Category Archives: H

Home Planet News

Magazines & Presses

Home Planet News

Enid Dame and Donald Lev
High Falls, New York

Nos. 1–68 (1979–2018).

Home Planet News, no. 51. 2004.

Donald Lev and Enid Dame began publishing Home Planet News in 1979, after meeting at the New York Poets Cooperative in 1976. At the time, Dame was working on her Ph.D. in English at Rutgers University, and Lev had been working on a small literary tabloid called Poets with Michael Devlin, publishing many of the contributors that would continue on with HPN, including Tuli Kupferberg (whose cartoons became a regular fixture of the magazine from 1983 onward), Harold Goldfinger, Emilie Glen, Barbara Holland, Ree Dragonette, Bob Kramer, Bob Holman, and of course, Enid Dame. When Devlin indicated that he would not be able to continue supporting Poets, Dame and Lev asked “Could we start a magazine of our own? Could it combine Poets’ funky vision and mad energy with a more settled political and communal commitment? A place where the new feminist poetry (this was 1978) could share space and dialogue with neo-Beat bardic effusions?”[1]

The answer was yes, and Dame and Lev moved into together, “procured an electronic typewriter in a Bleeker Street shop, got as many files from the Union Square office as [they] could carry out before the landlord locked the door, and [they] were in business.” They called the tabloid after a poem of Lev’s titled “Fragment of a Letter from One’s Home Planet,” which was also the name of a bookshop on East 9th Street that he ran in 1971. The first issue was published in March 1979, with jazz poets Steve and Gloria Tropp on the cover, inaugurated at West End Bar on upper Broadway.

Home Planet News, no. 60. 2008.

Specific focuses of issues included cronyism at the National Endowment for the Arts (1982), the AIDS crisis (1995), Yiddish poetry in translation (1982), a festschrift for Enid Dame (2005), reflections on Woodstock (2009), prison writing (1999), computer/desktop publishing (1993), progressive arts (1991), a festschrift for Harold Goldfinger (1990), an index of the first 24 issues (1988), and a variety of other political and artistic themes. In 2004, HPN published an index of contributors to the first 50 issues (pictured at top), which stretched for six pages of three columns each, containing hundreds of contributors and the titles of their works within.

As one of the longest-running literary tabloids in the United States, HPN was jointly edited by Dame and Lev until Dame’s death in 2003, at which point Lev continued to publish the tabloid until his death in 2018. The circulation of each issue was approx. 1000 copies, with the goal of three issues per year (though this varied over time), and it was published in High Falls, New York. A digital offshoot of the print publication, titled Home Planet News Online, continues today and is edited by Frank Murphy.

[1] Citations are from a typescript titled “The Story of HPN,” which was included in the Home Planet News Archive.

Home Planet News, no. 45. 2008.

Home Planet News, no. 50. 2004.

Home Planet News, no. 46. 2000.



Nos. 1– (Spring 1999–). Ongoing.

Hornswoggle 1  (Spring 1999).

Hornswoggle No. 1

The standards & conventions of too many magazines are too boring. There may be perverse satisfaction in kvetching about them, but making a magazine of one’s own, in the fugitive tradition, is way more than too much fun. The spirit of Harry Smith initiated Hornswoggle #1. After transcribing a tape of Harry with students at the Naropa institute, & wondering what to do with it, what Robert Fripp refers to as “a point of seeing” presented a view to a photocopied magazine of circa 25 pages, making use of odd-ball, archival, and Other material. Unbeknownst to them, The Weatherhead Center for International Affairs at Harvard, founded by Henry Kissinger, supplied the copy machines and postal meter for the first 5 issues. Thereafter, access to another copy machine was secured, and readers began sending in books of stamps. Production of Hornswoggle #1 began on a Friday afternoon, and as it mailed out the following Monday, issues 2 & 3 were all typed up & ready to go. The first 4 issues were produced on a manual typewriter. Access to a perfectly calibrated color printer made for the striking covers of the first ten issues, which were drawn by hand, scanned, and colored in Photoshop. The magazine went out via assorted mailing lists, and stacks were also left in CD/record shops, cafes, and bookstores around Boston, Brookline & Cambridge (After poet & publisher Lewis Warsh remarked that these dispersions of the magazine were “a waste,” they also began appearing in laundromats, doctor and dentist waiting rooms, and on subway car seats). Initially, a run of ten or twelve issues over a year seemed plausible, but the magazine continued onward with a change of title every ten issues, as it moved from an urban to a rural location. Highlights include Billie Whitelaw’s recollections of working with Samuel Beckett; the imaginary Jean Luc Godard interview that many certified Godard nuts found entirely convincing; the Jack Kerouac poems that fooled Clark Coolodge, who wrote asking how I had such access to the Sampas estate; David Bohm interviewed by Ace Frehley; the interview with attorney Bob Doyle on his Strangeloveian experiences in naval intelligence, working on the campaigns of Bobby Kennedy, Mo Udall, Jimmy Carter, & further escapades in Democratic party politics; the reprinting from obscurity of Philip Whalen’s “The Education Continues Along” in Phil’s calligraphic handwriting; the imaginary dialogues between Denis Diderot & Oscar Wilde; the complete Ted Berrigan Art News reviews; imaginary Harry Smith interviews that temporarily fooled Smith pal & aficionado Harvey Bialy; John Kenneth Galbraith interviewed by Bernadette Mayer; Steve Lacy interviewed by Lee & Maria Friedlander; Wim Wenders interviewed about his collaboration with Robert Kramer on The State of Things; Sunny Murray interviewed by Cher; Chantal Akerman interviewed by Cloris Leachman…


— Rufus T. Firefly


Tremendulate 7 (n.d.)

Hornswoggle 9 (n.d.)

Hot Water Review

Magazines & Presses

Hot Water Review

Peter Bushyeager ([1]–[6]) and Joel Colten ([1]–3)
Philadelphia (1–5), New York ([6])

Nos. [1]–[6] (1976–88).

[No. 6] is devoted to publishing Shadow Blue by Phyllis Wat.

Hot Water Review [1] (1976). Cover drawing by Randal Rupert, logo design by Ed Yungmann.

Hot Water Review began during a wave of poetry activity in 1970s Philadelphia, when the American Poetry Review (APR), Painted Bride Quarterly (PBQ), the now-defunct Philadelphia YMHA Poetry Center, and numerous reading series and workshops were established. The city’s mass media began to acknowledge the poetry explosion; Philadelphia Magazine published a story about the local poetry scene, poets appeared on TV and radio, and the alternative weeklies regularly featured poetry.

Joel Colten and I created Hot Water to meet a need. APR primarily published national and Philadelphia poets with academic affiliations. PBQ published a wide range of poets and aesthetics and served as a sort of anthology of what was happening in various literary communities. But there was no venue for what interested us.

We wanted to explore visuals as well as poetry. Our interests included Pop and its attendant irony, the New York School and all its offshoots, and Conceptualism. We created Hot Water to showcase this sort of work. Through our involvement with the magazine we came in contact with like-minded people throughout the country. It was a very exciting time.

The first issue of our magazine, which appeared in 1976, had an anthology approach similar to PBQ’s. We published a significant cross section of fellow Philadelphia poets with various aesthetics, along with a smattering of people from the UK, New York, and Boston. After that we began to focus on our particular interests.

Hot Water Review 2 (1977). Front cover photograph by Joel Colten.

Issue 2 (1977) presented lots of visuals, including “snapshots” of poets, artists, and musicians; art, photography, and conceptual work by Annson Kenney, Anne Sue Hirshorn, Anthony Errichetti, Sue Horvitz, Stephen Spera, and others; and poetry/art collaborations by Joel Colten and Randal Rupert. The writing in this issue included work by Philadelphians Diane Devennie, Susan Daily, Jet Wimp, Maralyn Lois Polak, Jane Vacante, Otis Brown, Leonard Kress, Joel Colten, and me; Californians Ian Krieger and Pat Nolan; and New Yorkers Tim Dlugos, Andrei Codrescu, David Lehman, Michael Malinowitz, Gerard Malanga, and Dorothy Friedman. Our overall goal: to create a scrapbook representing a community of creative people who shared similar instincts.

Issue 3 (1980) was the peak of our Pop-inspired “ragged scrapbook” approach. The cover, which was designed by Stephen Spera, featured polka dots. There was another photo album of Hot Water contributors, friends, and family; a poem/memoir of a radicals’ party during the Vietnam War by playwright/poet Dennis Moritz; and work by Dennis Cooper, Opal L. Nations, Harrison Fisher, Jack Anderson, Michael Lally, Michael Andre, and Hot Water regulars Codrescu, Colten, Rupert, Spera, Bushyeager, Devennie, and Daily.

Hot Water Review 3 (1980). “The Polka Dot Issue.” Cover photograph and design by Stephen Spera.

Right before this issue was published, coeditor Joel Colten went on a cross-country trip and stopped to photograph the Mt. St. Helens volcano, which had recently become active. Unfortunately, he was one of the casualties of the May 18, 1980, eruption.

After considerable soul-searching, I decided to continue Hot Water but change its visual identity. The magazine’s previous iteration reflected Colten’s and my partnership and our youthful enthusiasms. It was difficult, but I recognized that times had changed and I needed to honor the past while moving forward. As the sole editor, I chose the writing that appeared in the magazine. However, I added seasoned NYC gallerist Richard Oosterom as art editor. For the first time, Hot Water engaged the services of a professional designer who gave the magazine a total, elegant makeover that included a sans serif typeface and a square format that worked better with visual art.

Hot Water #4 was published in 1981. It had a very simple cover: pink textured paper with red title lettering. The issue began with an in memoriam two-page frontispiece featuring a brief poem by Joel Colten accompanied by a Randal Rupert drawing of Colten among the stars with his dog, Phineas. In addition to more Colten/Rupert collaborations, there was a portfolio of work by New York artists Aileen Bassis, Patricia Caire, and Rupert. The writers included Harrison Fisher, Ron Padgett, Richard Kostelanetz, and Hot Water stalwarts Devennie, Colten, Krieger, and Codrescu.

Although I continued my involvement with poetry during the years immediately following Hot Water #4, I primarily focused on setting the stage for a move to New York by building a portfolio of freelance journalism and arts criticism. Although monetary resources were dwindling, I published a fifth issue of the magazine in 1983 that focused almost exclusively on writing by, in addition to some of the magazine’s regulars, Dennis Barone, Arthur Sabatini, and fiction writer Susan Schwartz.

In 1984 I moved to New York and took a job as a nonprofit editor whose tasks included responding to fan letters written to the comedian Jerry Lewis and writing scripts for his annual telethon (a curious job to be sure!). I continued to write freelance arts reviews, became intensely involved with the downtown poetry scene revolving around the Poetry Project, and took workshops with Alice Notley, Bernadette Mayer, Maureen Owen, and Lewis Warsh. This vibrant literary community revitalized me.

I published one last issue of the magazine in 1988. It was a single-artist issue: Shadow Blue, a chapbook by poet Phyllis Wat whose work I had admired for some time.

* * * *

I recently attended a small-press book fair on the NYU campus. There were many presses in attendance and excitement was in the air. The mostly young editors and publishers were proudly displaying their publications, which included a substantial number of poetry collections. The event took me back to the small-press book fairs of the seventies and the intense “alternative” energy that all of us had. I was reminded that new poets are constantly being brought into the world via the dedication of small-press editors and publications. I felt proud to be a part of this important tradition.

— Peter Bushyeager, New York, May 2017


Magazines & Presses


Bob Perelman and Michael Waltuch
Iowa City, Cambridge, San Francisco and Berkeley

Nos. 1–9 (March 1973–Spring 1983).

Bob Perelman and Michael Waltuch (1); Bob Perelman (2–9).

No. 6/7 is the double issue “Talks.” Covers by Francie Shaw (1, 2, 4, 6/7), Francis Shaw and John Bakti (3), and John Winet (5).

Hills 2 (March 1973). Cover by Francie Shaw.

Edited by Bob Perelman, and following him all over the country, Hills was the sweetest of all language-centered journals, with covers often resembling cows. The first issue, from Iowa City, was coedited with Michael Waltuch and included the work of Iowa poet Darrell Gray, as well as some experimental and exotic work by Kit Robinson and Josephine Clare. Included also are some of the earliest translations (by Anselm Hollo, Eliot Anderson, and editor Perelman) of the Slovenian poet Tomaž Šalamun. All the work in this first issue is clustered toward the top of the page, leaving white space below. Hills 2 is typed on a more elegant typewriter (perhaps by Bob Grenier) and some of his Sentences appear within, for instance: “SWEET / expect accept object.” Hills 4 was typeset by Barrett Watten, and includes work by Ron Silliman, Carla Harryman, Bruce Andrews, and Fanny Howe, as well as Iowan and Poetry Comics editor Dave Morice. With issue 5, Perelman and the magazine moved to San Francisco, and the cover is appropriately reproduced from a photo by Jon Winet of Center Ice, The Cow Palace.

Hills 2 (n. d.). Cover by Francie Shaw.

The very famous and important double issue 6/7 prints a number of the “Talks” then given in different San Francisco venues (including the San Francisco Art Institute, 80 Langton Street, and various lofts and apartments). According to Perelman, the talk series began in 1977 and numbered nearly forty over the next five or so years: “A ‘talk’ is a broad designation—was the situation educational, creational, dramatic? Was information to be presented or were values to be embodied: was the focus on the speaker or the community or the speaker and audience? The answers varied. All speakers were presented with a common problem: to say something in public. In various cases this meant talking spontaneously, referring to notes and texts, reading written out essays, or abandoning written essays in midstream.” Talkers included Bill Berkson, Barrett Watten on “Russian Formalism and the Present,” Steve Benson with “Views of Communist China,” Bob Perelman on “The First Person,” Michael Davidson on “The Prose of Fact,” and Ron Silliman on “The New Sentence.” Hills 8 includes a play by Carla Harryman entitled The Third Man. Its cast included Steve Benson and Kit Robinson.

Hills 3 (April 1976). Cover by John Batki and Francie Shaw.

Hills 3 (April 1976). Cover by John Batki and Francie Shaw.


Scans of the complete run of Hills are available on the Eclipse website.


magazines & Presses


Nathaniel Mackey
Santa Cruz, California

Nos. 1–21 (Spring 1974, 1982–2015).

Hambone is still in operation.

Hambone 1 (Spring 1974). Cover by Jim Mitchell.


Hambone’s lineage includes the poetry of Black Mountain, the San Francisco Renaissance, language poetry, and the myths and traditions of West and North Africa, Haiti, and Papua/New Guinea, as well as the history and rhythms of blues, jazz, and improvisatory music. Editor Nathaniel Mackey was born in Miami and grew up in Southern California, before attending both Princeton and Stanford universities. While at Stanford in 1974, he was one of the editors of the first issue of Hambone, which was not to appear again until 1982 when, as a better-established poet and scholar, Mackey revived the periodical (he has since gone on to publish a half dozen books of poetry, an anthology of jazz poetry, and, in 1993, a highly regarded critical work, Discrepant Engagement: Dissonance, Cross-Culturality, and Experimental Writing).

The revived Hambone reflects the wide interests of its editor in “cross-cultural” and experimental writing as well as writing by people of color (two of Mackey’s cultural heroes are Imamu Amiri Baraka and Guyanese novelist Wilson Harris). Mackey commented on his role as editor in an interview with Chris Funkhouser published in the print magazine Callaloo and at the Electronic Poetry Center from SUNY-Buffalo: “my idea was to simply put my sense of a community of writers and artists on a kind of map, in one place. So in Hambone 2, in which all of the material was solicited, that meant having a talk by Sun Ra and poems by Robert Duncan, poems by Beverly Dahlen, Jay Wright, fiction by Clarence Major, Wilson Harris, poems by Edward Kamau Brathwaite and so on. That issue was sort of saying, ‘OK, here’s my map, a significant part of it, and we’re going to call it Hambone.’ It seems to me that’s what little magazines do, and do best. They put out a particular editor’s sense of ‘what’s up’ out there—and you find out who ‘out there’ is interested in that.”

Hambone 2 (1982).

Hambone 2 (1982).

Hambone 3 (1983).

Hambone 3 (1983).

Hawk’s Well Press / Poems from the Floating World

magazines & Presses

Hawk’s Well Press / Poems from the Floating World

Jerome Rothenberg
New York

Nos. 1–5 (1959–63).

Poems from the Floating World 4 (1962).


Hawk’s Well Press, under the irrepressible Jerome Rothenberg, published five issues of Poems from the Floating World and half a dozen small books of big poetry, most of them printed in Ireland, including, amazingly, the first books of Rothenberg, Robert Kelly, and Diane Wakoski. Clues to the territory mapped by Poems from the Floating World are contained in the poems published, as well as in the short, unattributed statements (presumably the words of the editor) that appeared in each of the first three issues. For example, inside the front cover of issue 3 one reads: “The poem is the record of a movement from perception to vision. Poetic form is the pattern of that movement thru space and time. The vehicle of movement is passion-speaking-thru-things. The condition of movement is freedom. The deep image is the content of vision emerging in the poem.” The magazine’s five issues included work by James Wright, Gunnar Ekelof, Robert Bly, André Breton, Rothenberg, Paul Celan, Denise Levertov, Pablo Neruda, Robert Creeley, Gary Snyder, David Antin, Robert Kelly, Philip Lamantia, Robert Duncan, Anselm Hollo, and Jackson Mac Low. Rothenberg went on to become a fine and prolific poet, translator, and anthologist.

Martin Buber, Tales of Angels & Demons (1958). Translated by David Antin and Jerome Rothenberg. Cover design by Euclides Theoharides.

Martin Buber, Tales of Angels, Spirits & Demons (1958), translated by David Antin and Jerome Rothenberg. Cover design by Euclides Theoharides.

His first book, a collaboration with David Antin (who, along with David Witt, was a cofounder of Hawk’s Well), was a translation of Martin Buber’s Tales of Angels, Spirits & Demons. In this work, published by Hawk’s Well in 1958, one can see Rothenberg turning the ground that will result in the remarkable group of anthologies that have made him a major force in contemporary poetry; these include Revolution of the Word: A New Gathering of American Avant Garde Poetry 1914–1945 (1974) and, most recently, Poems for the Millennium: The University of California Book of Modern & Postmodern Poetry (edited with Pierre Joris; 4 volumes, 1995–2013). His sensitivity to a wide variety of traditions and enthusiasm for the “forgotten” have been motivating sources since his young adulthood, as he notes in the “Pre-Face” to Revolution of the Word: “It was 1948 & by year’s end I was seventeen. I had been coming into poetry for two years. My head was filled with Stein & Cummings, later with Williams, Pound, the French Surrealists, the Dada poets who made ‘pure sound’ three decades earlier. Blues. American Indian things from Densmore. Cathay. Bible, Shakespeare, Whitman. Jewish liturgies. Dalí & Lorca were ferocious possibilities. Joyce was incredible to any of our first sightings of his work. The thing was to get off on it, to hear one’s mind, learn one’s own voice. But the message clear & simple was to move. To change. To create one’s self & thus one’s poetry. A process.”

Poems from the Floating World 3 (1961).

Poems from the Floating World 3 (1961).

Hawk’s Well Press books include

Buber, Martin. Tales of Angels, Spirits & Demons. 1958. Translated by Jerome Rothenberg and David Antin.

Faust, Seymour. The Lovely Quarry. 1958.

Gunn, Thom. Fighting Terms. 1958.

Jess [Collins]. O! 1960.

Kelly, Robert. Armed Descent. 1961. Cover design by Jerome Rothenberg from an Aztec drawing in the Codex Mendoza.

Owens, Rochelle. Futz. 1961.

Rothenberg, Jerome. Black Sun, White Sun. 1960. Cover drawing by Mildred Gendell.

Rothenberg, Jerome. Sightings / Robert Kelly. Lunes. 1964. Drawings by Amy Mendelson.

Wakoski, Diane. Coins & Coffins. 1962.

Wheeler, Beate. Drawings by Beate Wheeler. 1963.

Beate Wheeler, Drawings by Beate Wheeler (1963).

Beate Wheeler, Drawings by Beate Wheeler (1963).