The poets that peeked in the windows of the Berkeley Poetry Conference, circled together around Synapse and proclaimed their poetry from the streets gave a series of readings at Wobbly Hall on Minna Street from March to September 1965. Seven readings over seven months.
I find it interesting that these poets who felt that the real power of their poetry could only be appreciated in its actual performance either on the street, in the coffeehouse or in the Hall produced so much paper. The Le Metro scene set in amber by Dan Saxon demonstrates the same paradox. As I mentioned earlier it is as if the poems did not really exist unless they were published. Thus with Poems Read in the Spirit of Peace and Gladness it was essential to issue an anthology to immortalize a reading series. Just having a reading is never enough. Unless the tree in the forest was turned into a book, nobody would know it fell. Or something like that. How does all this paper comment on a group of poets influenced by Gary Snyder and his ecological consciousness?
From this cache of ephemera that documents the scene around the IWW reading series, I think the handbill announcing the reading for April captures the spirit of the times the best. I would guess this was printed on a spirit duplicator given the color and the fading. The handbill is almost illegible now. Like the actual performance of the readings themselves, it leaves only the slightest trace. A faint echo. In addition like the street poetry, the handbill is one of the primary example of street literature, which in this case has been recycled by Facino/Palmer in order to write a note to set the context for his chapbook The Quick and the Quiet. Yet once again a word of thanks or introduction would not suffice. It must be written. Similarly with the publication itself the mimeograph (the quick) is necessary to preserve that which threatens to be silenced.
BTW my scanner has shit the bed. For the time being I will have to use my phone for images. As they say on my commuter train nearly every day, we regret any inconvenience.
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.
OUT OF PRINT
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.
OUT OF PRINT
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).
OUT OF PRINT
0 comments:
Post a Comment