Publicado por Boulder, CO: Bombay Gin, 1977
Librería: Philip Smith, Bookseller, Berkeley, CA, Estados Unidos de America
Original o primera edición
Soft cover. Condición: Fine. 1st edition. Near Fine. 4to, 106pp, stapled wrappers. Early issue of this important literary magazine from Naropa Institute, includes contributions by Beat writers (including Burroughs [Schottlaender C397] as well as his son) and other poetic notables. Nice, unmarked copy, light wear. Not Signed.
disque. Etats-Unis, 1974, Giorno Poetry System GPS003, 2 disques 33trs, 30cm, sous pochette ouvrante, conception et photographies de Les Levine.Cet album est un "do-it-yourself dial-a-poem kit".Avec Charles Amirkhanian, John Ashberry, Imamu Amiri Baraka, Bill Berkson, Joe Brainard, Michael Brownstein, William S. Burroughs, John Cage, Jim Carroll, Tom Clark, Clark Coolidge, Gregory Corso, Robert Creeley, Diane Di Prima, Ed Dorn, Larry Fagin, Allen Ginsberg, John Giorno, Frank Lima, Michael McClure, Gerard Malanga, Bernadette Mayer, Frank O'Hara, Charles Olson, Peter Orlovsky, Maureen Owen, Ron Padgett, John Perreault, Charles Plymell, Ed Sanders, Jack Spicer, Lorenzo Thomas, Chogyam Trungpa Rinpoche, Diane Wakoski, Anne Waldmann, Philip Whalen, John Wieners. (103163) Livres.
Publicado por Totem Press, 1959
Librería: Aeon Bookstore, New York, NY, Estados Unidos de America
Original o primera edición
Soft cover. Condición: Very Good. 1st Edition. Four volumes of the venerable literary quarterly Yugen (1958-1962), edited by LeRoi Jones/Amiri Baraka and then-partner Hettie Cohen. Published through Baraka's own Totem Press, the journal brought together work by figures from the Beat Generation, the Black Mountain School, the New York School, and international literary modernism. The quarterly took for its namesake the Japanese aesthetic concept translating roughly to mysterious, graceful profundity. With contributions from William Carlos Williams, Allen Ginsberg, David Meltzer, Paul Blackburn, Philip Whalen, Diane Di Prima, John Wieners, Michael McClure, Fielding Dawson, Frank O'Hara, Cesar Vallejo, Jack Kerouac, Gregory Corso, Robin Blaser, Ed Dorn, Ray Bremser, Robert Creeley, Tristan Tzara, Gary Snyder, Kenneth Koch, Baraka, Gilbert Sorrentino, John Ashbery, Charles Olson, Peter Orlovsky, and many others. All 5.5" x 8.5" softcover books, saddle-stapled in card wraps, with occasional b/w illustrations. Books from the collection of a tobacco smoker, with attendant if subtle tanning mainly to spines. Shelfwear to all rather mild: some modest rubbing to covers / mild edgewear. Bindings all sound, with crisp, quite bright unmarked pages. Each journal is now in a custom cut mylar dustjacket. Issue 4 is particularly scarce. Very handsome examples.
Publicado por Contemporary Films, New York, 1969
Librería: Royal Books, Inc., ABAA, Baltimore, MD, Estados Unidos de America
Vintage reference photograph from the 1969 film, showing Robert Frank, Peter Orlovsky, and Allen Ginsberg. Printed mimeo snipe affixed to the verso, along with the stamp of Israel Film Archive. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.
Publicado por New Yorker Films, New York, 1969
Librería: Royal Books, Inc., ABAA, Baltimore, MD, Estados Unidos de America
Vintage studio still photograph taken on the set of the 1969 film, showing director Robert Frank capturing a passionate scene between two men. Stamp of photographer Tom Conroy on the verso. Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.
Publicado por Contemporary Films, New York, 1969
Librería: Royal Books, Inc., ABAA, Baltimore, MD, Estados Unidos de America
Vintage reference photograph from the 1969 film, showing Allen Ginsberg with Peter and Julius Orlovsky. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 8 x 10 inches. Near Fine.
Publicado por Two Faces / New Yorker Films, New York, 1969
Librería: Royal Books, Inc., ABAA, Baltimore, MD, Estados Unidos de America
Arte / Grabado / Póster
Vintage poster for the 1969 film, an experimental mix of documentary and fiction. Poster designed by Robert Frank. Director Robert Frank's first feature film, in which he follows poet Peter Orlvosky and his mentally ill brother Julius as they move through the late 1960s Beat scene, while Peter tries to care for his mostly catatonic brother. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin. The film examines the boundaries of reality and sanity, and features the screenwriting debut of Sam Shepard and the first feature film appearance of Christopher Walken. The film was restored and released by Steidl in 2007, along with a book publication outlining the film. From the Steidl book: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 26.75 x 20.75 inches. Near Fine.