Box 55
Contains 51 Results:
“After Everything,” 1 print out page, no corrections, September 8 and 11, 1988
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Amorcito Corazon,” 2 photocopy pages, no corrections, April 17, 1989
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Bienvenido Poem for Sophie,” 1 typed page, no corrections; 1 photocopy, 1989
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Black Lace Bra Kind of Woman,” 1 typed page, no corrections; 1 photocopy page (3 copies); 1 photocopy of published version, July 6, 1990
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Christ You Delight Me,”, 1 typed page, no corrections; 2 typed pages that include “Your Name is Mine”, May 21, 1991
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Cloud,” 1 photocopy page (5 copies); 3 corrected drafts; 1 typescript page, August 10, 1991
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Los Desnudos: A Triptych,” 3 photocopy pages, no corrections; 1 photocopy page (incomplete), July 3, 1992
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Down There,” 3 photocopy pages of published version (3 copies)
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Dulzura,” 1 typed page, no corrections; 2 photocopies, 1989 - 1990
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“En Route to My Lover I am Detained by Too Many Cities and Human Frailty,” 1 photocopy page, August 7, 1992
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Extreme Unction,” 1 typed page, no corrections; 2 photocopies, October 17, 1991
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Fan of a Floating Woman,” 2 photocopy drafts, no corrections; 1 photocopy page with corrections, 1988
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Full Moon and You’re Not Here,” 3 photocopy drafts, no corrections, July 1, 1988
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“Las Girlfriends,” 1 photocopy page (2 copies); 1 typed page, no corrections, July 6, 1990
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
"I Awake in the Middle of the Night and Wonder if You’ve Been Taken,” 1 photocopy page, no corrections, June 3, 1993
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“I am on My Way to Oklahoma to Bury the Man I Nearly Left My Husband For,”1 typescript page, no corrections; 1 photocopy, no corrections; 1 photocopy of published version [correspondence with Joan Frederick (Denton) for the inspiration for this poem is restricted], December 3, 1990
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“I am So Depressed I Feel Like Jumping in the River Behind My House but Won’t Because I Am Thirty-Eight and Not Eighteen,” 1 photocopy page, no corrections (4 copies), July 3, 1993
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“I am So in Love I Grow a New Hymen,” 1 photocopy page (2 copies), July 14, 1992
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“I Don’t Like Being in Love,” 1 typed page, no corrections; 3 print out pages, no corrections
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.
“I Let Him Take Me,” 1 typed page, no corrections; 1 photocopy, October 17, 1991
The bulk of the material for Loose Woman are the poems, arranged alphabetically. Many were originally housed in a folder titled “complete book.” Additional material includes proofs from Knopf, promotional displays, and Spanish translations by Paloma Zozaya and Marilar Aleixandre.