RANSOM, John Crowe. Eleven typed letters signed ("John Crowe Ransom"), one autograph letter signed, and two autograph notes signed, to William Targ, Mrs. Alfred A. Knopf, William Cole, James Putnam, et al, 1927-1953. Together 18 pages, various 12mo to 4to sizes, most on the letterhead of the Kenyon Review, quarter morocco slipcase.
RANSOM, John Crowe. Eleven typed letters signed ("John Crowe Ransom"), one autograph letter signed, and two autograph notes signed, to William Targ, Mrs. Alfred A. Knopf, William Cole, James Putnam, et al, 1927-1953. Together 18 pages, various 12mo to 4to sizes, most on the letterhead of the Kenyon Review, quarter morocco slipcase.

细节
RANSOM, John Crowe. Eleven typed letters signed ("John Crowe Ransom"), one autograph letter signed, and two autograph notes signed, to William Targ, Mrs. Alfred A. Knopf, William Cole, James Putnam, et al, 1927-1953. Together 18 pages, various 12mo to 4to sizes, most on the letterhead of the Kenyon Review, quarter morocco slipcase.

A DETAILED CORRESPONDENCE FROM RANSOM AS WRITER/EDITOR. The Southern "Fugitive" poet Ransom writes to Mrs. Knopf in 1927 discussing the preparation of an anthology of Fugitive verse, telling her that Harcourt has accepted the manuscript and that the Fugitive poets are not just a "local affair." A typed postcard provides a testimonial that "[Ford Madox] Ford's The Good Soldier is one of the fifteen or twenty greatest novels in English produced in our century" (undated).

The majority of the correspondence is to William Coleman, at the National Book Award, and William Targ, then with World Publishing Company. To Cole, Ransom writes of the Poetry Award Committee and his votes, in 1953, for Robert Penn Warren, Conrad Aiken and Karl Shapiro. He provides a detailed analysis of his interpretation of these poets and his reasons for allocating his points to them, concluding that Warren is his "top candidate."

Ransom's letters to Targ reflect their mutual endeavors in publishing, with Ransom in one letter declaring that "What I mean to take up... is the status of our Kenyon Review as an organ of literary expression very much wider than its supposed commiment to the so-called 'New Criticism' of poetry; we are much the most catholic literary organ going..." (8/25/50).