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Alexander Literary Firsts & Poetry Rare Books
ALEXANDER LITERARY FIRSTS & POETRY RARE BOOKS CATALOGUE TWENTY- SEVEN 2 Alexander Rare Books [email protected]/ (802) 476‐0838 ALEXANDER RARE BOOKS – LITERARY FIRSTS & POETRY Mark Alexander 234 Camp Street Barre, VT 05641 (802) 476-0838 [email protected] Catalogue Twenty–Seven: All items are US, CN or UK Hardcover First Editions & First Printings unless otherwise stated. All items guaranteed & are refundable for any reason within 30 days. Subject to prior sale. VT residents please add 6% sales tax. Checks, Money Orders, Paypal & most credit cards accepted. Net 30 days. Libraries & institutions billed according to need. Reciprocal terms offered to the trade. SHIPPING IS FREE IN THE US (generally Priority Mail) & CANADA, elsewhere $13 per shipment. Visit AlexanderRareBooks.com for cover scans and photos of most catalogued items. I encourage you to visit my website for the latest acquisitions. The best items usually appear on my website, then appear in my catalogues, before appearing elsewhere online. I am always interested in acquiring first editions, single copies or collections, and particularly modernist & contemporary poetry. Thank you in advance for perusing this catalogue. CATALOGUE TWENTY-SEVEN 1) Adam, Helen. THE BELLS OF DIS. West Branch, Iowa: Coffee House Press, 1985. Tall sewn illustrated wraps. Morning Coffee Chapbook: 12. One of 500 copies, numbered and signed by the poet and the artist Ann Mikolowski. A lovely book hand set and hand sewn. Bottom tips bumped, else fine. (10690) $20.00 2) Armantraut, Rae. CONCENTRATE. Green River, VT: Longhouse, 2007. Small (3 x 4 1/2 in.) accordion style chapbook attached to unprinted card covers, with wrap around band. -
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. -
I Make Contact: Contributive Bookselling and the Small Press In
i Make Contact: Contributive Bookselling and the Small Press in Canada Following the Second World War Cameron Alistair Owen Anstee A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate in Philosophy degree in English Literature Department of English Faculty of Arts University of Ottawa © Cameron Alistair Owen Anstee, Ottawa, Canada, 2017 ii Abstract This dissertation examines booksellers in multiple roles as cultural agents in the small press field. It proposes various ways of understanding the work of booksellers as actively shaping the production, distribution, reception, and preservation of small press works, arguing that bookselling is a small press act unaccounted for in existing scholarship. It is structured around the idea of “contributive” bookselling from Nicky Drumbolis, wherein the bookseller “adds dimension to the cultural exchange […] participates as user, maker, transistor” (“this fiveyear list”). The questions at the heart of this dissertation are: How does the small press, in its material strategies of production and distribution, reshape the terms of reception for readers? How does the bookseller contribute to these processes? What does independent bookselling look like when it is committed to the cultural and aesthetic goals of the small press? And what is absent from literary and cultural records when the bookseller is not accounted for? This dissertation covers a period from 1952 to the present day. I begin by positing Raymond Souster’s “Contact” labour as an influential model for small press publishing in which the writer must adopt multiple roles in the communications circuit in order to construct and educate a community of readers. -
Ac Know Ledg Ments
A c k n o w l e d g m e n t s In the course of my research, Robert Duncan’s friends, without exception, granted me a share in the generosity, goodwill, and love for life that so char- acterized his being. Two people made a special eff ort to help me understand Robert Duncan’s “dailiness,” and their insights were key factors in the making of this book. Jess Collins agreed that it was an appropriate time for a biography of Duncan to be written, and he welcomed me into his life for a little bit over a de cade, allowing me to experience the rituals of house hold that he had shared with Duncan. Barbara Jones and her family in Bakersfi eld, California, extended me great hospitality. Barbara’s memories of her brother as a child and of their life in the San Joaquin Valley were in all ways illuminating. Th eir insights were key factors in the making of this book. Th is book was also made possible through the ongoing tireless support of my husband, Th omas Evans. His own studies of Jess, Duncan, and the West Coast assemblage artists contributed at every turn to the thoroughness of this book. His companionship allows me to live in a house hold as rich as Jess and Duncan’s. I am grateful to Robert Duncan’s friends, family, students and acquaintances: Gerald Ackerman, Robert Adamson, the late Virginia Admiral, Charles Alexander, the late Donald Allen, Michael Anania, Bruce Andrews, Norman Austin, Todd Baron, Dawn Michelle Baude, Tosh Berman, Charles Bern- stein, Robert Bertholf, the late Robin Blaser, Richard Blevins, George Bower- ing, the late Stan Brakhage, the late David Bromige, the late James Brough- ton, the late Norman O. -
David Bromige Correspondence
http://oac.cdlib.org/findaid/ark:/13030/tf5f59p1rh No online items David Bromige Correspondence Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2018 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html David Bromige Correspondence MSS 0006 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: David Bromige Correspondence Identifier/Call Number: MSS 0006 Physical Description: 0.25 Linear feet(1 archives box) Date (inclusive): 1962-1972 Abstract: The correspondence of poet, playwright, and educator David Bromige (1933-2009). Scope and Content of Collection The David Bromige Correspondence includes exchanges with such noted American writers as Ted Berrigan, Robert Bly, Richard Brautigan, Robert Creeley, Robert Duncan, Clayton Eshleman, Denise Levertov, George Oppen, and Gary Snyder. The collection is arranged alphabetically by correspondent. The materials cover the period from approximately 1962 to 1972 and include copies of written materials and often detailed exchanges concerning publishing and readings. Biography David Mansfield Bromige, who resided in the Bay Area, is often associated with the Black Mountain School via the Vancouver nexus of poets centered around the magazine Tish. He was born to Harold and Ada Bromige on 22 October 1933 in London, England, where his father was a director of documentary films. Until he settled in the Bay Area in the early '70s, Bromige led a peripatetic life: he travelled, held various jobs, and received an education in Europe, Canada, and the United States. After attending prep school at Haberdashers' Aske's School for Boys in London, Bromige worked from 1950 to 1953 as a cowman on dairy farms in England, Sweden, and Canada. -
Borderlines of Poetry and Art: Vancouver, American Modernism, and the Formation of the West Coast Avant-Garde, 1961 -69
BORDERLINES OF POETRY AND ART: VANCOUVER, AMERICAN MODERNISM, AND THE FORMATION OF THE WEST COAST AVANT-GARDE, 1961 -69 by LARA HALINA TOMASZEWSKA B.A., The University of British Columbia, 1994 M.A., Concordia University, 1998 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Fine Arts) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 © Lara Halina Tomaszewska, 2007 i ABSTRACT In 1967, San Francisco poet Robin Blaser titled his Vancouver-based journal The Pacific Nation because the imaginary nation that he envisaged was the "west coast." Blaser was articulating the mythic space that he and his colleagues imagined they inhabited at Simon Fraser University and the University of British Columbia: a nation without borders, without nationality, and bound by the culture of poetry. The poetic practices of the San Francisco Renaissance, including beat, projective, and Black Mountain poetics, had taken hold in Vancouver in 1961 with poet Robert Duncan's visit to the city which had catalyzed the Tish poetry movement. In 1963, Charles Olson, Allen Ginsberg, and Robert Creeley participated in the Vancouver Poetry Conference, an event that marked the seriousness and vitality of the poetic avant-garde in Vancouver. The dominant narrative of avant-garde visual art in Vancouver dates its origins to the late 1960s, with the arrival of conceptualism, especially the ideas and work of Dan Graham and Robert Smithson. By contrast, this thesis argues for an earlier formation of the avant-garde, starting with the Tish poetry movement and continuing with a series of significant local events such as the annual Festival of the Contemporary Arts (1961-71), organized by B.C. -
If Wants to Be the Same As Is Essential Poems of David Bromige
if wants to be the same as is ESSENTIAL POEMS OF David Bromige edited by Jack Krick, Bob Perelman and Ron Silliman VA NC OU V E R NEW S TA R BOOKS | 2018 New Star Books Ltd. 107 – 3477 Commercial Street Vancouver, BC V5N 4E8 CANADA 1517 – 1574 Gulf Road Point Roberts, WA 98281 USA www.NewStarBooks.com [email protected] Copyright the Estate of David Bromige 2018. All rights reserved. No part of this work may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written consent of the publisher or a licence from the Canadian Copyright Licensing Agency (Access Copyright). The publisher acknowledges the financial support of the Canada Council for the Arts and the British Columbia Arts Council. Cataloguing information for this book is available from Library and Archives Canada, www.collectionscanada.gc.ca. Cover photograph by James Garrahan Cover designed by Oliver McPartlin Printed and bound in Canada by Friesens Printing First printing :: June 2018 CONTENTS He Gets Better Every Year by George Bowering xix Nearer to the Future Than Ever by Bob Perelman xxv Editor’s Introduction by Jack Krick xxxi from The Gathering (1965) She Rose Up Singing 3 We Could Get A Drink 4 At Last 6 Affair of the Lemming 7 With Someone Like You 7 Down In The Dance 8 My Failing 8 The Sign 9 A Project 10 To Helena 11 Dejeuner Sur One Rye 12 Revolving Door 13 The Reverie 14 The Gathering 15 “Sitting Across From The Mother” 17 The Wall 18 Please, Like Me (1968) 21 vii CONTENTS ix “Why I went there” 72 Value 73 A passive voice — 75 Precept 75 Example 76 An Imperfect Failure 76 A Man, Me 77 3 Ways with the Same Sentence 78 Logical Conclusions 79 Whatever it is 79 Fresh from Sleep 79 The Ends of the Earth 84 Threads 85 “Once . -
Wuhan Conference Talk on Oppen and Eigner (3)-1
1 Hank Lazer from Sybil, 2014 http://sibila.com.br/sem-categoria/lazer-oppen-eigner/10843 Two Recommendations: The Poetry of George Oppen and Larry Eigner (Or, The Peculiarities of the Making of Cross-Cultural Literary History) What I’m here today to do is to make recommendations and to give advice.1 I know that what I’m doing is a little bit (if not a lot) presumptuous and ridiculous, and that my talk, to some degree, mirrors consciously and unconsciously the very processes that I am talking about, particularly the idiosyncratic nature of the creation of literary historical representations in a cross-cultural and cross-linguistic domain. Of course, as someone who has visited China once before, in 1993, for a month, in association with the publication of a bilingual collection of poetry and essays,2 and who neither speaks nor reads Chinese, what do I know? Truly, very little. In truth, my sense of “the Chinese reader” or of students and professors in China reading American poetry is hazy, imaginary, ill-informed, and peculiarly partial. Yet, it intrigues me to open a conversation based on my limited knowledge. This spring (2013), I taught a graduate seminar at the University of Alabama called Black Mountain Extensions: George Oppen, Robert Creeley, John Taggart, and Larry Eigner. I am also in the process of working with Professor Nie, Professor Fuli, and several other translators on a bilingual edition of my selected poems.3 My own representation in Chinese versions of the history of modern American poetry, particularly in the heroically diligent work of Zhang Ziqing, has always struck me as somewhat humorous, for I am reasonably certain that once this bilingual selected poetry is published in China, I will have more readers here (in China) than in the US. -
Politics of Language Poetry
George Hartley on Language Poetry Page 1 of 8 Textual Politics and the Language Poets (excerpts) by George Hartley (1989) "Let us undermine the bourgeoisie." So Ron Silliman ends his contribution to "The Politics of Poetry" symposium in L=A=N=G=U=A=G=E 9/10 (October 1979). The organizing topic of that symposium was "what qualities writing has or could have that contribute to an understanding or critique of society, seen as a capitalist system." While many respondents pointed out their difficulty with the notion that writing per se has any generalizable qualities, most of the participants agreed that, in one way or another, a particular poetry at a particular time may offer a critique of bourgeois society. Specifically, what has come to be known as Language Poetry is held out to be one of the poetic modes of the present moment (in addition to certain minority, feminist, and gay poetries) which functions as such a critique. But in what ways can the following excerpt from Charles Bernstein's "Lift Plow Plates" be seen as a critique of capitalist society? For brief scratches, omits, lays away the oars (hours). Flagrant immersion besets all the best boats. Hands, hearts don't slip, solidly (sadly) departs. In what ways is this writing "'decentered', 'community controlled', taken out of the service of the capitalist project," as Bernstein himself puts it in his contribution to "The Politics of Poetry?" This book is a critical analysis of how some so-called Language Poets have answered those questions. Who are the Language poets? The answer to that question depends on how one defines the label. -
New Star Books :: Winter/Spring 2020 Catalogue
20/1 Winter / NEW Spring 2020 New Titles & Recent STAR Highlights BOOKS The Smallest Objective Sharon Kirsch Memoir 224 pp Trade paperback :: 5.5" x 8.5" ISBN 978-1-55420-155-6 $21 CAD :: $19 USD Publication date :: April 23, 2020 • Toronto book launch • Advertising in subTerrain, Montreal Review of Books, Geist, and Room • Targeted review copy distribution New Star Books :: Winter / Spring 2020 :: New Titles & Recent Highlights A lantern slide, a faded recipe book, a postcard from Mexico, a nugget of fool’s gold Sharon Kirsch is the author of What Species of — such are the clues available to the narrator of The Smallest Objective as she Creatures (2008), a book of creative non-fiction about excavates for buried treasure in her family home. first encounters between early settlers to North America and unfamiliar “beasts.” Together, these objects belonging to several Jewish personalities afford an intriguing vantage point on 20th-century Montreal — from a Runyonesque character well- A writer and an editor, she has published fiction, known by the city’s gossip columnists to a Lithuanian botanist versed in the fossil narrative non-fiction, and journalism, most recently in record to a young woman whose newfound opportunities mirror the promise and subTerrain and Room magazines. ambiguities of the city itself. As the narrator struggles with her mother’s failing memory and final decline, unexpected secrets are revealed and expired truths Sharon Kirsch is originally from Montreal and has lived exposed. in the US and the UK, the latter as a Commonwealth Scholar for postgraduate study in Middle English literature. -
Landmark 1963 Vancouver Poetry Conference” by Frank Davey
56 The Conference that Never Was: The “Landmark 1963 Vancouver Poetry Conference” by Frank Davey 1// &./%/6 > ".$: %$ ! "% ",02 8 % 7 ."% $ ." &% "/% %O-" P/. % 7 & :/ / 6 !$% / 1 6(/ $ /%0/.6 L O+% %PCollected Poems CM 8 % "" F%.%"/ ' / #$%0%/ . (/ 1 / 6/( 0 8 % . %:/ / ." ! 7% 6%)$$ /%0%.% L / .Charles Olson: Selected LettersCM /%"/ %.%// %OF> ".$:0"P/ %% 0( 6"(% ,! ! " 6 /%%O ". /?(,(6".%00 / #$%0%/ . 6 5 #:0%% 1 P ! > $ 66 /% 0 " %" O> ".$FP%%.0/Minutes of the Charles Olson Society,O / %(,( %/> ".$:0" ( % "6 00 .$%?%% "$%L %".%%%/%%0(,%/% . " 6%M 0 $ 6% ,% 0%$6 /6%$G %P1// 57 ". .% / / % % 0 ( . " %%N % ! " %/" . %/#$%0(+,"/ ? ,/ / % The 1963 Vancouver Poetry Conference— 6 / '"$O ,P&% .%// %(/. 62 /6 5%0 & %#$%" 0/ F$LO1/)- %&/ =$%6> ".$R%) , F:0"PM (."/0! " R% 6M(/. 6 ",( 6F 1/O"0"P/ %" % % /F$R% 6 5% 2 1 R%% ?? .? " "? (/"/ 0/% /G/.%/%0%. 3 %" @ % " O, : 0? "P06 ". "0"(/"/, " /#$% 0 0 , CA %" @%'.% %" O&. FP 2 / % / "6% / (/ ( % 1 / %/$ % 6% ".%A0/% 6% "/$ "6% %"%0 6 0 ,OF> ".$:0"P" .? 6! " R%"/ , /:/ / ? %& .6/ . R% 6 "%/ $ ,8/ ", 60/ . F %%.0/> ".$(% Tish, 6F 0/" "Tish 1-190C% R%0%. "%"? 0/O&.FP$% %"(/"/%0 " 0 %O:8006%P% $ .6 . 6 . %.% %.".% $ (/"/%%% / O %"%% P2/7%%" 0/ .? F 6% 00"6$ 1 1 $. " " /$% "0" /.6//% ?F % . %//! %%.0Minutes of the Charles Olson Society,$ / /(O"0"P/ .% /0/ %( % #R%%" $( * /# % % 0 ". 0(// (%,60.% $ %-($ / $/ 00 .% 6%0(/ /( %%/ $ /6/?0 . "$2/0% 0/%%! J 1 ( / 6O$/(6"0? "P(. "".O (,%P / O( %%."/ "? 0"./#(66 / P1/ " % / ( % ( 0 "0" L % 0 /%".%%%0/% 6/ #0/"60 M / ? 58 ". / $ / R%%6 1 /($%6 / /(."0 /( %(//"0""" 6 O2 .%. % $%."/ 00 %0 " .%0 //%%P O""/ %0%66 "0" 6 ( PLFM!"0"%1 R% .// % % .(/ 6/ /6.%0 ) / (// 6 6/% %/.%/"? (D. -
Code of Signals Features Selections from the Original Publication by North Atlantic Books in 1983, with the Following Exceptions
C o d e o f S i g n a l s e d i t e d b y M i c h a e l P a l m e r This re-presentation of Code of Signals features selections from the original publication by North Atlantic Books in 1983, with the following exceptions: Nathaniel Mackey's selection, which is available in Bedouin Hornbook (Los Angeles: Sun & Moon Press, 1997) pps. 165-178. Susan Howe's selection, which is available as "Part Two; Childe Emily To the Dark Tower Came" in My Emily Dickinson (Berkeley: North Atlantic Books, 1985) pps. 33-65. John Taggart's "Were You," which is available in Loop (Los Angeles: Sun & Moon Press, 1991) pps. 79-102. An exhaustive effort has been made to contact all the authors represented in the original collec- tion in order to represent this anthology in its original format. Any exclusion from this version is due to not being able to obtain the respective permissions. Any assistance in helping contact those not represented in this archive, but featured in the original publication, would be greatly appreciated. Any & all corrections to the texts in this publication should be addressed to: Jerrold Shiroma, [email protected]. Code of Signals: Recent Writings in Poetics was originally published in 1983 by North Atlantic Books. All work is copyright © by the respective authors, & may not be reproduced in any format, or republished without the express written consent of the author. “A poetics is informed and informs - Just informs maybe - the rest is a risk.” Louis Zukofsky, “A”-12 “Poetic speech is a carpet fabric with a multitude of textile warps which differ one from the other only in the coloring of the performance, only in the musical score of the constantly changing directives of the instrumental code of signals.” Osip Mandelstam, “Conversation about Dante” Table of Contents James Clifford....................................................................