YALE UNIVERSITY
BEINECKE RARE BOOK AND MANUSCRIPT LIBRARY
YALE COLLECTION OF AMERICAN LITERATURE
FURIOSO PAPERS
YCAL MSS 75
by
Diane J. Ducharme
New Haven, Connecticut
February 1996
Last Updated: June 2000
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EXTENT
Total Boxes: 14 (incl. 2 oversize boxes)
Other Storage Formats: 1 portfolio
Linear Feet: 7.01
Copyright © 2001 by the Yale University Library.
ADMINISTRATIVE INFORMATION
PROVENANCE
The Furioso Papers were the gift of James J. Angleton in 1941 and E. Reed
Whittemore, Jr. in 1951.
OWNERSHIP & LITERARY RIGHTS
The Furioso Papers are the physical property of the Beinecke Rare Book and
Manuscript Library, Yale University. Literary rights, including copyright,
belong to the authors or their legal heirs and assigns. For further
information, consult the appropriate curator.
CITE AS
Furioso Papers. Yale Collection of American Literature, Beinecke Rare Book
and Manuscript Library.
RESTRICTIONS ON ACCESS
This collection is open for research.
Restricted Fragile Papers in box 12 may only be consulted with permission
of the appropriate curator. Preservation photocopies for reference use have
been substituted in the main files.
PROCESSING NOTES
Additional materials were integrated into this collection in 2000, resulting
in an expansion of Series III,Office Files. Most of this material consists
of additional Issue Files. Other added material includes a scrapbook and two
account books containing information on the early history of
Furioso.
FURIOSO
Furioso was founded by two Yale undergraduates, James Jesus Angleton
and E. Reed Whittemore, Jr. Angleton had met Ezra Pound in Italy in the
summer of 1938, and by the beginning of 1939 Pound was writing enthusiastic
letters of advice as "padre eterno or whatever" of the "mag." With Pound's
encouragement, the first issue ofFurioso appeared in June of 1939, with
contributors including Horace Gregory, E. E. Cummings, Richard Eberhart, John
Peale Bishop, James Laughlin, and Pound himself. The issue opened with a
letter of encouragement from Archibald MacLeish, and also contained William
Carlos Williams' "The Last Words of My English Grandmother."
The magazine appeared twice more in 1940 and once in 1941, publishing
more works by the above authors and others including John Wheelwright, Dylan
Thomas, Mary Barnard, Theodore Spencer, and Wallace Stevens. Williams' "To
Ford Madox Ford in Heaven" appeared in the third issue; the fourth featured
John Peale Bishop's "August 1940," Archibald MacLeish's "The Spanish Dead,"
and several poems by Marianne Moore, including "Spencer's Ireland."
A notice enclosed with the fourth issue informed subscribers that "at
least half our editorial board (one of us) is to be drafted. Just how much
poetry will be...accepted, rejected in Camp So-and-So is a bitter question
with a doubtful question mark." In fact, both editors saw service, and only
one issue appeared between 1941 and end of World War II.
Furioso reappeared in the Fall of 1946, with the editorial board of
Reed Whittemore, Jr., Howard Nemerov, William R. Johnson, John Pauker, and
Ambrose Gordon, Jr. While the board underwent several changes over the next
few years, Whittemore remained the principal editor until the final issue in
1953. Until Fall 1949 the magazine continued to be published from New Haven;
in that year Whittemore accepted a teaching position at Carleton College,
Minnesota, andFurioso moved with him.
The postwarFurioso continued to publish poetry, including works by
such authors as Weldon Kees, Peter Viereck, William Meredith, Richard
Ellmann, Howard Nemerov, Josephine Miles, Richard Wilbur, Vernon Watkins and
W. S. Merwin. It also began a regular series of book reviews, often of new
works of criticism; and a "Department of Culture and Civilization," which ran
short columns, often satirical. Increasingly, the editors accepted short
stories as well, including works by William Faulkner, F. Scott Fitzgerald,
Wayne Carver, R. V. Cassill, Paul Goodman, and Robie Macauley, and longer
critical essays by Edmund Wilson, Robert Fitzgerald, and Wayne C. Booth.
According to Whittemore, the magazine never had over 600 subscribers,
"having two-three contributors for every subscriber," and consistently lost
money due to rising publication costs. In 1947 Whittemore and the board
attempted to found a Poetry Book Club, which would offer new volumes of verse
to members. The club offered three volumes: Weldon Kees'The Fall of the
Magicians, Howard Nemerov'sThe Image and the Law, and William Meredith's
Ships and Other Figures. It was soon apparent, however, that the club was
a financial failure, and the editors discontinued it. The magazine also
experimented with offering joint subscriptions with other little magazines,
includingTiger's Eye, but found this to be both unprofitable and
time-consuming. The final issue ofFurioso appeared in Spring, 1953.
DESCRIPTION OF THE PAPERS
TheFurioso papers document the publication of a "little magazine"
between its inception in 1939 and its cessation in 1953. The files span the
dates 1938-1951, with the bulk of the material dating from 1946-1949.
Housed in twelve boxes, two oversize boxes, and one portfolio, the
collection is arranged in three series: I.Contributor
Correspondence;
II.Submissions; and III.Office Files.
Series I,Contributor Correspondence
(Boxes 1-2), is arranged
alphabetically by correspondent. Those represented by three or more items
have been listed individually. While the correspondence covers the years from
1938 to 1951, it essentially consists of two groups: letters written between
1939 and 1941 concerning the prewar issues of
Furioso, and a larger number
of letters dating from 1947-50 documenting the magazine as revived by
Whittemore. The correspondence includes notes and letters from such figures
as W. H. Auden, Cleanth Brooks, Malcolm Cowley, Dudley Fitts, Paul Goodman,
Lincoln Kirstein, Dwight Macdonald, Archibald MacLeish, John Crowe Ransom,
Wallace Stevens, Alan Tate, Oscar Williams, and Edmund Wilson. The letters
are often brief and devoted to routine business matters such as submissions,
editorial corrections, and payment arrangements.
The founding ofFurioso elicited letters of advice and support from
many sources, beginning with Ezra Pound, who wrote from Rapallo in 1939, "to
ORGANIZE ormake a mag/ the editorial board must do what I did in Little
Review/ i.e. assert which authors they respect /can't be an unlimited
number/" Further letters throughout 1939 offer lists of authors Pound wanted
the editors to contact, direction on the setting of editorial policy,
commentary on the sorry state of American letters, and, increasingly, the
sorrier state of American politics. A suggestion from Angleton that Pound
donate a manuscript to the Yale Libraries was met with the answer, "Does the
Yale lib/ expect to BUY any ms/....I am not disposed to shell 'em out at ten
fer a penny." Pound also offered the new editors the characteristic advice
that they read his own works, particularlyGuide to Kulchur.
Other such correspondents include Mary Barnard, John Peale Bishop, E. E.
Cummings, Richard Eberhart, William Empson, Charles Henri Ford, Horace
Gregory, Archibald MacLeish, and William Carlos Williams. Several, including
Empson, Ford and Williams, urged the editors to be open to influences other
than Pound, and some submitted not only their own poetry but works by others
whom they admired. John Peale Bishop wrote repeatedly to suggest that
Furioso increase its payment rates: "I think you can hardly hope to attract
the best material unless you are prepared to pay for it" (Box 1, folder 9).
Their advice was sometimes unflattering: in October 1940 Eberhart wrote to
Angleton, "Don't be so naive; you should NOT have written Eliot."
The letters of Cummings, Eberhart and Williams contain discussion of
their own poetry and commentary on that of the editors. Williams, for
example, noted in his March 5, 1939 letter that "What you do, to my thinking,
and you both do it, is to restate things by trying to be too explicit. All
you have to do istouch the meaning, you don't have to hammer it down with
a maul...Tell me to go to hell if you want to. I don't care."
The poets also attempted to sell subscriptions for the magazine and to
persuade booksellers to carry it, Mary Barnard reporting that "So far, I
haven't met anyone in Buffalo who would conceivably be interested." They were
all, however, strong in their praise of the first issue, as was Yale
professor William Lyon Phelps: "This is afine undertaking and I'm proud of
you for it."
Several early correspondents, particularly Richard Eberhart, Dudley
Fitts, and Weldon Kees, continued to contribute toFurioso when the
magazine resumed publication in 1946. The magazine also acquired many new
contributors, including Joseph Warren Beach, Richard Ellmann, Howard Hugo,
Howard Nemerov (who joined the enlarged editorial board), Lawrence Olson,
Robert Penn Warren, and Edmund Wilson.
Many of the letters from this period were written in reply to
Whittemore's requests for contributions and suggestions of appropriate
article topics. Ellmann responded to a November 1947 solicitation of an
article on Yeats by asking "give me a few months for I'm up to my ears....I
enclose for your consideration a mess or covey or school or what have you of
verse." Carbons of Whittemore's letters are often present. Box 1, folder 57,
for example, contains his reply to a refusal by Weldon Kees: "All right,
don't write about newsreels...Perhaps you'd like to take a smack at Oscar
Williams?"
In addition to routine publication matters, several of the
correspondences document editorial decisions and controversies. The
correspondence with Robert Penn Warren (Box 2, folder 127) concerns Warren's
submission of an unnamed verse play (probably a version ofAll the King's
Men) and the editorial board's eventual decision not to publish it in its
entirety for financial reasons: "Naturally we're all disappointed. We all
liked the play....we thought that we had made up our minds on the matter.
But...it would have been a very expensive venture." Correspondence with Paul
Goodman and Edmund Wilson concerns Wilson's demand that he be allowed to
reply to Goodman's review of Mary McCarthy'sThe Oasis.
Series II,
Submissions, (Boxes 3-6) contains works sent to the editors
of
Furioso for possible publication. The majority of these are poems, even
though the magazine carried an increasing number of prose pieces during the
second phase of its existence. Poets represented include John Ashbery, John
Peale Bishop, E. E. Cummings, Richard Eberhart, William Empson, John Gould
Fletcher, Horace Gregory, Weldon Kees, Ernest Kroll, Marianne Moore, Howard
Nemerov, Theodore Spencer, Wallace Stevens, John Wheelwright, William Carlos
Williams, and Edmund Wilson. Box 3, folder 145 contains a signed holograph of
W. H. Auden's "Clocks cannot tell our time of day." Weldon Kees is
represented by six poems, including "Relating to Robinson" and "Saratoga
Ending." John Gould Fletcher's contributions include a signed, corrected
typescript of "August 1940," and Archibald Macleish submitted "The Spanish
Dead."
In addition to typescripts and setting typescripts of poems, there are
typescripts of several essays, including Wayne C. Booth's "Thomas Mann and
Eighteenth-Century Comic Fiction"; William Empson's article on Basic
English; Irving Howe's "Sherwood Anderson and D. H. Lawrence"; Robert Manson
Myers'From Beowulf to Virginia Woolf; and John L. Sweeney's appraisal of
Marianne Moore's poetry. Ezra Pound contributed two "statements" for the
first issue (Box 9, folder 277), and William Carlos Williams sent Whittemore
a statement on the relation of propaganda to poetry (Box 6, folder 331). One
contribution that attracted particular notice at the time of publication was
William Faulkner's self-parodying "Afternoon of a Cow."
In the late 1940s, the editors gave reviews a new prominence in
Furioso, and this trend is represented in Series II by such items as Robert
Fitzgerald's review ofLet Us Now Praise Famous Men; Francis Golffing's
review of thePisan Cantos; and general review columns by Alan S. Downer,
Laurence Olson, Rosemary Paris, C. Shain, John L. Sweeney, Robert Liddell
Lowe, and W. B. Scott. Folders 337-41 contain unsigned "Bulletins" for the
regular "Department of Culture" column, in which members of the editorial
board commented on such topics as publishing trends, the Broadway season,
writers' workshops and poetry readings, and relations between the popular
press and the "little magazines."
Series III,Office
Files (Boxes 7-11), is arranged in four subseries:
Advertising and Promotion Files; Editorial Board Files; Printing and
Distribution Files; and Subscriptions Files. Most material dates from
between 1946 and 1950. A small amount of earlier material includes promotional
materials, accounts, and clippings.
The office files document the process of running a little magazine with
a limited budget, a geographically separated editorial board, and a diverse
pool of contributors and would-be contributors. The "Advertising" files,
located in Box 7, folders 345-54, consist of seven folders of correspondence
concerning ad exchanges with other magazines (Furioso's principal source of
advertisements), and three folders of business correspondence concerning paid
advertisements to appear inFurioso. The "Promotion" files contain
correspondence about paid advertisements forFurioso; two folders of draft
and proof promotional material for the magazine; two folders labeled
"Examples and Ideas," which hold promotional material for other publications
gathered by Whittemore; a scrapbook containing promotional material and
clippings; and an additional folder of clippings.
The "Editorial Board Files" provide especially full information about
the decision-making process of the several-member board. As the board met
very infrequently, the members usually wrote their opinions of submissions,
projected issues, budget decisions, and other such matters and circulated the
letters among themselves. The majority of the letters are by Whittemore,
Rosemary Mizener, and Howard Nemerov (often signed "Hop" or "Hophead," ) as
well as John Pauker and others. Many of them are unsigned and/or carbons.
The board members, particularly Nemerov, expressed themselves about the
merits of their contributors quite freely. Upon receiving Robert Penn
Warren's verse play in 1947, for example, Nemerov wrote that "the play seemed
to me quite bad, the verse especially was bad....we should make clear how
much of our individual opinions depend on regard for the play itself, and how
much depends on the idea that a play by RPW would be a good thing to have no
matter what." (Box 7 folder 365) This prompted much discussion among the
editors, and several votes with varying results. Whittemore summarized the
results of the final vote on May 16, 1947: "we decided the play was, as you
said (or came near saying), not, finally a good play....we could reject it, I
think, on these [financial] grounds and stay friends with Warren."
Other topics of the correspondence include the financial state of the
magazine, efforts to promote the Poetry Book Club, subscriptions, the state
of literature in the United States, and the careers and personal lives of the
board members.
"Publishers' correspondence," located in Box 9, folders 375-82, contains
alphabetically arranged correspondence between Whittemore and publishers'
representatives concerning the Poetry Book Club. The correspondence documents
Whittemore's reactions to works suggested by publishers and their opinions of
the probability of the club's succeeding.
Other Editorial Board Files include "Issue Files," containing drafts
of material written by the Board, notes on acceptance or
rejection of submissions, and galley proofs, some with corrections by authors;
artwork made forFurioso by Irwin Touster; and
miscellaneous expense lists.
"Printing and Distribution Files" hold the billing statements of
Furioso's printer, the Columbia Printing Company, and documents relating to
the magazine's distribution arrangements with bookstores and with magazine
services. "Subscription files" consist of correspondence with individual and
institutional subscribers, billing invoices, subscription lists, and
two account books listing subscribers, bookstores, distributors, and expenses.
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Contributor Correspondence
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| Box
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Folder
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Date |
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0.83' (2 boxes) |
Dates: 1938-51 |
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Series I,Contributor Correspondence, is
arranged alphabetically by name of correspondent and
then chronologically within each folder. All
correspondents represented by three or more letters
have been listed by name.
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| 1 |
1 |
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Adams, Leonie
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1949 Mar 2 |
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2 |
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Aucourt, Jean
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1949 Mar 24 |
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3 |
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Auden, W. H.
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1940, 1947 |
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4 |
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"B" general
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1940-49 |
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5 |
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Barnard, Mary
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1939-40 |
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6 |
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Bates, Scott
|
1947-49 |
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7 |
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Beach, Joseph Warren
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1947-49 |
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8 |
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Benson, Elizabeth Polk
|
1947-48 |
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9 |
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Bishop, John Peale
|
1939-40 |
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10 |
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Boyle, Kay
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1939 May 14 |
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11 |
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Brooks, Cleanth
|
1939-47 |
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12 |
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Broughton, James
|
1949-50 |
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13 |
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Buechner, Frederick
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1947-49 |
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14 |
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"C" general
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1947-49 |
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15 |
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Chamberlin, Henry Harmon
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1940 Sep 5 |
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16 |
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Claudel, Alice
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1947 |
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17 |
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Cowley, Malcolm
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1947 Sep 29 |
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18 |
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Cummings, E. E.
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1939-41, n.d. |
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19 |
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"D" general
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1946-49, n.d. |
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20 |
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Daniel, Robert W.
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1947-48 |
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21 |
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Downer, Alan S.
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1947-50 |
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22 |
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Drummond, John
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1939-40 |
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23 |
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"E" general
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1947-49 |
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24-25 |
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Eberhart, Richard
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1939-48 |
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26 |
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Eddy, Roger
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1947 |
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27 |
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Eliot, Alexander
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1947 |
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28 |
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Eliot, T. S.
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1939-40 |
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29 |
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Ellmann, Richard
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1947-48 |
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30 |
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Empson, William
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1939-40 |
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31 |
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Evans, Oliver
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1947 |
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32 |
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Evans, Robert A.
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1939 |
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33 |
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"F" general
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1947-50 |
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34 |
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Fitts, Dudley
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1939-50 |
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35 |
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Fletcher, John Gould
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[1939] Dec 31 |
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36 |
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Ford, Charles Henri
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1939-40 |
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37 |
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Ford, Janice
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1940 Apr 12 |
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38 |
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Frost, William
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1947 |
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39 |
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Fuller, Margaret
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1939 Apr 5 |
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40 |
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Fuller, Roy
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1949 |
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41 |
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"G" general
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1947 |
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42 |
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Gibson, W. W.
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1947-48 |
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43 |
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Goodman, Paul
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1950 |
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44 |
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Gregory, Horace
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1939-40, n.d. |
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45 |
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"H" general
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1947-50 |
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46 |
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Harrigan, Anthony
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1947, n.d. |
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47 |
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Hart, Lawrence
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1940 |
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48 |
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Haupt, Zygmunt
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1949 |
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49 |
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Holme, Benjamin F.
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1947-48 |
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50 |
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Hubbell, Lindley Williams
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1947 |
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51 |
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Hugo, Howard
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1947-51, n.d. |
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52 |
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Hyman, Stanley Edgar
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1947 |
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53 |
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Johnson, Norman
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1939 May 20 |
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54 |
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[Johnson], Walter
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1949 |
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55 |
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Johnson, William
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1950, n.d. |
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With: Johnson, Jean
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56 |
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"K" general
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1947-50 |
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57 |
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Kees, Weldon
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1940-47 |
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58 |
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Kirstein, Lincoln
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1947 |
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59 |
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Kreymborg, Alfred
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1940 Jan 22 |
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60 |
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Kroll, Ernest
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1947 |
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61 |
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"L" general
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1947 |
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62 |
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La Farge, Christopher
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1939 |
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63 |
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Laughlin, James
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1939 |
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64 |
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Lewis, Wyndham
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1940 Feb 27 |
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65 |
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Loose, Gerhard
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1946-47 |
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66 |
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Loughridge, Rachel
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1947 |
| 2 |
67 |
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"M" general
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1947-49, n.d. |
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68 |
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Macauley, Rose
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1950, n.d. |
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69 |
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Macdonald, Dwight
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1947 |
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70 |
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McGehee, Edward
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1947 |
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71 |
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Mack, Maynard
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1947 |
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72 |
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MacLeish, Archibald
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1939-41, n.d. |
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73 |
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MacNeice, Louis
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1940 |
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74 |
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Meredith, William
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1947 |
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75 |
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Miller, Henry
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1947 Mar 26 |
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76 |
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Mizener, Arthur
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1947-50 |
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With: Mizener, Rosemary
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77 |
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Moore, Marianne
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1940-47 |
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78 |
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Nabokov, Vladimir
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1947 |
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79 |
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Nemerov, Howard
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1950-51, n.d. |
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80 |
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Nolt, Evelyn
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1947 |
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81 |
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Northrop, F. S. C.
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1947 |
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82 |
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"O" general
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1947-50, n.d. |
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83 |
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Ober, Harold
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1947 |
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84 |
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[Ober], William B.
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1947 |
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85 |
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Olson, Lawrence
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1947-50 |
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86 |
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Ortiz de Montellano, B.
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1941 Mar 6 |
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87 |
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"P" general
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1947-50 |
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88 |
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Palmer, Winthrop
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1947 |
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89 |
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Patchen, Kenneth
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1939, 1941 |
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90 |
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Pauker, John
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1949-51 |
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91 |
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Perkins, Silas H.
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1939 |
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92 |
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Phelps, William Lyon
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1939 Jan 26 |
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93-95 |
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Pound, Ezra
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1938-40, n.d. |
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96 |
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Powell, Clarence Alva
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1947-48 |
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Encl: "The Lazarette,"
1948 May issue.
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97 |
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Powys, John Cowper
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1939 Jan 14 |
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98 |
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Quasimodo, Salvatore
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1947 |
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99 |
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"R" general
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1940-49, n.d. |
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100 |
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Ransom, John Crowe
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1947 |
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101 |
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Rexroth, Kenneth
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1947 |
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102 |
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Richards, I. A.
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1939, n.d. |
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103 |
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Roditi, Edouard
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1947 |
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104 |
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Rodman, Selden
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1939 Apr 28 |
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105 |
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Rosenfeld, Isaac
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1950 May 29 |
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106 |
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"S" general
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1949, n.d. |
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107 |
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Sachs, David
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1947-49 |
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108 |
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Schorer, Mark
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1947 |
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109 |
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Scott, Walter B.
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1949-50 |
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110 |
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Shaw, Louis A.
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1950 |
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111 |
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Smith, William J.
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1947 |
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112 |
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Spencer, Theodore
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1940-41 |
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113 |
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Stallman, Robert W.
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1947-48 |
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114 |
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Stevens, Wallace
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1946-47 |
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115 |
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Sweeney, John L.
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1940-41 |
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116 |
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"T" general
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1946-49 |
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117 |
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Taggard, Genevieve
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1940, n.d. |
|
118 |
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Tambimuttu
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1940 Sep 27 |
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119 |
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Tate, Allen
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1949, 1950 |
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120 |
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Treece, Henry
|
1939-40 |
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121 |
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Turkat, Judah M.
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1947-48 |
|
122 |
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Tyler, Parker
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1940 Feb 16 |
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123 |
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Urdang, Constance
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1947-48 |
|
124 |
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Viereck, Peter
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1939-47 |
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125 |
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"W" general
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1947-49 |
|
126 |
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Wanning, Andrew
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1947-48 |
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127 |
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Warren, Robert Penn
|
1947-48 |
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128 |
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Watkins, Vernon
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1947 |
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129 |
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West, Roy B.
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1947-50 |
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130 |
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Wilbur, Richard
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1951 Apr 27 |
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131 |
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Williams, Oscar
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n.y. Dec 21 |
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132 |
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Williams, William Carlos
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1939-40 |
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133-34 |
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Wilson, Edmund
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1948-50 |
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135 |
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"Y" general
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1949, n.d. |
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136 |
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Yarmolinsky, Avrahm
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1947 |
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137 |
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"Z" general
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1950 |
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138 |
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Zukofsky, Louis
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1939 |
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139 |
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Unidentified
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1948-50, n.d. |
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Submissions
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1.67' (4 boxes) |
Dates: 1937-51 |
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Series II,Submissions, is arranged
alphabetically by author and then by title.
Material with no identified author has been
placed at the end of the series. Unless
otherwise noted, all material is either
typescript and/or setting typescript, unsigned.
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Folder
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Date |
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| 3 |
140 |
|
Review ofThe Portable Coleridge, ed.
by I. A. Richards
|
[1951] |
|
|
|
|
141 |
|
"Dirty Story"
|
n.d. |
|
|
|
"The Crack-Up"
|
n.d. |
|
|
|
|
142 |
|
"and Backwash"
|
n.d. |
|
|
|
"Landfall"
|
n.d. |
|
|
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"Rough Reckoning"
|
n.d. |
|
|
|
"Wash"
|
n.d. |
|
|
|
|
143 |
|
"Friar Laurence's Cell"
|
[1949] |
|
|
|
"From a Diary"
|
[1949] |
|
|
|
|
144 |
|
"Canto from a Pressurized Cabin"
|
[1951] |
|
|
|
"Foreign Travel"
|
[1949] |
|
|
|
|
145 |
|
"Poem: Clocks cannot tell our time
of day": holograph signed
|
n.d. |
|
|
|
|
146 |
|
"Notice"
|
[1951] |
|
|
|
"Soliloquy of the Alderman's Nose"
|
[1951] |
|
|
|
"A Version of Pastoral"
|
[1951] |
|
|
|
|
147 |
|
"Cool Country"
|
n.d. |
|
|
|
"In Praise of Potted Plants"
|
n.d. |
|
|
|
"Road to Xanadu"
|
n.d. |
|
|
|
|
148 |
|
"How It Happened": printed article
|
[1950] |
|
|
|
|
149 |
|
"The Players"
|
n.d. |
|
|
|
|
150 |
|
"Fables"
|
[1951] |
|
|
|
"Item"
|
[1951] |
|
|
|
"Matinee at the Regent"
|
[1951] |
|
|
|
|
151 |
|
"The Rubbing Woman"
|
[1949] |
|
|
BEAUDOIN, KENNETH LAWRENCE |
|
152 |
|
"Recollections in Third Street"
|
[1951] |
|
|
|
|
153 |
|
"Serious Talk Downstairs"
|
[1949] |
|
|
|
|
154 |
|
Translation of Bertolt Brecht's
"Chinese Acting"
|
n.d. |
|
|
|
|
155 |
|
"An Interlude"
|
n.d. |
|
|
|
"Lullaby"
|
n.d. |
|
|
|
|
156 |
|
Review of recent poetry
|
[1949] |
|
|
|
|
157 |
|
"Oiseau ou Feuille?"
|
[1950] |
|
|
|
"Verses upon a Blue Bird that I Had"
|
[1950] |
|
|
|
|
158 |
|
Reviews of "The Body" by William Sansom
and "Mare's Nest" by Paul Griffith
|
n.d. |
|
|
|
|
159 |
|
"Colloquy with a King-Crab": typescript
signed
|
n.d. |
|
|
|
"Resurrection": typescript signed
|
n.d. |
|
|
|
"Whom the Gods Love": typescript signed
|
n.d. |
|
|
|
Untitled: typescript signed
|
n.d. |
|
|
|
|
160 |
|
"Etude in C"
|
[1950] |
|
|
|
"To John Donne"
|
[1950] |
|
|
|
|
161 |
|
"Homage to E. E. Cummings"
|
[1951] |
|
|
|
|
162 |
|
"Thomas Mann and Eighteenth-Century
Comic Fiction"
|
[1951] |
|
|
|
"Toward a Definition of
Synaestheticology"
|
[1949] |
|
|
|
|
163 |
|
"High Thought"
|
[1951] |
|
|
|
|
164 |
|
"The Undefined"
|
[1950] |
|
|
|
|
165 |
|
Review of R. B. Heilman'sThis
Great Stage |
[1949] |
|
|
|
|
166 |
|
"The Late Summer"
|
[1950] |
|
|
|
"Letter to Statues"
|
[1950] |
|
|
|
"Serenade in Pulse-Beats"
|
[1950] |
|
|
|
"Testament in the Fifth Year"
|
[1950] |
|
|
|
|
167 |
|
"Legend"
|
[1950] |
|
|
|
|
168 |
|
"The Nebraskan in California"
|
[1950] |
|
|
|
|
169 |
|
"Fair Company"
|
[1950] |
|
|
|
|
170 |
|
"The Broadway Musical Comedy--
Once Over Lightly"
|
n.d. |
|
|
|
|
170a |
|
"Frustrate"
|
n.d. |
|
|
|
|
171 |
|
"The Novelist as Human Being"
|
n.d. |
|
|
|
|
172 |
|
"A Man of Fortune Greeting Heirs"
|
[1950] |
|
|
|
|
173 |
|
"Larchmoor Is Not the World"
|
[1950] |
|
|
|
|
174 |
|
"Prophetic Encounter"
|
[1950] |
|
|
|
"A Sung Print"
|
[1950] |
|
|
|
"The Young Novelist"
|
[1950] |
|
|
|
|
175 |
|
"And They Were Unwilling to Move Their
Legs, Which Were Two Inches Long"
|
[1949] |
|
|
|
"Considerable Research"
|
n.d. |
|
|
|
"Dostert Is Continually Searching"
|
n.d. |
|
|
|
"I Have Consulted"
|
[1949] |
|
|
|
"It May Be Taken into a Real or
Improvised Dark Room"
|
[1949] |
|
|
|
"Under Certain Circumstances, Honey"
|
n.d. |
|
|
|
|
176 |
|
"On the Hill"
|
[1950] |
|
|
|
|
177 |
|
"Fox in Flight"
|
[1951] |
|
|
|
|
178 |
|
"The Art of Omission"
|
[1950] |
|
|
|
|
179 |
|
Biographical sketch
|
n.d. |
|
|
|
"Sonnet"
|
n.d. |
|
|
|
"Speech from a Play" (typescript,
galleys and galley proof)
|
n.d. |
|
|
|
Untitled poems (group of four):
|
|
|
|
|
"when god decided to invent"
[1950] |
|
|
|
|
"it's over a(see just"
n.d. |
|
|
|
|
"life is more true than reason will
deceive"
n.d. |
|
|
|
|
"if(among"
n.d. |
|
|
|
|
|
180 |
|
"The Discovery"
|
[1950] |
|
|
|
|
181 |
|
"Lucretius' Venus"
|
n.d. |
|
|
|
|
182 |
|
"Departure"
|
[1948] |
|
|
|
|
183 |
|
"Drama: Reviews"
|
1948-50 |
|
|
|
Essays for a regularly-appearing
column inFurioso.
|
|
|
|
|
Also stored in: Oversize, Box 14,
folder 482
|
|
|
|
|
|
184 |
|
"New Values in History": autograph
manuscript signed
|
1946 Jul 31 |
|
|
|
|
185 |
|
"In Arcadia"
|
[1939?] |
|
|
|
|
186 |
|
"I Hear the Affirmation of the Evening"
|
n.d. |
|
|
|
|
187-188 |
|
Poems
|
1939-50, n.d. |
|
|
|
|
189 |
|
"Poem about Myself"
|
[1950] |
|
|
|
"Reading Some Materialists"
|
[1950] |
|
|
|
|
190 |
|
Translation of Henri Michaux's
"Birth"
|
[1949] |
|
|
|
|
191 |
|
"A Preface to a Novel in Progress"
|
[1949] |
|
|
|
|
192 |
|
Article on "Basic English"
|
[1940?] |
|
|
|
Poem: "Not but they die": typescript
signed
|
1939 Dec 10 |
|
|
|
|
193 |
|
"Seven-o'-Clock Whistle"
|
n.d. |
|
|
|
|
194 |
|
"Marriage"
|
[1949] |
|
|
|
| 4 |
195 |
|
"Afternoon of a Cow" (attributed to
"Ernest V. Trueblood")
|
[1937] |
|
|
|
|
196 |
|
"Someone for Percy Brett"
|
[1949] |
|
|
|
|
197 |
|
"Portrait of the Artist as a Young
Minotaur"
|
[1950] |
|
|
|
|
198 |
|
"Proletarian Poem": typescript signed
|
1939 |
|
|
|
"The Swallows"
|
n.d. |
|
|
|
Review of Joseph Campbell'sThe Hero
with a Thousand Faces |
[1951] |
|
|
|
|
199 |
|
Review of James Agee's and Walker Evans'
Let Us Now Praise Famous Men |
[1950] |
|
|
|
|
200 |
|
"August 1940": typescript corrected
and signed
|
1940 Aug |
|
|
|
"The Last Time": typescript corrected
and signed
|
[1950] |
|
|
|
"To a Schoolteacher"
|
[1950] |
|
|
|
|
201 |
|
"Pastoral for Pavlik"
|
n.d. |
|
|
|
"Poem for Aglaya"
|
[1950] |
|
|
|
"Song without a SInger"
|
n.d. |
|
|
|
|
202 |
|
"Road Work"
|
n.d. |
|
|
|
|
203 |
|
"Letter to E."
|
[1951] |
|
|
|
|
204 |
|
"Soft you, our airy thoughts grow
stiff"
|
n.d. |
|
|
|
|
205 |
|
"Byron"
|
[1949] |
|
|
|
"Chekhov"
|
[1949] |
|
|
|
"Emily Dickinson"
|
[1949] |
|
|
|
"Rhetoric of a Journey" (2 copies)
|
[1950] |
|
|
|
|
206 |
|
"Map"
|
[1950] |
|
|
|
"The Shadow BIrd"
|
[1950] |
|
|
|
|
207 |
|
"Folkways"
|
1951 |
|
|
|
|
208 |
|
Epigrams
|
n.d. |
|
|
|
|
209 |
|
Review of Ezra Pound'sThe Pisan
Cantos |
1949 |
|
|
|
|
210 |
|
"The Boy Extracting the Thorn"
|
[1950] |
|
|
|
"Our Meeting, 1948"
|
[1949] |
|
|
|
Review of Mary McCarthy'sThe Oasis |
[1950] |
|
|
|
Two poems:
|
|
|
|
|
"Medea Superest"
[1949] |
|
|
|
|
"Theseus"
[1949] |
|
|
|
|
|
211 |
|
"The Alienist"
|
[1950] |
|
|
|
"Discovery"
|
[1950] |
|
|
|
"King Brutus II"
|
[1950] |
|
|
|
Review of Ford Madox Ford'sParade's
End |
[1951] |
|
|
|
|
212 |
|
"Bluethorne Wears for His Shield the
Candid Eye"
|
n.d. |
|
|
|
"What Bluethorne Heard at the New Year"
|
n.d. |
|
|
|
|
213 |
|
"Redeployment" and "Recruiting Song"
|
[1948] |
|
|
|
"Three Poems"
|
n.d. |
|
|
|
|
214 |
|
"The Wake and the Repast"
|
[1950] |
|
|
|
|
215 |
|
"Reg.Imp"
|
n.d. |
|
|
|
"Roentgenism"
|
n.d. |
|
|
|
|
216 |
|
"Late Spring"
|
[1951] |
|
|
|
|
217 |
|
"Harangue"
|
[1950] |
|
|
|
|
218 |
|
"Lunch Hour"
|
n.d. |
|
|
|
"Nightclub after Hours"
|
n.d. |
|
|
|
"To My Classmates"
|
n.d. |
|
|
|
|
219 |
|
"Editorial Circular for a New and
Already Defunct Little Magazine"
|
[1949] |
|
|
|
"Report on a Recent Tide"
|
[1951] |
|
|
|
|
220 |
|
"Sherwood Anderson and D. H. Lawrence"
|
[1950] |
|
|
|
With: copy of 1951 letter to editors
by Howe.
|
|
|
|
HUBBELL, LINDLEY WILLIAMS |
|
221 |
|
"Family Portraits"
|
[1951] |
|
|
|
"Hour of Concern"
|
[1951] |
|
|
|
|
222 |
|
"Exile"
|
[1951} |
|
|
|
"The Orchard"
|
[1951] |
|
|
|
"Veterans' Hospital"
|
[1951] |
|
|
|
|
223 |
|
"The Poet's Life"
|
n.d. |
|
|
|
"Two Songs"
|
[1949] |
|
|
|
|
224 |
|
"Metaphors at a Point in Time and
Space"
|
n.d. |
|
|
|
"No Man"
|
n.d. |
|
|
|
|
225 |
|
"Carmi"
|
[1950] |
|
|
|
|
226 |
|
"Films: Four-Dimensional Art"
|
[1949] |
|
|
|
|
227 |
|
"The Clinic"
|
[1949] |
|
|
|
"Dead March"
|
[1949] |
|
|
|
"A Late History"
|
[1949] |
|
|
|
"Relating to Robinson"
|
[1950] |
|
|
|
"Round"
|
[1949] |
|
|
|
"Saratoga Ending"
|
[1949] |
|
|
|
|
228 |
|
"The King of the Rainy Country"
|
[1949] |
|
|
|
|
229 |
|
"The Castle of Chillon"
|
[1949] |
|
|
|
|
230 |
|
"...les poils d'or de ses aiselles..."
|
1950 Oct |
|
|
|
|
231 |
|
"The Courtier": typescript signed
|
[1950] |
|
|
|
|
232 |
|
Fragment of an article on Yale's
manuscript collections, signed
|
n.d. |
|
|
|
|
232a |
|
"Fugitives"
|
[1950] |
|
|
|
"A Hampton Suite"
|
[1949] |
|
|
|
"Malaise"
|
[1951] |
|
|
|
"Riverside in May (The Potomac)"
|
n.d. |
|
|
|
"Rockingham"
|
[1951] |
|
|
|
|
233 |
|
"And Their Voices Were of Frogs"
|
n.d. |
|
|
|
"Scene in Passing"
|
[1950] |
|
|
|
|
234 |
|
Two poems fromAmerica I Love You |
n.d. |
|
|
|
|
235 |
|
"Look, I Play the Tiger"
|
[1950] |
|
|
|
|
236 |
|
"Portrait"
|
[1951] |
|
|
|
|
237 |
|
"Homer and Virgil: the Double Themes"
|
[1950] |
|
|
|
|
238 |
|
"Rummel"
|
[1950] |
|
|
|
|
239 |
|
"The Evidence of Agates"
|
[1950] |
|
|
|
|
239a |
|
Reviews
|
1949, 1951 |
|
|
|
|
240 |
|
"High Thought" columns
|
n.d. |
|
|
|
|
241 |
|
"The Specific Animal I Mean"
|
[1950] |
|
|
|
| 5 |
242 |
|
"A Nest of Gentlefolk"
|
[1949] |
|
243 |
|
Review of Frederick Buechner's
A Long Day's Dying |
[1950] |
|
|
|
|
244 |
|
"Berlin Gallery"
|
[1949] |
|
|
|
|
245 |
|
"Dublin Made Me'
|
[1950] |
|
|
|
"Galway"
|
[1950] |
|
|
|
"Torca Hill"
|
[1950] |
|
|
|
|
246 |
|
"Old Cemetery"
|
n.d. |
|
|
|
"Time and Place"
|
n.d. |
|
|
|
|
247 |
|
"The Plan"
|
[1949] |
|
|
|
|
248 |
|
"If Taken at the Flood...": typescript
signed
|
[1950] |
|
|
|
"Item": typescript signed
|
[1950] |
|
|
|
"News Broadcast": typescript signed
|
[1950] |
|
|
|
"Poem for the Very Young"
|
[1950] |
|
|
|
|
249 |
|
"My Dear Mr. Angleton": essay for
the first issue ofFurioso |
n.d. |
|
|
|
"The Spanish Dead": galleys
|
[1941?] |
|
|
|
|
250 |
|
"Alas, Poor Queen, So Soon?"
|
[1950] |
|
|
|
|
251 |
|
"Three Innerscapes"
|
[1950] |
|
|
|
|
252 |
|
"Minority Report"
|
[1950] |
|
|
|
|
253 |
|
"Un Art de Vivre": typescript with
numerous holograph corrections
|
[1940?] |
|
|
|
|
254 |
|
"Biographical note": holograph signed
|
1947 Oct 24 |
|
|
|
|
255 |
|
"Harvest Moon"
|
[1950] |
|
|
|
|
256 |
|
"Poem"
|
n.d. |
|
|
|
"Poem"
|
n.d. |
|
|
|
|
257 |
|
"There Is No Dream Where All Is a
Dream"
|
[1950] |
|
|
|
|
258 |
|
"Nature Poem"
|
[1950] |
|
|
|
Review of Graham Greene'sThe Heart
of the Matter |
[1949] |
|
|
|
Review of current critical theory
|
[1949] |
|
|
|
"What Humpty Dumpty Didn't Say"
|
n.d. |
|
|
|
|
259 |
|
"Philomel's Wake"
|
[1950] |
|
|
|
|
260 |
|
"Rigorists"
|
n.d. |
|
|
|
"Spencer's Ireland"
|
n.d. |
|
|
|
"The Student"
|
n.d. |
|
|
|
|
261 |
|
"Driving by Night"
|
n.d. |
|
|
|
"This in the Morning"
|
n.d. |
|
|
|
|
262 |
|
"I Have Been to Eliot's Cocktail Party,
But..."
|
[1950] |
|
|
|
|
263 |
|
"The Prisoner"
|
[1950] |
|
|
|
"A Walk...1940"
|
[1950] |
|
|
|
|
264-266 |
|
From Beowulf to Virgina Woolf |
[1951] |
|
|
|
|
267 |
|
"A long long time ago, when I was a
child"
|
[1951] |
|
|
|
"The Earthquake in the West"
|
[1949] |
|
|
|
"Four Sonnets"
|
[1948] |
|
|
|
"A Fable of the War"
|
[1949] |
|
|
|
"A Harvest-Home"
|
[1951] |
|
|
|
"High Thought": a review of Kenneth
Burke'sA Rhetoric of Motives |
[1950] |
|
|
|
"Reflection"
|
[1951] |
|
|
|
"The Second-best Bed"
|