Tag Archives: Gregory Corso

Bardo Matrix – Books

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SECTION A:
This index includes books, chapbooks, and booklets of poetry and prose


1. Maclise, Angus. THE CLOUD DOCTRINE
First edition:
Kathmandu: Dreamweapon Press, 1974
Saddle-stapled in printed and illustrated wrappers, 7.5″ x 10.75″, 16 pages, letterpress printed on handmade paper. Cover woodblock print from a photograph by Ira Cohen.

Note: The Cloud Doctrine was one of the first books produced by the Kathmandu beat poetry presses, and set the template for the books issued in this style.

2. Corso, Gregory. WAY OUT: A POEM IN DISCORD
First edition:
Kathmandu: Bardo Matrix, 1974
Machine-sewn in printed and illustrated wrappers, 8.5″ x 10.75″, 22 pages, 500 numbered copies, letterpress printed on handmade paper by Sharada Printing Press. Published as Starstreams Poetry Series No. 1.

Note: Slip laid-in listing the cast for the first, and only, performance of this poem/play in Kathmandu, Nepal. The cast members included Ira Cohen and Angus MacLise

3. Ford, Charles Henri. 7 POEMS
First edition:
Kathmandu: Bardo Matrix, 1974
Side-stapled in printed and photo-illustrated wrappers, 500 numbered copies, printed by Sharada Printing Press. Cover photo of Ford by Ira Cohen. Published as Starstreams Poetry Series No. 3.

Note: This is the third book in the Starstreams series but Ira Cohen gives it a 1974 publishing date in his publication list which would have it appearing before  Cohen’s 7 Marvels, published as number two in the series.
[not in archive]

4. Cohen, Ira. POEM FOR LA MALINCHE
First edition:
Kathmandu: Bardo Matrix/Bureau of Surrealist Research, c.1974
Undboud sheets laid into printed wrappers, 500 copies. Cover art by Dana Young (uncredited).
[not in archive]

5. Cohen, Ira. 7 MARVELS
First edition:
Kathmandu: Bardo Matrix, 1975
Unbound in printed and illustrated wrappers, 9″ x 11″, 15 leaves of various dimensions, 500 numbered copies, letterpress printed at Sharada Printing Press. Woodblocks hand printed by Nawang Norbu cut by Tibetan craftsmen after Marvel Comix. Colophon illustration designed by John Chick. Published as Starstreams Poetry Series Number 2.

Contents: [untitled] “O Surfer Surfing & Surfed…”, [untitled] “Forests of eyelids…”, “for Geoffrey Humphreys”, “For Frank Herbert & The Bene Tleilaxu Face Dancers”, “Silver Shoetrees in Hermes’ Closet”, [untitled] “1. I have with me the perception…”, [untitled] “The earthstealers have arrived!”

6. Maclise, Angus. THE SUBLIMINAL REPORT
First edition:
Kathmandu: Bardo Matrix, 1975
Machine-sewn in printed and illustrated wrappers, 8.5″ x 10.75″, 28 pages, 500 numbered copies, letterpress printed on handmade paper. Cover woodblock print from a photograph by Ira Cohen. Published as Starstreams Poetry Series, No. 4

According to Ira Cohen: “The Subliminal Report included two photos printed in silver ink on white machine made paper, one a mylar portrait of Angus taken in New York, the other a stone garuda sinking into the ground in Dhoka Tole just in front of the Raj Photo Shop where the negatives were developed and first printed…There was a very special collaboration going on here between the artists and artisans, Nepalis and foreigners, which was mutually inspiring and gives the books their unique quality. The Subliminal Report was the first book to utilize Bhutanese silk paper as cover stock.”

7. Bowles, Paul. NEXT TO NOTHING
First edition:
Kathmandu: Bardo Matrix, 1976
Machine-sewn in printed and illustrated wrappers, 7.25″ x 9.5″, 24 pages, 500 numbered copies, letterpress printed at Sharada Printing Press. Cover verifax by Maya, frontispiece collage by Dana Young, title page illustration by Sidney Hushour, illustration by Petra Vogt, colophon illustration by Lee Baarslag, back cover image supplied by Bowles. Published as Starstreams 5.

8. Cohen, Ira. POEMS FROM THE COSMIC CRYPT
First edition:
Kathmandu: Kali Press/Bardo Matrix, 1976
Hardcover in paper-bound boards with paper title label, 7.5″ x 9.75″, 90 pages, 500 copies, illustrated by Petra Vogt, introduction by Angus MacLise.
[not in archive]

9. Cohen, Ira. OPIUM ELEMENTALS
First edition:
Kathmandu: Bardo Matrix, 1976
Machine-sewn in printed and illustrated wrappers, 12″ x 9.25″, 50 pages, 350 numbered and signed copies, letterpress printed at Sharada Printing Press. Designed and illustrated by Dana Young. Published as A Starstreams Special Edition.

Contents: “Emergent Waxwork” [poem], “The Mirage Poem” [poem]

[not in archive]

10. di Prima, Diane. LOBA PART II
First edition:
Pt. Reyes and Kathmandu: Eidolon Editions, 1976
Saddle-stapled in printed and illustrated wrappers, 7.5″ x 10.25″, 36 pages, 550 copies (50 hardbound), letterpress printed on handmade paper. Illustrated by Josie Grant.

From the colophon: printed for Eidolon Editions by Dreamweapon in the Kingdom of Nepal, being the 24th printing of the Independent Presses of Kathmandu…

11. Valenza, Roberto Francisco. THE CLEARING STAGE
First edition:
Kathmandu: Bardo Matrix, 1976
500 copies.

12. Falk, Jane. CKROWWW
First edition:
Kathmandu: Bardo Matrix, 1976
500 copies. Published as Starstreams Poetry Series No. 6.

13. Gaynor, Iris M. EXITS
First edition:
Kathmandu: Bardo Matrix, 1977
Machine-sewn in printed and illustrated wrappers, 5.5″ x 10.75″, 14 pages, 200 numbered copies, letterpress printed on handmade paper by Sharada Printing Press. Cover art by Lee Baarslag. Published as a Starstreams Special Edition.

14. Cohen, Ira. GILDED SPLINTERS
First edition:
Kathmandu: Bardo Matrix, 1977
500 copies.




15. Valenza, Roberto Francisco. LOST CONTACT
First edition:
Kathmandu: Bardo Matrix, 1977
250 copies.
[not in archive]



Bardo Matrix

The Bardo Matrix Press was founded in Kathmandu in the early 1970s by original Velvet Underground drummer, artist, and poet Angus MacLise and poet, photographer, and publisher Ira Cohen as a publishing outgrowth of the Colorado artists’ collective of the same name. MacLise and Cohen commenced to issue pamphlets, booklets, posters, books, and broadsides by not only themselves and their fellow travellers, but also by some of the most important names of post-war literature: Paul Bowles, Gregory Corso, Diane Di Prima, and Charles Henri Ford were among the chosen.

The publications were printed in editions of anywhere from a couple of dozen to a few hundred, usually utilizing fine printing techniques such as wood blocks, letterpress, special inks, and handmade paper. But this was not based on traditional thoughts on fine printing, but rather on the opportunity to create something cheap and beautiful. There was a built-in audience for these publications on “Freak Street” in Kathmandu, where people in the circle of Bardo Matrix operated a small bookshop which did decent business selling wood-block printed headshop posters alongside poetry broadsides, these publications, as well as second-hand English language paperback books.

After the 1979 death of Angus MacLise, the activity of the Bardo Matrix Press quietly faded out. Ira Cohen returned to New York City where he was a highly visible member of the poetic demimonde until his passing in 2011, shortly after he had helped stage an exhibition on the life and work of Angus MacLise.


Bardo Matrix Checklist:

Section A: Books
Section B: Broadsides
Section C: Spirit Catcher Bookshop

· John Chick


Online Resources:

· The Bardo Matrix

· Big Bridge – Ira Cohen: The Great Rice Paper Adventure Kathmandu, 1972-1977

Granary Books – Dana Young Archive

Granary Books – Ira Cohen: The Bardo Matrix, Gnaoua, and The Great Society

Granary Books – Petra Vogt Archive

University of Delaware – Bardo Matrix Press

Piero Heliczer – Publications Edited, Printed, and Published

>> return to PIERO HELICZER main page >>

SECTION D:
This index includes publications edited printed, and published by Piero Heliczer and his Dead Language Press


1. Piero Heliczer and Angus MacLise. IMPRIMATUR M.CC.LXXX.I and THE COMPLETED WORKS OF ANGUS MACLISE
First edition:
White Plains: privately printed, 1957
Hand-sewn in printed and illustrated wrappers, 24 pages, letterpress printed by Piero Heliczer.



2. Om [pseud. Olivia de Haulleville]. MARIA
a. First edition, blue paper:
Paris: Dead Language Press, 1958
Broadside, 6.75″ x 15″, letterpress printed by Piero Heliczer. Contents: “Maria” [poem]
[not in archive]


b. First edition, white paper:
Paris: Dead Language Press, 1958
Broadside, 5″ x 6.5″, letterpress printed by Piero Heliczer. Contents: “Maria” [poem]
[not in archive]

Note: poem written partly in English and partly in French, probably composed in memory of the author’s maternal aunt, and wife of Aldous Huxley, Maria Nys, who died in 1955. (©BeatBooks.com)

3. Om [pseud. Olivia de Haulleville]. LEMURS
First edition:
Paris: The Dead Language, 1958
Unbound sheets laid into printed and photo-illustrated wrappers, 11″ x 9″, 6 pages, letterpress printed by Piero Heliczer. This is the first separate edition of one of three pieces collected in A Pulp Magazine for the Dead Generation.

4. [anthology] A PULP MAGAZINE FOR THE DEAD GENERATION, edited by Piero Heliczer
ph_pulp
a. First edition, green cover:
Paris: The Dead Language Press, 1959
Three un-boud folded sheets laid into printed wrappers, letterpress printed by Piero Heliczer. Contributors: Om, Henk Marsman, Gregory Corso.

b. First edition, blue cover:
Paris: The Dead Language Press, 1959
Three un-boud folded sheets laid into printed wrappers, letterpress printed by Piero Heliczer. Photograph of Om affixed to last leaf, as issued.Contributors: Om, Henk Marsman, Gregory Corso.

Note: the book prints “Lemurs” by Om; five poems by Henk Marsman (the Dutch poet, Hendrik Jan Marsman, aka J. Bernlef); and four poems from The Vestal Lady on Brattle and Other Poems by Gregory Corso. Each contribution is preceded by a brief text, Corso’s probably written by Piero Heliczer, the others by the poets themselves. (©BeatBooks.com)

5. THE DEAD LANGUAGE DIXHUIT RUE DESCARTES PARIS
ph_dl1
First edition:
Paris: Dead Language, (c. 1959)
Flyer, 4.5″ x 8.25″, letterpress printed by Piero Heliczer.

Note: verso lists Dead Language publications, 1957-1959.

6. PURCELL FESTIVAL M.CM.L.IX
First edition:
Paris: The Dead Language, 1959
Flyer, 4.5″ x 8.25″, letterpress printed by Piero Heliczer.

Note: announces a festival “to be held in paris the second week of july to celebrate henry purcells three hundredth birthday…organised by the dead language”. Text in English and French.

The festival was organised by Piero Heliczer, a keen listener of English baroque, William Byrd as well as Purcell. When he visited Cambridge in early February 1960 as part of Michael Horovitz’s Live New Departures, Heliczer was presented with a viola da gamba by the musicologist and Purcell exponent, Thurston Dart, an instrument that Horovitz remembers Heliczer soon mastered.

Earlier, in June 1959, a petit scandale emerged when Peter Forbes, a British tabloid journalist, visited Heliczer in Paris after hearing of his invitations to English school girls to attend the festival, one of them sent to the headmistress of Queen Anne’s School in Caversham. Forbes’s article appeared in the Sunday Pictorial on June 7 and featured a photograph of Heliczer with Olivia de Haulleville (“A Bohemian young scamp and his girl friend”).

It claimed that Heliczer was offering “to receive groups of girls at a festival in Paris… The girls would pay their own fares, but Heliczer would provide free hotel accomodation.” Forbes added that Heliczer hoped “to get one of his girl guests to act in a play he has written. It features a headless man and a girl who appears naked standing on a tombstone”, and quotes the headmistress as initially having been “quite enthusiastic. Some of the girls had obtained their parents’ consent and were looking forward to the trip. Now, however, we shall unquestionably withdraw. I shall write to Heliczer telling him so.” The article concludes: “Other headmistresses, please copy. And Piero, please drop those crackpot capers. They will land you in real trouble one day.” (©BeatBooks.com)

7. Haulleville, Eric de. MÉLANCHOLIA 1
First edition:
Paris: The Dead Language, (c. 1959)
Postcard, 6″ x 4″, letterpress printed by Piero Heliczer.

Note: Baron Eric de Haulleville, Olivia’s father, was a Belgian poet and writer who died in France during the second world war, shortly after his daughter’s birth.

8. Tyndall, Thomas. CITY SUMMER NIGHT
First edition:
Paris: The Dead Language, nd. (c. 1959)
Postcard, 6″ x 4″, letterpress printed by Piero Heliczer

9. WHY ARE YOU LOOKING ASKANCE IM JUST TRYING TO SHOUT
a. First edition, cream-colored stock:
Paris: Dead Language, (c. 1959)
Postcard, 4″ x 6″, letterpress printed by Piero Heliczer.

 

b. First edition, orange-colored stock:
Paris: Dead Language, (c. 1959)
Postcard, 4″ x 6″, letterpress printed by Piero Heliczer.

 

Note: a publicity card printing a short text by Piero Heliczer on his private press (“the only one left which has not been absorbed by those given over to reminiscence”), and listing the titles and prices of its early publications.

10. MacLise, Angus. STRAIGHT FARTHEST BLOOD TOWARDS (OPENING SECTION)
ph_straightFirst edition:
Paris: The Dead Language Press, 1959
Single 6.25″ x 22″ sheet folded three times to make six printed pages and a cover, 5.5″ x 6.5″, letterpress printed and with a block print  cover by Piero Heliczer. Angus MacLise’s first publication.

Note: it was after noticing a copy of this title in City Lights Books that La Monte Young first became aware of Angus MacLise. When the latter moved to New York in 1961 they began performing together regularly, and it was through Young that MacLise first met John Cale. (©BeatBooks.com)

11. [anthology] WEDNESDAY PAPER, edited by Piero Heliczer and Angus MacLise
a. First edition, white cover:
New York: The Dead Language Press, (c. 1961)
Saddle-stapled in printed and illustrated wrappers, 5.5″ x 8.5″,  12 pages, offset printed.  Contributors: Gregory Corso, Cyclops [Lester], Anselm Hollo, Gustav Schiele.

ph_wednesdaya. First edition, pink cover:
New York: The Dead Language Press, (c. 1961)
Saddle-stapled in printed and illustrated wrappers, 5.5″ x 8.5″,  12 pages, offset printed.  Contributors: Gregory Corso, Cyclops [Lester], Anselm Hollo, Gustav Schiele. This apparent later issue adds the title to Hollo’s poem on the cover.

Note: prints the poems “Song of Stations” by Anselm Hollo and “It Was the Happy Birthday of Death” by Gregory Corso (reputedly included without Corso’s permission). Also features reproductions of a sketch by Egon Schiele (with accompanying texts by him); a holograph letter from Cyclops Lester to Piero Heliczer; a ‘Woman Contest’ (“every two weeks wednesday paper will run photos of the winner and runner up of our quarter moon woman contest”); newspaper clippings; and brief ads. for the Dead Language, New Departures, and “hollands leading litry magazine”, Barbarber. (©BeatBooks.com)

12. MacLise, Angus. YEAR, A WEDNESDAY PAPER SUPPLEMENT
ph_year
First edition:
New York: The Dead Language Press, 1961
Multiple sheets tape-bound to make a single accordion fold with 12 panels, one for each of the twelve months and an entry for each day, 4.6″ x 9″ (folded), letterpress printed by Piero Heliczer. Cover illustration, “The Ascension of St. Rose of Lima”, by Aubrey Beardsley.

Note: the publication prints MacLise’s renaming of every day of the year, some simply assigned a number, but most given poetic names, such as “day of the hearts blood”, “day of the two daughters”, “the shouts from the sea”, and “last day of the autumn feast”. La Monte Young used the calendar to date many of his recordings from the period, including “B-flat Dorian Blues (Fifth Day Of The Hammer)”. (©BeatBooks.com)

13. Smith, Jack. THE BEAUTIFUL BOOK
ph_beautifulbook
a. First edition:
New York: The Dead Language Press, 1962 Saddle-stapled in printed and illustrated wrappers, 7.5″ x 9″, 20 pages, 200 copies (though it is often claimed that only sixty or so copies were ever completed), letterpress printed by Piero Heliczer. Includes 19 silver gelatin contact prints (2.25″ x 2.25″), one tipped on to each page: 19 photographs by Jack Smith, and 1 portrait of Jack Smith by Ken Jacobs. Cover art by Marian Zazeela.

b. Facsimile edition, second printing:
New York: Granary Books / Plaster Foundation, 2001
Saddle-stapled in printed and illustrated wrappers, 7.5″ x 9″, 20 pages, Includes 19 silver gelatin contact prints (2.25″ x 2.25″) made from the original negatives, one tipped on to each page: 19 photographs by Jack Smith, and 1 portrait of Jack Smith by Ken Jacobs. Cover art by Marian Zazeela.

Note: a printed sheet issued with the Granary Books / Plaster Foundation edition in 2001 stated: Noting the scarcity of this title on the rare book market and its absence from many prominent collections (not to mention the chaotic circumstances in which it was produced) it is likely that considerably fewer than 200 books were actually nished and distributed. Jack Smith, Piero Heliczer, and their associates assembled the books during the late spring and early summer of 1962 before shooting began on Smith’s seminal film Flaming Creatures (1963), one of the most notorious underground films of the 1960s, which became a test case of censorship laws.

14. FOLDING CHAIR OF THE PRINTING MASTER, A CATALOG OF ITEMS PRINTED BY THE DEAD LANGUAGE 1963
First edition:
New York: The Dead Language Press, 1963
Saddle-stapled in printed and illustrated wrappers, 4.75″ x 5″, letterpress printed by Piero Heliczer. Cover art by Aubrey Beardsley.

Note: a catalogue of Dead Language editions listing seven publications, each one including the price and pithy comments or quotes. The text ends: “make checks payable to piero heliczer”.

15. Hollo, Anselm. LOVER MAN
ph_lover
First edition:
New York: The Dead Language Press, (1963)

Accordion-bound sheets laid into printed and illustrated wrappers, 6.75″ x 8.75″, 12 pages, letterpress printed by Piero Heliczer. Cover art (“Le Viol”, 1934) by Rene Magritte.

Note: the Folding Chair Dead Language catalog describes the publication as “a very free translation of the lemminkainen cantos of the kalevala” (a 19th century work of epic poetry compiled from Karelian and Finnish oral folklore and mythology). (©BeatBooks.com)

16. FOLDING CHAIR OF THE PRINTING MASTER, A CATALOG OF ITEMS PRINTED BY THE DEAD LANGUAGE 1963
First edition:
Paris: The Dead Language Press, 1963
Multiple sheets tape-bound to make a single accordion fold with 8 panels, 4.75″ x 5″, letterpress printed by Piero Heliczer. Cover art by Aubrey Beardsley.

Note: a catalogue of Dead Language editions listing ten publications, with The Beautiful Book, The First Battle of the Marne, and Loverman added to the seven titles listed in the earlier edition, the first two featuring quotes from Ron Rice and Fielding Dawson respectively.

[facsimile at Brown University Library digital repository]

17. [anthology] CORONA SPINARUM: SON OF WEDNESDAY PAPER, OFFICIAL JOURNAL OF THE EMPIRE OF EUROPE & THE PIERO HELICZER FAN CLUB, Vol. 1, No. 1, edited by Piero Heliczer
First edition:
Amsterdam: Piero Heliczer, October 1980
Folded and gathered unbound sheets, 5.75″ x 8.25″, 8 pages, photocopy printed.

Note: prints the abstracts from the first meeting of the Imperial Council, attended by Piero, Bill Levy and Ira Cohen.

18. [anthology] DE VROUWE VAN ALLE VOLKEREN [trans. THE LADY OF ALL NATIONS], edited by Piero Heliczer
First edition:
Amsterdam: Piero Heliczer, 1981
Folded and gathered unbound sheets, 5.75″ x 8.25″, 12 pages, photocopy printed.

Note: includes a map of Amsterdam with numbers encircled of places of importance, a professional horoscope reading (by Ronnie Dreyer),  holy texts of Saints, and  an ad for a marijuana sweepstakes.

19. [anthology] CORONA SPINARUM, No. 3, edited by Piero Heliczer
First edition:
Amsterdam: Piero Heliczer, 1981
Folded and gathered unbound sheets, 5.85″ x 8.3″, 12 pages, photocopy printed.

Note: announces a poetry reading by Heliczer, and prints various texts (on Thomas Beckett, Bernadette Soubirous, Jeanne d’Arc, and Thérèse de Lisieux) in French, Dutch and English.

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, edited by Martin Leman (London 1964) [No.1, Special Burroughs issue].

Bulletin from Nothing, edited by Mary Beach and Claude Pélieu (San Francisco 1965).

City Lights Journal, edited by Lawrence Ferlinghetti (San Francisco 1963-1966)

Fruit Cup, edited by Mary Beach and Claude Pélieu (New York, 1969).

Ginger Snaps, edited by Michael Gibbs (Exeter, 1972).

Gnaoua, edited by Ira Cohen (Tangier, 1964).

Growing Hand, edited by Vincent Cresciman (San Francisco, 1967).

The Insect Trust Gazette, edited by Leonard Belasco and Bill Levy (Philadelphia, 1964-1968).

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.

Fuck You/ a magazine of the arts

Fuck You/ a magazine of the arts ran for thirteen issues from 1962 to 1965. Considered one of the most influential underground magazines of the early sixties, Ed Sanders’ Fuck You was a deliberately fypprovocative mimeographed journal, at first emphasizing poetry and later expanding to include other writing. Each issue is illustrated with line drawings by Sanders.

Contributors include Sanders, Tuli Kupferberg, Carol Bergé, John Wieners, Andy Warhol, Ray Bremser, Lenore Kandel, Charles Olson, Joel Oppenheimer, Peter Orlovsky, Philip Whalen, Allen Ginsberg, Herbert Huncke, Julian Beck, Frank O’Hara, Leroi Jones, Diane Di Prima, William Burroughs, Gary Snyder, Robert Kelly, Judith Malina, Carl Solomon, Gregory Corso, Robert Duncan, Robert Creeley, Michael McClure, Ted Berrigan, Joe Brainard, Gilbert Sorrentino, and many others — a virtual “who’s who” of avant garde poetry in the Sixties.


1. FUCK YOU/ A MAGAZINE OF THE ARTS, No. 1, edited by Ed Sanders
New York: February 1962

2. FUCK YOU/ A MAGAZINE OF THE ARTS, No. 2, edited by Ed Sanders
New York: April 1962

3. FUCK YOU/ A MAGAZINE OF THE ARTS, No. 3, edited by Ed Sanders
New York: June 1962

4. FUCK YOU/ A MAGAZINE OF THE ARTS, No. 4, edited by Ed Sanders
New York: August 1962

5. FUCK YOU/ A MAGAZINE OF THE ARTS, No. 5, Vol. 1, edited by Ed Sanders
New York: December 1962
First edition, side-stapled printed wrappers, 8.5″ x 11″, mimeograph. Cover by Ed Sanders.

Note: “Dedicated to pacifism, national defense thru nonviolent resistance, total assault on the culture, vaginal zapping, multilateral indiscriminate apertural conjugation, Hole Cons, Crotch Lake, Peace Eye, mad bands of stompers for peace, & all those groped by J. Edgar Hoover in the silent halls of congress.”

6. FUCK YOU/ A MAGAZINE OF THE ARTS, No. 5, Vol. 2, edited by Ed Sanders
New York: December 1962

7. FUCK YOU/ A MAGAZINE OF THE ARTS, Number 5, Volume 3, edited by Ed Sanders
New York: May 1963

Note: “Dedicated to pacifism, National Defense thru Nonviolent Resistance, Anarchia the Goddess, Orlovsky’s long Egyptian finger, Peace Eye, Hole Cons, Peace Walk Dicking, dope thrill Banana rites, Acapulco Gold, Panamanian Red, Honduras Brown, windowbox freak grass, the anarcho-commio-greaser conspiracy, submarine boarders, mad bands of stompers for Peace, and all those groped by J. Edgar Hoover in the silent halls of Congress”.

8. FUCK YOU/ A MAGAZINE OF THE ARTS, Number 5, Volume 4, edited by Ed Sanders
New York: Summer 1963

9. FUCK YOU/ A MAGAZINE OF THE ARTS, Number 5, Volume 5, edited by Ed Sanders
New York: December 1963

10. FUCK YOU/ A MAGAZINE OF THE ARTS, Number 5, Volume 6, edited by Ed Sanders
New York: April/May 1963

11. FUCK YOU/ A MAGAZINE OF THE ARTS, Number 5, Volume 7, edited by Ed Sanders
New York: September 1964

12. FUCK YOU/ A MAGAZINE OF THE ARTS, Volume 5, Number 8, edited by Ed Sanders
New York: March 1965
Cover artwork by Andy Warhol.

13. FUCK YOU/ A MAGAZINE OF THE ARTS, Volume 5, Number 9
New York: June 1965

[n.b. notes have not been made about archive inclusion of items]


Online Resources:

· Reality Studio – Fuck You Press Archive

Measure

wieners


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

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

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

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

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

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

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

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

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

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