Download PDF Catalogue
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
Press Release WIDMER+THEODORIDIS
Zurich, October 16, 2007 Press Release IRA COHEN WIDMER+THEODORIDIS contemporary is pleased to announce the first HAUTNAH / Swiss individual exhibition by the New York artist Ira Cohen. A selection of UP CLOSE & PERSONAL his photographic work from the series ‘Hautnah / Up Close & Personal’ will October 26 - December 22, 2007 be on display. Opening Reception The exhibition has been arranged in connection with the eponymous new book Thursday, October 25, 2007 7pm by Ira Cohen to be published in the spring of 2008 by the Papageien-Verlag, Zurich. The editors are Florian Vetsch and Michael Pfister. Florian Vetsch and mischa vetere, editors of the book, will speak Ira Cohen is an enigmatic artistic figure who has worked in a variety of at the opening reception. experimental ways. In the 60’s he published the magazine ‘GNAOUA’ in which he presented artists like Brion Gysin and William S. Burroughs. Jimi Hendrix and other artists were portrayed in his ‘Mylar Images’ and he created many record covers. Shamanistic and tantric experiences were technically and conceptually integrated into his photographic work and his work as a poet, musician and filmmaker began at the latest in the 70’s. A work by Ira Cohen was recently presented at the Art Basel 38 / Kunst+Film by John Armleder. In 1970 Cohen moved to Kathmandu where he lived for ten years and build up an artist’s colony. He returned to New York in 1980 where he still lives and works today. In ‘Hautnah / Up Close & Personal’ Cohen leads us into his private world. Friends, relatives, musicians and stars are presented in uninhibited yet apparently natural positions. -
Radio Transmission Electricity and Surrealist Art in 1950S and '60S San
Journal of Surrealism and the Americas 9:1 (2016), 40-61 40 Radio Transmission Electricity and Surrealist Art in 1950s and ‘60s San Francisco R. Bruce Elder Ryerson University Among the most erudite of the San Francisco Renaissance writers was the poet and Zen Buddhist priest Philip Whalen (1923–2002). In “‘Goldberry is Waiting’; Or, P.W., His Magic Education As A Poet,” Whalen remarks, I saw that poetry didn’t belong to me, it wasn’t my province; it was older and larger and more powerful than I, and it would exist beyond my life-span. And it was, in turn, only one of the means of communicating with those worlds of imagination and vision and magical and religious knowledge which all painters and musicians and inventors and saints and shamans and lunatics and yogis and dope fiends and novelists heard and saw and ‘tuned in’ on. Poetry was not a communication from ME to ALL THOSE OTHERS, but from the invisible magical worlds to me . everybody else, ALL THOSE OTHERS.1 The manner of writing is familiar: it is peculiar to the San Francisco Renaissance, but the ideas expounded are common enough: that art mediates between a higher realm of pure spirituality and consensus reality is a hallmark of theopoetics of any stripe. Likewise, Whalen’s claim that art conveys a magical and religious experience that “all painters and musicians and inventors and saints and shamans and lunatics and yogis and dope fiends and novelists . ‘turned in’ on” is characteristic of the San Francisco Renaissance in its rhetorical manner, but in its substance the assertion could have been made by vanguard artists of diverse allegiances (a fact that suggests much about the prevalence of theopoetics in oppositional poetics). -
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies At
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies at 101 An unapologetic proponent of “poetry as insurgent art,” he was also a publisher and the owner of the celebrated San Francisco bookstore City Lights. By Jesse McKinley Feb. 23, 2021 Lawrence Ferlinghetti, a poet, publisher and political iconoclast who inspired and nurtured generations of San Francisco artists and writers from City Lights, his famed bookstore, died on Monday at his home in San Francisco. He was 101. The cause was interstitial lung disease, his daughter, Julie Sasser, said. The spiritual godfather of the Beat movement, Mr. Ferlinghetti made his home base in the modest independent book haven now formally known as City Lights Booksellers & Publishers. A self-described “literary meeting place” founded in 1953 and located on the border of the city’s sometimes swank, sometimes seedy North Beach neighborhood, City Lights, on Columbus Avenue, soon became as much a part of the San Francisco scene as the Golden Gate Bridge or Fisherman’s Wharf. (The city’s board of supervisors designated it a historic landmark in 2001.) While older and not a practitioner of their freewheeling personal style, Mr. Ferlinghetti befriended, published and championed many of the major Beat poets, among them Allen Ginsberg, Gregory Corso and Michael McClure, who died in May. His connection to their work was exemplified — and cemented — in 1956 with his publication of Ginsberg’s most famous poem, the ribald and revolutionary “Howl,” an act that led to Mr. Ferlinghetti’s arrest on charges of “willfully and lewdly” printing “indecent writings.” In a significant First Amendment decision, he was acquitted, and “Howl” became one of the 20th century’s best-known poems. -
5 Remembering Ci Corno Emplumado the Plumed Horn
REMEMBERING EL CORNO EMPLUMADO / THE PLUMED HORN Sergio Mondragón translated with additional commentary by Margaret Randall a m o n g t h e n e i g h b o r s 5 The Poetry Collection of the University Libraries, University at Buffalo, The State University of New York Buffalo, New York 2018 among the neighbors _________________________________________________________________ a pamphlet series for the study of Little Magazines The Poetry Collection of the University Libraries, University at Buffalo Edric Mesmer, series editor [email protected] This series is supported by The Mildred Lockwood Lacey Fund for Poetry Remembrance © Sergio Mondragón Translation and additional commentary © Margaret Randall Interview questions © Edric Mesmer cover design by Patrick Riedy and Edric Mesmer Remembering El Corno Emplumado /The Plumed Horn Sergio Mondragón delivered January 16, 2015, at Centro Cultural Tlatelolco translation by Margaret Randall El Corno Emplumado’s editorial adventure began for me almost casually toward the end of 1961. I was finishing up my journalism studies and doing some reporting for the Mexican magazine Revista de América. It was October, and I’d just interviewed the painter David Alfaro Siqueiros in prison; he was a political prisoner at the time. Among much else, I’d asked him about his relationship with the U.S. painter Jackson Pollock, and the supposed influence the Mexican muralists had on that school of which Pollack was a pioneer, the school that in the United States would later be known as “action painting.” I was immersed in writing and researching that interview, when my classmate at the school of journalism, the poet Homero Aridjis—who had just published his first book—invited me to meet the “beat” poet from San Francisco, California, Philip Lamantia. -
William Carlos Williams' Indian Son(G)
The News from That Strange, Far Away Land: William Carlos Williams’ Indian Son(g) Graziano Krätli YALE UNIVERSITY 1. In his later years, William Carlos Williams entertained a long epistolary relationship with the Indian poet Srinivas Rayaprol (1925-98), one of a handful who contributed to the modernization of Indian poetry in English in the first few decades after the independence from British rule. The two met only once or twice, but their correspondence, started in the fall of 1949, when Rayaprol was a graduate student at Stanford University, continued long after his return to India, ending only a few years before Williams’ passing. Although Williams had many correspondents in his life, most of them more important and better known literary figures than Rayaprol, the young Indian from the southeastern state of Andhra Pradesh was one of the very few non-Americans and the only one from a postcolonial country with a long and glorious literary tradition of its own. More important, perhaps, their correspondence occurred in a decade – the 1950s – in which a younger generation of Indian poets writing in English was assimilating the lessons of Anglo-American Modernism while increasingly turning their attention away from Britain to America. Rayaprol, doubly advantaged by virtue of “being there” (i.e., in the Bay Area at the beginning of the San Francisco Renaissance) and by his mentoring relationship with Williams, was one of the very first to imbibe the new poetic idiom from its sources, and also one of the most persistent in trying to keep those sources alive and meaningful, to him if not to his fellow poets in India. -
Dana Young Archive Featuring Brion Gysin, Charles Henri Ford, Ira Cohen, Ray Johnson, David Rattray, Harold Norse, and the Bardo Matrix
Dana Young Archive Featuring Brion Gysin, Charles Henri Ford, Ira Cohen, Ray Johnson, David Rattray, Harold Norse, and the Bardo Matrix. [top] A portrait of Dana Young in front of an altar of candles, Kathmandu (date and photographer unknown). [bottom] Detail of Dana Young cover for Ira Cohen’s Poem for La Malinche (Bardo Matrix, ca. 1974) and [right] Dana Young print of Ira Cohen, “The Master & the Owl,” (date unknown). Dana Young (ca. 1948–1979) Dana Young was an essential member of the Kathmandu psychedelic expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s. His poetry and shamanic art blended Eastern spiritual imagery with American pop and consumer culture. He was an active member of the Bardo Matrix collective and is best known for his book Opium Elementals (Bardo Matrix, 1976) that features his beautiful woodblock prints along with two poems by Ira Cohen. He contributed to several other Bardo Matrix publications including Cohen’s Blue Oracle broadside (1975), the frontispiece to Paul Bowles’ Next to Nothing (1976), and Ira Cohen and Roberto Francisco Valenza’s Spirit Catcher! broadside (1976). His artwork also appears in publications such as Montana Gothic (1974) and Ins and Outs (1978). Dana designed the logo (included in the archive) for John Chick’s Rose Mushroom club located at the end of Jhochhen Tole, known as “Freak Street,” in Kathmandu. Most recently, one of Dana Young’s wood block prints was featured on the album cover of the recent release of Angus MacLise's Dreamweapon II. Materials in the present collection comprise the archive of Dana Young supplemented with letters, photographs, and assorted items from the Ira Cohen archive via Richard Aaron, Am Here Books. -
The Impact of Allen Ginsberg's Howl on American Counterculture
CORE Metadata, citation and similar papers at core.ac.uk Provided by Croatian Digital Thesis Repository UNIVERSITY OF RIJEKA FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF ENGLISH Vlatka Makovec The Impact of Allen Ginsberg’s Howl on American Counterculture Representatives: Bob Dylan and Patti Smith Submitted in partial fulfillment of the requirement for the M.A.in English Language and Literature and Italian language and literature at the University of Rijeka Supervisor: Sintija Čuljat, PhD Co-supervisor: Carlo Martinez, PhD Rijeka, July 2017 ABSTRACT This thesis sets out to explore the influence exerted by Allen Ginsberg’s poem Howl on the poetics of Bob Dylan and Patti Smith. In particular, it will elaborate how some elements of Howl, be it the form or the theme, can be found in lyrics of Bob Dylan’s and Patti Smith’s songs. Along with Jack Kerouac’s On the Road and William Seward Burroughs’ Naked Lunch, Ginsberg’s poem is considered as one of the seminal texts of the Beat generation. Their works exemplify the same traits, such as the rejection of the standard narrative values and materialism, explicit descriptions of the human condition, the pursuit of happiness and peace through the use of drugs, sexual liberation and the study of Eastern religions. All the aforementioned works were clearly ahead of their time which got them labeled as inappropriate. Moreover, after their publications, Naked Lunch and Howl had to stand trials because they were deemed obscene. Like most of the works written by the beat writers, with its descriptions Howl was pushing the boundaries of freedom of expression and paved the path to its successors who continued to explore the themes elaborated in Howl. -
Religion and Spirituality in the Work of the Beat Generation
DOCTORAL THESIS Irrational Doorways: Religion and Spirituality in the Work of the Beat Generation Reynolds, Loni Sophia Award date: 2011 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 Irrational Doorways: Religion and Spirituality in the Work of the Beat Generation by Loni Sophia Reynolds BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of English and Creative Writing University of Roehampton 2011 Reynolds i ABSTRACT My thesis explores the role of religion and spirituality in the work of the Beat Generation, a mid-twentieth century American literary movement. I focus on four major Beat authors: William S. Burroughs, Allen Ginsberg, Jack Kerouac, and Gregory Corso. Through a close reading of their work, I identify the major religious and spiritual attitudes that shape their texts. All four authors’ religious and spiritual beliefs form a challenge to the Modern Western worldview of rationality, embracing systems of belief which allow for experiences that cannot be empirically explained. -
1 Playing Around at Being a Poet Sinclair Beiles And
Playing Around at Being a Poet Sinclair Beiles and the Problem of Context Shortly after the death of Sinclair Beiles, Alan Finlay writes in his editorial for the online poetry journal donga : Beiles pissed a lot of people off and lived that archetypal bohemian existence – both tragedy and farce – that would have already made it into American biography. Perhaps his output of quality was limited. Perhaps not. A definitive Beiles biography and review of his work has yet to be written. (Finlay, 2001: 1) He also notes that “what fascinates me most about Beiles is how – if at all – we are going to contextualise him in the South African poetry landscape(s)” (2001: 1). The problem of context shadows Beiles and his poetry, not only in South Africa but elsewhere as well. One might begin to examine it by attempting to situate his life in relation to a social and historical background. Beiles grew up in Johannesburg, where his parents moved from Uganda when he was a child. He studied at Wits University, completing a BA with anthropology as his major. Shortly afterwards, he travelled to Europe. Various reasons have been suggested for this, mostly by Beiles himself, including a scandalous affair which embarrassed his family, and trouble caused by something he wrote about the Dutch Reformed Church. Either way, Europe was not an unusual destination for a young man interested in poetry at that time. When Beiles left South Africa in 1953 he was 23 years old; his first anthology, Ashes of Experience, was published in 1969. The years in between were formative to Beiles’s writing. -
Prrb-Issue04.Pdf
the Pacific Rim PRRB Review of Books Issue Four, Fall 2006 Publication Mail Agreement Number 4123503 ISSN 1715-3700 $4.00 Special Edition Soul Poet: Joseph Blake on Sam Cooke Remembering Cid Corman, Part 2 by Gregory Dunne Diplomat Reg Little on The World of Blood and Oil: The New World at war Andrew Schelling goes Over the River Why Olson Matters by Peter Grant Cohen’s Recursive Longing Translator Red Pine on Dancing with the Dead In Formless apis teicher On circumstance... the crystal prose of katherine govier Trevor Carolan on Leonard Cohen Tangier Renegade: Ira Cohen interviews Rumi: Encountering paul Bowles a remarkable man Linda Rogers On by Hussein Samet Dede Crane and Patricia Young BOOK OF LONGING Book of Longing Trevor Carolan Leonard Cohen, M & S. 232 pp. $32.99 All busy in the sunlight / The flecks did float and dance / graphic ornamentation. The strongest are his self-portraits. And I was tumbled up with them / In formless circumstance Modigliani, Schiele and Van Gogh come to mind in viewing these Leonard Cohen images, often reproduced in various forms on different pages—in b & w reverses, blow-ups, close-ups, and the like. This adds a tremendous t’s not everyday that Leonard Cohen releases a new collection of dimension and makes Longing not just a lengthy, absorbing read, but a his poetry. Twenty years have passed since his last volume. coffee-table keeper to boot. An ambitious work that brings in every- IMeanwhile, his albums of songs keep piling up—17 at last count. thing but the kitchen sink, it’s a compelling collection that has one Who at one time or another hasn’t been captured by Cohen’s plaintive picking it up again and again. -
James S. Jaffe Rare Books Llc
JAMES S. JAFFE RARE BOOKS LLC ARCHIVES & COLLECTIONS / RECENT ACQUISITIONS 15 Academy Street P. O. Box 668 Salisbury, CT 06068 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. [ANTHOLOGY] CUNARD, Nancy, compiler & contributor. Negro Anthology. 4to, illustrations, fold-out map, original brown linen over beveled boards, lettered and stamped in red, top edge stained brown. London: Published by Nancy Cunard at Wishart & Co, 1934. First edition, first issue binding, of this landmark anthology. Nancy Cunard, an independently wealthy English heiress, edited Negro Anthology with her African-American lover, Henry Crowder, to whom she dedicated the anthology, and published it at her own expense in an edition of 1000 copies. Cunard’s seminal compendium of prose, poetry, and musical scores chiefly reflecting the black experience in the United States was a socially and politically radical expression of Cunard’s passionate activism, her devotion to civil rights and her vehement anti-fascism, which, not surprisingly given the times in which she lived, contributed to a communist bias that troubles some critics of Cunard and her anthology. Cunard’s account of the trial of the Scottsboro Boys, published in 1932, provoked racist hate mail, some of which she published in the anthology. Among the 150 writers who contributed approximately 250 articles are W. E. B. Du Bois, Arna Bontemps, Sterling Brown, Countee Cullen, Alain Locke, Arthur Schomburg, Samuel Beckett, who translated a number of essays by French writers; Langston Hughes, Zora Neale Hurston, William Carlos Williams, Louis Zukofsky, George Antheil, Ezra Pound, Theodore Dreiser, among many others.