Tag Archives: Dave Haselwood

Michael McClure: Books and Broadsides

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This index includes books and broadsides beginning with McClure’s first book through the end of the 1960’s…

A. Books and Broadsides

1. McClure, Michael. PASSAGE
mcclure_passageBig Sur: Jonathan Williams – Publisher, June 1956
First edition, sewn wrappers, 7.25″ x 10.75″, 12 pages, 200 copies. Cover by Jonathan Williams. Published as Jargon 20. Printed by the Windhover Press.
(Clements A1)

2. McClure, Michael. PEYOTE POEM
(San Francisco): Wallace Berman, 1958.
First edition, folded broadside tipped into folder, 9″ x 12″, 200 copies. Published as SEMINA 3.
(Clements A2)


3. McClure, Michael. FOR ARTAUD
mcclure_forartaudNew York: Totem Press, June 1959
First edition, illustrated wrappers, 5.5″ x 8.5″, 12 pages, (750 copies). Published as Blue Plate #2. (Clements A3)



4. McClure, Michael. WE’RE IN THE MIDDLE OF A DEEP CLOUD
(San Francisco): (Wallace Berman), (1959)
First edition, broadside, 3.5″ x 4.25″. Laid into Semina 4.




5. McClure, Michael. HYMNS TO ST. GERYON AND OTHER POEMS
mcclure_hymnsSan Francisco: Auerhahn Press, October 1959
First edition, perfect-bound illustrated wrappers, 7.25″ x 10″, 62 pages, (950 copies). Cover illustration by McClure.
(Clements A4, Auerhahn 4)


6. McClure, Michael. FUCK DEATH
(San Francisco): privately printed, 1959
First edition, folded card, 5″ x 3.5″.
(Clements A5)

7. McClure, Michael. !THE FEAST!
San Francisco: The Batman Gallery, 1960
First edition, stapled sheets, 8.5″ x 11″, mimeograph. A working script of the play.
(Clements A6)

8. McClure. Michael. WE ARE IMPERVIOUS AS THE SKIN OF OUR DREAMS
(Los Angeles): (Wallace Berman), (1960)
First edition, broadside, 4″ x 6.25″. Laid into Semina 5.




9. McClure, Michael. THE NEW BOOK / A BOOK OF TORTURE
New York: Grove Press, August 1961
First edition, perfect-bound wrappers, 64 pages, (4,000 copies). Photo of McClure on rear wrapper by Wallace Berman.
(Clements A7)


10. McClure, Michael. PILLOW
New York: New York Poets Theatre, 1961.
First edition, stapled sheets, 8.5″ x 11″, 7 pages. A working script of the play.
(Clements A8)

11. McClure, Michael. SPONTANEOUS HYMN TO KUNDALINI
(New Orleans): (Loujon Press), (Fall 1961)
First edition, broadside, 5.75″ x 9″. An offprint from The Outsider, Vol. 1, No.1.




12. McClure, Michael. DARK BROWN
mcclure_darkbrownSan Francisco: Auerhahn Press, Winter 1961
— A. First edition, perfect-bound printed wrappers, 6″x 9″, 56 pages, 725 copies.
— B. First edition, hardcover, 6″ x 9″, 56 pages, 25 numbered and signed copies, bound by the Schuberth Bindery.
Printed announcement issued.
(Clements A9, Auerhahn 13)

13. McClure, Michael. MEAT SCIENCE ESSAYS
San Francisco: City Lights Books, June 1963
First edition, perfect-bound wrappers, 84 pages, (3,000 copies). (Clements A10, Cook 41)




14. McClure, Michael. GRAHHR SHEET
(San Francisco): privately printed, (1963)
First edition, broadside, 6.25″ x 2″. According to Clements, copies were given away by the author as tickets at readings in San Francisco and at the University of California at Berkeley.
(Clements A11)
[not in archive]

15. McClure, Michael. TWO FOR BRUCE CONNER
(San Francisco): Oyez Press, 1964
First edition, broadside, 500 copies. Published as Oyez #1, printed by Auerhahn Press.
(Clements A12)

16. McClure, Michael. POERTRY IS A MUSCULAR PRINCIPLE
(Los Angeles): privately printed, 1964
First edition, broadside, 8.5″ x 5.5″. Announces a reading by McClure. Photograph of McClure by Wallace Berman; make up by Robert LaVigne. Beneath the photo is a statement by McClure beginning “Poetry is a muscular principle…”
(Clements A13)

17. McClure, Michael. BLUE-BLACK...
(Los Angeles): privately printed, (Summer 1964)
First edition, broadside, 7.5″ x 2.5″. Contains one-line poem: “BLUE-BLACK SPACE RAINBOW GRAHHR”.
(Clements A14)

18. McClure, Michael. THE BLOSSOM: OR BILLY THE KID
mcclure_blossomNew York: American Theatre for Poets, June 1964
First edition, stapled sheets, 8.5″ x 11″, 26 pages. A working script of the play.
(Clements A15)


19. McClure, Michael. GHOST TANTRAS
San Francisco:  privately printed, 1964
— A. First edition, perfect-bound illustrated wrappers, 108 pages, 1480 copies.
— B. First edition, hardcover in illustrated dust wrapper, 109 pages, 20 copies signed. Issued with a copy of BLUE BLACK… (see A17) laid in.
Cover photo of McClure by Wallace Berman.
(Clements A16)

20. McClure, Michael. DOUBLE MURDER! VAHROOOOOOOHR!
(Los Angeles): (Wallace Berman), 1964
First edition, broadside, 3″ x 4.75″, (200 copies). Contained in a small manila envelope bearing an altered photograph of Jack Ruby at the point of murdering Lee Harvey Oswalk. Published as SEMINA 9.
(Clements A17)

21. McClure, Michael. LOVE LION, LIONESS
mcclure_lovelion(San Francisco):  privately printed, (December 1964)
— A. First edition, poster, 28″ x 22″, 350 copies printed in red and blue in the style of a boxing poster.
— B. First edition, broadside, 11″ x 8.5″, 70 copies printed in black in the style of a boxing poster.
Tickets measuring 5.5″ x 2.25″ were printed for the fictitious event.
(Clements A18)

22. McClure, Michael. 13 MAD SONNETS
mcclure_13madMilan: East 128, 1964
First edition, saddle-stapled sheets in printed dust jacket, 8.5″ x 11″, 28 pages, 315 copies (299 numbered for sale). Photographs of McClure by Ettore Sotsass Jr.
(Clements A19)

23. McClure, Michael. THE BEARD
(San Francisco):  privately printed, April 1965
First edition, perfect-bound wrappers, 71 pages, 350 copies planned, 330 produced. (Clements A20)



24. McClure, Michael. POISONED WHEAT
mcclure_poisoned(San Francisco):  (Oyez Press), April 1965
— A. First edition, saddle-stapled illustrated wrappers. 5.75″ x 7.75″, 16 pages, 576 copies.
— B. First edition, hardcover in printed dust wrapper, 5.75″ x 7.75″, 16 pages, 24 copies lettered alpha through omega and signed by the author. Bound by Dorothy Hawley.
(Clements A21)

25. McClure, Michael. UNTO CAESAR
mcclure_unto(San Francisco): (Dave Haselwood), (1965)
First edition, hand-sewn printed wrappers, 6.5″ x 4″,  24 pages, circa 60 copies.
(Haselwood 1)

26. McClure, Michael. DREAM TABLE
San Francisco: Dave Haselwood, 1965
First edition, 30 double-sided printed cards, 2.5″ x 3.5″, 200 sets (30 signed). Each card is printed with a Lion and a Tree ornament on one side and two words on the other.
(Haselwood 5)


27. McClure, Michael. LOBE KEY STILLED LIONMAN LACED WINGED APRIL RAPHAEL DANCE WIRY
(San Francisco): (Dave Haselwood), (1966)
First edition, 24 cards in printed envelope, 2″ x 2″, envelope measures 4.5″ x 5.75″. Each card is printed with  four words one side and a hallucinogram on the other. Illustrated by Bruce Conner.
(Haselwood 10)

28. McClure, Michael and Bruce Conner. MANDALAS
San Francisco: Dave Haselwood, 1966
First edition, saddle-stapled printed wrappers, 10″ x 10″, 32 pages, 1200 copies. Illustrated by Bruce Conner. Printed announcement issued.
(Haselwood 11)

29. McClure, Michael. LOVE LION BOOK
San Francisco: Four Seasons Foundation, 1966
— A. First edition, saddle-stapled printed wrappers, 1000 copies.
— B. First edition, hardcover, 40 copies numbered and signed.
Published as Writing 11.

30. McClure, Michael. POISONED WHEAT
mcclure_poisonedSan Francisco:  Coyote, 1966
First edition thus, second printing, saddle-stapled illustrated wrappers. 5.75″ x 7.75″, 16 pages, 5000 copies.



31. McClure, Michael. MEAT SCIENCE ESSAYS
San Francisco: City Lights Books, June 1966
Second expanded edition, perfect-bound wrappers, 120 pages. This expanded edition contains three essays not found in the 1963 publication: “Phi Upsilon Kappa”, “Defense of Jayne Mansfield”, and “Reason”. (not in Cook)

32. McClure, Michael. THE BEARD
San Francisco: Coyote, 1967

33. McClure, Michael. THE BEARD
New York: Grove Press, 1967

34. McClure, Michael. WAR IS DECOR IN MY CAVERN CAVE
(San Francisco): Communication Company, (1967)

35. McClure, Michael. THE BLOSSOM, OR BILLY THE KID
Milwaukee: Great Lakes Books, 1967

36. McClure, Michael. FREEWHEELIN FRANK
New York: Grove Press, 1967






37. McClure, Michael. HAIL THEE WHO PLAY
Los Angeles: Black Sparrow Press, August 1968
— A. First edition, perfect-bound printed wrappers, 233 numbered and signed copies.
— B. First edition, hardcover, 75 numbered and signed copies, each with an original drawing by the author.

38. McClure, Michael. LITTLE ODES: Jan – March 1961
New York: Poets Press, 1968

39. McClure, Michael. THE SERMONS OF JEAN HARLOW AND THE CURSES OF BILLY THE KID
San Francisco: Four Seasons Foundation with Dave Haselwood Books, 1968
— A. First edition, saddle-stapled wrappers, 6″ x 9.25″, 24 pages, 1200 copies.
— B. First edition, hardcover, 6″ x 9.25″, 24 pages, 50 copies signed.
(Haselwood 17)

40. McClure, Michael. MUSCLED APPLE SWIFT
Los Angeles: Love Press, 1968

41. McClure, Michael. GRAHHR APRIL GRHARRR APRIL
(Buffalo): (Gallery Upstairs Press), (1968)
First edition, broadside, 28.5″ x 21.25″.

42. McClure, Michael. GREETINGS
London: Cape Goliard Press, 1968
First edition, broadside, 11″ x 12″.

43. McClure, Michael. HYMNS TO ST. GERYON & DARK BROWN
London: Cape Goliard, 1969
— A. First edition thus, perfect-bound illustrated wrappers.
— B. First edition thus, hardcover in illustrated dust jacket.
Two titles previously published by Auerhahn Press, published here dos-a-dos. Illustrated and with cover art by Wallace Berman.

44. McClure, Michael. LITTLE ODES AND THE RAPTORS
Los Angeles: Black Sparrow Press,  March 1969
— A. First edition, perfect-bound illustrated wrappers, 6.25″ x 9.25″, 43 pages, 1000 copies.
— B. First edition, hardcover in cloth with paper label, 6.75″ x 9.5″, 43 pages, 200 copies numbered and signed.
— C. First edition, hardcover in gold stamped leather, 6.75″ x 9.5″, 43 pages, 26 copies lettered and signed with each with an original drawing by the author.
Cover illustration by the author.

45. McClure, Michael. THE SURGE
Columbus, OH: Frontier Press, 1969

46. McClure, Michael. LION FIGHT
New York: Pierrepont Press, 1969
First edition, 28 cards housed in a hinged plastic box covered in a cream-colored silk drawstring bag with a white satin cord,.
— A. 330 copies numbered and signed
— B. 26 copies lettered and signed
— C. 4 hors commerce copies signed.

47. McClure, Michael. GHOST TANTRAS
San Francisco: Four Seasons Foundation, 1969
First edition thus, second printing preceded by the privately published edition from 1964, perfect-bound illustrated wrappers, 106 pages. Cover photo of McClure by Wallace Berman.

48. McClure, Michael. PLANE POMES
New York: Phoenix Book Shop, 1969
First edition, hand-sewn wrappers with printed label.
A. 100 numbered and signed copies.
B. 26 lettered and signed copies.

49. McClure, Michael. THE SHELL
London: Cape Goliard, 1969
First edition, broadside in a tube.
— A. 250 copies numbered.
— B. 50 copies numbered and signed by the author.

50. McClure, Michael. MUSCLED APPLE SWIFT
Sacramento: Runcible Spoon, 1969
First edition thus, second printing following the 1968 edition by Love Press, side-stapled illustrated wrappers, 350 copies.

51. McClure, Michael. TO JAMES B. RECTOR
San Francisco: Privately Published, 1969
First edition, broadside,
A. trade edition, total number published unknown.
B. 30 copies numbered and signed by the author.

52. McClure, Michael. LIBERATION
Oakland: Mills College Tape Music Center, 1969
First edition, broadside, issued in a large bag labeled “Free,” along with 8 broadsides by other contributors.

Auerhahn Press: Broadsides

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This index includes Auerhahn Press broadsides from 1959 through 1965.

B. Auerhahn Press: Broadsides

1. Whalen, Philip. SELF-PORTRAIT FROM ANOTHER DIRECTION
San Francisco: Auerhahn Press, 1959
First edition, folded broadside tipped into printed wrappers, broadside measures 9″ x 19.5″ unfolded. Whalen’s first book and the third from Auerhahn. Handset and printed by Jay McIlroy and Dave Haselwood.

2. Page, David. BABYWHIPLAND
San Francisco: Auerhahn Press, 1961
First edition, broadside folded once as issued, 5.25″ x 7.5″ (5.25″ by 15″ when open), 350 copies.




3. Duncan, Robert. A BOOK OF RESEMBLANCES
San Francisco: Auerhahn Press, n.d.
First edition, broadside, 8″ x 15.5″, illustrated by Jess





4. Blaser, Robin. APPARITORS
San Francisco: Auerhahn Press 1963
First edition, broadside, 13″ x 20″, 300 copies, illustrated by Fran Herndon, signed by the author and artist.



5. Shelley, Percy Bysshe. A VALENTINE FROM THE AUERHAHN
San Francisco: Auerhahn Press, [1964]
First edition, broadside, 7.25″ x 4″.


6. Whalen, Philip. GODDESS
(San Francisco): Auerhahn Press, December 1964
First edition, broadside, 8 1/2″ x 12″, 125 copies.





7. Welch, Lew. RICHER THAN THE RICHEST FALCONER
(San Francisco): Auerhahn Press, (1965)
First edition, broadside, 9.5″ by 15.5″, 125 copies printed for Don Carpenter.

Dave Haselwood Books

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This index includes books and other items printed by Dave Haselwood from 1965 to 1970.

D. Dave Haselwood Books

1. McClure, Michael. UNTO CAESAR
mcclure_unto(San Francisco): (Dave Haselwood), (1965)
First edition, hand-sewn printed wrappers, 6.5″ x 4″,  24 pages, circa 60 copies.
(Haselwood 1)

2. Hoyem, Andrew. THE MUSIC ROOM
San Francisco: Haselwood, 1965
First edition, hand-sewn printed wrappers, 6.5″ x 4″,  16 pages, circa 100 copies. Illustrated by Bruce Conner.
(Haselwood 2)

3. Wieners, John. CHINOISERIE
San Francisco: Dave Haselwood, 1965
First edition, hand-sewn printed wrappers, 6.5″ x 4″,  20 pages, circa 100 copies.
(Haselwood 3)

4. Wieners, John. THE HOTEL WENTLEY POEMS
San Francisco: Dave Haselwood, 1965
Second edition revised, saddle-stapled illustrated wrappers, 6″ x 8.5″, 28 pages. Illustration by Robert La Vigne. These are the “original versions” of the poems.
(Haselwood 4)

5. McClure, Michael. DREAM TABLE
San Francisco: Dave Haselwood, 1965
First edition, 30 double-sided printed cards, 2.5″ x 3.5″, 200 sets (30 signed). Each card is printed with a Lion and a Tree ornament on one side and two words on the other.
(Haselwood 5)

6. Williams, Jonathan. PAEAN TO DVORAK, DEEMER & McCLURE
San Francisco: Dave Haselwood, 1966
First edition, hand-sewn printed wrappers, 6.5″ x 4″,  32 pages, circa 100 copies.
(Haselwood 6)

7. Johnson, Ronald. ASSORTED JUNGLES: ROUSSEAU
San Francisco: Dave Haselwood, 1966
First edition, hand-sewn printed wrappers, 6.5″ x 4″,  32 pages, circa 100 copies.
(Haselwood 7)

8. Hoyem, Andrew. CHIMERAS
San Francisco: Dave Haselwood, 1966
First edition, hand-sewn printed wrappers, 6.25″ x 9.5″,  28 pages.
(Haselwood 8)

9. Plymell, Charles. APOCALYPSE ROSE
San Francisco: Dave Haselwood, 1966
First edition, saddle-stapled printed wrappers, 6″ x 9″,  52 pages. Introduction by Allen Ginsberg.
(Haselwood 9)

10. McClure, Michael. LOBE KEY STILLED LIONMAN LACED WINGED APRIL RAPHAEL DANCE WIRY
(San Francisco): (Dave Haselwood), (1966)
First edition, 24 cards in printed envelope, 2″ x 2″, envelope measures 4.5 x 5.75″. Each card is printed with  four words one side and a hallucinogram on the other. Illustrated by Bruce Conner.
(Haselwood 10)

11. McClure, Michael and Bruce Conner. MANDALAS
San Francisco: Dave Haselwood, 1966
First edition, saddle-stapled printed wrappers, 10″ x 10″, 32 pages, 1200 copies. Illustrated by Bruce Conner. Printed announcement issued.
(Haselwood 11)

12. Ferlinghetti, Lawrence. AFTER THE CRIES OF THE BIRDS
San Francisco: Dave Haselwood: 1967
First edition, saddle-stapled printed wrappers, 6″ x 8″, 16 pages.
(Haselwood 12)

13. Whalen, Philip. T/O
San Francisco: Dave Haselwood, 1967
First edition, hand-sewn printed wrappers, 6.5″ x 4″,  32 pages, circa 80 copies.
(Haselwood 13)

14. Burroughs, William S. and Brion Gysin. THE EXTERMINATOR
San Francisco: Dave Haselwood, 1967
First edition, second printing, perfect-bound printed wrappers.
(Haselwood 14)

15. McClure, Michael. DARK BROWN
First edition, second printing, perfect-bound printed wrappers, 5.5″ x 8.5″.
(Haselwood 15)

16. Brown, Geoffrey. TENDING BAR AT THE FILLMORE AUDITORIUM ON ARTISTS’ LIBERATION FRONT BENEFIT NIGHT
San Francisco: Dave Haselwood Books, 1967
First edition, folded broadside, 8.6″ x 10.75″.





17. Welch, Lew. COURSES
San Francisco: Dave Haselwood, 1968
First edition, hand-sewn suede wrappers, 6.5″ x 4.25″, 28 pages, 50 copies. (Haselwood 16)

18. McClure, Michael. THE SERMONS OF JEAN HARLOW & THE CURSES OF BILLY THE KID
San Francisco: Four Seasons Foundation with Dave Haselwood Books, 1968
— A. First edition, saddle-stapled wrappers, 6″ x 9.25″, 24 pages, 1200 copies.
— B. First edition, hardcover, 6″ x 9.25″, 24 pages, 50 copies signed.
(Haselwood 17)

19. Ginsberg, Allen. INDIAN JOURNALS
San Francisco: City Lights Books with Dave Haselwood Books, 1970
— A. First edition, perfect bound wrappers, 5.5″ x 8.25″, 212 pages.
— B. First edition, hardcover, 5.5″ x 8.25″, 212 pages.
(Haselwood 18)

Auerhahn Press: Commissioned Publications

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This index includes commissioned publications printed by Auerhahn Press for various publishers and private parties from 1961 through 1965.

C. Commissioned Publications

1. SAN FRANCISCO TRIBUTE TO KENNETH PATCHEN
patchen_tributeSan Francisco: (Auerhahn Press), 1961
First edition, hand-sewn printed wrappers, 5.5″ x 8″, 8 pages, printed at the Auerhahn Press. Program for memorial service, includes illustrated Patchen poem.
(Auerhahn 9)

2. Pomeroy, Ralph. STILLS & MOVIES
pomeroy_stillsSan Francisco: Gesture Press, 1961
First edition, perfect-bound illustrated wrappers, 6.25″ x 9″, 41 pages, 500 copies printed at the Auerhahn Press. Cover art by Harold Bruder. Printed announcement issued.
(Auerhahn 11)

3. Suffin, Arnold. RESURRECTION
suffin_resurrectionSan Francisco: Arnold Suffin, 1961
First edition, saddle-stapled printed wrappers, 5.25″ x 8″, 40 pages, 200 copies, printed at the Auerhan Press.
(Auerhahn 12)


4. Racine, Jean. BRITTANICUS
racine_britannicusSan Francisco: Folio 1, 1962
First edition, hardcover, 6.25″ x 8.25″, 87 pages, 300 numbered copies, printed at the Auerhahn Press, bound by the Schuberth Bindery. Block prints by Tanya Lohman. Printed announcement issued.
(Auerhahn 16)

5. Magistretti, Paul. NOTES OF WHAT I CAN’T BE, OF WHAT I AM
magistretti_notesSan Francisco: The New Gnu Press, 1962
First edition, perfect-bound printed wrappers, 4.25″ x 7″, 40 pages, 400 numbered copies, printed at the Auerhahn Press. Printed anncounement issued.
(Auerhahn 25)


6. Hillsborough Garden Club. PLANTS FOR PICKING
San Francisco: Auerhahn Press, 1963
(Auerhahn 26)

7. Magowan, Robin. VOYAGE NOIR
magowan_voyageSeattle: Robin Magowan, 1962
First edition, hand-sewn printed wrappers, 6″ x 8.5″, 36 pages, 500 copies, printed at the Auerhahn Press. Cover illustration by Hervé Télémaque.
(Auerhahn 27)

8. Powell, Roxie. DREAMS OF STRAW
powell_dreamsSan Francisco: Roxie Powell,1963
First edition, hand-sewn printed wrappers, 4.5″ x 6.75″, 16 pages, 250 copies, printed by Dave Haselwood and Charles Plymell at the Auerhahn Press.
(Auerhahn 28)

9. Black, M. Graham. M. GRAHAM BLACK SENDS HIS OWN VERSES…
San Francisco: Auerhahn Press, 1963
First edition, hand-sewn printed wrappers, 4.75″ x 6.5″, 8 pages, 100 copies, printed at the Auerhahn Press. (Auerhahn 29)



10. Elvin, Steve. DRAWINGS OF A PEYOTE BOY
elvin_drawingsSan Francisco: Batman Gallery, (1963)
First edition, printed envelope containing 8 sheets printed with line cuts (one tinted), 9″ x 11″, printed at the Auerhahn Press.
(Auerhahn 30)


11. Blackley, R. John. BEYOND DUST
blackley_beyondSan Francisco: n.p., 1964
First edition, perfect-bound printed wrappers, 8″ x 10.25″, 64 pages, 175 numbered and signed copies, printed at the Auerhahn Press.
(Auerhahn 31)


12. KOSHIRO ONCHI, 1891-1955: WOODCUTS
San Francisco: Achenbach Foundation for Graphic Arts, 1964
First edition, perfect-bound wrappers, 6.5″ x 8.5″, 42 pages, (750 copies), printed at the Auerhahn Press.
(Auerhahn 32)

13. Corrington, John William. THE ANATOMY OF LOVE…
corrington_anatomyFort Lauderdale: Roman Books, 1964
— A. First edition, perfect-bound printed wrappers, 6.5″ x 9″, 86 pages, 1000 copies, printed at the Auerhahn Press. Introduction by Richard Whittington.
— B. First edition, hardcover, 6.5″ x 9″, 86 pages, 50 numbered and signed copies, printed at the Auerhahn Press, bound by the Schuberth Bindery. Introduction by Richard Whittington.
(Auerhahn 33)

14. Williams, Jonathan. LINES ABOUT HILLS ABOVE LAKES
williams_linesFort Lauderdale: Roman Books, 1964
— A. First edition, perfect-bound printed wrappers, 6.25″ x 9″, 27 pages, 750 copies, printed at the Auerhahn Press. Illustrated by Barry Hall. Foreword by John Wain.
— B. First edition, hardcover, 6.25″ x 9″, 27 pages, 50 numbered and signed copies, printed at the Auerhahn Press, bound by the Schuberth Bindery. Illustrated by Barry Hall. Foreword by John Wain.
(Auerhahn 34)

15. Johnson, Ronald. A LINE OF POETRY, A ROW OF TREES
johnson_lineHighlands: The Nantahala Foundation, 1964
— A. First edition, perfect-bound illustrated french-fold wrappers, glassine dust jacket, errata slip noting the omitted dedication to Olson laid in,  6.5″ x 10″, 80 pages, 500 copies, printed at the Auerhahn Press. Illustrated by Thomas George. The author’s first book. Published as Jargon 42.
— B. First edition, hardcover, unprinted dust jacket, 6.5″ x 10″, 80 pages, 50 numbered and signed copies, printed at the Auerhahn Press, bound by the Schuberth Bindery. Illustrated by Thomas George. The author’s first book. Published as Jargon 42.
(Auerhahn 35)

16. THE NEXUS CATALOGUE
nexus_catalogLa Jolla: The Nexus, 1964-65
First edition, saddle-stapled printed wrappers, 4″ x 8.75″, 16 pages, printed at the Auerhahn Press.
(Auerhahn 36)

Auerhahn Press: Books & Pamphlets

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This index includes Auerhahn Press publications from 1958 through 1965: from Dave Haselwood’s first publishing venture through the dissolution of his partnership with Andrew Hoyem and the end of Auerhahn Press.

A. Auerhahn Press: Books & Pamphlets

1. Wieners, John. THE HOTEL WENTLEY POEMS
wieners_wentley1
San Francisco: Auerhahn Press, 1958
First edition, saddle-stapled illustrated wrappers, 6.25″ x 7.75″, 20 pages, circa 500 copies. Printed—and edited without prior notice to Dave Haselwood—by East West Printers. Cover photo by Jerry Burchard. Illustration by Robert La Vigne. Printed announcement issued.
(Auerhahn 1)

2. Wieners, John. THE HOTEL WENTLEY POEMS
wieners_wentley2
San Francisco: Auerhahn Press, 1959
Second revised edition, saddle-stapled illustrated wrappers, 6.25″ x 7.75″, 20 pages, 500 copies. Cover photo by Jerry Burchard. Illustration by Robert La Vigne.
(Auerhahn 2)

3. Lamantia, Philip. EKSTASIS
lamantia_ekstasisSan Francisco: Auerhahn Press, 1959
First edition, perfect-bound wrappers, 5.75″ x 7″48 pages, circa 950 copies. Titling by Robert La Vigne. Printed announcement issued.
(Auerhahn 3)


4. McClure, Michael. HYMNS TO ST. GERYON…
mcclure_hymnsSan Francisco: Auerhahn Press, 1959
First edition, perfect-bound illustrated wrappers, 7.25″ x 10″, 62 pages, 950 copies. Cover illustration by McClure.
(Clements A4, Auerhahn 4)


5. Lamantia, Philip and Antonin Artaud. NARCOTICA
lamantia_narcotica
San Francisco: Auerhahn Press, 1959
First edition, saddle-stapled illustrated wrappers, 6.25″ x 8.5″, 16 pages, 750 copies. Cover photographs by Wallace Berman. Published as “Auerhahn Pamphlet No. 1”. Printed announcement issued.
(Auerhahn 5)

6. Whalen, Philip. MEMOIRS OF AN INTERGLACIAL AGE
whalen_memoirsSan Francisco: Auerhahn Press, 1960
— A. First edition, perfect-bound in illustrated wrappers, 8.75″ x 11.25″, 64 pages, (1250 copies). Cover illustration by Robert La Vigne.
— B. First edition, hardcover, 8.75″ x 11.25″, 64 pages,  (60 copies with 25 signed and another 15 signed with holograph poem and illustration), bound by the Schuberth Bindery. Cover illustration by Robert La Vigne.
Printed announcement issued.
(Auerhahn 6)

7. Welch, Lew. WOBBLY ROCK
lew_wobblySan Francisco: Auerhahn Press, 1960
First edition, saddle-stapled printed wrappers, 6″ x 8″, 12 pages, 500 copies, illustrated by Robert LaVigne. Dedication: for Gary Snyder / “I think I’ll be the Buddha of this place” / and sat himself / down
(Auerhahn 7)

8. Burroughs, William S. and Brion Gysin. THE EXTERMINATOR
burroughs_exterminator
San Francisco: Auerhahn Press, 1960
First edition, perfect-bound in illustrated wrappers, 6.25″ x 9.25″, 64 pages, (1000 copies). Illustrated by Brion Gysin. Printed announcement issued.
(Maynard & Miles A4, Auerhahn 8)

9. Marshall, Edward. HELLAN, HELLAN
marshall_hellanSan Francisco: Auerhahn Press, 1960
First edition, saddle-stapled illustrated wrappers, 6″ x 8.75″, 24 pages, (750 copies). Illustrated by Robert Ronnie Branaman. Printed announcement issued.
(Auerhahn 10)

10. McClure, Michael. DARK BROWN
mcclure_darkbrownSan Francisco: Auerhahn Press, 1961
— A. First edition, perfect-bound printed wrappers, 6″x 9″, 56 pages, 725 copies.
— B. First edition, hardcover, 6″ x 9″, 56 pages, 25 numbered and signed copies, bound by the Schuberth Bindery.
Printed announcement issued.
(Clements A9, Auerhahn 13)

11. Olson, Charles. MAXIMUS FROM DOGTOWN
olson_maximusSan Francisco: Auerhahn Press, 1961
First edition, hand-sewn printed wrappers, 9″ x 11.25″, 12 pages, 500 copies. Foreword by Michael McClure.
(Auerhahn 14)


12. Reps, Paul. GOLD FISH SIGNATURES
San Francisco: Auerhahn Press, 1961
— A. First edition, Japanese binding, 8.5″ x 11″, 84 pages, (1000 copies).
— B. First edition, Japanese binding, 8.5″ x 11″, 84 pages, (50 copies in slipcase), signed.
Printed announcement issued.
(Auerhahn 15)

13. THE AUERHAHN PRESS CATALOGUE
auerhahn_catalogueSan Francisco: Auerhahn Press, 1962
First edition, saddle-stapled printed wrappers, 4″x 5″, 16 pages includes poems by Wieners and Meltzer.
(Auerhahn 17)


14. Lamantia, Philip. DESTROYED WORKS
lamantia_destroyedSan Francisco: Auerhahn Press, 1962
— A. First edition, perfect-bound illustrated wrappers, 7″ x 8.75″, 48 pages, 1250 copies.
— B. First edition, hardcover, 7″ x 8.75″, 48 pages, 50 numbered and signed copies, bound by the Schuberth Bindery.
(Auerhahn 18)

15. Meltzer, David. WE ALL HAVE SOMETHING TO SAY…
meltzer_weSan Francisco: Auerhahn Press, 1962
First edition, saddle-stapled illustrated wrappers, 6.25″ x 8.5″, 12 pages, 750 copies. Published as “Auerhahn Pamphlet No. 2”.
(Auerhahn 19)


16. Williams, Jonathan. IN ENGLAND’S GREEN &
williams_englandsSan Francisco: Auerhahn Press, 1962
First edition, hand-sewn printed wrappers, 6.5″ x 9.25″, 20 pages, 750 copies. Illustrated by Philip Van Aver.
(Auerhahn 20)


17. Spicer, Jack. THE HEADS OF THE TOWN UP TO THE AETHER
spicer_headsSan Francisco: Auerhahn Press, 1962
— A. First edition, perfect-bound illustrated wrappers, 4.75″ x 6.75″, 109 pages, 750 copies. Illustrated by Fran Herndon.
— B. First edition, hardcover, signed by the author and artist, with an original drawing, 4.75″ x 7.25″, 109 pages, 50 copies, bound by the Schuberth
Bindery. Illustrated by Fran Herndon.
Printed announcement issued. (Auerhahn 21)

18. Hoyem, Andrew. THE WAKE
hoyem_wakebSan Francisco: Auerhahn Press, 1963
— A. First edition, perfect-bound printed wrappers, 6″ x 8.5″, 30 pages, 750 copies.
— B. First edition, hardcover, signed, 6″ x 9″, 30 pages, 35 copies, bound by the Schuberth Bindery.
Three printed announcements issued.
(Auerhahn 22)

19. di Prima, Diane. THE NEW HANDBOOK OF HEAVEN
diprima_newSan Francisco: Auerhahn Press, 1963
— A. First edition, perfect-bound printed wrappers, 5.25″ x 7.5″, 48 pages, 1000 copies.
— B. First edition, hardcover, signed, 6″ x 9″, 30 pages, 30 copies, bound by the Schuberth Bindery.
(Auerhahn 23)

20. Brother Antoninus. THE POET IS DEAD
antoninus_poetSan Francisco: Auerhahn Press, 1964
First edition, hardcover, 8.25″ x 10.5″, 28 pages, 205 copies. Printed announcement issued. (Auerhahn 24)



21. Deemer, Bill. POEMS
deemer_poemsbSan Francisco: Auerhahn Press, 1964
— A. First edition, saddle-stapled illustrated wrappers, 6.25″ x 9.25″, 20 pages, 500 copies. Introduction by Andrew Hoyem.
— B. First edition, hardcover, signed, 6.5″ x 9.25″, 20 pages, 25 copies, bound by the Schuberth Bindery. Introduction by Andrew Hoyem.
Printed announcement issued.
(Auerhahn 37)

22. Davis, William. JANUS
davis_janusSan Francisco: The Auerhahn Society, Spring 1965
First edition, perfect-bound printed wrappers, 6.5″ x 9.75″, 64 pages,  750 copies.
(Auerhahn 38)



23. Van Buskirk, Alden. LAMI
San Francisco: The Auerhahn Society, 1965
First edition, perfect-bound printed wrappers, 7.75″ x 9.75″, 91 pages, 1000 copies.
(Auerhahn 39)



24. Olson, Charles. HUMAN UNIVERSE AND OTHER ESSAYS
olson_humanSan Francisco: The Auerhahn Society, 1965
First edition, hardcover, 7.75″ x 11″, 160 pages, 250 copies, bound by the Schuberth Bindery. Cover art by Robert La Vigne. Author photo by Kenneth Irby. Edited by Donald Allen.
(Auerhahn 40)

 

Jack Spicer

youngspicer

 

Although known primarily among a coterie of poets in the San Francisco Bay Area at the time of his death in 1965, Jack Spicer has slowly become a towering figure in American poetry. He was born in Los Angeles in 1925 to midwestern parents and raised in a Calvinist home. While attending college at the University of California-Berkeley, Spicer met fellow poets Robin Blaser and Robert Duncan. The friendship among these three poets would develop into what they referred to as “The Berkeley Renaissance,” which would in turn become the San Francisco Renaissance after Spicer, Blaser and Duncan moved to San Francisco in the 1950s.

At Berkeley Spicer studied linguistics, finishing all but his dissertation for a PhD in Anglo-Saxon and Old Norse. In 1950 he lost his teaching assistantship after refusing to sign a “loyalty oath” to the United States, which the University of California required of all its employees under the Sloan-Levering Act. Spicer taught briefly at the University of Minnesota and worked for a short period of time in the rare books room at the Boston Public Library, but he lived the majority of his life in San Francisco working as a researcher in linguistics.

jack-spicer
Jack Spicer at the opening of the 6 Gallery, Halloween 1954. Photo by Robert Berg.

Spicer helped to form the 6 Gallery with five painter friends in 1954. It was at the 6 Gallery during Spicer’s sojourn east that Allen Ginsberg first read Howl. As a native Californian, Spicer tended to view the Beats as usurpers and criticized the poetry and self-promotion of poets like Ginsberg and Lawrence Ferlinghetti, as well as the Beat ethos in general. Always weary of labels and definitions, Spicer tended to associate with small, intimate groups of poets who lived in the North Beach neighborhood of San Francisco. Spicer acted as a mentor and teacher to these young poets by running poetry workshops and providing (sometimes caustic) advice for young poets.

In a 1975 New York Times article, Richard Ellman concluded: “Jack Spicer’s poems are always poised just on the face side of language, dipping all the way over toward that sudden flip, as if an effort were being made through feeling strongly in simple words to sneak up on the event of a man ruminating about something, or celebrating something, without rhetorical formulae, in his own beautiful inept awkwardness. It’s that poised ineptitude and awkwardness of the anti-academic teacher, the scholar of linguistics who can’t say what he knows in formal language, and has chosen to be very naive and look and hear and do. Spicer was not a very happy poet. He was obsessed with possibilities he could only occasionally realize, and too aware of contemporary life to settle for anything less in his work than what he probably could not achieve. He must have been a great spirit.”


Section A. Books, Chapbooks and Pamphlets

A1. After Lorca
spicer_lorcaSan Francisco: White Rabbit Press, November-December 1957
First edition, saddle-stapled illustrated wrappers, 6.5″ x 8.5″, 76 pages, 500 copies (26 lettered and signed with a drawing by the author), multilith printed. Jack Spicer’s first book. Cover illustration by Jess Collins. Introduction by Federico Garcia Lorca.
(Johnston A2)

A2. Homage to Creeley
spicer_homageAnnapolis: privately printed by Harold and Dore Dull, Summer 1959
First edition, side- staled sheets, 8.5″ x 11″, 33 pages, 100 copies, spirit-mimeo printed. Incorporated into A4.
[not in archive]

A3. Billy the Kid
spicer_billyStinson Beach: Enkidu Surrogate, Oct 1959
First edition, saddle-stapled illustrated wrappers, 6.5″ x 8.5″, 16 pages, 750 copies, offset printed. Illustrations by Jess Collins.



A4. The Heads of the Town Up to the Aether
spicer_headsSan Francisco: Auerhahn Press, 1962
— A. First edition, perfect-bound illustrated  and printed wrappers, 4.75″ x 6.75″, 109 pages, 750 copies, letterpress printed.
— B. First edition, hardcover, signed by the author and artist, with an original drawing, 4.75″ x 7.25″, 109 pages, 50 copies, letterpress printed, bound by the Schuberth Bindery.
Illustrated by Fran Herndon. Printed announcement issued. (Auerhahn 21)

A5. Lament for the Makers
spicer_lamentOakland: White Rabbit Press, 1962
First edition, hand-sewn illustrated wrappers, 5.5″ x 8″, 16 pages, 100 copies, offset printed. Illustrated by Graham Mackintosh.
(Johnston A11)


A6. The Holy Grail
spicer_holySan Francisco: White Rabbit Press, 1964
First edition, saddle-stapled sheets glued into illustrated wrappers, 6.25″ x 8.5″, 80 pages, offset printed. Illustrated by Graham Mackintosh. (Johnston A19)


8. Language
spicer_languageSan Francisco: White Rabbit Press, 1965
First edition, perfect-bound illustrated wrappers, 6.25″ x 10″, 72 pages, letterpress printed. (Johnston A30)



9. “A Redwood Forest…”
spicer_redwoodSan Francisco: White Rabbit Press, 1965
First edition, broadside, 8″ x 10.25″, letterpress printed. (Johnston B1)




10. Book of Magazine Verse
spicer_magazineSan Francisco: White Rabbit Press, 1966
First edition, perfect-bound printed wrappers, 5.5″ x 7.75″, 56 pages, 1500 copies. Designed and printed by Graham Mackintosh. (Johnston A33)



11. The Day Five Thousand Fish Died in the Charles River
Pleasant Valley: Kriya Press, 1967
First edition, broadside, 11″ x 16″, 100 copies.

12. A Red Wheelbarrow
St. Aubens, Hove, Sussex: Peter Riley, 1968
limited offprint in 12 copies from Collection One

13. A Book of Music
spicer_musicSan Francisco: White Rabbit, 1969
First edition, saddle-stapled illustrated wrappers, 6.25″ x 9.25″, 20 pages. Illustrated by Graham Mackintosh.



14. The Holy Grail
spicer_holy2Berkeley: Jolly Roger Press, February 1969
First edition thus (pirated edition), stapled printed sheets, 8.5″ x 11″, 18 pages, 500 copies.




15. Indian summer: Minneapolis 1950
Brooklyn: Samuel Charters, 1970
First edition, broadside, 8″ x 18″, 100 copies. Published as Portents

16. The Red Wheelbarrow
Berkeley: Arif Press, 1971

17. Some Things from Jack
Verona: Plain Wrapper Press, 1972

18. Ballad of the Dead Woodcutter
Berkeley: Arif Press, 1973

19. Postscript
Albuquerque: Billy Goat Press, 1973
First edition, broadside, 11″ x 17″, 100 copies.

20. Admonitions
New York: Adventures in Poetry, 1974

21. A Lost Poem
Verona: Plain Wrapper Press, 1974

22. Fifteen False Propositions about God
South San Francisco: Manroot, 1974

23. An Ode and An Arcadia
Berkeley: Ark Press, 1974

24. The Collected Books of Jack Spicer, edited by Robin Blaser
Los Angeles: Black Sparrow Press, 1975

25. One Night Stand and other poems, edited by Donald Allen
San Francisco: Grey Fox Press, 1980

26. Collected Poems, 1945-46
Berkeley: Oyez/White Rabbit Press, 1981

27. The Tower of Babel: Jack Spicer’s Detective Novel, edited by Ed Foster and Kevin Killian
Hoboken, N.J: Talisman House, 1994


B. Contributions to Books and Other Publications

B1. The New American Poetry, 1945-1960, edited by Donald Allen
New York: Grove Press, 1960
“Imaginary Elegies I-IV”

B2. The Spicer-Ferlinghetti Correspondence
spicer_ferlingSan Francisco: White Rabbit Press, 1964
First edition, single 8.5″ x 14″ sheet folded once, letterpress.
(Johnston A18)


B3. The New Writing in the U.S.A., edited by Donald Allen and Robert Creeley
Harmondsworth: Penguin, 1967
“Love Poems”

B4. Poetics of the New American Poetry, edited by Donald Allen
New York: Grove Press, 1973


C. Contributions to Periodicals

C1. The Occident, edited by Jocelyn Willat
mags_occidentwint46Berkeley, Winter 1946
“To the Semanticists”, “The Chess Game”, “A New Testament”




C2. Contour Quarterly, Vol. 1, No. 1, edited by Chris Maclaine
mags_contour01Berkeley, April 1947
[untitled] “After the ocean, shattering with equinox…”, “4 A.M.”, “Chinoiserie”




C3. Berkeley Miscellany, No. 1, edited by Robert Duncan
mags_miscellany01Berkeley, 1948
“A Night in Four Parts”, “Troy Poem”, “Sonnet”





C4. Berkeley Miscellany, No. 2, edited by Robert Duncan
mags_miscellany02Berkeley, 1949
“The Scroll-Work on the Casket”





C5. The Occident, edited by Lynne Brown
mags_occidentfall49Berkeley, Fall 1949
“The Poet & Poetry: A Symposium”





C6. Language: Journal of the Linguistic Society of America, Vol. 28, No. 3, Part I
Baltimore, July-September 1952
“Correlation Methods of Comparing Ideolects in a Transition Area”

C7. Occident, edited by Richard Rummonds
Berkeley: Associated Students of the University of California, Spring 1954
“The Inheritance: Palm Sunday”

C8. Evergreen Review, Vol. 1, No. 2, edited by Barney Rosset and Donald Allen
mags_evergreen0102New York City, 1957
“Berkeley in Time of Plague”, “The Dancing Ape…”, “Troy Poem”, “The Scroll-work on the Casket”, “Hibernation – After Morris Graves”, “Psychoanalysis: An Elegy”, “The Song of the Bird in the Loins”

C9. Measure, No. 1, edited by John Wieners
mags_measure01Boston, Summer 1957
“Song for Bird and Myself”





C10. Beatitude, No. 3, published by John Kelly
mags_beatitude03San Francisco, 23 May 1959
“Fifteen False Propositions about God”





C11. Beatitude, No. 6, published by John Kelly
San Francisco, [June] 1959
“Epithalamium” [co-authored with Bruce Boyd, Ronald Primack, and George Stanley]

C12. J, No. 1, edited by Jack Spicer
mags_j01San Francisco, 1959
“Hokkus”





C13. J, No. 2, edited by Jack Spicer
San Francisco, 1959
[untitled] “Down to new beaches where the sea…”, “Epilog of Jim”

C14. J, No. 3, edited by Jack Spicer
San Francisco, 1959
“Last Hokku”, [untitled] “The shabby sea where you float in…”

C15. J, No. 4, edited by Jack Spicer
mags_j04San Francisco, [October] 1959
“Jacob”





C16. J, No. 5, edited by Jack Spicer
mags_j05San Francisco, 1959
“Fifth Elegy”





C17. Beatitude, No. 17, edited by Bob Kaufman
mags_beatitude17San Francisco: City Light Books, Oct-Nov 1960
“When I hear the word Ferlinghetti / I reach for my g. . . n” [attributed to Jack Slicer]




C18. J, No. 8, edited by Jack Spicer
San Francisco, 1961
“A Translation for Jim”

C19. Foot, No. 2, edited by Richard Duerden and William Brown
mags_foot02
Berkeley, 1962
“Correspondence”





C20. The San Francisco Capitalist Bloodsucker / N
mags_capitalistSan Francisco, Spring 1962
“Three Marxist Essays”





C21. Measure, No. 3, edited by John Wieners
mags_measure03Boston, Summer 1962
“Central Park West”





C22. Open Space, No. 0, edited by Stan Persky
San Francisco, January 1964
[untitled] “This ocean, humiliating in its disguises…”

C23. Open Space, No. 1, edited by Stan Persky
San Francisco, February 1964
“Sporting Life”

C24. Open Space, No. 2, edited by Stan Persky
San Francisco, February 1964
“This is Submitted for your Valentine Contest”, [untitled] “I hear a banging on the door of night…”

C25. Open Space, No. 3, edited by Stan Persky
mags_openspace03San Francisco, March 1964
“Predictions”, [untitled] “The log in the fire…”, [untitled] “Finally the messages penetrate…”, “Dear Ferlinghetti”



C26. Open Space, No. 4, edited by Stan Persky
mags_openspace04tSan Francisco, 1964
[untitled] “Heroes eat soup…”, [untitled] “Smoke signals…”, [untitled] “A redwood forest…”, [untitled] “The whorship of beauty…”



C27. Open Space, No. 5, edited by Stan Persky
San Francisco, 1964
[untitled] “Pull down the shade of ruin, rain verse…”, [untitled] “If your mother’s mother had not riven, mother…”, [untitled] “What in sight do I have…”, [untitled] “It comes May and the summers renew themselves…”, [untitled] “Thanatos, the death-plant in the skull…”

C28. Open Space, No. 6, edited by Stan Persky
San Francisco, June 1964
[untitled] “1st SF home rainout since. Bounce…”, [untitled] “The country is not very well defined…”, [untitled] “I squint my eyes to cry…”, [untitled] “The metallurgical analysis of the stone that…”

C29. Open Space, No. 7, edited by Stan Persky
San Francisco, 1964
“Love Poems”, “Protestant Letter”

C30. Open Space, No. 8, edited by Stan Persky
mags_openspace08San Francisco, 1964
“Intermission I”, “Intermission II”, “Intermission III”, “Transformations I”, “Transformation II”, “Transformations III”



C31. Open Space, No. 9, edited by Stan Persky
San Francisco, 1964
“Morphemicks”

C32. Open Space, No. 10, edited by Stan Persky
San Francisco, 1964
“Phonemics”

C33. Open Space, No. 11, edited by Stan Persky
San Francisco, 1964
“Graphemics 1-5”

C34. The Wivenhoe Park Review, No. 1, edited by Thomas Clark and Andrew Crozier
mags_wivenhoe01Essex: University of Essex, 1965
“15 False Propositions about God”






C35. Work, No. 2, edited by John Sinclair
Detroit: Artists Workshop Press, Fall 1965
“Graphemic #10”

C36. COW, No. 1, edited by Luther T. Cupp
mags_cow01San Francisco: Cow, 1965
“Dear Sister Mary”





C37. Whe’re, No.1, edited by Ron Caplan
Detroit: Artists’ Workshop, Summer 1966
“Lament for the Makers”, “The Scroll-work on the Casket”, “Dover Beach”, “Postscript”, “The Birds”, “The Birth of Venus”

C38. O’er, No. 2, edited by David Sandberg
mags_oar02San Francisco, December 1966
from After Lorca: “Buster Keaton Rides Again: A Sequel”




C39. The Pacific Nation, No. 1, edited by Robin Blaser
mags_pacific01Vancouver, June 1967
“A Poem to the Reader of the Poem”





C40. Floating Bear, No. 33
Brooklyn, 1967
“The Bridge Game”, “Lives of the Philosophers: Diogenes”

C41. Floating Bear, No. 34
Brooklyn, 1967
“The Day Five Thousand Fish Died in the Charles River”

C42. Collection, No. 1, edited by Peter Riley
mags_collection01Sussex, March 1968
“The Red Wheelbarrow”





C43. Iron, No. 7
British Columbia, 1969
“Ode for Walt Whitman”

C44. Tish
Vancouver, February 1969

C45. Admonitions in Writing, No. 2
Vancouver, 1970

C46. Boss 4
New York: Boss Magazine, 1970

C47. Caterpillar, No. 12
Sherman Oaks, July 1970

C48. California Librarian
October 1970
*an excellent bibliography

48. Is, No. 8, edited Victor Coleman
Toronto: Coach House Press, 1970

49. The Harris Review, edited by Harris Schiff
New York: Harris Review, baseball season 1971
[untitled] “The oaks…”, [untitled [With fifteen cents and that I could get a…”

50. IO, Number 10 Baseball Issue, edited by Richard Grossinger 
Cape Elizabeth, ME: IO Publications, 1971

51. Shocks, Double Issue 3/4, edited by Stephen Vincent
March 1974 

from “After Lorca”

52. Manroot, No. 10, Spicer issue
Fall-Winter 1974

53. Adventures in Poetry, No. 12, edited by Larry Fagin
mags_adventuresp12New York: The Poetry Project, Summer 1975
“Babel”, “Dardenella”, “Lives of the Philosophers: Diogenes”, [untitled] “Lack of oxygen…”, [untitled] “In- / Visible zombies…”, “Spider Song”


54. The Capilano Review, No. 8/9, edited by Pierre Coupey 
Vancouver: Capilano College, 1975

55. Telephone, No. 10, edited Maureen Owen 
New York: Telephone Books Press, 1975

56. New York Times Book Review, 23
November 1975

57. Parnassus: Poetry in Review
Spring-Summer 1976

58. Boundary 2, No. 6, Jack Spicer Issue,  edited by William V. Spanos
SUNY, Binghamton, Fall 1977

59. Acts #6 / A Book of Correspondences for Jack Spicer
1986

60. Exact Change Yearbook #1
1995


Further Reading:

1. Jack Spicer by Edward Halsey Foster (Boise, Idaho : Boise State University, c1991)

2. Poet be like God: Jack Spicer and the Berkeley Renaissance by Kevin Killian & Lewis Ellingham (Hanover, NH: Wesleyan University Press, 1998)

3. The House That Jack Built: The Collected Lectures of Jack Spicer, ed. Peter Gizzi (Hanover, NH: University Press of New England, 1998)


Online Resources:

Academy of American Poets
Book Forum
Jacket Magazine
Penn Sound
Poetry Foundation
University of Buffalo 


References Consulted:


Clay, Steven and Rodney Phillips. A SECRET LOCATION ON THE LOWER EAST SIDE: Adventures in Writing, 1960-1980
New York: New York Public Library / Granary Books, 1998

Dorbin, Sanford. A CHECKLIST OF THE PUBLISHED WRITING OF JACK SPICER
Sacramento: California Librarian, October 1970

Johnston, Alastair. A BIBLIOGRAPHY OF THE AUERHAHN PRESS & ITS SUCCESSOR DAVE HASELWOOD BOOKS
Berkeley: Poltroon Press, 1976

Johnston, Alastair. A BIBLIOGRAPHY OF THE WHITE RABBIT PRESS
Berkeley: Poltroon Press, 1985

Oyez Press

Oyez Press was founded in 1964 by Robert Hawley and Stevens van Strum in Berkeley, California. Its inaugural run was a series of 10 broadsides featuring poems by Michael McClure, Brother Antoninus, Josephine Miles, Robert Duncan, Robert Creeley, David Meltzer, Denise Levertov, Charles Olson, Gary Snyder and William Bronk. These broadsides were printed by Dave Haselwood’s Auerhahn Press based in San Francisco.

Oyez would continue to publish books for over 20 years by poets primarily from the Black Mountain school and the Bay Area Renaissance; publishing over 80 books in addition to numerous keepsakes and broadsides, featuring authors such as David Meltzer, Josephine Miles, Lew Welch, Philip Lamantia, and many others.

The first Oyez book was a collection of poetry by David Meltzer. It was during this period that Hawley began his business relationship with printer Graham Mackintosh. The Oyez poetry editions were well regarded for the simplicity and elegance of their designs. Although not all Oyez books were designed by Mackintosh, several of his designs did receive awards, including an edition of William Everson’s Single Source that was selected as one of the 50 books of the year by the American Institute of Graphic Arts.


1. McClure, Michael. TWO FOR BRUCE CONNOR
Berkeley: Oyez, 1964
First edition, broadside, 12″ x 17″, 500 copies, printed by The Auerhahn Press. Published as Oyez 1. (Clements A12)

2. Everson, William. THE ROSE OF SOLITUDE
Berkeley: Oyez 1964
First edition, broadside, 13″ x 17.5″, printed by The Auerhahn Press. Published as Oyez 2.

3. Miles, Josephine. IN IDENTITY
San Francisco: Oyez, 1964
First edition, broadside, 11.5″ x 17″, Printed by The Auerhahn Press. Published as Oyez 3.

4. DUNCAN, Robert. WINE
San Francisco: Oyez, 1964
First edition, broadside, 11.5″ x 17″, Printed by The Auerhahn Press. Published as Oyez 4.

5. Creeley, Robert. TWO POEMS
[San Francisco]: Oyez, 1964
First edition, broadside, 11.25″ x 16.5″, 423 copies (27 signed in a portfolio), printed by The Auerhahn Press. Published as Oyez 5. (Novik 15)

6. Meltzer, David. THE BLACKEST ROSE
Berkeley: Oyez, 1964
First edition, broadside, 10.75″ x 17.5″, printed by The Auerhahn Press. Published as Oyez 6.

7. Levertov, Denise. CITY PSALM
Berkeley: Oyez, 1964
First First edition, broadside, 11.5″ x 17.5″, 300 copies, printed by The Auerhahn Press. Published as Oyez 7. (Wilson A8)

8. Olson, Charles. SIGNATURE TO PETITION
San Francisco: Oyez 1964.
First edition, broadside, 11″ x 17.25″, printed by The Auerhahn Press.Published as Oyez 8.

9. Snyder, Gary. HOP, SKIP, AND JUMP
(San Francisco): Oyez, 1964
First edition, broadside, 11″ x 17.5″, 350 copies, Printed by The Auerhahn Press. Published as Oyez 9.

10. Bronk, William. THE CIPHER
Berkeley: Oyez, 1965
First edition, broadside, 10.75″ x 17.5″, printed by The Auerhahn Press. Published as Oyez 10.

11. Meltzer, David. THE PROCESS
Berkeley: Oyez, 1965
A. First edition, paperback, 37 pages, 500 copies
B. First edition, hardcover, 37 pages, 25 copies

 

Dijkstra, Bram. FACES IN SKIN
Berkeley: Oyez, 1965
First edition, stapled wrappers in dust jacket, 32 pages, 500 copies.

Duncan, Robert. MEDEA AT KOLCHIS: THE MAIDEN HEAD
Berkeley: Oyez, 1965
A. First edition, stapled wrappers, 44 pages, 500 copies.
B. First edition, hardcover, 44 pages, 28 copies, numbered and signed.

Kherdian, David. DAVID MELTZER: A SKETCH AND CHECKLIST
Berkeley: Oyez, 1965
First edition, paperback, 9 pages, 500 copies

Kherdian, David. GARY SNYDER: A BIOGRAPHICAL SKETCH AND DESCRIPTIVE CHECKLIST
Berkeley: Oyez, 1965
First edition, paperback, 30 pages, 500 copies

McClure, Michael. THE BEARD
Berkeley: Oyez, 1965
First edition, paperback, 70 pages, 330 copies

McClure, Michael. POISONED WHEAT
Berkeley: Oyez, 1965
First edition, paperback, 14 pages, 1000 copies

McGaugh, Lawrence. A FIFTH SUNDAY
Berkeley: Oyez, 1965
First edition, paperback, 26 pages, 500 copies

Alexander, D. NOT A WORD
Berkeley: Oyez, 1966
First edition, stapled wrappers, 58 pages, 500 copies.

Duncan, Robert. THE YEAR AS CATCHES
Berkeley: Oyez, 1966
A. First edition, paperback, 93 pages, 1800 copies.
B. First edition, hardcover, 93 pages, 30 copies, numbered and signed.

Duncan, Robert. OF THE WAR PASSAGES, 22-27
Berkeley: Oyez, 1966
A. First edition, paperback, 11 pages, 500 copies.
B. First edition, paperback, 11 pages, 100 copies, numbered and signed.
C. First edition, hardcover, 11 pages, 6 copies, numbered and signed.

Everson, William. SINGLE SOURCE: THE EARLY POEMS OF WILLIAM EVERSON (1934-1940)
Berkeley: Oyez, 1966
A. First edition, hardcover, 105 pages, 1000 copies
B. First edition, hardcover, 105 pages, 25 copies, numbered and signed

Fabilli, Mary. THE OLD ONES
Berkeley: Oyez, 1966
A. First edition, paperback, 28 pages, 500 copies
B. First edition, hardcover, 28 pages, 3 copies

Hogg, Robert. THE CONNEXIONS
Berkeley: Oyez, 1966
First edition, paperback, 40 pages, 500 copies

Lamantia, Philip. TOUCH OF THE MARVELOUS
Berkeley: Oyez, 1966
A. First edition, paperback, 65 pages, 1450 copies
B. First edition, hardcover, 65 pages, 50 copies, numbered and signed.

Miles, Josephine. CIVIL POEMS
Berkeley: Oyez, 1966
First edition, paperback, 16 pages, 500 copies

Miles, Josephine. FIELDS OF LEARNING
Berkeley: Oyez, 1966
First edition, paperback, 25 pages, 500 copies

Dusenbery, Gail. THE MARK
Berkeley: Oyez, 1967
A. First edition, paperback, 68 pages, 1200 copies.
B. First edition, hardcover, 68 pages, 26 copies, numbered and signed.

Everson, William. IN THE FICTIVE WISH
Berkeley: Oyez, 1967
First edition, hardcover, 22 pages, 200 copies, numbered and signed.

Korte, Mary Norbert. HYMN TO THE GENTLE SUN
Berkeley: Oyez, 1967
A. First edition, paperback, 45 pages, 900 copies
B. First edition, hardcover, 45 pages, 26 copies, numbered and signed

Meltzer, David. JOURNAL OF THE BIRTH
Berkeley: Oyez, 1967
First edition, paperback, 19 pages, 1000 copies

Meltzer, David. THE DARK CONTINENT
Berkeley: Oyez, 1967
A. First edition, paperback, 94 pages, 1000 copies
B. First edition, hardcover, 94 pages, 26 copies

Antoninus, Brother (William Everson). ROBINSON JEFFERS: FRAGMENTS OF AN OLDER FURY
1968
Hardcover, 173 pages, 2600 copies

Charters, Ann. OLSON/MELVILLE: A STUDY IN AFFINITY
1968
A. paperback, 90 pages, 1000 copies
B. hardcover, 90 pages, 500 copies

Fabilli, Mary. AURORA BLIGH & EARLY POEMS
Berkeley: Oyez, 1968
A. First edition, paperback, 108 pages, 500 copies
B. First edition, hardcover, 108 pages, 250 copies

Korte, Mary Norbert. BEGINNING OF LINES
Berkeley: Oyez, 1968
A. First edition, paperback, 37 pages, 500 copies
B. First edition, hardcover, 37 pages, 200 copies, numbered and signed

Antoninus, Brother. THE LAST CRUSADE
Berkeley: Oyez, 1969
First edition, hardcover, 18 pages, 165 numbered and signed copies

Boar, Gerard (Ebbe Borregaard). SKETCHES FOR 13 SONNETS
Berkeley: Oyez, 1969
First edition, paperback, (12 pages), 1600 copies

Charters, Samuel. TO THIS PLACE
Berkeley: Oyez, 1969
A. wrappers, 50 pages, 750 copies
B. hardcover, 50 copies, 250 copies

McGaugh, Lawrence. VACUUM CANTOS
Berkeley: Oyez, 1969
A. First edition, paperback, 30 pages, 500 copies
B. First edition, hardcover, 30 pages, 30 copies

Blazek, Douglas. FLUX & REFLUX
Berkeley: Oyez, 1970
Paperback, 57 pages, 1000 copies

Chiarrello, Gail (Gail Dusenbery). THE BHANGRA DANCE
Berkeley: Oyez, 1970
First edition, paperback, 34 pages, 485 copies.

Edelman, Richard Wayne. THE WEDDING FEAST
Berkeley: Oyez, 1970
First edition, paperback, 37 pages, 1000 copies. Introduction by Denise Levertov.

Hottel, Christopher. THE KNIVES OF DAWN
Berkeley: Oyez, 1970
First edition, paperback, 37 pages, 1000 copies

Korte, Mary Norbert. THE MIDNIGHT BRIDGE
Berkeley: Oyez, 1970
First edition, paperback, 44 pages, 1000 copies

Levertov, Denise. SUMMER POEMS, 1969
Berkeley: Oyez, 1970
A. First edition, paperback, 10 pages, 300 copies
B. First edition, hardcover, 10 pages, 50 copies

Olson, Charles. THE SPECIAL VIEW OF HISTORY
Berkeley: Oyez, 1970
A. First edition, paperback, 61 pages, 1000 copies
B. First edition, hardcover, 61 pages, 500 copies

Charters, Samuel. SOME POEMS POETS
Berkeley: Oyez, 1971
A. paperback, 118 pages, 1000 copies
B. hardcover, 118 pages, 500 copies

Di Prima, Dianne. KERHONKSON JOURNAL, 1966
Berkeley: Oyez, 1971
First edition, paperback, 39 pages, 1000 copies

Everson, William. EARTH POETRY
Berkeley: Oyez, 1971
First edition, paperback, 4 pages

Brugnola, Orlanda. KING OF THORNBUSHES
Berkeley: Oyez, 1972
A. First edition, paperback, 39 pages, 500 copies
B. First edition, hardcover, 39 pages, 20 copies, numbered and signed

Charters, Samuel. FROM A SWEDISH NOTEBOOK
Berkeley: Oyez, 1972
A. First edition, paperback, 60 pages, 500 copies
B. First edition, 60 pages, 500 copies

Eigner, Larry. SELECTED POEMS
Berkeley: Oyez, 1972
A. First edition, paperback, 125 pages, 1000 copies
B. First edition, hardcover in dust jacket, 125 pages, 500 copies

Horsley, James. GOD’S NAKED DAUGHTER
Berkeley: Oyez, 1972
A. First edition, paperback, 38 pages, 850 copies
B. First edition, hardcover, 38 pages, 150 copies, numbered and signed.

Hooker, Craig Michael. HONOR AWAKENS AGAIN
Berkeley: Oyez, 1973
First edition, paperback, 34 pages, 500 copies

Palmer, Doug.  IN QUIRE
Berkeley: Oyez, 1973
First edition, paperback, 56 pages, 650 copies

Cebulski, F.J. CORM
Berkeley: Oyez, 1974
A. Paperback, 59 pages, 750 copies
B. Hardcover, 59 pages, 250 copies

Hill, Lindsay. AVELAVAL
Berkeley: Oyez, 1974
A. First edition, paperback, 59 pages, 500 copies
B. First edition, hardcover, 59 pages, 250 copies

Meltzer, David. BLUE RAGS
Berkeley: Oyez, 1974
A. First edition, paperback, 25 pages, 1000 copies
B. First edition, hardcover, 25 pages, 250 copies

Everson, William. ARCHETYPE WEST: THE PACIFIC COAST AS A LITERARY REGION
Berkeley: Oyez, 1975
A. First edition, paperback, 181 pages, 1000 copies
B. First edition, hardcover, 181 pages, 500 copies

Fabilli, Mary. THE ANIMAL KINGDOM: POEMS & DRAWINGS
Berkeley: Oyez, 1975
First edition, paperback, 69 pages, 500 copies

Meltzer, David. HARPS
Berkeley: Oyez, 1975
A. First edition, paperback, 28 pages, 500 copies
B. First edition, hardcover, 28 pages, 500 copies

Alvarado de Ricord, Elsie; Lucha Corpi, and Concha Michel. FIREFLIGHT
Berkeley: Oyez, 1976
Paperback, 109 pages, 1000 copies. Translated by Catherine Rodriguez-Nieto.

Charters, Samuel. IN LAGOS
Berkeley: Oyez, 1976
First edition, paperback, 15 pages, 600 copies.

Everson, William. RIVER-ROOT
Berkeley: Oyez, 1976
A. First edition, paperback, 45 pages, 1000 copies
B. First edition, hardcover, 45 pages 250 copies, numbered and signed

Garcia, Luis. BEANS
Berkeley: Oyez, 1976
First edition, paperback, 67 pages, 1000 copies

Morrison, Rusane. SUMMER PATCHWORK
Berkeley: Oyez, 1976
First edition, paperback, 24 pages, 500 copies

Meltzer, David. TWO-WAY MIRROR
Berkeley: Oyez, 1977
A. First edition, paperback, 149 pages, 1000 copies
B. First edition, hardcover, 149 pages, 500 copies

Canan, Janine. OF YOUR SEED
Berkeley: Oyez, 1977
Paperback, 60 pages, 500 copies.

Clark, Naomi. BURGLARIES AND CELEBRATIONS
Berkeley: Oyez, 1977
A. First edition, paperback, 80 pages, 750 copies.
B. First edition, hardcover, 80 pages, 250 copies.
Foreword by William Everson.

Dean, Robert. DINNER AT MME
Berkeley: Oyez, 1977
A. First edition, paperback, 40 pages, 1000 copies.
B. First edition, hardcover, 40 pages, 50 copies, numbered and signed

Gitin, David. LEGWORK
Berkeley: Oyez, 1977
A. First edition, paperback, 59 pages, 950 copies
B. First edition, hardcover, 59 pages, 50 copies, numbered and signed

Lummis, Dayton. CLOSETS OF MERCY
Berkeley: Oyez, 1977
First edition, paperback, 33 pages, 500 copies

Korn, Richard. THE JUDGMENT OF THE CONDOR
Berkeley: Oyez, 1978
A. First edition, paperback, 80 pages, 500 copies
B. First edition, hardcover, 80 pages, 250 copies

Korte, Mary Norbert. MAMMALS OF DELIGHT
Berkeley: Oyez, 1978
A. First edition, paperback, 37 pages, 550 copies
B. First edition, hardcover, 37 pages, 50 copies, numbered and signed

Charters, Samuel. OF THOSE WHO DIED
Berkeley: Oyez, 1980
First edition, paperback, 22 pages, 1000 copies.

Everson, William. EARTH POETRY
Berkeley: Oyez, 1980
A. First edition, paperback, 251 pages, 1000 copies
b. First edition, hardcover, 251 pages, 500 copies

Hiller, Tobey. CROSSINGS
Berkeley: Oyez, 1980
First edition, paperback, 17 pages, 600 copies

Korn, Richard and Brugnola Orlanda. JOB
Berkeley: Oyez, 1981
First edition, paperback, 22 pages, 1000 copies

Hiller, Tobey. CERTAIN WEATHERS
Berkeley: Oyez, 1987
First edition, paperback, 62 pages, 500 copies

Charters, Samuel. A COUNTRY YEAR
Berkeley: Oyez, 1992
First edition, paperback, 140 pages, 1000 copies.

 

The San Francisco Renaissance

[excerpt from Steve Clay and Rodney Phillips’ A SECRET LOCATION ON THE LOWER EAST SIDE. Granary Books, 1998]

The San Francisco Renaissance, a timeline of events

1951

1953

      • City Lights Bookstore opens in North Beach

1955

1956

      • Allen Ginsberg’s Howl published by City Lights

1957

      • Howl confiscated by customs; Lawrence Ferlinghetti and Shigeyoshi Murao arrested
      • Jack Spicer‘s Poetry as Magic Workshop, San Francisco Public Library
      • Charles Olson reads and lectures in San Francisco
      • First book from White Rabbit Press, Steve Jonas’s Love, the Poem, the Sea & Other Pieces Examined

1958

1959

      • Philip Lamantia‘s Ekstasis published by Auerhahn Press
      • Bob Kaufman’s The Abomunist Manifesto published by City Lights
      • J, edited by Jack Spicer
      • Cid Corman’s Origin Press publishes Gary Snyder’s first book, Riprap

1960

      • Gary Snyder’s Myths and Texts published by Corinth Books
      • Lew Welch‘s Wobbly Rock published by Auerhahn Press
      • William S. Burroughs and Brion Gysin’s The Exterminator published by Auerhahn Press

1962

      • White Rabbit Press revived by Graham Mackintosh with Spicer’s LAMENT FOR THE MAKERS, which was published in a small edition of less than 100 copies and illustrated by Mackintosh

1963

      • Vancouver Poetry Conference

1964

      • Open Space publishes Robin Blaser’s first book, The Moth Poem

1965

1966

      • Lenore Kandel’s The Love Book published by Stolen Paper Editions
      • Philip Lamantia‘s Touch of the Marvelous published by Oyez Press
      • John Martin’s Black Sparrow Press begins in Los Angeles

1967

      • The Pacific Nation, edited by Robin Blaser in Vancouver

1968

      • Janine Pommy-Vega’s Poems to Fernando published by City Lights

1969

      • Gary Snyder’s book of essays Earth House Hold published by New Directions

1975

      • Jack Spicer‘s Collected Books published by Black Sparrow

 

In San Francisco, the commingling of several activities helped to prepare the ground for the remarkable literary explosion that was soon to take place. The Libertarian Circle held regular literary events; poet members included Kenneth Rexroth, Muriel Rukeyser, William Everson, Robert Duncan, Jack Spicer, and Thomas Parkinson. Rexroth also ran a literary program on KPFA, the country’s first listener-sponsored radio station. Madeline Gleason (assisted by Rexroth and Duncan) founded the San Francisco Poetry Center, housed at San Francisco State College and managed by Ruth Witt-Diamant. The magazines Circle, Ark, City Lights, Goad, Inferno, and Golden Goose helped to consolidate the growing literary underground.

The famous reading at Six Gallery on Fillmore Street was publicized by Allen Ginsberg (via a hundred mailed postcards and a few flyers) thus:

mcclure_sixgallery

On October 7, 1955, in a room measuring 20 x 25 feet with a dirt floor, Ginsberg “read Howl and started an epoch.”(1) Gary Snyder, Philip Lamantia, Michael McClure, and Philip Whalen shared the bill and, by all reports, also read brilliantly. Aside from Rexroth and Whalen, all the readers were in their twenties. Again, in the words of Kenneth Rexroth, “What started in SF and spread from there across the world was public poetry, the return of a tribal, preliterate relationship between poet and audience.”(1)

These events, along with the flourishing of Lawrence Ferlinghetti’s City Lights Bookshop and publishing house, helped to inaugurate and consolidate what has become known as the San Francisco Renaissance. City Lights published Howl in 1956 (Ferlinghetti asked Ginsberg for the manuscript the same night it was read at the Six Gallery) as Number Four in the Pocket Poets Series. (It had been preceded by an extremely rare mimeographed edition, typed by Martha Rexroth and mimeographed by none other than Robert Creeley. Ginsberg’s Siesta in Xbalba had been mimeographed by the man himself on a freighter in the Alaskan Ocean.) Among the audience members that night was one who added his own chant, the young novelist Jack Kerouac, whose On the Road, published in 1957, was to make this reading and its readers legendary. It was also in 1957 that Charles Olson, rector of the experimental Black Mountain College, visited San Francisco and gave a series of lectures on Alfred North Whitehead at the Portrero Hill home of Robert Duncan and his companion, the painter Jess Collins. Among the attendees at the lectures were, of course, Duncan himself, but also Michael McClure, Gary Snyder’s Reed College friend Philip Whalen, Jack Spicer, and Richard Duerden. The same year saw the “San Francisco Scene” issue of Evergreen Review. Poet Helen Adam’s flamboyant 1961 ballad opera, entitled San Francisco’s Burning, epitomized the time, outrageous both aesthetically and socially. Other writers associated with the San Francisco Renaissance included James Broughton, Lew Welch, Ron Loewinsohn, Madeline Gleason, David Meltzer, Kirby Doyle, and Lenore Kandel.

Experimentation with forms of literature and lifestyle had long been an attractive characteristic of life in San Francisco. But the tolerance felt in Northern California was not as evident in Los Angeles. In 1957, an exhibit of work by assemblage artist Wallace Berman at the Ferus Gallery was closed by the Los Angeles Police Department, and Berman was jailed on charges of exhibiting “lewd and lascivious pornographic art.” Found guilty (by the same judge who ruled against Henry Miller), Berman and family left L.A. for San Francisco that year. Berman edited and published a fascinating assemblage magazine called Semina. After the raid of his exhibit at Ferus, he announced in Semina 2 that “I will continue to print Semina from locations other than this city of degen-erate angels.” Berman’s friend, artist George Herms, designed his own books and provided the artwork for others, including Diane di Prima. Herms had likewise found the political climate in L.A. intolerable and had preceded the Bermans to Northern California.

In the mid-1960s, John Martin’s Black Sparrow Press began publishing broadsides and booklets and has, over the years, published a wide variety of experimental and alternative poetry and prose, including work by Duncan, Olson, Spicer, and Creeley among very many others. 

Because of the previous associations of house printer/designer Graham Mackintosh, Black Sparrow is linked to earlier literary small presses of Northern California, particularly White Rabbit Press (at the urging of Jack Spicer, Mackintosh resurrected the press in 1962, printing Spicer’s own Lament for the Makers); Robert Hawley’s Oyez Press (Mackintosh had printed its first book in 1963); and Dave Haselwood’s Auerhahn Press, which flourished during the 1960s and early 70s in San Francisco. Auerhahn published a wide variety of well-designed books, including The Exterminator, an early example of William S. Burroughs and Brion Gysin’s cut-up technique, in 1960. Auerhahn also published John Wieners’s first book, The Hotel Wentley Poems. Oyez published many memorable volumes including Philip Lamantia‘s Touch of the Marvelous. Joe Dunn’s White Rabbit Press, which had begun publishing in 1957 with Steve Jonas’s rough work Love, the Poem, the Sea & Other Pieces Examined, produced books somewhat less elegant than Auerhahn’s or Oyez’s but with a beauty all their own.

The editorial genius behind White Rabbit was the irrepressible Jack Spicer, who published his own remarkable mimeographed magazine, J. Spicer emphasized the inclusion of writers who were not well published elsewhere, and accepted contributions for consideration in a box that was kept in one of three bars in the North Beach area of San Francisco. J is representative of the best of the mimeograph revolution: an uncompromising editorial stance combined with a playful, even colorful, formal character thanks to Fran Herndon, who edited the artwork for the magazine. Spicer’s model for J was Beatitude, which had begun publication in San Francisco slightly before J. And a recalcitrant model it was, since Spicer was not a fan of the Beats and carried on a running war against Ferlinghetti in particular. He imagined Ferlinghetti had become commercial and financially successful, thereby, in Spicer’s mind, “selling out” to the establishment. Magnificently consistent with his principles, Spicer never copyrighted his own work, anticipating the “no copyright, no nuthin” statements of Tom Clark’s London-based Once Series. The performative aspects of Spicer’s poetics as well as his personality also prefigured the rise of poetry readings in the 1950s, particularly those sponsored by the Poetry Center at San Francisco State, which featured mimeographed programs and booklets printing selections from the poets who were reading, among them, Charles Olson, Denise Levertov, and Louis Zukofsky.

Although Spicer’s J didn’t publish the works of “established” poets, Spicer did include the work of Robert Duncan in four issues of his magazine. Duncan and Jess Collins (whose work adorned the cover of many magazines and books of the period, including Open Space, Caterpillar, and The Floating Bear) were important influences on the literary and artistic scene in San Francisco in the 60s. Duncan’s early work was published in Berkeley or North Carolina (his Song of the Border-Guard was published by the Black Mountain College Press with a cover by Cy Twombly in 1952). Other earlier works were multilithed (Fragments of a Disordered Devotionin San Francisco in 1952) or mimeographed (the first hundred copies of Faust Foutu were mimeographed by Duncan himself, and the next 150 or so of one act of the play were multilithed by Joe Dunn of White Rabbit Press at his place of employment, the Greyhound Bus offices in San Francisco). The multilithed third edition of Faust Foutu, although also produced by Dunn, was published under Duncan’s own imprint, Enkidu Surrogate, of Stinson Beach. Duncan’s work was published by an amazing variety and number of publishers, including Oyez, Auerhahn, White Rabbit, Black Sparrow, Divers Press, Jargon, Perishable Press, City Lights, Grove Press, New Directions, and Scribners.

Slightly outside the Spicer circle (although some of his own poems were published in J) was Donald Allen, who, after the publication of The New American Poetry, 1945-1960 and before his removal to New York, established the Four Seasons Foundation in San Francisco, which published the work of a number of the writers from the anthology, including Charles Olson, Ed Dorn, Ron Loewinsohn, Philip Lamantia, Michael McClure, Joanne Kyger, Robin Blaser, and Robert Creeley. Among the early Four Seasons publications were two important works by poet Gary Snyder (the Reed College roommate of Lew Welch and Philip Whalen and the “Japhy Ryder” of Kerouac’s The Dharma Bums): Six Sections from Rivers and Mountains Without End and Riprap and Cold Mountain Poems, both published in 1965. Riprap, it should be noted, was originally published in 1959 as a booklet by Cid Corman’s Origin Press. Snyder’s Myths and Textswas published in 1960 by Corinth Books. Snyder was out of the country on an extended stay in Japan, and the text used for the Corinth publication was probably from a manuscript that LeRoi Jones had hand-copied from one that Robert Creeley had received from Snyder in 1955 or 1956. Snyder’s poetry was extremely popular in the 60s and was often used as text for broadsides by small presses, particularly those whose owners were ecologically minded. For instance, Snyder’s poem “Four Changes” was published in 1969 by Earth Read Out, a Berkeley environmental protection group, as four mimeographed pages, as well as in a folded, printed version in 200,000 copies by environmentalist Alan Shapiro for free distribution to schools and citizens’ groups.

Literary scenes with strong affiliations to the New American Poetry were in evidence elsewhere in California — most notably Bolinas in the 1970s, when that somewhat remote hippie village north of San Francisco became home to many poets. In particular, the transplanted easterner and Poetry Project veteran Bill Berkson and his press Big Sky flourished there in the decade, publishing both a magazine and a series of books. Bolinas residents of the period also included Robert Creeley, Bobbie Louise Hawkins, David Meltzer, Lewis Warsh, Tom Clark, Lewis MacAdams, Philip Whalen, Aram Saroyan, Joanne Kyger, Jim Carroll, and Duncan McNaughton, among others. Ted Berrigan, Alice Notley, and Joe Brainard were among many occasional visitors, with Joe Brainard’s Bolinas Journal providing an interesting record of one such extended stay.


(1) Kenneth Rexroth. AMERICAN POETRY IN THE TWENTIETH CENTURY (New York: Herder and Herder, 1971), p. 141.

Auerhahn Press

 

 

 

 

 

 

A. Auerhahn Press: Books & Pamphlets 1958-1965
B. Auerhahn Press: Broadsides 1959-1965
C. Auerhahn Press: Commissioned Publications 1961-1965
D. Dave Haselwood Books 1965-1969

While stationed with the U.S. Army in Germany during the 1950s, David Haselwood conceived the idea of becoming a publisher. At the time he was corresponding with his friend Michael McClure (also a native of Wichita, Kansas) who was living in San Francisco. McClure’s first book of poems, Passage (1956), was being published by Jonathan Williams’ Jargon Press. “Jonathan was having books printed in Germany because of the high quality and low cost,” Haselwood says, “and I began looking into things.”

When Haselwood was released from the Army, he came to live in San Francisco. According to Haselwood, “During the summer of 1958 I drifted around San Francisco talking endlessly with painters such as Robert LaVigne and Jesse Sharpe and poets [Philip] Lamantia, [Michael] McClure, [John] Wieners, and reading all the live poetry and prose I could get my hands on. It was at this time that it occurred to me that the press could mean a great many things … ” From this intense exposure to the active literary scene in the Bay Area grew the desire to see these writers published without the great delays imposed by larger printing establishments.

A short while later in 1958 appeared the first publication of the Auerhahn Press, John Wieners’s The Hotel Wentley Poems. After this initial experience, in which the actual printing was done by a commercial printer (and edited by the printer without Haselwood’s knowledge), Haselwood was convinced that he should not only design all future books himself, but also print them: “The first and final consideration in printing poetry is the poetry itself. If the poems are great they create their own space, the publisher is just a midwife during the final operation…” With this ideal in mind, Haselwood tackled the publication of Philip Lamantia’s Ekstasis, and went on to the printing of Michael McClure’s Hymns to St. Geryon.

Though its limited financial resources were drained by this last publication, the press continued its publication of controversial and avant-garde works, such as Lamantia’s pamphlet Narcotica.

Haselwood took on a partner, Andrew Hoyem, in 1961. By then, a number of Kansans had arrived in San Francisco — including Robert Branaman, who shared living quarters with Haselwood for a time, and Glenn Todd, who later worked as a pressman and editor at Arion Press, which Hoyem founded after an amicable dissolution of his Auerhahn interests in 1964. Todd remembers the partners at work at 1334 Franklin Street: “The Auerhahn was a small press in a small room. Andrew would be setting type, and Dave running the press, passing single sheets of paper through. They’d be in their blue printer’s aprons.” Branaman adds, “Dave looked like someone out of Dickens to me. His shop was a center for artists. It was a well-known center of the culture.”

Another of San Francisco’s cultural hot spots was the Batman Gallery, first owned by William Jahrmarkt, a.k.a. Billy Batman, whose art interests leaned to the visionary, the experimental and the mystical. According to Jack Foley in O Her Blackness Sparkles! The Life and Times of the Batman Art Gallery, 1960-65 (1995), the opening of the gallery was a “spectacular affair” and featured 99 pieces of Bruce Conner’s work. Auerhahn produced the announcement. In 1962, the gallery was sold to Michael Agron, a psychiatrist and University of California Medical Center associate professor who researched LSD as a therapeutic tool. Collaborating with Haselwood, Agron conceived of each exhibition’s announcement as a work of art. The first Agron show, Master-Bat, showcased the works of, among others, Conner and Branaman.

As the Beat scene faded with the ascent of Hippie culture, Haselwood continued to collaborate with artists on Dave Haselwood Books projects. He worked for a time at Arion Press and designed books for other presses, but his interest in publishing had waned by the close of the ’60s. It was time, he says, to choose another path.


References consulted:

Clay, Steven and Rodney Phillips. A SECRET LOCATION ON THE LOWER EAST SIDE: Adventures in Writing, 1960-1980
New York: New York Public Library / Granary Books, 1998

Clements, Marshall. A CATALOG OF WORKS BY MICHAEL MCCLURE, 1956-1965
New York: The Phoenix Book Shop, 1965

Johnston, Alastair. A BIBLIOGRAPHY OF THE AUERHAHN PRESS & ITS SUCCESSOR DAVE HASELWOOD BOOKS
Berkeley: Poltroon Press, 1976

Lepper, Gary M. A BIBLIOGRAPHICAL INTRODUCTION TO SEVENTY-FIVE MODERN AMERICAN AUTHORS
Berkeley: Serendipity Books, 1976