A Delicate Aggression
Page 56
Brahms, Johannes, (i)
Brave New World (Huxley), (i)
Brien, Michael, (i)
Brinnin, John Malcolm, (i), (ii), (iii)
Britannica Schools, (i), (ii)
Bromell, Henry, (i), (ii)
Brooks, Cleanth, (i), (ii), (iii), (iv), (v), (vi)
Brothers, Connie, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Browning, Robert, (i)
Broyles, William, Jr., (i)
“Buckeye the Elder” (Udall), (i)
Buford, Kay, (i)
Bukoski, Anthony, (i)
Bullins, Ed, (i)
Burford, Bill, (i)
Burger, Knox, (i)
Burgess, Anthony, (i), (ii), (iii)n63
Bush, George W., (i)
Business Week, (i)
Caetani, Marguerite, (i)
Cain, Mary Ann, (i)
Calisher, Hortense, (i), (ii)
Calvin, John, (i), (ii), (iii)
Campbell, Roy, (i)
“Campus on the Hill, The” (Snodgrass), (i)
Camus, Albert, (i), (ii)n61
Canary in a Cat House (Vonnegut), (i)
Canin, Ethan, (i)
“Can Writers Have Friends?” (Smiley), (i)
“Cardinal” (Snodgrass), (i)
Carrier, Warren, (i), (ii), (iii), (iv), (v), (vi)
Carver, Raymond, (i), (ii); Boyle’s cultivation of, (i), (ii); as cult figure, (i), (ii), (iii); dirty realism of, (i), (ii), (iii)
Casey, John, (i)
Cassill, Ronald Verlin, (i), (ii), (iii), (iv), (v); achievements of, (i); Britannica scandal and, (i), (ii), (iii); commercialization decried by, (i), (ii); conspiracies alleged by, (i), (ii); early career of, (i); erotic fiction by, (i), (ii), (iii), (iv); financial pressures on, (i), (ii); regionalism disdained by, (i); resignation of, (i), (ii); students encouraged by, (i)
Catcher in the Rye, The (Salinger), (i)
Catch-22 (Heller), (i)
Cat’s Cradle (Vonnegut), (i), (ii), (iii)
Ceremony (Silko), (i)
Cerf, Bennett, (i)
Cervantes, Miguel de, (i), (ii)
Chabon, Michael, (i), (ii), (iii)
Chandler, Raymond, (i)
Chang, Lan Samantha, (i), (ii), (iii), (iv); compassionate leadership of, (i), (ii); Conroy recalled by, (i), (ii); diversity stressed by, (i), (ii), (iii), (iv), (v), (vi); Robinson and, (i), (ii); Workshop model reaffirmed by, (i)
Change Me into Zeus’s Daughter (Moss), (i)
Chaplin, Charlie, (i)
Cheever, John, (i), (ii), (iii), (iv), (v); Boyle’s cultivation of, (i), (ii), (iii); drinking habits of, (i), (ii)
Cheney, Dick, (i)
Cherry, Lynne, (i)
Chibka, Bob, (i)
Chopin, Frédéric, (i)
CIA (Central Intelligence Agency), (i), (ii)n56
Cider House Rules, The (Irving), (i)
Cisneros, Sandra, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); Bell’s mentoring of, (i), (ii), (iii); Dickinson’s influence on, (i); Dove admired by, (i), (ii); feminist writings of, (i); fiction and poetry melded by, (i), (ii); Harjo’s bond with, (i), (ii), (iii), (iv), (v), (vi), (vii); inner monologue employed by, (i); sexual awakening of, (i); sexual predation recalled by, (i), (ii); as teacher, (i); upbringing of, (i), (ii), (iii), (iv), (v); Workshop methods resisted by, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)
Clampitt, Amy, (i), (ii)
Clem Anderson (Cassill), (i), (ii)
Clockwork Orange, A (Burgess), (i), (ii)n63
Closing Circle, The (Commoner), (i)
Coen brothers, (i)
Collins, Jim, (i)n21
Collins, Max Allan, (i), (ii)n21
Color Purple, The (Walker), (i)
Commoner, Barry, (i)
Cooper, James Fenimore, (i)
Coover, Robert, (i)
Copernicus, Nicolaus, (i)
Cowley, Malcolm, (i)
Congress for Cultural Freedom (CCF), (i), (ii)n56
Conroy, Frank, (i), (ii), (iii), (iv), (v); as director, (i), (ii), (iii), (iv), (v), (vi)n21; nervous breakdown of, (i)n14; postmodernism disdained by, (i), (ii); Robinson’s work viewed by, (i); as teacher, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n44; Workshop method defended by, (i)n60; writings of, (i), (ii), (iii)
Conroy, Maggie, (i)
Coraje (Cisneros), (i)
Corn (Engle), (i)
Corrections, The (Franzen), (i)
Cox, James, (i)
Crane, Hart, (i)
Crime and Punishment (Dostoevsky), (i)
Crumley, James, (i)
Cujo (King), (i)
cummings, e. e., (i)
Cunningham, Michael, (i)
Cyclopaedia of American Literature, (i)
D’Agata, John, (i)
Dana, Robert, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Dante Alighieri, (i), (ii)
Darwin, Charles, (i)
Davis, George, (i)
Dawkins, Richard, (i)
Day, Robert, (i)
“Dead, The” (Joyce), (i)
Death of Adam, The (Robinson), (i), (ii), (iii)
“Death of the Ball Turret Gunner, The” (Jarrell), (i)
Deaths and Entrances (Thomas), (i)
Deb, Siddhartha, (i)
Debs, Eugene, (i), (ii)
Deer Hunter, The (film), (i)
Dell Publishing, (i), (ii)
Denning, Michael, (i)n59
Descent of Man (Boyle), (i), (ii), (iii), (iv)
Díaz, Junot, (i), (ii)
Dick, Anne Tuckerman, (i)
Dickens, Charles, (i), (ii), (iii), (iv), (v), (vi), (vii)
Dickey, William, (i), (ii)
Dickinson, Emily, (i), (ii), (iii), (iv), (v)
“Diminished Creatures” (Robinson), (i)
Ding Ling, (i)
Dodd, Mead and Company, (i)
Dolores Claiborne (King), (i)
Donaldson, Scott, (i)n18
“Do Not Go Gentle into That Good Night” (Thomas), (i)
Don Quixote (Cervantes), (i)
Dormitory Women (Cassill), (i)
Dostoyevsky, Fyodor, (i)
Dove, Rita, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Downs, Robert C. S., (i)
Dream Songs, The (Berryman), (i), (ii)
“Dream Song 36” (Berryman), (i), (ii)
Driven (Gehman), (i)
“Drowning” (Boyle), (i), (ii), (iii)n61
Dubus, Andre, (i)
Dupee, Gordon, (i)
Duplicate Keys (Smiley), (i)
Duyckinck, Evert, (i), (ii), (iii)
Dybek, Stuart, (i)
Dyke: A Quarterly, (i)
Eagle on the Coin, The (Cassill), (i)
Eating the Menu (anthology), (i)
Elbow, Peter, (i)
Eliot, T. S., (i), (ii), (iii), (iv), (v)
Elkin, Stanley, (i), (ii)
Elliot, Stephen, (i)
Elliott, George P., (i)
Ellis, Bret Easton, (i)
Ellis, Thomas Sayers, (i), (ii)
Ellison, Ralph, (i), (ii), (iii), (iv)
Else, Gerard, (i)
Embree, Charles, (i)
Emerson, Ralph Waldo, (i), (ii); commercialization and materialism decried by, (i), (ii), (iii), (iv); infinitude of private man viewed by, (i), (ii), (iii); prose style of, (i), (ii); Robinson influenced by, (i), (ii), (iii), (iv), (v); Thoreau and, (i), (ii), (iii)
Engle, Mary, (i)
Engle, Paul, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x); belligerence of, (i); Britannica scandal and, (i), (ii), (iii); Cold War objectives furthered by, (i); criticisms of, (i), (ii), (iii); as entrepreneur and publicist, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii), (xxiii); epitaph of, (i); forgotten legacy of, (i), (ii); as graduate student, (i); as internationalist, (i); International
Writing Program co-founded by, (i), (ii), (iii), (iv), (v), (vi), (vii); introspection rejected by, (i), (ii), (iii), (iv), (v), (vi); Lowell recruited by, (i), (ii); as “middle man,” (i), (ii), (iii), (iv); O’Connor mentored by, (i), (ii), (iii), (iv), (v), (vi), (vii); peer criticism embraced by, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); prison escapees and, (i); publication stressed by, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); resignation of, (i), (ii); Shelley and, (i); Snodgrass and, (i), (ii); upbringing of, (i), (ii); Vonnegut and, (i), (ii); work ethic and severity of, (i), (ii), (iii); writings of, (i), (ii), (iii); Young mentored by, (i), (ii), (iii), (iv)
Engle, Sara, (i)
Engle, Tom, (i)
English Patient, The (Ondaatje), (i)
Enright, D. J., (i)
Erodelphian Society, (i)
“Escape and Evasion” (Swofford), (i)
Esquire, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
“Evening in the Park” (Shelley), (i), (ii), (iii)
“Everyday Use” (Walker), (i)
Exit A (Swofford), (i), (ii), (iii), (iv)
Exley, Frederick, (i)n10
Fairfield Foundation, (i)
Faithful and Virtuous Night (Glück), (i)
Families (Howard), (i), (ii), (iii)
Farrar, Straus and Giroux, (i), (ii), (iii)
Father and Other Stories, The (Cassill), (i)
Faulkner, William, (i), (ii), (iii), (iv), (v)
“Fear” (Robinson), (i)
Ferlinghetti, Lawrence, (i), (ii)
Fern, Fanny, (i), (ii)n13
Fetler, Andrew, (i)n33, (ii)n17
Fick, Nathaniel, (i)
Field of Dreams (film), (i), (ii)
Fifth Sunday (Dove), (i), (ii)
Fight, The (Mailer), (i)n10
First Blood (Morrell), (i)
Firstborn (Glück), (i)
Fitzgerald, F. Scott, (i), (ii), (iii), (iv)
Flair (magazine), (i)
Flournoy, Angela, (i)
Foerster, Norman, (i)
Foley, Martha, (i)
“Foot, The” (Boyle), (i)
Foreman, George, (i)n10
Foster, Norma Harjo, (i)
Fountain in Kentucky and Other Poems, A (Nims), (i)
Fox, William Price, (i)
Franzen, Jonathan, (i), (ii)
Frey, James, (i)
Frost, Robert, (i)
Fuller, Margaret, (i), (ii), (iii), (iv)
Full Metal Jacket (film), (i)
Gaddis, William, (i)
Galaxy Publishing Corporation, (i)
Galileo Galilei, (i)
Garcia, Jerry, (i)
García Márquez, Gabriel, (i), (ii)
Gardner, John, Jr., (i)
Gehman, Richard, (i), (ii), (iii), (iv)
genre fiction, (i), (ii), (iii)
“Geranium, The” (O’Connor), (i), (ii)
Gerber, John, (i), (ii), (iii), (iv), (v), (vi); Engle contrasted with, (i); Vonnegut and, (i); Workshop disdained by, (i), (ii), (iii)
Ghiselin, Brewster, (i), (ii), (iii)
GI Bill, (i), (ii), (iii), (iv)
Gibson, Morgan, (i)
Gilead (Robinson), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Gilgun, John, (i)
Gingrich, Arnold, (i)
Ginsberg, Allen, (i), (ii), (iii), (iv), (v)
Gioia, Dana, (i)
Giroux, Robert, (i), (ii)
Givenness of Things, The (Robinson), (i), (ii)
Glass, Loren, (i), (ii)
Glass Menagerie (Williams), (i)
Gleason, Dan, (i)
Glück, Louise, (i), (ii), (iii)
“Goats” (Murray), (i)
God: A Biography (Miles), (i)
God Bless You, Mr. Rosewater (Vonnegut), (i), (ii)
God Delusion, The (Dawkins), (i)
Godwin, Frederick K., (i)n14
Godwin, Gail, (i), (ii)
Gold, Herbert, (i)
Goldensohn, Lorrie, (i)n17
“Good Country People” (O’Connor), (i)
“Good Intentions” (Smiley), (i)
Goodman, Ben Ray, (i)
Goodman, Paul, (i)
“Good Man Is Hard to Find, A” (O’Connor), (i), (ii)
Gordon, Caroline, (i)
Go Tell It on the Mountain (Baldwin), (i)
Gould, Florence, (i)
Gould, Joe, (i)n46
Graham, Jorie, (i), (ii)
Grateful Dead, (i)
Grau, Shirley Ann, (i)
“Greasy Lake” (Boyle), (i), (ii)nn61, (iii)
Great Gatsby, The (Fitzgerald), (i), (ii), (iii), (iv)
Greeley, Horace, (i)
Greenlanders, The (Smiley), (i), (ii)
Greenpeace, (i)
Grendel (Gardner), (i)
Grimes, Tom, (i), (ii), (iii)
Grossman, Barbara, (i), (ii), (iii), (iv), (v), (vi), (vii)
Grove Press, (i)
Guideposts (magazine), (i)n48
“Gulf War Memoir Syndrome” (Piedmont-Marton), (i)
Gurganus, Allan, (i), (ii), (iii), (iv), (v)
“Guts” (Palahniuk), (i)
H.D. (Hilda Doolittle), (i), (ii)
Hald, Peter, (i)
Haldeman, Joe, (i)
Hall, James B., (i), (ii), (iii), (iv); accolades for, (i), (ii); Cox’s suicide viewed by, (i); criticism of, (i); Lowell viewed by, (i); publication pressures viewed by, (i), (ii), (iii)
Hall, Walter, (i)
Hallmark Hall of Fame, (i), (ii)
Halpern, Daniel, (i)
Hamann, Johann Georg, (i)
Hancher, Virgil, (i), (ii), (iii), (iv)
Hank, Lila Jean, (i)
Hansberry, Lorraine, (i)
Hanzlicek, Chuck, (i)
Happy Marriage and Other Stories, The (Cassill), (i)
Harding, Paul, (i), (ii)
Hardwick, Elizabeth, (i), (ii), (iii), (iv), (v), (vi); Iowa City viewed by, (i); “murder novel” by, (i)
Harjo, Joy, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n44
Harnack, Curtis, (i), (ii)
Harper and Brothers (Harper and Row), (i), (ii), (iii), (iv), (v)
Harper’s, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Harper’s Bazaar, (i)
Harp Song for a Radical (Young), (i)
Harreld, Bruce, (i), (ii)
Harris, Mark, (i)
Harrison, William, (i)n33
Hartman, Carl, (i)
“Harvest” (Shelley), (i), (ii), (iii)
Haunted House (Woolf), (i)
Hawkes, John, (i)
Hawthorne, Nathaniel, (i), (ii)
“Heart of a Champion” (Boyle), (i)
Heart’s Needle (Snodgrass), (i), (ii), (iii), (iv); critical and popular success of, (i), (ii), (iii), (iv); envy provoked by, (i), (ii); fatherhood theme in, (i), (ii), (iii), (iv); form vs. content in, (i); Lowell’s praise for, (i), (ii), (iii), (iv), (v); origins of, (i)
Hemingway, Ernest, (i), (ii), (iii), (iv)
Hemley, Robin, (i)
Hendley, Pete, (i)
Hendrix, Jimi, (i)n14
Her (Parravani), (i)
Hermetic Definition (H.D.), (i)
Hesperian Society, (i)
Hester, Betty, (i)
Hickerson, J. M. (advertising agency), (i)
His Toy, His Dream, His Rest (Berryman), (i)
Hodges, Norma, (i)
Holes (Sachar), (i)
Holmes, John, (i)
Holt, Rinehart and Winston, (i)
Homage to Mistress Bradstreet (Berryman), (i)
Home (Robinson), (i), (ii), (iii)
Homer, (i)
“Homing Heart, The” (Shelley), (i)
Hopalong Cassidy (Mulford), (i), (ii)
Horne, Elizabeth, (i)
Horne, Lena, (i)
Hotels, Hospitals, and Jails (Swofford), (i), (ii)
Houghton Mifflin, (i), (ii), (iii)
Housekeeping (Robinson), (i), (
ii), (iii), (iv), (v), (vi)
House on Mango Street, The (Cisneros), (i), (ii), (iii), (iv), (v)
House Un-American Activities Committee (HUAC), (i)
Howard, Jane, (i), (ii), (iii)
Howells, William Dean, (i)
“How Iowa Flattened Literature” (Bennett), (i)
Howl (Ginsberg), (i), (ii)
“How to Write a Blackwood Article” (Poe), (i)
Hucksters, The (Wakeman), (i)
Hughes, Langston, (i)
Hugo, Richard, (i)
“Humanism” (Robinson), (i)
Humboldt, Alexander von, (i)
Hunke, Herbert, (i)
Hurston, Zora Neale, (i)
Huxley, Aldous, (i)
Huyck, Peter, (i), (ii)
Iliad (Homer), (i)
In an Iron Time (Cassill), (i)
Inferno (Dante), (i)
Inner Circle, The (Boyle), (i)
“In Praise of Robert Lowell” (Snodgrass), (i)
Institutes of the Christian Religion (Calvin), (i)
International Writing Program (IWP), (i), (ii), (iii); CIA funding of, (i); diversity and progressivism of, (i), (ii), (iii), (iv); Dove at, (i), (ii), (iii), (iv), (v), (vi), (vii); founding of, (i), (ii), (iii), (iv)
Invisible Man (Ellison), (i)
Iorio, Gary, (i)
Iowa Review, (i), (ii), (iii)
Iowa Writers’ Workshop, The (Wilbers), (i)
Irving, John, (i); Boyle mentored by, (i), (ii), (iii), (iv), (v), (vi); Vonnegut’s mentoring of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Irving, Washington, (i), (ii)
Jackson, Frances, (i)
Jackson, Margaret, (i)
James, Henry, (i), (ii)
James, William, (i)
Jamison, Kay Redfield, (i)n14
Jarhead (Swofford), (i), (ii), (iii), (iv)
Jarrell, Randall, (i), (ii), (iii), (iv), (v), (vi)
“Jeffrey, Believe Me” (Smiley), (i), (ii), (iii)
Jenkins, Henry, (i)n41
Jiménez, Juan Ramón, (i)
Johnson, David, (i)
Johnson, Samuel, (i)
Journal of Black Poetry, (i)
Joyce, James, (i), (ii), (iii), (iv)
Jubilee (Walker), (i)
Justice, Donald, (i), (ii), (iii), (iv), (v); Britannica scandal and, (i), (ii); Cisneros and, (i), (ii), (iii), (iv); in salary dispute, (i); writing programs viewed by, (i)
Kakutani, Michiko, (i)
Kashner, Sam, (i), (ii)
Kayak (journal), (i)
Keats, John, (i), (ii)
Keillor, Garrison, (i)
Kellner, Bruce, (i), (ii), (iii), (iv), (v), (vi)