DOCSLIB.ORG

Creative Reading: What It Is, How to Do It, and Why. INSTITUTION National Council of Teachers of English, Urbana, Ill

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creative Reading: What It Is, How to Do It, and Why. INSTITUTION National Council of Teachers of English, Urbana, Ill DOCUMENT RESUME ED 404 618 CS 012 714 AUTHOR Padgett, Ron TITLE Creative Reading: What It Is, How To Do It, and Why. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0906-3 PUB DATE 97 NOTE 178p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 09063-3050: $16.95 members, $22.95 nonmembers). PUB TYPE Viewpoints (Opinion/Position Papers, Essays, etc.) (120) Guides Non-Classroom Use (055) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS *Creative Thinking; *Critical Reading; Higher Education; Imagination; *Reading Attitudes; Reading Habits; *Reading Instruction; *Reading Strategies; *Reading Writing Relationship; Recreational Reading; Secondary Education IDENTIFIERS Aesthetic Reading; *Reading Uses; Text Factors; Typography ABSTRACT This book aims to enlarge the possibilities of reading by suggesting ways to make reading more imaginative and by encouraging a new attitude toward the act of reading. The book discusses the mystery of learning to read, the physiology and psychology of reading, the ongoing contests between various methods of instruction. It guides readers through their own personal histories with a series of questions related to their reading habits before beginning school, in school, and after completing their formal educations. After a brief discussion of common reading errors that can be used creatively, the central chapter of the book, "Creative Reading Techniques," suggests exercises that make reading an adventure, highly interactive, and imaginative, using both classic and modern literature in ways that blend reading and writing. Along the way, among other things, the book talks about the influence of typography, movies, and television on reading, the joys of misunderstanding, the music of Spike Jones, skywriting, Dada poetry, reading in dreams, the way words sound in the reader's head, and the setting in which text is read. (NKA) ********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** 0 A mA_ 111 . 4 tor-- , 411,1,,Nr 0.5:0,16.' r4.0. c, ' 101. Alb 44 t tit ., ., esgst 2 4'ff, , .... , camtt- 411. , _ I -- -0 -6., 4, il, 1 ,.., --1,.... z 4 3, _. -..ca at- ,, :%'4' 9 -0" 0,.., 01, W 43:11f 0 '716 a G . .,1.., ,. 9,".. ;Is- -. VIV. _ all. T-ir .:. 6 44 tb:;. 4,v,', .6:. _,...,.., 60 or ',..- ' P 11- 4 ,dit. a._ 1, ,v 4 e -' ... .,0 -4. .42' 9 7- 69 .. , f* 0* 4 ' 4-1., 44/ ., ....._;, vit, ' '-0.' EPi1 $ 6" 11 ''.. *zh .4,1,..... 4 f.' I:).4 '',.. * ' -.e. 't-..,,,,.A."`v '''''"frt, A .:441k 47 1* ..,,,..,P(::,7.. ,..,. r 4.. .... ' '._ 64 v -4,01.0' -,..p..,4,,.. v6 '0 Ak 'P-6-,.?4.-.,4,!: ah , * 0 tA 6V6' *''41.'' .., .adgett2.*...... A1---JalL-Z,,,:i." '''''''' - . : -,- 5. i ---PERMISSION TO REPRODUCE AND k- Gsi 1 - U.S. DEPARTMENT OF EDUCATION DISSEMINATE THIS MATERIAL Office of Educational Research and Improvement i HAS BEEN GRANTED BY .4? ik EDUCATIONAL RESOURCES INFORMATION p I 'e CENTER (ERIC) (04ellisdocument nas been reproduced as /II- /q ,f11.14g4' .'" ,ece.veafrom the person or Organization ...., . ..r'. ..... r--.t. Originating it A 0 Minor Changes nave oeen made to irnprOwe 4,-a!rigii:,,il 0,c reproduction quality .1 *. -%.,-,' ITO THE EDUCATIONAL RESOURCES Ul Points of view Or opinionS Staled in this dOCu. ' men? 00 not necessarily represent official .. INFORMATION CENTER (ERIC) ' eitek, OE RI 00Sition Or pOliCy 4. i- ,1 " .- 4, :-.,. -0 ---,- --'w --"'7 ',, 0 ! .-- .., r, 4, . c/If- .,,,,' Ltt_-,,..;.. 11, ' . 6.-4,,,t. I- ''..-4*.-- il' BEST COPY AVAILABLE A47.- ii :40. 2 .4f.b.-71....,,4,4110cr-t2J-IF 4431,. Creative Reading 3 M tss EDNA STILT ofP4roAll HAS NEVER READA (took- 04 HER LIFE, YET SHE HAS LICKED EVERY PAGE ofShetkespeareisCorniokie Works 4 Creative Reading What It Is, How to Do It, and Why Ron Padgett National Council of Teachers of English 1111 W. Kenyon Road, Urbana, Illinois 61801-1096 NCTE Editorial Board: Pat Cordeiro, Colette Daiute, Hazel Davis, Bobbi Fisher, Brenda Greene, Richard Luckert, Al leen Pace Nilsen, Jerrie Cobb Scott, Karen Smith, Chair, ex officio, Dawn Boyer, ex officio Permissions Glen Baxter for his frontispiece drawing, from The Works (Wyrd Press, 1977). Ron Loewinsohn, for his poem "Semi-colon; for Philip Whalen" from his book Meat Air. The New York Times for permission to reproduce a portion of the front page of its July 6, 1986, issue, copyright © 1986 by The New York Times Co. Reprinted by permission. Judith Steinbergh and Wampeter Press for use of Ramah McKay's poem. Emmett Williams, editor of Anthology of Concrete Poetry, for use of Paul DeVree's poem in that collection. Portions of this book appeared in Teachers & Writers magazine, Vol. 21, No. 5; I Live to Read & Write, Vermont Department of Education, 1991; and Educating the Imagination, edited by Christopher Edgar and Ron Padgett, published by Teachers & Writers Collaborative in 1994. Manuscript Editor: Hilary Taylor Holbrook Production Editor: Michelle Sanden Johlas Cover Designer: Christopher Edgar Interior Book Designer: Doug Burnett NCTE Stock Number 09063-3050 © 1997 by Ron Padgett. It is the policy of NCTE in its journals and other publications to provide a forum for the open discussion of ideas concerning the content and the teaching of En- glish and the language arts. Publicity accorded to any particular point of view does not imply endorsement by the Executive Committee, the Board of Direc- tors, or the membership at large, except in announcements of policy, where such endorsement is clearly specified. Library of Congress Cataloging-in-Publication Data Padgett, Ron. Creative reading : what it is, how to do it, and why / Ron Padgett. p. cm. Includes bibliographical references and index. ISBN 0-8141-0906-3 (pbk.) 1. Reading. 2. Creation (Literary, artistic, etc.). 3. Reading, Psychology of. I. Title. LB1050.2.P351997 372.41dc21 96-38010 6 This book is dedicated, with admiration, gratitude, and affection, to Kenneth Koch. Contents Table of Figures viii Acknowledgments xi Preface xiii 1.Taking a Ride on the Reading 1 2. My Personal History 7 3. Your Personal History 31 4. Unconscious Errors in Reading 38 5. Two Normal Eyes and Nine Everyday Mistakes 42 6.Creative Reading Techniques 56 7.Other Voices 110 8. New Reading 124 9.Reading in Unusual Situations 129 10. Other Faces 133 Appendix: Skywriting 141 Notes 145 Bibliography 149 Index 155 Author 161 Figures 1. From Think-and-Do Book. 9 2. The alphabet (printed). 13 3. How letters are made, using printing. 14 4. The alphabet (script). 15 5. How letters are made, using script. 16 6: From Using Words. 18 7.Front page of My Weekly Reader. 23 8."Reading" a painting. 44 9.Trickle down example 1. 63 10. Trickle down example 2. 64 11. A "river." 65 12. Edge blur. 66 13. Two columns example. 75 14. Front page of the New York Times. 76 15. Fold-in example. 84 16. Pattern for reading fold-in example in Figure 15. 85 17. Grid example. 92 18. Four reading patterns. 97 19. Spanish comic. 98 20. Cherry comic strip by Joe Brainard and Ron Padgett. 99 21. Cussing man. 119 22. Ron Loewinsohn poem. 120 23. Paul de Vree poem. 121 24. Apollinaire's "It's Raining" calligram. 126 25. Marinetti's "Parole in liberta." 127 26. Long lines example. 137 27. Cars at intersection. 139 viii 9 Outside of a dog, reading is a man's best friend. Inside a dog it's too dark to read. Groucho Marx 0 1 0 Acknowledgments I'd like to thank the patient and helpful librarians at Teachers College, Columbia University; Butler Library, Columbia University; the Research Division of the New York Public Library; the Kellogg-Hubbard Library, Montpelier, Vermont; and John Donohue and the librarians at the New Yorker. I owe a great debt of gratitude to others who helped me invent this book: the late John Waldman, friend and reading specialist; my colleagues over the years at Teachers & Writers Collaborative, particularly Chris Edgar; the wise editorial board of the National Council of Teachers of En- glish; Dawn Boyer, Michelle Sanden Joh las, and Mario Welshons, astute and cheerful editors at NCTE; my junior high school teacher Lillie Roberts, who awakened my interest in reading; my students in Imagina- tive Writing at Columbia University; the late Lewis Meyer, the Tulsa book- seller who showed me great kindness when I was in my teens; my friend George Schneeman for reading an early draft and helping with Italian translation; my agent Robert Cornfield; and fellow writers David Antin, Ted Berrigan, Geof Hewitt, Gary Moore, Judith Steinbergh, Tom Veitch, James Wan less, Emmett Williams, and Larry Zirlin. I also thank my friend Glen Baxter for use of his drawing as a frontispiece, and fellow poet Ron Loewinsohn for use of his poem "Semicolon; for Philip Whalen." I hope that some of the joy of having collaborated with artist Joe Brainard is evi- dent in our comic strip in this book. Most of all, I thank my wife Patricia, sine qua non. xi 11 Preface Afew years ago, it struck me that I couldn't remember ever having learned to read. How had I learned? How do others learn to read? How would I teach someone else? The more I thought about read- ing, the more it seemed a kind of miracle, and it was my growing fascina- tion with this miracle that led me to examine my ideas about it. At a certain point, I saw that these ideas led to a particular approach, which I've called creative reading, a corollary to creative writing. In this book, I define creative reading, tell how to do it and why.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Bancroftiana N Umber 118 • University of California, Berkeley • Spring 2001
    N EWSLETTER OF THE FRIENDS OF THE BANCROFT LIBRARY BANCROFTIANA N UMBER 118 • UNIVERSITY OF CALIFORNIA, BERKELEY • SPRING 2001 With the Free Speech Movement Collections, You are There he Free Speech Movement at the and a speech by President Clark Kerr, documents with searchable digital Berkeley Campus of the University where Mario Savio demanded the right materials. Those examining the archive ofT California announced the date of its to speak but was refused, leading 10,000 on the Internet view samples of actual creation in a pamphlet titled Here We students to march in protest. photographs, videos, documents, and a Stand: On January 4, 1965, the Free Speech time line of events. The project is to be “On October 3, 1964, the Free Movement held its first legal rally on the presented to the public at a Bancroft Speech Movement was founded. Since steps on Sproul Hall accompanied by exhibit opening and symposium on that day we have worked unceasingly Joan Baez ballads. April 13-14, 2001. for free speech by attempting to create a These history-making events and The Collections feature the Univer- public dialogue on the issues; by many others are recorded in photo- sity Archives’ Free Speech Movement protesting regulations we think uncon- graphs, books, flyers, speeches, and other Records, with files focused on student stitutional, inadequate, and unfair; and documents housed in The Bancroft movements primarily in California. finally by reluctantly violating certain of Library. Bancroft launched the Free However, the selection of original the regulations. Tomorrow the question Speech Movement Collections in the material stretches from the 1960s Civil of free speech will be considered by the summer of 1999.
    [Show full text]
  • S K E N È Journal of Theatre and Drama Studies
    S K E N È Journal of Theatre and Drama Studies 1:1 2015 The Chorus in Drama Edited by Guido Avezzù SKENÈ Journal of Theatre and Drama Studies Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi, Alessandro Serpieri. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Managing Editors Lisanna Calvi, Ivan Valbusa. Copyeditors Christine Chettle, Marco Duranti, Lucia Nigri, Flavia Palma, Carlo Vareschi, Tobia Zanon. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Marco De Marinis, Tobias Döring, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Russ McDonald, Luigina Mortari, Guido Paduano, Franco Perrelli, Didier Plassard. Copyright © 2015 SKENÈ All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://www.skenejournal.it [email protected] Alessandra Calanchi∗ Of Men and Ghosts: Delmore Schwartz’s Re-visitation of the Greek Chorus Abstract Among the many elements of interest we encounter in Delmore Schwartz’s literary production, the re–visitation of the Greek chorus is particularly relevant. Its innov- atory appeal, in fact, never ignores the call of tradition, and is rooted on the main issues of American culture, from immigration and problematic assimilation to the rise of
    [Show full text]
  • Ethnicity, Lyricism, and John Berryman's Dream Songs
    Imaginary Jews and True Confessions: Ethnicity, Lyricism, and John Berryman’s Dream Songs ANDREW GROSS . Jews, who have changed much in the course of history, are certainly no race, [but] the anti‐Semites in a way are a race, because they always use the same slogans, display the same attitudes, indeed almost look alike. —Max Horkheimer1 John Berryman’s “The Imaginary Jew,” published in the Kenyon Review of 1945, is in some ways a rather programmatic account of one man’s conversion from parlor anti‐ Semitism to a feeling of solidarity with Jews. The climax occurs when a bigot accuses the narrator of being Jewish in order to discredit him in an argument over Roosevelt’s foreign policy prior to the American entry into World War II. The accusation completely unnerves the narrator in ways he does not immediately understand, and he is shocked to see that it discredits him in the eyes of the crowd, which has assembled at Union Square to hear impromptu debates. Later, after leaving the scene of his embarrassment, he decides to lay claim to this mistaken, or imaginary, identity, and comes to the following conclusion about the nature of prejudice: “My persecutors were right: I was a Jew. The imaginary Jew I was was as real as the imaginary Jew hunted down, on other nights and days, in a real Jew. Every murderer strikes the mirror, the lash of the torturer falls on the mirror and cuts the real image, and the real and the imaginary blood flow down together.”2 The story garnered some attention when it appeared in 1945.
    [Show full text]
  • Open Shalkey Honors Thesis.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH THE CONFESSIONAL POETS: REMOVING THE MASK OF IMPERSONALITY WITH ALL THE SKILLS OF THE MODERNISTS VANESSA SHALKEY Spring 2012 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in English and International Politics with honors in English Reviewed and approved* by the following: John Marsh Assistant Professor of English Thesis Supervisor Lisa Sternlieb English Honors Advisor Honors Advisor Christopher Castiglia Liberal Arts Research Professor of English CALS Senior Scholar in Residence Second Reader *Signatures are on file in the Schreyer Honors College. !! ABSTRACT The pioneers of the frontier of new art forms have always made themselves vulnerable to the criticism of the previous generation; however, this criticism often overshadows and undermines the true success of these bold artists. The confessional poets were some of these trailblazers who took American poetry into areas untouched by previous generations and were criticized for breaking with the traditional methods of past poets--especially the modernists. Poets like Robert Lowell and John Berryman used their life events as subject matter for their poetry, which the New Critics thought was bad form. This controversial shift in style won these poets the name “confessional,” a title that many of the poets to whom it refers found disparaging. The label “confessional” gives the impression that these poets did little more than use their poems as diary entries, when in fact they wrote magnificent poetry with the same talent and technical skills that the modernist poets displayed. This thesis is an examination of the confessional poets’ use of effective poetic devices favored by the modernist poets to analyze whether or not the act of removing the mask of impersonality negatively impacted the ability of the confessional poets to develop complex themes and transmute feelings to the reader.
    [Show full text]
  • Introduction
    Notes Introduction 1. Delmore Schwartz, Last & Lost Poems, ed. Robert Phillips (New York: Vanguard Press, 1979), 4. The poem is dated 1954, but it gathers preoccupations from over a decade earlier. 2. Walt Whitman, “Preface 1855—Leaves of Grass, First Edition,” in Leaves of Grass and Other Writings, ed. Michael Moon (New York: W. W. Norton, 2002), 616. 3. James Atlas, Delmore Schwartz: The Life of an American Poet (New York: Farrar, Straus and Giroux, 1976). The rock star Lou Reed, a former student, dedicated the song “European Son,” on the album The Velvet Underground & Nico, to Schwartz. 4. Delmore Schwartz, Genesis (New York: New Directions, 1943), 5. 5. Delmore Schwartz, “America! America!” in In Dreams Begin Responsibilities and Other Stories, 20. 6. Delmore Schwartz, “The Fiction of Ernest Hemingway: Moral Historian of the American Dream” (1955), in Selected Essays of Delmore Schwartz, 271. 7. Schwartz, “The Fiction of Ernest Hemingway,” 272. 8. Howe, “Foreword to Atlas, ed.,” in In Dreams Begin Responsibilities, and Other Stories, vii; Alfred Kazin, New York Jew (London: Secker and Warburg, 1978), 25. 9. Cited in DS & JL Letters, 47. 10. Atlas, Delmore Schwartz, 154. Eliot regretted that he was unable to bring out a British edition of Schwartz’s poems. 11. Atlas, Delmore Schwartz, 129. Wallace Stevens, Letters of Wallace Stevens, ed. Holly Stevens (New York: Knopf, 1981), December 27, 1940, 382. 12. John Berryman, The Dream Songs (London: Faber, 1990) (149), 168. 13. Delmore Schwartz, “Views of a Second Violinist” (1949), in Selected Essays of Delmore Schwartz, 25. 14. He was also film editor of The New Republic between 1955 and 1957.
    [Show full text]
  • Loewinsohn, Ron. Papers
    http://oac.cdlib.org/findaid/ark:/13030/ft6f59n7wq No online items Guide to the Ron Loewinsohn Papers Papers, 1932-2014M0856 Processed by Mara Holian; machine-readable finding aid created by Steven Mandeville-Gamble. Department of Special Collections and University Archives 2002; revised 2021 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the Ron Loewinsohn M0856761 1 Papers Papers, 1932-2014M0856 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Ron Loewinsohn papers Creator: Loewinsohn, Ron. Identifier/Call Number: M0856 Identifier/Call Number: 761 Physical Description: 20 Linear Feet(40 manuscript storage boxes) Date (inclusive): 1932-2014 Abstract: The collection contains correspondence, published and unpublished manuscripts between American poet Ron Loewinsohn and many of the most prominent American authors of the mid-to-late 20th Century. Scope and Content The Ron Loewinsohn Papers primarily consist of correspondence collected by Loewinsohn over more than two decades, as well as materials concerning both published and unpublished manuscripts. The primary group of correspondence is from contemporary authors and artists, including Robert Creeley, Denise Levertov, Philip Whalen, and others. Some letters, including those from Allen Ginsberg and William Carlos Williams were not identified in the original listing. Additionally, there is a wealth of correspondence from personal acquaintances, students, and family not directly involved in the San Francisco and New York poetry scenes of the 1960s. Loewinsohn also received a considerable amount of correspondence from universities with which he was affiliated and publishers regarding his works. The materials pertaining to Loewinsohn's published manuscripts concern several major works.
    [Show full text]
  • Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
    Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s.
    [Show full text]
  • 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.
    [Show full text]
  • The Berkeley Poetry Conference
    THE BERKELEY POETRY CONFERENCE ENTRY FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Berkeley_Poetry_Conference Leaders of what had at this time had been termed a revolution in poetry presented their views and the poems in seminars, lectures, individual readings, and group readings at California Hall on the Berkeley Campus of the University of California during July 12-24, 1965. The conference was organized through the University of California Extension Programs. The advisory committee consisted of Thomas Parkinson, Professor of English at U.C. Berkeley, Donald M. Allen, West Coast Editor of Grove Press, Robert Duncan, Poet, and Richard Baker, Program Coordinator. The roster of scheduled poets consisted of: Robin Blaser, Robert Creeley, Richard Durerden, Robert Duncan, Allen Ginsberg, Leroi Jones (Amiri Baraka), Joanne Kyger, Ron Lowewinson, Charles Olson, Gary Snyder, Jack Spicer, George Stanley, Lew Welch, and John Wieners. Leroi Jones (Amiri Baraka) did not participate; Ed Dorn was pressed into service. Seminars: Gary Snyder, July 12-16; Robert Duncan, July 12-16; LeRoi Jones (scheduled), July 19-23; Charles Olson, July 19-23. Readings (8-9:30 pm) New Poets, July 12; Gary Snyder, July 13; John Wieners, July14; Jack Spicer, July 15; Robert Duncan, July 16; Robin Blaser, George Stanley and Richard Duerden, July 17 New Poets, July 19; Robert Creeley, July 20; Allen Ginsberg, July 21; LeRoi Jones, July 22; Charles Olson, July 23; Ron Loewinsohn, Joanne Kyger and Lew Welch, July 24 Lectures: July 13, Robert Duncan, “Psyche-Myth and the Moment of Truth” July 14, Jack Spicer, “Poetry and Politics” July 16, Gary Snyder, “Poetry and the Primitive” July 20, Charles Olson, “Causal Mythology” July 21, Ed Dorn, “The Poet, the People, the Spirit” July 22, Allen Ginsberg, “What's Happening on Earth” July 23, Robert Creeley, “Sense of Measure” Readings: Gary Snyder, July 13, introduced by Thomas Parkinson.
    [Show full text]
  • William Gropper's
    US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image.
    [Show full text]
  • 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.
    [Show full text]