Tag Archives: Wallace Berman

Michael McClure: Contributions to Periodicals

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Section C:
This index includes contributions to periodicals


1. POETRY, Vol. 87, No. 4, January 1956
mags_poetry8704“2 FOR THEODORE ROETHEKE: PREMONITION”.
This is McClure’s first appearance in print. (Clements C1)



2. SEMINA, Two, 1957
mags_semina02
“I WANTED TO TURN TO ELECTRICITY”
(Clements C2)





3. ARK II / MOBY I, 1956-57
mags_ark2“CANOE: EXPLICATION”, “LOGOS: KNOUT”
McClure co-edited this issue. (Clements C3)





4. EVERGREEN REVIEW, Vol. 1, No. 2, 1957
mags_evergreen0102“NIGHT WORDS: THE RAVISHING”, “CAT’S AIR”, “THE RUG”, “THE”, “NOTE”, “THE ROBE”
(Clements C5)




5. BLACK MOUNTAIN REVIEW, No. 7, Autumn 1957
mags_blackmtn7“POEM”
(Clements C6)





6. MEASURE, No. 2, Winter 1958
mags_measure2THE MAGAZINE COVER…“, “ONE”, “TWO”
(Clements C7)





7. CHICAGO REVIEW, Vol. 12, No. 1, Spring 1958
mags_chicagoreview1201“THE MESS”, “7/26/57”, “LESS THAN VANITY”, “THE BREECH”
(Clements C8)




8. EVERGREEN REVIEW, Vol. 2, No. 6, Autumn 1958
“ODE TO JACKSON POLLOCK”
(Clements C9)

9. YUGEN, 4, 1959
mags_yugen4“THE CHAMBER”
(Clements C11)





10. JABBERWOCK, 1959
mags_jabberwock“FOR ARTAUD”, “A FANTASY AND COURTLY POEM”, “ODE FOR SOFT VOICE”
(Clements C12)




11. YUGEN, 5, 1959
mags_yugen5“RANT BLOCK”
(Clements C13)





12. SEMINA, 4, 1959
“WE’RE IN THE MIDDLE OF A DEEP CLOUD”
(Clements C14)





13. THE GALLEY SAIL REVIEW, Vol. 2, No. 1, Issue No. 5, Winter 1959-1960
mags_galleysail5“L’ETOILE”
(Clements C15)





14. SIDEWALK, Vol. 1, No. 1, 1960
“THE FLOWER OF POLITICS”
(Clements C16)





15. SEMINA, 5, 1960
“WE ARE IMPERVIOUS AS THE SKIN OF OUR DREAMS”
(Clements C17)




16. BIG TABLE, Vol. 1, No. 4, Spring 1960
mags_bigtable14“TWO POEMS FROM A SMALL SECRET BOOK”
(Clements C18)





17. YUGEN, 6, 1960
mags_yugen6“THE COLUMN”
(Clements C19)





18. BEATITUDE, No. 17, Oct-Nov 1960
mags_beatitude17“OH WHY OH WHY THE BLASTED LOVE THE HUGE SHAPE CHANGE?” from DARK BROWN
(Clements C20)



19. THE FLOATING BEAR, No. 1, February 1961
“THE SMILE SHALL NOT BE MORE MUTABLE THAN THE FINAL EXTINCTION OF MEAT”
(Clements C21)




20. NOMAD, 9, Summer 1961
mags_nomad9“HIGH & FROM A NOTEBOOK”
(Clements C22)





21. THE FLOATING BEAR, No. 14, October 1961
“!THE FEAST!”
(Clements C24)





22. THE OUTSIDER, Vol. 1, No. 1, Fall 1961
mags_outsider01“SPONTANEOUS HYMN TO KUNDALINI”
(Clements C25)





23. EVERGREEN REVIEW, Vol. 5, No. 20, edited by Barney Rosset
New York: Evergreen Review, Sep-Oct 1961
“ON SEEING THROUGH SHELLEY’S EYES THE MEDUSA”
(Clements C26)

24. JOURNAL FOR THE PROTECTION OF ALL BEINGS, No. 1, 1961
“REVOLT”
(Clements C27)

25. KULCHUR, Vol. 2, No. 8, Winter 1962
mags_kulchur8“PHI UPSILON KAPPA”
(Clements C28)





26. FOOT, No. 2, 1962
mags_foot2“THE SURGE”
(Clements C29)





27. PA’LANTE, No. 1, May 1962
“FIDELIO”, “TWIGS”
(Clements C30)





28. EL CORNO EMPLUMADO, No. 3, July 1962
“DEAR JANE”, “DRUNK WRITING”
(Clements C31)





29. ORIGIN, Second Series, No. 6, edited by Cid Corman
mags_origin26Kyoto: Cid Corman, July 1962
“THE HELD BACK PAIN”
(Clements C32)




30. EVERGREEN REVIEW, Vol. 6, No. 25, Jul-Aug 1962
“DRUG NOTES”
(Clements C33)





31. FUCK YOU / A MAGAZINE OF THE ARTS, No. 4, Aug 1962
“THE MIND PAIN COMES OVER ME AND I AM BLUNKED”
(Clements C34)




32. THE NATION, Vol. 196, No. 3, Jan 1963
“THE HUMAN FACE”
(Clements C35)

33. SEMINA, 8, 1963
“GHOST TANTRA (NO. 14)”
(Clements C36)





34. THE OUTSIDER, Vol. 1, No. 3, Spring 1963
mags_outsider03“THREE MAD SONNETS”
(Clements C37)





35. POETRY, Vol. 102, No. 3,  edited by Henry Rago
Chicago: Poetry, June 1963
“THE CHILD”, “TWO MAD SONNETS”
(Clements C38)

36. ART FORUM, Vol II, No. 1, July 1963
“DOG STAR MAN”
(Clements C39)

37. CITY LIGHTS JOURNAL, No. 1, 1963
“NOTES ON A MINIATURE DRAMA”
(Clements C40)

38. NORTHWEST REVIEW, Vol. 6, No. 4, Fall 1963
“ARTAUD: PEACE CHIEF”
(Clements C41)





39. FUCK YOU / A MAGAZINE OF THE ARTS, No. 5, Vol. 4
“FUCK ESSAY”
(Clements C42)





40. NOW, 1963
mags_now“I, MICHAEL MCCLURE”, “BLACK AND YELLOW: PANSY”
(Clements C43)




41. EVERGREEN REVIEW, Vol. 8, No. 32, Apr-May 1964
“THE GROWL”
(Clements C44)

42. JOGLARS, Vol. 1, No. 1, Spring 1964
mags_joglars11“STANZA 13” from LOVE LION BOOK
(Clements C46)





43. FILM CULTURE, No. 32, Spring 1964
“DEFENSE OF JAYNE MANSFIELD”
(Clements C47)





44. GNAOUA, No. 1, Spring 1964
mags_gnaoua1“THE BEST SOUND: NINE POEMS”
(Clements C48)





45. CLEFT, Vol. 1, No. 2, May 1964
mags_cleft12“GHOST TANTRA 50”
(Clements C49)





46. KULCHUR, Vol. 4, No. 14, edited by Lita Hornick
New York: Kulchur Press, Summer 1964
“REASON”
(Clements C50)

47. IMAGO, No. 1, 1964
“THREE POEMS FROM THE BEAST SOUND”
(Clements C51)





48. FUCK YOU / A MAGAZINE OF THE ARTS, No. 5, Vol. 7, edited by Ed Sanders 
New York: Ed Sanders, Sep 1964
“AIRS FROM A FORGOTTEN BOOK”
(Clements C52)




49. NOW NOW, 1965
“LOVE LION, LIONESS”
(Clements C53)





50. DIMAS, 3, Feb 1965
“FOR ME”, “FOR A DRAWING BY BRUCE CONNER”, “ONLY SIMPLICITY”, “YOU — NEW TO ME”, “THE CONVERTIBLE”
(Clements C54)

51. THE SAN FRANCISCO KEEPER’S VOICE, Vol. 1, No. 2, Feb 1965
“GHOST TANTRA 15”
(Clements C55)





52. MY OWN MAG, No. 11, Feb 1965
“DREAM TABLES, NO. 1 & 2”
(Clements C56)





53. C, A JOURNAL OF POETRY, Vol. 1, No. 10, Feb 1965
“GHOST TANTRA #9”
(Clements C57)





54. FUCK YOU / A MAGAZINE OF THE ARTS, No. 5, Vol. 8, March 1965
“POEM CARDS”
(Clements C58)

55. FUX!, No. 1, Spring 1965
“WONDERSMITTEN! TRANCELIKE! PROFOND!”
(Clements C60)




56. SIGMA PORTFOLIO, No. 21, 1965
“REVOLT”
(Clements C61)

 

 

 

Michael McClure: Books and Broadsides

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Section A:
This index includes books and broadsides


1. McClure, Michael. PASSAGE
mcclure_passageFirst edition:
Big Sur: Jonathan Williams – Publisher, June 1956
Hand-sewn in printed wrappers, 7.25″ x 10.75″, 12 pages, 200 copies, letterpress printed by the Windhover Press. Cover by Jonathan Williams. Published as Jargon 20.
(Clements A1)

2. McClure, Michael. PEYOTE POEM
First edition:
(San Francisco): Wallace Berman, 1958.
Broadside folded and tipped into printed and  photo-illustrated folder, 9″ x 12″, (200 copies), printed by Wallace Berman. Published as Semina 3.
(Clements A2)

3. McClure, Michael. FOR ARTAUD
mcclure_forartaudFirst edition:
New York: Totem Press, June 1959
Saddle-stapled in printed and illustrated wrappers, 5.5″ x 8.5″, 12 pages, (750 copies). Published as Blue Plate #2.
(Clements A3)

4. McClure, Michael. WE’RE IN THE MIDDLE OF A DEEP CLOUD
First edition:
(San Francisco): (Wallace Berman), (1959)
Broadside, 3.5″ x 4.25″., letterpress printed by Wallace Berman. Laid into Semina 4.
(Clements C14)


5. McClure, Michael. HYMNS TO ST. GERYON AND OTHER POEMS
mcclure_hymnsFirst edition:
San Francisco: Auerhahn Press, October 1959
Perfect-bound in printed and illustrated wrappers, 7.25″ x 10″, 62 pages, (950 copies), letterpress printed by Dave Haselwood. Cover illustration by McClure.
(Clements A4, Auerhahn 4)

6. McClure, Michael. FUCK DEATH
First edition:
(San Francisco): privately printed, (1959)
Folded card, 5″ x 3.5″.
(Clements A5)
[not in archive]

7. McClure, Michael. !THE FEAST!
First edition:
San Francisco: The Batman Gallery, 1960
Side-stapled printed sheets, 8.5″ x 11″, 14 pages, mimeograph printed. A working script of the play performed at The Batman Gallery on Thursday, December 22, 1960.
(Clements A6)
[not in archive]

8. McClure. Michael. WE ARE IMPERVIOUS AS THE SKIN OF OUR DREAMS
First edition:
(Los Angeles): (Wallace Berman), (1960)
Broadside, 4″ x 6.25″, letterpress printed by Wallace Berman. Laid into Semina 5.
(Clements C17)


9. McClure, Michael. THE NEW BOOK / A BOOK OF TORTURE
First edition:
New York: Grove Press, August 1961
Perfect-bound in printed and illustrated wrappers, 64 pages, (4,000 copies). Photo of McClure on rear wrapper by Wallace Berman.
(Clements A7)

10. McClure, Michael. PILLOW
First edition:
New York: New York Poets Theatre, October 1961
Side-stapled in printed wrapper, 8.5″ x 11″, 7 pages, photocopy printed. A working script of the play produced by the New York Poets Theatre at the Off-Bowery Gallery in New York City in October and November 1961.
(Clements A8)
[not in archive]

11. McClure, Michael. SPONTANEOUS HYMN TO KUNDALINI
First edition:
(New Orleans): (Loujon Press), (Fall 1961)
Broadside, 5.75″ x 9″, letterpress printed by Jon and Louise Webb. An offprint from The Outsider, Vol. 1, No.1.


12. McClure, Michael. DARK BROWN
mcclure_darkbrowna. First edition, regular copies:
San Francisco: Auerhahn Press, Winter 1961
Perfect-bound in printed wrappers, 6″x 9″, 56 pages, 725 copies, letterpress printed by Dave Haselwood and Andrew Hoyem.
(Clements A9, Auerhahn 13)

b. First edition, numbered and signed copies:
San Francisco: Auerhahn Press, Winter 1961
Hardcover in gilt-stamped cloth-bound boards, 6″ x 9″, 56 pages, 25 numbered and signed copies, letterpress printed by Dave Haselwood and Andrew Hoyem, bound by the Schuberth Bindery.
(Clements A9, Auerhahn 13)

c. Prospectus:
San Francisco: Auerhahn Press,  (1961)
Postcard, 6″ x 3.25″, letterpress printed.
(not in Clements)

13. McClure, Michael. MEAT SCIENCE ESSAYS
First edition:
San Francisco: City Lights Books, June 1963
Perfect-bound in printed and photo-illustrated wrappers, 84 pages, (3,000 copies).  Author photo by Ettore Sotsass.
(Clements A10, Cook 41)

14. McClure, Michael. GRAHHR SHEET
First edition:
(San Francisco): privately printed, (1963)
Broadside, 6.25″ x 2″, letterpress printed.
(Clements A11)
[not in archive]

Note: according to Clements, copies were given away by the author as tickets at readings in San Francisco and at the University of California at Berkeley.

15. McClure, Michael. TWO FOR BRUCE CONNER
First edition:
(San Francisco): Oyez Press, 1964
Broadside, 12″ x 17.5″, 500 copies, letterpress printed by Dave Haselwood at the Auerhahn Press. Published as Oyez #1
(Clements A12)

16. McClure, Michael. POETRY IS A MUSCULAR PRINCIPLE
First edition:
(Los Angeles): privately printed, 1964
Broadside, 8.5″ x 5.5″. Photograph of McClure by Wallace Berman; make-up by Robert LaVigne. Beneath the photo is a statement by McClure beginning “Poetry is a muscular principle…”
(Clements A13)

17. McClure, Michael. BLUE-BLACK...
First edition:
(Los Angeles): privately printed, (Summer 1964)
Broadside, 7.5″ x 2.5″. Contains one-line poem: “BLUE-BLACK SPACE RAINBOW GRAHHR”.
(Clements A14)
[not in archive]

18. McClure, Michael. THE BLOSSOM: OR BILLY THE KID
mcclure_blossomFirst edition:
New York: American Theatre for Poets, June 1964
Side-stapled sheets in printed cover, 8.5″ x 11″, 26 pages, mimeograph printed. A working script of the play.
(Clements A15)

19. McClure, Michael. GHOST TANTRAS
a. First edition, regular copies:
San Francisco:  privately printed, 1964
Perfect-bound in printed and illustrated wrappers, 108 pages, 1480 copies, cover photo of McClure by Wallace Berman.
(Clements A16)

b. First edition, signed copies:
Hardcover in gilt-stamped cloth-bound boards in illustrated dust jacket, 109 pages, 20 signed copies, cover photo of McClure by Wallace Berman. Issued with a copy of Blue Black… laid in.
(Clements A16)
[not in archive]

20. McClure, Michael. DOUBLE MURDER! VAHROOOOOOOHR!
First edition:
(Los Angeles): (Wallace Berman), 1964
Broadside, 3″ x 4.75″, (200 copies). Contained in a small manila envelope bearing an altered photograph of Jack Ruby at the point of murdering Lee Harvey Oswald. Published as Semina 9.
(Clements A17)

21. McClure, Michael. LOVE LION, LIONESS
a. First edition, poster:
(San Francisco):  privately printed, (December 1964)
Poster, 28″ x 22″, 350 copies printed in the style of a boxing poster.
(Clements A18)
[not in archive]

b. First edition, flyer:
(San Francisco):  privately printed, (December 1964)
Flyer, 11″ x 8.5″, 70 copies printed in black in the style of a boxing poster.
(Clements A18)

c. First edition, tickets:
(San Francisco):  privately printed, (December 1964)
Tickets, 5.5″ x 2.25″, printed in the style of theater tickets for the fictitious event.
(Clements A18)

22. McClure, Michael. 13 MAD SONNETS
mcclure_13madFirst edition:
Milan: East 128, 1964
Saddle-stapled and tipped in to printed dust jacket, 8.5″ x 11″, 28 pages, 299 numbered copies (plus 16 for the author’s use). Author photo by Ettore Sotsass Jr.
(Clements A19)

23. McClure, Michael. THE BEARD
First edition:
(San Francisco):  privately printed, April 1965
Perfect-bound in printed and photo-illustrated wrappers, 8.5″ x 13″, 71 pages, 350 copies planned, 330 produced (only 75 for sale).
(Clements A20)

24. McClure, Michael. POISONED WHEAT
mcclure_poisoneda. First edition, regular copies:
(San Francisco):  (Oyez Press), April 1965
Saddle-stapled in printed and photo-illustrated wrappers, 5.75″ x 7.75″, 16 pages, 576 copies.
(Clements A21)

b. First edition, signed copies:
Hardcover in cloth-bound boards in photo-illustrated dust jacket, 5.75″ x 7.75″, 16 pages, 24 copies lettered alpha through omega and signed by the author. Bound by Dorothy Hawley.
(Clements A21)

25. McClure, Michael. UNTO CAESAR
mcclure_untoFirst edition:
(San Francisco): (Dave Haselwood), (1965)
Hand-sewn in printed and collaged wrappers, 6.5″ x 4″,  24 pages, (60 copies), letterpress printed by Dave Haselwood.
(Haselwood 1)

26. McClure, Michael. DREAM TABLE
First edition:
San Francisco: Dave Haselwood, 1965
Thirty double-sided printed and illustrated cards, 2.5″ x 3.5″, 200 sets (30 signed), letterpress printed. Each card is illustrated with a Lion and a Tree on one side and two words on the other.
(Haselwood 5)

27. McClure, Michael. LOBE KEY STILLED LIONMAN LACED WINGED APRIL RAPHAEL DANCE WIRY
First edition:
(San Francisco): (Dave Haselwood), (1966)
Twenty-four printed and illustrated cards in printed envelope, cards measure 2″ x 2″, envelope measures 4.5″ x 5.75″. Each card is printed with  four words one side and a “hallucinogram” by Bruce Conner on the other.
(Haselwood 10)

28. McClure, Michael and Bruce Conner. MANDALAS
First edition:
San Francisco: Dave Haselwood, 1966
Saddle-stapled in printed and illustrated wrappers, 10″ x 10″, 32 pages, 1200 copies. Illustrated by Bruce Conner. Printed announcement issued.
(Haselwood 11)

29. McClure, Michael. LOVE LION BOOK
a. First edition, regular copies:
San Francisco: Four Seasons Foundation, 1966
Saddle-stapled in printed wrappers, 5.5″ x 8.5″, 21 pages, 1000 copies. Published as Writing 11.

b. First edition, numbered and signed copies:
San Francisco: Four Seasons Foundation, 1966
Hardcover in printed paper-bound boards with gilt-stamped cloth backstrip, 6″ x 9″, 21 pages, 40 numbered and signed copies.
Published as Writing 11.

30. McClure, Michael. POISONED WHEAT
mcclure_poisonedFirst edition, second printing:
San Francisco:  Coyote, 1966
Saddle-stapled in illustrated wrappers. 5.75″ x 7.75″, 16 pages, 5000 copies. Distributed by City Lights Books.


31. McClure, Michael. MEAT SCIENCE ESSAYS
Second expanded edition:
San Francisco: City Lights Books, June 1966
Perfect-bound in printed and photo-illustrated wrappers, 120 pages.
(not in Cook)

Note: This expanded edition contains three essays not found in the 1963 publication: “Phi Upsilon Kappa”, “Defense of Jayne Mansfield”, and “Reason”.

32. McClure, Michael. THE BEARD
a. First Coyote edition, regular copies:
San Francisco: Coyote, 1967
Perfect-bound in printed and photo-illustrated wrappers, 82 pages,  4960 copies, cover art by Wes Wilson, introduction by Norman Mailer.
[not in archive]

b. First Coyote edition, numbered and signed copies:
Specially-bound, 82 pages,  40 numbered and signed copies, cover art by Wes Wilson, introduction by Norman Mailer.
[not in archive]

33. McClure, Michael. THE BEARD
First Grove Press edition:
New York: Grove Press/Black Cat, 1967
Perfect-bound in printed and photo-illustrated wrappers, 96 pages.

Note: two different covers were issued for this printing.

34. McClure, Michael. WAR IS DECOR IN MY CAVERN CAVE
First edition:
(San Francisco): Communication Company, (1967)
Broadside, 8.5″ x 11″, mimeograph printed.



35. McClure, Michael. THE BLOSSOM, OR BILLY THE KID
First edition:
Milwaukee: Great Lakes Books, 1967
Saddle-stapled in printed and illustrated wrappers, 32 pages, 500 numbered copies (the first 10 signed).


36. McClure, Michael. FREEWHEELIN FRANK
First edition:
New York: Grove Press, 1967
Hardcover in gilt-stamped cloth bound board in illustrated dust jacket, 7.75″ x 9.75″, 160 pages.

Note: First hand account of the Hell’s Angels as told by their secretary Frank Reynolds.

37. McClure, Michael. HAIL THEE WHO PLAY
a. First edition, regular copies:
Los Angeles: Black Sparrow Press, August 1968
Perfect-bound in printed wrappers, 233 numbered and signed copies.

b. First edition, hardcover copies:
Los Angeles: Black Sparrow Press, August 1968
Hardcover in printed paper-bound boards with cloth backstrip with printed paper label, 75 numbered and signed copies, each with an original drawing by the author.

38. McClure, Michael. LITTLE ODES: Jan – March 1961
First edition:
New York: Poets Press, 1968
Hand-sewn in printed and illustrated wrappers, 150 numbered and signed copies.

39. McClure, Michael. THE SERMONS OF JEAN HARLOW AND THE CURSES OF BILLY THE KID
a. First edition, regular copies:
San Francisco: Four Seasons Foundation with Dave Haselwood Books, 1968
Saddle-stapled in printed wrappers, 6″ x 9.25″, 24 pages, 1200 copies, letterpress printed by Dave Haselwood.
(Haselwood 17)

b. First edition, numbered and signed copies:
San Francisco: Four Seasons Foundation with Dave Haselwood Hardcover in printed paper-bound boards, 6″ x 9.25″, 24 pages, 50 copies signed.
(Haselwood 17)

40. McClure, Michael. MUSCLED APPLE SWIFT
First edition:
Los Angeles: Love Press, 1968
Hand-sewn in illustrated wrappers, 16 pages, 150 copies (63 of which are numbered and signed), cover art by George Herms.

41. McClure, Michael. GRAHHR APRIL GRHARRR APRIL
First edition:
(Buffalo): (Gallery Upstairs Press), (1968)
Broadside, 28.5″ x 21.25″, offset lithography printed.

42. McClure, Michael. GREETINGS
First edition:
London: Cape Goliard Press, 1968
Broadside, 11″ x 12″.

43. McClure, Michael. HYMNS TO ST. GERYON & DARK BROWN
a. First edition, regular copies:
London: Cape Goliard, 1969
Perfect-bound in printed wrappers.

b. First edition, hardcover copies:
London: Cape Goliard, 1969
Hardcover in gilt-stamped cloth-bound boards in illustrated dust jacket.

Note: two titles previously published by Auerhahn Press, published here dos-a-dos. Illustrated and with cover art by Wallace Berman.

44. McClure, Michael. LITTLE ODES AND THE RAPTORS
Los Angeles: Black Sparrow Press,  March 1969
— A. First edition, perfect-bound illustrated wrappers, 6.25″ x 9.25″, 43 pages, 1000 copies.
— B. First edition, hardcover in cloth with paper label, 6.75″ x 9.5″, 43 pages, 200 copies numbered and signed.
— C. First edition, hardcover in gold stamped leather, 6.75″ x 9.5″, 43 pages, 26 copies lettered and signed with each with an original drawing by the author.
Cover illustration by the author.

45. McClure, Michael. THE SURGE
Columbus, OH: Frontier Press, 1969

46. McClure, Michael. LION FIGHT
New York: Pierrepont Press, 1969
First edition, 28 cards housed in a hinged plastic box covered in a cream-colored silk drawstring bag with a white satin cord,.
— A. 330 copies numbered and signed
— B. 26 copies lettered and signed
— C. 4 hors commerce copies signed.

47. McClure, Michael. GHOST TANTRAS
San Francisco: Four Seasons Foundation, 1969
First edition thus, second printing preceded by the privately published edition from 1964, perfect-bound illustrated wrappers, 106 pages. Cover photo of McClure by Wallace Berman.

48. McClure, Michael. PLANE POMES
New York: Phoenix Book Shop, 1969
First edition, hand-sewn wrappers with printed label.
A. 100 numbered and signed copies.
B. 26 lettered and signed copies.

49. McClure, Michael. THE SHELL
London: Cape Goliard, 1969
First edition, broadside in a tube.
— A. 250 copies numbered.
— B. 50 copies numbered and signed by the author.

50. McClure, Michael. MUSCLED APPLE SWIFT
Sacramento: Runcible Spoon, 1969
First edition thus, second printing following the 1968 edition by Love Press, side-stapled illustrated wrappers, 350 copies.

51. McClure, Michael. TO JAMES B. RECTOR
San Francisco: Privately Published, 1969
First edition, broadside,
A. trade edition, total number published unknown.
B. 30 copies numbered and signed by the author.

52. McClure, Michael. LIBERATION
Oakland: Mills College Tape Music Center, 1969
First edition, broadside, issued in a large bag labeled “Free,” along with 8 broadsides by other contributors.

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
wieners_wentley1
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
wieners_wentley2
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
lamantia_ekstasisFirst 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…
mcclure_hymnsFirst 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
lamantia_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
whalen_memoirsa. 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
lew_wobblyFirst 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
burroughs_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
marshall_hellanFirst 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
mcclure_darkbrowna. 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
olson_maximusFirst 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
auerhahn_catalogueFirst 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
lamantia_destroyeda. 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…
meltzer_weFirst 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 &
williams_englandsFirst 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
spicer_headsa. 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
hoyem_wakeba. 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
diprima_newa. 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
antoninus_poetFirst 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
deemer_poemsba. 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
davis_janusFirst 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
olson_humanFirst 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)

David Meltzer

beatphotolg
Wallace Berman, Papa’s Got a Brand New Bag, 1964. Mixed-media collage

 

 

David Meltzer was born in Rochester, New York, and raised in Brooklyn. He began his literary career during the San Francisco Beat and Berkeley Renaissance period in California, and his work was included in the anthology, The New American Poetry 1945-1960. At the age of 20 he recorded his poetry with jazz musicians in Los Angeles and also became a singer-songwriter and guitarist for several bands during the 1960s, including The Serpent Power. He is the author of over 40 volumes of poetry, and has also published fiction and essays, and has edited numerous anthologies and collections of interviews.

Meltzer taught in the humanities and poetics programs at the New College of California in San Francisco for 30 years. In 2008, he received the Foundation for Contemporary Arts Grants to Artists Award. He was also given the Bay Area Guardian’s Lifetime Achievement Award, and in 2012 was nominated for the Northern California Book Award in Poetry.

Diane di Prima has said, “David Meltzer is a hidden adept, one of the secret treasures on our planet. Great poet, musician, comic; mystic unsurpassed, performer with few peers.”


A. Books and Broadsides

1. Meltzer, David. POEMS
First edition:
San Francisco: Donald & Alice Shenker, [1957]
Side-stapled sheets in printed wrappers with library tape binding, 25 copies, offprint of David Meltzer / Donald Shenker book comprising only the Meltzer section and with a variant cover omitting Shenker’s name and a revised colophon.

2. Meltzer, David. RAGAS
First edition:
San Francisco: Discovery Books, 1959
Saddle-stapled printed wrappers, 52 pages, (1500 copies). Cover design by Peter LeBlanc.

3. Meltzer, David. THE CLOWN
First edition:
Larkspur: Semina, 1960
Printed sheets laid into printed folder, 335 copies. Letterpress printed by Wallace Berman.

4. Meltzer, David. WE ALL HAVE SOMETHING TO SAY TO EACHOTHER
First edition:
San Francisco: Auerhahn Press, 1962
Saddle-stapled illustrated wrappers, 6.25″ x 8.5″, 12 pages, 750 copies. Published as Auerhahn Pamphlet No. 2. Letterpress printed by Dave Haselwood. (Auerhahn 19)

5. Meltzer, David. BAZASCOPE MOTHER
First edition:
Los Angeles: Drekfesser Press, [1964]
Single sheet folded once to make four pages, 5.5″ x 8.5″, 250 copies. Cover collage by I.E. Alexander, rear photograph by Zack Walsh.

6. Meltzer, David. STATION
First edition:
San Francisco: San Francisco Arts Festival Commission, 1964
Broadside, 13″ x 20″, 300 copies. Illustrated by Peter Bailey. Printed by East Wind Printers.

7. Meltzer, David. THE BLACKEST ROSE
First edition:
Berkeley: Oyez, 1964
First edition, broadside, 11″ x 17.5″, 350 copies, letterpress printed by Dave Haselwood at his Auerhahn Press and published as Oyez 6.

8. Meltzer, David. THE PROCESS
a. First edition, regular copies:
Berkeley: Oyez, 1965
Saddle-stapled illustrated french-fold wrappers, 44 pages, 500 copies, the first Oyez book designed by Dave Haselwood and printed by Graham Mackintosh. Cover illustration by  Peter LeBlanc.

b. First edition, numbered and signed copies:
Berkeley: Oyez, 1965
Hardcover in cloth-bound boards with illustrated dust jacket, 44 pages, 25 numbered and signed copies, the first Oyez book designed by Dave Haselwood and printed by Graham Mackintosh. Cover illustration by  Peter LeBlanc.

9. Meltzer, David. THE DARK CONTINENT
a. First edition,  regular copies:
Berkeley: Oyez, 1967
Perfect-bound in illustrated and printed wrappers, 94 pages, 1000 copies printed by Graham Mackintosh. Cover design by Peter LeBlanc.

b. First edition, lettered and signed copies:
Berkeley: Oyez, 1967
Hardcover in cloth-bound boards without dust jacket as issued, 94 pages, 26 lettered and signed copies printed by Graham Mackintosh

10. Meltzer, David. ROUND THE POEM BOX
a. First edition, regular copies:
Los Angeles: Black Sparrow, 1969
Perfect-bound in printed wrappers, 8.5″ x 5.5″, 32 pages, 300 copies. Illustrated by David Meltzer. (Morrow & Cooney 60a)

b. First edition, numbered and signed copies:
Los Angeles: Black Sparrow, 1969
Hardcover in cloth-bound boards with printed paper label in acetate dust jacket as issued, 32 pages, 125 numbered and signed copies. Illustrated by David Meltzer. (Morrow & Cooney 60b)

c. First edition, lettered and signed copies:
Los Angeles: Black Sparrow, 1969
Hardcover in leather-bound boards in acetate dust jacket as issued, 32 pages, 26 lettered and signed copies. Illustrated by David Meltzer. (Morrow & Cooney 60c)

11. Meltzer, David. YESOD
a. First edition, regular copies:
London: Trigram Press, 1969
Perfect-bound in printed wrappers, 61 pages. Illustrated by David Meltzer.

b. First edition, numbered and signed copies:
London: Trigram Press, 1969
Hardcover in cloth-bound boards with foil-stamping in acetate dust jacket as issued, 61 pages, 100 numbered and signed copies. Illustrated by David Meltzer.

12. Meltzer, David. GREENSPEECH
a. First edition, regular copies:
Goleta: Christopher Books, 1970
Saddle-stapled in printed wrappers, 16 pages.

b. First edition, numbered and signed copies:
Goleta: Christopher Books, 1970
Hardcover bound in printed paper-covered boards , 16 pages, 50 numbered and signed copies.

13. Meltzer, David. LUNA
a. First edition, regular copies:
Los Angeles: Black Sparrow Press, July 1970
Perfect-bound in illustrated wrappers, 82 pages, 1000 copies printed by Noel Young. Cover illustration by Wallace Berman. (Morrow & Cooney 88a)

b. First edition, numbered and signed copies:
Los Angeles: Black Sparrow Press, July 1970
Hardcover bound in printed paper-covered boards in acetate dust jacket as issued , 16 pages, 200 numbered and signed copies printed by Noel Young. Cover illustration by Wallace Berman. (Morrow & Cooney 88b)

c. First edition, lettered and signed copies:
Los Angeles: Black Sparrow Press, July 1970
Hardcover bound in printed paper-covered boards in acetate dust jacket as issued, 16 pages, 26 lettered and signed copies printed by Noel Young. Frontispiece illustration by David Meltzer. Cover illustration by Wallace Berman. (Morrow & Cooney 88c)

14. Meltzer, David. HERO/LIL
a. First edition, regular copies:
Los Angeles: Black Sparrow: Black Sparrow, 1973

b. First edition, numbered and signed copies:
Los Angeles: Black Sparrow: Black Sparrow, 1973
Hardcover bound in printed paper-covered boards in acetate dust jacket as issued, 175 numbered and signed copies.

c. First edition, lettered and signed copies:
Los Angeles: Black Sparrow: Black Sparrow, 1973
Hardcover bound in printed paper-covered boards in acetate dust jacket and slipcase as issued, 26 lettered and signed copies. Original illustration by David Meltzer bound in.

15. Meltzer, David. BARK, A POLEMIC
a. First edition, regular copies:
Santa Barbara: Capra Press, February 1973
Perfect-bound in printed wrappers, 42 pages, 75 numbered and signed copies. Published as Yes! Capra Chapbook Number 6.

b. First edition, numbered and signed copies:
Santa Barbara: Capra Press, February 1973
Hardcover bound in printed paper-covered boards, 42 pages, 75 numbered and signed copies. Published as Yes! Capra Chapbook Number 6.

16. Meltzer, David. THE EYES, THE BLOOD
San Francisco: Mudra, 1973
Hand-sewn plain white wrappers in printed dust jacket, 20 pages, 500 copies printed at the Cranium Press.

17. Meltzer, David. BLUE RAGS
Berkeley: Oyez, 1974

18. Meltzer, David. HARPS
Berkeley: Oyez, 1975

19. Meltzer, David. SIX
Santa Barbara: Black Sparrow, 1976

20. Meltzer, David. TWO-WAY MIRROR
Berkeley: Oyez, 1977

21. Meltzer, David. ARROWS: SELECTED POETRY, 1957-1992
Santa Rosa: Black Sparrow Press, 1994

22. Meltzer, David. NO EYES: LESTER YOUNG
Santa Rosa: Black Sparrow, 2000

23. Meltzer, David. DAVID’S COPY
New York: Penguin Group Press, 2005

24. Meltzer, David. WHEN I WAS A POET
San Francisco: City Lights, June 2011


B. Contributions to Periodicals

1. PENINSULA
Gainesville: University of Florida, 1956
“4 July”

2. SEMINA, No. 1
Los Angeles: Wallace Berman, 1956
“An Unpublished Letter to Some Lost Relatives”

3. DAZZLE
San Francisco: Playgirl Publishing, 1957
“Kick Me Deadly”

4. SEMINA, No. 2
San Francisco: Wallace Berman, 1957
“Upon a Time”

5. SEMINA, No. 4
San Francisco: Wallace Berman, 1959
“Sampson Agonistes”

6. SPREE, Vol. 1, No. 7
Los Angeles: New Publishing Company, 1959
“Judgement Day”

7. PENNY POEMS, No. 27
New Haven: Penny Poems, 1959
“24th Raga/ For Tina”


References Consulted:

Bohn, Dave. OYEZ: THE AUTHORIZED CHECKLIST
Berkeley: n.p., 1997

Johnston, Alastair. A BIBLIOGRAPHY OF THE AUERHAHN PRESS & ITS SUCCESSOR DAVE HASELWOOD BOOKS
Berkeley: Poltroon Press, 1976

Morrow, Bradford and Seamus Cooney. A BIBLIOGRAPHY OF THE BLACK SPARROW PRESS, 1966-1978
Santa Barbara: Black Sparrow Press, 1981

Wallace Berman – Posters and Prints

>> return to WALLACE BERMAN main page >>

This index collects posters and prints reproducing Berman’s photographs and verifax images


Berman, Wallace. GEORGE HERMS EXHIBITION
georgehermsSan Francisco: Batman Gallery, 1961
First edition, poster, 20″x 15″, offset printed in red and black on beige stock, designed by Wallace Berman announcing an exhibition of works by George Herms at the Batman Gallery in San Francisco, This is Berman’s first poster.

Berman, Wallace. LOVEWEED
loveweedn.p.: Wallace Berman, 1963
First edition, poster, 14.5″ x 10″, offset printed in black and gray-scale, designed by Wallace Berman.



Berman, Wallace. CMN / DENOMINATOR MIC.W736
cmndenominatorLos Angeles: Wallace Berman, 1967
First edition, poster, 17″x21″, offset printed in black and yellow, designed by Wallace Berman.




Berman, Wallace. RETARD PARA. 33. SEC. 12. MM
retardparaLos Angeles: privately printed, 1967
First edition, poster, 17″ x 21″, offset printed in black and yellow, designed by Wallace Berman.




Berman, Wallace. POETRY IS A MUSCULAR PRINCIPLE
Los Angeles: Wallace Berman, 1966
First edition, broadside, 5.5″ x 8.5″, text by Michael McClure and photograph of McClure by Wallace Berman.

Berman, Wallace. OPT. 82. BOOSTER BNG. ANGUINEA/Y
opt82Los Angeles: Black Sparrow Press, 1967
First edition, poster, 25″ x 22″, 385 numbered copies (100 signed by Berman), offset printed in black, red and orange.
[Publishers printed announcement reproduces image]

Berman, Wallace. MICHAEL MCCLURE’S THE BEARD
beardLos Angeles: Warner Playhouse, 1968
First edition, poster, 8.5″ x 14.5″, offset printed in red and gray-scale. Poster for the 1968 Los Angeles premiere of McClure’s play, after the productions had been shut down in New York and San Francisco. Poster designed and with a photo by Wallace Berman.

Berman, Wallace. RADIO/AETHER SERIES
radioLos Angeles: Gemini G.E.L., 1974
First edition, 50 copies plus 10 artist’s proofs, printed cloth-covered box containing 13 2-color mounted lithographs [photographed from original verifax] and a signed title page/colophon. Each lithograph measures 12″x13″ and reproduces a grid of four of Berman’s iconic hand-held radios with different images in each.

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

 —

Michael McClure

Photograph of McClure by Wallace Berman taken in 1964; make-up by Robert LaVigne. Beneath the photo is a statement by McClure beginning “Poetry is a muscular principle…”

Since his literary debut at the Six Gallery reading, Michael McClure has been one of the most enduring and influential writers of the Beat movement. As one of five poets who began his career on that night in 1955, he shares a long and rich history with Allen Ginsberg, Philip Whalen, Lawrence Ferlinghetti, Gary Snyder, Philip Lamantia, and many other writers of San Francisco’s Beat period. As one of the youngest members of the Beat circle, McClure played an important role as a bridge between writers and artists of the Beat movement and the region’s youth counterculture of the 1960s and has been a close friend and collaborator with figures such as Jim Morrison, Richard Brautigan, Bob Dylan, and Janis Joplin.


Michael McClure checklist:

Section A: Books and Broadsides
Section B: Contributions to Books and Anthologies
Section C: Contributions to Periodicals


McClure was born October 20, 1932, in Marysville, Kansas. He began his university education in 1951 at the University of Wichita and later transferred to the University of Arizona before moving to San Francisco where he enrolled in a writing workshop with poet Robert Duncan at San Francisco State University. Through his friendship with Duncan and later with poet Kenneth Rexroth, he began to find his place in the city’s literary community in the early 1950s.

In fall 1955 McClure took part in the now famous Six Gallery reading — the foundation of what would soon be called the San Francisco Poetry Renaissance. Here, in his first public reading, McClure, along with Lamantia, Snyder, Whalen, and Ginsberg helped to launch the Beat movement, and his presence at the event helped to instill in the fledgling movement his lifelong fascination with the natural world.

In the months following the Six Gallery reading, McClure began in earnest to publish his work. In 1956 his first small collection of poems PASSAGE, was published by Jonathan Williams (Jargon). Other collections soon followed, including McClure’s first major collection, HYMNS TO ST. GERYON AND OTHER POEMS (Auerhahn Press, 1958), THE NEW BOOK / A BOOK OF TORTURE (Grove Press, 1961), his powerfully erotic long poem DARK BROWN (Auerhahn Press, 1961), the wildly experimental “beast language” poems contained in GHOST TANTRAS (1964), and his vitriolic condemnation of the Vietnam War, POISONED WHEAT (Oyez, 1965). During these early years, McClure also took an active role in seeing that the words and ideas of other writers of the Beat movement and the Black Mountain School made it into print; he co-edited two influential literary journals of the period: ARK II / MOBY I and JOURNAL FOR THE PROTECTION OF ALL BEINGS.

— Encyclopedia of Beat Literature


References consulted:

Clements, Marshall. A CATALOG OF WORKS BY MICHAEL MCCLURE, 1956-1965
New York: The Phoenix Book Shop, 1965

Cook, Ralph T. CITY LIGHTS BOOKS: A DESCRIPTIVE BIBLIOGRAPHY
Metuchen: Scarecrow Press, 1992

Cooney, Seamus. THE BLACK SPARROW PRESS, A CHECKLIST
Los Angeles: Black Sparrow Press, 1971

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


Online resources:

Empty Mirror  Books – bibliography

Light and Dust – biography and bibliography

Michael McClure – official site

Penn Sound – audio

Poetry Foundation – biography

Wallace Berman – Solo and Select Group Exhibitions

>> return to WALLACE BERMAN main page >>

This index collects solo and select group exhibitions; gallery, dates, location, catalog, and ephemera information provided, when available…


1957

Wallace Berman / Exhibition
June 8 – July 9, 1957
Ferus Gallery, Los Angeles
poster (pictured)




1965

Studio exhibition of Verifax Collages
Los Angeles
Curated by Wallace Berman


1967

Exhibition of Verifax Collages
Topanga Community House, Topanga
Curated by Wallace Berman


1968

Wallace Berman: Verifax Collages
September 17 – November 17, 1968
The Jewish Museum, New York City
Curated by Kynaston McSchine
no catalog

berman_lacmaWallace Berman
April 30 – June 2, 1968
Los Angeles County Museum of Art, Los Angeles
brochure (pictured)




1969

Exhibition / Wallace Berman
December 14, 1969
Topanga
Curated by Wallace Berman
no catalog; postcard (pictured)


1973

Exhibition / Wallace Berman
June 9, 1973
Mermaid Tavern, Topanga
Curated by Wallace Berman
no catalog; flyer (pictured)



1974

berman_radioRadio Aether Series
Gemini G.E.L., Los Angeles
Portfolio of prints published; brochure (pictured)




1977

Wallace Berman
July – August, 1977
Timothea Stewart Gallery, Los Angeles
catalog (pictured)




1978

berman_whitneyWallace Berman
January 18 – March 5, 1978
Whitney Museum of American Art, New York City
brochure (pictured)


berman_retrospectiveWallace Berman Retrospective
October 24 – November 26, 1978
Otis Art Institute, Los Angeles
catalog (pictured); postcard




1979

Wallace Berman / Gallery Exhibition
April 11 – May 10, 1979
L.A. Louver, Los Angeles
no catalog

Work by Wallace Berman / Art is Love is God
June 26 – July 14, 1979
L.A. Louver, Los Angeles
no catalog

Wallace Berman / Retrospective Exhibition
September 21 – November 1979
University Art Museum, Berkeley
no catalog; postcard (pictured)


1982

Wallace Berman
March 4 – 27, 1982
Charles Cowles Gallery, New York City
no catalog; brochure (pictured)




1985

Selections from the Diana Zlotnick Collection
March 19 – April 27, 1985
Fisher Gallery, Los Angeles
Curated by Stella Paul
brochure (pictured)


Past Presence / Contemporary Sources
March 30 – May 9, 1985
College of Notre Dame Art Gallery, Belmont
brochure (pictured)




1988

Wallace Berman / Works from the Estate
January 9 – January 30, 1988
L.A. Louver Gallery, Venice
no catalog; brochure (pictured)



Different Drummers
May 12 – August 14, 1988
Hirshhorn Museum and Sculpture Garden, Washington D.C.
catalog (pictured)


Assemblage
October 8 – November 13, 1988
Herron Gallery, Indianapolis
flyer (pictured)



1990

Wallace Berman, A Gesture Involving Verifax Collage, Photographs, Text and Sculpture
October 13 – November 10, 1990
Louver Gallery, New York City
no catalog; brochure (pictured)



1992

Overlay
March 21 – April 18, 1992
Louver Gallery, New York City
postcard (pictured)



Poem Makers: Wallace Berman, George Herms, and Jess
June 5 – July 12, 1992
L.A. Louver Gallery, Los Angeles
catalog [Semina facsimile]; brochure  (pictured)


Wallace Berman
December 31, 1992 – February 7, 1993
The Institute of Contemporary Art, Amsterdam
catalog (pictured)




1997

Sunshine and Noir: Art in Los Angeles 1960 – 1997
Louisiana Museum of Modern Art, Humlebaek
May 16-September 7, 1997
catalog (pictured)



1999

berman_arrangedArranged Marriage
October 28 – December 10, 1999
Roth Horowitz, New York City
catalog (pictured)


Group Show / Wallace Berman and Jeff Koons, Allan McCollum, Al Ruppersberg, Andy Warhol
October 29 – December 18, 1999
Nicole Klagsbrun, New York City
no catalog; brochure (pictured)



2000

“Art Is Love Is God”, une introduction, 1957 – 1976
June 17 – September 17, 2000
le Musée d’Art Moderne et Contemporain, Geneva
no catalog


2005

Aleph – A Film by Wallace Berman
January 04 – March 06, 2005
The Jewish Museum, New York City
no catalog

Assemblage and Collage in California in the 1960s
June 16 – August 31, 2005
871 Fine Arts, San Francisco
Curated by Adrienne Fish
catalog; postcard (pictured)

Wallace Berman
September 10 – October 15, 2005
Patricia Faure Gallery, Los Angeles
no catalog; flyer (pictured)




2006

Wallace Berman
September 6 – October 28, 2006
871 Fine Arts, San Francisco
Curated by Adrienne Fish
postcard (pictured)


2007

Wallace Berman – Photographs and Other Works
November 30, 2007- January 19, 2008
Michael Kohn Gallery, Los Angeles
no catalog


2008

All is Personal: the Art of Wallace Berman
September 26 – November 23, 2008
Camden Art Center, London
catalog (pictured)




2009

Verifax Collages
January 10 – March 10, 2009
Galerie Frank Elbaz, Paris
Curated by Sophie Dannenmüller
catalog (pictured)


berman_kohnShe – Wallace Berman and Richard Prince
January 15 – March 7, 2009
Michael Kohn Gallery, Los Angeles
Curated by Kristine McKenna
catalog; brochure (pictured)


2010

Bebop Kabbalah
October 30 – December 24, 2010
Galerie Frank Elbaz, Paris
Curated by Sophie Dannenmüller
catalog (pictured)


Verifax
June 11 – July 24, 2010
Anne Mosseri-Mario Galerie, Zurich
no catalog

Wallace Berman
November 6 – January 9, 2010
Nicole Klagsbrun Gallery, New York City
catalog (pictured)




2011

The Ephemeral World of Wallace Berman and Circle
February 1 – April 25, 2011
871 Fine Arts, San Francisco
Curated by Adrienne Fish
postcard (pictured)


Speaking in Tongues : The Art of Wallace Berman and Robert Heinecken
October 2, 2011 – January 22, 2012
Armory Center for the Arts, Pasadena
catalog; postcard (pictured)


2013

Into the Mystic
November 17, 2012 – January 26, 2013
Kohn Gallery, Los Angeles
no catalog


2016

Wallace Berman American Aleph
May 6 – June 25, 2016
Kohn Gallery, Los Angeles
catalog (pictured)




2018

Wallace Berman – Visual Music
September 8 – October 11, 2018
Galerie Frank Elbaz, Paris
catalog (pictured)




2019

Dilexi Gallery The Early Years
June 8 – August 3, 2019
Brian Gross Fine Art, San Francisco