Robert Creeley: An Inventory, 1945-1970 9780773593534

Citation preview

Ro be r tCr e e l e y AnI nv e nt o r y , 1 9 4 5 1 9 7 0

ByMa r yNo v i k

Wi t haf o r e wo r db y

Ro b e r tCr e e l e y

Robert Creeley An Inventory, 1945-1970

By Mary Novik With a foreword by

Robert Creeley

McGill-Queen's University Press Montreal and London 1973

The book has been published with the help of a grant from the Humanities Research Council of Canada, using funds provided by the Canada Council.

Copyright @ 1973 by Mary Novik AII rights reserved ISBN 0-7735-0191-6 Library of Congress Catalog Card Number 72-96943 Legal Deposit 3rd quarter Manufactured in the United States of America at the press of the Oberlin Printing Company Design by Merald E. Wrolstad First Printing

Published simultaneously in the United States by the Kent State University Press, Kent, Ohio.

Foreword

I came to writing with some awkwardness, just that nothing in the situation in which I grew up seemed particularly involved with that possibility. My sister Helen, however, four years older than I, was an intensive reader, and it was she who gave me both Conrad and Dostoyevsky to read when I must have been about twelve or thirteen. She also wrote poems which had gained the approval of Robert P. Tristram Coffin among others. At school I had several exceptional teachers, all of whom increased my articulation and also my perception of what "saying things" could accomplish. One, for example, had us translate sections of Joyce's Dubliners into Basic English, an exercise which made very literal the actual agency that the words in Joyce's text were making. When it came time to go to college, I sent applications to Amherst, the University of Pennsylvania, and Harvard. The first two offered excellent preparation for veterinary medicine, which I then hoped would be my profession, and both offered me substantial scholarships. Harvard's acceptance, however, despite the lack of any financial assistance, must have turned my head, coming from a small town in Massachusetts as I did. In any case, the decision to go to Harvard was also a decision to commit myself to writing, no matter that I was probably not that certain of it at the time. My friends there quickly expanded senses of writing I had had to include Pound and Stein among others. They

were also the first to publish me and to invite me, generously, to be one of the editors of the Cummings' issue of the Harvard Wuke.Willy Gaddis, Jake Bean, Bernie Weinbaum, and Bill Lieberman also had myself and Gordon Rollins elected to the Harvard Advocate but our subsequent conduct caused the university to expunge all record of that fact. The rest of it, so to speak, is to be found here. It's a very strange feeling now looking through the various entries, much like seeing the rings on a tree stump. I have never had the sense that I was getting very much done, and so it's a particular pleasure to see how much has accumulated no matter. I'm grateful, of course, that it has mattered to others, those readers whom I've never dared assume might be there. I felt I was doing something very like tossing pebbles in a pool. The way the rings have gone out is a very deep pleasure. I must say I have very few of the books, pamphlets, magazines, etc. that are here listed. We have moved so frequently in past fourteen-that it was years-twenty-two times in the impossible to keep any such backlog in hand, even had I wanted to. So I thank Mary Novik very much indeed for recalling all of them to me. Her conscientiousness has been an act of extraordinary generosity.

ROBERTCREELEY Bolinas, California December 31, 1971

Contents

. . . . . . . . . . . . . . . . . .

Foreword by Robert Creeley

v

Introduction

ix

I Works by Robert Creeley A Publications of Poems, Stories, Novel 1 Separate Publications (1-49) . . . 2 Selected Contributions to Other Works (50-100) . . . . . . . . B Publications of Nonfictional Prose 1 Separate Publications (101-104) . . 2 Contributions to Other Works (105-127) 3 Contributions to Periodicals (128-158) . C Audio-Visual Material (159168) . . . D Editions by Creeley ( 1 6 ~ 1 7 8 ). . . . E TheDivers Press (179-180) . . . .

I1 Selected Writings about Robert Creeley A InBooks (181-230) . . .

. B InPeriodicals (231-444) . . . C Dissertations (445-448) . . . D Audio-Visual Material (449450) . E Dedications (451-454) . . .

. . .

.

. .

.

. . .

2 22

31 32 35 39 43 45

47 55 75 76 78

..

Vlll

111 Publication History of Individual Writings by Robert Creeley

A Fictional Prose 1 Chapter in The Island, 1963 (455) 2 Stories in The Gold Diggers, 1965 (456471) . . . . . .

. .

80

. .

80

B Collected Poems 1 Poems in For Love: Poems 1910-1960, 1962 (472-606) . . . . . . 2 Poems in Words, 1967 (607-691) . . 3 Poems in Pieces, 1969 (692-764) . . 4 Poems in The Chann: Early and Uncollected Poems,1969 (765-856) . . . . C NewPoems (857-914) . . . . . D Nonfictional Prose: Writings in A Quick Graph: Collected Notes & Essays, 1970 (915-1000)

83

96 104 110 118 123

IV Manuscripts, Letters, Recordings, and Proofs

A B C D E

UnpublishedWorks (1001-1002) . . Proofs and Advance Copies (1003-1019) Tape Recordings (1020-1026) . . . Letters (1027-1081) . . . . . Manuscripts (1082-1211) . . . .

. . . . Index to Names . . . . . . Index to Poems . . . . . . Index to Periodicals . . . . . Additions

. .

. . .

. .

. . . . . . . . . . . .

137 138 141 143 151 169 177 187 205

Introduction

When new writers start to define themselves, they do so by exploring their likes and dislikes in the writing world-a world they are hopeful of one day entering. At the same time they work at their own writing and look for ways to make more of the things they like therein. In the late forties Robert Creeley found himself reading and writing toward a possible entry to this much admired world, though like any system which has come to surety on its own terms it was protective: an edifice with few occupants a young writer could identify with. But like other establishments this one had its undergroundtracing back to Imagism and Objectivism-and two significant underdogs, Ezra Pound and William Carlos Williams, who were to become the saints of a new calendar. Finding no place in a literature dominated by New Criticism and the academy, young writers in search of an alternative banded loosely together between the covers of tentative little magazines such as Wake, Accenf, Goad, MontevaZZo Review, and Golden Goose. Many of the new writers overreacted and tossed out craftsmanship along with restraints on poetic form and subject matter, but some few such as Creeley and Charles Olson, who had begun to correspond in April 1950, followed Pound's advice and Williams' example and "made it new" with a strict attentiveness to the articulation of their given content. The demands to be made on their writing by their new poetics

were hit upon in Olson's procreative essay "Projective Verse," which in late 1950 confirmed their sense of being a push forward from the achievement of Pound and Williams. The second part of this essay had been rehearsed by Olson in visits to Pound at St. Elizabeth's, and the first part, significantly, in letters to Creeley. During 1950 Creeley was determining that "form must never be more than an extension of content" and that content must never be more or less than an extension of the self. This extension or projection into words demanded nothing less than the poet's full life in the work. Creeley wrote to Olson in August 1950: "This is the only way that occurs to me: myself, and the variations possible upon my experience. . . .I ask only this exactness . . . to have no hesitance between what the head is thinking and what the hand is putting down." It was an objective he had already met in his short stories and was to exact from his poetry by Spring 1952. With its allowance for change in the face of changing circumstance, it is an aesthetic which has served him well since. New writers usually enter the writing world on avenues of printer's type but these initiates are carefully screened by those whose names guard the title pages of literary journals and chapbooks of verse. In the late forties and early fifties the entry numbers of those in the Pound and Williams underground never came up. Blocked by the system and disappointed in provisional little magazines, Creeley attempted to start his own magazine in the Spring of 1950 and so brought together a network of writers with like concerns which included Olson, Cid Corman, Paul Blackburn, Denise Levertov, and later Robert Duncan, who with Creeley have come to be known as the Origin or Black Mountain poets. When the magazine collapsed Corman picked up Creeley's contacts for Origin (195 1-1957), which with Creeley as talent agent and Olson as PR man and chief theoretician gave the Origin

poets their first sympathetic publication. As well as publishing superb examples of a new and working poetics, Origin was a source or origin for a broad field of writing which came to flower in Black Mountain Review, conceived by Olson and edited by Creeley from 1954 to 1957. In time it will be acknowledged that the years 1950 to 1957 and the corresponding energies of Creeley, Olson, and Corman were as important for contemporary poetry as the years 1910 to 1917 and the Imagists were for modern poetry. The success of Origin was the wedge needed to open up the hoped-for alternative publishing system which centered from 1951to 1954 in Origin, Fragmente, Vou, Contact, CWIn, Black Mountain Review, and Contact, Divers, and Jargon Presses, and was pulled through to 1957 almost unassisted by Jargon, Origin, and Black Mountain Review. The last issue of Bldck Mountain Review in 1957 announced the San Francisco and New York Beat poetry renaissance and ushered in an expansive writing underground allied with the international avant-garde. City Lights, Grove, New Directions, and numerous small presses, along with Evergreen Review, Yugen, Big Table, Measure, and a flock of little magazines, advanced the new poetry to its presentation as an open alternative in Donald Allen's The New Americayt Poetry: 1945-1 960-where it revealed itself as a poetry which defied limitation. Critics were for several years sidetracked by their reduction of the significance of this collection to an attack on the recently anthologized young academic poets. By 1960, however, the battle was only rhetorical, a fact which the new writers were quicker to realize than their opponents: the doors of the academy had been unlocked, and more poets were coming out than going in. A new writing and publishing system had opened up, and young poets read their Olson, Creeley, Levertov, Duncan, and Ginsberg and swarmed to make

xii use of it. In public readings, privately circulated manuscripts, mirneo magazines, broadsides, and booklets, poetry found new avenues to a newly responsive audience, and that audience found the stimulation of real life things in poetry, often for the first time. Projective verse, as most used by serious non-academicpoets today, strives to put the writer fully in the poem in all particularity of speech, emotion, and intellection, with full attention to the life vouchsafed the primary object of the writing. When the trajectory of projective verse has been plotted from its origin in the exchange between Creeley and Olson in 1950 to the last young poets to project their own reality ill the form given to their hand, it will be seen to be the most viable poetics in postmodern writing in English: a new prosody, in fact. Contemporary bibliography has an important function in the critical evaluation of writers brought to recognition by the alternative press phenomenon of the fifties and sixties, since without it many publications would remain unknown to all but the few involved in their production and ownership. The history of Creeley's writing in particular is intimately caught up with the history of the new American writing as it appeared in a succession of fugitive magazines and small press imprints, and an exploration of this connection is essential to an understanding of both. This Inventory, or bibliographical catalog, provides materials for that exploration. It was as much my task to indicate the chronology and geography of Creeley's various appearances in print as it was to find, identify, and inventory the writings so published and the response received. This work thus documents the complex process of publication and criticism by which Creeley has come to be known as a major American poet. Its purpose is to draw attention to the literal substance of Creeley's work and to the tentativeness

of existing criticism in the hope that more extensive and accurate critical attention will be paid him in the future. From 1946 to 1957 Creeley was published mainly by those magazines and presses mentioned above, but principally by Golden Goose, Origin, Bluck Mountain Review, Jargon Press, and his own short-lived Divers Press. It was a period in which he came to definition in a company of like-minded writers, and his involvements with fellow writers, editors, and publishers were intense. In the late fifties and sixties, Creeley was a key contributor to a spectrum of new magazines, many edited by friends, and he was looked to more and more as an example by younger writers. As his connection with individual magazines lessened and the publishing front he was instrumental in founding widened, it became his habit to send work to many of the publishers and editors requesting it, and in this manner he has appeared in an unusually diverse group of books and magazines. Since 1964, frequent broadsides and booklets of his new work have been issued by various small presses-of late often Black Sparrow Press of Los Angeles-as a prelude to their collection in trade editions. Even today, alternative publications of all kinds are more receptive to his work than those with literary pretensions, so much so that his latest writings are as hard to find as his earliest. In 1957 the publication of Creeley's book of selected poems, The Whip, and his first appearance in Poetry magazine signalled his movement out of the underground into academically acceptable circles, and though he had surfaced by 1964--a breakthrough year in terms of critical responsethe under side of the writing world has remained his natural home. Since 1964 he has become increasingly popular in both spheres (traditionally joined in the enthusiasms of university students), largely as the result of the publication of trade editions of hiscollected works and thereadings and lectures which have

xiv exposed him to appreciative audiences at nearly every university in the U.S. and Britain, and many in Canada, Germany, and other countries. Since the publication of For Love in 1962, his collections of new poems and major works of prose have been published regularly by Scribner's of New York and by Calder and Boyars of London, and the Four Seasons Foundation of San Francisco is now issuing additional works. Creeley's poems have been included in every comprehensive anthology of contemporary American poetry, and many translations and foreign editions of his work have appeared in Europe and elsewhere. In recent years his influence on younger writers and their magazines-first evident as a force at Black Mountain College in 1954--has concentrated in geographical centers where he has taught, notably Albuquerque, Vancouver, Buffalo, and now Bolinas and San Francisco. Criticism of Creeley's work, mainly by friends and fellow writers in the fifties, then increasingly by reviewers and literary critics, is still in a preliminary stage of advancing--often grudgingly-the recognition of his stature. The process of academic acceptance of his work which began in earnest in 1964 should by now be almost complete. Most critics agree today that among the poems in For Love (1962) and Words (1967) are some of the most perfect lyrics in the language. Fewer have acknowledged the originality of Creeley's novel, The Island (1963), and his short stories, The Gold Diggers (1965). By 1967 his concern with craftsmanship in both prose and poetry had become an impasse which Creeley struggled to get beyond by experimentingwith more spontaneous writing methods. Pieces (1969) was a technical breakthrough that has proved regenerative, though much criticism of this book has sounded like a peevish monody for Creeley's characteristic short lyric. In these and more recent poems there is a new range, sustenjion, openness, and license in both form and content

which has given ground to his improvisational prose daybooks, A Day Book and Presences, and the radio play Listen. It is to be hoped that Creeley criticism is also ready to move into a second stage, more concerned with serious evaluation of the works themselves and of Creeley's developing technique and aesthetic and more appreciative of his contribution to the new American writing. This Inventory records, assesses, interrelates, and otherwise takes stock of the mass of Creeley material scattered world-wide. It is comprehensive for Creeley's writings published up to the end of 1970 and selective for writings about him and for anthologies which include his work. In addition, it lists many manuscripts and audio-visual works. It is thus more comprehensive and less descriptive than a fully descriptive bibliography, which would have been premature at this point in Creeley's active career. Since the Inventory was compiled with the needs of the literary critic and student in mind, cross references are given freely and three indexes are provided. The material split naturally into four sections, each with a brief introduction. Section I is a preliminary author bibliography. The various editions of Creeley's own books, pamphlets, and broadsides are described and the contents itemized. His contributions to selected books and anthologies are listed, along with audiovisual material that has obtained some circulation. There is a list of uncollected critical writings and interviews, and information on his editing and publishing activities. Section I1 is a checklist of Creeley criticism. It was published, with a critical introduction, in West Coast Review, VI, iii (January 1972), and is here reprinted with the editor's permission. The writings were selected for their usefulness from about twice their number and are divided into essays, short essays, critical reviews, brief reviews, comments, and so forth, to give the reader a strategic approach to the material. In Sections I and I1 the order is

chronological within descriptive categories. Section I11 supplements Section I by giving a publication history for each of Creeley's poems, stories, and critical writings in the order they appear in his collected editions (and for new poems as well), with dates of composition given from the manuscripts with the kind permission of Robert Creeley, Indiana University, and Washington University. Section IV catalogs letters, proofs, and manuscripts of published and unpublished writings, including those by other hands, which have found their way into university libraries. A few additions have been made at the end of the Inventory. The number (followed by a, b, etc.) given for each indicates its place among the other entries. In order to verify entries and expand the Inventory I searched for elusive books, little magazines, and manuscripts at a number of Canadian, American, British, and German libraries. I owe most to those libraries acknowledged in Section IV for their help with books and periodicals as well as manuscripts. The large Creeley collection at Washington University, which includes many little magazines, most of Creeley's books, and a vast array of his manuscripts, was by far the most useful. Since 1967 I have been in almost continuous correspondence with Elsie Freivogel and her successor, Holly Hall, Head of the Manuscript Division. Their assistance has been invaluable, especially during my visit to the library. Locally, I made good use of the fine contemporary literature collection at Simon Fraser University and the general collection at the University of British Columbia, where the Inter-Library Loan st& patiently solicited photocopies of many magazine publications from other libraries for me. Much of my search for fugitive items was necessarily carried out by mail. Little magazine editors, small publishers, and fellow admirers of Creeley's writingwho turned up in heartwarming numbers and guises-were especially generous with information when confronted by my

insistent questions. I thank them all again for their help and for their continuing interest. The work was a joy for that and other reasons. This Inventory was compiled as a large part of my doctoral dissertation at the University of British Columbia. I am grateful for the extensive assistance given by H. R. MacMillan Family Fellowships and a Canada Council Doctoral Fellowship. The Inventory has been published with the much appreciated help of a grant from the Humanities Research Council of Canada, using funds provided by the Canada Council. I would like to thank my husband, Orest, for his encouragement, Warren Tallman, for his inspiration, and Robert Creeley, for his many kindnesses. MARYNOVIK Vancouver, British Columbia 8

I. Works by Robert Creeley

This section and Section I11 together list all Creeley's works published up to 1970 in each edition, reprint, and translation that has been found, whether published separately or in books, anthologies, and periodicals-with the exception of reprintings in some recent anthologies. Section 111gives the detailed publication history of individual writings which have been collected-with the exception of the new poems published since Pieces, 1 9 6 F i n t o trade editions described in this section. Much of Creeley's nonfictional prose has been published by the Four Seasons Foundation in A Quick Graph: CoNected Notes G Essays, 1970. Additional works are listed in Section B below. All of Creeley's poetry and fictional prose written to September 1968 which he has wished to publish has been collected in the trade editions published in the U.S. by ~ciibner's (For Love: Poems 1950-1960,1962; The Island, 1963; The Gold Diggers, 1965; Wordr, 1967; Pieces, 1969) and by the Four Seasons Foundation (The Charm: Early and Uncollected Poems, 1969). The latest Scribner's publication, written A Day Book, 1972, is a daybook of prose and between October 1968 and June 1971. These are the definitive editions of Creeley's work, and in particular The Island, Words, Pieces, and A Day Book are integral works in which the order of the writing is preserved. In Britain, The Gold Diggers, The Island, and The Cham are published by Calder and

Boyars, who also publish Creeley's collected poems in two volumes: Poems 1950-1965, 1966, and The Finger: Poems 1 9 6 6 1969, 1970 (together collecting the poems in For Love, Words, and Pieces, and some new poems). In Sections A and B below an asterisk indicates that the work was published for the first time. At times this is a calculated guess. In the case of simultaneous publication or uncertain dating two publications may be designated as first. All publications in periodicals may be traced through the Index to Periodicals and all publications of individual poems through the Index to Poems.

A. Publications of Poems, Stories, Novel 1. Separate Publications The descriptions given in this section are based on the books themselves with additional information supplied from publishers' letters and other sources. (It should be noted that it is not the policy of Calder and Boyars to reveal the number of copies printed.) The information in the first paragraph of each entry is taken from the book-from the title leaf, imprint, and colophon-unless it is supplied in square brackets. [Square brackets are used throughout the Inventory to supply information not on the original, especially dates and titles, and to identify editorial comments not strictly concerned with publication history.] The pagination given in the second paragraph of each entry ignores blank leaves and leaves containing only advertisements at the beginning or end of the book. Pages are counted from the first to the last printed page, including any blanks or illustrations within. When the page

numbers of paged books do not add up to this total, additional pages are noted in square brackets. When the pages are printed on one side only, the book is described by leaves rather than pages. All known issues, bindings, and special copies are noted briefly in one entry for each edition of the work. The works are listed in the order they were published. In the case of trade editions the date of publication is a publicity date which may have allowed several weeks' time for bookstores and selected reviewers to receive copies shipped previously. For small press works the date of publication may be an official date, the date of the actual printing, or an estimated date of appearance. All of Creeley's books published by Scribner's have a code number on the reverse of the title page which identifies the impression (A being first, B second, etc.) ,the date of the actual printing of that impression (month and year), and the printers and binders. All the books with the same code number were run off at the same time and thus constitute a single impression or printing. 1 Le Fou. Columbus, Ohio: Golden Goose Press, October 1952.

Frontispiece Drawing [of Creeley] by Ashley Bryan. "This first edition was hand set by Frederick Eckman in Gararnond & Libra types Designed by Richard Wirtz Emerson & printed by him on Beckett Vellum at the Golden Goose Press in Columbus, Ohio, October 1952." First book of poems. Cu. 500 copies; unpaged, (321 pp. including one drawing; stiff paper wrappers. The poems were published from manuscripts or reprinted from periodicals. Nine of the poems (for tides see 52) were published simultaneously as "Anthology: Le Fou," Golden Goose, Series 4, No. 5 (October 1952). MS: 1095. Related letters: 1041. Review: 255. Contents: Poems: Still Life or, Hart Crane ("He had been . stuttering"), Le Fou, Helas, Littleton, N. H., "Canzone, Hart Crane ("Answer: how old / is the wind"), The Epic Expands, Guido, vorrei che tu e Lapo ed io, A Song, Love ("Not enough. The question: what is"), *The Crisis, For Rainer

Gerhardt, *The Riddle, *The Surf: An Elegy, *The Drums,*The Sea, *The Rites, *The Cantos, *The Ball Game, *The Rhyme, The Innocence, *Something for Easter. 2

The Kind Of Act Of. Palma de Mallorca: The Divers Press, [July] 1953."This book was handset in Mercedes &

Futura Types . . . by Moss6n Alcover in Palma De Mallorca May 1953 Cover by RenE Laubies." Second book of poems. Cu. 250 copies; unpaged, {21) pp.; paper wrappers. The poems were published from manuscripts or reprinted from periodicals. "The Kind of Act of" was reprinted from Nine American Poets, 1953 (54). Reviews: 280, 281. Contents: Poems: *The Carnival, In an Act of Pity, *The Charm, *The Bird, the Bird, the Bird, *The Pedigree, After Lorca, *A Ballad, *The Method of Actuality, *For an Anniversary, *Los Guitaristas, *Thank You, The Kind of Act of, I Am Held by My Fear of Death, *The Dishonest Mailmen, The Crow, *For Martin.

3 The Immoral Proposition. Karlsruhe-Durlach, Germany: Jonathan Williams, Autumn 1953. "Drawings: Rene Laubi2s . . . 220 copies printed by Verlagsdruckerei Gebr. Tron KG., Karlsruhe-DurlachIBaden, autumn 1953 . . . PRINTED IN GERMANY designed & published by Jonathan Williams, as JARGON 8." Third book of poems. Unpaged, {16) pp. including 7 drawings and back cover; 9 leaves tied together. The poems were published from manuscripts or reprinted from periodicals. Proof: 1006. Contents: Poems: The Immoral Proposition, For W.C.W. ("The pleasure of the wit"), *The Trap, *Apple Uppfle, *The Revelation, *An Obscene Poem, *Chasing the Bird, The Operation.

4 The Gold Diggers. Palma de Mallorca: The Divers Press, [March] 1954."This book was handset in Bodoni and Futura types and printed by Mossen Alcover in Palma de Mallorca February 1954 Cover by Renk Laubi6s."

First collection of short stories, Ca. 500 copies; 3-141, (11 pp.; paper wrappers. The stories were published from manuscripts or reprinted from periodicals. Contents: "Preface (915). Stories: Mr Blue (457), *A Death (458), 3 Fate Tales (459), The Party (460), The Lover (461 ) , In the Summer (462), The Seance (463), The Grace (464), Jardou (465), The Boat (466), *The Gold Diggers (467).

5 A Snarling Garlund of Xmas Verses. B y Anonymous. [Palma de Mallorca: The Divers Press, Xmas 1954.)

"Handset in Menhart and Grasset Antijua types and printed on laid papers in a limited edition. This is a Wallet pocket-book." Booklet of poems, mainly for friends. Ca. 100 copies; unpaged, one sheet folded into several pages, attached to paper wrappers. MS: 1103. Contents: Poems: 'Chanson, *Hi There!, *Don't Sign Anything, *Sopa, *The Conspiracy.

6 All That Is Lovely in Men. Asheville [North Carolina]: Jonathan Williams, [Fall] 1955. Drawings: Dan Rice. Jargon 10. "Edition of 200 copies by the Bilhnore Press, Asheville, 195 5. Photograph and design by Jonathan Williams." Fourth book of poems. Unpaged, (45) pp. including 14 drawings; paper wrappers. The poems were published from manuscripts or reprinted from periodicals. Review: 282. Contents: *Robert Creeley Writes of This Book {916; inside front and back covers]. Poems: The Changes, For Irving, *I Know a Man, Broken Back Blues, The End, The Death of Venus, The Lover, A Counterpoint, Wait for Me, Two Ways of Looking in a Mirror, Eros, For Somebody's Marriage, *The Business, The Disappointment, The Warning, A Form of Adaptation, Song ("Were I myself more blithe"), *Stomping with Catullus, The Apology, Like They Say, For a Friend ("You are the one man"), La Noche [titled "El Noche" 1, The Whip, *The Total Parts of a World, Alba, *All That Is Lovely in Men.

7 If You.San Francisco: The Porpoise Bookshop, 1956. Illustrations: Fielding Dawson. Poems & Pictures 8. "200 copies printed by Henry Evans at the Peregrine Press." Fifth book of poems. {2) pp., 2-13, {I) 11. including 4 illustrations; 14 loose leaves in a portfolio. The poems were published from manuscripts or reprinted from periodicals. Review: 283. Contents: Poems: *Lady Bird, *If You, *A Marriage, Air: "Cat Bird Singing," *And, *Oh No, *For the New Year, *The Letter {titled "For Ann").

8 The Wbip. Worcester [England] : Migrant Books, Summer

1957. [Most of the copies were imported and distributed in the U.S. as Jargon 26 by Jonathan Williams, Highlands, North Carolina. Canadian distributor: Contact Press, Toronto.] "This book was handset in Mercedes and Futura types and printed by MossCn Alcover in Palma de Mallorca May 1957. The title-page drawing is by Kirsten Hoeck [Kirsten Creeley]." Selected poems. lo0 copies in cloth, 500 in paper wrappers with a ccver design by Rent5 Laubies. Unpaged, {49) pp. including one drawing. The poems were selected from Le Fou, 1952 ( I ) , The Kind Of Act Of, 1953 (2), The Immoral Proposition, 1953 ( 3 ) , A Snarling Garland, 1954 (5), and All That Is Lovely in Men, 1955 (6). Reviews: 284-287. Recording: 159. Contents: "Preface (9 17). Poems : "The Charm" and all of the poems later reprinted in Section One: Poems 1950-1955 (for titles, Jee 472-509) of For Love, 1962 (1 I ) , with the exception of "Naughty Boy."

9 A F o m of Women. New York: Jargon Books [Jonathan Williams] in association with Corinth Books, @ 1959 [published la. November]. Jargon 33. Sixth book of poems. 2,000 copies; unpaged, {64) pp.; stiff paper wrappers. Eight of the poems were reprinted from If You, 19% (7), most were newly collected from periodicals, and some were published from manuscripts. Reviews: 288-294. Recording: 159.

Contents: *A Note to These Poems (91 8). Poems : All the poems later reprinted in Section Two: Poems 1956-1958 (for titles see 510-5 56) of For Love, 1962 ( 11) , as well as the following poems : Naughty Boy, Je vois dans le hasard tous les biens que j'espere, Nathaniel Hawthorne, The Menu. These poems were published for the first time: Please, The Bed, The Hero, A Folk Song, Somewhere, Song ("God give you pardon from gratitude"), For a Friend ("Who remembers him also"), Heroes, The Souvenir, Nathaniel Hawthorne.

10 Four Poems from "A Form of Women." New York:

Eighth Street Bookshop, December 1959. [Designed by Jonathan Williams.] "Privately printed for the friends of THE EIGHTH STREET BOOKSHOP 32 West Eighth Street, corner MacDougal, New York to celebrate the. New Year, December, 1959." Booklet of poems to announce A Form of Women, not for sale. Cu. 300 copies; unpaged, (4) double 11.; tied in paper wrappers. Contents: Poems reprinted from A Form of Women, 1959 (9) : For the New Year, Lady Bird, The Way, The Invoice. 11 For Love: Poems 1950-1 960. New York: Charles Scribner's

Sons, @ 1962 [published April 9). First book of collected poems, trade edition. 160 pp. The first impression, identified by the code number A-2.62 [C) on the reverse of the title page, consisted of 988 hardback and 5,191 paperback copies bound from sheets printed in February 1962. In Fall 1963, 250 copies of the first impression paperback were rebound in hard covers. 754 paperback copies were bound with imperfect binding-sewn in gatherings and glued-from sheets on hand from the first impression in 1964. On page 65 of the first impression line 7 is misprinted as "and a head without an apparent size." The second impression (April 1964) corrected this to "any apparent size." There have been several subsequent impressions with a total of 39,000 copies printed as of January 1971. Section One reprints poems from The Whip, 1957 ( 8 ) , with the exception of "Naughty Boy," which, with the poems in Section Two, is reprinted from A Form of Women, 1959 (9). Section

Three contains poems newly collected from periodicals and the following previously unpublished poems: Midnight, The Man, Not Now, Young Woman. Proofs: 1009. MSS: 1100,1101,1103. Reviews: 295-321, 1201. Recordings: 159-161, 1020, 1022, 1025. Contents: Preface C917; reprinted from The Whip}.Poems: For titles, see 472-606. 1 2 The Island. New York: Charles Scribner's Sons, @ 1963

[published September 137. First publication of the novel, trade edition. 190 pp. The first impression, identified by the code number A-6.63 [Colj on the reverse of the title page, consisted of 2,616 hardback and 4,991 paperback copies bound from sheets printed in June 1963. In the first impression paperbacks lines 20 and 21 are reversed on page 145. All hardbacks seen have had a cancelled leaf for pages 145-146 correcting the transposition. The second impression of the paperback, printed in August 1964, has lines 20-21 in correct order. There was no hardback second impression, as 494 copies were hard bound in 1964 from existing first impression paperbacks. A total of 15,000 copies had been printed as of January 1971. MSS: 1105. Related letters: 1056, 1057, 1067, 1068, 1071. Reviews: 322-342. Recording: 1023. Contents: *Preface (919). *The Island.

13 Distance. Lawrence, Kansas: Terrence Williams, @ 1964

[published May]. Drawing: Bobbie Creeley. Broadside Poems 6. "Special first printing 500 copies only." Broadside poem. C2) pp. including one drawing on reverse; one small folio broadside, unbound. A limited number of copies were signed by the poet. Contents: Poem: "Distance.

14 The Island. London: John Calder, [August 271, 1964. British trade issue of the novel (offset). 190 pp., cloth. Lines 20 and 21 on page 145 transposed. A paperback was issued November 17, 1966. Reviews: 322-342. Contents: Preface (919) and novel offset from the Scribner's edition, 1963 (12).

15 Two Poems. [San Francisco]: Oyez, @ 1964 [published September]. Oyez 5. "Printed for Oyez by the Auerhahn Press." Broadside. 423 copies; [I) 1.; one broadside, unbound. 60 to 70 broadsides were colored by hand because the inside color of the illustration did not print. 27 signed copies were later sold in a special portfolio, Poems in Broud~ide,First Series, containing Oyez . broadsides 1 to 10. Contents: Poems: *Some Place, *Song ("What do you / want, love") .

16 Mister Blue; Sechzebn Geschichten. [Frankfurt am Main]: Insel, @ 1964 [published September]. [Translated into German by] Klaus Reichert. First expanded edition of The Gold Diggers, German translation. 913 copies, 128 pp., stiff paper boards. Reviews: 343-346. Contents: Preface (915) and stories translated from The Gold Diggers, 1954 (for titles, see 4), and translations of five stories newly collected from periodicals: The Unsuccessful Husband (456), The Suitor (468), The Musicians (469), The Dress (470), The Book (471 ) .

17 T h e Gold Diggers and Other Stories. London: John Calder, [July 221, 1965. First English language publication of the expanded edition of The Gold Diggers, British trade edition. 158, {I) pp.; cloth. A paperback was issued May 25, 1967. With British spelling and grammar. Advance copy: 1018. MS: 1106. Reviews: 347-364. Contents: Preface (915) and stories reprinted from The Gold Diggers, 1954 (4), and five stories reprinted from periodicals which had first been collected, in German translations, in Mister Blue, 1964 (16) ; for titles, see 456471.

18 Die I ~ s e lFrankfurt . am Main: Insel, [September) 1965. [Translated into German by] Ernst Jandl. German translation of The Island. 813 copies; 201, {I) pp.; cloth. Reviews: 365-368, 1205. Contents: Preface (919) and novel translated from the Scribner's edition, 1963 (12).

19 The Gold Diggers and Other Stories. New York: Charles

Scribner's Sons, @ 1965 [published September 28). Expanded edition of The Gold Diggers, American trade edition. 158 pp. The first impression, identified by the code number A-8.65 [Col] on the reverse of the title page, consisted of 1,980 hardback and 4,083 paperback copies bound from sheets printed in August 1965. As of January 1971 there had not been a subsequent impression. MS: 1018. Reviews: 347-364. Contents: Preface (91 5) and stories (for titles, see 456-471) reprinted from the Calder edition, 1965 (17), with changes in spelling and grammar.

20 Words. Rochester, Michigan: [The Perishable Press],

1965 [distributed March 19661. "There have been thirty copies of Vords pulled on the washington at the ROB RUN PRESS, Rochester, Michigan. There are five variant proofs which will be bound as part of the edition. The type is hand-set caslon old stfle on handmade paper formed and couched by the printer, W S HAMADY." Book of new poems. Unpaged, [17) pp. {8 double ll., 1 1.); handbound in boards. All of the poems except "Words" were first published in the February 1966 issue of Poetry. "Words" was reprinted from Resuscitator, No. 4. Proofs : 1010. MS: 1107. Related letters : 1062. Contents: Poems: Words, A Reason, The Shame, The Statue, The Window ("There will be no simple"), To Bobbie, The Flower ("Remember the way you / hunched up"), A Prayer.

21 About Women. Los Angeles: Gemini, 1966. Broadside poems. {I], 5 ll.; 6 broadsides in hardcover portfolio, unbound. Sold separately, though originally the three poems served as the introduction to Ten Original Litbogvapbs in Color by John Altoon. "Distance" was reprinted from Distance, 1964 (13). "Anger" and "The Woman" were reprinted from periodicals. Contents: Poems: Anger, The Woman ("I have never / dearly given to you"), Distance.

22 Poems 1950-1 965.London: Calder and Boyars, [July 281, 1966. First British collection of poems, trade edition. 227 pp., cloth. There was also a deluxe issue of 100 signed and numbered copies in quarter calf with slipcase. A paperback was issued January 25, 1968. Advance copy: 1019. Reviews: 369-383. Contents : The Preface (917) and all the poems (for titles, see 472-606) in For Love, 1962 (1 I), were reprinted, followed by a fourth section of new poems (for titles, see 607-659) later reprinted in Wovds, 1967 (26). Some of the new poems were reprinted from WordJ, 1965 (20), some were newly collected from periodicals; "The Measure" and "Fancy" were published for the first time.

23 De goudgravers en andere verbalen. Amsterdam: Polak & Van Gennep, [August 121,1966. [Translated into Dutch by] Jan Donkers. Dutch translation of the expanded edition of Tbe Gold Diggers, trade edition. 3,076 copies, 128 pp., paper wrappers. Contents: Preface (915) and stories (for titles, see 456-471) translated from the Calder edition, 1965 (17).

24 For loel. [Madison, Wisconsin] : The Perishable Press, @ 1966 [published cn. August]. "FOR JOEL is here first printed by the perishable press limited in an edition of exactly eighty-five copies on variegated papers hand-made directly from rags by the printer, W S H. Twenty-five copies are hors commerce." Broadside poem. [I} 1.; one small folio broadside, unbound. Proofs: 1011. MS: 1109. Related letters: 1062. Contents: Poem: *For Joel.

25 A Sight. London: Cape Goliard Press, @ January 1967. [Designed and illustrated by] R. B. Kitaj. "Edition limited to one hundred copies of which fifty have been signed by the author & artist. . . . Printed in London by Trigram Press."

Poem on broadsides. [2) pp., {3) 11. including colored illustrations; 4 broadsides in a portfolio, unbound. "A Sight" was reprinted from Wild Dog, No. 17. Contents: Poem: A Sight.

26 Wordr.New York: Charles Scribner's Sons, @) 1967 [published February 7). Second book of collected poems, trade edition. 143 pp. The first impression, identified by the code number A-1.67 {C)on the reverse of the title page, consisted of 2,015 hardback and 5,097 paperback copies bound from sheets printed in January 1967. There have been several subsequent impressions with a total of 19,000 copies as of January 1971. Continues where For Love, 1962 (1 I), ended. Section Four of Poems 1950-1965, 1966 (22), was reprinted, followed by a new collection of poems published from manuscript and reprinted from periodicals. Proofs: 1013. MSS: 1110. Reviews: 252, 384-403. Recordings 162, 1026. Contents: "Preface (920). Poems : For titles see 607-691. The following poems were published for the first time: There, A Piece, Water Music, Was, Indians, A Birthday, Dancing, A Tally, "Oh My Love . . . ,"Fragments.

27 El Amante Y Otros Cuentos. Mexico, D.F.: Editorial Letras, May 27, 1967.Elsa 33. [Translated into Spanish by Alfonso Esparza.] Spanish translation of the expanded edition of The Gold Diggers, trade edition. 15,000 numbered copies, 124 pp., paper wrappers. Contents: Preface (915) and stories (for titles, see 45-71) translated from the Scribner's edition, 1965 (19).

on don: Turret Books/Calder & Boyars, 1967. "This booklet and its accompanying record are limited to an edition of 3 50 copies."

28 Robert Creeley Reads.

Booklet of poems and record. 24 pp., paper wrappers. 45 r.p.m. record in back jacket flap, with Creeley reading the poems in the booklet. See 450. Contents:-*Notes on an ~ntekiewby Way of a Preface (109). Poems: Fifteen poems reprinted from Poems: 1950-1 965, 1966

(22) :The Rhythm, The Rocks, Water ("The sun's / sky in"), The Mountains in the Desert, Waiting, For No Clear Reason, The Messengers, Hello, The Woman ("I have never / clearly given to you"), A Night Sky, The Answer, The City, Words, The Window ("There will be no simple"), The Language. 29

Gedicbte. Frankfurt am Main: Suhrkamp, [August] 1967. [Poems translated into German by Klaus Reichert. Preface and bibliography by Klaus Reichert.] First German book of poems, selected poems in English and German, trade edition. 6,000 copies; 167, [4} pp.; paper wrappers. Reviews: 404-408. Contents: Nachwort von Klaus Reichert [with} Bibliographische Hinweise [190,201;long preface in German with bibliography by Klaus Reichert]. Poems: Poems newly selected from For Love, 1962 (1I ) , and word^, 1967 (26), with their German translations. Poems from For Love: Le Fou, A Song, The Innocence, The Dishonest Mailmen, For W.C.W.("The pleasure of the wit"), The Operation, Chanson, The Conspiracy, I Know a Man, The Business, The Disappointment, Juggler's Thought, A Form of Women, They Say, Please, Air: "Cat Bird Singing," The Way, A Gift of Great Value, The Door ("It is hard going to the door"), Kore, The Rain, Lady in Black, The Gift, The Name, Fire, For Love. Poems from Words: I, The Language, The Pattern, The Dream (Such perfection / of dream would"), One Way, Anger, Distance, Song ("I wouldn't / embarrass you"), The Answer, Some Echoes, The Window ("There will be no simple"), To Bobbie, The Hole, Enough, Intervals.

30

The Finger. Los Angeles: Black Sparrow Press, [February 197, 1968. Collages: Bobbie Creeley. "Designed and printed in January, 1968 in San Francisco by Graham Mackintosh for the Black Sparrow Press. This edition is limited to three hundred copies: two hundred and fifty numbered copies handsewn in paper wrappers, signed by the poet; and fifty numbered copies which are hand bound in boards, each with an original collage by Bobbie Creeley, signed by both author and artist."

Long poem. Unpaged, (211 pp. including 4 collages. 50 copies have an additional, original collage signed by the artist. 5 extra copies were printed for the author, artist, printer, publisher, and binder. The paperback was issued February 19, the hardcover, February 23. "The first two lines of the second stanza on p. [17) are transposed in some copies. Apparently introduced in the course of printing, the error has been noted in copies bearing numbers above 200. It does not occur in the hardcover edition" [from the Black Sparrow Press Checklist (192) 3. Proofs: 1005. MSS: 1082, 1113, 1115. Review: 409. Related Ietters: 1035. Contents: Poem: *The Finger.

31 5 Numbers. New York: The Poets Press, March 1968. "From NUMBERS: A Sequence for Robert IndianaJanuary 16, 1968. . . . 150 copies printed. . . . Published in generous REALITY by The Poets Press, New York March 1968 The cover design is a rubberstamp print by William Katz." First half of poem sequence a'Numben." Unpaged, [123 pp.; stapled in paper wrappers. Photo-offset holograph, numbered and signed by Creeley. MSS : 1115. Contents: Poems: *One, *Two ("When they were / first made"), *Three ("They come now"), *Four ("This number for me"), *Five.

32 The Cham: Early and Uncollected Poems. [Mt. Horeb, Wisconsin): The Perishable Press, 1967 [not finished and bound until Spring 19681. "There are two hundred fifty copies of this book hand set & printed in palatino on . medway paper. This is the first edition & is numbered & signed by the author." Book of poems not collected in For Love, 1962 (1 1) , and Words, 1967 (26). There were only cd. 235 copies printed, a few of which have variant proofs for the title page signatures. [8), 77 pp.; handbound in cloth and half leather. The poems were reprinted from periodicals and five early books: Le Fou, 1952 (1) ; The Kind Of Act Of, 1953 (2) ; The Immoral Proposition, 1953 (3) ;A

Stzavling GarIattd, 1954 (5) ; All That Is Lovely itt Men, 1955 (6) . Proofs: 1014, 1111. MSS: 1100, 1101. Related letters: 1061, 1062, 1070. Review: 410. Recording: 1026. Contents: *Preface (1 10). Poems: A11 the poems (for titles, see 765-856) later reprinted in The Charm, 1969 (41), except the sixteen poems reprinted from Divisions, 1968 (for titles, see 36), and the six poems collected for the first time (for titles, see 41).

33 The Boy. Buffalo, New York: The Gallery Upstairs Press, @ 1968 [published ca. May]. A poem poster. 50 signed copies, ca. 500 unsigned copies. 11) 1.; one poster with holograph facsimile of poem over enlarged photograph, unbound. "The Boy" was reprinted from Anonym, No. 1. Contents: Poem: The Boy.

34 Numbers. Stuttgart: Edition Domberger/Dusseldorf : Galerie Schmela, 1968. [Serigraphs by] Robert Indiana. Edited [with a preface] by Dieter Honisch. Translation of the poems [into German] by Klaus Reichert. "Typo and letterpress: Dr. Cantz'sche Druckerei, Stuttgart-Bad Cannstatt Silk-screen: Domberger KG, Bonladen bei Stuttgart." Poem sequence, in English and German. Unpaged, (37) 11. including 10 colored serigraphs. Three issues : Paperback issue of 2,500 copies, 81/2"~10", slipcased in a black box, 500 for Germany and 2,000 for the U.S. Bound issue of 275 copies, on 19r/21'~25r/2'coffsetkarton paper, numbered and signed by the poet and artist in the imprint. Deluxe issue of 160 portfolios, numbers 1 to 125 for sale and I to XXXV not for sale, consisting of unbound 19'/2"x2 5 1/2" folios of schoeller-shammer paper enclosed in a linen box; the serigraphs are signed by the artist and the imprint is signed by the poet. Poems "One" to "Five" were reprinted from 5 Numbers, 1968 (31 ) , and poems "Six" to "Zero" were published from manuscript. A prospectus of the work was issued; it consisted of one sheet folded into (4) pp. with miniatures of the ten serigraphs and publication information. MSS: 1115. Review: 411.

Contents: Preface (191 ; by Dieter Honisch, in English and German}. Poems in English and in German translations: One, Two ("When they were / first made"), Three ("They come now"), Four ("This number for me"), Five, *Six,*Seven, *Eight, *Nine, *Zero.

35 [If You.] [London: Lion and Unicorn Press, 1968.1

"Poem by Robert Creeley, printed at the Royal College of Art, designed & illustrated by Roger Roberts." Broadside poem. 400 copies; (11 1. including one illustration; one broadside folded three times, unbound. "If You" was reprinted from For Love, 1962 (11). Contents: Poem: If You.

36 Divisions G Other Early Poems. [Mt. Horeb, Wisconsin) : The Perishable Press, 1968. "There are one hundred copies numbered 1 through 100 & ten copies for the author numbered I through X. The text is hand-set Palatino printed on SHADWELL,a paper hand made by the printer. S he hand-sewn wrapper is Fabriano Cover." Booklet of poems missed from The Charm, 1967 (32). [43, 19 pp.; handsewn in paper wrappers. The poems were reprinted from periodicals, Tbe Kind Of Act Of, 1953 (2), and A Form of Women, 1959 (9). MS: 1112. Contents: Poems: Poem for Bob Leed, Love ("The thing comes / of itself"), Divisions, The Method of Actuality, An Irishman's Lament on the Approaching Winter, Now Then, Trees,"To Work Is to Contradict Contradictions, to Do Violence to Natural Violence . . . ,"The Picnic, The Menu, In a Boat Shed, Swinging Down Central, Je vois dans le hasard tous les biens que j'espere, The Dream ("A lake in the head"), The Hands, The Animal.

37 Pieces. Los Angeles: Black Sparrow Press, November

[29], 1968. Collages: Bobbie Creeley. "Designed & printed at the Plantin Press, Los Angeles, by Saul and Lillian Marks in November, 1968, for the Black Sparrow Press. This edition is limited to 250 numbered copies sewn in

paper wrappers signed by the author; 150 hardcover copies numbered and signed by both author & artist; and 26 lettered copies hardbound in boards by Earle Gray, each with an original collage by Bobbie Creeley, signed by both author & artist." Book of new poems. {4), 13, 12) pp. plus 8 collages. 26 copies have an additional, original collage. 5 extra copies were printed for the author, artist, printer, publisher, and binder. The poems were published from manuscript or reprinted from periodicals. MS: 1114. Contents: Poems: *As real as thinking (part 3), *Having to(parts 3,4), The car (parts 1,*3,*4), *Pieces of cake (part 1 ), One thing done (parts 1,2,*3), I cannot see you (parts 1,*2,5), *In secret (part I ) , "Time" is some sort of hindsight (parts *2,4), "Follow the Drinking Gourd . . . ,"*One / the Sun / (part I), *Pleasures of pain, *The Friends (part 2), *Citizen, *Happy Love {titled "One Day"), *So tired, Why say (parts 1,*2), *Days later (parts 1-3) YSo tired," "Why say," and "Days later" are titled "Time" ("So tired")}.

*

38 MazatZatz: Sea. San Francisco: Poets Press, August 12, 1969. "This book was designed and printed at Cranium Press, San Francisco in an edition of 50 copies, and was published there by Poets Press on August 12, 1969. Each copy is signed by the author." Booklet of new poems. Unpaged, [14) pp.; tied in paper wrappers. The poems were published from manuscript or reprinted from periodicals. MS : 111 5 . Contents: Poems: "Mazatlan: Sea" and poems thereafter (for titles, see 751-764) as reprinted in Pieces, 1969 (39). The following poems were published for the first time: Kids walking, B-, The kick of the foot, Four ("Before I die"), Some nights, You see the jerked movement, Could write of fucking-, Such strangeness of mind, When he and I (part 2).

39 Pieces. New York: Charles Scribner's Sons, @ 1969 [published August 22). Third book of collected poems, trade edition. x, [2), 81 pp. The first impression, identified by the code number A-5.69 (a)on

the reverse of the title page, consisted of 2,049 hardback and 6,053 paperback copies bound from sheets printed in May 1969. There have been several subsequent impressions with a total of 22,000 copies as of January 1971. Continues where Words, 1967 (26), ended. The poems were reprinted from the following works: The Finger, 1968 (30) ;5 Numbers, 1968 (31 ) ; The Boy, 1968 (33); Numbers, 1968 (34); Pieces, 1968 (37); MazatIan: Sea, 1969 (38). In addition, many poems were newly collected from periodicals, and a number were published from manuscript. Proofs: 1015. MSS: 1115. Reviews: 246, 412-427. Contents: Poems: For titles, see 692-764. The following poems were published for the first time: As real as thinking (parts 1,2,4), The Family (part 2), For You, Having to- (parts 1,2), The car (part 2), Pieces of cake (part 2), I cannot see you (part 4), Gemini (parts 1-3), In secret (part 2), "Time" is some sort of hindsight (parts 1,3), One / the Sun / (parts 2-6), Can feel it, Chicago (part 2 ) , NYC, The Friends (parts 3,5), Diction, Place (part 4), Canada, 3 in 1, They, Echo, Forms' passage (parts 1-3), Days later (part 4), No clouds (parts 4,5), Echo Of, The, Situation of feeling, Again ("One more day gone"), The which it was, In the house of, P.S.,Ice Cream (parts 1,2), What do you think (parts 3,5), Re C-, Like a man committed (parts 1,3,4,9,10) ,The News, Smell of gum wrappers, The day comes and goes, The first time ("The first / time is / the first / time").

40 Hero. [New York?]: Indianakatz, @ 1769 [published December]. Drawing: Robert Indiana. "This edition of 1000 examples, designed by William Katz in December of 1969, is @ 1969 by the Authors. An Indianakatz Production." Poem in pamphlet. One sheet folded into [4} pp. including one colored drawing, unbound. Contents : Poem : *Hero.

41 The Cham: Early and Uncollected Poems. San Francisco: Four Seasons Foundation, [December 317, 1969. Writing 23Expanded edition of The Charm, book of poems not collected in For Loue, 1962 (1I ) , and Words, 1967 (26) ;trade edition. 5,000

copies in paper wrappers; 100 copies specially bound, numbered, and signed. xii, 97 pp. This work reprints all the poems in The Charm, 1967 (32), and DiviJions, 1968 (36), as well as "Nathaniel Hawthorde" from A Form of Women, 1959 (9). It also includes the following previously uncollected poems: The Festival, The Mirror, A Variation, The Happy Man, *The Ear. . Review: 428. Contents: Preface [110; reprinted from The Charm, 1967). Poems: For titles, see 765-856.

42 Mary's Fanty. New York: Bouwerie Editions, Summer 1970. Photograph: William Katz. "This first edition, rubberstamped in the summer of 1970 by William Katz, copyright by Bouwerie Editions, New York City, exists in 402 examples of which 1-100, signed & numbered by the author, are for sale, poet's proofs A-Z are for use of the poet, and printer's proofs A- are for use of the printer. Additionally, 2 50 examples numbered 1-2 50 exist unsigned." Poem in booklet. One sheet folded into [4) pp. including one colored photograph, laid in a folder, unbound. Proof: 1016. Contents: Poem: *Mary's Fancy.

43 In London. Bolinas, California: Angel Hair Books, [July] 1970. "200 copies printed by Grabhorn-Hoyem in San Francisco for Angel Hair Books, Box 253, Bolinas, California 94924." Poem sequence. 214 copies; unpaged, 193 pp.; tied in paper wrappers. 10 copies were signed; 4 copies-with the "L" of "London" inked in on the title page-were not for sale. "In London" was reprinted from Stony Brook, No. 3/4. Contents: Poem sequence: In London.

44 The Finger: Poems 1966-1969. London: Calder and Boyars, [July 301, 1970. Second British collection of poems, trade edition. 143 pp., cloth. Continues where Poems: 1950-1965, 1966 (22), ended. Proof: 1017. MS: 1116. Review: 430.

Contents: Preface C920; reprinted from Words, 1967 (26) 1. Poems: The last thirty-two poems of Words, 1967 (for titles, see 660-691), are reprinted along with all the poems (for titles, see 692-764) in Pieces, 1969 (39). The third section (for titles, see 857-884) contains a poem sequence published simultaneousIy as In London, 1970 (43), poems newly collected from periodicals and A WaZZ, 1970 (39a), and these poems published for the first time: We'll die, Sign (part 4), Love- ("Love-let it"), Bobbie's Law, The Edge (parts 2,3), Little Time-And Place, Dead in the year-, "Fine china, In the, Rippling eyelids, The Teachings, Kiki, The men in my life, Neither sadness nor desire (parts 4-6), There is a space, I don't hate you lately, Way, Looking for a way,Two Times ("Image / docteur") (part 2).

45 For Betsy and Tom.Detroit: The Alternative Press, [September 1970). "A free poem from THE ALTERNATIVE PRESS 4339 Avery Detroit, Michigan." Broadside poem. 400 copies; {I)1.; one small folio broadside, unbound. : Betsy and Tom. Contents: ~ 6 e m *For

46 For Benny and Sabina. [New York]: Samuel Charters, [November 15, 1970). Portents 18. "One of 100 copies Photo by Ann Charters Portents are published by Samuel Charters." Broadside poem. 11) 1.; one broadside with enlarged photograph of Creeley, unbound. Contents: Poem: *For Bemy and Sabina. 47 As Now It Would Be Snow. Los Angeles: Black Sparrow Press, December [7], 1970. "A Christmas Greeting

From The BLACK SPARROW PRESS Los Angeles 1970." "Design by Barbara Martin. Printed for the Black Sparrow Press in December, 1970 by Noel Young. Fifty copies of this edition have been handbound in boards by Earle Gray & are numbered & signed by the author."

Poem pamphlet, not for sale. 585 copies sewn in paper wrappers, 50 signed and numbered hardcover copies. 4 extra copies were printed for the author, printer, publisher, and binder. (41, 3, 111 PP. Contents: Poem: *As Now It Would Be Snow.

48 Christmas: May 10, 1970. Buffalo, New York: The

Lockwood Memorial Library, State University of New York at Buffalo, December 1970. Christmas Broadside Number Three. "This is the third in a series of Christmas Broadsides published under the auspices of the Friends of the Lockwood Memorial Library in an edition of 2000, of which the first 25 have been signed and numbered by the author and reserved for sale." Broadside poem. (2) pp.; one small folio broadside, folded twice, unbound. 35 unnumbered copies were also signed. Contents: Poem: "Christmas: May 10, 1970.

49 St. Marh's. Los Angeles: Black Sparrow Press, [March 251, 1971. Monoprints: Bobbie Creeley. "Printed March 1971 in Santa Barbara for the Black Sparrow Press by Noel Young. Design by Barbara Martin. This edition is limited to 1000 copies in paper wrappers; 250 hardcover copies numbered & signed by the poet; & 50 numbered copies handbound in boards by Earle Gray, each with an original color monoprint by Bobbie Creeley, signed by the poet & artist." Book of new poems. Unpaged, [39) pp. including 8 monoprints. 50 copies have an additional, original monoprint. 5 extra copies were printed for the author, artist, printer, publisher, and binder. The paperback was reprinted December 27, 1971; there were 1,034 copies offset in black only from the first impression sheets, with "Second Printing" added and the colophon dropped; the cover was letterpress in three colors only. A prospectus for the book was sent out in March 1971; it consisted of one sheet with an untitled poem ["The Birds") and publication information.

Contents: Poems newly collected from manuscript, periodicals, and Mary's Fancy, 1970 (42) ;for titles see 885-899. The following poems were published for the first time: "Do You Think . . .," Two ("Holding / for one / instant"), "Quick Talk . . . ,"Harry, "The Death Of . . . ," The Problem, The Tiger, On Vacation,

Sounds.

2. Selected Contributions to Other Works See also 15, 21.

50 Stories: *In the Summer (462), * 3 Fate Tales ( 4 5 9 , *Mr Blue (457). Poems: *Love ("The thing comes / of itself"), *Helas, *Le Fou, *Hart Crane ("Answer: how old / is the wind"). Origin (ed. Cid Corman, Dorchester, Massachusetts), No. 2 (Summer 1951) . [Issue featuring creeley.] See 150, 921. . 51 Stories: Mr Blue (457), *The Seance (463), *The Lover (461), 3 Fate Tales (459), In the Summer (462). New

Directions (ed. James Laughlin, New York) ,No. 13 ([December 121, 1951). [This was a special section called "Mr Blue and Other Stories" with an introduction by Charles Olson (181). 2,003 copies. 1,635 paperbacks were issued May 24, 1765.) Review: 254. 52 Poems: *The Surf: An Elegy, *The Cantos, *The Drums, *The Sea, *The Ball Game, *Something for Easter, *The Rhyme, *The Rites, *The Riddle. Golden Goose (ed. Richard Wirtz Emerson and Frederick Eckman, Columbus, Ohio), Series 4, No. 5 (October 1952) . [This was a special section called "Anthology: Le Fou." The poems were published simultaneously in Le Fou, 1952 ( 1).I MS: 1095. Related letters: 1041.

23

53 Poems: *Eros, *It Is at Times, *The Europeans, *The Penitent. In Fewhi & Others. Gloucester, Massachusetts: [Vincent Ferrini, early 1953). [Printed by Julius Engelberg in yarlsruhe, Germany, on commission of Rainer M. Gerhardt. 300 copies, not for sale.) 54 Poems: The Crisis, The Riddle, *The Kind of Act of, The Innocence. In Nine American Poets, ed. Robert Cooper. Liverpool: Heron, [Spring) 1953. Published as Artisan, No. 2 (1953). See 924. 55 Poems: If You, And. In A New Folder; A m e r k s : Poems and Drawings, ed. Daisy Aldan. New York: Folder Editions, [August] 1959. [First edition of 850 copies plus 150 specially bound copies. A revised paperback edition with photographs was published in 1960.1 56 Poems: The Innocence, The Kind of Act of, The Immoral Proposition, A Counterpoint, The Warning, The Whip, A Marriage, Ballad of the Despairing Husband, If You, Just Friends, The Three Ladies, The Door ("It is hard going to the door"), The Awakening, The Way. In The New American Poetry: 1941-1 960, ed. Donald M. Allen. New York: Grove/London: Evergreen, @ 1960 [published May 291. [First edition of 1,000 cloth and 8,000 paperback copies. There have been many subsequent printings.] See 123, 924, 955. Proofs: 1008. Review: 260. 57 Poems in Swedish translations: Heroes, The Three Ladies. In Helgon t Hetsporrar, ed. Reidar Ekner. Stockholm: Rab6n & S j e e n , 1960. 58 Poem: The Gift. In The Beat Scene, ed. Elias Wilentz.

New York: Corinth, 1960.

59 Stories: The Boat (466), The Gold Diggers (467), The Unsuccessful Husband (456), 3 Fate Tales ( 4 5 9 , Jardou (465), The Seance (463), The Musicians (469) . In Short Story 3, by Robert Creeley, Burton RafTel, Matthew Carney, and Joseph Slotkin. New York: Scribner's, [1960). [The book consisted of four collections of short stories, one by each author. Creeley's section was titled "The Musicians." 7 60 Poems in English and in German translations: The Dishonest Mailmen, The Conspiracy, Le Fou, The Gift, Chanson, A Form of Adaptation, They Say. In lunge Amerikaniscbe Lyrik, ed. Gregory Corso and Walter Hollerer. Munich: Carl Hanser, @ 1961. [The first three poems were translated into German by Walter Hollerer, the last four, by Klaus Reichert. There was also a boxed issue with a recording of readings by some of the poets.] 61 Poems: After Lorca, I Know a Man, The Hill, The Sign Board, The Cracks, For Love, Kore, The Rain. In Contemporary American Poetry, ed. Donald Hall. Harmondsworth, Middlesex, England: Penguin, 1962 (revised and enlarged edition, 1972). 62 Poems in Swedish translations: The Invoice, Like They Say, The Rhythm, The Conspiracy, I Know a Man, Sing Song, The Dishonest Mailmen, A Marriage, A Form of Women. In Id& ja &nen Runot, ed. Markku Lahtela and Anselm Hollo. Helsinki: Weilin & Goos, @ 1962. 63 Poems in German translations by Willi Anders: Don't Sign Anything, The Conspiracy, Song ("Were I myself more blithe"). In Beat: Eine Anthologie, ed. Karl 0. Paetel. Reinbek bei Hamburg, Germany: Rowohlt, November 1962. See 194.

64 Stories: Mr Blue (457), The Grace (464), In the Summer (462), A Death (458), The Dress (470), The Book (471). In The Moderns: An Anthology of New V ~ i t i n g in America, ed. LeRoi Jones. New York: Corinth, 1963. See 915. Review: 265. Related letters: 1037. 65 Poems in English and in Spanish translations: The Dishonest Mailmen, The Crow, The Immoral Proposition, The Death of Venus, The Three Ladies, Song ("Those rivers run from that land"), Kore, The Name. In Poesia amerirana del'900, ed. Carlo I a o . Parma, Italy: Guanda, December 1963. 66 Poem: The Way. In Way Poems. [San Francisco: Clifford Burke, Summer 1967. 100 copies, published privately for Mary Norbert Korte. The poems of this collection are a response to the first-*The Way" by Robert Creeley.] 67 Poems: The Rhyme, I Know a Man, The Death of Venus, A Form of Adaptation, Naughty Boy, A Form of Women, Oh No, A Wicker Basket, The Wind, Ballad of the Despairing Husband, The Invoice, The End of the Day, The Wife. In American Poems: A Contempomy Collection, ed. Jascha Kessler. Carbondale: Southern Illinois University Press, @ 1964. 68 Poems in German translations by Klaus Reichert: The Disappointment, The Flower ("I think I grow tensions"), A Song. In Insel-Almanuch uuf das Iuhr 1965. Frankfurt : Insel, 1964. See 924. 69 Poems in English and in Italian translations: The Dishonest Mailmen, I Know a Man, The Awakening, The Plan, The Name, The Rose, The Wife, For Love. In Poesiu degli u l t h i umerkuni, ed. Fernanda Pivano. Milan: Feltrinelli, @ 1964 [published November 181.

70 Poems: The Immoral Proposition, The Operation, The Whip, A Wicker Basket, She Went to Stay, Ballad of the Despairing Husband, The Door ("It is hard going to the door"), Jack's Blues, The Name, The Rose, The Wife. In Today's Poets: American and British Poetry Since the 1930's, ed. Chad Walsh. New York: Scribner's, 1964. See 195. Related letters: 1080. 71 Poem: *I. In 12 Poets G One Painter. San Francisco: Four Seasons, @ 1964. [Writing 3.) 72 Stories: Mr Blue (457), The Party (460), The Suitor (468), The Dress (470). In New American Story, 1965 (170). 73 Poems: The Death of Venus, The Bed. In Studying Poetry: A Critical Anthology of English and American Poems, ed. Karl Kroeber and John 0.Lyons. New York, Evanston, and London: Harper & Row, @ 1965. ["The Bed" is paired with Byron's "She Walks in Beauty, Like the Night."] 74 Poems: Hart Crane ("He had been stuttering"), The Way, The Rose, The Wife, The Snow. In American Poetry, ed. Gay Wilson Allen, Walter B. Rideout, and James K. Robinson. New York: Harper & Row, @ 1965. See 208. 75 Poems: The House, Kore, The Name, I Know a Man, The Rhythm, The Mountains in the Desert, The Language, Anger, Distance. In A Controversy of Poets, ed. Paris Leary and Robert Kelly. Garden City, New York: Doubleday, [July 161, 1965. See 125. 76 Poem: For No Clear Reason. In A Poetry Reading Against the Vietnam War, ed. Robert Bly and David Ray. [New York]: The American Writers Against the Vietnam War, @ 1966.

27 77 Poems in English and in Spanish translations: A Marriage, The Innocence, The Immoral Proposition, The Warning, The Dishonest Mailmen. In Quince Poetas Norteamericunos, ed. Alberto Girri. Buenos Aires: Bibliografica Omeba, 1966. See 21 1. 78 Poem: Le Fou. In.Of Poem, ed. James L. Weil. New Rochelle, New York: Elizabeth Press, @ 1966 [published September 15). 1500 copies.) 79 Poem: The Name. In Poems for Young Readers. [n.p.]: National Council of Teachers of English, 119661. [Houston Festival of Contemporary Poetry, 56th Annual National Council of Teachers of English, November 24-26, 1966.1 See 197,934. 80 Story: The Book (471). Poems: The Woman ("1 have never / clearly given to you"), To Bobbie. In The.New Writing in the U.S.A., 1967 (172). 81 Poem: For No Clear Reason. In Where is Vietnam? American Poets Respond, ed. Walter Lowenfels. New York: Doubleday, 1967. MS: 1108. 8 2 Poems: After Lorca, I Know a Man, Kore. In An

Introduction to Poetry, ed. Louis Simpson. New York : St. Martin's, @ 1967. 83 Poems: The Saints, Sing Song,Kore. In The New Modern Poetry: British and Americun Poetry Since World Wur II, ed. M. L. Rosenthal. New York: Macmillan, 1967.

84 Poems in Czechoslovak translations by Stanislav MareS: Song ("What I took in my h a n d ) , All That Is Lovely in Men, Heroes, The Door ("It is hard going to the door"), The Hill, Air: "The Love of a Woman." In Obezndmeni s noci, Novi umerlcti bbsnici, ed. Stanislav MareS and Jan Zbrana. [Prague: ~eskoslovenskjrspisovatel, 1967.1

85 Poem: *Flowers. In Out of the War Shadow: 1968 Peace Calendar and Appointment Book, ed. Denise Levertov. New York: War Resisters League, @ 1967. 86 Poems in English and German translations by Klaus Reichert: Anger, The Gift. Poems in German translations by Klaus Reichert: Some Echoes, They Say, I Know a Man, Please, The Disappointment, Chanson, One Way. In Ein Gedicht und sein Autor Lyrik und Essay, ed. Walter Hollerer. Berlin: Literarisches Colloquium, 1967. See 217,936. 87 Poem: *Flowers. In Artists and Writers Protest Against the Viet Nam War. [New York?] : Artists &d Writers Protest, 1967. [Limited edition.) 88 Poem: *Kate's. In Stamped Indelibly, ed. William Katz. [New York ?) : Indianakatz, @ 1967. [225 copies, of which numbers 1 to 110 were for sale. The collection contains 14 rubberstamp prints each signed by the creator and printed by William Katz during May through December of 1967.) 89 Poem: Flowers. In War Poems, ed. Diana di Prima. New York: Poets Press, April 1968. [2,000 copies, of which 35 were hand bound.) 90 Poem: *Gemini (part 4). In The Zodiac, signs of the zodiac by Bret Rohmer. New York: Brownstone Press, @ 1968. 1250 copies. Loose sheets in a portfolio.) 91 Poems: The Riddle, Kore, The Window ("There will be no simple"). In 100 Postwar Poems: British and Ameriran, ed. M. L. Rosenthal. New York: Macmillan, @ 1968. 92 Poems: Don't Sign Anything, Love Comes Quietly. In Voices: The Third Book, ed. Geoffrey Summerfield. Harmondsworth, Middlesex, England: Penguin, 1968.

93 Poem in English and in a Spanish translation by Willis Barnstone: Le Fou. In Concrete Poetry: A World View, ed. Mary Ellen Solt. Bloomington: University of Indiana Press, @ 1968. See 219,220.

94 Poem: A Wicker Basket. In The Poem in Its Skin, by Paul Carroll. Chicago: Big Table, November 1968. See 185. 95 Poems: Oh No, After Lorca, The Operation, The Whip, All That Is Lovely in Men, A Form of Women, A Gift of Great Value, The Mechanic, The World, A Reason, -A Sight, Something, For the New Year, The Door ("It is hard going to the door"), Anger. In Naked Poetry: Recent American Poetry in Open Forms, ed. Stephen Berg and Robert Mezey. Indianapolis and New York: Bobbs-Merrill,@ 1969.See 935. 96 Poems: The Immoral Proposition, The Three Ladies, The Way, Ballad of the Despairing Husband, The Awakening, The Rain, For Love, The Rhythm, "I Keep to Myself Such Measures . . . ," A Place. In 20th-Century Poetry G Poetics, ed. Gary Geddes. Toronto: Oxford University Press, 1969. See 222, 924, 955.

97 Poems: The Pool, The Rain. In The Contemporary American Poets: American Poetry Since 1940, ed. Mark Strand. New York and Cleveland: The World Publishing G., 1969. 98 Poems: The Name, Mind's Heart, The Rhythm. In The Many WorZds of Poetry, ed. Jacob Drachler and Virginia R. Terris. New York: Alfred A. Knopf, @ 1969.

99 Poems: Le Fou, The Invoice, The Souvenir, The Rhythm, I, The Chance, The Pattern, A Night Sky. In A First Reader of Contemporary Americun Poetry,ed. Patrick Gleeson. Columbus, Ohio: Charles E. Merrill, @ 1969. See 223. 100 Poems: The Rain, Jack's Blues, For N o Clear Reason.

In The Literature of America: Twentieth Century, ed. Mark Schorer. New York: McGraw-Hill, @ 1970. See 224b.

B. Publications of Nonfictional Prose

Most of Creeley's critical writings have been collected in A Quick Graph: Collected Notes and Essays, 1970 ( 104) ; they are listed separately as 915-1000. The entries in this section-with the exception of 102 and 104--give the publication history of critical writings, notes, interviews, and letters not included in A Quick Graph. Dates given after the titles are the dates of composition, usually taken from the manuscripts at Washington University; cross reference is made to the manuscripts in the entries. For unpublished writings, see 1093, 1097, 1099, 1118-1131.

1. Separate Publications For an explanation of the form of the entries given below, see note above 1.See also note above 179. 101 [Prospectus of The Divers Press. Palma de Mallorca: The Divers Press, 1953.1 Pamphlet advertising books published by Creeley's Divers Press (1 79, 180). One sheet. Quoted in Poetry, LXXXII (September 1953), 367.

102 An American Sense. [London: Sigma, ca. 1965.) Sigma Portfolio 26. Essay. Limited edition; 6 pp.; 3 mimeographed leaves, stapled together, unbound. For other publications, Jee 932. Contents: *An American Sense {"Introduction to The New Writing in the USA," 932).

103 Contexts of Poetvy. Buffalo, New York: Audit, Spring 1968. Photograph [of Creeley] by Elsa Dorfman. Transcription by George F. Butterick. "With Allen Ginsberg at the Vancouver Conference July 1963 Issued as Vol. V/No. 1 AUDIT Spring, 1968." Transcription of July 24, 1963 tape, with postscript dated April 14, 1968. [6), 18 pp. including photograph; stapled in paper wrappers. Transcribed from the tape of the Vancouver Poetry Festival (166). For reprinting, see 105. MS: 1151. Contents: *Contexts of Poetry [with "A Postscript"). 104 A Quick Gruph: Collected Notes G Essays. San Francisco: Four Seasons Foundation, [May 151, 1970. Edited by Donald Allen. Writing 22. First collection of nonfictional prose, trade edition. 4,000 copies in paper wrappers, 1,000 in cloth. (81, 365 pp. The writings were reprinted from periodicals, books, and anthologies. "Introduction to Charles Olson: Selec~edWritings 1" was published for the first time. Review: 429. Contents: Prefaces, notes on his poetry, and critical writings as listed in 915-1000. 2. Contributions to Other Works

Essays 105 Writing [August 27, 19681. *In Writers us Teuchers/ Teachers us Writers, ed. Jonathan Baurnbach. New York: Holt, Rinehart and Winston, @ 1970. [Part 11, "Contents of Poetry," reprints the complete text of Contexts of Poetry, 1968 (103).] MS: 1198. 106 Robert Creeley [December 20-2 1,13691. *In "Symposium : The Writer's Situation 11," New American Review, No. 10. New York: New American Library, August 1970. MS: 1152.

Interviews 107 Robert Creeley [interview with David Ossman, May 1961). *In The Sullen Art: Interviews by David Ossman with Modern American Poets. New York: Corinth, 1963. [With photograph on cover.] See 206. 108 [Excerpts from interview with Ann Charters, July 7, 1969.) *In "Introduction" by Ann Charters to The Special View of History, by Charles Olson, ed. Ann Charters. Berkeley: Oyez, 1970. Recording: 1024. Prefaces to His Own Works See also 1002. 109 Notes on an Interview by Way of a Preface ["Interlocutor: Edward Lucie-Smith; London, 26th April 1966"). *In Robert Creeley Reads, 1967 (28). 110 Preface [July 21, 1967). *In The Charm, 1967 (32). Reprinted in The Charm, 1969 (41). MSS: 1111, 1192. Prefare to Other Vorks 111 Preface. *In Sticks & Stones, by George Bowering. Vancouver: Tishbooks, [April 19631. 112 A Note for These Poems [May 14,19651. *In Touch, by David Franks. [Baltimore] : Red Wheel Barrow Press,

@ 1965. MS: 1178. 113 A Note for Kenneth Irby. *In Movements/Sequences, by Kenneth Irby. Published as Duende, No. 8 (September 1965). MS: 1183. 114 [Introduction. December 15, 1968.) *In Black Mountain Review, reprint of Vol. I, 1969 (176). MS: 1196.

115 [Introduction, May 9, 1969.) *In Krazy KatlThe Unveiling & Other Stories, by Fielding Dawson. Los Angeles: Black Sparrow, [August 221, 1769. [276 cloth and 1,000 paperback copies.] A section was reprinted on the prospectus of Open Road by Fielding Dawson (Los Angeles: Black Sparrow, [1970]). MS: 1197. 116 AM [October 3 1, 19681. *In [ohn's Book, by Alan Marlowe. [New York] : Poets Press, 1969. MS: 1194. Report 117 [Report on Freshman English, Course B101-102.) *In Report on Freshman English, Fall Semester 1967-1 968. [Buffalo, New York : English Department, State University of New York at Butfalo, Spring 1968. Ca. 200 mimeographed copies.] Note a d Comments 118 A Note on Writing [March 20, 1963). *In New American Story, 1965 (170). MS: 1168. 119 [Untitled comment.] *In Authors Take Sides on Vietnam,

ed. Cecil Woolf and John Bagguley. New York: Simon and Schuster, @ 1967. 120 [Brief comment on Fielding Dawson.] *On prospectus of Krazy Kat, by Fielding Dawson ( 115) . Los Angeles : Black Sparrow, [I 9691. 1 2 1 [Brief comment on Joanne Kyger.] *On prospectus of

Places to Go, by Joanne Kyger. Los Angeles: Black Sparrow, [1970).

Autobiographical and Bibliographical Comments 122 Notes from the Poet. *In Robert Creeley: Reading and Commenting on His Poems [program for reading July 16, 19597. [San Francisco] : San Francisco State College, [July 1959). See 182. 123 Robert Creeley. *In The N e w American Poetry, 1960 (56) . 124 Robert Creeley. *In New American Story, 1965 (170) . Reprinted in The N e w Writing in the U.S.A., 1967 (172). MS: 1180. 125 Robert Creeley. *In A Controversy of Poets, 1965 ( 7 5 ) . Reprinted on jacket of The Spoken Arts Treasury, Vol. XVI, 1969 (165). 126 Robert Creeley [July 28, 1967. Ed. Stephen Dunning]. *In Descriptive Notes, Today's Poets, Vol. In, 1969 (164). MS: 1150. Letter 127 [Letter to Stan Brakhage.] *In Metaphors on Vision, by Stan Brakhage. Published as Film Culture, No. 3 (Fall 1963).

3. Contributions to Periodicals Essay r~ 128 Sense of Measure. *The Times ~ i t b r a Supplement, August 6,1964, p. 699. MS: 1175. Reviews 129 [Review of Jack Hirschman's A Correspondence of Americans.] *The Sparrow Magazine, No. 17 [July or August 19621, p. 39.

130 The Beat Voznesensky [September 2, 1964. Review of Selected Poems of Andrei Voznesensky]. *The Nation, CIC (November 9,1964), 336-337. MS: 1144. [For a criticism of this review, see 434.7 Interviews 131 Robert Creeley in Conversation with Charles Tomlinson. *The Review, No. 10 (January 1964), pp. 24-35. [With photograph on cover.] Reprinted in Kulchhur, N, No. 16 (Winter 1964-1965), 4-16. 132 An Interview with Robert Creeley, 1965 [by Linda W. Wagner]. *The Minnesota Review, V, iv (OctoberDecember 1965), 30+321. 133 Interview: Robert Creeley [by John Sinclair and Robin Eichele] . * Whe're, No. 1 (Summer 1966) ,pp. 47-58. 134 The Social Responsibility of an Artist [by Madeline Levine]. *Dimension (feature magazine of The Spectrum) , December 15, 1967, pp. 11-13. [With photograph.] 135 Robert Creeley Interview [by William Knief]. *The Cottonwood Review [I, iv (1968), 3-20]. 136 The Art of Poetry X [by Linda Wagner and Lewis MacAdams, Jr.]. *Puris Review, XI, No. 44 (Fall 1968), 155-187. [With photograph.] 137 An Interview with Robert Creeley [by the editors, in three parts]. *Road Apple Review, I, i (Winter 1968-1969), 36-38; I, ii (Spring 1969), 32-34; I, iii (Fall 1969), 35-36. 138 An Interview with Robert Creeley [edited by Rand Johnston). *Opus, No. 7 (1969), pp. 4648.

Notes and Comments 139 [Concerning the Short Story. Japanese translation by Katue Kitasono.] *Vou, No. 35 (August 195 I ) , pp. 27-28. [With photograph on p. 13.) 140 ["Point." August 20, 1953.) *Origin, No. 12 (Spring 1954), p. 193. 141 Comment. *BZack Mountain Review, No. 3 (Fall 1954), p. 64. 142 [Note on Rainer Gerhardt.] *Pound Newsletter, No. 4 (October 1954), p. 1. 143 Judson Crews. *The Desert Review, Spring 1964, p. 5. 144 A Note on Louis Zukofsky [by March 2,19641. *Kulchur, w,No. 14 (Summer 1964), 2-4. MSS: 1091,1142. 145 A Note on the B h k Mountain Review [March 17, 19641. *Serif, n, ii (June 1965), 21-22. MS: 1171. 146 Robert Creeley [transcription of comments made during a reading, April 5, 1968). *Quixote, 111, iv [1968], 83-85. 147 The Province of the Poem. *Cu[tural Affairs, NO. 3 (1968), p. 19. See 276. Related letters: 1069. 148 [Brief statement.] *Presence, No. 4 (Spring 1969), p. 57. 149 [Brief comment, "Re peyote . . . ," dated April 21, 1969.1 *The Magazine of Further Studies, No. 6 [after July 19691. Letters 150 ["Letters to Cid Corman.") *Origin, No. 2 (Summer 1951), pp. 71-75 [letter dated November 15,19501, 92 [September 30,1950],104 [February 28,195 11, 124 [June 14, 19501.

151 From a Letter, October, 1959. *Migrant, No. 5 (March 1960), p. 22. 152 ["Letter to LeRoi Jones," dated September 25, 1959.1 *Yugen, No. 6 (1960), p. 30. 153 Jerome Rothenberg and Robert Creeley : An Exchange [letters from Creeley dated November 6, 1960, December 18, 1960, and January 10, 1961, with Rothenberg's replies]. *Kulcbur, 11, No. 6 (Summer 1962), 25-42. 154 [Letter to the editors, dated April 22, 1965.] *El Corno Emplumado, No. 15 (July 1965), pp. 155-156. 155 ["Letter to Tom Raworth," dated February 7, 1964. With "A Voice," a translation into English of a German poem by Rainer Gerhardt.] * Work, No. 3 (Winter 1965-1966), p. 32. 156 Copyright [letter to the editor]. *The Times Literary Supplement, June 22,1967, p. 559. Translations See also 155. 157 The City [translation into English of a German poem by Arno Reinf rank]. *Rhinozeros, No. 7 ( 1962), p. 5. 158 Rain [translation into English of a German poem by Kuno Raeber]. *Rhinozeros, No. 10 (1965), p. 8.

Audio-Visual Material

These works have obtained some circulation. Uncirculated tape recordings are listed as 1020-1026. See also 44-50.

1. Readings Taped Readings 159 Reading his poems with commentary in the Recording Laboratory, June 1, 1961. Library of Congress, LWO 3348. Poems from The Whip, 1957 (8), A Form of Women, 1959 ( 9 , and manuscript of For Love, 1962 (11). Copies available from the Library of Congress. 160 Reading from For Love, 1962 (1I ) , August 1963. Vancouver Poetry Festival, University of British Columbia, Vancouver, reel 5. The recording, made by Frederick Wah, may be heard in the Poetry Room of the Lockwood Memorial Library, State University of New York at Buffalo. See 166. 161 Reading from For Love, 1962 (1 I ) , October 23, 1964. Leeds University Poetry Room, Leeds, England. Copies at Poetry Room, College Library, Harvard University, Cambridge, Massachusetts, and Recorded Sound Section, The British Council, London. 162 Reading from the manuscript for Words, 1967 (26), July 1965. Berkeley Poetry Conference, University of California at Berkeley, SA 654, #840. Creeley was introduced by Robert Duncan. Copies available from the Language Laboratory, U.C. at Berkeley. See 166a, 268.

Recorded Readings 163 45 r.p.m. record i n back jacket flap of Robert Creeley Reads, 1967 ( 2 8 ) . For list of poems read, see 28. 164 Today's Poets: Their Poems-Their Voices. Vol. 111: Denise Levertov, Robert Creeley, James Wright, David Ignatow. Edited by Stephen Dunning. Folkways/Scholastic Records FS 11003 [la. 19691. Contents: Autobiographical and bibliographical note, "Robert Creeley" (126), and the texts of the poems, in the Descriptive Notes. Reading of the following poems {recorded Thanksgiving weekend 19661: A Tally, Words, The Invoice, The Cracks, A Reason, The Name, The Wife, Naughty Boy, A Form of Women, Oh No, The Ball Game, The Door ("It is hard going to the door"). 165 The Spoken Arts Treasrrry of 1 00 Modern American Poets. Vol. XVI: James Merrill, Robert Creeley, Allen Ginsberg, David Wagoner, Robert Bly, Galway Kinnell. Produced by Arthur Luce Klein, edited by Paul Kresh. Spoken Arts SA 1055 [December 1969). 15,000 copies of a sample record were issued in March 1970 and sent with brochures to prospective buyers. The sampler consisted of one poem each by seventeen poets included in The Treasury, Vols. I to xvm. Creeley reads "Love Comes Quietly." Contents: Autobiographical and bibliographical note, "Robert Creeley" (125), on jacket {taken primarily from A Controversy of Poets, 1965 (75) 1. Reading of the following poems {recorded June 1968) : Love Comes Quietly, For Love, Song ("What do you / want love"), The Finger.

2. Discussions, Lectures, and Interview Taped Discussions and Lecjures 166 Vancouver Poetry Festival, University of British Columbia, Vancouver, July-August 1963, reels 1-4. The recordings made by Frederick W a h may be heard in the Poetry

Room of the Lockwood Memorial Library, State University of New York at Buffalo. For written accounts of the Festival, see 207 and 264. See d s o 160, 167. July 24: Contexts of Poetry-Allen Ginsberg and Robert Creeley. Later published as Contexts of Poetry, 1968 (103) . July 24: Russian writers, shifts in consciousness-Allen Ginsberg and Robert Creeley. July 26: Robert Duncan, Allen Ginsberg, and Robert Creeley. July 29: History-Charles Olson, Robert Duncan, Allen Ginsberg, Philip Whalen, and Robert Creeley. July 31 : Polis-Charles Olson, Robert Duncan, Allen Ginsberg, and Robert Creeley. August 2 : General Discussion--Charles Olson, Robert Duncan, Allen Ginsberg, and Robert Creeley. August 5 : Intention, induced hypersensitivity-Charles Olson, Robert Duncan, Allen Ginsberg, Denise Levertov, Margaret Avison, and Robert Creeley. August 7: Numinous, how is the poet in the poem-Robert Duncan, Allen Ginsberg, Denise Levertov, Margaret Avison, and Robert Creeley. August 9: Beginning, middle, end-Robert Duncan, Allen Ginsberg, Denise Levertov, Margaret Avison, and Robert Creeley. August 12: Reading Lorca, Williams-Robert Duncan, Allen Ginsberg, Denise Levertov, and Robert Creeley.

Recorded Interview 167 Five Poets. Canada: Canadian Broadcasting Corporation,

119631. Producer: Alan Campbell. Transcription disc, 5 5 minutes. CBC Archive disc #640119-12. Broadcast on the CBC Radio Network January 19, 1964. May be heard at the CBC Program Archives, Toronto. A documentary about Robert Creeley, Allen Ginsberg, Denise Levertov, Robert Duncan, and Charles Olson. Recorded at the Vancouver Poetry Festival, University of British Columbia, Vancouver, July-August 1963, with subsequent interviews. Phyllis

Webb was the narrator and interviewer, though the interviews were edited to omit her questions. All but Creeley read their poems. The program focuses on Olson and Ginsberg. See 166.

3. Film 168 Poetry: Robert Creeley. U.S.A.: National Education Television and KOED, San Francisco, 1967. Black and white, 16 mm., 30 minutes. Televised September 1966 and October 14, 1971, over NET stations. Available for sale and rental through the Canadian Film Institute, Ottawa, and the Audio-Visual Center, Indiana University, Bloomington (Film KS 284). "This film provides a candid view of poet Robert Creeley in his home and introduces his poetry. Creeley describes the influences of other literary figures such as W. C. Williams on his works and explains his own method of working. He reminisces about his youth and reads several of his poems. Poems include 'La Noche,' 'The First Time' {'We are given a chanca'}, 'The Place,' ["The Whip'], and 'Some Place.' "

D. Editions by Creeley

1. Separate Publications

169 Mayan Letters, by Charles Olson, edited with a preface by Robert Creeley. Palma de Mallorca: The Divers Press, 1953 [January 19541. Reprint: London: Jonathan Cape, 1968. The letters were reprinted in Selected Writings of Charles Olson, 1966 (17 1) . The preface was reprinted in A Quick Graph, 1970 (104) ; see 954. See also 225. [The Divers Press published an anonymous advance notice for the 1954 edition. It consisted of one sheet with a brief statement by Creeley.) 170 New American Story, edited by Donald M. Allen and Robert Creeley, with an introduction by Warren Tallman. New York: Grove, @ 1965. Reprint: Harmondsworth, Middlesex, England: Penguin, 1971.See 72,118, 124, 209, 915. 171 Selected Writings of Charles Olson, edited with an introduction by Robert Creeley. New York: New Directions, @ 1966. The introduction was reprinted in A Quick Graph, 1970 (104); see 958. See also 169, 225, 272. Proofs: 1012.

172 The New Writing in the U.S.A., edited by Donald Allen and Robert Creeley, with an introduction by Robert Creeley. Harmondsworth, Middlesex, England: Penguin, 1967. The introduction was reprinted in A Quick Graph, 1970 (104) ;see 932. See also 80, 124. 173 The American Literary Anthology I : The First Annual Collection of the Best from the Literary Magazines. New York: Farrar, Straus, & Giroux, 1968. The judges for the poetry section were James Dickey, John Ashbery, and Robert Creeley. 2.

Periodicals

While at Holderness School, Plymouth, New Hampshire, from Fall 1940 to June 1943 Creeley contributed to the school literary and news magazine, The Dial, and edited this magazine during 1942-1943, the same year that he edited the new student publication, The Bull. He was also one of the editors of the school yearbook for 1942 and 1943. See also 142a. 174 Associate Editor. Wake (Harvard), No. 5 (Spring 1946). See 1027. 175 American Editor. Fragmente (Freiburg im Breisgau, Germany), Nos. 1-2 (195 1-1952). 176 Editor. Black Mountain Review (Black Mountain, North Carolina), No. 1 (Spring 1954) to No. 7 (Autumn 1957). Printed by MossCn Alcover, Palma de Mallorca. Reprinted with an introduction by Creeley (114) : New York: AMS Press, June 1969 1300 sets of three volumes]. See 231,232, 1050,1056. Reviews: 279a, 411. 177 Committee Member. Merlin (Paris), 11, iv (SpringSummer 1955). 178 Contributing Editor. Inscape (Albuquerque, New Mexico) , Series 1, Nos. 1-8 (1959-1962).

E. The Divers Press

This section lists books put out by Creeley's private press on Mallorca, Spain. Most were printed by Mossen Alcover, Palma de ~ a l l b r c aA . number of advertisements were printed by The Divers Press, and most were written by Creeley; see 101, 169. An advertisement also appeared in Merlin, 11, ii (Autumn 1953), 133. Related letters: 1056. 179 Books published by The Divers Press. Paul Blackburn. Proensa. [June] 1953. Robert Creeley. T h e Kind Of Act Of. [July] 1953. See 2. Larry Eigner. From the Sustaining Air. July 1953. Charles Olson. Mayan Letters. 1953 [January 19541. See 169. Irving Layton. In the Midst of My Fever. February 1954. Robert Creeley. T h e Gold Diggers. [March] 1954. See 4. Martin Seymour-Smith. All Devils Fading. [Spring 1954.) H. P. Madclin. A Handbook of Fancy Pigeons. May 1954. Katue Kitasono. Black Rain. [August] 1954. [Robert Creeley.] A Snarling Garland of Xmas Verses. [Xmas 1954.) See 5. Douglas Woolf . T h e Hypocritic Days. January 1955. Paul Blackburn. T h e Dissolving Fabric. March 1955. Robert Duncan. Caesar's Gate. September 1955. 180 Books designed and printed by The Divers Press.

Charles Olson. In Cold HeU, in Thicket. February 1953. Published as Origin, No. 8 (Winter 1953).

Cid Corman. The Precisians. New York: Sparrow Press, March 1955. Irving Layton. The Blue Propeller. Montreal : Contact Press, 1955.

II. Selected Writings about Robert Creeley

This section lists all writings about Creeley published to 1970 which have been found and are considered use£ul, including serious works in foreign languages. General comments and superficial reviews--especially the many which appeared in local and foreign newspapers and library journals after 1962-are omitted, as are notices of Creeley's readings, publication announcements, and the like. Cross reference is made to manuscripts when they exist. For interviews with Creeley, see 107-109, 131-138a, 167, 1024. Other collaborations are listed as 103, 104, 126, 153, 166, 1026, 1085, 1151, 1199. Unpublished letters to or about Creeley aie listed as 1035,1045-1047,106&1081,1199. See also Unpublished Writings about Creeley, 1201-1205. To find the work of a specific author, see the Index to Names.

A. In Books

1. Essays 181 Charles Olson. "Introduction to Robert Creeley." In New Directions, No. 13, 1951 (5 I), pp. 92-93. Reprinted

in Human Universe and Other Essays, by Charles Olson, ed. Donald Allen (San Francisco: Auerhahn, 1965; New York: Grove, 1967), pp. 127-128. 182 Robert Duncan. "Introductory Notes by Robert Duncan." In Robert Creeley: Reading and Commenting on His Poems, 1959 (122), pp. 1-3. 183 M. L. Rosenthal. "Robert Creeley." In The N e w Poets: American and British Poetry Since World W a r II. New York: Oxford University Press, 1967, pp. 148-159; also pp. 15, 140, 147, 172, 205. 184 Stephen Stepanchev. "Robert Creeley." In American Poetry Since 1945: A Critical Survey. New York: Harper & ROW,@) 1967, pp. 151-157; also pp. 15, 125, 136. 185 Paul Carroll. "The Scene in the Wicker Basket." In T h e Poem in Its Skin, 1968 (94), pp. 31-38; also pp. 209-210 [reprinted from Choice, No. 5 ( 1967) ,pp. 83-84], p. 241. [With photograph.) 186 Richard Howard. " 'I Begin Where I Can, and End When I See the m o l e Thing Returning.' " In Alone W i t h America: Essays on the Art of Poetry in the United States Since 19.50. New York: Atheneum, 1969, pp. 65-74. Reprinted from The Minnesota Review, WI, ii, 1968 (243). 2. Reviews

187 Warren Tallman. Review of The Island, 1963 (12). In Prose 1. Writing 2. San Francisco: Four Seasons, @ 1964, pp. 32-33. 188 Review of The Island, 1964 (14). In T.L.S.: Essays and Reviews from The Times Literary Supplement-1 964, Vol. 111. London: Oxford University Press, 1965, pp. 202-204. Reprinted from The Times Literary Supplement, September 3,1964 (326).

189 Review of Poems 1950-1961, 1966 (22). In T.L.S.: Essays and Reviews from The Times Literary Supplement1966, Vol. v. London: Oxford University Press, 1967, pp. 146148. Reprinted from The Times Literary Supplement, December 1, 1966 (382).

3. Prefaces 190 Klaus Reichert. "Nachwort von Klaus Reichert" [in German]. In Gedichte, by Robert Creeley, 1967 (29), pp. 155-166. 191 Dieter Honisch. "Preface" [in English and German]. In Numbers, by Robert Creeley, 1968 (34).

4. Selected Brief Biographies and Bibliographies See also 208,210, 217, 222,223a, 224, 224a. 192 Several publisher's checklists exist, among them: A Complete Listing of [argon Books (195111960) [brochure by Jonathan Williams; Highlands, North Carolina: Jargon Books, ca. 1960). "The Perishable Press (A Private Press Profile) " [an insert following p. 2221, by Walter Hamady, M L A Quarterly, xxx, iii (September 1969). A Checklist of the First One Hundred Publications of the Black Sparrow Press, by Seamus Cooney (Los Angeles: Black Sparrow, [August] 1971). 193 M a x J. Hertberg. "Robert Creeley." In The Readet's Encyclopedia of American Literatare. New York : Thomas Y. Crowell, 1962, p. 225. 194 Karl 0.Paetel. "Robert Creeley" [biographical and bibliographical comments in German]. In Beat: Eine Anthologie, 1962 (63), pp. 255, 275.

195 Chad Walsh. "Robert Creeley" [biographical comment]. In Today's Poets, 1964 (70), p. 413. 196 "Robert Creeley." In Checklists of Separate Publications of Poets at the First Berkeley Poetry Conference, 196s. Compiled for Cody's Books by the editors of Oyez. Berkeley: Cody's Books, July-August 1965, pp. 1-2. [ca. 2,500 copies.] 197 J. Corbin. Biographical comment. In Poems for Young Readers, 1966 ( 7 9 , p. 10. 198 "Robert White Creeley." In Who's Who in the West, 10th Edition. Chicago: Marquis-Who's Who, @ 1966, p. 203. 199 "Robert White Creeley." In Who's Who in America. Chicago: Marquis-Who's Who, Vol. XXXIV ( 19661967) , p. 466; Vol. xxxv ( 1968-1969), p. 5 12; Vol. XXXVI (1970-1971), p. 492. 200 Pierre Dommergues. Bio-bibliographical comment in French. In Les U.S.A. 2 la Recherche de leur Identitb, 1967 (932), p p 420-421. 201 Klaus Reichert. "Bibliographische Hinweise" [bibliography in German]. In Gedicbte, by Robert Creeley, 1967 (29), p. 167.

5. Notes and Selected Comments 202 Frederick Eckman. Comments. In Cobras and Cockle Shells: Modes in Recent Poetry. Vagrom Chap Book 5. [Flushing, New York: Felix Stefanile/Sparrow Magazine, 19581, pp. 33, 38, 41.

203 Allen Ginsberg and Gregory Corso. Interview with Laurence Lipton. In The Holy Barbarians, by Laurence Lipton. New York: Julian Messner, @ 1959, pp. 131-1 33. 204 Kenneth Rexroth. "The New Poetry." In Assays. Norfolk, Connecticut: New Directions, 1961, pp. 188,190-191. Reprinted from New York Times Book Review, February 12, 19661 (261). MS: 1206. 205 Macha Rosenthal. "Alienation of Sensibility and 'Modernity' " and "Discussion." In Approaches to the S t d y of Twentieth-Century Literature. [Proceedings of the Conference in the Study of Twentieth-Century Literature, 3rd Session, Michigan State University, May 17-18,19637, pp. 55,6247. 206 Jerome Rothenberg, Robert Kelly, and Gilbert Sorrentino. Interviews with David Ossman. In The Sullen Art, 1963 (107), pp. 2 9 , 3 6 4 8 4 9 , 53. 207 Carol Berge. Comments. In The Vancouver Report. New York: Fuck You Press, February 1964, passim [Report on the Vancouver Poetry Festival, July-August 1963.) See 166. 208 Gay Wilson Allen, Walter B. Rideout, and James K. Robinson. Brief biography, bibliography, and notes on the poem "Hart Crane" ("He had been stuttering"). In American Poetry, 1965 (74), pp. 1041, 108p1090. 209 Warren Tallman. "The Writing Life" [introduction]. In New American Story, 1965 (170), p. 8. 210 Michael Gnarowski. Comments. In Contact 1952-1954. Montreal: Delta Canada, 1966, pp. 8-10. [Contains an index to Contact.]

211 Alberto Girri. "Robert Creeley" [in Spanish). In Quince Poetas Norteamericanos, 1966 (77), pp. 25 1-253. 212 X. J. Kennedy. Comment on poem "Oh No." In An Intro-

duction to Poetry. Boston: Little, Brown, @ 1966, p. 29. 213 Stephen Donadio. "Some Younger Poets in America." In Modern Occasions, ed. Philip Rahv. New York: Farrar, Straus and Giroux, 1966, pp. 234-236. 214 Frederick J. Hoffman. "Contemporary Poetry." In Patterns of Commitment in American Literature, ed. Marston LaFrance. Toronto: University of Toronto Press, 1967, p. 204. 2 15 A. Kingsley Weatherhead. Comments. In The Edge of

the Image. Seattle: University of Washington Press, 1967, pp. 5-6,90-91, 201-203. 2 16 Stanton A. Coblentz. Comments. In The Poetry Circur.

New York: Hawthorn Books, 1967, pp. 179-180. 217 Walter Hiillerer. Bio-bibliographical comment and introduction in German. In Ein Gedicht, 1967 (86), pp. 234-235. 2 18 Hyatt H. Waggoner. "Robert Creeley." In American

Poets: From the Puritans to the Present. Boston: Houghton MiWin, 1968, pp. 625-626. 219 Mary Ellen Solt. Comments on poem "Le Fou." In Concrete Poetry: A World View, 1968 ( 9 9 , pp. 49,57,302. 220 Jonathan Williams. "The Crooked Cake of Leo Cesspooch . . . ." In Concrete Poetry: A World View, 1968 ( 9 9 , pp. 85-86. Reprinted from Artes Hispanicas, I, iii/iv, Winter-Spring 1968 (273).

22 1 "Robert Creeley." In The Reader's Adviser: A Guide to the Best in Literature, 11th Edition, Vol. I, ed. Winifred F. Courtney. New York and London: R. R. Bowker, 1968, p. 237. Creeley was mentioned briefly on page 377 of the loth Edition, 1964, revised and enlarged by Hester R. Hoffman. 222 Gary Geddes. "Robert Creeley" [including brief bio-

bibliography]. In 20th-Century Poetry t Poetics, 1969 (96) ,pp. 578-579. 223 Patrick Gleeson. Comment. In A First Reader of Contem... porary American Poetry, 1969 (99), p. 111. 224 "Robert Creeley" [including biography and bibliography]. In 200 Contemporary Authors, ed. Barbara Harte and Carolyn Kiley. Detroit: Gale Research, @ 1969, pp. 83-85. Reprinted from Contemporary Authors, Vols. I-N, 1st Revision, ed. James M. Ethridge and Barbara Kopala (Detroit: Gale Research, @ 1967), pp. 213-214, which updates the entry in Contemporary Authors, Vol. N, ed. James M. Ethridge (Detroit: Gale Research, @ 1963), p. 81.

6. Letters 225 Charles Olson. Letters to Robert Creeley, February 18 to July 1, 1951. In Mayan Letters, 1954 (169). Reprint edition: London: Jonathan Cape, 1968. The letters were reprinted in Selected Writings of Charles Olson, 1966 (171). 226 Charles Olson. Letter to Cid Corman, November 24, 1951. In Letters for Origin: 1950-1956, ed. Albert Glover. London: Cape Goliard, @ 1969, pp. 87-88, and passim [The letter which occasioned this one was written November 11, 1951, by Creeley to Corman (1056) .I

7. Selected Poems 227 Charles Olson. O'Ryun 2 4 6 8 10. San Francisco: White Rabbit, September 1958. [300 copies.] Second, enlarged edition: O'Ryun 1 2 3 4 1 6 7 8 9 10 (San Francisco: White Rabbit, September 1965) . [According to Robert Duncan, "The fugitive hero of that sequence was drawn from Robert Creeley"; "Nights and Days," Sumac, I, i (Fall 1968), 102.1 228 Robert Duncan. "A Dancing Concerning A Form of Women" [MS: 12091 and "Thank You For Love (for Robert Creeley) ." In Roots and Brunches. New York: Scribner's, 1964, pp. 24-26, 115-1 16. 229 Jonathan Williams. "Finger Exercises," "A Spin," "The Tag Match," "The Switch Blade," "Arsy-Turvy," "My Own Up-to-date Epitaph." In An Eur in Bartram's Tree. Chapel Hill: University of North Carolina, 1969. 230 Gerard Malanga. "History as a Form of Experience." In 10 Poems for 10 Poets. Los Angeles: Black Sparrow, [November 61, 1970, pp. 1925. [With photograph.]

B. In Periodicals

To find writings in a particular journal, see the Index to Periodicals.

1. Selected Indexes See dso 192. 231 Paul Blackburn. "The Grinding Down" [with an index to Creeley's contributions to BlarR Mount& Review), Kulcbur, 111, No. 10 (Summer 1963), p 1 8 . 232 Irene Lynn Sleeth. "An Index to the Black Molrntuin Review," Serif, 11, ii (June 1965), 22-28. 233 Stephen Rodefer. "A Workable Bibliography of Robert Creeley," Wbe're, No. 1 (Summer 1966)~pp. 58-60. [List of sixty-five poems with places of publication.] 234 Martha Lane Goold. "An Index to Origin," Serif, 111, iii (September 1966), 23-36. 2. Essays 235 C r u d [Robert Bly]. "The Work of Robert Creeley," The Fifties, No. 2 (1959), pp. 1&21. 236 Warren Tallman. "Robert Creeley's Portrait of the Artist," Tisb, No. 7 (March 14,1962), pp. 7-1 2. Reprinted in Kulcbur, IV, No. 13 (Spring 1964), 15-26. [See letter from Vincent Ferrini regarding this essay in Tisb, No. 9 (May 14, 1962), p. 2.)

55

237 Cid Corman. 'For Love' of," Kulcbur, 11, No. 8 (Winter 1962), 4944. "

238 Daniel A. Harris. "An Introduction to Robert Creeley," The Yale Literary Magazine, CXXXI, iii/iv (April 1963), 17-24. 239 Ellen Maslow. "A Discussion of Several of Creeley's Poems," Kdcbur, V, No. 20 (Winter 1964-1965), 6671. 240 Warren Tallman. "Robert Creeley's Rimethought," Tish, No. 33 (January 4, 1966), pp. 2-10. Reprinted in A Nosegay in B M , I, i (Autumn 1966). 241 H. W. Hausermann. "Robert Creeley" [in German], Neue Z#rcher Zeitung, November 20, 1966. 242 Allen Barry Cameron. " 'Love Comes Quietly': The Poetry of Robert Creeley," Chicago Review, xm,ii (1967), 92-103. 243 Richard Howard. "Robert Creeley: 'I Begin Where I Can, and End When I See the Whole Thing Returning,' The Minnesota Review, VIII,ii (1968), 143-150. Reprinted in Alone With America, 1969 (186) . "

244 Kenneth Cox. "Address and Posture in the Poetry of Robert Creeley," Cambridge Quarterly, IV, iii (Summer 1969), 237-243. MS: 1210. 245 C. Bowen [Carl Harrison-Ford]. "A Continuity, A PlaceThe Poetry of Robert Creeley," Poetry Magazine (Australia), xvrn, v (October 1970), 3-9. 246 Charles Potts. "Pieces: The Decline of Creeley," West Coast Review, V,iv (April 197I ) , 3-5.

3. Short Essays 247 John Fles. "The Root," Kulchur, I, No. 1 (Spring 1960), 39-42. 248 Alan Brownjohn. "Some Notes on Larkin and Creeley," Migrant, No. 6 (May 1960), pp. 16-19. See 259,267. 249 Glauco Carnbon. "Robert Creeley" [in Italian], I2 Verri, n.s., No. 1 (February 1962), pp. 67-70. [Followed by a selection of poems translated into Italian. See 480,484,498, 502.1 250 Doug Eichhorn. "Robert Creeley : Love's Modern Poet," Trojan Horse, April 1964, pp. 7-8. 25 1 Michael Alexander. "William Carlos Williams and Robert Creeley," Agenda, rv, iii/iv (Summer 1966) , 56-67. [Referred to in an editorial note to "Love on the Canal Boat" by Edwin J. Brett, in Pioneers of Modern Poetry, ed. Robert L. Peters and George Hitchcock (San Francisco: Kayak, @ 1967), I p. 9.) 2 52 Ling Chung. "Predicaments in Robert Creeley's Words,"

Concerning Poetry, 11, ii (Fall 1969) ,32-3 5.

4. Notes and Selected Comments in Articles See a250 2 31. 253 Leslie Woolf Hedley. "Letter to the Editor," Goad, I, iii (Summer 1952), 7-9. See 939. [This was the first attack on Creeley in print. The second was Donald Hall's brief comment in "American Poets Since the War," The World Review, December 1952, p. 31; related letter: 1064.) 254 Steven Marcus. Review of New Directions, No. 13, 1951 (5 I ) , Commentary, XIV, vi (December 1952), 576577.

25 5 Cid Corman. "The Voice as the Instrument of Verse," Origin, No. 9 (Spring 1953), pp. 3-4. [Reviews Le Fou, 1952 (I).] 256 Cid Corman. "Les Voix de L'Individu" [translation into French by Philippe Jones], Le Journal des Po$tes, No. 10 (December 1953), p. 7. [This is an essay on the Origin poets followed by the first French translations of poems by Charles Olson, Denise Levertov, Cid Corman, and Robert Creeley (see 475,480) .) The essay is published in English in Serif, VI,iii (September 1969), 15. 257 M. L. Rosenthal. "In Exquisite Chaos," The Nation, CLXXXVII

(November 1, 1958), 327.

2 58 Walter Hollerer . "Junge Arnerikanische Literatur" [in German), Akzente, No. 1 (February 1959), pp. 40-42.

259 "Breathing Words into the Ear of an Unliterary Era," The Times Literary Supplement, September 9, 1960, p. w. [Response to 248.1 260 James Wright. Review of The New American Poetry, 1960 (56), The Minnesota Review, I, ii (January 1961), 249-250. 26 1 Kenneth Rexroth. "Bearded Barbarians or Real Bards ?" New York Times Book Review, February 12, 1961, pp. 1,44; see 5 13. Reprinted in Assays, 1961 (204). 262 William McNaughton. 'Footnote' to Creeley's Graph," The FIodting Bear, No. 4 [1961), p. 8. See 929. "

263 Jon Edgar Webb. "The Editor's Bit," Outsider, I, iii

(Spring 1963), 106. See 975. Related letters: 1038. ,264 A. Fredric Franklyn. "Towards Print (Excerpts from a Journal of the U. of British Columbia Seminar) ," Trace, No. 5 1 (Winter 1963), pp. 277-284, 294. See 166.

265 G. S. [Gilbert Sorrentino]. Review of The Modems, 1963 (64), Kuichur, IV,No. 14 (Summer 1964), 84. 266 Gilbert Sorrentino. Comment on Creeley's prose, The Floating Bear, No. 30 [1764]. 267 Jim Philip. "New Landscape, New Language, New Life," Granta, LXE, No. 1243 (March 6,1965), 26. [Response to 248.1 268 Donald Wesling. "Berkeley: Free Speech and Free Verse," The Nation, ccr (November 8, 1965), 337-340. [Report on the Berkeley Poetry Conference, July 12-24, 1965. See 162,166a. See also "A Personal Re-cognisance," by Robin Eichele, Work, No. 2 (Fall 1765), pp. 7678, with photographs facing p. 78.) 269 "Songs Around the Mountain," The Times Literary Supplement, November 25,1965, p. 1070. 270 Judson Jerome. "The Lonely Orgy," Writer's Digest, XLVI,vi (June 1966), 18,20,24. 271 Stephen Stepanchev. "American Poets of the '60s," The New Leader, XLIX, xxiv (December 5 , 1966), 24-2 5. 272 Ronald H. Bayes. Review of Selected Writings of Charles Olson, 1966 (171)~West Coast Review, 11, iii (Winter 1968), 52-5 3. [See also the review by Ralph Maud in Concerning Poetry, I, i (Spring 1968)~73-76, and by M. L. Rosenthal in New York Times Book Review, October 27, 1968, pp. 26, 28, 30.) 273 Jonathan Williams. "The Crooked Cake of Leo Cesspooch . . . ,"Artes Hispanicas, I, iii/iv (Winter-Spring 1968), 85. Reprinted in Concrete Poetry: A World View, 1968 (220).

274 Thomas Lask. "Poets are United Against Editors," New York Times, March 6, 1968, p. 44. 275 Cid Corman. "A Note on the Founding of Origin," Serif, V, i (March 1968), 29-30. 276 Robert Vas Dias. "Memorandum to Monett," Cultural Affairs, No. 3 (1968), p. 17. See 147. Related letters: 1069. 277 Jonathan Raban. "Chance, Time, and Silence: The New American Verse," Journul of American Studies, 111, i (July 1969), 93-94. 278 "Monocular Poet," The Tinzes, July 17, 1969, p. 10. [With photograph.] 279 Gordon M . Messing. "The Linguistic Analysis of Some Contemporary Nonformal Poetry," Language and Style, 11, iv (Fall 1969), 325328. 5. Selected Reviews

The Kind Of Act O f , 1953 ( 2 ) Critical Review 280 Cid Corman. Poetry, I.XXXIII (March 1954), 34&342. Brief Review 281 Louis Dudek. CIVIn, NO. 5 11953-19541, p. 26. AN That Is Lovely in Men, 195 5 ( 6 ) Critical Review 282 Frederick Eckman. Poetry, LXXXIX (October 1956), 6 M 2 . If you, 1956 ( 7 )

Critical Review 283 Robert Beurn. Poetry, xcrr (September 1958), 387-388.

The Whip, 1957 (8) Critical Review 284 Louis Zukofsky. Poetry, XCII (May 1958), 110-112. Brief Reviews 285 Dennis Keene. Isis, December 1957. 286 Peter Yates. Coastlines, III, iii (Autumn 1958), 47-48. 287 William Packard. Village Voice, October 22,1958, p. 11. A Fom of Women, 1959 (9) Critical Reviews 288 David Galler. Sewanee Review, LXH, i (Winter 1961), 171-172. MS: 1207.

289 LeRoi Jones. Kulchur, I, No. 3 (Spring-Summer 19661), 81-83. Brief Reviews 290 Truce, No. 35 (January-February 1960), p. 42. 291 Ralph J. Mills, Jr. New Mexico Quarterly, xxx, ii (Summer 1960), 197. 292 Hugh Kenner. National Review, o( (November 19, 1960), 320. 293 Imin Ehrenpreis. The Minnesota Review, I, iii (Spring 1961), 366367. 294 James L. Weil. The Spurrow Magazine, No. 15 (April 196l), pp. 38-39. For Love:. Poems 1910-1960,1962 (11) Critical Reviews 295 Tom White [Joel ~ ~ ~ e n h & n eKulcbur, r]. 11, No. 5 (spring 1962), 36-99.

296 Richard Tristman. T h e Supplement (Columbia Daily Spectator), 111, v (April 20, 1962), S-1, S-2, S-4.

[With photograph.] 297 Dudley Fitts. Safurday Review, XLV (August 4, 1962)), 22. 298 Paul Carroll. The Nation,

cvc (August 25, 1962), 77-78.

299 Charles Olson. Village Voice, September 13,1962, pp. 4-5. MS: 1208. 300 Robert Sward. Chelsea, No. 12 (September 1962), pp. 146-148. 301 Thom Gunn. The Yule Review, LII, i (October 1962), 130-131. 302 Stanley Kunitz. Harper's Magazine, (October 1962), 103, 108.

ccxxv, No.

1349

303 Peter Davison. Atlantic Monthly, CCX, v (November 1962), 85-86. 304 Robert Duncan. New Mexico Quarterly, xxxn, iii/iv (Autumn-Winter 1962-1963), 2 19-224. 305 William Dickey. Poetry, CI (March 1763), 42 1-424. 306 D. J. Hughes. Massachusetts Review, IV (Spring 1963), 606-608. 307 John William Corrington. Northwest Review, V I , iii (Summer 1963), 1 0 6 1 10. 308 David Bromige. Northwest Review, VI, iii (Summer 1963), 11G122.

Brief Reviews 309 J. R. Colombo. Tamarack Review, No. 24 (Summer 1962),

pp.

11&111.

63 3 10 James Schevill. San Francisco Chronicle, July 1, 1762, p. 34. 3 1 1 Robin Skelton. T h e Vancouver Sun, September 5, 1762, p. 5. 3 12 Virginia Quarterly Review, X X X V I I I , iv (Autumn 1762), p. cxv. 313 John Simon. Hudson Review, xv, iii (Autumn 1962), 457. 3 14 Felix Stefanile. Elizabeth, No. 4 (October 1962), p. 16. 315 Kenneth Rexroth. N e w York Times Book Review, November 4, 1962, p. 38. [With photograph.] 3 16 Thomas Lask. N e w York Times Book Review, December 2, 1762, p. 7. 317 Eric Mottram. Books U.S.A.,No. 5 (June 1763), p. 4. 318 T h e Free Lance, V I I ,ii (second half of 1763), 14-15. 319 R. W. Flint. N e w York Review of Books, I , i [August? 1763],26. 320 Keith Gunderson. Good Reading, xv, i (November 1763). 32 1 Allen Guttrnann. Studies on the Left, IV, ii (Spring 1764), 98-97. The Island, 1763 ( 1 2 ) and 1964 ( 1 4 ) Critical Reviews 322 Terry Southern. N e w York Times Book Review, September 22, 1763, p. 4. 323 Peter Deane. Book Week, I , v (October 13, 1763), 16. [With photograph.] 324 Linda Wagner. Critique, v11, i (Spring 1764), 119122. 325 Aram Saroyan. Poetry, crv (April 1764), 45-47.

326 The Times Literary Supplement, September 3,1964, p. 806. Reprinted in T.L.S.: Essays and Reviews, Vol. 111, 1965 (188). 327 Michael Horovitz. Aylesford Review, VII,i (Spring 1965), 60-63. Brief Reviews 328 Michael Rumaker. The Floating Bear, No. 27 119631. Reprinted in The Floating Bear, No. 35 C1968). 329 Philip Whalen. This World Magazine (San Francisco Chronicle), October 13, 1963, p. 28. 330 Granville Hicks. Saturday Review, XLVI,vl (November 9, 1963), 40. 331 R. W. Flint. New York Review of Books, I, vi (November 14, 1963), 10. 332 Geoffrey Bush. The Yale Review, LIII,ii (December 1963), 300-301. 333 Benjamin DeMott. Harper's Magazine, CCXXVII, No. 1363 (December 1963) , I 16. 334 E. K. [Frederick Wah]. Sum, No. 1 (December 1963),

p.

27.

335 G. William Jones. Southwest Review, XLIX, i (Winter 1964), 94. 336 Open Space, No. 4 [Spring 19641, pp. 30, 32. 337 Adelaide Simon. The Free Lance, VIII,i (first half of 1964), 41-42. 338 Paul Metcalf. Kulchur, IV, No. 14 (Summer 1964), 86-87. 339 The Times, August 27,1964, p. 13.

340 Francis King. T h e Sunday Telegraph, August 30,1964, p. 7. 341 John Fuller. N e w Statesman, LXVIII, No. 1747 (September 4, 1964), 327. 342 Frank H . Thompson, Jr. Prairie Schooner, XXXVIII, iv (Winter 1964-1965), 365-366. Mister Blue, 1964 ( 1 6 ) Critical Reviews [in German] 343 Helmut M. Braem. Stutrgarter Zeitung, January 16, 1965. Reprinted in Saarbrzicker Zeitfing, March 20-2 1, 1965.

344 Helmut Heissenbiittel. Die W e l t der Literatur, February 18, 1965. [With photograph.] Brief Reviews [in German] 345 Jiirgen Manthey. Die Weltwoche, March 12, 1965.

346 Hans Daiber. Frankfurter Allgemeine Zeitung, May 29, 1965. T h e Gold Diggers, 1965 (17 and 19) Critical Reviews 347 D. J. Enrigh t. N e w Statesman, IXX, No. 1795 (August 6,

1965), 187-188. 348 R. 2.Sheppard. Book Week, 111, v (October 10, 1965), 16.

349 Anthony Keller. Commonweal, rxxxln, x (Deckmber 10, 1965), 318-319. 350 Bernard Bergonzi. N e w York Review of Books, v, xii (January 20,1966), 22-23. 35 1 David Franks. Whe're, No. 1 (Summer 1966), pp. 94-96. 352 Linda Wagner. Studies in Short Firtion, 111, iv (Summer 1966), 465-466.

353 Samuel Moon. Poetry, CVIII (August 1966), 341-342. 354 J. P. Freeman. Cambridge Quarterly, 11, iv (Autumn 1967), 414-420. Brief Reviews 355 Francis King. The Sunday Telegraph, August 1,1965, p. 14.

356 T h e Times, September 2, 1965, p. 5. 357 Malcolm Bradbury. Punch, CCIL, No. 6525 (September 29, 1965), 475. 358 Alan Pryce-Jones. N e w York Herald Tribune, October 7 , 1965, p. 31. 359 T h e T h e s Literary Supplement, October 28, 1965, p. 964. 360 Saul Maloff. N e w York Times Book Review, November 7 , 1965, p. 60. 361 Granville Hicks. Satusday Review, (December 11, 1965), 31.

XLVIII,

xlviii

362 Dick Allen. Providence lournal, February 20, 1966. 363 Roy Proctor. Greensboro Daily News, May 22 [1966?]. 364 John Conley. Southern Review (Louisiana), n.s., (July 1967), 783-784.

111,

iii

Die Insel, 1965 ( 1 8 ) Critical Reviews [in German) See aho 1205. 365 Helmut Heissenbiittel. Siiddeutscbe Zeitung, November 24, 1965. 366 Helmut M . Braem. Stuttgarter Zeitung, January 29, 1966.

367 Karl Krolow. Darmsttidter Echo, May 2, 1966. Reprinted in Die Tat, May 6, 1966. Brief Review [in German] 368 Hans Bender. Die Welt der Literatur, March 31, 1966. Poems 1950-1961,1966 (22) Critical Reviews 369 John Constable. Cambridge Review, (October 15,1966), 27-29.

IXXXIX,

No. 2 129

370 Colin Falck. ~ncounter,xxvm, iii (March 1967), 68, 70. 371 Ronald Hayman. Encounter, xxxrr, ii (February 1969), 77-78. Brief Reviews 372 Bernard Bergonzi. The Guardian, July 29, 1966, p. 8. 373 Julian Mitchell. The Sunday Times, July 3 1, 1966, p. 34. 374 Paddy Kitchen. Tribune, August 5 , 1966, p. I. I . 375 Peter Marsh. Observer, August 7 , 1966, p. 21. 376 John Press. Punch, CCLI, No. 6571 (August 17,1966), 269. 377 The Times, August 18, 1966, p. 14. 378 John Carey. New Statesman, -I,

No. 1855 (Sep-

tember 30, 1966), 483. 379 Graham Martin. The Listener, 1966), 625.

LXXVI

(October 27,

380 John Fuller. London Magazine, n.s., vr, viii (November 1966), 107-108. 381 Martin Seymour-Smith. Weekend Magazine (The Scotsmm) ,November 12, 1966, p. 3.

382 The Times Literary Supplement, December 1,1966, p. 1128. Reprinted in T.L.S.: Essays and Reviews, Vol. v, 1967 (189). 383 Oswell Blakeston. Books and Bookmen, xm,viii (May 1968), 37. [With photograph.) Words, 1967 (26) Critical Reviews 384 Chad Walsh. Book Week, IV, m i x (June 4 , 1 9 6 7 ) ~5 . [With photograph.] 385 Allen Barry Cameron. Canadian Forum, XLVII, No. 5 59 (August 1967), 117-118. *

386 John Perreault. New York Times Book Reuiew, November 19, 1967, p. 97. See 435. 387 Frederic Will. Poetry, CXI (January 1968), 256258. 388 Neil Buttrick. The Sunday Ramparts, March 12-26 [1968?), p. 3. 389 Douglas Collins. Liiiabuiero, No. 5 [1968], pp. 37-40. 390 Ronald H . Bayes. Northwest Review, x, i (Summer 1 9 6 8 ) ~ 123-125. 391 Donald Junkins. Massl~chusettsReview, IX,iii (Summer 1968), 598-601. 392 John Thompson. New York Review of Books, X I , ii (August 1, 1968), 35. 393 Thomas A. Duddy. Stony Brook, No. 314 (1969), pp. 385-387.

Brief Reviews 394 Robert Pawlowski. T b e Denver Quarterly, 11, i (Spring

1967), 171-172. 395 Colleague, 111, ix (May 1967), 11-12. 396 Charles Philbrick. Saturday Review, L, xxii (June 3, 1967), 339 397 Thomas Lask. N e w York Times, June 27, 1967, p. 37. Continued in N e w York Times, June 28, 1967, p. 43. [With photograph.]

398 William H . Pritchard. Hudson Review, xx, ii (Summer 1967), 311-312. 399 Louis Simpson. Harper's Magazine, (August 1967), 90.

CCXXXV, No.

400 Gerald Burns. Southwest Review, 102-103.

LIII, i

401 Peter Davison. Atlantic Monthly, 1968), 141.

C C X X I , ii

402 G. S. Fraser. Partisan Review, 474-47 5.

XXXV,

1407

(Winter 1968), (February

iii (Summer 1968),

403 Cid Corman. Elizabeth, No. 14 (November 1969), pp. 11-14. Gedicbte, 1967 (29) Critical Reviews [in German] 404 Sigrid Bauschinger. Frankfurter Allgemeine Zeitung, October 2 1, 1967. [With photograph.] 405 Peter W. Gerhard. Die Tat, June 8, 1968.

70 Brief Reviews [in German] 406 Karl Krolow. Deutscbes Afigemeines Sonntagsblatt, November 19,1967. 407 R. K. H. Basler Nachrichten, December 8, 1967. 408 Hans-JiirgenSchmitt. Die Weltwoebe, December 15, 1967. The Finger, 1968 (30) Brief Review 409 R. K. [Robert Kelly]. Caterpillar, No. 5 (October 1968), pp. 146147. The Cham, 1967 (32) Critical Review 410 Alvin Greenberg. The Minnesota Review, IX,i (1969), 73-80. Numbers, 1968 (34) Critical Review 41 1 Gilbert Sorrentino. Poetry, CXVI (May 1970), 110-1 14. [Also reviews Black Mountain Review, AMS Reprint, 1969 (176).] Pieces, 1969 ( 3 9 ) Critical Reviews 412 Reed Whitternore. The New Republic, CLXI, xv (October 11, 1969), 25-26. 413 Ronald H. Bayes. Human Voice, V , i-iv (November 1969), 126128. 414 Louis L. Martz. The Yule Review, LIX, ii (December 1969), 256261.

41 5 Denise Levertov. CderpiZZur, No. 10 (January 1970) , pp. 246248. 416 Edward Dorn. Caterwar, No. 10 (January 1970), pp. 248-250. 417 Russell Banks. Lillabulero, No. 8 (Winter 1970), pp. 88-91. 418 Me1 Bucholh. Sumac, 11, ii/iii (Winter-Spring 1970), 237-239. 419 Jerome Mazzaro. T h e Kenyon Review, Spring 19701, 163-165. MS: 1211.

xxxn, i

[ca.

420 Robert Bunker. T h e New Mexico Review, X I , vifvii (JuneJuly 1970), 27-29. 421 Peter Cooley. T h e Norrh American Review, CCLV, ii (summer 1970), 74-76. 422 Allen Barry Cameron. Canadian F o r m , L, No. 596 (September 1 9 7 0 ) ~223-224. 42 3 Jerome McGann. Poetry, CXVII (December 1970), 20G203.

Brief Reviews 424 Josephine Jacobsen. T h e Baltimore Sun, September 28, 1969. 425 John W . Hughes. T h e New Leader, LII, xx (October 27, 1969), 17. 426 Hayden Carruth. Hudson Review, 186.

xxnr, i (Spring 1970),

427 Daniel Hughes. Massachuset/s Review, XI, iv (Autumn 1970), 652-655.

The Charm, 1969 (41) Critical Review

428 The Times Literary Supplement, August 7 , 1970, p. 871. A QuitR Graph, 1970 (104 ) Brief Review

429 The Times Literary Supplement, August 7 , 1970, p. 871. The Finger: Poems 1 9 6 6 1969,1970 (44) Critical Review

430 The Times Literary Supplement, December 11, 1970, p. 1436.

6. Letters See also 940. 431 William Carlos Williams. Letter to Bob Creeley, March 3, 1950, Or*, No. 1 (Spring 1951), p. 34. 432 Ian H . Finlay. "From a letter . . . ,"Mica, No. 4 (June 1961), p. 6. 433 A. Fredric Franklyn. Letter, August 1963, El Corno Emplumado, No. 9 (January 1964), pp. 15 1-152. 434 Alexander Werth and Marcia G. Rucker. "Translation Trap" [letters to the editor], The Nation, CIC (November 30, 1964), 393. See 130. 435 Jonathan Williams and John Perreault. "Letters to the Editor," New York Times Book Review, January 7 , 1968, pp. 22, 26. See 386.

73

7. Selected Poems 436 Cid Corman. "First Farm North: For Bob & AM Creeley," Origin, No. 2 (Summer 195I ) , p. 69. Reprinted in The Precisians, 1955 (180). 437 Rainer M. Gerhardt. "Letter for Creeley and Olson" [translation into English by Werner Heider and Joanna Jalowetz, ed. Cid Corman], Origin, No. 4 (Winter 1951-1952), pp. 187-193. Reprinted in Work, No. 3 (Winter 1965-1966), pp. 6-11. [See Charles Olson's reply, "To Gerhardt, There, Among Europe's Things of Which He Has Written Us in His 'Brief an Creeley und Olson,' " Origin, No. 4, pp. 241-248; reprinted in Work, No. 3, pp. 12-19, and in The Distances, by Charles Olson (New York: Grove/London: Evergreen, @ 1960), pp. 35-45.) 438 Jonathan Williams. "The Rough Day (for RC) ," CIV/n, No. 6 11953-19541, p. 15. Reprinted in Amen/buzza/selah (1960) 439 Philip Whalen. "Homage to Robert Creeley," Evergreen Review, I, No. 2 (1957), 115. Read on Sm Francisco Poets (New York: Evergreen Records # EVR-1, 1957). Reprinted in Helgon & Hotsporrar, 1960 (57), and Like I Say, by Philip Whalen (New York: Totem Press/Corinth Books, @ 1960). 440 Cid Corman. "For Bob Creeley in Albuquerque," Combustion, No. 8 (November 1958), p. 8. 441 Larry Eigner. "An Imitation (a photograph of Robert Creeley) ," Combustion, No. 13 (May 1960), pp. 11-1 2. 442 Gael Turnbull. "If He Sings It: For Robert Creeley," The Review, No. 10 (January 1964), p. 23.

443 Allen Ginsberg. "To Robert Creeley," The Minnesota Review, V, iv (October-December 1965), 309.

8. Story 444 Richard Grossinger. "A Story (for Robert Creeley, who once bought himself a boat) ," 10, No. 1 [1965), pp. 24-26.

C . Dissertations

445 Anthony Linick. Comments. In "A History of the American Literary Avant-Garde Since World War 11." Doctoral dissertation, University of California, Los Angeles, 1965, passim. Abstracted in Dissertation Abstracts, XXV, xii (June 1965), 7226A. 446 Maxine Gauthier Combs. "Robert Creeley" and "Critical Theory and Style: Robert Creeley." In "A Study of the Black Mountain Poets." Doctoral dissertation, University of Oregon, August 1967, pp. 96133, 181-196. Abstracted in Dissertation Abstructs, XXVIII,ix (March 1968), 3666A.

447 Frankland Wilmot Davey. "The Theories of Robert Creeley" and "Robert Creeley as Poet: A Man in a Mate." In "Theory and Practice in the Black Mountain Poets: Duncan, Olson, and Creeley." Doctoral dissertation, University of Southern California, January 1968, pp. 113-134, 262-298. Abstracted in Dissertation Abstracts, XXUC, i (July 1968), 256A. 448 Dolores Elise Brien. "A Study of the Poetry of Robert Creeley and Robert Duncan in Relation to the EmersonWhitman Tradition." Doctoral dissertation, Brown University, June 1969, pp. 1-65.

D. Audio-Visual Material

A few items should be mentioned here. A letter from Creeley to Raymond Souster was read on the Canadian Broadcasting Corporation program "Modern Canadian Poetry" in the "Extension" TV series (audio recording 670507-8, CBC Program Archives) . Jack Nicholson's movie, Drive, H e Said (released 197I ) , based on Jeremy Larner's novel, took its title from Creeley's poem "I Know a Man." A number of programs about Creeley were broadcast over German radio stations; see 1205. See also the audio-visual works listed as 159168, 1020-1026. There are no doubt other audio-visual works concerning Creeley which have had a limited circulation. Many of Creeley's own books and writings in periodicals are accompanied by photographs of the author. Additionally, a number of photographs of Creeley appear with writings about him. Those that are recorded are mentioned in the individual entrtes. 449 Stan Brakhage. T w o : CreeleylMcClure. 1965. Color film, silent, 16 mm., 5 minutes. Available for rental through Canyon Cinema Cooperative, Sausalito, California. Companion film portraits of Robert Creeley and Michael McClure. This film was reduced to 8 mm. and included in Brakhage's XV Song Traits.

450 R. B. Kitaj. For Love (Robert Creeley) 1966. London: Marlborough Fine Art, 1966. Portrait. 70 copies, one sheet. Screenprint, some with red and green, others with red and yellow border. Reproduced in small on the

front cover of Robert Creeley Readr, 1967 ( 2 8 ) . A photograph by John C. Ward showing a detail of the portrait was reproduced in Caterpillar, No. 15/16 (April-July 1 9 7 1 ) , p. 203. 30 of the 70 sheets were included in the folio First Series Some Poets, a set of ten screenprints by R. B. Kitaj (London: Marlborough Fine Art, 19661969).

E. Dedications

451 Douglas Woolf. Fade Out. New York: Grove, @ 1959. ["To Robert Creeley.") 452 Charles Olson. The Maximus Poems. New York: Jargon/Corinth, 1960. ["For Robert Creeley-the Figure of Outward.") 453 Jack Spicer. Homage to Creeley. [San Francisco: Summer 1960 ? Duplicated, paper wrappers.) Also in The Heads of the Town up to the Aether (San Francisco: Auerhahn Society, 1962) . 454 Ann Quin. Three. New York: Scribner's @ 1966. ["For Bobbie and Bob."]

III. Publication History of Individual Writings by Robert Creeley

This section gives a detailed publication history for each of Creeley's collected stories, poems, and critical writings, in the order they appear in the Scribner's and Four Seasons Foundation trade editions which are described in Section I. His new poems since piece^, 1969, are also listed. (The publication histories of Creeley's uncollected critical writings and interviews are given in Section I.) Throughout this section the first publication of a work is indicated by one asterisk and the first collection by two. At times this is a guess calculated on the information available, and in the case of simultaneous publication or uncertain dating two publications may be so marked. When the first publication of a poem occurred in one of Creeley's books of poems this is the first collection as well. When a number of works were first published or collected in the same book this fact may be noted in the introduction to the subsection. For the prose, all publications (including reprintings) and manuscripts are noted in the entries or introducGohs. All publications in periodicals and first -publications and collections in books are listed for poems, but the Index to Poems must be used to trace manuscripts and reprintings in books. All translations of both prose and poetry are given in the individual entries. To trace publications in a particular journal, see the Index to Periodicals.

A. Fictional Prose

1. Chapter in The Island, 1963 (12) The novel was published as The Island, 1963 ( 12), and reprinted as The Island, 1964 ( 14) , and Die Insel, 1965 (18). MSS: 1105. 455 Chapter 4. German translation, Akzente, No. 516 (November 1964), pp. 403-410.

2. Stories in

The Gold Diggers, 1965 (19)

Dates given after the titles are the dates of composition taken, with one exception (470), from the typescripts at Washington University ( 1106) and Indiana University ( 1098, 1099) . Cross reference is made to these and other manuscripts in the entries. For a book of Creeley's poems and stories that was in proof but not published, see 1003. Some of the stories below were first published in Origin, No. 2, Summer 1951 (50), and New Directions, No. 13, 1951 ( 5 1 ) . Stories 457-467 were first collected in The Gold Diggers, 1954 (4), and a number were reprinted in Short Story 3 , 1960 (59), The Moderns, 1963 (64), and New American Story, 1965 (72). All of the following stories were published in the five expanded editions of The Gold Diggers: Mister Blue, 1964 (16) ; The Gold Diggers, 1965 (17 and 19) ; De goudgravers, 1966 (23) ; El Amante, 1967 (27). Three of the stories Creeley wrote while at Holderness School were published in the school magazine, The Dial. They were "Thou Shalt Not Kill," Fall 1940, p. 5; "The Passionate Percival Pappit," Winter 1943, pp. 7-8; "HOWShould I Then Reply," Summer 1943, p. 6. For a draft

of Creeley's unpublished story, "The Conversation" (November 12, 1760), see 1106. 456 The Unsuccessful Husband [ca. 1948). *The Kenyon Review, XIII, i (Winter 195I ) , 64-71. Reprinted in Short Story 3, 1760 (59). **Mister Blue, 1964 (16). 457 Mr Blue [Fall 1750). *Origin, No. 2 (Summer 1751), pp. 111-1 17. Reprinted in New Directions, No. 13 ( 175I ) , pp. 74-100. MSS: 1096, 1078. 458 A Death [September 27, 1953). *The Gold Diggers, 1954 (4). MS: 1078. 459 3 Fate Tales [Spring 174~December2, 1950). "Origin, No. 2 (Summer 195I ) , pp. 85-70. Reprinted in New Directions, No. 13 (1951)~pp. 107-112. MSS: 1096, 1078. 460 The Party [August 5, 1951). *Origin, No. 7 (Autumn 1 ~ 5 2 pp. ) ~ 182-186. MSS: 1076, 1078, 1079. 461 The Lover [Spring 1750). *New Directions, No. 13 ( 1951) , pp. 102-1 07. German translation by Rainer Gerhardt, Fragmente, No. 2 ([late) 1952), pp. 54-60. MS: 1098. 462 In the Summer [CU.1948). *Origin, NO. 2 (Summer 1751), pp. 63-68. Reprinted in New Directions, No. 13 (1951)~pp. 112-116. 463 The Seance [ca. 1750). *New Directions, No. 13 (1951), pp. 100-101. German translation by Rainer Gerhardt, Fragmente, No. 2 ([late) 1952)~pp. 40-41. MS: 1078. 464 The Grace [August 30, 1751). *Origin, No. 3 (Fall 1751) ,pp. 141-145. Japanese translation by Katue Kitasono, Vou, No. 36 [ca. 19521, pp. 17-17. Reprinted in Prospect, No. 6 (Spring 1764), pp. 25-28. MSS: 1096, 1098.

465 Jardou [October 22-27, 1951). *New Mexico Quarterly, xx11, iii (Autumn 1952), 282-285. MSS: 1098, 1099. 466 The Boat [June 2, 1953). *The Kenyon Review, xv, iv (Autumn 1953), 571-576. MS: 1098. 467 The Gold Diggers [August 19, 1953). *The Gold Diggers, 1954 (4). MS: 1098. 468 The Suitor (August 15, 1954). *Origin, No. 17 (FallWinter 1955-1956), pp. 11-14. **Mister Blue, 1964 (16). Reprinted in New American Story, 1965 (72). MSS: 1098, 1106. 469 The Musicians [June 15, 1954). *New Mexico Quarterly, xxv, i (Spring 1955), 88-92. Reprinted in Short Story 3, 1960 (59). **Mister Blue, 1964 (16). MS :1106. 470 The Dress 11954, after August 15). *Poetry, Taos, 1957 Annual. Reprinted in The Sidewalk, I, ii (August 1960), 19-22; Prism, 111,ii (Winter 1962), 44-47; The Moderns, 1963 (64) ; and New American Story, 1965 (72). **Mister Blue, 1964 (16). MS :1089. 471 The Book [November 4, 19601. *Evergreen Review, V, No. 20 (September-October 1961), 64-68. Reprinted in The Moderns, 1963 (64). **Mister Blue, 1964 (16). Reprinted in The New Writing in the U.S.A., 1967 (80). MS: 1106.

B. Collected Poems

1. Poems in For Love: Poems 1950-1960, 1962 (11) Dates given after the titles are the dates of composition taken, for the most part, from the typescripts at Indiana University (1099-1 101). Section One of For Love reprints poems (with the exception of "Naughty Boy," reprinted from A Form of Women) collected in The Whip, 1957 ( 8 ) , itself a selection of poems from five earlier books: Le Fou, 1952 (1) ; The Kind Of Act Of, 1953 ( 2 ) ; The Immoral Proposition, 1953 ( 3 ) ; A Snarling Garland, 1954 (5) ; All That Is Lovely in Men, 1955 (6). Section Two reprints poems collected in A Form of Women, 1959 ( 9 , some of which were reprinted from If You, 1956 ( 7 ) ; four poems were also printed in Fozrr Poems from "A Form of Women", 1959 (10). All the poems in Section Three were collected for the first time, and four poems were published for the first time. All of the poems in For Love were reprinted in Poems 1950-1 965, 1966 (22) . A selection of poems from For Love were reprinted with their German translations in Gedichte, 1967 (29). Section One: Poems 19.50-1 955 472 Hart Crane ("He had been stuttering") [by September 7, 1950). *Origin, No. 1 (Spring 195 I ) , pp. 57-59. **Le Fou, 1952 (1).

473 Le Fou [by February 12, 19511. *Origin, No. 2 (Summer 195l), p. 93. **Le Foa, 1952 ( I ) . Reprinted in Artes Hispanicas, I, iii/iv (Winter-Spring 1968), 223.

474 A Song [ c a August 3, 1951). *Origin, No. 4 (Winter 1951-1952), p. 239. **Le Fou, 1952 ( 1 ) . Reprinted in The Review, No. 10 (January 1964), p. 8. 475 The Crisis [early April 1952). *Le Fou, 1952 (1). French translation by Philippe Jones, Le [ournal des Poites, No. 10 (December 1953), p. 7; see 256. 476 For Rainer Gerhardt [by March 29, 1952). *Origin, No. 6 (Summer 1952), p. 118. **Le Fou, 1952 (1). Reprinted in Work, No. 3 (Winter 1965-1966), p. 2. 477 The Riddle [early April 1952). *Le Fou, 1952 ( I ) . *Published simultaneously in Golden Goose, Series 4, No. 5 (October 1952), p. 27. 478 The Rites [by May 29, 1952). *Le Fou, (1). *Published simultaneously in Golden Goose, Series 4, No. 5 (October 1952), pp. 26-27. 479 The Rhyme [early April 19521. *Le Fou, 1952 ( I ) . *Published simultaneously in Golden Goose, Series 4, No. 5 (October 1952), p. 25. Russian translation, Amerika, No. 127 (May 1967), p. 31. 480 The Innocence [early April 1952). *Origin, No. 6 (Summer 1952), p. 117. **Le Fou, 1952 (1). French translation by Philippe Jones, Le [ournal des Po?tes, No. 10 (December 1953), p. 8; see 256. Italian translation by Glauco Cambon, I1 Verri, n.s., No. 1 (February 1962), p. 75; see 249. 481 The Ball Game [by May 29, 1952). *Le Fog, 1952 (1). *Published simultaneously in Golden Goose, Series 4, No. 5 (October 1952), p. 24. 482 The Carnival. *The Kind Of Act Of, 1953 ( 2 ) . Japanese translation, vou, No. 38 {ca. 19531, p. 7.

483 After Lorca [by September 9, 19521. *Goad, I, iii (Summer 1 9 5 2 ) ~22. **The Kind Of Act Of, 1953 (2). Reprinted in New Orlando Poetry Anthology, I (1958), 23-24. 484 The Kind of Act of [by September 9, 1952). *Nine American Poets, 1953 (54). **The Kind Of Act Of, 1953 (2). Italian translation by Glauco Cambon, I1 Verri, n.s., No. 1 (February 1962), p. 76; see 249. 485 The Dishonest Mailmen. *The Kind Of Act Of, 1953 ( 2 ) . Reprinted in Contact, 11, iii (May-August 1953), 1. 486 TheCrow. *Origin, No. 9 (Spring 1 9 5 3 ) ~p. 33. **The Kind Of Act Of, 1953 (2). 487 The Immoral Proposition [by July 1, 1953). "Origin, No. 10 (Summer 1953), p. 80. **The Immoral Proposition, 1953 (3). Reprinted in New Orlando Poetry Anthology, I (1958), 24. 488 For W. C. W. ("The pleasure of the wit") [by July 1, 1953). *Origin, No. 10 (Summer 1 9 5 3 ) ~p. 75. **The Immoral Proposition, 1953 ( 3 ) . Reprinted in CIVln, No. 4 E1953-19541, p. 4. 489 Apple Uppfle [by August 19, 1953). *The Immoral Proposition, 1953 (3). 490 The Operation [by July 1, 1953). *Origin, No. 10 (Summer 1 9 5 3 ) ~p. 79. **The Immoral Proposition, 1953 (3) 491 Chanson [by August 28, 1954). *A Snarling Gdrlund, 1954 (5). 492 Don't Sign Anything. *A Snarling Garland, 1954 ( 5 ) .

493 The Conspiracy. *A Snarling Garland, 1954 ( 5 )

.

494 I Know a Man. *All That Is Lovely in Men, 1955 (6). Reprinted in The Free Lance, III, ii (second half of 1955), 30, and Cultural Affuirs, No. 3 (1968), p. 18. Swedish translation by Gunnar Harding, Ord Och Bild, LXXVII, ii (1968), 147. 495 The End [by July 7, 19531. *Golden Goose, Series 4, No. 7 (April 1954), p. 121, and CIVln, No. 4 [195319541, p. 4. **All That Is Lovely in Men, 1955 (6). 496 The Death of Venus. *CIV/n, No. 5 [1953-19541, p. 3 [titled "The Birth of Venus"]. **All That Is Lovely in Men, 1955 (6). 497 The Lover. *CIV/n, No. 6 [1953-19541, p. 14. **All That Is Lovely in Men, 1955 (6). 498 A Counterpoint [by August 20, 19531. *Origin, No. 12 (Spring 1954)~p. 193. **All That Is Lovely in Men, 1955 (6). Italian translation by Glauco Cambon, I1 Verri, n.s., No. 1 (February 1962), p. 75; see 249. 499 Wait for Me. *Black Mountain Review. No. 3 (Fall 1954), p. 38. **All That Is Lovely in Men, 1955 (6). 500 The Business. *All That Is Lovely in Men, 1955 (6). Reprinted in The Free Lance, 111,ii (second half of 1955), 31, and Origin, No. 18 (Winter-Spring 1956), p. 114. 501 The Disappointment. *CIV/n, No. 5 11953-19541, p. 4. **All That Is Lovely in Men, 1955 (6). 502 The Warning. *Origin, No. 13 (Summer 1954)~p. 9. * *All That Is Lovely in Men, 1955 (6) . Reprinted in Jabberwock, 1959, p. 49. Italian translation by Glauco - . -.- - ,- . .-. -

/

see 249. Translation by Marten Brouwer, Quatrebras, No. 5 (January-February 1963), p. 6. Swedish translation by Gunnar Harding, Ord Och Bild, LXXVII, ii (1968), 146. 503 A Form of Adaptation [early August 19541. *CIl//n, No. 7 [1954), p. 23. **All That Is Lovely in Men, 1955 (6). 504 Song ("Were I myself more blithe"). *Black Mountain Review, No. 1 (Spring 1 9 5 4 ) ~p. 18. **All That Is Lovely in Men, 1955 ( 6 ) . 505 Naughty Boy. *Origin, No. 16 (Spring-Summer 1 9 5 5 ) ~ p. 130. **A Form of Women, 1959 (9). 506 Like They Say. *CIV/n, No. 6 [1953-19541, p. 14. **All That Is Lovely in Men, 1955 (6). 507 La Noche. *Origin, No. 14 (Autumn 1954), p. 114. **All That Is Lovely in Men, 1955 (6). [Titled "El Noche" in both.) 508 The Whip. *Black Mountain Review, No. 3 (Fall 1 9 5 4 ) ~ p. 23. **All That Is Lovely in Men, 1955 (6). 509 All That Is Lovely in Men. *All That Is Lovely in Men, 1955 ( 6 ) . Reprinted in Origin, No. 18 (Winter-Spring 1956), p. 114. Section Two: Poems 19-56-1 9-58 510 Juggler's Thought [ca April 1957). *Measure, No. 2 (Winter 1958), p. 11 [titled "Juggler's Thot"). **A Form of Women, 1959 ( 9 ) . 5 11 A Form of Women. *BIuck Mountain Review, No. 6 (Spring 1956), pp. 222-223. **A Form of Women, 1959 (9). Reprinted in The Review, No. 10 (January 1 9 6 4 ) ~

pp. 8-90

51 2 They Say. *Measure, No. 2 (Winter 1958), p. 26. **A Form of Women, 1959 (9). 5 13 The Friend [June 10, 1958). *Texas Quarterly, I, iii (Summer-Autumn 1958), 142. **A Form of Women, 1959 (9). Reprinted in New York Times Book Review, February 12, 1961, p. 2; see 26 1. Swedish translation ii by Gunnar Harding, Ord Och Bild, LXXVII, (1968)~147. 514 Please [ca. 19561. *A Form of Women, 1959 (9). Swedish translation by Gunnar Harding, Ord Och Bild, LXXVII, ii (1968), 147. 5 15 The Three Ladies {January 4, 1958). "Evergreen Review, 11, No. 5 (Summer 1958), 25. Reprinted in Poetry Pilot, January 1, 1959, p. 11. **A Form of Women, 1959 (9). Translation by Marten Brouwer, Qzratrebras, No. 5 (January-February 1963), p. 6.

516 Oh No. *If You, 1956 (7). 5 17 Goodbye. *Black Mountain Review, No. 6 (Spring 1956)~ p. 163. **A Form of Women, 1959 (9). 5 18 The Interview [April 9, 1957). *Neon: Stlpplement to NOW,August 1958. * * A Form of Women, 1959 (9). Swedish translation by Gunnar Harding, Ord Och Bild, LXXVII, ii (l968), 146. 5 19 A Wicker Basket. *Black Mountain Review, No. 5 (Summer 1955), pp. 191-192. **A Form of Women, 1959 (9). Reprinted in New Departures, No. 4 (1962)~p. 58. 520 The Bed {April 24,1959). * A Form of Women, 1959 (9).

5 2 1 Just Friends [ca Summer 1956). "Measure, No. 2 (Winter 1958), p. 51. **A Form of Women, 1959 (9).

Swedish translation by Gunnar Harding, Ord Och Bild, LXXVII, ii (1968)~146. 522 The Wind [March 21,1957). *Neon: Supplement to Now,

August 1958. **A Form of Women, 1959 ( 9 ) . 523 Air: "Cat Bird Singing" [by October 3 1, 1955). *Black Mountain Review, No. 6 (Spring 1956), p. 164. **If You, 1956 ( 7 ) . 524 The Hero [March 26, 1959). *A Form of Women, 1759 (9). 525 The Way [June 6, 1958). *Hearse, No. 5 [ca, 1959).

Reprinted in Big Table, I, iii (Autumn-Winter 1959), 82. * * A Form of Women, 1959 ( 9 ) . Reprinted in Critical Quarterly Poetry Supplement, No. 2 [CU. 19601, p. 18, and Underdog, No. 6 (1965)~p. 5. 526 The Traveller [October 26, 1958). *Inland, 111, ii (Autumn 1959), 11. **A Form of Women, 1959 (9) 527 A Marriage r1955). *Origin, No. 19 (Summer 1956), p. 63, and If You, 1956 ( 7 ) . Swedish translation by Gunnar Harding, Ord Och Bild, LXXVII, ii (1968), 146. 528 She Went to Stay [ca. April 1957). *Measure, No. 2

(Winter 1958), p. 27, and Evergreen Review, 11, No. 6 [late 1958),39. **A Form of Women, 1959 ( 9 ) . 529 A Folk Song. *A Form of Women, 1959 (9). 530 Ballad of the Despairing Husband [October 3 1, 1955). *Ark II Moby I, 1956, pp. 30-31. **A Form of Women, 1959 (9).

531 Damon & Pythias. *The Naked Ear, No. 5 [ca. 19591, p. 6. **A Form of Women, 1959 (9). 532 If You [April 1956). *If You, 1956 (7). Reprinted as [If Yotc), 1968 (35). 533 The Tunnel. *Measure, No. 2 (Winter 1958), p. 50. **A Form of Women, 1959 (9). 534 The Saints. *The Naked Ear, No. 5 [ca. 19591, p. 2. **A Form of Women, 1959 (9). 535 The Names [October 25, 1958). *Poetry, xcrv (April 1 9 5 9 , 13. **A Form of Women, 1959 (9). 536 A Gift of Great Value [April 29, 1958). *Poetry, xcrv (April 1 9 5 9 , 12. **A Form of Women, 1959 (9). 537 My Love [June 6, 1958). *Poetry, XCIV (April 1959), 13. **A Form of Women, 1959 (9). 538 Saturday Afternoon [March 22, 19581. *Yugen, No. 4 (1959), p. 21. **A Form of Women, 1959 (9). Reprinted in Underdog, No. 6 (1965 ) , p. 5. 539 The Invoice. "Hearse, No. 1 (1957). **A Form of Women, 1959 (9). 540 Somewhere. *A Form of Women, 1959 (9). 541 New Year's [January 2, 1958). *Yugen, No. 4 (1959), p. 21. **A Form of Women, 1959 (9). 542 Song ("God give you pardon from gratitude") [ca. January 5, 19561. *A Form of Women, 1959 (9). 543 Lady Bird. *If You, 1956 (7). 544 For a Friend ("Who remembers him also") [November 19, 19561. *A Form of Women, 1959 (9).

91

545 Entre Nous. *Hearse, No. 1 (1957) [titled "Hopeless"). **A Form of Women, 1959 (9). 546 Sing Song. *Poetry, XC (August 1957), 293. **A Form of Women, 1959 (9). 547 And. *If You, 1956 ( 7 ) . 548 Heroes [March 22, 1958). *A Form of Women, 1959 (9). 549 Going to Bed [March 22, 1958). *Poetry, xcrv (April 1959), 14. **A Form of Women, 1959 (9). 5 50 The Flower ("I think I grow tensions") . *Texas Quarterly,

I, iii (Summer-Autumn 1958), 204. **A Form of Women, 1959 (9). 55 1 The Letter. *If You, 1956 (7) [titled "For Ann"). 552 The Place [January 2, 1958). *Inland,

11,

iv (Spring

1959), 2. **A Form of Women, 1959 (9). 553 The Souvenir [March 2 1, 1957). * A Form of Women, 1959 (9). 554 For the New Year. *If You, 1956 (7). Reprinted in Colleague, 111, iv (December 1966), 10. 5 5 5 The Door ("It is hard going to the door") [January 1,

1959). *Poetry, XCN (April 1959), 17-18. * * A Form of Women, 1959 (9). 556 The Hill [June 6, 1958). *Poetry, XCIV (April 1959), 11. **A Form of Women, 1959 (9). Reprinted in lubberwock, 1959, p. 49; New York Times Book Review, March 12, 1961, p. 2; and Underdog, No. 8 (1966), p. 11. Section Three: Poem5 1959-1 960 557 The Awakening. *Migrant, No. 2 (September 1959), P- 1Reprinted in Big Table, I, iv (Spring 1960), 66-67.

558 Kore [October 25, 19591. *The Nation, cxc (February 27, 1960), 194. Reprinted in Migrant, No. 5 (March 1960), pp. 15-16, and New Directions, No. 17 (1961), p. 341. 5 59 The Rain [September 15, 1959). *The Nation, CLXXXIX (November 14, 1 9 5 9 , 363. Reprinted in Migrant, No. 5 (March 1960), p. 14, and New Directions, No. 17 ( 1 9 6 9 , p* 342.

560 The Woman ("I called her across the room") [August 21, 1959). *Poetry, xcvr (May 1960), 74. 561 Midnight [September 6, 1959). *For Love, 1962 (11). 562 The Kid [September 15,1959). *Nomad, No. 516 (Winter-Spring 1960), p. 14. 563 Lady in Black [January 8, 19601. "Chelsea, No. 7 (May 1960), p. 66. 564 The Plan [November 8, 1959). *New Departures, No. 213 (1960), p. 81. 565 The Joke [September 24, 1959). *Yugen, No. 6 (1960), p. 29. 566 The Song [September 25,1959). *Inscape, No. 3 (Winter 1960), p. 4. 567 The Bird [September 30, 19591. *Migrant, No. 5 (March 1960), p. 17. Reprinted in Outsider, I, i (Fall 1961), 45, and Tarasque, No. 6. Italian translation by Dacia Maraini, Carte Segrete, No. 3 (September 1967), p. 72. 568 Yellow [June 29, 1960). "Elizabeth, No. 1 (March 1 9 6 9 , p. 5.

569 The Cracks. *Poetry, XCVI (May 1960), 77-78. 570 Jack's Blues [August 2 1 , 1959). *Poetry, xcvr (May 1960), 7 5 571 Out of Sight [January 23, 1960). *Poetry, xcvr (May 1960). 76. 572 A Token [January 30, 1960). " W h i t e Dove Review, v (Summer 1960).

11,

573 The Man [October 28, 1960). *For Love, 1962 ( 1 1 ) . Reprinted in Poetry Pilot, May 1966, p. 7 . 574 The Memory [August 26, 1959). *Big Table, I , iv (Spring 1960), 69. 575 To And [November 20, 1959). *Folio Magazine, xxv, ii (Spring 1960), 5 . 576 A Wish [October 24, 1960). *National Review, x (February 11, 1961), 83. 577 Song ("What I took in my hand") [October 20, 1959) *Poetry, XCVI (May 1960), 80. 578 The Sign Board [August 3 1 , 1960). *West W i n d , Christmas 1961. Reprinted with a Spanish translation by Margaret Randall and Sergio Mondragbn, El Corno Emplumado, No. 2 (April 1962), pp. 14-15. 579 Not Now [September 6 , 1959). *For Love, 1962 ( 1 1 ) . 580 The Time [August 31, 1960). *Outburst, No. 1 ( 1 9 6 1 ) . 58 1 Song ("Those rivers run from that land") [November 18, 1960). *Inscape, No. 6 (Winter 1960-1961), p. 1. 582 The Rescue [August 3, 1960). *Poetry, XCVIII

(May 1961), 76.

583 The Paradox [August 21, 1959) *Quagga, I, ii (May 1960), 3. 584 The End of the Day [January 23, 1960). *Outsider, I, i (Fall 1961)~ 45. 585 The Women [September 30, 1959). *Migrant, No. 5 (March 1960)~p. 16. Reprinted in Quagga, I, ii (May 1960), 3. 586 For Fear [December 31, 1959). *Poetry, XCVI (May 1960), 78. 587 The Gift [November 9, 1959). *Folio Magazine, xxv, ii (Spring 1960), 5. Reprinted in The Review, No. 10 (January 1964), p. 10. 588 The House [December 21, 1959). "Trobar, No. 2 (1961)~p. 21. 589 Young Woman. *For Love, 1962 (11 ) . 590 The Pool [June 26, 1960). *Hip Pocket Poems, No. 3 (December 1960). 591 Air: "The Love of a Woman" [December 21, 1959). *Poetry, XCVI (May 1960), 75-76. 592 Mind's Heart [November 2, 1959). *Migrant, No. 5 (March 1960)~ p. 16. Reprinted in Ozltsider, I, i (Fall 1961), 45, and Underdog, No. 8 (1966)~p. 11. 593 The Name [November 5,1960). *National Review, x (February 11, 1961), 83. 594 The First Time ("We are given a chance") [October 2 1, 1959). *Poetry, XCVI (May 1960), 73-74. 595 The Figures [September 23, 1960). *National Review, x (February 11, 1961), 83.

596 The Rose [December 6, 1959). *Poetry, xcv~ (May 1960), 7 1-73. Reprinted in Outburst, No. 1 (1961). Reprinted with a French translation, Tel Quel, No. 20 (Winter 1965), pp. 81-83. 597 The Eye ("Moon / and clouds") [January 8, 1960). *Chelsea, No. 7 (May 1960), p. 67. Reprinted in The Peak, XVI, xii (November 20, 1970), 4. 598 Love Comes Quietly [December 20, 1959). *Trobar, No. 2 ( 1 ~ 6 1p. ) ~21, and Outburst, No. 1 (1961). 599 After Mallarm6 [January 8, 1960). *Chelsea, No. 7 (May 1960)~p. 66. 600 The People [November 9, 1959). *Migrant, No. 5 (March 1960)~pp. 14-15, and New Departures, No. 213 (1960), p. 81. Reprinted in Chelsea, No. 8 (October 1960)~p. 71. 601 The Wife [September 30, 1759). *Big Table, I, iv (Spring 1960), 68. 602 The Snow [December 29, 1958). *Big Table, I, iv (Spring 1960), 70. 603 Fire [September 2, 1960). *Between Worlds, I, ii (Spring-Summer 1961) , 2 19. 604 For Friendship [September 2, 1960). *Between Worlds, I, ii (Spring-Summer 1961), 2 19. 605 The Gesture [March 16, 1960). *Poetry7xcvI (May 1960), 79. 606 For Love [September 22, 1960). *Poetry, XCVIII (May 1961), 7 6 7 8 .

2. Poems in

Words, 1967 (26)

Dates given after the titles are the dates of composition taken, for the most part, from the typescripts at Indiana University and Washington University; see 1101 and 11 lo. The first fifty-three poems were reprinted from Section Four of Poems 1950-1 965, 1966 ( 2 2 ) , which collected poems from periodicals and the following books : Distance, 1964 ( 13) ; T w o Poems, 1964 ( 1 5 ) ; Words, 1965 ( 2 0 ) ; Abozlt Women, 1966 ( 2 1 ) . Most of the poems thereafter were reprinted directly from periodicals and Words, 1965, For Joel, 1966 (24), and A Sight, 1967 ( 2 5 ) ; ten poems were published for the first time. With the exception of the eight poems collected in Words, 1965, the first fifty-three poems were first collected in Poems 19j0-1965, and the poems thereafter were first collected in Words, 1967. Fifteen poems in Words, 1967, were reprinted from Poems 1950-1 965 in Robert Creeley Reads, 1967 (28), and a selection of poems from Words, 1967, were reprinted with their German translations in Gedichte, 1967 ( 2 9 ) . The last thirty-two poems of Words, 1967, were reprinted in T h e Finger: Poems 1966-1 969, 1970 ( 4 4 ) .

Section One 607 The Rhythm [March 18, 1961). *Poetry, IC (March 1962), 373-374. Polish translation by Aleksander Janta, Tematy, 111, xii (Autumn 1964) , 1 5 . 608 The Rocks [Summer 1961). *Choice, No. 2 ( 1 9 6 2 ) p. ~ 13. 609 Water ("The sun's / sky in") [February 24, 1961). *Arbor, No. 4 ( 1 9 6 1 ) , p. 6. Reprinted in Origin, Series 2, No. 6 (July 1962), p. 2 2 , and Granta, L X V I I I , No. 1234 (March 7, 1964), 18.

610 The Mountains in the Desert [August 24, 1961). *Paris Review, VIII,No. 29 (Winter-Spring 1963), 166. 611 Waiting 11961). *Paris Review, VIII,No. 29 (WinterSpring 1963), 167. 612 The Invitation [August 16, 1962). *Poetry, CI (OctoberNovember 1962), 23-24. Polish translation by Aleksander Janta, Tematy, 111, xii (Autumn 1964), 16. 613 The Turn. *Burning Deck, No. 3 (Fall 1963), pp. 114-115. 614 For W.C.W. ("The rhyme is after / all") [August 16, 1962). *Beloit Poetry Journal, XIV,i (Fall 1963), 39. 615 Song ("The grit / of things") [October 5, 1962). *The Yule Literary Magazine, CXXXI,iii/iv (April 1963), 43. Reprinted in Gmnta, LXVIII,No. 1234 (March 7, 1964)~18. 616 The Fire [October 22, 1962). *Origin, Series 2, No. 10 (July 1963), p. 48. Reprinted in Grist, No. 8 (1966), p. 7. 617 For N o Clear Reason [December 29, 1962). * Granta, LXVIII, No. 1230 (November 9, 1963), 7. 618 The Messengers [early October 1963). *The Nation, CXCVII (December 7, 1963), 404. 619 For Leslie [same day as "The Messengers"). *The Nation, CXCVII (December 14, 1963), 420. 620 I [November 3, 1963). "'12Poets 6 One Painter, 1964 (71). Italian translation by Dacia Maraini, Carte Segrete, No. 3 (September 1967), pp. 71-72.

62 1 Something [November 1 5 , 1963). *Fuck Y o u : A Magazine of the Arts, No. 5 , V I I (September 1964) . Reprinted in Underdog, No. 7 ( 1 9 6 5 ) , p. 5 , and Grist, No. 8 ( 1 9 6 6 ) , p*7 622 Walking [November 16, 1963). *Poetry, C N (June 1964), 147. 623 The Language [November 16,1963). *Poetry, CIV (June 1964), 148. 624 The Window ("Position is where you / put it") [November 17, 1963). "Poetry, CIV (June 1964), 146. 625 The Chance [November 20, 1963). *Poetry, crv (June 1964), 145. 626 Hello [November 20, 1963). *Poetry, CIV (June 1964), 143. 627 Quick-Step [November 20, 1963). *Poetry, crv (June 1964), 143. 628 Variations [November 20, 1963). *Poetry, (June 1964), 144-145.

CIV

629 There Is [November 26, 1963). *Niagaru Frontier Review, Summer 1964, p. 24. Reprinted in M y Own Mag, November 1, 1964. 630 The Measure [November 26, 1963). *Poems 1950-1 96.5, 1966 ( 2 2 ) . Reprinted in Coyote's [ournal, No. 8 ( 1 9 6 7 ) , p. 79. 63 1 The Woman ( " I have never / clearly given to you") [December 14, 1963). *Poetry, CIV (June 1964), 133-1 35. Reprinted in Agenda, N , iii/iv (Summer 1966), 5-6, and About W o m e n , 1966 ( 2 1 ) .

632 The Pattern [December 14, 1963). *Poetry, CIV (June 1 9 6 4 ) ~136. 633 The Mechanic [December 14, 1963). *Poetry, CIV (June 1964), 137. Polish translation by Aleksander Janta, Tematy, 111, xii (Autumn 1964), 17. 634 Walls [December 14, 1963). *Poetry, CIV (June 1964), 137. Polish translation by Aleksander Janta, Tematy, 111, xii (Autumn 1964) , 17. 635 " I Keep to Myself Such Measures . . ." [December 14, 1963). *Poetry, CIV (June 1964), 137-138. Polish translation by Aleksander Janta, Tematy, 111, xii (Autumn 1964), 18. 636 The Dream ("Such perfection / of dream would") [December 14, 1963). *Poetry, CIV (June 1 9 6 4 ) ~138-142. Reprinted with a Spanish translation by Madela Ezcurra and Eduardo Costa, Airbn, No. 9 (October 1965), pp. 4-9. 637 One Way [January 15, 1964). * W i l d Dog, I , vi (February 1964), 3. Reprinted in Grunta, U V I I I , No. 1234 (March 7 , 1964), 18. 638 Some Afternoon [January 1 5 , 1964). Poems 1950-1 96S, 1966 ( 2 2 ) . 639 Anger [January 1 5 , 1964). *El Corno Emplumado, No. 1 1 (July 1964), pp. 34-39. Reprinted in Paris Review, IX,No. 33 (Winter-Spring 1965), 54-59, and Abotlt W o m e n , 1966 ( 2 1 ) . 640 Distance [March 28, 1964). First published as Distance, 1964 ( 1 3 ) . Reprinted in About W o m e n , 1966 ( 2 1 ) .

Section Two 641 Some Place [May 5, 1964). *Two Poems, 1964 (15). Reprinted in Encounter, xxrv, iv (April 1965), 14. 642 Song ("I wouldn't / embarrass you"). *Poetry, CVII (February 1966), 32 5. 643 Song ("What do you / want, love") [May 5, 1964). *Two Poems, 1964 ( 15 ) . Reprinted in Encounter, xxrv, iii (March 1965), 35, and Grist, No. 8 (1966), p. 8. 644 For Helen [August 19, 1964). *Magazine, No. 1 (1964), p. 9. Reprinted in A Nosegay in Black, I, i (Autumn 1966), 9. 645 A Night Sky [August 19, 1964). *Poetry, CVI (April 1965), 29. 646 The Answer [August 19, 1964). *Poetry, CVI (April l965), 26. 647 Dimensions [August 30, 1964). *Poetry, CVI (April 1965), 27-28. Reprinted with a Spanish translation by Madela Ezcurra and Eduardo Costa, Airdn, No. 9 (October 1965), pp. 9-12. 648 A Place [November 24,1964). *The Lugano Review, I, i (1965), 52. Reprinted in A Nosegay in Black, I, i (Autumn 1966), 10. 649 Some Echoes [November 24, 1964). *Fubbalo, I, ii (Summer 1965), 5. 650 Fancy [November 24, 1964). *Poems 19S0-196S, 1966 (22). Reprinted in Coyote's lozrmal, No. 8 (1967), p. 80. 65 1 The World [November 24, 1964). *Poetvy, CVI (April 1965), 30-31.

652 Going [November 24, 1964). *The Lugano Review, I, i ( 1 9 6 9 , 52. 653 The City [November 24, 1964). *The Lugano Review, I, i (1965), 53. Reprinted in A Nosegay in Black, I, i (Autumn 1966)~11. 654 Words [January 2 1, 1965). *Resuscitator, No. 4 (May 1965), pp. 23-24. * * Words, 1965 (20). Reprinted in Coyote's Journal, No. 8 (1967)~p. 77. 65 5 A Reason [January 2 1, 1965). *Poetry, CVII (February 1966), 319. **Words, 1965 (20). 656 The Shame [January 21, 1965). *Poetry, CVII (February 1966), 318. **Words, 1965 (20). 657 The Statue [April 12, 1965). *Poetry, CVII (February 1966)~322. **Words, 1965 (20). 658 The Window ("There will be no simple") [April 22, 1965). *Poetry, CVII (February 1966)~320. **Words, 1965 (20). 659 To Bobbie [April 22, 1965). *Poetry, CVII (February 1966), 321-322. **Words, 1965 (20). 660 They ("I wondered what had / happened") [May 30, 1965). * A Nosegay in Black, I, i (Autumn 1966), 12. 661 A Method [May 30, 1965). *A Nosegay in Black, I, i (Autumn 1966), 13. 662 A Sight [June 2, 1965). *Wild Dog, No. 17 (June 1965), pp. 50-51. Published separately as A Sight, 1967 (25). 663 Pieces ("I didn't / want / to hurt you") [June 2, 1965). *A Nosegay in Black, I, i (Autumn 1966), 18.

664 The Circle [June 2 , 1965). *Poetry, CVII (February 1 ~ 6 6 324. )~ 665 The Hole [June 2 , 19651. "Evergreen Review, x, No. 39 (February 1966), 70. 666 A Prayer [June 2 , 1965). *Poetry, cvrr (February 1966), 323. **Words, 1965 ( 2 0 ) . 667 The Flower ("Remember the way you / hunched up") [June 2 , 1965). *Poetry, CVII (February 1966), 323. **Words, 1965 ( 2 0 ) . 668 Same [July 1, 1965). * A Nosegay in Black, I , i (Autumn 1 9 6 6 ) ~14. 669 There [July 1, 1965). *Words, 1967 ( 2 6 ) . 670 Joy [July 1, 1965). * A Nosegay in Black, I , i (Autumn 1966), 15. Reprinted in T h e Peak, xvr, xii (November 20, 1970), 12. 671 A Picture [January 22, 1966). * A Nosegay in Black, I , i (Autumn 1 9 6 6 ) ~ 16. 672 A Piece [January 22, 1966). *Words, 1967 ( 2 6 ) . 673 The Box [January 23, 1966). * A Nosegay in Black, I , i (Autumn 1966), 17. 674 Water Music [January 24, 1966). *Words, 1967 ( 2 6 ) . 675 They ("They were trying to catch up") [January 23, 1966). * A Nosegay in Black, I , i (Autumn 1 9 6 6 ) ~19.

677 The Farm [February 7 , 1966). *Coyote's Journal, No. 8 ( 1 9 6 7 ) , p. 78. Reprinted in T h e Peak, xvr, xii (November 20, 1970), 12.

678 Indians [February 7, 1966). *Words, 1967 (26). 679 Enough [May 4, 1966). *Poetry, crx (February 1967), 287-293. 680 Here ("What / has happened") [May 4, 1966). *Poetry, CE (February 1967), 295. 681 Intervals [May 5, 1966). *Poetry, crx (February 1967), 297. 682 Water ("Water drips") [May 5, 1966). *Poetry, crx (February 1967), 295. 683 The Eye ("The eye I look out of") [May 5, 19661. *Poetry, CE (February 1967), 294. Reprinted in The Peak, XVI, xii (November 20, 1970), 4. 684 Of Years [May 13, 1966). *Poetry, c ~ x(February 1967), 296.

685 Song ("How simply / for another") [May 13, 1966). *Poetry, crx (February 1967), 298. 686 For Joel [May 16, 1966). First published as For Joel, 1966 (24). 687 A Birthday [July 9, 1966). *Choice, No. 5 (1967), p. 110. 688 Dancing [August 2, 1966). *Words, 1967 (26). Reprinted in The Genre of Silence, June 1967, p. 10. 689 A Tally [September 19, 1966). *Words, 1967 (26). Reprinted in The Genre of Silence, June 1967, p. 11. 690 "Oh My Love.. ." [August 2, 1966). *Words, 1967 (26). Reprinted in The Genre of Silence, June 1967, p. 12. 691 Fragments [September 19, 1966). *Words, 1967 (26). Reprinted in The Genre of Silence, June 1967, p. 10.

3. Poems in Pieces, 1969 (39) Dates givenafter the titles are the dates of composition taken from the manuscripts and typescripts at Washington University; see 1113-1 115. A number of the first poems in Pieces, 1969, were reprinted from Pieces, 1968 (see list of titles in 37). The last fourteen poems were reprinted from Mazatlun: Sea, 1969 (38). The contents of the following books were also reprinted: The Finger, 1968 (30) ; 5 Numbers, 1968 (31) ; The Boy, 1968 (33) ; Numbers, 1968 (34). Unless otherwise specified, the poems were first collected in Pieces, 1969. Unless the first publication is mentioned, it may be assumed that the poem (or part) was published for the first time in Pieces, 1969. All the poems in Pieces, 1969, were later reprinted in The Finger: Poems 1966-1 969, 1970 ( 4 4 ) . 692 As real as thinking [February 10, 1966). *Part 3, Pieces, 1968 (37). 693 Flowers [January 3, 1967). *Out of the War Shadow, 1967 (85), and Artists and Writers Protest, 1967 (87). 694 The Family [March 28, 1967). *Part 1, Mother, NO. 8 (May 1967), p. 104. 695 Kate's [March 28, 1967). *Stumped Indelibly, 1967 (88). Reprinted in Anonym, No. 1 [April 19681, p. 26. 696 For You [May 24, 1967). 697 A Step. *Free PoemslAmong Friends, 1967), 1.

I,

iii (Summer

698 Having to- [October 14, 1967). *Parts 3 and 4, Pieces, 1968 (37). 699 The car [October 15, 1967). *Part 1, The Little Mug, I, i [1968),3 5 , and Dimension (feature magazine of The

Spectrum), February 16, 1968, p. 15. [In these magazines, part 1 was printed as part of a sequence titled "Pieces" which included parts 1 and 2 of 702, parts 3 and 5 of 703, and part 4 of 706. This was the first publication for them all.] **Part 1, *parts 3 and 4, Pieces, 1968 (37). 700 Pieces of cake [October 16, 1967). *Part 1, Pieces, 1968 (37). 701 The Finger [October 16-17, 1967). First published as The Finger, 1968 (30). Reprinted in Paris Review, XI, No. 44 (Fall 1968), 188-192, with a manuscript page, p. 154, reproduced from the manuscript at Washington University (1113) . 702 One thing done [October 18, 1968). *Parts 1 and 2 (see 699). **Parts 1 and 2, *part 3, Pieces, 1968 (37). 703 I cannot see you [October 31, 1967). *Parts 3 and 5 (see 699). *Parts 1 and 2, **part 5, Pieces, 1968 (37). 704 Gemini [November 7, 1967). *Part 4, The Zodiac, 1968 (90) [titled "Gemini"]. 705 In secret [November 7, 1967). *Part 1, Pieces, 1968 (37).

706 "Time" is some sort of hindsight [November 18, 1967). *Part 4 (see 699) . *Part 2, **part 4, Pieces, 1968 (37). 707 "Follow the Drinking Gourd . . ." [November 19, 1967). *New Mexico Quarterly, XXXVII, iv (Winter 1968)~ 395-396. **Pieces, 1968 (37). 708 The Moon [January 16, 19681. *The Minnesota Review, VIII,ii (l968), 142. 709 Numbers [January 15-19, 19681. [This is a sequence of ten poems: One, Two ("When they were / first made"),

Three (