Tag Archives: Brion Gysin

Ron Padgett – Books and Periodicals Edited

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SECTION D:
This index includes books and periodicals edited by Ron Padgett

1. THE WHITE DOVE REVIEW, Vol. 1, No. 1 – Vol. 2, No. 5 [5 volumes], edited Ron Padgett and Richard Gallup, Joe Brainard, Michael Marsh, Betty Kennedy
Tulsa: The White Dove Review, 1959–1960

The White Dove Review was founded by Ron Padgett, then only 16 years old, and three friends from Central High School, where Padgett and Brainard were juniors, and Gallup and Marsh were seniors. Padgett got his title from the cover of an issue of Evergreen Review [Vol. 2, No. 6, Autumn 1958] that showed a girl holding a white dove. Brainard, who, according to the notes on the contributors, “intends to go into some sort of wild fashion,” was one of the art editors, and contributed the Mondrian-inspired design for the cover of the first number, the cover design for the fourth number, and three drawings and a cover design for the fifth and final number

The editors’ introduction to the first issue states: “The intention of this mag is not to add to this stockpile of criticism, but rather to present literature and art in a constructive light. Admittedly, the White Dove Review is a quiet complaint against the gaudy ideals of our society. Culture, along with some short-lived memories, is all a civilization leaves behind it. We hope the Schleimanns of the year 4000 do not find only beer cans and long cars in their excavations. The editors are not hipsters, even tho they acknowledge certain beat ideas. But no one will ever find any “organization” dogma within these covers. Advancement, cultural or scientific, cannot be achieved without experimentation. The editors feel that the mind is deeper than the universe, and have therefore chosen it for their endeavors. This is a presentation of young thought. We favor experimentation to traditionalism, but our judgements will be based on quality and message. . . .”

Further reading: The White Dove Review

2. THE CENSORED REVIEW, edited by Ron Padgett
New York: The Good Taste Press, April 1963
First edition, corner-stapled in printed cover, 8.5″ x 14″, 20 leaves printed recto only, mimeograph printed.

Contents:
Noble Brainard – “Free Speech”
Jonathan Cott and Mitchell Hall – “Preface 4-17-1963”
Dick Gallup – “Ember Grease”
Jonathan Cott – “Old Whore”
Philip Lopate – “Eli’s Story”
Nancy Ward – “Jacob and the Angel”
Ron Padgett – “Gasteropods, Faint!”
Ted Berrigan – “I Was Born Standing Up, for Carol Clifford”

A one-off publication produced on the occasion of a decision to censor poems written by Ted Berrigan and David Bearden that had previously been accepted for the spring issue of The Columbia Review, edited by Jonathan Cott and Mitchell Hall. The editors resigned in protest, and the contents of the issue were published as The Censored Review under the imprint of The Good Taste Press in April 1963.

Berrigan and Padgett designed the cover, which was the immediate precursor to C: A Journal of Poetry, whose first issue came out the  following month. Given the cloud of scandal and censorship that
accompanied The Censored Review, the 800 copies printed were  quickly distributed on the Columbia University campus and immediately sold out.

3. Berrigan, Ted. THE SONNETS
New York: Lorenz and Ellen Gude, 1964
First edition, first printing, 8.5″ x 11″, 300 copies, mimeograph printed. Cover art by Joe Brainard. Edited by Ron Padgett. Published by Lorenz and Ellen Gude at C Press. Berrigan dedicated the book to Joe Brainard.

3. Burroughs, William. TIME
a. First edition:
New York: C Press, 1965
Saddle-stapled in printed and illustrated wrappers, 8.5″ x 11″, 32 pages, 1000 copies (886 in a trade edition; 100 numbered and signed; 10 lettered A-J, hardbound, with original manuscript page by Burroughs and original drawing by Gysin, signed; and four hardcover numbered copies hors commerce). Cover art by Burroughs. Illustrated by Brion Gysin. Edited by Ted Berrigan, Ron Padgett, and Joe Brainard.

 

C Press

Begun in May 1963 by Ted Berrigan, with Lorenz Gude as publisher, the C Press and it’s mimeograph-printed magazine, provided an important early outlet for the writings of younger poets and their immediate predecessors.

1. Veitch, Tom. LITERARY DAYS
New York: Lorenz and Ellen Gude, 1964
First edition, side-stapled in illustrated cover, 8.5″ x 11″, 200 numbered and signed copies, mimeograph printed. Cover art and illustration by Joe Brainard. Edited by Ron Padgett and Ted Berrigan.

According to Granary Books catalog, Poets’ First Books, A Short List: This is Tom Veitch’s first book and is also the first book published by C Press.

2. Berrigan, Ted. THE SONNETS
New York: C Press, 1964
First edition, first printing, 8.5″ x 11″, 300 copies, mimeograph printed. Cover art by Joe Brainard. Edited by Ron Padgett who also typed the stencils. Published by Lorenz and Ellen Gude at C Press. Berrigan has dedicated the book to Joe Brainard.

According to Granary Books catalog, Poets’ First Books, A Short List: Considered one of Berrigan’s most influential works, this book is widely considered his first, in the first edition. However, its publication is technically preceded by A Lily for My Love, which Berrigan attempted to round up copies and destroy (and this thus incredibly scarce).

3. Padgett, Ron. IN ADVANCE OF THE BROKEN ARM
New York: C Press, 1965
Second edition, side-stapled in printed and illustrated wrappers, 8.5” x 11”, 200 numbered copies, mimeograph printed. Cover art and illustrations by Joe Brainard (all differ from the first edition published by Lorenz Gude in 1964).

4. Burroughs, William. TIME
a. First edition:
New York: C Press, 1965
Saddle-stapled in printed and illustrated wrappers, 8.5″ x 11″, 32 pages, 1000 copies (886 in a trade edition; 100 numbered and signed; 10 lettered A-J, hardbound, with original manuscript page by Burroughs and original drawing by Gysin, signed; and four hardcover numbered copies hors commerce). Cover art by Burroughs. Illustrated by Brion Gysin. Edited by Ted Berrigan, Ron Padgett, and Joe Brainard.

According to a Granary Books catalog entry for this item: Ron Padgett, editor for the edition, relates, “Burroughs’ original manuscript was so faintly typed that the printer (a very helpful gentleman named Mr. Dymm at Fleetwood Letter Service) said it would not be legible in an offset edition.” In order to solve the problem, the editor created a facsimile of Burroughs’ manuscript. He rented a typewriter (with the same font as Burroughs’) and then acquired “a fresh (used) copy of the issue of Time (‘Transatlantic Edition,’ it called itself) he had used as the basis for his manuscript.”

“It was a lot of work, and I became rather obsessed with creating a perfect replica, but I enjoyed doing it. Burroughs was pleased with the result, but, given his characteristic reserve, he didn’t gush. Throughout the project he was cordial, polite, somewhat old-fashioned in his formal good manners. Brion Gysin was equally polite but a bit warmer in his demeanor.”

5. Padgett, Ron. TWO STORIES FOR ANDY WARHOL
New York: C Press, 1965
Second edition, side-stapled with illustrated cover, 8.5” x 14”, 11 pages, mimeograph printed. Thermo-Fax cover by Andy Warhol. The found text was excerpted from an early twentieth-century novel and is repeated on each page of the mimeographed book, reflecting the poet’s interest in appropriation and repetition.

6. Ceravolo, Joseph FITS OF DAWN
New York: C Press, 1965
First edition, side-stapled in printed and illustrated cover, 8.5″ x 11″, mimeograph printed. Cover art by Rosemary Ceravolo. Edited by Ted Berrigan. The poet’s first book.

7. Gallup, Dick. HINGES
New York: C Press, 1965
First edition, side-stapled in printed and illustrated cover, 8.5″ x 11″, mimeograph printed. Cover illustration by Joe Brainard. Edited by Ted Berrigan. The author’s first book published while Gallup was still a student at Columbia.

According to Granary Books catalog, Poets’ First Books, A Short List: “Gallup moved to New York City in 1961 to join high school classmates from Tulsa, Ron Padgett and Joe Brainard. Also from Tulsa was Ted Berrigan, whose C Press published Gallup’s first book of poetry. Gallup had been writing since high school, often collaborating with Padgett or Berrigan on small handmade “bokes” or ephemeral publications.

8. Brownstein, Michael. BEHIND THE WHEEL
New York: C Press, 1967
First edition, side-stapled in printed and illustrated cover, 8.5″ x 11″, 200 copies, mimeograph printed. Edited by Ted Berrigan. Published as issue No. 14 of C magazine.

9. Elmslie, Kenward. POWER PLANT POEMS
New York: C Press, 1967
First edition, side-stapled in printed and illustrated wrappers, 8.5″ x 11″, mimeograph printed. Cover art and illustrations by Joe Brainard. Edited by Ted Berrigan.

10. Notley, Alice. 165 MEETING HOUSE LANE / TWENTY-FOUR SONNETS
New York: C Press Publications, 1971
First edition, side-stapled in printed and illustrated cover, 8.5″ x 11″, 250 copies, mimeograph printed. Edited by Ted Berrigan.

11. Carey, Steve. THE LILY OF ST. MARK’S
New York: C Press, 1978
First edition, side-stapled in printed and illustrated cover, 8.5″ x 11″, 250 copies, mimeograph printed. Cover art by George Schneeman. Edited by Ted Berrigan.

12. Schneeman, Elio. IN FEBRUARY I THINK
New York: C Press, 1978
First edition, side-stapled in printed and illustrated cover, 8.5″ x 11″, 250 copies, mimeograph printed. Cover art by George Schneeman.

Online Resources:

· From a Secret Location – C Press

· Reality Studio – C Press Archive

—

William S. Burroughs – Books, Pamphlets, and Broadsides

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SECTION A:
This index includes books, pamphlets, and broadsides (excluding foreign language translations, interviews and some miscellaneous prose) from 1957 to 1973: roughly the period of time covered by the Maynard and Miles Bibliography (ref. M&M).

1. Lee, William. JUNKIE
a. First edition:
New York: Ace Books Inc., 1953
Perfect-bound in printed and illustrated wrappers, 4.25” x 6.5”, 320 pages, bound back to back with Maurice Helbrant’s Narcotic Agent. Publisher’s note by Carl Solomon (not credited).
(M&M A1a) *

William Burroughs’ first book, written under the pseudonym ‘William Lee’ (his mother’s maiden name).

According to Beatbooks catalog #92: Ace Books was owned by Carl Solomon’s uncle, A.A. Wyn, a connection made by Allen Ginsberg who was acting as Burroughs’s agent at the time. The publication of Nelson Algren’s novel The Man With The Golden Arm in 1949 inspired a trend for books about junkies, many of them mass-market paperbacks sold in newsagents rather than bookshops, and with commercial success in mind Wyn agreed to publish Burroughs. Though written in a noir-ish hard-boiled style, Junkie is autobiographical (the “Confessions of an Unredeemed Drug Addict”), and lacks the kind of plot that readers of the genre attracted by Al Rossi’s lurid cover art might have expected.

Burroughs’s picaresque and frequently humorous narrative, with its hip talk and junkie jargon, is also told from the detached point of view of the hipster-addict, a neutrality which Wyn sought to counter-balance by yoking it to a reprint of Helbrant’s 1941 account of his “War Against the Dope Menace”. Burroughs was initially appalled at this appendage, but his motivation for writing Junkie was, as he later wrote, money and recognition, though neither were forthcoming at first as the book was largely ignored at the time of publication. More significantly, by mixing an orthodox narrative of drug experiences with occasional forays into set-pieces, or routines, Junkie also paved the way for Naked Lunch.

b. First UK edition:
London: Digit Books, 1957
Perfect-bound in printed and illustrated wrappers, 4.5” x 7.25”, 160 pages.
(M&M A1b) *

According to Beatbooks catalog #92: First UK edition, and the first edition of Junkie as a separate item. Front cover art by Al Rossi, based on his earlier artwork for Ace Books. His sensational back cover art depicts a blonde with hypo and rolled-down stocking, and it was probably this, at least in part, that provoked the British censors to suppress the book after publication and order all the remaining copies to be pulped.

2. Burroughs, William. LETTER FROM A MASTER ADDICT TO DANGEROUS DRUGS
a. First edition:
Shrewsbury: British Journal of Addiction, 1957
Side-stapled sheets, 5.5″ x 8.5″, 13 pages,  50 copies.
(see M&M C1) *

An offprint of the Burroughs article appearing in the January 1957 issue of British Journal of Addiction (Vol. 53, No. 2) edited by John Yerbury Dent (M&M C1). This is Burroughs’ first appearance in print under his own name.

3. Burroughs, William S. THE NAKED LUNCH
a. First edition:
Paris: Olympia Press, July 1959
Sewn signatures bound in printed wrappers in printed and illustrated dust jacket, 4.5″ x 7″, 232 pages, 5000 copies. Dust jacket designed by Burroughs. Issued as No. 76 in the Traveller’s Companion Series. Preliminary issue with price on lower wrapper not canceled with over-stamp.
(M&M A2a)

According to Beatbooks catalog #89: Price on lower wrapper not canceled (copies distributed following the revaluation of the Franc in January 1960 had the printed price stamped over).

b. First US edition, revised:
New York City: Grove Press, 1962
Hardcover in paper and cloth-bound boards with gilt-stamped spine in printed and illustrated dust jacket, 5.5″ x 8″, 256 pages, 3500 copies. Printed prospectus issued.
(M&M A2b)

The contents of this edition differ from the Olympia first edition. This Grove Press edition includes as the Introduction, “Deposition: Testimony Concerning a Sickness” [first published in Evergreen Review, Vol. 4, No. 11 (January-February 1960) (M&M C12)] and, as the Appendix,“Letter from a Master Addict to Dangerous Drugs” [first published in The British Journal of Addiction, Vol. 53, No. 2 (January 1957) (M&M C1)].

According to BeatBooks catalog #20, publication of this edition triggered obscenity trials in Los Angeles and Boston.

4. Burroughs, William S. EXCERPT FROM PANTAPON ROSE
a. First edition:
San Francisco: Wallace Berman, 1959
Broadside, 4″ x 5″, letterpress printed by Wallace Berman.
(see M&M C11)

This broadside is laid into Semina, No. 4, edited by Wallace Berman (M&M C11).

5. Burroughs, William and Brion Gysin. THE EXTERMINATOR
a. First edition:
San Francisco: Auerhahn Press, 1960
Sewn signatures bound in printed and illustrated wrappers, 6.25″ x 9.25″, 64 pages, 1000 copies, letterpress printed, designed and printed by Dave L. Haselwood and James F. McIlroy. Illustrated by Brion Gysin. Printed announcement issued.
(M&M A4a)

The first collection of cut-ups, containing material that Burroughs and Gysin completed before Minutes To Go was published.

b. First edition, second printing:
San Francisco: Dave Haselwood Books, 1967
Sewn signatures bound in printed and illustrated wrappers, 6″ x 9″, 51 pages, 1000 copies. Illustrated by Brion Gysin.
(M&M A4b)

6. Burroughs, William, Sinclair Beiles, Gregory Corso, and Brion Gysin. MINUTES TO GO
a. First edition:
Paris: Two Cities Editions, April 1960
Sewn signatures bound in illustrated wrappers, 5.25″ x 8.25″, 64 pages, 1000 copies. Cover design by Brion Gysin.
(M&M A3a)

This is the second collection of cut-ups to be published.

b. First US edition:
San Francisco: Beach Books, Texts & Documents, 1968
Perfect-bound in printed and illustrated wrappers, 5.25″ x 8.5″, 66 pages, 1000 copies, distributed by City Lights Books.
(M&M A3b)

This edition is a facsimile of the first edition but for the addition of a Claude Pelieu collage.

7. Burroughs, William. THE SOFT MACHINE
a. First edition:
Paris: The Olympia Press, June 1961
Sewn signatures bound in printed wrappers in printed and illustrated dust jacket, 4.25″ x 7″, 184 pages, 5000 copies. Dust jacket designed by Brion Gysin.
(M&M A5a) *

b. First US edition, revised:
New York City: Grove Press, 1966
Hardcover in cloth-bound boards with silver-stamped spine in printed and illustrated dust jacket, 5.5″ x 8″, 184 pages, 18,000 copies. Cover art by Burroughs. Author photo by Charles Henri Ford.
(M&M A5b) *

According to Beat Books catalog #48: Burroughs completely rewrote the text for this edition, partly as a response to criticisms that the first edition had been difficult to read.

According to Am Here catalog #3: This constitutes the revised expanded edition advertised but never published by Olympia.

8. Burroughs, William. THE TICKET THAT EXPLODED
a. First edition:
Paris: Olympia Press, December 1962
Sewn signatures bound in printed wrappers in printed and photo-illustrated dust jacket, 4.25″ x 6.75″, 184 pages, 5000 copies. Dust jacket designed by Ian Sommerville. Illustrated by Brion Gysin.
(M&M A6a)

b. First US edition, revised:
New York City: Grove Press, June 1967
Hardcover in cloth-bound boards with black-stamped spine in printed and illustrated dust jacket, 5.25″ x 8″, 218 pages, 10,000 copies. Dust jacket designed by Kuhlman Associates. Author photo by Martha Rocher.
(M&M A6b) *

The Grove Press edition is a second version, a rearrangement of the first Olympia text with additions and expansions, plus “The Invisible Generation”, a piece incorporating two earlier articles from International Times (see M&M C157 and C162).

9. Burroughs, William. DEAD FINGERS TALK
a. First edition:
London: John Calder in association with Olympia Press, November 1963
Hardcover in cloth-bound boards with gilt-stamped spine in printed and illustrated dust jacket, 5.25″ x 8″, 220 pages, 4000 copies. Cover photos by Ian Sommerville.
(M&M A7a)

Contains sections from The Naked Lunch, The Soft Machine, and The Ticket That Exploded along with some previously unpublished material.

10. Burroughs, William. and Allen Ginsberg. THE YAGE LETTERS
a. First edition:
San Francisco: City Lights Books, November 1963
Sewn signatures bound in printed and photo-illustrated wrappers, 5″ x 7.25″, 68 pages, 3000 copies, letterpress printed at Villiers Publications.
(M&M A8a) *

According to Beatbooks catalog #89: An “early epistolary novel” by Burroughs, “detailing picaresque incidents of search for telepathic-hallucinogenic-mind-expanding drug Yage” (back cover blurb). The letters date from 1953 and record Burroughs’ journeys through the Amazon jungle. Includes two drawings by Allen Ginsberg and his letters to Burroughs from 1960.

11. Burroughs, William S. ROOSEVELT AFTER INAUGURATION
a. First edition:
New York: Fuck You Press, January 1964
Saddle-stapled in printed wrappers, 4.25″ x 5.5″, 24 pages, 500 copies, mimeograph printed by Ed Sanders. Illustrated by Allen Ginsberg.
(M&M A9a)

According to Beatbooks catalog #89: The routine, created by Burroughs and Kells Elvins while students at Harvard and originally intended for inclusion in “The Yage Letters”, was censored by the English printers, and subsequently printed in Floating Bear No. 9 (M&M C33), resulting in its editor LeRoi Jones being jailed.

12. Burroughs, William. THE COLDSPRING NEWS
a. First edition:
Flint: Fenian Head Centre Press, March 1964
Broadside,7.25″ x 12.5″.
(see M&M C124)

This broadside also appears folded and bound into The Spero, Vol. 1, No. 1 edited by Douglas and Kathy Casement (Fenian Head Centre Press, 1965) with the addition of a copyright notice at the bottom. (M&M C124)

13. Burroughs, William S. PRY YOURSELF LOOSE AND LISTEN
a. First edition:
Tangier: Ira Cohen, Spring 1964
Saddle-stapled in printed and illustrated wrappers, 5″ x 8″, 14 pages.
(see M&M C68-C71)

An offprint collecting all the Burroughs appearances in Gnaoua, No. 1, edited by Ira Cohen.

14. Burroughs, William S. NOVA EXPRESS
a. First edition:
New York City: Grove Press, November 1964
Hardcover in cloth-bound boards with black-stamped spine in printed and illustrated dust jacket, 5.5″ x 8.25″, 190 pages, 10,000 copies, printed at The Book Press. Foreword Note by Burroughs. Cover design by Roy Kuhlman. Author photograph by Martha Rocher.
(M&M A10a)

According to Burroughs’ Foreword Note: The section called “This Horrible Case” was written in collaboration with Mr. Ian Sommerville, a mathematician—Mr. Sommerville also contributed the technical notes in the section called “Chinese Laundry”—An extension of Brion Gysin’ cut-up method which I call the fold-in method has been used in this book which is consequently a composite of many writers living and dead.

15. Burroughs, William. VALENTINE’S DAY READING
a. First edition:
New York: American Theatre for Poets, February 1965
Side-stapled in printed cover sheet, 8.5″ x 11″, 14 pages, mimeograph printed.
(M&M F12)

Includes “Transcript of Dutch Schultz’s Last Words” and the first column from The Coldspring News, “On The Back Porch of his Farm”.

16. Burroughs, William. TIME
a. First edition:
New York: “C” Press, 1965
Saddle-stapled in printed and illustrated wrappers, 8.5″ x 11″, 32 pages, 1000 copies (886 in a trade edition; 100 numbered and signed; 10 lettered A-J, hardbound, with original manuscript page by Burroughs and original drawing by Gysin, signed; and four hardcover numbered copies hors commerce). Cover art by Burroughs. Illustrated by Brion Gysin. Edited by Ted Berrigan, Ron Padgett, and Joe Brainard.
(M&M A11a)

b. Pirate edition:
London: Urgency Press Rip-Off, May 1972
Top-stapled with printed cover sheet, 8″ x 13″, 32 pages, 45 copies. Edited by Roy Pennington. Published on the occasion of the Bickershaw Festival.
(M&M A11b)

17. Burroughs, William S. WILT CAUGHT IN TIME
a. First edition:
New Orleans: Loujon Press, c.1965
Broadside, 6″ x 9″, letterpress printed by Jon Edgar Webb and Gypsy Lou Webb.
(see M&M C46)

An offprint of the Burroughs contribution to The Outsider, No. 2, edited by Jon Edgar Webb and Gypsy Lou Webb (M&M C46).

According to Jeff Weddle in “The Loujon Press: An Historical Analysis”: Burroughs’ submission for issue two originally bore the title, “Cuts from ‘Word Line’ William Burroughs for Hassan i Sabbah.” The piece was done using Burroughs’ distinctive, jumbled, “cut-up” technique and had no easily discernible narrative flow or quickly grasped meaning. Perhaps for these reasons, Webb heavily edited and re-titled the piece, casting it as a poem in The Outsider number two. Burroughs’ manuscript bears a notation, again in Webb’s hand, stating that the piece was “condensed and rearranged into “wilt caught in time,” the title under which it appeared in the magazine. While Webb’s version of Burroughs’ piece bears little resemblance to the author’s original submission, no record has been uncovered showing Burroughs’ response to Webb’s heavy editing of his work.

18. Burroughs, William S. HEALTH BULLETIN: APO-33
a. First edition:
New York: Fuck You Press, 1965
Side-stapled sheets with printed and illustrated cover, 8.5″ x 11″, 54 pages, 10-20 copies, mimeograph printed by Ed Sanders.
(M&M A12a) *

According to Sanders “maybe as many as ten or twenty” copies were distributed before he halted publication due to Burroughs’ dissatisfaction with the copy he’d received.

b. Second edition:
San Francisco: Beach Books, Texts, & Documents, 1966
Saddle-stapled in printed wrappers, 8.5″ x 11″, 24 pages, 3000 copies.
(M&M A12b)

This printing is a photo-offset reproduction of Burroughs’ manuscript and scrapbook pages, featuring the three-column cut-up style, compiled by Mary Beach and Claude Pélieu.

19. Burroughs, William S. THE INVISIBLE GENERATION
a. First edition:
London: Project Sigma, December 1966
Broadside, 11.5″ x 17″, 1000 copies, offset printed.
(see M&M C159)

This item was not given a Sigma index number and no evidence exists to show distribution except by International Times itself which provided the offprints. Reprinted from International Times, No. 3 (November 1966) (M&M C157).

20. Burroughs, William S. THE INVISIBLE GENERATION (continued)
a. First edition:
London: Lovebooks Ltd, December 1966
Broadside, 22.5″ x 30.25″, 200 copies, silk-screened, designed by Michael English so that part of the card could be cut out and assembled to make a word-machine. Published as International Times, No. 5.5.
(see M&M C160) *

21. Burroughs, William S., Claude Pélieu, and Carl Weissner. SO WHO OWNS DEATH TV?
a. First edition:
San Francisco: Beach Books, Texts, & Documents, 1967
Saddle-stapled in printed wrappers, 8.5″ x 5.5″, 12 pages, 3000 copies; there was a variant issue of 200 copies on black paper printed in silver ink.
(M&M A13a)

b. Second edition, expanded:
San Francisco: Beach Books, Texts, & Documents, 1967
Saddle-stapled in printed wrappers, 8.5″ x 5.5″, 20 pages, 3000 copies. This expanded edition includes photo-collages by Jean-Jacques Lebel and Liam O’Gallagher.
(M&M A13b)

22. Burroughs, William S. SCIENTOLOGY REVISITED
a. First edition:
New York: Scientology East, c.1968
Saddle-stapled in printed and illustrated wrappers, 5.5″ x 8.5″, 8 pages.
(not in M&M) *

Reprinted from Mayfair, Vol. 3, No. 1 (January 1968) (M&M C187)

23. Burroughs, William S. THE DEAD STAR
a. First edition:
San Francisco: Nova Broadcast Press, November 1969
Broadside  (8″ x 26.75″), folded and stapled into printed wrappers, 4.74″ x 8″, 2000 copies. Edited by Jan Herman. Published as Nova Broadcast, No. 5
(M&M A14a)

The first US publication of a piece done in Burroughs’ familiar scrapbook, photo-collage 3-column newspaper style, originally published in Jeff Nuttall’s My Own Mag ‘Dutch Schultz’ issue.

24. Burroughs, William S. THE LAST WORDS OF DUTCH SCHULTZ
a. First edition:
London: Cape Goliard Press,  May 1970
Hardcover in cloth-bound boards with red-stamped spine in printed and illustrated dust jacket, 6.25″ x 9.75″, 88 pages. Cover art and illustrations by R.B. Kitaj.
(M&M 17a) *

A film-script inspired by the official transcript of the last words of mobster Dutch Schultz, recorded by a police stenographer as he lay dying in hospital.

25. Burroughs, William S. ALI’S SMILE
a. First edition:
Brighton: Unicorn Books, October 1971
Hardcover in buckram-bound boards with gilt-stamped cover, 6.25″ x 8″, 44 pages, 99 copies numbered and signed, printed by Richard Moseley at Graphic Workshop. Issued in a carton which also contains a 12-inch LP record of Burroughs reading the second draft of the text.
(M&M A19a, G6) *

b. First edition, second printing:
Gottingen: Expanded Media Editions, October 1973
Perfect-bound in printed and illustrated wrappers, 5.75″ x 7.5″, 40 pages. Bilingual edition with German text translated by Carl Weissner. Photographs of the author by Udo Breger. Published as Expanded Media Editions, No. 12.
(M&M D28)

26. Burroughs, William S. THE WILD BOYS: A BOOK OF THE DEAD
a. First edition:
New York: Grove Press, 1971
Hardcover in cloth-bound boards with gilt-stamped spine and blind-stamped front cover in printed and illustrated dust jacket, 5.5″ x 8.25″, 184 pages.
(M&M A20a) *

27. Burroughs, William S. ELECTRONIC REVOLUTION 1970-71
a. First edition:
Cambridge: Blackmoor Head Press, October 1971
Perfect-bound in printed and illustrated wrappers, 8″ x 10.25″, 76 pages, 500 copies. Printed for Henri Chopin and his Collection OU by Ian Ormiston at the Blackmoor Head Press. Cover art by Brion Gysin. Text in English and French; French translation by Jean Chopin. Published as Collection OU, No. 2.
(M&M A21a)

28. Burroughs, William S., Brion Gysin, and Ian Sommerville. LET THE MICE IN, edited by Jan Herman
a. First edition:
West Glover, Vt.: Something Else Press, February 1973
Hardcover in cloth-bound boards with silver-stamped spine and front cover in printed dust jacket, 6.25″ x 9.25″, 74 pages, 500 copies (plus 1000 copies in wrappers), designed and printed by Graham Mackintosh at Noel Young Press in Santa Barbara.
(M&M A22a-b)

Includes texts and cut-ups by Burroughs (“The Invisible Generation”, “Word Authority More Habit Forming Than Heroin”, and “Parenthetically 7 Hertz”), and Ian Sommerville, plus several sepia photographs of the authors, the Dream Machine, etc.

29. Burroughs, William S. EXTERMINATOR! A NOVEL
a. First edition:
New York: Viking Press, August 1973
Hardcover in cloth-bound boards with white-stamped spine and black-stamped front cover in printed and illustrated dust jacket, 5.25″ x 8″, 170 pages, 7500 copies.
(M&M A23a) *

Note: A collection of short routines and other material, mostly from The Wild Boys.

30. Burroughs, William S. WHITE SUBWAY
a. First edition:
London: Aloes Books, September 1973
Perfect-bound in printed and photo-illustrated wrappers, 6.25″ x 8.25″, 74 pages, 1000 copies (25 of which are numbered and signed).
(M&M A24a)

A collection of various pieces, its title taken from a section of The Soft Machine, including cut-up and three-column style texts (“Who Is the 3rd…?”, “The Last Post Danger Ahead”, and “From a Distant Hand Lifted”), originally published in little literary magazines such as Gnaoua, Spero, Underground Telegram, Kulchur, Arcade, Lines, Bulletin from Nothing, and Birmingham Bulletin. Also includes a piece by Alan Ansen, and Paul Bowles’s essay, “Burroughs In Tangier”.

31. Burroughs, William S. MAYFAIR ACADAMY SERIES MORE OR LESS, edited by Roy Pennington
a. First edition:
Brighton: Urgency Press Rip-Off, 1973
Saddle-stapled in printed and photo-illustrated wrappers, 5″ x 8.25″, 104 pages, 650 pages. Printed on different colour papers, stapled and trimmed at the press operated by Bill Butler’s partner, Mike Hughes, above the Unicorn bookshop in Brighton.
(M&M A25a)

Note: Reprints ten of the Burroughs ‘Academy Bulletins’ from Mayfair magazine (there were 21 in the series all together), along with other articles he wrote for them, together with an essay on Burroughs “originally presented as an M.A. thesis in Philosophy” by the book’s publisher, Roy Pennington.

…

[* not in archive]

Brion Gysin

Brion Gysin with Dreamachine at Musée des Arts Décoratifs, Paris, 1962. Collection William S. Burroughs Archive, Courtesy William S. Burroughs Trust, Lawrence, Kansas. Photo: Harold Chapman/Image Works.

A visual artist, writer, performer and cultural visionary, Gysin introduced his lifelong friend, writer William S. Burroughs, to the techniques of cut-ups and permutation. Together, they experimented in sound and image, using collage, tape recorder, light painting, writing and film. They co-authored Third Mind, the term they also used for their creative collaborations. Gysin began his career as a painter in Paris, studying at Sorbonne and in 1935, was exhibited with Picasso, Arp, Bellmer, Brauner, de Chirico, Dali, Duchamp, Max Ernst, Magritte, Miro, Man Ray, Tanguy at Galerie Quatre Chemins in Paris. He then left for New York in 1939. During World War II he studied Japanese and worked as a codebreaker. Japanese and Arabic calligraphy, influenced Gysin’s style of word/image glyphs. Paul Bowles invited him to Tangier, where Gysin remained for twenty-five years. Gysin lived and worked in Paris until his death in 1986.

Brion Gysin checklist:

Section A: Books, Pamphlets, and Broadsides
Section B: Contributions to Books and Pamphlets
Section C: Contributions to Periodicals

References consulted:

Maynard, Joe and Barry Miles. William S. Burroughs: A Bibliography, 1953-73: Unlocking Inspector Lee’s Word Hoard
Charlottesville: University of Virginia Press, 1978. (ref. M&M)

Online resources:

· BeatBooks.com
· Reality Studio

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Ira Cohen – Publications Edited, Printed, and Published

>> return to IRA COHEN main page >>

SECTION D:
This index includes publications edited printed, and published by Ira Cohen

1. GNAOUA, No. 1, edited by Ira Cohen
First edition:
Tangier: Gnaoua Press, 1964
Perfect-bound in printed and illustrated wrappers, 5″ x 8″, 103 pages. Illustrated by Rosalind (Schwartz) [aka Panama Rose]. Contributors include: William S. Burroughs, Ian Sommerville, Brion Gysin, Harold Norse, Allen Ginsberg, Michael McClure, J. Sheeper, Jack Smith, Marc Shleifer, Mohammed Ben Abdullah Yussufi (translated by Irving Rosenthal), J. Weir, Stuart Gordon, Tatiana, Alfred Jarry, (translated by George Andrews), Jabouna Min Soudan (translated by Christopher Wanklyn).

Note: A copy of Gnaoua can be seen on the mantelpiece on the cover of Bob Dylan’s 1965 album “Bringing It All Back Home.”

2. Rose, Panama. THE HASHISH COOKBOOK
First edition:
(New York), Gnaoua Press, 1966
Saddle-stapled in printed and illustrated wrappers, 6″ x 8.25″, 28 pages, 10,000 copies, offset printed.

According to the Eddie Woods website , the Panama Rose pseudonym belongs to Ira Cohen’s then-girlfriend, Panama-born, Rosalind Schwartz. She and Ira were together from 1963, when they met in Tangier, until June 1968 in New York City. Rosalind did all the drawings for the cookbook, and then designed it. Just as she’d designed Ira’s seminal literary magazine Gnaoua, though all she was credited for in that regard were the cantharides beetles on the cover and copyright page.

3. De Roussy de Sales, Aymon. THE FOUNDING PIG *
First edition: 
Tangier/NY: Gnaoua Press, 1966
Saddle-stapled in printed and illustrated wrappers, 37 pages. Illustrated by the author.



4. THE GREAT SOCIETY, No. 1, edited by Robert J. Rickin and Ira Cohen
New York: Tompkins Square Books, 1966
Contributors include Piero Heliczer, Ray and Bonnie Bremser, Allen Ginsberg, Clive Matson, Andrew Heath, and others. Cover illustration by Jack Smith.


5. THE GREAT SOCIETY, No. 2, edited by Ira Cohen and Robert Richkin
New York: A Heddaoua Publication, 1967
Contributors include: William Burroughs, Paul Bowles, John Wieners, Ray Bresmer, Aymon de Roussy de Sales, Alexander Spingarn, Robert Richkin, Kip Coburn, Edward Marshall, Edward Field, Panama Rose, Hakin Khan, Harodl Norse, Melvin Clay, Janine Pommy-Vega, William Heine, Clive Matson, Erin Matson, Michael Perkins, Diane and Sheldon Rochlin, Piero Heliczer, Paolo Lionni, William Devore, Peter Birnbaum, Robert O’Driscoll, Jean-Jacques Lebel, Mohammed Mrabet, and Jack Smith [cover illustration].

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[*not in archive]

Cut-Up Method

The cut-up technique (or découpé in French) is an aleatory literary technique in which a text is cut up and rearranged to create a new text. The concept can be traced to at least the Dadaists of the 1920s, but was popularized in the late 1950s and early 1960s by writer William S. Burroughs…

The following is a select and incomplete checklist

MAGAZINES

ARCADE, Nos. 1-5, edited by Martin Leman
London: Arcade, 1964-1966
Contributors include: William S. Burroughs, David Cripps, David Kozubei, Stan Peskett, Ron Sandford, Rufus Segar, Georges Sheridan. Issue No.1 is Special Burroughs issue (Maynard & Miles C84-86).

BULLETIN FROM NOTHING, Nos. 1-2, edited by Mary Beach and Claude Pélieu
San Francisco: Beach Books, 1965
Contributors include: Chano Pozo, Mary Beach, William S. Burroughs, Claude Pélieu, Bob Kaufman

FRUIT CUP, No. 0, edited by Mary Beach and Claude Pélieu
New York: Beach Books, 1969
Contributors include: Allen Ginsberg, Wallace Berman, William S. Burroughs, Lawrence Ferlinghetti, Claude Pélieu, Edward Sanders, Jan Jacques Lebel, Mary Beach, Tuli Kupferberg, Peter Orlovsky, Albert Hoffman, Rochelle Owens

GINGER SNAPS, edited by Michael Gibbs and Hammond Guthrie
Exeter: Kontexts, March 1972
Contributors include Williams S. Burroughs (“Abstract”), Harold Norse, Allen Ginsberg, Mary Beach, Jan Herman, Carl Weissner, Jürgen Ploog, Claude Pélieu, Bob Kaufman, Tuli Kupferberg, Charles Plymell, Tom Phillips, John Giorno, Jochen Gerz

GNAOUA, No. 1, edited by Ira Cohen
Tangier: Gnaoua Press, 1964
Contributors include: William S. Burroughs, Ian Sommerville, Brion Gysin, Harold Norse, Allen Ginsberg, Michael McClure, J. Sheeper, Jack Smith, Marc Shleifer, Mohammed Ben Abdullah Yussufi (translated by Irving Rosenthal), J. Weir, Stuart Gordon, Tatiana, Alfred Jarry, (translated by George Andrews), Jabouna Min Soudan (translated by Christopher Wanklyn)

GROWING HAND, edited by Vincent J. Cresciman
San Francisco: Growing Hand, 1967
Contributors include: Irving Rosenthal, Ira Cohen, Alphonse Bouguereau, Fielding Dawson, Peter Birnbaum, Harold Norse, Melvin Clay, Susan Sherman, Piero Heliczer, Vincent Cresciman, John Foret, Maya Andrews.

THE INSECT TRUST GAZETTE, Nos. 1-3, edited by Leonard Belasco, Jed Irwin, Robert Basara, and Bill Levy
Philadelphia and San Francisco: Insect Trust Gazette, 1964-1968
Contributors include: Stewart Paley, Thomas Jackrell, William Levy, Michael Benedikt, Jed Irwin, William S. Burroughs, Leonard Belasco, Robert Basara, Stuart Gordon, Jackson Mac Low, Brion Gysin, Conrad A. Belano, Carol Bergé, Max Ernst & Paul Eluard, Paul Klee, Hans Arp, Antonin Artaud, Jean Genet.

Intrepid, edited by Allen DeLoach (Buffalo, 1969) [No. 14/15, Special Burroughs issue].

Klacto 23, edited by Carl Weissner (Heidleberg, New York, Frankfurt, 1965-1969).

The Last Times, edited by Charles Plymell and Claude Pélieu (San Francisco, 1967).

The Moving Times, edited by William S. Burroughs and Alex Trocchi (London 1963).

My Own Mag, edited by Jeff Nuttall (London 1963-1967).

Notes from Underground, edited by John Bryan (San Francisco, 1970) [No. 3].

Residu, edited by Daniel Richter (Athens and London, 1965-1966).

The San Francisco Earthquake, edited by Jan Herman (San Francisco, 1967-1969)

UFO, edited by Jurgen Ploog, Jorg Fauser, Carl Weissner (Frankfurt, 1971-1972).

COLLABORATIONS / ANTHOLOGIES

The Braille Film. Carl Weissner, William S. Burroughs (San Francisco: Nova Broadcast Press, 1970)

Brion Gysin Let The Mice In, edited by Jan Herman with texts by William Burroughs and Ian Sommerville (West Glover: Something Else Press 1973).

The Exterminator. Brion Gysin and William Burroughs (San Francisco: Auerhahn Press/Dave Haselwood Books, 1960, 1967).

Minutes to Go. Brion Gysin, William S. Burroughs, Gregory Corso and Sinclair
Belles (Paris: Two Cities Editions, 1960; San Francisco: Beach Books,
1968).

Oeuvre Croisee (The Third Mind). Brion Gysin and William S. Burroughs (Paris: Flammarion, 1976; New York: Viking Press, 1978; London: John
Calder, 1979).

So Who Owns Death TV? William S. Burroughs, Claude Pélieu, Carl Weissner (San Francisco: Beach Books, Texts & Documents, 1967).

MARY BEACH

Electric Banana (Darmstadt: Melzer Verlag, 1970).

WILLIAM S. BURROUGHS

The Soft Machine (Paris: Olympia Press, 1959; New York: Grove Press, 1963).

The Ticket That Exploded (Paris: Olympia Press, 1962; New York: Grove Press, 1967).

Nova Express (New York: Grove Press, 1964) The final part of the cut-up trilogy. (Maynard & Miles A10a)

BRION GYSIN

The Process (New York: Doubleday, 1969; London: Jonathan Cape,
1970).

… and more to come with Claude Pélieu, Harold Norse, others…

Souce, in part: AQ14 CUT UP, 1973.