Joseph Joel Keith

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RELATED EDITIONS

Journal Issue

Variegation, No. 1 (January 1946)

In the Colors of the Heart and City Seen from an Airplane give the issue a strong interest in water and weather.

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Journal Issue

Variegation, No. 2 (April 1946)

Marcia Masters’s 3-poem run, from Little Town to Lilac, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. II, No. 2 (Spring 1947)

Marcia Masters Jennings’s 3-poem run, from Little Biography to Spring Ride and Wood Song, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. III, No. 1 (Winter 1948)

Frank Bernard’s 3-poem run, from Fog at Night to Emporium, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. III, No. 3 (Summer 1948)

Lawrence P. Spingarn’s 3-poem run, from Claustrophobe to The Climate Within, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. IV, No. 1 (Winter 1949)

John Atkins’s 3-poem run, from The Flags are Out to The Dry Soul, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. IV, No. 3 (Summer 1949)

Mary Pearson’s 3-poem run, from For a Blind Man to Prelude to a Storm, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. V, No. 1 (Winter 1950)

Soap Bubble and Assignments give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. I, No. 2 (Autumn 1950)

The Lighthouse and The Usual Song give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VI, No. 4 (Autumn 1951)

Dayspring and Assignments give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. III, No. 12 (Spring 1953)

Carol Hogben’s 3-poem run, from My Summer Stranger to Life Lane, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. VIII, No. 30 (Spring 1953)

Ada Davies’s 3-poem run, from Years after Thirty to Through the Windshield, gives this issue its clearest formal center.

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Journal Issue

Recurrence, Vol. IV, No. 14 (Autumn 1953)

Largesse and Proverb Reconsidered give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. IV, No. 15 (Winter 1954)

Wind and Tumultuous Altars give the issue a strong interest in water and weather.

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Journal Issue

Recurrence, Vol. IV, No. 16 (Spring 1954)

The Myth and The Pigeons give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. V, No. 18 (Autumn 1954)

Advent and Mutation give the issue a strong interest in natural observation.

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Journal Issue

Recurrence, Vol. VI, No. 23 (Winter 1956)

Eleanor Glenn Wallis’s 3-poem run, from Whooping Cranes to The Hunter, gives this issue its clearest formal center.

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Journal Issue

Recurrence, Vol. VII, No. 25 (Summer 1956)

The Friends and Morning in Monotone give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, No. 28 (February 1959)

Vent de Mai and Femme Immolée give the issue a strong interest in water and weather.

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Journal Issue

Trace, No. 30 (Feb–Mar 1959)

Dylan Thomas and Wales Magazine by David Clay Jenkins gives Trace no. 30 its clearest point of entry, while A List of Dylan Thomas’s Contributions to Wales and Towards Print by Gil Orlovitz widen the issue’s field.

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