Extremes & ModerationsA Historical Archive of Los Angeles and Southern California Poetry

THE TEXT/TECH PAPERS

Trace, No. 62–63 (Fall–Winter 1966)

Journal Issue

Poetry Continued by Randall Parham gives Trace no. 62–63 its clearest point of entry, while SUBIR 56 00000000000000000000000 0c and SEUUIRER 6 o 0 0000000000000000000000C widen the issue’s field. Dated Fall–Winter 1966, this expansive number indexes 79 pieces or named sections, moving between literary argument, creative work, reviews, correspondence, and the practical business of little-magazine culture. The order matters: recurring editorial features sit beside contributions with their own formal and critical demands, so the magazine reads as an active conversation rather than a neutral container. The reader’s edition makes that sequence easy to follow; the original scan preserves the cover, page design, advertisements, visual material, and directory apparatus that locate the writing in its first publication. Together, the two editions show James Boyer May sustaining both a literary forum and a working map of the independent publishing network.

Contributors

More contributors (33)
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Publication details
Journal
Trace
Volume
Not recorded
Issue number
62–63
Issue date
Fall–Winter 1966
Editor
James Boyer May
Publisher
Villiers Publications Ltd.
Place of publication
London, England; Hollywood, California (editorial office)
Language
English
Pagination
Original scan: 278 PDF pages. Reader’s edition: 314 PDF pages.
Record ID
ttj-trace-62-63-1966
Full contents
  • Poetry Continued — Randall Parham [Contribution, p. 8]
  • SUBIR 56 00000000000000000000000 0c [Contribution, p. 9]
  • SEUUIRER 6 o 0 0000000000000000000000C [Contribution, p. 10]
  • Farce & Playlet [Contribution, p. 20]
  • Offshoots from New Grafts [Contribution, p. 0]
  • More Poems [Poem, p. 2]
  • Lillabulero 2.0 [Contribution, p. 0]
  • Editors [Contribution, p. 2]
  • Brain Washing Hypnogogic Recall & an Approach to Poetics — Gene Fowler [Contribution, p. 16]
  • Sensory and behavioral recall [Contribution, p. 21]
  • Towards Print (current Poetries: Expanding, Yet Unthinning) — James Boyer May [Essay, p. 22]
  • SELECTED POEMS, Earle Birney (McCLELLAND & STEWART, Ltd. — $5.), is a large book filled with much of the best from a major poet. Although Birney is Canadian, he has lived in many places throughout the world, and little of this volume is classifiable as regional; nor is it thematically limited — his perceptions range as widely as his travels. The work is replete with lines demanding quotation. At random — from Anglosaxon Street [Poem, p. 8]
  • For the Absolutists — Tracy Thompson [Poem, p. 0]
  • The Chronicle [Reference, p. 33]
  • Editors (and others) Write [Correspondence, p. 34]
  • A Teaching Poet’s Blunt Opinion — Sam Bradley [Correspondence, p. 34]
  • Another Has His Say in Verse — Sam Bradley [Correspondence, p. 34]
  • And So Does a Nonteaching Writer — Hans Juergensen [Correspondence, p. 35]
  • A Few Mcke(y)d Reactions to Trace — D. McKee [Correspondence, p. 39]
  • Krita Yuga . . . Kali Yuga — Anne-Marie Baumgartner [Poem, p. 40]
  • The Golden Prof — Raymond Barrio [Essay, p. 41]
  • Alas! — A. Fredric Franklyn [Contribution, p. 50]
  • There Are No Epics Any More? — Sam Bradley [Essay, p. 51]
  • A Few Exploratory Remarks — Sam Bradley [Contribution, p. 51]
  • Farm-yard Realism with Mirrors — Mary Graham Lund [Essay, p. 56]
  • In Part Two of GOAT’S MILK AND MIRRORS, subtitled Esthetics Lewis attempts to portray the poet working in the labyrinth of modern poetic method, the ‘lyric way.’ This began five centuries ago among the artists of Florence when Brunelleschi discovered ‘perspective’: the principle of an ordered recession to create an illusion of deep space which enabled the artist to show complex forms with all their facets in the round. In the viewer, the vanishing point may induce a metaphysical giddiness: at that spot, the picture dissolves into nothing, or leads into eternity. Five centuries later, Cezanne and the cubists, under the influence of new spatial discoveries in physics and mathematics, saw the visible world broken down and reassembled in spheres, cubes cones. Again, the viewer may wonder! Does it add up to zero or to infinity, this geometric dance of artifacts? What do Picasso’s efforts to compress time and space into a single dimension mean to our culture — a clowning parody of science or the prelude to a new break-through in knowledge? Is it magic or hallucination that gives us a view of face or form from all angles? Or a new view of reality that may lead to eternal truths? [Contribution, p. 59]
  • it works [Contribution, p. 81]
  • The Gift of Many Happy Returns [Contribution, p. 82]
  • I have been very happy [Contribution, p. 83]
  • Fresh Violets Today [Contribution, p. 84]
  • The Clay Man — Marilyn Harris [Fiction, p. 85]
  • Marilyn Harris [Contribution, p. 90]
  • Mobius Trip* — David Bartholomew [Contribution, p. 107]
  • Miasma: the Deification of the Beast — Clarence Alva Powell [Contribution, p. 108]
  • Charles Tekeyan [Contribution, p. 113]
  • Vanquished — Richard L. Dalen [Fiction, p. 120]
  • Richard L. Dalon [Contribution, p. 123]
  • Pithecanthropus Erectus — Donald Mishell [Fiction, p. 133]
  • Pit Number Ten [Contribution, p. 137]
  • New York & the World Cinema — A. Fredric Franklyn [Essay, p. 144]
  • Permanence & Impermanence: Keatsian Mutability — W. Arthur Boggs [Contribution, p. 151]
  • The Same Cowboy — Victor Contoski [Essay, p. 168]
  • A Theme in Modern American Poetry — Victor Contoski [Contribution, p. 169]
  • William Packard: Poetry in the Theatre—ii [Contribution, p. 173]
  • A Portrait of the Writer as an Old Hat — James D. Houston [Essay, p. 182]
  • Fragments of the Electra* (@for Barboura) [Contribution, p. 190]
  • Fragments of the Oedipus — I (for L. J. F.) — Donald Freed [Contribution, p. 191]
  • Prologue to an Autobiography — Gil Orlovitz [Poem, p. 193]
  • Letters to Frank Tierney — Seymour Gresser [Poem, p. 199]
  • Letter I — Seymour Gresser [Contribution, p. 199]
  • (dante’s 700th Anniversary) Instrument of Proper Power — Sam Bradley [Contribution, p. 202]
  • The Sources of Charlie — Charles Goldberg [Poem, p. 206]
  • For Christopher Perret (1930 — 1965) — Steven Osterlund [Contribution, p. 211]
  • Further Work on What Has Been Spoiled — Lee Hickman [Poem, p. 213]
  • The Final Play — Alexander Playwright [Fiction, p. 216]
  • Felix Singer [Contribution, p. 218]
  • Felix Singer [Contribution, p. 220]
  • Felix Singer [Contribution, p. 223]
  • Felix Singer [Contribution, p. 226]
  • Christopher Perret [Poem, p. 231]
  • Everything Fortunate and Deep with Love — Herbert Morris [Fiction, p. 235]
  • Herbert Morris [Contribution, p. 240]
  • Herbert Morris [Contribution, p. 248]
  • Herbert Morris [Contribution, p. 252]
  • Herbert Morris [Contribution, p. 256]
  • Herbert Morris [Contribution, p. 260]
  • The Garden of Delight — Velma Armstrong [Fiction, p. 264]
  • Velma Armstrong [Contribution, p. 266]
  • A Current Bad Dream — Jascha Kessler [Contribution, p. 269]
  • Disclosures from the Other Side — Harland Ristau [Contribution, p. 270]
  • A Five-Act Play for Four Minutes — Walter Benesch [Contribution, p. 270]
  • Three Eschatologists and a Bassoon — Walter Benesch [Fiction, p. 271]
  • The Spider Who Took Lsd — Jo Lombard [Fiction, p. 276]
  • Jo Lombard [Contribution, p. 278]
  • A Pox on Mediocrity — Francis Murray [Fiction, p. 280]
  • (An Interview with Algonquin Whiffenpoof) — Francis Murray [Interview, p. 280]
  • N.y.—world Cinema (continued from Page 357) [Contribution, p. 287]
  • The Cool World [Contribution, p. 301]
  • Remembering Eros — James Hiner [Essay, p. 309]
Rights and citation

Copyright remains with the respective authors, artists, publisher, or successors.

Copyright Status Unresolved

Rights in the individual contributions and the periodical compilation have not been fully resolved.

Trace, no. 62–63 (Fall–Winter 1966). Text/Tech Journals reader’s edition, 2026.