By Peter Sanderson +++
Quantity 2 of encyclopedia sequence
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Introduction to The Angel Hair Anthology. Edited by Anne Waldman and Lewis Warsh. New York: Granary Books, 2001, xix–xxvii. ———. ” In Ted Berrigan: An Annotated Checklist, edited by Aaron Fischer, 15–20. New York: Granary Books, 1998. ———. Statement on Angel Hair. In A Secret Location on the Lower East Side: Adventures in Writing, 1960–1980, by Steven Clay and Rodney Phillips, 179. New York: New York Public Library/Granary Books, 1998. anthologies, canonical The entry of New York School poets into the canon is dramatically illustrated in the three editions of the Oxford Book of American Verse (the third edition substitutes Poetry for the musty 20 anthologies, canonical term Verse).
Antlers in the Treetops speaks in both a serious and a comic register, but, on the whole, it exudes the same impish mirth and excitement that seems to characterize all of the collaborations within the New York School circle. Published in 1973, this book is rarely read, owing to its limited print run of 1,000 copies. It features cover art, drawn in the style of early pulp novels, by longtime New York School associate George Schneeman. Bibliography Eshleman, Clayton. ” Chicago Review (Spring 1997): 8.
However, artists devoted to the individual and immediate painter’s gesture of abstract expressionism required special inducements to explore printmaking, one of which was the opportunity to collaborate with poets. During the 1950s Folder magazine not only published early work by New York School poets but also introduced a number of their artist friends to the silk screen process, through the encouragement of printer Floriano Vecchi, later of Tiber Press. Tatyana Grosman of Universal Limited Art Editions (ULAE) set up collaborations between poets and artists as occasions for printmaking, including Stones by Rivers and O’Hara.