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The article focuses on the exchange between Donna Stonecipher and Joshua Weiner regarding Donna's consistent and coherent work in poetry, her early influences, and the evolution of her writing style. Topics discussed include the neurological basis for poetic tendencies, the role of sentences as architectural units in poetry, and the protective nature of prose poems for Donna in avoiding the pitfalls of line breaks.

The article presents an interview with F. Whitney Jones, who served as the president of the Jargon Society from 1977 until Jonathan Williams' passing in 2008. Topics discussed include Jones' background and how he became involved with Jargon, the transition of Jargon into a nonprofit organization, and the fundraising efforts for Jargon publications.

The article focuses on the life and poetry of Besmilr Brigham, particularly her collection "Run Through Rock," which offers insights into her unique writing style and her deep connection to place. Topics discussed include her unconventional path to recognition, her distinct poetic voice, and the enduring value of her work, emphasizing the importance of connecting with readers through poetry.

The article focuses on the DIY ethos of small press poetry publishing in the Bay Area, emphasizing the intimate, community-driven nature of the scene. Topics discussed include the prevalence of living room readings, the intertwining of publishing activities with personal lives, and the challenges posed by the Bay Area's economic constraints on poet-publishers.

The article presents an interview with poet, playwright, editor, and educator Patricia Spears Jones, discussing her involvement in the 1970s New York City poetry scene, her magazine "W. B. #1," and the challenges of diversity in that era. Topics discussed include the multicultural ethos of her projects, a protest against The American Poetry Review, and the creation of the anthology "Ordinary Women" to showcase diverse voices in women's poetry in New York City.

An obituary for poet and painter Stephen Rodefer is presented.

An essay is presented which discusses the place of rhetoric in contemporary American poetics is presented. It explores some important limitations of the experimental traditions that have emerged out of Modernism. The author also reports on the attempts being made by some younger American poets to reverse the Modernist expulsion of rhetoric from lyric practice.

The article presents a reprint of the interview with poet Kenneth Rexroth published in the first issue of the periodical "Conjunctions." When asked about poet Thomas Merton, Rexroth stated that he was fond of him but his poetry was technically soft. He believed Denise Levertov as the best contemporary American poet. He regarded poet Tennessee Williams as his personal friend.

The article presents several letters written by poet Kenneth Rexroth to poet Jonathan Williams. Williams, who sought Rexroth's advice on many occasions, founded the Jargon Society at the Black Mountain school, which published Rexroth's "One Hundred Poems" from the French in 1955. Williams gained an invaluable literary education from Rexroth. In one of the letters, Rexroth acknowledges Williams for his letter and the two booklets of poet Charles Olson. Rexroth opines that the practice of poetry requires tremendous natural endowment with a prophetic frenzy.

The article presents the author's views on the works of poet Kenneth Rexroth. Some of Rexroth's books including "Leaves of Grass," "Creeley's For Love," and in "Defense of the Earth" are termed as old jewel boxes. Rexroth asks his readers to remember the names of their old friends and what happened to them. He was a rebellion since he was young, which is evident from his poems. Rexroth began writing reviews, and brought more and more books into his apartment in San Francisco, California.

The article presents several letters written by poet Kenneth Rexroth to anarchist poet George Woodcock, which are an outgrowth of shared values. Like Rexroth, Woodcock was a prominent figure in the literary wing of the anarchist movement that had dissented against World War II. After the war, Rexroth contributed to Woodcock's anarchist-pacifist magazine "Now" and carried on a lively exchange of letters with the Canadian-born Woodcock. Woodcock shared Rexroth's view that art itself was an expression of the anarchist ideal.

The article presents several letters written by poet Kenneth Rexroth to poet D.S. Savage, which are fueled by their desire to provoke new values and standards for society during the 1940s. Savage, a wartime conscientious objector, worked for years in low-paid jobs while raising a family and establishing himself as a fiercely independent poet and critic. Rexroth found Savage's radical humanism fit against what he considered to be the dominant Anglo-American orthodoxy in literature. He admires Savage's literary study, "The Personal Principle," and shared the young poet's conviction that genuine community transcends economic and social differences and sanctions the inner value of persons.

The article presents several letters written by poet Kenneth Rexroth to anarchist poet Herbert Read. Rexroth greatly admired Read after they first met in 1949 in England and even wrote a laudatory introduction for the New Directions edition of Read's novel "The Green Child," in 1966. However, these letters suggest considerable disillusionment with this milieu following his 1949 visit. Rexroth's letters to Read chart a process of repositioning in which, faced with perceived rising middle-class hegemony in the wake of World War II, Rexroth falls back on individualism as the one refuge in which working-class identity and anarchist militancy might be sustained.

The article presents three letters written by poet Yvor Winters to poet Kenneth Rexroth following Rexroth's participation in the 1936 Western Writers Conference in California. Rexroth delivered a lecture titled "The Function of the Poet in Society," keeping Winters directly in mind. Each responsible in his own way for the flourishing of California's literary culture in the twentieth century, Rexroth and Winters differed both in temperament and literary judgment. Rexroth maintained a closer relationship with Winters, offering a poem in his style, "A Letter to Yvor Winters," in his collection "In What Hour."

The article presents several letters written by poet Kenneth Rexroth to poet Weldon Kees in which the poets, both committed pacifists, debated ways to resist the World War II. In on of the letters, Rexroth writes that a position of personal pacifism is not enough considering the gravity of the situation at that time. Rexroth advises Kees to keep in correspondence with everybody he knows who will stand with them. Rexroth also suggests Kees that if he has any influence with any editors of little magazines, he should pester them to put out an antiwar poetry immediately.

The article presents two letters written by poet Kenneth Rexroth to poet Louis Zukofsky following Zukofsky's solicitation for Rexroth's poetry for the 1931 issue of the "Poetry" magazine. Like Rexroth, Zukofsky was deeply invested in philosophy and was an ardent Marxist. Zukofsky sought to use his issue of "Poetry" to launch a new poetic "movement," the "Objectivists," and laid out its defining terms in the polemical essay "Sincerity and Objectification." While Zukofsky published Rexroth in his next publications, the two men rarely saw each other in person on issues of poetics.

The article focuses on the letters written by American poet Kenneth Rexroth to another poet and friend Louis Zukofsky in early 1931. In these letters, Rexroth got engaged with the most important literary and political events of the last century. A kind of self-possession and sheer intellectual bravado bristles from the pages of this correspondence that inspires a kind of fascinated awe. Following his early experiments with cubist writing, work that Zukofsky included in the famous 1931 Objectivists issue of the "Poetry" magazine, Rexroth adopted a style mostly at odds with the knotty modernism that defined advanced artistic practice during his youth.

This article presents information about the writing style of American poet James McMichael. McMichael was a favorite of his teacher Yvor Winters's during his graduate school years at Stanford University, Palo Alto, California. He had arrived there with a B.A. from the University of California, Santa Barbara, whose English department had been colonized by Winters's former students. While Winters left his stamp on many younger poets, McMichael was among his truest disciples. They shared a certain wariness of emotional extremes, a disposition that lent itself to similar styles of formal restraint. While McMichael was to rebel against Winters by taking up the Surrealism-inflected poetics popular in the early 1970s, the rebellion would eventually reverse itself to some extent. In 1967, McMichael published his first book, "The Style of the Short Poem," which aimed to popularize Winters's ideas about poetry for an undergraduate audience. McMichael also embraces Winters's call for authorial control and a poetics of statement. He thinks of a poem as a statement in words. The metrics of McMichael's early poems can also be taken as a sign of how long a shadow Winters cast over the young poet-critic. The poems are often in strict syllabics and at that time, it was considered quite daring to write in syllabics.

The article presents a selection of American poet Louis Zukofsky's correspondence during the period 1930-1976. Louis Zukofsky carried on an energetic correspondence from the late 1920s until his death in 1978. He seldom allowed a letter to go unanswered, and he often wrote quite lengthy ones. The range of his correspondents is striking: Paul Blackburn, Kenneth Burke, Robert Creeley, Guy Davenport, Diane di Prima, Robert Duncan, T. S. Eliot, Robert Kelly, Hugh Kenner, Lincoln Kirstein, Ezra Pound, Henry Rago, Jerome Rothenberg, Gilbert Sorrentino, Frances Steloff, Charles Tomlinson, Mark Van Doren, Yvor Winters.

The article presents a discussion on American poet Louis Zukofsky's transliterations of ancient Roman poets Gaius Valerius Catullus and Titus Maccius Plautus. The complete "Catullus" he made in collaboration with Celia Zukofsky and ""A"-21," his version of Plautus's "Rudens," together comprise all the major-length poetic translating Louis Zukofsky ever did. Nearly half a century hence, these two transliterations from the Latin still enjoy the status of a problem. Both Catullus and Plautus translated or adapted Greek poems to make poems of their own in Latin. It is tempting to press the possible connections between Zukofsky's own multiphrenic nexus of linguistic and cultural affinities and those of the poets whose Latin he translated.

The article presents a biography of Louis Zukofsky, an American poet. Louis Zukofsky enrolled as a freshman at Columbia University, New York, in January 1920, a few weeks before his sixteenth birthday. His youth was not particularly unusual; the New York public schools, under pressure from the rising population, were more than ready to let bright students skip grades and graduate early. That he was attending the elite Columbia rather than a public university was a measure both of Zukofsky's talents and his ambitions, but it required a certain amount of sacrifice on his parents' part. Zukofsky spent a little over four years as a student at Columbia University. He received his master's degree in June 1924.

This article presents information on the book "Robinson Jeffers: The Man From Whom God Hid Everything." Poet Robinson Jeffers was lyrically striking if frequently obtuse, he is probably the most prolific modern poet still in print; his five-volume Complete Poetry contains over 2,500 pages. Popular early in his career, he died largely loathed. A glamorous loner, he lived like a reclusive movie-star/wizard in a stone tower by the sea. A wife-stealing adulterer, he was a devoted husband, father, family man. He was a Protestant pagan, an Abrahamic soothsayer, a humanloathing God-disdainer, as theologically reckless and incisive as he was humble in the face of the natural world. Jeffers seems better than a good poet, if not altogether great. But his virtues, especially his attitudes toward understanding the divine, are illuminating in any reckoning of what is best in twentieth-century American poetry. His life in poetry was resolutely maverick, and deeply strange. He knew himself especially through the avian world, not as a hawk; even though he made totems of the raptors; but as a gralliform, a solitary night heron.

Presents an interview with poet Edward Hirsch. Impact of father's absence; Love for music in a minor key; Influences from theories of uncertainty; List of poets admired; Metaphysics of Jewish writing.

Discusses the poetry of the American writer Glenway Wescott. Biographical information; Individuals who influenced Wescott in the direction of Imagist poetry; Discussion of poems such as 'The Quiet Land,' 'The Summons' and 'Black Art'; Writing of poems and reviews for little magazine while living part of the time in New York and part in Europe; Poems that reaffirmed Wescott's development since publication of 'The Bitterns.'

Discusses the sonnets of American poet Frederick Goddard Tuckerman. Poetic link between 19th-century British poetry and the American poetry of the early 20th-century; Employment of the technique of ending a poem with an image that gives a powerful sense of closure while at the same time opening the poem up to larger and more ambivalent resonances; Literary influences; Sense of imagery and metaphor in some of Tuckerman's sonnets; Reasons why Tuckerman has not received the acclaim he deserves.

Discusses the life and works of the American poet Edwin Muir. Biographical information; Muir's writing of poetry after having launched himself as a critic and essayist; Recurrence of the legend of Troy in Muir's poetry; Pieces in the 1924 collection of essays 'Latitudes'; Series of poems written in the 1940s about imaginary homecomings and original places; View of Muir's career as a struggle against the cry of historical necessity over the life of the individual.

The article presents a discussion on the marginalia, or writings, annotations, and other markings in the margins of the books in the library of Louis Zukofsky. Zukofsky frequently, even inveterately, marked in his library, those lines or phrases that appealed to, or interested him. While his marginalia are in no way extensive and discursive, they nevertheless provide insight into his thinking. One could view Zukofsky's marginalia not only as a window into his extant work, but also as the grist, or perhaps even sketches, towards a yet to be written compendium.

The article focuses on a lecture given by poet Randall Jarrell in at the San Francisco, California Museum of Art on October 3, 1956. The author provides background information on Jarrell's education, career, and awards, discusses the tragedy in his poetry, and compares his work to that of poets T. S. Eliot and Matthew Arnold.

Presents five black and white portraits of American poet Louis Zukofsky by Elsa Dorfman.