hugh fox | icehouse & thirteen keys to talmud

23 04 2009

NOTES from the UNDERGROUND No. 179 | April 23, 2009

The Word,

the World,

the Whirl of Hugh Fox

in Review by Norbert Blei

ICEHOUSE & THIRTEEN KEYS TO TALMUD
by Hugh Fox
Crossing Chaos Enigmatic Ink
London, Ontario, Canada
www.crossingchaos.com

Where to begin with this guy? I should have held off, boned up more on what I thought I wanted to do and say—or taken a pass. Just too much here. Impossible to pin/pen this guy down. He’s this, he’s that…and over there–that too! Beyond ‘writer.’ In a class by himself

Who is Hugh Fox?One of the classic writers of the twentieth-twenty-first centuries,” it’s been said.

So let others remember his name, his continuing contribution (enormous) to underground literature/the underground literary tradition in America. He’s been around forever…though you can see those shadows hovering over all his lines as he describes the time of his life NOW–what’s left of it, in his 2002 book of beautiful poems, VOICES, not to mention that super-sized COLLECTED POETRY OF HUGH FOX 1966-2007 published by World Audience. He deserves more than another 2-cents-worth of ink—wherever/wherever he can get it.

Who is Hugh Fox? Arch-priest and disseminator of the small press message/movement, Len Fulton, will tell you: “The raw heft alone of the published work of Hugh Fox is staggering ….the range of his intellectual inquiry is truly Renaissance: archaeology, anthropology, sociology, literary criticism and reviewing, novels, poetry, plays — there is hardly a genre left ‘unfoxed!’” (Len Fulton, in Editor’s Notes, Small Press Review, May-June 2007)

May I also suggest Fox remains a necessary reminder for writers just starting out, for writers weary of the process, for writers who have lost faith in the publishing system. Just take a gander at what Hugh Fox has accomplished—under the radar, so to speak…while barely, if ever, waking up the New York Literary Mafia of “Books & Writers Manufactured by Us”…Here today/Gone tomorrow.

Who is Hugh Fox? “Like Charles Ives, like Herman Melville, Hugh Fox is an American original. There is no one else writing like him today,” says Richard Morris.

There was a little-mag-time in this country (50’s, 60’s…) when you could open the most obscure mag coming out of Godforsaken, America and probably find something in it written by Hugh Fox. He was always there. Where it was at. Where he thought you should meet him. And he’s still there. You want “minimalism”/”flash fiction” before New York baptized/renamed/rediscovered yet another ‘literary trend’? Here’s Fox, man-of-his-own-word, way before his/the time. This, from Curt Johnson’s little mag, december, vol.18, nos.2 and 3, 1976:

strichstrich

Origin

Dusk. Fall. Mid-Michigan. International picnic. Some kids had been blowing plastic whistles, one of the whistles got “stuck,” the Corfuian tried to “unstick” it unsuccessfully, gave it back with a “Sorry,” stood there looking at the cars, the picnic tables, cast aluminum rhinos and donkeys and dolphins stuck into concrete blocks on big heavy springs,

“I don’t understand where things come from. I mean the plastic whistles, anything. If it’s all just rocks and trees, grass, sky . . . like watches (he pulled the Stretch-banded watch on his wrist) . . . where do they come from?”

His wife smiled. Small woman with bleached hair starting to go black
under the blonde.

They’d been married for three months. She thought he was kidding.

strichstrich

More Fox? Of course. Who can stop him?

Here’s his ‘says-it-all’ intro from his latest book: ICEBOX & THIRTEEN KEYS TO TALMUD


A Few Fore-/Afterthoughts

Dada, vorticism, futurism, surrealism, then an immersion in the Beat Revolution, the work of the generation I named The Invisible Generation, ten years watching avant-garde films and everything else while I was teaching at Loyola University in L.A., then a fellowship at Brown University in Providence immersed in the craziest, avant- garde collection of literature I had ever seen, most of which I’d never heard of before, then a year studying at the University of Buenos Aires with friends like Jorge Luis Borges and Edgardo Antonio Vigo.

Let me throw names at you like Rimbaud, Tristan Tzara, Apollinaire, Varese, Alban, Berg, Schonberg, Stockhausen, John Cage, A.L. Gillespie… it’s all in my (still unpublished) An Aesthetics for the Year Ten Thousand.

And then in 1968 the big Poetry Pow Wow happened in Berkeley and COSMEP was formed, the Committee of Small Magazine Editors and Publishers and I was immersed in the gringo American avant garde, became friends with Charles Potts, Richard Kostelanetz, Harry Smith, Lyn Lifshin, Guy Beining, Richard Morris, started my own magazine Ghost Dance and became a permanent board member of COSMEP, which had yearly conventions n San Francisco, New York, Minneapolis-St. Paul, New Orleans, you name it, and all the avant-garde and not-so- avant garde poets and writers and magazine editors got together and shared souls. You should check out The Ghost Dance Anthology 25 years of poetry from Ghost Dance: 1968-1993′(1994) and then take a look at The Living Underground: A Prose Anthology (1999). Let me give you a little visionary statement from the introduction to The Living Underground:

The writers in this anthology are all part of a “movement” I call the Invisible Generation. We weren’t “Beats,” although we all had great affinities to the Beat Generation. It’s temptint to call us The Hippy Generation because we were kind of “hippyish.” Our drugs were soft, our world-view non-linear, non-occidental. We were psychedelic, Amerindian, Asian. We were visionary but not imperialistic, not so much Dharma Bums as San Pedro Cactus Prophets. We lived inside the Great American Dream Machine but always dreaming our own alternative dreams. (“Introduction,” p.1)

Imagine ten years in LA, going to every avant-garde anything, finding a theater in Hollywood that showed only old foreign films, immersing myself in avant-garde German, French, Italian, Russian you name it films. Only one book came out of my film-immersion. Opening the Door to French Film (World Audience, 2007), but I could have easily written similar books on all the other European and Japanese and American films. There were always avant-garde film-festivals at UCLA, and I never missed one of them.

In 1968 I met Harry Smith, a Brooklyn millionaire who published The Smith, which he later changed to Pulpsmith, and he and I became best pals. I’d go visit him three or four times a year, between semesters, during the summer, during Christmas break, sometimes early fall before classes began at Michigan State where I was teaching.

His wife, Marion, and I became best-pals. She told Harry’s kids, “He’s not Hugh Fox but Uncle Hugh, my brother.”

I’d work on his magazine Pulpsmith, we’d have lunch every day with all the craziest far-out poets and prose- writers in New York, like Stanley Nelson, Richard Nason, Sidney Bernard. I became pals with Mr. Super-Avant- Garde Richard Kostelanetz, got to know the gang in Boston, Sam Cornish, Jerry Dombrowsky, Doug Holder… and through Harry met Menke Katz.

OK. From the avant-garde style of my novels, to the content of The Thirteen Keys to Talmud.

Katz didn’t live in New York but about 3 hours away out in the country, Glen Spring, and every time I went to New York Harry and I would visit him. He was a Yiddish- and English- and Hebrew-speaking genius who was the deepest, most profound scholar of Jewish tradition that ever existed.

Let me give you a picture of Katz from my autobiography Way, Way Off the Road, published by Ibbetson Street Press in 2007:

We’d always go up there when I came to town… Three hours drive, Katz in his upper seventies by then, the Great Holy Man, bald on top, long hair on the sides… into the house, a bunch of toasts, “Lach Hai’um’!/To Life!” Always to life, Blessed be God, Ruler of the Universe, Creator of the Fruit of the Vine. (p.50)

Katz was the greatest Talmud scholar who ever lived. Talmud, the most sacred of ancient Jewish books, after the bible itself. We’d go out walking in the forests together for a while and I’d bring up some obscure problem I was having in my life (like living menage a trois with wife number 2 and the Brazilian who would become wife number 3), he would quote Talmud, solve my problem for me, put it in talmudic perspective and then we’d come back to the house and he’d go in and pull out a couple of volumes and find the passages he’d been quoting. That’s all he’d done all his life was study Talmud and Kaballah.

I had been raised as a fanatic Irish Catholic in Chicago, Irish nuns in grammar school, the Christian Brothers of Ireland in high school, Loyola University. Mass every morning for decades, the idea of a good evening read (after my avant-garde immersions) the Fathers of the Church like St. Augustine. Raised as a fanatic Catholic by a Jewish grandmother who never revealed she was Jewish, and I only found out when my mother made a deathbed confession to her nurse in her nursing home in California.

Just before he died in Glen Springs, Katz had told me “Jews aren’t supposed to proselytize. It’s a sin. But, OK, so I sin, but I tell you ‘Become a Jew. You will never regret it and it will immensely enrich your life.” (Way, Way Off the Road, p. 52).

So I became a Jew and immersed myself in Talmud.

So there you have it, the crazily avant-garde poet- playwright-novelist immersed in talmudic lore.

The result — The Thirteen Keys to Talmud.

Of course when I wrote the book my second wife and I had broken up and I hadn’t seen my little son, Chris, for more than a year, and it was this sense of loss that prompted me to write such a surrealistic statement about alienation and separation… all in a sacred talmudic context.

Ice House I wrote about Wife Number Two, the sexiest woman who has ever stretched across the bedsheets of Planet Earth. Besides the crazy avant-garde influences in my life, I should almost mention that I wrote the first books about Bukowski, Lifshin, Charles Potts, A.D. Winans, etc. So under all the surrealism, vorticism, futurism, etc., there was still the Chicago guy who had lots of contact with the Chicago streets (between museum-visits, theater- immersions and concerts) and all the between-the-eyes realism therein contained.

So I asked Hugh Fox recently about his writing characteristics , and he replied in his Foxy 3rd person:

“Fox got his B.A. and M.A. in English from Loyola University in Chicago (after a childhood totally immersed in the arts and being pushed into pre-med and medicine by his M.D. father) and then got his Ph.D. in American Literature from the U. of Illinois in Urbana-Champagne. His Ph.D. dissertation on Poe’s cosmological poem EUREKA. The first book he wrote after his disserttion was a study of the novels of Henry James. So he was a very academic, on-track scholarly type. And then one day after he got a job teaching at Loyola (now Loyola-Marymount) in Los Angeles, he came across a book by Bukowski in a Hollywood bookstore (CRUCIFIX IN A DEATHHAND) and wrote to the publishers saying he wanted to meet Bukowski. They wrote back and said “Look him up in the Hollywood/L.A. phonebook and give him a call.” Fox did just that, met Buk, Buk gave him copies of all his books and Fox wrote a critical study about Bukowski…an experience that totally changed his way his words and world-outlook. Then he got involved with COSMEP, The International Organization of Independent Publishers and got totally involved with the Underground, ended up on the Board of Directors of COSMEP and got to know all the underground writers and publishers in the U.S., and eventually abroad too (during his year at the U. of Buenos Aires, two years teaching in Caracas, a year in Mexico, a year in Spain, two years teaching in Brazil, trips to Paris, England, etc. etc. etc.). He wrote a bunch of books about The Underground:

  • Lyn Lifshin: A Critical Study, Whitston Publishing Company, Troy, New York, 1985.
  • The Poetry of Charles Potts:Criticism, Dustbooks, Number 12 in The “American Dust” Series, Paradise, California, 1979.
  • An Analytical Checklist of Books from Something Else Press, published as Vol.6, No.1, of the Small Press Review (Issue Number 21, March, 1974).
  • Updating: A Do It Yourself Handbook on Modern Poetry, Ghost Dance Press, East Lansing, Michigan, 1974.
  • The Living Underground: A Critical Overview, Whitston Publishing Company, Troy, New York, 1970.
  • Charles Bukowski: A Critical and Bibliographical Study, Abyss Publications, Somerville, Massachusetts, 1969.

And he started his own mag, GHOST DANCE: THE INTERNATIONAL MAG OF EXPERIMENTAL POETRY.

“He became Mr. Experimental Underground…best pals with Harry Smith (of THE SMITH), Richard Morris (San Francisco writer, head of COSMEP), A.D. Winans (Mr. San Francisco), Lynne Savitt (East coast poet), Doug Blazek, F. Richard Thomas, Sam Cornish, John Bennett, Shaon Asselin, Lo Gallucio, Diane Kruchkow, D.A. Levy, Duane Locke, Bree, William Wantling, John Oliver Simon, Alta, Norm Moser, Lyn Lifshin, Lynn Lonidier, Richard Krech,Lynn Strongin, Jorge Luis Borges, Charles Potts, Pablo Neruda, Gerard Dombrowsky, Robert Bly, you name him (or her) and he knew um……”

So that’s Hugh Fox ? Note quite: “Hugh Fox’s poems live in two worlds — they are both now and then, they speak and are silent, they are print and voice….these are not poems about poetry, not even about or for poets; they are a search for reality-as-possibility, a commitment to conviction. To me they represent the basic style of the most relevant modern poetry, that is, the conviction that language is meaningful (whatever its source of meaning) because poetry itself gives evidence of its capacity to mean…Only through words, that most difficult of adversaries, can one mediate ultimate problems, reveal and validate experience, and his do.” Intoduction to Fox’s collected poetry by Pulitzer Prize Winner, Russel Nye.

Is there a Fox book that remains to be written, I ask?

“I have a number of books walking around in my head full time. Like a few days ago in Lansing we went to a restaurant called The Golden Harvest. Czech-ish food like my Czech- and Yiddish- speaking grandmother used to make. The waitress was a beautiful young woman who told us “I want to be a dancer but Lansing Community College closed down its dance-major, and anyhow I live with my farmer boyfriend out on a farm in Portland….my whole life is something other than this, but….” I would like to write a novel about this woman. I won’t give you the plot, but she doesn’t become a dancer, her daughter does….. “I’ve already written four (still unpublished) autobiographies/memoirs, and have some 30 unpublished novels on my shelves.

“What happens is that new ideas keep coming into my mind every day….like the other day the idea that all of us represent the fulfillment of millions of years of development/evolution/history and that if we enjoy THE NOW the way she should we are fulfilling the dreams of our ancient ancestors. A little poem I wrote about that:

ANCESTRY

Momdad great-, great-, great, great-
all the cro-, pro-, pre– way back,
smelling, tasting, seeing the rebirthing
Mayness through the eyes of uncountable
ancestry.

“And…now…..ah, yes, my inner voices are starting to talk….there is one book I’ve never written that I’ve wanted to write. My grandmother spoke Czech all the times with her neighbors and clerks in stores in Cicero, outside Chicago…..Czech food, Czech-Jewish worldview….I’VE ALWAYS WANTED TO GO AND SPENT THREE OR FOUR MONTHS IN PRAGUE, LEARN SOME CZECH BEFORE I GO AND WRITE A NOVEL SIMILAR TO MY NOVEL IN THE BEGINNING ONLY SET IN PRAGUE INSTEAD OF PARIS. If only I had the possibility of going to Prague for a few months!!!!!!”

Let’s end it all on this final note…beat this damn underground literary drum one more time, the writing you and others, but YOU, Fox, in particular, have spent a lifetime “getting out there” via the underground because…well, you know the way things are. Give us your take as things stand now–as they have always stood? The relationship between underground and overground literature and the thrusts of American culture now.

“I think that Overground publishing in New York (agents and publishers) have formed a kind of NO-OUTSIDERS-ALLOWED CLUB. There’s no way you can get a review of one of your novels or collected poetry or anything else published in THE NEW YORKER or THE NEW YORK TIMES BOOK REVIEW. I mean take a town like Boston (including Somerville, Cambridge, etc.)..and there’s a HUGE, VITAL SUBCULTURE. My old pal Sam Cornish has become the Poet Laureate, Doug Holder runs Ibbetson Street Press which has an e-mail review site which is active every day and also does a lot of publishing, Gloria Mindock runs Cervena Barva Press which publishes great poets like Lo Gallucio, there’s a group called The Bagel Bards which gets together and reads poetry in an art gallery in Somerville…it’s a vital, alive society….but will you ever see anything about it on national TV? There’s a local station, OK…Doug Holder from Ibbetson interviewed me for it…but national TV? Depressing evening news, horrible films, horrible everything…..and the same is true for NY agents….no space, time….unless you conform to the seller rulebook. Now it’s moving to internet everything….only who goes searching for internet poetry, internet novels, etc.? It would be nice to see COSMEP reborn…..there are poets like Bree in Cleveland Heights or Potts out in Walla Walla , Krech in Berkeley who have poetry get-together festivals which are High Art, Mike Strozier of WORLD AUDIENCE in NYC is trying to triumph in the publishing industry…but out there in Never Never Land…forget it….we really need a rebirth of the Underground, for the Underground to RESURFACE again and this time invade the National Everything……nous verrons….”

Who is Hugh Fox? Below, about 4 pages of his “Somewhat Complete Bibliography”– of 66 pages…and counting…

HUGH FOX: A ‘PARTIAL’ BIBLIOGRAPHY

Novels

  • Yama, Publish America, Frederick, Maryland, 2007.
  • The Last Summer,Xenos Books, Pasadena, California, 1995.
  • Shaman, Permeable Press, San Francisco, 1993.
  • Papa Funk: A Novel Excerpt, Brian C. Clark, Publisher, San Diego, California, 1986.
  • Leviathan — An Indian Ocean Whale Herd Journal, Carpenter Press, Pomeroy, Ohio, 1981.
  • Honeymoon/Mom, published as a special issue of December Magazine,Chicago, Vol. 20, Nos.3/4, 1978.
  • The Invisibles–A Dialectic, The Smith, New York, New York, by arrangement with Horizon Press, New York-London, 1976.
  • Just, Venice Publishing Corporation, Van Nuys, California, 1972.
  • The Angel, the Mago and Mama Glinka, A Ghost Dance Pilot Edition, Ghost Dance Press, East Lansing, Michigan, 1972.
  • Icehouse, A Roots Forming Press Book, Okemos, Michigan, 1970-71.
  • Countdown on an Empty Streetcar, Abyss, Somerville, Massachusetts, 1969.

Poetry

  • The Brazil Poems , Whims of an Angel Press, Yakima, Washington , Fall, 2008.
  • Now-Alive , Green Panda Press, Cleveland Heights, OH, 2008. Illustrations by Peter Tabor.
  • Peace / La Paix out from Higganum Hill Books, Higganum Hill, Connecticut, 2008.
  • The Collected Poetry (540 pp.), World Audience, NYC, 2008.
  • Alex, Rubicon Press, Edmonton, Alberta, Canada, Spring, 2008. Cover by M.B.Costa-Fox.
  • Ghosts, Green Panda Press, Cleveland Heights, Ohio, Spring, 2008. Cover by M.B. Costa-Fox.
  • Where Sanity Begins, Cervena Barva Press, Somervllle, Masssachusetts, 2009.
  • Finalmente/ Finally: Brazilian poems translated from Portuguese, Solo Press, Carpinteria, California, 2007.
  • Defiance, Higganum Hill Press, Higganum Hill, Connecticut, 2007.
  • Time, Presa Press, Rockford, Michigan, 2005.
  • Blood Cocoon, Presa Press, Rockford Michigan, 2005 (Connie Fox)
  • Black Frogs, Mystery Island Publications (www.mysteryisland.net), 2004.
  • Hugh Fox: Greatest Hits, 1968-2001, Pudding House Publications, Johnstown, Ohio, 2003.
  • Voices, Three-Legged Dog Press, Plymouth, Michigan, 2002.
  • Boston: A Long Poem, Ibbetson Street Press, Somerville, Massachusetts, 2002.
  • The Angel of Death: O Anjo da Morte, Ibbetson Street Press, Somerville, Massachusetts, 2000.
  • Slides, special edition of Lilliput Review, Pittsburgh, Pennsylvania, July, 2000.
  • Back, Ye Olde Font Shoppe, New Haven, Connecticut, 1999.
  • Strata, Mayapple Press, Saginaw, Michigan, 1998.
  • Techniques, K.C./Chicago Poems, Scars Publications, Chicago, Illinois,1995.
  • Once, Permeable Press, San Francisco, California, 1995.
  • The Sacred Cave and Other Poems, Omega Cat Press, Cupertino, California, 1992.
    Jamais Vu, Dusty Dog, Zuni, New Mexico, 1992.
  • Entre Nous, Trout Creek Press, Parkdale, Oregon, 1992. (Connie Fox.)
  • Time, The Plowman, Ontario, Canada, 1992.
  • For Richard (Dick) Thomas’ Fiftieth Birthday, Zerx Press, Albuquerque, New Mexico, 1991.
  • Our Lady of Laussel, Spectacular Diseases Press, Peterborough, England, 1991 (Connie Fox).
  • Song of Christopher, Clock Radio,n.p., 1987.
  • Nachthymnen, J. Muddfoot, Mudborn Press, Santa Barbara, California, 1986.(Connie Fox)
  • 10170, Trout Creek Press, Parkdale, Oregon, 1986. (Connie Fox)
    Babicka, Kangaroo Court Publishing, Erie, Pennslvania, 1986.(Connie Fox)
  • Oma: A Long Poem About the Amerindian Year Cycle Seen Through the Eyes of the Goddesses, Implosion Press, Stow, Ohio, 1985.
  • The Dream of the Black Topaze Chamber: The Poem Cycle, Ghost Poney Press, Madison, Wisconsin, 1983. (as Connie Fox)
  • Almazora 42, Laughing Bear Press, San Jose, California, 1982.
  • Yo Yo Poems, Allegra Press, East Lansing, Michigan, 1977.
  • The Face of Guy Lombardo, The Fault Press, Fremont, California, 1976.
  • Huaca, Ghost Dance Press, East Lansing, Michigan, 1975.
  • Survival Handbook: For my Son (And Youngest Daughter), Cat’s Pajamas , Ann Arbor, Michigan, 1972.
  • Handbook Against Gorgons, A Ghost Dance Press Pilot Edition, East Lansing, Michigan, 1971. (Drawings by E. Vigo).
  • Echoes Off the Human Tribe, Hellric Publications, Boston, 1971.
  • Paralytic Grandpa Dream Secretions, Morgan Press, Milwaukee, Wisconsin,1971.
  • The Industrial Ablution, Ghost Dance Press, E. Lansing, Michigan, 1971 (Graphics by Deisler).
  • Kansas City Westport Mantras, A Ghost Dance Press Pilot Edition, East Lansing, Michigan, January, 1971.
  • The Ecological Suicide Bus, Camels Coming Press, San Francisco, California, 1970.
  • The Permeable Man, Black Sun Press, Brooklyn, New York, 1969.
  • Son of Camelot Meets the Wolfman, Quixote, Madison, Wisconsin, 1969.
  • Glyphs, Fat Frog Press, San Bruno, California, 1969.
  • Capabilities (drawings in Part I by Cathy Cuiss), Ghost Dance Press, East Lansing, Michigan, 1969.
  • Open Letter to a Closed System, Mercenary Press, Cleveland, Ohio, 1969.
    Apotheosis of Olde Towne, Fat Frog Press, San Bruno, California, 1968.
  • The Headless Centaurs–Their Voyage and Conquest, centerfold book in The Wormwood Review, Storrs, Connecticut, Vol.8, No.4, Issue Number 32, 1968.
  • Eye Into Now, Ediciones de la Frontera, Los Angeles, California, 1967.
  • Soul-Catcher Songs, Ediciones de la Frontera, Los Angeles, California, 1967.
  • 40 Poems, Coleción Nuestro Tiempo, Caracas, Venezuela, 1966.
  • Skin, Gland Press (really Abyss…this is a satire on early Lifshin), Somerville, Massachusetts, no date.
  • The Angel of the Chairs, a series of 6 poems with accompanying lithographs by the Argentinian artist, Amalia Cortina Aravena, Ghost Dance Press, East Lansing, Michigan, undated, but probably 1971. One copy in the Special Collections at Michigan State U. library, 2 copies in the possession of the author, the rest destroyed.

Short Fiction

  • The Bardo Conductor,(32 flash-fictions) published in e-zine Cantaraville, #4, October, 2008.(32 short fictions).
  • Wobbley Zombies, Goose River Press, 2004.
  • The Point of Points, French Bread Publications, Campbell, California, 1996.
  • The entirety of Sketches from Xibalbay, a volume of short fiction, in Beyond Baroque, Venice, California, Spring, 1978.
  • Happy Deathday, Vagabond Press, Ellensburg, Washington, 1977.
  • The Face of Guy Lombardo, The Fault Press, Fremont, California, 1976.
  • Peeple, Dustbooks, Paradise, California, 1973.

Anthologies

  • The Living Underground: A Prose Anthology, Whitston Press, Troy,New York, 1999.
  • The Ghost Dance Anthology: Twenty-Five Years of Poetry from Ghost Dance, 1968-1993/Other Kinds of Scores, Whitston Publishing Company, Troy, New York, 1994, preceded by a spiralbound notebook used in classes at MSU, called Other Kinds of Scores,Phase 1, 1991.
  • Poesia Também é Literatura: Uma Antologia de Poesia Norteamericana Contemporanea, edited with an introduction by Hugh Fox, published as Vol.1, Numbers 2 and 3 of Ilha do Desterro, U. of Santa Catarina, Florianópolis, Brazil, May, 1979.
  • First Fire: Central and South American Indian Poetry,edited with an introduction by Hugh Fox, Anchor Books, Garden City, New York, 1978.
  • The Living Underground: An Anthology of Contemporary American Poetry, Whitston Publishing Company, Troy, New York, 1973.
  • The Living Underground,An Anthology of Contemporary American Poetry, ed. by Hugh Fox and Sam Cornish, mimeo edition, Ghost Dance Press, East Lansing, Michigan, 1969.

About these ads

Actions

Information

2 responses

7 11 2010
Hugh Fox on Skylight Press | Through the Skylight

[…] Norbert Blei’s Poetry Dispatch has it: “Fox remains a necessary reminder for writers just starting out, for writers weary of […]

3 02 2012
Daniel

Hugh Fox’s first posthumous novel, The Dream of the Black Topaze Chamber, now out from Skylight Press. See http://www.skylightpress.co.uk – and http://skylightpress.wordpress.com/2011/12/02/the-dream-of-the-black-topaze-chamber-by-hugh-fox/

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s




Follow

Get every new post delivered to your Inbox.

Join 695 other followers

%d bloggers like this: