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Edmund Joseph Michael Berrigan Jr. (November 15, 1934 – July 4, 1983) was an American poet.

Key Information

Early life

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Berrigan was born in Providence, Rhode Island, on November 15, 1934. After high school, he spent a year at Providence College before joining the U.S. Army. Following his three-year service obligation, he enrolled at the University of Tulsa in Oklahoma, where he received a B.A. degree in English in 1959 and fell just short of the requirements for an M.A. in 1962. He founded the literary magazine C in 1964.[2]

Berrigan married Sandra in 1962, also a poet,[1] and they had two children: David Berrigan (a medical researcher and director of the US National Cancer Institute) and Kate Berrigan.[3] He and his second wife, the poet Alice Notley, married in 1972 and were active in the poetry scene in Chicago for several years, then moved to New York City, where he edited various magazines and books.[4]

In 1970, Berrigan was hired as a faculty member at the Iowa Writers' Workshop, where he me Alice Notley. His C Press published Notley's first book 165 Meeting House Lane in Bolinas, California.[5]

In 1972, Berrigan was appointed to a teaching position at Northeastern Illinois University, formerly held by Ed Dorn. A group of his students started a small poetry press, The Yellow Press, which published a book by Berrigan, and awarded an annual Ted Berrigan Prize for a first book.[6]

In 1974, Berrigan was selected as a visiting poet at the University of Essex, and relocated with his family to Brightlingsea in Essex.[7] They returned to the United States in 1976, living on the Lower East Side of New York City at 101 St. Mark's Place. Their apartment was a gathering place for young writers and Berrigan's contemporaries. Berrigan was a frequent instructor at Naropa University's summer writing program.[8]

The New York School

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A prominent figure in the second generation of the New York School of poets, Berrigan was a peer of Jim Carroll, Anselm Hollo, Ron Padgett, Anne Waldman, Bernadette Mayer, and Lewis Warsh. He collaborated with Padgett and Joe Brainard on Bean Spasms, a work significant in its rejection of traditional concepts of ownership. Though Berrigan, Padgett, and Brainard all wrote individual poems for the book, and collaborated on many others, no authors were listed for individual poems.[9] Berrigan also collaborated with Padgett on work published in the literary magazine O to 9, which experimented with language and meaning-making.

In 2005, Berrigan's published and unpublished poetry was compiled and published in a single volume edited by Notley and their two sons, Anselm and Edmund Berrigan.

The Sonnets

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The poet Frank O'Hara called Berrigan's most significant publication, The Sonnets, "a fact of modern poetry". A telling reflection of the era that produced it, The Sonnets beautifully weaves together traditional elements of the Shakespearean sonnet form with the disjunctive structure and cadence of T. S. Eliot's The Waste Land and Berrigan's own literary innovations and personal experiences. In the words of Berrigan's editor and second wife Alice Notley, the product was a composition "[that is] musical, sexy, and funny."

Berrigan was initially drawn to the sonnet form because of its inherent challenge; in his own words, "the form sort of [stultifies] the whole process [of writing]." The procedure that he ultimately concocted to write The Sonnets is the essence of the work's novelty and ingenuity. After attempting several sonnets, Berrigan decided to go back through what he had written and take out certain lines, one line from each work, until he had six lines. He then went through the poems backwards and took one more line from each until he had accumulated six more lines, twelve lines total. Based on this body of the work, Berrigan knew what the final couplet would be; this process became the basis for The Sonnets. Addressing claims that the method is utterly mechanical, Berrigan explains that some of the seventy-seven sonnets came to him "whole", without needing to be pieced together. The poet's preoccupation with style, his concern for form and his own role as the creator, as evinced by The Sonnets, pose a challenge to traditional ideas about poetry and signify a fresh and innovative artistic approach.[10]

The book recognizes the eternal possibility for invention in a genre seemingly overwhelmed by the success of its traditional forms. By imitating the forms and practices of earlier artists and recreating them to express personal ideas and experiences, Berrigan demonstrates the potential for poetry in his and subsequent generations. As Charles Bernstein succinctly comments: "Part collage, part process writing, part sprung lyric, Ted Berrigan's The Sonnets remains…one of the freshest and most buoyantly inspired works of contemporary poetry. Reinventing verse for its time, The Sonnets are redolent with possibilities for our own.”[10]

Death

[edit]

Berrigan died in Greenwich Village on July 4, 1983, of cirrhosis of the liver brought on by hepatitis.[4][11]

Selected publications

[edit]
  • Dear Sandy, Hello: Letters from Ted to Sandy Berrigan (1962) ISBN 978-1-56689-249-0
  • The Sonnets (1964, 1967, 1982, 2000)
  • Seventeen Plays, with Ron Padgett (1964)
  • Living With Chris (1965)
  • Some Things (1966)
  • Bean Spasms, with Ron Padgett and Joe Brainard (1967)
  • Many Happy Returns (1969)
  • Peace: Broadside (1969)
  • In the Early Morning Rain (1971)
  • Memorial Day, with Anne Waldman (1971)
  • Back in Boston Again, with Ron Padgett and Tom Clark (1972)
  • The Drunken Boat (1974)
  • A Feeling For Leaving (1975)
  • Red Wagon (1976)
  • Clear The Range (1977)
  • Nothing For You (1977)
  • Train Ride (1978)
  • Yo-Yo's With Money, with Harris Schiff (1979)
  • Carrying a Torch (1980)
  • So Going Around Cities: New & Selected Poems 1958–1979 (1980) (ISBN 0-912652-61-6)
  • In a Blue River (1981)
  • A Certain Slant of Sunlight (1988)
  • Selected Poems (1994)
  • Great Stories of the Chair (1998)
  • The Collected Poems of Ted Berrigan (University of California Press, 2005), NOH (1969)
  • Get the Money!: Collected Prose (1961–1983), a collection of prose published by City Lights Books. 09/13/2022. ISBN 9780872868953.

Further reading

[edit]

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ted Berrigan

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Ted Berrigan (1934–1983) was an American poet, a leading figure in the second generation of the New York School, known for his innovative, collage-based poetry that blended everyday language, humor, and personal narrative. His breakthrough work, The Sonnets (1964), a sequence of 88 sonnets constructed from cut-up fragments of earlier writings, established him as a transformative voice in postwar . Born Edmund Joseph Michael Berrigan Jr. in , as the eldest of three children to parents Edmund Berrigan and Margaret Dugan, he briefly attended before enlisting in the U.S. Army, where he served during the era. After his military service, Berrigan studied at the on the , earning a B.A. in English in 1959 and an M.A. in 1962. In the early 1960s, he relocated to , immersing himself in the bohemian literary scene at St. Mark's Church-in-the-Bowery, where he co-founded the influential magazine C (1963–1967) with artists and and helped organize readings at the Poetry Project. Berrigan's career spanned poetry, editing, and teaching; he held positions as a writer-in-residence at institutions including the University of Iowa Writers' Workshop, Yale University, and the University at Buffalo, and received a National Endowment for the Arts fellowship in 1979. His personal life intertwined with his art: he married poet Sandra Alper in 1962 (with whom he had two children, David and Kate) before divorcing and wedding fellow poet Alice Notley in 1972 (with sons Anselm and Edmund), a union that produced collaborative works and influenced the next wave of experimental poets. Berrigan authored over 20 books, including So Going Around Cities (1980) and posthumous volumes like A Certain Slant of Sunlight (1988), drawing from influences such as Frank O'Hara, the Beats, and T.S. Eliot to capture urban fragmentation and intimate observation. He died on July 4, 1983, in New York City at age 48 from liver failure related to hepatitis.

Early Life and Education

Birth and Family Background

Ted Berrigan was born Edmund Joseph Michael Berrigan Jr. on November 15, 1934, in . He was the oldest of four children in a family of Irish Catholic heritage. His parents were Margaret "Peggy" Dugan Berrigan, a bookkeeper and cashier in the public schools lunch program, and Edmund Berrigan, who worked as chief engineer at Ward Baking Company. The family resided in a working-class neighborhood in Providence, where Berrigan spent his formative years in a close-knit, devout Catholic household that emphasized traditional values and community ties. Berrigan attended local Catholic schools. In high school at , he read T.S. Eliot's , which influenced his developing aesthetic. This period of discovery in would soon give way to broader life experiences, including military service.

Military Service and College Years

After graduating from , a Catholic high school in , in 1952, Ted Berrigan briefly attended before enlisting in the U.S. Army the following year. Berrigan served from 1953 to 1954 as a clerk-typist and gunner in the First Infantry Division, stationed in . Discharged in 1954, he returned to the under the and enrolled at the that same year. At Tulsa, Berrigan pursued a B.A. in English, which he completed in 1959. He immersed himself in the campus literary scene, contributing poems to student publications such as The White Dove Review, a key outlet for emerging Tulsa poets including and Dick Gallup. He continued his studies and earned an M.A. in English in 1962, with a thesis on . During his college years, Berrigan began experimenting with poetry, drawing significant influence from modernist figures like . This period laid the groundwork for his transition toward more serious literary pursuits, blending personal observation with innovative form.

Involvement in the New York School

Arrival in New York and Early Influences

After completing his graduate studies at the , Ted Berrigan briefly spent time in before moving to in 1960, following his friend who had enrolled at . Upon arrival, Berrigan took on odd jobs, including writing term papers for Columbia students, while initially living with artist and poet before securing his own apartment on the . This relocation marked his entry into the vibrant urban literary environment, building on the foundations laid during his college years at Tulsa, where he had begun exploring poetry in earnest. In New York, Berrigan quickly immersed himself in the avant-garde scene, encountering first-generation New York School poets such as and through poetry readings and art galleries. For instance, in late July 1963, Berrigan met at a reading by O'Hara, an experience that highlighted the interdisciplinary energy of the city's cultural hubs. These interactions exposed him to the innovative, urbane sensibilities of the New York School, while his admiration for Beat poets like further shaped his approach to writing. Berrigan also drew inspiration from visual artists in the orbit of the New York School, including , whose fusion of painting and everyday life resonated with Berrigan's emerging interest in blending art forms. This period of immersion fostered Berrigan's adoption of a casual, conversational style in his poetry, characterized by direct address and spontaneous rhythms drawn from Kerouac's prose techniques and the improvisational spirit of Rivers' work. By 1963, Berrigan demonstrated his early editorial instincts by founding C: A Journal of Poetry with publisher Lorenz Gude, using mimeograph technology to create an influential platform that showcased emerging poets and reflected shared aesthetic similarities among them. The magazine's debut in May 1963 quickly became a key outlet for second-generation voices, underscoring Berrigan's role in nurturing the next wave of avant-garde talent.

Key Collaborations and Group Activities

Ted Berrigan was a prominent figure in the second generation of the New York School of poets, which emerged in the 1960s and included contemporaries such as , , and . This group extended the experimental spirit of the first generation while fostering a vibrant, communal approach to poetry influenced by everyday life and visual arts. In 1966, Berrigan co-founded the Poetry Project at , a key institution in the that hosted workshops, readings, and publications central to the downtown poetry scene. He served as a principal organizer and workshop leader there, contributing to its early development and editing efforts, including contributions to its mimeographed newsletter. One of Berrigan's most notable collaborations was the 1967 book Bean Spasms, co-authored with and featuring illustrations by , which blurred lines of individual authorship through interwoven poems and visual elements reflective of the era's pop-infused aesthetic. Published by Kulchur Press, the work exemplified the second-generation New York School's emphasis on playful, shared creativity and rejected traditional notions of ownership in literary production. Berrigan actively participated in the East Village's mimeograph publishing revolution during the , editing C: A Journal of Poetry and operating C Press from 1963 to 1967, which produced affordable chapbooks and magazines featuring works by Padgett, Brainard, and others. He also hosted Sunday afternoon readings at venues like Izzy Young's Folklore Center and attended communal parties that strengthened bonds among poets and artists in the neighborhood. These activities, alongside regular events at the Poetry Project, formed the backbone of a lively, improvisational network that sustained the second-generation New York School.

Major Literary Works

The Sonnets

The Sonnets stands as Ted Berrigan's most influential work, a sequence composed primarily between 1961 and 1962 using lines drawn from his personal journals, earlier poems, and writings by friends within the New York School circle. Berrigan's process involved cutting up and recombining these fragments, reflecting the innovative spirit of the second-generation New York School through techniques inspired by William Burroughs' cut-up method and 's chance operations. This approach allowed for a fluid, associative construction, as evidenced in journal entries from November 1962 documenting the assembly of the initial sonnets. The collection consists of 88 sonnets that loosely adapt the Shakespearean form—14 lines without strict —while incorporating elements, pop culture allusions, and fragmented narratives. Key phrases recur across poems, creating simultaneity rather than linear progression, with themes centering on love (often triangular and intimate), drug experiences, urban life, and bonds of friendship. These elements evoke a vibrant, chaotic personal world, blending high and low references to capture the immediacy of 1960s bohemian existence. Berrigan self-published the work in 1964 through a mimeographed edition of 300 copies by Lorenz and Ellen Gude (C Press), marking a DIY milestone for the New York School. Commercial editions followed with in 1967, a revised version by in 1982, and an annotated Penguin edition in 2000 that restored seven previously omitted sonnets. Critically, The Sonnets received early praise from for its vitality and embodiment of contemporary poetic energy. Later, Charles Bernstein lauded its genre-blending as "part collage, part process writing, part sprung lyric," highlighting its freshness and originality within . The work profoundly influenced , serving as a touchstone alongside pieces by and O'Hara for its emphasis on linguistic fragmentation and appropriation, and extended to conceptual writing through its radical reuse of source material.

Other Publications and Collections

Berrigan produced a prolific body of work beyond The Sonnets, publishing over twenty books of during his lifetime, often through small presses associated with the New York School scene. His output included chapbooks, full-length collections, and collaborative volumes that extended the experimental spirit of his early sonnets into diverse forms. Among his key solo publications, (1967, Angel Hair; 1969, Corinth Books) featured short, fragmented poems drawing on daily life and pop culture, marking an early expansion from the form. Later solo works like Red Wagon (1976, Yellow Press) incorporated more personal, narrative elements influenced by his life in , blending autobiography with wry observation. So Going Around Cities: New & Selected Poems 1958-1979 (1980, Blue Wind Press) compiled earlier material alongside new pieces, reflecting on urban experience and including visual elements in some editions. Collaborative projects highlighted Berrigan's communal approach to writing, often with fellow New York School poets. Bean Spasms (1967, Kulchur Press), co-authored with and illustrated by , mixed prose and verse in playful, disjointed sequences that captured the era's irreverent energy. Other notable collaborations include (1971, Poetry Project) with , a shared elegy-like sequence, and Back in Boston Again (1972, Telegraph Books) with Tom Clark and , which documented road-trip vignettes in loose, conversational style. Berrigan's prose writings, gathered posthumously in Get the Money!: Collected Prose (1961-1983) (2022, Books, edited by Anselm and Edmund Berrigan), reveal his engagements with , reviews, and fictionalized sketches, often produced for paid gigs while maintaining a poetic wit. In the , Berrigan's style evolved toward more varied and autobiographical modes, moving from the dense appropriations of his foundational sonnets to minimalist, narrative-driven works that incorporated personal history and everyday speech, as seen in collections like The Drunken Boat (1974, Adventures in Poetry) and Nothing for You (1977, Angel Hair Books). This shift broadened his influence within second-generation New York School poetry, emphasizing accessibility and lived experience over formal experimentation alone.

Teaching Career and Personal Life

Academic Positions and Teaching

Berrigan began his teaching career in the mid-1960s through workshops at the Poetry Project at St. Mark's Church-in-the-Bowery in , where he organized and led sessions starting in 1966 and continued until his death in 1983. These workshops served as his initial platform for instructing emerging poets in the improvisational and collaborative spirit of the New York School, fostering a community-oriented approach that emphasized personal voice over rigid formalism. Throughout the 1970s and early 1980s, Berrigan held several visiting and resident positions at universities, marking his transition to more formal academic roles. He served as a visiting lecturer at around 1975, followed by teaching at the Writers' Workshop in 1968–1969. He then joined the faculty at the at Ann Arbor in the early 1970s, and in the 1980s, he taught at the Institute's Kerouac School of Disembodied Poetics in , as well as at the in from 1973 to 1974. Additional appointments included stints at the at Buffalo, , and the . Berrigan's teaching style drew heavily from New York School aesthetics, promoting improvisation, collage techniques, and collaborative exercises that encouraged students to experiment freely and develop original voices without imitating established models. He provided generous, tactful feedback, appreciating a wide range of poetic approaches, from to more conventional forms, and often mentored younger writers through informal loans or adoptions into his circle. Notable students included , who studied under him at the Poetry Project and credited Berrigan as a key mentor in her early career, alongside others like and . His academic roles intertwined with his creative process, as classroom exercises and student interactions reinforced his commitment to as a communal, adaptive practice; for instance, works like the collaborative poem "Living with Chris" (1965), illustrated by , emerged from everyday experiences that paralleled his instructional emphasis on blending life and art. These positions not only provided financial stability but also allowed Berrigan to disseminate New York School principles to broader audiences, influencing subsequent generations of poets through hands-on guidance.

Marriages, Family, and Later Years

Berrigan married his first wife, the poet Sandra Alper, in 1962, and the couple had two children, and Kate, before their divorce in 1972. In 1972, Berrigan married the poet , with whom he had two sons, Anselm in 1972 and in 1974; both sons later became poets and co-edited their father's Collected Poems in 2007. The family maintained a shared artistic household, first in from 1972 to 1976 and then in New York City's until Berrigan's death, with periods of travel including stays in ; fatherhood infused his poetry with themes of domesticity, as seen in references to his children throughout works like Nothing for You (1977) and In the 51st State (1982). In his later years, Berrigan focused on editing projects such as compiling (published 1978) and composing A Certain Slant of Sunlight (published posthumously in 1988), alongside public readings of pieces like "Red Shift" and "Last Poem" in the late 1970s and early 1980s; he also battled health issues, contracting around 1975, which progressively damaged his liver and limited his activities by the early 1980s.

Death and Legacy

Final Years and Death

In the mid-1970s, Ted Berrigan was diagnosed with hepatitis C, a viral infection that progressed untreated due to the lack of effective therapies at the time and financial barriers to care. The condition gradually led to severe liver damage and by the early 1980s. By 1982, his health had deteriorated significantly, rendering him largely homebound and limiting his ability to continue teaching. During these final years, Berrigan turned his attention to revising and preparing his literary works for publication, most notably overseeing the third edition of his seminal collection The Sonnets, issued by Books in 1982. He received substantial emotional and practical support from his wife, , who helped manage family life amid his illness; their shared household in New York provided a measure of stability and comfort as his condition worsened. With no curative options like antiviral treatments or widely available—transplants themselves being experimental and rarely performed for such cases—Berrigan's advanced relentlessly, compounded by his history of substance use. Berrigan died on July 4, 1983, at the age of 48, in his apartment in , New York, from complications of liver . He was buried at on , with a memorial reading held shortly after that drew many of his contemporaries from the New York School poetry scene.

Influence on Poetry and Posthumous Recognition

Ted Berrigan's pioneering use of and appropriation techniques profoundly shaped modern , particularly through his innovative recombination of sources in works like The Sonnets, which drew from , , and William Burroughs to create fractured, playful texts. These methods extended the New York School's experimental ethos, influencing who emphasized linguistic disruption and social critique; for instance, Charles Bernstein has engaged with Berrigan's and strategies as models for "nude formalism" and untamed textual forms. Berrigan's approach also resonated with conceptual writers, who adopted similar appropriation to challenge authorship and originality in poetic composition. Interest in his work revived in the late 1980s and 1990s via key reprints, including the 1988 edition of The Sonnets, which made his collage techniques accessible to new audiences amid a broader reassessment of New York School legacies. Posthumous publications have ensured Berrigan's oeuvre remains dynamic and studied. The Collected Poems of Ted Berrigan (2005), edited by his widow and sons Anselm and Edmund Berrigan, assembled his published and unpublished poetry into a definitive volume, highlighting the breadth of his experimental output. Similarly, Get the Money!: Collected Prose (1961-1983) (2022), published by and co-edited by Notley, the Berrigan sons, and Nick Sturm, compiles his essays, reviews, and talks, revealing a critical that underscores his sociable, everyday . Berrigan's family legacy perpetuates the New York School traditions he championed. His sons, Anselm Berrigan and Edmund Berrigan, are prominent poets whose works build on third-generation New York School innovations, with Anselm exploring fragmented narratives and Edmund focusing on personal and historical collage. Notley, a major poet in her own right who collaborated extensively with Berrigan and preserved his legacy through editing and scholarship, died on May 19, 2025, in Paris at age 79 from a cerebral hemorrhage while receiving treatment for ovarian cancer. Archival efforts further sustain this inheritance; Berrigan's papers, including manuscripts, correspondence, and notebooks influenced by Frank O'Hara and Andy Warhol, are housed at Columbia University's Rare Book & Manuscript Library, facilitating ongoing research into his life and methods. Recent recognition since 2005 has deepened understandings of Berrigan's impact, with 2020s scholarship and events addressing interpretive gaps through diverse lenses. The 2022 release of Get the Money! sparked panels, such as one at the Project featuring family and scholars, renewing focus on his as a bridge to contemporary experimental writing. Scholarly articles and reviews in this period, including a 2023 analysis in , examine his gregarious style and appropriations in relation to queer and feminist readings, often via connections to poets like and who reinterpret his sociable poetics through gender and relational dynamics. These efforts, alongside reprints and homages, affirm Berrigan's enduring role in evolving poetic dialogues on identity and form.

References

  1. https://www.poetryfoundation.org/poets/ted-berrigan
  2. https://citylights.com/author/ted-berrigan/
  3. https://findingaids.lib.buffalo.edu/repositories/3/resources/950
  4. https://findingaids.library.columbia.edu/archives/cul-4079232
  5. https://www.poetryfoundation.org/poets/alice-notley
  6. https://www.poetryfoundation.org/poets/ted-berrigan/
  7. https://poets.org/poet/ted-berrigan
  8. http://s3.amazonaws.com/arena-attachments/2680994/055b7bc0817459bdff84ab38fcdcaad7.pdf
  9. https://utulsa.as.atlas-sys.com/repositories/2/resources/291/collection_organization
  10. https://www.poetryfoundation.org/articles/154026/make-each-of-you-a-superstar
  11. https://warholstars.org/1963.html
  12. https://jacket2.org/commentary/c-journal-poetry
  13. https://poets.org/text/brief-guide-new-york-school
  14. https://www.poetryfoundation.org/collections/147565/an-introduction-to-the-new-york-school-of-poets
  15. https://www.2009-2019.poetryproject.org/about/history/
  16. https://www.granarybooks.com/pages/books/GB_156/ted-berrigan-ron-padgett/bean-spasms
  17. https://jacket2.org/commentary/bean-spasms-0
  18. https://fromasecretlocation.com/c-press/
  19. https://www.villagepreservation.org/2020/11/24/angel-hair-press-a-rush-of-poetic-chutzpah-in-the-east-village/
  20. https://content.ucpress.edu/title/9780520251557/9780520251557_berrigan.pdf
  21. https://open.clemson.edu/cgi/viewcontent.cgi?article=2984&context=all_theses
  22. https://poets.org/book/sonnets
  23. https://books.google.com/books/about/The_Sonnets.html?id=Mn7f0AEACAAJ
  24. https://books.google.com/books/about/The_Sonnets.html?id=sr6wAAAAIAAJ
  25. https://www.penguinrandomhouse.com/books/332710/the-sonnets-by-ted-berrigan/
  26. http://labos.ulg.ac.be/cipa/wp-content/uploads/sites/22/2015/07/89_wolf.pdf
  27. https://www.cambridge.org/core/books/cambridge-companion-to-modern-american-poetry/language-writing/CDA8CE529D66D63110DEB87B3726EB9B
  28. https://writing.upenn.edu/epc/authors/berrigan/biblio.html
  29. https://citylights.com/city-lights-published/get-the-money/
  30. https://www.nytimes.com/1983/07/07/obituaries/ted-berrigan-poet-published-magazine-and-taught-in-city.html
  31. https://icamiami.org/program/idea-004-in-conversation-with-eileen-myles/
  32. https://www.nplusonemag.com/online-only/online-only/suddenly-weightless/
  33. https://www.ebsco.com/research-starters/history/ted-berrigan
  34. https://writing.upenn.edu/pennsound/x/Berrigan.php
  35. https://www.findagrave.com/memorial/361298/edmund_joseph_michael-berrigan
  36. https://www.nicksturm.com/crystalset/2018/5/26/bobbie-louise-hawkins-remembers-ted-berrigan
  37. https://literariness.org/2020/07/10/the-language-poets/
  38. https://shs.cairn.info/revue-etudes-anglaises-2012-2-page-249?lang=fr
  39. https://www.nicksturm.com/crystalset/tag/Ted%2BBerrigan
  40. https://www.ucpress.edu/books/the-collected-poems-of-ted-berrigan/paper
  41. https://oxfordre.com/literature/display/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-482
  42. https://www.nytimes.com/2025/06/02/books/alice-notley-dead.html
  43. https://allenginsberg.org/2022/09/t-s-13-2/
  44. https://caesuramag.org/posts/ted-berrigan-get-the-money-collected-prose-city-lights
  45. https://www.nytimes.com/2016/04/15/t-magazine/poet-eileen-myles-chelsea-girls.html
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