Laptop Computer Discovered On Ancient Greek Vase

by Stephen J. Gertz

μήλο φορητό υπολογιστή

Evidence that ancient Greek civilization possessed advanced technology beyond the Antikythera mechanism, the earliest complex mechanical instrument, used for calculating the movements of the stars and predicting solar and lunar eclipses - in short, a prototype computer - has been strengthened by the discovery of a laptop computer depicted on an ancient Greek vase.

The image is of the Oracle of Orpheus, the head of Orpheus offering prophecies to a young man who records the predictions on his laptop while Apollo observes at right.

Identified on the vase as μήλο φορητό υπολογιστή, tech-anthropologists have yet to discern how the device's mechanism worked; there is no visible evidence of power cord or battery. The young man appears to be operating a crude pedal with his right foot, apparently the source for power generation.

In what is, perhaps, the most troubling aspect of this image, Orpheus's head, supposedly buried near Antissa on the island of Lesbos after his body was torn apart by Thracian Maenads, is depicted as a late 20th century news anchor, a typical "talking head." This is radical because in ancient myth the head of Orpheus is usually singing mournful torch songs for Eurydice. It's tantamount to Frank Sinatra transmogrifying into the Oracle at Delphi and delivering a cryptic message as a late night news bulletin:

It's a quarter to three, there's no one in the shrine 'cept you and me.
So set 'em up Zeus, I gotta little story that ends in a noose.
We're drinkin' mead,  friend,
To the end
Of a brief episode.
So make it one for Eurydice,
And one more for the road

Orpheus rejected worship of all Gods except the sun, whom he called Apollo. But even Apollo had his limits and after listening to the Oracle of Orpheus until he couldn't stand it any longer, gave Orpheus the hook and shut his mouth. Here, Apollo seems to be saying, "Hey, I want one of those things!" It is entirely possible that this vase and its message went ancient-world viral.

In a telling detail, the young man is using a stylus to depress the computer's keys, conclusively demonstrating that from the very beginning laptop makers presumed everyone had toothpick fingers able to navigate a cramped keyboard design inspired by canned sardines.

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Common Sense Costs $545,000 In 21st C. America

by Stephen J. Gertz

An extraordinary association copy of the scarce first edition, first issue, of Thomas Paine's iconic anti-monarchical pamphlet, Common Sense (Philadelphia: Robert Bell, 1776), sold at Sotheby's - New York on Tuesday June 4, 2013 during its Library of a Distinguished American Collector sale. Estimated to sell for $400,000 - $600,000, the hammer fell at $545,000, including buyer's premium.

The first page of the text bears a hastily written note by founding patriot Henry Wisner (1720-1790), a representative from Goshen, New York to the Continental Congress from 1775 to 1777.  He fully supported the Declaration of Independence although he was not present to vote on or sign the document. He served in various military and political capacities during the Revolution, supplied the Continental Army with gunpowder and weapons, and was instrumental in the laying of the two Great Chains across the Hudson River in 1776.

Addressed to John Mckesson, another founding patriot, a prominent figure in New York politics, and Secretary of the Committee of Safety for New York, Wisner's inscription reads: "Sir I have only to ask the favour of you to Read this pamphlet, consult Mr. Scott and such of the Committee of Safety as you think proper particularly Orange and Ulster [Wisner owned four powder mills in these New York counties] and let me know their and your opinion of the general spirit of it. I would have wrote a letter on the subject but the bearer is waiting. Henry Wisner at Philadelphia to John McKesson at New York."

Though undated, it is clear from the content of Wisner's note that this copy of pamphlet was sent to  McKesson months before the vote on the Declaration of Independence, perhaps even shortly after its publication.  McKesson duly received the pamphlet and signed his name on the title-page.

This is a famous copy, noted in Moncure Daniel Conway's chapter on Common Sense in his The Life of Thomas Paine: With a History of His Literary, Political, and Religious Career in America, France, and England (New York: G.P. Putnam's Sons/The Knickerbocker Press, 1892). After citing Wisner's inscription Conway continues:

"In pursuance of this General Scott suggested a private meeting, and McKesson read the pamphlet aloud. New York, the last State to agree to separation, was alarmed by the pamphlet, and these leaders at first thought of answering it, but found themselves without the necessary arguments. Henry Wisner, however, required arguments rather than orders, and despite the instructions of his State gave New York the honor of having one name among those who, on July 4th, voted for independence" (p. 62).
 

"Of the paramount influence of Paine's Common Sense there can indeed be no question.  It reached Washington soon after tidings that Norfolk, Virginia, had been burned (Jan. 1st) by Lord Dunmore, as Falmouth (now Portland), Maine, had been, Oct. 17, 1775, by ships under Admiral Graves. The General wrote to Joseph Reed, from Cambridge, Jan. 31st: 'A few more of such flaming arguments as were exhibited at Falmouth and Norfolk, added to the sound doctrine and unanswerable reasoning contained in the pamphlet Common Sense, will not leave numbers at a loss to decide upon the propriety of separation" (ibid pp. 61-62). 

Common Sense is of the utmost rarity with only three other complete copies (with all prelim and end leaves, and no facsimiles) of the first edition, first issue, in decent condition selling at auction since 1945: one in 1967, another in 1975 with a defective title-page, and the Engelhard copy, which sold for $110,00 in 1996.

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[PAINE, Thomas]. Common Sense; addressed to the inhabitants of America, on the following interesting subjects. I. Of the origin and design of government in general, with concise remarks on the English Constitution. II. Of monarchy and hereditary succession. III. Thoughts on the present state of American affairs. IV. Of the present ability of America, with some miscellaneous reflections. Philadelphia: Printed, and sold by R. Bell in Third Street, 1776. Twelvemo. [4], 77, [1] pp.

Bristol  B4309. Gimbel CS-1. Church 1135. Shipton & Mooney 43120. Adams, T.R. American Pamphlets 222d. English Short Title Catalog,; W32284.
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Communism Never Looked So Good

by Stephen J. Gertz

In 1884, after artist-poet-designer-printer William Morris compulsively read his copy of the first edition in French (1872-1875) of Karl Marx's Das Kapital until its flimsy binding was a wreck, he asked the great T.J. Cobden-Sanderson, then new to the craft of bookbinding but with enormous promise and taste, to rebind the book's first volume before it completely fell apart within his enthusiastic hands.

Morris, who had joined the new Social Democratic Federation, Britian's first fan club for Marx, shortly before wading into Das Kaptial waist-deep, was besotted with the German philosopher. He "was full of Karl Marx whom he had begun to read in translation" according to an April 13, 1883 entry in his friend Cormell Price's diary. Morris loved Marx's take on history but Marx's economics were another matter: Morris admitted that they caused him "agonies of confusion of the brain."

Despite the headaches, on March 14, 1883 Morris participated in a march to Highgate Cemetery where pilgrims congregated at Marx's grave to celebrate the anniversary of his death. 

This was the second binding by Cobden-Sanderson in his own workshop, the Doves Bindery (he had previously apprenticed with Roger de Coverly), a remarkable achievement for someone new to the art and craft.

After William Morris's death in 1896, Cobden-Sanderson, at the behest of Sydney Cockerell, then Morris's secretary, recorded the story of this binding on its lower end leaf:

"This book - Le Capital - was bound and tooled for William Morris by me in my first workshop on Maiden Lane 1884 and finished the 9th. October and the pattern on its sides and back is the second of my making. The tools were second hand and bought - and used - at haphazard, but the tooling and the binding pleased William Morris and his pleasure was my own great delight. In Memoriam I write this the 24th. February 1897. T.J. Cobden-Sanderson. I should like to add the book was his own & before it came to me to be bound had been worn to loose sections by his own constant study of it. T.J.C-S."

It is unknown what formal arrangements were made between Morris and Cobden-Sanderson beyond the presumed from each according to his abilities to each according to his needs.

I suspect, however, that Lenin would have proclaimed this binding of Das Kapital an example of  excess completely out of touch with simple, proletarian utility. The fact that it wound up in the collection of Estelle Doheny, heiress to her husband Edward's vast oil fortune, would have surely thrown him into a fit. Karl Marx finely dressed and living with a capitalist fat cat? Nyet!

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MARX, Karl. Le Capital. Traduction de M.J. Roy, entièrement révisée par l'auteur. Paris: Maurice Lachatre et Cie, [1872-1875].

Tidcombe, Cobden-Sanderson no. 2. Wormsley Library 81.

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A Glutton Of Literature Hungry For Learning But Starved Of Wisdom

by Stephen J. Gertz

Isaac D'Israeli (1766-1848).

 The following is excerpted from Isaac D'Israeli's Curiosities of Literature, originally published in 1791 and expanded to multiple volumes in 1793, 1807, 1817, and 1823 (Second Series). A compilation of literary anecdotes and lore, this piece appears as Article 121, a cautionary tale about the dangers of reading too much, thinking about it too little, and thus becoming "a living Cyclopædia, though a dark lantern."

"Anthony Magliabechi, who died at the age of eighty, was celebrated for his great knowledge of books. He has been called the Helluo, or the Glutton of Literature, as Peter Comestor received his nickname from his amazing voracity for food he could never digest; which appeared when having fallen sick of so much false learning, he threw it all up in his “Sea of Histories,” which proved to be the history of all things, and a bad history of everything. Magliabechi’s character is singular; for though his life was wholly passed in libraries, being librarian to the Duke of Tuscany, he never wrote himself. There is a medal which represents him sitting, with a book in one hand, and with a great number of books scattered on the ground. The candid inscription signifies, that “it is not sufficient to become learned to have read much, if we read without reflection.” This is the only remains we have of his own composition that can be of service to posterity. A simple truth, which may however be inscribed in the study of every man of letters.

"His habits of life were uniform. Ever among his books, he troubled himself with no other concern whatever, and the only interest he appeared to take for any living thing was his spiders; for whom, while sitting among his literary piles, he affected great sympathy; and perhaps in contempt of those whose curiosity appeared impertinent, he frequently cried out, “to take care not to hurt his spiders!” Although he lost no time in writing himself, he gave considerable assistance to authors who consulted him. He was himself an universal index to all authors. He had one book, among many others, dedicated to him, and this dedication consisted of a collection of titles of works which he had had at different times dedicated to him, with all the eulogiums addressed to him in prose and verse. When he died, he left his large collection of books for the public use; they now compose the public library of Florence.

"Heyman, a celebrated Dutch professor, visited this erudite librarian, who was considered as the ornament of Florence. He found him amongst his books, of which the number was prodigious. Two or three rooms in the first story were crowded with them, not only along their sides, but piled in heaps on the floor, so that it was difficult to sit, and more so to walk. A narrow space was contrived, indeed, so that by walking sideways you might extricate yourself from one room to another. This was not all; the passage below stairs was full of books, and the staircase from the top to the bottom was lined with them. When you reached the second story, you saw with astonishment three rooms, similar to those below, equally full, so crowded, that two good beds in these chambers were also crammed with books.

1848, all in one volume edition.

"This apparent confusion did not, however, hinder Magliabechi from immediately finding the books he wanted. He knew them all so well, that even to the least of them it was sufficient to see its outside, to say what it was; and indeed he read them day and night, and never lost sight of any. He ate on his books, he slept on his books, and quitted them as rarely as possible. During his whole life he only went twice from Florence; once to see Fiesoli, which is not above two leagues distant, and once ten miles farther by order of the Grand Duke. Nothing could be more simple than his mode of life; a few eggs, a little bread, and some water, were his ordinary food. A drawer of his desk being open, Mr. Heyman saw there several eggs, and some money which Magliabechi had placed there for his daily use. But as this drawer was generally open, it frequently happened that the servants of his friends, or strangers who came to see him, pilfered some of these things; the money or the eggs.

"His dress was as cynical as his repasts. A black doublet, which descended to his knees; large and long breeches; an old patched black cloak; an amorphous hat, very much worn, and the edges ragged; a large neckcloth of coarse cloth, begrimed with snuff; a dirty shirt, which he always wore as long as it lasted, and which the broken elbows of his doublet did not conceal; and, to finish this inventory, a pair of ruffles which did not belong to the shirt. Such was the brilliant dress of our learned Florentine; and in such did he appear in the public streets, as well as in his own house. Let me not forget another circumstance; to warm his hands, he generally had a stove with fire fastened to his arms, so that his clothes were generally singed and burnt, and his hands scorched. He had nothing otherwise remarkable about him. To literary men he was extremely affable, and a cynic only to the eye; anecdotes almost incredible are related of his memory. It is somewhat uncommon that as he was so fond of literary food, he did not occasionally dress some dishes of his own invention, or at least some sandwiches to his own relish. He indeed should have written CURIOSITIES OF LITERATURE. He was a living Cyclopædia, though a dark lantern.

"Of such reading men, Hobbes entertained a very contemptible, if not a rash opinion. His own reading was inconsiderable, and he used to say, that if he had spent as much time in reading as other men of learning, he should have been as ignorant as they. He put little value on a large library, for he considered all books to be merely extracts and copies, for that most authors were like sheep, never deviating from the beaten path. History he treated lightly, and thought there were more lies than truths in it. But let us recollect after all this, that Hobbes was a mere metaphysician, idolising his own vain and empty hypotheses. It is true enough that weak heads carrying in them too much reading may be staggered. Le Clerc observes of two learned men, De Marcily and Barthius, that they would have composed more useful works had they read less numerous authors, and digested the better writers."

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I am indebted to J.J. Philips for drawing my attention to this piece from Curiosities of Literature, a book with which I am familiar but have not, admittedly, read in its entirety.

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The whole book may be read online at Spamula or Project Gutenberg.

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Mr. O'Squat And The Widow Shanks Schlep To London

by Stephen J. Gertz
 

Published 1822 (titlepage; 1823 imprinted on outer drum plate).

The misadventures of the recently married Mister O'Squat and the Widow Shanks, whose honeymoon journey to London, immortalized in A Trip To Town, a boxwood drum panorama published in 1822 by William Sams, was strewn with comic pratfalls and perils, is the subject of today's episode of The Newlywed Game.

We present the panorama as Exhibit A. It contains twelve hand-colored engraved panels, each introduced with verses as captions.

The prospect of vegetating in the countryside was too much for the couple to bear. They had social and cultural ambitions that could not be satisfied unless they ditched their rustic digs and high-tailed it to London. Fate had other plans for them; Robert Scott's disastrous South Pole expedition had better prospects.

It's one catastrophe after another, and the nearer to London they get the less chance they have of  arriving with their dignity - and derrieres - intact. Their marriage and tendons and ligaments are strained by the trek.

Little is known about A Trip To London's publisher, printer-bookseller William Sams, "Bookseller to his Royal Highness the Duke of York opposite the Palace." OCLC notes over a hundred titles (some duplicates) published by him 1818-1842, From Poetical Rhapsodies to Brian, The Probationer, or The Red Hand.

It pains me to report that shortly after taping this episode of The Newlywed Game Mr O'Squat and the former Widow Shanks' marriage went kaput. She fell into the doleful dumps and withdrew from society, he split the scene and hasn't been seen since, nor, it appears, has the print record of their travails, A Trip To Town. It is not found in Tooley or Abbey, has no copies recorded by OCLC/KVK in institutional holdings worldwide, no copies at auction since ABPC began indexing results in 1923, no copy in the collection of the British Museum, nor is it found in the annals of our sister TV series, Divorce Court. It is an incredibly scarce item, as rare as a Taylor Swift long-term relationship.

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Title page.

[PANORAMA]. A Trip to Town. Published by William Sams Bookseller to His Royal Highness, The Duke of York. Opposite the palace St. James Street, London: 1822 (1823 on drum plate).

Drum panorama of twelve hand-colored panels, 310 inches in length when fully unspooled. Drum height: 7 inches. Drum diameter: 2 3/4 inches. The title page measures 3 3/4" (95.25 mm) length x 5 1/4" (133.35 mm) high. With twelve panels all measuring 5 1/4" (133.35 mm) high. The other panels have various lengths. Their measures are: Panel 01: 27 3/4"  (704.85 mm); Panel 02: 28 1/8"  (714.375 mm); Panel 03: 28 3/8"  (720.725 mm); Panel 04: 28" (711.2 mm); Panel 05: 28 1/4"  (717.55 mm); Panel 06: 27 5/8"  (701.675 mm); Panel 07: 28 1/8"  (714.375 mm); Panel 08: 28" (711.2 mm); Panel 09: 28 1/4"  (717.55 mm); Panel 10: 28 1/4"  (717.55 mm); Panel 11: 28" (711.2 mm); Panel 12: 27" (685.8 mm). Each panel is introduced with brief text as extended caption.

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Images courtesy of David Brass Rare Books, with our thanks.
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Of Related Interest:

Pigmy Revels: Laughter For the Languid, Fun For the Feeble in a Boxwood Drum.
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Judy Garland Spots James Mason In Rare 1805 Book

by Stephen J. Gertz

The original, unsigned and undated, artwork for a series of satirical prints, Symptoms of Drilling, signed on the published prints as  "Designed & Etched by H.B.H. Esq. 1805" without imprint, recently fell into my lap. Bound by Riviere and Son c. 1900 - incredibly with misspelled title, "Symptons," on the upper cover - it was from the collection of the great film  director, George Cukor, and bears his celebrated bookplate designed by Paul Landacre.

Bookplate by Paul Landacre.

"For George / I came across this book & spotted James Mason. Judy"

It was a gift to Cukor from Judy Garland, inscribed, "For George/ I ran across this book & spotted James Mason / Judy." The book was likely presented and the message likely written c. 1953-54, the years that Cukor's production of Garland's star-vehicle, A Star Is Born, co-starring Mason, was shot and released. 

Symptoms of Drilling / Fall in Gentlemen!- heads up! - eyes right!

Ready! -p'sent! - wait Gentlemen, wait for the Word "Fire!"

The watercolors, in a style similar to Thomas Rowlandson, depict a motley crew of comical recruits engaged in soldier's training under the direction of a drill sergeant. The captions have been added by hand in the sky above the heads of the recruits. A bookseller's description tipped to the front endpaper mistakenly attributes them to Rowlandson but the only surviving copies of the published prints, at the British Museum (incomplete set) and Brown University (complete set), bear the signature and date at noted above.

Shoulder Arms.

It remains unknown who "H.B.H." or "H, H.B." is, and the published album is unrecorded by Tooley or Abbey.

March!!!- Cock-up there!

To the Right - face!

The series might well have been titled, "1st Division, Wildly Divided, Amateur Army... Chaos on the March!!!" If someone looking like James Mason is part of this platoon of British Gomer Pyles I don't see him. Miss Garland was clearly poking fun at the British actor who, in A Star Is Born, portrays washed-up movie star, Norman Maine, to Judy Garland's rising star, Esther Blodgett / Vicki Lester, the two in a heartfelt yet disastrous marriage.

Authentic Judy Garland autograph material is difficult to come by - studio publicists routinely signed still photographs - and her signature mutated over the years, her autograph from the 1930s - 1940s quite distinct from later examples. As odd as her signature appears here in contrast to earlier ones there is little doubt that this inscription is genuine. Why would someone make the  effort to deceive with this obscure, one-off album, and why would it be in George Cukor's possession? 

Had she remained in character the inscription would have been tear-stained and signed, "Mrs. Norman Maine," how Vicki Lester accepted her Academy Award after dearly beloved husband Norman Maine took a long walk off a short pier and journeyed into the drink for a final, dramatic exit stage-right to continue his full-time drinking into eternity.

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[H.B.H. or H., H.B.]. Symptoms of Drilling. N.p.: n.p., n.d. [1805]. Oblong octavo (5¾ x 16¾ in; 145 x 427 mm). A set of five original watercolor illustrations folded in two.

1. Symptoms of Drilling. Fall in Gentlemen!- heads up! - eyes right!
2. To the Right - face!
3.  March!!!- Cock-up there!
4.  Shoulder Arms
5.  Ready! -p'sent! - wait Gentlemen, wait for the Word "Fire!" 

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Images courtesy of David Brass Rare Books, with our thanks.
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The Small Press / Mimeograph Revolution 1940s - 1970s

by Stephen J. Gertz

Jim Schock. Life is a Lousy Drag.
Unicorn Publishing, Co., 1959.

A remarkable research collection of small press magazines and other printed matter representing the growth and proliferation of avant-garde and small press publications, often mimeographed, has come to market via Granary Books in New York.

The Outsider, no. 1. 1961.
Jon Edgar Webb, ed.
Complete run.

The collection is based upon (but not limited to) A Secret Location on the Lower East Side: Adventures in Writing, the New York Public Library's acclaimed 1998 exhibition and catalog that explored the explosive and fertile period of intense innovation and experimentation in American literature and publishing that occurred below the mainstream's radar during the 1940s - 1970s.

The Insect Trust Gazette, no. 3. 1968.
Robert Basara, Leonard Belasco, Jed Irwin, William Levy, eds.
Collection includes nos. 1, 3.

Merlin, no. 1. Spring 1952.
Alexander Trocchi, ed.
Collection includes vol. 1, nos. 1–3, vol. 2, nos. 1, 3.

The individual - a reclusive New Jersey inventor - who amassed the collection joyfully suffered from that dreaded of all maladies, libri legendi aegritudinis, the book collector's disease: he "became obsessed with the secretive nature of the world contained in the exhibition's catalog."  He used the catalog as a guide and thus put together a singular library, one that he augmented with important ancillary material focusing on the West Coast scene.

The Illiterati, no. 4. Summer 1945.
Kermit Sheets and Kemper Nomland, eds.

The Digger Papers. [1968].
24 pp. Published by Paul Krassner.

The Beat Generation, Counterculture, New York School, Venice West, San Francisco Renaissance, Wichita Vortex, Black Mountain, Mavericks, Hippies, Diggers, and related manifestations of the swirling undercurrent of creativity of the era are all represented in the collection, which includes complete runs and significant examples of Angel Hair, Beatitude, Big Table, Black Mountain Review, C, Caterpillar, Fuck You, Gnaoua, Grist, The Hasty Papers, Insect Trust Gazette, J, Kulchur, Locus Solus, Matter, Measure, Miscellaneous Man, Merlin, Mother, Now, Open Space, The Outsider, Pacific Nation, Poems from the Floating World, Renaissance, San Francisco Earthquake, Set, Some/thing, Tree, Trobar, Whe're/, and Yugen.

[Wallace Berman]. Frammis.
Jack Hirschman and Jack Mueller, eds.
Published by Artaud’s Elbow, Berkeley, 1979.

Edward Leedskalnin. A Book in Every Home:
Containing Three Subjects: Ed’s Sweet Sixteen,
Domestic and Political Views.
Self-published, 1936.

Edward Leedskalnin was born January 12, 1887, in Latvia.
At 26 he was engaged to wed a girl 10 years younger whom
he called his "Sweet Sixteen." She broke off the engagement
the night before their wedding and, brokenhearted,
he moved to North America.

Around 1919 he purchased a small piece of land in
Florida City and over the next 28 years constructed
(and lived in) a massive coral monument dedicated
to his "Sweet Sixteen" called "Rock Gate Park."
Working alone at night, Leedskalnin eventually dug
up and sculpted over 1,100 tons of coral into a monument
that would later be known as the Coral Castle.
He would often be asked how he was able to move such
huge boulders and replied:
"I know the secrets of the people who built the pyramids
(being those at the site at Giza in Egypt)."

A Book in Every Home is the longest of Leedskalnin's books
and is a treatise on moral education. He also wrote theories
on magnetism and electricity, including what he called the
“Perpetual Motion Holder.” He went to the grave
refusing to reveal his secret knowledge of the Egyptians.

The '60s West Coast scene is represented by samples of The San Francisco Oracle, The Southern California Oracle, Communications Company (the publishing arm of the Diggers); items relating to the explosive San Francisco music scene including a collection of handbills and postcards from Family Dog and others; newspapers and magazines of radical politics such as The Berkeley Barb, Ramparts, The Realist; uncommon pre-zine self-published journals of offbeat commentary such as Horseshit and Jack Green's Newspaper; and a wide assortment of pamphlets, magazines and diverse additional obscure and rarely seen publications from the period.

Gnaoua, no. 1. Spring 1964.
Ira Cohen, ed.
Sole issue, no. 1]

Measure, no. 2. Winter 1958.
John Wieners, ed.
Collection includes nos. 1–2.

The writers, artists, and photographers who contributed to these magazines include a who's who of  American (and, to a lesser degree, European) arts and letters in the second half of the twentieth century,  the wrecking crew whose adventures and experiments upset the status quo and built the foundation for a new American post-War culture, a once alternative fraternity now in the mainstream of Postmodern America with a degree of acceptance that they could never have imagined, once outside, now venerated, 21st century insiders:

Now Now. 1965.
Charles Plymell, ed.
Collection includes nos. 1–2.

Robert Duncan, Kenneth Patchen, Denise Levertov, Alex Comfort, William Everson, William Burford, Alexander Trocchi, Christopher Logue, Patrick Brangwyn, Alfred Chester, H. Charles Hatcher, James Fidler, Patrick Bowles, Richard Seaver, A.J. Ayer, Jean-Paul Sartre, Jean Genet, Henry Miller, Robert Creeley, Jack Kerouac, Edward Dahlberg, William S. Burroughs, Gilbert Sorrentino, Lenore Kandel, ruth weiss, Philip Lamantia, Gregory Corso Richard Brautigan, Joe Brainard, Ted Berrigan, Andy Warhol, Gerald Malanga, Frank O'Hara, John Thomas, Charles Bukowski, Neal Cassady, George Bataille, Ed Ruscha, Antonin Artaud, Brion Gysin, Sinclair Beiles, Michael McClure, Bruce Connor, Michael McClure, Allen Ginsberg, Bruce Connor, Wallace Berman, Dennis Hopper, Robert Bly, Gary Snyder, V.R. (Bunny) Lang, Leroi Jones, Alfred Jarry, Peter Berg, Emmett Grogan, and Paul Krassner.

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All images courtesy of Granary Books, currently offering this collection, with our thanks. Inquiries can be made here.
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