T HE C ENACLE / A PRIL - The ElectroLounge

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2 / T HE C ENACLE / APRIL 2001 SCRIPTOR PRESS IS NOT SO MUCH A BUSINESS ENTITY as a continuing mission, an advocate for artistic & social & individual freedom, a vehicle for disseminating reports of various kinds from what Aldous Huxley calls the "Antipodes" of consciousness. Its projects offer greater connection among persons, & seeks greater connection among persons. It is a laboratory for developing & mature artists alike to experiment with various kinds of expression. Its overriding concern is no less than aiding in the reinvigoration of the world. Love, not money. Art, not commerce. Nature, not war. Scriptor Press is a project entwined with countless historical movements bent on redefining the human landscape from that of brutal battleground to that of cosmic playground. This book will address these many matters in discussing the history of Scriptor Press. Antecedents Throughout the history of American literary publishing, there have been underground publications of various kinds; many of our most highly regarded writers and artists initially encountered rejection from the mainstream of their day, only to gain eventually widespread esteem. Scriptor Press acknowledges several major influences from past countercultural literary movements. The first of these is Ralph Waldo Emerson & the Transcendentalists, a movement that flourished in the midnineteenth century. Emerson wrote of his times: [A] number of young and adult persons are at this moment the subject of a revolution. They are not organized into any conspiracy: they do not vote, or print, or meet together. They do not know each other’s faces or names. They are united only in a common love of truth and love of its work. They are of all conditions and natures. They are, some of them, mean in attire, and some mean in station, and some mean in body, having inherited from their parents faces and forms scrawled with the traits of every vice. Not in churches, or in courts, or in large assemblies; not in solemn holidays, where men are met in festal dress, have these pledged themselves to new life, but in lonely and obscure places, in servitude, in solitude, in solitary
T HE C ENACLE / APRIL 2001 /3 compunctions and shames and fears, in disappointments, in diseases, trudging beside the team in the dusty road, or drudging, a hireling in other men’s cornfields, schoolmasters who teach a few children rudiments for a pittance, ministers of small parishes of the obscurer sects, lone women in dependent condition, matrons and young maidens, rich and poor, beautiful and hard-favored, without conceit or proclamation of any kind, have silently given in their several adherence to a .. Emerson was writing in 1839, but he might have been writing in the early 1920s or the late 1940s, or the early 1960s for that matter, when countercultural movements again brewed among people who "do not know each other’s faces or names [and] are united only in a common love of truth and love of its work." In the early 1920s, these disparate persons began to gather in Paris, but their presence and influence ranged from Moscow to London to New York to San Francisco. Like Emerson’s Dial literary journal (a publication that he edited after Margaret Fuller gave up the position, and whose roster of contributors included Thoreau and Bronson Alcott among many others), the figures of the 1920s depended on literary journals to transmit their art when they had no other options. Another version of The Dial, Poetry, Secession, & T.S. Eliot’s Criterion were among the many "little magazines" that first published the likes of Hemingway, Pound, & Joyce. In the 1950s, it was the Evergreen Review & Chicago Review that were publishing Kerouac, Ginsberg, & Burroughs & their brethren to a small but devoted audience of readers. This tradition continued into the 1960s with such underground magazines as The Floating Bear & Ramparts. What these several time periods, many periodicals, & countless numbers of artists have in common is that they faced a resistant artistic mainstream. They faced a conservative, even timid publishing industry too often concerned with the formulaic & the familiar. Yet what is also true is that in each period a ferment grew until it eventually re-invented the industry that had resisted it. The beneficiaries, of course, were & continue to be all of us, for it is the artists who are beyond the visible bend of the road who are in a position to tell us what we are going to encounter when we get there. In the 1990s, the revolution in digital technology has led to
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Page 17 and 18: 31 featured her “Artist’s Sketc
Page 19 and 20: 7 RAYMOND SOULARD,, JR.. Secret Joy
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Page 23 and 24: 11 A month after I leave [my job],
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Page 35 and 36: 90 imaginary life, and to do so wit
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28 And it’s your hand as I walk a
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45 Raymond Soulard, Jr. Secret Joy
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47 my branches, I was/and thy soul/
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49 I never knew how much he really
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51 I’d become one with my fixtion
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53 even inanimate objects. The spee
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55 beautiful & cryptic fiction “F
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Once again I engaged my collaborato
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In December I made an effort to pro
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56 slowly failing. The girl I’d c
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58 Like a few times after bad perio
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60 but buoyed from my trip. The Har
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C48 features the opening dozen poem
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issue’s opening piece, “Why I T
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cried with music as though the whol
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The last of the half dozen new titl
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out to vote in truly respectable nu
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27 year instead of four and a half
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29 and the Moon”; Judih Haggai’
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31 so deep in my words & the world
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33 needlessly, a city was destroyed
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35 6x36 Nocturnes features the last
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31 We vow to live this world in all
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33 Early April saw the release of S
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35 City. I heard she moved West, be
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37 continuation of Cenacle 57’s,
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39 New York City, & in it he issues
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41 lies. Some artists create from d
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119 So it was a close family issue,
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121 with fewer reasons than ever, t
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123 blare & swoop from between our
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125 kid, among my pencils & noteboo
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127 I kept writing because I had to
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129 taboo on psychedelic psychother
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131 Federico, Skype—two strangely
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25 yearning. I wanted to revive it,
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27 followed: audio of the Jellicle
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29 “Dash Point” for a pretty ca
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31 decentness places him, in my vie
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33 René Magritte, Pierre-Auguste R
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35 1. Doubt any person’s absolute
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37 the instructions given on how to
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39 year in a row, first time while
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41 My fixtion Why? pursues deeper i
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43 Listener statistics. A reputatio
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45 I believe that those who reach t
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47 Finally, James Fadiman’s “Op
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6 restore the domestic safety net o
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8 downloaded (or at least printed).
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10 I think this poem catches finely
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12 One can use the arguments of mys
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14 seed of some future enlightenmen
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16 dwells upon: There is in this na
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18 from its cover portrait of a bro
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20 One night I danced in an electri
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22 swept away one september  whil
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24 We All Become Stars When We Die
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26 me writing & writing. Great rock
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28 but this answer does not penetra
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