A Delicate Aggression
Page 58
Steinbeck, John, (i)
Stern, Richard, (i), (ii)
Sterne, Laurence, (i)
Stevens, Wallace, (i), (ii)
Stevenson, Gerald, (i)
Stewart, Jon, (i), (ii)
Stop-Time (Conroy), (i), (ii), (iii), (iv)n14
Stowe, Harriet Beecher, (i), (ii)
Strand, Mark, (i)n33
Stranger, The (Camus), (i), (ii)n61
Strayed, Cheryl, (i)
Streetcar Named Desire, A (Williams), (i)
Streep, Meryl, (i)
Stuckey, William, (i), (ii), (iii), (iv)
Suicide, The (Munch), (i)n14
Suicide, The (Warhol), (i)n14
Sula (Morrison), (i)
Sullivan, Walter, (i)
Sunwall, James, (i), (ii), (iii), (iv)
Sweet Hereafter, The (Banks), (i)
Swinburne, Algernon, (i)
Swofford, Anthony, (i), (ii), (iii), (iv), (v), (vi)
Symbolist poetry, (i)
Taste of Sin (Cassill), (i)
Tate, Allen, (i), (ii), (iii), (iv), (v), (vi), (vii); Lowell mentored by, (i), (ii), (iii), (iv)
Taylor, Frank, (i), (ii)
Taylor, Jackson, (i), (ii), (iii)
Taylor, Loren, (i)n33
Taylor, Marcella, (i)
Taylor, Margaret, (i), (ii)
Tempest, The (Shakespeare), (i)
Tennyson, Alfred Tennyson, Baron, (i)
Ten Ways of Killing Myself (Pollock), (i)n14
Thackeray, William Makepeace, (i)
Things They Carried, The (O’Brien), (i), (ii), (iii)
Thirteen Ways of Looking at the Novel (Smiley), (i), (ii)
“This Life” (Dove), (i)
Thomas, Caitlin, (i), (ii), (iii), (iv)
Thomas, Dylan, (i), (ii); academic position sought by, (i); Beat movement influenced by, (i), (ii); Berryman influenced by, (i), (ii), (iii), (iv), (v), (vi), (vii); critical and popular acclaim for, (i), (ii), (iii); death of, (i), (ii), (iii); drinking habits of, (i), (ii), (iii); as orator, (i), (ii); Snodgrass influenced by, (i)
Thomas, Evan, (i)
Thomas and Beulah (Dove), (i)
Thompson, Frank H., (i)
Thompson, Jim, (i)
Thompson, Thomas, (i)
Thoreau, Henry David, (i), (ii), (iii), (iv), (v), (vi), (vii)
Thousand Acres, A (Smiley), (i)
Through the Ivory Gate (Dove), (i), (ii)
Thunder’s Mouth Press, (i)
Time, (i)
Timequake (Vonnegut), (i)
“Tithonus” (Tennyson), (i)
Tobar, Hector, (i)
Tolle, Eckhart, (i)
Tolstoy, Leo, (i)
Tomorrow, the Stars (anthology), (i)
Tompkins, Jane, (i)
Torres, Justin, (i), (ii), (iii), (iv), (v), (vi), (vii)
To the Lighthouse (Woolf), (i)
Tough Guys Don’t Dance (Mailer), (i)
Toynbee, Philip, (i)
“Train, The” (O’Connor), (i)
transcendentalism, (i), (ii)
Transformations (Sexton), (i)
“Transport of Slaves from Maryland to Mississippi, The” (Dove), (i)
Trident Media Group, (i)
Triquarterly, (i), (ii)
Tristram Shandy (Sterne), (i)
Tucker, Robert, (i)n33
Tudor, Stephen, (i)
Turco, Lewis, (i)
Twain, Mark, (i), (ii), (iii), (iv)
Twelve Tribes of Hattie (Mathis), (i), (ii), (iii), (iv), (v), (vi)
Udall, Brady, (i)
Ultra Violet, (i)
Uncle Tom’s Cabin (Stowe), (i)
Underground Railroad, (i)
Under Milk Wood (Thomas), (i)
Understanding Fiction (textbook), (i)
Underwood, Doug, (i)n64
UNESCO, (i), (ii)
Unger, Doug, (i), (ii), (iii)
U.S. Information Agency, (i)
University of Montana, (i), (ii)
“Unknown Girl in the Maternity Ward” (Sexton), (i)
“Upon Meeting Don L. Lee in a Dream” (Dove), (i)
“Up the Down Co-Ed” (Cassill), (i)
Valéry, Paul, (i)
Vanderslice, Stephanie, (i)
Van Vechten, Carl, (i)
Vice (online magazine), (i), (ii)
Viebahn, Fred, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Vietnam War, (i), (ii), (iii), (iv), (v), (vi), (vii)
Viking Penguin, (i), (ii), (iii)
Vintage Books, (i)
Vogue, (i), (ii), (iii)
Volcano Lover, The (Sontag), (i)
Vollmann, William T., (i), (ii)
Vonnegut, Jane, (i)
Vonnegut, Kurt, (i), (ii), (iii), (iv), (v), (vi), (vii); critical disdain for, (i), (ii), (iii), (iv); financial pressures on, (i), (ii), (iii), (iv); Gerber and, (i); Irving mentored by, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); military service of, (i), (ii), (iii); in sales and public relations, (i), (ii); self-doubt of, (i), (ii), (iii), (iv); sexual encounters of, (i)
Waiting for Godot (Beckett), (i)
Wakefield, Dan, (i)
Walker, Alice, (i), (ii)
Walker, Margaret, (i)
Wallace, David Foster, (i), (ii)
Wallace, Don, (i), (ii)
Wall Street Journal, (i)
Waltons, The (television program), (i), (ii)
Warhol, Andy, (i), (ii)n14
Warren, Robert Penn, (i), (ii), (iii), (iv), (v), (vi)
Washington Post, (i)
Water Music (Boyle), (i)
“We Are All Foreigners” (Harjo), (i)
Weissenbach, Minna K., (i)
Welty, Eudora, (i)
West, Ray B., Jr., (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Western Child (Engle), (i)n21
Western Review (Rocky Mountain Review), (i), (ii), (iii), (iv), (v)
We the Animals (Torres), (i), (ii)
When I Was Cool (Kashner), (i)
Whiston, John B., (i), (ii)
Whitehead, James, (i)n33
Whitelock, William Wallace, (i)
Whitman, Walt, (i), (ii), (iii), (iv), (v), (vi)
Whittier, John Greenleaf, (i)
“Why I Left the Midwest” (Cassill), (i), (ii)
Wiesel, Elie, (i)
Wilbers, Stephen, (i), (ii)n33
Wilbur, Richard, (i)
Wild (Strayed), (i)
Williams, Joy, (i), (ii)
Williams, Kent, (i)
Williams, Robert, (i)
Williams, Robin, (i)
Williams, Tennessee, (i), (ii), (iii)
Williams, William Carlos, (i)
Wilner, Herb, (i)
Wilson, R. Jackson, (i)
Winfrey, Oprah, (i), (ii), (iii), (iv), (v)
Winters, Shelley, (i)
Wise Blood (O’Connor), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n47
Wolfe, Tom, (i)
Wolff, Geoffrey, (i)n22
“Women’s Restaurant, A” (Boyle), (i), (ii)
Wonder Boys (Chabon), (i)
Wood, Grant, (i), (ii)
Woolf, Virginia, (i), (ii), (iii), (iv)
World According to Garp, The (Irving), (i), (ii)
World’s End (Boyle), (i)
Worn Earth, The (Engle), (i)
Wound of Love, The (Cassill), (i)
Wright, Amy Burk, (i)
Wright, Frank Lloyd, (i)
Writing Fiction (Cassill), (i), (ii)
Wycliffe, John, (i)
Wylder, Jean, (i), (ii), (iii), (iv)
Wylie, Elinor, (i)
Yeats, William Butler, (i), (ii)
Yellow House on the Corner, The (Dove), (i), (ii), (iii)
“You, Dr. Martin” (Sexton), (i)
Young, Marguerite, (i), (ii), (iii), (iv)
Young, Neil, (i), (ii)
Zinn, Howard, (i)
ling, A Delicate Aggression