figure of Fulfillment, The (Lerperger; Miller, trans.), Supp. XX:165, 167– 168 Figures from the Double World (McGrath), Supp. X: 118–119 Figures in Black: Words, Signs, and the “Racial” Self (H. L. Gates), Supp. XX:99, 100, 106, 107 “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 Fin de Chéri, La (Colette; stage adaptation, Loos), Supp. XVI: 194 Finder, Henry, Supp. XX:90 “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 Findley, Timothy, Supp. XX:49–65 “Find the Woman” (Macdonald, as Millar), Supp. IV Part 2: 466 Fine, David, Supp. XI: 160 Fine, Richard, Supp. XVIII: 248

CUMULATIVE INDEX / 371 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: 70–71 “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 “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

372 / AMERICAN WRITERS “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; Supp. XX:74 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 Five 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 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

CUMULATIVE INDEX / 373 Flecker, James Elroy, Supp. I Part 1: 257 “Flee on Your Donkey” (Sexton), Supp. II Part 2: 683, 685 Fleming, Ian, Supp. XI: 307; Supp. XX:195 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; Supp. XX:177 Foerster, Norman, I: 222; Supp. I Part 2: 423, 424; Supp. IV Part 2: 598 “Fog” (Sandburg), III: 586 “Fog Galleon” (Komunyakaa), Supp. XIII: 127 “Foggy and dripping” (Kooser), Supp. XIX: 125 “Foggy Lane, The” (Simpson), Supp. IX: 274 “Fog Man, The” (Boyle), Supp. XX:20 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 Folk-Lore in the Old Testament (Frazer), Supp. XX:116–117 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

374 / AMERICAN WRITERS “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, Mary K., Supp. XX:239 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 Language, The” (Franzen), Supp. XX:84 “Foreign Shores” (Salter), Supp. IX: 260 Forensic and the Navigators (Shepard), Supp. III Part 2: 439 Forerunner, The: His Parables and Poems (Gibran), Supp. XX:115, 118– 119, 119 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 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

CUMULATIVE INDEX / 375 “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 S.F.S. 1875–1962” (J. W. Miller), Supp. XX:166 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; Supp. XX:229, 235, 239, 240 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, Frances Smith, Supp. XX:287 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 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

376 / AMERICAN WRITERS “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 (T. S. 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, Paula, Supp. XX:91 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; Supp. XX:67–82 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 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; Supp. XX:284 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

CUMULATIVE INDEX / 377 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; Supp. XX:83–97 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; Supp. XX:117 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 Freckles (film), Supp. XX:223 Freckles (Stratton-Porter), Supp. XX:211, 218, 218–219, 222 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; Retro. Supp. II: 51, 136, 138; Supp. IX: 79 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 “Friendly Debate between a Conformist and a Non-Conformist, A” (Wild), IV: 155 “Friendly Neighbor” (Keillor), Supp. XVI: 172 Friend of the Earth, A (Boyle), Supp. VIII: 12, 16; Supp. XX:29–30 “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

378 / AMERICAN WRITERS “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; Supp. XX:91 “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; Supp. XX: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 Plotzk to Boston (Antin), Supp. XX:2 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 Stone Orchard: A Collection of Memories (Findley), Supp. XX:57 “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 Front Runner, The (P. N. Warren), Supp. XX:259, 262–264 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, 256, 293, 296, 299, 301, 302, 306, 348; Supp. XVII: 36, 110, 115–116; Supp. XVIII: 298, 300; Supp. XIX: 1, 123; Supp. XX:69, 199 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

CUMULATIVE INDEX / 379 “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; Supp. XX:50 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, Morton, Supp. XX:231 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, The” (Skloot), Supp. XX:197 “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 of Southern Letters, The (J. W. Miller), Supp. XX:161 Future of the Race, The (H. L. Gates), Supp. XX:101, 104, 111 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; Supp. XX:83, 91 Gadiot, Pud, Supp. XI: 295 Gain (Powers), Supp. IX: 212, 220–221 Gaines, Ernest J., Supp. X: 24, 250 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 Galton Case, The (Macdonald), Supp. IV Part 2: 463, 473, 474 “Gal Young ‘Un” (Rawlings), Supp. X: 228 Gambino, Richard, Supp. XX:35 “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

380 / AMERICAN WRITERS “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 Gardaphe, Fred, Supp. XX:38, 41 “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 Garden God, The: A Tale of Two Boys (Reid), Supp. XX:235 “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 Prophet, The (Gibran), Supp. XX:119, 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” (Gibran), Supp. XX:124 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 P., Supp. I Part 1: 196; Supp. VII: 95–113; Supp. X: 3, 7; Supp. XI: 218; Supp. XVIII: 74, 75 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 H., Supp. V: 44, 52, 238; Supp. VI: 77–96; Supp. IX: 208; Supp. XII: 152; Supp. XIV: 305; Supp. XVII: 183 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; Supp. XX:92 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; Supp. XX:99–112, 279, 286 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 “Gauguin in Oregon” (Skloot), Supp. XX:203 “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 Canon, The (Drake), Supp. XX:274 “Gay Chaps at the Bar” (Brooks), Supp. III Part 1: 74, 75 “ ‘Gay Culture’: Still of the Wild Frontier” (P. N. Warren), Supp. XX:272 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

CUMULATIVE INDEX / 381 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 H., II: 27, 41; Supp. XVII: 161 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 “Generation of the Dispossessed” (P. N. Warren), Supp. XX:272 “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

Gene Stratton-Porter (Richards), Supp. XX:217–218 Gene Stratton-Porter, Naturalist and Novelist (Long), Supp. XX:212 “Gene Stratton-Porter: Women’s Advocate” (Obuchowski), Supp. XX:222 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

382 / 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 Ghazálí, al-, Supp. XX:117 “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 Gibran, Kahlil, Supp. XX:69, 113–129 “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

CUMULATIVE INDEX / 383 Gilman, Richard, IV: 115; Supp. IV Part 2: 577; Supp. XIII: 100; Supp. XIX: 251 Gilmore, Eddy, Supp. I Part 2: 618 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; Supp. XX:34 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 of the Limberlost (film), Supp. XX:223 Girl of the Limberlost (Stratton-Porter), Supp. XX:211, 221–222 “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 Us This Day (film, Dmytryk), Supp. XX:40–41 “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

384 / AMERICAN WRITERS 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 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 Ruins, A (Uris), Supp. XX:247, 256 “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 Fool” (Gibran), Supp. XX:118 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; Supp. XX:84 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, Going, Gone” (Skloot), Supp. XX:207 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” (J. W. Miller), Supp. XX:169 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; Supp. XX:147 “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

CUMULATIVE INDEX / 385 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 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; Supp. XX:243 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; Supp. XX:177 “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

386 / AMERICAN WRITERS 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 “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; Supp. XX:177 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; Supp. XX:50 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 Gospels, The (di Donato), Supp. XX:45–46 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, Edward, Supp. XX:250 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

CUMULATIVE INDEX / 387 Grace Notes (Dove), Supp. IV Part 1: 248–250, 252 Grace (Eventually): Thoughts on Faith (Lamott), Supp. XX:143–145 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 “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 Gramsci, Antonio, Supp. XX:35–36 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; Supp. XX:28 “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; Supp. XX:18–19 Greasy Lake & Other Stories (Boyle), Supp. XX:17, 18–19 “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 Sea, The (Gibran), Supp. XX:118 “Greater Self, The” (Gibran), Supp. XX:118 “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

388 / AMERICAN WRITERS “Great Figure, The” (W. C. Williams), IV: 414 “Great Fillmore Street Buffalo Drive, The” (Momaday), Supp. IV Part 2: 493 Great Gatsby, The (Fitzgerald) (Modern Library), Retro. Supp. I: 113 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; Supp. XX:59, 60, 61, 72 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 “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, Rose Basile, Supp. XX:33, 41 “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 Hell” (Boyle), Supp. XX:18 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

CUMULATIVE INDEX / 389 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 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; Supp. XX:50 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

Gunfight at the O.K. Corral (film), Supp. XX:246 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 Haddád, ‘Abd al-Masíh, Supp. XX:116 Haeckel, Ernst Heinrich, II: 480 Haegert, John, Supp. XVI: 69 Hafif, Marcia, Supp. IV Part 2: 423

390 / AMERICAN WRITERS 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 Haj, The (Uris), Supp. XX:244, 245, 247, 255–256 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 “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; Supp. XX:194 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, Pete, Supp. XX:244, 255 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; Supp. XX:282 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 Casino, 1954, A” (Skloot), Supp. XX:194, 202 “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 Burley” (J. W. Miller), Supp. XX:167 Hanging Garden, The (Wagoner), Supp. IX: 338–339

CUMULATIVE INDEX / 391 “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 “Hanlon Mountain in Mist” (J. W. Miller), Supp. XX:164, 166–167 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 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, Lewis, Supp. XX:232–233 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 Laughter (Lamott), Supp. XX:132– 133

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; Supp. XX:195 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 Harlan’s Race (P. N. Warren), Supp. XX:264–265 “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

392 / AMERICAN WRITERS 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; Supp. XX:103 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 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 Hartman, Saidiya, Supp. XX:154 Harum, David, II: 102 “Harvard” (Lowell), II: 554 Harvard College in the Seventeenth Century (Morison), Supp. I Part 2: 485 Harvester, The (Stratton-Porter), Supp. XX:211, 212, 218, 221 “Harvester, The: The Natural Bounty of Gene Stratton-Porter” (Birkelo), Supp. XX:220–221 “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 Haskell, Mary, Supp. XX:115, 117 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 Hate That Hate Produced, The (CBS documentary), Supp. XX:102 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, Nathaniel, I: 106, 204, 211, 340, 355, 363, 384, 413, 458, 561–

CUMULATIVE INDEX / 393 562; 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, Mrs. Nathaniel (Sophia Peabody), II: 224, 244; III: 75, 86 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 Haynes-Smith, William, Supp. XX:231, 232, 233 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 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 Headhunter (Findley), Supp. XX:57–59, 60, 61 “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 Heads of Grain (al-Sanábil) (Gibran), Supp. XX:124 “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; Supp. XX:18, 57–58 “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, Shirley, Supp. XX:90 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

394 / AMERICAN WRITERS 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; Supp. XX:108 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 “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; Supp. XX:45, 74, 76 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; Supp. XX:84 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

CUMULATIVE INDEX / 395 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 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 Heredity: A Psychological Study of Its Phenomena, Laws, Causes, and Consequences (Ribot), Supp. XX:238 “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 “Her Game” (Skloot), Supp. XX:196, 202 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: A Study in Tradition, Myth, and Drama (Raglan), I: 135; 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; Supp. XX:251 “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

396 / AMERICAN WRITERS “He/She” (Dunn), Supp. XI: 149 “Hesitation Blues” (Hughes), Retro. Supp. I: 211 He Sleeps (McKnight), Supp. XX:151, 152–155, 158 “He Sleeps” (McKnight), Supp. XX:152, 155 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, Philip, Supp. I Part 2: 707, 708 Hichborn, Mrs. Philip. See Wylie, Elinor “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 Higgs, Robert, Supp. XX:166

“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 “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, Anita, Supp. XX:110 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 Bomar, Retro. Supp. II: 117; Supp. I Part 1: 51, 325; Supp. XIII: 233; 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 D., Supp. V: 177; Supp. IX: 262; Supp. XIV: 15; Supp. XV: 78, 225; Supp. XVII: 23; Supp. XIX: 202 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 First, Best Country (J. W. Miller), Supp. XX:163, 166, 172–175

CUMULATIVE INDEX / 397 “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 History of Southern Literature, The (Rubin), Supp. XX:161 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; Supp. XX:253 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, Roy, Supp. XX:177 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

398 / AMERICAN WRITERS 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 (W. Frank), Supp. XX:72–73 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, Theodore, I: 453 Holland, Mrs. Theodore, I: 453, 455, 465 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 (T. S. 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, Mrs. Abiel (Sarah Wendell), Supp. I Part 1: 300 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, Martha Stoddard, Supp. XX:205, 207 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 Holmes, Oliver Wendell, Jr., I: 3, 19; Supp. IV Part 2: 422 Holmes, Mrs. Oliver Wendell (Amelia Jackson), Supp. I Part 1: 303 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. XV: 159; Supp. XIX: 9 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 Economics for Halfbacks” (Skloot), Supp. XX:195, 207 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

CUMULATIVE INDEX / 399 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 “Home Repairs” (Skloot), Supp. XX:204 “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 Homing with the Birds (Stratton-Porter), Supp. XX:212, 216, 222 “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 “Homunculus, The: A Novel in One Chapter” (McKnight), Supp. XX:152 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 Hope, Lynn, Supp. II Part 1: 38 “Hope Atherton’s Wanderings” (Howe), Supp. IV Part 2: 432 Hope of Heaven (O’Hara), III: 361 “Hopes Rise” (Boyle), Supp. XX:20 “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; Supp. XX:230 Hopkins, Gerard Walter Sturgis, Supp. XX:229, 233, 240 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; Supp. XX:177 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 Horse With a Green Vinyl Mane (P. N. Warren), Supp. XX:261 “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

400 / AMERICAN WRITERS 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; Supp. XX:239, 240 “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 “House of the One Father” (Antin), Supp. XX:3, 13 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 America Came to the Mountains” (J. W. Miller), Supp. XX:169 “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. XIV: 103–104, 104; Supp. XVII: 50; Supp. XIX: 257, 265

CUMULATIVE INDEX / 401 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, 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, Mrs. William Dean (Elinor Mead), II: 273 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” (Franzen), Supp. XX:84 “How I Write” (Welty), IV: 279, 280 “How I Wrote The Promised Land” (Antin), Supp. XX:3 “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 “How Laddie and the Princess Spelled Down at the Christmas Bee” (StrattonPorter), Supp. XX:216 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 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 Alone: Essays (Franzen), Supp. XX:83, 90, 93–94 “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

402 / AMERICAN WRITERS 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 Huene-Greenberg, Dorothee von, Supp. XX:46 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 Fly, The” (Boyle), Supp. XX:19 “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 “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

CUMULATIVE INDEX / 403 “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; Supp. XX:107 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 Hutchinson, Thomas, Supp. XX:282 Hutton, James, Supp. IX: 180 Huwayyik, Yusuf, Supp. XX:115 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; Supp. XX:239 “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 “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 Ibn Rushd (Averroes), Supp. XX:117 Ibn Síná (Avicenna), Supp. XX:117 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!™” (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

404 / AMERICAN WRITERS 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 Biblical Law Ruled Modern Society . . . ” (P. N. Warren), Supp. XX:272 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; Supp. XX:17, 19 “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 “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 Get on the Bus (McKnight), Supp. XX:148–150, 152 “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 Heard It Through the Grapevine (Turner), Supp. XX:110 “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 “Ike and Nina” (Boyle), Supp. XX:19 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 Led Three Lives” (television program), Supp. XX:195 “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; Supp. XVII: 117 Iliad (Pope, trans.), Supp. I Part 1: 152

CUMULATIVE INDEX / 405 “I like to see it lap the Miles” (Dickinson), Retro. Supp. I: 37 “I Live Up Here” (Merwin), Supp. III Part 1: 349 “I’ll Be Doing More of Same” (Franzen), Supp. XX:89 “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 Immigrant Saint: The Life of Mother Cabrini (di Donato), Supp. XX:44

“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

406 / AMERICAN WRITERS “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 “In Country of Conscience” (J. W. Miller), Supp. XX:165 “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 “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

CUMULATIVE INDEX / 407 “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; Supp. XX:91 “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 Circle, The (Boyle), Supp. XX:24, 26 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 “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 Memory (Findley), Supp. XX:51, 63

408 / AMERICAN WRITERS “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 “In Spain, Throwing Carnations” (P. N. Warren), Supp. XX:272 “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 Intersexes, The (Prime-Stevenson as Mayne), Supp. XX:235 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 Jungle (W. Frank), Supp. XX:76 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 “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 Days of the Comet (Wells), Supp. XX:233, 240 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

CUMULATIVE INDEX / 409 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 Memory (Skloot), Supp. XX:193, 196, 205, 205–206 “In the Shadow of Memory” (Skloot), Supp. XX:206 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 Dream” (J. W. Miller), Supp. XX:170 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 “Intimately Connected to the Zeitgeist” (Franzen), Supp. XX:94 “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 Night” (McKnight), Supp. XX:151–152 “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: A Personal Account of the Mount Everest Disaster (Krakauer), Supp. XVII: 210; 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 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 Invaders, The (W. Frank), Supp. XX:79–80 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

410 / AMERICAN WRITERS “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 Ionica (Cory), Supp. XX:230 Ionica II (Cory), Supp. XX:230 “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 Iram, Dhát al-’Imád (Gibran), Supp. XX:116 “Iraq Drifting, July 2003” (Weigl), Supp. XIX: 288 “Irascibles, The” (Kees), Supp. XV: 145– 146 Ireland: A Terrible Beauty (Uris), Supp. XX:244, 245–246, 246, 254 “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, Sir Henry, IV: 350 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, 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, Robert, Supp. XX:120 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 Isháq, Adib, Supp. XX:117 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 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 in the Atlantic (W. Frank), Supp. XX:79 “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

CUMULATIVE INDEX / 411 “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 Ivry, Sara, Supp. XX:179 “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 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, Jill Suzanne, Supp. XX:178, 186 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

412 / AMERICAN WRITERS “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; Supp. XX:227, 228, 232, 233, 238, 240 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, 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, 271; Supp. IX: 94, 268; Supp. XI: 311, 315; Supp. XII: 121, 260, 297; Supp. XV: 93, 153; Supp. XVII: 111 Jarrell, Mrs. Randall (Mary von Schrader), II: 368, 385 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-Christophe (Rolland), Supp. XX:70

CUMULATIVE INDEX / 413 “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, Margo, Supp. XX:87 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; Supp. XX:285 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, Joe, Supp. XX:117, 120, 122 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: Song of Songs (Uris), Supp. XX:244–245, 246, 255 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, the Son of Man (Gibran), Supp. XX:115–116, 117, 122–123 “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, 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 Jewett, Dr. Theodore Herman, II: 396– 397, 402 “Jew for Export, The” (Mamet), Supp. XIV: 251–252 Jew in Our Day, The (W. Frank), Supp. XX:79 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 “Joe, the Vanishing American” (Swados), Supp. XIX: 258–259 Joe Hill: A Biographical Novel (Stegner), Supp. IV Part 2: 599 Joe Jones (Lamott), Supp. XX:134–135 “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 XXIII, Pope, Supp. I Part 2: 492 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-a Dreams: A Tale (J. Sturgis), Supp. XX:233

414 / AMERICAN WRITERS “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 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 Franzen at the End of Postmodernism (Burns), Supp. XX:85 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 Jones, James, III: 40; IV: 98; Supp. XI: 213–237; Supp. XIX: 248, 252; Supp. XX:248 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, Loyal, Supp. XX:170 Jones, Lucretia Stevens Rhinelander, IV: 309 Jones, Madison, Retro. Supp. II: 235; Supp. X: 1 Jones, Major (pseudonym). See Thompson, William T.

CUMULATIVE INDEX / 415 Jones, Malcolm, Supp. V: 219; Supp. XX:93, 138 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; Supp. XX:197 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 Journeyman: Travels of a Writer (Findley), Supp. XX:50 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 “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

416 / AMERICAN WRITERS 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 “Junctions” (Lamott), Supp. XX:143 “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; Supp. XX:63, 117 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 Jury of Her Peers, A: American Women Writers from Anne Bradstreet to Annie Proulx (Showalter), Supp. XX:274 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; Supp. XX:199 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; Supp. XX:18, 21, 85, 87 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; Supp. XX:75 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; Supp. XX:92, 94 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 Kallan, Richard A., Supp. XX:244 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 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

CUMULATIVE INDEX / 417 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; Supp. XX:115, 116 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, Reverend Edwin H., III: 200 Kellogg, Paul U., Supp. I Part 1: 5, 7, 12 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, Mrs. John F., I: 136 Kennedy, John Pendleton, II: 313 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; Supp. XX:90 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 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

418 / AMERICAN WRITERS 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; Supp. XX:17 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 “Khalil the Heretic” (Gibran), Supp. XX:124 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; Supp. XX:132 Kiernan, Robert F., Supp. IV Part 2: 684 Kieseritsky, L., III: 252 Kilgo, Jim, Supp. XVIII: 192 “Kilim” (McClatchy), Supp. XII: 258 Kilina, Patricia (pseudonym). See Warren, Patricia Nell “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 Light that Shines on Texas, The (McKnight), Supp. XX:151–152 “Kind of Light that Shines on Texas, The” (McKnight), Supp. XX:151 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; Supp. XX:281 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, The” (Gibran), Supp. XX:123– 124 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 Beasts” (P. N. Warren), Supp. XX:272 “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

CUMULATIVE INDEX / 419 King of the Mountain (Garrett), Supp. VII: 96, 97 “King of the River” (Kunitz), Supp. III Part 1: 263, 267–268 “King of the Sea” (Marquand), III: 60 “King over the Water” (Blackmur), Supp. II Part 1: 107 “King Pandar” (Blackmur), Supp. II Part 1: 92, 102 “King 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; Supp. XV: 220, 223 “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 Kinsella, Thomas, Supp. XX:195–196, 197, 207 Kinsey, Alfred, IV: 230; Supp. XIV: 140 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; Supp. XX:23 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 Heaven’s Door” (Lamott), Supp. XX:140–141 “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; Supp. XX:84 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

420 / AMERICAN WRITERS 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 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 Kornfield, Jack, Supp. XX:142 Korrektur (Bernhard), Supp. XX:91 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 Kraus, Karl, Supp. XX:84 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; Supp. XX:164 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; Supp. XX:177 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 Laddie (Stratton-Porter), Supp. XX:211, 213 “Laddie, the Princess and the Pie” (Stratton-Porter), Supp. XX:216 “Ladies” (Coleman), Supp. XI: 93 Ladies Almanack (Barnes), Supp. III Part 1: 37–39, 42 Ladies Auxiliary, The (Mirvis), Supp. XX:177, 179–185 “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

CUMULATIVE INDEX / 421 “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; 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; Supp. XX:94 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, The” (Yeats), Retro. Supp. I: 413; 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 Lamantia, Philip, Supp. VIII: 289 Lamb, Brian, Supp. XIX: 156; Supp. XX:101 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 Lamott, Anne, Supp. XX:131–146

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 “Land and Language” (J. W. Miller), Supp. XX:170 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, Robert Sampson, Supp. I Part 1: 349, 351, 355, 356, 361 Lanier, Mrs. Robert Sampson (Mary Jane Anderson), Supp. I Part 1: 349 Lanier, Sidney, IV: 444; Supp. I Part 1: 349–373; Supp. I Part 2: 416; Supp. IV Part 1: 165

422 / AMERICAN WRITERS Lanier, Mrs. Sidney (Mary Day), Supp. I Part 1: 351, 355, 357, 361, 362, 364, 370, 371 “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 “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 Lapsley, Gaillard, Supp. XX:231 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; Supp. XX:199 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 Centennial, The (P. N. Warren as Kilina), Supp. XX:261–262 “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 Crazy People, The (Findley), Supp. XX:51–52 “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, The” (Gibran), Supp. XX:119

CUMULATIVE INDEX / 423 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 “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 Lavender Locker Room, The (P. N. Warren), Supp. XX:261, 273–274 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; Supp. XX:69 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; Supp. XX:178 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 “Leakage” (Skloot), Supp. XX:202 Leal, Luis, Supp. XIX: 98, 112 “Leaning” (Webb), Supp. XX:56

424 / AMERICAN WRITERS 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 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 Leave It to Beaver (television show), Supp. XX:103 “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, Queenie, Supp. XX:232 “Leavis-Snow Controversy, The” (Trilling), Supp. III Part 2: 512 Leavitt, Caroline, Supp. XX:186 Leavitt, David, Supp. VIII: 88 Le Braz, Anatole, Supp. XIII: 253 Le Carre, John, Supp. XX:195 Lecker, Robert, Supp. XIII: 21 LeClair, Thomas, Supp. IV Part 1: 286 LeClair, Tom, Supp. V: 53; Supp. XII: 152; Supp. XX:93 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; Supp. XX:110 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 and Dreams (P. N. Warren), Supp. XX:261 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

CUMULATIVE INDEX / 425 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 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 Lerperger, Emil, Supp. XX:165, 167 “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 “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

426 / AMERICAN WRITERS 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 Author” (P. N. Warren), Supp. XX:272 “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 “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 Highly Resolve (Stratton-Porter), Supp. XX:223 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 Levin, Meyer, Supp. XX:34 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 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, Dr. Claude, II: 442 Lewis, David Levering, Supp. XVIII: 127; Supp. XIX: 74, 75 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, 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, Mrs. Sinclair (Dorothy Thompson), II: 449–450, 451, 453 Lewis, Mrs. Sinclair (Grace Livingston Hegger), II: 441 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

CUMULATIVE INDEX / 427 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 “Lie, The” (Antin), Supp. XX:7, 9–10 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 “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 & Letters of Gene Stratton-Porter (Meehan), Supp. XX:213 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 Jesus (Renan), Supp. XX:122 “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

428 / AMERICAN WRITERS “Lightning, The” (Swenson), Supp. IV Part 2: 645 “Lightning Flash, The” (Gibran), Supp. XX:123 “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 “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, Thomas, III: 587 Lincoln, Mrs. Thomas (Nancy Hanks), III: 587 Lincoln: A Novel (Vidal), Supp. IV Part 2: 677, 684, 685, 688, 689–690, 691, 692 Lincoln on Race and Slavery (H. L. Gates), Supp. XX:108–109 “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, 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, Mrs. Vachel (Elizabeth Connors), Supp. I Part 2: 398, 399, 473 Lindsay, Vachel Thomas, Supp. I Part 2: 374, 375 Lindsay, Mrs. Vachel Thomas (Esther Catherine Frazee), Supp. I Part 2: 374, 375, 384–385, 398 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” (J. W. Miller), Supp. XX:167

CUMULATIVE INDEX / 429 “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 “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

430 / AMERICAN WRITERS 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; Supp. XX:71, 75 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 “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

CUMULATIVE INDEX / 431 London, Mrs. Jack (Bessie Maddern), II: 465, 466, 473, 478 London, Mrs. Jack (Charmian Kittredge), II: 466, 468, 473, 476, 478, 481 London, John, II: 464, 465 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 Loneliness of the Long Distance Runner, The (Sillitoe), Supp. XX:195 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, Judith Reick, Supp. XX:212, 215, 217, 223 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 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; Supp. XX:195 “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 Lincoln (television production), Supp. XX:99 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

432 / AMERICAN WRITERS “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 the Woods” (P. N. Warren), Supp. XX:272 “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 Loose Canons (H. L. Gates), Supp. XX:101, 108, 109–110, 111 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 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 Lose Your Mother: A Journey Along the Atlantic Slave Route (Hartman), Supp. XX:154 “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 Louganis, Greg, Supp. XX:264

CUMULATIVE INDEX / 433 “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,” (Gibran), Supp. XX:119 “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

“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 (expanded version) (Erdrich), Supp. IV Part 1: 263, 273, 274, 275 Love Medicine (Erdrich), Supp. IV Part 1: 259, 260, 261, 263, 265, 266, 267– 268, 270, 271, 274–275; Supp. X: 290 “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 Annunziata, The” (di Donato), Supp. XX:40 “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” (T. S. Eliot), I: 52, 66, 569–570; III: 460; Retro. Supp. I: 55, 56, 57, 60; Supp. II Part 1: 5; Supp. XIII: 346; 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 on Borrowed Time” (J. W. Miller), Supp. XX:164 “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; Supp. XX:69 Lowell, Blanche, Supp. I Part 2: 409

434 / AMERICAN WRITERS 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; Supp. XX:199, 203 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; Supp. XX:231 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 “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 Lunsford, Bascom Lamar, Supp. XX:163 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, George Ella, Supp. XX:161–162 Lyon, Kate, I: 409; II: 138, 143, 144

CUMULATIVE INDEX / 435 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 Lyttelton, Alfred, Supp. XX:230 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, Robert, IV: 404; Retro. Supp. I: 418, 419, 420; Retro. Supp. II: 328; Supp. I Part 1: 259; Supp. III Part 2: 614 McAlmon, Mrs. Robert (Winifred Ellerman), III: 194. See also Ellerman, Winifred 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 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 McDonnell, Thomas P., Supp. XX:45 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 McGinity, Keren, Supp. XX:9 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; Supp. XX:69 McKay, Donald, Supp. I Part 2: 482 McKay, Nellie Y., Supp. XX:105 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

436 / AMERICAN WRITERS 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 McKnight, Reginald, Supp. XX:147–159 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, Mrs. Archibald (Ada Hitchcock), III: 1 MacLeish, Kenneth, 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 McNally, T. M., Supp. XX:92 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; Supp. XX:90 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 “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; Supp. XX:58 “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 “Madame Rose Hanie” (Gibran), Supp. XX:124 “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, The: His Parables and Poems (Gibran), Supp. XX:115, 118, 125 “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; Supp. XX:115, 116 “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

CUMULATIVE INDEX / 437 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; Supp. XX:90 “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 Majdoubeh, Ahmad, Supp. XX:116 “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 “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 Maladies de la volonté, Les (Ribot), Supp. XX:238 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 “Malinke’s Atonement” (Antin), Supp. XX:10 “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

438 / AMERICAN WRITERS 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 “Manet in Late Summer” (Skloot), Supp. XX:201 “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 “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; Supp. XX:85 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, Ambrose, Supp. XX:166 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

CUMULATIVE INDEX / 439 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 “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 Mapp and Lucia (Benson), Supp. XX:229 “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

440 / AMERICAN WRITERS 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, Mrs. John P. (Adelaide Hooker), III: 57, 61 Marquand, Mrs. John P. (Christina Sedgwick), III: 54, 57 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, Philip, III: 52 Marquis, Don, Supp. I Part 2: 668 Marrásh, Francis al-, Supp. XX:117 “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, Frederick T., Supp. XX:39, 46 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; Supp. XX:154 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 “’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, Robert, Supp. XX:165 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 Marvels and Masterpieces (al-Badá’i’ wa’l-Tará’if) (Gibran), Supp. XX:116, 124 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; Supp. XX:162 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

CUMULATIVE INDEX / 441 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 “Master’s Pieces, The” (H. L. Gates), Supp. XX:109 Matchmaker, The (Wilder), IV: 357, 369, 370, 374; Supp. XX:50 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 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

442 / AMERICAN WRITERS 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 Mayne, Xavier. See Prime-Stevenson, Edward Irenaeus 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 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, Jeannette Porter, Supp. XX:213, 214, 217, 220, 224 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” (J. W. Miller), Supp. XX:167 “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 Mehta, Ved, Supp. XX:87 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

CUMULATIVE INDEX / 443 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 Mellor, W. M., Supp. XX:56 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, Mrs. Herman (Elizabeth Shaw), III: 77, 91, 92 Melville, Maria Gansevoort, III: 74, 77, 85 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 (W. Frank), Supp. XX:67, 69, 70, 81 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 “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 Harbor” (Skloot), Supp. XX:201 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, Mrs. August (Anna Abhau), III: 100, 109 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. 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

444 / AMERICAN WRITERS 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 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 “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; Supp. XV: 33; Supp. XVI: 20; Supp. XX:280 Metamorphoses (Pound, trans.), III: 468– 469 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 Michael O’Halloran (Stratton-Porter), Supp. XX:222 Michaels, Leonard, Supp. XVI: 201–215 Michaels, Walter Benn, Retro. Supp. I: 115, 369, 379 Michael Scarlett (Cozens), I: 358–359, 378

CUMULATIVE INDEX / 445 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 (G. 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; Supp. XX:244, 247, 248, 251–252, 253 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 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 (film), Supp. XX:269 “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, 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, 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, Jim Wayne, Supp. XX:161–176 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, 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

446 / AMERICAN WRITERS 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; Supp. XX:165 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; Supp. XX:108 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 “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 Mirsky, Norman, Supp. XX:244 Mirvis, Tova, Supp. XX:177–191 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 Misérables, Les (Hugo), II: 179; Supp. I Part 1: 280 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

CUMULATIVE INDEX / 447 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

Mitcham, Matthew, Supp. XX:264 Mitchell, Burroughs, Supp. XI: 218, 222, 227 Mitchell, Margaret, II: 177; Supp. XX:243 Mitchell, Roger, Supp. IV Part 1: 70; Supp. XV: 213, 215 Mitchell, Dr. S. Weir, IV: 310 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; Supp. XX:243 Mitla Pass (Uris), Supp. XX:244, 247, 248, 256 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 Modern American Poetry (Untermeyer, ed.), Supp. XV: 293, 303, 306, 312 Modern American Verse (Untermeyer, ed.), 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, Otto, Supp. I Part 2: 573 Modersohn, Mrs. Otto (Paula Becker), Supp. I Part 2: 573–574 “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 Moffat, Juan, Supp. XX:52 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

448 / AMERICAN WRITERS “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 “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, Richard, Supp. I Part 1: 280 Moody, William Vaughn, III: 507; IV: 26 Moody, Mrs. William Vaughn, I: 384; Supp. I Part 2: 394 “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 Moonstone, The (Collins), Supp. XX:236 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, Deborah Dash, Supp. XX:246 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

CUMULATIVE INDEX / 449 Moore, Marie Lorena. See Moore, Lorrie Moore, Mary Tyler, Supp. V: 107 Moore, Mary Warner, III: 193 Moore, Dr. Merrill, III: 506 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 Things Change The More They Stay the Same, The (J. W. Miller), Supp. XX:164 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; Supp. XX:161, 162 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, Samuel Eliot, Supp. I Part 2: 479–500 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

“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 Face (Stratton-Porter), Supp. XX:223 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 “Morning Shadows” (Skloot), Supp. XX:199 “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

450 / AMERICAN WRITERS 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; Supp. XX:108 “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 Moths of the Limberlost (Stratton-Porter), Supp. XX:218 “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; Supp. XX:228, 231 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 Mouawad, Nelly, Supp. XX:126 “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 Have Come Closer, The (J. W. Miller), Supp. XX:165, 168, 169–170 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 Moustapha’s Eclipse (McKnight), Supp. XX:147, 150 “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

CUMULATIVE INDEX / 451 “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 “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 Mulas, Franco, Supp. XX:38 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

452 / AMERICAN WRITERS “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; Supp. XX:70, 74 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 (T. S. 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 (al-Músíqá) (Gibran), Supp. XX:115, 124 Music After the Great War (Van Vechten), Supp. II Part 2: 732 Music and Bad Manners (Van Vechten), Supp. II Part 2: 733 Music Appreciation (Skloot), Supp. XX:196, 197–201 “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 “My Arkansas” (Angelou), Supp. IV Part 1: 15 “My Aunt” (Holmes), Supp. I Part 1: 302, 310 “My Beginnings” (Simpson), Supp. IX: 273 “My Bird Problem” (Franzen), Supp. XX:94 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 Daughter Considers Her Body” (Skloot), Supp. XX:197–198, 200 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 Dog Tulip (Ackerley), Supp. XX:237 My Emily Dickinson (Howe), Retro. Supp. I: 33, 43; Supp. IV Part 2: 430–431 “My English” (Alvarez), Supp. VII: 2

CUMULATIVE INDEX / 453 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 Ideal Home” (Stratton-Porter), Supp. XX:222 “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 “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

454 / AMERICAN WRITERS “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 My Critics” (StrattonPorter), Supp. XX:220 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 Naimy, Mikhail, Supp. XX:116, 119, 120 Naipaul, V. S., Supp. IV Part 1: 297; Supp. VIII: 314; Supp. X: 131; Supp. XIV: 111; Supp. XX:87 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; Supp. XX:248 Naked Author (di Donato), Supp. XX:45 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 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 Napolitano, Louise, Supp. XX:35, 45, 46–47 Narcissa and Other Fables (Auchincloss), Supp. IV Part 1: 21, 34

CUMULATIVE INDEX / 455 “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 National Dream, The: Building the Impossible Railway (Findley and Whitehead), Supp. XX:51 “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 Things, The (television show), Supp. XX:51 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 Naumburg, Margaret, Supp. XX:68, 74–75 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 Navratilova, Martina, Supp. XX:264

Naylor, Gloria, Supp. VIII: 213–230; Supp. XX:108 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 “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

456 / AMERICAN WRITERS 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 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

CUMULATIVE INDEX / 457 “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 (W. J. Smith), Supp. XIII: 332 New and Selected Poems (Wagoner), Supp. IX: 326–327 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 Experience in Millinery, A” (Stratton-Porter), Supp. XX:216 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 Newfound (J. W. Miller), Supp. XX:163, 166, 170–172 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 “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

458 / AMERICAN WRITERS 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 Eve: A Play (W. Frank), Supp. XX:75 “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; Supp. XX:79 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; Supp. XX:117 Nieves, Felipe, Supp. XVIII: 90 Niflis, N. Michael, Supp. IV Part 1: 175 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

CUMULATIVE INDEX / 459 “Night among the Horses, A” (Barnes), Supp. III Part 1: 33–34, 39, 44 “Night and the Madman” (Gibran), Supp. XX:118 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 Four-

teen 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 Night-Side, The (Skloot), Supp. XX:193, 196, 205, 208 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 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

460 / AMERICAN WRITERS 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, Jessye, Supp. XX:110 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 “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

CUMULATIVE INDEX / 461 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 African American Literature, The (H. L. Gates and McKay, eds.), Supp. XX:105 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 for 70 (J. W. Miller), Supp. XX:165 “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 Not Heaven: A Novel in the Form of Prelude, Variations, and Theme (W. Frank), Supp. XX:80 “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

462 / 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 Wanted on the Voyage (Findley), Supp. XX:50, 56–57, 59 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” (Skloot), Supp. XX:196, 207 “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 Nymphs of the Valley (’Ará’is al-Murúj) (Gibran), Supp. XX:115, 124, 125 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; Supp. XX:34 O’Brien, Edwin, Supp. XVIII: 208 O’Brien, Fitzjames, I: 211 O’Brien, Geoffrey, Supp. IV Part 2: 471, 473

CUMULATIVE INDEX / 463 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 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 Obuchowski, Mary DeJong, Supp. XX:222 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 Occom, Samuel, Supp. XX:288 “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” (Sobin), Supp. XVI: 284–285 “Ode” (X. J. Kennedy), Supp. XV: 160 “Ode (Intimations of Immortality)” (Matthews), Supp. IX: 162 “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 Odell, Margeretta Matilda, Supp. XX:278, 284, 288 “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; Supp. XX:34 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:

464 / AMERICAN WRITERS 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 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 Epiphanies and Poets” (Phillips), Supp. XX:221 “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 “Of Freemasons, Kings, and Constitutions” (P. N. Warren), Supp. XX:273 “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 Offut, 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’Hara’s Choice (Uris), Supp. XX:247, 256–257 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; Supp. XX:75 “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

CUMULATIVE INDEX / 465 “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 “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, Old Horses” (P. N. Warren as Kilina), Supp. XX:262 “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 (T. S. 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 Stories” (Skloot), Supp. XX:200 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, Clarence, Supp. XX:84, 85, 86 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

466 / AMERICAN WRITERS “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 “On Being a Woman” (Parker), Supp. IX: 201 On Being Blue (Gass), Supp. VI: 77, 78, 86, 94; Supp. XIV: 305 “On Being Brought from Africa to America” (Wheatley), Supp. XX:280– 281, 286–287 “On Being Too Inhibited” (Hay), Supp. XIV: 130 “On Being Unable to Read” (Cornell), Supp. XX:94–95 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; Supp. XX:69 “One Is a Wanderer” (Thurber), Supp. I Part 2: 616

One Is the Sun (P. N. Warren), Supp. XX:269–270 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

CUMULATIVE INDEX / 467 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 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 Imagination” (Wheatley), Supp. XX:281 “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 Messrs. Hussey and Coffin” (Wheatley), Supp. XX:280 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 Recollection” (Wheatley), Supp. XX:287 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 General Wooster” (Wheatley), Supp. XX:287 “On the Death of Rev. Mr. George Whitefield—1770” (Wheatley), Supp. XX:280,Supp. XX:282–283 “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

468 / AMERICAN WRITERS “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 Hysterical Playground” (Watman), Supp. XX:93 “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 On the Poetry of Philip Levine: Stranger to Nothing (Levis), Supp. XI: 257 “On the Pottlecombe Cornice” (Sturgis), Supp. XX:233, 240 “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 Door, The (Skloot), Supp. XX:194, 196, 208 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 Operating Instructions: A Journal of My Son’s First Year (Lamott), Supp. XX:136–137, 142 “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; Supp. XX:68 Oppenheimer, J. Robert, I: 137, 492

CUMULATIVE INDEX / 469 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 Oprah’s Roots: An African American Lives Special (television production), Supp. XX:99 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 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 Ornstein, Leo, Supp. XX:75 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 (Rukeyser), Supp. VI: 273 “Orpheus” (Winters), Supp. II Part 2: 801 “Orpheus, Eurydice, Hermes” (Rilke), Supp. VIII: 31, 32 “Orpheus (1)” (Atwood), Supp. XIII: 35 “Orpheus (2)” (Atwood), Supp. XIII: 35 “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 Orse, Brian, Supp. XX:264 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;

470 / AMERICAN WRITERS Supp. V: 250; Supp. VIII: 241; Supp. XIV: 112, 158; Supp. XVII: 228, 229; Supp. XVIII: 137, 138; Supp. XX:86 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 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 Wanderer, The” (Gibran), Supp. XX: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 (Michaels), Retro. Supp. I: 379 Our America (W. Frank), I: 229; Supp. IX: 308; Supp. XX:69–70, 75 “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 Nig (Wilson), Supp. XX:105 “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; Supp. XX:116 “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 Deeper Heart” (Gibran), Supp. XX:118 Out of My League (Plimpton), Supp. XVI: 233, 239

CUMULATIVE INDEX / 471 “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 Outside World, The (Mirvis), Supp. XX:177, 178, 185–190 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 “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 “Paesano with a Trowel” (Time), Supp. XX:46 Pafko at the Wall (DeLillo), Supp. VI: 4 “Paganini and the Powers of Darkness” (Skloot), Supp. XX:201 “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 “Painstaking Historian, The” (Skloot), Supp. XX:205–206 “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

472 / AMERICAN WRITERS 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 “Palm Wine” (McKnight), Supp. XX:155 “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; Supp. XX:236 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 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; Supp. XX:280 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; Supp. XX:243 “Paris” (Stern), Supp. IX: 300 “Paris, 7 A.M.” (Bishop), Retro. Supp. II: 41, 42; Supp. I Part 1: 85, 89 Paris, Bob, Supp. XX:264 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

CUMULATIVE INDEX / 473 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 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

474 / AMERICAN WRITERS 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 Patient 002 (Skloot), Supp. XX:194, 208 Patinkin, Mandy, Supp. IV Part 1: 236 Paton, Alan, Supp. VIII: 126 Patria Mia (Pound), III: 460–461; Retro. Supp. I: 284 “Patria Mia” (Pound), Retro. Supp. I: 284 “Patriarch, The” (Alvares), Supp. V: 11 “Patrick Kavanagh at First Light” (Skloot), Supp. XX:204 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 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; Supp. XX:115 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 “Peace of Mind” (Boyle), Supp. XX:19 “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 (di Donato), Supp. XX:44, 45

CUMULATIVE INDEX / 475 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” (Franzen), Supp. XX:90, 93 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 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, 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 Perry, Dr. William, II: 395, 396 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 Persse, Dudley Jocelyn, Supp. XX:232 Pertes et Fracas (McCoy), Supp. XIII: 175

476 / AMERICAN WRITERS “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 Pheloung, Grant, Supp. XI: 39 Phelps, Elizabeth Stuart, Retro. Supp. II: 146; Supp. XIII: 141; Supp. XVI: 80 Phelps, Teresa Godwin, Supp. VIII: 128 Phelps, William Lyon “Billy,” Supp. XX:68, 75, 220 “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, Anne K., Supp. XX:221 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

CUMULATIVE INDEX / 477 “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 Piano Man’s Daughter, The (Findley), Supp. XX:59–61 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 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 (Findley), Supp. XX:61–62 “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 Harbor (Skloot), Supp. XX:196, 207 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

478 / AMERICAN WRITERS 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” (Hoffman), Supp. XVIII: 86 “Place at the Outskirts” (Simic), Supp. VIII: 282 Place Called Estherville, A (Caldwell), I: 297, 307 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 “Place (Any Place) to Transcend All Places, A” (W. C. Williams), Retro. Supp. I: 422 Placi, Carlo, IV: 328 Plagemann, Catherine, Supp. XVII: 91 “Plagiarist, The” (Singer), IV: 19 Plague of Dreamers, A (Stern), Supp. XX:178 “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 Plan B: Further Thoughts on Faith (Lamott), Supp. XX:142–143 “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 (script) (Chandler), Supp. IV Part 1: 131 Playback (Chandler), Supp. IV Part 1: 134–135; Supp. XVIII: 138 “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

CUMULATIVE INDEX / 479 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 “Playing the Bawd at Twenty” (Skloot), Supp. XX:204–205 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 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; Supp. XX:74 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

480 / AMERICAN WRITERS “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 (E. Stoddard), Supp. XV: 274 Poems (Eliot), I: 580, 588; IV: 122; Retro. Supp. I: 59, 291 Poems (Emerson), II: 7, 8, 12–13, 17 Poems (Holmes), Supp. I Part 1: 303 Poems (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 (W. J. Smith), Supp. XIII: 332 Poems (Winters), Supp. II Part 2: 809, 810 Poems (Wordsworth), I: 468 Poems, 1909–1925 (Eliot), Retro. Supp. I: 64 Poems, 1924–1933 (MacLeish), III: 7, 15 Poems, 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 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 Poems on Various Subjects, Religious and Moral (Wheatley), Supp. XX:277, 282, 284, 285, 289 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

CUMULATIVE INDEX / 481 “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 Workshop, The” (column, Kumin), Supp. XX:164 “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 “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

Polanco, Richard, Supp. XX:260 “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

482 / AMERICAN WRITERS “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 “Poolside” (Skloot), Supp. XX:202–203 “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; Supp. XX:38 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; Supp. XX:280 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 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; Supp. XX:177 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

CUMULATIVE INDEX / 483 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 “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; Supp. XX:93 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; Supp. XX:154 “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

484 / AMERICAN WRITERS 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; Supp. XX:246–247 “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 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; Supp. XX:85 Price, The (A. Miller), III: 165–166 “Price Is Right, The” (Skloot), Supp. XX:198–199 “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

CUMULATIVE INDEX / 485 Primer mensaje a la América Hispana (W. Frank), Supp. XX:76 Primer of Ignorance, A (Blackmur), Supp. II Part 1: 91 Prime-Stevenson, Edward Irenaeus, Supp. XX:235 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 Primrose, Archibald Philip, Supp. XX:230 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, Sir James, II: 315 Prior, Matthew, II: 111; III: 521 “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 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 Procession, The (al-Mawákib) (Gibran), Supp. XX:116, 124 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

486 / AMERICAN WRITERS Promised Land (Parker), Supp. XIX: 183, 184, 190 Promised Land, The (M. Antin), Supp. IX: 227; Supp. XVI: 148, 149; Supp. XX:1, 2, 3, 4–9, 11 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 Prophet, The (Gibran), Supp. XX:113, 115, 119–121, 126 “Prophet and the Child, The” (Gibran), Supp. XX:123 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” (T. S. 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 “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

CUMULATIVE INDEX / 487 “Pupil, The” (H. James), Supp. XX:233 “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; Supp. XX:21, 83, 87 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 QBVII (television movie), Supp. XX:247 QBVII (Uris), Supp. XX:244, 247, 248, 251, 253–254 “Qebehseneuf” (Goldbarth), Supp. XII: 186 “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 “Quest, The” (Gibran), Supp. XX:124 “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

488 / AMERICAN WRITERS “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 Light, A” (Skloot), Supp. XX:203 “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 Radcliffe, Ann, Supp. XX:108 “Radical” (Moore), III: 211 “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 Rafferty, Terence, Supp. XX:87, 92 “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 Rahab (W. Frank), Supp. XX:71–72, 76 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

CUMULATIVE INDEX / 489 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 (unproduced screenplay) (Hansberry), Supp. IV Part 1: 360 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 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 Rankine, Annette, Supp. XX:69 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 “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

490 / AMERICAN WRITERS “Reader’s Tale, A” (Doty), Supp. XI: 119, 120, 128, 129 “Reading” (Auden), Supp. VIII: 155 “Reading, The” (Di Piero), Supp. XIX: 41 “Reading, Writing, Region” (J. W. Miller), Supp. XX:165 “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” (McKnight), Supp. XX:147, 157 “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 “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; Supp. XX:91 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 (S. 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. XVII: 228; Supp. XVIII: 75 “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 Cords” (Lamott), Supp. XX:142 “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

CUMULATIVE INDEX / 491 Redemption (Uris), Supp. XX:244, 246, 247, 248, 254, 255 “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 Rediscovery of America, The (W. Frank), Supp. XX:75 Rediscovery of Man, The (W. Frank), Supp. XX:67–68, 80 “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; Supp. XX:107 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 “Reese in Evening Shadow” (Skloot), Supp. XX:204 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 Reich, Tova, Supp. XVI: 158 Reichel, Hans, III: 183 Reichl, Ruth, Supp. X: 79, 85 Reid, B. L., II: 41, 47

Reid, Forrest, Supp. XX:235 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 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

492 / AMERICAN WRITERS 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, Ernest, Supp. XX:122 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 an Academy, A” (Kafka), Supp. XX:18 “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 “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

CUMULATIVE INDEX / 493 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 “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 Ribot, Théodule Armand, Supp. XX:238 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, Bertrand F., Supp. XX:217– 218 Richards, David, Supp. IV Part 2: 576 Richards, Grant, I: 515

494 / AMERICAN WRITERS 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; Supp. XX:236 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 Richmond, M. A., Supp. XX:277, 279, 282, 286, 289, 290 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 Rihani, Ameen, Supp. XX:115 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 “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 Ritchie, Anne Thackeray, Supp. XX:231, 233 “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

CUMULATIVE INDEX / 495 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; Supp. XX:25–26 “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; Supp. XX:24–25, 26, 28 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, Carol, Supp. XX:53 Roberts, David, Supp. XVIII: 106 Roberts, Diane, Supp. X: 15 Roberts, J. M., IV: 454 Roberts, Leo, II: 449 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

496 / AMERICAN WRITERS 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; Supp. XX:199 “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 Rohr, Richard, Supp. XX:143 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 a Lifetime, The” (Skloot), Supp. XX:203 “Role of Society in the Artist, The” (Ammons), Supp. VII: 34 Rolfe, Alfred, IV: 427 Rolfe, Frederick, Supp. XX:235 “Roll, Jordan, Roll” (spiritual), Supp. IV Part 1: 16 Rolland, Romain, Supp. XX:70 “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 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 (G. 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

CUMULATIVE INDEX / 497 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; Supp. XX:221 Roosevelt After Inauguration And Other Atrocities (Burroughs), Supp. III Part 1: 98 “Roosevelt Chair, The” (Skloot), Supp. XX:205 “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 “Roscoe in Hell” (McKnight), Supp. XX:151 “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; Supp. XX:179 Rose-Hued Cities (P. N. Warren), Supp. XX:261 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; Supp. XX:179 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 Rosie (Lamott), Supp. XX:133–134 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 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 Rough Edges (Skloot), Supp. XX:196 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

498 / AMERICAN WRITERS “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 Rubins, Josh, Supp. XX:89 “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 Rümelin-Oesterlen, Natalie, Supp. XX:235 Rumens, Carol, Supp. XI: 14; Supp. XVI: 212 Rumi, Supp. XX:117 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, Robert, Supp. XX:195 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 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 Ryle, Herbert Edward, Supp. XX:230 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

CUMULATIVE INDEX / 499 “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 an American Ranch” (P. N. Warren), Supp. XX:261 “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 “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

500 / AMERICAN WRITERS “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 Salt to the Devil (film, Dmytryk), Supp. XX:41 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 Salvos: An Informal Book About Books and Plays (W. Frank), Supp. XX:75 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 Dad” (Lamott), Supp. XX:142– 143 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 “Samwheel” (Lamott), Supp. XX:144– 145 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 Sand and Foam: A Book of Aphorisms (Gibran), Supp. XX:115, 121–122 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, Mrs. Carl (Lillian Steichen), III: 580 Sandburg, Helga, III: 583 Sandburg, Janet, III: 583, 584 Sandburg, Margaret, III: 583, 584 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 Sankofa (film), Supp. XX:154 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; Supp. XX:228, 229, 231 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

CUMULATIVE INDEX / 501 “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; Supp. XX:231 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 “Saying What Needs To Be Said” (Skloot), Supp. XX:201 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; Supp. XX:178, 183 “Scarlet Letter Aleph, The” (Mirvis), Supp. XX:183 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 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

502 / AMERICAN WRITERS 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 Schomburg Library of Nineteenth-Century Black Women Writers (H. L. Gates, ed.), Supp. XX:105 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, Walter, Supp. XVI: 7, 13 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, 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 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

CUMULATIVE INDEX / 503 “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-Light. See Frank, Waldo “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 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

504 / AMERICAN WRITERS 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 Heart (Gibran), Supp. XX:116 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, Eve, Supp. XX:267 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 (R. Bly), Supp. IV Part 1: 60, 62, 65, 66, 68, 69–71 Selected Poems (Ransom), III: 490, 492 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: 1975–2005 (Skloot), Supp. XX:196 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 Selected Verse of Margaret Haskins Durber, The (Keillor), Supp. XVI: 171

CUMULATIVE INDEX / 505 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-Portrait with 1911 NY Yankees Cap” (Skloot), Supp. XX:202 “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

506 / AMERICAN WRITERS “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 Selves, The” (Gibran), Supp. XX:118 “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 Seven Valleys and the Four Valleys, The (Bahá’u’lláh), Supp. XX:121 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; Supp. XX:199 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 Shahid, Irfan, Supp. XX:113, 127 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 Shalit, Wendy, Supp. XX:179, 182, 186 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

CUMULATIVE INDEX / 507 “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 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; Supp. XX:87, 89 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, Mary, Supp. XX:108 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; Supp. XX:115 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, Richard, Supp. XI: 133; Supp. XIII: 7 Shelton, Robert, Supp. XVIII: 20, 21, 22, 23, 24, 25, 26 Shelton, Mrs. Sarah. See Royster, Sarah Elmira 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 Shidyak, Paris al-, Supp. XX:117 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 Shields, John C., Supp. XX:279, 280, 281, 286 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 Ones, The” (P. N. Warren), Supp. XX:272 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

508 / AMERICAN WRITERS “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 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 “Shoreline Life” (Skloot), Supp. XX:201 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; Supp. XX:274 “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 Siebert, Kathy, Supp. XX:84 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

CUMULATIVE INDEX / 509 “Signed Confession of Crimes against the State” (Merton), Supp. VIII: 201 Signifying Monkey, The (H. L. Gates), Supp. X: 243 Signifying Monkey, The (Hughes), Retro. Supp. I: 195 Signifying Monkey, The: A Theory of Afro-American Literary Criticism (H. L. Gates), Supp. XX:99, 106–107 “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 (G. Eliot), II: 26 Silberg, Richard, Supp. XV: 116 “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

“Simple Widsom, The” (Skloot), Supp. XX:207 “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

510 / AMERICAN WRITERS “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 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” (Lamott), Supp. XX:142 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 Sjöwall, Maj, Supp. XX:87 “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; Supp. XX:50 “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 Skloot, Floyd, Supp. XX:193–209 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; Supp. XX:203 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

CUMULATIVE INDEX / 511 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 of the Sky” (P. N. Warren), Supp. XX:261 “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 “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 “Sleep-Walkers, The” (Gibran), Supp. XX:118 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 Slopen, Beverly, Supp. XX:59 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 Slung, Michelle, Supp. XX:87 “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

512 / AMERICAN WRITERS “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 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, Mrs. Lamar (Marguerite Walters), II: 585, 587 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, 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 Snow’s Music, The (Skloot), Supp. XX:196, 204–205 “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

CUMULATIVE INDEX / 513 “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 Flame” (Skloot), Supp. XX:203 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 “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

514 / AMERICAN WRITERS 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 “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 Cardinal, The (StrattonPorter), Supp. XX:217, 218, 219 “Song of the Chattahoochee, The” (Lanier), Supp. I Part 1: 365, 368

CUMULATIVE INDEX / 515 “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 “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; Supp. XX:205 “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; Supp. XX:234, 236 Sorrows of Young Werther, The (Goethe; Bogan and Mayer, trans.), Supp. III Part 1: 63 “Sorry Fugu” (Boyle), Supp. XX:19 “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 Spain, The \[In the manner of Gertrude Stein\]” (Hemingway), Supp. XX:74 Soul of the Far East, The (Lowell), II: 513

516 / AMERICAN WRITERS “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 Souls of Black Folk. The (Du Bois), Supp. XX:102 “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 “Soundless Trumpet, The” (Antin), Supp. XX:12 “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 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 “Sourwood Nocturne” (Skloot), Supp. XX:202 “South” (Levis), Supp. XI: 266 “South, The” (Hughes), Supp. I Part 1: 321 South American Journey (W. Frank), Supp. XX:79 “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 Soyinka, Wole, Supp. XX:100 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– 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 of Race, Speaking of Sex: Hate Speech, Civil Rights, and Civil Liberties (H. L. Gates, Griffin, Lively, and Strossen), Supp. XX:111 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

CUMULATIVE INDEX / 517 “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 “Speedy Gonzales Was the Fastest Mouse in Mexico” (P. N. Warren as Kilina), Supp. XX:262 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 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 Spillers, Hortense, Supp. XX:109 “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 Brides (Gibran). See Nymphs in the Valley 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 Spirits Rebellious (al-Arwá&hudot; alMutamarrida) (Gibran), Supp. XX:115, 124, 125 Spiritual Adventures (Symons), Supp. XX:239 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

518 / AMERICAN WRITERS 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 Awakening (Wedeking, trans. Franzen), Supp. XX:85 “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 “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; Supp. XX:161 “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” (J. W. Miller), Supp. XX:167 “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, Charles Villiers, Supp. XX:228 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

CUMULATIVE INDEX / 519 “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 “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, Sir Leslie, IV: 440; Supp. I Part 1: 306 Stephen, Saint, II: 539; IV: 228 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

520 / AMERICAN WRITERS 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; Supp. XX:178 “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, 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, 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, Mrs. Wallace (Elsie Kachel), IV: 75

“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; Supp. XX:164 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; Supp. XX:74, 75 “Stigmata” (Oates), Supp. II Part 2: 520 Stiles, Ezra, II: 108, 122; IV: 144, 146, 148 Still, James, Supp. XX:163 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 St. Mark, Tyler, Supp. XX:260 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

CUMULATIVE INDEX / 521 “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 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 Stories Toto Told Me (Rolfe), Supp. XX:235 Storm, The (Buechner), Supp. XII: 54–57 “Storm, The” (Chopin), Retro. Supp. II: 60, 68; Supp. I Part 1: 218, 224 Storm, The (al-’Awásif) (Gibran), Supp. XX:116, 124, 125 “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, Julian, Supp. XX:232 Story, Richard David, Supp. IV Part 2: 575, 588 Story, William Wetmore, Supp. XX:228 “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;

522 / AMERICAN WRITERS 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 Stratton-Porter, Gene, Supp. XX:211– 225 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 “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” (screenplay) (McMurtry and Ossana), Supp. V: 226, 230 Streets of Laredo (McMurtry), Supp. V: 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 Strike at Shane’s, The (Skloot), Supp. XX:216 “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 Motion (Franzen), Supp. XX:85, 88–89, 92, 95 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, Jesse, Supp. XX:162–163, 165 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 Studies in the Psychology of Sex (Ellis), Supp. XX:235 “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, Howard Overing, Supp. XX:227–242 Sturgis, Julian Russell, Supp. XX:228, 233, 238

CUMULATIVE INDEX / 523 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 “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, Arthur, Supp. XX:228 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 Blue (Skloot), Supp. XX:196, 207–208 “Summer Commentary, A” (Winters), Supp. II Part 2: 808 “Summer Day” (O’Hara), III: 369 “Summer Days, The” (Oliver), Supp. VII: 239 Summer Never Ends (W. Frank), Supp. XX:78 “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

524 / AMERICAN WRITERS “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 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

CUMULATIVE INDEX / 525 “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” (Skloot), Supp. XX:199, 200 “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 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” (L. Michaels), Supp. XVI: 202, 213 “Sylvia” (Larcom), Supp. XIII: 144 “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; Supp. XX:230 Symons, Arthur, I: 50, 569; Retro. Supp. I: 55; Supp. XX:239 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; Supp. XX:117 “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

526 / AMERICAN WRITERS “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 Tales You Won’t Believe (Stratton-Porter), Supp. XX:217 “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 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 Talk (Boyle), Supp. XX:24 “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, Obour, Supp. XX:281, 288 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 Tarnawsky, Yuriy (George) Orest, Supp. XX:259 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 Finds a Son (film, Weismuller), Supp. XX:18 “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, Mrs. Allen (Caroline Gordon). See Gordon, Caroline

CUMULATIVE INDEX / 527 Tate, Mrs. Allen (Helen Heinz), IV: 127 Tate, Mrs. Allen (Isabella Gardner), IV: 127 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, 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, Mrs. Edward (Elizabeth Fitch), IV: 147, 165 Taylor, Mrs. Edward (Ruth Wyllys), IV: 148 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, 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, Samuel A., Supp. XX:253 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 Tear and a Smile, A (Dam’a wa Ibtisáma) (Gibran), Supp. XX:116, 118, 124 “Tears, Idle Tears” (Lord Tennyson), Supp. XIV: 8 “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, Sir,ѧWhat Is ‘Black’ Literature?” (H. L. Gates), Supp. XX:108 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

528 / AMERICAN WRITERS “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 Tenenbaum, Joseph, Supp. XX:253 “Ten Forty-Four” (Kingsolver), Supp. VII: 208 Ten Indians (Bell), Supp. X: 7, 12 Tennant, Agnieszka, Supp. XX:140 “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 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; Supp. XX:116 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; Supp. XX:228 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

CUMULATIVE INDEX / 529 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; Supp. XX:107 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 “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

530 / AMERICAN WRITERS 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 They Who Knock at Our Gates: A Complete Gospel of Immigration (Antin), Supp. XX:2–3, 10–11, 12 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 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 “Thirteen Ways of Looking at a Blackbird” (W. Stevens), Supp. XX:110

Thirteen Ways of Looking at a Black Man (H. L. Gates), Supp. XX:102, 110 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

CUMULATIVE INDEX / 531 This Journey (Wright), Supp. III Part 2: 605–606 This Man and This Woman (Farrell), II: 42 “This Monkey, My Back” (Boyle), Supp. XX:17 “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 (revised edition) (R. Bly), Supp. IV Part 1: 66 This Tree Will Be Here for a Thousand Years (R. Bly), Supp. IV Part 1: 65– 66, 71, 72 This Very Earth (Caldwell), I: 297, 302 This Wheel’s on Fire: Levon Helm and the Story of the Band (Helm), Supp. XVIII: 26 This Woman (di Donato), Supp. XX:33, 41–42, 46 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; Supp. XX:199, 204 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 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, Juliet, Supp. XX:117 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; Supp. XX:116, 221 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

532 / AMERICAN WRITERS 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 Circles of Light (di Donato), Supp. XX:33, 42–43, 44, 46 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 Gifts, The” (Gibran), Supp. XX:124 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 “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

CUMULATIVE INDEX / 533 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 Tim: A Story of School Life (Sturgis), Supp. XX:227, 230, 232, 233–235 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 Exposures, by Search-Light (W. Frank), Supp. XX:75 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 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 Timothy Findley: Stories from a Life (Roberts), Supp. XX:53 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

534 / AMERICAN WRITERS “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 “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 Excellency General Washington” (Wheatley), Supp. XX:289 “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

CUMULATIVE INDEX / 535 “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; Supp. XX:73 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 and Claw (Boyle), Supp. XX:20 Tooth of Crime, The (Shepard), Supp. III Part 2: 432, 441–445, 447 “Too Young” (O’Hara), III: 369 Topaz (film), Supp. XX:253 Topaz (Uris), Supp. XX:247, 248, 253 “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 Food Chain” (Boyle), Supp. XX:20 “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; Supp. XX:28–29 Tortilla Flat (Steinbeck), IV: 50, 51, 61, 64 Tortilla Flats (Steinbeck), Supp. XX:28 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

536 / AMERICAN WRITERS “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 Right Honourable William, Earl of Dartmouth” (Wheatley), Supp. XX:278, 284, 287–288 “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 “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 ” ‘Traditional’ Marriage: A Secular Affair” (P. N. Warren), Supp. XX:273 “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 Bees, A (P. N. Warren), Supp. XX:261 “Tragedy of Bees, A” (P. N. Warren), Supp. XX:272 Tragedy of Don Ippolito, The (Howells), II: 279

CUMULATIVE INDEX / 537 “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 Mercies: Some Thoughts on Faith (Lamott), Supp. XX:132, 140– 142 “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 “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 Humble, The (Maeterlinck), Supp. XX:116 “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

538 / AMERICAN WRITERS 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, A” (Easton), Supp. IV Part 2: 461 “Tribute, The” (Doolittle), Supp. I Part 1: 267 “Tribute (To My Mother)” (Cullen), Supp. IV Part 1: 166 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

Trinity (Uris), Supp. XX:243, 244, 245, 246, 247, 248, 253, 254–255 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 “Trivia Tea” (Skloot), Supp. XX:205 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 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 “Tropic of Cuba” (di Donato), Supp. XX:45 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 Troy (film), Supp. XX:273 “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

CUMULATIVE INDEX / 539 “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; Supp. XX:246 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 A., Supp. XIII: 237; Supp. XX:110 Turner, Russell. See Lacy, Ed 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 “Turn Your Radio On” (J. W. Miller), Supp. XX:169 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,

540 / AMERICAN WRITERS 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 Twenty Drawings (Gibran), Supp. XX:116 “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-seventh City, The (Franzen), Supp. XX:83–84, 84, 85, 86–88, 88, 89, 91, 92, 95 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 Twersky, David, Supp. XX:244 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” (McClatchy)“, Supp. XII: 269 Two Men (E. Stoddard), Supp. XV: 272, 273, 283–284 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 “Two Morning Monologues” (Bellow), I: 150; Retro. Supp. II: 20 “Two Nations of Black America, The” (Frontline), Supp. XX:99 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

CUMULATIVE INDEX / 541 “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 Uhry, Alfred, Supp. XX:177 Ukrainian Dumy (P. N. Warren as Kilina and Tarnawsky, trans.), Supp. XX:261 “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 Moustapha’s Eclipse” (McKnight), Supp. XX:148 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 “Under Cygnus” (Wilbur), Supp. III Part 2: 558 “Under Forty” (Trilling), Supp. III Part 2: 494 Underground, The Story of a People (Tenenbaum), Supp. XX:253 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

542 / AMERICAN WRITERS “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 Umbrella of Black Civilization’: A Conversation with Reginald McKnight” (Ashe), Supp. XX:154 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; Supp. XX:91 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 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

CUMULATIVE INDEX / 543 Unwelcome Man, The (W. Frank), Supp. XX:70, 76 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; Supp. XX:17 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; Supp. XX:243–258 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 Ustedes y Nosotros: Nuevo Mensaje a Ibero-América (W. Frank), Supp. XX:79 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 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

544 / AMERICAN WRITERS 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; Supp. XX:69 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, Oswald, Supp. I Part 2: 640 Veblen, Thorstein, I: 104, 283, 475–476, 483, 498, 511; II: 27, 272, 276, 287; Supp. I Part 2: 628–650; Supp. IV Part 1: 22 Veblen, Mrs. Thorstein (Ellen Rolfe), Supp. I Part 2: 641 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 Vein of Words (J. W. Miller), Supp. XX:165 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 Gentleman, The” (Skloot), Supp. XX:201 “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 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

CUMULATIVE INDEX / 545 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 Vico, Giambattista, Supp. XX:38 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 Viol de Lucrèce, Le (Obey), IV: 356 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 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 Spain (W. Frank), Supp. XX:76 “Virgin Violeta” (Porter), III: 454 “Virility” (Ozick), Supp. V: 262, 265

546 / AMERICAN WRITERS 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 Viscusi, Robert, Supp. XX:46 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” (J. W. Miller), Supp. XX:167 “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 Past, The” (Skloot), Supp. XX:207 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 Voix humaine, La (Cocteau), Supp. XX:236 Volkening, Henry, Retro. Supp. II: 117; Supp. XV: 142 Vollmann, William T., Supp. XIV: 96; Supp. XVII: 225–237; Supp. XX:93 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; Supp. XX:285 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; Supp. XX:76 “Vorticism” (Pound), Retro. Supp. I: 288 Vosjoli, Philippe de, Supp. XX:253 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 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

CUMULATIVE INDEX / 547 “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 “Voz de America” (column, W. Frank), Supp. XX:80 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; Supp. XX:200 Wahlöö, Per, Supp. XX:87 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 Walbridge, John, Supp. XX:125 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 Waldo Frank: A Study (Munson), Supp. XX:74 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; Supp. XX:84, 107, 108 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; Supp. XX:106 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 “Walking Is Almost Falling” (Peacock), Supp. XIX: 196, 197 Walking Light (Dunn), Supp. XI: 140, 141, 153

548 / AMERICAN WRITERS “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; Supp. XX:251 “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; Supp. XX:91, 93 Wallace, Henry, I: 489; III: 111, 475; Supp. I Part 1: 286; Supp. I Part 2: 645 Wallace, Jim, Supp. XX:143 Wallace, Mike, Supp. IV Part 1: 364; Supp. IV Part 2: 526; Supp. XX:102 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; Supp. XX:232 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 Wanderer, The: His Parables and His Sayings (Gibran), Supp. XX:116, 123–124 “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” (Findley), Supp. XX:49 “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 Remembrance (Wouk), Supp. XX:243 “War and the Small Nations” (Gibran), Supp. XX:127 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, Mrs. Humphry, II: 338 Ward, Leo R., Supp. VIII: 124 Ward, Lester F., Supp. I Part 2: 640; Supp. XI: 202, 203 Ward, Lynn, I: 31 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

CUMULATIVE INDEX / 549 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 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, Patricia Nell, Supp. XX:259– 276 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, Mrs. Robert Penn (Eleanor Clark), IV: 244 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 Wars, The (Findley), Supp. XX:53–54 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 (T. S. 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 (T. S. 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; Supp. XX:20–22 “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

550 / AMERICAN WRITERS 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 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 Watman, Max, Supp. XX:92 Watrous, Peter, Supp. VIII: 79 Watson, Brook, Supp. XX:284 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; Supp. XX:27 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, Phyllis, Supp. XX:56 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; Supp. XX:85 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

CUMULATIVE INDEX / 551 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 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; Supp. XX:18 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

552 / AMERICAN WRITERS 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 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” (Boyle), Supp. XX:19 “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; Supp. XX:227, 229, 232, 239, 240 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 Done with Birds: Character Studies of Native American Birds (Stratton-Porter), Supp. XX:218 “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 in a Name” (H. L. Gates), Supp. XX:101 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

CUMULATIVE INDEX / 553 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 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, Phillis, Supp. XIII: 111; Supp. XVII: 74–75; Supp. XX:106, 277– 291 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

554 / AMERICAN WRITERS “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 “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 Boys (McKnight), Supp. XX:155– 157 “White Boys, The” (McKnight), Supp. XX:155–157 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; Supp. XX:280 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, Mrs. Catherine, IV: 116 Whitehead, Colson, Supp. XIII: 233, 241 Whitehead, James, Supp. XV: 339 Whitehead, Margaret, IV: 114, 115, 116 Whitehead, William, Supp. XX:50–51, 53 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; Supp. XX:91 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 Whitfield, Stephen J., Supp. XX:243, 244 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,

CUMULATIVE INDEX / 555 427; 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; Supp. XX:69, 115, 116, 221 “Whitman Pinch Hits, 1861” (Skloot), Supp. XX:203 “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 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 Bother?” (Franzen). See “Perchance to Dream” (Franzen) “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 I Make Sam Go to Church” (Lamott), Supp. XX:141 “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

556 / AMERICAN WRITERS 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. XII: 258; Supp. XIII: 76, 336; Supp. XV: 51, 251, 256; Supp. XVII: 26; Supp. XVIII: 178; Supp. XX:199 Wilcocks, Alexander, Supp. I Part 1: 125 Wilcox, Ella Wheeler, Supp. II Part 1: 197 Wilcox, Kirstin, Supp. XX:283, 284, 285 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, Mrs. Amos Parker (Isabella Thornton Niven), IV: 356

Wilder, Billy, Supp. IV Part 1: 130; Supp. XI: 307 Wilder, Isabel, IV: 357, 366, 375 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; Supp. XX:50 “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 in the Woods” (Skloot), Supp. XX:206 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 “Wild Light” (Skloot), Supp. XX:200 Wild Man, The (P. N. Warren), Supp. XX:260, 270–272 “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 Butler Yeats Among the Ghosts” (Skloot), Supp. XX:204–205 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

CUMULATIVE INDEX / 557 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, Cratis, Supp. XX:163 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, Kenny J., Supp. XX:281, 286 Williams, Lyle, Supp. XIV: 22 Williams, Michael, Supp. V: 286 Williams, Miller, Supp. XIV: 126; Supp. XV: 339; Supp. XVIII: 177 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; 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, Mrs. William Carlos (Florence Herman), IV: 404 Williams, Wirt, Supp. XIV: 24 Williamson, Alan, Retro. Supp. II: 185; Supp. XIX: 91 Williamson, J. W., Supp. XX:164 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; Supp. XX:228 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; Supp. XX:76, 81 Wilson, Edmund (father), IV: 441 Wilson, E. O., Supp. X: 35 Wilson, Harriet, Supp. XX:105 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

558 / AMERICAN WRITERS 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 Winds of War (Wouk), Supp. XX:243 “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; Supp. XX:83, 93 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 “Wink of the Zenith, The” (Skloot), Supp. XX:207 Wink of the Zenith, The: The Shaping of a Writer’s Life (Skloot), Supp. XX:195, 196, 207 “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 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 African World (McKnight, ed.), Supp. XX:157–158 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

CUMULATIVE INDEX / 559 “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; Supp. XX:20 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 “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 Witte, John, Supp. XX:200 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, 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; Supp. XX:163 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, Mrs. William Oliver (Julia Elizabeth Westall), 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

560 / AMERICAN WRITERS “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 “Women” (Swenson), Supp. IV Part 2: 647 Women, The (Boyle), Supp. XX:24, 26–27 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 African World (television series), Supp. XX:99 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, Mrs. Henry, Supp. I Part 1: 35 Wood, James, Supp. XIV: 95–96; Supp. XIX: 138 Wood, Mabel, I: 199 Wood, Michael, Supp. IV Part 2: 691 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.

CUMULATIVE INDEX / 561 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 Wooster, David, Supp. XX:288 Worcester, Samuel, I: 458 Word and Idioms: Studies in the English Language (L. P. Smith), Supp. XIV: 343 “Word by Word” (column, Lamott), Supp. XX:140 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, 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; Supp. XX:108, 116 ” ‘Word Which Made All Clear, The’: The Silent Close of The House of Mirth” (Benstock), Supp. XX:240 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 (Skloot), Supp. XX:196, 205, 206–207 “World of Light, A” (Skloot), Supp. XX:194, 207 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

562 / AMERICAN WRITERS World’s Body, The (Ransom), III: 497, 499; Supp. II Part 1: 146 World’s End (Boyle), Supp. VIII: 11–12; Supp. XX:22–23 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 Wouk, Herman, Supp. XX:243 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 “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, 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, Mrs. Richard (Ellen Poplar), IV: 476 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 Bed, A” (Mirvis), Supp. XX:179 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 Between Worlds” (Mirvis), Supp. XX:177, 178, 179 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

CUMULATIVE INDEX / 563 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 “Written on the Land” (J. W. Miller), Supp. XX:170 “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 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, Jack B., Supp. XX:201 Yeats, John Butler, III: 458; Supp. XX:69

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

564 / AMERICAN WRITERS 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 ѧy no se lo tragó la tierra (Rivera), Supp. XIX: 99, 101 Y no se lo trago la tierra (And the Earth Did Not Cover Him) (Rivera), Supp. XIII: 216 ¡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, Lorraine, Supp. XX:51 “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 “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, Barbara, Supp. XX:119, 123 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

CUMULATIVE INDEX / 565 You Touched Me! (Williams and Windham), IV: 382, 385, 387, 390, 392–393 “You Touch Me” (X. J. Kennedy), Supp. XV: 166 You Went Away (Findley), Supp. XX:49 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; Supp. XX:2 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 Ziegler, Cyd, Supp. XX:273 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

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 {/alpha}

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 Antin, Mary Supp. XX 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 Boyle, T. C. Supp. XX 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

567

568 / AMERICAN WRITERS Bynner, Witter Supp. XV Caldwell, Erskine Vol. I 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 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 Di Donato, Pietro Supp. XX

Supp. I

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 Findley, Timothy Supp. XX Fisher, M. F. K. Supp. XVII Fisher, Rudolph Supp. XIX Fitzgerald, F. Scott Vol. II Fitzgerald, F. Scott Retro. Supp. I

AUTHORS LIST / 569 Fitzgerald, Zelda Supp. IX Ford, Richard Supp. V Francis, Robert Supp. IX Frank, Waldo Supp. XX Franklin, Benjamin Vol. II Franzen, Jonathan Supp. XX 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 Gates, Henry Louis Jr. Supp. XX Geisel, Theodor Seuss Supp. XVI Gibbons, Kaye Supp. X Gibran, Kahlil Supp. XX 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

570 / AMERICAN WRITERS 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 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 Lamott, Anne Supp. XX 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 Maclean, Norman Supp. XIV MacLeish, Archibald Vol. III 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 McKnight, Reginald Supp. XX 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

AUTHORS LIST / 571 Miller, Arthur Vol. III Miller, Henry Vol. III Miller, Jim Wayne Supp. XX Miller, Sue Supp. XII Minot, Susan Supp. VI Mirvis, Tova Supp. XX Momaday, N. Scott Supp. IV Monette, Paul Supp. X Moore, Lorrie Supp. X Moore, Marianne Vol. III 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

572 / AMERICAN WRITERS 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 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 Skloot, Floyd Supp. XX 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 Stratton-Porter, Gene Supp. XX Sturgis, Howard Overing Supp. XX 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 Uris, Leon Supp. XX 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, Patricia Nell Supp. XX 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

AUTHORS LIST / 573 West, Nathanael Retro. Supp. II Wharton, Edith Vol. IV Wharton, Edith Retro. Supp. I Wheatley, Phillis Supp. XX 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 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