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1. Poems. 1187 items. (Boxes 1-11)
The poems comprise the largest group of the literary manuscripts of JGF's published and unpublished works.The catalog of the poems is an alphabetical list by title or, if no title, by first line. It includes, in addition to the single or individual poems, those that appear in three loose-leaf collections and nine notebooks, and on microfilm. In a few cases (18), the microfilm copy is the only one in the collection. Many cross-references and notes have been added to the entries. The catalog serves as an index to the poems in Boxes 1- 39 and on Film 474, Reels 1-5. The manuscripts and typescripts of poems are arranged as follows:
1. Individual poems.
2. Collections and notebooks
3. Long narrative poems
4. Miscellany: title pages, half-title pages, contents of projected
collections, unidentified pages of poems, and prose notes on poems
2. Published prose books. 15 items. (Boxes 12-15)
1. Arkansas. Manuscript version.
2. Arkansas. Outlines and notes.
3. Arkansas. Carbon copy of an early typescript,
with corrections and additions in ink.
4. Arkansas. Chapter 1. Typescript. With title page, dedication.
5. Arkansas. Chapter 1. Handwritten draft, with title
page and dedication.
6. Copy of a report on Arkansas: Razorback State, by John
Gould Fletcher.
7. John Smith--also Pocahontas. Introduction, background,
and source material on John Smith.
8. John Smith, Man of Adventure. Earlier version of John Smith--also
Pocahontas. Chapters I- VII. Written in four notebooks,
with occasional additions made on the verso of a leaf.
9. John Smith, Man of Adventure. Another draft. Typescript.
10. Life Is My Song. Portions of an early draft.
11. Unfinished symphony. First draft of Life Is My Song.
Manuscript notebook.
12. Life is My Song. Further draft, pages torn from a
notebook.
13. Life Is My Song. First draft.
14. The Two Frontiers. Typescript, incomplete.
15. Notes on the two frontiers. Numbered note cards headed America
and Russia.
3. Translations. 2 items, manuscript. (Box 16)
1. The dance over fire and water, by Elie Faure. Written
in two notebooks.
2. The reveries of a solitary by Jean-Jacques Rousseau, translation
with introduction. Written in three notebooks.
1. America and its island.
2. [Autobiography]. Fictionalized version. Two chapters, independently
paged.
3. The Little Giant. Fragment, written in a notebook.
4. Perspectives. Written in a notebook. Collection of 54
essays and an epilogue.
5. Poets of the South. [preliminary work on an anthology] Variously
paged, some manuscript, some typed.
6. Prometheus.
7. Santa Fe Trail. A novel. Other titles used in drafts and notes:
Wayman's Way and The Wheels Turn West.
8. Santa Fe Trail. Second draft. Typescript.
9. Santa Fe Trail. A novel based on the Diary of Susan McGoffin.
10. That American Island. Carbon copy of a typescript.
11. This Was England. Fragment.
12. The Wilderness Trail. Typescript
13. William Blake; his philosophic system. Fragment, written
in a notebook.
5. Essays. 244 items. (Boxes 20-25)
The essays were arranged in broad subject groups by CMF. They deal with a wide variety of subjects. Some were written as prefaces, others for magazine publication. Those searching for specific subject matter in the Essays may find additional material in the Lectures and lecture notes.
Essays on poetry and poets. Prefaces
1. I. Preface to Some Imagist Poets. Autograph note: This preface
was written by me for insertion into the 1917 Imagist Poets. It was rejected
by Amy Lowell, and one written by herself was substituted. Compare her
preface with this --written first. John Gould Fletcher.
2. II. Preface, dated August 1933.
3. III. Preface to "Symphonies." Dated June 1933
4. IV. Preface to "Burning Mountain." Dated July 4, 1943.
5. V. Preface to King's Country.
6. VI. _____ Final draft. Note: this concerns some techniques in the
use of word and structure in the writing of poetry; the aims of the poet,
including the aim of the author with respect to this collection.
7. VII. Notes to "Some Southwestern Poets." For "Symposium on Southwestern
Poets," New Republic, 1935.
8. Modern poetry, 1900-1923. Note: contains bibliography of French,
English, American, and German titles on modern poetry.
9. A note on polyphonic prose. See microfilm reel VIII,
44-54; 58-64.
10. Image and rhythm in poetry.
11. The crisis in vers-libre.
12. The development of vers libre. The glory and practice of vers-libre.
See microfilm Reel X, 33-39.
13. Poetry and the modern consciousness.
14. What has happened to American poetry since 1912?
15. The standard of the difficult.
16. Humanism and the gang-spirit in criticism.
17. The Orient and contemporary poetry.
18. ___ second draft. Note: this essay was published in The Asian
Legacy in American Life, edited by Arthur E. Christy, New York, Day,
1942.
19. The relationship of the arts to poetry.
20. Poetry and painting.
21. Prohibition and literature.
22. William Blake and the New Criticism.
23. William Blake.
24. William Blake. 11 p. Clipped from North American Review,
with ms notes by JGF.
25. Blake and Goya -- the two precursos [sic] of surrealism.
26. Was William Blake a Taoist?
27. Blake anagrams
28. John Keats
29. The poetry of Edward Thomas.
30. Emily Dickinson. Dated April 12, 1924.
31. Whitman and Dickinson: Two ways of looking at war poetry.
War poetry. See microfilm, Reel V, 105- 07.
32. Walt Whitman. 12 p. Clipped from North American Review.
33. Edgar Allan Poe. An introduction to "Muse."
34. Sidney Lanier.
35. Modern Southern Poets. Dated Christmas Day, 1934. Published in
Westminster Magazine, vol 23, pp. 229-251, 1935.
36. Eliot on Poetry.
37. Vachel Lindsay in London
38. Alice Corbin and Imagism
39. Introduction (John Russell McCartney.
40. _____Second draft. Photoduplicate. See microfilm Reel
VI, 133-141.
41. Philosophy of art.
42. The fine arts (particularly painting) today.
43. Science and art: Which leads to better understanding?
44. The function of creation. New York Evening Post, Sat. May
26, 1923. JGF
45. Christianity and the modern artist.
46. [notes about Communist art]
47. Art and Mr. Shaw.
48. [fragments]
49. The Scholastic theory of art.
50. _____ Second draft.
51. The way of Western art.
52. Manifesto for constructive idealism. Dated Jan. 10, 1932.
53. Essays on the values and forms of art. Chapter 1. First principles.
Chapter 2. The human application.
54. The Post -Impressionist movement. Chapter I. Definitions of paintings
examined.
55. Chapter II. Results of definitions examined.
56. Chapter III. The position of the artist
57. Chapter IV. Education.
58. [Notes on Gauguin and Van Gogh] notes taken from Brieven aan
zijn Broeder by Vincent Van Gogh. 1914. 3 vol.
59. Appendix to Book II, Gauguin's account of his life with Vincent
Van Gogh.
60. Gaugin [sic] biography. Notes for 4 chapters. CMF
61. Vincent Van Gogh.
62. Delacroix.
63. Mexican paintings by Leon Underwood.
64. Eric Gill.
65. Paul Nash.
66. Paul Nash: New Paintings.
67. Henry Moore.
68. Water Colors by Frances Hodgkins.
69. The wood cuts of Cecil Buller.
70. Cartoons for an athletic club by John J. A. Murphy.
71. Color woodcuts by Gustave Baumann.
72. Architecture and the future.
I. First principles
II. The human applications
III. Force and resistance
IV. Architecture and the other arts. With: note on architecture.
73. Frank Lloyd Wright. A portrait of an estimate. Dated February
16-21, 1950
74. East and West. Dated Aug. 1-4, 1927
75. ____second draft. Incomplete
76. ____third draft. With changes.
77. ____fourth draft.
78. Japanese and American relations. Lecture delivered at the Japanese
Relocation Center, Rohwer, Ark.
79. Apology of solitude. Manuscript for book of 12 essays.
I. That which is human. 2 copies. Dated Nov. 23, 1929. (Crossed
out)
80. II. Through time and space. 2 copies
81. III. Sex and solitude.
82. IV. From God to God. 2 copies
83. V. The role of life and the role of death. Two variations, typed
84. VI. Object and function. Two variations, typed. Dated Jan. 1, 1930.
85. VII. Art, religion, criticism. 2 typed copies.
86. VIII. Relationship of the arts to poetry.
87. IX. Image and rhythm in poetry.
88. X. Poetry and philosophy. Dated July 25, 1929 (crossed out)
89. XI. The problem of responsibility. Dated Jan. 16, 1930.
90. ____Second draft. Dated Jan. 19, 1930.
91. ____Third draft.
92. XII. Through the labyrinth of knowledge. Dated July 15, 1930.
93. The return of the solitary. Dated Jan. 19, 1930
94. Art and life.
95. Art and life, II.
a. Art on life
b. Art and conscience
c. Art and conflict
d. The frontier of Europe
e. Poetry of prose?
96. The American mind and other essays. Title page dated 1920-1924.
a. Preface
b. The American mind
c. Dollar democracy
d. Religion and education
97. The essence of America
I. Appearance and reality.
II. The business goal.
III. Wanting
IV. Husbands and wives
V. Lawlessness
VI. Nihilism
98. The mission of America
99. The American way
100. Needed: A new American philosophy of life. [Summer 1937?]
101. New York versus American culture. 1935. Original title: American
culture today: an attempt at a diagnosis (crossed out)
102. Why do we travel? The point of view of an American living abroad.
103. Russia and America, a contrast.
104. The English ostrich.
105. Education for living. Typescript of an address at the Southwestern
conference on education, Nov. 16, 1935. Contains changes written in ink.
106. ____second draft. This revision appeared in University of Wisconsin,
Department of Extension Teaching, Sociology Course 1, Assignment 11.
107. Education
108. What do we read, and why?
109. Science and religion. Outline for lecture or essay
110. Culture and industrialism.
111. What shall we do with the motor-age?
112. The machine strikes a snag. An analysis of the world crisis in
industrialism. Dated August 12-13, 1930 (crossed out)
113. The battle for the universe.
114. Meditation on the zodiac.
115. A manifesto on structural realism. Dated January 4th, 1931
116. The northern and the southern schools. [Northern and Southern
civilizations. CMF]
117. The meaning of civilization.
118. The downfall of civilization. Incomplete
119. The rhythm of history
120. A league of nations. Unfinished.
121. European political situation.
122. America today. Not an apology or an attack, but a statement.
123. Outlook of modern youth.
124. ____second draft.
125. London at war --1914. Dated November-December, 1918.
126. Sex and the future of mankind.
127. The new man and the new woman. How the present generation faces
up to the marriage problem.
128. The failure of birth control.
129. Something about personality.
130. Why do we live?
131. The need for belief in rebirth.
132. Who is our neighbor? Dated Jan. 26-27, 1950
133. ____ Second draft. Revised February 19, 1950.
134. Are there today no great men?
135. Ideas. First draft for book: Post-impressionism.
136. Reflections of a madman.
137. An open letter from a southern white protestant to a negro.
138. Essays.
I. Life
II. Life and death
III. Man and woman.
IV. Art and science
V. God
VI. Immortality
VII. Religion
A. Catholicism
B. Protestantism
C. East and west
139. Play ball! [description of Indian and Mexican ball games compared
with games in the US. CMF]
140. Benito Juarez. Written in Spanish.
141. Labor's man of destiny. [James Ramsey Macdonald. CMF]
142. The most unforgettable character I ever met. Albert Bender.[ Written
at the request of Jacques Chambrun, literary agent for Reader's Digest.
Unpublished. CMF]
143. The most unforgettable character I ever met. Barbara Danvers.
[Written at the request of Jacques Chambrun, literary agent for Reader's
Digest. Unpublished. CMF]
144. The most unforgettable character I ever met. Jay Shelton. [Written
at the request of Jacques Chambrun, literary agent for Reader's Digest.
Unpublished. CMF]
145. Profit by My Experience. Don't Lose Touch with Your Country.[
Written at the request of Jacques Chambrun, literary agent for Reader's
Digest. Unpublished. CMF]
146. Profit by My Experience. Don't depend too much on modern machinery.
[Written at the request of Jacques Chambrun, literary agent for Reader's
Digest. Unpublished. CMF]
147. Regionalism.
148. Regionalism II. [Incomplete?]
149. The reasons for regionalism. A reply to left-wing critics.
150. Cultural aspects of regionalism.
151. I'll Take My Stand. Revised list of contributors and contents.
152. Folk-art and allegory. See microfilm Reel II, 81-85.
153. Folks play among the factories. [The National Folk Festival at
St. Louis, Mo., 1935. CMF]
154. [notes on] Drumming Out of the Army. In Civil War.
155. The Ozarks Folklore Society. With galley proof.
Hail and farewell. [c. 1935] About his correspondence with B.A.
Botkin, editor of Folk-Say, which Lewis Mumford describes to JGF as the
most significant cultural phenomenon in America at this time. See
microfilm Reel II, 77-80.
156. [Sketch of Mrs. Dusenberry and some of the folksongs she sang.]
Torn from a notebook.
157. The Ozark singer. Dated July 4, 1934. Mrs. Dusenberry.
158. ____Earlier draft. Titled: Introduction.
159. The Polk County Possum Club.
160. A symphony for Arkansas.
161. The building of a state symphony.
162. [Arkansas state symphony.] Two articles on concerts conducted
by William Hacker.
163. Notes on Lawrence Powell, founder of the Little Rock Symphony
Orchestra.
164. Statement concerning the public policy of the Museum of Fine Arts,
Little Rock, Arkansas.
165. The Little Rock Museum and its responsibility.
166. Murals for the State Capitol. With suggested list of subjects
for State Capitol decorations; program of the annual convention of the
Arkansas Historical Association, Fayetteville, May 16-17, 1947.
167. A proposed mural project for the Capitol of Arkansas. With program
of the annual convention of the Arkansas Historical Association, Magnolia,
April 8-9, 1949.
168. Arkansas Art Exhibit. May 1950. Heading: Bonds--Easter --Summer.
This is a plea for the support of an exhibit to be held in Little Rock
and then sent to Washington for the sesquicentennial at the Smithsonian
Institution. With list of Arkansas artists, cost estimate for exhibition.
169. Exhibition of young Arkansas artists.
170. The Arkansas art exhibit.
171. Application for paintings. P.W.A. project, 6th region.
Arkansas.
172. Culture in Arkansas.
173. The future of the Razorback State.(1) Dated Oct.26-Nov. 3, 1947.
174. The future of the Razorback state. (2)
175. East comes West in Arkansas. The Japanese Relocation Center at
Rohwer, Ark.
176. Oklahoma field notes. First draft.
177. _____ second draft. Dated November 1934.
I. Invocation. [poem]
II. Shawnee: Benediction School.
III. Shawnee oil field.
IV. Muskogee: teachers meeting.
V. Ponca City. Oil refining
VI. Osage county.
VII. Bus station Tulsa.
VIII. Oklahoma City.
IX. On the road beyond Oklahoma City.
X. Epilogue. [poem]
178. Salute to Kansas City
179. In the cotton country. Dated Sunday Aug. 4, Monday Aug. 5, 1935.
180. "Greenwich Village Gone Adobe" [A study of Santa Fe, Southwestern
metropolis of the arts. CMF]
181. A trip to Treasure Island. [1939. CMF]
182. Notes on the San Francisco International Exposition. [1939. CMF]
183. Report on Los Angeles. 1946. Incomplete
184. The MacDowell Colony -- its value.
185. Mexican journey. 1937
I. The tropics.
II. The posado.
III. Cuernavaca.
IV. The plateau and Teotihacan.
V. The Virgin of Guadeloupe.
VI. The Feast of the Purification.
VII. Carnival at Huejotzingo. Numbered VI.
VIII. Puebla.
186. The lesson of Mexico. [1937 CMF]
187. Journey to the Otomies. [1937 CMF]
188. The meeting of the East and the West. [F.S.C. Northrup. A talk
given at the Little Rock Public Library. CMF]
189. Toynbee and Spengler. [A talk to the Negro Fine Arts Club, Little
Rock.]
190. H. L. Mencken: iconoclast. [Notes on democracy. CMF]
191. The sin of city-mindedness. A reply to H. L. Mencken. 3
numbered parts.
192. ____ Earlier draft.
193. Oswald Spengler. [Decline of the west. CMF]
194. Dewey's latest disciple. [Lewis Mumford, Techniques and civilization.
CMF]
195. The impasse of civilization. [Some comments on Havelock Ellis,
The Dance of Life. CMF]
196. Life as art. [Havelock Ellis, The Dance of Life. CMF]
197. Nietzsche and the approach to European consciousness. Revisions
in ink.
198. The position of Nietzsche today. Revisions in ink.
199. Nietzsche and the Nietzscheans. Note: My Nietzsche article - rejected
by the editor in favor of his own. JGF. [enclosed in author's letter to
his sister Adolphine]
200. The Renaissance. Elie Faure, History of Art. With revisions
in ink.
201. George Santayana. Platonism and the spiritual life. With
revisions in ink.
202. Guglielmo Ferrero.
203. Portrait of an egotist. H.C. Amiel, Philine.
204. John Ruskin. R. H. Wilenski, John Ruskin, an introduction to further
study of his life and work.
205. Romain Rolland.
206. Sketches in criticism, Van Wyck Brooks. Fragments.
207. Business versus genius. [The Ordeal of Mark Twain by Van
Wyck Brooks]
208. American life and letters. Mark Twain. Van Wyck Brooks,
The Ordeal of Mark Twain. Cover title page addressed Miss Amy Lowell
by JGF.
209. The southern Paradox [The South, Old and New, by F. B.
Simpkins].
210. Under the spell of cotton [Where I was Born and Raised,
by David Cohn.
211. Some folk-ballads and background of history. [Vance Randolph,
Ozark Folk Songs]
212. John Livingston Lowes, The Road to Xanadu.
213. The thinker Blake. [William Blake, His Philosophy and Symbols,
by S. Foster Damon.]
214. Perennial Hardy. The Collected Poems of Thomas Hardy, Macmillian.
215. The spirit of Thomas Hardy. With clipping from the Yale
Review.
Late
Lyrics and Some Early. Thomas Hardy.
The
Technique of Thomas Hardy. Joseph Warren Beach.
Thomas
Hardy, A Study. H. C. Duffin.
Thomas
Hardy, Poet and Novelist. Samuel C. Chew.
The
Art of Thomas Hardy. Lionel Johnson.
216. From Browning to Brooks. The English Poets, Vol. 5. Ed.
by Thomas Humphrey Ward.
217. Prometheus steel-bound. Collected poems and a hope for poetry
by C. Day Lewis.
218. Lytton Strachey and the French influence on present-day English
literature.
219. Emily Dickinson and her ancestors. Bolts of Melody by Emily
Dickinson, Ancestors' Brocade, by Millicent Todd Bingham.
220. Foster Damon. Notes on Life of Amy Lowell by S. Foster
Damon.
221. American life and letters: Miss Amy Lowell. Can Grande's Castle
by Amy Lowell.
222. Discovering poetry, or discovering revolution. Discovering
Poetry by Elizabeth Drew; Contemporary Literature and Social Revolution,
by R. D. Charques.
223. Why no one trusts a poet. The War Poets, Oscar Williams,
ed.
224. Romanticism and classicism. See microfilm reel II, 68-76.
225. Towards a new humanism.
226. Leonardo da Vinci.
227. The Faustian vision and the present situation. With untitled notes
by the author.
228. T. E. Lawrence.
229. Two travellers. Note following title: In All Countries,
by John Dos Passos; Beyond the Mexique Bay, by Aldous Huxley.
230. Henri Barbusse.
231. Open letter to a revolutionist.
232. The trade-wind tree. Incomplete.
233. On crossing the Atlantic.
234. Ideas for essays. Notes
235. Poetry. [Proof sheets of an article JGF wrote for an encyclopedia.
236. America, Russia, and European disarmament.
237. On poetic drama. Dated September 14,1939.
238. [Notes on inner experience, God, belief, self-sacrifice, etc.]
9 separate but related philosophical notes.
239. 4 standards. A brief note on four absolute standards.
240. Philosophical note on god.
241. History of the Jews. Brief note on leaves torn from a notebook.
242. [Unidentified prose.]
243. ____ typescript and carbon copies.
244. Conversations with Fletcher. Dated 12 April 1926, 20 April. Notes
made by Harold Davis quote JGF on various contemporary poets and their
work.
Autobiographical and literary notes by JGF. See microfilm
Reel X, 40-41.
Concerning an "article" on poetry that JGF wrote. Fragment.
See Microfilm Reel V, 337.
Democracy --my definition. [In a letter of February 27, 1944.]
See Microfilm Reel 1, 92-95.
A poet's declaration of rights. See microfilm reel V,
338.
Notes on [I. A. Richards?] Poetry in a neutral world. See
Microfilm Reel III, 201-206.
6. Lectures and lecture notes. 151 items. (Boxes 26-27)
The lectures and lecture notes were arranged in broad subject groups by CMF. They deal primarily with English and American literature, with emphasis on poetry and poets. There are lectures and notes on other subjects. Those searching for specific subject matter in the lectures may find additional material in the Essays. All are manuscript notes unless otherwise noted.
1. The evolution of poetic form with special reference to American poetry.
Author's note indicates this lecture was delivered in Little Rock. Typewritten.
2. ____Carbon copy of a typescript.
3. [Poetry]. Lecture delivered at Queen's College, New York, Nov. 1939
4. The case against romanticism
5. Poetry and the social faith.
6. What does a poem say?
7. The Imagist movement.
8. Lecture series: A. Poetry and the common people
9.
B. How poems are made
10.
C. Poetry, its value and its significance today.
11. American poetry--is it regional or national?
12. Two lectures: A. Writing poetry as a career
13.
B. Writing as a career, with special reference to poetry. With: list of
poems to be read aloud.
14. Modern poetry.
15. The scope of poetry.
16. The forms of poetry.
17. Modern poetry. Delivered: 1936-1945.
18. Poetry and philosophy. Delivered at New School of Social Research,
New York, April 19, 1929:
A. Outline
19.
B. Lecture
20.
C. Lecture. Typewritten. Master Reporter Service transcript including questions
and answers following lecture. In binder.
21. The workings of a poet's mind. Delivered at New School of Social
Research, New York, April 26, 1929.
A. Outline
22.
B. Lecture. Master Reporter Service transcript. In binder.
23. Lecture series on modern American poetry. Outline.
24. I. Some differences between English and American poetry. The precursors:
Markham, Bliss Carman, Hovey, Cawlin, Moody, Sterling, Emily Dickinson.
Two versions.
25. II. Edward Arlington Robinson
26. III. Edgar Lee Masters.
27. IV. Amy Lowell
28. V. Robert Frost.
29. VI. Carl Sandburg.
30. VII. Vachel Lindsay.
31. VIII. Ezra Pound, H. D., Marianne Moore, William Carlos Williams
32. IX. Three Women Poets. [Sara Teasdale, Edna St. Vincent Millay,
Elinor Wylie. CMF]
33. X. T.S. Eliot and Wallace Stevens.
34. XI. The Fugitives.
35. XII. [Robinson] Jeffers, [Conrad] Aiken, [Archibald] MacLeish,
[Horace] Gregory.
36. XIII. Lecture the last.
37. Lecture series: I. Romantic phase
38.
II. The experimental phase
39.
III. The intellectualist phase.
40. The poet
41. Lecture series: The southern poet and his background.
I. The older southern poets.
42. II. The American poetry renaissance and the South.
43. III. The Fugitives.
44. IV. Things to do and to be avoided in the writing of poetry.
45. Brief outlines and notes.
I. The purpose of poetry.
Outline for a series of five lectures.
46. II. Modern poetry.
47. III. Notes from The Nature of Poetry, by D. A. Stauffer.
48. IV. English and American poetry.
49. Three lectures: I. Wordsworth
50.
II. Coleridge
51.
III. Coleridge and Wordsworth. Outline.
52. Two lectures: I. Byron
53.
II. Shelley. Numbered "2 or 3"
54. Two lectures on Keats. I. John Keats.
55.
II. Keats. With notes on Keats's letters.
56. Lecture series on modern English poetry. Course outline
57. I. The types and content of modern poetry. Incomplete ms, copy.
58. IIa. Thomas Hardy
59. IIb. Charles M. Doughty
60. IIc. Gerard Manley Hopkins
61. IIIa. Robert Bridges and Gerard Manley Hopkins.
62. IIIb. Hopkins and Bridges
63. IIIc. John Davidson
64. IV. Francis Thompson
65. V. Mary Coleridge and A. E. Housman
66. VI. Rudyard Kipling
67. VII. William Butler Yeats, J. M. Synge, Lionel Johnson, and Ernest
Dowson.
68. VIII. The Georgians: Davis and Hodgson, DeLaMare, Chesterton, Ford.
69. IX. Walter DeLaMare.
70. X. Masefield and Edward Thomas.
71. XI. Harold Monro, Lascelles Abercrombie, Charlotte Mew.
72. XII. James Stephens and James Elroy Flecker.
73. XIII. Rupert Brooke, Siegfried Sassoon, Wilfred Owen, and war poetry.
74. XIV. D. H. Lawrence.
75. XV. Edith, Osbert, and Sacheverell Sitwell.
76. XVI. The transition generation.
77. XVII. The younger generation.
78. XVIII. The present generation.
79. Test for course in English poetry.
80. Test.
81. List of reading requirements -- English literature.
82. Who was Shakespeare? Loose pages from a notebook.
83. William Blake as poet.
84. Four lectures on William Blake: I.
85. II.
86. III.
87. IV.
88. Series of lectures on English literature: I. Introduction
89. II. The age of Doctor Johnson.
90. III. Thomas Gray, William Collins, Oliver Goldsmith.
91. IV. Samuel Richardson, Lawrence Sterne.
92. V. Recovery of the past. James Macpherson, Thomas Percy, Thomas
Chatterton.
93. VI. Burns
94. VII. Gifford, Lockhart, and Jeffery.
95. VIII. Beckford and the drift of Romanticism.
96. IX. Cobbett.
97. X. De Quincey.
98. XI. Lamb.
99. XII. Hazlitt.
100. XIII. Scott.
101. XIV. Landor
102. Series of lectures on American literature. Course outline.
103. I. The roots.
104. II. New England in flower.
105. III. Outlaws and fugitives. First draft.
106.
Second draft. Part 1. Literature of the Old South
107. &
nbsp;
Part 2. Literature of the Old West.
108. IV. The Civil War period and its harvest.
109. V. Post-war.
110. VI. The decline of the genteel tradition
111. VII. Second renaissance: Poetry and drama.
112. VIII. Last lecture.
113. List of reading requirements. American literature.
114. The Little Reviews: Yesterday and Today. Delivered at Tulsa, Oklahoma.
115. The scientific imagination and the modern novel.
116. Post war writers. Short notes
117. What books shall we read. 1943.
118. World currents in modern literature.
119. World-trends in modern literature.
120. Recent tendencies in modern European literature.
121. Modern English literature.
122. Contemporary English literature, 1900-1933.
123. Provincial literature.
124. Scheme for lectures. Twentieth century American literature. Outline
of 30 lectures delivered at Mills College, Oakland, Calif., July 8-August
16, 1946.
125. Scheme for lectures. Twentieth century American literature.
126. List of books for course on Twentieth century American literature.
127. Twentieth century American literature. Examination. Mills College,
Summer Session 1946.
128. Final examination: Twentieth century American literature. Mills
College, Summer Session 1946.
129. On European backgrounds. Delivered 2d November 19--.
130. On European cultures. Delivered November 5, 19--.
131. Miscellaneous lectures on English literature: Lecture VII. Industrial
Revolution.
132. Lecture VIII. Edmund Burke.
133. Lecture IX. Thomas Paine, William Godwin.
134. "Political Justice." [ A discussion of Godwin's work.]
135. Other radicals. [Brief notes on John Priestly, Richard Price,
John Horne Tooke, Thomas Holcroft, and Jeremy Bentham.
136. George IV and Regency society.
137. Series of lectures on culture and art. Books for course
in Twentieth Century American Culture.
138. Twentieth Century American Culture. Examination. Mills College,
Summer Session, 1946.
139. Final examination. Twentieth Century American Culture. Examination.
Mills College, Summer Session, 1946.
140. Scheme for lectures. Outline for 24 lectures.
141. Outline for first lecture. Titled: theories of art.
142. Art in America.
143. [Miscellanea] Henry Miller.
144. The production of good poetry.
145. [Evaluation scheme for various authors]
146. List of lectures and required reading of course: Drama 301A: Modern
Theatre and Drama.
147. Modern poetry. Final examination. Notice of 8 lectures to be given
by JGF at the Little Rock Public Library. See microfilm, Reel VIII, 551.
148. Nationalism--Europe and America. Notes on pacifism, culture, and
nationalism in Europe and America. Though undated, they were apparently
written before the outbreak of World War II.
149. Regionalism is not sectionalism or localism. These notes are written
on a program for the Institute of Public Affairs, Session 1931, University
of Virginia. The name Odum is written above JGF's notes, and may indicate
that the notes were taken at a Round Table of Regionalism of which Mr.
H. W. Odium was one member. JGF appeared on the Regionalism Round Table
on the preceding day.
150. [fragment]. Notes on poetry writing may be related to Item 10.
151. Tradition and experiment. Brief explanatory note concerning the
terms, possibly to preface a poetry reading or a lecture.
7. Short
stories. 34 items. All hand-written unless noted. (Box 28)
An alphabetical list
of all stories in the series:
As it may have happened. See [Five
stories]
1. At the end of the vista. Dated November 18, 1912.
2. The back seat. Dated December 19, 1943.
3. The back seat, scheme for.
The battle of the frogs and the mice. See
XV Fables. II
4. Bev's wife.
5. ____ Second draft.
6. The bull. Note: scene taken from author's experience on an
archaeological expedition during his student days. CMF
The butterfly on the skyscraper. See XV Fables.
VI
Caesar and the slave. See XV Fables. III.
The church. See XV Fables. XII.
7. The confessions of Judas. Typescript with half title.
The country beyond the mountains. See XV
Fables. IX.
8. Double ghost. Note: Description of his boyhood home
in Little Rock. CMF
The empire of the Puritans. See XV
Fables. VIII.
9. The feast of life. Dated 1924.
10. XV Fables. Typed copy and carbon copy. Dated 1927-1929. Contents:
I. The garden
of Epicurus
II. The battle of
the frogs and the mice
III. Caesar and the slave.
IV. The two altars
V. General knowledge
VI. The fly on the skyscraper.
(Typescript has title The butterfly on the skyscraper)
VII. The telegraph poles
VIII. The empire of the Puritans.
IX. The country beyond the
Puritans.
X. The three lookers.
XI. The woodcutter.
XII. The church.
XIII. The horse of destiny.
XIV. The mirage.
XV. Knowall and Believall face
the truth.
11. Five stories. Dated April 23, 1912. First two stories dated April
24, 1912. Note: title supplied by CMF. Stories are paged independently
and titled as follows:
Loneliness
The masterpiece
As it may have happened.
The lost pagoda.
The legend of the lotus.
The fly on the skyscraper. See XV Fables. VI.
12. Fragment from a Sardinian manuscript.
The garden of Epicurus. See XV Fables. I.
General knowledge. See XV Fables. XIII
The horse of destiny. See XV Fables. XIII.
13. The idiot [scheme for?]
14. Jamie's Christmas. Typed copy.
Knowall and Believeall face the truth. See XV Fables.
XV.
Legend of the lotus. See [Five stories]
15. Light from the window. Typescript
Loneliness. See [Five stories]
The masterpiece. See [Five stories]
16. Meetings. [scheme for?]
The mirage . See XV Fables. XIV
17. The mist across the river. Note: description of Verdant
Valley Farm in Monkton, Maryland, owned by Mary Fletcher Drennan. CMF
18. The night of the fire.
19. ____Second draft. Typescript. Dated July 11, 1944.
20. One hundred pounds.
21. The protrait of grandfather. To C. M. F. Typescript. Dated
March 8, 1934.
22. The prodigy. Typescript.
23. The Raphael copy. Typescript.
24. Release
25. Sacrifice of sons. Dated Jan.16- January 26, 1943.
Schemes for short stories. [2 schemes] See Series 1, Poems:
Collections and notebooks. New parables. (48)
26. The ship. On verso of last page, in JGF's hand: The ship and the
ocean. 1916.
27. [Short stories.] [three notes]
28. Sixty four steps. Typescript and carbon copy.
29. ____ Second draft. Typescript.
Telegraph poles. See XV Fables. VII.
30. Three insinuations. Typescript.
I. Suburban vista.
II. Esoteric.
III. Local option.
31. The three kings. Incomplete.
The three lookers. See XV Fables. X.
The two altars. See XV Fables. IV.
32. [untitled fragment]
33. Warfare of the birds. Typescript. Dated MacDowell colony, June
4-6, 1938.
The woodcutter. See XV Fables. XI.
34. [unidentified leaves.]
8. Plays.
27 items. All manuscript unless otherwise noted.
An alphabetical list of
all the plays in the series:
1. The April Fool. Play in one act. Typewritten, in a binder.
Boone makes tracks (or Boone travels west.) See Plays, Daniel
Boone pulls up stakes.
2. Bugles blow love down. A play for music. Written in a notebook.
Dated Oct 13, 1933-Feb. 10, 1934. The last date was changed from Nov 3,
1933 by JGF. Note: "The scene is laid in one of the Border Southern
States of America, during the time of the Civil War." JGF. The notebook
contains a play in three acts with revision of Act I into scenes I, II.
3. ____Second draft. A play in 3 acts. Written in a notebook. Dated
1933-34. Acts I and II onl.
____Second draft. Act III. Dated March 5, 1934.
____Typed copy.
4. Daniel Boone pulls up stakes. Dated Sunday April 25, 1943-Saturday
May 8, 1943. With: Scenario for Boone makes tracks (or, Boone travels
west.) A projected folk opera in one act. March 29, 1943.
5. ____ Second draft. Libretto. Dated April 25-May 23, 1943. With:
Scenario for Daniel Boone pulls up stakes. A projected folk drama in one
act.
____original and carbon copy of a typescript. Dated
April 25-May 23rd, 1943. Libretto for folk opera in one act. JGF. With:
Scenario for Daniel Boone pulls up stakes. A projected folk opera
in one act by Burnet Tuthill and John Gould Fletcher. Typescript. Also
a letter dated 2-14-52 from Virgil [Baker] to Bruce {Benward} and his reply
concerning his possible interest in composing music for it.
6. DeSoto's crossing; a pageant play. Scheme for production. With
Facts and data on Desoto. Incomplete.
7. The discoverer. Incomplete
8. ____ second draft. Incomplete.
9. The first guest. One-act play.
10. ____Second draft.
11. Flight. Scenario of an expressionist play in three acts. Typescript.
12. "Flight." written in a notebook. Dated: Begun May 28, 1928 (Whitmonday)
Ended first draft of first act June 3rd, 1928 Edinborough (Trinity). Second
act written July 1-14, 1928. Third act drafted July 15-19, 1928. JGF
____ Second draft. Book I. Written in a notebook.
Contains Acts I and II.
13. ____Second draft. Book II. Act III. Written in a notebook.
14. Helen of Troy. Written in a notebook.Dated 1924.
15. ____ Second draft. A play in 7 scenes. Written in a notebook. Dated
March 1924-August 1, 1924.
16. ____Third draft. A play in eight scenes and an epilogue. Typescript
in a folder. Dated 1923-24.
17. Judas of Kerioth. Incomplete. With outline for acts I-V.
18. Nomads. Incomplete.
19. ____Second draft. Incomplete. Dated August 12, 1937.
20. Paul Gauguin: A play. Typewritten in a folder. Dated 1924-25.
21. ____Second draft. A play in ten scenes. Typescript in a folder.
Dated 1924-25.
22. The Quapaw curse. Opera in 3 acts. Dated Aug. 16, 1934-Aug. 18.
Revised Sept. 12. Written in a notebook most of which contains notes for
a course in Spanish taken at [Little Rock?] Junior College. Incomplete.
23. The rescue. A play in 3 acts. Incomplete. With Final
speech for The Rescue.
24. A sparrow falls. Dated May-August 9, 1947; October 9-19,
1947.
____Carbon copy of a typescript. May 30, August
9th, 1947; October 9-19, 1947.
2nd carbon copy of a typescript. Bound in a folder with Program for
"A Sparrow Falls," presented by the University of Arkansas Department of
Speech and Dramatic Art experimental theatre. The first performance on
any stage, Art Center Theatre, January 11, 12, 1952. With a letter from
CMF to [Virgil] Baker giving permission to produce the play.
25. Sutter of Sacramento. Dated April 12, 1940. With a Calendar
of events for Acts III-V; Dramatis Personae.
____ Typed copy in a binder. Note:
Preliminary ll 1-3 are handwritten.
26. The tide. A play in 3 acts. Incomplete.
27. [Miscellany]. Attillia of the South. Note: An outline for
a projected play in three acts.
[Incomplete outline for a play. Note: This outline for Act III
deals with the building of a statehouse and the announcement of Arkansas's
statehood.
Series 9.
Miscellaneous Items. 22 items.
Consists of class notes taken by Fletcher when a student at Harvard,
some in Professor Kittredge's Shakespeare class, and history theses; an
address book; a passenger list of the steamship "Pannonia." This
list has comments by JGF. For additional information about this series,
consult the Special Collections staff.