Beat Collection Procedures
Beat Collection Cataloging
Uploaded with minor edits 9/22/2021
Beat Collection–Cataloging and Processing
I. Special Note
***Actual items should never be stamped or have anything glued or attached to them during processing***
Each item in the Beat Collection will come from the Art Book Room with a Mylar cover and a special Beat Collection bookplate. The barcode should be placed in the designated rectangular area at the bottom of this plate. Spine labels should be attached to the Mylar cover and not the book itself. Do not stamp the book..
II. Call Number Labels
Use appropriate label template. Labels will have the following headings:
BOOK:
MERRILL
BEATCOLL
OVERSIZE:
MERRILL
BEATCOLL OV
MEDIA:
MERRILL
BEATCOLLmedia
III. Item Record Codes
BOOK: Item Type: 6 Book Non Circulating (LL)
Location: iabb
OVERSIZE: Location: iabbo
MEDIA: Item Type: 63 DVD 5 Day Loan [etc., as appropriate to the format of item]
LOCKED CASE: Location: ialoc
STATUS: All items should have status of Available, as they are not checked in after leaving cataloging.
IV. Special Concerns When Cataloging
Beat Collection:
049 UUSG
Include in each record the following note:
590 Beat Collection
For those items which are gifts of the Marie Eccles Caine Foundation, include the following note:
590 Gift of the Marie Eccles Caine Foundation
Those items that are gifts from another source should have a corresponding gift note.
If any of the items include the author’s signature or have other noteworthy features such as inscriptions, special numbered copy or limited edition, special binding, a poet’s ownership signature, letters or clippings laid in the book, and so forth, make a note. Quite often you will want to simply quote limited edition, etc. information as written in the colophon of the book. If some of the information seems unnecessary, you may omit it using an ellipse ( ... ) within the quote. But always be sure to consider the needs of a researcher who may need to glean information from the catalog record without visiting the collection, or who may need to decide whether we have the edition needed before making the effort to visit.
Information specific to our copy should be placed in a 590 note.
Information that is applicable to all copies should be placed in a 500 note.
Examples of these notes may be:
500 Limited edition of 600 copies.
500 “Designed and printed April, 1968 in San Francisco by Graham Mackintosh for the Black Sparrow Press. This edition is limited to 600 copies in paper wrappers; 100 numbered, hardbound copies signed by the poet; 26 lettered copies, for presentation, bound in full natural calfskin and signed by the poet”–Colophon.
590 Signed and inscribed by the author.
590 Association copy: ownership signature by Louis Simpson.
590 Laid in: Newspaper clipping.
Beat Generation subject headings. Not all of the books in this collection merit a Beat generation subject heading. Writers in this collection might have merely have influenced or been influenced by Beat writers. The subject “Beat generation” should be reserved for those materials by or about actual Beat generation writers, who wrote primarily in the 1950's and 1960's. A helpful list of people associated with the Beat generation is included as an appendix to this document. These individuals usually merit a Beat subject heading with appropriate subheadings, e.g.:
650 0 Beat generation $v Poetry.
650 0 Beat generation $v Biography.
V. Copies of Items in Other Collections
We frequently receive materials for the Beat Collection that are copies of items we have elsewhere in the library. In most cases (if the existing copies are in the Main Stacks or Special Collections, for example), this will only require making a new item record for the Beat Collection copy. In some cases it will be necessary to import a separate bibliographic record into Sierra (e.g. if the other copy is held by one of the USU Eastern libraries).
Adding Beat Collection copy: if the existing Sierra record is in the main library, the Beat Collection copy will require only the creation of a new item record.
In addition, the bibliographic record will require some changes in wording for a few of the notes. Some examples of wording below:
590 One of the copies is in the Beat Collection.
590 Beat Collection copy: Gift of the Marie Eccles Caine Foundation.
Be sure to include any special notes about the Beat Collection copy just as you would when making special notes as outlined in section IV, such as if it is a numbered copy or a specially published or bound copy. Always precede this information with the heading:
590 Beat Collection copy:
And, of course, always be sure to add UUSG, in an a subfield to the 049 field in the bibliographic record.
VI. Oversize books
Generally, books over 33 cm. in height can be coded as oversize (location code = iabbo). These are shelved separately in the Art Book Room. If you have any question about a particular book, you can ask ABR Curator.
II. Locked case
If ABR Curator has indicated a particular item is to be kept in the Art Book Room locked case, the location is
coded as ialoc, the same as general Art Book Room locked case materials, as there is no special code for
Beat locked case.
Appendix of selected Beat Generation Writers/Poets/etc.
650 BEAT GENERATION
Adams, Joan Vollmer
Alexander, Robert
Altoon, John
Amram, David
Anger, Kenneth
Ashbury, John
Aya (Tarlow)
Baraka, Amiri/Imamu Amiri
Basil, Toni
Beattie, Paul
Berman, Shirley
Berman, Wallace
Bowen, Michael
Bowles, Paul
Brautigan, Richard
Breer, Robert
Bremser, Bonnie
Bremser, Ray
Brittin, Charles
Brown, Clifford
Brown, Joan
Brown, Jr., Ray
Bruce, Lenny
Buckley, Lord
Bukowski, Charles
Burford, Bob
Burroughs, Joyce Volmer Adams
Burroughs, William Seward
Caen, Herb
Cameron
Carr, Lucien
Cassady, Carolyn Robinson
Cassady, Neal
Charters, Ann
Chase, Hal
Cohen, Hettie
Conner, Bruce
Conner, Jean
Corman, Cid
Corso, Gregory
Cowen, Elise Nada
Creeley, Robert
Crosby, Harry
Davis, Miles
DeFeo, Jay
Deren, Maya
di Prima, Diane
Donlin, Bob
Doyle, Kirby
Driscoll, Bobby
Duncan, Robert
Dunn, Joe
Everson, William
Ferlinghetti, Lawrence
Foulkes, Llyn
Fox, Mardou
Foxx, Loree
Galliard, Slim
Gibson, Harry the Hipster
Gibson, Ralph
Gillespie, Dizzie
Ginsberg, Allan
Goodman, Paul
Gray, Billy
Guest, Barbara
Gysin, Brion
Hansen, Diana
Hart, Howard
Haverty, Joan
Hawkins, Bobbie Louise
Hazelwood, Dave
Henderson, LuAnne
Herms, George
Hinckle, Al
Hirschman, Jack
Hoffman, John
Holmes, John Clellon
Huncke, Herbert
Idell
Irby, Kenneth
Jackson, Natalie
Jahrmarkt, Billy
Jess
Joans, Ted
Johns, Jasper
Johnson, Joyce
Jones, Hettie Cohen
Jones, LeRoi
Jordan, Lawrence
Jordan, Patricia
Kammerer, David
Kandel, Lenore
Kaufman, Bob/Robert
Kelly, Robert
Kerouac, Jack
Kesey, Ken
Kupferberg, Tuli
Kyger, Joanne
Lamantia, Philip
LaVigne, Robert
Leary, Timothy
Leslie, Alfred
Levertov, Denise
Levy, d. a.
Lipton, Lawrence
Lord Buckley
Mailer, Norman
Margolis, William
Martinelli, Sheri
McClure, Joanna
McClure, Michael
Mead, Taylor
Meltzer, David
Mew, Charlie
Micheline, Jack
Miller, Henry
Mingus, Charles
Monk, Thelonious
Moraff, Barbara
Morris, James Ryan
Mulligan, Gerry
O'Hara, Frank
Olson, Charles
Oppen, George
Orlovsky, Julius
Orlovsky, Lafacadio
Orlovsky, Peter
Parker, Charlie
Parker, Edie
Patchen, Kenneth
Perkoff, Stuart
Plymell, Charles
Pommy-Vega, Janine
Reed, John
Rexroth, Kenneth
Richer, Arthur
Rios, Frank
Rosenthal, Rachel
Sampas, Stella
Sanders, Ed
Scibella, Tony
Shearing, George
Smith, Jack
Snyder, Gary
Sohmers, Harriet
Solomon, Carl
Spicer, Jack
Tabory, Leon
Talbert, Ben
Tamblyn, Russell
Tarlow, Aya
Teske, Edmund
Thomas, John, 1930-
Trungpa, Chogyam
Vega, Janine Pommy
Vollmer, Joan
Wakowski, Diane
Waldman, Anne
Walsh, Zack
Watts, Alan
Weiss, Ruth
Welch, Lew
Whalen, Philip
White, Ed
Wieners, John
Williams, William Carlos
Wolfe, Tom
Zwerling, Harriet Sohmers
(Last updated: 6/1/06)