A small poetry press in Port Townsend, Washington; http://www.coppercanyonpress.org. From that site:

Copper Canyon Press was founded in 1972 in the belief that poetry is essential to the individual spirit and a necessary element in a thriving culture. Our mission is to build the awareness of and audience for a wide rage of American poetry, as well as poetry in translation from many of the world cultures, classical and contemporary.

This mission is supported by poets, readers, volunteers, booksellers, librarians, teachers, reviewers, and funders who share a conviction that a good poem sharpens our appreciation of the world, invigorates the language, and nourishes the soul.

Please join us.

In November 1972, with a $500 prize from the Coordinating Council of Literary Magazines for his work editing UC Santa Barbara's Spectrum, Sam Hamill bought a galley press and enough type to set two pages of poetry at once. He, Jim Gautney, Bill O'Daly, and Tree Swenson established the Press while holding day jobs in Denver, then moved it to Port Townsend in 1974 as a symbiotic parasite of the Centrum arts and education organization.

Centrum passes along NEA money, and the Press is in some ways a charity operation: a leg up for unpublished poets, an ivory tower for fine design and bookbinding, and a teaching press for traditional printing. It gives education and inspiration to other small presses (Grey Spider, Brooding Heron), and sets a high example of quality and unpretentiousness with a slow but steady flow of a few editions per season. Its only building is a scruffy-looking cottage full of paper products, Macintoshes, and friendly typographers, open to visitors in business hours.

Hamill is an outstanding editor: the Press was first to publish many established poets, and many of its anthologies and collections have become de-facto standards. Although it concentrates on modern American works, it's published several respected translations, notably of Pablo Neruda and Czeslaw Milosz. Tree Swenson established the Press's technical reputation with exceptionally fine design — perhaps the best modern book design in the United States — and John Berry has kept it up since Swenson left in 1993.

The Press is part of the American Renaissance of poetry in the last fifty years, since the Beats replaced sherry and Calvinism with pot and Zen. Most of its books are edgy or experimental in some way. Lately it has concentrated on personal and narrative poetry of the West: Hayden Carruth, Nelson Bentley, Robert Bringhurst, David Lee, and Denise Levertov, for example.

Buy their stuff.

Many of the facts here are liberated from Hamill's introduction to The Gift of Tongues, the Press's twenty-fifth anniversary collection, which you should be especially sure to buy.

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