Tag Archives: White Rabbit Press

Enkidu Surrogate

spicer_billyannouce
Announcement for Billy the Kid, circa 1959. Collage on paper

 

From Stinson Beach in the late 1950s, Jess Collins and Robert Duncan published just two books under their Enkidu Surrogate imprint.

The books were distributed by White Rabbit Press.

 

 

 

Spicer, Jack. 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.

 

 

Duncan, Robert. FAUST FOUTU
duncan_faust03
Stinson Beach: Enkidu Surrogate, Nov 1959
First edition thus, saddle-stapled illustrated wrappers, 7″ x 8.5″, 71 pages,  750 copies (50 copies numbered and signed with a drawing). Illustrated by Robert Duncan. The first complete printing of the play, after a mimeographed first printing in 1953, and a second from White Rabbit Press in 1958. (Bertholf A7c)

Jess Collins

jess1956Jess Collins (August 6, 1923 – January 2, 2004) was born Burgess Franklin Collins in Long Beach, California. He was initially educated as a chemist, having received his B.S. at the California Institute of Technology in 1948, and in his career worked on the production of plutonium for the Manhattan Project.  In 1949 he abandoned his scientific career and moved to San Francisco where he enrolled in the California School of Fine Arts  (now the San Francisco Art Institute) and began referring to himself simply as “Jess”. He met Robert Duncan in 1951, a relationship  that lasted until the poet’s death in 1988.

jess002
Alternative cover for O!, 1959

In 1952 Jess, Duncan, and Harry Jacobus opened the King Ubu Gallery, which became an important venue for alternative art in San Francisco. And it remained so when it was  reopened as the Six Gallery in 1954 by Wally Hedrick, Deborah Remington, John Ryan, Jack Spicer, Hayward King, and David Simpson.

A celebrated painter and collage artist, Jess was a leading light of the San Francisco art scene from the 1950s until his death in 2004, and one of the most original artists of the second half of the 20th century.

Jess was a quietly independent artist who in his paintings, collages, and sculptures developed a complex synthesis of art and literary history. Jess’ unique imagery, evolved from mythology and fables both playful and profound, has long been admired by critics, curators and writers. Using paper collage or his eccentric painting techniques, Jess’ pictures referenced ancient stories and invented symbols. Jess constructed a private world of delicate beauty and gentle absurdity. 


A. Books and Broadsides

1. Artists View #8
Tiburon: Artist’s View, 1954
Poems and paste-ups, folded broadside, entire issue devoted to the work of Jess.

2. O!
New York: Hawks Well Press, 1960
Paste-ups and poems, stapled wrappers, with a preface by Robert Duncan.

3. The Dios Kuroi
Off-print from The Northwest Review, 1963
Paste-up sequence.


B. Contributions to Books and Other Publications

1. Jess Collins and Robert Duncan. Boob #1
jess_boob01San Francisco: [privately printed], 1952
Broadside. Paste-up.




2. Jess Collins and Robert Duncan. Boob #2
jess_boob02San Francisco: [privately printed], 1952
Broadside. Paste-up.




3. Duncan, Robert. Caesar’s Gate
Mallorca: Divers Press, 1955.
Cover and 16 paste-ups.

4. Jonas, Steve. The Poem, The Sea & Other Pieces Examined.
jonas_loveSan Francisco: White Rabbit Press, 1957.
Cover illustration and titling. (Johnston A1)





5. Spicer, Jack. AFTER LORCA
spicer_lorcaSan Francisco: White Rabbit Press, 1957
Cover illustration. (Johnston A2)





6. Levertov, Denise. FIVE POEMS
levertov_fiveSan Francisco: White Rabbit Press, 1958
Cover illustration. (Johnston A3)





7. Adam, Helen. The Queen O’ Crow Castle
adam_queenSan Francisco: White Rabbit, 1958
Cover illustration, titling, and six drawings. (Johnston A9)




8. Olson, Charles. O’Ryan 2 4 6 8 10
olson_oryanSan Francisco: White Rabbit, 1958
Cover illustration. (Johnston A10)





9. Spicer, Jack. Billy The Kid
spicer_billyStinson Beach: Enkidu Surrogate Press, 1959
Cover illustration and seven drawings.





10. Duncan, Robert. The Opening of The Field
New York: Grove Press, 1960
Frontispiece drawing.

11. Adam, Helen and Pat. San Francisco’s Burning
Berkeley: Oannes Press, 1963
Cover illustration and six drawings.

12. Duncan, Robert. Unkingd by Affection 
San Francisco: San Francisco Arts Festival, 1963
Illustrated broadside.

13. Adam, Helen. Ballads
New York: Acadia Press, 1964
Cover illustration, titling, title page, and 15 drawings. Two additional drawings included in limited edition with hand-tinted cover.

14. Borregaard, Ebbe. When Did Morning Wind Rip Callow Flowers in May… 
San Francisco, San Francisco Arts Festival, 1964
Illustrated broadside.

15. Duncan, Robert. A Book of Resemblances
New Haven: Henry Wenning, 1966
Illustrations in two colors.

16. Duncan, Robert. The Cat and The Blackbird
San Francisco: White Rabbit Press, 1967
Cover illustration, titling, and drawings.

17. Duncan, Robert. Names of People
Los Angeles: Black Sparrow Press, 1968
Illustrations.

18. Dunn, Joe. Better Dream House
San Francisco: White Rabbit Press, 1968
Cover and 11 paste-ups.

19. Morgenstern, Christian. Gallowsongs 
Los Angeles: Black Sparrow Press 1970
Illustrations.


C. Contributions to Periodicals

1. Artists View #0. Tiburon, 1952. Paste-up poem

2. Artists View #5. Tiburon, 1953. Cover illustration.

3. Poems & Pictures #1. 1954. Poem

4. Black Mountain Review #4. 1956. Paste-up poem.

5. Black Mountain Review #6. 1956. Paste-ups

6. Ark II, Moby I. 1956. Translations.

7. J #2. 1959. Notes on painting.

8. J #5. 1959. Cover illustration and comic strip.

9. J #6. 1959. Comic strip.

10. Chelsea #7. 1960. Translations.

11. An Apparition of The Late J. 1960. Poem.

12. Folio 3. Bloomington, Summer 1960. Paste-up.

13. Foot #1. 1960. Poem.

14. Foot #2. 1962. Poem.

15. The Northwest Review 4. Eugene, Winter 1963. Paste-up sequence.

16. Semina 8. Los Angeles, 1963. Paste-up.

17. The Rivoli Review #1. 1964. Cover illustration.

18. The Rivoli Review #2. 1964. Poem.

19. Writing 3. 1964. Cover illustration and five drawings.

20. Open Space #1. 1964. Dream record.

21. Open Space #2. 1964. Dream record and letter.

22. Open Space #Twin 4. 1964. Dream record.

23. Open Space #6. 1964. Dream record and drawing.

24. Open Space #7. 1964. Cover illustration and dream record.

25. Open Space #8. 1964. Paste-up.

26. Open Space #9. 1964. Drawing.

27. Open Space #10. 1964. Cover illustration and paste-up.

28. Open Space #12. 1964. Drawing.

29. Floating Bear #31. 1965. Cover illustration.

30. Insect Trust Gazette #2. 1965. Paste-up.

31. Some / Thing #8. 1966. Paste-up.

32. The Tenth Muse #14. 1967. Cover illustration.

33. The Tenth Muse #15. 1967. Cover illustration.

34. The Tenth Muse #21. 1968. Cover illustration.

35. The Tenth Muse #26. 1969. Cover paste-up.


Further Reading

Hyperallergic
The Paris Review
Siglio Press

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

White Rabbit Press

IMG_3062From 1957-1968, the White Rabbit Press published sixty-three books and ten broadsides. It was the primary publisher of the work of Spicer, Robin Blaser, and Robert Duncan—the three central figures of the literary movement first known as the Berkeley Renaissance, and later as the San Francisco Renaissance. 

Founded by Joe Dunn in 1957 to print the poetry of the Jack Spicer Circle, the first ten books were printed surreptitiously on a multilith at the Greyhound Bus offices on 7th street in San Francisco. These early books were illustrated by Jess, Robert Duncan, and Kenn Davis.

After a four-year hiatus, the imprint was revived in 1962 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.  (more…)

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.

White Rabbit Press

IMG_3062From 1957-1968, the White Rabbit Press published sixty-three books and ten broadsides. It was the primary publisher of the work of Spicer, Robin Blaser, and Robert Duncan—the three central figures of the literary movement first known as the Berkeley Renaissance, and later as the San Francisco Renaissance. 

Founded by Joe Dunn in 1957 to print the poetry of the Jack Spicer Circle, the first ten books were printed surreptitiously on a multilith at the Greyhound Bus offices on 7th street in San Francisco. These early books were illustrated by Jess, Robert Duncan, and Kenn Davis.

After a four-year hiatus, the imprint was revived in 1962 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.


1. Jonas, Steve. LOVE, THE POEM, THE SEA AND OTHER PIECES EXAMINED
jonas_loveSan Francisco: White Rabbit Press, November 1957
First edition, sewn printed wrappers, 6.5″ x 8.5″, 12 pages, 200 copies. Cover illustration by Jess. (Johnston A1)


2. Spicer, Jack. AFTER LORCA
spicer_lorcaSan Francisco: White Rabbit Press, November & December 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. Introduction by Federico Garcia Lorca. (Johnston A2)

3. Levertov, Denise. FIVE POEMS
levertov_fiveSan Francisco: White Rabbit Press, January 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 12 pages, (200 copies). Cover illustration by Jess. (Johnston A3)


4. Borregaard, Ebbe. THE WAPITIS
borregaard_wapitisSan Francisco: White Rabbit Press, January 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 12 pages, (200 copies). Ebbe Borregaard’s first book. Cover illustration by Robert Duncan. (Johnston A4)

5. Stanley, George. THE LOVE ROOT
stanley_loveSan Francisco: White Rabbit Press, January 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 12 pages, (200 copies). George Stanley’s first book. Cover illustration by Robert Duncan. (Johnston A5)

6. Duncan, Robert. FAUST FOUTU ACT 1
duncan_faustSan Francisco: White Rabbit Press, March 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 20 pages, 300 copies. (Johnston A6)




7. Dull, Harold. THE BIRD POEMS
dull_birdSan Francisco: White Rabbit Press, May 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 16 pages, 200 copies. Harold Dull’s first book. Cover illustration by Nugent. (Johnston A7)



8. Brautigan, Richard. THE GALILEE HITCH-HIKER
brautigan_galileeSan Francisco: White Rabbit Press, May 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 6 pages, 200 copies. Cover illustration by Kenn Davis. (Johnston A8)



9. Adam, Helen. THE QUEEN O’CROW CASTLE
adam_queenSan Francisco: White Rabbit Press, 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 20 pages, (200 copies). Cover illustration by Jess. (Johnston A9)



10. Olson, Charles. O’RYAN 2 4 6 8 10
olson_oryanSan Francisco: White Rabbit Press, September 1958
First edition, sewn printed wrappers, 6.5″ x 8.5″, 16 pages, 300 copies. Cover illustration by Jess. (Johnston A10)


11. Spicer, Jack. 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)



12. Andrews, Jr., Lyman. FUGUTIVE VISIONS
andrews_fugitiveOakland: White Rabbit Press, 1962
First edition, sewn sheets bound into printed wrappers, 5.5″ x 8″, 24 pages. Illustrations by Graham Mackintosh. (Johnston A12)



13. Dull, Harold. THE WOOD CLIMB DOWN OUT OF
dull_woodSan Francisco: White Rabbit Press, 1963
First edition, saddle-stapled illustrated wrappers, 5.5″ x 8.25″, 12 pages. (Johnston A13)




14. Primack, Ronnie. FOR THE LATE MAJOR HORACE BELL OF THE LOS ANGELES RANGERS
primack_lateSan Francisco: White Rabbit Press, 1963
First edition, side-stapled sheets bound into printed wrappers, 6″ x 9″, 32 pages. Illustrated by Graham Mackintosh. (Johnston A14)



15. Stanley, George. TETE ROUGE / PONY EXPRESS RIDERS
stanley_teteSan Francisco: White Rabbit Press, 1963
First edition, sheets laid into printed unbound wrappers, 6″ x 8.25″, 54 pages. Illustrated by Paul Alexander.
(Johnston A15)


16. Kearney, Lawrence. FIFTEEN POEMS
San Francisco: White Rabbit Press, 1964
First edition, saddle-stapled sheets bound into printed wrappers, 5.75″ x 9″, 20 pages. Kearney’s first book.
(Johnston A16)


17. Thorman, Janet. THE TAROT SUITE
thorman_tarotSan Francisco: White Rabbit Press, 1964
First edition, saddle-stapled sheets in printed wrappers, 5.5″ x 8.5″, 24 pages. According to Johnston, “A supplement to OPEN SPACE magazine”.
(Johnston A17)


18. Spicer, Jack and Lawrence Ferlinghetti. DEAR FERLINGHETTI
spicer_ferlingSan Francisco: White Rabbit Press, 1964
First edition, single 8.5″ x 14″ sheet folded once, letterpress.
(Johnston A19)


19. Spicer, Jack. 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. (Johnston A19)



20. Duncan, Robert. AS TESTIMONY
duncan_testimonySan Francisco: White Rabbit Press, 1964
First edition, saddle-stapled printed wrappers, 6″ x 9″, 24 pages, letterpress.
(Johnston A20)



21. Blaser, Robin. THE MOTH POEM
San Francisco: Open Space, 1964
First edition, side-stapled sheets bound into printed wrappers, 5.5″ x 8.25″, 32 pages, 300 copies (12 with hand-colored end papers by the author), letterpress.
(Johnston A21)

22. Dull, Harold. THE DOOR
dull_doorSan Francisco: Open Space, 1964
First edition, side-stapled sheets with printed cover sheet, 8.5″ x 11″, 58 pages.
(Johnston A22)



23. Blaser, Robin. THE MOTH POEM
San Francisco: Open Space, May 1965
Second edition
(Johnston A23)

24. Duerden, Richard. THE FORK
duerden_forkSan Francisco: Open Space, 1964
First edition, saddle-stapled sheets glued into printed french-fold wrappers, 6.75″ x 8.5″, 92 pages, 500 copies, errata sheet tipped in, letterpress.
(Johnston A24)

25. Alexander, James. ETERNATURE
alexander_eturnatureSan Francisco: Oannes-Open Space, 1965
First edition, side stapled sheets glued into printed french-fold wrappers, 7.25″ x 10.25″, 104 pages, 250 copies. Illustrated by Paul Alexander.
(Johnston A25)


26. Olson, Charles. O’RYAN 1-10
olson_oryan02San Francisco: White Rabbit Press, 1965
First edition, saddle stapled printed wrappers, 6.25″ x 8.75″, 16 pages, 1026 copies (26 lettered copies in boards), letterpress. Illustrated by Jess.
(Johnston A26)


27. Blaser, Robin. LES CHIMERES
San Francisco: Open Space, 1965
(Johnston A27)

28. Stanley, George. FLOWERS
stanley_flowersSan Francisco: White Rabbit Press, 1965
First edition, saddle-stapled printed wrappers, 5.75″ x 8.75″, 32 pages, 500 copies (26 lettered and signed in boards), letterpress.
(Johnston A28)


29. Dull, Harold. THE NIGHT OF THE PERSEIDS
San Francisco: White Rabbit Press, 1965
This title, after review by the author, was never issued.
(Johnston A29)

30. Spicer, Jack. LANGUAGE
spicer_languageSan Francisco: White Rabbit Press, 1965
First edition, perfect-bound printed wrappers, 6.25″ x 10″, 72 pages. (Johnston A30)




31. Duncan, Robert. AS TESTIMONY
San Francisco: White Rabbit Press, 1965
Second edition, saddle-stapled printed wrappers, 6″ x 9″, 24 pages, letterpress and offset.
(Johnston A31)

32. Duncan, Robert. THE SWEETNESS AND GREATNESS OF DANTE’S DIVINE COMEDY
San Francisco: Open Space, 1965
(Johnston A32)

33. Spicer, Jack. 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, letterpress.
(Johnston A33)



34. Ryan, John Allen. RUT
(San Francisco): Graham Mackintosh, 1966
(Johnston A34)

35. Alexander, James. THE JACK RABBIT POEM
alexander_jackSan Francisco: White Rabbit-Open Space, 1966
First edition, saddle-stapled printed wrappers, 5.5″ x 9″, 20 pages, 750 copies (26 numbered and signed in boards), letterpress.
(Johnston A35)


36. Perksy, Stan. LIVES OF THE FRENCH SYMBOLIST POETS
San Francisco: White Rabbit Press, 1966
(Johnston A36)

37. Showers, J. Anthony. THE ALIENS
San Francisco: White Rabbit Press, 1967
(Johnston A37)

38. Miles, Josephine. SAVING THE BAY
San Francisco: Open Space, 1967
(Johnston A38)

39. Dull, Harold. THE STAR YEAR
dull_starSan Francisco: White Rabbit Press, 1967
First edition, saddle-stapled printed wrappers, 6″ x 9″, 48 pages, 500 copies, letterpress. Cover illustration by Fran Herndon.
(Johnston A39)


40. Duncan, Robert. THE CAT AND THE BLACKBIRD
San Francisco: White Rabbit Press, 1967
First edition, comb-bound in illustrated wrappers, 9.25″ x 12″, 500 copies, lithograph. Illustrated by Jess.
(Johnston A40)


41. Dunn, Joe. BETTER DREAM HOUSE
dunn_betterSan Francisco: White Rabbit Press, 1968
First edition, saddle-stapled illustrated wrappers, 6.75″ x 9.25″, 32 pages, 1000 copies. Collages by Jess.
(Johnston A41)


42. Stanley, George. BEYOND LOVE
San Francisco: Open Space :: Dariel Press, 1968
First edition, saddle-stapled printed wrappers, 5.75″ x 8.5″, 36 pages, no colophon. Dedication: “for Harold Dull”.
(Johnston A42)


43. Brautigan, Richard. PLEASE PLANT THIS BOOK
San Francisco: Graham Mackintosh, 1968
First edition, folder containing 8 printed seed packets, folder measures 6.25″ x 7″, 6000 copies. Photographs by Bill Brach.
(Johnston A43)


44. Thibeau, John. AN OPEN LETTER TO CHE GUEVARA
(Johnston A44)

45. SAN FRANCISCO PUBLIC LIBRARY PRESENTS DURING AUGUST FIFTY YEARS OF GREAT PRINTING BY GRAHAM MACKINTOSH
San Francisco: Graham Mackintosh, 1968
First edition, folio sheet folded in quarter with 8-page booklet stapled inside, 6.5″ x 10″. Includes interview with Mackintosh by Robert Hawley (Oyez), the 8-page booklet lists books designed and printed by Mackintosh including titles from White Rabbit, Oyez, and Black Sparrow
(Johnston A45)

46. Chapson, James. JIM’S BOOK
White Rabbit Press, 1969
(Johnston A46)

47. Chapson, James. JIM’S BOOK
Nine Beasts Press, 1969
Second edition
(Johnston A47)

48. Spicer, Jack. A BOOK OF MUSIC
San Francisco: White Rabbit Press, 1969
First edition, saddle-stapled wrappers, 6.25″ x 9.25″, 20 pages, 1800 copies. Cover art by Graham Mackintosh. Printed by Ron and Graham Mackintosh from a typescript made available by Peter Howard. Second issue variant was 150 copies printed Christmas 1969 for “friends of White Rabbit, Oyez, and the author”.
(Johnston A48, A48a)

49. Liddy, James. A LIFE OF STEPHEN DEDALUS
White Rabbit Press, December 1969
(Johnston A49)

50. Dusenbery, Walter. THE STORY OF THE BED
Natoma Society, 1970
(Johnston A50)

51. Ryan, John Allen. UNION ONION
San Francisco: White Rabbit Press, 1970
(Johnston A51)

52. Siverley, Bill. DREAMS OF ORPHEUS
White Rabbit Press, March 1970
(Johnston A52)

53. Garcia, Luis. THE MECHANIC
White Rabbit Press, 1970
(Johnston A53)

54. Spicer, Jack. LANGUAGE
San Francisco: White Rabbit Press, 1965
Second edition
(Johnston A54)

55. Felson, Larry. BODY SONG
San Francisco: Elephant Press, April 1970
First edition, saddle-stapled printed wrappers, 5.75″ x 8.5″, 16 pages, 200 copies (13 signed and lettered by the author), letterpress. Printed by Graham’s brother Ronald Mackintosh.
(Johnston A55)

56. Scola, Eileen. TO MARY MAGDALENE
San Francisco: Elephant Press, 1970
Printed by Graham’s brother Ronald Mackintosh.
(Johnston A56)

57. Dorbin, Sandy. THE RUBY WOODS
San Francisco: White Rabbit Press, 1971
— A. First edition, perfect-bound printed wrappers, 5.75″ x 9″, 36 pages, 480 copies. Illustration by Chuck Miller.
— B. First edition, hardcover, 6″ x 9″, 36 pages, 26 numbered copies signed by the author. Illustration by Chuck Miller.
(Johnston A57)

58. Liddy, James. A MUNSTER SONG OF LOVE & WAR
San Francisco: White Rabbit Press, 1971
(Johnston A58)

59. Kearney, Lawrence. DEAD POEM
San Francisco: White Rabbit Press, 1971
(Johnston A59)

60. Thibeau, Jack. CONVERSATIONS WITH APOLLINAIRE
San Francisco: White Rabbit Press, 1972
(Johnston A60)

61. Liddy, James. BAUDELAIRE’S BAR FLOWERS
Santa Barbara: Capra Press, 1975
(Johnston A61)

62. Farquhar, David. THE BIRTH OF ISRAEL
White Rabbit Press, 1976
(Johnston A62)

63. Spicer, Jack. COLLECTED POEMS 1945-1946
White Rabbit : Oyez, 1981
(Johnston A63)


References consulted:

Alastair Johnston. A BIBLIOGRAPHY OF THE WHITE RABBIT PRESS
Berkeley: Poltroon Press in association with Anacapa Books, 1985

Richard Brautigan

Richard Gary Brautigan (January 30, 1935 – ca. September 14, 1984) was an American novelist, poet, and short story writer. brautigan_01Writing about nature, life, and emotion, his work often employs 
comedy, parody, and satire; his singular imagination provided the unusual settings for his themes. He is best known for his 1967 novel TROUT FISHING IN AMERICA.

Robert Novak wrote in Dictionary of Literary Biography that “Brautigan is commonly seen as the bridge between the Beat Movement of the 1950s and the youth revolution of the 1960s.”

Considered one of the primary writers of the “New Fiction,” Brautigan at first experienced difficulty in finding a publisher; thus his early work was only published by small presses.

About the body of Brautigan’s work, Guy Davenport commented in the Hudson Review: “Mr. Brautigan locates his writing on the barricade which the sane mind maintains against spiel and bilge, and here he cavorts with a divine idiocy, thumbing his nose. But he makes clear that at his immediate disposal is a fund of common sense he does not hesitate to bring into play. He is a kind of Thoreau who cannot keep a straight face.” (more…)

Richard Brautigan

Richard Gary Brautigan (January 30, 1935 – ca. September 14, 1984) was an American novelist, poet, and short story writer. brautigan_01Writing about nature, life, and emotion, his work often employs 
comedy, parody, and satire; his singular imagination provided the unusual settings for his
themes. He is best known for his 1967 novel TROUT FISHING IN AMERICA.

Robert Novak wrote in Dictionary of Literary Biography that “Brautigan is commonly seen as the bridge between the Beat Movement of the 1950s and the youth revolution of the 1960s.”

Considered one of the primary writers of the “New Fiction,” Brautigan at first experienced difficulty in finding a publisher; thus his early work was only published by small presses.

About the body of Brautigan’s work, Guy Davenport commented in the Hudson Review: “Mr. Brautigan locates his writing on the barricade which the sane mind maintains against spiel and bilge, and here he cavorts with a divine idiocy, thumbing his nose. But he makes clear that at his immediate disposal is a fund of common sense he does not hesitate to bring into play. He is a kind of Thoreau who cannot keep a straight face.”

* The bibliographic notes here focus on Brautigan’s earliest publications of poetry.


A. Books and Broadsides

1. THE RETURN OF THE RIVERS
brautigan_returnSan Francisco: Inferno Press, May 1957
First edition, broadside tipped into wrappers, 100 copies.
Brautigan poem: “The Return of the Rivers”
(Barber 4)
[not in archive]

2. THE GALILEE HITCH-HIKER
brautigan_galileeSan Francisco: White Rabbit Press, 1958
First edition, sewn illustrated wrappers, 6.5″ x 8.5″, 16 pages, 200 copies, cover illustration by Kenn Davis.
Brautigan poem: “The Galilee Hitch-Hiker”
(Barber 7)

3. LAY THE MARBLE TEA
brautigan_laySan Francisco: Carp Press, 1959
First edition (second printing issued in 1960), stapled illustrated wrappers, 5.5″ x 8.5″, 16 pages, (c. 500 copies), cover illustration by Kenn Davis.
Brautigan poems: “Portrait of the Id As Billy The Kid”, “Sonnet”, “The Chinese Checker Players”, “Portrait of a Child-Bride on Her Honeymoon”, “Hansel and Gretel”, “April Ground”, “The Ferris Wheel”, “Night”, “Cyclops”, “The Escape of the Owl”, “In a Cafe”, “Fragment”, “Herman Melville in Dreams, Moby Dick in Reality”, “Kafka’s Hat”, “Yes, the Fish Music”, “Cantos Falling”, “The Castle of the Cormorants”, “Feel Free to Marry Emily Dickinson”, “Cat”, “A Childhood Spent in Tacoma”, “To England”, “A Boat”, “Geometry”, “The Twenty-Eight Cents for My Old Age”
(Barber 11)

4. THE OCTOPUS FRONTIER
brautigan_octopusSan Francisco: Carp Press, 1960
First edition, stapled pictorial wrappers, 5″ x 7″, 20 pages, cover photograph by Gui de Angulo.
Brautigan poems: “The Sawmill”, “1942”, “The Wheel”, “The Pumpkin Tide”, “The Sidney Greenstreet Blues”, “The Quail”, “The Symbol”, “A Postcard from Chinatown”, “Sit Comma and Creeley Comma”, “The Rape of Ophelia”, “The Last Music Is Not Heard”, “The Octopus Frontier”, “The Potato House of Julius Caesar”, “The Fever Monument”, “The Winos on Potrero Hill”, “Mike”, “Horse Race”, “The Old Folk’s Home”, “The Postman”, “Surprise”, “The Nature Poem”, “Private Eye Lettuce”
(Barber 12)

5. SEPTEMBER CALIFORNIA
San Francisco: San Francisco Arts Festival Commission, 1964
First edition, broadside, 12.75″ x 20″, 300 copies. Broadside laid in a portfolio entitled SAN FRANCISCO ARTS FESTIVAL: A POETRY FOLIO: 1964. Printed by East Wind Printers. Ilustrated by Richard Correll.
Brautigan poem: “September California” [uncollected]
(Barber 15)


B. Contributions to Books and Anthologies

1. FOUR NEW POETS, edited by Leslie Woolf Hedley

brautigan_fourSan Francisco: Inferno Press, 1957
First edition, perfect-bound illustrated wrappers, 5.5″ x 8″, 34 pages, Brautigan’s first book appearance. Contributors include Martin Hoberman, Carl Larsen, and James M. Singer.
Brautigan poems: “The Meek Shall Inherit the Earth’s Beer Bottles”, “The Mortuary Bush”, “Twelve Roman Soldiers and an Oatmeal Cookie”, “Gifts”
(Barber 3)

2. EPOS ANTHOLOGY 1958, edited by Will Tullos and Evelyn Thorne
mags_eposanth1958Lake Como: New Athenaeum Press, 1958
Brautigan poem: “The Second Kingdom”





3. BEATITUDE ANTHOLOGY, edited by Bob Kaufman and John Kelly
San Francisco: City Lights Books, 1960
Brautigan poems: “The American Submarine”, “A Postcard from the Bridge”, “That Girl”, “The Whorehouse at the Top of Mount Rainer”, “Swandragons”
(Barber 13)


C. Contributions to Periodicals


1. Flame, Vol. 2, No. 3, edited by Lilith Lorraine

mags_flame0203Alpine, Autumn 1955
Brautigan poem: “Someplace in the World a Man is Screaming in Pain” [uncollected]
(not in Barber)



2. Epos, Vol. 8, No. 2, edited by Evelyn Thorne and Will Tullos
mags_epos0802Lake Como: Epos, Winter 1956
Brautigan poem: “The Second Kingdom” [uncollected]
(Barber 1)



3. Epos, Vol. 8, No. 4, edited by Evelyn Thorne and Will Tullos
mags_epos0804Lake Como: Epos, Summer 1957
Brautigan poem: “A Young Poet” [uncollected]
(Barber 2)




4. Mainstream, Vol. 2, No. 2, edited by Robin Raey Cuscaden and Ronald Often
Palatine, Summer-Autumn 1957
Brautigan poem: “The Final Ride” [uncollected]
(not in Barber)

5. Existaria, a Journal of Existant Hysteria, No. 7, Edited by Carl Larsen
mags_existaria07Hermosa Beach, September-October 1957
Brautigan poems: “The Daring Little Guy on the Burma Shave Sign” [uncollected], “The World Will Never End” [uncollected]
(not in Barber)


6. Danse Macabre, Vol. 1, No. 1, edited by R.T. Baylor
Manhattan Beach, 1957
Brautigan poems: “They Keep Coming Down the Dark Streets” [uncollected], “15 Stories in One Poem” [uncollected]
(not in Barber)

7. Hearse, No. 2, edited by E.V. Griffith
mags_hearse02Eureka: Hearse Press, 1958
Brautigan poem: “15 Stories in One Poem” [previously published in DANSE MACABRE]
(Barber 5)



8. Hearse, No. 3, edited by E.V. Griffith
mags_hearse03Eureka: Hearse Press, 1958
Brautigan poems: “The Mortuary Bush” [previously published in FOUR NEW POETS], “Twelve Roman Soldiers and an Oatmeal Cookie” [previously published in FOUR NEW POETS]



9. Epos, Vol. 9, No. 3, edited by Will Tullos and Evelyn Thorne
mags_epos0903Lake Como: Epos, Spring 1958
Brautigan poem: “Kingdom Come” [uncollected]
(Barber 9)




10. San Francisco Review, No. 2, edited by R.H. Miller
mags_sfreview02
San Francisco, Spring 1959
Brautigan poem: “Psalm” [uncollected]
(Barber 10)




11. Beatitude, No. 1, edited by Bob Kaufman, John Kelly, and William J. Margolis
San Francisco, 9 May 1959
Brautigan poem: “The Whorehouse at the Top of Mount Rainer” [collected in BEATITUDE ANTHOLOGY]

12. Beatitude, No. 4, edited by Bob Kaufman, John Kelly, and William J. Margolis
San Francisco, 30 May 1959
Brautigan poems: “The American Submarine”, “A Postcard from the Bridge”, “That Girl”, “The Sink” [all collected in BEATITUDE ANTHOLOGY]

13. Beatitude, No. 9, edited by Bob Kaufman, John Kelly, and William J. Margolis
San Francisco, 18 September 1959
Brautigan poem: “Swandragons” [collected in BEATITUDE ANTHOLOGY]

14. J, No. 1, edited by Jack Spicer
mags_j01
San Francisco, September 1959
Cover illustration by Fran Herndon
Brautigan poem: “The Fever Monument” [collected in THE OCTOPUS FRONTIER]



15. Foot, No.1, edited by Richard Duerdan
mags_foot01San Francisco, September 1959
Cover illustration by Robert Duncan
Brautigan poem: “The Rape of Ophelia”, “Postcard from Chinatown”, “The Nature Poem”, “Horse Race”, “The Last Music is Not Heard” [all collected in THE OCTOPUS FRONTIER]

16. J, No. 4, edited by Jack Spicer
mags_j04San Francisco, November 1959
Cover illustration by Fran Herndon
Brautigan poem: “The Pumpkin Tide”, “The Sidney Greenstreet Blues”, “Surprise” [all collected in THE OCTOPUS FRONTIER]



17. J, No. 5, edited by Jack Spicer
mags_j05San Francisco, December 1959
Cover illustration by Fran Herndon
Brautigan poem: “1942” [collected in THE OCTOPUS FRONTIER]




18. Hearse: A Vehicle Used to Convey the Dead, No. 9, edited by E.V. Griffith
mags_hearse09Eureka: Hearse Press, 1961
Brautigan poem: “The Rain” [uncollected]





19. Sum, No. 3, Edited by Fred Wah
Albuquerque, May 1964
Brautigan poem: “September California” [collected in Revenge of the Lawn]

20. San Francisco Keeper’s Voice, Vol. 1, No. 4, edited by Alexander Weiss
San Francisco, April 1965
Brautigan poem: “October 2, 1960” [uncollected]

21. Wild Dog, No. 18, edited by Joanne Kyger, contributing editor Edward Dorn
mags_wilddog18San Francisco, 17 July 1965
Brautigan poems: “The Buses” [uncollected], “Period Piece” [uncollected]



22. O’er, No. 2, edited by David Sandberg
mags_oar02San Francisco, December 1966
Brautigan poems: “The House” [uncollected], “My Nose is Growing Old” [collected in All Watched Over by Machines of Loving Grace], “November 3” [collected in All Watched Over by Machines of Loving Grace]


References consulted:
Barber, John F. Richard Brautigan: An Annotated Bibliography.
Jefferson: McFarland, 1990