Jonathan Williams: The lord of orchards

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»
[»»] Simon Cutts: Anglophone Digressions
[»»] Thomas A Clark and Laurie Clark
[»»] Thomas Meyer: Kintsugi — with a Foreword by Robert Kelly

RESPONDING:
[»»] Guy Davenport: Jonathan Williams, Poet
[»»] Charles Olson: For a Man Gone to Stuttgart Who Left an Automobile Behind Him
[»»] Charles Olson: Nota to «Jammin’ the Greek Scene»
[»»] Robert Duncan: Preface to Jonathan Williams’ «Elegies and Celebrations»
[»»] James Maynard: Some notes on Jonathan Williams and Robert Duncan
[»»] Jed Birmingham: William Burroughs and Jonathan Williams
[»»] David Annwn: Mustard & Evening Primrose, the astringent extravagance of Jonathan Williams’ metafours
[»»] Eric Mottram: An Introduction: “Stay In and Use Both Hands”
[»»] Jim Cory: We Were All Beautiful Once (or) Never Bare Your Soul to an Asshole
[»»] Jonathan Greene: Jonathan Williams: Taking Delight In Two Worlds
[»»] Kenneth Irby: “america’s largest openair museum”
[»»] Ronald Johnson: Jonathan (Chamberlain) Williams
[»»] Thomas Meyer: JW Gent & Epicurean
REVIEWING:
[»»] Jonathan Williams: Image Gallery: 24 photographs by Jonathan Williams
[»»] Richard Deming: Portraying the Contemporary: The Photography of Jonathan Williams
[»»] Vic Brand: Burr, Salvage, Yoke
RECOLLECTING:
[»»] James Jaffe: Jonathan Williams, Jargonaut
[»»] Kyle Schlesinger: The Jargon Society
[»»] Tom Patterson: If You Can Kill a Snake with It, It Ain’t Art: The Art History of a Maverick Poet-Publisher
[»»] Michael Basinski: Some Facts and Some Memories: The Jargon Society Archive at the Poetry Collection State University of New York at Buffalo
[»»] Dale Smith: Devotion to “The Strange”: Jonathan Williams and the Small Press
[»»] Jonathan Williams in conversation with Richard Owens,1 June 2007
[»»] Robert J. Bertholf: The Jargon Society and Contemporary Literary History
[»»] Jargon Society: A Checklist
[»»] Jonathan Williams: A Checklist