This post was going to be about William Wantling and The
Source, but my mind wandered as I was reading through that chapbook, and I
started obsessing about The Source’s publisher, Len Fulton of Dustbooks. I am sure Len was a wonderful guy, all the obituaries say so; he was
truly dedicated to the small press, and he devoted his life to
furthering it. Good for him, but in my opinion, not
good for the Mimeo Revolution. It is a cliché
that the revolution will not be televised, or maybe it has become a cliché that
it will, but there is a lesser known maxim that the revolution will not be bureaucratized. Unfortunately, Fulton did just that, and, in my
mind, he is a major reason for the Revolution’s decline. Hugh Fox and Fulton started the Committee of
Small Magazine Editors and Publishers (COSMEP) in 1968.
In addition, Fulton through Dustbooks became the major supplier of
directories related to the small press, such as the International Directory of
Little Magazines and Small Press.
Another boondoggle of bureaucratic bullshit. This should not be surprising as Fulton was a
bureaucrat in real life, acting as the Fifth District Supervisor in Chico,
California. Fulton was obsessed with low
level politics, and he introduced inane bickering and time wasting committees
to the Mimeo Revolution. Fulton, quite simply, is a
menace. He turned a literary community
based on communicating through the mail into a bureaucracy arguing at
conventions. According to Clay and
Phillips, Ronald Reagan is the major villain in the decline of the Mimeo
Revolution; I nominate Len Fulton. He
got mimeo publishers hooked on competing for government money in the first
place.
To be honest, I do not consider Fulton, Hugh Fox, Curt
Johnson of December, or Carol Berge members of the Mimeo Revolution at all. In fact almost everybody in the recent anthology on the little magazine, Paper Dreams. They are “Small Magazine Editors and
Publishers,” which means they are a minor leagues to the major publishers. They are sleeping with the enemy. The Mimeo Revolution was a league of its own,
and mimeographers did not attempt to play by the same rules. They were playing with and amongst themselves. The Mimeo Revolution is play; the small press
of Fulton is politics. Fulton fucked up
the scene by trying to make a neighborhood pick-up game an organized sport. He deserved to be in the Mimeo Hall of Shame.
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
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