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Addison Street Poetry Walk
THE ADDISON STREET ANTHOLOGY BERKELEY'S POETRY WALK EDITED BY ROBERT HASS AND JESSICA FISHER HEYDAY BOOKS BERKELEY, CALIFORNIA CONTENTS Acknowledgments xi Introduction I NORTH SIDE of ADDISON STREET, from SHATTUCK to MILVIA Untitled, Ohlone song 18 Untitled, Yana song 20 Untitied, anonymous Chinese immigrant 22 Copa de oro (The California Poppy), Ina Coolbrith 24 Triolet, Jack London 26 The Black Vulture, George Sterling 28 Carmel Point, Robinson Jeffers 30 Lovers, Witter Bynner 32 Drinking Alone with the Moon, Li Po, translated by Witter Bynner and Kiang Kang-hu 34 Time Out, Genevieve Taggard 36 Moment, Hildegarde Flanner 38 Andree Rexroth, Kenneth Rexroth 40 Summer, the Sacramento, Muriel Rukeyser 42 Reason, Josephine Miles 44 There Are Many Pathways to the Garden, Philip Lamantia 46 Winter Ploughing, William Everson 48 The Structure of Rime II, Robert Duncan 50 A Textbook of Poetry, 21, Jack Spicer 52 Cups #5, Robin Blaser 54 Pre-Teen Trot, Helen Adam , 56 A Strange New Cottage in Berkeley, Allen Ginsberg 58 The Plum Blossom Poem, Gary Snyder 60 Song, Michael McClure 62 Parachutes, My Love, Could Carry Us Higher, Barbara Guest 64 from Cold Mountain Poems, Han Shan, translated by Gary Snyder 66 Untitled, Larry Eigner 68 from Notebook, Denise Levertov 70 Untitied, Osip Mandelstam, translated by Robert Tracy 72 Dying In, Peter Dale Scott 74 The Night Piece, Thorn Gunn 76 from The Tempest, William Shakespeare 78 Prologue to Epicoene, Ben Jonson 80 from Our Town, Thornton Wilder 82 Epilogue to The Good Woman of Szechwan, Bertolt Brecht, translated by Eric Bentley 84 from For Colored Girls Who Have Considered Suicide I When the Rainbow Is Enuf, Ntozake Shange 86 from Hydriotaphia, Tony Kushner 88 Spring Harvest of Snow Peas, Maxine Hong Kingston 90 Untitled, Sappho, translated by Jim Powell 92 The Child on the Shore, Ursula K. -
Poem on the Page: a Collection of Broadsides
Granary Books and Jeff Maser, Bookseller are pleased to announce Poem on the Page: A Collection of Broadsides Robert Creeley. For Benny and Sabina. 15 1/8 x 15 1/8 inches. Photograph by Ann Charters. Portents 18. Portents, 1970. BROADSIDES PROLIFERATED during the small press and mimeograph era as a logical offshoot of poets assuming control of their means of publication. When technology evolved from typewriter, stencil, and mimeo machine to moveable type and sophisticated printing, broadsides provided a site for innovation with design and materials that might not be appropriate for an entire pamphlet or book; thus, they occupy a very specific place within literary and print culture. Poem on the Page: A Collection of Broadsides includes approximately 500 broadsides from a diverse range of poets, printers, designers, and publishers. It is a unique document of a particular aspect of the small press movement as well as a valuable resource for research into the intersection of poetry and printing. See below for a list of some of the poets, writers, printers, typographers, and publishers included in the collection. Selected Highlights from the Collection Lewis MacAdams. A Birthday Greeting. 11 x 17 Antonin Artaud. Indian Culture. 16 x 24 inches. inches. This is no. 90, from an unstated edition, Translated from the French by Clayton Eshleman signed. N.p., n.d. and Bernard Bador with art work by Nancy Spero. This is no. 65 from an edition of 150 numbered and signed by Eshleman and Spero. OtherWind Press, n.d. Lyn Hejinian. The Guard. 9 1/4 x 18 inches. -
Stan Phillips Western Poetry Project Collection
http://oac.cdlib.org/findaid/ark:/13030/c8c2539s No online items Stan Phillips Western Poetry Project Collection Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2019 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Stan Phillips Western Poetry MSS 0819 1 Project Collection Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: Stan Phillips Western Poetry Project Collection Creator: Phillips, Stan Identifier/Call Number: MSS 0819 Physical Description: 1.25 Linear feet(1 archives box and 1 record carton) Date (inclusive): 1962-1970 Abstract: The Stan Phillips Western Poetry Project Collection consists of spoken word poetry recordings and related correspondence between Stan Phillips and poets James Broughton, Jess Collins, Robert Creeley, Robert Duncan, Charles Olson and Louis Zukofsky. Scope and Content of Collection The Stan Phillips Western Poetry Project Collection consists of spoken word poetry recordings and related correspondence between Stan Phillips and poets James Broughton, Jess Collins, Robert Creeley, Robert Duncan, Charles Olson and Louis Zukofsky. The recordings were made in 1962, with the intention of being produced into a record of Black Mountain poets reading their own work. Arranged in two series: Series 1) SOUND RECORDINGS, and 2) PAPERS. Historical Background In 1953 Stan Phillips was a motion picture and audio-visual consultant at Western Cine, a film laboratory and sound recording and editing studio in Denver, Colorado. He was also the cinematographer for Interim, an experimental short film directed by his childhood friend, poet and filmmaker Stan Brakhage, who had become friends with Robert Creeley and James Broughton. -
Reflections on Poetry & Social Class
The Stamp of Class: Reflections on Poetry and Social Class Gary Lenhart http://www.press.umich.edu/titleDetailLookInside.do?id=104886 The University of Michigan Press, 2005. Opening the Field The New American Poetry By the time that Melvin B. Tolson was composing Libretto for the Republic of Liberia, a group of younger poets had already dis- missed the formalism of Eliot and his New Critic followers as old hat. Their “new” position was much closer to that of Langston Hughes and others whom Tolson perceived as out- moded, that is, having yet to learn—or advance—the lessons of Eliotic modernism. Inspired by action painting and bebop, these younger poets valued spontaneity, movement, and authentic expression. Though New Critics ruled the established maga- zines and publishing houses, this new audience was looking for something different, something having as much to do with free- dom as form, and ‹nding it in obscure magazines and readings in bars and coffeehouses. In 1960, many of these poets were pub- lished by a commercial press for the ‹rst time when their poems were gathered in The New American Poetry, 1946–1960. Editor Donald Allen claimed for its contributors “one common charac- teristic: total rejection of all those qualities typical of academic verse.” The extravagance of that “total” characterizes the hyperbolic gestures of that dawn of the atomic age. But what precisely were these poets rejecting? Referring to Elgar’s “Enigma” Variations, 85 The Stamp of Class: Reflections on Poetry and Social Class Gary Lenhart http://www.press.umich.edu/titleDetailLookInside.do?id=104886 The University of Michigan Press, 2005. -
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. -
William Bronk
Neither Us nor Them: Poetry Anthologies, Canon Building and the Silencing of William Bronk David Clippinger Argotist Ebooks 2 * Cover image by Daniel Leary Copyright © David Clippinger 2012 All rights reserved Argotist Ebooks * Bill in a Red Chair, monotype, 20” x 16” © Daniel Leary 1997 3 The surest, and often the only, way by which a crowd can preserve itself lies in the existence of a second crowd to which it is related. Whether the two crowds confront each other as rivals in a game, or as a serious threat to each other, the sight, or simply the powerful image of the second crowd, prevents the disintegration of the first. As long as all eyes are turned in the direction of the eyes opposite, knee will stand locked by knee; as long as all ears are listening for the expected shout from the other side, arms will move to a common rhythm. (Elias Canetti, Crowds and Power) 4 Neither Us nor Them: Poetry Anthologies, Canon Building and the Silencing of William Bronk 5 Part I “So Large in His Singleness” By 1960 William Bronk had published a collection, Light and Dark (1956), and his poems had appeared in The New Yorker, Poetry, Origin, and Black Mountain Review. More, Bronk had earned the admiration of George Oppen and Charles Olson, as well as Cid Corman, editor of Origin, James Weil, editor of Elizabeth Press, and Robert Creeley. But given the rendering of the late 1950s and early 1960s poetry scene as crystallized by literary history, Bronk seems to be wholly absent—a veritable lacuna in the annals of poetry. -
View Prospectus
Archive from “A Secret Location” Small Press / Mimeograph Revolution, 1940s–1970s We are pleased to offer for sale a captivating and important research collection of little magazines and other printed materials that represent, chronicle, and document the proliferation of avant-garde, underground small press publications from the forties to the seventies. The starting point for this collection, “A Secret Location on the Lower East Side,” is the acclaimed New York Public Library exhibition and catalog from 1998, curated by Steve Clay and Rodney Phillips, which documented a period of intense innovation and experimentation in American writing and literary publishing by exploring the small press and mimeograph revolutions. The present collection came into being after the owner “became obsessed with the secretive nature of the works contained in the exhibition’s catalog.” Using the book as a guide, he assembled a singular library that contains many of the rare and fragile little magazines featured in the NYPL exhibition while adding important ancillary material, much of it from a West Coast perspective. Left to right: Bill Margolis, Eileen Kaufman, Bob Kaufman, and unidentified man printing the first issue of Beatitude. [Ref SL p. 81]. George Herms letter ca. late 90s relating to collecting and archiving magazines and documents from the period of the Mimeograph Revolution. Small press publications from the forties through the seventies have increasingly captured the interest of scholars, archivists, curators, poets and collectors over the past two decades. They provide bedrock primary source information for research, analysis, and exhibition and reveal little known aspects of recent cultural activity. The Archive from “A Secret Location” was collected by a reclusive New Jersey inventor and offers a rare glimpse into the diversity of poetic doings and material production that is the Small Press Revolution. -
The New American Poetry, 1945-1960 Edited by Donald Allen
THE NEW AMERICAN POETRY, 1945-1960 EDITED BY DONALD ALLEN UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON CONTENTS The New American Poetry: 1945-1960 Preface .......... jri I. Charles Olson (1910-1970) The Kingfishers 2 I, Maximus of Gloucester, to You .... 8 The Songs of Maximus . 11 Maximus, to himself ....... 14 The Death of Europe 16 A Newly Discovered 'Homeric' Hymn ... 22 The Lordly and Isolate Satyrs 24 As the Dead Prey Upon Us 27 Variations Done for Gerald van de Wiele ... 34 The Distances 37 Robert Duncan (1919-1988) The Song of the Borderguard ..... 40 An Owl Is an Only Bird of Poetry .... 41 This Place Rumord To Have Been Sodom ... 44 The Dance 46 The Question 48 A Poem Beginning with a Line by Pindar ... 49 Food for Fire, Food for Thought .... 57 Dream Data 58 XV Contents xvi Denise Levertov (1923-1997) Beyond the End 60 The Hands 61 Merritt Parkway 61 The Way Through 62 The Third Dimension 63 Scenes from the Life of the Peppertrees ... 64 The Sharks 66 The Five-Day Rain 66 Pleasure 67 The Goddess 68 Paul Blackburn (1926-1971) The Continuity 69 The Assistance 69 Night Song for Two Mystics ...... 70 The Problem 72 Sirventes ......... 72 The Once-over ........ 75 The Encounter 76 Robert Creeley (1926) The Innocence ........ 77 The Kind of Act of 77 The Immoral Proposition ...... 78 A Counterpoint ....... 78 The Warning 78 The Whip . 79 A Marriage ........ 79 Ballad of the Despairing Husband .... 80 If You 81 Just Friends 82 The Three Ladies 83 The Door 83 The Awakening ...... -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
A Finding Aid to the William J. Eisenlord Photographs, 1953-1976, in the Archives of American Art
A Finding Aid to the William J. Eisenlord Photographs, 1953-1976, in the Archives of American Art Margaret J. Hughes Funding for the digitization of this collection was provided by the Terra Foundation for American Art August 06, 2010 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical/Historical note.............................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: William J. Eisenlord Photographs, 1953-1976.......................................... 4 Series 2: Ed Nyberg Photographs, 1957................................................................. 6 William J. Eisenlord photographs AAA.eisewill Collection Overview -
The Company They Kept by Holland Cotter Robert Duncan and Jess, and Their Wonderland of Art January 16, 2014
The Company They Kept By Holland Cotter Robert Duncan and Jess, and Their Wonderland of Art January 16, 2014 If you were young, gifted and odd, San Francisco was a good place to be in the years after World War II, when big changes were brewing in American art and culture. And that city is the setting for “An Opening of the Field: Jess, Robert Duncan, and Their Circle,” an exhibition that feels like a chunk of Bay Area turf lifted from the past and set down, untrimmed and buzzing, in New York University’s Grey Art Gallery. The show spans decades but focuses on the 1950s, when an assortment of offbeat artists and poets found a common link in their friendship with two gay men who lived as committed partners in The Enamourd Mage Translation; Translation #6, 1965, oil on a wonderland of an old house, filled to the roof canvas over wood, 24 ½ x 30 inches with art. One was the poet Robert Duncan (1919-1988), the other the artist Jess Collins (1923-2004), who went by the single name Jess. They met in the early ’50s and had a brief courtship. Jess went to a Duncan poetry reading; Duncan bought a little Jess painting. When they sat down to talk and discovered a mutual passion for mystical literature, Gertrude Stein and L. Frank Baum’s Oz books, they knew that their love was meant to be. It was, even though they were in many ways unalike. Duncan’s parents had been committed Theosophists who told him he was a spiritually chosen being, a former citizen of Atlantis, no less. -
Transpacific Transcendence: the Buddhist Poetics of Jack Kerouac, Gary Snyder, and Philip Whalen
TRANSPACIFIC TRANSCENDENCE: THE BUDDHIST POETICS OF JACK KEROUAC, GARY SNYDER, AND PHILIP WHALEN BY Copyright 2010 Todd R. Giles Ph.D., University of Kansas 2010 Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chair, Joseph Harrington ______________________________ Kenneth Irby ______________________________ Philip Barnard ______________________________ James Carothers ______________________________ Stanley Lombardo Date Defended: September 8, 2010 ii The Dissertation Committee for Todd R. Giles certifies that this is the approved version of the following dissertation: TRANSPACIFIC TRANSCENDENCE: THE BUDDHIST POETICS OF JACK KEROUAC, GARY SNYDER, AND PHILIP WHALEN Committee: ______________________________ Chair, Joseph Harrington ______________________________ Kenneth Irby ______________________________ Philip Barnard ______________________________ James Carothers ______________________________ Stanley Lombardo Date Approved: September 8, 2010 iii Abstract "Transpacific Transcendence: The Buddhist Poetics of Jack Kerouac, Gary Snyder, and Philip Whalen," directed by Joseph Harrington, examines the influence of East Asian literature and philosophy on post-World War II American poetry. Kerouac's "Desolation Blues," Snyder's "On Vulture Peak," and Whalen's "The Slop Barrel" were all written one year after the famous Six Gallery reading in San Francisco where Allen Ginsberg