{"id":95,"date":"2019-10-09T14:59:33","date_gmt":"2019-10-09T19:59:33","guid":{"rendered":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/?page_id=95"},"modified":"2019-11-04T14:47:47","modified_gmt":"2019-11-04T19:47:47","slug":"yugen-and-totem-press","status":"publish","type":"page","link":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/home\/yugen-and-totem-press\/","title":{"rendered":"Yugen and Totem Press"},"content":{"rendered":"\n<p>Edited by Beat poet LeRoi Jones (later Amiri Baraka) and Hettie Cohen, <em>Yugen<\/em> was devoted to \u201cA New Consciousness in the Arts and Letters.\u201d Bringing together the Beats, Black Mountain poets, and the New York School poets of the late 1950s, <em>Yugen<\/em> took its name from the Japanese aesthetic term meaning \u201ca profound mysterious sense of the beauty of universe \u2026 and the sad beauty of human suffering.\u201d Cohen, later Hettie Jones, had worked at the <em>Partisan Review<\/em> and brought with her a background in little-magazine design that gave <em>Yugen<\/em> an air of respectability and professionalism. The contents represented a new and untraditional approach to poetry. Jones and Cohen also founded Totem Press, which published important early books by Gary Snyder, Philip Whalen, Allen Ginsberg, Michael McClure, Diane di Prima, Jack Kerouac, and many others. Like <em>Yugen<\/em>, Totem Press books typically feature calligraphic covers that mix American abstract expressionism and Japanese Zen painting.<\/p>\n\n\n\n<p><em>[UD_EXHIBITION_ITEM]<\/em><\/p>\n\n\n\n<p>LeRoi Jones and Hettie Cohen<br><strong>Yugen<\/strong>, no. 1, 1958<\/p>\n\n\n\n<p><em>[UD_EXHIBITION_ITEM]<\/em><\/p>\n\n\n\n<p>Diane di Prima<br><strong>This Kind of Bird Flies Backward<\/strong>, 1958<br>Totem Press, New York. Introduction by Lawrence Ferlinghetti<\/p>\n\n\n\n<p>Michael McClure<br><strong>For Artaud<\/strong>, 1959<br>New York: Totem Press<\/p>\n\n\n\n<p><em>[UD_EXHIBITION_ITEM]<\/em><\/p>\n\n\n\n<p>Jack Kerouac<br><strong>Scripture of the Golden Eternity<\/strong>, 1960<br>Totem Press, New York<\/p>\n\n\n\n<p><em>[UD_EXHIBITION_ITEM]<\/em><\/p>\n\n\n\n<p>Gary Snyder<br><strong>Myths &amp; Texts<\/strong>, 1960<br>Totem Press, New York<\/p>\n\n\n\n<p><em>[UD_EXHIBITION_ITEM]<\/em><\/p>\n\n\n\n<p>Philip Whalen<br><strong>Like I Say<\/strong>, 1960<br>Totem Press, New York<\/p>\n\n\n\n<p><em>[UD_EXHIBITION_ITEM]<\/em><\/p>\n\n\n\n<p>Allen Ginsberg<br><strong>Empty Mirror: Early Poems<\/strong>, 1961<br>Totem Press, New York. Introduction by William Carlos Williams<\/p>\n\n\n\n<p><em>[UD_EXHIBITION_ITEM]<\/em><\/p>\n\n\n\n<p>LeRoi Jones<br><strong>Preface to a Twenty Volume Suicide Note<\/strong>, 1961<br>Totem Press, New York<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Edited by Beat poet LeRoi Jones (later Amiri Baraka) and Hettie Cohen, Yugen was devoted to \u201cA New Consciousness in the Arts and Letters.\u201d Bringing together the Beats, Black Mountain poets, and the New York School poets of the late 1950s, Yugen took its name from the Japanese aesthetic term meaning \u201ca profound mysterious sense [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":47,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-exhibition.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-95","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/pages\/95"}],"collection":[{"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/comments?post=95"}],"version-history":[{"count":10,"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/pages\/95\/revisions"}],"predecessor-version":[{"id":1131,"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/pages\/95\/revisions\/1131"}],"up":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/pages\/47"}],"wp:attachment":[{"href":"https:\/\/exhibitions.lib.udel.edu\/beat-visions-and-the-counterculture\/wp-json\/wp\/v2\/media?parent=95"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}