current course while also promising to pursue and develop young writers, one of Lytle’s goals. Speaking to these young writers, Lytle asked “that what they send in is truly finished; in fiction particularly that the one story be done, not just a story but the only action which the circumstances and the author’s post allows” (Sewanee Review 711 V 69). Lytle confronts this same issue in his foreword to A Novel, A Novella, and Four Stories, stating that fiction “is an action then, and an action which tells the only story which makes of the form and subject a single whole” (Foreword 197). As Core reaffirms (Editorial History 17), fiction was Lytle’s primary concern, as it had always been, and during his editorship he would publish an average of ten stories per year—Spears, by most immediate contrast, went through one year publishing only one story in its four issues. Despite this prejudice, Lytle did make equally serious efforts to publish verse and criticism of high quality. In the mid-1960’s Lytle wrote an informal guide to editing at the Sewanee Review, possibly fearing his own failing health, entitled “Some of the Steps Necessary in Publishing a Quarterly Literary Magazine.” While much of the memo is focused on pure logistical problems—i.e. what to do with the hundreds of books sent by publishers to be reviewed, how best to copyedit the final proof of an issue, how to advertise effectively—Lytle clearly establishes his plan for an appropriate distribution of material. “1. Fiction—10-12 stories per year. 2. Essays— 10-12 per year, up to 14 some times. 3. Verse—the work of 25-30 poets” (Lytle, Steps 1). Lytle followed these guidelines, mostly, throughout his time at the Sewanee Review, always making room for fiction and publishing such notable poets as Dickey, Warren and Ted Hughes, and essays by Caroline Gordon, Arthur Mizener, Brainerd Cheney and Austin Warren While Lytle’s first issue may have been backlogged from pieces selected by Spears, Lytle’s issues from 1962 clearly illustrate his dedication to and dependence upon his former
current course while also promising to pursue and develop young writers, one of Lytle’s goals. Speaking to these young writers, Lytle asked “that what they send in is truly finished; in fiction particularly that the one story be done, not just a story but the only action which the circumstances and the author’s post allows” (Sewanee Review 711 V 69). Lytle confronts this same issue in his foreword to A Novel, A Novella, and Four Stories, stating that fiction “is an action then, and an action which tells the only story which makes of the form and subject a single whole” (Foreword 197). As Core reaffirms (Editorial History 17), fiction was Lytle’s primary concern, as it had always been, and during his editorship he would publish an average of ten stories per year—Spears, by most immediate contrast, went through one year publishing only one story in its four issues. Despite this prejudice, Lytle did make equally serious efforts to publish verse and criticism of high quality. In the mid-1960’s Lytle wrote an informal guide to editing at the Sewanee Review, possibly fearing his own failing health, entitled “Some of the Steps Necessary in Publishing a Quarterly Literary Magazine.” While much of the memo is focused on pure logistical problems—i.e. what to do with the hundreds of books sent by publishers to be reviewed, how best to copyedit the final proof of an issue, how to advertise effectively—Lytle clearly establishes his plan for an appropriate distribution of material. “1. Fiction—10-12 stories per year. 2. Essays— 10-12 per year, up to 14 some times. 3. Verse—the work of 25-30 poets” (Lytle, Steps 1). Lytle followed these guidelines, mostly, throughout his time at the Sewanee Review, always making room for fiction and publishing such notable poets as Dickey, Warren and Ted Hughes, and essays by Caroline Gordon, Arthur Mizener, Brainerd Cheney and Austin Warren While Lytle’s first issue may have been backlogged from pieces selected by Spears, Lytle’s issues from 1962 clearly illustrate his dedication to and dependence upon his former
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