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In Box 66, Folder 13, of the Edna St. Vincent Millay Papers at the Library of Congress, there is a letter from B. Starr of Johnny Cash Music, Inc. to Millay's sister Norma, to whom the control of Millay's estate had passed upon Millay's death in 1950. Dated December 17, 1959, Starr's letter accompanies a copy of Cash's recording (not included in Box 66, Folder 13) of Vincent's 1922 poem " The Ballad of the Harp-Weaver ," which, Starr explains, Columbia Records was planning to release. "I feel sure you will agree that the talents of Johnny Cash are well suited to a recording of 'The Harp Weaver,' and that the recording which I am enclosing is a dignified one," Starr writes. "As I told you in our telephone conversation, we would like to make an agreement for 'The Harp Weaver' as a musical composition upon the customary royalties of four cents per copy and 50% of the mechanical fees for records manufactures and sold of reco...

P&PC spent November 6-9 at the Modernist Studies Association's annual conference , held this year in Pittsburgh and hosted in all of its Iron City glory by Duquesne University with the co-sponsorship of the University of Pittsburgh. We had a chance to catch up with P&PC favorites like Marsha Bryant , Melissa Girard , and Erin Kappeler . We went to the exquisite Andy Warhol Museum where, among other things, we discovered Warhol's rhyming alphabet book ("A was a lady who went shopping at Sacks / ... C was her coat styled well front and back") as well as Warhol's childhood fondness for Ogden Nash . And we presented with Bryant , Steve Evans, Elisabeth Frost , Jeanne Heuving , and Lisa Sewell as part of a roundtable panel discussion titled "Why Women's Poetry Now?" Since most of you weren't able to join us in The 'Burgh, we thought you might like to hear the "position paper" we gave as part of that panel—the 5-7-minute talk ...