Author wishes to imprint thanks to poets & editors who initially published these writings. A wild gamut of literary magazines & papers rose to manifest renaissance of vernacular poetry in postwar II USA, invented by the World War I generation. W. C. Williams & Ezra Pound prophesied an American poetic mode measured to the variety of contemporary body english, speech and mind. Individuation of idiom was followed by individuation of print form. Poetic “Mimeograph Revolution” coincided (mid-1950s) with a “San Francisco Poetry Renaissance” and the names of publications improvised became a poem in itself.
A.G.
Adventures in Poetry, A Hundred Posters, Allen Verbatim (ed. Gordon Ball, McGraw-Hill), Alternative Features Syndicate, Alternative Press, Alternative Press Broadside, American Dialogue, American Poetry Review, Antioch Review, Aquarian, Ark/Moby, Ashok Shahane, A Shout in the Streets, Athanor, Auerhahn/Haselwood Press, A Year of Disobedience
Bad Breath, Bastard Angel, Beatitude, Berkeley Barb, Berkeley Tribe, Bernerzeitung, Between Worlds, Big Sky, Big Table, Birthstone, Black Mountain Review, Bombay Gin, Boulder Express, Boulder Monthly, Boulder Street Poets, Brahma, Brandeis Folio, Brown Paper, Buffalo Stamps, Bugger (Fuck You/a Magazine of the Arts supplement), Burning Bush
’C, Cambridge Review (i.e.), Capella Dublin, Caterpillar, Che Fare, Cherry Valley Editions, Chicago, Chicago Review, City Lights Anthology, City Lights Books, City Lights Journals, Clean Energy Verse, Coach House Press, Cody’s Bookshop Calendar, Coevolution Quarterly, College Press Service, Colorado North Review, Columbia Jester, Columbia Review, Combustion, Concerning Poetry, Coyote, Coyote’s Journal, Cranium Press Broadsides, Creative Arts Book Co.
Dakota Broadsides Montreal, Desert Review, Dirty, Do-it
Earth Day Folio, Earth Magazine, East Village Other, El Dorado H.S. Newspaper, Evergreen Review, Expressen, Expresso
Fervent Valley Digest, Fifth Estate, Firefly Press, Fits, Floating Bear, Folger Shakespeare Library Broadside, Folio, Four Seasons, From Here Press, Fruit Cup, Fuck You/A Magazine of the Arts, Fulcrum Press, Fuori!
Gay Sunshine Press, Gemini, Georgia Strait, Gnaoua, Gotham Book Mart, Grabhorn Press, Grecourt Review, Greenpeace, Grey Fox Books, Grist, Grove Press,
Hard & Hardly Press, Hard Times, Harvard Crimson, Harvard Magazine, Hasty Papers, High Times, Hika, House of Anansi
Ice & Frice, Il Tarocco, Ins & Outs, Intrepid, Isis, Izvestia
Jabberwock (Sidewalk), Jack Albert’s Boston Newspaper, Jargon 31, Jerusalem Post, Jonathan Cape-Golliard Press
Klacto 23, Kuksu, Kulchur
Lama Foundation: Bountiful Lord’s Delivery Service, Lampeter Muse, L.A. Staff, League for Sexual Freedom Leaflet series, Lemar Marijuana Review, Liberation, Liberation News Service, Life, Literaturnya Gazeta, Loka, London Times Literary Supplement, Look, Los Angeles Free Press, Los Angeles Times, Lowenfel’s Anthology, (lower) Eastside Review
Mag City, Mahenjodaro, Mattachine Review, Metronome, Mikrokosmos, Mojo Navigator, Mutantia, My Own Mag
Nadada, Neurotica, New Age Journal, New American Review, New Departures, New Directions Annuals, New York Free Press, New York Quarterly, New York Times, Nomad, Notes from the Garage Door, Notes from Underground, Now, Nuke Chronicles
Oyez poster
Pacific Nation, Painted Bride Quarterly, Paris Review, Partisan Review, Passaic Review, Peace News, Pearl, Peninsula Skyway, Pequod Press, Piazza, Planeta Fresca, Playboy, Poetry London/Apple, Poetry London-NY, Poetry on the Tracks, Poetry Review London, Poetry Toronto, Poets at Le Metro, Poets-and-Writers, Poet’s Press, Portents, Provincetown Review, Pull My Daisy
Quixote
Rain, Ramparts, Read Street, Red Osier Press, Residu, rhinozeros, River Run, River Styx, Rocky Flats Truth Force, Rocky Ledge, Rolling Stone, Rolling Thunder Review Phantom Newsletter
Salted Feathers, San Francisco Free Press, Saturday Morning, Schism, Scrip Magazine, Seven Days, Sing Out, Soho News, Something, Southwest Review, Spradie im Technisehen Zeitalter, Stone Press Weekly, Stupa: Naropa Student Newsletter, Sun Books Australia, Swank, Synapse
Takeover, Telephone, The American Pen International Quarterly, The American Poetry Review, The Beat Scene, The End Magazine, The Grapevine, The Marijuana Review, The Nation, The Needle, The New Yorker, The Outsider, The Paris Magazine, The Raven, The Seventies, The Stone, The Sunflower (Wichita State), The Unspeakable Visions of the Individual, The Villager, The Workingman’s Press, The World, The Yale Literary Magazine, Throat, Title I, Toronto Waves, Totem/-Corinth Books, Transatlantic Review
Underdog, Unmuzzled Ox Encyclopedia, Utigeverij 261
Vajradhatu Sun, Vancouver Express, Vancouver Vajradhatu, Variegation, Venture, Vigencia, Village Voice, Voices
Walker Art Center Broadside, West Hills Review, White Dove, Wholly Communion, Wild Dog, Win, W.I.N. (Workshop in Nonviolence) Magazine, Writer’s Forum
Yugen
Zero
Nancy Peters, Lawrence Ferlinghetti, Annie Janowitz & Bob Sharrard helped prepare texts for City Lights Books.
Ted Wilentz, Amiri Baraka, Winston Leyland, Barry Gifford, Stuart Montgomery, Miles, Mary Beach, Claude Pelieu, Charles Plymell, Diane DiPrima, R’lene Dahlberg, Dave Haselwood and Marshall Clements helped edit other books of prose and poetry from which poems were drawn for this collection.
Don Allen consistently offered refined advice. Lucien Carr formulated “The Archetype Poem” and “How Come He Got Canned at the Ribbon Factory” anonymously three decades before this due acknowledgment of his wit and lifelong editorial prescience. Andrew Wylie shepherded this volume to New York.
For preparation of Collected Poems the sangha of editors at Harper & Row headed by Aaron Asher working with Carol Chen, Sidney Feinberg, Dan Harvey, Marge Horvitz, Lydia Link, William Monroe, Joe Montebello, and Dolores Simon provided essential sympathetic skills.
Kenneth A. Lohf, Director of Manuscripts and Rare Books, Bernard Crystal, Assistant Director, and Mary Bowling, librarian in charge of manuscripts at Special Collections Division, Butler Library, Columbia University, preserved author’s papers since 1968. Librarians at Humanities Research Center, University of Texas at Austin, conserved letters and notebooks useful in assembling manuscript.
Various typescripts were assembled at Naropa Institute’s Jack Kerouac School of Disembodied Poetics by apprentice poets Walter Fordham, Jason Shinder, Sam Kash-ner, Helen Luster, Denyse King, Gary Allen, Alice Gambrell and Randy Roark among others, 1974–83.
Gordon Ball and Miles editing notebooks, journals and bibliographic papers retrieved texts and aided relatively precise chronology of poems.
Bill Morgan’s bibliographic survey of author’s work-spaces and Columbia Special Collections made possible ordering and retrieval of many writings in early script and book forms. Raymond Foye edited appropriate images from photo archive.
Bob Rosenthal provided years of logistical support to author and fellow archive workers. Juanita Lieberman contributed many hours.
Parts of Collected Poems were written & assembled during periods of National Endowment for the Arts Fellowship, N.Y. State Creative Artists Program Service, Inc., and Rockefeller Foundation grants to author.
Collaborative Artisans
Calligraphy AH by Chögyam Trungpa, Rinpoche.
Wheel of Life: Block Print, source unknown.
Tag lines for Returning to the Country for a Brief Visit: Moments of Rising Mist, a Collection of Sung Landscape Poetry, Mushinsha/Grossman, 1973.
Steven Taylor: lead sheets; Walter Taylor: lyric calligraphy.
Harry Smith: Illustration to Journal Night Thoughts (p. 274), and three fish one head cover insignia designed after incision on stone footprint of Buddha, seen by author at Bodh-Gaya, India, 1963; other version (p. 328).
Robert LaVigne: Illustrations, pp. 123, 143, 363, 766.
Diligent reader will find 22 additional poems rhymed, many with lead sheets, published as First Blues: Rags, Ballads & Harmonium Songs 1971–1974, Full Court Press, N.Y., 1975, to correlate with poems of that decade, supplementing the volume of musical inspiration.
Songs from Collected Poems and First Blues are vocalized solo on First Blues, Folkways Records, N.Y., 1981; and with musicians, First Blues, Double album, Hammond/C.B.S., N.Y., 1983.