Lawrence P. Spingarn

Journal Issue

Variegation, Vol. III, No. 2 (Spring 1948)

Edge of Doom and Geometric Survival give the issue a strong interest in shifting scenes and states of mind.

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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. 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. 1 (Summer 1950)

Rain Forest and The Champions of Apartheid give the issue a strong interest in water and weather.

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Journal Issue

California Quarterly, Vol. 1, No. 1 (Autumn 1951)

The Place Called Choice: Overture and Part One gives this issue its argumentative center, with E. P. Thompson setting the terms.

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Journal Issue

California Quarterly, Vol. 1, No. 3 (Spring 1952)

The Crisis in Books gives this issue its argumentative center, with Angus Cameron setting the terms.

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Journal Issue

California Quarterly, Vol. 2, No. 2 (Winter 1953)

No Art Is Neutral gives this issue its argumentative center, with Charles Humboldt setting the terms.

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Journal Issue

Recurrence, Vol. VII, No. 27 (Winter–Spring 1957)

Lines for Artemis and Garden at Nightfall give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Trace, No. 35 (Jan–Feb 1960)

Censorship by Sensation the Case Against Publishers by Lawrence P. Spingarn gives Trace no. 35 its clearest point of entry, while Dragon Book by Eric Cashen and The International Guide widen the issue’s field.

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Journal Issue

Trace, No. 40 (Jan–Mar 1961)

Carillon gives Trace no. 40 its clearest point of entry, while The Weft of Experience in F. Scott Fitzgerald by R. E. Bachelor and Towards Print by Curtis Zahn widen the issue’s field.

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Journal Issue

Trace, No. 41 (April–June 1961)

From the Jungle Floor by Mary Graham Lund gives Trace no. 41 its clearest point of entry, while Towards Print by James Boyer May and The Co-Created Light by Alfred Dorn widen the issue’s field.

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Journal Issue

Trace, No. 42 (Summer 1961)

Talks to G. V. Stillman by Mark Van Doren gives Trace no. 42 its clearest point of entry, while Towards Print by James Boyer May and Selected from Epigrams for a Poetry Workshop by Lewis Turco widen the issue’s field.

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Journal Issue

Trace, No. 43 (Autumn 1961)

Thoreau’s Walden Ms gives Trace no. 43 its clearest point of entry, while Towards Print by Curtis Zahn and *(. . .

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Journal Issue

Trace, No. 44 (Winter 1962)

Poetry of Circumstance gives Trace no. 44 its clearest point of entry, while Towards Print by Curtis Zahn and (Are Littlemags Our Final Voice?) by Curtis Zahn widen the issue’s field.

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Journal Issue

Coastlines, Vol. VI, No. 1–2 (1964)

How Would You Like It If You Looked Like an Unfried Doughnut? gives this issue its argumentative center, with Barding Dahl setting the terms.

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Journal Issue

Trace, No. 72–73 (Autumn 1970)

Towards Print by James Boyer May gives Trace no. 72–73 its clearest point of entry, while TO DO or NOT TO DO by Hale Chatfield and Fragment from Second Lifetime by Will Slotnikoff widen the issue’s field.

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Journal Issue

Bachy, No. 6 (1975)

Quartet for my Lover on a Sentimental by Patricia Eakins sets the first measure of the issue.

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