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Some days, everything is a machine: The Poetic Practices of Mary Jo Bang
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Some days, everything is a machine: The Poetic Practices of Mary Jo Bang
The Art of Making
Self-Portrait as Marlene Dietrich
The Bride of E
Letter from MoMA
Musical track
Superstition interview
A Film in Which I Play Everyone
"Green Earth" Mississippi Review
"From the Museum of Mary"
“Mary Jo and Sappho”
Trooping the Colour
Talk: Image and Text
On the art of collage
Verse Magazine Interview
Yale Syllabus
Letter from University of Iowa
Materials from The Elements of Style
In Dialogue
Postcards from Claudia Rankine
Broadside
Ticket to Two September
Printed Emails between Bang and Mark Bibbins
Book of Matches
Annotated Checkbook Photocopy
Printed Email from Lucie Brock-Broido
Lucie Brock-Broido, The Master Letters
Guggenheim Fellowship Correspondence
Letter from Library of Congress
Letter from Poets Outloud
Letter to Lucie Brock-Broido
Schedule for New York
Echoes and Afterlives
Portrait of Mother
Portrait of Kathie Berquist
Photograph in Rome
Telex Confirmation
Leather Calendar
Mississippi Review Journal
Dante's Inferno, Purgatorio, and Paradiso
Una muñeca para tirar
il verri: Transoceanic (Un)Limited
Draft of Inferno Translation
Manuscript Note: Canto V
American Poet Journal
Bellagio project description
Description of translating Dante
Villa Gillet Contract
Line by Line
Portrait of Mónica de la Torre
A Doll for Throwing
The New York Times Book Review
Early Draft of a Poem from Elegy
Early Draft of “A Place”
Annotated Draft of "The Year Ends"
Photobooth Strip of Michael
Elegy
Elegy publicity outline
Catalog copy for Elegy
“Landscape with the Fall of Icarus"
Book cover for Elegy
Perseverance in Practice
Portrait of Alice Quinn
Portrait of Timothy Donnelly
Printed Email to Timothy Donnelly
Letter to The Quarterly
Rejection Letter from The New Yorker
Acceptance Letter from The New Yorker
“The Star’s Whole Secret"
Letters from WW Norton & Co
Letter from Robin Robertson
Apology for Want
Letter to Alice Quinn
“Beast Brutality”
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Media
Part of
“Beast Brutality,” The New Yorker
