Before there was Andrew Hoyem at Auerhahn Press, there was Jay McIlroy. Hoyem bought out McIlroy in 1961 to become a partner in the press. McIlroy was a printer who helped Dave Haselwood out in the print room and became a partner. It should be remembered that at the start of Auerhahn Haselwood had only a "high school knowledge of printing" (from Printing from the Edge). McIlroy showed Haselwood the ropes and got those early books, like Self Portrait, From Another Direction (handset and printed on a Hartford letterpress in 1959), out into the world.Haselwood makes this clear in his interview with Alastair Johnston (available from Cuneiform Press in Hanging Quotes): "[McIlroy] really knew how to print and taught me how to print . . . He was an extremely fine person and really was heavily responsible for the good things that happened at Auerhahn and he's never given any credit . . . He was a typical South Side of Philadelphia, not educated beyond high school, talked with a wonderful working-class Philadelphia accent, no pretensions, but just loved this poetry, and wanted to work on it. Quite a strange thing actually. He really was the one who got it off the ground. I don't think I could have ever printed this. For instance in Ekstasis there are all these shaped poems."
"[N]o pretensions, but just loved this poetry, and wanted to work with it." Compare this with Andrew Hoyem, which was about "exquisite productions." How much was the early aesthetic of Auerhahn influenced by Jay McIlroy and his simple sense of style?
In the interview, Haselwood acknowledges that he lost track of McIlroy and I can find little on him at all. The above business card locks him into place in the day-to-day activities of Auerhahn as a business partner and into its history.
Before McIlroy, Haselwood states that there was "[a] man who's name I don't even remember, who worked as a ship's printer on Lurline, obtained some type for me that they were selling off the ship and then showed me how to set type and operate the Hartford letterpress. He just volunteered and came in and helped." There is no business card for this Man from Portlock who altered the course of Auerhahn. He is lost to history. For example in the introduction to Printing from the Edge Exhibit on California broadsides, this unknown man is merged into the person of McIlroy.
Ephemera matters.
JB
MIMEO MIMEO #8: CURATORS' CHOICE features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
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MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
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MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
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MIMEO MIMEO #2: features Emily McVarish on her artist's book Flicker; James Maynard on poet Robert Duncan's early experiences as an editor and typesetter; Derek Beaulieu on the relationship between the influential Canadian poetry journal Tish and Black Mountain College; and an extensive interview with Australian poet and typographer Alan Loney conducted by Kyle Schlesinger. Cover is by Emily McVarish.
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