Box 61

This brief letter, typed on a sheet, bears a previously handwritten statement: "We are all poets at heart. The fact is I am a very bad one most of the time. My only virtue is the fact that I am able to correct myself," which Lowenfels indicated was the origin of the phrase which became, "We are all poets really."

In this letter Lowenfels commented on the feeling of "fragility of coming and going and parting" after having visited with De Loach recently.

A brief undated note in which Lowenfels mentioned working on his autobiography as he approached the age of 72.

In this brief note Lowenfels asked De Loach to write an introduction to volume three of Lowenfels' autobiography.

In this letter Lowenfels inquired about De Loach's projects and mentioned one of his current projects, a book on Walt Whitman.

A letter in which Lowenfels mentioned Francis Hugot and Alan Trachtenberg and inquired about De Loach's projects.

This letter written by Lowenfels to Francois Hugot was mentioned in Lowenfels's October 5, 1969, letter to De Loach. The letter has a brief signed note to De Loach on the top and is a reflection on his life as a series of "youths." Lowenfels remarked that he was in his "final youth" and "all my friends are young poets in their 20s and 30s."

Lowenfels noted that when he was working on his Whitman book and he came across the phrase, "he never developed as a poet of old age." He continued by suggesting that he has kept up his poetry and further, "Eliot didn't, neither did Pound (in my judgement), but William Carlos Williams also maintained a very high level to the end." And as a postscript, "Michelangelo kept it up to about 90."

In this long and intimate letter Lowenfels wrote of his difficulties in promoting his work and expressed disappointment that his work wasn't even available in the Communist bookstores, saying that, "it still hurts that your own political family wouldn't put one book in the window to claim me for their own." He also discussed Whitman as entrepreneur of his own work.

Lowenfels discussed poetic technique, surrealism, Denise Levertov, and Henry Miller. Of Miller he stated, "Doesn't Miller relate to the letter tradition too? His Tropics and black Spring were originally typed in five carbons that he sent to friends (including me) ... " The letter was in an envelope postmarked March 4, 1970."

Lowenfels discussed his 1929 work, Reality Prime , the political environment of the 1930s, poets involvement in the anti-fascist movement, and his and Lillian's participation in street demonstrations. Enclosed with the letter is half-page essay on the poetry of the Avant Garde.

This is a photocopy of a brief essay written by Lowenfels regarding the poetry of the Avant Garde.

Lowenfels discussed an anthology on which he was working titled, "Who Is Lenin: Americans Respond," as well an his idea of the "poet's view of the universe."

Brief undated note stating: "PS Biog arrived! Thanks."

This brief letter regarded publications and "Phil Kaplan's question."

A brief letter in which Lowenfels mentioned a Dialog symposium on Whitman and inquired about a copy of a typescript De Loach was to send.

This letter regarded Lowenfels response to reading We Are All Poets Really and his own poetry.

A brief letter which discussed the printing "Elegy" and "Premature Inquest" (Lowenfels' autobiography).

A brief letter which mentioned typos in print, a letter of his published in the Irish Statesman in 1930, and Lillian's reading and approval of "Premature Inquest."

Extensive two-page, single-spaced letter in which Lowenfels offered comments on a recent draft of Lowenfels' autobiography, including his thoughts on use of "letters" in writing.