by Alastair Johnston
Tom Raworth Working Bibliography part III
porque todo: ropaje, piel, vasijas,
palabras, vino, panes,
se fué, cayó a la tierra
-- Pablo Neruda, Alturas de Macchu Picchu (1945)
(for everything: clothes, skin, cups,
words, wine, bread,
has disappeared, fallen to earth)
(for everything: clothes, skin, cups,
words, wine, bread,
has disappeared, fallen to earth)
While running Matrix Press, Tom Raworth had done bits of job-printing. His biggest commission was a catalogue with full-colour cover for an exhibition of paintings by Michael Kidner at the Grabowski Gallery. Though Raworth was tired working full time and typesetting and printing at night, Barry Hall interested him in the idea of collaborating in a new press venture. In 1965, they started Goliard Press in a stable behind Finchley Road tube station, leveling the cobbled floor with planks for the equipment to stand on. It was still an evening-and-weekend operation as both were working full-time, but Hall's job as an engraver meant he could put through blocks for their own projects, while Raworth's correspondents from Outburst magazine meant there was no shortage of material to print and publish.
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| Cover for LOVE LOVE LOVE (Corgi Books, 1967) Artist unknown |
The small press scene in London was friendly and fluid with the three main presses, Trigram, Fulcrum and Goliard collaborating frequently. Rathna Ramanathan* characterizes the others thus: "Trigram Press (1965 to 1980) was founded by American poet Asa Benveniste and his English wife Penelope (Pip). Trigram books were notable amongst little presses for the quality of their design and production. A number of Trigram books were printed letterpress or silk-screen by Benveniste and Pip's son Paul Vaughan. Benveniste also designed and printed for other little presses. Louis Zukofsky, Gavin Ewart, and Tom Raworth are some of the poets whose work was published by Trigram Press."
"Fulcrum Press (1965 to 1974) was run by the Rhodesian poet Stuart Montgomery and his wife Deirdre. Fulcrum Press was one of the best known little presses of the period and is recognized for publishing the works of Modernist poets, among them Ezra Pound, Basil Bunting, Allen Ginsberg and Roy Fisher."
The Fulcrum Press of Stuart & Deirdre Montgomery was not a printer however, and had most of their printing done by Villiers Press, which was serviceable though typographically uninspired (like the City Lights books they also printed). Montgomery's interest was in marketing so he wanted his books to conform to the (dull) appearance of other trade books, and he also issued special limited edition signed hardbacks on tinted Glastonbury laid paper to lure the collector market. However, Montgomery frequently had exceptional cover art from Tom Phillips, Barnett Newman, Patrick Caulfield, Ian Dury, Ron Kitaj or Richard Hamilton. He also commissioned work from the other small presses in town. Fulcrum's finest work is Basil Bunting's Loquitur (1965), designed by Richard Hamilton and printed at the Eden & Finsbury Press.
A major difference between Fulcrum and Goliard books is the labour involved. Goliard's books were all hand-set whereas Villiers used Intertype to set the books of Fulcrum, meaning longer works, like Gary Snyder's 164-page Regarding Wave (1972), could be typeset relatively quickly. The three vital small presses were joined by Ferry Press whose books were published by Andrew Crozier. He was a Cambridge student who contacted Val and Tom for information on American poetry. Raworth remembers him as "a dry, intelligent man." He started with Thread by Fielding Dawson in 1964. That year Crozier went to SUNY/ Buffalo on a Fulbright Scholarship and became a student of Olson.
Though they were selling out 2-400 copies of their books, Goliard was kept afloat by commissions from other publishers, most significantly Bernard Stone who ran the crowded Turret Bookshop at number 1, Kensington Church Walk, not far from Biba, the iconic fashion shop. Stone was an influential figure in the English small press scene, serving wine in his bookshop on Saturday afternoons to assembled poets and authors. He published 20 graphically exciting poetry posters with Christopher Logue, started Steam Press with Ralph Steadman, and published the poetry he loved under the Turret Books imprint. As Raworth told me, "Poor old Bernard did use us, and pay on time..."
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| Edward Lucie-Smith, A Game of French and English, Turret Books, 1966 |
Hall & Raworth probably groaned at the MacBeth and Lucie-Smith manuscripts, but the commissions were important and show them being adventurous with materials. Though they never achieved the typographic acme of Asa Benveniste & Paul Vaughan at Trigram Press, their design for Edward Lucie-Smith's Game of French and English and Robin Fedden's Personal Landscape is excellent, while their handsomest productions for Stone, Zukofsky's Iyyob and Ted Hughes' Burning of the Brothel, mirror their own work at Goliard, so there was continuity with their vision and the jobs they took on.
At the point when Jonathan Cape came on board at Goliard in 1967, Raworth left, but he mentions that many manuscripts had piled up and the later Cape-Goliard publications of Paul Blackburn, Jeremy Prynne, Michael McClure, John Wieners and Charles Olson's Maximus Poems were in process. Raworth says, "We'd already been approached by George Rapp (the aluminium millionaire who later published as Rapp & Carroll) who offered to put money into the press; but we'd knocked him back, thinking that he'd want to publish boring stuff." Raworth recalled the occasion of his briefly famous remark when Rapp came by and asked how he "could help the Press and Poetry". "Give us the money and fuck off" was Raworth's reply. He had the same feeling about Jonathan Cape, that "no one gives money without wanting to influence the product, and I certainly wasn't interested in publishing manuscripts selected by committee."
The committee referred to was Tom Maschler, editor of Jonathan Cape, and one of his authors, Nathaniel Tarn. Born in Paris in 1928, Tarn trained as an anthropologist before turning to literature. His first book Old Savage, Young City was published by Jonathan Cape in 1964, for whom he also translated the widely acclaimed poem of Pablo Neruda, The Heights of Macchu Picchu. In 1967 he joined Cape as an editor and suggested they work with a small press. Among the options, Goliard was chosen and became Cape Goliard bringing more money and work to Barry Hall and a prestigious "loss-leader" to Jonathan Cape who could venture to print works by relative unknowns among their list, adding the New American voices of Olson, Robert Duncan, Zukofsky, their followers, and others. After Raworth left, Hall was joined by Chris Breyer.
While a student at King's College, Cambridge, Tarn had felt British poetry was still stuck on Rupert Brooke. At Cape he was able to bring not only anthropology (Claude Lévi-Strauss) but poetry in translation from Europe and Latin-America to the press, and this was a major service to the poetry-buying public, while at the same time Trigram & Fulcrum were continuing to promote the Transatlantic voices of Duncan, Zukofsky, Snyder, Ed Dorn, Larry Eigner, Lorine Niedecker and others to British readers.
As I said in Part II, Britain was not devoid of good poets: Roy Fisher, Basil Bunting, Philip Larkin and Hugh McDiarmid, among others, were important and influential writers. Penguin Modern Poets was launched in 1962 with the usual suspects but by 1966 they devoted a volume to the Mersey Sound of Adrian Henri, Roger McGough & Brian Patten and another to the Beat trio of Corso, Ferlinghetti & Ginsberg. 1966 was a great year for mass-market poetry in Britain with Penguin continuing its Modern European Poets series with Four Greek Poets (including Cavafy), Noboyuki Yuasa's translation of Basho's Narrow Road to the Deep North, and the landmark Peter Whigham translation of Catullus, dedicated to the memory of William Carlos Williams. The emergent voices in Britain were being heard in live readings organized in Edinburgh, Newcastle, Merseyside and London by Alan Jackson, Tom Pickard, Pete Brown, Mike Horovitz and others. These young voices were proclaimed in a popular paperback book with psychedelic cover art, Love Love Love: The New Love Poetry (edited by Pete Roche, Corgi Books, 1967), published at 5 shillings: the average age of the poets involved was 25. But the Don Allen anthology, The New American Poetry (Grove Press, 1960), gained momentum and created interest in the concurrent voices from the USA. For Cape, Goliard was a solid conduit to the new writing because of the personal connections established by Raworth and Hall over the preceding five years.
Tom Maschler, Cape's editor-in-chief mainly dealt with Barry Hall, but "All of us were initiators and mediators," said Tarn. "I remember having to argue Cape's viewpoint with Barry at times and vice versa: unlike an independent little press, we all had to compromise on occasions. Sometimes Barry & I felt a little hard done by: in cases, for instance, where Cape would decide to take someone like Duncan for the general list rather than the Cape Goliard list. But, by and large, there was a great deal of latitude. Barry, fascinated by design, often performed miracles of book production within (or without!) the official budget. Editorial process was informal: things would come in from Barry's and my contacts and discussion would begin. Commissioning was in Cape's hands.
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| Part of Cape-Goliard's prolific output: The Adventures of Mr & Mrs Jim & Ron by Ron Padgett & Jim Dine (1970), Maya by Anselm Hollo (1970), J.H. Prynne Kitchen Poems (1968), Our Word, Guerilla Poems from Latin America translated by Ed Dorn & Gordon Brotherston (1968), Out Loud by Adrian Mitchell (1968), Wales: A Visitation by Allen Ginsberg (1968), & In the Dark Move Slowly by Tuomas Anhava, translated by Anselm Hollo (1969) |
"The intention at Cape-Goliard was to publish avant-garde poets, mainly American, but with quite a few British and foreign, in the spirit of the little press with the full battery of typographic and design innovation which Barry could bring to the work. The products were to be sold as normal books, normally priced, though some de luxe versions were usually produced."
This arrangement continued until one day, fed up with Cape, Hall inked the press, ran the rollers halfway across a forme of type and walked out. (Oddly, as an eccentric badge of his role, Tarn would wear a cape in those days!) Hall did a few books under the Goliard imprint in New Mexico and in 1974 revived Goliard in London to print Ace, by Tom Raworth (but most of the edition was destroyed in a freak flood).
While this post is not about Cape Goliard's books it is important to distinguish Raworth and Hall's role in creating the market for new poetry in England and also in setting in motion the works of McClure, Olson, Ginsberg, Prynne and others that were published by Cape Goliard. Tarn has often spoken as if he was the instigator of these works, rather than the inheritor and benefactor of Raworth's groundwork. But this is nothing new in the small press world. A parallel instance is the frequent assertion of Andrew Hoyem of Arion Press in San Francisco that he came to town determined to bring into print the unknown talents of John Wieners, Michael McClure, Philip Whalen, Philip Lamantia, Lew Welch and the other poets who were published by Auerhahn. The truth is ALL of these works were printed by Dave Haselwood at Auerhahn before Hoyem came to San Francisco and became involved in the press (see, e.g., "The Good Book in Good Hands," by Carl Nolte, San Francisco Chronicle, December 27, 1998, or "Cast Out" by Ken Garcia, where again Hoyem states that he printed the first books of Burroughs and Whalen.)
Raworth says, "Certainly the Olson contact was mine (after all we'd already done West) ... and certainly the Prynne was in the works. The Blackburn too. The McClure came through Barry's SF connections I imagine. And we certainly had personal contacts with Berrigan, Ginsberg and Dine dating from well before the 'deal'. I can't really say that I'm bitter... I couldn't have stood working under those conditions, having to have 'meetings' with arseholes to 'decide'. I thought Tarn's Cape Editions series was excellent, so I had nothing personal against him. I didn't like how, in that Zamir piece,* the implication was that everything started with Cape Goliard, rather than with Goliard. But the important thing is that in London a few people and three or four presses (if one includes Ferry for example), starting from scratch, produced a lot of interesting and generally good-looking books in a very few years and made visible a very different world of poetry."
JOBWORK
Fulcrum Press
1965
Basil Bunting
Briggflatts
12 3/4 x 9 3/4", 30 pp laid paper; Hardback bound in black buckram, green laid paper dustwrapper printed in 72' Caslon with Celtic animal image printed in red.
Note: The poem, finished in May 1965, marked Bunting's triumphal return to poetry after years of obscurity as financial editor for a Newcastle newspaper. The first printing of Briggflatts was done by Hall & Raworth on Trigram's larger Glockner flat-bed cylinder press: so it was a three-way collaboration between the key small presses in London.
Colophon: This first edition is limited to 500 copies of which 100 are specially bound in cloth and 26 specially bound lettered A through Z are signed by the author. The text has been hand set in 14 pt. Caslon Old Face and printed at the Goliard Press London. We thank Barry Hall and Nick Strausfeld for the artwork, Tom Pickard and Gael Turnbull for their help and Poetry (Chicago) for their co-operation. This book has been designed by Stuart Montgomery.
The book has some awful half-uncial hand-lettering (by Strausfeld?) and clip art from Insular manuscripts printed as borders in black and red. The inspiration for these was probably Bunting's
"punctuate a text whose initial,
lost in Lindisfarne plaited lines
stands for discarded love."
There are also Lombardic initials printed in red, with an upside-down C used as a D.
1965 broadside
Basil Bunting
Ode II/2
for Fulcrum Press, made as a Christmas card. Single sheet folded to make six panels.
Basil Bunting
Briggflatts
12 3/4 x 9 3/4", 30 pp laid paper; Hardback bound in black buckram, green laid paper dustwrapper printed in 72' Caslon with Celtic animal image printed in red.
Note: The poem, finished in May 1965, marked Bunting's triumphal return to poetry after years of obscurity as financial editor for a Newcastle newspaper. The first printing of Briggflatts was done by Hall & Raworth on Trigram's larger Glockner flat-bed cylinder press: so it was a three-way collaboration between the key small presses in London.
Colophon: This first edition is limited to 500 copies of which 100 are specially bound in cloth and 26 specially bound lettered A through Z are signed by the author. The text has been hand set in 14 pt. Caslon Old Face and printed at the Goliard Press London. We thank Barry Hall and Nick Strausfeld for the artwork, Tom Pickard and Gael Turnbull for their help and Poetry (Chicago) for their co-operation. This book has been designed by Stuart Montgomery.
The book has some awful half-uncial hand-lettering (by Strausfeld?) and clip art from Insular manuscripts printed as borders in black and red. The inspiration for these was probably Bunting's
"punctuate a text whose initial,
lost in Lindisfarne plaited lines
stands for discarded love."
There are also Lombardic initials printed in red, with an upside-down C used as a D.
1965 broadside
Basil Bunting
Ode II/2
for Fulcrum Press, made as a Christmas card. Single sheet folded to make six panels.
1967
Ian Hamilton Finlay
Canal Games
Fulcrum Press
9 x 4". Set in 30 pt Placard Condensed caps, printed in multi-colours on 6 heavy cardboard leaves which have been trisected horizontally and spiral bound (in a red plastic comb binding), to form 18 cards which may be turned at random. 8 pp including titlepage and colophon: "This first edition of 1000 copies has been designed & printed by the Goliard Press, London. Fifty copies have been signed by the author & numbered."
Characteristically playful work from the Scots concrete poet and gardener.
Canal Games
Fulcrum Press
9 x 4". Set in 30 pt Placard Condensed caps, printed in multi-colours on 6 heavy cardboard leaves which have been trisected horizontally and spiral bound (in a red plastic comb binding), to form 18 cards which may be turned at random. 8 pp including titlepage and colophon: "This first edition of 1000 copies has been designed & printed by the Goliard Press, London. Fifty copies have been signed by the author & numbered."
Characteristically playful work from the Scots concrete poet and gardener.
Trigram Press
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| George Andrews, Burning Joy (Trigram Press, 1967) |
1966
George Andrews
Burning Joy
9 3/4 x 6 3/8", 40 pp., wove paper, sewn and glued into coated card covers. 550 numbered copies, 1 to 50 signed by the author. Cover painting by Barry Hall, back cover photo by Hans Bruggeman. 15s $2.50 Set in 12' Monotype Centaur. Display in Cochin, cover title in Engravers Roman.
Note: As Benveniste was not a practicing printer when he started Trigram, and his son-in-law Paul was a silkscreen printer with only 6 months experience in letterpress, it's natural they would job out some early titles.
Ferry Press
Steve Jonas
Music Master
Illustrated by Barry Hall
Ferry Press 1966
Three panel folder with Hall's illustration, and Jonas' poem (a fold-out sheet) tipped-in. The edition was limited to 33 copies, each numbered and signed by Jonas and Hall.
Steve Jonas
Transmutations: Poems
Ferry Press 1966
Introduction by John Wieners. Drawing by Basil King.
9 3/4 x 7 1/2" 64 pp (unpaginated) wove paper, sewn and glued into plain pink wrappers, with white chromo dust jacket. Basil King cover image in red; set in 10' Perpetua, cover display in 36' Verona.
1966
Lawrence Clark Powell
Two tributes by Henry Miller
A souvenir of a visit by Lawrence Clark Powell to the College of Librarianship, Wales. 22 November 1966.
100 copies, 3 pp, folded to 10 x 6 1/2" Titlepage in green ink with Hall's rose image printed in red; inside text all printed in red ink. Colophon: "Printed in an edition of 100 by the Goliard Press, London, for The College of Librarianship, Wales. Handset in Cochin type, and printed on Glastonbury antique-laid paper. Rose drawn by Barry Hall." Right side of fold has two quotes from Henry Miller from Preface to The Air-conditioned Nightmare, 1945, and Preface to The Books in my Life, 1951. "No request of any sort, in fact, has he ever turned down." [Info from Kim C Mattheussens] Only institutional copy at UCLA.
Music Master
Illustrated by Barry Hall
Ferry Press 1966
Three panel folder with Hall's illustration, and Jonas' poem (a fold-out sheet) tipped-in. The edition was limited to 33 copies, each numbered and signed by Jonas and Hall.
Steve Jonas
Transmutations: Poems
Ferry Press 1966
Introduction by John Wieners. Drawing by Basil King.
9 3/4 x 7 1/2" 64 pp (unpaginated) wove paper, sewn and glued into plain pink wrappers, with white chromo dust jacket. Basil King cover image in red; set in 10' Perpetua, cover display in 36' Verona.
1966
Lawrence Clark Powell
Two tributes by Henry Miller
A souvenir of a visit by Lawrence Clark Powell to the College of Librarianship, Wales. 22 November 1966.
100 copies, 3 pp, folded to 10 x 6 1/2" Titlepage in green ink with Hall's rose image printed in red; inside text all printed in red ink. Colophon: "Printed in an edition of 100 by the Goliard Press, London, for The College of Librarianship, Wales. Handset in Cochin type, and printed on Glastonbury antique-laid paper. Rose drawn by Barry Hall." Right side of fold has two quotes from Henry Miller from Preface to The Air-conditioned Nightmare, 1945, and Preface to The Books in my Life, 1951. "No request of any sort, in fact, has he ever turned down." [Info from Kim C Mattheussens] Only institutional copy at UCLA.
Turret Books
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| Louis Zukofsky, IYYOB, Turret Books, 1965 |
1965
Louis Zukofsky
IYYOB
4 x 6", 16 pp. Printed on rag paper, and sewn into wraps, in a printed rice-paper dust jacket in large Hebrew in yellow, and Westminster. Text in Cochin type. The lace paper endpaper has acidified, causing discoloration of the neighbouring sheets.
AJ: I found a copy of IYYOB, is it Hebrew as heard?
TR: Original Word: אּיּוֹב
Transliteration: Iyyob
Phonetic Spelling: (ee-yobe')
Short Definition: Job...
I guess that's it... as in "Get an iyyob!"
1965
Edward Lucie-Smith
Fir Tree Song
11 1/4 x 9 1/2", sides folded into flaps to make doors; shaped poem in green and red Caslon type; 250 copies of which 75 numbered & signed; cover title printed vertically in Westminster type
1965
Edward Lucie-Smith
Three Experiments
11 1/2 x 5 1/2" trifold on tan card stock. Cover art in black and red (repeated inside in white). Text in Caslon & Arrighi italic printed in red, cover in Westminster. 80 copies, numbered & signed.
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| Edward Lucie-Smith, A Game of French and English, Turret Books, 1965 |
1965
Edward Lucie-Smith
A Game of French and English
8 x 5 5/8" 16 pp., stapled into french-folded wrappers, with a printed tissue dustwrapper, printed in red and blue in 60' Fry's Baskerville type. Text in 12' Cochin, 100 signed & numbered copies.
Edward Lucie-Smith
A Game of French and English
8 x 5 5/8" 16 pp., stapled into french-folded wrappers, with a printed tissue dustwrapper, printed in red and blue in 60' Fry's Baskerville type. Text in 12' Cochin, 100 signed & numbered copies.
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| Dom Moraes, Beldam Etcetera, Turret Books, 1966 |
March 1966
Dom Moraes
Beldam Etcetera
8 7/8 x 5 3/8" 24 pp. of Glastonbury laid sewn into tan card wraps, with a printed duplex dust jacket. 100 signed & numbered copies, Goudy type. Title-page is printed on Japanese paper with a line-block facsimile of the manuscript in yellow and title display in turquoise.
1966
Christopher Logue
In May
broadside, yellow paper (not seen)
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| Robin Fedden, Personal Landscape, Turret Books, 1966 |
June 1966
Robin Fedden
Personal Landscape
5 1/2 x 6 1/2" 22 pages Glastonbury laid paper sewn into plain card wraps, with a printed yellow dust jacket. 1000 copies, of which 50 are cloth-bound (in burgundy cloth, with dust jacket). Prose memoir of Lawrence Durrell with a photograph by John Waller bound in. Goudy Old Face with Cochin italic display.
Robin Fedden
Personal Landscape
5 1/2 x 6 1/2" 22 pages Glastonbury laid paper sewn into plain card wraps, with a printed yellow dust jacket. 1000 copies, of which 50 are cloth-bound (in burgundy cloth, with dust jacket). Prose memoir of Lawrence Durrell with a photograph by John Waller bound in. Goudy Old Face with Cochin italic display.
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| Ted Hughes, The Burning of the Brothel, Turret Books, 1966 |
October 1966
Ted Hughes
The Burning of the Brothel
11 1/4 x 9" 16 pp. cream-coloured Glastonbury paper, 12' Caslon type. Title in 48' Perpetua printed on a leaf of Japanese paper with lumps of bark (a sure way to destroy your type!). Illustrated with found medieval woodcuts, printed in colours. Sewn and covered with a printed blue wrapper. 300 copies of which 75 numbered and signed. (Variant: less than ten copies were issued in red wrappers before they were rejected in favour of blue.) Sagar & Tabor A9.
The Burning of the Brothel
11 1/4 x 9" 16 pp. cream-coloured Glastonbury paper, 12' Caslon type. Title in 48' Perpetua printed on a leaf of Japanese paper with lumps of bark (a sure way to destroy your type!). Illustrated with found medieval woodcuts, printed in colours. Sewn and covered with a printed blue wrapper. 300 copies of which 75 numbered and signed. (Variant: less than ten copies were issued in red wrappers before they were rejected in favour of blue.) Sagar & Tabor A9.
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| Edward Lucie-Smith, Gallipoli, Turret Books, 1966 |
December 1966
Edward Lucie-Smith
Gallipoli
13 x 6 1/8" broadside in green Cochin type on Glastonbury paper, in wrapper. 300 copies, of which 100 numbered & signed. Folded in thirds, with printed label on front of wrapper. My copy (shown) designated "1 of 3 quality Goliard Press proofs" and inscribed to (American collector) Joseph Gold from the author. (One of four or more Christmas cards issued by Turret Books.)
Edward Lucie-Smith
Gallipoli
13 x 6 1/8" broadside in green Cochin type on Glastonbury paper, in wrapper. 300 copies, of which 100 numbered & signed. Folded in thirds, with printed label on front of wrapper. My copy (shown) designated "1 of 3 quality Goliard Press proofs" and inscribed to (American collector) Joseph Gold from the author. (One of four or more Christmas cards issued by Turret Books.)
February 1967
Turret Poets Read
11 x 14 3/4" folded in thirds. Offset on cardstock; programme for reading at the ICA (Institute of Contemporary Arts), 17 Dover Street. With contributions from Kevin Crossley-Holland, Christopher Logue, Jeff Nuttall, George MacBeth, Edward Lucie-Smith, and stills from "Juicy Movie," a film by Barry Hall & Tom Raworth. 400 copies issued as invitation/programmes for the event, with 100 more numbered and signed.
Turret Poets Read
11 x 14 3/4" folded in thirds. Offset on cardstock; programme for reading at the ICA (Institute of Contemporary Arts), 17 Dover Street. With contributions from Kevin Crossley-Holland, Christopher Logue, Jeff Nuttall, George MacBeth, Edward Lucie-Smith, and stills from "Juicy Movie," a film by Barry Hall & Tom Raworth. 400 copies issued as invitation/programmes for the event, with 100 more numbered and signed.
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| George MacBeth, The Screens, Turret Books, 1967 |
February 1967
George MacBeth
The Screens
10 x 7 3/4" 200 copies of which 100 numbered and signed. 6 sheets of Canson cover, each a different colour, printed with a poem, then folded to make "doors" in the front with an image printed on the left side. Housed in a sheet of heavy white etching paper, printed, embossed & scored. (Poems inspired by Chinese calligraphy)
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| Edward Lucie-Smith, Heureux Qui, comme Ulysse, Turret Books, 1966 |
December 1967
Edward Lucie-Smith
'Heureux Qui, Comme Ulysse...'
8 1/4 x 6" 500 copies, 100 numbered & signed. Three-colour broadside on Glastonbury cream laid paper, tipped into yellow cardstock folder with what appears to be a Flaxman drawing of Greek sculpture on the cover. Caslon type with Cochin italic. Display in 24' Recherché caps in red and green.
Edward Lucie-Smith
'Heureux Qui, Comme Ulysse...'
8 1/4 x 6" 500 copies, 100 numbered & signed. Three-colour broadside on Glastonbury cream laid paper, tipped into yellow cardstock folder with what appears to be a Flaxman drawing of Greek sculpture on the cover. Caslon type with Cochin italic. Display in 24' Recherché caps in red and green.
***
Note: Anselm Hollo's The Man in the Treetop Hat, published by Turret, was printed by Hall & Breyer in June 1968. Michael McClure's broadside, "Childhood memories are like the smallness of Keats' words..." also appeared in 1968. Other significant Turret publications were Jonathan Williams' The Lucidities, with drawings by John Furnival (Turret, 1967), Henry Miller & Alfred Perles' What are You Going to Do about Alf? (Turret, 1971), Lucie-Smith's A Garland from the Greek (Christmas, 1971), and Beasthood by Bryn Griffiths, with photographs by Pip Benveniste (Turret, 1972), which were all printed at Trigram Press.
Refs: Rathna Ramanathan, "English little presses, book design and production. A Study of five London publishers, 1945-1979," Doctoral dissertation, University of Reading, Dept of Typography & Graphic Communication, October 2006.
Shamoon Zamir: "Bringing the World to Little England: Cape Editions, Cape Goliard and Poetry in the Sixties. An Interview with Nathaniel Tarn. With an afterword by Tom Raworth," in E. S. Shaffer, ed., in "Literary Devolution." Comparative Criticism, vol 19, Cambridge, UK: Cambridge University Press, 1997, pp. 263-286,
[Joe McCann] "Bernard Stone's Books," Maggs Bros Ltd Catalogue 1456, with a foreword by Barry Miles, London, 2012
__________
Tom Raworth Working Bibliography Part II. A Checklist of the Goliard Press (1965-7).
Tom Raworth Working Bibliography Part I: A Checklist Of Matrix Press (London 1961-4).
__________
__________
Note: Anselm Hollo's The Man in the Treetop Hat, published by Turret, was printed by Hall & Breyer in June 1968. Michael McClure's broadside, "Childhood memories are like the smallness of Keats' words..." also appeared in 1968. Other significant Turret publications were Jonathan Williams' The Lucidities, with drawings by John Furnival (Turret, 1967), Henry Miller & Alfred Perles' What are You Going to Do about Alf? (Turret, 1971), Lucie-Smith's A Garland from the Greek (Christmas, 1971), and Beasthood by Bryn Griffiths, with photographs by Pip Benveniste (Turret, 1972), which were all printed at Trigram Press.
Refs: Rathna Ramanathan, "English little presses, book design and production. A Study of five London publishers, 1945-1979," Doctoral dissertation, University of Reading, Dept of Typography & Graphic Communication, October 2006.
Shamoon Zamir: "Bringing the World to Little England: Cape Editions, Cape Goliard and Poetry in the Sixties. An Interview with Nathaniel Tarn. With an afterword by Tom Raworth," in E. S. Shaffer, ed., in "Literary Devolution." Comparative Criticism, vol 19, Cambridge, UK: Cambridge University Press, 1997, pp. 263-286,
[Joe McCann] "Bernard Stone's Books," Maggs Bros Ltd Catalogue 1456, with a foreword by Barry Miles, London, 2012
__________
Tom Raworth Working Bibliography Part II. A Checklist of the Goliard Press (1965-7).
Tom Raworth Working Bibliography Part I: A Checklist Of Matrix Press (London 1961-4).
__________
__________
