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Good Morning, Mr Orwell

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Thirty years ago today (January 1, 1984 - sic), video-pioneer Nam June Paikconceived of  and presented "Good Morning Mr Orwell", a unique and unprecedented  international live satellite hook-up, linking up the studios of WNET, New York with the Pompidou Center in Paris (as well as hooking up with broadcasters in Germany and in his own home country, South Korea). Allen and Peter Orlovsky (along with Steven Taylor and  Arthur Russell) were an integral part of the program, which also featured contributions from John Cage, Merce Cunningham, Joseph Beuys,Philip Glass, Laurie Anderson, Peter Gabriel, Charlotte Moorman, The Thompson Twins andOingo Bongo. George Plimpton appeared as master of ceremonies.
Peter's contribution is suitably bizarre in that it was introduced with a technical conceit that never actually materialized (the "space yodel"? - where, what happened to the "space yodel?!). We also, prior to that, catch a glimpse of John Cage, stroking dried cactus plants with a feather, making careful and delicate music. Peter performs enthusiastically on banjo (a hearty version of "Feeding Them Raspberries To Grow", Allen gleefully singing along.
    
The entire  show (including Allen's memorable performance of "Do The Meditation") may currently be viewed here.


Allen Ginsberg Praises Bob Dylan

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One of Allen's sound-bytes  from "No Direction Home

"(There is a) very famous saying among the Tibetan Buddhists, if the student is not better than the teacher then the teacher 's a failure,  and I was really knocked out by the eloquence [of Bob Dylan] , particularly, "I'll know my song well before I start singing".."where all souls shall reflect it".. you know, stand on the mountain, where everybody can hear. It's sort of this Biblical prophecy. Poetry is words that are empowered that make your hair stand on end. that you recognize instantly as being some form of subjective truth that has an  objective reality to it because somebody's realized it and then you call it poetry later." 



More Allen praise of Bob Dylan here

Friday's Weekly Round Up -159

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[Allen Ginsberg and William S Burroughs - Photograph byHank O'Neal]

2014 is - in case you didn't know - the William Burroughs Centennial year (next month, February 5th, he would have turned 100), and, not only on the 5th, but on a variety of occasions, there will be events, arranged by a variety of groups, around the globe.

Here in New York City (the Allen Ginsberg Project's home-base), for instance, there will be city-wide celebrations throughout the month of April.

Long before that, however, we'll be witnessing happenings. Perhaps the biggest so far, organized by Charles Cannon, is in the unlikely location of Bloomington, Indiana, for five days, from the birthday of February 5 through to February 9 -  "The Burroughs Century", as Cannon has described it - "We are calling the event the Burroughs Century, but we are not looking backward, rather, we believe that the Burroughs Century is ongoing, that we are in the midst of it, and we intend to stage an event that indicates the full range of that continuing influence, including a film series, art and literature exhibits, speakers and panels, musical performances and more". The celebration will culminate in "a two-day symposium featuring scholars, artists, critics, and musicians who will discuss Burroughs, his work, and its influence on American culture and beyond". Beat scholar, Oliver Harris will be the keynote speaker.  From January 24th to February 6 at the Grunwald Gallery of Art at Indiana University, as something of a preamble to the festivites, there will be an exhibition of Burroughs'"Shotgun Paintings". The Burroughs Century blog, incidentally, is well worth checking out (it's being constantly updated) and can be accessed here 

Earlier than that, however, is Patricia Allmergh and John Sears' "Taking Shots - The Photography of William S Burroughs", which opens January 17 at London's Photographer's Gallery (and is up through March 30). 
A fully illustrated catalog co-published by The Photograpers' Gallery and the German publishers, Prestel is (or rather, will soon be) available.
Harris will be lecturing there too (part of a Conference - "Beyond the Cut-Up - William Burroughs and the Image" - scheduled to take place in the Gallery, Saturday February 15 - poet/professor Allen Fisher (of Manchester's Metropolitan University) has also been confirmed as a participant)




Meanwhile, in Lawrence, Kansas, at the Lawrence Arts Center, "an exhibition of William Burroughs' art and collections titled "Creative Observer"" will be on show (opening January 17), January 17 through March 2nd - "This multimedia experience" - Ben Ahivers and Yuri Zapancic, its organizers, announce - "will provide insight into Burroughs prolific creative energy as well as revealing his ideas on observing art and people. Included in this exhibit will be collaborative works with such artists as Brion Gysin, Robert Rauschenberg, Kurt Cobain, Keith Haring, and George Condo, among others".  
As with the Bloomington, Indiana and London, England, celebrations, various ancillary events will take place around the main event. On January 28, "friends and acquaintances will share stories and memories of their time with William Burroughs". On February 1st, Beat biographer, Barry Miles joins Ira Silverberg and James Grauerholz in a talk and the launch of Miles' brand-new book (written in collaboration with Grauerholz) "Call Me Burroughs"(Miles, incidentally, appears for Rainy Day Books in Kansas City, a couple of days earlier, to sign copies and answer questions about the book)



























John Giorno, long-time, friend and accomplice of Burroughs, has a show, "Everyone Gets Lighter", currently up at the Max Wigram Gallery in London. For more information about that show, see here  

No further news to report about the current hospitalization of Amiri Baraka, although he remains in our thoughts and prayers and we'll keep you posted.

Some time since we featured Ginsberg parodies. (In recent years, "Yelp", maybe, was the most prominent one, but we've noted several others). Debora Saunders of the San Francisco Chronicle tried her hand, at years end, with "an Ode to Obamacare" - "Ow! (the annotated version) - with apologies to Allen Ginsberg" - "What sphinx of Beantown and beltways threw away the individual market and left adults yearning for their substandard policies//Amazon! Connectivity! Drones! Enrollees! Sign-ups are unattainable goalposts!.."  

Speaking of San Francisco - The proposed "Rainbow Honor Walk", that we reported on a couple of years ago, an equivalent to the Hollywood Walk of Fame, a strip along Market and Castro Street, honoring LGBT pioneers, is now not just an idea but a reality. Singer Sylvester James, was the first of twenty LGBT legends to be so honored (Allen will be among that company), recently, with a bronze plaque.

Here's Eileen Myles (from her book "The Importance of Being Iceland") on Allen as a gay icon - "A Speech About Allen"   

Meanwhile in New York City - the joyful return to the East Village of the Mee Noodle shop!

Allen Ginsberg on John Wieners - part one

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[Michael McClure, Philip Lamantia, John Wieners, andDavid Meltzerin North Beach, San Francisco, 1958 - Photograph by Gui de Angulo (included in "Literary San Francisco - A Pictorial History from its Beginnings to the Present Day" (edited by Lawrence Ferlinghetti and Nancy J Peters), 1980]

Today, from 1982 and Allen's "Literary History of the Beat Generation" Naropa class, Allen on John Wieners (tho' he begins with a somewhat lengthy background-setting, Frank O'Hara, the Cedar Bar, Amiri Baraka (LeRoi Jones), Yugen.. Given the length of this piece, we've decided to (somewhat arbitrarily) split in into two sections. So here's the first section and the concluding segment we'll run tomorrow.

AG: How many know (Michael) McClure's work?

Student (1): I've been to a couple of his readings, and...


AG: Right. Raise your hands again [show of hands]. And how many know (John) Wieners work? [further show of hands]. So, I'm going to start with Wieners, because that's less. Wieners, in a way, is one of the greatest poets around, or, certainly, the most Romantic, and doomed, poet around, compared to everybody else, and he's not very well-known..


Student (2):  More than (Philip) Lamantia?


AG: Excuse me? - better? less known?


Student (2):  No, more Romantic and doomed?


AG:Well, Lamantia isn't doomed at all. Lamantia's healthy..


Student (2): Well, okay.


AG: You know, he had a couple of  habits of this and that..  but, basically, he..he's an old man, you know, he's a happy old man


Student (3): Going out with Jesus, and...

Student (4): He's not that old!


Student (5): He's well-known in the Cambridge, Massachusetts district

AG: Yes, Wieners is known in Cambridge because that's his..


Student (2):   So how come he's doomed?


AG: Well, you know his work at all?


Student (2) : I guess not. He was in Larry (Fagin)'s anthology. [poet Larry Fagin was also teaching at Naropa at this time] -  We went through it once.   


AG: Well, I would like to take up Wieners in detail because I haven't really worked with him very much, worked on his work or talked about his work much and I think he's a great poet, but too little known. And I got a letter from an ex-student here who saw him at a reading in Boston..a couple of weeks ago who said that he was completely silent and withdrawn and looked out-of-it. So this kid went over to say, "hello, I know your work, and I'm a friend of Allen Ginsberg's, and I've studied in Naropa and read a lot of your work and I like it", and Wieners just sort of turned away and, you know, hid himself. He's been sort of out-of-action for a number of years, although he's still writing, but he was one of the greatest of the poets around San Francisco, and in New York and Boston, from the mid (19)50's on, and he was specially favored by (Robert) Creeley and by Charles Olson, who thought he was among the most gifted of all the poets and so he was published in the Black Mountain Review, in the late (19)50's, when Creeley was editor, as I seem to remember, and he was published in Evergreen Review, and he was invited by Olson and Creeley to be one of the main pillars, among the elders, at the 1965 Berkeley Poetry Conference, which was the.. have I mentioned all this? ...well, in (19)63 and (19)65 - In (19)63, in Vancouver, under the auspicies of Warren Tallman (the professor who was here this summer (1982) for the Kerouac festival)  who was a professor at the University of British Columbia, while I  was in India, there was a general invitation sent out to about a dozen poets to come together, for the first time in about five years - (Robert) Creeley, (Charles) Olson, (Philip) Whalen came, Denise Levertov, Robert Duncan,Jack Spicer, myself, Margaret Avison from Canada, a bunch of Canadian poets (who are well-known among Canadian poets now, like George Bowering and Victor...?..who else?.. George Bowering and Victor Coleman, among the Canadians..let's see, who else was around? - there was a sort of big gang, and it was sort of a model for Naropa, one of the models that the Naropa Poetics Department was organized around. Then, in 1965 at Berkeley, the person who is now known as Baker Roshi, the Zen master Baker Roshi, who was the head of the..of Berkeley's Adult Extension, of the University's Extension, that did special conferences, worked with Olson and others and organized another conference, this time (Lawrence) Ferlinghetti, Michael) McClure, (Gary) Snyder, myself, (Philip) Whalen (I think he was in town), (Robert) Duncan, (Charles) Olson, (John) Wieners..Anne Waldmancame, I think as a student, Ed Sanders (chosen by Olson because Sanders knew Greek and classics, and they had gotten high together on acid in..Cape Cod (was it?),Gloucester, near Gloucester

Student: Olson took acid?

AG: Yes. Yes, Olson, Yeah, sure.  Well I brought Olson to  (Timothy) Leary's house in Divinity Street in Cambridge, when Leary..  in 1960-1961, when Leary was making his experiments. Olson was one of the first poets that worked with Leary - and Olson's first comment when he got high (on psilocybin, it was) was.. he looked over at Leary and said, "If you ever want to get away from the police you can stay over at my house." As soon as he got high, that was the first thing he said, the first perceptive remark - "If you ever needed an escape you could come to..you know, hide out with me"!

Student: "Just bring some stuff"!

AG: No, no, no, that's the whole point. It was.. It wasn't "just bring some stuff" at all, it was a totally generous recognition that Leary was dealing with some gnostic material that the culture would reject and that it was treading on dangerous water but it was virtuous activity and so we could take refuge with him. Because, I mean, with just one glimpse of that consciousness and he realized that the culture was going to persecute Leary, like a heretic, you know, it was real serious, it wasn't, you know "so I can get high with more", like some classical understanding that this was a heretical consciousness for the Western world (and) that the police were going to come after him.    

So, anyway,  Wieners was..one of Olson's favorites, both from.. because they're both from New England (Wieners is from Boston. He lives presently [1982] at 44 Joy Street

Student: Joy?

AG: Joy Street.  So, I first ran into him at theCedar Bar, when the Cedar Bar was a great classic Cedar Bar, off University (Place) and Eighth Street (in New York City), during the time that Frank O'Hara was hanging around there with (John) Ashbery, and many other poets - Kenneth Koch. (Jack) Kerouac was going in and out. LeRoi Jones (Amiri Baraka) was hanging around there then, Peter Orlovsky and myself, the Living Theatre people (Julian Beck and Judith Malina)

Student: I'm a little confused by this. I thought the Cedar Bar was a 1940's bar. Is that true? And it was already pretty set then

AG: Yes, (19)40's. I don't know if it went all the way back that far. San Remo, yeah. I don't think I started going to the Cedar till much later, till I got back from Europe in (19)57, but, well, no, I must have, because I met O'Hara there before, (19)53-54

Student: Franz Kline..

AG: ..was in the Cedar Bar, so, yes, it must have gone back to the (19)40's. Let's see, either coming back from San Francisco, going on the way to Europe in (19)56, it must have been, (19)56-57 (see, I was in San Francisco from (19)54 to (19)57, so I didn't hang around the Cedar Bar during all that period - and I did get in there and the San Remo (19)52-53 before I left New York. That's when Abstract Expressionist painters in the New York School were there. But there was one night (there) in 1957. I had come back, with Peter (Orlovsky), from San Francisco, where we had all collected, that is (Gary) Snyder, (Philip) Whalen and the San Franciscan poets. Then Robert Creeley had showed up there. And Gregory Corso had come from Boston where he was. So that it was like a big gang. And you can read about that in Scratching The Beat Surface by Michael McClure, a new book that came out this year [1982]

So, Wieners had come down from Boston and showed up in the Cedar Bar, with Ed Marshall, another poet, whose work is in this Don Allen anthology, New American Poetry. They were both gay. They were both from a sort of gay hustler's benzedrine maybe-a-little-bit-of-junk scene (or maybe they hadn't had junk yet, but I think, probably, they already had), were into dope of all kinds up in Boston, but at the same time, they were real Bostonians, real New England lace-curtain Irish, and I think Wieners had met Olson at a poetry reading or a lecture and they'd immediatey had some kind of great recognition scene and were poetic lovers ever since, I mean..mental lovers. Wieners had just had a long love-affair with some young friend, called Dana, I think, who had put him down, or had left, or disappeared, and he was sort of on the rebound from that. I think it was - my history is not very good either, but I think it was earlier, an earlier time, it might have been between then and 1960. I just met him that one afternoon in New York. He had come down because Robert (Creeley).. I guess, everybody was getting in contact with.. all those poets were getting in contact and coalescing. I was coming back from San Francisco. He came down from Boston. So we were meeting in the ambience of Frank O'Hara. Frank O'Hara knew Wieners poetry and thought it was very good, and Frank was sort of the arbiter of taste, a social arbiter (like his approval of Gregory Corso around that same time really clicked Gregory Corso in to everybody else's consciousness - I mean, (Jack) Kerouac and (William) Burroughs and I liked Gregory, and I'd read with him already in San Francisco, we'd known each other since 1950, but once O'Hara dug him, Ashbery checked him out and then Kenneth Koch checked him out and James Merrill checked him out and John Hollander checked him out, and I remember the criticRichard Howard (I don't know if you know him he's the sort of big critic now, translator of French, writes for very respectable journals asdistinct from ourselves who write for  sort of underground or home-made or new, partly-new, journals, Richard Howard said  that, "well, Frank O'Hara's taste's impeccable and of course Gregory's a great poet" - "if Frank says so"!


[Frank O'Hara,John Button, James Schuyler andJoe LeSueur, New York, circa 1960 - via John Button papers, Archives of American Art, Smithsonian Institution]

Student: He wrote some poems about..

AG: Yeah, yeah. Well, everybody was writing poems about everybody else. The whole idea that O'Hara had, which everybody else shared, was expressed in a little manifesto called "Personism"- Surreal-ism, Dada-ism, Person-ism. Anything we do.. because we are poets, anything we do is poetry. So you can put down your laundry-list or what you had for breakfast and that's poetry. As a serious.. It was a serious Whitmanic-Williams move and based on the same principles as Abstract Expressionist painting, or the new painting, the new school of painting in New York, which was that the actual gestures of the body are poetry, that ordinary mind, ordinary life is poetic, and that friendship is poetic, and that whatever happens.. so that maybe to that group of people, or anybody who.. anybody who appreciates the beauty of his own life, or the ultimacy of his own life, I would say..


Student:  Also the conversational tone. He mentions the telephone and calls someone up on the telephone and writes a poem - the conversational tone is the way I always think of it, not as an art impulse. You talk in the tone as if you were talking to someone over the phone or having a conversation in the street or, you know, just directly talking to someone. He writes poem-conversations..


AG: Yes, right,  Person-ism, yes. And he wrote a little manifesto about that, saying that, for (Amiri Baraka) LeRoi Jones' magazine, Yugen in 1959 or (19)60. Yeah, phone-conversation is like a good typical example (of) what he would mean by direct..by our own lives are..

Student: I sometimes think of the whole New York School as this gigantic telephone (communication)..


AG: Yeah


Student: Is that O'Hara or Wieners you're talking about?

Zdjęcie Frank O'Hara
[Frank O'Hara (1926-1966)]

AG: Frank O'Hara

Student: And LeRoi Jones' magazine?


AG: Yeah - The Personism manifesto has probably been reprinted [it has] in his Collected work, his Collected Poems, or something.  It's in the Don Allen anthology, I bet [it is]. You know, in the back of the Don Allen anthology is a great set of essays on theory [Allen searches in the Don Allen for O'Hara's "Personism" essay] - Actually, it sticks in my mind, so it must be an important statement. Well, I don't know if this is it [it is] but it will say - "I am mainly preoccupied with the world as I experience it and at times when I would rather be dead the thought I could never write another poem has so far stopped me. I think this is an ignoble attitude. I would rather die for love but I haven' t. I don't think of fame and posterity (as Keats so grandly and genuinely did), nor do I care about clarifying experiences for anyone or bettering (other than accidentally) anyone's state or social relation, nor am I for any particular technical development in American lanuage simply because I find it necessary. What is happening to me, allowing for lies and exaggerations, which I try to avoid, goes into my poems.." - "What is happening to me goes into my poems" - "I don't think my experiences are clarified or made beautiful for myself or anyone else, they are just there in whatever form I can find them.What is clear to me in my work is probably obscure to others and vice-versa. My formal "stance" is found at the crossroads where what I know and can't get meets what is left of that I know and can bear without hatred. I dislike a great deal of contemporary poetry - all of the past you read is usuall quite great - but it is a useful thorn to have in one's side. It may be that poetry makes life's nebulous events tangible to me and restores their detail, or conversely, that poetry brings forth the intangible quality of incidents which are all too concrete and circumstantial. Or each on specific occasions, or both all the time." - But what he says, ""I am mainly preoccupied with the world as I experience it" ... "I don't care for fame" - I guess, the key statement is "What is happening to me goes into my poems" - "What is happening to me goes into my poems" - "What is happening to me, allowing for lies and exaggerations which I try to avoid..""What is happening to me  goes into my poems" - That's all, it's real simple - "What is happening to me goes into my poems". There's no intention beyond that, no save-the-world, no attempt to make it beautiful (he says), so it's really a very relaxed way of going about it. But sort of like Action Painting is sort of what's happening, you know, what happens when the guy gets in front of his canvas, that's all, it doesn't mean..it doesn't have to be a picture of anything, it's what happens when the guy does..starts messing around. It might be different every time. 


Student: What about the idea of poems as things. ["No ideas but in things"]  Is he also putting into his poem his thoughts as things that happened to him?


AG: Well, yeah, I don't think he would make so many distinctions (and) theoretical comments as I would - as I do! - and the only reason I do it is I'm teaching poetry..trying to say something about it, probably in vain. I mean, when you read something like that you realize how stupid most talk about poetry is. Because he's really just very straightforward about it, he's just having a good time writing down what he wants to write. Sometimes it's the essence of what happens and sometimes vice-versa, he says at the end. However, he dug.. I guess he was the coolest guy around, in that sense, the most relaxed, and the most friendly, in that sense "cool" (I don't mean "cool" in the sense "without feeling" because he was full of feeling, and friendly feeling, sociable, and so, social arbiter)...had a big apartment..later..had a big apartment on..East Broadway, I guess it was, across fromSt Brigid's Church... on 9th, between 8th and 9th, in the East Side [editorial note: Allen is getting his geography a little confused here - he means Broadway not East Broadway and Grace Church not St Brigid’s Church - the reference is to the O’Hara apartment at 791 Broadway, which he moved into following his move from 441 East 9th] - a loft where there were parties, occasionally and, for some reason or other, everybody..He was one of the real centers of attentiveness by everybody, partly because he worked for 
the Museum of Modern Art, so he was in connection with all the artists, and had been for a long time.


Student: You're talking of Frank O'Hara?
AG: Yes
Student: Oh, I thought you said John Wieners
AG: No, all this time Frank O'Hara.. Personism..
Student: I'm sorry. I left the room
AG: When you came back I was reading from his manifesto



[LeRoi Jones (Amiri Baraka)] 

LeRoi Jones (Amiri Baraka) was another center, a center of black and white culture mixing it up and at the same time editing an putting together all the different, disparate schools of poetry in one magazine calledYugen - and LeRoi Jones and Frank O'Hara both advised Don Allen in preparation of this book (The New American Poetry) - and I was another center putting together the San Francisco and New York and Beat connections and there were several others that Don Allen.., people that Don Allen mentions that were good advisers, people that knew everybody else. So, say, when Frank O'Hara and LeRoi Jones and I were all together at a party, and all our friends together, that really was a great phalanx of people, because LeRoi had.. there wasLangston Hughes from the (19)20's at his parties, and Ornette Coleman, andDon Cherry, and..well, all the modern musicians, the new wave of musicians of that 1960 time - (19)58-59-60. Then with Frank O"Hara, there would be all the painters and all his friends likeLarry Rivers, all the poets that were known as "New York School" here, Schuyler, James Schuyler, and others, and then, with me, there'd be some representation from (William) Burroughs or (Jack) Kerouac, or the San Francisco poets, (Gary) Snyder, (Philip) Whalen, (Michael) McClure (whom I knew but Frank didn't) and (Robert) Duncan. 

And Jones had a...  Evergreen Review was carrying all these people at this point, was printing.. Le Roi Jones' small, really, shitty-looking magazine Yugen (it was actually pretty, but shitty-looking from the point-of-view of the elegance of uptown culture likeKenyon Review or the Partisan Review). He had this marvelous little magazine, tiny thing, of about sixty, forty to sixty pages, where the first pieces of "Kaddish" were published, Peter Orlovsky's first poems were published, "Heaven", I think was published ((Jack) Kerouac's "Heaven" poem), (Charles) Olson "Maximus Poems" were there, new (Robert) Creeley poems were there, I think Denise Levertov also, (Robert) Duncan. So it was a tremendous range, all the poets being published for the first time, or published together for the first time, and not published in the regular quarterlies or reviews. So it was like a wide-open moment. 

Into that scene, say (1967) coming down from Boston with friendship with Olson and with Creeley, with connection to Frank O'Hara, showing up at the Cedar Bar with.. where I showed up that night with Peter, was John Wieners and Ed Marshall, and I had no idea who Wieners was or anything, except I'd looked at Ed Marshall's long poem, written I think on a.. some kind of green or pink onion skin (paper), "Leave The Word Alone", and it really astounded me because it was this whole thing about his family. It was completely personal and direct and tragic-sounding. And he said that Creeley was going to publish it in Black Mountain Review number seven (which he did), which was the last issue of Black Mountan Review, of which I was the West Coast editor, bringing in work by Kerouac, Huncke, Burroughs, Whalen and myself. So, then 1958-9, back from Europe, visiting San Francisco, John Wieners was living at the Hotel Wentley, where also Bob LaVigne, the painter friend of Peter's and mine.. (who was like a painter who was involved with a lot of the poets in San Francisco) (lived). They were having tragic love affairs and living the life of an artist's bohemian life and being companions and, you know, working together, painters and poets, in this little htel on Polk..Polk Gulch, as it is called, Polk and Sutter, San Francisco, above a Fosters Cafeteria, where originally I had met Peter and Lavigne, and where Neal Cassady hung around a lot. So this is now several years later, from (19)54 to (19)59, so there's quite a bit of water under the bridge already. Wieners has come out and lived in San Francisco and become part of the whole San Francisco cultural..on the San Francisco cultural stage, and so he wrote.. he was already somehow tragic and lost (sort of like Hart Crane or someone) and I remember that he came over to McClure's house (McClure living on Fillmore Street in the black neighborhood) and read aloud " The Hotel Wentley Poems", which were still unpublished (which I taped! - so I still have a tape of it somewhere) and it blew my mind, (it) made me cry, because it was just so beautiful and so...helpless (some kind of vulnerable helpless.. but also so modern!  completely personal and completely modern with some of the underground Romantic scene of San Francisco there...junkie scene, making out with blacks, with black queens in Chinatown sort of, like something that had never been done really, really down...  I guess it was the hip element that..that is grass and negros and Chinatown and whatever.. junk and.. that interested me, because it had all that apparatus of.. or all that stage scenery, but the heart involved was so beautiful and so heart-broken - heartbroken. So, here's a copy of "The Hotel Wentley Poems"...



AG: (to student) - Where did you get it?


Student: (The) library


AG: Oh 


Student: I was really surprised that it wasn't on reserve


AG: Well, it's supposed to be. This is second edition. First edition, December (19)58. I guess, maybe he read it from this book, put together by Auerhahn Press with..at that time, with drawings by Robert Lavigne, a drawing by Lavigne of John Wieners as he looked at that moment, when he was writing those poems. So, Wieners was writing these poems in the Hotel Wentley and Robert LaVigne was drawing him, and so one of the poems is called 

"A poem for painters" written while this drawing was being made. 

So, the first edition, revived, goes back to the original text - "A poem for record players" -"The scene changes/  Five hours later and/ I come into a room/ where a clock ticks./ I find a pillow to/ muffle the sounds I make/I am engaged in taking away/ from God his sound./The pigeons somewhere/ above me, the cough a/ man makes down the hall,/ the flap of wings/ below me, the squeak/ of sparrows in the alley./ The scratches I itch/ on my scalp, a landing/ of birds under the bay/ window out my window./ 

- er, this is the original script - in other words, there's some repetitions and faults, and so he decided to go back for his second edition to the original manuscripts and have it absolutely exact.. so does that correspond..? it's not in the Don Allen..(anthology)? The Don Allen will have probably the early edition.

Student: What's it called again?


AG: Well this is.. its part of "The Hotel Wentley Poems" but (we're) not there yet. There's a number of them - See I have one.. what page are you?


Student: (refering to the Don Allen pagination): 365


AG: (leafs through book) - Yeah we'll get to that. Ok - "..the landing/ of birds under the bay/ window out my window/ All dull details/ I can only describe to you,/ but which are here and/ I hear and shall never/ give up again, shall carry/ with me over the streets/ of this seacoast city,/ forever; oh clack your/ metal wings, god, you are/ mine now in the morning/ I have you by the ears/ in the exhaust pipes of/ a thousand cars gunning/ their motors turning over/ all over town" - Sort of like, he must have been high on amphetamine or something. It's like dawn and some kind of apocalyptic event :"..clack your/ metal wings, god you are/ mine now in the morning/ I have you by the ears/ in the exhaust pipes of/ a thousand cars gunning/ their motors turning over/ all over town" -  There's some slight element of, like, gangster paranoia somewhere in the middle of that.


"A Poem For Vipers" - "I sit in Lees. At 11.40 PM with/Jimmy the pusher.." - and it's the first time I ever saw anybody use "Jimmy the pusher" in a poem, I mean like, real, a real talk somehow - "At 11.. ""I sit in Lees" - that's a Chinese restaurant, I think - " At 11.40 PM with/Jimmy the pusher. He teaches me/ Ju Ju, Hot on the table before us/shrimp foo yong, rice and mushroom/chow yuke." - "chow yuke" is a standard San Francisco.. chopped vegetables and meat - "Up the street under the wheels/of a strange car is his stash - The ritual./We make it. And have made it/For months now together after midnight./Soon I know the  fuzz will/interrup, will arrest Jimmy and/I shall be put on probation./The poem does not lie to us. We lie under/ its law, alive in the glamour of this hour/able to enter into the sacred places/of his dark people, who carry secrets/glassed in their eyes and hide words/ under the coats of their tongue  - "under the coats of their tongue" is strange -















[John Wieners in Boston, MA, 1997 - Photograph c. Jim Dunn]

And then, "A poem for painters" -"Our age bereft of nobility/How can our faces show 
it?/ I look for love./ My lips stand out/dry and cracked with want/ of it.? Oh it is well./ Again we go driven by forces/we have no control over. Only/ in the poem/comes an image  - that we rule/the line by the pen/ in the painter's hand one foot/ away from me.." - that's that drawing he was making - "Drawing the face/ and its torture./ That is why no one tackles it/ Held as they are in the hands/ of forces/they cannot understand/That despair/ is on my face/and shall show/ in the fine lines of any man/ I held love once in the palm of my hand./ See the lines there." - I like that line "I held love once in the palm of my hand/ See the lines there" -  "How we played /its game, are playing now.."..."Showing light on the surface/ of our skin, knowing/ that so much flows through/ the veins underneath./The cheeks puffed with it/Our pockets full" -  "The cheeks puffed with it/ Our pockes full" - not quite sure what that means, but I always liked it - "Pushed on by the incompletion/ of what goes before me/I hesitate before this paper/scratching for the right words/Paul Klee scratched for seven years/on smoked glass to develop/his line, Lavigne says: Look/ at his face! he who has spent/all night drawing mine./ The sun/also rises on the rooftops/beginning with violet/I begin in blue knowing why we are cool.." -  ("I begin in blue knowing why we are cool", that's the original, the revised version - "I begin in blue knowing what's cool") -  
"My middle name is Joseph.." -  now this is the Boston lace-curtained Irish visionary - "My middle name is Joseph  and I/walk behind a ass on the way to/what Bethlehem, where a new babe is born/Not the second hand of Yeats but/first prints on a cloudy windowpane/ America you boil over.." - So, you know "the second hand of Yeats"? refering to the poem "The Second Coming". Everybody know that? Anybody not know Yeats' poem, "The Second Coming"? Raise your hand if you don't -

"Turning and turning in the widening gyre/ the falcon cannot hear the falconer/Things fall apart/The centre cannot hold/Mere anarchy is loosed upon the world/ The blood-dimmed tide is loosed, and everyehere/ The ceremony of innocence is drowned,/The best lack all conviction, while the worst,/ Are full of passionate intensity." -  Well, "the worst/ Are full of passionate intensity",  like the moral majority - Surely some revelation is at hand/ - Surely the Second Coming is at hand.." [Allen continues reading Yeats' poem] - "That twenty centuries of stony sleep/Were vexed to nightmare by a rocking cradle" - "rocking cradle" (Christ) - "And what rough beast, its hour come round at last,/Slouches towards Bethlehem to be born?."


So that's Yeats' most famous poem, prophesying.. the neutron bomb or somethin' - So, "Not the second hand of Yeats/ but first prints.." - P-R-I-N-T-S  or P-R-I-N-C-E, take your choice (but it's spelt P-R-I-N-T-S) -"first prints on a cloudy windowpane"..."America you boil over".. "Oh  stop/ up the drains/ We are run over..".. "Let  us stay with what we know./That love is my strength, that/ I am overpowered by it"....[Allen continues, reading the entire poem] -  "At last. I come to the last defense/ My poems contain no/wilde beestes, no/lady of the lake, music/ of the spheres, or organ chants./ Only the score of a man's/ struggle to stay with/what is his own, what/lies within him to do./ Without which is nothing./And I come to this/knowing the waste/leaving the rest up to love/and its twisted faces,/my hands claw out at/only to draw back from the/blood already running there."

This (is) the end of the version in Don Allen, and (in the revised version) there's two more lines - Oh come back, whatever heart. you have left, It is my life/ you save. the poem is done." So that's June 18 (19)58.

Student: What is that ending?


AG: In the Don Allen anthology?


Student  "..h
ands claw out at/only to draw back from the/blood already running there."

AG: Oh - well let's see - Well, "Without which is nothing... And I come to this, knowing the waste, leaving/ the rest up to love.." - However, regardless of that, he had.. he was making out with hustlers and guys that were rejecting him, people who were already wounded, people that were so messed up, like, junkies, among others, so that he's "leaving the rest up to love" but then he's also.. his experience of love has been "twisted faces" and his hand clawing out for love - "only to draw back from the/ blood already running there". So that- sort of like making out with already-wounded.. wounding and making out with already-wounded lovers, in a sort of heavy gay scene which is described actually in the next poem.  Well, not.. let's see now - next is " A poem for early risers" - yeah..well, it's another one that's not in the Don Allen anthology, I think, let's see. . 


[to be continued... tomorrow. Audio for the above is available here, starting at the beginning and ending approximately forty-one minutes in]


Allen Ginsberg on John Wieners - part two

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[John Wieners, Gloucester, MA. 1999 - Photograph c. Jim Dunn]

Allen Ginsberg on John Wieners part 2 - continues from here 

[Allen continues reading from "The Hotel Wentley Poems" beginning with a reading from  "A poem for early risers"] -  "I'm infused with the day" - Well, this is for people who've been up all night, "early risers" means people who've been up all night or (are) getting up at five a.m and going out to score on the streets for either ass or cock or junk or whatever, amphetamine(s).. - "I'm infused with the day/I'm out with it" - and then there's a side-note "even tho' the day may destroy me/Placating it/Saving myself"...."from the demons/ who sit in blue/ coats, carping/ at us across the/ tables.." -  a couple of cops, maybe paranoid about the cops - "I'm infused with the day/I'm out with it/even tho' the day may destroy me/Placating it/Saving myself/from the demons/ who sit in blue/ coats, carping/ at us across the/ tables. Oh they/go out the doors./I am done with them I am done with the faces I have seen before./ For me now the new./The unturned tricks/ of the trade: The Place/ of the heart where man/is afraid to go" -  That's a really great proposition - "For me now the new./The unturned tricks/ of the trade: The Place/ of the heart where man/is afraid to go/  It is not doors. It is/the ground of my soul..."... "..Oh put down/the vanity man the/old man told us under/the tent. You are over-/run with ants" - He's quoting (Ezra) Pound's Pisan Cantos - "Man lines up for his/ breakfast in the dawn/unaware of the jungke/he has left behind/in his sleep..."..."...Like/ the clot my grandfather/ vomited/months before he/ died of cancer, And/ spoke of later in terror.".  That's a great ending. I like "the clot my grandfather/ vomited/months before he/ died of cancer, And/ spoke of later in terror."

Then, the next one is "A poem for cocksuckers" - I guess they left it out ofthe Don Allen anthology! - It's a great series. He wrote it all in the same night or the same week - "Well we can go/ in the queer bars w//our long hair reaching/down to the ground and/we can sing our songs/of love like the black mama/on the juke box after all/what have we got left./  On our right the fairies/giggle in theit lacquered/voices & blow/smoke in your eyes let them/it's a nigger's world..." - [Allen giggles]  ".. let them/ it's a nigger's world.." -  it's so down! - it's really great! - I haven't looked at this in years, a couple of years, because I generally look at it in the Don Allen anthology, but the whole book is amazing! - "On our right the fairies/ giggle in their lacquered/ voices & blow/smoke in your eyes let them/it's a nigger's world/and we retain strength,/The gifts do not dersert us..".."..Take not/ away from me the small fires/ I burn in the memory of love."

And then a poem for his boyfriend who had left him , "A poem for the old man" - "God love you/ Dana my lover/ lost in the horde/ on this Friday night/500 men are moving up/ & down from the bath/room to the bar." - but he's talking.. this is in his Boston accent, it's "God love you, Dana my lover, lost in the horde on this Friday night, 500 men are moving up & down from the baa-th room to the baa" -  "from the bathroom to the bar" 

Student: To the baah

AG: To the baah, yeah - "Remove this desire/ from the man I love,/Who has opened/ the savagery /of the sea to me" - because he's a.. it's a really sado-masochistic relationship they got there/ See to it that/ his wants are filled/on California Street/Bestow on him lar-/gesse that allows him/peace in his loins/ Leave him not/ to the moths/Make him out a lion..."..."Strip from him/ hunger and the hungry/ones who eat in the night" - it's a really bitchy poem, in a sense. I mean, you know, he's putting down "the hungry ones", like himself! - "The needy & the new/found ones who would weigh him down.."... "I occupy that space/as the boys around me/choke out desire and/drive us both back/home in the hands/  of strangers." -  So it's also like this ambivalence, sort of tragic view of like a crowded Irish Catholic Boston or Cambridge, Boston queer bar, you know like a big queer bar with five hundred people in it, they're all grasping and clawing at each other, and him lost, and him, you know, sort of picturing  his boyfriend as the sort of Genet hero in the bar there that everybody wants.

Student: Was it Boston or San Francisco?.. California Street..


AG: No, well, maybe San Francisco then. Yeah, California Street you're right, you're right


Student: ...The old Boston morality..


AG: Well, I don't know. I'm confused whether... Dana, the guy that he's talking about, Dana in "God love you Dana, my lover" I don't know if he was from Boston or San Francisco. I think maybe it was his Boston boyfriend, maybe came out to San Francisco and then started in the big scene, cut out. Yeah, youre right I never noticed that, never got that straight 


Then, does anybody know Edvard Munch's paintings?


Student(s): Yeah - "The Scream"


AG: Okay."A poem for museum-goers" - So he's building up into being in an Edvard Munch painting..  [Allen -  to the class] How do they sound?  They're very moving to me.


Student: Scary to me


AG: It's so sincere - and vulnerable, you know, like completely real, the language is very real, and.. but it's..that funny stuff about "it's a nigger's world", and stuff like that - Like, no other poet would write that frankly - or that ..what, I don't know.. It's got a certain tone that's both Romantic and outrageous, and at the same time campy, and at the same time totally tragic. You know, it's the essence of camp, and tragedy, and Americana, and On The Road, all mixed up in one. It's amazing - "I walk down a long/ passageway with a/ red door waiting for me./It is Edvard Munch.." [Allen reads  "A poem for museum-goers" in its entirety"]..."Now the season of/the furnished room. Gone/the Grecian walls & the/cypress trees,/plain planks and spider/ webs, a bed/only big enough for one,/it looks like a/casket.Death/death on every/wall, guillotined/and streaming in/flames". - 
So, "6/21/58" - was is it? that's June 21st (19)58 - previous one, "God love you, Dana my lover" was June 2oth, The "poem for cocksuckers" is June 2oth, "poem for early risers" is June 2oth, The "poem for painters" is June 18th.

Student: Gee, he was in a bad mood in those days!


AG: and.. the "poem for record players" is June 15th. Well, I don't know if it was such a bad mood. He certainly was making things, writing, he was certainly in his utter pitch of reality, you know, prophetic of his own life.


























[John Wieners in Jack Powers' Joy Street Apartment, Boston, 1997 - Photograph c. Jim Dunn]

Student: Did he think of himself first and foremost as a poet? 

AG:  Yes


Student: Well, I wonder how that contrasts with what your friend said that he saw, like up in Boston at that reading where he was withdrawn and all


AG: Oh, that's a.. Well, it was a poetry reading where he.. I think he was the guest of honor,where he was reading.. Well, it's just that he was out of.. he was reading what he'd written but seemed to be out of contact. I have to bring that letter in.. It was very..


Student  Was that from (some young guy)?


AG: No, a guy from many years ago, James Waring, Waring. In fact, he sent.. this guy, he's a magazine editor now, send me a little announcement asking for manuscripts which I  pinned up on the bulletin board.. [Allen resumes reading] - 
"A poem for the insane" - "The 2nd afternoon I come/back to the women of Munch/Models with god over/their shoulders, vampires,/their heads are down and/blood is the water-/color they use to turn on" - "blood is the water-/ color they use to turn on" - do you know these poems, by the way?

Student: No I don't. You ever see Edvard Munch, the movie that they made?

AG: Actually,  I did, long ago.  At this point Edward Munch is..
Student: It's supposed to be playing in Denver
AG: I guess I don't remember if I saw that movie or not
Student: It's a long movie isn't it? four or five hours? 
AG: Of Munch?
Student (1) : I think they had a show at the Denver Art Museum of Munch
Student (2): Was there a reading there? 
Student (1) I didn't go to see it but...


[Allen resumes reading] - "Models with God over/ their shoulders", this is the second poem from Munch, is that in the book? (in the Don Allen anthology)  "Models 
with god over/their shoulders, vampires,/their heads are down and/blood is the water-/color they use to turn on" - "blood is the water-/ color they use to turn on"  - I love that line! -  "The story is not done/ There is one wall left to walk, Yeah/ Afterwards - Nathan/gone, big Eric busted,/Swanson down. It is/ right, the Melancholy/on the Beach.." - Well, this is a picture of North Beach 1958 - Nathan was a painter, a young kid at  the age of 2o who was a sort of ...he and Meltzer, Dave Meltzer, and Richard Brautigan were all friends, you know, and Nathan was a painter as good as Meltzer and Brautigan were poets and they were real companions and something happened to Nathan. He had his paintings up in Vesuvio's, across the street from City Lights bookshop, the Vesuvio bar, sort of a Bohemian bar they had paintings and he had his paintings there and they were amazing so it looked like there was going to be a generation of young kid painters coming up after the North Beach poets and then, within a year or two, he was in some local nut-house in.. I don't know what happened to him, but here - "Nathan/gone, big Eric busted,/Swanson down. It is/ right, the Melancholy/on the Beach.."..."Melancholy carries/a red sky and our dreams/are blue boats/no one can bust or/blow out to sea./We ride them/and Tingel-Tangel/in the afternoon"' - "our dreams are blue boats/ no-one can bust" - funny!

Student:  How old.. I was wondering was he when he wrote these in 1958?

AG: Twenty-five?  I don't know..
Student: 1934
AG: (19)34, so what would he be?.... where do you find that?
Student: It's in the (table of) Contents
AG: ok - from (19)34 to (19)59-58 - 24? - Just 24! - 24? - 24 or 34? - no kidding! that young to be that good - 34, just gone through menopause!...no, 24-years old! that's what's so remarkable. It's like Keats or something at that age

Student: I heard a story that he went to some political convention in drag

AG: Yeah, (19)72 - No, not in drag, he came in a bathing suit! - to the... He came out with the gay..see, there's this group of..the Gay Lib group in Boston calledFag Rag ...with Fag Rag newspaper, who actually published his most recent book [Behind the State Capitol or Cincinnati Pike, Good Gay Poets (1975)] and they brought this book down to the 1972 Miami Convention. They had just printed it, published by Fag Rag of Boston. Wieners came down with Charles Shively, who's the editor, and a couple of other gay cats from Boston who came as part of (a) gay delegation to the protest movement, you know the Yippie Protest movenent with Abbie Hoffman and Jerry Rubin were there and then Ed Sanders had been there for months preparing it. Jeff Nightbyrd was there, Jeff Nightbyrd, who sits in the class was there and saw him..(they) all got busted together.
Student: He told the story (about) when  Peter (Orlovsky) went to court and he told them he was a farmer in New York.
AG: Yeah. Judge didn't understand him, he was from Miami

AG: So next is [returning to Wieners' poems]  1959, a year later, a poem..


Student: What is "tingle tangle"?


AG: Some kind of European..some European melancholy...I don't know exactly, it may be a title of a painting but I always associate it with ... a musical sound like a music box..

Student: Because there's a famous cabaret guy in Germany [Friedrich Hollaender] who had a place called Tingle Tangle..

Student (2): I just thought that was a thing, "tingle tangle", just a rhyming word..

AG: Lets write him and ask him. Can someone write Wieners and ask him what "tingle tangle" means? - 24 Joy Street, Boston - who..who wants to?


Student: I will.

AG: Ok. If we have any messages, we should send it - "A poem for trapped things" - (In fact, it might be nice ifeverybody sent him a note).

Student: He'd appreciate it?

AG: Who knows what would happen. (Maybe) he'd hitch-hike out here?

Student: In his bathing suit!   

Student: How long has it been since you've see him?

AG: Oh, I saw him about two years ago..Whenever I'm in Boston, I make a point to visit ..Pardon me?

Student: So I heard (these days) that he was really depressed..

AG: Yes he is, as I was just saying

Student ..(and that)..no one could really deal with him, and...

AG: Not quite. There's a fellow there named Jack Powers, who's a big strong guy, who's a social worker who ran a bookstore, Stone Soup. So Jack sees him all the time. Jack is his sort of  like connection-guardian-angel - so Jack, so that's how it relates.

Student:   ....a fabulously sweet guy...

AG: Yes, it was the Stone Soup Gallery.

Student : (The(re) was (this) guy who..) he used to run readings there, (he) was a student here [Naropa] in (1977) or something....(I) read  in one of the newsletters about (him)...

AG Yeah, Pearson..his name was Pearson..who knew John, and..  Actually, the last I... 

Student: Did Bernadette (Mayer) do anything up there?.

AG: Bernadette Mayer? - I don't know.. Up in Boston?

Student - She was in the town of  Lexington or something [Lenox] with her husband Lewis Warsh?

AG: Yeah, but I don't know if they came into Boston to do anything.  They were living nearby, I guess. They had a..

Student: I was just wondering if they did anything to..

AG: I don' t know if they were there permanently. I think they're in New York now.

Student: They're in New York now.

AG (as one of the students leaves):  I wanted him to hear that poem for trapped things. He might miss it - Yeah, he'll be back..



Student: Did he meet...did  (John) Wieners meet (Jean) Genet?

AG: No, I don't think so. Genet was at the (19)68  Convention.


Student: Yeah. So was he arrested in that madhouse?

AG; Wieners?

Student: No, Genet

AG: No, he wasn't arrested. He got out, easily.

There is some account by Wieners of his meeting (Charles) Olson, I think, in the back of the (Donald Allen)  New American Poetry anthology -  [Allen begins looking] ...let's see, I should've looked this up before -"From a Journal"

Student: (page) 445?

AG:  426 - oh, wait a minute, 445, he's got a biographical statement, yeah that would probably give it - yeah, that's good, it's biography:

"Born on January 5  1934, I graduated from Boston College in June of 1954 and attended Black Mountain for the Spring of 1955 and the Summer of 1956. In between I worked in the Lamont Library in Harvard, until the day that Measure #1 arrived in Boston and they fired me" - he edited a magazine called Measure himself -

  

Student: Allen, he was a student of Robert Duncan, I believe
AG Pardon me? - 
Student:  I think he was astudent of Robert Duncan
AG; Well, he was friends with Robert Duncan
Student: Well, no, because, I remember, he was at Black Mountain, and..
AG: Uh-huh, so he studied with Duncan at Black Mountain
Student: I'm not sure but I think so
AG:  Yes.  He had a magazine called Measure, and then actually, 1959, we had a giant Measure benefit in.. to raise money for Wieners to put out a second issue (edition) of  Measure, and we raised quite a bit of money. Everybody read.  (Robert) Duncan, I think I read,  (Gary) Snyder, it was a big..  (Lawrence) Ferlinghetti - "Monster reading", I think it was called for Measure - the biggest reading we had in San Francisco, everybody was there, (Michael) McClureLenore Kandel, and I don't know who else - And I don't think it ever got put out, but everybody was satisfied that John had some money - 

[Allen continues reading from John Wieners' biographical  statement] - "I first met Charles Olson on the night of Hurricane Hazel, September 11, 1954, when I "accidentally" heard him read his verse at the Charles St. Meeting House They passed out complimentary copies of the Black Mountain Review #1, and I ain't been able to forget" -

 So, "A Poem for Trapped Things"  which, now I think, at this point..they.. around this time, ( I'm not sure when it was exactly).. everybody, for some reason or other, around the Hotel Wentley, tried Asthmador , tried making a tea of Asthmador - anti-asthma herbal medicine, which had datura in it, and they all went completely out of their skulls for several months..and I don' t think John has ever been the same since. I think that actually scrambled his brains. It was the Asthmador.. I heard about that later, but he complained at the time that he couldn't... you know, he wasn't able to see, or something, or his nerves  were shot, it broke.. his nerves were shot, it broke his body.

Student: What is datura?

AG: Datura?  Stramonium I think is the active ingredient  Stramonium, or something like that.

Student: ...Jimson weed..

AG: Locoweed

Student: Oh - The first time they ever discovered Jimson weed in Jamestown. All the people in Jamestown were trying to find something good to eat and they ate some of the Jimson weed and they were in another state for almost two.. two or three weeks, and they didn't remember anything about what they did, or anything, and...

AG: Well, yeah, this happened.. I seem to remember when this happened ..(it was) a long period of time.  I don't know if Wieners ever was the same. I don't know what year that was. I think it was (19)50.. between ..either.. I dunno whether it was after Wentley? It might have been the early (19)60s, but I...
  
"A poem for trapped things" - I think this is a.. I love those early poems but this seems to be the ultimate essence both of imagistic poems and this Romantic tragic business  - "This morning with a blue flame burning/ this thing wings its way in/Wind shakes the edges of its yellow being/Gasping for breath/ Living for the instant./Climbing up the black border of the window/Why do you want out"...."I watch you/ all morning/ long./ With my hand over my mouth," - So I don't know what kind of state he was in then. He was living in a big old wooden Victorian frame house in upstairs second-floor back room with big huge bay windows overlooking, like, San Francisco roofs and fog, in the house of a painter, Wally Berman, who's quite a famous painter now. He moved to the West Coast and lived in Los Angeles, Topenga Canyon, a friend of George Herms, who had a combine showing here [at Naropa] at the Kerouac exhibit(ion) [an art exhibition held in conjunction with the Jack Kerouac On The Road Conference at Naropa earlier that year, in the summer of 1982] . So Berman is considered in Los Angeles one of the..sort of  indigenous interesting artists from..of that period from the West Coast and specifically in Los Angeles where there are very few real painters. I mean, there are a lot of daubers but there are few, like, spiritual painters. So.. and he put out a magazine called Semina, which was a little collage magazine, cardboard covers glued together with the pockets on the insides, in which single poems, single sheets of paper, drawings or art works were put, maybe 20 0r 30, and he'd send them out free, 200 copies, to his friends. It's called Semina. And this probably came out in that. But anyway,Wieners was living with.. in that.. with Wally Berman's family, Wally (had a) couple of kids  -
so.. one of the original women who dressed in granny dresses


[Wallace Berman's cover for Semina 3 (the issue which featured John Wieners'"Peyote Poem")]

Now the next is, continuing his work. Well, let's see there are other poems, earlier poems in San Francisco. It's sort of interesting..visions of San Francisco - "San Francisco" -  night/ clubs.  The band (all black) starts at six/ A M to swing, A/-round nine, big Eric on guitar/ strings.." -  ("big Eric" that must've been a musician) -   "big Eric on guitar/ strings/ blue, B girls at  bar/ sit hair bleached/ silver,/ white,/ "I don't know no/body and nobody knows me...""... "/ Dancing Irene lost her/ Slippers, black slacks droop, and gimp/glides a swan just/her and colored cat all over the floor/ Everyone knows/ she is the key to open/ your golden store/get us a cab even to ride/home in with/out a red cent./ Our eyeballs are cool,  I say "Look, man/ it's the sun " - A little picture

Student: What year was that?

AG: (19)58? -  I guess before (19)58   - "'Peyote Poem'"- "With no fresh air in my lungs/in the middle of/the night, inhabited by strange gods/who/ are they, they walk by in white trenchcoats/with pkgs. of paradise in their pockets/ Their hands" - Amazing, how he makes everything so romantic - and then there's "The Hotel Wentley.." - Those were a little bit before, (19)59 -- "238 Cambridge Street: An Occasional Verse" - so in (19)59, he went back to Boston - "We're back on the scene/ again with linoleum floors/and Billie H blowing the blues.." "Billie H" (Billie Holiday).."fine & mellow it is with PG/cooking in the kitchen" -  "PG" ("paregoric cooking in the kitchen" - paregoric, you know, you give for babies, you cook it down - well you cook it down and so the camphor does't blow.. no, actually, it forms a crust on the top. Then you stick a needle through the crust of camphor and then you draw out the liquid and it's pure opium, tincture of opium. I've seen (William) Burroughs do it many a time. - "We're back on the scene/again with linoleum floors/and Billy H blowing the blues/fine & mellow.." - you know "Fine and Mellow"? Billie Holiday song? -  [Allen recites the lyrics, or, at least, his remembrance of them] -"My man don't love me.. My man..  My man don't love me, treats me awful mean,/ My man he don't love me, treats me awful mean./He's the meanest man that I've ever seen./ He wears hot drape pants, stripes are really yellow/ He wears hot drape pants, stripes are really yellow,/ but when he starts in to love me, he's so fine and mellow" - Billie Holiday. So - "We're back on the scene/again with linoleum floors/and Billy H blowing the blues/fine & mellow it is with PG/cooking in the kitchen,/Jennifer walking through the rooms/"What are you talking about/You know you're gonna gt some", -/She says to Melly but/it ain't the same, baby/her old man's in Mexico and mine/ mine's a square in/San francisco while we/haunt an old city on the Atlantic/waiting in the night for a fix" - "haunt the old city on the Atlantic" -  "January 6th Nativity 1959".

[Allen is briefly distracted by a knock on the door - Who's there?  Yes? What's up? They're good.] 


" As Preface to Transmutations"Transmutations. This is now again, what?, 1959 - "How long ago Steve, it was.." (this is Steve Jonas, another poet, of the same ilk, same street, sort of gay street poet-junkie-thief -  thief - Steve Jonas, a thief, who I think by now may be dead. by then 1959 (maybe) was dead.  "How long ago Steve, it was/we walked along Arlington Street/throwing words to the wind/Before junk, before jail, before/we moved to the four corners/of the world.." - So this is the old gang in Boston before, so it's "how long", this, a memoria poem - "How long ago Steve, it was/we walked along Arlington Street/throwing words to the wind/Before junk, before jail, before/we moved to the four corners/of the world/And you lived on Grove Street/and wrote poems poems poems/to the Navy, to Marshall, to/Boston Common.."..."Easter Sunday March/28, 1959, I look out now a back window/in San Francisco. 6 months in Danvers/How can the poem/shine in your eyes in those dark cells? - " - 6 months in Danvers"  oh yeah, busted, I think, for robbery and so Danvers jail  - "How can the poem/ shine in your eyes.. ".."The street is long./It runs to the ends/of the earth./We are still/on it./But cannot see/or hear each other./What traffic drowns out/ all our notes". - So, 1959.

Jack Spicer's postcard, mid-1950s, announcing a reading of 5 Boston poets: Jack Spicer, Stephen Jonas, John Wieners, Joe Dunn and Robin Blaser
["Nothing has been so good since Bird died"- postcard/announcement from Jack Spicer - Charlie "Bird" Parker died March 12, 1955]

 "Act #2"- "I took love home with me,/we fixed in the night and/sank into a stinging flash..  - He's gone and he's taken/ my morphine with him" -  He's gone and taken my morphine with him! - and then the next line is even nicer -  "He's gone and he's taken/ my morphine with him/ Oh Johnny.." (like Marlene Dietrich  [dedicatee of the poem] -- Oh Johnny du bist ein ..dun-da-da.. - I don't know if you know that song? ... "Oh Johnny. Women in/the night moan yr. name".. "Women in/ the night moan yr. name" - that's a great ending.  June 8 (19).. 1959. So, a year after "The Hotel Wentley Poems", exactly a year after "The Hotel Wentley Poems"

Student: Doesn't seem like he's improved

AG: No but he's out on the street and he's writing

Let's see what else. Some funny stuff here. He's got very good sound poems too, by the way - a book of prayers?,  a book of love poems to "Spanish Johnny"? - so let's see.. That's a very strange, a very brief one, like that -  "The Pool of Light" - "A shimmering fern leaf, two upraised em-/blems of gold/lift an instant trem-/blings revolved/ O Switzerland, O Schon castle, o land across/the Rhine" - So a little European day-dream in the middle of.. 

Now "Acts of Youth", that's really a.. this is a great formal tragic summary, in regular verse form, practically. I don't think it rhymes but it looks like quatrains, and it looks like more disciplined and it looks like more, you know like  formal poems - " [Allen reads the whole poem, audibly moved, by the end] - "(And) with great fear I inhabit the middle of the night" - great beginning! -"And with great fear I inhabit the middle of the night/What wrecks of the mind await me, what drugs/to dull the senses, what little I have left,/what more can be taken away.."....."am I a marked man, my life to be a lesson, or experience to those young who would trod/ the same path, without God/ unless he be one of justice to wreak vengeance/ on acts committed while young under un-/due influence or circumstance.." - "wreak vengeance/ on acts committed while young under un-/due influence or circumstance.."! - "Oh I have/ always seen my life as a drama patterned/ after those who met with disaster and doom/Is my mind being taken away me./ I have been over the abyss before What/ is that ringing in my ears that tells me/ all is nigh, is naught but the roaring of the winter wind/Woe to the homeless who are out on this night/Woe to those crimes committed  from which we can walk away unharmed." - and then Part 2  - "So I turn on the light/And smoke rings rise in the air/Do not think of the future, there is none. But the formula all great art is made of./ Pain and suffering. Give me the strength/ to bear it, to enter those places where the/ great animals are caged. And we can live/ at peace by their side. A bride to the burden that no god imposes/but knows we have the means/to sustain its force unto the end of our days./For that is what we are made for, for that we are created/Until the dark hours are done./ And we rise again in the dawn/Infinite particles of the divine sun, now/worshipped in the pitches of the night."

- I don't know if I believe that - it's really too much actually, quite beautiful, from such a darkness - it's an amazing statement - It's very..  it's sort of corny, almost, but classic - it sounds classic, and it's.. (the) first time I saw it, I thought, amazing, but, it sounds a little corny, but the more I look at it - and we rise so.. "Give me the strength/ to bear it, to enter those places where the/ great animals are caged. And we can live/ at peace by their side. A bride to the burden that no god imposes but knows we have the means/to sustain its force unto the end of our days./For that is what we are made for, for that we are created/Until the dark hours are done./ And we rise again in the dawn/Infinite particles of the divine sun, now/worshipped in the pitches of the night"- that's the most Romantic statement of the 20th Century, practically, the most..sort of like (Percy Bysshe) Shelley

Following that What/ is that ringing in my ears that tells me/ all is nigh, is naught but the roaring of the winter wind/Woe to the homeless who are out on this night/Woe to those crimes committed  from which we can walk away unharmed."
 It's.. powerful. I don't know if anybody else writes with such intense grief.
















[John Wieners, Harvard Square, Cambridge, MA., 1997 - Photograph c. Jim Dunn]

Romance , here's a poem called..Romance.. "Tuesday 7.00 PM."- oh this is the romance of New York, (this is) Wieners digging the "Rhapsody in Blue" aspect of New York, like the Fred Astaire-Hollywood New York ("There is majesty in rose light/ across the sky/at twilight on Tuesday/afternoon/ When November night/ comes up from Central Park/ to surround empire towers/around dark/ trees wave/ in cold breeze/And I am lost beside the furs and homburgs/On Fifth and Fifty-Seventh Sts."..."Haven of the heart/this is that new start/ long at last waited -/  journey to the stars, who stay/at the Chatham, Gotham and Pierre./ They stare from block of walled-in gardens/to penthouses with  glare of yesteryear/hard-eyed maidens scan the air/for slope of easy gentleman there.."..."Cased on windows hang the hopes/ of the poor in damask silk/ Yet blue for the touch of your hand/  who could lead me to the grand ballroom/and library bookcases cased in oak,/my dreams are there and pledged to/ be fulfilled as they go up in smoke." -  That's very clear, I guess. So, about now, he wants, not only  a hustler for a lover, but he wants a billionaire hustler who could lead him by the hand and let him live in the (Hotel) Pierre!

Student:... Was he (admired by) anybody in New York?.. I know that..
AG: Well, he was living in New York for quite a while.
Student: But I mean, (by) the (artists of the) New York School?
AG: Well, Frank O'Hara.  Everybody.  Yes, that was the whole point. Frank O'Hara said he was the great gay poet of the century
Student: Well, I thought that..
AG: Well yes, he's just so old (fashioned).  But Frank liked him and gave him..
Student: His other poems. that you read earlier, it seemed like he was writing a poem off of his feelings of, like, Munch (Edvard Munch)
AG: Just those two.
Student: So he was in touch with paintings
AG: Oh, yeah - yeah  tho' more of an older art. He wasn't up on the latest, except with Wally Berman and the San Francisco painters, and I guess the..
Student: Well, at Fosters cafeteria(it) was...mostly (it was) painters there..
AG: Yeah, of course, there were painters, but they were all failure painters, the ones that he knew, see there wasn't like the great painters of the New York School
Student: No, I didn't want to say that. You never hear of Robert LaVigne or the other painters mentioned, more the people in the poetry circle (are the) mainstream artists.
AG: Yeah, see the mainstream artists don't know Wieners, I think, except as through, they might know him through..  Larry Rivers might know him through.. 
Student: Did he get into the New York crowd?
AG: No, no no, - only through..
Student:  Oh, he was primarily San Francisco. 
AG: No, see, Boston, where he is now. San Francisco for a while, with painters who were great painters but not well-known, San Francisco with very good painters who were not great yet or well-known, "men of no fortune but with a name to come", like LaVigne, who I'm sure, some day, will be very famous, and his paintings very precious.
Student: (Wallace) Berman?
AG: No, Robert Lavigne, a painter who was here this summer, who's driving a taxi in Seattle now - Those two guys ought to get together! - Robert LaVigne and John Wieners - Lavigne's driving a taxi in Seattle and John Wieners is..
Student: He's not painting anymore?
AG: Yes. He paints but he's got to drive a taxi for a living 

Er..Romance..gas "153 Avenue C" - back in New York, brief poem, like ..this is just like Sappho - Sappho in New York. You know "I lie alone in bed/the moon in Pleides is set .. the moon in Pleidias is set and I'm lying in bed alone 0 do you know that poem by Sappho? - "The night cold/ I lie abed/ drugged,/ The gas heater on,/I would it were/Off/ To snuff out my life." - That's it. It's called "153 Avenue C". This is probably around 1962 or so.


"Ancient blue star!/ seen out the car/window/One blinking light/ how many miles away/stirs in the mind/a human condition/When paved alone/created of lust/we wrestle with stone/for answer to dust." - whatever that (means) -  but I like that "One blinking light".."ancient blue star seen out of the car window".

Then a few..

Student: That's from New York


AG: Well, no, I don't know where that was. There are no dates on these further.  Then.."Deep Sea" - "Dirt under my nails/ my hands hardcaked with/abuse of lust, despair / and drugs/ Night a foreign place,/ without sound or shadow/we lie abed awaiting pills/ to take effect"......."Walls alive with pictures/ faces haunt the dark. Nothing to do/but go on led by a  flickering of a/ flame I cannot name". 


So that would carry us up to...let us say page 65 here. This book is [the 1972 Cape/Grossman edition of] Wieners' Selected Poems




Student: What did Jack (Kerouac) think of John Wieners?

AG: Whom?


Student: Did Wieners ever meet Kerouac?


AG: Yes, once, in my kitchen. 1960. Wieners was down. In the sixties, no, let's see, the mid Sixties, the mid 'Sixties on East 10th Street, no on East 5th Street


Student: But did he ever mention his poetry to you..?


AG: No, it was in 19..   Oh, Jack (Kerouac) loved Wieners, yes.  Yeah, he thought he was the sweetest cocksucker on the earth.  That was his idea, or something like that, you know, like a cocksucker who wrote beautiful poems about sucking cock, or something.

But, they met. Wieners was already kind of... this was..once, in the kitchen on the second floor of Apartment 14 on 117 170? East 2nd Street, New York . (It) must have been 1960, or (19)59, Kerouac came into town. He had just..  He was drinking a good deal, and he'd just.. it was in the period of Big Sur probably, or just before, which is d-t's (delirium tremens) and so himself was a little rocky. Wieners came down from Boston and was in the room in the kitchen, by the ice-box, and Jack kept.. Jack first saluted him, by saying, "Ah! suck my cock!" and Wieners.. you know, became not macho and funny, but funny, you know, drunk - "If you're a big cocksucker, why don't you suck my cock, I'm lonely, I'm horny" - but not serious.  And Wieners was totally silent (because he was in a sort of semi-catatonic state). So Kerouac said, "(So) you don't love me huh?" - There was this cross-purposes of Kerouac coming on very strong, jiving him, but drunken, and Wieners... not realizing how totally sensitive and crushed and completely collapsed Wieners already was, until Jack became a little bit nonplussed when he realized that Wieners was worse off than he was (and in) pain.



"Shall Idleness Then Ring In Your Eyes Like The Pest?" (W.H.Auden) - title of his poem - "Beware that breed of men who would eat/ you out/ Of house and  home, that other breed of flesh/and spirit, who would accept friendship/and turn it into lechery, parasitism, leprosy."... ""I am ill and still there is no peace."/In the night, they take away the moon,/And the dawn the sun. Covered over/with the hand of man is the dung of/the human heart." - I think this was to (Herbert) Huncke, because Huncke and Wieners were living together around that time.

Student: For real

AG- Herbert Huncke, yes and I think,  and I don't know but I think, Huncke beat Wieners out of the junk, something of that (nature)

"Paul" - "It's nice under your hands/ a stranger whom I 've never met/ before tonight but twice/It's nice beside you on the bed/where my heart bled for love./It's nice to have you here/and having said that, dear/nice to feel your hands upon my hair/and nicer still, to know we will/ meet again, start off where/your girlfriend, mistress, what ever/she is, that sleeping bride/will not be on your other side" - Apparently, it was a three-some. He's very frank! (unlike me, or other poets of the same ilk!)


[Audio for the above may be heard here, beginning at approximately forty-one minutes in and concluding at the end of the tape] 

John Wieners Birthday

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     [John Wieners in Gloucester, MA - Photograph c. Jim Dunn]

It would have been John Wieners' 80th birthday today. For previous Wieners birthday shout-outs, see here and here. See also this posting, and here and here.
A guest posting today from poet, Jim Dunn, our friend and John's long-time friend and companion:

It is fitting today, on the Twelfth Day of Christmas, the Epiphany, the Visitation of the Three Kings, we commemorate John Wieners' 80th birthday. It is fitting considering his Irish Catholic Jesuit upbringing and his belief in the spiritual quality of poetry. Although he published only a handful of books and three issues of his magazine, Measure, in his lifetime, his influence upon his contemporary poets and subsequent generations of writers is immeasurable. Poets who admire his work, take him immediately to heart, and regard him with absolute devotion. A poet's poet, his various friendships and connections place him in multiple influential poetic movements and schools - Black Mountain, the San Francisco Renaissance, the Beats, Fag Rag Collective and the Boston poets. His shy,  eccentric nature coupled with his staggering lyrical technical facility distinguished him and his work from the many schools of poetry with which he was involved.

Wieners was once asked directly what it was specifically that differentiated him from the other Beat writers. He took a long puff of his cigarettte, and responded, "They got famous. I did not." - a response so obvious, simple and direct, it elicited uneasy laughter from those present. Allen Ginsberg saw immediately the purity of Wieners' unique talent calling him a "naked flower, a tragic clown, doomed sensibility, absolutely real, no more self-pity". Wieners was true in nature and pure in spirit. His unique voice had the sonorous quality of Old Towne Boston. Through the depths of drug abuse, bouts of mental illness, and emotional turmoil, he dedicated his life to the practice of poetry, and the solitary pursuit of heavenly vision amidst the ruins of daily life. There was a certain light from within him which was truly connected to his divine inspiration. He had the rare gift of genius in his ability to perceive the magic in the mundane and capture it in the immediate language of his work.

In many ways Wieners' quiet shy New England sensibilities were the antithesis of Ginsberg's nature and persona. Wieners recounts an early meeting with Ginsberg after attending a Frank O'Hara reading in the elegiac prose-poem written for O"Hara, "Chop House Memories" - "Allen Ginsberg and Peter Orlovsky met us after at a small German restaurant on Lexington Avenue and we cabbed downtown together for the first time to the old Five Spot in Cooper Square. Allen was unknown then and sat on my lap and Frank accused me of liking him too much". Around that time (1957) Ginsberg and Wieners began a correspondence that lasted several decades. One of the most interesting letters from Wieners to Ginsberg was written in crayon, date unknown:


Dear Allen:
            Here is LSD mss.
Please return it as
Soon as you finish.
I have nothing to
say.  But a loud
saxophone.  And loads of
shit.  Please hold this
up to the mirror and read
backwards.  I am sorry
for this note. Fuck you
and Peter.

The great bulk of Wieners' writing exists in unpublished correspondence to countless friends and colleagues throughout the decades. These fascinating letters collected and transcribed by Seth Stewart, underscore Wieners' rightful place in literary history. An essential sampling of Wieners and (Charles) Olson correspondence has been published recently as part of Ammiel Alcalay's "Lost and Found" series at CUNY. These correspondences, along with Robert Dewhurst's daunting, ambitious, project to assemble and publish a complete edition of Wieners' work signify the growing interest in, and appreciation of, Wieners.

Wieners and Ginsberg last read together (with Robert Creeley) at the Smith Baker Center in Lowell, MA, as part of the annual Lowell Celebrates Kerouac festival. The hall resembled an old cathedral and was packed. The air was charged. Heavy rain and thunderstorms persisted into the night. Wieners took to the stage wearing a full yellow raincoat with a shopping-basket draped around his arm. He ambled back and forth upon the stage reading fragments from his copy of his own Selected Poems, ragged, and stuffed with advertisements, newspaper clippings and random ephemera. It was difficult to hear him as he whispered to himself, almost in prayer, repeating certain phrases that even he seemed surprised he had written. Ginsberg was beside himself, up and down, trying to get Wieners to focus, approaching the stage, pacing back and forth from his seat, waving his arms beseeching someone to get Wieners off the stage. Wieners remained unconcerned. He continued to read poems in his own time, he then roamed the stage like he was casually shopping in the supermarket in his mind. After the reading, as Ginsberg signed books and greeted the crowd, Wieners and his good friend, Charley Shively walked out alone into the rain, sharing an old umbrella.

From 1976-1983, it was rumored that Wieners wrote a total of one poem per year, each year on his birthday.  Happy 80th Birthday Jack Wieners!

Here's are some great links to see, hear, and read about John Wieners. Some of these have been posted before but reappear as a gift from the Magi on this holy feast of the Visitation:

Robert Creeley's New York Times review of Wieners'Collected Poems is an interesting source for Creeley's introduction to Cultural Affairs in Boston - see here

A WNYC radio story on John Wieners from 2003, produced by poet Sean Cole, can be found here

John Wieners' Last Reading, produced by Derek Fenner at Bootstrap Productions is here

A pdf of the hard-to-find Measure 2 can be found here

Pam Petro's BC [Boston College] magazine article - here

Cathy Salmon's article in The Boston Phoenix - here 

Ammiel Alcalay's "Lost and Found" series at CUNY - here

Some Ginsberg Animation & Illustration

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Here's a graphics-rendering of (the first part of) "Howl" (complete with Spanish sub-titles!) that's been up there on You Tube for over five years now. That means you may very well have watched it - It also means you may very well might not have. Of all the, often well-meaning but not-necessarily successful "renditions", we like this. 

Of course, it doesn't compare (surely entirely unfair to compare it) with Eric Drooker's "Howl" animations, featured in the 2010 Rob Epstein and Jeffrey Friedman movie (James Franco is, of course, reading the poem):



and, while we're at it, since we're not sure if we've spotlighted it before: 



Here's John Leland in The New York Times reviewingThe Beats: A Graphic History

Here's Cory Doctorow on Boing Boing

Here's Michael White's review in Multiversity Comics


[Illustration by Ed Piskor from "The Beats: A Graphic History"(2010)]

Robert Creeley - Selected Letters

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Picture of The Selected Letters of Robert Creeley

We've already noted the new titles, essential titles, by Robert Duncan. The University of California Press now publishes another essential book, this time fromRobert Creeley- "TheSelected Letters of Robert Creeley"(following on from his Collected Poems (in two volumes) and The Collected Essays (which is available, incidentally, on line, in its entirety))

Letters to Allen? - well, we counted twelve letters in the collection, (ok, nine letters, two faxes and one postcard! - this is a "thoroughly modern" collection, that includes, not only letters, but postcards, faxes - and e-mails!). The earliest is from September 19, 1956 ("Dear, old dear friend Al"), the last from 1993 (those two afore-mentioned faxes). 
Here's the postcard (from Buffalo, September 10, 1966, at the onset of his teaching there):

"Dear Bozo,
Just to report position viz beachhead established sans bloodshed, and am now in bizness. I went up to Gloucester last Sunday and had word of you all fromCharles (Olson) and John (Wieners). Will see you October if not before. I think it's going to work out here ok. Good people in so-called classes at least. The house is good. Kirsten [his daughter] decided to go to local high-school here which makes much sense. So -  take good care of yourselves [sic] and keep in touch if possible. All love to you both [Allen & Peter] - Bob."

And here's a letter, from Gloucester (June 20 1970), almost four years later:

"Dear Allen, 
That was a very happy and useful time with you. It's now very quiet here - crazy splatter of light out kitchen window midafternoon. Really thinking and thinking of that "abstract" activity I seem fact of. Any- how - onward. I've read a little over 100 pp. now of the Indian Journals, beautiful, exact company to have, dense, various, thoughtful, extensive - and very human. So - thanks. Likewise, listening to your Blake. You're a deeply gifted man, old friend. A quatrain, like they say: "If you get sillier/as you get older/as you get younger, / That's really abstract." Dig, that's me.  With love - Bob."

One more (from Linwood Avenue, Buffalo, 1973):

"Dear friend,
I saw Allen DeLoach on Friday briefly, and he said he'd heard you had slipped on some ice and broken a leg - which is sad to hear and I hope not fucking impossible for you. I'm sure heaven must be getting ready some substantial eternal blisses and that present meat is only to whet your appetite. Or something like that, like. Once things settle at all here, I hope to get over to see you, out of the traffic. I did see you, by the way, in NYC - but there were so many angels floating all around you it was hard to keep a steady focus...What really entered my head that day was Gregory (Corso)'s sudden poem ["Proximity'] -"The star is as far as my eye can see. And the star is as near as my eye is to me. Or the eye - not my, etc. [ "A star/is as far/as the eye/can see/and/as near/as my eye/is to me" -] A lovely quick talisman to have in the head. He's a beauty..."

And from that first letter (1956) - "All my poems are social crucifixions, Allen, you know that.."


[Allen Ginsberg and Robert Creeley at St Mark's Church Poetry Project, NYC - photograph c. Laure Leber]

Needless to say, the correspondence with Allen is only a tiny section of this rich, informative, 45o-page-plus volume. Other correspondents include Charles Olson, Robert Duncan, William Carlos Williams, Ezra Pound, Louis Zukofsky, Larry Eigner, Denise Levertov, Cid Corman, Paul Blackburn, Jerome Rothenberg, Anselm Hollo,Jack Kerouac, Gregory Corso,Amiri Baraka, Ed Dorn, Bobbie-Louise Hawkins,Tom Raworth, Tom Clark. Susan Howe, Charles Bernstein.... and that's just a few of them - and the list goes on..

Huncke's Birthday

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Happy BirthdayHerbert Huncke. Today, he would have been 99 years old (what! - next year, the Huncke Centennial!). Meantime, enjoy these two clips from our good friend and Huncke videographer, Laki Vazakas 

Previous Huncke birthday tributes on The Allen Ginsberg Project can be seen here, here and here

Not to mention, herehere and here.

Amiri Baraka (1934-2014)

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[Amiri Baraka (formerly known as LeRoi Jones) at the Newark Museum, Newark, New Jersey, 2013 - Photo by Amun]

Sad to have to report the news today (Thursday January 9) of the death of the great African-American poet, playwright, and social activist Imamu Amiri Baraka. He had been hospitalized since December 21. He was 79 years old.

Here's his New York Times obituary

Here's the New Jersey Star-Ledger

Here's the LA Times obituary

Here's the Washington Post

Here's Neda Ulaby's NPR story

More, many more tributes and reviews of his extraordinary career to follow. America has lost one of its great men of letters and a powerful, necessary, unintimidated voice.

Friday Weekly Round-Up - 160

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"To Allen Ginsberg",Living Music's, long out-of-print, free-form, "acid-folk""avant-jazz", 1971 album, recorded for Italy's RCA's experimental imprint, "Free Dimension" and featuring the voice of Gianfranca Montedoro, the keyboards of Umberto Santucci, and the saxophone and flute of Umberto's brother, jazz legend, Cicci Santucci, was recently re-released by the intriguing, inquisitive, Australian label, Light In The Attic Records, and is now available again on vinyl. 

Here's Bob Baker Fish, reviewing it on Cyclic Defrost -"This is a total freak oddity, a concept album from 1972 Italy made by a musical social experiment with tunes that evolve through psychedelia, the esoteric, acid folk, world and experimental jazz. It's a moment in time, and though that moment has well and truly passed, the ambitious confluence of ideas, hopes and musical genres has resulted in a compelling work of eccentric head-scratching genius"
"The highlight..is (their rendition of) "Howl" , which is (19)70's psychedelic hippy funk, with cyclical guitar, groovy bass and urgent bongos that makes it come across like some kind of cop show theme that's ingested too much grass. For further information see the cover of this album. The song is tension and release with Montedoro's earnest female vocals reciting Ginsberg's incendary words over a repetitive protest funk before delicate guitar melodies and droning tenor sax offer a time out, an evening in the amber lounge if you will. Ultimately, once Ginsberg's words are worn out and there's a chorus of wondrous chanting voices and the song descends into a gentle low-key funky soul workout.
Remarkable." 
 "Lysergic Acid" (from the same album) can be listened to here. 




"Outrider", Alystyre Julian's five-years-in-the-making documentary on Anne Waldman has released a fundraising teaser (see above), including Allen's fervid introduction:

"She was born in Greenwich Village. She saw Gregory Corso ambling by MacDougal Street, "looking for an angry fix". She has affairs with books. She writes, publishes, copulates, and gives birth to books. She teaches her apprentices how to listen like Plato. She has affairs with ancient Christian Churches like St Marks-in-the-Bowery. She has affairs with sapphires, emeralds, amber and rubies. She coordinates the Jack Kerouac School of Disembodied Poetics with her left pinkie. She knocks me out. She thrills my bones. She supports my skull with her right hand. She's the muse of Naropa. She's Anne Waldman!"
    
Anne may also be glimpsed, alongside Bob Holman, Charles Plymell, Simon Pettet, Michael Lally, Tony Towle and sixteen (sic) others, in "Twenty One Poets", John Shaw's film, available here.

Upcoming sightings -  She'll be appearing next Thursday (January 16) at the Freed Orman Center at the  University of Windsor (Canada) speaking on "The Poet's Job - Looking Into the Darkness of our Times".       

She'll also be featured tomorrow here on The Allen Ginsberg Project.

Anne Waldman, the official web-site - here

outrider

More Burroughs Centennial news (following on from last week posting). On February 5th, the date of his birth, William Redwood and Anthony Clayton will be conducting a walk, 
"William Burroughs - An Alien in London", around London's West End. For more information, see here. Two days later, Guerrilla Zoo will present "Interzone", a multi-media event at a secret undisclosed London location - "Combining promenade theatre, music, performances, art, films and art installations - Think Naked Lunch meets Punch Drunk", the organizers write. Then, there's the whole issue of Beat Scene, coming out later this month, which will be given over entirely to Burroughs. Then.. well, don't forget to check in with Burroughs 100 and The Burroughs Century blog. Events will be taking place throughout the year. 


[William S Burroughs]


TRANSGRESOR. Su mordaz antipoesía buscó destruir los valores de la poesía tradicional.
[Nicanor Parra]


Burroughs isn't the only friend of Allen's to be having a Centennial this year, "Anti-Poet", mathematician, physicist, literary genius, Nicanor Parra turns 100 this year (and he's still alive!) - Last Saturday, ChilePoesía organized the first of what will doubtless be numerous salutes to this extraordinary poet, revered throughout Latin America, in Las Cruces, Valparaiso, in Chile, where he currently resides.  


Ginsberg parodies. We're grateful to Steve Heilig for providing a necessary counter-point to the link we posted last week (from the San Franciscan Chronicle) - "I saw the poor ghost of Allen Ginsberg spinning in his poet's grave, appalled disgusted misappropriated/ His legendary poem co-opted in the name of all that he disdained:/Selective ideologically motivated misleading attacks on basic rights to basic health care by phony populist mouthpieces of corporate greed and marketplace fundamentalism.." - Yes, it's important to point out co-option and appropriation (mis-appropriation) - "Phony populism" - "wolves in sheep's clothing" - We should all be on our guard.

"that which matters, that which insists, that which willl last,/that! o my people, where shall you find it, how, where, where shall you listen/when all is become billboards, when, all, even silence, is spray-gunned?"
Forty-four years ago on this day, the poet Charles Olson died.

And yesterday (as we reported) his friend the poet Amiri Baraka died.

Here's Baraka reading Charles Olson



And here's Tom Clark's haunting hommage

Allen Ginsberg & Anne Waldman 1978 Naropa Fund-Raiser

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                        [Allen Ginsberg in Vancouver, Canada, 1978, (a year later) - Photograph c. David Boswell]

Courtesy of the remarkable Naropa Audio Archives.  We've featured Anne Waldman and Allen reading together before. Here's another one - a very early (August 1977) reading (introduced by Michael Brownstein) - a Naropa fund-raising event - Anne reads first.   

 Allen Ginsberg at the Naropa Institute  on August 3rd 1977, reading with Anne Waldman -

[audio fileshere and here]

The tape begins with a short period of silence before the voice comes on of the m.c. for the evening, Michael Brownstein, announcing the particular and peculiar nature of the upcoming proceedings. "We're having a poetry reading tonight, including a lot of  other things - namely a twenty-piece band will be riffing up with Allen Ginsberg in the second half of this event. In the first half...previous to an intermission, we will have Anne Waldman reading her poetry, along with Barbara Dilley dancing, so you're kind of getting four for the price of two-and-a-half or something.". 
A few general announcements are then made (including the report of a missing dog! ("a small female lost Irish setter" - "Do you know what an Irish setter looks like? Do you know what a lost Irish setter looks like?")  also announcement of an upcoming film-benefit (Stan Brakhage showing his films), and further fund-raising pitch.
Michael Brownstein introduces Anne Waldman.


Anne Waldman
                     [Anne Waldman]

At approximately  five-and-a-quarter minutes in, Anne begins reading,
starting with "Demon Chant"- for Lee Worley and the Naropa Theater Ensemble ("demon in me,white woman demon in me/moving moving, see it moving through her.."),
followed by "The Tundra & The Waves"("I went up to the ocean to see the tundra with my lover who loved the sun.."), "Talking Mushrooms"" ("the mushrooms say"..) , "Thirty Lines" ("If/I/can/gaze/at/you.."), "Love Poem" ( "This is an account where I have not mastered cinematic intelligence.."), "Clique"("You nearly destroyed me...").
Then, "some political poems" - "Fuck-Up" ("You are an act involving an unintentional deviation from accuracy.."), "Plutonian Poem"("Fuck Plutonium! - Love it? Hate it!.."), and two journal poems - "Journal Poem from New York" ("Keep rocking New York...") and  "Things To Do On Caribou Road" ("Thick mist clogs canyon.." - including the lines - "Allen G calls from Denver airport enroute from Caspar, Wyoming to a state with an "M"/He got drunk last night with the Arts Council/"They never give us any money!") -  
"Painted Ship On Which The Little Ships Ride" ("Tell me about when you had sailor's eyes.."), "Detail" ("Did you have to pay for a rejection?...")
There follows a longish pause (perhaps Barbara Dilley arrives on stage at this point?) - and then Anne reads (starting approximately twenty-four-and-a-half minutes in) the long poem,  "Matriarchly" ("I gave this part away from me and does it come back to me?"... "I peck at the enormous switch to bring it on again") and "just a couple more works here" - ( a brief pause) - "Mirror Meditation" - "I'll read this for Barbara (Dilley) It's called "Mirror Meditation" - ("Look at my face/ you have aged me"..."You do this, do it, lead me astray") - 
"Okay,  one final piece" ..."We need a referee up here and a few towels", Anne jokes."This is part of a work-in-progress called "Skin Meat Bones" - Anne gives an early reading from "Skin, Meat, Bones"

Note:   From approximately forty-two and a half-minutes in (when Anne's reading ends) until approximately forty-eight-an-a-quarter minutes in (when Michael Brownstein briefly introduces Allen there is a prolonged silence

At approximately forty-eight-an-a-quarter minutes in Michael Browstein introduces Allen and he begins, leading first with a long improvised chant of the classic Heart Sutra (Prajnaparamita, Perfect Wisdom Sutra) mantra - gate gate pāragate pārasaṃgate bodhi svāhā  

File:Astasahasrika Prajnaparamita Image of Prajnaparamita.jpeg
[Prajnaparamita  personified - Sanskrit Astasahasrika Prajnaparamita Sutra manuscript written in the Ranjana script. Nalanda, Bihar, India. Circa 700-1100 - via the Collection of The Asia Society]

AG: "Th(is) program, brought to you by Naropa Institute, with many many genius students and teachers, is part of a continuing series in which we're trying to integrate meditation, intellect, energy, poetics, dance, good tongue, good breath, good fingers, good asses and sitting (probably impossible on a shoe-string anywhere else in the nation, or maybe in the world). So the evening is basically to demonstrate what we've accomplished in the four years that Naropa has been here [Naropa was founded in 1973]but also to remind you that we're all broke, and so this program tonight is part of a fund-raising campaign, also...." 
[Allen continues his fundraising pitch (including further comments on the upcoming Stan Brakhage film evening), then turns to the programme at hand] - The programme for this evening. I'll read about twenty minutes of poetry, all short poems, and then we'll do a Buddhist country 'n western song (actually, gospel-style), in which you are invited to join in on the responses,"Gospel Noble Truths" (I'll announce them as we go along), a song of (William) Blake, "The Nurses Song", (which has a chorus that everybody can sing), a song dedicated to Bob Dylanand his samsara, "Lay Down Your Mountain", and last, a repeat from the last poetry reading last session of a long tune called "The Rune" with Buddhist-oriented language. Since most of us here are involved with Buddhism. 

So, I'll begin with a haiku, written after sitting for three months, ten hours a day (half that time), ten hours a day at the Vajradhatu seminary, the first Vajradhatu seminary, the Vajrayana seminary, whichChogyam Trungpa conducted, sitting samatha style, focusing, or paying attention to breath, calming mind, observing thought-forms.
[Allen reading begins approximately sixty-four-and-a-half minutes in with "Teton Village"] -  "Snow mountain fields/seen thru transparent wings/ of a fly on the  windowpane" - Then, "two poems ("Don't Grow Old"regarding the death of my father last year, last year near this time (August). I sat with him a while as he was wasting - ("Wasted arms. feeble knees.." "What's to be done about death?..")
"In October last year (1976), Peter Orlovskyand I went to Land o' Lakes, Wisconsin to another Vajrayana seminary, doing long sitting and much study, and my conclusion was "Buddha died and left behind a big emptiness! - "Drive All Blames Into One" (That's a Mahayana slogan) - Allen reads  "Drive All Blames Into One" ("It's everybody's fault but me.."). Then, "Hearing "Lenore" Read Aloud at 203 Amity Street" - "I went with a young friend to visit Poe's grave in Baltimore, tombstone, also visited a house where he lived, and this kid was so enamored of Edgar Allan Poe's trance mystique that he read a poem aloud in every room of the house and so while he was reading, downstairs in the sitting-room, I wrote this" ("The light still gleams, reflected from the brazen fire tongs.."). Then,  Punk Rock - Punk Rock Your My Big Crybaby! , followed byKidney Stone Demerol Traum - ("inspired by Michael Brownstein's poetics)  - "It's always acting like that beginning you get in your car and drive in the oppposite direction lock bumpers with a truck going backward, get out and taxi to the railroad station..". "suspicion!" - "I'm suspicious of any move you'll make").
"Two love poems. These are (the) two last poems here" - Allen reads, complimenting each other, the poems "I Lay Love On My Knee" and "Love Replied"
Finally, a  music performance [complete with piano,violin and trumpet, the full twenty-piece orchestral accompaniment] of "Gospel Noble Truths" ("featuring the three marks of existence, the four noble truths, the eightfold path, which you can sing along with, instructions for samatha, or Zen sitting, and an accounting of the six senses. There is (there are) sing-along parts, which the musicians will be singing to, so where you hear them pick up, please do. The style? -  the style is gospel - "Gospel Noble Truths")

The tape ends here, but the evening's performance picks up on another tape.

The audio for that continues here, starting approximately one minute in, with a rousing version of William Blake's Nurse's Song ("The text was William Blake's "Nurses Song", from "Songs of Innocence and Experience"). Next, beginning approximately seven-and-a-half minutes in, "Lay Down Your Mountain", "a song dedicated to Bob Dylan and his samsara" - "so the word "lay down" has two meanings - lay down, lay it down, drop it, drop - and also, like, lay down your story - and it changes in the middle") and, finally, from "Contest of Bards", starting at about thirteen-and-three-quarter minutes in, "The Rune" ("Last session, I had a long poem that was mixed with music, so this is a repeat, with same musicians and many more , the same song - Can you hear words, by the way? Anybody not able to hear words, syllables, distinctly? - Great. This is the last song" - Allen to his accompanists; "First piano, then violin introduction, and then six verses sung. When we sing, we'll be doing it all in unison, once the introduction's over, so everybody come in").   

Following the performance, Allen then introduces the musicians [three decades and more on, please excuse any (inevitable) errors in transcription] :

The musicians - string section mostly poetry students Francis Slack on viola, Brian Muni on violin cello Richard Wurtz, Fred Rothbard tickling the ivories, Peggy Berkowitz, clarinet, Dan Rothbad, clarinet, David Wagner (bearded) flute, Ben Henderson, trumpet (and white shirt), the immortal Glen Edward on trumpet, lomg-haired Denis Hildenbrand on flute. 18-year-old Mark Fisher on guitar, Richard Roth saxophone (classics scholar saxophone), Charlie Pilau (guitar) - on tuba, William Weiss, Dorothy Sherman, recorder, on Tibetan bells, Randy Rieff, Leslie Leshinsky, bassoon - center (with moustache and goatee) Bill Roberts, head of the music section on bassoon - Bill Douglas, ok, I'm allowed one fuck-up. Bruce Hart?, third bassoon, Tasha Robbins and friends on guitar and vocals, Alison Bennett, Patsy Nicholas, - did I leave anybody out? - got everybody in - ok- thank you for your patience

Expansive Poetics - 12 (Walt Whitman - 1)

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Walt Whitman

AG: With (Walt)Whitman what I want to do is.. With Whitman I thought now we’re getting into the heart of the 20th Century expansion and expansiveness. So what I’ll do next – this class and the next class (is ) - a sequence of Whitman, followed by sons of Whitman or admirers of Whitman -  heroic poets reflecting Whitman.  So it would be Fernando Pessoa in Portugal, 1904, writing an “Ode to Walt Whitman” (Saudação a Walt Whitman), and then (Federico) Garcia Lorca

Student: How do you spell that?

AG: P-E-S-S-O-A – Fernando Pessoa. He’s the great 20thCentury poet of Portugal. And he’s a really funny poet, totally amazing. I never read any of his work until a couple of years ago, till a guy named Ray Ronci, (who teaches up at C(olorado) U(niversity) - [now at University of Missouri]) gave me this book. Total enthusiasm and madness.
Then Lorca’s “Ode to Walt Whitman” and Hart Crane’s address to Whitman (in “The Bridge”  there’s a sequence). So, take Whitman as an inspirer and see what he inspired.

How many here have read Whitman? Everybody. How many here  have read a little Whitman, just a little. And how many have read Whitman extensively? Has anybody read all through Whitman ever? Or, let’s say, all through “Song of Myself”? – Yeah, it’s amazing how most people know him but I can’t figure out if people know him well or not, whether it’s ingrained.

His basic statement is a coming back to himself, returning to himself as the standard, returning to his own mind and his own body and his own speech as the standard from which to look at the world, rather than trying to live up to somebody else’s standard, or, examining the original data of his own senses  

[tape ends here]  [tape continues with the next class (four days later)]

When we left off, we were on (Walt) Whitman…I was on Whitman and I want to go through a little bit more of Whitman, since most people haven’t read him complete (and probably very few here have read his old-age poetry either). But I want to just pick out a few lines that I like and have used myself.

He’s got a long section ((33)) in “Song of Myself”) where he has a visionary list poem of himself scaling mountains, walking paths, listening to quail whistling, riding on a half-burned brig in the ocean, wandering around the barnyard near the hayrick, following herds of buffalo, splashing with swimmers, and “Looking in at the shop-windows of Broadway the whole forenoon, flatting the flesh of my nose on the thick plate glass”. I think he’s the only one who ever noticed that. I mean, everybody’s seen that, done it themselves, done it in a mirror – flattening the flesh of their nose, well, okay. He put it aptly.

“I am an old artillerist - I tell of my fort’s bombardment,/I am there again.– This is in a series where he’s just empathizing with all sorts of roles in society and tragic and comic actions

And section 34 begins, after pages of this –“Now I tell what I knew in Texas in my early youth.” – Of course, he’s never been there.

Then section 35 begins “Would you hear of an old-fashion'd sea-fight?” – and he goes on through that.

Then, I think, the greatest line, the greatest unnoticed line in Whitman (which I used recently, to paraphrase, in a poem called “Ode to Failure”, which I’ll read here (Naropa) tomorrow-night) is [from section 37] - “Not a mutineer walks handcuff’d to jail, but I am handcuff’d to him and walk by his side/(I am less the jolly one there, and more the silent one, with sweat on my twitching lips.)” – I think that’s a terrific piece of empathy. It’s his“Ode to Failure”, so to speak. In other words, he wasn’t afraid to empathize or imagine himself – to emphasize with a victim, or imagine himself.. with a loser. He wasn’t afraid to empathize with what (Bob) Dylan would call  a “local loser”. Remember, “his nurse, some local loser”. What song is that?


AG: “Desolation Row”. He’s not afraid to go out on Desolation Row and empathize with the "local loser". And in this case, very accurately observed – “I am less the jolly one there, and more the silent one, with sweat on my twitching lips”


Well, a little mention of Buddha. “Magnifying and applying come I” - In Section 41 - “Magnifying and applying come I/Outbidding at the start the old cautious hucksters, /Taking myself the exact dimensions of Jehovah/Lithographing Kronos, Zeus his son, and Hercules his grandson/Buying drafts of Osiris, Isis, Belus, Brahma, Buddha/In my portfolio placing Manito loose, Allah on a leaf, the crucifix engraved,/With Odin, and the hideous-faced Mexitli, and ev’ry idol and image,/Taking them all for what they are worth and not a cent more” – That’s witty, I thought – “Lithographing Kronos”, “In my portfolio” – as if he were a banker of images – “In my portfolio placing (the American Indian God) Manito loose”

Then Section 42 – “This is the city and I am one of the citizens,/Whatever interests the rest interests me - politics, wars, markets, newspapers. schools/Benevolent societies, improvements, banks, tariffs, steamships, factories, stocks, stores,/ real estate and personal estate.” – He had asked for the muse to come into he kitchen, or into the brokerage house, or into the business man’s cubicle. So he brought him in.

And then follows that with answering a basic criticism that’s always leveled on him. “I know perfectly well my own egotism/I know my omnivorous lines, and will not write any less./And would fetch you, whoever you are, flush with myself” – Why not write any less? Anybody got any sense of the egotism here, or the afflatus, or the chutzpah doing that? – I like the line  “I know perfectly well my own egotism/Know my omnivorous lines” – which all these are – “omnivorous” – he’ll eat anything. He’ll be anything. He’ll empathize with anything, even a creepy prisoner with sweat dripping from his twitching lips.

[to be continued..]

[Audio for the above is available here, beginning at approximately four minutes in and concluding approximately ten minutes in] 

Expansive Poetics - 13 - Walt Whitman - 2

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[Walt Whitman (1819-1892), 1854]

Student: (It) seems like sometimes he (Whitman)’s trying to make an attempt to justify himself, or says that what, what he’s doing, and just exactly what he’s doing, is exactly what he should be doing, and.. and neither.. that’s what Ihear, or, I guess, (it’s) what I hear

AG: Un-hmm. Yeah. What’s his reasoning?

Student: Well, he’s a..  This is“Song of Myself”..

AG: Yeah

Student: .. but this is a later edition.

AG: Yeah, this is the final edition.

Student:  Final edition, So he took so much criticism for his initial publishing, even from (Ralph Waldo) Emerson - his famous story. that, after, you know, giving him all this praise, then Whitman used it in a cover-letter in the following edition, the subsequent edition.

AG:  Yeah, “I greet you at the beginning of a new career” ["I greet you at the beginning of a great career..."]

Student: Yes.

AG: Emerson wrote him a little note and Whitman printed it in gold leaf on the back cover of his book and Emerson said, “Oi,..”

Student: I think that..

AG:  “Who is this creep?”

Student: I think he may have been charged with egotism at that point.

AG: yeah. However, the egotism he’s talking about here (in “Song of Myself”) is for empathizing with everything.

Student: Hmm

AG:  In every direction. In Buddhist terms, it’s a kind of bodhisattva attitude of sympathizing compassionately, or being inquisitive by the nature of mind itself – an inquisitiveness that penetrates everywhere, unobstructed. I think his excuse is that because his curiosity is unobstructed, therefore the empathy is unobstructed, therefore he can tell about an old-time sea-fight, or being in Texas, or.. Yeah?

Student: I was just going to say, those four.. those four stages that you were talking about in the President’s class (the other night) [Editor's note - Student is presumably referring to a contemporandous (1981) lecture by Chogyam Trungpa Rinpochehere]  – I can’t remember what they were, but my feeling is that that’s what he means, you know, like trusting his own senses.

AG: Yeah, trusting his own senses, trusting his own empathies.

Student: Trust, yeah. Just trusting yourself. (So) he can say whatever he feels like.

AG: Yeah, He can say whatever he feels like because he’s not afraid to say what he thinks.

Student: Um-hmm

AG: And everybody thinks, and nobody’s in control of their thinking.

Student: Um-hmm

AG: Nobody’s at all in control of their thinking because everbody thinks everything..

Student: Right

AG: ..at one time or another, and everybody sympathizes with everything, or sympathizes..

Student: They don’t always say that

AG:  Yes. Like,Coyote does everything – Coyote fucks his mother and bites off your nose - fucks your mother and bites off your nose! – but most people don’t want to admit that they fucked your mother, and then went ahead and insulted you by biting off your nose.  Yeah?


File:Coyoteinacanoe.png

Student: Didn’t he say earlier in his poems that he has a chance to say whatever he feels

AG: Yes.  What was the line? – “Nature unchecked with orginal energy at every hazard”? - or something like that.  ["I harbor for good or bad, I permit to speak at every hazard,/Nature without check with original energy"] What I like is “unchecked” – that is, not obstructed by fear of thinking that he is the creep. He’s not afraid to be the creep, whereas most people are afraid to be the creep. They’re afraid that if they once admit that they have a glimpse of themselves as creep, they will become (the) permanent eternal creep. In other words, Whitman’s insight is that naturally he’s a creep, permanently, eternally, at the same time he’s the most handsome over and he’s the old grandfather and he’s the mother bearing children and the nasty stockbroker and the sweating slave, which everybody is. Everybody is, in the sense that everybody, at one time or other, sees themselves  that way for a flash. Just like Andy Warhol says that everyone’s going to be famous for fifteen minutes  - everybody in the world will be famous for at least fifteen minutes – that everybody will go through one moment of planetary glory as well as everybody will go to hell for fifteen minutes (everybody go to permanent hell for at least fifteen minutes), everybody get to heaven for at least fifteen minutes, everybody will be on television for fifteen minutes. Because it’s ordinary mind (as Andy Warhol is ordinary). It’s just ordinary mind that everybody gets murdered once in their lifetime. Everybody commits murder, at least once
(if not in this lifetime, in another one - and if not awake, asleep, and if not asleep, in a thought, (and) if not in a thought, in a full-blown fantasy). So everybody has been everywhere and everything, in the sense of everybody’s already been there.  Yeah?

Student: That’s the same sort of confusion in a way that I get when reading Whitman – that is, trying to define his level of personal experience..or..or is he.. or is he simply spouting off? Is the just this mouth spouting off?

AG: Well, I think he’s not trying.. he’s defining his level.. (I don’t know what you mean by “level of personal experience”).. He’s defining his glimpses of experience in his imagination or in real life, and he’s allowing them to be mixed up because he can imagine anybody (or) other people in that position. Secretly, I think, because he’s trying to get laid, basically, so he’s trying to set up a system of psychology where everybody can imagine everything and empathize with everything and not be scared of any situation. It’s a basic con, in a way, saying that we can be everything and we can do anything - “we can be everything,  (so) don’t be afraid to let me suck your cock”, basically, I think, is what the pitch is! – to Peter Doyle,the tram-car conductor who was his friend.


So, let’s say this is addressed to impress his young friends. He’s trying to say that he, Walt Whitman, is capable of all these roles and so “I know perfectly well my own egotism,/Know my omnivorous lines and must not write any less/And would fetch you whoever you are flush with myself” – If I can do this, you can do this too.

Student: Yeah,

AG:  Or, I think, judging from my own personal psychology, I would guess this to be Whitman’s ploy, or motif, motive, or probably it’s on his mind, as a basic approach to seduction – of the world! (I mean, not only of the lover, but of the world itself..)

Student: Hmm

AG:  ..(of) the world itself. But it’s also hitting on something which is quite real for everybody else – that, actually, everybody else (within limits, say) is able to empathize with an enormously greater variety of roles than they are originally are conditioned to conceive of themselves as fitting. And so Whitman is prying open the lid and letting out the can of worms. He’s prying open the lid on everybody’s consciousness and pleading for an expanded consciousness, actually. Expanded allowance.  An expanded tolerance. (probably an expanded tolerance for himself , but an expanded tolerance for everybody, so everybody can have a wider time or a better time).

The danger was, I always thought, was that if you said that you identified with everything throughout the whole universe, what it would be doing would be trying to stretch your own identity to cover everything – to make your identity so multiple that it would be the identity of everything in the universe. But it still would be identity, or still would be ego, so to speak. It would still be self. It would still be self and erotic grasping – passionate, aggressive, maybe stupid or maybe ignorant or maybe obtuse, let us say. Passionate, aggressive and obtuse self trying to stretch its business so that it can be everything in the universe, rather than giving everything up, rather than letting go of the idea of self entirely, and letting the self collapse, he’s really working very hard to create a self  that’s as big as the universe. And that’s the big criticism of Whitman from the right-wing, the reactionary right-wing – that because he says he’s everything, it’s all a bunch of meaningless mush - he’s not making any discrimination – and anybody can sat that they’re everybody, and who would want to be everybody? (William) Burroughs I can see, sniffing at the whole prospect, “I don’t want to be no American housewife!” – or William Buckleymight object, saying that he can’t..he would not.. God didn’t make him a Communist and he does not want to be one, much less a homosexual like Walt Whitman.

On the other hand, because he stretches the point of ego, or he stretches the tent of the ego to cover everything, it does serve the practical purpose of exercising sympathy and perception and empathy and tolerance and allowance for a great variety of selves that actually are there. If you’re not everything in the universe, from squid to star, at least you might be several hundred human beings and dogs...and pigs. Yes?

Student: I was thinking  of, in terms of seduction, if he is all these things, he’s bound to fit one of your fantasies too – you know what I mean?

AG: Yes

Student: He’s talking to somebody, “Well, if you don’t like an old seafarer, maybe you’d like…I don’t know…a leaf – or something like that?"

AG: Um-hmm. Yeah.
Well, he says (in section 44) – “It is time to explain myself” at long last -  


[Audio for the above is available here, beginning at approximately ten minutes in and concluding approximately twenty-one minutes in] 

Expansive Poetics - 14 (Walt Whitman - 3)

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["Monstrous sauroids transported it in their mouths and deposited it with care" ]

AG: Well, he (Whitman) says, in section 44 (of "Song of Myself") - "It is time to explain myself", at long last - "Let us stand up./ What is known I strip away/ I launch all men and women forward into the Unknown/ The clock indicates the moment - but what does eternity indicate?/ We have thus far exhausted trillions of winters and summers,/ There are trillions ahead, and trillions ahead of them./ Births have brought us richness and variety,. And other births will bring us richness and variety./ I do not call one greater and one smaller/That which fills its period and place is equal to any/  Were mankind murderous or jealous upon you, my brother, my sister?/ I am sorry for you, they are not murderous or jealous upon me,/ All has been gentle with me, I keep no account with lamentation,/ (What have I to do with lamentation?)/ I am the acme of things accomplish'd, and I an encloser of things to be./ My feet strike an apex of the apices of the stairs/On every step bunches of ages, and larger bunches between the steps,/ All below duly travel'd, and still I mount and mount." - Well, there's a funny thing going on there, because, actually, there's a literalness to what he's saying too, now. Because he is the by-product of a long, long, long, trillionic-eons many-billioned kalapa-ed evolution to have arrived where he is in the footsteps of Walt Whitman, carrying his bones around and wearing his animal shoes. 

Then he's got this great line - "Before I was born out of my mother, generations guided me,/ My embryo has never been torpid, nothing could overlay it" - His "embryo"! - "For it is the nebula cohered to an orb,/The last slow strata piled to rest it on,/Vast vegetables gave it sustenance/Monstrous sauroids transported it in their mouths and deposited it with care" - That's a terrific line, I think

Student: What was that again? 

AG: "Monstrous sauroids" -  S-A-U-R-O-I-D-S

Student: What's a sauroid?

AG: What's a sauroid?

Student: Lizard  [editorial note: from the Greek word "sauros"]

AG: A lizard

Student: Yeah.. Wow!

AG:  "Monstrous..."

Student: Prehistoric monsters

AG: Yeah, well, big, big, big ones      

Student: Yeah, dinosaurs [editorial note: from the Greek words for "thunder" and "lizard"] 

AG: "Monsterous sauroids" - I think they're the vegetable-eaters.

Student: Sauroids, yeah, brontosaurus, and..

AG: Yeah. "Monsterous sauroids" - Pardon me?

Student: Flying lizards? With 70-foot wing-spans, or something like that?

AG: Were they the sauroids? No, they're the pterodactyls or something [editorial note - a pterodactyl is a member of the pterosauroids - flying lizards - from the Greek words for "wing" and "lizard"] 

Student; Well, there are lot of different ones

AG: Okay. Does anybody know the...

Student: The saroids must be the, you know, like brontosaurus and.. dipshitsaurus!

AG; Yeah. Ok. ( So) I'd like to introduce CC, who recently arrived as the teaching assistant in this class - former expert in the Boston zoological garden birdhouse. So he may have some knowledge of the sauroids.

Student (CC): How to clean up after them!

AG: How to clean up after the sauroids - "Monsterous sauroids transported" his "embryo", "in their mouths and deposited it with care" - terrific line! - (Jack) Kerouac inherited that kind of exaggeration. Exaggeration rhetoric.

So, in section 46, finally, it concludes [Allen, in fact, reads from the conclusion of section 45] - "My rendezvous is appointed, it is certain,/ The Lord will be there and wait till I come on perfect terms/ The great Camerado, the true lover for whom I pine will be there."

Student: Oh!

AG: Well, why not? I mean, if "monstrous sauroids" were there. So [Allen now reading from section 46] -  "Shoulder your duds dear son, and I will mine, and let us hasten forth,/ Wonderful cities and free nations we shall fetch as we go."

[Audio for the above is available here, starting at approximately twenty-one minutes in and concluding approximately twenty-four-and-a-half minutes in]

Expansive Poetics - 15 - (Walt Whitman - 4)

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Image 003
[Walt Whitman (1819-1892), 1854 - Steel Engraving - Photograph by Samuel Hollyer of a lost Daguerrotype by Gabriel Harrison - "The engraving appeared in the 1855 and 1856 editions of "Leaves of Grass", then again in the 1876 and 1881-82 (and following editions)..In reprinting it in the 1881 edition, Whitman insisted on its facing "Song of Myself", because the portrait "is involved as part of the poem"]

The end (of Whitman's "Song of Myself") is interesting. I'd like to read the last three sections (sections 50, 51 and 52) , because they really do outreach him. I mean, he really outreaches himself, and comes to something which is both literal as a statement and also elevated and generalized and ego-ic in as vast a way as anybody could proclaim - [Allen begins with section 50] - "There is that in me - I do not know what it is - but I know it is in me." - "There is that in me.." - What was "that"? - Well, "Death", "Corpse", "whispering...suns", "grass of graves", "I ascend (from) the moon" [Allen is quoting here from the previous stanza] - "Wrench'd and sweaty - calm and cool then my body becomes,/ I sleep - I sleep long./ I do not know it - it is without name - it is a word unsaid/It is not in any dictionary, utterance, symbol" - So, actually, he comes to the limit of what he can imagine, and there's still something beyond, and there is that in him, because it's the universe (and) so therefore it must be in him - "Something it swings on more than the earth I swing on,/To it the creation is the friend whose embracing awakes me/ Perhaps I might tell more. Outlines! I plead for my brothers and sisters/ Do you see O my brothers and sisters?/It is not chaos or death - it is form, union, plan - it is eternal life - it is Happiness." - "I plead for my brothers and sisters" - What does he mean there? Is he pleading for them to answer him? to imagine further in the next generation, (as we are)?, to drop some acid, go beyond?, or practice tantra?, or blow up the world?, or get off the planet?

Student: And then this is tantra, or tantric type of..  

AG: Well, I guess,  (it's) close..

Student: Yeah

AG: (Chogyam) Trungpa (Rinpoche) has said... I read him some (of "Song of Myself") and he thought it was like sutras. That is, a sutra being... the Mahayana stage being the extension of sympathy, empathy, and compassion infinitely out into space - which is what Whiman does do. (The Theravadan idea, or Hinayana idea, is focusing on one spot, concentrating the mind and becoming completely at rest there, and noticing in precise detail everything around in the immediate space. The Mahayana is extending that awareness out into space, all the way out, infinitely, in every direction, in the profundity of space - which is exactly what he's doing). 

Student: Yeah

AG: The tantric would be when Whitman gets a little bit crazier than that, I would say.
And..number 51 - [Allen returns to the poem] - "The past and present wilt - I have fill'd them, emptied them/ And proceed to fill my next fold of the future./ Listener up there!.." - That's us!  - (so he's talking directly to us through his grave, so he wa actually able to empathize through time) - "Listener up there! what have you to confide to me?/Look in my face while I snuff the sidle of evening/ (Talk honestly no one else hears you and I stay only a minute longer)" - Well, naturally, if you're reading his book, it's toward the end, it's "only a minute longer" that he's going to be breathing, through the page, in your ear. And "no one else hears you", because most people would read this in silence, by themselves - "Do I contradict myself?/ Very well then I contradict myself/(I am large, I contain multitudes)" - And that's the key. And it's very similar to the notion, that we were talking about, (or) I introduced the other day, of "Negative Capability" - were we talking about that here?

Student: Yeah

AG: "I am large, I contain multitudes" - Well, naturally.. Everybody has opposite thoughts constantly. Because, if you empathize in every direction, that means that you empathize with both the murderer and the murdered, with the guy driving the car and with the guy that gets killed by the accidental drunken hit-and-run driver. You empathize with yourself while fucking and with the person (that) you're fucking - both, at once - (you play both roles, otherwise you wouldn't know which direction to pump unless you could figure out what would please the partner!). So - ""I am large, I contain multitudes" - That's my favorite line - "Do I contradict myself?/ Very well then I contradict myself". I mean, you can tell that to William Buckley, or Ronald Reagan, or (Adolf) Hitler, or anybody. They're the people who say, "I never contradict myself, I'm one-hundred-percent linear rational coherent, I'm going right to one point, and I will get the truth and I will have that revolution right, I'll run the society right, even if I have to kill everybody to do it - but I'll never contradict myself! The nature of self-contradiction is simply the nature that one thought follows another and there's a gap in-between. It's as simple as that. Because one thought follows another, therefore one contradicts oneself. Because you might determine to reman faithful to a thought, and then fart and forget it the next second, or, as Don Juan found, leaning over the edge of the boat, reading a love-letter from his lady, when the sea got rough, he suddenly got nauseous and started throwing-up in the middle of a romantic, nostalgic moment, reading his girlfriend's love-letter.
So, "I concentrate on them that are nigh" - That is, thoughts themselves, or empathies themselves, or sympathizers are people of like mind, which means all of us, of somewhat like mind -  "I concentrate on them that are nigh, I wait on the door slab/  Who has done his day's work? who will soonest be through with his supper?/ Who wishes to walk with me?/ Will you speak before I am gone? will you prove already too late?" - (that must have been meant for his friend)
And then, the last section, "The spotted hawk swoops by and accuses me" - "the spotted hawk"? "accuses me? - "..he complains of my gab and my loitering./ I too am not a bit tamed, I too.." - "spotted hawk" - "..am untranslatable" - "I sound my barbaric yawp over the roofs of the world" - That's a great.. "yawp" - the word "yawp" was a tremendous invention. I don't know if it was common when this was written around 1850 or (18)60? - do you know? when the first edition was?

Student: 1855. Second edition's (18)56, I think, or (18)57.

AG: So, this being the end, he would have probably done it, he would have written that line between (18)52-3?-4?-5?. Were they using the word"yawp" in "New Yawk" (sic)? - Y-A-W-P?  

Student: Y-A-W-P - (It was the bird..?)

AG: No, he was talking of the hawk. So it would be like a bird whoop - "I sound my barbaric yawp over the roofs of the world" - And that one word really got him in trouble with every academic scholar that followed on, that one word and that one line, insisting and demanding on sounding that "barbaric yawp", instead of writing precious poetry?. It all comes down to a "barbaric yawp"? - No fair! - they've been studying for so long and "monstrous sauroids" have deposited their dictionaries in libraries for millenia and it all comes down to the acme, the apices, on the steps of the the nations, of  "barbaric yawp"? 
  
Student: Is there any relationship between this "yawp" and your "howl"?   

AG: (Nah)...(Jack) Kerouac liked the word "yawp". That's how.. when I noticed.. He pointed (out)..He (Whitman) wasn't afraid to say "yawp" - ""yawp"? what's a "yawp"?! ...yawp! 
I sent him "Howl", the text, and he wrote back, "howl", "I got your howl". I didn't have a title. He just wrote back, "I got your howl"  and he underlined it, you know, like signifying I should use it. 

Okay -  [Allen returns to Whitman's poem] - "The last scud of day holds back for me/ It flings my likeness after the rest and true as any on the shadow'd wilds" -  true as any phantom, true as any dying creep  -  "It coaxes me to the vapor and the dusk/I depart as air, I shake my white locks at the runaway sun/I effuse my flesh in eddies and drift it in lacy jags" - he's going to dissolve, or die, naturally - "I bequeath myself  to grow from the grass I love/If you want me again lok for me under your boot-soles/You will hardly know who I am or what I mean,/But I shall be good health to you nevertheless,/And filter and fibre your blood/ Failing to fetch me at first keep encouraged,/Missing me one place search another,/I stop somewhere waiting for you" - That's really great- a perfect balance of..between being aware of death (obviously), being aware of the dissolution of the ego that he's stretched to the end of the universe, and realizing that any other ego, or any other self will also stretch the same way, and, once notified by Whitman, will realize it has that capacity for stretching, or empathizing, to the extent of the imaginable universe

[Audio for the above is available here, starting at  approximately twenty-four-and-a-half minutes in and continuing through to approximately thirty-five minutes in]

Additional material: This June 22 1981 Naropa class also contains some discussion about the hand-made "Expansive Poetics" anthology (see hereand here)
AG: I was up all night going over the anthology that we were preparing to bring to the printer this afternoon at four, so it'll be ready for the next class. So [it's] locked in place. with [probably] lots of mistakes. And I wrote the preface (to it) at five a.m.
Those of you who didn't...Oh, I see. I circulated a piece of paper asking how many wanted it. If any of you are unfamikliar with this, would you maybe circulate another piece of paper? You got one of those yellow pad things? That yellow thing will do. That's the...
Student: Has everybody here signed the attendance today?
AG: Yeah. If anybody has not signed up for the book. But [a] warning in advance - the book is now 465 pages which at four-and-a-quarter cents a page is going to run something like twenty bucks. However, it'll be worth it. It"ll be an edition of 50 copies, signed by the editors and translators, and you can take it down to Gotham Book Martand sell it for sixty dollars tomorrow! A limited edition. It'll be worth about two hundred in about three years. I'm going to make fifty copies, and I think twenty-five will be consumed, or thirty consumed, here in Naropa, and then one I'm sending to Anne Waldman and one to Peter [Orlovsky] I guess, and whoever gets them. So if you haven't signed up for it, sign now, so..

Friday's Weekly Round-Up - 161

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Thirteen years ago today since Gregory Nunzio Corso passed away. We certainly won't forget him. Here's the opening track from the album, "Not In My Back Yard" by the Southern Italian band, Nimby - "Thin Lines Among Them", dedicated to him, and scored to footage from Matteo Scarfo's upcoming movie "Bomb! Burning Fantasy", a meditation on Gregory's poetry and life, (which will feature Nick Mancuso in the daunting role of.. Gregory). 

Corso is all over The Allen Ginsberg Project. How about here, here, here, here, here, here and here?
and how about hereherehere - and (unforgettably) here.

Bart De Paepe's Sloow Tapes label out of Belgium has just put out some early Ginsberg on cassette tape -London MantraCheck out Gerard Bellaart's cover art. See below: 



 “It’s a recording George Dowden made at his home in July 1973" (so we're informed).
The tape features “Ginsberg solo on his harmonium, singing Indian mantras and a few of his own songs.




The death ofAmiri Barakalast week left a gaping hole and we're still coming to terms with the loss and with his achievement. Last week, we provided links to a number of obituary notices.  Here are a couple more - Hillel Italie's widely-distributed note on the AP wire-service may be read, for example (in an updated version) here. David Jones  (similarly updated) notification for Reuters can be seen hereBoth choose to employ judiciously equivocal language. Hillel - "He was denounced by critics as buffoonish, homophobic, anti-Semitic, a demagogue. He was called by others a genius, a prophet.." - Jones - "He won fame in some circles, notoriety in others". The New York Times, perhaps, set the template, with its headline -"Amiri Baraka, Polarizing Poet and Playwright.." ("a poet and playwright of pulsating rage, (who)..was called incandescent in some quarters and incendiary in others..") but it was one that was persistently repeated - the equivocal (or, more accurately, the dialectical (sic - not diametrical, certainly not singular)) - Neda Ulaby, for example, at NPR, leading off her "All Things Considered" report, under the heading "Amiri Baraka's Legacy Both Controversial and Achingly Beautiful".
Ishmael Reed (on the blog of the Wall Street Journal, no less! - it's own obit notice may be accessed here, incidentally) addresses this and other matters (what he fingers as "the indolent obituaries") in an honest, measured and intelligent piece that is, frankly, a "must-read" - "Amiri Baraka and I clashed. Often", Reed writes - And, of course, he was "controversial" - "(He) was controversial, because his was a perspective that was considered out of fashion during this post race ghost dance, the attitude that says because we [the US] have a black president, racism is no longer an issue, when the acrimonious near psychotic reaction to his  election only shows the depth of it..Baraka was the kind of writer who comes along once in a generation or so. I once said that he did for the English syntax what (Thelonious) Monk did with the chord. He was an original."
Another peer,Sonia Sanchez, is quoted inThe Philadelphia Inquirer - "You don't want to believe this [his passing], because of the history and her-story of this man, his impact on our literature and our country. He has meant so much." 
She gets to further articulate her grief, as part of a four-person panel in the singularly most comprehensive (and most useful) post-January 9th coverage - Amy Goodman and Juan Gonzales' irreplaceable "Democracy Now" (also on the panel, Felipe Luciano, Komozi Woodard, author of A Nation Within A Nation - Amiri Baraka and Black Power Politics, and Newark, New Jersey activist, Larry Hamm   This one-hour show can be accessed here (with a further on-line only, extended interview, here).
More Baraka links, worthy of your attention - Baraka's son, Ras Baraka remembers his father here, Hilton Als fondly recalls his visits to the LeRoi Jones-Hettie Jones (Hettie Cohen) household, Joshua Furst defends Baraka against charges of anti-semitism in the Jewish Daily Forward.  Michael Gonzales in Ebony surveys the all-important, historically-significant, Black Arts Movement, Anna Merlan surveys Baraka's various appearances in the one-time "alternative", Village Voice... 
"Questlove" (Ahmir Thompson), drummer with The Roots, and author of Mo' Meta Blues. 
in last Sunday's New York Times - "In Baraka, Inspiration Came With Provocation", Hector Tobar and Carl Hancock Rux in the LA Times, Bernardine Everisto in The Guardian...  
His NPR 1986 Fresh Air interview with Terry Gross is available here. Pacifica Radio presents three seperate recordings - from 1964, from 1984, and a 2011 interview with Joanne Griffith.. 
An important trove of recordings are available on Ubuweb. PennSound's recordings are available here 
  
Amiri's wake takes place from 4 to 9 today at the Metropolitan Baptist Churchon Springfield Avenue in Newark. The funeral will take place tomorrow at the Newark Symphony Hall. 1020 Broad Street. The Schomburg Center for Research in Black Culture in Harlem will be hosting a memorial on February 8th. 


[Amiri Baraka doing the jitterbug and Maya Angelou doing the Texas hop at the Schomburg Center for Research in Black Culture in honor of Langston Hughes


Burroughs Centennial preparations continue apace -  the Creative Observer show opens with a reception tonight in Lawrence (Kansas) at the Lawrence Art Center. This stunning exhibit consists of an extraordinary amalgam of "shot-gun art", stencil work, collage work, writings, scrapbook presentations, alongside full-scale artistic collaborations.Yuri Zupancic, one of the curators (and the art director of William Burroughs Communications) is creating a multi-media installation in the front gallery - "a projection of Burroughs' face will turn a mannequin wearing his actual suit and hat into a talking effigy, reading from his novels"


[William S Burroughs (1914-1997)]




[Yuri Zupancic oversees the installation of the William Burroughs Creative Observer show at the Lawrence Art Center]

[Untitled Triptych (three sheets of plywood) by William S Burroughs - spray-paint and shotgun blasts on plywood, 22 inches x 15 inches, 1993 - appearing in "William S. Burroughs - Creative Observer"]

- and just opened in London, England, at the Photographers' Gallery, (through to the 30th March) William S Burroughs - Taking Shots. For a review and more on that - see here - and here 

Burroughs
[Jack Kerouac, Tangier, 1957 - Photograph by William S Burroughs, included in "William S Burroughs - Taking Shots", at London's Photographers' Gallery]

Gregory Corso & Allen Ginsberg Interview William Burroughs (Journal For The Protection of All Beings) 1961

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Burroughs Nova Express
[William Seward Burroughs Tanger Villa Mouneria, 1961, his garden room, time of intense Cut-up prose experiments, Nova Express tracing controllers of hypertechnologic planetary disaster "along the  word lines" of their propaganda imagery back to the image bank." Probably "a trust of giant insects in another galaxy" manipulating their human hosts to wreck the earth with radioactive crap so another life form could move in and take over the territory - photo c. The Allen Ginsberg Estate]

William Burroughs Centennial, and we at the Allen Ginsberg Project will be spotlighting various Burroughs and Ginsberg-and-Burroughs-related materials in the months to come. We'll start off with this, a fairly important piece. According to Joe Maynard and Barry Miles,in theirWilliam S Burroughs: A Bibliography 1953-1973(1978) , this was the first published interview with the great man (It appears, of course, in Sylvere Lotringer's Burroughs Live - The Collected Interviews of William S Burroughs 1960-1997 (2000). It appeared in the 1961 issue of the Journal for the Protection of All Beings,a periodical edited by Lawrence Ferlinghetti and published by his City Lights Books in San Francisco. Gregory Corso and Allen question the sage William.
Gregory Corso: What is your department?
William S Burroughs: Kunst und Wissenschaft.
GC: What say you about political conflicts?
WSB: Political conflicts are merely surface manifestations. If conflicts arise you may be sure that certain powers intend to keep this conflict under operation since they hope to profit from the situation. To concern yourself with surface political conflicts is to make the mistake of the bull in the ring, you are charging the cloth. That is what politics is for, to teach you the cloth. Just as the bullfighter teaches the bull, teaches him to follow, obey the cloth.
GC: Who manipulates the cloth?
WSB: Death.
[William S Burroughs - Death by Lethal Injection, 1990 - Spraypaint on paper, 73  x 58 cm. courtesy the Estate of William S Burroughs]
Allen Ginsberg: What is death?
WSB: A gimmick. It’s the time-birth-death gimmick. Can’t go on much longer, too many people are wising up.
GC: Do you feel there has been a definite change in man’s makeup? A new consciousness?
WSB: Yes, I can give you a precise answer to that. I feel that the change, the mutation in consciousness, will occur spontaneously once certain pressures now in operation are removed. I feel that the principal instrument of monopoly and control that prevents expansion of consciousness is the word lines controlling thought, feeling and apparent sensory impressions of the human host.
AG: And if they are removed, what step?
WSB: The forward step must be made in silence. We detach ourselves from word forms — this can be accomplished by substituting for words, letters, concepts, verbal concepts, other modes of expressions: for example, color. We can translate word and letter into color — [Arthur] Rimbaud stated that in his color vowels, words quote “words” can be read in silent color. In other words, man must get away from verbal forms to attain the consciousness, that which is there to be perceived at hand.
File:Rimbaud manuscrit Voyelles.jpg
[Arthur Rimbaud (1854-1891) - Autographed manuscript of the poem "Voyelles" (1871-1872) via Musée Rimbaud Charleville-Mézières]
GC: How does one take that “forward step,” can you say?
WSB: Well, this is my subject and is what I am concerned with. Forward steps are made by giving up old armor because words are built into you — in the soft typewriter of the womb you do not realize the word-armor you carry; for example, when you read this page your eyes move irresistibly from left to right following the words that you have been accustomed to. Now try breaking up part of the page like this:
  Are there      or just we can translate many solutions       for example color word color in the soft typewriter                               into political conflicts             to attain consciousness monopoly and control
GC: Reading that it seems you end up where you began, with politics and it’s nomenclature: conflict, attain, solution, monopoly, control — so what kind of help is that?
WSB: Precisely what I was saying — if you talk you always end up with politics, it gets nowhere. I mean man it’s strictly from the soft typewriter.
GC: What kind of advice you got for politicians?
WSB: Tell the truth once and for all and shut up forever.
GC: What if people don’t want to change, don’t want no new consciousness?
WSB: For any species to change, if they are unable and are unwilling to do so — I might, for example, have suggested to the dinosaurs that heavy armor and great size was a sinking ship, and that they do well to convert to mammal facilities — it would not lie in my power or desire to reconvert a reluctant dinosaur. I can make my feeling very clear, Gregory, I feel like I’m on a sinking ship and I want off.
GC: Do you think [Ernest] Hemingway got off?
WSB: Probably not.
[Ernest Hemingway (1899-1961) took his own life with a "double-barreled shotgun" on July 2 1961]  
(next day)

AG: What about control?
The War Room.
["The War Room" from Stanley Kubrick's "Dr.Strangelove". The film opened on January 29, 1964.It was originally scheduled for November 22, 1963, but was cancelled when President John F Kennedy was assassinated]

WSB:  Now all politicians assume a necessity of control, the more efficient the control the better. All political organizations tend to function like a machine, to eliminate the unpredictable factor of affect — emotion. Any machine tends to absorb, eliminate, Affect. Yet the only person who can make a machine move is someone who has a motive, who has Affect. If all individuals were conditioned to machine efficiency in the performance of their duties there would have to be at least one person outside the machine to give the necessary orders; if the machine absorbed or eliminated all those outside the machine, the machine will slow down and stop forever. Any unchecked impulse does, within the human body and psyche, lead to the destruction of the organism.
AG: What kind of organization could technological society have without control?
WSB: The whole point is, I feel the machine should be eliminated. Now that it has served its purpose of alerting us to the dangers of machine control. Elimination of all natural sciences — If anybody ought to go to the extermination chambers, definitely scientists. Yes, I’m definitely antiscientist because I feel that science represents a conspiracy to impose as the real and only universe, the universe of scientists themselves — they’re reality-addicts, they’ve got to have things so real so they can get their hands on it. We have a great elaborate machine which I feel has to be completely dismantled — in order to do that we need people who understand how the machine works — the mass media — unparalleled opportunity.
AG:Who do you think is responsible for the dope situation in America?
WSB: Old Army game, “I act under orders.” As Captain Ahab said, “You are not other men but my arms and legs –” Mr. Anslinger has a lot of arms and legs, or whoever is controlling him. Same thing as the Eichmann case: he’s the front man who has got to take the rap. Poor bastard, I got sympathy for him.
[Adolf Eichmann, listening as the court declares him guilty on all counts at his war crimes trial in Jerusalem on December 15 1961]
GC: Could you or do you think it wise to say who it will be or just what force it will be that will destroy the world?
WSB: You want to create a panic? That’s top secret — want to swamp the lifeboats?
GC: O.K. How did them there lifeboats get there in the first place?
WSB: Take for instance some Indians in South America I’ve seen. There comes along this sloppy cop with his shirt buttons all in the wrong hole. Well then, Parkinson’s law goes into operation — there’s need not for one cop but seven or eight, need for sanitation inspectors, rent collectors, etc.; so after a period of years problems arise, crime, dope taking and traffic, juvenile delinquency. So the question is asked, “What should we do about these problems?” The answer asGertrude Stein on her deathbed said, comes before the question — in short before the bastards got there in the first place! That’s all —
[Fidel Castro and comrades during the Bay of Pigs Invasion (Invasión de Bahía de Cochinos), April 17,1961 - photo by Raul Corrales/AP]

AG: What do you think Cuba and the FLN think about poets? And what do you think their marijuanapolicy is?
WSB: All political movements are basically anti-creative — since a political movement is a form of war. “There’s no place for impractical dreamers around here,” that’s what they always say. “Your writing activities will be directed, kindly stop horsing around.” “As for the smoking of marijuana, it is the exploitation for the workers.” Both favor alcohol and are against pot.
GC: I feel capitol punishment is dooming U.S.A.
WSB: I’m against Capitol Punishment in all forms, and I have written many pamphlets on this subject in the manner of [Jonathan] Swift’s (A) Modest Proposalpamphlet incorporated into Naked Lunch; these pamphlets have marked Naked Lunchas an obscene book. Most all methods of capitol punishment are designed to inflict the maximum of humiliation — not attempts to prevent suicide.

Image
[Execution of Ruth Snyder by Electric Chair, New York, January 12 1928]



AG: What advice do you have for American youth who are drawn to political action out of sympathy for the American revolution?
WSB: “I wouldn’t be in your position” — old saw. If there is any political move that I would advocate it would be an alliance between America and Red China, if they’d have us.

File:The Red Detachment of Women (1961-China).jpg
[Film poster for  Jin Xie's 1961 propaganda film, "The Red Detatchment of Women"] 
GC: What about the Arab peoples — how are they faring?
WSB: They’re stuck back thousands of years and they think they’re going to get out with a TV set.

File:Osama bin Laden watching TV at his compound in Pakistan.jpg
[US propaganda image - Osama Bin Laden watching tv at his compound in Pakistan (2010)]

GC: What about the Negros, will they make it — not only the ones in the South, but everywhere?
WSB: Biologically speaking the Afro-Asiatic block is in the ascendancy — always remember that both Negro and White are minority groups — the largest race is the Mongoloid group. In the event of atomic war there is a tremendous biological advantage in the so-called undeveloped areas that have a high birth rate and high death rate because, man, they can plow under those mutations. The country with a low birth rate and low death rate will be hardest hit — and so the poor may indeed inherit the earth, because they’re healthier.

[White Supremacists in the South - from James Allen's "Without Sanctuary - Lynching Photography in America" (2000)]

AG: What do you think of White Supremacy?
WSB: The essence of White Supremacy is this: they are people who want to keep things as they are. That their children’s children’s children might be a different color is something very alarming to them — in short they are committed to the maintenance of the static image. The attempt to maintain a static image, even if it’s a good image, just won’t work.




GC: Do you think Americans want and could fight the next war with the same fire and fervency as they did in World War II?
WSB: Undoubtedly, yes — because they remember what a soft time they had in the last one — they sat on their ass.

Expansive Poetics - 16 (Fernando Pessoa - 1)

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[Fernando Pessoa (1888-1935)]  

Allen's lecture from June 1981 on "Expansive Poetics"continues

AG: (Walt Whitman) - What sort of response did he get? This (Leaves of Grass, first edition) is 1855. What I would like to do now is jump ahead in time. (we might come back to Whitman, but we have (as base) his main statement of self as extendible).

Then there was Fernando Pessoa, who was born in Lisbon on June 13, 1888, and died in 1935, during the great world depression. In Lisbon, he read Walt Whitman, and, around World War I on a street in Lisbon had a sudden seizure of realization of Whitman's prophecy and so wrote "Salutation to Walt Whitman" (Saudação a Walt Whitman), which is a poem I had never run into until about three years ago [1978], when I began thinking, who else wrote interesting expansive poetry?

There are three poems that I want to line up (with Walt Whitman's)  "Song of Myself"-Pessoa's "Salutation to Walt Whitman", and then (Federico Garcia) Lorca's "Ode to Walt Whitman" - three children of Whitman - Pessoa's "Salutation to Walt Whitman" is 1915, Lorca's would, I think, be in the early (19)30's in New York City - and, simultaneous in New York City, early (19)30's or late (19)20's, would be Hart Crane's section of "The Bridge" that directly addresses Whitman. Well, they all learned empathy from Whitman so they were all able to imagine him as themselves and so address him directly.

Student: As he requested in that...


AG: Yes, exactly as he requested - "Poets to come!  orators to come!,/ Not today is to justify me, but you who come in the future" [editorial note: the exact quotation here is "Poets to come!  orators, singers, musicians to come!,/ Not today is to justify me and answer what I am for,/ But you, a new brood, native, athletic, continental, greater than before known,?Arouse! for you must justify me"]   


"Salutation to Walt Whitman" - And its taking this notion of the self stretching itself infinitely, like a great big egotist also, but willing to work with that. [Allen reads Fernando Pessoa's "Saudação a Walt Whitman" (in the English translation by Edwin Honig) to his class, in its entirety] - "Infinite Portugal, June eleventh, nineteen hundred and fifteen.../ A-hoy-hoy-hoy-hoy!"" .."Good-bye, bless you, live forever, O great bastard of Apollo,/Impotent and ardent lover of the nine muses and of the graces/ Cable-car from Olympus to us and from us to Olympus" [Editorial note: not Honig's, but a full, on-going English translation of Pessoa's "Saudação a Walt Whitman" may be read here


AG:  That's so funny. That's great.

Student: Who does that translation?


AG: That's translated by Edwin Honig


Student: How did he write the word "yawp" in the original?


AG: Well, he's got it here. Let's see.. where?..oh heck.. it's a couple of pages back..


Student: Can you spell his name for us?


AG: P-E-S-S-O-A  - One of the things in our anthology will be the complete text of this, so you'll get it. Oh, I better find that "yawp"..


Student: Allen?


AG: Yawping. That is interesting. It's (in the) Portuguese. It was sort of (at) the top, I seem to remember. Does anybody know Portuguese? Can anybody read a little bit, a tiny bit, of Portugese here ? Nobody? - Desencadeio-me - I burst loose


Student: I burst loose


AG: a saudar-te.. - to salute you


Student: To salute you


AG: - aos pinotes - "bounding" -  e aos urros, e aos guinchos, e aos berros - 
G-U-I-N-C-H-O-S - "yawping", translated as "yawping", so that must have been.. maybe "squealing"? - "guinchos"? - but I don't know Portuguese. - that must have been a little genius touch of Edwin Honig (who was around, Honig was a friend of (Kenneth) Rexroth) and (the) (19)30's and (19)40's writers). 
This book is a very rare, interesting book, published (as) Selected Poems by Fernando Pessoa. This is what he looks like [Allen shows the class the cover of the book] - a little tiny moustache and eyeglasses (and there's an actual photograph [see above] that looks almost  the same




[Audio for the above is available here, beginning at approximately thirty-five minutes in (Allen's reading of Pessoa's  "Salutation to Walt Whitman" starts at approximately thirty-seven-and-a-half minutes in) and concludes at approximately fifty-one-and-a-quarter minutes in.

Expansive Poetics 17 - Fernando Pessoa - 2

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[Portrait of Fernando Pessoa by Almada Negreiros, 1954]

AG: "I'm going to take off my tie!"...


Student: Wow, he was a pretty restricted guy!..


AG: Yes, but in his imagination, Whitmanic... but funnier than Whitman, in a way. It's a parody of  Whitman. It's taking Whitman up on his word totally and taking it to such a total extreme that Whitman becomes a reductio ad absurdum. And, at the same time, it gives us the same sentimental good wil, charm, humane imagination, tolerance, amusement as Whitman. Just taking Whitman further and becoming a Whitman-freak, a Whitman fanatic, taking him to where William Buckley, or the anti-Whitman cynic, could take it, parodying it, but, at the same time, some ultimate Whitmanic enthusiasm (there) that wins out, enthusiasm and sympathy. It does win out. It's like Whitman broke out in(to) this St. Vitus Dance, and all of a sudden these people on Wall Street, in Portugal, are sort of breaking out and taking off their clothes and taking off their ties and saying, "I, too - Me too". And there's a world plague, everybody suddenly getting the Whitmanic fury, Whitmanic fever on Broadway (or Scarsdale (New York), and suddenly declaring themselves to be the universe, also. Well, like a bunch of acid-heads, basically. 


Pessoa wrote under the name(s) Alberto Caeiro, Ricardo Reis (and) Alvaro de Campos

Student: Oh


AG: He wrote (in) all forms, including sonnets. This..[Allen points to Honig's translations] (is) Swallow Press, Chicago, Illinois, 1971. I can understand how this book never got to be a best-seller, because it's just terrific! -  (There are) many, many, many great poems in here, with the same energy and vivacity and exuberance. 


It's this type, or this style, that I had in mind when I called it "heroic" (or "expansive", certainly) -"Expansive Twentieth-Century Poetry" - Certainly the breath is expansive, the spirit is expansive. It's not scared to be ridiculous. There is actually a seizure of imagination. The guy gets hold of an idea, of a perception, of a great perception, and then unobstructedly, unabashedly, without check - unchecked - pushes it to its extreme. Like a single idea - or a single slightly impalpable perception he makes palpable in many different ways until you get the basic idea,  but you're not sure exactly what the spirit is, or whether it's a hoax. I mean, is it a hoax to think that you can be everything?. In other words, if you say the mind is infinitely variant, and the mind is uncontrollable (the mind is the mind, and the mind goes everywhere) and the mind has capacities for infinite empathy and compassion, and for infinite insight, and for infinite emptiness, if it is the mind, by its nature, without you having to be a big egotist to have one, because, simply, it's not your mind, it's just the mind, so it has nothing to do with you, it's just a thing that's going on all the time. If someone posits that, and further says, "Because I am this mind, therefore, why not? I'm God, I'm Buddha, I'm Walt Whitman, I'm Alvaro de Campos, I'm Fernando Pessoa, I'm the "prisoner with the drop of sweat dropping from my trembling moustache lip- Is there some logical discontinuity there? In other words, you start out with saying that the mind is endless and you wind up saying, "I'm an idiot, I'm an angel,I'm Walt Whitman (and if he doesn't like it, I'll beat him to death and take over". Because, in a sense, that's the ideal..what do you call it? - (Mark David) Chapman, Chapman's relation to John Lennon. "I am John Lennon". Bang! . "I know you want me, John Lennon, here I am. I'm going to take over and relieve you of your destiny. We will be one." Boom!

Student: Ugh!


AG: De Campos' or Pessoa's parodying it. I think he can do this same sort of thing in a short poem. Would you like to hear some brief.... 


Student: Are these all translated by Edwin Honig?

AG: All translated by Edwin Honig. I was able to send for and get this book several years ago. There's a copy in the library for you to consult and read, incidentally. There may be another one. There's also another book of translations. I haven't examined this thoroughly. I have it around the house, and I think there's one in the library also. This might have other poems I don't think as well translated.

Under the name "Alvaro de Campos" -"I have a terrible cold/. And everybody knows how terrible colds/ change the whole structure of the universe/Making us sore at life/Making us sneeze till we get metaphysical/My day is wasted, full of blowing my nose,/My head aches vaguely,/A sad fix for a minor poet to be in./Today I'm really a minor poet/ Whatever I was turns into a dream wish that disappeared/Fairy queen, good-bye,  forever!/Your wings were sunbeams (and) my feet are clay./I'll never be well if I don't go to bed/ I never was well unless I was stretched out across the universe/Excusez un peu.. What a terrible physical cold!/ I need some truth and aspirin."
That's like a little tiny same thing. So he's really an inspired, interesting, poet, full of mind-tricks.

Student: How was he appreciated in Portugal?

AG: Oh, he is the Portuguese twentieth-century national poetry hero

Student: Ah

AG: Everyone knows him in Portugal.. It's just dumb Americans (and Frenchmen and Germans) who've never heard of him.. and China-men, I suppose. But this is the national literature of Portugal. 

And the thing that I've been finding in examining all these national literatures, is, that in the twentieth-century, almost every language and country has some really funny guy in the twentieth-century, has some really great poet, who, just sort of comes out of a farm or a city street or banking house or Columbia University [sic] and writes some poem that changes everybody's head, somewhere between 1905 and 1956, I'd say. In Hungary, Juhász, Ferenc Juhász (and also, Attila József), in France, (Guillaume) Apollinaire, let us say, to begin with, and many others besides. In Russia, people like (Velimir) Khlebnikov and (Vladimir) Mayakovsky (Khlebnikov is like this in a way), French West Africa, (Leopold) Senghor (as those who have been studying with (David) Henderson in that (Naropa) Negritude class might dig), 1926 America, I'd say, Vachel Lindsay, almost. A lot of poets in America. We already had a Whitman - but every country has one.

So the purpose of the anthology I was doing was doing a survey and finding all of the terrific expansive poets I could find (which is actually an infinite task, because there's too many countries to cover and too much literature to read. But if you ask people from different countries, they usually do have one candidate, or two, and one specific (one) that really caps it. So what we've been doing this last year is trying to collect such poems (like collecting stamps, sort of). So it (the anthology) is ready to go to the printer.

There's another long long poem (from Pessoa). Let's see. Well, here's something

 - "Poem In A Straight Line" -  "I don't know a soul who ever took a licking,/My friends have always been champions at everything/ And I, so often vulgar, so often obscene, so
often vile,/ I, so deliberately parasitical,/Unforgivably filthy,/I, so often without patience to take a bath,/ I, who've been so ridiculous, so absurd/Tripping up in public on the carpet of etiquette,/I, so grotesque and mean, submissive and insolent,/Who've been insulted and not said a word,/ And when putting a word in growing still more ridiculous,/I who strike chambermaids as laughable/ I who feel porters wink sarcastically,/I who've been scandalous about money, borrowing and not/paying it back/I, who when the time came to fight, ducked/As far as I could out of punching range,/I, who got ino a sweat over the slightest thing - /I'm convinced no one's better than I at this sort of game/  No one I know, none of my speaking acquaintances,/Ever acted ridiculous, ever took insults,/Was anything but noble - yes, all of them princes, /living their lives../How I'd love to hear a human voice from any one of them./Confessing not to sins but to infamies,/Speaking not of violent but of cowardly acts!/But no, each one's a Paragon, to hear them tell it./Is there no one in this whole world who will confess to me /he's been vile just once?/All you princes, my brothers,/ Enough - I'm fed up with demigods!/Where are the real people in this world?/ Am I the only scoundrel and bungler alive?/  Maybe women don't always fall for them./ Maybe they've been betrayed.But ridiculous? Never!/ And I, who've been ridiculous but never betrayed,/How do I speak to their Highnesses without stammering?/I, who have been vile, so utterly vile,/ Vile in the meanest and rottenest possible way" - 

That's the way he leaves it. That's the end of the poem. 

Student: Oh


AG: "Vile in the meanest and rottenest possible way". Well, this is certainly...


tape ends here - tape continues        


[Audio for the above may be heard here, starting at approximately fifty-one-and-three-quarter minutes in and concluding approximately sixty-two minutes in (Allen's reading of "I Have A Terrible Cold" begins at approximately fifty-seven minutes in, and his reading of  "Poem In A Straight Line" begins approximately sixty minutes in)]  
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