Conjunctions 1–57
John Abercrombie. An Interview with David Starobin Conducted by Bradford Morrow (16:107-121).
Cecile Abish. Fogg, photographs; Chinese Crossing, photographs (9:113-120).
Walter Abish. What Else (1:105-119); Spanish Sky (2:190); The Fall of Summer (7:110-141); Just When We Believe That Everything Has Changed (8:125-131); I Am the Dust Under Your Feet (10:7-33); Skin Deep (13:242-256); Reading Kafka in German (14:21-39); Shanghai (37:190-209).
Chinua Achebe. An Interview Conducted by Bradford Morrow (17:7-29).
Kathy Acker. The Beginning of the Life of Rimbaud (14:150-165); From My Mother (17:54-73); Writing Praxis (21:303-304).
Diane Ackerman. Complaint on her Cat (18:121-122); Give and Go (46:64-69); Owl Puke (49:83-85).
John Adams. An Interview Conducted by Aaron Jay Kernis (19:174-191).
Chimamanda Ngozi Adichie. My American Jon (48:231-240).
Adonis. Poetry and Apoetical Culture (translated from French by Esther Allen) (19:303-311).
Julie Agoos. I Remember Her as a Study in Red (41:341).
Anna Akhmatova. Poems and Fragments 1909-64 (translated from Russian by Roberta Reeder with Volodymyr Dibrova) (31:264-78).
Alai. Two Stories (translated from Chinese by Karen Gernant and Chen Zeping) (44:169-189).
Anne-Marie Albiach and Charles Bernstein. Travail Vertical et Blanc and Work Vertical and Blank (23:207-214).
Will Alexander. Bob Kaufman: The Footnotes Exploded (29:211-216); Fishing as Impenetrable Stray (35:393-96).
Urs Allemann. Jo’s Murder Game (translated from German by Patrick Greaney) (58:332-342).
Hilton Als. The Furies (16:71-75).
Julia Alvarez. Our Father (34:271-81); Anita’s Diary (38:23-47).
Gregory Amenoff. Untitled oil painting, cover #12.
Jonathan Ames. Home, Jeeves! (36:226-44).
M. T. Anderson. Nine Yelps from the Eisteddfod of Idiots (43:337-343).
Bruce Andrews. Seven Poems (15:283-288).
Anonymous. The Abraham Pixler Family, 1815, watercolor, pen, iron gall ink, and gouache on off-white laid paper, 10" x 18", front cover #57.
David Antin. How Long is the Present (1:146-164); Determination, Suspension, Diversion, Digression, Destruction (19:51-78); The Theory and Practice of Postmodernism: A Manifesto (21:335-343); The Messenger (41:256-260).
Robert Antoni. Papee Vince Tells of Magdalena and Barto (17:245-266); My Grandmother’s Story of the Buried Treasure and How She Defeated the King of Chacachacari and the Entire American Army with Her Venus-Flytraps (18:281-300); From Blessed is the Fruit (20:150-171); Rolling Beads (22:91-133); A World of Canes (27:334-347); co-editor with Bradford Morrow of Conjunctions: 27, The Archipelago.; My Grandmother’s Tale of How the Iguana Got Her Wrinkles, or The True Tale of El Dorado (34:399-417); At the End of the Road (44:302-310); Trial of the Satellite or How My Great-great-great-grandfather Almost Lost His Virginity on His Fifteenth Birthday (47:85-106); The Historic Voyage of the Rosalind (50:377-402).
Jacob M. Appel. The Resurrection Bakeoff (54:291-305).
Siah Armajani. Photograph.Open Door Buffet With Windows (7:180).
Rae Armantrout. Engines, with Ron Silliman (4:120-124); Covers (15:318-319); Two Poems (17:269-271); Three Poems (20:39-42); Two Poems (26:337-339); Three Poems (30:358-61); Four Poems (35:451-57); Three Poems (40:208-211); Two Poems (41:298-300); Four Poems (44:375-379); Four Poems (47:373-377); Shadowboxing (49:351-353); Three Poems (50:176-78); Six Poems (54:155-60); Two Poems (57:50-52); Five Poems (59:172-176).
Elizabeth Arnold. Three Poems (41:348-352).
Eve Aschheim. Internal (with fiction by Brian Evenson) (32:127-43).
John Ash. Two Essays: Why Do We Hate the Music of Our Time? and, In Praise of Charles Koechlin (16:240-252); Zho-Jan (18:59-66).
John Ashbery. I See, Said the Blind Man, As He Put Down His Hammer and Saw (4:30); A Fly (4:31); When the Sun Went Down (4:32); Problems (5:88); They Like (5:89); Destiny Waltz (5:90); Finnish Rapsody (10:91-92); Way of Life (15:140-143); It Must Be Sophisticated (19:209-212); And the Stars Were Shining (21:64-80). Two Poems (30:102-04); Three Poems (33:46-48); Four Poems (35:8-16); Five Poems (37:395-400); Three Poems (40:122-124); Three Poems (47:319-321); Three Early Works (with an afterword by Rosangela Briscese and David Kermani) (49:232-251); Some Silly Thing (50:470-71); Floating Away (51:166); Four Poems (55:57-60).
Robert Ashley. From Foreign Experiences (28:145-179).
Paul Auster. Hide and Seek, A Play in One Act (26:48-66); Accident Report (34:61-65); The Best Substitute for War (37:355-58); Translations of A Dozen Surrealist Poems by Paul Éluard, André Breton, Benjamin Péret, Antonin Artaud, Philippe Soupault, Robert Desnos, Louis Aragon, and Hans Arp (38:233-240); Tribute to William Gaddis (with Siri Hustvedt) (41:375-377).
Richard Avedon. John Ashbery, poet, New York, September 27, 1983 [photograph] (49:230).
Carol Azadeh. The Country Road (33:101-18).
Bernard Bador. Checkmate (6:221); Irritations (6:221); Archeology (6:222); Cancer Dreams (6:222). (translated from French by Clayton Eshleman.)
Donald Baechler. Rose, cover #19; Eight Collages (19:193-200).
Jon Robin Baitz. Amphibians (25:45-59).
Deborah Baker. On Richard Powers (8:255-260); On Steve Erickson (9:282); On Roger Omond (9:283).
Mary Jo Bang. Two Poems (51:148-50).
Russell Banks. Bunting (8:182); The Moor (34:441-47); Tribute to William Gaddis (41:379-380).
Amiri Baraka. Two Appreciations: Jackie Mc and David Murray (16:62-65); Black Reconstruction: Du Bois & the U.S. Struggle For Democracy & Socialism (29:63-80).
Djuna Barnes. Eighteen Poems (edited by Phillip Herring and Osias Stutman) (31:73-80).
Jack Barth. Songbirds (30:141-47).
John Barth. The First Voyage of Somebody the Sailor (15:7-24); The Novel In The Next Century (19:213-228); Preparing for the Storm (22:261-271); And Then One Day (22:271-286); Good-Bye to the Fruits (22:286-293); And Then There’s the One (30:312-28); A Detective and a Turtle (37:359-73); I’ve Been Told: A Story’s Story (44:8-40); Tear-Down (47:413-426).
Neil Bartlett. From Lady Into Fox, an intimate musical (music by Nicholas Bloomfield) (28:278-287).
Emily Barton. The Distillery (45:127-146).
Charles Baudelaire. From Flowers of Evil (translated from French by Keith Waldrop) (38:349-356).
Martin Bax. Twenty-One Ways of Loving Celestine (1:258-260).
Ann Beattie. The Big-Breasted Pilgrim (34:196-231); The Clouds, The Apples, Their Lives (57:125-132).
José Bedia. Si se pudiera (“If only I could”), acrylic on canvas, cover #27.
Sarah Belk. On Ernest Matthew Wickler (9:281-282); On Alison Armstrong (12:296-297).
Madison Smartt Bell. From The Head Cornerstone (41:77-102).
Matt Bell. His Last Great Gift (53:221-248); For You We Are Holding (55:202-208); The Migration (59:223-240).
Martine Bellen. Deception (14:46-47); Three Poems (15:261-266); The Letters (17:207-212); Four Kinds of Water (20:34-38); Renga (written by Bellen, Elaine Equi, and Melanie Neilson) (21:263-268); Calamity Jane (24:277-286); Dharma Bear (26:292-294). Co-editor with Lee Smith and Bradford Morrow of Conjunctions: 29, Tributes; Architectures (30:307-11); Two Poems (35:207-11); Seven Minds (37:141-53); Spiritual Mathematics (40:105-108); Seeing (41:49-50); Two Poems for Miyazaki (44:336-340); The Cyborg Suite (46:253-62); Tribute to H. D. (47:269-273); The Secret Conversing of Birds (49:213-215); Two Poems Inspired by the Dreams of Emily Dickinson (50:197-200); Hard Objects Found in People (53:312-314); Two Poems (58:36-37) (and audio).
Carlos Germán Belli. Variations for My Brother Alfonso (translated from Spanish by Rose Passalacqua) (23:111-114).
Aimee Bender. Interval (48:137-144).
Antonio Benítez-Rojo. From Marina 1936 (translated from Spanish by James Maraniss) (27:199-213).
Donald Berger. Scotch and an Orange (41:353-354).
Michael Bergstein. Three Requia (38:88-89); The Reincarnate (41:249-255).
Stephen Berkman. The History of Dread: A Guide for the Perplexed, albumen print from a wet-collodian negative, 11" x 14", front cover #54; Obscura Object albumen print from a wet-collodian negative, 11" x 14", back cover #54.
Mitch Berman. Orwell’s Bells, with Susanne Wah Lee (16:94-101).
Thomas Bernhard. Claus Peymann and Hermann Beil on Sulzwiese (translated from German by Gitta Honegger) (31:232-50); Walking (translated from German by Kenneth Northcott) (32:7-66); Heldenplatz (translated from German by Gitta Honegger) (33:307-408); Ave Virgil (translated from German by James Reidell) (53:35-57); A Conversation with Andrew Müller (translated from German by Adam Siegel) (55:329-362).
Charles Bernstein. Stunment (5:224); Misty (5:225); Bulge (5:226); Five Poems (11:175-177); Common Stock (14:40-43); Virtual Reality (15:258-260); State of the Art (17:199-207); Reading Red (35:183-89); A Dialogue with Mei-mei Berssenbrugge (35:190-201); The Meandering Yangtze (49:263-271); Three Poems (50:111-13); Recalculating (56:119-125).
Anselm Berrigan. Like the Blistered Exterior of a Sigh (49:395-398).
Jedediah Berry. Ourselves, Multiplied (52:130-151); Seven Stories (59:134-140).
Mei-mei Berssenbrugge. The Heat Bird (2:84-88); Alakanuk (4:125-127); The Star Field (6:35-36); Duration of Water (6:36); Texas (6:37); Empathy (7:169-172); Forms of Politeness (9:92-97); Chinese Space (10:209-210); The Margin (10:211-212); The Swan (10:212-214); Honeymoon, with drawing by Richard Tuttle (11:104-112); Irises (14:256-258); Ideal (15:137-139); Size (16:260-261); A Context of a Wave (17:42-54); Daughter (18:332-333); Pollen (20:135-149); The Four Year Old Girl (24:271-276); The Commission (26:330-332); Kali (28:46-50); Dressing Up Our Pets (33:97-100); Two Poems (35:175-82); A Dialogue with Charles Bernstein (35:190-201); Audience (37:69-72); The Mouse (48:313-316); Animal Communication (50:149-51); Glitter (54:252-54); Immortals Having a Party (59:198-201).
Jake Berthot. The Return and Woods (Cherry Hill), cover #41.
Doris Betts. Another Modest Proposal (51:238-44).
Sven Birkerts. Elizabeth Bishop’s Prose: Atmospherics of Identity (29:252-259); Tribute to William Gaddis (41:387-388); The Ghost of Electricity: The Dylan Face (46:263-74); Zvirbulis (49:222-228).
Elizabeth Bishop. Three Poems (edited by Alice Quinn) (31:323-26).
Gabriel Blackwell. The Little Death (53:150-170); The I and the It (56:211-220); The Last Film of Alan Smithee (58:88-94).
Sarah Blackman. Mother Box (57:119-124).
Brian Booker. Gumbo Limbo (50:179-96).
Leon Botstein. Music in Time of War (16:122-128).
Louise Bourgeois. Articulate Lair (with poems by Camille Guthrie) (32:267-78).
Paul Bowles. Earth by Mohammed Mrabet (translated from Arabic by Paul Bowles) (1:120-138); Massachusetts 1932 (5:122-126).
Catherine Bowman. Sylvia’s Honey (29:351-356).
Kay Boyle. Excerpt from a Long Poem in Progress, for Samuel Beckett (2:113-114).
Coral Bracho. Three Poems (translated from Spanish by Forrest Gander) (23:79-83).
Scott Bradfield. The Parakeet and the Cat (18:153-65); Animals Behind Bars! (21:144-165).
Kamau Brathwaite. Two Poems (27:89-92).
Hermann Broch. Frana (translated from German by Susan Gillespie) (31:319-22).
Edwin Brock. A Room of Her Own (1:99-100); White Room, White Tiles (1:100-101).
George Brockway. A Statement (1:237).
Rebecca Brown. The Smokers (36:154-66).
Laynie Browne. Lore (26:301-304); Roseate, Points of Gold (35:151-55); White (40:53-56).
Melvin Jules Bukiet. Filophilia (33:275-82).
Mikhail Bulgakov. Three Stories (translated from Russian by Anneta Greenlee) (31:311-18).
Basil Bunting. An Interview, Conducted by Jonathan Williams (5:75-87); A Tribute to Basil Bunting, edited by Jonathan Williams (8:148-223).
Luis Buñuel. Bacchanal (4:203); The Rainbow and the Poultice (4:205); The Redemptress (4:206); A Place of Ice (4:208); Odor of Sanctity (4:211) (translated from Spanish by Edouard Roditi).
Logan Burns. At the Drive-In with Reciprocal Rib (42:356-358).
William S. Burroughs. The Cat Inside (9:7-23); Christ and the Museum of Extinct Species (13:264-273).
Scott Burton. Six-Part Settee, 1983 (7:178); Acrylic Chair (7:182).
Frederick Busch. Defense (1:200-215); Critics (2:30-36).
Michael Reid Busk. The Connoisseur of Pain (59:202-222).
Robert Olen Butler. She and I (21:344); Boy Born with Tattoo of Elvis (22:134-140); From Intercourse (48:145-148).
George Butterick. On Lorine Niedecker (8:224-238); On Nathaniel Mackey (9:283-285).
Mary Butts. Fumerie (edited by Nathalie Blondel and Camilla Bagg) (31:178-88).
Richard Caddel. From Wreay Churchyard (8:211).
John Cage. In Memoriam (1912-1992) (19:320).
Pat Califia. Fix Me Up (19:142-168).
Ryan Call. The Artificial Stork (56:260-266).
Tom Callaghan. Epitaph (8:218).
Arnaldo Calveyra. Letters So That Happiness (translated from Spanish by Elizabeth Zuba) (59:193-197).
Robert Quillen Camp. Clustered (38:68-76).
Joseph Campana. Four Birds (49:197-199).
Jay Cantor. Eating Disorders (15:36-54); Memorial Church (51:63-68).
Mary Caponegro. Tales From the Next Village (7:92-106); Materia Prima (10:93-128); The Sound (14:189-191); The Complexities of Intimacy (17:394-401); The Further Complexities of Intimacy (21:81-91); Tombole (24:220-234); Libro Dell’Arte or, The Apprentice’s Mistress (24:235-266); From Doubt Uncertainty Possibility Desire (28:350-364); Ashes Ashes We All Fall Down (34:12-24); Last Resort Retreat (37:33-53); Junior Achievement (40:352-362); Tribute to William Gaddis (41:381-386); Girls in White Dresses (45:217-224); Her Lady’s Mouth (48:187-196); The Translator (50:403-14).
Truman Capote. Christmas Vacation (edited by Bradford Morrow, with a facsimile of the original manuscript) (31:139-77).
Paola Capriolo. The Woman of Stone (translated from Italian by Lawrence Venuti) (18:239-256); The Blue Dove (translated from Italian by Lawrence Venuti) (23:235-254).
H.G. Carrillo. Pornografía (48:24-45); Andalucía (51:402-17); Twilight of the Small Havanas (55:321-328).
Jonathan Carroll. Simon’s House of Lipstick (39:277-294); Home on the Rain (44:81-96); From The Ghost in Love; Nothing to Declare (50:415-23); The Stolen Church (52:152-159); Elizabeth Thug (54:8-16); East of Furious (56:167-182); The Woman Who Married a Cloud (58:23-35).
Amy Catanzano. Two Poems (37:392-94).
C.P. Cavafy. Seven Unfinished Poems (translated from Greek by John C. Davis) (31:81-87).
Hayden Carruth. Notes about Laughlin’s Typewriter (1:87-96); A Possibly Momentary Declaration in Favor of William Butler Yeats and Charles Ellsworth Russel (5:39-52); Got Those Little Old Forever Inadequate Blues (6:100-106); The Guy Downstairs (7:157-165); On Kenneth Patchen (7:270); Eleven Memoranda on the Culture of Jazz (9:67-91); The Spun-Off Independent Dead-End Ten-Star Blast (16:262-271); Duality (41:261).
Anne Carson. Semaine d’Artaud (30:105-14); Foam (Essay with Rhapsody) On the Sublime in Longinus and Antonioni (37:96-104); Beuyskreuz (46:210-212).
Angela Carter. The Scarlet House (26:7-20); “We’re Not Dealing with Naturalism Here”: An Interview Conducted by Susan Bernofsky (40:161-172).
Ana Castillo. All the Rest is Origami (29:261-264); Uitzilintzin, Uitzilintzin: Love Medicine for Sale (34:456-58).
Adrian Castro. Three Poems (29:261-264).
Louis-Ferdinand Céline. Guignol’s Band (translated from French with an afterword by Dominic Di Bernardi) (24:295-332).
Miguel de Cervantes. From Don Quixote (translated from Spanish by Edith Grossman) (38:207-225).
Aimé Césaire. High Noon (translated by Clayton Eshleman and Annette Smith) (4:212-219).
Douglas Chambers. A Haiku for Basil, Riving the Apples of Elysium (8:197).
David Marshall Chan. Memoirs of a Boy Detective (45:265-275).
Sid Chaplin. For Basil (8:185-186).
J’Lyn Chapman. Catalog and Brief Comments on the Archive Written and Compiled by the Ministry of Sorrow to Birds (49:86-97).
René Char. Duty (3:209); The Prisoner’s Pencil (3:209); Alter Ego (3:210); Possible (3:210); Youth (3:211). (translated from French by Edouard Roditi.)
Manno Charlemagne. Five Songs (8:185-186).
Georges-Olivier Châteaureynaud. La Tête (translated from French by Edward Gauvin) (52:198-204); The Pest (translated from French by Edward Gauvin) (54:172-78); Buddy (translated from French by Edwin Gauvin) (57:326-334).
Susan Cheever. Tribute to William Gaddis (41:380).
Anton Chekhov. Fourteen Stories (translated from Russian by Peter Constantine) (31:10-39); Three Stories (translated from Russian by Peter Constantine) (40:363-368).
Maxine Chernoff. Keeper of Bells (38:63-67).
Frank Chin. Rendezvous (21:291-302).
Kim Chinquee. Five Stories (45:258-264).
E.M. Cioran. From Cahiers (selected with an afterword by Norman Manea, translated from French by Richard Howard) (31:279-310).
Sandra Cisneros. Mexico Next Right (34:25-28); Natural Daughter (50:71-86).
Robert Clark. Life with Father (45:13-36); Bayham Street (51:216-37); Scott & Ben (57:86-104).
Tom Clark. Radio and Other Poems (2:203-215); The Border (4:128-130); On David Markson (14:141-149); Three Poems (19:281-282).
Clegg & Guttmann. Nine Portraits (14:141-149).
Francesco Clemente. Untitled pastel, cover #5.
James Clifford. Interrupting the Whole (6:282-295).
John Clute. Beyond the Pale (39:420-433).
Michael Coffey. From Imagisme, In a Station of the Metro/The Arch(36:311-14); Sunlight (54:121-32).
Arthur A. Cohen. Jepthah’s Vow and Marginality (19:313-317).
Elizabeth Cohen. Kids Who Died at My High School This Year(36:200-03).
Norma Cole. Itinerary’s Control (12:29-35);
Peter Cole. Rift (6:129-142); Leviticus (9:53-62); Alphabet (9:63); Torches (9:63); Isaac: A Poise (9:64-65); Knowing Is (9:65-66); On Michael McClure (9:278-281); On William Bronk (11:283-284); Ambit (12:252-266); On Edmond Jabes (14:278-280); One to Bet: A Jerusalem Pamphlet (15:324-354); On the Death and Existence of Isaac His Brother (after the Hebrew of Samuel Hanagid, also known as Ismail Ibn Nagrela) (17:310-319); From Speech’s Hedge Where the Honey (with an afterword by Eli Gottlieb) (23:222-234). Guest editor of Conjunctions: 19, Other Worlds; Proverbial Drawing (35:323-26); Four Kabbalistic Poems (translated by Peter Cole) (38:201-206); Why Does the World Out There Seem (50:52-54).
Robert Coles. A Struggle for Humility (1:244-246).
Jack Collins. On James Purdy (11:286).
Merle Collins. From Streams of Water (41:121-152).
Brian Conn. Counting Sheep (58:201-214).
Gillian Conoley. Two Poems (42:320-321).
Peter Constantine. Co-editor with William Weaver and Bradford Morrow of Rejoicing Revoicing portfolio in Conjunctions 38: Rejoicing Revoicing.
Clark Coolidge. Ashbery Explains (10:78-80); Barely, Twombly (10:80-81); From Comes Through in the Call Hold (Improvisations on Cecil Taylor) (16:102-106); Arc of His Slow Demeanors (35:85-91); Twelve Poems (42:111-120); Five Poems (47:147-150).
Robert Coover. The Asian Lectures (In anticipation of the question, “Why do
you write?”) (12:87-88); Night of Assassins (14:107-115); The Early Life of the
Artist (17:183-187); From John’s Wife (21:7-33);
William Corbett. Basil Bunting (8:186); Last Words (19:318-319); De Kooning (41:114-116).
Joshua Corey. Severance Songs (43:141-153).
Lucy Corin. Walking Hand in Hand with Dinah, A Book without Pictures or Conversations (45:291-296).
Cid Corman. Five Poems (1:217-221); The Intricacies: An Essay and Five Poems (3:73-78); Lorine Niedecker (5:135); Seeing Into & Seeing Through Leonardo’s Scapes (7:239-247); Bunting (8:195); Two Poems (19:293)
Joseph Cornell. Three for Cornell (with fiction by Joyce Carol Oates, The Box Artist; Paul West, Boxed In; and Bradford Morrow, For Brother Robert) (32:228-66).
Philip Corner. A Conversation, with Armand Schwerner (16:181-196).
Julio Cortázar. For Listening Through Earphones (translated from Spanish by Stephen Kessler) (28:21-26).
Brenda Coultas. Three Poems (35:33-40); An Experiment in Public Character (37:324-30); Two Poems (40:215-216); The Shed (42:121-122); From The Abolition Journal (47:391-394).
Michael Counts. Rome Burns (33:301-06).
Louis Couperus. Of Monotony (translated from Dutch by Duncan Dobbelmann) (31:327-31).
Malcolm Cowley. For James Laughlin (1:222).
Kenneth Cox. “I praise the man. . . ” (8:216).
Jim Crace. The Amputation Blade (13:218-236); From The Penthouse (47:27-51).
Robert Creeley. For J.L. (1:11); Two Kids (2:37); One
World (2:38); Outside (2:38); Retrospect (2:38); The Faces (2:39);
For the New Year (3:84); This Wall (3:82-83); Heaven Knows (3:84);
Eats (3:83); Life (8:198); The Seasons (11:211-213); Nationalegalerie
Berlin (11:213-215); Wisdom as Such: In Respect of Robert Duncan (12:277-280);
Four Poems from Helsinki (14:259-260); Credo (21:288-290);
Patrick Crerand. A Man of Vision (52:322-330).
Gregory Crewdson. Untitled, color photograph, cover #26.
Timothy Crouse. The Angelus (26:227-231).
John Crowley. The Girlhood of Shakespeare’s Heroines (39:9-52); Practicing the Arts of Peace (46:213-230); Glow Little Glowworm (59:99-118).
Victor Hernández Cruz. Credo (21:333-334); Encounters With an Americano Poet: William Carlos Williams (29:345-350).
Elisabeth Cunnick. On Jay Cantor (12:297-302).
Rebecca Curtis. To the Interstate (44:210-216).
Simon Cutts. Ode: Schubert Impromptu in F Minor (8:213).
John D’Agata. Three Essays (46:8-15); Essay on What Is Want (48:206-212).
Fred D’Aguiar. Axe and Anancy (10:65-71); From Feeding the Ghosts (30:363-75).
Beverly Dahlen. From A Reading (10:65-71).
Susan Daitch. Morto (51:167-78); Fission (54:255-66).
Mark Z. Danielewski. All the Lights of Midnight: Salbatore Nufro Orejón, “The Physics of Eror” and Livia Bassil’s Psychology of Physics (37:77-84).
Edwidge Danticat. Dies Irae (34:128-36); The Port-au-Prince Marriage Special (50:11-21).
Bei Dao. Morning (23:133); Seeing Double (23:133-134); Background (23:134); This Day (23:134-135); Realm (23:135) (all translated from Chinese by David Hinton).
Henry Darger. Untitled (Vivian Girls Watching Approaching Storm in Rural Landscape), cover #45.
Eric Darton. Radio Tiranë (17:137-167).
Guy Davenport. Apples and Pears: Het Erehwonisch Sketsboek (3:13-60); O Gadjo Niglo (4:168-201); Anakreon: Complete Poems translated from Greek (6:44-82); We Often Think of Lenin at the Clothespin Factory (8:46-57); Badger (13:45-61) The Cardiff Team: Passages from a Longer Work (24:127-149).
Michael Davidson. Lords Over Fact (12:243-245); Sonnet (12:245); The Last Word on the Sign (12:246); The Second Word (12:247).
Donald Davie. For Bunting (8:153).
Bevan Davies. West-East (2:112i-viii).
Kathryn Davis. From Versailles (34:66-68); Descent of the Aquanauts (56:105-118).
Lydia Davis. The Race of the Patient Motorcyclists (11:7-8); Television (11:7-11); Killed by Monotony (11:11-12); Almost no Memory (11:12-13); Confusions (11:13-19); Go Away (13:115-116); Soon After Falling Asleep (13:116); How He is Always Right (13:116-117); Lord Royston’s Tour (15:64-82); The Actors (17:359); Trying to Learn (17:359-360); Therapists (17:360-361); What I Feel (17:361); The Cedar Trees (18:42-43); A Natural Disaster (18:43); The Cats in the Prison Recreation Hall (18:44-45); Love (18:45); The Rape of the Tanuk Women (18:46); The Mice (24:116); The Outing (24:116); Odd Behavior (24:117); Fear (24:117); Lost Things (24:117); Broaching Difficult Dahlberg (29:357-372); Happy Memories (34:290-92); Two Stories (47:107-112); Reversible Story (59:276).
Lynn Davis. Cover #17; Eight Photographs (with an essay by Rudolph Wurlitzer) (17:319-329).
Fielding Dawson. The Trick (13:62-66).
Jodi Daynard. On John Hawkes (8:250-252).
Baron Adolphe de Meyer. Photograph of Vaslav Nijinsky, cover #31.
John DeCaire. Paternity (40:269-287).
Tim Dee. Vagrant Voices: Some Atlantic Crossings (49:38-54).
Michel Deguy. Advanced Study (3:132); Balladeering (3:133); Detail, Enlargement (3:133); Iaculatio Tardiva (3:134); Dialogues (9:26); Convoy (9:24-26); Tale (translated from French by Nathaniel Tarn) (9:26).
Nicholas Delbanco. Mere Oblivion (51:151-65).
Don DeLillo. Tribute to William Gaddis (41:390-391).
Richard Deming. Besides Being Beside Ourselves (49:413-425).
Matthew Derby. Joy of Eating (34:395-98).
Robert Desnos. The Reefs of Love (translated from French with an afterword by Luc Sante) (42:276-288).
Elizabeth Diller. Mirror piece with backing rubbed off half (7:186-187); Mirror piece (detail), cover #7.
Stephen Dixon. The Burial (28:300-309).
Ngoc Doan. You Are Country Like Me (59: 78-82).
Duncan Dobbelmann. From Caballero (40:338-348).
Karen Donovan. Parts List Counted in Ogham (58:215-234).
H.D. [Hilda Doolittle]. A Friendship Traced: Letters to Sylvia Dobson, edited by Carol Tinker (2:115-157).
Stacy Doris. Several Bawdy Acts (22:158-167).
Edward Dorn. A Robert Service Bear Flies Imitation (2:202).
Fyodor Dostoevsky. The Life Sentence, A Missing Passage From “The House of the Dead” (translated from Russian by Peter Constantine) (31:110-13); From The Adolescent (translated from Russian by Richard Pevear and Larissa Volokhonsky) (38:156-179).
Mark Edmund Doten. The Lights of Kadhimaya Hospital (53:194-204).
Mark Doty. Bijou (51:245-50).
Coleman Dowell. White on Black on White (3:119-131); The Great Godalmighty Bird (4:55-69); The Silver Swanne (5:7-29); Eve of Green Grass (6:189-220); Writings on a Cave Wall (8:95-99); On Edmund White (8:245-248); Wool Tea (9:216-229); Cancer (9:229-233); City Sundays (9:233-236); A Lifetime Proposition (9:236-240); Elegy (9:240-242).
Rikki Ducornet. The Chess Set of Ivory (26:25-33); The Neurosis of Containment (26:33-47); From The Fan-Maker’s Inquisition (with drawings by the author) (32:163-96); The Battlefields of Shiraz (34:137-43); Grilled Pigeon and Counterpane Wars (36:259-66); Sleeping with Schéhérazade (37:62-68); The Deep Zoo (38:14-22); The Ominous Philologist (41:224-226); Three Tales (44:156-164); A Secret Life (45:73-79); Guest editor, Conjunctions: 46, Selected Subversions: Essays on the World at Large; Two Stories (47:286-294); Two Stories (48:299-305); Because His Youth Or The Parro’s Spanish (50:262-65).
Bruce Duffy. Sex and Character (10:215-229).
Andy Duncan. The Big Rock Candy Mountain (39:211-232).
Robert Duncan. Robert Duncan on Kenneth Rexroth: An Interview, Conducted by Linda Hamalian (4:85-95); A Paris Visit, with R.B. Kitaj (8:8-17); In Interview, with Michael McClure (7:69-86).
Rachel Blau DuPlessis. Gap (13:40-44); Page (15:243-247); From Draft 32: Renga (30:159-66); Draft 38: Georgics and Shadow (35:313-19); Draft 55: Quiptych; Draft LXX: Lexicon (44:380-391); Draft 82: Hinge (50:424-28); Two Drafts (53:330-335).
Christopher Durang. Nina in the Morning (25:133-143).
Marcella Durand. Traffic and Weather (47:151-157); This Very Poem Refutes It (49:385-390).
Geoff Dyer. What Will Survive of Us (51:142-47).
Patricia Eakins. R’ha-l’a R’a-Houm (18:339-344).
Martin Earl. Pasternak (19:191); Portrait of a Watchtower (19:192).
Gerald Early. Three Notes on the Roots of Rhythm (16:197-208).
Richard Eberhart. Homage to James Laughlin (1:141-143).
Jean Echenoz. From Lac (translated from French by Mark Polizzotti) (23:115-132).
J.M. Edelstein. Looking Across at the Silvretta (1:103-104).
Russell Edson. The Pig Story (18:275-276).
Mary Egan. Valter the Wall Builder (18:236-238); Jonah (18:238).
Romanus Egudu. Four Folktales from Nigeria (collected and translated from Igbo) (18:323-331).
Erik Ehn. Every Man Jack of You (25:301-307). New South Wales (30:127-30).
Barbara Einzig. After Wim Wenders’ Die Angst Des Tormanns Beim Elfmeter (8:22-23); After John Cage’s Europeras 1&2 (13:27-32); After Christoph Hein’s The Distant Lover (15:199-206); Aduwa (17:178-183); The Sight of a Lion that Appeared to Me and Seemed to Be Coming at Me (19:294-296).
Julia Elliott. The Camp Counselor (44:52-66); Digging to the Devil (45:279-290); Her Monkey (47:361-372); The Raven (50:134-48); Feral (52:110-129); Freak Magnet (54:17-30); Regeneration at Mukti (56:267-284); The End of the World (58:179-194).
Kenward Elmslie. Seven Tales from 26 Bars (10:253-268); Area J (16:135-146); Heavenly Junket (with collages by the author) (21:122-143).
Richard Else. A Glimpse Into the Many Lives of the Baz (8:219-221).
Michael Emmerich. Translation from classical Japanese of Kagekiyo, Anonymous (38:277-290).
Jon Enfield. BioticaKF (52:97-109).
Theodore Enslin. Axes 51 (2:40-47); Axes 54 (2:48-50); Axes 62 (3:217-221); A Chromatic Fantasy (4:75-83); Slow Theme with Nine Variations (5:53-57); Passacaglia (6:107-111); Axes 82 (7:87-91); On Hilda Morley (7:269-270); On Bob Arnold (8:252); On Ted Pearson (8:255); Motet (9:205-208); From Antiphony (11:169-174); On Marsden Hartley & Robert Duncan (11:275-278); From Herself Com Passionate (15:298-305); Mété (18:301-316); Abendmusik (21:96-108); The Spirit of a Lark (52:234-242).
Elaine Equi. This is Not a Poem (19:117) Poem (19:118); Renga (written by Equi, Martine Bellen, and Melanie Neilson) (21:263-268); Voice-Over (26:73-76); Frank O’Hara: Nothing Personal (29:145-156); Five Poems (35:241-44); Three Poems (37:154-56); Two Poems (40:349-351); Conversations with Fountains (45:297-301).
Steve Erickson. Henry Miller: Exhibitionist of the Soul (29:320-322); Swan Lake (34:69-92); Zed Lake (41:11-48).
Andrew Ervin. The Light of Two Million Stars (53:128-140); Under the Boardwalk (56:289-296).
Clayton Eshleman. The Joy of Persephone (1:225-226); Two Poems (7:209).
Bernadette Esposito. Speck of Light (58:291-302).
Jeffrey Eugenides. Timeshare (28:288-299).
George Evans. Horse on a Fence (15:296); What I Meant Was This (15:297); Poppies Twisted to Peaks by Evening Light (15:297).
Nomi Eve. The Murder of Rabbi David Berliner Herschell (37:85-95); The Education of Benesh the Matchmaker (56:187-204).
Brian Evenson. The Polygamy of Language (26:199-211); Internal (with paintings by Eve Aschheim) (32:127-43); Calling the Hour (34:390-91); Müller (37:349-50); Two Stories (41:327-337); Younger (45:242-250); Desire with Digressions (48:376-382); The Art of Curling (49:272-278); Angel of Death (50:429-35); The Adjudicator (51:337-50). The Oxygen Protocol (55:220-226); Literature and the Right Not to Die (59:273-275).
William Everson. Cougar (1:139-140).
Faiz Ahmed Faiz. Five Beirut Poems (translated from Urdu by Andrew McCord) (23:84-88).
Nuruddin Farah. From Secrets (with an afterword by C. D. Wright) (23:89-104).
D.W. Faulkner. Dunkard Creek (1:216); Under the Rose (2:181); Phoebe on a Bicycle (2:183); The Dead (2:182-183); Depot Store (2:184); From Where You Stand (2:185).
Robert Fernandez. Eight Poems (58:195-200).
Lawrence Ferlinghetti. A Statement (1:84).
Rosario Ferré. Three Tales from Puerto Rico (translated from Spanish by the author) (18:9-17); From Eccentric Neighborhoods (27:214-222); Flight of the Swan (34:448-55).
W.H. Ferry. An Epitaph, Perhaps, for Beloved Baz (8:222).
Thalia Field. From Ululu (A Page & Peephole Opera) (24:96-115); Walking Home (26:142-164); Music Theater: Texts and Traces; Erotec [the human life of machines]: An Interview with Henry Threadgill and Alice Farley, Conducted by Thalia Field and Bradford Morrow (with photographs by Mary Javorek and Eaderesto/Farley) (28:229-240); Guest editor of music theatre portfolio, Conjunctions: 28, Secular Psalms; Seven Veils (33:283-300); Land at Church City (35:413-15); Autobiography (37:407-18); ULULU: Clown Shrapnel (with Bill Morrison) (42:185-202); Hospice (50:365-76); Janus at a Chinese Restaurant in Paris (with Abigail Lang) (59:277-288).
Eric Fischl. Untitled watercolors, cover #13.
Roy Fisher. News for the Ear (8:164).
Robert Fitzgerald. Meeting James Laughlin (1:19); Virgil, Aeneid VII (translated from Latin) (3:112-113).
Ryan Flaherty. Craquelure (58:303-310).
Jonathan Safran Foer. Finitude: From the Permanent Collection (34:464-73).
Walton Ford. Morire de Cara al Sol, front cover #49; Pandit, back cover #49.
Lukas Foss. On the Uneasy Marriage of Music and Poetry (16:169-172).
Phillip Foss. Confusing Green with the Color Red: Allegories (10:251-252); Th’ Excess of Glory Obscured (13:176-179); Geisha Mime (15:278-282).
Graham Foust. Twenty-Five Poems (43:63-75); A Place from Which to Wave: “Just Someone You Say Hi To” (49:354-359).
Karen Joy Fowler. The Further Adventures of the Invisible Man (39:309-328).
Jonathan Franzen. On the Nordic Pleasureliness Fall Color Cruise (30:333-41).
Kathleen Fraser. Wing (24:74-80).
Amy Freed. From The Psychic Life of Savages (25:187-205).
Rodrigo Fresán. Tribute to William Gaddis (41:394-395).
Ed Friedman. Seven Poems (30:259-62).
Gene Frumkin. Bowing to the Rigid Applause (7:166);The Hallway (7:167), The Age Now Ending (7:168); On John Ashbery (9:258-263).
John Furnival. Basil Leaves (8:196).
Joshua Furst. In Turnaround (42:359-367); Lonely Planet (44:217-230); Close to Home (45:113-123); The Kiss (54:133-43).
Sarah Gaddis. A Note of Gratitude (33:149-51).
William Gaddis. Selected Letters (59:8-57).
Neil Gaiman. October in the Chair (39:393-404).
Mary Gaitskill. The Agonized Face (48:7-23).
Rea Galanake. From Where Does the Wolf Live? (translated from Greek by Karen Emmerich) (38:189-200).
Eduardo Galeano. From Walking Words (with illustrations by José Francisco Borges, translated from Spanish by Mark Fried) (23:185-206); The Impunity of the Sacred Car (with illustrations by José Guadalupe Posada, translated from Spanish by Mark Fried) (33:54:65); Women (translated from Spanish by Mark Fried) (50:277-81).
Janice Galloway. Paternal Advice (17:82-86); Nightdriving (17:86-89); The Meat (17:89-90); From Foreign Parts (20:276-286); From The Trick is To Keep Breathing (21:181-201).
Forrest Gander. Gingko (11:113-118); Eggplants and Lotus Root
(15:289-295); Kuzuma and the Worm (18:140-141); The Faculty for Hearing the
Silence of Jesus (19:229-238); The Second Presence (21:61-63);
Kenneth Gangemi. Greenbaum, O’Reilly & Stephens (5:208-223).
Gabriel Garcia Márquez. Caribe Mágico (translated from Spanish by Edith Grossman) (27:9-12).
Mary Gass. The Architecture of the Sentence (essays and drawings with William H. Gass) (32:93-108).
William H. Gass. Uncle Balt and the Nature of Being (2:18-29); An Invocation to the Muse (4:7-8); In My Youth (4:9-11); A Fugue (4:12-13); An Interview, Conducted by Bradford Morrow (4:14-29); The Barricade (8:122-124); Emma Enters a Sentence of Elizabeth Bishop’s (with photographs by Michael Eastman) (30:198-241); The Architecture of the Sentence (essays and drawings with Mary Gass) (32:93-108); Memories of Master Gaddis (33:151-55); In Camera (34:293-41); Charity (36:65-112); Foreword (37:8-9); The Apocalypse Museum (37:438-48); The Abandonment of the Family (40:378-394); Tribute to William Gaddis (41:406-415); Don’t Even Try, Sam (42:7-18); The Piano Lesson (44:312-326); Mimesis (46:192-209); A Little History of Modern Music (47:234-242); Garden (49:200-212); The Man Who Spoke with His Hands (50:236-46); Professor Skizzen Gets the Word (53:95-104); Romancing the Mind (59:302-349).
Cristina Garcia. A Natural History (27:19-38).
Frank O. Gehry. Design for a Footbridge (with Richard Serra) (33:165-72); Untitled drawing, elements of the 1996 Gehry/Serra collaboration to design a footbridge over the Thames River, London, back cover #33.
Scott Geiger. Two Stories (45:225-241); The Vice Admiral’s Elements (47:395-409); A Design History of Icebergs and Their Applications (52:160-172); Quality of Life in Switzerland (57:355-364).
Paul Gervais. From The River of Olives (20:287-295).
Susan Gevirtz. From Black Box Cutaway (28:58-64).
Merrill Gilfillan. Three Essays from the Warbler Road (49:69-77).
Willard Gingerich. Drum of Poetry, Drum of War (16:272-279).
Roland Ginzel. Untitled drawing, cover #2.
Zinaida Gippius. Three Poems (translated from Russian by Anneta Greenlee) (31:356-59).
Peter Gizzi. Mise en Scène (15:317); Blue Peter (17:362-63) Fear of Music (24:192-193); From A Field Glass (24:194); Two Poems (30:356-57); Fin Amor (35:291-96); Some Values of Landscape and Weather (38:123-126); Four Poems (42:210-220); Fretless (45:211-216); Vincent, Homesick for the Land of Pictures (47:52-57) (and audio). Co-editor with Bradford Morrow of John Ashbery Tribute portfolio in Conjunctions:49, A Writers’ Aviary; Tradition @ the Indivisible Talent (50:8-10); From The Face of Lincoln (53:179-186); Modern Adventures at Sea (56:285-288); The Afterlife of Paper (59:246-248).
Renee Gladman. The Interrogation (35:421-27); Untitled (41:245-2248).
Lara Glenum. Three Poems (44:352-354).
Albert Goldman. Memphis to Memphis (16:7-29); Thomas King Forcade: Living and Dying the Great Adventure (17:371-394).
Nicholas Goldsmith. Dendron Floor Lamp (7:179).
Yvan Goll. Paris Burns (translated from French by Jed Rasula) (55:122-134).
Tammy Gomez. Tenían Sed (43:155-166).
Larry Goodell. Four Sonnets (13:257-258).
Mary Gordon. Little Sister (51:271-82).
Theodora Goss. Listening to Krao: What the Freak and Monster Tell Us (59:148-155).
Eli Gottlieb. Fad’s Eye (19:298-302); Panels for Nathanael (29:81-87).
William Goyen. My Mother Chupa’s Song Interrupted by a Little of Mine (1:186-199).
Juan Goytisolo. Getting Close to Gaudi (17:29-42); From The Marx Family Saga (translated from Spanish by Peter Bush) (23:150-165).
Jorie Graham. Three Poems (30:36-45); Six Poems (35:48-60); Four Poems (37:176-86).
Günter Grass. The Freedom Prize Speech (translated from German by Peter Constantine) (30:25-35).
Bradford Graves. Drawings for poem by John Taggart (9:98-107).
Diane Greco Josefowicz. The Dwindling (57:307-325).
Henry Green. Impenetrability (19:205-208).
Arielle Greenberg. Seven Poems (42:19-25).
Ann T. Greene. From The Negros Burial Ground (Composed by Leroy Jenkins) (28:241-253).
Nicholas Grider. Misadventure (58:282-290).
James Grinwis. Nine Poems (44:359-369).
Red Grooms. Scale model of set for John Guare’s Moon Under Miami, cover #25.
Jan Groover. Columns, photographs (with an introduction by Ann Lauterbach) (10:129-144).
Kenneth Gross. The Blackened Puppet (46:313-27).
David Grubbs. Tribute to William Gaddis (41:377-379).
Eve Grubin. Thirteen Poems (43:126-139).
John Guare. Moon Under Miami, Scenes From a Play (25:308-315). Guest editor of Conjunctions: 25, The New American Theater.
Barbara Guest. The Wild Gardens Overlooked by Night Lights (8:146-147); The Rose Marble Table (9:209-210); On H.D. (11:280-283); Ilex (12:106-108); Expectation (14:48-50); Geese Blood (14:50-52); Psyche (14:52-53); Two Poems (15:128-136); The Influence of Music on the Work of George Eliot as recalled by George Henry Lewes (16:233-236); Winter Horses (17:329-334); The Glass Mountain (19:201-204); Stripped Tales (20:78-81); Ojjiba (22:76-80) Music History (24:72-73); Confession of My Images (28:310-312); Ghosts (32:383-85); Two Poems (35:221-34); Shelley in the Navy-Colored Chair (47:322).
Mary Guggenheim. Death in the Photomaton (1:165-170).
Thom Gunn. Keats at Highgate (1:15); Herculaneum (19:139-141).
Allan Gurganus. Preservation News (22:7-51).
David Guterson. Five Poems (51:103-06).
Camille Guthrie. Articulate Lair (with art by Louise Bourgeois) (32:267-78); At the Fountain (35:356-60).
Jessica Hagedorn. From Film Noir (20:220-222); Requiem for a Prodigal Son (34:353-56); From The Perfume of Meat (47:385-390); Toxicology (51:302-04).
Joe Haldeman. From Guardian (39:173-196).
Benjamin Hale.The Minus World (56:8-39).
Donald Hall. The Difference of James Laughlin (1:273-283).
Alan Halsey. An Epitaph (8:200).
Walter Hamady. A Letter to the Editor, and a Poem (1:227-236).
Michael Hamburger. Minimal Words (8:194).
Sam Hamill. Appreciating Present Conditions (8:207-209).
Evelyn Hampton. Every Day, an Epic (59:298-299).
Elizabeth Hand. The Least Trumps (39:341-392); Kronia (44:41-44); Errantry (48:118-136); Hungerford Bridge (52:18-26); Uncle Lou (57:365-378).
Barry Hannah. An Interview, Conducted by Larry McCaffery and Sinda Gregory (5:193-205).
Duncan Hannah. Docklands, Looking at the Stars, and Rites of Passage, oil on canvas, cover #53.
Robert Harbison. The Mental Traveler (46:247-52).
Githa Hariharan, The Warden (24:65-71).
Wilson Harris. From Jonestown (27:39-50)
Jim Harrison. Three Poems in Search of Small Gods (51:400-01).
M. John Harrison. Entertaining Angels Unawares (39:85-96).
Diana Hartog. A Fish Story (18:79-80).
John Haskell. Two or Three Things I Know About Them (42:32-39).
John Hawkes. A Wintery Landscape (1:12-14); Innocence in Extremis (7:7-53); The Anatomy Lesson (11:123-144); An Interview, Conducted by Bradford Morrow (12:89-105); Regulus and Maximus (14:64-74); The Horse Killers (15:55-63); Breezing (17:401-412); The Cure (22:141-154).
Christian Hawkey. Hours (43:8-22); I Believe I Am the Man from Nowhere (49:391-394).
Karen Hays. 32 Lemmas (57:53-85).
Lyn Hejinian. Two Poems (35:16-24); Slowly (37:271-76); Four Poems (40:57-60); Ten Temporary Sonnets, with Peter Hutton (42:80-99); Four Poems (47:378-82); A Bit of Nocturnal History (50:117-22); City Under Sun (55:21-26); Children Love Color (58:173-178).
Michael Heller. Through the Binoculars (3:61-65); At Beaches Again (6:185-188); Strophes from the Writings of Walter Benjamin (10:234); This Many Colored Brush (10:230-233).
Christopher Hellwig. . Three Urban Tales (with Michael J. Lee) (55:305-313).
Robin Hemley. A Simple Metaphysics (46:111-126).
Jose Hernandez. Etchings for poems by Luis Buñuel (4:202-211).
Eva Hesse. A Continental European Tribute (1:46-47).
Stephen Hicks. Catherine & Henry, oil on panels, 47"x 47", 2007, cover #55.
Brenda Hillman. Two Poems (37:73-76); A Long Period of Adjustment Followed (49:327-333); Cézanne’s Colors (51:307-16).
Edward Hoagland. Triage Along the Nile (51:371-86).
Christie Hodgen. Fathers in Their Old Age: A Primer (57:340-354).
Bernard Hœpffner. Pleasant Hill: An Interview with Guy Davenport (24:118-126).
Yoel Hoffmann. The Christ of Fish (translated from Hebrew by Eddie Levenston with an afterword by Nili Gold) (24:7-57); The Shunra and the Schmetterling (translated from Hebrew by Peter Cole) (37:213-24).
Friedrich Hölderlin. Columbus (translated from German by Richard Sieburth) (19:37-43).
Noy Holland. What Begins With Bird (33:32-45); Rooster Pollard Cricket Goose (36:35-54); Swim for the Little One First (57:105-115).
Benjamin Hollander. On Leslie Scalapino (9:269-273).
John Hollander. The Treasure Hunt (8:119-121).
Colleen Hollister. In the City (55:211-219).
Anselm Hollo. Voice Over Past House (28:96); O Ponder Bone of Fabled Carp (28:97); Secret Cohesive Tactics (28:98); Temple Noir (28:98); Apocrypha Hipponactea (28:99); The Job (28:100); Vibrant Ions (28:100); Guests of Space (35:458-65); Guests of Space (II) (41:195-202).
A. M. Homes. Please Remain Calm (34:232-38).
Cathy Park Hong. Three Poems (56:100-104).
Paul Hoover. Resemblance (35:237-40).
Nalo Hopkinson. Shift (39:149-162).
Ron Horning. An Introduction to William Wegman’s Drawings (6:112).
Tim Horvath. The Discipline of Shadows (53:293-311); The City in the Light of Moths (55:38-56); Altered Native (56:183-186).
Peyton Houston. Question and Answer Session Between Old Parties (8:203).
Joanna Howard. The Black Cat (42:297-301); Foreign Correspondent (58:266-281).
Maureen Howard. From ALMANAC; A Winter’s Tale (28:7-20);
Richard Howard. Six Translations from Baudelaire’s Les Fleurs du Mal (1:24-28).
Fanny Howe. The Reduction of the Nativity (18:166-167). On Saving History (19:15-18); Seven Poems (26:327-329); Splinter (35:327-34); Letters to Peter (41:184-190); One Night in Weimar: An Essay (46:302-06).
Susan Howe. Six Poems from Articulation of Sound Forms in Time (6:38-41); Three Poems (11:178-180); The Nonconformist’s Memorial (15:100-109); Rückenfigur (30:46-58); From Preterient (35:361-67); A Dialogue with Cole Swensen (35:374-87); Bed Brought out of Scotland (41:63-70).
Barbara Howes. Echo at Morning (1:81); Wonders (1:82); All Clear by Satellite (5:227); Dancing in Bed (5:227).
Greg Hrbek. Destroy All Monsters (55:135-158).
David Huddle. Wages of Love (51:107-32).
Christine Hume. Two Poems (40:375-377).
Erica Hunt. (Parabola) (36:33-34).
Laird Hunt. Happy Film (42:123-132).
Siri Hustvedt. Gatsby’s Glasses (29:265-276); Being a Man (41:71-76); Tribute to William Gaddis (with Paul Auster) (41:375-377); Variations on Desire: A Mouse, a Dog, Buber, and Bovary (48:213-221).
Peter Hutton. Ten Temporary Sonnets, with Lyn Hejinian (42:80-99).
Catherine Imbriglio. Three Poems (35:407-09); Two Poems (41:338-340); Two Intimacy Poems (49:216-221); Larghetto Intimacy (54:287-90).
Gary Indiana. Dreams Involving Water (14:166-180); The Black Angel (18:115-120).
Eugène Ionesco. From Black and White (with lithographs by Eugène Ionesco, and translated from French by Ester Allen) (31:94-109).
Kenneth Irby. Seven Poems (2:219-225); [exercitatio/praecipere] (7:61); On Robert Duncan (7:261-267); [Sophrosyne Spring muse overhang, Memorial Day] (8:158); [still] call steps - three short odes (11:100-103); On Robert Duncan (12:281-288).
Nina Iskrenko. Special Troikas (translated from Russian by Forrest Gander with Joy Dworkin) (23:145-149).
David Ives. Degas, C’est Moi (25:336-346); St. Francis Preaches to the Birds (51:283-301).
Michael Ives. Seven Poems (43:168-183).
Edmond Jabès. From the Book of Books To the Books of the Book (6:301-303); An Interview, Conducted by Jason Weiss (9:128-161).
Shelley Jackson. Hagfish, Worm, Kakapo
(22:81-90); The Putti
(26:212-218); Foetus (30:253-58); 
A D Jameson. You'll Be Sorry (57:238-248).
Lisa Jarnot. Anticipation of the Night (42:40-43).
Hillary Johnson. From Physical Culture (14:62-63).
Ronald Johnson. Nearly Twenty Questions, with Jonathan Williams (7:224-238); Ark 53, The Balanchine Spire (8:43-45); A Flag for Bunting (8:197); Ark 57, The Gaia Spire (10:165-167); Ark: The Ramparts (Arches I-XVIII) (15:148-189); Blueprint for Obelisk (26:261-265).
F. Whitney Jones. The Voice of the Winter Poet (8:209).
Donald Judd. Library Desk with Two Chairs (7:181).
Ilya Kabakov. Agonizing Surikov, cover #38; Charles Rosenthal (1898-1933), Biography and Portfolio (40:219-240).
Franz Kafka. From The Trial (translated from German and with an afterword by Breon Mitchell) (30:7-24).
Frederick R. Karl. American Fictions: The Mega-Novel (7:248-260); The Faulknerian Presence in Contemporary American Fiction (10:287-302).
Ilona Karmel. Life Drawing (45:251-257). (translated from Polish by Fanny Howe and Arie A. Galles)
Vincent Katz. Two Poems (35:410-12).
Yasunari Kawabata. Silence and The Boat-Women: A Story and a Dance-Drama (translated from Japanese by Michael Emmerich) (31:40-72).
Shiraishi Kazuko. My Sand Clan and a Tribute (1:238-240).
Sally Keith. Beacon Line (36:63-64).
Robert Kelly. Elegy (8:24-28); A Woman with Flaxen Hair in Norfolk Heard (8:214-216); On William Gaddis (8:238-242); On Robert Coover (9:263-269); Three Imagines (10:177-184); The Rube Goldberg Suite (11:20-35); In the Light (12:75-77); On Georges Perec & Jacques Roubaud (12:288-293); Carville (14:181-184); On Pierre Klossowski (14:281-283); A Baltic Tragedy (15:235-242); Against Music (16:66-70); Reading Li Shang-yin: Falling Flowers (17:271-276); The Physiology of William Blake (21:202-212); The Changemaker (26:295-300); The Berlin Sonnets (and audio sonnets 2–6 and sonnets 7–11) (28:344-49); Robert Duncan & The Right Time (29:335-344); Edmund Wilson on Alfred de Musset: The Dream (30:376-82); From The Garden of Distances (with drawings by Brigitte Mahlknecht) (32:218-27); Orion: Opening the Seals (35:275-80); Dirt Roads (37:238-48); Gla[n]s (40:369-374); How They Took My Body Apart and Made Another Me (41:317-326); Going to the Poem (42:261-275); Walking to Auschwitz (44:285-294); All the Modes of Travel (47:113-117); Disclosures of Don Juan (48:98-117); I’m Not Sure I Meant What You Said (49:431-437); From Fire Exit (50:345-50); The Logic of the World (52:331-344); Father & Sons (57:211-214); Two Elegies (59:162-171).
Sylvia Kelly. Colors (14:192-197).
Karla Kelsey. Aftermath (56:322-327).
Hugh Kenner. A Form of Intelligence (1:270-271); The Intervention of the “Other” (6:241-245).
Lisa Kenner. The Mouse and the Lion (8:204-206).
Etgar Keret. Two Stories (55:171-174).
John Kessel. The Invisible Empire (39:295-308).
Peter Kettle. Gulliver (front) The Glass Bead Game, cover #51.
Kevin Killian. Ashbery’s Theater (49:334-330).
Myung Mi Kim. Primer (21:52-60); From Dura (24:153-158); From Arcana (32:299-306); Siege Document (35:25-32); From Penury (37:433-37).
Jamaica Kincaid. Ovando (14:75-83).
Maxine Hong Kingston. Bones and Jones (13:7-21).
John Kinsella. Bird Cantos (49:173-177).
R.B. Kitaj. A Paris Visit, with Robert Duncan (8:9-21).
Alexandra Kleeman. The Brief History of Weather (56:126-146); Hylomorphosis (59:292-297).
Clark Knowles. Charlie Moon's Last Performance (57:133-143).
Komar & Melamid. Psalms, tempera and oil painting, cover #23.
Harry Kondoleon. Saved or Destroyed (25:326-335).
Arthur Kopit. Elegy for the House That Ruth Built (25:256-260).
Ewa Kuryluk. Conrad and Lowry in Mexico (19:44-50).
Tony Kushner. It’s an Undoing World or Why Should It Be Easy When It Can Be Hard? (25:14-32).
Jason Labbe. Six Poems for Jackie (54:84-90).
Justin Lacour. Six Poems (34:93-107).
Paul La Farge. Lost and Legendary Aviators (34:239-44); Adventure (45:58-72); The History of the History of Death (53:82-86); The Count of Monte Cristo’s Daughter (55:8-20).
Abigail Lang. Janus at a Chinese Restaurant in Paris (with Thalia Field) (59:277-288).
Sarah Lang. Twenty-Six Poems (43:77-90); Contact (50:114-16); For Tamara (58:109-122).
Gerrit Lansing. When Locality Fails (4:51); Hands That Melt Like Snow (4:52); Sunset As Early Warning System (4:52); The Veil (4:53); From The Orchards of Sleep (7:59-60); On O. V. de L. Milosz (8:242-245); Three Anecdotes of the Uncanny (11:121-122).
James Laughlin. To the Scholar of Architecture (2:112); The Bible Lady (6:173-174); The ’Baz’ (8:180); Story of the Snake Who Told His Secret to a Woman (18:173); Story of the Fool and the Cakes (18:174); The Transformation (18:174); An Attestation (18:175); The Old Indian (18:175); The Sultan’s Justice (18:176); The Inscription (18:176); The Enchanted Birchtree (18:177); The Stranger (19:296-297); The Story of Rhodope (19:297).
Ann Lauterbach. Away, with Jane Bowles (3:79); Monody (3:80);
Closing Hours (3:81); Aperture (4:33); Cafe Acute (4:34); Holding
Air (4:35); As Far As the Eye Can See (4:36); Like Attracts (4:37); Still
Life with Apricots (5:30); Sacred Weather (5:31); In the Garden (5:32);
Moonrise, Rain (5:33); Subject to Change (6:170); Coastal (6:171);
Path (6:172); Mountain Roads (8:92-93); After the Storm (8:94);
Dominion in February (9:165); Revenant (10:241); Tock (10:242); Of
the Meadow (11:216-218); The French Girl (11:218-219); How Things Bear
Their Telling (13:67-69); On Leslie Scalapino (14:280-281); Prom In Toledo
Nights (15:248-257); Tangled Reliquary
(17:195-199); The Scene Shifts(20:82-83); Rancor of the Empirical (20:83-84); The Untelling (20:84-85); Found Credo (21:279-283);
Irving Layton. An Interview, Conducted by B.W. Powe (6:154-164).
Nam Le. The Boat (50:298-330).
Gracie Leavitt. From Fifth-Grade Ophelia (57:335-339).
Michael J. Lee. The Next Country (52:281-292); The New Year (54:267-76); Three Urban Tales (with Christopher Hellwig) (55:305-313).
Susanne Wah Lee. Orwell’s Bells (with Mitch Berman) (16:94-101). To Ettore, With Love and Admiration (6:165)
Sylvia Legris. Three Poems (49:60-68).
Michel Leiris. 1944 Journal (translated from French by Lydia Davis, with an afterword text by Maurice Blanchot, The Instant of My Death, translated from French by Jeff Fort) (31:201-31).
Carla Lemos. Kore (17:73-74); At Crossroads: Hermes Psychopomp (17:75-77); Through Crossroads: Hermes Trickster (17:78-81).
Giacomo Leopardi. Two Poems (translated from Italian by Jonathan Galassi) (38:357-360).
Karen Lepri. The Thief (58:311-315).
Ben Lerner. Fourteen Prose Poems (45:196-199); The Reflection of a Reading (49:372-376).
Juliana Leslie. Three Poems (48:352-354).
Karin Lessing. A Picture of Perfect Rest (8:58-61); Li Santo (10:72-77); Night Ark, Adrift (12:109); Forcalquier, Candlemass 1986 (12:109-110); Untitled (12:110).
Jonathan Lethem. The Dystopianist, Thinking of His Rival, Is Interrupted by a Knock on the Door (39:163-172); Tribute to William Gaddis (41:397-398); Their Back Pages (47:9-20); Always Crashing in the Same Car (a mash-up) (48:222-230); More Little Tales of the Internet (59:74-77).
Richard Lethem. The Ring (front), Hairpiece (rear), cover #50.
Denise Levertov. About James Laughlin (1:68-69).
Jim Lewis. From Sister (20:192-207); Melville and the Art of Saying No (29:55-63).
Yang Lian. Before Daybreak (23:43); Mountain Valley (23:4344); The Garden on a Winter’s Day, 1 (23:44); The Garden on a Winter’s Day, 3 (23:45); The Foundation of Terror (23:46) (translated from Chinese by Brian Holton).
Yan Lianke. Nizi Goes to Market (45:182-195). (translated from Chinese by Karen Gernant and Chen Zeping).
Tan Lin. Ambient Stylistics (35:127-45); Mary Mary Ellen Ellen (38:99-122); My Wife Looks Like Greta Garbo (42:224-241).
Kelly Link. Lull (39:53-84); Stone Animals (43:208-247).
Eric Linsker. Five Poems (49:125-136).
Ron Loewinsohn. The Snow (6:83-96).
Michael Logan. Investigation into the Death of Logan (46:39-63); The Pressure Points (51:351-63).
Phillip Lopate. Cherry Blossoms (19:283-284) Motel (19:285-289); The Strange Case of Dr. Eisley (29:311-319).
Brian Lucas. Blaze (44:341-351).
Deborah Luster Retablos (with poems by C. D. Wright, and Spanish translations by Gabriel Bernal Grandos) (32:109-25); Untitled photograph, cover #32.
Gary Lutz. Contractions (26:219-226).
Thomas Lynch. Shilling Life (51:316-31).
Fiona Maazel. Clear Over Target, the Whole Town in Flames (58:8-22).
Jackson Mac Low. Regular Clerestories (3:140-143); Antic Quatrains (3:144-145); Measures (6:97-98); Round, More or Less (6:98); Sugar Blues (6:99); Pieces o’ Six - XXVIII (11:145-148); 9th Merzgedicht in Memoriam Kurt Schwitters (13:90-114); Lucas 1 to 29 (16:220-224); Net Murder at Sea (17:307-308); And Other Land (17:309); Instructing the Devouring Locust {Forties 123} (28:321-323); Five Stein Poems (35:439-50); Five Poems (41:285-297).
Brent Mackay. Bunting as Teacher (8:181).
Nathaniel Mackey. From From a Broken Bottle Traces of Perfume Still Emanate (5:58-74); On Edge (6:296-300); Degree Four (10:243-245); Melin (10:245-247); Out Island (10:247-250); From Djbot Baghostus’s Run (16:147-168); Song of the Andoumboulou:30 (26:77-82); Phrenological Whitman (29:231-252); Two Poems (35:281-86); Two Poems (44:165-168); Two Poems (53:288-292); From From a Broken Bottle Traces of Perfume Still Emanate (59:83-98).
John Madera. Some Varieties of Being and Other Non Sequiturs (55:183-201); Notes Toward the Recovery of Desiderata (56:302-317).
Maurice Maeterlinck. Twelve Poems from Serres Chaudes (translated from French by Richard Howard) (38:246-254).
Kevin Magee. Market Tender Family (22:294-310); The Road to Basra (30:185-97); Two Poems (48:180-186).
Clarence Major. Two Faces (41:119).
Gerard Malanga. Three Poems and Twelve Portraits (42:146-160).
Claudio Magris. In the Woods of Nevoso (translated from Italian by Lawrence Venuti, with an afterword by Paul West) (23:49-68).
Brigitte Mahlknecht. From The Garden of Distances (with poems by Robert Kelly) (32:218-27).
E. Maria Makepiece. Untitled (8:182).
Paul Maliszewski. Preface (30:290-96); Instructions for Optimum Growth (36:245-52).
Stéphane Mallarmé. From Nursery Rhymes (translated from French with a preface by John Ashbery) (45:370-381).
David Mamet. L. A. Sketches (26:126-138).
Tom Mandel. A Gram in the Scale (13:167-169).
Norman Manea. Tale of the Enchanted Pig (translated from Romanian by Marguerite Dorian and Elliot Urdang) (18:18-23); Lunar Nights (translated from Romanian by Patrick Camiller) (26:266-272); The New Calendar (33:205-13); Dada Capital of Exiles (55:70-73).
Sarah Manguso. The Task of Memory (51:387-88).
Roger Manley. The Navajo of Chil.Chin.Beto, photographs (9:177-188); The Nomadic Text: Exile and Translation, An Interview (Conducted and translated from Romanian by Sean Cotter) (41:153-172).
Sally Mann. From Late Summer Entry (with poems by Forrest Gander) (32:289-98).
Stephen Marche. The Personasts: My Journeys Through Soft Evenings and Famous Secrets (52:35-46); La Pu (53:171-178); Leaving Alberta (56:91-99).
Ben Marcus. Months in the Year of Animal Prayer (20:43-59); False Water Society (22:52-75); Sticks and Stones: An Introduction (26:166-171); Chemical Suess (29:165-170). Guest editor of fiction portfolio in Conjunctions:26, Sticks & Stones; The Launch (36:167-99); Tribute to William Gaddis (41:380-381); Just Because It Never Happened Doesn’t Mean We’re Still Alive (43:344-348); On Not Growing Up (50:22-26); Secret Breathing Techniques (52:27-34).
Micheline Aharonian Marcom. From Draining the Sea (47:243-321)
Brice Marden. Untitled watercolors (retitled Covers for Conjunctions in Museum of Modern Art), cover #14.
Ruth E. Margraff. From Wallpaper Psalm (an electric & hysterics operette) (28:254-269); The Technology of Silence (34:357-67).
Donald Margulies. Kibbutz (25:144-149).
Malinda Markham. Five Poems (33:119-24); Four Poems (35:307-12); Something Erotic in the Nape of the Neck [the thick cloth] (42:109-110); Three Poems (45:319-322).
José Martí. A Chinese Funeral (translated from Spanish by Esther Allen) (38:266-276).
Lynn Martin. The Bodhisattva Locksmith (26:305-326).
Valerie Martin. His Blue Period (36:7-22); How I Lost My Religion (47:69-84); Secrets and Lies (50:436-38).
Pierre Martory Seven Poems (translated from French by John Ashbery) (38:327-334).
Carole Maso. From AVA (20:172-191); From The American Woman in the Chinese Hat (21:34-51); A Novel of Thank You (29:171-198); The Intercession of the Saints (33:261-74); The Names (34:474-77); Solstice (37:225-28); The Passion of Anne Frank (41:203-216); Young H Saved From Infamy (44:279-284); Eclipse (48:383-398); From Mother and Child (50:233-35).
Harry Mathews. Lewis and Morris (10:48-64); The Way Home, with illustrations by Trevor Winkfield (12:36-48); Sunday (22:168-183); Clocking the World on Cue: The Chronogram for 2001 (37:342-48).
Ted Mathys. Four Poems (51:213-15); Woodland Pattern (59:123-133).
Friederike Mayrocker. Table of Matter, or, The Completely Lost Letters of Frédéric Chopin to His Friend Titus Wojciechowski (translated from German by Rosmarie Waldrop) (23:304-322).
Shena McAuliffe. Benevolence (48:153-168); The Healing Machine (58:316-331).
Susan McCarty. City/Body: Fragments (55:61-69).
Ed McClanahan. The Day the Lampshades Breathed (8:132-140).
Michael McClure. In a Guest Book, N. Y. C. (1:42-44); For Kathy (2:89-92); The Deuces (3:146-171); Beginning with Lines from the Manyoshu (4:153); Untitled (4:154); Bionote (6:151); For Frank (6:152); Same War (6:153); In Interview, with Robert Duncan (7:68-86); The Bulks of Heart (9:109-110); The Torture Murders Upstate in Calaveras County (9:108-109); Spirit’s Desperado (17:364-365).
J. W. McCormack. From How I Escaped My Certain Fate (43:249-256); POIUYT! (52:47-70); Energy Fools the Magician (54:179-228).
Mike McCormack. Dead Man’s Fuel (28:51-57).
Ian McDonald. Mac Arthur’s Life (27:88).
Joseph McElroy. From Women and Men (6:7-34); An Interview, Conducted by Bradford Morrow (10:145-164); From The Letter Left to Me (12:53-74); Tribute to William Gaddis (41:401-402).
Patrick McGrath. Vigilance (14:198-209); Afterword to The New Gothic (14:239-244); O’Malley and Schwartz (18:257-260). Guest editor of The New Gothic fiction portfolio, Conjunctions: 14.
Jon McGregor. The First Thing That Happened (44:45-51).
Ellen McLaughlin. Two Iphigenia Plays (25:150-164). On Lillian Hellman (29:107-114)
Charles McLeod. Edge Boys (50:55-66).
Mark McMorris, The Black Reeds (24:58-64); Pyramid Chapel (27:311-316); Songs at Climate Level (33:87-96); Reef: Shadow of Green (35:65-72); Theoretical Man (36:322-33).
T.M. McNally. Life in the Body (38:132-154); The Gateway (43:275-298).
Adam McOmber. The Automatic Garden (53:87-94).
David Means. Now Let Us Praise James Agee (29:377-378).
Sandra Meek. Three Poems (36:315-21).
Semezdin Mehmedinovic. Five Prose Poems (translated from Bosnian by Ammiel Alcalay) (23:268-271).
Edie Meidav. Tribute to William Gaddis (41:398-399); From Utopia, or, My Pleasure (47:127-146); Beef (50:167-75); The Golden Rule, or, I Am Trying to Do the Right Thing (52:243-255); Dogs of Cuba: The Buddha of the Vedado (59:58-66).
Richard Meier. Nine Poems (44:327-335).
Miranda Mellis. Misapprehensions: A Mobile in Ten Parts (54:247-51); From The Spokes (57:195-210).
Guy Mendes. Photographs (5:177-192).
Sarah Menefee. From Over the Hill (15:232-234).
W.S. Merwin. To the Shadow (41:120).
Douglas Messerli. From Maxims from my Mother’s Milk (7:107-109);
What Saw did Fell the Tree (13:239-240); Tour of Duty (13:240-241);
Paul Metcalf. From Firebird (8:81-91); On Lucia Berlin (14:275-277); Ezra Pound: A Seereeyus Precursor (29:103-104).
Thomas Meyer. Sappho’s Daughter (2:51); For Guy Davenport’s 50th Birthday (2:52); George Fox’s Pulpit (2:52); Les Voiles (Saturday) (2:53); The Mower (4:150-151); Coda (4:152); A Wives’ Tale (6:166-169); Ode (8:180); From a Crown of Sonnets (9:211-215); Après le Rêve (10:171); The Nichol Suite (10:168-172); The Ceration (21:269271); The Flood (21:271); Acts of Compensation (21:271); Candlemas (21:271-272); The Great Wall (21:272); Drought in the Alps (21:272); The Midnight Sun (21:272-273); Egyptian Cotton (21:273); Endive (21:274-275); Ordinary Questions (21:275); The Principle (21:276); A Summer Place (21:276).
Diana Michener. Eight Photographs (with an introduction by Ann Lauterbach) (17:127-136); Solitaire (32:208-17).
Christopher Middleton. The Bugbear of Experimentalism (19:239-248).
China Miéville. Familiar (39:197-210); From The City & The City (52:82-96); Theses on Monsters (59:142-144).
Josephine Miles. Poem on the Occasion of An Afternoon Walk (1:97).
S. G. Miller. Latona Street (45:302-318); A Home to Go Home To (48:355-375).
Czeslaw Milosz. An Interview, Conducted by Albert Huerta (2:93-105).
O.V. de L. Milosz. Two Lithuanian Fairy Tales (translated from French by Edouard Roditi) (18:217-227).
Mary Miss. Screen (7:188).
Ange Mlinko. Three Poems (37:210-12); Three Poems (40:267-268).
Carol Moldaw. Festina Lente (35:297-98); The Widening (44:265-270).
Meredith Monk. Our Lady of Late (with photograph by Gaetano Besana) (28:181-186).
Pascalle Monnier. Para Siempre Teresita? Siempre Rodrigo (23:272-274); Locations (23:274-278) (translated from French by John Ashbery).
Mayra Montero. El Hombre Pollack (with a translation from Spanish by Edith Grossman) (34:120-27).
Rick Moody. Demonology (26:172-182);
Honor Moore. Four Poems (35:158-63); The Pink Dress (41:265-272); Hobart’s Brushes (46:131-138).
Raymond and Mary Moore. In the Bushes (8:198).
Steven Moore. On Alexander Theroux (11:274-275); Tribute to William Gaddis (41:387).
John Moran. From Everyday Newt Burman, The Trilogy of Cyclic Existence (28:187-228).
Alberto Moravia. Two Germans (translated by William Weaver) (38:241-245).
Edwin Morgan. A Trace of Wings (8:152).
Seth Morgan. From Mambo Mephiste (16:321-347).
Kyoko Mori. Between the Forest and the Well: Notes on Death (51:51-62).
Laura Moriarty. Four Rondeaux (9:40-41); Four Poems (12:49-52); Seven Rondeaux (15:216-218); Seven Poems (35:428-32).
Hilda Morley. The Leaf (8:141-145).
Bill Morrison. ULULU: Clown Shrapnel, with Thalia Field (42:185-202).
Rusty Morrison. White Screen (42:375-377).
Micaela Morrissette. Ten O’Clock (45:163-173); Ave Maria (49:107-122); The Familiars (52:307-321); Liberté, Egalité, Fraternité, ou la Mort (57:277-296).
Bradford Morrow. Hung Storm (3:186-208); An Interview with William
Gass, Conducted by Bradford Morrow (4:14-29); On Michael Heller (7:267-269);
The Lightness and Dexterity of Juanito Apiñani (8:100-107); On Jack
Chambers (8:248-250); A Round-Up of Recent Books About the Problems and Politics of
Central America (9:243-257); An Interview with Joseph McElroy, Conducted by Bradford
Morrow (10:145-164); An Interview with John Hawkes, Conducted by Bradford Morrow
(12:89-105); An Interview with Paul West, Conducted by Bradford Morrow (12:141-171); An
Interview with Robert Kelly, Conducted by Bradford Morrow (13:137-166); From The
Almanac Branch (14:98-106); An Interview with John Abercrombie and David Starobin,
Conducted by Bradford Morrow (16:107-121); An
Interview with Chinua Achebe, Conducted by Bradford Morrow (17:7-28); From The Channah Tales (18:345-366); Credos portfolio, co-edited by Bradford Morrow and Quincy Troupe, Conjunctions: 21, Credos; Erotec [the human life of machines]: An Interview
with Henry Threadgill and Alice Farley, Conducted by Bradford Morrow and Thalia Field (with
photographs by Mary Javorek and Eaderesto/Farley) (28:229-240);
James Morrow. The Wisdom of the Skin (39:133-148); From The Philosopher’s Apprentice (50:282-94); Bigfoot and the Bodhisattva (52:205-233); Fixing the Abyss (56:53-73); A Taxonomy of the Teratoid: Self-Aware Monsters, Oblivious Fiends, and Elusive Demons (59:156-161).
Elias Moser. Alexander Julian Glass Card Chair (7:185).
Walter Mosley. Me and Satan (16:131-134); Credo (21:353-354).
Andrew Mossin. The Forest (35:345-50); The Arbor (48:306-312); Trestle (50:266-76); Drafts for Shelley (53:205-220); Through the Rivers (57:249-265); I Get Her Up in Daylight (58:74-87).
Eric Mottram. Bunting in Buffalo (8:154-157).
Peter Mountford. A Room on the Eigth Floor (51:389-97).
Melinda Moustakis. The Mannequin in Soldotna (54:161-71).
Mohammed Mrabet. Earth (translated from Arabic by Paul Bowles) (1:120-138).
David Mura. Notes for the Next Century (21:308-317).
Yannick Murphy. Into the Arms of the Man on the Moon (12:78-80); India (15:25-35); Snowbird and Other Tales (18:277-280); Our Underwater Mother (20:74-77); Pan, Pan, Pan (49:19-26).
Albert Murray. Storiella Americana as She is Swyung: Duke Ellington, the Culture of Washington, D. C. and the Blues as Representative Anecdote (16:209-219).
Elizabeth Murray. Painter’s Partner, cover #10.
David Mus. From: The One Alternative/L’Un Alternatif (20:64-71); From: Overflow/Trop-Plein (20:72-73).
Robert Musil. The Snowstorm (translated from German by Burton Pike) (31:189-200); Berlin Stroll (translated from German by Burton Pike) (38:296-299).
Eileen Myles. Energy (49:360-363).
Vladimir Nabokov. The House Was There (with a drawing by Vladimir Nabokov and an afterword by Sarah Funke) (31:332-35); Easter Rain (translated from Russian by Dmitri Nabokov and Peter Constantine) (38:7-13).
James Nares. Untitled, cover #16; Tuning Forks (16:225-232).
Melanie Neilson. Renga (written by Neilson, Martine Bellen, and Elaine Equi) (21:263-268); From Album (22:214-260); Two Poems (35:269-74).
Howard Nemerov. On James Laughlin (1:266).
Sandra Newman. Medium (33:234-38).
Lorine Niedecker. Selected Letters to Cid Corman 1961-70, edited by Lisa Pater Faranda (5:137-172).
Marc Nieson. The Fortunes of Cities (56:328-339).
Vaslav Nijinsky. From The Unknown Fourth Notebook (edited by Joan Acocella, translated from Russian by Kyril FitzLyon) (31:360-75).
Isamu Noguchi. Pierced Seat and Pierced Table (7:183).
Howard Norman. View of Kala Murie Stepping Out of Her Black Dress (37:157-75); Guest Editor of Conjunctions 41, Two Kingdoms, Guest Editor’s Note; Trees of the Epistolary Life (with drawings by Jake Berthot) (41:355-371); Peter Lorre in the Afterlife (42:161-178); Two Incidents from Exist to Kiss You. (45:147-162); Scissors-in-Window (47:118-126); A Flock Descends into the Pentagonal Garden (49:12-18); Radio from the Cities (56:79-90).
Charles North. Five Poems (35:299-301).
Alice Notley. Four Poems (35:96-109).
Novalis. From Posthumous Fragments of 1798 (translated from German by Alexander Gelley) (19:169-173).
Sigrid Nunez. Philosophers (58:38-44).
Joyce Carol Oates. Plays as Literature (25:8-13); The Adoption (25:239-255); From The Negro-Lover (28:313-320); The Visionary Art of Henry David Thoreau (29:387-394); The Sons of Angus MacElster (30:329-32); The Box Artist (with art by Joseph Cornell) (32:228-34); The Sharpshooter (33:49-53); Four Dark Tales (34:167-70); 21 Epiphanies on the Great Egg (36:135-44); The Fossil-Seeker (37:277-88); Dr. Magic, A Play in One Act (40:61-81); From The Gravedigger’s Daughter (41:173-183); Fat Man My Love (42:246-260); From The Gravedigger’s Daughter (44:231-238); Nowhere (47:175-204); The Master at St. Bartholomew’s Hospital 1914-1916 (48:46-76); The Beating (50:27-51); Dear Husband (51:133-41); Uranus (52:71-81); The Nordic Soul (54:91-120); Roma! (55:235-255); Deceit (57:170-194); The Flatbed (58:123-149).
Geoffrey O’Brien. Two Poems (42:312-314); A History of Religions (46:29-38); Changeable Hieroglyphics (49:426-430).
Stephen O’Connor. Man in the Moon (50:123-33); Disappearance and (52:256-265); ‘Til There Was You (55:27-37); I Would Never Do These Things (58:160-172).
Mark O’Donnell. Wish Technology (25:316-325).
Reno Odlin. Still Combustible Cinders (8:187-193).
Robert O’Hara. Insurrection: Holding History (25:273-300).
David Ohle. The Flum (26:236-246); A Favor for Big Ernie (55:277-286).
Chinelo Okparanta. Story, Story! (58:248-265).
Ben Okri. A Hidden History (13:33-39).
Patrick O’Leary. The Bearing of Light (39:267-276).
Peter O’Leary. Six Poems (43:45-61).
Laurie Olinder. Untitled photograph, James Goodwin as Newt Burman, Ridge Theater, in John Moran’s Everyday Newt Burman (The Trilogy of Cyclic Existence), cover #28.
Lance Olsen. Table of Contents (59:250-253).
Toby Olson. Cylinders (3:66-72); Standard--13, I remember Clifford (5:34-38); A Letter from Dorit (13:118-136); Chihuahua (28:340-343); Mendoza: 1949 (37:401-06); Two Poems (44:203-209).
Grozdana Olujic. The Bewitched Burr and Other Tales (translated from Serbo-Croatian by Jascha Kessler and the author) (18:67-79).
Michael Ondaatje. An Interview, Conducted by Catherine Bush (15:87-99).
Han Ong. Mrs. Chang (25:60-79); Obituary (34:432-40); Under the Philippines (40:195-207).
Stewart O’Nan. Tribute to William Gaddis (41:402).
Hank O’Neal. George Wettling (16:253-259).
George Oppen. A Statement (1:102); Meaning Is to Be Here: A Selection from the Daybook, edited by Cynthia Anderson (10:186-208).
Joel Oppenheimer. A Poem (1:80); For Bunting (8:183-184).
Peter Orner. Birding with Lanioturdus (49:8-11); The Aquarium of the Dead: Chicago Stories (50:439-49); Geraldo (53:141-142); Lincoln (55:149-150); Shhhhhh, Arthur's Studying (57:144-146).
Anna Maria Ortese. The Villa (translated from Italian by Henry Martin) (26:340-351).
Simon Ortiz. A Credo: Writing in My Native American Voice (21:284-287).
Lawrence Osborne. Frederick Prokosch (29:325-332).
Jena Osman. The Character (28:27-33); Boxing Captions (35:248-55).
Paul Van Ostaijen. Hollow Haven (translated from Dutch with an afterword by Duncan Dobbelmann) (31:251-63).
Eric Overmyer. The Dalai Lama Goes Three for Four (25:117-124).
Cynthia Ozick. Tribute to William Gaddis (41:395-396).
Craig Padawer. The Meat Garden (26:247-260).
Ron Padgett. The Art of Thinking (41:273-284).
Danielle Pafunda. Five Poems (45:276-278).
Michael Palmer. French for April Fool’s (3:85-88); Five Poems from Baudelaire Series (9:27-30); Letters to Zanzotto (15:219-223); Two Poems (26:287-291); Three Poems (35:61-64); Four Poems (41:103-106).
Alexandros Papadiamantis. Three Stories (translated from modern Greek by Peter Constantine) (38:300-315).
Paul Park. Abduction (39:329-340).
Robert and Shana ParkeHarrison. Lowtide, 2003, black-and-white print on panel, front cover #58; Marks We Make, 2005, photogravure, 24" x 20", back cover #58.
Suzan-Lori Parks. From Venus (25:33-44); From In the Blood (32:307-53).
Aleksei Parshchikov. Money (translated from Russian by Darlene Reddaway with Michael Palmer) (19:79-82).
Harry Partch. The Bewitched, A Ballet Satire With an Essay A Somewhat Spoof (with photograph by Danlee Mitchell) (28:116-143).
Miriam Patchen. Early Days at New Directions (1:253-257).
H. M. Patterson. Sailing by Night (54:57-66).
Octavio Paz. Two Poems (translated from Spanish by Eliot Weinberger) (1:29); First and Last Published Poems (translated from Spanish by Eliot Weinberger) (38:180-188); Interrupted Elegy (translated from Spanish by Eliot Weinberger) (57:116-118).
Senel Paz. The Wolf, the Forest, and the New Man (27:62-87) (translated from Spanish by Thomas Christensen, with illustrations by Zaida del Rio).
Dale Peck. Shirley Jackson: “My Mother’s Grave is Yellow” (29:289-300); Thirteen Ecstasies of the Soul (30:59-76); Fever Dreams: A Geography of Mind (34:144-56); Fruit Salad (36:257-58).
Jenny Penberthy. Brief Words Are Hard to Find: Basil Bunting and Lorine Niedecker (8:159-164).
D.A. Pennebaker. Remembering Gaddis (33:157-60).
Georges Perec. The Winter Journey (translated from French by David Bellos) (12:81-86).
Jed Perl. A Magically Alive Aesthetic (49:364-371).
Liudmila Petrushevskaya. The Rose and Other Fairy Tales (translated from Russian by Jamey Gambrell) (18:168-172).
Judy Pfaff. Early Herbals, watercolor and other media, cover #24.
Roberto Piciotto. The Pragmata of Baltasar Mung (4:131-149).
Tom Pickard. Spring Tide for Basil Bunting (8:199-200).
Leighton Pierce. Undercurrencies (42:302-311).
Stanley Plumly. Spirit Birds (41:194).
Mark Poirier. Tunderbird (45:323-336).
Robert Polito. Guest editor, Conjunctions: 46, Selected Subversions: Essays on the World at Large.
Gerald Pollinger. Finding a New Audience (1:85-86).
Bernard Pomerance. Break on Through to the Other Side: The War Crimes Trial of General Nelson Miles Held by the Dead (53:105-127).
Sally Pont. Ich Liebe Dich and Other Lies Too Hideous to Utter (18:187-197).
Joshua Pool. Family Record for Andrew Bickford and Olive Clark, 1820, watercolor, pencil, and ink on paper, 15"x 12", back cover #57.
Omar Pound. Three Afro-Ditties (1:248-250); Three Poems (8:201).
Jim Powell. Beauty & the Cripple (19:248-257).
Lawrence Clark Powell. James Laughlin (1:144).
Padgett Powell. Mrs. Hollingsworth’s List (34:40-54).
Richard Powers. From Plowing the Dark (33:7-31); A Dialogue (with Bradford Morrow) (34:171-88); Singing (37:12-18); Modulation (50:87-103).
Antonia Pozzi. Twelve Poems (translated from Italian with an afterword by Lawrence Venuti) (31:114-128).
Kristin Prevallet. Past Time Based (42:371-374).
Ken Prior. Undulatus asperatus cloud formation near Schiehallion Mountain, 2008, cover #56.
Melissa Pritchard. The Hauser Variations (As Sung by Male Voices, A Capriccio) (45:37-57); A Solemn Pleasure (51:71-86).
Francine Prose. A Simple Question (53:70-81).
Marcel Proust. The Indifferent One (translated from French by Burton Pike) (31:129-38); From The Way by Swann’s (translated from French by Lydia Davis) (38:255-265).
Rosamond Purcell. Elements: Two Essays (46:178-91); Untitled photograph, cover #48.
James Purdy. Anonymous Anomalous Letters (1:175-185); Adeline (2:60-71); Wonderful Happy Days (2:72-83); An Interview, Conducted by Bradford Morrow (3:97-111); Kitty Blue (18:24-41); From Out With The Stars (19:19-28); The White Blackbird (20:104-126).
Abd al-Hakim Qasim. From Al-Mahdi (translated from Arabic by Peter Theroux) (23:21-42).
Peter Quartermain. Six Plaints and a Lament (8:165-179).
The Quay Brothers. Ten Unproduced Scenarios (46:347-97).
Mary de Rachewiltz. Nothing Which Celebrates Ezra Pound’s Relationship with J. (1:40); A Tessera (8:193).
Dawn Raffel. Is Anybody Listening (26:232-235).
Carl Rakosi. An Occasion (1:145); The American Girl (2:175); Americana (2:176); Jute (2:177); Blackbirds (2:179); Schneider Agonistes (2:178); Emmanuel Hocquard, Gazette du Lecteur, Asks Me for a Poem . . . (2:180); Oats (4:118); The Clock Strikes (4:118); Welfare (4:119); “A Minor Poet Not Conspicuously Dishonest” (8:153); An Interview, Conducted by George Evans and August Kleinzahler (11:220-245); Theme (16:296); Narrative of the Image (19:119-120); The New World (19:120); Meditation (19:121).
A. K. Ramanujan. Three Folktales from India (collected and translated from Tamil and Malayalam) (18:131-137).
Bin Ramke. Gravity & Levity (35:170-74).
Heather Ramsdell. From Vague Swimmers (37:389-91).
Archie Rand. Drawn & Quartered (with poems by Robert Creeley) (32:279-88).
Stephen Ratcliffe. Echoes (16:280-295); From Present Tense (22:209-213).
David Rattray. Opening the Eyelid (10:173-176); Anaximander (15:144-145); The Mantis (15:145-147); In Nomine (16:38-61); How I Became One of the Invisible (with a sketch map by the author) (18:122-131).
David Rattray and James Nares. The Curve (20:8-14).
Peter Reading. From Perduta Gente (19:9-14).
Keith Reddin. You Belong to Me (25:221-238).
Ishmael Reed. Writin’ is Fightin’ (21:305-307).
Tova Reich. Managed Care(36:123-34); Forbidden City (43:323-336); The Plot (48:338-351).
James Reidel. The Plenary Trench (6:175-176).
Joan Retallack. From Memnoir (38:127-131); Tragi-Kitsch & Elegiac-Comix (40:399-412); Archimedes’ New Light (50:227-32).
Donald Revell. Another Day (17:212-213); Orison (22:320-321); To the Lord Protector (24:160-163); Joyful Noise: The Gospel Sound of Henry D. Thoreau (29:395-400); Five Poems (32:354-58); Two Poems for the Seventeenth Century (35:235-36); The Dead in Their Sleekness (38:90-91); Landscape: Tamalpais (40:95-96); Three Film Poems (42:182-184); Three Poems (45:124-126); Three Poems (48:333-334); The Rabbits (50:331-34); Two Poems (56:166).
Pierre Reverdy. Nine Prose Poems (translated from French by Ron Padgett) (38:291-295).
Kenneth Rexroth. An Interview, Conducted by Bradford Morrow (1:48-67); Vivienne Renaud (2:54-59); Excerpt from the Unpublished Autobiography (4:97-114); A Crystal out of Time and Space: The Poet’s Diary (8:62-80); Gustave Courbet’s Sister Regards a Paul Klee, cover #46.
Frances Richard. From Plummet (43:25-42).
Sarah Riggs. Undercurrencies, with Leighton Pierce (42:302-311).
Rainer Maria Rilke. The Seventh Elegy (translated from German by William H. Gass) (32:386-88).
Tom Robbins. The Meaning of Life (51:87).
Elizabeth Robinson. Three Dragons (36:28-32); Hansel and Gretel (38:92-98); Arrow (41:262-264); Two Poems (42:141-145); Boy (45:109-112); From The Woman in White (47:217-220); Crow & Robin (49:140-144); Modernist Poems (53:143-149); On Repetition (58:69-73).
Michelle Robinson. Seventeen Poems (43:109-124).
Jaime Robles. Clone Poems (54:281-86).
Stephen Rodefer. Fidelity (8:117-118).
Edouard Roditi. A Most Magnificent Oration (1:72-77); Conversation on an Island in the Seine, with Edmund White (7:143-156).
Janet Rodney. Heavy is the Root of Light that lies in the Still Dark (6:223-226); Echoes from the Spanish Civil War (15:190-196).
Elizabeth Rollins. The First Intifada, Jerusalem, 1987-1993 (53:249-258).
Tim Rollins + K. O. S.. Amerika, cover #15.
Ned Rorem. Two Essays (46:127-130).
Barney Rosset. Remembering Samuel Beckett (53:8-34); China (56:228-259).Jerome Rothenberg. For James Laughlin: a Dedication and a Poem (1:171-174); Ethnopoetics & (Human) Poetics (6:232-240); The Lorca Variations: “Lunar Grapefruits” (18:198-202); The Pound Project (41:55-62).
Susan Rothenberg. Goat over Dog, cover #20; You Ate Leaving the Present Now: Twelve Variations on the Theme of Memory (36:334-49).
Susan Rothenberg and Robert Creeley. Parts (20:86-103).
Jacques Roubaud. From Some Thing Black (translated from French by Rosmarie Waldrop) (14:54-61); Three Tales from the Tale Knows as the Princess Hoppy or the Labrador Tale (translated from French by Bernard Hœpffner) (18:81-114); Five Poems (35:202-06).
Jess Row. Waterfalls (54:306-18).
Claude Royet-Journoud. Love in the Ruins (translated from French by Keith Waldrop) (8:108-115).
Meridel Rubenstein. Critical Mass, photographs (with text by Ellen Zweig) (24:164-187).
Ryan Ruby. That Obscure Object of Desire (58:150-159).
Mark Rudman. Birthday Call (41:342-347).
Tessa Rumsey. The Expansion of the Self (35:110-12).
Salman Rushdie. An Interview, Conducted by Catherine Bush (14:7-20).
Karen Russell. From Children’s Reminiscences of the Westward Migration (45:89-108); Dowsing for Shadows (52:173-197); The Graveless Doll of Eric Mutis (55:87-121); A Family Restaurant (57:8-30).
Pamela Ryder. Overland (34:418-31).
Ryvel and Vehel. The Bestiary of the Ghetto (translated from French by Edouard Roditi) (2:106-111).
Peter Sacks. Five Poems (33:195-204); Five Poems (35:212-14).
Jerome Sala. Two Poems (35:401-03).
David Salle. Untitled, cover #36.
Thomas Sanchez. The Man Who Stole the Presidents (1:251-252).
Luc Sante. Not Fade Away (48:169-179).
José Sarney. From Master of the Sea (translated from Portuguese by Gregory Rabassa) (38:316-326).
Joachim Sartorius. Alexandrie, Boulevard De Ramleh, 1903 (23:137-138); Hoarfrostwatch (23:138); (Love) (23:139); A Fig for the Way Home (23:139); To a Dolphin in Batumi (23:140); In This Black Stillness (23:140-143) (translated from German by Sibylle Schlesier, Nathaniel Tarn and Rosmarie Waldrop).
George Saunders. The Big Durn Flood (36:116-22).
Peter du Sautoy. James Laughlin (1:223-224).
John Sayles. Chicago Guy: Nelson Algren (29:19-20); Turnbuckle (42:400-439); New Hope for the Dead (43:257-274).
Leslie Scalapino. From That They Were at the Beach (7:54-58);
Jumping-jack Flash (10:43-47); The Series-3 (13:70-74)
Kenny Scharf. Blobareeblob, 2006, oil on linen, 60"x 48", cover #52.
Catherine Scherer. When the River Runs Red (20:130-135).
Harold Schimmel. 1880 (translated from Hebrew by Guy Davenport) (4:38-50); From Island to Island (translated from Hebrew by Peter Cole) (23:105-110).
Arno Schmidt. The Displaced (translated from German by John E. Woods) (22:227-260).
David Schuman. Miss (44:131-133).
Julian Schnabel. Portrait of William Gaddis, oil, plates and bondo on wood, 60 x 48 inches, photograph by Phillips/Schwab (33:148).
Carter Scholz. Tribute to William Gaddis (41:402-403).
Brian Schorn. The Cyclic History of the Line (26:183-186).
Jason Schwartz. The Balusters (24:202-205).
Leonard Schwartz. On Paul Celan (12:293-296); Ecstatic Persistence (35:-404-06).
Armand Schwerner. Threads Through the Denkoroku, Records of the Transmission of the Light (4:220-223); TABLET XXV (8:116); TABLET XXVI: From the Laboratory Teachings Memoirs of the Scholar/Translator (12:111-134); A Conversation, with Philip Corner (16:181-196); Tablet XXVII (17:213-244); The {step drawing} (18:317-322).
Kurt Schwitters. Four Bear Songs (translated from German by Jerome Rothenberg) (18:138-139).
Joanna Scott. Convicta et Combusta (18:142-152); Nowhere (21:109-121); Yip (28:37-45); How To Tell a Lie, By Edgar Allan Poe (29:89-96); Public Notice (30:297-306); An Interview by Bradford Morrow (34:342-52); The Usefulness of Ugliness (37:331-41); Tribute to William Gaddis (41:393-394); From Liberation (44:134-142); In a Glance (46:16-28); Heaven and Hell (47:58-68); Sally Werner (50:335-44); De Potter’s First Grand Tour around the World (56:147-165).
Peter Dale Scott. From Minding the Darkness (33:125-47); Two Meditations (47:221-233).
Olga Sedakova. Chinese Travelogue (translated from Russian by Andrew Wachtel) (23:9-20).
George Seferis. Cavafy’s Ithaka (translated from Greek by Susan Matthias) (31:88-94).
Rebecca Seiferle. Night Music (41:191-193); How Many Fires (48:335-337).
Will Self. From Scale: A Musical Regression in Five Acts (47:427-446); Any Shape, Any Size (48:241-253).
Lucius Seneca. Sick (translated from Latin by John D’Agata) (51:69-73).
Olive Senior. Gourd (27:51); Shango: God of Thunder (27:52-54); Oya: Goddess of the Wind (27:54-55); Olokun: God of the Deep Ocean (27:55-57); Yemoja: Mother of Waters (27:57-60); Guede: Lord of the Dead (27:60-61)
Iliassa Sequin. Three Quintets (12:135-140).
Vittorio Sereni. Progress (1:70); Another Anniversary (1:71). (translated from Italian by Edouard Roditi.)
Richard Serra. Design for a Footbridge (with Frank O. Gehry) (33:165-72); Pickhan’s Progress, weatherproof steel, six conical/elliptical sections, 86', cover #33.
Bob Shacochis. From The Woman Who Lost Her Soul (51:179-92).
Ntozoke Shange. Sterling Brown: A Southern Man (29:11-18).
David Shapiro. Dido to Aeneas (19:311-312); Two Poems (35:354-55); A Birthday Notebook for JA (49:302-310).
Joel Shapiro. Untitled pastel and charcoal drawing, cover #11.
Brenda Shaughnessy. Three Poems (35:303-06).
Lisa Shea. Divining Stein (29:199-202).
Aurelie Sheehan. The Secondary Confessions (57:215-237); Luxembourg Gardens (59:177-192).
Michael Sheehan. Jean Takes a Moment to Respond (54:67-78); The Horror (55:158-170); Proposals for the Recovery of the Apparently Drowned (58:95-108).
Andrew Shelling. Two Landscapes with Anne Waldman (35:113-19).
Reginald Shepherd. Five Poems (33:255-60); Two Poems (35:215-20); Cloud Chamber (37:187-89); The Navigators (41:51-54); Four Poems (47:205-210); Letter to a Wound (48:197-205); Only in the Light of Lost Words Can We Imagine Our Rewards (49:252-258); Three Poems (50:152-54).
Jonathan Marc Sherman. Evolution (25:174-186).
David Shields. War Wounds (16:297-309); A Brief Survey of Ideal Desire (40:109-114); Tribute to William Gaddis (41:403-405); Boys’ Bodies (42:242-245); Three Essays (45:80-88); The Thing About Life Is That One Day You’ll Be Dead (46:139-68); Deep Breathing (48:77-96); The Imaginary Dead Baby Seagull (49:181-188).
Aaron Shurin. From Artery (9:111-112); A’s Dream (11:119-120); The Wheel (17:171-177); The Self (20:22-24).
Eleni Sikelianos. Sleep, Sleepwalker (38:57-62); From The California Poem: We dream up movies, photosynthesis, Lombard & Lana Turner, & the hills are haunted by celluloid ghosts (42:368-370); Notes Toward the Township of Cause of Trouble (Venus’s Cabinet Revealed) (48:254-260); The Chinese Shirt /& The Human Body (54:51-6).
Richard Siken. You Are Jeff (30:167-74); The Ecstasy of Looking: Six Proofs (34:459-63).
Dennis Silk. The Marionette Theatre (9:42-52); When We Dead Awaken (11:36-44); James’ Game (19:122-135).
Leslie Marmon Silko. Introduction to a Book Titled Blue Sevens, or Protect Yourself From Whitchcraft While You Get Rich (34:189-95).
Ron Silliman. Engines, with Rae Armantrout (4:120-124); From Hidden (12:248-251); Fubar Clus (35:256-60); Four Contexts for Three Poems (49:283-301).
Nicky Silver. Etiquette Vitriol (25:165-173).
Colin Simms. 18.4.85 Northumberland (8:184).
Claude Simon. Coma Berenices (translated from French by Culley Jane Carson) (20:25-33).
Kyra Simone. Seven Stories from the Palace of Rubble (56:74-78).
Mona Simpson. Henry James (29:203-210)
Iain Sinclair. From Horse Spittle (19:259-280).
Isaac Bashevis Singer. Eighteen Days (with a note by Jonathan Safran Foer) (33:214-33).
Charlie Smith. From Zebra Dunn (17:334-348).
Derek Smith. Waving His Stick (8:210-223).
Lee Smith. Co-editor, with Martine Bellen and Bradford Morrow, Conjunctions: 29, Tributes.
William Jay Smith. A Rallying Point for Young Poets (1:41).
Emma Smith-Stevens. Switch (55:266-276).
Gary Snyder. The Flowing (1:20-23).
Gustaf Sobin. The Earth as Air (2:158-174); Eleven Quatrains and a Note from Ventadour (3:6-8); Girandole (3:9-11); As It Unravels (4:70-74); Carnets: 1979-1982 (5:106-121); Of Neither Wind Nor Anemones (6:143-144); Along Lines the Lines Move (6:145-146); Nile (6:147-150). Four Poems (30:135-40); Two Poems (35:92-95); Transparent Itineraries: 2000 (40:335-337); Three Poems (43:299-303).
T.L. Solien. Death Waits for Whimsy, oil painting, cover #4.
Susan Sontag. From In America (30:77-101).
Christopher Sorrentino. Stalingrad (34:368-89); Condition (40:241-257); Tribute to William Gaddis (41:405); Crepuscule with Mickey (47:161-174); The Photographer Upstairs (50:221-26); Death in the Age of Digital Proliferation, and Other Considerations (51:202-12); The Cursed (58:45-68).
Gilbert Sorrentino. Blarney Spalpeen on the True Meaning of St. Patrick’s Day (1:30-39); Doc Dubuque’s Idyll, or, Ah, Nature! (2:186-189); In Which the Desert Sands Become a Colorful Riot (3:89-96); A Beehive Arranged on Human Principles (7:189-196); “The poet supreme, addressed to/emptiness” (Creeley) (8:151-152); Chayne of dragons (10:85-90); Scenes from Bouquet Rag (12:267-276); A Snowman and Other Curiosities (16:310-319); From Red the Fiend (20:321-339); Beliefs Reasonable, Unreasonable Beliefs (21:327-332); Things That Have Stopped Moving (28:65-91); From Little Casino (33:184-94); Gorgias (35:145-53); Life and Letters (37:427-32); They Put a Spell on You (42:203-209); Head Arrangements (43:349-359); Mikky Waze (45:177-181).
Phillipe Soupault. Westwego (translated from French by Andrew Zawacki) (55:314-320).
Juliana Spahr. Blood Sonnets (35:397-400).
Andrew Spence. Thin TV, 2001, cover #40.
William Stafford. Friends (1:78); Choosing a Manuscript (1:79).
Ann Stanford. The Thirties (1:261); Mind (1:262); 365 Poems (1:263). Translator with Grace Smith A Translation from the Turkish of Yanus Emre (1:264-265)
David Starobin. An Interview, with John Abercrombie, Conducted by Bradford Morrow (16:107-121).
John Stathatos. Photographs: Stonypath, Ian Hamilton Finlay’s Sculpture Garden (5:95-105).
Charles Stein. Four Pieces from theforestforthetrees (5:127-134); The Sad Machines (7:197-208); 17 Poems From theforestforthetrees (11:149-160); Five Nails (15:306-316); They Take the Car Away (19:290-292).
Susan Steinberg. Lifelike (37:419-26); The Last Guest (40:177-194); Hydroplane (44:190-202); Signified (48:329-332); Cowgirl (54:79-83); Spectacle (56:40-52).
Haim Stenbach. Madame Realism Looks for Relief (with fiction by Lynne Tillman) (32:197-207).
D.E. Steward. November (11:181-191); March (14:245-255); Agost (24:212-219); Satembre (44:252-264); Sandhills in Chukotka (49:98-106); Avrila (53:259-264); Luglia (55:227-234).
Susan Stewart. I Was Reading and Rereading Ashbery’s Self-Portrait for Many Years (49:311-326).
Donna Stonecipher. Model City (55:151-157).
David Storey. Untitled etching, cover #8; Eight Drawings (11:161-168).
Peter Straub. From Mrs. God (14:84-97); 45 Calibrations of Raymond Chandler (29:97-102); Guest Editor’s Note [toConjunctions:39, The New Wave Fabulists] (39:6-7); Little Red’s Tango (39:97-132); Lapland, or Film Noir (42:133-140); From The Skylark (47:309-318); The Oath Unbroken (49:259-262); The Ballad of Ballard and Sandrine (56:340-377); Editor’s Note [toOn the Monstrous: A Portfolio] (59:141); Monstrous, Monstrosity, Monster, and the Little Man Next Door (59:145-147).
Botho Strauss. Pairs, Passersby (translated from German by John Zilcosky) (23:255-267).
Meredith Stricker. Lexicon (with images by the author) (32:778-92).
Joseph Sullivan. The Young and the Restless: A Phrenology (17:349-358).
James Surls. How Far Back and Again the Meat Man and the Bait Fish, wood sculptures, cover #22.
Terese Svoboda. White (26:196-198); My Brother’s Dust (51:251-70).
Cole Swensen. To Word (21-92); To Circumferate (21:93); Animism (21:9394); To Irrevoke (21:94); Ghazal of the Empty Thing (21:94-95); To Fall (21:95); To Carry On (21:95); Two Poems (24:206-211); For M. Moore (29:41-46); Such Rich Hour (with images from Les Très Riches Heures du Duc de Berry, 15th century, computer manipulated by the author) (32:145-53); Seven Hands (35:368-73); A Dialogue with Susan Howe (35:374-87); Four Poems (40:173-176); Ghosts (48:149-152); Besides, of Bedouins (49:377-384); Two Poems (50:67-70); Five Ghost Poems (53:285-287); On Walks: Rousseau (56:297-301); Landscapes on a Train (59:119-122).
Arthur Sze. The String Diamond (26:67-72); Earthshine (33:66-72); Quipu (35:41-47); The Double Helix (44:108-112); After Completion (49:55-59); Available Light (54:229-33); The Immediacy of Heat (59:241-245).
Joseph Tabbi. Tribute to William Gaddis (41:405-406).
John Taggart. Through Planes (4:54); “Beware” (4:54); Never Too Late (5:91-94); Repetition (6:227-230); Not Quite Parallel Lines (9:98-107); Marvin Gaye Suite (10:34-42); On Susan Howe (11:264-274); On Theodore Enslin (12:303-310); Vaguely Harmless (14:261-264); Fragments from Aeschylus’ Prometheos Auomenos (15:359-360); Aria No. 17 (16:237-239); Into the Hill Country (20:60-63) Crosses (24:81-95); K. Tropes (30:283-89); Not Egypt (35:416-20); Three Poems (44:370-374).
Anne Tardos. Ami Minden (16:173-180); From Uxudo (30:342-53); Four Plus One K (35:335-41); The Aim of All Nature Is Beauty (48:87-97).
William Targ. A Man of Purpose (1:268-269).
Nathaniel Tarn. North Rim (2:7-17); Flight from the Mountaintop (3:114-118); Nor Was It Possible That Year to Get Away (4:155); The June Flower (4:156); “The Selection of Heaven” (4:157); His Eyes Looking Forward and Upward (4:158); From the Mercer Museum’s Windows (4:159); Reaching for Hölderlin (4:160); Cliffs of the Ultimate Record (4:161); At a Meeting, the Cry: “To the Maya Revolution!” (4:162); Of a Marriage Made Within the Great Light (4:163); Speaking With the Dead Along the Canal (4:164); The Last Grand Rain (4:165); Lying Beside Her on an Autumn Morning (4:166); Of a Marriage Returned to the Great Light (4:167); Entering into This (5:228); Animal Bride (5:229-230); Peredur West (5:231-232); Death Fear--Yet of Another (5:233-234); Dr. Jekyll, the Anthropologist . . . (6:266-281); From The Book of Songs (7:210-223); Remission Bardo (9:121-122); Metamorphosis of Spider into Crab (9:122-124); The Land in Question (9:125-127); On Dennis Tedlock (9:273-278); Protoavia:Narrative of the Pilots (10:277-280); Two Poems (11:250-255); On Peter Brazeau (11:284-285); Home (13:170-175); Italian Sequence Comma With Italian Words Stop One Stop (15:224-231); Bartok in Udaipur (17:167-171); Red Banner’s Whereabouts (20:140-143); Meditation: First and Last Trek, Zangskar (22:184-189); Burial Plot (28:94-95); Body in Glory (30:354-55); Two Poems (35:320-22); Ascending Flight, Los Angeles (49:137-139).
James Tate. Two Poems (35:156-57); Three Poems (38:53-56); Five Poems (41:237-244).
Yoko Tawada. Where Europe Begins (translated from German by Susan Bernofsky) (33:73-86); The Guest (translated from German by Susan Bernofsky) (38:335-348).
Barbara Tedlock. The Beautiful and the Dangerous: Zuni Ritual and Cosmology as an Aesthetic System (6:246-265); Masking (9:166-176); The Gleam in the Butcher’s Eye, with photographs by the author (13:179-194).
Dennis Tedlock. Reading the Popul Vuh (3:176-185); On David M. Guss (9:285-287); Five Days from a Dream Almanac (10:235-240); Breath on the Mirror, with drawings by the author (13:195-217); Three Maidens at the Bath (18:203-216).
Roberto Tejada. Four Poems (35:342-44).
Fiona Templeton. The Place Has Replaced the Teller (20:15-21).
Carroll F. Terrell. Light as Spider Floss (8:212-213).
Alexander Theroux. Jesus and the Cat (20:127); Jonah Considers His Right Hand from His Left Hand (20:127); What Mr. Ambidextrine Was Told at Confession at the 31st St. Shrine (20:128); Consolation of Philosophy (20:128); Lucifer is Haunted by the Echo of His Last Goodbye (20:128-129); Willow Tree (20:129). Black (30:115-27); Laura Warholic (34:107-19); Queen Gloriana’s Revenge (36:221-25); Camp Cedar Crest (37:374-80); Two Poems (42:44-46).
Melanie Rae Thon. A Song Unbroken (49:189-196); In This Light (51:193-201).
Adam Thorp. Friends: 1689 (19:99-116).
Lynne Tillman. The Trouble With Beauty (14:185-188); Madame Realism: A Fairy Tale (with illustrations by Silvia Kolbowski) (18:178-186); Love Sentence (22:190-208); Edith Wharton: A Mole in the House of the Modern (29:123-126); Madame Realism Looks for Relief (with instillations by Haim Steinbach) (32:197-207); Ten TV Tales (36:211-14); Playing Hurt (47:341-345).
Uwe Timm. Wenstrup’s Disappearance (translated from German by Breon Mitchell) (38:226-232).
Carol Tinker. Compass and Set Square: The Hermetic Triumph (1:243); A Friendship Traced: H.D. Letters to Sylvia Dobson (2:115-157).
Sallie Tisdale. The Sutra of Maggots and Blowflies (51:8-29); Falling (57:31-38).
Leo Tolstoy. From Anna Karenina (translated from Russian by Marian Schwartz) (38:361-371).
Bruce Tomb. Granite Cooktop (7:184).
Yasunao Tone. Geography and Music for Amplified String and Text (28:270-277).
Andrew R. Touhy. Four Stories (57:297-306).
Sarah Tourjee. The Library (59:270-272).
Melissa Townsend. Three Poems (19:136-138).
Federigo Tozzi. Three Stories (translated from Italian with an afterword by Minna Proctor) (31:336-55).
John Tranter. The Howling Twins (with an afterword by the author) (23:279-286).
Bill Traylor. Untitled, cover #18.
Quincy Troupe. Up Close and Personal: Miles Davis and Me (16:76-93); The Visible Man: Ralph Ellison (29:277-288). Co-editor with Bradford Morrow of Credos portfolio in Conjunctions 21, Credos.
Billy Tsien with Tom Williams. Asia Society Chair (7:177).
Liz Tuccillo. From Fair Night (a mean little dance) (26:273-286).
Genya Turovskaya. Seven Poems. (43:186-207).
Gael Turnbull. A Last Poem (8:223).
Frederic Tuten. My Autobiography: Portable, With Commentary (40:115-121); The Park Near Marienbad (42:100-108); Voyagers (44:271-278); Self-Portrait with Beach (48:399-405); Self-Portrait with Sicily (50:201-11); The Verandah (54:144-54).
Rachel Tzvia Black. Lamentation (57:147-169).
Chris Tysh. Mother, I: From a Film Script Based on Georges Bataille’s Novel Ma Mère (42:335-355).
Montri Umavijani. Mahayana (1:241); The Stupas (1:241); At the Place (1:241); At the Top of the Stupas (1:242); On Arrival (1:242).
Deb Olin Unferth. Malaria (44:295-301).
Michael Upchurch. The Hanging Jetty (51:332-36).
Laura van den Berg. The Isle of Youth (54:319-49).
Jeff VanderMeer. Predecessor (52:266-274).
Reetika Vazirani. Three Poems (41:117-118).
Adam Veal. The Edible City (55:287-304).
Sara Veglahn. Two Fictions (44:97-107).
Don Van Vliet [Captain Beefheart]. Untitled painting, cover #3; Hollow Smoke (3:135); Drawings (3:135-139); Popplin’ Gas Hearts (3:138); dopedinstunnedmirages (3:139); The Smith That Cleans Our Stars (3:139).
Paula Vogel. The Mineola Twins, A Comedy in Six Scenes, Three Dreams and Five Wigs (25:89-116).
William T. Vollmann. Scintillant Orange (11:45-99); The White Knights, with photographs by Ken Miller (12:172-222); The Quest for Polar Treasures (13:75-89); The Grave of Lost Stories (14:221-238); American Writing Today: A Diagnosis of the Disease (15:355-358); An Incomplete Biography of Amantacha the Huron (with drawings by the author) (17:277-306); The Butterfly Girl (18:261-265); Art and Politics (21:345-352).Inside and Outside: Pages from The Atlas (24:287-94; Moral Yellowness (30:175-84); The Sleepwalker (34:93-106); Defense of Ground (36:267-310); Lost Victories (40:153-160); Far and Wide My Country Stretches (42:47-79)
Aleksandr Vvedensky. A Certain Quantity of Conversations Or, The Completely Altered Nightbook (translated from Russian by Thomas Epstein and Eugene Ostashevsky) (43:360-381).
Michael Wade. Una Dormienda (8:203).
Derek Walcott. Signs (27:13-16).
Anne Waldman. Coup de Grace (3:172-175); Four Fidelities (21:318-326); Language, Voice, Beat, Energy: Jack Kerouac (29:115-122); Two Landscapes with Andrew Schelling (35:113-19); Tears Streak the Reddest Rouge: duan zui jin si yan (49:27-37); Surf A Tide of Weirdness (54:277-80).
G. C. Waldrep. Three Poems (56:318-321).
Keith Waldrop. Six Studies for Hegel’s Family (6:42-43); Puberty (10:281-286); One Step Enough (11:192-210); Variations on a Paraphrase (15:271-277); Three Poems (17:365-370); From Light While There Is Light: An American History (20:208-219); A Vanity (35:388-92); Three or Four Poems (47:323-332); Always in Arises (59:67-73).
Rosmarie Waldrop. From The Reproduction of Profiles (7:173-175); Six Poems (13:237-238); Jacques Roubaud, a translation from Some Thing Black (14:54-61); The Attraction of the Ground (15:320-323); The Vital Knot (20:144); Pleasure Principle (20:145); Localization (20:146); Outermost (20:147); To Wit a Very Small Gland (20:148). Four Conversations (30:131-34); Four Cornell Boxes (33:161-64); Hölderlin Hybrids: In Early November (38:77-80); By the Waters of Babylon (47:211-216); Otherwise Smooth (59:300-301).
Wendy Walker. The Children of Montjoie (18:228-235); My Man (22:155-157).
David Foster Wallace. John Billy (12:7-28); Order and Flux in Northampton (17:91-118); From Quite a Bit Longer Thing in Progress (Infinite Jest, with a foreword by the author) (20:223-275); Two Stories (28:34-36); Good Old Neon (37:105-40).
Rob Walsh. Dr. Eric (52:293-306).
Diane Ward. Hold It (15:197-198).
Robert Penn Warren. If Ever (1:98).
Lewis Warsh. A Place in the Sun (42:378-399); Working Late (48:261-281).
Charles Wartts, Jr. Papa Will (18:333-338).
Wendy Wasserstein. Antonia and Jane (25:125-132).
William Weaver. Co-editor with Peter Constantine and Bradford Morrow of Rejoicing Revoicing portfolio in Conjunctions 38, Rejoicing Revoicing.
Eliot Weinberger. Poem for JL (1:247); The River (19:29-36); Two Essays (40:82-94); Four Essays (41:107-113); Muhammad (46:231-246); Questions of Death (51:48-50).
Adam Weinstein. Some Remarks on Teeth (58:235-247).
Marjorie Welish. Wild Sleeve (5:206-207); Talking About Here (7:62-67); The Last Vaudeville (9:162-163); Two Studies of a Man’s Head and One of a Kneeling Woman (9:164); A Full Hand (11:246-249); Tableau-Tableau (14:44); Curio (14:45); Danbury, Connecticut (15:267-268); Design, With Drawing (15:268-269); Kiss Tomorrow Goodbye (15:269-270); For Four Violins (16:129-130); Grace’s Tree, I (19:258-259); Corresponding Saints (24:159); Delight Instruct (35:146-50); Isle of the Signatories (47:274-278); The Double Dream of Spring Would Like to Make a Few Statements (49:279-282); Four Poems (55:175-182).
Mac Wellman. The Sandalwood Box (25:80-88); Bierce (29:323-324).
Joe Wenderoth. To Take Place (51:364-70).
Michael Wesely. The Berlin Project (55:256-265).
Paul West. Dewey Canyon (2:191-201); A Feather on the Breath of God (8:29-42); The Place in Flowers Where Pollen Rests (9:189-200); Feeding the Eternal Reich (11:256-261); A Piece of Ancient China (11:261-263); An Interview, Conducted by Bradford Morrow (12:141-171); Six Short-Shorts (13:259-263); A Whore’s Agincourt (14:210-220); On Juan Goytisolo (14:273-275); No’s Knife in Yes’s Throat (15:361-412); Always Bach (16:30-37); Argot of the Dead (17:187-194); Rupert Killamarsh’s Other Life (with illustrations by Joe Servello) (18:266-274); From The Tent of Orange Mist (20:305-320); Middle River Stump Jump: A Credo (21:355-357); a Chocolate Malted for Charles Ives (22:322-370); Colonel Clegg, A Life Sentence (24:195-201); Five Portable People (26:233-236) The Pure Scalding Light of Tombstone, 1881 (28:324-339); The Sound of the Fury: Faulkner’s Aerial Surf (29:127-144); The Chatter Heart: An EKG (30:267-282); Boxed In (with art by Joseph Cornell) (32:235-57); Roses from the South (33:239-54); The Dark (34:29-39); The Grand Illusion (36:204-10); Our Delius (37:249-70); Rat Man of Manhattan (38:81-87); Grudge on the River Kwai (40:319-326); The Execution of Fegelein (41:217-223); Voice Over (42:322-334); Slow Mergers of Local Stars (44:239-251); The Shadow Factory (46:275-301); Obsession in Outer Mongolia (48:317-328); Tunguska (53:265-284); Respecting the Daedal Anonym (54:234-46).
Susan Wheeler. Each’s Cot an Altar Then (35:73-5); Would That a Worldly Country We Were (49:445-450).
Edmund White. Conversation on an Island in the Seine, with Edouard Roditi (7:143-156); From Mrs. Trollope’s Life of Francis Wright (37:229-37); A New York Encounter (47:279-285).
Michael White. Stamina (48:282-298).
John Edgar Wideman. Fever (14:116-140); Two Stories (34:9-11); Match (37:7).
John Wieners. From 707 Scott Street (19:83-98).
J. Rodolfo Wilcock. From The Babel of Iconoclasts (translated from Italian by Lawrence Venuti) (23:287-303).
Diane Williams. My Female Honor Is of a Type (12:223-224); All American (12:224-225); Pornography (12:225-226); Life After Death (14:267); The Nob (14:268-269); Ten Feet From It (14:269-270); The Uses of Pleasure (14:270); The Kind You Know Forever (14:270-272); The Flesh (15:83); This One’s About (________) (15:83-84); Spanish (15:84-85); The Hag was Transformed by Love (15:85-86); The Meaning of Life (17:266); Turning (17:266); The Real Diane Williams Has Captured the Whole of Freud (17:267-268). Spoon (26:139); Longie (26:139); Old Hat (26:140); It Was for Years (26:140); Red Rose (26:141); To Dickinson (29:333-334); Four Stories (32:379-82); In the Lightly Moderate Vivid Deep (34:392-94); The Beginning of the World Feeling Ought to be Exhilarating (36:253-56); Dear Born Just North of Poke (37:387-88); Two Stories (40:217-218); Four Stories (45:200-202); Four Stories (47:410-412); A Helpful Story, a Devious Storm, the Weird Directions, the Difficult Wait, the Risky Wait, the Happy Appointment, the Familiar Property, the Safety Sign, the Frightened Enemy (50:295-98); Stop When the Person Becomes Restless or Irritable (55:209-210).
Jonathan Williams. Bottom of the Forty-Fifth (1:16-18); Eleven Clerihews of Clara Hughes (2:216-218); Four More for the Great Dead (4:115-117); The Photographs of Guy Mendes: “Eh, La Bas, the F-Stops Here!” (5:173-176); Nearly Twenty Questions, with Ronald Johnson (7:224-238); The Basilicum in the Gryke (8:149-150); Eight Poems from Twits Gits Moles Proles & Odd Sods of Dreary Little Sebber (10:269-276); Across the Kudzu and Way Down Yonder Under Algamila, with photographs by Guy Mendes (12:227-242); Kenneth Patchen: “Hiya, Ken Babe, What’s the Bad Word for Today?” (29:379-386).
Joy Williams. The Visiting Privilege (30:148-58); Mr. Gaddis (33:155-57); Hammer (40:303-318).
Tennessee Williams. Homage to J. (1:45).
Elizabeth Willis. Without Pity (28:92-93); Two Poems (35:351-53); Six Poems (44:355-358).
Gahan Wilson. On Jay Cantor, (12:297-302); Cover #39; Twenty-one Illustrations (39:8,52,84,96,132,148,162,172,196,210,232,266,294,308,328,340,392,404,419,433); Nuts (45:174-176).
Trevor Winkfield. Rice Bomb, cover #9; The Way Home, with Harry Mathews (12:36-48); Three Peter Lorre Poems (with poems by John Yau) (32:154-62).
Robin Winters. Metropolitan Acquaintances (6:177-184); On Tom Patterson (12:302); Two untitled sculptures, cover #21.
Gene Wolfe. From Knight (39:233-266).
Gary K. Wolfe. Malebolge, Or the Ordnance of Genre (39:405-419).
C. D. Wright. From Just Whistle (17:119-126); Frank Stanford Of the Mulberry Family: an Arkansas Epilogue (29:301-310);Retablos (with photographs by Deborah Luster, and Spanish translations by Gabriel Bernal Grandos) (32:109-25); From One Big Self (35:287-90); From One Big Self: Prisoners of Louisiana (37:351-54); Rewatching The Passenger (42:26-31); Two Poems (47:158-160); Like Something Christenberry Pictured (49:178-180); Some Old Words Were Spoken (51:398-99); From Breathtaken (with photographs by Deborah Luster) (55:74-86).
Doug Wright. From Quills, a grand guignol (25:261-272).
Stephen Wright. Brain Jelly (52:9-17).
Rudolph Wurlitzer. An essay on Lynn Davis’s Eight Photographs (17:319-328).
Can Xue. Two Stories (translated from Chinese by Jian Zhang and Ronald Janssen) (18:47-58); Two Unidentifiable Persons (translated from Chinese by Ronald R. Janssen and Jian Zhang) (21:249-262); Two Stories (translated from Chinese by Jian Zhang and Ronald R. Janssen) (23:166-184); Homecoming (translated from Chinese by Ronald R. Janssen and Jian Zhang) (28:101-108); Mosquitoes and Folk Songs (translated from Chinese by Chen Jie) (36:55-62); Helin (translated from Chinese by Karen Gernant and Chen Zeping) (40:125-152); Scenes Inside the Ruined Walls, (translated from Chinese by Karen Gernant and Chen Zeping) (43:304-312); Two Stories (translated from Chinese by Karen Gernant and Chen Zeping) (45:337-369); An Affectionate Companion’s Jottings (translated from Chinese by Karen Gernant and Chen Zeping) (47:255-268); Moonlight Dance (translated from Chinese by Karen Gernant and Chen Zeping) (50:212-20); Rainscape (translated from Chinese by Karen Gernant and Chen Zeping) (53:336-342); Sin (translated from Chinese by Karen Gernat and Chen Zeping) (57:266-276).
Lois-Ann Yamanaka. Hanging the Creetats (26:187-195); Ten Thousand in the Round (33:173-83); Wake (34:282-89); Kalihi Valley (40:97-101); The Big Betty Stories (45:203-210).
Araki Yasusada (pseudonym). Poems and Rengas (with Ozaki Kusatao and Akutagawa Fusei, translated from Japanese by Tosa Motokiyu, Ojiu Norinaga and Okura Kyojin) (23:69-78).
John Yau. Words From & For Basil Bunting (8:221-222); Three Peter Lorre Poems (with drawings by Trevor Winkfield) (32:154-62); Three Movie Poems (35:261-68); Two Poems (37:381-86); Three Poems (42:289-296).
Ishihara Yoshirö. Seven Poems (translated from Japanese by Hiroaki Sato) (23:215-221).
Kevin Young. “If You Can’t Read, Run Anyhow!”: Langston Hughes (29:157-164); Film Noir (35:433-38).
Marguerite Young. The Black Widow (32:359-78).
Saul Yurkievich. Grasp (9:201-203); So Then (9:203-204). (translated from Spanish by Cola Franzen.)
Adam Zagajewski. The Room I Work In (27:17-18).
Andrew Zawacki. f/11 (56:205-210).
Ellen Zweig. Critical Mass (with photographs by Meridel Rubenstein) (24:164-187).