“…The Leipzig band Neu Rot represented a singular phenomenon within the alternative music reservoir of the GDR. As with so many bands that cultivated a more sophisticated sound in the late 80s, Neu Rot’s beginnings had been in punk rock. But, with a remarkable rigour against itself, the band steadily worked its way towards post-rock. This thorough process came to fruition in 1988 with the production of the tape “Halt An”. It had been preceded by the band’s struggle for its very own means and their technical feasibility. Neu Rot’s pilgrimage to its own centre was not unimpeded. The band’s name was perceived by the GDR’s cultural watchdogs as an erratic chain of associations between the suspicious word “Neu” and the ideological signal colour red. The band was legal, but its lyrics were deemed illegal. The edition of “Halt An” was somewhere between over fifty and under one hundred copies…”
(from the liner notes by Henryk Gericke)
The original Neu Rot cassette Halt An has now been re-released on C40 by tapetopia and aufnahme + wiedergabe accompanied by extensive English liner notes by Henryk Gericke, not only on the band and its releases but also on the broader historical background of underground taping in the GDR. Edition of 100 hand numbered copies.
A Seneca Journal (1978) is one of Rothenberg’s ethnopoetic explorations. The Seneca, one of the six tribes of the Iroquois confederacy, accepted the Rothenbergs into their community in Salamanca, New York State during one of their ethnological and poetic studies in the 1970s. In his journal of the period Rothenberg, adopted by the Seneca Beaver clan as one of their own, draws parallels between the fate of his Jewish ancestors in Eastern Europe and the ethnic cleansing and genocide that the Seneca suffered and documented in their myths and stories. Moloko Plus has published Rothenberg’s classic A Seneca Journal as a fine bilingual English-German edition with translations by Barbara Felicitas Tax and Norbert Lange and artwork by Susanna Lakner.
Michael Andre started his Unmuzzled OX in 1971. The quarterly, edited from New York City and Kingston, Ontario, ran for thirty years and combined poetry, art and leftist politics in a well-balanced fashion. Tapping into the US counterculture of the period, the magazine’s regular contributors boasted Allen Ginsberg, John Cage, Gregory Corso and many others and often featured photos by Gerard Malanga.
Unmuzzled OX Vol. IV, No. 3 was published in 1977 and contains contributions by poets and artists as varied as Margaret Atwood, Paul Thek, Djuna Barnes and Ted Berrigan and interviews of Gary Snyder, Philip Glass and Pierre Trudeau. This copy is in very good condition with slight shelf wear to the cover and a small dog ear on the front cover. Order now →
When William Burroughs mailed Alan Ansen a copy of Naked Lunch on its publication in 1959, he dedicated it to “one of the few who understood Naked Lunch before I did”, testifying to the unique role Ansen played from the start of Burroughs’s career as collaborator, promoter, critic, friend and author of three essays written across three decades. A Burroughs Triptych pieces together for the first time the backstory to Ansen’s three essays which were previously edited into a composite volume in 1986, in order to do justice to the special part Ansen played in making the Burroughs legend. As editor Oliver Harris observes in the introduction: “For all his insights into Burroughs, Ansen’s vision had the seductive quality of one who has been seduced, as in the alluringly enigmatic portrait that is worth the entrance fee alone: ‘A tall ectomorph – in Tangier the boys called him ‘El Hombre invisible’ – his persona constituted by a magic triad of fedora, glasses and raincoat rather than by a face, his first presence is that of a con-man down on his luck”.
Who was Alan Ansen? “There is a certain kind of ghost”, observes William Lee, the deadpan narrator of Burroughs’s debut novel Junky, “that can only materialize with the aid of a sheet or other piece of cloth to give it outline. Gains was like that. He materialized in someone else’s overcoat”. Alan Ansen is like that kind of ghost, haunting the margins of someone else’s biography and the footnotes of other writers’ literary histories. Read more & order →
The first three issues of the City Lights Journal were published between 1963 and 1966. Combining English translations of European avant-garde authors and poets such as Arthur Rimbaud, Antonin Artaud, Guillaume Apollinaire and Ferdinand Céline with Beat poets such as Gregory Corso, Neal Cassady and Allen Ginsberg and leading artists as Roland Topor, Allan Kaprow and Julian Beck, the City Lights Journals proved seminal to the 1960s counterculture and set an example for many later publishing ventures.
This copy of City Lights Journal, Number Two, published in 1964, is in very good condition with only minor shelf wear of the cover and minor damage to the spine. Among the contributors to this 280-page book count Alexander Trocchi with his famous invisible insurrection of a million minds, Grazia Livi’s interview of Ezra Pound, Claude Pelieu, Gary Snyder, Allen Ginsberg, Frank O’Hara and many others. Read more →