This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 1 features a craft interview with W. H. Auden; an editorial regarding the NYQ craft concept; articles on poetry awards, Bread Loaf Writers Conference, writing exercises; photos of Sexton, Wakowski, Glaze, Rosten, Gardner and Bill Knott; and poetry by W. H. Auden, Stanley Kunitz, Selden Rodman, Robert Lax, Eli Siegel, Norman Rosten, Richard Eberhart, Paul Blackburn, H. L. Van Brunt, Ruth Herschberger, Barbara Holland, Isabella Gardner, Linda Lahey, Elizabeth Yazzetti, John O'Connell, Mary Jane Fortunato, Stephen Stepanchev, Andrew Glaze, Siv Cedering Fox, Linda Krenis, Wendy Rickert, Ronald Hobbs, Robert Burdette Sweet, Anne Sexton, Helen Adam, Lawrence Locke, Susan Rowe, Catherine Middleton, Donald Lawder, Susan Schell, Marina, Thomas Victor, Jean Garrigue, Elaine Sutton, David Ignatow, Jeanette Fasciocco, Manuchehr Sassoonian, and W. S. Merwin.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 2 features a craft interview with Paul Blackburn; an editorial on the history of New York poets; handwritten worksheets and poems of May Swenson, Andrew Glaze, William S. Merwin, and Maxine Kumin; "Assonance is Like This," an article by Eli Siegel; list of films on poetry and poets; photos of Bogan, Kunitz, Field, Merwin, Siegel and Ashbery; and poetry by Allen Ginsberg, Louis Ginsberg, RobertOh Faber, Stephen Dunn, Edmund Pennant, Susan Wecker, Helena Moynihan, Leo Connellan, Robert Lax, Laura Benet, Nikki Giovanni, Virginia Bell, Michael Harlow, William Stafford, Rose Drachler, Jill Hoffman, Brian Swann, Donald Lawder, John Hall Wheelock, Robert Dugan, Ron Padgett, Manu Sassoonian, John Tagliabue, John Hollander, Toby Olson, James Murphy, Elizabeth Yazzetti, and Susan Schell.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 3 features a craft interview with Anne Sexton; an editorial on craft maxims; "The Puerto Rican Poet in NY" by Lucille Medwick; an essay, "Rhetorical Terms," by Cornelia P. Graves; "The Poem as Image" an article by Stephen Stepanchev; photos of Howard, Wheelock, Rich, Moss, Logan and Hollander; and poetry by Denise Levertov, John Updike, Jill Hoffman, William Stafford, John Logan, Norman Rosten, Ed Minus, Daisy Aldan, Howard Moss, Donald Axinn, Hannelore Hahn, Emmett Jarrett, Marcia Lee Masters, Helen Saslow, Leo Connellan, Howard Levy, Margery-Jean Perry, Paris Leary, Joanne Ward, Hank Kune, Sam Negri, Gomer Rees, George Ryan, Rienzi Crusz, Frank Rossini, Gary Sange, Richard E. Albert, Tom McKeown, Irving Benig, Vincent Barrett Price, Susan Schell, G. S. Sharat Chandra, Steven Rea, Denis Sivack, John Pauker, Elisavietta Ritchie, Gil Orlovitz, and Ruth Whitman.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 4 features a craft interview with Stanley Kunitz; an editorial about the NYQ Screening Committee procedures; "The Chinese Poet in NY" by Lucille Medwick; worksheets of original work by Anne Sexton; "The School for Wives" translated by Richard Wilbur; photos of Padgett, Zukofsky, Swenson, Thomas, Rothenberg and Garrigue; and poetry by Leo Connellan, John Tagliabue, Maryann Viollin, Robert Bly, Hayden Carruth, Adrianne Rich, Robert Mezey, Miriam Solan, William F. Claire, Barbara Holland, Helena Moynihan, Robert Peters, Myron Levoy, Gita Lenz, Richard Kostelanetz, C. Staudacher, Elizabeth Marraffino, Louis Ginsberg, Robin Henry, Norman Stock, Janet Brof, Herbert Krohn, Elisavietta Ritchie, Robert Burdette Sweet, Barry Seiler, Arvind Krishna Menrotra, Miodrag Pavlovich, Theodore Hall, Larry Rubin, Frederich Mellberg, Robert Herz, John Taylor, and Siv Cedering Fox.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 5 features a craft interview with Jerome Rothenberg; an editorial about the NYQ Board of Directors; "The Yiddish Poet in NY" by Lucille Medwick; "A Poet's Notebook" by David Ignatow; "Some Arguments Against Good Diction" by William Stafford; photos of Wing Tek Lum, Rukeyser, Wright, Ignatow, Levendosky, Mayhall; and poetry by Ron Padgett, Daisy Aldan, X. J. Kennedy, Philip Appleman, Marth MacNeil Zweig, Robert Lax, Andrew Glaze, Stephen Stepanchev, Samuel A. Eisenstein, John Clarence Chinn, Richard Eberhart, Gil Orlovitz, Siv Cedering Fox, Robert Hershon, James Morris, A. L. Levin, Dave Margoshes, Donald Lev, V. H. Adair, J. Peseroff, Michael Cook, Leslie Ullman, RobertOh Faber, Dory Green, Howard Schwartz, William M. Meyers, and Charles Levendosky.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 6 features a craft interview with Allen Ginsberg; an editorial about the poet's role today; "The Afro-American Poet in NY" by Lucille Medwick; listing of black poets by Galen Williams; "The White Poetry Syndicate" by Walter Lowenfels; an essay, "On Rime," by X. J. Kennedy; photos of Feldman, Jones, Glatstein, Sanchez, Hugo, and Strand; and poetry by Michael Horovitz, Thomas Schuneman, Leo Connellan, Richard Kostelanetz, Charles Wagner, Muriel Rukeyser, Patricia Ryan, Robert Lax, Stephen Levine, Erica Jong, Gregory Orr, Philip Schultz, Carol Jennings, Joan Stone, Frank T. Crohn, Joan Simon, Janet Bloom, Anthony S. Brandt, Elton Glaser, Dona Stein, Albert Goldbarth, Eli Siegel, Rudy Shackelford, Peter Klappert, Douglas Eichorn, Joel Lawrence, Helane Levine, Linda Krenis, Martin Koeppal, Eli Siegel, Robert Rainsbury, and Nat White.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 7 features a craft interview with Denise Levertov; an editorial about the history of city poets; "The American Indian Poet" by Lucille Medwick; listing of poetry publishers; an essay, "Voice," by M. L. Rosenthal; photos of Snyder, Katagiri, Tanikawa, Kizer, Levine, and Van Duyn; and poetry by Charles Bukowski, David Ignatow, Jean Garrigue, Laura Benet, Jane Mayhall, Tanikawa Shuntaro, David J. Dwyer, Layle Silbert, Marguerite Harris, Leo Connellan, Ron Coon, Richard Hugo, Philip Dacey, Stephen Dunn, Janet Brof, Murat Nemet-Nejat, Rochelle Ratner, Ruth Herschberger, William Sayres, Arthur Oberg, Irving Benig, Dorothy Dalton, Fred E. Steinway, Laurence Wieder, Marilyn Zuckerman, and Fred Kaplan.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 8 features a craft interview with Galway Kinnell; an editorial about craft interviews; "Protest Poetry" by Cornelia Draves; "Second Annual Listing of Poetry Magazines" by Elizabeth Yazettii; an essay, "Seriousness and the Inner Poem," by Hayden Carruth; photos of Lowenfels, Pack, Steloff, Faber, Lev, and Bukowski; and poetry by Michael McClure, James Boyer May, Jean Garrigue, Norman Rosten, Charles Bukowski, Robert Peters, Terry Stokes, Nat White, Michael Benedict, David Ignatow, Lewis Turco, Elizabeth Yazzatti, Tamura Ryuichi, David Rafael Wang, Michael Newman, W. H. Auden, Romulus Linney, Paul Smyth, Mary Ferrari, Julio Marzan, Stephen Dunn, Peter Meinke, Philip Dacey, and Rudolph Wittenberg.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 9 features a craft interview with John Ashbery; an editorial tribute to Lucille Medwick; "Poetry and the Nobel Prize" by Layle Silbert; "The Poet as Lyricist: Alan Jay Lerner" by Elaine Edelman; an essay, "Alliteration," by George T. Wright; photos of Blackburn, Williams, Aldan, Bly, Moore, and Bob White Jr.; and poetry by Lucille Medwick, Linda Krenis, Duane Niatum, David Ignatow, Clarence Major, Hugh Seidman, Charles Bukowski, E. Di Pasquale, Erica Jong, Ruth Lisa Schechter, John Guenther, Norman Stock, Tanikawa Shuntaro, Colette Inez, Andre Sedriks, Hannelore Hahn, Al Dewey, Rainer Maria Rilke, Siv Cedering Fox, Cynthia Macdonald, Michael Newman, Stephen Ajay, Arthur Levin, Emilie Glen, Ernest J. Oswald, Rush Rankin, Martha Collins, Cornelia P. Draves, Laurence Goldstein, and Annie Dillard.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 10 features a craft interview with James Dickey; an editorial about poetry and madness; a Yevtushenko tribute; "The Translation of Poetry" by Marina Roscher; "Poetry Societies" by Marjorie Finnell; "Delmore Schwartz Notebooks" by Lee Valenti; an essay, "Figure, Ground and Open Field" by Christopher Collins; photos of Auden, Ruth Lisa Schecter, Quincy Troupe, Armand Schwerner, David Antin, and Ray Bremser; and poetry by James Lewisohn, A. Fredric Franklyn, Yevgeny Yevtushenko, Marjorie Finnell, Peggy Bowman, Andre Sedriks, Alan Hertz, Tamura Ryuichi, Jane Snyder, Stephen Ajay, Miriam Solan, Cynthia Macdonald, Ken Smith, David Francis, Hugh Fox, Susan Shawn, Daniela Gioseffi, Lawrence Raab, David Edgerton, Daniel Halpern, Helen Adam, Brian Swann, Anne Marx, Charles Bukowski, Linda Pastan, M. L. Rosenthal, and Erica Jong.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 11 features a craft interview with Muriel Rukeyser; an editorial about poetry and violence; list of poetry publishers by Helena Moyniham; "An Exchange of Letters" by David Ignatow and Walter Lowenfels; an index to NYQ poets, issues 1-10 by Marjorie Fennell; photos of Corso, Kinnell, Stokes, Waldman, Sanders, and Kizer; and poetry by Wing Tek Lum, James Lewisohn, Cathleen Medwick, Leo Connellan, Christopher Collins, Anthony Edkins, Thomas Shapcott, Michael Harlow, Helen Adam, Quincy Troupe, RobertOh Faber, Diana Chang, Julio Marzan, Stephen Stepanchev, Herbert Krohn, Allen Katzman, Will Inman, Shoichi Kiyokawa, Paul Roche, Robert Pack, Peter Viereck, Robert Bly, Barbara Gordon Paine, Roland DeMunbrun, Donald Lev, Jean Balderston, Michael Perkins, Henry Malone, John Briggs, Philip Dacey, Don Bailey, Donald Axinn, Hannelore Hahn, Morty Sklar, and Madeline Bass.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 12 features a craft interview with Richard Wilbur; an editorial about poetic devices; an essay, "Reference Books," by William Packard; an essay, "The Woman Poet," by Carol Jennings; an essay, "Poetry Magazines," by Elizabeth Yazzetti; photos of Rosenthal, Jong, Denby, Gunn, Troupe, and Wagner; and poetry by Muriel Rukeyser, Kenneth Rexroth, Charles Bukowski, William Mundell, Helen Adam, Daisy Aldan, Andrew Glaze, Louis Ginsberg, Manuchehr Sassoonian, Miroslav Holub, David Martinson, Pablo Neruda, Mark Kundig, Lynn Strongin, D. K. Skiles, Beau Beausoleil, Joseph Geha, Joseph de Roche, James Baker Hall, R. B. Adams, Galen Green, Joe Mitchell, Robert Chatain, Diane Kruchkow, Richard Allen, Ray Biasotti, Charles Martin, Philip Schultz, Harold Sundt, D. F. Petteys, Steve Demorest, Ron Jackson, Toinette Derricotte, A. G. Sobin, Steven Rea, George Veltri, William Meyers, Jonathan Katz, and Jim Gustafson.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 13 features a craft interview with Robert Creeley; an editorial about contemporary poetry; an essay, "Narrative Poetry: The Round Earth Under," by John Williams Andrews; "How To Submit Poetry Manuscripts" by William Packard; an interview with Tanikawa Shuntaro by Helena Moynihan; photos of Mark Van Doren, Peter Orlovsky, Allen Ginsberg, D. H. Melhem, Tony Towle, and Sandra Hochman; and poetry by Rochelle Owens, Stephen Stepanchev, Norman Rosten, William Packard, Helen Adam, William Mundell, Miriam Andrews, Philip Appleman, Linda King, Charles Bukowski, Siv Cedering Fox, Ken McLaren, Marie de L. Welch, James Lewisohn, Jill Hoffman, Herbert Krohn, Deborah Richardson, Edmund Pennant, Elisavietta Ritchie, Leslie Ullman, Marjorie Finnell, Michael Crawford, Rosemary Daniell, Douglas Eichhorn, Jack Weiskott, Diane Raintree, Martha Zweig, George Tarnawsky, Richard Pearce, Leven Dawson, Robert Hoeft, Elizabeth Klein, Jon Beckman, Julia Aldrich, Ken Smith, George Behrman, Tom Crawford, Lloyd Van Brunt, Jack Geller, Mary Richter McCartney, Mervine Lane, Albert Salsich, Lola Haskins, Henry Taylor, Yvonne, Arthur Vogelsang, Ronald Wallace, Carl Matney, Albert Drake, Charles Haseloff, Tony Petrosky, Christine Zawadiwsky, and David Dwyer.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 14 features a craft interview with Jackson Mac Low; an editorial about the American experience; an essay, "Concrete Poetry," by Shoichi Kiyokawa; an essay, "Japanese Women Poets," by Helena Moynihan; photos of William Claire, Howard Hart, Leo Connelan, Walter James Miller, Ken McLaren, Hugh Seidman, and NYQ staff; and poetry by Karl Shapiro, Richard Eberhart, Howard Hart, Mark Richard Axelrod, Thomas McGrath, M. L. Rosenthal, James Lewisohn, Charles Bukowski, Leo Connellan, Lewis Turco, Walter James Miller, Miriam Andrews, William Mundell, John Tagliabue, Ruth Lisa Schechter, Quincy Troupe, Philip Raymond Smith, Sister Pam Smith, Jill Hoffman, Barbara Holland, Colette Inez, Linda Pastan, Brian Swann, Norman Stock, Donald Lev, Regina Reibstein, John Matthias, W. C. Ryan, Jean Balderston, Carol Purdy, Diane Levenberg, Dorsha Hayes, Harriet Zinnes, Lawrence Pike, Armand Rumayor, Lawrence Russ, Martin Palmer, Robert Phillips, Don Shambroom, Kraft Rompf, Thomas Johnson, Genevieve Reall, John Eskow, H. H. Nelson, Barry Westburg, Stuart Friebert, John Judson, Lallo, Harald Sundt III, Dick Joslin, Faye Kicknosway, R. Richter, M. Betts, Elsa Colligan, Henry Malone, Patricia Goedicke, Javanta Mahapatra, Michael West, Robert Stern, John Stathatos, Jared Smith, Harley Elliott, and Shoichi Kiyokawa.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 15 features a craft interview with Howard Moss; an editorial about NYQ type styles; an essay, "The Poetry of the Peking Opera," by John D. Mitchell and Emanuel Shwartz; "The White Snake" translation by Donald Chang and William Packard; "Publishers of Poetry" by Helena Moynihan; photos of Shiraishi Kazuko, Tomioka Taeko, Judith Sherwin, James Lewisohn, Rosmary Daniell and NYQ Board; and poetry by Claire McAllister, Edwin Honig, John Updike, Lawrence Ferlinghetti, Richard Hugo, Jackson Mac Low, Charles Bukowski, Robert Lax, John Pauker, David Ignatow, James Lewisohn, Leo Connellan, Constance Carrier, Jesse Stuart, Gil Orvitz, John Tagliabue, Willis Barnstone, Nadia Christensen, Gyula Illyes, Miriam Andrews, Susan Schell, Norman Stock, Ira Wallach, Mark Halliday, Catherine Petroski, Virginia Brady Young, Jim Brodey, James Barry, Ken Smith, Ira Sadoff, Ron Adams, Jennifer Humphrey, Donald Schenker, Fritz Hamilton, Frank Sanford, Beth Bentley, James Lee, Joyce Odam, Betty Cue, Richard Shelton, Lorenzo Thomas, Ramona Weeks, Thomas Fitzsimmons, Robert Dugan, A. A. Dewey, Nancy Scott, Julie Suk, Anne Fremantle, Olga Cabral, Herbert Morris, Madeleine Keller, Elaine Barden, Jean Balderston, Linda Krenis, Layle Silbert, Kathleen Spivack, Charles Fishman, Joel Sander, Rob Swigart, Stuart Dybek, Douglas W. Lawder, Drew Hingson, and Kerry Thomas.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 16 features a craft interview with Erica Jong; an editorial about obscenity and eroticism; an essay, "The Poet as Teacher: Stephen Stepanchev," by Mary Jame Fortunato; photos of Berrigan, Merwin, Momaday, Bass, Swenson, and Scully; and poetry by Jackson Mac Low, Richard Hugo, David Ignatow, James Lewisohn, David Galler, Jesse Stuart, Karen Swenson, Judith Johnson Sherwin, Michael Harlow, David Dwyer, Rosemary Daniel, Charles Bukowski, John Bennett, Marcia Lee Masters, Elizabeth Lindsay, Barry Wallenstein, Steve Hassett, William Heyen, Jay Meek, Michael Niflis, Frederick Smith, Barbara Szerlip, George Weiner, Francis Sullivan, Rita Valentino, John Woods, Susan Hauser, William Aarnes, Madeline Bass, Peter Cooley, Robert De Young, Herbert Waxman, D. W. Donzella, Diane Raintree, Alan Feldman, Peter Fellows, Philip Murray, Layle Silbert, Dora Pettinella, W. M. Ransom, John Stone, Jayne Stahl, and Richard Bloom.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 17 features a craft interview with Diane Wakoski; an editorial regarding NYQ classified ads; an essay, "The Poet as Editor: Thomas Lask," by John Briggs; photos of Harris, Halpern, Benedict, Mundell, Lax, and Adam; and poetry by John Hall Wheelock, Josephine Jacobsen, William Meredith, Kay Boyle, Richard Hugo, A. R. Ammons, Erica Jong, David Galler, James Lewisohn, Jackson Mac Low, Marc Tretin, Eli Siegel, Anne Marx, Joan Shapiro, Jesse Stuart, John Marberry, Charles Bukowski, Diana Chang, Dorsha Hayes, Diane Levenberg, Tony Towle, Norman Rosten, Lewis Turco, Anna Adams, George Behrman, Will Inman, Joel Lawrence, Diane Raintree, Walter James Miller, Vassar Miller, Jean Balderston, David Shapiro, Charles Haseloff, and Douglas Lawder.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 18 features the first craft interview with W. D. Snodgrass (the second is in NYQ 61); an editorial about Laotse and the Tao; photographs of poet statues of Longfellow, Poe, Burns, Dante, and Whitman; and poetry by William Meredith, Robert Pack, A. R. Ammons, Helen Adam, Toby Olson, Erica Jong, Charles Bukowski, Linda King, Knute Skinner, Jackson Mac Low, Peter Viereck, Eli Siegel, William Mundell, Barbara Holland, Stephen Stepanchev, Siv Cedering Fox, David Shapiro, Anne Waldman, Leo Connellan, James Lewisohn, Rudolf Wittenberg, Harold Witt, Robert Clayton Casto, Sam Toperoff, John Romano, Lynne Savitt, Greg Kuzma, Marc Tretin, Virginia Bortin, Helena Moynihan, Judith Minty, Lola Haskins, Florence Elon, Tom Cuson, Jeff Wanshel, Norman Stock, Diane Raintree, Robert Carney, Charlie Lebeda, David Wann, and Robert Hoeft.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 19 features a craft interview with May Swenson, an editorial regarding national endowments, an article on rock poetry by Barry Wallenstein, and poetry by Helen Adam, Allen Planz, Kenneth Pitchford, Jackson Mac Low, Charles Bukowski, A. R. Ammons, Constance Carrier, Leo Connellan, William De Voti, Eli Siegel, Peter Viereck, Judson Jerome, June Jordan, Ruth Herschberger, Louis Ginsberg, Stephen Stepanchev, Erica Jong, Harold Witt, William Mundell, John Pauker, Donald Lev, Lee Bartlett, William Baer Jr., Tom Crawford, S. K. Carew, Helen Chasin, Emily Chewning, Franz Douskey, Ron Federighi, Patricia Eakins, David Goodstein, Marjorie Finnell, Dorsha Hayes, Rachel Hadas, William Kushner, Julia Lebentritt, Ruth Lake, J. T. Ledbetter, Tamara Watson, Robert D. Swets, Bruce Smith, Norman Stock, Mary Kathryn Stillwell, H. L. Van Brunt, Murat Nemet-Nejat, Chris Petrakos, Michael Reck, Sheila Raeschild, Susan Zeni, and Jeffrey Greene.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 20 features a craft interview with Richard Eberhart, an editorial regarding cover letters, and poetry by Richard Eberhart, Charles Bukowski, Leo Connellan, Eli Siegel, Jesse Stuart, Jackson Mac Low, William Mundell, Allen Planz, Helen Adam, A. R. Ammons, Judson Jerome, Donald Lev, Erica Jong, Ronald Hobbs, Ruth Herschberger, Stephen Stepanchev, Sam Toperoff, Sister Pam Smith, Jane Snyder, Madeline Bass, Gary Ligi, Marc Tretin, Diana Vance, Carol Purdy, Rita Valentino, William Packard, Herbert Waxman, Tamara Watson, William Baer Jr., Betsy Adams, Dennis Bernstein, Stephen Kirkpatrick, Jean Balderston, Diane Raintree, Patrick Bizzaro, Terry Brown, Joseph Bruchac, John Bennett, Christopher Gilbert, Pamela Oberon Davis, Harold Witt, Frank Decker, Leon Diamond, Jane Flanders, Phyllis Capello, John Farrell, and William Ramsey.

Since its founding in 1969 by William Packard, The New York Quarterly has been devoted to excellence in the publication of a unique and fervent cross-section of contemporary American poetry regardless of school of thought, style, or genre. Our only concern is to focus on the craft that underlies effective poetry writing. The New York Quarterly features works by both known and emerging poets. The NYQ Craft Interviews present the views of some of our most outstanding poets on the general subjects of style, prosody and technique. The issues are rounded out with an essay or two on the subject of contemporary American poetry that is both accessible and meaningful to readers, poets, students, and teachers of poetry alike. NYQ 21 features a craft interview with Helen Adam, an editorial about self publishing, a tribute to James Dickey, an index of poets in issues 11-20 by Marjorie Finnell, and poetry by Helen Adam, Norman Rosten, Charles Bukowski, A. D. Winans, Eli Siegel, William Mundell, Donald Lev, Greg Kuzma, Judson Jerome, Franz Douskey, Stephen Stepanchev, Chris Brown, Stephen Ajay, Ronald Crowe, Lola Haskins, Vivian Jokl, Jon-Stephen Fink, Christine Zawadiwsky, John Allman, Ralph Adamo, Beth Biderman, Billy Collins, Carol Purdy, Elisavietta Ritchie, E. J. Cullen, C. Douglas Draime, Deborah Deutschman, Nadine Estroff, David Engel, Ellen Gilchrist, Nancy Grillo, Virginia Gilbert, Stan Jacoby, Brown Miller, Joyce Milton, Sharon Olds, Tom Crawford, Leonard Gilley, Peter Roberts, John Rosenman, R. D. Swets, Miriam Solan, Harold Theisen, Rita Valentino, Lisa Zeidner, Malcolm Glass, and James Dickey.