This is the beginning of my attempt to compile a list of publications of work by poets closely associated with the Washington DC alternative poetry scene, as well as publications out of DC of works by poets not directly associated with it. In my post on Michael Lally, I did not discuss his record as a small press publisher beyond his involvement with Some of Us Press. Between 1974 and 1979, Michael's O Press issued seven titles, all of them valuable contributions to the traditions given greater coherence by Donald Allen's The New American Poetry. As always, Michael's choices were idiosycratic, and the work he promoted covered a diverse set of poetics.Highlighted titles indicate poets not directly connected to DC poetry
1970
Michael Lally, What Withers (Doones Press)
Michael Lally, MCMLXVI Poem (The Nomad Press)
Michael Lally, The Lines Are Drawn (Asphalt Press)
Andrea Wyatt, Three Rooms (Oyez Press)
1971
Michael Lally, Stupid Rabbits (Morgan Press)
1972
Lee Lally, These Days (SOUP)
Michael Lally, The South Orange Sonnets (SOUP)
Terence Winch, Boning Up (SOUP)
1973
Bruce Andrews, Edge (SOUP)
Susan Baker, She's a Jim-Dandy (SOUP)
Ed Cox, Blocks (SOUP)
Tim Dlugos, High There (SOUP)
Gabrielle Simon Edgcomb, Moving Violation (SOUP)
Margaret Gibson, Lunes (SOUP)
William Holland, How Us White Folks Discovered Rock and Roll (SOUP)
Michael Lally, Late Sleepers (Pellet Press)
Leonard Randolph, Scar Tissue (SOUP)
Simon Schuchat, Blue Skies (SOUP))
Andrea Wyatt, Poems of the Morning, Poems of the Storm (Oyez Press)
Mass Transit #1 Summer 1973, edited by Terence Winch
1974
Martina Darragh, My First Play (A Dry Imager Production)
Lynne Dreyer, Lamplights Used to Feed the Deer (SOUP)
P. Inman, What Happens Next (SOUP)
Beth Joselow, Ice Fishing (SOUP)
Michael Lally, Malenkov Takes Over (A Dry Imager Production)
Robert Slater, A Rumor of Inhabitants (SOUP)
Terence Winch, Irish Musicians (O Press)
Ed Zahniser, The Ultimate Double Play (SOUP)
Mass Transit #2 Fall/Winter 1973-1974, edited by Michael Lally
Mass Transit #3 January 1974, edited by Ed Cox & Tina Darragh
Mass Transit #4 Spring/Summer 1974, edited by Michael Lally
Mass Transity #5 Fall 1974, edited by Beth Joselow and Peter Inman
1975
Martina Darragh & Tim Dlugos, Living (A Dry Imager Production)
P. Inman, P. Inman U.S.A. (A Dry Imager Production)
Michael Lally, Oomaloom (A Dry Imager Production)
Michael Lally, Sex/The Swing Era (Lucy & Ethel)
Michael Lally, My Life (Wyrd Press)
Michael Lally, Dues (The Stonewall Press)
Michael Lally, Mentally, He's a Sick Man (Salt Lick Press)
Michael Lally, Rocky Dies Yellow (Blue Wind Press; second edition, 1977)
Phyllis Rosenzweig, Seventeen Poems (O Press)
Terence Winch, The Beautiful Indifference (O Press)
Terence Winch, Where the Yellow Went (A Dry Imager Production)
Michael Lally (editor), None of the Above (The Crossing Press)
1976
Bruce Andrews, Vowels (O Press)
David Drum, Facade ((O Press, 1976)
Michael Lally, Charisma (O Press)
Andrea Wyatt, Founding Fathers: Book One (LLanfair Press)
1977
Andrea Wyatt, The Movies (Jawbone Press)
1978
Michael Lally, Just Let Me Do It (Vehicle Editions)
Michael Lally, Catch My Breath (Salt Lick Press; second edition, 1995)
Michael Lally, In the Mood (Titanic Books)
1979
Diane Ward, Theory of Emotion (Segue/O Press, 1979)
1980
Michael Lally, White Life (Jordan Davies)
Andrea Wyatt, Jurassic Night (White Dot Press)
1982
Michael Lally, Attitude (Hanging Loose Press)
Michael Lally, Hollywood Magic (Little Caesar)
1984
Andrea Wyatt, Baseball Nights (Renaissance Press)
1996
Michael Lally, Cant Be Wrong (Coffee House Press)
1999
Michael Lally, Of (Quiet Lion Press)
Michael Lally, It's Not Nostalgia: Poetry & Prose (Black Sparrow Press)
2001
Michael Lally, ¿Que Pasa, Baby? (Wake Up Heavy Press)
Michael Lally, It Takes One to Know One: Poetry & Prose (Black Sparrow Press)
2003
Michael Lally, March 18, 2003 (illustrations by Alex Katz) (Libellum) (third edition, Charta, 2006)
2004
Tom Orange, 25 poems (The Interrupting Cow)
2 comments:
Doug, Bruce Andrews was part of the DC poetry scene before you arrived. He was living I believe in College Park (if I remember correctly his father was the president of the U. of Maryland, or maybe just head of a department there?) and I believe was getting his Masters at the U. of Maryland as well. I met him in 1970 I believe. he had just had, or was about to have, a poem published in The Paris Review. We met at the Community Book Store on P Street and started right in arguing about "new jazz" and poetry. He was already an advocate of what became "Language poetry" (which I was familiar with from Ray DiPalma's early work as well as Robert Grenier's, both of whom I knew at the U. of Iowa in the 1960s), and was extremely articulate on the subject, influencing my own thinking on it. He went through my poems and found many early ones in that mode, some of which were subsequently published in "language" centered little mags often on Bruce's recommendation. He left DC around '72 for Harvard for his PhD (or maybe he got his BA at Maryland and his Masters at Harvard). At any rate, he was around when we started Mass Transit and came a few times and was I'm sure an influence on not only my thinking, but others as well as in DC, and so for me he is a part of DC poetry history.
Michael, you make a very good case here. I knew that Bruce was around DC for a while before he moved to New York, but I had not realized the extent of his involvement. I do see the argument for his inclusion. My own subjective view of Bruce is different. From the time I first met him in New York (through you), Bruce seemed to me to be very invested in his identification with New York, so I've always thought of him as a New York poet, or, as an East Coast poet (in relation to the L=A=N=G=U=A=G=E poetry phenomenon).
One thing I intend to do is include a thread in this blog to recognize those poets who have had a particular relationship with the DC scene -- through repeated visits, readings, friendships and so on, from Tom Raworth, Ted Greenwald and Ray DiPalma to Anselm Berrigan and Lisa Jarnot, to pick the most obvious examples that come to my mind. Bruce is another primary member of that group, and most likely the one with whom I'll begin, given his history in DC as well as with DC.
Thanks for your comment -- I'm hoping for (and depending on) just this kind of response, to get a clearer, or better, or more diverse view of the history of alternativ poetry in Washington.
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