American poetry

Explore every reader’s edition connected with this part of the journals archive.

RELATED EDITIONS

Journal Issue

Recurrence, Vol. I, No. 3 (Winter 1951)

Josephine Miles’s 4-poem run, from Source to Room, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. VI, No. 1 (Winter 1951)

Van Gogh and Prelude to Divorce give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. I, No. 4 (Spring 1951)

Myron H. Broomell’s 3-poem run, from The Porch to In Time of Peace, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. VI, No. 2 (Spring 1951)

Marcia Masters’s 3-poem run, from At the Grave of My Father, Edgar Lee Masters to Transitions, gives this issue its clearest formal center.

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Journal Issue

Recurrence, Vol. LI, No. 5 (Summer 1951)

The Tennis Court and In the Misty Night give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VI, No. 3 (Summer 1951)

A Garden Plot of Ephemerals and Dirge for a Dead Manuscript give the issue a strong interest in shifting scenes and states of mind.

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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

Recurrence, Vol. LI, No. 6 (Autumn 1951)

The Prophet of Darkness and The Phenomenon 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

California Quarterly, Vol. 1, No. 2 (Winter 1952)

A Place Called Choice: Second, Third and Fourth Parts gives this issue its argumentative center, with E. P. Thompson setting the terms.

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Journal Issue

Recurrence, Vol. II, No. 7 (Winter 1952)

A History of Philosophy and Charm for Raising the Adversary give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VII, No. 25 (Winter 1952)

Hanson Kellogg’s 3-poem run, from Palomar to New Year’s Eve, gives this issue its clearest formal center.

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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

Recurrence, Vol. II, No. 8 (Spring 1952)

Pastoral and To a Cat, Not Royal give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VII, No. 26 (Spring 1952)

The Room and Convalescence give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

California Quarterly, Vol. 1, No. 4 (Summer 1952)

To Readers and Writers gives this issue its argumentative center.

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Journal Issue

Recurrence, Vol. III, No. 9 (Summer 1952)

Eleanor Glenn Wallis’s 3-poem run, from The Phoenix to Interval of Frost, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. VII, No. 27 (Summer 1952)

Ada Davies’s 3-poem run, from Inwardness to No Return, gives this issue its clearest formal center.

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Journal Issue

California Quarterly, Vol. 2, No. 1 (Autumn 1952)

Things of the Earth gives this issue its argumentative center, with Nelson Algren setting the terms.

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Journal Issue

Recurrence, Vol. III, No. 10 (Autumn 1952)

No Return and Day of Rest give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, No. 28 (Autumn 1952)

The Island of Seven Cities and Correction Relating to the Summer Editorial give the issue a strong interest in shifting scenes and states of mind.

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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. III, No. 11 (Winter 1953)

Flying Fish and Weapon and Shield give the issue a strong interest in seasonal change.

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Journal Issue

Variegation, Vol. VIII, No. 29 (Winter 1953)

Cecil Kyle’s 4-poem run, from Retreat to Ascent, gives this issue its clearest formal center.

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