Tag Archives: Fran Herndon

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.

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)

 

J

Jack Spicer’s J ran for eight issues: Nos. 1–5 were edited by Spicer in North Beach where contributions were left in a box marked “J” in The Place, a bar on Grant Avenue in San Francisco; Nos. 6 and 7 (an Apparition of the late J) were edited by George Stanley in San Francisco and New York City respectively while no. 8 was edited by Harold Dull in Rome. Spicer believed that poetry was for poets and the magazine had a small circulation but cast a long shadow. Contributors included: Robin Blaser, Richard Brautigan, Bruce Boyd, Kay Johnson, Robert Duncan, Joe Dunn, Ron Loewinsohn, Joanne Kyger, Helen Adam, and others. Covers (sometimes hand-embellished) were by Fran Herndon (Nos. 1, 2, 4, 5), Russell FitzGerald (No. 3), and George Stanley (Nos. 6, 7).


J, No. 1, edited by Jack Spicer
mags_j01San Francisco: J, 1959
Contributors:
James Alexander
Ebbe Borregaard
Robin Blaser
Jack Spicer
Joe Dunn
Richard Brautigan
Kay Johnson
Robert Duncan

J, No. 2, 1959, edited by Jack Spicer
San Francisco: J, 1959
Contributors:
George Stanley
Fran Herndon
Jess Collins
Robert Duncan
Stan Persky

J, No. 3, 1959, edited by Jack Spicer
San Francisco: J, 1959
Contributors:
Bruce Boyd
Ron Loewinsohn
George Stanley
Damon Beard
Jack Spicer

J, No. 4, 1959, edited by Jack Spicer
mags_j04San Francisco: J, 1959
Contributors:
Robert Duncan
Richard Brautigan
Joanne Kyger
Donald Allen
John Ryan
George Stanley
Jack Spicer

J, No. 5, 1959, edited by Jack Spicer
mags_j05San Francisco: J, 1959
Contributors:
Larry Eigner
Jess Collins
Richard Brautigan
Kay Johnson
Ron Loewinsohn
George Stanley
Robert Duncan
Richard Duerden
Jack Spicer

J, No. 6, edited by George Stanley
San Francisco: J, 1959
Contributors:
Helen Adam
Paul Goodman
Joanne Kyger
Ron Loewinsohn

J, No. 7, edited by George Stanley
New York: J, 1959
Contributors:
Ebbe Borregaard
Stan Persky

J, No. 8, 1961, edited by Harold Dull
Rome: J, 1961
Contributors:
Harold Dull
Stan Persky


online excerpt from A Secret Location on the Lower East Side (Granary Books, 1998):

“In many ways the most beautiful of all the mimeo magazines, J had an eight-issue run. The first five issues were edited from North Beach bars by Jack Spicer with Fran Herndon as art editor. Spicer, who embodied the spirit of poetry in the Bay area, collected pieces for his magazine from a box marked “J” in The Place, a bar at 1546 Grant Avenue in San Francisco. A refugee from Los Angeles with two degrees from Berkeley, he had been a student of Josephine Miles there in the mid-1940s. They became close friends, and Spicer participated in the Friday afternoon poetry readings in Wheeler Hall during the late 1940s as well as the readings organized with Rocke-feller money by Ruth Witt-Diamant at the new Poetry Center at San Francisco State. Into the cauldron of poetic politics surrounding Miles, Kenneth Rexroth, Robert Duncan, Lawrence Ferlinghetti, and others, Spicer introduced his freest of spirits, sometimes more Caliban than Ariel. Spicer lived for words (even making his living as a research assistant on a lexicographical project at Berkeley). He could be found most evenings in one of the North Beach bars or coffeehouses leading the discussion on poetry, poetics, myth, linguistics, and other mysteries. Like Blake and Yeats (with the help of Mrs. Yeats), Spicer attempted to clear his mind and open himself to “dictation” from other sources, which he devotedly pursued. Spicer also believed wholeheartedly in the necessity of human beings’ helping each other through communication, which he confronted in the editorship of J, a little newsletter of the poetic spirit. Donald Allen acted as J’s distributor in New York (“New York Contributions are not forbidden. But quotaed”), selling copies for Spicer to the Wilentz brothers of the Eighth Street Book Shop. In an early letter to Spicer, Allen eagerly wondered “what your editorial policy may be. Seduction by print.””


Further Reading:

Mimeo Mimeo on J

Poet as Crystal Radio Set

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 jack-spicerhome. 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.

In 1954, he co-founded the Six Gallery in San Francisco, which soon became famous as the scene of the October 1955 Six Gallery reading that launched the West Coast Beat movement. In 1955, Spicer moved to New York and then to Boston, where he worked for a time in the Rare Book Room of Boston Public Library. Blaser was also in Boston at this time, and the pair made contact with a number of local poets, including John Wieners, Stephen Jonas, and Joe Dunn.

Spicer returned to San Francisco in 1956 and started working on After Lorca. This book represented a major change in direction for two reasons. Firstly, he came to the conclusion that stand-alone poems (which Spicer referred to as his one-night stands) were unsatisfactory and that henceforth he would compose serial poems. In fact, he wrote to Blaser that ‘all my stuff from the past (except the Elegies and Troilus) looks foul to me.’ Secondly, in writing After Lorca, he began to practice what he called “poetry as dictation”.

In 1957, Spicer ran a workshop called Poetry as Magic at San Francisco State College, which was attended by Duncan, Helen Adam, James Broughton, Joe Dunn, Jack Gilbert, and George Stanley. He also participated in, and sometimes hosted, Blabbermouth Night at a literary bar called The Place. This was a kind of contest of improvised poetry and encouraged Spicer’s view of poetry as being dictated to the poet. (more…)

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.”


A. Books & Broadsides

 

1. After Lorca
spicer_lorcaSan Francisco: White Rabbit Press, Nov-Dec 1957
First edition, saddle-stapled printed wrappers, 6.5″ x 8.5″, 76 pages, 500 copies (26 lettered and signed). Jack Spicer’s first book. Cover illustration by Jess Collins. Introduction by Federico Garcia Lorca. (Johnston A2)

2. 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. Incorporated into A4.
[not in archive]


3. 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. Illustrations by Jess Collins.



4. 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.
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)

5. Lament for the Makers
spicer_lamentOakland: White Rabbit Press, 1962
First edition, sewn printed wrappers, 5.5″ x 8″, 16 pages, 125 copies. Cover illustration by Graham Mackintosh. (Johnston A11)



6. The Spicer-Ferlinghetti Correspondence
spicer_ferlingSan Francisco: White Rabbit Press, 1964
First edition, single 8.5? x 14? sheet folded once, letterpress.



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


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

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

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

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


C. Contributions to Periodicals

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




2. 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”




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





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





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





6. 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”

7. 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”

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





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





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

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





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

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

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





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





16. 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]




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

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





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





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





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

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

23. 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…”

24. 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”



25. 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…”



26. 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…”

27. 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…”

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

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



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

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

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

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






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

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





36. 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”

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




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





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

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

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





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

43. Tish
Vancouver, February 1969

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

45. Boss 4
New York: Boss Magazine, 1970

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

47. 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
UCSB Special Collections.

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

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