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about coediting such a book. We discussed several possible structures for the book and came up with the notion of a critical anthology that would take advantage of the existence of the explications of many modern poems by prominent critics and, in some cases, by the authors themselves. These were the days, after all, of the New Criticism, which stressed the reading of the actual text as opposed to the emphasis on the biographical and historical context that had prevailed in criticism and scholarship before (and long before the advent of those who set out to "deconstruct" the text and the author and replace them with the critic). The poems would be arranged from those more available to the usual college student to those more difficult. About every seventh poem would be accompanied by an analysis by the author of the poem (usually, an account of the occasion and process of writing the poem) or by a well-known critic. On the premise that though teachers and scholars were frequently limited by the constraints of being specialists in English or American literature, the poets themselves had not been, an appendix of translations of European poets who had influenced modern poetry in English was to be included. I put together a list of poets and chose poems to be included. Paul modified it. I scrounged periodicals and books for applicable exegetical material to be excerpted, and collected translations. It was the Very Model of a Modern Poetry Textbook. It went through three editions, original, paper, and revised. It was a standard college text for a decade, but never a big seller because", I think, modern poetry was not a big market; the arrangement from easier to more difficult went against the grain of teachingwhich is basically historical; and because, I think, teachers preferred to keep the book to themselves, using it with all its critical explications as a teacher's handbook. Working with Paul, I realize now (having done other collaborative editing), was comparatively easy. We each had our biases, but we compromised on most of our differences. And I had by then been chastised by something I read in a letter from Hansford Martin to Paul. The letter had been left open, face up (intentionally?), on Paul's desk at Stone City. "I like Warren Carrier better now that 22 P A U LEN G L E, IMP RES A RIO I realize his arrogance is not about himself but about the writers he admires." I thought Hansford along with Verlin Cassill among the best critical minds teaching in the fiction workshop during my tenure at Iowa. While I don't think I was born again as a result of my accidental snooping into Hansford's letter, I did accept Paul's preferences with respect, and with all the grace I could muster. It has been argued that writers' workshops do not make writers, and I agree. If would-be writers do not have the talent, even a good program will not give it to them. But a good program does provide an opportunity for critical analysis, self-assessment, improving skills, for recognition and encouragement, for associations with other writers. All of this support may be unnecessary for some; for others it is essential. The workshop at Iowa did all of that, and, further , provided financial support for many, and for some freedom from the tyranny of homelands. As a faculty member, I also learned a good deal about writing from associating with writing students, resident colleagues, and visiting nabobs from the beer-drenched and sonorous Dylan Thomas to the aristocratic and diffident Cal Lowell. The student with whom I learned the most was Robert Shelley. My course in modern literary criticism often turned into a dialogue with Shelley as we explored the intricacies and limits of criticism. And Shelley, had he lived, would, I am convinced, have ranked with Justice and Snodgrass and Stafford as a poet. His inability to cope with reality and especially with his homosexuality led him to suicide, a sad event for which all of us who knew him felt guilty. And I learned from Paul- not so much about writing as about the importance, as an administrator, of cutting through the bureaucratic bumf and focusing on the encouragement, support, and welfare ofstudents and faculty. He built an extraordinary program. His example, for which I am grateful, stayed with me throughout my career as an administrator. WAR R E N CAR R I E R...

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