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William Burroughs - 1981 Naropa Reading

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The photo above (taken by Allen)  is from some five years later, ("William S Burroughs ready to leave "Obie Benz's loft", 33 Greene Street, Manhattan, December 16, 1986"), 
but the Burroughs visage,  the WSB look, didn't really change that much over the years. (See here for a photo portfolio) - (more Allen Ginsberg William Burroughs pictures here)

Listen today to William Burroughs in 1981 at the Naropa Institute
courtesy the treasury that is the Naropa Archives collection - here 

- the "next-to-the-last reading of Naropa's Summer of 1981 Jack Kerouac School of Disembodied Poetics poetry readings", as Allen notes, in his few brief words of introduction (cut short on the tape), (he,actually, scrambles it, suggesting that it's '71 not '81, but we'll let that be) -  William Burroughs is then heard, almost immediately, approximately fifty seconds in, beginning with -  "Seven hundred delegates, all of whom make their living from substance abuse…"(this piece concludes, ".."shopping without money", she says, with a bright happy smile, as she fills her shopping-bag, have a good day') - Next, starting at approximately seven-and-a-half minutes in, he reads "Cold Hearted Man" (beginning, "I nominate for the most flatly disgusting passages in current fiction, the typical interview between a young intelligent agent and his chief..", and concluding (ironic dark queen talk) "..well, as one menstruating cunt said to the other, "I guess it's in the rag, Mary"). Then,  at approximately nine-and-a-half minutes in (from Ah Pook Is Here) it's, "Introducing John Stanley Heart" (John Stanley Heart is "a newspaper tycoon who is obsessed with immortality.."), and, at approximately sixteen and three-quarter minutes, a section from The Place of Dead Roads ("My protagonist, Kim Carson, finds himself in deadly conflict with the Mr Hart, the press tycoon and old man Bickford, a beef and oil baron.. "For three days, Kim has camped on the mesa top..".."A hypodermic syringe glints in the sun"). At  approximately twenty-one-and-a-quarter minutes in, Burroughs reads a further choice selection fromThe Place of Dead Roads - "Train Whistles From Across A Distant Sky"
At approximately twenty-two and three quarter minutes - "A special meeting of the Eastern families is scheduled for next Tuesday, the subject of the discussion will be Mafia infiltration into practically everything.."
At approximately twenty-five and a half minutes "Progressive Education " ("When Kim was fifteen…"), 
At approximately thirty-five-and-a-quarter minutes -"The Colonel fills his pipe..".."Depressing isn't the word for England. What hope for a country where people camp out for three days to catch a glimpse of the royal couple!" - "No doubt about it, these are the lower classes"
At approximately forty-one minutes in -  "Father's Picture ("So many faces, yet something that is Kim in all of them caught in his father's portrait …") 
Then - 
"Closing Time, Gentlemen, Brion Gysin has a bedtime-story. It seems that trillions of years ago a giant flicked grease from his fingers. One of these gobs of grease is our universe on it's way to the floor - Splat!" 

Burroughs concludes the reading (at approximately forty-eight -and-a-half minutes in) 
with a spirited reading of the famous/infamous "Doctor Benway routine"
( "The labaratory had been locked for three hours solid…) 

William Burroughs as Dr Benway


Expansive Poetics - 77 (Sergei Esenin - 2)

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[Sergei Esenin (1895-1925)]


.. So, Esenin broke loose from (Nikolay) Klyuev, who was very demanding (sexually, I imagine, as well as morally). He didn't want Esenin to be running around Russia as a big intelligent poet, handsome, on his own, making out with everybody else. So there is another poetic cafe that's described in (Gordon) McVay's biography of Esenin - (an interesting book - Esenin - A  Life by Gordon McVay, also Ardis, Ann Arbor).

Student: Let me see the photographs. Can I see?

AG: Well, there's lots of photographs of Esenin. I think you've seen some but I'll get a big one if I can. He was the greatest looking poet after Rimbaud, probably. So  Klyuev had himself a good thing going. Well, there's a picture of Klyuev and Esenin, in the lower-right, over there. I don't know if you can see very much of it. Well, Klyuev is the older guy

Yesenin and Klyuyev.
[Sergei Esenin and Nikolai Kluyev]

(and then) Esenin himself, a little bit later - really a movie-actor! -  totally the best! - the best piece of poetic meat in Russia in 1910! - Powdered his hair, occasionally. He had a fantastic career.


[Isadora Duncan and Sergei Esenin]

Here, with Isadora Duncan, whom he married.. He married Isadora Duncan (there's a movie about it, even) - [Editorial note - more than one] . They were stars in their own day. They had a stormy career. I can read you something about that..

Student: Please do.

AG: Yeah, when we get to that. First of all, what I wanted to get to was - we had the Stray Dog Cafe, now - the Pegasus Stall, in Moscow, 1919 (this is after the Revolution)  - "The chief Imaginist.." (there was a group called the Imaginists, which was Esenin and his friends, (Anatoly Mariengof) - "The chief Imaginist cafe-tavern" [writes Gordon McVay] "was..virtually their own  property - the Pegasus Stall ("Stoilo Pegasa"). This home ground of the Bohemian Imaginists inspired many (a) virulent attack, and seems, by some accounts, to have been a den of vice. An "Old Writer" in the Herald of Literature cast a jaundiced eye on "the new poetic stall" in 1919 - "And now there is a new cafe, the Pegasus Stall. It is led by two recent pillars of the Poets Cafe and Russian Imaginism - Sergei Esenin and (Anatoly) Mariengof. In the new cafe, everything is, as in the previous cafes - bad coffee, dinners at high prices, a stage, mediocre verse, maxims on the walls and beneath the glass on the tables, pearls of wisdom and inspiration of the poets in charge. And yet are there (perhaps) too many poetic stalls in Russia?". A couple of years later, in (19)21, Dmitry Furmanov went there to hear Mariengof recite and was not favorably impressed - "The Pegasus Stall is, in essence, nothing more than a stall of bourgeois spoiled children. Here people congregate who play absolutely no part in the movement of society - painted, shrill, and stupid young ladies, whose tiny hands are kissed in the old-style by their poet admirers. Here people throw away tens of thousands of rubles for a light breakfast, as if it were a mere kopek. That is, the public is no stranger to speculation. Here you will see polished bourgeois kiddies, excellently dressed, smoothly shaved, sleek, fashionable, foppish. In short, all the same riffraff who formerly reveled in obscene salon anecdotes and ditties, and, for that matter, still do. Mariengof himself is a typical glossy dandy. He creates the most repulsive impression, that is, by his openly bourgeois essence".


[Anatoly Mariengof]

The Pegasus Stall (the former Cafe Bim-Bom), situated on the corner of Maly Gnezdnikovsky Pereulok and Tverskaya Street, present-day Gorky Street, and here, while the customers ate and drank, a kind of orchestra played, and the Imaginists recited - O(saf) Litovsky [journalist and theatre critic] recalls Esenin acting as a waiter in the cafe, dressed in a dinner jacket, with a napkin under his arm. It remained open from 1919 until late 1924, and, unlike the other cafes, only Imaginist poetry was recited there. A number of women came visiting (including Isadora Duncan). The Stall (Pegasus's Stall) became Esenin's residence. He, literally, lived there. 
"At first, [Nikolai Poletaevnotes] I think, Esenin drank little, (and I never saw his friends drink at all). Esenin's temperament was such that if he drank but a small amount he'd begin to shout and act rowdily. The poet's fame grew and grew. People knew and loved him. Young people were crazy about his verse. And it must be said that for Esenin fame was everything. Obscurity and insignificance were synonymous in his vocabulary." It stayed open until two a.m. and it seems that the poets began to recite around eleven-thirty p.m. Until the period of the New Economic Policy, introduced by Lenin, it was, in the words of one Ivan Startsev, "the only place in Moscow where there were gatherings of Bohemians and the unbridled cafe public until two or three in the morning". Even Mariengiof, who read there and revelled in the trappings of Bohemianism, had to describe the milieu there as one of  "shrill foxtrots, an empty-hearted, red-lipped crowd, reeking of wine, powder, and cheap little passions from  Tverskoy Boulevard" - [which is where the whores lived, mostly]

There's a meeting between (Velimir) Khlebnikov and Esenin and his group. There's a food shortage in Moscow and Esenin knew somebody who was in charge of relief shipments on the railroads, and so he wrangled a private railroad car to go around Russia reciting poetry and buying up black market goods to bring back to Moscow to sell. So they decide to give a poetry reading in Kharkov, before a large audience.

"One aspect of that much-described evening has appeared to many as a particularly shameful blot on the Imaginist record. (Aleksey) Chapygin recalls, "Mariengof pushed out onto the stage the emaciated Velimir Khlebnikov. But the latter, resisting and cowering, had no wish to come out. When he was pushed out, he came but he declaimed in such a way that nobody could hear him. Khlebnikov, Futurist poet of fantastic neologisms and quasi-scientific calculations, was noted for his impracticability and otherworldliness.Mariengof describes the incident without any compunction, beginning by establishing Khlebnikov's strangeness. He shook hands holding a shoe he was repairing. He had eyes like a saint's on an icon and he had spent the previous night writing illegibly in the dark, according to Mariengof…" - [These are the guys who had to stand up against (Joseph) Stalin and (Leon) Trotsky and all of the theologians and Communist theoreticians].

Peter Orlovsky: He was probably very poor...

AG: Yeah.. He starved to death within a few years

Peter Orlovsky: He was fixing his own shoes and he was.. no light in the room..

AG: According to Marion Goff, Esenin had suggested that they should crown Khlebnikov as "President of the Terrestrial Globe" -  (if you remember those texts we went over earlier) -"President of the Terrestrial Globe in the City Theatre, and Khlebnikov had gratefully agreed. A week later, before a packed auditorium, Khlebnikov stoof bare-footed in a cloth surplice as Esenin amd Mariengof proclaimed him President. After every quatrain of mock praise, Khlebnikov quietly answered, "I believe". And finally, as the symbol of the Terrestrial Globe, a borrowed ring was placed on his finger. When the owner wanted the ring back after the ceremony, Khlebnikov grew afraid and hid his hand behind his back, saying, "It's…it's…it's the globe, the symbol of the terrestrial globe, and I.. you see.. Esenin and Mariengof made me President." Esenin roared with laughter. The owner pulled the ring from Khlebnikov's finger, and Khlebnikov "wept bright tears as large as those of a horse".  The Futurist poet, N(ikolai) Aseev, upon hearing of the episode, felt indignant, especially as "Khlebnikov had only just then recovered from typhus."

Travelling then, just after the Revolution, there's the peasant poet, Esenin, beginning to have his doubts about the Revolution, but still wants to be a good Communist. But, on the other hand, although he's broken with Klyuev, he still has (a) romantic notion about back-to-the-land and about pre-Industrial Revolutionary sincerity. So, from a letter by Esenin to a girlfriend, to give an example, to illustrate his sorrow for the departed, beloved, familiar, animal quality (which he contrasts with the immovable power of what is dead and mechanical) 

"We were travelling from Tikhoretskaya to Pyatigorskwhen suddenly we hear shouts., look out the window and what do we see? We see a small foal galloping with all its might after the railway engine. It was galloping in such a way that we realized at once that for some reason it decided to outstrip the train. It ran for a very long time but in the end it began to tire, and at one station it was captured. The episode may strike others as insignificant, but for me it tells a very great deal…"

[tape ends here but then resumes on the next side]

 "…The steel horse has conquered the living horse.." - [It's the old John Henry story, actually] - "And this small foal was for me a graphic, dear, dying image of the face of (Nestor) Makhno. The village and (Nestor) Makhno in our revolution are terribly like this foal in the competition of a living force with one of iron. I am very sad at present that history is living through a very painful epic of killing off the living personality, for you know that the Socialism that is developing is not at all what I expected but a deliberate, definite, kind, like a sort of island of St.Helena without glory and without dreams. In this Socialism, there is little room for living, for a person building a bridge into the invisible world, as these bridges are hacked down and blown up beneath the feet of future generations". 

"By 192o, therefore, Esenin sympathized more with the anarchic revolt of the anti-Bolshevik leader Makhno than with the disciplined iron will of (the) Bolsheviks. The incident of the horse, mainly pursuing a train, acquired a symbolic importance (and Mariengof described it at some length also). It became the central episode of Esenin's famous poem, "Sorokous" [Сорокоус,] which was written in the train on the way to Baku. The contest between the living and the steel horse must have appealed especially to the Imaginists.

So we have that poem in translation. Brief(ly) - "The Colt and the Train" (from Prayers For The Dead), or "Sorokous" - "Did you see/ the train on its cast-iron feet,/ rushing through the Steppes,/ hiding in the mist of lakes,/ snorting through its iron nostrils? / [Видели ли вы,/Как бежит по степям,/В туманах озерных кроясь,/Железной ноздрей храпя,/На лапах чугунных поезд?] - "And in its wake, as though in a desperate race at a gymkhana" - ["gymkhana"? - What is gymkhana? gymkhana? - Do you know?" - Horse-meet?] - "a red-maned colt is galloping over the high growing grass, flinging its slender legs as high as its head." ["А за ним/ По большой траве,/ Как на празднике отчаянных гонок,/Тонкие ноги закидывая к голове,/ Скачет красногривый жеребенок?"] - "The dear, dear, funny little fool,/ where is he racing to like this?/ Doesn't he know that live horses/ have been vanquished by steel cavalry?/ Doesn't he know that his gallop in the somber plain/ will not bring back the days/ when the Pechenegs would give a couple of beautiful Russian girls of the Steppes/ in exchange for a horse?/ Fate and the markets have altered the face of our deep and quiet waters./ awakened by the grinding noise of the trains./ And now you buy a railway engine/ for tons of horses' flesh and skin" - [Милый, милый, смешной дуралей,/ Ну куда он, куда он гонится?/ Неужель он не знает, что живых коней/ Победила стальная конница?/ Неужель он не знает, что в полях бессиянных/Той поры не вернет его бег,/ Когда пару красивых степных россиянок/ Отдавал за коня печенег?/По-иному судьба на торгах перекрасила/ Наш разбуженный скрежетом плес,/ И за тысчи пудов конской кожи и мяса /Покупают теперь паровоз"].


So most of his poetry then is a mixture of nostalgia for his youth, beauty, past, villages, his peasant civilization in connection with the land and some kind of living romance, or living romantic animal quality. And the slow alcoholism that overtook him, or that he took on. And the slow grind with the Communist Party and  (now) with a new cult, another school, (which was a proletarian cult), which said that everything should be political, radical, revolutionary, pro-Communist, pro-government, decided by the workers, and (that) there should be workers' poetry, and (that) poetry should be simplified, and (that) all these schools,j of  Symbolism,Futurism, Acmeism, Imaginism, were just a bunch of whores, running around, hanging around cafes and having a good time while the workers sweated and were suffering - (which was, in a sense, quite true,  because Esenin was a cut-up, totally, and getting drunker and drunker between 1919 and 1925, when he committed suicide, another example of the poète maudit, or "ill-spoken", or "cursed" variety (of poet) that we had with (Arthur) Rimbaud, (Paul) Verlaine,(Francois) Villon(and) which we narrowly escaped having with Gregory Corsosomeone who's drinking was so terrific that it actually drove the world away, although everybody loved him and adored him and realized he was perhaps the greatest poet around, but he became intolerable to almost everybody. There are lots of stories about that, which we can get to.
    
[Audio for the above may be heard here, beginning  approximately twenty-one minutes in and concluding at approximately thirty-five minutes in]  

Expansive Poetics 87 - (Cezanne's Methodology)

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[Paul Cezanne  (1839-1906) - Self Portrait (1879-80) -  oil on canvas, 33.7 x 24.7 cms via Oskar Reinhart Art Collection, Winterthur, Switzerland]

AG:  (So) (Guillaume) Apollonaire's "Zone"- We have three different translations here and I have a couple others with me. The first one which is probably good as a working one is (by) Roger Shattuck. There's one by Anne Hyde Greet. And I xeroxed one by Ron Padgett- and there's also one bySamuel Beckett, so you can see how solid a poem it is - so many intelligent people have worked on it. Samuel Beckett, certainly, and Ron Padgett, excellent poet. Roger Shattuck, brilliant scholar, who's wortk The Banquet Years about Apollinaire and Picasso and the great turn-of-the-century French art movement is something worth looking up. If you want to know more about that high-class golden bohemia, Roger Shattuck's The Banquet Years covers the personal gossip and literary and artistic and musical history of an era, with Erik Satie introducing a new kind of economy (and humor) into music, Picasso and Braque taking off from the original optical experiments of Cezanne to invent and developCubism out of Cezanne's painting technique, (Sergei) Diaghilev from the ballet coming in (Vaslav) Nijinsky era, a little later). But all concentrated in Paris - a collection of real zany wits and brilliant poets. Apollinaire himself lived only up to the end of the War, and died on Armistice Day,World War I, so you could say, (a) "pre-War" explosion, that affected everything that came in the century afterwards.


[Paul Cezanne - The Bather (1885), oil on canvas, 127 x 96.8 cms], via The Museum of Modern Art, New York]

Do you folks know about Cezanne's method of painting. Because that, actually, in a sense, is the key to the whole twentieth-century relativistic aesthetics that you'll find in painting, poetry and music. (Does) anyone here know what I'm talking about? Cezanne as the precursor of Cubism? 

Student: No

AG: Is anybody familiar with that?

Student: No

AG: Ok.

Student: Tell us about it

AG: Okay. I don't have any Cezanne. I should have brought something here, but Cezanne's theory was that, following the researches of the Impressionists who were interested in optics itself (so you have Pointillism, where you could compose what looked like a three-dimensional picture by means of points - little points of pure color). And then you put ared next to a blue, put a green next to a yellow and it would, in a certain area.. and you might have that register optically as blue. Put a green dot of paint rom the tip of the brush next to a yellow dot (with( the tip of the brush, it might register as blue to the eyeball if you got a certain distance from the canvas.
So the Impressionists went out to paint the external phenomena as seen by the eyeball, as distinct from previous centuries which painted more idealistically, or painted what they could see in front of them in the studio, trying to get the right definition of the line. The Impressionists began exploring the phenomena of the eyeball and the surface of the eye and what was the relation between perception and the external world. And so that led to Impressionism, or making experiments with what things appeared to be like looking through your eye - looking from behind your brain, through your eye, to the outside, I guess.  It was sort of relativism. Actually, they were painting the eyeball rather than the external world. They were painting the impression on the eyeball, rather than assuming that the external world was out there for real to paint. They began looking directly at the measuring-instrument, just like (Albert) Einstein, who says the measuring-instrument determines the shape of the universe, or the appearance of the universe, so they began examining the measuring-instrument. 

George Wald nobel.jpg
[George Wald (1906-1997)]

There are a lot of books and theories of optics at that time, which developed ino theories, which developed into the Nobel PrizeforGeorge Wald, who's study of the function of sight led him to the conclusion that if you look at the door, which is orange, and then, if you shift your gaze to the wall, which is white, there is a readjustment of the retina, and that the retina cannot focus on two colors at the same time. Now did everybody know that?

Student (CC): Yeah

AG: You can check that out. But the retina cannot focus on two colors simultaneously. It can only focus on one color and has to refocus to hit the other color. This is something that painters understood during the Impressionist era (though not proved scientifically until George Wald) and what they began realizing was that hot colors advanced (bright red, like the crimson out there, and the bright red of O (sic)'s dress and her purse, or the Pepsi, or the door) bright colors tend to advance in the eyeball, optically, like in 3-D, and jut forward in the apparent space of the eyeball, and that cool, or cold, colors tend to recede spatially. A cool or cold color would be a dull brown or a dullish blue, or this.. To take the example of that door, that door would appear, if you just suspended your eyeball and let the external space hang, (it) would appear to jut out more close to you than the neutral wall. Does that make sense? That is, if you got high on acid, say, to hypersensitize the eye, the bright color would appear to jump out in 3-D. People have had that experience. Now, the corollary is that a cold color will tend to recede compared to the hot color.

warm-cool-colors

So Cezannne attempted to "reconstitute my little sensation of space" (to reconstitute his petite sensation of space) by painting a canvas without use of perspective lines, as the ancients had used, (that is, without narrowing the railroad tracks to the center in order to indicate distance, without using that kind of perspective lines), he tried to give you the appearance of space by cross-hatching a lot, advancing color and putting next to it a cold receding color, and putting next to that a hot advancing color, and then a cold receding color till his whole canvas was a cross-hatch of deliberately designed cubes, triangles, squares and spheres that optically would appear to recede in space. In other words, to create the space of the canvas, not by perspective lines but by the use of hot colors advancing and cold colors receding. And to create an inter-relating network of forms that would lead the eye optically inward in a canvas and give you the appearance of space. 

Does that fit your experience of looking at Cezanne at all?  I don't know if you can.. we don't have anything (here) to visualize. but I'd say, take a look at Cezanne and you'll find that that's the method - at least in his letters, and he's famous for that. 
Well, in other words, you might have a long patch of dullish green foliage on the fields and on the miles on the way to his famous theme - Mount Sainte Victoire, then you might have a more bright Mediterranean brick orange roof sticking out, giving the appearance of something sticking out in 3-D space, then another long passage of green or blue or a dull-blue-like lake and then another bright color or piece of red on a cart or chimney, so that you'd have the appearance of an enormous distance between the tile roof and the chimney way back, except they would, apparently, both seem to jump out but be separated by a huge distance of dull, receding color hatches. In other words, something like what you get when you see it through 3-D glasses. And that's why, sometimes, when you look at a Cezanne painting, the whole thing jumps, like (when) you reverse a Venetian blind - there's a certain optical shudder which is caused by the fact that you can only focus on one color at a time on the canvas, so that when you shift your eye to the dull, receding colors, you suddenly get this space jump - you literally do get a jump. And Cezanne emphasized that further by  making a darkish outline, say, between the curve of a jug and the drapery behind it (the jug might be orange and the drapery behind it might be blue), he'd make a darkish outline so (that) the eye, passing over it, would have to focus three times, the eye, sweeping, scanning, would have to focus three different times and it would cause a sensation of space.


[Paul Cezanne - Jug and Fruit On The Table (1893-4), oil on board and paper - 41.5 x 72.3 cms)

It's similar to the fact that you focus on here and then you focus on there, you have to refocus - right? Dig? You've got to refocus. So if you focus on an object in the middle of the room and then focus over there, you've got to refocus to see the wall. So you get exactly the same sensation in refocusing for the different planes of color, and it gives you the appearance, the sensation, of space. And Cezanne said, "I am trying to reconstitute mon petite sensation - my little sensation of space, which is none other than Pater Omnipotens Aeterna Deus" (Father Omnipotent Eternal God)". So he was defining God as space, or defining the ultimate - Pater Omnipotent..  (Father Omnipotent Eternal God) as space, and saying that he could stand up on a road and look at Mount SaintVictoire and turn his head slightly to the left or an inch to the right and the composition of the entire optical field and the composition of the canvas would change. His senses had become so subtle and refined - "not coarsened like some other old man  I know", he wrote in a letter to Emile Bernard, because he didn't smoke or drink or fuck or anything but he was just pure attention to optic space and every day looking at Mount Sainte Victoire. 


[Paul Cezanne - Mount Sainte Victoire (1904-6) - oil on canvas, 65 x 81 cms - via Foundation E.G. BührleZürich]

You know thepaintings of Mount Sainte Victoireat all? Those are a recurrent theme at the end of his life. The vast solidarity of this mountain, outside Aix-en-Provence, where he lived, which gave the appearance of a great hanging solidarity in eternal space. So he's trying to paint that eternal space. Or reconstitute the "little sensation" of space. 


Cezanne's "The Bay"
[ Paul Cezanne -- The Bay of Marseilles, Seen From L''Estaque (c. 1885), oil on canvas, 73 cmd x 100.3 cms, Metropolitan Museum of Art, New York]

So in "Zone", or in Cubist poetry, Apollinaire and other later writers are trying to reconstitute a certain specific sense, a little petit sensation that they have, again, by juxtaposing different objects together in a non-linear way, in a mixed-media way, so to speak, to give them the appearance of distant space time eternity, of some vast expansion of mind by being able to see things from different angles simultaneously and yet the mind having to move back and forth and fill in the gaps. So it may be that the mind, filling in the gaps between images, creates an eternal space, just as the eyeball filling in the gap, jumping between bright red and dull blue experiences a sensation of space. Yeah?

Student: (Kind of like in advanced) meditations  where you see the body both within and without at the same time?

AG: Yeah

Student: You know, from all different angles.

AG: Yes. And the most advanced Tantric meditation practice is an examination of thoughts rising, flowering, diminishing, a gap between them, and then the next thought, knowing that thought is discontinuous also.

So there was some super-modern psychology among the Dadaists and Surrealists and Cubists and they realized that consciousness is discontinuous, and therefore it's alright to put down the discontinuities, to express the discontinuities, juxtapose the discontinuities, and let the mind fill in as it does in reality.


[Audio for the above can be heard here, starting at approximately thirteen-and-a-half minutes in and continuing to approximately twenty-eight minutes in]   

Expansive Poetics - 88 - Jules Laforgue

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[Jules Laforgue (1860-1887) - (Photo - Portrait -aged 25)]

AG: So enough of this bullshit, now to "Zone", and it's his (Apollinaire's) greatest poem, and it's spoken of as the first modern poem of the (twentieth) century. But, before we get to "Zone", we'll go back a little bit to another poet who turned the Modernists on, Jules Laforgue (also an enormous influence onT.S.Eliot  - (as well as on) Apollinaire).  I'll read a brief poem (well, not so brief) called "Sentimental Blockade" ("Blocus sentimental!..) [actually, it's entitled"The Coming Winter"("Winter Coming On") ("L'hiver qui vient")]by Laforgue, because he's very little known, but he's the first modern poet, according to (Ezra) Pound, and according to Eliot, and according to other critics - the one that leads from the nineteenth-century into Apollinaire's modern spirit.

Student: What are his dates?

AG: Um, let's see, I believe, 1880, 1890 when this was written, I guess. Probably 1860. Let me see.. Well, I don't know, I just grabbed this before I left the house, because I thought, well, might as well bring this up, but I didn't do the proper study..

AG begins - "The Coming Winter" -  Sentimental Blockade/Express from the rising Sun,/Oh , falling rain, oh, night fall,/ Oh, the wind…/All Saints Day, Christmas, the New Year,/ Oh, in the drizzle, all my fine chimneys!.../ Of factories…/  There's nowhere to sit down, all the benches are wet. /Believe me, it's all over once again./ All the benches are wet, the woods are so rusty/ And so many horns have sounded - ton-ton - have sounded - ton-taine!.../ Ah! storm clouds rush from the channel coasts./ You can boast of spoiling the last of our Sundays./ Drizzle,/ in the wet fields the spiderwebs/ Give way to the waterdrops, and fizzle,/ Plenipotentiary sons of blonde river gold mines,/ Of agricultural pantomimes,/ Where is your tomb?/ The evening a worn-out sun lies dead on the top of the hill,/ Lies on its side, in the broom, on his coat./ A sun, white as tavern spit,/ On a litter of golden broom." - [the plant- What is he broom plant? It's a yellow plant?.. What we're talking about when he's talking about broom, it's the plant] - [Allen continues] - "..Lies on its side in the broom, on his coat./ A sun, white as tavern spit/  On a little of golden broom./ And the horns resound!,/ Calling him.../ Calling him back to himself!/ Tiaaut!, Tiaaut!, Hallali! /, O doleful anthem, when will you die!.../, And madly they have fun.../ And he lies there like a gland torn from a neck,/ Shivering, without anyone!..." - ["When the evening sun is spread out against the sky/Like a patient etherised upon a table." - that's (T.S.) Eliot in…]

Student: Prufrock

AG:  ("The Love Song of J.Alfred) Prufrock - "Let us go then, you and I/When the sun is spread out…"

Student: The evening sky…

AG: "When the evening sky is spread/Like a  patient etherised upon a table" - "And he lies there like a gland torn from a neck,/ Shivering, without anyone" - So the Eliot turn came from a Laforgue turn. [Allen continues] - "On, on, and Hallali! ,/ In the lead is Winter, that's understood./ Oh!, the turns in the highways,/ And without the wandering Little Red Riding Hood…./ Oh, their ruts from last month's cars./ Trails in a Don Quixote climb/ Toward the routed cloud patrols,/That the wind mauls toward Transatlantic folds.../ Accelerate, accelerate, it's the well-known season, this time." [Well, you get the modernity in his language, and the modernity and raciness and nervousness of his speech] - "….It's the season, the season, rust invades the masses/, Rust gnaws the kilometric spleens/ Of telegraphic wires on highways no one passes" - [So, it already begins to sound like Eliot. And also begins to sound twentieth-century with telegraph wires and trains and horns and melancholy]  - "I can't get out of this echoing tone.../ It's the season, the season, farewell grape harvests!.../ Now with the patience of angels come the rains./ Farewell harvests, baskets, nothing remains./ Those Watteau twig-baskets under the chestnut trees./ It's the cough in dormitories coming bad,/ Nursed by only a stranger's herbal tea./ The neighborhood sadness of pulmonary phthisis".. what's "p-h-t-h-i-s-i-s? 

Student: That's TB

AG: How do you pronounce it?

Student: Tis is

AG: This is?

Student: I'm not sure

AG: Does anybody know how that's pronounced. It's a famous word in…

Student: Spelling bees

AG: Spelling bees, yeah - Plee-sis?  - "The neighborhood sadness of pulmonary tuberculosis/And all the metropolitan wretchedness./ But wool clothes, rubbers, pharmacies, dreams.." - ["wool clothes, rubbers, pharmacies, dreams"] -  "Curtains drawn back from balconies of shores,/ Facing the sea of suburban roofs,/ Prints, lamps, cakes and tea,/Won't I have only you to love!.../ (Oh!, and then do you know, apart from the pianos,/ Each week, austere twilit mystery,/ The journalistic/ Vital statistics?...)" 

So this is completely up in time, like up into twentieth-century.

[Audio for the above can be heard here, starting at approximately twenty-eight minutes in, and continuing to approximately thirty-three-and-three-quarter minutes in]  

Expansive Poetics - 89 - Guillaume Apollinaire's Zone

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[translated in 1950, this is the cover to the 1972 Dolmen Press, Dublin edition of Guillaume Apollinaire's Zone translated by Samuel Beckett, the first seperate appearance of the text to appear in print]



[Illustrations pour















  







[Pierre de Gasztold - illustration from   "Les poètes voyagent de Baudelaireà Henri Michaux" -  Henri Parisot,  Delamain et Boutelleau, Paris, 1946]



AG: (So) then we have (finally) "Zone" - "You are tired at last of this old world/ O shepherd Eiffel Tower the flock of bridges bleats at the morning/ You have had enough of life in this Greek and Roman antiquity/ Even the automobiles here seem to be ancient/Religion alone has remained entirely fresh religion/Has remained simple like the hangars at the airfield" - [Now, you'll notice that there are no commas (or) punctuation, so that the thoughts are enjammed, or come together, or are sutured together, so that actually (I'm) reading it as a stream-of-consciousness, or as if one thought (is) following another without a gap, and then a break, and then another thought. But it's a thought juxtaposed wih no stop] - "Even the automobiles here seem to be ancient/Religion alone has remained entirely fresh religion/Has remained simple like the hangars at the airfield" - [Well, for one thing, "Religion alone has remained entirely fresh religion" is one line, no punctuation ("La religion seule est restée toute neuve la religion") - but this is nineteen-when? - I don't know what year this is. This is 1912, I guess, the poem, I'm not sure.  Maybe before World War I - "(R)eligion/Has remained simple like the hangars at the airfield" is a completely srtange thought to have in the turn of the century. I mean, it's a completely modernized thought, like the whole archetypal mass of imagery and consciousness completely retooled for the twentieth-century. For the airfields and the railways and the pharmacies. So you can see the lineage between (Jules) Laforgue and Apollinaire and (T.S.) Eliot.] - [Allen continues with the poem - "You alone in all Europe are not antique O Christian faith…"…"It is Christ who soars in the sky better than any aviator…"…"The eagle rushes out of the horizon giving a great cry/From America comes the tiny humming-bird/From China have come long supple pihis/Which only have one wing and fly tandem.." - [that's supposed to be funny] - "Then the dove immaculate spirit/Escorted by the lyre bird and the ocellated peacock.." 

Common Hoopoe

AG: Do you know what the pihi is by looking at it?   
Student (CC): Yes
AG: Is there such a thing? - "From China have come long supple pihis/Which only have one wing and fly tandem.."   - Is that mythical, or is that…
Student (CC): No, it's a natural bird, but it's just a strange..
AG: Oh really, it's  real.
Student (CC): Yes
AG: Ah
Student (CC): And then… very strange birds that are.. that are in mating, they're just always flying together and just constant whirring their wings (somewhat like a humming-bird) so it might give the effect of having one wing.
AG: Ah, They actually have two
Student (CC): They actually have two wings
AG: And it's called a Pihi?
Student (CC): No, it's… it's..well, the bird that I think that he's describing is the hoopoe
AG: Hupu?
Student: That's what I think he's describing
AG: It might be pihi in French

(That was (Roger) Shattuck). (Here's) the other translation, by Samuel Beckett - "From China, the long and supple one-winged pihis that fly in couples" - I always thought that that was an esoteric Cubist joke - or just playfulness - just having fun - "just having a little bit of fun, mother" - [Allen continues] - "Then the dove immaculate spirit/Escorted by the lyre bird and the ocellated peacock/The phoenix that pyre which recreates itself/Veils everything for an instant with its glowing coals/Sirens leaving their perilous straits/Arrive all three of them singing beautifully. And everything eagle phoenix and Chinese pihis/Fraternize with the flying machine…"…"Now you are on the shore of the Mediterranean/Under the lemon trees which blossom all year"…"Astonished you see yourself outlined in the agates of St Vitus/You were sad enough to die the day you saw yourself in them/You looked like Lazarus bewildered by the light/The hands of the clock in the Jewish quarter turn backwards/And you go slowly backwards in your life/Climbing up the Hradchin and listening at night.." - ["Hradchin" - Hradchin is a hill in cenral Prague, in old Prague, the old castle hill] - Climbing up the Hradchin and listening at night/In taverns to the singing of Czech songs"… [Allen continues, reading through to the end of the poem] - "Adieu, adieu/Soleil cou coupéSun's neck cut" - [ or, "Sun the severed neck" - "The neck of the sun cut" - that's a famous line - "Sun corseless head", says Samuel Beckett - corseless? - corpseless - head]

Student: (Are there other translations?)

AG: "Sun slit throat - Anne Hyde Greet  - And Ron Padgett - "Sun throat cut" - but, "Soleil cou coupé" - "Sun throat cut" - "Soleil" - sun - "cou" - throat - "coupé" - slit, or cut, or cutted . Cut 

Well you get some sense of the panorama and panoramic grandeur of the poem - The juxtaposition - one moment you're in "Here..in Marseilles amid the watermelons/ Here you are in Coblenz at the hotel of the Giant/Here you are in Rome sitting under a Japanese medlar tree.." - It's almost cinematic. - The consciousness of the flash-back (or the flash forward-flashback) or fade-in-fade-out is like a scenario - a shooting-script.
So the idea of jump-cut, seeing one scene and then a jump-cut to another and gaps in-between, that's completely modern and new, and Cubist-style, in poetry. You get a little bit of it in Laforgue, but here ( it's) in full-bloom, full-face, the swift movement of the mind from one place to another. Or as (William) Burroughs says, at the beginning of Naked Lunch, "I am not American Express". It is not my business to transport the reader from London to Tangier or to Morocco, the mind can do that - so Burroughs says the poet doesn't have to be American Express and provide the transportation because the transportation is natural to the mind, in any case - or the jump is natural to the mind).     
So Cubism, in the sense of, rather than a linear progression, including the ship or the train from Marseilles to Coblenz, you simply have the "jump-cut", you simply have the different angles seen almost simultaneously, or in such rapid succession (that) it's like the Cubist method. That actually came in, in that part of the century, by importation of haiku and Japanese landscape painting  (and Japanese prints, particularly). (Henri) Toulouse-Lautrec and (Vincent) Van Gogh (and) the precusors to Picasso, in fact, (were) so influential that Cezanne put down Van Gogh. He said "Ah, he's not a painter. All he does is make Chinese images (because Van Gogh was imitating Chinese and Japanese painting for a while in order to get that funny perspective in which various depths seem to be occuring on the same optical level, on the same plane)

An Oiran courtesan dressed in a colourful kimono placed against a bright yellow background framed by a border of bamboo canes, water lilies, frogs, cranes and a boat
[The Courtesan (after Eisen)  (1887) - Vincent Van Gogh (1853-1890),  oil on canvas, 105.5 cm x 60.5 cm, Van Gogh Museum, Amsterdam] 

Student (CC): Well, the Japanese were doing wood-block printing
AG: Yeah
Student (CC): And many of their lacquered works, which were being imported, and spices which were being imported, into Europe were coming in wrapping paper, similar to our newspaper (in the way that you'd wrap up your china before moving, or such goods as ceramics). And that was where it came from. It actually came from these…
AG: From the wrapping paper?
Student (CC):.. from the wrapping paper of these…
AG: Uh-huh. So it must have been…
Student (CC): …fine articles.
AG: …been disseminated into the bourgeois class who were buying chinoiserie in the department store…
Student (CC): Yes, that's exactly the source.

DUTCH LARK

[Audio for the above can be heard here, starting at approximately thirty-three-and-three-quarter minutes in, to approximately forty-nine-and-three-quarter minutes in]  

Alex Katz

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[Alex Katz -  Allen Ginsberg 1[study], 1985. Oil on board. 20 x 16 inches.]


The American artist,Alex Katz turns 87 today - 87 years young - Happy Birthday, Alex.
From an interview with Alex Katz by Richard Prince - for Journal of Contemporary Art Richard Prince: What are some of the things in your life that you saw or heard or came on and you thought, "Yeah, now that’s new"?Alex Katz : Lester Young. Billie Holliday. Be Bop. Stan Kenton. Dizzy Gillespie, Machito, Charlie Parker.Stan Getz. Miles Davis. Sonny Rollins’s "Wagon Wheels". Man Ray. Charles Lamb.Georges Braque’s 1913 black and white collages. Pablo Picasso’s sculptures. Malevich’sSuprematist paintings. Henri Matisse’s collages. Jackson Pollock. Barnett Newman. Clifford Still.Roy Lichtenstein, early 1960s. James Rosenquist, early 1960s. Eva Hesse. Jeff Koons. Mike Kelley’s rugs. Richard Avedon’s fashion photos, 1960s. Red Grooms' early happenings. Paul Taylor, late 1950s. William Dunas, early 1970s. Samuel Beckett’s "Happy Days"with Ruth White.John Jesuran’s "Red House". Meredith Monk’s theater and music pieces. Godard’s Breathless.Andy Warhol’sChelsea Girls. RainerWerner Fassbinder’s The Bitter Tears of Petra von Kant. Antonioni’s L’Avventura. Rudy Burckhardt’s city and country films without acting. 1960s vinyl coats, white or black. Guillaume Apollinaire. John Ashbery’s "Skaters." Color TV. Ads. Football. Wide-angle technicolor movies.and here's an  article from the Boston Globe a couple of years back on Alex’s reading habits
Alex's interview/conversation with Francesco Clemente (from 1989) may be accessed here
with David Salle, here

Selected other interviews - an oral history interview from 1969 for the Archives of American Art-here 
A video-taped interview withBarbaralee Diamonstein-Spielvogel, from 1979 - here.
More recently,Adrian Searle interviews Alex for The Guardianhere (2012), and, this past August, Kim Heirstonvisits his studio and "shares inspirations, methodologies, and stories". 

The "New York School" and poetry connection - Andrew Epstein's exemplary Locus Solus blog has two useful posts on that (the latter connecting to Matthew Sperling's illuminating interview in Apollo magazine)  - here and here  


 Here's a miscellany of Alex Katz paintings and images 

and four more of Allen

            
     [Alex Katz. Allen Ginsberg, 1986. Oil on linen. 48 x 144 inches.]


Friday's Weekly Round-Up - 183

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"Jahweh and Allah Battle". We thank our good friend Steve Silberman for his reminder about Allen's "eternally prescient" 1974 poem


Jaweh with Atom Bomb
Allah cuts throat of Infidels
Jaweh’s armies beat down neighbouring tribes
Will Red Sea waters close & drown th’armies of Allah?

Israel’s tribes worshipping the Golden Calf
Moses broke the Tablets of Law.

Zalmon Schacter Lubovitcher Rebbe what you say
Stone Commandments broken on the ground
Sufi Sam whaddya say
Shall Prophet’s companions dance circled
round Synagogue while Jews doven bearded electric?

Both Gods Terrible! Awful Jaweh Allah!
Both hook-nosed-gods, circumcised.
Jaweh Allah which unreal?
Which stronger Illusion?
Which stronger Army?
Which gives most frightening command?
What God maintain egohood in Eden? Which be Nameless?
Which enter Abyss of Light?
Worlds of Gods, jealous Warriors, Humans, Animals & Flowers,
Hungry Ghosts, even Hell Beings all die,
Snake cock and pig eat each other’s tails and perish
All Jews all Moslems’ll die All Israelis all Arabs
Cairo’s angry millions Jerusalem’s multitudes
suffer Death’s dream Armies in battle!
Yea let Tribes wander to tin camps at cold Europe’s walls?
Yea let the Million sit in the desert shantytowns with tin cups?
I’m a Jew cries Allah! Buddha circumcised!
Snake sneaking an apple to Eden -
Alien, Wanderer, Caller of the Great Call!
What Prophet born on this ground
bound me Eternal to Palestine
circled by Armies tanks, droning bomber motors,
radar electronic computers?
What Mind directed Stern Gang Irgun Al Fatah
Black September?
Meyer Lanksy? Nixon Shah? Gangster? Premier? King?
one-eyed General Dayan?
Golda Meir and Kissinger bound me with Arms?
HITLER AND STALIN SENT ME HERE!
WEIZMANN AND BEN-GURION SENT ME HERE!
NASSER AND SADAT SENT ME HERE!
ARAFAT SENT ME HERE! MESSIAH SENT ME HERE!
GOD SENT ME HERE!
Buchenwald sent me here! Vietnam sent me here!
Mylai sent me here!
Lidice sent me here!
My mother sent me here!
I WAS BORN HERE IN ISRAEL, Arab
circumcised, my father had a coffee shop in Jerusalem
One day the soldiers came and told me to walk down road
my hands up
walk away leave my house business forever!
The Israelis sent me here!
Solomon’s Temple the Pyramids & Sphinx sent me here!
JAWEH AND ALLAH SENT ME HERE!
Abraham will take me to his bosom!
Mohammed will guide me to Paradise!
Christ sent me here to be crucified!
Buddha will wipe out and destroy the world.
The New York Times and Cairo Editorialist Heykal sent me here!
Commentary and Palestine Review sent me here!
The International Zionist Conspiracy sent me here!
Syrian Politicians sent me here! Heroic Pan-Arab
Nationalists sent me here!
They’re sending Armies to my side -
The Americans & Russians are sending bombing planes tanks
Chinese Egyptians Syrians help me battle for my righteous
house my Soul’s dirt Spirit’s Nation body’s
boundaries & Self’s territory my
Zionist homeland my Palestine inheritance
The Capitalist Communist & Third World Peoples’
Republics Dictatorships Police States Socialisms and Democracies
are all sending Deadly Weapons to our aid!
We shall triumph over the Enemy!
Maintain our Separate Identity! Proud
History evermore!
Defend our own bodies here this Holy Land! This hill
Golgotha never forget, never relinquish
inhabit thru Eternity
under Allah Christ Yaweh forever one God
Shema Yisroel Adonoi Eluhenu Adonoi Echad!
La ilah illa’ Allah hu!

OY! AH! HU! OY! AH! HU!
SHALOM! SHANTIH! SALAAM!

Listen to a recording here - and here's another version (approximately twenty-two-a-half minutes in on the second tape). The poem was included in the City Lights collection, Mind Breaths, Poems 1972-1977, and, of course in the Collected Poems. 

William Brother Antoninus Everson
[William Everson/Brother Antoninus (1912-1994)]

"I Have A Conversation with Allen Ginsberg" - We've solicited them before - memorable conversations with Allen Ginsberg. Robert Haskell remembers a conversation with Allen regarding his (Haskell's) close friend and mentor, the sorely-neglected West Coast poet William Everson (Brother Antoninus-"..I was looking into gentle eyes look(ing) inquiringly and compassionately into mine, as the poet (Ginsberg) very sincerely asked me to, "Say a prayer for me too when you're at his grave.."

The Transnational Beat Generation

"While the Beats were deeply indebted to the American culture they both celebrated and castigated, from the very beginning Beat writers and their works were a global phenomenon..", writes  Erik Mortensen, in his cogent review, for EBSN, of Nancy Grace and Jennie Skerl's 2012 anthology,  The Transnational Beat Generation  
- That's something we're ever mindful of here at the Ginsberg Project. We, at least, try not to be too US-centric (NYC-San Francisco-centric?). Well, we try..

Here's David Amram (from a few years back)  en francais, talking about Jack Kerouac

.  

(Et aussi)  


Jack Kerouac

Meanwhile in Lowell, the debate continues about proper Kerouac civic recognition - notwithstanding thisandthis(the next LCK (Lowell Celebrates Kerouac) is October 9 -12, by the way) 

Six Cities to Live A Bit of Jack Kerouac's On The Road Adventure

Beatdom #15 is now on sale


David S Wills'Beatdom. The new issue of the magazine (issue#15) is now on sale, with a focus (coincidentally or otherwise) on war - "People think of the Beats as post-war, entirely separate and disinterested", Wills writes, "But we disagree. In this issue we explore the relationship between the Beats and war, from (Jack) Kerouac and (Allen) Ginsberg in the navy, to (William) Burroughs' intergalactic battles, to the influence of postmemory, to the British Beat movement as growing out of WWII, and we also talk to (Colonel) Gordon Ballabout Allen Ginsberg teaching in the U.S.Army"

Cadets read Howl, February 19, 1991, Virginia Military Institute, Lexington, Vir
[Cadets Read Howl, February 19, 1991, Virginia Military Institute, Lexington, Virginia - Photograph by Gordon Ball]

Alessandro Manca and Andrea Labate, along with saxophonist Massimiliano Milesi and bassist Roberto Frassini Moneta  will be performing their Beat Generation show in Bergamo on Saturday (and Pavia on Sunday)   






Today (July 25) marks the anniversary of a tragedy. Forty-eight years since the senseless death of the great American poet, Frank O'Hara

Allen Ginsberg's Proust Questionnaire

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The Proust Questionnaire is a questionnaire named after the one famously responded to byMarcel Proust (he actually took the questionnaire twice (once in 1885-86, when he was only a teenager, and again in 1891-92, with a different set of answers). Modern (twentieth-century evocations have included those by French tv host, Bernard Pivot, and, more recently, American tv presenter, James Lipton, and, as a high-point in the register of popular culture, for many years now, as a regular feature in the magazine, Vanity Fair.
It's from the latter (the March 1994 issue) that the following has been taken. This text also appeared in  Vanity Fair's Proust Questionnaire - 101 Luminaries Ponder Love, Death, Happiness and the Meaning of Life (2009)    

What is your idea of perfect happiness?

AG:Excellent health. no flu, no leprosy.

What is your most marked characteristic?

AG: Incriminating eloquence.

What is your greatest extravagance?


AG: Poetry office with fax, Xerox and poetry archive

What is your favorite occupation?

AG: Writing poems in a bedside notebook.

What is the trait you most deplore in others?

AG: Insanity, drug-induced or natural.

What is your greatest regret?

AG: I didn't accept a friend's invitation to get in bed naked in 1944

What is the trait you most deplore in yourself?

AG: Continuous cowardice

If you could change one thing about yourself, what would it be?

AG: Renew my body, set at 17.

Which living person  do you most despise?

AG: New York City's Cardinal O'Connor, for his gay hypocrisy, considering that his powerful predecessor Cardinal Spellman was notoriously gay.

On what occasion do you lie?

AG: To protect friends from my public life in poetry. Candor for oneself doesn't require snitching on others

What do you consider the most overrated virtue?

AG: Virginity and/or cynicism and/or machismo

What do you regard as the lowest depths of misery?

AG: Co-dependency with madman or - woman

What is the quality you most like in a man?

AG: Intelligent beauty.

What is the quality you most like in a woman?

AG: Sympathetic self-reliability.

Who is your favorite hero of fiction?

Who are your heroes in real life?

What is your favorite journey?

AG: To Benares, the "oldest continually inhabited city in the world".

Where would you like to live?

AG: Sometimes Paris, sometimes London, sometimes Benares, sometimes San Francisco, sometimes New York.

How would you like to die?

AG: In Buddhist community peacefully, aged 100, in presence of a helpful lama

What is your motto?

If you were to die and come back as a person or a thing, what do you think it would be?

What is it that you most dislike?

AG: Theopolitical nationalist "family values" TV hypocrites and their corresponding heads of state

Which words or phrases do you most overuse?


Expansive Poetics 90 - (Apollinaire and TS Eliot)

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[Allen Ginsberg's Annotated Copy of The Waste Land]

AG: The comparison to "The Waste Land"of this (Apollinaire's "Zone"), particularly, "You are alone the morning is almost here/The milkmen rattle their cans in the street" ( "Tu es seul le matin va venir/ Les laitiers font tinter leurs bidons dans les rues") - does that remind you of(T.S.) Eliot? - "Wipe your hands across your mouth and laugh,/ In the vacant allotments women gathering garbage",  or something. Do you know the line? [Editorial note - Allen is quoting here, (slightly misremembering), the concluding lines from Eliot's "Preludes" - "Wipe your hand across your mouth and laugh,/The worlds revolve like ancient women/Gathering fuel in vacant lots"] 

And the panoramic aspect is very similar to lines in "The Waste Land" - Eliot has the line- "A crowd flowed over London Bridge, so many,/I had not thought death had undone so many./ Sighs, short and infrequent, were exhaled/And each man fixed his eyes before his feet,/Flowed on the bridge and down off the bridge and up St. Williams/To where St Mary Woolnoth Church kept the hours/With a dead stroke on the final stroke of nine." - Let me find it... "Flowed up the hill and down King William Street/To where Saint Mary Woolnoth kept the hours.." - [Editorial note - Allen, again, from memory, slightly misremembers the line] -  You know that passage in "The Waste Land" that was itself an imitation or adaptation of Dante's vision of hordes of the dead moving in Hell [Canto III, verses 55-57) - Si lunga tratta/Di gente, ch'io non avrei mai credito/Che morte tanta n'avesse disfatta"- "Such a long stream/Of people, that I should never have believed./That death had slain so many…")], another paraphrase of which we heard was Jerome Rothenberg's - the hordes of the dead moving around the Ring Street in Vienna, the other night). [Editorial note - the allusion here is to a poetry-reading given by Rothenberg, one of the "Visiting Faculty" at Naropa that summer] 

Let me see if I can find "The Waste Land". How many here have read "The Waste Land"? - Just about everybody knows a little bit. Yeah - page one-seventy-nine - Yeah - "Unreal City.." (which is a paraphrase of (Charles) Baudelaire, originally  the first modern.. Fourmillante citécité pleine de rêves."[Editorial note - Allen is quoting from the opening line of Baudelaire's poem, "Les Sept vieillards" inFleurs du Mal]-  does anyone know French? - "Fourmillante"? - cité pleine de rêves - sort of like mass moving, massive moving, bubbling city, city full of dreams) - "Unreal City,/Under the brown fog of a winter dawn/A crowd flowed over London Bridge, so many,/I had not thought death had undone so many./ Sighs, short and infrequent, were exhaled/And each man kept his eyes before his feet.." - That's a direct quote or paraphrase or translation of Dante moving through (the) Inferno - " Flowed up the hill and down King William Street/To where Saint Mary Woolnoth kept the hours/With a dead sound on the final stroke of nine." - [This is that one panoramic vision of the twentieth-century city as a city of the dead, or as a city where the dead flowed over the bridges, and where the traffic is a phantom traffic. So you get that first in Eliot. 

Here - the little influence of Apollinaire's "Zone" - "Unreal city/Under the brown fog of a winter noon/ Mr Eugenides, the Smyrna merchant/Unshaven, with a pocket full of currants.. ["currants" would be current drafts, or bank drafts, I take it?] - "C. i. f. London - documents at sight/ Asked me in demotic French/To luncheon at the Cannon Street Hotel/Followed by a week-end at the Metropole" - So it's (that's) very similar to.
(Apollinaire's) "Here you are in Marseilles amid the watermelons/Here you are in Coblenz at the Hotel of the Giant". ("Te voici à Marseille au milieu des pastèques/Te voici à Coblence à l'hôtel du Géant") If you check through Eliot and check back to Apollinaire you'll see the relationship, which is celebrated, and which then goes back, as you'll remember, to (Arthur) Rimbaud (remember when we had that kind of discontinuity and juxtaposition in Rimbaud, as well as some element of modernity? - and you also get the modern city in (Charles) Baudelaire, who's what? - eighteen-twenty? thirty? forty?  around the time of (Edgar Allan) Poe? or just after Poe? [Editorial note - Fleur du Mal was published in 1857]

So, from Baudelaire to Rimbaud, then Rimbaud to Laforgue, and Laforgue to Apollinaire, is a huge influence of modernity and modern consciousness acknowledging the modern city which then spreads from the continent to (Ezra) Pound and (T.S.) Eliot, and influences (William Carlos) Williams, and other also (Williams' application to America was to try and be totally up-to-date and just look outside, Pound and Eliot were picking up from classic writers and from French sources more, and trying to adapt Laforgue and Apollinaire into English). 

[Audio for the above can be heard here, starting at approximately  forty-nine-and-three-quarter minutes in, to approximately fifty-five-and-a-half minutes in ]  

Addenda: and here's Allen's hero, Bob Dylan reading a few lines from Eliot's Waste Land -



    

Happy Birthday John Ashbery

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John Ashbery





\
[John Ashbery, iconoclast, with a baseball-bat, fromRudy Burckhardt's Mounting Tension (1950); painted by Larry Rivers ("Pyrography: Poem and Portrait of John Ashbery II" (1977); photographed by Lynn Davis(c.1986); "L'Heure Exquise - collage by John Ashbery (1977); presentation of 2011 National Arts and Humanities Medal, February 2012, by President Barack Obama

Today is the great American poet John Ashbery's 87th birthday

We thought to celebrate with this - a vintage reading from 1963 in New York at The Living Theatre (reading from Rivers and Mountains, Some Trees, and The Tennis Court Oath, with an introduction by Kenneth Koch

Here's a more recent reading (from February 2013) at the Kelly Writers House 



(and here's a follow-up interview, (hosted by UPenn's Al Filreis), a day later 

The PennSound John Ashbery page (from which these two readings have been excerpted) is, truly, a quite extraordinary trove - hours and hours of Ashbery, we recommend you pursue further. 

Similarly, the remarkable Ashbery Resource Center (a project of the Flow Chart Foundation for Bard College)  









John Ashbery - Collected French Translations: Prose

Just published, this past Spring, from FSG, "a major publishing event", John Ashbery's Collected French translations

(Our note on his 2011 Rimbaud translations may be read here)

Ashbery's most recent volume is Quick Question (2012). A new book of poems, Breezeway will be forthcoming early next year.


Happy Birthday, John!

Expansive Poetics - 91 Apollinaire - Le Pont Mirabeau)

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[The voice of Guillaume Apollinaire, recorded at the laboratory of Abbé M. Rousselot, December 24th, 1913, reading his poetry - "Le Pont Mirabeau" and "Marie"] 


AG: Incidentally, there's a recording of (Guillaume) Apollinaire's voice. I don't have it  [Allen is speaking in 1981]-  The only place I ever heard it was the Musee de Sonore [maybe the Archive de Parole?] - the Sound Museum in Paris, where there's (also) a recording of Count Tolstoy, the writer - Tolstoy and Apollinaire - that far back - those do exist (just as the recordings of(Sergei) Esenin and(Vladimir) Mayakovsky (remarkably) exist.

And the thing that he (Apollinaire) is reading  is his poem, "Le Pont Mirabeau", I think (which is a very pretty poem, so I'll read it - It's just a traditional lyric, with great sonority, so I'll read it in French) [Allen proceeds to read the poem in its original French, followed by a version of the same poem in English] - "Under Mirabeau bridge flows the Seine/And flows our love/Must I remember/Joy always comes after pain/ Comes the night, rings the hour/Days go, I stay/ Let night come sound the hour/Time draws on, I remain.." - [But the French is "Vienne la nuit" - comes the night - "sonne l'heure" - rings the hour - "Les jours s'en vont" - the days go - I stay - "je demeure" - That's pretty - Vienne la nuit sonne l'heure/Les jours s'en vont je demeure" - "Hand in hand let us stay face to face/ While past the/ Bridge of our embrace/ Flows one long look's weary wave./ Time comes, clock sounds/Days go, I stay/ Love moves on like that water current/Love passes by/How slow life is and/Like hope (or expectation) how violent/ Night comes, hour sounds,/Time flows,I stay.." - Passent les jours et passent les semaines - Pass the days and pass the weeks/Neither time past/Nor love returns - Nor time that's past, nor love comes back/ Under Mirabeau bridge flows the Seine/Let night come, sound the hour/ Time draws on, I remain." 

[Audio for the above can be heard here, starting at approximately fifty-five-and-a-half minutes in (Allen's reading of "Le Pont Mirabeau" begins at approximately
fifty-six-and-a-half minutes in), concluding ar approximately fifty-nine-and-a-half minutes] 




Sous le pont Mirabeau coule la Seine/ 
Et nos amours/ 
Faut-il qu'il m'en souvienne
/ La joie venait toujours après la peine.

 Vienne la nuit sonne l'heure/
Les jours s'en vont je demeure/

Les mains dans les mains restons face à face/
Tandis que sous/
Le pont de nos bras passe/
Des éternels regards l'onde si lasse/

Vienne la nuit sonne l'heure/
Les jours s'en vont je demeure/

L'amour s'en va comme cette eau courante/
L'amour s'en va/
Comme la vie est lente/
Et comme l'Espérance est violente

/Vienne la nuit sonne l'heure/
Les jours s'en vont je demeure/

Passent les jours et passent les semaines/
Ni temps passé
 Ni les amours reviennent
/Sous le pont Mirabeau coule la Seine/Vienne la nuit sonne l'heure/
Les jours s'en vont je demeure

Under Mirabeau bridge flows the Seine/And flows our love/ Must I remember/Joy always comes after after pain/Comes the night rings the hour/Time draws on /I remain/  Hand in hand let us stay face to face/While past the/Bridge of our embrace/Flows one long look's weary wave/Comes the night  rings the hour/The days go  I stay/ Love moves on like that water current/Love slips by/ How slow life is and/Like hope how violent/ Comes the night          rings the hour/Time draws on  I remain/Pass the days and pass the weeks/Neither time/Past nor love returns/Under Mirabeau bridge flows the Seine/Comes the night          rings the hour/Time draws on  I remain












Expansive Poetics 92 - (Verlaine - Chanson D'Automne)

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[Paul Verlaine (1844-1896)]


[Marlene Dietrich reading Paul Verlaine's "Chanson d'automne c.1945]


That's a very delicate little thing (Apollinaire's "Le Pont Mirabeau") That's in a great French  tradition of purely musical lyric, with a lot of Heraclitan impact, that is to say, you can't step in the same river twice. Similar.. It's a tradition of pure sound in French, also, melodious sound, which is (a) very good background for somebody trying to write an open-form poem like "Zone", a tradition that Rimbaud's friend, (Paul) Verlaine was also great at. I don't know if you know the poem "Chanson d'automne" ("Autumn Song") "Les sanglots longs,/ Des violons/ De l'automne/D'une langueur/Monotone.."). Has anybody heard that? It's a very famous piece of pure music -  [Allen proceeds to read the whole poem - "Les sanglots longs/Des violons//De l'automne Blessent mon coeur.."]  - It's all pure pretty vowels, internal rhyme.

(So),  the long sobs -  Les sanglots longs, des violons de l'automne - the long sobs of the violins of autumn wounds my heart with a.." ("Blessent mon coeur/D'une..") - with a langour ("D'une langueur") - monotonous languor, with a langour of monotonous ("Tout suffocant/ Et blême, quand/Sonne l'heure"), all (sorts of) breathless (or suffocating) and white-faced when the clock rings, the hour sounds, the bell sounds ("quand/Sonne l'heure") - I remember the good old times and I cry ("Je me souviens/ Des jours anciens/Et je pleure") - I remember the good old.. the ancient good times, the.. "Des jours anciens - "Ancien" was a favorite word for youth-time, really. When they say "ancien" (it means) the older, the old times - remember the good old days -  As Rimbaud began the Season in Hell (Une Saison En Enfer) with "ancien" (again, the same word - "formerly" (something similar to "Jadis", I guess - "Jadis" was the word in French - "formerly" - "ancien", "ancien". ("Je me souviens/Des jours anciens)" - and I, me, go in ill wind (Et je m'en vais/Au vent mauvais) - I me go in ill ill wind (je m'en vais/Au vent) - wicked (mauvais), and I go ("Et je m'en vais"), here, there (Deçà, delà), parallel to a (pareil à la)
dead leaf, or leaf dead (Feuille morte)… 

tape ends here..but (briefly) continues  …. (musical settings display the) same melodiousness. But then you get that melodiousness in the actual poem, in the actual prosaic poem, too.

[Audio for the above can be heard here, starting at approximately fifty-nine minutes in and concluding at at approximately 63 minutes in ]

Les sanglots longs/Des violons/De l'automne/Blessent mon coeur/D'une
langueur/Monotone./Tout suffocant/Et blême, quand/Sonne l'heure,/Je me souviens/Des jours anciens/Et je pleure,/ Et je m'en vais/Au vent mauvais/Qui m'emporte/Deçà, delà/Pareil à la/Feuille morte.

The long sobs/ of the violins /of autumn/ wounds my heart/with a monotonous/ languor/All breathless/ And white-faced when/The hour sounds/I remember the good old days/And I cry/ And I go/In an ill wind/ which carries me/here, there/like a/ dead leaf











ESBN Conference 2014

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Screen Shot 2014-05-01 at 12.33.57 PM


November is,  admittedly, some ways away, but no harm in announcing the European Beat Studies Network's Third Annual Conference ( this year to be held in Tangier, Morocco, November 17 to 19, at the Hotel Chellah). 

"The well-established Beat-Tangier connection makes it a natural home", the organizers write, "for a EBSN conference - above all, (fittingly) in 2014, the centennial of William Burroughs.." 
"Geographically and historically, (it) is an East-West crossroads", and the conference.. (intends to explore)."cultural hybridity and conflict", "both before and since the Beat 1950's and (19)60's". 
"The psychogeography of (Burroughs')  "Interzone".. is "uncannily prescient", but, they note, "Tangier has shaped its own future in the last half-century and the conference hopes to examine the Beats from a (local), Tangerine point of view", "as well as reconsidering Tangier through Beat eyes.." 

Leading Beat scholars, among them Oliver Harris and Polina MacKay (of the ESBN),
along with Dr. Khalid Amine, President of the International Center for Performance Studies in Tangier, will be in attendance

The full program is now available and may be accessed here  

In a Ginsberg session on Wednesday November 19 (the last day), Ginsberg biographer, Steve Finbow chairs discussion on "Ginsberg and the Underground" -  Erik Mortensen andCansu Soyupak present a paper on "The Cultural Appropriation of (Allen) Ginsberg's Work" and Luke Walker speaks on "Ginsberg and Gnosticism"  

Among other highlights, Oliver Harris' opening address,  El Habib Louai speaking on 
"(Re)presentations of Tangier in Burroughs', Kerouac's and Ginsberg's Letters and Journals", Regina Weinreich,  on "The Interzone of their Processes -  (Jack) Kerouac in Tangiers", Andy McGuinness, on "Tangier Trance - William S Burroughs and Moroccan Music", Maarten van Gageldonk, on "Paul Bowles As a Literary Mediator in the 1960's"
There will also be film-shows, performances and  exhibitions.   

Friday's Weekly Round-Up - 184

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[Allen Ginsberg and Peter Orlovsky on Cape Breton, 1992 - Photo - Phyllis Segura]  

"...Peter was a taciturn and rugged man with a gruff exterior and a submerged explosive intensity. To (Allen), he may have represented an opportunity to merge (as (Walt) Whitmanput it) with the "landscape of the common world'. Like Herbert Huncke or Neal Cassady, Peter expressed the Beat notion that writing is not the exclusive province of an aristocratic, university-educated elite, that a more vital resource than the library or museum may be the idiom and lessons of the street and ordinary life. The paterfamilias of this view was William Carlos Williams whose suggestion to Ginsberg that an indistinct frontier separated a poet's own prose journals from the stuff of poetry became a key ingredient in Beat writing, and Orlovsky's, where the ideal of spontaneity and the need for emotional release was more of a priority than intellectual calculation and design.."

John Tytell's review of Peter Orlovsky's  A Life In Words recently appeared in the American Book Review and is available here



We re-direct you also to our own recent Orlovsky postings - here and here (featuring selections from the volume)


"selfie" style photo by Allen Ginsberg of his reflection in bathroom mirror


"We are Continually Exposed to the Flash-Bulb of Death" - The Photographs of Allen Ginsberg (1953-1996) - In honour of the recent acquisition by the University of Toronto of "close to 8,000 prints", there will be an exhibition, (organized by the University, in collaboration with the Thomas Fisher Rare Book Library), at the University of Toronto Arts Center, starting on September 2nd, and running through to December 6th.  On September 29, John Shoesmith, outreach librarian, "will introduce visitors to photos not seen in the exhibition".  More Toronto announcements, Ginsberg-in-Toronto announcements, will be appearing shortly.

The Collected (Gregory) Corso Interviews book that we mentioned a few weeks back - Rick Shober'sTough Poets Publishing venture - "thirteen interviews that span the most productive years of his career, from 1955, when his first collection of poems was published, to 1982, the year following the publication of his last book of all new poetry." 
 Rick Shober writes: "I was able to get Richard Brukenfeldto write the foreword. He, as I'm sure you know, was the Harvard undergrad who published Corso's first book, The Vestal Lady on Brattle, in 1955. His foreword talks about the poet's early days in Cambridge and as a "stowaway" on the Harvard campus. Pretty entertaining stuff."
  "After four years [Shober started working on the project in 2010] the book is finished (design and layout), and all reprint permissions are in hand. Now I'm trying to finance it with a little DIY crowd-funding by pre-selling copies".  
Go here to support this worthy venture - The Whole Shot



Thanks to Dangerous Minds for alerting us that William Burroughs makes it this week onto the cover of the America supermarket tabloid -  The National Examiner - "Do The Rich and Famous Get Away With Killing People?" - Uh? - As a necessary corrective and counterpoint, please read this 
Seventeen years tomorrow since William Burroughs passing




Interesting response on theGinsberg Facebook (why not here? use of our Comments facility anyone?) on the Gordon Ball cadets-reading-"Howl" image that we posted here last week -  In response to one poster, wondering on the relationship between "Howl" and a military education - Sean Dadson: "I took that course while attending the Virginia Military Institute. Col. Ball, the Professor, was a friend of Ginsberg. Actually, that course changed my life and enhanced many others.. We were attending what many referred to as "The Conservative Bastion of the South". It definitely helped me out of that rut..".."I believe Ginsberg gave a reading at VMI, as a "perfect bohemian" society, but I'd have to confirm with some of my class mates who attended the reading.. so, yeah, it was productive and eye-opening if only for a few of us.." 
And several of his class mates did get back to him -  Chris Valenti: "I was there then. It was the best thing that could happen to cadets.Gordon Ball was my academic advisor as well. I only recall the privilege I felt at the chance to see him and learn from his colleague.."
.."Why do people find this bad or counterproductive? Art and poetry should expand the mind into other forms of consciousness, not simply reaffirm what you think you know."

















For those in the San Francisco/Bay Area, in case you missed the opening performance on Sunday, you have two more chances to catch the West Edge Opera's production of the Glass-Ginsberg's Hydrogen Jukebox, tomorrow (Saturday) and next Friday August 8
Artistic Director, Mark Streshinsky speaks about the production here. Joshua Kosman reviews it for the San Francisco papers ("Sunday's splendid performance") here




Thoughts In Fort Lee

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dekHarry Helmsley
[Leona Helmsley (1920-2007),  and Harry Helmsley (1909-1997) - Manhattan real-estate developers - "Diane and Roger Napoleon"?]


A previously-unpublished Allen Ginsberg poem?

Marc Olmsted, in his freshly-published scrapbook/memoir, Don't Hesitate - Knowing Allen Ginsberg, notes, “To my amazement, in editing this book, I realized this particular poem ["Thoughts In Fort Lee"]  had, to my knowledge, never been published, not even in Allen’s posthumous revised Collected Poems”. 
There are, of course, a number of such uncollected texts - "The Collected Poems", one must always remember, is not the same thing as "The Complete Poems" - Some of these fugitive writings will be gathered in the months ahead, and put together for a proposed collection. In the meantime, this typically Ginsbergian bio-metaphysical late rumination. Thanks, Marc    

THOUGHTS IN FORT LEE

Diane & Roger Napoleon’s real estate empire
extended up to the Napoleon Castle Hotel’s penthouse
stainless steel & gold doorknobs bathtubs bars & windowsills
But Roger got Alzheimers & couldn’t keep his money books
    straight
Diana went to jail for back taxes and cheating at cards
Lost control of her castle, lawyers ate her Empire.
She got sick and spend years maintaining her body,
skin growth, liver failure, kidney disturbances, upset stom-
     mach
But the castle of flesh ceased to function
She was left inside with her soul.
What is that? Where will it go? Who am I?
asked Napoleon in bed, eyes closing for the last time on
     Elba   
9/7/92   3PM


The sorrows of Boney, or meditations on the island of Elba. Anne S. K. Brown Military Collection, Brown University Library. Not to be reproduced without permission.













































oops! August 2 up-date! - a couple of eager readers have alerted us to the fact that this poem has been published before!  (as "News Stays News" in Cosmopolitan Greetings - page 103) - Red-faced, but we still feel ok about drawing your attention to it - (and also to Marc's highly personal and entertaining memoir).

Hum Bom

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We featured one yesterday, so here's another poem from the collection, Cosmopolitan Greetings - Poems 1986-1992  
Inserted here without comment (and for all the obvious reasons)
                                                    

HUM BOM!

I

Whom bomb?
We bomb'd them!
Whom bomb?
We bomb'd them!
Whom bomb?
We bomb'd them!
Whom bomb?
We bomb'd them!
Whom bomb?
We bomb you!
Whom bomb?
We bomb you!
Whom bomb?
You bomb you!
Whom bomb?
You bomb you!
What do we do?
Who do we bomb?
What do we do?
Who do we bomb?
What do we do?
Who do we bomb?
What do we do?
Who do we bomb?
What do we do?
You bomb! You bomb them!
What do we do?
You bomb! You bomb them!
What do we do?
We bomb! We bomb you!
What do we do?
You bomb! You bomb you!
Whom bomb?
We bomb you!
Whom bomb?
We bomb you!
Whom bomb? You bomb you!
Whom bomb?
You bomb you!

May 1991

II


Whydja bomb?
We didn't wanna bomb!
Whydja bomb?
We didn't wanna bomb!
Whydja bomb?
You didn't wanna bomb!
Whydja bomb?
You didn't wanna bomb!
Who said bomb?
Who said we hadda bomb?
Who said bomb?
Who said we hadda bomb?
Who said bomb?
Who said you hadda bomb?
Who said bomb?
Who said you hadda bomb?
Who wantsa bomb?
We don't wanna bomb!
Who wantsa bomb?
We don't wanna bomb!
Who wantsa bomb?
We don't wanna bomb!
We don't wanna
we don't wanna
we don't wanna bomb!
Who wanteda bomb?
Somebody musta wanteda bomb!
Who wanteda bomb?
Somebody musta wanteda bomb!
Who wanteda bomb?
Somebody musta wanteda bomb!
Who wanteda bomb?
Somebody musta wanteda bomb!
They wanteda bomb!
They neededa bomb!
They wanteda bomb!
They neededa bomb!
They wanteda bomb!
They neededa bomb!
They wanteda bomb!
They neededa bomb!
They thought they hadda bomb!
They thought they hadda bomb!
They thought they hadda bomb!
They thought they hadda bomb!
Saddam said he hadda bomb!
Bush said he better bomb!
Saddam said he hadda bomb!
Bush said he better bomb!
Saddam said he hadda bomb!
Bush said he better bomb!
Saddam said he hadda bomb!
Bush said he better bomb!
Whatdid he say he better bomb for?
Whatdid he say he better bomb for?
Whatdid he say he better bomb for?
Whatdid he say he better bomb for?
Hadda get ridda Saddam with a bomb!
Hadda get ridda Saddam with a bomb!
Hadda get ridda Saddam with a bomb!
Hadda get ridda Saddam with a bomb!
Saddam's still there building a bomb!
Saddam's still there building a bomb!
Saddam's still there building a bomb!
Saddam's still there building a bomb!

III

Armageddon did the job
Gog & Magog Gog & Magog
Armageddon did the job
Gog & Magog Gog & Magog
Gog & Magog Gog & Magog
Armageddon does the job
Gog & Magog Gog & Magog
Armageddon does the job
Armageddon for the mob
Gog & Magog Gog & Magog
Armageddon for the mob
Gog & Magog Gog & Magog
Gog & Magog Gog & Magog
Gog Magog Gog Magog
Gog & Magog Gog & Magog
Gog Magog Gog Magog
Gog Magog Gog Magog
Gog Magog Gog Magog
Gog Magog Gog Magog
Gog Magog Gog Magog
Ginsberg says Gog & Magog
Armageddon did the job.

February - June 1991







For more Hum Bom on The Allen Ginsberg Project - see here 

Expansive Poetics 93 - (Apollinaire & Frank O'Hara)

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André Salmon
[Andre Salmon (1881-1969)]

[Frank O'Hara (1926-1966)]


Guillaume Apollinaire en novembre 1913 lors de son procès à Paris.
[Guillaume Apollinaire (1889-1918)]

AG: So the last thing we had in the anthologywas a poem read (by Guillaume Apollinaire) at the marriage of Andre Salmon, and the reason I put that in is that, in addition to inaugerating double-sight Cubism juxtaposition modernity (of psychological modernity, as well as bellowing buses and tramcars and electric wires), he also inaugerated that "Personism"that Frank O'Hara writes of (as) his basic theory of poetry, which is that because the poet is the maker of the word, anything that happens to the consciousness of (the) poet is history, and so anything he thinks of, (or) anything that occurs to him (particularly anything poignant that occurs to him in his lifetime, for his lifetime) is just as important as Caesar's victories over Gaul, or dropping the bomb on Hiroshima, because those occasions of the poet - his marriages, his bar mitzvahs, his fist getting laid, his discovering his own toenails - are universal discoveries that everybody makes, that only the poet reveals out loud like a newspaper headline, or, like Ezra Pound said, "Poetry is news that stays news", and the kind of news that stays news is also personal happenings.

So this is "Poem Read at the Marriage of Andre Salmon",  (Poème Lu au Mariage d'André Salmon) which is like a prophecy of the poem that Frank O'Hara will write to Mike Goldberg, or to his friends. July 13 1909, so this is all pre-1910, I'd say, then. [Allen begins to read Apollinaire's poem] - "Seeing the flags this morning.." - [ Oh yeah, the other good thing about it, if you check it out against Anne Waldman's poetry, my poetry,  that poetry called "List Poetry", or poetry that has that anaphoric return always back to (where) you say something and then you add on to it - like "the blackboard which is filled with the green sunyata, the blackboard which is full of white dots, the blackboard which is scratched by Buddhist fingernails, the blackboard which is composed of late substance made out of the oils of Arabia. So, the "list poem" - [Allen then reads Apollinaire's "Poem Read at the Marriage of Andre Salmon", in its entirety - ("Seeing the flags this morning I didn't say to myself/Those are the rich garments of the poor/Nor does democratic modesty wish to veil from me its grief..." ["En voyant des drapeaux ce matin je ne me suis pas dit/Voilà les riches vêtements des pauvres/ Ni la pudeur démocratique veut me voiler sa douleur….] … "Nor because rooted in poetry we have rights over the/words which make and unmake the world/ Nor because we can cry without ridicule and because we /know how to laugh/ Nor because we smoke and drink as in the old days/ Let us rejoice because the director of fire and of/poets/ Love which like light fills/ All solid space between the stars and the planets/ Love desires that my friend Andre Salmon should get/married today" ["Ni parce que fondés en poésie nous avons des droits sur les paroles qui forment et défont l’Univers/ Ni parce que nous pouvons pleurer sans ridicule et que nous savons rire/Ni parce que nous fumons et buvons comme autrefois/Réjouissons-nous parce que directeur du feu et des poètes/L’amour qui emplit ainsi que la lumière/Tout le solide espace entre les étoiles et les planètes/ L’amour veut qu’aujourd’hui mon ami André Salmon se marie") - So it's this great vigorous affirmation that, actually, comes out ofWalt Whitman and all the breakthroughs of the nineteenth-century and out of all the psychological modernities to lead to some kind of self-acceptation and realization that every moment of this life is eternity, that the ordinary mind is eternal, that the poem can be composed of an eternal understanding of ordinary mind - marriage, such as this 1909 marriage between poet-critic Andre Salmon and a lady.

So this poem leads to all the exhibitionistic poetry of the New York School, actually. All the poems that say, "Well, I went downtown today and I bought a tootsie roll, and then I put a nickel in the 1902 subway, and then I went upstairs to see my mother and her in-law and we discussed the price of eggs on the market. Then I went downstairs to the Museum of Modern Art to see the Picasso show[Editorial note - in 1980, the previous year, MOMA had hosted its comprehensive Picasso retrospective]  and then I walked down 57th Street admiring my new shoes and then I discovered that there were all these funguses growing on the subway platform which looked like mushrooms, and then I went out, walked to the end of the block and looked at the towers of Hoboken which reminded me of bulbous church towers of Russia". In other words, the ordinariness of these is simultaneous, of these images. Making high poetry out of the ordinary events of your life, which is (if you ever read an essay by Frank O'Hara called... "Personism". That was his theory of poetry (which he set up as  against the "Beat", "Beatnik-ism", or "Surrealism", or "Existentialism", or "Communism", or "Anarchism", or "Capitalism", or "Futurism", or "Acmeism", or "Dadaism", or.."Macho-ism", or "Feminism", or "Homosexual-ism" - "Personism". Whatever happens to him is eternal, because he's only here once, and that's eternal. And so, every detail is of utmost magical significance and importance (which is a lesson that everybody could learn, because there's lots of people who think that every detail that happens to them is totally unimportant, and in fact, the most execrable excrement of the universe, instead of being the only universe they've got). Since it's Frank O'Hara's only universe, or Andre Salmon and Apollinaire's only universe , therefore that's the mythic universe to celebrate..

..which fits in with one of  (Chogyam) Trungpa (Rinpoche)'s slogans - "Things are symbols of themselves" - i.e. the one and only marriage that you're going to have is obviously your one and only marriage in this universe, so therefore it's the one cosmic marriage you're going to experience. So if it isn't taken as sacramental and cosmic and poetic, then it'll be taken as something else, it's strictly up to you in your own perception.

So that twentieth-century poetry rises out of Apollinaire in the sense that he accepted the images of modernity and he accepted his own events and mythologized those. And so, in some respects, you can even trace (Jack) Kerouac back to Apollinaire, in the sense of self-mythologizing - the Romantic self-mythology.

[ Audio for the above may be heard here, starting at approximately sixty-three minutes in and continuing until approximately seventy-two-and-a-half minutes in]

Expansive Poetics - 94 (Blaise Cendrars)

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[Blaise Cendrars (1887-1961)]


[cover of 1913 edition of   La prose du Transsibérien et de la Petite Jehanne de France” by Blaise Cendrars, with illustration by Sonia Delaunay]

Andrew Mayer [a student in the class]translated a couple little short poems from various different people – (Blaise) Cendrars, (Philippe) Souplault, and others, and they have the same swiftness (as Apollinaire) – non-punctuated swiftness – “At the 5 Corners”– ("Aux 5 Coins") -  “I dare to make noise/color movement explosion light is everywhere/Life blossoms in sunlit windows/which melt in my mouth/I am ripe/I fall translucent in the street/ You speak, old man/ I don’t know how to open my eyes/Mouth of gold/Poetry’s a game” (“Oser et faire du bruit/Tout est couleur mouvement explosion lumière/La vie fleurit aux fenêtres du soleil/Qui se fond dans ma bouche/ Je suis mûr/ Et je tombe translucide dans la rue/ Tu parles, mon vieux/ Je ne sais pas ouvrir les yeux?/Bouche d'or/ La poésie est en jeu”) - which is, actually, a description of how to write such a poem.That was the first of the poems of Blaise Cendrars. We have this huge long poem of Cendrars, which is a travelogue. His speciality was travel poems and John Dos Passos in the nineteen twenties just translated Cendrars long choo-choo-train poem, La prose du Transsibérien et de la Petite Jehanne de France” (The Prose of the Trans-Siberian and of little Jeanne of France), an account of a railroad trip across Siberia, Notes taken, and so it was that notational travel poetry which began influencing actually poetry on the road done in nineteen… the one we have here is done in nineteen-thirteen to nineteen-fourteen, written on the road, with recollections of going all over the world, including, finally - “With the Milky Way around my neck/And the two hemispheres for goggles,/Full speed ahead/Never stall again,/ I reserved my seat in the first train to go through/the Channel Tunnel/The first  aviator to cross the Atlantic in a monocoupe(“La voie lactée autour du cou/ Les deux hémisphères sur les yeux/ A toute vitesse /II n'y a plus de panes/ Si j'avais le temps de faire quelques économies je prendrais part au rallye aérien /J'ai réservé ma place dans le premier train qui passera/le tunnel sous la /Manche/ Je suis le premier aviateur qui traverse l'Atlantique en/monocoque 900 millions”) -That’s the last line of Cendrars’ long poem, “ Panama or The Adventures of My Seven Uncles ("Le panama ou les aventures de mes sept oncles")























[John Dos Passos (1896-1970)]


Kenneth Patchen 1952.jpg
[Kenneth Patchen (1911-1972)]

Cendrars had a big influence on me because, when I was in San Francisco in 1955, I met Kenneth Patchen, and we were talking about open-form free-verse writers (which, in those days, was actually a new thing in American conversational circles), and so he loaned me his old deluxe cheap paperback edition of Dos Passos’ translation of "Trans-Siberian Journey” ("The Prose of the Trans-Siberian…"), and I got the idea (that), oh, you could just go along and write little poems with a notebook, (just like (Jack) Kerouacdid in On The Road,except write broken-line poems made out of the notes, or fast thoughts, or spontaneous impressions, or fugitive signposts, or advertisements, or ephemera, or consciousness of landscape, while you were traveling, either by tape or by notebook - The Voyage transsibérien of Cendrars, (and similar poems by (Lawrence) Ferlinghetti,who also did a trans-Siberian train-trip to Vladivostok – (there's) a whole genre). And so, a lot of the poems I have, like “Wichita Vortex Sutra or poems in The Fall of America,fall into that category. And that comes out of Cendrars, who we have here in the anthology. You might check him out.

[Audio for the above may be heard here, beginning at approximately seventy-seven-and-a-half minutes in and concluding at approximately eighty-one minutes in] 

Diane Di Prima's 80th Birthday

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[Diane Di Prima with poet Ted Joans, at The Poetry Project, St Mark's Church, New York City, 1994 - Photograph by Allen Ginsberg c. Allen Ginsberg Estate]



[Diane di Prima and Allen Ginsberg]

The great poet-activist-wise-woman-scholar, Diane Di Prima is 80 years old today!  

Happy Birthday Diane!


She, in the past year, has been teaching a course (at the Bay Area Public School) - "The Dream of Pre-History"
From her catalog note: "This class explores the beginnings of what we call “human” - the fall of Neanderthal and the rise of Cro-Magnon culture - the beginnings, dominance, and eclipse of matriarchy - the double invasions of patriarchy and oligarchy - and the persistent dream of a non-hierarchical society"

"The dream of a non-hierarchical society" - a beautiful and pure dream, these past four-score years, (despite the increasing brutality of "patriarchy and oligarchy"), a dream she has unflinchingly and heroically pursued - and continues to pursue.


Her Recollections of My Life As A Woman is required reading.


Her poetry, for that matter, is (also) required reading






For earlier Diane Di Prima postings on The Allen Ginsberg Project, see our comprehensive posting - here 

and a reading (from 1974, with Allen Ginsberg and Anne Waldman) -  here


and (in Golden Gate Park)  with Michael McClure 


We'll conclude with her elegy for fellow cultural warrior, Amiri Baraka, published in the San Francisco Chronicle, on the occasion of his passing, last February


For Amiri Baraka

don' matter was it
yr left foot went bad
or yr right
don' matter yr lungs
or yr heart
don' matter if that
mass
on yr liver was
malignant
or what's been wrong
so long
w/yr kidneys
don't matter
drugs
or herbs
or acupuncture
or why you didn't
go
to those appointments
don't matter how much you drank
or if you drank
don't matter you did or you didn't
take drugs
meaning meds
or take drugs
meaning drugs
what matters now
what matters &
what's gonna matter
a hundred
a thousand years
what matters when
what we wrote
what we thought
is lost
(& don't kid yourself,
Ginsberg
it's all of it
gonna be lost)
what matters:
every place
you read
every line
you wrote
every dog-eared book
or pamphlet
on somebody's shelf
every skinny hopeful kid
you grinned that grin at
while they said
they thought they could write
they thought they could fight
they knew for sure
they could change the world
every human dream
you heard
or inspired
after the book-signing
after the reading
after one more
unspeakable
faculty dinner
after that god-awful flight
& the drive to the school
what matters:
the memory
of the poem
in thousands of minds
that quantum
of energy
passed over
passed
all the way over
to the other
to thousands
of others
what matters
Revolution
what matters
Revelation
what matters
the poem
taking root in
thousands
of minds ...


"Revolution/what matters/Revelation/what matters"..


Happy Birthday, Diane!



Expansive Poetics -- 95 ( Q & A - Classroom Scraps)

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Guillaume Apollinaire
























                                            [Guillaume Apollinaire (1880-1918)]

Classroom Scraps - Here's some Q & A at the end of Allen's August 11 1981 Naropa Class -

AG: Well, I've been talking steadily [about Russian poetry, about Guillaume Apollinaire and Cubism and twentieth-century modernism] , so now I'll shut up.

Student: Did (Vladimir) Mayakovsky and his group.. were they familiar with "Zone"?

AG: Well, now I think not. Maybe not. (They) might have. Some would have. There was a French influence on Osip Brik, Mayakovsky's friend, and on (Nikolay) Gumilev and the Acmeists, but I don't know. I know the Futurists got together. There was an exchange between the Italian Futurists of 1905-6-7 [Editorial note - Italian Futurism was founded by F.T.Marinetti in Milan in 1909] - Allen is a little confused with the dates here, but I don't know if "Zone" (did).. (but it) must have, because they were all reading French. The Petersburg intellectuals were reading French and admiring European culture. But "Zone" probably came out in some local.. well, I don't know where it came out. I've forgotten what magazine it came out in, but if it was some larger magazine, a few copies might have gotten to Petersburg and circulated, certainly among Osip Brik and (Nikolay) Gumilev, and (Anna) Akhmatova, maybe.  Yeah?

Vladimir Mayakovsky on the streets of New York, 1925
[Vladimir Mayakovsky of the streets of New York, 1925]

Student (CC); Thisself-mythologizing (that you spoke of earlier)..
AG: Um-hmm
Student: (CC) …in terms of (Jack) Kerouac..
AG: Um-hmm
Student (CC):..Is this what Alan Watts means by Kerouac, that (you know), the verb from caricature - that he caricaturizes, caricaturizes
AG: Yeah, in a sense that there's a certain caricature, too, when he (Guillaume Appollinaire) says (in "Poem Read At The Marriage of Andre Salmon") - "We met in some miserable cellar/During the years of our youth/Both of us smoking and awaiting the dawn in ragged clothes" - There was probably a good deal more life and dignity than this little thin portrait, which is slightly caricature. But Kerouac did. That sounds like a Kerouac line -  "We met in some miserable cellar..smoking". 
Was Watts talking (specifically) about Kerouac?
Student (CC): Yes
AG: I think he was saying (that) Kerouac was more of a caricature than a serious…
Student (CC): Yes
AG: .. he meant. Yeah.. Well, reading Kerouac's long prose, it (sometimes) seems… I don't know..  did (Gregory) Corso cover (any of) that today?
Student: Yes he did



[Alan Watts (1915-1973)]

AG: Yeah, what happened in Gregory's class, by the way? I'm dying to know.
Student: He talked about On The Road and Big Surprimarily.
AG: Yeah
Student: And said (that) they were not seeking but fleeing
AG: They were not..?
Student: … not seeking but fleeing.
AG: Uh-huh. What else? Anything other?



[Gregory Corso in Amsterdam circa 1980 - photo by Eddie Woods]

Student: He read about the descriptions of  (William) Burroughsand New Orleans…and, uh, then he went to Big Sur and described what a masterpiece it was, and then he took lines out  of Kerouac's poems and talked about.. 
AG: He did
Student ..the sparrow and the leaf
AG: Uh-huh. Which was that? I didn't know that..
Student: ..the sparrow and..
AG:  From Mexico City Blues?
Student: A big leaf falls on the back of.(a little sparrow)  I don't know where he got that.
Student (CC): I think it's one of the haiku at the end of Scattered Poems
AG: Um-hm. He cut the haiku down even further
Student: It's in (the interview in)  Paris Review.
AG: Ah, yeah

Jack Kerouac in 1967, smiling
[Jack Kerouac (1922-1969)]

Student (CC): Watts goes on to say that the..  (the) one clique was going to northern California and there was another clique in southern California…and that the hipsters were, more or less, in northern California, whereas, I guess, the religious seekers were in…southern California.
AG: Ah, well, I don't know. Actually, out of that group. a stronger religious Buddhist center rose in San Francisco than out of the writing group in L.A. who (most of them) turned out to be radicals or lushes, from Venice, California
Student: Radicals or what?
Student (CC): Lushes
Student: Alcoholic(s)
AG: The Venice group, a lot more of them died of lush.
Student;"The Holy Barbarians"
AG: Yeah, Lawrence Lipton's group

Lawrence Lipton-The Holy Barbarians-UK-Four Square 641-1962

Student: Who is in that category?
Student (CC): A lot of jazz musicians
AG: Stuart (Z) Perkoff .. well, not a lush, but some drugs, I think - Stuart Perkoff


[Stuart Z Perkoff (1930-1974)]

Student (CC): Charles Foster - that poet that I was interested in
AG: Radicals would be… what's his name… McGrath, Tom McGrath - and (Lawrence) Lipton (himself). And almost all the poetry that goes on from that has that same insouciance and fast movement of mind, jumping from one frankness to another..

Photo of His Holiness the 14th Dalai Lama.

(Any more questions?) - Then, well, let's quit for the moment. It's a quarter-of. Anybody got any other questions?. I think the Dalai Lama is speaking
Student (CC): Tonight at Karma Dzong, I believe
AG: No
Student (CC): No, I think it's over at the school..
AG: Do you know where?
Student: No
AG: It's out..
Student: ..in Denver, isn't it?
Student (CC): No
AG: No, tonight, here (at Naropa), and tomorrow
Student: Oh
Student (CC): Tonight, here
AG: As part of that on-going Christian-Buddhist Meditation Conference 
Student (CC): Right
AG: There is a public speech by the Dalai Lama which anybody can go to. I don't know the price.
Student (CC): Where is it?
Student:  I think it's at the Chemistry Building…up at the University (University of Colorado, Boulder)
AG: Right…Yeah
Student (CC): Chem 140, or something. I think that's it.
AG: Then there's a poetry reading…on Thursday. (William) Burroughs class will come back two to four on Thursday..
Student: I thought it was..
AG: Oh, (that's right) three to five, three to five, just before this one. So we have an ordeal, because Thursday there's going to be this solid phalanx of courses - from Gregory (Corso)'s course, eleven to twelve-thirty, Peter (Orlovsky)'s, what?, one to two-fifty…(William) Burroughs, three to five, and me, five to seven. So fare-thee-well.. [class ends here]

[Audio for the above may be heard here, beginning at seventy-two-and-three-quarter minutes in, through to approximately seventy-seven-and-a-half minutes in, plus from approximately eighty-one minutes in to the conclusion of the tape]


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