Photos of Frank Stanford by the widow accompanied her essays in both publications. Also in 1997, Conjunctions published C. D. Wright's essay, "Frank Stanford, Of The Mulberry Family: An Arkansas Epilogue." Stanford has also been written about in at least two novels — Steve Stern's The Moon & Ruben Shein and Forrest Gander's As A Friend — and two folk songs — the Indigo Girls' "Three Hits" and Lucinda Williams' "Pineola;" the former is an ode to Stanford's work while the latter is a eulogy of sorts for Stanford, who was a family friend of the Williamses. Stanford's impact on poetry was profound and lasting, and celebrations of his work frequently take place. All-night readings of The Battlefield Where The Moon Says I Love You have also occasionally occurred, such as one organized by Brown University students in 1990 and another at New York's Bowery Poetry Club in April 2003. A July 1997 tribute to Stanford in Fayetteville featured readings of Stanford's poetry and a screening of It Wasn't A Dream, It Was A Flood. Critical response Despite continued interest in Stanford's work, his legacy has been largely overlooked in the canonization process of poetry anthologies and university literature courses. He is one of the least known of the significant voices of latter 20th century American poetry, despite being widely published in many prominent magazines, including The American Poetry Review, Chicago Review, FIELD, The Iowa Review, Ironwood, kayak, The Massachusetts Review, The Mill Mountain Review, The Nation, New American Review, The New York Quarterly, Poetry Now, and Prairie Schooner. However, Stanford's work has received significant critical praise. Alan Dugan called Stanford "a brilliant poet, ample in his work," comparing him to Walt Whitman. Poet Franz Wright called him "one of the great voices of death." Poet Lorenzo Thomas called him "amazing ... a swamprat Rimbaud, poet James Wright referred to him as a "superbly accomplished and moving poet," and poet Richard Eberhart praised the "strange grace of language in the poet's remarkable, unforgettable body of work." Leon Stokesbury introduces The Light The Dead See by claiming that Stanford was, "at the time of his death, the best poet in America under the age of thirty-five." Other contemporaries remarked his "perfectly tuned" ears, the "remarkable acuity" of his "clear-cut imagery and spring-tight lines," and his "remarkable talent" as a "testimony to [his] place in American letters." In his introduction to What