[WATKINS]

Valleyhead,
Concord, Massachusetts,
25: xi: 40.

Dear Red--

I've had so much trouble during the last two years
from nervous fatigue and insomnia that finally I've been granted
a term's sick-leave and so am up here taking practical lessons
in relaxation and, absurd as it sounds, in how to sleep--rather
how to rest whether you sleep or not. At the moment I'm so fit
that I feel like a complete fake; but as a result the doctors
are allowing me now to write three or four hours a day.

This explains why I sent you the *Lear* essay in such
an early draft; I've had to take as many short cuts as possible,
and there seemed no point in working up a special version--apart
from the one I shall use in the book--for the *Southern Review*
unless you were interested in the idea. During the summer I
worked over it a little, clarifying and re-arranging, and boiling
out ten pages; but it is still around 40, which I know is
too long for you. For the book I want the essay to deal with
significance as well as technique, because I believe firmly in
the indissoluble connection between the two. This does not mean
that I underestimate the importance and value of a purely technical
study, and I shall be only too glad to have a try at salvaging
the technical part in separate, publishable form if I can.

The simplest way of doing this is to cut out the last part entirely, condense the over-detailed section on structure (which must be done anyway) and call the essay something like STRUCTURE AND TECHNIQUE OF KING LEAR, still using RICHARD II as a point of reference and comparison to show ten years' development, but reducing its prominence. I am inclined to believe from your letter, however, that this is not exactly what you want, since you and Cleanth must already have considered it among possible ways of cutting. This method would be using Lear as a specific focus for analyzing the two techniques, whose fundamental importance would thus be emphasized, but perhaps more by implication. I gather that you prefer explicit focus on the techniques, with Lear, etc. used merely for incidental illustration. Let me know your feelings about this. I am perfectly willing to recast, though I think in a short essay there is some definite advantage in focusing on one specific work, if that work is important enough and clearly embodies the general problem.

I am very much interested in (and heartily agree with) what you both have to say about the two poles. As a matter of fact, my plan is to follow up the *Lear* essay (third in the book) by one on ALLEGORY? SYMBOL, AND CHARACTERIZATION, in which I consider explicitly the two poles with specific reference to the Faerie Queene. The problem will be to interweave and integrate the two essays without making them overlap and repeat too much.

In the meantime here is the first essay in the book. It
is of a more reasonable length, but may not appeal to you as much.
I seem to have no extra envelope, but enclose return stamps.

My best to you both. Will you come to Boston, Christmas for M.L.A.?

25 Palmer Square,
Princeton,

May 17th, 1941

Dear Cleanth--

I've been too overwhelmed with work to get this essay off sooner; finally I had to get a typist to copy it for me. In doing so she used extra wide margins, etc., so that the essay seems longer than it is. In my own typing it comes to 28 pages. In revision I cut as much as I added.

I should like to know fairly soon whether you wish to use this and the *Lear* essay, or one of them. If not, will you return in the self-addressed, stamped envelopes I sent you with the first drafts? Then, I shall probably have a shot at the *Kenyon*, and, if that fails, turn them over to my English friend who wants to see if they will suit his magazine, *Review of Eng. Studies*.

It was a pleasure to see you, even though it usually was among crowds of people—I had not known death had undone so many.

[WATKINS]

[WATKINS]

25 Palmer Square,
Princeton,
9: iv: 41.

Dear Cleanth--

Have you and Red made up your minds about the
two essays--*Two Techniques in Lear* and *Shakespeare's Ban-
quet of Sense?* Since I have been asked to give the second
before the English Club here I shall be polishing it a bit
next week, and, if this one interests you, can send along
a smoother edition than the draft you now have.

Haven't yet had time to read the whole thing, but
judging from the first two essays I think Allen's *Reason in
Madness* the best criticism he has done.

How are you both? And how has the magazine come
through the threatened re-organization?

D. C. RUSSELL, President

JOHN J. SLOCUM, Secretary

HENRY T. VOLKENING, Treasurer

RUSSELL & VOLKENING, Inc.

Literary Agents

522 FIFTH AVENUE
NEW YORK
MURRAY HILL 2-5340

Mr. Cleanth Brooks
Southern Review
Baton Rouge
Louisiana.

Feb. 19,1942.

Dear Mr. Brooks:

I am writing again about Miss Welty's story THE ROBBER BRIDEGROOM which has been with you for some time now and if it is not likely that it is going to be used in the last issue of S.R. we'd be glad to have it back.

I'd like to add a personal word of regret that the Review has to close down. It seemed to me an ably edited journal which did much good work--and there are so few literary journals in this country that the loss of one makes a real gap. I suppose it is inevitable in war time that everything that doesn't directly contribute to war or defence will suffer. But I think this wrong for while the temporary politics or international affairs of the time may affect our lives, they do little for the spirit. I feel rather like Tagore, who made the comment some years ago on Gandhi that he admired the man but he hated to see the country all thinking the one thought.

All wars are bad and not the least bad thing about them is that they cause an eclipse of the spirit and, in their way, magazines like the S.R. are an assistance to the latter

67 Seventh Ave., New York

July 10, 1941

Dear Mr. Brooks & Mr. Warren:

I am enclosing a group of poems consisting of new and revised work. I should like to bring your attention to "Ali Baba" which is a sheer experiment in telling a tale via an image for each of the details implicit in the movement of a tale. In doing this I tried to get over the "emotion" of today's civilization; whether I have succeeded is another matter.

The "Definitions" poem can be shortened if you think some of the definitions too bad.

ret7/31/41

MORTON DAUWEN ZABEL

1100 PRATT BOULEVARD
CHICAGO

February 28, 1942.

Dear Cleanth:

I have meant to write you for the last fortnight, but these have been busy days. When all else fails to chew up the edges of the mind, the Draft succeeds in doing so. I registered a week ago last Monday (as did you?), so the future begins to be larger in doubt than ever.

I've been anxious to hear how the *Review* situation is progressing. I've heard nothing encouraging in the last three weeks. Are you any clearer about the future? Is there anything else to be done in the outside world? From what you said in your letter of the 8th, I gather that the inevitable term of Limbo is being labored through, with the General's hand-wave your only index of how the wind blows (and not a very safe one at that). Be sure to let me know the new developments. Allen has told me about the possibility of your merging with the *Kenyon* in case the S.R.'s demise is unavoidable. I wouldn't like that much. Allen also told me (as he did you) about some new prospect of a magazine's being founded in Georgia, he to be editor; this was two weeks ago; but just a few days ago Caroline, in a more recent letter, said nothing of positive developments, but did mention that Allen's alternative idea, of going into the Navy, was almost at the point of being decided. Did the Georgia business fall through? All these new or hypothetical projects are, of course, far less preferable than having the S.R. continue.

About the title of my lecture at Baton Rouge: How about "Escape and Reality in Modern Literature: The Case of Joseph Conrad" ? That about fits what I would have to say, and the subtitle will indicate the specific nature of most of my discussion. If this title suits you, please hand it on to Mr. Wise so that it can be announced.

I plan to arrive in Baton Rouge at least by Monday March 30th; at the very latest (in case of delay) by Tuesday morning of the 31st. My talk is, I assume, scheduled for Tuesday evening, the 31st. Is this right?

I'll hope to hear from you -- good news let's trust. Give my regards to Red and Cinina Warren. I'll be seeing you all in a few weeks, and look forward to a charming trip and time.

As ever,

MORTON DAUWEN ZABEL

1100 PRATT BOULEVARD
CHICAGO

May 7, 1942: Thursday

Dear Red:

How are you? and Cinina? I've been wondering. I hope the spring isn't
too strenuous and that the impending break-up of your Prairieville establishment isn't
exhausting you in prospect. I've been digging hard since my return from the South,
and already a month has fled. For two weeks work was complicated by spring house-
cleaning and decorating at home -- an annual upheaval that left us exhausted; but
now everything's fresh and shining and comfortable again, and one may proceed.

I'm writing you in some haste (and sending a copy to Prairieville, so the letter
catches you as quickly as possible either there or in B.R.) to ask if you will serve
as one member of a jury of three to judge the poems entered this year for the Fiske
Poetry Prize at the University of Chicago. This is a prize that's been given for the
last twenty-five years there; I've served frequently in judging the entries; and I've
told the authorities I was sure I could get you to serve along with Daiches and
myself. So will you, please? We'll cut the entries down to the small number that can
be profitably considered, weeding out the junk; and will send you this small number
next week. It will take you only a few minutes to scan them and send me your vote.
I hope you'll do it, for I've virtually promised that I could persuade you to. And
we'll be much honored if you can. Send me an immediate air-mail letter. The poems
must be written by students at the University; some good things have turned up in the
past; I can't promise what will turn up this year.

I've thought of you both often, and of the grand time I had in Louisiana. That
visit was the most charming thing I've had all winter. It refreshed me no end.
How is your final issue of the S.R. coming along? Will it be out this month? I see
that the Kenyon and the Partisan are both having financial troubles too and may have
to suspend; the Chicago papers are full of the woes of Poetry; Horizon says its
paper stock is being cut again; so all the lights may be out soon......I read that
posthumous Scott Fitzgerald story and found it fearfully boring, sparkless, and
shortfire; and I can't find much in it that promises a real book and document had he
lived to finish and revise it. I read the other day Elizabeth Bowen's "A House in
Paris", which I missed in 1936: a sensitive, quite beautiful work, full of the real
weathers of the soul, sometimes overwritten or precocious, but on the whole genuinely
memorable, and several shades better than "The Death of the Heart". Just now I'm
laboring at a review of Frost's latest; I shouldn't write on him again. I expect
to find the Hone life of Yeats interesting when it comes along in a week or two; Hone
is very competent....Did Allen's prospect in Georgia fall through completely? I must
write him. He & Katherine Anne were good on "The Turn of the Screw" on the radio last
Sunday -- one of the best sessions yet staged by I. to L. I hear from a friend in
the East that K.A. then took the train for Reno to put through her divorce from Al-
bert (I had thought this was to be worked out in Louisiana).....Is Cinina already
busy packing up your things? What a pity, when the house was so beautifully re-
constructed and devised! When do you expect to leave for Iowa? I hope I'll be around.
I leave for California around June 10th or 12th.

Please do consent to act on the Fiske jury and let me have your word at once.
I promise you there'll be no real work involved; we'll simplify the job as much as
possible at this end.

All good wishes to both of you, and to Tinkam
and Cleanth,