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Carl Larsen – Contributions to Books and Anthologies

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This index includes contributions to books and anthologies

1. FOUR NEW POETS, edited by Leslie Woolf Hedley
brautigan_fourSan Francisco: Inferno Press, 1957
First edition, perfect-bound illustrated wrappers, 5.5″ x 8″, 34 pages, Contributors include Martin Hoberman, Carl Larsen, Richard Brautigan, and James M. Singer. Brautigan’s first book appearance.

2. EYE POEMS, edited by E.V. Griffith
Eureka: Hearse Press, (c. 1960)
First edition, saddle-stapled wrappers in illustrated wrappers, 5.5″ x 8.5″, 16 pages, 100 numbered copies. Contributors include Farley Gay, James M. Singer, Kenneth Lawrence Beaudoin, Carl Larsen, E.V. Griffith, Charles Shaw, Shirley Summerfruct, Mason Jordan Mason.

3. BEAT GENERATION COOK-BOOK, edited by Carl Larsen and James M. Singer Jr.
New York: 7 Poets Press, 1961
First edition, saddle-stapled sheets tipped in to illustrated wrappers, 5.75″ x 8.75″, 36 pages, offset printed. Includes printed ads for other 7 Poets Press books including Bukowski’s Longshot Poems for Broke Players.

4. 3 ONE ACT PLAYS, edited by Chris Torrance
Torrance: Hors Commerce Press, July 1964
First edition, side-stapled sheets in printed cover with library-tape binding, 8.5″ x 11″, 150 numbered copies. Contributors include Kirby Congdon, Carl Larsen, d.a. levy. (Lowell A9)

New York: Vinatage Books, 1969
First edition, paperback original. Contributiors include: Carol Berge, Paul Blackburn, Grace Butcher, Diane Di Prima, Will Inman, Allen Katzman, Bob Kaufman, Tuli Kupferberg, Carl Larsen, d.a. levy, Clarence Major, David Meltzer, George Montgomery, Margaret Randall, Steven Richmond, Ed Sanders, William Wantling.

d.a. levy

d.a. levy Checklist:

Section A: Books and Other Separate Publications
Section B: Contributions to Books and Other Publications
Section C: Contributions to Periodicals
Section D: Publications Edited and Published
Section E: Periodicals and Series Edited and Published

Jim Lowell’s d.a. levy checklist

Falling Down Press and Kirpan Press

References Consulted:

THE BUDDHIST THIRD CLASS JUNKMAIL ORACLE: The Art and Poetry of d.a. levy, edited by Mike Golden. NY: Seven Stories Press, 1999.

D.A. LEVY & THE MIMEOGRAPH REVOLUTION, edited by Larry Smith and Ingrid Swanberg. Huron: Bottom Dog Press, 2007

LOOKING FOR D.A. LEVY (RANDOM SIGHTINGS): THE D.A. LEVY BIBLIOGRAPHY, Volume 1 [1963-1966], edited by Kent Taylor and Alan Horvath. Vancouver: Kirpan Press, 2006

LOOKING FOR D.A. LEVY (RANDOM SIGHTINGS): THE D.A. LEVY BIBLIOGRAPHY, Volume 2 [1967-1968], edited by Kent Taylor and Alan Horvath. Vancouver: Kirpan Press, 2008

ZEN CONCRETE & ETC. BY D.A. LEVY, edited by Ingrid Swanberg. Madison: Ghost Pony Press, 1991

Online Resources:

· Cleveland Memory Project
· d.a. levy home page
· Deep Cleveland
· Literary Kicks

Some notes on printing methods:

The stencil duplicator or mimeograph machine is a low-cost duplicating machine that works by forcing black ink through a stencil onto levy_greattibetanpaper. The mimeograph process should not be confused with the spirit duplicator process.

Unlike spirit duplicators (where the only ink available is depleted from the master image), mimeograph technology works by forcing a replenishable supply of ink through the stencil master. In theory, the mimeography process could be continued indefinitely, especially if a durable stencil master were used (e.g. a thin metal foil). In practice, most low-cost mimeo stencils gradually wear out over the course of producing several hundred copies. Typically the stencil deteriorates gradually, producing a characteristic degraded image quality until the stencil tears, abruptly ending the print run. If further copies are desired at this point, another stencil must be made.

Spirit Duplicator:
A spirit duplicator (also referred to as a Ditto machine in North America, Banda machine in the UK or Roneo in Australia, France and South Africa) was a printing method invented in 1923. The term “spirit duplicator” refers to the alcohols which were a major component of the solvents used as “inks” in these machines.

The usual wax color was aniline purple (mauve), a cheap, moderately durable pigment that provided good contrast, but masters were also manufactured in red, green, blue, black, and the hard-to-find orange, yellow, and brown. All except black reproduced in pastel shades: pink, mint, sky blue, and so on.

Spirit duplicators had the useful ability to print multiple colors in a single pass, which made them popular with cartoonists. Multi-colored designs could be made by swapping out the waxed second sheets; for instance, shading in only the red portion of an illustration while the top sheet was positioned over a red-waxed second sheet. This was possible because the duplicating fluid was not ink, but a clear solvent.