{"http:\/\/dx.doi.org\/10.14288\/1.0101163":{"http:\/\/vivoweb.org\/ontology\/core#departmentOrSchool":[{"value":"Arts, Faculty of","type":"literal","lang":"en"},{"value":"English, Department of","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/dataProvider":[{"value":"DSpace","type":"literal","lang":"en"}],"https:\/\/open.library.ubc.ca\/terms#degreeCampus":[{"value":"UBCV","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/creator":[{"value":"Novik, Geraldine Mary","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/issued":[{"value":"2011-03-09T00:58:34Z","type":"literal","lang":"en"},{"value":"1973","type":"literal","lang":"en"}],"http:\/\/vivoweb.org\/ontology\/core#relatedDegree":[{"value":"Doctor of Philosophy - PhD","type":"literal","lang":"en"}],"https:\/\/open.library.ubc.ca\/terms#degreeGrantor":[{"value":"University of British Columbia","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/description":[{"value":"Now, in 1973, it is possible to say that Robert Creeley is a major American poet. The Inventory of works by and about Creeley which comprises more than half of this dissertation documents the publication process that brought him to this stature. The companion Writing Biography establishes Creeley additionally as the key impulse in the new American writing movement that found its first outlet in Origin, Black Mountain Review, Divers Books, Jargon Books, and other alternative little magazines and presses in the fifties.\r\nAfter the second world war a new generation of writers began to define themselves in opposition to the New Criticism and academic poetry then prevalent and in support of Pound and Williams, and as these writers started to appear in tentative little magazines a further definition took place. Some, such as Robert Creeley and Charles Olson, worked toward a new poetic which required a stricter attention on the part of the writer to his content than either metered verse or the loose free verse that rebelled against it. Early in 1950 Creeley began to correspond with Pound, Williams, Olson, Cid Corman, Denise Levertov, Paul Blackburn and others regarding a magazine he wished to start. Out of his correspondence with Olson came the two foremost statements of the new writing, Olson's \"Projective Verse\" and Creeley's \"Notes for a New Prose\". Out of the pieces of the collapsed magazine came Origin (1951-1957) which, with Corman as editor and Creeley as informal agent, gave the Origin-Black Mountain- poets their first sympathetic publication.\r\nThe Writing Biography demonstrates that since 1950 writing has been the primary content of Creeley's life and since 1952 his life the primary content of his writing. Using a biographical\r\norder, this essay closely follows Creeley's poetry, prose, and writing theory as they develop coincidentally with an alternative writing and publishing system in the early fifties, and records the transition of his own interest from Origin and like magazines, through his Divers Press, to Black Mountain Review\u2014the most significant little magazine of the decade \u2014 which Creeley edited from 1954 to 1957. Careful documentation is given for the maturing of his belief that the content (and thus the form) of the writing must be the specific issue of the life momently to hand, and attention is paid to the changes in his life which changed the circumstances of the writing. Above all, this is Creeley's story, and much is told in his own words by using unpublished letters and other works written at the time.\r\nThe Inventory \u2014 a bibliographical catalog in type \u2014records, assesses, interrelates, and otherwise takes stock of the mass of Creeley publications scattered world-wide. It is comprehensive for Creeley's works published from 1945 to 1970 and selective for writings about him. In addition, it lists audio-visual material and many unpublished works. The various editions of Creeley's own books, pamphlets, and broadsides are described in detail and the contents itemized. There is a valuable list of as-yet-uncollected publications and information on his editing, translating, and publishing activities. A separate section gives a publication history (with dates of composition when known) for each of Creeley's poems, stories, and critical notes in the order they appear in his collected works. The writings about Creeley were selected for their usefulness and chronologically\r\narranged within critical groupings. A final section describes letters, manuscripts, and other unpublished works which have found their way into university libraries. Since the Inventory was compiled with the needs of the literary critic and student in mind, cross-references and relationships between publications (and between publications and manuscripts) have been given freely. There is a foreword by Robert Creeley, an introduction, and indexes to names, to poems, and to periodicals.","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/aggregatedCHO":[{"value":"https:\/\/circle.library.ubc.ca\/rest\/handle\/2429\/32210?expand=metadata","type":"literal","lang":"en"}],"http:\/\/www.w3.org\/2009\/08\/skos-reference\/skos.html#note":[{"value":"^IMC ROBERT C R E E L E Y : A W R I T I N G B I O G R A P H Y AND I N V E N T O R Y by G E R A L D I N E MARY N O V I K B . A . , U n i v e r s i t y o f B r i t i s h C o l u m b i a , 1 9 6 6 A T H E S I S S U B M I T T E D I N P A R T I A L F U L F I L M E N T OF THE R E Q U I R E M E N T S FOR THE D E G R E E OF DOCTOR OF P H I L O S O P H Y i n t h e D e p a r t m e n t o f E n g l i s h We a c c e p t t h i s t h e s i s a s c o n f o r m i n g t o t h e r e q u i r e d s t a n d a r d THE U N I V E R S I T Y OF B R I T I S H C O L U M B I A F e b r u a r y , 1 9 7 3 In p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t o f the r e q u i r e m e n t s f o r an advanced degree a t the U n i v e r s i t y o f B r i t i s h C o l u m b i a , I agr e e t h a t the L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r r e f e r e n c e and s t u d y . I f u r t h e r agree t h a t p e r m i s s i o n f o r e x t e n s i v e c o p y i n g o f t h i s t h e s i s f o r s c h o l a r l y p u r p o s e s may be g r a n t e d by the Head o f my Department o r by h i s r e p r e s e n t a t i v e s . I t i s u n d e r s t o o d t h a t c o p y i n g o r p u b l i c a t i o n o f t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l not be a l l o w e d w i t h o u t my w r i t t e n p e r m i s s i o n . Department o f E N G L I S H  The U n i v e r s i t y o f B r i t i s h Columbia Vancouver 8, Canada Date February 7, 1973 A B S T R A C T N o w , i n 1 9 7 3 , i t i s p o s s i b l e t o s a y t h a t R o b e r t C r e e l e y i s a m a j o r A m e r i c a n p o e t . T h e I n v e n t o r y o f w o r k s b y a n d a b o u t C r e e l e y w h i c h c o m p r i s e s m o r e t h a n h a l f o f t h i s d i s s e r t a t i o n d o c u m e n t s t h e p u b l i c a t i o n p r o c e s s t h a t b r o u g h t h i m t o t h i s s t a t u r e . T h e c o m p a n i o n W r i t i n g B i o g r a p h y e s t a b l i s h e s C r e e l e y a d d i t i o n a l l y a s t h e k e y i m p u l s e i n t h e new A m e r i c a n w r i t i n g m o v e m e n t t h a t f o u n d i t s f i r s t o u t l e t i n O r i g i n , B l a c k M o u n t a i n  R e v i e w , D i v e r s B o o k s , J a r g o n B o o k s , a n d o t h e r a l t e r n a t i v e l i t t l e m a g a z i n e s a n d p r e s s e s i n t h e f i f t i e s . A f t e r t h e s e c o n d w o r l d w a r a new g e n e r a t i o n o f w r i t e r s b e g a n t o d e f i n e t h e m s e l v e s i n o p p o s i t i o n t o t h e New C r i t i c i s m a n d a c a d e m i c p o e t r y t h e n p r e v a l e n t a n d i n s u p p o r t o f P o u n d a n d W i l l i a m s , a n d a s t h e s e w r i t e r s s t a r t e d t o a p p e a r i n t e n t a t i v e l i t t l e m a g a z i n e s a f u r t h e r d e f i n i t i o n t o o k p l a c e . S o m e , s u c h a s R o b e r t C r e e l e y a n d C h a r l e s O l s o n , w o r k e d t o w a r d a new p o e t i c w h i c h r e q u i r e d a s t r i c t e r a t t e n t i o n o n t h e p a r t o f t h e w r i t e r t o h i s c o n t e n t t h a n e i t h e r m e t e r e d v e r s e o r t h e l o o s e f r e e v e r s e t h a t r e b e l l e d a g a i n s t i t . E a r l y i n 1 9 5 0 C r e e l e y b e g a n t o c o r r e s p o n d w i t h P o u n d , W i l l i a m s , O l s o n , C i d C o r m a n , D e n i s e L e v e r t o v , P a u l B l a c k b u r n a n d o t h e r s r e g a r d i n g a m a g a z i n e h e w i s h e d t o s t a r t . O u t o f h i s c o r r e s p o n d e n c e w i t h O l s o n c a m e t h e t w o f o r e m o s t s t a t e m e n t s o f t h e new w r i t i n g , O l s o n ' s \" P r o j e c t i v e V e r s e \" a n d C r e e l e y ' s \" N o t e s f o r a New P r o s e \" . O u t o f t h e p i e c e s o f t h e c o l l a p s e d m a g a z i n e c a m e O r i g i n ( 1 9 5 1 - 1 9 5 7 ) w h i c h , w i t h i i i C o r m a n a s e d i t o r a n d C r e e l e y a s i n f o r m a l a g e n t , g a v e t h e O r i g i n -B l a c k M o u n t a i n - p o e t s t h e i r f i r s t s y m p a t h e t i c p u b l i c a t i o n . T h e W r i t i n g B i o g r a p h y d e m o n s t r a t e s t h a t s i n c e 1 9 5 0 w r i t i n g h a s b e e n t h e p r i m a r y c o n t e n t o f C r e e l e y ' s l i f e a n d s i n c e 1 9 5 2 h i s l i f e t h e p r i m a r y c o n t e n t o f h i s w r i t i n g . U s i n g a b i o g r a p h -i c a l o r d e r , t h i s e s s a y c l o s e l y f o l l o w s C r e e l e y ' s p o e t r y , p r o s e , a n d w r i t i n g t h e o r y a s t h e y d e v e l o p c o i n c i d e n t a l l y w i t h a n a l t e r n a t i v e w r i t i n g a n d p u b l i s h i n g s y s t e m i n t h e e a r l y f i f t i e s , a n d r e c o r d s t h e t r a n s i t i o n o f h i s own i n t e r e s t f r o m O r i g i n a n d l i k e m a g a z i n e s , t h r o u g h h i s D i v e r s P r e s s , t o B l a c k M o u n t a i n  R e v i e w \u2014 t h e m o s t s i g n i f i c a n t l i t t l e m a g a z i n e o f t h e d e c a d e \u2014 w h i c h C r e e l e y e d i t e d f r o m 1 9 5 4 t o 1 9 5 7 . C a r e f u l d o c u m e n t a t i o n i s g i v e n f o r t h e m a t u r i n g o f h i s b e l i e f t h a t t h e c o n t e n t ( a n d t h u s t h e f o r m ) o f t h e w r i t i n g m u s t b e t h e s p e c i f i c i s s u e o f t h e l i f e m o m e n t l y t o h a n d , a n d a t t e n t i o n i s p a i d t o t h e c h a n g e s i n h i s l i f e w h i c h c h a n g e d t h e c i r c u m s t a n c e s o f t h e w r i t i n g . A b o v e a l l , t h i s i s C r e e l e y ' s s t o r y , a n d m u c h i s t o l d i n h i s o w n w o r d s b y u s i n g u n p u b l i s h e d l e t t e r s a n d o t h e r w o r k s w r i t t e n a t t h e t i m e . T h e I n v e n t o r y \u2014 a b i b l i o g r a p h i c a l c a t a l o g i n t y p e \u2014 r e c o r d s , a s s e s s e s , i n t e r r e l a t e s , a n d o t h e r w i s e t a k e s s t o c k o f t h e m a s s o f C r e e l e y p u b l i c a t i o n s s c a t t e r e d w o r l d - w i d e . I t i s c o m p r e h e n s i v e f o r C r e e l e y ' s w o r k s p u b l i s h e d f r o m 1 9 4 5 t o 1 9 7 0 a n d s e l e c t i v e f o r w r i t i n g s a b o u t h i m . I n a d d i t i o n , i t l i s t s a u d i o - v i s u a l m a t e r i a l a n d many u n p u b l i s h e d w o r k s . T h e v a r i o u s e d i t i o n s o f C r e e l e y ' s o w n b o o k s , p a m p h l e t s , a n d b r o a d s i d e s a r e d e s c r i b e d i n d e t a i l a n d t h e c o n t e n t s i t e m i z e d . T h e r e i s a v a l u a b l e l i s t o f a s - y e t - u n c o l l e c t e d p u b l i c a t i o n s a n d i n f o r m a t i o n o n h i s e d i t i n g , I V t r a n s l a t i n g , a n d p u b l i s h i n g a c t i v i t i e s . A s e p a r a t e s e c t i o n g i v e s a p u b l i c a t i o n h i s t o r y ( w i t h d a t e s o f c o m p o s i t i o n w h e n k n o w n ) f o r e a c h o f C r e e l e y ' . s p o e m s , s t o r i e s , a n d c r i t i c a l n o t e s i n t h e o r d e r t h e y a p p e a r i n h i s c o l l e c t e d w o r k s . T h e w r i t i n g s a b o u t C r e e l e y w e r e s e l e c t e d f o r t h e i r u s e f u l n e s s a n d c h r o n o -l o g i c a l l y a r r a n g e d w i t h i n c r i t i c a l g r o u p i n g s . A f i n a l s e c t i o n d e s c r i b e s l e t t e r s , m a n u s c r i p t s , a n d o t h e r u n p u b l i s h e d w o r k s w h i c h h a v e f o u n d t h e i r way i n t o u n i v e r s i t y l i b r a r i e s . S i n c e t h e I n v e n t o r y w a s c o m p i l e d w i t h t h e n e e d s o f t h e l i t e r a r y c r i t i c a n d s t u d e n t i n m i n d , c r o s s - r e f e r e n c e s a n d r e l a t i o n s h i p s b e t w e e n p u b l i c a t i o n s ( a n d b e t w e e n p u b l i c a t i o n s a n d m a n u s c r i p t s ) h a v e b e e n g i v e n f r e e l y . T h e r e i s a f o r e w o r d by R o b e r t C r e e l e y , a n i n t r o d u c t i o n , a n d i n d e x e s t o n a m e s , t o p o e m s , a n d t o p e r i o d i c a l s . C O N T E N T S P a g e ACKNOWLEDGMENT v i A W R I T I N G B I O G R A P H Y TO 1 9 5 7 C h r o n o l o g y 2 W r i t i n g B i o g r a p h y . 4 AN I N V E N T O R Y 1 9 4 5 - 1 9 7 0 F o r e w o r d b y R o b e r t C r e e l e y 1 1 8 D e t a i l e d T a b l e o f C o n t e n t s 1 2 0 I n t r o d u c t i o n 1 2 2 I W o r k s b y R o b e r t C r e e l e y . . . . . 1 2 8 I I S e l e c t e d W r i t i n g s A b o u t R o b e r t C r e e l e y . . . . 1 6 5 I I I P u b l i c a t i o n H i s t o r y o f I n d i v i d u a l W r i t i n g s b y R o b e r t C r e e l e y 1 9 0 I V M a n u s c r i p t s , L e t t e r s , R e c o r d i n g s , a n d P r o o f s . 2 3 2 A d d i t i o n s 2 5 7 I n d e x t o N a m e s 2 6 1 I n d e x t o P o e m s 2 7 1 I n d e x t o P e r i o d i c a l s 2 8 4 ACKNOWLEDGMENT I w o u l d l i k e t o t h a n k R o b e r t C r e e l e y , W a r r e n T a l l m a n , a n d O r e s t N o v i k f o r e n c o u r a g i n g me i n t h e p r e p a r a t i o n o f t h i s d i s s e r t a t i o n . R o b e r t C r e e l e y g e n e r o u s l y a n s w e r e d q u e s t i o n s i n l e t t e r s a n d i n p e r s o n a n d p r o v i d e d a f o r e w o r d f o r t h e I n v e n t o r y . W a r r e n T a l l m a n f i r s t i n t r o d u c e d me t o C r e e l e y ' s p o e m s i n h i s p o e t r y c l a s s i n 1 9 6 5 . H i s c o n v e r s a t i o n a n d w r i t i n g , a b o v e a l l h i s e x c e p t i o n a l e s s a y s o n C r e e l e y , h a v e b e e n a n i n f l u e n c e a n d i n s p i r a t i o n s i n c e t h a t t i m e . I am g r a t e f u l f o r t h e a s s i s t a n c e g i v e n by M a c M i l l a n F a m i l y F e l l o w s h i p s a n d a C a n a d a C o u n c i l D o c t o r a l F e l l o w s h i p . I h a v e q u o t e d f r o m u n p u b l i s h e d l e t t e r s a n d m a n u s c r i p t s i n t h e W r i t i n g B i o g r a p h y w i t h t h e k i n d p e r m i s s i o n o f R o b e r t C r e e l e y , I n d i a n a U n i v e r s i t y , W a s h i n g t o n U n i v e r s i t y , S i m o n F r a s e r U n i v e r s i t y , Y a l e U n i v e r s i t y , U n i v e r s i t y o f T e x a s a t A u s t i n , S t a t e U n i v e r s i t y o f New Y o r k a t B u f f a l o , a n d t h e U n i v e r s i t y o f C o n n e c t i c u t . I n o r d e r t o v e r i f y e n t r i e s a n d e x p a n d t h e I n v e n t o r y I s e a r c h e d f o r e l u s i v e b o o k s , l i t t l e m a g a z i n e s , a n d m a n u s c r i p t s a t a n u m b e r o f C a n a d i a n , A m e r i c a n , B r i t i s h , a n d G e r m a n l i b r a r i e s . W i t h o u t e x c e p t i o n , t h e l i b r a r y s t a f f w a s r e c e p t i v e a n d h e l p f u l . I owe m o s t t o t h o s e l i b r a r i e s a c k n o w l e d g e d i n t h e m a n u s c r i p t s e c t i o n o f t h e I n v e n t o r y f o r t h e i r h e l p w i t h b o o k s a n d p e r i o d i c a l s a s w e l l a s m a n u s c r i p t s . T h e l a r g e C r e e l e y c o l l e c t i o n a t W a s h i n g t o n U n i v e r s i t y , w h i c h i n c l u d e s many l i t t l e m a g a z i n e s , m o s t o f C r e e l e y ' s b o o k s , a n d a v a s t a r r a y o f h i s v i i m a n u s c r i p t s , w a s b y f a r t h e m o s t u s e f u l . S i n c e 1967 I h a v e b e e n i n a l m o s t c o n t i n u o u s c o r r e s p o n d e n c e w i t h E l s i e F r e i v o g e l a n d h e r s u c c e s s o r H o l l y H a l l , H e a d \u2022 o f t h e M a n u s c r i p t D i v i s i o n . T h e i r a s s i s t a n c e h a s b e e n i n v a l u a b l e , e s p e c i a l l y d u r i n g my v i s i t t o t h e l i b r a r y i n 1969. L o c a l l y , I h a v e m a d e g o o d u s e o f t h e f i n e c o n t e m p o r a r y l i t e r a t u r e c o l l e c t i o n a t S i m o n F r a s e r U n i v e r s i t y a n d t h e g e n e r a l c o l l e c t i o n a t t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a w h e r e t h e I n t e r - L i b r a r y L o a n s t a f f p a t i e n t l y s o u g h t o u t p u b l i c a t i o n s w h e n t h e l o c a t i o n s w e r e u n k n o w n t o m e . K i n d a n s w e r s t o my l e t t e r s w e r e r e c e i v e d f r o m s o many i n d i v i d u a l s t h a t a c k n o w l e d g m e n t i s u n f o r t u n a t e l y i m p r a c t i c a l . S m a l l p u b l i s h e r s and l i t t l e m a g a z i n e e d i t o r s w e r e e s p e c i a l l y h e l p f u l a n d l a r g e p u b l i s h e r s w e r e g e n e r o u s w i t h d a t e s a n d f i g u r e s . S e c t i o n I I o f t h e I n v e n t o r y w a s p u b l i s h e d i n a n e a r l i e r v e r s i o n , w i t h a n i n t r o d u c t i o n t o C r e e l e y c r i t i c i s m 1950-197D, i n W e s t C o a s t R e v i e w , W I , i i i ( J a n u a r y 1972). T h e I n v e n t o r y w i l l b e p u b l i s h e d i n 1973 b y K e n t S t a t e U n i v e r s i t y P r e s s i n c o n j u n c t i o n w i t h M c G i 1 1 - Q u e e n ' s U n i v e r s i t y P r e s s , w i t h t h e a s s i s t a n c e o f a p u b l i c a t i o n g r a n t f r o m t h e H u m a n i t i e s R e s e a r c h C o u n c i l o f C a n a d a - - w h i c h I g r a t e f u l l y a c k n o w l e d g e . W R I T I N G B I O G R A P H Y TO 1 9 5 7 T h i s i s t h e o n l y way t h a t o c c u r s t o m e : m y s e l f , a n d t h e v a r i a t i o n s p o s s i b l e u p o n my e x p e r i e n c e . . . . I a s k o n l y t h i s e x a c t n e s s . . . t o h a v e no h e s i t a n c e b e t w e e n w h a t t h e h e a d i s t h i n k i n g a n d w h a t t h e h a n d i s p u t t i n g d o w n - - R o b e r t C r e e l e y , 1 9 5 0 CHRONOLOGY 1926 R o b e r t W h i t e C r e e l e y b o r n u n t i l 1940. May 21, l i v e d i n M a s s a c h u s e t t s 1940-1943 1943-1947 1948-1949 1950-1953 1953-1955 1956-1957 A t t e n d e d H o l d e r n e s s S c h o o l , P l y m o u t h , New H a m p s h i r e , a n d c o n t r i b u t e d s t o r i e s a n d a r t i c l e s t o t w o s c h o o l m a g a z i n e s w h i c h h e e d i t e d i n h i s f i n a l y e a r . S t u d i e s a t H a r v a r d , i n t e r r u p t e d l a t e 1944 t o l a t e 1945 f o r s e r v i c e i n t h e I n d i a - B u r m a t h e a t e r , a n d a s s o c i a t i o n w i t h t h e H a r v a r d W a k e . M a r r i e d A n n i n 1946 a n d mas-s u p p o r t e d b y h e r t r u s t f u n d i n c o m e ( u n t i l 1955) . D r o p p e d o u t o f H a r v a r d s h o r t o f a d e g r e e . D a v i d b o r n . L i v e d o n a s u s t e n a n c e f a r m n e a r L i t t l e t o n , New H a m p s h i r e . R e a d i n t e n s i v e l y . P o e m s i n W a k e a n d A c c e n t , u n p u b l i s h e d s t o r i e s a n d c r i t i c a l p r o s e . I n D e c e m b e r 1949 h e a r d C i d G o r m a n ' s r a d i o p r o g r a m a n d b e g a n t o c o r r e s p o n d . A t t e m p t e d t o s t a r t a m a g a z i n e w h i c h w a s a b s o r b e d b y O r i g i n (1951-1957) . O r i g i n I I , \" f e a t u r i n g R o b e r t C r e e l e y \" , o u t Summer 1951. C o r r e s -p o n d e n c e w i t h W i l l i a m s , P o u n d , F e r r i n i , O l s o n , B l a c k b u r n , a n d L e v e r t o v . M o v e d t o A i x - e n - P r o v e n c e , F r a n c e , May 1951 a n d t o M a l l o r c a , S p a i n , O c t o b e r 1952. Tom a n d C h a r l o t t e b o r n . A c t e d a s i n f o r m a l a g e n t f o r O r i g i n , A m e r i c a n E d i t o r f o r F r a g m e n t e . S i g n i f i c a n t c o n t r i b u t i o n s t o G o l d e n G o o s e , New D i r e c t i o n s X I I I , G o a d , V o u , C o n t a c t , C I W \/ n , New M e x T c o Q u a r t e r l y . W r o t e t h e s t o r i e s i n T h e  G o l d D i g g e r s (1954) a n d p o e m s i n L e F g u (1952) , T h e K i n d O f A c t O f (1953) , a n d T h e I m m o r a l P r o p o s i t i o n (1953) . D i f f i c u l t i e s w i t h A n n a s d o c u m e n t e d b y t h e n o v e l T h e  I s l a n d (1963) . T h e i r D i v e r s P r e s s p u b l i s h e d b e t w e e n S p r i n g 1953 a n d F a l l 1955 s i x t e e n b o o k s b y C r e e l e y , O l s o n , D u n c a n , B l a c k b u r n , E i g n e r , L a y t o n , e t c . E d i t e d ' f o u r i s s u e s o f B l a c k M o u n t a i n R e v i e w i n 1954. I n v o l v e d i n i n t e r r e l a t i o n s h i p o f C o n t a c t , C I V \/ n , O r i g i n , BMR, a n d C o n t a c t , D i v e r s , a n d J a r g o n P r e s s e s . A s s o c i a t i o n w i t h M e r l i n , c o n t r i b u t i o n s t o F e r r i n i & O t h e r s , N i n e A m e r i c a n  P o e t s . W r o t e t h r e e new s t o r i e s a n d p o e m s i n A S n a r l i n g  G a r l a n d (1954) , A l l T h a t I s L o v e l y i n Men (1955) , a n d ( f r o m 1955-56) I f Y o u (1956) . T a u g h t a t B l a c k M o u n t a i n C o l l e g e M a r c h t o J u l y 1954, r e t u r n e d t o M a l l o r c a u n t i l J u l y 1955 w h e n h e l e f t t o t e a c h t h e F a l l t e r m a t t h e c o l l e g e . BMR o u t s t r i p p e d e a r l i e r m a g a z i n e s w i t h 1955, 56, a n d a n n u a l s i n w h i c h O r i g i n p o e t s i n c r e a s e d t o \" B l a c k M o u n t a i n \" w r i t e r s . D i v o r c e f r o m A n n J a n u a r y 1956 a n d 57 3 l e s s e n i n g of a c t i v e invo lvement wi th l i t t l e magazines and p r e s s e s . Spent S p r i n g 1956 i n San F r a n c i s c o where he met G i n s b e r g , S n y d e r , R e x r o t h , et a l . and c o l l e c t e d m a t e r i a l f o r BMR No. 7 (1957) which , as the f i n a l i s s u e , demonstrated the movement outward toward a broader w r i t i n g and p u b l i s h i n g system. 1957- Taught grades 7 to 9 at s m a l l boys s c h o o l i n A l b u q u e r q u e , 1959 New M e x i c o , from F a l l 1956 to S p r i n g 1959. In January 1957 met and m a r r i e d Bobbie L o u i s e H a l l , thus a c q u i r i n g two new d a u g h t e r s , K i r s t e n and L e s l i e . Sarah born 1957, Kate 1959. The Whip, a s e l e c t i o n of poems w r i t t e n 1950-54, p u b l i s h e d Summer 1957. F i r s t poem i n Poetry August 1957. From 1956 to 1959 wrote the poems c o l l e c t e d i n A Form of Women (1959) and c o n t r i b u t e d to the new magazines Hearse , Measure, Texas Q u a r t e r l y , E v e r g r e e n  Review, Neon, Yuqen\", B i g T a b l e , as w e l l as to O r i g i n , P o e t r y , New Mexico Q u a r t e r l y , and The N a t i o n . I On N o v e m b e r 3 , 1 9 6 3 a s a r e s u l t o f r e a d i n g a r e v i e w o f h i s j u s t - p u b l i s h e d n o v e l T h e I s l a n d i n h i s h o m e s t a t e B e l m o n t C i t i z e n , R o b e r t C r e e l e y w r o t e a n e x p l i c i t l y a u t o b i o g r a p h i c a l p o e m t i t l e d \" I \" . T h e p o e m , w h i c h q u o t e s d i r e c t l y f r o m t h e r e v i e w , t a k e s u s b a c k t o 1 8 8 0 i n t h e C r e e l e y f a m i l y : I \" i s t h e g r a n d s o n o f T h o m a s L . C r e e l e y , who a c q u i r e d e i g h t a c r e s o f B e l m o n t l a n d a r o u n d 1 8 8 0 a n d c o n t i n u e d \" H i s h o u s e w a s n u m b e r e d 3 7 5 Common s t . a n d h i s f a r m l a n d s , t h r o u g h t h e h e a r t o f w h i c h t h e p r e s e n t C r e e l e y r d . r u n s , a d j o i n e d t h e C h e n e r y h o l d i n g s a n d e x t e n d e d t o w a r d W a v e r l y f r o m u p p e r Common s t . T h e a u t h o r ' s f a t h e r , t h e l a t e D r . O s c a r C r e e l e y , w a s a p r o m i n e n t W a t e r t o w n p h y s i c i a n f o r m a n y y e a r s a n d h e a d e d t h e s t a f f o f S y m m e s H o s p i t a l i n A r l i n g t o n . \" I, i s l a t e B u t I s a w a p i c t u r e o f h i m o n c e , T . L . i n a c h a i r i n B e l m o n t , o r i t w a s h i s i n v a l i d a n d p a t i e n t w i f e t h e y t o l d me s a t t h e r e , h e w a s s t a n d i n g , l o n g a n d s t e a d y f a c e d , a b u r d e n t o h i m s h e w a s , a n d t h e s o n . T h e o t h e r c h i l d h a d d i e d T h e y w a i t e d , s o my f a t h e r who a l s o d i e d w h e n I i s f o u r g a v e a l l t o s o m e t h i n g l i k e t h e w o r d \" a d j o i n e d \" , \" e x t e n d e d \" s o I f e e l s 5 I s e e s t h e t i m e a s l o n g a n d w a v e r i n g g r a s s i n a l l a b o u t t h e l o t i n a l l t h a t c e m e t e r y a g a i n t h e o l d man o w n e d a p a r t o f s o t h e y c o u l d n ' t d i g h i m up.-*-C r e e l e y m e n t i o n e d h i s f a m i l y ' s n a t i o n a l o r i g i n i n a l e t t e r t o I a n H a m i l t o n F i n l a y i n 1 9 6 1 : I t i s v e r y c u r i o u s y o u a s k me i f I h a v e a n y S c o t s i n my s o -c a l l e d f a m i l y e t c . A s i t h a p p e n s , t h e r e a r e s o m e 2 0 o d d L a u r i e s , o f my f a m i l y , b u r i e d i n a l o t i n C a m b r i d g e , M a s s a c h u -s e t t s , t h a t I h o l d t i t l e t o , no l e s s , i . e . , t h e o w n e r s h i p o f i t r e v e r t e d t o me w i t h t h e e x p e c t a t i o n I w o u l d p a y t h e c o s t s o f \" p e r p e t u a l c a r e \" - - w h i c h o f c o u r s e I n e i t h e r w o u l d n o r c a n , w i t h a l l r e s p e c t f o r a l l . I d o n ' t t h i n k t h e y w i l l m i n d , i n s h o r t . B u t a n y h o w I am S c o t s t o t h a t e x t e n t - - m y f a t h e r ' s f a m i l y w e r e m o s t l y S c o t , I d o n ' t k n o w q u i t e w h e r e t h e C r e e l e y c a m e i n - - I r i s h I t h i n k . My m o t h e r ' s f a m i l y w e r e h a l f a n d h a l f E n g l i s h a n d F r e n c h C a n a d i a n ( f r o m N o v a S c o t i a ) . I n e v e r r e a l l y k n e w a n y o f t h i s p a r t o f my f a m i l y - - t h e S c o t t i s h \u2014 s i n c e my f a t h e r d i e d w h e n I w a s a b o u t f o u r , b u t m a y b e t h e w h o l e t h i n g c a r r i e d no m a t t e r . I ' l l s u p p o s e i t a n y h o w . 2 I n 1 9 6 6 C r e e l e y d e s c r i b e d h i s own c h i l d h o o d i n a n a u t o b i o g r a p h i -c a l s k e t c h w h i c h h a s n o t b e e n p u b l i s h e d : I w a s r a i s e d i n M a s s a c h u s e t t s f o r t h e m o s t p a r t , h a v i n g b e e n b o r n i n A r l i n g t o n , May 2 1 , 1 9 2 6 , s o n o f a p h y s i c i a n who d i e d w h e n I w a s f o u r . T h a t a n d t h e l o s s o f my l e f t e y e w h e n I w a s l i t t l e y o u n g e r m a r k f o r me t w o ' c o n d i t i o n s I h a v e u n e q u i v o c a l l y a s c o n t e n t , b u t w h i c h I h a v e n e i t h e r m u c h b i t t e r n e s s a b o u t n o r o t h e r s p e c i f i c f e e l i n g . I d i d m i s s my f a t h e r c e r t a i n l y . W i t h h i m w e n t n o t o n l y t h e p a r t i c u l a r w a r m t h he m i g h t h a v e f e l t f o r m e , b u t a l s o t h e w h o l e s i t u a t i o n o f o u r l i f e a s we h a d a p p a r e n t l y k n o w n i t . He h a d g o t a h o u s e i n t h e c o u n t r y , i n W e s t A c t o n , w h i l e h e c o n t i n u e d h i s p r a c t i c e i n W a t e r t o w n , a n d s o we w e r e l e f t t h e r e , w h e n he d i e d , t o m a n a g e a s we c o u l d . My m o t h e r b e c a m e , f i r s t , t o w n n u r s e f o r S t o w , t h e n l a t e r f o r t h e A c t o n s , W e s t , E a s t , N o r t h , S o u t h , a n d C e n t e r . B u t C o n c o r d w a s a l w a y s a q u a l i f i c a t i o n , i n t e r m s o f s o p h i s t i c a t i o n s o f a l l k i n d s . I r e m e m b e r b e i n g v e r y p l e a s e d t h a t C a p t a i n I s a a c D a v i s w a s a m o n g t h o s e p r e s e n t a t t h e b a t t l e i n C o n c o r d , h a v i n g b r o u g h t t h e r e a c o n t i n g e n t o f A c t o n f a r m e r s . 1 W o r d s (New Y o r k : S c r i b n e r ' s , C 1 9 6 7 ) , p p . 3 3 - 3 4 . T h i s p o e m i s e n t r y 6 2 0 i n t h e I n v e n t o r y . T h r o u g h o u t t h i s B i o g r a p h y , I n v e n t o r y e n t r y n u m b e r s w i l l b e g i v e n i n p a r e n t h e s e s t o i d e n t i f y w o r k s a n d t o d i r e c t t h e r e a d e r t o f u r t h e r i n f o r m a t i o n a b o u t t h e m . L e t t e r o f O c t o b e r 1 6 , 1 9 6 1 a t T h e U n i v e r s i t y o f T e x a s , A u s t i n ( 1 0 5 1 ) . 6 B u t my u p b r i n g i n g i n t h a t r e s p e c t w a s s m a l l p i c k i n g s , h a p p i l y s o . H a v i n g no f a t h e r , I w a s d e p e n d e n t u p o n a n u n c l e w h o s e n e r v o u s a m b i t i o n s f o r h i s own c h i l d r e n I n e v e r r e a l l y t r u s t e d , a n d a g r a n d f a t h e r , my m o t h e r ' s f a t h e r , a N o v a S c o t i a n , F r e n c h , who h a d g o n e t o s e a a t t h e a g e o f t w e l v e t o s u p p o r t f i v e y o u n g e r b r o t h e r s a f t e r t h e d e a t h o f h i s f a t h e r . He d i d n ' t l i k e g i r l s , a n d s o my s i s t e r g o t l i t t l e f r o m h i m , b u t f o r me h e was t h e o n e . m e a s u r e o f l i t e r a l man I h a d f o r t h o s e e a r l y y e a r s . We l i v e d f i r s t o n w h a t h a d b e e n a f a r m , t h o u g h we n e v e r u s e d i t a s s u c h , b u t i t s u p k e e p a n d g e n e r a l c o s t s b e c a m e t o o m u c h f o r my m o t h e r t o m a n a g e . So we l e f t i t , h a p p i l y h a v i n g f o u n d a b u y e r , a n d m o v e d t o a s m a l l e r p l a c e b u t t h e r e w e r e s t i l l w o o d s a n d a s e n s e o f m u c h s p a c e . I u s e d t o l i k e a n i m a l s v e r y m u c h . I w a n t e d t o b e a v e t e r i n a r i a n u n t i l I w e n t t o c o l l e g e , a t w h i c h t i m e I d i s p o s e d m y s e l f t o w a r d w r i t i n g , w i t h m u c h h o p e , d u e t o s y m p a t h e -t i c t e a c h e r s a t t h e s c h o o l t o w h i c h I h a d g o n e . So my c h i l d h o o d w a s h a p p y , a s I r e m e m b e r i t . I l o v e d t h e p o s s i b i l i t y o f t h e w o o d s , a n d w e n t w i t h f r i e n d s i n t o t h e m c o n s t a n t l y . We h a d t r a i l s i t s e e m e d h a l f w a y t o C a n a d a . I c a n r e m e m b e r l i t e r a l b a t t l e s e m p l o y i n g e v e r y t h i n g f r o m s l i n g s h o t s up t o B.B. g u n s a n d a n o c c a s i o n a l , 2 2 - - o n e t i m e my c o u s i n t o o k my s t o c k i n g - c a p o f f w i t h a s p e a r a s I w e n t r u n n i n g t h r o u g h a c l e a r i n g . S o m e h o w i t w a s a l o v e l y m o m e n t o f p r e c i s i o n f o r a l l c o n c e r n e d . T h e n , w h e n i t c a m e t i m e f o r me t o s t a r t my f r e s h m a n y e a r i n h i g h -s c h o o l , my s i s t e r who h a d g o t a s c h o l a r s h i p t o N o r t h f i e l d , h a v i n g a f r i e n d who h a d a b r o t h e r a t H o l d e r n e s s i n New H a m p s h i r e , p e r s u a d e d my m o t h e r t o a p p l y f o r my e n t r a n c e t h e r e . I g o t a s c h o l a r s h i p a n d s o w e n t o f f , v e r y t e n t a t i v e l y - - i n f a c t , I b r o u g h t my p i g e o n s w i t h me s o g e n e r o u s w a s t h a t s c h o o l t h e n i n i t s u n d e r s t a n d i n g o f b o y s a s m y s e l f . Y e t I h a d m u c h i n d e e d t o l e a r n . T h e \" s p o r t s c o a t \" b o u g h t a t G r o v e r C r o n i n ' s i n W a l t h a m t u r n e d o u t t o h a v e c a r d b o a r d b u t t o n s s o t h a t t h e y d i s s o l v e d t h e f i r s t t i m e I s e n t t h a t c o a t t o t h e c l e a n e r s . I t w a s a l l a new w o r l d f o r m e , b u t I w a s d e c e n t l y t r e a t e d \u2014 v e r y m u c h s o , i n f a c t , a n d c o u n t t h e m o s t r e l e v a n t p a r t o f my s c h o o l i n g t o be t h e f o u r y e a r s s p e n t t h e r e . T h e y d i d n o t m i s u s e my i d e a l i s m . 3 R e c e n t l y C r e e l e y h a s w r i t t e n t w o d a y b o o k s w h i c h c o n t a i n r e f e r e n c e s t o h i s c h i l d h o o d t h o u g h e l s e w h e r e h e h a s a d d e d l i t t l e t o t h i s a c c o u n t . ^ H i s y o u t h h a s s o m e t i m e s f i g u r e d i n h i s p o e t r y A u t o b i o g r a p h i c a l n o t e o f J u n e 2 6 , 1 9 6 6 a t W a s h i n g t o n U n i v e r s i t y ( 1 1 2 9 ) . P 4 A Day B o o k (New Y o r k : S c r i b n e r ' s , C 1 9 7 2 ) ; \" P r e s e n c e s ; A T e x t f o r M a r i s o l \" ( a s y e t u n p u b l i s h e d a s a w h o l e ) . a n d f i c t i o n , e s p e c i a l l y i n t h e s t o r y \" I n t h e S u m m e r \" ( 4 6 2 ) a n d a s b a c k g r o u n d t o t h e n o v e l T h e I s l a n d ( 1 2 ) . B e c a u s e o f h i s f a t h e r ' s e a r l y d e a t h , C r e e l e y w a s b r o u g h t up b y h i s m o t h e r a n d a n e x t e n d e d f a m i l y c o n s i s t i n g o f s i s t e r , a u n t s , u n c l e s , c o u s i n s , g r a n d p a r e n t s , a n d t h e h o u s e k e e p e r T h e r e s a . C e r t a i n l y h i s a t t i t u d e t o w a r d women a n d t h e c e n t r a l p o s i t i o n t h a t h o l d s i n h i s w r i t i n g h a s b e e n m u c h a f f e c t e d b y h i s m a t e r n a l r e a r i n g . I t h a s s o m e t i m e s b e e n a b u r d e n a s t h e p o e m \" T h e H e r o \" ( 5 2 4 ) m a k e s c l e a r . C r e e l e y ' s r e a d i n g b e g a n , a s h e r e m e m b e r s , w h e n h e w a s a b o u t t w e l v e a n d h i s s i s t e r H e l e n , f o u r y e a r s o l d e r , g a v e h i m C o n r a d a n d D o s t o e v s k i t o r e a d . He a t t e n d e d H o l d e r n e s s S c h o o l i n P l y m o u t h , New H a m p s h i r e , f r o m F a l l 1 9 4 0 t o J u n e 1 9 4 3 . \" I h a d s e v e r a l e x c e p t i o n a l t e a c h e r s , a l l o f whom i n c r e a s e d my a r t i c u l a -t i o n a n d a l s o my p e r c e p t i o n o f w h a t ' s a y i n g t h i n g s ' c o u l d a c c o m p l i s h \" . \" 1 W h i l e t h e r e he w r o t e a n u m b e r o f b r i e f s t o r i e s a n d s e v e r a l w e r e p u b l i s h e d i n . t h e o f f i c i a l s c h o o l m a g a z i n e , T h e  D i a l . ^ T h e r e i s no e v i d e n c e t h a t h e w r o t e a n y p o e m s d u r i n g t h i s p e r i o d . D u r i n g h i s f i n a l y e a r h e w a s a c t i v e l y e n g a g e d i n o c c a s i o n a l w r i t i n g a s e d i t o r o f T h e D i a l a n d a s o n e o f t h e e d i t o r s o f t h e s c h o o l y e a r b o o k . T h e B u l l , a m i m e o n e w s l e t t e r , w a s a p p a r e n t l y s t a r t e d b y t h e s t u d e n t s t o a v o i d t h e f a c u l t y s u p e r v i s i o n o f T h e D i a l i n 1 9 4 2 - 4 3 w i t h C r e e l e y a s t h e f i r s t e d i t o r . A n a r t i c l e i n T h e B u l l i n 1 9 6 1 s t a t e s t h a t h e w r o t e m a n y b l a s t i n g e d i t o r i a l s i n t h i s c a p a c i t y . One o f t h e s e q F o r e w o r d b y R o b e r t C r e e l e y t o t h e I n v e n t o r y , p . 1 1 8 . 6 \" T h o u S h a l t N o t K i l l \" , F a l l 1 9 4 0 i s s u e , p . 5 ; \" T h e P a s s i o n a t e P e r c i v a l P a p p i t \" , W i n t e r 1 9 4 3 , p p . 7 - 8 ; \" H o w S h o u l d I T h e n R e p l y \" , S u m m e r 1 9 4 3 , p . 6 . I am i n d e b t e d t o B a r b a r a P. S e a r l e s , L i b r a r i a n o f H o l d e r n e s s S c h o o l , f o r p r o v i d i n g m u c h o f t h e a b o v e i n f o r m a t i o n . 8 a d v o c a t e d \" t h e a m e l i o r a t i o n o f t h e m e n u \" . \" I n i t h e m a d e s u c h p o i n t s a s M r s . J u d g e a l l o w e d t h a t p r o b a b l y p r u n e w h i p f o r d e s s e r t t o o o f t e n w a s u n w i s e . U p o n p u b l i c a t i o n t h e c h e f i m m e d i a t e l y r e s i g n e d . I n o r d e r t o r e t a i n h i s s e r v i c e s , R e v . W e l d , t h e n h e a d m a s t e r , h a d ' e a c h b o y s h a k e t h e c h e f ' s h a n d a n d a p o l o g i z e , o n e b y s t r i c k e n o n e ' . C r e e l e y a s s e r t s t h a t t h i s 7 i n c i d e n t b r o u g h t h i m t o s e e t h e p o w e r o f l a n g u a g e \" . C r e e l e y w a s a c c e p t e d i n t o H a r v a r d i n 1 9 4 3 , t h u s d e t e r m i n i n g a c a r e e r i n w r i t i n g , \" n o m a t t e r t h a t I w a s p r o b a b l y n o t t h a t c e r t a i n o f i t a t t h e t i m e \" , o v e r v e t e r i n a r y m e d i c i n e , h i s 8 e a r l i e r c h o i c e . A t H a r v a r d , \" I f o u n d l i t t l e p l a c e d e s p i t e t h e v a r i o u s f r i e n d s h i p s I m a d e . O n l y o n e t e a c h e r , G o r d o n M c C r e a r y , g a v e me a n y s e n s e t h a t I m i g h t h a v e p o s s i b i l i t y a s a w r i t e r \" ( 1 1 2 9 ) . A m o n g h i s c l a s s m a t e s a t H a r v a r d w e r e J a c o b L e e d , J o h n H a l l , S e y m o u r L a w r e n c e , J o h n H a w k e s , a n d M i t c h e l l G o o d m a n ( w h o m a r r i e d D e n i s e L e v e r t o v i n D e c e m b e r 1 9 4 7 ) . T h e w a r y e a r s a t H a r v a r d w e r e c o n f u s e d o n e s , t h e s t u d e n t s b e i n g r u s h e d t h r o u g h b e f o r e t h e y w e r e c a l l e d u p . C r e e l e y ' s s c h o o l i n g w a s i n t e r r u p t e d f r o m l a t e 1 9 4 4 t o l a t e 1 9 4 5 w h i l e h e d r o v e a n a m b u l a n c e f o r t h e A m e r i c a n F ^ e l d S e r v i c e i n t h e I n d i a - B u r m a t h e a t e r . T h e w i l d a w k w a r d n e s s o f t h i s t i m e a n d o f t h e r e t u r n t o t h e U . S . v i a E n g l a n d a r e d e l i g h t f u l l y r e c o u n t e d i n t h e P a r i s R e v i e w i n t e r v i e w ( 1 3 6 ) a n d i n h i s u n p u b l i s h e d s t o r y \" T h e C o n v e r s a t i o n \" ( 1 1 0 6 ) . T h e W a k e , s t a r t e d b y H a r v a r d u n d e r g r a d u a t e s i n 1 9 4 4 , h a d 7 T h e B u l l , X V , i v ( F e b r u a r y 2 , 1 9 6 1 ) , 2 . F o r e w o r d t o t h e I n v e n t o r y , p . 1 1 8 . 9 i n C r e e l e y ' s a b s e n c e b e g u n t o p r o v i d e a n a l t e r n a t i v e t o t h e H a r v a r d A d v o c a t e , a n d h i s f r i e n d s o n t h e m a g a z i n e o f f e r e d h i m t h e p o s i t i o n o f A s s o c i a t e E d i t o r f o r t h e C u m m i n g s i s s u e , N u m b e r 5 ( S p r i n g 1946). 5 C r e e l e y ' s f i r s t p u b l i s h e d p o e m , w r i t t e n o n h i s r e t u r n t o H a r v a r d l a t e 1945, a p p e a r e d i n t h i s i s s u e : R e t u r n Q u i e t a s i s p r o p e r f o r s u c h p l a c e s ; T h e s t r e e t , s u b d u e d , h a l f - s n o w , h a l f - r a i n , E n d l e s s , b u t e n d i n g i n t h e d a r k e n e d d o o r s . I n s i d e , t h e y who w i l l b e t h e r e a l w a y s , Q u i e t a s i s p r o p e r f o r s u c h p e o p l e - -E n o u g h f o r now t o b e h e r e , a n d T o k n o w my d o o r i s o n e o f t h e s e . I t w a s t o b e t w o y e a r s b e f o r e m o r e o f h i s p o e m s w e r e p u b l i s h e d , a g a i n t h r o u g h f r i e n d s h i p s a t W a k e . T h i s a s s o c i a t i o n w i t h t h e e d i t o r s o f W a k e , w i t h whom he c a m e t o s h a r e a n a n t i p a t h y t o t h e New C r i t i c i s m , w a s s i g n i f i c a n t f o r C r e e l e y . D u r i n g h i s f i n a l y e a r s a t H a r v a r d 1945-47 h e b e g a n t o r e a d m o r e i n t e n s i v e l y , w o r k i n g o u t f r o m C u m m i n g s , H a r t C r a n e , a n d t h e i r f e l l o w w r i t e r s a n d e v e n t u a l l y a n d d e c i s i v e l y t o P o u n d a n d W i l l i a m s . He r e a d i n W a k e t h e w o r k o f new w r i t e r s s u c h a s D e n i s e L e v e r t o v a n d K e n n e t h L a s h ( l a t e r t h e e d i t o r o f New M e x i c o Q u a r t e r l y ) . F r o m 1944 t o 1950, t h o u g h m a i n l y f r o m t h e S p r i n g 1948 i s s u e , W a k e w a s f o r C r e e l e y v i r t u a l l y t h e o n l y e x a m p l e o f a n a l t e r n a t i v e l i t t l e m a g a z i n e d e d i c a t e d t o t h e p u b l i c a t i o n o f new w r i t i n g , h o w e v e r e p h e m e r a l . I t w a s w i t h t h i s a u d i e n c e i n m i n d t h a t h e f i r s t ' i b e g a n s e r i o u s l y t o w r i t e a n d t o i d e n t i f y h i m s e l f a s a w r i t e r . F r o m h i s r e t u r n f r o m t h e w a r up t o 1948 o r s o , C r e e l e y w a s ^ C r e e l e y r e v i e w e d o n e o f C u m m i n g s 1 \" b o o k s f o r t h e i s s u e b u t t h e r e v i e w , a p p a r e n t l y n e g a t i v e , w a s r e f u s e d . L a t e r h e b r i e f l y b e c a m e \" a v e r y s u s p e c t m e m b e r \" o f t h e H a r v a r d A d v o c a t e w h e n W a k e w a s s u s p e n d e d b e t w e e n S p r i n g 1946 a n d S p r i n g 1948. T h e p o e m i s q u o t e d f r o m T h e C h a r m : E a r l y a n d U n c o l l e c t e d P o e m s ( S a n F r a n c i s c o : F o u r S e a s o n s F o u n d a t i o n , 1969), p . 3 C 4 1 , 765). 1 0 l a r g e l y o c c u p i e d , s i n c e o t h e r w i s e u n e m p l o y e d , w i t h e x p l o r i n g w h a t s e e m e d t o be a l t e r n a t i v e s t o t h e k i n d o f f r u s t r a t i n g d i s c i p l i n e t h e n d o m i n a n t i n t h e a r t s . T h i s a c t i v i t y w a s s h a r e d b y m a n y o f h i s f r i e n d s a n d H a r v a r d c l a s s m a t e s : T h i s w a s t h e t i m e o f t h e w h o l e c u l t o f t h e h i p s t e r . . . i t w a s a t i m e o n e w a n t e d d e s p e r a t e l y a n i n t e n s i v e a n d a n a b s o l u t e l y f u l l e x p e r i e n c e o f w h a t e v e r i t w a s y o u w e r e e n g a g e d w i t h . . . . E v e r y -o n e w a s l o o k i n g f o r w h e r e i t w a s h a p p e n i n g & d e s p e r a t e l y w a n t e d t o b e a c c e p t e d b y i t , b e c a u s e f r a n k l y t h e s o c i e t y a s i t t h e n w a s , c o m i n g b a c k f r o m t h e w a r a n d r e a l i z i n g home a n d m o t h e r j u s t w a s n ' t , no m a t t e r how l o v e l y , w a s n o t a n y g r e a t p o s s i b i l i t y . A n d e q u a l l y t h e w h o l e s e n s e o f p r o f e s s i o n a l : b e c o m e a d o c t o r , a l a w y e r , t h e v a l u e o f o n e ' s l i f e a s a p r o g r e s s i o n t o w a r d s o m e a t t e n t i o n w a s g o n e b e c a u s e t h e w a r d e m o n s t r a t e d t h a t no m a t t e r how m u c h y o u t r i e d , a s M o r g e n t h a l s a i d i n h i s t e a c h i n g : f a c t s h a v e t h e i r own d y n a m i c s a n d t h i s c o u l d n e v e r b e a n t i c i p a t e d b y a n y f o r m o f a d j u s t m e n t . - ' - ' - ' C r e e l e y w a s i n t e r e s t e d m a i n l y i n m u s i c a n d l i t e r a t u r e a t t h i s t i m e , h i s i n t e r e s t i n a r t c o m i n g l a t e r , i n t h e e a r l y 1 9 5 0 ' s . He w a s o b s e s s e d w i t h j a z z , g o i n g t o c l u b s a r o u n d B o s t o n w h i l e a t H a r v a r d , l i s t e n i n g t o r e c o r d s m u c h o f t h e t i m e a t h o m e . \"I w a s f a s c i n a t e d b y w h a t t h e s e p e o p l e d i d w i t h t i m e . . . t h i s w a s w h e r e I w a s h e a r i n g t h i n g s s a i d i n t e r m s o f r h y t h m i c a n d s o u n d p o s s i -b i l i t i e s \" ( 1 3 3 ) . C h a r l i e P a r k e r w a s t h e b i g g e s t i n f l u e n c e , i n h i s r h y t h m a n d u s e o f s i l e n c e , b u t a l s o M i l e s D a v i s , T h e l o n i u s M o n k , D i z z y G i l l e s p i e , a n d many o t h e r j a z z m u s i c i a n s . P a r t i a l l y a s a r e s u l t o f h i s c o n t i n u e d f a s c i n a t i o n w i t h j a z z , C r e e l e y e x p e r i m e n t e d w i t h new s e n s e s o f r h y t h m i n h i s e a r l y p o e m s , r o u g h l y t h o s e w r i t t e n f r o m 1 9 4 8 u n t i l 1 9 5 4 . I n t h e p r e f a c e - -w h i c h a p p l i e s a s w e l l t o h i s t h r e e e a r l i e r b o o k s o f p o e t r y - - t o A l l T h a t I s L o v e l y i n Men ( 1 9 5 5 ) h e a c k n o w l e d g e s t h i s d e b t : \" I n t e r v i e w : R o b e r t C r e e l e y \" , W h e ' r e , N o . 1 ( S u m m e r 1 9 6 6 ) , p p . 4 7 - 5 8 ( 1 3 3 ) . T h i s i n t e r v i e w c o n t a i n s a w e a l t h o f i n f o r m a t i o n a b o u t t h i s p e r i o d i n C r e e l e y ' s l i f e . 11 \" L i n e - w i s e , t h e m o s t c o m p l e m e n t a r y s e n s e I h a v e f o u n d i s t h a t o f m u s i c i a n s l i k e C h a r l i e P a r k e r , a n d M i l e s D a v i s . I am i n t e r e s t e d i n h o w t h a t i s d o n e , how ' t i m e ' t h e r e i s h e l d t o a m e a s u r e p e c u l i a r l y a n e v i d e n c e ( a h a n d ) o f t h e e m o t i o n w h i c h p r o m p t s ( d r i v e s ) t h e p o e m i n t h e f i r s t p l a c e \" . \" ' \" \" ' \" W h i l e i n m u s i c t h e j a z z m u s i c i a n s w e r e t h e h e r o s o f t h e p o s t - w a r c o l l e g e s t u d e n t s , i n l i t e r a t u r e H e n r y M i l l e r , K e n n e t h P a t c h e n , D . H . L a w r e n c e , a n d H a r t C r a n e \" w e r e t h e p e o p l e who k e p t s a y i n g t h a t s o m e t h i n g i s p o s s i b l e , i t ' s p o s s i b l e t o s a y s o m e -t h i n g , y o u r e a l l y h a v e a c c e s s t o y o u r f e e l i n g s a n d c a n r e a l l y u s e t h e m a s a d e m o n s t r a t i o n o f y o u r own r e a l i t y \" ( 1 3 3 ) . T h i s w a s h a r d t o b e l i e v e i n t h e \" g o l d e n a g e f o r c r i t i c i s m \" . T h e New C r i t i c i s m , t h e n p r e v a i l i n g i n u n i v e r s i t y E n g l i s h d e p a r t m e n t s , f a v o r e d t h e s o c i a l l y - o r i e n t e d p o e t r y o f t h e 1 9 3 0 ' s a n d 4 0 ' s , s u c h a s E l i o t , A u d e n , R a n s o m , T a t e , a n d t h e i r f o l l o w e r s . C r e e l e y ' s t h e n - f o r m i n g a t t i t u d e , a n d t h a t o f t h e g r o u p o f p o e t s l a t e r r e p r e s e n t e d i n New A m e r i c a n P o e t r y : 1 9 4 5 - 1 9 6 0 ( 5 6 ) a n d T h e New W r i t i n g i n t h e U . S . A . , i s w e l l e x p r e s s e d i n C r e e l e y ' s i n t r o d u c t i o n t o t h e l a t t e r a n t h o l o g y : ^ A s h e v i l l e [ N o r t h C a r o l i n a ] : J o n a t h a n W i l l i a m s , 1 9 5 5 ( 6 , 9 1 6 ) . A s F r e d e r i c k E c k m a n p o i n t e d o u t i n h i s r e v i e w o f A l l T h a t  I s L o v e l y i n M e n , t w o p o e m s , \" B r o k e n B a c k B l u e s \" ( 8 2 l ) a n d \" S t o m p i n g w i t h C a t u l l u s \" ( 8 2 4 ) , a r e \" f r e e - s w i n g i n g v a r i a t i o n s \" i n f l u e n c e d d i r e c t l y b y j a z z ( 2 8 2 ) . I n o t h e r p o e m s , s u c h a s \"I K n o w a M a n \" ( 4 9 4 ) , i t i s t h e p h i l o s o p h y o f t h e h i p s t e r w h i c h a f f e c t s t h e s t y l e . 12 I n t h e e a r l y f i f t i e s C r e e l e y d e f e n d e d t h e w o r k o f C r a n e , P a t c h e n , a n d L a w r e n c e a m o n g o t h e r s . T h e s e w r i t i n g s a r e c o l l e c t e d i n A Q u i c k G r a p h : C o l l e c t e d N o t e s & E s s a y s ( 1 0 4 ) . T h i s b o o k d o c u m e n t s m a n y o f C r e e l e y ' s c o n c e r n s o v e r t h e y e a r s . M o s t o f t h e w r i t i n g s w e r e a n a t t e m p t t o e n c o u r a g e r e c o g n i t i o n o f w r i t e r s whom C r e e l e y a d m i r e d a n d f e l t w e r e n e g l e c t e d , f o r e x a m p l e L o u i s Z u k o f s k y a n d B a s i l B u n t i n g , o r whom h e f e l t w e r e n o t c e l e b r a t e d a s t h e y s h o u l d b e , a s W i l l i a m C a r l o s W i l l i a m s a n d C h a r l e s O l s o n . 12 T h e f o r t i e s w e r e a h o s t i l e t i m e f o r t h e w r i t e r s h e r e i n c l u d e d . T h e c o l l e g e s a n d u n i v e r s i t i e s w e r e d o m i n a n t i n t h e i r i n s i s t e n c e u p o n a n i d e a o f f o r m e x t r i n s i c t o t h e g i v e n i n s t a n c e . P o e m s w e r e e q u i v a l e n t t o c a r s i n s o f a r a s m a n y c o u l d o c c u r o f s i m i l a r p a t t e r n \u2014 a l t h o u g h e a c h w a s , o f c o u r s e , \" s i n g u l a r \" . B u t i t w a s t h i s a s s u m p t i o n o f a m o l d , o f a m e a n s t h a t c o u l d b e g a i n e d b e y o n d t h e l i t e r a l f a c t o f t h e w r i t i n g h e r e a n d n o w , t h a t h a d a u t h o r i t y . I t i s t h e m o r e i r o n i c t o t h i n k o f i t , r e m e m b e r i n g t h e i n c r e d i b l e p r e s s u r e o f f e e l i n g a l s o p r e s e n t i n t h e s e y e a r s - . - o f a l l t h a t d i d w a n t \" t o b e s a i d \" , o f s o m u c h c o n f u s i o n a n d p a i n w a n t i n g s t a t e -m e n t i n i t s own t e r m s . B u t a g a i n , i t i s K a r l S h a p i r o ' s E s s a y o n  R i m e ( w r i t t e n i n t h e S o u t h P a c i f i c a t a m i l i t a r y b a s e , \" w i t h o u t a c c e s s t o b o o k s \" , i n i a m b i c p e n t a m e t e r ) w h i c h i s s u c c e s s f u l , a n d A u d e n i s t h e m e a s u r e o f c o m p e t e n c e . I n c o n t r a s t E z r a P o u n d , H . D . , W i l l i a m C a r l o s W i l l i a m s ( d e s p i t e t h e t o k e n i n t e r e s t a s P a t e r s o n b e g i n s t o b e p u b l i s h e d ) , H a r t C r a n e , a n d e s p e c i a l l y W a l t W h i t m a n a r e l a r g e l y d i s r e g a r d e d . T h e s i t u a t i o n o f p r o s e I r e m e m b e r a s m u c h t h e s a m e . D e s p i t e t h e a p p a r e n t i n s i s t e n c e o f d i g r e s s i o n i n t h e w o r k o f J o y c e , F a u l k n e r , C e l i n e a n d o t h e r s who a r e v a l u e d , t h e r e i s n o n e t h e l e s s t h e a t t e m p t t o s h a p e a l l d i s c u s s i o n o f t h e i r \" f o r m \" t o t h e c o n t e x t o f a n o v e r t p a t t e r n , a s y m b o l i s m , a n e x p l a n a n t i o n a g a i n a n t e r i o r t o t h e i n s t a n c e . I n s h o r t , i t i s a p e r i o d w h e n c r i t i c i s m e n j o y s c o n t r o l o f l i t e r a r y r e f e r e n c e - - s o m u c h s o , t h a t i t c a n p r o p o s e i t s e l f t o b e o f p r i m a r y v a l u e q u i t e a p a r t f r o m i t s \" s u b j e c t s \" . T h e s e n s e o f f o r m w h i c h c o m e s o f t h i s i n s i s t e n c e i s d e f i n e d b y R o b e r t D u n c a n i n a n e s s a y , \" I d e a s o f t h e M e a n i n g , o f F o r m \" . . . . C o n f r o n t i n g s u c h r u l e , men w e r e d r i v e n b a c k u p o n t h e p a r t i c u l a r s o f t h e i r o w n e x p e r i e n c e , t h e l i t e r a l t h i n g s o f a n i m m e d i a t e e n v i r o n m e n t , w h e r e w i t h t o a c k n o w l e d g e t h e p o s s i b i l i t i e s o f t h e i r o w n l i v e s . 1 3 T h o u g h i t w a s h a r d l y t h u s f o r m u l a t e d i n t h e l a t e f o r t i e s , C r e e l e y a n d t h e o t h e r n e w w r i t e r s w e r e b e g i n n i n g t o f e e l p a r t o f a n u n d e r g r o u n d c o n t i n u i t y i n p o e t r y w h i c h , r u n n i n g f r o m P o u n d , ' W i l l i a m s , a n d t h e I m a g i s t s o f t h e 1 9 1 0 ' s t h r o u g h Z u k o f s k y , t h e D b j e c t i v i s t s , a n d o t h e r n e g l e c t e d w r i t e r s o f t h e 2 0 ' s a n d 3 Q ' s , 14 s h o r t - c i r c u i t e d t h e a b o v e - g r o u n d p o e t r y o f t h e 3 0 ' s a n d 4 0 ' s . E d . D o n a l d A l l e n a n d R o b e r t C r e e l e y ( H a r m o n d s w o r t h , M i d d l e s e x , E n g l a n d : P e n g u i n , 1 9 6 7 ) , p p . 1 7 - 1 8 ( 1 7 2 , 9 3 2 ) . * 4 F o r C r e e l e y ' s t e s t i m o n y t o t h i s e f f e c t s e e \" R o b e r t C r e e l e y i n C o n v e r s a t i o n w i t h C h a r l e s T o m l i n s o n \" ( 1 3 1 ) a n d \" O l s o n & O t h e r s : S ome O r t s f o r t h e S p o r t s \" ( 9 5 5 ) . T h e I m a g i s t s i n c l u d e d 1 3 T h i s a l t e r n a t e t r a d i t i o n w a s f i r s t e n c o u n t e r e d b y C r e e l e y i n t h e w o r k o f P o u n d a n d W i l l i a m s , t h o u g h i t w a s s ome t i m e b e f o r e h e m a d e a c t i v e u s e o f i t i n ' h i s own w r i t i n g . S o o n a f t e r i t w a s p u b l i s h e d i n 1 9 4 4 C r e e l e y r e a d W i l l i a m s ' T h e W e d g e . T h i s p a r a g r a p h i n t h e i n t r o d u c t i o n h a s p r o v e d a n a n c h o r f o r h i m : T h e r e f o r e e a c h s p e e c h h a v i n g i t s own c h a r a c t e r t h e p o e t r y i t e n g e n d e r s w i l l be p e c u l i a r t o t h a t s p e e c h a l s o i n i t s o w n i n t r i n s i c f o r m . . . . When a man m a k e s a p o e m , m a k e s i t , m i n d y o u , h e t a k e s w o r d s a s he f i n d s t h e m i n t e r r e l a t e d a b o u t h i m a n d c o m p o s e s t h e m - - w i t h o u t d i s t o r t i o n w h i c h w o u l d m a r t h e i r e x a c t s i g n i f i c a n c e s - - i n t o a n i n t e n s e e x p r e s s i o n o f h i s p e r c e p t i o n s a n d a r d o r s t h a t t h e y may c o n s t i t u t e a r e v e l a t i o n i n t h e s p e e c h t h a t h e u s e s . 1 5 C r e e l e y h a s h e l d t o W i l l i a m s ' e x a m p l e t h r o u g h o u t t h e y e a r s , t h o u g h h e h a s n e v e r i m i t a t e d h i s p o e t r y . W h a t h e i s i n d e b t e d t o i s W i l l i a m s ' s e n s e o f p o e t r y a s b a s e d o n t h e s p e e c h o f o n e i n d i v i d u a l , i n o n e p l a c e , a t o n e t i m e - - a s a p a r t i c u l a r r e s p o n s e t o a n i m m e d i a t e e n v i r o n m e n t . C r e e l e y s a i d i n a n i n t e r v i e w : We a r e b o t h d o i n g s o m e t h i n g g u i t e a k i n : w e ' r e t h i n k i n g , w e ' r e g a i n i n g a h a r t i c u l a t i o n f o r o u r s e l v e s i n t h e a c t i v i t y o f t h e p o e m . A s h e s a y s , , f I n o u r f a m i l y we s t a m m e r u n t i l , h a l f m a d , we c o m e t o s p e e c h \" . O r h e s a y s , \" t h e w o r d s m a d e s o l e l y o f a i r \" . T h i s c o n t e x t f o r p o e t r y i s o n e v e r y i n t i m a t e a n d i m m e d i a t e l y r e c o g n i z a b l e t o m y s e l f . S o I d o n ' t t h i n k t h a t y o u c a n s a y , \" W e l l , t h i s man t a l k s a b o u t g r e e n b o t t l e s a n d t h i s man t a l k s a b o u t h i s w i f e ; t h e r e f o r e , t h e y a r e n o t i n t e r e s t e d i n t h e s a m e t h i n g s \" . I t ' s t h e w a y t h e s e t h i n g s a r e p e r c e i v e d i n t h e p o e m a n d how t h e y a r e a r t i c u l a t e d t h a t i s s i g n i f i c a n t ; a n d i n t h a t r e s p e c t I w o u l d f e e l a g r e a t d e b t t o W i l l i a m s a n d w o u l d f e e l t h a t I h a d l e a r n e d m u c h f r o m h i m i n d e e d . x & P o u n d , W i l l i a m s , H . D . , T . ' E . H u l m e , D . H . L a w r e n c e , R i c h a r d A l d i n g t o n , F . S . F l i n t , a n d Amy L o w e l l . W a l l a c e S t e v e n s h a s w r i t t e n I m a g i s t p o e m s . T h e O b j e c t i v i s t s w e r e Z u k o f s k y , W i l l i a m s , G e o r g e O p p e n , C h a r l e s R e z n i k o f f , a n d L o r i n e N i e d e c k e r . 1 5 C u m m i n g t o n , M a s s a c h u s e t t s : T h e C u m m i n g t o n P r e s s , 1 9 4 4 . 1 6 \" T h e A r t o f P o e t r y X \" , P a r i s R e v i e w , X I , N o . 4 4 ( F a l l 1 9 6 8 ) , 1 8 2 - 1 8 3 ( 1 3 6 ) . 14 I t i s t h e W i l l i a m s o f I n t h e A m e r i c a n G r a i n ( 1 9 2 5 ) , o f t h e e a r l y a n d l a t e s h o r t p o e m s , o f T h e D e s e r t M u s i c ( 1 9 5 4 ) a n d J o u r n e y t o L o v e ( 1 9 5 . 5 ) , a n d f i n a l l y o f P i c t u r e s f r o m B r u e g h e l ( 1 9 6 2 ) t h a t C r e e l e y h a s a d m i r e d , r a t h e r t h a n t h e W i l l i a m s o f P a t e r s o n , t h o u g h h e f o l l o w e d t h i s w o r k a s i t a p p e a r e d f r o m B o o k I ( 1 9 4 6 ) t o B o o k V ( 1 9 5 8 ) . P o u n d ' s i n f l u e n c e c a m e i n t h r o u g h t h e e a r l y p o e m s i n P e r s o n a e , t h r o u g h M a k e I t New w h i c h C r e e l e y o b t a i n e d a b o u t 1 9 4 6 , a n d t h r o u g h P o l i t e E s s a y s , P a v a n n e s a n d D i v i s i o n s , G u i d e t o K u l c h u r , a n d ABC o f R e a d i n g ( t h e l a s t n o t a c g u i r e d u n t i l 1 9 5 2 ) . O f P o u n d ' s c r i t i c i s m , C r e e l e y w a s m o s t i n f l u e n c e d b y M a k e I t New - - \" a b o o k I u s e d p r a c t i c a l l y a s a b i b l e w h e n I wa s y o u n g e r \" - - a n d b y t h e e s s a y s \" A R e t r o s p e c t \" , \" H o w t o R e a d \" , a n d \" T h e S e r i o u s 1 7 A r t i s t \" . I n \" A R e t r o s p e c t \" C r e e l e y d i s c o v e r e d t h e t h r e e d o ' s o f I m a g i s m , a c l a r i t y l o s t i n t h e s o c i a l p o e t r y o f t h e 1 9 3 0 ' s a n d 4 0 ' s : 1 . D i r e c t t r e a t m e n t o f t h e \" t h i n g \" w h e t h e r s u b j e c t i v e o r o b j e c t i v e . 2. T o u s e a b s o l u t e l y no w o r d t h a t d o e s n o t c o n t r i b u t e t o t h e p r e s e n t a t i o n . 3 . A s r e g a r d i n g r h y t h m : t o c o m p o s e i n t h e s e q u e n c e o f t h e m u s i c a l p h r a s e , n o t i n s e q u e n c e o f a m e t r o n o m e . - ^ P o u n d t a u g h t i n a l l h i s p o e t r y a n d p r o s e how t o r e a d , b y \" s h a r p e n i n g o n e ' s p e r c e p t i o n s \" , a n d how t o w r i t e , b y \" c h a r g i n g l a n g u a g e w i t h m e a n i n g t o t h e u t m o s t p o s s i b l e d e g r e e \" . I n t h e 1 7 C r e e l e y m a d e h i s own r e a d i n g o f P o u n d c l e a r i n h i s \" L e t t e r t o t h e E d i t o r o f G o a d \" ( 9 3 9 ) , w r i t t e n i n P o u n d ' s d e f e n s e i n 1 9 5 1 . T h e q u o t a t i o n i s f r o m t h e u s e f u l i n t e r v i e w w i t h C r e e l e y i n T h e U n m u z z l e d O x , I, i ( N o v e m b e r 1 9 7 1 ) , 4 2 . 18 L i t e r a r y E s s a y s o f E z r a P o u n d ( L o n d o n : F a b e r , 1 9 5 4 ) , p . 3 . 15 p a c k i n g o f t h e p o e t i c l i n e t h e m e d i u m w a s t h e s y l l a b l e ( w i t h a n e a r f o r i t s w e i g h t a n d d u r a t i o n ) a n d t h e m e a n s p h a n o p o e i a , m e l o p o e i a , a n d l o g o p o e i a . C r e e l e y r e c a l l e d ; P o u n d , o n t h e o t h e r h a n d , b r o u g h t u s i m m e d i a t e l y t o t h e c o n t e x t o f how t o w r i t e . I t w a s i m p o s s i b l e t o a v o i d t h e i n s i s t e n c e h e p u t o n p r e c i s e i y how t h e l i n e g o e s , how t h e w o r d i _ s , i n i t s c o n t e x t , w h a t h a s b e e n d o n e , i n t h e p r a c t i c e o f v e r s e - - a n d w h a t now s e e m s p o s s i b l e . t o d o . I t w a s , t h e n , a m e a s u r e h e t a u g h t - -a n d a m e a s u r e i n j u s t t h a t s e n s e W i l l i a m C a r l o s W i l l i a m s i n s i s t e d u p o n . . . . R a t h e r t h a n t e l l me a b o u t some c h a r a c t e r o f v e r s e , h e w o u l d g i v e t h e l i t e r a l i n s t a n c e s i d e b y s i d e w i t h t h a t w h i c h g a v e i t c o n t e x t . T h i s m e t h o d i s , o f c o u r s e , a n d a s p e c t o f w h a t h e c a l l s t h e i d e o q r a m m i c - - i t p r e s e n t s , r a t h e r t h a n c o m m e n t s u p o n . T h e e m p h a s i s I f e e l t o b e p r e s e n t i n a l l h i s w o r k , f r o m t h e r a t i o n a l e o f i m a g i s m , t o t h e l a t e s t C a n t o s . ^ P o u n d a c t e d a s a g e n e r a l f o r c e f o r C r e e l e y r a t h e r t h a n a p e r s o n a l e x a m p l e ( a s d i d W i l l i a m s ) ; h i s C a n t o s w e r e f a r r e m o v e d f r o m w h a t C r e e l e y c o u l d o r w o u l d w r i t e . B u t t h e p r e s s u r e o f P o u n d ' s c r i t i c i s m a n d p r i v a t e l e t t e r s t o C r e e l e y , t h e n e c e s s i t y he p r e s e n t e d o f d e a l i n g w i t h t h e d e a d l o c k i n w r i t i n g a n d p u b l i s h i n g c i r c a 1 9 5 0 , i m p e l l e d C r e e l e y t o b e c o m e a p r i m e a g e n t i n t h e r e s u r f a c i n g o f t h e u n d e r g r o u n d c o n t i n u i t y w h i c h h a d b e g u n w i t h I m a g i s m . II C r e e l e y h a d m a r r i e d i n t h e S p r i n g o f 1 9 4 6 a f t e r r e n e w i n g h i s r e l a t i o n s h i p w i t h A n n o n h i s r e t u r n f r o m t h e A m e r i c a n F i e l d S e r v i c e . He c o n t i n u e d a t H a r v a r d u n t i l t h e f o l l o w i n g w i n t e r , d r o p p i n g o u t s h o r t o f a d e g r e e i n t h e m i d d l e o f h i s f i n a l y e a r . He a n d A n n h a d b y t h i s t i m e m o v e d t o P r o v i n c e t o w n , M a s s a c h u s e t t s , 1 9 \" A N o t e o n E z r a P o u n d \" , A Q u i c k ' G r a p h ( S a n F r a n c i s c o : F o u r S e a s o n s F o u n d a t i o n , 1 9 7 0 ) , p p . 9 6 - 9 7 ( 1 0 4 , 9 4 0 ) . T h i s n o t e w a s w r i t t e n i n 1 9 6 4 t o i n t r o d u c e a s e l e c t i o n o f l e t t e r s C r e e l e y h a d r e c e i v e d f r o m P o u n d 1 9 5 0 - 5 1 . T h e P o u n d q u o t a t i o n s a b o v e a r e f o u n d t i m e a n d a g a i n i n P o u n d ' s w r i t i n g s . 16 \" o n t h e s t r e n g t h o f a f r i e n d s h i p w i t h t h e f i r s t w r i t e r I e v e r k n e w , a man n a m e d S l a t e r B r o w n \" who h a d b e e n a f r i e n d o f C u m m i n g s a n d H a r t C r a n e ( 1 3 3 ) . B u t t h e c o m m u t i n g b y f e r r y t o B o s t o n , p l u s t h e s e n s e o f h a v i n g o u t l i v e d t h e u s e f u l n e s s o f t h e v a r i o u s c o u r s e s , p r o v e d t o o m u c h f o r h i m . A b o u t 1 9 4 8 t h e y m o v e d t o a s u b s i s t e n c e f a r m n e a r L i t t l e t o n , New H a m p s h i r e . T h e r e , w i t h a r u n d o w n h o u s e , a s m a l l g a r d e n , s o m e l i v e s t o c k , a n d a y o u n g s o n , t h e y s e t up home a n d C r e e l e y s e t o u t t o w r i t e . D u r i n g t h e i r s t a y o n t h e f a r m , r o u g h l y 1 9 4 8 t o May 1 9 5 1 , C r e e l e y b e c a m e a s e r i o u s b r e e d e r o f p i g e o n s a n d c h i c k e n s w h i c h h e e x h i b i t e d i n a n u m b e r o f s h o w s i n B o s t o n . He w a s f a s c i n a t e d b y t h e t i m e a n d c a r e r e q u i r e d t o p r o d u c e a s h o w b i r d . T h i s i n t e r e s t , o n e h e h a d h a d s i n c e b o y h o o d , t a u g h t h i m h a b i t s o f a t t e n t i o n m o r e u s e f u l i n w r i t i n g p o e t r y , h e h a s s a i d , t h a n a n y u n i v e r s i t y c o u r s e . D u r i n g t h e i r m a r r i a g e t h e C r e e l e y s l i v e d o n a s m a l l i n c o m e w h i c h A n n r e c e i v e d f r o m a t r u s t f u n d . A s h e p u t i t i n a l e t t e r t o W i l l i a m s i n 1 9 5 7 : \"I w a s g o i n g t o b e a w r i t e r , a n d we l i v e d o n 2 1 5 a m o n t h s h e g o t f r o m a t r u s t f u n d . . . . E m b a r r a s s e d c o n t i n u a l l y , t h a t I d i d n o t ' s u p p o r t ' h e r a n d t h e c h i l d r e n - - b u t 20\" e q u a l l y e n d l e s s l y c o v e t o u s & a n x i o u s o f t h e t i m e i t g a v e m e \" . C r e e l e y ' s d e p e n d e n c e u p o n A n n f o r t h e s u p p o r t o f t h e f a m i l y a n d h i s l a c k o f o u t w a r d s u c c e s s a s a w r i t e r c o n t r i b u t e d t o a c o n s t a n t t e n s i o n i n t h e m a r r i a g e a n d t o a k i n d o f m o c k i n g o f f e n s i v e n e s s o n A n n ' s p a r t a n d d e f e n s i v e n e s s o n C r e e l e y ' s p a r t a b o u t h i s u s e f u l n e s s , a s a w r i t e r a n d o t h e r w i s e . M a n y o f h i s 2 D L e t t e r o f J a n u a r y 1 , 1 9 5 7 a t Y a l e U n i v e r s i t y ( 1 0 4 0 ) . ' 1 7 e a r l y w r i t i n g s came o u t o f t h i s t e n s i o n , a s h i s f i r s t p u b l i s h e d s t o r y \" T h e U n s u c c e s s f u l H u s b a n d \" ( 4 5 6 ) , w r i t t e n a b o u t 1 9 4 8 \" i n a p i q u e , a g a i n s t A n n \" , d e m o n s t r a t e s . T h e \" b u s i n e s s e s \" t h e h u s b a n d \" s o c a r e f u l l y g u i d e d i n t o f a i l u r e \" a r e o b v i o u s l y C r e e l e y ' s e a r l y w r i t i n g s a n d o t h e r e n t e r p r i s e s . T h i s s t o r y r e v e a l s t h e c a t h a r t i c f u n c t i o n w r i t i n g h a d f o r C r e e l e y w h i c h A n n h a d t o do w i t h o u t i n t h o s e y e a r s . T h e w i f e i s k i l l e d o f f a t t h e e n d ( a s s h e w a s l a t e r i n T h e I s l a n d w h i c h t e l l s t h e s t o r y o f t h e m a r r i a g e i n g r e a t e r d e t a i l ) . On J a n u a r y 1 , 1 9 5 0 C r e e l e y b e g a n a j o u r n a l w i t h t h e a v o w e d p u r p o s e : \" L e t i t b e h e r e t h a t I s h a k e l o o s e o f s o m e o f t h i s , t h a t I c a n g e t i n t o a n d a t t h e s a m e t i m e a w a y f r o m , w h a t b o t h e r s \" . F u r t h e r d o w n t h e p a g e h e n o t e d t h e m o t i v a t i o n : ' \" H e r 2 1 l a u g h t e r i s t h e m o s t s u b t l e c r u e l t y I k n o w \" . D u r i n g t h e f i r s t y e a r s o n t h e f a r m i n New H a m p s h i r e C r e e l e y h a d \" n o r e a l s e n s e o f b e i n g a w r i t e r \" e x c e p t a s a n \" i m a g i n a t i v e p o s s i b i l i t y \" h e d e s p e r a t e l y w a n t e d t o g e t t o ( 1 3 3 . ) . He r e a d i n t e n s i v e l y , l e a r n i n g h i s c r a f t . A s h e l a t e r p u t i t , \" o n e c o m e s i n t o t h e a c t i v i t y b y r e a d i n g , a n d t h e n s l o w l y g a i n s t h e a r t i c u l a -t i o n t h a t p e r m i t s h i m t o w r i t e \" . He r e m e m b e r s : I r e a d a s m u c h a s I c o u l d . . . r e a d t o s e e w h a t i t w a s t h a t w a s h a p p e n i n g i n p r o s e t h a t I r e s p e c t e d ; n o t s o m u c h how t o g e t t h e t r i c k s o f t h e w r i t i n g , b u t how i t w a s t o g e t t h e k i n d s o f e x p e r i e n c e : how d i d L a w r e n c e g a i n t h a t d e n s i t y o f e m o t i o n ? How d i d D o s t o e v s k i p o i s e t h a t k i n d o f d i l e m m a o f t h e s i n g u l a r i t y o f p e r s o n ? How d i d S t e n d h a l e f f e c t t h a t c r a z y s e q u e n c e o f r e f e r e n c e t h a t l e d y o u i n s u c h a n i n c i s i v e a n d q u i c k m a n n e r t o a l l k i n d s o f r a m i f i c a t i o n s o f t h o u g h t ? How do p e o p l e t h i n k ? How do t h e y f e e l i n t h i s p a r t i c u l a r c i r c u m s t a n c e ? How do t h e y m a n a g e t o m a k e i t e v i d e n t i n t h e i r w r i t i n g ? 2 2 2 1 T y p e s c r i p t j o u r n a l J a n u a r y 1 , 1 9 5 0 t o O c t o b e r 1 8 , 1 9 5 1 a t I n d i a n a U n i v e r s i t y ( 1 0 9 7 ) . 2 2 \" R o b e r t C r e e l e y I n t e r v i e w \" , T h e C o t t o n w o o d R e v i e w , I, i v ( 1 9 6 8 ) ( 1 3 5 ) . 18 W h a t h e w a s a t t e n d i n g t o w a s n o t t h e v a r i o u s u s e s o f f o r m p e r s e b u t t h e m e t h o d s o f c o n v e y i n g c o n t e n t : how t o s a y w h a t o n e h a s t o s a y w h e n o n e i s p r i v i l e g e d t o h a v e s o m e t h i n g tjo s a y . T h o u g h C r e e l e y d o e s n o t u s e t h e w o r d \" i n s p i r a t i o n \" , r a t h e r s p e a k s o f t h e \" g i v e n \" , e v e n a t t h i s t i m e h e f e l t t h a t w r i t i n g s h o u l d b e i n s p i r e d n o t o c c a s i o n e d . L i k e P o u n d , C r e e l e y t h o u g h t t h a t t h e w r i t e r m u s t l e a r n h i s c r a f t c a r e f u l l y i n o r d e r t o b e p r e p a r e d f o r t h e e v e n t . U n h a p p i l y , d u r i n g t h i s p e r i o d i t w a s m o s t l y u n e v e n t f u l p r e p a r a t i o n . D u r i n g t h e l a t e f o r t i e s C r e e l e y w a s w r i t i n g m o s t l y s t o r i e s a n d c r i t i c a l n o t e s w h i c h h e w a s t r y i n g t o g e t p u b l i s h e d i n m a g a z i n e s , t h o u g h l i t t l e o f t h i s w o r k h a s s u r v i v e d \u2014 o n l y t w o 2 3 s t o r i e s , i n f a c t , n e i t h e r o f w h i c h w a s p u b l i s h e d b e f o r e 1 9 5 1 . T h e i n f l u e n c e o f D o s t o e v s k i , L a w r e n c e , a n d S t e n d h a l , a s w e l l a s o f C o c t e a u , G i d e , a n d o t h e r p r o s e w r i t e r s , w a s a c t i v e up u n t i l l a t e 1 9 5 1 . T h e D o s t o e v s k i i n f l u e n c e i s a p p a r e n t i n \" T h e U n s u c c e s s f u l H u s b a n d ' \" , t h e t i t l e m a d e i r o n i c a l b y t h e f a c t t h a t t h i s w a s p r o b a b l y C r e e l e y ' s f i r s t s u c c e s s a s h u s b a n d o r w r i t e r . \" I n t h e S u m m e r \" ( 4 6 2 ) , a n o t h e r a u t o b i o g r a p h i c a l s t o r y , w a s w r i t t e n d u r i n g t h e s a m e p e r i o d ( c a . 1 9 4 8 ) . T h e y w e r e \" t r u e s t o r i e s \" n o t f i c t i o n a n d C r e e l e y w a s i n t e n t o n d e v e l o p i n g a s t y l e t h a t w o u l d m a k e t h i s t r u t h s e e m c r e d i b l e . T h e q u e s t i o n i s w h i c h c a m e f i r s t , t h e n e e d f o r c a t h a r s i s o r t h e d e s i r e t o a c h i e v e c r e d i b i l i t y t h r o u g h t h e u s e o f b e l i e v a b l e ( i . e . r e a l ) m a t e r i a l , o r w e r e t h e y c o n c e i v e d s i m u l t a n e o u s l y i n t h e w r i t i n g ? 23 \" T h e U n s u c c e s s f u l H u s b a n d \" a p p e a r e d i n T h e K e n y o n R e v i e w , X I I I , i ( W i n t e r 1 9 5 1 ) a n d \" I n t h e S u m m e r \" i n O r i g i n I I ( S u m m e r 1 9 5 1 ) . S e v e r a l s t o r i e s w e r e s u b m i t t e d t o A c c e n t a r o u n d 1 9 4 9 - 5 0 b u t w e r e r e j e c t e d a n d o n e w h i c h C r e e l e y h a d l i k e d a t t h e t i m e w a s l o s t . 19 I n \" T h e U n s u c c e s s f u l H u s b a n d \" t h e n e e d f o r p e r s o n a l r e l e a s e w a s t h e s t i m u l u s b u t i n \" I n t h e S u m m e r \" t h e a c h i e v e m e n t o f c r e d i b i l -i t y w a s a m o r e c o n s c i o u s m o t i v e . I n t h e s e e a r l y s t o r i e s C r e e l e y r e m e m b e r s : \"I w a n t e d a k i n d o f a n ' I - n e s s ' o r s i n g u l a r i t y i n t h e p r o s e , b u t I w a n t e d i t t o b e s t a t e d a g a i n i n a l l i t s a c t i v i t y r a t h e r t h a n i n s o m e p s y c h o l o g i c a l a s s u m p t i o n s \" ( 1 3 5 ) . T h e d e m a n d s h e made o n h i s s t y l e a n d t h e s t r i n g e n c y o f h i s s e l f -c r i t i c i s m c a u s e d h i m t o d i s c a r d many a t t e m p t s . C r e e l e y w a s a l s o w r i t i n g p o e m s , h a d b e e n o c c a s i o n a l l y i n f a c t s i n c e h i s r e t u r n f r o m t h e w a r l a t e i n 1 9 4 5 , t h o u g h f e w w e r e p u b l i s h e d . A s a r e s u l t o f H a r v a r d f r i e n d s h i p s w i t h S e y m o u r L a w r e n c e a n d J o h n H a w k e s , s e v e n p o e m s b y C r e e l e y a p p e a r e d i n 2 4 W a k e f r o m 1 9 4 8 t o 1 9 5 0 . T h e s e p o e m s a n d t h o s e p u b l i s h e d i n A c c e n t i n 1 9 4 9 a n d G r y p h o n i n 1 9 5 0 w e r e a n e m b a r r a s s m e n t t o C r e e l e y b y e a r l y 1 9 5 1 a n d t h e i r a w k w a r d n e s s i s s t i l l v e r y e v i d e n t . I f t h e y h a d n o t b e e n p u b l i s h e d C r e e l e y w o u l d no d o u b t h a v e d i s c a r d e d t h e m a s h e d i d t h e r e s t o f h i s e a r l y p o e m s . 2 4 \" G r e e n d o o n ' s S o n g \" ( 7 6 6 ) , W a k e , N o . 6 ( S p r i n g 1 9 4 8 ) , p . 1 7 ; \" P o e m f o r D . H . L a w r e n c e \" ( 7 6 7 ) , N o . 6 , p p . 1 6 - 1 7 ; \" P o e m f o r B e g i n n e r s \" ( 7 6 8 ) , N o . 7 ( 1 9 4 8 ) , p p . 8 4 - 8 5 ; \" S a n i n e t o L e d a \" ( 7 6 9 ) , N o . 7 , p . 8 5 ; \" F r o m P i c o & t h e W o m e n : A L i f e \" ( 7 7 3 ) , N o . 9 ( 1 9 5 0 ) , p p . 8 8 - 8 9 ; \" T o t h e One i n t h e G r a y C o a t \" ( 7 7 4 ) , ' N o . 9 , p . 8 7 ; \" S t i l l L i f e o r \" ( 7 7 7 ) , N o . 9 , p . 8 8 . C r e e l e y r e p a i d t h e f a v o r i n p a r t by r e v i e w i n g H a w k e s ' n o v e l s . T h e  B e e t l e L e g h e c o n s i d e r e d a n e x a m p l e o f \" H o w t o W r i t e a N o v e l \" i n 1 9 5 2 ( 9 2 3 ) . By 1 9 5 4 , H a w k e s ' t e c h n i q u e d i d n o t s e e m s o p r o m i s i n g ( 9 8 0 ; . 2 5 \" T h e L a t e C o m e r \" ( 7 7 0 ) , A c c e n t , I X , i v ( S u m m e r 1 9 4 9 ) , 2 2 1 ; \" G a n g s t e r \" ( 7 7 1 ) , A c c e n t , X , i ( A u t u m n 1 9 4 9 ) , 2 8 ; \" P o e m f o r B o b L e e d \" ( 7 7 2 ) , G r y p h o n , N o . 2 ( F a l l 1 9 5 0 ) , p . 1 8 . I n 1 9 6 7 C r e e l e y t h o u g h t m o r e k i n d l y o f t h e s e e a r l y p o e m s a n d t h e o n e s i n W a k e ^ n d i n c l u d e d t h e m i n T h e C h a r m : E a r l y a n d U n c o l l e c t e d P o e m s ( 3 2 , 4 1 ) . \" G a n g s t e r \" w a s i n a m o r e c o l l o q u i a l v e i n t h a n t h e o t h e r s . \" S t i l l L i f e o r \" , a n e x c e p t i o n , w i l l b e d i s c u s s e d l a t e r . 2 0 E v e n t h e p u b l i s h e d o n e s w e r e c o m p e t e n t b u t u n w i e l d y p o e m s w h i c h d e a l t w i t h \" s u b j e c t s \" i n a l i t e r a r y t o n e . H e r e i s a s h o r t e x a m p l e : S a n i n e t o L e d a B e y o n d t h i s r o a d t h e b l a c k n e s s b e n d s i n w a r m t h . T w o , t h e n t h r e e o r f o u r , l o v e r s w i t h w i s d o m f o r t h e m s e l v e s e n o u g h a r e s i t t i n g t h e r e i n v a g u e , u n b e n d i n g p o s e s . T h e y s i t . T h e q u i e t g r a s s h o l d s r o s e s . B e g i n w i t h t h a t . T h e b e a u t i f u l c o m e s l a t e r . L o v e , t h e s e v e r a l r o s e s , l o v e r s w i t h w i s d o m f o r t h e m s e l v e s , v a g u e , u n b e n d i n g p o s e s . L o o k . E a c h l o s e s w h a t h e c h o o s e s . ^ D u r i n g t h i s p e r i o d C r e e l e y W a s a t t e m p t i n g t o w r i t e i n t h e m a n n e r o f W a l l a c e S t e v e n s a n d h i s own v o i c e w a s n o t c o m i n g t h r o u g h . H i s i n t e r e s t w a s i n t h e s e n s e s o f m o d e w h i c h S t e v e n s p r e s e n t e d i n h i s p o e t r y a n d i n S t e v e n s ' b e l i e f t h a t p o e t i c f o r m w a s n o t \" a d e r i v a t i v e o f p l a s t i c s h a p e \" . I t w a s s o m e t i m e b e f o r e C r e e l e y c a m e t o r e a l i z e t h a t S t e v e n s ' \" u s e o f p o e t r y h a d f a l l e n t o t h e 2 7 q u e s t i o n a b l e f a c t o f a d e v i c e \" . I l l One S a t u r d a y e v e n i n g i n D e c e m b e r 1 9 4 9 C r e e l e y t u n e d i n t o t h e B o s t o n r a d i o s t a t i o n WfYlEX a n d h e a r d C i d C o r m a n ' s \" T h i s I s ^ b T h e C h a r m ( 1 9 6 9 ) , p . 9 ( 4 1 , 7 6 9 ) . 2 7 \" A N o t e o n E z r a P o u n d \" , A Q u i c k G r a p h , p . 9 5 ( 1 0 4 , 9 4 0 ) . O r i g i n V ( S p r i n g 1 9 5 2 ) w a s d e v o t e d t o S a m u e l F r e n c h M o r s e ' s e s s a y o n S t e v e n s , A M o t i v e f o r M e t a p h o r . I n a l e t t e r t o t h e e d i t o r , C i d C a r m a n , C r e e l e y c r i t i c i z e . s t h e e s s a y a s \" n o t O r i g i n m a t e r i a l \" a n d s a y s t h a t i t c o n v i n c e s h i m t h a t S t e v e n s a n d M a r i a n n e M o o r e - - p o e t s G e r m a n l i k e ' d - - w e r e o f \" NO u s e \" [ L e t t e r o f M a y 2 3 , 1 9 5 2 a t I n d i a n a U n i v e r s i t y ( 1 0 5 6 ) ] . 2 1 2 8 P o e t r y \" p r o g r a m f o r t h e f i r s t t i m e . T h i s w a s a p o p u l a r f i f t e e n m i n u t e s w e e k l y o f m o d e r n v e r s e , r e a d b y G o r m a n o r t h e p o e t w h o s e w o r k w a s b e i n g f e a t u r e d . C r e e l e y r e m e m b e r s t h i s o c c a s i o n w e l l : T h e g u e s t w a s R i c h a r d W i l b u r , who r e a d w i t h s u c h g r a c e f u l a c c e n t s I w a s f i l l e d w i t h e n v i o u s a m b i t i o n t o r e a d a l s o , a l t h o u g h I h a d n o n e o f h i s q u a l i f i c a t i o n s ; a n d s o m e w e e k s l a t e r , a f t e r c o r r e s p o n d e n c e w i t h - C i d w h i c h t h a t n i g h t b e g a n , I c o n v i n c e d h i m I w a s g o o d e n o u g h , o r he w a s t o l e r a n t e n o u g h , a n d s o I r e a d o n e S a t u r d a y n i g h t w h i l e I w a s i n B o s t o n s h o w i n g c h i c k e n s a t t h e B o s t o n P o u l t r y S h o w . 2 9 T h e r e a d i n g t o o k p l a c e i n J a n u a r y 1 9 5 0 . I t w a s C r e e l e y ' s f i r s t p u b l i c r e a d i n g a n d w a s a r e a s s u r a n c e f o r h i m a s h e w r o t e i n h i s j o u r n a l : \" S t i l l t h e p r o o f t h a t f r i g h t e n e d a s I w a s I h a d m a d e s o m e t h i n g s t r o n g e n o u g h t o h i d e m e , w h i c h w o u l d b e a r my w e i g h t \" ( 1 0 9 7 ) . I t l e d t o a n o t h e r r e a d i n g o n t h e s a m e p r o g r a m a n d t o o n e i n w h i c h C o r m a n r e a d f r o m C r e e l e y ' s s t o r i e s . M o r e i m p o r -t a n t l y , i t g a v e C r e e l e y a new r e s o l v e t o c o n t i n u e w r i t i n g . A f t e r t h e f i r s t l e t t e r w h i c h C r e e l e y w r o t e t o C o r m a n o n D e c e m b e r 1 4 , 1 9 4 9 , t h e y w r o t e l e n g t h y l e t t e r s s e v e r a l t i m e s a w e e k u n t i l 1 9 5 5 a n d t h e i r c o n c e r n w i t h t h e s t a t e o f c o n t e m p o r a r y w r i t i n g a n d c r o s s - c r i t i c i s m o f t h e i r o w n w o r k w a s a c o n s t a n t s t i m u l u s t o o n e a n o t h e r , t h o u g h C r e e l e y ' s t r u s t i n C o r m a n ' s j u d g m e n t w a s n e v e r i m p l i c i t . ^ T h e p r o g r a m w a s a i r e d f o r t h r e e y e a r s , 1 9 4 9 - 5 2 . C o r m a n w r o t e a b o u t i t f o r t h e D e c e m b e r 1 9 5 2 i s s u e o f P o e t r y ( L X X X I , 2 1 2 - 2 1 5 ) a n d i n \" A N o t e o n t h e F o u n d i n g o f O r i g i n \" , S e r i f , V , i M a r c h 1 9 6 8 ) , 2 9 - 3 0 . 2 9 \" 0 1 s o n & O t h e r s : Some O r t s f o r t h e S p o r t s \" , A Q u i c k G r a p h , p . 1 6 1 ( 1 0 4 , 9 5 5 ) . One o f t h e p o e m s r e a d w a s \" F r o m P i c o & t h e W o m e n : A. L i f e \" ( 7 7 3 ) . a r e 3 5 4 l e t t e r s f r o m C r e e l e y t o C o r m a n a t I n d i a n a ( 1 0 5 6 ) a n d s e v e n a t t h e U n i v e r s i t y o f T e x a s , A u s t i n T h e r e U n i v e r s i t y ( 1 0 5 0 ) . 22 I n 1 9 5 0 t h e r e w e r e f e w m a g a z i n e s a n d e v e n f e w e r p r e s s e s w h i c h w o u l d v e n t u r e t o p u b l i s h e x p e r i m e n t a l new w r i t i n g , e s p e c i a l l y t h a t o f w r i t e r s a s s o c i a t e d w i t h W i l l i a m s a n d P o u n d , who w a s m u c h d e c r i e d a s a f a s c i s t a t t h e t i m e . 3 1 M o s t w e r e d e s u l t o r y i n n a t u r e a n d t h o s e w h i c h h a d c o n t i n u i t y h a d l i t e r a r y p r e t e n s i o n s a s w e l l . C r e e l e y w a s f e d up w i t h t h e \" f l a b b i n e s s \" o f l i t e r a r y q u a r t e r l i e s s u c h a s P a r t i s a n R e v i e w a n d H u d s o n R e v i e w a n d t h e b i a s o f new c r i t i c i s m j o u r n a l s l i k e K e n y o n R e v i e w . \"We f e l t , a l l o f u s , a g r e a t d i s t a n c e f r o m t h e m o r e c o n v e n t i o n a l m a g a z i n e s o f t h a t t i m e . E i t h e r t h e y w e r e d o m i n a t e d b y t h e New C r i t i c s , w i t h whom we c o u l d h a v e no r e l a t i o n , o r e l s e t h e y w e r e s o g e n e r a l i n c h a r a c t e r , t h a t no a c t i v e c e n t e r o f c o h e r e n c e w a s 32 p o s s i b l e \" . B y now d i s a p p o i n t e d i n W a k e w h i c h t h o u g h c r i t i c a l o f c u r r e n t l i t e r a t u r e w a s f a i l i n g t o p r o v i d e a v i a b l e a l t e r n a -t i v e , C r e e l e y d e c i d e d e a r l y i n 1 9 5 0 t o s t a r t h i s own m a g a z i n e w i t h t h e h e l p o f a f r i e n d , J a c o b L e e d , who h a d t h e u se . o f a p r i n t i n g p r e s s . I-n t h e p r o c e s s o f s e a r c h i n g f o r a c t i v e c o n t r i b u t o r s C r e e l e y f o r m u l a t e d t h e p r o g r a m f o r t h e m a g a z i n e a n d e s t a b l i s h e d h i s o w n i d e n t i t y a s a w r i t e r a s r e f l e c t e d b a c k t o h i m b y t h e c i r c l e o f w r i t e r s t h u s c o n t a c t e d . S e v e r a l o f 31 T h e m i m e o m a g a z i n e s w h i c h w e r e o p e n t o e x p e r i m e n t a l w o r k w e r e f u l l o f w h a t C r e e l e y c a l l e d \" b a d a r t \" : v e r y l o o s e f r e e v e r s e . S o t h e y d i d n o t , i n s p i t e o f t h e i r a n t i p a t h y t o t h e a c a d e m i c q u a r t e r l i e s , o f f e r a s y m p a t h e t i c o u t l e t f o r new w r i t i n g s o m e w h e r e i n b e t w e e n . G o l d e n G o o s e ( s u p e r s e d i n g C r o n o s , S i b y l l i n e , a n d B r i a r c l i f f Q u a r t e r l y ) h a d s h o w n p r o m i s e i n t h r e e i s s u e s f o c u s s i n g o n W i l l i a m s b e t w e e n S ummer 1 9 4 8 a n d J u n e 1 9 4 9 a n d t h e e d i t o r s , R i c h a r d W i r t z E m e r s o n a n d F r e d e r i c k E c k m a n , w e r e p l a n n i n g t o r e v i v e i t f o r a n o t h e r s e r i e s . 3 2 I n t r o d u c t i o n t o t h e AMS R e p r i n t o f B l a c k M o u n t a i n R e v i e w , V o l . I ( N e w Y o r k , J u n e 1 9 6 9 ) ( 1 1 4 ) . T h i s i s a u s e f u l i n t r o d u c -t i o n a s w e l l t o C r e e l e y ' s e d i t i n g a n d p u b l i s h i n g a c t i v i t y i n t h e f i f t i e s . K e n v o n R e v i e w p u b l i s h e d t w o o f C r e e l e y ' s s t o n e s 1 9 5 1 -1 9 5 3 . 2 3 t h e s e c o n t a c t s w e r e t o b e a d i r e c t i n f l u e n c e o n h i s w r i t i n g a n d s o m e w e r e s u b s e q u e n t l y t o f o r m t h e c o r e o f w h a t h a s b e e n c a l l e d t h e B l a c k M o u n t a i n g r o u p . I n f a c t , i t w a s C r e e l e y ' s d e c i s i o n t o s t a r t a m a g a z i n e t h a t p u t t h e new w r i t i n g m o v e m e n t o n t h e r o a d . C r e e l e y b e g a n s e a r c h i n g f o r c o n t r i b u t o r s t o h i s m a g a z i n e i n F e b r u a r y 1 9 5 0 . He o u t l i n e d h i s p r o g r a m i n a l e t t e r t o E u g e n e M a g n e r , t h e e d i t o r o f G l a s s H i l l : M r . C o r m a n h a s g i v e n me y o u r name a s o n e who m i g h t b e i n t e r e s t e d i n t h e f o l l o w i n g p l a n . B r i e f l y , I h a v e j u s t b e e n o f f e r e d t h e u s e o f a p r i n t i n g p r e s s , p a p e r , i n k \" & t y p e t o b e s u p p l i e d a s w e l l , a n d s o f i n d m y s e l f i n a n e x c e l l e n t p o s i t i o n t o p r i n t a m a g a z i n e f r e e o f t h e u s u a l p r e s s u r e s . I n c o n s e q u e n c e , I ' d l i k e t o m a k e i t ( l ) a n o u t l e t f o r a n y a n d a l l w o r k t h a t d e s e r v e s a t t e n t i o n , ( 2 ) a n o u t l e t f r e e o f t h e c u r r e n t i m p o s i t i o n s o f t h e l i t e r a r y h e i r a r c h y , ( 3 ) a n o u t l e t f o r c r t i c a l w o r k , p r o s e & p o e t r y , e a c h s e c t i o n t o a c t a s r e i n f o r c e m e n t o f t h e o t h e r s . T h e s e a r e , o f c o u r s e , v e r y g e n e r a l s t a t e m e n t s a n d w i l l d e p e n d o n d e m o n s t r a t i o n f o r a n y m e a n i n g t h e y may h a v e . B u t b e c a u s e I am n o t s a t i s f i e d w i t h w h a t m a g a z i n e s e x i s t , b e c a u s e I t h i n k a c o h e r e n t a n d o p e n l y m a i n t a i n e d e d i t o r i a l p o l i c y i s , a t l e a s t , o n e o f t h e p o i n t s a m a g a z i n e s h o u l d b e c o n c e r n e d w i t h , b e c a u s e I am s i c k t o d e a t h o f v e r b i a g e a n d e v a s i o n i n c u r r e n t c r i t i c a l w r i t i n g , p r o s e & p o e t r y , i t s e e m s t o t h e p o i n t t o m a k e a n e f f o r t t o p r i n t a m a g a z i n e c o n c e r n e d w i t h t h e c l a r i t y a n d a b i l i t y o f t h e w o r k w h i c h i t p r i n t s . S o , w i t h a n e y e t o t h i s , I ' d be g r a t e f u l f o r w h a t e v e r w o r k y o u m i ' g h t b e k i n d e n o u g h t o s e n d f o r a f i r s t i s s u e . I w i s h t h a t I m i g h t o f f e r p a y m e n t b u t p r o f i t s , i f a n y , w i l l h a v e t o g o b a c k i n t o t h e p r e s s . I h o p e t o h a v e a f i r s t i s s u e r e a d y b y t h i s s u m m e r . I n a n y e v e n t , I s h o u l d l i k e t o h e a r f r o m y o u . 3 3 W h a t i s u n i q u e a b o u t t h i s p r o p o s a l i s t h e s u g g e s t e d u s e o f c r i t i c i s m t o c o m m e n t o n t h e p o e t r y a n d p r o s e i n e a c h i s s u e , b y ' w h i c h t h e t a s t e o f t h e e d i t o r a c t s a s a t o u c h s t o n e f o r t h e r e a d e r a s he g o e s t h r o u g h t h e p r i m a r y m a t e r i a l . T h i s u s e o f c r i t i c i s m C r e e l e y f o u n d s a d l y l a c k i n g i n c o n t e m p o r a r y m a g a z i n e s . He m a k e s t h i s c l e a r i n a l e t t e r o f A p r i l 1 5 , 1 9 5 0 t o M a g n e r , i n L e t t e r o f F e b r u a r y 2 8 , 1 9 5 0 a t S t a t e U n i v e r s i t y o f New Y o r k a t B u f f a l o ( 1 0 3 3 ) ; t r a n s c r i b e d w i t h c o r r e c t i o n s . When l a t e r o f f e r e d s o m e o f C h a r l e s O l s o n ' s p o e m s f o r h i s own m a g a z i n e , M a g n e r r e f u s e d t h e m . . A n i d e n t i c a l l e t t e r w a s s e n t t o V i n c e n t F e r r i n i ( L e t t e r o f F e b r u a r y 2 7 , 1 9 5 0 a t U n i v e r s i t y o f C o n n e c t i -c u t ) a n d p r o b a b l y t o o t h e r s w h o s e n a m e s C r e e l e y h a d r e c e i v e d f r o m C o r m a n - a s w e l l . 2 4 w h i c h h e c r i t i c i z e s G l a s s H i l l f o r l a c k o f \" e d i t o r i a l p o l i c y \" : \" I t s e e m s t o me i f we a r e e v e r t o c o m e o u t o f t h i s n i g h t m a r e o f v e r b i a g e a n d w o r d - m u d d l i n g , we m u s t f i r s t t r y t o m a k e s e n s e o u r s e l v e s , m a k e s o m e t h i n g o p e n a n d a v a i l a b l e , s o m e t h i n g w h i c h r e a d e r s c a n r e a c t f o r o r a g a i n s t , a s t h e y w i l l \" . ^ 4 F o r t h e f i r s t i s s u e o f t h e m a g a z i n e C r e e l e y w r o t e a p o l e m i -c a l i n t r o d u c t i o n w h i c h s t a t e d h i s o w n p o s i t i o n a s e d i t o r . I n i t h e a d v a n c e d W i l l i a m C a r l o s W i l l i a m s a s a n e x a m p l e o f t h e c l a r i t y w h i c h m u s t b e g o t t o : I n p o e t r y , i n p r o s e , i n c r i t i c i s m - - i n e a c h o f t h e s e g e n e r a l c a t e g o r i e s a n d w h a t now f a l l s i n t o t h e m b y way o f t h e p u b l i s h i n g h o u s e s , t h e p e r i o d i c a l s , e t c . , c a n b e f o u n d t h i s u s u a l m e t h o d o f e v a s i o n . M a k e I t D l d - - a s we c o m e a g a i n t o t h e New C l a s s i c i s m , o r a t l e a s t m a k e i t l i k e s o m e t h i n g e l s e . A c c e p t t h e t r a d i t i o n . T h e t r a d i t i o n , a s s o m e h a v e i t , a s M r . E l i o t , f o r e x a m p l e , h a s h a d i t f o r s ome t i m e , i s n ' t s o m e t h i n g t h a t c a n b e t a k e n o t h e r t h a n i n t h a t w a y . N o t t o b e a n y t h i n g b u t m e m o r i z e d . A r o t e . N o t h i n g m o r e d e a d . N o t h i n g l e s s o f u s e . T o f i g h t t h i s k i n d o f m e s m e r i s m t a k e s : c l a r i t y . C l a r i t y o f i n t e n t i o n , c l a r i t y i n t h e w o r d s u s e d t o m a k e t h a t i n t e n t i o n a c c e s s i b l e . T o m e a n t o m a k e s e n s e . . . . D r . W i l l i a m s ' p r o g r a m ( f o r t h o s e who h a v e m a n a g e d t o m i s s i t , t h e s e p a s t 4 0 y e a r s ) : 'My own ( m o r a l ) p r o g r a m c a n be b r i e f l y s t a t e d . . . : T o w r i t e b a d l y i s a n o f f e n c e t o t h e s t a t e s i n c e t h e g o v e r n m e n t c a n n e v e r b e m o r e t h a n t h e g o v e r n m e n t o f t h e w o r d s . . . . ' B a d a r t i s t h e n t h a t w h i c h d o e s n o t s e r v e i n t h e c o n t i n u a l s e r v i c e o f c l e a n s i n g t h e l a n g u a g e o f a l l f i x a t i o n s u p o n t h e d e a d , t h e s t i n k i n g d e a d , u s a g e s o f t h e p a s t . S a n i t a t i o n a n d h y g i e n e o r s a n i t a t i o n t h a t we may h a v e h y g i e n i c w r i t i n g \" . 3 5 \" ^ l e t t e r a t S t a t e U n i v e r s i t y o f New Y o r k a t B u f f a l o ( 1 0 3 3 ) . 3 5 T h i s . d r a f t o f t h e i n t r o d u c t i o n w a s s e n t i n t h e l e t t e r o f A p r i l 7 , 1 9 5 0 t o W i l l i a m s w h i c h i s i n t h e c o l l e c t i o n o f l e t t e r s f r o m C r e e l e y t o W i l l i a m s , F e b r u a r y 1 1 , 1 9 5 0 t o S e p t e m b e r 2 3 , 1 9 6 2 , a t Y a l e U n i v e r s i t y ( 1 0 4 0 ) . I n t h e i n t r o d u c t i o n C r e e l e y q u o t e s f r o m a l e t t e r W i l l i a m s h a d w r i t t e n t o h i m o n M a r c h 3 , 1 9 5 0 . I h a v e a b b r e v i a t e d b o t h t h e i n t r o d u c t i o n a n d t h e 2 5 I n o r d e r t o m a k e t h i s a n t i p a t h y t o E l i o t m o r e e v i d e n t C r e e l e y o b t a i n e d W i l l i a m s ' p e r m i s s i o n t o r e p r i n t \" W i t h R u d e F i n g e r s F o r c e d \" , i n w h i c h W i l l i a m s c r i t i c i z e d E l i o t ' s t u r n a b o u t ( e n d i n g i n f a v o r ) o n M i l t o n . C r e e l e y h a d f i r s t w r i t t e n t o W i l l i a m s F e b r u a r y 1 1 , 1 9 5 0 r e q u e s t i n g a c o n t r i b u t i o n t o t h e new m a g a z i n e . A b o u t t h e s a m e t i m e h e w r o t e t o E z r a P o u n d i n S t . E l i z a b e t h ' s H o s p i t a l i n W a s h i n g t o n w i t h a s i m i l a r r e q u e s t . P o u n d ' s l e t t e r s w e r e v e r y d i f f e r e n t f r o m W i l l i a m s ' w h i c h r e v e a l e d a k e e n p r a c t i c a l i n t e r -e s t i n C r e e l e y ' s w r i t i n g a n d c o n c e r n s . A s C r e e l e y p u t i t i n a l e t t e r t o R i c h a r d E m e r s o n c a . May 1 9 5 0 : \" L e t t e r s f r o m t h e D r . t h e s e p a s t w e e k s & l e t t e r s f r o m P. T h e 1 s t : m a k i n g me s e e my w a y , t h e 2 n d : m a k i n g me s e e h i s . Two k i n d s o f p o e t r y , e v e n t h e r e \" . 3 ^ L a t e r C r e e l e y r e c a l l e d : P o u n d v e r y q u i c k l y s e i z e d o n t h e p o s s i b i l i t y o f o u r m a g a z i n e ' s b e c o m i n g i n s o m e s e n s e a f e e d e r f o r h i s own c o m m i t m e n t s , b u t w a s c l e a r l y a l i t t l e q u e s t i o n i n g o f o u r m o d u s o p e r a n d i . W h a t he d i d g i v e m e , w i t h q u i c k g e n e r o s i t y a n d c l a r i t y , w a s a k i n d o f r u l e  b o o k f o r t h e e d i t i n g o f a n y m a g a z i n e . F o r e x a m p l e , h e s u g g e s t e d I t h i n k o f t h e m a g a z i n e a s a c e n t e r a r o u n d w h i c h , \" n o t a b o x w i t h i n w h i c h \/ a n y i t e m \" . He p r o p o s e d t h a t v e r s e c o n s i s t e d o f a c o n s t a n t a n d a v a r i a n t , a n d t h e n t o l d me t o t h i n k f r o m t h a t t o t h e c o n t e x t o f a m a g a z i n e . He s u g g e s t e d I g e t a t l e a s t f o u r o t h e r s , o n whom I c o u l d d e p e n d u n e q u i v o c a l l y f o r m a t e r i a l , a n d t o m a k e t h e i r w o r k t h e m a i n s t a y o f t h e m a g a z i n e ' s f o r m . B u t t h e n , he s a i d , l e t t h e r e s t o f i t , r o u g h l y h a l f , b e a s v a r i o u s , a n d h o g w i l d a s p o s s i b l e , \" s o t h a t a n y i d i o t t h i n k s h e h a s a c h a n c e o f g e t t i n g i n \" . 3 ' l e t t e r . T h e l e t t e r w a s p u b l i s h e d i n f u l l i n O r i g i n I ( S p r i n g 1 9 5 1 ) , p . 34 ( 4 3 1 ) . I n M a r c h a n d A p r i l 1 9 5 0 C r e e l e y b r o a d c a s t f i v e p r o g r a m s o n t h e S t . J o h n s b u r y , V e r m o n t , r a d i o s t a t i o n WTWIM. T h e f i r s t t w o p r o g r a m s w e r e o n W i l l i a m s , \" w i t h a n a t t e m p t t o g e t t o t h e b a s i c t e n e t - - ' t h e g o v e r n m e n t o f t h e w o r d s ' \" , t h e l a s t - t w o w e r e o n J o y c e [ l e t t e r f r o m C r e e l e y t o W i l l i a m s A p r i l 1 7 , 1 9 5 0 ( 1 0 4 0 ) ] . L e t t e r a t S i m o n F r a s e r U n i v e r s i t y ( 1 0 4 1 ) . I n t r o d u c t i o n t o t h e r e p r i n t e d i t i o n o f B l a c k M o u n t a i n 2 6 T h r o u g h P o u n d , C r e e l e y g o t i n t o u c h w i t h m a n y y o u n g w r i t e r s , e d i t o r s , a n d p u b l i s h e r s , a m o n g t h e m R e n e L a u b i e s , R a i n e r G e r h a r d t o f F r a q m e n t e , K a t u e K i t a s o n o o f V o u , P e t e r R u s s e l l o f N i n e , D a l l a m S i m p s o n o f F o u r P a g e s , T . D . H o r t o n ( S q u a r e D o l l a r S e r i e s ) , a n d P a u l B l a c k b u r n - - w h o s e n t C r e e l e y some p o e m s f o r t h e 3 8 m a g a z i n e . T h e f i r s t i s s u e w a s b e g i n n i n g t o t a k e s h a p e . T h r o u g h C i d C o r m a n ' s a g e n c y , C r e e l e y w a s i n t o u c h w i t h V i n c e n t F e r r i n i who s u b m i t t e d s o m e p o e m s , o n e o f w h i c h C r e e l e y a c c e p t e d . F e r r i n i h a d g a t h e r e d s o m e p o e m s b y C h a r l e s O l s o n f o r a m a g a z i n e h e h a d w a n t e d t o s t a r t i n G l o u c e s t e r , M a s s a c h u s e t t s , a n d w a s p e r s u a d e d b y O l s o n , who h a d b e e n t o l d by W i l l i a m s o f C r e e l e y ' s m a g a z i n e , t o f o r w a r d \" L o s t A b o a r d \" a n d \" T h e L a u g h i n g O n e s \" . On M a r c h 2 9 , a f t e r l o o k i n g t h e m o v e r , C r e e l e y r e p l i e d t o F e r r i n i : \" T o t e l l t h e t r u t h , I ' m r a t h e r p u t o f f b y M r . O l s e n ' s l a n g u a g e w h i c h d o e s n ' t s e e m t o c o m e [ t o ] ] a n y k i n d o f p o s i t i v e d i c t i o n . . . . [ H o w e v e r ] I d o l i k e m a n y t h i n g s i n t h e s e p o e m s . THE L A U G H I N G ONES i s m u c h b e t t e r , b u t s t i l l t h e r e ' s t h e l o o k i n g a r o u n d f o r a l a n g u a g e , a n d t h e r e s u l t i s a l o s s o f f o r c e . S t i l l , i f a f t e r a l l t h i s , h e ' d l i k e t o s u b m i t o t h e r s , I ' d b e v e r y g r a t e f u l t o 3 9 h a v e t h a t c h a n c e t o l o o k a t t h e m \" . C r e e l e y r e c e i v e d a R e v i e w ( 1 1 4 ) . A s e l e c t i o n o f l e t t e r s f r o m P o u n d M a r c h 1 9 5 0 t o O c t o b e r 1 9 5 1 w a s p u b l i s h e d , w i t h a n i n t r o d u c t i o n b y C r e e l e y , i n A g e n d a , I V , i i ( O c t o b e r - N o v e m b e r 1 9 6 5 ) ( 9 4 0 ) . 3 8 B l a c k b u r n w a s t h e n f i n i s h i n g h i s s t u d i e s a t t h e U n i v e r s i t y o f W i s c o n s i n . When C o r m a n t o o k o v e r C r e e l e y ' s m a t e r i a l f o r O r i g i n h e b a l k e d a t t h e \" l o o s e n e s s \" o f t h e B l a c k b u r n p o e m s u n t i l C r e e l e y e x p l a i n e d B l a c k b u r n ' s u s e o f e a r , o f c o n v e r s a t i o n a l r h y t h m s [ L e t t e r t o C o r m a n M a r c h 9 , 1 9 5 1 a t I n d i a n a U n i v e r s i t y ( 1 0 5 6 ) ] . T h r e e o f B l a c k b u r n ' s p o e m s w e r e p u b l i s h e d i n O r i q i n I I ( S u m m e r 1 9 5 1 ) . L e t t e r a t U n i v e r s i t y o f C o n n e c t i c u t . 2 7 ' d e l i g h t f u l l y a g g r i e v e d l e t t e r f r o m O l s o n a s a r e s u l t : my d e a r r o b e r t c r e e l e y : s o B i l l UI. t o o s e z , w r i t e c r e e l e y , h e h a s i d e a s a n d w a n t s t o USE ' e m s o w h a t d o i d o ? s o i w r i t e s o f e r r i n i s e n d s c r e e l e y a l o v e l y l i q u i d t h i n g , a n d c r e e l e y s a y s , h e ' s a b o l l w e e v i l , o l s o n , j u s t a l o o k i n ' f o r a l a n g , j u s t a l o o k i n n u t s , a n d i s a y s , c r e e l e y , y o u ' r e o f f y r t r o l l e y : a man g o d d a m n w e l l h a s t o c o m e up w i t h h i s o w n l a n g . , s y n t a x a n d s o n g b o t h , b u t a l s o e a c h p o e m u n d e r h a n d h a s i t s o w n l a n g u a g e , w h i c h i s v a r i a n t o f s a m e 4 0 O l s o n s e n t m o r e p o e t r y f o r C r e e l e y ' s c o n s i d e r a t i o n a n d a c o p y o f Y & X . N e e d l e s s t o s a y , C r e e l e y g a v e b o t h a c a r e f u l r e a d i n g t h i s t i m e . He w a s s o i m p r e s s e d t h a t a s w e l l a s a c c e p t i n g O l s o n ' s \" M o r n i n g N e w s \" ( a n d p l a n n i n g t o p r i n t m o r e p o e m s l a t e r ) h e w r o t e a r e v i e w o f Y & X f o r t h e m a g a z i n e , i n w h i c h he s t a t e d t h a t O l s o n ' s w o r k w a s t h e f i r s t b i g p u s h f o r w a r d f r o m P o u n d a n d W i l l i a m s ' a c h i e v e m e n t . ^ ' ' \" I n a l e t t e r o f A p r i l 2 8 , 1 9 5 0 t o E m e r s o n , C r e e l e y - m e n t i o n e d t h a t t h e f i r s t i s s u e _ w o u l d b e o u t i n >a m o n t h o r t w o . A t t h a t p o i n t t h e l i n e - u p w a s : t h e W i l l i a m s ' p r o g r a m , O l s o n ' s p o e m , w o r k b y P a u l G o o d m a n , D o n a l d P a q u e t t e , V i n c e n t F e r r i n i , S a m u e l F r e n c h M o r s e , J a c q u e s P r e v e r t , B y r o n V a z a k a s , W i l l i a m B r o n k , W . J . S m i t h , a s w e l l a s r e v i e w s e t c . C r e e l e y a l s o h a d p o e m s by C i d C o r m a n a n d D e n i s e L e v e r t o v o n h a n d . A s e c o n d i s s u e , a n a n t i - u n i v e r s i t y n u m b e r , w a s a l r e a d y p l a n n e d . B y J u l y 2 4 , h o w e v e r , t h e m a g a z i n e w a s i n d i f f i c u l t y . T h e y h a d f o u n d i t i m p o s s i b l e t o p r i n t o n J a c o b L e e d ' s G e o r g e W a s h i n g t o n h a n d p r e s s i n L i t i t z , P e n n s y l v a n i a . 4 D T h e c o m p l e t e l e t t e r , d a t e d A p r i l 2 1 , 1 9 5 0 , w a s p u b l i s h e d i n M a p s , N o . 4 ( 1 9 7 1 ) , p . 8 . ^ T h e r e v i e w w a s p u b l i s h e d i n t h e S u m m e r 1 9 5 1 i s s u e o f M o n t e v a l l o R e v i e w ( 9 5 1 ) . 2 8 C r e e l e y r e m e m b e r s : \" A t a n u n h a p p i l y c r i t i c a l m o m e n t , h e b r o k e h i s a r m , I c a m e r u n n i n g f r o m New H a m p s h i r e \u2014 b u t a f t e r a f u l l d a y ' s l a b o r we f o u n d we h a d s e t t w o p a g e s o n l y , e a c h w i t h a 4 2 s i n g l e p o e m \" . A h a s t y t r i p b y C r e e l e y t o New Y o r k t o r a i s e m o n e y w a s u n s u c c e s s f u l a n d t h e m a g a z i n e c o l l a p s e d . C r e e l e y h a d b e e n i n t o u c h w i t h C i d C o r m a n t h r o u g h o u t , a n d C o r m a n , a s w e l l a s a c t i n g a s a s t r o n g s u p p o r t f o r t h e v e n t u r e , h a d p r o v i d e d a n u m b e r o f c o n t a c t s . B y l a t e A u g u s t 1 9 5 0 C o r m a n h a d d e c i d e d t o \" p i c k up t h e p i e c e s \" o f C r e e l e y ' s m a g a z i n e a n d w a s a b l e t o f i n d b a c k i n g f o r t h e f i r s t t w o i s s u e s o f O r i g i n . B y t h i s t i m e h e h a d p r o b a b l y h e a r d t h r o u g h C r e e l e y o f C h a r l e s O l s o n ' s e s s a y \" P r o j e c t i v e V e r s e \" w h i c h w a s t o b e p u b l i s h e d t h a t F a l l i n P o e t r y , New Y o r k f ^ T h i s s e m i n a l w o r k c o n f i r m e d O l s o n ' s a n d C r e e l e y ' s s e n s e o f b e i n g p a r t o f a m a j o r p u s h f o r w a r d i n c o n t e m p o r a r y w r i t i n g a n d r e - c o n f i r m e d t h e n e e d f o r a s y m p a t h e t i c new m a g a z i n e . T h o u g h C o r m a n a s t h e p r o v i d e r o f t h e i r f i r s t c o h e r e n t p u b l i s h i n g o u t l e t w a s a k e y s t i m u l u s t o t h e new w r i t i n g m o v e m e n t , he w a s c u r i o u s l y r e s i s t a n t t o m u c h new w o r k t h a t C r e e l e y a n d O l s o n p r a i s e d i n t h e i r l e t t e r s t o h i m . I n t h e S u m m e r o f 1 9 5 0 h e s t i l l t h o u g h t t h a t b o t h P o u n d a n d O l s o n w e r e u n s o u n d ( h i s o w n t a s t e s l a y i n t h e d i r e c t i o n o f M a r i a n n e M o o r e a n d W a l l a c e S t e v e n s ) . E v e n w h e n c o n v i n c e d b y C r e e l e y o f O l s o n ' s w o r t h h e w a s h e s i t a n t a b o u t a c c e p t i n g h i s p o e m s . T h o u g h a t 4 2 I n t r o d u c t i o n t o t h e r e p r i n t e d i t i o n o f B l a c k M o u n t a i n R e v i e w ( 1 1 4 ) . 4 ^ 0 1 s o n d e v e l o p e d t h i s e s s a y i n d i s c u s s i o n s w i t h P o u n d a n d l e t t e r s t o C r e e l e y . W i l l i a m s w r o t e t o C r e e l e y a f t e r r e a d i n g i t : \" I s h a r e y o u r e x c i t e m e n t , i t i s a s i f t h e w h o l e a r e a l i f t e d . I t ' s t h e s o r t o f t h i n g we a r e a f t e r a n d m u s t h a v e \" [ Q u o t e d b y C r e e l e y i n h i s I n t r o d u c t i o n t o O l s o n ' s S e l e c t e d W r i t i n g s (New. Y o r k : New D i r e c t i o n s , c 1 9 6 6 ) , p . 6 ( 1 7 1 , 9 5 8 ) ] . 2 9 f i r s t C o r m a n w a n t e d t o p u b l i s h O l s o n a n d C r e e l e y f o r t h e i r f u t u r e n o t p r e s e n t v a l u e , b y D e c e m b e r 1 9 5 0 he h a d d e c i d e d t o s t a k e O r i g i n I a n d I I o n t h e i r w o r k . O f t h e w r i t e r s C r e e l e y h a d l i n e d up f o r h i s o w n m a g a z i n e , O r i g i n p u b l i s h e d W i l l i a m s , O l s o n , C r e e l e y , L e v e r t o v , B l a c k b u r n , E m e r s o n , F e r r i n i , M o r s e , a n d B r o n k . I n a l e t t e r t o C o r m a n F e b r u a r y 1 7 , 1 9 5 1 , C r e e l e y a c c l a i m e d t h e l i s t i n g o f c o n t e n t s f o r O r i g i n I: \"I D O N ' T s e e who E L S E t h e y c a n l i n e u p b e h i n d , BUT y r s e l f . . . . Y o u o f f e r t h e o n l y m a g a z i n e w h i c h i s w i l l i n g t o l ) p r i n t o n a s t r i c t b a s i s o f m e r i t ; 2 ) a t t e m p t t o e m p h a s i z e t h e y n g e r b y a n y m e a n s o t h e r t h a n : \" n e w w r i t e r s \" . . . 3 ) g i v e a n y man a n y w h e r e ROOM t o m a k e h i s c a s e , f r e e ' & c l e a r o f A L L c o n c e r n s . . . \" ( 1 0 5 6 ) . O r i g i n I, \" f e a t u r i n g C h a r l e s O l s o n \" , a p p e a r e d l a t e i n A p r i l 1 9 5 1 . C r e e l e y w r o t e t o C o r m a n : \" S h e d a m n w e l l F L O A T S . . . i t s e e m s t h e m o s t s u b s t a n t i a l s t e p t h a t y r l a d , i n h i s f e w y r s , h a s y e t w i t n e s s e d \" ( 1 0 5 6 ) . O l s o n , t o o , w a s e n t h u s i a s t i c : \" I t i s v e r y w o n d e r f u l , d a m n e d m u c h o b , j e c t ( t h u s , d i s c l o s u r e , w i t h o u t , s t a t e m e n t s ) \" . 4 4 O r i g i n I I w a s o u t b y J u l y 1 9 5 1 a n d f e a t u r e d p o e m s , l e t t e r s , s t o r i e s , a n d a n e s s a y o n p r o s e , by R o b e r t C r e e l e y . C r e e l e y ' s i n f l u e n c e ( h i s r e m a r k a b l e , l e t t e r s t o C o r m a n c o n t i n u e d ) a n d O l s o n ' s , w h i c h h a d b e g u n e v e n B e f o r e h i s f i r s t l e t t e r t o C o r m a n O c t o b e r 1 8 , 1 9 5 0 , w e r e m o s t f e l t o n t h e s e f i r s t t w o i s s u e s \u2014 a n d t h e y w e r e t h e m o s t s i g n i f i c a n t i s s u e s o f t h e 4 4 L e t t e r t o C o r m a n A p r i l 2 7 , 1 9 5 1 , L e t t e r s f o r O r i g i n 1 9 5 0 - 1 9 5 6 , e d . A l b e r t G l o v e r ( L o n d o n : C a p e G o l i a r d P r e s s , u 1 9 6 9 ) , p . 4 5 . T h e c o m p l e t e t e x t o f O l s o n ' s l e t t e r s t o C o r m a n O c t o b e r 1 8 , 1 9 5 0 t o D e c e m b e r 7 , 1 9 6 0 a p p e a r s i n G l o v e r ' s d i s s e r t a t i o n , \" C h a r l e s O l s o n : L e t t e r s f o r O r i g i n \" ( P h . D . : S t a t e U n i v e r s i t y o f New Y o r k a t B u f f a l o , 1 9 6 8 ) [ T h i s w o r k h a s a u s e f u l i n t r o d u c t i o n a n d a n n o t a t e d i n d e x a s w e l l a s a l i s t i n g o f t h e c o n t e n t s o f O r i g i n b y i s s u e a n d o t h e r a p p e n d i x e s ] . 3D m a g a z i n e . C o r m a n , C r e e l e y , a n d O l s o n w e r e e c s t a t i c a t t h e p r o s p e c t s o f t h e m a g a z i n e a n d a t t h e p o s s i b i l i t i e s f o r new e x p r e s s i o n \u2014 f o r a l i f t o u t . o f t h e v e r y a c t u a l v a c u u m i n c o n t e m -p o r a r y w r i t i n g a n d p u b l i s h i n g \u2014 t h r o u g h s u c h a n o r g a n . I n a l e t t e r o f J u l y 2 0 t o C o r m a n a s s e s s i n g t h e f u t u r e o f O r i g i n , C r e e l e y s u g g e s t e d d e p e n d i n g o n f o u r w r i t e r s \u2014 O l s o n , B l a c k b u r n , B r o n k , M o r s e \u2014 a n d u n q u e s t i o n a b l y C r e e l e y h i m s e l f , f o r a c o r e o f m a t e r i a l , t h r o u g h w h i c h , \" O R I G I N w i l l e f f e c t p r e c i s e l y t h i s t h i n g i t m u s t : a NEW s e e i n g o f w h a t t h e h e l l i s NOW, w h a t o u r h a n d s MUST be o n , MUST b e , n o w , h o l d i n g \" ( 1 0 5 6 ) . O l s o n s u m m e d i t u p f o r b o t h o f t h e m i n a l e t t e r t o C o r m a n S e p t e m b e r 8 , 1 9 5 1 : \" T h e t h i n g i s , b e c a u s e O r i g i n e x i s t s , I w r i t e b e t t e r , I w r i t e 4 5 m o r e ' . T h o u g h C r e e l e y ' s a n d O l s o n ' s e n t h u s i a s m c o o l e d w i t h t i m e \u2014 C o r m a n a s e d i t o r p r o v i n g l e s s t r a c t a b l e t h a n e i t h e r a n t i c i p a t e d \u2014 t h e m a g a z i n e r e m a i n e d a f o r c e t o b e r e c k o n e d w i t h t h r o u g h t w e n t y i s s u e s . T h o u g h O r i g i n o f t e n f e l l b e n e a t h t h e i r e x p e c t a t i o n s a f t e r t h e f i r s t t w o i s s u e s , b o t h O l s o n a n d C r e e l e y f o u n d C o r m a n ' s r e c e p t i v e n e s s t o t h e i r own w o r k a n a c t u a l s t i m u l u s u n t i l l a t e 1 9 5 3 a t l e a s t w h e n B l a c k M o u n t a i n R e v i e w b e c a m e a p o s s i b i l i t y . IV When C r e e l e y r e c e i v e d h i s f i r s t l e t t e r f r o m C h a r l e s O l s o n o n A p r i l 2 4 , 1 9 5 0 he w a s j u s t g o i n g i n t o an e x t e n s i v e p r o s e w r i t i n g p e r i o d ( w h i c h l a s t e d u n t i l F a l l 1 9 5 1 ) i n w h i c h O l s o n w a s 31 t o a c t a s c a t a l y s t . S h o r t l y a f t e r t h e y b e g a n t o c o r r e s p o n d C r e e l e y a n d O l s o n w e r e w r i t i n g t o e a c h o t h e r a l m o s t d a i l y , a n d . t h i s w a s o n l y o ne o f many c o r r e s p o n d e n c e s \u2014 a n o t h e r w a s w i t h C i d 4 6 C a r m a n \u2014 f o r t h e m b o t h . I n t h e e a r l y f i f t i e s C r e e l e y w r o t e l e t t e r s f o r s e v e r a l h o u r s a d a y a n d d e v e l o p e d i n t h i s a c t i v i t y a f a m i l i a r i t y w i t h t h e p o s s i b l e r a n g e o f h i s own s p e e c h w h i c h he w a s a b l e t o d r a w u p o n f i r s t i n h i s s t o r i e s , t h e n i n h i s p o e t r y . A t t h i s p o i n t , S p r i n g 1 9 5 0 , C r e e l e y h a d w r i t t e n ( i n 1 9 4 8 o r 4 9 ) \" T h e U n s u c c e s s f u l H u s b a n d \" a n d \" I n t h e S u m m e r \" , b o t h a u t o b i o -g r a p h i c a l s t o r i e s w h i c h a t t e m p t e d t o e s t a b l i s h a \" c r e d i b i l i t y \" b y w a y o f t h e n a r r a t o r , i n t h e f i r s t c r e a t i n g an i r o n i c t o n e , a n d i n t h e s e c o n d , a t o n e o f n a i v e s i n c e r i t y . \" T h e L o v e r \" ( 4 6 1 ) , a n o f f b e a t i r o n y w i t h a n u p d a t e d u n s u c c e s s f u l h u s b a n d a s \" h e r o \" , w a s w r i t t e n S p r i n g 1 9 5 0 . \" T h e S e a n c e \" ( 4 6 3 ) , w r i t t e n b y S u m m e r 1 9 5 0 , w a s a n e x p e r i m e n t i n s t y l e p e r h a p s b e s t e x p l a i n e d by n o t e s C r e e l e y m a d e i n h i s j o u r n a l May 2 6 , 1 9 5 0 , r e g a r d i n g t h e n e e d t o b r e a k a w a y f r o m s t a t i c m e t h o d i n o r d e r t o g e t t o s u b j e c t ( d e f i n e d a s \" w h a t C H A N G E S , s h i f t s , & h a s m o v e m e n t : O N L Y \" ) . T h e new m e t h o d w a s t o be \" c o n s i s t e n t ( n e v e r d r o p p e d ) a t t e n t i o n t o t h e C H A N G E : a r o u n d & i n : a n d a l w a y s a m o d u l a t i o n , v a r i a n t , s h i f t o n : t h e C E N T E R : t h e h e a d : & H E A R T : w h i c h CANNOT c h a n g e \" . 4 7 B o t h s t o r y a n d j o u r n a l n o t e s w e r e i n f l u e n c e d b y O l s o n ' s l e t t e r s i n w h i c h h e no d o u b t h a d a l r e a d y e x p o u n d e d h i s t h e o r y t h a t \" o n e p e r c e p t i o n 4 ^ T h e r e a r e o v e r 7 5 0 l e t t e r s f r o m C r e e l e y t o O l s o n i n t h e O l s o n p a p e r s a t t h e U n i v e r s i t y o f C o n n e c t i c u t . A f e w o f t h e l e t t e r s O l s o n w r o t e t o C r e e l e y f r o m L e r m a d u r i n g h i s s t a y t h e r e D e c e m b e r . 1 9 5 0 t o J u l y 1 9 5 1 w e r e p u b l i s h e d a s M a y a n L e t t e r s ( 1 6 9 ) . 4 7 T y p e s c r i p t j o u r n a l a t I n d i a n a U n i v e r s i t y ( 1 0 9 7 ) . 3 2 4 8 m u s t i m m e d i a t e l y a n d d i r e c t l y l e a d t o a f u r t h e r p e r c e p t i o n \" . A c o p y o f \" T h e S e a n c e \" w a s s e n t t o O l s o n who s u g g e s t e d t w o s m a l l c h a n g e s a n d p r o n o u n c e d i t o t h e r w i s e i m p e c c a b l e . 4 9 C r e e l e y s e n t O l s o n c o p i e s o f h i s o t h e r s t o r i e s a s w e l l , p r o b a b l y a t t h e s a m e t i m e . A t a n y r a t e , f r o m t h e m o m e n t t h a t h e r e a d C r e e l e y ' s h i g h l y o r i g i n a l s t o r i e s O l s o n s e t o u t t o p r o m o t e C r e e l e y a s t h e 5 0 p u s h b e y o n d L a w r e n c e i n t o a new p r o s e n a r r a t i v e . On J u n e 1 2 , 1 9 5 0 , s t i m u l a t e d by t h e new s t o r i e s a n d b y h i s c o n t i n u i n g d i s c u s s i o n w i t h O l s o n , C r e e l e y w r o t e \" N o t e s f o r a New 5 1 P r o s e \" . T h i s e s s a y , t h o u g h n o t n e a r l y a s e f f e c t i v e , w a s f o r p r o s e w h a t O l s o n ' s \" P r o j e c t i v e V e r s e \" w a s f o r p o e t r y . ( I t w a s no c o i n c i d e n c e t h a t t h e e s s e n t i a l p a r t s o f b o t h e s s a y s c a m e o u t o f t h e O l s o n - C r e e l e y c o r r e s p o n d e n c e o f t h e S p r i n g a n d S u m m e r o f 5 2 1 9 5 0 . ) C r e e l e y a r g u e s f o r a new p r o s e t a k i n g n o t J o y c e who u s e d w o r d s f o r t h e s a k e o f c o n t e n t , b u t S t e n d h a l a n d D o s t o e v s k y , who u s e d w o r d s f o r t h e s a k e o f w o r d s , a s m o d e l . \" F r e e l y t o w r i t e w h a t o n e c h o o s e s i s t h e s o l e p l e a s u r e o f a w r i t e r \" ( d e G o u r m o n t v i a P o u n d ) w a s t h e c r e d o , a n d C r e e l e y ' s f i r s t r u l e w a s 4 8 \" P r o j e c t i v e V e r s e \" , Human U n i v e r s e a n d O t h e r E s s a y s (New Y o r k : G r o v e , 1 9 6 7 ) , p . 5 2 . 4 9 T h e t y p e s c r i p t w i t h O l s o n ' s c o m m e n t s i s a t I n d i a n a U n i v e r -s i t y ( 1 0 9 8 ) . 5 0 O l s o n a p p r o a c h e d H a r c o u r t r e g a r d i n g a b o o k o f C r e e l e y ' s p o e m s a n d s t o r i e s c a . S e p t e m b e r 1 9 5 0 , b u t n o t h i n g c a m e o f i t . He i n f l u e n c e d C o r m a n ' s d e c i s i o n t o p u b l i s h C r e e l e y ' s w o r k i n O r i q i n b y s p e a k i n g h i g h l y o f C r e e l e y i n h i s l e t t e r s f r o m t h e f i r s t , O c t o b e r 1 8 , 1 9 5 0 . 5 1 A c o p y w a s s e n t t o R o b e r t P a y n e o f M o n t e v a l l o R e v i e w t h e f o l l o w i n g d a y , t o n o . a v a i l . A l s o t o O l s o n , who r e t u r n e d t h e c o p y w i t h a f e w s u g g e s t i o n s , m o s t o f w h i c h C r e e l e y a c c e p t e d [ T y p e s c r i p t a t W a s h i n g t o n U n i v e r s i t y ( 1 1 3 2 ) ] . T h e e s s a y w a s p u b l i s h e d i n O r i g i n . I I ( S u m m e r 1 9 5 1 ) ( 9 2 1 ) . 5 2 T h e h e a d i n g s i n C r e e l e y ' s e s s a y w e r e t a k e n d i r e c t l y f r o m O l s o n ' s l e t t e r s . 3 3 \" f o r m i s t h e e x t e n s i o n o f c o n t e n t \" . He s a w . t h e new p r o s e a s a c o m i n g a n d g o i n g , w i t h o u t a r b i t r a r y b e g i n n i n g a n d e n d , u n t i l t h e c o n t e n t e x h a u s t e d i t s i n h e r e n t p o s s i b i l i t i e s . T h e c o n t e n t w a s t o b e no l e s s t h a n r e a l i t y , d e f i n e d a s \" j u s t t h a t w h i c h i s b e l i e v e d , j u s t a s l o n g a s i t i s , b e l i e v e d \" . \" P r o s e i s t h e p r o j e c t i o n o f i d e a s , i n t i m e . T h i s d o e s n o t mean t h a t t h e p r o -j e c t i o n m u s t b e a n ' a c t u a l ' o n e , d a t e b y d a t e , e t c . T h e w o r d i s l a w , i s t h e c r e a t o r , a n d w h a t i t c a n d o , i s w h a t a n y p r o s e c a n d o . T h e r e i s n o t h i n g m o r e r e a l , i n e s s e n c e , a b o u t a p o s s i b l e p r o s e t h a n t h e r e i s a b o u t a n y p o s s i b l e p o e t r y . T h e o r d e r i n g o f c o n j e c t u r e w i l l r e m a i n a s ' r e a l ' a s t h e o r d e r i n g o f f a c t , g i v e n 5 3 t h e r i g h t h a n d \" . T h o u g h O l s o n a n d C r e e l e y s h a r e d t h e b e l i e f t h a t p o e t r y w a s a h e a d o f p r o s e m i d - 1 9 5 0 , C r e e l e y ' s own t a l e s h a d i n f a c t s u r -p a s s e d h i s p o e t r y i n t h e i r a b i l i t y \" ( l ) t o c o m p r e s s , a n d ( 2 ) t o p r o j e c t s u p p o s i t i o n , a s f a c t \" b y w h i c h t h e new p r o s e w a s t o l e a d o u t o f c o n n o t a t i o n b a c k i n t o d e n o t a t i o n ( 9 2 1 ) . T h i s new p r o s e t h e o r y , t o b e f u r t h e r d e v e l o p e d b y C r e e l e y d u r i n g t h e c o m i n g y e a r , a r o u s e d h i m t o w r i t e a n u m b e r o f o r i g i n a l new s t o r i e s a n d t o m o v e t o w a r d a m o r e p e r s o n a l p o e t r y . T h e f o r m o f C r e e l e y ' s n a r r a t i v e s i s t h e p r o g r e s s i v e u n r a v e l l i n g o f t h e c o n t e n t a c c o r d -i n g t o i t s o w n d i c t a t e s , i . e . t h e s p e e d , t o n e , e m p h a s e s o f t h e g i v e n t a l e . S i n c e t h e w r i t e r ' s t a s k i s t o b r i n g o u t , b y t h e c h o i c e a n d o r d e r i n g o f t h e w o r d s , t h e n a t u r a l l i f e o f t h e s t o r y , t h i s i s b e s t a c c o m p l i s h e d i n o n e s i t t i n g ( a s m o s t o f C r e e l e y ' s s t o r i e s w e r e w r i t t e n ) a n d r e v i s i o n s h o u l d o n l y c l a r i f y t h e 5 3 \" N o t e s f o r a New P r o s e \" , A Q u i c k G r a p h , p . 1 3 ( 9 2 1 ) . 34 i n t e n d e d t o n e o r n a t u r e o f t h e \" g i v e n \" , n o t r e w o r k i t . T h e c o n t e n t s h o u l d come o f i t s own a c c o r d n o t by i n v e n t i o n o r a n a c t o f w i l l , a n d i t w o u l d t h u s .be l i k e l y t o c o m e o u t o f t h e w r i t e r ' s o w n e x p e r i e n c e , i n h i s o w n w o r d s , e i t h e r a s a u t o b i o g r a p h i c a l f a c t o r a s a n e x t e n s i o n o f t h a t f a c t i n t o f i c t i o n o r f a n t a s y . T h i s t h e o r y , i m p l i c i t i n \" N o t e s f o r a New P r o s e \" , w a s h i t u p o n , w i t h r e g a r d t o a s t o r y C r e e l e y h a d w r i t t e n , i n a l e t t e r t o O l s o n A u g u s t 30, 1950: B u t a s n o t h i n g i s t h e e n d , i n p r o s e , i t ' s t h a t I ' m a f t e r , t r y i n g t o p i c k up t h e t h r e a d o f , a n d t h i s i s t h e o n l y w a y t h a t o c c u r s t o m e : m y s e l f , a n d t h e v a r i a t i o n s p o s s i b l e u p o n my e x p e r i e n c e . My w i f e t h i n k s t h a t e v e r y t h i n g I w r i t e i s t r u e o r t h a t i t t r i e s t o f o r c e i t s way t h r u t o t h a t q u a l i t y . I am n o t i n a n y s e n s e a m o r a l i s t , o r n o t m o r e t h a n I c a n b e - - a t r a n s m i t t o r , t h r u w h i c h w o r k f o r c e s , m o r a l o r o t h e r w i s e . I a s k o n l y t h i s e x a c t n e s s : t h a t t h e ' w o r d s k e e p w i t h t h e h e a d a s t h a t c a r r i e s t h r u t o c o n s c i o u s -n e s s w h a t e v e r c h a r g e s t h e e m o t i o n s a r e c a p a b l e o f . The c o m p l e x . I t i s t o h a v e no h e s i t a n c e b e t w e e n w h a t t h e h e a d i s t h i n k i n g a n d w h a t t h e h a n d i s p u t t i n g d o w n .54 On A u g u s t 28, 1950 C r e e l e y m a d e t h e f o l l o w i n g e n t r y i n h i s j o u r n a l : P e r c e p t i o n : 1\/ t h a t d w a r f s \/ g n o m e s \/ m i d g e t s a r e , b y t h e f a c t o f t h e i r S I Z E ( n o t a : a l l S I Z E t e n d s t o w a r d B I G \/ BUT i n t h i s c a s e ) : i n t e n s e . 2\/ t h a t d w a r f s \/ g n o m e s \/ m i d g e t s c a u s e p e o p l e L A R G E R t h a n t h e m s e l v e s t o a p p e a r : w h i s p y \/ i n s u b s t a n t i a l \/ c a r d b o a r d . I n c i d e n t a l : a c h i l d ' s n e r v e s a r e C L O S E R t o e a c h o t h e r , t h a n a r e a n a d u l t ' s . 55 T h e e y e s o f a m a d m a n a r e B L U E . A f e w d a y s l a t e r h e w r o t e \" M r B l u e \" (457), i n w h i c h t h e n a r r a t o r ' s f e a r o f t h e m i d g e t , a n d t h e m a n n e r i n w h i c h t h e i n c i d e n t i s f o r c e d T h e s t o r y w a s j o u r n a l a t I n d i a n a ^ L e t t e r a t I n d i a n a U n i v e r s i t y (1054). d i s c a r d e d a n d t h e l e t t e r w a s n o t s e n t . 55 T r a n s c r i b e d w i t h c o r r e c t i o n s f r o m t h e U n i v e r s i t y (1097). 35 h o m e t o u s , w o r d b y w o r d , a s i t w a s t o h i m , i_s t h e s t o r y . O l s o n l i k e d t h e f i r s t h a l f o f t h e d r a f t s e n t h i m v e r y m u c h , b u t t h o u g h t t h a t t h e s e c o n d h a l f n e e d e d \" s a l t i n t h e b e e r \" : \" T h e p r i n c i p l e . . . w l d s e e m t o b e , h e r e , s p e c i f i c a l l y , t h a t w h e r e t h e e x p e r i e n c e i s , e s s e n t i a l l y , o u t o f n o r m a l r a n g e , t h e p r o s e m u s t 56 a l s o b e \" . R e t h i n k i n g t h e s t o r y i n t h i s l i g h t , C r e e l e y c a m e t o r e a l i z e t h a t t h e woman w a s n o t i n d i v i d u a l i z e d a n d t h a t s h e m u s t b e m a d e t o e x e r t a \" r e a l , o r a p p r e h e n s i b l e f o r c e i n t e r m s o f t h e n a r r a t o r \" s o t h a t t h e r e w o u l d b e s o m e t h i n g f o r t h e m i d g e t t o 57 b r e a k i n t o . S o , i n t h e f i n a l d r a f t , t h e woman a n d h e r c l o s e -n e s s t o t h e n a r r a t o r a r e b u i l t u p a n d t h e m i d g e t i s m a d e m o r e p o w e r f u l b y e m p h a s i z i n g h i s e y e s and b y m a k i n g t h e e n d i n g m o r e d r a m a t i c . O l s o n ' s h e l p w a s c o n s i d e r a b l e \u2014 h i s p e p p e r y c o m m e n t s a r e s c a t t e r e d o v e r t h e d r a f t s \u2014 b u t c o n s i s t e d m a i n l y o f p u s h i n g C r e e l e y t o b r i n g o u t t h e p o t e n t i a l o f t h e s t o r y l a t e n t i n t h e f i r s t d r a f t . O l s o n w a s q u i c k t o s e i z e u p o n t h e f u n c t i o n o f t h e n a r r a t o r i n c r e a t i n g t h e p e c u l i a r w o r l d v i e w o f C r e e l e y ' s s t o r i e s , a n d a l w a y s k e p t i n m i n d t h e e m e r g i n g t o n e a n d w h a t w a s r e q u i r e d t o b r i n g i t o u t . A c a s e i n p o i n t i s \"3 F a t e T a l e s \" (459), a s t o r y w r i t t e n S p r i n g 1949. A t t h a t t i m e t h e s e c o n d a n d t h i r d t a l e s w e r e e s s e n t i a l l y t h e same a s t h e y w o u l d b e i n t h e f i n a l v e r s i o n b u t t h e f i r s t t a l e w a s t o l d d i r e c t l y w i t h o u t t h e i n t e r v e n t i o n o f t h e n a r r a t o r w h i c h o c c u r s i n t h e f i r s t f i v e p a r a g r a p h s o f t h e ^ T h e d r a f t s o f t h e s t o r y w i t h O l s o n ' s c o m m e n t s a r e a t I n d i a n a U n i v e r s i t y (1098). 57 F r o m a l e t t e r C r e e l e y w r o t e t o O l s o n a t t h e t i m e , now a t I n d i a n a U n i v e r s i t y (1054). The l e t t e r w a s n o t s e n t , a p p a r e n t l y b e c a u s e C r e e l e y r e v i s e d t h e s t o r y i n s t e a d . 36 f i n a l v e r s i o n . When O l s o n s a w t h e o r i g i n a l h e c o m m e n t e d t h a t t h e f i r s t t a l e n e e d e d t o b e c h a n g e d , s t r i p p e d , t i g h t e n e d . C r e e l e y r e w r o t e t h e s t o r y s o t h a t i t b e c a m e e s s e n t i a l l y t h e f i n a l d r a f t w i t h t h e e x c e p t i o n o f t h e l a s t t w o p a r a g r a p h s o f t h e f i r s t t a l e . T h e n a r r a t o r w a s a l l o w e d t o i n t e r v e n e i n a l l t h e a m b i v a l e n c e o f h i s s t a n c e a t t h e b e g i n n i n g o f t h e f i r s t and s e c o n d t a l e s . T h e n e w d r a f t w a s s e n t t o O l s o n who m a d e a n u m b e r o f s u g g e s t i o n s , e n d i n g : T h i s m a k e s i t , f o r me , a l l t h e w a y from t h e b e g i n n i n g ( e x c e p t , t h i n k , s ome a d v a n t a g e t o r e s t o r e t h e l i f t - o u t o f - - s o m e w h e r e , 1 s t p a g e \u2014 t h a t b i z , t h e s e l f a s m e a n s , e v e n t h o e n d f i n e \u2014 1 s t p a g e ) A N D , s t i l l , e n d , t h e e v e n t , y o u d o n ' t d i g e n u f , r i g h t t h e r e , t o p , t h i s p a g e [ l a s t p a r a g r a p h o f t h e f i r s t t a l e ] F o r i s i t , s o m u c h , \" h o w \" i t s h o u l d b e t o l d , a s \" h o w c a n I f e e l i t \" , i t h a p p e n i n g t o t h e m \u2014 w h i c h i s ( o r s o I t a k e i t ) w h a t y o u a r e d i s t i n g u i s h i n g \u2014 s p e c t a t o r v s . p a r t i c i p a t i n g m e . ^ 8 C r e e l e y r e v i s e d t h e e n d i n g o f t h e f i r s t t a l e , p u t t i n g t h e e q u i v o -c a l n a r r a t o r f u l l y I N , o n D e c e m b e r 2 , 1 9 5 0 . T h e t a l e s , p r e v i o u s -l y s e p a r a t e e x e m p l a , a r e c o n n e c t e d i n t h e f i n a l d r a f t b y t h e q u a l i f y i n g p r e s e n c e o f t h e n a r r a t o r . O l s o n ' s v i r t u e a s a r e a d e r w a s h i s a b i l i t y t o p u l l i n a n d o u t , t o h e a r i n s t a n t l y w h e n t h e t h r e a d w a s l o s t o r n o t w o u n d t h i c k l y e n o u g h . I n a l e t t e r t o C o r m a n S e p t e m b e r 1 9 , 1 9 5 1 . C r e e l e y s p o k e o f h i s o w n u s e o f O l s o n ' s \" i n c r e d i b l e c l a r i t y : o n v e r s e , o n p r o s e , o n a n y t h i n g I h a v e e v e r r e a d h i m o n \" . \" C h a s \/ s a v e d me g o d k n o w s how m u c h t i m e , b y s p o t t i n g d i f f i c u l t i e s f o r me t h a t I wd h a v e f u m b l e d w i t h f o r y r s , l a c k i n g h i m . He h a s n e v e r so 1 v e d o n e o f my o w n p r o b l e m s ; b u t h e h a s p o i n t e d t h e m o u t , w i t h s u c h e x a c t f i n e n e s s , t h a t i t a m ' t s t o t h e s a m e t h i n g \" ( 1 0 5 6 ) . T h i s w a s a p p a r e n t l y a s t r u e o f C r e e l e y ' s CD T h e t h r e e d r a f t s w i t h O l s o n ' s c o m m e n t s a r e a t I n d i a n a U n i v e r s i t y ( 1 0 9 8 ) . 3 7 p o e t r y a s i t w a s o f h i s s t o r i e s a n d c r i t i c a l p r o s e , b u t a s y e t no m a n u s c r i p t s o f p o e m s w i t h O l s o n ' s c o m m e n t s h a v e b e e n made p u b l i c . I n 1 9 5 0 a n d 1 9 5 1 C r e e l e y w a s m u c h c o n c e r n e d w i t h t h e w r i t e r ' s r e l a t i o n t o h i s m a t e r i a l . I n l a t e N o v e m b e r o r e a r l y 5 9 D e c e m b e r 1 9 5 0 h e w r o t e \" A N o t e o n O b j e c t i v i t y \" . P r e v i o u s l y , C r e e l e y h a d w r i t t e n i n h i s j o u r n a l w i t h r e g a r d t o h i s a t t e m p t t o b e \" i n t e n t i o n a l l y f u n n y \" i n h i s e a r l y s t o r i e s : I n a n y e v e n t , w i l l s a y t h a t o n c e I f e e l e i t h e r a d e s p a i r o r a s u p e r i o r i t y s u f f i c i e n t t o a s s u m e f o r me a o u t s i d e p o s i t i o n t o my-m a t e r i a l , I f a i l i n p o i n t o f i n t e n t , a l w a y s . . . . A n d w h e n I p r o v i d e r o o m [ \" t h e ' g i v e n ' w o n d e r i s o n e s e l f \" ] i n my own s t o r i e s f o r m y s e l f , f o r my own m o v e m e n t , o w n i n t e n t i o n , I h a v e t h e s u s t a i n i n g f e a t u r e a n d \/ o r a s p e c t o f b e l i e f . ' T h a t i s , t h e k i n d o f a s s u m p t i o n i n G i d e ' s L a f c a d i o , t h e t o l e r a n c e f o r t h e p o s s i b l e . I n t e r e s t i n g t h a t I s h o u l d t h i n k i t n e c e s s a r y t o b e f u n n y i n t h e e v e n t t h a t I c a n n o t b e i n v o l v e d . H e n c e my b a t t l e a g a i n s t \" o b j e c t i v i s m \" s i n c e I c a n n o t b e l i e v e t h a t s u c h a n a t t i t u d e c o u l d b e a n y t h i n g b u t i r o n i c , e v e n i n s a n e , t o q u o t e a p l a t i t u d e . I n a n y e v e n t m u s t i n c l u d e e v e r y t h i n g i n s t o r i e s , c a n n o t c u t o r d i m i n i s h t h e l e a s t e c h o ; t h i s i s n o t t o s a y t h a t I m u s t i n c l u d e a l l d e t a i l s , e t c . O n l y t h a t I w i l l c h o o s e t h a t w h i c h i s t o b e i n t h e s t o r i e s ; b u t t h a t g i v e n , c a n n o t c r a m p o r c u t o r h i n d e r a l l t h e p o s s i b i l i t i e s a t t a c h e d t o t h e s e w o n d e r s . I w r i t e a b o u t w o n d e r s o n l y . T h e r e i s n o t h i n g e l s e t o s e e . ( 1 0 9 7 ) I n o n e s e n s e \" A N o t e o n O b j e c t i v i t y \" w a s a r a t i o n a l i z a t i o n o f a n a p p a r e n t d i f f e r e n c e f r o m O l s o n who h a d p r o c l a i m e d o b j e c t i s m , \" t h e g e t t i n g r i d o f t h e l y r i c a l i n t e r f e r e n c e o f t h e i n d i v i d u a l a s e g o \" , i n t h e s e c o n d p a r t o f \" P r o j e c t i v e V e r s e \" . ^ C r e e l e y s e n t h i s \" n o t e \" t o O l s o n w i t h t h e c o m m e n t t h a t \" t o b e o b j e c t i v e , a s f a r a s I c a n s e e , MEANS t o b e s o s u b j e c t i v e t h a t t h e p o s s e s s i o n o f I t w a s w r i t t e n a s a n a n s w e r t o a n e d i t o r i a l i n N i n e , N o . 2 , r e f u s e d b y t h e m , s e n t t o G o l d e n G o o s e , a n d f i n a l l y p u b l i s h e d i n G o a d , I, i ( S u m m e r 1 9 5 1 ) a s \" A N o t e o n t h e O b j e c t i v e \" ( 9 2 2 ) . 38 c o n t e n t . . . i s complete enough f o r the .poet to hand o u e r \" . ^ But t h i s was s t r e t c h i n g i t too f a r ; the ends would not j o i n to form a c i r c l e , In h i s \" I n t r o d u c t i o n to Robert C r e e l e y \" , w r i t t e n about the same t i m e , Olson o f f e r e d a s o l u t i o n by s t a t i n g tha t t h e r e were two p o s s i b l e methods of r e - e n a c t i n g e x p e r i e n c e i n prose n a r r a t i v e , t h a t i s of p r o j e c t i n g r e a l i t i e s as opposed to p l o t ( f i c t i o n ) : one i n which the n a r r a t o r i s o u t s i d e and t h i n g s are i n c o n t r o l i n the s t o r y , the o ther i n which the n a r r a t o r i s i n s i d e and t h i n g s p u l l to him as to the cen ter of a magnet ic f i e l d . A c c o r d i n g to O l s o n , C r e e l e y ' s s t o r i e s were the second way, \"the n a r r a t o r t a k i n g on h i m s e l f the job of making c l e a r by way of h i s own person that l i f e i s p r e o c c u p a t i o n wi th i t s e l f \" . The feedback C r e e l e y r e c e i v e d from O l s o n ( i n t h i s essay and i n l e t t e r s ) i s r e f l e c t e d i n the few r e v i s i o n s made to \"A Note on O b j e c t i v i t y \" and the f i n a l p a r a g r a p h added A p r i l 11, 1951. The r e v i s e d v e r s i o n ends: \"A man and h i s o b j e c t s must both be 6 3 presences i n t h i s f i e l d of f o r c e we c a l l a poem\". But t h i s s i m p l y c l a r i f i e d ; t h e essence of C r e e l e y ' s thought , t h a t o b j e c t i v i t y must be ba lanced by s u b j e c t i v i t y , was i n the f i r s t d r a f t . H i s i d e a was t h a t the man h i m s e l f (not mere ego) shou ld be the c e n t e r i n the p l a y i n g out of o b j e c t i v e f o r c e s which e x i s t ( f o r him) on ly i n h i s \" s u b j e c t i v e r e a l i z a t i o n \" of them. The ^ T h e f i r s t d r a f t wi th note to Ol son i s at Washington U n i v e r -s i t y (1133) . Human U n i v e r s e , p. 127. The o r i g i n a l t i t l e was \"OUTSIDE, INSIDE\". T h i s essay remains one of the best i n s i g h t s i n t o C r e e l e y ' s prose and owed much to h i s own s tatements at the t ime and the l i t e r a l re -enactment tha t was \"Mr B l u e \" . 5 3 A Quick G r a p h , p. 19 (922) . 39 s e n t i m e n t a l i t y o f p u r e s u b j e c t i v i t y w a s s o m e t h i n g C r e e l e y h a d no s y m p a t h y w i t h , e s p e c i a l l y w h e n , l o o k i n g b a c k f r o m a m o r e o b j e c t i v e d i s t a n c e , h e d i s c o v e r e d i t i n h i s o w n w r i t i n g , a s h a p p e n e d n o t i n f r e q u e n t l y i n t h e e a r l y y e a r s . I n h i s own b e s t w o r k t h e c o n t e n t w a s s u b j e c t i v e a n d t h e h a n d l i n g o b j e c t i v e . In N o v e m b e r o r e a r l y D e c e m b e r 1 9 5 0 , O l s o n s u g g e s t e d a b o o k of f i v e s t o r i e s t o C r e e l e y : - - M r B l u e \u2014 T h e L o v e r \u2014 I n t h e S u m m e r \u2014 3 Fate T a l e s \u2014 T h e S e a n c e . T h e t i t l e w a s t o b e \" M r B l u e \" a f t e r O l s o n ' s f a v o r i t e s t o r y , a n d C r e e l e y ' s o w n . I t w a s f o r t h i s c o l l e c t i o n t h a t O l s o n w r o t e h i s b r i e f , d e n s e i n t r o d u c t i o n , s u m -ming up h i s s e n s e o f t w o p r o s e s . I n a l e t t e r o f D e c e m b e r 8 t o C o r m a n , O l s o n s u g g e s t e d i n t r o d u c t i o n a n d s t o r i e s f o r O r i g i n I I . The c o l l e c t i o n w a s o f f e r e d t o G\"61 d e n G o o s e a s w e l l a n d l a t e i n D e c e m b e r i t w a s s e n t t o J a m e s L a u g h l i n o f New D i r e c t i o n s o n 6 4 Jack H a w k e s ' s u g g e s t i o n . B y t h i s t i m e C o r m a n h a d o f f e r e d C r e e l e y \" s u b s t a n t i a l r o o m \" i n O r i g i n I I , i n f a c t b y J a n u a r y 5 , 1951 had t a l k e d C r e e l e y i n t o p u t t i n g a l l h i s new w o r k i n t o t h e i s s u e . On J a n u a r y 7 C r e e l e y f o r w a r d e d t h e f i v e s t o r i e s \u2014 f r a m which C o r m a n c h o s e \"In t h e S u m m e r \" , \" 3 F a t e T a l e s \" , a n d \" M r B l u e \" --and c o n t i n u e d the d i s c u s s i o n on t h e new p r o s e : But n ow we g e t t o s o m e t h i n g s o m e w h a t m o r e c o m p r e h e n s i v e . . . . w h a t IS t h e d i f f e r e n c e b e t w e e n a m a n , w r i t i n g a n o v e l , & o n e w r i t i n g s l e t t e r . We k n o w , f r o m f a c t s , e t c . , t h a t m a n y men h a v e w r i t t e n both w i t h t h e s a m e i n t e n t , o r m e t h o d ; a s S t e n d h a l , G i d e , D o s \/ , L a w r e n c e , e t c . Who \" a d d r e s s e d \" t h e m s e l v e s i n a l i t e r a l s e n s e , who w r o t e o u t i n t h e s a m e way a man w r i t e s a l e t t e r , who k e p t i n , the c o n j e c t u r e , t h e f l u x , t h e i n d e c i s i o n , t h e h e s i t a n c y , a l l o f t h o s e c h a r a c t e r s u s u a l l y s u p p r e s s e d i n t h e s u p p o s e d a r t i f a c t . ^ 4 T h e f i v e s t o r i e s a n d p r e f a c e w e r e a c c e p t e d f o r New  D i r e c t i o n s X I I I , 1 9 5 1 ( 5 1 ) , t h o u g h L a u g h l i n f o u n d t h e m \" a w f u l l y d r y a n d d u l l r e a d i n g \" . 40 W e l l , I j u m p a b o u t h e r e , b u t w o u l d l i k e t o s u g g e s t t h a t t h e w r i t i n g o f a s t o r y , n o v e l , h a s a n e n e r g y i t r a r e l y t a p s , w h i c h i s , p r e c i s e l y : t h e d i r e c t r a p p o r t b e t w e e n w r i t e r & c o n t e n t , m i n u s g l o s s , o r a r t i f i c e , o r f i x i n g . T h i s NOT t o i n t e n d o r s u g g e s t \u2014 a w r i t e r b e \" a u t o b i o g r a p h i c a l \" s i n c e w h a t i s r e a l \u2014 i s o n l y w h a t ' s e n o u g h t o s e t i n m o t i o n : c o n j e c t u r e . O r t o s u g g e s t , h e b e a l w a y s \" I \" , o r a n y t h i n g o f t h a t s o r t . T h e n a r r a t o r may b e , p r e c i s e l y , o f f s e t , o r v a r i a t i o n o n t h e w r i t e r ' s own a p p r e -h e n s i o n o f c o n t e n t , p u t t h e r e t o g i v e h i m a f o r c e t o w o r k w i t h , a s o f f s e t , a s t h a t c a t a l y s t n e c e s s a r y t o b r i n g o u t t h e c h a r a c t e r o f w h a t c o n c e r n s h i m . B u t w h a t I d o h e r e i n t e n d t o a t t a c k \u2014 i s t h a t a n \" o u t l i n e \" o r a p r e c i s e d i a g r a m i s o f u s e i n w r i t i n g a n o v e l , o r a n y t h i n g e l s e . I r e a d w i t h s o m e s h u d d e r i n g J a m e s ' n o t e s o n t h e n o v e l ; o r t h e e x t e n t t o w h i c h he h a d \" a r r a n g e d \" . W h a t , t o me , i s o f p r i m e i m p o r t a n c e , w h a t m u s t h a p p e n , d i r e c t l y , i s t h e e f f e c t o f w r i t i n g o n c o n t e n t & w r i t e r ; \u2014 t h o t h a t ' s v a g u e , b u t l i k e t h i s : w h a t ' s o f l i f e , w h a t ' s m o v e m e n t i n w r i t i n g , c o m e s t o b e , p r e c i s e l y , t h e f l u x , c o n s t a n t , w h i c h i s p r e s e n t i n t h e a p p r e h e n s i o n o f c o n t e n t , e v e n a s i t ' s b r o u g h t o u t , t r a n s f e r r e d , i n t h e a c t o f w r i t i n g . I m e a n , t h e n , t h a t p r e s e n t i n p r o s e i s g o t t o , n o t by a r t i f i c e , o r b y d e v i c e , b u t c o m e s , o f i t s e l f , c o m e s i n e v i t a b l y i n t o t h a t w r i t i n g w h e r e t h e a p p r e h e n s i o n o f c o n t e n t , t h e u n c o v e r i n g , OCCURS i n t h e a c t o f w r i t i n g \u2014 i t m a k e s n o t a damn b i t o f d i f f e r e n c e w h e t h e r i t ' s \" p a s t \" o r w h a t e v e r . (1056) T h i s i s w h a t h a p p e n s i n \" M r B l u e \" a n d f r o m t h e s e q u e n c e o f a p p r e h e n s i o n c o m e s t h e f o r c e o f t h e s t o r y . T h i s m e t h o d , o f t h i n g s l e a d i n g t o o t h e r t h i n g s , i s w h a t C r e e l e y m e a n t b y d i g r e s s i o n , \" t h e s e q u e n c e o f t h o u g h t \" . C r e e l e y ' s c o m m e n t s o n p r o s e c o n t i n u e d i n s u b s e q u e n t l e t t e r s t o C o r m a n , b e c o m i n g m o r e d e f e n s i v e i n t o n e a s C o r m a n q u e s t i o n e d t h e h a l t i n g s t y l e o f t h e s t o r i e s , t h o u g h h e w a n t e d t o p u b l i s h t h e m a g a i n s t C r e e l e y ' s f u t u r e v a l u e . On J a n u a r y 30, 1951 C r e e l e y w r o t e : \" I n t h e c a s e o f t h e s t o r i e s , t h e s t y l e , t h e f o r m I S t h e e x t e n s i o n o f t h e c o n t e n t , i s s o m a d e , & i f i t s e e m s u n n e c e s s a r i l y r o u g h , c r a m p e d , m u s t s u g g e s t y o u r e a d t h e m a g a i n t o u n d e r s t a n d , m o r e c o m p l e t e l y , t h e n a t u r e o f t h e c o n t e n t , b e i n g , t r y i n g t o b e , g i v e n , & s o : t h e r e a s o n f o r t h e s t y l e \" (1056). O l s o n m e a n w h i l e w a s c o n t i n u i n g t o p r o m o t e C r e e l e y ' s p r o s e . I n a l e t t e r o f J u n e 10, 1951 he c o u n s e l e d C o r m a n t o w a i t f o r m o r e new p r o s e u n t i l 41 O r i g i n I I h a d b e e n p u b l i s h e d . \" G i v e - t h a t i s s u e a w h i l e t o g e t a r o u n d , a n d s o m e c h a r a c t e r s s o m e w h e r e w i l l s e e w h a t h e ' s up t o w i t h h i s c o n j e c t u r e . F o r C r e e l e y i s t h e p u s h b e y o n d L a w r e n c e . A n d L a w r e n c e i s t h e o n l y p r e d e c e s s o r who c a n c a r r y n a r r a t i v e 6 5 a h e a d \" . O r i g i n I I , \" f e a t u r i n g R o b e r t C r e e l e y \" , w a s p u b l i s h e d b y J u l y 1 9 5 1 . I t . w a s C r e e l e y ' s f i r s t s u b s t a n t i a l p u b l i c a t i o n a n d - - w i t h t h e e x c e p t i o n o f t h e s i n g l e p o e m i n O r i g i n I - - t h e f i r s t p u b l i c a t i o n o f h i s new w o r k . I t i n c l u d e d t h e s t o r i e s \" I n t h e S u m m e r \" , \" 3 F a t e T a l e s \" , a n d \" M r B l u e \" , h i s c r i t i c a l e s s a y \" N o t e s f o r a New P r o s e \" , f o u r p o e m s , a n d e x c e r p t s f r o m h i s l e t t e r s t o C o r m a n . C r e e l e y t h a n k e d C o r m a n , s a y i n g t h a t h i s b e s t w o r k w a s i n t h e i s s u e . O l s o n , t o o , w a s e x ' c i t e d , c a l l i n g C o r m a n \" t h e g o d damn b e s t e d i t o r \" s i n c e . F o r d ( w h o e d i t e d t h e E n g l i s h R e v i e w w h e n P o u n d , L a w r e n c e , a n d H a r d y c o n t r i b u t e d ) . A t t h e t i m e , O l s o n w a s a t B l a c k M o u n t a i n C o l l e g e w h e r e J o e l O p p e n h e i m e r r e m e m b e r s h i m r e a d i n g \" a r e m a r k a b l e s t o r y \" t o h i s w r i t i n g c l a s s t h a t s u m m e r : \" T h e s t o r y w a s M r . B l u e , a n d i t s t u n n e d u s a l l . I s e e m t o r e m e m b e r t h a t we w a t c h e d O l s o n ' s m a i l m o r e c l o s e l y t h a n he h i m -s e l f d i d f o r t h e n e x t s e v e r a l m o n t h s . A n d t h e s t o r i e s k e p t c o m i n g , a n d a n o c c a s i o n a l p o e m a l s o \" . ^ T h o u g ' h i t t o o k t h e m s o m e t i m e t o s i n k i n , t h e t w o f i r s t i s s u e s o f O r i g i n m a d e an i m p a c t s t i l l t o be f e l t o n t h e new A m e r i c a n w r i t i n g . B y t h i s t i m e t h e C r e e l e y s ( w i t h a n o t h e r s o n b o r n D e c e m b e r 1 9 5 0 ) w e r e l i v i n g i n F r a n c e , i n a s m a l l f a r m i n g t o w n o f s i x o r s o ^ L e t t e r s f o r O r i g i n , p . 6 0 . 6 6 \" T h e I n n e r T i g h t r g p e : A n A p p r e c i a t i o n o f R o b e r t C r e e l e y \" , L i l l a b u l e r o , N o . 8 ( W i n t e r 1 9 7 0 ) , p . 5 1 ( 2 5 2 A ) . 42 f a m i l i e s c a l l e d F o n t r o u s s e , near A i x - e n - P r o v e n c e . They had moved there May 1951 on the a d v i c e of Denise L e v e r t o v and her husband M i t c h e l l Goodman who were l i v i n g t h e r e cheap ly on the 6 7 G . I . B i l l . The c i r c u m s t a n c e s of the C r e e l e y s ' l i f e i n F o n t r o u s s e were not happy s i n c e there was no r u n n i n g water , no e l e c t r i c i t y , poor h e a t i n g , and a p e r v a s i v e pos t -war atmosphere of d e p r e s s i o n which seemed to have sapped the energy of the French townspeople . They l i v e d there a year then moved to nearby Lambesc where they l i v e d from May to October 1952. C r e e l e y was i n t e n t on w r i t i n g prose the f i r s t of h i s time i n F r a n c e . He was s t i m u l a t e d by the acceptance i n June 1951 of the f i v e s t o r i e s and O l s o n ' s p r e f a c e f o r New D i r e c t i o n s XIII and by the a p p e a r -ance of h i s work i n O r i q i n II the f o l l o w i n g month. F u r t h e r m o r e , he had a c o n c r e t e reason to w r i t e : an e d i t o r at Morrow had expres sed i n t e r e s t i n a p r o j e c t e d n o v e l . ( T h i s was C r e e l e y ' s second such p l a n . A nove l begun e a r l i e r , i n 1948 or 49, had been d i s c a r d e d . ) D i s c u s s i o n s wi th L e v e r t o v and Goodman, a n o v e l i s t , on h i s a r r i v a l i n France he lped C r e e l e y to extend h i s e a r l i e r prose C r e e l e y and M i t c h e l l Goodman had been c l a s s m a t e s at H a r v a r d . I t was through t h e i r l e t t e r s tha t L e v e r t o v encountered the w r i t i n g of the O r i o i n poets i n 1950 and C r e e l e y encountered an i n t e l l i g e n c e as i n c i s i v e as h i s own, which he has s a i d he l e a r n e d much from. C r e e l e y , h a v i n g ga thered some for h i s c o l l a p s e d magazine , forwarded L e v e r t o v ' s poems to Corman wi th h i s p r a i s e i n 1951. As a r e s u l t her poem \"The Bereaved\" appeared i n O r i g i n II and \"The S h i f t i n g \" i n O r i g i n WI. On August 30, 1952, C r e e l e y wrote Corman tha t he l i k e d L e v e r t o v ' s two new poems, \"Zest\" and \" C o n t i n u i n g \" , commenting tha t she was making a \"breakover from her o l d s t y l e \" (1055) . \" C o n t i n u i n g \" was p u b l i s h e d i n a group of f o u r poems i n O r i g i n IX which e s t a b l i s h e d L e v e r t o v as an O r i g i n poe t . C r e e l e y , f i r s t i n h i s l e t t e r s , l a t e r d i r e c t l y i n F r a n c e , had been an i m p o r t a n t i n f l u e n c e i n her changeover . 4 3 t h e o r i e s t o t h e n o v e l . Qn J u n e 1 9 , 1 9 5 1 h e w r o t e t w o v e r y s o l i d p a g e s i n h i s j o u r n a l , b e g i n n i n g w i t h t h e c e n t r a l a s s u m p t i o n : N o v e l : r e a l i t y a s a ) t h e p r o g r e s s i o n o f p a r t i c u l a r s ( m a n , t r e e , r a i n ) t o c o n s t i t u t e , t o c r y s t a l l i z e a s , t o d e m a n d t h e r e a l i z a t i o n o f , r e l a t i o n b e t w e e n t h i n g s ( m a n , t r e e , r a i n ) ; b ) t h e i m p r e s s i o r i l t h e i m p i n g e m e n t ( \" M i t c h ' s w o r d ) , t h e p r e s s u r e d e f f e c t , o f t h a t \" w o r l d \" w h i c h c o n s t i t u t e s , w h i c h f r a m e s , w h i c h m a k e s , t h e c o l l e c t i v e c o n d i t i o n o f t h e p e o p l e , man o r m e n , w h i c h i n h a b i t i t . T h e n o v e l h e s a w m u s t be a n \" a u t o n o m o u s e n t i t y \" i n w h i c h t h e s e t w o r e a l i t i e s p l a y e d o u t t h e i r r e l a t i o n . I n f a c t , t h e n o v e l i s t s h o u l d p i t a_ a g a i n s t b. a s a \" c h e m i s t c o n f r o n t i n g o n e c h e m i c a l w i t h a n o t h e r i n o r d e r t o e s t a b l i s h t h e f a c t & p o s s i b i l i t y o f r e l a t i o n b e t w e e n t h e m \" : V i z : a n o v e l i s t m a k e s t h e a t t e m p t t o d e t a c h h i m s e l f f r o m t h e g i v e n b i a s e s o f h i s own p e r s o n a l r e a l i t y n o t t h r u a n y m e a n s o f d e n i a l b u t a l t o g e t h e r o n t h e o t h e r h a n d - - b y p i t t i n g t h e m a g a i n s t w h a t e v e r p r e s e n c e s o f t h e e x t e r n a l r e a l i t y h e i s a b l e t o c o n f r o n t b y m e a n s o f t h e t h i ng s , a l s o e x t e r n a l , h e c o m e s t o bump up a g a i n s t . He a r g u e d a g a i n s t t h e u s e o f p l a c e a n d t i m e i n t h e n o v e l , i n f a c t a g a i n s t a n y m a t t e r w h i c h r e f e r r e d b e y o n d t h e g i v e n c o n t e n t : I t ' s my own b e l i e f \u2014 a n y i n s t a n c e o f t h e A S S U M P T I Q N A L k n o w l e d g e o f r e f e r e n t s , w h i c h i s t o s a y , a n y c a s e w h e r e i n t h e r e a d e r i s r e f e r r e d t o a r e a l i t y n o t l i t e r a l l y made a p r e s e n c e , g i v e n a c t u a t i o n , i n t h e c o n t e n t , i s a d i r e c t s a p p i n g o f t h a t w r i t i n g ' s t o - b e - r e s p e c t e d DEMAND o n t h e r e a d e r ' s a t t e n t i o n . I n o t e t h i s , h e r e , b e c a u s e i t a l s o i s my b e l i e f : t h e b u l k o f p r o s e w r i t i n g , 1 9 3 Q t o 5 0 , i s o f no c o n s e q u e n c e . . . i n t h a t i t a s s u m e s , a r b i t r a r i l y , a k n o w l e d g e o f e v e n t , o f s i g n i f i c a n c e , w h i c h i t d o e s n o t m a k e a m e a n s t o i n i t s own s u b s t a n c e . ^ 8 T h e s a m e d a y C r e e l e y s e t o u t o n h i s b i c y c l e t o t e s t t h e s e t h e o r i e s o n h i s f r i e n d s . He f o u n d G o o d m a n a g r e e a b l e b u t L e v e r t o v a r g u e d s t r o n g l y f o r a n o v e l c o m m i t t e d t o a s o c i a l c o n s c i o u s n e s s w h i c h t o T y p e s c r i p t j o u r n a l a t I n d i a n a 1 9 5 1 C r e e l e y c o l l e c t e d h i s j o u r n a l 3 0 , 1 9 5 0 l e t t e r ( u n s e n t ) t o O l s o n , w h i c h w a s n e v e r p u b l i s h e d ( 1 0 9 7 ) . U n i v e r s i t y ( 1 0 9 7 ) . On J u n e 2 1 , n o t e s o n p r o s e , a n d h i s A u g u s t i n t o a n a r t i c l e , \" N o t e b o o k \" , 44 C r e e l e y c o u l d o n l y be e x t e r n a l t o t h e - c o n t e n t , a s i n C a m u s ' T h e  P l a q u e . T h e f o l l o w i n g d a y C r e e l e y w r o t e i n h i s j o u r n a l t h a t h e w a s c o n v i n c e d t h a t L e v e r t o v d i d n o t k n o w t h i n g s ( w h i c h t o C r e e l e y w a s t h e o n l y v a l i d way t o m o v e t o t h e c o l l e c t i v e , t h e a b s t r a c t i o n o f p a r t i c u l a r s ) , b u t t h a t s h e l i v e d i n a c o m p a r a t i v e w o r l d b a s e d o n i n t u i t i o n , e m o t i o n , a n d m e m o r y . ( i t w a s t h i s e m o t i o n a l a p p r o a c h t o w r i t i n g t h a t h e c o m p l i m e n t e d L e v e r t o v i n A u g u s t 1 9 5 2 f o r p u t t i n g a s i d e i n h e r new p o e m s . ) T h e f r i e n d s h i p w a s s o o n p a t c h e d , b u t t h e d i f f e r e n c e r e m a i n s t o d a y , t h o u g h L e v e r t o v ' s s o c i a l c o n c e r n s a r e s o p e r s o n a l t h a t t h e y a r e h a r d l y e x t e r n a l t o h e r w o r k i n t h e s e n s e t h a t C r e e l e y c r i t i c i z e d i n 1 9 5 1 . C e r t a i n l y , t h e i r a r g u m e n t c o n t r i b u t e d t o h e r a s s u m p t i o n o f a b e l i e f t h a t f o r m c o u l d n o t b e m o r e t h a n t h e e x t e n s i o n o f c o n t e n t , w h i c h w a s t h e m a i n p o i n t o f d i s a g r e e m e n t . H o w e v e r u n n e r v i n g t h i s a r g u m e n t w a s a t t h e t i m e - - \" u n h i n g i n g \" w a s C r e e l e y ' s w o r d - - i t w a s f i n e s t i m u l a t i o n f o r a w o u l d - b e n o v e l -i s t . On J u l y 1 C r e e l e y w r o t e t h e f i r s t t w e n t y p a g e s . He t o l d C o r m a n t h a t he f o u n d i t m u c h m o r e d i f f i c u l t , a n d v e r y d i f f e r e n t i n t e r m s o f t h e a t t e n t i o n r e q u i r e d , t h a n s h o r t - s t o r y w r i t i n g : I g e t t o s e e t h a t t h e p r e m i s e , t h e b e l i e f , t h a t f o r m i s n e v e r m o r e t h a n a n e x t e n s i o n o f c o n t e n t m e a n s , m o r e t h a n a l a x i t y a s s o m e t a k e i t o f m e t h o d , q u i t e t h e d a m n r e v e r s e . I t m e a n s t h i s : t h a t t h e a r t i s t e q u i p h i m s e l f a s c o m p l e t e l y a s h e c a n , t h a t h e k n o w h i s c r a f t f u l l y \u2014 t o a l l o w t h e f u l l p a s s a g e o f w h a t e v e r c o n t e n t h e c o m e s t o p o s s e s s . H i s m e t h o d i n t h e n o v e l w a s p r i m a r i l y t o a t t e n d a c t i v e l y t o t h e n a t u r a l u n r a v e l l i n g o r d i g r e s s i n g o f t h e c o n t e n t a n d i t s \" a t t e n d a n t i m p l i c a t i o n s \" : D i g r e s s i o n , i n p r o s e , b e c o m e s , f i n a l l y , a p o s s i b l e \" l a w \" i n t h a t i t p r o v i d e s a m e t h o d f o r c o n t i n u i t y . . . . [ T h e w r i t e r ] d i v o r c e s h i m s e l f f r o m t h e f i n a l i t y o f , \" s u b j e c t \" , &, i n s t e a d , f o l l o w s a l l t h e l i n e s l e a d i n g f r o m i t , a l l t h e p o s s i b l e s u g g e s t i o n s , a n d f r o m 4 5 t h e s e p o s s i b l e s u g g e s t i o n s , h e m a k e s , , e a c h t i m e , a \" c h o i c e \" , m o v i n g o n , t h e n , f r o m e a c h \" c h o i c e \" i n l i k e m a n n e r . C o n t i n u i t y b e c o m e s , i n t h i s w a y , t h e p r o d u c t o f t w o t h i n g s : l ) d i g r e s s i o n ( a s t h e t a k i n g up o f , i m p l i c a t i o n ) ; 2 ) e n e r g y ( a s t h e l o c a t i o n o f e m p h a s e s , i n t h e s e n s e t h a t , o n c e t h e e n e r g y g o e s s l a c k , o n e s h i f t s o n t o s o m e t h i n g e l s e , e t c . ) ( 1 0 5 6 ) T h e i n t e l l i g e n c e o f t h e n o v e l i s t , g i v e n n o r m a l p r e o c c u p a t i o n s , \" w i l l d r a w h i s d i g r e s s i o n i n t o a l o o p \" b u t h e m u s t b e g i n w i t h t h e p a r t i c u l a r t h e n m o v e t o w a r d t h e g e n e r a l , n e v e r t h e r e v e r s e ( 1 0 5 6 ) . L a t e i n J u l y 1 9 5 1 C r e e l e y s e n t t h e f i r s t h a l f o f t h e n o v e l t o t h e e d i t o r a t M o r r o w b u t i t w a s r e f u s e d a n d h e p u t i t a s i d e . H o w e v e r , o u t o f t h e e n t h u s i a s m f o r p r o s e t h a t t h e n o v e l h a d g e n e r a t e d a n d h i s g a i n i n t h e o r y a n d t e c h n i g u e c a m e a n u m b e r o f new s t o r i e s ( t h r e e o f w h i c h d i d n o t s u r v i v e ) . \" T h e P a r t y \" ( 4 6 0 ) , w r i t t e n A u g u s t 5 , w a s t h e f i r s t s t o r y t o a t t e m p t a new h a n d l i n g a n d m o v e b e y o n d t h e a c h i e v e m e n t o f t h e t h r e e s t o r i e s i n O r i g i n I I . T h e s t o r y c a n b e r e a d a s a n e x t e n d e d m e t a p h o r f o r c o i t u s . I t w a s s e n t t o O l s o n who f o r w a r d e d i t t o C o r m a n , c a l l i n g i t \" a s u b t l e , l o v e l y , l i g h t r u n n i n g t h i n g , a n d f u l l o f f a t e & p o w e r \" . ^ 9 On A u g u s t 3 0 , t h e s e c o n d new s t o r y , \" T h e G r a c e \" ( 4 6 4 ) , w a s w r i t t e n a n d s e n t t o C o r m a n t h e f o l l o w i n g d a y w i t h C r e e l e y ' s c o m m e n t : \" T h e n o v e l g o t me o f f i n t o a n o t h e r a s p e c t o f s t y l e s -m o r e s t r i p p e d , i f a n y t h i n g , a n d m o v i n g o n a b a r e r s u r f a c e . I t -a l l o w s t h e s a m e f l u x , b u t m a k e s f o r a q u i c k e r p a s s a g e \" ( 1 0 5 6 ) . He s p o k e o f t h e d i f f i c u l t y ( i n \" M r B l u e \" , \" 3 F a t e T a l e s \" , a n d \" I n t h e S u m m e r \" ) o f \" r e g i s t e r i n g i m m e d i a t e c h a n g e b e c a u s e o f t h e ^ L e t t e r s f o r O r i g i n , p . 7 4 . T h e c o m m e n t s h a d b e g u n t o c o m e i n , m i x e d t h o u g h t h e y w e r e , a b o u t O r i g i n I I , a l o n g w i t h e n c o u r -a g i n g l e t t e r s f r o m C o r m a n , O l s o n , a n d o t h e r f r i e n d s , a n d C r e e l e y w a n t e d h i s new w o r k t o go i n t o s u b s e g u e n t i s s u e s o f t h e m a g a z i n e . \" T h e G r a c e \" a n d a p o e m w e r e p u b l i s h e d i n O r i g i n I I I ( F a l l 1 9 5 1 ) ; o n e p o e m i n II\/; t w o p o e m s i n V I ; \" T h e P a r t y \" , a p o e m , a n d a t r a n s -l a t i o n i n V I I ; n o t e i n X I I ; r e v i e w s i n X I I I ; a s t o r y i n X V I I ; a n d p o e m s i n I X , X, X I I , X I I I , X I V , X V I , X V I I I , X I X . 4 6 d e n s e n e s s ( l i t e r a l w e i g h t & p r e s s u r e ) . o f t h e n a r r a t o r ' s ( o r p r o t a g o n i s t ' s ) p r e s e n c e \" a n d t h e f a c t t h a t t h i s l i m i t e d t h e a v a i l a b l e m e a n s o f t h e s t o r y u n d e r h a n d . He w a s t r y i n g i n t h e new s t o r i e s t o : K E E P t h a t d e n s e n e s s , i . e . , t h a t f u l l w t \/ o f s d n a r r a t o r o r p r o -t a g o n i s t , b u t t o g e t i t i n t o a m e t h o d t h a t c a n a l l o w o f i m m e d i a t e r e g i s t e r i n g o f a n y & a l l a c t i o n ( p h e n o m e n o n ) . . . . B u t I w a n t t o w o r k i n t o a q u i c k e r , m o r e f l e x i b l e s t y l e . N o t n e c e s s a r i l y m o r e b a r e . . . b u t h a r d e r , o r l e a n e r , a n d a b l e t o s h a p e r o u n d t h e a c t i o n , a t q u i c k e r s p e e d . ( 1 0 5 6 ) A d r a f t o f a n o t h e r s t o r y , \" J a r d o u \" ( 4 6 5 ) , w a s w r i t t e n O c t o b e r 2 2 , 7 0 1 9 5 1 . I n a l e t t e r o f O c t o b e r 3 0 t o C o r m a n , C r e e l e y c o m m e n t e d o n t h e t h r e e new s t o r i e s : H e r e t o f o r e : p l u n g e on t h e s i n g l e p e r c e p t i o n , t h a t d e p t h - - n o w t o , m a n a g e t h e m o s t q u i c k m o v e m e n t p o s s i b l e b e t w e e n a l l p e r c e p t i o n s , b e i n g , f i n a l l y , w h a t a n y p o e t h a s t o w a k e up t o v e r y e a r l y i n t h e j o b . T h e 2 t h i n g s , a n y h o w : l ) d e p t h , t h e p l u n g e o n a n y o n e p e r c e p t i o n , w h i c h i s t h e f i r s t m a r k o f t h e c o n j e c t u r a l . . . 2 ) p a s s a g e , how t o g a i n a m o v e m e n t t h a t w i l l n o t c a t c h o n a n y a n t e r i o r o r p r i o r p o i n t . . . w i l l m o v e w i t h a l l p o s s i b l e s p e e d . . . t h i s p a s s a g e i s t h e \" e x t e r n a l w o r l d \" , I s u p p o s e . T h e \" d e p t h \" i s u s u a l l y s i n g l e . ( 1 0 5 6 ) C o r m a n ' s r e s p o n s e t h a t h e e n c o u n t e r e d a \" l a n g u a g e - b l o c k \" i n \" J a r d o u \" a n d h i s c o n c e r n f o r t h e r e a d i n g p u b l i c ( w h i c h c o n c e r n C r e e l e y c a l l e d \" p r o v i n c i a l \" ) e l i c i t e d C r e e l e y ' s a n g e r i n a l e t t e r o f N o v e m b e r 1 1 , 1 9 5 1 a n d h i s i n s i s t e n c e t h a t h e d i d n o t w r i t e f o r t h e q u i c k b u t f o r t h e c a r e f u l r e a d e r . I t s e e m e d a n i m p o s s i b l e s p l i t b u t w a s h e a l e d b y O l s o n who w r o t e m o v i n g l y t o C r e e l e y , a n d a l s o t o C o r m a n : T h a t i s , C r e e l e y i s a s u b t l e & b e a u t i f u l m a n , w o r t h m o r e t h a n a l l t h e r e s t o f u s y o u h a v e p u b l i s h e d \u2014 a n d t h e n s o m e : y o u r m a g a z i n e s h a l l b e k n o w n i n t h e h i s t o r y o f w r i t i n g b e c a u s e y o u t h e r e f i r s t P u b l i s h e d i n New M e x i c o Q u a r t e r l y , X X I I , i i i ( A u t u m n 1 9 5 2 ) . 47 p u b l i s h e d the s t o r i e s and l e t t e r s of t h i s m a n . . . . So do not argue i f what e l s e you might t h i n k to g ive \u2014 c r i t i c i s m , of mss, or of problems he or I , say, g ive a l l the a t t e n t i o n of our waking & s l e e p i n g hours t o , - - r u b s him wrong. I ' d say , l e a r n from him, and i n s a y i n g i t , can t e l l you tha t I have l e a r n e d more from him than from any l i v i n g man: he i s of t h a t s o r t of d imen-s i o n t h a t you can w e l l a l l o w \u2014and g a i n thereby \u2014 t h a t you do l e a r n , and modest ly l e a r n from h i m . ^ l T h i s group of s t o r i e s \u2014 however promi s i ng \u2014 was not f o l l o w e d by more. From November 1951 to May 1953 C r e e l e y wrote no s t o r i e s , at l e a s t none t h a t he saved . In f a c t , the Winter of 1951-52 was a dry one f o r w r i t i n g of any k i n d . In F a l l 1951 C r e e l e y was much f u r t h e r ahead i n h i s s t o r i e s than i n h i s poems but the p r a c t i s e g i v e n by the prose w r i t i n g ( n o v e l , s t o r i e s , c r i t i c i s m , and l e t t e r s ) gave him a s o l i d base of c r a f t s m a n s h i p from which to w r i t e h i s new p o e t r y . I t was not j u s t c o i n c i d e n c e t h a t the poems wai ted to c a t c h up to the s t o r i e s u n t i l C r e e l e y ' s t h e o r y of prose had been f u l l y d e v e l o p e d , l a t e i n 1951. By tha t time i t was, i n f a c t , a very i n d i v i d u a l theory of wr i t i n g . As such i t has served C r e e l e y , i n i t s e s s e n t i a l a s p e c t s , u n t i l t oday . In the l a t e f o r t i e s and e a r l y f i f t i e s C r e e l e y was much l e s s a r t i c u l a t e i n p o e t r y than i n p r o s e . T h i s was to remain t r u e u n t i l the S p r i n g of 1952. In 1949 and e a r l y 1950 C r e e l e y was s t i l l w r i t i n g p o e t r y i n the mode of W a l l a c e S t e v e n s . Though the poems were becoming l e s s d i s c u r s i v e and more s u r e , they were s t i l l w r i t t e n i n long r h e t o r i c a l l i n e s with l i t t l e pause at the 71 L e t t e r t o Corman November 24, 1951, L e t t e r s for O r i g i n , p . 87. 48 e n d - - j u s t e n o u g h f o r t h e e y e t o d r o p d o w n a n d p i c k up t h e n e x t l i n e . T h e y w e r e s m o o t h - r u n n i n g p o e m s i n w h i c h t h e a c c e n t u a l p a t t e r n o f t h e w o r d s a n d o f t h e l i n e s w e r e s u b m e r g e d i n t h e r h y t h m o f t h e p e r i o d o r s t a n z a . T h e y w e r e p o e m s w r i t t e n f o r t h e e y e a n d i n n e r v o i c e r a t h e r t h a n w i t h t h e a c t u a l s p o k e n v o i c e ' i n m i n d . T h e y w o u l d h a v e b e e n a w k w a r d f o r C r e e l e y t o r e a d a l o u d s i n c e h i s b r e a t h i s v e r y s h o r t and h i s s p e e c h s o m e t i m e s s t u m b l i n g , 72 a s r e v e a l e d b y l a t e r p o e t r y r e a d i n g s . When C r e e l e y r e c e i v e d O l s o n ' s f i r s t l e t t e r o n A p r i l 24, 1950, t h e a d m o n i t i o n t h a t \" a man g o d d a m n w e l l h a s t o c o m e up w i t h h i s o w n l a n g . \" m u s t h a v e h i t h i m h a r d , e s p e c i a l l y w h e n he r e a d t h e v e r y i n d i v i d u a l i s t i c 73 p o e m s O l s o n h a d s e n t . T h r o u g h o u t t h e S p r i n g and S u m m e r o f 1950, O l s o n b o m b a r d e d C r e e l e y w i t h h i s t h e o r y o f t h e p h y s i o l o g i c b a s i s o f o p e n p o e t r y , a n d t a u g h t h i m how t o p u t h i s own b r e a t h i n t o t h e a l l - i m p o r t a n t l i n e , o r r a t h e r , t o make t h e l i n e r e c o r d t h e e x i g e n c i e s o f h i s b r e a t h . 7 4 W h e n O l s o n f i r s t w r o t e t o C r e e l e y h e h a d a d r a f t i n h a n d o f t h e s e c o n d p a r t o f \" P r o j e c t i v e V e r s e \" . He w o r k e d o u t m o s t o f t h e f i r s t p a r t o f t h a t p h e n o m e n a l e s s a y i n h i s l e t t e r s t o C r e e l e y . ( C r e e l e y r e m e m b e r s s e n d i n g t h e s e l e t t e r s 72 T o u n d e r s t a n d C r e e l e y ' s p o e t r y i t i s a l m o s t a n e c e s s i t y t o h e a r h i m r e a d . Two e a s i l y a v a i l a b l e r e c o r d s a r e l i s t e d a s 164 a n d 165 i n t h e I n v e n t o r y , b u t p e r h a p s t h e f i n e s t - - b e c a u s e i t g i v e s t h e e m o t i o n a l c o n t e n t a s w e l l \u2014 i s t h e r e a d i n g a t B e r k e l e y (162) . 7 3 C r e e l e y d i d n o t h e a r O l s o n ' s v o i c e u n t i l J a n u a r y 7, 1951, uhen a s he t o l d Counan , \" a f t e r w r i t i n g h i m , a s i t ' s b e e n , 5 t i m e s a w e e k , f o r t h e p a s t 6 m o n t h s \u2014 h a v i ng t h a t c h a n c e t o ' t a l k ' I c a n ' t , c o u l d n ' t t h i n k o f a n y t h i n g b u t p l a t i t u d e s , e m p t i n e s s e s \" (1056) . He h a d t h e \" f a n t a s t i c e x p e r i e n c e \" o f h e a r i n g O l s o n r e a d o n C o r m a n 1 s r a d i o p r o g r a m a b o u t t w o w e e k s a f t e r t h e p h o n e c a l l . He t o l d W i l l i a m s : \" I ' v e n e v e r h e a r d a t h i n g l i k e i t j j u s t : f o r c e \/ n a k e d \" [ L e t t e r o f J a n u a r y 1951 a t Y a l e U n i v e r s i t y ( 1040 ) ] . 7 4 H o w m u c h d i r e c t c r i t i c i s m C r e e l e y ' s p o e m s r e c e i v e d w i l l b e r e v e a l e d w h e n t h e O l s o n - C r e e l e y c o r r e s p o n d e n c e i s m a d e p u b l i c . 49 b a c k t o O l s o n f o r h i s u s e i n e n l a r g i n g i t . ) S o , p a r t o n e , w i t h i t s l e s s o n \" t h a t v e r s e w i l l o n l y d o i n w h i c h a p o e t m a n a g e s t o r e g i s t e r b o t h t h e a c q u i s i t i o n s o f h i s e a r a n d t h e p r e s s u r e s o f 75 h i s b r e a t h \" , w a s h a m m e r e d i n t o C r e e l e y ' s h e a d b y m i d - 1 9 5 0 . C r e e l e y h a d a l r e a d y r e f i n e d h i s e a r ( b y p r a c t i c i n g h i s c r a f t 1 9 4 5 - 1 9 5 0 ) e n o u g h t o u n d e r s t a n d t h e i m p o r t a n c e o f t h e s y l l a b l e , a n d w a s q u i c k t o s e i z e u p o n O l s o n ' s i n j u n c t i o n t h a t t h e b r e a t h m u s t b e r e c o r d e d by t h e s h a p e a n d l e n g t h o f t h e l i n e . C r e e l e y t h r e s h e d o u t h i s s e n s e o f O l s o n ' s a c h i e v e m e n t i n h i s r e v i e w o f Y & X , w r i t t e n d u r i n g May o r J u n e 1 9 5 0 . O l s o n ' s t h e o r y w a s f o r C r e e l e y a n e x t e n s i o n o f W i l l i a m s ' a s s e r t i o n t h a t t h e l i n e m u s t b e o p e n e d u p , m a d e o f m o r e a c t i v e u s e . . I n Y & X C r e e l e y f o u n d t h a t O l s o n ' s l i n e b e c o m e s : a w a y t o a m o v e m e n t b e y o n d t h e s i n g l e i m p a c t o f t h e w o r d s w h i c h g o t o m a k e i t u p , a n d b r i n g s t o t h e i r l o g i c a f o r c e o f i t s o w n . I n s t e a d o f t h e s i m p l e w a g o n w h i c h c a r r i e s t h e l o a d , h e m a k e s i t t h a t w h i c h d r i v e s t o o , t o t h e c o m m o n l o g i c , t h e s e n s e o f t h e p o e m . . . . T h e l i n e i s t h e m e a n s t o f o c u s , i s t h a t w h i c h s a y s \" h o w \" we a r e t o w e i g h t t h e v a r i o u s t h i n g s we a r e t o l d . A n d a s i t i s t h e r e , t o d o t h i s w o r k , s o t h e w o r d s b r e a k t h r o u g h t o t h e i r s e n s e . I n a l e t t e r o f J u n e 2 6 t o E m e r s o n C r e e l e y i n t e r p r e t s t h i s < a c h i e v e m e n t f o r h i s own u s e : I ' d p u t r i g h t t h e r e [ i n t h e l i n e ] : t h e m a i n p r o b l e m w i t h c u r r e n t f r e e v e r s e , t h e f a c t t h a t s o f e w g r i p i t s p o s s i b l e l o g i c & s t r e n g t h . . . . I t h i n k , t h o , we g o t a f i e l d o r s o m e o f u s , w h e n we t o o k t h e e y e t o b e t h e m a k e r o f t h e l i n e . I t w a s , m o s t o b v i o u s l y , n e v e r s o . I t w a s t h e b r e a t h t h a t w a s m a k i n g t h e l i n e \/ a s f o r a n a n a l o g y , b r e a t h i s m a k i n g t h e l i n e i n a p h r a s e , f i g u r e , p l a y e d by C. P a r k e r 7 5 Human U n i v e r s e , p . 5 3 . 7 6 \" C h a r l e s O l s o n : Y & X \" , A Q u i c k G r a p h , p p . 1 5 1 - 1 5 2 ( 9 5 1 ) . F i r s t p u b l i s h e d i n l Y l o n t e v a T l l o R e v i e w , I , i i ( S u m m e r 1 9 5 1 ) . 50 e t a l . S o , t h e n , t h e l i n e i s t h a t w h i c h c a n s t r e s s , b r i n g s t r e n g t h t o : t h e s y l l a b l e , a s s t r e s s e s , a s p u t t o u s e : i n p o e t r y . We h a d , i n s o m e s e n s e , p u t i t i n a s u b o r d i n a t e p o s i t i o n , u s i n g i t f o r a c o n t a i n e r , o r a r a n d o m l e n g t h f o r o u r s e n s e . 7 7 T h i s l i n e o f t h i n k i n g b r o u g h t C r e e l e y t o a new u n d e r s t a n d i n g o f P o u n d ' s a n d W i l l i a m s ' p o s i t i o n , s t i m u l a t e d by t h e i r l e t t e r s t o h i m . I n t h e i r w o r k C r e e l e y h e a r d t h e l i n e b e g i n \" t o u s u r p t h e 7 8 p l a c e o f t h e s t a n z a , t h e v e r s e \" . P o u n d ' s C a n t o s , t h o u g h , w i t h t h e i r b r e a d t h a n d s u s t e n t i o n w e r e a s d i s t a n t f r o m C r e e l e y ' s p o s s i b i l i t i e s i n p o e t r y a s P o u n d ' s v o i c e w a s f r o m C r e e l e y ' s o w n . S i m i l a r l y , t h e f o r c e a n d s c o p e o f O l s o n ' s w o r k \u2014 h i s b r e a t h a n d c o n c e r n s w e r e s e e m i n g l y e x h a u s t l e s s - - w e r e n o t t o b e o f d i r e c t u s e . W i l l i a m s ' i n t i m a t e w a y o f s p e a k i n g f r o m p e r s o n a l g r o u n d i n t h e b r i e f \" c o m m o n s p e e c h \" l y r i c w a s , h o w e v e r , a n e x a m p l e i n b o t h s u b j e c t a n d m e t h o d . W i l l i a m s ' i n t r o d u c t i o n t o T h e W e d g e now h e l d a v e r y p e r s o n a l l e s s o n f o r C r e e l e y : When a man m a k e s a p o e m , m a k e s i t , m i n d y o u , h e t a k e s w o r d s a s h e f i n d s t h e m i n t e r r e l a t e d a b o u t h i m and c o m p o s e s t h e m . . . i n t o a n i n t e n s e e x p r e s s i o n o f h i s p e r c e p t i o n s a n d a r d o r s t h a t t h e y may c o n s t i t u t e a r e v e l a t i o n i n t h e s p e e c h t h a t h e u s e s . W i l l i a m s ' l e t t e r s , w h i c h b e g a n i n r e s p o n s e t o C r e e l e y ' s F e b r u a r y 1950, h e l p e d C r e e l e y \" s e e h i s w a y \" i n h i s p o e t r y a s w e l l a s i n t h e p o l i c y f o r t h e p r o j e c t e d m a g a z i n e . W i t h h i s u s e o f W i l l i a m s ' \" c l a r i t y \" t o h e a d t h e m a g a z i n e , C r e e l e y d i s c o v e r e d W i l l i a m s a s e x a m p 1 e and b e g a n \u2014 n o t i n a n y s e n s e o f i m i t a t i o n - - t o w o r k t o w a r d s a b r i e f l y r i c f o r m w h i c h , w o u l d r e c o r d h i s o w n t h o u g h t a n d s p e e c h . T h e p o e m s now t o b e w r i t t e n w o u l d u s e t h e l i n e a s t h e r h y t h m i c o *J L e t t e r a t S i m o n F r a s e r U n i v e r s i t y ( 1 0 4 1 ) . 7 8 T y p e s c r i p t j o u r n a l a t I n d i a n a U n i v e r s i t y ( 1 0 9 7 ) . 51 u n i t , p a r t l y o u t o f C r e e l e y ' s m i s t a k e n b e l i e f t h a t W i l l i a m s ' 79 p o e t i c l i n e s e n d e d w i t h t e r m i n a l j u n c t u r e s . I n t h e S u m m e r o f 1950 C r e e l e y w a s m a k i n g g r e a t s t r i d e s f o r w a r d i n h i s s t o r i e s a n d i n h i s p r o s e t h e o r y , a n d t h e f u r t h e r d e v e l o p m e n t o f t h i s p r o s e t h e o r y , up t o F a l l 1951, w a s c o i n c i d e n t w i t h h i s e x p e r i m e n t a t i o n i n p o e t r y . T h e f i r s t t h i n g t o go w a s t h e d e n s e , s e l f - s u f f i c i e n t s t a n z a . C r e e l e y b e g a n t o u s e s c a t t e r e d l i n e s o f v a r i e d l e n g t h , p r o b a b l y i n d i r e c t a d m i r a t i o n o f t h e q u i c k n e s s a n d f o r c e t h a t O l s o n g o t f r o m t h i s f o r m . One o f t h e f i r s t p o e m s w r i t t e n (1950) i n t h i s l i g h t e r a n d m o r e e m p h a t i c f o r m w a s \" S t i l l L i f e o r \" (777) w h i c h , h o w e v e r , s t i l l s u f f e r e d f r o m a r h e t o r i c a l a t t i t u d e.. \u00b0 M o s t o f t h e p o e m s w r i t t e n f r o m 1950 t o 1952 w e r e a w k w a r d e x p e r i m e n t s i n f o r m w h i c h d i d n ' t m a k e i t b e c a u s e o f t h e r h e t o r i c a l c o n t e n t . C r e e l e y h a d n o t y e t l e a r n e d P o u n d ' s c a u t i o n w h i c h h e l a t e r l i k e d t o q u o t e f r e q u e n t l y : \" A n y t e n d e n c y t o g e n e r a l s t a t e m e n t i s a g r e a s e d s l i d e \" . S ome o f t h e s e p o e m s ( t h o s e w h i c h s u r v i v e d ) c a n b e r e a d i n T h e C h a r m : E a r l y a n d U n c o l l e c t e d P o e m s (41) . W i t h f e w e x c e p t i o n s t h e s e w e r e p o e m s w h i c h C r e e l e y f e l t w e r e o f f . W h e n t h e l i s t o f c o n t e n t s f o r h i s f i r s t b o o k w a s f i n a l l y s e t t l e d , f e w o f t h e e a r l y p o e m s w e r e i n c l u d e d , a n d w h e n C r e e l e y c o m p i l e d h i s s e l e c t e d p o e m s , T h e W h i p ( E ) , i n l a t e 1956 o r e a r l y 1957, h e 79 T h e y d i d n o t , a s C r e e l e y l a t e r r e a l i z e d , b u t W i l l i a m s c a m e t o u s e t h i s f o r m i n p o e m s w r i t t e n i n t h e t r i a d i c l i n e i n t h e f i f t i e s a n d s i x t i e s . P o e ' s s t r e s s o n t h e i m p o r t a n c e o f t h e l i n e w a s a l s o a n i n f l u e n c e o n C r e e l e y . Q |-| T h i s p o e m w a s p u b l i s h e d a l o n g w i t h t w o i n t h e o l d s t y l e i n W a k e , N o . 9 ( 1 9 5 0 ) . 52 h a l v e d t h i s s e l e c t i o n a g a i n . T h e f i r s t p o e m w h i c h C r e e l e y f e l t w o r t h s a v i n g f o r T h e W h i p w a s \" H a r t C r a n e \" ( 4 7 2 ) . T h i s p o e m , t h e n t i t l e d \" O t t o R a n k & O t h e r s \" , c a n b e d a t e d b e f o r e S e p t e m b e r 7 , 1 9 5 0 ( t h o u g h a f e w c h a n g e s may d a t e l a t e r ) a n d w a s a c u t - d o w n o f 81 a J u n e 1 9 5 0 d r a f t w h i c h i t s e l f h a d s e e n s e v e r a l r e v i s i o n s . \" H a r t C r a n e \" w a s C r e e l e y ' s c h o s e n c o n t r i b u t i o n t o t h e s i g n i f i c a n t f i r s t i s s u e o f O r i g i n a n d i n a l e t t e r o f A p r i l 2 0 , 1 9 5 1 t o C o r m a n , f u l l o f p r a i s e f o r t h e i s s u e , C r e e l e y c a l l e d t h e p o e m h i s \" f i n e s t p r i n t i n g o f a n y t h i n g t o d a t e \" ( 1 0 5 6 ) . T h o u g h e v e n i n t h e f i n a l v e r s i o n t h e c o n t e n t i s s t i l l e x t e r n a l t o t h e s p e a k e r , s t i l l a \" s u b j e c t \" , i t i s o n e w h i c h a f f e c t e d C r e e l e y d e e p l y , a n d i n t h e t h r e e p a r e n t h e t i c a l s t a n z a s b e g i n n i n g \" S l a t e r , l e t me c o m e h o m e \" - - C r e e l e y h a d k n o w n S l a t e r B r o w n p e r s o n a l l y - - a v e r y i n t i m a t e v e i n i s t o u c h e d . T h e s e s t a n z a s w e r e a p p a r e n t l y w r i t t e n b y J u n e 1 9 5 0 . T h e y w e r e t h e f i r s t d i r e c t p u s h i n t o t h e p e r s o n a l c o n t e n t f r o m w h i c h t h e b e s t e a r l y p o e m s w o u l d s p r i n g . B u t i n t h e m e a n t i m e t h e s e l i n e s w e r e f e w a n d t h e s p a c e s l a r g e b e t w e e n . D u r i n g 1 9 5 0 C r e e l e y c o r r e s p o n d e d c l o s e l y w i t h R i c h a r d E m e r s o n who w i t h F r e d e r i c k E c k m a n w a s a b o u t t o r e v i v e G o l d e n  G o o s e , a m a g a z i n e r e c e p t i v e t o W i l l i a m s a n d h i s f o l l o w e r s . B y F a l l 1 9 5 0 , h o w e v e r , C r e e l e y h a d b e g u n t o d i f f e r w i t h E m e r s o n ' s t h e o r i e s o f p o e t r y e s p e c i a l l y a s t h e s e w e r e s e t o u t i n h i s p a m p h -l e t , P r i n c i p l e s o f V \/ j t a l i s t P o e t r y , a p p a r e n t l y p u b l i s h e d e a r l y i n 1 9 5 1 . C r e e l e y o b j e c t e d t o a c o n f u s i o n i n t h i s w o r k b e t w e e n a s e n s e o f f o r m a s e x t e r n a l c o n s t r u c t a n d a s e n s e o f f o r m a s a n 8 1 T h e m a n u s c r i p t s a r e a t S i m o n F r a s e r U n i v e r s i t y ( 1 0 9 4 ) , O l s o n p r a i s e d t h i s -poem i n 1 9 5 0 , p e r h a p s h a d made s u g g e s t i o n s f o r i t s r e v i s i o n . T h e p o e m s s e l e c t e d f o r T h e W h i p may b e r e a d i n t h e f i r s t s e c t i o n o f F o r L o v e : P o e m s 1 9 5 0 - 1 9 6 0 t,New Y o r k : S c r i b n e r ' s , C1962) ( 1 1 ) . 5 3 e x t e n s i o n o f c o n t e n t ( w h i c h E m e r s o n h a d d e r i v e d f r o m C r e e l e y ) . He a l s o d i s a g r e e d w i t h t h e d i s t i n c t i o n E m e r s o n made b e t w e e n t h e r h y t h m s o f p r o s e a n d t h e r h y t h m s o f p o e t r y : S p o k e n s p e e c h i s t h e n o r m , a g a i n s t w h i c h & f r o m w h i c h a l l o ther forms o f s p e e c h m o v e . . . . I d o n ' t a g r e e t h a t i t ' s n e c e s s a r y , e v e n t r u e , a s i t h a p p e n s , t o a s s e r t a d i f f e r e n c e , a t r o o t , b e t w e e n p r o s e r h y t h m s & t h o s e o f p o e t r y . W e l l , t a k e i t t h i s w a y . L i s t e n t o a man s p e a k , t u r n o n t h e r a d i o . A f e w m i n u t e s , & y o u ' l l f i n d t h e t h i n g s f l o w i n g , m o v i n g i n c l e a r p a t t e r n s o f e m p h a s i s , s e n s e & b r e a t h . W h a t p o e t r y d o e s , co n s c i o u - s l y , o r o t h e r w i s e , i s i n t e n s i f y t h i s p r o c e s s , f i n d & i s o l a t e , m a i n w a y s t o i n t e n s i f y , t o c o n c e n -t r a t i o n . . . . P o e t r y , t h e n , i s i n o n e s e n s e , t h i s s l o w i n g , & a t t h e s a m e t i m e , s p e e d i n g UP o f r e a c t i o n , t o t h e b a s e p a t t e r n s o f s p e e c h . F o r w h a t U SE S i t c a n f i n d . T h e l i n e . . . w e l l , I am o f a m i n d w i t h O l s o n , t h a t t h e l i n e i s t h e m a n ' s b r e a t h i n g , a t b e s t . T h e e a r i s t h e s y l l a b l e . I s t h a t p a r t o f i t , t h e b r e a t h i s w h a t f i n d s a r e a s o n a b l e c o n t i n u u m : p l a c e d a s l i n e . 8 2 T h r o u g h C r e e l e y ' s c o n n e c t i o n w i t h E m e r s o n , a g r o u p o f h i s p o e m s w e r e p u b l i s h e d i n t h e f i r s t i s s u e o f t h e new s e r i e s o f G o l d e m G o o s e i n J u l y 1 9 5 1 . T h e i s s u e h a d a p p a r e n t l y b e e n d e l a y e d s o m e t i m e a n d C r e e l e y ' s p o e m s d a t e d b a c k c o n s i d e r a b l y . \" T h e E p i c E x p a n d s \" ( 7 7 5 ) h a d b e e n w r i t t e n b y J u n e 1 6 , 1 9 5 0 ; \" L i t t l e t o n , N . H . \" ( 7 3 1 ) b y S e p t e m b e r 7 , 1 9 5 0 ; a n d \" G u i d e - . . . \" ( 7 7 9 ) b y 8 3 D e c e m b e r 3 0 , 1 9 5 0 . O r i g i n I I , a l s o o u t i n J u l y , c o n t a i n e d t h e m o r e r e c e n t p o e m s \" L o v e \" ( 7 7 6 ) , \" H e l a s \" ( 7 7 8 ) , \" L e F o u \" ( 4 7 3 ) , ' a n d a n o t h e r \" H a r t C r a n e \" ( 7 8 0 ) , a l l w r i t t e n i n s c a t t e r e d l i n e s , a l l f i n i s h e d b y F e b r u a r y 1 2 , 1 9 5 1 . \" L o v e \" i s p e r h a p s t h e f i r s t o f C r e e l e y ' s p o e m s t o s h a k e t h e r h e t o r i c a l a t t i t u d e c o m p l e t e l y . C O L e t t e r t o E m e r s o n F a l l 1 9 5 0 a t S i m o n F r a s e r U n i v e r s i t y ( 1 0 4 1 ) . O l s o n l i k e d \" G u i d o \" e n o u g h t o s e c o n d b r o a d s i d e i n B l a c k M o u n t a i n w i t h O l s o n ' s T h i s 1 9 5 2 b u t d i d n o t s u g g e s t i t s p u b l i c a t i o n C o l l e g e ' s s e r i e s ( w h i c h c o n t i n u e ) . a s t h e b e g a n 5 4 T h e s u b j e c t , v e r y l i k e t h a t o f some o f W i l l i a m s ' s h o r t p o e m s , i s c o n c r e t e a n d t h e f o r m a b s o l u t e l y f u n c t i o n a l : L o v e T h e t h i n g c o m e s o f i t s e l f ( L o o k up t o s e e t h e c a t & t h e s q u i r r e l , t h e o n e t o r n , a r e d t h i n g , & t h e o t h e r s o m e h o w i m m a c u l a t e 8 4 C o m p a r e i t t o \" S a n i n e t o L e d a \" q u o t e d a b o v e ( p . 2 0 ) , w h i c h a l s o h a s t o do w i t h \" l o v e \" , t o \u2022 s e e how f a r C r e e l e y h a d c o m e i n t h r e e y e a r s . \" L e F o u \" i s a l i g h t t r i b u t e t o O l s o n ' s i n f l u e n c e a n d w a s t h e o n l y p o e m o f t h i s g r o u p t o b e i n c l u d e d i n T h e W h i p . N o n e o f t h e p o e m s made u s e o f t h e p e r s o n a l v e i n t o u c h e d i n t h e f i r s t \" H a r t C r a n e \" . T h e C r e e l e y s h a d m o v e d i n May 1 9 5 1 t o F r a n c e a n d C r e e l e y w a s k e p t b u s y w r i t i n g a n o v e l a n d s e v e r a l s t o r i e s u n t i l t h e e n d o f O c t o b e r . He w r o t e f e w p o e m s d u r i n g t h i s p e r i o d . On A u g u s t 2 , 85 \" i n a m o m e n t o f a m o s t c e r t a i n i n s a n i t y \" , C r e e l e y m a i l e d t h i r t e e n p o e m s t o E m e r s o n \" f o r a p o s s i b l e p a m p h l e t o f p o e m s , i f y o u h a v e e y e s f o r a n y s u c h a t t h i s j u n c t u r e o f t i m e \" . T h e p o e m s w e r e a l l t h a t h e w i s h e d t o s a v e a t t h a t t i m e f r o m h i s p r e -v i o u s w o r k : - - S t i l l L i f e o r - - H a r t C r a n e ( 4 7 2 ) - - L e F o u - - L o v e ( 7 7 6 ) - - L i t t l e t o n , N . H . - - H e l a s - - H a r t C r a n e ( 7 8 0 ) - - D i v i s i o n s ( 7 9 0 ) - - T h e E p i c E x p a n d s - - G u i d o - - C r . n z o n e ( 7 3 2 ) - - L o v e ( 7 6 3 ) - - T h e S e a ( 7 E 7 ) . 8 4 T h e C h a r m ( 1 9 6 9 ) , p.. 18 ( 4 1 ) . 8 5 L e t t e r t o C o r m a n A u g u s t 3, 1 9 5 1 a t I n d i a n a U n i v e r s i t y ( 1 0 5 6 ) . 5 5 I n t h e a c c o m p a n y i n g l e t t e r h e m e n t i o n e d h a v i n g d i s c a r d e d \" a b t 10 8 6 t i m e s t h i s p r e s e n t n u m b e r i n t h e p a s t 2 y r s \" . On A u g u s t 3 , 1 9 5 1 C r e e l e y w r o t e \" A S o n g \" , h i s f i r s t g o o d p o e m . I n i t h e m a d e u s e f o r t h e f i r s t t i m e o f t h e s i g n i f i c a n t c o n t e n t o f h i s own l i f e , h i s t r o u b l e d r e l a t i o n s h i p w i t h A n n , s o m e t h i n g h e h a d b e e n a b l e t o d o a s e a r l y a s 1 9 4 8 i n h i s s t o r i e s . H e r e , e v e n t h o u g h t h e m i d s e c t i o n i s t h i c k a n d w o r d y , t h e c h a r a c -t e r i s t i c r h y t h m o f C r e e l e y ' s s p e e c h b r e a k s t h r o u g h . A p p a r e n t l y t h e l a s t s e v e n l i n e s o f t h e p o e m c a m e t o h i m i n o n e m e a s u r e a n d t h e n , w i t h t h i s r h y t h m i n h i s e a r , h e w r o t e t h e b e g i n n i n g o f a p i e c e . I t w a s p r o b a b l y t h e f i r s t p o e m t o b e s o g i v e n t o h i m : A S o n g f o r A n n I h a d w a n t e d a q u i e t t e s t a m e n t a n d I h a d w a n t e d , a m o n g o t h e r t h i n g s , a s o n g . T h a t w a s t o b e o f a l i k e m o n o t o n y . (A g r a c e S i m p l y . V e r y v e r y q u i e t . A m u r m u r o f s o m e l o s t t h r u s h , t h o u g h I h a v e n e v e r s e e n o n e . W h i c h w a s y o u t h e n . S i t t i n g a n d s o , a t p e a c e , s o v e r y m u c h now t h i s s a m e q u i e t . A s o n g . A n d o f y o u t h e s i g n n o w , s u r e l y , o f a g r o s s p e r p e t u i t y ( w h i c h i s n o t r e l u c t a n t , o r i f i t i s , i t i s no l o n g e r i m p o r t a n t . A S o n g . W h i c h o n e s i n g s , i f h e s i n g s i t , w i t h c a r e . ^ 7 L e t t e r a t S i m o n F r a s e r U n i v e r s i t y ( 1 0 4 1 ) . C r e e l e y h a d e a r l i e r s e n t a s i m i l a r p a c k a g e t o S w a l l o w P r e s s b u t h a d r e c e i v e d no a n s w e r b y t h i s t i m e . E m e r s o n a n d E c k m a n p u b l i s h e d \" a n t h o l o -g i e s \" o f p o e m s a s a s e p a r a t e s e c t i o n o f G o l d e n G o o s e a n d a l s o 5 6 T h e l a s t s e v e n l i n e s a r e i n f a c t t h e s o n g s o w a n t e d . C r e e l e y l a t e r s p o k e o f t h i s p o e m a s o n e i n w h i c h h e w a s \" t r y i n g t o m a k e u s e o f w h a t C h a r l e s O l s o n h a d . . . s h o w n me t h a t t h e l i n e i t s e l f c o u l d be a n a r t i c u l a t i o n o f t h e f e e l i n g s t h a t w e r e i n h e r e n t i n t h e s t a t e m e n t . . . t h e l i n e c o u l d b e a r e g i s t e r o f t h a t f l u x o r 8 8 i m p r e s s o f e m o t i o n \" . L a t e i n S e p t e m b e r 1 9 5 1 E m e r s o n r e p l i e d t h a t h e c o u l d p u b l i s h t h e b o o k l e t o f p o e m s i n 1 9 5 2 a n d C r e e l e y , v e r y p l e a s e d , s e n t o f f \" A S o n g \" a n d \" T h e L e t t e r \" t o r e p l a c e \/ \\ p 9 \" L o v e \" ( 7 7 6 ; a n d \" D i v i s i o n s \" . \" \" He s u g g e s t e d t h e t i t l e L e F o u a f t e r t h e p o e m w r i t t e n i n t r i b u t e t o O l s o n . On N o v e m b e r 3 0 C r e e l e y s i g n e d t h e c o n t r a c t a n d a s k e d E m e r s o n t o r e m o v e \" T h e S e a \" a n d \" T h e L e t t e r \" . T h o u g h h e \" f e l t t h e p i n c h \" i n t h e c o n t e n t s , h e w a n t e d o n l y t h e p o e m s t h a t made i t f o r h i m . B y F a l l 1 9 5 1 C r e e l e y ' s p r o s e t h e o r y w a s w e l l d e v e l o p e d a n d h a d b e e n i n s t r u m e n t a l i n d i r e c t i n g h i m t o w a r d s a f u l l e r u s e o f p e r s o n a l c o n t e n t i n h i s p o e t r y a s w e l l . T h e F a l l o f 1 9 5 1 a n d t h e W i n t e r o f 1 9 5 1 - 5 2 w e r e e v e n l e s s p r o d u c t i v e o f p o e m s t h a n t h e y e a r s p r e c e d i n g . C r e e l e y ' s s t o r y - w r i t i n g ( h e w a s s t i l l w r i t i n g p r o s e b u t n o n e w a s s u c c e s s f u l ) , ' d r i e d up i n N o v e m b e r a s w e l l . A f e w o l d p o e m s w e r e r e v i s e d a n d a f e w p o e m s w r i t t e n w h i c h w e r e n o t o p e r a t e d t h e G o l d e n G o o s e P r e s s w h i c h p u b l i s h e d c h a p b o o k s o f p o e t r y . F o r L o v e , p . 18 ( l l , 4 7 4 ) . ' T h e p o e m w a s f i r s t p u b l i s h e d i n O r i g i n I\\l ( W i n t e r 1 9 5 1 - 5 2 ) . T h e t w o d r a f t s w e r e s e n t i n a l e t t e r o f A u g u s t 3 , 1 9 5 1 t o C o r m a n a t I n d i a n a U n i v e r s i t y ( 1 0 5 6 ) . 8 8 T r a n s c r i b e d f r o m t h e t a p e made a t C r e e l e y ' s r e a d i n g May 3 , 1 9 6 5 a t W a s h i n g t o n U n i v e r s i t y ( 1 0 2 5 ) . 8 9 \" T h e L e t t e r \" w a s n e v e r p u b l i s h e d . T h e r e a r e m a n u s c r i p t s o f t h e p o e m a t S i m o n F r a s e r U n i v e r s i t y ( 1 0 9 5 ) a n d I n d i a n a U n i v e r s i t y ( 1 0 9 9 ) . 5 7 c o n s i d e r e d g o o d e n o u g h t o k e e p . \" F o r R a i n e r G e r h a r d t \" ( 4 7 6 ) , 9 0 p r o b a b l y w r i t t e n e a r l y i n 1 9 5 2 , s t i l l s e e m e d p r o m i s i n g w h e n C r e e l e y w r o t e t o C o r m a n M a r c h 2 9 , 1 9 5 2 : \"I d o f e e l d a m n g o o d , a s f a r a s w r i t i n g g o e s , I t h i n k s o m e t h i n g w i l l g e t o u t n o w . . . . On t h e p o e m f o r R \/ - - t a k e y o u r t i m e . . . I l i k e i t , - - i n f a c t , i t i s , f o r m e , t h e s a m e l i n e a s A S O N G , t h o s e t w o m a k i n g t h e m o s t y e t . . . . T h a t t h e r e i s t h a t TONE i n t h e m , - - i t c h e e r s me a l o t . O t h e r w i s e , t h e s e l i t t l e o n e s . . . . M a i n l y t h e i m m e d i a t e , how t o g e t i n t o t h a t \" ( 1 0 5 6 ) . T h e p o e m s s e n t w e r e \" E r o s \" ( B v l l ) , \" T h e P e n i t e n t \" ( 8 1 0 ) , a n d \" I t I s a t T i m e s \" ( 8 0 8 ) . T h e y w e r e p u b l i s h e d w i t h o n e w r i t t e n a b o u t t h e s a m e t i m e , \" T h e E u r o p e a n s \" ( 6 0 9 ) , i n F e r r i n i & O t h e r s , a n a n t h o l o g y o f a n o n y m o u s p o e m s b y C r e e l e y , C o r m a n , O l s o n 91 ' a n d F e r r i n i , w h i c h a p p e a r e d e a r l y i n 1 9 5 3 . D u r i n g t h e f i r s t t w o w e e k s o f A p r i l 1 9 5 2 , a p e r i o d o f g r e a t b i t t e r n e s s a g a i n s t A n n , C r e e l e y b r o k e h i s d r y s p e l l a n d w r o t e a b o u t f i f t e e n new p o e m s . S o m e h o w , p e r h a p s i n a n a t t e m p t t o u s e t h e p o e t r y a s a c a t h a r s i s , h e h a d m a n a g e d t o g e t a w a y f r o m r h e t o r i c a n d t o w r i t e q u i c k l y , c l e a n l y f r o m t h e s e l f . F o u r o f t h e p o e m s - - \" T h e I n n o c e n c e \" ( 4 8 0 ) , \" T h e C r i s i s \" ( 4 7 5 ) , \" T h e R h y m e \" 9 2 ( 4 7 9 ) , a n d \" T h e R i d d l e \" ( 4 7 7 ) - - w e r e s u p e r b . T h e m a n u s c r i p t s o f 9 0 C r e e l e y f o u n d i t l a c k i n g b y May 1 3 , 1 9 5 2 . T h e p o e m w a s p u b l i s h e d i n O r i g i n V I ( S u m m e r 1 9 5 2 ) . 9 1 V i n c e n t F e r r i n i c o m p i l e d i t , C r e e l e y a c t e d a s g o - b e t w e e n i n E u r o p e , a n d 3 0 0 c o p i e s w e r e p r i n t e d i n K a r l s r u h e , G e r m a n y t h r o u g h R a i n e r G e r h a r d t . C r e e l e y ' s p o e m s w e r e a m o n g t h o s e s e l e c t e d o u t o f T h e W h i p . A l s o w r i t t e n i n t h e b a t c h w e r e \" S o m e t h i n g f o r E a s t e r \" ( 7 8 9 ) , w r i t t e n d i r e c t l y a s w a s \" T h e C r i s i s \" o u t o f t h e b i t t e r c o n t e n t o f t h e m a r r i a g e ; \" T h e C a n t o s \" ( 7 6 8 ) , a \" p u s h t e c h n i c a l l y \" b u t o t h e r w i s e o f f ; a n d f o u r u n p u b l i s h e d p o e m s w h i c h d i d n ' t m a k e i t . T h e t i t l e s o f t h e o t h e r s h a v e b e e n l o s t b u t t h e y w e r e p r o b a b l y a m o n g t h e new p o e m s l i s t e d May 2 9 f o r L e F o u . 5 8 \" T h e R h y m e \" g i v e u s a n i n s i g h t i n t o t h e w r i t i n g o f t h e p o e m s . \" T h e R h y m e \" a p p e a r s t o h a v e b e e n w r i t t e n s t r a i g h t o f f i n t h r e e s t a n z a s , b u t i n t h e s e c o n d s t a n z a t h e r h y t h m o f t h e p o e m i s o b s c u r e d b y a n a w k w a r d w o r d i n e s s : T h e r e i s t h e s i g n o f t h e f l o w e r - -t o . b o r r o w t h e t h e m e . B u t o t h e r w i s e w h a t o r w h e r e t o r e c o v e r e v e n a p a r t o f w h a t i s n o t l o v e t o o s i m p l y . I s a w h e r a n d b e h i n d h e r t h e r e w e r e f l o w e r s , a n d b e h i n d t h e m n o t h i n g . I n r e v i s i n g , t h e s t a n z a i s f i r s t c u t d o w n . . . B u t w h a t o r w h e r e t o r e c o v e r w h a t i s n o t l o v e t o o s i m p l y . . . . t h e n r e l i n e d s o t h a t t h e f i r s t l i n e r u n s m o r e q u i c k l y t h a n t h e l a s t t w o a n d t h e r h y t h m i s c l e a r l y r e v e a l e d : T h e r e i s t h e s i g n o f t h e f l o w e r - -t o b o r r o w t h e t h e m e . B u t w h a t o r w h e r e t o r e c o v e r w h a t i s n o t l o v e t o o s i m p l y . I s aw h e r a n d b e h i n d h e r t h e r e w e r e f l o w e r s , a n d b e h i n d t h e m n o t h i n g . 9 3 C r e e l e y t o l d C o r m a n t h a t t h i s p o e m i l l u s t r a t e d P o u n d ' s l a w o f d i s c o u r s e ( D i c h t e n : C o n d e n s a r e ) : \" S a y w h a t y o u h a v e t o s a y a n d t h e n s h u t Op\" ( 1 0 5 6 ) . T h e f i n a l v e r s i o n d o e s n o t h a v e a s i n g l e 9 3 F r o m t h e m a n u s c r i p t s a t S t a t e U n i v e r s i t y o f New Y o r k a t B u f f a l o ( 1 0 8 7 ) . 5 9 i n a c t i v e w o r d . F o r m a n d c o n t e n t w e r e o r g a n i c a l l y c o n c e i v e d a n d d e l i v e r e d . T h e f u n c t i o n o f r e v i s i o n i s t o r e v e a l t h e r h y t h m t h a t i s t h e r e i n t h e d r a f t , t h o u g h i m p e r f e c t l y t r a n s c r i b e d b y t h e w o r d s , n o t t o r e c a s t t h e p o e m . I n \" T h e I n n o c e n c e \" , \" T h e R h y m e \" , \" T h e C r i s i s \" , a n d \" T h e R i d d l e \" , t h e d i s t r a c t i o n ( i n t h e e a r l i e r p o e m s ) o f h a v i n g t h e l i n e s s c a t t e r e d a l l o v e r t h e p a g e i s r e d u c e d , a n d t h e l i n e s c l e a r l y r e c o r d t h e s t r u c t u r a l r h y t h m o f \u2022 i 9 4 t h e p o e m s . C r e e l e y d i s c u s s e d t h e new b a t c h o f p o e m s i n a l o n g l e t t e r o f may 1 3 , 1 9 5 2 t o C o r m a n : F i n a l l y , I ' d l i k e t o be a b l e t o s a y a n y t h i n g , e i t h e r w i t h a p o e m , o r p r o s e , o r w h a t e v e r . . . . M u c h o f t h e w o r k , t h e n , o f t h i s l a s t g r o u p , i s o f t h a t a t t e m p t ; I w r o t e , n o t t o o q u i c k l y , b u t a t l e a s t o n w h a t e v e r t h i n g w a s t h e n t o h a n d . . . . I t h i n k t h e a t t e n t i o n s a r e t h e o n l y l e a d e r s , w h a t , s a y , c a n b e f a s t e n e d o n . I am a l i t t l e s i c k o f \" g r e a t t h o u g h t s \" . . . . W e l l , we g e t now t o t h o s e t w o I l i k e m o s t , o f t h i s b u n c h ( b u t t o a d d , p o s s i b l y , R h y m e \" ^ ) t i . e . , T h e I n n o c e n c e a n d T h e C r i s i s . I t ' s d a m n h a r d t o b a l a n c e a n a c t u a l h u m o r , a s I w a s t h e n g e t t i n g i t , a n d s o m e t h i n g u n d e r t h a t , w h i c h i s n o t a t a l l s o . I m e a n , i n s h o r t , n o t a k i n d o f h u m o r t h a t w i l l , b y v i r t u e o f i t s g e n e r o u s l a u g h t e r , s l i p i n t h e p h i l o s o p h i c k n i f e s a n s p a i n , e t c . I d i d n ' t w a n t t h a t ; I w a s a n g r y , I w a n t e d t h a t . . . . o n e w o u l d h a v e t o b e m a r r i e d t o d i g t h i s o n e u l t i m a t e l y . . . . T h e I n n o c e n c e m a k e s me v e r y , v e r y h a p p y . I ' v e n e v e r w r i t t e n o n e l i k e i t b e f o r e . I do f e e l i t a n a c c o m p l i s h m e n t , a n d I h o n e s t l y d o n o t f e e l v e r y m u c h t h a t I w r i t e i s t h a t . I w a n t e d t o s a y s o m e -t h i n g q u i e t l y ; r e a l l y , i n t h a t w a y , i t h a r k s b a c k t o A S o n g , i t ' i s p r e c i s e l y t h a t s t a t e m e n t t h e n w a n t e d , a n d t h o u g h s u g g e s t e d , i n t h e l a s t l i n e s , o f c o u r s e n o t a c t u a l l y t h e i s s u e t h e n t o h a n d . 94 C r e e l e y c o n f i r m e d h i s u s e o f t h e p a g e t o s c o r e t h e l a n g u a g e o f t h e p o e m , \" i n t h e s e n s e t h a t [ t h e w o r d s ' ] s p a t i a l p o s i t i o n s t h e r e w i l l a l l o w a r e a d e r t o r e a d t h e m , w i t h h i s own v o i c e , t o t h a t e n d t h e p o e t i s a f t e r - - i . e . , t h e p o e m i n i t s f u l l i m p a c t o f s p e e c h \" , i n a l e t t e r o f J u l y 1 5 , 1 9 5 2 t o R a y m o n d S o u s t e r , t h e e d i t o r o f C o n t a c t . T h e l e t t e r w a s p u b l i s h e d i n C o n t a c t , I I , i i ( F e b r u a r y - A p r i l 1 9 5 3 ) , 1 4 - 1 6 ( 9 2 5 ) . A t t h e t i m e o f w r i t i n g R h y m e \" , l i k e t h e s t o r y \" T h e i t r e c o r d e d a n u g l y p a r t o f t h e l e t t e r C r e e l e y f e l t t h a t \" T h e G r a c e \" ( 4 6 4 ) , w a s a n u g l y p o e m b e c a u s e h i s e x p e r i e n c e . 6 0 Two t h i n g s : c o n c i s i o n , o f s t a t e m e n t ; q u i e t , o f s t a t e m e n t . I d o n ' t g e t a t e i t h e r v e r y s i m p l y , I d o n ' t s e e how o n e c a n . I w a n t e d t o p u t i t a l l i n , a \" s t a t e m e n t \" ( b u t h a r d l y a n \" a d d r e s s \" e t c . ) , a s t a t e m e n t e v e n , o r j u s t t o , m y s e l f , t h a t w o u l d s a y my own s e n s e o f t h a t c o n f r o n t i n g m e . . . . T h e r e i t i s , f l a t l y , - - s k y \/ g r o u n d . W e , - - o n i t . I c o u l d n ' t c o n d e n s e b e y o n d t h a t , I c o u l d n ' t s a y i t m o r e c o m p l e t e l y . W h e r e I a m , - - w h e r e , m o r e , I t h i n k we a r e . . . . A n y h o w , I l i k e i t , I l i k e t h i s o n e v e r y , v e r y m u c h . I t i s m y s e l f a s a c t u a l l y a s I ' v e e v e r b e e n a b l e t o s a y i t , i t i s m y s e l f t a l k i n g , o r s p e a k i n g , i n my o w n t o n g u e . Y o u d o n ' t d o t h a t v e r y o f t e n i n a p o e m , no o n e d o e s . . . . T h e t w o w a y s l i f e i s , - - e i t h e r \" l e a v e s \" , o r \" r o c k \" , a n d w h a t i s , o f e i t h e r k i n d , a l s o i n i t s e l f a l i v i n g . N o t a t a l l m e t a p h y s i c a l . One a c t s a n y h o w , o n e t r i e s t o , a n d i f d a m n d a m n l u c k y s e e s t h a t s o m e t h i n g i s k e p t , t h a t o n e c a n k e e p s o m e t h i n g . ( 1 0 5 6 ) A t t h e e n d o f May 1 9 5 2 , E m e r s o n a d v i s e d C r e e l e y t h a t he w a s c o m m i t t e d t o a 2 8 - p a g e l e n g t h f o r L e F o u a n d w o u l d n e e d m o r e p o e m s t o f i l l t h e s p a c e . On May 2 9 C r e e l e y s e n t E m e r s o n t h e f i n a l l i s t o f t i t l e s : - - S t i l l L i f e o r - - H a r t C r a n e ( 4 7 2 ) \u2014 H e l a s \u2014 L e F o u - - L i t t l e t o n , N . H . - - H a r t C r a n e ( 7 8 0 ) - - C a n z o n e - - T h e E p i c E x p a n d s - - G u i d o - - A S o n g - - L o v e ( 7 8 3 ) - - T h e C r i s i s - - F o r R a i n e r G e r h a r d t - - T h e R i d d l e - - T h e S u r f ( 7 8 5 ) - - T h e D r u m s ( 7 8 6 ) - - T h e R i t e s ( 4 7 8 ) - - T h e S e a - - T h e C a n t o s - - T h e B a l l Game ( 4 8 1 ) \u2014 T h e R h y m e - - T h e I n n o c e n c e \u2014 S o m e t h i n g f o r E a s t e r . He p o i n t e d o u t t h a t t h e o r d e r w a s i m p o r t a n t - - \" 1 1 ' s t h e o n l y o n e t h a t s e e m s t o l e t t h e p o e m s k e e p t o g e t h e r w i t h o u t t o o damn m u c h f i g h t i n g \" - - a n d t h a t t h e p o e m s 96 w e r e t h e b e s t he h a d . T h e d e d i c a t i o n w a s t o b e \" F o r H e l e n \" , h i s s i s t e r . C r e e l e y w a s n o t h a p p y t h a t h i s l a t e s t p o e m s h a d t o b e c o m b i n e d w i t h t h e e a r l i e r o n e s . He h a d o r i g i n a l l y w a n t e d t h e b o o k t o e n d w i t h \" A S o n g \" , t h e c u l m i n a t i o n o f h i s e a r l y s t y l e . L e t t e r a t S i m o n F r a s e r U n i v e r s i t y ( 1 0 4 1 ) . T h e m a n u s c r i p t s o f t h e p o e m s , s e n t s e v e r a l l y i n l e t t e r s t o E m e r s o n , a r e a t S i m o n F r a s e r U n i v e r s i t y a s w e l l ( 1 0 9 5 ) . 61 T h e p o e m s w e r e p u b l i s h e d , w i t h a f e w c h a n g e s i n o r d e r , a s L e F o u ( l ) b y t h e G o l d e n G o o s e P r e s s , C o l u m b u s , O h i o i n O c t o b e r 1 9 5 2 . N i n e o f t h e p o e m s w e r e p u b l i s h e d s i m u l t a n e o u s l y a s \" A n t h o l o g y : L e F o u \" i n G o l d e n G o o s e , S e r i e s 4 , N o . 5 ( 5 2 ) . T h e f r o n t i s p i e c e d r a w i n g o f C r e e l e y i n t h e b o o k w a s b y A s h l e y B r y a n , a y o u n g p a i n t e r who l i v e d n e x t t o t h e C r e e l e y s i n F r a n c e f o r a t i m e . By m i d - N o v e m b e r C r e e l e y h a d r e c e i v e d c o p i e s a n d w a s i m m e n s e l y p l e a s e d w i t h t h i s h i s f i r s t b o o k . C o r m a n p r a i s e d i t a s w e l l , a n d i n f a c t g a v e t h e b o o k t h e o n l y \" r e v i e w \" i t w o u l d h a v e , i n h i s a r t i c l e \" T h e V o i c e a s t h e I n s t r u m e n t o f V e r s e \" i n O r i g i n I X ( S p r i n g 1 9 5 3 ) w h i c h b e g a n , \" T o d a y , p e r h a p s t h e m o s t e x p r e s s i v e u s e o f t h e o p e n l i n e i s f o u n d i n t h e v e r s e o f R o b e r t C r e e l e y \" . He q u o t e d \" T h e C r i s i s \" i n f u l l , c o m m e n t i n g s u c c i n c t l y t h a t \" m u c h o f t h e b e a u t y o f t h i s s h o r t p o e m o c c u r s t h r o u g h t h e s t r i c t u s a g e o f l a n g u a g e a n d a c l e a r r e g a r d o f t h e p o e t f o r t h e e x a c t p r o g r e s s i o n s o f h i s v o i c e \" ( 2 5 5 ) . C r e e l e y l i k e d C o r m a n ' s w h o l e e s s a y a n d t h o u g h t t h a t t h e c o m m e n t s o n h i s p o e m w e r e t h e b e s t he h a d y e t r e c e i v e d . V I I n O c t o b e r 1 9 5 2 , t h e m o n t h t h a t C r e e l e y ' s f i r s t b o o k w a s p u b l i s h e d , t h e f a m i l y m o v e d t o t h e S p a n i s h i s l a n d o f M a l l o r c a . A f e w m o n t h s e a r l i e r , C r e e l e y h a d w r i t t e n t o a y o u n g E n g l i s h w r i t e r , M a r t i n S e y m o u r - S m i t h , o n l y t o d i s c o v e r t h a t he w a s t u t o r i n g R o b e r t G r a v e s ' s o n W i l l i a m o n M a l l o r c a . W i t h p r i n t i n g c h e a p o n t h e i s l a n d S e y m o u r - S m i t h w a s a b o u t t o s e t up a p r e s s t o i s s u e p a m p h l e t s o f A m e r i c a n a n d B r i t i s h a u t h o r s a n d a s k e d C r e e l e y 62 t o h e l p w i t h t h e A m e r i c a n e n d . T h e C r e e l e y s v i s i t e d t h e i s l a n d a n d f i n d i n g i t m o r e p l e a s a n t t h a n F r a n c e , s c o u t e d a r o u n d d u r i n g O c t o b e r a n d m o v e d i n N o v e m b e r t o B a n y a l b u f a r , a s m a l l t o w n o n t h e m o u n t a i n o u s n o r t h - w e s t c o a s t . T h o u g h c u t o f f f r o m t h e t o w n ' s p e o p l e b y v i r t u e o f t h e i r u n i q u e l a n g u a g e a n d c u s t o m s a n d t h r o w n b a c k o n h i s now t e n u o u s r e l a t i o n s h i p w i t h A n n , C r e e l e y f o u n d i t a b e a u t i f u l s e t t i n g a n d o n e c o n d u c i v e t o w r i t i n g . H i s f r i e n d s h i p w i t h S e y m o u r - S m i t h b e c a m e m o r e s t r a i n e d a s t h e f i r s t R o e b u c k P r e s s p a m p h l e t w e n t t o p r e s s i n N o v e m b e r , a n d b e c o m e s t h e s t o r y o f h i s own D i v e r s P r e s s , t o b e t a k e n up l a t e r . T h e C r e e l e y s ' l i f e i n B a n y a l b u f a r f r o m N o v e m b e r 1 9 5 2 t o M a r c h 1 9 5 4 i s t h e s u b j e c t o f C r e e l e y ' s o n l y . n o v e l T h e I s l a n d , i n w h i c h M a r t i n a n d J a n e t S e y m o u r - S m i t h a p p e a r a s A r t i e a n d M a r g e - - a s u b - t a l e t h a t C r e e l e y f o u n d h a r d t o k e e p d o w n . L i k e C r e e l e y ' s s t o r i e s t h e n o v e l i s p r o s e n a r r a t i v e n o t f i c t i o n ( p l o t ) t h o u g h u n l i k e t h e s t o r i e s t h e r e i s a d i s t a n c i n g \u2014 i t w a s w r i t t e n f r o m F a l l 1 9 6 0 t o F e b r u a r y 1 9 6 3 \u2014 f r o m t h e e v e n t s n a r r a t e d . T h e i s l a n d i s a c t u a l l y r e l i v e d a u t o b i o g r a p h y a n d t h e f a c t s w e r e s o m e t i m e s e x t e n d e d i n t o f i c t i o n o r f a n t a s y i n C r e e l e y ' s r e l i v i n g o f t h e m . T h i s p r o c e s s t o o k p l a c e n a t u r a l l y i n t h e t e l l i n g o n c e C r e e l e y g a v e e a c h c h a p t e r o f t h e s t o r y ( e a c h w r i t t e n o n a s i n g l e d a y ) i t s h e a d a n d f o l l o w e d i t s d i g r e s s i o n . I t i s t h u s J o h n ' s s i d e ( o r d i s t o r t i o n ) o f t h e s t o r y , i n s p i t e o f t h e u s e o f t h e t h i r d p e r s o n , a n d b e c o m e s m o r e s o a s t h e n a r r a t i o n p r o g r e s s e s . I n h i s d e s i r e t o g e t t h e s t o r y r i g h t ( i n f a i r n e s s t o a l l c o n c e r n e d ) , C r e e l e y m a k e s J o h n a d u l l e d a l t e r e g o \u2014 a s i f h e w e r e t r y i n g t o b e T i r e s i a s t h r o u g h h i s own e y e s . J o h n i s t h e v i c t i m o f h i s own l a c k o f s u c c e s s a s a w r i t e r , h i s d e p e n d e n c e o n h i s w i f e J o a n f i n a n c i a l l y 6 3 a n d o t h e r w i s e a n d , m o r e d i r e c t l y , a v i c t i m o f A r t i e who e x p l o i t s J o h n by e x a g g e r a t i n g h i s own d i f f i c u l t i e s w h i c h J o h n i s t o o s y m p a t h e t i c t o d i s c r e d i t . T h e n o v e l d e t a i l s J o a n ' s p r o g r e s s i v e d i s t a n c i n g f r o m J o h n t h r o u g h t h e i r s e x u a l a n d o t h e r d i f f e r e n c e s , h e r i l l n e s s a n d o p e r a t i o n w h i c h e x p o s e h i s s e x u a l g u i l t , a n d h i s p e r s i s t a n t f o r c i n g o f t h e d e a t h o f t h e m a r r i a g e b y w a y o f h e r p e r s o n . F i n a l l y , J o a n i s t h e v i c t i m o f J o h n ' s d i s t o r t e d v i e w o f t h i n g s . H i s a t t e m p t t o g e t t o t h e s o u r c e o f h i s t r o u b l e i s a b o u t a s e f f e c t i v e a s H a m l e t ' s : h e l o s e s a l l i n t h e f i n d i n g . I n t h e t e l l i n g , C r e e l e y b r i n g s i n t o p l a y a r e m a r k a b l e s e n s e o f h u m o r a n d c o m p a s s i o n w h i c h , t h o u g h e x a g g e r a t i n g t h e p a t h o s o f J o h n ' s o b s e s s i o n , i n c r e a s e s o u r e n j o y m e n t o f t h e n a r r a t i o n . I t i s , a b o v e a l l , a w e l l - t o l d s t o r y . I n [Ylay 1 9 5 3 , b e t w e e n A n n ' s a t t a c k a n d h e r o p e r a t i o n , t h e C r e e l e y s w e r e v i s i t e d i n B a n y a l b u f a r b y t h e a r t i s t R e n e L a u b i e s a n d b y t h e B r i t i s h w r i t e r a n d e d i t o r R o b e r t C o o p e r , who a p p e a r i n T h e I s l a n d a s L e l y a n d W i l l i s r e s p e c t i v e l y . L a u b i e s q u i c k l y b e c a m e a c l o s e f r i e n d a n d s e e m e d u n d e n i a b l y a t t r a c t i v e t o A n n w h o s e h i d d e n f e e l i n g s w e r e d i s c o v e r e d a c c i d e n t a l l y b y C r e e l e y i n 9 7 t h e p r o c e s s o f w r i t i n g t h e f a n t a s y \" T h e B o a t \" . T h i s s t o r y , w h i c h i s o p e n l y d e a l t w i t h i n T h e I s l a n d , w a s w r i t t e n J u n e 2 , 1 9 5 3 o u t o f t h e a c t u a l c o n f u s i o n o f t h a t t i m e . I t w a s t h e f i r s t s t o r y w r i t t e n s i n c e t h e b a t c h o f t h r e e - - \" . T h e P a r t y \" , \" T h e G r a c e \" , a n d \" J a r d o u \" - - a y e a r a n d a h a l f e a r l i e r . L i k e t h o s e s t o r i e s , \" T h e B o a t \" m a k e s u s e o f t h e e x t e n s i v e p r o s e t h e o r y C r e e l e y h a d d e v e l o p e d b y F a l l 1 9 5 1 . T h e n a r r a t o r i s d i s p e n s e d w i t h a n d a 9 7 P u b l i s h e d i n T h e K e n y o n R e v i e w , X V , i v ( A u t u m n 1 9 5 3 ) ( 4 6 6 ) . 64 m o r e o b j e c t i v e h a n d l i n g r e s u l t s . A s e c o n d s t o r y , \" T h e G o l d D i g g e r s \" ( 4 6 7 ) , w a s w r i t t e n A u g u s t 1 9 , 1 9 5 3 d u r i n g a v i s i t b y J o n a t h a n W i l l i a m s ( w h o w a s w i t h t h e U . S . A r m y i n G e r m a n y a t t h e t i m e ) a n d h a d a p p a r e n t l y b e e n s u g g e s t e d b y a c o n v e r s a t i o n w i t h h i m . I t i s C r e e l e y ' s o n l y \" f i c t i o n a l \" s t o r y . \" A D e a t h \" ( 4 5 8 ) w a s w r i t t e n S e p t e m b e r 2 7 a n d b e c o m e s p a r t o f T h e I s l a n d i n a d i f f e r e n t f o r m . I t i s b a s e d o n a n i n c i d e n t w h i c h t o o k p l a c e i n t h e t o w n o f B a n y a l b u f a r w h i l e t h e C r e e l e y s l i v e d t h e r e . A l l t h r e e s t o r i e s w e r e w r i t t e n i n a \" q u i c k e r , m o r e f l e x i b l e s t y l e . N o t n e c e s s a r i l y m o r e b a r e . . . b u t h a r d e r , o r l e a n e r , a n d a b l e t o 9 8 s h a p e r o u n d t h e a c t i o n , a t q u i c k e r s p e e d \" . T h e t h r e e new s t o r i e s w e r e a d d e d t o t h e s m a l l c o l l e c t i o n o f C r e e l e y ' s p r e v i o u s s t o r i e s w h i c h G r o v e P r e s s h a d c o n s i d e r e d a n d t u r n e d d o w n o v e r t h e p a s t w i n t e r . C o r m a n h a d c o n s i d e r e d a new s e l e c t i o n o f C r e e l e y ' s s t o r i e s f o r P r i g i n X I I b u t t h i s d i d n o t w o r k o u t a n d J o n a t h a n W i l l i a m s , a b o u t t o p u b l i s h a b o o k o f C r e e l e y ' s p o e m s , w a s n o t i n t e r e s t e d i n p u b l i s h i n g t h e m i n h i s J a r g o n s e r i e s . A l e x a n d e r T r o c c h i , o n e o f t h e e d i t o r s o f M e r l i n , v i s i t e d C r e e l e y i n O c t o b e r 1 9 5 3 w i t h t h e s u g g e s t i o n t h a t t h e s t o r i e s m i g h t m a k e a b o o k i n t h e C o l l e c t i o n M e r l i n s e r i e s , p u b l i s h e d b y t h e O l y m p i a P r e s s i n P a r i s . C r e e l e y ' s r e a c t i o n t o t h i s g e n e r o u s o f f e r i s e x a g g e r a t e d a m u s i n g l y i n T h e I s 1 a n d i i n w h i c h T r o c c h i a p p e a r s a s M a n u s . T h e b o o k w a s c o n s i d e r e d a n d M e r l i n w a s t o p u b l i s h s ome o f C r e e l e y ' s p o e m s a n d \" T h e G o l d D i g g e r s \" , b u t p l a n s f o r t h e b o o k f e l l t h r o u g h a n d C r e e l e y 9 8 L e t t e r f r o m C r e e l e y t o C o r m a n O c t o b e r 3 0 , 1 9 5 1 ( 1 0 5 6 ) . 6 5 r e t r a c t e d t h e w o r k s u b m i t t e d t o t h e m a g a z i n e , w a n t i n g t o k e e p t h e t i t l e s t o r y c l e a r . T h e s t o r i e s w e r e f i n a l l y p u b l i s h e d by C r e e l e y ' s o w n D i v e r s P r e s s . i n M a r c h 1 9 5 4 a s T h e G o l d D i g g e r s ( 4 ) . He h a d g i v e n up h o p e o f a n y o n e e l s e d o i n g i t . T h e p r e f a c e , w r i t t e n D e c e m b e r 1 4 , 1 9 5 3 , s u m s up h i s t h e o r y o f f o r m i n p r o s e n a r r a t i v e : T h e s t o r y h a s n o t i m e f i n a l l y . O r i t h a s n ' t h e r e . I t s s h a p e , i f f o r m c a n b e s o t h o u g h t o f , i s a s p h e r e , a n e g g o f o b d u r a t e k i n d . T h e o n l y p o s s i b l e r e a s o n f o r i t s e x i s t e n c e i s t h a t i t h a s , i n i t s e l f , t h e f a c t o f r e a l i t y a n d t h e p r e s s u r e . T h e r e , i n s h o r t , i s i t s f o r m - - n o m a t t e r how r a n d o m a n d b r o k e n t h a t w i l l s e e m . T h e o l d a s s u m p t i o n s o f b e g i n n i n g a n d e n d \u2014 t h o s e v e r y n e a t a s s e r t i o n s \u2014 h a v e f a l l e n way c o m p l e t e l y i n a p l a c e w h e r e t h e o n l y a c t u a l i t y i s l i f e , t h e o n l y e n d ( n e v e r r e a l i s e d ) d e a t h , a n d t h e o n l y v a l u e , w h a t l o v e o n e c a n m a n a g e . I t i s i m p o s s i b l e t o t h i n k o t h e r w i s e , o r a t l e a s t I h a v e f o u n d i t s o . I b e g i n w h e r e I c a n , a n d e n d w h e n I s e e t h e w h o l e t h i n g r e t u r n i n g . P e r h a p s t h a t i s an o b s e s s i o n . T h e s e p e o p l e , a n d w h a t h a p p e n s t o t h e m h e r e , h a v e n e v e r b e e n c o m p l e t e l y my d e c i s i o n \u2014 b e c a u s e i f y o u o n c e s a y s o m e t h i n g , i t w i l l l e a d y o u t o s a y m o r e t h a n y o u h a d m e a n t t o . \" 9 T h e s t o r i e s c o l l e c t e d w e r e : - - M r B l u e \u2014 A D e a t h \u2014 3 F a t e T a l e s \u2014 T h e P a r t y \u2014 T h e L o v e r \u2014 I n t h e S ummer \u2014 T h e S e a n c e \u2014 T h e G r a c e - - J a r d o u \u2014 T h e B o a t \u2014 T h e G o l d D i g g e r s . T h e t w o m o s t r e c e n t , \" A D e a t h \" a n d \" T h e G o l d D i g g e r s \" , h a d n o t b e e n p r e v i o u s l y p u b l i s h e d . I n s p i t e o f t h e p o r t r a y a l o f J o h n a s a n u n s u c c e s s f u l w r i t e r i n T h e I s l a n d t h e B a n y a l b u f a r p e r i o d w a s m a r k e d by t h e b e g i n n i n g s o f s u c c e s s f o r C r e e l e y . H i s f i r s t f o u r b o o k s a p p e a r e d b e t w e e n O c t o b e r 1 9 5 2 a n d M a r c h 1 9 5 4 w h e n h e l e f t t h e i s l a n d t o t e a c h a t B l a c k M o u n t a i n C o l l e g e , N o r t h C a r o l i n a , o n C h a r l e s O l s o n ' s i n v i t a t i o n . A f t e r L e F o u t h e y w e r e T h e K i n d O f A c t O f ( a b o o k o f p o e m s p u b l i s h e d J u l y 1 9 5 3 by D i v e r s P r e s s ) , T h e I m m o r a l 9 9 T h e G o l d D i g g e r s ( N e w Y o r k : S c r i b n e r ' s , C 1 9 6 5 ) , p p . 7 - 8 ( 1 9 , 9 1 5 7 ^ 66 P r o p o s i t i o n ( p o e m s p u b l i s h e d b y J o n a t h a n W i l l i a m s ' J a r g o n P r e s s i n A u t u m n 1 9 5 3 ) , a n d T h e G o l d D i g g e r s . H i s e a r l i e r p u b l i c a t i o n i n O r i g i n I I , New D i r e c t i o n s X I I I , G o l d e n G o o s e S e r i e s 4 N o . 5 , v a r i o u s a p p e a r a n c e s i n o t h e r m a g a z i n e s , a n d t h e g r a d u a l d i s t r i -b u t i o n o f t h e s e f o u r b o o k s b e g a n t o b r i n g C r e e l e y ' s w o r k t o t h e a t t e n t i o n o f f e l l o w w r i t e r s , i f n o t y e t c r i t i c s , f i r s t i n t h e c i r c l e o f c o n t r i b u t o r s t o G o l d e n G o o s e , O r i g i n , a n d t h e f e w o t h e r m a g a z i n e s p u b l i s h i n g new w r i t i n g . D u r i n g t h i s p e r i o d C r e e l e y c o r r e s p o n d e d s e v e r a l t i m e s a w e e k w i t h C o r m a n a n d O l s o n , a n d r e g u l a r l y w i t h W i l l i a m s , P o u n d , B l a c k b u r n , L e v e r t o v , F e r r i n i , T r o c c h i , R a y m o n d S o u s t e r , I r v i n g L a y t o n , a n d a n u m b e r o f o t h e r s . A s w e l l , h e w a s c o n t i n u a l l y d a s h i n g o f f l e t t e r s t o new c o n t a c t s , p r i m a r i l y w r i t e r s w h o s e w o r k h e a d m i r e d . He h a s s a i d t h a t h e w r o t e l e t t e r s up t o e i g h t h o u r s a d a y w h i l e l i v i n g o n M a l l o r c a . D u r i n g t h e B a n y a l b u f a r p e r i o d C r e e l e y ' s a c t i v e s u p p o r t o f O r i g i n a n d o t h e r new m a g a z i n e s c o n t i n u e d , S i n - c e ' e a r l y 1 9 5 0 w h e n h e a t t e m p t e d t o s t a r t a m a g a z i n e i n L i t t l e t o n , New H a m p s h i r e , C r e e l e y ' s d e s p a i r a t t h e m a g a z i n e a n d b o o k p u b l i s h i n g s y s t e m h a d i n v o l v e d h i m i n a n o f t e n f u l l - t i m e s t r u g g l e t o e s t a b l i s h a n a l t e r n a t e s y s t e m r e s p o n s i v e t o t h e b e s t e x p e r i m e n t a l new w r i t i n g . He w a s j o i n e d i n t h i s s t r u g g l e b y C o r m a n , O l s o n , a n d l a t e r o t h e r s . C r e e l e y w a s , i n f a c t , a n i n f o r m a l a g e n t f o r O r i g i n f r o m i t s b e g i n n i n g a n d a s A m e r i c a n E d i t o r w a s r e s p o n s i b l e f o r t h e a p p e a r -a n c e o f W i l l i a m s a n d t h e new A m e r i c a n w r i t i n g i n t h e G e r m a n m a g a z i n e F r a q m e n t e ( 1 9 5 1 - 5 2 ) . A s w e l l h e w a s a s i g n i f i c a n t c o n t r i b u t o r t o G o l d e n G o o s e , New D i r e c t i o n s , G o a d , W o u , New  M e x i c o Q u a r t e r l y , C o n t a c t , C I U \/ n , a n d o t h e r l i t t l e m a g a z i n e s . F r o m 1 9 5 0 t o 1 9 5 7 h i s o w n c o n c e r n s , l e t t e r s , a n d c r i t i c a l p r o s e 67 were l a r g e l y caught up i n the h i s t o r y of the l i t t l e magazines which opened to new w r i t i n g i n the e a r l y f i f t i e s and h i s p o e t r y and f i c t i o n was w r i t t e n with t h i s audience i n m i n d . ^ C r e e l e y was one of the m a j o r . i m p u l s e s of t h i s movement, though he d i d not a c t u a l l y e d i t a magazine u n t i l B lack Mountain Review began S p r i n g 1954. His own D i v e r s Press had begun to p u b l i s h works by the best new w r i t e r s a year e a r l i e r . In 1950 the o p p o r t u n i t y f o r a new w r i t e r i n the Pound and W i l l i a m s underground to p u b l i s h through e x i s t i n g magazines or p r e s s e s was s e v e r e l y l i m i t e d . From 1950 to 1952 the p u b l i s h i n g scene opened up c o n s i d e r a b l y wi th O r i g i n encourag ing and pub-l i s h i n g new w r i t e r s and Golden Goose c o n t i n u i n g r e c e p t i v e to W i l l i a m s ' f o l l o w e r s . O l s o n ' s f r i e n d Robert Payne p u b l i s h e d a number of works by Olson (and a rev iew of O l s o n ' s Y & X by \"'\"'^Creeley 1 s p o e t r y and f i c t i o n are d i s c u s s e d s e p a r a t e l y . The f o l l o w i n g i s a l i s t of s u r v i v i n g c r i t i c i s m w r i t t e n d u r i n g t h i s p e r i o d . D u r i n g 1952 C r e e l e y wrote a review of Jack Hawkes' n o v e l The  B e e t l e Leg f o r the Summer 1952 i s s u e of New Mexico Q u a r t e r l y (923) . Hi s review of I n t r o d u c t i o n to A S c i e n c e of Mythology by C . J . Jung and C. K e r e n y i , w r i t t e n June 29, 1952, was never pub-l i s h e d (1118) . L e t t e r s to the e.ditor were p u b l i s h e d i n the Winter 1951-52 i s s u e of Goad (939) and the F e b r u a r y - A p r i l 1953 i s s u e of Contac t (925) . Whi le i n B a n y a l b u f a r C r e e l e y wrote a number of rev iews f o r O r i g i n , C o n t a c t , and New Mexico Q u a r t e r l y . ' Books rev iewed were W i l l i a m s ' A u t o b i o g r a p h y , O l s o n ' s In Co ld H e l l , Lawrence ' s S t u d i e s i n C l a s s i c American L i t e r a t u r e , and The L e t t e r s  of Hart C r a n e , e d i t e d by Brom Weber. As w e l l , he wrote \"A Note on Canadian Poe try\" f o r the September-December 1953 i s s u e of Contac t (967) and two e s s a y s , never p u b l i s h e d - - \" A Statement\" and \"The L i m i t s of C r i t i c i s m \" ( l 0 9 9 ) - - f o r O r i g i n . Another e s say , \"Hart Crane and the P r i v a t e Judgment\", w r i t t e n i n 1953, was f i n a l l y p u b l i s h e d i n The Free Lance i n 1960. In 1953 a l s o he wrote a p r e f a c e (954) f o r O l s o n ' s Mayan L e t t e r s (Palma de M a l l o r c a : D i v e r s P r e s s , 1953) and a p r o s p e c t u s (953) for O l s o n ' s Maximus Poems 1-10 ( S t u t t g a r t : Jonathan W i l l i a m s , 1953). A s ta tement , \" D i v e r s Sent iments\" , was w r i t t e n for a 1953 or 1954 e x h i b i t i o n i n P a r i s by Rene L a u b i e s (991) . \"To D e f i n e \" , a s i g n i f i c a n t e a r l y note , was p u b l i s h e d i n Nine American Poets and r e p r i n t e d i n CIW\/n No. 5 (1953-54) and Vou, November 1954 (924) . 68 C r e e l e y ) i n M o n t e v a l l o Review from 1950 to 1951, though he r e f u s e d C r e e l e y ' s s t o r y \"In the Summer\", \"because of the theme\". Though Wake was c l e a r l y a n t i - N e w - C r i t i c i s m and wi th Accent had p u b l i s h e d C r e e l e y ' s poems i n the l a t e f o r t i e s , n e i t h e r was open to the o ther new w r i t e r s . In f a c t , C r e e l e y ' s f r i e n d Seymour Lawrence of Wake t u r n e d down work by O l s o n , B l a c k b u r n , and Corman which C r e e l e y forwarded 1950-51. Another f r i e n d , Horace Schwartz of Goad, p u b l i s h e d poems and c r i t i c i s m by C r e e l e y and a poem by Olson from 1951 to 52. Hi s f r i e n d s h i p wi th C r e e l e y p r o b a b l y ended a b r u p t l y when he p u b l i s h e d the f i r s t a t t a c k on C r e e l e y i n p r i n t , by L e s l i e Woolf Hedley i n the Summer 1952 i s s u e . Work by both C r e e l e y and Olson appeared p e r i o d i c a l l y i n New Mexico  Q u a r t e r l y which was e d i t e d by Kenneth Lash from Winter 1951 to Summer 1955. V i n c e n t F e r r i n i ' s Four Winds (1952-53) p u b l i s h e d poems by O l s o n and C r e e l e y but was never an a c t i v e c e n t e r . D u r i n g t h i s p e r i o d as w e l l o c c a s i o n a l works by the new w r i t e r s appeared i n Gryphon, Imaqi , P o e t r y , New Y o r k , I n t r o , and New D i r e c t i o n s a n n u a l s , though t h i s was more by chance than by e d i t o r i a l d i r e c t i o n . Through Pound i n S t . E l i z a b e t h ' s C r e e l e y got i n touch i n 1950 with Katue K i t a s o n o and Ra iner G e r h a r d t , e d i t o r s of two s i g n i f i c a n t f o r e i g n magazines . K i t a s o n o , the e d i t o r of Vou ( J a p a n ) , p u b l i s h e d poems, a s t o r y , and c r i t i c a l notes by C r e e l e y from 1951 to 1954. G e r h a r d t e d i t e d Fraqmente i n F r e i b u r g im B r e i s g a u , Germany, from 1951 to 1952. When he f i r s t c o n t a c t e d , Cr.eeley he had t r a n s l a t e d Pound and E l i o t ( h i s p r e s s , V e r l a g de Fragmente , p u b l i s h e d t r a n s l a t i o n s of two P 0 u n d b o o k s ) , but wanted to move i n t o new American w r i t i n g . With C r e e l e y as 69 American E d i t o r , the f i r s t i s sue (Summer 1951) p u b l i s h e d German t r a n s l a t i o n s of Pound, W i l l i a m s , O l s o n , and o t h e r s . No. 2 ( l a t e 1952) c o n t a i n e d t r a n s l a t i o n s of C r e e l e y ' s s t o r i e s \"The L o v e r \" and \"The Seance\". C r e e l e y had e d i t e d an American i s s u e , to i n c l u d e O l s o n , Bronk, Morse, B l a c k b u r n , and Emerson, but i t d i d not come o u t . To i n t r o d u c e h i s s e l e c t i o n of younger p o e t s , he wrote \"Notes on American P o e t r y : 1951\" i n which he s t a t e d h i s d i s l i k e of the academic poe try then p r e v a l e n t and o f f e r e d an a l t e r n a t i v e , something between \"loose thought i n l oose m e t r i c \" and the s l a c k n e s s of contemporary f r e e v e r s e . ^ ' ' ' Though G e r h a r d t ' s sudden death i n J u l y 1954 cut s h o r t t h i s a c t i v i t y , the example of what one pres s c o u l d a c c o m p l i s h i n a t t e m p t i n g to change a n a t i o n a l a t t i t u d e toward l i t e r a t u r e i s one C r e e l e y has c o n t i n u e d to a d m i r e . By 1952 Golden Goose had f a i l e d to l i v e up to i t s e a r l i e r promise though i t made up i n i t s c o n t i n u e d support of W i l l i a m s (whose work f i r s t appeared i n No. 1, Summer 1948) what i t l a c k e d i n the p u b l i c a t i o n of new w r i t e r s . Even so i t d i d p r i n t f i f t e e n poems by C r e e l e y between J u l y 1951 and A p r i l 1954 and p u b l i s h e d an a n t h o l o g y of O l s o n ' s poems (which came out j u s t a f t e r h i s spread i n O r i g i n i ) . Golden Goose Press was one of the very few of tha t t ime p u b l i s h i n g new chapbooks of p o e t r y , i s s u i n g . W i l l i a m s ' The Pink Church i n 1949, C r e e l e y ' s Le Fou i n October 1952, and p r e p a r i n g O l s o n ' s The P r a i s e s i n 1951 when a d i s a g r e e -ment a r o s e . C r e e l e y was unhappy wi th Emerson's i n s i s t e n c e on the impor tance of past l i t e r a t u r e and f e l t i t t ime to \"make our own ^ ^ T h e r e are two d r a f t s of t h i s i n t r o d u c t i o n wi th the j o u r n a l at I n d i a n a U n i v e r s i t y (1097) . 70 b e g i n n i n g s \" . Though he c o n t i n u e d to c o n t r i b u t e , he t u r n e d f o r t h i s renewal to O r i g i n r a t h e r than Golden Goose. By the n i n t h i s s u e , S p r i n g 1953, not on ly had O r i g i n proved i t s e l f to be a v i a b l e a l t e r n a t i v e , but the d i v e r s e c o n t r i b u t o r s were themse lves c o n s c i o u s of forming a group (the core of which was the \" O r i g i n \" poe t s ) which was a c t i v e l y pr o duc i ng t h i s a l t e r -n a t i v e . The w r i t e r s Corman depended upon f o r m a t e r i a l - - 0 1 s o n , C r e e l e y , F e r r i n i , Bronk, and M o r s e - - h a d grown to i n c l u d e B l a c k b u r n , L e v e r t o v , Robert Duncan (who f i r s t appear ed i n V I ) , and o t h e r s . T h e i r d e s i r e to generate a new w r i t i n g and pub-l i s h i n g system was p r o b a b l y s t r e n g t h e n e d by a t t a c k s , l e d by the young academic p o e t s , a g a i n s t the O r i g i n poets as an i n b r e d group d e r i v a t i v e of Pound and W i l l i a m s which was incompetent to p u b l i s h e l s ewhere . W i t h i n two years the O r i g i n poets had become w e l l enough known so t h a t Le J o u r n a l des Poetes (Belg ium) asked Corman to w r i t e about them f o r the European p u b l i c . The a r t i c l e appeared i n the December 1953 i s sue a long with the f i r s t French 102 t r a n s l a t i o n s of poems by C r e e l e y , O l s o n , Corman, and L e v e r t o v . The t i t l e , \"The V o i c e s of the I n d i v i d u a l \" , i s e x p l a i n e d i n the t e x t : The poets around whom O r i g i n grows are each of them d i s t i n c t p e r s o n a l i t i e s , v o i c e s . However, what they have openly acknow-ledged i n t h e i r o r g a n i c honesty from which t h e i r p o e t r y can f i n d u s e f u l i n c r e a s e , i n c r e m e n t , i s i n the v o i c e , t h e i r own v o i c e s . C h a r l e s O l s o n , who may c o n v e n i e n t l y stand as the guide i n t h i s push , i n an essay c a l l e d \" P r o j e c t i v e V e r s e \" . . . puts i t t h u s : \" . . . A n d the l i n e [ the l i n e of v e r s e ] comes (I swear i t ) from the b r e a t h i n g of the man who w r i t e s , at the moment tha t he w r i t e s , and thus i s , i t i s here t h a t , 1 0 2 T h : e poems were C r e e l e y ' s \"The ' C r i s i s \" and' \"The Innocence\", O l s o n ' s \"La Chute\" , Gorman's \"La P a s s e r e l l e \" , and L e v e r t o v ' s \" K r e s c h ' s S t u d i o \" . C r e e l e y thought the t r a n s l a t i o n s of h i s poems very f i n e . The essay was p u b l i s h e d i n E n g l i s h , wi thout the poems, i n S e r i f , V I , i i i (September 1969), from which I quote (256) . 71 the d a i l y work, the WORK, gets i n , for on ly he, the man who w r i t e s , can d e c l a r e , at every moment, the l i n e , i t s m e t r i c and i t s ending \u2014 where i t s b r e a t h -i n g s s h a l l come t o , t e r m i n a t i o n . \" o r , as he adds: \"the HEAD, by way of the EAR, to the SYLLABLE the HEART, by way of the BREATH, to the L I N E . \" Corman was h a r d l y the f o r c e Ol son was but he o f f e r e d , i n a s e r i e s of e ssays from O r i q i n IV (Winter 1951-52) to XX (Winter 1957) , h i s own e l o q u e n t l y argued t h e o r y that p o e t r y i s a v o c a l a r t and t h a t the new p o e t r y must be based on the v o i c e of the i n d i v i d u a l poe t . Corman, though a d i l u t e r ( i n Pound's sense) of O l s o n ' s d e n s e l y c o d i f i e d p r o s o d y , was the f i r s t to g ive both t h e o r y and exempla (new poems) an o u t l e t . Though Corman's own p o e t r y and p o s i t i o n i n the new p o e t i c h i e r a r c h y has been down-graded, h i s i n f l u e n c e as an e d i t o r - p u b l i s h e r on the new w r i t i n g has not been s u r p a s s e d , though l a t e r r i v a l l e d by C r e e l e y ( D i v e r s P r e s s , B l a c k Mountain Review, e t c . ) , Jonathan W i l l i a m s ( J a r g o n B o o k s ) , and Donald A l l e n ( E v e r g r e e n Review, The New American  P o e t r y 1945-1960, e t c . ) The impact of the w r i t e r s who appeared \u2022 i n the f i r s t s e r i e s of O r i g i n i s s t i l l being f e l t . I t \" d i s c o v e r e d \" and p u b l i s h e d the company of w r i t e r s who came to be known as the Black Mountain Poe t s : O l s o n , C r e e l e y , L e v e r t o v , B l a c k b u r n , Duncan, and Edward Dorn . Among o ther w r i t i n g s i t pub-l i s h e d a body of work by Corman, F e r r i n i , Bronk, , Morse , Pau l C a r r o l l , L a r r y E i g n e r , Theodore E n s l i n , Gae l T u r n b u l l ; by the Canad ian poets Raymond S o u s t e r , I r v i n g L a y t o n , and L o u i s Dudek; 103 and works b y \/ a b o u t W i l l i a m C a r l o s W i l l i a m s and W a l l a c e S t e v e n s . 10 3 The c o n t e n t s of O r i g i n have been indexed by i s s u e and by author i n A l b e r t G l o v e r , \" C h a r l e s O l s o n : L e t t e r s for O r i g i n \" and by a u t h o r and s u b j e c t i n \"An Index to O r i g i n \" by Martha Lane G o o l d , S e r i f , I I I , i i i (September 1966) (234) . 72 Though they s u p p o r t e d O r i g i n from b e g i n n i n g to end of the f i r s t s e r i e s , o n l y the f i r s t two i s s u e s c l e a r l y r e s p e c t e d O l s o n ' s and C r e e l e y ' s t a s t e , as expressed i n t h e i r c o n t i n u i n g l e t t e r s to Corman. From the s t a r t they were c o n v i n c e d of the impact on contemporary w r i t i n g O r i g i n c o u l d have and pres sed upon Corman both t h e i r sense of h i s m i s s i o n as e d i t o r and i n d i v i d u a l w r i t e r s they admired . As Corman b u i l t on the c o n f i d e n c e of the f i r s t i s s u e s , however, h i s own more c o n s e r v a t i v e and l i t e r a r y t a s t e began to p r e v a i l . He c o n c u r r e d with C r e e l e y and Olson i n s e e i n g O r i g i n p r i m a r i l y as a c o n t i n u i n g o u t l e t for new w r i t i n g , and f e a t u r e d one or more new w r i t e r s i n every i s s u e \u2014 which c h a r a c t e r -i z e d the magazine from the b e g i n n i n g . However h i s s t a n d a r d s were o f t e n l e s s than r i g o r o u s , a l l o w i n g w r i t e r s such as K a t h e r i n e Hosk ins to s l i p t h r o u g h . As w e l l he had a c h r o n i c weakness f o r Bronk, Morse , and o ther p e r i p h e r a l w r i t e r s . I t was Corman's i d e a that the magazine become more i n t e r n a t i o n a l i n content and t r a n s -l a t i o n s and f o r e i g n w r i t i n g appeared f r e q u e n t l y a f t e r the f i r s t i s s u e . What t h i s meant i n p r a c t i c e was that v a l u a b l e space for new North American w r i t i n g was o t h e r w i s e taken up. C r e e l e y and Olson were f i r m i n t h e i r b e l i e f , and i n t h e i r l e t t e r s , tha t O r i gin shou ld p u b l i s h gnly the best e x p e r i m e n t a l new work and s h o u l d i n an a c t i v e c r i t i c a l s e c t i o n p r o t e s t a g a i n s t some of the very academics , such as W i l b u r and M e r r i l l , who Corman a l l o w e d i n . But O r i g i n was s u c c e s s f u l under Corman's e d i t o r i a l p o l i c y s i n c e i t s pr imary f u n c t i o n (as we see i t now) was to g ive new w r i t e r s such as C r e e l e y , Duncan, L e v e r t o v , B l a c k b u r n , E i g n e r , L a y t o n , and C a r r o l l , a company of e n t h u s i a s t i c f e l l o w w r i t e r s and a r e s p o n s i v e ( i f not always a c c l a i m i n g ) audience for the f i r s t t ime . I t was 73 not to be a w i d e - r a n g i n g , c r i t i c a l j o u r n a l l i k e B lack Mountain  Review, e d i t e d by C r e e l e y from 1954 to 1957, which , b u i l d i n g on the achievement of O r i q i n , c o u l d a f f o r d to knock about v a r i o u s e s t a b l i s h e d w r i t e r s i n an e f f o r t to p r o g r a m m a t i c a l l y change p r e v a l e n t t a s t e . In s p i t e of h i s a d m i r a t i o n f o r t h e i r work and p a t i e n c e wi th t h e i r w e l l - i n t e n t i o n e d a s s a u l t s , Corman proved f i n a l l y r e s i s t a n t to O l s o n ' s e x p a n s i o n i s t v i s i o n s for the magazine and many of C r e e l e y ' s s p e c i f i c s u g g e s t i o n s , and O r i g i n t h e r e f o r e w i t h h e l d some of i t s very a c t u a l p o t e n t i a l . That O r i g i n a c c o m p l i s h e d what i t d i d i s to the c r e d i t of Corman who brought out twenty i s s u e s between S p r i n g 1951 and Winter 1957 even when the funds were h i s own. A f t e r f o r w a r d i n g the m a t e r i a l he had ga thered f o r h i s own magazine i n 1950, C r e e l e y a c t e d as f r i e n d , c o n t r i b u t o r , c r i t i c , and i n f o r m a l agent for O r i g i n . W r i t i n g by C r e e l e y appeared i n f i f t e e n out of twenty i s s u e s . He p r a i s e d the work of O l s o n , B l a c k b u r n , L e v e r t o v , Duncan, and E i g n e r to Corman, and was thus l a r g e l y r e s p o n s i b l e for the f i r s t appearance of each i n the magaz ine . I t was a p p a r e n t l y t h r o u g h C r e e l e y tha t Corman got i n touch with Emerson, Eckman, K i t a s o n o , G e r h a r d t , L a u b i e s , Seymour-S m i t h , Ash ley B r y a n , Robert Cooper , J o e l Oppenheimer, and p o s s i b l y a number of o t h e r s p u b l i s h e d i n the f i r s t s e r i e s of O r i q i n. By i s s u e s I I I ( f e a t u r i n g Bronk and Morse) and IV ( f ea t u r i n g Mew F o r e i g n P o e t r y ) , however, C r e e l e y had begun to c r i t i c i z e O r i g i n ' s c o n t e n t s p r i v a t e l y to Corman: \"I suggest l ) a t i g h t e r c r i t i c a l s t a n d a r d for the p o e t r y . . . . 2) a r e t u r n to some of t h a t i n f o r m a l i t y you had i n the 1st two i s s u e s , i . e . , what you got by p r i n t i n g those l e t t e r s , e t c . ; 3) a more a c t i v e 74 c o n t a c t w i t h o ther m a q a z i n e s \" , ^ ^ O r i g i n V, taken over by M o r s e ' s long essay on S t e v e n s , c o m p l e t e l y d i s p l e a s e d C r e e l e y as i t d i d O l s o n . U J A f t e r I and I I , C r e e l e y l i k e d VI ( f e a t u r i n g W i l l i a m s and Duncan) , Mill ( O l s o n ' s In C o l d H e l l , i n T h i c k e t ) , and XII ( f e a t u r i n g E i g n e r and C a r r o l l ) though he d i s l i k e d the C a r r o l l . He \" r e s p e c t e d the r i s k s \" t h a t L e v e r t o v had taken i n e d i t i n g XIII ( f e a t u r i n g David G a l l e r ) and thought that XIV ( f e a t u r i n g Layton) was Corman's best i s s u e i n some t i m e . I t i s s i g n i f i c a n t t h a t i n the i s s u e s C r e e l e y l i k e d much work by W i l l i a m s , O l s o n , C r e e l e y , B l a c k b u r n , L e v e r t o v , Duncan, L a y t o n , and E i g n e r a p p e a r e d . By i s s u e s X (Summer 1953) and XI (out S p r i n g 1954) C r e e l e y and O l s o n had r e s i g n e d themse lves to Corman's i nt er na t i o n a l i sm--both i s s u e s f e a t u r e d European w r i t i n g \u2014 and to the consequent postponement of new American work. Though they c o n t i n u e d to r e s p e c t Corman for the new w r i t i n g he d i d p r i n t , from l a t e 1953 they looked to t h e i r own magazine , B l a c k Mountain Review, to r e a l i z e O r i g i n ' s f u l l p o t e n t i a l . U n t i l B lack Mountain Review began to appear , C r e e l e y ' s major invo lvement was wi th O r i g i n and w i t h his own D i v e r s Press which began i s s u i n g c a r e f u l l y des igned and p r i n t e d books of new w r i t i n g S p r i n g 1953. From 1952 to 1954 the s m a l l pre s s and magazine s i t u a t i o n c o n t i n u e d to improve with many new w r i t e r s and r e a d e r s , e s p e c i a l l y i n Canada. In January 1952 the f i r s t i s s u e of Raymond \" ^ ^ L e t t e r from C r e e l e y to Corman A p r i l 27, 1952 at I n d i a n a U n i v e r s i t y (1056) . 105 Olson wrote two long l e t t e r s to Corman i n June 1952 q u e s t i o n i n g h i s a e s t h e t i c i s m and e c l e c t i c i s m and e x h o r t i n g him to r e v i v e the e d i t o r i a l good sense e x h i b i t e d i n I and I I . L e t t e r s  f o r O r i g i n , pp. 94-102. 75 S o u s t e r ' s mimeographed magazine Contac t appeared i n T o r o n t o , and both Corman and C r e e l e y f r e e l y o f f e r e d a d v i c e , e s p e c i a l l y as to the n e c e s s i t y , as they saw i t , of b r i n g i n g the new American and European w r i t e r s i n t o Canada. L a r g e l y as a r e s u l t of t h i s i n f l u e n c e C o n t a c t p u b l i s h e d work by O l s o n , C r e e l e y , B l a c k b u r n , L e v e r t o v , Corman, F e r r i n i , Bronk, Morse, Eigner, Emerson, Jonathan W i l l i a m s , and European w r i t e r s such as G e r h a r d t , A p o l l i n a i r e , Jean C o c t e a u , Jacques P r e v e r t , and G o t t f r i e d Benn, i n a d d i t i o n to the work by L a y t o n , Dudek, and o ther Canadians t h a t Sous ter had o r i g i n a l l y wanted to p u b l i s h . S ix poems by C r e e l e y appeared between the f i f t h and the t e n t h i s s u e , a s w e l l as \"A Note on Poe try\" (925) , \"A Note on Canadian Poe try\" (967) , and a rev iew of W i l l i a m s ' A u t o b i o g r a p h y (941) . M i c h a e l Gnarowski summed up C r e e l e y ' s i n f l u e n c e i n h i s h i s t o r y of Cont a c t : \"His concern was not so much with the mechanics and the p u b l i s h i n g p o l i c i e s of the magazine, r a t h e r , he became for C o n t a c t , a c o n t r i b u t o r and an a c t i v e t h e o r e t i c i a n of a s c h o o l of l i t e r a r y thought to which he be longed t o g e t h e r with C i d Corman and C h a r l e s O l s o n . In a d d i t i o n , h e . . . g a v e S o u s t e r , p r i v a t e l y , the b e n e f i t of h i s c r i t i c a l o p i n i o n of some of the e a r l i e s t i m p r i n t s of Contac t Press\" . \"'\"^ In A p r i l 1952 Contac t P r e s s , founded by S o u s t e r , L a y t o n , and Dudek to p u b l i s h t h e i r own and other Canadian works not r e a d i l y accepted by e s t a b l i s h e d p u b l i s h e r s , i s s u e d i t s . f i r s t book, C e r b e r u s , by the three f o u n d e r s . I t was soon f o l l o w e d by Twenty- four Poems by Dudek, The B lack Huntsmen and Love the Conqueror  Worm by L a y t o n , and Canadian Poems 1350-1952, e d i t e d by Dudek and 1 0 6 C o n t a c t 1952-1954 ( M o n t r e a l : D e l t a , 1966), p. 8 (210) . I n c l u d e s an index to C o n t a c t . 76 i i 107 L a y t o n . The t e n t h and l a s t i s s u e of Contac t appeared i n March 1954 wi th the f i r s t i s s u e of C r e e l e y ' s own B l a c k Mountain Review. About a year e a r l i e r CI l \/ \/n began, e d i t e d by A i l e e n C o l l i n s w i t h a d v i c e from L o u i s Dudek. I t c o n t i n u e d for seven i s s u e s i n t o 1954 p u b l i s h i n g many o f - t h e same a u t h o r s as C o n t a c t . S o u s t e r , L a y t o n , and Dudek were i n t i m a t e to both magazines , and C r e e l e y and Corman c o n t i n u e d to o f f e r a d v i c e and c o n t r i b u t i o n s . (Ten poems and \"A Note on Poe try\" by C r e e l e y appeared i n i s s u e s f o u r to seven of C I V \/ n . ) From 1952 to 1954, O r i g i n , C o n t a c t , C I V \/ n , B l a c k Mountain  Revi ew, Contact P r e s s , and D i v e r s Pres s were of common a s s i s t a n c e by p u b l i s h i n g each o t h e r ' s a u t h o r s and o f t e n i n the case of books by a d v e r t i s i n g , r e v i e w i n g , and d i s t r i b u t i n g them as w e l l . I t seemed that an a l t e r n a t i v e p u b l i s h i n g system had f i n a l l y been e s t a b l i s h e d . S t i l l , though t h i s phase was e g u a l l y s i g n i f i c a n t i n the h i s t o r y of both Canadian and American w r i t i n g , subsequent magazines and events have proved that t h e r e were always two d i s t i n c t groups . Of the Contac t w r i t e r s , L a y t o n was the o n l y one d i r e c t l y i n v o l v e d with B lack Mountain Review as t h a t magazine ( to be d i s c u s s e d at l e n g t h l a t e r ) advanced the p o s i t i o n tha t O r i g i n had o c c u p i e d i n American w r i t i n g . A few s m a l l p r e s s e s bes ide those mentioned above had s t a r t e d up i n the e a r l y f i f t i e s , i n c l u d i n g Sparrow Press and the Black Mountain C o l l e g e p r e s s , though none had much c o n t i n u i t y . The O r i g i n w r i t e r s have been c l o s e l y a s s o c i a t e d s i n c e 1953 wi th the most s i g n i f i c a n t l i t t l e p r e s s of the f i f t i e s , Jonathan W i l l i a m s ' 107 C r e e l e y rev iewed these books and Contac t Nos. 4-8 i n B l a c k  Mounta in Review, No. 1 ( S p r i n g 1954) (968) . 77 J a r g o n P r e s s . I t was founded i n 1951 and by 1960 had p u b l i s h e d poems by J o e l Oppenheimer, Jonathan W i l l i a m s , V i c t o r K a l o s , L e v e r t o v , M i c h a e l M c C l u r e , Kenneth Pa tchen , Mina Loy , Paul Goodman, L a y t o n , Bob Brown, Wal ter L o w e n f e l s , as w e l l as prose by Henry M i l l e r and Patchen and o ther works. I t s most i m p o r t a n t p u b l i c a t i o n s have been C h a r l e s O l s o n ' s Maximus Poems (1-10 i n 1953, 11-22 i n 1956, and f i r s t t h r e e volumes complete i n I960) and C r e e l e y ' s The Immoral P r o p o s i t i o n (1953) , A l l That Is L o v e l y  i n Men (1955) , The Whip ( imported from the Migrant P r e s s ' s E n g l i s h e d i t i o n , 1957) , and A Form of Women ( i n a s s o c i a t i o n with C o r i n t h Books, 1959) . A number of B r i t i s h p r e s s e s and magazines began p u b l i c a t i o n i n the e a r l y f i f t i e s though w i t h the e x c e p t i o n of The Window, M e r l i n , . Ar t i san (ed . Robert C o o p e r ) , and Nine ( e d . Peter R u s s e l l ) , t h e r e was l i t t l e correspondence wi th new American or Canad ian magazines or p r e s s e s . M e r l i n was e d i t e d i n P a r i s from 1952-to 1955 by a group of American and B r i t i s h e x p a t r i a t e s , headed by A lexander T r o c c h i , who attempted to change the course of contemporary w r i t i n g by p u b l i s h i n g ( through t h e i r C o l l e c t i o n M e r l i n books as w e l l ) a v a n t - g a r d e works, s i g n i f i c a n t l y Genet and B e c k e t t . C r e e l e y admired t h e i r p u b l i s h i n g program and was b r i e f l y connected wi th t h i s a c t i v i t y through T r o c c h i . C r e e l e y was a Committee Member for M e r l i n I I , i v (Spring-Summer 1955), but the magazine had by then l o s t i t s b a c k i n g and. cou ld not c o n t i n u e . By l a t e November 1952 M a r t i n Seymour-Smi th ' s Roebuck Press on M a l l o r c a had a p o r t f o l i o of four l i t h o g r a p h s by Rene L a u b i e s and four s t o r i e s by C r e e l e y (\"Mr B l u e \" , \"The P a r t y \" , \"3 Fate T a l e s \" , and \"The Grace\") ready for p r e s s , though i t was never p u b l i s h e d , p r o b a b l y because Grove Press c o i n c i d e n t a l l y expres sed 7\u00a3 an i n t e r e s t i n the s t o r i e s . The l i t h o g r a p h s had a l r e a d y been l no p r i n t e d i n an e d i t i o n of twenty c o p i e s . At work on the American end, C r e e l e y o f f e r e d to p r i n t O l s o n ' s In C o l d H e l l , i n T h i c k e t for Corman as an O r i g i n e d i t i o n not an i s s u e of the magazine, i n the hope of g i v i n g Olson a b e a u t i f u l book, \"not at 109 a l l a k i n d of s l e a z y pamphlet\" . By the end of 1952 C r e e l e y had set up the American p u b l i c a t i o n s of Roebuck Press f o r the next s i x months to i n c l u d e O l s o n ' s Mayan l e t t e r s , a b o o k l e t by L a r r y E i g n e r , Pau l B l a c k b u r n ' s P r o v e n c a l t r a n s l a t i o n s , and a c o l l e c t i o n of h i s own poems s i n c e Le Fou . By January 1953 however, C r e e l e y had s e p a r a t e d from Seymour-Smith and he and Ann set up The D i v e r s Press to i s s u e the American works on t h e i r own. The f a l l i n g - o u t occurred because Seymour-Smith p lanned to p u b l i s h Donald H a l l who had a t t a c k e d W i l l i a m s , O l s o n , and C r e e l e y i n the December 1952 i s s u e of The World Review. T h i s quote from the a r t i c l e (with C r e e l e y ' s note) i s taken from a January I S , 1953 l e t t e r \" t o Corman: The on ly major wr i t er who a t t a c k s the contemporary movement ( i . e . , t h i s \"movement\" i s Roethke , L o w e l l , Merwin, e t c . , and W i l b u r ) i s W i l l i a m C a r l o s W i l l i a m s , and he i s too i n t e l l i g e n t a man not to d i s c e r n the e x c e l l e n c e of the best young p o e t s . Hi s a t t a c k s are t h e o r i e s , and read l i k e a n a t i o n a l i s t i m a g i s t m a n i f e s t o . W i l l i a m s compla ins that Americans w r i t i n g verse do not use the American language; the iamb i s o l d - f a s h i o n e d , and B r i t i s h ; r e p e t i t i v e metres , and the sonnet , above a l l , are the s u b j e c t of h i s s c o r n . Only a s m a l l group of p o e t s , C h a r l e s Olson and Robert C r e e l e y among them, c o n t i n u e to f i g h t W i l l i a m s ' s b a t t l e s \u2014 b a t t l e s fought and won twenty years ago. (1056) In a l e t t e r to the e d i t o r of The World Review, C r e e l e y r e p l i e d : i n -I t was p r o b a b l y one of these l i t h o g r a p h s which was to have been p u b l i s h e d s e p a r a t e l y wi th \"The P a r t y \" by Black Mountain C o l l e g e i n 1952, though the p u b l i c a t i o n f e l l through and t h e s t o r y came out i n O r i g i n i n s t e a d . 1 D 9 L e t t e r to Corman December 4, 1952 at I n d i a n a U n i v e r s i t y (1056) . 79 I would suggest tha t p o e t r y , now, i n e i t h e r the U n i t e d S t a t e s or England s tands i n a great and p a r t i c u l a r need of men who w i l l , w i th c o n s t a n c y , de termine t h e i r m a t e r i a l s from what l i e s d i r e c t l y to t h e i r hand, and i s t h e i r g i v e n r e a l i t y - - a n d who w i l l make t h e i r forms the d i r e c t i s s u e of t h e i r speech and of t h e m s e l v e s . H O It was the purpose of h i s D i v e r s Press to p u b l i s h such w r i t e r s . Roebuck Press c o n t i n u e d i n d e p e n d e n t l y and Seymour-Smith was commissioned to p r i n t s e v e r a l magazines , i n c l u d i n g F e r r i n i ' s Four Winds and T r o c c h i ' s M e r l i n , both of which he muddled. A p p a r e n t l y he p r i n t e d a number of s l e a z y pamphlets as w e l l . Only through C r e e l e y ' s i n t e r v e n t i o n on Corman's b e h a l f i n the S p r i n g of 1954 was O r i g i n XI r e s c u e d from the same f a t e , though the A r t a u d m a t e r i a l had to be cut i n h a l f . I t made a n i ce s t o r y i n The j -j , 111 I s l a n d . The f i r s t D i v e r s Press book was O l s o n ' s In C o l d H e l l , i n 112 T h i c k e t which was i s s u e d as O r i g i n V I I I , Winter 1953. I t was p r i n t e d and. ma i l ed by March 20, 1953 and was p r o b a b l y the f i n e s t p r i n t i n g tha t O r i g i n ever r e c e i v e d . O l s o n , p r e s s e d for t i m e , had asked C r e e l e y to e d i t the m a n u s c r i p t (too l o n g , i t had to be cut down), s e l e c t the t y p e , and so on. However the f i n a l book was as c a r e f u l l y d e s i g n e d , with a wide page and s m a l l , t h i c k t y p e , as O l s o n cou ld have wished . I n t e r e s t i n g l y , i t was, a c c o r d i n g to Corman, the l e a s t popu lar i s s u e of O r i g i n ' s f i r s t s e r i e s . Subsequent D i v e r s Press books were des igned and p r i n t e d with 1 1 0 L e t t e r of January 16, 1953 at Washington U n i v e r s i t y (1064) . ^\"''lYlore r e c e n t l y Seymour-Smith has w r i t t e n the b l u f f e r ' s g u i d e , B l u f f Your Way i n L i t e r a t u r e (London: Wol f e , c 1 9 6 6 ) , and s e r i o u s works of l i t e r a t u r e and c r i t i c i s m , i n c l u d i n g a rev iew of C r e e l e y ' s Poems 1950-1965 (381) . 1 1 ? In 1951 t h i s book, then c a l l e d \"The P r a i s e s \" , had been i n p r o o f at Golden Goose Press when t h e r e was a d isagreement and O l s o n withdrew i t . 80 e q u a l c a r e . The second book and the f i r s t p u b l i s h e d under t h e i r own i m p r i n t was Paul B l a c k b u r n ' s P r o e n s a , a book of t r a n s l a t i o n s from P r o v e n c a l p o e t r y . I t was p u b l i s h e d by June 1953 and was f o l l o w e d i n J u l y by C r e e l e y ' s second book of poems, The Kind Of  Act Of and L a r r y E i g n e r ' s From the S u s t a i n i n g A i r , the f i r s t c o l l e c t i o n o f h i s poems. C h a r l e s O l s o n ' s Mayan L e t t e r s , e d i t e d by C r e e l e y from l e t t e r s w r i t t e n to him from Lerma December 1950 to J u l y 1951, p lanned f o r 1953 but d e l a y e d u n t i l January 1954, completed the f i r s t s e r i e s of D i v e r s Pres s books. These four books were a p p a r e n t l y a d v e r t i s e d i n a l o o s e i n s e r t i n O r i g i n IX ( S p r i n g 1953). D i s t r i b u t i o n , however, was slow s i n c e b o o k s e l l e r s were r e l u c t a n t to order a few t i t l e s from such a s m a l l p r e s s . Without the he lp of f r i e n d s the books would not have been advertis-ed and few c o p i e s would have been d i s t r i b u t e d . Paul B l a c k b u r n he lped get c o p i e s i n t o Mew York b o o k s t o r e s and Jonathan W i l l i a m s s o l d D i v e r s books a long with h i s own. Jargon p u b l i c a t i o n s . C o n t a c t Pres s was an e n c o u r a g i n g example, and Raymond Sous ter acted as D i v e r s ' agent i n T o r o n t o . Contac t and C I V \/ n rev iewed D i v e r s Press books . Even so, w i thout a l a r g e d i s t r i b u t o r and wi thout f i n a n c i a l b a c k i n g the Press was l i m i t e d to p u b l i s h i n g books one at a time i n s m a l l e d i t i o n s w i th l i t t l e hope of o b t a i n -i n g the neces sary r e v i e w s . An ad i n M e r l i n Autumn 1953 and a brochure i s s u e d by the Press announced new books for 1954. I r v i n g L a y t o n ' s In the Mids t  of My Fever was p u b l i s h e d i n F e b r u a r y 1954 and d i s t r i b u t e d by C o n t a c t P r e s s . C r e e l e y ' s c o l l e c t i o n of s t o r i e s , The Gold Diggers , was i s s u e d i n March . I t was f o l l o w e d by the f i r s t American e d i t i o n o f poems by M a r t i n Seymour-Smith , A l l D e v i l s F a d i n g , and 81 A Handbook of Fancy Pigeons by H . P . M a c k l i n which was bought out and s o l d by American Pigeon J o u r n a l , a magazine C r e e l e y used to read c a r e f u l l y . B lack R a i n , the f i r s t E n g l i s h t r a n s l a t i o n of Katue K i t a s o n o ' s poems, was p u b l i s h e d i n August . A b o o k l e t of f i v e new poems by C r e e l e y , A S n a r l i n g G a r l a n d of Xmas V e r s e s , was p u b l i s h e d anonymously as a g i f t f o r f r i e n d s , C h r i s t m a s 1954. In 1955 D i v e r s p u b l i s h e d Douglas U loo l f ' s f i r s t n o v e l , The H y p o c r - i t i c  Days ( J a n u a r y ) , the f i r s t book of Paul B l a c k b u r n ' s own poems, The  D i s s o l v i n g F a b r i c ( M a r c h ) , and Robert Duncan's C a e s a r ' s Gate (September) . The l a s t two were rev iewed i n Poetry October 1956 by a f r i e n d , F r e d e r i c k Eckman. D i v e r s a l s o des igned and p r i n t e d C i d Corman's The P r e c i s i o n s for Sparrow Press (March 1955) and I r v i n g L a y t o n ' s The Blue P r o p e l l e r for Contac t Press (1955) . There were hopes the Press c o u l d c o n t i n u e wi th arrangements for b e t t e r d i s t r i b u t i o n , perhaps i n c o n j u n c t i o n with a s m a l l p r e s s Robert Duncan wanted to s t a r t when he a r r i v e d i n Palma. S p r i n g 1955. However, by Summer 1955 C r e e l e y ' s own c i r c u m s t a n c e s were too u n s e t t l e d to a l l ow him to c o n t i n u e p u b l i s h i n g . S i n c e p r i n t i n g was cheap on M a l l o r c a and the books s m a l l , a l l the D i v e r s Press p u b l i c a t i o n s s o l d for about a d o l l a r . They were c h a r a c t e r i z e d by the s o f t covers and heavy mercedes, f u t u r a , and bodoni types of Mossen A l c o v e r ' s p r i n t shop i n Palma. Cree ley c a l l e d A l c o v e r , who p r i n t e d B l a c k Mountain Review as w e l l , a \"book maker\" not j u s t a p r i n t e r . Speaking of the b a r g a i n Mayan  L e t t e r s was f o r a d o l l a r , C r e e l e y wrote to Corman January 17, 1954: \"It may even be too much of a one, except t h a t I want to keep to t h i s premise of as low p r i c e s as are p o s s i b l e . Perhaps I overdo i t , and perhaps too i t has no f i n a l l y e f f e c t u a l r e l a t i o n 82 to p o s s i b l e s a l e s \u2014 but , at t h a t , the p r i c e i s a r e a s o n a b l e p r o p o r t i o n or r a t i o to c o s t s , g r a n t e d we have not f i g u r e d to make p r o f i t s \" (1056) . C r e e l e y ' s p r i m a r y concern was to i s s u e c a r e f u l l y des igned and p r i n t e d works which he admired f i r s t of a l l as w r i t i n g and which p r o b a b l y would not have been p u b l i s h e d through e s t a b l i s h e d c h a n n e l s . The books were u s u a l l y f i r s t or second works by l i t t l e known a u t h o r s most of whom are d e s e r v e d l y w e l l known t o d a y . L i k e the O b j e c t i v i s t Press of W i l l i a m s , Pound, Z u k o f s k y , B u n t i n g , and f r i e n d s , the D i v e r s Press was a f i n e example of \" w r i t e r s p u b l i s h i n g t h e i r own work\". In an i n t e r v i e w May 1961 C r e e l e y s a i d : I t h i n k many w r i t e r s beg in by t a k i n g on the problem of g e t t i n g t h e i r work p r i n t e d . I wanted a pres s t h a t would be of use to s p e c i f i c p e o p l e , i n c l u d i n g m y s e l f . . . . We had to have the d i g n i t y of our own s ta tement . We had to have i t i n a form that cou ld be a v a i l a b l e to o ther p e o p l e . . . . You cannot get your poems out where they ought to be i f you d o n ' t do something about i t . So we put our books out . God, we were laughed a t , but that was p a r t of i t t o o . 1 1 3 Though D i v e r s Press p r i n t e d on ly s i x t e e n books i t made a v a l u a b l e c o n t r i b u t i o n not on ly to contemporary w r i t i n g but to the s m a l l p r e s s movement (which f l owered i n North Amer ica and England i n the \\ 114 f i f t i e s ) i t s e l f . For the new American w r i t e r s i t was, wi th the more d u r a b l e Jargon Books, v i r t u a l l y the on ly f i f t i e s p r e s s w i l l i n g to p u b l i s h f o r the advancement of w r i t i n g not p r o f i t s . The S u l l e n A r t : I n t e r v i e w s by David Ossman wi th Modern Amer- i c a n Poets (New Y o r k : C o r i n t h , 1963), p. 64 (107) . ^ 4 T h e D i v e r s Press was r e p r e s e n t e d by t h r e e books i n an e x h i b i t i o n h e l d at the American Embassy i n London A p r i l 24 to May 24, 1968. The c a t a l o g was p u b l i s h e d as The L i t t l e Pres s  Movement i n England and America (London: T u r r e t Books |_1968j), w i th an i n t r o d u c t i o n by Edward L u c i e - S m i t h . 83 VII By October 1952 when Le Fou , h i s f i r s t book of poems, was p u b l i s h e d , C r e e l e y had become more a r t i c u l a t e i n p o e t r y than i n f i c t i o n . In the poems w r i t t e n i n the few years a f t e r Le Fou he a c h i e v e d a deeper use of h i s own more t r o u b l e d p e r s o n a l content and moved beyond h i s i n t e r i m sense tha t the l i n e must be a f r e e sweep, u n c o n s t r a i n e d by rhyme, c o u n t e r p o i n t , or r e p e t i t i o n . He came to see that such d e v i c e s c o u l d have p l a c e i n an a u t h e n t i c w o r k i n g - o u t of t e n s i o n s . In f a c t , a s t r i c t e r l i n e c o u l d r e v e a l the t e n s i o n and though the poem was not to be a f a c i l e c a t h a r t i c i t c o u l d h e l p p r o v i d e an u n d e r s t a n d i n g of what might o t h e r w i s e ' b e at t h a t time an almost hope le s s f e a r or d e p r e s s i o n . In the p r e f a c e to A l l That Is L o v e l y i n Men (1955) C r e e l e y acknowledges that he i s f i r s t of a l l a poet of human r e l a t i o n s h i p : I have been c a l l e d a \"domestic\" p o e t , which c e l e b r a t i o n Robert Graves somewhere suggests i s the death of the Muse a l t o g e t h e r . But such i s my \" w o r l d \" , l i k e they say- -what space I can r e c o g n i z - - a n d wi th no conf inement of a n y t h i n g whatsoever . At one t ime i must have been, a woman was t h i s i n s i s t e n c e , i . e . , a f a c t i n h e r s e l f so v a r i a b l e her very presence was a wonder. W e l l , now where i s she? I t h i n k I have been there now and a g a i n , - - s i m p l y t h e r e . A poe t , c a l l him what you w i l l , knows h i s Muse, \"domesti drudge\" or not . - ' -^ In a l e t t e r of J u l y 19, 1953 to Corman, C r e e l e y admi t ted that \"I should not be w r i t i n g the poems I now am, good or b a d . . . i f I ' d l i m i t e d myse l f to a s t r i c t sense of the f o r m a l i s m I ' d got to i n LE FOU\" (1056) . T h i s f o r m a l i s m was broken i n \"The R i d d l e \" \"The Innocence\", \"The Rhyme\", and \"The C r i s i s \" i n A p r i l 1952 but - 1 1 5 A Q u i C K G r a p h , p. 4 (916) . ' 84 not c a s t o f f u n t i l a poem such as \"The C o n s p i r a c y \" (1954) which uses rhyme and r e p e t i t i o n f r e e l y to r e v e a l a mood of mocking d e s p e r a t i o n . In h i s l e c t u r e , \"I'm g i v e n to w r i t e poems\", C r e e l e y spoke of a r e c o g n i t i o n of l i m i t s , both p e r s o n a l and p o e t i c , which came to him about t h i s t ime: However, i t i s r e a l l y C h a r l e s Olson I must thank f o r whatever freedom I have as a p o e t . . . . Freedom has always been f o r me a d i f f i c u l t e x p e r i e n c e i n t h a t , when younger , I f e l t i t had to propose senses of e x p e r i e n c e and of the wor ld I was n e c e s s a r i l y not i n p o s s e s s i o n o f - - s o m e t h i n g i n t h a t way one might escape t o . I m i s t o o k , I t h i n k , the meaning of \" f r e e l y to w r i t e what one chooses\" , which both de Gourmont and Pound may w e l l have had i n mind, because I took \" f r e e l y \" to mean \"without s i g n i f i c a n t l i m i t \" and \"chooses\" to be an act of w i l l . I t h e r e f o r e was slow i n r e a l i z i n g the nature of O l s o n ' s p r o p o s a l , t h a t \" L i m i t s \/ are what any of us \/ are i n s i d e of\", j u s t t h a t I had taken such \" l i m i t s \" to be a f r u s t r a t i o n of p o s s i b i l i t y r a t h e r than the l i t e r a l p o s s i b i l i t y they i n f a c t must p r o v o k e . . . . However best i t might be p u t , what Olson made e v i d e n t to me was tha t w r i t i n g c o u l d be an i n t e n s e l y s p e c i f i c r e v e l a t i o n of one ' s own c o n t e n t , and of the world the f a c t of any l i f e must engage. I t has n o t h i n g to do wi th \" p e r s o n a l i s m \" - - w h i c h , l i k e p e r s o n a l i t y , i s a m i r r o r or r e f l e c t i v e image sense , a cosmet i c of i n t e n t i o n s . To the c o n t r a r y , what emerges i n the w r i t i n g I most va lue i s a c o n t e n t which cannot be a n t i c i p a t e d , which \" t e l l s you what you d o n ' t know\", which you s u b v e r t , t w i s t , or m i s r e p r e s e n t on ly on p e r i l o f c e a t h . What I have w r i t t e n I knew l i t t l e of u n t i l I had w r i t t e n i t . I f at t imes I have s a i d that I enjoy what I w r i t e , I mean t h a t w r i t i n g i s f o r me the most v i a b l e and open c o n d i t i o n of p o s s i b i l -i t y i n the w o r l d . Th ings have happened t h e r e , as they have happened nowhere e l s e - - a n d I am not s p e a k i n g of \" m a k e - b e l i e v e \" , which , be i t s a i d , i s \"as r e a l as r e a l can be\". In poems I have both d i s c o v e r e d and born testament to my l i f e i n ways no o ther p o s s i b i l i t y has g i v e n me. Can I l i k e a l l tha t I may prove to be , or does i t mat ter? Am I merely l i v i n g f o r my own a p p r o v a l ? In w r i t i n g i t has seemed to me that such s m a l l senses of e x i s t e n c e were a l t o g e t h e r gone, a d t h a t , at l a s t , the world \"came t r u e \" . Far from be ing i t s l i m i t or d i r e c t o r , the wonder i s that I have found myse l f to be there a l s o . 1 1 ^ T h i s passage argues an honesty i n content which has been the b a s i s of C r e e l e y ' s poe try s i n c e he wrote \"The Rhyme\", the f i r s t 1 1 6 A Quick Graph, ' pp. 70-72 (936) . L e c t u r e composed Winter 1966. 85 poem to d e a l d i r e c t l y wi th the s u s p i c i o n tha t Ann's l o v e might not be r e c o v e r a b l e . Yet C r e e l e y has never e x p l o i t e d p e r s o n a l m a t e r i a l to p r o j e c t a p a r t i c u l a r s e l f - i m a g e . Even i n the n o v e l The I s l a n d t h e r e i s no s e 1 f - j u s t i f i c a t i o n , o n l y a s i n c e r e attempt to examine the a u t o b i o g r a p h i c a l f a c t s . The s e l f - i m a g e , however i n c r e a s e d or l e s s e n e d , comes out of an i n t e n s i v e w r i t i n g p r o c e s s which a more e g o i s t i c poet c o u l d not w i t h s t a n d . The unsure e g o i s t probes r e l e n t l e s s l y u n t i l he ho lds to the l i g h t the l i v i n g t i s s u e s of h i s own s e l f , though he may be as r e p u l s e d or as p l e a s e d at the s i g h t \u2014 t h e poem \u2014as any r e a d e r . The poem i t s e l f , i f good, i s a p l e a s u r e r e g a r d l e s s . C r e e l e y admits that h i s 'Method i s not a \/ t e n d e r n e s s , but h o p e \/ d e f i n e d \" and even i n poems of ug ly content t h e r e i s a c h a r a c t e r i s t i c hope which i s at t h i s t ime o f t e n expressed as d e f i a n c e . The D i shones t Mailmen They are t a k i n g a l l my l e t t e r s , and they put them i n t o a f i r e . I see the f l a m e s , e t c . But do not c a r e , e t c . They burn e v e r y t h i n g I have, or what l i t t l e I have. I d o n ' t c a r e , e t c . The poem supreme, addressed to empti ness \u2014 t h i s i s the courage n e c e s s a r y . T h i s i s something q u i t e d i f f e r e n t . 1 1 ? In such ways l a u g h t e r r e l e a s e s r a n c o r . In an i n t e r v i e w with David Ossman i n May 1961 C r e e l e y r e p l i e d to the comment t h a t h i s e a r l y poems sometin.es moved towards \"macabre l i g h t ver se\" : For Love , p. 29 (485) . The q u o t a t i o n above i s from \"The C a r n i v a l \" , For Love , p. 26 (482) . 86 W e l l t h a t ' s a New England temper you must remember. When t h i n g s are r e a l l y i m p o s s i b l e , you s t a r t l a u g h i n g - - n o t weakly , the l o u d e r the b e t t e r . In the e a r l i e r poems you ment ion , the e m o t i o n a l terms are very d i f f i c u l t . The poems corne from a c o n t e x t t h a t was d i f f i c u l t to l i v e i n , and so I wanted the l i n e to be used to r e g i s t e r t h a t k i n d of p r o b l e m , o r tha t k i n d of c o n t e n t . E l sewhere I remember I d i d say that \"Form i s never more than an e x t e n s i o n of c o n t e n t \" , and by tha t I meant t h a t the t h i n g to be s a i d w i l l , i n that way, de termine how i t w i l l be s a i d . . . . Now the t r u n c a t e d l i n e , or the s h o r t , seemingly broken l i n e I was u s i n g i n my f i r s t poems, comes from the somewhat broken emotions that were i n v o l v e d i n t h e m . 1 1 8 I t i s an e m o t i o n a l i n t e n s i t y , a need and c a p a c i t y f o r l o v e , which m o t i v a t e s C r e e l e y ' s w r i t i n g , though he may f e a r what the p r o c e s s w i l l r e v e a l once set i n mot ion . T h i s i s movingly shown i n The I s l a n d , i n which C r e e l e y i s both w r i t e r us ing p e r s o n a l content and s u b j e c t ( J o h n ) , so t h a t he must attempt an o b j e c t i v e d r a m a t i z a t i o n of the i n t e r a c t i o n of the c h a r a c t e r s w h i l e a c t u a l l y r e l i v i n g an e m o t i o n - c h a r g e d r e l a t i o n s h i p . The c l imax to the nove l (and to the w r i t i n g p r o c e s s ) i s J o h n ' s d i s c o v e r y of J o a n ' s \" s u i c i d e \" , which d i s c o v e r y - - a t the time C r e e l e y thought he saw h i s w i f e ' s b o d y - - i s an u n c o n s c i o u s murder, an attempt to g a i n r e l e a s e from the r a n c o r which had s p i l l e d obscene ly from the i n c i s i o n of J o a n ' s abdomen. John has d e s p e r a t e l y pushed the f o r c e s at work, the h ideous s e c r e t s un loosed by the o p e r a t i o n , to t h e i r perhaps o therwi se e sc apab le c o n c l u s i o n , the \"death\" (by d i s t o r t i o n ) of the m a r r i a g e . Because John, l i k e C r e e l e y w r i t i n g the nove l years l a t e r , wanted ( i f s u b c o n s c i o u s l y ) t h i s p r o v i n g of h i s own worst s u s p i c i o n s , he f e r r e t s out the l o c a t i o n of a l o s t e r a s e r w i t h the same r i g o r , and d i s r e g a r d f o r h i s son ' s f e e l i n g s , as he t o r t u r e s Joan to \"confess the t r u t h \" about her i n n o c e n t 118 The S u l l e n A r t , p. 59 (107) . 87 meet ings wi th A r t i e . The pathos i s t h a t he both does and doesn' t want the d e b t , as A r t i e ' s own r e a l debt to him, to be p a i d o f f , s i n c e t h i s w i l l r e l e a s e him from his i n v o l v e m e n t , however g u i l t -p r o d u c i n g . The moments of compassion i n the n o v e l , as when John r e s c u e s W i l l i s , r e v e a l J o h n ' s m o t i v a t i o n , h i s now d e s p e r a t e need for l o v e and f r i e n d s h i p which makes him a w i l l i n g f o i l f o r A r t i e and the v i c t i m of numerous p r a c t i c a l f i a s c o s tha t he d o e s n ' t have the i n f l a t e d sense of ego to e x t r i c a t e h i m s e l f f rom. I t i s t h i s e n o t i o n a l v u l n e r a b i l i t y which e l i c i t s J o h n ' s g u i l t f o r hav ing hurt o t h e r s , e s p e c i a l l y f o r h i s s e x u a l \"cr imes\" a g a i n s t Joan, ' and which causes h i s m e r c i l e s s d i s t o r t i o n when he t u r n s upon h i m s e l f . The f a c t that o t h e r s are hur t a long the .way i s not i n t e n t i o n a l . The w r i t i n g of t h e . n o v e l was at t imes a d i s t u r b i n g re -enactment of r e l a t i o n s h i p s for C r e e l e y and he has spoken of a f e e l i n g of r e l i e f when i t was done. T h i s r e l e n t l e s s s e l f - e x a m i n a t i o n i s a p r o c e s s which took p l a c e i n the w r i t i n g of many of C r e e l e y ' s s t o r i e s and most of the poems a f t e r S p r i n g 1952. From t h i s d a t e , as The I s l a n d - - w h i c h d e a l s wi th the B a n y a l b u f a r p e r i o d , November 1952 to March 1954--t e s t i f i e s , C r e e l e y ' s marr iage began to f a l t e r and g i v e n h i s s e n s i t i v i t y and e x t r a o r d i n a r y a b i l i t y to t h i n k through h i s w r i t i n g t h i s provoked some very b i t t e r poems, most of which may be found i n ' the f i r s t and second s e c t i o n s of For Love . I t has o f t e n been assumed tha t these poems proceed from an e x i s t e n t i a l i m a g i n a t i o n , but C r e e l e y has c a l l e d e x i s t e n t i a l i s m \"an a w f u l l y sad way to t h i n k \" . C h a r l e s A l t i e r i accused him of s o l i p s i s m (\"the t h e o r y t h a t n o t h i n g e x i s t s or i s r e a l but the s e l f \" ) which i s a f a r cry 88 . from C r e e l e y ' s s t a t e d need for c l o s e p e r s o n a l r e l a t i o n s h i p s . 1 1 9 Even the poems i n which l o v e i s absent were w r i t t e n for l o v e , i n the hope that a p l a c e be kept open to r e c e i v e l ove when i t should be g i v e n . C r e e l e y ' s poems w r i t t e n between June 1952 and August 1954 were p u b l i s h e d i n Goad, Golden Goose, C o n t a c t , CIW\/n, and B lack  Mountain Review, but main ly i n O r i g i n V\/11 (Autumn 1952) to XIV (Aut umn 1954). These poems and o t h e r s w r i t t e n at the same time were c o l l e c t e d i n the f o u r books of p o e t r y p u b l i s h e d from J u l y 1953 to F a l l 1955. With the e x c e p t i o n of A l l That Is L o v e l y i n  Men (1955) these were s m a l l books p u b l i s h e d more because the o p p o r t u n i t y f o r p u b l i c a t i o n arose than because a b o o k - f u l l of poems had been w r i t t e n . Even so, there were some very f i n e poems among them. Those which C r e e l e y c o n s i d e r e d worthwhi l e when The Whip (1957) was assembled can be found i n tha t book and i n the f i r s t s e c t i o n of For Love , and t h o s e which were s e l e c t e d out can be found i n The Charm: E a r l y and U n c o l l e c t e d Poems. (The o r d e r of the poems i n these books i s on ly r o u g h l y c h r o n o l o g i c a l . ) Two s i g n i f i c a n t though l i t t l e known a n t h o l o g i e s which c o n t a i n e d work by C r e e l e y were p u b l i s h e d S p r i n g 1953. One, F e r r i n i &  O t h e r s , has been d i s c u s s e d b r i e f l y above (p. 57) . Nine American  Poets was e d i t e d by Robert Cooper, who i s g i v e n an u n f l a t t e r i n g p o r t r a y a l as W i l l i s i n The I s l a n d , and i n c l u d e d poems by O l s o n , Duncan, C r e e l e y , and B l a c k b u r n . I t was i s s u e d as the second 119 \"The Unsure E g o i s t : Robert C r e e l e y and the Theme of Noth ingness\" , Contemporary L i t e r a t u r e , X I I I , i i ( S p r i n g 1972), 162-185. Warren T a l l m a n k i n d l y a l lowed me to read the m a n u s c r i p t o f h i s note on C r e e l e y , \"Sunny S ide Up\", which e f f e c t i v e l y -answers A l t i e r i . 89 number of A r t i s a n , an E n g l i s h magazine e d i t e d by Cooper , and p r o b a b l y r e f l e c t s c o n t a c t s made through C r e e l e y j u s t be fore C o o p e r ' s v i s i t to B a n y a l b u f a r . The antho logy r e p r i n t e d three of C r e e l e y ' s poems from Le Fou and p u b l i s h e d a new poem, \"The Kind o f Act of\" (484) as w e l l as C r e e l e y ' s s i g n i f i c a n t essay \"To Def ine\" which has been r e p r i n t e d a number of t imes s i n c e (924) . From June 1952 to March 1953 C r e e l e y was at work on the poems that were to be p u b l i s h e d as h i s second book, The Kind Of  Act Of ( 2 ) , by h i s D i v e r s Press i n J u l y 1953. Only a h a n d f u l of the poems were w r i t t e n b e f o r e C r e e l e y l e f t France i n October 1952. \"The Kind of Act of\" and C r e e l e y ' s unique t r a n s l a t i o n \" A f t e r L o r c a \" ( 4 8 3 ) - - w h i c h appeared i n the Summer ( a c t u a l l y F a l l ) 1952 i s s u e of Goad--were sent i n a l e t t e r to Corman September 8, 1952. C r e e l e y commented t h a t the \"whole sense now l o d g e s , as a lways , i n most min imal means to a q u i c k & hard j u x t a p o s i t i o n of d a t a , and a l s o , i n rhythms most d i r e c t l y an i s s u e c f the sense to h a n d . . . . W i l l i a m s s t i l l s t r i k e s me as the l i n e ; i f one can extend h i s own use of l i n e , as s c o r e r , I t h i n k i t w i l l go c o n s i d e r a b l y beyond even Pound\" '1056) . A l s o sent i n t h i s l e t t e r was \"The Q u e s t i o n \" (791) , a poem t h a t Raymond Sous ter d i d n ' t unders tand and so wou ldn ' t p r i n t i n Contac t , which e d i t o r i a l honesty C r e e l e y admired . A l t h o u g h the poem was p u b l i s h e d i n Ori q i n VII (Autumn 1952) , S o u s t e r ' s r e f u s a l p r o b a b l y i n f l u e n c e d C r e e l e y ' s d e c i s i o n to l eave i t out of The Kind Of Act 0 f - - t h o u q h he s h o u l d n ' t have because i t ' s d e l i g h t f u l l y w icked: 90 The Q u e s t i o n A d e s c r i p t i o n of the sensuous i s i t s own answer: a m u l t i p l e l o v e i s mine. These women. Who i n t h e i r beds, t h e i r beds or b u t t o c k s bared for the n o c t u r n a l r e v e l s , agh! Or i f her t i t s be r o s e , or r o s e s , or any f l o w e r , with what, say, to water t h i s garden of p a r t i c u l a r i n t e n t ? 1 2 0 Most of the poems c o l l e c t e d i n The K i n d Of Act Of were w r i t t e n d u r i n g the Winter of 1952-53 a f t e r the C r e e l e y s had s e t t l e d i n B a n y a l b u f a r . In a l e t t e r to Corman December 20, 1952, C r e e l e y s a i d he had been w r i t i n g a number of poems and spoke of p l a n s to i s s u e a s i x t e e n - p a g e b o o k l e t l a t e S p r i n g through 0 Seymour-Smi th ' s Roebuck P r e s s . \"I'm working i n a t i g h t e r sense of l i n e , coming i n from sweep, e t c . , working i n broken rhythms, and now & aga in q u a r t e r & h a l f rhymes. I t i s more to get a h i t c h on the o t h e r l i n e , than a n y t h i n g e l s e - - a l s o , at present at l e a s t , the morbid n a t u r e s of my a t t e n t i o n s , l i k e they say , make use of the c r i p p l e d e f f e c t s \" (1056) . Four of the new poems r e f e r r e d to were p u b l i s h e d i n O r i g i n IX ( S p r i n g 1953) . They were \"In an Act of P i t y \" (796) , \"The Crow\" (466) , \"I Am Held by My Fear of Death\" (805) , a n d - - a poem l e f t out of The Kind Of Act 0 f - - \" T h e M i r r o r \" (793) . By S p r i n g 1953 C r e e l e y had s p l i t wi th Seymour-Smith and The Kind Of Act Of , which he d e d i c a t e d to Ann, was p u b l i s h e d as the second book of t h e i r j u s t - f o r m e d D i v e r s Pres s i n J u l y . The cover by Rene L a u b i e s was p r o b a b l y one of the works done d u r i n g 1 2 0 T h e Charm (1969) , p. 35. 91 h i s s tay wi th the C r e e l e y s i n May and June . Along wi th the poems mentioned above, the f o l l o w i n g were p u b l i s h e d , a l l f o r the f i r s t t i m e : - - T h e C a r n i v a l (482 ) - -The Charm ( 7 9 9 ) - - T h e B i r d , the B i r d , the B i r d (800) - -The Ped igree (807 ) - -A B a l l a d ( 8 0 1 ) - - T h e Method of A c t u a l i t y ( 8 0 6 ) - - F o r an A n n i v e r s a r y ( 8 0 2 ) - - L o s G u i t a r -i s t a s (803) - -Thank You ( 8 0 4 ) - - T h e D i shones t Mailmen ( 4 8 5 ) - - F o r M a r t i n (812) . The book r e c e i v e d two r e v i e w s , a b r i e f but k i n d l y one by L o u i s Dudek i n C I V \/ n , No. 5 (1953-54) and a l onger r e v i e w , q u o t i n g and g i v i n g a c a r e f u l r e a d i n g of the t i t l e poem, by C i d Corman i n Poe t r y March 1954. Corman's review was cut down from the copy sent by P o e t r y ' s e d i t o r s who d i d n ' t agree with h i s p r a i s e f o r C r e e l e y . I t was the f i r s t rev iew as such which C r e e l e y r e c e i v e d and the f i r s t t ime h i s poetry appeared i n any c o n t e x t i n Poe t r y . ( C r e e l e y ' s f i r s t p u b l i c a t i o n i n Poetry was i n August 1957.) The Kind Of Act Of was perhaps too q u i c k l y put t o g e t h e r to be as f i n e o v e r a l l as Le Fou , though tha t book a l s o c o n t a i n e d f lawed poems. Only f i v e poems from The Kind Of Act Of were l a t e r s e l e c t e d f o r The Whip, compared to ten poems from Le Fou . However, i t i s i n h i s second book of poems t h a t C r e e l e y comes i n t o f u l l a r t i c u l a t i o n of h i s own v o i c e and i n t o f u l l use of h i s g i v e n c o n t e n t . When c a r e f u l l y read the poems, wi th the p o s s i b l e e x c e p t i o n of \"The D i s h o n e s t Mailmen\" quoted above (p. 85 ) , are not b i t t e r , but compass ionate : In an Act of P i t y In an act of p i t y your hands are q u i e t l y o f f e r e d , and are h e l d at arm's l e n g t h , because they would be g e n t l e . 92 Because I am not g e n t l e my v o i c e i s h a r s h , and my hands l i k e w i s e . Because I have n o t h i n g f o r you, and am wrong. So i t i s to be wrong. To be at a l o s s and unhappy, which i s t h i s l o s s of one ' s h a p p i n e s s , i n one who had h e l d i t . 121 T e c h n i c a l l y , the poems make use of \" c r i p p l e d e f f e c t s \" to express the hopes and f e a r s for the marr iage - -\"We w i l l both be m i s e r a b l e \/ 1?2 but no one i s damned\" \" - - p r i m a r i l y a s t r i c t e r l i n e , caught i n by t r u n c a t e d rhythms and by rhyme. Often a whole poem i s p u l l e d up s h o r t by the ending but the words are u s u a l l y ab le to c a r r y the weight wi thout pa tnes s ( e x c e p t i o n : \"The P e d i g r e e \" ) . They are a l l c l o s e l y - w r o u g h t poems, h a r d l y l oose i n rhythm or wordy as the poems i n Le Fou o f t e n were. The dangers i n t h i s t i g h t e n i n g up are o b v i o u s : t h e r e i s a tendency f o r the poem to become too concerned wi th the way t h i n g s are s a i d . So t h a t some few poems 123 become mere \" s a y i n g s \" , as the s h o r t poem \"Thank You\". By J u l y 1 C r e e l e y had w r i t t e n the t h r e e poems which were p u b l i s h e d i n the Summer 1953 i s s u e of O r i g i n : \"The Immoral P r o p o s i t i o n \" (437) , \"The O p e r a t i o n \" (490) , and \"For Ul. C Ul. \" (488) . \"The O p e r a t i o n \" r e f e r s to Ann's o p e r a t i o n June 1953 which c o n f i r m e d a severance i n the marr iage as w e l l . I t was a r e a l i z a -t i o n f o r C r e e l e y t h a t \"My invo lvement i s j u s t an o l d \/ h a b i t u a l A number of poems w r i t t e n p r o b a b l y i n S p r i n g 1953 and not i n c l u d e d i n The Kind Of Act Of are s i m i l a r i n tone . These poems were \"A V a r i a t i o n \" (794) , \"A P'oem\" (792) , and \" M e d a l l i o n \" ' ( 7 9 6 ) - -the l a t t e r two p u b l i s h e d i n O r i g i n X'(Summer 1953)- -and s e v e r a l u n p u b l i s h e d poems. 121 The Charm (1969) , p. 43. \"For an A n n i v e r s a r y \" , The Charm (1969) , p. 47. 122 123 93 124 r e l a t i o n s h i p \" . \"The Immoral P r o p o s i t i o n \" , w r i t t e n out of the same c r i s i s , has o f t e n been misunders tood as s o l i p s i s t i c because not enough emphasis i s p laced on the f i r s t word of the poem: The Immoral P r o p o s i t i o n I f you never do a n y t h i n g f o r anyone e l s e you are spared the t r a g e d y of human r e l a t i o n -s h i p s . I f q u i e t l y and l i k e another time t h e r e i s the passage of an unexpected t h i n g : to look at i t i s more than i t was. God knows n o t h i n g i s competent n o t h i n g i s a l l t h e r e i s . The unsure e g o i s t i s not ^ 5 good f o r h i m s e l f . I f C r e e l e y were a sure e g o i s t he might have been an e x i s t e n t i a l i s t . In August 1953 Jonathan W i l l i a m s v i s i t e d the C r e e l e y s i n B a n y a l b u f a r and sugges ted tha t he p u b l i s h a s m a l l book of poems wi th i n k s by Rene L a u b i e s . By mid-August C r e e l e y had w r i t t e n f i v e more poems for the b o o k : - - T h e Trap ( 8 1 3 ) - - A p p l e U p p f l e (489) - - T h e R e v e l a t i o n (814)\u2014An' Obscene Poem ( 8 1 5 ) - - C h a s i n g the B i r d (816) . The Immoral P r o p o s i t i o n was p u b l i s h e d i n K a r l s r u h e -D u r l a c h , Germany i n November by W i l l i a m s ' Jargon Press and c o n s i s t e d of n ine l e a v e s t i e d t o g e t h e r , wi th seven drawings and the e i g h t poems mentioned above. In s p i t e of the d i f f i c u l t i e s of t h a t t ime t h e r e are poems i n t h i s book as warm and h o p e f u l \u2014 \"For W . C . W . \" , f o r i n s t a n c e \u2014 as any C r e e l e y has w r i t t e n . The  Immoral P r o p o s i t i o n , l i k e the t i t l e poem, i s the work of a \"moral\" poet i n v o l v e d f i r s t of a l l w i th the dilemmas p r i m a r y to h i s own l i f e wi th o t h e r s . 1 2 V o r Love , p. 34. 1 2 5 F o r Love , p. 31. 94 For C h r i s t m a s 1954, as a g i f t f o r f r i e n d s , the C r e e l e y s p u b l i s h e d about a hundred c o p i e s of A S n a r l i n g G a r l a n d of Xmas  Verses (-5) by \"Anonymous\", I t c o n t a i n e d f i v e new poems by C r e e l e y , p r o b a b l y w r i t t e n that Summer or F a l l : - - C h a n s o n ( 4 9 1 ) - -Hi T h e r e ! ( 8 1 7 ) - - D o n ' t S i g n A n y t h i n g (492)\u2014S opa ( 8 1 8 ) - - T h e C o n s p i r a c y (493) . T h i s b o o k l e t shows a s u r p r i s i n g change i n tone: the s e l f - m o c k e r y which was an u n d e r c u r r e n t i n the e a r l i e r books i s here out i n the open. The poems are w i t t y , almost gay. The book was p r o b a b l y put t o g e t h e r to complement the season but even so , the change i s t h e r e . C r e e l e y ' s f o u r t h book of p o e t r y , A l l That Is L o v e l y i n Men (6 ) , r e f l e c t s the f r i e n d s h i p s made when he taught at B lack Moun-t a i n C o l l e g e from March to J u l y 1954. (The d e d i c a t i o n was \"For C h a r l e s , C o n n i e , and K a t e \" . ) The book c o n s i s t e d of t w e n t y - s i x poems and f o u r t e e n drawings by Dan Rice and was p u b l i s h e d by Jonathan W i l l i a m s i n A s h e v i l l e , North C a r o l i n a , i n F a l l 1955. Most of the poems were w r i t t e n between Summer 1953 and August 1954. (\"Eros\" (811) had been w r i t t e n by March 1952 and was r e -p r i n t e d from F e r i i n i & O t h e r s . ) These were p u b l i s h e d for the f i r s t t i m e : \u2014 I Know a Man (494 ) - -The Bus ines s (500)\u2014Stomping wi C a t u l l u s (624)\u2014The T o t a l P a r t s of a World ( 8 2 7 ) \u2014 A l l That Is L o v e l y i n Men (509) . The r e s t of the poems, a l l p u b l i s h e d by F a l l 1954 i n C o n t a c t , C I V \/ n , B l a c k Mountain Review, Golden Goose or O r i g i n , were:\u2014The Changes ( \u00a3 1 9 ) \u2014 F o r I r v i n g (620 ) - - B r o k e n Back B lues (621)\u2014The End (495)\u2014The Death of Venus (496)\u2014The Lover (497)\u2014A C o u n t e r p o i n t (498)\u2014Wait for Me (499 ) - -Two . Way s of L o o k i n g i n a M i r r o r (795)\u2014For Somebody's M a r r i a g e (823)\u2014The D i s a p p o i n t m e n t (501)\u2014The Warning (502)\u2014A Form of A d a p t a t i o n 95 (5D3) - -Song ( 5 0 4 ) - - T h e Apology ( 8 2 5 ) - - L i k e They Say ( 5 0 6 ) - - F o r a F r i e n d ( S 2 6 ) - - L a Noche ( 5 0 7 ) - - T h e Whip ( 5 D B ) - - A l b a (828) . F r e d e r i c k Eckman, i n r e v i e w i n g A l l That Is L o v e l y i n Men f o r Poetry October 1956, made the o f t - q u o t e d c l a i m t h a t C r e e l e y was 126 \"the best poet under f o r t y now w r i t i n g \" . I t was, i n f a c t , C r e e l e y ' s f i n e s t book of* poems s i n c e Le Fou . Most of the poems are f i r s t - r a t e and s e v e r a l are almost p e r f e c t . More than h a l f were s e l e c t e d for The Whip. What i s i n t e r e s t i n g , though i t r e v e a l s more about h i s c r i t i c s than about C r e e l e y , i s t h a t out of a l l the c h e e r f u l l y s e l f - m o c k i n g poems i n the book two d e p r e s s i v e poems, \"I Know a Man\" and \"The E n d \" - - t h e second w r i t t e n be fore J u l y 1953--have been most s i n g l e d out for comment. \"I Know a Man\" i s o f t e n quoted as ev idence of C r e e l e y ' s \" e x i s t e n t i a l i s m \" , though to C r e e l e y the darkness i n the poem was \" j u s t the k i n d s of senses of c o n f u s i o n and muddiness and opaqueness t h a t people o b v i o u s l y f e e l i n t h e i r l i v e s \" and which he was o b v i o u s l y f e e l i n g 127 at that t i m e . By way of an a f f a i r wi th a s tudent at B l a c k Mountain C o l l e g e S p r i n g 1954, C r e e l e y r e a f f i r m e d h i s chance f o r l o v e - - i f not wi th Ann, then wi th another woman. Though l o v e i s \"a remote chance\" i t i s one \"on \/ which you s take \/ y o u r s e l f \" and, as a lways , i t i s \"a means of sustenance\".\"' ' 2 8 The poems i n A l l ' That Is L o v e l y i n Men are the \" r e c o r d s \" . In \"A Form of A d a p t a -t i o n \" , \"The Whip\", and o t h e r poems, C r e e l e y ' s l o v e - a f f a i r i s mentioned p o s i t i v e l y . Out of i t came one of the most wry ly l 2 6 P o e t r y , LXXXIX, 60-62 (282) . 12 7 The Unmuzzled Ox, I , i (November 1971) , p. 39. 1 2 8 \" T h e B u s i n e s s \" , For Love , p. 44. 96 b e a u t i f u l l o v e poems i n the language: A l l That Is L o v e l y i n Men N o t h i n g f o r a d i r t y man but soap i n h i s b a t h t u b , a greasy hand, l o v e r ' s nuts p e r h a p s . Or e l s e something l i k e sand wi th which to scour him f o r a l l -^ 29 tha t i s l o v e l y i n women. VIII In November 1953, i n need of a d v e r t i s i n g to a t t r a c t s t u d e n t s to the f a i l i n g B l a c k Mountain C o l l e g e , O l s o n , then r e c t o r , asked C r e e l e y - - w h o was to come to. the c o l l e g e to t e a c h w r i t i n g i n the S p r i n g - - t o e d i t a new magazine to be c a l l e d B lack Mountain Review. Ol son saw i t as \"100 pages , b ig rev iew s e c t i o n , and p lanned to compete wi th Kenyon, P a r t i s a n , NMQ (what e l se i s t h e r e , are Hudson, and Sewanee, s t i l l i n e x i s t e n c e ? ) . Anyway, that s o r t of t h i n g . And wi th a c i r c u l a t i o n of 2500 to be shot a t . A l s o , to 130 c a r r y ads\". The magazine , to be produced on $500 an i s s u e , . was to appear q u a r t e r l y from S p r i n g 1954. At f i r s t w o r r i e d about o v e r l a p p i n g wi th O r i g i n , though by 1953 w e l l aware of the l i m i t a -t i o n s of t h a t magazine , C r e e l e y soon r e a l i z e d tha t B lack Mountain  Review would widen the f r o n t by be ing c o n s i d e r a b l y more c r i t i c a l 129 For Love , 52. L e t t e r to Corman December 14, 1953, L e t t e r s for O r i g i n , p . 133. 97 and i m p r o v i s a t i o n a l . In the I n t r o d u c t i o n to the AMS r e p r i n t of B lack mountain Review C r e e l e y r e c a l l s : I c e r t a i n l y d i d n ' t want to compete wi th C i d . But one p o s s i b i l i t y d id seem to me l a c k i n g i n O r i g i n , d e s p i t e o c c a s i o n a l notes and r e v i e w s , and t h a t was the ground t h a t an a c t i v e , r a n g i n g c r i t i c a l s e c t i o n might e f f e c t . I wasn't t h i n k i n g of c r i t i c i s m f i n a l l y as judgement of whether or no t h i s or tha t book might be deemed \"good\" or \"bad\". What I hoped f o r , and h a p p i l y d i d ge t , was c r i t i c a l w r i t i n g t h a t would be, i n O l s o n ' s sense , \" p r o s p e c t i v e \" , a .kind of w r i t i n g t h a t would break down h a b i t s of \"subjec t\" and g a i n a new e x p e r i e n c e of contex t g e n e r a l l y . I f I have any d i s a p p o i n t m e n t i n the magazine i n r e t r o s p e c t , i t ' s on ly t h a t t h i s p a r t of i t does not extend as f a r as I had hoped.131 With an unbound copy of the f i r s t i s s u e i n hand, F e b r u a r y 27, 1954, C r e e l e y wrote to Corman: As you say, i t can w e l l go as a complement to ORIGIN i n p o i n t of rev iews et a l . I t h i n k t h e r e ' s some purpose i n d e v e l o p i n g a l o t of t h i s \" a t t i t u d e \" , c a l l i t , which has been the b a s i s of ORIGIN work the past t h r e e y e a r s . So t h a t i t c o u l d go, tho not r i g i d l y , as l ) rev iews \u2014 to engage c u r r e n t w r i t i n g , a l s o r e l e v a n t past i n s t a n c e s . . . 2) a r t i c l e s \u2014 t o d e v e l o p , or make c l e a r , c e r t a i n emphases, or a t t i t u d e s . . . and 3) examples \u2014 a g a i n i n no c a t e g o r i c a l sense , but j u s t as what makes i t , as & when. (1056) Thouqh B l a c k Mountain Review d i d ach i eve a much wider base than O r i g i n the e d i t i o n for each i s s u e was c l o s e r to 500 c o p i e s than O l s o n ' s i n f l a t i o n a r y 2500. C r e e l e y drew on h i s e a r l i e r e x p e r i e n c e at s t a r t i n g a magazine, r e c a l l i n g Pound's a d v i c e : He suggested I t h i n k of the magazine as a cen ter around w h i c h , . \"not a box w i t h i n w h i c h \/ any i t e m \" . He proposed that verse c o n s i s t e d of a c o n s t a n t and a v a r i a n t , and then t o l d me to t h i n k from that to the contex t of a magazine . He suggested I get at l e a s t four o t h e r s , on whom I c o u l d depend u n e q u i v o c a l l y for m a t e r i a l , and to make t h e i r work the mainstay of the magaz ine ' s form. But t h e n , he s a i d , l e t the r e s t of i t , r o u g h l y h a l f , be as v a r i o u s and hogwi ld as p o s s i b l e , \"so that any i d i o t t h i n k s he has a chance of g e t t i n g i n \" . He c i t e d i n s t a n c e s of what he c o n s i d -ered e f f e c t i v e e d i t i n g , The L i t t l e Review and the N o u v e l l e Revue  F r a n c a i s e when i t s . e d i t o r gave complete l i c e n s e to the nuc l eus of w r i t e r s on whom he depended \"to w r i t e f r e e l y what they chose\". (114) I n t r o d u c t i o n w r i t t e n December 1.5, 1968, B lack Mountain  Review, r e p r i n t of Volume I (New Yorx: AMS P r e s s , 1969) (114) . 93 The i d e a of a magazine as a cen ter f o r a group of w r i t e r s was more imme dia te ly u s e f u l to C r e e l e y i n l a t e 1953 than i t had been i n 1950, s i n c e he had e s t a b l i s h e d i n t i m a t e c o n n e c t i o n s wi th o ther magazines and p r e s s e s and through D i v e r s Press had begun to p u b l i s h some of those w r i t e r s whose work he admired . B lack Mountain Review was to extend t h i s a c t i v i t y , g i v i n g s y m p a t h e t i c 132 p u b l i c a t i o n to many w r i t e r s f a r removed from the O r i g i n group . With Ol son at B l a c k Mountain C o l l e g e s i n c e Summer 1951, C r e e l e y was a l r e a d y f a m i l i a r wi th the work of many of the w r i t e r s t h e r e . When B l a c k Mountain Review began p u b l i c a t i o n the s t u d e n t s and f a c u l t y had acces s to c o p i e s and the a s s o c i a t i o n was c l o s e u n t i l the c o l l e g e shut down F a l l 1956. L i k e D i v e r s P r e s s , B lack Mountain Review was to be an example of \" w r i t e r s p u b l i s h i n g t h e i r own work\", though the group was open-ended: What I f e l t was the purpose of the p r e s s has much to do with my i n i t i a l sense of the magazine a l s o . For me, and the o ther w r i t e r s who came to be i n v o l v e d , i t was a p l a c e d e f i n e d by our own a c t i v i t y and accompl i shed a l t o g e t h e r by o u r s e l v e s - - a p l a c e where in we might make e v i d e n t what we, as w r i t e r s , had found to be s i g n i f i c a n t , both f o r o u r s e l v e s and f o r t h a t w o r l d - - n o doubt o f t e n vague to us indeed- -we hoped our w r i t i n g might e n t e r . (114) In d e f i n i n g h i s sense of a l i k e magazine for T i s h , C r e e l e y wrote i n 1962: A magazine , not i n t e r e s t e d i n be ing e i t h e r the l a s t word a p r o p o s some f u n c t i o n , or t a s t e , or s imply a r e f l e c t i o n of what i s a l r e a d y \"valued\" s p e c i o u s l y ' or not \u2014 such a magazine may d e f i n e the new p o s s i b i l i t y by b e i n g , q u i t e l i t e r a l l y , the p l a c e where i t can be f o r m u l a t e d . . . . I b e l i e v e i n a magazine which i s the s p e c i f i c i s s u e of a few men, f a c i n g s i m i l a r prob lems , p l a c e s , t h i n g s . ! 3 3 See \"An Index to the B l a c k Mountain Review\" by Irene Lynn S l e e t h , S e r i f , I I , i i (June 1965), 22-28 ( 2 3 2 ) . Pau l B l a c k b u r n ' s essay \"The G r i n d i n g Down\" has u s e f u l indexes as w e l l ; K u l c h u r , I I I , No. 10 (S ummer 1963), 9-18 (231) . 1 3 3 ' A Quick G r a p h , pp. 40-41 (931) . 99 C r e e l e y i n v i t e d B l a c k b u r n , L a y t o n , O l s o n , and Kenneth Rexroth to be c o n t r i b u t i n g e d i t o r s to B l a c k Mountain Review. ( R e x r o t h 134 and B l a c k b u r n withdrew s h o r t l y and were r e p l a c e d by Robert H e l l m a n . A l l e n G i n s b e r g came i n on the l a s t i s s u e . ) Corman, L e v e r t o v , Duncan, Jonathan W i l l i a m s , and L o u i s Zukof sky - -whose correspondence wi th C r e e l e y began November 1954--were a l s o very much there i n Pound's sense of h a v i n g w r i t e r s to depend on f o r c o n t r i b u t i o n s . O l s o n , L e v e r t o v , B l a c k b u r n , Duncan, and L a y t o n were the w r i t e r s C r e e l e y s a i d he admired most among h i s contem-p o r a r i e s i n the m i d - f i f t i e s , and Zukofsky he f e l t much i n need of a t t e n t i o n . These w r i t e r s p r o v i d e d a core of h i g h q u a l i t y work 135 which with C r e e l e y ' s own, much of i t pseudonymous, gave a sense of s o l i d i t y and c o n t i n u i t y to the seven i s s u e s of B lack  Mountain Review from 1954 to 1957. The c o n n e c t i o n with O r i g i n for the f i r s t i s s u e s at l e a s t was o b v i o u s . Many of O r i g i n ' s authors appeared s u b s e g u e n t l y i n B l a c k  Mountain Review, among them O l s o n , C r e e l e y , L e v e r t o v , B l a c k b u r n , 1 3 4 C r e e l e y ' s correspondence wi th B l a c k b u r n , o f t e n i n c l u d i n g d e t a i l e d c r i t i c i s m of one a n o t h e r ' s poems, had been a source of l e a r n i n g to both s i n c e 1950. B l a c k b u r n was at the U n i v e r s i t y o f T o u l o u s e c o n t i n u i n g h i s P r o v e n g a l t r a n s l a t i o n s from 1954 to 1956 and he and h i s wife came to B a n y a l b u f a r i n August 1954. An a r g u -ment w i t h C r e e l e y took p l a c e and B l a c k b u r n r e s i g n e d as C o n t r i b u -t i n g E d i t o r . The f r i e n d s h i p was l a t e r patched and B l a c k b u r n ac ted as d i s t r i b u t o r for D i v e r s Pres s (and Jargon P r e s s ) books and B l a c k Mountain Review i n New York C i t y . 135 The f o l l o w i n g l i s t of C r e e l e y ' s work i n Black Mountain  Review r e f e r s the reader to e n t r i e s i n the I n v e n t o r y . Poems: No. 1 (504, 828) , No. 2 (822) , No. 3 (499, 508, 8 2 1 ) , No. 4 (797) , N o . 5 (519) , No. 6 ( 5 1 1 , 517, 523) E s s a y s : No. 4 (979) , No. 6 (983) E d i t o r i a l Comment: No. 3 (141) I n t r o d u c t i o n s to A r t Work: No. 1 (992) , No. 3 (926) , No. 4 (993) , No. 6 ( 9 9 4 ) , No. 7 (995 J ~ ~ Reviews: No. 1 (968, 969) , No. 2 (.943, 981) , No. 3 ( 9 8 0 ) , No. 4 (942, 977) , No. 5 (982) 1 0 0 D u n c a n , C o r m a n , A r t a u d , B r o n k , W i l l i a m s , L a u b i e s , L a r r y E i g n e r , P a u l C a r r o l l , E d w a r d D o r n , G a e l T u r n b u l l , a n d S a n f o r d E d e l s t e i n . (A n u m b e r o f t h e s e w r i t e r s h a d o r i g i n a l l y b e e n i n t r o d u c e d t o C o r m a n by C r e e l e y . ) I r v i n g L a y t o n a n d J o e l O p p e n h e i m e r a p p e a r e d f o r t h e f i r s t t i m e c o n c u r r e n t l y i n b o t h m a g a z i n e s , a n d F r e d e r i c k E c k m a n a n d S e y m o u r - S m i t h a p p e a r e d f i r s t i n B l a c k M o u n t a i n R e v i e w t h e n i n O r i g i n . B e t w e e n J u n e 1 9 5 3 a n d F a l l 1 9 5 5 C r e e l e y ' s o w n D i v e r s P r e s s p u b l i s h e d b o o k s b y B l a c k b u r n , C r e e l e y , E i g n e r , O l s o n , L a y t o n , K i t a s o n o , S e y m o u r - S m i t h , D u n c a n , C o r m a n , a n d D o u g l a s W o o l f . A d s f o r O r i g i n , G o l d e n G o o s e , a n d C o n t a c t , J a r g o n , a n d D i v e r s P r e s s e s a p p e a r e d i n B l a c k M o u n t a i n R e v i e w a s w e l l . S o t h e c o n n e c t i o n s w e r e c l o s e , b u t B l a c k M o u n t a i n R e v i e w h a d t h e a d d e d a d v a n t a g e o f t h e a s s o c i a t i o n w i t h t h e c o l l e g e w h i c h b r o u g h t i n s u c h new w r i t e r s a s Tom F i e l d , F i e l d i n g D a w s o n , a n d M i c h a e l R u m a k e r , a s w e l l a s J o n a t h a n W i l l i a m s , P a u l G o o d m a n , a n d o t h e r s T ^  f\\ e a r l i e r c o n n e c t e d w i t h O r i g i n . C r e e l e y ' s o w n c o n t i n u e d s e a r c h f o r g o o d w r i t i n g n e t t e d W o o l f , K i t a s o n o , Z u k o f s k y , E d w a r d D a h l b e r g , L o r i n e N i e d e c k e r , J a m e s P u r d y , S h e r r y M a n g a n , A l f r e d K r e y m b o r g , J u d s o n C r e w s , a n d H u b e r t S e l b y J r . , a m o n g o t h e r s . T h e s e v e n t h i s s u e f o r m e d a u n i q u e b r i d g e b e t w e e n t h e B l a c k M o u n t a i n a n d t h e W e s t C o a s t w r i t i n g s c e n e s , p u b l i s h i n g w o r k C r e e l e y h a d c o l l e c t e d w i t h A l l e n G i n s b e r g ' s h e l p i n S a n F r a n c i s c o o n a v i s i t T h e d i s t i n c t i o n s b e t w e e n s t u d e n t s a n d f a c u l t y a t B l a c k M o u n t a i n C o l l e g e w e r e o f t e n b l u r r e d a n d r e l a t i o n s h i p s w e r e c l o s e w i t h a b s e n t e e s . Among t h o s e t h e r e a t s ome t i m e i n t h e e a r l y f i f t i e s w e r e : O l s o n , C r e e l e y , D u n c a n , H e l l m a n , G o o d m a n ( a l l w r i t i n g t e a c h e r s ) ; J o n a t h a n W i l l i a m s , O p p e n h e i m e r , D o r n , D a w s o n , R u m a k e r , F i e l d , J o h n W i e n e r s ( a l l w r i t i n g s t u d e n t s ) ; M e r c e C u n n i n g h a m , C a t h e r i n e L i t z ( d a n c e ) ; S t a n l e y V a n d e r b e e k ( f i l m ) ; J o h n C a g e , S t e f a n W o l p e , L o u H a r r i s o n ( m u s i c ) ; Wes H u s s ( d r a m a ) ; J o h n C h a m b e r l a i n ( s c u l p t u r e ) ; J o e F i o r e , A a r o n S i s k i n d , D a n R i c e , H a r r y C a l l a h a n , De K o o n i n g , K l i n e , T w o r k o v , M o t h e r w e l l , G u s t o n , R a u s c h e n b e r g ( a r t ) . 101 t h e r e S p r i n g 1956, i n c l u d i n g w r i t i n g by G i n s b e r g , Kerouac , P h i l i p UJhalen, M i c h a e l M c C l u r e , W i l l i a m B u r r o u g h s , and Gary S n y d e r . C r e e l e y ' s own i n t e r e s t i n a r t which p r o b a b l y began wi th meeting Ash l e y Bryan and Rene L a u b i e s i n F r a n c e and was e n c o u r -aged by h i s a s s o c i a t i o n wi th Dan Rice and o ther a r t i s t s at the c o l l e g e S p r i n g 1954, brought i n photographs and r e p r o d u c t i o n s by Franz K l i n e , Aaron S i s k i n d , Harry C a l l a h a n , P h i l i p Gus ton , L a u b i e s , Je s s C o l l i n s , and o t h e r s . Katue K i t a s o n o d i d the d e s i g n on the cover of the f i r s t f o u r i s s u e s and the l a s t t h r e e c o v e r s were by John A l t o o n , Dan R i c e , and Edward C o r b e t t r e s p e c t i v e l y . The e x t r a o r d i n a r y d i v e r s i t y of w r i t e r s p u b l i s h e d i n B l a c k  Mountain Review makes the d e s i g n a t i o n of on ly a few as \"The B lack Mounta in Poets\" seem u n r e a s o n a b l e , though the succes s of the magazine seems more r e s p o n s i b l e for t h i s l a b e l than the e x i s t e n c e of the c o l l e g e i t s e l f i n the f i f t i e s . Of the core group on ly C r e e l e y and O l s o n , and Duncan and O l s o n taught there c o n c u r r e n t l y and n e i t h e r L e v e r t o v nor B l a c k b u r n were at the c o l l e g e . S t r e t c h i n g the group to i n c l u d e Edward Dorn, J o e l Oppenheimer, Jonathan W i l l i a m s , a l l s t u d e n t s at the c o l l e g e , and p o s s i b l y a l s o L a r r y E i g n e r , who was no t , makes the l a b e l seem even l e s s f i t t i n g , though a l l the abovementioned w r i t e r s appeared i n B lack Mountain  Review. I shou l d note here t h a t the tendency of r e c e n t c r i t i c s to r e f e r to the B l a c k Mountain Poets as the \" P r o j e c t i v i s t \" poets i s p r o b a b l y a good one, though t h i s term i s o f t e n m i s u n d e r s t o o d , and i n f a c t may never c a t c h up to the e a r l i e r one i n p o p u l a r i t y . A l t h o u g h some would have i t tha t \" O r i g i n poets\" i s more 102 h i s t o r i c a l l y a c c u r a t e , the n e c e s s i t y for each poet to p r o j e c t h i s \/ h e r own v o i c e , brought home so s t r o n g l y i n 1950 by O l s o n ' s \" P r o j e c t i v e V e r s e \" , i s i n f a c t the on ly common denominator , and one c l e a r l y a c c e p t e d by 1953, of these h i g h l y d i v e r s e p o e t s . As w e l l as p r o v i d i n g the main o u t l e t from 1954 to 1957 f o r w r i t e r s b e g i n n i n g to a s s o c i a t e with the O r i g i n group on a wider f r o n t , B lack Mounta in Review p u b l i s h e d w r i t i n g which C r e e l e y admired s i m p l y f o r i t s own sake . The magazine was open to the best e x p e r i m e n t a l new w r i t i n g o f any k i n d . C r e e l e y was a very c a r e f u l e d i t o r , t u r n i n g down even work he had r e q u e s t e d i f i t d i d n ' t meet h i s r i g o r o u s s t a n d a r d s for the magazine . T h i s i n s i s -tence on the q u a l i t y and contemporary r e l e v a n c e of i n d i v i d u a l works and a l s o the care f o r the impact of each i s s u e i s the main reason why B l a c k Mountain Review i s s t i l l r e a d a b l e today w h i l e O r i g i n , w i th i t s s u r p l u s of f o r e i g n w r i t i n g , o f t e n seems d a t e d . (The p h y s i c a l c h a r a c t e r of B lack Mountain Review was a l s o more r e a d a b l e and open . ) C r e e l e y gave f i r s t s i g n i f i c a n t p u b l i c a t i o n to a number of young w r i t e r s who are j u s t now r e c e i v i n g more a c t i v e r e c o g n i t i o n . A movement beyond O r i g i n was apparent w i th the f i r s t i s s u e i n the denser f o r m a t , the 1955 a n n u a l . A l though t r i b u t e was s t i l l p a i d to Pound, W i l l i a m s , and t h e i r g e n e r a t i o n , a f e e l i n g of accompl i shment w i t h i n a new g e n e r a t i o n and of b u i l d -i n g on t h a t was c e n t r a l . By the S p r i n g of 1955 C r e e l e y f e l t h i m s e l f to have d r i f t e d away from most of the w r i t e r s i n O r i g i n : \" A p p r e c i a t e them as I o f t e n do, I can see almost n o t h i n g we share 137 i n common\". He had a l s o f i n a l l y t i r e d of Corman's l a p s e s i n 137 L e t t e r to Corman F e b r u a r y 3, 1955 at I n d i a n a U n i v e r s i t y (1056) . 103 t a s t e and h i s e s s e n t i a l c o n s e r v a t i s m . Corman c o n t i n u e d i n h i s o l d ways, f i n a l l y unable to move beyond h i s c o n c e r n wi th o r a l p o e t r y i n t o the wider range of new w r i t i n g i n which f i c t i o n and c r i t i c i s m were p i c k i n g up on the achievement of p o e t r y i n the e a r l y f i f t i e s . I r o n i c a l l y , by p u b l i s h i n g C r e e l e y ' s s t o r i e s and \"Notes f o r a New Prose\" i n O r i g i n II he had done much to e n c o u r -age t h i s wider movement. Robert Duncan's e x p e r i e n c e was shared by J o e l Oppenheimer, F i e l d i n g Dawson, and o t h e r s connected with Black Mountain Review: Between 1951 and 1954 with the f i r s t i s s u e s of ORIGIN, e d i t e d by C i d Corman, a c o n f i g u r a t i o n of new w r i t i n g appeard which d e t e r -mined my concept of what the t a s t e s of the poet were to be. C h a r l e s O l s o n , Denise L e v e r t o v and Robert C r e e l e y were p r i m a r i e s i n t h a t f i e l d \u2014 they gave d i r e c t i v e and c h a l l e n g e . I t took me a long time to grasp what Creeley was do ing i n those l y r i c s : they r e s i s t f a c i l e a p p r e c i a t i o n s . I t was h i s prose tha t commanded my a d m i r a t i o n , f o r the s h o r t s t o r i e s i n THE GOLD DIGGERS which appeard i n 1954 c l e a r l y belongd i n a c l a s s wi th the best of Lawrence, Mary B u t t s , or W i l l i a m C a r l o s W i l l i a m s . The s h o r t s t o r y i s a b e f o u l d nest t o d a y , and h e r e , at l a s t , was a --young w r i t e r s c r u p u l o u s i n h i s a t t e n t i o n s . From the s t a r t Black Mountain Review was weighted i n f a v o r of p r o s e . The rev iews of Theodore Roethke and Dylan Thomas i n the f i r s t i s s u e (which caused R e x r o t h ' s r e s i g n a t i o n and aroused Duncan's i n d i g n a t i o n ) q u i c k l y and a g g r e s s i v e l y p l a c e d t h e magazine a g a i n s t the s t i l l dominant academic t r a d i t i o n . Subsequent essays and rev iews i n B lack Mountain Review had much to do wi th weakening i t . J u s t as O r i g i n had s i g n i f i c a n t l y a l t e r e d the s t a t e of contem-p o r a r y p o e t r y by p u b l i s h i n g the best new poems by the O r i g i n group from 1951 to 1954, so B l a c k Mountain Review advanced prose w r i t i n g 1 i n \" I n t r o d u c t o r y Notes by Robert Duncan\", Robert C r e e l e y :  Reading and Commenting on His Poems [Program for r e a d i n g J u l y 16, 1959: San F r a n c i s c o S t a t e C o l l e g e J , p. 1 (182) . 104 from 1954 to 1957 by s e a r c h i n g out r a r e i n s t a n c e s of new f i c t i o n which encouraged by example (and by hope of l i k e p u b l i c a t i o n ) more and b e t t e r prose w r i t i n g . In 1954 C r e e l e y had d i f f i c u l t y f i n d i n g enough good f i c t i o n f o r a q u a r t e r l y and t h i s l a c k of m a t e r i a l was one reason why B lack Mountain Review became an annual i n 1955. Even so , i n the f i r s t s i x i s s u e s new f i c t i o n appeared by Douglas Woolf , L a r r y E i g n e r , Bertram Lippman, M i c h a e l Rumaker, James Purdy , Ramon Sender , and F i e l d i n g Dawson. By 1957 c o n s i d e r a b l y more new prose was a v a i l a b l e . a s the seventh i s s u e shows, wi th f i c t i o n by Kerouac , W i l l i a m Burroughs , Hubert Se lby \u2022 J r . , . E d w a r d Dorn , and S h e r r y Mangan. The prose w r i t e r s p u b l i s h e d i n B l a c k Mountain Review form the core of the group i n New  American S t o r y (New Y o r k : Grove, 1965) which was e d i t e d by C r e e l e y and Donald A l l e n . T h i s book c o n t a i n s f i c t i o n by Kerouac , B u r r o u g h s , Rumaker, C r e e l e y , S e l b y , Dorn , Woolf , W i l l i a m E a s t l a k e , LeRo i Jones , and John Rechy. ( C r e e l e y o r i g i n a l l y wanted F i e l d i n g Dawson to be i n c l u d e d . ) I X The f i r s t i s s u e of B lack Mountain Review was p r i n t e d j u s t ' b e f o r e C r e e l e y l e f t M a l l o r c a to t each at B lack Mountain C o l l e g e from March to J u l y 1954. O l son had i n f a c t r e s c u e d him from a very d i f f i c u l t t ime i n h i s m a r r i a g e , though the c o l l e g e he a r r i v e d at was i n much reduced c i r c u m s t a n c e s from the l i b e r a l e d u c a t i o n a l community founded by John Andrew R i c e i n 1933. C r e e l e y r e c a l l e d : 105 I d i d n ' t meet Ol son u n t i l I went to teach at B lack Mountain i n 1954\u2014which job saved my l i f e i n many ways, and c e r t a i n l y changed i t a l t o g e t h e r . L i v i n g i n M a l l o r c a , d e s p i t e the ease and beauty of the p l a c e , I ' d begun to f e e l I was l i t e r a l l y good for n o t h i n g - - s o O l s o n ' s o f f e r of a j o b , and e q u a l l y h i s g i v i n g me the magazine to e d i t , changed that s u b j e c t c o m p l e t e l y . By the t ime I got to the c o l l e g e , t h i n g s were p r e t t y t i g h t . There c a n ' t have been more than twenty or t w e n t y - f i v e s t u d e n t s , and every day i t seemed was a k i n d of l a s t d i t c h s tand .139 C r e e l e y began t e a c h i n g f o r the f i r s t t ime the day he a r r i v e d at the c o l l e g e . \"I worked out the course as I went a l o n g . It t u r n e d i n t o a r e a d i n g , not so much an e x p l i c a t i o n , but a f a i r l y i n t e n s i v e r e a d i n g of W i l l i a m C a r l o s W i l l i a m s , main ly from the f i r s t New D i r e c t i o n s book, the c o l l e c t e d s h o r t e r poems. We s i m p l y read them and t a l k e d about senses of w r i t i n g , and used 140 that as the v o c a b u l a r y \" . The d i r e c t invo lvement wi th a s m a l l number of e x c e p t i o n a l s t u d e n t s , among them Michae l Rumaker and Tom F i e l d , and f r e q u e n t d i s c u s s i o n s with other l e c t u r e r s about methods of i n s t r u c t i o n enabled C r e e l e y to beg in to see t e a c h i n g as a p o s s i b l e p r o f e s s i o n . C r e e l e y ' s c l o s e s t r e l a t i o n s h i p cf the t ime was wi th the a r t i s t Dan Rice u n t i l he f e l l i n love with a s t u d e n t , C y n t h i a , and Rice d i d a l s o . C y n t h i a a p p a r e n t l y drew back from t h a t a f f a i r and C r e e l e y r e t u r n e d to M a l l o r c a on l e a v e of absence from the c o l l e g e i n J u l y 1954. The second i s s u e of B lack Mountain Review was p u b l i s h e d soon a f t e r h i s r e t u r n . In October the C r e e l e y s moved to a more c o m f o r t a b l e house i n Bonanova which had the advantage' of be ing c l o s e to the p r i n t e r i n nearby Palma. 1 3 9 \" T h e A r t of Poe try X\", P a r i s Review, X I , No. 44 ( F a l l 1968) , 170 (136) . \"'\"^^Excerpt from i n t e r v i e w with Ann C h a r t e r s , \" I n t r o d u c t i o n \" , The S p e c i a l I ' i e w o f H i s t o r y by C h a r l e s Olson ( B e r k e l e y : Oyez, 1970), p. 3 (108) . 106 Whi le s t a y i n g wi th C y n t h i a i n New Hampshire i n June 1954 C r e e l e y had w r i t t e n \"The M u s i c i a n s \" (469) , h i s f i r s t s t o r y i n almost a y e a r , which r e l a t e s an e x p e r i e n c e t h a t took p l a c e i n New York tha t S p r i n g . Back on M a l l o r c a i n August he wrote \"The S u i t o r \" (468) w i th C y n t h i a as the h e r o i n e , though the h e r o ' s pred icament i s a \" f a n t a s t i c \" e x a g g e r a t i o n of what C r e e l e y ' s f e e l -i n g s must have been i n the a c t u a l s i t u a t i o n i n New Hampshire . S h o r t l y a f t e r w r i t i n g \"The S u i t o r \" , wh i l e on a v i s i t to P a r i s , he wrote \"The Dress\" (470) about h i s then tenuous r e l a t i o n s h i p with Ann. C r e e l e y ' s tendency to d i s t a n c e h i m s e l f m e n t a l l y from e m o t i o n a l l y - c h a r g e d s i t u a t i o n s i s i n e f f e c t both s u b j e c t and method of the s t o r y : I was w r i t i n g the s t o r y not i n a sense of symbols , a l t h o u g h o b v i o u s l y symbols are t h e r e , but i n a s o r t o f - - s u r r e a l i s t would be my own e s t i m a t i o n of t h a t s t o r y ' s c o n t e x t . I wanted to s t a t e i n s u r r e a l i s t terms the p a r t i c u l a r i s o l a t i o n I was f e e l i n g i n the i n t e n s i t y of these two women's t a l k i n g . My p l a c e became the imagined cave under the f l o o r , and when I took them i n t o i t , I took them i n t o the i n t e n s i t y , and p r i v a c y of my own e x p e r i e n c e , wi th i t s own c o n t a i n m e n t . Then I was u s i n g caves I knew i n M a l l o r c a . They have these w i l d s t a l a g m i t e s and s t a l a c t i t e s which, you know, are o b v i o u s l y i n s i s t e n t s e x u a l p r e s e n c e s . So t h a t the whole v o c a b u l a r y s o r t of melted i n t h i s s t o r y which was r e a l l y about the dilemma of the r e l a t i o n to a l i t e r a l wi fe and her own senses of i n s e c u r i t y and the r e a s s u r a n c e h a p p i l y t h i s o ther f r i e n d was g i v i n g her ; and the dilemma of the dres s and \"who was she?\"141 142 T h i s was the l a s t s t o r y C r e e l e y wrote u n t i l November 1960. From h i s f i r s t , \"In the Summer\" (1948) , to \"The Dress\" there i s a movex;ent from \" c r e d i b l e \" n a r r a t i o n to d r a m a t i z e d s i t u a t i o n which 1 4 1 T h e Unmuzzled Ox, I , i (November 1971), p. 32. \"The M u s i c i a n s \" was p u b l i s h e d i n New Mexico Q u a r t e r l y , XXV, i ( S p r i n g 1955) , \"The S u i t o r \" i n O r i g i n X V I I ( F a l l - W i n t e r 1955-56) , and \"The Dress\" i n P o e t r y , T a o s , 1957 A n n u a l . I \/ O On November 4, 1960 he wrote \"The Book\" ( 4 7 l ) , h i s l a s t p u b l i s h e d s t o r y , and e i g h t days l a t e r \"The C o n v e r s a t i o n \" (1106) which i s the on ly u n p u b l i s h e d s t o r y known to have s u r v i v e d . 107 may or may not (as i n \"The Death\" and \"The Gold D i g g e r s \" ) be a u t o b i o g r a p h i c a l . Through the use of the i l l u s i o n of o b j e c t i v i t y t h e r e i s a g a i n i n t e c h n i q u e , f l e x i b i l i t y , and range . The weight of the n a r r a t o r had l i m i t e d the a v a i l a b l e means of the e a r l y s t o r i e s but i n those w r i t t e n a f t e r \"The P a r t y \" , August 1951, t h e r e was a more d i r e c t invo lvement with the content and a move i n t o \"a method tha t can al low, of immediate r e g i s t e r i n g of any & a l l a c t i o n \" wi thout the d e v i c e of f i l t e r i n g i t a l l through the p r o t a g o n i s t ' s ( n e c e s s a r i l y s u b j e c t i v e ) consc iousness .\" '\" 4 3 The s t o r i e s s t i l l were o f t e n i n t e n s e l y p e r s o n a l and C r e e l e y (as i n \"The Boat\") might be as much i n v o l v e d as i n the e a r l y ones but the f a n t a s y , symbol i sm, e t c . , now a v a i l a b l e to him p r o v i d e d an \" o b j e c t i v e \" s u r f a c e to the s t o r y , through which the p r o t a g o n i s t c o u l d h i m s e l f be viewed with something b o r d e r i n g on p e r s p e c t i v e . When i t came to the w r i t i n g of The I s l a n d i n the F a l l of 1960 t h i s g a i n i n t e c h n i q u e was to prove immensely u s e f u l . Two more i s s u e s of B lack Mountain Review came out l a t e i n 1954. The F a l l i s s u e was out by October and the Winter i s s u e by the end of December. The magazine was p r i n t e d by Mossen A l c o v e r , who d i d the D i v e r s Press books, i n Palma de M a l l o r c a , then shipped to the c o l l e g e which handled the s u b s c r i p t i o n s . Most of the c o p i e s were d i s t r i b u t e d i n the U . S . (as was O r i g i n ) by B. de Boer who b a l k e d at the d e l a y i n shipment of c o p i e s , i n f a c t r e f u s e d the t h i r d i s s u e a l t o g e t h e r (which got out i n New York thanks on ly to Denise L e v e r t o v ) . The t r o u b l e wi th d i s t r i b u t i o n , the p r e s s u r e o f p u t t i n g out ar. i s s u e every four months at the expense of h i s 1 4 3 L e t t e r to Corman August 31, 1951 at I n d i a n a U n i v e r s i t y (1056) . 108 own work, and the n e c e s s i t y of w r i t i n g l a s t - m i n u t e f i l l e r s when a page or two s h o r t at p r e s s t ime (he sometimes had n ightmares of do ing the whole t h i n g by h i m s e l f ) , a l l when h i s own c i r c u m -s t a n c e s were p r e c a r i o u s made C r e e l e y c o n s i d e r l e s s f r e q u e n t pub-l i c a t i o n . O l son wanted the rev iew to s tay q u a r t e r l y but the d i f f i c u l t y i n g e t t i n g good m a t e r i a l i n 1954, e s p e c i a l l y f i c t i o n , c o n v i n c e d C r e e l e y t h a t B lack Mountain Review shou ld become b i a n n u a l , So No. 5, the 1955 i s s u e , was p u b l i s h e d i n the new format which gave more space and e d i t o r i a l scope i n a s i n g l e i s s u e . R e l a t i o n s w i t h Ann had not improved a f t e r C r e e l e y ' s r e t u r n to M a l l o r c a and the i n e v i t a b l e break o c c u r r e d i n the Summer of 1955 when Ann's i n t e r e s t t u r n e d e l s ewhere . C r e e l e y was h a r d l y sure he wanted out so s imply and he f e a r e d the l o s s of h i s f a m i l y and e m o t i o n a l s e c u r i t y . O l son rescued him a second t ime by c a l l i n g him back to the c o l l e g e J u l y 1955 f o r the F a l l t erm, f o r which Olson was most ly absent . A number of works w r i t t e n l a t e i n 1955 were appea l s to Ann, the most d i r e c t of which was \" B a l l a d of the D e s p a i r i n g Husband\" (530) . (An e s say , \"On Love\" (963) , pub-l i s h e d i n B lack Mountain Review No. 6 seems a l s o w r i t t e n to Ann . ) A chance meet ing with C y n t h i a aga in i n September and C r e e l e y ' s p u l l toward her made h i s e m o t i o n a l s i t u a t i o n very u n s t a b l e that F a l l but at l e a s t t h i s p o s s i b i l i t y , however remote , o f f e r e d hope f o r a new r e l a t i o n s h i p . Most of the w i l d s t o r i e s about the c o l l e g e tha t i n c l u d e C r e e l e y date from F a l l 1955. I t was p r o b -ab ly about t h i s t ime as w e l l t h a t he compi l ed two books which were never p u b l i s h e d . The f i r s t , to be c a l l e d \"The C o n s p i r a c y \" (1100) , was a c o l l e c t i o n of poems w r i t t e n from 1950 to 1955, many 1D9 of which appeared l a t e r i n The Whip. \"The Dress\" (1003) was i n p r o o f i n 1957 but was never p u b l i s h e d . I t i n c l u d e d the t h r e e s t o r i e s w r i t t e n i n 1954--\"The M u s i c i a n s \" , \"The S u i t o r \" , \"The D r e s s \" - - a n d about twelve poems w r i t t e n out of the same a l i e n a t i o n from Ann. By l a t e F a l l C r e e l e y ' s t e a c h i n g at the college, though the s t u d e n t s were e n c o u r a g i n g , was no l o n g e r a s imple p l e a s u r e , and he c o u l d not g ive i t the needed a t t e n t i o n . Though t h e r e was nowhere he would r a t h e r have been at the t ime , he has s a i d , he was too d i s t r a c t e d , s e a r c h i n g f o r a new p l a c e w i t h i n h i m s e l f . In December 1955 he r e s i g n e d the c o l l e g e s u b j e c t to r e c a l l , though he a c t u a l l y taught u n t i l the end of January when Robert Duncan took o v e r . To C r e e l e y ' s r e l i e f Duncan a p p o i n t e d h i m s e l f managing e d i t o r of B l a c k Mountain Review and a t t a c k e d the problem of d i s t r i b u t i o n . (The r e t u r n at t h i s p o i n t on the f i r s t f i v e i s s u e s was a p p a r e n t l y l e s s than $100.) Late i n January 1956 Ann r e t u r n e d to New York from M a l l o r c a and C r e e l e y met her t h e r e to arrange the d i v o r c e which was at l e a s t a s o l u t i o n , though p a i n f u l . He then set out West on a \"poor man's odyssey\" and s e a r c h for the \"means to my supposed 144 redempt ion\" . He t r a v e l l e d by bus to A l b u q u e r q u e , New Mex ico , to v i s i t f r i e n d s for a t i m e , then went to San F r a n c i s c o about m i d - A p r i l to s tay t i l l the end of May. There he met A l l e n G i n s b e r g , P h i l i p Whalen, Made le ine G l e a s o n , James Broughton , P h i l i p L a m a n t i a , and Gary Snyder , heard the f i r s t four read t h e i r p o e t r y , and read h i m s e l f i n May. T h i s was the year that the San F r a n c i s c o p o e t r y scene opened up with the S ix G a l l e r y r e a d i n g by 1 4 4 L e t t e r to W i l l i a m C a r l o s W i l l i a m s August 8, 1956 at Yale U n i v e r s i t y (1040) . 110 G i n s b e r g et a l . and C r e e l e y e n l i s t e d G i n s b e r g ' s he lp c o l l e c t i n g m a t e r i a l for the seventh i s s u e of B l a c k Mountain Review. The s i x t h i s s u e was out by June 1956. P r o b a b l y because of the c o n f u s i o n i n C r e e l e y ' s own l i f e i n past months, the magazine had become an a n n u a l . T h i s eased the d i s t r i b u t i o n prob lem, g i v i n g i t more t ime to get around , but a l so made i t l e s s a d i r e c t i n f l u e n c e on the new w r i t i n g and more a showplace f o r the best of l a s t ye a r ' s work. Another d i s c o u r a g i n g l o v e - a f f a i r i n San F r a n c i s c o brought C r e e l e y back to Albuquerque i n June 1956. A sudden opening tha t F a l l i n a s m a l l d a y - s c h o o l f o r boys gave him a job t e a c h i n g F r e n c h and E n g l i s h to Grades 7 to 9, which p o s i t i o n he h e l d for t h r e e y e a r s . ( O l s o n had g i v e n him a B . A . from Black Mounta in , r e a s o n i n g t h a t s i n c e he had taught the courses he should have c r e d i t f o r them.) In a l e t t e r to W i l l i a m C a r l o s W i l l i a m s January 1, 1957, C r e e l e y sa id that the job \"had the use of g i v i n g me a means to eat f o r the moment \u2014 and a l s o to p u l l myse l f t o g e t h e r , f o r some more c o n c e r t e d a t t a c k \" . He spoke of the p l e a s u r e of C h r i s t m a s spent i n Mexico wi th Denise L e v e r t o v and M i t c h e l l Goodman and of the c o n t i n u e d d i f f i c u l t y i n a d j u s t i n g to l i f e a l o n e . \"There seems a l o t to do; f o r my p a r t , I ' d l i k e to 145 f i n d a wife t h i s year & w r i t e a ' n o v e l ' at l a s t \" . Less than a month l a t e r he m a r r i e d Bobbie L o u i s e H a l l . In the Summer of 1957 Migrant Books of W o r c e s t e r , Eng land p u b l i s h e d C r e e l e y ' s book of s e l e c t e d poems, The Whip ( 8 ) . Most of the 600 c o p i e s were d i s t r i b u t e d i n the U . S . by Jonathan 1 4 5 L e t t e r at Yale U n i v e r s i t y (1040) . I l l W i l l i a m s and a few i n Canada by Contac t P r e s s . The poems had been s e l e c t e d by C r e e l e y from h i s f i v e e a r l i e r books of p o e t r y : Le Fou 1952, The Kind Df Act Of 1953, The Immoral P r o p o s i t i o n 1953, A S n a r l i n g G a r l a n d 1954, and A l l That Is L o v e l y i n Men 1955. Because the s e l e c t i o n was r i g o r o u s - - o n l y 37 poems out of the 78 p u b l i s h e d i n the e a r l i e r books--many of the poems approached p e r f e c t i o n . For t h i s reason and because C r e e l e y had begun to r e c e i v e a more p u b l i c r e c o g n i t i o n , the book made an i m p a c t , i f not a wide one. (A l though about 500 c o p i e s of Le Fou had been p u b l i s h e d the o ther books were on ly 100-250 copy e d i t i o n s . ) The Whip r e c e i v e d at l e a s t four r e v i e w s , one i n Poe try May 1958 by L o u i s Zukofsky ( o r i g i n a l l y a l e t t e r w r i t t e n to Jonathan W i l l i a m s ) . A review by W i l l i a m Packard i n The V i l l a g e  V o i c e October 22, 1958 has s i n c e been guoted many t i m e s . A l l the poems i n The Whip were r e p r i n t e d i n s e c t i o n one of For Love: Poems 1950-1960. At the t ime tha t For Love was compi l ed C r e e l e y d i d not have c o p i e s of h i s e a r l i e r books on hand and so c o u l d not r e a s s e s s the s e l e c t i o n made for The Whip. (The poems l e f t out of both books may be read i n The Charm: E a r l y and U n c o l l e c t e d Poems.) A l l the poems i n The Whip were w r i t t e n between September 1950 and September 1954 so that by the time the book came o u t , Summer 1957, C r e e l e y had p u b l i s h e d a number of new poems- in O r i g i n and B l a c k Mountain Review which were e v e n t u a l l y c o l l e c t e d , with o t h e r s , i n t o A Form of Women ( F a l l 1959) . In the meantime, e i g h t poems were p u b l i s h e d as I f You ( 7 ) , a p o r t f o l i o wi th f o u r drawings by F i e l d i n g Dawson, by The P o r p o i s e Bookshop i n San F r a n c i s c o i n 1956. The book r e c e i v e d one r e v i e w , by Robert Beum 112 i n Poetry September 1958. \" A i r : ' C a t B i r d S i ng i ng ' \" (523 ) a poem W i l l i a m s e s p e c i a l l y l i k e d , was r e p r i n t e d from the S p r i n g 1956 i s s u e of B lack Mountain Review. The o t h e r seven poems, a l l w r i t t e n i n 1955 or 1956, were p u b l i s h e d f o r the f i r s t t i m e : - - L a d y B i r d (543) \u2014 I f You (516)\u2014A Mar r i a g e (527)\u2014And (547)\u2014Oh No (516 )\u2014For the N ew Year ( 5 5 4 ) - - F o r Ann (551) . (The l a s t poem was l a t e r r e t i t l e d \"The L e t t e r \" . ) \"A M a r r i a g e \" , a l s o f o r Ann, was w r i t t e n be fore C r e e l e y l e f t M a l l o r c a i n J u l y 1955, and was pub-l i s h e d i n the Summer 1956 i s s u e of O r i g i n . \" A i r : 'Cat B i r d S i n g i n g ' \" was w r i t t e n by the end of October 1955 w h i l e C r e e l e y was at B lack Mountain C o l l e g e , and was i n f l u e n c e d by h i s r e a d i n g t h a t month of Campion, S k e l t o n , and Wyatt . These poems, and perhaps o t h e r s i n the p o r t f o l i o came out of the same concern wi th the d i v o r c e from Ann which e l i c i t e d \" B a l l a d of the D e s p a i r i n g Husband\" (October 31, 1955) . The a m b i v a l e n t ba lance of mockery and l y r i c i s m i n tha t poem i s p r e s e n t i n the whole of I f You and i n the o ther poems of t h a t t ime , d u r i n g which C r e e l e y was obsessed with \" t h i n k i n g about Ann and the c h i l d r e n \u2014 o r j u s t what woman might endure me, f i n a l l y \" . A s w e l l , he exper imented with new forms , e s p e c i a l l y the c o u p l e t , and with rhyme. Some of the o ther poems w r i t t e n d u r i n g 1955-56 were \"A Wicker Basket\" (519) pub-l i s h e d i n the Summer 1955 i s s u e of B lack Mountain Review; \"Goodbye\" (517) , a f a r e w e l l to Ann p u b l i s h e d i n the S p r i n g 1956 i s s u e ; and a number of poems w r i t t e n when C r e e l e y was i n San F r a n c i s c o S p r i n g 1956. Of t h e s e , \"Please\" (514) , \"Just F r i e n d s \" (521) , and \"The I n v o i c e \" (539) r e f e r t s the affair which had f a l l e n 1 4 5 L e t t e r to W i l l i a m C a r l o s W i l l i a m s December 7, 1955 at Y a l e U n i v e r s i t y (1040) . 113 through by C r e e l e y ' s r e t u r n to New Mexico i n the Summer. The poems w r i t t e n d u r i n g 1955-56 and c o l l e c t e d i n I f You and A Form of Women (9) were t r a n s i t i o n a l poems r e f l e c t i n g a t r a n s i t i o n a l s tage i n C r e e l e y ' s l i f e . A Form of Women, p u b l i s h e d F a l l 1959, c o l l e c t s a wide spread of poems w r i t t e n from 1955 (most from 1956) to about A p r i l 1959. The book documents a move-ment away from the b i t t e r n e s s of some of the e a r l i e r poems and e q u a l l y from the sometimes harsh s e l f - m o c k e r y to an e a s i e r , more g r a c e f u l humor. C r e e l e y was moving c a r e f u l l y towards a new, extended l y r i c i s m which was to f lower i n Words (1967) . Hi s comment i n an i n t e r v i e w May 1961 i s i n s t r u c t i v e : Now the t r u n c a t e d l i n e , or the s h o r t , seeming ly broken l i n e I was u s i n g i n my f i r s t poems, comes from the somewhat broken emotions t h a t were i n v o l v e d i n them. Now, as I beg in to r e l a x , as I not so much grow o l d e r , but more s e t t l e d , more at ease i n my w o r l d , the l i n e can not so much grow s o f t e r , but can become, as you say, more l y r i c a l , l e s s a f r a i d of c o n c l u d i n g . . And rhyme, of c o u r s e , i s to me a ba lance not on ly of sounds, but a ba lance which i m p l i e s agreement. T h a t ' s why, I suppose , I ' d s tayed away from rhymes i n the e a r l y poems except for t h i s k i n d of i r o n i c throw-back on what was be ing s a i d . 1 4 7 \"A Form of Women\" (511) , p r o b a b l y w r i t t e n i n l a t e 1955 or e a r l y 1956, i s the f i r s t of a new form, more l y r i c a l , more s u s t a i n e d . (The moon imagery s t r o n g l y sugges ts tha t the woman i s C y n t h i a . ) Most of the poems w r i t t e n i n t h i s form came a f t e r C r e e l e y ' s January 1957 marr iage to B o b b i e , though the e a r l i e r and l a t e r poems are c o n f u s e d l y mixed i n the book (and i n the second s e c t i o n of For Love i n which most are r e p r i n t e d ) . 14B B l a c k Mountain Review No. 7 was out by F a l l 1957. I t 1 4 7 T h e S u l l e n A r t , pp. 59-6D (107) . ^\"4 8 T h i s i s s u e was d i s t r i b u t e d hav ing shut down a year e a r l i e r . i s d i s t r i b u t e  by Jonathan W i l l i a m s , the c o l l e g e 114 announced the San F r a n c i s c o w r i t i n g r e n a i s s a n c e wi th new p o e t r y by G i n s b e r g , UJhalen, Snyder , and M i c h a e l M c C l u r e , and f i c t i o n by Kerouac and B u r r o u g h s . I t a l s o p u b l i s h e d work by the \"Black Mountain\" w r i t e r s O l s o n , L e v e r t o v , Dorn , Rumaker, Oppenheimer, and Jonathan W i l l i a m s , by new w r i t e r s such as Hubert Se lby J r . , and Judson Crews, and by an o l d e r g e n e r a t i o n , Borges , Z u k o f s k y , W i l l i a m s , S h e r r y Mangan, A l f r e d Kreymborg, Edward D a h l b e r g , and H e r b e r t Read. Though C r e e l e y had begun to c o l l e c t m a t e r i a l f o r an e i g h t h i s s u e , i t d i d not appear . A c c o r d i n g to C r e e l e y , No. 7 \"was u n e q u i v o c a l l y a s h i f t and opening of the p r e v i o u s c e n t e r , and f i n a l l y as good a p l a c e as any to end. , Other magazines had appeared as w e l l , wi th much the same c o n c e r n s , among them B i g T a b l e and the E v e r g r e e n Review. Whatever b a t t l e had been the 149 case d id seem e f f e c t u a l l y won\". T h i s b a t t l e had i n f a c t o c c u p i e d C r e e l e y almost f u l l - t i m e s i n c e 1950 when he f i r s t at tempted to s t a r t a magazine i n ' o p p o s i t i o n to the academic magazines and poets and e q u a l l y to the mimeo magazines p u b l i s h i n g loose f r e e v e r s e . By 1957 the O r i g i n poets who had sought i d e n t i f i c a t i o n with o t h e r s of l i k e concerns had matured t h e i r i n d i v i d u a l p o e t i c and were no longer i n the same need of mutual s u p p o r t . T h e i r common a e s t h e t i c , \" p r o j e c t i v i s m \" - - t h a t w r i t i n g was the s p e c i f i c i s s u e of the l i f e vouchsafed i n g i v e n c i r c u m s t a n c e s , t i m e , and p l a c e - - e n c o u r a g e d t h e i r d i v e r s i f i c a t i o n and t h e i r own c o n t i n u a l growth and change. T h e i r a u d i e n c e , at f i r s t s imply f r i e n d s and f e l l o w w r i t e r s , had grown c o n c l u s i v e l y , and they had been j o i n e d i n t h e i r s t r u g g l e by 149 I n t r o d u c t i o n , B lack Mountain Review, r e p r i n t of Volume I (114 ) . 115 the C o n t a c t and B lack Mountain w r i t e r s (and l a t e r by the San F r a n c i s c o poets and the B e a t s ) . The a l t e r n a t i v e w r i t i n g and p u b l i s h i n g network thus e s t a b l i s h e d was by i t s n a t u r e , l i k e t h e i r common a e s t h e t i c , an ongoing system r e s p o n s i v e to the needs and concerns of new w r i t e r s . Many of the magazines and s m a l l p r e s s e s ( s i g n i f i c a n t l y Golden Goose, Fraqmente , C o n t a c t , C I V \/ n , M e r l i n, and D i v e r s P r e s s ) a c t i v e i n the e a r l y f i f t i e s had shut down, with the e x c e p t i o n of Contact and Jargon P r e s s . From 1955 to 1957 the system was c a r r i e d almost s i n g l e h a n d e d l y by O r i q i n and the B lack Mountain Review a n n u a l s . However, poe try had f i n a l l y been taken out of the hands of the academics and once put back i n t o the mouths of the p o e t s - - p o e t r y r e a d i n g s i n San F r a n c i s c o i n 1956 s t a r t e d a North American t r e n d - - i t became a p u b l i c a r t and t h e market f o r poe try magazines and chapbooks of verse rose a c c o r d i n g l y . What at f i r s t seemed to be two s e p a r a t e g r o u p s , O r i g i n - B l a c k Mountain and San F r a n c i s c o - B e a t , was a c t u a l l y the core of a much more comprehensive p o p u l a r movement. New magazines such as E v e r g r e e n Review (No. 2, Summer 1957, was San F r a n c i s c o w r i t i n g ) , B ig T a b l e (a s p l i t - o f f from Chi cago Review) , John W i e n e r ' s Measure and LeRoi Jones ' Yuqe n p i c k e d up where O r i q i n and Black  Mountain Review l e f t o f f i n 1957. As w e l l , there were a number of new s m a l l p r e s s e s , most ly connected with b o o k s t o r e s or magazines on the west c o a s t . ( C i t y L i g h t s had begun to p u b l i s h pocketbooks by l a t e 1955.) A s u b - g e n e r a t i o n of younger w r i t e r s (some of whom were f i r s t p u b l i s h e d i n Black Mountain Review) had begun to d u p l i c a t e the proces s by which the O r i g i n poets had come to d e f i n i t i o n i n the e a r l y f i f t i e s . Between 1957 and F a l l 1959 116 when A Form of Women was p u b l i s h e d , C r e e l e y ' s new poems appeared i n a spectrum of new magazines i n c l u d i n g B i q T a b l e , Yugen, E v e r g r e e n Review, Measure, Texas Q u a r t e r l y , Neon, Hearse , Poetry P i l o t , I n l a n d , Jabberwock, Ark II Moby I , and Naked E a r . Other magazines such as Combust ion , K u l c h u r , P r o s p e c t , M i q r a n t , F l o a t i n g Bear , O u t b u r s t , S i d e w a l k , and O u t s i d e r were to c a r r y t h i s movement i n t o the s i x t i e s (and to B r i t a i n ) to be p i c k e d up by \"deep-image\" magazines such as The S i x t i e s , Q u i x o t e , T r o b a r , and Poems from the F l o a t i n g W o r l d . In these and s u c c e e d i n g magazines Ol son and C r e e l e y (as w e l l as L e v e r t o v , Duncan, and B l a c k b u r n ) appeared i n the same manner Pound and W i l l i a m s had f o r C r e e l e y ' s c o n t e m p o r a r i e s . T h e i r example and success was an i n f l u e n c e and encouragement to a younger g e n e r a t i o n whose concerns were d e c i s i v e l y t h e i r own. S i n c e 1950 C r e e l e y ' s foremost concern had been the r e l a t i o n -s h i p of the w r i t e r to h i s w r i t i n g (and thus to the world) cn a l l l e v e l s and i n a l l changes of c i r c u m s t a n c e . The e s s e n t i a l s of h i s a e s t h e t i c were i n t a c t - - a n d working- -when he wrote the superb batch of new poems i n A p r i l 1952 which i n c l u d e d \"The Innocence\" -and \"The Rhyme\". S i n c e then i n a l l h i s p o e t r y , p r o s e , and t h e o r y he has worked toward p u t t i n g h i m s e l f f u l l y IN h i s w r i t i n g , bo th i n the a c t i v i t y and i n the f i n a l p r o d u c t . Even a f t e r 1956 when he began to t each f o r a l i v i n g , w r i t i n g has been the pr imary content of h i s l i f e and h i s l i f e the pr imary content of h i s w r i t i n g . So t h a t a change i n one has evoked a change i n the o t h e r , the content d e t e r m i n i n g the form i n the l i f e or i n the l i f e ' s work: w r i t i n g . INVENTORY 1945-1970 Zukofsky s a y s , one w r i t e s one poem a l l one 's l i f e - - R o b e r t C r e e l e y , 1967 FOREWORD I came to w r i t i n g wi th some awkwardness, j u s t tha t n o t h i n g i n the s i t u a t i o n i n which I grew up seemed p a r t i c u l a r l y i n v o l v e d wi th tha t p o s s i b i l i t y . My s i s t e r H e l e n , however, f o u r years o l d e r than I , was an i n t e n s i v e reader and i t was she who gave me both Conrad and Dostoyevsky to read when I must have been about twelve or t h i r t e e n , She a l s o wrote poems which had ga ined the a p p r o v a l of Robert P. T r i s t r a m C o f f i n among o t h e r s . At s c h o o l I had s e v e r a l e x c e p t i o n a l t e a c h e r s , a l l of whom i n c r e a s e d my a r t i c -u l a t i o n and a l s o my p e r c e p t i o n of what \"say ing t h i n g s \" c o u l d a c -c o m p l i s h . One, f o r example, had us t r a n s l a t e s e c t i o n s of J o y c e ' s D u b l i n e r s i n t o B a s i c E n g l i s h , an e x e r c i s e which made very l i t e r a l the a c t u a l agency tha t the words i n J o y c e ' s t e x t were making. When i t came t ime to go to c o l l e g e , I sent a p p l i c a t i o n s to Amherst , the U n i v e r s i t y of P e n n s y l v a n i a , and H a r v a r d . The f i r s t two o f f e r e d e x c e l l e n t p r e p a r a t i o n f o r v e t e r i n a r y m e d i c i n e , which I then hoped would be my p r o f e s s i o n , and both o f f e r e d me s u b s t a n t i a l s c h o l a r -s h i p s . H a r v a r d ' s a c c e p t a n c e , however, d e s p i t e the l a c k of any f i n a n c i a l a s s i s t a n c e , must have t u r n e d my head, coming from a s m a l l town i n M a s s a c h u s e t t s as I d i d . In any case , the d e c i s i o n to go to Harvard was a l s o a d e c i s i o n to commit myse l f to w r i t i n g , no matter tha t I was p r o b a b l y not that c e r t a i n of i t at the t i m e . My f r i e n d s there q u i c k l y expanded senses of w r i t i n g I had had to i n c l u d e Pound and S t e i n among o t h e r s . They were a l s o the f i r s t to p u b l i s h me.and to i n v i t e me, g e n e r o u s l y , to be one of the e d i t o r s of the Cummings' i s s u e of the Harvard Wake. W i l l y G a d d i s , Jake Bean, B e r n i e Weinbaum and B i l l Lieberman a l s o had myse l f and Gordon R o l l i n s e l e c t e d to the Harvard Advocate but our subsequent conduct caused the u n i v e r s i t y to expunge a l l r e c o r d of that f a c t . The r e s t of i t , so to speak, i s to be found h e r e . I t ' s a very s t r a n g e f e e l i n g now l o o k i n g through the v a r i o u s e n t r i e s , much l i k e s ee ing the r i n g s on a t r e e stump. I have never had the sense t h a t I was g e t t i n g very much done and so i t ' s a p a r t i c u l a r p l e a s u r e to see how much has accumulated no m a t t e r . I'm g r a t e f u l , of c o u r s e , 119 t h a t i t has mattered to o t h e r s , those r e a d e r s whom I ' v e never dared assume might be t h e r e . I f e l t I was do ing something very l i k e t o s s i n g pebb les i n a p o o l . The way the r i n g s have gone out i s a very deep p l e a s u r e . I must say I have very few of the books, pamphle t s , magaz ines , e t c . tha t are here l i s t e d . Ule have moved so f r e q u e n t l y i n past y e a r s - - t w e n t y - t w o t imes i n the past f o u r t e e n - - t h a t i t was i m -p o s s i b l e to keep any such b a c k l o g i n hand, even had I wanted t o . So I thank Mary Novik very much indeed f o r r e c a l l i n g a l l of them to me. Her c o n s c i e n t i o u s n e s s has been an ac t of e x t r a o r d i n a r y g e n e r o s i t y . ROBERT CREELEY B o l i n a s , December C a l i f o r n i a 31, 1971 CONTENTS Page Foreword by Robert C r e e l e y . . . . HQ I n t r o d u c t i o n 122 I Works by Robert C r e e l e y A P u b l i c a t i o n s of Poems, S t o r i e s , Novel 1 Separate P u b l i c a t i o n s ( l - 4 9 ) 128 2 S e l e c t e d C o n t r i b u t i o n s to Other Works (50-100) 146 B P u b l i c a t i o n s of N o n f i c t i o n a l Prose 1 Separate P u b l i c a t i o n s (101-104) 153 2 C o n t r i b u t i o n s to Other Works (105-127) . . . . 154 3 C o n t r i b u t i o n s to P e r i o d i c a Is (128-158) . . . . 156 C A u d i o - V i s u a l M a t e r i a l (159-168) 159 D E d i t i o n s by C r e e l e y (169-178) 162 E The D i v e r s Press (179-180) 163 II S e l e c t e d W r i t i n g s About Robert C r e e l e y A In Books (181-230) 165 E In P e r i o d i c a l s (231-444) 170 C In D i s s e r t a t i o n s (445-448) 187 D A u d i o - V i s u a l M a t e r i a l (449-450) 187 E D e d i c a t i o n s (451-454) 188 I I I P u b l i c a t i o n H i s t o r y of I n d i v i d u a l W r i t i n g s by Robert C r e e l e y A F i c t i o n a l Prose 1 Chapter i n The I s l a n d 1963 (455) 190 2 S t o r i e s i n The Gold D iggers 1965 (456-471) . 190 B C o l l e c t e d Poems 1 Poems i n For Love: Poems 1950-1960 1962 (472-606) 192 2 Poems i n Words 1967 (607-691) 202 3 : Poems i n P i e c e s 1969 (692-764) 203 4 Poems i n The Charm: E a r l y and U n c o l l e c t e d Poems 1969 (765-856) 213 121 C New Poems 1 New Poems i n The F i n g e r : Poems 1966-1969 1970 (857-884) 219 2 Poems i n S t . M a r t i n ' s 1971 (885-899) . . . . 221 3 U n c o l l e c t e d Poems (900-914) 221 D N o n f i c t i o n a l Prose : W r i t i n g s i n A Quick Graph: C o l l e c t e d Notes & Essays 1970 (915-1000) . . . 222 IV M a n u s c r i p t s , L e t t e r s , R e c o r d i n g s , and P r o o f s A U n p u b l i s h e d Works (1001-2) 233 B P r o o f s and Advance Copies (1003-19) 234 C Record ings (1020-26) 236 D L e t t e r s (1027-81) . . . 236 E M a n u s c r i p t s (1082-1211) . 242 A d d i t i o n s 257 Index to Names . , 261 Index to Poems 271 Index to P e r i o d i c a l s . 284 INTRODUCTION Robert C r e e l e y has s a i d : \"I had a c u r i o u s need to make p u b l i c , not to p u b l i c i z e , a l l my f e e l i n g s . E v e r y t h i n g of i m p o r -tance has been w r i t t e n down\". And so it. has . The purpose of t h i s i n v e n t o r y i s to draw a t t e n t i o n to the mass of C r e e l e y ' s w r i t i n g s i n the hope that more s e r i o u s and a c c u r a t e c r i t i c a l a t t e n t i o n w i l l be p a i d him i n the f u t u r e . Though not a l l the c r i t i c i s m so f a r has been want ing , much more a p p r e c i a t i o n of the l i t e r a l substance of h i s work i s needed i f h i s t r u e worth i s to be brought to l i g h t . Most c r i t i c s now agree tha t among the poems i n For Love: Poems 1950-1960 (1962) and Words (1967) are some of the most p e r f e c t l y r i c s i n the language . Few, however, a c k n o w l -edge the o r i g i n a l i t y of C r e e l e y ' s n o v e l , The I s l a n d (1963) , and h i s s h o r t s t o r i e s , The Gold Diggers (1965) . The p u b l i c a t i o n of A Quick Graph: C o l l e c t e d Notes & Essays (1970) , which p r o v i d e d easy access to many f o r m e r l y e l u s i v e c r i t i c a l w r i t i n g s , has gone l a r g e l y unremarked. Much recen t c r i t i c i s m has sounded l i k e a p e e v i s h monody f o r the \" t y p i c a l C r e e l e y poem\" and c r i t i c s who p r a i s e d t h i s touchs tone as \" c o n c i s e \" , \"gnomic\", \" r e t i c e n t \" , \" p r o v e r b i a l \" , \" s a r d o n i c \" , \" f o r m a l \" , and so on, f i n d the a d j e c t i v e s i n a p p r o p r i a t e , and t h e r e f o r e the poems l a c k i n g , a f t e r Words. In f a c t , the much i m i t a t e d C r e e l e y e s q u e poem had become an impasse which C r e e l e y s t r u g g l e d to get beyond, i n 1967 and 1968, by e x p e r -i m e n t i n g wi th d i f f e r e n t a p p r e h e n s i o n s of r e a l i t y and methods of w r i t i n g . So t h a t P i e c e s (1969) can on ly be seen as a s u c c e s s f u l b r e a k t h r o u g h . In these and more recen t poems there i s a new range , s u s t e n s i o n , openness , and l i c e n s e i n both form and content which s h o u l d , i f i t proves r e g e n e r a t i v e , g ive ground to some of C r e e l e y ' s f i n e s t p o e t r y . The p u b l i c a t i o n h i s t o r y of C r e e l e y ' s work i s i n c r e d i b l y c o m p l i c a t e d . Even wi th the growth of c r i t i c a l a t t e n t i o n s i n c e the p u b l i c a t i o n of h i s f i r s t book of c o l l e c t e d poems, For Love , i n 1962, doors have opened s l o w l y . L i t t l e magazines are s t i l l 123 more r e c e p t i v e to h i s work than l i t e r a r y q u a r t e r l i e s , so much so t h a t most of h i s recent work i s as hard to f i n d as h i s e a r l y w r i t i n g s . H i s new poems come out , o f t e n one at a t i m e , i n f u g i t i v e magazines or i n s m a l l pre s s p u b l i c a t i o n s and are on ly c o l l e c t e d much l a t e r i n t o t r a d e e d i t i o n s . The c r i t i c a l w r i t i n g s appear as notes i n l i t t l e magazines , p r e f a c e s to f r i e n d s ' books, e t c . Even when they come out i n more a c c e s s i b l e p u b l i c a -t i o n s they are s c a t t e r e d and hard to c o l l e c t . A Quick Graph has been a godsend, but i t omits some of the most u s e f u l m a t t e r , f o r example the i n t e r v i e w s , and we can h a r d l y expect a s eque l f o r some t i m e . S e c t i o n I , Works by Robert C r e e l e y , of the p r e s e n t i n v e n t o r y i s an attempt to b r i d g e t h i s gap, at l e a s t up to 1970. I t l i s t s , i n A, C r e e l e y ' s books, pamphle t s , b r o a d s i d e s , and works i n s e l e c t e d books and a n t h o l o g i e s ; i n B, h i s c r i t i c a l w r i t i n g s , no te s , i n t e r v i e w s , l e t t e r s , not found i n A Quick Graph; and, i n C, D, and E , a u d i o - v i s u a l m a t e r i a l , e d i t i o n s by C r e e l e y , and books p u b l i s h e d by h i s D i v e r s P r e s s . The l i s t of new poems i n S e c t i o n 111C i s g i v e n as a stopgap u n t i l the next c o l l e c t e d e d i t i o n comes o u t . The c h i e f va lue the i n v e n t o r y w i l l have, however, w i l l be i n the uses the c r i t i c \/ s t u d e n t can put i t to i n t r a c i n g the manu-s c r i p t s and p u b l i c a t i o n s of books and i n d i v i d u a l w r i t i n g s and f i n d i n g i n these source m a t e r i a l f o r a c r i t i c a l e v a l u a t i o n of p a r t i c u l a r works. The m a n u s c r i p t s i n S e c t i o n IVE p r o v i d e a s t a r t i n g p o i n t f o r t h i s much needed a c t i v i t y , r e v e a l i n g as they do the c a r e f u l a t t e n t i o n to vowel and s y l l a b l e which has c h a r a c -t e r i z e d C r e e l e y ' s prose and p o e t r y and has g i v e n i t a c o n s i s t e n t q u a l i t y h a r d l y e q u a l l e d . The weal th of u n p u b l i s h e d m a t e r i a l strewn throughout the m a n u s c r i p t s g i v e s ample ev idence of the r i g o r of h i s s e l f - c r i t i c i s m . The l e t t e r s , IVD, p r o v i d e a l a n d -scape of C r e e l e y ' s f r i e n d s h i p s and l i t e r a r y c o n n e c t i o n s ( f o r which see a l s o the Index to Names), as w e l l as o c c a s i o n a l b r i l l i a n t g l impses i n t o h i s s t i m u l u s and i n t e n t i o n s f o r a p a r t i c u l a r work. The r e c o r d i n g s g i v e n i n IVC and IC p r o v i d e an i n v a l u a b l e v o c a l i n t e r p r e t a t i o n of the form and meaning of the poems, c o n f i r m i n g the abrupt l i n e endings and the h e s i t a n c y of the p r o s o d y . 124 S e c t i o n s I I I and IB d e t a i l the p u b l i c a t i o n h i s t o r y of i n d i -v i d u a l w r i t i n g s . The dates of c o m p o s i t i o n are g i v e n from the m a n u s c r i p t s with the k i n d p e r m i s s i o n of Robert C r e e l e y ; I n d i a n a U n i v e r s i t y , Bloomi ngton', and Washington U n i v e r s i t y , S t . L o u i s . S e c t i o n s IB, 111A and H I D l i s t a l l p u b l i c a t i o n s i n p e r i o d i c a l s , books, and a n t h o l o g i e s , wi th c r o s s r e f e r e n c i n g to m a n u s c r i p t s , f o r the p r o s e . S e c t i o n s 111B and C l i s t a l l p u b l i c a t i o n s i n p e r i o d i c a l s , f i r s t p u b l i c a t i o n s i n books and a n t h o l o g i e s , and f i r s t c o l l e c t i o n s , f or the poems. The Index to Poems p r o v i d e s an acces s r o u t e to the range of source m a t e r i a l a v a i l a b l e f o r each poem. The Index to P e r i o d i c a l s s p e l l s out C r e e l e y ' s a s s o c i a t i o n over the years wi th a s u r p r i s i n g number of l i t t l e magazines , many of which had no r e a l c o n t i n u i t y and p u b l i s h e d on ly one or two t h i n g s by \/about C r e e l e y . In the e a r l y f i f t i e s , C r e e l e y was p a r t of the l i t e r a r y exchange among 0 r i q i n , Wake, Four Winds, C o n t a c t , CI V \/ n , Golden Goose, Goad, Fraqmente , and 1\/ou, and h i s own Black Mountain Review was f o r many years a c e n t e r . L a t e r , the r e l a t i o n s h i p , not as c l o s e , was wi th Evergreen Review, B i g  T a b l e , Yugen, K u l c h u r , and The F l o a t i n g Bear . More r e c e n t l y , L i l l a b u l e r o and C a t e r p i l l a r among o t h e r s have p r o v i d e d an o u t l e t . The number of f o r e i g n t i t l e s i n the index r e v e a l s the warm r e c e p t i o n g i v e n by f o r e i g n p e r i o d i c a l s to C r e e l e y ' s work. The many t r a n s l a t i o n s of i n d i v i d u a l works are l i s t e d i n S e c t i o n I I I . C r e e l e y ' s p e n e t r a t i o n abroad i s f u r t h e r e v i d e n c e d , i n S e c t i o n IA, by the number of f o r e i g n e d i t i o n s of h i s major works and by the i n c l u s i o n of t r a n s l a t i o n s of h i s poems i n numerous f o r e i g n a n t h o l o g i e s . The reviews of the B r i t i s h and German e d i t i o n s , l i s t e d i n S e c t i o n 11B 5, are on ly a few of the many which welcomed the f o r e i g n p u b l i c a t i o n s . The response i n Germany i n p a r t i c u l a r was overwhelming . In S e c t i o n I I , S e l e c t e d W r i t i n g s About Robert C r e e l e y , the d i v i s i o n of c r i t i c i s m i n t o e s s a y s , b r i e f e s s a y s , c r i t i c a l r e v i e w s , b r i e f r e v i e w s , comments, and so f o r t h , p r o v i d e s the reader wi th a c r i t i c a l approach to the a v a i l a b l e m a t e r i a l . T h i s s e c t i o n , and the l i s t of C r e e l e y ' s appearances i n s e l e c t e d books and a n t h o l o g i e s i n S e c t i o n IA2, shows the academic n o t i c e which has been p a i d him 125 i n r e c e n t y e a r s . Though a good d e a l of the acceptance has been g r u d g i n g , t h e r e i s a s t e a d i l y growing awareness of C r e e l e y ' s s t a t u r e which i s e n c o u r a g i n g . The c r i t i c a l w r i t i n g s about C r e e l e y were s e l e c t e d f o r t h e i r u s e f u l n e s s from about twice t h e i r number. O t h e r w i s e , t h i s i n v e n t o r y at tempts to be comprehens ive up to 1970, l i s t i n g a l l known p u b l i c a t i o n s of C r e e l e y ' s w r i t i n g s , a u d i o - v i s u a l m a t e r i a l , and m a n u s c r i p t s and u n p u b l i s h e d works. A few a d d i t i o n s have been made at the end of the i n v e n t o r y . The number ( f o l l o w e d by A, B, e t c . ) g i v e n for each i n d i c a t e s i t s p l a c e among the o ther e n t r i e s . A Note on Method T h i s i n v e n t o r y i s d i r e c t e d to s t u d e n t s and c r i t i c s of l i t e r a t u r e , though I hope i t w i l l be used by l i b r a r i a n s , book d e a l e r s , book c o l l e c t o r s , b i b l i o g r a p h e r s , and o t h e r s . I t i s an i n v e n t o r y of works by and about Robert C r e e l e y , i n c l u d i n g p u b l i s h e d and u n p u b l i s h e d w r i t i n g s and c i r c u l a t e d and u n c i r c u l a t e d a u d i o - v i s u a l m a t e r i a l . I t i s thus more comprehensive and l e s s d e f i n i t i v e than a d e s c r i p t i v e b i b l i o g r a p h y . It i s , i n e f f e c t , a p r e l i m i n a r y b i b l i o g r a p h y which r e c o r d s the f i n d i n g s of a f i v e -year s e a r c h . I t s c o n t r i b u t i o n to C r e e l e y s c h o l a r s h i p i s more the background \" l i t e r a r y d e t e c t i v e work\", as Robin B l a s e r termed i t , than the f i n i s h e d w r i t e - u p now be fore your eyes . I have c a l l e d the work an i n v e n t o r y s i n c e i t r e c o r d s , a s s e s s e s , i n t e r r e l a t e s , and o therwi se takes s tock of the mass of C r e e l e y p u b l i c a t i o n s s c a t t e r e d w o r l d - w i d e . Many of the works were p r e v i o u s l y unknown to a l l but the few people i n v o l v e d i n t h e i r p r o d u c t i o n or owner-s h i p . No doubt there are o ther unfound w o r k s - - n o t a b l y l e t t e r s and r e c o r d i n g s i n p r i v a t e h a n d s - - w h i c h deserve a p l a c e i n t h i s i n v e n t o r y . The e n t r i e s have been v e r i f i e d , i n s o f a r as v e r i f i c a -t i o n was p o s s i b l e , i n almost every d e t a i l , but they are s t i l l on ly as c o r r e c t as t h e i r s o u r c e s , and i n many cases i t was p o s s i b l e to examine only a s i n g l e copy (sometimes a x e r o x ) . I would hope tha t o m i s s i o n s , v a r i a n t s t a t e s of l i s t e d books , and mis takes w i l l be p o i n t e d out to Robert C r e e l e y or m y s e l f . i 126 T h i s i n v e n t o r y i s , i n t y p e , a b i b l i o g r a p h i c a l c a t a l o g . As such , i t s aim and method d i f f e r s u b s t a n t i a l l y from those of a de scr ip t ive b i b l i o g r a p h y . In my o p i n i o n , there i s a need for b i b l i o g r a p h i c a l c a t a l o g s of contemporary a u t h o r s which would p r o v i d e the ground-work for d e s c r i p t i v e b i b l i o g r a p h i e s . (I am speaking now of c a t a l o g s which would be q u i t e beyond the u s u a l c h e c k l i s t s i n judgment, a c c u r a c y , and c o m p r e h e n s i v e n e s s . ) Before a d e s c r i p t i v e b i b l i o g r a p h y may be w r i t t e n a grea t d e a l of p r e l i m -i n a r y legwork must be done, and much of i t i s best done whi l e contemporary r e c o r d s are s t i l l a v a i l a b l e . Smal l p r e s s e s and magaziees have a tendency to c o l l a p s e wi thout l e a v i n g any t r a c e of t h e i r a c t i v i t i e s . Works must f i r s t be d i s c o v e r e d , then v e r i f i e d , examined, and g i v e n a p l a c e i n a p r e l i m i n a r y b i b l i o g -raphy so tha t a t o t a l p i c t u r e of the a u t h o r ' s p u b l i c a t i o n h i s t o r y beg ins to emerge. T h i s p i c t u r e must be c l e a r be fore the a n a l y t i c a l b i b l i o g r a p h e r can focus on the a u t h o r ' s own p u b l i c a -t i o n s . Before he can b e g i n , a f a i r number of these works, and t h e i r v a r i a n t s t a t e s , must have found t h e i r way i n t o p u b l i c c o l l e c t i o n s , s i n c e a n a l y t i c a l b i b l i o g r a p h y cannot be performed on an inadequate sample. A d e s c r i p t i v e b i b l i o g r a p h y of a contem-p o r a r y author cannot be compi led much be fore the end of h i s c a r e e r i f i t i s to a d e q u a t e l y sum up the h i s t o r y of the p u b l i c a -t i o n of h i s works. For major contemporary a u t h o r s , such as Robert C r e e l e y , whose works are not a l l e a s i l y a v a i l a b l e i n a few c o l l e c t e d e d i t i o n s , t h e r e i s a presen t need f o r b i b l i o g r a p h i c a l c a t a l o g s to r e c o r d the e x i s t e n c e and i n t e r r e l a t i o n s h i p of p u b l i c a -t i o n s both by and about . I f w e l l compi led these c a t a l o g s would be a c c u r a t e and complete w i t h i n t h e i r s t a t e d l i m i t s . They would stop at a c e r t a i n p o i n t i n the a u t h o r ' s c a r e e r and would l i s t on ly those works which were i n p u b l i c ' c i r c u l a t i o n at tha t t i m e . Rare books and other works would be d e s c r i b e d i n enough d e t a i l so t h a t the absent reader would be made aware of t h e i r c o n t e n t s and l i t e r a r y s i g n i f i c a n c e - - b u t not of p h y s i c a l d e t a i l s such as s i z e , p r i c e , c o l l a t i o n , d e t a i l e d p a g i n a t i o n , and the l a y o u t of the t i t l e - p a g e , i m p r i n t , and c o l o p h o n . These d e t a i l s would best be l e f t to the exper t eye of the a n a l y t i c a l b i b l i o g r a p h e r . Readers 127 wi th t h e i r own c o p i e s would be ab le to i d e n t i f y the p a r t i c u l a r e d i t i o n i n hand from the d e s c r i p t i o n , but not the i m p r e s s i o n , i s s u e , or s t a t e . I am aware tha t I am s e t t i n g up s t a n d a r d s for a b i b l i o g -r a p h i c a l c a t a l o g which are w e l l below those of a d e s c r i p t i v e b i b l i o g r a p h y i n method ( a l t h o u g h not i n s c o p e ) . To quote F r e d s o n Bowers, \" b e t t e r a good c h e c k l i s t wi th a l l i t s d e f i c i e n c i e s than an o v e r a m b i t i o u s b i b l i o g r a p h y which i s i n c o m p l e t e i n i t s l i s t i n g and scamped i n i t s a n a l y s i s and d e s c r i p t i o n \" . 1 A good b i b l i o g -r a p h i c a l c a t a l o g can be more u s e f u l to the l i t e r a r y c r i t i c and s tudent than a d e f i n i t i v e b i b l i o g r a p h y . P r i n c i p l e s of B i b l i o g r a p h i c a l D e s c r i p t i o n P r i n c e t o n U n i v e r s i t y P r e s s , 1949) , p. 21. ( P r i n c e t o n : I WORKS BY ROBERT CREELEY T h i s s e c t i o n and S e c t i o n III t o g e t h e r l i s t a l l p u b l i s h e d works by C r e e l e y i n c l u d i n g f o r e i g n e d i t i o n s and t r a n s l a t i o n s . S e c t i o n III g i v e s the d e t a i l e d p u b l i c a t i o n h i s t o r y of i n d i v i d u a l w r i t i n g s which have .been c o l l e c t e d \u2014 w i t h the e x c e p t i o n of the new poems\u2014into t r a d e e d i t i o n s d e s c r i b e d i n t h i s s e c t i o n . Much Df C r e e l e y ' s n o n f i c t i o n a l prose has been p u b l i s h e d by the Four Seasons F o u n d a t i o n i n A Quick Graph: C o l l e c t e d Notes & Essays 1970. The r e s t i s l i s t e d i n S e c t i o n B below. A l l of C r e e l e y ' s poe try and f i c t i o n a l prose p u b l i s h e d to d a t e \u2014 w i t h the e x c e p t i o n o f the new poems p u b l i s h e d s i n c e P i e c e s 1969 l i s t e d i n S e c t i o n I I I C \u2014 h a v e been c o l l e c t e d i n the t r a d e e d i t i o n s p u b l i s h e d by S c r i b n e r ' s (For Love: Poems 1950-1960 1962, The I s l a n d 1963, The Gold D i g g e r s 1965, Words 1967, P i e c e s 1969) and by the Four Seasons F o u n d a t i o n (The Charm: E a r l y and U n c o l l e c t e d Poems 1969). In B r i t a i n , The Gold D i g g e r s , The I s l a n d , and Thm Charm are p u b l i s by C a l d e r and Boyars who a l s o p u b l i s h C r e e l e y ' s c o l l e c t e d poems i n two volumes: Poems 1950-1965 1966 and The F i n g e r : Poems 1966- 1969 1970 ( t o g e t h e r c o l l e c t i n g the poems i n For Love , Words, and P i e c e s , and some new poems). In S e c t i o n s A and B below an a s t e r i s k i n d i c a t e s tha t the work was p u b l i s h e d f o r the f i r s t t i m e . At t imes t h i s i s a c a l c u -l a t e d guess . In the case of s imul taneous p u b l i c a t i o n or u n c e r -t a i n d a t i n g two p u b l i c a t i o n s may be d e s i g n a t e d as f i r s t . A l l p u b l i c a t i o n s i n p e r i o d i c a l s may be t r a c e d through the Index to P e r i o d i c a l s and a l l p u b l i c a t i o n s of i n d i v i d u a l poems through the Index to Poems. A PUBLICATIONS OF POEMS, STORIES, NOVEL 1 SEPARATE PUBLICATIONS The d e s c r i p t i o n s g i v e n i n t h i s s e c t i o n are based on the books themselves wi th a d d i t i o n a l i n f o r m a t i o n s u p p l i e d from p u b l i s h e r s ' 129 l e t t ers and o ther s o u r c e s . The i n f o r m a t i o n i n the f i r s t p a r a -graph of each e n t r y i s taken from the book \u2014 u s u a l l y from the t i t l e page or c o l o p h o n \u2014 u n l e s s i t i s s u p p l i e d i n square b r a c k e t s . The p a g i n a t i o n g i v e n i n the second paragraph i g n o r e s b lank l e a v e s and l e a v e s c o n t a i n i n g only a d v e r t i s e m e n t s at the b e g i n n i n g or end of the book. Pages are counted from the f i r s t to the l a s t p r i n t e d page, i n c l u d i n g any b lanks or i l l u s t r a t i o n s w i t h i n . When the page numbers of paged books do not add up to t h i s t o t a l , a d d i t i o n a l pages are noted i n square b r a c k e t s . When the pages are p r i n t e d on one s i d e o n l y , the book i s d e s c r i b e d by l e a v e s r a t h e r than pages . A l l v a r i a n t b i n d i n g s and s p e c i a l c o p i e s are g i v e n i n one e n t r y for each work, the b r i e f d e s c r i p t i o n be ing f o r i d e n t i f i c a t i o n o n l y . 1 Le F o u . Columbus, O h i o : Golden Goose P r e s s , October 1952. F r o n t i s p i e c e Drawing [of C r e e l e y ] by Ash ley B r y a n . \" T h i s f i r s t e d i t i o n was hand set by F r e d e r i c k Eckman i n Garamond & L i b r a types Des igned by R i c h a r d W i r t z Emerson & p r i n t e d by him on Becke t t Ve l lum at the Golden Goose Press i n Columbus, O h i o , October 1952\". F i r s t book of poems. Ca . 500 c o p i e s ; unpaged, [32] p i n c l u d -i n g one drawing; s t i f f paper wrappers . The poems were p u b l i s h e d from m a n u s c r i p t s or r e p r i n t e d from p e r i o d i c a l s . Nine o f the poems (see 52 f o r l i s t of t i t l e s ) were p u b l i s h e d s i m u l t a n e o u s l y as \"Antho logy : Le F o u \" , Golden Goose, S e r i e s 4, No. 5 (October 1952). MS 1095 R e l a t e d l e t t e r s 1041 Review 255 C o n t e n t s : P o e m s : - - S t i l l L i f e o r \u2014 H a r t Crane (\"He had been s t u t t e r i n g \" ) - - L e Fou \u2014 H e l a s \u2014 L i t t l e t o n , l\\l. H . \u2014 *Canzone \u2014 Hart Crane (\"Answer: how o l d \/ i s the wind\")\u2014The E p i c Expands-\u2014 G u i d o , v o r r e i che tu e Lapo ed i o \u2014 A Song \u2014Love (\"Not enough. The q u e s t i o n : what i s \" ) \u2014 * T h e C r i s i s \u2014 F o r Ra iner Gerhardt \u2014 *The R i d d l e \u2014*The S u r f : An E l e g y \u2014 * T h e Drums--*The Sea\u2014*The R i t e s \u2014 * T h e Cantos\u2014*The B a l l Game\u2014*The Rhyme \u2014The Innocence \u2014*Something f o r E a s t e r . 2 The Kind Of Act Of . Palma de M a l l o r c a : The D i v e r s P r e s s , [ J u l y ] 1953. \" T h i s book was handset i n Mercedes & F u t u r a T y p e s . . . b y Mossen A l c o v e r i n Palma De M a l l o r c a May 1953 Cover by Rene L a u b i e s \" . 130 Second book of poems. C a . 250 c o p i e s ; unpaged, [21] p; paper wrappers . The poems were p u b l i s h e d from m a n u s c r i p t s or r e p r i n t e d from p e r i o d i c a l s . \"The K i n d of Act of\" was r e p r i n t e d from Nine American Poets 1953 (54).' Reviews 280-281 C o n t e n t s : Poems:\u2014*The C a r n i v a l - - I n an Act of P i t y \u2014*The Charm--*The B i r d , the B i r d , the B i r d \u2014*The P e d i g r e e - - A f t e r L o r c a \u2014 *A B a l l a d - - * T h e Method of A c t u a l i t y \u2014 * F o r an A n n i v e r s a r y - - * L o s G u i t a r i s t a s \u2014*Thank Y o u - - The Kind of Act o f - - I Am Held by My Fear of Death \u2014*The Di shones t Mailmen \u2014The Crow \u2014 * F o r M a r t i n . 3 The Immoral P r o p o s i t i o n . K a r l s r u h e - D u r l a c n , Germany: Jonathan W i l l i a m s , Autumn 1953. \"Drawings: Rene L a u b i e s . . . 200 c o p i e s p r i n t e d by V \/ e r l a g s d r u c k e r e i Gebr. Tron K G . , K a r l s r u h e - D u r l a c h \/ Baden, autumn 1 9 5 3 . . . P R I N T E D IN GERMANY des igned & p u b l i s h e d by Jonathan W i l l i a m s , as JARGON 8\". T h i r d book of poems. Unpaged, [16] p i n c l u d i n g 7 drawings and back c o v e r ; 9 l e a v e s t i e d t o g e t h e r . The poems were pub-l i s h e d from m a n u s c r i p t s or r e p r i n t e d from p e r i o d i c a l s . Proof 1006 C o n t e n t s : Poems: - -The Immoral P r o p o s i t i o n \u2014 F o r W.C.W. (\"The p l e a s u r e of the w i t \" ) \u2014 * T h e T r a p \u2014 * A p p l e U p p f l e \u2014 * T h e R e v e l a t i o n \u2014 * A n Obscene Poem\u2014*Chasing the B i r d \u2014The O p e r a t i o n . 4 The Gold D i g g e r s . Palma de M a l l o r c a : The D i v e r s P r e s s , [ M a r c h ] 1954. \" T h i s book was handset i n Bodoni and F u t u r a types and p r i n t e d by Mossen A l c o v e r i n Palma de M a l l o r c a F e b r u a r y 1954 Cover by Rene' L a u b i e s \" . F i r s t c o l l e c t i o n of s h o r t s t o r i e s . Ca . 500 c o p i e s ; 3-141, [ l ] p; paper wrappers . The s t o r i e s were p u b l i s h e d from manu-s c r i p t s or r e p r i n t e d from p e r i o d i c a l s \u2014 s e e 457-467. C o n t e n t s : \u2014 * P r e f a c e (915) . S t o r i e s : \u2014 M r B l u e \u2014 * A Death \u2014 3 Fate T a l e s \u2014The P a r t y \u2014The Lover \u2014 I n the Summer\u2014The Seance T - - T h e G r a c e - - J a r d o u \u2014 T h e Boat\u2014*The Gold D i g g e r s . 5 A S n a r l i n g G a r l a n d of Xmas V e r s e s . By Anonymous. [Palma de M a l l o r c a : The D i v e r s P r e s s , Xmas 1954 . ] \"Handset i n Menhart and G r a s s e t A n t i j u a types and p r i n t e d on l a i d papers i n a l i m i t e d e d i t i o n . T h i s i s a W a l l e t p o c k e t - b o o k \" . B o o k l e t of poems, main ly f o r f r i e n d s . C a . 100 c o p i e s ; unpaged, one sheet f o l d e d i n t o s e v e r a l pages , a t t a c h e d to 131 paper wrappers . The poems were p u b l i s h e d from m a n u s c r i p t s . MS 1103 Contents : Poems : \u2014 *Chanson \u2014 * H i T h e r e ! - - * D o n ' t S i g n A n y t h i n g \u2014*Sopa \u2014*The C o n s p i r a c y . 6 A l l That Is L o v e l y i n Men. A s h e v i l l e [Nor th C a r o l i n a ] : Jonathan W i l l i a m s , [ F a l l ] 1955. Drawings: Dan R i c e . Jargon 10. \" E d i t i o n of 200 c o p i e s by the B i l t m o r e P r e s s , A s h e v i l l e , 1955. Photograph and d e s i g n by Jonathan W i l l i a m s \" . F o u r t h book of poems. Unpaged, [45] p i n c l u d i n g 14 drawings; paper wrappers . The poems were p u b l i s h e d from manu-s c r i p t s or r e p r i n t e d from p e r i o d i c a l s . Review 282 C o n t e n t s : \u2014 * R o b e r t C r e e l e y W r i t e s of T h i s Book [916; i n -s i d e f r o n t and back c o v e r s ] . Poems: - -The Changes \u2014 For I r v i n g \u2014 *I Know a Man \u2014Broken Back Blues \u2014The End\u2014The Death of Venus - - T h e Lover \u2014 A C o u n t e r p o i n t\u2014Wai t f o r Me--Two Ways of Look ing i n a M i r r o r \u2014 E r o s \u2014 F o r Somebody's M a r r i a g e \u2014*The B u s i n e s s \u2014The D i s a p p o i n t m e n t - - T h e Warning\u2014A Form of A d a p t a t i o n \u2014 S o n g (\"Were I myse l f more b l i t h e \" ) \u2014*Stomping with C a t u l l u s \u2014The A p o l o g y -L i k e They Say \u2014 F o r a F r i e n d (\"You are the one man\")\u2014La Noche [ t i t l e d \" E l Noche\"] \u2014The Whip \u2014*The T o t a l P a r t s of a W o r l d -Alba\u2014*A11 That Is L o v e l y i n Men. 7 I f You. San F r a n c i s c o : The P o r p o i s e Bookshop, 1956. I l l u s t r a -t i o n s : F i e l d i n g Dawson. Poems & P i c t u r e s 8. \"200 c o p i e s p r i n t e d by Henry Evans at the P e r e g r i n e P r e s s \" . F i f t h book of poems. [2 ] p, 2-13, [1 ] ^ i n c l u d i n g 4 i l l u s -t r a t i o n s ; 14 l oose l e a v e s i n a p o r t f o l i o . The poems were p u b - , l i s h e d from m a n u s c r i p t s or r e p r i n t e d from p e r i o d i c a l s . Review 283 C o n t e n t s : Poems:\u2014*Lady B i r d \u2014 * I f You\u2014*A M a r r i a g e - - A i r : \"Cat B i r d S i nging\" \u2014 * A n d \u2014*0h No\u2014*For the New Year \u2014*The L e t t e r [ t i t l e d \"For Ann\"] . 8 The Whip. Worces ter [ E n g l a n d ] : M i g r a n t Books, Summer 1957. [Most of the c o p i e s were imported and d i s t r i b u t e d i n the U . S . as Jargon 26 by Jonathan W i l l i a m s , H i g h l a n d s , North C a r o l i n a . Canadian d i s t r i b u t o r : Contac t P r e s s , T o r o n t o . ] \" T h i s book was handset i n Mercedes and F u t u r a types and p r i n t e d by Mossen A l c o v e r i n Palma de M a l l o r c a May 1957. The t i t l e - p a g e drawing 132 i s by K i r s t e n Hoeck [ K i r s t e n C r e e l e y ] \" . S e l e c t e d poems. 100 c o p i e s i n c l o t h , 500 i n paper wrappers wi th a CDVPT d e s i g n by Rene L a u b i e s . Unpaged, [49 ] p i n c l u d i n g one d r a w i n g . The poems were s e l e c t e d from Le Fou 1952 ( l ) , The  Kind Of Act Of 1953 ( ? ) , The Immoral P r o p o s i t i o n 1953 ( 3 ) , A, S n a r l i n g G a r l a n d 1954 (5 ) , ?nd A l l That Is L o v e l y i n Men 1955 ( 6 ) . Reviews 284-287 R e c o r d i n g 169 C o n t e n t s : \u2014 ^ P r e f a c e (917) . Poems: \"The Charm\" and a l l of the poems l a t e r r e p r i n t e d i n S e c t i o n One: Poems 1950-1955 ( f o r t i t l e s see 472-509) of For Love 1962 (11) wi th the e x c e p t i o n of \"Naughty Boy\". 9 A Form of Women. New York: Jargon Books [Jonathan W i l l i a m s ] i n a s s o c i a t i o n with C o r i n t h Books, C 1959 [ p u b l i s h e d c a . November]. Jargon 33. S i x t h book of poems. 2,000 c o p i e s ; unpaged, [64] p; s t i f f paper wrappers . Some of the poems were r e p r i n t e d from I f You 1956 (7 ) , most were newly c o l l e c t e d from p e r i o d i c a l s , and some were p u b l i s h e d from m a n u s c r i p t s . Reviews 288-294 Record ing 159 C o n t e n t s : - - * A Note to These Poems (918) . Poems: A l l the poems l a t e r r e p r i n t e d i n S e c t i o n Two: Poems 1956-1958 of For  Lowe 1962 (11; f o r l i s t of t i t l e s see 510-556) as w e l l as the f o l l o w i n g poems: - -Naughty B o y - - J e v o i s dans l e hasard tous l e s b i e n s que j ' e s p e r e \u2014 N a t h a n i e l Hawthorne- -The Menu. These poems were p u b l i s h e d f o r the f i r s t t i m e : - - P l e a s e - - T h e B e d - - T h e H e r o - -A F o l k Song--Somewhere--Song (\"God g i v e you pardon from g r a t i -tude's\u2014For a F r i e n d (\"Who remembers him a l so\" ) \u2014Heroes \u2014The S o u v e n i r \u2014 N a t h a n i e l Hawthorne. 10 Four Poems from \"A Form of Women\". New Y o r k : E i g h t h S t r e e t Bookshop, December 1959. [Des igned by Jonathan W i l l i a m s . ] \" P r i v a t e l y p r i n t e d f o r the f r i e n d s of THE EIGHTH STREET BOOK-SHOP 32 West E i g h t h S t r e e t , c o r n e r MacDougal , New York to c e l e b r a t e the New Y e a r , December, 1959\". B o o k l e t of poems to announce, A Form of Women, n o t ' f o r s a l e . Ca . 300 c o p i e s ; unpaged, [ 4 ] d o u b l e d ; t i e d i n paper wrappers . C o n t e n t s : Poems r e p r i n t e d from A Form of Women 1959 ( 9 ) : - - F o r the New Year \u2014 L a d y B i r d \u2014The Way \u2014The I n v o i c e . 133 11 For Love: Poems 1950-1960. New York: C h a r l e s S c r i b n e r ' s Sons, c 1962 [ p u b l i s h e d A p r i l 9 ] . F i r s t book of c o l l e c t e d poems, t r a d e e d i t i o n . The f i r s t i m p r e s s i o n , i d e n t i f i e d by the code number A-2 .62 [ C ] on the r e v e r s e of the t i t l e page, c o n s i s t e d of 988 hardback and 5,191 paperback c o p i e s bound from shee t s p r i n t e d i n F e b r u a r y 1962. In F a l l 1963, 250 c o p i e s of the paperback f i r s t i m p r e s s i o n were rebound i n hard c a v e r s . 754 paperback c o p i e s were bound wi th i m p e r f e c t b i n d i n g - - s e w n i n g a t h e r i n g s and g l u e d - - f r o m sheets on hand from the f i r s t i m p r e s s i o n i n 1964. On page 65 of the f i r s t i m p r e s s i o n l i n e 7 i s m i s p r i n t e d as \"and a head wi thout an apparent s i z e \" . The second i m p r e s s i o n ( A p r i l 1964) c o r r e c t e d t h i s to \"any apparent s i z e \" . There have been s e v e r a l subsequent i m p r e s s i o n s with a t o t a l of 39,000 c o p i e s p r i n t e d as of January 1971. 160 p. S e c t i o n One r e p r i n t s poems from The Whip 1957 (8) with the e x c e p t i o n of \"Naughty Boy\" which , with the poems i n S e c t i o n Two, i s r e p r i n t e d from A Form of Women 1959 (9 ) . S e c t i o n Three c o n t a i n s poems newly c o l l e c t e d from p e r i o d i c a l s and the f o l l o w i n g p r e v i o u s l y u n p u b l i s h e d p o e m s : - - M i d n i g h t \u2014 T h e Man \u2014Not Now\u2014Young Woman. P r o o f s 1009 MSS 1100, 1101, 1103 Reviews 295-321, 1201 Record ings 159, 160, 161, 1020, 1022, 1025 C o n t e n t s : - - P r e f a c e [917; r e p r i n t e d from The Whip\"]. Poems: See l i s t of t i t l e s 472-606. 12 The I s l a n d . New Y o r k : C h a r l e s S c r i b n e r ' s Sons, C 1963 [pub-l i s h e d September 13 ] . F i r s t p u b l i c a t i o n of the n o v e l , t r a d e e d i t i o n . The f i r s t i m p r e s s i o n , i d e n t i f i e d by the code number A-6 .63 [ C o l ] on the-r e v e r s e of the t i t l e page, c o n s i s t e d of 2,616 hardback and 4,991 paperback c o p i e s bound from shee t s p r i n t e d i n June 1963. In the f i r s t i m p r e s s i o n paperbacks l i n e s 20 and 21 are r e v e r s e d on page 145. A l l hardbacks seen have had a c a n c e l l e d l e a f f o r pages 145-146 c o r r e c t i n g the t r a n s p o s i t i o n . The second i m p r e s s i o n of the paperback , p r i n t e d i n August 1964, has l i n e s 20-21 i n c o r r e c t o r d e r . There was no hardback second i m p r e s s i o n as 494 c o p i e s were hard bound i n 1964 from e x i s t i n g f i r s t i m p r e s s i o n p a p e r b a c k s . A t o t a l of 15,000 c o p i e s had been p r i n t e d as of 134 January 1971. 190 p. MSS 1105 R e l a t e d l e t t e r s 1056, 1057, 1067, 1068, 1071 Reviews 322-342 R ecord in g 1023 C o n t e n t s : - - ^ P r e f a c e (919 ) - -*The I s l a n d . 13 P i s t a n c e . Lawrence , Kansas : T e r r e n c e W i l l i a m s , C 1964 [ p u b l i s h e d May] . Drawing: Bobbie C r e e l e y . B r o a d s i d e Poems 6. \" S p e c i a l f i r s t p r i n t i n g 500 c o p i e s o n l y \" . B r o a d s i d e poem. [ 2 ] p i n c l u d i n g one drawing on r e v e r s e ; one s m a l l f o l i o b r o a d s i d e , unbound. A l i m i t e d number of c o p i e s were s i g n e d by the poe t . C o n t e n t s : P o e m : - - * D i s t a n c e . 14 The I s l a n d . London: John C a l d e r , [August 27] 1964. B r i t i s h e d i t i o n of the n o v e l , t r a d e e d i t i o n . 190 p, c l o t h . L i n e s 20 and 21 on page 145 t r a n s p o s e d . A paperback e d i t i o n was p u b l i s h e d November 17, 1966. Reviews 322-342-C o n t e n t s : P r e f a c e (919) and n o v e l o f f s e t from the S c r i b n e r ' s e d i t i o n , 1963 (12 ) . 15 Two Poems. [San F r a n c i s c o : ] Oyez, C 1964 [ p u b l i s h e d September] . Oyez 5. \" P r i n t e d for Oyez by the Auerhahn P r e s s \" . B r o a d s i d e . 323 c o p i e s ; [ l ] - \u00a3 ; one b r o a d s i d e , unbound. 60 to 70 b r o a d s i d e s were c o l o r e d by hand because the i n s i d e c o l o r of the i l l u s t r a t i o n d i d not p r i n t . 27 s igned c o p i e s were l a t e r s o l d i n a s p e c i a l p o r t f o l i o , Poems i n B r o a d s i d e , F i r s t S e r i e s , c o n t a i n i n g Oyez b r o a d s i d e s 1 to 10. C o n t e n t s : Poems:--*Some P l a c e - - * S o n g (\"What do you \/ want, l o v e \" ) . 16 M i s t e r B l u e ; Sechzehn G e s c h i c h t e n . [ F r a n k f u r t am M a i n : ] I n s e l , C 1964 [ p u b l i s h e d September] . [ T r a n s l a t e d i n t o German by] Klaus R e i c h e r t . F i r s t expanded e d i t i o n of The Gold D i g g e r s , German t r a n s l a -t i o n . 913 c o p i e s , 128 p, s t i f f paper b o a r d s . Reviews 343-346 C o n t e n t s ; P r e f a c e (915) and s t o r i e s t r a n s l a t e d from The Gold  D i g g e r s 1954 ( f o r t i t l e s see 4) and t r a n s l a t i o n s of f i v e s t o r i e s newly c o l l e c t e d from p e r i o d i c a l s : - - T h e U n s u c c e s s f u l Husband--The S u i t o r - - T h e M u s i c i a n s - - T h e D r e s s - - T h e Book. 135 17 The Gold D i g g e r s and Other S t o r i e s . London: John C a l d e r , [ J u l y 22 1965. F i r s t E n g l i s h language p u b l i c a t i o n of the expanded e d i t i o n of The Gold D i g g e r s , B r i t i s h t r a d e e d i t i o n . 158, [ l ] p; c l o t h . A paperback e d i t i o n was p u b l i s h e d May 25, 1967. With B r i t i s h s p e l l i and grammar. Advance copy 1018 MS 1106 Reviews 347-364 C o n t e n t s : P r e f a c e (915) and s t o r i e s r e p r i n t e d from The Gold  D i g g e r s 1954 (4) and f i v e s t o r i e s r e p r i n t e d from p e r i o d i c a l s which had f i r s t been c o l l e c t e d , i n German t r a n s l a t i o n s , i n M i s t e r Blue 1964 ( l 6 ) - - f o r l i s t of t i t l e s see 456-471. 18 Die I n s e l . F r a n k f u r t am Main: I n s e l , [September] 1965. [ T r a n s l a t e d i n t o German by] E r n s t J a n d l . German t r a n s l a t i o n of The I s l a n d . 813 c o p i e s ; 201, [ l ] p; c l o t h . Reviews 365-368, 1205 C o n t e n t s : P r e f a c e (919) and n o v e l t r a n s l a t e d from the S c r i b n e r ' s e d i t i o n , 1963 (12) . 19 The Gold D i g g e r s and Other S t o r i e s . New Y o r k : C h a r l e s S c r i b n e r ' s Sons, 1965 [ p u b l i s h e d September 28 ] . Expanded e d i t i o n of The Gold D i g g e r s , American t r a d e e d i t i o n . The f i r s t i m p r e s s i o n , i d e n t i f i e d by the code number A - 8 . 6 5 [ C o l ] on the r e v e r s e of the t i t l e page, c o n s i s t e d of 1,980 hardback and 4,083 paperback c o p i e s bound from shee t s p r i n t e d i n August 1965. As of January 1971 t h e r e had not been a subsequent i m p r e s s i o n . 158 p. MS 1018 Reviews 347-364 C o n t e n t s : P r e f a c e (915) and s t o r i e s (see l i s t of t i t l e s 456-471) r e p r i n t e d from the C a l d e r e d i t i o n , 1965 (17) , wi th changes i n s p e l l i n g and grammar. 20 Words. R o c h e s t e r , M i c h i g a n : [The P e r i s h a b l e P r e s s ] 1965 [ d i s t r i b u t e d March 1966] . \"There have been t h i r t y c o p i e s of Words p u l l e d on the Washington at the ROB RUN PRESS, R o c h e s t e r , M i c h i g a n . There are f i v e v a r i a n t p r o o f s which w i l l be bound as p a r t of the e d i t i o n . The type i s hand-se t c a s l o n o l d s t y l e on handmade paper formed and couched by the p r i n t e r , W S HAMADY\". Book of new poems. Unpaged, [17] pp [8 double X , \\ handbound i n b o a r d s . A l l of the poems except \"Words\" were f i r s t - - \u2022 \u2022 - . 136 p u b l i s h e d i n the F e b r u a r y 1966 i s s u e of P o e t r y . \"Words\" was r e p r i n t e d from R e s u s c i t a t o r No. 4. Proofs 1010 MS 1107 R e l a t e d l e t t e r s 1062 Contents \u00ab\u2022 Poems : - - W o r d s - - A Reason- -The Shame--The S t a t u e - - T h e Window (\"There w i l l be no s i m p l e \" ) - - T o B o b b i e - - T h e Flower (\"Remember the way you \/ hunched u p \" ) - - A P r a y e r . 21 About Women. Los A n g e l e s : G e m i n i , 1966. B r o a d s i d e poems. [ 1 ] > 5 ^ ; 6 b r o a d s i d e s i n hardcover p a r t -f o l i o , unbound. S o l d s e p a r a t e l y , though o r i g i n a l l y the three poems served as the i n t r o d u c t i o n to Ten O r i g i n a l L i t h o g r a p h s i n C o l o r by John A l t o o n . \"Di s tance\" was r e p r i n t e d from D i s t a n c e 1964 (13) . \"Anger\" and \"The Woman\" were r e p r i n t e d from p e r i o d i c a l s . Content s: P o e m s : - - A n g e r - - T h e Woman (\"I have never \/ c l e a r l y g i v e n to y o u \" ) - - D i s t a n c e . 22 Poems 1950-1965. London: C a l d e r and B o y a r s , [ J u l y 28] 1966. F i r s t B r i t i s h c o l l e c t i o n of poems, t r a d e e d i t i o n . 227 p, c l o t h . There was a l s o a de luxe e d i t i o n of 100 s igned and number-ed c o p i e s i n g u a r t e r c a l f wi th s l i p c a s e . A paperback e d i t i o n was p u b l i s h e d January 25, 1968. Advance copy 1019 Reviews 369-383 C o n t e n t s : The P r e f a c e (917) and a l l the poems i n For Love 1962 ( l l ; see t i t l e s 472-606) were r e p r i n t e d , f o l l o w e d by a f o u r t h s e c t i o n of new poems ( f o r t i t l e s see 607-659) l a t e r r e -p r i n t e d i n Words 1967 (26) . Some of the new poems were r e p r i n t -ed from Words 1965 (20) , some were newly c o l l e c t e d from p e r i o d -i c a l s ; \"The Measure\" and \"Fancy\" were p u b l i s h e d for the f i r s t t i m e . 23 De goudgravers en andere v e r h a l e n . Amsterdam: Polak & Van Gen-nep, [August 12] 1966. [ T r a n s l a t e d i n t o Dutch by ] Jan Donkers . Dutch t r a n s l a t i o n of the expanded e d i t i o n of The Gold  D i g g e r s , t r a d e e d i t i o n . 3,076 c o p i e s , 128 p, paper wrappers . C o n t e n t s : P r e f a c e (915) and s t o r i e s (see l i s t of t i t l e s 456-471) t r a n s l a t e d from the C a l d e r e d i t i o n , 1965 (17) . 24 For J o e l . [ M a d i s o n , W i s c o n s i n : ] The P e r i s h a b l e P r e s s , C 1966 [ p u b l i s h e d c a . A u g u s t ] . \"FOR JOEL i s here f i r s t p r i n t e d by the  p e r i s h a b l e pres s l i m i t e d i n an e d i t i o n of e x a c t l y e i g h t y - f i v e 137 c o p i e s on v a r i e g a t e d papers hand-made d i r e c t l y from rags by the p r i n t e r , W S H. T w e n t y - f i v e c o p i e s are hors commerce\". B r o a d s i d e poem. [ l ] - \u00a3 { one s m a l l f o l i o b r o a d s i d e , unbound. P r o o f s 1011 MS 1109 R e l a t e d l e t t e r s 1062 C o n t e n t s : P o e m : - - * F o r J o e l . 2 5 A S i g h t . London: Cape G o l i a r d P r e s s , C J a n u a r y 1967. [ D e s i g n -ed and i l l u s t r a t e d b y ] R. B. K i t a j . \" E d i t i o n l i m i t e d to one hundred c o p i e s of which f i f t y have been s i g n e d by the author & a r t i s t . . . . P r i n t e d i n London by T r i g r a m P r e s s \" . Poem on b r o a d s i d e s . [ 2 ] p, [3 ] ^ i n c l ud i ng c o l o r e d i l l u s -t r a t i o n s ; 4 b r o a d s i d e s i n a p o r t f o l i o , unbound. \"A S i g h t \" was r e p r i n t e d from W i l d Dog No. 17. C o n t e n t s : Poem:--A S i g h t . 26 Words. New Y o r k : C h a r l e s S c r i b n e r ' s Sons, C 1967 [ p u b l i s h e d F e b r u a r y 7 ] , Second book of c o l l e c t e d poems, t r a d e e d i t i o n . The f i r s t i m p r e s s i o n , i d e n t i f i e d by the code number A - l . 6 7 [ C ] on the r e v e r s e of the t i t l e page, c o n s i s t e d of 2,015 hardback and 5,097 paperback c o p i e s bound from sheets p r i n t e d i n January 1967. There have been s e v e r a l subseguent i m p r e s s i o n s w i t h a t o t a l of 19,000 c o p i e s as of January 1971. 143 p. C o n t i n u e s where For Love 1962 ( l l ) ended. S e c t i o n Four of Poems 1950-1965 1966 (22) was r e p r i n t e d , f o l l o w e d by a new c o l l e c t i o n of poems p u b l i s h e d from manuscr ip t and r e p r i n t e d from p e r i o d i c a l s . P r o o f s 1013 MSS 1110 Reviews 252, 384-403 Record ings 162, 1026 C o n t e n t s : - - * P r e f a c e (920) . Poems as l i s t e d 607-691. The f o l l o w i n g poems were p u b l i s h e d for the f i r s t t i m e : - - T h e r e - - A P i e c e - - W a t e r M u s i c - - W a s - - I n d i a n s - - A B i r t h d a y - - D a n c i n g - - A T a l l y - - \" O h My Love . . . \" - - F r a g m e n t s . 27 E l Amante Y Otros Cuentos . Mex ico , D . F . : . E d i t o r i a l L e t r a s , May 27, 1967. E l s a 33. [ T r a n s l a t e d i n t o S p a n i s h by A l f o n s o E s p a r z a . ] S p a n i s h t r a n s l a t i o n of the expanded e d i t i o n of The Gold  D i g g e r s , t r a d e e d i t i o n . 15,000 numbered c o p i e s , 124 p, paper wrappers . C o n t e n t s : P r e f a c e (915) and s t o r i e s (see l i s t of t i t l e s 456-471) t r a n s l a t e d from the S c r i b n e r ' s e d i t i o n , 1965 ( 1 9 ) . i3e 28 Robert C r e e l e y Reads. London: T u r r e t B o o k s \/ C a l d e r & B o y a r s , 1967. \" T h i s b o o k l e t and i t s accompanying r e c o r d are l i m i t e d to an e d i t i o n of 350 c o p i e s \" . B o o k l e t of poems and r e c o r d . 24 p, paper wrappers . 45 r . p . m . r e c o r d i n back j a c k e t f l a p , wi th C r e e l e y r e a d i n g the poems i n the b o o k l e t . See 450 Content s :--*l \\ lotes on an I n t e r v i e w by Way of a P r e f a c e (109) . Poems: F i f t e e n poems r e p r i n t e d from Poems: 1950-1965 1966 ( 2 2 ) : - - T h e Rhythm--The Rocks\u2014Water (\"The sun ' s \/ sky in\") - - T h e Mountains i n the D e s e r t - - W a i t i n g - - F o r No C l e a r Reason\u2014 The Messengers \u2014 H e l l o \u2014The Woman (\"I have never \/ c l e a r l y g i v e n to y o u \" ) - - A Night S k y - - T h e Answer- -The C i t y - - W o r d s - - T h e Window (\"There w i l l be no s i m p l e \" ) - - T h e Language. 29 G e d i c h t e \u2022 F r a n k f u r t am M a i n : Suhrkamp, [ A u g u s t ] 1967. [Poems t r a n s l a t e d i n t o German by K l a u s R e i c h e r t . P r e f a c e and b i b l i o g -raphy by K l a u s R e i c h e r t . ] F i r s t German book of poems, s e l e c t e d poems i n E n g l i s h and German, t r a d e e d i t i o n . 6,000 c o p i e s ; 167, [ 4 ] p; paper wrappers . Reviews 404-408 C o n t e n t s : - - N a c h w o r t von Klaus R e i c h e r t [ w i t h ] B i b l i o g r a p h -i s c h e Hinweise [190, 201; long p r e f a c e i n German wi th b i b l i o g -raphy by K l a u s R e i c h e r t ] . Poems: Poems newly s e l e c t e d from For  Love 1962 ( l l ) and Words 1967 (26) wi th t h e i r German t r a n s l a -t i o n s . Poems from For L o v e : - - L e F o u - - A Song- -The Innocence \u2014 The D i s h o n e s t M a i l m e n - - F o r W.C.W. (\"The p l e a s u r e of the wit\") \u2014 The O p e r a t i o n - - C h a n s o n - - T h e C o n s p i r a c y - - I Know a Man--The B u s i n e s s - - T h e D i s a p p o i n t m e n t - - J u g g l e r ' s T h o u g h t - - A Form of Women--They S a y - - P l e a s e - - A i r : \"Cat B i r d S i n g i n g \" - - T h e Way--A G i f t of Great Va lue \u2014The Door (\"It i s hard going to the door\") - - K o r e - - T h e R a i n - - L a d y i n B l a c k - . - T h e G i f t \u2014 The Name\u2014Fire \u2014 F o r Love . Poems from Words : - - I - - T h e Language \u2014The P a t t e r n \u2014 The Dream (\"Such p e r f e c t i o n \/ of dream would\")\u2014One Way\u2014Anger \u2014 Di s tance \u2014Song (\"I wou ldn ' t \/ embarrass you\")\u2014The A n s w e r -Some Echoes \u2014The Window (\"There w i l l be no s i m p l e \" ) \u2014 T o Bobbie - - T h e Hole \u2014Enough \u2014I n t e r v a l s . 30 The F i n g e r . Los A n g e l e s : B lack Sparrow P r e s s , [ F e b r u a r y 19] 1968. C o l l a g e s : Bobbie C r e e l e y . \"Designed and p r i n t e d i n J a n u a r y , .139 1968 i n San F r a n c i s c o by Graham M a c k i n t o s h f o r the B l a c k Sparrow P r e s s . T h i s e d i t i o n i s l i m i t e d to t h r e e hundred c o p i e s : two hundred and f i f t y numbered c o p i e s handsewn i n paper wrap-p e r s , s i g n e d by the poet ; and f i f t y numbered c o p i e s which are hand bound i n b o a r d s , each wi th an o r i g i n a l c o l l a g e by Bobbie C r e e l e y , s i g n e d by both author and a r t i s t \" . Long poem. Unpaged, [21] p i n c l u d i n g 4 c o l l a g e s . 5D c o p i e s have an a d d i t i o n a l , o r i g i n a l c o l l a g e s i g n e d by the a r t i s t . 5 e x t r a c o p i e s were p r i n t e d f o r the a u t h o r , a r t i s t , p r i n t e r , p u b l i s h e r , and b i n d e r . The paperback e d i t i o n was p u b l i s h e d F e b -r u a r y 19, the hardcover e d i t i o n , F e b r u a r y 23. \"The f i r s t two l i n e s of the second s tanza on p. [17] are t r a n s p o s e d i n some c o p i e s . A p p a r e n t l y i n t r o d u c e d i n the course of p r i n t i n g , the e r r o r has been noted i n c o p i e s b e a r i n g numbers above 200. I t does not occur i n the hardcover e d i t i o n \" [From the B lack Sparrow Press C h e c k l i s t ( 1 9 2 ) ] . P r o o f s 1005 MSS 1082, 1113, 1115b Review.409 R e l a t e d l e t t e r s 1035 C o n t e n t s : Poem:- -*The F i n g e r . 5 Numbers. New Y o r k : The Poets P r e s s , March 1968. \"From NUMBERS: A Sequence f o r Robert I n d i a n a \u2014 J a n u a r y 16, 1 9 6 8 . . . . 150 c o p i e s p r i n t e d . . . . P u b l i s h e d i n generous REALITY by The Poets P r e s s , New York March 1968 The cover d e s i g n i s a rubberstamp p r i n t by W i l l i a m K a t z \" . F i r s t h a l f of poem sequence \"Numbers\". Unpaged, [12] p; s t a p l e d i n paper wrappers . P h o t o - o f f s e t ho lograph , ' numbered and s i g n e d by C r e e l e y . MSS 1115 C o n t e n t s : Poems: - -*0ne- -*Two (\"When they were \/ f i r s t made\")-_*Three (\"They come now\") - -*Four ( \" T h i s number f o r me\") - - * F i v e . The Charm: E a r l y and U n c o l l e c t e d Poems. [Mt. Horeb, W i s c o n -s i n : ] The P e r i s h a b l e P r e s s , 1967 [not f i n i s h e d and bound u n t i l S p r i n g 1968] . \"There are two hundred f i f t y c o p i e s of t h i s book hand set & p r i n t e d i n p a l a t i n o on medway p a p e r . T h i s i s the f i r s t e d i t i o n & i s numbered & s i g n e d by the a u t h o r \" . Book of poems not c o l l e c t e d i n For Love 1962 ( l l ) and Words 1967 ( 2 6 ) . There were on ly c a . 235 c o p i e s p r i n t e d , a few of which have v a r i a n t p r o o f s f o r the t i t l e - p a g e s i g n a t u r e s . 140 [ 8 ] , 77 p; handbound i n c l o t h and h a l f l e a t h e r . The poems were r e p r i n t e d from p e r i o d i c a l s and f i v e e a r l y books: Le Fou 1952 ( l ) , The Kind Of Act Of 1953 ( 2 ) , The Immoral P r o p o s i t i o n 1953 ( 3 ) , A S n a r l i n g G a r l a n d 1954 '(5), A l l That Is L o v e l y i n Men 1955 ( 6 ) . P r o o f s 1014, 1111 MSS 1100, 1101 R e l a t e d l e t t e r s 1061, 1062, 1070 Review 410 R eco rd ing 1026 C o n t e n t s : - - * P r e f a c e (110) . Poems: A l l the poems l a t e r r e p r i n t e d i n The Charm 1969 (41; f o r l i s t of t i t l e s see 765-856) except the s i x t e e n poems r e p r i n t e d from D i v i s i o n s 1968 ( f o r t i t l e s see 36) and the s i x poems c o l l e c t e d for the f i r s t t ime ( f o r t i t l e s see 41 ) . 33 The Boy. B u f f a l o , N . Y . : The G a l l e r y U p s t a i r s P r e s s , C 1968 [ p u b l i s h e d c a . May] . A poem p o s t e r . 50 s i g n e d c o p i e s , c a . 500 uns igned c o p i e s . [ l ] ^ > one p o s t e r wi th h o l o g r a p h f a c s i m i l e of poem over en -l a r g e d p h o t o g r a p h , unbound. \"The Boy\"was r e p r i n t e d from Anonym No. 1. C o n t e n t s : Poem:--The Boy. 34 Numbers. S t u t t g a r t : E d i t i o n D o m b e r g e r \/ D u s s e l d o r f : G a l e r i e Schmela; 1968. [ S e r i g r a p h s by ] Robert I n d i a n a . E d i t e d [ w i t h a p r e f a c e ] by D i e t e r H o n i s c h . T r a n s l a t i o n of the poems [ i n t o German] by K l a u s R e i c h e r t . \"Typo and l e t t e r p r e s s : Dr . C a n t z ' s c h e D r u c k e r e i , S t u t t g a r t - B a d C a n n s t a t t S i l k - s c r e e n : Domberger KG, Bonladen b e i S t u t t g a r t \" . Poem sequence, i n E n g l i s h and German. Unpaged, [ 3 7 ] ^ ^ i n c l u d i n g 10 c o l o r e d s e r i g r a p h s . Three e d i t i o n s : Paperback i s s u e of 2,500 c o p i e s , 8^\"xl0\", s l i p c a s e d i n a b l a c k box, 500 f o r Germany and 2,000 f o r the U . S . Bound e d i t i o n of 275 c o p i e s , on 19^\"x25-5 n o f f s e t k a r t o n p a p e r , numbered and s i g n e d by the poet and a r t i s t i n the i m p r i n t . Deluxe e d i t i o n of 160 p o r t -f o l i o s , numbers 1 to 125 f o r s a l e and I to XXXV not f o r s a l e , c o n s i s t i n g of unbound 19^\"x25-5-\" f o l i o s of s c h o e l l e r - s h a m m e r paper e n c l o s e d i n a l i n e n box; the s e r i g r a p h s are s i g n e d by the a r t i s t and the i m p r i n t i s s i g n e d by the poe t . Poems \"One\" to \" F i v e \" were r e p r i n t e d from 5 Numbers 1968 (31) and poems \"Six\" to \"Zero\" were p u b l i s h e d from m a n u s c r i p t . A p r o s p e c t u s of the work was i s s u e d ; i t c o n s i s t e d of one sheet f o l d e d i n t o [ 4 ] p 141 with m i n i a t u r e s of the ten s e r i g r a p h s and p u b l i c a t i o n i n f o r m a t i o n . lYlSS 1115 Review 411 C o n t e n t s : - - P r e f a c e [191; by D i e t e r H o n i s c h , i n E n g l i s h and German], Poems i n E n g l i s h and i n German t r a n s l a t i o n s : - - O n e -Two (\"When they were \/ f i r s t made\") - -Three (\"They come now\")\u2014 Four ( \" T h i s number f o r me\" ) \u2014 F i v e \u2014 * S i x \u2014 * S e v e n \u2014 * E i g h t \u2014 * N i n e \u2014 * Z e r o . 35 [ I f Y o u ] , [London: L i o n and U n i c o r n P r e s s , 1968.] \"Poem by Robert C r e e l e y , p r i n t e d at the Roya l C o l l e g e of A r t , d e s i g n e d & i l l u s t r a t e d by Roger R o b e r t s \" . B r o a d s i d e poem. 400 c o p i e s ; [ l ] - ^ i n c l u d i n g one i l l u s t r a -t i o n ; one b r o a d s i d e f o l d e d three t i m e s , unbound. \"I f You\" was r e p r i n t e d from For Love 1962 ( l l ) . Content s : Poem:\u2014If You. 36 D i v i s i o n s & Other E a r l y Poems. [mt. Horeb, W i s c o n s i n : ] The P e r i s h a b l e P r e s s , 1968. \"There are one hundred c o p i e s numbered 1 through 100 & ten c o p i e s f o r the author numbered I through X. The t e x t i s hand-se t P a l a t i n o p r i n t e d on SHADWELL, a paper hand made by the p r i n t e r . The hand-sewn wrapper i s F a b r i a n o Cover\" . B o o k l e t of poems missed from The Charm 1967 (32). [4], 19 p; handsewn i n paper wrappers . The poems were r e p r i n t e d from p e r i o d i c a l s , The Kind Of Act Of 1953 (2), and A Form of  Women 1959 (9). MS 1112 C o n t e n t s : Poems:\u2014Poem f o r Bob Leed \u2014Love (\"The t h i n g comes \/ of i t s e l f \") \u2014 D i v i s i o n s \u2014The Method of A c t u a l i t y \u2014 A n I r i s h m a n ' s Lament on the Approach ing Winter \u2014Now Then \u2014 T r e e s \u2014 \"To Work Is to C o n t r a d i c t C o n t r a d i c t i o n s , to Do V i o l e n c e to N a t u r a l V i o l e n c e . . . \" - - T h e P i c n i c \u2014The Menu \u2014 I n a Boat S h e d -Swinging Down C e n t r a l \u2014 J e v o i s dans l e hasard tous l e s b i e n s que j ' espere \u2014 The Dream (\"A lake i n the head\")\u2014The Hands \u2014The A n i m a l . 37 P i e c e s . Los A n g e l e s : B lack Sparrow P r e s s , November [29] 1968. C o l l a g e s : Bobbie C r e e l e y . \"Designed & p r i n t e d at the P l a n t i n P r e s s , Los A n g e l e s , by Sau l and L i l l i a n Marks i n November, 1968, f o r the B l a c k Sparrow P r e s s . T h i s e d i t i o n i s l i m i t e d to 250 numbered c o p i e s sewn i n paper wrappers s i g n e d by the a u t h o r ; 150 142 h a r d c o v e r c o p i e s numbered and s i g n e d by both author & a r t i s t ; and 26 l e t t e r e d c o p i e s hardbound i n boards by E a r l e G r a y , each wi th an o r i g i n a l c o l l a g e by Bobbie C r e e l e y , s i g n e d by both author & a r t i s t \" . Book of new poems. [ 4 ] , 13, [ 2 ] p p l u s 8 c o l l a g e s . 26 c o p i e s have an a d d i t i o n a l , o r i g i n a l c o l l a g e . 5 e x t r a c o p i e s were p r i n t e d f o r the a u t h o r , a r t i s t , p r i n t e r , p u b l i s h e r , and b i n d e r . The poems were p u b l i s h e d from manuscr ip t or r e p r i n t e d from p e r i o d i c a l s . MS 1114 C o n t e n t s : Poems:\u2014*As r e a l as t h i n k i n g ( p a r t 3 ) \u2014 * H a v i n g to\u2014 ( p a r t s 3 , 4 ) - - T h e car ( p a r t s 1 , * 3 , * 4 ) - - * P i e c e s of cake ( p a r t l ) - - Q n e t h i n g done ( p a r t s 1 ,2 ,*3) \u2014I cannot see you ( p a r t s *1 , * 2 , 5 ) - - * I n s e c r e t ( p a r t l ) - - \" T i m e \" i s some s o r t of h i n d s i g h t ( p a r t s * 2 , 4 ) - - \" F o l l o w the D r i n k i n g G o u r d . . . \" - - * 0 n e \/ the Sun \/ ( p a r t 1 ) - - ^ P l e a s u r e s of p a i n \u2014 * T h e F r i e n d s ( p a r t 2 )\u2014 ^ C i t i z e n \u2014 *Happy Love [ t i t l e d \"One D a y \" ] - - * S o t i r e d \u2014 W h y say ( p a r t s 1,*2)[ - - \u2022 D a y s l a t e r ( p a r t s 1-3) [\"So t i r e d \" , \"Why say\" and \"Days l a t e r \" are t i t l e d \"Time\" (\"So t i r e d \" ) ] . 38 M a z a t l a n : Sea. San F r a n c i s c o : Poets P r e s s , August 12, 1969. \" T h i s book was des igned and p r i n t e d at Cranium. P r e s s , San F r a n c i s c o i n an e d i t i o n of 50 c o p i e s , and was p u b l i s h e d t h e r e by Poets Pres s on August 12, 1969. Each copy i s s i g n e d by the a u t h o r \" . B o o k l e t of new poems. Unpaged, [14] p; t i e d i n paper wrappers . The poems were p u b l i s h e d from manuscr ip t or r e -p r i n t e d from p e r i o d i c a l s . MS 1115c C o n t e n t s : Poems: \" M a z a t l a n : Sea\" and poems t h e r e a f t e r as r e p r i n t e d i n P i e c e s 1969 (39; f o r l i s t of t i t l e s see 7 5 1 - 7 6 4 ) . The f o l l o w i n g poems were p u b l i s h e d f o r the f i r s t t i m e : - - K i d s w a l k i n g \u2014 B \u2014 -The k i c k of. the foo t \u2014 Four (\"Before I die\")\u2014Some n i g h t s \u2014 You see the j e r k e d movement \u2014 C o u l d w r i t e of fucking\u2014 - - S u c h s t r a n g e n e s s of mind\u2014When he and I ( p a r t 2 ) . 39 P i e c e s . New Y o r k : C h a r l e s S c r i b n e r ' s Sons, C 1969 [ p u b l i s h e d August 2 2 ] . T h i r d book of c o l l e c t e d poems, t r a d e e d i t i o n . The f i r s t i m p r e s s i o n , i d e n t i f i e d by the code number A\u20145.69 (cz) on the 143 r e v e r s e of the t i t l e page, c o n s i s t e d of 2,049 hardback and 6,053 paperback c o p i e s bound from sheets p r i n t e d i n Way 1969. There have been s e v e r a l subsequent i m p r e s s i o n s w i th a t o t a l of 22,000 c o p i e s as of January 1971. x, [ 2 ] , 81 p. C o n t i n u e s where Words 1967 (26) ended. The poems were r e p r i n t e d from the f o l l o w i n g works: The F i n g e r 1968 (30) , 5 Numbers 1968 (31) , The Boy 1968 (33) , Numbers 1968 (34 ) , P i e c e s 1968 (37 ) , M a z a t l a n : Sea 1969 (38 ) . In a d d i t i o n , many poems were newly c o l l e c t e d from p e r i -o d i c a l s and a number were p u b l i s h e d from m a n u s c r i p t . P r o o f s 1015 MSS 1115 Reviews 246, 412-427 C o n t e n t s : Poems as l i s t e d 692-764. The f o l l o w i n g poems were p u b l i s h e d f o r the f i r s t t i m e : - - A s r e a l as t h i n k i n g ( p a r t s 1 , 2 , 4 ) - - T h e F a m i l y ( p a r t 2 ) - - F o r Y o u - - H a v i n g to\u2014 ( p a r t s 1,2) \u2014 The car ( p a r t 2 ) - - P i e c e s of cake ( p a r t 2 ) - - I cannot see you ( p a r t 4 ) - - G e m i n i ( p a r t s l - 3 ) - - I n s e c r e t ( p a r t 2 ) - - \" T i m e \" i s some sor t of h i n d s i g h t ( p a r t s l , 3 ) - - 0 n e \/ the Sun \/ ( p a r t s 2 - 6 ) - - C a n f e e l i t \u2014 Chicago ( p a r t 2)\u2014NYC \u2014 The F r i e n d s ( p a r t s 3 , 5 ) - - D i c t i o n - - P l a c e ( p a r t 4 ) \u2014Canada \u20143 i n 1 \u2014They \u2014Echo \u2014Forms 1 passage ( p a r t s 1-3)\u2014Days l a t e r ( p a r t 4 ) - - N o c l o u d s ( p a r t s 4 , 5 ) \u2014 E c h o Of __The \u2014 S i t u a t i o n of f e e l i n g \u2014 A g a i n (\"One more day gone\")\u2014The which i t was \u2014 I n the house o f - - P . S . - - I ce Cream ( p a r t s 1,2)\u2014What do you t h i n k ( p a r t s 3 , 5 ) \u2014 R e C \u2014 - L i k e a man committed ( p a r t s 1, 3 , 4 , 9 , 1 0 ) - - T h e News \u2014 S m e l l of gum wrappers \u2014The day comes and goes\u2014The f i r s t t ime (\"The f i r s t \/ t ime i s \/ the f i r s t \/ t i m e \" ) . 40 Hero . [New Y o r k ? ] I n d i a n a k a t z , c 1969 [ p u b l i s h e d December] . Drawing: Robert I n d i a n a . \" T h i s e d i t i o n of 1000 examples , de-s igned by W i l l i a m Katz i n December of 1969, i s 1969 by the A u t h o r s . An I n d i a n a k a t z P r o d u c t i o n . \" Poem i n pamphlet . One sheet f o l d e d i n t o [ 4 ] p i n c l u d i n g one c o l o r e d d r a w i n g , unbound. C o n t e n t s : Poem:\u2014*Hero. 4 1 The Charm: E a r l y and U n c o l l e c t e d Poems. San F r a n c i s c o : Four Seasons F o u n d a t i o n , [December 31] 1969. W r i t i n g 23. Expanded e d i t i o n of The Charm, book of poems not c o l l e c t e d i n For Love 1962 ( l l ) and Words 1967 (26) ; t r a d e e d i t i o n . 5,000 c o p i e s i n paper wrappers; 100 c o p i e s s p e c i a l l y bound, numbered, and s i g n e d . x i i , 97 p. T h i s work r e p r i n t s a l l the 144 poems i n The Charm 1967 (32) and D i v i s i o n s 1968 (36) , as w e l l as \" N a t h a n i e l Hawthorne\" from A Form of Women 1959 ( 9 ) . I t a l s o i n c l u d e s the f o l l o w i n g p r e v i o u s l y u n c o l l e c t e d poems: - -The F e s t i v a l - - T h e (Yl irror - -A V a r i a t i o n \u2014 The Happy Man \u2014*The E a r . Review 428 C o n t e n t s : - - P r e f a c e [110; r e p r i n t e d from The Charm 1967] . Poems as l i s t e d 765-856. 42 M a r y ' s Fancy . New Y o r k : Bouwerie E d i t i o n s , Summer 1970. Photograph: W i l l i a m K a t z . \" T h i s f i r s t e d i t i o n , rubberstamped i n the summer of 1970 by W i l l i a m K a t z , c o p y r i g h t by Bouwerie E d i t i o n s , New York C i t y , e x i s t s i n 402 examples of which 1-100, s i g n e d & numbered by the a u t h o r , are for- s a l e , p o e t ' s p r o o f s A - Z are f o r use of the poe t , and p r i n t e r ' s p r o o f s A-Z are f o r use of the p r i n t e r . A d d i t i o n a l l y , 250 examples numbered 1-250 e x i s t u n s i g n e d \" . Poem i n book le t . One sheet f o l d e d i n t o [ 4 ] p i n c l u d i n g one c o l o r e d p h o t o g r a p h , l a i d i n a f o l d e r , unbound. Proof 1016 C o n t e n t s : Poem:\u2014*Mary ' s Fancy . 4 3 In London. B o l i n a s , C a l i f o r n i a : Ange l H a i r Books, [ J u l y ] 1970. \"200 c o p i e s p r i n t e d by Grabhorn-Hoyem i n San F r a n c i s c o f o r Angel H a i r Books, Box 253, B o l i n a s , C a l i f o r n i a 94924\". Poem sequence . 214 c o p i e s ; unpaged, [ 9 ] p; t i e d i n paper wrappers . 10 c o p i e s were s i g n e d ; 4 c o p i e s \u2014 w i t h the \" L \" of \"London\" i n k e d i n on the t i t l e page\u2014were not f o r s a l e . \"In London\" was r e p r i n t e d from Stony Brook No. 3 \/4 . C o n t e n t s ; Poem s e q u e n c e : - - I n London. 44 The F i n g e r : Poems 1966-1969. London: C a l d e r and B o y a r s , [ J u l y 30] 1970. Second B r i t i s h c o l l e c t i o n of poems, t r a d e e d i t i o n . 143 p, c l o t h . C o n t i n u e s where Poems: 1950-1965 .1966 (22) ended. Proof 1017 MS 1116 Review 430 C o n t e n t s : - - P r e f a c e [920; r e p r i n t e d from Words 1967 ( 2 6 ) ] . Poems: The l a s t t h i r t y - t w o poems of Words 1967 ( f o r l i s t of t i t l e s see 660-691) are r e p r i n t e d a long with a l l the poems i n P i e c e s 1969 (39; f o r t i t l e s see 692-764) . The t h i r d s e c t i o n ( f o r t i t l e s see 857-884) c o n t a i n s a poem sequence p u b l i s h e d s i m u l t a n e o u s l y as In L o n d o n 1970 (43 ) , poems newly c o l l e c t e d 145 from p e r i o d i c a l s and A Wal l 1970 (39A) , and these poems p u b l i s h e d f o r the f i r s t t i m e : - - W e ' l l d i e - - S i g n ( p a r t 4)\u2014Love\u2014 ( \" L o v e \u2014 l e t i t \" ) - - B o b b i e ' s Law--The Edge ( p a r t s 2 , 3 ) - - L i t t l e Time\u2014And P l a c e -Dead i n the year\u2014--\"Fine c h i n a \u2014 I n the \u2014 R i p p l i ng e y e l i d s \u2014The Teach ings \u2014 K i k i \u2014 T h e men i n my l i f e \u2014 N e i t h e r sadness nor d e s i r e ( p a r t s 4 - 6 ) \u2014 T h e r e i s a space \u2014I d o n ' t hate you l a t e l y \u2014 W a y -Looking f o r a way\u2014Two Times (\"Image \/ d o c t e u r \" ) ( p a r t 2 ) . 45 For Betsy and Tom. D e t r o i t : The A l t e r n a t i v e Press [September 1970] , \"A f r e e poem from THE ALTERNATIVE PRESS 4339 Avery D e t r o i t , M i c h i g a n \" . B r o a d s i d e poem. 400 c o p i e s ; [ l ] ^ ; o n e s m a l l f o l i o b r o a d s i d e , unbound. C o n t e n t s : Poem:\u2014*For Betsy and Tom. 46 For Benny and S a b i n a . [New Y o r k : ] Samuel C h a r t e r s [November 15, 1970] . P o r t e n t s 18. \"One of 100 c o p i e s Photo by Ann C h a r t e r s P o r t e n t s are p u b l i s h e d by Samuel C h a r t e r s \" . B r o a d s i d e poem. [ l ] - ^ ! o n e b r o a d s i d e wi th e n l a r g e d photograph of C r e e l e y , unbound. C o n t e n t s : Poem:\u2014*For Betsy and Tom. 47 As Now I t Would Be Snow. Los A n g e l e s : B lack Sparrow P r e s s , December [7 ] 1970. \"A C h r i s t m a s G r e e t i n g From The BLACK SPARROW PRESS Los Angeles 1970\". \"Design by B a r b a r a M a r t i n . P r i n t e d for the B lack Sparrow Press i n December, 1970 by Noel Young. F i f t y c o p i e s of t h i s e d i t i o n have been handbound i n boards by E a r l e Gray & are numbered & s i g n e d by the a u t h o r \" . Poem pamphlet , not f o r s a l e . 585 c o p i e s sewn i n paper wrappers , 50 s i g n e d and numbered h a r d c o v e r c o p i e s . 4 e x t r a c o p i e s were p r i n t e d f o r the a u t h o r , p r i n t e r , p u b l i s h e r , and b i n d e r . [ 4 ] , 3, [ l ] p. C o n t e n t s : Poem:\u2014*As Now It Would Be Snow. 48 C h r i s t m a s : May 10, 1970. B u f f a l o , New York: The Lockwood Memoria l L i b r a r y , S t a t e U n i v e r s i t y of New York at B u f f a l o ; December 1970. C h r i s t m a s B r o a d s i d e Number T h r e e . \" T h i s i s the t h i r d i n a s e r i e s of C h r i s t m a s B r o a d s i d e s p u b l i s h e d under the a u s p i c e s of the F r i e n d s of the Lockwood Memoria l L i b r a r y i n an e d i t i o n of 2000, of which the f i r s t 25 have been s igned and numbered by the author and 146 r e s e r v e d for s a l e \" . B r o a d s i d e poem. [ 2 ] pj one s m a l l f o l i o b r o a d s i d e , f o l d e d t w i c e , unbound. 35 unnumbered c o p i e s were a l s o s i g n e d . C o n t e n t s : P o e m : - - * C h r i s t m a s : May 10, 1970. 49 S t . M a r t i n ' s . Los A n g e l e s : B l a c k Sparrow P r e s s , [March 25] 1971. M o n o p r i n t s : Bobbie C r e e l e y . \" P r i n t e d March 1971 i n Santa B a r b a r a f o r the B lack Sparrow Press by Noel Young. Des ign by B a r b a r a M a r t i n . T h i s e d i t i o n i s l i m i t e d to 1000 c o p i e s i n paper wrappers ; 250 h a r d c o v e r c o p i e s numbered &. s igned by the poet ; & 50 numbered c o p i e s handbound i n boards by E a r l e G r a y , each wi th an o r i g i n a l c o l o r monoprint by Bobbie C r e e l e y , s i gned by the poet & a r t i s t \" . Book of new poems. Unpaged, [39] p i n c l u d i n g 8 m o n o p r i n t s . 50 c o p i e s have an a d d i t i o n a l , o r i g i n a l monopr in t . 5 e x t r a c o p i e s were p r i n t e d f o r the a u t h o r , a r t i s t , p r i n t e r , p u b l i s h e r , and b i n d e r . The paperback was r e p r i n t e d December 27, 1971; t h e r e were 1,034 c o p i e s o f f s e t i n b l a c k on ly from the f i r s t i m p r e s s i o n s h e e t s , wi th \"Second P r i n t i n g \" added and the co lophon dropped; the cover was l e t t e r p r e s s i n three c o l o r s o n l y . A p r o s p e c t u s f o r the book was sent out March 1971; i t c o n s i s t e d of one sheet wi th an u n t i t l e d poem [\"The B i r d s \" ] and p u b l i c a t i o n i n f o r m a t i o n . C o n t e n t s : Poems newly c o l l e c t e d from m a n u s c r i p t , p e r i o d -i c a l s , and M a r y ' s Fancy 1970 (42) , as l i s t e d 885-899. The f o l l o w i n g poems were p u b l i s h e d f o r the f i r s t t i m e : - - \" D o You T h i n k . . . \" - - T w o (\"Hold ing \/ f o r one \/ i n s t a n t \" ) - - \" Q u i c k T a l k . . . \" - - H a r r y - - \" T h e Death O f . . . \" - - T h e Problem \u2014 The T i g e r \u2014On V a c a t i o n - - S o u n d s . 2 SELECTED CONTRIBUTIONS TO OTHER WORKS See a l s o 15, 21. 50 S t o r i e s : \u2014 * I n the Summer (462)\u2014*3 Fate T a l e s (459)\u2014*Mr Blue (457) . Po ems: - - *Love (\"The t h i ng'comes \/ of i t s e l f \" ) \u2014 * H e l a s \u2014 * L e F o u \u2014 * H a r t Crane (\"Answer: how o l d \/ i s the w ind\") . O r i g i n (ed . C i d : C o r m a n , D o r c h e s t e r , M a s s a c h u s e t t s ) , No. 2 (Summer 1951). [ I s sue f e a t u r i n g C r e e l e y . ] See 150, 921 147 51 S t o r i e s : - - I Y I r B lue (457 ) - -*The Seance ( 4 6 3 ) - - * T h e Lover (461) \u2014 3 Fate T a l e s ( 4 5 9 ) - - I n the Summer (462) . New D i r e c t i o n s (ed. James L a u g h l i n , New Y o r k ) , Ng. 13 ([December 12] 1951). [ T h i s was a s p e c i a l s e c t i o n c a l l e d \"Mr. B lue and Other S t o r i e s \" wi th an i n t r o d u c t i o n by C h a r l e s Olson (181) . 2,003 c o p i e s . A p a p e r -back e d i t i o n of 1,635 c o p i e s was i s s u e d May 24, 1965 . ] Review 254 52 Poems:\u2014*The S u r f : An E l e g y - - * T h e Cantos \u2014*The Drums- -*The Sea \u2014 *The B a l l Game \u2014^Something f o r E a s t e r \u2014*The Rhyme \u2014*The R i t e s \u2014 *The R i d d l e . Golden Goose (ed . R i c h a r d W i r t z Emerson and F r e d -e r i c k Eckman, Columbus, O h i o ) , S e r i e s 4, No. 5 (October 1952) . [ T h i s was a s p e c i a l s e c t i on c a l l e d \"Antho logy: Le Fou\" . The poems were p u b l i s h e d s i m u l t a n e o u s l y i n Le Fou 1952 ( l ) . ] MS 1095 R e l a t e d l e t t e r s 1041 53 Poems:\u2014 * E r o s \u2014*I t Is at Times \u2014*The Europeans \u2014*The P e n i t e n t . F e r r i n i & O t h e r s . G l o u c e s t e r , Massachuse t t s [ V i n c e n t F e r r i n i , e a r l y 1953] . [ P r i n t e d by J u l i u s E n g e l b e r g i n K a r l s r u h e , Germany on commission of Ra iner M. G e r h a r d t . 300 c o p i e s , not f o r s a l e . ] 54 Poems:- -The C r i s i s \u2014 The R i d d l e \u2014*The Kind of Act o f\u2014The Innocence . Nine American Poe t s , ed . Robert Cooper . L i v e r p o o l : Heron, [ S p r i n g ] 1 9 5 3 . , [ A r t i s a n 2 . ] See 924 55 Poems:\u2014If Y o u \u2014 A n d . A New F o l d e r ; Amer icans : Poems and Drawings , ed. Daisy A l d a n . New York: F o l d e r E d i t i o n s [ A u g u s t ] 1959. [ F i r s t e d i t i o n of 850 c o p i e s p l u s 150 s p e c i a l l y bound c o p i e s . A r e v i s e d paperback e d i t i o n with photographs was p u b l i s h e d i n I 9 6 0 . ] 56 Poems:\u2014The Innocence\u2014The Kind of Act o f\u2014The Immoral P r o p o s i -t i o n \u2014 A C o u n t e r p o i n t \u2014 T h e Warning\u2014The Whip \u2014 A M a r r i a g e \u2014 B a l l a d of the D e s p a i r i n g Husband \u2014 I f You \u2014 J u s t F r i e n d s \u2014The Three L a d i e s - - T h e Door (\"It i s hard go ing to the door\")\u2014The Awakening\u2014The Way. The New American P o e t r y : 1945-1960, ed. Donald M. A l l e n . New York: G r o v e \/ L o n d o n : E v e r g r e e n , 1960 [ p u b l i s h e d May 29 ] , [ F i r s t e d i t i o n of 1,000 c l o t h and 8,000 paperback c o p i e s . There have been many subsequent p r i n t i n g s . ] P r o o f s 1008 Review 260 See 123, 924, 955 57 Poems i n Swedish t r a n s l a t i o n s : \u2014 H e r o e s \u2014 T h e Three L a d i e s . Helqgn  & H e t s p o r r a r , ed . R e i d a r E k n e r . S tockholm: Raben & S j o g r e n , 1960. 58 Poem:\u2014The G i f t . The Beat Scene, ed . E l i a s W i l e n t z . New Y o r k : C o r i n t h , 1960. 148 59 S t o r i e s : - - T h e Boat (466) - -The Gold D i g g e r s (467) - -The Unsuccessful Husband (456) - -3 Fate T a l e s ( 4 5 9 ) - - J a r d o u (465 ) - -The Seance (463) - - T h e M u s i c i a n s (469) . Short S t o r y 3, by Robert C r e e l e y , Burton R a f f e l , Matthew Carney , and Joseph S l o t k i n . New Y o r k : S c r i b n e r ' s [ i 9 6 0 ] . [The book c o n s i s t e d of four c o l l e c t i o n s of s h o r t s t o r i e s , one by each a u t h o r . C r e e l e y ' s s e c t i o n was t i t l e d \"The M u s i c i a n s \" . ] 60 Poems i n E n g l i s h and i n German t r a n s l a t i o n s : - - T h e D i shones t M a i l m e n - - T h e C o n s p i r a c y - - L e F o u - - T h e G i f t - - C h a n s o n - - A Form of A d a p t a t i o n \u2014 T h e y Say. Junqe A m e r i k a n i s c h e L y r i k , ed . Gregory Corso and Wal ter H o l l e r e r . Munich: C a r l Hanser , c 1 9 6 1 . [The f i r s t three poems were t r a n s l a t e d i n t o German by Wal ter H o l l e r e r , the l a s t four,- by K l a u s R e i c h e r t . There was a l s o a boxed e d i t i o n wi th a r e c o r d i n g of r e a d i n g s by some of the p o e t s . ] 61 P o e m s : - - A f t e r L o r c a - - I Know a Man--The H i l l - - T h e S ign B o a r d - - T h e C r a c k s - - F o r Love \u2014 K o r e \u2014 T h e R a i n . Contemporary American P o e t r y , ed . Donald H a l l . Harmondsworth, M i d d l e s e x , E n g l a n d : Pengu in , 1 9 6 2 . ( r e v i s e d and e n l a r g e d e d i t i o n , 1972). 62 Poems i n Swedish t r a n s l a t i o n s : - - T h e I n v o i c e - - L i k e They Say-~The Rhythm--The C o n s p i r a c y - - I Know a M a n - - S i n g Song- -The D i s h o n e s t M a i l m e n - - A M a r r i a g e - - A Form of Women. Ida'n ,ja L'a'nnen Runot, ed . Markku L a h t e l a and Anselm H o l l o . H e l s i n k i : W e i l i n & Gob's, c 1 9 6 2 . 63 Poems i n German t r a n s l a t i o n s by W i l l i A n d e r s : - - D o n ' t S ign Any-t h i n g \u2014 T h e C o n s p i r a c y \u2014 S o n g (\"Were I myse l f more b l i t h e \" ) . Beat :  E i n e A n t h o l o q i e , ed . K a r l 0. P a e t e l . Reinbek be i Hamburg, Germany: Rowohlt , November 1962. See 194 64 S t o r i e s : \u2014 M r Blue (457)\u2014The Grace (464) \u2014 I n the Summer ( 4 6 2 ) - - ' A Death (458)\u2014The Dress (470)\u2014The Book (471) . The Moderns: An  Antho logy of New W r i t i n g i n A m e r i c a , ed. LeRoi Jones . New Y o r k : C o r i n t h , 1963. Review 265 R e l a t e d l e t t e r s 1037 See 915 65 Poems i n E n g l i s h and i n Spani sh t r a n s l a t i o n s : - - T h e D i shones t Mailmen \u2014The Crow \u2014The Immoral P r o p o s i t i o n \u2014 T h e Death of Venus\u2014 The Three L a d i e s \u2014Song (\"Those r i v e r s run from t h a t l a n d \" ) \u2014 K o r e - - T h e Name. P o e s i a americana d e l '900, ed . C a r l o I z z o . Parma, I t a l y : Guanda, December 1963. 66 Poem:\u2014The Way. Way Poems. [San F r a n c i s c o : C l i f f o r d Burke , 149 Summer 1967 . ] [100 c o p i e s , p u b l i s h e d p r i v a t e l y for Mary Norbert K o r t e . The poems of t h i s c o l l e c t i o n are a response to the f i r s t - - \" T h e Way\" by Robert C r e e l e y . ] 67 Poems: - -The Rhyrne--I Know a Man\u2014The Death of Venus \u2014 A Form of A d a p t a t i o n \u2014Naughty Boy \u2014 A Form of Women \u2014Oh No \u2014 A Wicker Basket - - T h e Wind \u2014 B a l l a d of the D e s p a i r i n g Husband\u2014The I n v o i c e \u2014 T h e End of the Day\u2014The W i f e . \u2022 American Poems: A Contemporary C o l l e c - t i o n , ed. Jascha K e s s l e r . C a r b o n d a l e : Southern I l l i n o i s U n i v e r -s i t y P r e s s , C 1964 . 68 Poems i n German t r a n s l a t i o n s by K l a u s R e i c h e r t : - - T h e D i s a p p o i n t -ment\u2014The Flower (\"I t h i n k I grow t e n s i o n s \" ) - - A Song. I n s e l - Almanach auf das Jahr 1965. F r a n k f u r t : I n s e l , 1964. See 924 69 Poems i n E n g l i s h and i n I t a l i a n t r a n s l a t i o n s : - - T h e D i shones t Mailmen \u2014I Know a Man \u2014The Awakening\u2014The P lan \u2014The Name \u2014The Rose \u2014The Wife \u2014 For L o v e . P o e s i a d e q l i u l t i m i a m e r i c a n i , ed . Fernanda P i v a n o . M i l a n : F e l t r i n e l l i , G 1964 [ p u b l i s h e d November 18 ] . 70 Poems:\u2014The Immoral P r o p o s i t i on\u2014The O p e r a t i o n \u2014 T h e Whip \u2014 A Wicker Basket \u2014She Went to Stay \u2014 B a l l a d of the D e s p a i r i n g Husband - - T h e Door (\"It i s hard go ing to the d o o r \" ) - - J a c k ' s B l u e s \u2014 T h e Name\u2014The Rose\u2014The W i f e . T o d a y ' s Poe t s : American and B r i t i s h  P o e t r y S i n c e the 1930's , ed . Chad Walsh . New York: S c r i b n e r ' s , 1964. See 195 R e l a t e d l e t t e r s 1080 71 Poem:\u2014*I . 12 Poets & One P a i n t e r . San F r a n c i s c o : Four Seasons , c 1 9 6 4 . [ W r i t i n g 3. ] 72 S t o r i e s : \u2014 M r Blue (457)\u2014The Par ty (460)\u2014The S u i t o r (468)\u2014The Dress (470) . New American S t o r y 1965 (170) . 73 Poems:\u2014The Death of Venus\u2014The Bed. S t u d y i n g P o e t r y : A C r i t i c a l  Antho logy of E n g l i s h and American Poems, ed. K a r l Kroeber and John 0. L y o n s . New Y o r k , E v a n s t o n , and London: Harper & Row, C 1965 . '[\"The Bed\" i s p a i r e d with B y r o n ' s \"She Walks i n Beauty , L i k e the N i g h t \" , ] 74 Poems:\u2014Hart Crane (\"He had been s t u t t e r i n g \" ) \u2014 T h e Way \u2014The Rose - - T h e Wi fe\u2014The Snow. American P o e t r y , ed . Gay W i l s o n A l l e n , 150 W a l t e r B. R i d e o u t , and James K. R o b i n s o n . New Y o r k : Harper & Row, C 1965 . See 2 0 8 75 Poems: - -The H o u s e - - K o r e - - T h e Name--I Know a Man\u2014The Rhythm--The Mounta ins i n the D e s e r t - - T h e L a n g u a g e - - A n g e r - - D i s t a n c e . A C o n - t r o v e r s y of P o e t s , ed. P a r i s Leary and Robert K e l l y . Garden C i t y , New Y o r k : Doubleday , [ J u l y 16] 1965. See 125 76 P o e m : - - F o r No C l e a r Reason. A Poe try Reading A g a i n s t the Vietnam War, ed . Robert B l y and David Ray. [New Y o r k : ] The American c W r i t e r s A g a i n s t the Vietnam War, 1966. 77 Poems i n E n g l i s h and i n Span i sh t r a n s l a t i o n s : - - A M a r r i a g e - - T h e I n n o c e n c e - - T h e Immoral P r o p o s i t i o n \u2014 The Warning \u2014The Di shones t Mai lmen . Quince Poetas N o r t e a m e r i c a n o s , ed. A l b e r t o G i r r i . Buenos A i r e s : B i b l i o g r a f i c a Omeba, 1966. See 211 78 Poem:\u2014Le F o u . Of Poem, ed. James L . W e i l . New R o c h e l l e , New York E l i z a b e t h P r e s s , c 1966 [ p u b l i s h e d September 15 ] . [500 c o p i e s . ] 79 Poems - r -The Name. Poems f o r Young Readers . [ n . p . ] N a t i o n a l C o u n c i l of T e a c h e r s of E n g l i s h [1966] . [Houston F e s t i v a l of Contemporary P o e t r y , 56th Annual N a t i o n a l C o u n c i l of Teachers of E n g l i s h , November 24-26, 1966 . ] See 197, 934 80 S t o r y : \u2014 T h e Book ( 4 7 l ) . Poems:\u2014The Woman (\"I have never \/ c l e a r l y g i v e n to you\")\u2014To B o b b i e . The New W r i t i n g i n the U . S . A . 1967 (172) . 81 Poem:\u2014For No C l e a r Reason. Where i s Vietnam? American Poets  Respond, ed . W a l t e r L o w e n f e l s . New Y o r k : Doubleday , 1967. MS 1108 82 P o e m s : - - A f t e r L o r c a \u2014I Know a Man \u2014 K o r e . An I n t r o d u c t i o n to  P o e t r y , ed . L o u i s Simpson. New Y o r k : S t . M a r t i n ' s , C 1967 . 83 Poems:\u2014The S a i n t s \u2014 S i n g Song \u2014 K o r e . The New Modern P o e t r y :  B r i t i s h and American Poetry S i n c e World War I I , ed . M. L . R o s e n t h a l . New Y o r k : M a c m i l l a n , 1967. 84 Poems i n C z e c h o s l o v a k t r a n s l a t i o n s by S t a n i s l a v M a r e s : \u2014 S o n g (\"What I took i n my h a n d \" ) \u2014 A l l That Is L o v e l y i n Men \u2014Heroes \u2014 The Door (\"It i s hard go ing to the d o o r \" ) \u2014 T h e H i l l \u2014 A i r : \"The Love of a Woman\". Obeznameni s n o c i , Novi a m e r i c t i b a ' s n i c i , 151 ed . S t a n i s l a v Mares' and Jan Z a b r a n a . [Prague: C e s k o s l o v e n s k y s p i s o v a t e l , 1967 , ] 85 Poem:\u2014*Flowers . Out of the War Shadow: 1968 Peace C a l e n d a r and  Appointment Book, ed . Denise L e v e r t o v . New Y o r k : War R e s i s t e r s League , 1967. 86 Poems i n E n g l i s h and German t r a n s l a t i o n s by K l a u s R e i c h e r t : - -A n g e r - - T h e G i f t . Poems i n German t r a n s l a t i o n s by K l a u s R e i c h e r t : --Some E c h o e s - - T h e y S a y - - I Know a M a n - - P l e a s e - - T h e Di sappo in tment - - C h a n s o n - - O n e Way. E i n G e d i c h t und s e i n Autor L y r i k und E s s a y , ed . W a l t e r H o l l e r e r . B e r l i n : L i t e r a r i s c h e s C o l l o q u i u m , 1967. See 217, 936 87 P o e m : - - ^ F l o w e r s . A r t i s t s and W r i t e r s P r o t e s t A g a i n s t the V i e t  Nam War. [New Y o r k ? ] A r t i s t s and W r i t e r s P r o t e s t , 1 9 6 7 . [ L i m i t e d e d i t i o n . ] 88 P o e m : - - * K a t e ' s . Stamped I n d e l i b l y , ed . W i l l i a m K a t z . [New Y o r k ? ] I n d i a n a k a t z , L 1967 . [225 c o p i e s , of which numbers 1 to 110 were f o r s a l e . The c o l l e c t i o n c o n t a i n s 14 rubberstamp p r i n t s each s i g n e d by the c r e a t o r and p r i n t e d by W i l l i a m Katz d u r i n g May through December of 1 9 6 7 . ] 89 P o e m : - - F l o w e r s . War Poems, ed . Diana d i P r i m a . New Y o r k : Poets P r e s s , A p r i l 1968. [2 ,000 c o p i e s , o f which 35 were hand b o u n d . ] 90 Poem:- -*Gemin i ( p a r t 4 ) . The Z o d i a c , s i g n s of the z o d i a c by Bre t Rohmer. New York: Brownstone P r e s s , c 1 9 6 8 . [250 c o p i e s . Loose sheets i n a p o r t f o l i o . ] 91 Poems: - -The R i d d l e - - K o r e - - T h e Window (\"There w i l l be no s i m p l e \" ) . 100 Postwar Poems: B r i t i s h and A m e r i c a n , ed . M. L . R o s e n t h a l . New Y o r k : M a c m i l l a n , C 1968 . 92 P o e m s : - - D o n ' t S i g n A n y t h i n g - - L o v e Comes Q u i e t l y . V o i c e s : The  T h i r d Book, ed. G e o f f r e y S u m m e r f i e l d . Harmondsworth, M i d d l e s e x , E n g l a n d : Penguin , 1 9 6 8 . 93 Poem i n E n g l i s h and i n a S p a n i s h t r a n s l a t i o n by W i l l i s B a r n s t o n e : - - L e F o u . C o n c r e t e P o e t r y : A World View, ed . Mary E l l e n S o i t . c B l o o m i n g t o n : U n i v e r s i t y of I n d i a n a P r e s s , 1968. See 219, 220 94 Poem:--A Wicker B a s k e t . The Poem i n I t s S k i n , by Pau l C a r r o l l . C h i c a g o : B i g T a b l e , November 1968. See 185 ' \u2022 152 9 5 Poems:\u2014Dh N o \u2014 A f t e r L o r c a \u2014 T h e O p e r a t i o n \u2014 T h e W h i p \u2014 A l l That Is L o v e l y i n Men \u2014 A Form of Women \u2014 A G i f t of Great Va lue \u2014The Mechanic \u2014The World \u2014 A Reason \u2014 A S i g h t \u2014 S o m e t h i n g \u2014 F o r the New Y e a r \u2014 T h e Door (\"It i s hard going to the d o o r \" ) - - A n g e r . Naked  P o e t r y : Recent American Poetry i n Open Forms, ed. Stephen Berg and Robert Mezey. I n d i a n a p o l i s and New York: B o b b s - M e r r i l l , [Summer] 1969. See 935 96 Poems:\u2014The Immoral P r o p o s i t i on \u2014The Three L a d i e s \u2014The W a y -B a l l a d of the D e s p a i r i n g Husband \u2014 T h e Awakening \u2014 The Rain \u2014 F o r Love \u2014The Rhythm \u2014\"I Keep to M y s e l f Such M e a s u r e s . . . \" - - A P l a c e . 2 0 t h - c e n t u r y Poe try & P o e t i c s , ed. Gary Geddes. T o r o n t o : Oxford U n i v e r s i t y P r e s s , 1969. See 222, 924, 955 97 Poems:\u2014The P o o l \u2014 T h e R a i n . The Contemporary American Poet s :  American Poetry S i n c e 1940, ed . Mark S t r a n d . New York and C l e v e l a n d : The World P u b l i s h i n g C o . , 1969. 98 Poems:\u2014The Name \u2014 M i n d ' s Heart \u2014 The Rhythm. The Many Worlds  of P o e t r y , ed . Jacob D r a c h l e r and V i r g i n i a R. T e r r i s . New Y o r k : A l f r e d A. Knopf , C 1969 . 99 Poems:\u2014Le Fou\u2014The I n v o i c e \u2014The S o u v e n i r \u2014The Rhythm \u2014 I - - T h e Chance \u2014The P a t t e r n \u2014 A Night Sky. A F i r s t Reader of Contem- p o r a r y American P o e t r y , ed. P a t r i c k G l e e s c n . Columbus, O h i o : C h a r l e s E . M e r r i l l , C 1969 . See 223 100 Poems:\u2014The Rain \u2014 J a c k ' s B lues \u2014 F o r No C l e a r Reason. The L i t - e r a t u r e of A m e r i c a : Twent i e th C e n t u r y , ed . Mark S c h o r e r . New York: M c G r a w - H i l l , c 1 9 7 0 . See 224B B PUBLICATIONS OF NONFICTIONAL PROSE Most-.of C r e e l e y ' s c r i t i c a l w r i t i n g s have been c o l l e c t e d i n A_ Quick Graph: C o l l e c t e d Notes and Essays 1970 (104)\u2014they are l i s t e d s e p a r a t e l y as 915-1000. The e n t r i e s i n t h i s s e c t i o n \u2014 w i t h the e x c e p t i o n of 102 and 104\u2014give the p u b l i c a t i o n h i s t o r y of c r i t i c a l w r i t i n g s , no te s , i n t e r v i e w s , and l e t t e r s not i n c l u d e d i n A Quick  Graph . Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n t a k e n , wi th one e x c e p t i o n (144) , from the m a n u s c r i p t s at Washington U n i v e r s i t y ; c r o s s - r e f e r e n c e i s made to the m a n u s c r i p t s i n the e n t r i e s . For u n p u b l i s h e d w r i t i n g s see 1093, 1097, 1099, 1118-31. 153 1 SEPARATE PUBLICATIONS P l e a s e see pages 126-129 for an e x p l a n a t i o n of the form of the e n t r i e s g i v e n below. See 169. 101 [ P r o s p e c t u s of The D i v e r s P r e s s . Palma de M a l l o r c a : The D i v e r s P r e s s , c a . 1 9 5 3 - 5 4 . ] Pamphlet a d v e r t i s i n g books p u b l i s h e d by C r e e l e y ' s D i v e r s P r e s s . ( 1 7 9 , 180) . L i m i t e d e d i t i o n , one shee t . P u b l i s h e d f o r the f i r s t t ime . 102 An American Sense . [London: Sigma, c a . 1965 . ] Sigma P o r t -f o l i o 26. E s s a y . L i m i t e d e d i t i o n ; 6 p? 3 mimeographed l e a v e s , s t a p l e d t o g e t h e r , unbound. For o ther p u b l i c a t i o n s see 932. C o n t e n t s : --*An American Sense [ \" I n t r o d u c t i o n to The New  W r i t i n g i n the U5A\", 932] . 103 Contex t s of P o e t r y . B u f f a l o , New Y o r k : A u d i t , S p r i n g 1968. Photograph [ o f C r e e l e y ] by E l s a Dorfman. T r a n s c r i p t i o n by George F . B u t t e r i c k . \"With A l l e n G i n s b e r g at the Vancouver Conference J u l y 1963 Issued as V o l . V \/ N o . 1 AUDIT S p r i n g , 1968\" . T r a n s c r i p t i o n of J u l y 24, 1963 t a p e , wi th p o s t s c r i p t dated A p r i l 14, 1968. [ 6 ] , 18 p i n c l u d i n g photograph; s t a p l e d i n paper wrappers . T r a n s c r i b e d from the tape of the Vancouver Poe try F e s t i v a l (166a) . For r e p r i n t i n g see 105. MS 1151 C o n t e n t s : - - * C o n t e x t s of Poetry [ w i t h \"A P o s t s c r i p t \" ] . 104 A Quick Graph: C o l l e c t e d Notes & E s s a y s . San F r a n c i s c o : Four Seasons F o u n d a t i o n , [May 15] 1970. E d i t e d by Donald A l l e n . W r i t i n g 22. F i r s t c o l l e c t i o n of n o n f i c t i o n a l p r o s e , t r a d e e d i t i o n . 4,000 c o p i e s i n paper wrappers , 1,000 i n c l o t h . [ 8 ] , 365 p. The w r i t i n g s were r e p r i n t e d from p e r i o d i c a l s , books , and a n t h o l o g i e s . \" I n t r o d u c t i o n to C h a r l e s O l s o n : S e l e c t e d  W r i t i n g s 1\" was p u b l i s h e d for the f i r s t t i m e . Review 429 C o n t e n t s : P r e f a c e s , notes on h i s p o e t r y , and c r i t i c a l w r i t i n g s as l i s t e d 915-1000. 154 2 CONTRIBUTIONS TO OTHER WORKS Essays 105 W r i t i n g [August 27, 1968] . * W r i t ers as T e a c h e r s \/ T e a c h e r s as  W r i t e r s , ed. Jonathan Baumbach. New York: H o l t , R i n e h a r t and W i n s t o n , C 1 9 7 0 . [ P a r t I I , \"Contents of P o e t r y \" , r e p r i n t s the complete t e x t of Context s of Poetry 1968 ( 1 0 3 ) . ] MS 1198 106 Robert C r e e l e y [December 20-21 , i y o y j . *\"Symposiurn: The W r i t e r ' s S i t u a t i o n I I \" , New American Review, No. ID. New Y o r k : New American L i b r a r y , August 1970. MS 1152 I n t e r v i e w s 107 Robert C r e e l e y [ I n t e r v i e w wi th Dav id Ossman May 1961] . *The  S u l l e n A r t : I n t e r v i e w s by Dav id Ossman with Modern American  Poets . New Y o r k : C o r i n t h , 1963. [With photo g rap h on cover. ] ' See 206 108 [ E x c e r p t s from i n t e r v i e w wi th Ann C h a r t e r s , J u l y 7, 1969 . ] ^ \" I n t r o d u c t i o n \" by Ann C h a r t e r s , The S p e c i a l View of H i s t o r y , by C h a r l e s O l s o n , ed . Ann C h a r t e r s . B e r k e l e y : Oyez, 1970. R e c o r d i n g 1024 P r e f a c e s to H i s Own Works See a l s o 1002. 109 Notes on an I n t e r v i e w by Way of a P r e f a c e [ \" I n t e r l o c u t o r : Edward L u c i e - S m i t h ; London, 26th A p r i l 1966\"]. *Robert C r e e l e y  Reads 1967 ( 2 8 ) . 110 P r e f a c e [ J u l y 21, 1967] . *The Charm 1967 (32 ) . R e p r i n t e d i n ' The Charm 1969 (41 ) . MS 1111, 1192 P r e f a c e s to Other Works 111 P r e f a c e . ^ S t i c k s & S tones , by George Bower ing . Vancouver : T i s h b o o k s [ A p r i l 1963] . 112 A Note f o r These Poems [May 14, 1965] . * T o u c h , by Dav id F r a n k s . [ B a l t i m o r e : ] Red Wheel Barrow P r e s s , c 1 9 6 5 . MS 1178 113 A Note f o r Kenneth I r b y . ^Movements \/Sequences , by Kenneth I r b y . P u b l i s h e d as Duende, No. 3 (September 1965). MS 1183 155 114 [ I n t r o d u c t i o n ] [December 15, 1968], * B l a c k Mountain Review, r e p r i n t of Volume I , 1969 (176) . MS 1196 115 [ I n t r o d u c t i o n ] [May 9, 1969] . *Krazy K a t \/ T h e U n v e i l i n g & Other  S t o r i e s , by F i e l d i n g Dawson. Los A n g e l e s : B l a c k Sparrow, [August 22] 1969. [276 c l o t h and 1,000 paperback c o p i e s . ] A s e c t i o n was r e p r i n t e d on the p r o s p e c t u s of Open Road by F i e l d i n g Dawson (Los A n g e l e s : B l a c k Sparrow [ 1 9 7 0 ] ) . MS 1197 116 AM [ O c t o b e r 31, 1968] . * J o h n ' s Book, by A l a n Marlowe. [New Y o r k : ] Poets P r e s s , 1969. MS 1194 Report 117 [Report on Freshman E n g l i s h , Course B 1 0 1 - 1 0 2 . ] ^Report on  Freshman E n g l i s h , F a l l Semester 1967-1968. [ B u f f a l o , New York: E n g l i s h Department , S t a t e U n i v e r s i t y of New York at B u f f a l o , S p r i n g 1968. Ca . 200 mimeographed c o p i e s . ] Note ( B r i e f Essay ) and Comments 118 A Note on W r i t i n g [March 20, 1963] . *New American S t o r y 1965 (170) . MS 1168 119 [ U n t i t l e d comment.] ^Authors Take S i d e s on Vie tnam, ed. C e c i l Woolf and John Bagguley . New York: Simon and S c h u s t e r , 1967. 120 [ B r i e f comment on F i e l d i n g Dawson. ] ^Prospec tus of Krazy Kat by F i e l d i n g Dawson (115) . Los A n g e l e s : B l a c k Sparrow [1969] . 121 [ B r i e f comment on Joanne K y g e r . ] ^Prospec tus of P l a c e s to Go by Joanne K y g e r . Los A n g e l e s : B l a c k Sparrow [1970] . A u t o b i o g r a p h i c a l and B i b l i o g r a p h i c a l Comments 122 Notes from the Poet . ^Robert C r e e l e y : Reading and Commenting  on His Poems [program for r e a d i n g J u l y 16, 1959] , [San F r a n c i s c o : ] San F r a n c i s c o S t a t e C o l l e g e [ J u l y 1959] . See 182 123 Robert C r e e l e y . *The New American Poetry 1960 (56) . 124 Robert C r e e l e y . *New American S t o r y 1965 (170) . R e p r i n t e d i n The New W r i t i n g i n the U . S . A . 1967 (172) . MS 1180 156 125 Robert C r e e l e y . *A C o n t r o v e r s y of Poets 1965 (75) . R e p r i n t e d on j a c k e t of The Spoken A r t s T r e a s u r y . Volume X V I , 1969 (165) . 126 Robert C r e e l e y [ J u l y 28, 1967] [ e d . Stephen D u n n i n g ] . ^ D e s c r i p t i v e Notes , T o d a y ' s Poe t s , Volume I I I , 1969 (164) . . IYIS 1150 L e t t e r 127 [ L e t t e r to Stan B r a k h a g e . ] *Metaphors on V i s i o n , by Stan Brakhage . P u b l i s h e d as F i l m C u l t u r e , , No. 3 ( F a l l 1963). 3 CONTRIBUTIONS TO PERIODICALS Essay 128 Sense of Measure . *The Times L i t e r a r y Supplement, August 6, 1964, p. 699. IYIS 1175 Reviews 129 [Review of Jack H i r s c h m a n ' s A Correspondence of A m e r i c a n s . ] *The Sparrow Magaz ine , No. 17 [ J u l y or August 1962] , p. 39. 130 The Beat Voznesensky [September 2, 1964] [ rev iew of S e l e c t e d  Poems of A n d r e i V o z n e s e n s k y ] . *The N a t i o n , CIC (November 9, 1964), 336-337. MS 1144 [ F o r a c r i t i c i s m of t h i s rev iew see 434. ] I n t e r v i ews 131 Robert C r e e l e y i n C o n v e r s a t i o n wi th C h a r l e s T o m l i n s o n . *The  Review, No. 10 (January 1964), pp. 24-35 [w i th photograph on c o v e r ] . R e p r i n t e d i n K u l c h u r , IV, No. 16 (Winter 1964-65) , 4-16. 132 An I n t e r v i e w w i t h Robert C r e e l e y , 1965 [by L i n d a W. Wagner] . *The Minneso ta Review, V, i v (October-December 1965) , 309-321. 133 I n t e r v i e w : Robert C r e e l e y [by John S i n c l a i r and Robin E i c h e l e ] , *Whe're , No. 1 (Summer 1966), pp. 47-58. 134 The S o c i a l R e s p o n s i b i l i t y of an A r t i s t [by M a d e l i n e L e v i n e ] . ^Dimension ( f e a t u r e magazine of The Spec trum) , December 15, 1967, pp. 11-13. [With p h o t o g r a p h . ] 15 7 135 Robert C r e e l e y I n t e r v i e w [by W i l l i a m K n i e f ] , *The Cottonwood  Review [ I , i v (1968) , 3 - 2 0 ] . 136 The A r t of Poe try X [by L i n d a Wagner and Lewis lYlacAdams, J r . ] * P a r i s Review, X I , No. 44 ( F a l l 1968), 155-187. [With p h o t o g r a p h . ] 137 An I n t e r v i e w with Robert C r e e l e y [by the e d i t o r s , i n t h r e e p a r t s ] , *Road Apple Review, I , i (Winter 1968-69) , 36-38; I , i i ( S p r i n g 1969), 32-34; I , i i i ( F a l l 1969), 35-36. 138 An I n t e r v i e w with Robert C r e e l e y [ e d i t e d by Rand J o h n s t o n ] . *0pus, No. 7 (1969) , pp. 46-48 . Notes ( B r i e f Es says ) and Comments 139 [ C o n c e r n i n g the Short S t o r y ] [ i n Japanese t r a n s l a t i o n by Katue K i t a s o n o ] . *l\/ou, No. 35 (August 1951), pp. 27-28. [With photograph on p. 1 3 . ] 140 [\"Po int\" , dated August 20 [ 1 9 5 3 ] . ] * 0 r i q i n , No. 12 ( S p r i n g 1954) , p. 193. 141 Comment. * B l a c k Mountain Review, No. 3 ( F a l l 1954), p. 64. 142 [Note on Ra iner G e r h a r d t . ] *Pound N e w s l e t t e r , No. 4 (October 1954) , p. 1. 143 Judson Crews.- *The Desert Review, S p r i n g 1964, p. 5. 144 A Note on L o u i s Zukofsky [ w r i t t e n by March 2, 1964] . * K u l c h u r , IV , No. 14 (Summer 1964), 2 -4 . MSS 1091, 1142 145 A Note on the B lack Mountain Review [March 17, 1964] . * 5 e r i f , I I , i i (June 1965) , 21-22. MS 1171 146 Robert C r e e l e y [ t r a n s c r i p t i o n of comments made d u r i n g a r e a d i n g , A p r i l 5, 1968] . * Q u i x o t e , I I I , i v [1968] , 83-85. 147 The P r o v i n c e of the Poem. ^ C u l t u r a l A f f a i r s , No. 3 (1968) , p. 19. See 276 R e l a t e d l e t t e r s 1069 148 [ B r i e f s t a t e m e n t . ] ^Presence , No. 4 ( S p r i n g 1969) , p. 57. 149 [ B r i e f comment, \"'Re peyote ' \" . d a t e d A p r i l 21, 1 9 6 9 . ] *The Magazine of F u r t h e r S t u d i e s , No. 6 [ a f t e r J u l y 1969] . L e t t e r s 158 150 [ \" L e t t e r s to C i d Corman\". ] * 0 r i q i n , I , i i (Summer 1951) , 71-75 [ l e t t e r dated November 15, 1950] , 92 [September 30, 1950] , 104 [ F e b r u a r y 28, 1951], 124 [June 14, 1950] . 151 From a L e t t e r , O c t o b e r , 1959. * M i q r a n t , No. 5 (March I960) , p. 22. 152 [ \" L e t t e r to LeRo i Jones\", dated September 25, 1 9 5 9 . ] *Yuqen, No. 6 (1960) , p. 30. 153 Jerome Rothenberg and Robert C r e e l e y : An Exchange [ l e t t e r s from C r e e l e y dated November 6, 1960, December 18, 1960, and January .10, 1961, wi th Rothenberg ' s r e p l i e s ] . * K u l c h u r , I I , No. 6 (Summer 1962) , 25-42. 154 [ L e t t e r to the e d i t o r s , dated A p r i l 22, 1965 . ] *E1 Corno  Emplumado, No. 15 ( J u l y 1965), pp. 155-156. 155 [ \" L e t t e r to Tom Rauiorth\" , dated F e b r u a r y 7, 1964. With \"A V o i c e \" , a t r a n s l a t i o n i n t o E n g l i s h of a German poem by Ra iner G e r h a r d t . ] *Work, No. 3 (Winter 1965-66) , p. 32. 156 C o p y r i g h t [ l e t t e r to the e d i t o r ] . *The Times L i t e r a r y S u p p l e - ment , June 22, 1967, p. 559. T r a n s l a t i o n s See a l s o 155 157 The C i t y [ t r a n s l a t i o n i n t o E n g l i s h of a German poem by Arno R e i n f r a n k ] . *Rhi n o z e r o s , No. 7 (1962) , p. 5. 158 Rain [ t r a n s l a t i o n i n t o E n g l i s h of a German poem by Kuno R a e b e r ] . * R h i n o z e r o s , No. 10 (1965), p. 8. 159 C AUDIO-VISUAL'MATERIAL See l i s t of f u r t h e r r e c o r d i n g s 1020-25. 1 READINGS Taped Readings 159 Reading h i s poems wi th commentary i n the Record i ng L a b o r a t o r y , June 1, 1961. L i b r a r y of Congres s , LWO 3348. Poems from The  Whip 1957 ( 8 ) , A Form of Women 1959 ( 9 ) , and manuscr ip t of For Love 1962 ( l l ) . Copies a v a i l a b l e from the L i b r a r y of C o n g r e s s . 160 Reading from For Love 1962 ( l l ) , August 1963. Vancouver Poe try F e s t i v a l , The U n i v e r s i t y of B r i t i s h C o l u m b i a , V a n c o u v e r , r e e l 5. The r e c o r d i n g made by F r e d e r i c k Wah may be heard i n the Poe try Room of the Lockwood Memoria l L i b r a r y , S t a t e U n i v e r s i t y of New York at B u f f a l o . See 166 161 Reading from For Love 1962 ( l l ) , October 23, 1964. Leeds U n i v e r s i t y Poe try Room, Leeds , E n g l a n d . Copies at Poetry Room, C o l l e g e L i b r a r y , Harvard U n i v e r s i t y , Cambridge , M a s s a c h u s e t t s , and Recorded Sound S e c t i o n , The B r i t i s h C o u n c i l , London. 162 Reading from the m a n u s c r i p t f o r Words 1967 (26) , J u l y 1965. B e r k e l e y Poetry C o n f e r e n c e , The U n i v e r s i t y of C a l i f o r n i a at B e r k e l e y , SA 654, #840. C r e e l e y was i n t r o d u c e d by Robert Duncan. Copies a v a i l a b l e from the Language L a b o r a t o r y , U . C . at B e r k e l e y . See 166A, 268 Recorded Readings 163 45 r . p . m . r e c o r d i n back j a c k e t f l a p of Robert C r e e l e y Reads 1967 (28) . For l i s t of poems read see 28. 164 T o d a y ' s Poet s : T h e i r P o e m s - - T h e i r V o i c e s . Volume I I I : Denise L e v e r t o v , Robert C r e e l e y , James W r i g h t , David Ignatow. E d i t e d by Stephen Dunning . F o l k w a y s \/ S c h o l a s t i c Records FS 11003 [ c a . 1969] . : C o n t e n t s : A u t o b i o g r a p h i c a l and b i b l i o g r a p h i c a l no te , \"Robert C r e e l e y \" (126) , and the t e x t s of the poems, i n the' D e s c r i p t i v e Notes . Reading of the f o l l o w i n g poems [ r e c o r d e d 160 T h a n k s g i v i n g weekend 1966]:\u2014A T a l l y - - l A J o r d s - - T h e I n v o i c e \u2014 The C r a c k s \u2014 A Reason \u2014The Name \u2014 The l A l i f e - - N a u g h t y B o y - - A Form o f Women \u2014Oh No \u2014The B a l l Game \u2014The Door (\"It i s hard go ing to the d o o r \" ) . 165 The Spoken A r t s T r e a s u r y of 100 Modern American P o e t s . Volume XVI: James M e r r i l l , Robert C r e e l e y , A l l e n G i n s b e r g , Dav id Wagoner, Robert B l y , Galway K i n n e l l . Produced by A r t h u r Luce K l e i n , e d i t e d by Paul K r e s h . Spoken A r t s SA 1055 [December 1969] . 15,000 c o p i e s of a sample r e c o r d were i s s u e d i n March 1970 and sent wi th b r o c h u r e s to p r o s p e c t i v e b u y e r s . The sampler c o n s i s t e d of one poem each by seventeen poets i n c l u d e d i n The  T r e a s u r y , Volumes I to X V I I I . C r e e l e y reads \"Love Comes Q u i e t l y \" . C o n t e n t s : A u t o b i o g r a p h i c a l and b i b l i o g r a p h i c a l note , \"Robert C r e e l e y \" (125J , on j a c k e t [ t a k e n p r i m a r i l y from A Con- t r o v e r s y of Poets 1965 ( 7 5 ) ] . Reading of the f o l l o w i n g poems [ r e c o r d e d June 1968] :\u2014Love Comes Q u i e t l y \u2014 F o r Love \u2014Song (\"What do you \/ want l o v e \" ) \u2014 T h e F i n g e r . 2. DISCUSSIONS, LECTURES, AND INTERVIEW Taped D i s c u s s i o n s and L e c t u r e s 166 Vancouver Poe try F e s t i v a l , The U n i v e r s i t y of B r i t i s h C o l u m b i a , Vancouver , J u l y - A u g u s t 1963, r e e l s 1 to 4. The r e c o r d i n g s made by F r e d e r i c k Wah may be heard i n the Poetry Room of the Lockwood Memoria l L i b r a r y , S t a t e U n i v e r s i t y of New York at B u f f a l o . See 207 and 264 f o r w r i t t e n accounts of the F e s t i v a l . See a l s o 160, 167 a J u l y 24: Contex t s of P o e t r y \u2014 A l l e n G i n s b e r g and Robert C r e e l e y . . L a t e r p u b l i s h e d as Contex t s of Poe try 1968 (103) . b J u l y 24: R u s s i a n w r i t e r s , s h i f t s i n c o n s c i o u s n e s s \u2014 A l l e n G i n s b e r g and Robert C r e e l e y . c J u l y 26: Robert Duncan, A l l e n G i n s b e r g , and Robert C r e e l e y . d J u l y 29: H i s t o r y \u2014 C h a r l e s O l s o n , Robert Duncan, A l l e n G i n s b e r g , P h i l i p Whalen, and Robert C r e e l e y . e J u l y 31: P o l l s \u2014 C h a r l e s O l s o n , Robert Duncan, A l l e n G i n s b e r g , 161 and Robert C r e e l e y . f August 2: G e n e r a l D i s c u s s i o n \u2014 C h a r l e s O l s o n , Robert Duncan, A l l e n G i n s b e r g , and Robert C r e e l e y . g August 5: I n t e n t i o n , induced h y p e r s e n s i t i v i t y \u2014 C h a r l e s O l s o n , Robert Duncan, A l l e n G i n s b e r g , Denise L e v e r t o v , Margaret A v i s o n , and Robert C r e e l e y . h August 7s Numinous, how i s the poet i n the poem\u2014Robert Duncan, A l l e n G i n s b e r g , Denise L e v e r t o v , Margaret A v i s o n , and Robert C r e e l e y . i August 9: B e g i n n i n g , m i d d l e , end\u2014Robert Duncan, A l l e n G i n s b e r g , Denise L e v e r t o v , Margaret A v i s o n , and Robert C r e e l e y . j August 12: Reading L o r c a , U l i l l i a m s \u2014 R o b e r t Duncan, A l l e n G i n s b e r g , Denise L e v e r t o v , and Robert C r e e l e y . Recorded I n t e r v i e w 167 F i v e Poe t s . Canada: Canadian B r o a d c a s t i n g C o r p o r a t i o n [1963] , P r o d u c e r : A lan C a m p b e l l . T r a n s c r i p t i o n d i s c , 55 minutes . CBC A r c h i v e d i s c #640119-12. Broadcas t on the CBC Radio Network January 19, 1964. May be heard at the CBC Program A r c h i v e s , T o r o n t o . A documentary about Robert C r e e l e y , A l l e n G i n s b e r g , Denise L e v e r t o v , Robert Duncan, and C h a r l e s O l s o n . Recorded at the Vancouver Poetry F e s t i v a l , The U n i v e r s i t y of B r i t i s h C o l u m b i a , Vancouver , J u l y - A u g u s t 1963, wi th subsequent i n t e r v i e w s . P h y l l i s Webb was the n a r r a t o r and i n t e r v i e w e r and the i n t e r v i e w s were e d i t e d to omit her q u e s t i o n s . A l l but C r e e l e y read t h e i r poems. The program focuses on Olson and G i n s b e r g . See 166 3 FILM 168 P o e t r y : Robert C r e e l e y . U . S . A . : N a t i o n a l E d u c a t i o n T e l e v i s i o n and KOED, San F r a n c i s c o , 1967. B lack and whi t e , 16 mm., 30 minutes . T e l e v i s e d September 1966 and October 14, 1971 over NET s t a t i o n s . A v a i l a b l e f o r s a l e and r e n t a l through the Canadian F i l m I n s t i t u t e , Ottawa and the A u d i o - V i s u a l C e n t e r , I n d i a n a U n i v e r s i t y , B loomington ( F i l m KS 284) . 162 \" T h i s f i l m p r o v i d e s a c a n d i d view of poet Robert C r e e l e y i n h i s home and i n t r o d u c e s h i s p o e t r y . C r e e l e y d e s c r i b e s the i n f l u e n c e s of o ther l i t e r a r y f i g u r e s such as W.C. W i l l i a m s on h i s works and e x p l a i n s h i s own method of w o r k i n g . He reminisces\"-about h i s youth and reads s e v e r a l of h i s poems. Poems i n c l u d e T L a Noche ' , 'The F i r s t Time* ['We are g i v e n a c h a n c e ' ] , 'The P l a c e ' , [ 'The W h i p ' , ] and 'Some P l a c e ' . \" D EDITIONS BY CREELEY 1 SEPARATE PUBLICATIONS 169 Mayan L e t t e r s , by C h a r l e s O l s o n , e d i t e d with a p r e f a c e by Robert C r e e l e y . Palma de M a l l o r c a : The D i v e r s P r e s s , 1953 [January 1954] . R e p r i n t e d i t i o n \u2014 L o n d o n : Jonathan Cape, 1968. The l e t t e r s were r e p r i n t e d i n S e l e c t e d W r i t i n g s of C h a r l e s Ol son 1966 (171) . The p r e f a c e was r e p r i n t e d i n A Quick Graph 1970 (104)\u2014See 954. See a l s o 225 [The D i v e r s Press p u b l i s h e d an anonymous advance n o t i c e f o r the 1954 e d i t i o n . I t c o n s i s t e d of one sheet wi th a b r i e f s tatement by C r e e l e y . ] 170 New American S t o r y , e d i t e d by Donald M. A l l e n and Robert C r e e l e y , wi th an i n t r o d u c t i o n by Warren T a l l m a n . New Y o r k : c Grove , 1965. R e p r i n t e d i t i o n \u2014 H a r m o n d s w o r t h , M i d d l e s e x , . E n g l a n d : Penguin , 1971. See 72, 118, 124, 209, 915 171 S e l e c t e d W r i t i n g s gf C h a r l e s O l s o n , e d i t e d with an i n t r o d u c t i o n by Robert C r e e l e y . New Y o r k : New D i r e c t i o n s , C 1966 . The i n t r o -d u c t i o n was r e p r i n t e d i n A Quick Graph 1970 (104)\u2014see 958. P r o o f s 1012 See 169, 225, 272 172 The New W r i t i n g i n the U . S . A . , e d i t e d by Donald A l l e n and Robert C r e e l e y , with an i n t r o d u c t i o n by Robert C r e e l e y . H a r -mondsworth, M i d d l e s e x , E n g l a n d : Pengu in , 1967. The i n t r o -d u c t i o n was r e p r i n t e d i n A Quick Graph 1970 (104)\u2014see 932. See a l s o 80 , 124 173 The American L i t e r a r y Antho logy 1: The F i r s t Annual C o l l e c t i o n  of the Best from the L i t e r a r y Magaz ines . New York: F a r r a r , S t r a u s , & G i r o u x , 1968. The judges f o r the p o e t r y s e c t i o n were James D i c k e y , John Ashbery , and Robert C r e e l e y . 163 2 PERIODICALS Whi le at H o l d e r n e s s S c h o o l , . P lymouth , New Hampshire from F a l l 1940 to June 1943 C r e e l e y c o n t r i b u t e d to the s c h o o l l i t e r a r y and news magazine The D i a l and e d i t e d t h i s magazine 1942-43, the same year t h a t he e d i t e d the new s tudent p u b l i c a t i o n The B u l l . He was a l s o one of the e d i t o r s of the s c h o o l yearbook i n 1942 and 1943. 174 A s s o c i a t e E d i t o r . Wake ( H a r v a r d ) , No. 5 ( S p r i n g 1946). See 1027 175 American E d i t o r . Fragmente ( F r e i b u r g im B r e i s g a u , Germany), No. 1-2 (1951-52) . 176 E d i t o r . B l a c k Mountain Review ( B l a c k M o u n t a i n , North C a r o l i n a ) , No. 1 ( S p r i n g 1954) to No. 7 (Autumn 1957). P r i n t e d by Mossen A l c o v e r , Palma de M a l l o r c a . R e p r i n t e d with an i n t r o -d u c t i o n by C r e e l e y ( l l 4 ) - - N e w Y o r k : AMS P r e s s , June 1969 [300 se of t h r e e v o l u m e s ] . Reviews 279A, 411 See 231, 232, 1050, 1056 177 Committee Member. M e r l i n ( E n g l a n d ) , I I , i v (Spring-Summer 1955) 178 C o n t r i b u t i n g E d i t o r . Inscape ( A l b u q u e r q u e , New M e x i c o ) , S e r i e s 1, No. 1-8 (1959-62) . E THE DIVERS PRESS T h i s s e c t i o n l i s t s books put out by C r e e l e y ' s p r i v a t e p r e s s on M a l l o r c a , S p a i n . Most were p r i n t e d by Mossen A l c o v e r , Palma de M a l l o r c a . See 101; an a d v e r t i s e m e n t a l s o appeared i n M e r l i n , I I , i i (Autumn 1953), 133. R e l a t e d l e t t e r s 1056 179 Books p u b l i s h e d by The D i v e r s P r e s s . a Pau l B l a c k b u r n . Proensa . [ J u n e ] 1953. b Robert C r e e l e y . The Kind Of Act Of . [ J u l y ] 1953. See 2 c L a r r y E i g n e r . From the S u s t a i n i n g A i r . J u l y 1953. d C h a r l e s O l s o n . Mayan L e t t e r s . 1953 [January 1954] . See 169 e I r v i n g L a y t o n . In the Mids t of My F e v e r . F e b r u a r y 1954. 164 f Robert C r e e l e y . The Gold D i g g e r s . [ M a r c h ] 1954. See 4 g M a r t i n Seymour-Smith . A l l D e v i l s F a d i n g . [ S p r i n g 1 9 5 4 . ] h H . P . M a c k l i n . A Handbook of Fancy P igeons . May 1954. i K a t u e . K i t a s o n o . B lack R a i n . [ A u g u s t ] 1954. j [Robert C r e e l e y . ] A S n a r l i n g G a r l a n d of Xmas V e r s e s . [Xmas 1954 . ] See 5 k Douglas Wool f . The H y p o c r i t i c Days. January 1955. 1 Pau l B l a c k b u r n . The D i s s o l v i n g F a b r i c . March 1955. m Robert Duncan. C a e s a r ' s Gate . September 1955. 180 Books des igned and p r i n t e d by The D i v e r s P r e s s . a C h a r l e s O l s o n . In C o l d H e l l , i n T h i c k e t . F e b r u a r y 1953. P u b l i s h e d as O r i g i n , No. 8 (Winter 1953). b C i d Corman. The P r e c i s i o n s . New Y o r k : Sparrow P r e s s , March 1955. c I r v i n g L a y t o n . The Blue P r o p e l l e r . M o n t r e a l : Contac t P r e s s , 1955. II SELECTED WRITINGS ABOUT ROBERT CREELEY T h i s s e c t i o n i n c l u d e s w r i t i n g s i n f o r e i g n languages . C r o s s r e f e r e n c e i s made to m a n u s c r i p t s when they e x i s t . For i n t e r v i e w s wi C r e e l e y see 107-109, 131-138A, 167 , 1024. Other c o l l a b o r a t i o n s are l i s t e d as 103, 104, 126, 153, 166, 1026, 1085, 1151, 1199. Unpub-l i s h e d l e t t e r s t o \/ a b o u t C r e e l e y are l i s t e d as 1035, 1045-47, 1068-81, 1199. See a l s o U n p u b l i s h e d W r i t i n g s About C r e e l e y , 1201-5. P l ease use the Index to Names to f i n d the work of a s p e c i f i c a u t h o r . A IN BOOKS 1 ESSAYS 181 C h a r l e s O l s o n . \" I n t r o d u c t i o n to Robert C r e e l e y \" , New D i r e c - t i o n s , No. 13, 1951 (51 ) , pp. 92-93 . R e p r i n t e d i n Human U n i - v e r s e and Other E s s a y s , by C h a r l e s O l s o n , ed . Donald A l l e n (San F r a n c i s c o : Auerhahn, 1965; New Y o r k : Grove , 1967), pp. 127-128. 182 Robert Duncan. \" I n t r o d u c t o r y Notes by Robert Duncan\", Robert  C r e e l e y : Reading and Commenting on His Poems 1959 ( 1 2 2 )i pp. 1-3. 183 M. L . R o s e n t h a l . \"Robert C r e e l e y \" , The New Poet s : American and  B r i t i s h Poetry S ince World War I I . New Y o r k : Oxford U n i v e r s i t y P r e s s , 1967, pp. 148-159, a l s o pp. 15, 140, 147, 172, 205. 184 Stephen Stepanchev . \"Robert C r e e l e y \" , American Poetry S ince  1945: A C r i t i c a l S u r v e y . New Y o r k : Harper & Row, 1967, pp. 151-157, a l s o pp. 15, 125, 136. 185 Paul C a r r o l l . \"The Scene i n the Wicker Basket\" , The Poem i n  I t s S k i n 1968 (94 ) , pp. 31-38, a l s o pp. 209-210 [ r e p r i n t e d from C h o i c e , No. 5 (1967) , pp. 8 3 - 8 4 ] , p. 241. [With p h o t o g r a p h . ] 186 R i c h a r d Howard. \" ' I Beg in Where I Can, and End When I See the Whole Th ing R e t u r n i n g ' \" , Alone With A m e r i c a : Essays on the A r t  of Poetry i n the U n i t e d S t a t e s S ince 1950. New Y o r k : Atheneum, 1969, pp. 65-74. R e p r i n t e d from The Minneso ta Review, W i l l , 1963, i i (243) . 166 2 REVIEWS 187 Warren T a l l m a n . Review of The I s l a n d 1963 (12 ) , Prose 1. W r i t i n g 2. San F r a n c i s c o : Four Seasons , 1964, pp. 32-33. 188 Review of The I s l a n d 1964 (14) , T . L . S . : Essays and Reviews from  The Times L i t e r a r y Supplement - -1964 , Volume I I I . London: . Oxford U n i v e r s i t y P r e s s , 1965, pp. 202-204. R e p r i n t e d from The Times L i t e r a r y Supplement , September 3, 1964 (326) . 189 Review of Poems 1950-1965 1966 (22) , T . L . S . : Essays and Reviews  from The Times L i t e r a r y Supplement - -1966 , Volume V. London: Oxford U n i v e r s i t y P r e s s , 1967, pp. 146-148. R e p r i n t e d from The Times L i t e r a r y Supplement , December 1, 1966 (382) . 3 PREFACES 190 K l a u s R e i c h e r t . \"Nachwort von K l a u s R e i c h e r t \" [ i n German], G e d i c h t e , by Robert C r e e l e y , 1967 (29 ) , pp. 155-166. 191 D i e t e r H o n i s c h . \"Pre face\" [ i n E n g l i s h and German], Numbers, by Robert C r e e l e y , 1968 (34) . 4 BIOGRAPHIES AND BIBLIOGRAPHIES .See a l s o 20.8, 210, 217, 222, 223A, 224, 224A. 192 S e v e r a l p u b l i s h e r ' s c h e c k l i s t s e x i s t , among them: A Complete  L i s t i n g of Jargon Books (1951\/1960) [ b r o c h u r e by Jonathan W i l l i a m s ( H i g h l a n d s , N . C . : Jargon Books, c a . I 9 6 0 ) ] ; \"The P e r i s h a b l e Press (A P r i v a t e Pres s P r o f i l e ) \" , by Wal ter Hamady, MLA Q u a r t e r l y , XXX, i i i (September 1969), f o l l o w i n g p. 222; A C h e c k l i s t of the F i r s t  One Hundred P u b l i c a t i o n s of the B l a c k Sparrow P r e s s , by Seamus Cooney (Los A n g e l e s : B l a c k Sparrow, [ A u g u s t ] 1971). 193 Max J . H e r z b e r g . \"Robert C r e e l e y \" , The R e a d e r ' s E n c y c l o p e d i a of  American L i t e r a t u r e . New Y o r k : Thomas Y. C r o w e l l , 1962, p. 225. 194 K a r l 0. P a e t e l . \"Robert C r e e l e y \" [ b i o g r a p h i c a l comment i n German], p. 255, and \"Robert C r e e l e y \" [ b i b l i o g r a p h i c a l comment i n German], p. 275, Beat : E i n e A n t h o l o g i e 1962 (63) . 167 195 Chad Walsh . \"Robert C r e e l e y \" [ b i o g r a p h i c a l comment\"], Today' s  Poets 1964 (70) , p. 413. .196 \"Robert C r e e l e y \" , C h e c k l i s t s of Separate P u b l i c a t i o n s of Poets  at the F i r s t B e r k e l e y Poetry C o n f e r e n c e , 1965. Compi led f o r Cody ' s Books by the e d i t o r s of Oyez. B e r k e l e y : C o d y ' s Books J u l y - A u g u s t 1965, pp. [ 1 - 2 ] . [ C a . 2,500 c o p i e s . ] 197 J . C o r b i n . B i o g r a p h i c a l comment, Poems f o r Young Readers 1966 (79 ) , p. 10. 198 \"Robert White C r e e l e y \" , Who's Who i n the West, Tenth E d i t i o n . c C h i c a g o : IY!arquis--Who' s Who, 1966, p. 203. 199 \"Robert White C r e e l e y \" , p. 466, Volume XXXIV (1966-67); p. 512, Volume XXXV (1968-69) ; p. 492, Volume XXXVI (1970-71); Who's  Who i n A m e r i c a . C h i c a g o : Marqui s--Who ' s Who. 200 P i e r r e Dommergues. B i o - b i b l i o g r a p h i c a l comment i n F r e n c h , Les  U . S . A . a l a Recherche de l e u r I d e n t i t e 1967 (932) , pp. 420-421. 20 1 K l a u s R e i c h e r t . \" B i b l i o g r a p h i s c h e Hinujeise\" [ b i b l i o g r a p h y i n German], G e d i c h t e , by Robert C r e e l e y , 1967 (29 ) , p. 167. 5 NOTES (BRIEF ESSAYS) AND SELECTED COMMENTS 202 F r e d e r i c k Eckman. Comments, Cobras and C o c k l e S h e l l s : Modes i n  Recent P o e t r y . Vagrom Chap Book 5. [ F l u s h i n g , New.York: F e l i x S t e f a n i l e \/ S p a r r o w Magaz ine , 1958 . ] Pp. 33, 38, 41. 203 A l l e n G i n s b e r g and Gregory C o r s o . I n t e r v i e w wi th Laurence L i p t o n , The Holy B a r b a r i a n s , by Laurence L i p t o n . New Y o r k : J u l i a n Messner , G 1959 , pp. 131-133. 204 Kenneth R e x r o t h . \"The New P o e t r y \" , A s s a y s . N o r f o l k , C o n n e c t -i c u t : New D i r e c t i o n s , 1961, pp. 188, 190-191. R e p r i n t e d from New York Times Book Review, F e b r u a r y 12, 1961 ( 2 6 l ) . MS 1206 205 Macha R o s e n t h a l . \" A l i e n a t i o n of S e n s i b i l i t y and ' M o d e r n i t y ' \" , p. 55, and \" D i s c u s s i o n \" , pp. 62-67 , Approaches to the Study of  T w e n t i e t h - C e n t u r y L i t e r a t u r e . [ P r o c e e d i n g s of the Conference i n the Study of T w e n t i e t h - C e n t u r y L i t e r a t u r e , 3rd S e s s i o n , M i c h i g a n S t a t e U n i v e r s i t y , May 17-18, 1963 . ] 168 206 Jerome Rothenberg , p. 29, Robert K e l l y , p. 36, G i l b e r t S o r r e n -t i n o , pp. 48-49 , 53. I n t e r v i e w s wi th David Ossman, The S u l l e n  A r t 1963 (107) . 207. C a r o l Berge . Comments, The Vancouver R e p o r t . New Y o r k : Fuck You P r e s s , F e b r u a r y 1964, pas s im. [Report on the Vancouver Poetry F e s t i v a l , J u l y - A u g u s t 1 9 6 3 . ] See 166. 208 Gay W i l s o n A l l e n , Wal ter B. R i d e o u t , and James K. R o b i n s o n . B r i e f b i o g r a p h y , p. 1041, b r i e f b i b l i o g r a p h y and notes on the poem \"Hart Crane\" (\"He had been s t u t t e r i n g \" ) , pp. 1089-90, American P o e t r y 1965 (74) . 209 Warren T a l l m a n . \"The W r i t i n g L i f e \" [ i n t r o d u c t i o n ] ] , New Amer- i c a n S t o r y 1965 (170) , p. 8. 210 M i c h a e l Gnarowsk i . Comments, Contac t 1952-1954. M o n t r e a l : D e l t a Canada, 1966, pp. 8-10. [ C o n t a i n s an index to C o n t a c t . ~| 211 A l b e r t o G i r r i . \"Robert C r e e l e y \" [ i n S p a n i s h ] , Quince Poetas  Nor teamer icanos 1966 (77 ) , pp. 251-253. 212 X. J . Kennedy. Comment on poem \"Oh No\", An I n t r o d u c t i o n to  Poe t r y . Bos ton: L i t t l e , Brown, 1966, p. 29. 213 Stephen Donadio . \"Some Younger Poets i n A m e r i c a \" , Modern  O c c a s i o n s , ed. P h i l i p Rahv. New Y o r k : F -arrar , S t r a u s and G i r o u x , 1966, pp. 234-236. 214 F r e d e r i c k J . Hoffman. \"Contemporary P o e t r y \" , P a t t e r n s of Com- mitment i n American L i t e r a t u r e , ed. Mars ton L a F r a n c e . T o r o n t o : U n i v e r s i t y of Toronto P r e s s , 1967, p. 204. 215 A. K i n g s l e y Weatherhead. Comments, The Edge of the Image. S e a t t l e : U n i v e r s i t y of Washington P r e s s , 1967, pp. 5 -6 , 90-91 , 201-203. 216 S t a n t o n A. C o b l e n t z . Comments, The Poe try C i r c u s . New York: Hawthorn Books, 1967, pp. 179-180. 217 Wal ter H o l l e r e r . B i o - b i b l i o g r a p h i c a l comment and i n t r o d u c t i o n i n German , E i n G e d i c h t 1967 (86 ) , pp. 234-235. 218 Hyatt H. Waggoner. ''Robert C r e e l e y \" , American Poe t s : From the  P u r i t a n s to the P r e s e n t . Bos ton: Houghton M i f f l i n , 1968, pp. 625-626. 169 219 Mary E l l e n S a l t . Comments on poem \"Le F o u \" , C o n c r e t e P o e t r y :  A World View 1968 (93) , pp. 49, 57, 302. 220 Jonathan W i l l i a m s . \"The Crooked Cake of Leo C e s s p o o c h . . . \" , Concre te P o e t r y : A World View 1968 (93) , pp. 85-86. R e p r i n t e d from A r t e s H i s p a n i c a s , I , i i i \/ i v , W i n t e r - S p r i n g 1968 (273) . 221 \"Robert C r e e l e y \" , The R e a d e r ' s A d v i s e r : A Guide to the Best i n  L i t e r a t u r e , E l e v e n t h E d i t i o n , Volume I , ed. W i n i f r e d F . C o u r t -ney. New York and London: R . R . Bowker, 1968, p. 237. C r e e l e y was mentioned b r i e f l y on p. 377 of the Tenth E d i t i o n , 1964, r e v i s e d and e n l a r g e d by Hester R. Hoffman. 222 Gary Geddes. \"Robert C r e e l e y \" [ i n c l u d i n g b r i e f b i o - b i b l i o g -r a p h y ] , 2 0 t h - c e n t u r y Poetry & P o e t i c s 1969 (96 ) , pp. 578-579. 223 P a t r i c k G l e e s o n . Comment, A F i r s t Reader of Contemporary Amer- i c a n Poe try 1969 (99 ) , p. i i i . 224 \"Robert C r e e l e y \" [ i n c l u d i n g b i o g r a p h y and b i b l i o g r a p h y ] , 200 Con- temporary A u t h o r s , ed . B a r b a r a Harte and C a r o l y n K i l e y . D e t r o i t : Gale R e s e a r c h , 1969, pp. 83-85. R e p r i n t e d from Contemporary  A u t h o r s , Volumes I - I V , F i r s t R e v i s i o n , ed . James M. E t h r i d g e and B a r b a r a Kopa la ( D e t r o i t : Gale R e s e a r c h , c 1 9 6 7 , pp. 213-214) which updates the e n t r y i n Contemporary A u t h o r s , Volume IV, ed . James |Y|. E t h r i d g e ( D e t r o i t : Gale R e s e a r c h , 0 1 9 6 3 , p . 81) . 6 LETTERS 225 C h a r l e s O l s o n . L e t t e r s to Robert C r e e l e y , F e b r u a r y 18 to J u l y 1, 1951, Mayan L e t t e r s 1954 (169) . R e p r i n t e d i t i o n \u2014 L o n d o n : Jonathan Cape, 1968. The l e t t e r s were r e p r i n t e d i n S e l e c t e d W r i t i n g s of  C h a r l e s Olson 1966 (171) . 226 C h a r l e s O l s o n . L e t t e r to C i d Corman, November 24, 1951, L e t t e r s  f o r O r i g i n : 1950-1956, ed . A l b e r t G l g v e r . London: Cape G o l i a r d , C 1969 , pp. 87-88, and p a s s i m . [The l e t t e r which o c c a s i o n e d t h i s one was w r i t t e n November 11, 1951 by C r e e l e y to Corman ( 1 0 5 6 ) . ] 7 SELECTED POEMS 227 C h a r l e s O l s o n . O'Ryan 2 4 6 8 10. San F r a n c i s c o : White R a b b i t , 170 September 1958. [300 c o p i e s . ] Second, e n l a r g e d e d i t i o n - - 0 ' R y a n  1 2 3 4 5 6 7 8 9 10 (San F r a n c i s c o : White R a b b i t , September 1965) . [ A c c o r d i n g to Robert Duncan, \"The f u g i t i v e hero of tha t sequence was drawn from Robert C r e e l e y \" ; \"Nights and Days\", Sumac, I , i ( F a l l 1968), 1 0 2 . ] 228 Robert Duncan. \"A Dancing C o n c e r n i n g A Form of Women\" [lYIS 1209] , pp. 24-26 , \"Thank You For Love ( f o r Robert C r e e l e y ) \" , pp. 115-116, Roots and B r a n c h e s . New Y o r k : S c r i b n e r ' s , 1964, 229 Jonathan W i l l i a m s . \"F inger E x e r c i s e s \" , \"A S p i n \" , \"The Tag match\", \"The Swi tch B l a d e \" , \" A r s y - T u r v y \" , \"My Own U p - t o - d a t e E p i t a p h \" , An Ear i n B a r t r a m ' s T r e e . Chapel H i l l : U n i v e r s i t y of North C a r o l i n a , 1969. 230 G e r a r d Malanga. \" H i s t o r y As A Form of E x p e r i e n c e \" , 10 Poems f o r  10 P o e t s . Los A n g e l e s : B l a c k Sparrow, [November 6] 1970, pp. 19-25. [With p h o t o g r a p h . ] B IN PERIODICALS P l ease use the Index to P e r i o d i c a l s to f i n d w r i t i n g s i n a p a r t i c u l a r j o u r n a l . 1 BIBLIOGRAPHIES See a l s o 192. 231 Paul B l a c k b u r n . \"The G r i n d i n g Down\" [w i th an index to C r e e l e y ' s c o n t r i b u t i o n s to B lack Mountain Review] , K u l c h u r , I I I , No. 10 (Summer 1963), 9-18. 232 Irene Lynn S l e e t h . \"An Index to the B l a c k Mountain Review\", S e r i f , I I , i i (June 1965), 22-28. 233 Stephen Rode fer . \"A Workable B i b l i o g r a p h y of Robert C r e e l e y \" , Whe 're , No. 1 (Summer 1966), pp. 58-60 . [ L i s t of s i x t y - f i v e poems and p l a c e s of p u b l i c a t i o n . ] 234 Martha Lane G o o l d . \"An Index to Ori-qi n\" , S e r i f , I I I , i i i (September 1966), 23-36. 171 2 tSSAYS 235 Crunk [Robert B l y ] . \"The Work of Robert C r e e l e y \" , The F i f t i e s , No. 2 (1959) , pp. 10-21. 236 Warren T a l l m a n . \"Robert C r e e l e y ' s P o r t r a i t of the A r t i s t \" , T i s h , No. 7 (March 14, 1962) , pp. 7-12. R e p r i n t e d i n K u l c h u r , IV, No. 13 ( S p r i n g 1964), 15-26. See l e t t e r from V i n c e n t F e r r i n i r e g a r d i n g t h i s essay i n T i s h , No. 9 (May 14, 1962), p. 2. 237 C i d Corman. ' \" F o r Love ' of\", K u l c h u r , I I , No. 8 (Winter 1962), 49-64. 238 D a n i e l A. H a r r i s . \"An I n t r o d u c t i o n to Robert C r e e l e y \" , The Yale  L i t e r a r y Magaz ine , CXXXI, i i i \/ i v ( A p r i l 1963), 17-24. 239 E l l e n Maslow. \"A D i s c u s s i o n of S e v e r a l of C r e e l e y ' s Poems\", K u l c h u r , V, No. 20 (Winter 1964-65) , 66-71. 240 Warren T a l l m a n . \"Robert C r e e l e y ' s Rimethought\", T i s h , No. 33 (January 4, 1966), pp. 2-10. R e p r i n t e d i n A Nosegay i n B l a c k , I , i (Autumn 1'966). 241 H.W. Hausermann. \"Robert C r e e l e y \" [ i n German], Neue Z u r c h e r  Z e i t u n g , November 20, 1966. ( 242 A l l e n B a r r y Cameron. \" 'Love Comes Q u i e t l y ' : The Poetry of Robert C r e e l e y \" , Chicago Review, XIX, i i (1967) , 92-103. 243 R i c h a r d Howard. \"Robert C r e e l e y : 'I Beg in Where I Can, and End When I See the Whole Th ing R e t u r n i n g ' \" , The Minnesota  Review, V I I I (1968) , i i , 143-150. R e p r i n t e d i n Alone With  Amer ica . 1969 (186) . 244 Kenneth Cox. \"Address and Pos ture i n the Poetry of Robert C r e e l e y \" , Cambridge Q u a r t e r l y , IV, i i i (Summer 1969), 237-243. MS 1210 245 C. Bowen [ C a r l H a r r i s o n - F o r d ] . \"A C o n t i n u i t y , A P l a c e \u2014 T h e Poetry of Robert C r e e l e y \" , Poetry Magazine ( A u s t r a l i a ) , X V I I I , v (October 1970), 3 -9 . \u2022246 C h a r l e s P o t t s . \" P i e c e s : The D e c l i n e of C r e e l e y \" , West Coast  Review, V, i v ( A p r i l 1971), 3 -5 . 3 SHORT ESSAYS 247 John F l e s . \"The Root\", K u l c h u r , No. 1 ( S p r i n g I960) , 39-42. 248 A l a n Brouinjohn. \"Some Notes on L a r k i n a n d ' C r e e l e y \" , M i g r a n t , No. 6 (May I960) , pp. 16-19. See 259, 267 249 Glauco Cambon. \"Robert C r e e l e y \" [ i n I t a l i a n ] , II V e r r i , NS, No. 1 ( F e b r u a r y 1962), pp. 67-70. [ F o l l o w e d by a s e l e c t i o n of poems t r a n s l a t e d i n t o I t a l i a n . See 480, 484, 498, 502 ] 250 Doug E i c h h o r n . \"Robert C r e e l e y : L o v e ' s Modern Poet\", T r o j a n  Horse , A p r i l 1964, pp. 7-8 . 251 M i c h a e l A l e x a n d e r . \" W i l l i a m C a r l o s W i l l i a m s and Robert C r e e l e y \" , Agenda, IV , i i i \/ i v (Summer 1966), 56-67 . R e f e r r e d to i n an e d i -t o r i a l note to \"Love on the Cana l Boat\" by Edwin J . B r e t t , P i o n e e r s of Modern P o e t r y , ed . Robert L . P e t e r s and George H i t c h c o c k (San F r a n c i s c o : Kayak, c 1 9 6 7 , p. 9). 252 L i n g Chung. \"Predicaments i n Robert C r e e l e y ' s Words\", C o n c e r n i n g P o e t r y , I I , i i ( F a l l 1969), 32-35. 4 NOTES (BRIEF ESSAYS) AND SELECTED COMMENTS IN ARTICLES See a l s o 231. 253 L e s l i e Woolf ' Hed ley . \" L e t t e r to the E d i t o r \" , Goad, I , i i i (Summer 1952) , 7 -9 . See 939 [ T h i s was the f i r s t a t t a c k cn C r e e l e y i n p r i n t . The second was Donald H a l l ' s comment i n an a r t i c l e i n The World Review, December 1952; r e l a t e d l e t t e r 1064 . ] 254 Steven Marcus . Review of New D i r e c t i o n s , No. 13, 1951 (51) , Comme n t a r y , XIV, v i (December 1952), 576-577. 255 C i d Corman. \"The V o i c e as the Instrument of V e r s e \" , O r i g i n , No. 9 ( S p r i n g 1953), pp. 3-4 . [Reviews Le F o u , 1952 ( l ) . ] 256 C i d Corman. \"Les Voix de L ' I n d i v i d u \" [ t r a n s l a t i o n i n t o French by P h i l i p p e J o n e s ] , Le J o u r n a l des Poetes , No. 10 (December 1953) , p\u201e 7. [ T h i s i s an essay on the O r i g i n poets f o l l o w e d by the f i r s t F r e n c h t r a n s l a t i o n s of poems by C h a r l e s O l s o n , Denise 173 L e v e r t o v , C i d Corman, and Robert C r e e l e y (see 475, 4 8 0 ) . ] The essay i s p u b l i s h e d i n E n g l i s h i n S e r i f , V I , i i i (September 1969); see p. 15. 257 (Yl.L. R o s e n t h a l . \"In E x q u i s i t e Chaos\", The N a t i o n , CLXXXVII (November 1, 1958) , 327. 258 Wal ter H o l l e r e r . \"Junge A m e r i k a n i s c h e L i t e r a t u r \" [ i n German], A k z e n t e , No. 1 ( F e b r u a r y 1959), 40-42. 259 \" B r e a t h i n g Words i n t o the Ear of an U n l i t e r a r y E r a \" , The Times  L i t e r a r y Supplement , September 9, 1960, p. xv . [Response to 2 4 8 . ] 260 James W r i g h t . Review of The New American Poe try 1960 (56 ) , The  Minneso ta Review, I , i i (January 1961), 249-250. 261 Kenneth R e x r o t h . \"Bearded B a r b a r i a n s or Real B a r d s ? \" , [\\jew York Times Book Review, F e b r u a r y 12, 1961, pp. 1, 44 (U11) \u2014 see 513. R e p r i n t e d i n Assays ,1961 (204) . 262 W i l l i a m McNaughton. \" ' F o o t n o t e ' to C r e e l e y ' s Graph\" , The  F l o a t i n g Bear , No. 4 [1961] , p. 8. See 929 263 Jon Edgar Webb. \"The E d i t o r ' s B i t \" , O u t s i d e r , I , i i i ( S p r i n g 1963) , 106. See 975 R e l a t e d l e t t e r s 1038 264 A. F r e d r i c F r a n k l y n . \"Towards P r i n t ( E x c e r p t s from a J o u r n a l of the U. of B r i t i s h Columbia Seminar )\" , T r a c e , No. 51 (Winter 1963) , pp. 277-284, 294. See 166 265 G . S . [ G i l b e r t S o r r e n t i n o ] . Review of The Moderns 1963 (64 ) , K u l c h u r , IV, No. 14 (Summer 1964), 84. 266 G i l b e r t S o r r e n t i n o . Comment on C r e e l e y ' s p r o s e , The F l o a t i ng ' Bear , No. 30 [1964 ]. 267 Jim P h i l i p . \"New Landscape , New Language, New L i f e \" , G r a n t a , LXIX, No. 1243 (March 6, 1965),' 26. [Response to 2 4 8 . ] 268 Donald W e s l i n g . \" B e r k e l e y : Free Speech and Free V e r s e \" , The  N a t i o n , CCI (November 8, 1965), 339-340. [Report on the B e r k e l e y Poetry C o n f e r e n c e , J u l y 12-24, 1965. See 162, 166A. See a l s o \"A P e r s o n a l R e - c o g n i s a n c e \" , by Robin E i c h e l e , Work, No. 2 ( F a l l 1965), pp. 76-78, with photographs f a c i n g p. 78 . J 174 269 \"Songs Around the M o u n t a i n \" , The Times L i t e r a r y Supplement , November 25, 1965, p. 1070. 270 Judson Jerome. \"The L o n e l y Orgy\" , W r i t e r ' s D i g e s t , X L V I , v i (June 1966) , 18, 20, 24. \u2022 271 Stephen S t e p a n c h e v . . \"American Poets of the '60s\", The New  L e a d e r , X L I X , x x i v (December 5, 1966), 24-25. 272 Ronald H. Bayes . Review of S e l e c t e d W r i t i n g s of C h a r l e s Olson 1966 (171) , West Coast Review, I I , i i i (Winter 1968) , 52-53 . [See a l s o the review by Ralph Maud i n C o n c e r n i n g P o e t r y , I , i ( S p r i n g 1968), 73-76 and by M . L . R o s e n t h a l i n New York Times  Book Review, October 27, 1968, pp. 26, 28, 3 0 . ] 273 Jonathan W i l l i a m s . \"The Crooked Cake of Leo C e s s p o o c h . . . \" , A r t e s H i s p a n i c a s , I , i i i \/ i v ( W i n t e r - S p r i n g 1968), 85. R e p r i n t e d i n C o n c r e t e P o e t r y : A World l\/iew 1968 ( 220). 274 Thomas L a s k . \"Poets are U n i t e d A g a i n s t E d i t o r s \" , New York  T imes , March 6, 1968, p. 44. 275 C i d Corman. \"A Note on the Founding of O r i g i n \" , S e r i f , V, i (March 1968) , 29-30 . 276 Robert Was D i a s . \"Memorandum to Monet t\" , C u l t u r a l A f f a i r s , No. 3 (1968) , p. 17. See 147 R e l a t e d l e t t e r s 1069 277 Jonathan Raban. \"Chance, Time, and S i l e n c e : The New American V e r s e \" , J o u r n a l of American S t u d i e s , I I I , i ( J u l y 1969), 93-94. 278 \"Monocular Poet\", The T imes , J u l y 17, 1969, p. 10. [With p h o t o g r a p h . ] 279 Gordon M. M e s s i n g . \"The L i n g u i s t i c A n a l y s i s of Some Contempo-r a r y Nonformal P o e t r y \" , Language and S t y l e , I I , i v ( F a l l 1969), 325-328. 175 5 SELECTED REVIEWS The Kind Of Act Of 1953 (2) C r i t i c a l Review 280 C i d Corman. P o e t r y , LXXXIII (March 1954), 340-342. B r i e f Review 281 L o u i s Dudek. C I V \/ n , No. 5 [1953-54] , p. 26. A l l That Is L o v e l y i n Men 1955 (6) C r i t i c a l Review 282 F r e d e r i c k Eckman. P o e t r y , LXXXIX (October 1956), 60-62. I f You 1956 (7) C r i t i c a l Review 283 Robert Beum. P o e t r y , XCII (September 1958), 387-388. The Whip 1957 (8) C r i t i c a l Review 284 L o u i s Z u k o f s k y . P o e t r y , XCII (May 1958), 110-112. B r i e f Reviews 285 Dennis Keene. I s i s, December 1957. 286 Peter Y a t e s . C o a s t l i n e s , I I I , i i i (Autumn 1958), 47-48. 287 W i l l i a m P a c k a r d . V i l l a g e V o i c e , October 22, 1958, p. 11. 176 A Form of Women 1959 (9) C r i t i c a l Reviews 288 David G a l l e r . Seuianee Review, LXIX, i (Winter 1961), 171-172. IYIS 1207 289 LeRoi Jones . K u l c h u r , I , No. 3 (Spring-Summer 1961), 81-83. B r i e f Reviews 290 T r a c e , No. 35 ( J a n u a r y - F e b r u a r y I960) , p. 42. 291 Ralph J . W i l l s , J r . New Mexico Q u a r t e r l y , XXX, i i (Summer 1960) , 197. 292 Hugh Kenner . N a t i o n a l Review, IX (November 19, I960) , 320. 293 I r v i n E h r e n p r e i s . The Minnesota Review, I , i i i ( S p r i n g 1961) , 366-367. 294 James L . W e i l . The Sparrow Magaz ine , No. 15 ( A p r i l 1961) , pp. 38-39. For Love; Poems 1950-1960 1962 ( l l ) C r i t i c a l Reviews 295 Tom White [ J o e l Oppenheimer] . K u l c h u r , I I , No. 5 ( S p r i n g 1962), 96-99 . 296 R i c h a r d T r i s t m a n . The Supplement (Columbia D a i l y S p e c t a t o r ) , I I I , v ( A p r i l 20, 1962) , S - l , S-2 , S-4 . [With p h o t o g r a p h . ] 297 Dudley F i t t s . Saturday Review, No. 45 (August 4, 1962), p. 22. 298 Paul C a r r o l l . The N a t i o n , CVC (August 25, 1962) , 77-78. 299 C h a r l e s O l s o n . V i l l a g e V o i c e , September 13, 1962, pp. 4 -5 . MS 1208 300 Robert Sward. C h e l s e a , No. 12 (September 1962), pp. 146-148. 301 Thorn Gunn. The Yale Review, L I I , i (October 1962), 130-131. 302 S t a n l e y K u n i t z . H a r p e r ' s Magaz ine , CCXXV, No. 1349 (October 1962) , 103, 108. 177 303 Peter D a v i s o n . A t l a n t i c M o n t h l y , CCX, v (November 1962) , 85-86. 304 Robert Duncan. New Mexico Q u a r t e r l y , X X X I I , i i i \/ i v (Autumn-Winter 1962-63) , 219-224. 305 W i l l i a m D i c k e y . P o e t r y , CI (March 1963) , 421-424. 306 D . J . Hughes. Massachuse t t s Review, IV\/ ( S p r i n g 1963) , 606-608. 307 John W i l l i a m C o r r i n g t o n . Northwest Review, V I , i i i (Summer 1963) , 106-110. 308 Dav id Bromige . Northwest Review, V I , i i i (Summer 1963) , 110-122. _ . B r i e f Reviews 309 J . R . Colombo. Tamarack Review, No. 24 (Summer 1962), pp. 110-111. 310 James S c h e v i l l . San F r a n c i s c o C h r o n i c l e , J u l y 1, 1962, p. 34. 311 Robin S k e l t o n . The Vancouver Sun, September 5, 1962, p. 5. 312 V i r g i n i a Q u a r t e r l y Review, X X X V I I I , i v (Autumn 1962) , p. cxv . 313 John Simon. Hudson Review, XV, i i i (Autumn 1962), 459. 314 F e l i x S t e f a n i l e . E l i z a b e t h , No. 4 (October 1 9 6 2 ; , p . 16. 315 Kenneth R e x r o t h . New York Times Book R R v i e w , November 4, 1962, p. 38. [With p h o t o g r a p h . ] 316 Thomas L a s k . New York Times Book Review, December 2, 1962, p. 7. 317 E r i c Mottram. Books U . S . A . , No. 5 (June 1963), p. 4. 318 The Free Lance , V I I , i i (Second h a l f of 1963), 14-15. 319 R.W. F l i n t . New York Review of Books, I , i [August? 1963] , 26. 320 K e i t h Gunderson . Good Reading , XV, i (November 1963) . 321 A l l e n Guttmann. S t u d i e s on the L e f t , IV, i i ( S p r i n g 1964) , 98-99. 1 7 8 The I s l a n d 1963 (12) and 1964 (14) C r i t i c a l Reviews 322 T e r r y S o u t h e r n . New York Times Book Review, September 22, 1963, p. 4. 323 Peter Deane. Book Week, I , v (October 13, 1963), 16. [With p h o t o g r a p h . ] 324 L i n d a Wagner. C r i t i q u e , V I I , i ( S p r i n g 1964) , 119-122. 325 Aram S a r o y a n . P o e t r y , CIV ( A p r i l 1964) , 45-47 . 326 The Times L i t e r a r y Supplement , September 3, 1964, p. 806. R e p r i n t e d i n T . L . S . : Essays and Reviews, Volume I I I , 1965 (188) . 327 M i c h a e l H o r o v i t z . A y l e s f o r d Review, V I I , i ( S p r i n g 1965) , 60-63. B r i e f Reviews 328 M i c h a e l Rumaker. The F l o a t i n g B e a r , No. 27 [1963 ]. R e p r i n t e d i n The F l o a t i n g B e a r , No. 35.. [1968] . 329 P h i l i p Whalen. T h i s World Magazine (San F r a n c i s c o C h r o n i c l e ) , October 13, 1963, p. 28. 330 G r a n v i l l e H i c k s . Sa turday Review, X L V I , v l (November 9, 1963) , 40. 331 R.W. F l i n t . New York Review of Books, I , v i (November 14, 1963) , 10. 332 G e o f f r e y Bush. The Ya le Review, LI 11 , i i (December 1963) , 300-301. 333 Benjamin DeMott . H a r p e r ' s Magaz ine , CCXXVII , No. 1363 (Decem-ber 1963), 116. 334 E . K . [ F r e d e r i c k Wah] Sum, No. 1 (December 1963), p. 27. 335 G. W i l l i a m Jones . Southwest Review, X L I X , i (Winter 1964) , 94. 179 336 Open Space , No. 4 [ S p r i n g 1964] , pp. 30, 32. 337 A d e l a i d e Simon. The Free Lance , W i l l , - i ( F i r s t h a l f of 1964) , 41-42. 338 Paul M e t c a l f . K u l c h u r , IV, No. 14 (Summer 1964) , 86-87 . 339 The T imes , August 27, 1 9 6 4 , p. 13. 340 F r a n c i s K i n g . The Sunday T e l e g r a p h , August 30, 1964, p. 7. 341 John F u l l e r . New Statesman, L X V I I I , No. 1747 (September 4, 1964) , 327. 342 Frank H. Thompson, J r . P r a i r i e Schooner , XXXV\/III, i v (Winter 1964-65) , 365-366. \u2022 M i s t e r Blue 1964 (16) C r i t i c a l Reviews [ i n German] 343 Helmut M. Braem. S t u t t g a r t e r Z e i t u n g , January 16, 1965. R e p r i n t e d i n Saarbrt i cker Z e i t u n g , March 20-21 , 1965.' 344 Helmut Hei s s e n b t i t t e l . Die Welt der L i t e r a t u r , F e b r u a r y 18, 1965. [With p h o t o g r a p h . ] B r i e f Reviews [ i n German] 345 Jurgen Manthey. Die Weltwoche, March 12, 1965. 346 Hans D a i b e r . F r a n k f u r t e r A l l g e m e i n e Z e i t u n g , May 29, 1965. The Gold D i g g e r s 1965 (17) and 1965 (19) C r i t i c a l Reviews 347 D . J . E n r i g h t . New Statesman, LXX, No. 1795 (August 6, 1965) , 187-188. 348 R . Z . Sheppard . Book Week, I I I , v (October 10, 1965) , 16. 349 Anthony K e l l e r . Commonweal, L X X X I I I , x (December 10, 1965) , 318-319. 180 350 Bernard B e r g o n z i . New York Review of Books, V, x i i ( January 20, 1966) , 22-23 . 351 David F r a n k s . Whe're , No. 1 (Summer 1966) , pp. 94-96. 352 L i n d a Ulagner. S t u d i e s i n Short F i c t i o n , I I I , i v (Summer 1966) , 465-466. 353 Samuel Moon. P o e t r y , CVIII (August 1966) , 341-342. 354 J . P . Freeman. Cambridge Q u a r t e r l y , I I , i v (Autumn 1967), 414-420. B r i e f Reviews 355 F r a n c i s K i n g . The Sunday T e l e g r a p h , August 1, 1965, p. 14. 356 The T imes , September 2, 1965, p. 5. 357 Malcolm B r a d b u r y . Punch, C C I L , No. 6525 (September 29, 1965) , 475. 358 A l a n P r y c e - J o n e s . New York H e r a l d T r i b u n e , CXXU (October 7, 1965) , 31. 359 The Times L i t e r a r y Supplement , October 28, 1965, p. 964. 360 S a u l M a l o f f . New York Times Book Review, November 7, 1965, p. 60. 361 G r a n v i l l e H i c k s . Sa turday Review, X L V I I I , x l v i i i (December 11, 1965), 31. 362 Dick A l l e n . P r o v i d e n c e J o u r n a l , F e b r u a r y 20, 1966. 363 Roy P r o c t o r . Greensboro D a i l y News, May 22 [1966?] 364 John C o n l e y . Southern Review ( L o u i s i a n a ) , NS, I I I , i i i ( J u l y 1967) , 783-784. Die I n s e i 1965 (18) C r i t i c a l Reviews [ i n German] 365 Helmut H e i s s e n b u ' t t e l . Suddeutsche Z e i t u n g , November 24, 1965. 366 Helmut M. Braem. S t u t t g a r t e r Z e i t u n g , January 29, 1966. 181 367 K a r l Kro low. Darmstadter Echo , May 2, 1966. R e p r i n t e d i n Die T a t , May 6, 1966. B r i e f Review [ i n German] 368 Hans Bender . Die Welt der L i t e r a t u r , March 31, 1966. Poems 1950-1965 1966 (22) C r i t i c a l Reviews 369 John C o n s t a b l e . Cambridge Review, LXXXIX, No. 2129 (October 15, 1966) , 27-29 . 370 C o l i n F a l c k . E n c o u n t e r , X X V I I I , i i i (March 1967), 68, 70. 371 Ronald Hayman. E n c o u n t e r , X X X I I , i i ( F e b r u a r y 1969) , 77-78. B r i e f Reviews 372 Bernard B e r g o n z i . The G u a r d i a n , J u l y 29, 1966, p. 8. 373 J u l i a n M i t c h e l l . The Sunday T imes , J u l y 31, 1966, p. 34. 374 Paddy K i t c h e n . T r i b u n e , August 5, 1966, p. 11. 375 Peter Marsh . O b s e r v e r , No. 9135 (August 7, 1966) , p. 21. 376 John P r e s s . Punch, CCLI , No. 6571 (August 17, 1966) , 269. 377 The Times , August 18, 1966, p. 14. 378 John C a r e y . New Statesman, L X X I I , No. 1855 (September 30, 1966), 483. 379 Graham M a r t i n . The L i s t e n e r , LXXVI (October 27, 1966) , 625. 380 John F u l l e r . London Magazine , NS, V I , v i i i (November 1966) , 107-108. 381 M a r t i n Seymour-Smith . Weekend Magazine (The Scotsman) , November 12, 1966, p. 3. 382 The Times L i t e r a r y Supplement, December 1, 1966, p. 1128. R e p r i n t e d i n T . L . S . : Essays and Reviews, Volume V, 1967 (189) . 182 383 Oswel l B l a k e s t o n . Books and Bookmen, X I I I , v i i i (may 1968) , 37. [With p h o t o g r a p h . ] Words 1967 (26) C r i t i c a l Reviews 384 Chad Walsh . Book Week, IV, No. 39 (June 4, 1967), 5. [With p h o t o g r a p h . ] 385 A l l e n B a r r y Cameron. Canadian Forum, X L V I I , No. 559 (August 1967) , 117-118. 386 John P e r r e a u l t . New York Times Book Review, November 19, 1967, p. 97. Bee 435 38.7 F r e d e r i c W i l l . P o e t r y , CXI (January 1968), 256-258. 388 \"Neil B u t t r i c k . The Sunday Ramparts , March 12-26 [1968?] , ' p. 3. 389 Douglas C o l l i n s . L i l l a b u l e r o , No. 5 [1968 ], pp. 37-40. 390 Ronald H. Bayes . Northwest Review, X, i (Summer 1968), 123-125. 391 Donald J u n k i n s . Massachuse t t s Review, IX, i i i (Summer 1968), 598-601. 392 John Thompson. New York Review of Books, X I , i i (August 1, 1968) , 35. 393 Thomas A. Duddy. Stony Brook, No. 3\/4 (1969) , pp. 385-387. B r i e f Reviews 394 Robert Pawlowski . The Denver Q u a r t e r l y , I I , i ( S p r i n g 1967) , 171-172. 395 C o l l e a g u e , I I I , i x (May 1967), 11-12. 396 C h a r l e s P h i l b r i c k . Saturday Review, L , x x i i (June 3, 1967) , 33. 397 Thomas L a s k . New York Times , June 27, 1967, p. 37. C o n t i n u e d New York T imes , June 28, 1967, p. 43. [With p h o t o g r a p h . ] 398 W i l l i a m H. P r i t c h a r d . Hudson Review, XX, i i (Summer 1967) , 311-312. 183 399 L o u i s Simpson. H a r p e r ' s Magaz ine , CCXXXV, No. 1407 (August 1967) , 90. 400 G e r a l d B u r n s . Southwest Review, L111, i (Winter 1968), 102-103. 401 Peter D a v i s o n . A t l a n t i c Month ly , CCXXI, i i (Febr uary 1968) , 141. 402 G . S . F r a s e r . P a r t i s a n Review, XXXV, i i i (Summer 1968), 474-475. 403 C i d Corman. E l i z a b e t h , No. 14 (November 1969), pp. 11-14. G e d i c h t e 1967 (29) C r i t i c a l Reviews [ i n German] 404 S i g r i d B a u s c h i n g e r . F r a n k f u r t e r A l l g e m e i n e Z e i t u n g , October 21, 1967. [With p h o t o g r a p h . ] 405 Peter W. G e r h a r d . Die T a t , June 8, 1968. B r i e f Reviews [ i n German] 406 K a r l Kro low. Deutsches A l l g e m e i n e s S o n n t a q s b l a t l , November 19, 1967. 407 R . K . H . B a s l e r N a c h r i c h t e n , December 8, 1967. 408 Hans -Jurgen S c h m i t t . Die Weltwoche, December 15, 1967. The F i n g e r 1968 (30) B r i e f Review 409 R . K . [Robert K e l l y ] C a t e r p i l l a r , No. 5 (October 1968), pp. 146-147. The Charm 1967 (32) C r i t i c a l Review 410 A l v i n G r e e n b e r g . The Minnesota Review, I X . ( l 9 $ g ) , i , 79-80. 184 Numbers 1968 (34) C r i t i c a l Review 411 G i l b e r t S o r r e n t i n o . P o e t r y , CXVI (May 1970), 110-114. [ A l s o rev iews B lack Mountain Review, AMS R e p r i n t , 1969 ( 1 7 6 ) . ] P i e c e s 1969 (39) C r i t i c a l Reviews 412 Reed Whit temore . The New R e p u b l i c , C L X I , xv (October 11, 1969) , 25-26. 413 Ronald H. Bayes . Human V o i c e , V, i - i v (November 1969), 126-128. 414 L o u i s L . M a r t z . The Ya le Review, L I X , i i (December 1969), 256-261. 415 Denise L e v e r t o v . C a t e r p i l l a r , No. 10 (January 1970), pp. 246-248. 416 Edward Dorn . C a t e r p i l l a r , No. 10 (January 1970), pp. 248-250. 417 R u s s e l l Banks. L i l l a b u l e r o , No. 8 (Winter 1970) , pp. 88-91. 418 Mel B u c h o l t z . Sumac, I I , i i \/ i i i ( W i n t e r - S p r i n g 1970) , 237-239. 419 Jerome Mazzaro . The Kenyon Review, X X X I I , i [ c a . S p r i n g 1970] , 153-165. MS 1211 420 Robert Bunker . The New Mexico Review, I I , v i \/ v i i ( J u n e - J u l y 1970) , 27-29. 421 Peter C o o l e y . The North American Review, CCLV\/, i i (Summer 1970), 74-76. 422 A l l e n Barry Cameron. Canadian Forum, L , No. 596 (September 1970), 223-224. 423 Jerome McGann. P o e t r y , CXUII (December 1970), 200-203. 165 B r i e f Reviews 424 J o s e p h i n e Jacobsen . The B a l t i m o r e Sun, September 28, 1969. 425 John W. Hughes. The New L e a d e r , LI I , xx (October 27, 1969), 17. 426 Hayden C a r r u t h . Hudson Review, X X I I I , i ( S p r i n g 1970), 186. 427 D a n i e l Hughes. Massachuse t t s Review, X I , i v (Autumn 1970), 652-655. The Charm 1969 (41) C r i t i c a l Review 428 The Times L i t e r a r y Supplement, August 7, 1970, p. 871. A Quick Graph 1970 (104) B r i e f Review 429 The Times L i t e r a r y Supplement, August 7, 1970, p. 871. The F i n g e r : Poems 1966-1969 1970 (44) C r i t i c a l Review 430 The Times L i t e r a r y Supplement, December 11, 1970, p. 1436. 6 LETTERS See a l s o 940. 431 W i l l i a m C a r l o s W i l l i a m s . L e t t e r to Bob C r e e l e y , March 3, 1950, O r i g i n , No. 1 ( S p r i n g 1951), p.. 34. 432 Ian H. F i n l a y . \"From a l e t t e r . . . \" , M i c a , No. 4 (June 1961) , p. 6. 433 A. F r e d r i c F r a n k l y n . L e t t e r , August 1963, E l Corno Emplumado, No. 9 (January 1964) , pp. 151-152. 434 Alexander Werth and M a r c i a G. Rucker . \" T r a n s l a t i o n T r a p \" [ l e t t e r s to the e d i t o r ] , The N a t i o n , CIC (November 30, 1964), 393. See 130 186 435 Jonathan W i l l i a m s and John P e r r e a u l t . \" L e t t e r s to the E d i t o r \" , New York Times Book Review, January 7, 1968, pp. 22, 26. See 386 7 SELECTED POEMS 436 C i d Corman. \" F i r s t Farm N o r t h : For Bob & Ann C r e e l e y \" , O r i g i n , No. 2 (Summer 1951) , p. 69. R e p r i n t e d i n The P r e c i s i o n s 1955 (180b) . 437 Ra iner M. G e r h a r d t . \" L e t t e r f o r C r e e l e y and Olson\" [ t r a n s l a t i o n i n t o E n g l i s h by Werner Heider and Joanna J a l o w e t z , ed . C i d Corman], O r i g i n , No. 4 (Winter 1951-52) , pp. 187-193. R e p r i n t e d i n Work, No. 3 (Winter 1965-66) , pp. 6-11 . [See C h a r l e s O l s o n ' s r e p l y , \"To G e r h a r d t , T h e r e , Among E u r o p e ' s Th ings of Which He Has W r i t t e n Us i n His ' B r i e f an C r e e l e y und O l s o n ' \" , O r i g i n , No. 4, pp. 241-248; r e p r i n t e d i n Work, No. 3, pp. 12-19 and i n The  D i s t a n c e s (New York: G r o v e \/ L o n d o n : E v e r g r e e n , C 1 9 6 0 ) , pp. 3 5 - 4 5 . ] 438 Jonathan W i l l i a m s . \"The Rough Day ( f o r RC\", C I V \/ n , No. 6 [1953 -54 ] , p. 15. R e p r i n t e d i n A m e n \/ h u z z a \/ s e l a h ( i 9 6 0 ) . 439 P h i l i p Whalen. \"Homage to Robert C r e e l e y \" , E v e r g r e e n Review, No. 2 (1957) , p. 115. Read on San F r a n c i s c o Poets (New York: E v e r g r e e n Records No. E U R - 1 , 1957) . R e p r i n t e d i n Helgon & \u2022 H o t s p o r r a r 1960 (57) and L i k e I Say, by P h i l i p Whalen (New Y o r k : Totem P r e s s \/ C o r i n t h Books, \u00b0 1 9 6 0 ) . 440 C i d Corman. \"For Bob C r e e l e y i n A l b u q u e r q u e \" , Combust ion , No. 8 (November 1958) , p. 8. 441 L a r r y E i g n e r . \"An I m i t a t i o n (a photograph of Robert C r e e l e y ) \" , Combust ion , No. 13 (May I960) , pp. 11-12. 442 Gael T u r n b u l l . \" I f He S ings I t : For Robert C r e e l e y \" , The  Review, No. 10 (January 1964) , p. 23. 443 A l l e n G i n s b e r g . \"To Robert C r e e l e y \" , The Minnesota Review, V, i v (October-December 1965) , 309. 187 8 STORY 444 Richa<rd G r o s s i n g e r . \"A S t o r y ( f o r Robert C r e e l e y , who once bought h i m s e l f a b o a t ) \" , I_o, No. 1 [ c a . 1964-65 ], pp. 24-26 . C IN DISSERTATIONS 445 Anthony L i n i c k . Comments, \"A H i s t o r y of the American L i t e r a r y A v a n t - G a r d e S i n c e World War I I \" . D o c t o r a l d i s s e r t a t i o n : U n i v e r s i t y of C a l i f o r n i a , Los A n g e l e s , 1965, p a s s i m . A b s t r a c t e d i n D i s s e r t a t i o n A b s t r a c t s , XXV, x i i (June 1965) , 7226A. 446 Maxine G a u t h i e r Combs. \"Robert C r e e l e y \" , pp. 96-133, \" C r i t i c a l Theory and S t y l e : Robert C r e e l e y \" , pp. 181-196, \"A Study of the B lack Mountain Poets\" . D o c t o r a l d i s s e r t a t i o n : The U n i v e r s i t y of Oregon, August 1967. A b s t r a c t e d i n D i s s e r t a t i o n A b s t r a c t s , X X V I I I , i x (March 1968) , 3666A. 447 F r a n k l a n d Wilmot Davey. \"The T h e o r i e s of Robert C r e e l e y \" , pp. 113-134, \"Robert C r e e l e y as Poet: A Man i n a Maze\", pp. 262-298, \"Theory and P r a c t i c e i n the B lack Mountain P o e t s : Duncan, O l s o n , and C r e e l e y \" . D o c t o r a l d i s s e r t a t i o n : U n i v e r s i t y of Southern C a l i f o r n i a , January 1968. A b s t r a c t e d i n D i s s e r t a t i o n A b s t r a c t s , XXIX, i ( J u l y 1968), 256A. 448 D o l o r e s E l i s e B r i e n . \"A Study of the Poetry of Robert C r e e l e y and Robert Duncan i n R e l a t i o n to the Emerson-Whitman T r a d i t i o n \" . D o c t o r a l d i s s e r t a t i o n : Brown U n i v e r s i t y , June 1969, pp. 1-65. \u2022 D AUDIO-VISUAL MATERIAL A few i tems s h o u l d be mentioned h e r e . A l e t t e r from C r e e l e y to Raymond Sous ter was read on the Canadian B r o a d c a s t i n g C o r p o r a t i o n program \"Modern Canadian Poetry\" i n the \" E x t e n s i o n \" TV s e r i e s (aud io r e c o r d i n g 670507-8, CBC Program A r c h i v e s ) . Jack N i c h o l s o n ' s movie D r i v e , He S a i d ( r e l e a s e d 1971), based on Jeremy L a m e r ' s n o v e l , took i t s t i t l e from C r e e l e y ' s poem \"I Know a Man\". A number of p r o -grams about C r e e l e y were b r o a d c a s t over German r a d i o s t a t i o n s \u2014 s e e 188 1205. See a l s o the A u d i o - V \/ i s u a l M a t e r i a l l i s t e d as 162, 166-168, 1024, 1026. Many of C r e e l e y ' s own books and w r i t i n g s i n p e r i o d i c a l s are accompanied by photographs of the a u t h o r . A d d i t i o n a l l y , a number of photographs of C r e e l e y appear wi th w r i t i n g s about h im. Those tha t are r e c o r d e d are mentioned i n the i n d i v i d u a l e n t r i e s . 1 FILM 449 Stan Brakhage . Two: C r e e l e y \/ M c C l u r e . 1965. C o l o r , s i l e n t , 16 mm., 5 minutes . A v a i l a b l e f o r r e n t a l through Canyon Cinema C o o p e r a t i v e , S a u s a l i t o , C a l i f o r n i a . Companion f i l m p o r t r a i t s of Robert C r e e l e y and M i c h a e l M c C l u r e . T h i s f i l m was reduced to 8 mm. and i n c l u d e d i n B r a k h a g e ' s XV\/ Song T r a i t s . 2 PORTRAIT 450 R . B . K i t a j . For Love (Robert C r e e l e y ) 1966. London: Mar lborough F i n e A r t , 1966. 70 c o p i e s , one shee t . S c r e e n p r i n t , some wi th red and green b o r d e r , o t h e r s wi th red and y e l l o w b o r d e r . Reproduced i n s m a l l on the f r o n t cover of Robert C r e e l e y Reads 1967 (28) . A p h o t o -graph by John C. Ward showing a d e t a i l of the p o r t r a i t was r e -produced i n C a t e r p i l l a r , No. 15\/16 ( A p r i l - J u l y 1971), p. 203. 30 of the 70 sheets were i n c l u d e d i n the f o l i o F i r s t S e r i e s Some  Poe t s , a set of ten s c r e e n p r i n t s by R . B . K i t a j (London: M a r l -borough F i n e A r t , 1966-69) . E DEDICATIONS 451 Douglas Woolf . Fade Out. New York: Grove , C 1959 . [\"To Robert C r e e l e y \" . ] 452 C h a r l e s O l s o n . The Maximus Poems. New York: J a r g o n \/ C o r i n t h , 1960. [\"For Robert C r e e l e y \u2014 t h e F i g u r e of O u t w a r d \" . ] 189 453 Jack S p i c e r . Homage to C r e e l e y . [San F r a n c i s c o : Summer I960?] [ D u p l i c a t e d , paper wrappers . ] ] A l s o i n The Heads of the Town up  to the Aether (San F r a n c i s c o : Auerhahn S o c i e t y , 1962) . 454 Ann Q u i n . T h r e e . New Y o r k : S c r i b n e r ' s \/ , C 1966 . [\"For Bobbie and B o b \" . ] I l l PUBLICATION HISTORY OF INDIVIDUAL WRITINGS BY ROBERT CREELEY Throughout t h i s s e c t i o n the f i r s t p u b l i c a t i o n of a work i s i n -d i c a t e d by one a s t e r i s k and the f i r s t c o l l e c t i o n by two. At t imes t h i s amounts to a c a l c u l a t e d guess . In the case of s i m u l t a n e o u s p u b l i c a t i o n or u n c e r t a i n d a t i n g two p u b l i c a t i o n s may be so marked. When the f i r s t p u b l i c a t i o n i s i n a book of c o l l e c t e d poems t h i s i s the f i r s t c o l l e c t i o n as w e l l . When a number of works were f i r s t p u b l i s h e d or c o l l e c t e d i n a s i n g l e book t h i s f a c t may be noted i n the i n t r o d u c t i o n to the s u b s e c t i o n . For the p r o s e , r e p r i n t i n g s and m a n u s c r i p t s are noted i n the e n t r i e s or i n t r o d u c t i o n s . A l l p u b l i c a -t i o n s i n p e r i o d i c a l s are noted f o r poems but the Index to Poems must be used to t r a c e m a n u s c r i p t s and r e p r i n t i n g s i n books and a n t h o l o -g i e s . A l l t r a n s l a t i o n s of both prose and p o e t r y are g i v e n i n the i n d i v i d u a l e n t r i e s . P l ease use the Index to P e r i o d i c a l s to t r a c e p u b l i c a t i o n s i n a p a r t i c u l a r j o u r n a l . A FICTIONAL PROSE 1 CHAPTER IN THE ISLAND 1963 (12) The nove l was p u b l i s h e d as The I s l a n d 1963 (12) , and r e p r i n t e d as The I s l a n d 1964 (14) and Die I n s e l 1965 (18) . MSS 1105 455 Chapter 4. German t r a n s l a t i o n , A k z e n t e , No. 5\/6 (November 1964) , pp. 403-410. 2 STORIES IN THE GOLD DIGGERS 1965 (19) Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n t a k e n , wi th one e x c e p t i o n (470) , from the t y p e s c r i p t s at Washington U n i v e r -s i t y (1106) and I n d i a n a U n i v e r s i t y (1098, 1099). C r o s s - r e f e r e n c e i s made to these and o ther m a n u s c r i p t s i n the e n t r i e s . Some of the s t o r i e s below were f i r s t p u b l i s h e d i n O r i g i n , No. 2, Summer 1951 (50) and New D i r e c t i o n s , No. 13, 1951 (51) . S t o r i e s 457-467 were f i r s t c o l l e c t e d i n The Gold D i g g e r s 1954 (4) and a number were r e p r i n t e d i n Short S t o r y 3 1960 (59) , The Moderns 1963 (64) , and New American S t o r y 1965 (72) . A l l of the f o l l o w i n g s t o r i e s were p u b l i s h e d i n M i s t e r Blue 1964 (16) the f i r s t expanded e d i t i o n of The Gold D i g g e r s ) , The G o l d . D i g g e r s 1965 (17) , The Gold D i g g e r s 1965 (19) , De goud- q r a v e r s 1966 (23) , and E l Amante 1967 (27) . \"The Book\" (471) was r e -p r i n t e d i n The New W r i t i n g i n the U . S . A . 1967 (80) . P l ease see 1106 f o r a d r a f t of C r e e l e y ' s on ly u n p u b l i s h e d s t o r y , \"The C o n v e r s a t i o n \" . 456 The U n s u c c e s s f u l Husband [ C a . 1948] . *The Kenyon Review, X I I I , 1 (Winter 1951), 64-71. R e p r i n t e d i n Short S t o r y 3 1960 (59) . * * M i s t e r Blue 1964 (16) . 457 Mr Blue [ F a l l 1950] . * 0 r i q i n , . No. 2 (Summer 1951) , pp. 111-117. R e p r i n t e d i n New D i r e c t i o n s , No. 13 (1951) , pp. 94-100. MSS 1096, 1098 458 A Death [September 27, 1953] , *The Gold D i g g e r s 1954 ( 4 ) . MS 1098 459 3 Fate T a l e s [ S p r i n g 1949-December 2, 1950] . * 0 r i g i n , No. 2 (Summer 1951), pp. 85-90. R e p r i n t e d i n New D i r e c t i o n s , No. 13 (1951) , pp. 107-112. MSS 1096, 1098 460 The Par ty [August 5, 1951] . * 0 r i Q i n , No. 7 (Autumn 1952), pp. 182-186. MSS 1096, 1098, 1099 461 The Lover [ S p r i n g 1950] . *New D i r e c t i o n s , No. 13 (1951) , pp. 102-107. German t r a n s l a t i o n by Ra iner G e r h a r d t , Fragmente , No. 2 ( [ L a t e ] 1952) , pp. 54-60. MSS 1098 \" 462 In the Summer [ C a . 1948] . ^ O r i g i n , No. 2 (Summer 1951) , pp. 63-68. R e p r i n t e d i n New D i r e c t i o n s , No. 13 (1951) , pp. 112-116. 463 The Seance [ C a . 1950] . *New D i r e c t i o n s , No. 13 (1951) , pp. 100-101. German t r a n s l a t i o n by Ra iner G e r h a r d t , Fragmente , No. 2 ( [ L a t e ] 1952), pp. 40-41 . MS 1098 464 The Grace [August 30, 1951] . * 0 r i g i n , No. 3 ( F a l l 1951), pp. 141-145. Japanese t r a n s l a t i o n by Katue K i t a s o n o , Vou, No. 36 [ C a . 1952] , pp. 17-19, R e p r i n t e d i n P r o s p e c t , No. 6 ( S p r i n g 1964), pp. 25-28. MSS 1096, 1098 465 Jardou [October 22-27 , 1951] . *New Mexico Q u a r t e r l y , X X I I , i i i (Autumn 1952), 282-285. MSS 1098, 1099 466 The Boat [June 2, 1953] . *The Kenyon Review, XV, i v (Autumn 1953) , 571-576. MS 1098 467 The Gold D i g g e r s [August 19, 1953]. *The Gold D i g g e r s 1954 ( 4 ) . MS 1098 > \u2022' ' 192 468 The S u i t o r [August 15, 1954] . * 0 r i q i n , No. 17 ( F a l l - W i n t e r 1955-56) , pp. 11-14. * * M i s t e r Blue 1964 (16) . R e p r i n t e d i n New American S t o r y 1965 (72) . MSS 1098, 1106 469 The M u s i c i a n s [June 15, 1954] . *New Mexico Q u a r t e r l y , XXI\/, i ( S p r i n g 1955), 88-92. R e p r i n t e d i n Short S t o r y 3 1960 (59) . * * M i s t e r Blue 1964 (16) . MS 1106 470 The Dress [ w r i t t e n 1954, a f t e r August 15 ] . * P o e t r y , T a o s , 1957 A n n u a l . R e p r i n t e d i n The S i d e w a l k , I , i i (August I960) , 19-22; P r i s m , I I I , i i (Winter 1962), 44-47; The Moderns 1963 (64) ; and New American S t o r y 1965 (72) . * * M i s t e r Blue 1964 (16) . MS 1089 471 The Book [November 4, I960 ] . ^ E v e r g r e e n Review, V, No. 20 (September-October 1961), 64-68. R e p r i n t e d i n The Moderns 1963 (64) . * * M i s t e r Blue 1964 (16) . MS 1106 B COLLECTED POEMS A l l known p u b l i c a t i o n s i n p e r i o d i c a l s are l i s t e d below, a long wi th f i r s t p u b l i c a t i o n s i n books and a n t h o l o g i e s and f i r s t c o l l e c -t i o n s i n books. P l ease use the Index to Poems to t r a c e a l l p u b l i -c a t i o n s and m a n u s c r i p t s of i n d i v i d u a l poems. 1 POEMS IN FOR LOVE: POEMS 1950-1960 1962 ( l l ) Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n t a k e n , f o r the most p a r t , from the t y p e s c r i p t s at I n d i a n a U n i v e r s i t y (1099-1101'). S e c t i o n One of For Love r e p r i n t s poems (wi th the e x c e p t i o n of \"Naughty Boy\", r e p r i n t e d from A Form of Women) c o l l e c t e d i n The Whip 1957 ( 8 ) , i t s e l f a s e l e c t i o n of poems from f i v e e a r l i e r books: Le  Fou 1952 ( 1 ) , The Kind Of Act Of 1953 ( 2 ) , The Immoral P r o p o s i t i o n 1953 ( 3 ) , A S n a r l i n g G a r l a n d 1954 ( 5 ) , A l l That Is L o v e l y i n Men 1955 ( 6 ) . S e c t i o n Two r e p r i n t s poems c o l l e c t e d i n A Form of Women 1959 ( 9 ) , some of which were r e p r i n t e d from I f You 1956 (7 ) ; f o u r poems were a l s o p r i n t e d i n Four Poems from \"A Form of Women\" 1959 (10) . A l l the poems i n S e c t i o n Three were c o l l e c t e d f o r the f i r s t t ime and four poems were p u b l i s h e d f o r the f i r s t t i m e . A l l of the poems i n For Love were r e p r i n t e d i n Poems 1950-1965 1966 (22) . A s e l e c t i o n of poems from For Love were r e p r i n t e d with t h e i r German t r a n s l a t i o n s i n G e d i c h t e 1967 (29) . One of the poems was r e p r i n t e d as [ I f You] 1968 (35) . S e c t i o n One: Poems 1950-1955 193 472 Hart Crane (\"He had been s t u t t e r i n g \" ) [ w r i t t e n by September 7, 1950] . * 0 r i q i n , No. 1 ( S p r i n g 1951), pp. 57-59. **Le Fou 1952 ( l ) . 473 Le Fou [ w r i t t e n by F e b r u a r y 12, 1951], * 0 r i q i n , No. 2 (Summer \" 1951) , p. 93. **Le Fou 1952 ( l ) . R e p r i n t e d i n A r t e s H i s p a n i c a s , I , i i i \/ i v ( W i n t e r - S p r i n g 1968), 223. 474 A Song [ C a . August 3, 1951] . * 0 r i g i n , No. 4 (Winter 1951-52) , p. 239. \" L e Fou 1952 ( l ) . R e p r i n t e d i n The Review, No. 10 (January 1964) , p. 8. 475 The C r i s i s [ E a r l y A p r i l 1952] . . *Le Fou 1952 ( l ) . F r e n c h t r a n s l a t i o n by P h i l i p p e Jones , Le J o u r n a l Pes Poetes , No. 10 (December 1953), p. 7- -see 256. 476 For Ra iner Gerhardt [ w r i t t e n by March 29, 1952] . * 0 r i g i n , No. 6 (Summer 1952), p. 118. **Le Fou 1952 ( l ) . R e p r i n t e d i n Work, No. 3 (Winter 1965-66) , p. 2. 477 The R i d d l e [ E a r l y A p r i l 1952] . *Le Fou 1952 ( l ) . Pub-l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952) , p . 27. 478 The R i t e s [ w r i t t e n by May 29, 1952] . *Le Fou 1952 ( l ) . ^ P u b l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952), p p . 26-27 . 479 The Rhyme [ E a r l y A p r i l 1952] . *Le Fou 1952 ( l ) . Pub-l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952), p. 25. Russ ian t r a n s l a t i o n , Amepnka, No. 127 (May 1967) , p . 31. 480 The Innocence [ E a r l y A p r i l 1952] . ^ O r i g i n , No. 6 (Summer 1952), p. 117. **Le Fou 1952 ( l ) . French t r a n s l a t i o n by P h i l i p p e Jones , Le J o u r n a l des Poetes , No. 10 (December 1953), p. 8 - -see 256. I t a l i a n t r a n s l a t i o n by Glauco Cambon, II V\/err i , NS, No. 1 (Feb r u a r y 1962), p. 75- -see 249. 481 The B a l l Game [ w r i t t e n by May 29, 1952] , * L e Fou 1952 ( l ) . *Pub-l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952), p. 24. 482 The C a r n i v a l . *The' Kind OF Act Of 1953 ( 2 ) . Japanese t r a n s l a -t i o n , U O J J , No. 38 [ C a . 1953] , p. 7. 194 483 A f t e r L o r c a [ w r i t t e n by September 9, 1952] . *Goad, I , i i i (Summer 1952) , 22. **The Kind Of Act Df 1953 ( 2 ) . R e p r i n t e d i n New Or lando Poetry A n t h o l o g y , I (1958) , 23-24 . 484 The Kind of Act of [ w r i t t e n by September 9, 1952] . *Nine  American Poets 1953 (54) . **The Kind Of Act Of 1953 ( 2 ) . I t a l i a n t r a n s l a t i o n b y Glauco Cambon, \" 11 V e r r i , NS , . No.. 1 ' ( F e b r u a r y 1952) , p. 76 \u2014see 249. 485 The D i s h o n e s t Mai lmen. *The Kind Of Act Of 1953 ( 2 ) . R e p r i n t -ed i n C o n t a c t , I I , i i i (May-August 1953) , 1. 486 The Crow. ^ O r i g i n , No. 9 ( S p r i n g 1953), p. 33. **The Kind Of  Act Of 1953 ( 2 ) . 487 The Immoral P r o p o s i t i o n [ w r i t t e n by J u l y 1, 1953] . * 0 r i g i n, No. 10 (Summer 1953) , p. 80. **The Immoral P r o p o s i t i o n 1953 ( 3 ) . R e p r i n t e d i n New Orlando Poetry A n t h o l o g y , I (1958) , 24. 488 For UJ.C.UJ. (\"The p l e a s u r e of the wit\") [ w r i t t e n by J u l y 1, 1953] * 0 r i g i n , No. 10 (Summer 1953), p. 75. **The Immoral  P r o p o s i t i o n 1953 ( 3 ) . R e p r i n t e d i n C I V \/ n , No. 4 [1953-54] , p. 4. 489 Apple Uppf le [ w r i t t e n by August 19, 1953] . *The Immoral  P r o p o s i t i o n 1953 (3 ) . 490 The O p e r a t i o n [ w r i t t e n by J u l y 1, 1953] . * 0 r i g i n , No. 10 (Summer 1953) , p. 79. **The Immoral P r o p o s i t i o n 1953 ( 3 ) . 491 Chanson [ w r i t t e n by August 28, 1954] . *A S n a r l i n g G a r l a n d 1954 ( 5 ) . 492 Don' t S i g n A n y t h i n g . *A S n a r l i n g G a r l a n d 1954 ( 5 ) . 493 The C o n s p i r a c y . *A S n a r l i n g G a r l a n d 1954 ( 5 ) . 494 I Know a Man. *A11 That Is L o v e l y i n Men 1955 ( 6 ) . R e p r i n t e d i n The Free L a n c e , I I I , i i (Second h a l f of 1955) , 30 and C u l t u r a l A f f a i r s , No. 3 (1968) , p. 18. Swedish t r a n s l a t i o n by Gunnar H a r d i n g , Ord Och B i l d , LXXVII (1968) , i i , 147. 495 The End [ w r i t t e n by J u l y 7, 1953] . *Golden Goose, S e r i e s 4, No. 7 ( A p r i l 1954) , p. 121 and C I V \/ n , No. 4 [1953-54] , p. 4. **A11 That Is L o v e l y i n Men 1955 ( 6 ) . 496 The Death of Venus . * C I V \/ n , No. 5 [1953-54] , p. 3 [ t i t l e d \"The B i r t h of V e n u s \" ] . **A11 That Is L o v e l y i n Men 1955 ( 6 ) . 497 The L o v e r . * C I V \/ n , No. 6 [1953-54] , p. 14. **A11 That Is 195 L o v e l y i n Men 1955 ( 6 ) . 498 A C o u n t e r p o i n t [ w r i t t e n by August 20, 1953] . * 0 r i q i n , No. 12 ( S p r i n g 1954) , p. 193. **A11 That Is L o v e l y i n Men 1955 ( 6 ) . I t a l i a n t r a n s l a t i o n by Glauco Cambon, II V \/ e r r i , NS, No. 1 ( F e b r u a r y 1962) , p. 75- - see 249. 499 Wait f o r Me. * B l a c k Mountain Review, No. 3 ( F a l l 1954) , p . 38. **A11 That Is L o v e l y i n Men 1955 ( 6 ) . 500 The B u s i n e s s . *A-11 That Is L o v e l y i n Men 1955 ( 6 ) . R e p r i n t e d i n The Free Lance , I I I , i i (Second h a l f of 1955), 31 and O r i g i n , No. 18 ( W i n t e r - S p r i n g 1956), p. 114. 501 The D i s a p p o i n t m e n t . * C I V \/ \/ n , No. 5 [1953-54] , p. 4. **A11 That  Is L o v e l y i n Men 1955 ( 6 ) . 502 The Warning . * 0 r i g i n , No. 13 (Summer 1954), p. 9. **A11 That  Is L o v e l y i n Men 1955 ( 6 ) . R e p r i n t e d i n Jabberwock, 1959, p. 49. I t a l i a n t r a n s l a t i o n by Glauco Cambon, II V \/ e r r i , NS, No. 1 ( F e b r u a r y 1962), p. 76- - see 249. T r a n s l a t i o n by Marten Brouwer, Q u a t r e b r a s , No. 5 ( J a n u a r y - F e b r u a r y 1963) , p. 6. Swedish t r a n s l a t i o n by Gunnar H a r d i n g , Ord Och B i l d , LXXV\/II (1968) , i i , 146. 503 A Form of A d a p t a t i o n [ E a r l y August 1954] . * C I V \/ n , No-. 7- [1954] , p. 23. \u2022**A11 That Is L o v e l y i n Men 1955 (6 ) . 504 Song (\"Were I myse l f more b l i t h e \" ) . * B l a c k Mountain Review, No. 1 ( S p r i n g 1954) , p. 18. **A11 That Is L o v e l y i n Men 1955 ( 6 ) . 505 Naughty Boy. * 0 r i g i n , No. 16 (Spring-Summer 1955) , p. 130. **A Form of Women 1959 ( 9 ) . 506 L i k e They Say. * C I V \/ \/ n , No. 6 [1953-54] , p. 14. **A11 That Is  L o v e l y i n Men 1955 ( 6 ) . 507 La Noche. * 0 r i g i n , No. 14 (Autumn 1954), p. .114. **A11  That Is L o v e l y i n Men 1955 ( 6 ) . [ T i t l e d \" E l Noche\" i n b o t h . ] 508 The Whip. * B l a c k Mountain Review, No. 3 ( F a l l 1954), p . 23. **A11 That Is L o v e l y i n Men 1955 ( 6 ) . 509 A l l That Is L o v e l y i n Men. *A11 That Is L o v e l y i n Men 1955 ( 6 ) . R e p r i n t e d i n O r i g i n , No. 18 ( W i n t e r - S p r i n g 1956), p. 114. 196 S e c t i o n Two: Poems 1956-1958 510 J u g g l e r ' s Thought [ w r i t t e n c a . A p r i l 1957] . *Weasure, No. 2 (Winter 1958), p. 11 [ t i t l e d \" J u g g l e r ' s T h o t \" ] . **A Form of  Women 1959 ( 9 ) . 511 A Form of Women. *81ack Mountain Review, No. 6 ( S p r i n g 1956) , pp. 222-223. **A Form of Women 1959 ( 9 ) . R e p r i n t e d i n The  Review, No. 10 (January 1964), pp. 8 -9 . 512 They Say. M e a s u r e , No. 2 (Winter 1958), p. 26. **A Form of  Women 1959 ( 9 ) . 513 The F r i e n d [June 10, 1958] , *Texas Q u a r t e r l y , I , i i i (Summer-Autumn 1958), 142. **A Form of Women 1959 ( 9 ) . R e p r i n t e d i n New York Times Book Review, F e b r u a r y 12, 1961, p. 2 - - s e e 261. Swedish t r a n s l a t i o n by Gunnar Harding' , Ord Och B i l d , LXXl\/II (1968) , i i , 147. 514 P lease [ w r i t t e n c a . 1956]. *A Form of Women 1959 ( 9 ) . Swedish t r a n s l a t i o n by Gunnar H a r d i n g , Ord Och B i l d , LXXVII (1968) , i i , 147. 515 The Three L a d i e s [January 4, 1958] . ^ E v e r g r e e n Review, I I , v (Summer 1958), 25. R e p r i n t e d i n Poetry P i l o t , January 1, 1959, p. 11. **A Form of Women 1959 ( 9 ) . T r a n s l a t i o n by Marten Brouwer, Q u a t r e b r a s , No. 5 ( J a n u a r y - F e b r u a r y 1963), p. 6. 516 Oh No. * I f You 1956 ( 7 ) . 517 Goodbye. * B l a c k Mountain Review, No. 6 ( S p r i n g 1956), p. 163. **A Form of Women 1959 ( 9 ) . 518 The I n t e r v i e w [ A p r i l 9, 1957], *Neon: Supplement to Now, August 1958. **A Form of Women 1959 ( 9 ) . Swedish t r a n s l a t i o n by Gunnar H a r d i n g , Ord Och B i l d , LXXVII (1968) , i i , 146. 519 A Wicker B a s k e t . * B l a c k Mountain Review, No. 5 (S ummer 1955) , pp. 191-192. **A Form of Women 1959 ( 9 ) . R e p r i n t e d i n New  D e p a r t u r e s , No. 4 (1962) , p. 58. 520 The Bed [ A p r i l 24, 1959] . *A Form df Women 1959 ( 9 ) . 521 Jus t F r i e n d s [ w r i t t e n c a . Summer 1956] . ^Measure, No. 2 197 (Winter 1958) , p. 51. **A Form of Women 1959 (9 ) . Swedish t r a n s l a t i o n by Gunnar H a r d i n g , Ord Och B i l d , LXXVII (1968) , i i , 146. 522 The Wind [March 21, 1957] , *Neon: Supplement to Now, August 1958. **A Form of Women 1959 ( 9 ) . 523 A i r : \"Cat B i r d S i n g i n g \" [ w r i t t e n by October 31, 1955] . * B l a c k  Mountain Review, No. 6 ( S p r i n g 1956), p. 164 . \u2022**If You 1956 ( 7 ) . 524 The Hero [March 26, 1959] , *A Form of Women 1959 ( 9 ) . 525 The Way [June 6, 1958], *Hearse , No. 5 [ c a . 1959 ] , R e p r i n t e d i n Big T a b l e , I , i i i (Autumn-Winter 1959)., 82. **A Form of Women 1959 (9 ) . R e p r i n t e d i n C r i t i c a l Q u a r t e r l y Poetry Supplement , No. 2 [ c a . I 9 6 0 ] , p. 18 and Underdog, No. 6 (1965) , p. 5. 526 The T r a v e l l e r [October 26, 1958] . * I n l a n d , I I I , i i (Autumn 1959), 11. * * A Form of Women 1959 ( 9 ) . 527 A M a r r i a g e [ w r i t t e n 1955] . * 0 r i g i n , No. 19 (Summer 1956), p. 63 and I f You 1956 ( 7 ) . Swedish t r a n s l a t i o n by Gunnar H a r d i n g , Ord Och B i l d , LXXVII (1968) , i i , 146. 528 She Went to Stay [ w r i t t e n c a . A p r i l 1957] , *Measure , No. 2 (Winter 1958), p. 27 and Evergreen Review, I I , v i [ l a t e 1958'], 39. **A Form of Women 1959 ( 9 ) . 529 A F o l k Song. *A Form of Women 1959 ( 9 ) . 530 B a l l a d of the D e s p a i r i n g Husband [October 31, 1955] . *Ark II  Moby I , 1956, pp. 30-31. **A Form of Women 1959 ( 9 ) . 531 Damon & P y t h i a s . *The Naked E a r , No. 5 [ c a . 1959] , p. 6. **A Form of Women 1959 ( 9 ) . 532 I f You [ A p r i l 1956] . * I f You 1956 ( 7 ) . 533 The T u n n e l . ^Measure, No. 2 (Winter 1958), p. 50. **A Form of  Women 1959 ( 9 ) . 534 The S a i n t s . *The Naked E a r , No. 5 [ c a . 1959] , p. 2. **A Form  of Women 1959 ( 9 ) . 535 The Names [October 25, 1958] . * P o e t r y , XCIV ( A p r i l 1959), 13. 198 * * A Form of Women 1959 (9 ) . 536 A G i f t of Great Va lue [ A p r i l 29, 1958] . * P o e t r y , XCIV ( A p r i l 1959) , 12. * * A Form of Women 1959 (9 ) , 537 My Love [June 6, 1958] . * P o e t r y , XCIV ( A p r i l 1959), 13. **A Form of Women 1959 ( 9 ) . 538 Saturday A f t e r n o o n [March 22, 1958] . *Yuqen, No. 4 (1959) , p. 21. **A Form of Women 1959 ( 9 ) . R e p r i n t e d i n Underdog, No. 6 (1965) , p. 5. 539 The I n v o i c e . * H e a r s e , No. 1 (1957) . **A Form of Women 1959 (9 ) . 540 Somewhere. *A Form of Women 1959 ( 9 ) . 541 New Y e a r ' s [January 2, 1958] . *Yugen, No. 4 (1959) , p. 21. **A Form of Women 1959 (9 ) . 542 Song (\"God g i v e you pardon from g r a t i t u d e \" ) [ w r i t t e n c a . January 5, 1956] , *A Form of Women 1959 (9 ) . 543 Lady B i r d . * I f You 1956 ( 7 ) . 544 For a F r i e n d (\"Who remembers him a l s o \" ) [November 19, 1956] . *A Form of Women 1959 ( 9 ) . 545 E n t r e Nous. * H e a r s e , No. 1 (1957) [ t i t l e d \" H o p e l e s s \" ] . **A_ Form of Women 1959 ( 9 ) . 546 S i n g Song. * P o e t r y , XC (August 1957), 293. **A Form of Women 1959 ( 9 ) . 547 And. * I f You 1956 (7 ) . 548 Heroes [March 22, 1958] . *A Form of Women 1959 ( 9 ) . 549 Going to Bed [March 22, 1958] . * P o e t r y , XCIV ( A p r i l 1959) , 14. **A Form of Women 1959 (9 ) . 550 The Flower (\"I t h i n k I grow t e n s i o n s \" ) . *Texas Q u a r t e r l y , I , i i i (Summer-Autumn 1958), 204. **A Form of Women 1959 ( 9 ) . 551 The L e t t e r . * I f You 1956 (7) [ t i t l e d \"For A n n \" ] . 552 The P l a c e [January 2, 1958] . ^ I n l a n d , I I , i v (Sp r i n g 1959) , 2. **A Form of Women 1959 ( 9 ) . 199 553 The S o u v e n i r [March 21, 1957] . *A Form of Women 1959 ( 9 ) . 554 For the New Y e a r . * I f You 1956 ( 7 ) . Rep r i n t e d i n C o l l e a g u e , I I I , i v (December 1966) , 10. 555 The Door (\"It i s hard going to the door\") [January 1, 1959] . * P o e t r y , XCIV ( A p r i l 1959), 17-18. **A Form of Women 1959 ( 9 ) . 556 The H i l l [June 6, 1958] . * P o e t r y , XCIV ( A p r i l 1959) , 11. **_A Form of Women 1959 (9 ) . R e p r i n t e d i n Jabberwock, 1959, p. 49; New York Times Book Review, March 12, 1961, p. 2, and Underdog, No. 8 (1966) , p. 11. S e c t i o n T h r e e : Poems 1959-1960 557 The Awakening. * M i g r a n t , No. 2 (September 1959), p. 1. R e p r i n t e d i n B ig T a b l e , I , i v ( S p r i n g I960) , 66-67. 558 Kore [October 25, 1959] . *The N a t i o n , CXC ( F e b r u a r y 27, I960) , 194. Repr in t ed i n M i g r a n t , No. 5 (March I960) , pp. 15-16 and New D i r e c t i o n s , No. 17 (1961) , p. 341. 559 The Rain [September 15, 1959] . *The N a t i o n , CLXXXIX (November 14, 1959), 363. R e p r i n t e d i n M i g r a n t , No. 5 (March I960) , p. 14 and New D i r e c t i o n s , No. 17 (1961) , p. 342. 560 The Woman (\"I c a l l e d her a c r o s s the room\") [August 21, 1959] . * P o e t r y , XCVI (May I960) , 74. 561 M i d n i g h t [September 6, 1959] . * F o r Love 1962 ( l l ) . 562 The K i d [September 15, 1959] . *Nomad, No. 5\/6 ( W i n t e r - S p r i n g 1960) , p. 14. 563 Lady i n B lack [ J a n u a r y 8, I 9 6 0 ] , * C h e l s e a , No. 7 (May I960) , p. 66. 564 The P lan [November 8, 1959] . *New D e p a r t u r e s , No. 2\/3 ( i 9 6 0 ) , p. 81. 565 The Joke [September 24, 1959] . *Yugen, No. 6 ( i 9 6 0 ) , p. 29. 566 The Song [September 25, 1959] . * I n s c a p e , No. 3 (Winter I960) , p. 4. 567 The B i r d [September 30, 1959] . ^ M i g r a n t , No. 5 (March I960) , 2 00 p. 17. R e p r i n t e d i n O u t s i d e r , I , i ( F a l l 1961), 45 and T a r a s q u e , No. 6. I t a l i a n t r a n s l a t i o n by Dac ia M a r a i n i , C a r t e  S e q r e t e , No. 3 (September 1967) , p. 72. 568 Ye l low [June 29, I 9 6 0 ] . ^ E l i z a b e t h , No. 1 (March 1961), p. 5. 569 The C r a c k s . * P o e t r y , XCWI (May I960) , 77-78. 570 J a c k ' s B lues [August 21, 1959], * P o e t r y , XCVI (May I960) , 75. 571 Out of S i g h t [ J a n u a r y 23, I 9 6 0 ] . * P o e t r y , XCVI (May I960 ) , 76. 572 A Token [ J a n u a r y 30, I960] . *White Dove Review, I I , v (Summer 1960) . 573 The Man [October 28, I 9 6 0 ] . * F o r Love 1962 ( l l ) . R e p r i n t e d i n Poetry P i l o t , May 1966, p. 7. 574 The Memory [August 26, 1959] . * B i q T a b l e , I , i v ( S p r i n g I960) , 69. 575 To And [November 20, 1959] . * F o l i o Magaz ine , XXV, i i ( S p r i n g 1960) , 5. 576 A Wish [October 24, I 9 6 0 ] . ^ N a t i o n a l Review, X ( F e b r u a r y 11, 1961) , 83. 577 Song (\"What I took i n my hand\") [October 20, 1959] . * P o e t r y , XCVI (May I960) , 80. 578 The S ign Board [August 31, I 9 6 0 ] . *West Wind, C h r i s t m a s 1961. R e p r i n t e d wi th a S p a n i s h t r a n s l a t i o n by Margaret R a n d a l l and S e r g i o Mondragon, E l Corno Emplumado, No. 2 ( A p r i l 1962) , pp. 14-15. 579 Not Now [September 6, 1959] . * F o r Love 1962 ( l l ) . 580 The Time [August 31, I960 ] , ^ O u t b u r s t , No. 1 (1961) . 581 Song (\"Those r i v e r s run from t h a t land\") [November 18, I 9 6 0 ] . * Inscape , No. 6 (Winter 1960-61) , p. 1. 582 The Rescue [August 3, I 9 6 0 ] . * P o e t r y , XCVIII (May 1961), 76. 583 The Paradox [August 21, 1959] . *Quagqa, I , i i (May I960) , 3. 584 The End of the Day [January 23, I 9 6 0 ] . ^ O u t s i d e r , I , i ( F a l l 1961), 45. 201 585 The Women [September 30, 1959] . *IY]jqrant, No. 5 (March I960 ) , p. 16. R e p r i n t e d i n Q u a q q a , \u2022 I , i i (May I960) , 3. 586 For Fear [December 31, 1959] , * P o e t r y , XCVI (May I960 ) , 78. 587 The G i f t [November 9, 1959] . * F o l i o Magaz ine , XXV\/, i i ( S p r i n g \u2022 I960) , 5. R e p r i n t e d i n The Review, No. 10 (January 1964), p. 10. 588 The House [December 21, 195.9]. * T r o b a r , No. 2 (1961) , p. 21. 589 Young Woman. * F o r Love 1962 ( l l ) . 590 The Pool [June 26, I 9 6 0 ] . * H i p Pocket Poems, No. 3 (December 1960) . 591 A i r : \"The Love of a Woman\" [December 21, 1959] . * P o e t r y , XCVI (May 1960) , 75-76. 592 M i n d ' s Heart [November 2, 1959] . ^ M i g r a n t , No. 5 (March I960) , p. 16. R e p r i n t e d i n O u t s i d e r , I , i ( F a l l 1961) , 45 and Under- dog , No. 8 (1966) , p. 11. 593 The Name [November 5, I960] . ^ N a t i o n a l Review, X ( F e b r u a r y 11, 1961) , 83. 594 The F i r s t Time (\"We are g i v e n a chance\") [October 21, 1959] . * P o e t r y , XCVI (May I960) , 7 3 - 7 4 . ' 595 The F i g u r e s [September 23, I 9 6 0 ] . ^ N a t i o n a l Review, X ( F e b r u a r y 11, 1961) , 83. 596 The Rose [December 6, 1959] . * P o e t r y , XCVI (May I960) , 71-73. R e p r i n t e d i n O u t b u r s t , No. 1 (1961) . R e p r i n t e d wi th a F r e n c h t r a n s l a t i o n , T e l Q u e l , No. 20 (Winter 1965), pp. 81-83 . 597 The Eye (\"Moon \/ and c louds\") [January 8, I960] . * C h e l s e a , No. 7 (May I960) , p. 67. R e p r i n t e d i n The Peak, X V I , x i i (November 20, 1 9 7 0 ) , 4 . 598 Love Comes Q u i e t l y [December 20, 1959] . * T r o b a r , No. 2 (1961) , p. 21 and O u t b u r s t , No. 1 (1961) . 599 A f t e r Mal larme [January 8, I 9 6 0 ] . * C h e l s e a , No. 7 (May I960) , p. 66. 202 600 The People [November 9, 1959] . *lYliqrant, No. 5 (March I960) , pp. 14-15 and New D e p a r t u r e s , No. 2\/3 ( i 9 6 0 ) , p. 81. R e p r i n t e d i n C h e l s e a , No. 8 (October I960) , p. 71. 601 The Wife [September 30, 1959] . * B i q T a b l e , I , i v ( S p r i n g 1960), 68. 602 The Snow [December 29, 1958] . * B i q T a b l e , I , i v ( S p r i n g I960) , 70. 603 F i r e [September 2, I960 ] . ^Between W o r l d s , I , i i ( S p r i n g -Summer 1961) , 219. 604 For F r i e n d s h i p [September 2, I 9 6 0 ] . *Between W o r l d s , I , i i (Spring-Summer 1961) , 219. 605 The Ges ture [March 16, I960] . * P o e t r y , XCl\/I (May I960) , 79. 606 For Love [September 22, I 9 6 0 ] . * P o e t r y , XCVIII (May 1961), 76-78. 2 POEMS IN WORDS 1967 (26) Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n t a k e n , f o r the most p a r t , from the t y p e s c r i p t s at I n d i a n a U n i v e r -s i t y and Washington U n i v e r s i t y - - s e e 1101 and 1110. The f i r s t f i f t y - t h r e e poems were r e p r i n t e d from S e c t i o n Four of Poems 1950- 1965 1966 (22) , which c o l l e c t e d poems from p e r i o d i c a l s and the f o l l o w i n g books: P i s tance 1964 (13) , Two Po ems 1964 (15) , Words 1965 (20) , About Women 1966 (21) . Most of the poems t h e r e a f t e r were r e p r i n t e d d i r e c t l y from p e r i o d i c a l s and Words 1965, For J o e l 1966 (24) , and A S i g h t 1967 (25); t en poems were p u b l i s h e d f o r the f i r s t t i m e . With the e x c e p t i o n of the e i g h t poems c o l l e c t e d i n Words 1965, the f i r s t f i f t y - t h r e e poems were f i r s t c o l l e c t e d i n Poems 1950-1965 and the poems t h e r e a f t e r were f i r s t c o l l e c t e d i n Words 1967. F i f t e e n poems i n Words 1967 were r e p r i n t e d from Poems\u2022 1950-1965 i n Robert C r e e l e y Reads 1967 (28) , and a s e l e c t i o n of poems from Words 1967 were r e p r i n t e d with t h e i r German t r a n s l a t i o n s i n Ged ichte 1967 (29) . The l a s t t h i r t y - t w o poems of Words 1967 were r e p r i n t e d i n The F i n g e r : Poems 1966-1969 1970 (44) . 203 S e c t i o n One 607 The Rhythm [March 18, 1961] . * P o e t r y , IC (March 1962) , 373-374. P o l i s h t r a n s l a t i o n by A l e k s a n d e r J a n t a , Tematy, I I I , x i i (Autumn 1964), 15. 608 The Rocks [Summer 1961] . * C h o i c e , No. 2 (1962) , p. 13. 609 Water (\"The s u n ' s \/ sky in\") [ F e b r u a r y 24, 1961] . * A r b o r . No. 4 (1961) , p. 6. R e p r i n t e d i n O r i g i n , S e r i e s 2, No. 6 ( J u l y 1962) , p. 22 and G r a n t a , L X V I I I , No. 1234 (March 7, 1964), 18. 610 The Mountains i n the Deser t [August 24, 1961], * P a r i s Review, V I I I , No. 29 ( W i n t e r - S p r i n g 1963), 166. 611 W a i t i n g [ w r i t t e n 1961]. * P a r i s Review, V I I I , No. 29 ( W i n t e r -S p r i n g 1963), 167. 612 The I n v i t a t i o n [August 16, 1962] . * P o e t r y , CI ( O c t o b e r -November 1962) , 23-24. P o l i s h t r a n s l a t i o n by A l e k s a n d e r J a n t a , Tematy, I I I , x i i (Autumn 1964), 16. 613 The T u r n . ^Burn ing Deck, No. 3 ( F a l l 1963), pp. 114-115. 614 For W.C.W. (\"The rhyme i s a f t e r \/ a l l \" ) [August 16, 1962] . * B e l o i t Poetry J o u r n a l , XIV, i ( F a l l 1963), 39. 615 Song (\"The g r i t \/ of t h i n g s \" ) [October 5, 1962]. *The Ya le  L i t e r a r y Magaz ine , CXXXI, i i i \/ i v ( A p r i l 1963), 43. R e p r i n t e d i n G r a n t a , L X V I I I , No. 1234 (March 7, 1964), 18. 616 The F i r e [October 22, 1962]. * 0 r i g i n , S e r i e s 2, No. 10 ( J u l y 1963), p. 48. R e p r i n t e d i n G r i s t , No. 8 (1966) , p. 7. 617 For No C l e a r Reason [December 29, 1962] . * G r a n t a , L X V I I I , No. 1230 (November 9, 1963), 7. 618 The Messengers [ e a r l y October 1963] . *The N a t i o n , CXCVII (December 7, 1963) , 404. 619 For L e s l i e [same day as \"The Messengers\"] . *The N a t i o n , CXCVII (December 14, 1963), 420. 620 I [November 3, 1963] . *12 Poets and One P a i n t e r 1964 (71 ) . I t a l i a n t r a n s l a t i o n by D a c i a M a r a i n i , C a r t e S e q r e t e , No. 3 (September 1967), pp. 71-72. 204 621 Something [November 15, 1963] . *Fuck You: A Magazine of the  A r t s , No. 5, VII (September 1964). R e p r i n t e d i n Underdog, No. 7 (1965) , p. 5 and G r i s t , No. 8 (1966) , p. 7. 622 Walk ing [November 16, 1963] . * P o e t r y , CIV (June 1964), 147. 623 The Language [November 16, 1963] . * P o e t r y , CIV (June 1964) , 148. 624 The Window ( \" P o s i t i o n i s where you \/ put i t \" ) [November 17, 1963] . * P o e t r y , CIV (June 1964), 146. 625 The Chance [November 20, 1963] . * P o e t r y , CIV (June 1964) , 145. 626 H e l l o [November 20, 1963] . * P o e t r y , CIV (June 1964), 143. 627 Q u i c k - S t e p [November 20, 1963] . * P o e t r y , CIV (June 1964) , 143. 628 V a r i a t i o n s [November 20, 1963] . * P o e t r y , CIV (June 1964) , 144-145. 629 There Is [November 26, 1963] . * N i a g a r a F r o n t i e r Review, Summer 1964, p. 24. R e p r i n t e d i n My Own Mag, November 1, 1964. 630 The Measure [November 26, 1963] . *Poems 1950-1965 1966 (22) . R e p r i n t e d i n C o y o t e ' s J o u r n a l , No. 8 (1967) , p. 79. 631 The Woman (\"I have never \/ c l e a r l y g i v e n to you\") [December 14, 1963] . * P o e t r y , CIV (June 1964) , 133-135. R e p r i n t e d i n Agenda, IV, i i i \/ i v (Summer 1966) , 5-6 and About Women 1966 (21) . 632 The P a t t e r n [December 14, 1963] . * P o e t r y , CIV (June 1964) , 136. 633 The Mechanic [December 14, 1963] . * P o e t r y , CIV (June 1964), 137. P o l i s h t r a n s l a t i o n by A l e k s a n d e r J a n t a , Tematy, I I I , x i i (Autumn 1 9 6 4 ) , 1 7 . 634 W a l l s [December 14, 1963] . * P o e t r y , CIV (June 1964) , 137. P o l i s h t r a n s l a t i o n by A l e k s a n d e r J a n t a , Tematy, I I I , x i i (Autumn 1964) , 17. 635 \"I Keep to M y s e l f Such Measures \" [December 14, 1963] . * P o e t r y , CIV ( J u n e . 1 9 6 4 ) , 137-138. P o l i s h t r a n s l a t i o n by A l e k s a n d e r J a n t a , Tema t y , I I I , x i i (Autumn 1964) , 18. 205 636 The Dream (\"5uch p e r f e c t i o n \/ of dream would\") [December 14, 1963] . * P o e t r y , CIV\/ (June 1964), 138-142. R e p r i n t e d wi th a S p a n i s h t r a n s l a t i o n by [Yladela E z c u r r a and Eduardo C o s t a , A i r o n , Mo. 9 (October 1965), pp. 4 -9 . 637 One Way [ J a n u a r y 15, 1964] . * W i l d Dog, I , v i ( F e b r u a r y 1964) , 3. R e p r i n t e d i n G r a n t a , L X V I I I , No. 1234 (March 7, 1964) , 18. 638 Some A f t e r n o o n \u2022 [ J a n u a r y 15, 1964] . Poems 1950-1965 1966 (22 ) . 639 Anger [ J a n u a r y 15, 1964] , *E1 Corno Emplumado, No. 11 ( J u l y 1964) , pp. 34-39. R e p r i n t e d i n P a r i s Review, IX, No. 33 ( W i n t e r - S p r i n g 1965), 54-59 and About Women 1966 (21) . 640 D i s t a n c e [March 28, 1964] . F i r s t p u b l i s h e d as D i s t a n c e 1964 (13 ) . R e p r i n t e d i n About Women 1966 (21) . S e c t i o n Two 641 Some P l a c e [May 5, 1964] . *Two Poems 1964 (15) . R e p r i n t e d i n E n c o u n t e r , XXIV\/, i v ( A p r i l 1965), 14. 642 Song (\"I wou ldn ' t \/ embarrass you\") . * P o e t r y , CV\/II ( F e b r u a r y 1966) , 325. 643 Song (\"What do you \/ want, love\") [May 5, 1964] . *Two Poems 1964 (15) . R e p r i n t e d i n E n c o u n t e r , XXIV\/, i i i (March 1965) , 35 and G r i s t , No. 8 (1966) , p. 8. 644 For Helen [August 19, 1964] . ^Magaz ine , No. 1 (1964) , p. 9. R e p r i n t e d i n A Nosegay i n B l a c k , I , i (Autumn 1966) , 9. 645 A Night Sky [August 19, 1964] , * P o e t r y , CV\/I ( A p r i l 1965), 29. 646 The Answer [August 19, 1964] . * P o e t r y , CVI ( A p r i l 1965) , 26. 647 Dimensions [August 30, 1964] . * P o e t r y , CV\/I ( A p r i l 1965) , 27-28. R e p r i n t e d wi th a Span i sh t r a n s l a t i o n by Madela E z c u r r a and Eduardo C o s t a , A i r o n , No. 9 (October 1965), pp. 9-12. 648 A P lace [November 24, 1964] . *The Lugano Review, I , i (1965) , 52. R e p r i n t e d i n A Nosegay i n B l a q k , I , i (Autumn 1966) , 10. 649 Some Echoes [November 24, 1964] . * F u b b a l o , I , i i (Summer 1965) , 5. 206 650 Fancy [November 24, 1964] . *Poems 1950-1965 1966 (22) . Re-p r i n t e d i n C o y o t e ' s J o u r n a l , No. 8 (1967) , p. 80. 651 The World [November 24, 1964] . * P o e t r y , CVI ( A p r i l 1965) , 30-31 . 652 Going [November 24, 1964] . *The Lugano Review, I , i (1965) , 52. 653 The C i t y [November 24, 1964] . *The Lugano Review, I , i (1965) , 53. R e p r i n t e d i n A Nosegay i n B l a c k , I , i (Autumn 1966), 11. 654 Words [ J a n u a r y 21, 1965] . * R e s u s c i t a t o r , Nc. 4 (may 1965) , pp. 23-24. **Words 1965 (20) . R e p r i n t e d i n C o y o t e ' s J o u r n a l , No. 8 (1967) , p. 77. 655 A Reason [ J a n u a r y 21, 1965] . * P o e t r y , CU11 ( F e b r u a r y 1966) , 319. **Words 1965 (20) . 656 The Shame [ J a n u a r y 21, 1965] . * P o e t r y , CVII ( F e b r u a r y 1966) , 318. **Words 1965 (20) . 657 The S ta tue [ A p r i l 12, 1965] . * P o e t r y , CVII ( F e b r u a r y 1966) , 322. **Words 1965 (20) . 658 The Window (\"There w i l l be no s imple\") [ A p r i l 22, 1965] . * P o e t r y , CVII ( F e b r u a r y 1966), 320. **Words 1965 (20 ) . 659 To Bobbie [ A p r i l 22, 1965] . * P o e t r y , CVII ( F e b r u a r y 1966) , 321-322. **Words 1965 (20) . 660 They (\"I wondered what had \/ happened\") [May 30, 1965] . * A , Nosegay i n B l a c k , I , i (Autumn 1966), 12. 661 A Method [May 30, 1965] . *A Nosegay i n B l a c k , I , i (Autumn 1966), 13. 662 A S i g h t [June 2, 1965] . *Wj ld Dog, No. 17 (June 1965), pp. 50-51 . P u b l i s h e d s e p a r a t e l y as A S i g h t 1967 (25) . 663 P i e c e s (\"I d i d n ' t \/ want \/ to hur t you\") [June 2, 1965] , *A Nosegay i n B l a c k , I , i (Autumn 1966), 18. 664 The C i r c l e [June 2, 1965] . * P o e t r y , CVII ( F e b r u a r y 1966) , 324. 665 The Hole [June 2, 1965] . ^ E v e r g r e e n Review, X, No. 39 ( F e b r u a r y 1966) , 70. ' ' 207 666 A Prayer [June 2, 1965] . * P o e t r y , C u l l ( F e b r u a r y 1966) , 323. **Words 1965 (20) . 667 The Flower (\"Remember the way you \/ hunched up\") [June 2, 1965] . * P o e t r y , CVII ( F e b r u a r y 1966) , 323. **Words 1965 (2D) . 668 Same [ J u l y 1, 1965] . *A Nosegay i n B l a c k , I , i (Autumn 1966) , 669 There [ J u l y 1, 1965] . *Words 1967 (26 ) , 670 Joy [ J u l y 1, 1965] . *A Nosegay i n B l a c k , I , i (Aut umn 1966) , 15. R e p r i n t e d i n The Peak, XV\/1 , x i i (November 20, 1970), 12. 671 A P i c t u r e [ J a n u a r y 22, 1966] . *A Nosegay i n B l a c k , I , i (Aut umn 1966) , 16. 672 A P i e c e [ J a n u a r y 22, 1966] . *Words 1967 (26) , 673 The Box [ J a n u a r y 23, 1966] . *A Nosegay i n B l a c k , I , i (Autumn 1966), 17. 674 Water music [ J a n u a r y 24, 1966] . *Words 1967 (26) . 675 They (\"They were t r y i n g to c a t c h up\") [January 23, 1966] . *_A Nosegay i n B l a c k , I , i (Autumn 1966), 19. 676 Was [January 23, 1966] . *Words 1967 (26) . 677 The Farm [ F e b r u a r y 7, 1966] . ^ C o y o t e ' s J o u r n a l , No. 8 (1967) , p. 78. R e p r i n t e d i n The Peak, X V I , x i i (November 20, 1970) , 12. 678 I n d i a n s [ F e b r u a r y 7, 1966] . *Words 1967 (26 ) . 679 Enough [May 4, 1966] . * P o e t r y , CIX ( F e b r u a r y 1967), 287-293. 680 Here (\"What \/ has happened\") [may 4, 1966] . * P b e t r y , CIX ( F e b r u a r y 1967) , 295. 681 I n t e r v a l s [may 5, 1966] . * P o e t r y , CIX (February 1967), 297. 682 Water (\"Water d r i p s \" ) [may 5, 1966] . * P o e t r y , CIX ( F e b r u a r y 1967), 295. 683 The Eye (\"The eye I look out of\") [may 5, 1966] . * P o e t r y , CIX ( F e b r u a r y 1967) , 294. R e p r i n t e d i n The Peak, X V I , x i i (November 20, 1970) , 4. 208 684 Of Years [May 13, 1966] . * P o e t r y , CIX ( F e b r u a r y 1967), 296. 685 Song (\"How s i m p l y \/ f o r another\") [May 13, 1966] . * P o e t r y , CIX ( F e b r u a r y 1967), 298. 686 For J o e l [May 16, 1966] . F i r s t p u b l i s h e d as For J o e l 1966 (24 ) . 687 A B i r t h d a y [ J u l y 9, 1966] . * C h o i c e , No. 5 (1967) , p. 110. 688 Dancing [August 2, 1966]. *Words 1967 (26) . R e p r i n t e d i n The Genre of S i l e n c e , June 1967, p. 10. 689 A T a l l y [September 19, 1966] . *Words 1967 (26 ) . R e p r i n t e d i n The Genre of S i l e n c e , June 1967, p. 11. 690 \"Oh My L o v e . . . \" [August 2, 1966] . *Words 1967 (26) . R e p r i n t e d i n The Genre of S i l e n c e , June 1967, p. 12. 691 Fragments [September 19, 1966] . *Words 1967 (26) . R e p r i n t e d i n The Genre of S i l e n c e , June 1967, p. 10. 3 POEMS IN PIECES 1969 (39) Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n taken from the m a n u s c r i p t s and t y p e s c r i p t s at Washington U n i v e r s i t y __see 1113-15. A number of the f i r s t poems i n P i e c e s 1969 were r e p r i n t e d from P i e c e s 1968 (see l i s t of t i t l e s i n 37) . The l a s t f o u r t e e n poems were r e p r i n t e d from M a z a t l a n ; Sea 1969 (38) . The c o n t e n t s of the f o l l o w i n g books were a l s o r e p r i n t e d : The F i n g e r 1968 (30) , 5 Numbers 1968 (31) , The Boy 1968 (33) , Numbers 1968 (34) . Un le s s o t h e r w i s e s p e c i f i e d , the poems were f i r s t c o l l e c t e d i n P i e c e s 1969. Unless the f i r s t p u b l i c a t i o n i s mentioned i t may be assumed tha t the poem (or p a r t ) was p u b l i s h e d f o r the f i r s t t ime i n P i e c e s 1969. A l l the poems i n P jeces 1969 were l a t e r r e p r i n t e d i n The F i n g e r : Poems 1966-1969 1970 (44) . 692 As r e a l as t h i n k i n g [ F e b r u a r y 10, 1966-]. * P a r t 3, P i e c e s 1968 (37 ) . 6 9 3 . F l o w e r s [January 3, 1967] . *0ut of the War Shadow 1967 (85) and A r t i s t s and W r i t e r s P r o t e s t 1967 (87) . 209 694 The F a m i l y [March 28, 1967] . * P a r t 1, Mother , No. 8 (May 1967) , p. 104. 695 K a t e ' s [March 28, 1967] . ^Stamped I n d e l i b l y 1967 (88) . Re-p r i n t e d i n Anonym, No. 1 [ A p r i l 1968]', p. 26. 696 For You [May 24, 1967] . 697 A S t e p . *Free Poems\/Among F r i e n d s , I , i i i (Summer 1967) , 1. 698 Having t o - [October 14, 1967] . * P a r t s 3 and 4, P i e c e s 1968 (37) . 699 The car [October 15, 1967]. * P a r t 1, The L i t t l e Mag, I , i [1968] , 35 and Dimension ( f e a t u r e magazine of The Spec trum) , F e b r u a r y 16, 1968, p. 15. [ i n these magazines , p a r t 1 was p r i n t e d as p a r t of a sequence t i t l e d \"Pieces\" which i n c l u d e d p a r t s 1 and 2 of 702, p a r t s 3 and 5 of 703, and p a r t 4 of 706. T h i s was the f i r s t p u b l i c a t i o n f o r them a l l . ] * * P a r t 1, M p a r t s 3 and 4, P i e c e s 1968 (37) . 700 P i e c e s of cake [October 16, 1967] . * P a r t 1, P i e c e s 1968 (37) . 701 The F i n g e r [October 16-17, 1967] . F i r s t p u b l i s h e d as The F i n g e r 1968 (30) . R e p r i n t e d i n P a r i s Review, X I , No. 44 ( F a l l 1968), 188-192, w i th a m a n u s c r i p t page, p. 154, r e p r o d u c e d from the m a n u s c r i p t at Washington U n i v e r s i t y (1113). 702 One t h i n g done [October 18, 1968] . * P a r t s 1 and 2 (see 699) . * * P a r t s 1 and 2, * p a r t 3, P i e c e s 1968 (37) . 703 I cannot see you [October 31, 1967] . * P a r t s 3 and 5 (see 699) . * P a r t s 1 and 2, * * p a r t 5, P i e c e s 1968 (37) . 704 Gemini [November 7, 1967] . * P a r t 4, The Z o d i a c 1968 (90) [ t i t l e d \" G e m i n i \" ] . 705 In s e c r e t [November 7, 1967] . * P a r t 1, P i e c e s 1968 (37) . 706 \"Time\" i s some s o r t .of h i n d s i g h t [November 18, 1967] . * P a r t 4 (see 699) . * P a r t 2, * * p a r t 4, P i e c e s 1968 (37) . 707 \"Fol low the D r i n k i n g G o u r d . . . \" [November 19, 1967] . *New  Mexico Q u a r t e r l y , XXXVII , i v (Winter 1968), 395-396. * * P i e c e s 1968 (37) . 210 708 The Moon [ J a n u a r y 16, 1968] . *The Minnesota Review, W i l l (1963) , i i , 142. 709 Numbers [ J a n u a r y 15-19, 1968] , [ T h i s i s a sequence of ten poems: - -0ne- -Two (\"When they were \/ f i r s t made\") - -Three (\"They come now\")- -Four (\"This number f o r me\" ) \u2014 F i v e \u2014 S i x \u2014Seven \u2014 E i g h t - - N i n e - - Z e r o . 1 The f i r s t f i v e poems were f i r s t p u b l i s h e d i n 5 Numbers 1968 (31) and the whole sequence was p u b l i s h e d \u2014 the l a s t f i v e poems for the f i r s t t i m e \u2014 i n Numbers 1968 (34) . 710 The bedpost [ J a n u a r y 16, 1968] . * P a r t 1, Cafe S o l o , No. 1 (Summer 1969) , p. 124 [ t i t l e d \" 'The B e d p o s t . . . ' \" ] . * P a r t 2, Anonym, No. 1 [ A p r i l 1968] , p. 26 [ t i t l e d \"Wants\"] . 711 One \/ the Sun [January 17, 1968] . * P a r t 4, Anonym, No. 1 [ A p r i l 1968] , p. 26 [ t i t l e d \"Song\" (\"Back where t h i n g s were \/ s w e e t e r \" ) ] . * P a r t 1, P i e c e s 1968 (37) . 712 Names [ J a n u a r y 17, 1968] . * P o e t r y , CXII (August 1968) , 336. 713 Can f e e l i t [ c a . January 19-21, 1968] . 714 Chicago [January 21, 1968] . * P a r t 1, P o e t r y , CXII (August 1968) , 331. 715 P l e a s u r e s of p a i n [ c a . January 21-24, 1968] . * P i e c e s 1968 (37) . 716 NYC [ c a . January 21-24, 1968] . 717 The F r i e n d s [ J a n u a r y 24, 1968] . * P a r t s 1, 4, 6, and 7, P o e t r y , CXII (August 1968), 332. [These p a r t s were p r i n t e d as p a r t of a sequence t i t l e d \"The F r i e n d s \" which i n c l u d e d p a r t s 2 and 3 . of 7 2 1 . ] * P a r t 2, P i e c e s 1968 (37) . 718 D i c t i o n [January 25, 1968] . 719 America [January 25, 1968] . * P o e t r y , CXII (August 1968) , 334. R e p r i n t e d s e p a r a t e l y as America 1970 (47A) . 720 C i t i z e n [ J a n u a r y 25, 1968] , * P i e c e s 1968 (37) . 721 P l a c e [ J a n u a r y 25, 1968]. * P a r t 1, P o e t r y , CXII (August 1968) , 333 [ t i t l e d \" P l a c e \" ] . * P a r t s 2 and 3, P o e t r y , CXII (August 1968) , 332-3 \u2014see 717. 722 The P u r i t a n Ethos [January 25, 1968] . * P a r t s 1 to 3, P o e t r y , 211 CXII (August 1968) , 333, 335 [ t i t l e d , r e s p e c t i v e l y , \"The P u r i t a n E t h o s \" , \" I ' l l Be Here\", \"Mr. W a r n e r \" ] . 723 The P r o v i n c e [January 25, 1968] . * P o e t r y , CXII (August 1968) , 336. 724 Canada [ J a n u a r y 25, 1968] . 725 Happy l o v e [ F e b r u a r y 18, 1968] . * P i e c e s 1968 (37) [ t i t l e d \"One Day\"] . 726 The Boy [ F e b r u a r y 18, 1968] . *Anonym, No. 1 [ A p r i l 1968] , p. 26. P u b l i s h e d s e p a r a t e l y as The Boy 1968 (33) . 727 3 i n 1 [ F e b r u a r y 24, 1968] . 728 They (\"What c o u l d \/ they g i v e me\") [March 11, 1968] . 729 Echo [March 11, 1968] . 730 So t i r e d [March 13, 1968] . * P i e c e s 1968 (37) . [ T h i s poem was p r i n t e d a s . p a r t of a sequence t i t l e d \"Time\" (\"So t i r e d \" ) which i n c l u d e d \"Why say\" and p a r t s 1 to 3 of 7 3 3 . ] 731 Why say [March 23, 1968], * P a r t 1, New Mexico Q u a r t e r l y , X X X V I I I , i i (Summer 1968), 149. [Th i s p a r t was p r i n t e d as p a r t of a sequence t i t l e d \"Pieces\" which i n c l u d e d p a r t 4 of 732, p a r t 3 of 734, and p a r t 2 of 745. T h i s was the f i r s t p u b l i c a t i o n for them a l l . ] * * P a r t 1, * p a r t 2, P i e c e s 1968 (37)\u2014see 730. 732 Forms' passage [March 24, 1968] . * P a r t 4 ( see 731) . 733 Days l a t e r [ A p r i l 10, 1968] . * P a r t s 1 to 3, P i e c e s 1968 (37) - - s ee 730. 734 No c l o u d s [ A p r i l 16, 1968] . * P a r t s 1 and 2, H i e r o p h a n t , No. 1 (January 1969) , p. 3 [ t i t l e d \"Two P i e c e s \" ] . * P a r t 3 ( see 731) . 735 Echo Of [ A p r i l 21, 1968] . 736 The [ A p r i l 21, 1968] . 737 S i t u a t i o n of f e e l i n g [ A p r i l 29, 1968] . 738 Again (\"One more day gone\") [ A p r i l ' 2 9 , 1968], 739 The which i t was [May 8, 1968] . 212 740 In the house of [May 13, 1968] . 741 P . S . [May 15, 1968] 742 Ice Cream [May 30, 1968] . * P a r t s 3 to 5, Noose, No. 6 [1968] [ t i t l e d , r e s p e c t i v e l y , \"How\", \"Fate s\" , \"Song\" (\"Oh so c u t e \" ) ] . 743 What do you t h i n k [May 31, 1968] . * P a r t 1, Noose, No. 6 [1968] [ t i t l e d \"Roads\"] . * P a r t s 2 and 4, L i l l a b u l e r o , No. 6 ( F a l l - W i n t e r 1968) , pp. 2-3 [ t i t l e d \" P i e c e s \" ] . 744 Re C - [May 31, 1968] . 745 L i k e a man committed [June 3, 1968] . * P a r t 2 (see 731) . * P a r t s 5 to 8 and 11, Q u i x o t e , IV\/, i i i [ c a . 1968] , 4-8 [ t i t l e d , r e s p e c t i v e l y , \"Rhyme\", \" L i n e s \" , \"You W a n t . . . \" , ' \" I n P i e c e s . . . ' \" , \"Age\"] . 746 The News. 747 Sme l l of gum wrappers [June 6, 1968] . 748 Where we are [June 7, 1968] . * J e o p a r d y , V ( S p r i n g 1969) , 108. 749 The day comes and goes [ J u l y 30, 1968] . 750 The f i r s t t ime (\"The f i r s t \/ t ime i s \/ the f i r s t \/ t ime\") [August 6, 1968] . 751 M a z a t l a n : Sea [August 11, 1968] . *The E n g l i s h Record , XIX, i i i ( F e b r u a r y 1969) , 91. * * M a z a t l a n : Sea 1969 (38) . 752 K i d s wa lk ing [August 12, 1968] . * M a z a t l a n : Sea 1969 (38 ) . 753 B - [August 12, 1968] . * M a z a t l a n : Sea 1969 (38) . 754 A g h - [August 12, 1968] . ^Presence , No. 4 ( S p r i n g 1969), p. 6 [ t i t l e d \"From P i e c e s \" ] . * * M a z a t l a n : Sea 1969 (38) . 755 The k i c k of the foo t [August 12, 1968] . * M a z a t l a n : Sea 1969 (38) . 756 Four (\"Before I d ie\") [August 12, 1968] . * M a z a t l a n : Sea 1969 (38) . 757 How tha t f a c t [August 12, 1968] . *Mundus A r t i u m , I I , i (Winter 1968), 28-29 . [ T h i s poem was p r i n t e d as p a r t of a sequence t i t l e d \"From P i e c e s \" which i n c l u d e d \"Here\" ( 7 5 8 ) . ] * * M a z a t l a n : Sea 1969 (38) . 213 758 Here (\"Past t i m e \u2014 t h o s e \/ memories\") [August 13, 1968] . *|Ylundus A r t i u m (see 757) . **IY)azatlan: Sea 1969 (38 ) . 759 Some n i g h t s [August 13, 1968] . * M a z a t l a n : Sea 1969 (38) . 760 You see the j e r k e d movement [August 14, 1968] , * M a z a t l a n : Sea 1969 (38) . 761 Cou ld w r i t e of f u c k i n g - [August 14, 1968] . * M a z a t l a n : Sea 1969 (38) . 762 L i s t l e s s [August 15, 1968] . * E s p e j o , Winter 1968, pp. 30-31 [ t i t l e d \"From P i e c e s \" ] . * * M a z a t l a n : Sea 1969 (38) . 763 Such s t r a n g e n e s s of mind [August 16, 1968] . * M a z a t l a n ; Sea 1969 (38) . 764 When he and I [August 16, 1968] . * P a r t 1, The Lampeter Muse, I I I , i i i ( F a l l 1968), 3 [ t i t l e d \"The Woman\" (\"When he and I \" ) ] . * * P a r t 1, * p a r t 2, M a z a t l a n : Sea 1969 (38) . 4 POEMS IN THE CHARM: EARLY AND UNCOLLECTED POEMS 1969 (41) Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n t a k e n , f or the most p a r t , from the t y p e s c r i p t s at I n d i a n a U n i v e r -s i t y and Simon E r a s e r U n i v e r s i t y - - s e e 1094, 1095, 1099-1101. Most of the poems were r e p r i n t e d from The Charm 1967 (32) which r e p r i n t e d poems from p e r i o d i c a l s and f i v e e a r l y books: Le Fou 1952 ( l ) , The Kind Of Act Of 1953 (2 ) , The Immoral P r o p o s i t i o n 1953 (3 ) , A S n a r l i n g G a r l a n d 1954 (5 ) , A l l That Is L o v e l y i n Men 1955 ( 6 ) . S i x t e en poems i n The Charm 1969 were r e p r i n t e d from D i v i s i o n s 1968 (36) which c o l l e c t e d poems missed from The Charm 1967 from p e r i o d i c a l s , The Kind Of Act Of, and A Form of Women 1959 ( 9 ) . \" N a t h a n i e l Hawthorne\" was r e p r i n t e d d i r e c t l y from A_ Form of Women i n The Charm 1969, and four poems were c o l l e c t e d f o r the f i r s t t ime from p e r i o d i c a l s ; \"The Ear\" was p u b l i s h e d f o r the f i r s t t i m e . Unless o t h e r w i s e s p e c i f i e d , the poems were f i r s t c o l l e c t e d i n The Charm 1967. 765 R e t u r n . *Wake, No. 5 ( S p r i n g 1946) , p. 86. 766 Greendoon's Song. *Wak e , No. 6 ( S p r i n g 1948), p. 17. 214 767 Poem f o r D . H . Lawrence . *Wake, No. 6 ( S p r i n g 1948), pp. 16-17. 768 Poem f o r B e g i n n e r s . *Wake, No. 7 (1948) , pp. 84-85 . 769 Sanine to Leda . *Wake, No. 7 (1948) , p. 85. 770 The Late Comer. * A c c e n t , IX, i v (Summer 1949), 221. 771 G a n g s t e r . * A c c e n t , X, i (Autumn 1949) , 28. 772 Poem f o r Bob L e e d . *Gryphon, No. 2 ( F a l l 1950) , p . I B . * * D i v i s i o n s 1968 (36) . 773 From P i c o & the Women: A L i f e . *Wake, No. 9 (1950) , pp. 88-89. 774 To the One i n the Gray C o a t . *Wake, No. 9 (1950) , p. 87. 775 The E p i c Expands [ w r i t t e n by June 16, 1950] . *Golden Goose, S e r i e s 3, No. 1 ( [ C a . J u l y ] 1951), p. 3. **Le Fou 1952 ( l ) . 776 Love (\"The t h i n g comes \/ of i t s e l f \" ) . * 0 r i q i n , No. 2 (Summer 1951), p. 68. * * D i v i s i o n s 1968 (36) . 777 S t i l l L i f e o r . *Wake, No. 9 (1950) , p. 88. R e p r i n t e d i n The  Window, No. 3 [1951] , p. 6. **Le Fou 1952 ( l ) . 778 Helas [ w r i t t e n by F e b r u a r y 12, 1951] , * 0 r i q i n , No. 2 (Summer 1951), p. 91. **Le Fou 1952 ( l ) . 779 G u i d o , v o r r e i che tu e Lapo ed i o [ w r i t t e n by January 9, 1951] . *Golden Goose, S e r i e s 3, No. 1 ( [ C a . J u l y ] 1951), p. 5. **Le Fou 1952 (1 ) . 780 Hart Crane (\"Answer: how o l d \/ i s the wind\") [ w r i t t e n by F e b r u a r y 12, 1951] . * 0 r i q i n , No. 2 (Summer 1951) , p. 100. **Le Fou 1952 ( 1 ) . 781 L i t t l e t o n , N . H . [ w r i t t e n by September 7, 1950] . *Golden Goose ; S e r i e s 3, No. 1 ( [ C a . J u l y ] 1951), p. 4. **Le Fou 1952 ( l ) . 782 Canzone [ w r i t t e n by August 3, 1951] . *Le Fou 1952 ( l ) . 783 Love (\"Not enough. The q u e s t i o n : what i s \" ) [ w r i t t e n by August 3, 1951] , * 0 r i g i n , No. 3 ( F a l l 1951), p. 167. **Le Fou 1952 ( l ) . 784 The F e s t i v a l . *Goad, I , i i i (Summer 1952) , 22. **The Charm 1969 (41) . 785 The S u r f : An Elegy . [ w r i t t e n by May 29, 1952] . *Le Fou 1952 ( l ) . ^ P u b l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952) , p. 21. 215 786 The Drums [ w r i t t e n by May 29, 1952] . *Le Fou 1952 ( l ) . *Pub-l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952), p. 23. 787 The Sea [ w r i t t e n by August 1, 1951] . *Le Fou 1952 ( l ) . -^Pub-l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952), p. 23. 788 The Cantos [ E a r l y A p r i l 1952] . *Le Fou 1952 ( l ) . ' Pub-l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952), p. 22. 789 Something f o r E a s t e r [ E a r l y A p r i l 1.952]. *Le Fou 1952 ( 1 ) . * P u b l i s h e d s i m u l t a n e o u s l y i n Golden Goose, S e r i e s 4, No. 5 (October 1952) , p. 25. 790 D i v i s i o n s [ w r i t t e n by August 3, 1951]. *Four Winds , I , i (Summer 1952) , 36-37 and Vou, No. 37 [ C a . 1953], p. 12. \" D i v i s i o n s 1968 (36) . 791 The Q u e s t i o n [ w r i t t e n by September 9, 1952] . * 0 r i q i n, No. 7 (Autumn 1952), p. 181. 792 A Poem [ w r i t t e n by June 9, 1953] . * 0 r i q i n , No. 10 (Summer 1953) , p . 76. 793 The M i r r o r . * 0 r i g i - n , No. 9 ( S p r i n g 1953), p. 32. **The Charm 1969 (41) . 794 A V a r i a t i o n . ^ C o n t a c t , I I , i i i (May-August 1953), 1. **The  Charm 1969 (41) . 795 Two Ways of Look ing i n a M i r r o r [ w r i t t e n by J u l y 1, 1953] . ^ O r i g i n , No. 10 (Summer 1953), p . 77. R e p r i n t e d i n C i V \/ n , No. 4 [1953-54] , p. 4. [ T i t l e d \"Song\" (\"At midn ight the world\") i n b o t h . ] **A11 That Is L o v e l y i n Men 1955 ( 6 ) . R e p r i n t e d i n The Free Lance , I I I , i i (Second h a l f of 1955) , 30. 796 M e d a l l i o n [ w r i t t e n by J u l y 1, 1953] . * 0 r i g i n , No. 10 (Summer 1953), p. 78. 797 Old Song. * B l a c k Mountain Review, No. 4 (Winter 1954) , p. 17. 798 In an Act of P i t y . ^ O r i g i n , No. 9 \u2022 (Sp r i n g 1953), p. 32 [ t i t l e d \"In an Act of P i e t y \" ] . **The Kind Of Act Of 1953 (2 ) . 799 The Charm. *The Kind Of Act Of 1953 ( 2 ) . R e p r i n t e d i n C o n t a c t , No. 9 ( J a n u a r y - A p r i l 1954) , p. 17. 216 BOO The B i r d , the B i r d , the B i r d . *The Kind Df Act Qf 1953 ( 2 ) . 801 A B a l l a d . *The K i n d Df Act Of 1953 ( 2 ) . 802 For an A n n i v e r s a r y . *The K i n d Of Act Of 1953 ( 2 ) . R e p r i n t e d i n Golden Goose, S e r i e s 4, No. 6 (September 1953), p. 45. Japanese t r a n s l a t i o n , l \/ou , No. 38 [ c a . 19531, p. 7. 803 Los G u i t a r i s t a s . *The Kind Of Act Of 1953 ( 2 ) . 804 Thank You. *The K i n d Of Act Of 1953 ( 2 ) . 805 I Am Held by My Fear of Death . * Q r i g i n , No. 9 ( S p r i n g 1953) , p. 33. **The Kind Of Act Df 1953 ( 2 ) . 806 The Method of A c t u a l i t y . *The Kind Df Act Of 1953 ( 2 ) . 807 The P e d i g r e e . *The Kind Of Act Df 1953 ( 2 ) . R e p r i n t e d i n Golden Goose, S e r i e s 4, No. 6 (September 1953) , p. 45. 808 It Is at Times [ w r i t t e n by March 29, 1952] . * F e r r i n i & Others 1953 ( 5 3 ) . 809 The Europeans . * F e r r i n i & Others 1953 (53) . 810 The P e n i t e n t [ w r i t t e n by March 29, 1952] . * F e r r i n i & Others 1953 (53) . 811 E r o s [ w r i t t e n by March 29, 1952] . * F e r r i n i & Others 1953 (53 ) . **A11 That Is L o v e l y i n Men 1955 (6 ) . 812 For M a r t i n . *The Kind Of Act Of 1953 ( 2 ) . Japanese t r a n s l a -t i o n , Vou, No. 38 [ca ' i 1953] , p j 7 , 813 The Trap [ w r i t t e n by August 19, 1953] . *The Immoral P r o p o s i t i o n 1953 ( 3 ) . R e p r i n t e d i n Uou, No. 40 (March 1954) , p. 22. 814 The R e v e l a t i o n [ w r i t t e n by August 19, 1953] . *The Immoral  P r o p o s i t i o n 1953 ( 3 ) . 815 An Obscene Poem [ w r i t t e n by August 19, 1953] , *The Immoral  P r o p o s i t i on 1953 ( 3 ) . 816 Chas ing the B i r d [ w r i t t e n by August 19, 1953] . *The Immoral  P r o p o s i t i o n 1953 ( 3 ) . R e p r i n t e d i n C I V \/ n , No. 4 [ 1953 -54 ] , p. 4. 817 Hi There ! *A S n a r l i n g G a r l a n d 1954 ( 5 ) . R e p r i n t e d s e p a r a t e l y as Hi There ! 1965 (16A) and i n Free Poems\/Among F r i e n d s , I , i i i (Summer 1967) , 1. 818 Sopa. *A S n a r l i n g G a r l a n d 1954 ( 5 ) . 819 The Changes. ^ C o n t a c t , No. 9 ( J a n u a r y - A p r i l 1954) , p. 17. **A11 That Is L o v e l y i n Men 1955 (6)~. R e p r i n t e d i n The Free  Lance , I I I , i i (Second h a l f of 1955), 31. 820 For I r v i n g . * C I V \/ n , No. 5 [1953-54] , p. 4. **A11 That Is  L o v e l y i n Men 1955 (6 ) . 821 Broken Back B l u e s . * B l a c k Mountain Reviem, No. 3 ( F a l l 1954) , p. 51. **A11 That Is L o v e l y i n Men 1955 ( 6 ) . 822 The Happy Man. * B l a c k Mountain Review, No. 2 (Summer 1954) , p. 25. **The Charm 1969 (41) . 823 For Somebody's M a r r i a g e . * C o n t a c t , No. 10 (March 1954) , p. 19. \" A l l That Is L o v e l y i n Men 1955 ( 6 ) . 824 Stomping wi th C a t u l l u s [ w r i t t e n by August 26, 1954] . *A11  That Is L o v e l y i n Men 1955 ( 6 ) . 825 The Apo logy . * 0 r i q i n , No. 14 (Autumn 1954), p.' 114. **A11  That Is L o v e l y i n Men 1955 ( 6 ) . 826 For a F r i e n d (\"You are the one man\"). ^ C o n t a c t , No. 10 (March 1954) , p. 24. \" A l l That Is L o v e l y i n Men 1955 ( 6 ) . 827 The T o t a l P a r t s of a W o r l d . *A11 That Is L o v e l y i n Men 1955 ( 6 ) . 828 A l b a . * B l a c k Mountain Review, No. 1 ( S p r i n g 1954) , p. 47. **A11 That Is L o v e l y i n Men 1955 (6 ) . 829 An I r i s h m a n ' s Lament on the A p p r o a c h i n g W i n t e r . *The Free  Lance , I I I , i i (Second h a l f of 1955) , 31. * * D i v i s i o n s 1968 (36) . 830 Now Then. * 0 r i q i n, No. 16 (Spring-Summer 1955) , p. 130. \" D i v i s i o n s 1968 (36) . 831 T r e e s [ w r i t t e n by F e b r u a r y . 4 , 1955] . ^ O r i g i n , No. 16 ( S p r i n g -Summer 1955), p. 131. \" D i v i s i o n s 1968 (36) . 832 \"To Work Is to C o n t r a d i c t C o n t r a d i c t i o n s , to Do V i o l e n c e to N a t u r a l V i o l e n c e . . . \" *Pegasus , IV, i (1955) . \" D i v i s i o n s 196.8 (36) . 833 Not A g a i n . * B e l o i t Poetry J o u r n a l , V I , i ( F a l l 1955) , 30. 834 The P r e j u d i c e . * 0 r i g i n , No. 18 ( W i n t e r - S p r i n g 1956) , p. 113. 218 835 \"You've T r i e d the W o r l d , T r y Jesus\" . * 0 r i q i n , No. 18 ( W i n t e r -S p r i n g 1955) , p. 113. 836 For a Screaming Lady . * H e a r s e , No. 2 (1958) , p. 10. 837 The P i c n i c . *The Naked E a r , No. 1 [ c a . 1959] . * * D i v i s i o n s 1968 (36) . 838 The Menu [ J u l y 1956] . *The Naked E a r , No. 1 [ c a . 1959] , * * A Form of Women 1959 (9 ) . 839 In a Boat Shed. *The Naked E a r , No. 1 [ c a . 1959] . * * D i v i s i o n s 1968 (36) . 840 Swinging down C e n t r a l . *The Naked E a r , No. 4 [ c a . 1959] , * * D i v i s i o n s 1968 (36) . 841 Je v o i s dans l e hasard tous l e s b i e n s que j ' e s p e r e . *The Naked  E a r , No. 4 [ c a . 1959] . **A Form of Women 1959 ( 9 ) . 842 The H e r d . * P o e t r y , XCIV ( A p r i l 1959), 11. 843 The Door (\"Thump. Thump.\") [November 8, 1958] . * P o e t r y , XCIV ( A p r i l 1959), 12. 844 N a t h a n i e l Hawthorne [ w r i t t e n c a . A p r i l 1957] , *A Form of  Women 1959 ( 9 ) . 845 The Dream (\"A l a k e i n the head\") . *The G a l l e y S a i l Review, No. 5 (Winter 1959-60) . * * D i v i s i o n s 1968 (36 ) . 846 The Hands. * C h e l s e a , No. 7 (May I960) , p. 65. * * D i v i s i o n s 1968 (36) . 847 The Passage . *Nomad, No. 5\/6 ( W i n t e r - S p r i n g I960) , p. 14. 848 What's f o r D i n n e r . *Yuqen, No. 6 ( i 9 6 0 ) , p. 31. 849 The A n i m a l . *Poems from the F l o a t i n g W o r l d , II ( i 9 6 0 ) , 5 -6 . ^ D i v i s i o n s 1968 (36) . 850 The Sentence . * M i c a , No. 3 (June 1961), p. 30. 851 The E a r . *The Charm 1969 ( 4 i ) . 852 The S k e l e t o n . *With a German t r a n s l a t i o n by Renate G e r h a r d t , R h i n o z e r o s , No. 1 (1961) . R e p r i n t e d i n The F l o a t i n g B e a r , No. 25 [ c a . A p r i l 1962] , p. 7. 219 853 The L i o n and the Dog. ^Burn ing Deck. No. 1 ( F a l l 1962), pp. 10-11. 854 The S t o r y . * 0 r i g i n , S e r i e s 2, No. 10 ( J u l y 1963), p. 48. 855 Two Times (\"It takes so long to look down\") [November 15, 1963] . *Fuck You: ;A Magazine of the A r t s , No. 5, VII (Sep-tember 1964). 856 A Fragment . * P o o r . O l d . T i r e d . Horse . No. 7 [1963-64] , p. 1. C NEW POEMS Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n taken from C r e e l e y ' s l a t e s t m a n u s c r i p t (which i n c l u d e s a d d i t i o n a l poems), now i n the Washington U n i v e r s i t y c o l l e c t i o n . T h i s m a n u s c r i p t has j u s t been p u b l i s h e d as the second p a r t of A Day Book (New Y o r k : S c r i b n e r ' s , [ C a . December] 1972). A l l k n o w n p u b l i c a t i o n s i n p e r i o d i c a l s are l i s t e d below, a l o n g wi th s e p a r a t e p u b l i c a t i o n s of i n d i v i d u a l poems. 1 NEW POEMS IN THE FINGER: POEMS 1966-1969 1970 (44) These are the poems i n the l a s t s e c t i o n , \"In London\", of The  F i nger 1970. A l l the poems except \"A W a l l \" ( r e p r i n t e d from A W a l l 1969, 39A) were newly c o l l e c t e d from m a n u s c r i p t s and p e r i o d i c a l s . Unles s o t h e r w i s e s p e c i f i e d , they were p u b l i s h e d for the f i r s t t i m e . The poem-seguence \"In London\" was p u b l i s h e d s i m u l t a n e o u s l y as In  London 1970 (43) . 857 That day [October 4, 1968]. * T u s i t a l a , Winter 1969, p. 3 [ t i t l e d ' \" T h a t Day. . . ' \" ] . 858 W e ' l l d i e [October 9, 1968] . 859 S ign [October 9, 1968] . * P a r t s 1-3, 5 -7 , Best & Company. 1969. 860 L o v e - ( \" L o v e \u2014 l e t i t \" ) . 861 B o b b i e ' s Law [December 17, 1968] . 862 The Edge [December 18, 1968] , * P a r t 1, P a r i s Review, X I I , No. 47 (Summer 1969), 23 [ t i t l e d \"The Edge\"] . 863 L i t t l e Time\u2014And P lace [January 27, 1969] . 864 The s o - c a l l e d poet [ F e b r u a r y 15, 1969] , *New Mexico Q u a r t e r l y , \u2022 \u2022 220 X X X V I I I , i v \/ X X X I X , i ( W i n t e r - S p r i n g 1969), 137. In E n g l i s h and i n a S p a n i s h t r a n s l a t i o n by E n r i q u e P e z z o n i , S u r , No. 322\/ 323 ( J a n u a r y - A p r i l 1970) . [ T i t l e d \"For a V a l e n t i n e \" i n b o t h . ] 865 Dead i n the y e a r - [ A p r i l 8, 1969] . 866 \"F ine c h i n a [ A p r i l 23, 1969] . 867 In the [May 14, 1969] . 868 R i p p l i n g e y e l i d s [June 12, 1969] . 869 The T e a c h i n g s [June 13, 1969] . 870 D r e a r y , heavy [June 13, 1969] . *The Western Gate [No. 1, May 1970]. 871 K i k i [June 13, 1969] . 872 A W a l l [June 15, 1969] . P a r t 1, f i r s t p u b l i s h e d as A W a l l 1969 (39A) . * P a r t 2, The Western Gate [No. 1, May 1970] . 873 The men i n my l i f e [June 21, 1969] . 874 N e i t h e r sadness nor d e s i r e [ J u l y 6, 1969], * P a r t s 1-3, The  Western Gate [No. 1, May 1970] . 875 In London [ J u l y 13-14, 1969]. *Stony Brook , No. 3\/4 (1969) , pp. 348-353. P u b l i s h e d s e p a r a t e l y as In London 1970 (43 ) . 876 There i s a space [ J u l y ' 2 0 , 1969] . 877 So B ig [August 2, 1969] . * P o e t r y , CXV (November 1969) , 113. 878 Sweet, sad [August 3, 1969]. ^ P a r t i s a n Review, XXXVI, i i i [ c a . Summer 1969] , 508-509 [ t i t l e d \"Three\" (\"Sweet, sad \/ n o s t a l g i a \u2014 \" ) ] . 879 I d o n ' t hate you l a t e l y [August 6, 1969] . 880 Way [August 6, 1969] . 881 Looking for a way [August 8, 1969] . 882 Soup [August 24, 1969] . *Iowa S t a t e L i q u o r S t o r e , I I , i (Winter 1970), 42. [ T h i s poem was p r i n t e d as p a r t of a s e -quence t i t l e d \"Soup\" which i n c l u d e d p a r t 1 of 883 and poem 884. T h i s was the f i r s t p u b l i c a t i o n for them a l l . ] 883 Two Times (\"Image \/ doc teur\") [August 24, 1969] . * P a r t 1 (see 882) . 884 I want to fuck you [August 26, 1969], *Iowa S t a t e L i q u o r  S t o r e (see 882) . 221 2 POEMS IN S T . MARTIN'S 1971 (49) A l l the poems were newly c o l l e c t e d from m a n u s c r i p t s , p e r i o d -i c a l s , and M a r y ' s Fancy 1970 (42 ) . Unless o t h e r w i s e s p e c i f i e d , they were p u b l i s h e d for the f i r s t t ime . 885 \"Do You T h i n k . . . \" [January 12, 1970] . *Mari . juana Review, I , No. 5 ( J a n u a r y - J u n e 1970). 886 M a r y ' s Fancy [January 13, 1970] . F i r s t p u b l i s h e d as M a r y ' s  Fancy 1970 (42) . 887 Two (\"Hold ing \/ f o r one \/ i n s t a n t \" ) [January 13, 1970] . 888 \"The W a l l . . . \" [January 14, 1970]. *Mo,jo Naviqat or (e) , No. 2 (August 1970), p. 26. 889 \"Quick . T a l k . . . \" [ J a n u a r y 14, 1970] . 890 A Testament [ J a n u a r y 14, 1970] . *The A n t i o c h Review, XXX, i i i \/ i v ( F a l l - W i n t e r 1970-71) , 324-325. [With p h o t o g r a p h . ] 891 Harry [ J a n u a r y 14, 1970] . 892 \"The Death O f . . . \" [January 15, 1970] . 893 The Act of Love [January 19, 1970] . *The New Mexico Review, I I , v i \/ v i i ( J u n e - J u l y 1970), 5. 894 Time (\"Moment to \/ moment\") [January 21, 1970] . * F i e l d , No. 3 (October 1970), pp. 72-73. 895 The Problem [January 21, 1970] . 896 The T i g e r [ J a n u a r y 21, 1970] . 897 The B i r d s [January 22, 1970] . ^ T r a n s i t i o n , S p r i n g 1970, p. 4-4. 898 On V a c a t i o n [ J a n u a r y 22, 1970] . 899 Sounds [ J a n u a r y 22, 1970] . 3 UNCOLLECTED POEMS 900 Aga in (\"I wanted you \/ wi thout v i r t u e \" ) . * J o u r n a l ' o f C r e a t i v e  B e h a v i o r , I , i i ( S p r i n g 1967), 132. 901 Hero . F i r s t p u b l i s h e d as Hero 1969 (40) . 902 T h i n k i n g [September 11, 1969], * L i l l a b u l e r o , No. 8 (Winter 1970), pp. 47-48. . 222 903 The day was g a t h e r e d [September 17, 1969] , * L i l l a b u l e r o , No. 8 (Winter 1970) , pp. 48-49 . 904 Look [September 18, 1969] . * L i l l a b u l e r o , No. 8 (Winter 1970) , pp. 49-50 . 905 The Message [October 3, 1969] . * L i l l a b u l e r o , No. 8 (Winter 1970) , p. 50. 906 F a l l [October 11, 1969] . ^ E l i z a b e t h , No. 15 (May 1970), p. 17. 907 An I l l n e s s [ F e b r u a r y 24, 1970] . * P a r i s Review, X I I I , No. 49 (Summer 1970) , 78-80. 908 Walk ing the Dog [June 18, 1970] . * L i l l a b u l e r o , No. 9 (Summer-F a l l 1970) , p. 6. 909 For Betsy and Tom [June 10, 1970] , F i r s t p u b l i s h e d as For  Betsy and Tom September 1970 (45) . R e p r i n t e d i n C a t e r p i l i a r , No. 14 (January 1971) , p. 133. 910 M a s s a c h u s e t t s [May 15, 1970] . *The W o r l d , No. 20 (November 1970) . 911 For Benny and Sab ina [June 7, 1970] . F i r s t p u b l i s h e d as For  Benny and Sab ina November 15, 1970 (46) . 912 As Now I t Would Be Snow. F i r s t p u b l i s h e d as As Now I t Would  Be Snow December 7, 1970 (47) . 913 C h r i s t m a s : May 10, 1970 [May 10, 1970] . F i r s t p u b l i s h e d as C h r i s t m a s : May 10, 1970 December 1970 (48) . 914 \" B o l i n a s and M e . . . \" [November 22-December 1970] . *The W o r l d , No. 22 ( A p r i l 1971). R e p r i n t e d i n W r i t i n g , No. 7 (May 1971), p. 6 [ p u b l i s h e d wi th G e o r g i a S t r a i g h t , V, c l x v i i i (May 21-25 , 1971) ] . D N0NFICTI0NAL PROSE: WRITINGS IN A QUICK GRAPH: COLLECTED NOTES  & ESSAYS 1970 (104) Dates g i v e n a f t e r the t i t l e s are the dates of c o m p o s i t i o n t a k e n , f o r the most p a r t , from the t y p e s c r i p t s at Washington U n i v e r s i t y ; c r o s s r e f e r e n c e i s made to the m a n u s c r i p t s i n the e n -t r i e s . A l l the prose w r i t i n g s are c o l l e c t e d f o r the f i r s t t i m e . With the e x c e p t i o n of the o r i g i n a l v e r s i o n of \" I n t r o d u c t i o n to 223 C h a r l e s O l s o n : S e l e c t e d W r i t i n g s \" (957) , a l l the works were pub-l i s h e d p r e v i o u s l y . A l l p u b l i c a t i o n s i n p e r i o d i c a l s , books , and a n t h o l o g i e s are noted . For c r i t i c a l w r i t i n g s , no te s , i n t e r v i e w s , and l e t t e r s not i n c l u d e d i n A Quick Graph see 101, 103, 105-158. For u n p u b l i s h e d w r i t i n g s see 1093, 1097, 1099, 1118-31. P r e f a c e s 915 The Gold D i g g e r s [December 14, 1953] . *The Gold D i g g e r s 1954 ( 4 ) . R e p r i n t e d as the p r e f a c e to the f i v e expanded e d i t i o n s of The Gold D i g g e r s : German t r a n s l a t i o n , M i s t e r Blue 1964 \u2022 (16) ; The Gold D i g g e r s 1965 (17) and 1965 (19); Dutch t r a n s l a -. t i o n , De goudgravers 1966 (23) ; S p a n i s h t r a n s l a t i o n , E l Amante 1967 (27 ) . A l s o r e p r i n t e d i n M i g r a n t . No. 3 (November 1959), p. 2; The Moderns 1963 (64); and New American S t o r y 1965 (170) . MS 1159 916 A l l That Is L o v e l y i n Men [ f i r s t two paragraphs of the o r i g i n a l o n l y ] . F i r s t p u b l i s h e d i n a much l o n g e r v e r s i o n as \"Robert C r e e l e y W r i t e s of T h i s Book\", A l l That Is L o v e l y i n Men 1955 ( 6 ) . 917 The Whip & For Love [da ted January 26, 1957 i n .The Whip] . *The Whip 1 9 5 7 ' ( 8 ) . R e p r i n t e d as the p r e f a c e to For Love 1962 ( l l ) and Poems 1950-1965 1966 (22) . A l s o r e p r i n t e d i n M i g r a n t , No. 3 (November 1959), p. 3. MS 1104 918 A Form of Women. F i r s t p u b l i s h e d as \"A Note to These Poems\", A Form of Women 1959 ( 9 ) . 919 The I s l a n d . *The I s l a n d 1963 (12) . R e p r i n t e d as the p r e f a c e to The I s l a n d 1964 (14) and, i n a German t r a n s l a t i o n , to Die  I n s e l 1965 (18 ) . MSS 1105, 1169 920 Words [ F e b r u a r y 5, 1965] . *Words 1967 (26) . R e p r i n t e d as the p r e f a c e to The F i n g e r : Poems 1966-1969 1970 (44) . MSS 1110 One 921 Notes f o r a New Prose [June 12, 1950] . * 0 r i q i n , No. 2 (Summer 1951) , pp. 94-99.- MS 1132 224 922 A Note on the O b j e c t i v e [November or December 1950] . *Goad, I, i (Summer 1951)', .20-21. MSS 1092, 1133, 1153 923 How to W r i t e a Novel [ A p r i l 1, 1952] [ rev iew of John Hawkes' The B e e t l e L e g ] , *New Mexico Q u a r t e r l y , X X I I , i i (Summer 1952), 239-241. MS 1134 924 To D e f i n e . *Nine American Poets 1953 (54) . R e p r i n t e d i n CI l \/ \/ n , No. 5 [1953-54] , pp. 27-28 and i n a Japanese t r a n s l a -t i o n i n V\/ou, Nos. 42-44 (November 1954), p. 16 [ t i t l e d \"A Note on Poetry\" i n b o t h ] . R e p r i n t e d i n The New American Poetry 1960 (56) and 2 0 t h - c e n t u r y P o e t r y & P o e t i c s 1969 (96) . R e p r i n t -ed i n a.German t r a n s l a t i o n by K l a u s R e i c h e r t , I n s e i - A l m a n a c h 1964 (68 ) . 925 A Note on P o e t r y . ^ C o n t a c t , I I , i i ( F e b r u a r y - A p r i l 1953), 14-16 [\"This i s a p o r t i o n of a l e t t e r w r i t t e n by the author to the E d i t o r on J u l y 15, 1952\"]. 926 A Dilemma [September 22, 1954] . * B l a c k Mountain Review, No. 3 ( F a l l 1954), pp. 27-28 [ i n t r o d u c t i on to \"Photographs c o u r t e s y of Pe ter Mitchum\", a c t u a l l y taken by Ann C r e e l e y ] , MS 1162 927 A Note. *Nomad, No. 5\/6 ( W i n t e r - S p r i n g I960) , p. 13. 928 A Note on the L o c a l . * F i r s t P e r s o n , No. 3 (Spring-Summer 1961) , p. 34. 929 A Quick Graph . F i r s t p u b l i s h e d , wi th s l i g h t d i f f e r e n c e s , i n The F l o a t i n g Bear , No. 2 [19-61], pp. 5-6 . See 262 930 \"Statement\" f o r P a t e r s o n S o c i e t y [ J a n u a r y 31, 1961] . *The  F l o a t i n g B e a r , No. 6 [1961] , p . 12. MS 1136 931 Why Bother? [September 9, 1962] * T i s h , No. 13 (September 14,. 1962) , p . 2. MS 1165 932 I n t r o d u c t i o n to The New W r i t i n g i n the USA [ J u l y 27, 1964] . F i r s t p u b l i s h e d as \"Statement\", The Y a l e L i t e r a r y Magaz ine , C X X X I I I , v ( A p r i l 1965) , 27-34 and as An American Sense 1965 (102) . R e p r i n t e d as the i n t r o d u c t i o n to The New W r i t i n g i n the  U . S . A . 1967 (172) and i n a F r e n c h t r a n s l a t i o n , \"La p o e s i e de 1' espace a c t i f \" , i n Les U . S . A . a l a Recherche de l e u r I d e n t i t e ( P a r i s : E d i t i o n s Bernard G r a s s e t , C 1 9 6 7 ) - - s e e 200. MSS 1143, 1174 225 933 \"Poems are a complex\" [dated J u l y 30, 1965 i n A Nosegay\"!. F i r s t p u b l i s h e d as \"A Note\", A Nosegay i n B l a c k , I , i (Autumn 1966). IYIS 1181 934 A Statement about the Poem \"The Name\". F i r s t p u b l i s h e d as \"A Statement about 'The Name'\", Poems f o r Young Readers 1966 (79) [ f o l l o w i n g \"The Name\"]. 935 Notes Apropos \"Free Verse\" [December 11, 1966] [ w i t h an e x t r a p a r a g r a p h i n s e r t e d from the t y p e s c r i p t , 1147] . *Naked Poetry 1969 (95) . 936 \"I'm g i v e n to w r i t e poems\" [Winter 1966] [ l e c t u r e d e l i v e r e d at the L i t e r a r i s c h e s C o l l o g u i u m , B e r l i n , January 1967] . F i r s t p u b l i s h e d i n a German t r a n s l a t i o n by K l a u s R e i c h e r t , E i n  G e d i c h t 1967 (86) and as \"Robert C r e e l e y T a l k s About P o e t r y \" , H a r p e r ' s B a z a a r , No. 3068 ( J u l y 1967), pp. 81, 120-121, 126. MSS 1146, 1190 Two 937 Hart Crane and the P r i v a t e Judgment [ w r i t t e n 1953] . -The Free  Lance , V, i i (Second h a l f of I960) , 3 -17 . 938 The L e t t e r s of Hart Crane [November 30, 1953] [a r e v i e w ] . * 0 r i g i n , No. 13 (Summer 1954), pp. 59-61 . MS 1158 939 A L e t t e r to the E d i t o r of Goad. F i r s t p u b l i s h e d as \"A L e t t e r from Robert C r e e l e y \" , Goad, I , i i (Winter 1951-52^, 16-19. See 253 940 A Note on E z r a Pound [ J u l y 21, 1964] [w i thout the l e t t e r s ] . F i r s t p u b l i s h e d , w i th the l e t t e r s , as \"A Note and a S e l e c t i o n of L e t t e r s from E z r a Pound\", Agenda, IV, i i (October-November 1965), 11-21 and i n a F r e n c h t r a n s l a t i o n by M i c h e l B e a u j o u r , with the l e t t e r s , \" L e t t r e s a Robert C r e e l e y \" , E z r a Pound (Volume I , Les C a h i e r s de L ' H e r n e , Numero 6. F r a n c e , 1965.) MS 1173 941 The Release [ r e v i e w of The Autob iography of W i l l i a m C a r l o s  W i l l i a m s ] . ^ C o n t a c t , I I , i (November-January. 1952-53) , 17-19. MS 1154 942 W i l l i a m C a r l o s W i l l i a m s : S e l e c t e d Essays [a rev iew ] . * B l a c k  Mountain Review, No. 4 (Winter 1954) , pp. 53-58. 226 943 A C h a r a c t e r f o r Love [ rev iew of W i l l i a m C a r l o s W i l l i a m s ' The  Desert Music\"!. * B l a c k Mountain Review, No. 2 (Summer 1954), pp. 45-48 . R e p r i n t e d i n W i l l i a m C a r l o s W i l l i a m s : A C o l l e c t i o n  of C r i t i c a l E s s a y s , ed. J . H i l l i s M i l l e r (Englewood C l i f f s , New J e r s e y : P r e n t i c e - H a l l , 1966), pp. 160-163. MS 1135' 944 The F a c t [September 9, 1962] [ rev i ew of W i l l i a m C a r l o s W i l l i a m s ' P i c t u r e s from B r u e g h e l , p u b l i s h e d from the o r i g i n a l t y p e s c r i p t , . 1141]. F i r s t p u b l i s h e d as \"The F a c t of Hi s L i f e \" , The N a t i o n , CV\/C (October 13, 1962), 224 [w i th e d i t o r i a l changes r e q u e s t e d by Robert H a t c h ] . MSS 1141 945 L o u i s Z u k o f s k y : \"A\" 1-12 & B a r e l y and Widely [a r e v i e w ] , *The  Sparrow Magaz ine , No. 18 (November 1962), pp. 9-11 . MS 1167 946 \" . . . p a r a d i s e \/ our \/ s p e e c h . . . \" [ J u l y 8, 1965] [ rev i ew of L o u i s Z u k o f s k y ' s A l l : 1923-1958] . * P o e t r y , CV\/I I (October 1965), 52 -55 . [The f i r s t p a r t of t h i s review was guoted on the back cover of Z u k o f s k y ' s A l l : 1956-1964 (New Y o r k : N o r t o n , C 1 9 6 6 ) . ] MS 1145 947 L o u i s Z u k o f s k y : A l l : The C o l l e c t e d Short Poems, 1923-58 [ J u l y 4, 1965] [a r e v i e w ] . F i r s t p u b l i s h e d , with a s l i g h t d i f f e r -ence , as \" L o u i s Z u k o f s k y \" , Agenda, IV\/, i i i \/ i v (Summer 1966), 45-48 . MSS 1182 948 A Note [ A p r i l 2, 1967] , F i r s t p u b l i s h e d as the i n t r o d u c t i o n to \"A\" 1-12, by L o u i s Z u k o f s k y . P a r i s Review E d i t i o n s . Garden C i t y , N e w . Y o r k : . D o u b l e d a y , 1967. MS 1191 949 A P e r s o n a l Note [October 15, 1965] . F i r s t p u b l i s h e d as \" B a s i l B u n t i n g - - A n A p p r e c i a t i o n \" , G r a n t a , No. 12457 (November 6, 1965), p. 12. R e p r i n t e d i n Stony Brook, No. 3\/4 (1969) , pp. 57-58. MS 1184 950 A Note on B a s i l Bunt ing [September 13, 1966] , ^Agenda, IV\/, v (Autumn 1966) , 18-19. MS 1189 Three 951 C h a r l e s O l s o n : Y & X [a r e v i e w ] . * M o n t e v a l l o Review, I , i i (Summer 1951) , 59-60. 952 C h a r l e s O l s o n : In C o l d H e l l , i n T h i c k e t [a r e v i e w ] , *New  Mexico Q u a r t e r l y , X X I I I , i i i (Autumn 1953), 350-352. MS 1157 227 953 C h a r l e s O l s o n : The Maximus Poems, 1-10 [August 10, 1953] , F i r s t p u b l i s h e d on a p r o s p e c t u s of The Maximus Poems e n c l o s e d as a l oose i n s e r t i n The Maximus Poems 1-10 by C h a r l e s Olson ( S t u t t g a r t : Jonathan W i l l i a m s , 1953) . R e p r i n t e d i n M i g r a n t , No. 3 (November 1959), pp. 2 -3 . MS 1156 954 P r e f a c e to Mayan L e t t e r s by C h a r l e s Olson [da ted F e b r u a r y 12, 1953 i n Mayan L e t t e r s 1953] . *Mayan L e t t e r s , b y C h a r l e s O l s o n , 1953 (169) . R e p r i n t e d as \"Pre face to the F i r s t E d i t i o n \" , Mayan L e t t e r s , by C h a r l e s O l s o n , 1968 (169) . 955 Olson & O t h e r s : Some O f t s f o r the S p o r t s . F i r s t p u b l i s h e d , wi th some d i f f e r e n c e s , i n B i g T a b l e , I , i v ( S p r i n g I960) , 119-123. R e p r i n t e d , wi th a s e c t i o n m i s s i n g , i n The New American  Poetry 1960 (56) and 2 0 t h - c e n t u r y Poe try & P o e t i c s 1969 (96) . 956 Some Notes on O l s o n ' s Maximus [ F e b r u a r y 11, 1961] . *Yugen, No. 8 (1962) , pp. 51-55 . MS 1137 957 I n t r o d u c t i o n to C h a r l e s O l s o n : S e l e c t e d W r i t i n g s 1 [ F e b r u a r y 12, 1965] [ o r i g i n a l v e r s i o n , p u b l i s h e d f o r the f i r s t t ime i n A Quick Graph 1970 (104) from the t y p e s c r i p t , 1176] , 958 I n t r o d u c t i o n to C h a r l e s O l s o n : S e l e c t e d W r i t i n g s 2 [dated October 3, 1965 i n S e l e c t e d W r i t i n g s ] , F i r s t p u b l i s h e d , wi th some d i f f e r e n c e s , i n S e l e c t e d W r i t i n g s gf C h a r l e s Olson 1966 (171) . MS 1185 959\"A Foot Is to K i c k with\" [ A p r i l 7, 1966] [ rev iew of C h a r l e s O l s o n ' s Human U n i v e r s e , P r o p r i o c e p t i o n , and B i b l i o g r a p h y on  America f o r Ed D o r n ] , * P o e t r y , CIX (October 1966), 40-43 . MSS 1188 960 \"A l i g h t , a g l o r y , a f a i r luminous c l o u d \" [ rev i ew of Robert Duncan's L e t t e r s ] . * P o e t r y , XCVI ( A p r i l I960) , 55-57 . MS 1084 Proof 1004 961 \"To d i s c l o s e t h a t v i s i o n p a r t i c u l a r to dreams\" [November 28, 1965] [ rev iew of Robert Duncan's Roots and B r a n c h e s ] , *The  Humanist , XXVI , i ( J a n u a r y - F e b r u a r y 1966), 28. MSS 1186 962 \"An i n t e n s e l y s i n g u l a r a r t \" [ rev iew of Denise L e v e r t o v ' s Here  and Now, J o e l Oppenheimer's The D u t i f u l Son, and L o u i s 228 Z u k o f s k y ' s Some Time\"]. *New Mexico Q u a r t e r l y , X X U I I , i \/ i i (Spring-Summer 1957), 125-127. 963 The New World [ rev i ew of Gary S n y d e r ' s R i p r a p , M i c h a e l M c C l u r e ' s Hymns to S t . Geryon , P h i l i p Ulhalen's S e l f - P o r t r a i t , and Ron Loewinsohn ' s Watermelons ] . *Yugen, No. 7 (1961) , pp. . 13-18. MS 1138 964 Edward Dorn i n the News [ rev iew of Edward D o r n ' s The Newly  Fa l l en\"] . *The F l o a t i n g Bear , No. 6 [1961] . MS 1163 965 Edward D o r n ' s Geography [ A p r i l 15, 1966] [a r e v i e w ] . * 5 t a n d , V I I I , i i (1966) , 74-76. MSS 1187 966 Rainer G e r h a r d t : A Note [January 20, 1964] . F i r s t p u b l i s h e d , wi th a s l i g h t d i f f e r e n c e , i n Work, No. 3 (Winter 1965-66) , pp. 4 -5 . MS 1170 F our 967 A Note on Canad ian Poetry [ J a n u a r y 2, 1953] . ^ C o n t a c t , No. 8 (September-December 1953), pp. 22-23 . MS 1155 968 Canadian P o e t r y 1954 [ r e v i e w of Contac t No. 4 to No. 8, L o u i s Dudek's T w e n t y - f o u r Poems, I r v i n g L a y t o n ' s The B l a c k Huntsmen and Love the Conqueror Worm, Canadian Poems 1B50-1952, and C e r b e r u s by L o u i s Dudek, I r v i n g L a y t o n and Raymond S o u s t e r ] . * B l a c k Mounta in Review, No. 1 ( S p r i n g 1954), pp. 51-54 . 969 Kenneth Patchen: F a b l e s and Other L i t t l e T a l e s [a r e v i e w ] . * B l a c k Mounta in Review, No. 1 ( S p r i n g 1954), pp. 63-64. 970 Kenneth R e x r o t h : In Defense of the E a r t h [a r e v i e w ] . *New  Mexico Q u a r t e r l y , XXVI , i v (Winter 1956-57) , 409-411. 971 \"To B u i l d C a s t l e s i n Spa in\" [ rev i ew of Ten C e n t u r i e s of S p a n i s h  V e r s e , ed . E . L . T u r n b u l l , and The Penguin Book of S p a n i s h V e r s e , ed . J . M . Cohen] . * P o e t r y , XCIII (December 1958) , 188-192. MS 1084 Proof 1004 972 Ways of L o o k i n g [ rev i ew of Kenneth K o c h ' s Kjo, Jack K e r o u a c ' s Mexico C i t y B l u e s , I r v i n g L a y t o n ' s A Red Carpet f o r the Sun, Judson Crews' The Heart i n Naked Hunger and The F e e l of Sun & 229 A i r upon Her Body, B a r r i s s M i l l s ' Parvenus & A n c e s t o r s , and Exper iment T h e a t r e Antho logy No. l ] . * P o e t r y , XCVIII (June 1961) , 192-198. Proof 1004 973 The F a s c i n a t i n g Bore [August 23, 1961] [ rev i ew of Swinburne:  Poems, ed . Bonamy Dobree , and Swinburne: A S e l e c t i o n , ed . E d i t h S i t w e l l ] . * P o e t r y , C (August 1962), 324-328. MS 1139 974 \"Think what ' s got a w a y . . . \" [ w r i t t e n by October 15, 1962] [ r e -view of B r o t h e r A n t o n i n u s ' The Hazards of H o l i n e s s , W i l l i a m S t a f f o r d ' s T r a v e l i n g through the Dark , Anthony O s t r o f f ' s Imper- a t i v e s , Robert Sward's Uncle Dog, R i c h a r d B r a u n ' s C h i l d r e n  P a s s i n g , F r e d e r i c W i l l ' s A Wedge of Words, Raymond S o u s t e r ' s A L o c a l P r i d e , C h a r l e s Bukowsk i ' s Run with the Hunted, Thomas M c G r a t h ' s L e t t e r to an Imaginary F r i e n d , and L o r i n e N i e d e c k e r ' s My F r i e n d T r e e ] , * P o e t r y , CII ( A p r i l 1963),, 42-48. MS 1166 975 More on K e a r n s . ^ O u t s i d e r , I , i i i ( S p r i n g 1963) , 20. MS 1086 See 263 976 F r e d e r i c k Eckman: The E p i s t e m o l o g y of Loss [a r e v i e w ] . * E l i z - a b e t h , No. 8 (March 1965) , p. 2. MS 1177 F i v e 977 W a i t i n g f o r Godot [ rev i ew of Samuel B e c k e t t ' s W a i t i n g f o r  G o d o t ] . * B l a c k Mountain Review, No. 4 (Winter 1954) , pp. 61-63. 978 D . H . Lawrence: S t u d i e s i n C l a s s i c American L i t e r a t u r e [December 27, 1953] [a r e v i e w ] . F i r s t p u b l i s h e d , wi th some d i f f e r e n c e s , i n O r i g i n , No. 13 (Summer 1954) , pp. 61-62. MS 1160 979 \"By God, Pomeroy, you h e r e ! \" [ e s say on F r a n c i s Parkman], * B l a c k Mountain Review, No. 4 (Winter 1954), pp. 43-48. 980 L o u i s - F e r d i n a n d C e l i n e : G u i g n o l ' s Band & John Hawkes: The Goose  on the Grave [a r e v i e w ] . * B l a c k Mountain Review, No. 3 ( F a l l 1954) , pp. 58 -59 . 981 W i t t e r Bynner: Journey with Genius [a r e v i e w ] . * B l a c k Mountain  Review, No. 2 (Summer 1954), pp. 62-63. MS 1161 982 Ramon Sender: Two'Nove ls [ rev iew of The Sphere and The A f f a b l e 230 Hangman\"]. * B l a c k Mountain Review, No. 5 (Summer 1955), pp. 216-224. 983 On Love [an e s s a y ] . * B l a c k Mountain Review, No. 6 ( S p r i n g 1956) , pp. 217-223. 984 The J o u r n a l s of Jean Cocteau [ rev iew of The J o u r n a l s of Jean  C o c t e a u , ed. W a l l a c e F o w l i e ] . *New Mexico Q u a r t e r l y , XXV\/I, i v (Winter 1956-57) , 397-400. 985 E v e r g r e e n Review, N o ' s . 1 and 2 [a r e v i e w ] , *New Mexico  Q u a r t e r l y , X X V I I , i \/ i i (Spring-Summer 1957), 123-125. 986 Edward D a h l b e r g : The Sorrows of P r i a p u s [a r e v i e w ] , *New  Mexico Q u a r t e r l y , X X V I I I , i ( S p r i n g 1958), 75-77. 987 \"Her S e r v i c e Is P e r f e c t Freedom\" [ r e v i e w of Robert G r a v e s ' The White Goddess , F i v e Pens i n Hand, and The Poems of Robert  G r a v e s , and A p u l e i u s ' The Golden Ass and T r a n q u i l l u s ' The  Twelve C a e s a r s , both t r a n s l a t e d by G r a v e s ] . * P o e t r y , XC111 (March 1959) , 395-398. MS 1084 Proof 1004 988 A New Testament [ rev i ew of W i l l i a m B u r r o u g h s ' The Naked L u n c h ] . ^ O u t b u r s t , No. 1 (1961) . MS 1164 989 A Note f o r Thread and F i e l d i n g Dawson. ^ T h r e a d , by F i e l d i n g Dawson. London: Andrew C r o z i e r , August 1964. [600 c o p i e s . ] 990 I n t r o d u c t i o n to' Thongs by Alex T r o c c h i [ J u l y 28, 1967] . *Thongs , by A lexander T r o c c h i . North Ho l lywood , C a l i f o r n i a : Brandon House, 1967. MSS 1149, 1193 S i x 991 D i v e r s Sent iments [note on Rene L a u b i e s ] , A p p a r e n t l y f i r s t p u b l i s h e d i n an e x h i b i t i o n c a t a l o g by G a l e r i e Pau l F a c c h e t t i , P a r i s , i n 1953 or 1954. R e p r i n t e d as \" D i v e r s Sent imens\", i n Rene L a u b i e s [an e x h i b i t i o n c a t a l o g ] ( [ M i l a n : ] G a l l e r i a Morone [ 1 9 6 8 ] ) . 992 Rene L a u b i e s : An I n t r o d u c t i o n . F i r s t p u b l i s h e d as an i n t r o -d u c t i o n to L a u b i e s ' r e p r o d u c t i o n s , B l a c k Mountain Review, No. 1 ( S p r i n g 1954), pp. 23-24. R e p r i n t e d as \" I n t r o d u c t i o n \" , 231 L a u b i e s : Les S o l i t u d e s [an e x h i b i t i o n c a t a l o g ] ( P a r i s : G a l e r i e Paul F a c c h e t t i , C 1 9 6 4 ) . 993 A (Mote on F r a n z K l i n e . F i r s t p u b l i s h e d as the i n t r o d u c t i o n to K l i n e ' s r e p r o d u c t i o n s , B lack Mountain Review, No. 4 (Winter 1954), pp. 23-24 . 994 P h i l i p Guston: A Note . F i r s t p u b l i s h e d as \"A Note\", the i n t r o d u c t i o n to G u s t o n ' s d r a w i n g s , . B l a c k Mountain Review, No. 6 ( S p r i n g 1956) , p. 170. 995 Harry C a l l a h a n : A Note . F i r s t p u b l i s h e d as the i n t r o d u c t i o n to C a l l a h a n ' s p h o t o g r a p h s , B l a c k Mountain Review, No. 7 (Autumn 1957) , pp. 149-150. 996 A Note [August 25, 1962] . F i r s t p u b l i s h e d as the i n t r o d u c t i o n to T o g e t h e r n e s s , by A l i c e G a r v e r . [ A l b u q u e r q u e : ] c 1 9 6 2 . [Fewer than 500 c o p i e s . ] MS 1140 997 John C h a m b e r l a i n [ J u l y 18, 1964] . *Recent American S c u l p t u r e . New Y o r k : The Jewish Museum, c 1 9 6 4 . [ C a t a l o g f o r e x h i b i t i o n October 15 to November 29, 1964, The Jewish Museum.] MS 1172 998 Frank S t e l l a : A Way to Go. F i r s t p u b l i s h e d as essay with S t e l l a ' s r e p r o d u c t i o n s , The Lugano Review, I , i i i \/ i v (Summer 1965), 189-190, 195-197. MSS 1179 999 Feedback: \"Contemporary V o i c e s i n the A r t s \" [ A p r i l 25, 1967] [a r e p o r t on the 1967 Contemporary V o i c e s i n the A r t s t o u r ] . * A r t s Magaz ine , June 1967, pp. 18-20. MS 1148 See a l s o 1199. 1000 \"Mehr l i c h t . . . \" [October 29, 1968] [notes on Stan B r a k h a g e ' s f i l m s ] . * A r t s c a n a d a , XXV, v (December 1968), 28-29. R e p r i n t e d i n F i l m C u l t u r e , No. 47 (Summer 1969), pp. 22-23. MS 1195 IV MANUSCRIPTS, LETTERS, RECORDINGS, AND PROOFS I n c l u d e d i n S e c t i o n IV\/ are l e t t e r s , r e c o r d i n g s , p r o o f s , and m a n u s c r i p t s of p u b l i s h e d and u n p u b l i s h e d w r i t i n g s , both by and about C r e e l e y . For p u b l i s h e d p r o s e , c r o s s r e f e r e n c e i s made to the main e n t r y g i v i n g p u b l i c a t i o n d e t a i l s . P l ease use the Index to Poems to f i n d where poems were p u b l i s h e d . T h i s s e c t i o n l i s t s , f o r the most p a r t , those works which have found t h e i r way i n t o u n i v e r s i t y l i b r a r i e s . There are many l e t t e r s s t i l l i n the hands of the r e c i p i e n t s and p r o b a b l y some l e t t e r s , m a n u s c r i p t s , and p r o o f s i n the f i l e s of p u b l i s h e r s . In a d d i t i o n , s e v e r a l u n i v e r s i t i e s have r e c o r d i n g s of C r e e l e y ' s r e a d i n g s t h e r e and a number of r e c o r d i n g s are i n p r i v a t e c o l l e c t i o n s . C r e e l e y ' s own m a n u s c r i p t s were sent to Ind iana U n i v e r s i t y i n 1961. From 1964 h i s m a n u s c r i p t s , l e t t e r s , e t c . , have been go ing i n t o the l a r g e C r e e l e y c o l l e c t i o n at Washington U n i v e r s i t y . My thanks go to the f o l l o w i n g people who opened t h e i r c o l l e c -t i o n s to me when I v i s i t e d t h e i r l i b r a r i e s : E l f r i e d a Lang , C u r a -tor of M a n u s c r i p t s , The L i l l y L i b r a r y , I n d i a n a U n i v e r s i t y , Bloom-i n g t o n ; R. R u s s e l l Maylone , C u r a t o r , Department of S p e c i a l C o l l e c -t i o n s , The U n i v e r s i t y L i b r a r y , Northwestern U n i v e r s i t y , E v a n s t o n , I l l i n o i s ; Pamela R. Mason, A s s i s t a n t C u r a t o r f o r Modern P o e t r y , Department of S p e c i a l C o l l e c t i o n s , The U n i v e r s i t y of Chicago L i -b r a r y ; E . B r i d w e l l , Humani t i e s L i b r a r i a n , U n i v e r s i t y L i b r a r y , Simon F r a s e r U n i v e r s i t y , Burnaby, B r i t i s h Co lumbia ; B . J . M c M u l l i n , L i b r a r i a n , S p e c i a l C o l l e c t i o n s Department , Cameron L i b r a r y , U n i v e r -s i t y of A l b e r t a , Edmonton; and above a l l to E l s i e F r e i v o g e l , former Head, and H o l l y H a l l , Head, M a n u s c r i p t D i v i s i o n , and W i l l i a m Matheson, former C h i e f , and Roger M o r t i m e r , C h i e f , Rare Book Department , John M. O l i n L i b r a r y , Washington U n i v e r s i t y , S t . L o u i s . I n f o r m a t i o n and c o p i e s were k i n d l y p r o v i d e d by m a i l by: The U n i v e r s i t y of New M e x i c o , A lbuquerque; The Houghton L i b r a r y , Harvard U n i v e r s i t y ; The U n i v e r s i t y L i b r a r y , U n i v e r s i t y of C a l i f o r -n i a , Los A n g e l e s ; Academic Center L i b r a r y , The U n i v e r s i t y of Texas , A u s t i n ; and The Be inecke L i b r a r y , Ya le U n i v e r s i t y . S p e c i a l thanks f o r t h e i r h e l p f u l l e t t e r s and c o p i e s go to K . C . Gay, C u r a t o r , 233 Poetry C o l l e c t i o n , Lockuiood Memoria l L i b r a r y , S t a t e U n i v e r s i t y of New York at B u f f a l o ; and C h r i s t i n e D. Hathaway, S p e c i a l C o l l e c -t i o n s L i b r a r i a n , The John Hay L i b r a r y , Brown U n i v e r s i t y , P r o v i d e n c e , Rhode I s l a n d . Stan P h i l l i p s and Warren T a l l m a n k i n d l y loaned c o p i e s of r e c o r d i n g s i n t h e i r own c o l l e c t i o n s . A UNPUBLISHED WORKS 1001 Two Ways of Look ing i n a M i r r o r . 1957. [ I l l u s t r a t e d b y ] Rene L a u b i e s . A \u2022 \"poeme-objet\" composed of a drawing by L a u b i e s over which the poem \"Two Ways of L o o k i n g i n a M i r r o r \" has been h a n d w r i t t e n by C r e e l e y . 2 c o p i e s , [ l ] - ^ - i n c l u d i n g one draw-i n g , one b r o a d s i d e , unbound. One copy i s at Washington U n i -v e r s i t y . The poem had been p u b l i s h e d p r e v i o u s l y . 1002 S e l e c t e d Poems (1957-1959) . M . A . T h e s i s : The U n i v e r s i t y of New M e x i c o , A l b u q u e r q u e , 1959 [completed c a . J u l y ] , Ca . 3 c o p i e s ; [ 7 ] , 43-^. The poems were r e p r i n t e d from I f You 1956 ( 7 ) , c o l l e c t e d from p e r i o d i c a l s , or p u b l i s h e d from m a n u s c r i p t s . Those poems i n d i c a t e d wi th an a s t e r i s k had not been p r e v i o u s l y p u b l i s h e d . Most of the poems were l a t e r c o l l e c t e d i n A Form of Women 1959 (9) and a l l have been c o l l e c t e d i n e i t h e r For Love 1962 ( l l ) or The Charm 1969 (41) . The p r e f a c e has not been o t h e r w i s e p u b l i s h e d . C o n t e n t s : - - P r e f a c e . Poems: - -Lady B i r d - - I f Y o u - - A M a r -r i a g e \u2014 A i r : \"Cat B i r d S i n g i n g . . . \" \u2014And \u2014 Oh No \u2014 F o r the New Year \u2014The L e t t e r \u2014 T h e F r i e n d - * P l e a s e \u2014The I n v o i c e \u2014 *Song (\"God g i v e you pardon from g r a t i t u d e \" ) - - T h e H i l l \u2014 T h e y Say\u2014*The Ear \u2014*The S o u v e n i r \u2014 I n a Boat Shed [ t i t l e d \"Stand ing i n a B o a t -shed\"]\u2014The Names \u2014 J u s t F r i e n d s \u2014The P l a c e [ t i t l e d \"The P l a c e s \" ] \u2014 B a l l a d of the D e s p a i r i n g H u s b a n d - - J u g g l e r ' s Thought - - T h e Wind \u2014 S a t u r d a y Af t e r n o o n \u2014 T h e I n t e r v i e w \u2014 T h e Menu \u2014Je v o i s dans l e hasard tous l e s b i e n s que j ' e spere\u2014The T u n n e l \u2014 E n t r e Nous\u2014The Three L a d i e s - - New Y e a r ' s [ t i t l e d \"New Y e a r ' s 1958\" ] \u2014 G o i n g to Bed\u2014My Love \u2014 A G i f t of Great V a l u e \u2014 * T h e Hero \u2014*The Awakening \u2014The Door (\"It i s hard go ing to the d o o r \" ) \u2014 * T h e Snow. 234 B PROOFS AND ADVANCE COPIES 1 PROOF OF UNPUBLISHED WORK 1003 The D r e s s . To have been p u b l i s h e d l a t e 1957 i n an e d i t i o n of 125 c o p i e s by The Windhover P r e s s , Summit, New J e r s e y . Compi led Summer 1955. C o n s i s t e d of 12-15 poems; three s t o r i e s , \"The M u s i c i a n s \" (469) , \"The S u i t o r \" (468) , and \"The Dress\" (470); with a drawing by P h i l i p Guston . L o c a t i o n unknown. 2 PROOFS OF PUBLISHED WORKS The U n i v e r s i t y of Chicago 1004 P r o o f s of poems and r e v i e w s p u b l i s h e d i n P o e t r y . C o r r e c t e d g a l l e y p r o o f s of \" ' A l i g h t , a g l o r y , a f a i r luminous c l o u d ' \" (960) and ' \" T o B u i l d C a s t l e s i n S p a i n ' \" (971) . U n c o r r e c t e d g a l l e y p r o o f s of \" 'Her S e r v i c e Is P e r f e c t Freedom'\" (987) , \"Ways of L o o k i n g \" (972) , and the f o l l o w i n g poems: - -The H i l l --|Y|y L o v e - - A G i f t of Great Value \u2014 Going to Bed- -The Door (\"Thump. T h u m p . \" ) - - T h e Names--The H e r d - - T h e Door (\"It i s hard go ing to the d o o r \" ) - - T h e Rose - -The F i r s t Time (\"We are g i v e n a c h a n c e \" ) - - T h e Woman (\"I c a l l e d her a c r o s s the r o o m \" ) - - J a c k ' s B l u e s - - A i r : \"The Love of a Woman\"\u2014Out of S i g h t - - T h e Cracks \u2014 For F e a r - - S o n g (\"What I took i n my h a n d \" ) - - F o r L o v e - - T h e Rescue. See 1084 R e l a t e d l e t t e r s 1042-47, 1053, 1072 U n i v e r s i t y of A l b e r t a , Edmonton 1005 P r o o f s of The F i n g e r 1968 (30) . G a l l e y p r o o f s of poem \"The F i n g e r \" wi th c o r r e c t i o n s and notes by C r e e l e y . S e m i - f i n a l p r o o f , with a number of d i f f e r e n c e s from the f i n a l p r o o f . F i n a l p r o o f , wi th e a r l y proo f of the co lophon page. Washington U n i v e r s i t y 1006 Proof copy of The Immoral P r o p o s i t i o n 1953 (3 ) . Paper wrap-p e r s , w i t h drawings by Rene L a u b i e s . Three of the poems are i n C r e e l e y ' s h a n d w r i t i n g . 1007 Proof of poem \"The P l a c e \" , for p u b l i c a t i o n i n I n l a n d , I I , i v , S p r i n g 1959 (552) . 235 1008 U n c o r r e c t e d g a l l e y p r o o f s of C r e e l e y ' s poems i n The New Amer- i c a n Poetry 1960 (56) . 1009 P r o o f s of For Love 1962 ( l l ) . Three s e t s of g a l l e y p r o o f s . F i r s t and f i n a l g a l l e y s wi th p r i n t e r ' s m a r k i n g s . Another set of f i r s t g a l l e y s wi th C r e e l e y ' s markings ; accompanied by a l e t t e r from V\/ io la S p e r k a . 1010 P r o o f s of Words 1965 (20) . 0 ne of f i v e p r o o f s p r i n t e d as p a r t of the e d i t i o n , the o n l y copy which remained unbound, on l i g h t b lue paper . A l s o , s e p a r a t e p r o o f of c o l o p h o n . 1011 Proof s of For J o e l 1966 (24) . F i r s t , second, f o u r t h , s i x t h , and f i n a l p r o o f s . The e a r l y p r o o f s have C r e e l e y ' s c o r r e c t i o n s . 1012 G a l l e y p r o o f , wi th one c o r r e c t i o n , of the t a b l e of c o n t e n t s and acknowledgements of S e l e c t e d W r i t i n g s of C h a r l e s Olson 1966 (171) . 1013 P r o o f s of Words 1967 (26) . Three s e t s of g a l l e y p r o o f s wi th p r i n t e r ' s markings and m i s c e l l a n e o u s p r i n t e r ' s n o t e s . 1014 P r o o f s of The Charm 1967 (32) . P r o o f s of each e i g h t - p a g e s i g n a t u r e of the book wi th s e v e r a l p r o o f s of some s i g n a t u r e s and a p r o o f of the co lophon which was not used . The p r o o f s have C r e e l e y ' s comments and c o r r e c t i o n s t h r o u g h o u t . A l s o , an unbound f i n a l p r o o f . The a u t h o r ' s p r o o f s were sent s e v e r -a l l y from the p u b l i s h e r , Wal ter Hamady,to C r e e l e y and back d u r i n g the F a l l of 1967. For the l e t t e r s which accompanied some of the p r o o f s , see 1062. 1015 C o r r e c t e d g a l l e y p r o o f s of P i e c e s 1969 (39) . 1016 E a r l y p r o o f of M a r y ' s Fancy 1970 (42\"), c o n s i s t i n g of poem, \" M a r y ' s Fancy\" , c o l o r photo of Robert I n d i a n a , and notes by W i l l i a m K a t z , the p u b l i s h e r . 1017 Proof of cover of The F i n g e r 1970 (44 ) . Cover d e s i g n by Jim D i n e . See 1116 3 ADVANCE COPIES Washington U n i v e r s i t y 1018 Advance copy of The Gold D i g g e r s 1965 (17) . In p u b l i s h e r ' s wrappers , wi th C r e e l e y ' s c o r r e c t i o n s for the American e d i t i o n . Used by S c r i b n e r ' s f or the s e t t i n g of t h e i r e d i t i o n (19) . 1019 Advance copy of paper wrappers , 236 Poems 1950-1965 1966 (22) . Proof copy i n wi th o r i g i n a l t i t l e For Love s t r u c k out . C RECORDINGS See l i s t of f u r t h e r r e c o r d i n g s 159-167* . P r i v a t e C o l l e c t i o n s 1020 Reading from the manuscr ip t of For Love 1962 ( l l ) , F e b r u a r y 16, 1962 at the U n i v e r s i t y of B r i t i s h C o l u m b i a , Vancouver . 1021 T a p e - r e c o r d e d l e c t u r e s g i v e n at the home of Warren T a l l m a n , Vancouver , B r i t i s h C o l u m b i a , August 26, 28, 29, 1962. 1022 Reading from For Love 1962 ( l l ) . R e c o r d i n g made by Stan P h i l l i p s f o r a r e c o r d which was never p r e s s e d . R e l a t e d l e t t e r 1080 1023 Reading from The I s l a n d 1963 (12) and poems a f t e r Words 1967 (26 ) , F e b r u a r y 8, 1968 at the Uni v e r s i t y of B r i t i s h C o l u m b i a , Vancouv e r . 1024 I n t e r v i e w wi th Ann C h a r t e r s , J u l y 7, 1969, i n Annisquam, M a s s a c h u s e t t s . Par t of t h i s i n t e r v i e w was p u b l i s h e d i n The  S p e c i a l View of H i s t o r y , by C h a r l e s O l s o n , 1970 (108) . A u d i o - V i s u a l Department , John M. O l i n L i b r a r y , Washington U n i v e r s i t y 1025 Reading from For Love 1962 ( l l ) and l a t e r poems, May 3, 1965 at Washington U n i v e r s i t y . 1026 Reading from the m a n u s c r i p t of The Charm 1967 (32) and from Words 1967 (26 ) , A p r i l 28, 1967 at Washington U n i v e r s i t y . J o i n t r e a d i n g with Robert Duncan. D LETTERS Harvard U n i v e r s i t y 1027 Two l e t t e r s to e . e . cummings, January 31, 1946, f o r The H a r - v a r d Wake (174) . ; 2 37 U n i v e r s i t y of C a l i f o r n i a , Los Angeles 1028 Four l e t t e r s to C l a r k C o o l i d g e , October 26, 1963 to August 18, 1964. 1029 Two l e t t e r s to Aram S a r o y a n , one dated F e b r u a r y 20, 1966, one undated . Brown U n i v e r s i t y 1030 Nine l e t t e r s to W i n f i e l d Touinley S c o t t , August 1, 1961 to October 24, 1965. 1031 Two l e t t e r s to W i l l i a m K i n t e r , January 26 and May 12, 1965. 1032 One l e t t e r to Roger E . S t o d d a r d , then C u r a t o r of the H a r r i s C o l l e c t i o n , Brown U n i v e r s i t y , F e b r u a r y 17, 1964. See 1080 S t a t e U n i v e r s i t y of New York at B u f f a l o 1033 14 l e t t e r s to Eugene Wagner, then e d i t o r of G l a s s H i l l and A s s i s t a n t C u r a t o r of the Poetry C o l l e c t i o n at S . U . N . Y . A . B . , February 28, 1950 to A p r i l 15, 1954. A l s o one l e t t e r to Martha S. Koes ter of the L i b r a r y , S . U . N . Y . A . B . , November 27, 1954. See 1087 1034 One l e t t e r to Pe ter R u s s e l l , e d i t o r of Ni ne, November 16, 1951. U n i v e r s i t y of A l b e r t a , Edmonton 1035 18 l e t t e r s r e l a t e d to the p u b l i c a t i o n of The F i n g e r 1968 (30 ) . One l e t t e r from John M a r t i n , the p u b l i s h e r , to Robert I n d i a n a , March 28, 1968. Two l e t t e r s from Graham M a c k i n t o s h , the p r i n t e r , to John M a r t i n , January 29 and 30, 1968. Nine l e t t e r s from C r e e l e y to John M a r t i n , August 14, 1967 to May 27, 1968. S i x l e t t e r s from Bobbie C r e e l e y , the i l l u s t r a t o r , to John M a r t i n , January 13 to March 19, 1968, two of which have notes by C r e e l e y . See 1082 Northwes tern U n i v e r s i t y 1036 11 l e t t e r s to Nick Dean, August 11, 1954 to A p r i l 18, 1959. 1037 Seven l e t t e r s to LeRo i Jones , r e g a r d i n g The Moderns 1963 238 (64) and o ther t h i n g s , June 4, 1962 to November 23, 1963. See 1080 \u2022\u2022 1038 Seven l e t t e r s to Jon Edgar Webb, e d i t o r of O u t s i d e r , and Jon Edgar Webb, J r . , J u l y 29, 1960 to A p r i l 1, 1963. See 263, 1086 1039 One l e t t e r to the e d i t o r of J o u r n a l f o r the P r o t e c t i o n of A l l  B e i n g s , J u l y 3, 1961. Y a l e U n i v e r s i t y 1040 37 l e t t e r s to W i l l i a m C a r l o s W i l l i a m s , F e b r u a r y 11, 1950 to September 23, 1962; the f i r s t l e t t e r s i n v o l v e d a magazine C r e e l e y was t r y i n g to s t a r t up. One l e t t e r to Mrs . W i l l i a m s , November 20, 1961. See 1083-Simon E r a s e r U n i v e r s i t y 1041 60 l e t t e r s to R i c h a r d W i r t z Emerson, who with F r e d e r i c k Eckman e d i t e d Golden Goose and o p e r a t e d the Golden Goose Pres s which p u b l i s h e d Le Fou 1952 ( l ) , A p r i l 24, 1950 to October 9, 1952. Regard ing a magazine C r e e l e y was t r y i n g to s t a r t up; C r e e l e y ' s poems p u b l i s h e d i n Golden Goose, e spe -c i a l l y i n \"Antho logy : Le F o u \" , S e r i e s 4, No. 5, October 1952 (52) ; the p u b l i c a t i o n of Le Fou; e t c . See 1092-95. The U n i v e r s i t y of Chicago 1042 50 l e t t e r s tg Henry Rago, e d i t o r of P o e t r y , March 6, 1956 to September 22, 1961. See 1045, 1053, 1072, 1084 1043 13 l e t t e r s to John F r e d e r i c k Nims, e d i t o r of P o e t r y , October 9, 1960 to J u l y 27, 1961. See 1046, 1072 1044 Three l e t t e r s to Miss S c h a e f e r , s e c r e t a r y f o r P o e t r y , A p r i l 21 to November 4, 1960. See 1046 1045 23 l e t t e r s ( carbons ) from Henry Rago, F e b r u a r y 4, 1957 to September 11, 1961. See 1042, 1072 1046 One l e t t e r from John F r e d e r i c k Nims, October 3, 1960 and one l e t t e r from Miss S c h a e f e r , November 11, 1960. See 1043, 1072 1047 Three l e t t e r s from S c r i b n e r ' s , C r e e l e y ' s p u b l i s h e r s , to P o e t r y , November 17 to December 12, 1961. One l e t t e r from P o e t r y to S c r i b n e r ' s , December 6, 1961. One l e t t e r from Henry Rago to Doubleday & C o . , J u l y 8, 1958. See 1057, 1071 The U n i v e r s i t y of T e x a s , A u s t i n 1048 20 l e t t e r s to Edward D a h l b e r g , January 24, 1955 to A p r i l 15, 1965. See 1089 1049 49 l e t t e r s to L o u i s Z u k o f s k y , November 10, 1954 to August 19, 1964. See 1081, 1091, 1050 Seven l e t t e r s to C i d Corman, e d i t o r of O r i g i n , December 21, 1953 to A p r i l 29, 1955, c o n c e r n i n g B l a c k Mountain Review (176) , e t c . See 1056 1051 Seven l e t t e r s to Ian H a m i l t o n F i n l a y , October 16, 1961 to September 8, 1964. See 1090 1052 One l e t t e r to J e s s i e M c G u f f i e , March 3, 1962. I n d i a n a U n i v e r s i t y 1053 26 l e t t e r s to Henry Rago, the e d i t o r of P o e t r y , January 24, 1962 to December 3, 1967. See 1042, 1045 1054 Three l e t t e r s to C h a r l e s O l s o n , August 30, September 11 and [ F a l l ] 1950, none of' which were s e n t . See 1080, 1097 1055 One l e t t e r to Mrs . Simon, August 21, 1954. 1056 354 l e t t e r s to C i d Corman, e d i t o r of O r i g i n , December 14, 1949 to November.22, 1955, c o n c e r n i n g O r i g i n ; o ther magazines , e d i t o r s , and w r i t e r s ; books , p o e t r y , p r o s e , f r i e n d s ; poems, s t o r i e s , and essays C r e e l e y was then w r i t i n g ; The D i v e r s Press (179, 180); B l a c k Mountain Review (176); p e r s o n a l mat ters r e l a t e d to The  I s l a n d 1963 (12) ; e t c . See 1050, 1099 Washington U n i v e r s i t y From C r e e l e y 1057 26 l e t t e r s to Donald H u t t e r , C r e e l e y ' s e d i t o r at S c r i b n e r ' s , June 1, 1960 to June 6, 1964, c o n c e r n i n g The I s l a n d 1963 (12) . See 1047, 1071, 1104 1058 E i g h t l e t t e r s to W i l l i a m Matheson, C h i e f , George N. Mei s sner Rare Book Department , Washington U n i v e r s i t y , and Mona V\/an Duyn, Poe try C o n s u l t a n t , J u l y 31, 1964 to August 29, 1968, r e g a r d i n g the Washington U n i v e r s i t y c o l l e c t i o n . See 1073 240 1D59 Two l e t t e r s to Dudley Wynn, A c t i n g Cha irman, Department of Language and L i t e r a t u r e , U n i v e r s i t y of New Mex ico , December 27 and 28, 1965. 1060 Two l e t t e r s to Mrs . Ward Raymond, June 29, 1945. 1061 42 l e t t e r s to Henry Wenning, d e a l e r i n r a r e books and manu-s c r i p t s , October 11, 1963 to August 17, 1967, c o n c e r n i n g the s a l e of books and m a n u s c r i p t s and the p u b l i c a t i o n of The  Charm 1967 (32) . See 1062, 1070, 107e 1062 33 l e t t e r s to Wal ter Hamady of The P e r i s h a b l e P r e s s , Septem-ber 7, 1964 to November 25, 1967, c o n c e r n i n g the p u b l i c a t i o n of Words 1965 (20 ) , For J o e l 1966 (24 ) , and The Charm 1967 \u2022 (32 ) . See 1014, 1061, 1070, 1078, 1107, 1109, 1111 1063 D r a f t of one t e l egram to Byron M c M i l l a n , F e b r u a r y 23, 1970. One l e t t e r \"To whom i t may c o n c e r n \" , November 30, 1967, a g a i n s t the Vietnam War. 1064 One l e t t e r each to ten c o r r e s p o n d e n t s , i n c l u d i n g The World  Review, January 16, 1953; Mrs . O . S . C r e e l e y , J u l y 30, 1959; Jacob Z i l b e r , Department of C r e a t i v e W r i t i n g , the U n i v e r s i t y of B r i t i s h C o l u m b i a , Vancouver , September 6, 1962; A l l e n G i n s b e r g , September 17, 1962; Diane d i P r i m a , September 3, 1964 (see 1081); [ O l g a ] Rudge, E z r a Pound's m i s t r e s s , January 3, 1968; and The Albuquerque J o u r n a l , September 16, 1968. 1065 Two l e t t e r s to Wal ter L o w e n f e l s , J u l y 31 and August 5, 1966. [ In the Wal ter Lowenfe l s p a p e r s . ] See 1108 1066 Two l e t t e r s to Timothy L e a c h , A p r i l 15 and 28, 1965. [ In the Timothy Leach p a p e r s . ] 1067 12 l e t t e r s to Alexander T r o c c h i , [ O c t o b e r ] 1953 to A p r i l 16, 1965, r e l a t e d to The I s l a n d 1963 (12) . [ i n the Alexander T r o c c h i p a p e r s . ] About C r e e l e y 1068 Four l e t t e r s r e l a t e d to or i n c o r p o r a t e d i n The I s l a n d 1963 (12) . M a r t i n Seymour-Smith to C r e e l e y [ C a . 1953-54]; Ann C r e e l e y to J u l i e [Eas tman] , June 27 [1954]; Ruth F . Stevens to Ann C r e e l e y , December 6, 1954; A u s t r y n Wainhouse to Ann C r e e l e y , J u l y 7, 1955. [Kept with The I s l a n d m a n u s c r i p t s . ] 241 1069 Correspondence r e g a r d i n g a c o n t r o v e r s y which arose when Robert V\/as Dias of the American Language I n s t i t u t e used poems by C r e e l e y and Gary Snyder i n the C u l t u r a l Program of Monett S c h o o l s ((Ylonett, M i s s o u r i ) . See 147, 276 1070 27 l e t t e r s between Henry Wenning and Wal ter Hamady, August 18, 1966 to November 6, 1967, r e g a r d i n g the p u b l i c a t i o n of The Charm 1967 (32 ) . See 1061-62, 1078 To C r e e l e y 1071 41 l e t t e r s from Donald H u t t e r , and o t h e r s , of S c r i b n e r ' s , August 17, 1962 to December 7, 1964. See 1047, 1057 1072 37 l e t t e r s from Henry Rago and John F r e d e r i c k Nims, e d i t o r s , and o t h e r s , of Poe t r y , F e b r u a r y 8, 1960 to November 23, 1964. See 1042-47, 1053 1073 Four l e t t e r s from W i l l i a m (Ylatheson and Mona Van Duyn, of Washington U n i v e r s i t y , J u l y 29, 1964 to August 4, 1964. See 1058. . 1074 Ten l e t t e r s from Donald A l l e n , October 30, 1963 to August 24, 1964. 1075 E i g h t l e t t e r s from Leonore Germann, H . G . G o p f e r t , and o t h e r s , of C a r l Hanser , German p u b l i s h e r s , September 8, 1961 to Sep-tember 5, 1963. 1076 16 l e t t e r s from Mar ion (Lobbenberg) Boyars and John C a l d e r , of C a l d e r and B o y a r s , C r e e l e y ' s B r i t i s h p u b l i s h e r s , J u l y 15, 1963 to September 9, 1964, and one l e t t e r of J u l y 15, 1969. 1077 20 l e t t e r s from M o l l i e Waters , and o t h e r s , of C u r t i s Brown, f o r e i g n l i t e r a r y agents for S c r i b n e r ' s , C r e e l e y ' s American p u b l i s h e r s , October 10, 1962 to September 10, 1964. 1078 42 l e t t e r s from Henry Wenning, September 16, 1963 to August 21, 1967. See 1061-62, 1070 1079 22 l e t t e r s from the Guggenheim F o u n d a t i o n ; members of the f a c u l t y at the S t a t e U n i v e r s i t y of New York at B u f f a l o ; and E l i z a b e t h K r a y , and o t h e r s , of The Poetry C e n t e r ; November 30, 1961 to A p r i l 2, 1964. 1080 94 l e t t e r s , s e v e r a l from each of v a r i o u s c o r r e s p o n d e n t s , ' \u2022 242 i n c l u d i n g Dav id Ignatow, Roger E . S toddard (see 1032) , LeRoi Jones (see 1037) , Chad Walsh ( see 70) , Andrew C r o z i e r , L i t a H o r n i c k , W i t t e r Bynner , Stan P h i l l i p s (see 1022), John Logan , Dav id S c h a f f , K l a u s R e i c h e r t , and C h a r l e s Olson (see 1054); May 21, 1960 to J a n u a r y . 3 0 , 1965. 1081 68 l e t t e r s , one each from v a r i o u s c o r r e s p o n d e n t s , i n c l u d i n g Tom C r e e l e y , L o u i s Zukofsky (see 1049) , Lawrence F e r l i n g h e t t i , W.S. Merwin, Diane d i Prima (see 1064) , Denise L e v e r t o v , F r e d e r i c k Eckman, Robert B. He i lman , Robert Beum, Kenneth R e x r o t h , and Anselm H o l l o ; May 31, 1958 to March 11, 1968. ' E MANUSCRIPTS The d e s c r i p t i o n of the m a n u s c r i p t s as e a r l y , s e m i - f i n a l , and f i n a l d r a f t s r e f e r s to the c l o s e n e s s of the d r a f t to the p u b l i s h e d v e r s i o n of the work. In many cases the s e m i - f i n a l or f i n a l d r a f t was C r e e l e y ' s f i r s t d r a f t . Reference i s made to the p u b l i s h e d v e r s i o n s of a l l w r i t i n g s except poems; p l e a s e use the Index to Poems to t r a c e a l l p u b l i c a t i o n s of i n d i v i d u a l poems. Poems are sometimes i d e n t i f i e d by t h e i r main e n t r y number. U n i v e r s i t y of A l b e r t a , Edmonton 1082 F i n a l t y p e s c r i p t of The F i n g e r 1968 (30) , r e a d i e d f o r the p r i n t e r . C o n s i s t s of the f i n a l d r a f t of the poem, \"The F i n g e r \" , as i n the p u b l i s h e d book. Sent to John M a r t i n , the p u b l i s h e r , i n a l e t t e r of October 17, 1967 (1035) . Other d r a f t s 1113, 1115b Y a l e U n i v e r s i t y 1083 M a n u s c r i p t s of poems i n c l u d e d i n l e t t e r s to W i l l i a m C a r l o s W i l l i a m s (1040) . F i n a l d r a f t of \" A i r s 'Cat B i r d S i n g i n g ' \" i n a l e t t e r of October 31, 1955. F i n a l d r a f t of \"The Rose\" i n a l e t t e r of January 10, 1960. D r a f t of u n p u b l i s h e d poem \"A R i d d l e \" i n a l e t t e r of December 7, 1955. The U n i v e r s i t y of Chicago 1084 F i n a l d r a f t s of a l l the works l i s t e d i n 1004 except \"Ways of 243 L o o k i n g \" . A l s o , f i n a l d r a f t s of \"Sing Song\" and \"The Ges-t u r e \" . The t y p e s c r i p t s were sent s e v e r a l l y i n l e t t e r s to Henry Rago; f o r some of the l e t t e r s see 1042. R e l a t e d l e t t e r s 1043-47, 1053, 1072 Northwestern U n i v e r s i t y 1085 Poems (Not i n The W h i p ) . T y p e s c r i p t , c a . 1957-59, of poems l e f t out of C r e e l e y ' s s e l e c t e d poems The Whip 1957 ( 8 ) . Typed up by Diane d i Prima from C r e e l e y ' s e a r l y books f o r her own use . 1086 M a n u s c r i p t s i n l e t t e r s to Jon Edgar Webb (1038) . F i n a l d r a f t s of \" M i n d ' s H e a r t \" , \" T h e End of the Day\", and \"The B i r d \" i n l e t t e r of J u l y 29, 1960. F i n a l d r a f t of \"More on Kearns\" (975) i n l e t t e r ofNovember 11, 1962. See 567, 584, 592 S t a t e U n i v e r s i t y of New York at B u f f a l o 1087 E a r l y d r a f t s of \"The Rhyme\" and \"The C a r n i v a l \" . F i n a l d r a f t of \"The Crow\". C r e e l e y d e s c r i b e s these m a n u s c r i p t s i n a l e t t e r to Eugene Magner, A p r i l 15, 1954 (1033) . Brown U n i v e r s i t y 1088 T y p e s c r i p t of e i g h t poems e n c l o s e d as a f o u r - p a g e p o s t s c r i p t to a l e t t e r to Paul B l a c k b u r n , l a t e 1958. F i n a l or s e m i -f i n a l d r a f t s of \"The H i l l \" , \"A G i f t of Great V a l u e \" , \"My Love\" , \"Going to Bed\", \"The Door\" (\"Thump. Thump.\") , \"The F r i e n d \" . E a r l y d r a f t of \"Somewhere\". D r a f t of u n p u b l i s h e d poem \"The Dance\". The U n i v e r s i t y of T e x a s , A u s t i n 1089 M a n u s c r i p t s i n l e t t e r s to Edward Dah lberg (1048) . F i n a l d r a f t s of \"The H i l l \" and \"My Love\" i n l e t t e r of F e b r u a r y 21, 1959. F i n a l d r a f t (carbon) of \"The Dress\" (470) a p p a r e n t l y i n c l u d e d i n an undated l e t t e r . 1090 F i n a l d r a f t s of \"For No C l e a r Reason\", \"The I n v i t a t i o n \" , \"The Rhythm\", \"Water\" (\"The s u n ' s \/ sky i n \" ) , \"Song\" (\"The 244 g r i t \/ of t h i n g s \" ) , \"One Way\", p r o b a b l y sent i n a l e t t e r to Ian Hami l ton F i n l a y , c a . S p r i n g 1964. R e l a t e d l e t t e r 1051 1091 M a n u s c r i p t s i n l e t t e r s to L o u i s Zukofsky (1049) . F i n a l d r a f t s of poems 510, 521, 528, 552, 560, 564, 567, 591 (show-i n g c u t s suggested by Z u k o f s k y ) , 592, 609, 844. E a r l y d r a f t s of poems 522 and 588 (both showing cu t s suggested by Z u k o f s k y ) , and 542 (wi th a n . e x t r a s t a n z a ) . D r a f t s of u n p u b l i s h e d poems \"The Hen\" and \"I T h i n k \" . S e m i - f i n a l d r a f t of \"A Note on L o u i s Zukofsky\" (144) i n l e t t e r of March 2, 1964. Other d r a f t s 1142 Simon E r a s e r U n i v e r s i t y M a n u s c r i p t s sent to R i c h a r d W i r t z Emerson (see 1041). .1092 E a r l y t y p e s c r i p t d r a f t of \"A Note on O b j e c t i v i t y \" (\"A Note on the O b j e c t i v e \" , 9 2 2 ) , v i r t u a l l y i d e n t i c a l to t y p e s c r i p t at Washington U n i v e r s i t y (1133) , w i t h a note to R i c h a r d W i r t z Emerson at the bottom. Another d r a f t 1153 1093 T y p e s c r i p t d r a f t of \"From Type to P r o t o t y p e \" , a l o n g , unpub-l i s h e d e s say . 1094 T y p e s c r i p t s of poems sent to R i c h a r d W i r t z Emerson, p r o b a b l y w i t h l e t t e r s (1041) from A p r i l 24, 1950 to A p r i l 24, 1951. \"From P i c o & the Women: A L i f e \" , i n f i v e s e c t i o n s of which o n l y t h r e e were l a t e r p u b l i s h e d . \"The Poor Season\", a poem-sequence of which on ly one p a r t , t i t l e d \"He las\" , has been p u b l i s h e d . \"Otto Rank & O t h e r s \" , an e a r l y d r a f t of a poem r e t i t l e d \"Hart Crane\" (\"He had been s t u t t e r i n g \" ) . U n p u b l i s h e d poem, \"The P r i m i t i v e s \" , e n c l o s e d wi th a l e t t e r of May 10, 1950. 1095 T y p e s c r i p t of Le Fou 1952 ( l ) and \"Antho logy: Le F o u \" , pub-l i s h e d i n Golden Goose, S e r i e s 4, No. 5, October 1952 (52) . C o n s i s t s of poems sent s e v e r a l l y i n l e t t e r s (1041) to R i c h a r d W i r t z Emerson. I n c l u d e s f i n a l d r a f t s of a l l the poems pub-l i s h e d i n Le Fou and \"Antho logy: Le F o u \" \u2014 f o r l i s t of t i t l e s see 1 and 52. A l s o , d r a f t s of t h r e e u n p u b l i s h e d poems, \"The L e t t e r \" (\"Brown, dark grey a g a i n s t \/ the sun\") , \"Popular Song\", and \" L y r i c f o r Dave\" (a poem i n c l u d e d with a l e t t e r of May 10, 1950) . Two e a r l i e r d r a f t s of \" L i t t l e t o n , N . H . \" ( the , \u2022 . 245 second dated J u l y 24, 1950) are i n c l u d e d . See 1099 _;irj_9..6 T y p e s c r i p t [June 18, 1952] f o r p o s s i b l e p u b l i c a t i o n of group of s t o r i e s . C o n s i s t s of t y p e s c r i p t s of four s t o r i e s p u b l i s h e d i n The Gold D i g g e r s 1954 (4) w i th note on e a r l i e r p u b l i c a t i o n s , o r d e r , e t c . F i n a l and s e m i - f i n a l d r a f t s of \"Mr Blue\" (457), \"The P a r t y \" (460) , \"3 Fate T a l e s \" (459), and \"The Grace\" ,,(464) . I n d i a n a U n i v e r s i t y 1097 T y p e s c r i p t j o u r n a l kept by C r e e l e y January 1, 1950 to October 18, 1951 which i n c l u d e s p e r s o n a l no tes , t h e o r i e s of p o e t r y and p r o s e , and working notes f o r s t o r i e s , a r t i c l e s , l e t t e r s , and poems ( i n c l u d i n g an e a r l y d r a f t of p a r t 2 of \" D i v i s i o n s \" ) . I n c l u d e s d r a f t s of four u n p u b l i s h e d a r t i c l e s : \"An Open L e t t e r \" , \"A Note on American P o e t r y : 1951\" ( i n t e n d e d f o r the proposed American i s s u e of Fragmente ) , \"Notes on American P o e t r y : 1951\" (a r e w r i t e of the p r e v i o u s work) , and \"Notebook\" (June 21, 1951; e x c e r p t s from the j o u r n a l and the August 30, 1950 l e t t e r to O l s o n l i s t e d i n 1054). 1098 Typ e s c r i p t s of s t o r i e s , 1949-53, p u b l i s h e d i n The Gold  D i g g e r s 1954 (4). F i n a l d r a f t s of \"A Death\" (458), \"The P a r t y \" (460) wi th C r e e l e y ' s comments on the s t o r y , \"The Seance\" (463), \"Jardou\" (465), \"The Boat\" (466), and \"The Gold D i g g e r s \" (467). S e m i - f i n a l d r a f t s of \"The Grace\" (464), \"The Lover\" (461), and \"The S u i t o r \" (468). Three v a r i a n t d r a f t s each of \"Mr Blue\" (457) and \"3 Fate T a l e s \" (459), some with C h a r l e s O l s o n ' s comments. 1099 M a n u s c r i p t s i n l e t t e r s to C i d Corman (1056). F i n a l or s emi -f i n a l d r a f t s of poems 484, 487, 488, 490, 491, 495, 498, 778, 780, 787, 791, 792, 795, 796, 808, 810, 811, 824. E a r l y d r a f t s of poems 474 and 483. D r a f t s of u n p u b l i s h e d poems \"The Hawk\", \"The L e t t e r \" ( i d e n t i c a l d r a f t to tha t i n 1095), \"The Dead\", \"The L i o n s \" , \"The A c t \" , \"The Runner\", \" P o s s i b i l i t y of T h o r n \" . S e m i - f i n a l d r a f t of s t o r i e s \"The P a r t y \" .(460) , i n l e t t e r of September 12, 1951 and \"Jardou\" (465), i n l e t t e r of October 27, 1951. D r a f t s of u n p u b l i s h e d e s s a y s , \"A Statement\", sent c a . August 1953, and \"The L i m i t s of C r i t i c i s m \" , sent c a . October 1953 (another d r a f t 1119). . \u2022 246 1100 D r a f t of \"The C o n s p i r a c y \" , an u n p u b l i s h e d s e l e c t i o n of poems compi l ed c a . 1955. F i n a l or s e m i - f i n a l d r a f t s of poems l a t e r p u b l i s h e d i n For Love 1962 ( l l ) : 472-475, 477-494, 496, 498, 499, 501, 503, 507-509, F i n a l or s e m i - f i n a l d r a f t s of poems l a t e r p u b l i s h e d i n The Charm 1969 (41) : 788, 789, 797, 799, 807, 812-814, 819, 820, 823, 824, 828, 834. A l s o , e a r l y d r a f t of \"For the New Year\" and d r a f t s of two u n p u b l i s h e d poems, \" W o r l d ' s End\" and \"For David on h i s B i r t h d a y \" . 1101 D r a f t s of poems 1955-61. F i n a l or s e m i - f i n a l d r a f t s of poems l a t e r p u b l i s h e d i n For Love 1962 ( l l ) : 503, 510, 512-516, 518, 520, 521, 524-527, 529, 530, 532-539, 542, 544, 545, 548-550, 552, 553, 555-606. E a r l y d r a f t s of poems l a t e r p u b l i s h e d i n For Love: 503, 513, 522, 527, 530, 541, 588. F i n a l or s e m i - f i n a l d r a f t s of poems l a t e r p u b l i s h e d i n The  Charm 1969 (41) : 821, 836-841, 843, 844. F i n a l or s e m i -f i n a l d r a f t s of poems l a t e r p u b l i s h e d i n Words 1967 (26) : 607, 609-611. D r a f t s of u n p u b l i s h e d poems, \"The T r e e s \" , \"I Don' t Th ink So\", \"I T h i n k \" , \"Lost at Sea\", \"Canzone I\", \"To My Lady R a t c l i f f e . . . \" , \"The Commitment of Sounds\". E a r l y prose d r a f t of poem \"The T r e e s \" . A l s o , notes on t a b l e of c o n t e n t s and acknowledgements f o r For Love . 1102 \"Notes on the M a n u s c r i p t s \" , November 6, 1961, d e s c r i b i n g the m a n u s c r i p t s sent to I n d i a n a U n i v e r s i t y . Washington U n i v e r s i t y C r e e l e y d e s c r i b e s the m a n u s c r i p t s i n l e t t e r s to W i l l i a m Matheson, Mona Van Duyn, and Henry Wenning (1058, 1061) and i n manuscr ip t notes (1131) . M a n u s c r i p t s of Poems and Separate P u b l i c a t i o n s 1103 Dummy f i n a l d r a f t , wi th C r e e l e y ' s n o t a t i o n s , of A S n a r l i n g  G a r l a n d 1954 ( 5 ) . F i n a l d r a f t s of \"Chanson\", \"Hi T h e r e ! \" , \"Don't S ign A n y t h i n g \" , \"Sopa\", \"The C o n s p i r a c y \" . 1104 T y p e s c r i p t of For Love 1962 ( l l ) . F i n a l d r a f t , r e a d i e d f o r the p r i n t e r , w i th p r e f a c e (917) , c o r r e c t e d t a b l e of c o n t e n t s , and a l l the poems i n the p u b l i s h e d v e r s i o n ( f o r l i s t of 247 t i t l e s see 472-606) . I n c l u d e s l a y o u t s h e e t s , a d d i t i o n a l p r i n t e r ' s i n s t r u c t i o n s , c o r r e c t i o n s to \" B a l l a d of the Des-p a i r i n g Husband\" and \"The Time\", and p r i n t e r ' s markings t h r o u g h o u t . T h i s i s a p p a r e n t l y the t y p e s c r i p t sent by C r e e l e y to Donald H u t t e r , h i s e d i t o r at S c r i b n e r ' s , on September 26, I960 (see l e t t e r of September 25, 1960, 1057) . 1105 T y p e s c r i p t s of The I s l a n d 1963 (12) and m a n u s c r i p t s r e l a t e d to The I s l a n d . R e l a t e d l e t t e r s 1056, 1057, 1067, 1068, 1071 a M a n u s c r i p t j o u r n a l , J u l y 11-21, 1955, wi th comments on C r e e l e y ' s f i r s t m a r r i a g e , r e l a t i o n s wi th f r i e n d s . b M a n u s c r i p t notes on l oose s h e e t s , concerned wi th p l a n s and c o r r e c t i o n s f o r The I s l a n d . c O r i g i n a l working d r a f t of The I s l a n d , t y p e s c r i p t , wi th h a n d w r i t t e n d e l e t i o n s and c o r r e c t i o n s . F i n i s h e d January 6, 1963 (begun F a l l I960) . With two d r a f t s of the e n d i n g , the second completed F e b r u a r y 20, 1963. d S e m i - f i n a l t y p e s c r i p t of The I s l a n d , i n c o r p o r a t i n g c o r -r e c t i o n s noted by C r e e l e y and Bobbie C r e e l e y (1203) wi th r e v i s i o n s i n the f i n a l p a r t s . L a s t r e v i s i o n s dated F e b r u a r y 20, 1963. e F i n a l t y p e s c r i p t of The I s l a n d , r e a d i e d ' f o r the p r i n t e r . 1106 S e m i - f i n a l t y p e s c r i p t d r a f t s of t h r e e s t o r i e s p u b l i s h e d i n The Gold D i g g e r s 1965 (17): \"The M u s i c i a n s \" (469) , \"The Book\" (471) , \"The S u i t o r \" (468) . A l s o , notes f o r acknow-ledgements f o r the B r i t i s h e d i t i o n (17) and d r a f t of an u n -p u b l i s h e d s t o r y , \"The C o n v e r s a t i o n \" (dated November 12, I960 ) . 1107 T y p e s c r i p t of Words 1965 (20) . F i n a l d r a f t , r e a d i e d f o r the p r i n t e r , c o n t a i n i n g a l l the poems ( f o r l i s t of t i t l e s see 20) i n the p u b l i s h e d v e r s i o n . A p p a r e n t l y sent to Wal ter Hamady, t h e - p u b l i s h e r , i n a l e t t e r of J u n e . 8 , 1965 (1062) . 1108 F i n a l d r a f t s of \"The S i g n Board\" and \"For No C l e a r Reason\" i n l e t t e r to Wal ter Lowenfe l s of August 5, 1966 (1065) . See 81. The poems were taken from For Love 1962 ( l l ) . 1109 T y p e s c r i p t of For J o e l 1966 (24 ) . F i n a l d r a f t , r e a d i e d f o r the p r i n t e r , of the poem \"For J o e l \" . A p p a r e n t l y sent to Wal ter Hamady,. the p u b l i s h e r , i n a l e t t e r of June 4, 1966 (1062) . 248 1110 T y p e s c r i p t s of Words 1967 (26 ) . a D r a f t s of poems c o l l e c t e d as they were w r i t t e n i n t o a rough m a n u s c r i p t f o r Words 1967. E a r l y and f i n a l d r a f t s of preface (920), e a r l y d r a f t of t i t l e page. F i n a l or s e m i -f i n a l d r a f t s of poems i n Words 1967: 607, 608, 610, 611, 618, 620-626, 628-651, 653-656, 658-660, 662, 663, 665, 667, 668, 670-674, 677, 680, 681, 683-687, 689-691. E a r l y d r a f t s of poems i n Words 1967: 612, 614-617, 619, 627, 637, 644, 652, 657, 661, 664,' 666, 669, 675, 678, 679, 682, 685, 688, 689. A l s o , e a r l y d r a f t s of 855 and 900. D r a f t of an u n p u b l i s h e d a u t o b i o g r a p h i c a l no te . D r a f t s of u n p u b l i s h e d poems, \"The B i t s \" , \"Around\" , \"Next\", \"Speak-i n g \" , \"Here\" (\"You want \/ the e a r t h \" ) , \"Rocks\", \" S i d ' s Rhymes\", \" P l a c e s \" , \"So\", \"Pieces\" (\"I t a l k as i f \" ) , \"The F i s h \" , \"The Door\" (\"There are no \/ o ther \/ doors\"). , \" A p r i l 19th\", and four u n t i t l e d , u n f i n i s h e d poems. b S e m i - f i n a l t y p e s c r i p t d r a f t (xerox) of Words 1967, r e a d -i e d f o r the p r i n t e r . F i n a l or s e m i - f i n a l d r a f t s of poems p u b l i s h e d i n Words 1967: 613-660, 662-687. E a r l y d r a f t of \"A Method\". D r a f t of p a r t 0 f u n p u b l i s h e d poem \"The B i t s \" . 1111 T y p e s c r i p t s (xerox) of The Charm 1967 (32 ) . One complete f i n a l d r a f t , c o n t a i n i n g acknowledgements , p r e f a c e (110), and a l l the poems i n the p u b l i s h e d v e r s i o n ( f o r l i s t of t i t l e s see 3 2 ) . I n c l u d e s m a n u s c r i p t notes and l e t t e r from W a l t e r Hamady, September 17, 1967. A l s o , two i n c o m p l e t e c o p i e s ( l a c k i n g f r o n t matter and one or two poems), one a p p a r e n t l y ' the p r i n t e r ' s copy sent by C r e e l e y to Wal ter Hamady, the p u b l i s h e r , i n l e t t e r of June 20, 1967 (1062) . 1112 T y p e s c r i p t (xerox) of D i v i s i o n s 1968 (36) . F i n a l d r a f t , r e a d i e d f o r the p r i n t e r , c o n t a i n i n g a l l the poems i n the p u b l i s h e d v e r s i o n ( f o r l i s t of t i t l e s see 36) and m a n u s c r i p t acknowledgements for each poem. These were the xerox c o p i e s of poems p u b l i s h e d i n p e r i o d i c a l s sent to C r e e l e y by L o w e l l Cohn i n the S p r i n g of 1968. A l s o , one carbon t y p e s c r i p t of \"The Method of A c t u a l i t y \" . 249 1113 E a r l y d r a f t of The F i n g e r 1968 (3D) . E a r l y m a n u s c r i p t d r a f t (xerox) w i th i n c o m p l e t e t y p e s c r i p t d r a f t . One page of t h i s m a n u s c r i p t was p r i n t e d i n P a r i s Review, X I , No. 44, F a l l 1968 (701) . Other d r a f t s 1082, 1115b 1114 T y p e s c r i p t of P i e c e s 1968 (37) . F i n a l d r a f t , r e a d i e d f o r the p r i n t e r , c o n t a i n i n g a l l the poems i n the p u b l i s h e d work ( f o r l i s t of t i t l e s see 37) . Carbon copy 1115d 1115 M a n u s c r i p t s and t y p e s c r i p t s of P i e c e s 1969 ( 3 9 ) . a D r a f t s of \"Numbers\" (709) . E a r l y m a n u s c r i p t d r a f t of par.t of \" E i g h t \" , two e a r l y m a n u s c r i p t d r a f t s of \"Seven\", and f i n a l d r a f t of one s e c t i o n of \" Z e r o \" . b M a n u s c r i p t j o u r n a l , F e b r u a r y 10, 1966 to November 18, 1967. F i n a l or s e m i - f i n a l d r a f t s of poems i n P i e c e s 1969: 692, 698-700, 701 ( p a r t o n l y ) , 702, 703, 705., 706 ( p a r t s 1 -3) . E a r l y d r a f t of p a r t 4 of \" ' T i m e ' i s some s o r t of h i n d s i g h t \" . Four s h o r t u n p u b l i s h e d notes on w r i t i n g . Three u n t i t l e d , u n p u b l i s h e d poems. A d d r e s s e s , e t c . c M a n u s c r i p t j o u r n a l , January 15, 1968 to August 16, 1968. F i n a l or s e m i - f i n a l d r a f t s of poems i n P i e c e s 1969: 708, 709 (poems 1 - 6 , 8 ) , 710-725, 728-735, 737-744, 745 ( p a r t s 1 - 5 , 7 - 1 0 ) , 746, 747, 748 ( p a r t s 2 - 4 ) , 749-764. E a r l y d r a f t s of poems i n P i e c e s 1969: 709 (poems 6 - 9 , 1 0 ) , 745 ( p a r t s 6 , 1 1 ) , 748 ( p a r t l ) , D r a f t s of u n p u b l i s h e d poems, \"What?\", \"How to\" , and one u n t i t l e d poem. Four u n p u b l i s h e d prose n o t e s . I n t e r p o l a t e d notes by B i l l F r i t s c h , poem by Kate C r e e l e y . d M a n u s c r i p t and t y p e s c r i p t d r a f t s of poems on l o o s e s h e e t s . F i n a l or s e m i - f i n a l d r a f t s of poems i n P i e c e s 1969: 693-697, 698 ( p a r t 3 ) , 699 ( p a r t l ) , 702 ( p a r t s 1 , 2 ) , 703 ( p a r t s 3 , 5 ) , 704, 706 ( p a r t 4 ) , 707, 708, 710 ( p a r t 2 ) , 711 ( p a r t 4 ) , 712, 714, 717 ( p a r t s 1 , 4 , 6 , 7 ) , 719, 720, 721 ( p a r t s 1 -3) , 722, 723, 726, 727, 736, 740, 742 ( p a r t s 3 , 4 ) , 743 ( p a r t s 1 , 2 , 4 ) , 745 ( p a r t s 1-10) . E a r l y d r a f t s of poems i n P i e c e s 1969: 694 ( p a r t l ) , 695, 726, 742 ( p a r t 5 ) , 745 ( p a r t 11) . [The on ly unique d r a f t s are 250 693-697, 704, 707, 726, 727, and 736. D r a f t s of the o ther poems a l s o appear i n a , b, and c a b o v e . ] F i n a l d r a f t s of a l l the poems p u b l i s h e d i n P i e c e s 1968 (see l i s t of t i t l e s 37); t h i s s e c t i o n of the manuscr ip t i s a c t u a l l y a carbon of the f i n a l t y p e s c r i p t of P i e c e s 1968 l i s t e d as 1114. D r a f t s of u n p u b l i s h e d poems, \"One\", \"Two\", \"Three\" , \" F o u r \" , \" F i v e \" (unused d r a f t s of \"Numbers\"), \"That\" , and one u n t i t l e d poem, e S e m i - f i n a l t y p e s c r i p t ( c a r b o n ) , r e a d i e d f o r the p r i n t e r . With a d d i t i o n a l poems at end to be i n s e r t e d i n t e x t , and e a r l y d r a f t of \"3 i n 1\". C o n t a i n s a l l poems i n p u b l i s h e d v e r s i o n (see l i s t of t i t l e s 692-764) . Some d a t e s , notes for acknowledgements , e t c . 1116 Notes f o r t i t l e , c o v e r , c o n t e n t s , and acknowledgements f o r The F i n g e r 1970 (44) . See 1017 1117 T y p e s c r i p t of A Day Book, to be p u b l i s h e d by G r a p h i s , B e r l i n , 1972. T i t l e page, page of notes on q u o t a t i o n s i n t e x t , and s e m i - f i n a l d r a f t of t e x t wi th pages dated November 19, 1968 to F e b r u a r y 27, 1969. D r a f t s of U n p u b l i s h e d E s s a y s , Reviews, Notes , and L e c t u r e 1118 The New Odyssey [June 29, 1952] [ rev i ew of I n t r o d u c t i o n to  A S c i e n c e of Mythology by C . J . Jung and C. K e r e n y i ] . 1119 The L i m i t s of C r i t i c i s m [September 25, 1953] [essay c o n c e r n -i n g p o e t r y ] . Another d r a f t 1099 1120 The G e n t l e Admoni t ion [August 22, 1954] [ p r e f a c e to proposed c o l l e c t i o n of c r i t i c i s m ] , 1121 [Review of The C o l l e c t e d L a t e r Poems, by W i l l i a m C a r l o s W i l l i a m s . ] [ 195 - ] 1122 [Notes c o n c e r n i n g dream, a n e c d o t e s . ] [195\u2014] 1123 I , Robert C r e e l e y , be ing of sound mind and b o d y . . . [June 16, 1961] . 1124[Manuscr ip t notes c o n c e r n i n g works sent out . Note c o n c e r n i n g 251 poems sent November 13, 1961 to \"New Poems\", a n t h o l o g y p r o -posed by Donald A l l e n . Notes l i s t i n g poems and prose sent out to p e r i o d i c a l s and a n t h o l o g i e s , 1958-1965. \"As of Febr uary 1965\", notes updated to 1969, of poems and prose sent out to p e r i o d i c a l s and a n t h o l o g i e s . ] ] 1125 Rules of Thumb [1961 or l a t e r ] [notes from O l s o n , Ulhatmough, o t h e r s ] . 1126 [ P l a n f o r renewing a p p l i c a t i o n f o r Guggenheim F e l l o w s h i p . ] [ c a . 1962-63] 1127 There are books enough \"about\" t h i n g s . . . [1964 or l a t e r ] [notes on Robert Duncan] , 1128 P l a n f o r R o c k e f e l l e r [March 20, 1965] , 1129 [ L o n g , a u t o b i o g r a p h i c a l n o t e . ] [June 26, 1966] 1130 I m a g i n a t i o n s of the C i t y [ l e c t u r e g i v e n at symposium at C e n t r a l Washington S t a t e C o l l e g e , E l l e n s b u r g , A p r i l 18, 1969] . 1131 [ M a n u s c r i p t notes d e s c r i b i n g m a t e r i a l s sent to Washington U n i v e r s i t y , May 29, 1970 . ] E a r l y D r a f t s of E s s a y s , Reviews, and Notes 1132 Notes f o r a New Prose (921) [wi th comments by C h a r l e s O l s o n ] . 1133 A Note on O b j e c t i v i t y [\"A Note on the O b j e c t i v e \" , 922] [w i th a note to C h a r l e s O l s o n ] , Other d r a f t s 1092', 1153 1134 How to W r i t e a Novel (923) . 1135 A C h a r a c t e r f o r Love (943) . 1136 For P a t e r s o n S o c i e t y [\" 'Statement ' f o r P a t e r s o n S o c i e t y \" , 930] . 1137 Some Notes on O l s o n ' s Maximus (956) . 1138 The New World (963) . 1139 The F a s c i n a t i n g Bore (973) . 1140 For A l i c e G a r v e r ' s drawings [\"A Note\", 996] , 252 1141 [ t h r e e d r a f t s of \"The F a c t \" 944 , the f i n a l d r a f t showing the e d i t o r i a l changes r e q u e s t e d by Robert Hatch of The  IMati on. ] 1142 [Two d r a f t s of \"A Note on L o u i s Zukofsky\", 144. Another d r a f t 1091] 1143 [ U n t i t l e d d r a f t of \" I n t r o d u c t i on to The New W r i t i n g i n the  USA\", 932 . Another d r a f t 1174] 1144 A S i g n i f i c a n t D i s t o r t i o n [\"The Beat Voznesensky\", 130] . 1145 \" . . . p a r a d i s e \/ our \/ s p e e c h . . . \" (945) . 1146 [Taped i m p r o v i s a t i o n , \" ' I ' m g i v e n to w r i t e poems'\", 936 . Another d r a f t 1190] 1147 Notes Apropos \"Free Verse\" (935) . 1148 [ U n t i t l e d d r a f t of \"Feedback: 'Conte mporary V o i c e s i n the A r t s ' \" , 999 . ] 1149 P r e f a c e f o r T r o c c h i [ \" I n t r o d u c t i o n to Thongs by Alex T r o c c h i , 990] . Another d r a f t 1193 1150 [ A u t o b i o g r a p h i c a l note , \"Robert Cree l ey\" , 126 . ] 1151 Contex t s of Poe try (103) [ t r a n s c r i p t i o n by George F . B u t t e r i c k , c o r r e c t i o n s by C r e e l e y ] . 1152 New American Review: Symposium [\"Robert C r e e l e y \" i n \"Symposium: The W r i t e r ' s S i t u a t i o n I I \" , 106] . F i n a l or S e m i - F i n a l D r a f t s of E s s a y s , Reviews, and Notes 1153 A Note on the O b j e c t i v e (922) . Other d r a f t s 1092, 1133 1154 The Release (941) . 1155 Note f o r Sous ter on Canadian Poems (1850-1952) [\"A Note on Canadian P o e t r y \" , 967] . 1156 Olson [ \" C h a r l e s O l s o n : The Maximus Poems, 1-10\", 953] . 1157 C h a r l e s O l s o n : In Co ld H e l l , i n T h i c k e t (952) . 1158 The L e t t e r s of Hart Crane (938) . 253 1159 P r e f a c e f ' T h e Gold D i g g e r s \" , 915] . 1160 The G e n t l e Admoni t ion [\"D.H. Lawrence: S t u d i e s i n C l a s s i c  American L i t e r a t u r e \" , 978 v]. 1161 Journey with G e n i u s , by W i t t e r Bynner [\"Wit ter Bynner: Journey with Gen ius\" , 981 ] . 1162 A Dilemma (926) . 1163 Edward Dorn i n the News (964) . 1164 A New Testament (988) . 1165 Why Bother? (931) 1 1 6 6 [ U n t i t l e d rev i ew , \" ' T h i n k what 's got a w a y . . . 1 \" , 9 7 4 . ] 1 1 6 7 [ U n t i t l e d es say , \" L o u i s Z u k o f s k y : ' A ' 1-12 & B a r e l y and W i d e l y \" , 945. ] 1168 A Note on W r i t i n g (118) . 1169 [ P r e f a c e , \"The I s l a n d \" , 9 1 9 . ] 1170 Rainer G e r h a r d t : A Note (966) . 1171 [ U n t i t l e d note , \"A Note on the B lack Mountain Review\", 1 4 5 . ] 1172 For John C h a m b e r l a i n [\"John C h a m b e r l a i n \" , 997] , 1173 A Note [ i n c l u d i n g Pound's l e t t e r s ] [\"A Note on E z r a Pound\", 940] . 1174 I n t r o d u c t i o n [ \" I n t r o d u c t i o n to The New W r i t i n g i n the USA\", 932] . Another d r a f t 1143 1175 A Sense of Measure [\"Sense of Measure\", 128] . 1176 I n t r o d u c t i o n : S e l e c t e d W r i t i n g s of C h a r l e s Ol son [ \" I n t r o d u c -t i o n to C h a r l e s O l s o n : S e l e c t e d W r i t i n g s 1\", 957] . 1177 Review of F r e d Eckman's The Ep i s t emology of Loss [ \" F r e d e r i c k Eckman: The E p i s t e m o l o g y of L o s s \" , 976] , 1178 A Note f o r David Franks [\"A Note f o r These Poems\", 112] . 1179 [Two d r a f t s of \"Frank S t e l l a : A Wa-y to Go\", 9 9 8 . ] 1180 [ U n t i t l e d note , \"Robert C r e e l e y \" , 1 2 4 . ] 254 1181 [ U n t i t l e d no te , \"'Po ems are a complex' \" , 9 3 3 . ] ] . 1182 Review of A l l f o r Agenda (London) [two d r a f t s ] [\"Louis Z u k o f s k y : A l l : The C o l l e c t e d Short Poems, 1923-58\", 947] . 1183 A Note f o r Kenneth Irby (113) . 1184 A P e r s o n a l Note (949) . 1185 I n t r o d u c t i o n to C h a r l e s O l s o n : S e l e c t e d W r i t i n g s 2 (958) . 1186 [Two d r a f t s of \" ' T o d i s c l o s e t h a t v i s i o n p a r t i c u l a r to dreams'\" , 961. ] 1187 Geography by Edward Dorn [two d r a f t s ] [\"Edward D o r n ' s Geog- raphy\" , 965] . 1188 [Two d r a f t s of ' \" A Foot Is to K i c k w i t h ' \" , 9 5 9 . ] 1189 A Note on B a s i l Bunt ing (950) . 1190 Robert C r e e l e y T a l k s About Poetry [\"'I 'm g i v e n to w r i t e poems'\", 936] . Another d r a f t 1146 1191 A Note (948) . 1192 P r e f a c e (110) . 1193 [ U n t i t l e d i n t r o d u c t i o n , \" I n t r o d u c t i o n to Thongs by Alex T r o c c h i \" , 990. Another d r a f t 1149 ] 1194 Note f o r A l a n Marlowe's book of poems [\"AM\", 116] . 1195 \"Mehr l i c h t . . . \" (1000) . 1196 [ I n t r o d u c t i o n to the r e p r i n t of the B lack Mountain Review, 1 1 4 . ] 1197 Note f o r F e e ' s Book of S t o r i e s [ I n t r o d u c t i o n , 115] . 1198 W r i t i n g (105) [two d r a f t s , one wi th xerox of t e x t of Contex t s  of Poetry 1968 (103) a t t a c h e d ] . M i s c e l l a n e o u s 1199 F o l d e r of response to the Contemporary V o i c e s i n the A r t s t o u r , S p r i n g 1967, sponsored by the New York S t a t e C o u n c i l on the A r t s . The f o l d e r was compi l ed f o r C r e e l e y by the 255 E x e c u t i v e D i r e c t o r , John B. Hightower . It i n c l u d e s an i n t r o -d u c t o r y l e t t e r from Hightower , l e t t e r s of a p p r o v a l from the u n i v e r s i t i e s v i s i t e d , and xeroxed c l i p p i n g s from v a r i o u s newspapers . See 999 1200 Mimeographed note by C r e e l e y accompanying a s tudent R e s i s t a n c e c i r c u l a r , S t a t e U n i v e r s i t y of New York at B u f f a l o , November 10, 1967. U n p u b l i s h e d W r i t i n g s About C r e e l e y 1201 W i l l i a m P a c k a r d . Review of For Love 1962 ( l l ) . 1202 F r e d Wah. \" L i n g u i s t i c S t r u c t u r e s i n the Poe try of Robert C r e e l e y \" [an es say , c a . 1961-63] . 1203 Bobbie C r e e l e y . M a n u s c r i p t notebook [ c a . 1962-63] wi th comments on the manuscr i pt of The I s l a n d 1963 ( 1 2 ) - -see 1105d. 1204 Bobbie C r e e l e y . Notes f o r j a c k e t of The Gold D i g g e r s 1965 (17 ) . 1205 German r a d i o s c r i p t s f o r programs b r o a d c a s t over German s t a t i o n s August 6, 1962; January 9, A p r i l 29, May 1, May 2, August 29, September 2, 1966. The f i r s t was a r e a d i n g and d i s c u s s i o n of C r e e l e y ' s poems. The 1966 b r o a d c a s t s were a l l r ev iews of Die I n s e l 1965 (18) . D r a f t s of P u b l i s h e d W r i t i n g s About C r e e l e y 1206 Kenneth R e x r o t h . F i n a l d r a f t of s e c t i o n c o n c e r n i n g C r e e l e y i n Assays 1961 (204) . 1207 David G a l l e r . F i n a l d r a f t of rev iew of A Form of Women 1959 ( 9 ) - - s e e 288. 1208 C h a r l e s O l s o n . E a r l y d r a f t of rev iew of For Love 1962 ( l l ) - -see 299. 1209 Robert Duncan. D r a f t of \"A Dancing C o n c e r n i n g A Form of Women\" (228) . 1210 Kenneth Cox. D r a f t of \"Address and Pos ture i n the Poe try of Robert C r e e l e y \" (244) [w i thout b i o g r a p h i c a l n o t e ] . 256 1211 Jerome Wazzaro. F i n a l d r a f t of rev iew of P i e c e s 1969 (39) ' see 419. ADDITIONS These a d d i t i o n s have been made i n an attempt to complete the i n v e n t o r y up to 19170. The number g i v e n f o r each e n t r y i n d i c a t e s i t s p l a c e among the o ther w r i t i n g s . The additions have been c r o s s r e f e r e n c e d and i n d e x e d . I am i n d e b t e d to two c h e c k l i s t s which appeared s i n c e t h i s i n v e n t o r y was o r i g i n a l l y c o m p i l e d . \"Robert C r e e l e y : A C h e c k l i s t 1946-1970\" by Lee Ann Johnson was p u b l i s h e d \u2022in Twent i e th Century L i t e r a t u r e , XVI I , i i i ( J u l y 1971), 181-198. Douglas C a l h o u n ' s c h e c k l i s t of C r e e l e y c r i t i c i s m appeared i n West  Coast Review, V I , i i i (January 1972), 64-71 . Both c h e c k l i s t s l i s t a number o f b r i e f comments about C r e e l e y which are not i n c l u d e d i n the present work. 16A Hi There ! Urbana , I l l i n o i s : F i n i a l P r e s s , May Day 1965. \"A S e c r e t E d i t i o n , 9 c o p i e s , at the F i n i a l P r e s s : : U r b a n a , I l l i n o i s : : o n May Day 1965: :uns igned & u n a u t h o r i s e d by the a u t h o r , Robert C r e e l e y \" . Poem pamphlet . One b r o a d s i d e f o l d e d i n t o [ 4 ] p, unbound. \"Hi T h e r e ! \" was r e p r i n t e d from A S n a r l i n g G a r l a n d 1954 ( 5 ) . C o n t e n t s : P o e m : - - H i There ! 39A A W a l l . New Y o r k : Bouwerie E d i t i o n s \/ S t u t t g a r t : E d i t i o n Dombergerj [November-December\"] 1969. S e r i g r a p h : W i l l i a m K a t z . \"Thi s f i r s t e d i t i o n was des igned by W i l l i a m Katz i n the f a l l of 1969 and was s e r i g r a p h e d on Roemerturm Buet ten paper i n West Germany under the d i r e c t i o n of L u i t p o l d Domberger at E d i t i o n Domberger, Bonlanden b e i S t u t t g a r t , i n the w in ter of the same y e a r . . . . Of 210 examples , each s igned by the a u t h o r , 1-125 are f o r s a l e through t h e Gotham Book M a r t , New York C i t y , P1-P25 are f o r the poe t , A1-A25 are f o r the a r t i s t , I-XXV are f o r the p u b l i s h e r , and D1-D10 are f o r the p r i n t e r . \" Poem i n b o o k l e t . Unpaged, [4 T] ^  i nc l ud i ng one i l l u s t r a -t i o n ; paper wrappers; i n a f o l d e r . Three sheets s t i t c h e d t o g e t h e r , i n a f o l d e r . C o n t e n t s : Poem:--*A W a l l . 256 47A A m e r i c a . [ M i a m i , F l o r i d a : Pres s of the B lack F l a g , December 12, 1 9 7 0 . ] B r o a d s i d e poem, not f o r s a l e . C a . 2.700 c o p i e s ; [ l ] ^ ; one s m a l l f o l i o b r o a d s i d e , unbound. \"America\" was r e p r i n t e d from P i e c e s 1969 (39) . Co nt e nt s: P o e m : - - A m e r i c a . 138A An I n t e r v i e w wi th Robert C r e e l e y [by Reg B a c o n ] . *Cape Ann  Summer Sun, J u l y 25, 1970, pp. 1-3. 142A [Comment on -contemporary p o e t s . ] *\"0f Poets and M a r k e t s : A Mixed Bag of L i t t l e Magaz ines\" , by R i c h a r d C. A n g e l l , New  Mexico Q u a r t e r l y , X X X I I , i i i \/ i v (Autumn-Winter 1962-63) , 211-212. 149A [ L e t t e r to the e d i t o r . ] *The Pigeon News, L V I I , No. 960 ( A p r i l 1951) , 5. 155A [ L e t t e r to Jonathan W i l l i a m s , September 23, 1953 . ] *\"A P r e l i m i -nary Note\", by Jonathan W i l l i a m s , Work, No. 3 (Winter 1965-66) , p. 3. [With photograph on p. 4 4 . ] 156A La P e i n t u r e du P e i n t r e [ t r a n s l a t i o n i n t o E n g l i s h of a note i n F r e n c h by Rene L a u b i e s , e d i t e d by C i d Corman and p u b l i s h e d wi thout C r e e l e y ' s p e r m i s s i o n ] , * 0 r i g i n, No. 7 (Autumn 1952) , p. 143. 166A A Sense of Measure [ l e c t u r e by C r e e l e y ] , J u l y 23, 1965. B e r k e l e y Poetry C o n f e r e n c e , The U n i v e r s i t y of C a l i f o r n i a at B e r k e l e y , #644. Copies a v a i l a b l e from the Language L a b o r a t o r y , U . C . at B e r k e l e y . [ C r e e l e y a l s o i n t r o d u c e d John Weiners and Edward Dorn at the C o n f e r e n c e . His i n t r o d u c t i o n s are found on the tapes wi th t h e i r r e a d i n g s . ] See 162, 268 214A F i e l d i n g Dawson. Comments r e l a t e d to C r e e l e y ' s s t o r y \"The M u s i c i a n s \" (469) , An E m o t i o n a l Memoir of Franz K l i n e . New York: Pantheon Books, 1967, pp. 67 f f . , 124 f f . , and p a s s i m . 217A A l b e r t Cook. Comments on poem \"For a F r i e n d \" (\"Who remembers him a l s o \" ) , P r i s m s : S t u d i e s i n Modern L i t e r a t u r e . B l o o m i n g t o n : I n d i a n a U n i v e r s i t y P r e s s , C 1967 , pp. 84-85, 151-152. 259 221A Serge F a u c h e r e a u . \"Olson et l a B l a c k Mountain Review\", L e c t u r e  de l a Poes i e A m e r i c a i n e . P a r i s : . L e s E d i t i o n s de M i n u i t , 1968, pp. 219-221, 228-234. 223A \"Robert C r e e l e y \" [ q u o t a t i o n s from rev iews and The New Poets 1967 ( 1 8 3 ) ] , pp. 256-259, \"Robert C r e e l e y \" [ b r i e f b i b l i o g r a p h y ] , pp. 457-458, Modern American L i t e r a t u r e , Volume I , ed. Dorothy Nyren C u r l e y , Maur ice Kramer, and E l a i n e F i a l k a Kramer. New Y o r k : F r e d e r i c k Ungar, 1969. 223B M i c h a e l Hamburger. Comments, The T r u t h of P o e t r y : T e n s i o n s i n  Modern Poetry from B a u d e l a i r e to the 1960s. London: W e i d e n f e l d and N i c o l s o n , C 1969 , pp. 284-286, 312. 224A Hayden C a r r u t h . \"Robert (White) C r e e l e y \" [ i n c l u d i n g b r i e f b i o g r a p h y and b i b l i o g r a p h y ] , Contemporary Poets of the E n g l i s h  Language, ed. R o s a l i e Murphy. Chicago and London: S t . James P r e s s , C 1970 , pp. 244-245. 224B Mark S c h o r e r . \"Robert (White) C r e e l e y \" , The L i t e r a t u r e of  A m e r i c a : T w e n t i e t h Century 1970 (100) , p. 737. 226A W i l l i a m C a r l o s W i l l i a m s . - L e t t e r \" to Robert C r e e l e y , c a . 1953, A B i b l i o g r a p h y of Works by L a r r y E i g n e r 1937-1969, by Andrea Wyatt . B e r k e l e y : Oyez, 1970, p. 2. 227A G i l b e r t S o r r e n t i n o . The Darkness Surrounds Us. H i g h l a n d s , N . C . : Jonathan W i l l i a m s , 1960. 252A J o e l Oppenheimer. \"The Inner T i g h t r o p e : An A p p r e c i a t i o n of Robert C r e e l e y \" , L i l l a b u l e r o , No. 8 (Winter 1970) , pp. 51-53 . [With photograph on p. 4 6 . ] 276A Roy F u l l e r . \"Woodbine W i l l i e L i v e s ! \" The Times L i t e r a r y S u p p l e - ment, May 22, 1969, p. 554. R e p r i n t e d i n Owls and A r t i f i c e r s :  Oxford L e c t u r e s on Poetry (London: Andre D e u t s c h , 1971, p . 39) . 279A Review of B l a c k Mountain Review, AMS R e p r i n t , 1969 (176) , The  Times L i t e r a r y Supplement , F e b r u a r y 12, 1970, p. 178. 2.79B G e o f f r e y T h u r l e y . \"The New Phenomenal i s t Poetry i n the U . S . A . \" , Southern Review ( A u s t r a l i a ) , IV , i ( E a r l y 1970), 24-26. 308A Robert B u r l e i g h . X e n i a , No. 1 ( F a l l 1965) . [See a l s o 260 \" T r a n s l a t o r s ' Pages\" and \"The D o m e s t i c a t i o n of Free V e r s e \" , by O . S . S c a r d i n e 11 i , i n t h i s i s s u e . ] 313A John E n g e l s . The Minnesota Review, I I I , i ( F a l l 1962), 97-98. 319A Samuel F r e n c h Morse . W i s c o n s i n S t u d i e s i n Contemporary  L i t e r a t u r e , IV, i i i (Autumn 1963) , 376. 319B James L . W e i l . E l i z a b e t h , No. . 6 (October 1963), pp. 14-15. 378A W i l l i a m Cookson. Agenda, IV, v \/ v i (Autumn 1966), 65-66. 422A W i l l i a m A i k e n . Kayak, No. 23 ( [ L a t e ] 1970), pp. 63-67. 424A G e r a l d B u r n s . Southwest Review, L I V , i v (Autumn 1969), 451. 425A R i c h a r d W i l l i a m s . C a r o l i n a Q u a r t e r l y , X X I I , i (Winter 1970) , 75-76. 425B R i c h a r d T a g e t t . Man-Root , No. 2 (January 1970), pp. 61-64. 426A Warren T a l l m a n . B r i t a n n i a , 1970. [See a l s o b r i e f rev iew by Duncan McNaughton on p r e c e d i n g p a g e s . ] B r i e f Reviews 430A A l a n Brownjohn. New Statesman, LXXX, No. 2057 (August 21, 1970), 216. 430B Eavan B o l a n d . I r i s h Tjmes , August 29, 1970, p. 8. 430C R i c h a r d Holme^s. The Times , September 5, 1970, p. 8. 430D Anne F a r r . South Wales A r g u s , October 16, 1970, p. 6. 430E Derek S t a n f o r d . Books and Bookmen, X V I , i i i (December 1970) , 32. 438A Denise L e v e r t o v . \"A S t o r y , A P l a y \" , O r i g i n , No. 14 (Autumn 1954) , pp. 87-88. [ R e l a t e d to C r e e l e y ' s s t o r y \"Jardou\" ( 4 6 5 ) . ] INDEX TO NAMES T h i s index l i s t s names of persons wherever they occur i n the e n t r i e s , but not i n the i n t r o d u c t i o n s . F i r s t names, s h o r t e n e d names, and i n i t i a l s are en tered under the f u l l name, when known. Names of p u b l i s h e r s are l i s t e d on ly when the p u b l i s h e r i s an i n -d i v i d u a l . The c a p i t a l i z e d surnames are those of a u t h o r s l i s t e d i n S e c t i o n I I , S e l e c t e d W r i t i n g s About Robert C r e e l e y . AIKEN, W i l l i a m 422A A l c o v e r , Mossen 2, 4, 8, 176, 179, 180 A l d a n , Daisy 55 ALEXANDER, M i c h a e l 251 ALLEN, Dick 362 A l l e n , Donald M. 56, 72, 80, 104, 170, 172, 181, 1074, 1124 A l l e n , Gay W i l s o n 74 ALLEN, Gay W i l s o n 208 A l t o o n , John 21 A n d e r s , W i l l i 63 A n g e l l , R i c h a r d C. 142A A n t o n i n u s , B r o t h e r 974 A p u l e i u s 987 Ashbery , John 173 A v i s o n , Margaret 166 Bacon, Reg 138A Bagguley , John 119 BANKS, R u s s e l l 417 B a u d e l a i r e , C h a r l e s 223B Baumbach, Jonathan 105 BAUSCHINGER, S i g r i d 404 BAYES, Ronald H. 272 , 390, 413 B e a u j o u r , M i c h e l 940 B e c k e t t , Samuel 977 BENDER, Hans 368 B e r g ^ Stephen 95 BERGE, C a r o l 207 BERG0NZI, Bernard 350, 372 Beum, Robert 1081 BEUM, Robert 283 B l a c k b u r n , Paul 179, 1088 BLACKBURN, Pau l 231 BLAKEST0N, Oswel l 383 B l y , Robert 76, 165 BLY, Robert 235 B0LAND, Eavan 430B B0WEN, C. 245 Bower ing , George 111 B o y a r s , Marion 1076 BRADBURY, Malcolm 357 BRAEM, Helmut M. 343, 366 Brakhage , Stan 127, 1000 BRAKHAGE, Stan 449 B r a u n , R i c h a r d 974 B r e t t , Edwin J . 251 BRIEN, D o l o r e s E l i s e 448 BROMIGE, David 308 Brouwer, Marten 502, 515 BROWNJOHN, A lan 248, 430A B r y a n , Ash ley 1 BUCHOLTZ, Mel 418 Bukowski , C h a r l e s 974 BUNKER, Robert 420 B u n t i n g , B a s i l 949, 950, 1189 Burke , C l i f f o r d 66 BURLEIGH, Robert 308A BURNS, G e r a l d 400, 424A B u r r o u g h s , W i l l i a m 988 BUSH, G e o f f r e y 332 B u t t e r i c k , George F . 103, 1151 BUTTRICK, N e i l 388 Bynner , W i t t e r 981, 1080, 1161 B y r o n , George Gordon, Lord 73 C a l d e r , John 1076 C a l l a h a n , Harry y95 Cambon, Glauco 480, 484, 498, .502 CAMBON, Glauco 249 CAMERON, A l l e n B a r r y 242, 385, 422 C a m p b e l l , A l a n 167 CAREY, John 378 Carney , Matthew 59 C a r r o l l , Pau l 94 CARROLL, Paul 185, 298 CARRUTH, Hayden 224A, 426 C a t u l l u s 6, 824 C e l i n e , L o u i s - F e r d i n a n d 980 C h a m b e r l a i n , John 997, 1172 C h a r t e r s , Ann 46, 108, 1024 C h a r t e r s , Samuel 46 CHUNG, L i n g 252 C0BLENTZ, S tanton A. 216 C o c t e a u , Jean 984 Cohen, J . M . 971 Conn, L o w e l l 1112 COLLINS, Douglas 389 COLOMBO, J . R . 309 COMBS, Maxine G a u t h i e r 446 C0NLEY, John 364 CONSTABLE, John 369 COOK, A l b e r t 217A C00KS0N, W i l l i a m 378A COOLEY, Peter 421 C o o l i d g e , C l a r k 1028 263 COONEY, Seamus 192 Cooper , Robert 54 CORBIN, J . 197 Corman, C i d 50, 150, 156A, ],B0, 226, 256, 4.37, 1050, 1056, 1099 CORfYlA M, C i d 237, 255, 256, 275, 280, 403, 436, 440 CORRINGTON, John W i l l i a m 307 C o r s o , Gregory 60 CORSO, Gregory 203 C o s t a , Eduardo 636, 647 C o u r t n e y , W i n i f r e d F . 221 Cox, Kenneth 1210 COX, Kenneth 244 Crane , Hart 1, 50, 74, 208, 472, 780, 937, 938, 1094, 1158 C r e e l e y , Ann 7, 436, 551, 926, 1068 C r e e l e y , Bobbie 13, 20, 29, 30, 37, 44, 49, 80, 454, 659, 753, 861, 1035, 1105, 1203, 1204 C r e e l e y , Dav id 1095, 1100 C r e e l e y , Helen 644 C r e e l e y , Kate 88, 695, 1115 C r e e l e y , K i r s t e n 8 C r e e l e y , 0 . S . , Mrs . 1064 C r e e l e y , Tom 45, 909, 1081 Crews, Judson 143, 972 C r o z i e r , Andrew 1080 CRUNK 235 cummings, e . e . 1027 C u r l e y , Dorothy Nyren 223A D a h l b e r g , Edward 986, 1048, 1089 DAIBER, Hans 346 DAVEY, F r a n k l a n d Wilmot 447 DAVISON, Peter 303, 401 Dawson, F i e l d i n g 7, 115, 120 , 989, 1197 DAWSON, F i e l d i n g 214A Dean, Nick 1036 DEANE, Peter 323 DeMOTT, Benjamin 333 D i c k e y , James 173 DICKEY, W i l l i a m 305 D i n e , Jim 1017 d i P r i m a , Diana 89, 1064, 1081, 1085 Dobree , Bonamy 973 Domberger, L u i t p o l d 39A DOMMERGUES, P i e r r e 200 D0NADI0, Stephen 213 Donkers , Jan 23 Dorfman, E l s a 103 Dorn, Edward 166A, 959, 964, 965, 1163, 1187 DORN, Edward 416 D r a c h l e r , Jacob 98 DUDDY, Thomas A. 393 Dudek, L o u i s 968 DUDEK, L o u i s 281 Duncan, Robert 162, 166, 167, 179, 227, 447, 448, 960, 961, 1026, 1127, 1209 DUNCAN, Robert 182, 228, 304 Dunning , Stephen 126, 164 Eastman, J u l i e 1068 Eckman, F r e d e r i c k 1, 52, 976, 1041, 1081, 1177 ECKIYIAN, F r e d e r i c k 202, 282 EHRENPREIS, I r v i n 293 E i c h e l e , Robin 133 E I C H E L E , Robin 268 EICHHORN, Doug 250 E i g n e r , L a r r y 179, 226A EIGNER, L a r r y 441 E k n e r , R e i d a r 57 Emerson, Ralph Waldo 448 Emerson, R i c h a r d W i r t z 1, 52, 1041, 1092-96 E n g e l b e r g , J u l i u s 53 ENGELS, John 313A ENRIGHT, D . J . 347 E s p a r z a , A l f o n s o 27 E t h r i d g e , James M. 224 Evans , Henry 7 E z c u r r a , Madela 636, 647 FALCK, C o l i n 370 FARR, Anne 430D FAUCHEREAU, Serge 221A F e r l i n g h e t t i , Lawrence 1081 F e r r i n i , V i n c e n t 53 FERRINI, V i n c e n t 236 F i n l a y , Ian Hami l ton 1051, 1090 FINLAY, Ian H a m i l t o n 432 F I T T S , Dudley 297 F L E S , John 247 F L I N T , R.W. 319, 331 F o w l i e , W a l l a c e 984 FRANKLYN, A. F r e d r i c 254, 433 F r a n k s , David 112, 1178 FRANKS, Dav id 351 FRASER, G . S . 402 FREEMAN, J . P . 354 F r i t s c h , B i l l 1115 FULLER, John 341, 380 FULLER, Roy 276A G a l l e r , David 1207 GALLER, David 288 G a r v e r , A l i c e 996, 1140 Geddes, Gary 96 GEDDES, Gary 222 GERHARD, Peter W. 405 G e r h a r d t , Ra iner IY|. 1, 142, 155, 461, 463, 476, 966, 1170 GERHARDT, Ra iner IY|. 437 G e r h a r d t , Renate 852 Germann, Leonore 1075 G i n s b e r g , A l l e n 103, 165, 166, 167 , 1064 GINSBERG, A l l e n 203, 443 G i r r i , A l b e r t o 77 GIRRI, A l b e r t o 211 G l e e s o n , P a t r i c k 99 GLEES0N, P a t r i c k 223 G l o v e r , A l b e r t 226 GNAR0WSKI. M i c h a e l 210 GOOLD, (Ylartha Lane 234 G o p f e r t , H . G . 1075 G r a v e s , Robert 987 Gray , E a r l e 37, 47, 49 GREEMBERG, A l v i n 410 GROSS INGER, R i c h a r d 444 GUNDERSON, K e i t h 320 GUIMIM, Thom 201 Guston , P h i l i p 994, 1003 GUTTMANN, A l l e n 321 H . , R . K . 407 H a l l , Donald 61 HALL, Donald 253 Hamady, Wal ter 20, 24, 1014, 1062, 1070, 1107, 1109, 1111 HAMADY, Wal ter 192 HAMBURGER, M i c h a e l 223B H a r d i n g , Gunnar 494, 502, 513, 514, 518, 521, 527 HARRIS, D a n i e l A. 238 HARRISON-FORD, C a r l 245 H a r t e , B a r b a r a 224 H a t c h , Robert 944, 1141 HA'USERMANN, H.W. 241 Hawkes, John 923, 980 Hawthorne, N a t h a n i e l 9, 844 HAYMA l\\l, Ronald 371 HEDLEY, L e s l i e Woolf 253 H e i d e r , Werner 437 H e i l m a n , . Robert B. 1081 HEISSENBUTTEL, Helmut 344, 365 HERZBERG, Max J . 193 HICKS, G r a n v i l l e 330, 361 Hightower , John B. 1199 Hirschman, Jack 129 H i t c h c o c k , George 251 HOFFMAN, F r e d e r i c k J . 214 Hoffman, Hester R. 221 H o l l e r e r , Wal ter 60, 86 HOLLERER, Wal ter 217, 258 H o l l o , Anselm 62, 1081 HOLMES, R i c h a r d 430C H o n i s c h , D i e t e r 34 H0NISCH, D i e t e r 191 H o r n i c k , L i t a 1080 H0R0UITZ, M i c h a e l 327 HOWARD, R i c h a r d 186, 243 HUGHES, D . J . 306 HUGHES, D a n i e l 427 HUGHES, John W. 425 H u t t e r , Donald 1057, 1071, 1104 Ignatow, David 164, 1080 I n d i a n a , Robert 31, 34, 40, 1016, 1035 I r b y , Kenneth 113, 1183 I z z o , C a r l o 65 JAC0BSEN, Joseph ine 424 J a l o w e t z , Joanna 437 J a n d l , E r n s t 18 J a n t a , A l e k s a n d e r 607, 612, 633-635 266 JEROME, Judson 270 J o h n s t o n , Rand 138 JONES, G. W i l l i a m 335 Jones , LeRoi 64, 152, 1037, 1080 JONES, LeRoi 289 Jones , P h i l i p p e 256, 475, 480 Jung , C . J . 1118 JUNKINS, Donald 291 K a t z , W i l l i a m 31, 39A, 40, 42, 88, 1016 K e a r n s , L i o n e l 975, 1086 KEENE, Dennis 285 KELLER, Anthony 349 K e l l y , Robert 75 K E L L Y , Robert 206, 409 KENNEDY, X . J . 212 KENNER, Hugh 292 K e r e n y i , C. 1118 Kerouac , Jack 972 K e s s l e r , Jascha 67 K i l e y , C a r o l y n 224 KING, F r a n c i s 340, 355 K i n n e l l , Galway 165 K i n t e r , W i l l i a m 1031 K i t a j , R . B . 25 K I T A J , R . B . 450 K i t a s o n o , Katue 139, 179, 464 KITCHEN, Paddy 374 K l e i n , A r t h u r Luce 165 K l i n e , Franz 214A, 993 K n i e f , W i l l i a m 135 Koch, Kenneth 972 K o e s t e r , Martha S. 1033 K o p a l a , B a r b a r a 224 K o r t e , Mary Norber t 66 Kramer, E l a i n e F i a l k a 223A Kramer, Maurice 223A K r a y , E l i z a b e t h 1079 K r e s h , Paul 165 K r o e b e r , K a r l 73 KROLOW, K a r l 367, 406 KUNITZ, S t a n l e y 302 Kyger , Joanne 121 L a F r a n c e , Marston 214 L a h t e l a , Markku 62 L a r k i n , P h i l i p 248 LASK, Thomas 274, 316, 397 Laubies, Rene 2-4 , 8, 156A, 991, 992, 1001, 1006 L a u g h l i n , James 51 Lawrence, D . H . 767, 978, 1160 L a y t o n , I r v i n g 6, 179, 180, 820, 968, 972 L e a c h , Timothy 1066 L e a r y , P a r i s 75 Leed , Bob 36, 772 L e v e r t o v , Denise 85, 164, 166, 167 , 256, 962, 1081 LEVERTOV, Denise 415, 438A L e v i n e , Madel ine 134 LINICK, Anthony 445 L i p t o n , Laurence 203 Loewinsohn, Ron 963 Logan, John 1080 L o r c a , F e d e r i c o G a r c f a 2 , 6 1 , 82, 95, 483 L o w e n f e l s , Wal ter 81, 1065, 1108 L u c i e - S m i t h , Edward 109 Lyons , John 0. 73 MacAdams, Lewi s , J r . 136 M c C l u r e , M i c h a e l 449 ,, 963 McGANN, Jerome 423 McGrath , Thomas 974 M c G u f f i e , J e s s i e 1052 M c M i l l a n , Byron 1063 McNAUGHTON, Duncan 426A McNAUGHTON, W i l l i a m 262 M a c k i n t o s h , Graham 30, 1035 M a c k l i n , H . P . 179 Magner, Eugene 1033, 1087 MALANGA > Gerard 230 M a l l a r m e , Stephane 599 MAL0FF, Sau l 360 MANTHEY, Jurgen 345 M a r a i n i , D a c i a 567, 620 MARCUS, Steven 254 Mares , S t a n i s l a v 84 Marks , L i l l i a n 37 Marks , Sau l 37 Marlowe, A l a n 116, 1194 MARSH, Peter 375 M a r t i n , B a r b a r a 47, 49 MARTIN, Graham 379 M a r t i n , John 1035, 1082 MARTZ, L o u i s L . 414 MASL0W, E l l e n 239 Matheson, W i l l i a m 1058, 1073 MAUD, Ralph 272 Mazzaro , Jerome 1211 MAZZAR0, Jerome 419 M e r r i l l , James 165 Merwin, W..S. 1081 MESSING, Gordon M . 279 METCALF, Pau l 338 Mezey, Robert 95 M i l l e r , J . H i l l i s 943 M i l l s , B a r r i s s 972 MILLS, Ralph J . , J r . 291 MITCHELL, J u l i a n 373 Mitchum, Peter 926 Mondragon, S e r g i o 578 MOON, Samuel 353 MORSE, Samuel French 319A M0TTRAM, E r i c 317 Murphy, R o s a l i e 224A N i e d e c k e r , L o r i n e 974-268 N i m s , . J o h n F r e d e r i c k 1043, 1046, 1072 O l s o n , C h a r l e s 51, 104, 108, 166, 167 , 169, 171, 179, 180, 221A, 256 272 , 447, 951-959, 1012, 1024, 1054, 1080, 1098, 1125, 1132, 1133, 1137, 1156, 1157, 1176, 1185, 1208 OLSON, C h a r l e s 181, 225 -227 , 299, 437, 452 Oppenheimer, J o e l 24, 686, 962, 1011, 1109 OPPENHEIMER, J o e l 252A, 295 Ossman, David 107, 206 O s t r o f f , Anthony 974 P a c k a r d , W i l l i a m 1201 PACKARD, W i l l i a m 287 P a e t e l , K a r l 0. 63 PAETEL, K a r l 0. 194 Parkman, F r a n c i s 979 Pa tchen , Kenneth 969 PAWLOWSKI, Robert 394 PERREAULT, John 386, 435 P e t e r s , Robert L . 251 P e z z o n i , E n r i q u e 864 PHILBRICK, C h a r l e s 396 P H I L I P , Jim 267 P h i l l i p s , Stan 1022, 1080 P i v a n o , Fernanda 69 POTTS, C h a r l e s 246 Pound, E z r a 940, 1064, 1173 PRESS, John 376 PRITCHARD, W i l l i a m H. 398 PROCTOR, Roy 363 PRYCE-J0NES, A l a n 358 QUIN, Ann 454 RABAN, Jonathan 277 Raeber , Kuno 158 R a f f e l , Burton 59 Rago, Henry 1042, 1045, 1047, 1053, 1072, 1084 Rahv, P h i l i p 213 R a n d a l l , Margaret 578 Rank, Otto 1094 Rauuorth, Tom 155 Ray, Dav id 76 Raymond, Ward, Mrs . 1060 R e i c h e r t , Klaus 16, 29, 34, 60, 68, 86, 924, 936, 1080 REICHERT, K l a u s 190, 201 R e i n f r a n k , Arno 157 R e x r o t h , Kenneth 970, 1081, 1206 REXR0TH, Kenneth 204, 261, 315 R i c e , Dan 6 R i d e o u t , Wal ter B. 74 RIDE0UT, Wal ter B. 208 R o b e r t s , Roger 35 Rob inson , James K. 74 ROBINSON, James K. 208 R0DEFER, Stephen 233 Rohmer, Bre t 90 R o s e n t h a l , M . L . 83, 91 ROSENTHAL, M . L . 183, 205, 257, 272 269 Rothenberg , Jerome 153 ROTHE N8ERG, Jerome 206 RUCKER, (Ylarcia G. 434 Rudge, Miss 1064 RUMAKER, M i c h a e l 328 R u s s e l l , Peter 1034 S a r o y a n , Aram 1029 SAROYAN, Aram 325 SCARDINELLI, O . S . 308A S c h a e f e r , Miss 1044, 1046 S c h a f f , David 1080 SCHEVILL, James 310 SCHMITT, H a n s - J u r g e n 408 S c h o r e r , Mark 100 SCHORER, Mark 2248 S c o t t , W i n f i e l d Townley 1030 Sender , Ramon 982 Seymour-Smith , M a r t i n 2, 179, 812, 1068 SEYMOUR-SMITH, M a r t i n 381 SHEPPARD, R . Z . 348 SIMON, A d e l a i d e 337, 1055 SIMON, John 313 Simpson, L o u i s 82 SIMPSON, L o u i s 399 S i n c l a i r , John 133 S i t w e l l , E d i t h 973 SKELTON, Robin 311 SLEETH, Irene Lynn 232 S l o t k i n , Joseph 59 Snyder , Gary 963, 1069 S o i t , Mary E l l e n 93 S0LT, Marv E l l e n 219 SORRENTINO, G i l b e r t 206, 227A.265, 266, 411 S o u s t e r , Raymond 968, 974, 1155 SOUTHERN, T e r r y 322 S p e r k a , V i o l a 1009 SPICER, Jack 453 S t a f f o r d , W i l l i a m 974 STANFORD, Derek 430E S T E F A N I L E , F e l i x 314 S t e l l a , Frank 998, 1179 STEPANCHEV, Stephen 184, 271 S t e v e n s , Ruth F . 1068 S t o d d a r d , Roger E . 1032, 1080 S t r a n d , Mark 97 S u m m e r f i e l d , G e o f f r e y 92 Suuard, Robert 974 SWARD, Robert 300 Suuinburne, A l g e r n o n C h a r l e s 973 TAGETT, R i c h a r d 425B T a l l m a n , Warren 170, 1021 TALLMAN, Warren 187, 209, 236, 240, 426A T e r r i s , V i r g i n i a R. 98 THOMPSON, Frank H . , J r . 342 THOMPSON, John 392 THURLEY, G e o f f r e y 279B T o m l i n s o n , C h a r l e s 131 T r a n q u i l l u s 987 TRISTIYIAN, R i c h a r d 296 T r o c c h i , A lexander 990, 1067, 1149, 1193 T u r n b u l l , E . L . 971 TURNBULL, Gael 442 Vas D i a s , Robert 1069 VAS DIAS, Robert 276 Van Duyn, Mona 1058, 1073 Voznesensky , A n d r e i 130, 1144 WAGGONER, Hyatt A. 218 Wagner, L i n d a W. 132, 136 WAGNER, L i n d a W. 324, 352 Wagoner, Dav id 165 Wah, F r e d e r i c k 160, 166, 1202 WAH, F r e d e r i c k 334 Wainhouse, A u s t r y n 1068 Walsh , Chad 70, 1080 WALSH, Chad 195, 384 WARD, John C. 450 Waters , M o l l i s 1077 WEATHERHEAD, A. K i n g s l e y 215 Webb, Jon Edgar 1038, 1086 WEBB, Jon Edgar 263 Webb, Jon E d g a r , J r . 1038 Webb, P h y l l i s 167 W e i l , James L . 78 WEIL, James L . 294, 319B W e i n e r s , John 166A Wenning, Henry 1061, 1070, 1078 WERTH, A lexander 434 WESLING, Donald 268 Whalen, P h i l i p 166, 963 WHALEN, P h i l i p .329, 439 Whatmough, Joshua 1125 WHITE, Tom 295 Whitman, Walt 448 WHITTEM0RE, Reed 412 W i l e n t z , E l i a s 58 W i l l , F r e d e r i c 974 WILL, F r e d e r i c 387 W i l l i a m s , Jonathan 3, 6, 8-10, 155A, 227A, 953 WILLIAMS, Jonathan 192, 220, 229, 273, 435, 438 WILLIAMS, R i c h a r d 425A W i l l i a m s , T e r r e n c e 13 W i l l i a m s , W i l l i a m C a r l o s 3, 29, 168, 251, 488, 614, 941-944, 1040, 1083, 1121 WILLIAMS, W i l l i a m C a r l o s 226A, 431 W i l l i a m s , W i l l i a m C a r l o s , Mrs. 1040 Woolf , C e c i l 119 YATES, Peter 286 Young, Noel 47, 49 Z a b r a n a , Jan 84 Z i l b e r , Jacob 1064 Z u k o f s k y , L o u i s 144, 945-948, 962, 1049, 1081, 1091, 1142, 1167, 1182 ZUKOFSKY, L o u i s 284 INDEX TO POEMS The f o l l o w i n g index l i s t s a l l p u b l i c a t i o n s and m a n u s c r i p t s of poems and o ther r e f e r e n c e s to poems. I t does not l i s t r e c o r d i n g s , p r o o f s , or c r i t i c i s m of poems. U n p u b l i s h e d poems are not i n c l u d e d ; they may be found i n the manuscr ip t s e c t i o n . The t i t l e used i n the c o l l e c t e d e d i t i o n s i s g i v e n f o r each poem. Cross r e f e r e n c e has been made to v a r i a n t t i t l e s and to the f i r s t l i n e s of poems or p a r t s of poems p u b l i s h e d wi thout t i t l e s . T r a n s l a t i o n s are l i s t e d under the E n g l i s h t i t l e . The main e n t r y f o r each poem i s u n d e r l i n e d . The numbers r e f e r most o f t e n to the f o l l o w i n g s e c t i o n s of the i n v e n t o r y : Works By Robert C r e e l e y : P u b l i c a t i o n s of Poems, S t o r i e s , Novel 1 Separa te P u b l i c a t i o n s 1 - 4 9 2 C o n t r i b u t i o n s to Other Works 50-100 . P u b l i c a t i o n H i s t o r y of I n d i v i d u a l W r i t i n g s B C o l l e c t e d Poems 1 Poems i n For Love 1962 ( l l ) 472-606 2 Poems i n Words 1967 (26) 607-691 3 Poems i n P i e c e s 1969 (39) 692-764 4 Poems i n The Charm 1969 (41) . . . . . 765-856 C New Poems 857-914 M a n u s c r i p t s . . . . 1082-1117 A B a l l a d 2, 32, 41, 801, 1111 A b i g crow, p a r t 4 of \"The car\" A B i r t h d a y 26, 44, 6S_7, 1110 A C o u n t e r p o i n t 6,- 8, 11, 22, 56, 49J3, 1008, 1099, 1100, 1104 A day late\u2014, p a r t 2 of \"The s o - c a l l e d poet\" A F o l k Song 9, 11, 22, 5_29, 1101, 1104 A Form of A d a p t a t i o n 6, 8, 11, 22, 60, 67, 503, 1100, 1101, 1104 A Form of Women 9, 11, 22, 29, 62, 67, 95, 164, 5.11, 1104 \u2022 A Fragment 32, 41, 856, 1111 A G i f t of Great Va lue 9, 11, 22, 29, 95, 536, 1002, 1004, 1084, 1088,. 1101, 1104 A M a r r i a g e 7, 9, 11, 22, 56, 62, 77, 52J7, 1002, 1008, 1101, 1104 A Method 26, 44, 661, 1110 272 A Night Sky 22, 26, 28, 99, 645., 1110 A P i c t u r e 26, 44, 671, 1110 A P i e c e 26, 44, J572. 1110 A P l a c e 22, 26, 96, 648, 1110 A Poem 32, 41, 792., 1099, 1111 A P r a y e r 20, 26, 44, 666, 1107, 1110 A Reason 20, 22, 26, 95, 164, _65J5, 1107, 1110 A S i g h t 25, 26, 44, 95, 662., H 1 0 A Song 1, 8, 11, 22, 29, 68, 474., 1095, 1099, 1100, 1104 A Step 39, 44, 697, 1115 A T a l l y 26, 44, 164, _689, m \u00b0 A Testament 49, 890 A Token 11, 22, 572, 1101, 1104 A t r e m b l i n g now, p a r t 3 of \"I want to fuck you\" A V a r i a t i o n 41, 794 A W a l l 39A, 44, .872 A Wicker Basket 9, 11, 22, 67, 70, 94, 519, 1104 A Wish 11, 22, 576., 1101, 1104 A c r o s s the \/ t a b l e , \/ y e a r s , p a r t 4 of \"How t h a t f a c t \" A f t e r L o r c a 2, 8, 11, 22, 61, 82, 95, 482- 1099, 1100, 1104 A f t e r Mal larme 11, 22, 5_99, 1101, 1104 Again (\"I wanted you \/ wi thout v i r t u e \" ) 900 Aga in (\"One more day gone\") 39, 44, 738, 1115 Aga in \/ and a g a i n , p a r t 5 of \"I cannot see you\" Age, v a r i a n t t i t l e f o r p a r t 11 of \" L i k e a man committed\" A g h - 38, 39, 44, 754.. H 1 5 A i r : \"Cat B i r d S i n g i n g \" 7, 9, 11, 22, 29, 523.. 1 \u00b0 \u00b0 2 , 1083, 1104 A i r s \"The Love of a Woman\" 11, 22, 84, 59_1, 1004, 1084, 1091, 1101, 1104 A l b a 6, 32, 41, 828, 1100, 1111 A l l That Is L o v e l y i n Men 6, 8, 11, 22, 84, 95, 5_09, 1100, 1104 America 39, 44, 47A, 719, 1115 An I l l n e s s 907' An I r i s h m a n ' s Lament on the Approach ing Winter 36, 41, 829, 1112 An Obscene Poem 3, 32, 41, 815, 1006, 1111 An unexamined hump, p a r t 3 of \"Agh\u2014\" And 7, 9, 11, 22, 55, 5_47, 1002, 1104 Anger 21, 22, 26, 29, 75, 86, 95, 63_9_, 1110 Anxious about the weather , p a r t 2 of \"Where we are\" Apple Uppf le 3, 8, 11, 22, \u00a3 8 9 , 1006, 1100, 1104 As Now It Would Be Snow 47, 912 As r e a l as t h i n k i n g 37 ( p a r t l j , 39, 44, 6_92, 1114, 1115 B - 38, 39, 44, 75J3, 1115 Back where t h i n g s , p a r t 4 of \"One \/ the Sun \/ \" B a l l a d of tha D e s p a i r i n g Husband 9, 11, 22', 56, 67, 70, 96, 530, 1002, 1008, 1101, 1104 B i r d f l i c k e r , p a r t 3 of \" M a z a t l a n : Sea\" B o b b i e ' s Law 44, 861 \" B o l i n a s and M e . . . \" 9L4 Broken Back B lues 6, 32, 41, 821, 1101, 1111 By l o c a t i o n , e . g . , p a r t 3 of \"The P u r i t a n Ethos\" Can f e e l i t 39, 44, 713, 1115 Canada 39, 44, 724.,' 1115 Canzone 1, 32, 41, 782, 1095, 1111 273 Chanson Charmed, Chas ing Chi cago C h r i stmas: 44, 714 May 10 C i t i z e n 37, 39, 44 5, 8, 11, 22, 29, 60, 86, p a r t 2 of \"I want to fuck you\" the B i r d 3, 32, 41, 816, 1006, 39, 71_ , 1115 1970 48 720, 1114, 1115 Cou ld w r i t e of fucking\u2014 38, 39, 44, C o u n t i n g age as form, p a r t 2 Damon & P y t h i a s 9, 11, 22, Dancing 26, 44, 688, 1110 Days l a t e r 37 ( p a r t s 1 -3 ) , Dead i n the year\u2014 44, 865 Di c t i o n 491, 1099, 1100, 1103, 1104 1111 913  of 531 \"Such 1104 761, 1115 s t r a n g e n e s s of mind\" 39, 44, 733, 1114, 1115 39, 44 718, 1115 Dimensions 22, 26, 647, 1110 D i s t a n c e 13, 21, 22, 26, 29, D i v i s i o n s 36, 41, 790, 1112 \"Do You T h i n k . . . \" 49, 885 Don' t S ign A n y t h i n g 5, 8, 11, 22 75, 640, 1110 of \"Sweet, sad\" \"La Noche\" \" L i k e a man Don' t t h i n k I'm \/ so a w f u l , p a r t D r e a r y , heavy 44, 870 Each moment c o n s t i t u t e s r e a l i t y , Echo 39, 44, 729., 1115 Echo Of 39, 44, 735., 1115 Echoes\u2014what \/ a i r , p a r t 3 E i g h t , poem 8 of \"Numbers\" E l Noche, v a r i a n t t i t l e of E n d l e s s t r o u b l e , p a r t 8 of Enough 26, 29, 44, 679_, 1110 E n t r e Nous 9, 11, 22, 545, 1002 Eros F a l l Fancy 22, 26, 6_5p_, 1110 F a t e s , v a r i a n t t i t l e f o r p a r t 4 of \"Fine c h i n a 44, 866 F i r e 11, 22, 29, 603, 1101, 1104 F i r e the \/ h a l f burnt \/ l o g , p a r t F i v e , poem 5 of \"Numbers\" F l o w e r s 39, 44, 85, 87, 89, 693, 1115 63, 92, \u00a3 9 2 , 1100, 1103, 1104 4 of \"The F r i e n d s \" p a r t 11 of \" L i k e a man committed\" committed\" 6, 32 906 41, 53, 811, 1099 , 1101, 1111 1104 Ice Cream\" 4 of \"That day\" \" 37, 39, him a l s o \" ) 44, 9, 707 11 F or For For For F or F or For For For For For For For 32, 41, 826, 1111 \"Fo l low the D r i n k i n g G o u r d . . For a F r i e n d (\"Who remembers 1104 a F r i e n d (\"You are the one man\") 6, a Screaming Lady 32, 41, 836, 1101, 1111 a V a l e n t i n e , v a r i a n t t i t l e of \"The s o - c a l l e d poet\" an A n n i v e r s a r y 2, 32, 41, 802, 1111 Ann, v a r i a n t t i t l e of \"The L e t t e r \" Benny and Sab ina 46, 911 Betsy and Tom 45, 909 Fear 11, 22, 58_6, 1004, 1084, 1101, F r i e n d s h i p 11, 22, 604, 1101, 1104 Helen 22, 26, 644 1111 1110 1114, 1115 22, 217A, 544 1-101 1104 I r v i n g 6, J o e l 24, 32, 41 26, 44, 686 1110 820 , 1100 1011, 1109 L e s l i e 22, 26, 619, 1110 274 For Lous 11, 22, 29, 61, 69, 96, 165, 606, 1004, 1084, 1101, } 1104 For M a r t i n 2, 32, 41, 812., 1100, 1111 For No C l e a r Reason 22, 26, 28, 76, 81, 100, 617, 1090, 1108, r . H I D ~ ~ ~ For Ra iner Gerhardt 1, 8\", l l , 22, 476, 1095, 11U4 For Somebody's M a r r i a g e 6, 32, 41, 823, 1100, 1111 For the New Year \"7, 9, 10, 11, 22, 95, 554_, 1002, 1100, 1104 For W.C.UI. (\"The p l e a s u r e of the wit\") 3, 8, 11, 22, 29, 488, 1006, 1099, 1100, 1104 For lAJ .C.W. (\"The rhyme i s a f t e r \/ a l l \" ) 22, 26, 614_, 1110 For You 39, 44, 696, 1115 Forms face \/ f a c t s f i n d , p a r t 2 of \"Happy love\" Forms' passage 39, 44, 732, 1115 Four (\"Before I d ie\") 38, 39, 44, 756, 1115 Four (\"Thi s number f o r me\"), poem 4 of \"Numbers\" Fragments 26, 44, 691, 1110 From P i c o & the Women: A L i f e 32, 41, 77_3, 1094, 1115 From P i e c e s , see s e p a r a t e e n t r i e s Gangster 32, 41, 771, 1111 G e m i n i , v a r i a n t t i t l e f o r p a r t 4 of \"Gemini\" Gemini 39, 44, 90 ( p a r t 4 ) , 704, 1115 God, I h a t e , p a r t 5 of \"The F r i e n d s \" Going 22, 26, 652., 1110 Going to Bed 9, 11, 22, 54_9, 1002, 1004, 1084, 1088, 1101, 1104 Goodbye 9, 11, 22, 517., 1104 Grease \/ on the hands\u2014, p a r t 4 of \"The k i c k of the foot\" Greendoon's Song, 32, 41, 766, 1111 Grey mist forms, p a r t 4 of \"What do you t h i n k \" Guido , v o r r e i che tu e Lapo ed i o 1, 32, 41, 779, 1095, 1111 Happy love 37, 39, 44, 725, 1114, 1115 Harry 49, 891 Hart Crane (\"Answer: how o l d \/ i s the wind\") 1, 32, 41, 50, 780, 1095, 1099, 1111 Hart Crane (\"He had been s t u t t e r i n g \" ) 1, 8, 11, 22, 74, 208, 472, 1094, 1095, 1100, 1104 Having t o - 37 ( p a r t s 3, 4 ) , 39, 44, 698., 1114, 1115 Heal i t , be \/ p a t i e n t , p a r t 3 of \"How tha t f a c t \" Hear ing i t \u2014 - s n i v e l l i n g \u2014 p a r t 7 of \"Some n i g h t s \" Helas 1, 32, 41, 50, 778., 1094, 1095, 1099, 1111 H e l l o 22, 26, 28, 62_6, 1110 H e l l o t h e r e \u2014 - i n s t a n t \/ r e a l i t y , p a r t 2 of \"Place\" Here (\"Past t i m e \u2014 t h o s e \/ memories\") 38, 39, 44, 758, 1115 Here (\"What \/ has happened\") 26, 44, 6J30., 1110 Here h e r e , p a r t 3 of \"One t h i n g done\" Here I \/ am, p a r t 3 of \"I cannot see you\" Here i s a l l t h e r e i s , p a r t 2 of \"How tha t f a c t \" Here now\u2014 \/ b e g i n ! p a r t 4 of \"Kids wa lk ing\" Hero 40, 90_1 Heroes 9, 11, 22, 57, 84, 548, 1101, 1104 Hi There ! 5, 16A, 32, 41, J77, 1103, 1111 H o p e l e s s , v a r i a n t t i t l e of \"Entre Nous.\" How, v a r i a n t t i t l e f o r p a r t 3 of \"Ice Cream\" How much \/ money, p a r t 4 of \" L i s t l e s s \" How t h a t f a c t 38, 39, 44, 757, 1115 275 I 22, 26, 29, 71, 99, 620, 1110 I am f i n a l l y , p a r t 2 of \"\"\"\"Why say\" I Am Held by My Fear of Death 2, 32, 41, 805, 1111 I am h e r e , p a r t 4 . o f \"I want to fuck you\" I cannot see you 37 ( p a r t s . 1 , 2, 5 ) , 39, 44, 703, 1114, 1115 I d i d n ' t know what I c o u l d do, p a r t 2 of \"Here\" I d o n ' t hate you l a t e l y 44, 879 I have no ease , p a r t 6 of \" L i k e a man committed\" \"I Keep to M y s e l f Such M e a s u r e s . . . \" 22, 26, 96, 635, 1110 I Know a Man 6, 8, 11, 22, 29, 61, 62, 67, 69, 75, 82, 86, 494, 1100, 1104 I l i s t e n , p a r t 2 of \"The F r i e n d s \" \" . . . I ran out of my c a b i n \" , p a r t 5 of \"Agh\u2014\" I want to fuck you 44, 884 I want to s i n g , p a r t 3 of \"Mo c l o u d s \" I was s l e e p i n g \/ and saw, p a r t 2 of \" L i s t l e s s \" Ice Cream 39, 44, 742, 1115 I f You 7, 9, 11, 22, 35, 55, 56, 532., 1002, 1008, 1101, 1104 I ' l l Be Here , v a r i a n t t i t l e f o r p a r t 2 of \"The P u r i t a n Ethos\" In a Boat Shed 36, 41, 8_39, 1002, 1101, 1112 In an Act of P i e t y , v a r i a n t t i t l e of \"In an Act of P i t y \" In an Act of P i t y 2, 32, 41, 7 9 8 , 1 1 1 1 In London 43, 44, 875 \"In P i e c e s . . ' . ' , see s e p a r a t e e n t r i e s In s e c r e t 37 ( p a r t l ) , 39, 44, 705, 1114, 1115 In the 44, 867 In the house of 39, 44, 740, 1115 I n d i a n s 26, 44, 678, 1110 I n t e r r u p t - \/ i o n s , p a r t 2 of \"That day\" I n t e r v a l s 26, 29, 44, 681, 1110 I t Is at Times 32, 41, 53, 808, 1099, 1111 \u2014it \/ i t\u2014 , p a r t 4 of \" ' T i m e ' i s some s o r t of h i n d s i g h t \" \" I t ' s s t r a n g e \" , p a r t 3 of \" L i s t l e s s \" J a c k ' s B lues 11, 22, 70, 100, 570, 1004, .1084, 1101, 1104 Je v o i s dans l e hasard tous l e s b i e n s que j ' e s p e r e 9, 36, 41, 841, 1002, 1101, 1112 Joy 26, 44, 67TJ\u00bb 1 1 1 0 J u g g l e r ' s T h o t , v a r i a n t t i t l e s of \" J u g g l e r ' s Thought\" J u g g l e r ' s Thought 9, 11, 22, 29, 510, 1002, 1091, 11D1, 1104 Jus t F r i e n d s 9, 11, 22, 56, 5jn, 1002, 1008, 1091, 1101, 1104 K a t e ' s 39, 44, 88, 695., 1115 K i d s w a l k i n g 38, 39, 44, 752., 1111 K i k i 44, .871 Kore 11, 22, 29, 61, 65, 75, 82, 83, 91, 558., 1101, 1104 La Noche 6, 8, 11, 22, 168, 507 , ' 1100 , 1104 Lady B i r d 7, 9, 10, 11, 22, 5_43, 1002, 1104 Lady i n B lack 11, 22, 29, 563, 1101, 1104 L a s t n i g h t ' s dream, p a r t 5 of \"Such s t r a n g e n e s s of mind\" Le Fou 1, 8, 11, 22, 29, 50, 60, 78, 93, 99, 219, 473., 1095, 1100, 1104 Let me see, p a r t 2 of \"Sweet, sad\" L e t t e r to G e n e r a l \/ E i senhower , p a r t 3 of \"Ice Cream\" L i f e l i k e you \/ t h i n k , p a r t 4 of \"Forms' passage\" L i f t me \/ from such I , p a r t 6 of \"Some n i g h t s \" 276 L i k e a man committed 39, 44, 745, 1115 L i k e They Say 6, 8, 11, 22, 62, 506, 1104 L i k i n g i s , p a r t 6 of \"The F r i e n d s \" L i n e s , v a r i a n t t i t l e f o r p a r t 6 of \" L i k e a man committed\" L i s t l e s s 38, 39, 44, 7_62_, 1115 L i t t l e b i t s , p a r t 3 of \"The s o - c a l l e d poet\" L i t t l e Time\u2014And P l a c e 44, 863 L i t t l e t o n , N . H . 1, 32, 41, 781, 1095, 1111 Look 904 L o o k i n g f o r a way 44, 881 Los G u i t a r i s t a s 2, 32, 41, 803, 1111 L o v e - ( \" L o v e \u2014 l e t i t \" ) 44, 860 Love (\"Not enough. The q u e s t i o n : what i s \" ) 1, 32, 41, 783, 1095, 1111 Love (\"The t h i n g comes \/ of i t s e l f \" ) 36, 41, 50, 77_6, 1112 Love Comes Q u i e t l y 11, 22, 92, 165, 5_98, 1101, 1104 Make time \/ of i r r i t a t i o n s , p a r t 2 of \"The k i c k of the foo t\" M a r y ' s Fancy 42, 49, 886, 1016 M a s s a c h u s e t t s 910 M a z a t l a n : Sea 38, 39, 44, 751, 1115 M e d a l l i o n 32, 41, 7_96, 1099, 1111 M i d n i g h t 11, 22, 5_61, 1101, 1104 M i n d ' s Heart 11, 22, 98, 59_2, 1086, 1091, 1101, 1104 Mr. Warner, v a r i a n t t i t l e for p a r t 3 of \"The P u r i t a n E t h o s \" Moving away i n t i m e , p a r t 2 of \"Agh\u2014\" Moving i n the mind ' s \/ p a t t e r n s , p a r t 3 of \"The k i c k of the foo t\" My Love 9, 11, 22, 536., 1002, 1004, 1084, 1088, 1089, 1101, 1104 My p l a n i s \/ these l i t t l e boxes , p a r t 5 of \"Some n i g h t s \" NYC 39, 44, 716,, 1115 Names 39, 44, 712., 1115 N a t h a n i e l Hawthorne 9, 41, 844, 1091, 1101 Naughty Boy 9, 11, 22, 67, 164, 5TJ5, 1104 N e i t h e r sadness- nor d e s i r e 44, 874 New Y e a r ' s 9, 11, 22, 541, 1002, 1101, 1104 New Y e a r ' s 1958, v a r i a n t t i t l e of \"New Y e a r ' s \" N i n e , poem 9 of \"Numbers\" No c l o u d s 39, 44, 734., 1115 No one l i v e s i n \/ the l i f e , p a r t 2 of \"Some n i g h t s \" No sense one, p a r t 5 of \"The s o - c a l l e d poet\" Not Aga in 32, 41, 8J33, 1111 Not from not , p a r t 2 of \"One t h i n g done\" Not Now 11, 22, 579, 1101, 1104 Nothing grand\u2014, p a r t 2 of \" K i d s w a l k i n g \" Now Then 36, 41, 830, 1112 Nowhere one \/ goes , p a r t 3 of \"Days l a t e r \" Numbers 31 (poems 1-5) , 34, 39, 44, 709, 1115 Of Years 26, 44, 684., 1110 \"Oh My L o v e . . . \" 26, 44, (590, 1110 Oh No 7, 9, 11, 22, 67, 95, 164, 212, 5_16, 1002, 1101, 1104 Oh no you \/ d o n ' t , p a r t 3 of \"Place\" Oh so c u t e , p a r t 5 of \"Ice Cream\" Old Song 32, 41, 7_97, 1100, 1111 On V a c a t i o n 49, 898 \u2022 One, poem 1 of \"Numbers\" 277 \u2022ne cock \/ pheasant , p a r t 3 of \"Happy love\" One day, v a r i a n t t i t l e of \"Happy love\" One \/ the S u n \/ 37 ( p a r t l ) , 39, 44, 711, 1114, One t h i n g done 37 ( p a r t s 1, 2, 3 ) , 39, 44, 702, One, two \/ i s the rule\u2014, p a r t 4 of \"Some n i g h t s \" One Way 22, 26, 29, 86, 637., 1090, 1110 Other way\u2014dark \/ eyed , p a r t 2 of \"8\u2014\" 1115 1114, 1115 Out of S i g h t P . S . 39, 44 Peace, People P i e c e s 11, 22, 571, 1004, 1084, 1101, 1104 741 1115 b r o t h e r , p a r t 2 of \" L i k e wi thout t h e i r own scene , see s e p a r a t e e n t r i e s d i d n ' t \/ w a n t \/ to hurt a man committed\" p a r t 2 of \"Soup\" (\"I of 39 ; 9, 37 721 cak e 44, _ 11, 22 of p a i n P i e c e s P i e c e s P l a c e P l ease P leasur es Poem f o r B e g i n n e r s Poem f o r Bob Leed Poem f o r D . H . \"Quick t a l k . . . Q u i c k - S t e p 22 Re C - 39, 44, ( p a r t 1115 you\") 26, 44, 663, 1110 1 ) , 39, 44, 700, 1114, 1115 29, . 37, 32 36, 86 , 39, 41 . 41, Lawrence 32 \" 49, 889 , 26, 514, 1002, 1101, 1104 44, 715 768, 1114, 1115 1111 772, 1111, 1112 41, 767, 1111 627, 1110 744 Return 32, 41 765 1115 1111 Rhyme, v a r i a n t t i t l e f o r p a r t R i p p l i n g e y e l i d s 44, 868 Roads, v a r i a n t t i t l e for p a r t Same 26, 44, 668, Sanine to Leda 32, Sa turday A f t e r n o o n 1110 41, 769, 9, 5 of \" L i k e a man committed\" 1 of \"What do you t h i n k \" 11 1111 22, 538 1002, 1101, 1104 S e l l the m o t h e r f u c k e r , p a r t 4 of \"Agh-Seven, poem 7 of \"Numbers\" 11, 22, 70, 528 \/ sand t o n e s , She Went to Stay 9, Shimmer of r e f l e c t e d S i g n 44, 859 S i n g Song 9, 11, 22, S i t . Eat a doughnut , S i t t i n g , waves on the S i t u a t i o n of f e e l i n g S i x , poem 6 of \"Numbers\" S l e e p \u2014 i t washes \/ away, p a r t Smal l f a c t s \/ of eyes , p a r t 3 Smel l of gun wrappers 39, 44 So B ig 44, 877 So t h a t ' s what you do, p a r t 3 So t i r e d 37, 39, 44, 730 Some A f t e r n o o n 22, 26 Some Echoes 22, 26, 29, 86, Some n i g h t s 38, 39, 44, 759, Some P lace 15, 22, 26 1091, 1104 p a r t 2 of \" M a z a t l a n : Sea\" 62, 83, 546, 1084, 1104 p a r t 3 of \"The car\" beach, p a r t 4 of \"Having 39, 44, 737, 1115 o\u2014 5 of \"lYlazatlan of \"As r e a l as 747, 1115 Sea\" t h i n k i n g \" of \"Where 1114, 1115 638, 1110 649, 1110 1115 641, 1110 we are Something Something Something Somewhere 22, 26, 95 168 621, f o r E a s t e r 1, t h a t h a s n ' t as 9, 11, 22, 540, 1110 32, 41, 52, y e t , p a r t 4 1104 789, 1095, 1100, 1111 of \"Ice Cream\" 278 Song (\"At midn ight the w o r l d \" ) , v a r i a n t t i t l e of \"Two Ways of L o o k i n g i n a M i r r o r \" Song (\"Back where t h i n g s were \/ sweeter\") , v a r i a n t t i t l e f o r p a r t 4 of \"One \/ the Sun \/ \" Song (\"God g ive you pardon from g r a t i t u d e \" ) 9, 11, 22, 542, 10Q2, 1091, 1101, 1104' Song (\"How s imply \/ f o r another\") 26, 44, 685, 1110 Song (\"I wou ldn ' t \/ embarrass you\") 22, 26, 29, 642, 1110 Song (\"Oh so cute\") , v a r i a n t t i t l e for p a r t 5 of \"Ice Cream\" Song (\"The g r i t \/ of t h i n g s \" ) 22, 26, 615, 1090, 1110 Song (\"Those r i v e r s run from tha t land\"\") 11, 22, 65, 581, 1101, 1104 Song (\"Were I myse l f more b l i t h e \" ) 6, 8, 11, 22, 63, 504, 1104 Song (\"What do you \/ want, love\") 15, 22, 26, 165, 643, 1110 Song (\"What I took i n my hand\") 11, 22, 84, 577, 1004, 1084, 1101, 1104 Sopa 5, 32, 41, .818, 1103, 1111 Sounds 49, 899 Soup, v a r i a n t t i t l e f o r \"Soup\", p a r t 1 of \"Two Times\" (\"Image \/ d o c t e u r \" ) , and \"I want to fuck you\" Soup 44, 882 S t a n d i n g i n a Boat shed , v a r i a n t t i t l e of \"In a Boat Shed\" S t i l l L i f e or 1, 32, 41, 777, 1095, 1111 Stomping with C a t u l l u s 6, 32, 41, 824, 1099, 1100, 1111 Such s t r a n g e n e s s of mind 38, 39, 44, 763, 1115 Sweet, sad 44, 878 Swinging down C e n t r a l 36, 41, 840, 1101, 1112 Thank You 2, 32, 41, 804., 111! \"That D a y . . . \" , v a r i a n t t i t l e of \"That day\" That day 44, 857 The 39, 44, 73_6, 1115 The Act of Love 49, 893 The a i r i s t h i c k , p a r t 4 of \" M a z a t l a n : Sea\" The Animal 36, 41, 84_9> 1 H 2 The Answer 22, 26, 28, 29, 646, 1110 The Apology 6, 32, 41, 825, 1111 The Awakening 11, 22, 56, 69, 96, 557, 1002, 1008, 1101, 1104 The B a l l Game 1, 8, 11, 22, 52, 164, 48_1, 1095, 1100, 1104 The Bed 9, 11, 22, 73, 52TJ, 1101, 1104 \"The B e d p o s t . . . \" , v a r i a n t t i t l e for p a r t 1 of \"The bedpost\" The bedpost 39, 44, .710., 1115 The B i r d 11, 22, 567, 1086, 1091, 1101, 1104 The B i r d , the B i r d , the B i r d 2, 32, 41, 8_00, 1111 The B i r d s 49, 897 The B i r t h of Venus, v a r i a n t t i t l e ' o f \"The Death of Venus\" The Box 26, 44, 673, 1110 The Boy 33, 39, 44, 726, 1115 The \" b r e a t h t a k i n g b a n a l i t i e s \" , par t 7 of \"The F r i e n d s \" The B u s i n e s s 6, 8, 11, 22, 29, 500., 1104 The Cantos 1, 32, 41, 52, 788.. 1 \u00b0 9 5 \u00bb H 0 0 , 1111 The car 37 ( p a r t s 1, 3, 4 ) , 39, 44, 699, 1114, 1115 The C a r n i v a l 2, 8, 11, 22, 482, 1087, 1100, 1104 The Chance 22, 26, 99, 625, 1110 The Changes 6, 32, 41, 819, 1100, 1111 279 493, 1100, 1103, 1101, 1104 1095, 1100, 1104 The Charm 2, 8, 32, 41, 799, 1100, 1111 The C i r c l e 26, 44, 664_, 1110 The C i t y 22, 26, 28, 65_3, 1110 The C o n s p i r a c y 5, 8, 11, 22, 29, 60, 62, 63 1104 The C r a c k s 11, 22, 61, 164, 5(59, 1004, 1084 The C r i s i s 1, 8, 11, 22, 54, \u00a3 7 5 The Crow 2, 8, 11, 22, 65, 486, 1087, 1100, 1104 The day comes and goes 39, 44, 749, 1115 The day was ga thered 903 \"The Death Of . . . \" 49, 892. The Death of Venus 6, 8, 11, 22, 65, 67, 73, 496, 1100, 1104 The D i sappo in tment 6, 8, 11, 22, 29, 68, 86, 501, 1100, 1104 The D i s h o n e s t Mai lman, v a r i a n t t i t l e of \"The D i shones t Mailmen\" The D i s h o n e s t Mailmen 2, 8, 11, 22, 29, 60, 62, 65, 69, 77, 485, 1100, 1104 The Door (\"It i s hard go ing to the door\") 9, 11, 22, 29, 56, 70, 84, 95, 164, 555., 1002, 1004, 1008, 1084, 1101, 1104 The Door (\"Thump. Thump\") 32, 41, 1343, 1004, 1084, 1088, 1101, 1111 The Dream (\"A l a k e i n the head\") 36, 41, 845., 1112 The Dream (\"Such p e r f e c t i o n \/ of dream would\") 22, 26, 29, 636, 1110 The Drums 1, 32, 41, 52, 786, 1095, 1111 The Ear 41, 851, 1002 The Edge, v a r i a n t t i t l e for p a r t 1 of \"The Edge\" The Edge 44, 862. The End 6, 8, 11, 22, 495., 1099, 1104 The End of the Day 11, 22, 67, 584, 1086, 1101, 1104 The E p i c Expands 1, 32, 41, 7_75, 1095, 1111 The Europeans 32, 41, 53, 809, 1111 The Eye (\"Moon \/ and clouds\"*\"}\" 11, 22, 597, 1101, 1104 The Eye (\"The eye I look out of\") 26, 44, 683., 1110 The F a m i l y 39, 44, 694., 1115 The Farm 26, 44, 677_, 1110 The F e s t i v a l 41, 7_84 The F i g u r e s 11, 22,595., 1101, 1104 The F i n g e r 30, 39, 44, 165, 701, 1005, 1082, 1113, 1115b The F i r e 22, 26, 61j5, 1110 The f i r s t t ime (\"The f i r s t \/ t ime i s \/ the f i r s t \/ t ime\") 39, 44, 750., 1115 The F i r s t Time (\"We are g i v e n a chance\") 11, 22, 168, 5_94, 1004, 1084, 1101, 1104 The Flower (\"I .think I grow t e n s i o n s \" ) 9, 11, 22, 68, 550, 1101, 1104 The Flower (\"Remember the way you \/ hunched up\") 20, 26, 44, 667, 1107, 1110 The F o o l , p a r t of poem 10 of \"Numbers\" The F r i e n d 9, 11, 22, 513., 1002, 1088, 1101, 1104 The F r i e n d s , v a r i a n t t i t l e for p a r t s 1, 4, 6, and 7 of \"The F r i e n d s \" , and p a r t s 2 and 3 of \"Place\" The F r i e n d s 37 ( p a r t 2 ) , 39, 44, 717, 1114, 1115 The Ges ture 11, 22, 605., 1084, 1101, 1104 The G i f t 11, 22, 29, 58, 60, 86, 587, 1101, 1104 280 The Hands 36, 41, 84_6, 1112 The Happy Man 41, .822 The Herd 32, 41, 842, 1004, 1084, 1111 The Hero 9, 11, 22, 524., 1002, 1101, 1104 The H i l l 9, 11, 22, 61, 84, 556., 1002, 1004, 1084, 1088, 1089, 1101, 1104 The Hole 26, 29, 44, _665, 1110 The House 11, 22, 75, 588, 1091, 1101, 1104 The Immoral P r o p o s i t i o n 3, 8, 11, 22, 56, 65, 70, 77, 96, 487, 1006, 1008, 1099, 1100, 1104 The Innocence 1, 8, 11, 22, 29, 54, 56, 77, 480, 1008, 1095, 1100, 1104 The I n t e r v i e w 9, 11, 22, 518., 1002, 1101, 1104 The I n v i t a t i o n 22, 26, 612, 1090, 1110 The I n v o i c e 9, 10, 11, 22, 62, 67, 99, 164, _53\u00a3, 1002, 1101, 1104 The Joke 11, 22, 565., 1101, 1104 The k i c k of the foo t 38, 39, 44, 755, 1115 The K i d 11, 22, 562, 1101, 1104 The Kind of Act of 2, 8, 11, 22, 54, 56, \u00a3 8 4 , 1008, 1099, 1100, 1104 The Language 22, 26, 28, 29, 75, 62_3, 1110 The Late Comer 32, 41, 77_0, 1111 The L e t t e r 7, 9, 11, 22, 551, 1002, 1104 The L i o n and the Dog 32, 41, 853, 1111 The Lover 6, 8, 11, 22, 4_97, 1 J - 0 4 The Man 11, 22, 573., 1101, 1104 The Measure 22, 26, 630., 1110 The Mechanic 22, 26, 95, 633, 1110 The Memory 11, 22, 5_74, 1101, 1104 The men i n my l i f e 44, 373 The Menu 9, 36, 41, 8_38, 1002, 1101, 1112 The Message 905 The Messengers 22, 26, 28, 618., 1110 The Method of A c t u a l i t y 2, 36, 41, 8TJ6, 1112 The M i r r o r 41, 792, The Moon 39, 44, 70_3, 1115 The Mountains i n the Desert 22, 26, 28, 75, 610, 1101, 1110 The Name 11, 22, 29, 65, 69, 70, 75, 79, 98, 164, 593.. 934, 1101, 1104 The Names 9, 11, 22, 535, 1002, 1004, 1084, 1101, 1104 The News 39, 44, 746., 1115 The O p e r a t i o n 3, 8, 11, 22, 29, 70, 95, 490, 1006, 1099, 1100, 1104 The Paradox 11, 22, 583, 1101, 1104 The Passage 32, 41, _847, 1111 The P a t t e r n 22, 26, 29, 99, 632., 1110 The P e d i g r e e 2, 32, 41, 807., 1100, 1111 The P e n i t e n t 32, 41, 53, 810, 1099, 1111 The People 11, 22, 600, 1101, 1104 The P i c n i c 36, 41, 8_37, 1101', 1112 The P l a c e 9, 11, 22, 168, 55_2, 1002, 1007 The P l a c e s , v a r i a n t t i t l e of \"The P lace\" The P l a n 11, 22, 69, 564, 1091, 1101, 1104 281 The Poo l 11, 22, 97, 5_90, 1101, 1104 The P r e j u d i c e 32, 41, 834, 1100, 1111 The Problem 49, 895 The P r o v i n c e 39, 44, 723, 1115 The P u r i t a n E t h o s , v a r i a n t t i t l e for p a r t 1 of \"The P u r i t a n Ethos\" The P u r i t a n Ethos 39, 44, 722. 1115 The Q u e s t i o n 32, 41, 791, 1099, 1111 The Rain 11, 22, 29, 61, 96, 97, 100, 5_59, 1101, 1104 The Rescue 11, 22, 582., 1004, 1084, 1101, 1104 The R e v e l a t i o n 3, 32, 41, 814, 1006, 1100, 1111 The Rhyme 1, 8, 11, 22, 52, 67, 4 7 9 , . 1 0 8 7 , 1095, 1100, 1104 The Rhythm 22, 26, 28, 62, 75, 96, 98, 99, 607, 1090, 1101, 1110 The R i d d l e 1, 8, 11, 22, 52, 54, 91, .477, 1095, 1100, 1104 The R i t e s 1, 8, 11, 22, 52, \u00a3 7 8 , 1095, 1100, 1104 The Rocks 22, 26, 28, 608, 1110 The room's s p a c e s , p a r t 3 of \"That day\" The Rose 11, 22, 69, 70, 74, 596., 1004, 1083, 1084, 1101, 1104 The S a i n t s 9, 11, 22, 83, 5_34, 1101, 1104 The Sea 1, 32, 41, 52, 787, 1095, 1099, 1111 The Sentence 32, 41, 85TJ, 1111 The Shame 20, 22, 26, 6_56, 1107, 1110 The S i g n B o a r d 11, 22, 61, 578., 1101, 1104, 1108 The S k e l e t o n 32, 41, 852, 1111 The Snow 11, 22, 74, 602, 1002, 1101, 1104 The s o - c a l l e d poet 44, 864 The Song 11, 22, 5_66, 1101, 1104 The S o u v e n i r 9, 11, 22, 99, 55_3, 1002, 1101, 1104 The S ta tue 20, 22, 26, 657, 1107, 1110 . The S t o r y 32, 41, \u00a3 5 4 , 1111 The sun d r o p s , p a r t 2 of \"You see the j e r k e d movement\" The sun w i l l set a g a i n , p a r t 5 of \" L i k e a man committed\" The S u r f : An Elegy 1, 32, 41, 52, 785., 1095, 1111 The T e a c h i n g s 44, 869 The Three L a d i e s 9, 11, 22, 56, 57, 65, 96, 5_15, 1002, 1008, 1101, 1104 The T i g e r 49, 896 The Time 11, 22, 58TJ, 1101, 1104 The T o t a l P a r t s of a World 6, 32, 41, 827, 1111 The Trap 3, 32, 41, 813., 1006, 1100, 1111 The T r a v e l l e r 9, 11, 22, 5_26, 1101, 1104 The Tunne l 9, 11, 22, 533, 1002, 1101, 1104 The T u r n 22, 26, 613., 1110 \"The W a l l . . . \" 49, 888. The Warning 6, 8, 11, 22, 56, 77, 502., 1008, 1104 The Way 9, 10, 11, 22, 29, 56, 66, 74, 96, 5_25, 1008, 1101, 1104 The way i n t o the form, p a r t 3 of \"Having to\u2014\" The which i t was 39, 44, 739.. 1 H 5 The Whip 6, 8, 11, 22, 56, 70, 95, 168, 5TJ8, 1008, 1100, 1104 The Wife 11, 22, 67, 69, 70, 74, 164, 601, 1101, 1104 The Wind 9, 11, 22, 67, 522.. 1002, 1091, 1101, 1104 The wind h o l d s \/ my l e g , p a r t 4 of \"Here\" The Window ( \" P o s i t i o n i s where you \/ put i t \" ) 22, 26, 624, 1110 The Window (\"There w i l l be no s imple\") 20, 22, 26, 28, 29, 91, 658, 1107, 1110 282 The Woman (\"I c a l l e d her a c r o s s the room\") 11, 22, 560, 1004, 1084, 1091, 1101, 1104 The Woman (\"I have never \/ c l e a r l y g i v e n to you\") 21, 22, 26, 28, 80, 631, 1110 The Woman (\"When he and I\" ) , v a r i a n t t i t l e f o r p a r t 1 of \"When he and I\" The Women 11, 22, 585,, 1101, 1104 The World 22, 26, 95, 65_1, 1110 There 26, 44, 669,, 1110 There Is 22, 26, 62_9, 1110 There i s a l ake of c l e a r water , p a r t 2 of \"The P u r i t a n Ethos\" There i s a space 44, 876 There was no one t h e r e , p a r t 3 of \"Such s t rangenes s of mind\" They (\"I wondered what had \/ happened\") 26, 44, 660, 1110 They (\"They were t r y i n g to c a t c h up\") 26, 44, 675, 1110 They (\"What c o u l d \/ they g ive me\") 39, 44, _728, 1115 They a l l walk by, p a r t 3 of \"Here\" They are u s e f u l , p a r t 4 of \"The s o - c a l l e d poet\" They Say 9, 11, 22, 29, 60, 86, 512,\u00bb 1002, 1101, 1104 T h i n k i n g 902 T h i s s i n g l e n e s s , p a r t 2 of \"What do you t h i n k \" Three (\"Sweet, sad \/ nos ta lg ia\u2014\") , v a r i a n t t i t l e of \"Sweet, sad\" Three (\"They come now\"), poem 3 of \"Numbers\" 3 i n 1 39, 44, 727, 1115 Time (\"Moment to \/ moment\") 49, 894 Time (\"So t i r e d \" ) , v a r i a n t t i t l e f o r \"So t i r e d \" , \"Why say\", and \"Days l a t e r \" ( p a r t s 1-3) \"Time\" i s some s o r t of h i n d s i g h t 37 ( p a r t s 2, 4 ) , 39, 44, 706, 1114, 1115 To And 11, 22, 575, 1101, 1104 To Bobbie 20, 22, 26, 29, 80, 65_9, 1107, 1110 To the One i n the Gray Coat 32, 41, 774, 1111 \"To Work Is to C o n t r a d i c t C o n t r a d i c t i o n s , to Do V i o l e n c e to N a t u r a l V i o l e n c e . . . \" 36, 41, 832,, 1112 T r e e s 36, 41, 831, 1112 Two ( \" H o l d i n g \/ f o r one \/ i n s t a n t \" ) 49, 887 Two (\"When they were \/ f i r s t made\"), poem 2 of \"Numbers\" Two P i e c e s , see s e p a r a t e e n t r i e s Two Times (\"Image \/ doc teur\") 44, 883 Two Times (\"It takes so long to look down\") 32, 41, 855, 1111 . Two Ways of Look ing i n a M i r r o r 6, 32, 41, 795, 1001, 1099, 1111 V a r i a t i o n s 22, 26, 628, 1110 Wait f o r Me 6, 8, 11, 22, 49_9, 1100, 1104 W a i t i n g 22, 26, 28, 611, 1101, 1110 Waked to p a s t , p a r t 5 of \"That day\" Walk ing 22, 26, 622, 1110 Walking the Dog 908 W a l l s 22, 26, 634, 1110 Want to get the sense of \"I\" , p a r t 3 of \"Kids wa lk ing\" Wants, v a r i a n t t i t l e for p a r t 2 of \"The bedpost\" Was 26, 44, 67_6, 1110 Was tha t r i g h t , p a r t 4 of \"Where we are\" Water (\"The s u n ' s \/ sky in\") 22, 26, 28, 6_09, 1090, 1091, 1101 Water (\"Water d r i p s \" ) 26, 44, 682, 1110 283 Water Music 26, 44, 674, 1110 Way 44, 8_80 W e ' l l d i e 44, 858 Were you t h e r e , p a r t 2 of \"I cannot see you\" What changes , p a r t 5 of \" L i s t l e s s \" What do you do, p a r t 2 of \"When he and I\" What do you t h i n k 39, 44, 743, 1115 What i s the \/ day, p a r t 6 of \"That day\" What i t says i s t h a t one, p a r t 4 of \"Gemini\" What she says she wants, p a r t 2 of \"The bedpost\" What would you have, p a r t 3 of \"Some n i g h t s \" What's f o r D inner 32, 41, 848., 1111 When he and I 38, 39, 44, 7_64, 1115 Where i t i s \/ was, p a r t 2 of \" ' T i m e ' i s some s o r t of h i n d s i g h t \" Where we are 39, 44, 748, 1115 Why say 37, 39, 44, 731, 1114, 1115 Why the echo of , p a r t 4 of \"Such s t r a n g e n e s s of mind\" Words 20, 22, 26, 28, 164, .654, 1107, 1110 Ye l low 11, 22, 568., 1101, 1104 You look up the s t r e e t , p a r t 2 of \"Days l a t e r \" You see the j e r k e d movement 38, 39, 44, 760, 1115 You W a n t . . . , v a r i a n t t i t l e for p a r t 7 of \" L i k e a man committed\" Young Woman 11, 22, 589, 1101, 1104 Your opaqueness , p a r t 2 of \"No c l o u d s \" \"You've T r i e d the W o r l d , T r y Jesus\" 32, 41, 835., 1111 Z e r o , poem 10 of \"Numbers\" INDEX TO PERIODICALS The f o l l o w i n g index l i s t s p u b l i c a t i o n s by and about C r e e l e y i n p e r i o d i c a l s and o ther r e f e r e n c e s to p e r i o d i c a l s . I t does not l i s t books i n a s e r i e s with the e x c e p t i o n of a n n u a l s . The numbers r e f e r most o f t e n to the f o l l o w i n g s e c t i o n s of the i n v e n t o r y : Works By Robert C r e e l e y : P u b l i c a t i o n s of N o n f i c t i o n a l P r o s e : C o n t r i b u t i o n s to P e r i o d i c a l s 128-158 About Robert C r e e l e y : In P e r i o d i c a l s . . . . 231-444 P u b l i c a t i o n H i s t o r y of I n d i v i d u a l W r i t i n g s A F i c t i o n a l Prose 455-471 B C o l l e c t e d Poems 472-856 C New Poems 857-914 D N o n f i c t i o n a l Prose 915-1000 Accent 770, 771 Agenda 251, 378A, 631, 940, 947, 950 A i r o n 636, 647 Akzente 258, 455 The Albuquerque J o u r n a l 1064 Amepnka 479 Anonym 33, 695, 710, 711, 726 The A n t i o c h Review 890 Arbor 609 Ark II Moby I 530 A r t e s H i s p a n i c a s 220, 273, 473 A r t s Magazine 999 A r t s c a n a d a 1000 A t l a n t i c Monthly 303, 401 A u d i t 103 A y l e s f o r d Review 327 The B a l t i m o r e Sun 424 B a s l e r N a c h r i c h t e n 407 B e l o i t Poetry J o u r n a l 614, 833 Best & Company 859 Between Worlds 603, 604 B i g T a b l e 525, 557, 574, 601, 602, 955 B l a c k Mountain Review 114, 141, 145, 176, 221A, 279A, 411, 499, 504, 508, 511, 517, 519, 523, 797, 821, 822, 828, 926, 942, 943, 968, 969, 977, 979-983, 992-995, 1050, 1056, 1171, 1196 Indexed i n 231, 232 Book Week 323, 348, 384 Books and Bookmen 383, 430E Books U . S . A . 317 B r i t a n n i a 426A 285 B u r n i n g Deck 613, 853 Cafe So lo 710 . Cambridge Q u a r t e r l y 244 , 354 Cambridge Review 369 Canadian Forum 385, 422 Cape Ann Summer Sun 138A C a r o l i n a Q u a r t e r l y 425A C a r t e Segre te 567, 620 C a t e r p i l l a r 409, 415, 416, 450, 909 C h e l s e a 300, 563, 597, 599, 600, 846 Chicago Review 242 Cho ice ( P o e t r y seminar , Chicago) 185, 608, 687 C l U \/ n 281, 438, 488, 495-497, 501, 503, 506, 795, 816, 820, 924 C o a s t l i n e s 286 C o l l e a g u e 395, 554 Columbia D a i l y S p e c t a t o r , see The Supplement Combustion 440, 441 Commentary 254 Commonweal 349 C o n c e r n i n g Poe try 252 \u00bb 272 Contac t 485, 794, 799, 819, 823, 826, 925, 941, 967, 968 Indexed i n 210 E l Corno Emplumado 154, 433, 578, 639 The Cottonwood Review 135 C o y o t e ' s J o u r n a l 630, 650, 654, 677 C r i t i c a l Q u a r t e r l y Poetry Supplement 525 C r i t i q u e 324 C u l t u r a l A f f a i r s 147, 276, 494 Darmstadter Echo 367 The Denver Q u a r t e r l y 394 The Deser t Review 143 Deutsches A l l g e m e i n e s S o n n t a g s b i a t l 406 Dimension ( f e a t u r e magazine of The Spectrum) 134, 699, 702, 703, 706 D i s s e r t a t i o n A b s t r a c t s 445-447 Duende 113 E l i z a b e t h 314, 319B, 403, 568, .906, 976 Encounter 370, 371, 641, 643 The E n g l i s h Record 751 Espejo 762 E v e r g r e e n Review 439, 471, 515, 528, 665, 985 F i e l d 894 The F i f t i e s 235 F i l m C u l t u r e 127 F i r s t Person 928 The F l o a t i n g Bear 262, 266, 328, 852, 929, 930, 964 F o l i o Magazine 575, 587 Four Winds 790 Fragmente 175, 461, 463, 1097 F r a n k f u r t e r A l l g e m e i n e Z e i t u n g 346, 404 The Free Lance 318, 337, 494, 500, 795, 819, 829, 937 Free Poems\/Among F r i e n d s 697, 817 Fubbalo 649 Fuck You: A Magazine .of the A r t s 621, 855 The G a l l e y S a i l Review 845 The Genre of S i l e n c e 688-691 G e o r g i a S t r a i g h t , see W r i t i n g G l a s s H i l l 1033 Goad 253 , 483, 784, 922, 939 Golden Goose 1, 52, 477-479, 481, 495, 775, 779, 781, 785-789, 802, 807, 1041, 1092-95 Good Reading 320 Granta 267, 609, 615, 617, 637, 949 Greensboro D a i l y News 363 G r i s t 616, 621, 643 Gryphon 772 The Guard ian 372 H a r p e r ' s Bazaar 936 H a r p e r ' s Magazine 302, 333, 399 Hearse 525, 539, 545, 836 H i e r o p h a n t 734 Hip Pocket Poems 590 Hudson Review 313, 398, 426 Human V o i c e 413 The Humanist 961 II V e r r i 249, 480, 484, 498, 502 I n l a n d 526, 552, 1007 Inscape 178, 566, 581 l o 444 Iowa S t a t e L i q u o r S tore 882-884 I r i s h Times 430B I s i s 285 Jabberwock 502, 556 Jeopardy 748 Le J o u r n a l des Poetes 256, 475, 480 J o u r n a l f o r the P r o t e c t i o n of A l l Be ings 1039 J o u r n a l of American S t u d i e s 277 J o u r n a l of C r e a t i v e Behav ior 900 Kayak 422A The Kenyon Review 419, 456, 466 K u l c h u r 131, 144, 153, 231, 236, 237, 239, 247, 265, 289, 295, 338 The Lampeter Muse 764 Language and S t y l e 279 L i l l a b u l e r o 252A, 389, 417, 743, 902-905, 908 The L i s t e n e r 379 The L i t t l e Mag 699, 702, 703, 706 London Magazine 380 The Lugano Review 648, 652, 653, 998 MLA Q u a r t e r l y 192 Magazine 644 The Magazine of F u r t h e r S t u d i e s 149 Man-Root 425B M a r i j u a n a Review 885 Massachuse t t s Review 306, 391, 427 Measure 510, 512, 521, 528, 533 M e r l i n 177 Mica 432, 850 M i g r a n t 151, 248, 557-559, 567, 585, 592, 600, 915, 917, 953 The Minnesota Review 132, 186, 243, 260, 293, 313A, 410, 443, 708 M o j o N a v i g a t o r ( e ) 888 M o n t e v a l l o Review .951 Mother 694 Mundus A r t i u m 757, 758 287 My Own Mag 629 The Naked Ear 531, 534, 837-841 ^ The Nat ion 130, 257, 268, 298, 434, 558, 559, 618, 619, 944, 1141 N a t i o n a l Review 292, 576, 593., 595 Neon: Supplement to Now 518, 522 Neue Z u r c h e r Z e i t u n g 241 New American Review 106 New D e p a r t u r e s 519, 564, 600 New D i r e c t i o n s 51, 181, 254, 457, 459, 461-463, 558, 559 The New Leader 271, 425 New Mexico Q u a r t e r l y 142A, 291, 304, 465, 469, 707, 731, 732, 734, 745, 864, 923, 952, 962, 970, 984, 986 The New Mexico Review 420, 893 New Orlando Poe try Antho logy 483, 487 The New R e p u b l i c 412 New Statesman 341, 347, 378, 430A New York H e r a l d T r i b u n e 358 New York Review of Books 319, 331, 350, 392 New York Times 274, 397 New York Times Book Review 204, 261, 272 , 315, 316, 322, 360, 386, 435, 513, 556 N i a g a r a F r o n t i e r Review 629 Nine 1034 Nomad\" 562, 847, 927 \"\" \" ' ' Noose 742, 743 The North American Review 421 Northwest Review 307, 308, 390 A Nosegay i n B l a c k 240, 644, 648, 653, 660, 661, 663, 668, 670, 671, 673, 675, 933 Observer 375 Open Space 336 Opus 138 Ord Och B i l d 494, 502, 513, 514, 518, 521, 527 O r i g i n 50, 140, 150, 156A, 180a, 255, 256, 275, 431, 436, 437, 438A, 457, 459, 460, 462, 464, 468, 472-474, 476, 480, 486-488, 490, 498, 500, 502, 505, 507, 509, 527, 609, 616, 776, 778, 780, 783, 791-793, 795, 796, 798, 805, 825, 830, 831, 834, 835, 854, 921, 938, 978, 1050, 1056, 1099 Indexed i n 234 Outburs t 580, 596, 598, 988 O u t s i d e r 263, 567, 584, 592, 975, 1038, 1086 P a r i s Review 136, 610., 611, 639, 701, 862, 907, 1113 P a r t i s a n Review 402, 878 The Peak 597, 670, 677, 683 Pegasus 832 The Pigeon News 149A Poems from the F l o a t i n g World 849 Poetry 20, 280, 282-284, 305, 325, 353, 387, 411, 423, 535-537, 546, 549, 555, 556, 560, 569-571, 577, 582, 586, 591, 594, 596, 605-607, 612, 622-628, 631-636, 642, 645-647, 651, 655-659, 664,, 666, 667, 679-685, 712, 714, 717, 719, 721-723, 842, 843, 877, 946, 959, 960, 971-974, 987, 1004, 1042-47, 1053, 1072, 1084 Poe try Magazine ( A u s t r a l i a ) 245 Poetry P i l o t 515, 573 Poe try Taos 470 Poor . O l d . T i r e d . Horse . 856 Pound N e w s l e t t e r 142 P r a i r i e Schooner 342 Presence 148, 754 288 Pr i sm 470 P r o s p e c t 464 P r o v i d e n c e J o u r n a l 362 Punch 357, 376 Quagga 583, 585 Q u a t r e b r a s 502, 515 Q u i x o t e 146, 745 R e s u s c i t a t o r 20, 654 The Review 131, 442, 474, 511, 587 R h i n o z e r o s 157, 158, 852 Road Apple Review 137 S a a r b r u c k e r Z e i t u n g 343 San F r a n c i s c o C h r o n i c l e 310, 329 Saturday Review 297, 330, 361, 396 The Scotsman, see Weekend Magazine S e r i f 145, 234, 256, 275 Sewanee Review 288 The S idewalk 470 . S o u t h Wales Argus 430D Southern Review ( A u s t r a l i a ) 279B Southern Review ( L o u i s i a n a ) 364 Southwest Review 335, 400, 424A The Sparrow Magazine 129, 294, 945 Spectrum, see Dimension Stand 965 Stony Brook 393, 875, 949 S t u d i e s i n Shor t F i c t i o n 352 S t u d i e s on the L e f t 321 S t u t t g a r t e r Z e i t u n g 343, 366 Si lddeutsche Z e i t u n g 365 Sum 334 Sumac 227, 418 The Sunday Ramparts 388 The Sunday T e l e g r a p h 340, 355 The Sunday Times 373 The Supplement (Co lumbia D a i l y S p e c t a t o r ) 296 Sur 864 tamarack Review 309 Tarasque 567 Die Tat 367, 405 T e l Quel 596 Tematy 607, 612, 633-635 ' Texas Q u a r t e r l y 513, 550 T h i s World Magaz ine , see San F r a n c i s c o C h r o n i c l e The Times 278, 339, 356, 377, 430C See a l s o The Sunday Times\" The Times L i t e r a r y Suoplement 128, 156, 18.8, 189, 259, 269, 276A 279A, 326, 359, 382, 428, 429, 430 T i s h 236, 240, 931 Trace 264, 290 T r a n s i t i o n 897 T r i b u n e 374 T r o b a r 588, 598 T r o j a n Horse 250 T u s i t a l a 857 Underdog 525, 538, 556, 592, 621 The Vancouver Sun 311 V i l l a g e V o i c e 287, 299 V i r g i n i a Q u a r t e r l y Review 312 Vou 139, 464, 482, 790, 812, 813, 924 Wake 174, 765-769, 773, 774, 777, 1027 Weekend Magazine (The Scotsman) 381 Die Welt der L i t e r a t u r 344, 368 Die Weltwoche 345, 408 West Coast Review 246, 272 West Wind 578 The Western Gate 870, 872, 874 Whe're 133, 233, 351 White Dove Review 572 W i l d Dog 637., 662 The Window 777 W i s c o n s i n S t u d i e s i n Contemporary L i t e r a t u r e 319A Work 155, 155A, 437, 476, 966 The World 910, 914 The World Review 253 , 1064 W r i t e r ' s D i g e s t 270 W r i t i n g ( G e o r g i a S t r a i g h t ) 914 The Ya le L i t e r a r y Magazine 238, 615, 932 The Y a l e Review 301, 332, 414 Yugen 152, 538, 541, 565, 848, 956, 963 Xenia 308A ","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/hasType":[{"value":"Thesis\/Dissertation","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/isShownAt":[{"value":"10.14288\/1.0101163","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/language":[{"value":"eng","type":"literal","lang":"en"}],"https:\/\/open.library.ubc.ca\/terms#degreeDiscipline":[{"value":"English","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/provider":[{"value":"Vancouver : University of British Columbia Library","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/publisher":[{"value":"University of British Columbia","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/rights":[{"value":"For non-commercial purposes only, such as research, private study and education. 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