A member of the San Francisco Renaissance poetry movement, Richard Duerden founded the literary journals RIVOLI REVIEW and FOOT, which ran for 8 issues.
Poet Richard Duerden was born in Utah and raised in the San Francisco Bay Area. He joined the Merchant Marines and the Marine Corps and was educated at the University of California.
A member of the San Francisco Renaissance poetry movement, Duerden founded the literary journals Foot and the Rivoli Review. His books of poetry include The Fork (1965), The Left Hand & The Glory of Her (1967), and The Air’s Nearly Perfect Elasticity (1979). His poetry was anthologized in The New American Poetry, 1945–1960 (1960, edited by Donald Allen). A selection of his manuscripts and correspondence is archived in the Stanford University Libraries and a smaller selection of his correspondence with poet Philip Whalen is archived at the Reed College Library.
Contributors: Ebbe Borregaard, Richard Brautigan, Jess Collins, Richard Duerden, Robert Duncan, Larry Eigner, Eloise Nixon, Philip Whalen, Gary Snyder.
Foot, No. 2, edited by Richard Duerden and William Brown
San Francisco, 1962
First edition, saddle-stapled illustrated wrappers, 6.75″ x 8.75″, 80 pages. Illustrations by Philip Roeber and Philip Whalen.
Contributors: Philip Whalen, Philip Roeber, Joanne Snyder, Richard Duerden, Robert Duncan, Jack Spicer, Kenneth Rexroth, William Brown, Lew Welch, Leslie Thompson, Jess Collins, Gary Snyder, Michael McClure, Suzanne Duerden.
Contributors: Robert Creeley, Duncan McNaughton, Richard Duerden, John Thorpe, Lawrence Kearney.
Contributors: Lawrence Kearney, Jerry Ratch, Duncan McNaughton, Don Cushman, James Koller.
Contributors: Leslie Scalapino, Richard Duerden, Michael Wolfe, Ron Loewinsohn.
Contributors: Diane Sophia, Leslie Scalapino, Larry Kearney, John Thorpe, Philip Whalen, Diane Sophia, Don Cushman, Sherril Jaffe, Michael Davidson, Michael Wolfe, Duncan McNaughton, Robert Duncan, Norman Fischer, Bernadette Mayer, Peter Rabbit, Richard Duerden.
Contributors: Lawrence Kearney
Contributors: Keith Shein, Leslie Scalapino, Diane Sophia, Norma Smith, Sarah Menefee, Don Cushman, Joanne Kyger, Larry Eigner, Bill Berkson, Bob Grenier, Jackie Cantwell, Ted Pearson, Marc Lecard, Lawrence Kearney, Jeanne Lance, Duncan McNaughton, Michael Wolfe, Carla Harryman.
Ebbe Borregaard’s work was published in the first run of White Rabbit Press in 1958 and then by Oyez using the name “Gerard Boar”, the anagrammatic pseudonym of his last name. He also appeared in several periodicals over the years and self-published some poetry and letters.
Along with his wife Joy, Ebbe owned and operated Borregaard’s Museum and Art Gallery. The idea behind establishing the venue in 1960 was to showcase the creative achievement of the Spicer circle. Helen Adam’s play SAN FRANCISCO’S BURNING was performed by Adam and her sister Pat in that first year. The following year the museum hosted a show of Jess’s work as well as a series of lectures by Duncan.
Borregaard also ran Oannes Press, publishing two titles: Helen and Pat Adam’s SAN FRANCISCO’S BURNING and James Alexander’s ETURNATURE, the latter in conjunction with Open Space.
Moving to Bolinas in 1969, Borregaard was later included in ON THE MESA: AN ANTHOLOGY OF BOLINAS WRITING published in 1971 by City Lights.
Books and Broadsides
A1. Borregaard, Ebbe. THE WAPITIS
San Francisco: White Rabbit Press, January 1958
Hand-sewn illustrated wrappers, 6.5″ x 8.5″, 12 pages, (200 copies). Ebbe Borregaard’s first book. Cover illustration by Robert Duncan. (Johnston A4)
A2. Borregard, Ebbe. LEANTO: THE JOURNAL EXTRACT FROM THE ORIGINAL BY THE AUTHOR
San Francisco: privately published, 1960
Illustrated french-fold wrappers, 125 copies, mimeograph. Illustrated by J. Alexander.
A3. Borregaard, Ebbe. [LETTERS TO SPRACH]
Berkeley: privately published, 1963
Side-stapled sheets in unprinted card covers, 7″ x 10″, 58 pages, 20 copies. Preface by Ebbe Borregaard dated Christmas 1963.
Title supplied from Serendipity Books Catalogue 35, item no. 36 which also states that no more than 20 copies were printed.
A4. Borregaard, Ebbe. WHEN DID MORNING WIND RIP CALLOW FLOWERS IN MAY
San Francisco: Arts Festival, 1964
Illustrated broadside, 12.5″ x 20″, 300 copies. Illustrated by Jess Collins.
A broadside issued as part of the 1964 San Francisco Arts Festival portfolio: A POETRY FOLIO, which contained 11 broadsides.
Sussex: Collection, 1969
Side-stapled illustrated wrappers, 9 copies, off-print of pages 25-36 from Collection 3 edited by Peter Riley.
A6. Boar, Gerard. SKETCHES FOR 13 SONNETS
a. First edition, regular copies:
Berkeley: Oyez, 1969
Saddle-stapled printed wrappers, 7.75″ x 9.75″, 1600 copies, designed and printed by Graham Mackintosh.
b. First edition, hardcover copies:
Berkeley: Oyez, 1969
Hardcover, number of copies unknown, designed and printed by Graham Mackintosh.
A7. Borregaard, Ebbe. FRIDAY NIGHT PROVERBS
Contributions to Periodicals and Anthologies
B3. LOCUS SOLUS, No. 1
“Other stories of the beauty wapiti”, “wapiti 3”, “From ‘Sprach'”
B5. ANGEL HAIR, No. 3, edited by Lewis Warsh and Anne Waldman
New York: Angel Hair, Summer 1969
B6. COLLECTION, No. 3, edited by Peter Riley
Sussex, January 1969
“Childhood of Dwarf Christ 1”
B7. ANGEL HAIR, No. 6, edited by Lewis Warsh and Anne Waldman
New York: Angel Hair, Spring 1969
B8. EPHEMERIS, No. 2, edited by David Schaff
San Francisco, c. 1969
“Eros in Error”
B9. WRITING, No. 4, edited by Stan Persky and Dennis Wheeler
Vancouver: Georgia Straight, 1970
B10. WRITING, No. 7, edited by Stan Persky and Dennis Wheeler
Vancouver: Georgia Straight, 1971
B11. SESHETA, No. 2, edited by Andi Wachtel and Richard Downing
Surrey: Sesheta Press, Spring 1972
B12. ADVENTURES IN POETRY, No. 11, edited by Larry Fagin
New York: The Poetry Project, Spring 1974
“October Seventh Poem”
Alastair Johnston. A BIBLIOGRAPHY OF THE WHITE RABBIT PRESS
Berkeley: Poltroon Press in association with Anacapa Books, 1985
From Stinson Beach in the late 1950s, Jess Collins and Robert Duncan published just two books under their Enkidu Surrogate imprint: Jack Spicer’s BILLY THE KID and Robert Duncan’s own FAUST FOUTU.
The books were distributed by White Rabbit Press.
From Stinson Beach in the late 1950s, Jess Collins and Robert Duncan published just two books under their Enkidu Surrogate imprint.
The books were distributed by White Rabbit Press.
A1. Spicer, Jack. BILLY THE KID
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
b. First edition, numbered and signed copies:
Stinson Beach: Enkidu Surrogate, November 1959
Saddle-stapled in illustrated wrappers, 7″ x 8.5″, 71 pages, 50 copies numbered and signed with a drawing. Illustrated by Robert Duncan. (Bertholf A7d)
Note: This is the first complete printing of the play, after a privately printed mimeographed first printing in 1953, and a second from White Rabbit Press in 1958.
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 provocative 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]
· Reality Studio – Fuck You Press Archive
“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 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.”
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”
“Magick is for the ones who ball, i.e. throw across”
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”
“THE CITY / 1 AM – Unreasonable fear, of the shadows of Harry Lime, of the dead reappearing”
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”
Robert Duncan – “A Description of Venice”
Jack Spicer – “A Night in Four Parts”
Mary Fabilli – “The Lost Love of Aurora Bligh”
Mary Fabilli – “An Hour or Two or Quiet Talk”
Mary Fabilli – “The Garden”
Robert Duncan – 3 Poems in Homage to the Brothers Grimm: “The Robber Moon”, “The Strawberries Under the Snow”, “The Dinner Table of Harlequin”
Gerald Ackerman – “At the Beach”
Jack Spicer – “The Scroll-Work on the Casket”
The Rivoli Review, Vol. Zero, No. One, edited by Richard Duerden
San Francicso: The Rivoli Review 1963
Side-stapled illustrated wrappers, 8.5″ x 11″, 24 pages, mimeograph printed. Cover illustration by Jess Collins.
Ford Madox Ford – “Meary Walker”
Robert Duncan – “Weacing the Design”
James Koller – [untitled] “mottled brown birds…”
Richard Duerden – “Seven: #2 La Martine Place”
Denise Levertov – “Hypocrite Women”
Lynn Lonidier – “Chagall and Bella”
Ron Loewinsohn – “Art for Art’s Sake”, “The Rain, The Rain”
Gerald Gilbert – [untitled] “Sunshine…”
Lorenzo Thomas – “Grass”, “West”
Robert Peterson – “Critical Times”
Ron Loewinsohn – “Fuck You Roger Maris”
Philip Whalen – “Plums, Metaphysics, An Investigation, A Visit and a Short Funeral Ode”
Ron Loewinsohn – “It is to be Bathed in Light”
James Koller – “The People are Coming”
Ron Loewinsohn – “A Place to Go”
Jess Collins – “Song of the Pied Parrot”
Lew Brown – “from Lionel”
Deneen Brown – “Azalea Poem”
George Stanley – “Argus”
Robert Duncan – “Passages III”, “Passages 3-4”
Richard Duerden – “Silence, and Katharsis”
Lew Brown – “The Broadjump”, “from Lionel”
Jack Anderson – “The Scale of It”
Richard Duerden – “The Sonata”
Jack Anderson – “Man in a Doorway”
Gerard Malanga – “Final Sonnet XC”
Jess Collins (August 6, 1923 – January 2, 2004) was born Burgess Franklin Collins in Long Beach, California. He was initially educated as a chemist, having received his B.S. at the California Institute of Technology in 1948, and in his career worked on the production of plutonium for the Manhattan Project. In 1949 he abandoned his scientific career and moved to San Francisco where he enrolled in the California School of Fine Arts (now the San Francisco Art Institute) and began referring to himself simply as “Jess”. He met Robert Duncan in 1951, a relationship that lasted until the poet’s death in 1988.
In 1952 Jess, Duncan, and Harry Jacobus opened the King Ubu Gallery, which became an important venue for alternative art in San Francisco. And it remained so when it was reopened as the Six Gallery in 1954 by Wally Hedrick, Deborah Remington, John Ryan, Jack Spicer, Hayward King, and David Simpson.
A celebrated painter and collage artist, Jess was a leading light of the San Francisco art scene from the 1950s until his death in 2004, and one of the most original artists of the second half of the 20th century.
Jess was a quietly independent artist who in his paintings, collages, and sculptures developed a complex synthesis of art and literary history. Jess’ unique imagery, evolved from mythology and fables both playful and profound, has long been admired by critics, curators and writers. Using paper collage or his eccentric painting techniques, Jess’ pictures referenced ancient stories and invented symbols. Jess constructed a private world of delicate beauty and gentle absurdity.
A. Books and Broadsides
1. Artists View #8
Tiburon: Artist’s View, 1954
Poems and paste-ups, folded broadside, entire issue devoted to the work of Jess.
New York: Hawks Well Press, 1960
Paste-ups and poems, stapled wrappers, with a preface by Robert Duncan.
3. The Dios Kuroi
Off-print from The Northwest Review, 1963
B. Contributions to Books and Other Publications
3. Duncan, Robert. Caesar’s Gate
Mallorca: Divers Press, 1955.
Cover and 16 paste-ups.
10. Duncan, Robert. The Opening of The Field
New York: Grove Press, 1960
11. Adam, Helen and Pat. San Francisco’s Burning
Berkeley: Oannes Press, 1963
Cover illustration and six drawings.
Unkingd by Affection
San Francisco: San Francisco Arts Festival, 1963
13. Adam, Helen. Ballads
New York: Acadia Press, 1964
Cover illustration, titling, title page, and 15 drawings. Two additional drawings included in limited edition with hand-tinted cover.
When Did Morning Wind Rip Callow Flowers in May…
San Francisco, San Francisco Arts Festival, 1964
15. Duncan, Robert. A Book of Resemblances
New Haven: Henry Wenning, 1966
Illustrations in two colors.
16. Duncan, Robert. The Cat and The Blackbird
San Francisco: White Rabbit Press, 1967
Cover illustration, titling, and drawings.
17. Duncan, Robert. Names of People
Los Angeles: Black Sparrow Press, 1968
18. Dunn, Joe. Better Dream House
San Francisco: White Rabbit Press, 1968
Cover and 11 paste-ups.
Los Angeles: Black Sparrow Press 1970
C. Contributions to Periodicals
1. Artists View #0. Tiburon, 1952. Paste-up poem
2. Artists View #5. Tiburon, 1953. Cover illustration.
3. Poems & Pictures #1. 1954. Poem
4. Black Mountain Review #4. 1956. Paste-up poem.
5. Black Mountain Review #6. 1956. Paste-ups
6. Ark II, Moby I. 1956. Translations.
7. J #2. 1959. Notes on painting.
8. J #5. 1959. Cover illustration and comic strip.
9. J #6. 1959. Comic strip.
10. Chelsea #7. 1960. Translations.
11. An Apparition of The Late J. 1960. Poem.
12. Folio 3. Bloomington, Summer 1960. Paste-up.
13. Foot #1. 1960. Poem.
14. Foot #2. 1962. Poem.
15. The Northwest Review 4. Eugene, Winter 1963. Paste-up sequence.
16. Semina 8. Los Angeles, 1963. Paste-up.
17. The Rivoli Review #1. 1964. Cover illustration.
18. The Rivoli Review #2. 1964. Poem.
19. Writing 3. 1964. Cover illustration and five drawings.
20. Open Space #1. 1964. Dream record.
21. Open Space #2. 1964. Dream record and letter.
22. Open Space #Twin 4. 1964. Dream record.
23. Open Space #6. 1964. Dream record and drawing.
24. Open Space #7. 1964. Cover illustration and dream record.
25. Open Space #8. 1964. Paste-up.
26. Open Space #9. 1964. Drawing.
27. Open Space #10. 1964. Cover illustration and paste-up.
28. Open Space #12. 1964. Drawing.
29. Floating Bear #31. 1965. Cover illustration.
30. Insect Trust Gazette #2. 1965. Paste-up.
31. Some / Thing #8. 1966. Paste-up.
32. The Tenth Muse #14. 1967. Cover illustration.
33. The Tenth Muse #15. 1967. Cover illustration.
34. The Tenth Muse #21. 1968. Cover illustration.
35. The Tenth Muse #26. 1969. Cover paste-up.