Note: I initially reached out to Tom Patterson in June 2019 with a research inquiry related to poets practicing in the American South during the late 1970s and ’80s. Although he’s now known primarily as a writer on contemporary art and an independent curator, Tom has served in multiple roles with small poetry presses over the years, perhaps most notably as the executive director of the Jargon Society from 1984–87, where he led Jargon’s Southern Visionary Folk Art Preservation Project.
INTRODUCTION: [»»] Jeffery Beam and Richard Owens: The Lord of Orchards: Jonathan Williams at 80: (Excerpt:) Throughout his life in poetry and the arts Williams preferred active involvement with artists and the world at large over cloistered study or administrative labor: “I clearly did not want to become a Byzantinist in the basement of The Morgan Library; or an art critic for The New Yorker; nor did I want to live in the world of competitive business.” His work in the arts thus demanded direct and persistent engagement with the world — a form of engagement that gave rise to both enduring friendships and irreconcilable conflicts.
REMEMBERING: [»»] Jonathan Williams: A Life in Pictures [»»] Basil Bunting: Comment on Jonathan Williams [»»] Dear JW: Erica Van Horn [»»] James McGarrell: Mountainside Reader; for JW [»»] Ann McGarrell: À mon cher Stodge [»»] Anne Midgette: On With It [»»] Bob Arnold: Swept in with the Rain [»»] Charles Lambert: Acts of Kindness [»»] Diana C. Stoll: Jonathan Williams: More Mouth on that Man [»»] Gary Carden: The Bard of Scaly Mountain [»»] Harry Gilonis: from Pliny: Naturalis Historia XXVII. xvi 58 [»»] John Mitzel: Jonathan Williams: An Appreciation [»»] Michael Rumaker’s Last Letter to Jonathan Williams [»»] Robert Kelly: Colonel Generosity — Saying Thank You to Jonathan Williams [»»] Ronald Johnson: A Microscopic/ Telescopic Collage of «The Empire Finals at Verona»