A Delicate Aggression

by David O. Dowling

  Kennedy, Jacqueline, (i)

  Kenney, Irene, (i)

  Kenney’s Tavern, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  “Kentucky, 1833” (Dove), (i), (ii)

  Kentucky Straight (Offutt), (i)

  Kenyon Review, (i), (ii), (iii), (iv), (v)

  Kerouac, Jack, (i), (ii)

  Kidder, Tracy, (i), (ii), (iii)

  Kierkegaard, Søren, (i)

  Killer Inside Me, The (Thompson), (i)

  Kim, Richard, (i), (ii), (iii)n33

  King, Irving, (i)

  King, Stephen, (i), (ii), (iii)

  King Lear (Shakespeare), (i)

  Kinsella, W. P., (i), (ii), (iii)

  Klein, Roger, (i)

  Kleinzahler, August, (i)

  Klinkowitz, Jerome, (i), (ii), (iii)

  Knight, Bobby, (i)

  Knopf, Alfred A., (i), (ii), (iii)

  Knowledge of the Evening (Nims), (i)

  Ku Klux (Pawley), (i)

  “Lac des Cygnes, Le” (Shelley), (i)

  Landon, Brooks, (i), (ii)

  Langland, Joseph, (i), (ii)n33

  Lanham, Richard, (i)

  Lapham, Lewis, (i)

  Larkin, Philip, (i)

  Laskin, David, (i)

  Last Carousel, The (Algren), (i), (ii)n60

  Last Good Kiss (Crumley), (i)n32

  Last Song, The (Harjo), (i)

  Laughlin, James, (i)

  Lawrence, Seymour (Sam), (i), (ii)

  Leaves of Grass (Whitman), (i)

  Lee, Don L., (i)

  Le Force, Thessaly, (i), (ii)

  Left Bank of Desire (Cassill), (i)

  Leggett, John Ward, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi); business acumen of, (i); Engle viewed by, (i); faculty recruited by, (i), (ii); patrician bearing of, (i); publishing experience of, (i), (ii), (iii); as teacher, (i), (ii)

  Le Guin, Ursula K., (i)

  Leigh, W. Colston, (i)

  Leopardi, Giacomo, (i)

  Lepore, Jill, (i)n46

  Lethem, Jonathan, (i)

  Levine, Ellen, (i), (ii), (iii), (iv), (v)

  Levine, Philip, (i), (ii); Berryman backed by, (i); Berryman recalled by, (i), (ii), (iii); Lowell recalled by, (i), (ii), (iii); Lowell’s disdain for, (i), (ii)

  Levis, Larry, (i)

  Levy, Andrew, (i)

  Lewis, George, (i)

  Lewis, Sinclair, (i), (ii), (iii)

  Liberator (journal), (i)

  Library of American Books, (i)

  Life, (i), (ii), (iii), (iv)

  Life Studies (Lowell), (i), (ii), (iii), (iv)

  “Life You Save, The” (O’Connor), (i)

  Lila (Robinson), (i), (ii), (iii)

  Line of Beauty, The (Hollinghurst), (i)

  Lish, Gordon, (i), (ii), (iii)

  Literary Guillotine, The (Whitelock), (i)

  Littauer & Wilkinson, (i)

  Little, Brown and Company, (i)

  Lolita (Nabokov), (i)

  Lombardo, Claire, (i)

  “Long Distance” (Smiley), (i)

  Longfellow, Henry Wadsworth, (i)

  Look, (i), (ii), (iii), (iv)

  Looking Backward (Bellamy), (i)

  Lord Weary’s Castle (Lowell), (i), (ii), (iii), (iv), (v)

  Lost Weekend, The (Jackson), (i)

  Lost Womyn’s Space (blog), (i)

  Love as Always, Kurt, (Rackstraw), (i)

  Lowell, Amy, (i)

  Lowell, James Russell, (i)

  Lowell, Robert, (i), (ii), (iii), (iv), (v), (vi), (vii); Berryman and, (i); confessional poetry viewed by, (i), (ii); as conscientious objector, (i), (ii), (iii), (iv), (v); European travels of, (i), (ii); father’s rift with, (i); Iowa disparaged by, (i); as luminary, (i), (ii), (iii), (iv); mercuriality of, (i); O’Connor and, (i); psychosis of, (i), (ii), (iii), (iv), (v); Snodgrass mentored by, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi); Thomas and, (i), (ii), (iii); Workshop methods criticized by, (i), (ii), (iii), (iv), (v)

  Luce, Henry, (i)

  Lucky American Childhood, A (Engle), (i)

  Lustful Summer (Cassill), (i)

  “Lycidas” (Milton), (i)

  Lytle, Andrew, (i), (ii)

  Macauley, Robie, (i), (ii), (iii), (iv), (v)

  Macbeth (Shakespeare), (i), (ii)

  Macdonald, Dwight, (i)

  MacMillan, Ian, (i), (ii)

  MacNeice, Louis, (i)

  Mademoiselle, (i), (ii), (iii), (iv)

  “Mad Song” (Blake), (i)

  Mailer, Norman, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  Mamet, David, (i)

  Mann, Thomas, (i)

  Mannell, Julie, (i)

  “Man Who Corrupted Hadleyburg” (Twain), (i)

  Marra, Tony, (i)

  “Martyr, The” (Cassill), (i)n47

  Marvin, Thomas F., (i)

  Masters, Edgar Lee, (i)

  Masters of the Modern Short Story, (i)

  Mathis, Ayana, (i), (ii), (iii), (iv), (v)

  Mathis, Dennis, (i)

  Maugham, W. Somerset, (i)

  Mazzaro, Jerome, (i)

  McCarthy, Cormac, (i)

  McCartney, David, (i)

  McClary, Ben Harris, (i)n37

  McClatchy, J. D., (i)

  McConnell, Suzanne, (i)

  McCourt, Frank, (i)

  McCullers, Carson, (i)

  McDonald, Fritz, (i)

  McDowell, Robert, (i)

  McGurl, Mark, (i), (ii), (iii), (iv), (v)n47

  McKee, Elizabeth, (i), (ii)

  McLuhan, Marshall, (i), (ii)

  McNally, John, (i)

  McTaggert, Fred, (i)

  Mead Fellowship in Creative Fiction, (i)

  Mearns, Hughes, (i)

  Medea (Euripides), (i)

  Melville, Herman, (i), (ii), (iii), (iv), (v), (vi); comic inversions of, (i); critical and popular failures of, (i), (ii); defiant attitude of, (i), (ii), (iii); hyper-masculinity of, (i); posthumous reputation of, (i), (ii); Robinson influenced by, (i), (ii)

  Menand, Louis, (i)

  Mendes, Sam, (i)

  Mennenga, Gordon, (i)

  Mentor (Grimes), (i), (ii)

  Merchant, Peter, (i)

  Merrill, Chris, (i)

  Merry, Bejou, (i)

  Merton, Thomas, (i)

  Meschery, Joanne, (i)

  Mesic, Penelope, (i)

  Messick, Hank, (i)

  Metaphysical poetry, (i)

  Mexican-American War, (i)

  Michener, James, (i)

  Midair (Conroy), (i)

  Midland (Engle), (i), (ii)

  Miles, Jack, (i)

  Millay, Edna St. Vincent, (i)

  Miller, Henry, (i)

  Million Little Pieces, A (Frey), (i)

  Milton, John, (i), (ii)

  “Minor Heroism” (Gurganus), (i)

  Miss MacIntosh, My Darling (Young), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  Moby-Dick (Melville), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  Moderate Fable (Young), (i), (ii)

  Modern Language Association, (i)

  Moo (Smiley), (i)

  Moore, Marianne, (i)n46

  Morrell, David, (i), (ii)n21

  Morrison, Toni, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  Moss, Barbara Robinette, (i)

  Mother Country (Robinson), (i), (ii), (iii)

  Mother Night (Vonnegut), (i), (ii), (iii), (iv), (v), (vi)

  Mullan, Margaret, (i)

  Munch, Edvard, (i)n14

  Murray, William Cotter, (i), (ii), (iii), (iv)

  Museum (Dove), (i)

  “Must Be Trouble in River City” (Cassill), (i)

  “My Celebrity Cruise or ‘All This, and a Tan Too,’ ” (Conroy), (i)

  “My Dad, the Pornographer” (Offutt), (i)

  Myers, D. G., (i), (ii)

  My Sister’s Keeper (Cassill), (i)

  Mysteries
of Pittsburgh (Chabon), (i)

  Nabokov, Vladimir, (i), (ii)

  Naropa Institute, (i), (ii)

  Nation, (i)

  National Book Award, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  National Book Critics Circle Award, (i), (ii), (iii)

  National Endowment for the Humanities, (i), (ii)

  Nature Conservancy, (i)

  Nazareth, Peter, (i)

  “Negro Speaks of Rivers, The” (Hughes), (i)

  Neuhauser, Mary, (i)

  New Black Aesthetic, (i), (ii)

  New Criticism, (i), (ii), (iii); challenges to, (i), (ii), (iii), (iv); gender codes of, (i); graduate programs shaped by, (i), (ii); tenets of, (i)

  New Earth, A (Tolle), (i)

  “New Mexican Sun and Other Stories” (Cassill), (i)

  New Poets of England and America, (i), (ii)

  New Yorker, (i), (ii), (iii), (iv), (v), (vi), (vii)

  New York Review of Books, (i), (ii), (iii)

  New York State Writers Institute, (i)

  New York Times, (i), (ii), (iii), (iv), (v)

  New York Times Book Review, (i), (ii), (iii)

  Nickell, Charles, (i)

  Nieh, Leslie (Hualing), (i), (ii), (iii)

  “Nigger Song” (Dove), (i), (ii), (iii)

  Night (Wiesel), (i)

  Night School (Cassill), (i)

  Nims, John Frederick, (i)

  Nin, Anaïs, (i)

  No Heroes (Offutt), (i)

  No Name Series, (i)

  North American Review, (i), (ii), (iii)

  Northwestern Tri-Quarterly, (i)

  Norton, W. W., (i)

  Norton Anthology of Contemporary Fiction, (i)

  Norton Anthology of Short Fiction, (i)

  Now Falls the Shadow (Shelley), (i)

  O, the Oprah Magazine, (i), (ii)

  Obama, Barack, (i), (ii), (iii), (iv), (v)

  O’Brien, Tim, (i), (ii)

  O’Connor, Flannery, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv)n47; abstemiousness of, (i), (ii), (iii); classmates’ admiration for, (i); Engle’s approach articulated by, (i); Engle’s editorial judgment mistrusted by, (i); Engle’s mentoring of, (i), (ii), (iii), (iv), (v), (vi), (vii); as journalism student, (i), (ii); as mentor, (i); Rinehart Fellowship awarded to, (i), (ii); seriousness of, (i)

  O’Connor, Philip, (i)

  October Light (Gardner), (i)

  “Ode on a Grecian Urn” (Keats), (i)

  “OD and Hepatitis Railroad or Bust, The” (Boyle), (i), (ii)

  Offutt, Chris, (i), (ii)

  O. Henry Award, (i), (ii)

  Old Fashioned Christmas, An (Engle), (i)

  Old Glory, The (Lowell), (i)

  “Old Red” (Gordon), (i)

  Oleanna (Mamet), (i)

  Olsen, Eric, (i), (ii)

  Olsen, Tillie, (i)

  Olson, Charles, (i)

  Ondaatje, Michael, (i)

  158-Pound Marriage, The (Irving), (i)

  “On My Twenty-First Birthday” (Shelley), (i), (ii)

  “Opium Lady, The” (Young), (i)

  Orne, Martin, (i)

  Orwell, George, (i)

  Out of the Woods (Offutt), (i)

  Palahniuk, Chuck, (i)

  Palm Sunday (Vonnegut), (i)

  Paper Place, (i), (ii)

  Paris Review, (i), (ii)

  Parra, Nicanor, (i)

  Parravani, Christa, (i)

  Patchen, Kenneth, (i)

  “Paul Engle” (Engle), (i)

  Pawley, Thomas, (i)

  Peabody, Elizabeth, (i)

  PEN/Faulkner Award, (i), (ii)

  PEN/Hemingway Award, (i)

  Penthouse, (i), (ii), (iii), (iv)

  People’s History of the United States, A (Zinn), (i)

  Pereira, Malin, (i)

  Perkins, Maxwell, (i), (ii)

  Petersen, Donald, (i), (ii), (iii)

  Peterson, Norman, (i)

  Phillips, Anita, (i)

  Phillips, Jayne Anne, (i), (ii)

  Picasso, Pablo, (i)

  Piedmont-Marton, Elisabeth, (i)

  Pierre (Melville), (i)

  Plath, Sylvia, (i), (ii)

  Playboy, (i), (ii), (iii), (iv)

  Player Piano (Vonnegut), (i), (ii)

  Playgirl, (i)

  Plimpton, George, (i)

  Plumb, Ogden, (i)

  Plumly, Stanley, (i)

  Poe, Edgar Allan, (i), (ii), (iii), (iv), (v), (vi)

  Poems from the Iowa Poetry Workshop, (i), (ii)

  Poetics of Space, The (Bachelard), (i), (ii)

  Poetry, (i), (ii), (iii)

  Poirier, Richard, (i)

  Poitier, Sidney, (i)

  Pollock, Jackson, (i)n14

  Porter, William, (i), (ii), (iii)

  Pound, Ezra, (i), (ii), (iii)n46

  Powers, J. F., (i)

  Prairie Lights Bookstore, (i), (ii), (iii), (iv)

  Prescott, Orville, (i)

  Program Era, The (McGurl), (i)

  Proust, Marcel, (i), (ii), (iii)

  psychotherapy, (i), (ii), (iii)

  Ptolemy, (i)

  Pulitzer, Joseph, (i)

  Pulitzer Prize, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)

  Putnam, G. P. (publishing house), (i)

  Pynchon, Thomas, (i), (ii)

  Qian, Xiao, (i)

  Rabbitt, Thomas, (i)n33

  Rabinowitz, Paula, (i), (ii)

  Rackstraw, Loree Wilson, (i)

  Random House, (i), (ii)

  Rankin, Rush, (i)

  Ransom, John Crowe, (i), (ii), (iii)

  “Rasha the Black Dove” (Dove), (i)

  Rattner, Joan, (i)

  Raus, Charles, (i)

  Rea, Michael, (i)n72

  Reader’s Digest, (i)

  Reed, Ishmael, (i)

  “Refusal to Mourn the Death, by Fire, of a Child in London” (Thomas), (i)

  Reitell, Liz, (i)

  Remarque, Erich Maria, (i)

  “Representative Men” (Emerson), (i)

  Residue of Song (Bell), (i)

  Rexroth, Kenneth, (i)

  Reynal and Hitchcock (publishing house), (i)

  Rich, Adrienne, (i)

  “Richard Cory” (Robinson), (i), (ii), (iii), (iv)

  “Riddle: The Vase” (Dove), (i)

  Ride with the Devil (film), (i)

  Righelato, Pat, (i)

  Rilke, Rainer Maria, (i)

  Rimbaud, Arthur, (i)

  Rinehart & Company, (i), (ii)

  “Ring and the Book, The” (Browning), (i)

  Rita Dove’s Cosmopolitanism (Pereira), (i)

  Road, The (McCarthy), (i)

  Road to Wellville, The (Boyle), (i)

  Roberts, David, (i)

  Roberts, Nora, (i)

  Roberts Brothers (publishing house), (i)

  Robinson, Edward Arlington, (i), (ii), (iii), (iv)

  Robinson, Marilynne, (i), (ii), (iii), (iv), (v), (vi); Mathis mentored by, (i), (ii), (iii), (iv), (v), (vi)

  Rocky Mountain Review (Western Review), (i), (ii), (iii), (iv), (v)

  Rodriguez, Richard, (i)

  Roethke, Theodore, (i), (ii)

  “Romanticizing of Dr. Fless” (Cassill), (i)n47

  Romtvedt, David, (i)

  “Room of One’s Own, A” (Woolf), (i)

  Roosevelt, Franklin D., (i)

  “Rose for Emily, A” (Faulkner), (i)

  Roth, Philip, (i), (ii)

  Ruth Hall (Fern), (i), (ii)n13

  Ryan, Angela, (i)

  “Said the Poet to the Analyst” (Sexton), (i)

  St. Louis Post Dispatch, (i)

  Salesses, Matthew, (i)

  Salinger, J. D., (i), (ii), (iii)

  Same River Twice, The (Offutt), (i)

  San Francisco Chronicle, (i)

  Sarah Lawrence College, (i)

  Sartre, Jean-Paul, (i)

  Saturday (McEwan), (i)

 
Saturday Review, (i)

  “Save Our Public Universities” (Robinson), (i)

  Schaeffer, Glen, (i), (ii)n10

  Schickel, Richard, (i)

  Schlesinger, Arthur, Jr., (i)

  Schott, Webster, (i)n21

  Schramm, Mary, (i)

  Schramm, Wilbur, (i), (ii), (iii), (iv), (v), (vi), (vii)

  Schumann, Robert, (i)

  Schwartz, Delmore, (i)

  Schwarzen Tauben, Die (Viebahn), (i)

  Scott, Walter, (i)

  Scribner’s, (i), (ii)

  “Season in Hell, A” (Rimbaud), (i)

  Selby, John, (i)

  “Self-Reliance” (Emerson), (i)

  Sellers, Peter, (i)

  Sensational Designs (Tompkins), (i)

  “Seven Stages of Narcissus, The” (Petersen), (i)

  Sex for America (Elliot), (i)

  Sexton, Anne: as confessional poet, (i), (ii), (iii), (iv), (v); Berryman compared with, (i), (ii); Roethke’s influence on, (i); suicide of, (i), (ii)

  Shakespeare, William, (i), (ii), (iii), (iv), (v)

  Shapiro, Karl, (i), (ii)

  Shattuck, Katherine, (i)

  Shawshank Redemption, The (King), (i)

  Shea, Renee, (i)

  She Had Some Horses (Harjo), (i)

  Shelley, Robert, (i), (ii)

  Shivani, Anis, (i), (ii), (iii), (iv)

  Shoeless Joe (Kinsella), (i), (ii), (iii)

  “Shore for the Sinking, A” (Thompson), (i)

  Sierra Club, (i)

  Silag, William, (i)

  Sileski, Barry, (i)

  Silko, Leslie Marmon, (i), (ii)

  Silvers, Bob, (i)

  Simple Truth, The (Hardwick), (i), (ii)

  Sirens of Titan, The (Vonnegut), (i), (ii), (iii)

  Skellings, Edmund, (i), (ii), (iii), (iv), (v), (vi)

  Skidmore College, (i)

  Slaughterhouse-Five (Vonnegut), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Slightest Distance, The (Bromell), (i)

  Smiley, Jane, (i), (ii), (iii)

  Smith, Rita, (i)

  Snodgrass, Cynthia Jean, (i), (ii), (iii), (iv)

  Snodgrass, W. D., (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x); Berryman’s sexual aggressiveness recalled by, (i); confessionalism eschewed by, (i); Lowell’s mentoring of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi); Shelley’s influence on, (i), (ii), (iii)

  Solomon, Asali, (i)

  Solomon, Carl, (i)

  Solotaroff, Ted, (i)

  “Song of Myself ” (Whitman), (i)

  Songs of Innocence and Experience (Blake), (i)

  Sontag, Susan, (i)

  South Dakota Review, (i)

  Spargo, Barbara, (i), (ii)

  Stack, Micah, (i)

  Stafford, Jean, (i)

  Stafford, William, (i), (ii)

  Stallone, Sylvester, (i)

  Stanford University, (i)

  Starbuck, George, (i), (ii), (iii)

  Steel, Danielle, (i)

  Steffen, Terry, (i)

  Stegner, Wallace, (i)

  Stein, Gertrude, (i), (ii), (iii), (iv)