391, 1-19 (1917-1924) [French]

28 September 2017, dusan

391 was a Dada magazine edited by Francis Picabia and published between 1917 and 1924 in 19 numbers in Barcelona (nos. 1-4), New York (nos. 5-7), Zürich (no. 8) and Paris (nos. 9-19).

Contributors included Guillaume Apollinaire, Louis Aragon, Walter C. Arensberg, Céline Arnauld, Hans Arp, Pierre Albert-Birot, André Breton, Gabrielle Buffet, Jean Cocteau, Jean Crotti, Robert Desnos, Paul Dermée, Paul Éluard, Albert Gleizes, M. Goth, Max Jacob, M. Laurencin, René Magritte, Pierre de Massot, E.L.T. Mesens, Francis Picabia, Man Ray, Georges Ribemont-Dessaignes, Erik Satie, Walter Serner, Philippe Soupault, Tristan Tzara, Edgard Varèse, Marius de Zayas, a.o.

The issue 12 features Francis Picabia’s “Manifeste Dada” with reproduction of Marcel Duchamp’s L.H.O.O.Q.

Edited and published by Francis Picabia, Barcelona/New York/Zürich/Paris, January 1917-October 1924


Evergreen, 1 (2017)

26 August 2017, dusan

The Evergreen Review, the feisty independent magazine known as “the heart of the Beats,” returns. The new Evergreen builds on a legacy of searching out the stories that aren’t being told or aren’t being heard: stories that challenge our sensibilities and expand our understanding of the way people actually live in the world and the way their truths can be expressed. Available free of charge online, the magazine features fiction, nonfiction, and poetry from an international array of new and established writers.

Our first issue features work from acclaimed writers such as Jeffery Renard Allen and Gary Indiana; emerging talents such as filmmaker Frances Bodomo, photographer Hadji Johnali, and writer Jade Sharma; and well-known artists in mid-career, including novelists Yoko Tawada and Álvaro Enrigue and painters Joy Garnett and Katie Merz.

Evergreen pushes aesthetic and political boundaries: Bodomo is Ghanaian, Enrigue Mexican, Johnali Iranian, and Tawada Japanese-German. Johnali’s full-sized photographs of Muslim prayer rugs inscribed with wry graffiti challenge notions of piety and identity. Allen’s essay, “Urgently Visible: Why Black Lives Matter,” begins with the assertion “White folks in America are the most dangerous people on earth. No two ways about it.” Gary Indiana’s “Romanian Conversation” centers on the relationship between an American writer and someone who is presumably his paid male companion, as they observe a group of heterosexual prostitutes and their pimps working a street in Romania. And Yoka Tawada’s “Memoirs of a Polar Bear” is just that: the life story of a talking polar bear sent as a gift from the USSR to East Berlin.

Although dedicated to new work, Evergreen cherishes its awe-inspiring past. The debut issue features founding publisher Barney Rosset’s account of the Tropic of Cancer obscenity trials, as well as a nod to one of Evergreen’s most famous alums in “Samuel Beckett Is Closed” by Michael Coffey. Evergreen takes advantage of the possibilities of digital publishing to feature dynamic visuals, including original films like Bodomo’s Boneshaker, the story of an African family looking for a church meeting in the deep South.” (Source)

Publisher Evergreen Review, New York, NY, April 2017

See also selected back issues of Evergreen Review, 1957-2003.

Die Reihe: A Periodical Devoted to Developments in Contemporary Music, 1-8 (1957-1968)

26 July 2017, dusan

Die Reihe was a German-language music journal, edited by Herbert Eimert and Karlheinz Stockhausen between 1955 and 1962. An English edition was published, under the original German title, between 1957 and 1968.

“The journal, whose title means “The Row” or “The Series”, owes its genesis to the founding of the electronic music studio of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers. The contributions from composers working in the studio were frequently based on their projects there, and in the early stages of competing with the radio-play department for resources, Eimert found having such a journal useful. It helped to raise the studio’s educational and academic profile above the entertainment aims of other departments of the radio station, as well as providing opportunities to young authors for publication.”

Contributors included György Ligeti, Mauricio Kagel, John Cage, Pierre Boulez, and others.

Reviews: Dika Newlin (of 1st DE issue, Notes, 1956), Dika Newlin (of 1st EN issue, Notes, 1958), Dika Newlin (of 2nd EN issue, Notes, 1959), Dika Newlin (of 3rd EN issue, Notes, 1960), George Perle (of 3rd EN issue, J Music Theory, 1960), Dika Newlin (of 5th EN issue, Notes, 1962).
Commentary: John Backus, “Die Reihe—A Scientific Evaluation” (Perspectives of New Music, 1962).
Tables of contents of German edition

Edited by Herbert Eimert and Karlheinz Stockhausen
Publisher Theodore Presser, Bryn Mawr, PA, with Universal Edition, London, 1957-68.
800 pages

Each of the eight issues was dedicated to a different theme, announced in a subtitle (with links to sections in PDF):
Electronic Music, 1957, vi+62 pp
Anton Webern, 1958, vii+100 pp
Musical Craftsmanship, 1959, 88 pp
Young Composers, 1960, 135 pp
Reports—Analyses, 1961, 121 pp
Speech and Music, 1964, 95 pp
Form—Space, 1964, 87 pp
Retrospective, 1968, 98 pp

All 8 issues in single PDF (17 MB, no OCR)