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Volume 25, Issue 3 (1995) Fall

Front Matter

Contents

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A Dialogue concerning the Nose p. 1-1
Raymond Federman

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Empties p. 2-3
Rochelle Nameroff

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Swamp Cooler p. 4-4
Rochelle Nameroff

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Meditation at Chez Panisse p. 5-5
Rochelle Nameroff

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Decoys p. 7-22
Marianne Boruch

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California p. 23-46
Robley Wilson

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U Sam Oeur p. 47-49
Ken McCullough

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Bung Kriel (The Lake Where Cranes Mate) p. 49-50
U. Sam Oeur and Ken McCullough

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Oath of Allegiance (1952): Motivation; Pronouncement p. 50-52
U. Sam Oeur and Ken McCullough

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The Loss of My Twins p. 52-53
U. Sam Oeur and Ken McCullough

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The Moaning Nature of Cambodia p. 56-57
U. Sam Oeur and Ken McCullough

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An Anti-Story from Croatia p. 58-63
Josip Novakovich

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Gertrude to Hamlet p. 79-79
Lee Upton

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Hysteresis p. 80-81
George Kalamaras

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Untitled p. 82-82
Annie Reniers, Adam J. Sorkin, and Eugène Van Itterbeek

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Trying Not to Be Cynical p. 83-84
Stephen Dobyns

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Lady Chatterley's Root Canal p. 85-95
Susan Dodd

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My Neighbour, Itzig p. 96-96
Dannie Abse

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Raise High the Glass p. 97-97
Dannie Abse

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Savant of Birdcalls p. 102-102
Eric Pankey

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Betraying the Muse p. 103-104
Eric Pankey

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The Invisible Hand p. 105-116
Leslie Pietrzyk

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The Drunk p. 117-121
Lucia Nevai

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Chanson p. 127-127
Alicia Ostriker

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Migrant p. 128-128
Alicia Ostriker

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Going Public p. 129-129
Zona Teti

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Living p. 130-130
William Logan

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Dharma in Santa Monica p. 131-132
William Logan

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Adolescence p. 133-136
Sydney Lea

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Morning after My Death p. 154-154
Peter Cooley

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Perpetuum Mobile p. 155-157
Carol J. Pierman

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Dreaming against a Backdrop p. 158-159
Jesse Lee Kercheval

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Eulene's "Noche Oscura" p. 160-161
Carolyne Wright

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On Criticism as Value-Judgement p. 162-165
P. N. Furbank

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Insulting the National Vanity p. 166-167
Thomas E. Kennedy

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Transcendental Bouquet p. 168-171
Richard Holinger

Back Matter

About the Cover Image

Our third cover featuring the work of Leola Bergmann is an intaglio color print, 10" x 15", called "World's End." We'll let it signal, instead, the end of our year. This work began as a formal problem in which the artist tried to work simultaneously with vertically rectangular and with spherical shapes. This led at length to a sense of landscape on which the human figures were the last to arrive. These are stenciled figures, and Ms. Bergmann says their appearance resolved her formal problem. Ms. Bergmann earned a BA in English from St. Olaf College, 1937, and an MA, 1939, and PhD in American Civilization from The University of Iowa in 1942. She is the author of Music Master of the Middle West, University of Minnesota Press, 1944; The Negro in Iowa, Iowa State Historical Society, 1948; Americans from Norway, J. B. Lippincott, 1950; and numerous articles and reviews. From 1964 to 1969, she studied printmaking at Iowa with Mauricio Lasansky, Keith Achepol, and Virginia Myers. Her prints are in numerous private and public collections in this country and abroad. A retrospective of three decades of printmaking was shown in an Iowa City gallery in October, 1994. Her late husband, Gustav Bergmann, was professor of philosophy at The University of Iowa. He lettered the line from Rilke that Ms. Bergmann worked into her print.

Editors

Editor
David Hamilton
Associate Editor
Mary Hussmann
Assistant Editors
Rebecca Childers
Creston Lea
Laura Wilder
Designer
Kay Amert
Editorial Assistants
Marilyn Abildskov
Lisa Chen
Kate Northrup
Diane Perry
Mark Rahe
Rebecca Soglin
Greg Spatz
Mike Taeckens
Michael Theune
Ruth Tobias
James Tweedie
Advisory Board
David Baldus
Frank Conroy
Charles Kremenak
Judy Polumbaum
Leslie Simms
Thomas Walz