Category Archives: L

Little Light

Magazines & Presses

Little Light

Susan Cataldo
New York City

Nos. 1­–6 (1980–1984).

Covers by Tina Swanson, Louise Hamlin, Steve Levine, and others.

Little Light, no. 2. 1980.

Named after the poem “Little Light” by Jim Brodey, Susan Cataldo’s Little Light, alongside magazines like Blue Smoke, Telephone, and Tangerine, was one of the little magazines that carried on the tradition of mimeograph publishing into the early and mid 1980s. By publishing a higher percentage of women poets per issue than many peer publications, Cataldo’s magazine also offers a more equitable view of the community of poets who had grown up around The Poetry Project at St. Mark’s Church in the 1970s and were then taking on vital leadership roles in maintaining and supporting that community.

With striking covers by Tina Swanson, Louise Hamlin, Steve Levine, and others, each issue of the magazine begins with a significant portfolio of work by a featured poet, including Eileen Myles, Susie Timmons, and Jim Brodey. Other contributors include Alice Notley, Rochelle Kraut, Daniel Krakauer, Kathy Foley, Hannah Weiner, Helena Hughes, and a young Edmund Berrigan. Ted Berrigan’s In A Blue River was published by Little Light Books in 1981 with cover art by Cataldo.

— Nick Sturm, Atlanta, May 2021

Little Light, no. 4. 1981.

Little Light, no. 1. 1980.

Little Light, no. 3. 1980. Cover by Tina Swenson.

Little Light, no. 5. 1982.

Long News in the Short Century

Magazines & Presses

Long News in the Short Century

Barbara Henning
New York

Vol. 1, nos. 1–5 (1991–94).

Long News in the Short Century, vol. 1, no. 1 (1991).

In 1990, after a fierce tenure battle, I decided to put all my efforts (outside of raising children and teaching at Long Island University) into poetry and poetic community. I remember sitting in a dark cubical at LIU planning this magazine with Lewis Warsh, and then in cafés at night with Michael Pelias, Don Dombowsky, and Sally Young. Long News was always a communal project. Tyrone Williams, Chris Tysh, and Paul Buck joined us as contributing editors. Tyrone came up with “Long News.” I believe Michael Pelias added “in the Short Century.”  Sally Young was art editor for the first issue and then contributing art editor thereafter, along with Rick Franklin. Miranda Maher was the art editor for issues 2 through 5. However, we all contributed visuals and writing. Right from the beginning the magazine had a strong Detroit connection—Miranda, Chris, Tyrone, Sally, and I had lived in Detroit. Sally, Tyrone, and I were born there.

The father of my children, Allen Saperstein, another Detroiter, donated the first issue; he was a printer in Brooklyn. I typeset the first issue in the back of his store, Copycat; Allen printed it on resume paper; then we collated it and took it to his friend Elliot’s shop on 4th Avenue for cutting and binding.

Long News in the Short Century 5 (1994). Cover by Carolee Schneemann.

I spent many weekends in galleries with Miranda looking for possible artists to invite; in our discussions and throughout the five issues, we learned to see writing as visual and visuals as writing. The dialogue and even arguments between editors was exciting and opened up intellectual awareness and creative possibilities. We dedicated the second issue to mourning the losses in the Gulf War. In the fourth issue, Michael Pelias and Charles Wolfe edited a section commemorating the life of Felix Guattari, radical psychoanalyst and theorist; included was a beautiful eulogy by Toni Negri and some poetic essays on the concept of the One. Shortly before issue 5, David Rattray died. We had published some of David’s poems in almost every issue; I remember several times going uptown to his office at Reader’s Digest to pick up poems. A homage to David was included in issue 5 with a photo of him on the cover from an installation by Carolee Schneemann.

For the most part, we published experimental art and writing that addressed tyranny, oppression, censorship, and that made a social commentary. We wanted to transgress static ideas about culture and language, engaging social and political transformation. We had grants from the Fund for Poetry and NY Council for the Arts. Each issue was longer, more focused, and more conceptual. Later issues also included philosophical essays.

Why did we stop? It was a tremendous amount of work; I was also a single mother with two teenagers. Five was enough. It was time to move on to something else.

— Barbara Henning, New York, March 2017


David Abel
Iris Adler
Stavit Allweis
Richard Armijo
Stanley Aronowitz
Danny Barak
Anna Barak
Stephen Barber
Barbara Barg
Christelle Barois
Todd Baron
David Barton
Martine Bellen
Charles Bernstein
Christian Boltanski
Bogdan Borkowski
Nicole Brossard
Laynie Browne
Paul Buck
Jeffrey Byrd
Sophie Calle
Tom Clark
Clark Coolidge
William Corbett
Lynn Crawford
Denise Columb
Chris Custer
Tina Darragh
Don David Dombowsky
Peter de Rous
Johan de Wit
Diane di Prima
Leonardo Drew
Lynne Dreyer
Johanna Drucker
Françoise Duvivier
Peter Edel
Barbara Einzig
Cheri Eisenberg
Elaine Equi
Elke Erb
Cheryl Fish
Tara Francalossi
Rick Franklin
Deborah Freedman
Aki Fujiyoshi
Christopher Gallagher
Q.E.D. Giguere
John Godfrey
Philip Good
Paul Green
Joe Groppuso
Felix Guattari
Robert V. Hale
Molly Hankwitz
Harriette Hartigan
John Hartigan
Barbara Henning
Jerry Herron
Betty Sue Hertz
Bob Holman
Eric Holzman
Shigeo Honda
Fanny Howe
David Humphrey
Kim Hunter
Jeffrey Jacques
Kate Johnson
Thom Jurek
Maho Kino
Julius Klein
Richard Kostelanetz
Kathe Kowalski
Bill Kushner
Michelle Kwiatkowska
Thomas Lail
Françoise Laruelle
Annette Lemieux
Gary Lenhart
Lisa Lesniak
David Letendre

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Joel Lewis
Ross Bennett Lewis
Ruth Libermann
Glen Ligon
Robert Longo
Kimberly Lyons
Miranda Maher
Glen Mannisto
Joyce Mansour
Georgia Marsh
Harry Mathews
Bernadette Mayer
Rosemary Mayer
Jim McCrary
Renee McPhail
Kathleen McShane
Annette Messager
Michael Minelli
Glen Mott
Dennis Moritz
Sadiq Muhammad
Harryette Mullen
Steve Murakishi
Antonio Negri
John Newman
Alice Notley
Maureen Owen
Ron Padgett
Franc Palaia
Michael G. Pelias
Wang Ping
Adrian Piper
Allen Planz
Lucio Pozzi
Kristin Prevallet
David Rattray
Elaine Reichek
Patrice Repusseau
Virgilio Rizzo
Kit Robinson
Stephen Rodefer
Judy Roitman
Jacques Roubaud
Christopher Roule
David Rushmer
Stan Sadowski
Aram Saroyan
Tom Savage
Leslie Scalapino
Elio Schneeman
Carolee Schneemann
Brian Schorn
Spencer Selby
Homa Shojaie
Aaron Shurin
Beverly Semmes
Rick Shaefer
Kiki Smith
Mario Sostre
Don Stevenson
D. E. Steward
Gary Sullivan
Ian Taylor
Dennis Teichman
Lorenzo Thomas
Addison Thompson
Toyo Tsuchiya
Chris Tysh
George Tysh
Nancy Van Goethem
Anne Waldman
Rosmarie Waldrop
Lewis Warsh
Tenesh Webber
Margaret Wibner
Faith Wilding
Tyrone Williams
Aaron Williamson
Charles Wolfe
Donald Woods
John Yau
Sally Young
Saul Yurkievich


Luna Bisonte Prods

Magazines & Presses

Luna Bisonte Prods

John M. Bennett
Columbus, Ohio

Ficus Strangulensis, Flaming Crust: Visual Poems & Cut-Ups (1999).

Luna Bisonte Prods really began around 1950, when I, as a child, made little book-like objects out of paper, matchboxes, and the like, and threw them into the Pacific Ocean on a return from Japan. There were other efforts of that type through the mid–1960s. That’s when I published some chapbooks, using mimeo and ditto machines, under the imprint of the Frustration Press. The name Luna Bisonte Prods came about in 1974 and became the portal through which I continued making small books, chapbooks, cards, labels, and other products, using rubber stamps, collage, photocopiers, and found materials. In 1975 the journal Lost & Found Times was born, which continued through 2005. Since that time in the mid-1970s, LBP has published or released thousands of broadsides, TLPs (“Tacky Little Pamphlets”), objects, one-of-a-kind books, chapbooks, artist’s books, Lost & Found Times and some other shorter-lived serials, audio and video works, print edition books, print-on-demand books, tons of mail art, and numerous stunts, gags, and performances.

John M. Bennett, La Vista Gancha (2010).

One critic referred to LBP’s vast array of formats and genres of poetry, word-art; visual, sound, video, and performance poetry; multiple languages, and collaborative and translinguistic writing and art as “bewildering.” The, hah, “mission statement” of LBP is to publish and distribute the unpublishable: important, beautiful, and essential work from around the world, with an emphasis on the use of language (defined in the broadest possible terms). LBP is also a platform on which I can publish some of my own work, when I want to have complete control over its presentation, content, and look. Most of LBP’s output resonates with the long, deep international tradition of avant-garde and outside art and literature. Luna Bisonte Prods provides an alternative and challenge to the vast world of stale, formulaic, and cliché-ridden writing that dries up the creative juices of the majority of writers and readers in the world today.

— John M. Bennett, Columbus, Ohio, January 2017

Contributors include

Blaster Al Ackerman
Sarah Ahmad
Stacey Allam
Reed Altemus
Hartmut Andryczuk
Ivan Argüelles
Ben Bennett
C. Mehrl Bennett
John M. Bennett
Carla Bertola
Luis Bravo
Thomas M. Cassidy
Jon Cone
Fabio Doctorovich
K. S. Ernst
Peter Ganick
Scott Helmes
Davi Det Hompson
Juan Ángel Italiano
Richard Kostelanetz
Paul T. Lambert
Jim Leftwich
Olchar E. Lindsann
Carlos Martínez Luis
Sheila E. Murphy
Rea Nikonova
Michael Peters
Javier Robledo
Marilyn R. Rosenberg
Serge Segay
Matthew T. Stolte
Thomas T. Taylor
Andrew Topel
Nico Vassilakis
Jack Wright

Lost and Found Times

Magazines & Presses

Lost and Found Times

John M. Bennett and Douglas Landies
Columbus, Ohio

Nos. 1–53/54 (1975–2005).

Nos. 1–53/54 in 51 items. Double issues: 6/7, 13/14, 17/18, 21/22. 53/54 is in two parts; no. 26 includes a cassette.

John M. Bennett and Douglas Landies (1–4); John M. Bennett (4–53/54)

Lost and Found Times 1 (August 1975).

Lost and Found Times had its origins in 1975 as a Fluxus and mail art stunt hatched by myself and the painter Douglas Landies. The first two issues consisted of fake “lost and found” notices printed on single sheets distributed through the mail and by being put under car windshield wipers in a shopping center parking lot. Landies died suddenly after the fourth issue, and I continued it until 2005, publishing exciting, outrageous, and unacceptable writing, art, and unclassifiable materials that I considered beautiful and vitally important. They were also materials that no one else would publish. Many of the contributors, first published in Lost and Found Times, have become prominent innovative and experimental writers and artists. The magazine is an unparalleled resource for understanding North American and International avant-garde cultures during the thirty years of its existence.

— John M. Bennett, Columbus, Ohio, January 2017

Lost and Found Times 6/7 (February 1979). Broadside Pak Issue.


“I consider the magazine one of most outstanding compendiums of international experimental literature and poetry. It is one of the few periodicals that I subscribe to in duplicate because I believe that it will have long-lasting importance as a poetic mark of our times.”

— Marvin Sackner

Contributors include

Blaster Al Ackerman
Reed Altemus
Ivan Argüelles
Guy R. Beining
C. Mehrl Bennett
John M. Bennett
Robin Crozier
K.S. Ernst
Charles Henri Ford
Peter Ganick
Scott Helmes
Bob Heman
Dick Higgins
Davi Det Hompson
Ray Johnson
Karl Kempton
Richard Kostelanetz
Jim Leftwich
Carlos M. Luis
Sheila E. Murphy
Opal L. Nations
Rea Nikonova
Bern Porter
Keith Rahmmings
Marilyn R. Rosenberg
Serge Segay
Andrew Topel
Nico Vassilakis
Christina Zawadowsky
and the editors

Lost and Found Times 49 (December 2002). Cover by Peter Ganick.


Là-Bas, experimental poetry and poetics

magazines & Presses

Là-Bas, experimental poetry and poetics

Douglas Messerli
College Park, Maryland

Nos. 1–13 (1976–79).

Là-Bas 9 (November/December 1977).


The thirteen mimeographed issues of the newsletter Là-Bas were published with great style and verve (as well as care and continuity). Editor Messerli described its mission in the first issue: “Là-Bas is sent free to poets who in their poetry have shown an interest in a poetry which (as Harold Norse in a letter to Là-Bas recently described) is not ‘poured into moulds,’ and whose poetry has reflected a valuing of the poetic process over artifact. Certainly Là-Bas is not entirely a new idea; the great mimeo magazines such as 0 to 9, “C,” The Floating Bear, the Once series, Open Space and The World have all in the past supported similar principles. But there is always a need for such publications to remind us that poetry is a force as much as a form.

And, currently—while there are many ‘little’ magazines publishing exciting poetry—there are very few publications intrinsically involved with the necessary interchange between the individual poet and the poetry community at large. Moreover, Là-Bas is something new, one hopes, not merely a new version of an old idea. Là-Bas prints not only new poetry, but revisions and reactions (response to poetry, theory, news of interest to poets—whatever). And, most importantly, because it is a poet’s publication, not a publisher’s, Là-Bas seeks new ideas and suggestions…. Like the poetry it publishes, Là-Bas will not be poured into moulds.”


Là-Bas 7 (May 1977).

Là-Bas 11 (March–April, 1978) This issue guest edited by Phyllis Rosenzweig and Bernard Welt.

Là-Bas 11 (March–April 1978). This issue guest-edited by Phyllis Rosenzweig and Bernard Welt.


magazines & Presses


Charles Bernstein and Bruce Andrews
New York

February 1978–October 1981.

Vols. 1–3 consist of thirteen issues (9 and 10 were a double issue), three supplements, and one table of contents for vols. 1–4. Vol. 4 was published as an issue of the Canadian journal Open Letter (Fifth Series, no. 1, Winter 1982). Open Letter is edited by Frank Davey; the L=A=N=G=U=A=G=E issue was edited by Charles Bernstein and Bruce Andrews.

L=A=N=G=U=A=G=E 1 (February 1978).


The early to mid-1970s marked a rising ferment of experimental activity in the poetry world: the most extreme texts of the previous decade tumbling out, the coming (or returning) into print of earlier radical modernist works shaking up the apparent canon, the development of new preoccupations and modes of working that could not be contained within the mainstream or even within the available (and established) alternatives, and cross-pollinations with other art forms confronting similar problems and opportunities—all against a backdrop of political and social unsettling, at home and abroad. Face-to-face communities of aesthetically radicalized poets sprang up in the San Francisco Bay Area, New York, and Washington, D.C., where new reading series, presses, and magazines set the stage for intense discussions of new poetic possibilities as well as critical and historical thinking about poetry by the poets themselves (rather than by scholars or critics). Animated discussion of poetics went on in letters, in conversation, and in public talks, but there was no print forum for these ongoing exchanges.

Announcement for the publication of L=A=N=G=U=A=G=E, ca. 1977.

Announcement for the publication of L=A=N=G=U=A=G=E, ca. 1977.

And so, in 1977, in consultation with Ron Silliman in California, we sketched out plans for a New York–based, self-produced magazine of information and commentary, L=A=N=G=U=A=G=E. The first issue appeared in February 1978 and went out to our initial subscribers—about 200 by the end of the first year—and was also distributed through a few bookstores. The first three volumes were typed on legal-size sheets on an IBM Selectric typewriter, sprayed to prevent smearing, and then pasted into our format by our designer, Susan Bee. The initial run was offset printed, although we often produced additional copies by photocopying. We stopped publishing the magazine in 1981, with our fourth volume, a perfect-bound book copublished with the Toronto magazine Open Letter. In 1984, Southern Illinois University Press published an anthology, The L=A=N=G=U=A=G=E Book, including about half of what we had published; this anthology was reissued by the press in 1997.

— Bruce Andrews and Charles Bernstein, New York City, September 1997

Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman. Legend (1980) L=A=N=G=U=A=G=E / Segue,. Cover by Betsi Bradfass.

Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman, Legend (1980). Cover by Betsi Brandfass.

Also issued

Legend, collaborations by Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman. 1980. Copublished with the Segue Foundation.


Scans of the complete run of L=A=N=G=U=A=G=E are available on the Eclipse website.

Little Caesar

Magazines & Presses

Little Caesar

Dennis Cooper, with Jim Glaeser, Gerard Malanga and Ian Young.
Monrovia and Los Angeles, California

Nos. 1–12 (1976–82).

Jim Glaeser coedited nos. 1and 2; Gerard Malanga guest-edited no. 9, and Ian Young no. 12.

Little Caesar 9 (1979). The Piero Heliczer issue, edited by Gerard Malanga.


Despite its visual resemblance to the teen idol magazine Tiger Beat (the covers tell the story, featuring images of Adolphe Menjou, John F. Kennedy, Jr. at age sixteen, Arthur Rimbaud, Warhol star Eric Emerson, poet John Wieners, and completely naked rock star Iggy Pop), Little Caesar was a very serious attempt to widen the subjects of and audiences for poetry: “We want a literary magazine that’s read by Poetry fans, the Rock culture, the Hari Krishnas, the Dodgers. We think it can be done, and that’s what we’re aiming at…. We have this dream where writers are mobbed everywhere they go, like rock stars and actors. People like Patti Smith (poet/rock star) are subtly forcing their growing audiences to become literate, introducing them to Rimbaud, Breton, Burroughs and others. Poetry sales are higher than they’ve been in fifteen years.

Dennis Cooper, Tiger Beat (1978).

Dennis Cooper, Tiger Beat (1978).

In Paris ten-year-old boys clutching well-worn copies of Apollinaire’s Alcools put their hands over their mouths in amazement before paintings by Renoir and Monet.” Running along pretty much like a “punk poetry ’zine” for its first three issues, Little Caesar then shifted gears a bit, devoting issue 4 to Rimbaud, 5 to poet, filmmaker, and photographer Gerard Malanga, 6 to John Wieners, and 9 to Piero Heliczer. With issue 8 it was back to a neo-punk look and sported a “new wave rock theme,” including an interview with Johnny Rotten and an article by Jeff Goldberg, himself the editor of the rock music–influenced Contact. Goldberg wrote on the Ramones and the “Origins of the New Wave: Forest Hills.” The Saroyan/Wylie/Bockris Telegraph Books series provided both a visual and literary model, but Little Caesar was strikingly of its time, perfectly Californian, new wave, and queer without providing a manifesto for anything, being in your face about most things and up front about few. In addition to the anthology Coming Attractions, books published by Little Caesar Press included Tim Dlugos’s Je suis ein Americano, Ronald Koertge’s Sex Object, a newly translated version of Rimbaud’s Voyage en Abyssinie et au Harrar, Gerard Malanga’s 100 Years Have Passed, and editor Cooper’s collection of poems Tiger Beat. Cooper went on to organize the fantastically successful Beyond Baroque Readings in Venice, California, and is a novelist of some power, grace, and controversy.

Little Caesar books (complete)

Brainard, Joe. Nothing to Write Home About. 1981. Cover art by the author.

Britton, Donald. Italy. 1981. Cover by Trevor Winkfield.

Blakeston, Oswell. Journeys End in Young Man’s Meeting. 1979. Cover photograph by Peter Warfield.

Clark, Tom. The End of the Line. 1980. Cover art by the author.

Congdon, Kirby. Fantoccini: A Little Book of Memories. 1981. Cover photograph by Nita Bernstein.

Cooper, Dennis. Tiger Beat. 1978.

Cooper, Dennis, ed., assisted by Tim Dlugos. Coming Attractions: An Anthology of American Poets in Their Twenties. 1980. Cover art by Duncan Hannah.

Dlugos, Tim. Entre Nous: New Poems. 1982. Cover photograph by Rudy Burckhardt.

Dlugos, Tim. Je suis ein Americano. 1979. Cover photograph by Richard Elovich.

Equi, Elaine. Shrewcrazy. 1981. Drawings by Steven F. Giese.

Gerstler, Amy. Yonder. 1982. Cover photographs by Judith Spiegel.

Gooch, Brad. Jailbait and Other Stories. 1983. Cover photography by Rainer Werner Fassbinder.

Hall, Steven. New and Improved. 1981. Cover photography and design by Sheree Levine.

Koertge, Ron. Sex Object. 1979.

Koertge, Ron. Dairy Cows. 1982. Cover art by Bill Womack.

Krusoe, James. Jungle Girl: Poems. 1982. Cover art by Henri Rousseau.

Lally, Michael. Hollywood Magic. 1982. Cover photograph by Lynn Goldsmith.

MacAdams, Lewis. Africa and the Marriage of Walt Whitman and Marilyn Monroe. 1982. Cover art and design by Henk Elenga. Small poster laid in.

Malanga, Gerard. 100 Years Have Passed: Prose Poems. 1978. Cover photograph by the author.

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Myles, Eileen. Sappho’s Boat. 1982.

Rimbaud, Arthur. Travels in Abyssinia and the Harar. 1979. Translated by Scott Bell.

Schjeldahl, Peter. The Brute: New Poems. 1981. Cover and drawings by Susan Rothenberg.

Skelly, Jack. Monsters. 1982. Cover designed by Stephen Spera from a photograph by Sheree Levin.

Jack Skelly, Monsters (1982). Cover designed by Stephen Spera from a photograph by Sheree Levin.


magazines & Presses


Aram Saroyan
New York

Nos. 1–6 (September 1964–November 1965).

Covers by Joe Brainard (2), Fielding Dawson (5), Richard Kolmar (4), and Aram Saroyan (1, 3, 6).

Lines 1 (September 1965).


Aram Saroyan, the son of one of America’s most beloved novelists, grew up on New York’s West End Avenue and attended Trinity School, a private prep school in the same neighborhood. He attended the University of Chicago for a while and had his first poem published in the Nation. Returning to New York, he worked at Bookmasters bookstore near Times Square and at Virginia Admiral’s Academy Typing Service (she was a painter and the mother of actor-to-be Robert De Niro). After traveling cross-country to show his poems to Robert Creeley, then in Placitas, New Mexico, Saroyan was finally ready, at age twenty-one, to start his own little magazine, Lines, in 1964.

Richard Kolmar, Games (1966). Cover by Larry Zox.

Richard Kolmar, Games (1966). Cover by Larry Zox.

In Friends in the World (Coffee House Press, 1992), he recalled: “I was eager to make contact with my literary contemporaries, and the little magazine was a nice entrée into the milieu. Young poets need a place to publish, and the magazine gave me an excuse to make contact with anyone whose work I liked.” As it turned out, he published the work of at least four of the most talented male poets of his generation: Ted Berrigan with his aggressively mimeo “C” magazine; Ron Padgett with his delicately weird and offset White Dove Review; Tom Clark, poetry editor of the prominently nonmimeo Paris Review; and Clark Coolidge, whose first book, Flag Flutter & U.S. Electric, was published by Lines in 1966. Saroyan joined Berrigan when he visited Jack Kerouac in Lowell, Massachusetts, for his legendary Paris Review interview. The look of mimeo was perfect for Saroyan and for Lines, which published the community of poets whom he admired, in their more “abstract” or minimalist moments.

The strikingly simple covers and the carefully composed pages make Lines among the most elegant of all the 1960s mimeograph magazines. Saroyan published six issues of the magazine and several books (including Ted Greenwald’s Lapstrake and John Perreault’s Camouflage), before leaving New York, and the ’60s, to begin a different life: “When I started to write again in Bolinas, California, it wasn’t minimal poetry anymore, but a long poem about my life, marriage, and fatherhood. Strawberry Saroyan had been born at the hospital in Stoneham, Massachusetts, on October 20, 1970.”

Lines books (complete)

Berrigan, Ted, with Ron Padgett. Noh. 1965. Lines Broadsheet No. 1.

Coolidge, Clark. Clark Coolidge. 1967.

Coolidge, Clark. Flag Flutter & U.S. Electric. 1966. Cover design by the author.

Greenwald, Ted. Lapstrake. 1965. Cover by Joe Brainard.

Kolmar, Richard. Games. 1966. Cover by Larry Zox.

Perreault, John. Camouflage. 1966.

Saroyan, Aram. Aram Saroyan. 1967.

Saroyan, Aram. Works. 1966.

Stein, Gertrude. Gertrude Stein. 1967.

Clark Coolidge, Flag Flutter and U.S. Electric (1966). Cover design by the author.

Clark Coolidge, Flag Flutter & U.S. Electric (1966). Cover design by the author.


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

Living Hand

magazines & Presses

Living Hand

Paul Auster, Lydia Davis, and Mitchell Susskind
Paris and New York

Nos. 1–8 (1973–76).

Two periodical issues [nos. 1 and 4] and six monographs.

Living Hand 3 (1974), Unearth by Paul Auster.


Both a little magazine and a small, independent publishing house, Living Hand, which took its name from Keats (“This living hand, now warm and capable”), was started in Paris by Paul Auster (The New York Trilogy, The Music of Chance, The Art of Hunger, The Invention of Solitude), who was then working as a telephone operator for the Paris Bureau of the New York Times and translating French poetry. Living Hand, which included a great number of Auster’s translations, numbered eight issues, with numbers 1 and 4 being the most conventionally magazine-like; the other numbers were monographs. They included translations of Paul Celan, Georges Bataille, Edmond Jabès, Maurice Blanchot, and other modern European writers, alongside original work in English by editors Auster and Davis (who were then married), Allen Mandelbaum, Sarah Plimpton, Russell Edson, and Rosmarie Waldrop, among others.

Living Hand published two volumes of translations by Auster, Jacques Dupin’s Fits and Starts: Selected Poems (issue 2) and The Uninhabited: Selected Poems of André du Bouchet (issue 7), as well as Auster’s own first collection of poetry, Unearth (issue 4). Living Hand 3 was The Thirteenth Woman and Other Stories, a sparkling collection of short works by Lydia Davis. Leaves of Absence, a collection of poems by Allen Mandelbaum, an award-winning translator (of Ungaretti and the Aeneid, for instance), was Living Hand 6, and a collection of work by Sarah Plimpton was Living Hand 8. Living Hand did not accept unsolicited submissions and was, in the most positive way, the product of an intellectual community intensely dedicated to avant-garde (in the sense of on the edge, ahead of its time) writing. In this, and in its concern for the friendship of French and American letters, Living Hand is also, and paradoxically, part of a century-long tradition of ultramodernism.

The six Living Hand monograph issues are

Auster, Paul. Unearth. 1974. Living Hand 4.

Davis, Lydia. The Thirteenth Woman and Other Stories. 1976. Living Hand 3.

Du Bouchet, André. The Uninhabited: Selected Poems of André du Bouchet. 1976. Living Hand 7. Translated and with an introduction by Paul Auster.

Dupin, Jacques. Fits and Starts: Selected Poems of Jacques Dupin. 1974. Living Hand 2. Translated by Paul Auster.

Mandelbaum, Allen. Leaves of Absence. 1976. Living Hand 6.

Plimpton, Sarah. Single Skies. 1976. Living Hand 8.


Living Hand 2 (1974). Fits and Starts by Jacques Dupin, translated by Paul Auster.

Living Hand 2 (1974), Fits and Starts: Selected Poems of Jacques Dupin, translated by Paul Auster.

Locus Solus

Magazines & Presses

Locus Solus

John Ashbery, Kenneth Koch, Harry Mathews, and James Schuyler
Lans-en-Vercors, France

Nos. 1–5 (1961–62).

Locus Solus II (Summer 1961).


Published in five issues in four volumes, Locus Solus could be called the overseas wing of the New York School. Each squat and plain issue looked like the serious literature of the French, a toned-down Gallimard volume perhaps. Included were translations of contemporary French poets such as Marcelin Pleynet alongside the work of, for example, Frank O’Hara, Joseph Ceravolo, or Kenneth Koch (issue 5 even includes a poem by modernist art critic Harold Rosenberg).

The magazine was definitely “no nonsense” from the beginning, presenting no manifestoes or editorial statements, just high-quality literature—simply and elegantly presented with care and respect. The editors alternated responsibility, with Schuyler editing numbers 1 and 5, Kenneth Koch developing the “Special Collaborations” issue that was number 2, and John Ashbery editing the double issue, number 3/4, of New Poetry. Harry Mathews was the publisher, the man behind the magazine. Their taste was impeccable.

Locus Solus III–IV (xx).

Locus Solus III–IV (Winter 1962).