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Volume 3 only. The dust jacket is shelf worn and slightly rubbed with the top and bottom edges of the jacket being creased slightly torn. The book is in great condition with no visible flaws apart from some light handling wear. Binding is tight and inside is clean and unmarked.

Large format books all straight, tight and clean. New and unread. Over 3,000 entries in 4 volumes. 2010 Edition.

Larry Eigner began writing poetry at age eight and was first published at age nine. Revered by poets and artists across a broad spectrum of generations and schools, Eigner’s remarkably moving poetry was created through enormous effort: because of severe physical disabilities, he produced his texts by typing with only one index finger and thumb on a 1940 Royal manual typewriter, creating a body of work that is unparalleled in its originality.  Calligraphy Typewriters showcases the most celebrated of Eigner's several thousand poems, which are an important part of the Black Mountain/Projectivist movement that began in the 1950s and which remain a primary inspiration for many younger writers, including those in the Language movement that began in the 1970s. In its two sections—Swampscott and Berkeley, named for the two locales where Eigner lived and worked—the volume traces his fantastic perception of the ordinary and his zeal for language. Eigner’s use of visual space, metaphor, and description provide fascinating insights into both his own life and the world that surrounded him. This volume maintains the distinctive visual spacing of his original typescripts, reminders of his method, aesthetic sensibility, and creative ability to compose on the typewriter.   A collection that reimagines the ordinary, Calligraphy Typewriters is the definitive selection of Eigner’s poems, and will serve well not only poets and students of poetry, but readers and writers of every vein.

HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Larry Eigner began writing poetry at age eight and was first published at age nine. Revered by poets and artists across a broad spectrum of generations and schools, Eigner’s remarkably moving poetry was created through enormous effort: because of severe physical disabilities, he produced his texts by typing with only one index finger and thumb on a 1940 Royal manual typewriter, creating a body of work that is unparalleled in its originality.  Calligraphy Typewriters showcases the most celebrated of Eigner's several thousand poems, which are an important part of the Black Mountain/Projectivist movement that began in the 1950s and which remain a primary inspiration for many younger writers, including those in the Language movement that began in the 1970s. In its two sections—Swampscott and Berkeley, named for the two locales where Eigner lived and worked—the volume traces his fantastic perception of the ordinary and his zeal for language. Eigner’s use of visual space, metaphor, and description provide fascinating insights into both his own life and the world that surrounded him. This volume maintains the distinctive visual spacing of his original typescripts, reminders of his method, aesthetic sensibility, and creative ability to compose on the typewriter.   A collection that reimagines the ordinary, Calligraphy Typewriters is the definitive selection of Eigner’s poems, and will serve well not only poets and students of poetry, but readers and writers of every vein.

In Eigner, the desire to know anchors itself in the discrete particular, recording sense data in an empiricism derived from Williams, Pound, and Olson, then stretches itself by a series of shifts of attention, to create an arching figure for knowledge. The shapes those figures take are products of an insistent, restless movement on the one hand, and on the other a refusal to compromise the harvest of the moment by subordinating it to any totalizing statement. Thus the dialectical movement of the poems is made possible by an openness to embrace the manifest, contingent phenomena of temporal existence and a willingness of mind to release its hold at any point. The truth of the mortality of the subject is thus built into its appropriation of the world. -Kit Robinson

Twenty-two new critical essays address a range of prose and poetry works on ecological themes by such familiar American writers as Walt Whitman and James Fenimore Cooper, as well as the work of lesser-known figures including Frank Waters and Josephine Johnson, and poets including Larry Eigner, Adrienne Rich, and Gary Snyder. Annotation c. Book News, Inc., Portland, OR (booknews.com)

In Eigner, the desire to know anchors itself in the discrete particular, recording sense data in an empiricism derived from Williams, Pound, and Olson, then stretches itself by a series of shifts of attention, to create an arching figure for knowledge. The shapes those figures take are products of an insistent, restless movement on the one hand, and on the other a refusal to compromise the harvest of the moment by subordinating it to any totalizing statement. Thus the dialectical movement of the poems is made possible by an openness to embrace the manifest, contingent phenomena of temporal existence and a willingness of mind to release its hold at any point. The truth of the mortality of the subject is thus built into its appropriation of the world. -Kit Robinson

The Metaphysical Novel in England and America: Dickens, Bulwer, Melville, and Hawthorne [hardcover] Eigner, Edwin M. [Apr 01, 1978]

Larry Eigner is a poet of the 20th Century, who writes in the tradition of William Carlos WIlliams.This particular book of his poetry, Windows/Walls/Yard/Ways collects 322 poems written between 1959 and 1922. The author almost exclusively chose the selections, and the arrangement is largely chronological. About 88 of these poems were written while the author resided in Massachusetts between 1959 and 1978, and the majority of them were written between 1979 and 1992, following the author s move to California. In a note on the text, the collection is categorized as eastern poetry, possibly regarding Massachusetts, the author s long-time home. There is no writing I know as vivid as Larry Eigner's. He's invented, for poetry, something equivalent to three-dimensional photography: his works present a series of perceptions etched deep into the mind, where the mind is charted on a page and the page becomes a model of the thinking field. Perception and thought (words and things) are completely intertwined in Eigner's work, which brings to a visionary crescendo the exploration of the ordinary -- the transient flickerings of the everyday that otherwise pass more unnoticed than regarded, more dismissed than revered. In Eigner's poems, one "fragment" is riveted to the next, so that one becomes, in reading this work, likewise riveted by the uncanny democracy of details, where attention is focused unhesitatingly on each particular with equal weight, equal exhilaration. This is a poetics of "noticing things," where, as Eigner writes, "nothing is too dull" with "material (things, words) more and more dense around you." But equally, Eigner's is a poetics of coincidence, where "serendipity" (contingency) takes its rightful place as animating spirit, displacing the anthropocentric sentimentality of much of the verse of our time.