Remembering Malcolm Margolin (1940-2025): Cherishing Archives  

By Kim Bancroft

By no means was Malcolm finished. He still had work to do, come the hell of Parkinson’s and the high water threatening to stifle his voice, his mobility, his agility. Yet he forged ahead. Malcolm Margolin, the founder of Heyday Books, writer extraordinaire, and supporter of innumerable Indigenous, environmental, literary, historical, and arts projects for fifty years, passed away on August 20, 2025. Several obituaries have already extolled Malcolm’s wonderful contributions in the Bay Area and across California. Caretaking nature inspired his early works, leading to his creation of Heyday Books in 1974. That press and his lively personality attracted an array of writers, craftspeople, Indigenous culture bearers, environmentalists, and more.

In 2017, The Bancroft Library became a recipient of Malcolm’s archives. He highly respected this temple of literary riches. The respect was mutual: In 2008 Malcolm received the Hubert Howe Bancroft Award for his contributions to California literature and history. Marking those contributions are 75 cartons of Heyday archives, one box and two cartons of Malcolm’s personal archives, and the interviews I did with him for over two years about his life and work.

My friendship with Malcolm was initiated thanks to his daughter Sadie, who attended my English class at Merritt College. Based on my responses to her essays, Malcolm invited me to edit a couple of memoirs that came his way. Eventually I asked when he would write about his own storied life.

“Oh, I don’t have time for that!”

Unacceptable! So I offered to record his tales. I’d long been fascinated by capturing oral histories because of my great-great-grandparents, H.H. and Matilda Bancroft who, in the late 19th century, had eagerly copied down reminiscences of pioneers of the West. In October, 2011, Malcolm began recounting with me his life trajectory, from growing up in Boston where he was born on October 27, 1940, to what it meant to face the end of his time at Heyday in 2014, with many adventures and illustrious people encountered in between. I’ve never claimed to be an oral historian, given the formal training one can undergo to don that title. But Malcolm and I had developed a shared sense of humor and depth that made rambling through a variety of topics easy and intriguing. Those interviews are now available online and lodged at the renowned Oral History Center collection at The Bancroft, titled: ‘Such a goddamn beautiful life,’ Conversations about Heyday Books and Everything Else.

Malcolm Margolin, older man with gray beard, and a smiling Kim Bancroft, interviewer and article author, to his left
Malcolm Margolin and author and interviewer Kim Bancroft at Heyday Books book talk. Photo courtesy of Kim Bancroft.

From those interviews came his biography, including passages from forty more interviews with staff, authors, family, and friends. The Heyday of Malcolm Margolin: The Damn Good Times of a Fiercely Independent Publisher came out in 2014 (a Commonwealth Club California Book Award winner that year), in time for Malcolm to celebrate his forty years with Heyday. Meanwhile, Heyday found a perfect new director in Steve Wasserman, a Berkeley native with writing acumen and editorial connections developed at Yale University Press, among others. With Steve’s leadership and ever dedicated staff, Heyday continues to have a remarkable impact on California publishing and support of California Indian culture.

Still driven, Malcolm initiated the California Institute of Culture, Arts, and Nature (Calif I CAN). Malcolm’s old friend and lifelong environmental, peace, and arts activist Claire Greensfelder helped in that effort and then became Calif I CAN’s hardworking executive director. By 2022, with Malcolm’s avid input, even from a bed when he could no longer walk on his own, Calif I CAN had developed multiple and significant ventures, including the annual California Native Ways and Berkeley Bird Festivals in Berkeley, a project to “remap California” in an atlas of original Indigenous names, and a book about West Berkeley’s historic Shellmound and the effort to save it from being built over with an apartment complex.

Despite all that activity, Malcolm still had plenty of time to muse while at his nursing facility, dependent on others for mobility. His ever-present and self-described “dreaminess” now led him to envision unearthing gems from his archives and those of Heyday to find more material for publishing, especially in order to highlight the many captivating people he had come to know through Heyday. Ironically, in 2008 when the Heyday staff was preparing to move from the Koerber Building on University Avenue to its next location, the fate of the Heyday archives was in question. Patricia Wakida, then on the staff, recounted arriving on a Monday morning to learn of Malcolm’s “purge” of their file cabinets. Patricia asked, “How was your weekend?” Malcolm replied, “Oh, I just threw out all my s—.” Meaning he had thrown boxes of Heyday papers into the dumpster out back. “What?!” she cried, in shock. “Shouldn’t you be putting it in The Bancroft Library or somewhere?” Apparently, Malcolm just laughed and said, “Yeah, I think Kevin Starr is going to be really mad at me.” Historian Kevin Starr, Malcolm’s friend, was also the California State Librarian.

Fortunately, Malcolm hadn’t thrown out all the files that documented Heyday’s history of its collaborations with writers and their manuscripts, letters, and more. In 2017, The Bancroft Library received that treasure trove of creativity in many remaining archives. Ever creative, curious and ambitious, Malcolm sought in the last two years of his life to make something from that cache of papers. Because he depended on others for mobility in those last years, “Malcolm had more time to think about his legacy,” Claire noted. He engaged Pam Michael to help sort his papers into meaningful files, and Claire Greensfelder worked assiduously with him at the Library itself as Malcolm sifted through boxes and cartons in search of the next book project, and the next.

I accompanied Malcolm on an early trip to The Bancroft to create an inventory of his papers, which included items from his early writing forays in the 1960s on: college papers, notebooks, manuscript drafts, poetry, random essays. I’d extract a file, type a description of its contents, and sometimes read aloud an amusing title and a few sentences. Malcolm would laugh, then share a tidbit of the memory just pulled from his past. Some examples: “A Hundred Thousand Orgasms 1968-1969 (more innocent than it sounded),” “The Education of a Seattle Cabbie 1969” (as harrowing as could be anticipated), and “The Wilderness Beneath the Slash Pile 1970” (showing his ever-environmentalist connections to the earth).

Malcolm was able to continue his explorations at The Bancroft, along with other projects around Berkeley and beyond, because of the superior support he received from family and friends, especially from his caregiver David Scortino and writing assistant Pam Michael. David gently maneuvered Malcolm in and out of his wheelchair and navigated him everywhere, including into The Bancroft Library’s small conference room where he, Claire, and Malcolm worked twice a month for two years. After their two hours of research, they’d have lunch on campus, either at the Free Speech Movement Café or the Faculty Club, often arranging to meet someone with whom Malcolm wanted to exchange news and ideas. David made movement and meals “seamless,” according to Claire. Of his time with Malcolm at the library, David wrote, “The Bancroft wasn’t just a building or connection that made Malcolm’s work more enjoyable. It was a village that made it possible.” Claire also sang the praises of The Bancroft Library staff who welcomed these archival archaeologists with great warmth. One book has already come from the archives, an anthology of Malcolm’s writing about his encounters with Native peoples: Deep Hanging Out: Wanderings and Wonderment in Native California (Heyday, 2021).

More scintillating writing shall be revealed. Said Claire, “Malcolm knew a gold mine lay in all those letters with authors who had become part of Heyday, along with their writing, photos, and other intriguing ephemera, like event posters. It made Malcolm incredibly happy to revisit those forty years with Heyday. “Also, going there allowed him to get out of his bed and room at Piedmont Gardens, where he was treated well but felt so limited compared to what his life had been.” Now he could see himself again in the role of a professional culture bearer. “He was so grateful for that opportunity, and for the support of the staff at the Library.”

The work remains of digitizing all of Malcolm’s archives and those of Heyday, not to mention additional records compiled by Calif I CAN, requiring the raising of funds. Over the summer, an intern named Robert West helped scan some of the multitudinous communications in the archives, with Malcolm’s ultimate hope of publishing a book of key correspondence. Said Claire, “Looking at the letters exchanged between Heyday staff, Malcolm, and writers, you get a sense of their breadth of knowledge and networking, their delight in their work. What a phenomenal influence Heyday has had across the state and beyond!”

I like to think of Malcolm Margolin’s laughter still ringing out from the small conference room and pouring into the Reading Room at The Bancroft Library where his words and deeds will live on, as we cherish all kinds of archives preserved there.


Publisher Highlight: City Lights

City Lights banner with logo and covers

In 1953, poet Lawrence Ferlinghetti and Peter D. Martin founded City Lights Books in San Francisco, near some incredible Italian bakeries (this author is unclear if that mattered to them). Established as “a literary meetingplace,” the bookstore was initially an all-paperback store focused on providing a space for alternative culture. Now a three-story edifice that does provide some new hardcovers, the store continues to offer a place for readers to soak up excellent literature.[1] They also hold readings and other literary events, about which readers can find information on Instagram.

Committed to offering experimental and alternative literature, City Lights and its staff have a firm stance against censorship and a “legacy of anti-authoritarian politics” [1]. Partly with that commitment in mind, the bookstore also became a publisher. Among the first of their output, they released Alan Ginsburg’s Howl (at Bancroft). Since then, they have released poetry, novels, and short-stories alongside non-fiction.

Recent titles at UC Berkeley

UC Berkeley and City Lights have had a special relationship for decades. Not only does UC Berkeley Library host most of City Lights outpouring, but Ferlinghetti also chose the Bancroft Library to host his personal papers (UC Library Search) as well as a considerable amount of City Lights Books photographs and other manuscript materials (OAC.)

You can, of course, also find out what we have in our circulating collections at UC Berkeley’s Doe Library through our UC Library publisher search.

Notes

[1] A Short History of City Lights, City Lights Booksellers & Publishers, accessed December 1, 2025, https://citylights.com/our-story/a-short-history-of-city-lights/.


Publisher Highlight: Tachyon Publications

Celebrating their 3oth anniversary!

Long, long ago (in 1995) and across the Bay in San Francisco, Jacob Weisman founded Tachyon Publications (https://tachyonpublications.com/). Since then, the House has provided us (those who read speculative fiction) with phenomenal works of fiction, “champion[ing] … creative storytelling through intelligent prose and imaginative worlds.”[1, 2]

Over those thirty years, Tachyon has become a staple in the world of speculative fiction. Their authors have brought in awards, including Nebulas, Mythopoeic, and Grand Prix de l’Imaginaire, among others. More importantly, the House has provided space for new authors to publish their internal universes.

The resulting publications include a range of subgenres including romance, comedy, hard science fiction, and more. Their formats range from tight, short stories to soaring space operas.

Recent Titles at UC Berkeley

For more at UC Berkeley

Spread between Morrison Library and the Main Stacks, you can find dozens of Tachyon’s books in Doe Library.

To find those titles, try a publisher focus in the UC Berkeley catalog in our UC Library search.


Notes

[1] “About Tachyon,” Tachyon Publications, accessed November 24, 2025, https://tachyonpublications.com/about/.

[2] “Display: 30 Years of Tachyon Publications,” San Francisco Public Library, accessed August 24, 2025, https://sfpl.org/exhibits/2025/09/19/display-30-years-tachyon-publications.


The Marriage Plot in Irish Literature

– This post is a guest post by Annabel Barry, Ph.D. candidate  at UC Berkeley and class.


Members of the spring 2025 class of English R1A: The Marriage Plot in Irish Literature, taught by Annabel Barry, worked together to curate a virtual exhibition of Irish rare books and manuscripts in the Bancroft Library’s Special Collections. The class explored how marriage in Irish literature from the nineteenth century to today represents not merely a private bond between individuals, but also a malleable metaphor that takes on public meanings, reflecting shared social aspirations and anxieties. While reading and discussing literary texts in which marriage straddles the boundary between private and public, students simultaneously explored the public humanities, or how humanistic research can be made accessible to audiences beyond the university.

Each student was assigned to research and draft an exhibition label for a unique object from the Bancroft Library related to an author from the course. Students were invited to use their interpretations of their objects to explore their individual interests—from economics to music. They then worked in small groups to revise and arrange their labels to create a coherent narrative arc. Along the way, they benefitted from the generous assistance of Bancroft Library Information and Instruction Specialist Lee Anne Titangos, who helped to select and present materials, and Literature and Digital Humanities Librarian Bee Lehman, who introduced students to using ArcGIS StoryMaps as a virtual exhibition platform.

Below are abridged versions of some of the exhibition labels featured in the virtual exhibition. The full exhibition is available to university affiliates with a CalNet ID at this link. To access the site, simply click “Your ArcGIS organization’s URL,” type “cal” in the text box, click continue, and input your CalNet ID and password.

Photograph of library sticker

“That bourne from whence no traveller returns” by Naila Talib

Sydney Owenson, Lady Morgan (c.1781 – 1859) | The Wild Irish Girl first three-decker edition | 1806 | Published by Richard Phillips
When initially published in 1806 by Richard Phillips, Sydney Owenson’s The Wild Irish Girl was printed and distributed in a three-volume format, a strategy that was used to entice readers to buy multiple volumes to complete the story they started. The previous owner of this particular copy had to purchase the bindings with gold-laced engravings visible in the first and third volumes separately from the actual printed text itself. The intricate and high-quality design of the bindings indicates that they valued the text. The newer and simpler binding on the second volume is evidence of the Bancroft Library’s preservation efforts as the previous spine and binding may have been old and worn out, and so they replaced it with a newer, simpler binding. The yellowing and browning of the pages show that the volumes were viewed and handled by readers and researchers, causing the material to degrade overtime.

At the back of the book, an annotation written in pencil by a previous reader or owner reads “That bourne from whence no traveller returns.” This quote is uttered by Glorvina during a scene where the characters encounter a traditional Irish funeral; her remark is in reference to a famous Hamlet soliloquy where he says, “The undiscovered country from whose bourn / No traveler returns.” Through this phrase, Shakespeare both metaphorically and poetically communicates the idea that once someone has passed away, they can no longer come back into existence. In this context, the word “bourne” means “boundary” or “destination,” and thus Glorvina is recognizing the finality of death and a sentiment of uncertainty associated with what comes after death for the individual whose funeral they had just encountered.

Photograph of Yeats play

“Samhain: Scarcity and Symbolism” by Sofia Aquino

Isabella Augusta, Lady Gregory (1852-1932) and William Butler Yeats (1865-1939) | First publication of Cathleen ni Houlihan in Samhain: An Occasional Review, issue 2 of 7 | October 1902 | Published by Sealy, Bryers, & Walker and T. Fisher Unwin

Samhain, an irregularly published theater magazine (1901-1908), was founded and edited by poet-playwright W.B. Yeats as part of his collaboration with Lady Gregory to promote Irish culture and nationalism through founding the Abbey Theatre. In its first issue, Yeats explains the title’s significance: “I have called this little collection of writings Samhain, the old name for the beginning of winter, because our plays this year are in October, and because our Theater is coming to an end in its present shape.”

Samhain’s binding—soft, thin cardboard stitched with thread—reflected the financial struggles of the Irish Literary Revival. The Irish Literary Theater, a precursor to the Abbey Theatre, had disbanded in 1902 due to a lack of funding, underscoring the need for a government-subsidized national theater. This goal was accomplished in 1925 when the Abbey Theatre became the first state-subsidized theatre in the English-speaking world.
Most notably, this issue featured the first publication of Cathleen ni Houlihan, a nationalist play co-written by Yeats and Lady Gregory, though only Yeats was credited upon publication—a reflection of how Gregory’s contributions to Irish drama were often overlooked despite her significant influence. The play’s exploration of economic sacrifice mirrors the circumstances of its own creation. Just as Michael must choose between financial security or sacrificing all for Irish nationalism, Yeats and Gregory, who worked with limited resources and no government support, staged the play despite financial hardship, believing in its necessity for a country in need of inspiration.

photograph of musical notation with text underneath

“Bound by Myth and Melody” by Chloe Yuan

Isabella Augusta, Lady Gregory (1852-1932) and William Butler Yeats (1865-1939) | The Hour-Glass, Cathleen ni Houlihan, The Pot of Broth: Volume Two of Plays for an Irish Theatre | 1904 | Published by A.H. Bullen

Published by A.H. Bullen in London, this 1904 edition compiles three of Yeats’s plays: The Hour-Glass, Cathleen ni Houlihan, and The Pot of Broth. The spine, inscribed with Yeats’s name and the publisher A.H. Bullen of London, reflects the intersection of Irish literary nationalism and the British publishing industry.

The musical annotations remind us that these plays were composed as living works, meant to be heard and felt, a fusion of Ireland’s literary and musical heritage. Among the printed words of Cathleen ni Houlihan and The Pot of Broth, a striking detail emerges: musical notation embedded within the text. These passages indicate that music was not merely an ornament in the plays of Yeats and Gregory but a vital storytelling device. The presence of melody within the printed script underscores the oral tradition of Irish folklore, where song carried historical memory, rebellion, and lamentation. In Cathleen ni Houlihan, the mysterious old woman begins to sing a haunting tune, recalling those who have died for Ireland. The inclusion of sheet music in the book suggests that the play’s performance was intended to be a multisensory experience, reinforcing the theme of national sacrifice through the emotional resonance of the song.

photograph of old syllabus

“Inside the Mind of Seamus Heaney” by Anonymous

Seamus Heaney (1939-2013) | Notebook with manuscript drafts of poems, with revisions and annotations | 1970-1971 | Seamus Heaney Poems Collection

This 1970–71 notebook written by Seamus Heaney reveals the layered and often nonlinear process behind his poetry. Heaney wrote during a moment of deep political unrest; the conflict in Northern Ireland was just beginning, and a civil war loomed. From Berkeley, California, Heaney grappled with the growing tension back home.

Pages 86 and 87 of this notebook contain early drafts of Seamus Heaney’s poem “The Other Side,” published in 1972. The poem’s central theme is a Protestant neighbor living across a river, physically close, yet socially and ideologically distant. The river functions as both a literal border and a symbolic divide, reflecting Heaney’s concerns with religious identity, land, and division in a fractured Ireland.
Heaney’s shift in title, from “Fordings” to “Dreamer at the Ford” to “The Other Side,” marks a change in emphasis. “Fordings” is pastoral and descriptive, while “The Other Side” introduces political weight. The final title gestures toward separation and opposition, making the poem’s political dimensions more legible. This produces a tension: while the framing becomes more political, the language within the poem retracts from directness. That dual movement, toward both clarity and obscurity, reflects Heaney’s position as a poet caught between intimacy and distance, between naming a boundary and refusing to cross it.

“A Spark of Inspiration” by Ryan Luftman

Seamus Heaney (1939-2013) | Manuscript draft of “Gifts of Rain,” on back of working syllabus for English 161: Recent British & American Poetry, and later typescript draft | 1971 | Seamus Heaney Poems Collection

Heaney’s syllabus for his course on British and American Poetry serves as a perfect physical representation of his time at Berkeley. At Berkeley, Heaney continued his poetic pursuits both as an artist and a learner. We can see this explicitly through the syllabus as Heaney adds readings by James Dickery and Elizabeth Bishop to his list, showing active exploration of poets. More interestingly, flipping over the syllabus reveals a spectacular insight into Heaney’s mind.
On the back of the syllabus is a working draft of a brand-new poem, “A Gift of Rain” (later published as “Gifts of Rain”). Here we see the original iterations of what ends up being the first and third stanza of the final poem. Across the manuscript and typescript drafts, we can see how Heaney moves from a very personal poem to one with a more general address. Heaney makes changes like “my skin” to “his pelt,” “your” to “their.” Examining the contents of the poem, it seems Heaney begins writing about personal experiences of places from his youth after rainfall and changes them to a more general experience, allowing him to build up the more metaphorical tone of the poem. This is a common theme in Heaney’s work: he takes personal experiences and beliefs and alters them to have greater appeal to a wider audience.

Image reproduction was supported by a Daniel E. Koshland, Jr. Course Development Grant (for more information, click here).


Publisher Highlight: Ayin Press

Ayin Press logo, 2025

Founded in 2020 in New York, the independent publisher Ayin Press (website) offers a fascinating range of literary publications including poetry, novels, and more. Through the material, the press presents “polyphony of voices from within and beyond the Jewish world.”[1]

You can find more about the press’ activities on Instagram.

Recent Titles

For More at UC Berkeley

Check out these titles and others from Ayin Press at UC Berkeley through our UC Library Search. Some of the titles above are listed as Somewhere Press on account of collaborative work.

End Notes

[1] “About,” accessed July 16, 2025, https://ayinpress.org/about/.


UC Berkeley’s Cuban Studies Working Group: Conversation with Dr. Katherine Gordy, Professor of Political Science at San Francisco State University

All are invited to attend the Cuban Studies Working Group’s conversation with Dr. Katherine Gordy, Professor of Political Science at San Francisco State University, which will take place tomorrow, November 7, 2025, at 11 am in Dwinelle 5125 (Level E)

RSVP Here: Lunch will be provided!

Katherine Gordy is an accomplished author and editor in the field of political science. Her published works include the single-authored book Living Ideology in Cuba: Socialism in Principle and Practice (2015) and the co-edited volume Globalizing Political Theory (2023).
Gordy’s research spans Latin American political thought, Cuban socialism, imperialism, and Marxism, with articles published in notable journals such as PolityPublic CulturePostcolonial StudiesAlternatives: Global, Local and Political, and Viewpoint Magazine, as well as various edited collections.
Currently, she is engaged in a research project exploring empirical imaginaries and historical relativism as present in the works of two prominent Latin American Marxist thinkers: the Peruvian José Carlos Mariátegui and the Cuban Walterio Carbonell.
Please join the Cuban Studies Working Group on Friday, November 7th at 11am in the Spanish and Portuguese Library (Dwinelle 5125) for a lecture and lunch gathering with Dr. Katherine Gordy, Professor of Political Science at San Francisco State University. 

Katherine is the author of Living Ideology in Cuba: Socialism in Principle and Practice (2015) and co-editor of Globalizing Political Theory (2023). Her work on Latin American political thought, Cuban socialism, imperialism, and Marxism has appeared in Polity, Public Culture, Postcolonial Studies, Alternatives: Global, Local and Political, and Viewpoint Magazine, and in various edited volumes. She is currently working on a project on empirical imaginaries and historical relativism in the work of Peruvian Marxist Jose Carlos Mariátegui and Cuban Marxist Walterio Carbonell.

Speaker: Katherine Gordy, Professor of Political Science, San Francisco State University
A Conversation with Katherine Gordy

Sponsor: Townsend Center


Today at the Law School: Estado de Silencio / State of Silence: Film Screening and Panel

Film Screening & Discussion: “State of Silence
Date & Time: Wednesday, November 5, 2025, 4:30 PM – 6:30 PM

Estado de Silencio Film Title
The title of a film is “Estado de Silencio” (The State of Silence).

State of Silence/Estado de Silencio” delves into the challenges facing press freedom in Mexico, chronicling the dangerous work of four journalists as they uncover the ties between organized crime and government corruption. Through their eyes, the documentary reveals the obstacles and risks they face in breaking the silence around systemic abuse and violence. A panel discussion and audience Q&A with will follow the screening:

RSVP here


REMINDER: November 18 – From Dissertation to Book: Navigating the Publication Process

Coming up in two weeks. Join us!

From Dissertation to Book: Navigating the Publication Process

Date/Time: Tuesday, November 18, 2025 (11:00am–12:30pm)
RSVP to get the Zoom link

Hear from a panel of experts—an acquisitions editor, a first-time book author, and an author rights expert—about the process of turning your dissertation into a book. You’ll come away from this panel discussion with practical advice about revising your dissertation, writing a book proposal, approaching editors, signing your first contract, and navigating the peer review and publication process.

Event flyer for 'From Dissertation to Book: Navigating the Publication Process' workshop on November 18, 2025, 11:00am-12:30pm via Zoom, hosted by UCB Library. Features three panelists: Raina Polivka (UC Press Senior Editor), Jacob Grumbach (UC Berkeley Professor), and Dave Hansen (Authors Alliance Executive Director). Includes sign-up information and QR code.


Publisher Highlight: Riot of Roses

Banner for riot of roses with six book covers

Located in Sejatnga, Unceded Tongva Territory, South Whittier, CA, the publishing house Riot of Roses (webpage) tells their readers that they “publish books to heal and liberate others” and affirm that the press is “for the people.”[1]

Black, full open rose on red background
Logo for Riot of Roses‘ opening screen

Brenda Vaca founded Riot of Roses in 2021 to publish her first poetry collection. Vaca had completed her first manuscript with the Community Literature Initiative program out of South Los Angeles, CA and found her options for publishing limiting. In an interview with Canvas Rebel, Vaca explained that she wasn’t happy with the non-negotiable contract she received from an already-established publisher and wasn’t content publishing with a platform like Amazon, which wouldn’t end up in a library system.[2]

To address that problem for both herself and others, Vaca created Riot of Roses as a space for writers to amplify historical silenced voices.

In the handful of years since the press’ inception, Vaca has done wonderful work promoting it and the press’ authors. They attend poetry slams, book events, and more around their location in Sothern CA. Readers can find more information about their events on their Instagram page.

Books at UC Berkeley’s Doe Library

Here are a handful of Riot of Roses’ recent publications in Doe Library:

For more material

You can search in the UC Library Search advanced search for “Riot of Roses” as a publisher (click here to see the search).

Endnotes

[1] “About,” Riot Of Roses Publishing House, accessed May 5, 2025, https://www.riotofrosespublishinghouse.com/about.

[2] “Meet Brenda Vaca,” Canvas Rebel, August 21, 2023, https://canvasrebel.com/meet-brenda-vaca/.


Faculty Book Talk at Townsend Center: November 5, 2025

A page from faculty member Nathaniel Wolfson's book Concrete Encoded.
A page from faculty member Nathaniel Wolfson’s book Concrete Encoded.

Concrete Encoded: Poetry, Design, and the Cybernetic Imaginary in Brazil

Nathaniel Wolfson
Berkeley Book Chats
Wednesday, Nov 5, 2025 12:00 pm – 1:00 pm

Registration Requested

Concrete art and poetry—a radical avant-garde movement where the visual and spatial arrangement of words on the page carries as much weight as their literal meaning—emerged in Brazil during the 1950s, a time of rapid and transformative modernization. Professor Nathaniel Wolfson (Spanish & Portuguese) challenges the notion that concretism was socially passive, as some scholars have claimed. Instead, he presents it as the defining literary genre of the early information age.

Concrete Encoded: Poetry, Design, and the Cybernetic Imaginary in Brazil (Texas, 2025) examines how Brazilian poets, artists, and designers engaged with the rise of digital capitalism, forging a distinct cybernetic vision. Wolfson’s study reinterprets concretism—not just as Brazil’s most internationally influential artistic movement, but as a network connecting both prominent and overlooked figures. By mapping these creative exchanges, the book reveals broader, transnational conversations about technology and its critical possibilities.