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Introduction: Fair Realist | |
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Timeline | |
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Works by Barbara Guest | |
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Notes and Acknowledgments | |
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The Location of Things | |
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The Location of Things | |
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Piazzas | |
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All Grey-Haired My Sisters | |
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Windy Afternoon | |
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Russians at the Beach | |
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The Hero Leaves His Ship | |
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Les Realites | |
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In the Middle of the Easel | |
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On the Way to Dumbarton Oaks | |
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Cape Canaveral | |
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Sunday Evening | |
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Parachutes, My Love, Could Carry Us Higher | |
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The Crisis | |
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Upside Down | |
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Seeing You Off | |
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Safe Flights | |
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Sadness | |
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Jaffa Juce | |
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In Dock | |
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People in Wartime | |
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Landing | |
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History | |
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Oriental Movie | |
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The Crisis | |
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West Sixty-Fourth Street | |
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The Time of Day | |
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Heroic Stages | |
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In America, the Seasons | |
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Belgravia | |
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In the Alps | |
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The Past of a Poem | |
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Archaics | |
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Atalanta in Arcadia | |
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"From Eyes Blue and Cold" | |
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Dido to Aeneas | |
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Green Awnings | |
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Palm Trees | |
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In the Campagna | |
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"Who will accept our offering at this end of autumn?" | |
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The Open Skies (1962) | |
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The Voice Tree | |
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Lights of My Eyes | |
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Snow Angel | |
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Santa Fe Trail | |
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Nocturne | |
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The First of May | |
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Dardanella | |
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The Brown Studio | |
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All Elegies are Black and White | |
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The Open Skies | |
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Hurricane | |
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His Jungle | |
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Timor Mortis, Florida | |
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Sand | |
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Wave | |
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Geography | |
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The Blue Stairs (1968) | |
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The Blue Stairs | |
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Turkey Villas | |
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Walking Buddha | |
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Colonial Hours | |
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Saving Tallow | |
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The Return of the Muses | |
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A Reason | |
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Direction | |
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Barrels | |
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East of Omsk | |
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Parade's End | |
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Clouds Near the Windmill | |
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Fan Poems | |
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A Way of Being | |
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Four Moroccan Studies | |
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A Handbook of Surfing | |
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I Ching (1969) | |
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I Ching | |
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Moscow Mansions (1973) | |
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Red Lilies | |
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Illyria | |
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Egypt | |
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Nebraska | |
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On Mt. Snowdon | |
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Rosy | |
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Ensconcements | |
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Even Ovid | |
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The Interruptions | |
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Moscow Mansions 1 | |
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Moscow Mansions 2 | |
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Knight of the Swan | |
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Carmen | |
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Museum | |
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Byron's Signatories | |
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The Poetess | |
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Losing People | |
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The Poem Lying Down | |
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Sassafras | |
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Circassians | |
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Another July | |
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Drawing a Blank | |
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Stupid | |
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Physical Pain | |
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Roses | |
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Lights of My Eyes | |
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Passage | |
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Hohenzollern | |
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The Stragglers | |
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Olivetti ode | |
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On the verge of the path | |
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Gravel | |
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Bicycling | |
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Shifting the Iris | |
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Green Revolutions | |
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Poem | |
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Evening | |
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The Old Silk Road | |
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Now | |
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The Countess From Minneapolis (1976) | |
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50 Floors | |
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Thinking of you Prokofief | |
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River Road Studio | |
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Portrait of Mary Rood | |
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Eating Lake Superior Cisco Smoked Fish | |
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Musings on the Mississippi | |
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Legends | |
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Prairie Houses | |
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At the Guthrie Theatre | |
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Persians in Minneapolis | |
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(Scop - A Poet) Widsith | |
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Crocus Hill | |
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Activities | |
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June | |
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Amaryllis | |
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The Tuerler Losses (1979) | |
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Biography (1980) | |
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Quilts (1980) | |
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Quilts | |
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Musicality (1988) | |
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Originally with drawings by June Felter | |
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Fair Realism (1989) | |
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Wild Gardens Overlooked by Night Lights | |
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La Noche Entra en Calor | |
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The View from Kandinsky's Window | |
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The Thread | |
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Ilex | |
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Spring Vine | |
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Dora Maar | |
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An Emphasis Falls on Reality | |
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Valuable Moerike | |
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The Rose Marble Table | |
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Shuffling Light | |
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The Screen of Distance | |
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Heavy Violets | |
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The Farewell Stairway (after Balla) | |
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Words | |
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Twilight Polka Dots | |
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The Nude | |
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Western Additives | |
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In Medieval Hollow | |
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Bleat | |
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Ropes Sway/Country Cousins | |
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Savannahs | |
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The Cradle of Culture | |
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Lawn Bumps | |
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Tessera | |
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Defensive Rapture (1993) | |
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Paulownia | |
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Dove | |
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Expectation | |
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Geese Blood | |
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Fleet of White | |
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Atmospheres | |
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The Surface as Object | |
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II. | |
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Defensive Rapture | |
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Beautiful/Evil | |
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Borrowed Mirror, Filmic Rise | |
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Restlessness | |
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Chalk | |
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III. | |
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Borderlands | |
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Dissonance Royal Traveller | |
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The Advance of the Grizzly | |
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The Glass Mountain | |
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Otranto | |
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Winter Horses | |
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IV. | |
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The Altos | |
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Stripped Tales (1995) with Artist Anne Dunn | |
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structured / immediacy | |
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/ lottery can guess | |
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the moment / a noun / settles into space | |
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/ germination begins | |
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undermining / | |
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opposing ides / | |
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/ which-away | |
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philosophy / in Norway | |
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moody / adjectivalness | |
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need / to identify | |
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odd / pagination | |
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property / mix-up | |
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/ selfdom | |
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a venetian / pallor | |
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ice / buttons | |
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history / ambushed | |
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klebnikov lootage / | |
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useful / techniques | |
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loose grams / of nutmeg | |
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typestry / | |
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ghost / aboard | |
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the French woman / beckoned | |
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moment / of ingenuity | |
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antiquity / | |
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what we say / | |
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empathetic / chimes | |
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law / of the ether | |
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Bergson's Law / | |
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magicked / | |
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the position / anarchical | |
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photo / mirage | |
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Quill, Solitary Apparition (1996) | |
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Finally, to the Italian Girl | |
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Garment | |
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Fell, Darkly | |
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Pallor | |
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Leaving Modernity | |
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Cold and its Demeanour | |
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Quill, Solitary Apparition | |
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If So, Tell Me (1999) | |
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Valorous Vine | |
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Storytelling | |
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Outside of This, That Is | |
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In Slow Motion | |
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Doubleness | |
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Dora Films | |
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Lily | |
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The poetry Meter | |
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The Lull | |
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Russet Flame | |
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Unusual Figures | |
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If So, Tell me | |
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The Luminous | |
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Strings | |
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Deception | |
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Athletic Writing | |
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Faery Land | |
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The Paris Lectures | |
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The Green Fly | |
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Confession of My Images | |
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Effervescence | |
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The Strum | |
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Music History | |
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Sideways | |
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The Confetti Trees (1999) | |
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Overboard | |
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The Tear | |
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The Cough | |
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Trousers for Extras | |
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Nostalgia | |
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The Guerilla Reporters | |
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Confucious | |
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Color | |
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Nuns | |
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Corelli | |
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The Vanished Library | |
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"Lonely Mess" | |
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Lubitsch | |
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Noise | |
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Preparedness | |
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"Moments Before..." | |
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The Dream Motion Picture; A Proposal for Animation | |
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Nemesia | |
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The Aromas | |
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Falling in Love | |
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Details | |
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The Confetti Trees | |
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Romance | |
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No Words | |
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Screening Room Notes | |
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The Minus Ones | |
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Scenario-iste | |
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Celluloid | |
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Ars, Longa | |
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Metropolis | |
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Enchantment | |
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Simultaneity | |
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The Spell of Beauty | |
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The Utmost Unreality | |
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Disappearance | |
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Rocks On a Platter (1999) | |
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"Ideas. As they find themselves..." | |
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"And the words linger, deciding which direction to take..." | |
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"Intimacy of tone..." | |
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"Without shyness or formality..." | |
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Symbiosis (2000) | |
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Symbiosis | |
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Originally appeared with artwork by Laurie Reid | |
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Minatures and Other Poems (2002) | |
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Miniatures | |
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Shabby Boot | |
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Bird of Art | |
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Spirit Tree | |
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Turret | |
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Negative Possibility | |
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Camisole | |
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Tiny Foreign Tears | |
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Transcription | |
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Lost Speech | |
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First Prints | |
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Yesterday | |
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Pilgrimage | |
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Finnish Opera | |
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Photographs | |
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Petticoat | |
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Blue | |
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Arthur | |
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Autobiography | |
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Noisetone | |
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Fourteenth of July | |
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Chekhovania | |
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Coal | |
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Colonial Hours | |
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Sound and Structure | |
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Musicianship | |
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Pathos | |
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Blurred Edge | |
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Durer in the Window, Reflexions on Art (2003) | |
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Poetry | |
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Lunch at Helen Frankenthaler's | |
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On a Painting by Hayden Stubbing | |
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Homage | |
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The Red Gaze (2005) | |
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Nostalgia | |
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An Afternoon in Jeopardy | |
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Imagined Room | |
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Loneliness | |
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A Different Honey | |
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A Short Narrative | |
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Freedom | |
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Alteration | |
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A Burst of Leaves | |
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The Next Floor | |
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Roman Stripes | |
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The Trickster | |
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The Hungry Knight | |
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The Past | |
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Modernism | |
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Green Numbers | |
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Stair of Our Youth | |
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A Noise of Return | |
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Freed Color | |
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The Gold Tap | |
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Minimal Sound | |
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The Brown Vest 2 | |
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The Red Gaze | |
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A Dawn Walk | |
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No Longer Strangers | |
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Hans Hofmann | |
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Vignettes | |
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Echoes | |
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Instructions | |
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Composition | |
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Supposition | |
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Last Poems | |
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In the Hotel | |
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Constable's Method Brightening Near the Bridge | |
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Beginning of Rain Notes | |
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Shelley in the Navy-Colored Chair | |
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Storytelling | |
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Elf | |
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Hotel Comfort | |