Front Cover

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pp. 1-3

Title Page

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pp. 4-4

Copyright

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pp. 5-7

Contents

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pp. vii-9

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Foreword: From the Archive Out

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pp. ix-xi

The inauguration of Recencies is a most welcome addition to the field of possibilities in contemporary literary studies and yet another indication that new pressures are being brought to bear on our conceptions of recent cultural history. By creating a space for older work to be seen anew, the series further formalizes an...

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Preface

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pp. xiii-xxiv

The magazine sought to bring some unplanned newness to a literary scene that was dominated then by so called new criticism. The Sewanee, Kenyon, Partisan, Hudson and so forth reviews for whom poetry was something that could only be written if preceded, riddled, and packaged with strings of Latin, Greek, quotes...

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Acknowledgments

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pp. xxv-27

I would like to thank, first, Ammiel Alcalay for not only introducing and sharing a tremendous body of knowledge but for serving as staunch believer in and facilitator for my intellectual pursuits. Without the support, advice, and enthusiasm of those closest to these letters, Amiri Baraka and Jennifer Dunbar...

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Introduction

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pp. 1-11

From the end of the 1950s through the middle of the 1960s, Amiri Baraka and Edward Dorn fostered a friendship primarily through correspondence. Though many of the original letters have been lost over time, those that do exist testify to the complicated and intense friendship of these two self-consciously...

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Letters

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pp. 13-209

The LeRoi Jones–Edward Dorn correspondence begins with a request, from Jones in New York to Dorn in Santa Fe: “I’d like to have a couple of poems.” The poetry is the starting place, the central point around which these artists’ lives revolved. The letters from these first two years make clear how quickly the two poets...

References

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pp. 211-216

Index

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pp. 217-222

Back Cover

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pp. 250-250