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Fraser Kathleen: more books (85)

When New Time Folds Up by Kathleen Fraser, 1993-11-01

Little Notes to You, from Lucas Street by Kathleen Fraser, 1972

My Brazen Heart by Kathleen Fraser, 1985-04-02

New Shoes by Kathleen Fraser, 1978-01

The 175 Best Camp Games: A Handbook for Leaders by Kathleen Fraser, Laura Fraser, et all 2009-08-24

Love's Redemption by Kathleen Fraser, 1986-01-07

20th Century by Kathleen FRASER, 2000-01-01

What I Want by Kathleen Fraser, 1973

The New Yorker - Jan 14, 1967 by William Stafford, Kathleen Fraser, Francine Du Plessix Gray Lois Moyles, 1967

Burning Deck 3 - Fall 1963 by Bernard, James Camp, D.C. Hope (Editors); Robert Creeley, Barbara Guest, Kathleen Fraser, Fielding Dawson (Contributors) WALDROP, 1963

Soft Pages ( Belladonna 10) by Kathleen Fraser, 2001-01-01

The New Yorker - June 11, 1966 by James Dickey, Kathleen Fraser, Anne Carriere, Edith OIiver Maeve Brennan, 1966-01-01

Wing. by Kathleen. Fraser, 1995

The New Yorker - Oct. 26, 1963 by W.S. Merwin, Kathleen Fraser, Norma Rosen, Edith Oliver E.B. White, 1959-01-01

lists with details

Fraser Vs Temperance Bedford
Katie Price (from Angie McGinnis). For fraser Kristi Pieper. so (kathleen Gauthier) Attack error by Colleen Donvan
http://www.mhsaa.com/games/sports/vb/01asf2.htm

Extractions: Class A Semifinal Fraser vs Temperance Bedford 2001 MHSAA Volleyball Championships March 16, 2001 at Kalamazoo Play-by-Play Summary (1st game) 2001 MHSAA Volleyball Championships Fraser vs Temperance Bedford (Mar 16, 2001 at Kalamazoo) For FRASER: Kelly Lutz; Elizabeth Jankowski; Kathleen Gauthier; Katie Price; Angie McGinnis; Jackie Sorgi. For TB: Melissa Meinhart; Erica Kaczorowski; Missy Mohrbach; Katie Jefferson; Julia Kirkwood; Lindi Bankowski. so (Elizabeth Jankowski) Kill by Katie Jefferson (from Lindi Bankowski). (Lindi Bankowski) Attack error by Katie Price. so (Angie McGinnis) Service error. so (Katie Jefferson) Kill by Katie Price (from Angie McGinnis). For FRASER: Samantha Mischel; Colleen Donvan. (Samantha Mischel) Attack error by Julia Kirkwood. so (Samantha Mischel) Attack error by Katie Price.
Kathleen Fraser - Bio Notes And Publications
kathleen fraser Bio Notes and Publications After graduating in EnglishLiterature, 1959, from Occidental College (California), kathleen
http://epc.buffalo.edu/authors/fraser/fraser-pub.html

Extractions: Kathleen Fraser - Bio Notes and Publications After graduating in English Literature, 1959, from Occidental College (California), Kathleen Fraser went to NYC to work as an editorial associate for Mademoiselle magazine, pursuing her poetic studies with Stanly Kunitz at The 92nd St. Y "Poetry Center" and, briefly, with Robert Lowell and Kenneth Koch at The New School. At this time, she began to meet a number of New York poets associated with Black Mountain, The Objectivists and the New York School. Among these poets, those to have most important influence on her work were Frank O'Hara, Barbara Guest and George Oppen. She later counted the works of Lorine Niedecker, Charles Olson and Basil Bunting as having a serious impact on her poetics. In 1964 she won the Frank O'Hara Poetry Prize and the American Academy's "Discovery Award". Other writing fellowships have included two NEA Poetry grants, in 1971 and 1978, and a Guggenheim Fellowship in poetry in 1981. After seven years as a journalist - writing and editing - and the publication of her first book - Change of Address [Kayak, 1968] - , Fraser was invited to teach as a poet-in-residence for two years at the Iowa Writer's Workshop, where her university teaching career began. She taught, subsequently, in contemporary literature and writing programs at Reed College and at San Francisco State University where she remained as a Professor of Creative Writing through 1992. In her early years at SFSU, Fraser directed The Poetry Center and founded the American Poetry Archives.
Kathleen Fraser Papers : Container List
Series 2C Book Series. Box, Folder. 22, 6, fraser, kathleen. HOW(EVER) Anthology Correspondence with Sue Roe (editor at Rutlidge), 1989. 22, 7, fraser, kathleen.
http://orpheus.ucsd.edu/speccoll/testing/html/mss0529f.html

Extractions: Container List for Kathleen Fraser Papers Part 1: SERIES 1 : CORRESPONDENCE Box Folder 13th MOON, 1974 - 1993. A - Miscellaneous. Aaron, Howard, 1972 - 1974. Abbott, Steve. Regarding the anthology JOYS, 1979. Adams, Maureen, 1991 - 1996. Adams, Megan/Camille Roy, 1984 - 1993. Adler, Janet, 1993 - 1995. Adrian, Etel, 1988 - 2000. Ahlgren, Calvin, 1970 - 1973. Akers, Ellery, 1985 - 1988. Alcosser, Sandra, 1976 - 1996. AMERICAN POETRY REVIEW (David Bonanno), 1978 - 1992. Anderson, Linda, 1988 - 1989. Anderson, Maggie, 1977 - 1980. Anderson, Sujenna, 1970 - 1992. Andrews, Bruce, 1986 - 1996. Angel, Ralph, 1979 - 1987. ANTAEUS (David Halpern), 1975 - 1978. Armantrout, Rae, 1979 - 1980. AVEC (Cydney Chadwick), 1990 - 1993. B - Miscellaneous. Bacigalupo, Massimo, 1994 - 1998. Bantam Books (Kathryn Ruby), 1972 - 1974. Correspondence regarding the anthology WOMEN: THE NEW VOICE (1975). Basham, Kate, 1970 - 1987. Bates, Milton, 1992. Bell, Marvin, 1963. Bellamy, Dodie, 1980 - 1997. Benedikt, Michael, 1974 - 1985. Benson, Steve, 1991 - 1995. Benton, Bill, 1974 - 1991.
Kathleen Fraser Papers : Scope/Content
kathleen fraser Papers. Scope / Content Note. The kathleen fraser Papersdocument the literary and professional career of a prolific
http://orpheus.ucsd.edu/speccoll/testing/html/mss0529e.html

Extractions: Kathleen Fraser Papers Scope / Content Note The Kathleen Fraser Papers document the literary and professional career of a prolific poet, advocate of innovative women's writing and professor of creative writing at San Francisco State University. Materials include correspondence with prominent poets and scholars, manuscript and typescript drafts of Fraser's published poetry, prose and essays; administrative and production materials related to the literary magazine HOW(EVER); interviews with Fraser; teaching materials; and video and audiocassette recordings. The materials date from the late 1950s to 2000. The papers are arranged in ten series: 1) CORRESPONDENCE, 2) HOW(EVER) MATERIALS, 3) WRITINGS BY FRASER, 4) WRITINGS BY OTHERS, 5) TEACHING MATERIALS, 6) CONFERENCES, 7) READING AND WORKSHOP FLYERS, 8) INTERVIEWS WITH/BY AND ARTICLES ON FRASER, 9) MISCELLANEOUS MATERIALS, and 10) RECORDINGS. SERIES 1: CORRESPONDENCE The CORRESPONDENCE series, arranged alphabetically, is comprised of correspondence both to and from prominent poets and scholars. Carbon and printed copies of Fraser's outgoing correspondence are filed under the recipient's name. Among the major and well-known poets included are Charles Bernstein, Ted Berrigan, Mei-Mei Berssenbrugge, Carolyn Burke, Norma Cole, Robert Creeley, Beverly Dahlen, Patricia Dienstfrey, Rachel Blau DuPlessis, Barbara Einzig, Kenward Elmslie, Susan Gervitz, Robert Gluck, Barbara Guest, Fanny Howe, Susan Howe, Frances Jaffer, Adrienne Rich, Ron Silliman, and Diane Wakoski.
20 Century American And British Literature
Language Poetry. Bernstein, Charles. fraser, kathleen. Hejinian, Lyn. Howe, Susan. Eliot,TS. Ferlinghetti, Lawrence. fraser, kathleen. Frost, Robert. Gilbert, Jack.
http://www.literaryhistory.com/20thC/20CAmericanandBritish.htm

Extractions: Outline of Twentieth Century American and British Literature A guide to twentieth century literature from literaryhistory.com poetry of WWI popular modernism high modernism objectivists ... Sassoon, Siegfried Popular Modernism Cummings, E. E. Frost, Robert Masters, Edgar Lee Moore, Marianne ... Williams, William Carlos High Modernism Beckett, Samuel Crane, Hart Eliot, T.S. Joyce, James ... Woolf, Virginia Imagism Doolittle, Hilda (H.D.) Pound, Ezra Objectivists Niedecker, Lorine Oppen, George Reznikoff, Charles Zukofsky, Louis The Harlem Renaissance and After Brooks, Gwendolyn Brown, Sterling Cullen, Countee Hayden, Robert ... Toomer, Jean Formalist and New Formalist Poets Hecht, Anthony Ransom, John Crowe Rich, Adrienne Tate, Allen ... Wilbur, Richard Confessional Poetry Berryman, John Lowell, Robert Plath, Sylvia Sexton, Anne The Black Mountain School Cage, John Creeley, Robert Duncan, Robert Jones, LeRoi ... Olson, Charles The Beats and the San Francisco Renaissance Baraka, Amiri (Leroi Jones) Burroughs, William Corso, Gregory DiPrima, Diane ... Whalen, Philip The New York School of Poetry Ashbery, John
Back To Upcoming Visitors
back to upcoming visitors. kathleen fraser Wednesday, 10/6/99, 600 PM Readingby poet kathleen fraser, hosted by the Creative Writing program.
http://www.english.upenn.edu/~wh/visitors/bio/fraser.html

Extractions: After graduating in English Literature, 1959, from Occidental College (California), Kathleen Fraser went to NYC to work as an editorial associate for Mademoiselle magazine, pursuing her poetic studies with Stanly Kunitz at The 92nd St. Y "Poetry Center" and, briefly, with Robert Lowell and Kenneth Koch at The New School. At this time, she began to meet a number of New York poets associated with Black Mountain, The Objectivists and the New York School. Among these poets, those to have most important influence on her work were Frank O'Hara, Barbara Guest and George Oppen. She later counted the works of Lorine Niedecker, Charles Olson and Basil Bunting as having a serious impact on her poetics. In 1964 she won the Frank O'Hara Poetry Prize and the American Academy's "Discovery Award". Other writing fellowships have included two NEA Poetry grants, in 1971 and 1978, and a Guggenheim Fellowship in poetry in 1981. After seven years as a journalist - writing and editing - and the publication of her first book - Change of Address [Kayak, 1968] - , Fraser was invited to teach as a poet-in-residence for two years at the Iowa Writer's Workshop, where her university teaching career began. She taught, subsequently, in contemporary literature and writing programs at Reed College and at San Francisco State University where she remained as a Professor of Creative Writing through 1992. In her early years at SFSU, Fraser directed The Poetry Center and founded the American Poetry Archives.
Arts/Literature/Authors/F/Fraser,_Kathleen
Arts / Literature / Authors / F / fraser, kathleen. An Interview with kathleenfraser By Jack Foley. URL http//www.alsopreview.com/foley/jffraser.html.
http://www.arts-entertainment-recreation.com/Arts/Literature/Authors/F/Fraser,_K

Extractions: Search: Welcome to arts-entertainment-recreation.com, the comprehensive search portal dedicated to the arts. We have located some of the finest art and entertainment resources from across the Web and accumulated them into a single directory. Here you can choose from a wide variety of documents, reviews, articles, and Web sites about your favorite activities. Whether you enjoy film, Broadway shows, television, books, fine art, or travel, there is something here for you. As you peruse the directory, you will notice several categories pertaining to the arts. Feel free to navigate through these categories, from broad art-related topics to specific information on selected subjects. Our search portal also gives you the option to conduct a query using our intelligent search feature. Arts Literature Authors F Fraser, Kathleen Charles Bernstein and Kathleen Fraser at the Dia Center
Translating The Unspeakable By Kathleen Fraser - R A I N T A X I O N L I N E
kathleen fraser. Yet kathleen fraser opposes nothing; rather, she illuminatesthe possible, the page's verbal explosion, with wideeyed openness.
http://www.raintaxi.com/online/2001spring/fraser.shtml

Extractions: Spring 2001 Translating the Unspeakable Poetry and the Innovative Necessity Kathleen Fraser University of Alabama Press ($19.95) by Charles Alexander athleen Fraser takes poem as space of revelation . This is the self. This is reality. Not clear. Not even repeatable, paraphrasable. Fraser's approach to poetry begins and ends in experiencethe particular life of a woman, a life of "non-presence," finding its way "within the inhibiting field of established precedent," toward an articulation that in no way recovers it for that established field. Fraser never felt at home with acceptable and prescribed definitions of poetry, and was both shattered and enlivened by the entry into her world of "exploratory works by modernist women writers," yet also "did not feel comfortable pursuing the combative tone that often accompanied the arguments" for a radicalized poetic practice. Fraser thus enters the territory not from the standpoint of polemics, but rather out of necessity. Experience won't be tamed. It requires a poetry that allows for ellipsis, palimpsest, nonclosure, disruption, and all possible radical methods known or to be invented by women and men who can not be cordoned into neat corrals.
Kathleen Fraser
Stories by kathleen fraser. Inside Goya ; Bernini'sChisel . Table of Contents Titanic Operas Home Page.
http://www.iath.virginia.edu/dickinson/titanic/material/fraser.html
"Bernini's Chisel" By Kathleen Fraser
Bernini's Chisel kathleen fraser. What causes a personsay, ina familyto feel he or she is different than the other members
http://www.iath.virginia.edu/dickinson/titanic/material/bernini.html

Extractions: What causes a personsay, in a familyto feel he or she is different than the other members, separate, an extra bit of jigsaw puzzle with unreliable hump, listing to the side of the table after the entire cardboard picture lies perfect and flat? It is I , one says to one's listening part, this undesignated fragment ''I", unique in not fitting the required measurements. Who, finally, complies and mergesat every pointwith the agreed upon shape of a human torso or preferred community type? Is the best boy's arrival focused by admirable intention or by an off-camera genetic predictor, trapped just at the periphery of departure? Perhaps it is more like the snapping back of a stretched rubber band to its inherent ovoid design? (Even now I see my current favoritewide, flat and intensely violet in color, resisting while yet holding the green florets of broccoli in place, pulling away from and returning to its familiar elastic closure around the stems.) For instance, these opening linesled by grammar and punctuation into the promise of coherence. Now I must turn my back on them. Is it the turning away that marks me? Is everyone else in my "family" looking inward to the center or are they also turning their gaze sideways? Do they see the grey animal shadow whizzing along the floorboards? Do they hear the parquet geometry of the wooden floor expanding, as if giving-up an hour of footsteps randomly wandering backwards, forwards? Daphne is rushing into leaves. Stretched sideways her mouth, the opposite of an explanded, purposeful "Ohhhm." Bernini's chisel is inside Apollo's right foot, as his left leg raises in a sprint that shows veins breaking through the white marble. Daphne is traveling ahead of herself, thinking away. Why must the photograph come out of the envelope every year and be pinned to the wallpaper? He still believes she is who he thought she was and continues describing her to herself even as tree bark is creeping like vernix or a caul between her thighs, sprouting from sapling roots that lift her body higher with the force of broad vegetation expanding and speeding-up in minute-by-minute growth.
The Uncontainable By Kathleen Fraser
The Uncontainable. by kathleen fraser. Swing and crack of the wreckersball. Action. Demolition. (back to top). BIO kathleen fraser edits HOW2 .
http://www.scc.rutgers.edu/however/v1_2_1999/current/readings/fraser.html

Extractions: The Uncontainable by Kathleen Fraser Swing and crack of the wrecker’s ball. Action. Demolition. I awake with the film running and the image stopped. That absolute moment when volition at once enters and brings down the old building. A structure with its shelter and solidity no longer in place. Necessary rupture and collapse. Then, to see: it’s only a building. Only bricks, cement, pipes, wires and stairs designed for a particular function and statement. Once pinned to someone’s drawing board, it had expressed the day "sufficient unto to its needs." This architect’s drawingat least for the momenthad been realized. Its articulation and solidity held ground. Claimed territory. DEVOLUTION a verbal scrim through which to re devolution as "a rolling down or falling; the passing (of property, qualities, rights, authority, etc.) from one person to another; devolve said of duties, responsibilities, etc.: as, the work
READINGS -- Frost -- HOW2
Boland, Eavan and kathleen fraser. A Conversation. Parnassus Poetryin Review 23 (1998) 387403. Clausen, Jan. 3-44. fraser, kathleen.
http://www.scc.rutgers.edu/however/v1_5_2001/current/readings/however/frost.html

Extractions: HOW(ever) marks a crucial juncture in the history of avant-garde writing in America. Feminist avant-garde poets from the 1910s onward have occupied an anomalous position in American letters, resisting the frequent masculinism of avant-garde rhetoric while seeking to forge alternatives, most often without an awareness of a feminist usable past from which to draw. Modern-period women avant-gardistsnotably Mina Loy, among many othersremained preoccupied by debates with contemporaneous avant-garde groups. By contrast, for more recent women poets, a rich dialogue is enacted not just with a range of contemporaries but with a diverse representation of female (and feminist) precursors. As HOW(ever) first showed, women avant-gardists are increasingly creating specifically feminist avant-garde traditionsa various lineage that explores the relationship between the constructions of gender and race and the structures of language. The editors of HOW(ever) asserted several goals for the journal: to nurture a community of avant-garde writers caught between the divergent camps of a mainstream feminist poetics and the largely male circles of the literary avant-garde; to foster dialogue between contemporary women poets and feminist scholars; and to recuperate women avant-gardists of the modern period. In 1992, in the final issue of
Small Press Traffic > Book Reviews
kathleen fraser Translating the Unspeakable Poetry and the Innovative NecessityTuscaloosa London University of Alabama Press, 2000 I was a little
http://www.sptraffic.org/html/book_reviews/fraser.html

Extractions: She didn't actually tell me, but her recent collection of essays, Translating the Unspeakable, more or less permitted me to admit my anxiety over writing this review. In eighteen pieces of writing that span twenty years, Fraser freely discusses the fears and difficulties she has faced as an innovative woman poet while tackling the important aesthetic issues one would hope to find in such a collection. Her style is utterly refreshing: a hybrid of formal and informal, memoir and criticism. The result feels completely necessary. Fraser is the author of fourteen poetry collections and former professor at San Francisco State, where she directed The Poetry Center and founded the American Poetry Archives. She is probably best known for editing and publishing HOW(ever), a journal dedicated to innovative women's poetry, which presently exists in a second incarnation, HOW2, online. Another disclosure: I work on HOW2, because after meeting Fraser last summer at a conference, she took me under her wing, informing me about the poetry world at large and mentioning HOW2's need for involvement by young women poets. It is clear to me both from experience and from reading these essays that Kathleen Fraser is serious about nurturing and participating in a community of women writers.
AnyBook4Less.com - Author: Kathleen Fraser
Keyword, 1 2 Next 1. Compare Prices, Cover Image, Title Highland Flame by KathleenFraser ISBN 0451131576 Publisher New American Library Pub.
http://www.anybook4less.com/author/Kathleen Fraser.html
Topographies: The Play Of Silence And Space In Kathleen Fraser's "Etruscan Pages
Topographies the play of silence and space in kathleen fraser's Etruscan Pages by James McCorkle. Minneapolis Minnesota UP, 1986. fraser, kathleen.
http://www.studiocleo.com/cauldron/volume4/features/fraser/crit/mccorkle.html

Extractions: Topographies: the play of silence and space in Kathleen Fraser's "Etruscan Pages" by James McCorkle In Kathleen Fraser's "Etruscan Pages" one finds spatial arrangements that allow for heterogeneity in the levels and genres of language and for degrees of lyricism. Her work, as she describes it in "The Tradition of Marginality," is "a listening attitude, an attending to unconscious connections, a backing-off of the performing ego to allow the mysteries of language to come forward and resonate more fully" (59). Fraser notes in a 1996 interview with Cynthia Hogue that what most interested her "was always a project of language textures and invention. . . . the particular research of the language. How it placed itself on the page" (23). What follows is a series of meditations on various aspects of Fraser's poetics; simultaneously the essay tracks "Etruscan Pages" to provide a partial reading of the poem. Error To accede to a "pre-existing model" is to close off possibility-and indeed the lyric's condition of ecstasy. Thus in Fraser's lines "Quick finches scale air / In the ravine, a presence" (10) we find a doubled movement into air and plunging into the ravine as well as the compressed succession of k/c/s sounds. These lines take one out of one's place: presence is not the knowledge of self but an awareness of presence beyond the bounds of one's self. The ravine is an opening in the literal terrain, but also an interruption and hollowing out that provides the space for another presence.
K A T H L E E N F R A S E R
http://www.studiocleo.com/cauldron/volume4/features/fraser/
DINO - Language: Englisch - Arts - Literature - Authors - F - Fraser, Kathleen
fraser, kathleen fraser, kathleen, Sprache/Language. Related Categories,
http://www.dino-online.de/dino_page_9738bc1a069acc4f1b7df8984f5917de.html
Photoshop Bookstore: Product Listing
Il Cuore The Heart Selected Poems 19701995 (Wesleyan Poetry) by KathleenFraser, Peter Quartermain Our price $35.00 Release Date September, 1997.
http://www.photoshoproadmap.com/author/books/find_artist Kathleen Fraser/2
University Press Of New England | Il Cuore: The Heart
il cuore the heart Selected Poems 19701995 fraser, kathleen. il cuore the heart is a major new collection of poetry by kathleen
http://www.upne.com/0-8195-2244-9.html

Extractions: il cuore : the heart is a major new collection of poetry by Kathleen Fraser, one of the most significant poets of the last generation and a writer of unusual courage and inventiveness. From the intimacy of early poems to the syntactic play of her much-praised book, when new time folds up (1993), Fraser's work examines fields of possibility, where the visual, theoretical, and lyrical collide. This book provides a generous selection of work both new and old, tracing the development of her poetics over the last three decades. Rich with detail, these poems radicalize intention by embracing error, as in "boundayr," and reassert language innovation as a feminist strategy. They lead us toward "the infinity of a door only slightly ajar" and have established Fraser as one of America's preeminent experimental writers. Kathleen Fraser, author of 14 books of poetry, was Professor of Creative Writing at San Francisco State University from 1972 to 1992, Director of the Poetry Center, founder of American Poetry Archives, and editor of the feminist/experimentalist poetry journal HOW(ever). She lives part of each year in Italy.
Fraser Valley Quilters' Guild
Copyright © kathleen Anderson 2000. This page created and maintained by M. Gallagher© 2000, for fraser Valley Quilters' Guild. All rights reserved.
http://members.tripod.com/~FVQG/gallery2/kathleen.htm

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