Fiction

Journal Issue

Coastlines, Vol. V, No. 2 (1962)

Art and the Artist gives this issue its argumentative center, with Miller Williams setting the terms.

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Journal Issue

Coastlines, Vol. V, No. 3 (1962)

The (Guest) Editor’s Uneasy Chair gives this issue its argumentative center, with Curtis Zahn setting the terms.

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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

Trace, No. 47 (Fall–Winter 1962)

An Hour with Ionesco by Gabriel d’Aubarède gives Trace no. 47 its clearest point of entry, while When Will You Understand That in so Far as Present Use Is Concerned, the Novel as… by the Novel as We Now Concerned and Towards Print (the Word — ) by Curtis Zahn by Curtis Zahn widen the issue’s field.

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Journal Issue

Trace, No. 45 (Spring 1962)

A New Epistle: Creativity in the Sixties by James Boyer May gives Trace no. 45 its clearest point of entry, while Towards Print for Trace’s Next Ten Years by James Boyer May and A Close Look at the Actors widen the issue’s field.

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Journal Issue

Trace, No. 46 (Summer 1962)

Weird gives Trace no. 46 its clearest point of entry, while That No One Is Watching! and The Simile by Marvin H. Bell widen the issue’s field.

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Journal Issue

Coastlines, Vol. V, No. 4 (1963)

Archie and the Ninth Dry Hole gives this issue its argumentative center, with Barding Dahl setting the terms.

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Journal Issue

Trace, No. 51 (Winter 1963)

Metrics Revisited by Barney Childs gives Trace no. 51 its clearest point of entry, while Prophecy and the Art of Language by Marvin Bell and Towards Print by A. Fredric Franklyn widen the issue’s field.

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Journal Issue

Trace, No. 48 (Spring 1963)

In Poetry, Man Travels’ by John Gould Fletcher gives Trace no. 48 its clearest point of entry, while Towards Print (now the Pudding) by James Boyer May and From October Letters of an Editor Expatriate by Margaret Randall de Mondragon widen the issue’s field.

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Journal Issue

Trace, No. 50 (Autumn 1963)

The New Music of the Spheres by Mary Graham Lund gives Trace no. 50 its clearest point of entry, while Towards Print by James Boyer May and Clearing the Ground 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. 55 (Winter 1964)

Modern Poetry’s Own Trajectory by Richard O’Connell gives Trace no. 55 its clearest point of entry, while Towards Print by James Boyer May and Urges ‘ Reader-Activation ’ Magazines widen the issue’s field.

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Journal Issue

Trace, No. 52 (Spring 1964)

Old Men & New Tools by Max Halperen gives Trace no. 52 its clearest point of entry, while The Chinese Cantos of Pound by Max Halperen and Between Kung and Eleusis by la Dorata Under the Golden Roof widen the issue’s field.

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Journal Issue

Trace, No. 53 (Summer 1964)

Under the Figlinden Leaf by Thomas Morrill gives Trace no. 53 its clearest point of entry, while ‘Superman’ to Zombie and ‘Party Death’ widen the issue’s field.

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Journal Issue

Trace, No. 54 (Autumn 1964)

Towards Print (from Individual Norm to Primal Norm) by Wai-lim Yip gives Trace no. 54 its clearest point of entry, while IV and V widen the issue’s field.

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Journal Issue

Trace, No. 58 (1965)

Towards Print (self-reflections of the Literary Tomorrow) by James Boyer May gives Trace no. 58 its clearest point of entry, while The Failure by John Tryford and (An Autobiographical Essay) by John Tryford widen the issue’s field.

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Journal Issue

Trace, No. 56 (Spring 1965)

Academia & the Young Poet as Breadwinner by William Heyen gives Trace no. 56 its clearest point of entry, while After Reading Auden’s the Sphinx by Lee Malone and Towards Print (in Trace) by James Boyer May widen the issue’s field.

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Journal Issue

Trace, No. 57 (Summer 1965)

No Brake Signals by James Boyer May gives Trace no. 57 its clearest point of entry, while Neoteric Verbalizings Run On by James Boyer May and Bierce to Miller widen the issue’s field.

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Journal Issue

Trace, No. 59 (Winter 1966)

The Creative Window continued gives Trace no. 59 its clearest point of entry, while Essays & Articles and The Imagination of the Amateur by Felix Stefanile widen the issue’s field.

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Journal Issue

Trace, No. 62–63 (Fall–Winter 1966)

Poetry Continued by Randall Parham gives Trace no. 62–63 its clearest point of entry, while SUBIR 56 00000000000000000000000 0c and SEUUIRER 6 o 0 0000000000000000000000C widen the issue’s field.

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Journal Issue

Trace, No. 60 (Spring 1966)

Towards Print (a Bit of Plain Talk) by James Boyer May gives Trace no. 60 its clearest point of entry, while Saroyan at 57 by Felix Singer and The Daring Young Man After the Fall by Felix Singer widen the issue’s field.

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Journal Issue

Trace, No. 61 (Summer 1966)

The Creative Window continued gives Trace no. 61 its clearest point of entry, while ESSAYS & ARTICLES DO MAGAZINES CULTURE (?), by Rajat Neogy ... ... ... ... 121 THE… by A. Fredric Franklyn and FINANCIAL & EDITORIAL FREEDOM, by Charles Robinson ... ... ... 240 by Charles Robinson widen the issue’s field.

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Journal Issue

Trace, No. 64 (Spring 1967)

Academia & the Little Magazine by Charles Robinson gives Trace no. 64 its clearest point of entry, while The Certainties by A. Fredric Franklyn and Towards Print (the World in Poetry) by James Boyer May widen the issue’s field.

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Journal Issue

Trace, No. 65 (Summer 1967)

An Overview: The Spanish American Little Magazine Scene by Hugh Fox gives Trace no. 65 its clearest point of entry, while Pensées Art Pop by Gil Orlovitz and Towards Print by James Boyer May widen the issue’s field.

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