Lyripol. Jack Hirschman.
Lyripol
Lyripol
Lyripol
Lyripol

Lyripol

San Francisco, CA: City Lights Books, 1976. First Printing. Softcover. “Almost every poem in ‘Lyripol’ was composed between the summer of 1974 and the present, this book is an enlargement of work-concerns announced in two recent North Beach books of mine, ‘Kashtinah Segodnyah’ (Beatitude, San Francisco, 1976) and ‘The Cool Boyetz Cycle’ (Golden Mountain Press, San Francisco, 1975)…’Lyripol’ is Our Book as a message of a mass demonstration or séance continually in participatory motion, a blazon and spiritual instrument of that Arcana which consolidates political doubt by taking, it is hoped, a simple “stand” even as it demonstrates the complex grain of its own tree-body. This is its intention of solidarity, for even where the “personal” love poem is uttered, it has been drawn from the well of eyes and wing of shouldered words by which we drink and phoenix ourselves anew, passing through each other, leaving traces of our truest voice for new songs to fly with.” (Jack Hirschman, May 1976, from Introduction). So reads Jack Hirschman’s Author Note-Introduction from this work—a relic of time and place from the very height of the Second San Francisco Renaissance, chronicled exhaustively in Third Mind Books’ debut publication, “Starting from San Francisco.” [TMB Item #3075; #3071]. The Second San Francisco Renaissance connection continues with Kristen Wetterhahn's portrait of Hirschman preceding the text. Wetterhahn was one of the many important female member-participants in/of the Second San Francisco Renaissance; a talented artist who became one of Thomas Rain Crowe’s “…favorite poets in San Francisco.” Internationally-celebrated poet & Founder-Publisher of City Lights Books, Lawrence Ferlinghetti, notes the following on the back cover of the work: “I have played the part of a bee, in gathering the ‘lyripollen’ of his [Hirschman’s] latest poetry, taking only what tasted true to me—the most lucid, most lyric, most light-bearing of the outpouring of his language—(straining the sea for its phosphorus)—taking sometimes a particular poem for one lovely image or flash of word, though the poem as a whole be flawed some way—Yet such invention of tongue, such mad wash of sound ‘mutely elided’ into ‘a sane of our mad river’—halfway to madness and back, now returned—the clearest, most coherent, most focused of all the books he has written.” Need we say more? No. 34 in the legendary City Lights Pocket Poets Series; a First Printing with no reference to further printings. [ISBN: 0-87286-086-8]. From the collection of Erin Black Matson, the late artist-poet who with her then-husband, the acclaimed poet & educator Clive Matson, were bona fide members of the Beat Generation as it morphed into the hippie counterculture during the 1960s. The Matsons were colleagues-protégés (in lifestyle as much as literature) of Herbert Huncke, Bonnie Bremser et al. The condition befits its long ownership & use by Erin, who was a tried-&-true Beat-Bohemian to the very end. Book in a strong near fine condition with only moderate-to-pronounced shelf-wear to fine-edges, corners; moderate-to-pronounced rubbing, age-typical toning/yellowing to front, back covers & spine; small coffee stain to bottom left-hand corner of front cover (and continues just below said spot on bottom of text block; corresponding spot to bottom right-hand corner of back cover). Near Fine. [Item #4803]

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