HOTEL BULLETIN, CHICAGO - LOUISVILLE

"Pride of Nacogdoches"

THE INN HOTEL

EUROPEAN AND AMERICAN

G.L.FORD, MANAGER

NACOGDOCHES, TEXAS

MODERN FIRE PROOF.
RATE $125 AND UP

WE SOLICIT
YOUR PATRONAGE

35 West 9th St.,
New York City.
July 11, 1930.

Dear Williams,

Trust that you got the
recent issue of BLUES which we mailed
you.

As we are exercising
more rigorous standards for contribu-
tions to next number, it is going to
be difficult to get material. At present
we have practically nothing.

We should like from you
an essay - I thought of this subject:
THE VITAL FUNCTION OF POETRY - that is,
I think it valuable at this time to em-
phasize that no matter what need there
is in poetry for new technique, new ap-
proaches, there is an essential impulse
which binds together all poetic expression
as content. Too many youngsters are
valuing "oddness" without either significance
of form or content (I suppose you agree
that the latter has importance in poetry).
At any rate, you get my trend. How about it?

We should also like some
poems from you, some as good as those in the
last Imagist Anthology.

We are asking for work from
Zukofsky, Larsson, Gerald Sykes, Crane,
MacLeish - have you any influence with last
two named? We couldn't offer payment. Or
any suggestions for contributors?

P. S. CHF has gone back to Columbus for a season or so.

"Pride of Nacogdoches"

THE INN HOTEL

EUROPEAN AND AMERICAN

MODERN-FIRE PROOF.
RATE $125 AND UP

G.L.FORD, MANAGER

NACOGDOCHES, TEXAS

WE SOLICIT
YOUR PATRONAGE

Dear Mr. Winters,

I don't know whether
what you know of BLUES would impel you
to act, or what your general policy in
the matter is, but we should be delighted
to get a critical article from you (not
to exceed 2500 words), without giving
payment.

I suggest, as something
we would like particularly: THE MODERN
AMERICAN POET AND HIS LITERARY ENVIRONMENT:
ETHICS AND PSYCHOLOGY. . . Or like this:
PSYCHOLOGICAL ENVIRONMENT OF THE POET:
MODERN AMERICA. Could you handle such a
slant in that many words? If you need more,
please say so.

The point is, both with
reference to creative and to critical con-
tributions, we plan to give BLUES more crit-
tical direction and solidity.

We were very much impressed
with Miss Caroline Giltinan's short story
in the last GYROSCOPE, and it would be kind
of you to ask her to submit several stories
to us.

2.

formulate a decent critical opinion or knows anything definite
about poetic method or the Sublime. As a matter of fact, they
are a bunch of dangerous nitwits.

I hope I have not bored you by thus leading up to the point
that it would be a significantly ethical thing for either you
(since you have been, accidentally, involved) or Mr. D. to actually
study BLUES, i. e., its critical opinions, which are being steadily
defined and expanded and the methods of certain poets as myself,
Mr. Ford, Joseph Rocco, Ben Maddow and Louis Zukofsky; and write a
notice of it. My object is a thoroughly political and sentimental
one, and certainly you both can understand that. IT IS ABSOLUTELY
ESSENTIAL THAT WE (BLUES) DIFFERENTIATE OURSELVES FROM OTHER
AMERICAN MAGAZINES AND FROM IRRESPONSIBLE UNDERAGE MODERNISM. For-
give my fervour, and I hope that Mr. D.'s pachydermatousness will
permit him to understand this time that what I want is not a
controversy but a gentleman's rectification.

I thank you again for your courtesy and for any/ trouble.

Associate Editor of BLUES.

P. S. Concerning Mr. D.'s reference to my "insanity" or
whatnot, the item may be of interest to him that three heavily
intellectual contributors to THE SYMPOSIUM, the magazine which
Mr. D. likes so well, know me personally and can testify not
only to my sanity but to the validity of my critical opinions.

P. T.

Art - Leon Kochnitzky and Robert Goldwater

Kochnitzky believes that although Henry Moore has created the finest carved and chiselled work of our age, even his large-scaled transformations of the human figure retain the qualities of precious bibelots. For Goldwater, Dubuffet's use of thick pigments, sombre colors, and child-like graffiło technique is consciously satirical, designed to break with the grand manner in modern art originated by Picasso.

-341-

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

as per on Nov. 1st

gosh I shure near rooined myself last night having here and in Harlem drunk sour (owgh!) wine on top an italian big dinner and that is here there rye on rye on rye having a(gain) run into r. clai., t. bo. and paul reev. and been DRIVEN in that horrible car uparound until.

well one thing was that. a to be both positive and complacent one (only) negroidesthetico visage develop(ed) from the window of a taxi-cab, hearing a white curled wig over rouge and nature. what was to assume not unsurprisingly tendencies after asking for a match (o so shriekingobviously) rushing in on us in the little cigar counter speakeasy, and milling bitches' incongruities FOR SALE (::all with a trailing evening gown of unmistakably red tulle no less than a ball-goer of a halloween eve which was rid of quickly r. clairm. not lik-ing(her to speaking know)

and the night's net capacity for sorrow was (simply) this: my as Herbert says (picture)-hat (new) was so, so maltreated during innocuous debauches as on paul reeves' single cot we all finally lay,, haveing given me an opportunity to see pathologics all merry men clairmont gang of sycophants speakwithoutknowing much talk (while) (I), (drunk) but they not too....

O to be exact it was at lew ney's I met them going there late and comin in on them already drunk as I I swooned in and began my first poem saying CREPE (heavily) as I looked directly at kty (smilingly receiving shesaid you had written her wanting to know ALL I said: she may have answered that I agreed with her in not your in early BLUES liking poems However to go on later I warned her to no she said no I couldn't tell Ch. exactly what you said that would make my letter uninteresting I saying Don't you find Ch. too exacting?... and she I say she FAIRLY screamed at me when she was at the door "MISS Tyrer" and calmly I said leaning o so gracefully against (something) Please be photographic Miss Youngand then (it just came out) You don't hide in dark corners for nothing do you? Heaven knows what people thought But she smiled being nice I suppose after all (too cocksure that's why: safe from things, yaaa?)

COULD I only attach a dictaphone to my vest some of the things I DO say while drunk now did I say or didn't I, Mr. Clairmont it has just come to my attention that you have trousers on (he thinks he's so attractive he needs a dressing down: as for me if I believed all the people who tell me I'm beautiful, handsome, pretty, goodlooking, I'd never NOtive ANYone) ((the nigger speakeasy man did come from behind his counter to verify I had trousers on)) I really can't begin to count my facial defects I'd get heart failure if I didn't remember it's essential balance of design and a mouth which when pursed but people say, don't purse your mouth but where would I be if I had never pursed my mouth? I think

O charles where are you who are you coming to me on this blue paper

O O.....now that every dot has been a tear I must say I am enclosing

poem that appeared in paper (not one of mournful lyrics) also forgot
to send clipping which I pasted in my book enclose letter from N. M.
also carbon of letter to spector I HEAR HEAR that Tacke has taken a
short poem of yours and will have beside: me, Rocco, Abel, K Burke,
J Mitchell Salt, Clairmont and maybe Gildea

I was SICK and no bones about it when after robbing me of one shoe-lace paul r. wouldn't return it though I cried for it in order to keep me in bed with them (why?) but finally I CAME home anyway.

D.

I
did say to p. r. when are you going to stop imitating a football
player? (he's HUSKY) and you know what I once told you about him
o and he fairly YEARNS his poetry at recitals

O
and

O (where will we eat I think at Sign of the Rose where they serve
the best dollar dinnerin the village)
a ghost from the past turned up at the R. T. I nearly fainted I
did close my eyes for 47 seconds on seeing that old lascivious
leer you know the person who nearly pounced on my neck when I
was cascading down the stairs in FEAR?

2

but i say it is good now still anyway. because i think
for my sake more truly now as now is almost all thinking.
and thinking about always instead of sometime, mostly.
now, that is, what is, is is indefinitely in time there-
fore forever.

and so you are in mississippi and i am here with syphilis.
which is a combination. saying yes yes. here we are.
and the novel is here. and all that was before is here.
and you are waiting to here.

now i feel like being all tears. that is when i am being
all myself. for myself only being a self when in commu-
nion with others. self going against other. self now
in tears going against self. to a peculiar end which has
begun in myself going against itself purely now: in
self-bity merely: you to know. in order that your not
loving me as much may be explained by my begun-now lack
of cheerfulness, and no going of mine to europe, which
means away from me.

p. s. i composed the enclosed last night after writing
the above. it refers to an incident between karyl and
louis at 319 - dont you think it ought to go with this
is when the world comes in next blues. for both are
my new poetry.

and your letters received which are 1234 skip and to be
answered when?

?

ignore

3/6/31

F. W. HATFIELD

Stuyvesant 5482

HOTEL MARLTON

3-5 West 8th Street, Next 5th Avenue

NEW YORK

Oct 4, 1929

(o o you)

have just read in the american caravan and
agree with munson about kunitz disagree about
phelps putnam, as to k t y's poem, technically
it's best of hers I've ever seen but iM as it
were discourage it since its simplicity is not
simplification, its ease is faciity with a
verbal pattern which is no victory over a real
problem and a poet should have a real problem
as well as a technical one -e savvy? -- its
effect is one of motion without arrival, existence
without impact -- what do you think?

just read your awfully awFULly cute letter
which patterson has printed. . . nice ad. . .
and am still lingering waiting for words from
you

--
maybe some
a
re
down
s
t
a
i
r
s now

DID you get my letters did you? did you?
don't forget ALL matter relating to transatlantic
art out OF my notes. . . if you have time you
can add this about Mike Gold's fiesta which I
saw just this:

Michael Gold's play is a (not
popularly speaking) flop.

F. W. HATFIELD

Stuyvesant 5482

HOTEL MARLTON

Oct. 2, 1929

Oh Hell and Heaven

can you imagine -- anything more dastardly
than the Police Captain of this district
being "out for Villagers", as I've definitely
heard, and wants to make "examples" of some
of the more conspicuous such as J. R. Gildea
and myself? . . . So that it's actually dan-
gerous to go around the Round Table? . . .
and for nothing, they culdn't prove a thing,
not even disorderly conduct.

It sorter makes methink how terrible it would
be if an enemy got hold of my letters to you.
Do guard them with your life! . . . Say you
do.

Wrote a most im. . . portant letter last night
the result of which I'll let you know in our
usual algebraic formula.

JANUS answers that first issue is quite
packed with accepted material and my long poem
would have to wait for second or third issue,
although he said he could use 8 or 12 liner
and he was so appreciative I had to send one--
only one I have in fact, 11 lines. However,
as every place has something of mine coming out
imminently I said he could have it if he pro-
mised it in second issue, otherwise I would
send it elsewhere; he praised it saying it got
a "dream reality" xxxiv, was "psychological",
etc. but seemed to overlook its definite
rhythmic form.

- over -

I suppose you saw how funny Ben got in last
cv. . . I dressed him down and he wrote back
blahblahing, but I rema ined adamant and if
he doesn't retract his insinuation that I've
accomplished nothing in the regular literary
world (as his readers might think) I don't
intend to acknowledge his acquaintanceship
Afetr all, the readers of cv constitute part
of the buying public. I've put his comment
in my scrapbook with this penned beside it:

This guy
is an example
of what sex will do
to poetry.

I do believe it's a week since I last heard
from you, and it seems you should have rushed
back approval - or disapproval - of ad for
Alhambra. . . .

But you too making. . . .

c h ford

The Gilmer Hotel

J. O. SLAUGHTER, MGR.

Columbus, Mississippi

mr. parker tyler

35 west 9th street

new york city

sept. 12, 1929.

well I mean you just must have been drunk, country cream,
to have struck the wrong letters so often ah (and your
letter is perfect)

ha Vogel is leaving I hear he and, Spector are projecting
a new magazine you can bet it's going to be just too prole-
tarian.

but Literature will have something to say.

you may, providing Contributing Editor has no irksome
duties such as persuading R. Clairmont to contribute;
good god I heard some of the lousiest poetry in the world
from his lips the other night. Also he told someone he
will contribute no longer to BLUES, that he "thought it
was going to be worthwhile at first". Did you know
Marianne Moore after seeing his poetry said he ought to
see a doctor? (Teehee)

and thanks.

Stein's seal is cute. In fact, too cute. Munson is very
good on her. She's a lovely old thing, though.

no darling I would never write like this to you unless I
loved you do you think I would?

but

AND you should have gotten long letter answering all your
questions about coming up, expenses, etc.

I've known you so loooooong, haven't I, darling?

9/27/9

honey I said honey

last night I spoke in a symposium on America at
the Doll's House - Siegel chairman - and rather
naturally I chose the cultural aspect and I
was able to rebut beautifully partly Siegel, Joe
Gould (Pound's erstwhile protégé) and some young
idiot - anyway, Siegel said my talk was fine and
very thrilling - though he "disagreed somewhat" -
but not so much as he thought poor thing. Well
that's that and I'm just waiting for news (which
doesn't arrive) and I'm waiting to move somewhere
that's permanent - employEES and the P. O. Department
are so incompetent it seems I never get paid for anything
but occasionally and so do I get accepted. (Isn't
RYDER just grand?) you know BLUES has netted $1.20
which I shall send in stamps when convenient OK?
It seems you could have sent some of expatriate --
Workers' would have sold them, I'm sure.

I'm being DEVastated having accepted job for literary
advice entailing typing of 125-page play MS. Geezer
is old-fashioned author of some plays pub. by Harrison
(whose BOOK of poetry is out) and have appeared in
French newspaper translations (pl-eeze!) Play is
French, trans. by him, and he wants Lesbian in it
changed into girl masquerading as man to arouse a hus-
band's jealousy (pl-eeze, pl-eeze!) could you possibly
sit through a play like that?

send JANUS' address if you haven't read this. Poem is
POEM TO F. M.

OH yes

god
you know
god

and

sent douglas poem to AM MERC haven't heard
please send douglas review back do say you received it.

9/29/9

of COURSE honey the enclosed poem is not an
important one but I am sure it is a very
nicely understood mood and quite cutely done
and after all how many poems ARE important?
He owes me everything he knows about modern
poetry, and I have accepted it.

Abel is 19 -- yes!

last night someone took me to dinner and to
Beatrice Lillie after and after getting
soused after I am just a little afraid I
was TREmendously brilliant at the Round Table
after (and today I have to type. . . . .

finally a check from Post DID come and I
think they've cheated me -- I'll have to get
a ruler and measure my space AND

miss prissy at Forum found so many faults
with my review she doesn't want it maybe;
I found she was prejudiced against munson for K
one thing and her letter showed me she is an
utter fool -- the poetry she selects is
enough -- but I wrote her telling her just
WHERE SHE COULD sit down and pee, and that may
cow her maybe maybe

oh. . . oh

and, winter's coming BUT the poem I sent
janus -- got address from H. H. thanks --
is I don't know how miracles come ---- when
one is really amazed at oneself I suppose one
can judge that way for the best one has done

when WILL you write and tellme anything?

Oct 5, 1929

Pet......

I think my letter to you last night must have been
rather "pale blue", as a friend of mine says of me, which is mostly
a mistake on his part.......... so I'll try to make this one more
promethean..... (don't you think the dots give the illusion of
space?) one really important thing happened to me yesterday and
that was that I saw "Jealousy" with Jeanne Eagels (who is now
dead, you know) and WITH Fredric March, who is indubitably a man
and indubitably beautiful so that I am quite in love with him and
I am just thinking isn't THERE a way I could meet him.........
well, the fact of the matter is that I think I shall take up
my discarded play ---left around at henry harrison's god help it,
and REwrite it - and why couldn't he play in it if I change the
hero's hair from blonde to dark???? The dialogue in Jealousy is
excellent and ive been told and do think that i write excellent
dialogue only the construction of the play needs to be more
authentic..... I could be enthusiastic and it would mean some
WORK when i arise so pale blue in the mornings with nothing to do
but wonder why editors are so slow on coming to decisions and
eat a sandwich for lunch and maybe write you.... And... ohoh....
my poetry can rest, I'll wait for the WOOOORLD to discover me now:
a:fter all, poems like DREAM OF THE EROTIC, ...KINGDOM OF THE ROSE
...one left of, and my new one POEM TO F. M, and maybe my
latest: AUTOBIOGRAPHY --- aren't written every day, no not every
day, not at all:::OMIGOD

I didn't tell you that I dreamtt
of you and Columbus and oh the natives were profoundly shocked
when I walked BAREFOOTED in the streets that's all barefooted and
you had BLACK hair now isn't that strange? now COULD Freud do any-
thing for meX in a case like that? yes Laura Benet is the seamstress
and that makes me think that she has something in coming sunday's
BOOKS and when IS your thing appearing init? Now I think it would
be a good idea if you had a department on the cinema, handled by ME,
no other....... the cinema is in grave danger of being dialogued
oh I see XX I have red on this typewriter ribbon don't you think
it would be a welcome change (or do you?) no, darling I'm not for-
getting our enemies, so that it's only appropriate I should write
of them in red, although I omit siegel since he has become an ardent
admirer of my prose, having us suddenly discovered it, although I
still of course think he's no poet but simply one of those appall-
ingly sincere lovers of literature and ideas but I&m remembering
vogel and spector and macleod is more than you think and the forum
from whom i haven't heard and it looks as though after writing
soskin a rather curt letter questioning why he had run my reviews of
paltry novels and omitted one on book of esthetics his silence is
significant now I dare you sees doubledare you to run an essay
AGAINST VIRTUITY which I shall write and take these soapbox promethe
uses off the curb of 14th st. HEII their revolt is far more social
than literary they're interested in social ideas not literary ones
and of course they have not failed to notice the fact that when not

heeded when speaking X in a normal voice, a loud voice considerably
increases their audience, that's particularly true of America, of
course, and particularly true of audiences which customarily hang
around streetcorners. . . don't think that just because I seem to
be breaking into the commercial market I'm inliened to this tack
I still despise the sort of thing pub. by Sun and Books -- as much
as I despise spector, macelod, partly vogel, 'rexroth', leesder,
mitchell: farrell, kemmerer, gregory partly, crosby, jolas (in
practise), herrmann seemingly, roskolenkier, not kty's technique
at its best but certainly her terrible passivity where REALITY is
concerned, and (for your own good, darling) your neglect of the
interior structure of a poem in your preoccupation with its sur-
face, stein's absolute human irrelevance, jenkins' disintegrative
laxity, lowenfels' impudence, warren taylor --- I TRUST I haven't
left anybody out? . . . . . . now honey I'm sure as time goes on y'u'll
come to agree with me at least more than you do now --- that is, 5
years will teach you a lot about PERSPECTIVE and accurate VALUATION
of course now you say who the hell cares about 5 years from now
conse uently about perspective! well BLUES is certainly timely but
that is no reason it shouldn't at the same time try to be a little
immortal . . . just a little . . . .

now DID you ever get such a nice big verbal pie from me? and now
i must away to mail a few letters and over to henry h's.... and
PLEASE exercise that impossible miss m from our correspondence
after all I have no real PROOF of her existence and enclose a
great big ( ) in your next letter......

no DON'T use farrel thing, such realism is ultimately worthless
anyway. AD for modern quarterly enclosed, hope it's in time.
I hope EVERYthing is now attended. Yes, I will go by Nosco's.
Monday. It's too late today.

Stuyvesant 5482

HOTEL MARLTON

Charlie Henri!

Now you know how mad I am.
---but how COULD you
start with "the reason this thing is so impor-
tant ..." when there is no antecedent for
"thing"??? Do you think I mean Ny and IF I
"do" it'll sound silly.....000000000

Boo!

Hoo......

midear I've been rejected with
both tact and excuses by lit. ws which is a
rather after all nasty way of taking $50 from
under anyone's nose for of course I shall not
submit anything more though he hopes something
else etc etc --- some people know never know
which end to use...that is, whether they f ---
or are being f ---ed....Do they?

by the way do you know THE
dirt:: the reason for the dial's dissolution
is that scofield thayer who HAS BEEN TREATED
for some years as CRIMINALLY INSANE at last
has completely capitulated? ,..., joe gould
told me.

i hear paul reeves is back
in nyc....p#%&% lease00000that is
we're reading on same program
tuesday at roundtable from which police have
at last departed

im so mad I'll not write more
than a page

(honey)

F. W. HATFIELD

Stuyvesant 5482

HOTEL MARLTON

Oct. 8, 1929

now news news

there is a new magazine: new world monthly; carl tacke, editor: pays for material: will have kenneth burke, syd salt other moderns, have -just sent him a couple of poems: address: 62 w. 37th st., n. y. c. first issue i think january -- it seems to be the "new year" for us moderns doesn't it?

tacke will talk monday after
me at salt's doall's house meetings, salt is
replacing siegel, whom the proprietress
thought too unpopular... salt is an interest-
ing man, i mean he really has something; he
is the most interesting contact i have formed
in new york aside from joe rocco whom i never
see nowadays; salt is less purely intellectual
than r. but he has a fresh mysticism that i
think is definitely valuable; it's truly
modern and yet is a reaction from joycian
satirism, negativism... he has vision, guts
so do you know i think it would be nice to
simply ask spector off c. e. board and ask
salt in his place, he would be far more help-
ful since the communistic bee is only a detri-
ment and it seems to be in mister s's bonnet
for good; transition is printing two sonnets
of salt's.

also

honey, was approached last eve
by big butter and egg man alias novelist in
the making alias ex-lecturer at stanford univ.
alias ex-poet alias SUCCESSFUL advertising man
saying advertising makes 3 and one half times
as much money as the newspaper business saying
i liked your poetry very much indeed won't you
come up to my office some day and have lunch
with me now I say baby
doesn't that look like a break for B-
LUES?

and
(my mother SAID, is he a bad man?) and

Oct. 11, 1929

Y E S

honey, I'm

mailing alhambra ad. today though I tore one
little side off opening it as my mother brought it to me
in bed but I've fixed it with clips -- it DOES look rather
confused, now do you know what I've written M/ Gold a letter
of which follows

a copy without original punctuation:

dear dear mr. gold ive never met you but ive heard you talk
and of course ive heard about and seen your articulate maga-
zine and admired yes really admired the arrangement of its
strong black lines now ive heard about only heard about a
letter which you were kind enough to print for mr. joseph
vogel, onetime contributing editor to blues - that isxthe
way i know of him and of course ive read some of his work and
while i know of much much better modern writing mr vogel as
of course free from the cheap fertilities of professional
lietature and shows some genuine talent... but really -
and i hope you will understand my opinion as expressing a
VIEWPOINT which it only fair for you to acknowledge since
the new masses is not the only magazine on earth - really he is
going a bit out of his way to, as i understand express his
dissatisfaction with certain literary manifestations which he
patently cannot understand mr vogel may understand a lot about
the masses and COMMUNISM whatnot (including communism) and a
lot about the PROPER USES of virility i certainly dont question
the right of vogel communism or a certain kind of virility
to exist but i do question his trespassing on artistic grounds
since i happen to be an artist thanks dear mr gold for your
attention and may you be as just as golden sincerely....

and as to that

what do you mean a paragraph from my letter -- don't tell me
you mean the spargrepg in red in reference to "our enemies" when
i mention everybody ? AND

how much of my notes are you using I hope you start with "greenwic
... and i hope you include woodstock stuff AND

just what poems are you using of mine?

haha i think most editorial taste in all parts of the world is
absolutely execrable including BOOKS and when i say most i mean
75 % omigod do you mean to say you are printing part mentioning
how i despise my work in sun and books? Peeleeleeze -- peleeze

did you ever see barto and mann on the stage if you did you would
never forget them they're w rth a year of anyone's life; comic
dancers and more than comic and little little less than bedroom
two - er - men

yaaaaas that's right

Hug:

Wnt. up to Hrlem. tnght.

# whom do you suppose tottered in but Miss Van Vechten, looking
as senescent as the pyramids and far far more alcoholic, coverrubic
as' caricature is truthful except his face has kindness; he did
nothing but stare at two goodlooking nigs he had with him and
feebly ask for something to be plyed that wasn't

for
it's amazing the flare off some negroes some vry dark too smart
attire of course not rly smart but for with their trim bodies
a certain cardboard silhouette... and o dear there was no smell
at all they must be very clean I wonder what keeps me from --
and some were really stunning looking

when I think of what
I have been through in Hrlem bt I think I told you

midear you must know that HH's wife Isobel S. (the tumbledown
Venus) kicked him in the blls and packed up that is after he
socked her back, called her a lazy slut, a damned WOMAN and
some other things: I was ther. and it put me in stitches: she
hadn't come across the night before HH says it takes 2 HOURS
for her to get the breakfast

It is now 5:24 a. m. and I am smewht slpy...

after ever

(toothsome) like chicken gumbo..,

sush thrilek as they both gave me

I mean
Lou and Lou

yes I do

... wrote Ben a dada letter, he'll think I'm crazy, now,
for surrrre there are so many frightfully depressing things
among them Helene Mullins Im so mad now because I did NOT
receive a letter from you today

but I can't stand this any
longer. . .

if 10 Helene Mullins' = 10 counts, why
don't 10 Parker Tyler's. . . . ?

did
you
ever
think
of
going
to
the
Wailing
Wall
disguised
like
Gaby
Deslys?

your letters come

now you see

how angelically I am stepping into my role and just
picking some good poems off a (walking) tree

don't you think so?

(really you know you ought to thank the gods that you
can exchange a poet for a person: Clairmont, Abel

)

I of course meant to add MacLeish to the no. 2 ranking
list I sent you, no I have not seen the Harper poem

ogod ogod I still ache for something and why not? I
know what it resembles but not what it is.

NO answer from transition all these months where are
their manners of are they proceeding on an ECONOMIC
social basis?

(O, Siegel announced to an audience that
he was in BLUES for social reasons I
suppose to please KY what nerve you
know that foursome Gildea Boggs Clairmont
Siegel are really nuts)) why don't you
drop them they add nothing at all to
BLUES' prestige
in fact

if anything they do harm

as I wrote asking Flores if he paid anything and for
a definite decision he would eventually print poem and
got no answer I wrote asking for poem back but that
IF he paid, sometime I might MIGHT contribute something
he writing back to say he was very sorry <u>maybe</u> was the
poem <u>that he hoped</u> which was "excellent" that he hoped
sometime to publish poems of mine anyway and that he
wanted permission to include poems of mine in an anthol-
ogy of contemporary poets he is preparing for spanish
publisher BUT NOTHING ABOUT PAYMENT which I suppose is
latin technique, suavity?

I am giving things away only to BLUES as I told Henry
Harrison tell him to shove his offer up his. . . .

the lowdown on Clairmont, Siegel etc. is pure compensation
they claim to be too haughty to appear before a relatively
select magazine audience but they perfectly willing TO
CAVORT BEFORE A BUNCH OF NITWITS IN VILLAGE TEAROOMS (
and why? WHISPER: because the response is instantaneous,...
Siegel's most fervent admirers are brooklyn high school
students - no kidding

P.

P. S.

O I've just heard the most scandalous news and what do you think it is but that Carleton Talbott, whose book of trumpery but clever verse H. Liveright has just published, has written a series of 12 poems to me and will issue them privately under the title, NYMPH IN PANTALOONS, with the dedication "To Parker Tyle". I knew nothing of it until H. Harrison told me. He said the first poem is called APPROACH and the last, GODSPEED -- I asked, Where are the other ten, because nothing happened in between. . . T. looks like some medieval lecher. The book is a rather interesting idea; the poor man must have stretched his talents to the utter-most.

I've written to Ben for his malicious behavior in announcing the exact number of subscribers BLUES has. Not that it actually means anything, either the fact or the broadcasting, but B. gets away with too much under the cloak of complete f fiendliness to us.

kiddo heyhey o jeSUS the scurreaming night i spent last not that
i was drunk dearie but the a la mode bitches i was out with
they were sensation my dear youve never seen BRILLIANCE till
youve seen these or those LIKE them: my dear their "lines" are
just insurmountable, i just listened AND learned whew MARYYY
i just held tight to my powder puff and laughed. . . you must
meet them must meet them. . . MUST(bird-notes)
meet them. . . .honestly they're the queens of humor are the
best bitches imean the best BITches are the QUEENS of U-more
(soprano on the last line my dear) the bed of humor they scream
in my dear is about the richest roundest and rarest i know of
for just palay-in merriment. . . . (o sweet tight boy being in
columb. miss. they are the first madness of the age beside that
which exists between an arctic bird's tongue and its beak)

an emotional explosion my dear that is of the highest importance
as behavior being perfectly true and accurate as we live mathematically: as: on: the subway: (well, dearie (through the subway
window) we'll see you in the pool room) homo behavior of the
common type is just the NORMAL instinct for extraversion thwarted

'tis a gay mad bright shallow surfacey world with the depths of
nerve-release this illicit but present queendom of the bitches
!!!

well, I dont say i do and i dont say i DONT, but if the furcoat
had fit me -- he would have had a DIFFerent answer! !

as for my lovelife -- o my dear -- I'm scurreaming till I die!

in my next letter ill give youall the dirt about miss jesus in
the recent passion-play (pah-lay)

F. W. HATFIELD

Stuyvesant 5482

HOTEL MARLTON

3

officially out of their class.

As a poet I have made professional errors -
many - many - I have sent out so-so poems, even
to the DIAL.

I write in you Chas. I write in you. I do hang
on to personal looks. Oh, I have a terrible time
with the arch of my brows, but I am certain
of always being slender and graceful (O god how
graceful) and looking like a poet and making
people say: "Doesn't he look lovely? - so like
a poet" -- "a very sensitive face - the length
from the . . . "

There is that, O god there is that.

And you?

You adorable little book with gilt edges and
somewhere pink ribbons.

F. W. HATFIELD

Stuyvesant 5482

HOTEL MARLTON

oct. 7, 1929

nowwhat do you think, puddn, but that I have
finished THE FIRST ACT of the rewritten version
of my play: Artists and Lovers, and there is all
the difference as between a Rolls Royce and a
Chevrolet in Peggy Joyce's eyes -- one of them
just can't be imagined.... Fredric March would
be perfectly lovely as Arthur Craig, the painter.

you couldn't be in a penurious state since you
say you've just bought a M" lovely new Corona
portable"...I do like the type...better than any
I know...(my payment, $15 for typing that play,
was dreadfully eaten into since in the midst
of typing it I broke that string underneath in
the back and it costs $5.00 to have it fixed,
and the typewriter on which I am working costs
$3.00 per week rental -- that's sorter orter
orful, isn't it?)...and then the cost of stamps
and stationery...I barely have enough leftto
douse the world occasionally with more than
grape juice...

wrote little william sawyer (i am only seventeen
myself, he says)!! an almost threatening letter
asking just WHO are the judges in his contest,
that, fifty dollars looks pretty good to me...
he replied saying %sweetly% "i am the sole judge"
and hinted that my poems would be given privileged
consideration -- which altogether made me WEEEET...
but i feel sorry for him when he first glimpses
that hooked nose and those starved cheeks (yaah,
starved)...

is he cutelooking, do you know? I can just imagine
what he's doing -- or rather refrains from doing,
in that "boys' dormitory" -- Please!

now IF you have sent the copy away and have NOT
excluded the entire first section in my notes,
do WIRE them to take it out:.. do you mean to
say that INCLUDING my notes, I have only three

and a half pages? How come? You mean you
didn't use those two "poems of renunciation"?
If so, I don't particularly mind. I'm not so
fond of them, though they are in my book --
you could have used FLOWERS AS IF BACCHUS
with definite profit to BLUES. I think -- it
must be at least BACCHIC because Gildea than
whom there is none more so in the village said
"how did you do it? -- I've been trying xxxxxx
to write a poem on this subject for years"...

i didn't see vogel's letter -- just what COULD
he have had to say? As a matter of etiquette
spector's name ought to go on as c. e., though
intrinsically he doesn't deserve such good
treatment.

sent you new ad. and stamps, please note. after
all, i don't know if you get all my letters.

will be busy this week talking in symposia,
reciting at two or three places and giving a
special talk on Doll's House: ON PROSE AND
POETRY, Their Past Difference and Their Modern
Trend of Blending -- the invention of this
subject being Mr. Syd Salt's, to TRANSITION-
(did he ever send you anything) who is special
chairman in several meetings of enlightenment to
the cellar, attic and otherwise dwellers.

oh well the afternoon sun is bronze and reminds
me of daddy browning. . . ta ta

Parker

June 18, 1929.

Fondling,

I think I forgot to tell you one or two things in
my last and anyway your letter is so cute, lotus bud
of the Mississippi. . . I wanted to say that I sent
a sensational poem called JESUS APHRODITUS to N.
Macleod for Brogan with the words affixed that I
should like to see Brogan make a splash. . . By god,
I'm going to capitalize on this thing: there MUST be
a future for our sort of stuff in America: the masses
simply need education. But first they have to be hood-
winked. If I only do get a voice in the big magazines.
Did I mention my article, A MODERN DILEMMA: POET AND READER?
First try, Forum. . . They like me up there.

ARE there 300 readers for BLUES in America? God knows.

By the way, I do NOT <u>bead</u> -- how ridiculous! Ben ought
to go to a monastery.

Beigg in BLUES has almost turned Anton's head. I showed
BLUES to Rocco also, and he neither can see Rexroth, Leader,
et al. He is amazed, though, at the way you have put Blues X
across.

I must remind you that coordination in alternate correspondence
is a formula to which I have not strictly adhered, as this
letter proves.

Don't you think the book stores had better keep May Blues
for a while? Anyway I should beg forgiveness for having
lent one to an artist who packed it away to the country.

I wish you could come to N. Y. as early as July 20th, as
that is the date now set for my parents' departure for
Chicago. Is the first quarterly BLUES to be out Sept. 1st?

I simply can't get the hero of <u>the first day</u> off my mind.
I SHALL telephone! . .

I am afraid that poem is far more decorative than significant.
I've sent some things to PAGANY, with the stipulation that
it is going to print worthwhile stuff.

Your own

New York City.

Feb. --- 1929.

My dear and only Charles yes,

I feel as though I _ought_ to write you, that is why. . .
I'm very much annoyed at present because I can't find
the button to go on my overcoat, I expected to find.
I thought to say this was important, but it is no more
important than the myth of Saturday night, which impor-
tance, but it is only ten-thirty and I have to appear with
my overcoat.

So Ezra Pound has seen BLUES? I am curious about his
arithmetic; what purpose - BLUES + THE EXILE is achieved
anyway?

I see BROGAN stationery with even bigger letters than
BLUES' cover. Has Macleod a complex phallic? He seemed
very carefully to leave out all the a's and the's in a
preface to the last PALO VERDE.

As to two new little poems of mine, I sent them to Chicago
in a last attempt to palliate dogma in petticoats, titling
the two: Messages from Mars. I should be sure of a little
money and a wider public. You know, by thirty I shall
be either insane or the Literary Dictator. (You may quote
this per NOTES as my statement in the Next BLUES if you
choose.)

We derive in our infancy, Charles, but no longer. I have
written derivative poems but I have carefully concealed
them. John Rose Gildea said he didn't like anything in
BLUES but my sonnet. Did you ask him for anything? Are
you going to have anything in next BLUES?

And, Charles dear, I am not discreet, but sorry.

I go into - er - would you say space?

Feb. 25, 1929.

I suppose Douglas Brown?

My dear Charles,

Your letter in which you call me "darling" received,
but

Well, I have become a playwright. In my portfolio
there is an envelope marked: ARTISTS AND LOVERS A
PLAY IN THREE ACTS BY PARKER TYLER COMPLETED. It
looks OK to me and I think has a swell chance of
production. Written in conventional style and not
profound, but slickly theatrical without being in
any degree stupid. Perhaps it will get me the kind
of clothes I want to wear.

Ben writes me there is a notable piece in the Salt
Lake City Telegram; it considers my "very modernistic
sonnet" in Contemporary Verse unworthy even of
"inclusion". Can it be that news of depravity and its
indubitable charm hasn't spread that far? On the
other hand, it quotes as illustrious, Isobel S.'s
poem -- line 4 and line 8 manufactured by me! In other
words, the two most important lines in the poem.

Other sad news: J. N. N., who has taken over temporarily H. M.'s camisole on Chicago POETRY writes me concerning enclosed: "If poetry is music, these aren't poetry." I might have replied: "You'd think they are music, dearie, if you could hear me recite them." But why spend 2 cts. in pride? If you should want to use them, make their acceptance provisional, will you, as I am pretty certain I included one or both in the batch I sent to the American Caravan, which will not report on them for some time yet.

BLUES 2 seems to portend more interest than BLUES 1.

Love becomes a dubious business when it comes to modes,
so I can scarcely offer a definite opinion without committing
myself, perhaps heinously; but I should say that your
phrase "IS seduced" must be significant.

But what makes you think of vamping B?. . . .

I think I wouldn't mind meeting you.

CHRONIQUE TO BE READ BY GOD IF THERE'S ANY COAL FOR THE GRATE

I don't know where a letter is which I composed to you, could I have sent it?

youreeee pistol arrived - inel steins business (no sexual
ref intended) inel photoclipping (no sexual ref intended but oh
but oh) and Tourobe how could you w?ith Barney in america - inel
your poem which is i rather like it

my philosophy is almost up; set

to begin with barney does not equal zero and oh the it oh in my heart

he does equal (which is to establish an external equilibrium) a careful
modest young male, who goes to wurk

o careful modest young male who glumph goes to wurk what do you
think of me? that is who rolled the stone away during the night
well it was at night but it wasnt in the bedroom or the parlor it
was in the bathroom and what of that?

nothing, that is after nothing something is bound to begin; for
instance, heartbeats and that which grows inwardly: memory and
that which fills the room with briers but no rose: anticipation

(tonight, tongith?)

i found that something wasthe matter and it was that i neededa
gray and purple lounging robe trimmed with deep violet, which i
bought

00

barney is well thank you

no the kids arent ailing

things are a bit better this month

barney koves meshitpiss i cant help it mister i cant help it mister
i was BORN that way

closing with love

from your daughter

(O oh) Agnes

dont close your eyes:

Karle Ityr,
New York City.

ALL IN IRON

This is all in iron because it was bitter, and its edges seem
to stay.

It started in a Harlem dive with the young man and the boy.
The young man was built like a clever advertisement: you didn't
bother about the conceptual interior - the rest was palpable and
so it was to the boy; especially, of course or at least naturally,
the face: a construction of ingratiating planes, spelling HUMAN and
spelling MALE and emanating YOUNG and advertising GOOD-LOOKING. The
body was strong and symmetrical, made subtle by breezy clothes.

He reeled about in a vivid brown suit. The boy's first notice
of him was his being seated by a table and talking confidentially
to another man. The boy then saw something he could want badly,
differently from the other tepid wants which he had already that
night pushed away; for he was alone at his table.

He had been compelled from vacancy to notice the bizarre degene-
rate figures that went past his table, and the behavior of the negroes,
in whom he had a scientific curiosity. Something now leaped in him,
forming his heart into a question-mark. He tried to observe the
young man unobtrusively. The latter finally arose and joined
several men at the bar. They were all very drunk; they clamored for more drinks.

The boy considered that he would attract their attention easily
by getting up and moving to the bar - the young man would accidentally

page 3 - ALL IN IRON

with two men in a hotel; the fact was bitter, but he was really
afraid, now.

"I'll see you around Times Square or at the Sun Cafeteria,"
the young man said, "if you ain't comin' with us"; and the boy was
grateful for the signal release. But the physical hard lines and
the hard speech and the compelling hard appeal of the young man
stayed with him, after he left the place; when the young man smiled,
the vulgar lines of his mouth and jaw shouted AMERICA. . . ah! . . .
The young man was slender and taut.

So the boy kept the young man inside him; he was a new thought,
a new emotion, which, on discovering, he had been compelled to
keep continually with him; the want of whom he felt with a permanent
hard desire.

And he frequented the Times Square district. When he met the
young man in the Sun Cafeteria, a few days later, the latter was
sober, remembered him at once, and indeed seemed very much pleased
to see him.

The young man and his Jewish friend, in common with others some
of whom lacked homes to go to or beds to sleep in, frequently stayed
up almost all night around the Sun. The young man did not work;
there was no explanation of his livelihood; but the boy did not
hesitate to accept him for himself, revealed. It developed that
he was always in need of money; and when he could spare it, the
boy gave him trivial amounts.

The boy sat around with the crowd, risking bad loss of sleep
which might tell on him during working hours, always sitting next
to the young man and deliberately showing him the desire in his eyes.

page 4 - ALL IN IRON

One night, it was windy cold, and all lacked overcoats but the boy, the crowd decided to break up. At least, a good many left the Sun, and as the young man had suggested to the boy that he go with him and his friend to the hotel, the boy accompanied them; but walking along the 3 A. M. street - deserted Broadway -, the wind catching them now and then, the boy again decided, "No!": he was afraid. He saw the young man and his friend, then, because they wished to escape the cold bites of wind, beat it ahead of him; he noticed the young man's exceptionally trim figure, trousers wrinkled by the wind, and how sexual his XIXth was - right down to the ground it was sexual. . . .

So the boy's sleepings were restless, and a worm gnawed his vitals with his heart on top of them like an imbecile's head saying, "But how, how is it to be done?" Then he invited the young man down to his room to spend the night with him, but he refused. He intimated that there ought to be a particular inducement. How cruel for fate to behave like this, the boy thought... Before, the young man had been only too willing.

Then one evening, the boy succeeded in persuading him to come down to his room, which was in Greenwich Village. When they ascended from the subway at Sheridan Square, the young man noticed a spattering of people in front of a cafeteria across the street.

"What's that?" he asked with interest. "Is it the hangout down here?"

"Yes," replied the boy, alarmed.

"Are there any good-looking dames in there?" the young man asked.

"Oh, I suppose there are. Do you want to go in and have a cup of coffee?" It was cold; the young man deserved coffee, at least.

They crossed and entered the place.

page 5 - ALL IN IRON

"That blonde up there is a peach," said the young man, as they got their coffee at the counter in the rear. The boy knew that he referred to the place's chief ornament, the girl who had fallen quietly in love with the boy himself, from beneath her big heavily fringed eyelashes, shielding big blue eyes, from behind her knowing small curling red mouth, and her self-protectiveness. She was an unusual specimen, like most of the place's exhibits; very pretty, . . . plenty of make-up. . . face like a doll, including the flat profile.

The boy felt very uneasy now. They carried their coffee to a table. The boy had just admitted that he knew her.

"If you know her," the young man said, "get her to come up to the room. . . Go ahead. . . The three of us."

"But - I said the boy.

"That's all right," protested the young man, with a placating gesture. "I know what you want - you'll get it; but I know what I want. . ."

Yet the boy's diffidence and sensitivity kept him in his chair; he did not know if the girl would come, since he had not given himself the right to ask any favors from her.

"Go on," the other insisted, "if you want me to go up there, I'm telling you!"

"Will you. . . ?" the boy asked, his heart beating wildly.

"Yes, of course; I'll do that, too."

The boy arose, fetched the girl and presented her to the young man.

"Do you want to come upto my room with us?" he insinuated into the exchange, a moment later.

page 7 - ALL IN IRON

least fifteen minutes, will you?

"Oh!" Her tone was perfectly sympathetic; yet all he could give was the tender acquiescence in her eyes, as he turned to go back, was a wan smile.

When she returned, she found them lying in bed, both nude. She wore merely her chemise.

"Get in," the boy enjoined. She obeyed. It was a very tight squeeze in the bed, with the girl lying on the outside and the young man lying in the middle. Everyone giggled.

Then the young man threw an arm across the girl's breast. The boy could hear them kissing, then tussling to adjust themselves in the uncomfortable quarters.

The boy lay perfectly still and silent - listening but otherwise inert. . . His part was done.

That prick Rocco hasn't been around. He left his old place.

Yrs for universal castration, as I toasted the other night,

P. S. However, I am reminded of the fact that my father plans to go to Chicago as a guest manager for that city's branch of his company and to take my mother, SO THAT for a month I shall have a three room apartment to myself. I would love to have you as my guest -- could you get up by June 15, which is the LATEST I think my father will leave?

I feel worse this morning with a cold that has lingered for
over a week. Do send me some cheer.

... I sent an intriguing note to THE PHOENICIAN of the Saturday Review, which may induce him to notice BLUES. Will you send him a copy of May BLUES?

HENRY HARRISON
PUBLISHER

19 STUYVESANT STREET
NEW YORK, NEW YORK

2.

Would you like me to rake up something for you? I think
I can persuade a genuine poet to part with some things -- or
thing. He has the power, or I am a lallapaloosa. M. Moore
of the Dial practically took a long poem of his, to plead
several weeks later that there had been editorial dissension
about it and she was compelled to return it. He is only
24, but at Eliot's age he will be worth Eliot and Pound
together, if he does not find the fascination of the Edge
too great. Gremin Zorm once printed a poem of his, and had
the ignorant effrontery to butcher two lines in it. His name
is Joseph Rocco.

I am so surfeited with stupidity tonight, my stomach is
affected, what with Harrison's wife taxing me to fix up her
damned ninety poems. . . . . .

Hysterically,

Incidentally, I do what I can for God's work, but I have
to permit her to recognize them. She's always urging me to
send something to you, God help the mail carrier; so don't
be surprised. Forgive my innocent part. My only excuse is that
I'm paid something for it.

THE GRUB STREET BOOK OF VERSE, edited by Henry Harrison, $2.

PENNY SHOW, by Mary Carolyn Davies, illustrated by Herbert E. Fouts, $2.

DAWN STARS, by Lucia Trent, $1.50.

THE GREENWICH VILLAGE BLUES, by Clement Wood $1.50.

TOUCH AND GO, by Ralph Cheyney, illustrated by Herbert E.
Fouts, $1.50.

THE SACCO-VANZETTI ANTHOLOGY OF VERSE, edited by Henry
Harrison, 25c.

ROMANCE LIKE THIS, by Goldie Becker, $1.50.

THE CURTAIN RISES, on 4 one act plays, by Benson Inge and Charles
Chupet, $1.25.

SHADES OF BLUE, by Isidora Newman, illustrated by Herbert E. Fouts, $2.

UNTAMED, by Benjamin Musser, $1.50.

BEHIND THE MASK, by Rosa Zagnoni Marinoni, $1.50.

HEDGES, HILLS AND HORIZONS, by Carl John Bostelmann, $1.50.

INFUNITIVE AND OTHER MOODS, by Henry Harrison, $2.

HENRY HARRISON
PUBLISHER

Dec. 29, 1928.

Dear Mr. Fordx,

I am sending by concurrent mail a registered package containing
my picture -- someone did an impromptu sketch of me the other
day; it isn't very polished, but everyone says it is good, so
I decided to send it since you asked for one, instead of sending
you some bad snapshots taken recently. It was even done, as you
see, on this paper, but since your gallery is "rogues", perhaps
the note is not out of key.

I met Herman Spector the other night for the first time. I might
say, a boy with some sparkle. I said, the trouble with fellows
like you is that you confuse poetry with other things, and he said,
what?, and I said, well, humanism; we carried the argument up to
an apartment. During the course of it, while I insisted upon esthetics,
and I am afraid he got pretty muddled, he said --and that's why you're
a lousy poet. I didn't know what he meant, and I guess he said it
for art's sake, for he had to become sensible when he saw my poetry,
and spontaneously shake hands with me as he came to the last line
of the octet of the sonnet you took. I like him and I think he will
learn some things.

Did you receive my letter telling of my visit to Ben Musser?
I suppose you're busy but I've been expecting to hear from you with
news of BLUES.

Very sincerely,

HEDGES, HILLS AND HORIZONS, by Carl John Bostelman, $3.50.

HENRY HARRISON

PUBLISHER

19 STUYVESANT STREET
NEW YORK. NEW YORK

Dec. 20, 1928.

Dear Mr. Ford,

I thought you would welcome the news of the publicity
I have been able to give BLUES here. At a couple of recitals
I announced that some of the following poems were to appear in
a new magazine, BLUES; at one I went further and stated the
aims of BLUES, saying that it would try to combat the hand of
the clique in poetry magazines and conservatism in the commer-
cial magazines--- I believe I said "poetic ignorance" in the
latter XXXXX direction. I also mentioned BLUES in my radio recital.

If you want me to help out in reviewing, I shall be glad to
do so; and I suppose I scarcely need remind you XX not to
send me any nincompoopish verse, because you may be brave and
exclude the vacuous, whatever its friendly intentions.

I enjoyed last weekend with two of your correspondence-XXXXXXXX
friends, Ben Musser and Marco Carson. Marco Carson is, a, very,
nice, boy (new technique). I stayed with Ben in Atlantic City,
and he and Marco, I hope, will be in New York early in January.

I hope things are going smoothly with BLUES. Are you certain
of the exact date of its appearance?

P. S. So you imagined I was
Henry Harrison in disguise --
that is almost unforgivable.
But you also seem to be, very,
nice, from your picture, so I
suppose I must forgive you.

HENRY HARRISON
PUBLISHER

2.

absurd it would be to add just another to the already redundant
sum of poetry magazines in existence. Moreover, if your magazine
is not definitely different and definitely better, you can never
hope to continue by making money or gaining a reputation for it.
You seem to want to aim high -- yes, aim high, or not at all.

I hope you do not find my comments in the least offensive -- they
are meant in the friendliest of spirits: just a reminder to one
who is so very enthusiastic that he might lose sight of a necessary
proportion, that inevitable defeat lies in a lax standard, hankering
after the return pat. . .

I do hope, finally, that you recognize in my poems the qualities
I see in them, and that hereafter I may consider "Blues" as a
dependable platform for my best work.

Our mutual friend, Ben Musser, wants one of the sonnets I sent
you through Miss Young, for the Sex number of Contemporary Verse;
so I must withdraw that.

With my most sincere good wishes, and hoping you will write me,
I am,

BEHIND THE MASK, by Rosa Zagnoni Marmoni, $1.50.