Poetry

[Walt Whitman - selection from an original ms for "Song of Myself" from Leaves of Grass, courtesy the Humanities Research Center, University of Texas] Allen Ginsberg, Summer 1976, on "Spontaneous Poetics", continues.AG: The reason I'm ...
[Walt Whitman - selection from an original ms for "Song of Myself" from Leaves of Grass, courtesy the Humanities Research Center, University of Texas] Allen Ginsberg, Summer 1976, on "Spontaneous Poetics", continues.AG: The reason I'm going through all this is that a lot of us are writing open-form verse and two generations (now) have been (writing) open-form verse, and people still speak as if there were no common sense in the forms, as if there was no experience or common sense in the forms, as if it was all just totally slop on the page, or anything you want on the page, or as if there was no sensitivity to component elements that make up a poem, including the breath, the mind, the vowels, the accents, the eyeball, the lung, length, the typewriter, the size of the notebook.. So I'm running through, from my own experience, all the things I've thought of that condition the verse forms of my own poetry and things I've heard from other people that have conditioned their verse-forms, or sharpened their verse-forms, in this open structure, and I don't know if anybody's tried to codify all this yet.So there is an element of the writing material that determines your poetry shape. For study of short notebook forms, I would recommend (Jack) Kerouac's Mexico City Blues and a few texts of my own, particularly a poem called "Laughing Gas" (in Reality Sandwiches, I think), because that was written, while taking nitrous oxide in a dentist's chair, with a small pocket notebook, and the condition of the line reflects (the fact that) especially (with) the hyper-sensitized consciousness of laughing gas, the length of the page seems to be the universe itself, or a universe itself in which one line will fit. So the mental condition and corresponding external condition do have a big influence, so you've got to take that into account.The question before was what sort of page did (Walt) Whitman write on? or what ledger did he write on? - and I don;t know that. Has anyone seen (any) Whitman manuscripts or reproductions? Well, let's check it out. Student: I think they were big ledgersAG: Um-hmm. Likely enough, he would keep ledgers. Great huge National ledgers - because he was accounting the State, so to speak..[Jack Kerouac - page from a 1953 notebook - "Ginsberg - intelligent and interested in the outward appearance and pose of great things, intelligent enuf to know where to find them..."]Student: So is that all the methods that you're going to tell us about?AG: No, no, we're going onStudent: GoodAG: Going on, going on. The next element is no element - total arbitrariness and chance. That has to be included too as part of the humor of the line (because there's a humor in these arrangemets, because there is intelligence). Wherever there's intelligence, there's a certain amount of playfulness. Wherever there's playfulness, there's humor, and wherever there's humor, chance is allowed to enter in too - total accident. I (You) didn't have time to finish the breath-unit on one line, so you drop the subsidiary phrase to the next line. Like that..So..to the next line. So you drop down the subsidiary phrase to the next line, and you can hang that "under-sidiary" [sic] to the next line - got it? - if you're adding alluvials, as Kerouac said, adding the extra thoughts in the mind while you've still got a breath and (while) the mind is still cranking out babble - "Cranking out babble" - so you might want to write (it) out - "cranking out/babble" (and you want to leave that surprise thought by itself (even) though it belongs to the original phrase) - then you might want to drop it down and hang it on the end of the line, or, if it's a very long line and you want it standardized, you can then carry the line over and indent four, six, seven, eight, typed spaces from the margin.For long line poetry, incidentally (trade secrets!), it's useful to realize that what you type up on the page will be transferred to the printed page by the typographer exactly as you
about 7 hours ago
[Robert Creeley (1926-2005) - Photograph by Michael Romanos]Robert Creeley would have been 87 today. We celebrate him always. We draw your attention to our previous Creeley birthday postings here and here.An early shot and a late shot - ...
[Robert Creeley (1926-2005) - Photograph by Michael Romanos]Robert Creeley would have been 87 today. We celebrate him always. We draw your attention to our previous Creeley birthday postings here and here.An early shot and a late shot - Here's a 1954 Black Mountain College studio recording (from the incomparable trove at Pennsound). A twenty-eight-year-old Creeley reads"The Rites", "The Crisis", "The Immoral Proposition", "For WCW", "The Carnival", "The Charm", "The Pedigree", "The Dishonest Mailman", "Apple Upffle", "The Revelation", "The Operation", "For Irving", "The Disappointment", "El Noche", "The Whip", "Like They Say", "A Song ("I had wanted a quiet testament")", "The Riddle", "The Ball Game", "The Innocence", and "Something For Easter"and, almost five decades later, 2002, speaking to (ex SUNY Buffalo student) Michael Silverblatt on the phone on a snowy day in Buffalo (on the occasion of his Lannon Lifetime Achievement Award) (includes a reading of the poem "Bresson's Movies")A 1990 Lannon Foundation reading (very much worth re-viewing) may be accessed here Here's Bob, circa 2000, reading "After Lorca" - ("doucement, doucement") Happy Birthday, Bob - thinking of you (Spring-time 2013).[Allen Ginsberg & Robert Creeley in the West Garden of the St Marks Church, New York City, c.1996 - Photograph by Laura Leber - c. Laura Leber and The Poetry Project]
1 day ago
AG: In that area (typography) (William Carlos) Williams is interesting. And Charles Olson, in a way, is a champion typographer, in the sense that he's making use of the scattering of the lines on the page, very literally, to indicate bre...
AG: In that area (typography) (William Carlos) Williams is interesting. And Charles Olson, in a way, is a champion typographer, in the sense that he's making use of the scattering of the lines on the page, very literally, to indicate breathing, breath-stop. Here typography and breath-stop come together. I read a few samples of Olson and I haven't prepared any for today because I just wanted to go on, but some of you are familiar with it, and just take a look at his page in (the) Maximus (Poems). He also adds that the typewriter as a writing tool has given us new suggestions for typography - following a suggestion by Williams. Williams, as I mentioned, used a dot in the middle of the line to indicate, not a sentence-stop, not a period, but just a break in thought. So Williams pulled a dot up, the period up, to the middle of the line. It doesn't fall at the foot of the ladder, it falls in the middle of the ladder. He had to roll his typewriter up to put the dot in there. If you look through Williams, the later poems, you'll see the odd use of dots.. or in Paterson, it's not exactly a period (though it functions as a period - but also functions as a period for an unfinished sentence, or unfinished thought, or thought which goes awry).Olson noted that the slash bar is another piece of punctuation that people could use. It didn't mean a period, it didn't mean a comma, and it didn't mean a hyphen (although it was somewhat approximate to a hyphen in linking words together) - Are you interested in youth/age? (youth-hyphen-age, but youth-slashbar-age is for either/or, it doesn't mean "and" - the hyphen means "and", like youth-and-age - youth-age, but the slashbar means "or" - so it's a functionally swifter way of saying "are you interested in fucky/sucky?" (fucky-slashbar-sucky).Student: Olson also used a lot of open parentheses. One parenthesis.AG: Yeah, That's a really weird one, because it's confusing, But it's just like the mind...Student: YeahAG: ...because you begin a divagation, and you never do finish it. You just go back to your subject. You might break off with a dot.He also says the typewriter, because it has even spacing - it's not like somebody's handwriting - so it standardizes the eccentricity of individual writing. In other words, you can still be eccentric, arrange your poem on the page equivalent to your breath,( like a painter), or equivalent to your mind, (like one half of the parentheses started but never closed), but, at the same time, it provides a standardized form of those arrangements. It might get too crazy if everybody had their own handscript typography, but with the typewriter, it provides, sort of, a set of keys, or a set of symbols. You can go one space, two spaces, three spaces. You can have a margin. You can have slashbars, you can have "etc"s, you can have ampersands (ampersand is the "and" that looks like a musical staff bar (&) you can have dollar signs. So he recommended more attention to the typewriter, primarily. People who write on typewriters get into that. Robert Creeley used to always write on typewriters and so his poems look like they were written on typewriters. He adjusted his short lines, the single short lines that you can see neatly put down, rolling up the typewriter, typing three or four words per line. Williams wrote on the prescription pad and so his poems look like they were written on prescription pads sometimes. They have that form...which leads to another, either sub-section of this, typography, or a whole new node of thought, about arrangement of the mind on the page and the breath on the page, which is the original condition of writing. Conditions of writing. So do you write on a prescription pad? - or do you write in a short notebook that you keep in your back pocket? - do you write in a big schoolbook, that will take a long line? - do you write on a giant ledger book? - do you write on the typewriter? - do you write on buses? - do you write in bed? - do you write everywhe
2 days ago
[Allen Ginsberg, Anne Waldman, Diane Di Prima] Normal.dotm 0 0 1 35 203 University Health Network 1 1 249 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.M...
[Allen Ginsberg, Anne Waldman, Diane Di Prima] Normal.dotm 0 0 1 35 203 University Health Network 1 1 249 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Another vintage Naropa audio, following on from this and this. This, arguably the earliest - from 1974 - Allen, Anne Waldman and Diane di Prima at the nascent Naropa Institute, July 30, 1974 - in two parts."Can you hear in the back? - Raise your hands if you cannot."First part: After introductory remarks, the reading-order and format is established. Anne Waldman: "I'm going to start, and then Allen will read and then Diane, and then I think we’ll have a short break, and then we’ll go round quickly again. First set we’ll each be reading about twenty, twenty-five minutes each, and then we’ll take a break and then we’ll all come back" - Anne begins with her poem "Bardo Corridor", followed by "Lady Tactics", followed by "Light and Shadow" (another, as she describes it, "list poem"). Next come "a few crazy New York City poems", beginning with "How the Sestina (Yawn) Works", "another New York City prose-poem", "Brinks of Fame", and "Summer Revolution New York" (Anne, significantly, would change the concluding line in this poem from a male to a female pronoun) - Allen can, at various times, be heard, at the conclusion of poems, off mike, muttering his approval - Anne continues with "part of a poem called "Life Notes".." and (at, approximately twenty-five-and-half minutes in), "one more".."a chant poem done for everyone", a spirited rendition of her, perhaps best-known poem, "Fast Speaking Woman" Allen Ginsberg's first set begins approximately thirty-five-and-three-quarter minutes in, beginning with "Manifesto" ("Let me say beginning I don't believe in Soul.."). This version has a few small syntactical changes compared to the published version. He then introduces what will be a substantial proportion of the rest of the set ("What I've been reading from are from journals and notebooks, poems that I'll probably type") - "There was a news story I saw in the Denver Post ((or the) Sacramento Bee) a few days ago, saying that the Food and Drug Administration was considering banning sassafras. It was in the Denver Post, it was in yesterday's Denver Post. This is a poem written under the effects of powdered sassafras, an intellectual poem in the sense that there is some observation of present reality [1974] but a great deal of it is just thought association" [Allen begins reading] "Is Dulles airport run computerized by Kwan-Yin?.."..."We who depart from Washington to Portland, Denver, New York, United 157, bleak passengers dressed for cloud travel neck ties wool sweaters.."..."Was it sassafras, white fruit powder I gummed in the Aztec Yankee small plane uplifted from Lexington..?"..."What plane for the planet? How can I scream at the army, scream at the police the military defense the airport freaks enthusiasts orgiastes of space of thrill, myself right now high in atmosphere above the planet's cloud.."..."There's only one thing better than looking out of the window and writing poetry and that's sitting silent in meditation and indifferent to sense phenomenon.."..."6.28 p.m. flying across the continent Portland, Atlantic to Pacific..".."same as not being high, being high, everybody agrees..." - sub
4 days ago
The DVD documentary - Jerry Aronson's The Life and Times of Allen Ginsberg (2008) was re-released this week by Docudrama. What can we say? - If you still don't have it, an essential item.Michael Kammen's essay on Jack Kerouac in the L.A...
The DVD documentary - Jerry Aronson's The Life and Times of Allen Ginsberg (2008) was re-released this week by Docudrama. What can we say? - If you still don't have it, an essential item.Michael Kammen's essay on Jack Kerouac in the L.A. Review of Books, "Jack Kerouac's Restless Odyssey and His New Life 'On The Road'", (reviewing, among other things, Joyce Johnson's recent biography), has had some tongues wagging. Speaking of L.A, here's Elaine Woo's obituary of Taylor Mead in the L.A.Times (more memories and obituary notices on Taylor can be found here, here and here).Meanwhile, in Northern California, celebrating the life and work of the great Nanao Sakaki. Here's three images of participants from last week's reading/celebration - Gary Snyder, Joanne Kyger, and poet and publisher Gary Lawless - taken by our good friend Steve Silberman. Ronald L Collins and David M Skover's Beat analysis, Mania (noted here in March) gets a "professional review", by Joseph Maldonado, in PsychCentral. One of the great unsung geniuses - Sid Kaplan, Allen's go-to printer for photographs, is profiled here.Anybody hear how the Harry Smith seance went (in Portland, Oregon) yesterday evening?
5 days ago
Normal.dotm 0 0 1 180 1030 University Health Network 8 2 1264 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal";...
Normal.dotm 0 0 1 180 1030 University Health Network 8 2 1264 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} ["A manuscript page of an unpublished Ginsberg poem" - to illustrate the 1966 Paris Review interview]AG: Typographical typography – topography – Typographical Topography – I invented that category! - Topography – t
6 days ago
Normal.dotm 0 0 1 1383 7886 University Health Network 65 15 9684 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Norma...
Normal.dotm 0 0 1 1383 7886 University Health Network 65 15 9684 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} [William Carlos Williams' poem, "This Is Just To Say", displayed as a tattoo]July 2, 1976, Allen's summer lecture at Naropa continuesAG: I’m going to continue with the different considerations of mindful arrangem
7 days ago
AG: Well, I still want to get back to where we started which was, what's your phenomenology of mind? What's the phenomenon of what we call consciousness? or what we call language? How does it arrive to you? and what's the best way to not...
AG: Well, I still want to get back to where we started which was, what's your phenomenology of mind? What's the phenomenon of what we call consciousness? or what we call language? How does it arrive to you? and what's the best way to notate that? Can you be a good secretary of yourself? Can you be a good stenographer? (And the difficulty there is between superficial stenography and deep stenography, in discerning what's actually going on, and not accepting some of the trash that's thrown up to the social brain. There's a social brain while writing, and then there's the private brain. And it's really trying to get what's in your private brain rather than your social brain, if I can put it that way. So there's enormous art involved there. So the art of, say, spontaneous stenography of the mind involves mindful discernment of what's really going on, and allowing it to happen, rather than packaging it somewhat in poetic style, intervening before the thought gets put on the page, changing it slightly to make it a
8 days ago
[William Blake - Albion Rose from "A Large Book of Designs" (1793-6)]"..everyone has language moving within them, everybody has secret thoughts and direct, absolute, perceptions, big as any Buddha. It's simply that the mind becomes limit...
[William Blake - Albion Rose from "A Large Book of Designs" (1793-6)]"..everyone has language moving within them, everybody has secret thoughts and direct, absolute, perceptions, big as any Buddha. It's simply that the mind becomes limited to thinking that the proper mode of discourse, or the form that is socially appreciable, is "Jack and Jill went up the hill.." AG: So, from this point of view, everyone is, as (William) Blake says), a vast world of thought-forms, everybody's a poet, that is, everybody has a consciousness, a Buddha-mind, everyone has a Buddha-nature, everyone has all the insights of a living mammal, with language and picture-senses and smell. That's why I kind of like crude poets, accidental poets, primitive poets. Marsden Hartley, a friend of William Carlos Williams - a painter, really, but he wrote down his ideas and thoughts and they're really pretty, and they're solid, and they're as good as anyone else's poetry. That's why everyone admires children's poetry, because it's so magical. The
9 days ago
Yesterday's transcription of Allen's Q & A at the Kyoto Seika University, Japan, on November 2 1988, is followed today by footage (and transcription) of the full lecture - "What the East Means To Me" - Katagiri Yuzuru is once again the a...
Yesterday's transcription of Allen's Q & A at the Kyoto Seika University, Japan, on November 2 1988, is followed today by footage (and transcription) of the full lecture - "What the East Means To Me" - Katagiri Yuzuru is once again the accomplished interpreter/translator. Our thanks, once again, to videographer, Ken Rodgers. AG: So.. the subject is "What the East Means To Me". So I will give a chronological account. One of my first memories was of the Pop figure, Pop art figure, kitsch figure, or comic-strip figure of a sinister Oriental, a Chinaman, Fu Manchu. He had a long mustache like this [Allen mimics it on his face] and a beard (a little bit like our friend...[Allen points, amused, and to the general amusement, to a figure in the audience])..and I remember a radio program, when I was perhaps three years old, where a Western criminal came up in contest with Fu Manchu. (Fu Manchu was the Taoist intellectual criminal) and made a phone-call (the Westerner made a phone-call to Fu Manchu and a poison need
10 days ago