Tag Archives: Philip Lamantia

Auerhahn Press: Books & Pamphlets

>> return to AUERHAHN PRESS main page >>

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)

 

Semina

seminaSEMINA, edited by Wallace Berman
 Los Angeles, San Francisco, Larkspur: 1955-1964
Nine issues in various limitations (<200 copies), letterpress printed, tipped photgraphs, contributors include Berman, John Altoon, Antonin Artaud, Charles Brittin, Charles Bukowski, William S. Burroughs, Jean Cocteau, Allen Ginsberg, Marion Grogan, Walter Hopps, Larry Jordan, Philip Lamantia, Michael McClure, David Meltzer, Stuart Perkoff, and John Weiners, amongst many others.

(facsimile edition) SEMINA, edited by Wallace Berman and compiled by George Herms
Venice: Love Press (George Herms), 1992
First edition thus, 1/300 copies signed by George Herms, individual facsimile reproductions of SEMINA magazine issues 1-9, plus a loose colophon signed and numbered by George Herms laid into a printed chipboard box, as issued. This meticulous facsimile recreation of Wallace Berman’s legendary (and legendarily scarce) handmade Beat literary/art magazine from the late 1950s early 60s took four years to bring to fruition, contributors include Berman, John Altoon, Antonin Artaud, Charles Brittin, Charles Bukowski, William S. Burroughs, Jean Cocteau, Allen Ginsberg, Marion Grogan, Walter Hopps, Larry Jordan, Philip Lamantia, Michael McClure, David Meltzer, Stuart Perkoff, and John Weiners, amongst many others. This edition has been assembled in the fashion of the originals: handset letterpress on scraps of colored paper, photos, pastedowns, etc. The project was edited and overseen by Berman’s friend and fellow collage/assemblage artist George Herms.

Measure

wieners


“The three simple, almost starkly working-class issues of Measure followed glorious and overlooked “underground” poet John Wieners from Black Mountain College home to Boston, across country to San Francisco, and back to Boston again. In his years in San Francisco, from 1958 to 1960, Wieners attended (sometimes serving as host at his Scott Street apartment) the legendary Sunday afternoon poetry workshops of the charismatic poets Robert Duncan and Jack Spicer. Also present at the workshops were George Stanley, Harold Dull, Robin Blaser (The Pacific Nation), and many others…”
— from A Secret Location on the Lower East Side (Granary Books, 1998)

Measure, No. 1, edited by John Wieners
mags_measure01Boston: Measure, Summer 1957
Saddle-stapled printed wrappers, 5.5″ x 8.5″, 48 pages, letterpress printed at the Press of Villiers Publications..

“Measure is edited by John Wieners. It will be issued with the four seasons only through your support… Please understand that the opinions expressed in this magazine do not necessarily reflect those of the city.”

Contributors:
Tom Balas – “Le Fou”
Charles Olson – “Le Bonheur!”, “The Charge”, “Spring”
Edward Marshall – “One:”, “Two:”
Robin Blaser – “Poem”, “Letters to Freud”, “Poem by the Charles River”
Edward Dorn – “The Rick of Green Wood”
Larry Eigner – “Millionem”, “Brink”
Frank O’Hara – “section 9 from Second Avenue”
Fielding Dawson – “Two Drawings”
Stephen Jonas – “Word on Measure”, “Expanded Word on Measure”
Michael Rumaker – “Father”
Gavin Douglas – “The Blanket”
Jack Spicer – “Song for Bird and Myself”
Jonathan Williams – “Two Poems for Whitman, the Husbandman”
Robert Duncan – “The Propositions”

Measure, No. 2, edited by John Wieners
mags_measure2San Francisco: Measure, Winter 1958
Saddle-stapled printed wrappers, 5.5″ x 8.5″, 64 pages, letterpress printed at the Press of Villiers Publications.

“Magick is for the ones who ball, i.e. throw across”

Contributors:
Michael Rumaker – “The use of the Unconscious”
Robin Blaser – “The Hunger of Sound”
Robert Creeley – “Juggler’s Thot”
Michael Rumaker – “8 Dreams”
Jack Kerouac – “4 Choruses”
Charles Olson – “Descensus Spiritus No. 1”
Robert Duncan – “The Maiden”
Robert Creeley – “They Say”, “She Went to Say”
Jack Kerouac – “235th Chorus”
Edward Dorn – “Notes from the Fields”
Robert Duncan – “The Dance”
Stuart Z. Perkoff – “Feats of Death, Feasts of Love”
V. R. Lang – “The Recidivists”
Gregory Corso – “Yaaaah”
James Broughton – “Feathers or Lead”
Michael McClure – “The Magazine Cover”, “One & Two”
Robert Creeley – “The Tunnel”, “Just Friends”
Richard Duerden – “Musica No. 3”
Stephen Jonas – “Books 3 & 4 from a Long Poem”

Measure, No. 3, edited by John Wieners
mags_measure03Milton: Measure, Winter 1962
Saddle-stapled printed wrappers, 5.5″ x 8.5″, 36 pages, letterpress printed at the Press of Villiers Publications.

“THE CITY / 1 AM – Unreasonable fear, of the shadows of Harry Lime, of the dead reappearing”

Contributors:
James Schuyler – “Shed Market”, “Joint”
Gerrit Lansing – “Explorers”
Barbara Guest – “Safe Flights”, [untitled] “Once when he was a small boy…”,  “Abruptly, as if a Forest Might Say”
Helen Adam – “Anaid si Taerg (Great is Diana)”
Madeline Gleason – “Wind Said, Marry”
Robert Duncan – “What do I Know of the Old Lore?”
Jack Spicer – “Central Park West”
Larry Eigner – “Poem”
Tom Field – [untitled] “Form is never more than the extension…”
Edward Marshall – “Times Square”, “2”, “3”
John Wieners – “The Imperatrice”
Philip Lamantia – “Opus Magnum”
Sheri Martinelli – “Ruth Gildenberg”
Michael Rumaker – “The River at Night”
Charles Olson – “The Year is a Great Circle…”, The Post Virginal”, [untitled] “Desartes, age 34…”
John Haines – “Poem”, “Pawnee Dust”

Four Seasons Foundation

Donald Merriam Allen (Iowa, 1912 – San Francisco, August 29, 2004) was an influential editor, publisher, and translator of contemporary American literature. He is perhaps best known for his project The New American Poetry 1945-1960 (Grove Press, 1960), a seminal anthology that introduced a revolutionary new generation of postwar poetry that was to change the course of American literature.

In 1960, Allen moved from New York to San Francisco, where he established Grey Fox and the Four Seasons Foundation, two significant literary presses where he continued to publish work from Beat, San Francisco Renaissance, Black Mountain, and New York School writers, as well as younger new voices.  Among the authors were Richard Brautigan, Robert Creeley, Edward Dorn, Robert Duncan, Jack Kerouac, Joanne Kyger, Philip Lamantia, Frank O’Hara, Charles Olson, John Rechy, Aaron Shurin, Gary Snyder, Jack Spicer, Lew Welch, and Philip Whalen.


Four Seasons Foundation, A Preliminary Checklist

Welch, Lew. STEP OUT ONTO THE PLANET
San Francisco: Four Seasons Foundation 1963
First edition, broadside, 9.5″ x 12.5″, 300 copies, signed. Printed for the occasion of a reading at Longshoreman’s Hall, San Francisco, June 12, 1964

Whalen, Philip. THREE MORNINGS
San Francisco: Four Seasons Foundation 1963
First edition, broadside, 9.5″ x 12.5″, 300 copies, signed. Printed for the occasion of a reading at Longshoreman’s Hall, San Francisco, June 12, 1964

Snyder, Gary. NANAO KNOWS
San Francisco: Four Seasons Foundation 1964
First edition, broadside, 9.5″ x 12.5″, 300 copies, signed. Printed for the occasion of a reading at Longshoreman’s Hall, San Francisco, June 12, 1964

Olson, Charles. A BIBLIOGRAPHY ON AMERICA FOR ED DORN
San Francisco: Four Seasons Foundation (1964)
First edition, saddle-stapled wrappers, 6″ x 8″, 16 pages.
Published as Writing 1

Dorn, Edward; Rumaker, Michael; Tallman, Warren. PROSE 1
San Francisco: Four Seasons Foundation, 1964
First edition, saddle-stapled wrappers, 36 pages
Published as Writing 2

[anthology]. 12 Poets & 1 Painter
San Francisco: Four Seasons Foundation, 1964
First edition, saddle-stapled wrappers, 32 pages. Contributors include: LeRoi Jones, Joanne Kyger, Robert Creeley, Denise Levertov, Lawrence Ferlinghetti, Robert Duncan, Gary Snyder, Lew Welch, Allen Ginsberg, Charles Olson, Max Finstein, Bruce Boyd, and Jess Collins
Published as Writing 3

Loewinsohn, Ron. AGAINST THE SILENCES TO COME
San Francisco: Four Seasons Foundation, 1965
A. stapled wrappers, 7.75″ x 9.75″, (16 pages), 1000 copies
B. stapled wrappers, 7.75″ x 9.75″, (16 pages), 26 lettered and signed copies
Published as Writing 4

Kyger, Joanne. THE TAPESTRY AND THE WEB
San Francisco: Four Seasons Foundation, 1965
A. paperback, 61 pages
B. hardcover, 61 pages
Published as Writing 5

Olson, Charles. PROPRIOCEPTION
San Francisco: Four Seasons Foundation, 1965
First edition, saddle-stapled wrappers, 18 pages
Published as Writing 6

Snyder, Gary. RIPRAP & COLD MOUNTAIN POEMS
San Francisco: Four Seasons Foundation, 1965
stapled wrappers, 7.75″ x 9.75″, 50 pages
Published as Writing 7

Welch, Lew. HERMIT POEMS
San Francisco: Four Seasons Foundation, 1965
A. First edition, saddle-stapled wrappers, 16 pages, 974 copies
B. First edition, saddle-stapled wrappers, 16 pages, 26 numbered and signed copies
Published as Writing 8

Snyder, Gary. SIX SECTIONS FROM MOUNTAINS AND RIVERS WITHOUT END
San Francisco: Four Seasons Foundation, 1965
stapled wrappers, 42 pages, 1000 copies
Published as Writing 9

Koller, James. THE DOGS & OTHER DARK WOODS
San Francisco: Four Seasons Foundation, 1966
A. stapled wrappers, 33 pages, 1000 copies
B. hardcover, 33 pages, 26 copies, numbered signed
Published as Writing 10

McClure, Michael. LOVE LION BOOK
San Francisco: Four Seasons Foundation, 1966
A. stapled wrappers, 24 pages, 1000 copies
B. hardcover, 24 pages, 40 copies, numbered, signed
Published as Writing 11

Writing 12 [?]

Olson, Charles. STOCKING CAP: A STORY
San Francisco: Four Seasons Foundation, 1966
stapled wrappers, 15 pages
Published as Writing 13

Brautigan, Richard. TROUT FISHING IN AMERICA
San Francisco: Four Seasons Foundation, 1967
paperback
Published as Writing 14

Hadley, Drummond. THE WEBBING
San Francisco: Four Seasons Foundation, 1967
stapled wrappers, 52 pages, 500 copies
Published as Writing 15

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, 1200 copies

Olson, Charles. CAUSAL MYTHOLOGY
San Francisco: Four Seasons Foundation, 1969
A. paperback, 40 pages
B. hardcover, 40 pages
Published as Writing 16

Blaser, Robin. CUPS
San Francisco: Four Seasons Foundation, 1968
A. stapled wrappers, 24 pages, 1000 copies
B. hardcover, 24 pages, 40 copies, numbered, signed
Published as Writing 17

McClure, Michael. GHOST TANTRAS
San Francisco: Four Seasons Foundation, 1969
paperback

Writing 18 [?]

Upton, Charles. TIME RAID
San Francisco: Four Seasons Foundation, 1969
stapled wrappers, 30 pages
Published as Writing 19

Brautigan, Richard. THE PILL VERSUS THE SPRINGHILL MINE DISASTER
San Francisco: Four Seasons Foundation, 1968
A. paperback, 108 pages
B. hardcover, 108 pages, 50 copies, numbered, signed
Published as Writing 20

Brautigan, Richard. IN WATERMELON SUGAR
San Francisco: Four Seasons Foundation, 1968
A. paperback, 138 pages
B. hardcover, 138 pages, 50 copies, numbered, signed
Published as Writing 21

Creeley, Robert. A Quick Graph: Collected Notes & Essays
San Francisco: Four Seasons Foundation, 1969
A. paperback, 365 pages, 1000 copies
B. hardcover, 365 pages
C. hardcover in dust jacket, 365 pages
Published as Writing 22.

Creeley, Robert. THE CHARM: EARLY AND UNCOLLECTED POEMS
San Francisco: Four Seasons Foundation, 1969
A. paperback, 97 pages
B. hardcover, 97 pages
C. hardcover, 97 pages, 100 copies, numbered, signed
Published as Writing 23

Whalen, Philip. SEVERANCE PAY
San Francisco: Four Seasons Foundation, 1970
A. paperback, 51 pages
B. paperback, 51 pages, 50 copies, numbered, signed
Published as Writing 24

Lamantia , Philip. THE BLOOD OF THE AIR
San Francisco: Four Seasons Foundation, 1970
A. paperback, 45 pages
B. hardcover, 45 pages, 50 copies, numbered, signed
Published as Writing 25

Millward, Pamela. MOTHER: A NOVEL OF REVOLUTION
San Francisco: Four Seasons Foundation, 1970
A. paperback, 57 pages
Published as Writing 26

Olson, Charles. POETRY AND TRUTH
San Francisco: Four Seasons Foundation, 1971
A. paperback, 75 pages
B. hardcover, 75 pages
Published as Writing 27

Schaff, David. THE MOON BY DAY
San Francisco: Four Seasons Foundation, 1971
paperback, 114 pages
Published as Writing 28

Herd, Dale. EARLY MORNING WIND AND OTHER STORIES
San Francisco: Four Seasons Foundation, 1972
paperback
Published as Writing 29

Snyder, Gary. MANZANITA
San Francisco: Four Seasons Foundation, 1972
paperback

Creeley, Robert. CONTEXTS OF POETRY: INTERVIEWS 1961-1971
San Francisco: Four Seasons Foundation, 1973
paperback, 214 pages
Published as Writing 30

Olson, Charles. ADDITIONAL PROSE: A BIBLIOGRAPHY ON AMERICA, PROPRIOCEPTION, & OTHER NOTES & ESSAYS
Bolinas: Four Seasons Foundation, 1974
A. paperback, 109 pages
B. hardcover, 109 pages
Published as Writing 31

Lamantia, Philip. TOUCH OF THE MARVELOUS
Bolinas: Four Seasons Foundation, 1974
A. paperback, 47 pages
B. hardcover, 47 pages
Published as Writing 32

Whalen, Philip. THE KINDNESS OF STRANGERS: POEMS 1969-1974
Bolinas: Four Seasons Foundation, 1976
paperback, 57 pages
Published as Writing 33

Dorn, Edward. THE COLLECTED POEMS 1956-1974
Bolinas: Four Seasons Foundation, 1975
A. paperback, 277 pages
B. hardcover, 277 pages
Published as Writing 34

Olson, Charles. MUTHOLOGOS; COLLECTED LETTERS & INTERVIEWS 
Bolinas: Four Seasons Foundation, 1979
A. paperback, 230 pages, 2 volumes
B. hardcover, 230 pages, 2 volumes
Published as Writing 35

Olson, Charles. THE FIERY HUNT AND OTHER PLAYS
Bolinas: Four Seasons Foundation, 1977
paperback, 125 pages
Published as Writing 36

Whalen, Philip. OFF THE WALL: INTERVIEWS WITH PHILIP WHALEN
Bolinas: Four Seasons Foundation, 1978
paperback, 88 pages
Published as Writing 37

Dorn, Edward. INTERVIEWS
Bolinas: Four Seasons Foundation, 1980
paperback, 117 pages
Published as Writing 38

Creeley, Robert. WAS THAT A REAL POEM & OTHER ESSAYS
Bolinas: Four Seasons Foundation 1979
A. paperback, 149 pages
B. hardcover, 149 pages
Published as Writing 39

Dorn, Edward. VIEWS
Bolinas: Four Seasons Foundation, 1980
A. paperback, 142 pages
B. hardcover, 142 pages
Published as Writing 40

Gluck, Robert. ELEMENTS OF A COFFEE SERVICE
San Francisco: Four Seasons Foundation, 1982
paperback, 97 pages
Published as Writing 41

Whalen, Philip. HEAVY BREATHING: POEMS 1967-1980
San Francisco: Four Seasons Foundation, 1983
paperback, 207 pages
Published as Writing 42

Shurin, Aaron. THE GRACES
San Francisco: Four Seasons Foundation, 1983
paperback, 72 pages


References consulted:

Bohn, Dave. OYEZ: THE AUTHORIZED CHECKLIST
Berkeley: n.p., 1997

Hawley, Bob. CHECKLISTS OF SEPARATE PUBLICATIONS OF POETS AT THE FIRST BERKELEY POETRY CONFERENCE 1965
Berkeley: Oyez/Cody’s, 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

Ark

“ARK II, MOBY I, is the successor to THE ARK, a collection of verse, drawings, and articles published in San Francisco in 1947. This was probably the first coherent expression of a new aesthetic and social freedom, which as the years have gone by is now seen to be the characteristic approach of the post war II generation.

“This new gathering has concentrated on poetry and drawings because we feel that the social message has long since been taken for granted by those likely to be interested.”

-From the introduction to ARK II, MOBY I


THE ARK
San Francisco, Spring 1947
First edition, stapled sheets glued into printed wrappers, 72 pages including Contents and Notes on Contributors, letterpress printed, artwork by Ronald Bladen.

Contributors:
Patchen, Kenneth. Excerpt from SLEEPERS AWAKE. page 5
Boodson, Alison. Three Poems. page 12
Rexroth, Kenneth. Advent 1946. page 14
Laughlin IV, James. Now Love Speaks. page 15
Eberhart, Richard. At the End of War. page 16
Woodcock, George. What is Anarchism? page 19
Duncan, Robert. Four Poems. page 23
Goodman, Paul. The “Horace” of Corneille. page 32
Everson, William. If I Hide My Hand. page 38
Cummings, E. E. Four Poems. page 40
Hennacy, Ammon A. Christian Anarchism. page 42
Russell, Sanders. Six Poems. page 48
Lamantia, Philip. Another Autumn Coming. page 51
Stock, Robert. Poem on Holy Saturday. page 52
Rambo, Christopher. Peace To the Doomed Idol. page 54
Williams, William Carlos. Inquest. page 55
Russell, Sanders. E. E. Cummings and the Idea of Actuality. page 59
Duncan, Robert. Reviewing View, an Attack. page 62
Parkinson, Thomas. September Elegy. page 68
Moore, Richard. A Mediation. page 72 


ARK II, MOBY I, edited by Michael McClure and James Harmon
San Francisco, 1956-1957
First edition, stapled wrappers, 46 pages including Notes on Contributors and advertisements for The Pocket Poets Series, Jargon, and Black Mountain Review, letterpress printed at the Press of Villiers Publications, artwork by Ronald Bladen..

Contributors:
Levertov, Denise. Central Park, Winter, After Sunset. Page 1
Levertov, Denise. A Song. Page 1
Levertov, Denise. The Springtime. Page 2
Levertov, Denise. The Third Dimension. Page 3
Levertov, Denise. Laying the Dust. Page 4
McClure, Michael. Canoe: Explication. Page 4
McClure, Michael. Logos: Knout. Page 5
Zukofsky, Louis. Michtam. Page 6
Zukofsky, Louis. George Washington. Page 7
Rexroth, Kenneth. 140 Syllables. Page 8
Russell, Sanders. Two Poems. Page 8
Duncan, Robert. The Law I Love is Major Mover. Page 10
Olson, Charles. As the Dead Prey Upon Us. Page 12
Kerouac, Jack. 230th Chorus from MEXICO CITY BLUES. Page 19
Ginsberg, Allen. The Trembling of the Veil. Page 20
Snyder, Gary. Groves, 12 fromMYTHS & TEXTS. Page27
Williams, Jonathan. The Switch Blade (or, John’s Other Wife). Page 27
Williams, Jonathan. Catullus: Carmen XVI. Page 28
Williams, Jonathan. Greque Musique d’Ameublement (Bar-Fixtures Dept.). Page 28
Perkoff, Stuart. The Recluses. Page 29
Creeley, Robert. Ballad of the Despairing Husband. Page 30
Dorn, Edward. The Revival. Page 32
Dorn, Edward. Lines from a Sitting Position. Page 32
Dorn, Edward. The Common Site. Page 33
Patchen, Kenneth. Another Hamlet is Heard From. Page 34
Patchen, Kenneth. The Most Hen. Page 35
Cox, Paul. Reclame. Page 35
Collins, Jess & Christian Morgenstern. Gallowbrother’s Song to Sophie; The Hangman’s Maiden. Page 36
Collins, Jess & Christian Morgenstern. Moonmatters. Page 36
Collins, Jess & Christian Morgenstern. Goat and Stalker. Page 37
Collins, Jess & Christian Morgenstern. How the Gallowschild Remembers the Names of the Months. Page 37
Whalen, Philip. Martyrdom of Two Pagans. Page 38
Ferlinghetti, Lawrence. Untitled: “Constantly risking absurdity…”. Page 39
Eberhart, Richard. Clocks. Page 40
Eberhart, Richard. Snow. Page 40
Hawthorne, Clive. Four Poems and Notes. Page 40
Harmon, James. Silver Fox Island. Page 42
Harmon, James. Hawk Inlet. Page 42
Harmon, James. The Wind on Market Street. Page 43
Harmon, James. For H. H. Page 44
Turnbull, Gael. A Self-Portrait. Page 44
Turnbull, Gael. Why Don’t You Answer? Page 45


ARK III edited by James Harmon
San Francisco, Winter 1957
First edition, stapled wrappers, 48 pages including Notes on Contributors and advertisements for New Directions, and City Lights Books, letterpress printed at the Press of Villiers Publications, artwork by Ronald Bladen.

Contributors:
Zukofsky, Louis. Barely and Widely. Page 3
Parkinson, Thomas. Two Vineyards. Page 4
Rexroth, Kenneth. Untitled: “I am fifty-two years old…”. Page 6
Hawthorne, Clive. Greeting, Sweets, The Dog. Page 7
Hawthorne, Clive. Art Blakey. Page 7
Hawthorne, Clive. Love Song. Page 8
Hawthorne, Clive. Night. Page 8
Hawthorne, Clive. Poem. Page 8
Fall, Donald. Caprice. Page 9
Fall, Donald. Eddy Street, San Francisco, 10.30 A.M. Page 9
Fall, Donald. To H. L. Page 10
Fall, Donald. A Respectful Statement on Sex in Unsettled Times. Page 10
Fall, Donald. Postcard. Page 10
Fall, Donald. Abstract Celebration. Page 11
Roskolenko, Harry. Images of Disorder. Page 11
Roskolenko, Harry. My Father’s Profession. Page 12
Roskolenko, Harry. The Streets of Home. Page 12
Roskolenko, Harry. Charlie. Page 13
Boyd, Bruce. Nocturne for the West. Page 13
Perkoff, Stuart Z. Utter Fascinations. Page 14
Sanzenbach, Nicole. Consider Children in the Street. Page 16
Sanzenbach, Nicole. To Allen. Page 16
Whalen, Philip. A Dim View of Berkeley in the Spring. Page 17
Snyder, Gary. What I Think About When I Meditate. Page 18.
Ginsberg, Allen. An Atypical Affair. Page 19
Ginsberg, Allen. A Typical Affair. Page 20
Ginsberg, Allen. How Come He Got Canned at the Ribbon Factory. Page 21
Kerouac, Jack. San Francisco Blues (two excerpts). Page 21
Margolis, William J. Use Your Imagination (no one else does). Page 22
Ferlinghetti, Lawrence. Frame This Picture. Page 23
Wallick, Philip. My Apartment is a Pastoral Apartment. Page 25
Maclaine, Christopher. Three. Page 26
DeJong, David Cornel. Hour of Damnation. Page 27
DeJong, David Cornel. White Collar Class. Page 27
Orlovitz, Gil. The Beggar. Page 28
Lifton, Mitchell. Song. Page 28
Galler, David. Thoughts in the Ward. Page 30
Wernham, Guy. Nature Loves to Hide Herself. Page 32
Wernham, Guy. L’Homme Arraignee. Page 32
Larsen, Carl. The Work of Hands. Page 34
Eberhart, Richard. Hockey. Page 35
Eberhart, Richard. Dogs. Page 35
Uronivitz, Laura. How St George Met The Dragon. Page 36
Gilbert, Jack. Who Cried Love. Page 37
Romero, Idell Tarlow. Message on a Tree Trunk. Page 37
Romero, Idell Tarlow. Written on a Curbstone. Page 38
Corman, Cid. Agamemnon. Page 38
Turnbull, Gael. October. Page 39
Turnbull, Gael. The War. Page 40
Lipton, Lawrence. End of The Nile. Page 41

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

 

Philip Lamantia

lamantia
photo by Harry Redl

 

Philip Lamantia was born to Sicilian immigrants in San Francisco in 1927. His father was a produce broker in the old Embarcadero. He began writing poetry in elementary school and was later inspired by the paintings of Miro and Dali at the San Francisco Museum of Art. After being expelled for “intellectual delinquency” at age sixteen, he dropped out of high school and moved to New York City, where he lived for several years and where he was associated with Andre Breton and other exiled European artists such as Max Ernst and Yves Tanguy. During these years he worked as an assistant editor of View magazine and his poems were published in View as well as in publications like Hemispheres, which was being published by another French ex-patriot Yvan Goll.

In 1943, when Lamantia was only fifteen years old, Breton heralded him as being “a voice that rises once in a hundred years.” In 1946, at the age of nineteen, his first book of poems Erotic Poems was published by Bern Porter Books in Berkeley, California, followed by two collections (Narcotica and Ekstasis) published in 1959 by Auerhahn Press. A literary prodigy whose poems delved into the worlds of the subconscious and dreams, his love of Surrealism had a major influence on the Beats and other American poets. On March 7, 2005 he died of heart failure in his North Beach, San Francisco apartment at age seventy-seven.

–Thomas Rain Crowe


Section A: Books and Broadsides

1. Lamantia, Philip. EROTIC POEMS
(Berkeley): Bern Porter, 1946
First edition, hardcover issued without dust jacket, 42 pages.

2. 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)

3. Lamantia, Philip. NARCOTICA
lamantia_narcoticaSan 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)

4. 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. (pictured)
B. First edition, hardcover, 7? x 8.75?, 48 pages, 50 numbered and signed copies, bound by the Schuberth Bindery.
(Auerhahn 18)

5. Lamantia, Philip. TOUCH OF THE MARVELOUS
(Berkeley): Oyez, 1966
a. First edition, hardcover, 65 pages, 50 copies on handmade Tovil paper, numbered, signed by the author, bound by Dorothy Hawley.
b. First edition, sewn and glued into wrappers, 65 pages, 1450 copies.

6. Lamantia, Philip. SELCETED POEMS 1943-1966
(San Francisco): City Lights Books, (1967)
First edition, wrappers, 100 pages, published as Pocket Poets Series Number 20. (Cook 61)

7. Lamantia, Philip. THE BLOOD OF THE AIR
lamantia_bloodSan Francisco: Four Seasons Foundation, 1970
a. First edition, hardcover , 45 pages, 50 copies, numbered, signed by the author, published as Writing 25. (pictured)
b. First edition, wrappers, 45 pages, published as Writing 25.

8. Lamantia, Philip. TOUCH OF THE MARVELOUS
Bolinas: Four Seasons Foundation, 1974
Second, expanded edition, wrappers, 47 pages, includes three poems not in the original edition: “Celestial Estrangement”, “Submarine Languor”, and “To You Henry Miller”.

9. Lamantia, Philip. BECOMING VISIBLE
San Francisco: City Lights Books, 1981
a. First edition, hardcover, 96 pages, published as Pocket Poet Series No. 39.
b. First edition, wrappers, 96 pages, published as Pocket Poet Series No. 39.
(Cook 146)

10. Lamantia, Philip. MEADOWLARK WEST
San Francisco: City Lights Books, 1986
First edition, wrappers, 73 pages. (Cook 171)

11. Lamantia, Philip. BED OF SPHINXES: NEW AND SELECTED POEMS, 1943-1993
San Francisco: City Lights Books, 1997
First edition, wrappers, 141 pages.

12. Lamantia, Philip. WHAT IS NOT STRANGE?
San Francisco: City Lights, 2005
First edition, broadside.


 Section B: Contributions to Books and Anthologies, Selected

sequence within years is alphabetical

BEATITUDE ANTHOLOGY. San Francisco: City Lights, 1960

THE BEATS, edited by Seymour Krim. Greenwich: Gold Medal, 1960

THE BEAT SCENE, edited by Elias Wilentz, photographs by Fred McDarrah. New York: Corinth Books, 1960

THE NEW ORLANDO POETRY ANTHOLOGY. New York: New Orlando Publication, 1963

PENGUIN MODERN POETS, 13. London: Penguin, 1969

AERO INTO THE AETHER. Philip Lamantia, Clark Ashton Smith.  Black Swan Press, 1980

FREE SPRITS: ANNALS OF THE INSURGENT IMAGINATION. San Francisco: City Lights, 1980. First edition, wrappers, 223 pages

WHITMAN’S WILD CHILDREN, edited by Neeli Cherkovski. Venice: Lapis Press, 1988

TAU & JOURNEY TO THE END. Philip Lamantia, John Hoffman. San Francisco: City Lights, 2008

CITY LIGHTS POCKET POETS ANTHOLOGY, edited by Lawrence Ferlinghetti. San Francisco: City Lights, 2009


Section C: Contributions to Periodicals, Selected

sequence within years is alphabetical

VIEW, Series III, Number 2. New York, June 1943

VIEW, Series III, Number 3. New York, 1943

VIEW, Series IV, Number 2. New York, Summer 1944

VVV, Number 4. New York, 1944

HEMISPHERES, Number 5. New York, 1945

VIEW, Series V, Number 2. New York, 1945

NEW DIRECTIONS, Number 9. New York, 1946

CONTOUR QUARTERLY, Volume 1, Number 1. Berkeley, 1947

NOW, Number 7. London, February-March 1947

CITY LIGHTS, Number 4. San Francisco, Fall 1953

NEW DIRECTIONS, Number 14. New York, 1953

BEATITUDE, Number 9. San Francisco, September 1959

SEMINA, Number 4. San Francisco, 1959

SEMINA, Number 5. San Francisco, 1959

EVERGREEN REVIEW, Volume 4, Number 11. New York, January-February 1960

THE GALLEY SAIL REVIEW, Number 5. San Francisco, Winter 1960

YUGEN, 6. New York, 1960

DAMASCUS ROAD, Number 1. Allentown, 1961

POEMS FROM THE FLOATING WORLD, Volume 3. New York, 1961

MEASURE, Number 3. Milton, Summer 1962

THE OUTSIDER, Number 2. New Orleans, Summer 1962

TOBAR, Number 4. New York, 1962

EL CORNO EMPLUMADO, Number 9. Mexico City, 1964

FUCK YOU: A MAGAZINE OF THE ARTS, Volume 5, Number 7. New York, September 1964

DAMASCUS ROAD, Number 2. Allentown, 1965

RESIDU, Volume 1, Number 1. Athens, Spring 1965

THE PARIS REVIEW, Number 36. Paris, 1966

THE FLOATING BEAR, Number 33. New York, February 1967

THE FLOATING BEAR, Number 34. New York, 1967

THE FLOATING BEAR, Number 35. New York, April 1968

CATERPILLAR, 10. New York, January 1969

CATERPILLAR, 17. Sherman Oaks, October 1971

INTREPID, Number 20. Buffalo, 1971

ANTAEUS, 6. Tangier, Summer 1972

THE LAMP IN THE SPINE, Number 4. Iowa City, Spring 1972

THE SEVENTIES, Number 1.  Madison, Spring 1972

ARSENAL, Number 2. Chicago, Summer 1973

CULTURAL CORRESPONDENCE, Number 12-14. Providence, Summer 1981

ZYZZYVA, Volume 1, Number 4. San Francisco, Winter 1985

CITY LIGHTS REVIEW, 1. San Francisco, 1987

CALIBAN, 7. Ann Arbor, 1989

CITY LIGHTS REVIEW, 4. San Francisco, 1990


Section D: Ephemera

THE AUERHAHN PRESS CATALOG, 1962
San Francisco: Auerhahn Press, 1962. First edition, wrappers

A KIND OF BEATNESS: PHOTOGRAPHS OF A NORTH BEACH ERA 1950-1965
San Francisco: Focus Gallery, 1975. First edition, wrappers


References Consulted:

Bohn, Dave. OYEZ: THE AUTHORIZED CHECKLIST
Berkeley: n.p., 1997

Cook, Ralph T. CITY LIGHTS: A DESCRIPTIVE BIBLIOGRAPHY
Metuchen: The Scarecrow Press, 1992

Duncan, Michael and Kristine McKenna. SEMINA CULTURE: WALLACE BERMAN & HIS CIRCLE
New York: Distributed Art Publishers, 2005

Harter, Christopher. AN AUTHOR INDEX TO LITTLE MAGAZINES OF THE MIMEOGRAPH REVOLUTION
Lanham: Scarecrow Press, 2008

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

Marx, Jake. “Index to Fuck You: A Magazine of the Arts” in THE SERIF: QUARTERLY OF THE KENT STATE UNIVERSITY LIBRARIES, Volume VIII, Number 3
Kent: The Kent State University Libraries, September 1971

Wallace Berman

 berman_arranged

Wallace Berman was born in 1926 in Staten Island, New York. In the 1930s, his family moved to the Jewish district (Boyle Heights) in Los Angeles. After being expelled from high school for gambling in the early 1940s, Berman immersed himself in the growing West Coast jazz scene. During this period, he briefly attended the Jepson Art School and Chouinard Art School, but departed when he found the training too academic for his needs.

In 1949, while working in a factory finishing antique furniture, he began to make sculptures from unused scraps and reject materials. By the early 1950s, Berman had become a full-time artist and an active figure in the beat community in Los Angeles and San Francisco. Many art historians consider him to be the ‘father’ of the California assemblage movement. Moving between the two cities, Berman devoted himself to his mail art publication SEMINA, which contained a sampling of beat poetry and images selected by Berman.

In 1963, permanently settled in Topanga Canyon in the Los Angeles area, Berman began work on verifax collages (printed images, often from magazines and newspapers, mounted in collage fashion onto a flat surface, sometimes with solid bright areas of acrylic paint). He continued creating these works, as well as rock assemblages, until his death in 1976.

A. Solo and Select Group Exhibitions
B. Posters and Prints
C. Cover and Book Art
D. Semina

Further reading and reference:

ART AS A MUSCULAR PRINCIPLE, 10 Artists and San Francisco 1950-1965
Mount Holyoke College, 1975

ART IN LOS ANGELES: SEVENTEEN ARTISTS IN THE SIXTIES
Los Angeles: LACMA, 1981

ASSEMBLAGE IN CALIFORNIA: WORKS FROM THE LATE 50’S AND EARLY 60’S
Alhambra: Cunningham Press, 1968

DIFFERENT DRUMMERS, edited by Frank Gettings
Washington DC: Smithsonian Hirshhorn Museum and Sculpture Garden, 1988

LA POP IN THE SIXTIES, edited by Anne Ayres
Newport Beach: Newport Harbor Art Museum, 1989

SAN FRANCISCO RENAISSANCE PHOTOGRAPHS OF THE ’50S AND ’60S, edited and with an introduction by Merril Greene
NY: Gotham Book Mart Gallery, 1975

SECRET EXHIBITION: SIX CALIFORNIA ARTISTS OF THE COLD WAR ERA, edited by Rebecca Solmit
San Francisco: City Lights, 1990

SUPPORT THE REVOLUTION, edited by Tosh Berman, Michael McClure, David Meltzer, Colin Gardner, Walter Hopps, Christopher Knight, Eduardo Lipschutz-Villa, Charles Brittin
Amsterdam: Institute of Contemporary Art, 1992

THIRD RAIL, Issue 9, edited by Uri Hertz
Los Angeles: Third Rail, 1988

UTOPIA AND DISSENT: ART, POETRY, AND POLITICS IN CALIFORNIA, by Richard Cándida Smith
Berkeley: University of California Press, 1995)