Lew Welch's Wobbly Rock is published by Auerhahn Press in '60.Welch entered Reed College in 1948, and the following year moved into a house with Gary Snyder; the following year they were joined by Philip Whalen. By the fall of 1949 Welch was co-editor of the school's literary magazine and was writing constantly. He wrote his senior thesis on Gertrude Stein and graduated in 1950.
For a number of years Welch showed his poetry only to close friends. With the emergence of the Beat movement, however, Welch's friends Philip Whalen and Gary Snyder began receiving national attention. Welch's desire to devote himself completely to his poetry was revived. He transferred to the Oakland office of Montgomery Ward and soon became a part of the San Francisco poetry scene. In 1958 he was fired from his job. His marriage fell apart soon after.
At the same time, however, Welch's poetry was beginning to meet with some success. Donald Allen included one of Welch's poems in The New American Poetry (1960). His first book Wobbly Rock was published just then. He was drinking heavily during this time, but he continued to write extensively. For a time he lived with his mother in Reno, Nevada, and then in a cabin in the Trinity Alps. He moved back to San Francisco in 1963, and in 1965 published three books.
Is '60 the moment when the end of the end of the Old Left had been reached and the New Left began to emerge? Is it the final ascendancy, in certain scenes at least, of poetic postmodernity? Surely the publication of Donald Allen's The New American Poetry that year suggests this, but then again--once again--we look back on "New" here and see continuity. The rhetoric of the Kennedy-Nixon contest made much less of a dent than everyone (at the time as well as since) claimed, so one wonders why were such great claims made? 
Had we come to expect "1960" to be truly ubiquitously modern in a way that the 1950s really were not--not quite? And what specifically does "modern" mean in the Kennedyesque talk then and now about the torch being passed to a new generation, etc.? The First Lady really meant "modernist" when Camelotians said "modern." What about the others across the new young cultural leadership? I've been surprised by how frequently the 
"Beat movement" was covered in 1960 in the mainstream press. I was expecting a fair measure but I've found tonnage. 1960 was the year when the figure of the beat was beginning to find acceptance, although still 80% of these stories are mocking, rebels-without-cause condescension. For anyone whose analysis made an impact nationally, do these antipolitical adolescents count as part of the "new young cultural leadership"? No, but rather than the two being opposites, they fall along a Continuum of the New American. Now that's a change for '60.
