Tag Archives: White Rabbit Press

Robin Blaser

Robin Francis Blaser (May 18, 1925 – May 7, 2009) was born in Denver, Colorado, he grew up in Idaho, and came to Berkeley, California, in 1944. There he met Jack Spicer and Robert Duncan, becoming a key figure in the San Francisco Renaissance of the 1950s and early 1960s. He moved to Canada in 1966, joining the faculty of Simon Fraser University; after taking early retirement in the 1980s, he held the position of Professor Emeritus.

Blaser is also well known as the editor of The Collected Books of Jack Spicer, which includes Blaser’s essay, The Practice of Outside. The 1993 publication The Holy Forest represents his collected poems to that date.

In 2006, Blaser received a special Lifetime Recognition Award given by the trustees of the Griffin Trust for Excellence in Poetry, which also awards the annual Griffin Poetry Prize. Blaser won the Prize itself in 2008.


Section A:
Books and Broadsides

A1. APPARITORS
First edition:
San Francisco: Auerhahn Press 1963
Broadside, 13″ x 20″, 300 copies, signed by the author and artist. Illustration by Fran Herndon.

Issued as part of the 17th Annual San Francisco Arts Festival: A Poetry Folio 1963, which contained 8 broadsides in a paper folio.

A2. Blaser, Robin. THE MOTH POEM
a. First edition, regular copies:
San Francisco: Open Space, December 1964
Side-stapled and glued into printed wrappers, 5.5″ x 8.25″, 32 pages, 288 copies, letterpress printed by Graham Mackintosh. (Johnston A21)

b. First edition, hand-colored copies:
San Francisco: Open Space, December 1964
Side-stapled and glued into printed wrappers, 5.5″ x 8.25″, 32 pages, 12 copies with hand-colored end papers by the author, letterpress by Graham Mackintosh. (Johnston A21)

c. Second edition:
San Francisco: Open Space, December 1964
Side-stapled and glued into printed wrappers, 5.5″ x 8.25″, 32 pages, 288 copies, offset printed in letterpress wrappers by Graham Mackintosh. (Johnston A23)

A3. LES CHIMERES
a. First edition, regular copies:
San Francisco: Open Space, 1965
Saddle-stapled printed wrappers, 5.5″ x 8.25″, 32 pages, 500 copies, letterpress printed.
(Johnston A27)

b. First edition, hardcover copies:
San Francisco: Open Space, 1965
Hardcover in printed dust jacket, 5.5″ x 8.25″, 32 pages, 26 lettered and signed copies, letterpress printed.
(Johnston A27)

A5. CUPS
a. First edition, regular copies:
San Francisco: Four Seasons Foundation, 1968
Stapled printed wrappers, 24 pages, 1000 copies, letterpress printed. Published as Writing 17.

b. First edition, hardcover copies:
San Francisco: Four Seasons Foundation, 1968
Hardcover, 24 pages, 40 numbered and signed copies, letterpress printed. Published as Writing 17.

A6. IMAGE NATIONS 1-12 & The Stadium of the Mirror
London: Ferry Press, 1974

A7. Image Nations 13 & 14
North Vancouver: Cobblestone Press, 1975

A8. Harp Trees
Vancouver: Sun Stone House & Cobblestone Press, 1977

A9. Image Nation 15: The Lacquerhouse
Vancouver: W. Hoffer, 1981

A10. Syntax
Vancouver: Talonbooks, 1983

A11. The Faerie Queene and The Park
Vancouver: Fissure Books, 1987

A12. Pell Mell
Toronto: Coach House Press, 1988

A13. The Holy Forest
Toronto: Coach House Press, 1993

A14. Nomad
Vancouver: Slug Press, 1995

A15. Wanders, with Meredith Quartermain
Vancouver: Nomados, 2002


References consulted:

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

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.

 

 

 

A1. Spicer, Jack. BILLY THE KID
spicer_billya. First edition, first state:
Stinson Beach: Enkidu Surrogate, October 1959
Saddle-stapled in illustrated wrappers, 6.5? x 8.5?, 16 pages, 750 copies, offset printed.  Illustrations by Jess Collins.

b. First edition, second state:
The second state includes holograph corrections to text on page 8

A2. Duncan, Robert. FAUST FOUTU
duncan_faust03a. First edition, regular copies:
Stinson Beach: Enkidu Surrogate, November 1959
Saddle-stapled in illustrated wrappers, 7″ x 8.5″, 71 pages, 750 copies. Illustrated by Robert Duncan. (Bertholf A7c)

b. First edition, numbered and signed copies:
Stinson Beach: Enkidu Surrogate, November 1959
Saddle-stapled in illustrated wrappers, 7″ x 8.5″, 71 pages, 50 copies numbered and signed with a drawing. Illustrated by Robert Duncan. (Bertholf A7d)

This is the first complete printing of the play, after a privately printed mimeographed first printing in 1953, and a second from White Rabbit Press in 1958. 

Jess Collins

Jess Collins (August 6, 1923 – January 2, 2004) was born Burgess Franklin Collins in Long Beach, California. He was initially educated as a chemisjess1956t, 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.”


Section A:
Books, Chapbooks, and Pamphlets

A1. AFTER LORCA
spicer_lorcaa. First edition, regular copies:
San Francisco: White Rabbit Press, November-December 1957
Saddle-stapled illustrated wrappers, 6.5″ x 8.5″, 76 pages, 474 copies, multilith printed by Joe Dunn. Jack Spicer’s first book of poetry. Cover illustration by Jess Collins. Introduction by Federico Garcia Lorca.
(Johnston A2)

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

c. First edition, second issue:
San Francisco: White Rabbit Press, November-December 1957
Unbound with out wrappers issued in mailing envelope, 6.5″ x 8.5″, 76 pages, 20 copies, multilith printed by Joe Dunn. Jack Spicer’s first book of poetry. Cover illustration by Jess Collins. Introduction by Federico Garcia Lorca.
(Johnston A2)

d. First UK edition:
London: Aloes Books, 1969

e. Second edition:
n.p.: Marco Polio, 1974

A2. HOMAGE TO CREELEY 
spicer_homageFirst edition:
Annapolis: privately printed by Harold and Dore Dull, Summer 1959
Side-stapled printed sheets, 8.5″ x 11″, 33 pages, 100 copies, spirit-mimeo printed. Incorporated into A4.
[not in archive]

A3. BILLY THE KID
spicer_billya. First edition, first state:
Stinson Beach: Enkidu Surrogate, October 1959
Saddle-stapled illustrated wrappers, 6.5″ x 8.5″, 16 pages, 750 copies, offset printed.  Illustrations by Jess Collins.

b. First edition, second state:
The second state includes holograph corrections to text on page 8.

c. Second edition:
n.p.: Oyster Press, March 1975
Hand-sewn printed wrappers, 6.75″ x 5.75″,  16 pages, 350 copies, letterpress printed

A4. THE HEADS IF THE TOWN UP TO THE AETHER
spicer_headsa. First edition, regular copies:
San Francisco: Auerhahn Press, 1962
Perfect-bound illustrated  and printed wrappers, 4.75″ x 6.75″, 109 pages, 750 copies, letterpress printed. Illustrated by Fran Herndon.
(Auerhahn 21)

b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1962
First edition, hardcover, signed by the author and artist, with an original drawing, 4.75″ x 7.25″, 109 pages, 50 copies signed by the author, letterpress printed, bound by the Schuberth Bindery. Illustrated by Fran Herndon.
(Auerhahn 21)

Printed announcement issued.

A5. LAMENT FOR THE MAKERS
spicer_lamenta. First edition:
Oakland: White Rabbit Press, 1962
Hand-sewn illustrated wrappers, 5.5″ x 8″, 16 pages, 100 copies, offset printed. Illustrated by Graham Mackintosh.
(Johnston A11)

According to Johnston, “Back of title page has a fictitious acknowledgments list (by Graham Mackintosh) taken from Robert Duncan’s The Opening of the Field.”

b. First UK edition:
London: Aloes, 1971

A6. THE HOLY GRAIL
spicer_holya. First edition, regular copies:
San Francisco: White Rabbit Press, 1964
Saddle-stapled sheets glued into illustrated wrappers, 6.25″ x 8.5″, 80 pages, offset printed. Illustrated by Graham Mackintosh. (Johnston A19)

b. First edition, hardcover copies:
San Francisco: White Rabbit Press, 1964
First edition, hardcover, 6.25″ x 8.5″, 80 pages, 13 copies signed (4 were reportedly destroyed during signing), offset printed. Illustrated by Graham Mackintosh.
(Johnston A19)

c. Second, Pirated edition:
spicer_holy2Berkeley: Jolly Roger Press, February 1969
Side-stapled printed and illustrated sheets, 8.5″ x 11″, 18 pages, 500 copies.

Pirate’s Note: “I only heard Jack Spicer read once, at the the Berkeley poetry conference in july 65. an hour after he read THE HOLY GRAIL, the last copy was gone from the avenue bookstores… this free pirate edition is distributed to make the poem available to those who need it.”

d. Third edition:
Watertown: Augtwofive, 1970






e. Fourth edition:
Portland: Timeworn (Poor Claudia at Revolution Publishing), 2014

A7. LANGUAGE
spicer_languagea. First edition:
San Francisco: White Rabbit Press, June 1965
Perfect-bound illustrated wrappers, 6.25″ x 10″, 72 pages, 950 copies, letterpress printed by Graham Mackintosh.
(Johnston A30)

b. First edition, second printing:
San Francisco: White Rabbit Press, 1970
Perfect-bound illustrated wrappers, 6.25″ x 10″, 72 pages, 950 copies, offset printed from the first edition. Text added to the colophon: “Second printing 1970”.
(Johnston A54)

A8. BOOK OF MAGAZINE VERSE
spicer_magazinea. First edition:
San Francisco: White Rabbit Press, 1966
Perfect-bound printed and illustrated wrappers, 5.5″ x 7.75″, 56 pages, 1500 copies, letterpress printed by Graham Mackintosh. Prepared for publication from the original manuscript by Stan Persky. Illustrated by Graham Mackintosh.
(Johnston A33)

According to Johnston, “The cover is a parody of the cover of Poetry (Chicago). The poems are arranged in groups intended for various little magazines and newspapers, each section printed on a stock appropriate to that publication, so that for example, the poems for Tish are on blue mimeo paper, those for the St. Louis Sporting News on newsprint.”

b. First edition, second printing
San Francisco: White Rabbit Press, 1970
Perfect-bound printed and illustrated wrappers, 5.5″ x 7.75″, 56 pages, 1500 copies, letterpress printed by Graham Mackintosh. Prepared for publication from the original manuscript by Stan Persky. Illustrated by Graham Mackintosh.
(Johnston A33)

A9. A BOOK OF MUSIC
spicer_musica. First edition, regular copies:
San Francisco: White Rabbit, 1969
Saddle-stapled illustrated wrappers, 6.25″ x 9.25″, 20 pages, 1800 copies designed and printed by Ron and Graham Mackintosh from a typescript made available by Peter Howard. The cover was one decided upon by the author. Illustrated by Graham Mackintosh.
(Johnston A48)

b. First edition, variant copies:
Variant copies include additional printed text on the front leaf: “150 copies printed Christmas, 1969 / for friends of White Rabbit, Oyez, / and the author”.
(Johnston A48a)

A10. THE RED WHEELBARROW
a. First edition, regular copies:
Berkeley: Arif Press, June 1971
Hand-sewn printed and illustrated wrappers, 5.5″ x 5.5″, 24 pages, 475 copies, letterpress printed. Illustrated by  Wesley Tanner. Printed by Wesley Tanner at Cranium Press.

b. First edition, numbered copies:
Berkeley: Arif Press, June 1971
Hand-sewn printed and illustrated wrappers, 5.5″ x 5.5″, 24 pages, 25 copies with hand-colored frontispiece, signed by the illustrator, letterpress printed. Illustrated by  Wesley Tanner. Printed by Wesley Tanner at Cranium Press.

Printed announcement issued.

A11. SOME THINGS FROM JACK
First edition:
Verona: Plain Wrapper Press, 1972
Wrappers, 6.5″ x 10.25″, 11 pages, 91 numbered copies, printed letterpress. Introduction by Richard Rummonds. Linocut by Miroslav Zahradka.

A12. BALLAD OF THE DEAD WOODCUTTER
First edition:
Berkeley: Arif Press, 1973
Single sheet folded twice to make a four-page booklet, 6″ x 3.5″ (when folded), letterpress printed by Wesley Tanner.

A13. ADMONITIONS
First edition:
New York: Adventures in Poetry, 1974
Side-stapled printed wrappers, 8.5″ x 11″, 44 pages, mimeograph printed.



A14. A LOST POEM
First edition:
Verona: Plain Wrapper Press, 1974
Hardcover, 9.5″ x 11.5″, 8 pages, 114 numbered copies signed by the artist, letterpress printed. Postscript by Richard-Gabriel Rummonds. Illustrated with two etchings by Ariel Parkinson.

A15. FIFTEEN FALSE PROPOSITIONS ABOUT GOD
First edition:
South San Francisco: Manroot, September 1974
Saddle-stapled printed and illustrated wrappers, 6.5″ x 8.5″, 16 pages, offset printed.

Poem first appeared in Beatitude, No. 3 (San Francisco, May 1959)

A16. THE COLLECTED BOOKS OF JACK SPICER
a. First edition, paperback copies:
Los Angeles: Black Sparrow Press, May 1975
Perfect-bound printed wrappers, 6.25″ x 8.75″, 382 pages including bibliography of first editions, 1000 copies. Edited and with commentary by Robin Blaser. Typography by Graham Mackintosh/White Rabbit.

b. First edition, hardcover copies: 
Los Angeles: Black Sparrow Press, May 1975
Hardcover in acetate dust jacket, 6.5″ x 9″, 382 pages including bibliography of first editions, 1000 copies. Edited and with commentary by Robin Blaser. Typography by Graham Mackintosh/White Rabbit.

c. First edition, hardcover, numbered and signed copies:
Los Angeles: Black Sparrow Press, May 1975
Hardcover in acetate dust jacket and slipcase, 6.5″ x 9″, 382 pages including bibliography of first editions, 100 copies, numbered and signed by Robin Blaser. Edited and with commentary by Robin Blaser. Typography by Graham Mackintosh/White Rabbit.

A17. ONE NIGHT STAND AND OTHER POEMS
First edition:
San Francisco: Grey Fox Press, 1980

A18. COLLECTED POEMS, 1945-46
First edition:
Berkeley: Oyez/White Rabbit Press, 1981
Saddle-stapled printed wrappers, 7″ x 9″, 32 pages, lithographed from the author’s typescript.


A19. THE TOWER OF BABEL
First edition:
Hoboken, N.J: Talisman House, 1994
Perfect-bound photo-illustrated wrappers, 170 pages. Charpter one of Jack Spicer’s Detective Novel, edited by Ed Foster and Kevin Killian.

Described by Lewis Ellingham and Kevin Killian as “a satiric look at the private world of poetry gone public in the wake of the Six Gallery HOWL reading of October, 1955.”

A20. TRAIN OF THOUGHT
First edition:
Gran Canaria: Zasterle Press, 1994
Charpter three of Jack Spicer’s Detective Novel






Section B:
Broadsides, Posters, and Postcards

B1. A REDWOOD FOREST
spicer_redwoodFirst edition:
San Francisco: White Rabbit Press, 1965
First edition, broadside, 8″ x 10.25″, letterpress printed. An excerpt from Language.
(Johnston B1)


B2. THE DAY FIVE THOUSAND FISH DIED IN THE CHARLES RIVER
First edition:
Pleasant Valley: Kriya Press, 1967
First edition, broadside, 11″ x 16″, 100 numbered copies, offset printed.
[not in archive]


B3. INDIAN SUMMER: MINNEAPOLIS 1950
First edition:
Brooklyn: Samuel Charters, 1970
First edition, broadside, 8″ x 18″, 100 copies. Published as Portents 16

B4. POSTSCRIPT
First edition:
Albuquerque: Billy Goat Press, 1973
First edition, broadside, 11″ x 17″, 100 numbered copies.

B5. BERKELEY IN A TIME OF PLAGUE
a. First edition, grey stock copies:
Berkeley: Arif Press, 1974
First edition, broadside, 9.25″ x 11.5″, 100 copies on grey stock.  Printed by Alastair Johnston at the Arif Press.

b. First edition, white stock copies:
Berkeley: Arif Press, 1974
First edition, broadside, 9.25″ x 11.5″, 50 copies on white stock. Printed by Alastair Johnston at the Arif Press.

B6. THE OAKS WEEP
First edition:
Berkeley: Poltroon Press, 1986
First edition, postcard, 4″ x 6″, letterpress printed.

B7. JACK SPICER 1925-1965
First edition:
Berkeley: Arif Press, 1986
First edition, broadside, 16″ x 10″, letterpress printed.

An excerpt from the second of three “lectures” that Spicer gave in Vancouver in 1965.

B8. LAMENT FOR THE MAKERS
First edition:
n.p.: White Rabbit Press, 2009
Prints an excerpt from Lament for the Makers. Issued as a keepsake for The Book Club of California.


Section C:
Contributions to Books and Other Publications

C1. THE NEW AMERICAN POETRY, 1945-1960, edited by Donald Allen
a. First edition, paperback copies:
New York: Grove Press, 1960
“Imaginary Elegies I-IV”

b. First edition, hardcover copies:
New York: Grove Press, 1960
“Imaginary Elegies I-IV”

C2. THE SPICER-FERLINGHETTI CORRESPONDENCE
spicer_ferlingFirst edition:
San Francisco: White Rabbit Press, 1964
First edition, single 8.5″ x 14″ sheet folded once, letterpress.
(Johnston A18)

C3. THE NEW WRITING IN THE U.S.A., edited by Donald Allen and Robert Creeley
First edition:
Harmondsworth: Penguin, 1967
“Love Poems”

C4. POETICS OF THE NEW AMERICAN POETRY, edited by Donald Allen
First edition:
New York: Grove Press, 1973

A21. AN ODE AND ARCADIA
First edition:
Berkeley: Ark Press, 1974
First edition, wrappers, 1000 copies


Section D
Contributions to Periodicals

D1. THE OCCICENT, edited by Jocelyn Willat
mags_occidentwint46Berkeley, Winter 1946
“To the Semanticists”, “The Chess Game”, “A New Testament”




D2. 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”




D3. BERKELEY MISCELLANY, No. 1, edited by Robert Duncan
mags_miscellany01Berkeley, 1948
“A Night in Four Parts”, “Troy Poem”, “Sonnet”





D4. BERKELEY MISCELLANY, No. 2, edited by Robert Duncan
mags_miscellany02Berkeley, 1949
“The Scroll-Work on the Casket”





D5. THE OCCIDENT, edited by Lynne Brown
mags_occidentfall49Berkeley, Fall 1949
“The Poet & Poetry: A Symposium”





D6. 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”

D7. OCCIDENT, edited by Richard Rummonds
Berkeley: Associated Students of the University of California, Spring 1954
“The Inheritance: Palm Sunday”




D8. 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”

D9. MEASURE, No. 1, edited by John Wieners
mags_measure01Boston, Summer 1957
“Song for Bird and Myself”





D10. BEATITUDE, No. 3, published by John Kelly
mags_beatitude03San Francisco, 23 May 1959
“Fifteen False Propositions about God”





D11. BEATITUDE, No. 6, published by John Kelly
San Francisco, [June] 1959
“Epithalamium” [co-authored with Bruce Boyd, Ronald Primack, and George Stanley]




D12. J, No. 1, edited by Jack Spicer
mags_j01San Francisco, 1959
“Hokkus”





D13. J, No. 2, edited by Jack Spicer
San Francisco, 1959
[untitled] “Down to new beaches where the sea…”, “Epilog of Jim”
[not in archive]



D14. J, No. 3, edited by Jack Spicer
San Francisco, 1959
“Last Hokku”, [untitled] “The shabby sea where you float in…”




D15. J, No. 4, edited by Jack Spicer
mags_j04San Francisco, [October] 1959
“Jacob”





D16. J, No. 5, edited by Jack Spicer
mags_j05San Francisco, 1959
“Fifth Elegy”





D17. 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]




D18. J, No. 8, edited by Harold Dull
San Francisco, 1961
“A Translation for Jim”

D19. FOOT, No. 2, edited by Richard Duerden and William Brown
mags_foot02
Berkeley, 1962
“Correspondence”





D20. THE SAN FRANCISCO CAPITALIST BLOODSUCKER / N
mags_capitalistSan Francisco, Spring 1962
“Three Marxist Essays”





D21. MEASURE, No. 3, edited by John Wieners
mags_measure03Boston, Summer 1962
“Central Park West”





D22. OPEN SPACE, No. 0, edited by Stan Persky
San Francisco, January 1964
[untitled] “This ocean, humiliating in its disguises…”
[not in archive]



D23. OPEN SPACE, No. 1, edited by Stan Persky
San Francisco, February 1964
“Sporting Life”





D24. 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…”
[not in archive]


D25. 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”



D26. 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…”



D27. 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…”
[not in archive]

D28. 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…”

D29. OPEN SPACE, No. 7, edited by Stan Persky
San Francisco, 1964
“Love Poems”, “Protestant Letter”
[not in archive]




D30. OPEN SPACE, No. 8, edited by Stan Persky
mags_openspace08San Francisco, 1964
“Intermission I”, “Intermission II”, “Intermission III”, “Transformations I”, “Transformation II”, “Transformations III”



D31. OPEN SPACE, No. 9, edited by Stan Persky
San Francisco, 1964
“Morphemicks”
[not in archive]




D32. OPEN SPACE, No. 10, edited by Stan Persky
San Francisco, 1964
“Phonemics”





D33. OPEN SPACE, No. 11, edited by Stan Persky
San Francisco, 1964
“Graphemics 1-5”
[not in archive]




D34. THE WIVENHOE PARK REVIEW, No. 1, edited by Thomas Clark and Andrew Crozier
mags_wivenhoe01Essex: University of Essex, 1965
“15 False Propositions about God”






D35. WORK, No. 2, edited by John Sinclair
Detroit: Artists Workshop Press, Fall 1965
“Graphemic #10”





D36. COW, No. 1, edited by Luther T. Cupp
mags_cow01San Francisco: Cow, 1965
“Dear Sister Mary”





D37. 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”

D38. O’ER, No. 2, edited by David Sandberg
mags_oar02San Francisco, December 1966
from After Lorca: “Buster Keaton Rides Again: A Sequel”




D39. THE PACIFIC NATION, No. 1, edited by Robin Blaser
mags_pacific01Vancouver, June 1967
“A Poem to the Reader of the Poem”





D40. FLOATING BEAR, No. 33
Brooklyn, 1967
“The Bridge Game”, “Lives of the Philosophers: Diogenes”

D41. FLOATING BEAR, No. 34
Brooklyn, 1967
“The Day Five Thousand Fish Died in the Charles River”

D42. COLLECTION, No. 1, edited by Peter Riley
mags_collection01Sussex, March 1968
“The Red Wheelbarrow”





D43. IRON, No. 7
British Columbia, 1969
“Ode for Walt Whitman”

D44. TISH, No.44, Issue D, edited by Karen Tallman
Vancouver, February 1969
“Five Variations on the Earth”

D45. WRITING, No. 2
Vancouver, 1970
“Admonitions”

D46. BOSS, No. 4
New York: Boss Magazine, 1970

D47. CATERPILLAR, No. 12
Sherman Oaks, July 1970

D48. IS, No. 8, edited by Victor Coleman
Toronto: Coach House Press, 1970

D49. 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…”

D50. IO, No. 10 Baseball Issue, edited by Richard Grossinger 
Cape Elizabeth, ME: IO Publications, 1971

D51. STOOGE 6, Editor: Geoff Young and Allen Schiller
Albuquerque, 1972
[untitled] “These big trucks drive…”

D52. SHOCKS, Double Issue 3/4, edited by Stephen Vincent
March 1974 

from “After Lorca”

D53. MANROOT, No. 10, Spicer issue
Fall-Winter 1974

D54. 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”


D55. THE CAPILANO REVIEW, No. 8/9, edited by Pierre Coupey 
Vancouver: Capilano College, 1975

D56. TELEPHONE, No. 10, edited Maureen Owen 
New York: Telephone Books Press, 1975
“Five Variations for K.”

D57. NEW YORK TIMES BOOK REVIEW, 23
November 1975

D58. PARNASSUS: POETRY IN REVIEW
Spring-Summer 1976

D59. IO, No. 24, edited by Kevin Kerran and Richard Grossinger
Ann Arbor: North Atlantic Books, 1977
“Four Poems for the St. Louis Sporting News”

D60. BOUNDARY 2, No. 6,  edited by William V. Spanos
SUNY, Binghamton, Fall 1977
“A Plan for a Book on Tarot”

D61. ACTS, No. 6, A Book of Correspondences for Jack Spicer
1986

D62. IRONWOOD, Vol. 14, Issue 2, No. 28, edited by Michael Cuddihy
Tucson: Ironwood Press, Fall 1986

D63. O-BLEK, No. 10, edited by Peter Gizzi and Connell McGrath
Stockbridge: The Garlic Press, Fall 1991
“For Kids”, “Spider Song”

D64. LIFT, Nos. 10/11, edited by Joseph Torra
Somerville: Lift, 1992

D65. EXACT CHANGE YEARBOOK, No. 1
1995


Further Reading:

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

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

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


Online Resources:

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


References Consulted:

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

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

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

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

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

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. The press, in this second series, continued to publish through the 1980s.


Section A:
Books and Chapbooks

A1. Jonas, Steve. LOVE, THE POEM, THE SEA AND OTHER PIECES EXAMINED
jonas_loveFirst edition:
San Francisco: White Rabbit Press, November 1957
Hand-sewn in illustrated wrappers, 6.5″ x 8.5″, 12 pages, 200 numbered copies, multilith printed by Joe Dunn. Cover illustration by Jess Collins. (Johnston A1)

A2. Spicer, Jack. AFTER LORCA
spicer_lorcaa. First edition, regular copies:
San Francisco: White Rabbit Press, November-December 1957
Saddle-stapled in illustrated wrappers, 6.5″ x 8.5″, 76 pages, 474 copies, multilith printed by Joe Dunn. Jack Spicer’s first book of poetry. Cover illustration by Jess Collins. Introduction by Federico Garcia Lorca. (Johnston A2)

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

c. First edition, second issue:
San Francisco: White Rabbit Press, November-December 1957
Unbound with out wrappers issued in mailing envelope, 6.5″ x 8.5″, 76 pages, 20 copies, multilith printed by Joe Dunn. Jack Spicer’s first book of poetry. Cover illustration by Jess Collins. Introduction by Federico Garcia Lorca. (Johnston A2)

A3. Levertov, Denise. FIVE POEMS
levertov_fiveFirst edition:
San Francisco: White Rabbit Press, January 1958
Hand-sewn and glued into illustrated wrappers, 6.5″ x 8.5″, 12 pages, (200 copies), multilith printed by Joe Dunn. Cover illustration by Jess Collins. (Johnston A3)

A4. Borregaard, Ebbe. THE WAPITIS
borregaard_wapitisFirst edition:
San Francisco: White Rabbit Press, January 1958
Hand-sewn in illustrated wrappers, 6.5″ x 8.5″, 12 pages, (200 copies), multilith printed by Joe Dunn. Ebbe Borregaard’s first book. Cover illustration by Robert Duncan. (Johnston A4)

A5. Stanley, George. THE LOVE ROOT
stanley_loveFirst edition:
San Francisco: White Rabbit Press, January 1958
Hand-sewn in illustrated wrappers, 6.5″ x 8.5″, 12 pages, (200 copies), multilith printed by Joe Dunn. George Stanley’s first book. Cover illustration by Robert Duncan. (Johnston A5)

A6. Duncan, Robert. FAUST FOUTU ACT 1
duncan_faustFirst edition:
San Francisco: White Rabbit Press, March 1958
Hand-sewn in printed wrappers, 6.5″ x 8.5″, 20 pages, 300 copies, multilith printed by Joe Dunn. Illustrated by Robert Duncan. (Johnston A6, Bertholf A7b)

This is part one of four parts of the dramatic reading originally presented at King Ubu Gallery.

A7. Dull, Harold. THE BIRD POEMS
dull_birdFirst edition:
San Francisco: White Rabbit Press, May 1958
Hand-sewn in illustrated wrappers, 6.5″ x 8.5″, 16 pages, 200 copies, multilith printed by Joe Dunn. Harold Dull’s first book. Cover illustration by Nugent. (Johnston A7)

A8. Brautigan, Richard. THE GALILEE HITCH-HIKER
brautigan_galileeFirst edition:
San Francisco: White Rabbit Press, May 1958
Hand-sewn in printed and illustrated wrappers, 6.5″ x 8.5″, 6 pages, 200 copies, multilith printed by Joe Dunn. Cover illustration by Kenn Davis.
(Johnston A8)

A9. Adam, Helen. THE QUEEN O’CROW CASTLE
adam_queenFirst edition:
San Francisco: White Rabbit Press, 1958
Hand-sewn in illustrated wrappers, 6.5″ x 8.5″, 20 pages, (200 copies), multilith printed by Joe Dunn. Cover illustration by Jess Collins. (Johnston A9)

A10. Olson, Charles. O’RYAN 2 4 6 8 10
olson_oryanFirst edition:
San Francisco: White Rabbit Press, September 1958
Hand-sewn in illustrated wrappers, 6.5″ x 8.5″, 16 pages, 300 copies, multilith printed by Joe Dunn. Cover illustration by Jess Collins. (Johnston A10)

A11. Spicer, Jack. LAMENT FOR THE MAKERS
spicer_lamentFirst edition:
Oakland: White Rabbit Press, 1962
Hand-sewn and glued into illustrated wrappers, 5.5″ x 8″, 16 pages, 125 copies planned (“probably less than 100 completed”), lithograph printed by Graham Mackintosh. Cover illustration by Graham Mackintosh. (Johnston A11)

According to Johnston, “Back of title page has a fictitious acknowledgments list (by Graham Mackintosh) taken from Robert Duncan’s The Opening of the Field.”

A12. Andrews, Jr., Lyman. FUGUTIVE VISIONS
andrews_fugitiveFirst edition:
Oakland: White Rabbit Press, 1962
Hand-sewn in printed wrappers, 5.5″ x 8″, 24 pages, lithograph printed by Graham Mackintosh. Illustrations by Graham Mackintosh.
(Johnston A12)

A13. Dull, Harold. THE WOOD CLIMB DOWN OUT OF
dull_woodFirst edition:
San Francisco: White Rabbit Press, 1963
Saddle-stapled in printed and illustrated wrappers, 5.5″ x 8.25″, 12 pages, lithograph printed by Graham Mackintosh. Illustrations by Graham Mackintosh. (Johnston A13)

A14. Primack, Ronnie. FOR THE LATE MAJOR HORACE BELL OF THE LOS ANGELES RANGERS
primack_lateFirst edition:
San Francisco: White Rabbit Press, 1963
Side-stapled sheets glued into printed and illustrated wrappers, 6″ x 9″, 32 pages, letterpress and offset printed by Graham Mackintosh. Illustrated by Graham Mackintosh. (Johnston A14)

A15. Stanley, George. TÊTE ROUGE / PONY EXPRESS RIDERS
stanley_teteFirst edition:
San Francisco: White Rabbit Press, 1963
Unbound sheets laid into illustrated wrappers, 6″ x 8.25″, 54 pages, lithograph printed by Graham Mackintosh. Cover design by Bill Brodecky, Illustrated by Paul Alexander.
(Johnston A15)

A16. Kearney, Lawrence. FIFTEEN POEMS
First edition:
San Francisco: White Rabbit Press, 1964
Saddle-stapled and glued into printed wrappers, 5.75″ x 9″, 20 pages, letterpress printed by Graham Mackintosh. Kearney’s first book. (Johnston A16)


A17. Thorman, Janet. THE TAROT SUITE
thorman_tarotFirst edition:
San Francisco: White Rabbit Press, 1964
Saddle-stapled in printed wrappers, 5.5″ x 8.5″, 24 pages, letterpress printed by Graham Mackintosh. (Johnston A17)

According to Johnston this books was offered for free as a supplement to OPEN SPACE magazine.

A18. Spicer, Jack and Lawrence Ferlinghetti. DEAR FERLINGHETTI
spicer_ferlingFirst edition:
San Francisco: White Rabbit Press, 1964
Single 8.5″ x 14″ sheet folded once, letterpress printed by Graham Mackintosh. (Johnston A18)

According to Johnston this work arose out of a dispute between Spicer and Ferlinghetti’s City Lights Book Shop.

A19. Spicer, Jack. THE HOLY GRAIL
spicer_holya. First edition, regular copies:
San Francisco: White Rabbit Press, 1964
Saddle-stapled and glued into illustrated wrappers, 6.25″ x 8.5″, 80 pages, lithograph printed by Graham Mackintosh. Illustrated by Graham Mackintosh. (Johnston A19)

b. First edition, hardcover copies:
San Francisco: White Rabbit Press, 1964
Hardcover, 6.25″ x 8.5″, 80 pages, 13 copies signed (4 were reportedly destroyed during signing), lithograph printed by Graham Mackintosh. Illustrated by Graham Mackintosh. (Johnston A19)

A20. Duncan, Robert. AS TESTIMONY
duncan_testimonya. First edition:
San Francisco: White Rabbit Press, 1964
Saddle-stapled in printed wrappers, 6″ x 9.25″, 24 pages, 350 copies, letterpress printed by Graham Mackintosh. (Johnston A20, Bertholf A12a)

a. Second edition:
San Francisco: White Rabbit Press, 1965
Second edition, saddle-stapled printed wrappers, 6″ x 9″, 24 pages, letterpress and offset. (Johnston A31, Bertholf A12b)

A21. Blaser, Robin. THE MOTH POEM
a. First edition, regular copies:
San Francisco: Open Space, December 1964
Side-stapled and glued into printed wrappers, 5.5″ x 8.25″, 32 pages, 288 copies, letterpress printed by Graham Mackintosh. (Johnston A21)

b. First edition, hand-colored copies:
San Francisco: Open Space, December 1964
Side-stapled and glued into printed wrappers, 5.5″ x 8.25″, 32 pages, 12 copies with hand-colored end papers by the author, letterpress by Graham Mackintosh. (Johnston A21)

c. Second edition:
San Francisco: Open Space, December 1964
Side-stapled and glued into printed wrappers, 5.5″ x 8.25″, 32 pages, 288 copies, offset printed in letterpress wrappers by Graham Mackintosh. (Johnston A23)

A22. Dull, Harold. THE DOOR
First edition:
San Francisco: Open Space, 1964
Side-stapled and glued into collaged wrappers, 8.5″ x 11″, 58 pages, lithograph printed by Graham Mackintosh. (Johnston A22)


A23. Duerden, Richard. THE FORK
duerden_forkFirst edition:
San Francisco: Open Space, 1964
Saddle-stapled sheets glued into printed french-fold wrappers, 6.75″ x 8.5″, 92 pages, 500 copies, errata sheet tipped in, letterpress printed by Graham Mackintosh. (Johnston A24)

A24. Alexander, James. ETERNATURE
alexander_eturnatureFirst edition:
San Francisco: Oannes-Open Space, April 1965
Side-stapled sheets glued into printed and illustrated french-fold wrappers, 7.25″ x 10.25″, 104 pages, 250 copies, lithograph printed by Graham Mackintosh. Illustrated by Paul Alexander. (Johnston A25)

A25. Olson, Charles. O’RYAN 1-10
olson_oryan02a. First edition, regular copies:
San Francisco: White Rabbit Press, September 1965
Saddle stapled in illustrated wrappers, 6.25″ x 8.75″, 16 pages, 1000 copies, letterpress printed by Graham Mackintosh. Illustrated by Jess Collins. (Johnston A26)

b. first edition, hardcover copies:
San Francisco: White Rabbit Press, September 1965
Hardcover, 6.25″ x 8.75″, 16 pages, 26 lettered copies, letterpress printed by Graham Mackintosh. Illustrated by Jess Collins (Johnston A26)

A26. Blaser, Robin. LES CHIMERES
a. First edition, regular copies:
San Francisco: Open Space, September 1965
Saddle-stapled in printed dust jacket, 5.5″ x 8.25″, 32 pages, 500 copies, letterpress printed by Graham Mackintosh. (Johnston A27)

b. First edition, hardcover copies:
San Francisco: Open Space, September 1965
Hardcover in printed dust jacket, 5.5″ x 8.25″, 32 pages, 26 lettered copies, letterpress printed by Graham Mackintosh. (Johnston A27)

A27. Stanley, George. FLOWERS
stanley_flowersa. First edition, regular copies:
San Francisco: White Rabbit Press, 1965
Saddle-stapled printed wrappers, 5.75″ x 8.75″, 32 pages, 500 copies, letterpress printed by Graham Mackintosh. (Johnston A28)

b. First edition, hardcover copies:
San Francisco: White Rabbit Press, 1965
Hardcover, 5.75″ x 8.75″, 32 pages, 26 lettered and signed copies, letterpress printed by Graham Mackintosh. (Johnston A28)

A28. 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)

A29. Spicer, Jack. LANGUAGE
spicer_languagea. First edition:
San Francisco: White Rabbit Press, June 1965
Perfect-bound illustrated wrappers, 6.25″ x 10″, 72 pages, 950 copies, letterpress printed by Graham Mackintosh. (Johnston A30)

b. First edition, second printing:
San Francisco: White Rabbit Press, 1970
Perfect-bound illustrated wrappers, 6.25″ x 10″, 72 pages, 950 copies, offset printed from the first edition. Text added to the colophon: “Second printing 1970”. (Johnston A54)

A30. Duncan, Robert. THE SWEETNESS AND GREATNESS OF DANTE’S DIVINE COMEDY
a. First edition, first printing
San Francisco: Open Space, December 1965
Side-stapled in illustrated wrappers, 6.75″ x 9.25″, 28 pages, 500 copies, lithograph printed by Graham Mackintosh. Illustrated by Robert Duncan. (Johnston A32, Bertholf A17a)

a. First edition, second printing
San Francisco: Open Space, January 1967
Side-stapled in illustrated wrappers, 6.75″ x 9″, 28 pages, 500 copies, lithograph printed by Graham Mackintosh. Illustrated by Robert Duncan. This second printing has no colophon and the title page’s artwork is slightly altered. (Johnston A32, Bertholf A17b)

A31. Spicer, Jack. BOOK OF MAGAZINE VERSE
spicer_magazinea. First edition:
San Francisco: White Rabbit Press, March 1966
Perfect-bound in printed and illustrated wrappers, 5.5″ x 7.75″, 56 pages, 1500 copies, letterpress printed by Graham Mackintosh. Prepared for publication from the original manuscript by Stan Persky. Illustrated by Graham Mackintosh. (Johnston A33)

According to Johnston, “The cover is a parody of the cover of Poetry(Chicago). The poems are arranged in groups intended for various little magazines and newspapers, each section printed on a stock appropriate to that publication, so that for example, the poems for Tish are on blue mimeo paper, those for the St. Louis Sporting News on newsprint.”

b. First edition, second printing
San Francisco: White Rabbit Press, 1970
Perfect-bound in printed and illustrated wrappers, 5.5″ x 7.75″, 56 pages, 1500 copies, letterpress printed by Graham Mackintosh. Prepared for publication from the original manuscript by Stan Persky. Illustrated by Graham Mackintosh. (Johnston A33)

A32. Ryan, John Allen. RUT
First edition:
(San Francisco): Graham Mackintosh, January 1966
Saddle-stapled in printed and blind-stamped wrappers, 5.5″ x 8.5″,  24 pages, 500 copies, letterpress printed by Graham Mackintosh. Illustrated by Knute Stiles. (Johnston A34)

A33. Alexander, James. THE JACK RABBIT POEM
alexander_jacka. First edition, regular copies:
San Francisco: White Rabbit-Open Space, March 1966
Saddle-stapled in printed wrappers, 5.5″ x 9″, 20 pages, 724 copies, letterpress printed by Graham Mackintosh. (Johnston A35)

b. First edition, hardcover copies:
San Francisco: White Rabbit-Open Space, March 1966
Hardcover, 5.5″ x 9″, 20 pages, 26 lettered and signed copies, letterpress printed by Graham Mackintosh. (Johnston A35)

A34. Perksy, Stan. LIVES OF THE FRENCH SYMBOLIST POETS
First edition:
San Francisco: White Rabbit Press, 1966
Saddle-stapled in printed wrappers, 5″ x 7.25″, 16 pages, letterpress printed by Graham Mackintosh. Dedication: “for / Jack Spicer”. (Johnston A36)


A35. Stowers, J. Anthony. THE ALIENS
First edition:
San Francisco: White Rabbit Press, 1967
Saddle-stapled in printed and photo-illustrated wrappers, 5″ x 7.25″, 32 pages, letterpress printed by Graham Mackintosh. (Johnston A37)


A36. Miles, Josephine. SAVING THE BAY
First edition:
San Francisco: Open Space, 1967
Saddle-stapled in printed and illustrated French-fold wrappers, 7″ x 10″, 12 pages, letterpress printed by Graham Mackintosh. (Johnston A38)


A37. Dull, Harold. THE STAR YEAR
dull_starFirst edition:
San Francisco: White Rabbit Press, October 1967
Saddle-stapled in printed and illustrated wrappers, 6″ x 9″, 48 pages, 500 copies, letterpress printed by Graham Mackintosh. Cover illustration by Fran Herndon. (Johnston A39)

A38. Duncan, Robert. THE CAT AND THE BLACKBIRD
First edition:
San Francisco: White Rabbit Press, 1967
Comb-bound in illustrated wrappers, 9.25″ x 12″, 52 pages, 500 copies, lithograph printed by Graham Mackintosh from author’s manuscript. Illustrated by Jess Collins. (Johnston A40)

A39. Dunn, Joe. BETTER DREAM HOUSE
dunn_betterFirst edition:
San Francisco: White Rabbit Press, April 1968
Saddle-stapled in printed and illustrated wrappers, 6.75″ x 9.25″, 32 pages, 1000 copies. Illustrated with paste-ups by Jess Collins. (Johnston A41)

A40. Stanley, George. BEYOND LOVE
First edition:
San Francisco: Open Space .·. Dariel Press, 1968
Saddle-stapled printed and illustrated wrappers, 5.75″ x 8.5″, 36 pages, letterpress printed by Graham Mackintosh. Dedication: “for Harold Dull”. (Johnston A42)

A41. Brautigan, Richard. PLEASE PLANT THIS BOOK
First edition:
San Francisco: Graham Mackintosh, 1968
Folder containing 8 printed seed packets, folder measures 6.25″ x 7″, 6000 copies, letterpress and offset printed by Graham Mackintosh. Photographs by Bill Brach. (Johnston A43)

A42. Thibeau, John. AN OPEN LETTER TO CHE GUEVARA
First edition:
San Francisco: White Rabbit Press, 1968
Printed envelope containing 3 printed sheets, sheets measure 8.5″ x 11″, lithograph printed by Graham Mackintosh. (Johnston A44)


A43. SAN FRANCISCO PUBLIC LIBRARY PRESENTS DURING AUGUST FIFTY YEARS OF GREAT PRINTING BY GRAHAM MACKINTOSH
First edition:
San Francisco: Graham Mackintosh, 1968
Folio sheet folded in quarters 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.  Printed at Dick’s Quick Print Press. (Johnston A45)

A44. Chapson, James. JIM’S BOOK
a. First edition:
White Rabbit Press, 1969
(Johnston A46)

b. Second edition:
Nine Beasts Press, 1969
(Johnston A47)

A45. Spicer, Jack. A BOOK OF MUSIC
a. First edition, regular copies:
San Francisco: White Rabbit, 1969
Saddle-stapled illustrated wrappers, 6.25″ x 9.25″, 20 pages, 1800 copies designed and printed by Ron and Graham Mackintosh from a typescript made available by Peter Howard. The cover was one decided upon by the author. Illustrated by Graham Mackintosh. (Johnston A48)

b. First edition, variant copies:
Variant copies include additional printed text on the front leaf: “150 copies printed Christmas, 1969 / for friends of White Rabbit, Oyez, / and the author”. (Johnston A48a)

A46. Liddy, James. A LIFE OF STEPHEN DEDALUS
a. First edition, regular copies:
White Rabbit Press, December 1969
Saddle-stapled in illustrated wrappers, 6.5″ x 9″, 24 pages, 474 copies, letterpress printed by Graham Mackintosh. (Johnston A49)

b. First edition, signed copies:
White Rabbit Press, December 1969
Saddle-stapled in illustrated wrappers, 6.5″ x 9″, 24 pages, 26 lettered and signed copies, letterpress printed by Graham Mackintosh. (Johnston A49)

A47. Dusenbery, Walter. THE STORY OF THE BED
First edition:
Natoma Society, 1970
Perfect-bound in printed wrappers, 6″ x 6″, 32 pages, letterpress printed by Graham Mackintosh. (Johnston A50)


A48. Ryan, John Allen. UNION ONION
First edition:
San Francisco: White Rabbit Press, 1970
(Johnston A51)

A49. Siverley, Bill. DREAMS OF ORPHEUS
First edition:
White Rabbit Press, March 1970
(Johnston A52)

A50. Garcia, Luis. THE MECHANIC
First edition:
White Rabbit Press, 1970
Perfect-bound in printed wrappers, 6″ x 8.5″, 88 pages, 500 copies, letterpress printed by Graham Mackintosh. Illustrated by Walter Dusenberry. (Johnston A53)

A51. Felson, Larry. BODY SONG
a. First edition, regular copies:
San Francisco: Elephant Press, April 1970
Saddle-stapled in printed wrappers, 5.75″ x 8.5″, 16 pages, 187 copies, letterpress printed by Ronald Mackintosh. (Johnston A55)

b. First edition, signed copies:
San Francisco: Elephant Press, April 1970
Saddle-stapled in printed wrappers, 5.75″ x 8.5″, 16 pages, 13 signed and lettered copies, letterpress printed by Ronald Mackintosh. (Johnston A55)

Elephant Press was a “subsidiary” of White Rabbit Press.

A52. Scola, Eileen. TO MARY MAGDALENE
First edition:
San Francisco: Elephant Press, 1970
(Johnston A56)

A53. Dorbin, Sandy. THE RUBY WOODS
a. First edition, regular copies:
San Francisco: White Rabbit Press, 1971
Perfect-bound in printed wrappers, 5.75″ x 9″, 36 pages, 454 copies, letterpress printed by Graham Mackintosh. Illustrated by Chuck Miller. (Johnston A57)

b. First edition, hardcover copies:
San Francisco: White Rabbit Press, 1971
Hardcover, 5.75″ x 9″, 36 pages, 26 numbered and signed copies, letterpress printed by Graham Mackintosh. Illustrated by Chuck Miller. (Johnston A57)

A54. Liddy, James. A MUNSTER SONG OF LOVE & WAR
a. First edition, regular copies:
San Francisco: White Rabbit Press, 1971
Saddle-stapled in printed wrappers, 6″ x 8.25″, 24 pages, 450 copies, letterpress printed by Graham Mackintosh. (Johnston A58)

b. First edition, hardcover copies:
San Francisco: White Rabbit Press, 1971
Saddle-stapled in printed wrappers, 6″ x 8.25″, 24 pages, 50 copies, letterpress printed by Graham Mackintosh. (Johnston A58)

A55. Kearney, Lawrence. DEAD POEM
First edition;
San Francisco: White Rabbit Press, 1971
(Johnston A59)

A56. Thibeau, Jack. CONVERSATIONS WITH APOLLINAIRE
First edition:
San Francisco: White Rabbit Press, 1972
Saddle-stapled in printed and illustrated wrappers, 6.25″ x 10″, 16 pages, letterpress printed by Graham Mackintosh. (Johnston A60)


A57. Liddy, James. BAUDELAIRE’S BAR FLOWERS
First edition:
Santa Barbara: Capra Press, 1975
(Johnston A61)

A58. Farquhar, David. THE BIRTH OF ISRAEL
First edition:
White Rabbit Press, 1976
(Johnston A62)

A59. Spicer, Jack. COLLECTED POEMS, 1945-46
First edition:
Berkeley: Oyez/White Rabbit Press, 1981
Saddle-stapled printed wrappers, 7″ x 9″, 32 pages, lithographed from the author’s typescript. (Johnston A63)



References consulted:

Bertholf, Robert J. ROBERT DUNCAN: A DESCRIPTIVE BIBLIOGRAPHY
Santa Rosa: Black Sparrow Press, 1986

Johnston, Alastair. 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…)