Appendix: Additional Publication Details

Kitchen Poems. London: Cape Goliard Press, 1968; New York: Grossman Publishers Inc., 1968. The first edition was ‘Designed, Printed and Published by Cape Goliard Press Ltd., 10a Fairhazel Gardens. London N.W.6, 1968’. Cape Goliard Press edition of 2700: 2000 soft cover and 700 case bound, of which 50 are signed and numbered by the author. Grossman Publishers Inc. edition of 1400: 1000 soft cover and 400 case bound.

Day  Light  Songs. Pampisford, Cambridgeshire and Cheltenham, Gloucestershire: R. Books, July 1968 [composed 15th June 1968]. Edition of 250.

Aristeas. London: Ferry Press, 1968. Edition of 500, of which 26 lettered A–Z contain additional holograph material by the author.

The White Stones. Lincoln: Grosseteste Press, 1969. Designed and printed by G. Jackson and bound by H.J. Jackson at the Grosseteste Press, 1 Stonefield Avenue, Lincoln. Paperback edition of 477. Hardback edition of unknown quantity. Special hardback lettered edition printed on tinted paper, presumably in 1969, and bound in green buckram c. 1995 for sale by Peter Riley. The colophon for the special edition reads ‘signed edition of 26 copies lettered A–Z’, but the copies were not signed, and it is unclear whether the full 26 copies were produced.

Fire Lizard. Barnet, Hertfordshire: Blacksuede Boot Press, 1970 [composed New Year’s Day 1970]. Edition of 200.

Brass. London: Ferry Press, 1971. Printed by the Compton Press, Compton Chamberlayne, Salisbury. Edition of 250, of which 26 lettered A–Z are specially bound and contain additional holograph material and the rest are numbered, 27–250.

Into the Day. Cambridge: privately printed (distributed through Ferry Press), July 1972. Printed by the Saffron Press at Saffron Walden. Edition of 500.

A Night Square. London: Albion Village Press, 1973 [composed Candlemas 1971]. Printed by Expression Printers Ltd. Edition of 200, 10 of which signed with holograph quotation from Philip Sidney’s Arcadia.

Edmond Jabés, “Answer to a Letter” (trans. Rosmarie Waldrop); J.H. Prynne, “Es Lebe der König”; Paul Celan, “Conversation in the Mountains” (trans. Rosmarie Waldrop). Published together as The Literary Supplement, Writings, 1 (The Literary Supplement, Nothing doing (formally in London), 1973). [Editor, A[nthony] Barnett, Consultants, J.H. Prynne, C. Royet-Journoud, R. Waldrop]. Printed by Kirstes Boktrykkeri, Oslo. Edition of 200.

Wound Response. Cambridge: Street Editions, 1974. Printed by Saffron Press Ltd. at Saffron Walden, Essex. Edition of 400, of which 26 copies lettered A–Z are signed by the poet and contain an additional holograph.

Lézard de Feu. [French translation of Fire Lizard, by B. Dubourg] Damazan (Lot-et-Garonne): privately printed, 1975. Printed 13 June 1975 on the translator’s hand press. Edition of 40.

Poèmes de Cuisine. [French translation of Kitchen Poems, by B. Dubourg and J.H. Prynne] Damazan (Lot-et-Garonne): privately printed, 1975. Printed 28 June 1975 on the translator’s hand press.

High Pink on Chrome. Cambridge: privately printed (distributed through Ferry Press), 1975. Printed by Saffron Press Ltd. at Saffron Walden. Edition of 500.

News of Warring Clans. London: Trigram Press, 1977. ‘Printed in England by Daedalus Press Norfolk, bound by J Szarkowski at Intropol Bookbinders’. Edition of 600 copies in wrappers of which 26 copies lettered A–Z are signed by the poet.

Down where changed. London: Ferry Press, 1979. Printed by Farncombe & Co., Market Street, Lewes.

The Oval Window. Cambridge: privately printed, 1983. Printed by Saffron Press Ltd. at Saffron Walden. Distributed through DS (The Book Shop), 14 Peto Place, London NW1 4DT. Edition of 600.

Marzipan. [with Massepain, French translation of Marzipan, by B. Dubourg and J. H. Prynne] Cambridge: Poetical Histories, 2; printed and distributed by Peter Riley (Books), 1986. Typography by Richard Baxter. Edition of 300, 10 of which on ‘marzipan’ coloured paper.

Bands Around the Throat. Cambridge: privately printed (distributed through Ferry Press), 1987. Printed in two different impressions. First impression of 100 copies, June 1987. Second impression of 200 copies, July 1987.

Word Order. Kenilworth, Warwickshire: Prest Roots Press, 1989. Printed by Peter Lloyd at The Gamecock Press, 11 Park Road, Rugby, Warwickshire.

[Jie ban mi Shi Hu]. [reproduced from author-holograph, in original Chinese] Cambridge: Poetical Histories, 22; published and distributed by Peter Riley (Books), 1992. Reprinted in 2004. First impression printed by Derek Maggs; second impression printed by Peter Lloyd at The Holbeche Press, Rugby. First impression of 300 copies, 1992. Second impression of 150 copies, 2004.

Pearls That Were. Cambridge: privately printed (distributed through Equipage), 1999. Typeset by Goodfellow & Egan Ltd, Cambridge, and printed by Ink-In-Print Ltd, Rougham. Edition of 600.

Furtherance. [unaltered reprint of Red D Gypsum; Pearls That Were; Triodes; Unanswering Rational Shore] Great Barrington, Massachusetts: The Figures, 2004 [printed November 2003]. Distributed through Small Press Distribution, Berkeley, California. Edition of 750 printed at Thomson-Shore, Dexter, Michigan, of which 15 are numbered in Roman I–XV and signed by the poet.

Biting the Air. Cambridge: Equipage, 2003. Edition of 450.

Streak~~~Willing~~~Entourage / ‘Artesian’. London: Barque Press, 2009. Printed in Great Britain by Cambridge Printers Ltd, CB5 8HY.

Sub  Songs. London: Barque Press, 2010. Typeset by, and printed in Great Britain by Cambridge Printers Ltd, CB5 8HY.

Kazoo Dreamboats; or, On What There Is. Cambridge: Critical Documents, 2011. Edition of 600. 2nd printing: Shenzhen (P.R. China): privately printed, 2012. Edition of 30–40. [The 2nd printing, with the cover printed on blue paper, was produced and distributed at The Third National Conference on English Poetry Studies, sponsored by EPSAC (English Poetry Studies Association of China), and hosted by Shenzhen University (Shenzhen, P.R. China) during December 20th to 22nd of 2012].

Perles qui furent. [French translation of Pearls That Were, by Pierre Alferi] Marseille: Éric Pesty Éditeur, 2013. Printed 30 October 2013 by d’Espace Imprimerie à Marseille.

Concepts and Conception in Poetry. Cambridge: Critical Documents, 2014. Edition of 500.

Al-Dente. Cambridge: Face Press, 2014 [2nd printing, 2015]. Both printings in editions of 250.

Graft and Corruption: Shakespeare’s Sonnet 15. Cambridge: Face Press, April 2015. Edition of 200. [2nd edition, December 2016. Edition of 200].

The White Stones. [unaltered reprint of the 1969 text, as well as unaltered reprints of Day  Light  Songs and ‘A Note on Metal’, with an introduction by Peter Gizzi] New York: New York Review of Books, 2016. Cover and book design by Emily Singer. Printed in the United States of America.

Each to Each. Cambridge: Equipage, 2017. Edition of 400.

OF · THE · ABYSS. Cambridge: Materials, April 2017. Edition of 500.

Apophthegms. Cambridge: Face Press, 2017. Edition of 500.

Of Better Scrap. Cambridge: Face Press, [April] 2019. Printed in paperback and yellow cloth hardback editions. Special hardback edition bound in buckram, with 26 copies signed and lettered A–Z, 4 copies numbered Roman I–IV and 1 copy for the publisher.

Of Better Scrap [2nd, expanded and corrected, ed.]. Cambridge: Face Press, October 2019. Printed in paperback and yellow cloth hardback editions. Special hardback edition bound in buckram, with 26 copies signed and lettered A–Z, 15 copies numbered Roman I–XV and 4 copies personally dedicated.

Earthbound Poetry Series, Vol. 1, No. 3, 20 January 2020, ed. Ian Heames (London: Earthbound Press, 2020). Unpaginated and unbound, printed in black on FSC Certified Munken Pure 170gsm paper, with cover engraving by Julia Ball (‘Dome Interior’ (1970s)). Four printings of 52 numbered copies each.

Parkland. Cambridge: Critical Documents, 2019 [printed March 2020]. Printed in London by Calverts.

Bitter Honey. [Talgarreg, Wales]: Legitimate Snack [an imprint of Broken Sleep Books], [May] 2020. Printed on Tintoretto Gesso 95gsm paper, with covers on Woodstock Arancio 285gsm paper, endpapers on Saville Row Tweed Blue 100gsm paper, and an epigraph page on deep yellow 80gsm paper. Edition of 200. [2nd edition, June 2020. Edition of 100].