Neeli Cherkovski, poet who chronicled the Beat Generation

Neeli Cherkovski, a prolific poet and denizen of beatnik cafes who chronicled the literary ethos of bohemian culture in biographies of Beat Generation writers, including his friends Charles Bukowski and Lawrence Ferlinghetti, died on March 19 in San Francisco. He was 78. The cause of his death, in a hospital, was a heart attack, his partner, Jesus Guinto Cabrera, said.

Cherkovski arrived on the literary scene in 1969, when he and Bukowski started Laugh Literary and Man the Humping Guns, a magazine printed on a mimeograph machine that lasted three issues, had one subscriber, and rejected poems with terse notes that began, “These won’t do.” Typically dressed in a rumpled suit coat over an untucked shirt, with a string of amber beads hanging around his neck, Cherkovski was a fixture at Caffe Trieste and, around the corner, the City Lights bookstore, in the North Beach neighborhood of San Francisco.

“You could not mistake him for anything other than a poet,” Raymond Foye, a writer who also hung out at Caffe Trieste, said in an interview. “He was the quintessential bohemian flâneur, just this extraordinary figure who you couldn’t miss walking up and down the streets.” At the cafe, and at his nearby apartment, Cherkovski hung out with Ferlinghetti, a poet and the owner of City Lights, and with other Beat writers, among them Harold Norse,

Bob Kaufman and Gregory Corso — “vagabond souls,” as he once called them.

Cherkovski chronicled these writers, their works and beatnik culture in “Ferlinghetti: A Biography” (1979), “Whitman’s Wild Children: Portraits of Twelve Poets” (1988) and “Hank: The Life of Charles Bukowski” (1991). The reviews were mixed. “Neeli Cherkovski, a fellow poet, friend and fan, has authored an affectionate — and, at times, feverishly reverent — biography,” Steven Rea of Knight-Ridder newspapers wrote in reviewing his biography of Bukowski. Other critics were less kind. In The New York Times, the writer Doris Grumbach panned Cherkovski’s biography of Ferlinghetti. “This slight, almost skimpy work demonstrates that a biography should never be written out of absolute admiration for the subject,” Ms. Grumbach wrote. “Even Homer nods, I was reminded as I made my way through Neeli Cherkovski’s adulation.” Cherkovski’s biographies overshadowed his work as a poet. In a 2012 conversation with the blog The Rusty Truck, the second question he was asked concerned his relationship with Bukowski. As the conversation wrapped up, the interviewer asked, “You have been interviewed several times; what question do you wish you would have been asked and never were?”

Cherkovski replied, “I would love an interview where Bukowski is not mentioned, or at least not mentioned until question 16 or 17.” Kyle Harvey, a poet and editor at Lithic Press, an independent publisher that has issued several collections of Cherkovski’s poems, said, “It’s a really weird paradox because those relationships have led him to being interviewed, which is sometimes hard for a poet, but it’s difficult to find interviews where the questions are actually about his work.”