The Collected Essays of Robert Creeley |
INTRODUCTION |
I— HEROES/ELDERS |
• | Introduction to Penguin Selected Whitman |
• | Hart Crane and the Private Judgment |
• | The Letters of Hart Crane |
• | A Note on Ezra Pound |
• | Why Pound!?! |
The Release |
• | 1 |
• | 2 |
• | William Carlos Williams: Selected Essays |
• | A Character for Love |
• | The Fact |
• | Foreword to The Manuscripts and Letters of William Carlos Williams |
• | "paradise/our/speech . . ." |
• | Louis Zukofsky: All: The Collected Short Poems, 1923–1958 |
• | A Note |
• | All Ears Hear Here |
• | For L.Z. |
• | A Personal Note |
• | A Note on Basil Bunting |
• | Basil Bunting |
• | H. D. |
• | Here |
II— THE COMPANY |
Introduction to The New Writing in the USA |
• | 1 |
• | 2 |
• | 3 |
• | 4 |
• | Charles Olson: Y & X |
• | Charles Olson: In Cold Hell, in Thicket |
• | Preface to Mayan Letters |
• | Charles Olson: The Maximus Poems, 1–10 |
• | Olson & Others: Some Orts for the Sports |
Some Notes on Olson's Maximus |
• | 2 |
• | 3 |
• | 4 |
• | 5 |
• | 6 |
• | Introduction to Charles Olson: Selected Writings I |
Introduction to Charles Olson: Selected Writings II |
• | 2 |
• | 3 |
• | 4 |
• | 5 |
• | "A Foot Is to Kick With" |
• | "An Image of Man . . .": Working Notes on Charles Olson's Concept of Person |
• | Charles Olson's Masterwork |
• | "A Light, a Glory, a Fair Luminous Cloud" |
• | "To Disclose That Vision Particular to Dreams" |
• | Preface to Robert Duncan: A Descriptive Bibliography |
• | "An Intensely Singular Art" |
• | Edward Dorn in the News |
• | Edward Dorn's Geography |
• | Preface to Selected Poems |
• | The New World |
• | For Michael |
• | Preface to Against the Silences |
• | "How Is It Far If You Think It?" |
III— THE WRITING LIFE |
• | Kenneth Patchen: Fables & Other Little Tales |
• | A Note on Canadian Poetry |
• | Canadian Poetry 1954 |
• | D. H. Lawrence: Studies in Classic American Literature |
• | Witter Bynner: Journey with Genius |
• | Louis-Ferdinand Céline: Guignol's Band & John Hawkes: The Goose on the Grave |
"By God, Pomeroy, You Here!" |
• | A Note on Francis Parkman |
• | Waiting for Godot |
Ramón Sender: Two Novels |
• | 2 |
On Love |
• | 2 |
• | The Journals of Jean Cocteau |
• | Kenneth Rexroth: In Defense of the Earth |
• | Edward Dahlberg: The Sorrows of Priapus |
• | Evergreen Review , Nos. 1 and 2 |
• | "To Build Castles in Spain" |
• | "Her Service Is Perfect Freedom" |
• | A New Testament |
• | Ways of Looking |
• | The Fascinating Bore |
• | Preface to Sticks and Stones |
• | "Think What's Got Away . . ." |
• | The Beat Voznesensky |
• | Judson Crews |
• | A Note for Thread and Fielding Dawson |
• | A Note for Kenneth Irby |
• | Frederick Eckman: The Epistemology of Loss |
• | A Note for These Poems . . . |
• | Rainer Gerhardt: A Note |
• | Introduction to Thongs |
• | AM |
• | Introduction to Krazy Kat/The Unveiling & Other Stories |
• | For Diane |
• | Foreword to The Sterile Honeycomb |
• | Gee Gerry G . . . |
• | Lew |
• | A Note for Hilda Morley: A Blessing outside Us |
• | Foreword to Sojourner Microcosms |
• | Introduction to The Manner Music |
• | Preface to Nolo Contendere |
• | Preface to The Blind Receptionist and Other Poems |
• | Foreword to Running Grass: Poems 1970–1977 |
• | Xmas As in Merry |
• | Poetry of Commitment |
• | First Prize |
• | Cowboys and Indians |
• | Ted Berrigan's Death |
• | William Corbett: Two Books |
• | No Matter What: A Note for Collected Poems |
• | An Afterword to Splendide-Hôtel |
• | The Gentle on the Mind Number |
• | With Crusoe, on Familiar Shores |
• | Kenneth Koch's Selected Poems, 1950–1982 |
• | Gone Fishing |
• | From the Language Poets |
• | A True Poet |
• | Preface to The Leafless American |
• | Foreword to The Collected Poems of Marsden Hartley |
• | Foreword to Trumpets from the Islands of Their Eviction |
IV— ARTISTS |
• | On the Road: Notes on Artists & Poets, 1950–1965 |
• | Divers Sentiments |
• | René Laubiès: An Introduction |
• | A Note on Franz Kline |
• | Philip Guston: A Note |
• | Harry Callahan: A Note |
• | A Note |
• | Feedback: "Contemporary Voices in the Arts" |
• | John Chamberlain |
• | Frank Stella: A Way to Go |
• | "Mehr Licht . . ." |
• | Ecce Homo |
Three Films |
• | 1— Western History , Stan Brakhage |
• | 2— Domicile , Gary Doberman |
• | 3— Short Films 1975 , Stan Brakhage |
• | Bill the King |
• | "Some Place Enormously Moveable": The Collaboration of Arakawa and Madeline H. Gins |
• | Introduction to Larry Bell: New Work |
• | Memories of John |
• | My New Mexico |
Jim Dine/Five Themes |
• | Hearts |
• | Robes |
• | Tools |
• | Gates |
• | Trees |
• | Face It |
• | Seeing Things: Preface to Scopophilia |
• | Foreword to The Poet Exposed |
V— AUTOBIOGRAPHY AND POETICS |
• | A Note on the Objective |
Notes for a New Prose |
• | 2 |
• | 3 |
• | 4 |
• | How to Write a Novel |
• | To Define |
• | A Dilemma |
• | A Note |
• | A Note on the Local |
• | A Quick Graph |
• | "Statement" for the Paterson Society |
• | Why Bother? |
• | A Sense of Measure |
• | "Poems Are a Complex" |
• | A Statement about the Poem "The Name" |
• | Notes Apropos "Free Verse" |
• | "I'm given to write poems" |
• | The Black Mountain Review |
• | The Writer's Situation |
Writing |
• | I |
• | II— Contexts of Poetry[fn*]II— Contexts of Poetry |
• | A Postscript |
• | On the New Cultural Conservatism |
• | The Creative |
Inside Out |
• | Notes on the Autobiographical Mode |
• | Foreword to Robert Creeley: An Inventory, 1945–1970 |
Last Night |
• | Random Thoughts on San Francisco, March–June 1956 |
• | Was That a Real Poem or Did You Just Make It up Yourself? |
• | A Note for Hello |
• | Letter from Berlin |
• | Berlin, Etc. |
• | Form |
INDEX |
• | A |
• | B |
• | C |
• | D |
• | E |
• | F |
• | G |
• | H |
• | I |
• | J |
• | K |
• | L |
• | M |
• | N |
• | O |
• | P |
• | R |
• | S |
• | T |
• | V |
• | W |
• | Y |
• | Z |