A post-script of sorts to the Contact Press post yesterday. Below you’ll find a small handful of Louis Dudek-related items from my shelves that overlap with Contact Press (1952-1967), and below those, a couple related little magazines.
Louis Dudek edited Delta from 1957-1965, during the life of Contact Press and co-incident with Souster’s editing of Combustion.
Delta contained regular ads for the latest titles from Contact Press. Here Ellenbogen’s entry in the McGill Poetry Series is announced as “A New Contact Press Book.”
Dudek’s Delta Canada Press was begun while Contact Press was still Active. Atlantis was published in 1967. According to Nicky Drumbolis, it was “repeatedly intended for publication by Contact Press.”
Glen Siebrasse’s The Regeneration of an Athlete, published by Delta Canada in 1965.
CIV/n, of course, edited by Aileen Collins from 1953-1955 (along with Jackie Gallagher, Wanda Staniszewska, and Stan Rozynski). Dudek and Irving Layton served as readers and contributed to discussion of submissions. Jennifer Macquarrie’s 2006 MA Thesis on CIV/n is an excellent discussion of Aileen Collins’s importance as an editor.
In his introductory note to Michael Gnarowski’s index of CIV/n, Dudek writes: “[I]t led to a realization on my own part, when the magazine ended, that I wanted to edit a magazine single-handed, so that CIV/n prepared the way for Delta, just as First Statement had prepared for CIV/n.
Related Little Magazines:
Contemporary Verse, edited for 39 issues by Alan Crawley from 1941-1952. A precedent for and spiritual contemporary of Contact magazine. According to Tim McIntyre, “in 1941, West-coast poets Dorothy Livesay and Floris McLaren, with help from Doris Ferne and Anne Marriott, decided to start a modern poetry magazine and asked Alan Crawley to be its editor.”
Northern Review (1945-1956), edited primarily by John Sutherland following the merger of Preview and First Statement. An important link between the ferment of the 1940s and the establishment of Contact Press in the 1950s. Dudek and Souster’s correspondence surrounding their increasingly frustration with Sutherland’s editing practices demonstrate one reason that Souster launched Contact magazine in January 1952.
Yes, edited primarily by Michael Gnarowski from 1957-1970 (with help along the way from Glen Siebrasse, John Lachs, Donald Winkleman, Hugh Hood, and, informally, Louis Dudek).
Peter Gibbon’s MA thesis in the history of YES is sadly not widely available, but can be found in a rare issue of his magazine, Conduit, published as a double issue (Conduit 1/YES 20, Fall/Spring 2012).
After acquiring a copy of Trio yesterday from Richard Coxford (formerly Bytown Bookshop, Ottawa) and George Ellenbogen’s Mcgill Poetry Series entry Winds of Unreason from Liam at Patrick McGahern’s (Ottawa), I decided to take stock of my small but growing Contact Press collection. Below you’ll find photos and some small notes on what I’ve currently got on my shelves, both Contact Press itself and a few related things. There are 15 Contact Press titles, 2 from the McGill Poetry Series, one from First Statement Press, an issue of Combustion, two of Michael Gnarowski’s bibliographic works, three books related to the Contact Poetry Reading Series, two Anansi reprints of Contact titles, a couple broadsides, and a small ad.
Only a few dozen Contact titles to go! Michael Gnarowski’s checklist puts the total at 49. Peter Miller cites 61 titles. Or, for the more ambitious, Nicky Drumbolis’s Contact checklist of official titles, variants, and related materials run to 355 items. It has some repeat items with signatures and associations, but it shows how much material can be gathered under the Contact name.
Donations welcome! Haha.
Contact Press (click through the photos for notes):
1952. The first title from Contact Press. Someone inexplicably wrote “Negro” on this copy.
1954. Eli Mandel’s name was misspelled on the cover, the title page, and before his poems. It was spelled correctly for his biographical statement. Corrected by hand with whiteout throughout at the time of publication.
1956. Inscribed by Contact editor Peter Miller in June 1960 while on a trip to Paris (he sold Contact titles while travelling). See Miller’s Sonata for Frog and Man later in this slideshow for another inscribed copy.
“Ray Souster is a very good friend of mine, and a good poet–the poet of Toronto.” Peter Miller.
Illustrations in En Mexico.
Another Miller inscription. “Remember that I am divided into boxed, but that each box holds things valid in themselves.”
1960. Louis Dudek. Literature and the Press. Sadly without the amazing dust jacket.
Co-published with The Ryerson Press.
Table of contents for New Wave Canada. Gradually accumulating signatures.
1967. The final title from the original run of Contact Press.
Raymond Souster’s final poems, published by posthumously by his literary executor (Donna Dunlop) under the Contact Press name (as per Souster’s wishes).
Michael Gnarowski’s Checklist
Michael Gnarowski’s index of Souster’s Contact Magazine. Contact released its first issue in January 1952, three months before Cerberus would appear as the first title under Contact Press.
Combustion, edited by Souster, ran from 1957 to 1960, with this final issue (number 15) published in early 1966 as a shared number with Victor Coleman’s Island Magazine (number 6).
Published by Padraig O Broin’s Clo Chluain Tairbh Press to coincide with Spiecker’s appearance in the Contact Poetry Reading Series.
Kenneth McRobbie’s Eyes Without a Face, published by Gallery Editions in 1960. Gallery Editions, edited by Avrom Isaacs, was one of the tangible products of the Contact Readings (hosted at Isaacs’s Greenwich Gallery and then Isaacs Gallery) from 1957-1962.
Souster’s Place of Meeting, also published by Gallery Editions (1962).
One side of a broadside presenting this list of readers in the Contact Poetry Reading Series on one side, and a poem by Souster (“Charles Olson at the Ford Hotel”) on the other. Text at the bottom: “Information Courtesy of LETTERS BOOKSHOP.”
A broadside index of authors published by Contact Press, prepared by Nicky Drumbolis (who else?). “CONTACT” as the top is printed by the same linocut used for Contact magazine. Signed by the seven poets that read at Harbourfront on January 28, 1986 at a Contact retrospective.
Bottom of the same Contact-index broadside: “Good writing provides CONTACT between words and the locality that breeds them.”
Other Canadians (1947), published by John Sutherland’s First Statement Press, a spiritual forerunner and practical working model to Contact Press.
Al Purdy’s Poems for all the Annettes, published by Contact Press in 1962 and reprinted by House of Anansi in 1968. This is, obviously, the reprint.
Margaret Atwood’s The Circle Game, published by Contact Press in 1966 and reprinted by House of Anansi in 1967.
A small advertisement for Contact Press titles. I do not know the source of this one.
Published in the McGill Poetry Series, Number 9 (1965).
Published in the McGill Poetry Series, Number 3 (1957).
Ellenbogen’s Winds of Unreason contains drawings by Peter Daglish throughout.
New Wave Canada Portfolio, issued as an insert for Island 7/8 in 1967. From Nicky Drumbolis, in his inventory to Contact Press: “including a poem from 14 of the 17 contributors to the anthology [New Wave Canada] […] each poem is here included in the poet’s holograph facsimile. [Victor] Coleman produced this collection as a testament to his uncredited involvement in organizing a list of potential contributors to the anthology.”
The fine people at Vallum saw fit to publish an 8-page review of The Collected Poems of William Hawkins in their latest issue (13:1, “Open Theme”). David Swartz wrote the review, and I was delighted to see how much time he spent thinking about Louis Riel, which is almost certainly the book of Bill’s that has received the least attention over the years, critical or otherwise (none of it was included in his first selected poems, The Gift of Space, in 1971). Swartz is a good reader of Bill’s work. I couldn’t be happier. Thanks, Vallum, and thanks David!
What gives Hawkins’ poems depth is their immense weight and beauty, their intricacy of thought, luminosity, and comprehensibility. (David Swartz)
The timing is great, as the book just celebrated 1-year in the world (though we launched the book in June 2015, it arrived from the printers in April). I remain immensely proud to have edited it, and I hope that it keeps finding new readers for Bill. Go buy a copy if you haven’t already!
The idea behind the Poets Series is to paint portraits of living poets and let each poet pick the next as a practice of praco-poesis. More simply put, I hoped to create a round robin of poets. I began this work by crowd sourcing poets to begin each branch. I asked the poets who were picked if I could paint a portrait of them, and if they wouldn’t mind selecting the next poet to add to the series. The response has been astounding. As the beginning poets included other poets, and the archive began to grow, branch by branch into an amazing narrative of contemporary poetry. The Poets Series is a celebration of the complex tangle of living poets that belong to a loose archive.
She has just set up a website with information about the series, images of completed and in-progress paintings, as well as giclee prints for sale. My portrait is based on a photograph that my partner Jenn took while we were in New York City in Spring 2014. I’m really astonished by the whole thing. What a strange thing to have a portrait, and even stranger to see it in the company of the people it is in the company of (I must be the only poet in the bunch without a trade book). Thanks to Melanie, and thanks to Nelson Ball for adding my name to the archive! I can’t wait to see it grow.
Two new minimalist poems of mine appeared in the world in the last 24 hours (Happy National Poetry Month!). The first, “Refrain”, was done up in a beautiful little single-poem chapbook by Michael e. Casteels through his Puddles of Sky Press (Kingston ON). It is available on its own for $2.00, but you will get it for free if you place an order of $15.00 or more for other Puddles of Sky stuff (spend $30.00 and you’ll also get chapbook-poems by Marilyn Irwin and Stuart Ross!). I’m a huge fan of Michael’s publishing work (and writing), and can’t say enough how happy I am to be a part of this series. You can and should spend $15.00 to support what he does, so take a look around. If you don’t already have them, I would recommend buying back issues of his mag illiterature.
The other poem, “Thrum”, is on page 9 of the brand new issue 11 of NOON: journal of the short poem. I always love to read NOON when it appears, and I’m really delighted to finally have a little poem in its pages.
rob mclennan was inducted into the VerseFestHall of Honour last night here in Ottawa in recognition of his long service to the poetry community as a publisher, editor, organizer of events, ambassador, historian, bibliographer, writer, and a hundred million other roles he has taken on over the years. He has been a great supporter of so many here (and elsewhere), publishing first chapbooks, first books, making first readings happen, putting all those first people beside established people, taking work seriously across a huge range of styles and aesthetics and levels of experience.
On first meeting rob sometime around 2006, when I was a very young poet among other very young poets at Carleton University, our sense of Ottawa’s community was that everything that happened here seemed to happen through rob. Publishing and reading and whatever else all seems to pass through rob on their ways to existing. As young combative poets we thought that was ridiculous, but for the wrong reasons. For a long time (though this certainly wasn’t true in 2006), rob was often the only one doing things here. He seemed like the only game in town because in a lot of ways and for far too long he was the only game in town, keeping a lot going in Ottawa and keeping Ottawa in touch with a lot going on elsewhere. He has certainly been the only one in Ottawa bothering to do all of this for so long and with such sustained energy. above/ground press is 23 years old now. The Factory Reading series came into the world about the same time. The twice-yearly Ottawa Small Press Book Fair has been his doing since 1994. Chaudiere is the only trade poetry publisher here seriously engaged with the local community. ottawater is our annual online stock-taking of different voices and a great annual reading tradition in the new year, going back twelve years! This barely scratches the surface.
I have personally benefited enormously from rob’s support. He published two of my chapbooks (and one of those ubiquitous “poem” broadsides) through above/ground; Chaudiere published The Collected Poems of William Hawkins, a book that I edited; I’ve read in the Factory Reading Series a whole pile of times; he has been the most active and visible reviewer or my work and of my little Apt. 9 Press; he has interviewed me all over the place; he passes me books all the time above and beyond my above/ground subscription (and once, many years ago, gifted me an above/ground subscription when I couldn’t afford to keep it going just because he knew that I cared); I’ve been in all kinds of his magazines, in print and online; and he’s been a friend. (Plus, undoubtedly, dozens of other pieces of support that escape me right now.)
My experience above is probably the same as the experience of so many. I really don’t thank rob enough, privately or in public (I doubt many of us do). He has been doing all of this for so long, and seemingly so tirelessly (but he must get tired), that I think that we take him for granted too often.
So rob, congratulations on a very well deserved honour, and thank you. Ottawa is lucky that you’ve stuck around here, and all of your work is appreciated.
I interviewed rob in 2013 to mark the occasion of above/ground press turning 20. I published the interview as a chapbook through Apt. 9 Press. Below is a pdf of the entire thing. While focused primarily on above/ground, we cover a lot of material, connecting the press to other pieces of his small press labour. Despite how much of his work we cover, it still feels incredibly preliminary simply because of how much rob has done.
As of last week, I have now completed drafts of all four chapters of my dissertation on bookselling and the small press in Canada after the Second World War. It is sitting at some 200 pages and 60,000+ words. There is a long way to go yet, but there is something to work with anyway. I published an article at Amodern on the Canada Council and the history of funding for poetry readings in Canada. A second article is due back any day now from the printer in the Journal of Canadian Studies / Revue d’études canadiennesabout Raymond Souster and the Contact Poetry Reading Series (1957-1962), a long overdue piece based on my 2009 M.A. research. I also wrote an entry on Contact Press for the forthcoming Routledge Encyclopedia of Modernism, set to appear online sometime in 2016 so far as I know. I presented only a single conference paper (on William Hawkins at ACCUTE), instead focusing my energies on the dissertation and teaching responsibilities. 2016 should see extensive revisions on the dissertation with true optimism to submit in September, and hopefully at least one conference paper along the way.
Apt. 9 Press had the great fortune and privilege of publishing new chapbooks by Marilyn Irwin, Lillian Nećakov, Nelson Ball, and Michael e. Casteels, and dragging our wares to book fairs in Ottawa and Toronto. A chapbook is forthcoming in 2016 from Lea Graham, followed by a hiatus for the remainder of the year in order to finish the aforementioned doctoral degree.
Whatever I am forgetting at the moment, I apologize! My great thanks to all of the editors, poets, organizers, students, professors, and supporters along the way that made each of the above possible. I can’t wait to see what happens in 2016!