Jack Spicer’s J ran for eight issues: Nos. 1–5 were edited by Spicer in North Beach where contributions were left in a box marked “J” in The Place, a bar on Grant Avenue in San Francisco; Nos. 6 and 7 (an Apparition of the late J) were edited by George Stanley in San Francisco and New York City respectively while no. 8 was edited by Harold Dull in Rome. Spicer believed that poetry was for poets and the magazine had a small circulation but cast a long shadow.
Tag Archives: Fran Herndon
Jack Spicer – Books
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Section A:
This index collects books, chapbooks, and pamphlets
1. Spicer, Jack. AFTER LORCA
a. 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 (but collated and folded) without wrappers issued in mailing envelope at a later date.
(Johnston A2)
d. First UK edition:
London: Aloes Books, 1969
e. Second edition:
n.p.: Marco Polio, 1974
2. Spicer, Jack. HOMAGE TO CREELEY
First edition:
Annapolis: Harold and Dore Dull, Summer 1959
Side-stapled in printed covers, 8.5″ x 11″, 33 pages, 100 copies, spirit-mimeo printed. Incorporated into A4.
3. Spicer, Jack. BILLY THE KID
a. 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; holograph addition of ‘Face’ at end of section VI.
c. Second edition:
Dublin: New Writers’ Press, 1969
d. Third edition
n.p.: Oyster Press, March 1975
4. Spicer, Jack. THE HEADS IF THE TOWN UP TO THE AETHER
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1962
Perfect-bound in illustrated and printed wrappers, 4.75″ x 6.75″, 109 pages, 750 copies, letterpress printed by Dave Haselwood. Illustrated by Fran Herndon.
(Auerhahn 21)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1962
Hardcover in cloth-bound boards, 4.75″ x 7.25″, 109 pages, 50 copies signed by the author and artist, with an original drawing by Spicer, letterpress printed by Dave Haselwood, bound by the Schuberth Bindery. Illustrated by Fran Herndon.
(Auerhahn 21)
Note: Printed announcement issued.
5. Spicer, Jack. LAMENT FOR THE MAKERS
a. First edition:
Oakland: White Rabbit Press, 1962
Hand-sewn in illustrated wrappers, 5.5″ x 8″, 16 pages, 100 copies, offset printed. Illustrated by Graham Mackintosh.
(Johnston A11)
Note: 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
6. Spicer, Jack. THE HOLY GRAIL
a. First edition, regular copies:
San Francisco: White Rabbit Press, 1964
Saddle-stapled and 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
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:
Berkeley: Jolly Roger Press, February 1969
Side-stapled printed and illustrated sheets, 8.5″ x 11″, 20 pages, 500 copies. Published anonymously by Richard Krech and John Oliver Simon at the Undermine Press.
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
7. Spicer, Jack. LANGUAGE
a. 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)
Note: Most of these poems first appeared in OPEN SPACE.
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)
8. Spicer, Jack. BOOK OF MAGAZINE VERSE
a. 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)
9. 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)
10. Spicer, Jack. 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.
Note: Printed announcement issued.
11. Spicer, Jack. 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.
12. Spicer, Jack. ADMONITIONS
First edition:
New York: Adventures in Poetry, 1974
Side-stapled printed wrappers, 8.5″ x 11″, 44 pages, mimeograph printed.
13. Spicer, Jack. QUARTUS 1: A LOST POEM
First edition:
Verona: Plain Wrapper Press, 1974
Hardcover in cloth-bound boards, 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.
14. Spicer, Jack. 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.
Note: This poem first appeared in Beatitude, No. 3 (San Francisco, May 1959)
15. Spicer, Jack. 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.
16. Spicer, Jack. ONE NIGHT STAND & OTHER POEMS
First edition:
San Francisco: Grey Fox Press, 1980
Hardcover in cloth-bound boards without dust jacket as issued, 98 pages. Edited by Donald Allen. Preface by Robert Duncan.
17. 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.
18. Spicer, Jack. THE TOWER OF BABEL
First edition:
Hoboken, N.J: Talisman House, 1994
Perfect-bound photo-illustrated wrappers, 170 pages. Chapter 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.”
19. Spicer, Jack. TRAIN OF THOUGHT
First edition:
Gran Canaria: Zasterle Press, 1994
Perfect-bound in illustrated wrappers, 62 pages, 300 numbered copies. Edited with an introduction by Lewis Ellingham and Kevin Killian.
Chapter three of Jack Spicer’s unpublished detective novel
20. Spicer, Jack. MAP POEMS
First edition:
Berkeley: The Bancroft Library Press, 2005
Thirty-five copies printed: bound in brown paper wrappers. Introduction by Kevin Killian and Peter Gizzi
—
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.
Note: 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
Auerhahn Press: Broadsides
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Section B:
This index collects Auerhahn Press broadsides from 1959 through 1965.
1. Whalen, Philip. SELF-PORTRAIT FROM ANOTHER DIRECTION
First edition:
San Francisco: Auerhahn Press, 1959
Folded broadside tipped into printed wrappers, broadside measures 9″ x 19.5″ unfolded. Handset and printed by Jay McIlroy and Dave Haselwood.
2. Page, David. BABYWHIPLAND
First edition:
San Francisco: Auerhahn Press, 1961
Broadside folded once as issued, 5.25″ x 7.5″ (5.25″ by 15″ when open), 350 copies.
3. Duncan, Robert. A BOOK OF RESEMBLANCES
First edition:
San Francisco: Auerhahn Press, n.d.
Broadside, 8″ x 15.5″, illustrated by Jess
4. Blaser, Robin. APPARITORS
First edition:
San Francisco: Auerhahn Press 1963
Broadside, 13″ x 20″, 300 copies signed by the author and artist. illustrated by Fran Herndon.
5. Shelley, Percy Bysshe. A VALENTINE FROM THE AUERHAHN
First edition:
San Francisco: Auerhahn Press, [1964]
Broadside, 7.25″ x 4″.
6. Whalen, Philip. GODDESS
First edition:
(San Francisco): Auerhahn Press, December 1964
Broadside, 8 1/2″ x 12″, 125 copies.
7. Welch, Lew. RICHER THAN THE RICHEST FALCONER
First edition:
(San Francisco): Auerhahn Press, (1965)
Broadside, 9.5″ by 15.5″, 125 copies printed for Don Carpenter.
—
Auerhahn Press: Books & Pamphlets
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Section A:
This index collects Auerhahn Press publications from 1958 through 1965: from Dave Haselwood’s first publishing venture through the dissolution of his partnership with Andrew Hoyem and the end of Auerhahn Press.
1. Wieners, John. THE HOTEL WENTLEY POEMS
First edition:
San Francisco: Auerhahn Press, 1958
Saddle-stapled in illustrated wrappers, 6.25″ x 7.75″, 20 pages, circa 500 copies. Printed (and edited without prior notice to Dave Haselwood) by East West Printers. Cover photo by Jerry Burchard. Illustration by Robert La Vigne. (Auerhahn 1)
Note: Printed announcement issued.
2. Wieners, John. THE HOTEL WENTLEY POEMS
Second revised edition:
San Francisco: Auerhahn Press, 1959
Saddle-stapled in illustrated wrappers, 6.25″ x 7.75″, 20 pages, 500 copies. Cover photo by Jerry Burchard. Illustration by Robert La Vigne. (Auerhahn 2)
Note: this edition has the original text restored.
3. Lamantia, Philip. EKSTASIS
First edition:
San Francisco: Auerhahn Press, 1959
Perfect-bound in printed wrappers, 5.75″ x 7″48 pages, circa 950 copies. Titling by Robert La Vigne. (Auerhahn 3)
Note: Printed announcement issued.
4. McClure, Michael. HYMNS TO ST. GERYON…
First edition:
San Francisco: Auerhahn Press, 1959
Perfect-bound in illustrated wrappers, 7.25″ x 10″, 62 pages, 950 copies. Cover illustration by McClure. (Auerhahn 4)
5. Lamantia, Philip and Antonin Artaud. NARCOTICA
First edition:
San Francisco: Auerhahn Press, 1959
Saddle-stapled in illustrated wrappers, 6.25″ x 8.5″, 16 pages, 750 copies. Cover photographs by Wallace Berman. Published as “Auerhahn Pamphlet No. 1”. (Auerhahn 5)
Note: Printed announcement issued.
6. Whalen, Philip. MEMOIRS OF AN INTERGLACIAL AGE
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1960
Perfect-bound in illustrated wrappers, 8.75″ x 11.25″, 64 pages, (1250 copies). Cover illustration by Robert La Vigne. (Auerhahn 6)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1960
Hardcover in printed paper-covered boards with leather spine, 8.75″ x 11.25″, 64 pages, 60 copies with 25 signed and another 15 signed with holograph poem and illustration, bound by the Schuberth Bindery. Cover illustration by Robert La Vigne. (Auerhahn 6)
Note: Printed announcement issued.
7. Welch, Lew. WOBBLY ROCK
First edition:
San Francisco: Auerhahn Press, 1960
Saddle-stapled in printed wrappers, 6″ x 8″, 12 pages, 500 copies, illustrated by Robert LaVigne. (Auerhahn 7)
Note: Dedication: “for Gary Snyder / ‘I think I’ll be the Buddha of this place’ / and sat himself / down”
8. Burroughs, William S. and Brion Gysin. THE EXTERMINATOR
First edition:
San Francisco: Auerhahn Press, 1960
Perfect-bound in illustrated wrappers, 6.25″ x 9.25″, 64 pages, (1000 copies). Illustrated by Brion Gysin. (Auerhahn 8)
Note: Printed announcement issued.
9. Marshall, Edward. HELLAN, HELLAN
First edition:
San Francisco: Auerhahn Press, 1960
Saddle-stapled in illustrated wrappers, 6″ x 8.75″, 24 pages, (750 copies). Illustrated by Robert Ronnie Branaman. (Auerhahn 10)
Note: Printed announcement issued.
10. McClure, Michael. DARK BROWN
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1961
Perfect-bound in printed wrappers, 6″x 9″, 56 pages, 725 copies. (Auerhahn 13)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1961
Hardcover in cloth-bound boards, 6″ x 9″, 56 pages, 25 numbered and signed copies, bound by the Schuberth Bindery. (Auerhahn 13)
Note: Printed announcement issued.
11. Olson, Charles. MAXIMUS FROM DOGTOWN
First edition:
San Francisco: Auerhahn Press, 1961
Hand-sewn in printed wrappers, 9″ x 11.25″, 12 pages, 500 copies. Foreword by Michael McClure. (Auerhahn 14)
12. Reps, Paul. GOLD FISH SIGNATURES
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1961
Japanese binding, 8.5″ x 11″, 84 pages, (1000 copies). (Auerhahn 15)
b. First edition, signed copies:
San Francisco: Auerhahn Press, 1961
Japanese binding, 8.5″ x 11″, 84 pages, (50 copies in slipcase), signed. (Auerhahn 15)
Note: Printed announcement issued.
13. THE AUERHAHN PRESS CATALOGUE
First edition:
San Francisco: Auerhahn Press, 1962
Saddle-stapled in printed wrappers, 4″x 5″, 16 pages includes poems by Wieners and Meltzer.
(Auerhahn 17)
14. Lamantia, Philip. DESTROYED WORKS
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1962
Perfect-bound in illustrated wrappers, 7″ x 8.75″, 48 pages, 1250 copies. (Auerhahn 18)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1962
Hardcover in cloth-bound boards, 7″ x 8.75″, 48 pages, 50 numbered and signed copies, bound by the Schuberth Bindery. (Auerhahn 18)
15. Meltzer, David. WE ALL HAVE SOMETHING TO SAY…
First edition:
San Francisco: Auerhahn Press, 1962
Saddle-stapled in illustrated wrappers, 6.25″ x 8.5″, 12 pages, 750 copies. Published as “Auerhahn Pamphlet No. 2”. (Auerhahn 19)
16. Williams, Jonathan. IN ENGLAND’S GREEN &
First edition:
San Francisco: Auerhahn Press, 1962
Hand-sewn in printed wrappers, 6.5″ x 9.25″, 20 pages, 750 copies. Illustrated by Philip Van Aver.
(Auerhahn 20)
17. Spicer, Jack. THE HEADS OF THE TOWN UP TO THE AETHER
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1962
Perfect-bound in illustrated wrappers, 4.75″ x 6.75″, 109 pages, 750 copies. Illustrated by Fran Herndon. (Auerhahn 21)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1962
Hardcover in cloth-covered boards with leather spine, 4.75″ x 7.25″, 109 pages, 50 copies signed by the author and artist, with an original drawing, bound by the Schuberth Bindery. Illustrated by Fran Herndon. (Auerhahn 21)
Note: Printed announcement issued.
18. Hoyem, Andrew. THE WAKE
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1963
Perfect-bound in printed wrappers, 6″ x 8.5″, 30 pages, 750 copies. (Auerhahn 22)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1963
Hardcover in paper-covered boards and leather spine, 6″ x 9″, 30 pages, 35 copies signed, bound by the Schuberth Bindery. (Auerhahn 22)
Note: Three printed announcements issued.
19. di Prima, Diane. THE NEW HANDBOOK OF HEAVEN
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1963
Perfect-bound in printed wrappers, 5.25″ x 7.5″, 48 pages, 1000 copies. (Auerhahn 23)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1963
Hardcover in printed paper-covered boards with cloth spine, 6″ x 9″, 30 pages, 30 copies signed, bound by the Schuberth Bindery. (Auerhahn 23)
20. Brother Antoninus. THE POET IS DEAD
First edition:
San Francisco: Auerhahn Press, 1964
Hardcover in paper-covered boards with leather spine with paper label in plain paper dust jacket, 8.25″ x 10.5″, 28 pages, 205 copies signed. Bound by Jane Grabhorn and Sally Hoyem. (Auerhahn 24)
Note: Printed announcement issued.
21. Deemer, Bill. POEMS
a. First edition, regular copies:
San Francisco: Auerhahn Press, 1964
Saddle-stapled in illustrated wrappers, 6.25″ x 9.25″, 20 pages, 500 copies. Introduction by Andrew Hoyem. (Auerhahn 37)
b. First edition, hardcover, signed copies:
San Francisco: Auerhahn Press, 1964
Hardcover in printed paper-covered boards with leather spine, 6.5″ x 9.25″, 20 pages, 25 copies signed, bound by the Schuberth Bindery. Introduction by Andrew Hoyem. (Auerhahn 37)
Printed announcement issued.
22. Davis, William. JANUS
First edition:
San Francisco: The Auerhahn Society, Spring 1965
Perfect-bound in printed wrappers, 6.5″ x 9.75″, 64 pages, 750 copies. (Auerhahn 38)
23. Van Buskirk, Alden. LAMI
First edition:
San Francisco: The Auerhahn Society, 1965
Perfect-bound in printed wrappers, 7.75″ x 9.75″, 91 pages, 1000 copies. (Auerhahn 39)
24. Olson, Charles. HUMAN UNIVERSE AND OTHER ESSAYS
First edition:
San Francisco: The Auerhahn Society, 1965
Hardcover in silk-screened cloth-covered boards with leather spine, 7.75″ x 11″, 160 pages, 250 copies, bound by the Schuberth Bindery. Cover art by Robert La Vigne. Author photo by Kenneth Irby. Edited by Donald Allen. (Auerhahn 40)
—
Open Space
Stan Persky began Open Space in 1964, printing 50 copies of each issue on a multilith machine (whereas J was mimeographed). Like J, and M, Open Space was a very local (North Beach) magazine whose contents seemed primarily intended for those who contributed, including: Helen Adam, Robin Blaser, Ebbe Borregaard, Richard Duerden, Harold Dull, Larry Fagin, Jess Collins, Jack Spicer and George Stanley. The magazine was also “quite spicy and a little gossipy, for instance, labeling the famed 1955 reading at the Six Gallery as ‘creamed cottage cheese.’”
1. OPEN SPACE, No. 0, A PROSPECTUS, edited by Stan Persky
San Francisco: Open Space, January 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 34 pages, lithography printed by Mike Kummer, lettering by Peggy Engle. Translations by Max Knight.
- Contents:
- Stan Persky – “A Proposition”
Christian Morgenstern – “The Moonsheep”
Jack Spicer – [untitled] “This ocean, humiliating in its disguises…”
George Stanley – “Choir”
anonymous – “The Constant Preaching to the Mob”
Allen Ginsberg – “Owl”
Richard Duerden – “A Card for the Tarot”
anonymous – “Okeanos”
- Stan Persky – “A Proposition”
2. OPEN SPACE, No. 1, edited by Stan Persky
San Francisco: Open Space, February 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 50 pages, lithography printed by Mike Kummer, lettering by Peggy Engle. Collage by Graham Mackintosh.
- Contents:
- Stan Persky – “Come-On”
Robin Blaser – “Psyche”
Hartford Mutual – “No Possum, No Sop, No Taters”
Jess – “Critical Dreams – I (eye)”
Janet Thormann – “The Knight of Cups”
Jack Spicer – “Sporting Life”
Link – [untitled] “the insane lady…”
Link – [untitled] “Like frozen water…”
Lewis Ellingham – [untitled] “Rock, salt and spray, the angels…”
James Alexander – “Amoralesay”
George Stanley – [untitled] “You listen to the leaves, or watch the leaves…”
Helen Adam – “Two Songs for Lewis Ellingham”
Gregory Corso – “Mortal Infliction”
anonymous – “Orders”
- Stan Persky – “Come-On”
3. OPEN SPACE, Valentine Issue, edited by Stan Persky
San Francisco: Open Space, February 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 60 pages, lithography printed printed by Mike Kummer, lettering by Peggy Engle. Photography by Lartigue.
- Contents:
- Stan Persky – “Alibi”
C. – “In Despair”
C. – “The Marriage”
Bill Roberts – “Recess”
anonymous – “What Happened : Prelude”
Robert Duncan – “Postscript for Open Space, January 1964”
Robin Blaser – “The Prints”
Robin Blaser – “Translation”
Stan Persky – “Gourmet Cooking”
JA – “‘The Island’ by Robert Creeley”
- Stan Persky – “Alibi”
4. OPEN SPACE, No. 2, edited by Stan Persky
San Francisco: Open Space, February 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 62 pages, lithography printed by Mike Kummer. Illustration by Fran Herndon, collage by Graham Mackintosh..
- Contents:
- Cassius Clay – “I’m the King”
Stan Persky – “Second Base”
Jess – “Critical Dreams – II (marginal)”
Jack Spicer – “This is Submitted to Your Valentine Contest”
James Herndon – [untitled] “He went outside…”
Gene Fowler – “The Time Travelers”
Robin Blaser – [untitled] “It is essentially reluctance…”
George Stanley – “Orion”
Link – “Citys Would Make a Masque for Hearts”
Link – “A Poem for Ulysses”
Jack Spicer – [untitled] “I hear a banging on the door…”
Robert Duncan – [untitled] “And to Her-Without-Bounds I send…”
Richard Duerden – “Hunger”
Jack Kerouac – “Blindness”
Stan Persky – “A Kingdom”
Stan Persky – “Home & Garden”
- Cassius Clay – “I’m the King”
5. OPEN SPACE, No. 3, edited by Stan Persky
San Francisco: Open Space, March 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 52 pages, lithography printed by Mike Kummer, lettering by Peggy Engle. Cover art and illustration by Fran Herndon.
- Contents:
- Stan Persky – “Whan That Aprill With His Shoures Soote”
James Alexander – “Love was Here, for Simon”
Jack Spicer – [untitled] “Just because baseball is not poetry…”
Philip Whalen – “Technicalities for Jack Spicer”
Ron Loewinsohn – “The Fifth Circle of Hell that is not Los Angeles”
Jack Spicer – “Predictions”
Jaimie MacInnes – [untitled] “Lime decayed their mouths…”
Jaimie MacInnes – [untitled] “If running stockings…”
Jack Spicer – [untitled] “The log in the fire…”
Jack Spicer – [untitled] “Finally the messages penetrate…”
George Stanley – [untitled] “Dear Stan…”
Robin Blaser – “2 of Image Nations”
Anselm Hollo – “Air to Dream in”
Marianne Moore – “W.S. Landor”
Stan Persky – “The Wish”
Joanne Kyger – [untitled] “The persimmons are falling…”
Stan Persky – “Home & Garden”
Jack Spicer – “Dear Ferlinghetti”
- Stan Persky – “Whan That Aprill With His Shoures Soote”
6. OPEN SPACE, No. 4, Taurus Issue, edited by Stan Persky
San Francisco: Open Space, April 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 66 pages, lithography printed by Mike Kummer and Lee Kummer, lettering by Peggy Engle. Illustrations by Bill Brodecky and Tom Field
- Contents:
- Stan Persky – “Horns”
Robin Blaser – “Sophia Nichols”
Jess – “Critical Dream – III (trial)”
James Dickey – “The Being”
Harold Dull – “The Fire”
David Bromige – “The Accident”
E.B. [Ebbe Borregaard] – “Sketches for 13 Sonnets”
Deneen Brown – [untitled] “Gathered years…”
Deneen Brown – [untitled] “The rectangle of heat…”
Jack Spicer – [untitled] “Heroes eat soup like anyone else…”
Jack Spicer – [untitled] “Smoke signals…”
Harold Dull – “The Wild Geese”
George [Stanley] – “From Seas Mainly”
Thomas M. Hannon – [untitled] “The angle iron…”
Thomas M. Hannon – “For a Friend Who is Married”
Thomas M. Hannon – [untitled] “Last night…”
Gary Snyder – “Out West”
Stan [Persky] – “Adventurer”
Jack Spicer – [untitled] “A redwood forest is not invisible…”
Jack Spicer – [untitled] “The whorship of beauty…”
Jess – [untitled] “Dear Jerry Reilly…”
Stan Persky – “Home & Garden”
- Stan Persky – “Horns”
7. OPEN SPACE, No. 4, White Hope Issue, edited by Stan Persky
San Francisco: Open Space, May 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 66 pages, lithography printed. Illustration by Fran Herndon.
- Contents:
- Joanne Kyger – [untitled] “Where ever you go I am with you…”
E.B. [Ebbe Borregaard] – “Sketches for 13 Sonnets”
Fran Herndon – untitled illustration
Harold Dull – “Venus and the Moon Poem”
Deneen Brown – “for Bill Brodecky”
E. Poe – “Ulalume”
Bill Brodecky – [untitled] “I admit…”
George [Stanley] – “The Lyre in the East Rising”
George [Stanley] – “The Shepherds Verse”
Jess – “Critical Dreams – IV (haven)”
- Joanne Kyger – [untitled] “Where ever you go I am with you…”
8. OPEN SPACE, No. 5, edited by Stan Persky
San Francisco: Open Space, May 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 50 pages, lithography printed by Mike Kummer and Lee Kummer, lettering by Peggy Engle. Illustrations by Fran Herndon, Nemi Frost, Tom Field, Bill Wheeler, and Graham Mackintosh.
- Contents:
- Richard Duerden – “Border: The Sun Imprisoned”
John Ashbury – “A Blessing in Disguise”
Lewis Ellingham – [untitled] “A new log had been put on the fire…”
Jack Spicer – [untitled] “Pull down the shade of ruin, rain verse…”
Jack Spicer – [untitled] “If your mother’s mother had not riven, mother…”
Jack Spicer – [untitled] “What in sight do I have…”
Jack Spicer – [untitled] “It comes May and the summers renew themselves…”
Graham Mackintosh – [untitled] “Like Odysseus under the ram…”
Robert Duncan – “A New Poem, for Jack Spicer”
Helen Adam – “Farewell Stranger”
Jamie MacInnis – [untitled] “These are your nights…”
Ronnie Primack – “From a line by Spicer”
Lewis Brown – “Bartok, for Pen Lace”
anonymous – “Book of the Boss”
George [Stanley] – “Two Parts of a Poem”
Jack Spicer – [untitled] “Thanatos, the death-plant in the skull…”
Stan [Persky] – [untitled] “a man drawing the sword…”
Stan Persky – “Home & Garden”
Gene Fowler – “Credo”
C.A. Swin – [untitled] “Fourth, ballad, and take roses…”
Stan Persky – “Gemini”
- Richard Duerden – “Border: The Sun Imprisoned”
9. OPEN SPACE, No. 6, edited by Stan Persky
San Francisco: Open Space, June 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 50 pages, lithography printed by Mike Kummer. Cover art by Helen Adam, illustrations by Armando
Navarro and Robert Berg.
- Contents:
- Stan Persky – “Orphic Space”
Jack Spicer – [untitled] “1st SF home rainout since. Bounce…”
Jack Spicer – [untitled] “The country is not very well defined…”
Jack Spicer – [untitled] “I squint my eyes to cry…”
Jack Spicer – [untitled] “The metallurgical analysis of the stone that…”
George Stanley – “The Gifts of Death, after Virgil, for Louis Zukofsky”
Robin Blaser – “Image-Nations 3”
Robin Blaser – [untitled] “O-friend…”
Lewis Ellingham – “A Cold Dawn”
Deneen Brown – [untitled] “It lit up…”
Wystan – “One Circumlocution”
Lewis Ellingham – “The Perfect Correspondent”
Lewis Ellingham – “The Sleepers”
Lewis Ellingham – “Underweir”
Robert Duncan – “Passages 5”
Robert Duncan – “Passages 6”
Robert Duncan – “Passages 7”
Robert Duncan – “Passages 8”
Robert Duncan – “Passages 9”
Jess – “Critical Dreams – V (ivy)”
Gael Turnbull – “A Voice, Voices, Speaking”
Gael Turnbull – “To be Shaken”
Stan Persky – “A Poem of Light and Dark, for C.S. Lewis”
Stan Persky – “Home & Garden”
- Stan Persky – “Orphic Space”
10. OPEN SPACE, No. 7, edited by Stan Persky
San Francisco: Open Space, July 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 82 pages, lithography printed by Lee Kummer, lettering by Peggy Engle. Cover art by Jess. Illustrations by William McNeill, Ken Botto, Fran Herndon, and Nemi Frost.
- Contents:
- L. Kearney – [untitled] “A rock…”
L. Kearney – [untitled] “A certain kind of dusk…”
L. Kearney – [untitled] “I could be wrong except for…”
Hart – “Chaplinesque”
Robert Duncan – “A Note for Open Space 7”
Robert Duncan – “The Structure of Rime XXIII”
Robert Duncan – “Shadows”
Jack Spicer – “Love Poems”
George Stanley – “Songs from Arcadia”
Joanne Elizabeth Kyger – “In July”
Joanne Kyger – [untitled] “there is no meeting…”
Helen Adam – “Sing Song”
Jess – “Critical Dreams – VI (quicksilver)”
Jim Alexander – “Alexander”
Jim Alexander – “Jacob’s Larder”
Jim Alexander – “Poem Toward a Rondel”
D.R. Drake – “3”
Harold Dull – “First Lesson”
Harold Dull – “Second Lesson”
Harold Dull – “Third Lesson”
Harold Dull – “Fourth Lesson”
Lewis Ellingham – “11, 12”
Stan Persky – “Report to the Stockholders”
- L. Kearney – [untitled] “A rock…”
11. OPEN SPACE, No. 8, edited by Stan Persky
San Francisco: Open Space, August 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 76 pages. Cover art by Robert Berg.
- Contents:
- Michael McClure – “The Mystery of the Hunt”
L. Kearney – [untitled] “In the children’s forest…”
Robert Duncan – “A Note for Open Space 8”
Robert Duncan – “Structure of Rime XXIV”
Robert Duncan – “Chords”
Robert Duncan – “Spelling”
Robert Duncan – “At Lammas Tide”
Robert Duncan – “Saint Graal (after Verlaine)”
Charles Dodgson – [untitled] “I have a fairy by my side…”
Charles Olson – “Against Wisdom as Such”
Jamie MacInnis – “Every Little Star”
Jess – “Tricky Cad, Case IV”
Jack Spicer “Intermission I-III”
Jack Spicer – “Transformations I-III”
Lawrence Fagin – “from Procris & Cephalus”
Edna Barnes – [untitled] “If beyond passion our love…”
Harold Dull – [untitled] “I’ve listened before…”
Ron Loewinsohn – “The Burden of Loveliness, 1”
Ron Loewinsohn – “The Burden of Loveliness, 2”
Ron Loewinsohn – “The Great Sand Dunes (for Joey)”
Stan Persky – “Muse News”
- Michael McClure – “The Mystery of the Hunt”
12. OPEN SPACE, No. 9, edited by Stan Persky
San Francisco: Open Space, September 1964
First edition, corner-stapled in printed and illustrated cover, 8.5? x 11?, 92 pages, lithography printed by Mike Kummer. Cover art by Harry Jacobus. Illustration by Jess.
- Contents:
- Harold Dull – [untitled] “He tries…”
Richard Duerden – “Iris, Cut for an Intended Painting”
Ron Loewinsohn – “The Step (a collage poem)”
Jack Spicer – “Morphemicks”
Lewis Ellingham – “Nightmare and Dream”
George Stanley – “Untitled”
Lew Brown – “Lionel”
Lawrence Fagin – “from Procris & Cephalus”
Bill Brodecky – [untitled] “Clear face facing…”
Bill Brodecky – [untitled] “In my dream…”
Richard Duerden – “The Air”
Lawrence Kearney – [untitled] “I tell you…”
Lawrence Kearney – [untitled] “Beyond where you…”
George Stanley – “For Bill”
Tom Field – “The Dentist”
Robert Duncan – “Parsifal: The Easter Magic”
Stan Persky – “They”
Stan Persky – “Home & Garden”
- Harold Dull – [untitled] “He tries…”
13. OPEN SPACE, No. 10, edited by Stan Persky
San Francisco: Open Space, October 1964
First edition, corner-stapled in printed and illustrated cover, 8.5? x 11?, 92 pages, lithography printed by Mike Kummer. Cover art and collage poem by by Jess.
- Contents:
- George Stanley – “Elpinor”
George Stanley – [untitled] “I thought of Achilles…”
Ronnie Primack – “Love Poem”
Robin Blaser – “It It It It”
M. Hannon – “Station Crossing”
M. Hannon – [untitled] “My hand goes dark…”
Jamie MacInnis – “Uncourtly Love”
Jack Spicer – “Phonemics”
Richard Duerden – “The Host, September”
Robert Duncan – “The Currents”
Ron Loewinsohn – “some more from The Step”
Harold Dull – “Day”
Harold Dull – “Night”
Lawrence Kearney – [untitled] “Now the winter burns…”
Lawrence Kearney – [untitled] “Tell me nothing now…”
Stan Persky – “The Story”
Stan Persky – “House & Garden”
- George Stanley – “Elpinor”
14. OPEN SPACE, No. 11, edited by Stan Persky
San Francisco: Open Space, November 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 70 pages, lithography printed by Mike Kummer. Cover photograph by Margot Prattlesome Dross.
- Contents:
- Ronnie Primack – “V”
Oscar Wilde – “The Harlot’s House”
Harris Schiff – “for Lewis Warsh”
Jack Spicer – “Graphemics”
Richard Duerden – “In the Morning”
Robert Duncan – “Moving the Moving Image”
Michael S. Willis – “A History of I and Eyes”
George Stanley – “Penelope’s Prayer”
George Stanley – “I Thought of Achilles”
George Stanley – [untitled] “The year’s ending…”
M.S.W. – [untitled] “A lover’s face…”
Lewis Ellingham – “Psyche”
Harold Dull – [untitled] “Is he an intrusion…”
Harold Dull – [untitled] “We fought…”
Deneen Brown – [untitled] “Blood colored biscuits…”
Harold H.C. – “The Broken Tower”
Stan Persky – “Home & Garden”
- Ronnie Primack – “V”
15. OPEN SPACE, No. 12, edited by Stan Persky
San Francisco: Open Space, 1964
First edition, corner-stapled in printed and illustrated cover, 8.5″ x 11″, 90 pages, lithography printed by Mike Kummer. Illustrations by Jess and Robert Duncan.
- Contents:
- Joanne Kyger – “From Our Soundest Sleep, It Ends”
Robert Duncan – “The Torso, Passages 18”
Robert Duncan – “The Earth, Passages 19”
Robert Duncan – “Structure of Rime XXVI, Passages 20”
James Alexander – “The Greater Happiness”
Stan Persky – [untitled] “The first thing I notice…”
Robin Blaser – “The City”
Robin Blaser – “Saturn, Star of Melancholy”
Robin Blaser – “Orpheus”
Robin Blaser – “Image Nations, 4”
Jamie MacInnis – “Ducks for Grownups”
Thomas Clark – “The Site”
Harris Schiff – “(Unfinished), for Jack Spicer”
Lewis Ellingham – “O, O”
Harris Schiff – “Library Window-sill”
Lew Brown – “To Break the Day’s Contentions”
Lew Brown – “I Hear Chains”
Lew Brown – “O to Reknit this Morning”
Lew Brown – “Blackstone”
Lew Brown – “Tuig”
Harold Dull – [untitled] “When leaves like ashes fall…”
Lawrence Fagin – “from Procris & Cephalus”
Lawrence Kearney – [untitled] “You are more constant…”
Lawrence Kearney – [untitled] “To be more tied…”
Lawrence Kearney – “For Jamie”
Ron Loewinsohn – “Some more from The Step”
Stan Persky – “Home & Garden”
- Joanne Kyger – “From Our Soundest Sleep, It Ends”
Online Resources:
Flying Object – scans of all issues
J
Jack Spicer’s J ran for eight issues: Nos. 1–5 were edited by Spicer in North Beach where contributions were left in a box marked “J” in The Place, a bar on Grant Avenue in San Francisco; Nos. 6 and 7 (an Apparition of the late J) were edited by George Stanley in San Francisco and New York City respectively while no. 8 was edited by Harold Dull in Rome. Spicer believed that poetry was for poets and the magazine had a small circulation but cast a long shadow. Contributors included: Robin Blaser, Richard Brautigan, Bruce Boyd, Kay Johnson, Robert Duncan, Joe Dunn, Ron Loewinsohn, Joanne Kyger, Helen Adam, and others. Covers (sometimes hand-embellished) were by Fran Herndon (Nos. 1, 2, 4, 5), Russell FitzGerald (No. 3), and George Stanley (Nos. 6, 7).
1. J, No. 1, edited by Jack Spicer
San Francisco: J, 1959
First edition, corner-stapled sheets in printed cover, 8.5″ x 11″, 38 pages, mimeograph printed. Cover by Fran Herndon.
- Contents:
- James Alexander – “The Jack Rabbit Poem”
Ebbe Borregaard – “Ballad for S A D”
Ebbe Borregaard – “Ballad of Billy Swan”
Robin Blaser – “Two Astronomers with Notebooks”
Jack Spicer – “Hokkus”
Joe Dunn – “Love”
Richard Brautigan – “The Fever Monument”
Sam the Tenor Man – “The Radio said Giants Cinch Loop Flag”
Bois Burk – “Ode to Pierre”
Bruce Boyd – “After Midnight”
Roland March – [untitled] “Mister Brustein…”
Damon Beard – [untitled] “Adverse repercussionless…”
Kay Johnson – [untitled] “My soul is the absurdity…”
Kay Johnson – [untitled] “The door in the dream…”
Robert Duncan – “Dream Data”
Sagen – “Dear Sprach” [pseuds. Borregaard and Spicer]
Harvey Harmon – “A Soldier and His Shadow”
Tony Richards – “Summer”
- James Alexander – “The Jack Rabbit Poem”
2. J, No. 2, edited by Jack Spicer
San Francisco: J, 1959
First edition, corner-stapled sheets in printed cover, 8.5″ x 11″, 36 pages, mimeograph printed. Cover by Fran Herndon.
- Contents:
- George Stanley – “Tete Rouge”
Fran Herndon – untitled illustration
Jess Collins – “I Ups to My Self And”
Harvey Harmon – [untitled] “More paths…”
Jack Spicer – [untitled] “Down to new beaches…”
Robert Duncan – “Dear Carpenter”
Harvey Harmon – “A New Estate”
William Morris – “Dear Senior Poet”
Stan Persky – [untitled] “but it was a moment…”
Mary Murphy – “In-”
Will Holther – ” Lament for Otto de Fey”
Jack Spicer – “Epilog for Jim”
J.P. Shark – [untitled] “On account of changing tidal conditions…”
- George Stanley – “Tete Rouge”
3. J, No. 3, edited by Jack Spicer
San Francisco: J, 1959
First edition, corner-stapled sheets in printed and hand-painted cover, 8.5″ x 11″, 38 pages, mimeograph printed. Cover by Russell FitzGerald.
- Contents:
- Bruce Boyd – “Introduction”
Bruce Boyd – “Toward Morning”
Bruce Boyd – “War”
R.H. Blyth – “Letters to the Editor”
Rueban – “Q”
Mary Murphy – [untitled] “The skull is not the bones…”
Leo Krikorian – [untitled] “1. No drinking on duty…”
Ron Loewinsohn – “Entangling Alliances”
George Stanley – “Tete Rouge (continued)”
Jack Spicer – [untitled] “The slobby sea where you float…”
Damon Beard – [untitled] “Even —…”
Jack Spicer – “Last Hokku”
JBH [James Herndon?] – [untitled] “I don’t know how many…”
- Bruce Boyd – “Introduction”
4. J, No. 4, edited by Jack Spicer
San Francisco: J, 1959
First edition, corner-stapled sheets in printed and hand-painted cover, 8.5″ x 11″, 36 pages, mimeograph printed. Cover by Fran Herndon.
- Contents:
- Robert Duncan – “A Sequence of Poems…”
Richard Brautigan – “The Pumpkin Tide”
Richard Brautigan – “The Sidney Greenstreet Blues”
Richard Brautigan – “Surprise”
Garln – “Garln to His Friend”
Joanne Kyger – “Tapestry #3”
Josef Elias – “Joetry”
Donald Allen – “for Barbara”
John Ryan – “Pecadillo”
Jack Spicer – “Jacob”
George Stanley – “Tete Rouge (continued)”
Wallace Allen Healey – “Politics”
- Robert Duncan – “A Sequence of Poems…”
5. J, No. 5, edited by Jack Spicer
San Francisco: J, 1959
First edition, corner-stapled sheets in printed and hand-painted cover, 8.5″ x 11″, 34 pages, mimeograph printed. Cover by Fran Herndon.
- Contents:
- L. Frank Baum – “from Sky Island”
Larry Eigner – “Front”
Jess Collins – “The Poets Corner” [comic strip]
Richard Brautigan – “1942”
Mary Murphy – [untitled] “Lack of oxygen…”
D.D. – “Fishing on Saturday”
Kay Johnson – “The Space is Too Wide”
Ron Loewinsohn – “WIBC Poems”
George Stanley – “Tete Rouge (continued)”
Robert Duncan – “The Song of the River to its Shores”
Richard Duerden – “Right Now”
Sheila Roche Harmon – [untitled] “A young devil sat…”
Jack Spicer – “Fifth Elegy”
William Berryman – “On the Composition of Bones”
William R. Allen – “Letter”
- L. Frank Baum – “from Sky Island”
6. J, No. 6, edited by George Stanley
San Francisco: J, 1959
First edition, corner-stapled sheets in printed cover, 8.5″ x 11″, 38 pages, mimeograph printed. Cover by George Stanley.
- Contents:
- Helen Adam – “Scenes from San Francisco’s Burning”
Paul Goodman – “I Love You, Necessary–”
Joanne Kyger – “Pan as the Son of Penelope”
Lucio Manisco – “Un Misto di Boheme Mistica e Letteraria”
William A. Berryman – [untitled] “in the after hours…”
- Helen Adam – “Scenes from San Francisco’s Burning”
7. J, No. 7, edited by George Stanley
New York: J, 1960
Corner-stapled sheets in printed cover, 8.5″ x 11″, 32 pages, mimeograph printed. Cover by George Stanley.
All contents are anonymous.
8. J, No. 8, 1961, edited by Harold Dull *
Rome: J, 1961
Contributors: Harold Dull, Stan Persky.
—
[*not in archive]
online excerpt from A Secret Location on the Lower East Side (Granary Books, 1998):
“In many ways the most beautiful of all the mimeo magazines, J had an eight-issue run. The first five issues were edited from North Beach bars by Jack Spicer with Fran Herndon as art editor. Spicer, who embodied the spirit of poetry in the Bay area, collected pieces for his magazine from a box marked “J” in The Place, a bar at 1546 Grant Avenue in San Francisco. A refugee from Los Angeles with two degrees from Berkeley, he had been a student of Josephine Miles there in the mid-1940s. They became close friends, and Spicer participated in the Friday afternoon poetry readings in Wheeler Hall during the late 1940s as well as the readings organized with Rockefeller money by Ruth Witt-Diamant at the new Poetry Center at San Francisco State. Into the cauldron of poetic politics surrounding Miles, Kenneth Rexroth, Robert Duncan, Lawrence Ferlinghetti, and others, Spicer introduced his freest of spirits, sometimes more Caliban than Ariel. Spicer lived for words (even making his living as a research assistant on a lexicographical project at Berkeley). He could be found most evenings in one of the North Beach bars or coffeehouses leading the discussion on poetry, poetics, myth, linguistics, and other mysteries. Like Blake and Yeats (with the help of Mrs. Yeats), Spicer attempted to clear his mind and open himself to “dictation” from other sources, which he devotedly pursued. Spicer also believed wholeheartedly in the necessity of human beings’ helping each other through communication, which he confronted in the editorship of J, a little newsletter of the poetic spirit. Donald Allen acted as J’s distributor in New York (“New York Contributions are not forbidden. But quotaed”), selling copies for Spicer to the Wilentz brothers of the Eighth Street Book Shop. In an early letter to Spicer, Allen eagerly wondered “what your editorial policy may be. Seduction by print.””
Further Reading:
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 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.
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
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.
Jack Spicer Checklist:
Section A: Books, Chapbooks, and Pamphlets
Section B: Broadsides, Posters, and Postcards
Section C: Contributions to Books and Other Publications
Section D: Contributions to Periodicals
Section E: Miscellaneous Prose
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.
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.”
Further Reading:
Herndon, James. EVERYTHING AS EXPECTED
San Francisco, Winter 1973
Foster, Edward Halsey. JACK SPICER
Boise: Boise State University, 1991
Killian, Kevin and Lewis Ellingham. POET BE LIKE GOD: JACK SPICER AND THE BERKELEY RENAISSANCE
Hanover: Wesleyan University Press, 1998
Gizzi, Peter. THE HOUSE THAT JACK BUILT THE COLLECTED LECTURES OF JACK SPICER
Hanover: University Press of New England, 1998
Gizzi, Peter and Kevin Killian. MY VOCABULARY DID THIS TO ME: THE COLLECTED POETRY OF JACK SPICER
Middletown: Wesleyan University Press, 2008
Online Resources:
Academy of American Poets
The Bancroft Library – Jack Spicer Papers 1939-1982
Book Forum
Emory University – Jack Spicer Papers
Jacket Magazine – excerpt from Vancouver Lecture 3
Penn Sound – audio recordings
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
[* the first (and only?) checklist of Jack Spicer’s writing]
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
Auerhahn Press
While stationed with the U.S. Army in Germany during the 1950s, David Haselwood conceived the idea of becoming a publisher. At the time he was corresponding with his friend Michael McClure (also a native of Wichita, Kansas) who was living in San Francisco. McClure’s first book of poems, Passage (1956), was being published by Jonathan Williams’ Jargon Press. “Jonathan was having books printed in Germany because of the high quality and low cost,” Haselwood says, “and I began looking into things.”
When Haselwood was released from the Army, he came to live in San Francisco. According to Haselwood, “During the summer of 1958 I drifted around San Francisco talking endlessly with painters such as Robert LaVigne and Jesse Sharpe and poets [Philip] Lamantia, [Michael] McClure, [John] Wieners, and reading all the live poetry and prose I could get my hands on. It was at this time that it occurred to me that the press could mean a great many things … ” From this intense exposure to the active literary scene in the Bay Area grew the desire to see these writers published without the great delays imposed by larger printing establishments.
Auerhahn Press Checklist:
Section A: Auerhahn Press: Books & Pamphlets 1958-1965
Section B: Auerhahn Press: Broadsides 1959-1965
Section C: Auerhahn Press: Commissioned Publications 1961-1965
Section D: Dave Haselwood Books 1965-1969
A short while later in 1958 appeared the first publication of the Auerhahn Press, John Wieners’s The Hotel Wentley Poems. After this initial experience, in which the actual printing was done by a commercial printer (and edited by the printer without Haselwood’s knowledge), Haselwood was convinced that he should not only design all future books himself, but also print them: “The first and final consideration in printing poetry is the poetry itself. If the poems are great they create their own space, the publisher is just a midwife during the final operation…” With this ideal in mind, Haselwood tackled the publication of Philip Lamantia’s Ekstasis, and went on to the printing of Michael McClure’s Hymns to St. Geryon.
Though its limited financial resources were drained by this last publication, the press continued its publication of controversial and avant-garde works, such as Lamantia’s pamphlet Narcotica.
Haselwood took on a partner, Andrew Hoyem, in 1961. By then, a number of Kansans had arrived in San Francisco — including Robert Branaman, who shared living quarters with Haselwood for a time, and Glenn Todd, who later worked as a pressman and editor at Arion Press, which Hoyem founded after an amicable dissolution of his Auerhahn interests in 1964. Todd remembers the partners at work at 1334 Franklin Street: “The Auerhahn was a small press in a small room. Andrew would be setting type, and Dave running the press, passing single sheets of paper through. They’d be in their blue printer’s aprons.” Branaman adds, “Dave looked like someone out of Dickens to me. His shop was a center for artists. It was a well-known center of the culture.”
Another of San Francisco’s cultural hot-spots was the Batman Gallery, first owned by William Jahrmarkt, a.k.a. Billy Batman, whose art interests leaned to the visionary, the experimental and the mystical. According to Jack Foley in O Her Blackness Sparkles! The Life and Times of the Batman Art Gallery, 1960-65 (1995), the opening of the gallery was a “spectacular affair” and featured 99 pieces of Bruce Conner’s work. Auerhahn produced the announcement. In 1962, the gallery was sold to Michael Agron, a psychiatrist and University of California Medical Center associate professor who researched LSD as a therapeutic tool. Collaborating with Haselwood, Agron conceived of each exhibition’s announcement as a work of art. The first Agron show, Master-Bat, showcased the works of, among others, Conner and Branaman.
As the Beat scene faded with the ascent of Hippie culture, Haselwood continued to collaborate with artists on Dave Haselwood Books projects. He worked for a time at Arion Press and designed books for other presses, but his interest in publishing had waned by the close of the ’60s. It was time, he says, to choose another path.
References consulted:
Clay, Steven and Rodney Phillips. A SECRET LOCATION ON THE LOWER EAST SIDE: Adventures in Writing, 1960-1980
New York: New York Public Library / Granary Books, 1998
Clements, Marshall. A CATALOG OF WORKS BY MICHAEL MCCLURE, 1956-1965
New York: The Phoenix Book Shop, 1965
Johnston, Alastair. A BIBLIOGRAPHY OF THE AUERHAHN PRESS & ITS SUCCESSOR DAVE HASELWOOD BOOKS
Berkeley: Poltroon Press, 1976
Lepper, Gary M. A BIBLIOGRAPHICAL INTRODUCTION TO SEVENTY-FIVE MODERN AMERICAN AUTHORS
Berkeley: Serendipity Books, 1976
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