April 1968

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McClure, Michael. Grahhr April grharrr April, [Buffalo: Gallery Upstairs Press, 1968] | PS3563.A262 G72 1968
Rough winds may shake the darling buds of May, but the rumbling grahhr of April is what gets us shaking in the Rare Book Collection. We offer for your consideration this broadside from the Beats Collection. The poem is one of several written and performed by controversial Beat poet Michael McClure during the mid-1960s to feature prominent onomonopiac transliterations of beastly speech. Much of McClure’s poetry explores the animistic meatiness of human bodies, abandoning social codes in favor of raw experience.

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Detail from McClure, Michael. Grahhr April grharrr April, [Buffalo: Gallery Upstairs Press, 1968] | PS3563.A262 G72 1968

The poem’s aggressive juxtaposition of elements of vitality and mortality echo the tumultuous events of April, 1968, a watershed month in the history of the United States that saw the assassination of Martin Luther King, Jr., the signing of the Civil Rights Act of 1968, and mounting public protests against the Vietnam War.

Large in format (54 x 73 cm), the broadside arranges McClure’s poem symmetrically along a vertical axis, mirroring words and punctuation. The bright, calligraphic red script draws the eye to the visual arrangement of words, distracting from their syntactic meaning. In the background is a stock image of a lion in blue. Blown large and grainy, the lion confronts the reader with his animal and his printed presence, simultaneously an icon of nature and of manufacture.

McClure was well known for his public readings—Kerouac’s Dharma Bums includes a fictionalized account of his performance at the 1955 San Francisco Six Gallery. Those interested in hearing this poem vocalized are encouraged to consult the catalog for a 1968 recording on vinyl where McClure appears alongside fellow Beats Allen Ginsburg, Lew Welch, and Aram Saroyan, amongst others. McClure also recorded a filmed version in 1966 where he reads the poem aloud to a cage of lions.

Sisters Outsider: Diane di Prima and Audre Lorde

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Audre Lorde, The First Cities (New York, 1968)  /            PS3562 .O75 F5 1968

UNC’s Rare Book Collection has extensive holdings of twentieth-century print materials, many of which provide insights into literary friendships, partnerships, and circles. History has placed the poets Diane di Prima and Audre Lorde in separate camps—di Prima with the Beat Generation and Lorde with the Black feminist movement. However, the RBC’s rich Beat holdings tell a very different story.

Di Prima and Lorde were both born in 1934 and attended Hunter College High School in Manhattan. As teenagers they were close friends. According to Alexis De Veaux, together they “wrote poetry and skipped classes. . . . They held séances, burned candles, and ‘called up the poets.’” The two young women later went their separate ways. Lorde stayed on in New York City and earned her bachelor’s degree at Hunter College. Di Prima went to Swarthmore College in Pennsylvania, dropping out in 1953 to return and join the bohemian scene in Greenwich Village. In the ten-year period after 1958, di Prima published five volumes of poetry and founded Poets’ Press with her husband Alan Marlowe. Lorde published sparingly but gained a reputation as an important up-and-coming young poet. In an interview with Adrienne Rich, Lorde recalled di Prima urging her to publish her poetry and saying, “You know, it’s time you had a book. . . . You have to print these. Put ’em out.”

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Audre Lorde, The First Cities (New York, 1968) / PS3562 .O75 F5 1968

Lorde followed her advice and prepared to publish her premier volume, The First Cities, with di Prima’s Poets’ Press. In 1967, while the book was in production, di Prima was pregnant with her second child. On Christmas Eve she went into labor in her Greenwich Village apartment and called on Lorde, who arrived just in time to deliver the baby. In her introduction to The First Cities, di Prima memorializes this event and their sustained friendship:

I have known Audre Lorde since we were fifteen,
when we read our poems to each other in our Home
Room at Hunter High school. And only two months
ago she delivered my child.

A woman’s world, peopled with men & children
and the dead, exotic as scallops.

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“Diane di Prima and Audre Lorde read at Intersection” (San Francisco) / PS3507.I15 Z58 1970z / Lawrence Foushee London Fund

The two women continued to support each other’s work over the next decade, as evidenced by a broadside advertising a poetry reading they performed together in the 1970s. In 1974 di Prima founded another press called Eidolon Editions. Lorde sent her seven poems, which Eidolon Editions published as Between Our Selves in 1977. The cover shows a West African Adinkra symbol of Siamese crocodiles.

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Audre Lorde, Between Our Selves (Point Reyes, 1976) / PS3562.O525 B4

Both di Prima and Lorde wrote from marginalized points of view and were on the outside of mainstream literary culture. These material examples of their alliance attest to their efforts to promote themselves and each other in a literary landscape dominated by male voices. Such intersections cannot be understood by reading individual poems isolated in anthologies or in collected works. The original, often ephemeral, editions to be found at the RBC demonstrate in a tangible way how poets work to create communities of poets.